Worldvision Song Contest 74 | Angradka, Polkopia [IC THREAD]

by **Polkopia** » Mon Jun 10, 2019 2:57 pm

Welcome, Multiverse, to Angradka, Polkopia, for the 74th Worldvision Song Contest

OOC Thread • Host Bid • Official Playlist

The Polkopian delegation and government hereby welcomes you all to the city of Angradka for the 74th edition of the Worldvision Song Contest. It's been 16 years since Polkopia hosted the competition but we're sure to supply the same warm Polkopian hospitality you all know and love. As a part of the official Polkopian host bid, you all read a brief history about Angradka and how several domestic events have shaped a rural fishing village into the bustling port city that it is today but many of you are probably still questioning what exactly there is to do in this city. We'll answer all your questions regarding accommodation and leisure in Angradka while you all prepare to send your artists to Polkopia to represent your nations in the largest singing competition in the Multiverse!

First, while arrival by water transportation is entirely possible, it is highly recommended that visitors fly into Aeroporta Zemli (AZM), as transit between the airport and hotels will be much faster and more efficient than if visitors were to come in via any other method. As stated in the original host bid, visitors will be giften a packet upon arrival, which goes through Angradka's public transportation network in-depth, along with a code to give visitors access to the official app, which lets travelers know when the next bus or train is expected to arrive at your closest station. Angradka prides itself on having one of the best public transit systems in Polkopia and, although it isn't in commission as of now, the city is expected to launch its first monorail train within a week of the conclusion of Worldvision.

There are seven designated hotels that are completely booked for the participating nations' delegations, as well as VIP pass holders, and these hotels are located only a short bus ride to the arena. These hotels are some of the most luxurious in the city and come complete with incredible views, immaculate food, and friendly service.

As for leisure, there are plenty of things to do in and around the city. Gradskiy Sad, the city's largest public garden, is located in the center of the city accessible by subway in its most northwest and southeast points. The garden was opened in 1979 and daily history tours are available, where guides walk you around the city and describe the events that have happened within the garden's perimeter, including the revolutionary gallows and burial ground which were commissioned during the Polkopian Revolution, the site of the first LGBTQ+ rally led by Yvon Alkolyev, and the site where revolutionary leader Hans Tillamn was assassinated by the pro-government party during the final days of the Revolution. Besides this, Gradskiy Sad provides picturesque gardens and a quiet, serene place to get away from the hustle and bustle of the busy Angradkan life. Another popular tourist destination is the Fyodorovskiy Krim, located along the outskirts of the city, which is the city's oldest surviving structure. Visitors will be able to tour the walls, visit the city's oldest church and mosque, and see battle reenactments with authentic 17th-century weaponry.

Besides these two popular sites, the city boasts several nightclubs which will be opened for the nights leading up to the contest. Several guest appearances by local celebrities will be sure to attract crowds from around the city, so make sure you get there early! Furthermore, the food culture is incredibly diverse, as the city is home to two of the nation's most prestigious culinary schools, meaning that new restaurants are constantly popping up around the city. From young, aspiring Besenian chefs, to established Axuvian restauranteurs, one can find mouthwatering delicacies on every street corner.

We hope that you enjoy your stay in Angradka and we wish all the contestants the best of luck.

by **Polkopia** » Mon Jun 10, 2019 2:57 pm

Tune: Aly Ryan - Wear Your Love (Acoustic)

A timer was shown counting down the time until the start of the contest. As it counted down, more and more people began to feel their anticipation for the contest grow, and with 10 seconds left, the noise in the arena was almost deafening as people cheered and counted down with the timer on the LED screen, and once it hit 0, pyros lit up the perimeter of the stage and confetti fell over the audience members from the ceiling. The stage itself was completely dark however and it wasn't until the cheering subsided that a silhouette appeared on stage. Behind her, an LED screen showed a side view of this mysterious person on stage. A single spotlight illuminated this character, and it was none other than Elise Grace, Polkopia's representative at the 72nd Worldvision Contest in Besen. She was on stage in a gorgeous navy gown and a man was seen playing piano next to her. The lights above the stage were decorated in blue, red, orange, and white colors as the first opening act paid tribute to the winning song last edition from Brionisea.

I have waited too long,
Boy, have you disowned me?
You got me chained - locked up.
You've thrown away the key.

I miss your laughter that fills up a room.
I miss your body, do you miss mine too?
Got me all nervous, I’m hoping you would.
Just walk right through that door
I'm not asking for more.

The crowd cheered as Elise sang the verses of the Britonish winning song, and many people - particular the Brionish fans in the audience, passionately sang along with her. The LED screen showed the Britonish flag waving and the cameras showed several views which showed Elise, the pianist, and the flag waving in the background. Elise, meanwhile, furrowed her brows and sung with immense concentration - she wanted nothing less than to mess up this performance and disrespect the Britonish song that so many people fell in love with last year.

As the notes of the piano intensified as Elise sang the chorus, the crowd immensely and smoke billowed from the sides of the stage, enveloping the stage in a thick cloud of smoke. The Britonish flag was still visible of the LED screen through the smoke, but the lights were dark enough so that nothing else could be seen behind her. During the chorus, the camera showed multiple views. In most of them, Elise and the Britonish flag would both be visible, but in some of the shots, mostly those that shot the scene from the back, the crowd's white and golden-colored armbands were visible waving amid the crowd. During the last of the "Oh yeah you must come home" part, the camera did a rapid 360-degree turn around Elise. For the last three lines of the chorus, the camera showed Elise on stage with the Britonish flag fading away. By the second to last line, the Britonish flag dissolved and the camera centered in on Elise.

Don’t hate me for wanting you home
Under the duvets, on our own.
Without you, I can’t sleep at night
Oh yeah I want you home
Oh yeah I want you home
Oh yeah you must come home
Dream of me in your sleep, dream of me 'till you come home
Don't stop, don't stop, dream of me in your sleep.
Oh yeah I want you home.

The camera panned back to Elise and the lights got brighter, illuminating some areas of the stage behind her and the piano man was visible once more. The camera resumed the same type of angles that were shown throughout the other verse as the sang this part of the song.

You're my protector I, I need your comforting
You made me feel like your queen and you are my king
I miss your laughter that fills up a room.
I miss your body, do you miss mine too?
Got me all nervous, I’m hoping you would.
Just walk right through that door
I'm not asking for more.

Elise extended her arms to her sides and looked up as she sang. The camera showed her from the back, and all the bracelets continued waving among members of the screaming crowd. The scattered bracelets seemed to rapidly reposition themselves throughout the audience during the chorus, but meanwhile these bracelets were being configured by technical directors to recolor themselves. The bracelet pattern was exclusively white and gold still, but they were just being recolored in a different pattern. This change occurred slowly at first, but became faster and faster as more bracelets were recolored. By the first "Oh yeah I want you home", the colors had repositioned themselves to look like the Polkopian flag in the audience. The bracelets that were in the area of the crowd where the black section of the Polkopian flag should be were not lit up for this scene, so the crowd still resembled the flag.

Don’t hate me for wanting you home
Under the duvets, on our own.
Without you, I can’t sleep at night
Oh yeah I want you home
Oh yeah I want you home
Oh yeah you must come home
Dream of me in your sleep, dream of me 'till you come home
Don't stop, don't stop, dream of me in your sleep.
Oh yeah I want you home.

Oh yeah I want you home.

Oh yeah I want you home.

Oh yeah I want you home.

Oh yeah I want you home.

Don’t hate me for wanting you home
Oh yeah I want you home.
Oh yeah I want you home.

Dream of me in your sleep...
Dream of me in your sleep, dream of me 'till you come home

The lights dimmed and the audience was left with Elise's silhouette on stage before the lights faded again and both her and the pianist faded from view. The crowd roared with applause and the stage was left dark as the Polkopian delegation worked hard to ensure the next performer had everything they needed in order to give an unforgettable performance.

Tune: Andrea Di Giovanni - Bang

One of Polkopia's most famous drag queens, Aleksis Viktorsnatch, took Polkopia by storm when she performed at the Landa vy Polkopiya with her song, Bang, which did incredibly well in both the international jury vote and the domestic televote, but failed to win the contest. Be that as it may, the song topped Polkopian charts and became an anthem for the Polkipian LGBTQ+ community. For the Worldvision Song Contest, the PNB, eager to impress the multiverse with its emphasis on equality and inclusion, invited Aleksis to perform her song, Supersonic, as one of the opening acts while they introduced the nations during the parade. The Worldvision Song Contest has been incredibly popular in Polkopia, particularly among the LGBTQ+ community, who previously tuned in to the contest as their only exposure to gay culture, as such movements were strictly prohibited in Polkopia under the previous regime. Of course, such movements are no longer restricted however the Worldvision Song Contest's importance to the queer community cannot be overlooked, so it seemed only right that one of the more outspoken members of the community would sing at Worldvision.

In the middle of the stage, a large LED pedestal was set up, which Aleksis stood upon. Two male background dancers were dressed in leather and chains and were situated on the stage adjacent to the pedestal and seductively danced with each other and the pedestal throughout the song. Aleksis's hair was as large as ever and was colored in a bright blonde hue with pink highlights. She wore a rainbow bandana and a short black dress with fishnet stockings, and her makeup was done in a series of vibrant red and golden colors. Her microphone was colored in the same bright red as her makeup and she held it in her right hand as she sang.

Say it louder.
Make it happen.
Thinking 'bout you day and night, I'm losing sleep.

Supersonic
Gin and tonic
Pounding the alarm ringing inside my head.

The rhythm of the song continued playing in the background, but a loud male voice rang out in the arena as the participants and their delegations walked from the back of the stage, down the catwalk, and entered the greenroom.

"Please welcome North Arenia!"

"Give it up for Amuaplye!"

"Ladies and gentlemen, The Republic of Axuva!"

"Performing fourth, Scotatrova!"

"At number five, it's Vartugia!"

Turn it up now
Dance with me all night, night, night night night night.

We won't stop now
Won't give up the fight, fight, fight fight fight fight

"Our next nation for tonight - Kishrael!"

"It's the Allied States of Polkopia!"

"Put your hands together for Darkmania!"

"Welcome, Ceyesca!"

"Coming in at number ten, it's Talvezout!"

Run with me we'll go (bang)
Turn it up and go (bang)
Take the lead and go (bang) (bang) (bang)

Pop your _ and go (bang)
Never stop, we just (bang)
Every night we'll go (bang) (bang) (bang)

"Everybody please welcome Estogium!"

"And next to perform, Britonisea!"

"Give a huge round of applause to Voxija!"

"Ladies and gentlemen, join me in welcoming the Achaean Republic!"

"At spot number fifteen, it's Antenovaria!"

We're just starting
Don't look back now
Bottoms up now go and finish your cup.

Hazy vision
My decision
Tonight's the party that never has to end.

"Next to perform, it's Elejamie!"

"We're glad to see you back! It's Titaniumland!"

"Everybody, let's cheer for our enxt nation - the Greater Korean Juche Republic!"

"Performing nineteenth - Izmedu!"

"Put your hands together for Besen!"

Turn it up now
Dance with me all night, night, night night night night.

We won't stop now
Won't give up the fight, fight, fight fight fight fight

"The twenty first to perform, none other than Antahbrantahstan!"

"Join me in welcoming Nekoni to Angradka!"

"Ethane is back and they're at twenty three!"

"Let's all give a round of applause to Wolfrenia!"

"The twenty fifth song today comes from Taeseon!"

Run with me we'll go (bang)
Turn it up and go (bang)
Take the lead and go (bang) (bang) (bang)

Pop your _ and go (bang)
Never stop, we just (bang)
Every night we'll go (bang) (bang) (bang)

"Performing next at spot number twenty-six, it's the Fatiman Federation!"

"Ladies and gentlemen - Venkatanaros Imharajuvaripieta Rdraskska!"

"At twenty eight, it's none other than Lagoa! Welcome to Angradka!"

"Put your hands together for... Bloodbath Generation!"

"The thirtieth nation to perform is... Missus X!"

(Work queen, strut queen, to the floor and make a scene)
But I think I'd like it better if I go first

(Work queen, strut queen, to the floor and make a scene)
But I think I like it better if I go first

"It's not over yet! Number thirty one is... Togonistan!"

"Everyone, please welcome back Normandy and Picardy!"

"Thirty three nations in, it's time for Kalosia!"

"It's Mister X next!"

"And closing out the show - Tödlichebujoku!"

Turn it up now
Dance with me all night, night, night night night night.

We won't stop now
Won't give up the fight, fight, fight fight fight fight

Run with me we'll go (bang)
Turn it up and go (bang)
Take the lead and go (bang) (bang) (bang)

Pop your _ and go (bang)
Never stop, we just (bang)
Every night we'll go (bang) (bang) (bang)

(Work queen, strut queen, to the floor and make a scene)
But I think I'd like it better if I go first

(Work queen, strut queen, to the floor and make a scene)
But I think I like it better if I go first

(Bang)
(Bang)

by **Polkopia** » Mon Jun 10, 2019 2:57 pm

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Performance • Postcard • Votes

~~Performance • Postcard • Votes~~

Performance • Postcard • Votes

~~Performance • Postcard • Votes~~

Performance • Postcard • Votes

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Part 1 Part 2 Part 3

Part 1

by **Polkopia** » Mon Jun 10, 2019 2:58 pm

by **North Arenia** » Mon Jun 10, 2019 3:00 pm

01 | North Arenia
Federico Anerio, Arano, Martino Eneala and Mr Dur | "Il Suono"
Charlie Charles (feat. Sfera Ebbasta, Mahmood and Fabri Fibra) - Calipso
Music - Amo Dable, Martino Saesa
Lyrics - Federico Anerio, Arano, Martino Saesa

_{Federico Anerio / Arano / Martino Eneala / Mr Dur}

For the first time in the contest's history, we see the Arenian flag present alongside the other participating nations. It is with pride that four completely unique artists have agreed to come together to do well for their country. Hoping to make a splash, their summertime banger has already been lighting up the charts for some time now, with no original intention to send the track to Worldvision. Mr Dur (the producer of the track) had sent the song for consideration to ANBS as they reached out to the many record labels across the land for the one. Unfortunately for the other artists that had sent in a song, "Il Suono" was impossible to turn down in the end.

Federico, 25, has been active in the music industry for a little while now, but not too long that he is the biggest star. He has faced moderate success with his music but most of all, he is critically acclaimed for voice - which is ironic considering his past. In 2014, he had auditioned for The Voice Besein, and made it to the knockout rounds, but did not continue due to the panel saying he "wasn't ready". After that he was effectively hidden from the public eye for years. In 2017 he made his breakout with the hit "Musica" which peaked at #5, but still meant that he could branch into a more mature perspective for his career. He has been fortunate considering his difficult past which he is very open about. When he was younger, he had been intensely intimidated in what is considered the "worst area of Besen" - Newam is widely known as a very dangerous place to grow up in and ultimately hard to overcome.

The rap scene has known Arano for a very long time - with four number one hits under his belt, and a platinum selling album. The story begins with him when you take into account the release of "Riavviare", which skyrocketed him straight into stardom where he has handled the spotlight with chaotic grace. His public relationships and party lifestyle has been the subject of the tabloids for many years, as he is considered quite a reckless and perhaps unusual figure in the world of hip-hop. His marriage to Ailene Machai was the controversial topic of discussion since the top of last year, as she is an "adult" film star. In terms of "Il Suono", he has used the track to consolidate his comeback to music, as the first song he has worked on in three years.

Martino Eneala's debut album brought a new style to hip-hop, as he took a high-key pop approach to the music, and handled production all on his own. The success of the project meant that he also could join the likes of Arano, to start relishing in the life of a star. He also once stepped into the acting world, in a moderately successful film in Besen, which ultimately is his only venture into the film industry. The Worldvision track ended up including him last, as Mr Dur felt that another rap voice should be put into the record - effectively it made for an even more poppy hit.

E' la fine del mondo, non mi interessa
Voglio solo festeggiare con il mio bambino, io e la mia ragazza per sempre
Bonnie e Clyde, noi due
La sensazione è sotto i miei piedi
Come posso negare questo bisogno di ballare?
Desiderio macchiato sulle mie labbra

Vieni con me, ah-ah-ah
Metti il tuo corpo vicino a me, yah-ah-ah
Blu nei tuoi occhi come il cielo lassù
Amore nel tuo cuore, tra le tue braccia proprio come Giulietta, ah-ah
Girati, rendimi uno sciocco

Il suono
Lo sento sotto i miei piedi
E' tutto così nuovo per me
Voglio ballare e vivere
Il suono
Una vita dolce per me
Buone vibrazioni ovunque
Voglio ballare, tu ed io
Voglio ballare, tu ed io

Il suono
La la la la la
Il suono
Voglio ballare, tu ed io

From the sea up to the sun, I can see all the beauty to see
I live life like a runner
I never stop to breathe
And even if I wanted to stop it,
The party is too hard to give up
So I keep on moving my body
Follow me now baby, I'll show you the fun
Focus on this moment between us,
So that you'll never forget the feeling of it

*Pause at 1:40, where everything freezes, before the chorus*

Il suono
Lo sento sotto i miei piedi
E' tutto così nuovo per me
Voglio ballare e vivere
Il suono
Una vita dolce per me
Buone vibrazioni ovunque
Voglio ballare, tu ed io

Continua ragazza e
Segui il suono, il suono, il suono-oh
Il tocco della tua mano
Lo sai che amo, amo, amo-oh
Continua ragazza e
Segui il suono, il suono, il suono-oh
Ballerò mentre il suono mi prende il sopravvento

Il suono
Lo sento sotto i miei piedi
E' tutto così nuovo per me
Voglio ballare e vivere
Il suono
Una vita dolce per me
Buone vibrazioni ovunque
Voglio ballare, tu ed io
Voglio ballare, tu ed io

Il suono
La la la la la
Il suono
Voglio ballare, tu ed io

by **Amuaplye** » Mon Jun 10, 2019 5:32 pm

#2 - Amuaplye

A Few Men - Дак Лентгед
The Decemberists - The Mariner's Revenge

From left to right, Fyodor, Dimitri, Pyotr, Elena, and Vladimir Petrov(a).

The entry begins with a giant 1:1 scale model of a 2-storey house, the band (except for Fyodor, Pyotr and Dimitri) standing, holding their instruments, with their heads bowed down. In front of the band, is a table and 2 chairs. Fyodor, playing the tenant, Pyotr playing multiple roles, including a police officer, sitting across from Fyodor at the table, and Dimitri playing the titular landlord. 2 musicians from last Worldvision's entry, Love and War, take their places as they act out the lyrics.

The first scene, intended as a short vignette before the song starts plays out as follows:

Pyotr: So, you say that you killed your landlord?
Fyodor: Yes. I did.
Pyotr: Can you sign this confession form, then?
Fyodor: Only if I tell you why and how I did it.
Pyotr: Fine with me.

The song starts, but not before Fyodor gets up, and leans up to the entrance, and Dimitri gets up, and goes up to the bedroom. Pyotr goes far away from the house and band, grabbing props for later.

Amuaplyean Lyrics:
Меи вас та ыунгек манк
Чунк онла званта-тву
Унт меи фелет трапата

Fyodor begins to sing the song. He walks around the entrance in a circular motion, as the entire song is meant to be similar to a play.

Дака лентгед ов ман
Вид хисар ха прасек
Меи тод дареки афурд бред

He pointed to the landlord, who is standing in the bedroom, and then points to himself at the last line, showing that his suit is in tatters.

Меи вас та велтхана манк
Унт меи вас рекут ту раргс
Алт реасонаи ов хир

He walks inside the house, leaning against the wall once he entered, revealing it to be filthy, and filled with rats and roaches. The exterior of the house is revealed to be nothing but a giant sheet and a door, as it falls off of the house, revealing the interior.

Хи вас елдар дан мек
Филт вид аварик
Унт хи филт мек вид ексангар

He pointed upstairs to the bedroom again, as he references the landlord. He went "upstairs", and leaned up against Dimitri's bedroom door.

Ват меи хат моверк ту гет тин дис сеттлесма
Меи хат кем конадит
Сот меи хат мо чис
Ох, ох

At the 2nd line, he pulls his pant pockets out, revealing nothing, as it says in the song that he was scammed.

Ик токт нас, ват актуд
Ик вас та садинг трад
Филт вид ексроденс унт рочекс

A rat scurries across the room to illustrate his point, along with the fact that the area looked filthy. Although, the landlord's room is extremely clean. He also runs his fingers against the wall, showing how dirty and dusty the walls are.

Меи херет хир плакинг
Ту ук дак ринд омс мур
Сот меи макикт ат планак

He walks downstairs, and grabs an ax, which is given to him at the entrance by Pyotr, then coming upstairs, back to Dimitri's room.

