THE 79TH WORLDVISION SONG CONTEST - PHODA, TALVEZOUT

by **Elejamie** » Fri Jan 24, 2020 9:07 am

ETV1 presents WorldVision 79 - English language commentary by Cerin Erali and Flynn Taggart

CE: Welcome to WorldVision 79! Bienvenido a WorldVision 79! Yalcom WorldVision 79!
FT: Live from Phoda, Talvezout. I'm announcing where we're live from just so Cerin doesn't make that joke.
CE: Which one? MotherPho-
FT: Yes, that joke.
CE: Anyway, he's Fleen Taggart -
FT: Flynn.
CE: Yes, Fleen. And I'm Cerin Erali 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: Dial the number when they tell you too, text the number when they tell you, press the vote button on the app when they tell you to. If you vote before they tell you, it won't count. If you vote after the deadline, it won't count.
CE: And you people back home in Elejamie can't vote for song number nine, because that is Shireen. And she's our entrant. Anything else?
FT: No.
CE: Okilly-dokilly, let's get this rolling.

by **Indo States** » Sat Jan 25, 2020 12:08 am

RTV Networks Presents: English Language Commentay by Rosé Alleynné Spartoff-Canetté

Rosé: Welcome to... I Just lost my Script
(Beep)
Rosé: Take 2, Welcome to.. Not Again..
(Beep)
Rosé: Take 3, Welcome to Talvezout and My name is Rosé Alleynné Spartoff-Canetté. Today we're gonna Comment on the Opening Entry and These National Entry. So Let's Get off with the Intro.

Opening Act

Rosé: Best Cinematic Opening Act like I''ve Gone to Cinemas in Ramsey City. And the Second song was very very Excellent. I Hope that Talvezout's Interval Act will be Good.

01. Nahlcomo

Rosé: Todlichebajk Boys, They are really all from Toad-leche-butch-joke-on. Joke. (Beep) So, Nope. Kinda Weird.

02. Scotatrova

03. Amuaplye

Rosé: Wow, 4 Stars. My Expression is, Kinda good for Easy Listening like Foolish Heart by Steve Perry but the Lyrics is kinda Based on a Novel by Valentina Myleshna.

04. Saint Bernards

Rosé: Kinda Rap..... Yea, Rap Song. (Laughs) I Did not say Rape Director! I am a Girl (Laughs Again)

05. Beepee

Rosé: is that nation named Beepee sounds like Blood Pressure? (Laughs) can some on get my blood pressure checked? (Beep) ok back, Seems Classical and their outfits are from 1950s. Going on to Indo States. Woohoo!

06. Indo States

Rosé: a Mix of Roleplay and Musical, Because it was a Really Song because we why don't want a peace. It is Seems like nothing changes. But Very Excellent!

07. Vartugia

Rosé: Pronounced Far too Giant because Vartugia is an Largest Nation in Nowhere Planet. They had Smelly Fish Bombs thag I think they put dynamite on it and a Sarin Nerve. The song was a Revolutionary Propoganda. How about bringing Katyusha to Worldvision?

08. Not Fatimanian Federation

Rosé: Wow, The songs seems going to be an meme, Very Similar to Bong Revilla. (Dances)

09. Elejamie

Rosé: The Name was kinda Derrived from French. But anyways, Club Punk and Nice.

10. Axuva

11. Mister X

Rosé: (Singing In Welsh) Hey Mister Urdd, Hey Mister Urdd. Anyways, Overall, Fine.

13. Polkopia

Rosé: Well Let's Respect this Nation because they formerly hated us but never mind that. Okay, overall, Great. (Claps)

by **Wazekia** » Sun Jan 26, 2020 11:07 am

~Presents~

Hello to all the WorldVision watchers and listeners both in Wazekia and elsewhere in the multiverse. I'm sure you've waited patiently for another exciting edition of the Multiverse's premier international song contest. My name is Jon Myrok and I will be commentating on this edition, the 79th Edition of the contest live from Phoda, Talvezout! Will Wazekia finally win it all? Let's see!

[spoiler=]

[/spoiler]

by **Estogium** » Sun Jan 26, 2020 8:16 pm

#23 ESTOGIUM
Kenzie Eléen - "Final Chance"
Tune : Sia - "Unstoppable"
Language: English
Duration: 3:37

27 year old Darlingtonian, Kenzie Eléen, not only returns to the WorldVision Song Contest but she returns to Talvezout to have another shot at the WorldVision Song Contest trophy, something that the nation has waited for a total of 46 editions for...

Kenzie Eleén becomes the fifth Estogian participant to represent their country for the second time at the WorldVision Song Contest as the broadcaster takes another leap of faith trying to clench their first ever win at the WorldVision Song Contest. Time is running out for Estogium as we reach the centennial edition since Estogium debuted at the WorldVision Song Contest and RVC, more than ever, are adamant that they want to find success in the way that their neighbours Britonisea and Nightom have found success at the WorldVision Song Contest. RVC have said that Kenzie Eleén is the right person to sing at the 79th.WorldVision Song Contest in Talvezout - as she is quite used to the country since her last participation. Kenzie Eleén was announced as the Estogium representative rather abruptly and not under the usual The Big Reveal: Estogium format that we had gotten used to with the nation. Kenzie's appointment as the poster girl for the nation was rather late, RVC report, but they were rather confident of her chances and so chose her, going against what they had originally planned for the 79th WorldVision Song Contest.

Kenzie Eleén is a singer from Estogium who has had previous experience representing her country at not only the WorldVision Song Contest but also the World Hit Festival too with the same song, "Red-handed" which was a rather popular hit among the nations in ABEN. First, she represented Estogium at the 62nd WorldVision Song Contest which was held in Ylfa, Talvezout. At the time, Kenzie Eleén was coming off the back of Estogium's shock 3rd placing at the 61st WorldVision Song Contest where the nation touched the podium position for the first time since the 47th WorldVision Song Contest and when Estogium was at their closest in terms of points from the victory (only three points away) with their French-English hit, "Je Peux Le Sentir". RVC were sure, at the time, that Kenzie Eleén would be a good follow up to maintain Estogium's fantastic result. "Red-handed" was described as a "hard-hitting, rough and ready" song by Estogian press and as the nation received it's first 12 points of the 62nd WorldVision Song Contest by Togonistan (the third nation to vote), Estogians were sure that the contest was going to be yet another good one for them.

In the end, it was shown on the official scoreboard that the nation had placed 4th with a total of 68 points which would have been the nation's 3rd best result at the time. Though, under a revised scoreboard, Estogium's official result was 5th place which still was a good ranking for the Estoge who was last in the top five (apart from WV61) at the 51st WorldVision Song Contest. Success for Estogium seemed to be getting closer in the early 60s, but as the decade went on, Estogium's placement dwindled as the nation struggled to top ten - which for Estogium was not that ordinary. In the editions since Kenzie Eleén, the nation's placings have been rather stagnant at the lower end of the top 10, placing 8th to 11th most of the times, falling as low as 17th place on edition. Last edition saw Estogium finishing 11th place, and RVC would like to see the results much higher as we close the 70s decade.

