82nd WorldVision Song Contest | Tiferet, Ertzei Kishim

by **Ertzei Kishim** » Mon May 11, 2020 2:49 pm

HARESHET Presents, WorldVision Song Contest 82

Live from Ertzei Kishim

OOC Thread | Host Bid | Official Playlist

Designed by artist, and contest creative director Dan Ben-Tzvi, the stage pushes the boundaries of accepted stage design, particularly in the WorldVision Song Contest. The sprawling design plays with elevation, texture and depth, giving broadcasters a challenging, yet visually thrilling task to present their stage show. Whereas previously there has been a reliance on a frontal facing performance with a backing LED, this stage will change that formula. Acts will now have to utilise a 360 space, without a backing LED screen, but rather a floor, powered by the most advanced projection technology. This technology allows for any beamed image not to lose clarity of texture as it travels over the different elevations and edges of the stage. Furthermore, the stage floor also has a back-up option of producing LED effects, to the same quality as the projection. This not only works as a back up in the event of any of the projections not fulfilling their desired effect, but allows for dynamic combinations between the two, adding greater depth to the performance. While the stage poses creative challenge, it also presents greater opportunity. The necessity of creating a truly 360 degree act allows for an expanded performance team (budget permitting). The stage can accommodate more people than any previous stage, due to its vast size. This will make the show truly magnificent as we expect countries to increase their production value as a result. The stage also has virtual reality and holographic capacities too, allowing for on-screen tricks of the eye for audiences at home.

The camera team numbers 35, which includes remote operators of 8 different overhead cameras, on stage shots, panning in and out, and shots that cut the line between on stage realism and overhead maximalism. In short: all shots are possible with the expanded team at your disposal. Spark/fire machines, spotlights and steam blasters are spaced regimented around the outer rim of the stage. The distance between this outer rim and the stage proper will be sunken down slightly and contain the standing audience, as well as the areas near the two ramps to enter and exit the stage. This will allow approximately 1000 fans to get in on the action and party the night away. Artists are invited to use the raised parts of the stage to interact with fans, project their image and elevate themselves higher for maximum effect. With the Parade of Nations which will occur as part of the opening act, the performers will descend from one ramp each, meaning two acts enter at the same time. They will then travel towards the other side of the stage, before exiting to the left side of the ascending ramp. Each of these exits will lead directly to the greenroom. We hope you are excited as we are to use this fabulous stage!

Ertzei Kishim, then by the name of Kishrael, hosted its first and only WorldVision exactly 56 editions ago, in the then capital Shatilaurchev. Ertzei Kishim is a different country now, in fact radically different. Widely regarded as a successful hosting, the edition following Ertzei Kishim earned their first ever victory in the contest, and began a long tradition of supporting, promoting and disseminating the values and beliefs of the contest with every participation. The decision for Tiferet to host the 82nd edition of the contest was in fact, unanimous. Now because of a vote, but rather because there were no competing bids against it. While this affected the contest schedule, Tiferet, and Ertzei Kishim, were ready. Ertzei Kishim has one of the longest and most active histories of any nation in the WorldVision Song Contest, having racked up 11 podium places, including 5 victories, Ertzei Kishim is no stranger to WorldVision, yet many fans have not had the pleasure to visit our beautiful country. Tonight is that night. After a week of exciting events for fans and local alike during the WorldVision week, the night was here. The spotlight was centred squarely on Ertzei Kishim after many years once again, and tonight it was gonna be one hell of a show. Just one minute to go until 20:00, the backstage team running around like crazy... "Shalosh, Shtayyim, Ehad... YALLAH"

Kishraeli WorldVision Winners Megamix

The last time Ertzei Kishim hosted a WorldVision, the country had no wins. Can you believe it! Despite being one of the most decorated WorldVision nations, we have not had a chance to celebrate our successes in our own country. Dan Ben Tzvi wanted the contest to be a celebration of not only the WorldVision, but also a celebration of Ertzei Kishim - in fact it was a requirement for it to receive the public funding which it did from governmental cultural budgets. Thus, the perhaps slightly self-indulgent Kishraeli megamix would open the show. Gathered together were the five Kishraeli WorldVision winners, varying wildly in age to the veterans of Tabitha Shamaimah and Channah Avitan, to the most recent winner Lika Dia. Some of these tunes are fan-favourites, especially in Ertzei Kishim, and upon learning of the idea, many Kishraeli superfans were ecstatic to see their favourites on stage once again.

Zirah Leumit was alight with 7,800 fans waving white handheld glow sticks, whooping, cheering and clapping. A camera panned around the arena, showing the filled space. Small white lights flowed around the perimeter of the stage, outlining it but not revealing who, or what was in the centre. The countdown began on the start of the stage in Hebrew, the crowd shouting along with it. Upon hitting number one, a thunder sound struck the stage. A white light surrounded a single figure on the stage. A voiceover began the story...

"Kishrael put itself on the map, showing the world's men that these Kishraeli girls are not to be messed with"

A camera shot straight in front of a hooded woman, pulling her hood off, it revealed Tabitha Shamaimah. She wore the same makeup as she did the very first time she was on stage, dark, vampiric makeup. Her striking face had aged, but she still was serving it. She smiled and winked at the camera, put the microphone to her lips and began her iconic WorldVision song.

