BITC | 81st WorldVision Song Contest | Boschke, Britonisea

by **Britonisea** » Mon Apr 06, 2020 3:00 pm

WELCOME TO THE 81st WORLDVISION SONG CONTEST
WELCOME TO BOSCHKE!
Welcome to Britonisea's fifth hosting of the WorldVision Song Contest, this edition taking place in Boschke. Boschke will be hosting Britonisea's 50th-anniversary edition since joining the WorldVision Song Contest in Celeste, Russadonia, 40th anniversary since our first hosting and win and 30th anniversary since Kyvivre hosted the competition. This is the IC Thead of the competition, where you will be able to find all of the competing entries, any other commentary and finally all of the votes as we find out which nation will become the 81st winner of the WorldVision Song Contest. Here are all the necessary links you'll need...

THE OOC & DISCUSSION THREAD
Updates regarding the contest will be posted here.

THE HOST BID
Here, you can find the successful Britonish bid. The stage details are located here.

80th WORLDVISION SONG CONTEST: Marina Point, Nekoni
Do you need tips? Why not go back in time and look at the awesome WV80 in Marina Point, Nekoni!

THE PLAYLIST
The official playlist of the 81st WorldVision Song Contest can be found here! Please click on it to go to the official WorldVision. Remember, it is likely a listen-a-long will happen straight after the vote lines open.

OPENING ACT // THE ENTRIES

A MESSAGE FROM THE TEAM AT BITC

Dear WorldVision Fans,

The time for Britonisea to host the WorldVision Song Contest has come again - welcome back to our wonderful country. Our hosting of the competition marks the fifth time that we are hosting the competition after a break of fifteen editions. When we hosted back in the 66th WorldVision Song Contest in Telm, it was one of the largest and most remembered editions of the Contest in recent editions and we would love for this upcoming edition to be no different. We will be throwing everything at you this edition to make sure that you get the Britonish experience when participating. For many nations, this edition will be the first time that they will head to Britonisea for the Contest and we would love to make a good impression on them. For nations that have come to Britonisea countless times in the past, this is yet another time we will be seeing you and we cannot wait to welcome you all once again.

For us, the 81st WorldVision Song Contest is a highly important edition. It, of course, marks the 50th anniversary since Britonisea debut at the Contest at the 31st WorldVision Song Contest in Celeste, Russadonia. We believe that more than any competing nation at the 81st WorldVision Song Contest, our journey at the Contest has been one of improvement, rising from the ashses - something that we are proud of. Back at the 31st edition, we came 21st which was penultimate place. Our results remained the same throughout the whole of the decade (except for the 35th and 38th edition where we came 5th) until we hit a new low at the 40th WorldVision Song Contest where we placed 41st. For Britonisea and the broadcaster, that marked the end of that period for us at the WorldVision Song Contest, as we won our first title at the 41st WorldVision Song Contest with Mya Richardson. Our journey has shown nations that anyone is able to do well at the Contest, all it takes is drive, passion and motivation and these are qualities Britons exhibit.

The 81st WorldVision Song Contest is celebrating our successes at the Contest, a cheers to another 50 editions of Britonisea at the Contest, but also, bringing everyone together - no matter the label that is held to a certain country. We cannot wait to celebrate with you.

The team at BITC
Boschke, Britonisea

19:59 (GBK+0)

There was only a minute before the start of the WorldVision Song Contest 81 taking place in the Newbury Park Arena in Boschke. Over 20,000 people were jam-packed in the arena, with all of them taking their final positions before they were to go live in front of tens of nations broadcasting the WorldVision Song Contest. For BITC, they were hoping that this would give them the chance to make WorldVision popular again in Britonisea after recent failing viewership. They think that over 11 million households will be watching the events unfold at the 81st WorldVision Song Contest and they hope that this will keep the viewers coming back for more in other editions. There was a countdown on the screens around the around; 15 seconds left until we go live. The audience counted down, "10...9...", as they all started shouting and screaming. The Britons were very well trained, after having hosted six World Hit Festivals, four WorldVision Song Contests and 25 adult Vha Mehlodhivestoile live shows, the crowd were very used to knowing what was expected of them... #

"2...1...0..."

As the audience cheered, the official ident of the WorldVision Song Contest showed on the screens of the tens of broadcasters of the WorldVision Song Contest with the sound of the audience faintly in the back. Commentators from around the world welcome their viewers to the competition as we move into The Opening Sequence, which is focused on the Britonish performance at the WorldVision Song Contest...

THE OPENING VT
The team at BITC - "Welcome to Boschke"
Tune : Secession Studios - "Darkness of Light"

Opening VT

The Britonish sure do love a dramatic opening VT to set the mood of the competition. This edition, the dramatic opening VT explores the past performances of Britonish acts which will be explained below.

00:00 As the music starts over the roar of the audience, the audience decreases in loudness before Garange L'Iwes showed up on the screen, trying to sing his heart out. At the bottom of the screen, there is an Aston which says "Grange L'Iwes, WorldVision Song Contest 31, 21st 19 points". The picture of Grange L'Iwes was in black and white before he faded away. We then went to Britonisea's second participant in the WorldVision Song Contest in the form of Tess Philippa who represented us with the song, "From A Man (Who Pushed Me Down The Stairs)", a song that would have many reminding them of Eleanora Buckingham's WorldVision fate. Tess placed 26th place with 31 points - another stumble for the Britons at the competition. We then saw picitures of the next two representatives from Britonisea, Neil McGodden and Mister Liamson, both acts placing in the bottom half for Britonisea.

00:16 We then moved to pictures of The Serpentents who represented Britonisea at the 35th and 36th WorldVision Song Contest, with one shot being of them performing with their 5th placing song, "Like A Serpent" before we saw shots of them at the 36th WorldVision Song Contest, crying on the sofas in Greenroom after
their shock 36th placing - a new low for Britonisea. There was a quick close-up of Mini Surrey North, who would one day come back for revenge.

00:24 After the dramatic turn in the music after Mini Surrey-North's close-up, we then saw the next representative grace the stage in the shape of Mya Richardson who scored Britonisea's first 100+ points, coming 5th. She sang her song, "Return" (to the tune of Rhythm Inside), a song that is definitely still mimicked even today. We moved to the infamous appearance of Janet Kraye and the Children of 6B in Rokkestaat, Ekoz where Britonisea scored 41st place - Britonisea's worst placement to date and probably one of the worst - if not, the worst placement of any of the participating nations to this date. We then moved to Mya Richardson's second participation at the contest for the 41st edition which was held in Quickenden. We saw images of her holding up the WorldVision Song Contest trophy, as "Mya Richardson, WorldVision Song Contest 41, 1st 113 points" showed up on the screens.

00:36 It was now the time of Abanta Fonely, Kristine Flack and World Hit Festival winner, Evangeline Hope, to be showed on the screen as we ran through those that represented us at the contest during the 40s. For the start of the decade, the results were the same as Britonisea reached an equilibrium, coming 5th, 5th and 6th over the next three editions Britonisea participated in. But it was now time for the 17th placing from the 46th WorldVision Song Contest in Oreo, which caused a stir in the country with many "I Told You So" trending in Britonisea after many fans weren't happy about the appointment of Leonardo King ft Bianca and Nasha Tants being appointed as the representatives.

00:52 We now move onto Britonisea's second win from Mini Surrey-North who was a part of the girl group, The Serpentent, now going solo. Mini Surrey-North was the first-ever winner of successful television format, Vha Mehlodhivestoile in 2016. "Mini Surrey North, WV47, 1st 139 points" showed up on the screen with the crowd going wild as they watched this. To this date, Mini Surrey-North's win 34 editions ago remains Britonisea's best ever results and biggest points haul too. We move onto Amedeo Arjan who was forgotten amongst many after placing 12th with his song "Parrot-Talk". Popular Justs Prazeres represented Britonisea at the end of the 40s decade with his song, "Liberators", scoring 6th - the best a Britonish male performed at the time.

01:04 It was time for the 50s decade as we saw Tess Philippa once again representing her country with the song, "Overtaking", coming 8th place in what was considered an alright end to Britonisea's WV50 tale. The 51st WorldVision Song Contest saw a return to Britonisea as Britonish well-known star, Rigas Jengiz sent her song "I Will Be Gone", scoring the nation's first of six 2nd place finishes. After taking a break from the 52nd WorldVision Song Contest in Mercedini, it was time for Christen and Florise who represented Britonisea at the 53rd and 54th WorldVision Song Contest, coming 11th and 10th in the competition. Christien's 53rd WorldVision Song Contest performance would be the last time Britonish finished outside of the top 10, with the 19 songs proceeding to manage to keep up Britonisea's bettering appearances.

01:20 As the music reached some sort of climax, we were gifted to the performance of Mehkl Maddox-Ajax who came 9th with his song "I'll Be There". Mehkl Maddox-Ajax remains the only Vha Mehlodhivestoile to go on to not win the WorldVision Song Contest with his 9th place performance being less than favoured by the Britonish. Some Britons remain bitter about that edition, especially as it was one by Eastern neighbour, Nightom. Next up is Sanna with her song "Na Farar". It represents the "middle" for Britonisea at the WorldVision Song Contest. Sanna's song was the first to be sent in Britonish, coming 5th place with 86 points before we head to Britonisea for a third time to Machievelihe for the 57th WorldVision Song Contest where we saw Britonisea's 2nd second place performance with Mello Cinde.

01:28 We then start the 60s with style, with the decade being hailed as Britonisea's with the nation finishing in the top 2 on five out of eight occasions. Mathias Bexley-Durand came 9th at the 61st WorldVision Song Contest with his song, "The Pink Mist" before we moved to the 62nd WorldVision Song Contest where Alisha Hagerty represented Britonisea with the song "Where I Belong" which came 2nd place. The third Britonish win came at the 63rd WorldVision Song Contest when Frida Grover represented us, with her face being shown on the screen. The audience danced in the arena as "Pyro" was played. "Pyro" is the only Britonish language winner (full text) with Vha Mehlodhivestoile winner, Taron Woods sending Britonish with his song, "Cy Ecouto Teuten Vokse" at the 64th WorldVision Song Contest. Both songs came first, with 98 and 117 points respectively. The crowd in the arena roared loudly with the song being heard over the VT. Britonisea's fortunes in the top 2 ended as Sadegh Prazeres, brother of Justs, represented the country with his song, Make Our History" which came 9th place with 70 points.

01:40 As we reached the actual climax of the song, we saw Kelsey Banques appear on the screen with her song, "Run" which came 2nd at the 66th WorldVision Song Contest, Britonisea's 4th hosting. Kelsey scored 129 points which were the highest amount of points since Mini Surrey North. Kelsey, of course, returns to the WorldVision Song Contest in Britonisea this edition. Alyxhia Willis was next up, coming 2nd with her song, "You've Wanted Me", with 96 points. She too, would come back for her revenge in a later contest.

01:48 We then saw a montage of the next few acts before we reached the end...

Suddenly, we went live into the arena in Boschke as the audience cheered one more time. The music for the Parade of Nations began as we were it was time for the Parade of Nations...

THE PARADE OF NATIONS
Thomas Wicks - "The Parade"
Tune : X1 (엑스원) - "Flash (Official Video)"

Thomas Wicks: Upcoming Boschkian DJ, Tom Wicks has been picked to be the official composer for the track behind the Nations Parade at the 81st WorldVision Song Contest.

More nations than expected decided to participate in the 81st WorldVision Song Contest and with the number pushing forty nations - making it the largest contest since the last time Britonisea hosted (where 36 nations posted, 33 nations in total). The Nations Parade has been pushed to its limit. What the producers have decided to do - to make sure that all nations are able to fit in the Parade, they've said that two nations will enter the stage together with one on the left of screen and the other (the nation performing after) on the right of the frame. Britonisea will appear in the Parade of Nations last.

The first acts of the evening to face the wrath of the Britons are Highly Ranked and Scotarova. Highly Ranked decided to send an entry which seemed to be pretty Anti-Britonish and as the group of Dean Boyst look-a-likes walk onto the stage, it seemed as though few members of the audience decided to give them a boo - which isn't usually heard in a Britonish hosting. The camera quickly cut to Scotatrova and the handsome figure of Diego Pousa. Diego walked on the right of the screen as the colours of their national flag showed up on the screen. The jeers slowly turned to cheers as people saw Highly Ranked leave the stage with Scotatrova being the centre of attention. It was soon time for the next two acts.

The two longest participating nations of the WorldVision Song Contest, Polkopia and Kalosia, were next to join the stage. Even though there weren't any rules about social distancing at the time of the 81st WorldVision Song Contest, the Kalosian Delegation requested there be space between the Polkopian and Kalosian act - and all acts for that matter. As the Polkopian act, Bradin, walked onto the stage, she waved to the crowd, to Ǧamilah, and anyone else who was watching, before wrapping up. The once nervous Bradin needed this very moment was what she needed to overcome the nerves she had been feeling before. The audience continued to cheer as Ǧamilah came on the stage wearing this and a face mask which did seem to perplex some members of the audience - it wasn't something they were used to. Some were wondering whether it was part of the Kalosian staging.

Up next to be on the stage are Belgaam and Elejamie - with Belgaam returning after a long hiatus and Elejamie coming back for another stab at the victory. Belgaam was the first to walk on to the stage, a few seconds in front of Elejamie. Maveria walked onto the stage smiling, before - over the music - saying, "Thank you! I love you all so much!" as the act from Elejamie came out onto the stage. They were all wearing the outfits they were going to perform in, which I'll describe in the song proper, although Cate was wearing a pair of black sunglasses as well as a brown suede jacket over her shirt. They didn't really do anything super exciting, merely just smiled waved to the crowd and the cameras. In fact, once they reached a camera at the foot of the catwalk, they stopped moving and Cate made her way to the front (with her sisters stepping aside to let her do so, of course). There, she smiled and waved harder at the camera, saying "Hi mom! Hi dad! Hi Robert!" into it as if it was her first time being on TV. The crowd smiled at the innocence of the group as we move on...

It was then time for Tödlichebujoku and Titaniumland to make their way onto the stage. Both nations were very popular in Britonisea and so as the first of the two nations were announced, Tödlichebujoku, the audience erupted into a huge roar. As group Tulisvi made their way onto the stage, they walked with Chloe from Titaniumland, smiling and waving towards the camera. Chloe too drew in a good reception with many fans in the audience going to her concert in Machievelihe.

Up next is Vartugia and Beepee. As the unnamed Vartugian representative made their way onto the stage, there was a muted response as they smiled and waved their flag. As Beepee walked out onto the stage, Betty Won't made her way on to stage to the sound of some cheers.

by **Britonisea** » Mon Apr 06, 2020 3:15 pm

CHECK OUT THE SONGS
Links to all of the nations' performances...
Playlist (including Opening Acts & Interval)

POSTCARD ALBUM!

01 • Highly Ranked | Highly Ranked
Entry | Vote | Postcard
The You'll Never Call Us Out League sings some home truths with their song "Our Second WV Entry (Hooray!) as Highly Ranked opens the evening of competitive songs in Boschke...

02 • Scotatrova | Ecosieme
Entry | Vote | Postcard
Scotatrova returns to the WorldVision Song Contest here in Boschke with the Scotatrovan language emotional ballad, "Loquo Que Me Fiuse" sung by Diego Pousa.

03 • Polkopia | Polkopieme
Entry | Vote | Postcard
Landa Vy Polkopiya winner, Bradin performs Polkopia's 52nd song, "Alone" at the WorldVision Song Contest as the nation searches for their 10th win...

04 • Kalosia | Kalosieme
Entry | Vote | Postcard
With the most amount of WorldVision participations, Kalosia adds with one more with WorldVision returnee, Ǧamilah with their song "Portami" in the hope to score even better this time around...

05 • Belgaam | Belgaam
Entry | Vote | Postcard
Belgaam returns after a hiatus at the WorldVision Song Contest, coming back with their song "Drowning" which is being sung by Maveria.

06 • Elejamie | Elejamie
Entry | Vote | Postcard
After nearly reaching the podium at the previous edition, Elejamie is back to set things straight with trio, Second Choice, singing "Until The Bitter End", performing in sixth position.

07 • Tödlichebujoku | Todlichebuton
Entry | Vote | Postcard
After missing out on top 2 for last edition for the first time in three editions, Tödlichebujoku returns with a vengeance, with Tulisvi singing the song, "Venom"

08 • Titaniumland| Tytaniuton
Entry | Vote | Postcard
Titaniumland returns to the WorldVision Song Contest, sending international superstar, Chloe Svensson to the Song Contest with her song, "Gone".

09 • Vartugia | Vartugieme
Entry | Vote | Postcard
The infamous Vartugia is back with the song, "I Wanna Marry Rick Leg (Please Be My Husband!)" with a singer that doesn't seem to be mentioned...

10 • Beepee | Bepieme
Entry | Vote | Postcard
We see Beepee return to the WorldVision Song Contest in Boschke, as BBC sends the song "Fight For My Love" by singer, Betty Wont.

11 • Eljida | Eledieme
Entry | Vote | Postcard
Eljida debuts at the WorldVision Song Contest in Boschke, debuting with their song, "Kiç Jultas" which translate to *Little Star*, performed by Tanya Bedar.

12 • Talvezout| Talvezoote
Entry | Vote | Postcard
Talvezout is back at the WorldVision Song Contest...more to come

13 • Nahlcomo | Nahlceton
Entry | Vote | Postcard
Nahlcomo returns to the WorldVision Song Contest with something more serious this time, Massey Massie singing "Say Something New"...

14 • Malta Comino Gozo| Malta Comino Gozo
Entry | Vote | Postcard
After giving the MGGozoans three songs to pick from in Malta Comino Gozo Decides, Lewis Sarucino represents his country with the song "Depths of Nowhere".

15 • Ertzei Kishim | Ertzei Kishim
Entry | Vote | Postcard
Current champions, Ertzei Kishim, are back to defend their title in Boschke, with their song, "Sensibilities" which is being sung by Saseh Kounmourzah.

16 • Ekoz | Ejoka
Entry | Vote | Postcard
After a very long break from the WorldVision Song Contest, Ekoz returns with Hugo Jorgensen. Hugo will be singing the song "One Thing" in the hope to score the nation's first win.

17 • Waisnor | Waisieme
Entry | Vote | Postcard
Waisnor debuts at the WorldVision Song Contest in Boschke, participating with the song, "Ryumka vodki na stole" which is being sung by singer, Efim Subbotin.

18 • Antahbrantahstan| Antahbrantahston
Entry | Vote | Postcard
Priscilla Tavakolian, or PRISCILLA to you and I, represents her country, Antahbrantahstan, with her song, "Strawberry".

19 • Placey Placington | Placey Placington
Entry | Vote | Postcard
Description of act

20 • Besen | Besen
Entry | Vote | Postcard
Besen participates once again at the WorldVision Song Contest, for the first time in our nation, performing the song, "All Along" by Matia Grieswoli.

21 • Axuva | Axuva
Entry | Vote | Postcard
Axuva returns to the WorldVision Song Contest with Melodiya 81 winner Tyra who will sing her winning song, "Started" in Boschke...

22 • Lagoa | Laoton
Entry | Vote | Postcard
Lagoa returns to the WorldVision Song Contest with their song, "Sim" sung by Saição Novômem.

23 • Antenovaria | Antenovarieme
Entry | Vote | Postcard
Antenovaria returns to the WorldVision Song Contest, sending artist, Geneveva Alta who will sing "Dance Right Now".

24 • Izmedu | Izmedu
Entry | Vote | Postcard
The winner of Izmepisma this edition, Jana Jusic will be representing her country with the song, "All They Ever Said Was Sorry" in Boschke.

25 • Mister X | Monserex
Entry | Vote | Postcard
Mister X performs for the 53rd time at the WorldVision Song Contest, sending former winner Filius Deorum, with his song "Touch the Dead of Night".

26 • Britonisea | Brityunik
Entry | Vote | Postcard
Vha Mehlodhivestoile 2020 winner and WorldVision returnee, Kelsey Banques represents the host nation, Britonisea, with her song "Indestructible".

27 • Achaean Republic | Rexubliqye Acaieme
Entry | Vote | Postcard
Controversial Achaean Republic act, Manamma will be representing her nation with the song "Lentamente"

28 • Amuapyle| Amuapieme
Entry | Vote | Postcard
Amuapyle participates at the 81st WorldVision Song Contest, sending returning artist, Jeremy Barker with his song, "Forever".

29 • Darkmania | Darkmanien
Entry | Vote | Postcard
Darkmania sends World Hit Festival 38 in Britonisea winner, Cärtenne Sërnänä with "Naturen`s Sang" hoping she can make it a double win on Britonish soil...

30 • Krytenia| Kritenieme
Entry | Vote | Postcard
Krytenia returns to the WorldVision Song Contest after a hiatus, sending Christopher Williamson with his song, "Fallin'".

31 • Spirtual Republic of Caryton | Rexublique Spiratique Caritieme
Entry | Vote | Postcard
Description of act

32 • Zamboodle| Zamboodle
Entry | Vote | Postcard
"Tomorrow is a Cary Day" is the song which will represent Zamboodle at the 81st WorldVision Song Contest, sung by ZAMBOODLE SUPAH SOLDAHS.

33 • Zentata | Zentatieme
Entry | Vote | Postcard
Zenata makes their big break on the World scene, sending The Woogles, performing their WorldVIsion song, "Song of Serenity".

34 • Natanya | Natoeme
Entry | Vote | Postcard
Description of act

35 • The Hlhata States | V'Etais Hlhata
Entry | Vote | Postcard
The Hlhata States returns to the contest with Martina Damarco singing the song, "Song For A Stupid Heart".

36 • Nacrad| Knacradieme
Entry | Vote | Postcard
Description of act

37 • Estogium | Rwhitton
Entry | Vote | Postcard
Neighbours of the host, Estogium, returns to the WorldVision Song Contest with The Smile Project sending "until your heart's content".

38 • Petroslovania| Petroslavatique
Entry | Vote |Postcard
Petroslovania participates in the WorldVision Song Contest for the first time ever sending The Sausage Cats with the song "Red Wind".

39 • Llalta | Llalta
Entry | Vote | Postcard
Performing last this evening is June Summerfields from Llalta, singing a timeless classic - "Cherish Life"

WorldVision Host Interventions • BITC
The Pre-Party: Part 1 (interviewing Axuva, Besen, Izmedu, Llalta & Todlichebujoku)
The Pre-Party: Part 2 (interviewing Achaean Republic, Britonisea, Malta Comino Gozo & Polkopia)
The Pre-Party: Part 3 (interviewing Titaniumland, Antahbrantahstan, Darkmania & Hafamariet)
Interviews at the Pre-Party that took place in Junterapten amid the rehearsals at the 81st WorldVision Song Contest!

Ekoz • WorldVision: The Reaction (STE)
Part 1
Join Yohanna van Umsaak in Boschke, catching her latest reactions to all the acts of the 81st WorldVision Song Contest!

Talvezout • Odds & Commentary
Betting Odds
Commentary
Join Nina Bo'Nina Gina in Boschke, catching her latest reactions to all the acts of the 81st WorldVision Song Contest!

Elejamie • ETV One Commentary
Part 1
Part 2
ETV1 presents WorldVision 81 - English language commentary by Cerin Erali and Flynn Taggart!

by **Britonisea** » Mon Apr 06, 2020 3:50 pm

At the end of the Parade of Nations, it was time for the Opening Act which would be sung by the hosts of the competition; Jordan Hermes, Mateus Breton and Ria Aristide.

THE OPENING ACT
The Hosts of WorldVision 81 - "Welcome to Boschke"
Tune : Jason Derulo x David Guetta ft Nicki Minaj & Willy William - "Goodbye"

Welcome once again,
We are now together
So let’s celebrate,
Let’s party, let’s dance, let’s go mad

“WorldVision”

Oh it’s eight in the evening,
Sitting right by the TV
It’s WorldVision, you ready?
Pop the corn, pop the cork
Fill my glass with the champagne
Vodka shot, feeling naughty
Wave your flag, patriotic
Gonna have some fun tonight

You down for the fiesta?
(down for the fie-sta ah)
Each song one by one
(song one by one ah)
Up ‘til the morning
(I’m up till the morning)
Come join us, oh!

Oh, welcome once again,
We are now together
So let’s celebrate,
Let’s party, let’s dance, let’s go mad
Welcome to WorldVision
elcome once again,
We are now together
So let’s celebrate,
Let’s party, let’s dance, let’s go mad
So, welcome to Boschke I-

We hot like the Achaeans,
Emosh like Izmeduans
Party hard like Polkopians
Like the drama like we Axuvian
Oui, Oui, Oui
Get the job done like Xians
Si, Si, Si
Still here like the Kalosians
Hej, hej, hej
Hosting like Talvezians
No there ain’t no stopping us

You down for the fiesta?
(down for the fie-sta ah)
Each song one by one
(song one by one ah)
Up ‘til the morning
(I’m up till the morning)
Come join us, oh!

Oh, welcome once again,
We are now together
So let’s celebrate,
Let’s party, let’s dance, let’s go mad
Welcome to WorldVision
Welcome once again,
We are now together
So let’s celebrate,
Let’s party, let’s dance, let’s go mad
So, welcome to Boschke I-

Whether you’re young or you’re old
WorldVision veteran or virgin
Whether you wide or whether you slim
Black or white, no it don’t mean a thing
We invite all of you to our country,
It’s the best thing that you’ll ever see
Come and watch this WorldVision story
The country’s waiting for you viewing
WorldVision? Held here in Boschke
Stay with us tonight, don’t leave your seat no
To be honest, you wouldn’t wanna get up
So entertained, you’ll keep your eyes peeled
Oh yeah

Oh, welcome once again,
We are now together
So let’s celebrate,
Let’s party, let’s dance, let’s go mad
Welcome to WorldVision
Welcome once again,
We are now together
So let’s celebrate,
Let’s party, let’s dance, let’s go mad
So, welcome to Boschke I-

At the end of the song, pyros shot into the air as the three hosts stood centre stage, all trying to catch their breath discreetly. They all smiled at one another before walking out of position having held it for a couple of seconds. As the three hosts walked upstage, holding each other around the waist, the audience reacted by shouting out the names of the host. It was time for the show to begin as we have a little intermission first from the hosts of the 81st WorldVision Song Contest; Mateus Breton, Ria Aristide and Jordan Hermes. The audience calmed down as Jordan started to speak;

The Hosts of the 81st WorldVision Song Contest: Mateus, Ria and Jordan will be taking us through tonight's proceedings...