Going into the 79th WorldVision Song Contest, as a part of the strategy that RVC are going with, it's now time to send a song with an artist like Kenzie Eleén. The strategy hasn't yet done wonders for the nation, but so far it's made them receive more points than they gave each edition. With Kenzie Eleén's song "Final Chance", they're hoping that they can win voters from nations with more established music scenes due to the song that they're sending… The song that Kenzie will be singing at the upcoming WorldVision Song Contest is rather ambiguous - and she hasn't yet said what it's about and whether it's a personal song. From the lyrics, one can infer that the song speaks about someone who takes people for granted and they are getting what they deserve in payment for it.

Kenzie will be trying very hard to win the contest for the country with that being on the minds of the delegation come the day we go live in Phoda.

After certains performed on the stage about their love for thicc thighs, it was now time for Estogium to perform - much to the relief for those watching the WorldVision Song Contest for more serious reasons. Kenzie Eleén, who had been through this process two times before, was more than ready to get herself ready to get on the stage for her upcoming performance. The audience loudly cheered for her as her postcard started playing. She slowly walked onto the stage in a dress which was tight fitting at the top but as it got past her waist, it was quite flowy and let loose - a dress that you could see from rather far away in the arena. That was the desired effect.

In terms of the staging of the entry, it wasn't much that was on the stage a part from a large box in which she could go into with LEDs making up the cube - think Melfest 2019. At first she wasn't standing in the box or anything - she was off to the side of the stage. On the further end of the stage was a man who was sitting down on the top of the cube but his face wasn't lit at all. The sound of the audience came back in once again as the postcard finished. We were now ready for the performance from Estogium…

You sit
Look pretty, high on the pedestal
Looking down on the rest of us,
You enjoying the view?

Oh yeah,
Oh yeah, you think you got this all sussed out?
You think that you are two steps in front of us,
It’s the blind leading the… blind, yeah

The camera followed her as she walked on to the main bit of the stage. She looked into the camera as she started to walk toward the cube that was lit in neon pink which radiated its colour in the arena. As she walked further towards the middle of the stage, a single spotlight followed the woman. Though, as soon as she got to the pre-chorus of the song, she had reached the neon-pink cube that was standing in the middle of the stage. Another camera from a different angle in the arena caught her as she touched the neon cube, zooming outwards from where he hand touched the cube. At this point the main who was sitting on the cube was still sitting there with his being visible as the camera moved outwards.

For too long now you’ve been taking the easy route,
You thought I didn’t know, but oh boy, you thought wrong

As the music starting getting thicker in texture, the neon pink cube starting flashing on and off along with flashing strobing white lights that came from the rear end of the stage. She moved herself into the middle of th cube with the camera quickly panning from left to right before tilting upwards to the man who was sitting on the cube, dangling his legs down. The screens behind were showing slow motion pictures of Kenzie turning to and from the camera very faintly, with each of her images overlapping one another. It was now now time for the first chorus of the song and as it was time for that, she took a deep breath in. The lights reacted to the best of the drum as the camera zoomed far out as she took a power stance as her face on the screen behind her disappeared leaving a silver glossy effect on the screens behind her.

It’s your final chance,
There’s no redo, no replay.
Make a decision,
What move do you think that you’ll make?

This is not a game,
No; do not make your choice with haste.
So do take your time,
‘Cuz it’s your life that’s on the line.

Your life that’s on the line
Your life that’s on the line
Your life that’s on the line
It’s your llife that’s on the line

During the chorus, the cameras were going crazy in the arena as we swooped from one side of the arena to the next - going on and down, having aerial shots of what was happening on the stage...the whole shebang. The grey gloss on the LED screens were there with her face being plastered on them across the screens around the arena. As Kenzie started to repeat the phrase at the end of the chorus, plumes of fire stated being shot from the stage but this was short lived as we had to go back into the second verse of the song. Things started to become much more mellow now that we were going into the second verse.

The man on the cube had, by this time, jumped down and stood himself in the middle of the cube. He was a tall man, shadowing Kenzie. She placed her hand on his chest as she continued to sing the song relating to the next line she sings...

Heart Rate, I can see yours rising through the roof
You’re getting nervous, I’m not sorry
I’m enjoying your face

Oh yeah,
No, don’t even apologise to me now
I’m tired of you making mistakes so
So now it’s all over...

Throughout the verse, Kenzie would trace her hand down the man's torso and face, especially his cheeks and chin covered by his stubble which while it looked rough and ready, looked classy and sophisticated as well. There were slow camera movements during this section of the song as the pink neon cube wasn't as radiant as it once was and the moment, RVC wanted to feel intense between Kenzie and this mystery man who could be the person Kenzie is speaking about but who knows?

Though this all were to change as we head into the pre-chorus of the song once again...

Yeah, Yeah yeah!
For too long now you’ve been taking the easy route,
You thought I didn’t know, but oh boy, you thought wrong

Similarly to the first pre-chorus, the strobing lights started to flash with the screen also going off again. At this point, she strongly turned around to face the audience, and as she did this, the man who was faced in front of her took his position behind her but off to her side. She smiled and looked up at the man as she sang the last line of the pre-chorus, "You thought wrong" and as she did sing this part, he looked down at her.

As the drums came in once again, the shot that was on them came from directly above them as we went into the chorus of the song once again...

It’s your final chance,
There’s no redo, no replay.
Make a decision,
What move do you think that you’ll make?

This is not a game,
No; do not make your choice with haste.
So do take your time,
‘Cuz it’s your life that’s on the line.

Your life that’s on the line
Your life that’s on the line
Your life that’s on the line
It’s your life that’s on the line

Kenzie held out her hand while she was in the cube as the mysterious man walked away into the distance. The camera focuses on Kenzie's side as she lets the man go...

Your life that’s on the line
Your life that’s on the line
Your life that’s on the line
It’s your life that’s on the line

For too long now you’ve been taking the easy route,
You thought I didn’t know, but oh boy, you thought wrong

It’s your final chance,
There’s no redo, no replay.
Make a decision,
What move do you think that you’ll make?

This is not a game,
No; do not make your choice with haste.
So do take your time,
‘Cuz it’s your life that’s on the line.

Before the end of the song, sparklers shot into the air and the golden shower fell behind Kenzie as the stage turned into gold from all of the pyrotechnics. Kenzie sung here with power...

