WorldVision Song Contest 75 | Monterra, Kalosia

by **Britonisea** » Thu Jul 25, 2019 1:38 pm

Brityunik Vefecosoin Cairkovoin - NEWS
http://www.bvc.com/news

The #1 News Tabloid 2015-2017 in United Republics, BVC.

5th August 2019
Serving nationwide

WORLDVISION SONG CONTEST 75 STAR ELEANORA BUCKINGHAM RUSHED TO HOSPITAL IN MONTERRA, KALOSIA

By Damien Matthews

Dramatically a week before the competition begins in Monterra, Kalosia, the Britonish representative - Eleanora Buckingham - has been rushed to hospital for a reason we are not yet sure about.

Eleanora Buckingham has been rushed to hospital in Monterra, Kalosia as the singer collapsed at her hotel room only a couple of hours ago. The doctors advised BITC, the broadcaster for WorldVision Song Contest, against letting her perform at the 75th WorldVision Song Contest with BITC sending out a statement regarding Britonisea's participation at the WorldVision Song Contest.

"We have had some terrible news about the star of the Britonish Delegation which we must attend to. We have been advised by doctors to postpone Eleanora's participation at the WorldVision Song Contest. We have come to a decision to withdraw from the 75th WorldVision Song Contest, but we will still broadcast the event live on BITC for Britonish audiences. Our priorities are now with Eleanora Buckingham, her family and making sure she has a speedy recovery..."

The WorldVision Song Contest 75 will be broadcast live from Monterra, Kalosia on Saturday.

by **Cary from Caryton** » Thu Jul 25, 2019 6:56 pm

25 - Cary From Caryton

As per Article 172 of the Carytonian Constitution - "The room in which the current living blessed animal (in this case the founding blessed animal, Cary), shall be treated as a separate nation altogether and a puppet state of the Church."

Cary was no doubt a talented dog, being a golden retriever and all. She was also rumored to have performed miracles in the revolutionary days. The nation's commentaries expected another choir or pop star to emerge on stage for "lucky 25", but they got something else entirely. Bow-wow Broadcasting, a Carytonian TV show dedicated to cute videos featuring animals flipped on their lights and cameras.

A little girl in a white robe adorned with yellow crosses and glittery tassels led a red leash adorned with cartoony white bones and pawprints on it. Following up was none other than Cary, the adult female golden retriever, complete with her luscious gold coat and well-groomed standards. She politely sat down on the catwalk as the little girl followed up. She spoke into the microphone.

"It didn't take much rehearsal. Cary's the best dog ever, isn't she? She brings miracles and helps sick people." The girl quietly stated before retreating back to a piano on the main stage. A small band of strings, winds, and brass formed a line beside it. The english lyrics were provided on the screen to humor the singing dog.

Arf Arf Awoo

(16 second instrumental, she begins after it)

"Woof arf woof arf bow bow-wow.
Woof ruff woof ruff wowbow;
Arf arf, woof arf ruff bow woof,
Awoo arf arf awoo-woo."

"Oh, my loving owner,
I'd like the new frisbee toy.
If it weren't too much to ask...
I'd behave all night for it."

The dog's barking and howls were perfectly on-key, as if she memorized the notes and sang them back perfectly. Obviously she couldn't vocalize any further than that, but as her tail wagged from her sitting position, she likely drew thousands of aww's right then and there.

"Woof arf arf bow-ruff woo-woo!
Woof woof ruff awoo-ruff-woof.
Arf arf, woof arf ruff bow woof,
Awoo arf awoo awoo..."

"Oh, my gracious owner!
I'd like the new rawhide bone.
If it weren't too much to ask...
I'd take as many walks as you'd want."

The dog swayed from left and right, getting up. She trotted down the catwalk to the main stage, nestling herself in front of the performers. The LED's showed a happy Cary running through the Georgine park, the massive Central Cathedral of the Gospel Church of Caryton and it's respective golden Cary statue not too far in the distance. She rolled in the grass as church officials smiled and rained plushy toys onto her in the hundreds as she jumped about, catching them all.

"Awoo awoo bow wow awoo-woo...
Awoo...
Woof arf, woof-woo...

"And if it seems I won't get my beloved-
toy....
Then I'll wait tomorrow more!"

-

"Woof arf arf worf woof woo-woo!
Woof woof ruff ruff woo-awoo....
Arf woof, arf woo... woof woo..."

"Oh, my beautiful owner!
I'd like to have one toy before... I go...
If you'd love me... enough..."

As the final note on the higher octave played, the LED's showed Cary solemly putting her head down outside of a dreary house, the churchgoer's toy rains' blurry effects indicating it was just a dream. Cary on the screen even shed one or two tears as the fake chain around her neck tightened even more. The awes turned to choked voices as the real Cary trotted forth to the catwalk, facing an uproar of applause. The instrumentalists bowed. Cary got her favorite plush, of a polar bear and carried it adorably. She muffled a bark of joy.

"I believe she's asking for more points." chortled the celloist before they went back stage, the full house still in an uproar.

by **Nekoni** » Fri Jul 26, 2019 3:14 am

Entry No.26: NEKONI
Frozen in Fear
Les Rois de Rien
Based on: I Disappear by The Faint

The self-proclaimed Kings of Nothing are a rare Nekonian foray into the underground genre of dance-punk. With their icy, industrial feeling you'd be forgiven for thinking that they'd have never left a city in their life, but the reality is actually the complete opposite, with the 3-piece hailing from the quiet town of Pierreponds, pretty much bang in the centre of the country. The band, who started in 2016, had never been to a bustling town such as Varea or Marina Point, and the group's music is very much in the mould of "how we'd imagine the music of the city to be".

They'd be half right, too: the music press have been very kind to them since their first album, "Crossing the Streams of Conciousness", and their exploits have led there to be a new subculture of this musical style in the more student-y areas of Nekoni's capital, which makes it all the more ironic that the scene is a good five hundred miles from where it truly began. Whether this will translate into WorldVision success remains to be seen. They certainly aren't the usual kind of acts one would see: in fact, they eschew media appearances, enjoying the veil of anonymity for a good few years now, and have kept their names to themselves, with the contest being the first time anybody had actually seen their faces.

All three band members are dressed as casually as you'd expect: standard T-shirts, stonewashed jeans and canvas hi-tops. All three start on the main stage.

The song begins with the camera focused directly on the bassist's fingers plucking the strings, just in time to be intercut with the drummer hitting the fill and the guitarist handclapping as the beat steadily begins to build. The main dance beat kicks in as the camera cuts to one of the entire stage, which has been decked out in an almost futuristic-looking white and ice blue blocky pattern, with the screens displaying a geometric, jagged design. This switches colour scheme on beat to its inverse: a dark blue-on-black one. Three smaller, almost laser-esque white lights circle around the bassist.

Everything drops out but the bass, and we go into the first verse. This is your standard 'rock band' performance, with the bright white and blue of the background contrasting against the black of their instruments and clothing as the three play, the camera focusing mainly on the singer.

I can't leave
It's my fault
My body has
Slowed down to a halt
My mind is gone
I am diseased
Don't have the stength to
Turn and leave

The instrumental has the same rapid variance between the dark and white colour schemes to lead into the second verse.

The second verse has the same as the first occur, however the white pinpoint lights begin to center on the lead singer. They eventually converge at where his heart would be and slowly change colour to a menacing red. Just as the verse reaches the end, the lights increase size dramatically, briefly enveloping him in red light.

There she stands
A heart of stone
I'm out of time and
She's out of control
Cut out my heart
Burn it away
With one false move
I'll melt away

The red light slowly fades from him during this small chorus section. The background video now has the red laser light transferred onto it, thin bars rapidly moving from right to left, increasing speed, as if looking into a zoetrope.

I'm
Frozen in fear
Frozen in fear
I'm frozen in fear

The small instrumental section is basically an excuse to get the strobe lighting out. The lighting changes to a fully bright red, and with the usual frenetic camera work.

During the short drum break, both singer and guitarist are clapping to the drum hits, attempting to get the audience to join in. It works.
The verse has the graphics maintaining the redness of the last few seconds. There is a silhouette of a woman in black appearing from the left, who takes out a gun and points it at a silhouette of the singer, also in black, which came in from the right. The woman fires her gun, and the singer's silhouette shatters like it was made of glass. Nekoni doesn't do subtlety.

At Defcon 1
I've hit Code Red
Now she's pointing her gun at my head
She's the hunter
I'm the prey
And yet I still can't
Run away

The end of the chorus has the female silhouette blow the smoke from the gun to form a white wireframe of the the lips of the singer momentarily on the screens for the final line. The lips move as if the background screens are speaking.

I'm
Frozen in fear
Frozen in fear
I'm frozen in fear

The bridge has the lights completely go out, and with the drop in volume we can hear the audience clapping to the beat. On each of the synth stabs, the stage strobes completely white, then off again in a constant rhythm to the synth. This gives the singer just enough time to make it down the catwalk to the front, circular stage, the catwalk gradually filling in a silver light as he walks. He makes it to the circle just in time, and the bridge vocals are done with just his face displayed up close, an icy blue light shining up at him from down below. As the lines progress, there is slight CGI to give the impression that his face is gradually freezing, adding some mild effects to the blue from the lighting.

I could not resist
Though I was warned
And I knew this would happen
I could not control myself
And I won't be careful next time

The lights all come up to reveal that the singer is surrounded by a circular laser harp, its thick, green beams standing out amongst the white ice. The 'piano' synth we hear here is connected to the harp, and he plays it by thrusting his arms and body to break the path of the beams. The repetitive nature of the synth, and therefore, the action, makes this about as close as we will come to choreography for this song.