How dare you, how dare you betray me like this
After all we’ve been through
Don’t you try, don’t you try to turn this on me
Because we were in this together as one
And my silent despair, goes on undetected
A ceaseless nightmare

She steps forward, releasing the cloak to reveal a dark, red and black shining dress, composed of a shattered glass design. The floor began to show a dark, burning graphic. A firey, smokey on-screen effects began to envelop her on stage, with which she played up to the camera. Looking up to the roof and lifting her hand, she then shot a fierce look back down towards a frontal camera as she sang the chorus.

But I think it’s time that, I learn to realise
That it was all lies
All I did, for nothing, for nothing
And I’ll learn to hate you, one day I can try
To forget all of the times, back when it was right!

"Well if sad woman singing over a dance beat worked once, then it'll work twice... and boy it did"

At the end of Tabitha's part, the voiceover began. At its end, coming from the side and singing straight into the bridge stepped Channah Avitan, the winner of WorldVision 28. Her hair is silver with glitter applied sporadically and straightened. She wears a long glittery kimono sleeved bodysuit. Marching out the side of the stage, she smiles and waves to the crowd who go wild at her appearance. Tabitha has moved to one of the "peaks" near the side of the stage, meaning as Channah moves to the centre, she is alone.

And do you think of me?
When the silence runs wild and free…
And do you sit in frozen stillness sometimes?
And wonder where the music we shared went, it went, it went…

As the house beat builds up, she moves her head from side to side in time with the music, her shiny, straightened hair flowing smoothly in time. She then lowers her head, as the music lowers, before getting higher again and singing the chorus. Her original performance had dancers, but rather, holographic projections of humans, made out of a misty material and without defined features begin dancing around her as she does the same choreography as all those years ago in Malu. The spotlights from above and from the rim of the stage flash in time with the music, creating a sleek and clean look.

Where did you go?
Because this painful silence
This beautiful torture
And the cold it burns me, but I still sing to you
Painful, this painful silence
My song dies with you, my melody stops
Should I destroy the words, that you said to me?
And the cold it burns me, but I still sing to you
Painful, this painful silence
Painful, this painful silence
Painful, painful, this painful silence

"After a little bit of a break from the podium, the girls in Kishrael said "ENOUGH" and came back swinging. Our frozen Queens are here."

The heavy beats of "Or Adom" blared out throughout the stadium. This was certainly the crowd's favourite of the entries. Immediately the girls from Cinderella Ra'ah walked out from the western ramp. They bundled down the ramp in chaotic rhythm. Their mismatched, yet still stylish outfits fit the band and the vibe perfectly.

Eleh orot adumot - אלה אורות אדומות [These red lights]
Mavzikim mazhirim - מבזיקים מזהירים [Are flashing bright]
Simanim azharim b’shepa - סימנים אזהרים בשפע [Warning signs aplenty]
Adayin atah rotzeh lavo - עדין אתה רוצה לבוא [Still you want to come]

The girls fan out on the stage. Underneath them, each girl is flanked by a coloured strip, pink, blue, yellow and green. They begin to then stop at intervals so that they are appropriately tiered for the camera angle to spot them all, and so that each of them are standing squarely in the middle of a stripe. Emma and Gal take hold of the bridge while Jaffe takes sole lead in the chorus. The girls each adopt a wide powerful gate, putting the microphone to the mouth as they seem stiff.

When the dark is rising, rubies keep shining
If the nightfall breaks you, hold on, we’ll pull through
Stronger
Tougher as you move from the power music gives you
Faster
No stopping us now, seven seconds ‘til we crash through!

As the mega chorus starts, the lines the girls are standing on began to wave around and break apart. Eventually bursting into different colours as the girls let loose on stage while singing the chorus. They jump around together, smiling and bouncing, thrilled to be back on the WorldVision stage, this time in their own country.

Yoter v’yoter, shiru et zeh chazak yoter - יותר ויותר, שירו את זה חזק יותר [More and more, sing it louder]
Yoter v’yoter, nitlu et zeh gavoa yoter - יותר ויותר, נטלו את זה גבוה יותר [More and more, take it higher]

"But to get back-to-back victories, maybe it's best to stick to what you know... cue the tears ladies"

Coming out from the other side of the stage, Ada Gatling, much beloved within Ertzei Kishim, but more hidden on the international scene. After she finished second to fellow winner Tabitha Shamaimah in Kdam-WorldVision she took a back seat. Yet tonight she was back in force. She wore a big ball gown with a structured bottom which flowed out and was decorated similar to Tabitha's dress, with dark shards. It was lightweight however as it did not have any fabrice underneath the structure. Once the music gets louder she looks directly down the camera, tapping her foot as she goes. When the chorus kicks in she sings with all her power, throwing her head back and to the side as her arms fly out. A wind machine is used to emphasize the effect.

They will tell you, never give up
But my hearts already gone
And I refuse to wake up
To this life that I am living!
To this life that I am living!
I will not wake up...

As the music calms, Ada drops to the floor, kneeling down she looks down before looking up slowly and gesticulating with her hand. With the lights still soft she drops even lower to the floor until she is almost lying down, while she continues to sing the song.

Part of me knows what you are
The elixir for my heart
And part of me knows that
You're poison
I tried to pursue a dream
Relentless fantasy
And now I will pay the price

As the electric beat kicks in, the stage goes dark again and the lights in the circle pulse rapidly in time with the music. Ada stands up and moves in time, throwing her body forward and pulling it back with the dubstep-esque beats. When the familiar music of the chorus comes back on the stage bursts into light and with the wind machine on, Ada throws herself back for maximum power.