Your life that’s on the line
Your life that’s on the line
Your life that’s on the line
It’s your life that’s on the line

Your life that’s on the line
Your life that’s on the line
Your life that’s on the line
It’s your life that’s on the line

Kenzie Eléen held the pose as the song finished. The audience came in with an almighty roar at the end. A smile grew on Kenzie's face, as she took a bow and addressed the audience, "Thank you all very much, I loved it!" she said as she started to walk off the stage, ready for the next act from Todlichebujoku.

by **Todlichebujoku** » Sun Jan 26, 2020 10:09 pm

24. _Tödlichebujoku_

Tune: Zayde Wolf x NEONI - Oblivion

Padostakaa (Surrender)
Kaapo Séélinen ft. DUYVIYÁ

Having both participated in WHF, Kaapo Séélinen and DUYVIYÁ already had a connection prior to collaborating on a new song. While Kaapo had managed to place 3rd in WHF42, the DUYVIYÁ project only managed to hit 6th with composer Kai Unruh in the Orchestral special edition of WHF46 in Izmedu. At a recent WHF event, Kaapo and the duo behind DUYVIYÁ, Miškee Laukkanen and Isamu Liepinši, recognized one another and quickly bonded over similar music tastes. While working on their new single, TÖBUK caught wind of the upcoming collaboration, and with the cooperation of Estegoa100 in the midst of the Sinun Valintasi: Starfall preparations, the broadcaster was able to arrange for the inclusion of the two artists into the running for the Tödlichebujoki entry for WorldVision 79. Of course, as life would have it, a complex mix of events would keep their WorldVision performance a questionable potentiality rather than a certainty. First, the band Ī ASTOLES had managed to gain the TÖBUK WV committee's first choice over Kaapo and DUYVIYÁ, but almost as quickly as they had risen into prominence, they were forced to withdraw due to the release of an updated schedule that conflicted with WorldVision. By then, Kaapo and DUYVIYÁ had assumed that Ī ASTOLES would go through with the performance, and so were blindsided when TÖBUK contacted them while they had already booked some engagements. The band Táüsikuu Táhdet was soon chosen instead, but a week later an emergency situation kept them from following through with the WorldVision entry. Serendipitously, the events that Kaapo and DUYVIYÁ had scheduled ended up being canceled, and so they were able to answer TÖBUK's call and perform at WorldVision 79 in Phoda.

The stage is steeped in darkness, only the faintest glow of a fluctuating deep azure appears along the stage edge. The camera view rises to reveal a row of silhouettes lit from behind in a deep orange light. Miškee stands in the center, raised atop a platform, with two backing singers behind on each side of her. Their dresses glow in the backlighting as if aflame, folds of cloth rippling in a light breeze, as a low wall of fire erupts along the entirety of the stage edge

Oooh…
Padostakaa
Surrender

Oooh…
Padostakaa
Surrender

A red light shines upon Miškee as she begins to sing, the light twinkling off a slender tiara. Her dress appears almost ragged, as if torn by fighting, and almost blood-red in the shifting light. With a shaky, vulnerable gaze, she looks to the camera

We fall apart in threes
We're shunned from above
Fire burns what we breathe
There's never enough

From the end of the projecting platform, Kaapo is illuminated in a gold orange light, in a driftwood crown and a well-worn and slashed leather tunic. He turns toward Miškee and joins her in song, slowly striding in her direction amongst the flames

But soft mud will freeze
While the ash turns to snow
Your tide's in retreat
Dievai panoreīo
Deī voluērunt/The gods have willed

The focus turns back to Miškee as she gestures outward, the wind reversing and blowing her dress in front of her, the flames blowing out as the air grows heavy with smoke for a moment, the spotlights visible as beams through the air, shifting from red to white. Ashen particles begin to be visible in the air

Voin náhdá loppu, ooh
I can see the end

Peráánüitte, tai kuolkaa, ooh
Retreat, or die

Ya seisokaamme taas, ooh
And let us stand again

Miškee is lowered to the floor of the stage, where Kaapo meets her, and the two singers circle one another, keeping eye contact amidst the falling ash, the camera view rotating around them in pace

Nüt soitan sulle...
Now I call to you

Nüt sanon sulle…
Now I say to you

Miškee and Kaapo grab one another by the arm, then swing around so that they are back to back, the camera at an angle that contrasts their spotlit faces against the darkness behind, ashflakes- or are they now snowflakes? - wafting down around them

Padostakaa
Surrender

Padostakaa
Surrender

Live to fight another day, oh

Padostakaa
Surrender

Padostakaa
Surrender

Doesn't matter if you're right or wrong
Nüt sanon sulle, sanon sulle
Now I say to you, I say to you

Padostakaa
Surrender

4 dancers dressed as soldiers appear around the two, sparring in and around them, fires re-igniting spottily before being smothered by wind and snowflakes. Whirling through the scene, the camera manages to keep a direct line of sight toward Miškee, who never ceases to keep eye contact, Kaapo choreographed so that the two are once again back to back when he sings with her

Searching through the smoke (searching through the smoke)
Yearning for sleep (yearning for sleep)
I ache for the end
Aching for the end
So hard to breathe (Oh)

Now more steadily back to back, the soldiers fighting around them, the two lock arms and gaze up to the heavens. As they do so, camera rotates around the group, focusing down upon them from above, a trace of snow/ash accumulating in their hair and crowns

"Dievams ir Tēvīnei," ooh..
Prō Deīs et Patriae/"For the Gods and the Country"

Avkoimsi usumsille, ooh...
A sacrifice to history

Pircēias saugoiasi, ooh...
Caveat emptor/"Buyer beware"

They turn to face each other, eyes locked, the sparring surrounding them becoming utterly unimportant

Nüt soitan sulle...
Now I call to you

Nüt sanon sulle…
Now I say to you

Miškee and Kaapo turn toward the audience and stride down the projecting platform as additional fighting soldiers fall around them and before them, as if wounded or dead, soon accumulating a dusting of snow. As the chorus mounts, the spotlights behind them flash and strobe at various angles, like lighting and divine clashing, the camera at waist level rapidly panning out in front of them along the platform

Padostakaa
Surrender

Padostakaa
Surrender

Live to fight another day, oh
Live to fight another day, oh

Padostakaa
Surrender

Padostakaa
Surrender

Doesn't matter if you're right or wrong
Nüt sanon sulle, sanon sulle
Now I say to you, I say to you

Padostakaa
Surrender

Padostakaa
Surrender

Padostakaa
Surrender

Now at the end of the platform, Miškee and Kaapo face one another once again, surrounded by prostrate bodies and weapons, snow swirling around them and surrounded by darkness. Their expressions now less confident and more vulnerable, contemplative, they gaze into each other's eyes, before turning toward the audience and the camera

Sárkünüt kuu
A shattered moon

Raskas südán
A heavy heart

Padostakaa
Surrender

Külmá tuhka
Cold ash

Mielessáni
In my mind

Padostakaa
Surrender

Kohtalosi
To your fate

Tuntuu yááltá
Feels like ice

Padostakaa
Surrender

Kuolo tulee
Death comes

Ühá uudelleen
Again and again

The lighting switches to a single strong spotlight atop them, before a great flash permeates the entire stage and fire leaps up along the stage edge, three times higher than it was before, as snow suddenly begins to swirl and pile up around the spectacle in a storm of fire and ice. The camera view captures both close shots and more distant oblique shots that capture the strobing lights in the background, imitating lightning

Padostakaa
Surrender

Padostakaa
Surrender

Live to fight another day, oh
Fight another day, oh

Padostakaa
Surrender

Padostakaa
Surrender

Doesn't matter if you're right or wrong
Doesn't matter if you're right or wrong
Nüt sanon sulle, sanon sulle
Now I say to you, I say to you

Padostakaa
Surrender

Padostakaa
Surrender

Nüt soitan sulle...
Now I call to you

Padostakaa
Surrender

Padostakaa
Surrender

Nüt sanon sulle…
Now I say to you

Padostakaa
Surrender

The lights flash and fade to darkness

"Thank you so much Phoda!" they shout before exiting the stage.

by **Izmedu** » Mon Jan 27, 2020 2:32 am

25. IZMEDU
Dijana Jurina - No Air
Tune: Tamta - Replay

The pressure was on for Dijana Jurina to deliver.