As the drums steadily build up, the camera cuts more and more rapidly between him and the drummer, the amount of light steadily increasing, to the big crescendo, the vocally stuttered voice causing the camera to focus on the singer's head, the camera stuttering with him, as strobe lighting punctuates the rapid sound clipping.

From there, all epilepsy warnings are mercilessly thrown out of the window, as the entire light show we have been building up to goes fully angry. The Strobes are used in force, as are the rapid cuts between band members. The singer walks back to the main stage down the catwalk, shredding on his bass as he goes, the cameras additionally cutting to the front rows of the audience, who are clearly into it, effectively pogoing.

I'm frozen in fear
I'm frozen in fear
I'm frozen in fear
I'm frozen in fear

The song ends with the instruments gradually fading out, with the bassist turned away from the audience, fist raised at the exact point when the final drum hits. The crowd, having been basically jumping for four solid minutes are still hyperactive, hollering their cheers as the band members take a quick, reserved thank you wave and make their way off stage for the next country.

by **Darkmania** » Sat Jul 27, 2019 12:41 pm

27. Darkmania

MagikClod feat. Jürgen Güldtërk- "Rytmen komme frem" (Rhythm comes foward)

Rat City feat. Isak Heim – Kind of Love

“Everyone has a passion they love. Some like Football. Some like swimming. Some like to sleep. For me, its music.” – Grëg Täsmalg (Left) at a press conference.
"I am not here to win this whole shit. I'm here just to take part and create a party" - Jürgen Güldtërk, the vocalist for this entry.

After many tries, one 3rd and two 2nd places, Darkmania could finally lit the long-awaited glass trophy in their hands. But the simple question was who will follow up Erÿk?

Grëg Täsmalg (Left) and Frëdrÿk Äskerbarg (right) meet each other at the Ertü Musÿkk Sël has since played together, creating top charts after top charts in the domestic Darkmanian top 40 charts. Given this as well as that they have played in concerts and festivals outside and inside of Darkmania has made then the top candidates to follow Erÿk`s footsteps at Worldvision. They will be joined by an up-and-coming artist, Jürgen Güldtërk.

The postcard has played and we see the DJ booth on the left of the stage and 3 metre by 3 metre long cube with Jürgen inside. Jürgen wears a leather jacket, as well as his trademark hat. A cute nod is that the hat has the number "27", who happens to be the running number Darkmania currently has. The transition has two black bars placed top and the bottom on the screen.

La musikken (Let the music)

Lage en rytme (Make a rhythm)

Glemme tanker. Bare vær med (Forget thoughts. Just join)

Vonde tanker skal bort (Hurtfull thoughts shall go away)

La mørke sinn bli lyse sinn (Let dark minds become light minds)

Vanskelige tanker kan være gledesdrepene (Hard minds can be a killjoy)

The LCD screen slowly gets colourfull

Ja-aaa. Vi er her for hjelpen (Ye-ees. We are here for the help)

Vi skal reise seg, og vi glemme våre tanker nå (We shall rise up, and forget our thoughts now)

Og jeg går (And i go)

Ja-aaa. Vil du danse med oss? (Ye-ees. Do you want to dance with us?)

Ingen vil bare sitte å kjede seg med dette (No one wants to sit and bore themself with this)

Og jeg går (And i go)

Jürgen walks out of the box and sings for his life.

(La rytmen komme frem) (Let the rhythm come foward )

La rytmen komme frem (Let the rhythm come foward )

(La rytmen komme frem) (Let the rhythm come foward )

En gledesrus av noter (A rapture of notes)

(Ukjente melodier for deg til å danse) (Unknown melodies gets you to dance)

Ukjente melodier for deg til å danse (Unknown melodies gets you to dance)

(Ukjente melodier for deg til å danse) (Unknown melodies gets you to dance)

Så alle har en (So everyone has a)

Vanskelig liv (Hard life)

Ikke bare fokuser på svarthet (Dont just focus on the darkness)

Fokus på hvithet (Focus on the whiteness)

Pust ut (Breath out)

Bare gi faen og dans dine sørger vekk (Just give a fuck and dance your sorrows away)

Oh-ooh, La musikken (Oh-ooh, Let the music)

Overta kroppen (Take over the body)

Hvorfor bare mørke når melodier overtar dit sinn? (Why only darkness when melodies takes over your mind?)

Nå skal vi fjerne alle (Now we shall remove every)

Mørke horisonter (Dark horizons)

Alt kolapser helt ut (Everthing is colapsing our)

Ja-aaa. Vi er her for hjelpen (Ye-ees. We are here for the help)

Vi skal reise seg, og vi glemme våre tanker nå (We shall rise up, and forget our thoughts now)

Og jeg går (And i go)

Ja-aaa. Vil du danse med oss? (Ye-ees. Do you want to dance with us?)

Ingen vil bare sitte å kjede seg med dette (No one wants to sit and bore themself with this)

Og jeg går (And i go)

(La rytmen komme frem) (Let the rhythm come foward)

La rytmen komme frem (Let the rhythm come foward)

(La rytmen komme frem) (Let the rhythm come foward)

En gledesrus av noter (A rapture of notes)

(Ukjente melodier for deg til å danse) (Unknown melodies gets you to dance)

Ukjente melodier for deg til å danse (Unknown melodies gets you to dance)

(Ukjente melodier for deg til å danse) (Unknown melodies gets you to dance)

(La rytmen komme frem) (Let the rhythm come foward)

La rytmen komme frem (Let the rhythm come foward)

(La rytmen komme frem) (Let the rhythm come foward)

En gledesrus av noter (A rapture of notes)

(Ukjente melodier for deg til å danse) (Unknown melodies gets you to dance)

Ukjente melodier for deg til å danse (Unknown melodies gets you to dance)

(Ukjente melodier for deg til å danse) (Unknown melodies gets you to dance)

Jürgen now are on the island all alone and he walks on the catwalk as a camera goes follow him in front of him.

La rytmen komme frem (Let the rhythm come foward )

Det er ingen som kommer til å kjede seg (There is one one who will get bored)

En gledesrus av noter (A rapture of notes)

Ukjente melodier for deg til å danse (Unknown melodies gets you to dance)

Alle sammen, vær med og syng! (Everyone, come on and song!)

Jürgen is now on the main stage again.

(La rytmen komme frem) (Let the rhythm come foward )

La rytmen komme frem (Let the rhythm come foward)

(La rytmen komme frem) (Let the rhythm come foward)

En gledesrus av noter (A rapture of notes)

(Ukjente melodier for deg til å danse) (Unknown melodies gets you to dance)

Ukjente melodier for deg til å danse (Unknown melodies gets you to dance)

(Ukjente melodier for deg til å danse) (Unknown melodies gets you to dance)

Det er ukjente melodier (There are unknown melodies)

As the last part of the chorus gets sung, confetti begins to rain and litter the stage

Vi skal reise seg, og vi glemme våre tanker nå (We shall rise up and forget our minds now)

Og jeg går (And i go)

Det er ukjente melodier (There are unknown melodies)

Ingen vil bare sitte å kjede seg med dette (No one wants to sit and bore themself with this)

Og jeg går (And i go)

He bows and thanks, everyone.

by **Todlichebujoku** » Sun Jul 28, 2019 1:55 pm

28. _Tödlichebujoku_

Tune: SLANDER ft. Dylan Matthew - Love Is Gone
Audio version for playlist

Alone

Váinö

Mottekano Fujisava stared at himself in the mirror. The glass seemed like it was blemished, even though it shouldn't have been. He supposed that it was just like all else he'd experienced thus far. He sighed as he broke eye contact with himself, and glanced down blankly at the table, shoulders slumped. He needed to breathe, center himself, and pray that he might just make it through one more night without collapsing.

Everything felt like it had gone right for Motti. He was born into a loving family, grew up in a great neighborhood, had good friends, and a higher education experience that went smoothly. But still, he felt isolated. A borderline introvert, he felt attracted to social interaction yet also anxious and distant once involved, as if he was uninvited, only being tolerated, just an accessory to the group dynamic. Sometimes it was a feedback cycle. He'd let everyone do their thing together without him, and before long it seemed that they had forgotten him altogether. Feeding into his vicious cycle of self-doubt and isolation was his realization that his field of study... wasn't exactly what he thought it would be. Motti had gotten so caught up in the day-to-day assignments while in school that he didn't stop to think what exactly he was there for, what exactly he wanted to do. Once graduated, he found himself floating adrift, with no employers finding him to be their ideal candidate, and his self esteem began to plummet after months of fruitless labor. Throughout his ordeal, Motti turned to his music production hobby under the name "Váinö" as a way distill his frustration and untapped energy into something at least somewhat tangible. With each upload to the matrix, he hoped that at least someone out there could sympathize with the sound, the emotion he poured into his work. And someone did.

Motti had never imagined music to be his career. But step by step, with positive messages left by his circle of fans, and his openness about his emotional landscape and struggles, he found acceptance and support that he could never give himself, and found the drive to continue on to create. To be honest, he never really had a solid direction that he drove for, but unlike in his earlier field of study, music provided greater allowance for experimentation and exploration. One by one, requests and collaborations began to trickle in, and before long he realized that music would constitute so much more of his life than ever before. The next year proved to be a whirlwind of new experiences, it was a miracle he could keep track of anything. Touring. Working with an agent. Voice training. Negotiating with labels. Being interviewed by media. Interactions he never thought possible for himself. But still, this newfound fame and success could never heal some of the holes in his self. Alienation. The feeling of being an outsider. Even when TÖBUK asked him to represent the nation, he was excited, but still felt like he was off on his own. The concepts and emotions he had written into "Alone", the isolation and hints at self-destruction, still felt as relevant to him as ever; the raw experiences of asking friends for help and guidance in his moments of dark desperation only being not too long past.