Az tagid li od sheker - אז תגיד לי עוד שקר
(So tell me another lie)
L'ha'arikh t'a'sevel ha'zeh - להאריך את הסבל הזה
(To prolong this suffering)
Lo etorer shuv - לא אתעורר שוב
(And I won't wake up again)
Az tagid li od sheker! - !אז תגיד לי עוד שקר
(So tell me another lie)
I refuse to wake up...

"And then... long silence... the dark ages... the end of times... Kishrael was off the map... until"

The crowd began going crazy for their most recent winner, Lika Dia. Now a huge star, she had commanded the public's attention until today. The crowd got louder and louder as the voiceover rang out through the stadium. Then, when the first notes of red began they erupted in a huge roar. The song was still huge popular among WorldVision fans, and upon the announcement that Ertzei Kishim would host the contest after 56 editions, a number of WorldVision songs reentered the Kishraeli charts, with "Red" charting the highest at #2. Lika was on a large platform being lifted down from roof of the stage. She wore her leathery outfit from her original WorldVision performance, no pretence here - she came her as a fully-fledged artist.

You had me chasing these crazy dreams
When it was way past my bedtime
We never said where we’d draw the line
But that didn’t matter when I was the only one on your mind

As the bridge comes, she widens her gate and pulls a pin out of her hair, letting her hair flow down and acting all sexy like that. At the same time as the bridge starts, the stage becomes a golden-beige colour. As the platform hits the stage, Lika steps off from it, and is then joined by the other winners, four on one side and three on the other. They all begin posing in a vogue-y kind of way to the camera as it shoots a shot at each one of them with a quick fade out effect on the screen.

Smashing bottles into diamonds
Glass shards cut so deep
The waters ain’t so clear no more
Their taste is not so sweet

As the chorus starts, Lika and the other winners march towards the camera in unison, their legs moving at the exact same time as one another (well the legs that were visible). When they reach their destination, they move the top half of their body to the side, their hands clutching around their bodies and up to their neck. They then whip their hair back while moving their heads behind, and then back to the front again. As she sings the "red" part, the stage then goes black, before the beat comes back and the now darker stage has glistening LEDs swirling around the stage floor. They all do a synchronised routine which starts just as sexual posturing, before descending into something more complicated. By the next time she says red, the stage returns to normal and Lika is on her knees singing to the camera, the other girls pose behind her.

Blue is the way I look towards you
Black is the way that you turn away
I got no regrets for stumbling this far
Coz’ you took everything that we had and you painted it red
Ah, Ah, Ahhaaahhhh x3
Coz’ you took everything that we had and you painted it red

Upon the completion of the performance the crowd goes wild. Every Kishraeli had a favourite and to see them all together for the first time was special for a number of WorldVision fans. All the girls were smiling as the camera showed a shot of each of them. It was a nice celebration of the winners, yet, tonight there would be a new winner and it was time to move on to the next portion of the show, where each of this year's participants would be introduced - the Parade of Nations, with a song accompaniment by popular Arab singer, Safa El-Ajami.

Nina Abdel Malak - Eza Hajarta (House Remix)

With the passing of the opening act, preparations were quickly made to move the WorldVision winners off from the stage and set up for the parade of nations. The parade's path worked as such, the performers will descend from one ramp each, meaning two acts enter at the same time. They will then travel towards the other side of the stage, before exiting to the left side of the ascending ramp. Each of these exits will lead directly to the greenroom. The path each delegation will follow will be coloured by the nations national colours with a flowing mix of the said colours. The announcer will also announce the name of the nation as Safa El-Ajami sings her song, titled "Yadour Ad-dinya" (The world turns).

الدنيا يدور، يا كل الليالي (Ad-dinya yadour, ya kol al-layaali)
بس مع انه هيك انت هون (Bas ma'a ino heyk inta hon)
الدنيا بدور، يا كل الايام (Ad-dinya yadour, ya kol al-ayaam)
بس بعد كل شي انت هون (Bas ba'd kol shi, inta hon)

Safa was standing on the eastern ramp of the stage, wearing a long flowy black outfit. She stood in place, gesticulating during her performance to emphasise the words she was singing. The truth was, the arrangement wasn't particularly deep or challenging, but it was in Arabic so nobody really knew what she was singing which made up for the simplicity of the song (which was put together at the last for the contest). The acts began marching out to the song.

ماشيا الدنيا، وانت وياها (Mashyaa Ad-dinya, w'inta weyaahaa)
تانية بتانية ساكنها (Taniyah betaniyah saakinhaa)
تشتي الدنيا، وكلنا وياها (Chity ad-dinya, w'kolna weyaahaa)
تانية بتانية متحملها (Taniyah betaniyah mit7amilha)

All the competing acts follow the given path which is illuminated by their national colours shooting through the floor in the specific route they walk. Two delegations at a time cross over one another in the centre before exiting the opposite way they entered. The crowd cheers for their favourites, their own nation and for everyone involved as the speaker announces the country names as they enter. From where Safa stands, grey and white shoots from where she sings, crossing under the path determined by the opening ceremony routes.