As a former WorldVision contestant that managed to take her country close to the win back in the 65th WorldVision Song Contest, she knew what that pressure felt like. Back then, performing Zaključan, she was a newer face to the Izmeduan music scene with not much to her name except for a contingent single deal, some immense luck on the road to her first Izmepisma, and hype surrounding her entry that she never quite knew how to reckon with. While coming 2nd in the WorldVision Song Contest was a result that she was more than happy to come home with, she knew that the environment then was much different than the music industry she faced now. In many ways, Dijana turned from the hot new thing to an artist that was slowly turning into a relic. That trajectory was almost a script for most Izmeduan artists that made it into the big time. Yet, for Dijana, what she witnessed was the decline of the kind of Izmeduan pop that she was used to dominating the charts, and the ultimately the slow replacement of a music culture that meant that someone quite like her would find it difficult to succeed in Izmedu now, in an environment where general success was already difficult enough for all artists across all genres.

Dijana represented the kind of straight-up dance pop that was slowly trending out of fashion for both industry insiders and the general populace at large. Though Dijana’s career was able to somewhat thrive with some well-timed singles and releasing a single for an Izmeduan blockbuster, Dijana wasn’t receiving enough material or recording enough that was considered ‘good enough’ to create a full-on album. In the time being since WV65, she’s released moderately successful singles that did not cohere into a campaign for an album or even an extended play. Though her popularity and loyal fanbase ensured that she’d evade the infamous chopping blocks that major Izmeduan labels were prone to do on artists that either did not have a legacy or that weren’t selling well, Dijana found herself cutting it close and having to contend with label executives that weren’t exactly pleased with her career trajectory. Being at ‘one’s full potential’ was a dictum amongst Dijana’s sector of the music industry, and Dijana knew that she wasn’t quite meeting the hopeful and stratospheric expectations of her management team.

However, the declining popularity of the kind of no-frills pop in Izmedu did not help matters, which caused less prime material to record for artists like Dijana. In many ways, she was one of the last vanguards of that kind of music culture that were still active and that could maintain an active fanbase. The new normal for Izmeduan pop was the singer-songwriter model that only came into dominance simply because said model endured for so long that when new fashions fell out of favor, its status as a reliable second paid off to being the rather safe first. Dijana was not that kind of singer-songwriter artist, seeing as she took the kind of path that was better suited for her to sing others’ songs. The norm for her niche in pop was that she would be constantly interacting with groups and committees of songwriters to determine what songs she’d sing and release. For those that made a long career out of that model, if those songs happened to build a decent collection that led to an album, then that was the album. For Dijana, the music was merely one part of the package. There was the looks, the tours, the performances, maintaining a particular image, and brand.

Of course, this model was untenable in the current climate. Though it survives in some form in Izmepisma (where songwriting teams are aplenty), it was becoming more and more common for even dance-pop artists to stake a greater claim on their songs and write/produce those songs themselves. Dijana still stuck to her usual approach, finding what she considered gold in the song that she’d now be taking to the WorldVision Song Contest in Talvezout. She found ‘No Air’ in a stroke of luck when having fruitless arguments and discussions about where to take her style after the latest campaign for her newest single was finished. Though she was going on for more tropical and summer-esque sounds, these songs weren’t precisely sparking her imagination nor setting the charts alight. They were doing modestly, but Dijana was feeling the pressure from ZvizdeZapis to produce some sort of massive success. Following a tense discussion between her and her manager, she knew that she had a night of listening to possible candidates for a new song or a single once more. At the time, she wasn’t getting too many songs or even finding a lot of good demos or instrumentals for songwriters that were hoping for an artist to bite and send a request to record. By that time, the field of possible songwriters was beginning to thin to concerning levels. Additionally, most renowned songwriters were only offering their undesired songs or last pickings for new artists.

Thus, ‘No Air’ was a masterstroke of luck. After months of listening to demos that were merely ‘okay,’ the rough vocal demo of what was then ‘No Air’ was almost a miracle. While the actual composition itself was not in an overtly polished state or was even viable for release, Dijana saw massive potential in what she was hearing. It was the perfect track for a summer release, especially for those seeking a new summer party anthem. It was the kind of straight-up dance pop song that she was looking for. Thus, she immediately forwarded the demo to her management team first to garner their opinions. To her dismay, the demo was met with mixed reactions from her manager and especially the team responsible for managing her brand. With them only musing that ‘it sounded like the typical song we’d find for you.’ She was dismayed, but Dijana couldn’t shake off the hunch that something could arise from the demo she heard. Thus, it was time for her to take matters into her own hands…

She’d have to hope that the star power that she had remaining from years of gigging to WorldVision would be enough to sway the songwriters and producers behind the song. For artists in her niche, it was somewhat rare for them to take creative decisions into their own hands and actively seek out demos on their own. Any decision was made by committee, and barring that, usually songs were sent to singers and their teams to decide on. Dijana sent a message, hoping that things would work out and that the song hasn’t either been discarded or was in the process of being offered to another singer… As luck and fate would have it, Dijana had unintentionally met the songwriting team right where they are. The team behind ‘No Air’ listed Dijana Jurina as one of their top choices to sing the song when the song was ready to be finally shopped to dance-pop artists. This led to ‘No Air’ being shopped early to Dijana, with her going all-in on wanting to record a demo as soon as feasibly possible.