Jordan Hermes: Thank you all for the warm welcome to the WorldVision stage! Wow! We are finally back in Britonisea and boy does it feel absolutely great!

Ria Aristide: Yes! The WorldVision Song Contest is here in Britonisea for the fifth time, for the first time in Boschke.

Mateus Breton: Wait, guys! We haven’t even said “Good Evening” and we haven’t introduced ourselves. Don’t worry, I’ll start. Good Evening, WorldVision, my name is Mateus Breton…

Ria Aristide: And I am Ria Aristide…

Jordan Hermes: And my name is Jordan Hermes. We are your hosts for the evening, taking you through the ins and outs for the 81st WorldVision Song Contest!

The audience cheers loudly for the hosts, with a long shot of the arena showing the Britonish crowd. Due to the coronavirus, it seemed as though there were less international flags as less internationals flock to Boschke. The camera was focused on the hosts once again.

Jordan Hermes: Bonsoir à tous! Bienvenue à la finale de la quatre-vingt-unième édition concours WorldVision de la chanson!

Mateus Breton: Indeed, welcome to WorldVision Song Contest 81! We are so happy to have you here at the competition.

Ria Aristide: A total of over 30 nations will be broadcasting the event tonight,
with around 30 of the nations participating in the event tonight.

Jordan Hermes: You will have the chance to vote for your favourite song TONIGHT. With the information regarding how to vote showing up on your screen.

XX participating nations: A load of nations will be competing at the 81st WorldVision Song Contest in Boschke tonight ahead of one of the most hotly contested editions in recent memory.

Mateus Breton: If you’d like to vote for your winner, when lines open after all of the acts perform, you’ll need to call or SMS the number at the bottom of your screen, plus the number of the running order position your favourite act is performing in!

Ria Aristide: Please do not vote for your own country and do not vote during the songs or once voting lines have closed as your vote won’t count and you may still be charged.

Jordan Hermes: The 81st WorldVision Song Contest is a critical edition for Britonisea at the WorldVision Song Contest, it marks the 50th edition since we first debuted at the contest.

Ria Aristide: Though, despite it being an important edition for us, we still had to bid for the rights to host the WorldVision Song Contest. It seemed as though our bid did pretty well amongst the voting delegations, with a 94% approval rating.

The audience cheered at the news - it was the highest percentage that a Britonish bid had won with, with many nations supporting Britonisea’s bid to host in Boschke.

Jordan Hermes: Miles better performance than the last time Boschke bid to host the competition! Haha!

Mateus Breton: Indeed! We did everything we could to make sure we hosted - even resurrecting the Junterapten Pre-Party!

Ria Aristide: Oh yes! Mateus will be showing us interviews and clips from fourteen of the participants that travelled to Junterapten for the Pre-Party, as he provides the lowdown and gossip behind the scenes.

Mateus Breton: Very juicy gossip, I tell you that! I am hearing that you guys will be providing statistics about Britonisea at the WorldVision Song Contest as well?

Jordan Hermes: Um yes! We will be giving you all the lowdown on who Britonisea’s friends and who is mugging us right off!

The audience let out a “ooo” sound as the camera flew over them. The camera returns to the hosts as they get ready to send off the first act.

Ria Aritstide: But in order to find out this information, we’ve gotta get through all the performances so I think it’s time to welcome the first act to the stage! Are you ready, guys?

Ria Aristide, Jordan Hermes and Mateus Breton looked to one another before nodding and holding hands with one another. They all smiled and opened their mouths to say…

ALL HOSTS: LET THE WORLDVISION SONG CONTEST BEGIN!

The camera moved outwards before we went into the postcard for the first nation to participate tonight...

by **Highly Ranked** » Mon Apr 06, 2020 4:11 pm

1. HIGHLY RANKED

THE YOU'LL NEVER CALL US OUT LEAGUE - OUR SECOND WV ENTRY (HOORAY!)

Music: Entrant #89
Lyrics: Entrant #16
Tune: Loic Nottet - Rhythm Inside

The You'll Never Call Us Out League is a political union consisting of 5 members, from left to right, Entrant #198, Entrant #89, Entrant #134, Entrant #16, and Entrant #199. They have the faces of Charlie Puth due to ████████████ ████████████ ████████████ ████████████ ████████████ ████████████ ████████████ ████████████ ████████████ ████████████ ████████████ ████████████ ████████████ ████████████ ████████████ ████████████ ████████████ ████████████ ████████████ ████████████ ████████████ ████████████ ████████████ ████████████ ████████████ ████████████ ████████████ ████████████ ████████████ ████████████ ████████████ ████████████ ████████████ ████████████ ████████████ ████████████ ████████████ ████████████ ████████████ ████████████ ████████████ ████████████ ████████████ ████████████ ████████████ ████████████ ████████████ ████████████ ████████████ ████████████ ████████████ ████████████ ████████████ ████████████ ████████████ ████████████ ████████████ ████████████ ████████████ ████████████.

The entry begins with the postcard. It zooms out and fades into the stage showing the 5 members of the League, with 3 men in military uniforms behind them. They are standing in the middle of the stage, the center rising as high as it can go. The music starts to play, but everyone is motionless, save for an extremely wide smile until the vocals kick in.

Listen to the sound of garbage
So bad it makes you lose your mind
The reason juries gave it twelve
Is because they once were on the committee

Entrant #199 picks up a garbage can, and demonstrates what she means by dumping the contents (actual garbage, and several flags, including the Polkopian, Achaean, Todlichebujoku, Britonish, Estogian, Amuaplyean (2 Amuaplyean flags, to be exact), and Kishraeli flags.) all over the audience Some of it lands on the stage, and one of the guards jumps off of the center of the stage, and throws the pieces at the audience, before climbing back on. It it at this point that people realize that everyone except for the guards hadn't blinked once.

Amuaplyeans are the worst
Those terroristic nutcases
If they had won, we'd all be dead

Entrant #█ (Now Prisoner #006759) makes a surprise reappearance, looking extremely gaunt and rather sickly. He carries a large Amuaplyean flag, and raises it over a part of the stage. As soon as the League sings the 2nd line, several sparks shoot out from areas all around the stage, one of them being where the flag was raised over. This causes the flag to burn. 006759 throws the flag behind him with all of his might, merely causing it to land 3 feet behind him.

We need to take it all back, take it back
We need to take it all back right now

The League members still smile and sing, even as one of the guards pushes 006759 off of the platform, landing with a loud thud. The Prisoner would try to get up, but to no avail as the guard watches, an emotionless look on his face.

When this super long verse ends
We'll repeat what we said
The Britonish are too rich
They're too focused on graphics
That common sense now lacks
They are better than Amuaplye
Boasts are better than terrorism

They then are able to magically produce a Britonish flag, which they then toss into a hole near the stage, which has flames shoot out of it after they do so, burning the flag. The Prisoner had also climbed onto it, and nearly got his hair set on fire.

You'll never call us out too

They'd also magically produce a banner, which said "Say something back, you know you want to!" in several languages, including, but not limited to, English, Amuaplyean, Robloxian, Britonish, Polkopian, Esperanto, and Bird. They toss the banner into the audience, it bouncing off of the stands, hitting the prisoner on the head, causing him to fall off and crash into the floor.

Amuaplyeans are the worst
Those terroristic nutcases
If they had won, we'd all be dead

At the end of the second line, as much pyrotechnics are set off as humanly possible, in an attempt to try to bleed the Boschke municipal government dry of money, blind the audience, and to prove a point. Namely, that Amuaplyeans are terroristic pyromaniacs. The guards put on sunglasses, because they are the only ones that deserve eye protection.

We need to take it all back, take it back
We need to take it all back right now

Several Highly Ranked citizens in the audience start to throw their popcorn and cherry cola on the people behind them in the audience, in order to cause a ruckus and make a giant mess. They also start screaming and shouting over other people when they're trying to have a conversation, and sit in other people's seats when they get up, and try to convince them that they had always sat there.

When this super long verse ends
We'll repeat what we said
The Britonish are too rich
They're too focused on graphics
That common sense now lacks
They are better than Amuaplye
Boasts are better than terrorism

They keep true to their word, only repeating earlier parts of the song. Meanwhile, one of the guards starts to read book entitled "English 101: How to Be Fluent in English in 30 Seconds", which is written in French. Another one of the guards chastises him for it, and then tosses the book into the crowd, then pushes him off of the platform.

You'll never call us out too

The banner flutters a little bit due to a wind machine hitting it, but then the wind machine (brought by the Highly Ranked entrants) makes a loud bang, and then starts to smoke and eventually go up in flames, filling the arena with the horrifically disgusting scent of burning plastic.

We need to take it all back, take it back
We need to take it all back right now
We need to take it all back, take it back
We need to take it all back right now
We need to take it all back, take it back
We need to take it all back right now
We need to take it all back, take it back
We need to take it all back right now

The Highly Ranked citizens finally started to calm down after causing complete chaos in the stands, and nearly causing at least 1 bout of fisticuffs before other people calmed everyone down. The guard that was pushed off of the platforms for trying to learn English in the middle of the entry manages to climb back up and pulled the guard that pushed him off to the ground, then let go of the platform, his feet landing on the other guard's face.

When this super long verse ends
We'll repeat what we said
The Britonish are too rich
They're too focused on graphics
That common sense now lacks
They are better than Amuaplye
Boasts are better than terrorism

The 2 guards start to fight, as the 3rd guard watches on, then focuses on the entrants again, who still haven't blinked since the entry began, and with unbroken smiles on their faces. They wave their hands from side to side as they sing this part, suddenly stopping at the end of the verse, with on the entrants yelling: "The Butterscotch YumYums at Carla's Confectionery taste like dog crap!" Before the platform is lowered, and everyone leaves in a single-file line, save for the 2 guards and the prisoner, who follow the 3rd guard in a 2nd line.

by **Scotatrova** » Mon Apr 06, 2020 5:13 pm

2. Scotatrova
Diego Pousa
Loquo Que Me Fiuse
Tune: Gjon's Tears - Repondez-moi

After missing out on the last two editions, Scotatrova returns to the WorldVision Song Contest after its abysmal placing in WorldVision 78. The broadcaster never gave a specific reason to why it withdrew from the 79th WorldVision or why it skipped the 80th contest. Many pointed to possible financial interests that could have led to the decision, while many believe it was due to a lack of interest from the broadcaster, a claimed which has been pushed forward by sources from within the network. Confusion further arose after it was confirmed that Pietro Quesada would be participating in Britonisea's National Final, Vha Mehlodhivestoile. Then shortly after Ertzei Kishim won the 80th WorldVision, the broadcaster had announced Scotatrova's return to the contest, albeit without using the Acteade Scotatrofina eu Cançes as the national selection. After a couple weeks, it was confirmed that Diego Pousa was selected to represent Scotatrova at WorldVision 81. Diego Pousa is a singer-songwriter who hails from the city of Ursand in the Scotatrovian state of Santia. Diego first gained recognition when he participated in the 8th season of La Prósima Estrela, where he finished in third place. From there he would release two studio albums and gain nationwide recognition. "Loquo que me fiuse" was written by Diego himself, and when asked about the song he said "For me, the song talks about what its like to lose that epic love. One day, they're all yours and it seems like nothing could possibly separate them from you...But the truth is, that isn't always the reality. Stuff happens, and you're helpless to stop it. You wish you could have done more to stop it, but there is nothing more that you could have possibly done, and that's when the reality sets in. The signs were there, but you didn't see them in time. The song embodies all the feelings of losing the love of your life, while also remembering all the great times that came with it. You just want to go back to that very first time you met, but sometimes even just wanting is enough. Hoping that you didn't disappoint them, not realizing that they were lost and basically screaming for help. Hoping, that you made it clear just how much you loved them, and loved all the craziness that came with it."

After the postcard introducing Scotatrova came to an end, the camera focused on Diego with a single piano in the center of the stage. Most of the arena was dark, except for two spotlights that shined down upon him. He sat calm and collected, taking some deep breaths as the camera positioned itself and zoomed in closer to his face. He was staring down at the piano in front of him and ran his fingers over the keys as he began to sing.

Ai un nuixa
In one night

Te perthte
I lost you

Diuse bueles
Twice

Ie perthte míe
I lost my

Meichór emige
Best friend

Meichór emige
Best friend

As soon as he finished with the first verse, he gave the camera a quick glance as he continued. He sang with such softness, but the control he had over his voice made it seem as if his voice was resonating throughout the arena. While continuing the song, he looked up at the camera and looked into it with such precision. The camera panned to the right of him to show him visibly pressing the keys. He closed his eyes as he continued through the verse, playing the piano ever so precisely. It was as if playing was second nature to him, it all happened so explicitly, and in his mind there was no room for error. The two spotlights on him remained steady, neither changing just as his posture and expression remained anchored. The stillness in his performance exuded the emotion he was feeling.

Benálu hom
Beautiful as

Le diar que te perthte
The day that I lost you

Comon requodá
How I remember

Et toth lúo
You’re all

Que sempri qüeret
That I ever wanted

Que sempri qüeret
That I ever wanted

The camera then focused on his hands as he played. From there it would keep alternating between his playing and while he was singing. There was an unchanging motion as he played the notes ever so carefully. Even though it seemed as if he was rivited to the performance, in his head it was a different story. He felt completely out of his element here, but he wasn't letting that vulnerability seep into his performance. He channeled all the strength he could to seem fixated on his performance, and the way he played and sung displayed that. His voice continued to keep a steady tone, even though he felt like he just wanted to let it all out.

I’emá lúo loquo
I love how crazy

Que me fiuse
You made me

Emás lúo loquo
You love how crazy

Que me fiuse
You made me

With the finish of the chorus, his tone and posture noticeably changed. You could hear ever slight breaks in his voice as he sang. His shoulders began to slump as the rest of his body straightened. Despite the displacement of his posture, he still kept that same rythym with him as he performed. The look in his eyes also showed someone that was afraid of failure, having already faced it once before. That same person who knew that everything was on the line, and he would do whatever he could to pull through. The camera now closed in on his face, and looking back at it was the face of a man that was going through an emotional rollercoaster inside, but he kept himself calm and collected for the performance.

Par sempri er
Forever was

Ai súe broixes
In your arms

Ai súe broixes
In your arms

Eras míe
You were my

Colse muvade
Favorite person

Colse muvade
Favorite person

It became clear that tears began to well in his eyes, but he didn't wipe them away. A single tear fell down the right side of his face, and the position of the camera made it glisten in the spotlight. He wiped it away as he kept playing. By now he had settled into his nerves, and he was playing with much more confidence then when he started. His voice continued to sing the lyrics with such passion, and hidden behind it, pain. Despite not belting out the song, it still managed to hauntingly echo throughout the arena. His face continued to be fixated downward as he played, occasionally glancing up at the camera to deliver an enchanting gaze.

Ie aprente
I learned

Mulde sovre thé
A lot about you

Mulde eu thé
A lot from you

Qüerá ésre
I want to be

Míe meichór ie
My best self

Míe meichór ie
My best self

The voice in his head continued to spin thoughts of doubt. Is it all worth it? Does any of this mean anything? None of this matters, not as long as she isn't here. He had to push those thoughts out of the way, because if not then it would taint his performance. He played and sang like his life depended on it, and in a way it did. He didn't come all this way to falter. That became evident in his performance. He didn't look up from the keys, playing now with a more delicate precision than before.

I’emá lúo loquo
I love how crazy

Que me fiuse
You made me

Emás lúo loquo
You love how crazy

Que me fiuse
You made me

By now, Diego had full control over his vocals as he released them with unmoving energy. His posture had changed from that of being slumped over, to one that displayed a confidence in himself. It also displayed his contentedness with the situation. The piano still continued to ring with somewhat hypnotizing sound, as if Diego himself was in control of the way the instrument sounded. This paired with his confidence resonated in his voice, as it no longer wavered or trembled like it had earlier. He kept his concentration as he moved on to the chorus again, but this is where his voice yet again began to falter.

I’emá lúo loquo
I love how crazy

Que me fiuse
You made me

Emás lúo loquo
You love how crazy

Que me fiuse
You made me

Just as he was singing the line before the high note, his voice faltered. There were noticeable breaks in his voice, but they didn't come from a place of nervousness, they came from a place of acceptance. An acceptance of a situation he hadn't thought possible before this moment. He wasn't just singing for the heck of things, he was singing from the bottom of his heart. His eyes once again filled with tears, yet they remained steady in his eyes as they glistened in the light. He then belted out the high notes with an intense concentration that he gained control of the situation. For the first time throughout his performance, he gave the camera a smile as he played. As he finished the final chorus, he closed his eyes and bowed his head. The camera zoomed out to the same spot it was at in the beginning of the performance as the audience burst into cheers and applause. The sound became deafening, but he drowned it all out as he quietly thought to himself, This was all for you, I want you to know that. He then stood up and kissed his hands out to the audience. He gave the audience a departing thanks, "Thank you all so much!" and exited the stage wiping away a final tear.

by **Polkopia** » Mon Apr 06, 2020 5:20 pm

Bradin // "Alone"

Background

Brasella-Deometra Inželina was born in Kav'kelkin, one of many relatively new suburbs outlining the perimeter of Peeto, the capital and administrative center of Polkopia. She born the youngest of three siblings to Iva Eliades, a Greek-Polkopian interior designer, and Tyrol Inželin, a trigonometry professor at Peeto State University. She was given two names at birth, the first being the name she would normally refer to, whereas her second name came from her family friend and would-be godmother, Deometra Callas, however Deometra passed away days before Brasella's birth and thus could not take on the role of being her godmother. Brasella attended primary school before graduating in the 6th year, and afterward would go on to audition as a child actress for Džako Kanal', one of Polkopia's most popular channels catering to younger audiences. Her audition tape resulted in her being accepted as a child actress and she immediately went to star in her first film, The Good House with famous Polkopian actor, Egor Paul Simmons. This role was extremely demanding in the sense that it required weeks and weeks of acting lessons, as well as singing lessons, as the film required her to sing a multitude of times. Because of the sheer time she spent on her lessons, she was unable to attend school during this year, and wouldn't resume her education until the following year, after the release of the film. Due to the contract she signed with Džako Kanal', she was obligated to enroll in a secondary private educational institute, fully paid for by the channel, which fulfilled all the educational requirements set by the Polkopian Board of Education that a child in secondary school must adhere to. In addition to this, she was given a private acting and singing tutor and was required, by contract, to spend over 40 hours a week engaged in these lessons. Failure to do so would have resulted in a breach of the contract and Brasella's acting career would then be terminated. Despite these exhausting conditions, Brasella pushed through it all. During this time, she proceeded to take on several advertisement projects for the company and soon became a familiar face for the channel. At the age of 15, she starred in a new television series, Outcasts, which caused extreme controversy, as it was the first television series launched by the channel to feature a homosexual couple. Brasella's role in the film earned her immense popularity among younger Polkopians and her character, Ana - a sassy, snarky adopted immigrant child, became one of the most quoted characters in the history of the channel.

Growing up through the Džako Kanal' meant that Brasella hardly had a say in how she was to be presented in public; everything she said, wore, and did was fully scripted from her manager, and her freedom of self-expression was more or less given up the moment she signed her contract. Be that as it may, her rise to fame was more or less given to her from her company and all she had to do was to follow the rules given to her and she'd land gig after gig, role after role, and profit immensely as a result. Unfortunately, there was a darker side to all of this newly-gifted fame. At the age of 17 her costar in the series, Less Than Zero, Daria Poltava passed away due to an overdose. Although Brasella never had partaken in such activities, she was understandably distraught from the entire tragedy. Since then, she's been caught in multiple scandals, including appearing heavily inebriated from alcohol in public at the age of 18, and swearing at a reporter who had snuck inside of her parents' home. Despite the fact that the reporter had broken the law by trespassing, Brasella was reprimanded from her company since the whole encounter was caught on tape, and her contract was terminated. Thankfully, this occurred just as Brasella finished her education so she was able to concentrate all of her time and energy on taking a new path for her career. During her search for a new career path, she was approached by an old colleague who had connections to Timeless Record Company, one of Polkopia's largest record labels which also happened to be joint-founded by Worldvision alumni Anna Viktoreevna and Sergey Borisčev. She landed a job in their street-team, selling merchandise at various bars before some of the company's more established artists performed a charity gig or something similar that same night. Seeing this, Brasella realized that she wanted nothing more than to be where some of these artists stood someday and she took it upon herself to really start fighting for this opportunity. She was already so close, but the fight to get there was in no means over. After working a year in their street team, Brasella worked to really advertise for Danila Vedrum, who was participating in that year's Landa vy Polkopiya against the eventual winner, Siren, who would go on to participate at the 80th Worldvision Song Contest. While she did as she was told by her company, she also went above and beyond and in her free time, posted covers of his song, Drowning, online. Being a ballad, the song required the singer to possess a very good capability of voice control, so her covers could have met with extreme criticism or praise. Thankfully for her, it was the latter. Timeless Record Company got a hold of this cover as well and approached Brasella on perhaps working with them to see what can be done about re-launching her career as a singer through them. Brasella changed her stage name to Bradin - a much more memorable name, and worked with Worldvision greats to produce her song, "Dance The Night Away", before submitting it to the next Landy vy Polkopiya. The prestige that working with such a large and prominent record label brought meant that she was getting offers from several people regarding the staging, costume designs, set design - every little mechanic of her performance always had somebody approaching her with their vision on how to perfect it, however, stage designer Ilya Demitrović, who worked with many of her company's artists, took the job, and him, along with Saša Kalin-Baptiste, brought a fun, light energy to Bradin's song during the performance, which seemed to be enough to win the hearts of the international juries and voters from home, because Bradin won Polkopia's largest domestic song competition and won the right to represent her country in Britonisea.

After her win, like any other previous Polkopian entrant, preparations immediately went underway in order to bring about a great performance to Britonisea. Thankfully, Bradin had a wonderful team behind her and many fans were already hyping the song up and expecting the best. Originally, her song, Dance The Night Away was to feature several background dancers in a heavily-choreographed performance, which was all new to Bradin, really, and the training that was required in order for Bradin to deliver a solid vocal performance, all the while dancing and staying in-sync with her dancers and the beat of the song, the latter being completely new for her. During this entire time, she was mentored by Sergey Borisčev who, prior to his Worldvision performance, faced the same struggles with dancing and choreography as Bradin, and used his experience to help guide her. Unfortunately for Bradin, the amount of work she put, combined with an unhealthy sleep schedule in caused her to fall seriously ill. In wake of the Coronavirus pandemic that was sweeping the multiverse, many immediately assumed the worst. Bradin's preparations were put on hold and she was ordered to self-quarantine in her house for a designated amount of time. Meanwhile her team, acknowledging that she may not have the strength to maintain this rigorous choreography training, decided to revamp the style of the song in order to fit Bradin's capabilities. Here, they decided to change the song's title to, Alone, and re-release the track with all new lyrics. Once the track was released, Bradin took to a live stream to voice her support for her team's decision, albeit the fact that she wasn't present for any of the rework. Here, she publically announced that she had been diagnosed with pneumonia and she had been recovering one day at a time. Seconds after announcing this, the relief that came from Polkopian fans was almost tangible to an outsider looking upon all of this emotion; Bradin was healthy and Polkopia was still participating at Worldvision. Recovery was imminent and Bradin was soon about to leave for Britonisea to begin her official Worldvision journey.

Arrival

Bradin's journey to Britonisea started earlier than most contestants', as she was one of fourteen acts to perform at the Junterapten Pre-Party. Her arrival at the airport was the first public showing she had since her diagnoses - nearly a month after she first began showing symptoms, prodding more journalists than usual to await her arrival at the airport. Being a child star, Bradin had dealt with the press her entire life and knew how to answer difficult questions and put on a charismatic smile for the cameras even after disembarking a day-long flight. Bradin used the privilege of being one of the first in Britonisea to immediately explore the city and become acquainted with some of the other acts that were performing in the pre-party, which, in turn, allowed her to feel more rested and gave her more time to adjust to her new temporary life in Britonisea. During this time, she stayed in touch with her fans and began a new project titled, “14 Days in Britonisea,” an English vlog-style series where she gave day-by-day updates with some of her experiences in Britonisea, as well as giving updates to her progression with her performance, and any technical or performance-based issues that she and her team encountered along the way. For example, in one instance during her Worldvision rehearsals, one of the lights’ timing was far off, and another time, the positioning of her onstage in relation to the LED screen on the stage floor was off. All of these things had to be corrected and perfected in a short amount of time, and Bradin had mentioned in one of her posts how incredibly stressful this project was becoming as they drew closer to the big night in Boschke. Be that as it may, Bradin was also becoming more and more determined to finalize these small details, because that’s all that was left to perfect at this point – only the small details. Bradin and her team have already worked so hard and accomplished so much to bring about the song and the idea behind the performance to life, and the devil now lay in the minor details. The second (and final) rehearsal was spent trying to perfect these small details, however it seemed that no matter what they perfected, something else went wrong, and once that was fixed, something else went amiss. It seemed as if they couldn’t do anything right, and by the end of their final rehearsal, Bradin still felt as if though her would-be performance wasn’t up to her and her team’s standards. That night, on her vlog, she broke down crying, apologizing for this moment of weakness to her fans, before explaining the rigorous amount of work that went into this, and she sheer amount of frustration that has been caused by every detail still not coming out as they would have wanted it to be. The vast majority of those watching offered their sympathies and supported Bradin throughout this journey, no matter what the outcome was. Her song had already topped the Polkopian charts and Bradin knew she would be returning home to enjoy fame and fortune, but for her, this was much more than that. Worldvision had been a project that she had devoted so much of her time and energy toward and she was nowhere near giving up or settling for anything less than the absolute best.