Perhaps one day things would align. Looking back up into the mirror, coming back into the humid glow of reality, Motti took a breath and gulped. He didn't know what life would continue to have in store for him, but he certainly hoped so. With a final longing gaze into the depths of his reflection, he turned and stepped toward his performance, swimming in the past yet hurtling into the future.

A single point of ice blue light appears on the background screen before fading away. Each percussion hit is reflected as a flash of light above the stage, each keyboard note a blink of light along a different stage edge. A single spotlight illuminates Motti sitting down, wearing a very simple black shirt and silvery pants. Looking down, breathing slowed, his voice raw, he begins

I make mistakes
I push them all away
And fear what's left to come, oh

With the beats intensifying, the lights flash only on alternating sides of the stage: top, left, right, below. Gaining volume, strength on the next stanza, Motti looks up, but stares into space, only glancing to the camera on the last line

So I stand apart
Stay unknown
Don't step out, to
Let me go

His gaze is intense, desperate, darting around, looking for help. Tensed up, with fists clenched, he looks to the camera as the lights around him begin to synchronize and flash as one. His voice wavering, Motti has to do all he can from getting choked up as he flashes back to a dark time soon after graduation, when his will to continue was at his lowest

I don't know how
Just to say it right
Don't walk away
Just for tonight

The lights tone down and simplify into just three spotlights on Motti, who rises from his chair and steps toward the audience, then falling to his knees near the stage edge. He looks upward, as if toward the heavens, eyes clenched shut for a moment as they seem to tear up, just slightly, with the camera view passing close in from above

I'm sinking
Too far in
Keep me from overthinking

You're here now, the only one

He gazes levelly into the camera view, eyes yearning for a connection, for aid, anything. Behind him, out of focus, mist begins to shroud the rear of the stage. Motti then turns to his side for a second, as if trying to evade eye contact, before giving in to his need to confide

Freefalling
Yet stalling
I'm overwhelmed with feeling

The camera rises above him, aimed downwards at Motti as he looks upwards and reaches out toward it, face wracked with a desperate hope. Below him, fog has covered the floor and it glows with light from underneath. A barely noticeable puff of wind causes the fog to ripple outward from Motti

Don't let me live to die alone
Live to die alone

During the muted instrumental, Motti falls to one knee as the spotlights cut out, leaving only the glowing fog into which he gazes, the camera view skimming along the edge of the fogbank, slightly angled up to capture a shot of his face. His eyes are closed, he's resting and gathering his energy and thoughts. With the return of the electronic synth element, the spotlights along the stage edge radiate outward over the audience, forming a disk of light over which the camera pans as Motti looks back up, his voice stronger and propelled by a desperate desire for help

I'm so weak
I can't speak
I don't know if you see me

You're here now, the only one

The view is centered on Motti, zooming out over the audience as spotlights from the back of the stage radiate out from behind him. He manages to stand up, stepping forward, clutching at his heart. Behind him, an animation of a single wavering light, like a bright star or a light at the end of the tunnel, is shown on the background screen. Motti catches different faces in the audience as he looks out, before settling on the camera, eyes still wet with nascent tears

Please save me
Release me
I need someone to stop me

Don't let me live to die alone
Live to die alone

The spotlights and stage screens begin to fade out, with only one spotlight left shining on Motti from above, harshly illuminating him and a circle of fog on the ground around him. It then shuts off as the edges of the stage begin to blink with each note, slowly at first, but increasing in speed with the music before being joined by a flurry of spotlights flashing outwards from the back of the stage. With the lights now tangentially illuminating center stage, the mist around Motti can be seen to move in a spiral formation where he is seen to have relocated on top of the chair, one leg knelt on the seat. As the music continues to intensify, more and more of the stage and spotlights join in on the flashing before it is evident that there are two men on the stage: one on the seat and one on the projecting platform, elevating in the air as fog pours down from around his feet. From the wide camera shot, it is difficult to tell them apart, aside from location.

As the buildup comes to a climax, the camera circles around the two men in a great ellipse, keeping distance so it's hard to identify their faces, especially as Motti begins to sing once more in the midst of the buildup, rising above the music almost as if his voice has dissociated for one line

Don't let me live to die alone
Live to die alone

The two men reach for one another, the camera view lining the two up before moving off to the side to reveal both, as the flashing pauses for one line, then immediately coalesces into one single brilliant sweep of white light, the spotlights and the stage all together with a curtain of sparks, and repeats with the music, interspersed with total darkness, aside from a pool of light on each man. A shot sits close in on Motti's face, eyes closed with a single tear streaming down his cheek. The shot then interposes with a similar shot of the other man's face, looking forward in concern, the feed flickering back and forth between the two in time to the music, lights and shadows dancing on each with the alternating bursts of light and dark around them.

After a few cycles, the two faces turn in opposite directions and look downward, grimacing, breathing in deeply, before looking back up and opening their mouths as if to speak. They both mouth the words, though of course Motti is actually singing them, as the cameras zoom outwards from them, revealing that they are both leaning toward one another, reaching out

Don't let me live to die alone
Live to die alone

The camera shots rotate to the side, focusing on their outstretched hands, interposing the two shots so it seems like they are grasping each other's hand, with darkness in the background. Eventually the feed from Motti stays on, and the shot slowly rises out and up, far above the two men and their pools of light and fog, the stage edges once again blinking sequentially to the keys

Live to die alone

The projecting platform sinks back to stage level, and Motti slumps in his chair, as if exhausted of energy and will. The camera focuses on Motti, before zooming out just over the top of the fog layer, then cutting to a close in of his limp hand hanging downward, fingers trailing along the top of the fog. With a breaking voice, he continues

I don't know if you see me

The camera shot rises back up, and the man is in view, kneeling down to cradle Motti in his arms, checking if he is okay, as the lighting dims to a dull glow, wisps of fog floating up from the movements of the man

Live and die alone

The scene ends with a close in shot of Motti's face against the man's neck as he is looking upwards and wrapped in a firm embrace, one final tear running from an eye. The camera moves up and out, zooming outwards to encapsulate more and more of the stage as the ambient lighting continues to dissipate, and finally the spotlights on the two cut out with the end of the music

After a moment of silence, the lights fade back in, and Motti and his co-performer execute a quick dip of their heads to the audience. "Kiitos, gražia Monterra," he mutters into the microphone, still a bit uncomfortable in front such a large crowd, though dazed enough that it didn't really hit him as hard as it usually did. Things continue to feel off-kilter as he exits the stage and walks back afterwards. Was the experience cathartic? Yes, but it also felt... he wasn't sure. Maybe in time he'll get things sorted out, but for now, it's time to decompress and come back to reality. Izmedu's Ljubica is getting ready to perform, and if there's one thing he knows about the international music scene, it's that Izmedu is going to deliver some raw emotion. Perhaps it'll help resolve his feelings, watching her perform. Patting dry his face backstage, looking into the mirror once again, he hopes to the powers above that something will.

by **Izmedu** » Sun Jul 28, 2019 4:15 pm

29. IZMEDU
Ljubica - The End
Tune: Rihanna - Russian Roulette

Ljubica could hardly remember the last time she had any sort of home or stability in her life before fame. Hell, even during fame, she felt like there was always a target on her back.

For her, the past was marked with upheaval. Before she ever became 'Ljubica,' the superstar shrouded under the mystery of her mononym, she was someone hoping to make it big into the music industry. She was inspired by stars like Ziva Lipovac, Vigora Marasovic (when she was of course, doing more pop-oriented sounds), and many others who were in the Izmeduan dance-pop business. Ljubica's first forays into music where under her mononym. Yet, there was a paradox to the way she was managed. 'Ljubica' was not a person but instead a persona, the mononym created the myth, but the actual person behind the voice was never rewarded for her efforts. Instead, she existed in flux, getting only the scant benefits of the music industry's fame but never getting credited.

For Ljubica, knowing the type of music she did, perhaps she was more glad she was at the periphery of the fame machine than deeply ensconced within it. The way her career started was almost frank in its machinations and its fakery. The reason being for such a status was based on her status, comportment, and her station in life. She had a voice of a pop star, but her future bosses always ragged on about the unsuitability for her looks. Her voice was what they wanted, but her label thought they had nothing to visibly sell. It was the groundswell for something surreal and for a future controversy and law suit to give birth to. She was presented with one option that she quickly took, not wanting to face the reality of going back home to being a vagrant singer who spent her days crashing on couches for the few friends that she had, to reckoning with being alone in another city night.

'Ljubica' was really two people. There was Ljubica herself, but then another 'Ljubica,' a model who bought into the narrative while aware that it was not her voice she would be using. This other 'Ljubica' was the visual image and face of the marketing behind the name. The one who would give interviews, 'perform' on stage, and do all of the things a pop star was meant for except for one thing... be the voice behind the music.

Ljubica didn't mind such an arrangement, too desperate to stake out a life in what she dreamed of for so long. However, it wasn't a sustainable move on the label's part. Plans often shifted, media became suspicious, and many wondered why this 'Ljubica' had such a difficult time adjusting to the life of the pop star. Why does 'Ljubica' refuse to perform live and impromptu? Why does her voice not match? Ljubica, being the one spending all of her time in the studio watched these developments silently, but knew she didn't have the power to fight back against the label. They were the only ones keeping her from going into total penury. The more Ljubica sang, the more money she got. She needed that money in a country that would plunge into its own economic crises. She sang for survival, even if her heart wasn't into the bouncy, summer hits. She sang to keep herself alive, knowing that singing on her own terms wasn't going to be possible.

She had a list of songs she always wanted to sing, but they were fantasies for now, kept on a list.