After months of back and forth, the team behind ‘No Air’ were ready to convince Dijana’s management and record label that the song was viable. Again, there was hesitance to declare immediate support, but most parties involved conceded for ‘No Air’ marking Dijana’s next ‘big’ release and comeback single after some time out of the spotlight. Running across Izmepisma happened with good timing when the Dijana’s teams agreed to have ‘No Air’ be the next big Dijana Jurina song. Seeing as the song was much shorter, had quite the hook to it, and was a slam dunk package, Dijana’s manager was the one to suggest to enter the song to see what would come out of it…

The song went from a possible big single come back to undergoing a fever-pitch hype when the song was released to the general public for its original Izmepisma. It was the battle to determine the Izmeduan entry for the 73rd WorldVision Song Contest, and Dijana felt overwhelmed the entire time as the field for this particular edition was hyper-competitive. The entire time, her song was hotly tipped as being guaranteed a top 2 position with the contest favorite and eventual winner, IzaRa’s Jukim-jugre. Across betting circles and Izmepisma-mania, Dijana’s song was hailed as the only one that could possibly pip Jukim-jugre to second. It was then she learned again the strange kind of euphoria that rose out of being in the music industry’s hype machine. From a song she initially intended to be a summer hit she’d promote and comeback to, the prospect of representing Izmedu again was something much larger than her wildest dreams.

As history would have it, Dijana came close, but the attention, hype, and the ethereal nature of IzaRa’s song meant the latter was unstoppable. However, most everyone’s production came true, Dijana was the only entrant to put up a real fight against the juggernaut that was Jukim-jugre. She came a hard-fought second place, and she was offered two options from RTI. She could represent Izmedu in the World Hit Festival, or she could place the song in reserve for a special edition of Izmepisma that would bring back former entrants to sing their songs once more. Though she initially contemplated and even expressed interest in representing Izmedu in the WHF, she ultimately decided for placing her song on reserve. Following No Air’s first Izmepisma, Dijana’s instincts on the song didn’t fade away. In fact, she had a strong developing hunch that one more chance with the song was all she needed.

All that waiting paid off. She came into the new Izmepisma refreshed, much more ready to tackle the performance, and didn’t feel the pressure of needing to look ready under the gaze of a hype machine. Events surrounding RTI (dramatic comebacks, winning WHF49) had eased the attention off from the national final proper. Thus, Dijana walked away with the trophy, having resoundly won Izmepisma and now once more taking up the Izmeduan baton. That was when she felt the pressure once more, the kind of pressure that former Izmeduan entrants can’t quite articulate but know exactly what it is at the vaguest mention of it. Dijana walked into a WorldVision team that was not only filled with new faces, but new challenges to meet with trying to re-establish the country’s trajectory once more.

For Dijana, it was not only a comeback to the music scene in general, but it was also showing that Izmedu can maintain its participation and success in style.

Her turn was up. She took a deep breath as she walked out into the stage… Her body shook with the adrenaline rush she felt long ago when she was performing in Rouen. Her stay in Phoda, Talvezout, reminded Dijana how much she missed international travel and performance.

Multiple rehearsals, talks with the staging team, and two Izmepismas later… Here she was, ready to perform.

Stage lights billowed down to the center of the Campo B stadium, flashing a brilliant white before simmering down to a total darkness. Seeing as the song was more of a dance-pop affair, RTI elected not to use the house band or the orchestra on offer and would be presenting the instrumental on playback. Dijana was situated at the middle of the stage, hands on her hip and trying to get through the latent anxiety that surrounded any performance. With 95,000 people and the multiverse on her eyes, the surreal feeling of that large of an audience had now hit her full force beyond just putting in work on the rehearsals day in and day out. She took a deep breath as she waited for the cue in her in-ear and hearing the faintest sound of the background music. As she heard the faintest sounds of the song’s intro beginning, she knew it was go-time…

The arena was teased with the appearance of blue and purple light streaks, appearing almost like strobes and giving off a dim nightclub-esque appearance to the stadium. The production was first soft, sounding vaguely in the territory of a tropical dance song. Each strobe was timed to the music’s notes, and the cameras would switch angles at each note. These angles would show brief shots of Dijana standing in the center of the stage, hands on her hip, and standing with poise. She looked almost like a statue for the song’s brief intro, with the camera moving ever so closer and her not even batting an eye. As soon as the song neared the point where Dijana would need to sing, a spotlight quickly shone on her as the blue and purple light streaks quickly receded. Dijana would catch the camera with a wink, revealing that she’d be singing the song through a headset. After that brief moment, it was time for Dijana to sing the first verse…

Baby I’m wanting, no one’s here but you and I
I see that look in your eyes, yeah
I’m not playing your fool
So tell me what you really want
Don’t play coy and string me along

In this first verse, the camera would often emphasize close shots of her and leave the stage in relative darkness. Appropriately, the production was sparse and Dijana played to the camera. In this case, she was more than happy to make the audience at home feeling like the ones they were being addressed to. She would slowly and seductively slink one arm to the cameras, walk and move with a deliberate pace, and ultimately set a sexy mood for the performance and entry. Her eyes smoldered with lust and wanting for the person she was singing to. At the end of the second line, the production would ramp up just slightly with the addition of a new beat in the background. Purple streaks of light in the background would pulse to that beat as the camera angles began to increase in variety. Dijana would take each step and movement to the beat. At some parts, her eyes would ‘catch’ the camera with perfect timing for some beats. The camera would close up on her on the last line of the first verse, and there wasn’t going to be much time to rest after this as the pre-chorus would start soon after…

Hands on my body, hands on my body
Don’t leave me hanging here
You’re all I wanna see, You’re all I wanna have
You’re leaving me breathless
Right at the tip of my tongue
Is what I really want
You, getting too hard to breathe
Around you I got no air

The camera suddenly switched to a wide, upwards sweeping view of the Campo B stadium’s stage as the lights flashed a brilliant white at the advent of the pre-chorus. The camera would move upwards, timed to the song’s production shifting, and the bright lights would eventually fade to a stage that was lit up in a mix of purple and blue. The stage set-up was now revealed in full for the viewers both in the audience and at home. The permanent background to the song was a host of purple and blue neon lines and designs that deliberately invoked the scene of a nightclub. As Dijana sang, neon red lights would occasionally resonate through the design. Behind her, four male, well-built dancers would slowly walk behind her. One of those dancers would approach Dijana directly as the cameras would take closer views of her. The production made it clear that the song was building up to something. Dijana wasn’t surprised by the dancer’s appearance, nor when they would begin to get intimate. As the song’s pre-chorus would quickly progress to its end, she would practically beckon the dancer to get closer to her. They’d both begin to lay their hands on each other’s sides, though Dijana would fix her attention on the audience. Dijana’s eyes were closed, her face etched with pleasure, and her hands were on her dancer’s hands as the song’s pre-chorus was nearing its end. She arched her head back at the third-to-last line of the pre-chorus, and the cameras were especially having their fun throughout this part. They would take much more dynamic views of the interactions between Dijana and her dancer. At the final line, Dijana caught the camera with her eyes once more. The stage would temporarily darken for that brief moment, and she sang that final pre-chorus line with a wink.