Once inside the Newbury Park Arena, Bradin and her team knew that this performance could go either way and Bradin felt the nerves creep up on her with every passing moment. During the times where she had gotten nervous as a kid before a gig or something of the sort, she would pray. She didn’t necessarily pray because she was a religious person, however she did so because she felt as if though someone was listening and knew exactly how she was feeling at any given moment, and it was really the only time she felt as if though she could be completely honest and open with her emotions and anxieties about her circumstances. So, as she had done many times as a child, she distanced herself from her team and found a quiet spot to pray. She prayed that she would be able to overcome her nerves while giving her performance, and she prayed that she would make her country proud. She expressed through her prayers how much she had been awaiting this moment for the past few months and how she was afraid that her nerves would get the better of her and ruin this once a lifetime opportunity. She ended her prayers and, despite the fact that she hadn’t been in the presence of a holy icon of any sort – a custom in Orthodox prayer rituals, she believed someone, somewhere, had been listening. As she rejoined her group, Bradin heard the Britonish announcers prepare the audience for the parade of nations and Bradin flew into panic mode. Her designer had made a more traditional look for her than what she normally wore for red carpet events, and Bradin wasn’t personally too fond of the outfit, but she was the model showcasing her designer’s work and she was going to wear the hell out of this outfit on the main stage. Her outfit featured a black long-sleeve top, complete with a black belt and a pin positioned on her left breast which showed the black and gold wheat pattern from the Polkopian flag. Her skirt had been fashioned from beaver fur and dangled inches above the ground. Her shoes where high heels, colored in the same hue as her skirt, and she carried a black purse with her (Similar to this, with a different pin, explained previously). As her team brushed off any loose hairs or makeup smudges, members of the Britonish backstage team escorted Bradin out to the main stage where she was joined with the Kalosian representative, Ǧamilah. Per the request of the Kalosian delegation, she remained outside of a 2-meter distance from Ǧamilah and walked downstage, accompanied by people carrying the Polkopian flag behind her. She waved to the crowd, to Ǧamilah, and anyone else who was watching, before wrapping up. This very moment was what she needed to overcome the nerves she had been feeling before. Seeing everyone in the audience cheer for her to be up on that stage in front of all of them was very exciting and now Bradin could not wait to begin her performance. Luckily, she was the third to perform so she wouldn’t have to wait for long, but for now, it was all she could do.

Performance

To start, the stage was lit in deep, dark burgundy tones and hardly any of the spotlights illuminated the stage; the opening view was primarily lit by the LED screens on the floor and panels situated upstage. This was where Bradin was to start her performance. From the moment she started to sing, the audience could see Bradin's silhouette against the burgundy background of the upstage LED screen. The middle of the screen resembled a sun in that thin rays of slightly lighter tones shot out from the middle and disappeared once hitting the edge of the screen. After Bradin sang her first line, the cheering of the crowd was audible for those watching back home. From the second line onward, Bradin's face became visible, though for now the rest of her outfit was not illuminated and thus remained to be seen. Bradin's face was decorated in a layer of foundation, concealer, and a slight blush, but her eyeliner ran past the corner of her eyes, giving her wings, and rhinestones trailed along the upper perimeter of her eyebrows. Her eyeshadow was a dark mahogany hue, and glitter covered the entirety of her face. As she continued to sing, she walked forward, lifting her head slightly after every line in order to add an extra layer of sex to an already sultry song.

Seyčas, ya odna.
Now I'm alone

I do it much better but,
I'm feeling my love.
D'layu'tu lično.
I do it [much] better

Viewers would get a very quick glimpse of her outfit as dark red spotlights flew across her outfit and then around the arena as she walked forward. During the third line, the camera shot a side-angle of her, at which point she turned her head and looked at the camera directly. As she sang she looked at her shoulder, smiled, and looked away, almost teasing the viewers.

Whiskey bottles, cigarettes,
Can't help put my mind to rest.
I need something else, oh no...

In the transition time between verses here, the camera blurred out Bradin, who rolled her head back. The camera moved on to a new shot now, so that it showed an aerial view of the stage. The lights illuminated and dimmed in-sync with the beat, and viewers back home could see flags from all sorts of nations waving among the crowd. The camera then changed so that it focused on Bradin again, who was now revealed to be wearing a black bodysuit, studded with silver rhinestones. There were cutouts at various parts of the waist and cleavage as well, and both pf her shoulders were exposed, though she wore black leather gloves with tassels hanging underneath. Her outfit also came with a very thin piece of fabric attached to the waist as well, which dragged behind her as she walked.

During the second line, the camera looked down at the stage from the ceiling and could see elaborate floral patterns on the bits of the LED screen on the stage floor against a deep red background. The camera spun in place as it looked down at the stage. Bradin was deen walking center stage, followed by her massive train, which extended all the way upstage, where the LED screen was located. For the third line, the camera centered on Bradin as she walked forward toward the camera, but the switched to a side view, and then another side view during the "come back to me" bits. Each time this happened, she looked at the camera with the same sultry expression as before. For the next line, the camera centered on her and Bradin turned and squatted, showing every bit of her legs to the audience. She raised her free arm above her head and slowly brought it back down, wiggling her fingers as she did so, before letting her hand run along her neck and upper chest. For the last line, she got up in such a way that her curves and womanly figure were accentuated. She made a gesturing finger toward the camera and winked as she sang the last bit of the final line.

When I'm alone and no one's home,
I do it on my own.
Drippin' like the sea, come back to me, come back to me.
When I'm alone and no one's home,
Sittin' on my throne.
Toes curled up in bed, come back to me, come back to me.

by the time she sang this part, Bradin was already in the center of the main stage. The LED stage floor was all black, save for several burgundy cracks around various parts of the stage, with all of them seemingly originating from the spot that Bradin was standing. For the first line, Bradin kneeled down and looked up toward the ceiling, her eyes closed. Her chest heavily rose and fell during this part, and lasted throughout the second line as well. She stood up and strutted forward during the third line, at which point the cracks grew evermore prevalent before her third step (Which was taken halfway through the word, "castle") caused the 'cracks' to break open and envelop Bradin in a wavy red pattern, which waved and illuminated in multiple instances throughout the pre-chorus. During the last three lines here, flames spat out of the edge of the main stage, reaching several meters high. These flames came and went in rapid succession here, hyping the audience for the chorus.

Slow it down, pick myself off the ground, oh la la.
Breathing in, breathing out.
And when I rise.
Here in my castle, I'm the queen
I'm gonna love me endlessly,
So you do you,
And I'll do me,
Na na na

As the pop-drop happened, there was a loud *snap* sound, and a glitter explosion occurred at the back of the stage, shooting dark red pieces of glitter up toward the ceiling, which, in turn, rained upon the stage and the audience as the instrumentation played. The fire effects continued so that every other pyro jet would spit fire during one beat, whereas the next beat would result in the other jets spitting fire. This occurred throughout the entire chorus. During the Rakaka bit, every jet around the stage would emit three small bursts of fire in-sync with the beat. During this time, the LED screen would show a slow-motion video of Bradin's face as she hung her head back and rolled it along her shoulders, her eyes shut and glitter falling on her face. The background was set in a red and black color tone. Meanwhile, Bradin walked toward an edge of the stage, strutting and grabbing the train of her dress as she did so, effectively modeling and serving it to the cameras as it moved along the stage. Though she herself didn't do too much, the rapid-moving camera angles and quick transitions made it so that viewers from home were treated to a great visual presentation of the song.

Rakaka

During this part, the background LED screens, stage, and lights remained in the same color scheme as before, but the background LED screens showed an animation of red glitter falling against a black background, and the lyrics of the song were displayed. As she sang, Braden allowed herself to smile a bit more, still maintaining a sexy demeanor, but looking as if though she was a bit more relaxed and having more fun with her performance now.

Ne sveka zdes'
There's no light here

No polumayo svekču.
But I'll light a candle

Zrak slišno dishniy
The air is too stuffy

Only I can control it

The camera looked from above once more and spun in place. The LED screen on the stage floor showed an animated rose blooming, with Bradin standing in the very center of it. Rose petals began to fall from up above, covering the entire stage floor with them.

Rose petals and cinnamon
A specific emotion,
I'm ready, let's go, oh yeah

Bradin dropped to her knees again, wiped the stage floor with her free hand, and picked up a whole rose from the ground. She mimicked the sensation of sniffing the rose before singing the second line, where she ran the rose down her neck and chest. She then stood up, threw the rose behind her, and marched forward toward the front of the stage. The lights dimmed and illuminated rapidly and Bradin extended her right arm out to the right, whipped herself into a 180, bend her arm so that her hand caressed her face, spun around again, and pumped her shoulder three times as she sang the last line.

Slow it down, pick myself off the ground, oh la la.
Breathing in, breathing out.
And when I rise.
Here in my castle, I'm the queen
I'm gonna love me endlessly,
So you do you,
And I'll do me,
Na na na

Bradin shouted "Woo!" right as the pop-drop in the chorus started, and again, glitter rained from above. A heavy cloud of smoke erupted from the back of the stage, though with the lighting and the LED screens, the fog was colored a deep red. One foot behind Bradin, there had been a wind machine which was deactivated until this moment, and now, as the stage was starting to fill up, the machine blew upward, sending he train that was attached to Bradin's outfit high above her. Dozens of rose petals, which had fallen onto her train from before, fell on top of Bradin, in addition to the glitter, and Bradin grabbed the edge of her train with one of her hands, while the other caressed her own face as she danced in place. As before, short bursts of fire occurred during the Rakaka in-sync with the beat. The camera focused on different angles of the stage for a bit, before moving on to show people from the audience from all around the multiverse moving and dancing along to the song.

Rakaka

Bradin paused her dancing to look at the camera directly with wide eyes, pointed at the camera, and then to herself, and then squeezed her eyes shut, looked up at the ceiling, and sang the Rakaka bit one more time, with the bursts of flames occurring at the same time, as always.

You do you,
And I'll do me,
Rakaka

Slow it down, pick myself off the ground, oh la la.
Breathing in, breathing out.
And when I rise.
Here in my castle, I'm the queen
I'm gonna love me endlessly,
So you do you,
And I'll do me,
Na na na

Bradin continued to dance, this time, in a seemingly-choreographed number, where she lifted her left knee and looked to her left, before lifting her right knee and looking to her right. Then she looked to her left and lifted her left knee twice. She repeated this motion with her legs far apart, her free hand on her hips, and with her hips moving the entire time. As it was during the last pop-drop, the wind machine was in full effect, blowing her train high above her head, and the fog was still as prevalent as ever in the background. The fire again burst out in a short 3-count interval during the Rakaka.

Rakaka

The camera panned on Bradin who just looked at the camera in a serious manner, before fading to black. The performance to Alone had just concluded.

As the lights returned to normal, Bradin grabbed her train from the floor and hoisted it up to her chest. She held up the microphone and said "Thank you Boschke! Thank you Britonisea! I love you!" to a cheering crowd before she departed the stage.

by **Kalosia** » Mon Apr 06, 2020 6:35 pm

04
Kalosia
Portami — Ǧamilah
written and composed by Ǧamilah Ebrahim, Luiž Kasteľu, and Maria Rišardi
performed in Kalosian to the tune of Nobody — Mitski
Kalosian pronunciation guide

Due to the ongoing COVID-19 pandemic, the continued participation of Kalosia at the WorldVision Song Contest has been called into question. On one hand, there was a continued desire for the nation to continue its participation streak, having never voluntarily withdrew since its debut 60 editions ago. However, the pandemic had cancelled many events and made it harder for Kalosians to participate in any events that were still ongoing. Kalosian ports of entry/exit had also been closed to the general public, making it harder for people to travel.

Fortunately, the Kalosian government reached an argument with the state broadcaster, Radiu-Televižio Kalosia. On the basis of maintaning high morale of the Kalosian people, RTVK will be allowed to continue participating in the WorldVision Song Contest, with limitations. Under the agreement, the Kalosian delegation was to be as small as possible, with only solo acts being sent (duets may be considered on a case-by-case basis) and backing performers to be as few as possible. If possible, delegation members could assume multiple roles, as there is no rule saying that a technical staff member cannot also be a backing singer. In addition, RTVK is required to request special provisions from the host organizer (in this case BITC and their organizing team) to allow social distancing to be enforced, and delegation members were required to self-isolate for 14 days upon arriving in the host country, and upon returning from the host country.

For the 81st WorldVision Song Contest, the chosen entrant was not unknown to fans. Ǧamilah is a familiar name in the WorldVision community as she had previously represented Kalosia 4 years ago at the 47th WorldVision Song Contest in Carnise, Ekoz. She performed the song Someday and came 3rd. With such a respectable result, it is no surprise that her return to the international stage has been welcomed by WorldVision fans.

The song she was to sing was called Portami (translated to English as "Bring Me"). The song is an uptempo but relaxed disco number which makes a reference to a 18th century Kalosian opera. The most famous song in the opera is performed from the perspective of the protagonist, who has become a ghost and laments on worldly pleasures. The character repeats the phrase 'portami' several times (although this is not the song's name), demanding to be brought back into the natural world to be able to spend time with the loved ones he has left behind. In the context of Ǧamilah's song, she sings from the perspective of a person who has spent too much time on social media and now wants to join the adventures of the second person (a lover, perhaps?) who has gone to visit many places and earn many achievements. In an interview, Ǧamilah makes it clear that the song was written long before the pandemic — in fact, she came up with the initial concept on a trip to Polkopia that took place long before any travel restrictions were enacted — though acknowledges that the current circumstance may change how the general public interprets the song based on their own personal contexts.

Prior to the song's release, RTVK's WorldVision social media account released a teaser video in which members of everyday society (in their residences) listen to the song and give their initial reactions on it (similar to this video). Reactions were generally positive, with one person noting the literary reference, and another (inaccurately) observing 5 key changes. While the chorus does progressively get higher, there is something more like 3 key changes rather than 5.

To respect the provisions set, Ǧamilah departed to Britonisea on March 31st, 2020, along with a member of her management who doubled as a personal assistant, the head of delegation, and two other RTVK staff members. Together, these five people constituted the Kalosian delegation to the 81st WorldVision Song Contest. The five, wearing face masks, arrived at the airport in Boschke, where they were met with a single volunteer, holding up a sign that said the name of the Kalosian head of delegation, with the name of the country in brackets. The five members insisted on picking up their baggage, and were promptly ushered to a minibus that took them straight to the hotel where they would spend the entirety of the next 14 days staying at. Soon after arriving at the hotel, the delegation members received the keys to their rooms and entered them, and then soon proceeded to shower, following travel guidelines by the Kalosian Ministry of Health.
Throughout the journey, there was not much fanfare. And because of their early arrival, they were able to receive minimal interaction with other people. Members of the press who came to document the arrival of the first foreign WV81 entrant into the country were able to keep their distance thanks to the airport security staff, who were instructed to not allow unauthorized persons near the Kalosian delegation.

On the afternoon of April 4th, Ǧamilah did a livestream from her social media account. When asked about the Jünterapten Pre-Party, she expressed that she sadly will not be able to attend because she is under quarantine for another week and a half. She reassured that she will be out in time for rehearsals for the actual show. When asked about her health, Ǧamilah expressed that she has been just fine so far but will continue to stay quarantined following the guidelines of the health authorities in both Kalosia and Britonisea, and will continue to monitor her wellbeing. Eventually, a video prerecorded by Ǧamilah was played at the pre-party, in which she wishes the best for everyone in Jünterapten and assured fans that she would "be with them real soon", followed by a rendition of her song.

On April 13th, the Kalosian delegation reached the end of their self-isolation period and were now allowed to partake in activities building up to the WorldVision Song Contest. Interaction was still limited and the events they attended were limited to only official events and rehearsals.

For the big night, Ǧamilah was wearing a red dress with large sleeves. At the beginning of the show, Ǧamilah made her entrance at the Parade of Nation alongside Polkopia's Bradin. She was already wearing the dress and put on a red face mask to match. Although Bradin and Ǧamilah were on opposite ends of the stage and wouldn't come close to each other, they both made sure to keep in mind to not come within a 2 meter radius of each other.

Later on, after Bradin finished performing, it was time for Ǧamilah to take the stage. She takes the stage, no longer wearing a mask, standing on one of the square corners of the stage in front of a mic stand. As the percussion kicks in and the song begins, Ǧamilah starts to sing, as of now with no backing LEDs and a spotlight shining on her. There are other stage lights as well that illuminate the arena, and as of now they are only moving slowly, gradually building momentum for the song. The camera approaches her from the other side of the stage, gradually, as this next part is sung, leaving her not very visible and identified mainly by the red dress she is wearing.

Li fotoí novi
Vedo a telefonu miu
Venonu da lontanu
Da un altru mondu

By now she is much more visible, with the camera being only halfway across the stage, but it keeps approaching her. At this point, you can start to see her hand gestures, which are somewhat vibrant and flowy and convey the emotions of curiosity that she carries in her voice.

Bon, feliž, straneru
Ovez andate dopu?
A la kostë, a la lunë
Opur ala montañë?

By now the camera has reached a close up of Ǧamilah, whose eyes look longingly into the lens. She extends her hand towards the camera, as if to hold someone by the cheek, quickly withdrawing it and putting her hands together politely. At this point Ǧamilah's body language displays a vulnerable longing to join the second person.

Skrivël mi unë letera
Invjal unë kartulinë
Voľu sentirë tia enerǧië, tia animë

The camera slowly starts to rotate around Ǧamilah, except as this starts to happen she takes the mic off the stand and faces the camera as it turns around her 180°. She moves slowly, but in a calculated manner.

Ma se ti do mia manu
Prendesëz mi vjažarë?
Voľere ti unirë a tia aventurë

At this point, as the beat kicks in, the camera angle switches to one that is a bit distant, Ǧamilah dramatically faces away from the camera, towards the center stage, and starts walking there to the rhythm. Then, the angle switches to a camera that is right in front of Ǧamilah, who appears to follow the camera as she sings the next part. The lights are definitely more vibrant and energetic at this point. Walking along a sea of audience members, some of them extend their hands, but Ǧamilah is relentless and does not heed to their calls. Instead, she looks longingly into the camera as she sings the next word repeatedly.

Portami, portami, portami
Portami, portami
Uh, portami, portami, portami

She makes her way to the center stage, where she remains in the middle and isolated. From beneath her feet red dots connected by lines emerge, creating a look similar to this. A spideycam is used for this next part, from a somewhat birds eye view angle that captures the sight of Ǧamilah standing alone and distanced among the sea of people, but also allowing viewers to see the graphics. After the second line of the next part, the lights flash white twice (to the rhythm of the claps). In contrast to the fast-paced lights and screens, Ǧamilah's gestures and movements continue to be slow, reflecting her relatively slow and relaxed singing amidst the rather upbeat music.

San ja stanku navigandu lë virtual mondu
Alorë ti do mia manu
Dal mi tia manu

Now the camera switches to one at the same height as Ǧamilah but from a distance, showing her at eye level amidst the crowd. She faces the 'front' of the stage, or in other words away from the large background screen, which is behind her. The camera slowly circles the arena. In the last line of the next part, a camera (being handled by camera crew like the beginning shot) approaches Ǧamilah and the angle changes to it.

Voľu kestë enerǧië
E sentirë tia animë
Voľere ti unirë a tia aventurë

The camera is now closed up to Ǧamilah's face as she begins this next part. You could clearly see the longing in her eyes and her rather pensive facial expression. Slowly, the camera gives her distance and moves slightly away.

Portami, portami, portami
Portami, portami
Uh, portami, portami, portami, portami

First key change. The camera proceeds to spin around Ǧamilah. Unlike earlier, she doesn't follow the camera and remains in place as it circles around her. Her gestures and movements remain slow but increasingly empowering (or desperate? Open interpretation). This delicateness amidst the rapid camera angles and visuals prevent an overload of the senses, with Ǧamilah's figure visually providing grounding for the shot.

Portami
Portami, portami, portami, portami
Portami, portami, portami

Second key change. The camera increases its distance as it spins around, almost moving in a spiral shape. At the same time, Ǧamilah's voice seems to grow distant as well, at times seeming to even fade away. There was a somewhat dreamy quality to this.

Portami
Portami, portami, portami

At this point the camera moves away and switches to a wide shot. At this point, the screens all fill with red, and the vocals seem more hazy although this might be a stylistic choice.

Portami, portami, portami

As the song begins to slow down, so do the movement of the lights and even the cameras. A spideycam approaches Ǧamilah with one of the background screens visible in the shot. Although the focus is on her, you could see in the background that the writing "BRING ME" appears. For these last few moments, Ǧamilah gives it her all with her voice.

Portami… portami… portami… portami…
Oh…

As the song ends, Ǧamilah moves the mic away from her face and smiles into the camera. The audience cheers, although notoriously there are few Kalosian flags and even fewer Kalosians in the audience as they were unable to travel to Britonisea to support the act. In fact, all of the Kalosians in the audience resided outside Kalosia and had arrived from different locations throughout the multiverse, many were expats already living in Britonisea.

"Gražia, thank you, stay strong!" she says, before she leaves the stage to make way for the entrant from Belgaam.

by **Belgaam** » Mon Apr 06, 2020 7:12 pm

05 - BELGAAM

MAVERIA - DROWNING
TUNE: VANESSA AMOROSI - HEAVY LIES THE HEAD

Belgaam have officially returned to the WorldVision Song Contest, after a seven-edition absence. The reason TBS decided to stop participating in WorldVision was because of financial difficulties, but seeing as TBS have finally sorted all that out, they announced that Belgaam will return to the WorldVision Song Contest, and as WorldVision is hugely popular in the country, millions of Belgaamians were very excited about the news. They were all thinking that TBS would use the national selection format they used when they participated, Tariña'o Melodi, but a few weeks later, TBS officially confirmed they would use an internal selection for WorldVision 81. This came as a shock to everyone, as they were certain that they would use Tariña'o Melodi, but most of them were also happy, listing popular Belgaamian singers who could represent Belgaam in the WorldVision Song Contest, but the most rumoured were Taña Uröch, who represented Belgaam in WorldVision 72, Żirañai who won the latest season of the Belgaamian singing show, Żdiuñaj Iovþñia! at just 16 years old, Sariula who came second in the Belgaamian selection for WorldVision 73, and Maveria who has five number 1 singles on the Belgaamian Music Charts, who was eventually revealed as the Belgaamian representative for WorldVision 81 on the Belgaamian talk show, Żoñalíż Ñilñövż, Tariña! Belgaamians were really excited about this, as Maveria is hugely popular in Belgaam, and she has five number 1 singles and three number 1 albums, but Drowning became her sixth number 1 single on the Belgaamian Music Charts after the release, and most Belgaamians have huge confidence in her, saying that she could deliver Belgaam's best result since WorldVision 72. Out of all Maveria's singles, her most popular is I Can't Stop It, her first number 1 single which stayed at number 1 for 15 weeks, which is the longest time a song has stayed at number 1 in the Belgaamian Music Charts. Maveria said this when she was announced for WorldVision, "I'm so happy! I can't wait to go to WorldVision, show the world my music, and I hope I can make my country proud!".

She excitedly walked onto the stage for the Parade Of Nations, wearing a dress like this which she would wear in her performance, smiling and blowing kisses to everyone as they cheered for her. She said, "Thank you! I love you all so much!"

Maveria was very excited when it was time for her performance, she was thinking, "Oh my god, I actually can't believe this is happening! I'm gonna go on that stage, sing my heart out and make my country proud!" She took a deep breath as she walked onto the stage. She was ready to sing her song.

At the start of the performance, viewers can see a shadow of a man, and when Maveria sings her first line, she pushes the shadow away. When the "dr-ow-ow-n" parts happen, she looks at the audience and points to the floor as the cameras zoom into her face.

Drowning in your love, I don't plan on leaving now (dr-ow-ow-n)
But baby you might mess it up like all of the others now (dr-ow-ow-n)
I think I need some time to decide if you're the one for me (dr-ow-ow-n)
Baby I will think it through and maybe you can be with me (dr-ow-ow-n)

Maveria walks onto some stairs, with the dancers following every step she takes.

I've got to make a decision, a hard one
I'm going mad, I'm too indecisive
And I don't wanna do this, yeah
But I'mma have to do this

When Maveria sings the first part of the chorus, she clicks her fingers and the lights start flashing like crazy.

Drowning
I'm drowning in your love, but should I take it?
I need to make a choice before it's too late
Baby I need help, I'm drowning in your love (dr-ow-ow-n)
Drowning
I'm drowning in your love, I can't swim away
I'm gonna make a choice before it's too late
Baby I need help, I'm drowning in your love (dr-ow-ow-n)

Maveria walks off the stairs. When she sings "My world's been turned upside down and now I don't know what to do", the cameras turn upside down, but they go back up again when she sings "My head's spinning in all directions and it's because of you".

My world's been turned upside down and now I don't know what to do (dr-ow-ow-n)
My head's spinning in all directions and it's because of you (dr-ow-ow-n)
I wish this wasn't happening but I just have to deal with it (dr-ow-ow-n)
Yeah, hopefully I'll make a choice and I'm gonna get through this shit (dr-ow-ow-n)

Maveria flips her hair and starts to sing the pre-chorus.

I've got to make a decision, a hard one
I'm going mad, I'm too indecisive
And I don't wanna do this, yeah
But I'mma have to do this

Like the first chorus, Maveria clicks her fingers and the lights start to flash like crazy all over again.

Drowning
I'm drowning in your love, but should I take it?
I need to make a choice before it's too late
Baby I need help, I'm drowning in your love (dr-ow-ow-n)
Drowning
I'm drowning in your love, I can't swim away
I'm gonna make a choice before it's too late
Baby I need help, I'm drowning in your love (dr-ow-ow-n)

Maveria starts to sing the bridge, as the cameras zoom into her face.

Ye-e-e-eah, I want someone to help me
Ye-e-e-eah, I need someone to help me
Somebody help me, me, me
Ye-e-e-eah, drowning in your love

And like the first two choruses, Maveria clicks her fingers and the lights start flashing all over again. She ends the song on a high note that lasts for 4 seconds.