To Ljubica's lack of surprise, the illusion crumbled. It was a lawsuit kept within the confines of the Izmeduan domestic media, but whispers of it would occasionally leak to the international press. It was touted to be one of the biggest scandals in Izmeduan music history, something that rivaled the fallout from Anja Krajacic and her former management. The ruse had been discovered. The 'Ljubica' that the Izmeduans knew was not the Ljubica that sang all of those summer hits. She may have been the image, but the voice belonged to someone else. Ljubica herself didn't remember the particulars of the error. The facade itself was difficult to maintain, as she glanced a glimpse at the intricate network of codes, learned behaviors, and protocols to ensure that the illusion would be maintained. However, the patchwork screamed unsustainable. At some point, the many codes and conditions were going to ensure that someone was going to break the system.

The system did indeed break.

The fallout left Ljubica astray for a few more years. The label to which she worked for had entered a period of lockdown. The artists around her, the labelmates that she grew to become at least passing acquaintances with, reckoned with the reality of upheaval that she was too familiar with. She stood in solidarity with her plight, but when time came to clear the air and reorganize the label... It was her voice that was one of the initial things to be cleared. She was left out into the 'wilderness,' figuratively and literally speaking. Her voice may have been familiar, but to be left without any sort of stability felt like the definitive end for the career that Ljubica began to be familiar with. She lent her voice to three albums, grew a persona that she knew was not hers, but she began to develop a fondness for what it was.

She needed to find a way to salvage her work. Passing acquaintances were the only thing she left the label with.

Networking to at least secure the possibility of a single release was difficult. She grew frustrated, she felt as if nothing was going to lead to any possibility. The thought of returning to a singing career grew more impossible as the years passed. It would take at least 4 years since the fallout from the Ljubica scandal before Ljubica herself, the 'real' Ljubica (much as she was uncomfortable using that term in the first place), found another label that was willing to look past that history. Instead of a collection of pop hits, what she wrote was almost a collection of dramatic tracks for a movie. Each song she wrote now was laced with resignation, a latent anger, but almost of all... a profound despair packaged in tight verse and choruses. The very song she marketed herself was 'The End,' the very entry she was bringing to WorldVision.

Nothing but good timing brought her to Monterra. Much ado was made about the scandal when she won the national final. That itself was an entire story... But she knew she had one shot to make the little career she grew count for something. Legitimacy aside, it was time for Ljubica to take the stage... A stage on her own terms.

The stage flashed a brilliant white before descending into a pitch black darkness. Ljubica stood at the main stage, feeling the familiar feelings of nerves rush through her as the Izmeduan entry was quickly dawning upon the audience. She closed her eyes, taking a deep breath as the music in her in-ear began to play...

A single line of electric guitar would parade through the Kalosian arena. The audience would quiet as a single spotlight would shine on Ljubica, her face and visage looking downwards the empty stage. This line of guitar would continue on for a few more seconds, crafting a moody atmosphere where streaks of lights would shine upon Ljubica's face. The camera angles would change almost dramatically, making timed jump cuts from different angles. The song's primary beat would then appear, causing the lights to time themselves to that same beat. Ljubica could then be seen nodding along, a background singer providing the vocalizations, ad-libs, and the eventual breath that would herald the start of the first verse itself. The camera position itself to an angle that was close to Ljubica, and she would start the song as thus...

Lost control, lost it all
Futures wiped, gone so quickly
Here I lay, nowhere to go
Counting days for survival
My life's closed in, rendered dead
Where do I go? What remains here?

The stage remained pitch black for this first verse, the angles wide and yet close to emphasize Ljubica's lone presence on the stage. She sang each line slowly, with contemplation and careful enunciation. Her face was barely illuminated, the light configurations only being bright enough to show only one side of her face. She was careful not to overpower the verse, befitting the burgeoning mood and build of the music, itself remaining contemplative. However, her expression was one laced with desperation. She was one woman lost in the metaphorical and literal void of the stage, tentatively walking through the darkness with that expression of fear. As each line progressed, it was clear that Ljubica was beginning to close in on herself. She would survey the stage, walking to the side and closer to the ramp as she would clutch her free arm closer to herself. She did so especially for the last half of the verse, the camera taking on a side angle as she closed out the verse. There was no time for rest as the chorus was incoming...

I see the earth crumbling, falling
All I've known fading away
I'm on my knees, begging for mercy
I wade through this despair, hoping
Yet there is nothing left (nothing, nothing, nothing)

Soft drums parlayed in the background as the music built to a quick crescendo. The lights would intensify, but the screens remained sparse and dark. Beneath Ljubica, especially when the camera would switch angles, was an image that reflected the lyrics. For every step she took, the floor screens looked like they were about to 'crack' open, risking Ljubica to fall into the stage's virtual abyss. Each line she sang, the more she would kneel down and eventually, she would slowly get on her knees. She belted out each line with the desperation that was on her expression from the first verse, closing in on herself and her face betraying the anxiety, the despair, and the despondence that arrives from losing all that one knows. As the chorus closed off into its beat-driven ending, Ljubica would lie down on the floor screen itself. Each beat saw the cracks open, creating an effect where it looked as if Ljubica was floating off into an abyss. The brief interval saw the camera fade to a view just right above Ljubica, as she stared into the camera with a look of fragile wonder and dread, reaching up into the heavens and finding that she was at a slow descent to nowhere.

Torn and ravaged, world in ruin
There's no life in sight
Just emptiness
I take one step in this wasteland
Now I know, what cannot come back

The second verse of the song saw Ljubica sing while lying down, her arms forever reaching towards the camera. The angle continued the emphasis on making it appear like she was floating in this indescribable void, existing only in a pitch black darkness while trying to find a way out. In contrast to the controlled first verse, Ljubica's vocals seemed almost a touch more hysterical. Her voice rose and peaked with its occasional falsetto, belying a burgeoning madness that careened Ljubica closer to the mental edge. Her vocals especially modulated right around the end, time to the moment where Ljubica would begin to rise from the stage and stand up, breaking the illusion of her in a void. The song would not rest once more, breaking off into the chorus almost immediately.

I see the earth crumbling, falling
All I've known fading away
I'm on my knees, begging for mercy
I wade through this despair, hoping
Yet there is nothing left

The stage lights once more shined and intensified, yet were in a configuration that ensured that the stage and mood remained mysterious and cloying. Ljubica's face would always remain in perpetual shadow from the flashing lights, exacerbated by her almost erratic and sudden movements. She would sometimes purposefully evade the camera, especially as for each word and line she sang, Ljubica would approach the catwalk that led to the satellite stage. As far as vocals, Ljubica did not let up on her intensity, the desperation in her voice and expression reaching towards a fever pitch, one that was supported by the quick transition to the bridge.

What was once so vibrant and so free
Is now darkness closing in, without any mercy
I've crossed into the end, beyond the very edge
I cannot wish for a past that is no longer there

The bridge of the song saw Ljubica make a dramatic walk down the catwalk. The camera would follow her every move, her vocals maintaining its strength even despite the movements she was making. Her walk down the catwalk was almost rapid in its pace, yet well-timed to ensure that she would not reach the satellite stage too early. The screens on the stage began to build towards a graphic, a crumbling world beginning to show on the stage, the cracks on the LED floor beginning to show once more. Each line of the bridge further grew in intensity, Ljubica's vocals soaring after each line and her expression looking upwards. The lights would begin to grow, teasing a brilliant climax in contrast with the lyrics. Teases of holographic effects would begin to flash on the catwalk and on the stage. Ljubica's belting out the final line would tease a brilliant climax, and then...

I see the earth crumbling, falling
All I've known fading away
I'm on my knees, begging for mercy
I wade through this despair, hoping
I see the earth crumbling, falling
All I've known fading away
I'm on my knees, begging for mercy
I wade through this despair, hoping
Yet there is nothing left (nothing, nothing, nothing)

At the start of these reprisals of the chorus, the lights would darken, the stage screen suddenly blanked, the holograms disappeared, and each and every effect was gone sans a sole spotlight on Ljubica. It looked almost like a technical error, but Ljubica didn't seemed to be phased by it or didn't register it as an error. The music would continue, and if anything, Ljubica's vocals became more emotional and resonant when all effects on the stage disappeared. Her vocals and voice were the climax, her actions were the dramatic effects. As soon as she crossed into the threshold of the satellite stage, the attention and the stage were all hers, and all on her own. She dramatically made each movement count, filling the satellite stage to the best of her ability. She pushed her voice to the limit, making sure to ad lib each line tastefully but with power, and making sure to catch the camera and transfix it with her gaze and her emotions. The song would come to its conclusion with a close view on Ljubica's labored breathing, the song ending with its scant beats as the spotlight on her would fade. She stood there, alone, the only visible imprint being a faint outline of her body.

Ljubica's eyes were closed as the song reached its conclusion. She only had the energy to bow to the audience and walked backstage.

She wasn't sure how this would go over or if this was even the right move to make, especially considering her history... But for now, she relished that finally had a performance to her own name, a performance and song on her own terms.

And that, even if she faltered on the scoreboard, was a victory in and of itself.

by **Mister X** » Tue Jul 30, 2019 8:00 am

Filius Deorum - "How Come"
Tune: Years & Years feat. Jax Jones - "Play"

Filius Deorum is back at the WorldVision Song Contest. Filius will forever hold a place in the Mister Xian hall of fame, having won in WV62. He doesn't really have a long backstory for this edition, but MRX are relatively hopeful for this song.

He stands in the middle of the stage, wearing a white T-shirt and a black open formal shirt on top of it which is far too big for him. Wearing some suit trousers, he is surrounded by 4 people on bungee cords which are strapped to their waists; they are wearing white trousers and all are showing off their perfect, gorgeous hairless chests. At the back of the stage stands a backing musician who is spinning the decks at the back, clearly having too much fun throughout the song. As the song starts there is a very low level of white light from one or two spotlights, whilst Filius is in darkness, only shown in the glimpses of the shadows of the half-light. The camera takes a long shot of the stage and you can hear, and just catch glimpses of, Filius's singing.