No air, no air, no air, yeah
Around you I got no air
No air, no air, no air, yeah

At the chorus and dance break, Dijana and her dancers would quickly get wide V-line formation. The neon lights around them pulsed to the production’s beat as they swayed their bodies for the first part of the dance break. Dijana and her dancers would slowly sway for the first part, doing so once to the left, and then once on the right. As soon as Dijana sang the song’s refrain, they would strut and jut their shoulders and chest out while doing a slight squat, doing so 3 times for each repetition of the song’s title. After that, she and her dancers would sway their bodies once more as previously, but they would inch closer to Dijana. At the line reprising the final line of the pre-chorus, the dancers would be a single-line formation that saw the camera take a quick dutch angle. The camera effects would blur and hyper-focus on Dijana quickly, signaling to the viewers that this was a quick post-production technique. After that brief moment was finished, they quickly went back into that regular V-line formation. This time, the choreography was a touch more intricate, involving quick foot motions and more aggressive body movements. This choreography would continue after Dijana repeated the song’s title three more times. They’d move and swing their arms left and right, gyrate and sway, and ultimately inch closer together as the song approached the end of the pre-chorus. The neon lights around them would pulse to an intense degree to the production, sometimes causing the dancers to resonate with the purple and blue colors. Once this part of the song was complete, there was a quick transition to the next verse as the focus re-centered back on Dijana.

We’re only just startin’
Don’t stop this burning passion
I can keep this up all night long, yeah yeah
Just one look from you and I’m caught
You move that body of yours babe
And I’m too weak to resist you

For the second verse, the focus returned back on Dijana as she would mostly be interacted with one dancer. The proceedings returned back to a sultry intimacy that evoked the atmosphere of the first verse. Suitably, the light and color configuration would change slightly. The color palette would be primarily a warm and pink red with signs of purple details. The cameras would circle around Dijana and her dancer as she sang this verse. She’d make suggestive move towards the dancer, at times grabbing his shirt’s collar as he would move closer towards her. Each movement she made was timed to the vocal tics to the song, which each part of the choreography reflective of those movements. They both would caress and look at each other with lustful looks. At the second half of the song, she would begin to direct her energy to the dancer even more directly. As instead of looking at the audience, she would be looking at her dancer instead. True to the song’s lyrics, the dancer would begin to seduce and react to Dijana’s singing. At the fifth line, the dancer would sway and writhe his body, with the direct intent to have Dijana’s eyes on him. Dijana looked ready to accept what the man was offering her, at that, she took him in even closer and looked back at the audience with a flash. She was holding the dancer’s hands as he was holding her stomach, as her other hand was holding the dancer’s shoulders. The second verse had a quick end, as there was no time to rest as the pre-chorus appeared once more…

Hands on my body, hands on my body
Don’t leave me hanging here
You’re all I wanna see, You’re all I wanna have
You’re leaving me breathless
Right at the tip of my tongue
Is what I really want
You, getting too hard to breathe
Around you I got no air

The first half of this pre-chorus saw a reprise of the effects from earlier. A brilliant white once more flashed through the Campo B stadium. However, the light effects would quickly revert back to the warm red and purple color palette that dominated the song. The camera would adopt a similar angle from earlier, using a lightly edited version of the choreographed camera rig that involved the camera moving upwards as the lights would flash. However, as the dancers were now present with Dijana, there were some slight changes to the routine. Throughout the first half of the pre-chorus, the rest of the dance troupe would slowly slink closer to Dijana as she mostly stayed stationary. She'd dart her eyes to some of the dances, beckoning them to move closer to her as she'd entreat them with the song's lyrics. The cameras would then switch to closer views of them, especially when the song went to the second half of its pre-chorus. The dancers would remain close by her, moving their bodies to the beat that was developing in the instrumental. They would then surround her as the pre-chorus progressed, two of them crouching down right in front of them and the other two being right behind her, with Dijana as the center-piece. Her eyes were closed and her face radiated the expression of someone in pleasure. The camera would cut to close up views of each dancer at the final three lines of the pre-chorus. At the very final line, the attention was on Dijana. The stadium would darken for just a few seconds at the brief interim the final line provided. White lights would flash frenetically for a few seconds as the song would transition quickly to its next part.

No air, no air, no air, yeah
Around you I got no air
No air, no air, no air, yeah

The Campo B stadium returned to the stage set-up's red and purple light configuration. For the dance break and the chorus, Dijana and her dancers repeated much of the same choreography from body sways to shoulder thrusts. However, the choreography for the first half of the dance break was a much more intense repetition of it, with the dancers putting much more heft and even some slight raunchyness into the routine. Instead of going into a V formation, Dijana was instead surrounded by her dancers, with some of them even performing a version of the choreography while squatting. After the first refrain of the song's title, Dijana would make a dramatic swipe to get the dancers back into a tight V line formation. For the rest of the dance break, they would perform a tight and intricate choreography to the beat, with enough motion to ensure it didn't look static, while not overly strenuous to the point where Dijana's vocals would be compromised. The dancers around Dijana would freely switch formations. They would switch from a V line formation to surrounding her once more. They would end the chorus with all four dancers on their knees. The lights would darken as the camera switched from frenetic views to a close-up view of Dijana. It was time for the bridge, and the very build-up that would lead to the last minute of the song...

Just one look from you and I’m caught
You move that body of yours
And I’m too weak to resist you
Hands on my body, hands on my body

The bridge was brief, and consisted on select refrains from previous verses. The Campo B stadium lights were completely darkened except for a spotlight on Dijana for this short interlude. The camera also maintained an intimate focus on her, marking a callback to the way the stage was set-up for the song's first verse. Dijana had a look of longing and desire on her expression as she sang these lines. The entire atmosphere around her invoked an image of a place suspended in time, and Dijana was the only one that was moving in it. She would inch closer to the camera, but didn't take a step as a dancer was still right in front of her. The camera would close in on her for the final line, letting out a small glory note. During that note, her hands would be caressing her own body and her eyes were closed. The stadium lights would also be slowly coming back to life at the brief interim between this bridge and the final chorus. The camera would be whizzing between views of Dijana, the audience, and the stadium at large as the song was preparing its final minute. When the production saw signs of returning, the camera immediately went back to a shot of Dijana and the dancers at the ready. They were now in a line formation, just in time for the final chorus to hit...

Hands on my body, hands on my body
Don’t leave me hanging here
You’re all I wanna see, You’re all I wanna have
You’re leaving me breathless
Right at the tip of my tongue
Is what I really want
You, getting too hard to breathe
Around you I got no air

The final chorus started off with a slight difference from the other ones. Instead of letting up with a production that was building to a dance break, it would first start off with a series of staccato-esque beats at the first line. During those beats, sparks would be launched from receptacles on the stage floors, ones that would light up the stage alongside the red and purple stage light configuration returning. The neon light patterns would pulse as Dijana and her dancers would continue their routine. This pre-chorus was now a proper chorus, with the choreography being far more freestyle while remaining coordinated. The camera's focus was closer views of Dijana and her dancers, with slow-mo effects being applied at certain lines to accentuate the nightclub-esque patterns. These slow-mo effects were brief, only being applied to the point where one would need to be observing closely to notice that they happened. At this point, they were grooving and having fun, letting go of any inhibition and sense of trying to 'perfect' a performance. The second half of this chorus saw them returning back to a more coordinated choreography and the camera taking wider views of the stage. Dijana would remain somewhat more stationary as she would let out another glory note. The camera closed in on her as she belted out the third-to-last line, timed to the dancers now getting into a line formation. The pulses would stop just before the last line, and Dijana would sing that part with gusto. She was ready to leap into the closing moments of the song, then securing both hands on her hips and preparing for the final bit of choreography to close out the song.