Drowning
I'm drowning in your love, but should I take it?
I need to make a choice before it's too late
Baby I need help, I'm drowning in your love (dr-ow-ow-n)
Drowning
I'm drowning in your love, I can't swim away
I'm gonna make a choice before it's too late
Baby I need help, I'm drowning in your love (dr-ow-ow-n)

Maveria says this to the audience, "Thank you, Britonisea! Thank you, world! Thank you so much! I love you all so much!" as the next act's postcard flashed up on the screen. Maveria was very proud of her performance. She just hoped it was enough to make her country proud.

by **Elejamie** » Mon Apr 06, 2020 7:14 pm

06- Elejamie

Second Choice - Until the Bitter End
Music: Jacqueline Kleinschmidt, Alice Kleinschmidt-Hadley, Catherine Kleinschmidt
Lyrics: Jacqueline Kleinschmidt

Tune: DB Boulevard - Point of View

From left to right: Alice Kleinschmidt-Hadley (guitars, vocals), Jacqueline Kleinschmidt (keyboards, drum machine programming, vocals), Cate Kleinschmidt (bass, vocals)

Jacqueline Henriette Kleinschmidt was born in Woodsworth, ESRE, on 19th January, 1993. The oldest daughter of an electrician and a stay-at-home mother, she had a fairly decent life growing up for the first 13 years of her life. However, shortly after she started her last year of middle school, she started developing ulcers that kept her out of school for lengthy periods; once such instance when she was 15 resulted in her missing just over half of the school year. Not only did she have to rely on her siblings to give her her schoolwork and hand it in to teachers but she was stuck at home recovering with nothing much to do. For her 15th birthday, her father bought her a cheap keyboard just so she’d have something to do while she was stuck at home. At first she didn’t do much with it but, with a bit of encouragement, she decided to learn some songs and realised that she had a lot of fun on the keyboards, so she carried on playing them and refining her skills.

When she turned 18, she decided against going to university out of fears that the ulcers would start showing up again. Instead, she started apprenticing under her father to become an electrician, also taking a number of part time courses just to refine her skills even more. Although she carried on with the trade, as well as with her father, once she became qualified, in her downtime she ended up joining a band that her older brother Robert Jr. (born January 3rd, 1992) was in. Named Radio Fender, it was just a simple alt-rock group with one person on guitar/vocals, another on bass, Robert Jr. on drums and, for the couple of years, Jacqueline on keyboards. However, buoyed by a lack of success, coupled with constant arguments over how to evolve their sound, the group would disband shortly before the end of 2017.

Shortly after the band broke up, the duo decided to start their own band, as they still wanted to carry on giving musicians a go. Going by the name Meissel, a word they picked up from a German-English dictionary, they played a couple of gigs under that name before deciding to change it, simply because a number of metalheads kept turning up for it simply because of the name. Rather than change their style, they instead decided to change the name. After going through a fair few suggestions, they decided to go with “Second Choice”, which ironically wasn’t. Instead, they felt the name “First Choice” felt too grandiose, so they decided to go a step lower. Shortly after agreeing on the new name, the duo hired their sisters Alice (born April 6th, 1994) and Catherine, more commonly known as Cate (born May 10th, 1996), on guitars and bass respectively, simply so they wouldn’t have to be so reliant on samples or session musicians.

Eventually, once they scraped enough money from odd jobs and gigs, they decided to record a demo tape. Simply called “Demo”, it consisted of five songs and sounded a bit different to their later work. For a start, it was more pop-rock with electronic elements instead of vice versa. It was primarily instrumental, with only one song being primarily vocal-based whilst another was a four minute long song with the only vocals being a single eight-line verse. And it was only Alice singing vocals compared to her and her sisters sharing vocal duties. However, it was still enough to get them signed to a record label, albeit after nearly six months of repeated attempts. It was also the only release with Robert Jr. on drums as, shortly after the band was signed, he left the band to marry his fiancée and become one of Jehovah’s Witnesses; although his sisters were disappointed that he had to go, he still receives a share of the profits due to his sisters insisting on it.

Now a trio, with a drum machine replacing their brother as they didn’t want another person to, the sisters started getting to work on some new songs. After deciding to switch up their style, finally managing to get it right how they wanted it after a number of practice sessions and gigs, they decided to re-record their demo tracks, not just to make it sound like their new style but also to add vocals to a couple of the songs (or adding more vocals with that song with the eight-line verse). After making a few more tracks, they would release their self-titled debut album in 2018, with Demo being a few extra tracks added to the deluxe edition. Although it got some decent reviews, it received moderate sales at first, making it seem like it’ll be just some forgotten gem.

And then, completely out of nowhere, they managed to make it big when a couple of their songs were used in TV shows. The first was when an instrumental version of their song Dawn was used as the theme tune to Código V, which was essentially a Spanish-language remake of the 1998 miniseries Ultraviolet that was set entirely in Playa de Rocas. The second was when a snippet of their song After Hours (the aforementioned song that originally started off as an eight-line verse stuck in an instrumental) was used during a dramatic moment of the soap opera Who Lives Love, when a bus smashes into the bar everyone regularly frequents in traditional soap opera dramatic fashion. Because of this, or more accurately when people found out who made those songs and checked them out, Second Choice ended up making it pretty big and a tour later ensued. Though it was more low-key, free-form and had fewer dates than usual, if only to prevent any more stress-related ulcers, it still managed to turn a profit and put them even more on the map.

Following the tour’s end, as well as a break to let everyone recuperate and relax, the three then got to work on their second album. Called Mumixam, which they got from looking at a ladder in the mirror, it was made with more of an electronic focus in mind with Jacqueline providing most of the vocals, although Cate and Alice still had a song or two to themselves and they were still able to play their instruments. However, just after they had finished recording all of the tracks and were in the process of mixing and mastering them, they received the call on whether or not to represent the nation at WorldVision. Once they confirmed, they announced that the album would be delayed until the end of April, more specifically April 29th, just to avoid any unnecessary rushes or piggybacking off of any potential success their entry has.

Over at the last contest, held in Marina Point in Nekoni, ETV ONE sent the song Racing For Your Love, performed by synthwave musician Mason, to represent Elejamie. A highly energetic song that, to him, made little sense on its own but worked as part of a movie he had come up with, it turned out to be a surprisingly strong favourite, presumably due to how retro it sounded and yet how it still managed to come across as a contemporary pop song. Although there were some concerns over how he’d handle the whole thing, given an infamous incident where he ran away in the middle of a tour, in the end he not only managed to attend rehearsals and get through them OK but he’d also show up and perform the song itself on the night; while his performance was a bit more low-key compared to his usual behaviour on stage, he still threw in a few things like him insisting on using a wired microphone (which he unplugged towards the end as he ran about on stage).

And, indeed, it performed fairly well when it came to the voting. Although for the first few countries it didn’t pick up much more than the 10 points it got from first to vote Malta Comino Gozo, it would soon gain steam and prove to be a mighty competitor, going toe-to-toe with a high-scoring Ertzei Kishim, a nation who at the time hadn’t won since WV36 (back when they were known as Kishrael) and a nation that would become their main rivals throughout the voting process. Following their fourth set of 12 points from Caryton, which was the joint highest amount they received in a contest, not only did Mason have a slight one points lead over the now second placed Lika Dia but he also had more 12s than the other two top three countries COMBINED. Hopes were high and it seemed like the small Pacific island nation was about to finally get its first win after near misses in the 75th and 77th editions, vague optimism in the 78th and 79th editions and absolutely no hope in the 74th and prior editions.

Unfortunately for Mason, things started to go downhill from there. While he still received a good amount of points, not only did Dia regain her lead when the Amuaplyean results were revealed but also Polkopia and hosts (as well as eventual runners-up) Nekoni started to gain on him. Elejamie’s fairly decent twelve country long points streak was snapped when they received no points from Kalosia. Any hopes for a last minute victory were dashed when second-to-last-to-vote Axuva gave their twelve points to Ertzei Kishim, which sealed them as the victors of the contest. When it came for fifth-placed Tödlichebujoku to vote, they gave six points to Polkopia but nothing to Elejamie, resulting in both countries finishing with 118 points; however, it was Mason who’d be missing out on a podium spot when only 18 nations had voted for him, compared to the twenty sets of points given to Millennia. Although he was slightly disappointed for about a minute, not only would he still congratulate the winner for her success but would later admit that he still had fun participating and would’ve had fun regardless of which position he ended up in. He also let out slight hints that he might consider performing again for his home nation in one way or another, which should be fun if true.

Fast forward to a couple of days after the competition. After going through a potential list of candidates, the majority of whom would be unavailable to participate in the competition, ETV finally settled on Second Choice, an electronic pop-rock trio made up of three sisters, their instruments and a drum machine, who agreed to represent the country in Boschke. However, rather than making a song specially for the competition, they actually sent the broadcaster a song that they made a couple of weeks before the announcement. This wasn’t a mistake, they had admitted that they didn’t really want to waste a whole lot of time on making a song that’d bomb in a competition so they instead sent something that was going to be on their new album, which was originally going to be released during the run-up to the competition but instead it got moved to sometime after. In a slight tangent, ETV also announced that there will be plans for a national final for the first time since WV37, though little details were revealed and which contest it’ll be implemented for still remains a mystery.

However, it wasn’t all good news. Due to the coronavirus pandemic sweeping the nation and, indeed, the world, there were concerns about whether or not the country should pull out of the competition. Especially since the country had gone into lockdown sometime after the announcement when the country had reported its 49th death (as of the night of the contest, the number has since risen to 135 out of ~5,500 total infected, with 449 recoveries); a number fortunately kept low due to the Elejamian government treating it fairly seriously from the beginning but not going into lockdown and taking containing measures soon enough. Non-essential businesses had to close down (although the government announced they’ll do all that they can do to help affected shop owners once things get back to some level of normalcy); the various sports leagues had to either come to a premature end, be put on pause or have their starting dates pushed back; and, right up until the lockdown was announced, social gatherings were severely limited to two people in every group. Though there were calls for the nation to withdraw from WorldVision, with a few even calling for the competition itself to skip an edition, in the end ETV decided that Elejamie will still be represented by Second Choice, although they were given a set of strict rules to abide by:

They are to be tested 14 days prior to setting off and will be kept in self-isolation during that time. Fortunately, they will be given enough supplies to keep them going around that time so they won’t need to worry too much about running out of anything.
Outside of rehearsals and the actual night of the contest, only two members of the group are allowed out of their hotel room at any time, they are to avoid crowded areas and they are to keep a fair distance apart from each other when they’re out and about.
They were only allowed to bring one other person to the competition to be part of the entourage. Fortunately, it was one person each instead of one person altogether, just to make things a bit more lenient.
When they return home in a private plane with no fanfare even if they end up winning the competition, they will have to spend another 14 days in quarantine as they receive another test to see if they’ve contracted it abroad.

Although there were some concerns that these rules were too strict, to the point where Cate briefly considered actually quitting the contest itself, in the end they all agreed and participated in the competition. Fortunately, not only were they tested negative for the virus but so were the people the group brought along (Alice’s husband, Cate’s boyfriend and the group’s cousin), so there was no problem bringing everyone over to Britonisea. A number of fans made their way over as well, not as much as usual and they too had to be specially tested and self-isolated before they could make the trek, but at least it’s a nice enough gesture to show their support. Plus Cerin Erali and Flynn Taggart, regular commentators for the competition, underwent the same procedures and tested negative for the virus, so they should be able to provide their thoughts on each entry as commentators sometimes do.

Let’s move onto the song itself. When asked about if it meant anything in an interview, albeit one that took place over one of the many video chat services, keyboardist and singer Jacqueline Kleinschmidt simply said “It’s basically a song about friendship, about being there for someone through thick and thin, about how no matter what you’ll be there for someone. And you’ll always be there. Until the bitter end. Some of it might be seen as sarcastic, some of it not, it was mostly just stream-of-consciousness - which is why there are some of those sentence fillers - and just trying to keep the whole theme going while I was putting words to the beat.”

Boring shit over, let’s get to the underwhelming entry already.

Parade of Nations

And so, after months of hard work, practicing their entry and trying to kill time while still being inside, the sisters Kleinschmidt were ready to take the stage for their Parade of Nations appearance. Compared to the last time there was one of those (that was RPed), where Fata Morgana were drawn in the middle of the contest and thus had plenty of time to work out what to do, the trio were instead drawn sixth in the running and thus didn't really have that much time to do that. It didn't really help that they were going to go out at the same time as the entry that was going to precede them. Fortunately, they weren't as worried as Yoni and Patricio were back then; instead Alice was confident and pumped up, Jacqueline was calm and hoping to put on a good show and, while there were a little bit of nerves with Cate, she took a few deep breaths to calm herself. After all, they did kind of come up with ideas and plans in the days leading up to the contest, which kind of helped.

And then it was their turn to come out. As they did so, they were greeted with the usual cheers and applause. They were all wearing the outfits they were going to perform in, which I'll describe in the song proper, although Cate was wearing a pair of black sunglasses as well as a brown suede jacket over her shirt. They didn't really do anything super exciting, merely just smiled waved to the crowd and the cameras. In fact, once they reached a camera at the foot of the catwalk, they stopped moving and Cate made her way to the front (with her sisters stepping aside to let her do so, of course). There, she smiled and waved harder at the camera, saying "Hi mom! Hi dad! Hi Robert!" into it as if it was her first time being on TV. Once she did that, she moved back to where she was and the trio then resumed waving and smiling at the cheering audience.

Once they reached the bit where the two sets of representatives presumably met, they came across Belgaam's entrant, Maveria. They simply smiled at her, with Jacqueline even giving her a thumbs up. It wasn't to come across as antagonistic or anything like that but, rather, they wanted to wish her good luck. Indeed, the cameras were able to pick up Alice saying "Good luck tonight!" to her, although since there weren't any microphones picking up what was being said, anyone watching would have to resort to lip-reading to find out. After they exchanged pleasantries with Maveria, the trio then headed back backstage where they came across entry #8, Titaniumland's very own Chloe Svensson, who was going to enter from the same side as them. They wished her luck too before they headed back to their own table in the green room, waiting for their cue so they could finally get back on stage and perform their song.

The entry proper

Once the postcard came to an end and we cut back to the stage, we everything lit up for a change, instead of the usual darkness at the beginning of nearly every Elejamian entry. As the camera slowly dollies in, we go from a mostly aerial shot of the crowd to a mostly aerial shot of the stage, showing three figures standing on it. One was on the left and holding a guitar, one was in the middle and standing behind a keyboard and the stand it was on, the third was standing on the right was holding another guitar. All three of them had microphones right in front of them. Normally the three figures would’ve been close together but, again, due to the coronavirus pandemic they decided to spread out a bit. Not necessarily because they were asked to, they just decided to give each other a bit of room.

And the entry began, with all but one of the lights dimming. Not being completely off but it clearly wasn’t as bright as the one remaining light. We cut to a close up of Jacqueline playing her keyboard, the camera concentrating on the back of it while her fingers press against the keys. As the intro continued, the camera scrolled up to reveal that she was wearing a green army jacket (albeit without a flag patch) and a plain white t-shirt underneath, as well as a pair of black cargo pants and black and white trainers that she wore during the parade of nations but weren't really visible during the performance due to the stand due to the camera not really aiming that low. As the music started to pick up, with an off-screen Alice starting to strum her guitar, the camera started to zoom out a bit to reveal more of the stage.

And then, a second and a half before the camera had zoomed out far enough to reveal all three band members in the shot, the bass and synthesised strings started to kick in. The lights immediately turned on, bathing both the stage and the audience in even more light. There, we could find out what the other two were wearing and what instruments they were using. To the left of Jacqueline was her sister Alice, wearing a blue jean jacket with a cream-coloured faux-fur collar, a plain white tanktop underneath that, blue jeans and a pair of all-black trainers. To the right was Cate, wearing a plain red short-sleeved T-shirt with a cactus on it as well with writing around it that said “Don’t touch me”. Alice was using a black guitar with a white pickguard, a cream-coloured fingerboard, white knobs and silver tuners, frets and position markers, whereas Cate had an almost all-white bass, with the pickups and fingerboard being black and the tuners, frets and position markers also being silver. Due to them being in the big stage in the middle that’s surrounded by walkways and people attending the contest, they didn’t need to bother with a backing screen, though they decided to go with standard stock animations of shapes on the side screens just to make sure they weren’t bland and boring. The LED stage floor below them simply consisted of two white circles, a filled circle in the middle that remained static and a thick white ring around the middle that pulsated in time with the song; it was also raised a few inches off the ground, not for any message or anything along those lines, it’s because they thought it would’ve made it easier for everyone in the back to see them, even if a percentage of those attending had to settle for looking at the band from behind. They also decided to keep things simple for now, with the stage consisting of just the three of them playing their instruments, though unlike Eterna’s WV77 performance where they didn’t want anything to distract from their song, the sisters just didn’t know what to add to the performance so they just decided to leave it as is.

Back to the song now. Once the camera zoomed out far enough to reveal the stage and those on top of it, we then smash cut back to a close up of Jacqueline. Looking down at the microphone right in front of her instruments, she started to sing into it. She wasn’t really doing any dancing, just a sort of “shuffling from side to side” on the spot sort of thing while she was playing her instrument. Not necessarily because of discomfort, nor was it her trying to get into the groove, it was just something she usually did while she played her instrument live because she felt if she just stood still while playing it’d come across as very monotonous and boring, not just for her but for the audience as well.

Helped out from the start
We've been through a lot
You’ve bailed me out once or twice
If you ever feel
That the world’s against you
I’ll still be there

Following that last line, we then cut to a close up of Alice strumming along on her guitar, the camera mainly focusing on the body and her fingers strumming the strings on it, for a few seconds. Once that was over, we then get a sweeping cut back to Jacqueline shuffling on the spot, playing her instrument as she started to sing the chorus. After the first third of the chorus, we then cut to a side view of Jacqueline singing into her microphone, with Alice lifting up the neck of her guitar a little bit as she carried on playing.

Got your back, you’ve got mine
And I’ll be your friend
Right until the bitter end
Hey, yeah-yeah-yeah-yeah-yeah
Uh-huh, yeah
And I’ll be your friend
Right until the bitter end
Oh, oh, oh~
Uh-huh, yeah
I’ll be your friend
Right until the bitter end

Shortly before she finished singing the last line, the lights around the stage dimmed, not really turned off but they weren’t as bright as they were before, leaving only a single spotlight shining down on Jacqueline. She was busy gliding her fingers across the keys of her keyboard, producing that sparkling sound that played throughout the following verse. Off-screen, Cate was still plucking her bass guitar while Alice just completely stopped. With her free hand, Jacqueline pulled the microphone closer to her, even tilting the back of the stand off of the floor just to make sure it was close enough for what she wanted to do. Camera-wise, it wasn’t really much to talk about, the camera was mostly centred on her, with cuts to different angles with her sisters in the background depending on where the camera was placed.

I’ve been your guiding light
I’ve stuck by you through thick and thin
And don’t forget
I’ll be there for a long time

Shortly before she finished singing that last line, Jacqueline turned her head to her side and looked down. Right when the next verse started, which was barely a second after the last one ended, she turned back around to face the audience, her hair swaying before she put it back the way it was (in the Artist Background spoiler). At this point, the music went back into full swing, with Alice going back to strumming her guitar. From the start of the second line until halfway through it, we got a shot of her looking down while she was playing her instrument before we then cut back to Jacqueline singing the song. It was also at this point where the lights came back on in full force, shining brightly not just on them but also the audience as well. Some of them even applauded; a faint cheer but still loud enough for it to be picked up by any sound recording devices.

You’ve been there for me
You’ve stuck by me for a long time
Don’t forget I’ll
Still be there for you

Not much to say here, this is just a filler paragraph to separate two bits of a song. And even then this next bit is more of a lead up for the end, so there’s not really much to comment on. The cameras were mainly focused on Jacqueline swaying on the spot and singing along, with the odd jump cut to her bandmates or the audience from different angles.

Hey, yeah-yeah-yeah-yeah-yeah
Uh-huh, yeah
Yeah, I’ll be your friend
Until the bitter end

And then it was time for the last chorus, which doubled as the outro. The lights would not only dim but also changed colour, going from a bright white to a bright blue. Not just that but, instead of all of them changing at the same time, the light over Alice changed first, followed by the one over Jacqueline and, finally, the one over Cate. The lights behind them still remained white, ditto any lights over the audience. The camera then changed to a distant overhead shot of the stage, with a bit of the audience in view, before it tilted down a bit.

Got your back, you’ve got mine
And know I’ll be your friend
Right until the bitter end
Hey, yeah-yeah-yeah-yeah
Uh-huh, yeah
And I’ll be your friend
Right until the bitter end

Once the sisters finished singing that last word, all but three lights dimmed until they were pretty much off, namely the three lights shining down on the three of them. Then the first light, which was shining down on Alice, started to dim as she stopped playing her instrument. Then the one shining down on Cate, even though she was still busy playing her instrument, started to dim until there was only one light left. That too started to fade and, once it was completely off, she stopped playing her instrument. Jacqueline brushed her fingers across the keyboard to make that sparkly sound again before returning it to her side to signify the song had ended.

Once it did, the audience applauded. Not a mass amount of applause or anything like that, the standard cheering you get after each entry. There were a few signs and flags being waved around to show their support for the various countries taking part, though the main sign in shot was obviously showing their support for the country that had just performed as it read “Douze Points For Elejamie!” After the camera centred on that for a brief couple of seconds, long enough for anyone at home to read it and also long enough for the stage to lower itself enough for the performers to get off of it safely, we then cut back to the re-lit stage and the three women stepping away from their instruments to take a bow. Clutching onto the microphone, Jacqueline lifted it up and said into it “Thank you Boschke! Enjoy the rest of the show!” before she and her sisters made their way backstage to let the next act perform.

by **Todlichebujoku** » Mon Apr 06, 2020 8:30 pm

07. _Tödlichebujoku_

Tune: 5 Seconds of Summer- Teeth
(Lyric video for listenalong)

Venom

Tulisvi

Kotonee Laine on Viihde-Páivittáinen Gimdassa wrote:So you've all heard that we have a new act for this coming WorldVision in Britonisea! But who is it? What's their story? We're glad you asked! Here on Viihde-Páivittáinen, we've summarized all you need to know about our next WV entry!

Tulisvi is a 5-man pop-rock band that's been running just under the current of the mainstream Tödlichebujoki pop music scene. While they do describe themselves as being primarily pop-rock, Tulisvi has been known to experiment with various styles of music including alternative and electronic, which is increasingly evident in their newer releases. Although the band has stated that it has no intention to become a chart-topping act, music industry analysts have become increasingly vocal and optimistic about the band's future prospects, becoming a sort of out of control public relations machine for them. In reaction, Tulisvi has more or less withdrawn from making statements about their intentions and direction, choosing instead to allow their work to speak for themselves. Only very recently, in conjunction with their partnership with TÖBUK in participating in the WorldVision Song Contest, have the band members broken out of their shell of silence in the press, revealing that they had opted to step back from fueling any sort of hype machine, and that they had no problem with the idea of being successful- only that they would rather avoid having to chase the limelight and constantly stand center stage in the unending circus of gossip that so often surrounds big acts in the music industry.

We were able to get an answer from Vilapertti Serisava, lead singer of Tulisvi, to a question in his most recent question-and-answer session.

Q: What are your plans after participating in WorldVision?

A: Probably drink.

Different elements of the stage's accent lighting blink blue in time with the music, with the rest of the stage being dark, before shifting to a deep, moody red as the lyrics begin. The members of Tulisvi are arrayed around the center circle, facing outward, with Vilapertti on the center edge. The band is wearing a variety of armor pieces, each one wearing a set from a different era. Vertical spotlights illuminate each member individually, the arcing elements of the stage showing dripping fangs, with the abstracted writhing bodies of snakes appearing on the screens immediately around the band. On a close-up view, Vilapertti has his head leaned forward toward the microphone, his face in half shadow, as he plays the guitar, the camera catching a gleam of reflected light from the guitar finishings as it absorbs the scene

Your hatred worms so warmly in my soul
Give me more and more because my heart's a hole
Want me to die, want me to die
Once more you cry, once more you cry, ohh

The snake forms disappear in a circular black void that opens up around the band as a set of spotlights sweep inwards toward the band. There's a quick flash, like that of a blade of a knife, right in front of him, before a projected wound appears on his chest, red dripping down from it. Vilapertti gazes up at the camera with a daring, almost lascivious expression, as if the wound triggered not pain but instead pleasure. The lights create a rotary motion via a marquee effect periodically, in time with the music

Love me like you want to end my life
Kiss me with your anger and don't drop the knife
Twist it right in, twist it right in
Excise my sin, excise my sin, yea

The center stage now becomes suffused with light, cut during the second line with blacklight before returning to white light. The members of Tulisvi have their heads raised up, eyes closed, as if trying to endure the brightness of day, only looking outward once more once the stanza ends. The camera view pans across the stage, capturing the whole scene

Attack me in the sunlight with your piercing eyes
Strangle me in darkness till the next sunrise
Every day it's slaughter with another try
And powers if I love it for the daily high

Fangs form at the top of the screens that arc up around the band, dripping liquid, with snakes coiled around one another just below. Red highlights form and pulse around the band as the vertical spotlights flash to the beat, as a second set wraps around the center of the stage in a twisting formation within the cylinder of flashing spotlights. Vilapertti and everyone else but the drummer Alvar Šinotta hop to the beat, an accessory set of spotlights along the stage edge shining out over the audience as the camera swoops in and back out

Take my venom and we'll get no sleep
Fight like lovers, every wound so deep
Midnight murder making life a dream
Hurt me harder, harder, harder, each go

Take my venom and we'll get no sleep
Fight like lovers, every wound so deep
Midnight murder making life a dream
Hurt me harder, harder, harder, each go

All the lighting and effects fade out to a single vertical spotlight that persists on Vilapertti for one line, then is joined by the four flanking ones on each member. The camera view is close in on his intense expression, almost animalistic, with Vilapertti seeming like he's just on the verge of control despite his vocals being firmly in control. The lighting pulses to the rhythm of the music as the rest of the stage remains dark, allowing for a strong contrast and tense atmosphere

Your poison that I swallow gives me breath
Burning in my innards like a kiss of death
Consuming all the conscience I have left
Bleeding me dry, bleeding me dry, yeah

A bright glow suffuses the stage, coupled with a few roving lights amidst the other spotlights. In the bright light, Tulisvi's armor accompaniments shine and glow in the camera view. This time, Vilapertti has his eyes open and leans forward, clutching the microphone stand as he takes a step forward in an aggressive motion

Attack me in the sunlight with your piercing eyes
Strangle me in darkness till the next sunrise
Every day it's slaughter with another try
And powers if I love it for the daily high

Lights based along the stage edge sweep out on each flank over the audience as the ceiling array sweeps inward to the band before creating a spiral marquee blinking effect, shutting down to one light roving around in a circle during the most rhythmic portion of the chorus. Most of the members head toward the stage edge as the camera heads into an array of dramatic and overarching shots amidst the dazzling light show

Take my venom and we'll get no sleep
Fight like lovers, every wound so deep
Midnight murder making life a dream
Hurt me harder, harder, harder, each go

Take my venom and we'll get no sleep
Fight like lovers, every wound so deep
Midnight murder making life a dream
Hurt me harder, harder, harder, each go

All the lights tone down to darkness, allowing the stage floor to supply all necessary lighting, focusing the attention on Vilapertti, who is on his knees, guitar nestled in lap. At first he sings innocently and innocuously, before tilting his head right back up and gazing deep into the camera view with a very direct expression

Tear me apart, won't ask you to stop
Till I spear you once more with vengeance on my thoughts
Tear you apart, don't ask me to stop
You need me

Surrounded by darkness except for the floor, Vilapertti launches into the chorus, a capella interspersed with instrumentation as he begins to rise. With each burst of instrumentation, the lights ignite into a flurry of activity before dissipating once more into darkness upon the next a capella line

Take my venom and we'll get no sleep
Fight like lovers, every wound so deep
Midnight murder making life a dream
Hurt me harder, harder, harder, each go

Sparks fire out along the stage edge as the light show begins once more, a glow amongst the smoke created by all the lights. Vilapertti is putting all his energy into his performance, as are the rest of the members. A red circle pulses around them, creating a ripple effect across the stage and up the arcing elements

Take my venom and we'll get no sleep
Fight like lovers, every wound so deep
Midnight murder making life a dream
Hurt me harder, harder, harder, each go

The lighting fades, so that the smoke is illuminated from below by the stage, with the periodic and rhythmic flurry of spotlights cutting through the darkness. As this happens, the band can be seen to be slowly rising above the smoke, back into clear view of the camera

Bleed
Bleed
Bleed

The spotlights converge on the now elevated center stage as Vilapertti sings the last line

Hurt me harder, harder, harder, each go

The lights cut out to darkness in a sudden motion

"Kiitos Britonisea!" they shout in unison as the lighting returns to normal levels and the stage returns to its original position, before bowing out and exiting the stage.

by **Titaniumland** » Mon Apr 06, 2020 10:57 pm

08 TITANIUMLAND

Chloe Svensson: "Gone"
Tune: RL KLAV: "Rainbow"
Music: Chloe Svensson & Sasha "SasHI" Hill / Lyrics: Chloe Svensson, Sasha "SasHI" Hill & Benjamin Moon
OOC - Music: Keshia Aita / Lyrics: Rizkia Larasati

The selected act for 81st Worldvision, Chloe Svensson is a well-known pop star from the city of Henium. She has headlined arenas all over the nation and won awards right and left. Music has been something that Chloe always loves. "I remember when I was like five, held this mic then sang in front of the whole family, and that moment I also knew that this was what I wanted to do for the rest of my life", she said during her short documentary titled All the love, Chloe released earlier this year. Her journey in music started when she became an announcer for one of the most popular radio stations, Grade FM. Meeting and knowing people from the music industry encouraged her to actually produce her own music. She eventually became a backing vocals for indie rock band The 2000 for two years before decided to pursue her own career.