Ом тхунди наика меи интертет хир ромат
Ват меи пикит хир сот меи кулднок док ик
Ох, ох

As he says the first line, the stage lights up, with the sound of thunder playing, as he quietly and sneakily enters Dimitri's room, raises the ax over him, then drops it, it landing next to Dimitri's bed, as Fyodor runs downstairs.

Меи дот меи скаред хир
Дак ринд стаитат дак саик
Сот меи филт ата еисакед

The lights come back on, to illustrate that it's now daytime, as Dimitri gets up, and looks down, having a bewildered look on his face as he stares at the ax. He then shakes his head, and goes downstairs, as Fyodor sings next to his doorway.

Унт дем дак мекст севда
Ик вента ук ат бик
Ват ик китнок натерак

Fyodor reads a note given to him by Dimitri. He has in indignant look on his face after reading it, before reluctantly giving Dimitri several coins from his bedroom dresser.

Ден ом каи, меи хеират хир заи сумтанг
Хи вантекатостаиз ту ук наи ринт бука званта
Ох, ох

Dimiti heads to the kitchen, whilst Fyodor eavesdrops on his musings to himself though the closed door. He then walked off, before grabbing the ax from Dimitri's room.

Стак хир, стак хир,
Ик дознок натерак анмур
Димп хир, димп хир
Ик вилтик алт гет аваи новат
Кон ик, Кон ик
Тиф дак хебенон дознок ворка

Fyodor then takes his anger out on a nearby pillar, hitting it with the ax in the tune of the guitar strums. (for instance, at the part where it goes Stak hir, stak hir, etc.) He then pretends to go to sleep, as Pyotr prepares to play his 2nd and final role, a shopkeeper.

Ик такет мек та монд
Ту мустак ук дак брав
Ту карида дис овтан

Fyodor gets up, and begins to sing this line, as he walks down the stairs and leaves the house, and walks up to Pyotr, playing a shopkeeper.

Меи дут та каиф фут хир
Сум хебенон фут мек
Унт сот меи дреит ту ву ик реп'

Fyodor gives Pyotr several coins, and Pyotr gives Fyodor a knife and a vial filled with a clear liquid. Fyodor puts these in his pockets, and leaves. He returns home, and enters Dimiti's room, and slowly walks in. The lights shut off, to show that this is nighttime.

Ват омс репет,
Сетинг хир ик алт ов дис скуалерта
Макикт мек пики хим сот меи тикнотанакпоти
Ох, ох

He raises the knife over Dimitri, then puts it down, accidentally dropping it, once he sees a rat scurrying across the room. He puts it in his pocket, and walks back into his room. Once he does, he shuts the door, and the lights come back on.

Дак мекст каи меи хеират
Дерет вас дис фалшодат
Дака хи вас та криминалката

Fyodor leaves his house again, to grab a newspaper from Pyotr. He gives him a coin, then leans up against the entrance to read it. He'd get a few pages into it.

Хи макикт дем паи тот мач
Макикинг дем мокур
Ту сакисфи хисар недса

He gains a shocked look on his face, then slams the newspaper down on the ground, and walks inside. He then grabbed a check owned by Dimitri, and writes something on it, before setting it down on Dimitri's writing desk.

Сот меи гравт наи каиф
Унт дреит та дирдалу тимако
Каиф тин ханк, меи баркетчт тинту хисар ромат
Ох, ох

He'd then grab his knife, and ran upstairs, into Dimitri's room, kicking his door down. The lights turn off as well, to show that it is night yet again.

Стак хир, стак хир,
Ик дознок натерак анмур
Димп хир, димп хир
Ик вилтик алт гет аваи новат
Кон ик, Кон ик
Тиф дак хебенон дознок ворка

He nearly trips and falls over a piece of trash left on the floor, before making his way over to the room. Dimitri is shown in the kitchen, reading the note Fyodor wrote, then tearing it up, and throwing it out.

Унт ун дака наика
Венен меи интертет
Хи вас сундита аклеп

Fyodor's sight finally adjusts, as he thinks he sees a sleeping figure, which is actually a pile of blankets. He pulls out his knife from his pockets, and makes his move.

Меи расет ук наи каиф
Унт дреит ту дрика ик тонта
Унт меи стакт хисар биловта

He raises his knife, and brings it down again, stabbing his pillow, like it's said in the song. He looks confused, as he raises the knife again, and then puts it back in his pocket.

Сот меи турмти дак лаикет ун
Унт ант дак ромат
Унт ту маи секпеис
Хи васнокатполита дерет
Ох, ох

He turns the lights on, and looks around, and then stares at the bed, realizing the stab mark he made in Fyodor's pillow. He then quickly tosses it out the window, and grabs a new one, so that he wouldn't notice, then ran to his room.

Сот меи дреит дак мекст каи
Хи вас сундита аклеп
Сот меи валкатасоит тин

He leaves the room once again, and looks around the house, then goes upstairs. He'd slowly open the door, and carefully walked into Fyodor's room.

Унт финатитокда
Хи вас тин дерет унта
Мокта тенкатинг ту финанск

A grin forms on Fyodor's face, as he pulls his knife and vial out. He walks closer to the bed, his grin getting wider and wider. Dimitri slowly starts to stir awake.

Меи расет наи каифа
Ват мокта веф меи дрит ик
Унт дрокт ик тон'
Ата лескат званта димтанас
Ох, ох

Fyodor quickly downs the vial of poison (which doesn't work, as Pyotr sold him water instead), and raises his knife, stabbing Fyodor. Fyodor controls a valve under his bed, which allows pretend blood (which is actually just strawberry syrup, plus some dyes and thickeners) to come out of the bed. Dimitri and Fyodor surprisingly portray the act rather realistically, making some people think he was actually killed.

Once the song ends, Dimitri gets up. The two then leave the house.

English Translation:
I was a young man
Just only twenty-two
And I felt stuck

That landlord of mine
With his high prices
I could barely afford bread

I was a rich man
And I was reduced to rags
All because of him

He was older than me
Filled with avarice
And he filled me with rage

But I had nowhere to go in this town
I had been scammed
So I had no choice
Oh, oh

It looked nice, but actually
It was a depressing trap
Filled with rats and roaches

I heard him planning
To up the rent once more
So I made a plan

One stormy night I entered his room
But I pitied him so I couldn't do it
Oh, oh

I thought I scared him
The rent stayed the same
So I felt at ease

And then the next week
It went up a bit
But it didn't matter

Then one day, I heard him say something
He wanted to up my rent by twenty
Oh, oh

Stab him, stab him,
It doesn't matter
Dump him, dump him
It will all go away now
Admit it, admit it
If the poison doesn't work

It took me a month
To muster up the courage
To carry this out

I bought a knife for him
Some hebenon for me
And so I tried to do it again

But once again,
seeing him in all of this squalor
Made me pity him so I didn't
Oh, oh

The next day, I heard something
There was this rumor
That he was a criminal

He made him pay too much
Making them penniless
To satisfy his needs

So I grabbed my knife
And tried a third time
Knife in hand, I barged into his room
Oh, oh

Stab him, stab him,
It doesn't matter anymore
Dump him, dump him
It will all go away now
Admit it, admit it
If the poison doesn't work

And on that night
When I entered
He was sound asleep

I raised up my knife
And tried to bring it down
But I stabbed his pillow

So I turned the light on
And analyzed the room
And to my surprise
He wasn't there
Oh, oh

So I tried the next day
He was sound asleep
So I entered

And finally
He was in there
Not tending to finance

I raised my knife
But not before I drank it
And dropped it down
At least twenty times
Oh, oh

by **Axuva** » Mon Jun 10, 2019 6:04 pm

#3 AXUVA
Javia Ngô-Vinogradov - "All Your Lovin"
Tune : https://www.youtube.com/watch?v=Q7Y5dS7cSiI

This visual would play in black and white on the screen.

(moving visual)

Javia stands ontop of the box provided for her space as the dancers all stood in their individual boxes, posing.

[Chorus]
Give me all of your
Give me all of your
Give me all of your lovin’ babe

The lift that Javia was standing on lowered, putting her inside the box as she sang and the other girls continued to walk out of the boxes infront of them

[Verse 1]
Wait,
Look at me, I don’t know if you see what I see
Don’t play games with me, Lets go and own the night
Lets play, come at me
I dont know if you can catch me
The time is ticking
Will you run out of time

She walks out and stands near the girls and they start to move to the beat, putting their all into the dance

[Pre-Chorus]
I can’t think straight when you aren’t around
Your love is needed
I cant wait till you’re home tonight
I cant think right, please bring me around
Your love is great
I need it, all of it.

[Chorus]
Give me all of your
Give, give me all of your
Give me all of your lovin’ babe
Give me all of your
Give, give me all of your
Give me all of your lovin babe

She went on to walking to men and she sings to them, they then started to dance to the beat as well, as other male dancers went to accopmany the females on the other side of the stage.

[Verse 2]
Wait, just take it
I been waiting for you daily
Don’t think about it I’ll give everything you find
I’m tired of waitin’
I cant think, just do it
I’m tired of this provin
Lets ride it out tonight

Javia moves herself back to the boxes with the female dancers and dances with them as she continued to sing, as the males went away

[Pre-Chorus]
I cant think straight when you aren’t around
Your love is needed
I cant wait till you’re home tonight
I cant think right, please bring me around
Your love is great
I need it, all of it

[Chorus]
Give me all of your
Give, give me all of your
Give me all of your lovin’ babe
Give me all of your
Give, give me all of your
Give me all of your lovin babe

As they danced male dancers came on stage as well, and they all danced to the beat.

[Bridge]
I cant hold the wait how long will it take
Baby come home, I just cant hold back
You keep playing but I’m tired of waiting
Just keep it goin’ like that (Like that)
[Bridge]
I cant hold the wait how long will it take (How long will it take)
Baby come on, I just cant hold back
You keep playing but I’m tired of waiting
Just keep it goin’ like that

[Pre-Chorus]
I cant think straight when you aren’t around
Your love is needed
I cant wait till you’re home tonight
I cant think right, please bring me around
Your love is great
I need it, all of it

More background dancers come on stage as the male dancers walked off stage and Javia walks back to the backup dancers as the backup dancers walk away from the boxes, making a X formation.

[Chorus]
Give me all of your
Give, give me all of your
Give me all of your lovin’ babe
Give me all of your
Give, give me all of your
Give me all of your lovin babe

[Outro]
I cant hold the wait how long will it take
Baby come home I just can’t hold back

Everyone struts off stage.

by **Scotatrova** » Mon Jun 10, 2019 7:28 pm

4. Scotatrova
Lila Cruz
Tude saluthí súe reign
Tune: Ellie Goulding - My Blood

Lila Maria Rafaela Suarez Cruz is a Scotatrovian singer-songwriter who's career began when she was spotted by Nicole Montes, who later would become her manager. After being signed to Luix Records when she was only 17, Cruz released her debut EP titled Ela ei (She is). She later released her debut album Emor par sempri (Love forever) the following year which debuted at #1 on the AMMS chart and has sold over 900,000 copies in Scotatrova. "Tude saluthí súe reign" preceded her second album as the lead single. Upon its release, "Tude saluthí súe reign" received generally favourable reviews from music critics. Alexandra Cotilla of Roseline Magazine felt the song features a catchy chorus. She thinks that the song "marks a slight stylistic shift from the more straight forward pop sound that filled her debut album, and that Cruz took "a different direction" with "Tude saluthí súe reign". Gerardo Franco of Surie Radio deemed it "a fitting follow-up to Emor par sempri's first hit single as the 22-year-old tackles yet another vulnerable narrative", and expects it to enter top 10 on the AMMS chart. Commercially, the song topped the charts of many countries and reached the top 10 of several others, making it Cruz's most successful single to date. The song is also the longest-reigning number one on Scotatrova's top music chart, the AMMS.

In Scotatrova, the single debuted at number two on the AMMS chart on September 30, 2018, becoming Cruz's highest-charting single since March 24, 2017, when "Ie Te Tha Míe Corth" peaked at the top position. "Tude saluthí súe reign" reached number one on the AMMS chart on October 13, 2018 and remained there for 21 consecutive weeks until March 12, 2019. It is the longest reign at number one on the AMMS chart, surpassing "Gomego" by Luca Carvallo which spent 17 consecutive weeks at the top position from May 17, 2014 to September 15, 2014. Some music publications believed the single's success was influenced by a trend of hit singles by other popular artists such as Marniti, Elisenda, Luca Carvallo, Fernando Pareja, Orlando Barrios and Xirau. "Tude saluthí súe reign" was the best-selling and most-streamed single of 2018 in Scotatrova, with 2,914,000 downloads sold and 872,799,000 video and audio streams, adding up a combined total of 7,338,000 sales plus track-equivalent audio streams. Internationally, "Tude saluthí súe reign" spent 22 weeks as number one in Atzlana, 18 in Maragua, 17 in Ithra, 15 in Whitmore, 14 in Constancia, 12 in Alhandria and 11 in Hocain while also staying within the top ten for a considerable amount of weeks in Andenes, Rosario, Aelvenia, Granados and Amaurita. Earlier this year, it was rumored that Lila would enter into the very first Scotatrovian National Final for WorldVision alongside four other artists. Lila eventually confirmed the speculation through a social media post and declared that she would enter the Scotatrovian Song Selection with "Tude saluthí súe reign". She would then go on to win the National Final with a combined score of 129 points, and was selected as Scotatrova's representative for the 74th WorldVision Song Contest in Polkopia.

The stage is completely black, save from the light being emitted from two large idling LED screens placed high above on either side behind Lila and the miscellaneous lights placed around the arena. A single light is slowly shined upon Lila as she stands towards the front of the stage, wearing a very simple, plain looking gown that only leaves room for her head and hands to be shown. But it could easily be seen that there was something else underneath it, something being obscured from the loseness of the rags she was wearing. The camera then places itself not too far in front of Lila as the song begins. As the piano starts off the song, the camera angle switches position to her right, now zoomed in a little further.

Nel siopha comon se senda murtir verth?
You don't know what it feels like to die right?
Its not like losing everything you love

Non ei comon si perda toth que emás
They always told me that I could not do it
And I know what mom meant by "segi sempri tue corth"
"always follow your heart"

I've learned much from it

Lila's voice was just one steady stream of calmness as she recited her verses. The camera kept the same angle on the right that it had positioned itself from earlier. The LED screens now began to project a simple loop of white roses falling in front of a blackground. Every now and again, spotlights would flash faint colors of purple in the area just surrounding Lila, before they could change to red, and then alternate. As the lights would flash, the indistinguishable outline of a rather large object could faintly be seen in the far back of the stage, however it was cut from sight as the lights stopped their alternating bursts of color before Lila started the next verse.

This is not something I'm ready for
ei’x que sioph ie send in míe corth
Do I know its what I feel in my heart

Mur nin* you must, know now et tú*
But girl*/it's you*

That is meant reinar la région
to rule the kingdom

The screens that displayed the falling roses altered, and now they both displayed the picture of a castle. The castle itself was remarkable, sitting atop a verdant, lush hill surrounded by dozens of trees and shrubs. No more lights were displayed except for the one that kept a constant glare on Lila at all times. You could see the warm undertones of her face due to the unique positioning of the light, and the camera made sure to capture Lila's incredible beauty. Her voice is such a great accompaniment to the song and its almost as if she isn't particularly fazed by singing in front of such a large crowd. She gives the camera a quick glance and smile before continuing on with the rest of her set.

Ía non te gostás gom la curona
And you don't like me with the crown
Why? Is it only because I'm a woman?
And now I am the queen
All hail your queen

Par quoth? Ei sol parquoth ie so un fema?
Ía athór ie so le reign
Tude saluthí súe reign

Her tone changes from one of softness, to one that is full of power as she recites the chorus. Anyone could tell that this was an important message for her to be conveying in what she considered to be an unorthodox way. The LED screens begin to zoom in on the castle before it cross fades to show a throne room, with a magnificent metal throne. The camera gets a shot of Lila from a distance that perfectly displays her and the thrones on either side of her.

But this crown does not come at an easy price
And I had to sacrifice alot to get here
To those that would tear me down, just look at me now
The crown is mine and that makes you upset, ie so le reign
I am the queen

A crown then falls down a top the throne, and the moment it does, the throne then becomes one covered in blood. The crown that falls where the monarch would sit, and it too, is covered in blood, and to anyone that could point it out, it is clearly a crown that is meant for a king. The camera then focuses in closer on her face, and the look in Lila's eyes change as the image does, and you could see a look of deceit, almost as if she was hiding something. The camera then pans away from her again and out further away, now displaying her and the stage in full.

This is not something I'm ready for
ei’x que sioph ie send in míe corth
Do I know its what I feel in my heart

Ía non te gostás gom la curona
And you don't like me with the crown
Why? Is it only because I'm a woman?
And now I am the queen
All hail your queen

Par quoth? Ei sol parquoth ie so un fema?
Ía athór ie so le reign
Tude saluthí súe reign

Lila finishes the verse, and then comes the brief intermission of the instrumental interwoven with some vocals. Lila takes a step back away from the microphone, and begins to tear the sleeves off of her gown. Long, black sleeves are now visible, and she then begins to take off the robe that surrounds her, and it becomes clearer and clearer that there is for sure another outfit on under. Finally, she removes the main shirt of the outfit to display a full length black dress. Lila gives the camera yet another smile, this time her eyes are full of duplicity. She then takes the microphone off the stand and begins to walk towards the back of the stage, and a couple strides in and suddenly a large array of pyrotechnics erupt to now show a large throne that sits there. The blood covered throne on the LED screens also erupts into flames and burns. She begins her the final verse just as she takes her seat upon the throne.

Ía non te gostás gom la curona
And you don't like me with the crown
Why? Is it only because I'm a woman?
And now I am the queen
All hail your queen

Par quoth? Ei sol parquoth ie so un fema?
Ía athór ie so le reign
Tude saluthí súe reign (x2)

As Lila hummed the depleting final vocals, the light on the stage once again faded into nothing, before it slowly came back and revealed her. In a similar fashion to earlier, the screens behind her display a phrase in white letters in a black background that says "Le rexe rett murtoe, tude saluthí le reign" (The king is dead, all hail the queen), then pulls out a small, plastic crown that she had somehow managed to hide within the dress, and put it on before bowing and the audience erupting into applause. "Thank you so, so much!" She then walked off the stage with the biggest smile, and just hoped that her perfomance was up there with the other heavy hitters present.

by **Vartugia** » Mon Jun 10, 2019 10:26 pm

05. Vartugia

Talentless Twat- "We Sing a Song”

Anke Engelske cover of "Mika Newton – Angel"

"Bitch, Im a salad. (*Wierd bird noices)" - Talentless Twat, who got way to drunk and later fall of the stage doing the press confrence.

The singer is with a random homeless guy we stole from Izmedu. He isn't sober.

When are gonna sing a song
Make sure it's not sung by a Vartugian

And the song is by a vartugian
And it's getting not a single point
We are so fucked

*Poorly and out of tempo* We are... singing a song... and we sing a song
It's an evergoo...
*Forgot the text? Just make some weird noices*
And the song is a song. AAAAAAAAAAAAAAA. Its a sang.

The performer stands on the stage awkwardly as she has forgotten the lyrics again. The sand artist randomly draws the hammer and sickle again. She then faces the producer. However, she realized that her mic is still on

*Talk Something in vartugian*
*A C I D E N T A L B A C K W A R D E N G L I S H*
Darkmanian!
*Very offense darkmanian. We are not gonna write it here.*
*She accidently says "I fucked my car" in Darkmanian*

The racism toward Darkmania continue. The random izmeduan homeless guy is seen snorting something up his nose.

*Awfull darkmanian*
*Slitly off-tune there*
Bird-noices!
*Drunkly makes noices*

The sand artist randomly draws a penis. Meanwile, the singer leaves the stage. For a minute, it gets the full award as there is only the homeless guy, who is arrested by the polkopian police due to illegally entered the country. This trainwreck is over.

by **Kishrael** » Tue Jun 11, 2019 12:39 am

. : 06 - Kishrael - كشرائيل - כשראל : .
Cinderella Ra'ah - Soredet (Survive)
סינדרלה רעה - שורדת
Language: English, Hebrew
To the Tune Of - Neon Jungle - Welcome to the Jungle

In the previous contest held in The Estograd, Kishrael achieved a more than respectable 5th place finish with Sigal Barda's entry "Ten Lo Laredet Aleykha". This however was considered disappointing to some with RESHET, as she had been pipped for a top 3 finish in the pre contest odds. Regardless of this, the song had no performed so commercially well across the world, with some success in countries more appreciative of a slower style of song, but the internal decision not to release an international version in English was criticised by many. RESHET, driven by profit margins had to pull out the big guns, and there was no one better that they could think of. Cinderella Ra'ah had stormed to victory in WorldVision 33 with the song "Or Odem", or "Ruby Light", giving Kishrael its third of four victories. The song was not only a domestic success, but also international, and the group became famous in countries such as Ekoz and Todlichebujoku. A career spanning around 3 domestic albums all reaching number one in Kishrael suddenly ended, when Cinderella Ra'ah dropped off the scene. Nobody truly knew what happened to them, but the most popular theory is that they entered a voluntary scientific experiment to be cryogenically frozen in order to preserve their youth. This popular theory was actually been confirmed a number of times both in interviews and in promotional work for the band's pre-WorldVision tour. In fact, the band seems not to have aged at all in the years since they last represented Kishrael, meaning the scientific freezing worked, and also that the band has the energy and power to deliver a top performance in order to get Kishrael to the top.