(‘Round you I got) no air, no air, no air, yeah
Yeah, yeah
Around you I got no air

Dijana and her dancers would repeat the choreography they would have for the original choreography for the concluding part of the song. They gave it their all as they moved their bodies in sync, with each camera angle changing for each 'no air.' At the last two lines, Dijana would begin to deviate from the choreography slightly. She would nod to the camera as she sang 'yeah, yeah.' Dijana would then turn around, arms wide for a few seconds before returning one to her side. The dancers surrounding her would continue to dance, not fazed at all by her sudden deviation. At the last line of the song, she would then turn her head around with her back still to the audience, singing the last line of the song simultaneously. The camera would switch to quick close up of her for this moment. As soon as Dijana sang that last word, the lights in the Carpo B stadium would darken, and Dijana's expression was the closing image for the Izmeduan entry.

Dijana was completely breathless when the performance was done. She turned around again to give off a tired but grateful thank you to the crowd.

“Hvala vam puno!” she tried to shout. She held out her chest and blew kisses to the crowd.

There was the pressure from performing, but what came after? All of the excitement? Seeing that many people cheer and the high from realizing you've performed for that large of a multiversal audience?

That was priceless. For Dijana, experiencing this euphoria again was the reward.

by **Kalosia** » Mon Jan 27, 2020 5:39 am

26
Kalosia
Glow — C-Gull
performed in English to the tune of Breathing Fire — Bad Child

Following Zlato's win last edition, all eyes were on Kalosia. What could the island nation possibly send next in an attempt to one-up the greatness they had just won with?

Kristianu Gulini is a 22 year old Kalosian musician. He sings in English. Like Zlato, his work could be described as rather experimental.

Rumour was that C-Gull (Kristianu's stage name) wasn't the first pick for this edition's contest, and that a better-known female star had initially accepted the offer before having to withdraw at the last minute due to personal issues that required greater attention. Regardless, C-Gull was announced as the Kalosian entrant for WV79 by RTVK.

Given the daunting task of trying to generate mass appeal among thousands of viewers across several nations, the song that C-Gull will sing, Glow, is more pop-oriented than his more experimental pieces. It is rather short, clocking in at 2 minutes and 36 seconds, but his other pieces are known to be at around this length. Lyrically, Glow is all about not giving up.

The outfit C-Gull wore for the event was very streetwear influenced, pairing a black leather jacket with ripped black jeans.

The song began. As he walked onto the stage, it was full of smoke and the light that had been scattered by the smoke was white. He sung a few lines of "Oh yeah!" which made him noticed on stage. He made it past the smoke to a small spot in the front of the stage that was clear, where he would sing from.

I can’t look through all the smoke
Feels like winds of fate have spoke
In my heart, I see your glow
Won’t give up, I can control

The light turned red, creating a warm glow (though some people would compare the resulting visual to the sensation of being trapped in smoke during a fire).

Feel me baby, see the glow
Maintain your presence, set the tone
Yeah slow and steady, stay afloat
Just keep in mind, you’re not alone, alone

Gotta keep on breathin’
We can’t stop believin’
Gotta keep on breathin’
We can’t stop believin’

The lights faded a bit, but started to kinda flash to the beat, creating a more dynamic atmosphere than previously. You could start to hear that C-Gull's voice would build on its energy, as he puts a bit more energy to his singing as the song's momentum builds up.

If it ends, what will we show?
Life’s too big for us to know
Feel me baby, see the glow
Don’t go! Keep in mind you’re not alone

The flashes became a bit more dynamic, as if there was a thunderstorm with red lightning in the cloud of smoke behind C-Gull.

Gotta keep on breathin’
We can’t stop believin’
Gotta keep on breathin’
We can’t stop believin’

With one more chorus to go, C-Gull gives it his all into the performance.

Gotta keep on breathin’
We can’t stop believin’
Gotta keep on breathin’
We can’t stop believin’

He extends his arms and look upwards (some would joke that his soul was being sucked out) and as the song unwinded, the cloud of smoke quickly disappeared.

The song ended. The crowd cheered. C-Gull bowed and said "Thank you, Gražia Phoda! Never stop believing!" before leaving the stage.

by **Talvezout** » Mon Jan 27, 2020 8:04 pm

WIP, but the interval act should be posted up here soon! start voting now!

by **Amuaplye** » Tue Jan 28, 2020 2:21 pm

12 - Todlichebujoku
10 - Elejamie
8 - Talvezout
7 - Achaean Republic
6 - Estogium
5 - Ertzei Kishim
4 - Polkopia
3 - Kalosia
2 - Izmedu
1 - Malta Comino Gozo

by **Mister X** » Tue Jan 28, 2020 2:25 pm

by **Estogium** » Tue Jan 28, 2020 2:25 pm

12 Izmedu
10 Achaean Republic
8 Todlichebujoku
7 Kalosia
6 Amuaplye
5 Axuva
4 Hlhata States
3 Indo States
2 Polkopia
1 Talvezout

Thanks

Edit: Todlichebujoku receives 8 instead of Izmedu twice.

by **Elejamie** » Tue Jan 28, 2020 2:26 pm

Hello Phoda, this Elejamie calling. I'm Ryan Burns, aka the only one of Eterna to be free enough to give out the points, given that Bernard's performing abroad and Mike's currently occupied with band work. Not sure what else to do here, since other than the one time I don't really bother with the WorldVision, so I'm going to give the votes now. *as the 1s-7s appear to the side, he points over at them* See, the ones I don't have to say are showing up now.

Saint Bernards
Beepee
Nekoni
Kalosia
Vartugia
Amuaplye
Achaean Republic

Onto the big three. Eight points now, I believe. They're going to Mister X.

Ten points go to Malta Comino Gozo.

And, finally, the twelve points go to Talvezout. Thank you, good night and good luck to everyone.

by **The Hlhata States** » Tue Jan 28, 2020 2:32 pm

wow ccool best ed sinse whf69 :clap:

12 - Indo States
10 - Nahlcomo
8 - Vartugia
7 - Todlichebujoku
6 - Missus X
5 - Talvezout
4 - Izmedu
3 - Wazekia
2 - Estogium
1 - Not Fatiman Federation

by **Indo States** » Tue Jan 28, 2020 3:46 pm

Rosé: Good Morning From Fatimania and Welcome to Talvezout Again, This is me again, Rosé Alleynné Spartoff-Canetté. We're not to Comment Again as the RTV Team Finishes the 1st Part of the Commentary and make the 2nd One. So, Voting. Votes is in your right of your Screen.