Chloe's first record was probably lending her vocals as background on Greta Pehrsson's "Illumination" in 2017. She then was included in many projects, lending her lyrics and playing instruments. She was first getting attention from the public when she released her first studio album titled Triumph in 2018 and collected the award for Breakthrough Artist at the Titan Indie Awards the following year. She has accomplished a lot of things since then and now being stronger and ever, she is on stage in Boschke, Britonisea to represent the Titans at Worldvision.

The performance is designed by award-winning art director Aaliyah Khalif, who was also behind the Titan 74th edition performance. Chloe is wearing the white version of this costume with exact hairstyle and shoes while the background vocalists/dancers wear plain white shirt and pants.

PERSONNEL
Benji Moon - backing vocalist, dancer
Sasha Hill - backing vocalist, dancer
Alvaro Kheng - backing vocalist, dancer
Ranita Hail - backing vocalist, dancer
Daniel Almeda - saxophonist

Lyrics in Bold-Italic state the lines are sung by Chloe with background vocalists.
Lyrics in italic state the lines are sung by background vocalists.

On stage, we can see that there is a huge open box located on the side stage that the inside of it filled by pink neon lights where Chloe is standing in front of it while the backing vocalists are sitting and standing near the box. The backing vocalists are singing below lines while the camera shoots them and Chloe while slowly zooming out.

Can't see the change after you're gone
Can't see the change after you're gone
Can't see the change after you're gone
Can't see the change after you're gone

After the intro ends, Chloe starts singing the first verse while walking to the center stage with her dancers. The camera shoots from the front during the first line. During the "Better" word on the second line, she turns her head to the left camera which shoots her, and when during the "Stronger" she turns her head to the right camera which shoots her also, similar to this (1:16-1:18). The camera continues following them to the center. The dancers are doing a little choreography.

I left when you said goodbye
Now I'm better and stronger to go through it all
Say, you must think I'm down and losing
There must be something that you ain't looking

Chloe and the dancers are on the center stage now. The camera shoots in circular motion, shooting every backing vocalist then focuses on Chloe. While the camera shoots them, each of them flirts with the camera while doing a little choreography.

Blame me for my mistakes
You've never heard my explanation
The more your delusion
More foolish your speculations
If only then you heard me

On the center of the stage, there is a turntable similar to this (0:15-0:19). Chloe stands on it while singing and turning around in medium speed following the beats of the song. The camera follows her motion and shoots her in medium shot. Chloe is flirting with the camera and doing a few dance moves.

Can't see the change after you're gone
What is it? I've found it
Can you find it?
I've found myself free, yeah
Can't see the change after you're gone
Like, what is it? Can you find it?
I've found myself
Never felt better now

The camera shoots the backing vocalists who are doing choreography while Chloe is getting off the turntable (off-camera). The camera then shoots back to Chloe who now joins her backing vocalists on the center of the stage. The background of the shoot is now the box which the lights inside start going on to the rhythm of music, similar to this (0:49-0:56). When it comes to the word "Stop", the lights and the music also stop then the right camera shoots her and she nods to it, then she continues the performance.

Regret or blessed, you decide
The lonely nights you go through
The places we went navigate me to you
Stop reaching me out
Our love boat has been drowned
Go tear down your fences
Ready for your love to be bound

The camera moves in a circular motion then stops at Chloe. The camera then shoots around the arena, focusing on the medium shot of the stage. The camera moves shooting the background vocalist one by one while they are doing choreography. On the "I've found myself" line, the camera shoots the side of the arena. On the "Never felt better now" line, the saxophonist suddenly appears on the stage, Chloe leans her body on his. During the saxophone solo, the camera focuses on the saxophonist while Chloe is seen leaving the center stage on the background.

Can't see the change after you're gone
What is it? I've found it
Can you find it?
I've found myself free, yeah
Can't see the change after you're gone
Like, what is it? Can you find it?
I've found myself
Never felt better now

(Saxophone solo)

After the camera shoots on the saxophonist during his solo, the camera shoots Chloe who is now inside the box. The neon lights are "moving" following the rhythm while Chloe dancing and singing the closing part. Towards the closing, the cameras focus on Chloe while shooting her from the left side, the front, and the right side.

(Stop reaching me out) reach me out
(Our love boat has been drowned) it's been drowned
Go tear down your fences
Your love is to be bound

(Stop reaching me out) reach me out
(Our love boat has been drowned) it's been drowned
Go tear down your fences
Your love is to be bound

Stop reaching me out
Can't see the change after you're gone
Yeah, yeah, yeah
Can't see the change after you're gone
Can't see the change after you're gone
Yeah
Can't see the change after you're gone
Can't see the change after you're gone
Can't see the change after you're gone

Now that the performance ends, Chloe is going out of the box, joins her background vocalists and the saxophonist then shouts to the camera "Thank you so much Britonisea!" and the camera moves shooting the crowd from Titaniumland.

by **Vartugia** » Mon Apr 06, 2020 11:27 pm

08 09. Vartugia

A singer nobody cares about, since we are not gonna win anyway- "I Wanna Marry Rick Leg (Please Be My Husband!)”

Nanne Grönvall – Carpool Karaoke

"I want to marry Rick Leg
So be my husband" - The singer nobody cares about.

IDK what I'm gonna write about. Seriously. I don't know what to write. I dont want it look bad and empty so i better write something so it looks pro but then i might use extra effort and i as this nation don't want to use afford so no its nothing for me but i am not gonna just let shit be blank i want to do something so this is therefore somehow a blatant filler for a shitpost.

The singer that no one gives a fuck about is someone who for some reason the performer for Vartugia. And while the demonstration continues (and went so wild that Vartugia had to skip WSC80)

The stage is set for the upcoming trainwreck and we have the singer, several dancers who look like they don't know what they are doing there. At the staging

I got myself the best white dress for you
And we are gonna live forever and forever
I wanna marry Rick Leg
So be my husband

As the poorly dressed "dancers" assemble, one of then falls over.

Yeah
Original Lyrics

My very best friends
Always tell me the worst shit
But now since we are singing
Suddenly everyone gets depression from us

She tries to sing, but her vocals just get awful and it ends up killing this otherwise dead song.

We can go holyday`n in Izmedu
Or we can always go to Örkemdrem
Everyone tries to give me everything
But there is only one guy I just want

This space is left blank.

I wanna marry Rick Leg
In Thatcher City
I gonna give you Ricky babies
I got myself the best white dress for you
And we are gonna live forever and forever
I wanna marry Rick Leg so be my husband

More unfunny things happen. This is at this point we found out that this isnt the winner.

I buyed myself the whitest wedding dress
And I have sent him billions of love letters
I want to murder everyone but him
His smile makes me happy

One of the dancers, realizing he is in a vartugian entry, decides that the suffering is enough and jumps off the stage to never be seen again.

I’m stalking and I’m stalking
Ricky are going to be mine forever and ever
I am in love with the Sexy Rick Leg
Now watch me getting him

[-INSERT RP HERE-]

I wanna marry Rick Leg
In Thatcher City
I gonna give you Ricky babies
I got myself the best white dress for you
And we are gonna live forever and forever
I wanna marry Rick Leg so be my husband

RP?
Yes

Be my husband
Please Rick Please

The dancers all begin to assemble the generic setup used by churches with one of the dancers dressed like a priest and one of the dancers brining in a poor blow up ~~sex~~doll version of Rick Leg.

I wanna marry Rick Leg
In Thatcher City
I gonna give you Ricky babies
I got myself the best white dress for you
And we are gonna live forever and forever
I wanna marry Rick Leg so be my husband

I got myself the best white dress for you
And we are gonna live forever and forever
I wanna marry Rick Leg so be my husband

The singer then fucks off as a new dancer begins to talk on the phone if he can sue Vartugia for damage as he was in a shitpost and that this entry damages the dancer's reputation.

by **Beepee** » Tue Apr 07, 2020 12:42 am

10. BEEPEE

"Fight For My Love"

Betty Wont
------

Tune: "Soldiers of Love" by Lilianne St. Pier

Once again, WorldVision is being broadcast on Beepeean Broadcasting Corporations BBC Entertaimment channel.

Beepee's local media superstar Hugh Jakeman is commentating on the event for Beepeps watching on the channel. As the postcard plays, Hugh gives television viewers in Beepee a little commentary... there is a suggestion in his voice that the wine may have been opened early this year.

Well, Im not sure how seriously they take that sort of thing in Vartugia, but Rick Leg needs to marry that stapping lass.

Right now lads, we'll have a bit of calm now. It's us...Beepee... who'd have thunk it. That means, we've only another 16 hours of this to go.

This year, as if you dont already know, Betty Wont is our singer. A delightful lass. Betty, wrote this song... about the pain and longing of a failing relationship... cheery.

Now she's done very well in the rehersals and this could be Beepee's best song in the competition so far. But I've never been a good judge of these things...

Alright, here she comes... let's cheer her on in word and gesture!

---

Betty Wont took to the stage wearing a bright gold catsuit. She stood in the middle of the stage waiting for the music to start. She could feel her heart beat faster.

As she stood there, waiting for the postcard to finish and the music to begin, she could feel a burning sensation come up from her stomach. She knew the sensation well. She gulped down, trying to force the nausea from rising up within her. But it was too late. Standing on the middle of stage, Betty couldn't hold back anymore and vomited all over the stage.

Betty immediately flushed, embarrassed by her stage fright.

Immediately, a kind stagehand rushed onto stage. With a bucket and mop and tried to clear up the mess. He did the best he could, but the postcard stopped and the WV81 director had to breifly cut back to hosts Jordan Hermes and Ria Aristide to fill for 30 seconds as the stage was being prepared.

Backing dancer, Omar Gosh, rushed towards betty to check she was okay. She waved him off.

Once she was ready, Betty nodded back to the stage manager who talked into his headset and seemlessly Jordan Hermes informed the viewing public that this song was song number 10 from Beepee.

---

Betty stands centre stage, wearing a tight gold jumpsuit. Her dark hair tied into a high ponytail, hands on hips, microphone in her left hand; Smiling and flushed looking directly to camera.

Slightly behind and stage right of Betty and just off screen to the at home viewing public, is backing dancer, Omar Gosh. Omar, a strapping looking lad, with dark hair, wears dark trousers and a semi-mesh see-through top showing of his toned physique in the hopes of a few more votes from the discerning public.

Stage left of Betty, stands the three backing singers, one of whom eagle eyed viewers will notice is Ida Slapter, Beepee's WV79 entrant. The other backing singers are Vera Funi and Ira Fuse. All dressed in simple black outfits in front of stand microphones.

The music begins...

Omar starts by rushing towards Betty and standing to her left. The camera cuts to a wide view to allow the home audience to see the full stage.

The camera pulls into to centre stage and Betty puts her hands on Omars chest and he dramatically dance falls to the ground. The quick cut camera return to an upper torso view of Betty. Betty turns her face away from Omar before looking back directly to a camera and lifting her microphone...

At the dinner table tonight,
We sat across and said nothing.
We ate in silence once again;
A perfect meal has gone to waste.

Of screen, Omar tries to return to his feet, but his left foot seems to slip on a little unmopped spew. And he thuds heavily back on the ground. The studio audience gasps slightly, adding a dramatic crescendo which would not go unnoticed by home audience. Betty tries to remain focussed at the camera.

Go on and take a drink of your expensive wine,
You know that it hurts me so to sit here and beg.

Omar finally gets back on his feet and makes his way behind Betty, artistically running his hand down her ponytail and pulling it towards his face. Bettys face remains stoic, trying to convey the hurt penned in the song lyrics.

Later that night we went to bed.
I lay there and stared at the ceiling.
I longed so much to feel your touch,
But you just lay there pretending.
Sleep!

Omar heads to the right of Betty and Betty turns to face Omar, and both are now in profile to the audience.

I just cant stand it when we talk on the phone.
You never say "I'm yours".
Is it to much to ask?

The stage becomes brightly backlit and Omar and Betty stand, now, in profiled silhoutte to the people watching at home as the chorus begins both Omar and Betty make poses like they boxers duelling in a barenuckle fight.

Fight for my love!
Tell me "I'm yours"!
Make love to me and say you'll stay!

Fight for my love!
I'll say "I'm yours".
Nothing will change if we dont change!

At the end of each line of the chorus, the backing trio, who are providing a rich harmony to Betty's voice, appear to reach out to the sparring Betty and Omar.

At the end of the chorus, the backlight dims back down, as Omar dramatically headflicks and spins away to the left of Betty. Danicng off, as the camera cuts to a full stage view.

The camera then cuts to a wide view of the three backing singers, each of whom have removed the mic's from the stand, and Betty. The backing singers, Ida, Ira and Vera, begin to 'Israeli Sidestep' towards Betty.

In the morning you leave for work.
I sit at home and cover up
All of the cracks, I'm holding back
The flood of tears from my heart.

By the end of the verse, Ida, Ira and Vera have made their way over to Betty. Ida and Ira standing immediate to the viewers left and Vera to the viewers right of Betty.

I'll never say
What's really on my mind.
I'll keep it locked away.
I'll never say.

As the four ladies gently sway together singing the bridge. Omar returns from offstage and stands to the viewers right of the ladies with his chest puffed out.

The four women, in unison turn their heads sharply to look at him.

Fight for my love!
Tell me "I'm yours"!
Make love to me and say you'll stay!

Fight for my love!
I'll say "I'm yours".
Nothing will change if we dont change!

Omar pirouettes, as though hurt by their stern faces and leaps to the right out of the camera view again.

Betty begins to step forward of the trio of backing singers who step to the back, join together again and continue sidestepping to the right, towards where Omar leaped to.

Betty's voice rasps towards the next line before settling back into her more melodic tone...

Fight for my love!

Fight for my love!
Tell me "I'm yours"!
Make love to me and say you'll stay!

Omar returns to stage, spins towards Betty, who continues...

Fight for my love!
I'll say "I'm yours".
Nothing will change if we dont change!

Fight for my love.

As Betty finishes the final note, she turns to Omar and they dramatically and passionately embrace as if two lovers who have finally found each other after years apart.

The studio audience, politely applauds as the Beepeean congregation all meet up centre stage and bow with some flair.

"Thank you everyone, we love you", Betty yells to the audience as they exit, Omar pointing into the audience and putting his hands together in the shape of a heart.

As they rush off stage, the kindly stagehand rushes back onto stage to continue mopping the remaining discharge.

For viewers in Beepee, Hugh Jakeman returns to his voiceover

"Thats the best shes done all week, good girl... well done Betty... Right, lads, open the wine and let the rest of this wash over you."

---

by **Eljida** » Tue Apr 07, 2020 1:08 am

11. Eljida
Tanya Bedar
Kiç Jultas (Little Star)
Tune: Hadise - Düm Tek Tek

As the music starts, Tanya stands center stage with 4 back up dancers on either side of her. The stage is dimly lit so that only their silhouettes are visible, but as the music continues flames shoot up in the front of the stage as the lighting gets brighter. Fully visible now, Tanya and her dances start dancing a traditional Eljdian folk dance. The camera pans to the side, and Tanya can be seen giving a smile as she starts the song.

Мәнo шapaву нуpa
Meno şaravun nura

Р’искәб aлэ китapa
Řiskeb alé kitara

Apoqaн әcaну һә жaһaнo
Aroqan esanu he jahano

Үләмә тoлco гужим
Úleme tolso gujim

Ву Opдa мaшәлукo
Vu orda maşeluko

Дopэкc бәнoв нәзaнo
Doréks benov nezano

Миpaтo
Mirato

Мәшoлә дapo
Meşole daro

Кәpу cүдa
Keru súda

Пән әгap
Pen egar

Жaлэ cyмeн
Jalé sumen

The lights of the stage began to strobe in a series of white and red. The dancers then all spread out to the left and right of Tanya as they all began shaking their hips back and forth. Tanya joined them, and the smile on her face clearly depicted how good of a time she was having. Being taught this particular dance in childhood, it came second nature to her. She wasn't breaking a sweat, and frankly her back up dancers had no problem keeping pace with Tanya.

Coкaл гaвзaн дapгэ бaл aмр’o
Sokal gavzan dargé bal amřo

Мaмир һaмy кич жултaс
Mamir hamu kiç jultas

Дaнүcә aтин кaнyc гәpac
Danúse atin kanuş geras

Тaндa coл кopиншә
Tanda sol korinşe

Coкaл гaвзaн дapгэ бaл aмр’o
Sokal gavzan dargé bal amřo

Мaмир һaмy кич жултaс
Mamir hamu kiç jultas

Дaнүcә aтин кaнyc гәpac
Danúse atin kanuş geras

Тaндa coл кopиншә
Tanda sol korinşe

The dancers dispersed away from Tanya and then formed a diamond shape around her. The stage continued to be a flurry of red and white light, but now a dimmer, less noticeable orange light shined from the back of the stage. It gave the stage the image one would usually see out in the Eljidian steppe, a beautiful conjuction of a reddish-orange hue. Tanya twirled in the center of the dancers, and the camera angle changed places above her, looking at the bottom of the stage. It displayed a vortex of black and red, opposite to the motion Tanya started twirling. As she stopped and looked at the front facing camera, Tanya brushed the hair away from her face and then turned to the side, giving the camera a seductive over the shoulder glare.

Мәнo шaйe cинкawи
Meno şaye sinkawi

Зимaн aлaмa шэмo
Ziman alama şémo

Һүнэ инaмә гaиpи кopoca
Húne inanme gairi korosa

Фyмaт иэзaт кһaзp
Fumat iézat khazr

Бигaзaн кaжәт oдacин
Bigazan kajet odasin

Aлдинa qapaп кәләм
Aldina qarap kelem

Миpaтo
Mirato

Мәшoлә дapo кәpу cүдa
Meşole daro keru súda

Пән әгap
Pen egar

Жaлэ cyмeн
Jalé sumen

Tanya tossed her head side to side as the back up dancers repeated shortly after. She raised her hands above her head as she continued the dance, keeping rythym with the song as the dancers skipped around her on the stage. As she danced, her bright red dress swirled in an enchanting manner around her waist. It flowed so elegantly in the breeze that was created from the air machines situated on stage, and gave the same effect to her hair.

Coкaл гaвзaн дapгэ бaл aмр’o
Sokal gavzan dargé bal amřo

Мaмир һaмy кич жултaс
Mamir hamu kiç jultas

Дaнүcә aтин кaнyc гәpac
Danúse atin kanuş geras

Тaндa coл кopиншә
Tanda sol korinşe

Coкaл гaвзaн дapгэ бaл aмр’o
Sokal gavzan dargé bal amřo

Мaмир һaмy кич жултaс
Mamir hamu kiç jultas

Дaнүcә aтин кaнyc гәpac
Danúse atin kanuş geras

Тaндa coл кopиншә
Tanda sol korinşe

As the chorus finished, she put her hands on her hips as she yet again began swinging them side to side. The stage colors had now settled in a steady stream of red, perfectly illumnating every inch of her and the back up dancers with every camera angle. Singing out the crowd, Tanya was as unbothered as can be. Rehearsals came with a little bit of nervousness now, but that was gone now that she was on stage. She didn't bat an eye as she continued through her routine.

Coкaл гaвзaн дapгэ бaл aмр’o
Sokal gavzan dargé bal amřo

Coкaл гaвзaн дapгэ бaл aмр’o
Sokal gavzan dargé bal amřo

Мaмир һaмy кич жултaс
Mamir hamu kiç jultas

Дaнүcә aтин кaнyc гәpac
Danúse atin kanuş geras

Тaндa coл кopиншә
Tanda sol korinşe

Coкaл гaвзaн дapгэ бaл aмр’o
Sokal gavzan dargé bal amřo

Мaмир һaмy кич жултaс
Mamir hamu kiç jultas

Дaнүcә aтин кaнyc гәpac
Danúse atin kanuş geras

Тaндa coл кopиншә
Tanda sol korinşe

With the song coming to an end, the stage shot up with flame jets. Tanya and her back up dancers gathered in a circle with the closing moves of the folk dance, now joining hands. They bobbed back and forth on each foot, every single one of them clearly enjoying themselves. They then broke formation and reunited in the same positions as when they started.

Бoлap гaнa жoлән oмипeн
Bolar gana jolén omiren

Тaндa coл кopиншә
Tanda sol korinşe

Дaнүcә aтин кaнyc гәpac
Danúse atin kanuş geras

Мaмир һaмy кич жултaс
Mamir hamu kiç jultas

One last round of flames shot up as the song ended, with Tanya and her dances all striking a pose with the final beat. As the audience erupted into applause, Tanya smiled as she hugged all of her dancers. "Thank you so much!" They were all laughing with each other as Tanya gave her final farewell to the audience before they all walked off stage.

by **Talvezout** » Tue Apr 07, 2020 1:16 am

(12) - Talvezout
Lady Kim | "Dime Mas"
Tune is "Gimme More" by Britney Spears.
Language is Talvezian (Judeo-Spanish/Ladino). Translation is provided below.

Talvezout was on a roll. After a great hosting of Worldvision 79, complete with the nation placing 3rd, the island nation was firmly back in the game. While Talvezout placed a painfully average 13th in Nekoni, the enthusiasm for the populace wasn't dampened, and the country started the Worldvision 81 cycle strong. Such rosiness was not to last, however. As per usual, TRT had issues allocating funds for Worldvision - withdrawing from the contest was seriously considered at multiple points, and Lady Kim was only informed she was gonna be representing Talvezout a week before entries were due to the Worldvision Committee. Still, Lady Kim was able to scrap together an entry by the deadline, and everything was all set for Boschke come showtime.

Unlike many previous contestants for Talvezout, Lady Kim is a stranger to Worldvision. This contest marks the first time that the Halasalan singer has competed in any Worldvision-related media; she is a rarity among Talvezian pop stars in that she never took part in Talvezout E Mouzeh, nor World Hit Festival. She is a complete newcomer to Worldvision, and TRT specifically selected her as they wanted fresh blood for the contest. Lady Kim isn't a complete newbie however - she has been performing in music ever since she was at the tender age of 8, at first being taught how to play the flute and piano before branching into singing. Her first single, "Let's Turn Back Time", was released when she was just 17, becoming a major hit among the younger crowds. While Lady Kim quickly became a massive pop star, she was quickly saddeled with the label of "teeny-bopper", with most pop culture mocking her for her younger fanbase. Determined to shed the image, Lady Kim focused on more challenging and experimental works. The lead single off her third album, "Blame it on the Love" is the best example of her attempts to become more "adult", while trying to avoid the usual pitfalls of teen stars growing up. By all accounts, she succeeded - Lady Kim's new style of music easily blends the experimental with the popular, leading to what critic referred to as "hyper-pop". Her catchy melodies mixed with cutting-edge production made her the perfect choice to represent Talvezout in Worldvision.

"Dime Mas" is a blend of nocturnal house music with dance floor pop. The song was inspired after Lady Kims's encounter with a particuraly attractive woman at a night-club in Phoda. After the woman led her on throughout the night, she vanished without a trace - leaving Lady Kim with only the image of the hauntingly beautiful gal. "Dime mas" is a dance-pop and electropop song, set in a moderate dance groove and composed in the key of F♯ minor, with 113 beats per minute, with Kim's vocal range spanning from F♯3 to C6. The melody incorporates "low electronic lines" whereas the beat has been described by critics as "disco-ish". The song itself is about an encounter with a woman at a nightclub that leads tht singer on throughout the night. In other words, it's about lesbian lust and how it can consume a person.