The song "Soredet" meaning "Survive" is bilingual English and Hebrew and follows the traditional structure of a Cinderella Ra'ah song, thumping beats leading into a rap breakdown. Produced by the same team who made "Or Odem", the expectation is a similar result, however only time will tell if Cinderella Ra'ah has eternal appeal, or simple has not progressed with the changing music scene - a criticism of many recent Kishraeli entries. The song had performed immensely well in the domestic charts, storming to number one and selling around 25,000 copies in the first week, almost unprecedented in a country with a population of less than 3,000,000. At least the Kishraeli public were enthralled... as was custom, the WorldVision songs typically chart in foreign countries after the competition itself rather than before, so time would tell the international success levels.

Arriving in Polkopia, a country where they had travelled extensively, they settled into the rhythm of rehearsing easily. Drawn into sixth position, coincidentally the same position when they won in Ekoz, the girls were optimistic before the final. Jaffe Chityat saying in the days before the contest: "We've got a lot of good things planned for a stage show, we want to give you the real Cinderella Ra'ah experience. We hope everyone remembers why we won in the first place, we're super excited!". When asked about the benefits or drawbacks of a return, and how many who return never do quite as well as they did originally, Gal Chadasah answered "There's no expectations from our part, the audience in WorldVision is completely different now from what it was, and we can't actually improve from what we did. We're happy with what we did the first time and we're not trying to compare it. We want to introduce ourselves to a new audience and have fun, and anything above that is a bonus".

The stage is dark, ready for the Kishraeli performance to start. The stage has been flooded with smoke, with a dark blue hue hanging over the stage. The "honeycomb" thing on the stage has been projected onto with dark purple and pink plant textures, flowers, ferns, leaves and branches etc. In the centre the silhouettes of the four girls can be seen equally spaced apart, legs wide apart in a strong gate waiting for the music to start. The first beats ring out, and the girls prepare: Jaffe lifts her microphone to her lips and begins to sing the chorus with which the song begins. Mutated white and blue lights begin to flash from behind the stage, emphasising the silhouettes, Jaffe and Gal's large hair gives an impressive view. The smoke is still very potent, reaching waist to chest height on most of the girls.

Try to break the habit now, a fire that won’t drown
Coz’ I’m addicted to the sound
So tonight you’re dancing
And this time will be different
So tonight you’re dancing, dancing, dancing, dancing

As the breakdown occurred, a huge LED "slash" like an animal ripped through the screen at the back, with animalistic patterns through the claw mark. Afterwards as Gal sang the next part, the stage flooded with yellows, blacks and oranges pulsating through the stage in time with the music. The camera came closer on a more personal level, Gal looking straight into it and touching her body as she sung the breakdown of the chorus. The other girls, still in their positions were dancing in time with the music but without any sort of choreographed moves.

La la la la la la, Laladi dance with somebody
La la la la la la, Get down for whatever
La la la la la la, Laladi catch me if you can
La la la la la la, Zeh eikh at soredet
(It's how you survive) זה איך את שורדת

With verse beginning, Emma took the lead, as the girls left their positions and skipped, jigged, moved with a rhythm together, and then fanned out across the front of the stage as Emma finished. At this point the girls' outfits were fully revealed, with no clear style, but a urban flair (inspired by this). The camera began a pulsing effect on the screen for viewers at home, emphasising the bass of the track, giving the impression that you were in a party. Despite the oranges, yellows and blacks on the floor, the honeycomb feature remained dark, but now pulsing with blue and black lights giving an interesting contrast on the stage. Sara then continues the second half of the chorus, as the colours seep through the stage and the darken the stage again.

B'chayyim at zoremet
(You take life as it comes) בחיים את זורמת

V'at havtachot selakh l'etzmakh at shochakat
(And you forget your promises to yourself) ואת הבטחות שלך לעצמך את שוחכת

And you hope it will be different

Ein tzlil maspik chazak kdey l'hatbia et zeh
(There's no sound loud enough to drown it out) אין צליל מספיק חזק כדי להטביע את זה

Az yadayyikh mushitah ladelet
(So your hand is reaching for the door) אז ידייך מושיטה לדלת

Maybe this time it's different

The stage becomes dark, with blue lasers flashing from the back of the stage. Now however, dancers have come out from the sides, six in total, complete with neon body paint. They move slowly and flow in time to the music, as Sara sings the next chorus, and the tempo gets higher these dancers begin to do more extreme shapes with bodies, almost contortions. Because of the paint, their forms don't look human, rather like floating symbols.

Try to break the habit now, a fire that won’t drown
Coz’ I’m addicted to the sound
So tonight you’re dancing
And this time will be different
So tonight you’re dancing, dancing, dancing, dancing

The dancers then rush, half to Jaffe and half to Gal who between them split the breakdown part of the chorus. The camera cuts from Jaffe, singing and dancing in time with the music, with her luminous dancer's making shapes behind her, to Gal who is doing the same. Their respective dancers look like they are doing some sort of dance off behind the girls.

La la la la la la, Laladi dance with somebody
La la la la la la, Get down for whatever
La la la la la la, Laladi catch me if you can
La la la la la la, Zeh eikh at soredet
(It's how you survive) זה איך את שורדת

With the verse, the lights become brighter again with the animalistic hues re-appearing. The stage floor, and also the honeycomb are patterned with orange, black and yellow leaves. The patterns sway and spin as if there is a gust in the forest. At the same time, Gal begins the next part of the song, the other girls coalesce near her and dance to the beat. The dancers who were previously illuminated are now not because the lights are brighter and as a result of the camera angles, the stage looks full to the viewers at home, with everybody dancing with rhythm to the music, yet not with the same dance moves. The smoke is still potent on the stage, but now more at thigh height level.

Lamrot Hayesurim
(Despite the suffering) למרות היסורים

Hitmakart L'hitgarshut
(You got addicted to the excitement) התמכרת להתרגשות

Tachshiki et ha'or
(Dim the lights) תחשיכי את האור

Titzayyri et laylot Dior
(Paint the Dior nights) תציירי את לילות דיאור

Because this time is different

Emma continues the next part, and skips to the right hand side of the stage, near to the audience, bouncing as she sings. Sara and Gal come with her, dancing too but the other dancers and Jaffe do not. As she nears the end of her verse, the girls crouch close to the floor looking into the camera directly from above and making hand signals. Sara sings another "So tonight you're dancing" and the stage suddenly rocks and goes dark as it cuts to Jaffe and the dancers at the centre.

To this beat I will testify
And when I scream and when I cry
It’s coz I never felt so alive
Because this time is different

So tonight you’re dancing…

Jaffe is standing in the centre of the stage, with the six dancers somewhat set back so their neon paint can be seen, but Jaffe can still be shone on directly. Sparks come from the back of the stage as the dancers dance in the background to the rhythm of her rap. As she sings "Basa sababa" a paw print slashes across the screen, the Jaffe pretends to spin the camera around which leads to a new angle, where she looks at the new camera. She is commanding the stage with her moves and rap, gesturing with swagger to the camera. As she nears the end of the chorus, they all shout in unison "Cinderella got back to the ball" and begin bouncing together and dancing, with smiles on their faces.

Pump that beat and the baseline jumps
You build that road and we’ll come
So what if there’s blood on the dancefloor?
I command you to dance more
Grow towers we stack steffa¹
Ya Netta², basa sababa³
You say it’s nothing but this power’s a lot
You say you ride but damn you really not
Here’s one point for those rude tings
Here’s two points bad attitude tings
Wining high yeah we tasting
Zerem⁴ yeah we creating
We’re back here, round two
This stage ain’t big enough for you too
We told you we coming through
Cinderella got back to the ball

With the final chorus, the lights become bright, orange, yellow, black, with blue lasers from the back of the stage. The big party atmosphere returns as the girls and their dancers jump together and seemingly have a good time. The camera focuses in on the part atmosphere, as each girl sings her part, she moves towards the camera, sticking her face in it, so as to not lose the effect of carelessness and partying.

So tonight you’re dancing
So tonight you’re dancing

Try to break the habit now, a fire that won’t drown
Coz’ I’m addicted to the sound
So tonight you’re dancing

With that, the arena erupts into cheers. Cinderella Ra'ah collectively hold hands and take a bow, shouting "Thank you World!" and then other various smaller things individually that nobody can understand. They, and their dancers jog off stage in order to make way for the next performance.

by **Polkopia** » Tue Jun 11, 2019 7:20 am

07. Polkopia

Markus Xavier - Please Don't Say Goodbye
Tune: VINCINT - Please Don't Fall in Love

[spoiler]Marko Salvyedov was born to a Jewish family in the suburbs surrounding Polkopia's capital city, Peeto. In his early childhood, his family was largely affiliated with the local theatre and he was offered a private education free of charge. In Polkopia, while private institutions of learning didn't exist at this time, tutors and home visits were allowed, so much of Marko's early education was conducted in this format. Unfortunately, there were reports of Marko falling victim to several cases of sexual assault during this time, and Marko was subsequently transferred to the public education system at 11 years old. As an adolescent, Marko followed in his parents' footsteps and joined several organizations relating to the arts and theatre. By the age of 16, he was the president of the Glaskiy Klub, which is the Polkopian equivalent of a school's "glee club" and traveled around the city to perform songs. By the age of 18, Marko was offered several opportunities to continue his education at some of Peeto's higher-learning institutions which focused on the performing arts, but Marko turned these offers down. Initially, most speculated that this decision was, in part, due to the trauma Marko experienced as a child. However in an interview with the PNB, Marko explained that he had taken a year break from school in order to experience the real world without having to feel the burden of schoolwork everywhere he went. He also saw this as an opportunity to truly discover himself and really get an insight about what he wanted to pursue in life.

Marko moved to Restnov, where he worked as a bartender for a local chain. During the weekend, Marko performed covers of songs and was promptly discovered by a talent agent, who sought to give Marko a chance at becoming an artist. Marko accepted the initial offer and began recording songs for a Polkopian label. Partway through his experience, he and his label had a falling out and Marko's contract was terminated. He had rediscovered his passion for songwriting though, and he began writing and recording original songs and posting videos of them online. He did this for three years before, at the age of 23, was urged by friends and family to submit an entry to the Landa vy Polkopiya. His first attempt, "Try Me" was rejected by the Polkopian jury and did not make it to the final 10 songs selected for the live shows, and Marko felt as if though he still had a lot to learn in the art of songwriting. He opted to attend university as a part-time student and was accepted into the University of Restnov's fine arts program, where he took two years' worth of classes whilest also working as a bartender. At the age of 25, he reentered the Landa vy Polkopiya under the pseudonym, Markus Xavier, with his song, Please Don't Say Goodbye which gained instant support from fans of the competition. His entry made it to the live shows and after the semi-final, his song rivaled with his competitor, Aleksis Viktorsnatch, as the favorite to win but eventually his song won out and he won the right to represent his nation at the Worldvision Song Contest in his home country. In the weeks that followed, his song remained in the Polkopian Top-10

Upon winning the Landa vy Polkopiya, Markus immediately realized the pressure of representing his home country on his own soil. For the past few editions, Polkopia seemed to be on the right track, finishing in the top-5 three times within the past four editions, and many expected the same success from Markus, as his song was met with high domestic success. With all of this increased attention, Markus has shied away from social media and interviews to the best of his ability. Of course, when he won the Landa vy Polkopiya, he had given an interview, as it was customary to do so before the artist went home that night. He had given one more exclusive interview with the PNB in which he conveyed his life story, his highs and lows, and any other emotions he felt throughout his musical journey so far, but apart from that, he hasn't made any appearances. Some speculate that Markus didn't expect to gain this much popularity overnight and needs time to adjust to it all, while others claim that Markus has been struggling with health issues that have kept him from spending extended periods of time away from home, but the latter has yet to be confirmed by any reliable sources.

Regarding his personal life, Markus came out as gay when he was 20 years old and faced immediate ostracization from his community. At the time of him coming out, many Polkopians were only just getting exposure to the LGBTQ+ community and the idea of coming out was a relatively new phenomenon. Because of this, Markus hardly spoke out in support of the community in fear of the immediate backlash that could be damaging to his career as well as physical and mental health. Several critiques of Markus often point to this as him turning his back on the community when it needed him most, but many prominent advocates for equality including Aleksis Viktorsnatch and Mirela Santana (Polkopia's WV 68 representative) called on people to not be so quick to judge. Mirela, in particular, was more defensive about the criticisms of Markus, saying how one shouldn't feel obligated to be an advocate, and that people can live their lives in peace and quiet if they so choose. Currently, Markus lives with his boyfriend, Pyotor, in Restnov and the two are expected to be engaged after the Worldvision Song Contest is concluded.

But for the moment, this is what mattered. This was the next step in Markus's career and he had prepared long and hard for this moment. These 3 and a half minutes on the multiverse's biggest stage can make or break him, and one slip up would be broadcasted to millions. These thoughts raced through his mind as he took the stage and the Polkopian delegation cleared the stage around him. He stood up and looked down at his shoes. He took a deep breath and picked at the skin alongside his fingernails. It might have only seemed like a few seconds for the audience, but for Markus these seconds felt like hours, as thousands of thoughts raced through his mind at once. At one point, his breathing steadily became more rapid and he did all he could to maintain his composure. He was incredibly nervous and he knew he couldn't let the audience see that, because any slight tremble would be noticed by everybody at home and his chances of winning decreased along with that. He took a deep breath and looked out into the crowd. They couldn't see him, but he could see them out there. Their bracelets and cellphones lit up the arena and it was truly a magical sight for him to behold. This was an audience that far exceeded anything he had experienced back home and he was set to perform in front of them! His nervous demeanor soon turned into excitement as he realized how well he knew this entire routine. He knew it was damn good and he was prepared to give the crowd a hell of a show.

On stage, he stood on a pedestal which only stood one foot (0.30 meters) from the ground. Surrounding him were five mirrors, each of them positioned in a half-circle behind Markus and stood equidistant from one another. Although there were backup singers, they were positioned at the very back corner of the stage and would not be visible for the entirety of this performance. Markus, however, would be the center of the performance, yet wore a very simple outfit. He wore a white v-neck shirt, with a significantly longer V than most are used to. He wore tight-fitting black jeans and white and black shoes. His hair was in its normal curly style and he wore little to no makeup. The only makeup present on his face would only serve to hide blemishes and scars on his face and add a touch of radiance to his skin in the process. As the camera opened the shot, Markus moved his head so that he was looking down at the ground again. As the camera crept closer to him, the opening notes of the song would begin and Markus snapped his head up to look to the camera and move his hand, which was holding the microphone, near his face. He looked straight into the camera, furrowing his brow while he sang but never retracted his gaze from the lens in front of him. There was a spotlight illuminating the stage, but the mirrors were only slightly visible to the viewer; all they would be able to see is the bottom-third of the mirror which only showed his legs. The camera added a slight black-and-white effect to the shot, adding an aurora of nostalgia, and possibly even sadness.

I thought about yesterday.
Oh, how the time's flown by.
I'll never forget that night.
Was it your last goodbye?

In the next verse, when the beat sounded, Markus would move his shoulders and extend his free hand outward, inward, and place it on his body in the same sets of three that the beat sounded in. He moved various parts of his body in this pattern, but always kept his gaze trained on the camera. Though his expression seemed angry, his eyes were sad, almost pitiful. But these jittery and rapid movements on stage didn't deter him from staring down the camera. The camera retracted some, and the mirrors became visible, emphasizing the somewhat chaotic movements of his dance.

Maybe sacrifice
To gain all your trust
Is what I must do
To hold on.

And the dawn will break
My heart into two
When I don't see you've
Come back.

Markus backed up, and the images on the mirrors changed. Four of them continued showing Markus's reflection, but the mirror on the far-right end showed an animation of Markus pressed up against the front of the mirror as if he's trying to escape something behind him. The face on the mirror lip-syncs the words that Markus is singing. Markus, meanwhile, looks in bewilderment at the mirror. The camera concentrates on this interaction for the first three lines, which the mirrored Markus
"sings" before training to Markus for the fourth line, which he sings. More spotlights were shown on Markus when he sang the fourth line, and these lights were synchronized with the beat.

You can scream and lose your cool.
Throw my clothes into the pool.
Make me think I was a fool.
But please don't, please don't!

The same pattern as before happened, but this time it was the mirror on the far-left of the stage. The mirror on the far-right of the stage resumed the same picture as before, following the other three mirrors. As he sang the fourth line, the characters displayed on the mirror backed away and Markus was left on stage all alone. He danced by himself, walking backwards and flailing his arms upward, to his side, and so on, still in-sync with the beat.

Sleep on the couch downstairs.
Go outside to get some air.
Ain't nobody thinks it's fair.
But please don't say goodbye!

The idea behind the staging, according to an anonymous member of the PNB, was to illustrate mental illness and over-thinking in a way that relates to people. Because we often feel alone and it seems like we're at war with the thoughts in our head when we go through these horrible times in our lives, we felt the need to illustrate it to the best of our ability so somebody somewhere might be able to understand that they're not alone in feeling this way - that it's a struggle so many of us have to deal with on a daily basis and it's perfectly okay to talk about it openly.

As Markus danced, his vision was mainly trained on the ground below him, but as he sang the next line, he extended a hand out toward the camera and looked to be almost pleading with the viewers while he sang. After he sang, he dropped his hand and continued the same dance as before.

Please don't say goodbye!

Markus returned to the same position he was in during the first verse, looking at the camera intently. Unlike before, however, the mirrors behind him were devoid of any figure, silhouette, or any form of life, really, and seemed to blend in with the black background. It looked as if Markus was on this stage completely alone.

These thoughts, they won't go away.
Stuck in my brain, and they're here to stay.
I just want you next to me-e-e.
And if it's a game, I don't want to play

And I can't stop thinking about...

Seemingly out of nowhere, a Markus-lookalike appeared inside the inner-right mirror and walked up to the front of the mirror from a distance. He stared directly at Markus, who looked straight ahead, turning his back on the lookalike as it "sang" the next three lines. For the fourth line, Markus placed his free hand over his ear and moved his head and body back and forth in-sync with the beat.

You can scream and lose your cool.
Throw my clothes into the pool.
Make me think I was a fool.
But please don't, please don't!

The other figure disappeared and another Markus-lookalike appeared in the same fashion as the previous one, only this one appeared in the inner-left mirror. The lookalike stared intently at Markus, who had his back turned toward it and "sang" for the first three lines. For the fourth line, Markus stepped forward and moved his free hand upward as golden spotlights moved from the back of the stage, to the front, and then out toward the audience.

Sleep on the couch downstairs.
Go outside to get some air.
Ain't nobody thinks it's fair.
But please don't say goodbye!

Markus continued the same dance as he did during the other chorus, except now he was off the pedestal and toward the front of the stage whereas he was back near the mirrors before. As he sang the next line, he banged his chest and had a pained expression on his face - he looked like he was on the verge of bursting out in tears, but it was all an act to go with the atmosphere the staging was trying to convey.

Please don't say goodbye!

The golden spotlights continued to erupt from the back of the stage floor and approach the perimeter and then extend outward, while there were no more lights on stage. Markus returned to the pedestal where only his silhouette was visible, along with the reflective material of the glass mirrors, but no image was shown on them. Judging by Markus's silhouette, he was still dancing while he sang, though he wasn't completely visible. For the very last line, he held the note for two extra seconds, resulting in an enthusiastic round of applause from the audience, who were thoroughly impressed by Markus's vocals thus far.

I don't wanna think.
About this anymore.
I just wanna love, love, love

And if my heart hurts.
This fracture in my chest.
It always hurts so much, much, much...

The golden spotlights stopped, and the camera crept closer to Markus's face. Soon, only his face and the edges of some of the mirrors were visible to the camera, but there were still no images present on the mirrors. He held the microphone to his face as he sang, almost laughing to himself in a sort of sad-laugh as he sang some of the lines.

You can scream and lose your cool.
Throw my clothes into the pool.
Make me think I was a fool.
Please...
Please don't say goodbye!

The mirrors behind him shattered as he held the note and the camera flew backward, quickly transitioning into a full-stage view. Broken glass was scattered along the floor around Markus and he extended his hand out to his side as he sang with immense passion.

Please don't say goodbye...

The camera returned to show a closeup on Markus's face, who sang the last few lines softly in the camera, before the lights shut off and Markus's silhouette was the only thing visible, slowly rising and falling as Markus inhaled and exhaled on stage.