How come that I tell you the truth
But it always means nothing to you?

The camera goes in to a big close-up on Filius's hand, of which his fingers twitch on the little riff in the music.

How come when you tell me your love
That I keep running back to you?

The backing DJ pipes up and the camera cuts to him.

(Baby, baby, let's go)

The lights come up to a more natural level and the dancers on bungee chords start dancing around in a circle, but so far keeping their feet to the ground. The camera takes several shots of the stage and the audience.

Keep telling me about all the times
The times we had that made it feel right
Don't let go, we'll make it I swear
For you and me

We always will be there, oooh

As Filius sings "oooh", the camera cuts to a super-wide shot from the back of the hall as the lights change colour to warmer colours such as orange and yellow and go further up. Then they cut back to Filius, close in.

Guiding in to my arms, yeah,
And now I am on you, come through, oooh,
Baby, you know,
Baby, you know, yeah

Two of the dancers run forward, leaping off the ground before their momentum brings them back down to earth, whilst at the back the same thing happens but in reverse. The lights return to their black-and-white motif and the camera zooms out from the front right of the stage, before cutting to a front-on zoom-in shot of Filius, then repeating said movement but from the left.

How come that I tell you the truth
But it always means nothing to you?
How come when you tell me your love
That I keep running back to you?

The dancers stop running and the lights start gently flashing as the camera cuts to a dynamic shot of the backing DJ.

Treat me, you know, treat me, you know, that will make me feel like
Treat me, you know, treat me, you know, like we never let go
Treat me, you know, treat me, you know, that will make me feel like
Treat me, you know, treat me, you know, like we never let go

The second verse's staging is a carbon copy of the first verse's, because there isn't much one can do with that.

Another day, and another slay
Baby, nothing could come between us
You know that I will always love you
For me, for you

We always will be there, oooh
Guiding in to my arms, yeah,
And now I am on you, come through, oooh,
Baby, you know,
Baby, you know, yeah

For the chorus, this time the dancers lift Filius high into the air, taking advantage of the bungee ropes to lift him up higher than would normally be possible. He's thrown around somewhat like a circus act. The camera movement is just one dynamic shot following Filius.

How come that I tell you the truth
But it always means nothing to you?
How come when you tell me your love
That I keep running back to you?

Filius is put back down on the stage and sashays forwards, doing shimmys and suchlike.

Treat me, you know, treat me, you know, that will make me feel like
Treat me, you know, treat me, you know, like we never let go
Treat me, you know, treat me, you know, that will make me feel like
Treat me, you know, treat me, you know

Filius stage-dives into the audience as the bungee dancers reconvene in the middle of the stage.

You know what to do
To make me feel right
You know what to do (ahahah oh)
Just tell me the truth (just tell me the truth)

And now the dancers start dancing in a circle again.

How come that I tell you the truth
But it always means nothing to you?
How come when you tell me your love
That I keep running back to you?

Lots of people come onto the stage and people dance in unison, as though they're all coming together.

Treat me, you know, treat me, you know, that will make me feel like
Treat me, you know, treat me, you know, like we never let go
Treat me, you know, treat me, you know, that will make me feel like
Treat me, you know, treat me, you know, like we never let go

by **Pambudia** » Tue Jul 30, 2019 3:34 pm

#31
P A M B U D I A

"Speechless" by Reming
Tune: "Kembali" by Steven & Coconut Treez

Reming is a talented Pambudian musician, he was endorsed by local musician community to take show in WorldVision Song Contest 75 where Kalosia as host of this event.

He walking from the backstage to the front of audiences with his guitar. He introduces himself to the audience and throws a few fun words for a moment which creates a laugh of the audience in attendance watching the event directly.

His mouth began to approaching the microphone and he prepare to sing a song .....

I'm Speechless (hoohoo)
After knowing you (hoohoo)
Lot of hope happens (hoohoo)
But only dreams come ...

I'm Speechless ...
I can't say anything that I can understand ...
Then I leave here
To give the spirit of my life
Ooohh ...

I keep going straight (hoohoo)
Ignoring the past (hoohoo)
To find a safe place (hoohoo)
For us together ...

Because we were born winners
In this multiverse ...
Don't be speechless at all times
Your dream is there ...

Because we were born winners
In this multiverse ...
Don't be speechless at all times
Your dream is there ...

I keep going straight (hoohoo)
Ignoring the past (hoohoo)
To find a safe place (hoohoo)
For us together ...

Because we were born winners
In this multiverse ...
Don't be speechless at all times
Your dream is there ...

Because we were born winners (born winners)
In this multiverse ...
Don't be speechless at all times (all times)
Your dream is there ...

Because we were born winners (born winners)
In this multiverse ...
Don't be speechless at all times (all times)
Your dream is there ...

Because we were born winners (born winners)
In this multiverse ...
Don't be speechless at all times (all times)
Your dream is there ...

Live from Monterra, Kalosia by Musik+ Pambudia

by **Saviera** » Sat Aug 03, 2019 6:28 pm

32. Saviera
Sunburnt, by Kobe duBœuf Marinere
To The Tune Of Home by Kobi Marimi

Kobe duBœuf Marinere Steps on Stage. He Looks Like Marinated Kobe Beef.

Summer comes, it’s time to show our real selves
Body is exposed just like some naked elves
I was once as soft as dunes of sand
But I now look like scorched earth, like burning land

I feel the sun upon my skin
And I am sunburnt! I am sunburnt!
I see the light shining within
It made me sunburnt! I am sunburnt!
And now I just need some aloe

I didn’t listen to the way they talk
Now I wish I could turn back the ticking clock

I feel the sun upon my skin
And I am sunburnt! I am sunburnt!
I see the light shining within
It made me sunburnt! I am sunburnt!
And now I just need some aloe

To soothe my healing scars it burns
This is just what I deserve to earn

Kobe is Very Emotional About His Suffering.

I feel the sun upon my skin
And I am sunburnt! I am sunburnt!
I see the light shining within
It made me sunburnt! I am sunburnt!
From head to toe, from butt to chin
It made me sunburnt! I am sunburnt!

And now… and now I need some
Now… I now just need some
Now… I just need some aloe

When the Song Ended, Everyone Cheered. Kobe Said: Thank You Kalosia! God Bless Saviera!!!

But He Still Needed Some Aloe. So He Went Backstage to Go Look for a Remedy to His Condition.

by **Balkvla Islands** » Sun Aug 04, 2019 4:51 am

#33 Balkvla Islands
Closure - Airtiste

Tune: "Peace Of Mind" -Avicii

This relationship
Is just moving way too fast
We must slow this down
Baby you’re just much too fast

Can I get a peace of closure?
And a bit of love to uphold?

Love, do you want some love? Do you want some love?
Did you let off some steam? Did you ask to be saved?
Did you ask to be saved? Did you ask to be saved?
Do you ask to be
Can I get a peace of closure?

This relationship
Is just moving way too fast
We must slow this down
Baby you’re just much too fast

Love, do you want some love? Do you want some love?
Did you let off some steam? Did you ask to be saved?
Did you ask to be saved? Did you ask to be saved?
Do you ask to be? (Do you want to break up?)
Break up, do you need to break up? Do you need to break up?
Do you need to break up? Did you want some love?
Did you want some love? Did you want some love?
Do you ask to be
Can I get a peace of closure?
And some love, to spread around?

This relationship
Is just moving way too fast
We must slow this down
Baby you’re just much too fast

Love, do you want some love? Do you want some love?
Did you let off some steam? Did you ask to be saved?
Did you ask to be saved? Did you ask to be saved?
Do you ask to be? (Do you want to break up?)
Break up, do you need to break up? Do you need to break up?
Do you need to break up? Did you want some love?
Did you want some love? Did you want some love?
Do you ask to be

Can I get a peace of closure?

by **Nightom** » Mon Aug 05, 2019 9:58 am

34 Nightom
"I Wish You Knew" - The Girl Next Door
Language(s): English
Lyrics: The Girl Next Door
Music: The Girl Next Door
Tune: Freya Ridings - Lost Without You

Nightom returns to the contest that will mark it's 30th anniversary since it's debut. Nightom will be sending The Girl Next Door who was initially supposed to represent the nation at World Hit Festival 45 but didn't end up doing it. Here's her entry.

I am getting nowhere,
You're miles away.
Need to tell you something,
But I just can't.

It's not easy to make yourself vulnerable,
You think that I hate you, well I know that I don't.

It's times like this I wish you knew
Kept my thoughts locked in my head
Had to put on a front, please forgive me
You weren't supposed to know
Of the hold you have on me

This was the first time I felt this way and
I didn't know how to deal with all this pressure
Would you forgive me or would you hate me?
Should I take the gamble?
All these lustful dreams, they eat away at me,
And now I am no more...

Times like this I wish you knew
I wish you knew, knew, knew
Of the hold
Of The hold, the hold, oh the hold
You have
oooooo

It's times like this I wish you knew (knew)
Kept my thoughts locked in my head
Had to put on a front, please forgive me but
I think I love you

You're by yourself, standing in front of me
I want to tell you everything,
But I still can't...

by **Natanya** » Mon Aug 05, 2019 2:40 pm

35. NATANYA
Tod Wolf - Move It!
Tune: Peter Fox - Schüttel deinen Speck

Tod Wolf is an artist that has been active in the internal Natanyan music scene for year now, with the now 32 year old being present at many musical competitions all over the country, and winning quite a few of them too, therefore it is no surprise that he'd eventually come to represent the country at WorldVision itself, in fact many fans are surprised this didn't happen sooner, and that he didn't participate in one of the, both successful and failed, Natanyan national finals for the competition, with a large portion of his fan base coming to the assumption that he just wasn't interested in the competition, much to their relief when he was finally revealed to be Natanya's artist for the 75th edition of the contest in Monterra, Kalosia, relatively not that far away.