It's Lady Kim bitch
I see you
I want you, you don't know why you're here, do you?

When the stars fall down on us
The only people here are you and me
You cast a great spell on me
You are the only thing I need (only you)

What's in my heart is a rhythmic madness
I need to be with you or else I can't go on
Every little look I go crazy and you know it
Please don't stop, please don't stop
Your magic, it's got me crying

Tell me tell me tell me more
Tell me tell me more
Tell me tell me tell me more
Tell me tell me tell me more
Tell me tell me more
Tell me tell me tell me more
Tell me tell me tell me more
Tell me tell me more
Tell me tell me tell me more
Tell me tell me tell me more
Tell me tell me more
Tell me tell me tell me more

Your beauty is an infection
(And you know it)
Your witchcraft gave me a great affliction
Your love is like an ijection
¿Why don't you show me more?
There's more we need to know

What's in my heart is a rhythmic madness
I need to be with you or else I can't go on
Every little look I go crazy and you know it
Please don't stop, please don't stop
Your magic, it's got me crying

Tell me tell me tell me more
Tell me tell me more
Tell me tell me tell me more
Tell me tell me tell me more
Tell me tell me more
Tell me tell me tell me more
Tell me tell me tell me more
Tell me tell me more
Tell me tell me tell me more
Tell me tell me tell me more
Tell me tell me more
Tell me tell me tell me more

What's happening?
More
I want you
I need you

Tell me tell me tell me more
Tell me tell me more
Tell me tell me tell me more
Tell me tell me tell me more
Tell me tell me more
Tell me tell me tell me more
Tell me tell me tell me more
Tell me tell me more
Tell me tell me tell me more
Tell me tell me tell me more
Tell me tell me more
Tell me tell me tell me more

Tell me tell me more
Tell me tell me more
No, no no, no no, no more
Tell me tell me
Tell me more my dear

Stop don't go, stop, stop, stop

I want you to only tell me more

No, no no, no no, no

Tell me tell me tell me tell me tell me tell me
Tell me tell me tell me tell me tell me tell me
Stop don't go, stop, stop, stop
Tell me tell me tell me tell me tell me tell me
Tell me tell me tell me tell me tell me tell me

You take my hand so sensually
I'm gonna explore your secrets tonight
Only you and me
Only you and me tonight
Let's start this passion tonight
I'm gonna have all of you

The words "Es Lady Kim, puta" would echo throughout Newbury Park Arena as various dim spotlights focused on the center of the all-encompassing stage. There, several dance poles would dot the stage, illuminated by multiple hanging pendant lights dangling from the rafters of the massive arena. Dancers of varying gender identities would be performing multiple routines amongst the poles, with some stripping and other pole dancing. Lady Kim would be held aloft by multiple female-presenting dancers, slowly lowering her down as she began to sing the first verse. Kim would be dressed in a tight black bodysuit adorned with multiple crystals, as her dancers were dressed in tight black crop tops and booty shorts.

Es Lady Kim, puta
Te veo
Me kere, tu no sos de aki, ¿no?

Burgundy red spotlights would follow Kim as she would slowly walk away from the poles and lights set up onstage. As she began to sing, a wide plethora of silhouettes of dancing women would fill the LED panels and screens of the stage. She would throw her hand up on the last line, with the camera briefly lingering on it before changing to the next shot.

Cuando las estreyas abasha pa mos
La única gente aora mozotros tú y yo
Komo si estuvieras embiando un echizo sobre mí
Sé ke eres el único ke necesito (solo tú)

As the camera would circle overhead them, the dancers would all drop to the floor around Kim. As she would keep on singing, the dancers would sensually writhe about near her, adding to the sultry and sexy feel of the song. As she would sing "no pare sigue, no pare sigue", the performers would all lay their hands on Kim's body; she would drop to their level, as they would all crowd her before the chorus.

Ke en mi korason todo el tiempo es una bovo
Lo ke sea ke estés aciendo está fonksionado
Kada pequenyo toque me vuelve loco y lo sabes
No pare sigue, no pare sigue
Y tu magia, me tienes suplikando:

All of the dancers, alongside Lady Kim, would shoot up to perform the chorus. As Lady Kim would sing "dime dime dime mas", the dancers around her would do their best runway struts, walking past and around her. Three female dancers would remain near Kim, moving their bodies and their hands in a sensual and sultry manner, in tune with the song. Lady Kim herself would crack a smile and before gesturing to the camera with her finger as the chorus would near it's end. As she beckoned, the camera followed, slowly following Kim.

Dime dime dime más
Dime dime más
Dime dime dime más
Dime dime dime más
Dime dime más
Dime dime dime más
Dime dime dime más
Dime dime más
Dime dime dime más
Dime dime dime más
Dime dime más
Dime dime dime más

The rest of the dancers would stop as the three ladies near Kim would all strike a pose. Multiple sultry red spotlights would focus on Lady Kim as she would sing the pre-chorus. Slowly, each of the female dancers would lay their hands on Lady Kim's breasts, groin, and butt, as she would reach out once more to the camera.

Tu belleza es una infecciyon
(Y lo konoses)
Su brujería me da una gran aflicciyon
Dame tu amor komo una inyecciyon
¿Por ke no me muestras más
Ay más ke ‘prender entre mos

Lady Kim would step away from the female dancers that toucher her all over to another female performer. This performer was dressed in an all red bikini set with matching kitty heels. Lady Kim would put her hand on the woman's cheek, before slowly stroking it. As the female dancer would sway sensually, Kim would move her hand down to the performer's hand, grasping it before pulling away. The lady would wrap her arms around Kim and return the favor, slowly stroking her cheek before moving to her breasts. In one fell swoop, she would rip off the black body suit, revealing a velvet black bikini set that would accentuate Kim's body features.

Ke en mi korason todo el tiempo es una bovo
Lo ke sea ke estés aciendo está fonksionado
Kada pequenyo toque me vuelve loco y lo sabes
No pare sigue, no pare sigue
Y tu magia, me tienes suplikando:

The performers onstage with Kim would vogue in rhythm of the song, as Kim would slowly return center stage. The camera would follow her, particuraly linger on her backside for a second before switching shots. Lady Kim, alongside multiple otehr female dancers, would be back at the same stripper poles from earlier. As the other performers would start stripping, exchanging the black tops and shorts for bikinis in multiple velvety clothes, Kim would slowly grasp the pole before her.

Dime dime dime más
Dime dime más
Dime dime dime más
Dime dime dime más
Dime dime más
Dime dime dime más
Dime dime dime más
Dime dime más
Dime dime dime más
Dime dime dime más
Dime dime más
Dime dime dime más

As Lady Kim's sultry voice would fill the arena once more, she would start a pole dance routine on the pole she was grasping earlier. As she would slowly rotate about, Kim would flaunt her natural athelticism by contorting around the pole, managing to move and sing at the same time. As the various performers would continue doing the same routine, the performers that were voguing earlier would slowly return to the center stage. Spotlights in low red and purple tones would illuminate the central stage.

¿Ke está pasando?
Mas
Te kereo
Me te nekesito

Dime dime dime más
Dime dime más
Dime dime dime más
Dime dime dime más
Dime dime más
Dime dime dime más
Dime dime dime más
Dime dime más
Dime dime dime más
Dime dime dime más
Dime dime más
Dime dime dime más

Dime dime más
Dime dime más
No, no no, no no, no más
Dime dime más
Dime más kerida

Lady Kim would hop off the pole as she would return to the same female performer she was dancing with earlier. As the dancer slowly came to her, the camera would circle them both. As they met, they hold and touch each sensually, as the dancers behind them would repeat their moves.

Isté, Isté, Isté, Isté

Solo dime más de tu

No, no no, no no, no

Dime dime dime dime dime dime
Dime dime dime dime dime dime
Isté, Isté, Isté, Isté
Dime dime dime dime dime dime
Dime dime dime dime dime dime

As a robotic, processed form of Lady Kim's voice would ring out, all of the spotlights illuminating Lady Kim and the dancer she was with would slowly give out. Slowly, Lady Kim and the woman would get closer and more intimate with each other on stage, with Lady Kim ending up on top of the dancer as the lights fade out, leaving them only in a silhouette.

Tómame la mano, tan sensualmente
Déjame enkontrar tu secreto toda la noche
Solo tu y yo
Solo tu y yo toda la noche
Deja que tu amor esukirre
Voy a tenerlo todo

Lady Kim, alongside the gaggle of dancers she was with would thank the audience, before scurrying off stage so the crew could prepare for the next song.

by **Nahlcomo** » Tue Apr 07, 2020 1:22 am

(13) - NAHLCOMO
Massey Massie| "Say Something New"
Tune is "Fade Into You" by Mazzy Star.

Nahlcomo was not on a roll. The nation had forgotten to fill out the requisite paperwork required to compete in Worldvision 80, and as a result the broadcaster for Nahlcomo, PRTOFCN, was forcibly repossessed by TRT. Thus, all future Nahlcomo qualities will actually be semi-decent as they will actually have some good qualities. Massey Massie, Nahlcomo's most popular virtual superstar, was ~~forced~~ selected to represent the micronation. She will be singing the self-penned song, "Say Something New". The song itself is a poignant lament about a decaying relationship, and the ever-lasting wondering if there was something that someone could have done differently. She will be accompanied by several robot arms playing the guitar and tambourine.

Massey Massie would be standing alone, alongside two robot arms, in a sea of candles. The performance itself would be rather simplistic, with longing camera shots on the audience and on Massie herself as a starfield was projected onto the audience and ceiling of the area. A ring of candles would circle the performers, and members of the audience would be waving around flags, sparklers, and lighters along the song. The two robot arms would have two little fedoras and matching black bowties; Massie would be wearing a simple t-shirt emblazoned with a rainbow heart, and jeans.

I forgot what was the old you
All I know is a person so sad and cruel
I look to you and I see nothing
I look to you and I feel nothing

I'm scared of what happened, where did love go
The halcyon days are no more
Feels like we're stuck in darkness
How can I love when's nothing there

Say something new
What ever happened to you
Say something new
What happened to the days we knew

They say I'll get over it
And yet my heart is without a home
And when our dying suns finally set
I know no candles can ever replace it

Say something new
All I remember is the cruel you
Say something new
What happened to the old you
I think it's strange that I ever loved you.

by **Malta Comino Gozo** » Tue Apr 07, 2020 1:54 am

14.Malta Comino Gozo

Lewis Sarucino

Depths of Nowhere

Tune: https://www.youtube.com/watch?v=QpljgJPFWl8

Music and Lyrics: Lewis Sarucino and Mylk Music

After a disappointing result in the last competition, many Maltese Comino Gozaon citizens were left very confused and upset, headlines around the nations newspapers branding it a terrible result for the country, having dropped out of the top ten for the first time since their debut, despite it not being there worst result. Pistols and Tulips however felt none of this, they had always dreamt of performing for their country at WorldVision and at a press conference after had expressed how much fun they had had and the result didn't bother them at all, they were just incredibly happy of singing at a highly regarded and prestigious event. MCG1 had before WV80 already confirmed a National Selection event. For many weeks they had been in talks with Lewis Sarucino, the islands first entrant. Lewis was born in Ibegga an inland town on the island of Malta. After WV#76 were MCG finished 16th Lewis has expressed he wanted to compete again and MCG1 knew an artist with a plethora of many hits under his belt and amazing song writing capability, surely it was worth another try. Having previously participated in WV76 Lewis Sarucino is no stranger to the Worldvision stage. That Lonely August Evening topping the charts in MCG for 2 weeks after the contest. Lewis was asked to write 3 songs for the MCG1 National Selection called Malta Comino Gozo Decides and Lewis certainly delivered. On March 24th Valletta Marina Arena was once again filled with WV fever with thousands of fans attending the first selection show. The show was a massive hit, over half the population, some 250K tuned in. Later coming third only to WV#78 where MCG hosted and the Royal Wedding. 7 international juries from all round the world joined the highly regard event. The show included past winners and MCG acts as well as interviews with Lewis. When it came to the voting, it was a three horse race, testament to Lewis's great song writing capabilities. Each performance received huge international praise.

With Corona Virus spreading rapidly, MCG immediately reduced all passenger flights and cruse liners coming into the country. Each person arriving was forced to isolate for 1 week regardless of showing any symptoms. The first case of COVID-2019 in Malta Comino Gozo was found on the 7th March 2020. The girl and her family were in isolation, as required by those following the Malta Comino Gozoan health authority's guidelines. So far only 43 cases have been reported and all of them are in isolation in Seslos General hospital.

Sunday 5th April unusually high tides and a low depression out to sea , resulted in temporary rise in sea level beneath a storm, this becomes dangerous when the storm such as a tropical storm, reaches land. The storm surge sent 2m high waves of water thundering towards the southern coast of MCG unable to escape anywhere but onto land as the storm moved towards the shore, this resulted in devastating flooding an destruction along the coast with a full evacuation of coastal regions around the rest of the country. Valletta, Saint James, and Melara were worst affected. 700 + people were killed, when the waves out of nowhere, smashed into the shores along the busy main stretch of coast in Lafayette Park and Metropolitan Valletta. The waves carried away cars, boats, and 214 buildings were destroyed. International aid immediately started to pour in as news spread around and the MCG government was inundated with billions of florins of aid.

Pledges from many nations have left people in MCG moved and lost for words. Relief workers from several nations including Polkopia arrived to aid exhausted MCG aid workers.

Furthermore, the Elejamian FA, ERF, EIHB and Cricket Elejamie have announced that they will be playing charity matches in their respective sports (football/soccer, rugby, ice hockey and cricket) in Malta Comino Gozo, with all proceeds going directly towards rebuilding the nation.
Many nations also sent engineers and geology experts to the islands on Army helicopters to asses the coastline and help estimate cost of better sea defences. Malta Comino Airport helipad remains open but all flights are cancelled for the following few days. Relief camps have been set up but thousands of Malta Comino Gozoan families have welcomed in people affected. Trains and buses remain cancelled until further notice. Valletta’s main coastal road Victoria street remains impassible.

MCG1 and the government met for talks on the 7th of March. A decision based on the work and commitment of the broadcasting association was to carry on as planned to participate. Pulling out of the event would bring much more pain to the population who were so fond of the event! Lewis agreed to carry on. With MCG International Airport and the Cruise Terminals remaining shut to passengers Lewis Sarucino and the delegation were flown out on a military flight to Britonisea. They had planned to fly out the day before. On arrival to Britonisea the team were met with warm welcomes and paparazzi were kept away to allow the team to travel to their hotel The Park Hotel & Lounge Newbury, Borough of Centralis Boschke, where they would stay for 1 week in strict isolation in the run up to the contest. MCG will participate in the pre party.

For the National Parade of Nations Lewis would walk onto stage in a relaxed manner with an MCG flag draped over his back. Due to events back home Lewis was already feeling emotional and the louder uproar in cheers from the audience only made things more emotional. With a smile and happy tears Lewis waves slowly to the arena. Apart from the host MCG would receive the biggest cheer in the parade of Nations.

Stage lights billowed dramatically down on the the centre of the Borschke stage as the MCG postcard ended. The stage would remain dark amongst the crowd cheers for a couple of second until a cold blue spotlight appears on the centre of the stage lighting up Lewis. Immediately he starts strumming tentatively at his guitar. He is stood in front of a stand up microphone stand. His eyes are closed as a frontal camera closes up on him, the audience cheers as he strums away, a pained look on his face.Mobile phone lights surround the circular stage like fireflies. The background remains dark throughout the first verse. (Lewis is dressed the same way as the picture above)

The Camera views thins to a thin ratio shot of just Lewis's face. His eyes are shut tight with slight wrinkles appearing at the edges of his eyes. He over empathises with his mouth movements for the first two lines. His face is screwed up tight and his mouth is the only thing expressing emotion. He then slowly opens his eyes as the camera broadens back to normal view. The camera still focused just on Lewis who is surrounded by black. The blue spotlight the only light that can be seen illuminates him.

I know sometimes
I talk more than I listen
For that I hope you’ll accept my apology.
I know that sometimes you get really angry
If I’m not who or what you want me to be.

He slowly closes his eyes again, this time loosely, his eyelids fluttering barely staying shut, his eyes moisten with tears but they don't fall. The camera slowly pull away until most of the central stage can be seen. Mobile phone lights sway in the foreground.

Still I see your eyes each time that I close mine
I can’t see a sunset without seeing your face
The loneliness that made me feel I wasn’t enoughhhhh

Lewis abruptly opens his eyes

The camera abruptly pulls out showing all the stages in view. The stage is still black with the spotlight being the only light on stage. Suddenly a large 10ft white ghostly transparent apparition with no facial features (Think Finland ESC 2020) of a man appears on Lewis's right on the adjoining stage. At the same time the same thing happens on the left hand stage but a woman appears and the crowd erupts with cheers as they slowly walk throughout the chorus towards the middle stage just stopping short of the central circle stage.

So... truth be told
Can we never grow old together, be together, for ever and ever?
This pain and worry encroaches on my every being
So... truth be told
I am trying to make sure that if I bend I’ll never have to break
But how much more of this torture will we have to take
So... truth be told

As the chorus comes to an end the ghost figures slowly dissipate into the darkness of the arena .The crowd erupts into cheers as the camera pans out,before snapping quickly back to the view of the microphone stand as Lewis steps back from the microphone out of the spotlight briefly his head head hanging down, his shoulders were slumped and his eyes cast down in a mournful gaze. His mouth was set in a semi-pout. His guitar hanging limp around his neck he strums the notes before stepping confidently back into the spotlight with renewed vigour. His expression now more distraught. The sense of emotion in the lyrics he was about to sing building up a more exasperated tone in his voice. Lewis thought back to why he wrote this song, finding a deep reserve of anger trapped inside him. The mood and tone of song changed. Viewers at home noticed more distress in his vocals and movements whilst still remaining professional. This connected with the audience at home and in the arena. The camera again transitions to a close up body shot of Lewis.He takes a deep breath.

In the depths of nowhere
All this despair
Is crippling me right right down to the bone

Lewis acts like he has been punched in his stomach, he clenches up his lower body reacting to the punch, The despair crippling him physically adding substance. Red. Everything went red. His vision again blurred not by water but this time as a flame curled in his stomach. His brain now went into overdrive as it thought back to all those times spent crying. The memories of his ex weighed down on him but instead of breaking even more, his heart turned ice cold and slunk into the shadows as his brain took control. The flames in his stomach now rose up to his chest and crawled through his veins. Lewis stops playing the guitar as his fingers coiled into fists,

Stripped to my core
So alone, scarred
All I can think about is the look on her face

His eyes shifted to the side again and became glazed with a glassy layer of tears. As he blinked, they dripped from his eyelids and slid down his cheeks. He bites his lip tightly in attempt to hide any sound that wanted to escape from his mouth. His lower lip then quivers as words slowly made their way out of his mouth.

Still I see your eyes each time that I close mine
I can’t see a sunset without seeing your face
The loneliness that made me feel I wasn’t enoughhhhh

The camera pans out slowly as the background LED's change from black to a subtle background. The arena remains mostly in darkness all be it slighter brighter due to the shimmer of the white droplets on the LED's. https://www.youtube.com/watch?v=hRK7Af9soU0 The figures materialise back onto the edges of the stage as the camera zooms out. The male figure extends his arms out as the woman turns away. The male then screws up as if hes been punched in the stomach as his former lover turns her back on him. He slowly straitens back up The woman walks away and disappears as the camera cuts back to Lewis and the male. Lewis starts to remember, her smile, her voice. Memories flooding back into his head. The girl that exited his life so abruptly leaving him so vulnerable and lonely. The beautiful girl that took his heart... His face was now red with suppressed rage. The male figure raises his hands towards his face and hangs his head down. The camera view alternates between fade in and fade out shots of Lewis.

So... truth be told
Can we never grow old together, be together, for ever and ever?
This pain and worry encroaches on my every being
So... truth be told
I am trying to make sure that if I bend I’ll never have to break
But how much more of this torture will I have to take
So... truth be told

The male figure walks towards the edge of the left stage and kicks his legs in despair and throws his hands to his head and shakes. The camera slowly cuts back to Lewis for the last line as he lets go of his guitar and extends his right arm outwards gesturing towards the crowd. His voice scratchy and full of hurt. Expressing his once emotional torture.

You left me fragile and scarred
It tears me apart
That you'll never know but I had to let gooo oh

He quickly again starts playing the guitar. The LED screens fade to black and again the only light is the cold blue spotlight shining down on him. His face was only barely lit. The camera cuts to slightly off centre facial shot of Lewis. His voice now full of pain, his voice bellowing out across the arena. connecting with the audience.

So... truth be told
Can we never grow old together, be together, for ever and ever?
This pain and worry encroaches on my every being

The camera pans around the bottom of the central stage left to right around the back of the audiences heads and waving mobile phone lights.As the chorus began, a pyro curtain of rain suddenly starts raining down heavily around the back of the central stage, bathing the stage in a yellow glow as the camera zooms outwards showing a good proportion of the hall Spectacularly the central stage starts rising upwards into the sky. The arena abruptly is bathed in white as lightning flashes pierce throughout the darkness of the arena. The LED's in the background glowing white like snow reflecting the winter sun. Spotlights fill the arena and make there way slowly around.The LED screens around the stage that were rising up, displaying the words, depths of nowhere, fragile and courageous. The stage slowly makes it way upwards. The camera cuts back to close shot of Lewis briefly before panning sideways around the edges of the central stage before finally cutting to a front shot of the central stage with the fire rain curtain in the background.

So... truth be told
I am trying to make sure that if I bend I’ll never have to break
But how much more of this torture will we have to take
So... truth be told

The crowd was on their feet, the roar of the audience was fantastic. Immense applause and cheering filled the arena, with flags of competing nations being waved frantically around. A significant proportion of fans now chanting "MCG" over and over. The chanting for him and his performance and for the support of Malta Comino Gozo at this difficult time. Visibly moved, Lewis dropped the guitar down again and let it hang around his neck, and a smile appeared across his face, he could scarcely believe he'd just performed again for his home country, despite all the goings on he felt so proud. He blew a kiss to the audience, and could only let out a quiet "Thank you" as he was stunned by his performance and the response. Lewis walks off as the applause continues into the next postcard

by **Ertzei Kishim** » Tue Apr 07, 2020 3:07 am

. : 15 - Ertzei Kishim - أراضي الكيش - ארצי כישים : .
Saseh Kounmourzah - Sensibilities
ساسة كونمورزة - حساسيات | ססה קונמורזה - רגישויות
Language: English
Lyrics & Composition: Hadas Bergouti, Ilya Kramolvić
To the Tune Of - Elodie - Andromeda

Ertzei Kishim's victory in the 80th edition of the WorldVision Song Contest was to many a surprise. From the mid-high Kdam points tally, to the pre-contest murmurings placing Ertzei Kishim in the top 5, but not necessarily a winner, the shock of the victory caused jubilation across the once proud WorldVision nation. Indeed, the victory was the nation's first since WorldVision 34, a gap of 20 something years. In between these periods Kishraeli participation hadn't been consistent by any means, and the profile of the contest in Kishraeli psyche had somewhat diminished. It was true that some WorldVision artists consistently broke into the top of the charts in Kishrael (and of course abroad due to the international nature of the contest), but these were more outliers. In Kishraeli recent history, only Cinderella Ra'ah, Dikla Romanova and SAMBUCCA had maintained the highest profile of domestic careers, and even so, they were already famous before their recent WorldVision participation. Tatyana Shapsugh, the biggest success story of the more recent acts whose debut came at the World Hit Festival - WorldVision arena had for the most part remained a mid-level star in Ertzei Kishim; capable of selling records, occasionally entering the charts in the top 10. Lika Dia, with her victory blew this trend out of the water. WorldVision was firmly back on the map. Her debut album, released some weeks after the contest debut right at number one, becoming the fastest selling album of the year, as well as the most streamed - for a girl to go from being a low-key model, to then international stardom was a huge leap.

"Red" had achieved both domestic and international success, and held the honour of being Ertzei Kishim's biggest victory in terms of points earnt, as well as the 3rd highest points total of Ertzei Kishim ever. Despite widespread interest in a national final, HARESHET decided to perform an internal selection - a panel of music professionals, including Lika Dia herself, were tasked with the selection for the next edition. In the end they settled on 29 year-old Saseh Kounmourzah, a Circassian woman from Djati in the east of the country. She too, like Lika, had no prior professional music experience, however a media exposé found they had worked together in 2011 as part of a military modelling deal. This was quickly brushed under the carpet however by Lika and HARESHET, as both Lika and Saseh claimed they did not remember each other. Positive steps were taken to promote the song, despite the international lockdown over the COVID-19 crisis, however certain events the Kishraeli delegation abstained from due to public health concerns. Nevertheless, Saseh and her team arrived eager and prepared to Boschke and threw themselves into their preparations. The song, "Sensibilities" had overall received a positive, yet dispassionate response from WorldVision fans, in fact very similar to "Red". Apart from extreme positivity from Izmeduans, the song had flown relatively under the radar in comparison to fan favourites such as Britonisea and Polkopia. Saseh and the team didn't mind this so much however, in fact it suited them as they could focus on their performances without being caught too much in the competition aspect, at least not yet.

On the finale night, Ertzei Kishim was drawn to perform 15th between Malta and Ekoz, two countries who had upped their game and entered excellent songs. The more that happened, Saseh felt less confident about her chances. Even though on the face of things she pretended that she as not bothered, deep down she wanted to come close to what Lika had achieved. In any case, the night was here, and Saseh was prepared as she'd ever be. The parade of nations had her walking down the left side of the stage with Ekoz. As she prepared to go onto the stage for the first time with her team, the head of delegation quickly distributed some Kishraeli flags among them, as well as a larger one to wrap around Saseh's body, before wishing them well and sending them onto the stage. Saseh readied herself and marched out with her team behind her, she began smiling at the camera to which she was directed with her beaming white teeth (which she recently got whitened for the contest). She waved while walking down the runway to huge cheers, of course this was a combination of adoration for Ekoz and Ertzei Kishim, but she didn't care; it felt good.