FATIMAN FEDERATION (INDO STATES):
1. Izmedu (12)
2. Kalosia (10)
3. Estogium (8)
4. Todlichebujoku (7)
5. Vartugia (6)
6. Axuva (5)
7. Wazekia (4)
8. The Hlhalta States (3)
9. Not Fatiman Federation (2)
10. Nahlcomo (1)

NOT FATIMANIAN FEDERATION:
1. Vartugia (12)
2. The Hlhalta States (10)
3. Nahlcomo (8)
4. Missus X (7)
5. Amuaplye (6)
6. Fatiman Federation (5)
7. Estogium (4)
8. Todlichebujoku (3)
9. Talvezout (2)
10. Axuva (1)

Otherwise for the Puppet, Not Fatimanian Federation, Votes in your left of your screen. That's the End of our Voting, Stay Tuned for 2nd Part of the Commentary and Adios Baby.

by **Beepee** » Tue Jan 28, 2020 7:57 pm

Good Evening Talvezout, this is Beepee calling.

We would like to thank you for a wonderful show tonight. As you know this is Beepee's first entry into Worldvision and we are delighted to be part of this great family.

So here are the results of the Beepeean Jury:

1 point to Kalosia
2 points to Wazekia
3 points to... you, our wonderful hosts, Talvezout
4 points to Saint Bernards
5 points to Ertzei Kishim
6 points to Malta Comino Gozo
7 points to Achaean Republic

And now

Our eight points go to....
Izmedu

10 points from Beepee goes to ...
Nekoni

And Finally, our twelve points go to...
Polkopia.

That completes the results of the Beepeean jury. Thank you.

by **Missus X** » Tue Jan 28, 2020 8:10 pm

by **Vartugia** » Wed Jan 29, 2020 11:24 am

12 - Missus X
10 - Indo States
8 - Nahlcomo

7 - Not Fatiman Federation
6 - Talvevout
5 - Wazekia
4 - Todlichebujoku
3 - Axuva
32 - Elejamie
1 - Izmedu

by **Polkopia** » Wed Jan 29, 2020 2:51 pm

1 point: Izmedu
2 points: Elejamie
3 points: Talvezout
4 points: Amuaplye
5 points: Malta Comino Gozo
6 points: Ertzei Kishim
7 points: Mister X

8 points: Todlichebujoku
10 points: Achaean Republic
12 points: Estogium

by **Malta Comino Gozo** » Wed Jan 29, 2020 3:16 pm

Good Evening World, Hello Talvezout this is Malta Comino Gozo calling, host nation of WV78

Thank you for a fantastic show,

Here are our first 7 points on your screens

7 Talvezout
6 Estogium
5 Polkopia
4 Achaean Republic
3 Amuapyle
2 Beepee
1 Vartugia

and we have 8 points for...

Our 10 points go to the fantastic

and finally, our 12 points... our 12 points go to a fellow island nation

Thank you and goodnight

by **Saint Bernards** » Wed Jan 29, 2020 10:23 pm

BernardeanTV SAINT BERNARD’S CONNECTION WITH THE WORLD

THE DEBUT CALL:79

Entertainment Reporter, Leah Beadie, presents our debut on WorldVision 79 to the locals.

Hey chickos and mans! Hope you’re having a good time because he’ll yes I am! Ain’t no party like an after show party! Obviously with the man himself, Carter Martinet! Woooooooooooo! That’s right, you know da boy. Sorry to put yas in a more of a downbeat mood, but the rumours go-long saying dat Cartie’s beauty and art, a thing that screams antem’ to us, was called stat’ like “kidnapper-like” or “I’m going to kill you. That sorta vibe. Anyway chickos and mans, me and the professionals cherry picked ‘em all so here we are ready to cast the votes!

Beadie announces the votes.

We have de one point vote, it goes to Mister X!
Two points, double trouble! Here we go, Estogium!
Three points, un, deux, troir! To Wazekia!
Another point more, up to four! Beepee!
It is time to present number five! We give it to Izmedu!
Six! Six! Amuaplye is our pick!
Time for de lucky seven, say Ertzei Kishim!

Eight points, we give it to our lovely hosts, Talvezout!

TEN POINTS, PRESENT IT TO VARTUGIA!

LAST BUT NOT LEAST, TWELVE POINTS WITH DE CATCHY DAMN TUNE THAT I’M STILL HUMMING TO, IT GOES TO MALTA COMINO GOZOOOOOO!

That’s all boys and girls! Beadie-Babe outttt!

by **Achaean Republic** » Thu Jan 30, 2020 8:25 pm

"Buenas noches, Phoda! My name is Alicia Lindes, Miss Acaya 2019! This is Corola calling, and I muchas gracias for such an amazing show. And now, here are the results of the Achaean vote:

1 Axuva
2 Malta Comino Gozo
3 Wazekia
4 Amuaplye
5 Estogium
6 Talvezout
7 Kalosia

8 points to to... Todlichebujoku!

10 points go to... Polkopia!

And finally 12 points, go to...

!

Good night! Gracias!"

by **Wazekia** » Sat Feb 01, 2020 6:50 am

Wazekia Votes

[a picture of Dauma Norslak, a previous Wazekian WorldVision representative appears in King's Square in Ryzap, the Wazekian capital.]

Good Evening, Phoda! Ryzap calling! I have the results of the votes from Wazekia.

Here are the first results of the Wazek vote:

1 point goes to Polkopia
2 points to Ertzei Kishim
3 points to Amuaplye
4 points to Nekoni
5 points to Mister X
6 points to Elejamie
7 points to Todlichebujoku

Now the rest:

by **Ertzei Kishim** » Sat Feb 01, 2020 2:31 pm

EK Votes

1 - Amuaplye
2 - Todlichebujoku
3 - Elejamie
4 - Mister X
5 - Estogium
6 - Polkopia
7 - Izmedu

8 - Achaean Rep.
10 - Kalosia
12 - Talvezout

by **Nekoni** » Sun Feb 02, 2020 3:45 pm

PLACE THINE SEED INTO THINE EAR AND REJOICE FOR HERE COMES THE NEKONI VOTE

PRAISE DONKASSEAU. MORE POINTS PLEASE.

by **Izmedu** » Sun Feb 02, 2020 10:38 pm

Natallija Tomcic, Izmeduan singer

"Dobra vecer Talvezout! Hey Phoda, this is Vodiznad calling. Love y'all, and shout out to the Todlichebujoki boys. Alright, let's get the Izmeduan votes in."

1 point: Mister X
2 points: Vartugia
3 points: Malta Comino Gozo
4 points: Polkopia
5 points: Kalosia
6 points: Talvezout
7 points: Ertzei Kishim

THE 79TH WORLDVISION SONG CONTEST - PHODA, TALVEZOUT

TBA

23 | Estogium | Kenzie Eléen - Final Chance

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