ماشيا الدنيا، وانت وياها (Mashyaa Ad-dinya, w'inta weyaahaa)
تانية بتانية ساكنها (Taniyah betaniyah saakinhaa)
تشتي الدنيا، وكلنا وياها (Chity ad-dinya, w'kolna weyaahaa)
تانية بتانية متحملها (Taniyah betaniyah mit7amilha)

(The lyrics are repeated again for the second half of the song as the competitors continue to file out for the parade of nations). With all acts through, the voice over announces: "Ladies and Gentlemen, welcome to the 82nd WorldVision Song Contest!" The crowd screams, as Safa moves off the stage, from the opposite ramp, presenter Stefania Oudeh walks down from the stage. She wears a beautiful corseted dress with a flared bottom. It was widely reported among domestic Kishraeli news, as well as in WorldVision media briefings that the husband and wife duo of Maya Hafouzi and Ahmed Shakekani were stepping down from hosting the contest just days before the event because of both testing positive for COVID-19. Due to the time constraints, HARESHET was unable to find a replacement host in the short space of time, and so, Stefania Oudeh was taking the reins as the sole host for the evening.

Stefania: Good evening world! How are we doing tonight? As you know, we are here to celebrate the best of the world's music. Whether you're from Amuaplye or Zentata, Ertzei Kishim or Todlichebujoku, everyone tonight will join together to hear the best sounds and slickest production in the music industry. As you might see, I am here alone tonight. My co-presenters have been self-isolating after being diagnosed with COVID-19 just a few days ago. We at HARESHET want to take this message to remind everybody to stay safe and look after themselves. Our health comes first. Now, without further ado, I am excited to announce to all of you gathered here, and our viewers at home... LET THE WORLDVISION SONG CONTEST BEGIN!

by **Ertzei Kishim** » Mon May 11, 2020 2:50 pm

01. Izmedu | إيزمدو | איזמדו
Prudencija N. - CHAOS
Entry | Postcard

02. Zeganas | زيجاناس | זגנאס
Blackstarr ft Gage Kage - Nightlife in the Big City
Entry | Postcard

03. Waisnor | وايسنور | וואיזנור
Renat & Plato - Dusha Kak Lyod
Entry | Postcard

04. Scotatrova | إسكوطاترويا | סקוטטרוויה
Rafael Rubio - Nel Danx Zen Thé
Entry | Postcard

05. Beepee | بيبي | בייפיי
Birthe Right - All In Your Mind
Entry | Postcard

06. Titaniumland | أزض التيتانيوم | טיטניומלנד
Joelle - Equality
Entry | Postcard

~~07. Ekoz | إكوزا | אקוזה~~
Victor & Anna - Can't Stop The Fire
Entry | Postcard

08. Missus X | أستازة إيكس | גברת איכס
TBA-TBA
Entry | Postcard

09. North Alezia | شمال أليزيا | צפון אליזיה
Imara Syafani - You Are
Entry | Postcard

10. Britonisea | بريطونيس | בריטניסיה
Kristiana Totem - Prominence
Entry | Postcard

11. Mister X | أستاز إيكس | אדוני איכס
The Doctor - "Don't be Afraid (Unless it's a Dalek)"
Entry | Postcard

12. Elejamie | إليجام | אליג'ם
Aurora Cassidy - Since I Lost Him
Entry | Postcard

13. Malta Comino Gozo | مالطا كومينو جوزو | מלטה קו"גו
Glen Ferguson & Kartha Gewart - Serenity
Entry | Postcard

14. Llalta | لالطا | לאלטה
Esther Winterbourne - Fate
Entry | Postcard

15. Polkopia | بولكوبيا | פולקופיה
Rokzana - Route 99
Entry | Postcard

16. Antahbrantahstan | آنتابرنتاستان | אנטאברנטאסטן
Ruslan Miroslavovic - Guilt
Entry | Postcard

17. Saviera | ساويّرا | סוויירה
Andrea Christian - Me and My World
Entry | Postcard

18. Estogium | إستوجين | אסטוגין
Elias Nordin - Promise Me
Entry | Postcard

19. Ertzei Kishim | أراضي الكيش | ארצי כישים
Kafeh Shahor - Habibi
Entry | Postcard

20. Achaean Republic | جمهورية أكايا | רפובליקת אכאייה
MC Yesca - Amansa Guapo
Entry | Postcard

21. Placey Placington | مكيّن مكان | מקומוש מקום
E Oe - Euaoue
Entry | Postcard

22. Kalosia | كلوسيا | קלוסיה
Max Calder & Bella Verano - Beyond the Stars
Entry | Postcard

23. Axuva | أكسووا | אקסווה
Ekspeditsiya - For You
Entry | Postcard

24. Talvezout | تلويزوط | טלווזויה
Laura - Sensual Work
Entry | Postcard

25. Nahlcomo | نهالكومو | נהלקומו
Massey Massie - Once In Love
Entry | Postcard

26. Bayilan | بايّلان | ביילן
211 - I Need You
Entry | Postcard

27. Amuaplye | أموابلي | אמואפליי
Cameron Morton - Sails
Entry | Postcard

28. Nekoni | بسسجي | חתולני
Café Bleu - Useless Games
Entry | Postcard

29. Vartugia | وارتوجيا | וורטוגיה
(blank) - Dancing in Teh Dakr
Entry | Postcard

30. Besen | بسن | בסן
Mimi Lamire - Breathing
Entry | Postcard

31. Lochario | لوكاريو | לוכאריו
Erik Van Doouger ft. DJ Kolli - Blazers
Entry | Postcard

~~32. Proluvia | برولويّا | פרולוויה~~
Romano Mercure - In The Breeze
Entry | Postcard