Malta had just finished performing and as the crowd's cheers died down and the Kishraeli postcard played. Saseh was moved to the centre disk of the stage while the team set up around her. This was the moment she was waiting for. A group of Kishraelis in the standing area where cheering her name, waving a big Kishraeli flag. Saseh smiled to hear the support, it calmed her nerves do a great degree. The postcard finished and the time was now for her performance to start. A big whoosh went across the arena and the crowd became silent. Holding the microphone stand close to her lips, she got ready to sing. The first few notes of the song rang out across the arena, eliciting a scream from the crowd. The camera for the viewers at home was in grey scale, apart from Saseh's lips which were a deep red. She began to sing the first words of the song. She was dressed in a 1950's style with a traditional pin-up style. Because of the greyscale stage it gave a vintage look to the start of the performance. As she sang the song she portrayed an emotional frustration, not one of too grave a depth, but rather of annoyance and hopeless acceptance.

City streets can’t light the road, and I ain’t got nowhere to go
Winter in Benbarshe is cold, but your frost-tipped words make it worse in here
Tell me what you want
Because I can't keep dancing on this string

The screen remained in grey-scale, however in the background a flick of colour was shown on the LED screens. It was a warm pink line which was fanning out and unravelling slowly as Saseh sang into the microphone. She grabbed the microphone and sang into it, leaning in more deeply and closing her eyes, her perfected eyeliner visible. The camera panned around her face before fading into the background, and another shot from straight ahead of her was shown. She stomped one leg out to the side, and pivoted it slightly, shooting a fierce look at the camera.

My big mistake was running reckless with these blades
Thinking that I could cut out all the little parts that I hated
Thinking that you didn’t have a heart to break
Now I realise that that was a mistake, now I realise that you were a mistake

As the short pre-chorus part started, different arrows of white, grey and black shot through the four lines in the stage. They appeared almost mechanical, moving at a rapid pace. At the same time the main podium floor was "heating" up from the energy of the white and grey arrows flying into it. Underneath her the same warm pinky-orange was expanding and shining (the rest of the stage remained in grey, except her lips). Before it seemed like the pink was going to overflow from the bottom of the stage, the chorus started...

Oh…
How I wish we could change
And, everything else stay the same

The stage bursts into many colours at the start of the chorus, representing the build-up in the pre-chorus. On the LED's the pink line has become more vibrant, splaying out and producing deep oranges and pinks moving in a circular motion. As Saseh sings the chorus, she leans into the microphone, but this time with her head back so her face is clearly revealed. As she sings the title of the song, fans in the audience sing it alongside her. She smiles only slightly before returning back to the tired emotions she's supposed to be representing in the song. As she sings the name of the song, the stage pulses slightly in pink.

I need you in my veins
A fire I can’t begin to drown
Not like I’d want to anyhow
Bound in the chains
Of your sensibilities
Sensibilities – bilities, Sensibilities - bilities

With the start of the second verse, she unfastens the microphone from its stand and begins to walk to the side of the stage, closer to the standing area crowd. She walks with a hint of swagger, shown on a camera from below making her look super tall. The second half of the verse is filmed at a mid-distance and from slightly above so that her torso and start of her thighs are visible along with her head. This time she acts more freely with her hands, gesticulating flippintly when she sings the lyrics "I don't even really care".

I turn up the stereo, stand over the balcony and wonder
Why is there no sound that can drown out the silence
The hard truth is I know you’ll find love easily elsewhere
And the harder truth is sometimes I don’t even really care

She returns to the microphone stand and reattaches the microphone. Now two backing singers, also with microphones, have joined her but they are in the far distance and their visuality is covered by the lights of the stage show. With the powerful notes that Saseh is hitting, she widens her gate slightly, her mouth becomes wider. The camera has some closer shots of her face to emphasise the power and emotion with which she is singing.

My big mistake was running reckless with these blades
Thinking that I could cut out all the little parts that I hated
Thinking that you didn’t have a heart to break
Now I realise that that was a mistake

For the shortened prechorus, Saseh sings none of it, rather leaving it to the backing singers. As they sing this however, she takes the microphone from the stand and flicks the microphone stand down and then back up, grabbing it and winking as she puts the microphone to her lips to sing the full chorus. Once again the stage bursts into colour, with spotlights from the roof projecting onto the crowd (shown with a wide shot of the stadium). Saseh moves with a bounce to represent the upbeat nature of the music, despite the lyrics. As the chorus comes to an end, there is another wide shot of the stadium after a period being focused on Saseh. At this time she rushes to the back of the stage next to one of the strips.

How I wish we could change
And, everything else stay the same

I need you in my veins
A fire I can’t begin to drown
Not like I’d want to anyhow
Bound in the chains
Of your sensibilities
Sensibilities – bilities, Sensibilities - bilities
Sensibilities – bilities, Sensibilities - bilities

For this part the screen at home and the stage in the stadium returns to complete grey. She is sitting, perhaps leaning is a better word, against one of the lines which come from the stage and up to the ceiling. The backing singers are with her at this point. She sings with a slightly more melancholic expression on her face, swaying gently with her backing singers. As she sings the final line she stands up and starts moving forward, walking past the camera and gesturing to the camera to follow her to the centre of the stage.

Unforgiving chills on the telephone line
Stop mixing your broken heart with the red wine
If only I could turn, I could turn back time
Thinking we can stay the same and still be fine!

As she walked to the centre of the stage, the camera followed her and then circled around her as the colour returned to the stage, blasting like powdered explosions around the stage. The camera did two full rotations around her before another shot captured her from afar, zooming in as she was hitting a high note which had an impressive visual. At the same time the camera zoomed in, and steam jets shot up from the side of the stage. Pink lights fanned around the stage as this happened too. A small shot of dancing Kishraelis was shown.

I need you in my veins
A fire I can’t begin to drown
Not like I’d want to anyhow
Bound in the chains
Of your sensibilities -bilities
Sensibilities – bilities, Sensibilities - bilities
Sensibilities – bilities, Sensibilities – bilities

At the end of the song, the camera gets close again to Saseh as she sings the final part of the stage. She opens her gate, folds one arm over her chest and the rests the other arm (with the microphone) on the folded arm. She sings the final parts of the song while turning her head to the side. At the end of the song she closes her eyes and points her head up.

How I wish we could change
And, everything else stay the same

With her head facing to the roof, she takes one breath, time felt like it was standing still. Then she heard it: the applause. The crowd gave her a huge cheer, buoyed by the number of Kishraelis in the crowd. Breathing a deep sigh of relief, she turned to face the audiences and smiled "Thank you Britonisea, thank you!". She then walks off stage as the Ekozian delegation prepares for their performance too.

by **Ekoz** » Tue Apr 07, 2020 4:23 am

Hugo Jorgesson - One Thing

Hugo Jorgesson 29, is a popular singer-songwriter, musician and producer based in Carnise, the nation’s capital city. He studied at the extremely prestigious Royal College, Koniksskol Karnis, studying English Language, Music and majoring in Music Technology ultimately achieving a first in his fields. Jorgesson has been behind many popular songs witihn Ekoz, writing for the likes of Yohanna van Umsaak, Selia, Oscar Stellerupp and many more. He was chosen internally by the national broadcaster of Ekoz (STE, Serva Televisie Ekoeses) to represent the country on the WorldVision stage after a twenty-plus year hiatus. Jorgesson released “One Thing” within Ekoz following the announcement of his participation and within hours the song climbed to the top of the Ekozian iTunes charts, ultimately landing Jorgesson his first number one single as a named Artist, along with his four number one songs as a producer/singer songwriter.

Ekoz’s return to the contest was widely anticipated within the country after a long hiatus. The nation fell out of love with the contest due to 'poor results', and artists feeling their careers were suffering due to these results, as well as media critics blasting the STE for investing so much Crona into the contest, hosting three separate contests, rather than focusing on internal programming and productions. The Ekozian media have long tarnished the nation's legacy within the contest; Ekoz, during its participation, finished out of the top ten twice, on its debut, finishing 12th, and in WorldVision 50, where the nation finished in 11th place. The broadcaster also achieved a 100% success rate in regards to winning the bidding system to host the contest. However, after the appointing of a new Head of Programming and Executive Supervisor, the STE confirmed its intention to return to the contest and showcase Ekozian talent on the WorldVision stage. It was the intention for the STE to ignite the nation’s love of the contest once again and achieve the same level of ratings as contests prior. WorldVision 40, hosted in the Ekozian city of Rokkestaat, boasted ratings of 97.9% of the population, an unbeaten record within the country.

Head of Delegation and Executive Supervisor of ‘Sjarnafestivalen’, Sabrina Colarna stated “It feels fantastic to be bringing the nation back to WorldVision, I grew up watching it and having such pride in our nation achieving such amazing results. It’s my job to bring the back the nation’s love for the contest, and I’m sure Jorge will do so also! Of course, I’m looking for a win, who isn’t? But if we finish top ten on our return, I’d be a very happy lady and we would’ve done what we came here to do! We are directly after Ertzei Kishim, a hugely successful country within the contest so we have a lot of work to do!”

Jorgesson, a relative newbie to the ‘showbiz’ juggernaut often appeared shy within his previous press tours, however during his pre-contest press conferences within the delegation centre in Boschke, he loosened up and mentioned how excited he was to participate and represent the nation within Britonisea. He stated “This is all so new to me, being the artist in the limelight… I usually just write the songs and let someone else take the stage but I am really, really excited to perform. I’m happy with the staging, it’s been amazing to work together and create a really cool concept that I hope the viewers and people at home can get behind, I love the song and hope I can make the country proud. I’m super excited to see the other nation’s performances too, I hear there is some crazy competition this edition so, let’s see!”. After being asked about favourites within the competition, he added “Oh I really don’t take much notice of these things, if people think I can do well, that’s great, but odds also said that RC Karnis [a hugely popular rugby team] would win the Forstaliga and they came dead last so... “

Having finally gotten used to the complete circus that is WorldVision, Hugo was ready to make his debut on international television during the parade of nations. Hugo is wearing the same outfit in which he will wear for his performance, at number sixteen. Hugo is walking to the right of the stage, with Saseh Kounmourzah of Ertzei Kishim. He walks down the runway, smiling and waving to the audience, blown away from the applause from the audience, he then turns to Saseh and begins to applaud her, whilst smiling at her, before turning back to the audience and waving once again. He can be seen mouthing, thank-you, thank-you, before a final show of him sees him bowing his head with both palms of his hands together.

After the eruption of cheers calms down after Ertzei Kishim's performance and the Ekozian postcard plays to the viewers, the stage is set up. All that can be seen by fans in the audience is a piano been wheeled on within the pitch black stage. Hugo Jorgesson walks onto the stage and stands behind the microphone, centre stage. The piano is placed to the right of Hugo and the piano player, famed pianist Antoni Steinbeke takes his seat. As the end of the postcard plays, the crowd erupt as the performance is about to start. As Hugo is about to start singing and the first beat of the instrumental begins to play, a spotlight is lit directly onto Hugo. The camera, centre stage, pans in on Hugo, showing from his mid torso up. He looks directly into the camera and begins to sing, holding one hand on the mic and the other on the mic stand. As the verse carries on, the camera softly pans towards the pianist, showing an aerial view of the pianist playing the piano before panning directly back to Hugo. As Hugo starts to sing "Got me crazy", the camera pans across the stage from the right, with Hugo looking directly into the camera as it pans. He still has one hand on the mic and the other on the stand. The stage remains dark with only a spotlight on Hugo and the pianist.

The way you got me, never thought I could be so thrown,
But somehow baby, you have me right in the danger zone,
Got me crazy, never knew that I could fall so deep,
And now I know right you, you’re what I want for keeps.

The camera zooms out to show Hugo, still centre stage behind the mic-stand and the pianist to the side of him. As he starts to sing, the lighting on the stage begins to brighten, showing a golden hue, however the spotlight on both Hugo and the pianist are prominant. As Hugo sings the second line from the pre-chorus, the camera does a full pan of the stage, turns around to show the view the huge arena before panning directly back onto Hugo as he finishes of the the pre-chorus. Hugo remains static behind the mic-stand as the atmosphere, lighting and music builds.

Oh yeah, You have this hold, so strong, so in control.
But can you tell now, please ease my aching soul...

As the chorus begins, Hugo rips the mic from the mic-stand and begins to perform more fluidly, walking over to the piano, singing with passion as the stage slowly lights up. The back LED lights up completely white on each beat of the chorus. The camera pans to the pianist who mouths "woohoo" as the chorus begins. After each line of the song, a different part of the stage becomes visible revealing a full, two tiered orchestra, with both male and female performers mixed. Their outfits are exactly the same as Hugo. See visual of the orchestra layout on stage.. As the chorus continues and each part of the orchestra is revealed, Hugo walks around the stage singing his heart out. The camera zooms in on Hugo from afar, with his whole person being visible to the camera. The camera does a quick-take to each of the individual sections of the orchestra. Hugo returns back to centre stage, however the microphone stand has been moved. Hugo is seem moving his shoulders and clicking his fingers to the beat of the music as he sings directly into the camera.

(Woohoo)
God damn it baby, is this just a fling?
cos all your givin’ me is just one thing,
(Woohoo)
Just know my lovin’, baby, can’t be tamed
When all your givin’ me is just one thing.
(Woohoo)

By the first drop of the chorus, the entire orchestra featuring strings, drums, chellos, banjo's are visible as a whole. The camera closes up on the drummer as the three beats before the drop start. A camera pans directly around the orchestra, starting from the front and around as the drop builds. On the drop, a zoomed camera quickly pans onto the stage, showing Hugo, the pianist and the entire orchestra. As the beat drops, Hugo kneels slightly and pulls his fist down to the floor imitating a drop before dancing around the stage interacting with the ochestra. On each "woohoo", the camera pans directly to a member of the orchestra, who are all mouthing "woohoo". The back LED screen changes and remains throughout the song, with the curved tiered orchestra remaining in the centre of the LED screen. The golden lights from the back of the stage and the LED screen flicker on and off on each beat of the chorus and the drop. see here for LED background..

(woohoo)
God damn it baby, is this just a fling?
cos all your givin’ me is just one thing,

As Hugo continues dancing around the stage, interacting with the orchestra, he walks back to the centre of the stage. The lighting remains the same, reacting to the each beat of the song. He sings the remainder of the first beat, holding up his hand to the camera, almost pleading to his 'love' through the lens. The orchestra continue playing, sat down, interacting with Hugo. As the chorus and the drop end, the camera pans looking up at Hugo. He kneels down, looking directly at the camera with his hand out, singing into the lense. After Hugo sings "on a string", the camera pans to the string section, who can be seen playing along to the instrumental before returning back to Hugo who has now stood up and is facing the audience, centre stage.

You got me hanging here, just like a puppet on a string,
You hit my lovin’, hit me hard with your so vicious sting.

As Hugo starts to sing the pre-chorus, two male dancers walk out from each side of the stage, wearing a nearly identical suit to Hugo, and stand being Hugo, creating a triangle formation. The camera pans around Hugo and his dancers, showing brief parts of the audience and the sea of waving flags and lights from the audience before panning back to the stage. Hugo sings the final parts of the pre-chorus whilst slightly interacting with his dancers on certain dance moves, smiling and winking, before her returns to facing centre stage and looking directly into the camera.

Oh yeah, You have this hold, so strong, so in control.
So I am begging now, please ease my aching soul...

On the four beats before the chorus begins, four individual pyrotechnic fire displays light up, starting from left to right across the stage, lighting up the audience as they roar and cheer before standing up and jumping. The entire orchestra, pianist and dancers stand and in unison, mouth "woohoo". As the first beat of the chorus begins, a huge explosion of pyrotechnics appears around the stage, and across the top of the LED screen. The orchestra can be seen playing their instruments, stood up and dancing and interacting with one another. As the chorus hits, two more male dancers appear behind Hugo. Hugo begins to sing the first line of the chorus as the dancers start their choreography routine around Hugo. On each break of the instrumental, the camera pans to the string section of the orchestra. On the second "woohoo", the camera pans to sections of the orchestra who again mouth along. The camera pans with Hugo, dancing and working his way around the stage with his dancers. He continues to gaze into the camera, winking at certain points and smiling along with the audience.

(Woohoo)
God damn it baby, is this just a fling?
cos all your givin’ me is just one thing,
(Woohoo)
Just know my lovin’, baby, can’t be tamed
When all your givin’ me is just one thing.
(Woohoo)

As the bridge start the begin, the stage lights darken completely and the LED screen turns black. Only Hugo and the dancers are visible with one spotlight on them. Cheers can be heard by the audience. The dancers continue with less rigorous choreography around and behind Hugo. As he begins the bridge, the camera starts of zoomed out, showing Hugo and all of his dancers. As he sings "to give me strength, so I can finally move on", the camera pans in on Hugo slowly to reveal only his shoulders and his face. He looks directly into the camera lens, with his head tilted slightly back as he sings with a slight glare, finishing the final line of the bridge.

Tell me now, are you in this for long?
To give me strength so I can finally move on…
Cos all you’re givin’ me is just one thing, thing, thing,

As Hugo finishes singing "just on thing, thing, thing; on each 'thing' the camera jolts and pans out, getting further away on each word, revealing a part of the audience and the entire stage. On each drum beat, the LED lighting flickers. Furthermore, on each drum beat leading up to the drop, the entire stage is light up with up-shooting pyrotechnics around the stage, both with individual pyros starting from left to right, and flare-like pyrotechnics around the roof of the stage. Whilst there is a gap in the instrumental, the entire stage turns black with the audience mobile lights and flags can be visible to the viewers.

(Woohoo)
God damn it baby, is this just a fling?
cos all your givin’ me is just one thing,

As the drop then begins, the entire stage lights up. The LED screen continues to flicker along to the music, moving rapidly. All of the pyrotechnic effects are in full motion, with the individual pyro, flare pyro and a pyrotechnic curtain around the two sides of the stage. The entire orchestra are up on their feet bopping along to the music whilst playing their instruments. The dancers hold their hands up on the "woohoo", persuading the audience to get involved, before then moving straight into their rigorous choreography. Hugo also joins in on the "woohoo" before joining in with the dancers for a portion of the choreography before he begins to sing again. He walks around the stage, interacting with the audience before he returns to centre stage, where a mic-stand has appeared. He returns to mic to the stand before he sings his final line. The camera, with a full view of the stage, quickly pans in onto Hugo as she sings his final line. Whilst singing, Hugo has one hand back onto the mic-stand and one hand lifted with one finger up, whilst looking directly into the camera. On the final "woohoo", Hugo steps slightly away from behind the mic and bows his head down. The stage then turns pitch black. The audience roar and cheer for Hugo, who is surrounded by his dancers. The stage lights slightly, as to which Hugo says...

Thank-you! Thank-you Boschke!

Hugo then smiles and waves. The stage turns pitch black and Hugo and his dancers walk offstage.

by **Britonisea** » Tue Apr 07, 2020 4:44 am

At the end of the Ekozian performance, the audience cheered loudly as there were camera shots of the audience holding up Ekozian flags throughout the whole of the arena. The ident of the show flashed up on the screen before we cut to the Greenroom where the main hosts, Ria and Jordan, stood with huge smiles on their faces.

Jordan Hermes: Thank you so much Ekoz for that great performance, I absolutely loved it!

Ria Arisitide: And well done to all of the acts that have performed so far, this is going to be one hell of a voting sequence, I can tell already, and we're not even halfway through.

Jordan Hermes: Now, at the start of the show, we said that we would take you guys back a few weeks to the Junterapten Pre-Party, where 14 of the participants here on the stage this evening participated.

Ria Aristide: But first we're going to catch up with our friend Mateus Breton who is currently in the WorldVision Zone hanging out with some fans - Mateus how are you?

We went over to Mateus Breton who was standing on a stage with his back to the audience and so you could see the hundreds of people that decided to come out to the WorldVision fan zone outside. Mateus started to speak;

Mateus Breton: Hello, Ria! Hiya, Jordan! I am doing brilliantly, thank you. I am just here with my peoples out in the WorldVision Fan Zone. And yes, I did catch up with each of the participants at the Junterapten Pre-Party a few weeks ago...how about we take a look?

AXUVA WITH TYRA

Check out her performance:
21 AXUVA

Mateus Breton: Hello Eun! Congratulations on representing your country, Axuva, at the 81st WorldVision Song Contest. You had to win your National Final, Melodiya in order to come to the WorldVIsion Song Contest which will be held only an hour or two away from here in Boschke. Can you tell me about how it was for you to win your National Final?

Tyra: Well winning Melodiya was just an empowering experience and I was lucky enough to even go on Melodiya. I-I never thought that I would have..... even, um, I- I never thought that I would have even made it past the national final and now I am and i'm going to worldvision so, uh... I feel.. accomplished and im just excited.

Mateus Breton: What have you done to prepare yourself for the journey to WorldVision 81? Could you tell the audience the process between you winning Melodiya '81 and the 81st WorldVision Song Contest?

Tyra: I've been training my voice and working with people to help train and we've been rehearsing, rehearsing and rehearsing daily which is the same thing I did for Melodiya, I have amazing people behind me who have helped the processes of the performance for Melodiya and Worldvision and I just wanna tahnk everyone who helped me and all that. I appreciate everyone. I'm sorry, I'm not the best public speaker!

Mateus Breton: So you're now here in Junterapten for the Pre-Party, and in around weeks time, you'll be heading to Boschke to start thhe rehearsals ahead of the live show on the 25th April . Do you intend to quickly go back home to Axuva or will you be staying in the country?

Tyra: I'll be going back to Axuva because I am also planning things for my album with my label but I will still be rehearsing then coming back to Boschke to rehearse as well.

Mateus Breton: Now you're about to perform your song, "Started" on the Junterapten Pre-Party stage, but before you do, can you send a hug to one of the other Junterapten Pre-Party participants, with a little message about them and their song?

Tyra: I'll send my hug to Matia Grieswoli, Love your song and cant wait to see your performance.

Mateus Breton: Thank you and good luck with your performance!

BESEN WITH MATIA GRIESWOLI

Check out his performance:
20 BESEN

Mateus Breton: Hello to you, Matia! I hope you are doing well! Could you tell me a bit about how you got yourself on the WorldVision Song Contest stage? Did you get contacted by your broadcaster or was it the other way around?

Matia Grieswoli: Yeah, thanks so much, I'm doing amazing! So earlier this year, BSB phoned me asking if I was interested in doing Worldvision. I was recently on their 2020 list for Best Upcoming Acts list - so I assume they might have wanted to pick someone from there. I've always loved Worldvision so I'm so so happy to be representing Besen.

Mateus Breton: I see that you've worked with Genine Anserfold on the song - could you tell me more about the creative process behind that entry?

Matia Grieswoli: The making of the song was so natural and simple for me. In January, I went into a few sessions with loads of different songwriters, and eventually I found a basis for something that I really loved. Me and Genine Anserfold wrote the song, and spent a while producing it with fully live instruments, because I thought that was so necessary for making the song feel unique and genuine.

Mateus Breton: So as you know, Besen has the new format, Destination WorldVision for the upcoming song contest. How are you feeling about that format - do you have any favourites?

Matia Grieswoli: I just caught up with Semi Final One! Yeah, I really like it - it's such a new direction for Besen, so I hope it turns out really well. I love Giorgio Anserac's song! I hope he does well.

Mateus Breton: Last but not least, could you tell us who you're sending your hug to, with a little bit about why you're sending it to them - whether you like their song etc.

Matia Grieswoli:Yeah, so I'm sending a big giant hug to June Summerfields from Llalta, we had a nice chat recently, she's such a lovely woman - so I thought I'd give her one, yeah.

Mateus Breton: Thank you very much for the chat, good luck with your performance of "All Along" on the Junterapten Pre-Party stage and indeed in WorldVision in Boschke in a couple of weeks!

Matia Grieswoli: No, no, no. Thank you. I hope to put on a good show in Boschke! See you later!

LLALTA WITH JUNE SUMMERFIELDS

Check out her performance:
XX LLALTA

Mateus Breton: Hello June, how are you doing! I hope all is fine with you?

June Summerfields: Hello Mateus! I'm really good thank you! Gosh, only this morning was I in Llalta so I'm quite tired....

Mateus Breton: So I would like to ask you about your song. You were one of the first people to be announced for the 81st WorldVision Song Contest - before we even knew where we were going, what does it mean for you to represent your country, Llalta, at the WorldVision Song Contest?

June Summerfields: Yes! Well, you know I'm so extremely honoured to take part in the same contest as household names such as Alyxhia Willis and such, and especially for the country that I grew up in is just fantastic! You know, I'm not only singing for the country, but also the people in Llalta! Being so small, I practically know everyone as if we were best friends, and so I feel like they're my main reason for singing on the international stage is to represent the people I love through a medium a love, and to bring joy to those in other nations who don't have what we have in Llalta!

Mateus Breton: And your song, "Cherish Life" rather inspirational title. What does the song mean to you personally?

June Summerfields: Well, I actually came up with the theming of my song and even the title from one of my favourite entries from WHF, "Cherish Life" from Indo States! You know, it was such a happy, light hearted song, that when it played in WHF 50, you would look out the window in St. Christopher and just see crowds of people dancing and singing along! Anywho, the song, well, means what the title says! Cherish Life! I've lived a long, long, long life and I hope that I've lived to the best of my life, but you know in the modern world, life can't always be like that. When I lived in Junterapten, I saw how everyone's lives were speeding up; constantly searching for the next advancement, the next new thing. So what I want to show the world with my song, is to drop everything for just 4 minutes. Get your family, get your husband, wife, son, daughter, aunty, friend, whoever, and just dance with them whilst they're still alive! Live life with your family whilst they're there, whilst your there, and just have fun! Fun is such a long-sought treasure in today's world, and I don't think people know the difference between true fun and material fun... So I hope my song can remind everyone of what's most important in life, to cherish life! Gosh, that sounded more morbid than I thought... but yeah, that's what the song says to me personally.

Mateus Breton: What are your expectations of the 81st WorldVision Song Contest? What do you hope to achieve?

June Summerfields: Well, seeing as Britonisea is hosting, no pressure, I think we all are expecting a spectacular show! And I can't wait to be there when it all happens. Gosh compared to the St. Christopher hosting, well... WV70 all over again... Nevertheless! As for me, well, 20th place is my goal? No I'm kidding hahaha! Well, to be honest, I'm not looking for placements, I just want to get the world dancing, having a good time! … Besides, we all know, Llalta is never reaching top 5 again!