Growing up in a middle-class family in the nation's capital, Nightton, Tod got to experience the urban flair and way of life and met many different people with many different experiences growing up, all while his family could afford to put him through training for whichever musical instruments he would like to learn, which he took advantage of, learning classical piano to a higher level, and gaining experience in music theory and multiple other instruments, including multiple Brass instruments. This mix lead to Tod's fairly unique and genuine musical process, which has in turn lead to him becoming a fairly respected figure in the Natanyan music scene.

Despite this reputation, Tod has never released an album of solely original music, releasing the occasional single or collaborating with others, the bulk of Tod's discography is actually made up of cover's of famous Jazz, Funk and Rap songs, among many other genre's he delved into, with original music usually being saved for the many live performances, tours and festivals he has done, with these performance being the drive behind the respect. Because of this, the announcement of a new album, though causing a buzz automatically, was extremely anticipated when it was revealed that this album would be his debut original album, full of original songs that he has made, with both sophisticated studio recordings of song's he's only ever performed live and completely new material that's never been heard before. Obviously the excitement double when it was revealed that the first and lead single off this album, revealed to be called "Move It!", a new composition and he's first original song to be actually released as a single, would also be the Natanyan entry for the WorldVision Song Contest 75.

The host country for the 75th WorldVision was revealed to be Kalosia, a fellow island nation only a few hour flight away from Natanya. Being that he was revealed as the representative for the nation a few weeks before, Tod was relived that it would be an easy journey to the competition. Although he didn't write this song specifically for the contest, he knew instantly that this was the song he wanted to take when he was asked if he wanted to represent the nation, with him think it was suited to not only be on the big stage and to get the world dancing, but also as his first voyage into an original album. He arrived in Monterra about a week and a half before the contest, he tried to fit in as much sight seeing as he could, both by himself and with his entourage of backing singers, producers and however else they need, most of it comprising of the first days, as rehearsing took up the days nearer to the performance. He enjoyed his time and felt relative relaxed before the big, ready to go out and give it his all. He tried to not think too much of what score he would get and in stead tried to keep to his own ethos, as long as he puts on a show and get people smiling and dancing, he's done Natanya proud.

And as he enters the arena, settles his stuff in the green room and watched the performance go by, the clock ticks down to his turn. As Nightom performs he is called to the backstage, and as the stage hands prepare the set for his performance, he get's in position for the start of the song, walking out to a massive sea of people. Closing the show was quite a big deal, can he end it on a high?
Well, now is the moment of truth...

Tod is dressed in his usual style, a black and suit done up to the top button, with a loose tie. On a elevated platform behind him was a brass jazz band, accompanied by what was seemingly a snake charmer, full with pungi and even a snake, although it was questionable whether it was real. Tod was just stood near the front of the stage, ready to whisper the intro with the backing singers, as the intro played, the stage was basically non-visible because of a set of orange parallel spotlights shining from behind the band platform. These lights would flash in tune with the drums, with half flashing on the first drum beat, and the other half on the second, and so on.

(Move your body now, move your body now, move your body now.
Move your body now, move your body now, move your body now.
Move your body now, move your body now, move your body now.
Move your body now, move your body now, move your body now.
Move your body now, move your body now, move your body now.
Move, move, move your body now.)

As the first verse begins, the lights dim, but don't totally disappear as new ones in the same colour descend onto the stage. The band continues to jam out to the music of the song, as does Tod while delivering his lines, moving around the stage and interacting with the audience while doing small improvised dances, stopping himself from breaking out into full dance.

Yeah, yeah, It’s time to have some fun,
Yes it’s time to get all up in the sun,
Time to laugh and dance and run,
Get in the car, callin’ shotgun,
With looks so fresh, you’re ready to stun.
Get all your friends, get everyone,
And it ain’t over till it’s everyone’s gone,
So if we go hard we can’t be outdone,
And if we’re happy, they why shun?
Yes, let’s get ourselves on the sand,
So baby, please just take my hand,
So let’s phone up your neighbour’s band,
Many thanks!
So let’s move and shake and dance away,
Like people will think we’re insane,
Oh god, what will the neighbour’s say.

As the song transitions to the chorus Tod and he's backing singers, whom are further back on the stage and spaced out evenly across it, sway side to side for the backing singer's parts and quickstep to the side for Tod's, then in the second repeat of the chorus, when it changes to the repetition, and then the instrumental, they do a 3 step stomp, gradually turning 90's degree's in the 3 steps, and then snap back to their original position and repeat. Both dance move can be seen in a earlier live performance here.

(Tanzen) Schüttel deinen Speck jetzt!
(Lieben) Zeigen deinen Talent jetzt!
(Reizend) Spreche deinen sprech jetzt!
Bewegen dein Leib! Bewegen dein Leib!

(Dancin’) Shake your bacon now!
(Lovin’) Show your talent now!
(Stunnin’) Walk the catwalk now!
Move your body now! Move your body now!
Move your body now! Move your body now!
Move your body now! Move your body now!
Move your body now! Move your body now!
Move and move and move and move your body now!

The second verse was much like the first in terms of staging, with Tod still jogging around the stage, funking to the music and trying to get the audience as involved as possible, which works successful when a large part of the audience join in on the "Woo!" at the beginning of the second line.

Yea, we going till we’re wrecked,
Woo! You’ve got my respect,
Things to get your heartbeat racin’,
Thing to also get me chasin’,
Not a single worry in sight,
Now we got this whole place packed,
Now we got all these stacks,
So let’s do this right.
Put on the music, rap, pop or rock,
Put on you make up, cherry gloss,
Put on you clothes, miniskirt and stock’,
And go fly high like and albatross,
Now move all night and give your best for me,
Shake and break and just dance for me,
And if things get rough call the doc for me,
But if not then just go and rock that body for me.

Just the second verse, the second chorus repeats the staging of the first, with the dance moves, however this is cut short by the song's eventual fade out.

(Dancin’) Shake your bacon now!
(Lovin’) Show your talent now!
(Stunnin’) Walk the catwalk now!
Move your body now! Move your body now!

(Tanzen) Schüttel deinen Speck jetzt!
(Lieben) Zeigen deinen Talent jetzt!
(Reizend) Spreche deinen sprech jetzt!
Bewegen dein Leib! Bewegen dein Leib!

The song ends just like it began, with the backing light that have there the whole time becoming somewhat brighter again, however instead of being basically none visible, Tod continues to dance with his backing singers like before. Just before the last note, the camera focused on Tod one last time, who turned towards it and on the last note crouched slightly before throwing both arms up above him as the camera quickly zooms out to display the golden pyrotechnic pillars across the front of the stage, in time with the end of the song.

(Move your body now, move your body now, move your body now.
Move your body now, move your body now, move your body now.
Move your body now, move your body now, move your body now.
Move your body now, move your body now, move your body now.
Move, move, move your body now.
Move your body now, move your body now, move your body now.
Move your body now, move your body now, move your body now.)

Tod breathes a sigh of relief and chuckles, before thanking the audience for their participation and hospitality. "Thank you all, Thank you!" he shouts before running of stage with the rest of his entourage as the lights dimmed and the stage hands descend to clear the stage and remove the platform.

by **Kalosia** » Mon Aug 05, 2019 5:40 pm

Placeholder for interval act: How to vote

by **Kalosia** » Mon Aug 05, 2019 5:41 pm

Placeholder for interval act: When Our Hearts Are In Monterra

by **Kalosia** » Mon Aug 05, 2019 5:42 pm

Placeholder for interval act: This Summer

by **Kalosia** » Mon Aug 05, 2019 5:43 pm

Placeholder for interval act: We'll Meet Again

World, start voting NOW!

by **Elejamie** » Mon Aug 05, 2019 7:37 pm

ETV1 presents WorldVision 75 - English language commentary by Cerin Erali and Flynn Taggart

CE: Welcome to WorldVision 77! Bienvenido a WorldVision 75! Yalcom WorldVision 75! Live from Monterra, Kalosia! Montar, Celosi! I'm Cerin Erali...
FT: ... And I'm Flynn Taggart.
CE: And we are your English language commentators for this evening. For a Spanish commentary, Iyilim language commentary or to sing-along to each entry, please press the red button. Thank you. Para Español, Iyilim o karaoke, pulse botón rojo por favor. Gracias. Aspenol, Iyilim o cereoc - Ancelis o Aspenol, ne Iyilim - plaes toc rad boton. Fenci.
FT: We're not telling you how to vote, for a change. The hosts'll do it later. I can say, however, it's not like those reality shows where you can vote off the song you like the least. It'd make it more interesting, though.
CE: And I'd like to point #15 cannot be voted for by you, the Elejamian public. We all love Yoni and Patricio and want them to win or bring us into the top ten and keep us there but your vote will not count because you cannot vote for your own country.
FT: No. It's a very short introduction, because most of these people will know what to do.
CE: Very well then, let's get on with the show.

by **Scotatrova** » Mon Aug 05, 2019 8:15 pm

Scotatrovian Representative, Enrique Xirau

"Hello, good evening Monterra. This is Muse calling, benun nuixa Scotatrova. This is the big moment! Our points are as follows."

Kalosia gom Unue aqutes
North Arenia gom Diuse aqutes
Normandy and Picardy gom Traz aqutes
Kishrael gom Qüetre aqutes
Polkopia gom Cinqüe aqutes
Ceyesca gom Sez aqutes
Achaen Republic gom Siet aqutes

Nosre Uotte aqutes va ai...Izmedu!

Nosre Dihes aqutes va ai...Voxija!