33. Normandy & Picardy | نورماندي وبيكاردي | נורמנדי ופיקרדי
Séance Chez Moi - Moodboard
Entry | Postcard

34. Hafämarimët | هفارماريمط | הפרמריימט
Ïnüh Pmïlgint - Come to Me
Entry | Postcard

35. Todlichebujoku | طودلوشايبويوكو | טודלישבויוקו
Noravas ft. Álvrüttá Matsuvoka - Feel Alive
Entry | Postcard

Elejamie - ETV1
Part One

Kalosia - TBA
Part One

North Alezia - ABA3
Part One

by **Izmedu** » Mon May 11, 2020 6:31 pm

01. IZMEDU
Prudencija N. - CHAOS
Tune: Grimes - We Appreciate Power

"Pride goeth before destruction, and a haughty spirit before a fall." - Proverbs 16:18

One of Prudencija’s many character flaws (and she knows she has many) was pride. A pride, that even when wounded, that somehow evaded indignity and total humiliation. Prudencija Nikolic (known infamously as Prudencija N.) often relied on that pride to get her through her toughest moments both creatively and professionally. ‘CHAOS,’ stylized in all-caps for reasons that even Prudencija couldn’t articulate, was her pride and ego symbolized into one song. She needed that pride, as senseless as it was, in order to justify why she kept going into music and why she kept being on the fringes of the Izmeduan music industry. Otherwise, where else would she go? The song’s journey itself was never one that started as an early career idea or was a golden bullet in her repertoire that was waiting for the light of day. Prudencija was keenly aware that some Izmeduan entries often had that narrative. For her, she frankly thought those narratives were nothing but bullshit meant to elicit sympathy. But what Izmeduan entry doesn’t try to elicit some sort of sympathy? She knew what she was carrying when she conceived of CHAOS. In fact, admitting that CHAOS even had a narrative was her conceding to hypocrisy.

The song’s gestation itself was chaotic. She came into it as one of the most controversial artists to be gracing the Izmeduan music industry itself. Her infamous and ill-fated appearance in the 24th World Hit Festival was one of the many flashpoints in her career that turned Prudencija into the persona non grata that she has become. Her song, ‘Poison,’ while drumming up excitement in the lead up to WHF24, ultimately flopped in the results. While the reasons for Prudencija’s result were down to a lack of a performance as well as the Izmeduan budget quite literally being non-existent, Prudencija took the fall bringing Izmedu’s worst result to the World Hit Festival then. It was enough to cause RTI to briefly contemplate giving up on the contest itself. However, for Prudencija, she just couldn’t face the music industry back then. And hell, she vividly remembered (and still does) the backlash she received. The questions that everyone kept begging ranged from her suitably controversial (non)-performance to many taking to task the way she basked in pretension to attain fame. She was the epitome of the ‘high art’ movement that the original Izmeduan WHF delegation often tried to chase for. In fact, trying to push the boundaries of music as a concept and using music as a tool for social critique was Prudencija’s modus operandi as an artist. She couldn’t stand what her contemporaries were doing. As a result, Prudencija had many musical hills she would die on, and she certainly wasn’t shy about making damaging remarks about an artist’s musical legitimacy in the Izmeduan sphere. As she attempted to re-enter music via performing for Llalta, Prudencija still didn’t shy away from staking her title as ‘the Izmeduan bad girl that Natallija Tomcic could only dream of being.’

CHAOS then was conceived of as a sort of ‘capstone project’ as well as her official comeback to Izmeduan music. Much of its conception is down to the fact that when it came time to seriously making music that signaled that she was ready to take on the Izmeduan industry’s infamous machine, she had no idea what the hell she was doing. What was the song going to be about? What even was the song for? Prudencija, prior to her disastrous WHF24 appearance and patchwork of a career after that, often had a focus that was the source of her pride. She made concept albums and songs like no tomorrow. But CHAOS? The only thing she had going for her creatively was pent-up feelings not just over the music industry, but about life and music itself. She was tired of living under a system. She was tired of unconsciously and consciously needing to bend her creative energies to meet some sort of demand. Despite being primarily an electronic artist, she needed aggression. She needed something with edge. Thus, she started off CHAOS by just grabbing an electronic guitar and just jamming out a few notes. She began to delve through Izmedu’s more aggressive rock music. AREOPAGUS? The Wicked? They were candy to her ears as aggressive guitar playing led to an idea.

It was clear trying to stick to one genre or theme wasn’t going to work out. If she was going to make any decent music she couldn’t stand, it had to be tongue in cheek and something that had an air of it being almost a troll effort. It had to suck, but it couldn’t ‘suck’ too much. Thus, it hit her that the song being a frankenstein’s mix of genres would work. It would be a clash, but it couldn’t be too much of a clash either. Prudencija immediately began to contact the few producers she trusted. The song was going to be something both rock and electronic. Not necessarily an in-between, but with the song’s rock elements being more of an added element to the song. Prudencija’s initial pitch to the music team went by as she expected… Naturally, the music team were apprehensive about her direction and even thought this was a song ready to clash in the master mix. But, Prudencija’s reputation for wacky song ideas was to be expected. Despite her… intense way of treating session musicians, her magic in the studio still stood. And thus, work on the song’s instrumental began, and that in itself is its own long and complex journey.