Please please please...

Please.

The lights came back on and Markus buried his face in his hands and fell to his knees. He wiped some tears from his eyes, found his voice, and stood up, at which point he waved to the cheering audience. "Thank you! Boloshya dyaka, Angradkom!" He said with a quivering voice as he exited the stage.

by **Darkmania** » Tue Jun 11, 2019 10:51 am

08. Darkmania

Erÿk Dÿrmal- "Sÿrma" (Sinner)

Oscar Zia- Human

“Trëvor Yrängaser and Gëorg Sälander were two of my best friend. Yet, I struggle to think that they don’t live here anymore since they were murdered by a white nationalist. I and my gay friends feel unsafe. And its soon 5 years since it all started to go downhill. Sure our rights have been improved and same-gender marriage is looking likely, but we still live in fear. After all, it's been 15 since the Dictatorship felt and love can prevail. But can love survive anymore in a country who claims to be LGBT friendly when some nazi cunt can gun us down just because of who we are?” – Erÿk Dÿrmal, at the Meet-the press event.

On 31st May 2014, the darkmanian LGBTQ+ community of Darkmania had one of the worst days. Trëvor Yrängaser (19) and Gëorg Sälander (21) was walking down the street on their way to buy some food. But for the 1,2 kilometre walk to the shop was not going to be finished. At Fërgamseväg, a popular street within the LGBTQ+ community due to its colours, white nationalist, (whose name will not be written here) gunned down Trëvor and Gëorg while both were holding hands. They were killed on the spot. 8 shots with 3 headshots. Blood ran down it as the shooting sparked national headlines. And that latterly just under a week toward the Pride Parade. You might image how shocked the “gays” was that this just happens. With police protection, the parade went ahead. But it did not goes on rails. 31st May has since been a dark day for the LGBTQ+ community inside of Darkmania.

Homophobia has been a touchy subject toward “the gays” as they have been called online. On the other hand, it lay the formation toward the political party known as “The Rainbow”, who has become a party of interest due to their colourful rallies and persona. However, many parties like the far-right party “National Revival”, the Christian Right party “Christian Democrats” as well as some members of the right-wing populist party “The Republic” have all sworn to stop “this colourful nonsense”. Darkmania is, for the most part, a conservative nation when it comes to religion, where 68- 71% of all darkmanians being members of the Darkmanian Catholic Church and 5% being Sunni Muslims. With 65% favouring same-sex marriage according to the last polls, it seems that the LGBTQ+ community can finally be accepted. However, there are always some extreme right-wingers who will “fuck it up” for them. It has often led in the past since the murders that Pride parades have been cancelled due to security fears of a new attack on the LGBTQ+ community.

Erÿk Dÿrmal is gay. And has been gay for 5 years. He came out around the time of the murders. Both Trëvor and Gëorg was his friends and has helped him find the strength to come out. It's now been 5 years. And he still misses his friends after all these years. He has been invited by DaTV and their department of music to perform at Worldvision with his song written for the 5 year anniversary of the murders.

The opening shot is a little bit confusing and a little unreal. That is because it's in black-white and Erÿk arent to be seen. He is finally seen at the next shot simply walking to the microphone stand. There are no other persons than Erÿk and there is smoke on the stage as well as being grey clouds on the background wall. Erÿk only has a black coloured short-armed shirt. The camera who films the first sung line is locked and are locked for the duration of the first verse.

Kölorë ÿu re gëyre üit(Colours are getting greyed out)

Ëkisen ëf löv ër döding(Existence of love is dying)

Yma fëil nët ÿn ren hüma(I don’t feel like a normal human)

Kän töu ëi ren füür ÿinst?(Can you be normal for once?)

Yma yn hüma mïd lif(I am a human with life)

Yn hüma mïd mëid(A human with mind[i])

Yr nëid trÿng të([i]I just want to[i])

Këre yrë mëital sÿnket([i]Cure my mental illness[i])

There is some movement for the camera as it glides away. The smoke in the LCD background wall intensifies.

Dël ïr väkser ïr dë höud([i]Its growing in my head)

Dë trÿck ïr stärkere(The pressure is stronger)

Yr nët hade dis myr(I can't handle this anymore)

The colours get revealed, but not for Erÿk as he is still grey in the broadcast for the moment. There are some images of thunderclouds in the broadcast as well. We also hear that he is joined by four backup singers who are hidden for now. 2 male and 2 female voices join Erÿk`s voice to harmonise with him.

Töu yr bör ÿn sÿrma(You are just a sinner)

Mëke göyl ëf vÿr külto(Making mockery of our culture)

Töu yr bör ÿn sÿrma(You are just a sinner)

Töu hä glÿmt ti Güf ë tyr nët gët hëlt fër hÿm(You have forgotten your God and you`re not getting help from him)

Töu yr bör ÿn sÿrma(You are just a sinner)

Dë höte säkm ef dës lend(The biggest shame of this land)

Töu yr bör ÿn sÿrma(You are just a sinner)

Förgy mi Güf, füür er hä sÿrm(Forgive me God, for I have sinned)

Töu yr nëit ÿn humä(You are not a human)

A steadi cam from the left side of the stage

Köm mëk dë hërd füür ös?(Who makes it hard for us?)

Këm ÿma in vÿrke?(What am i in reality?)

Yr trÿng spöre ë svër(I need questions and answers)

Yma nët ÿn humä myr?(Im not a human anymore?)

He takes his microphone off the mi stand and throws the microphone stand to the ground of the stage in anger. He will hold and sing with his mic in his hand for the rest of this entry.

Ϋn wëtter uïte fën ë kölöre(A world without fun and colours)

Hät yr stärke dän löv(Hate are stronger than love)

Fëlte ÿm lëv ë ÿm frÿnds, dë nët ren myr(Fuck my life and my friends, they are not normal more)

Erÿk is now finally in colours. The transitions are still in a frantic manner with images of thunderclouds tossed in.

Töu yr bör ÿn sÿrma(You are just a sinner)

Mëke göyl ëf vÿr külto(Making mockery of our culture)

Töu yr bör ÿn sÿrma(You are just a sinner)

Töu hä glÿmt ti Güf ë tyr nët gët hëlt fër hÿm(You have forgotten your God and you`re not getting help from him)

Töu yr bör ÿn sÿrma(You are just a sinner)

Dë höte säkm ef dës lend(The biggest shame of this land)

Töu yr bör ÿn sÿrma(You are just a sinner)

Förgy mi Güf, füür er hä sÿrm(Forgive me God, for i have sinned)

Töu yr nëit ÿn humä(You are not a human)

All colours are digitally removed while continuing the frantic transitions.

Töu yr sÿrma. Töu yr sÿrma (You are sinner. You are sinner)

Nët ÿn ren hüma. Nëy ÿn ren hüma (Not a normal (hetro) human. Not a normal (hetro) human)

Töu yr sÿrma. Töu yr sÿrma(You are sinner. You are sinner)

Förgy mi Güf, füür er hä sÿrm(Forgive me God, for i have sinned)

A large god-like creature appears on the LCD wall with the face removed. All light is darkened with only the godlike thing shining. Erÿk goes down on his knees, facing the god-like thing. A shot from behind Erÿk reveals some text simply written “Sinner”. He sings the next line while facing the godlike thingy. A massive mistake is done as a steadi camera operator is accidentally seen for like a second before its changes the transition to that of the steady cam. The focus are to record the god-like thingy over the shoulder of Erÿk as

Förgy mi Güf, füür er hä sÿrm  (Forgive me God, for i have sinned)

Erÿk faces back to the audience at the arena as the god-like thing disappears. Controversially, two images of both Trëvor Yrängaser (19) and Gëorg Sälander (21) are shown before they slowly disappear again. The faces on the LCD screen are all grey and colourless, while the colours for the broadcast are now back.

Töu yr bör ÿn sÿrma(You are just a sinner)

Mëke göyl ëf vÿr külto(Making mockery of our culture)

Töu yr bör ÿn sÿrma(You are just a sinner)

Töu hä glÿmt ti Güf ë tyr nët gët hëlt fër hÿm(You have forgotten your God and you`re not getting help from him)

Töu yr bör ÿn sÿrma(You are just a sinner)

Dë höte säkm ef dës lend(The biggest shame of this land)

Töu yr bör ÿn sÿrma(You are just a sinner)

Förgy mi Güf, füür er hä sÿrm(Forgive me God, for i have sinned)

Töu yr nëit ÿn humä(You are not a human)

Enter stage left, four backup singers appear on the stage. They mostly just stand in a line behind Erÿk. Erÿk

Töu yr sÿrma. Töu yr sÿrma(You are sinner. You are sinner)

Nët ÿn ren hüma. Nëy ÿn ren hüma(Not a normal (hetro) human. Not a normal (hetro) human)

Töu yr sÿrma. Töu yr sÿrma(You are sinner. You are sinner)

Förgy mi Güf, füür er hä sÿrm(Forgive me God, for i have sinned)

Probably the biggest applause of the night. Erÿk is done. "Thank you. Let colours live!" Erÿk in a voice in which he is clearly given 100% and some more in order to spread his message. After all, homophobia did cause his two friends to be murdered.

by **Ceyesca** » Tue Jun 11, 2019 11:01 am

09. Ceyesca

Ariana Torres - "expose myself"
to the tune of "everytime" by Ariana Grande

Ariana Torres (centre) performing "expose myself" at the 74th Edition of the WorldVision Song Contest

As the crowd roars with excitement, the black screen projects the name "ARIANA TORRES" in all white letters. The presenter introduces Ariana Torres to the audience. "Ladies and Gentlemen! Prepare to have your minds blown by Ariana Torres! Tonight performing her single, 'expose myself', now available for purchase everywhere!". The crowd continues to roar as Ariana Torres emerges from the shadows, dressed in all pink. Pink fluffy jacket, pink bralette, pink skirt. Her dancers join her, also dressed in all pink. She approaches the microphone, and the song starts to play. A prerecording play above.

seem to know, seem to know, seem to know
seem to know, seem to know, seem to know
i don't seem to know, seem to know, seem to know
why do i?

There's a pause. As Ariana prepares to sing, she waves at the audience and screams "WORLDVISION ARE YOU READY FOR THIS SHOW?" receiving a roar of applause and cheering. She then sings.

i ask, do you know who i like?
you ask, do you know how to lie?
they keep telling me to end my
lovesick attitudes and live my life
i keep giving them these death glares
why can’t you see that this ain’t fair
this is the worst form of despair
‘cus i can't show that i care
if you're right here

She squats down, surrounded by her dancers, and sings the pre-chorus.

i always forget we're all he knows
but i expose myself when he shows

She stands up, and her dancers start dancing the official choreography, consisting of voguing.

interest, boy you seem to have all that
i can't seem to understand why you're mad
my oh my, life just loves making me
expose myself
i get tired, pretend that i'm done with it
i tear myself up 'cus boy i'm not over it
my oh my, life just loves making me
expose myself

She kneels and starts voguing with her dancers. They look like a wave of pink as they dance together, simultaneously intriguing and fascinating the audience, before the prerecording plays again.

i don't seem to know, seem to know, seem to know
seem to know, seem to know, seem to know
i don't seem to know, seem to know, seem to know
why do i?

Her dancers pause for the first line, and they all stand still. Before dancing around Ariana as she sings her heart out to the audience.

after we’ve had our time
boy, you look at me, i can't stay away from your light
they keep telling me “you’re lovesick”
‘cus i can't stay away from what makes me think quick

She stands up, singing, with the audience singing along with her. Her dancers retreat.

i always forget we're all he knows
but i expose myself when he shows

The dancers come back, and this time, Ariana joins them fully in voguing, whilst still maintaining amazing vocal skills. Singing the last line as a high note.

interest, boy you seem to have all that
i can't seem to understand why you're mad
my oh my, life just loves making me
expose myself
i get tired, pretend that i'm done with it
i tear myself up 'cus boy i'm not over it
my oh my, life just loves making me
expose myself

Finally, the dancers vogue again. The prerecording plays again, and she adds adlibs along with it.

i don't seem to know, seem to know, seem to know
seem to know, seem to know, seem to know
i don't seem to know, seem to know, seem to know
why do i?
i don't seem to know, seem to know, seem to know
seem to know, seem to know, seem to know
i don't seem to know, seem to know, seem to know
why do i?

The song ends, and the crowd roars, clearly impressed by the show. The audience of WorldVision are obviously enamored by Ariana, she was a clear winner. "Thank you WorldVision!" she shouts, before concluding the show.

by **Talvezout** » Tue Jun 11, 2019 11:53 am

Lorenzo would be returning to Worldvision to perform for her home nation of Talvezout, for the first time in what felt like ages. Usually, Talvezout sent from a pool of artists - Grezzja Haber, Laura, Modern Tears, Isobella Bachelor, Isadora Bachelor, Sunny Siracauso, Vincent & The Sprawl, Lorenzo, and Paul Jez. This contest was gonna be no different, as Lorenzo had performed at Worldvision thrice, had done commentary and numerous other bits multiple times. Usually, Lorenzo sent a song that would fit in her oeuvre - electropop. However, recently she had been straying into more unique territory - her latest album combined R&B with kuduro and funk elements. When TRT contacted Lorenzo and asked if she could represent Talvezout in Worldvision, Lorenzo was given total creative freedom in her entry. Thus, she crafted "Seasons" - an gothic/medieval portrayal of lost love. The song itself came from a art piece she had performed with the Avant-Group of Ylfa. After months of rehearsals, it was finally ready to debut on the Worldvision stage.

Melody: Conan Osíris - Telemóveis

Lorenzo would be half crouching, half kneeling in the darkness. A solitary light would shine on a woman clad in white, who was laying down on a plinth in the middle of the stage. As the opening strains of the song began, Lorenzo would slowly stand up, with a spotlight gradually fading in on her. As she would sing, she would turn around and reach for the woman on stage, and she would reach back. They however, would be separated by the great distance between them.

Em vaig trencar el cor
Quan els àngels us van portar
Perquè res no pot matar aquest anhel
Aquest desig tinc per tu

Two people dressed in white with Venetian ball masks would forcibly take the woman in white away from the center stage; Lorenzo would slowly chase after them, as she would sing the song. Two other people in similar outfits as the two others would push Lorenzo away to the front of the stage; the woman in white would be on the other end of the front of the stage. They would try to run each other; however, when the beat dropped, they would be forced away from each other by a unseen treadmill, as the stage behind them would explode in vivid color reminiscent of old Orthodox icon paintings.

Mentre miro el món
Les estacions canvien i van
Mentre miro el món
Sense tu
Les estacions canvien però estic atrapat sense tu

As the two women would continue trying to run to each other, the four angels would place their hands on the woman in white, stopping her from running and letting the treadmill carry her to the other end of the front of the stage. Lorenzo would stop running and let the treadmill carry her away, facing away from the woman in white and instead looking upwards, to the heavens.

Intento cridar-te
Però Déu bloqueja la meva crida
Els cels estaven bastant gelosos del nostre amor
I així us van treure de mi

Lorenzo would seemingly plead with the heavens, as the four angels would slowly walk up behind her and put their hands on her. As each placed their hands on her, Lorenzo would fall down, from standing up to being on her knees, to lying on her side. The angels would lift her up and carry her to the center of the stage as if it was a funeral; the woman in white would be trying to get Lorenzo free, hitting and trying to budge the angels.

Intento tornar a trobar-te
Igual que Eurídice i Orfeu
Marxes
I com aquests àngels cruels?
Em van trencar el cor
Quan van treure el meu amor
El cel em va maleir amb aquest desig

The LEDs behind the performers would light up in stark shades of black and red, giving the whole tableux a gothic and horror feel. The four angels would lay Lorenzo onto the plinth on the center of the stage; the woman in white would run to the plinth, and she would cradle Lorenzo in her arms, who would stir up and finally embrace the woman.

I així ploro al cel
"Dóna'm el meu amor"
Però només intensifiquen l’anhel
Perquè res no pot amagar la soledat

Lorenzo and the woman would get up and would slowly walk down a catwalk leading into the audience, away from the four angels. The four angels would walk to where Lorenzo and the woman were, trying to get them to turn away in a manner reminiscent of the myth of Orpheus and Eurydice. The screens and lighting around the arena would go blood red, as solitary white spotlights would shine on the performers.

I per què els cels ens van trencar
Van ser gelosos?
O aquest amor simplement no volia dir-ho

The four angels would all lay their hands on Lorenzo and would push her down. They would slowly and ritually tear off the clothes from Lorenzo, stripping her down from her ornate black robes into a bare white shirt and pants. They would toss the clothes into the audience and walk off stage, leaving Lorenzo onstage with the woman.

I tu
Atrapat al cel
Puc sentir que encara em demanen
Igual que Eurídice de la tomba
No tornis enrere el meu amor, el meu amor

As dark red lights would shine behind the two performers, lighting them up in silhouette the white woman would drop to embrace Lorenzo; the woman in white would have a pair of angelic wings in which she would embrace Lorenzo, as a single spotlight would shine on the two as the song ended.

Es marce mentre canvien les estacions
Sense tu.

by **Estogium** » Tue Jun 11, 2019 3:03 pm

#11 ESTOGIUM
Ola Ruah - "Jealousy"
Tune : Luna Shadows - "Cry Wolf"
Language: English
Duration: 3:36

After hosting a relatively successful edition of the WorldVision Song Contest last edition in The Estograd, Estogium, Estogium returns to the WorldVision Song Contest in what will be their 28th participation, 41 editions after the nation debuted. Estogium has gone 41 editions without a WorldVision win...

At the edition in The Estograd, there were high hopes for Palladium to bring the WorldVision trophy to Estogium for the first time. On what marked the 40th anniversary since Estogium debuted at the WorldVision Song Contest, Estogium decided to bid for the contest for the first time since WorldVision 34 with their Darlington bid. Since it was 39 editions since their last bid, the team in The Estograd asked for help from neighbouring nations such as Britonisea, Ekoz and Titaniumland - all nations that have previously hosted the WorldVision Song Contest. With Estogium taking a large majority of the votes that came through in the end, Estogium was locked in as the host for the 73rd WorldVision Song Contest and it was a plan for RVC to win on home soil. Palladium is an Estogian girl group who was tipped to do well at home. They had previously represented Estogium at the World Hit Festival and came 4th place. Palladium expressed a strong willingness to do much better at the WorldVision Song Contest. However, there was stiff competition from other nations, most notably Estogium's eastern neighbour, who took the WorldVision Song Contest crown for the fifth time in 32 editions. Estogium finished 9th place with 70 points - their best result since the 62nd WorldVision Song Contest when the nation finished 5th place.

There seems to be a steady improvement for Estogium at the WorldVision Song Contest. In the last four editions of the WorldVision Song Contest, Estogium finished 14th, 11th, 10th and now 9th but RVC and Estogium are hoping for a much bigger jump ahead of the 74th WorldVision Song Contest in Polkopia - the hosts of the 74th WorldVision Song Contest. RVC say that they would like to return Estogium "back to the days where getting 5th place wasn't a shock". Estogium seems to have lost it's flow ever since Estogium stopped habitually participating, something that RVC would like to avoid going into the future for Estogium at the WorldVision Song Contest. Estogium, for the first time since the 61st-64th WorldVision Song Contest will be participating in a consecutive edition of the Contest, and this time they will be performing 11th with Ola Ruah, performing the song "Jealousy".

Along with Jayden Adams (an Aloquirbic singer), Ola Ruah represented Estogium at the World Hit Festival in Anollasia. This came after Estogium's dreadful 15th and 16th place finishes there. With 12 points, the pair finished 8th place amongst a field of 15 nations which marked the first time that the nation finished so high since the Grand Final of the 40th World Hit Festival, infamous for its Semi-Finals that Estogium was lucky enough to qualify from. Ola Ruah understands that more nations are participating at the WorldVision Song Contest and unlike last time, she will not be representing the country with someone to guide her. This time she will be a soloist which is scary for such a young singer like she is - but she is ready to blow her audience away.

After the performance from Talvezout, Ola Ruah rushed up on the stage nervous about what was about to happen. She was going to show the world why she should be the 74th winner of the WorldVision Song Contest. As the postcard for Estogium played, she walked onto the stage with a microphone in her hand which was embezzled in jewels which sparkled in amongst the lights on the stage. Ola wore something similar to this as the people around her cleared the stage. She was on the stage by herself without any props.

Dry your eyes, don't dare cry
There's reason to be sad
I am here, just to help
Take my advice, take my advice

On the screens behind, we could see that the screens were dark green with hints of brown - as though she was in a forest, deep in a forest. The camera slowly zoomed in to her as she continued singing. She looked into the camera as she did this. The whole stage floor was lit as she went into the pre-chorus...

You can’t rid of this feeling overnight,
I know how it feels, I am victim number one.
Take it within your stride (your stride), you’ll get over it
And you know what happens to those who wait,
They’ll get their happy end.