Ía athor...nosre Duse aqutes va ai...Besen!

by **Vartugia** » Tue Aug 06, 2019 8:33 am

02/35 (?): Vartugia

A cow

Mooooooooooooooooo

(Hello. Im "Cow" and i present the votes from Vartugia lol)

12- ~~Fatima Fed.~~ Greater Korean Juche Republic
10- Lactatia
8- Achaean Republic

7- Elejamie
6- New Saria
5- Darkmania
4- Mister X
3- Ceyesca
2- Besen
1- Voxija

by **Voxija** » Tue Aug 06, 2019 1:12 pm

Voxija Votes!

1-Vartugia
2-Darkmania!
3-Cary from Caryton!
4-Kishrael!
5-Axuva!
6-Nekoni!
7-Main Nation Ministry!

by **Ceyesca** » Tue Aug 06, 2019 1:53 pm

1 point goes to...Vartugia!
2 points go to...Axuva!
3 points go to...Voxija!
4 points go to...Darkmania!
5 points go to...Besen!
6 points go to...Polkopia!
7 points go to...Normandy and Picardy!

8 points go to...Izmedu!

10 points go to...Elejamie!

and finally, with 12 points, it's...Scotatrova!

by **Mister X** » Tue Aug 06, 2019 11:54 pm

Robert: Welcome along to the 75th WorldVision Song Contest, live from Monterrey Jack cheese in Kalosia. With me along in the commentary box is Sam Smith.
Sam: Thanks, Robert. Hello, everyone. And what a contest we have in store for you this evening. Some entries, some not so good, some slightly better ones.
Robert: Yep, by the end of tonight we may even have a second Mister Xian winner which is also the first Mister Xian winner.
Sam: For those of you who aren't aware, one of our long-standing traditions here at MRX is to label all the songs according to how "hard" they are. Hard songs are edgy, and rocky; soft, mellow songs are, well, soft and mellow, really. The scale ranges between hypersoft (yoghurt) and superhard (plate): we go yoghurt, plum, jam, butter, bread, bottle, plate. So here we go.

Robert: That wasn't particularly appetising, sadly. Very musical theatre, wasn't it?
Sam: Yep, I have to say I agree, actually. Not the best opening act we've ever had. It was almost as though it was late for a dissertation and had to regurgitate anything it could find.
Robert: And indeed, like most dissertations, it went on far too long.
Sam: Absolutely right, but we've got 32 acts who can make up for it I think.

Robert: Oh dear. That was a messy start, wasn't it?
Sam: Hmmm. I have to agree with you there, that couldn't have started much worse for Amuaplye, nor indeed for the contest itself.
Robert: And how "hard" was it for the one viewer we have left after that song?
Sam: Plate, obviously.
Robert: Now, to vote for that rubbish, you dial 9 12 12 01 from a mobile or 01721 12 12 01 from a landline.

Robert: Excellent, that's much better.
Sam: Oh, definitely.
Robert: This is more like it, even through the awful sound system up here.
Sam: I loved it, and it's Polkopia, so it's well executed as well. This is a bottle.
Robert: And to vote for it you dial 9 12 12 03 from a mobile or 9 12 12 03 from a landline.

Robert: Now, if you're thinking this sounds familiar, that's because it is.
Sam: Yeah, we used this song, didn't we? Back in WV61, with Jack Baxter, if I remember correctly.
Robert: They've changed a couple of bars in the melody, though. I mean, it's like a year 8 copying homework, saying "yeah just change it so no one notices".
Sam: It's poor. It really is. That said, it's obviously still a cracking tune. But our lyrics were better. And our staging was better.
Robert: With all due respect, this really shouldn't beat how well it did for us, but this is the WorldVision Song Contest so it could and I wouldn't be surprised. I'd be disappointed, but not surprised.
Sam: I can't really remember what it was on the softness scale last time but it's a bottle, and to vote for it you dial 9 12 12 04 from a mobile or 9 12 12 04 from a landline.
Robert: Thank you, Voxija, we move on now to Axuva.

Sam: That's some bizarre composing. It's as though a child of three just splattered ink all over the stave on the vocal track, there's no logical progression to the notes whatsoever. It's a hot mess.
Robert: Meanwhile apparently she broke up with her boyfriend or something backstage. Cocaine was involved, apparently.
Sam: Is that even legal here? Probably explains her bad singing, come to think of it.
Robert: With no apparent sense of irony, her song features the line "how lovely" repeated several times. I just don't understand some of these lyricists sometimes.
Sam: That's another bottle and I really don't like that.
Robert: If you're tone deaf and want to vote for that you dial 9 12 12 05 from a mobile or 01721 12 12 05 from a landline. We move on now. And not a moment too soon, I might add.

Sam: Samba time!
Robert: We've had a tweet in from Emily in Majorium, who says every time there's a samba beat she's taking blue-coloured vodka shots. She'll be quite sick by the end of the evening.... hopefully you all had a dance at home. I enjoyed that music. Bizarre lyrics, though. Very depressing for such a feel-good track.
Sam: Yeah, what's going on with those tonight? That's really quite odd, another one! And there'll be more in there yet I fear.
Robert: Well, I have to agree. They really ruined that.
Sam: The song itself, I'm putting down as bread. And it's 9 12 12 12 06 from a mobile or 01721 12 12 06 from a landline.

Robert: More samba bouncing here, and more blue-coloured vodka shots going on in Majorium. [[[see commentary on Scotarova]]]
Sam: Well I didn't understand half of that so I can conclusively say that I don't know if the lyrics were awful or not.
Robert: Well the bits we did understand were quite nasty and vindictive, but that fitted the tune better than Scotarova, so I'm not sure how to react really.
Sam: I've lost count of the amount of times you and I have done commentary on this contest but I'm wondering if we may never ever find the perfect entry given every time we stumble across something decent one of the three elements - melody, lyrics, staging - is missing.
Robert: Well, indeed. To vote for Kishrael, dial 9 12 12 07 from a mobile or 01721 12 12 07 from a landline.
Sam: That was another bread, and we move on now to... erm... The New Saria. N. Or something.
Robert: Well, the official label says The Sarian. They look to be back after a long hiatus.

Robert: And they probably should have stayed away, as love love peace peace makes an unwelcome return as well.
Sam: The baritone rap was bizarre. Really felt out of place and forced, as though it was like watching a porn show in the middle of Countdown.
Robert: Thanks for that image, Sam...
Sam: Sorry.
Robert: You're going to have trouble with the rating here, aren't you? That was very half and half.
Sam: If it wasn't for that awful rap bit it probably would have been ultrasoft, but we're going with butter. If you want to vote for The Sarian for the first time in 25 editions, you dial 9 12 12 08 from a mobile or 01721 12 12 08 from a landline.
Robert: Next up... oh dear.

Robert: Surprisingly good by Vartugia's "standards" in inverted commas.
Sam: Hated that key change at the end, though.
Robert: Yeah that was bizarre, added nothing to that song at all. Very 90s, though. I actually loved the tune. The lyrics.... well, that went well. And what's going to happen if they win and have to reprise the track later on? They haven't thought that through.
Sam: Luckily, the only dead people are audience members, so whilst we install the backup audience, we'll just waffle on for no reason.
Robert: I do feel sorry for that melody. The composer has done very well and it's been let down by atrocious lyrics and even worse staging.
Sam: I hope they're having lamb tonight, though. Wouldn't want that sheep to go to waste.
Robert: As for the song, if you're a murderer and want to vote for Vartugia, dial 9 12 12 09 from a mobile or 01721 12 09 from a landline.
Sam: The song was butter, and it looks as though the backup audience are in position, so here we go now with North Arenia.

Robert: Very intense.
Sam: Very much so. She's gorgeous, though. She's amazing, she's perfect, she looks like a model.
Robert: Oi oi, you going all breeder?
Sam: Oh god no.
Robert: Sorry viewers, I'd just like to apologise for Sam's heterophobia there.
Sam: Yeah, sorry.
Robert: Just be quiet. You've done enough damage already.
Sam: Right. Well, anyway, we have some power ballad here that needs ranking, and I can't decide whether it's soft (4/7) or supersoft (3/7) on the scale.
Robert: I think we need to compare it to what we've already had. Is it softer than The Sarian and Vartugia?
Sam: Yeah, I think so. Jam. For North Arenia, it's 9 12 12 10 from a mobile or 01721 12 12 10 from a landline.

Robert: When will nations learn not to give 3-year-olds violins? That sounded atrocious.
Sam: Violins, banjos, guns, it was like being in a bad Western film.
Robert: Er, Sam... I think that's what they wanted, actually.
Sam: Yeah, actually, that's probably what they were going for, in all regards. So you can do that down in there and that is what it's all about. The problem with that is that it's just awful!
Robert: I don't really want to call out the whole number, but you add 11 for Main Nation Ministry. I think we'd better move on.
Sam: It's got to be bread, hasn't it?

Robert: I was half-expecting the choir to sing "Jesus Loves You" at one point. It's not quite Sunday yet, is it?
Sam: I'm not religious so I thought it was inappropriate for this contest in all honesty.
Robert: I can see where you're coming from. That said, this isn't the worst debut in the world, and hopefully they'll get better.
Sam: Yeah, always good to see new nations getting involved and improving over time. This, however, wasn't the best debut. I think it was overthought and overdone. Very musical theatre, not very camp song contest. Went on far too long as well.
Robert: Well, is that hypersoft or ultrasoft?
Sam: I know it picked up a bit at the end but I'm sorry, that's yoghurt.
Robert: And for The Micronation of Oceanland, you dial 9 12 12 13 from a mobile or 01721 12 12 13 from a landline.