Though she had personnel taken care of, there was another thing to take care of… Prudencija could produce some brilliance when accounted for, but the problem with Prudencija’s process is that she often came to the production table with important aspects left out. Prudencija was so excited by the composition of CHAOS that she forgot one thing, an actual thematic focus for the song. She hadn’t even written a single word of it when she pitched her idea to session musicians. As an audio engineer pointed out to her, that’s a hell of a rookie mistake to make for someone of Prudencija’s experience. Even though she held the line, that engineer had a point, and she wasn’t about to fight someone who actually helped made music on the ground. Thus, it was back to the drawing board for the other part of the creative process she left out. Writing lyrics was itself a process she didn’t much care for or even lingered on for too long. She often had one theme in mind and just wrote whatever came to mind, seeing as she often sang her lyrics in a particular way that fit her somewhat verbose singing diction. There was no other songwriter quite like her for both good and bad reasons. However, that kind of strange focus presented its own roadblocks when it came time to figuring out CHAOS really was about.

Drafts of the song were chaotic in their own ways. With Prudencija N. wanting full and total credit for the song’s music and lyrics, CHAOS itself (in her eyes) needed to be a solo effort. The problem? Lines were not coming out the way she envisioned. It wasn’t necessarily the fact that she wanted to re-write every single one, but the song was not cohering into a whole in a way that her other songs often did. Most of her songs, even when she would often write them at disparate moments, often had a singular narrative or arching storyline or even theme that helped the song become more than the sum of its parts. CHAOS was chaos. She had no idea where the song was heading. There were multiple possibilities as to where she could take the song, but she often felt that each stanza, or hell even each line, was itself its own song being patchworked into this one. In many ways, she felt as if she wasn’t even writing a song at all. God knows what CHAOS was becoming, and she only hoped that the song itself would make sense when it was time to record it.

The only things that she was certain of when she was writing were this: she was angry at the world. That much was obvious, but she was also angry at herself, angry at the industry, and angry at practically almost anything. This song was an outlet for the kind of emotions she wasn’t necessarily comfortable at lobbing towards people that weren’t going to be involved in the kinds of dramas she stoked. Though the anger felt great to release, looking at the product and the resulting words she wrote made her feel even worse than before. She had a suspicion why she felt bad, but it was something that she didn’t want to voice (hell, she’d probably send someone kicking and screaming if someone voiced what she suspected). However, Prudencija tried to compartmentalize those thoughts and push on. The song needed to happen; it scratched too big of a creative itch not to let go of. By this point, the song’s development had pushed far enough along that management teams, labels, and the executive side of the music industry needed to get involved. Prudencija wanted to come back? She knew she needed to deal with that side of the industry itself at some point.

Despite their looming and inevitable presences, Prudencija knew that going full-force with trying to talk to her management again wouldn’t work unless she actually began to record proper demos. It was time for her to face her fears and record music for an official purpose again, not simply doing so in the comfort of her own home. The song’s recording process itself was also chaotic. Even though the song itself was a creative one-woman effort in terms of music and lyrics, the audio team almost acted as Prudencija’s handlers during the creative process and were her unofficial quality assurance. The primarily problems during Prudencija’s recording sessions? It wasn’t Prudencija’s vocal performances, but it was the almost wild creative choices that were causing the song to become almost nigh-unlistenable when mixers, engineers, and session musicians were all listening to various versions of the song. The guitarists hired for the sessions were noticing that the mixing was not at all done correctly, nor was Prudencija’s attempt to mix guitar and electronic production done with any sort of care. There were moments where the guitar threatened to overcome the delicate balance that Prudencija was envisioning. Additionally, Prudencija’s lyrics were seen as being nothing more than ‘word salad.’ No one really quite understood what even Prudencija was going for or why the lyrics were the way they were.

Outside of an emotional reaction and catharsis, Prudencija didn’t even have it in her to explain in detail what each line was about or what it could represent. In fact, she didn’t even have the energy to psychoanalyze those lines, because she knew that her reasoning would be shallow at best and rambling at worst. This was where her pride in the music kicked in at its most unfortunate moment. She didn’t care. In fact, she’s not even sure if she actually took in the critiques on the lyrics (the music she somewhat conceded to). And how she took it? She never bothered arguing with her session musicians. She simply shrugged and said ‘that’s the way I am, I don’t need to see a reason to change it. It’s meant to be like that.’ Prudencija knew she was being hypocritical with the way her pride was making her defend her critical choices. That kind of logic would often make Izmeduan singers be the subject of ridicule when it came time for the unsung people of the Izmeduan music industry (that being the session musicians, engineers, etc). However, Prudencija didn’t much care if she was going to be one of ‘those singers’ behind the scenes. She already bore that reputation long before CHAOS’ conception.

The creative process was going as well as it could’ve. Despite the tit-for-tat that Prudencija had with the musical aspects of the song, an actual demo had been conceived of and there was a certain X Factor that those who were working on the song were picking up on. Could there be something cohering? Was there something in Prudencija’d madness and immense pride that could well elevate the song? Prudencija felt reasonably optimistic in pitching the song. She went over what the song could be for the Izmeduan market and what inroads she could see herself going for. She wanted to return back to being an ‘out-there’ artists. The gap for that kind of artistry was still being felt in Izmedu after all, even with the rise of more musically daring artists in recent years. She also wanted to release and pitch the song’s potential shock value. Use her often direct and uncensored social media presence to reel the fans in. She utilized every single business pitch in the book to her management and only the pitches that would benefit her as an artist while making sure to keep the investors happy. As icky as she felt… it was also a rush to actually pitch a song idea that she conceived of herself.