Ola Ruah held out her hand, with the camera quickly zooming outwards at this point. The lights turned dark in the arena, with strobe lights around the whole of the stage blinking and flashing along with the beats of the drum, making a real spectacle. As that short bit lead into the chorus, flames from all corners of the stage shot up into the air, with the fire being representative of the jealousy that whoever she is talking about probably feels. In the back, the forest display seemed to be set alight on flames, with fireworks exploding on the screen too. The camera zoomed out from that, before backing up past her. She looked at the camera came over her shoulder...

I know that you’re seething,
Burning inside, wishing you had what I have
But I am not to blame, not me
Blame your jealousy

Don’t copy my every move,
As this is what is going to destroy you
Don’t let it take over your life -
The jealousy

As she stopped singing the chorus, the flames that were present during the chorus were gone, with the flames that were on the LED screen also calming down. At the top of the LED display, the sky turned a light purple/pinkish theme with stars being dotted across. She looked up at the audience as she prepared herself to sing the next verse. She swayed along to the song, but not yet moving from the position that she stood in at the start of the song. A steadicam came on the stage as the first verse came in. She looked at the camera before starting to sing the next verse.

I feel it - feel your eyes (feel your eyes)
Searing deep into my mind
On your mind - you can’t think
It’s swirling around, it’s swirling

You can’t rid of this feeling overnight,
I know how it feels, I am victim number one.
Take it within your stride (your stride), you’ll get over it
And you know what happens to those who wait,
They’ll get their happy end.

As she started to sing the pre-chorus once again, she then moved back to stand right in the middle of the stage - centre stage. She took a deep breath before singing about how "You can't rid of this feeling overnight". There was an aerial shot from directly above her. The camera slowly moved down towards her. Another shot met her at the end of the pre-chorus, with her winking right at the end. The stage was the same as it was at the start of verse two but as the song transitioned into the next chorus, flames shot into the air once again, with the LED forest also doing the same. This time, there was a further away shot which showed the flames (and this time jets) setting off into the air. You could see Ola swaying from left to right in the middle of the stage.

I know that you’re seething,
Burning inside, wishing you had what I have
But I am not to blame, not me
Blame your jealousy

Don’t copy my every move,
As this is what is going to destroy you
Don’t let it take over your life -

At the end of the chorus, you could notice that a group of men from either side started to walk on the stage holding microphones. Ola Ruah walked forward onto the stage out near towards the audience. She smiled innocently as the camera caught her walking towards the stage. She men started singing in the distance, with another shot showing Ola Ruah reaching this other stage and the men swaying from left to right in a rather (you could say) boisterous way. For the next section of the song, all of the lights were focused on Ola Ruah, with the men disappearing among the darkness.

The jealousy (jealous-jealous!)
Jealous, (jealous-jealous!)
Jealousy (jealous-jealous!)
Jealousy (jealous-jealous!)

Don’t be jealous, baby (Don't you dare cry)
Don’t be jealous, baby (Don't be...oh)
Don’t be jealous, baby
(Don't you dare cry, don't you dare cry, don't you dare cry)

In an effect similar to Estonia 2019, Ola Ruah was trapped inside this world (not of a storm though), but of burning trees. Ola kept on singing but looked stunned and scared as she "saw" the burning trees of jealousy all around her. The audience could see this on the screens. During this, the men came forward so that right at the end of this section, Ola was joined by them. As this bit finished, the stage exploded with flames and colour (a stark contrast to what it was like before) with the camera panning from the left of the arena to the right. Ola sang out to the audience for the final chorus.

I know that you’re seething,
Burning inside, wishing you had what I have
But I am not to blame, not me
Blame your jealousy

Don’t copy my every move,
As this is what is going to destroy you
Don’t let it take over your life -
The jealousy (jealousy, jealousy)

At the end of the song, she smiled into a camera which slowly zoomed in on her. Those on the stage with her embraced her as she thanked her audience, "Thank you! Thank you, Polkopia!" - they then walked off of the stage, ready for their neighbours to perform, Britonisea...

by **Britonisea** » Tue Jun 11, 2019 3:03 pm

#12 BRITONISEA
Jun-iči Hoch & Ekkehard Liinamaa - "On My Own"
Tune : Nick Jonas, Robin Schulz - Right Now (Official Music Video)
Music: Ekkehard Liinamaa, Midori Raskop Lyrics: Midori Raskop, Jun-iči Hoch, Tadeu Asoo

Reigning champions, Britonisea, return to the WorldVision Song Contest in Polkopia in what will be the nation's 35th participation. Third place VM2019 act, Jun-iči Hoch & Ekkehard Liinamaa will carry the Britonish flag.

With the previous success of Britonisea's hit show, Vha Mehlodhivestoile, providing two WorldVision wins and the fact that the competition was held in Estogium, Britonisea's western neighbour, it seemed as though going into the 73rd WorldVision Song Contest, it was Britonisea's competition to lose. All signs pointed at Britonisea doing well at the 73rd WorldVision Song Contest as the potential 25 Vha Mehlodhivestoile 2019 contenders battled it out to become Britonisea's next big thing. Many nations that ended up participating at the 73rd WorldVision Song Contest ended up broadcasting Vha Mehlodhivestoile on channels in their nations, drawing millions of international fans to watch the contest and making it an unbeatable force. That was until the likes of Izmedu released their song after their national final Izmepisma which saw the bookies sway in favour for the three-time winners of the contest. Going into the 73rd WorldVision Song Contest, it seemed as though the rivalry between Izmedu and Britonisea were the talk of the city.

The Britonish WorldVision Delegation were adamant and determined to give Vha Mehlodhivestoile another WorldVision Song Contest which would make it the 3rd win in the four years of the competition (75% success rate). The Britonish WorldVision Delegation were also very aware that if Izmedu were to win the contest, Britonisea would no longer be one of the top 3 best nations at the contest according to wins and second places. Ultimately, BITC felt somewhat threatened by the attention that they had expected to receive being diverted to Izmedu's entrant. The delegation made sure that the performance that Alyxhia Willis would give in the real thing would bring the attention back to Britonisea.

Britonisea was drawn to perform 25th in the Grand Final, a running order position the nation had never performed in. 25th was the latest Britonisea had performed since the 65th WorldVision Song Contest when Britonisea came 9th after two consecutive wins. Britonisea was made to perform after another favourite for the title, Besen, who eventually came third place with 101 points. The Grand Final in Estogium was rather ecstatic with loads of Britonish fans supporting Alyxhia Willis. The voting was intense, with both Britonisea and Izmedu placing 1st at least once during the voting segment. Nearer the end, it seemed as though Izmedu were going to win their fourth title. However, after the last two nations voted, Britonisea took a last minute dash for the line which saw the nation catapult into 1st place with 132 points - the 2nd most Britonisea had ever received, with the winner of Vha Mehlodhivestoile 2016 (Mini Surrey North) still holding Britonisea's highest score of 139 points. Britonisea was voted for 20 times (or 80% of all nations participating), which was the most amount of times Britonisea was voted for in any single edition. Alyxhia Willis could now say she came 2nd and 1st at WorldVision. On arrival back to Britonisea, she was greeted with thousands of fans waiting for her and another push for her career. BITC were praised for their work, with BVC also gaining praise for the organising of the 4th edition of the nation's favourite show - which obviously works.

Though, BITC for the third time since they took over the broadcasting rights for Britonisea at the WorldVision Song Contest were able to say that they were the reigning champions returning to the contest. Excluding the back-to-back win, Britonisea's performance after a win have been up and down. After WV41, Britonisea placed 5th in the next edition. After WV47, Britonisea fell 12 places and after WV64, Britonisea fell to 9th. BITC would like to see better results straight after a win and so trust the 3rd placers of Vha Mehlodhivestoile, the duo from Todlichebujoku - Jun-iči Hoch and Ekkehard Liinamaa. The pair actually placed first in the Grand Final of Vha Mehlodhivestoile - ahead of eventual winner Alyxhia Willis, beating her by 12 points...

The International Vote: The pair received 5 12-points from the 14 international juries in the VM2019 GF - winning a total of 66.67% of total points available.

Jun-iči Hoch was born to Britonish and Tödlichebujoki parents. While he grew up primarily in Seltsameboči, he took the opportunity to study abroad in his Britonish mother's home city of St. Kings Bay (an island city off the coast of Doportedas, located in the Doportedas authority), and came to love Britonisea as much as he loved Tödlichebujoku. As a former child actor and now musician, he has his fans at home and abroad. Ekkehard Liinamaa, on the other hand, is full Tödlichebujoki, from Fauligekaikobu, and is a rising producer making his name in the industry for a chill-dance electronic sound.

They're hoping to bring the electronic sound to the top of the scoreboard. Their genre of music has largely been avoided when it came to Britonish entries because of the 46th WorldVision Song Contest when Britonisea sent a song that was in that genre and a song people thought was going to do well but ended up coming 17th. Since the 46th WorldVision Song Contest, Britonisea has never finished outside of the top 12 - with that entrant being a turning point for Britonisea at the contest. Off the back of a win, BITC are looking at this WorldVision positively and are looking to enjoy their time, especially as the pressure isn't as severe as it was last edition. On arrival to Polkopia, the team has been working very hard to make sure that the performance is credible and truly Britonish...

The Estogian entry was a hard song to beat - it was quite a good effort from the neighbours. In the first time in around twenty nations, Britonisea performed next to another ABEN nation. The audience applauded for the Estogians as the show swiftly moved on. The audience applauded once again as they saw the nation's name displayed on the screen. Britonisea had already received loads of airtime tonight at the opening act and so the audience carried that reaction forward to now. As the postcard played, the two men ran up on to the stage with the stage crew sorting everything out around them. The men weren't wearing anything too spectacular, opting for black jeans with the cleanest white shirt that you've ever seen - almost as though they just got it out of the packet (without the wrinkles of course). Britonisea's BITC didn't want to overdo the staging either - something that a large portion of the budget from the last edition went to. This edition, in the back we could see Ekkehard set up on a desk of some sort with strobe lights all around it with the aim that it could create some cool effects. Standing in front was Jun-iči who was ready to perform his heart out for the nation that he had grown to love so much.

The time to perform was coming up as the Britonish postcard finished. The lights went down as the audience's roar raised in dynamics. The red, blue and orange lights filled the arena before the stage descended into darkness. At the start of the song, the camera focused closely on Jun-iči's face with different diagrams and objects being projected onto his face - similarly to the music video. In the back, you could see Ekkehard's podium thing flickering lights to the click of the fingers that you could hear on the track. Colours that were present as this was happening were the light blue, dark blue and red with the light blue and dark blue representing Tödlichebujoku while the dark blue and read represented Britonisea. Jun-iči bought the microphone up to his face and started to warm himself up with the singing, looking up at the camera that he had been ignoring for the first few seconds of the song...

mm, ohhh

two years
one fortnight
one day
that's all it's been

since we
took hand in hand, one heart
never stray, afar
but now here we are, here we are

As that verse went on, the camera slowly zoomed out of the face of Jun-iči, with more of Ekkehard in the background being shown and more of the lights on the podium which was beaming towards the camera. As the camera went back, some of the lights wear clearly in the viewing of those watching it on the television with the lights creating a sort of bokeh effect. Jun-iči focused on the camera as it started to move back, giving him a bit more space and making him feel much less nervous (the camera being so close up meant that he had to appear to be faultless in front of the camera). Ekkehard looked was bobbing his head up and down along with the music, doing his own thing at the back. The projections of Jun-iči seemed to get more and more intense as the camera went away and as we went into the pre-chorus (or the build-up). As the pre-chorus happened, we finally switched to another camera which was focusing on one side of Jun-iči's face before the camera switched to the other side - changing back to the other camera after he sang one of each line...

Standing in this empty room, I can't forget the nights
I thought I loved you (thought I loved you)
I thought I loved you (Yeah)
And we would try to mend the cracks, with platitudes and sex
A lie you clung to (lie you clung to)
A lie you clung to

As the chorus was about to come up, it seemed as though all of the colour that was on the stage (from the projections and the strobe lights that were behind Jun-iči) was sucked up into a black hole effect which you could see on the screens that were behind them which were left relatively untouched until this section of the song. During the silence between the verse and the chorus, the stage temporarily turned into complete darkness with the audience cheering loudly. Suddenly, the same weird shapes and colours that were being projected onto Jun-iči were being displayed on the screen with similar effects being made onto the television screens around (like a tainted glass effect was made for those watching at home). At this section, a camera on a trolley in the middle of the arena zoomed from one side of the stage to the other side of the stage as Jun-iči jumped into the air at the sound of the chorus. Ekkehard in the back started to move his body more enthusiastically as the catchy chorus caught into his bones.

So you thought, that everything was perfect
That we would be forever and never be apart.
But now I'll, be dancing on my own feet
you didn't see the fractures
our love would never last.

The camera at this point started to zoom into Jun-iči as he finished singing the song. He looked deep into the camera as he reached the end of the chorus with the camera still zooming in. As soon as the camera got close to Jun-iči, the camera and the staging faded away. As the next verse came in, the camera was split up into eight different sections - all equal in size. For those watching the television, they would notice that each of the eight sections were not in sync, all being almost half a beat out of sync with each other with the first image being the live image. The live image sound was normal coloured with the others all being different - with colours such as red and blue being really bright. As the verse went on, some images blackened out to the beat making the effect look really cool watching it...

one breath
one whisper
words that, we'll never say
we'll never say

and all I hear tonight
is silence, no speaking,
the dance beat drives on
the beat drives on

At this point, the eight sections on the screens all flashed to black and back to normal one after each other with it looking like the shot was flickering. As the shots were flickering on and off, in some of the sections, you could see Ekkehard pointing and smiling towards the camera. As he went on to the pre-chorus and went halfway through it, a steadicam came up to him with Jun-iči turning around slightly to meet the camera. The lights were swirling around him, with light blue and dark blue being the most powerful of colours on the stage. We circled around Jun-iči twice before the steadicam came back to Ekkehard.

Standing in this empty room, I can't forget the nights
I thought I loved you (yeah)
I thought I loved you (thought I loved you)
And we would try to mend the cracks, with platitudes and sex
A lie you clung to (lie you clung to)
A lie you clung to

So you thought, that everything was perfect
That we would be forever and never be apart.
But now I'll, be dancing on my own feet
you didn't see the fractures
our love would never last.

There was an aerial shot of Jun-iči standing in the middle of the stage with the light pulsating from underneath him. The camera zoomed in slowly from the top, getting closer and closer over the bridge section. Right at the end of the bridge section, the camera quickly zoomed in on the stage before another shot of the whole stage was shown and pyros shot straight into the air in colours of red and blue- a theme that has held throughout the whole entry.

Night falls, the heartache comes back stronger,
Like lightning in a bottle
Yearning for release
Midnight, the beat is thumping harder
Step back out on the dancefloor
It's time to leave the past

So you thought, that everything was perfect
That we would be forever and never be apart.
But now I'll, be dancing on my own feet
you didn't see the fractures
our love would never last.

At the end of the song, the camera was split in half with Jun-iči on one side and Ekkehard on the other side. The lights faded out with the white light which separated them being the only thing visible along with 12 BRITONISEA on the side. The audience came in with a huge roar. "Thank you, everyone!" the pair said together as we went to the next nation to perform.

Lyrics courtesy of Todlichebujoku

by **Voxija** » Tue Jun 11, 2019 3:17 pm

13. Voxija
Voxa-It Wasn't Real
Tune: Only You (Yazoo)

Link to image of Voxa el-Rashid

Voxa el-Rashid was born in Vañeta, the Voxijan city that historically has spawned many musicians. Her parents fled Saddam Hussein's Iraq. As a child, she showed her singing talents early. Her singing teacher, who was also her mother's best friend, pushed Voxa's music career. At the age of 15, Voxa recorded her first album, which reached number one in Voxija and Madagascar.

Voxa is by now, the most beloved Voxijan singer. She has performed in many music festivals in Voxija and countries like Australia and Indonesia. Her WorldVision appearance is coming at the greatest moment in her music career so far. When the internal judging voted for Voxa el-Rashid, she was ecstatic, and a bit nervous, at performing in Voxija's debut in WorldVision.

Voxa specializes in emotional, slightly exotic material. This song is in some ways a departure from her style, and in other ways, perfectly suited to it. Voxa wrote it with the help of her songwriter, Andere Elivondo. Voxa el-Rashid's stage name is simply Voxa.

Voxa strides onto the stage, on the outside the picture of confidence, but on the inside, wondering if she really can do this. Voxa wears a long cream-colored dress and a matching hijab made of silk and embroidered with subtle patterns. All the lights turn off, except one bright light, shining as a spotlight on Voxa from above. Mournful music plays as Voxa sings the first line. As Voxa sings the line "But you used me", the screen behind her changes from black to beige, and when Voxa sings, "You broke my heart and my soul", the color shatters and crumbles to the bottom corners of the screen, leaving black again.

I tried to love you forever, it was the best thing ever
But you used me.
When you tried to cheat on me
You broke my heart and my soul
You betrayed me.

When Voxa finishes singing the line "You betrayed me" two more spotlights shine on Voxa from either side of the stage. She walks toward the audience. As Voxa sings "Kissing you would give me a rush" she extends her arms toward the audience like a hug. The camera shows Voxa from the front. As she sings the next two lines, Voxa walks back to her original position. When Voxa sings "It wasn't real" she crosses her arms and lowers her head just slightly. The camera shows her from the side during this last part.

I used to love you so very much
Kissing you would give me a rush
But everything you made me feel
It wasn't real.

More lights turn on, lighting up the whole stage somewhat. As she starts singing the next line, Voxa lifts her head up to the ceiling, as if in wait for a sign. She starts spinning when she sings "Now I have to ask why". The camera shows a view of Voxa from the top ss she spins. She continues spinning through the next two lines. When she finishes singing "I got replaced" Voxa puts her head down and stares at the audience. The screen behind her shows rain, and then Voxijan flags. As Voxa sings the next two lines, the audience, the Voxijans and even some foreigners who have gotten caught up, scream in delight for Voxa.

You used to be the nicest guy
Now I have to ask why
I got replaced.
When I saw you with someone else
I knew I had to dispense
With this pretense.

The screen shows rain. Voxa keeps this verse simple, looking up at the sky. The camera is focused on the audience, waving Voxijan flags and screaming Voxa's name. At the end of this verse, a cable comes down. Voxa grabs onto it and rises up above the stage. Voxa does a little dance routine in the air, swinging on the cable and vocalizing.

I used to love you so very much
Kissing you would give me a rush
But everything you made me feel
It wasn't real.

Voxa vocalizes for a few seconds. She sings the below second chorus and the cable lowers her down to earth. As she sings, "It wasn't real", her feet touch the ground and the audience explodes with cheers.

I used to love you so very much
Kissing you would give me a rush
But everything you made me feel
It wasn't real.

Voxa flings her arms up in the air as she sings the first line. As Voxa sings the second line, the screen on the back changes to poppies. As Voxa sings "But we will have to part ways" the flowers on screen melt away and change to a computer-inspired futuristic pattern. As Voxa sings "I don't need you", bursts of flame shoot out from fire projectors just ahead on the screen.

I realize it all was a lie
And I should say goodbye
I don't want to.
But we will have to part ways
It wasn't love, just a haze
I don't need you.

Voxa goes simple for this last verse. All of the lights go out except for the first, centered spotlight. As she sings the last "It wasn't real" the camera pulls for an extreme closeup on
Voxa's face, with a single tear coming out of her left eye.

I used to love you so very much
Kissing you would give me a rush
But everything you made me feel
It wasn't real.

The song ends. Voxa bows, her hijab not moving a bit. She strides confidently off the stage, knowing that she didn't blow it.

by **Achaean Republic** » Tue Jun 11, 2019 3:26 pm

#14. Achaean Republic

Los Dos, Enséñame a Amar (Show Me How To Love)

Tune: Que Me Alcance la Vida, Sin Bandera

25-year-old twins Marcelo and Iván Graniger make up one of the Achaean Republic’s most famous duos, with international hits like “Déjame Escuchar tu Mirada” (Let Me Listen to Your Gaze), “Tántrico" (Tantric) and “Rompeolas” (Seawall). They were chosen internally by AS1 as a safe pick to “test the waters” of the Worldvision audience to Spanish-language songs, as well as make a statement to Achaean musicians that competing in Worldvision is no cynical fluke.

The Granigers were first approached by AS1 entertainment executives while on vacation in a western Antofagasta beach, surrounded by family. They were surprised at first, being that no Achaean has ever won Worldvision nor its cousin the World Hit Festival, and an extensive generational gap has formed between their parents––who remembered the country’s participation––and the newer generations, who see the whole concept of song contests as a silly, grandmotherly affair. (They wanted to make their name in the Multiverse, of course, but they were also partial to a free trip to Polkopia, a foreign land they never even knew existed.) So, one thing led to another, and the public had their full #Apoyo to send Los Dos to Angradka.