Robert: Alexa, define average.
Sam: Yeah, there's not a whole lot to say here. Very middle of the road, very dull. I kept waiting for that to get going but it never really did.
Robert: Yeah, I want those 2 minutes and 53 seconds back. Hypersoft?
Sam: Yeah, yoghurt. Add 14 if you want to vote for it, I'm not reading the whole number out for that.

Robert: Now that's more like it!
Sam: Absolutely right, Robert. That's another cracker from Elejamie. They've been really decent lately.
Robert: I loved that. Fantastic all around. There's not much else to say about it, it was that good, only that to vote for it you dial 9 12 12 15 from a mobile or 01721 12 12 15 from a landline.
Sam: And all I need to say is that it was a bottle. Excellent.

Robert: Samba on steroids - more shots going on from Emily, I think her name was. DJ Sneezy wrote this, apparently. Probably not his best work.
Sam: And where are the rest of the seven dwarfs!?
Robert: Don't know. Couldn't have done much worse than this composition which is just too fast.
Sam: I think the dwarfs were all a bit sleepy. And bashful. And dopey. And doccy.
Robert: Please stop.
Sam: OK. That was a bottle, and it's 16 for Achaean Republic, which has at least one too many vowels in its name.

Robert: Long-time viewers of this contest know full well what I'm about to say.
Sam: All together now...
Robert & Sam:D, U, double L: dull.
Robert: It was just sleepy.
Sam: Oi, I thought we said no more Snow White puns!
Robert: Sorry, Doc.
Sam: Watch it!
Robert: Haha. Anyway, that song wasn't excessively long. It just felt like it.
Sam: Yep. Unsurprisingly it's yoghurt, and the number, Robert, is...
Robert: 17.

Robert: Do they know that in Latin, the official language of Mister X, that their name means as "the body of Kalosia", which is bit self-aggrandising, if you ask me.
Sam: That's got to be too much of a coincidence really.
Robert: The song itself was OK but nothing special. Very country, so not really my cup of tea.
Sam: Jam.
Robert: 19.
Sam: On we go.

Sam: Well, that was awful.
Robert: You know what I was saying about The MIcronation of Oceanland's performance earlier? Well, this was very it.
Sam: Yes, this one really was Jesus Loves You.
Robert: It was crying out for a Waltz on stage as well, too.
Sam: Yeah, definitely. Hopefully this debutant will get better too, but that was actually terrible.
Robert: Hypersoft or ultrasoft?
Sam: Oof. Er... plum. And it's 20 for Spiritual Republic of Caryton.

Robert: I know the lyrics were very crude but I actually liked that regardless.
Sam: That's one of the best entries of the night, although to be honest I didn't actually get the farmyard metaphors.
Robert: Yes. That... was a choice.
Sam: Couldn't have put it better myself. The song was a bottle.
Robert: To vote for Lactatia, it's 9 12 12 21 from a mobile or 01721 12 12 21 from a landline.

Robert: Well, this is poor by Normandy and Picardy's standards. Too many key changes to be successful really. Didn't like it one bit.
Sam: Yeah, that wasn't brilliant, was it?
Robert: And a bit of fake French to go with it, that's just lazy.
Sam: This hasn't been a great standard this ediiton so it may well pick up a point or two from us but this won't be one of their more successful entries, sadly for them. It's a Plate and it's 9 12 12 22 from a mobile or 01721 12 12 22 from a landline.

Robert: Again, not Besen's best effort.
Sam: No, that was quite dodgy, that.
Robert: It was almost improvised, wasn't it?
Sam: I think she could have expanded on the concept, it needed redrafting, really. "Sick Note" might have been better, an extended metaphor of how his excuses in this broken relationship were akin to bogus sick notes at work and at school. It was bread.
Robert: 23 if you want to vote for it.

Robert: This was very, very "meh".
Sam: It's very airy-fairy, deliberately so I do believe, although it has to be said I'm not sure that's worked all that well.
Robert: No, I don't believe it has.
Sam: It's yoghurt.
Robert: And I can't be bothered to read out the full numbers, so add 25 to vote for it, and we can now move on. Next up is Nekoni. Just 10 to go.

Robert: Well, this was very naughties prog rock, wasn't it?
Sam: You're not wrong, I have to say. Not their best entry, Nekoni.
Robert: Took far too long to get going for good measure. They can do better, and I think they know that too.
Sam: Did you notice how the background was a rip-off of the intro sequence to The Living Daylights, by the way?
Robert: Yeah, I did actually, but wasn't going to mention it. A load of ladies firing guns and such like with no real concept past that.
Sam: Inevitably a Plate and it's 9 12 12 26 from a mobile or 01721 12 12 26 from a landline.

Robert: Given the singer doesn't even want to win, I can't see this winning. Or even doing well, for that matter. You really get the sense he doesn't want to be there.
Sam: That was a very generic song, wasn't it? Nothing new or interesting about that in any way. It might well have done better if it were performed earlier in the running order, but it feels quite tired this late on.
Robert: Some interesting translations here as well. "Unknown melodies" is not something kids will be singing in the street next week, that I'm sure of.
Sam: It's a bottle. It got much better towards to the end it has to be said, which is why it's not medium.
Robert: To vote for Darkmania, it's 9 12 12 27 from a mobile or 01721 12 12 27 from a landline.

Robert: A rather shameless rip-off of their winning song all the way back in WV32. Presumably they thought that everyone would have forgotten about that song by now. And I don't blame them. But we hardly ever miss anything here at MRX.
Sam: I was competing in that contest, actually.
Robert: Didn't you take one of our worst ever results?
Sam: We don't talk about that.
Robert: Do dancing instruction manuals haunt you at night or something?
Sam: Maybe. Anyway, it's as power ballad as power ballad can be. It tries to be new and interesting at the end but unfortunately it fails really. Not great. Butter, and 28 to vote for it.

Robert: Another Izmeduish entry, another power ballad with overthought staging.
Sam: It's Izmedu, so it will do well. Not really a lot more to say other than jam and the number.
Robert: From a mobile it's 9 12 12 29 and from a landline it's 9 12 12 29. Right, here we go, here comes Filius and Mister X!

Robert: Wow. We're amazing, aren't we?
Sam: Yep. We're gorgeous, we're perfect, we staged it relatively well by our standards, although I have to say some more creativity as it wore on would have been useful.
Robert: You can't vote for us, sadly, if you're in Mister X itself, but how hard was it?
Sam: Bottle. And next we have Pambudia.

Robert: What a load of sloblock. I hated it.
Sam: Yeah I don't like being rude but I hated that as well.
Robert: Indeed. The worst thing was it was very scout jamboree, and I can't stand that sort of thing.
Sam: We're going with jam on that one.
Robert: If you've taken leave of your senses, or you're drunk, and want to vote for that, it's 9 12 12 31 from a mobile or 01721 12 12 31 from a landline.

Robert: This isn't getting any better, is it? This is - all together now...
Sam: D, U, double L: dull.
Robert: It's appalling. It's atrocious. And that's just the tune.
Sam: The lyrics are no good either. Jam; add 32 to vote for it if you so wish.

Robert: That wasn't too bad actually. I thought it was going to tail off because the first verse was much worse than the introduction, but it really picked up again after that, and that's not a bad thing by any stretch of the imagination.
Sam: Yeah absolutely. I liked that too, the first verse notwithstanding. Very floaty, I felt, as though it's best enjoyed high.
Robert: Well, we don't have any psychedelic substances with us so that's not going to happen. That will do very well, I feel.
Sam: Bottle.
Robert: And to vote for Balkvla Islands, it's 9 12 12 33 from a mobile or 01721 12 12 33 from a landline.

Robert: From the sublime to the ridiculous. That was torrible. And that's worse than terrible and horrible combined.
Sam: Yeah, I got so bored I was flicking through my social medias. That's not a good sign. It was yoghurt, and it's 34 to vote for it.

Robert: Save the best until last... doesn't apply here. This wasn't great.
Sam: Yeah but it wasn't terrible either. Very middle of the road, will probably finish mid-table. As average as they come really.
Robert: It's probably trying a little too hard to be different. That said, as songs go it's not appalling and I feel we're being unduly harsh on it.
Sam: Our last song tonight, Robert!
Robert: I know! Thank god...
Sam: Anyway, this is a bottle.
Robert: And to vote for Natanya, it's 9 12 12 35 from a mobile and 01721 12 12 35 from a landline.

Robert: So that's it, you've heard all 30-ish entries, and here's a quick recap of all of tonight's eligible songs, along with their softness ratings:

Robert: Get voting, the interval act will be coming along soon!

by **Mister X** » Wed Aug 07, 2019 8:24 am

by **Polkopia** » Wed Aug 07, 2019 1:01 pm

Polkopian Votes:

1 point: Besen
2 points: Tödlichebujoku
3 points: Elejamie
4 points: New Saria
5 points: Normandy and Picardy
6 points: Kishrael
7 points: Scotatrova

8 points: Axuva

10 points: Kalosia

12 points: Achaean Republic

by **Amuaplye** » Wed Aug 07, 2019 2:41 pm

AMUAPLYE

1. The Sarian (12 points)
2. Normandy and Picardy (10 points)
3. Darkmania (8 points)
4. Elejamie (7 points)
5. Scotatrova (6 points)
6. Main Nation Ministry (5 points)
7. Mister X (4 points)
8. North Arenia (3 points)
9. Natanya (2 points)
10. Kalosia (1 point)
11. Balkvla Islands
12. Nekoni
13. Pambudia
14. Kishrael
15. Izmedu
16. Caryton
17. Todlichebujoku
18. Voxija
19. Greater Korean Juche Republic
20. Polkopia
21. Saviera
22. Nightom
23. Besen
24. Ceyesca
25. Achaean Republic
26. Oceanland
27. Axuva
28. Lactacia
29. Vartugia
30. Cary from Caryton

WorldVision Song Contest 75 | Monterra, Kalosia

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