To her surprise, her management didn’t have much of a resistance to the song. A comeback project was now in the works. Things were seemingly beginning to work out. For that, Prudencija felt as if the tools for a successful re-establishment were beginning to manifest. There was now one thing that was dogging her… Outside of continuing to polish the song and re-record for an eventual master release, what was there to do? What was next? Prudencija intended for the song to be something of a sink or swim. She wasn’t about to bet on its commercial prospects. It was the critical response she was more worried about more than anything. She hated existing on the teat of music journalists, but the respect that she commanded before WHF24 was what allowed labels to justify keeping her around even though the Izmeduan public weren’t really buying her albums. Though she would never quite admit it to anyone out loud, CHAOS’ success literally hinged on whether or not a subset of people paid to write about music either saw it as nothing but irredeemable noise or as something that could herald an exciting new direction for Prudencija’s sound.

What she didn’t know then was that her management saw Izmepisma as a possibility.

It is painfully true that Prudencija N. hates WorldVision, hates what it stands for, and doesn’t exactly believe in the kind of messaging that it purports. So why is she even representing Izmedu in Ertzei Kishim, much less even participating in Izmepisma?

Again, pride was the answer. She didn’t really think much of her management suggesting Izmepisma as an avenue to debut the song. In fact, she relished in the thought of scaring Izmeduan fans into thinking that she had an actual, genuine chance of representing Izmedu in either WorldVision or the World Hit Festival. She thought CHAOS would be the perfect comeback to music then precisely because an Izmepisma appearance would troll the Izmeduan faithful just enough to scare them. But hey, there would be eyes and ears on the performance on stage. And she went wild. In fact, she had no idea what kind of concept she was even bringing into the stage except that it was a mish-mash of ideas that the staging team at RTI somehow made work. It caught fire, but Prudencija lived for the divisive reaction to her song. This was the comeback and attention she needed to sate the narrative she wanted to write. Everything was under control. Everything was going to be just fine. Even if she didn’t qualify to Izmepisma grand final or came last in it, that was the point.

But then, she won. The narrative spun out of control and the song she hoped would spite Izmeduan fans instead won the jury and domestic televote. CHAOS was a dream turned into a nightmare. She had no idea what to do in the aftermath of winning her country’s national final. The reaction of a considerable amount of the Izmeduan fandom (in which their being upset was an understatement) was beside the point for Prudencija. This went beyond trolling; the whole world’s eyes would be upon her and she was about to succumb to the pressure. This felt infinitely worse than going through the wringer after WHF24 and being ran out of the country by the music industry (even if she knew that some of that was her own fault). She tried to take control by thinking she could hold Izmedu’s WorldVision participation hostage. But in reality, she had no idea if she should’ve taken the offer to represent the country in Ertzei Kishim. She delayed her decision until the last possible moment, but what saw her taking the offer was again, pride. A part of her felt if some sector of the Izmeduan public apparently voted her song and if international juries went for it, maybe she could have another shot at something she’d probably never do again. And besides, maybe she could troll WorldVision the same way?

Even so, those justifications felt like lies. The pressure beyond WorldVision was getting to her. Years of pent-up anger began to be unleashed as she sent some tweets (which she still stands by) decrying WorldVision to be a sham of a contest. She also especially attacked the Izmeduan music industry, by writing in no uncertain terms: ‘fuck the establishment.’ She forgot what she wrote, knowing she deleted them, but she kept on going in an expletive filled rant about the music industry’s various and valid sins. She aired out whatever dirty laundry she could, scorching and baring the dirty secrets that were acknowledged in closed doors. The music industry was her target: and damned if she didn’t take them down with her in a moment where she felt both vulnerable and on top of the earth. As she predicted, this didn’t catch her any favors with Izmeduan fans, of which a fair few were already not pleased that she was carrying the Izmeduan baton. No less the fact that she beat out the pre-contest favorites, DolcMjuartan. She kept pushing on regardless, knowing that she may as well fulfill what she was setting out to do.

Prudencija kept landing herself into hot water. She was ‘cancelled,’ but Prudencija knew that it was temporary and she’d already been cancelled multiple times in the past. The stress of dealing full front and center with the Izmeduan music establishment was further driving her insane the closer her flying to Tiferet approached. A publicized assault on a reporter was yet another incident in what Izmeduan media were dubbing ‘the Prudencija saga.’ She knew exactly why she assaulted that Vodiznad Chronicle reporter. She forgot what he said, but whatever it was, it was enough for Prudencija to go out of her way to punch and scratch him in the face. Basic human empathy was completely lost on her as she didn’t care that the reporter’s face was damaged or that he had to be hospitalized. Prudencija could only remember being shaken, unable to think, unable to justify what happened. Was she having a bad day then? Absolutely. She was due to rehearse again on the way to a private RTI studio, but it just so happened that there were reporters trying to track her every move. But she knew what she did was bad. The reporter was doing their job; she brought the attention on herself.