Of course, there were their doubters. Achaeans are like that––doubting when they’re happy, doubting when they’re sad.

____________________________________________________________________________

As the first bars of the song begin, the stage has two trees, two metal park benches, a trash can, and a beautiful young woman named Ariana Pizarro wearing a long, red dress. She is sitting in the left bench, looking pensively at the LED sky, decorated by the lights behind her. Before the song begins, both Marcelo and Iván sit in the benches with their instruments––Marcelo is in the first bench, with his guitar and next to Ariana, and Iván is in the second bench, for now alone, with his portable keyboard. As the song begins, Ariana stands up and throws something in the trash, and then sits in the second bench, Marcelo forced to scoot over while he plays the first tunes of the keyboard to Ariana. The camera focuses on Ariana’s smile and tender gaze.

The song begins:

Marcelo:Cuanta ternura en tu abrazar,
¡So much tenderness in your hugs!

el día más templado tu rostro lo brilla.
Your face brightens up the blandest days

Las vueltas que nacen del grande amor
The turns that are born from the grandest love

nacen de tus besos y de tus caricias.
Are born from your kisses and your carresses

Como el deseo se está adueñando,
¡How my desire is taking over!

estoy naufragando en tu paladar.
I am drowning in your palate.

At this moment, the camera focuses to the moment when Ariana grabs a bouquet of red roses next to Iván’s side, caresses them, and throws them in the air. The screen behind her transforms into falling red rose petals. She breathes, sighs, and softly touches her curly hair. She then breaks the stems off a rose she grabbed in the air and gently places it in her hair.

Iván:¿Pensarías tanto como pienso yo,
¿Would you have thought this as I think it, too,

la piel erizada que te electrifica?
the bristling skin that electrifies you

No necesito de agua alrededor
I don’t need water surrounding me

cuando tu fragancia embriaga mi vida.
When your fragrance intoxicates my life

Por favor resguarda en mí tu mirada;
Please shelter my gaze in your hearts

vuelve ya temprano, temo perecer.
come back very soon, I’m afraid of dying

A shirtless man named Carlos Porochenko, wearing long, white trousers, suddenly approaches Ariana and touches her hand. Both touch each other and look lovingly in each other’s eyes. They circle their hands, themselves mimicking the graceful movements of the swans. The camera above their heads circles with them. They begin to dance as the brothers sing in unison.

Both:Enséñame a amarte tiernamente
Show me how to tenderly love you

hasta el tiempo del mundo acabar
until the time of the world ends

hasta que las olas pasen
until the waves pass us through

y me ahoguen en tu mar.
and drown me in your sea

Enséñame a amarte tiernamente
Show me how to tenderly love you

hasta pedirte cuanto juro entregar mi corazón.
Until I ask you how much I swear to give you all my heart

As both Carlos and Ariana dance, their movements flow as actual rose petals fall from the sky. The camera angles show how these petals cover their eyes, their mouths, their bodies, their clothes. In one angle, Ariana lets slip a rose tattoo inside a rosary, one she dedicated to her fervently Catholic mother when she died. Carlos covers her gently in the sweetness of the dance. Both brothers, Marcelo and Iván, play their instruments, glancing at one another as a gentle reminder to never lose the beat of the music they have rehearsed so many times.

Marcelo:¿Pensarías tanto como pienso yo,
¿Would you have thought this as I think it, too,

la piel erizada que te electrifica?
the bristling skin that electrifies you

No necesito de agua alrededor
I don’t need water surrounding me

cuando tu fragancia embriaga mi vida.
When your fragrance intoxicates my life

The camera flips to Iván.

Iván:Por favor resguarda en mí tu mirada;
Please shelter my gaze in your hearts

vuelve ya temprano, temo perecer.
come back very soon, I’m afraid of dying

The camera shows three angles: one from Marcelo, one from Carlos and Ariana in the middle, and one from Iván. Marcelo is signing with his eyes closed. Iván is singing while adjusting his coiffed hair. Carlos and Ariana keep dancing, coyly tempting to kiss each other but can’t.

Both:Enséñame a amarte tiernamente
Show me how to tenderly love you

hasta el tiempo del mundo acabar
until the time of the world ends

hasta que las olas pasen
until the waves pass us through

y me ahoguen en tu mar.
and drown me in your sea

Enséñame a amarte tiernamente
Show me how to tenderly love you

hasta pedirte cuanto juro entregar mi corazón.
Until I ask you how much I swear to give you all my heart

Marcelo:Qué bella eres tú
How beauitul are you

Iván:mi rostro eres tú
My face is you

Marcelo:mi descanso solo eres tú
My rest is only in you

Iván:Que eres tú el triunfo y mi unidad
You are my victory and my unity

Both:sedúceme hasta lo profundo
Seduce me until the deepest reaches

As a camera takes a wide angle away from the stage, sparks erupt from the ceiling.

Both:Enséñame a amarte tiernamente
Show me how to tenderly love you

hasta el tiempo del mundo acabar
until the time of the world ends

hasta que las olas pasen
until the waves pass us through

y me ahoguen en tu mar.
and drown me in your sea

Enséñame a amarte tiernamente
Show me how to tenderly love you

hasta pedirte cuanto juro entregar mi corazón.
Until I ask you how much I swear to give you all my heart

Cuanto juro entregar tu…
Corazón

Carlos and Ariana cuddle on the floor, on a makeshift cocoon with their hugs. They are panting from tiredness, but also from love. They will marry soon, but the public need not know that––at least, until the performances are done and the group is sent back to Achaea. Both Marcelo and Iván finish their instruments and place them on a side. They finally stand up from their benches and give a bow of gratitude to the cheering crowd.

“¡Gracias, Polkopia! Thank you!,” says Marcelo to the cheering crowd, in particular, a group of Achaeans who traveled to Antenarova just to see the first national act in a generation.

“Fueguero, carajo!,” says Iván, a typical expression of emotion Achaeans say whenever they’ve achieved a national triumph or shame or sadness or just adequate for every waking moment.

 They leave the stage, ready for the next act.

by **Antenovaria** » Tue Jun 11, 2019 3:31 pm

15. Antenovaria

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

[Verse 1]

As the orchestra music started, these words were shown on the screen, then it cut to a visuals of showing different wars, as a presentation

Do-do-do-do-dod-dododo-dodododo
Do-do-do-do-dod-dododo-dodododo

Run away. Just run and dont look back
I can see the light it’s coming down
No way, no way, the light is coming down to save
The day is coming for a break
I’ve prayed for this very day

[Bridge]
Just run from the sounds of the blasting guns, run freely
We will soon be found from this broken light, I can’t see it, cant see it
Our lives spent in the dark, just free the broken hearts

[Hook]
Please find the light cause the sky has ceased to shine
(The bombs are falling, We the people live in constant terror)
The guns blast around, they’re all shot out
(Giving us the hard knock life, blowing it away)
It seems as if the time is here for us to rise up
(We cant seem to find the right answer)
When will the time come for us to learn
(Na na na...)

Cutting the oxygen
The girls in boys are sufferin’
See the pain see the pain fusing

[Verse 2]

Take me home, let me go
It’s terrifiying, please just leave us alone
Black, white, green, gold
We need more thinking in this world, come on
The world should find it’s common ground.. Authority has lost it’s mind
The world should find it’s common ground, we’re human
Our lives spent in the dark, just free the broken hearts

[Hook]
Please find the light cause the sky has ceased to shine
(The bombs are falling, We the people live in constant terror)
The guns blast around, they’re all shot out
(Giving us the hard knock life, blowing it away)
It seems as if the time is here for us to rise up
(We cant seem to find the right answer)
When will the time come for us to learn
(Na na na...)

[Cybernetic Chantdown]
9/11, Poverty Score
Holocaust, Gulf war
World War 3, Firestorm
James Bond, ‘64
Black White, Green Gold
Isrealite, Gianmo
Big tanks, large stare
Broken Heart, Cold stare
World news, Getaway
Thriller Night, MJ
Nearsight, Korean War
Selfishness, Cold war
D-Day, ‘44
Dont forget about the open sores
Torn hip, broken leg
Fix that, no way
Loud scream, people fall
Seems like they dont care at all
Forward march, lets go
Women’s march, Donald Trump
Take U There, Now you see
What the world, really means
Want more, Heres more
Brexit down, fight more
Sudans sore, People poor
Your life gone cause the big man was bold
Hong Kong, outrage
Transgender, “Shes fake”
Warsaw, Berlin Wall
Gulag?, Trust fall
Semyon Polk, cant believe
Run up north, so be free
Can’t you see, whats next
Bang you’re out, Not him
Cyanide, hitlers fear
Hospital, Warzone
Build a wall, stop slow
Cold front, handfull
Nightfire, No sleep
Cant even, Hardly Breathe

[Closing Lullaby]

Hold on tight, child it wont be long
Just fight your fears and go press on
Please please just end the battle
Please end the fire cease the broken hearts
End the battle, lets go move on
Please, please just end the battle
It seems like the sun no longer shines
The world is shattered like a broken vase
It seems I cant wake up
Hold on tight, child it wont be long
Just fight your fears and go press on
Please come and change his life,
Na na na na na na na na na na na

by **Elejamie** » Tue Jun 11, 2019 6:49 pm

16- Elejamie

Artist Unknown - Never Going To Sleep Again

Samir “Sammy” Ghatak, seen here during a rare live performance as Artist Unknown, performing the song live during a brief pre-contest concert.

Samir Ghatak, or Sammy as he is known to friends and family, was born in Rosetta, on the island of the same name, on 7th June, 1988. The youngest triplet born to first generation immigrants, who didn't speak English when they first arrived (which Samir explains why his English is a bit mangled due to him not speaking it at home while he was growing up), he had no real aspirations of going into music to begin with. Instead, he wanted to go into rugby and, indeed, played as a centre (as well as an occasional winger) for Rosetta High School. Nicknamed the Horsefly for his incredible speed, he was a key player for his high school team winning the All-Island Rugby Championship in 2005 and 2006. He’d go on to play for the Rosetta University team, helping them win the Albertson Cup, given to the winners of the University Rugby playoffs, in 2007. Sadly, he would never get the chance to play for the Elejamian Universities XV as a knee injury during a pre-tour warmup match would effectively end his playing career for good (but would also start the career of his replacement Diego Peguero, who’d later be a part of the winning team at the 27th Rugby World Cup as a winger).

While recuperating from the injury, he got into DJing as he not only had a long interest in dance music, namely house and trance, but also because he figured it would be the best way to keep his hands occupied. Going by DJ Sammy Attack, a pun on his name, he originally started off small and made mixes in his dorm room (which he’d distribute to friends and friends of friends) before he soon graduated to live performances at small get togethers and university parties. He would then move onto the clubs, which eventually lead to his (in)famous All-Nighter Party set where he DJed for eight straight hours (11pm-7am) at the Planetarium Nightclub in his hometown before the club management had to close the place and kick everyone just so they could all shut the place up for the night, go home and get some rest. Although he started off playing other peoples’ songs, he gradually started to make his original pieces and slip them into sets, eventually getting to the point where he very rarely plays songs he had no hand in creating (either by making them originally or remixing them). He’d release his first album, Swag@ (pronounced “swag-at”), in 2010 before going on tour the following year.

Following the release of his second album The Gates of Heaven are Open for You in 2013, he started to suffer from burnout, not only wanting to try something new but also play music in a different genre. Following the end of the world tour to support the album, he created the side project Artist Unknown. Learning how to sing, as well as play multiple instruments, he would release his first single Quiet Days a couple of years after starting the group, although he didn’t credit himself for making it due to the fact that he didn’t want to confuse listeners, as the indietronica stylings to AU were vastly different compared to his EDM work as DJ Sammy Attack. Two more singles (It’s So Cold Out and Shameless) as well as a self-titled EP later, he decided to release his first album, the creatively-titled Unknown Artist. However, out of fears that his record company would want him to go on tour, coupled with the possibility that people would take credit for it, he publicly confirmed that Artist Unknown was indeed his creation. A mini tour would commence before he would resume his DJing career, essentially putting Artist Unknown on an indefinite hiatus.

While the performance will be mostly him, his older brother (and middle triplet) Rajiv, who’s a bricklayer by day but is also a member of a cover band in his spare time, will appear near the end to provide backing vocals. This is more due to technical limitations, due to him providing all of the vocals on the studio version but, other than sampling himself for a couple of bits of the song, he’d rather have all of the vocals live for the WV performance. His older sister (and eldest triplet) Mallika has also made the trek but, unlike her brothers, she will not be performing on stage but rather she’ll be cheering them on from the green room.

The last time Elejamie were at the competition, back at the 50th edition of the contest, Monochrome Haze earned them a respectable 12th place finish (which would’ve been 13th had Todlichebujoku not been disqualified) and 60 points with the song Come On, It’s Me. Although there were talks that this would lead to a definite return for the nation, nothing came out of it and the country essentially stopped performing at the contest; although ETV carried on airing it with Cerin Erali and Flynn Taggart providing English-language commentary, the contest itself was moved over to ETV3 in a fairly controversial move. However, despite this, there were some fans that tuned into the contest and even visited the host nations to watch it on person; there were always rumours that Elejamie would make a proper return but nothing came out of it.

Until the 73rd contest, which was surprisingly aired on ETV1, which fuelled even more rumours that the nation would make a return. Those rumours were finally confirmed when, shortly after the contest, it was officially announced that Elejamie would take part at the 74th WVSC. Though they didn’t announce an artist, they later revealed that they asked Samir Ghatak, aka “DJ Sammy Attack”, if he could resurrect his dormant Artist Unknown project for the competition; Ghatak would later confirm in a blog post that, indeed, he was going to bring it back for the competition, with a possible second album or any other future work depending on how well the song does during the contest.

In a rare interview given before the contest, Ghatak gave his thoughts on the song, as well as explained what it was about: “Unlike most of my non-instrumentals, this isn’t a song about me. This was inspired by a close friend of mine who was going through a turbulent divorce. I don’t know the exact details since I’m friends with his wife at the same time, my girlfriend being even more of a friend than I am, so I didn’t know the big picture and I didn’t want to come up with something that seemed like I was picking a side. So I decided to put pen to paper and write essentially something based on that, which I did in about 5-10 minutes, which along with my not super good English might explain some of the lyrics. The tune itself was something I was making while experimenting and I liked the sound of it. And I’m not going to go into any exact detail with the divorce, it’s not my area and I don’t really care about anyone’s dirty laundry.”

In the beginning, the stage was bathed in absolute darkness, with the only signs of light coming from the cheering audience, whether it be phones, torches or anything else that would produce light. A couple of seconds later, the song began with the stage still bathed in darkness. However, once the vocalisations kicked in, the backdrops instead showed something. Against a dark blue background not only was there a silhouette of the man himself performing them but also silhouettes of the sampler (as well as the attached microphone) he was performing them into. A short while later, as the drums themselves began to kick in, the lights immediately turned on to show a completely empty stage. Fortunately it wasn’t empty for long as Samir walked out on stage to rapturous applause.

The man himself was wearing a plain black cardigan, which he had unbuttoned to reveal a blue home jersey for the Rosetta Sparrows rugby [union] team, his local and favourite side. Along with that, he was wearing a pair of black trousers and a pair of black dress shoes. In his left hand, he is holding a wireless microphone whereas in the other he is holding a single white pillow and a white blanket, which he had neatly rolled up for easier transportation. After waving to the crowd with the hand holding the microphone, he started to sing into it:

Ah….

Once he finished with that, he tossed the pillow and blanket onto the ground. While they were in a small insignificant pile, he knelt beside them and, with his free hand, put the pillow in the middle of the stage and the quilt somewhat messily below it. All of this while he was singing the first verse.

I’m lying here on my own
Waiting right by the phone
Stayed up all night
Waiting for you
I am the one to blame
And nothing feels the same
Insomnia plagues my guilty

Having finished with what he was doing, which wasn’t easy due to him having to do it one-handed but he still managed to do it due to him practicing it numerous times, he then stood back up and walked to the edge of the catwalk, now singing the pre-chorus bit. Although he reached the end before he finished the verse, he still stood there while he kept singing.

Mind
I can’t go on
Can’t go on, can’t go on, cannot go on
It was my fault
I apologise
I apologise, I apologise, I apologise

Once he reached the end of the catwalk, he stuck his free hand out and leaned back a little, presumably for dramatic effect. All while the camera span around him.

Ah….
Never going to sleep again
Ah…
Never going to sleep again

Once he was finished with the verse, he immediately headed back to the main stage, singing the next verse as he walked.

Playing back in my mind
Times when I was unkind
Using words that I’d soon regret
Saw you walk out the door
Cried for an hour or more
And I welcomed my fate

When it came to the pre-chorus, he threw the microphone from one hand to the other. A move he got right on the first try, considering he didn’t really do it during rehearsals and it was more of a spur of the moment thing. Completely nonplussed about it, he went on to sing the next verse as if nothing happened.

The consequences?
An empty bed
And a lonely person
And I feel ashamed
I need you here
I’m reaching, calling out

After saying that last word with a fair bit of emphasis, he bent back a bit and stuck an arm out, all while the camera went to an orbital shot of him singing the chorus. Halfway through it, it went to another camera, one closer to the stage, which showed him walking over to the blanket and pillows as he kept singing.

“Ah…
Never going to sleep again
Ah…
Never going to sleep again”

After finishing the chorus, the backdrop showed him speaking into the sampler again. However, it was footage of him repeating the “sleep again” bit from the chorus, although each of the screens behind him slowly went out of sync with each other; an intentional choice, as it represented how it layered over each other.

In the meanwhile, Samir kneeled down on the stage next to the blankets and got underneath them, as if he was getting ready to fall asleep. He then placed the microphone right above the pillow (literally, right above the pillow itself as opposed to on top of it) and then looked up at it, singing “Ah…” before he started to toss and turn underneath the blanket, in time with the music, as if he was literally having difficulty getting to sleep. After doing that about four times, he shouted “Yeah!” into the microphone and quickly got up, not only throwing the blanket away from him but also grabbing the mic and running to the end of the catwalk. Although he did stumble slightly due to him not looking where slipping on the blankets, he quickly regained his balance without tripping over.

It was also at this point that his older brother Rajiv appeared on stage. Dressed in an all white suit, he wasn’t exactly visible on the stage unless you caught him out of the corner of your eye, something that turned out to be intentional as he didn’t really want a lot of attention anyway. He essentially served as a backing vocalist for his younger brother, standing at the back and singing the bits in brackets while Samir sang the rest of it.

Ah…
Never going to sleep again
Never going to sleep again
Never going to sleep again
I didn’t mean to start a fight (Never going to sleep again)
Never going to sleep again
And now I want to put things right (Never going to sleep again)
Never going to sleep again
(Ah…)
Never going to sleep again

Unlike the studio version of the song, which would fade out towards the end, once Samir finished singing the last song, the backing track played for a couple of seconds longer before repeating the beginning, sans the vocalisations at the beginning. After the electronic bass drums, as well as the lights at the foot of the stage flashing in time to said drums, the song came to a finish.

Just over a second after it finished, the crowd started to applause as Samir was joined by his brother Rajiv. Together, the two of them bowed to the audience before Samir spoke into the microphone. “Thank you, Angradka! Gracias, fenci, dyaka, spasibo! Have a great evening!” And with that, as the next act got ready to perform their song and the show switched over to the appropriate postcard, Rajiv carried the blanket backstage whilst Samir did the same thing with the pillow and the microphone.

by **Titaniumland** » Tue Jun 11, 2019 7:45 pm

17 TITANIUMLAND
Bilal - "Wanted"
Tune: Mahmood - "Uramaki"
Music: Bilal Mateen & Sasha "SasHI" Hill / Lyrics: Bilal Mateen

Bilal Mateen is a rising star hailing from the capital city of Rowland. Coming from a middle class family in the area of Guara, his father is an accountant while his mother is a bank clerk. Bilal has wanted to be a singer since younger age but always doubting his ability. His dream is opposed by his father, as assuming being a singer is "not a promising job".

Growing up, Bilal had joined bands during high school. Not supported by his family, Bilal quit the band and focused on his academic. After graduating high school, he studied Musicology at University of Henium, requiring him to leave his hometown. Graduating with a cum laude degree, he was appointed as assistant lecturer while trying to live his long dream, which was making music. Meeting people from music industry encouraged Bilal to make music. He had written tracks to astounding names in the industry including Greta Pehrsson and Alicia Sumner. Finishing his duty as assistant lecturer, Bilal went back to his house in Rowland. Knowing his name being famous as a songwriter, his relationship with parents had got worse. The circumstance led Bilal to deal with mental health issues, checking in with psychiatrist constantly.