Mateus Breton: Now, Matia from Besen was the one who gave you a hug and so we will be seeing you next on the stage! Who would you like to pass your hug onto?

June Summerfields: Awwwwwh! Well firstly I'd like to thank Matia for the hug! You know, it's not every other day I get hugged by a strapping young man! Gosh, how I wish I still had a husband! As for my hug... I think I'll send it Jana Jusic from Izmedu! Lots of love from Llalta!

Mateus Breton: Thank you very much for talking with me tonight and I cannot wait to hear your performance on that Pre-Party stage! Thank you!

June Summerfields: No, thank you for the interview! I enjoyed those 5 minutes of fame!

IZMEDU WITH JANA JUSIC

Check out her performance:
24 IZMEDU

Mateus Breton: Hello Jana, sweetheart! I hope you are doing well! Right so I've got some questions to ask you. Firstly, like many of the acts that are participating at the WorldVision Song Contest, you participated in a National Final, Izmepisma? Could you tell me about your experiences in that? I heard it was a very tight race!

Jana Jusic: Thank you so much for having me, Mateus! It's so much fun being in the pre-party... I love it here. Izmepisma, whew... That was very intense. The pre-Izmepisma hype was pretty scary, people were putting the whole favorite hat on me, Jasna, and Ivana. I was just glad to even qualify to the grand final. And, the final itself... It's true, it's the first time as far as I know that a three-way tie has ever happened in Izmepisma. It was so surreal being there, live, and knowing that it came so close. However, the experiences... I loved performing, rehearsing, and just getting to know my fellow contestants. They say that each Izmepisma is kind of like a family and... I got really close with Ivana Puljic.

Mateus Breton: And your song is quite an emotional one, "All They Ever Said Was Sorry". Could you tell me more about what the song is about in your own words?

Jana Jusic:: Oh, that's a long, long story... Okay, so, I lost a close friend of mine a few years back and it's... basically kind of about dealing with loss, but a lot of the ugly parts about it. For a long time, I... really began to resent when people said sorry and I just remember feeling sad I couldn't ever get my friend back, even though I knew that was always gonna be the case. And I couldn't say anything but sorry to myself either, so... a lot of it is just going through that. The sadness, bitterness, all of it. I think that's the really short gist of it, sorry if it's too much...

Mateus Breton: Since your win at Izmepisma what have you done to prepare yourself for the event in Boschke? Of course, you're here at the Junterapten Pre-Party but what have you done prior and what will you do over the next couple of weeks you have here in Britonisea?

Jana Jusic:: I've been rehearsing with RTI since I won Izmepisma. A lot of it's mostly conceptual, but I've been practicing in like a mock, studio-version of the stage in Boschke before I came here, and I've been working a lot with the staging team to see what kind of story we can tell. Of course, now that I'm here... I want to explore the country in my downtime. I'm rearing to rehearse of course, but... I've heard so many good things about Britonisea, and I'm so happy to be here.

Mateus Breton: Now, you're due on the Pre-Party stage now, but before you head up there, I'd like to say that June Summerfields sent you a hug! How beautiful is that. Who would you like to pass your hug onto and why would you like to pass it to them?

Jana Jusic: Awwww, that's so sweet of June! Thank you so much. I'll pass my hug onto Todlichebujoku's act. There's a lot of people I want to hug, but my mind turned to them first. Give them all my love.

Mateus Breton: Thanks for the chat, sugar, I'll go and find the Todlichebujoku act!

Jana Jusic: Thank you so much for having me! See you soon in WorldVision.

TODLICHEBUJOKU WITH TULISVI

Check out their performance:
07 TODLICHEBUJOKU

by **Waisnor** » Tue Apr 07, 2020 5:12 am

17

WAISNOR

Efim Subbotin - Ryumka vodki na stole/Tune: https://www.youtube.com/watch?v=42t-NCCbShQ

Efim goes on stage alone, in a black coat. Above is fake snow. In the background is a view of the night city. A few seconds before the song began, a ray of light from above illuminated Efim.

На душе мне нелегко
It’s not easy for me at heart

Мне пора идти в дорогу
I have to go on the road

Я иду домой, к востоку
I'm going to home, to the east

Он как раз недалеко
It's just not far

Через полчаса отъезд
After half an hour departure

Нужно время, чтоб проститься
It takes time to say "goodbye"

Мне так хочется напиться
I really want to get drunk

Чтоб отсрочить переезд
To delay the relocation

When the chorus begins, the second lamp turned on, directing its light on the table, on which just stood a glass of vodka.

Только рюмка водки на столе
Only a glass of vodka on the table

Я не знаю, как мне жить
I don't know how to live

Только слёзы от прощанья на лице
Only tears from the parting on the face

Как мне это отпустить?
How can I let this go?

In the background appears a view of the night sky. Efim goes to the table and sits down in a chair.

Дом покинул навсегда
House is left forever

Ухожу я на вокзал
I'm leaving for the station

Уже поезд приезжал
The train has already arrived

Тускло светит мне звезда
The star is dimly shining to me

Я сижу в своём купе
I am sitting in my coupe

И стараюсь всё обдумать
And will try to think it over

Как мне жить, надо подумать
How I do live, I need to think

Как я выйду на проспект
How do I get to the avenue

Efim quickly got up from the table.

Только рюмка водки на столе
Only a glass of vodka on the table

Я не знаю, как мне жить
I don't know how to live

Только слёзы от прощанья на лице
Only tears from the parting on the face

Как мне это отпустить?
How can I let this go?

The music quieted down. Then the song ended, Efim spread his hands and thanked the audience.

by **Antahbrantahstan** » Tue Apr 07, 2020 5:16 am

18. Antahbrantahstan

PRISCILLA-Strawberry
Tune: (G)-IDLE-Oh My God (English Version)
Music & Lyrics: Priscilla Tavakolian, DUMZ, Lenna Kurimäki

PRISCILLA, real name Priscilla Tavakolian, was selected to be the Anturian representative after the finale of MGP Anta, the soap-opera-star turned singer is keen on representing the country at an international stage, "I wanted to show the world that, even in times like this, when a major pandemic is looming on us, it's important for everyone to atleast find some fun, because, staying at home all day can be mentally depleting if you all don't know how to manage it." said PRISCILLA.

PRISCILLA also remarked that she feels grateful that she can attend the Junterapten pre-party, "I met lots of new friends there! and i also got the chance to bring home Britonish souvenirs to my friends! To be honest, i feel so, so, welcome in Britonisea, and if you all really want to explore things, i could recommend a place or two to visit, including my favourite ramen restaurant there!"

The stage is dark, though afterwards, the LED screen immediately begin to show a plain, vivid shade of crimson. We then see PRISCILLA, silhouetted, singing on stage, with thick fogs surrounding her and the whole stage, creating a sense of mystery. PRISCILLA would then held one of her hands upwards, before touching half side of her face and putting the other hand into the mic.

It doesn’t matter now
My innocence
Are now gone from me
What matters now
Is your sweet fingers
Going to set me free

The fog then suddenly clears up, and we can finally see PRISCILLA singing clearly, wearing a pink, lace bodysuit, with the bottom half covered by the black trousers she is wearing, she is singing with a plethora of white lights shining towards her, the LED screen would also show images of red roses, flying randomly. She would walk towards one edge of the stage while acting in a mixture of sexiness and cuteness, to either the audience's arousal, or disgust.

Help me, help me
The thorns of purity hurts for me
Set me free, set me free
I'll now let my carnal lust go wild

She then walks back to the center of the stage, with the lights all becoming more intense, turning on and off in the progress, heading towards the climax, after she sang her last verse, the stage finally darkens.

I have prepared all this for ya
Tonight there are no rules for ya
You can do anything
Kalau kau takut, bicara
If you're afraid, speak to me

Vivid red lipstick on my lips
Blooming rose fragrance on my hips
Why won’t you take a little sip?

The LED screen now shows a plain red colour, with PRISCILLA, now accompanied by two dancers, sitting on individual chairs, while it is quite dark, the audience can see that PRISCILLA, alongside the dancers, are doing sensual dance moves while sitting on the chair, albeit silhouetted, flashes of light would appear to show the audience what PRISCILLA and the dancers are doing onstage.

Strawberries, smell it all over me
Strawberries, i know that you’re the bee

Afterwards, the camera would shoot PRISCILLA, sitting on the chair, while the dancers would prep her with "makeup" that they have brought, soon after, PRISCILLA would become bemused with them and threw the "makeup" to the back of the stage.

Baby, baby
Come here and fill all this empty void
Baby, baby
Join me on this wild ride, do not hide

PRISCILLA, at this moment, would then stand up, and rap, with her dancers accompanying her, she seems to enjoy doing her rap, feeling that the crowd is enthusiastic listening to her song, after she rapped, she would then make a "slurp" sound, before smirking towards the audience.

We know, baby don’t be scared
Maybe it’ll hurt a bit, but i just cannot wait
Can’t stop, just imagine it
And i’ll replace the pain beneath your heart
You’re the butterfly that wanders
Before you saw me
And i am the crimson flower
That keeps on blossoming
You’ll say i’m crazy
But i really wanna commit a sin
I won’t do it alone
‘Cause i wanna do it with you

The lights then intensify, and PRISCILLA alongside the dancers went to their individual chairs, the dancers would then held PRISCILLA's trousers and rips it off, in time for the final verse.

I have prepared all this for ya
Tonight there are no rules for ya
You can do anything
Kalau kau takut, bicara
If you're afraid, speak to me

Vivid red lipstick on my lips
Blooming rose fragrance on my hips
Why won’t you take a little sip?

PRISCILLA and her dancers are now dancing seductively in their chairs, with movements such as whipping hairs back and forth and feeling themselves with their hands.

Strawberries, smell it all over me
Strawberries, i know that you’re the bee

PRISCILLA and the dancers then switched their dancing into a more contemporary one, losing their sensuous and seductive moves while maintaining smooth, fluid, and natural moves, all while singing and dancing in their chairs, with accompanying visuals and effects from the LED and the strobe lights to maintain the seductive, yet trippy atmosphere of the whole song in general. PRISCILLA would then stand up in the chair and sprinkled some rose petals in the end of the verse, thanks to a hidden pocket in the bodysuit.

Clocks turning to nightfall
Means it's time for the curtain call
Strawberries and alcohol
Before time for the credits roll
I am so full of your love
But i don't want to let go
Is this what a real embrace is like?

Suddenly, pyrotechnics are now in full swing, spitting fires to the astonishment of the venue and television audience, as the music began to grow in intensity, the dancers would perform intricate moves, moving freely around the stage, while PRISCILLA is standing up on her chair, singing with the same sensuous mood that she has been maintaining since the beginning, albeit with much more power than the start of her performance.

Strawberries, smell it all over me
Strawberries, i know that you’re the bee

The stage then dims, with a single, red coloured laser light shining behind PRISCILLA, who is now singing in a breathy voice tone that she is doing in the beginning of the song, the camera would continue to shoot at PRISCILLA's face, who would then points her head up, while putting her arms in her hips, signifying the end of the song.

It doesn’t matter now
My innocence
Are now gone from me
What matters now
Is your sweet fingers
Going to set me free

The audience then cheered, with PRISCILLA and the dancers bowing to the audience afterwards, then, they run off backstage.

by **Placely Placington** » Tue Apr 07, 2020 6:14 am

1819 - Placely Placington

Jim the Grindcore Guy Bloke - Song One and Song Two

Tune: AxCx - Tom Arnold/Hungry, Hungry Hippos

Following their surprisingly not dismal performance in Marina Point, where Dave the Hobo and his song "WorldVision Song Contest" finished not last place, Dave McDaverson decided that the nation would appear again anyway. After all, they received points! They received eight points from one nation, which meant that someone out there somehow loves them! Or at the very least that was the message he got from that. Either way, it served as a reason to take part in the next WorldVision Song Contest, held in Bosche, Britonisea.

And who else to represent the nation than the current local musician taking his own country by storm! Hot off the heels of his newest album "Ek is so treurig, ek is so baie baie treurig", an album that lasts 10^-46 seconds, selling a grand total of one copy worldwide, Dave McDaverson announced that Placely Placington would be represented by Jim the Grindcore Guy Bloke, a man who only speaks and sings in Afrikaans, a language he doesn't really speak and no one really knows why he actually does that. He's also backed up by a couple of his clones that play his instruments for him. One's just a normal clone of his that just played the guitar, imaginatively titled Guitar Clone. The other seems to be a normal clone but what seems to be his hands are incredibly long and thin, resembling drum sticks. As you'd expect, he's called Drummer Clone. Guitar Clone and Jim the Grindcore Guy Bloke are interchangable and there have probably been a few concerts where they've switched roles and no one would've known. Or they wouldn't have if it weren't for the fact that there haven't been any concerts in Placely Placington yet.

The three of them, complete with brand new Guitar Clone, were standing on the stage. It was as low as it could go, since there was no need for them to tower any higher than the audience than they needed to be. Especially since they weren’t planning on stage-diving any time soon, not after the Parade of Nations bit where absolutely zero people cheered for them, though they all cheered for Besenian representative Matia Grieswoli. There wasn’t really much in the way for backdrop, presentation, effects or anything like that. It was just plain and simple, like their songs. After Drummer Clone banged his stick hands together a couple of times, Guitar Clone let out a loud squeal from his guitar before playing a few notes while Drummer Clone banged his drums together. Jim the Grindcore Guy Bloke bent forward a couple of seconds later and scream-shouted the song into his microphone, hence why the lyrics are all bolded and in all-caps. Once he was done, his clones stopped playing their instruments and the song ended.

LIRIEKE! LIRIEKE! LIRIEKE!
LYRICS! LYRICS! LYRICS!

Once Song One was over, it was time to move onto Song Two. After all, as the old joke goes, “Fifteen minutes late to a grindcore concert, you’ve missed the first six bands”. And plus both the Orb of Confusion and the Giant Screaming Cowboy in the Sky thought it was a bad idea to just have a ~5 second song as an entry, at least that’s what they could decipher from an inanimate object that makes no sound and loud screams caused by an outdated meme, so naturally they decided to tack an extra song on at the end just to fill up the run time. Plus it gives the people something to stick onto the recap. Drummer Clone banged his stick hands together for that stereotypical "one-two-three-four" thing drummers do and they immediately went into a song where the lyrics totally aren't just random words lifted from Afrikaans Wikipedia pages. Same way as last time: Drummer Clone smashing his hands on the drums, Guitar Clone strumming his guitar and Jim hunched forward singing the usual vocals you’d expect from a grindcore song.

NEGENTIEN! DUBBELE ONTKENNING! STAMSEL!
ROOSVENSTER! FRANKLINSE MEEU! OOSBLOK!
BOOGSKIET! OPPOSISIELEIER!
OPPOSISIELEIER! OPPOSISIELEIER!
NINETEEN! DOUBLE NEGATIVE! STEM CELL!
ROSE WINDOW! FRANKLIN'S GULL! EASTERN BLOC!
ARCHERY! LEADER OF THE OPPOSITION!
LEADER OF THE OPPOSITION! LEADER OF THE OPPOSITION!

Immediately after he finished the first verse, he went straight to the second one. It was also at that point where he went into the crowd and started hitting random audience members. After hitting about two or three, he was completely surrounded by audience members who started to fight back Contrary to what you'd expect, they all overpowered him, chucking him back onto the stage and pretty much told him (without actually telling him) to finish the damn song. Which he did a few seconds after he got thrown back onto the stage.

AANKOPE! POTLOODROMP! DIE EERSTE VAN JULIE!
SITROENGRAS! KENTEKEN! RUIMTEWEDLOOP
ONTWERP! GESPIKKELDE VALKVIS!
GESPIKKELDE VALKVIS!
PURCHASES! PENCIL SKIRT! THE FIRST OF JULY!
LEMONGRASS! LOGO! SPACE RACE!
DESIGN! (in the architectural sense) CORAL HAWKFISH!
CORAL HAWKFISH!

Once the song came to an end, Jim took a massive bite out of the head of the microphone and started to chew it with his mouth open, causing a ton of feedback to play over any speakers it was connected to as well as chewed up fragments of microphone to spill out of his mouth. Drummer Clone, meanwhile, spontaneously exploded, leaving behind not a single atom of deoxyribonucleic acid but instead a massive burn mark on the floor that could easily be cleaned off with a bit of hard scrubbing and maybe a wee bit of floor cleaner. No need to worry about him, he was a drummer after all. He knew what he was getting into. Besides, the Clonomat they brought along could just clone a new one of him. Security came and threw the two surviving members off-stage, janitors came in to clean the stage, the other behind the scenes people came in to set the stage for the next act and everyone else got ready to enjoy a good entry from the next nation, Besen. Take it away, Matia.

by **Besen** » Tue Apr 07, 2020 6:16 am

20 | Besen
Matia Grieswoli | "All Along"
Isak Danielson - I Don't Need Your Love
Lyrics & Music - Matia Grieswoli, Genine Anserfold

Matia grew up in a rough neighbourhood on the outskirts of the coastal city Opio, where drugs and crime is often prevalent in small communities and affects the young people who live there dramatically. His parents split up by the time he was aged 6, and to make matters even worse, his father passed away in a drive-by shooting - which he has said had huge effects on him emotionally and mentally. He persevered however, and graduated high school and then college easily, having a degree in music and performing arts - which he used to get a big break, as he went to study more in the capital city Lipa. He met a lot of creative individuals while he was there and built relationships with many top dogs in the Besenian music industry. Matia always knew he could sing but didn't really have the confidence or the pure drive to pursue a career in the spotlight so he never tried to. But, he was encouraged by one of his friends to start songwriting as an outlet for some of the stuff that he had been through in his life. It ended up working really well for Matia and he wrote some songs that he had decided were good enough to put out into the world.

His first EP, "Revelations", was self-written and allowed him to gain an audience as an independent artist in the country. For a while, he had been getting a cult following for his very emotional and soulful ballads - so although he didn't really have chart success, he managed to still have people following what he was doing. His 2018 single, "Just A Piece of Us" did fairly well commercially and so he started to play in festivals and even had his own headline gigs. It was these performances that had captured the attention of the broadcaster BSB, whom had been running the "Introducing..." platform for a few years now. They featured him as their main "artist to watch" in January 2019, so he was becoming a little more well known, especially in Lipa.

BSB contacted Matia in December of 2019, because they were looking through their Introducing line-up and decided he would be a completely new and interesting direction to go in. He accepted the offer to go and represent Besen pretty quickly, so he had a lot of time to write his song in an organic environment with his now friend Genine Anserfold - and after about 6 songs were trimmed down into just one, they ended up with "All Along", a song about overcoming a really toxic relationship, where the other person keeps hurting you emotionally and in a metaphoric way, physically. It means a lot to Matia, and he won't go into too much detail about the backstory of the song, but it really does mean a lot to him.

Standing alone in white suit-like attire, Matia appears bright in the shadows of the stage around him. The only light coming from a huge shining beacon spotlight above him, which highlights his almost already emotional face, as he's delivering the first lines. He remembers all of the events leading up to now, he remembers his father, he remembers his rough upbringing and he remembers his luck and his journey to the stage in which he is situated now. He sings with intent, there is a little bit of sadness there but it is overshadowed by the large enthusiasm in his delivery. Smoky almost, he pronounces every word clearly, like a knife to the heart each time.
He begins sitting down with his legs crossed but he gets up soon after, in a narrative way describing his gradual decline in the relationship. His movements aren't that sharp - he looks hurt and he is, he thinks of her stare as he looks into the audience. A tear wells up in his eye.

Of course I know it all along
You weren't that nice
Of course you did just throw it away
I faked I was alright

Maybe I'm a fool for love,
I'm such a fool for you
Maybe I will run away
Like all the times before

He braces himself for the big chorus, but the large increase of bright lights all around him help to push him into the lyrics. He belts nicely, but keeps the same pain which has been evident for the entire time. Aside from the dark themes of the song, the production and the amazing showcase of bright white surrounding him feel, a little bit uplifting and soothing for Matia. He doesn't feel uncomfortable at all - it's just the memories that hit him with each word he sings.

I knew all along
You'd leave me aside while you stand there strong
You've beaten me blue, I can't stand no more
I always take the fall...
Do you care at all?
You're making it clear that I played a part
Enabling your words, you've broken my heart
You know I can't take no more...

He turns to face the camera to the left of him, and he slowly walks towards it, intent-fully though, with power and grace as the same time. His eyes are nearly wet from holding back the tears already, and the camera captures every single one of Matia's beautiful flaws. He is giving his whole life on the stage. With each note of the strings playing in the back, a flash of white happens, it looks nearly angelic on the stage, as the camera leaves Matia and focuses back on the centre of the stage where it all can be taken in.

I shouldn't trust my innocence, it always proves me naive
I couldn't fight back all your punches, all the damn time
Now there won't be another time
I wipe my tears tonight

He sings with less power no, not because he doesn't want to, but because he can feel the frustration and sadness welling up inside of him - he wants to scream out these lyrics, but he knows how many people are watching and so he reigns it back in.

I knew all along
You'd leave me aside while you stand there strong
You've beaten me blue, I can't stand no more
I always take the fall...
Do you care at all?
You're making it clear that I played a part
Enabling your words, you've broken my heart
You know I can't take no more...

Like red blood, the lights gradually switch from the whiteness of the past and smoothly gloss over the stage in crimson. It represents the complete despair of Matia in this moment of the song, and he represents this too in his over-emotional face, he can't hold it back anymore. And the crowd backs him up as they see he is struggling to hold it all back. Red drips down his white jacket too, like blood from a wound, and he grips himself. It's crazy how he keeps his professionalism but manages to emote his words so well, as he falls down to the ground, falling like a lost angel. He looks innocent down on the floor - but he is broken and it shows.

It's done - I'll die if I stay here now
I'll die if I fall back there
There is no more love coming from you
Every piece of me in shreds...

The drums ramp up and so does everything in the back of the stage and Matia too - the crimson lighting switches back to more lighter tones but at the same time a tint of golden falls down from the lights above, signfying something hopeful to come. Matia continues to keep his tears back, and nails his big notes at the end of the song - which is aided by his emotional state. At the end of the song, he completely breaks down, but still thanks the audience while he is on the floor. The next performer's postcard begins as Matia thanks his father above.

I knew all along
You'd leave me aside while you stand there strong
You've beaten me blue, I can't stand no more
I always take the fall...
Do you care at all?
You're making it clear that I played a part
Enabling your words, you've broken my heart
You know I can't take no more...

Please lord, I can't...
Do this anymore!
I can't take anymore
Won't take no more...

by **Axuva** » Tue Apr 07, 2020 10:42 am

#21 AXUVA
Tyra - "Started"
Tune : https://www.youtube.com/watch?v=0zC6YkXiP10

An orchestra would be viewed on the left side of the stage and the camera would go from them to a pianist. The camera then went to Tyra and you could see her locked in a box as the music started and she tied to a chain and she started to sing the song.

If it feels like you’re dying
And your tired of trying
Just know your life has just started
You'll be right here with me
You'll be right here with me
You'll be right here with me

Feels like the time is taking me down, can’t move around
Please save me right now
Seems like everything has gone bad
Life is so sad
Why can’t we get around

The box lifted and dancers on the stage ran to break the chain and tugged on for stage play and as she is released, she is helped up and she walks on the stage by a built path from the stage that was built for the box and as the path lit up, as flowers would surround the stage would be able to see a LED chandelier above the stage that split into two parts which were colored blue. There would be backup singers further back on the stage and Tyra stood under the chandelier.

If it feels like you’re dying
And your tired of trying
Just know your life has just started
You'll be right here with me
It feels like rain is always falling
And people are always dying
But know that life has just started
You will be right here with me

I'll be right here with you, you'll be right here with me
I'll be right here with you, you'll be right here with me, yeah

Feels like you’re sick and there’s just no cure
With no relief, I’m here for you
Your life has went through with no ease
And the ice is getting thin, it feels like I can’t move
What’s really going on, The birds cant sing a song
But if the times are strong, This is for you

If it feels like you’re dying
And your tired of trying
Just know your life has just started
You'll be right here with me
It feels like rain is always falling
And people are always dying
But know that life has just started
You will be right here with me

I'll be right here with you, you'll be right here with me
I'll be right here with you, you'll be right here with me, yeah

The lighting got dark and there was a spotlight on her and she stood still.

The world needs some love today and
Theres no give or take, yeah
Be yourself and, do what’s right and
Fight for the people all the way
Oh, if you feel...

She walked over to the other side of the stage and stood in front of it as it played black and white pictures and videos of wars, one of the visuals on the screen from a war example was video footage of the Korean War. Images and videos of poverty were shown in different parts of the world. Images and videos of natural disasters and relief and recovery were shown. One of the examples that were shown was the Japanese 3/11 Earthquake/Tsunami and Hurricane Katrina which struck New Orleans in 2005 and the recent Malta floods. Actual recent footage of the current world that we are living in due to coronavirus from videos of leaders speaking, riots, nurses, and more. Various world riots were also shown, riot pictures and videos from before Axuva declared independence in the 70s were also shown.

If it feels like you’re dying
And your tired of trying
Just know your life has just started
You'll be right here with me (right here)

When your tears have dried from cryin'
(Times will get better, yeah)
And the world has turned to silent
(Baby we’ll make it through, yeah)
When the clouds have all departed
(Life has just really started, oh)
You will be right here with me
When you feel your heart's guarded
And you see the break has started
When the clouds have all departed
You'll be right here with me
When your tears have dried from cryin'
And the world has turned to silent
When the clouds have all departed
You will be right here with me

I'll be right here with you, you'll be right here with me
I'll be right here with you, you'll be right here with me
I'll be right here with you, you'll be right here with me
I'll be right here with you, you'll be right here with me, oh

As she approached the end of the song, a video of the earth moving slowly played in color and she pointed to the sky with a tear falling out of her eyes, and ended the song with her arms spread open and her dress flowed out with her arms.

BITC | 81st WorldVision Song Contest | Boschke, Britonisea

BITC | 81st WorldVision Song Contest | Boschke, Britonisea

Tonight's Programme

Opening Act + Intermission 1

16 | Ekoz | Hugo Jorgesson - One Thing.

Intermission 1: The Ins & Outs in Junterapten!

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