Being closeted from the community, Bilal had struggled with self-acceptance issues. After deciding to come out to his family, the response was trainwreck. Bilal was kicked out the house and worsened his mental health. Bilal moved to Henium and reunited with college friends whom he was making music with. One of his friends suggested to pour his emotions into music, leading Bilal to start producing again before decided to release it in a form of extended play titled Borderline early 2018. The extended play was met with positive feedback from Titan music industry and general people, deeming it as "relatable" and helping people with similar issues to keep going.

Benjamin Fargo, the head of WorldVision Department at the Titaniumland National Television revealed the reason to pick Bilal as the representation of Titan in this edition. "We first met him in TNT's music show Unplugged, where he told us a very beautiful message that he wanted to help people who struggled with similar issues so they didn't feel alone to go through it. And we think that is very important and we think such message is too important for Titans to keep and we see WorldVision as an opportunity for him to spread the positive message and also to help people through his music. We also supported his idea to tour the world to even spread the message in a more intimate way and also as a safe place for LGBTQ+ people and people who struggle with mental health issues to celebrate music and positivity in such a negative environment we live in."

Bilal's performance will be directed by award-winning art director Aaliyah Khalif as well as himself. The performance will feature a 1966 Hound Porshline sedan which his family has owned when he was a child.

PERSONNEL
Anne Desmond (25, represented Titans at WSC47) - backing vocalist, dancer
Karim Hassan (47)- backing vocalist, dancer
Solange Ahmad (45) - backing vocalist, dancer
Omar Bahri (17) - backing vocalist, dancer
Yahya Mackie (26)- dancer

Bilal was wearing this shirt and black pants with black sneakers. Yahya was wearing white sleeveless shirt and white pants, with white sneakers and gold chains. The backing vocalists were wearing black T-shirt and black pants with black sneakers. Bilal's shirt was designed by himself with Ashton Frangipane of the most famous indie clothing line, Midnight Revenue. It represented the "many faces" Bilal had when he kept a secret about his sexuality and mental health issues of his family.

Born a sinner
Raised to be a saint
They'd never know
That I was dealing with pain
Afraid to seek help
"You have to pray more", she said

After the postcard ended, it was seen that Bilal was sitting on the car hoods, while the four backing vocalists were sitting inside the car (Karim on the driver seat, Solange beside him, Anne and Omar on the back) represented as his family. The camera shot full appearance of the car then slowly moved closer and zoomed in. Bilal was directly looking into the camera with a face filled with anger yet fear. The backing vocalists inside the car were looking at him in a judgmental look. Solange mouthed "You have to pray more" during the last line of the verse.

I struggled to be all they wanted
Ended up to be one they never plotted
Disown me for whoever I loved

As he finished singing the verse, he came down to the stage. As he did, the camera shot the atmosphere of the Cetovskiy Stadion. Then, it was seen Bilal sitting on the smaller stage while singing. The LED screen turned the stage black as the lights went out except to focus on him. His body headed straight to the camera before turning to the side then the camera faded out when he did. He then made body movements with his hands seeking for help.

Grateful that you took my throne
That I won't get through this alone
But that don't mean I don't have dark thoughts
Before I close my eyes every night
Although I got you in my bed tonight
I need you to help me fight
Reassure me and say you love me
So that I feel wanted
I feel wanted
I feel wanted
I feel wanted
Now I once feel wanted

Later Bilal stood up and the lights went on every step he walked. He walked to the main stage then going around the car. Whenever Bilal got close, the backing vocalists inside were staring at him and following every direction he went. Bilal arrived at the back of the car. He then squatted down in the center of the car then sat down. When it came to "Reassure me and say you love me", the camera shot a mid frame, where we could only see his face. Every "I feel wanted" line, the camera shot him from different directions then he looked in the camera every shot, first from his left side then the front then the right side then from above.

Stay with me when I'm unstable
Ain't living this without obstacle
Be the light in my dark tunnel
Are you ready to buckle?
Are you ready to buckle?

Bilal stood up and tried to approach his "family" in the car. Then, the camera shot from inside the car when Bilal touched the window. Bilal went to see the front of the car then Yahya came out on stage. Yahya approached him, while taking his hand and singing around the stage. While his "family" inside the car went crazy when they saw Bilal and Yahya together. They jumped out in the car but struggled to unbuckle the seat belt and go out of the car.

Grateful that you took my throne
That I won't get through this alone
But that don't mean I don't have dark thoughts
Before I close my eyes every night
Although I got you in my bed tonight
I need you to help me fight
Reassure me and say you love me
So that I feel wanted
I feel wanted
I feel wanted
I feel wanted
Now I once feel wanted

Bilal wandered around the stage while Yahya was following him while making moves. The "family" went crazy and were trying so hard to get out of the car but they were still struggling. The camera showed Bilal from many sides, the camera kept on switching and focused in on Bilal. Every "I feel wanted" line, The camera then showed the arena atmosphere before getting to the bridge.

How could you put hatred above your son's happiness?
How could you put hatred above who your son really is?
How could you put hatred above your son's happiness?
How could you put hatred above who your son really is?

The camera was back shooting Bilal. He was now climbing over the car hoods. It showed Yahya dancing around the stage. The first two lines Bilal sang softly while looking at the family through the front car glass while the camera shot from above the car. The last two lines, Bilal sang passionately while screaming and shouting while pointing to the father (Karim) and the mother (Solange). The camera shot from inside the car, highlighting his angry face. Bilal was climbing onto the top of the car.

Grateful that you took my throne
That I won't get through this alone
But that don't mean I don't have dark thoughts
Before I close my eyes every night
Although I got you in my bed tonight
I need you to help me fight
Reassure me and say you love me
So that I feel wanted
I feel wanted
I feel wanted
I feel wanted
Let me feel wanted for once

Bilal hit the high note while the camera turned into wide shot, while pyrotechnics came out on stage and Bilal standing on top of the car. Yahya was still dancing on the stage. Then, the camera moved shooting the condition inside the car, while the backing vocalists crawled to the window and went insane from left side of the car (shooting Karim and Anne) then the right side of the car (shooting Omar and Solange). The camera shot Bilal into full body shot. When it came to the line of "I feel wanted", the camera switched on the face of the family mouthing "You feel wanted". The first "I feel wanted" shot Karim, then Solange, Anne and last Omar. The last shot is a medium-length shot of Bilal while singing the last line, "Let me feel wanted for once". Then, the camera switched to wide shot. Bilal shouted "Thank you world!" Then, the family went out of the car and Bilal jumped from the top of the car. Then, Yahya and the family hugged Bilal. After that, the camera switched to the audience from Titaniumland.

by **Greater Korean Juche Republic** » Tue Jun 11, 2019 10:23 pm

18

GREATER KOREAN JUCHE REPUBLIC

A TAKE ON THE POCHONBO ELECTRONIC ENSEMBLE FAVORITE - Cheers For Your Infinitude!

PERFORMED BY

Lead Vocal 1: State-Merited Vocal Tenor, Joon Ok-Tong (M)
Lead Vocal 2: Supreme Leader of the Greater Korean Republic, Kim Seyong-Taek(F)
Backing Vocals: Korean People's Army State Merited Chorus
Backing Instrumentals: National Symphonic Orchrestra
Conducted By: Lee Sol-Eu (Vocals) (M), Byeong Han-Huk (Instrumentals) (M)

Kim Seyong-Taek in today's performance attire.

It was a hectic song change soon after the GKJR had signed up. However, Kim Seyong-Taek knew that a much more high-spirited song that everybody knew so well rehearsal could be managed in such a short time. The arrival at the venue was easy enough. After some security measures, and many nervous breaths, everyone was ready. After the performance before them, technicians quickly set up a riser system, and chairs, music stands in the pits around it. The chorus behind the two solo mics assembled on the risers, men and women in full Korean People's Army formals. The musicians in the band, surrounded by microphones, wore black suits and dresses. Pyrotechnics and the lighting teams quickly assembled.

A few breathy moments before the moment of truth arrived. First, a man walked out, Joon Ok-Tong, in a white suit and peaked cap. He was an aged, seasoned man with salt-and-pepper hair, brown, thick-framed glasses, and a few moles across his face. Secondly, the Korean section of the audience began clapping as their leader emerged. Kim Seyong-Taek took to the right of Joon, grasping her mic. She was in her performance outfit and makeup (picture above) and deep down, she felt young again, back in her vocal career.

Before the song started, she addressed the people.

"Thank you all for attending. I'd like to provide a little anecdote before we begin. Back home in Korea, I used to be a singer during the times of our Marshal Kim Jong-Il. Now that I lead the Motherland of Juche, those days have long passed. I hope you feel the unity and nostalgia that I do throughout not only this performance, but all the others as well. Thank you."

Enthusiastically, she pointed at the ensemble before her which began the tune immediately.

for convienience

Backing:

"Let's proudly embrace our homeland!
The land of General Kim Jong-Il's eternal love!
Holding up this land of Juche!
Cheers for your infinitude!"

The duet began with the second stanza. Immediately speaking, several things became apparent. Kim's voice was very well-refined, and she had so much so breath support that she looked like she could easily outsing the poor tenor beside her in terms of volume and sound quality. The mezzo-soprano and tenor had very competitive voice types, a struggle for dominance which pleased the ears of many. Kim's use of vibrato and Joon's near-perfect intonement made a great pairing. The first screen behind them showed the seashores of Wonsan, doves flying high above it. Yellow and blue lights brightly shone around the audience, a subtle yellow marking the stage lighting.

Leads:

"Liberated from dynasty, by our Kim Il-Sung!
Freeing the south, and reunifying!

Let's proudly embrace our homeland! (ah throughout this stanza)
The land of General Kim Jong-Il's eternal love!
Holding up this land of Juche!
Cheers for your infinitude!" (unison leads and backing)

The LED turned once more to the Pyongyang skyline at night, which looked especially luminous, featuring the operational Ryugong Hotel and Juche tower. Kim and Joon excitedly looked at each other, facial expressions bold and seemingly proud of what they were doing. They temporarily parted ways, walking down the stairs to get closer to the audience. The chorus and band kept the high spirits and the mood lighting turned amber and purple, bubbles beginning to emerge on-stage.

Backing (Females):
"An enriching culture and complete customs,
A strong Songun society built on my beautiful land!"

Backing (Males):

"Let's proudly embrace our homeland! (Backing Females: "Our homeland, ah-")
The land of General Kim Jong-Il's eternal love!

Everyone:
Holding up this land of Juche,
Cheers for your infinitude!"

INSTRUMENTAL

As the instrumental began, the lights turned into a theme of white and began flashing about, spinning and twirling on stage and on the audience. Red "lasers" moved up and down and around. Bubbles were exchanged for a light fog and a few of the pyrotechnics sent off, shooting up a massive burst of sparks and flame, which glittered on the way down to the stage where they were put out. A technician dressed as a soldier pranced out, holding a massive Party Flag. She expertly waved it around, making massive and impressive loops. She did jumps and twirls, her skirt fluttering. Kim and Joon extended their arms to her, as if glorifying her. She twirled off stage with the flag and the LED screen changing, momentarily featuring their first manned satellite mission cast in 2018, the rocket ascending as another burst of sparks as the thrusts began. Then began the next verse.

Everyone:
"Braving all sorts of fires and challenges!
Our nation has thoroughly defeated them!"

Leads:

"Let's proudly embrace our homeland!
The land of General Kim Jong-Il's eternal love! (Backing: Eternal Love!)
Holding up this land of Juche!
Cheers for your infinitude!" (unison)

Now came the most important climax of the song. The part that would absolutely draw mouths open. The chorus got miniature red ribbons to wave like flags. The LED screen displayed a picture of Kim Jong Il surrounded by flowers on a red background. The chorus formed two semicircles about a few feet apart, facing each other, extending an arm to him, glorifying him, the other arm waving the ribbons above their head. Kim and Joon returned to each other's sides, and everyone sang their lungs out, at their loudest volume they could ever put out of their bodies. The pyrotechnics shot a ripple of red flashes and sparks, and the lights began to strobe.

Multiple Parts:

(Men) "Ah.... our great leader!" (Females: "Ah...)
(Men) "Ah...." (Unison) "General Kim Jong Il is our life-"
(Kim: Ah....) "Holding up this land of Juche,"
(Everyone, but predominantly Kim:) "Cheers to your infinitude!"

As soon as it ended, the LED screen and lights turned off, only a spotlight on the two soloists. A massive boom is heard as numerous sparks and fires are shot out of the pyrotechnics, illumining the stage for a moment in deafening booms and screeches before it subsided and a mixture of fog and bubbles shot out. The lights came back on and despite the applause, the two of them bowed, and extended their hands to the orchestra, which bowed. They then extended their hands to the choir, which got back in line and bowed.

"Safe travels!" Kim waved over her microphone, re-adjusting her Party Lapel pin before the group walked off-stage, heaving breaths.

-END-

by **Izmedu** » Tue Jun 11, 2019 10:50 pm

19. IZMEDU
Leonarda Skoric - La kanaisa
Translation: Ashes
Tune: Loredana Berte - Cosa ti aspetti da me

“I am this close to hitting a new decade of my life, this close to being 70 years old... Yet still, the pain of losing her just burrows further deep into my heart, the more I realize my own mortality. I'm not supposed to be doing things like this and one could say I should've moved by now. I'm not sure even why I'm here, considering I was the last person to have been thought of as the suitable candidate by now... I'm old news, washed out, supposed to be gone now. Yet, somehow, I'm still here... Because this matters to me, because it matters to me that she won't be forgotten. I don't know if this will go somewhere the way the channel wants it, or if I'm just playing a fool's game. However, I have a job to do now... So here we are.” - Leonarda Skoric

She was the least expected winner of Izmepisma to anyone following Izmepisma or even the Izmeduan music industry at large.

Leonarda Skoric was everything associated with an entry that would be rendered divisive to what Izmeduans expected for the entry that marked Izmedu's 40th anniversary in the contest. She knew this going into Angradka and she knew that her shock win was going to receive extreme reactions from opposite ends of the spectrum. She was either destined to be forgotten at the bottom on the scoreboard (which, in Leonarda's darkest moments, she fully expected to be the first Izmeduan to descend the country into last place), or this was something that Izmeduans can be proud of regardless of the result. Either way, Leonarda knew that she wasn't the 'one' entry so to speak, that would've went onto the record books without a hitch. However, that wasn't to be, so she only only gripped a close friend's hand tight as the Greater Korean Juche Republic's entry played throughout the Četovskiy Stadion. Her time to perform was imminent. She had only one person in mind as she would go through the lyrics in her head and warmed up her vocals.

The reasons for Leonarda being such a controversial figure largely stems from her on and off again nature of her music career as well as the familial legacy that she bore going into the contest. Leonarda is the oldest child of the still-living Skoric family, a musical family that was akin to a 'dynasty' in the Izmeduan music industry. The Skorics were a musical family largely dominated by two figures, Leonarda herself, and her sister, Marija. Both together were at the forefront of the very earliest forms of post-revolution Izmeduan pop. They continued on the work established by their forebearers, with Marija Skoric primarily leading the way in helping establish not just the female-driven pop ballad form that is almost ubiquitous in the Izmeduan music industry now, but also establishing a space for Izmeduan language music to thrive beyond the traditional bond. For better or for worse, both Leonarda and Marija pioneered the intense emotional style of ballad that tends to find its home in Izmeduan World Hit Festival entries. Marija herself, especially, became one the post-revolution pioneer for VodiFest. She became such a prominent contender to the point where even an award is named after her honor.

Leonarda existed within the shadow of her sister, a role that she was too willing to play considering the struggles that both her and Marija faced while living their adolescent lives in the revolution. For as far as she knew, Leonarda and Marija both grew up as orphans, witnessing and seeing many of their immediate family either get drafted or killed in the razes and ravages that their hometown (Vodiznad) would often go through. This unstable background was what sparked them into going into music in the first place, finding only each other as a mutual relief. Leonarda, for most of her career, spent much of it performing mostly rock-oriented, 'quirkier' styles of music in comparison to the more emotional and ballad style of her sister, Marija. However, both often collaborated behind the scenes and consulted each other regularly. Leonarda's insistence on privacy meant that Marija's increased fame came almost as a relief. They had the grounds and the foundation for an easy existence and comfortable life in the Izmeduan music industry.

That is, until the sudden death of Marija Skoric herself. The death of such a beloved figure, only 10 years after the revolution, not only was a shock to the nation. It was also a loss that Leonarda herself could barely process and even acknowledge. Marija was her only immediate family following the the bloody revolution, the only real companion that she had in the music industry, and the only person to which she felt comfortable sharing not just her music, but also her vulnerabilities, insecurities, and fears with. The sudden passing of Marija caused Leonarda to isolate herself from not just the Izmeduan music industry, but from even people in general. The grief was too much for her to handle in such a short space of time. She couldn't bear the sudden increase in public attention, nor did she want or even have the strength to handle the endless inquiries about her sister. She knew that it was a bad move and look to appear so private when she was the only living source for so much of Marija Skoric's fans, yet... all she wanted to was keep her memory in peace, and be left alone.

The years following Marija's sudden death were tough. Leonarda, now on her own, with not much of a fanbase, or even a musical identity outside of being a contrast to her sister, was still struggling to come to terms with the grief she felt. The days of attempting to write songs, produce music, or come up with any sort of composition proved fruitless in the next few years. She felt that weight of loss bearing down on her without any sort of recourse and no way to release that grief. All she could do was just sit there and bide her time at the interim, feeling as if she was quite literally wasting her time. It was not until she re-established contact with a few people that Marija knew, mainly the management she trusted the most, was where Leonarda began to take the first steps of coming to real terms about her changed existence. There was more than just the grief of losing someone she knew.

There was a fear of standing on her own. A fear of putting herself out there again being derided as the lesser. A fear of not being able to make it without someone standing by her side.

Even despite the fact that she still carried her unique visual brand; electric blue hair and a booming vocal style with rasp and raw grit, she still felt a hopeless sense of anonymity that kept eating at her. She would occasionally release music, but the only thing she kept returning back to was... her sister. When she was finally able to write songs once more, Leonarda found that her grief was the first thing she kept expressing. In consultation with a few people that she trusted, Leonarda kept pushing on towards that kind of feeling. She kept writing down as many lyrics as she could until she felt satisfied that it was a completed product. That raw song ended up being the very basis of what she would win Izmepisma with, “La kanaisa.” A song that melded and acknowledged her past musicianship, while forging a new emotional direction and beginning.

It was never meant to be a concerted campaign to win Izmepisma. It was an emotional purge, a long-held release of everything she held in.

That was what she brought to Angradka. She didn't know if this marked a new beginning for her music or if this was a one-time deal. However, the feeling of having to let this out was stronger than ever. She took a deep breath, walking out onto the stage...

Stage lights billowed down to the center of the Četovskiy Stadion at the advent of the Izmeduan entry. Leonarda was standing near the front of the stage, at the border of the stairs that led to the connected satellite stage that jutted out to the edition. She took a deep breath as she felt the cheer of the Polkopian crowd, feeling her vision blur slightly even within the darkness. She closed her eyes as she waited for her cue, and as soon as she heard the music... Leonarda could feel herself relax. Just in time, the music would began to play on the broadcast and the entry would now begin in earnest. It began with a guitar-driven rhythm, a solemn melody playing across the melody. The camera would engage in wide shots from the audience and from the above, allowing viewers at home to see the sparse white lights flashing about. Before long, the viewers at home were treated to a view of Leonarda looking down with her eyes closed, looking as if in prayer as there was a haunting ray of white light emanating from behind her. At the end of the intro, the camera would approach her and her eyes would happen with precise timing. She would begin to sing...

Izgledam ove sine
Zaboravljeno sićanje
To sam postinuo I sam oštetio
Udara maje cre
Mui je još uvik racuadam
El dan murt došao za vas
Ah, još uvik ardi
Još uvik ardi, sviža rana

She caught the camera in its gaze with her look, locking it in place as she quickly sang the first verse. Her voice was husky, laced with pain, a burgeoning frief, but remaining low. The instrumentation remained soft as she sang these lines almost rapidly but deliberately, occasionally emphasizing a syllable or two especially around the middle of the verse. She would reach with one arm at the fourth line of the verse, with eagle-eyed viewers home noting that free arm and even Leonarda herself were trembling slightly. That same camera view kept lingering on her throughout the verse, almost unnaturally and uncomfortably so. At the latter half of the verse, her face would become more pained, her eyes gazing even more intensely at the camera. She would then slowly put her free hand on her chest, timed specifically for the quick ending of the verse.

Žalost je infiarno
Žalost je infiarno, da
To je damna na maj života
Maja slomljena jamna
Gdi si jama sestra?
Gdi si jama sestra? Gdi?
Bez tebe sam sanglo-u svitu
Maja slomjena jamna

For the hook, the instrumentation would begin just a little bit more. Now, a drum beat was added to the proceedings as Leonarda would slow down her delivery. Instead of rushing through the words in an almost quick succession, each syllable sounded almost deliberate and warm. Her voice would turn towards that more softer yet richer tone, yet still carried with it that pain. She would occasionally produce that deliberate vocal technique of letting her voice crack deliberately, letting it sound reedy with emotion (especially done to effect for that sixth line, where she would sing Gde si jama sestra). The camera kept lingering at her with that same view, a further undercurrent of grief becoming even more apparent on her expression. Her face would shake even more visibly as the camera kept closing in Her voice hastened for the final two lines. However, as soon as that final line hit, the Polkopian arena would go dark for just one second, just in time for the chorus...

Destrum la kanaisa
Destrum la kanaisa
Nositi tvaju sićanju
Izvan ruku murti
Ju ću živiti
Neću te zaboraviti
Destrum la kanaisa
Destrum la kanaisa
Nositi tvaju sićanju

For the chorus, Leonarda gave it her all in delivering those first two lines (serving as the very leitmotif of the song itself). She belted out this entire chorus, not for once refusing to relent or even temper her passion. Her face strained, her voice deliberately growled and cracked, and she held her arms out to steady her entire body as she gave it everything she could. Even if may have been only the first chorus, she wanted to make sure that she was leaving everything on the table and on the stage. The camera would switch between various views, emphasizing both close and wide shots to capture both Leonarda's expressions and the stage itself. The instrumentation itself soared and increased in volume and production. There was a newfound urgency to the production, guitar plucks driven by mid-tempo drums and a heightened sound. The stage was lit up in a brilliant white, white outlines coating the oultine of the 'shell' that would serve as the framework of the stage. At opportune moments, Leonarda can be seen cupping her hand into a fist to steady herself as she let her voice soar to its highest and most powerful notes. The chorus was urgent, almost quick, and just as soon as it came, the song had to soften... As soon as Leonarda sang the last line of this chorus, she can be seen taking a visible step back, with the lights and the instrumentation quickly softening into a near-quiet. The transition to the second verse was quick, with spotlights quickly shining on Leonarda once more.

Izgledam ove sine
I tvaja duha ukleta
Zaroblin je poli
Zaroblin je noti
Cona-nema kraja
Nosim ovaga piarda
Conom tugom, conom tadom
Conom strahom i pesum, ju stojim

That lower, more husky tone returned once more for this verse. The cameras would focus back on her, but this time, there were more changing and dynamic views that reflected the very nature of the lyrics. She quickly delivered these lines, but also slowed on a few others. However, Leonarda would not relent once more for a single second, bringing the same kind of energy that she did for the chorus but with a more subdued tint to it. Her expressions were now far more evident in this chorus, with the lyrical progression being far more open and these lyrics driving even closer to her emotions than the introductory verse. At a few points, one can even see the emotions getting to her for a few opportune lines, with the camera well-timed to zoom out of the stage to emphasize her relative isolation and the nigh-vast scale of the Polkopian stage. She ended this verse with the camera close to her, her eyes squinted and closed, her face looking down, and a hand on her chest. The way she sang now blurred the lines between emotion and a real outpouring of grief, with her gaze and eyes now no longer playing to an audience.

Žalost je infiarno
Žalost je infiarno, da
To je damna na maj života
Maja slomljena jamna
Gdi si jama sestra?
Gdi si jama sestra? Gdi?
Bez tebe sam sanglo-u svitu
Maja slomjena jamna

The way she delivered this hook was much more forceful and laden with emotion than the first. With the increased and more urgent productions, the lights in the arena would flash just a bit more intensely. This increased lighting provided an even more luminiscent, brighter, yet more mysterious framing on the action, with Leonarda's face occasionally being brightened and darkened all at once. Her voice, at some parts, was nearly overwhelmed with that emotion, with Leonarda having to pinch her vocals at some parts where she knew her voice would become deliberately breathless. She could now be seen making subtly more aggressive motions, constantly balling her hands into a fist, gazing into the camera with a much more harder, more grief-stricken expression than before. The lighting would pause its flashing right at the end of this hook, pausing as the instrumentation would pause at the last line, marking a very quick transition to the chorus.

Destrum la kanaisa
Destrum la kanaisa
Nositi tvaju sićanju
Izvan ruku murti
Ju ću živiti
Neću te zaboraviti
Destrum la kanaisa
Destrum la kanaisa
Nositi tvaju sićanju

Leonarda gave it her all once more for this chorus, if not even moreso. The line between performance and the outpouring of grief she kept hidden and locked away from public view had truly blurred here. That emotion she felt when writing this song was now truly resonant and apparent from every movement she made, every vocal tic she was deploying, and for each resonance of power she let out. Leonarda knew she might have been stretching her vocals to the very extent of where they can go, and she didn't know if it was going to sound pretty or even okay. However, she kept at it, holding her chest, letting that emotion be infused in each and every vocal as much as possible. The lights around her kept flashing a brilliant white, the camera would make sure that focus would be equally on her and the audience at large. Each angle would capture the emotion, her yearning for the very person she wrote this song to, and but not even just the grief... There was a strength in her pain. She looked up when she would sing this chorus, making sure to arc every movement upwards, and making the words stand as a promise, a vow, and a chant for both strength and pain. This was a promise she would not break, these words personified as she kept pouring her heart out, holding her arms out once more. As soon as the chorus ended, the lights around the arena would soften once more, the camera views fading.

Proći ću-el infiarno za tebe
Držat ću te životu
Držat ću te životu, da sestra
Proći ću-el infiarno za tebe
Držat ću te životu
Držat ću te životu

The camera view would fade into this hook with a shot of Leonarda walking towards the satellite stage. She would carefully step onto the stairs, taking her time with each step. However, these movements did not compromise or even pause the vocals. The paring down of the instrumentation made her vocals even more naked, a daring move as she would once more use this chorus to keep belting out the vocals. Her vocals refused to gentle or even lower down, staying at an intensity similar to the chorus. At some parts, one could even see her face straining from the pressure she was putting on herself, befitting the intense emotions she wanted to put out. At the last vestiges of the hook, she was now situated at the statellite stage. For that final line... she belted it out as long and loud as she could, holding her chest as the cameras would focus on that note and that delivery before fading once more...

Destrum la kanaisa
Destrum la kanaisa
Nositi tvaju sićanju
Izvan ruku murti
Ju ću živiti
Neću te zaboraviti
Destrum la kanaisa
Destrum la kanaisa
Nositi tvaju sićanju
Destrum la kanaisa

For the final chorus of the song, the camera would return back to see the arena lit up in a brilliant array of white lights. Close and wide views were once more the focus as Leonarda gave it her all in belting out each and every line of this. There was now a determination, a fire, blazing in her eyes versus the grief-stricken women that she was. She may have lost someone close to her, but now... she makes a stand to fulfill the promises she is making. The lights grow even brighter, her delivery grows even more passionate, and her vocals were going to go as far as they were going to go tonight. Her movements were forceful, her face laser focused on finding that camera and finding the audience, and her voice soared to its greatest extent. She kept pulling this kind of intensity throughout the chorus, the camera sweeping around her for its most dramatic shots as the song maintained its intensity. It was only at the end of the chorus where the song would now soften to its eventual conclusion. The entry itself would end the way it began.

It would end with that same camera view of Leonarda at the beginning, mid-way from the audience, and slowly zooming in. Her eyes were now open instead of closed, the light behind her now a much more brighter ray. Her demeanor still held an expression of loss, but she was beginning to heal, she was beginning to take the first step towards strength. The song would the end and the lights would darken...

Leonarda held a hand ot her mouth as the emotions overtook her for that moment. She couldn't believe what had just transpired, or processed that she had just performed on the WorldVision stage. A tear streamed from her eye as she tried her best to say her thank yous to the Polkopian the audience. There was a breathless one, understandable considering the strain she put on her voice just earlier and the way she was now choking up. It wasn't long til she had to be guided back on stage to prepare for the Besen's entry.

I did this for you, sis... Maybe we'll see each other again...

by **Besen** » Wed Jun 12, 2019 1:38 am

20 | Besen
La Force Femme | "The Strong Woman"
The Divaz - La voix d'Aretha
Music & Lyrics - Annalisa Maziana, Lavina Maziana, Amie Maziana

Annalisa / Amie / Lavina

Annalisa (19), Lavina (25) and Amie (27) are all sisters - sharing an unbreakable bond of love and ultimately respect. They cite their biggest inspirations as the great soul legends of the past, like Aretha Franklin or Marvin Gaye. This is apparent in their musical style and always has been since they were very young. Growing up in the capital Lipa, it was easy for them to gain a sense of the culture they were surrounded by and they quickly picked up this influence. Their upbringing was plagued with the tough separation of their parents before the eldest Amie born, which all of the girls say effected them deeply and still brings them trauma to this day. A lot of their life they keep quite secret however, and the information out there is from their rare interviews with most of the same media.

Lavina is the only sister known to have a solo career, with the smash hit from 2000, "Let's Groove", which has sold five million in Besen alone, with international figures being varied. She wasn't able to replicate the massive success of that song, with her follow up, "Blame Me", limping in at #19 on the singles charts. Her album did not fare any better, only selling 15,000 in its first week of sales. It is clear that she did not really worry about this fact, and kept making the music that she wanted to make up until 2005, where she did not return to music as a solo artist.

La Force Femme began in 2012 as almost a tribute to the soul genre and the many legendary girl groups that were huge in the 60's. Annalisa and Amie had not sing publicly up until the formation of the group. Their intention wasn't to release anything, but they did manage to gain a small amount of followers, as they used the YouTube platform to share covers of the songs that they loved as kids. In 2016, they made an appearance on X Factor Besein, where they did not make it to the live show stage - but still multiplied their name recognition.

As for "The Strong Woman", all three girls have a hand in producing and writing the song, with the only intention to get to Worldvision. Cana dor Besein was the perfect opportunity is seemed and with the apparent weakness within the other acts, the girls sneaked to the top, and won the public vote on the way. They state their main ambition is to "awaken the people watching at home to the roots of soul music - for which we adore so deeply".

The song begins with light instrumentation, followed by quick close up views of each woman's face. The back is all white, not yet revealing much of the scene. The air is apparent in it's mistiness, which combines with the sharp blankness of the lighting to create a theatre-esque vibe. Beginning from the far left, where Lavina is standing, each of them click in synchrony, on time with the beat of the song. As the first line is sang, the audience sees Lavina in a flowy pink gown, which forms a sequinned floral design at the bottom. Then as the camera pans out, the three are seen on a triangular platform, with stairs leading from each of their positions.

I believe I am the one
To turn heads, they all look now
I don’t care for little boys
I need a man

Annalisa wears something similar to Lavina's outfit, except her gown is much more light, and looks almost less dazzling - but still glamorous when it glimmers against the blinding white. Although she is a small woman, she commands the stage with an aggressive delivery of her verse. The camera stays fixed in a position that showcases her entire body and all of her tiny actions that fill the space.

She carries on to the next line, expanding the horizons of the song - as with the change of lighting, which shifts into a warm pink. The whiteness doesn't completely fade away however, and the spotlight is still evident as a part of the scene. All three woman step from their microphone stands to the left of them.

Where have the good boys all gone?
They have no idea why they're wrong
It is so important that they are here

With my heart
I spin you into a whole new world
(A whole new world)

The harmonies on the chorus sound glorious and the power of their voices are a group feel like a choir, as each of them carry out their roles well, using the heaviness and the lightness of their voices to the advantage of the arrangement. Across the stage flashes of light appear every few seconds to the rhythm of the beat. As well as this the women extend their clicking movements into choreographed arm movements, which is also synchronised between the three of them. In the final line, the power of their voices is particularly raised.

Oh oh
You can feel my spirit
Oh oh
I am a goddess
Oh oh
Now you feel my spirit
I am the strong woman
Oh oh
You can feel my spirit
Oh oh
I am a goddess
Oh oh
Now you feel my spirit
I am the strong woman

Lavina returns for her second verse, leaving the stand, and beginning to move down the staircase that leads to the main stage. The overall mood of the lights remain the same throughout this, in that same warm pink mixed with the white fragmentation in parts. In the corner of the camera's view, the audience is seen dancing and waving their flags, followed up by a far away shot that includes many Besenian flags in particular.

I have the power, I am that woman
I am everything you wish for
In the night you come to me
For a little inspiration

The last of the three voices to be individually studied, Amie's is rough and brash, yet very soulful. Her delivery is on point, sharply hitting every note. She follows the direction of Lavina and continues the pattern in leaving the stand and walking down next to her. The camera spins to show the two of them, as they exchange smiles.

What it means for a diva
To be with her man, it’s no wonder
It means that everytime I go
You need my love

The camera stalls as it passes Lavina, and she continues her solo. Her use of force allows her to project her high note well, which is followed up by the crowd evidently cheering for her. As this is happening, Annalisa is the final of the three to cross down into the formation at the bottom of the platform. They emulate their previous positions, but Lavina takes the middle in this part.

The flashing continues in the second chorus, evolving into quicker, more bouncy correlation between the pieces that make up the stage design. Amie, Lavina and Annalisa start to feel much more connected, and like an old girl group, as they interact and sing to each other much more. The bounce of the song ignites the arena with people feeling the beat.

With my heart
I spin you into a whole new world, hey!

Oh oh
You can feel my spirit
Oh oh
I am a goddess
Oh oh
Now you feel my spirit
I am the strong woman
Oh oh
You can feel my spirit
Oh oh
I am a goddess
Oh oh
Now you feel my spirit
I am the strong woman

In a final showcase of their vocal ability, each of them sing the hook, "I am the strong woman!", extending and projecting to the fullest extent that they can. Lavina in particular shines through as her massive voice explodes. At the end of the bridge, a harmony occurs as the largest and most excellent yet.

Like a classic soul song, each element concludes in unison to create an effective climax of the performance. From the lighting to the tightness of the camerawork, the ending is short but sweet, and the last view is of the audience - to reveal their joyful faces.

I am the strong woman!
I am the strong woman!
I am the strong woman!
I am the strong woman! (Yeahhh!)

Oh oh
You can feel my spirit
Oh oh
I am a goddess
Oh oh
Now you feel my spirit
I am the strong woman!

No words leave the women, but Lavina breaks down into emotion, as the other girls crowd round her and they shuffle off the stage for the next performance.

by **Antahbrantahstan** » Wed Jun 12, 2019 3:35 am

21. ANTAHBRANTAHSTAN

Eliana Karim-Damn (Beauty Is A Myth)

Tune: Estelle-Conqueror

With Rectoverso's 13th place finish, RR decided to scrap MGP Anta entirely (however, as a yearly tradition, it continues to be held), and switch back to internally selecting their artists, in order to accomplish this, RR decided to form a 10 member selection team, consisting entirely of past Anturian WorldVision representatives, namely FOUR, Karolina Rabbani, Claudia/Jasmine, Tomas Darwis, Stafford Decody, and Yuliana Vergina Citra, who, as the sole Anturian winner (for now), acts as the jury president. Yuliana, wanting to do some mix-up in the selection process, decided to look for the artist first, with the song to be selected later, at first, they had some problems in selecting the artist, as most famous artists in Antahbrantahstan are either having their schedules packed up, or simply declined the offer, to various reasons. With the committee in despair, FOUR, having a lightbulb moment, recommended their manager, and also the famous composer, singer-songwriter, and producer Eliana Karim, to be the Anturian representative, at first, the committee hesitated, but after thorough deliberation, the committee then contacted Eliana, and she accepted the deal.

For the song, Eliana asked the committee to open the song submission, even though Eliana is an accomplished songwriter, as she also wants the public to take part, however, the public were too afraid to submit songs, as they feared that their songwriting skills are no match for Eliana's songwriting, which is known for its use of metaphors and grammatically informal language. When the submission deadline ends, RR only received 20 songs, yet Eliana diligently listened to all of them, at first, she was a bit disappointed, however, she later heard a demo simply titled "Damn" (which would later become this song) and instantly fell in love with it, especially about how the theme is relevant with what society is facing today. Eliana later asked the songwriter who also happens to be the demo singer, Misha Kulbin, to collaborate in perfecting the demo. Misha gladly accepts, and after six months of tuning, refining, re-arrangement, and some rehearsal, Eliana and Misha presented the song to the committee, whom she described as being "in another dimension" when hearing that. The committee, while loving the song, was a bit unsure as the song is Eliana's first ever English song, and also because of the presence of the word "damn" in it, however, the committee decided to go through and made the song the official Anturian entry to WorldVision 74.

When the instrumentals kick in, what the TV audience is seeing is just a plain grey colour, afterwards, the camera slowly pans downward to reveal a close-up, black and white shot of Eliana, adorned with a black coloured hijab with hat and black fabric roses, the LED screen behind her seems to show only a solid, grey colour, thanks to the black-and-white filter. While she is singing the pre-chorus, the camera would slowly zoom out, revealing that Eliana, aside from wearing the hat, is wearing a simple black dress (that looks grey thanks to the BnW filter), when she finished singing. the LED screen would immediately become dark, setting the mood for the next session of the song.

When everyone looks at their small screen
It frustrates me
Like a silent movie with no one watching it
When everyone else worships one God
The influencers
Offering their own cash
For more, more plastic waste
You don’t need it all
To prove your own value
Cause you’re more than that

Eliana then belts out her vocals, showcasing her range and her experiences as an artist. The audience could also feel her emotion and power while singing, complemented with the powerful, electric guitar based backing track. The camera would then pan from the left side of the audience before going back to normal, in the background, the LED screen is showing many vintage product advertisements, all of them being controversial beauty products, like skin whitening cream, weight gain and weight loss products.

Just learn how to love
And learn how to live
Without giving a damn
To the world around you
Your imperfections
Cherish it all
Forget what the world says
Say, “I don’t give a damn”
Ooh oh

Eliana's voice then softened, becoming sweeter and more mellow like honey, with the instrumental going back to its dreamy, piano-like tune that the audience have heard in the beginning, meanwhile, the TV audience sees that the black and white filter slowly disappeared.

The standards won't change anytime soon
But there's improvements every new moon
Don't forget there's a war out there
Between us and beauty
You might not fit all beauty standards
Or you might tick all of the boxes
But there is still one thing
You need to learn

With the black and white filter gone and Eliana now in full, living color. The full instrumentations then returned, signifying that Eliana is singing the chorus, with much passion & power like what she did in the first chorus. Creating beautiful harmonies alongside the powerful, electric guitar-driven music, as the music sets the mood for the audience, who can be seen waving their phones with the flashlight turned on through the TV audience, meanwhile, the vintage advertisements slowly disappeared from the LED screen, leaving just a plain grey background to accompany Eliana's powerful singing. After she finished singing, the stage darkened.

Just learn how to love
And learn how to live (Learn how to live)
Without giving a damn
To the world around you
Your imperfections
Cherish it all
Forget what the world says
Say, “I don’t give a damn”
Ooh oh (Ooh oh)

Say, "I don't give a damn"

A single spotlight then shines on Eliana, now singing with a microphone stand, her voice now soft, some of the audience can see that her eyes were on the verge of breaking into tears, though she continued to sing in her signature, somewhat whispering tone, with the camera keeping a close eye on her, she then belted the last verse, with compelling passion and strength that the audience haven't seen during the duration of this performance, as she sang, suddenly, the words "You're more than just skin" was "written" on the screen.

You don’t need it all
To prove your own value
Cause you’re more than that
You don’t need it all
To prove your own value
You’re more than just skin

Now the LED screen is showing the phrase being written and erased, in English, Indonesian, Estonian, and in the languages of the nations participating in this year's WorldVision. As the lights, all in pure white, moves about. Eliana continued to sing with immeasurable power and strength, showcasing her fullest vocal potential to the audience at Četovskiy Stadion and the TV audience, with an offstage backing singer accompanying her singing, also with the same power and strength that Eliana have. Because of how the song is so meaningful for Eliana, she cried during her performance, though her professionalism doesn't let it interrupt her singing. The camera, aside from shooting Eliana, would sometimes shot Eliana from a comfortable distance so the audience could see the message on the LED screen.

Just learn how to love
And learn how to live
Without giving a damn
To the world around you
Your imperfections
Cherish it all
Forget what the world says
Say, “I don’t give a damn”
Ooh oh

I will not give a damn, oh yeah

The stage and the LED screen immediately darkened, and Eliana's voice is now softer, Eliana would sing the final verses, and during the final verse, she formed a heart shape with both hands and put it into her chest, where in a projection of a red heart, with the message "Love Yourself" on it, appeared on her chest. In stark contrast to the greys, blacks and whites that were used extensively during the performance.

You don’t need it all
To prove your own value
Just be who you are

The audience then clapped and cheered at Eliana, who is crying uncontrollably, she then said a muffled "Thank You!" to the audience, before leaving the stage.

Worldvision Song Contest 74 | Angradka, Polkopia [IC THREAD]

Worldvision Song Contest 74 | Angradka, Polkopia [IC THREAD]

11 | Estogium | Ola Ruah - Jealousy

12 Britonisea | Jun-iči Hoch, Ekkehard Liinamaa - On My Own

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