Behind the scenes, Prudencija was growing more and more prone to having breakdowns. She was surprised that none of the delegation was noticing her tendency to just withdraw during meetings or disappear in incredibly inconvenient times. While she kept up appearances as best she could, Prudencija couldn’t even stand to be in the company of the shoestring delegation that RTI put together after having lost confidence in the team to manage the PR debacle that was Prudencija. She wasn’t even sure what the staging team was cooking up after she sent a hastily improvised set of notes of what she possibly wanted. She probably bet they didn’t even listen to her. The only thing she was able to focus on was that behind closed doors, she felt isolated, lonely, angry, and most permutations and variations of being alone. She wasn’t sure she wanted. Was it human company? Maybe, but probably not. Validation? But why? She honestly wasn’t sure anymore except finding some sort of way out.

All of this made going to Tiferet, Ertzei Kishim incredibly awkward. Prudencija knew that she was in hot water when her schedule in the country was scarily free. The caveat to that was that RTI would keep her movements strictly controlled, going beyond social distancing. She was to not interact with any local media, she is to remain at the designated hotel for as long as possible, she is not to talk with any contestant, and she is not to tweet about anything WorldVision related without any prior authorization from RTI. Practically speaking, this made exploring Tiferet basically impossible. While it wasn’t to the extent that Prudencija would need to travel with a blanket draped over her face at all times, it did mean that RTI had to get creative with scheduling her rehearsals to ensure that she would be far away from as many personnel and press as possible. Despite the already strange demands on RTI’s request to ensure that Prudencija would not interact with anyone related to WorldVision, Prudencija complied with all of them. She had no interest in exploring the local culture or meeting the other contestants anyway, knowing that she’d be on a tight leash no matter what. In fact, the less interaction she had with people, the better. She was already on her last nerve with a reporter back home. A part of her knew that interacting with anyone beyond what was professionally necessary would result in something worse than punches. The last thing she wanted was to have a breakdown in a restaurant or near a landmark in Tiferet.

Things went… as well as they could’ve despite the odd circumstances. Prudencija followed a steady rhythm. Avoid, perform, avoid, perform again, free time at the hotel, avoid, sleep, rinse, and repeat. She found a cold comfort in that routine, knowing that the event itself would uproot all of it soon enough.

She really wished that the parade of nations wasn’t happening. She was happy for the other countries reasonably enough, but cameras trained on her for more than necessary was not to her liking. However, she kept those thoughts at bay when it was time to begin. Prudencija was internally relieved when Izmedu was drawn to perform first. As much as being in the green room was a web of anxiety, she could space out for a few hours and just wait to be back home in a matter of days. Prudencija could probably bet that she already overstayed her welcome the minute she stepped into Ertzei Kishim. However, not even her pride and ego could risk RTI’s reputation by getting the channel entangled in international law. So, as she was the first up to walk across the designated route, with the floors lit up in the Izmeduan national colors; Prudencija looked completely out of it. Her expression and her eyes were cold, a demeanor deliberately chosen to ensure that it blurred the line between her persona and her private self. She avoided the cameras as much as possible, but was careful not to cause a scene.

She could save that for the performance.

Act III - The Performance

‘Nearly 6 minutes to make an impact. The whole world’s eyes are on me. Whatever happens, it happens.’

Symbolically speaking, Prudencija couldn’t have imagined a better stage than a 360-degree wide-open one. The farther she was away from the audience, the better she oddly felt about the whole thing. She closed her eyes and counted numbers backwards as the stage lights flashed down on her. Despite the fact that she tried to elevate herself, to the point where she knew it was her ego toeing that line, the nerves never really quite disappear. When it was the real thing, the one thing she could hope for was that this would be better than what she brought to the table in WHF24. With a headset in one ear, some odd performance clothing on her person, and a staging concept that’s literally the walking definition of ‘wing it,’ she knew this had to be a hell of a way to start the show. All she could say in her mind was, ‘I’m sorry I’m here, but I’m here now. So.’

The start of the song was jarring. The lights in Moshav Tumanbey would flash a haunting white before flashing into frenetic patterns. That white flash coincided with a considerable wail from Prudencija, who screamed into her headset in a way that was almost unpleasant to hear. That scream was executed twice live, heralding the instrumental introduction to the song. Those screams were framed by drumbeats that would cause the camera to slowly rotate around a close view of Prudencija. The singer herself had her head down, her hair covering any sign of her face as the drums continued to play. After, the first signs of the song’s frankenstein’s monster-esque rock and electronic production began to shine through. The barest hints of an electric guitar began to resonate through the electronic production, which saw Prudencija began to slowly hang her head up to the cameras. The way she rose her head and exposed her face looked almost comical and horrific. She would twitch slightly as her eyes encountered the camera. Her eyes laced with a cold anger, as if she were a deity who could care less about the mortal world she was encumbered and grounded in. The closer to her cue to begin singing, the more her eyes would appear to be just slightly staring away from the camera. Then finally came her chance to sing, starting off her vocals as the song was still going through its introductory moments.

We descend into madness
We descend into madness
We descend into madness, madness

The song's introductory lines coincided with a myriad of stage effects that were being slowly introduced. As Prudencija sang, red lights began to emanate throughout the Moshav Tumanbey, beginning to turn even the larger stage itself into a vaguely red danger zone. Projections of fire, brimstone, burning worlds, and anything related to that kind of imagery began to appear around the stage. These projections were faint and ephemeral, only being locally caught by those who were able to see the projections on the stage. Prudencija's vocals were fittingly ethereal and ephemeral, with blur effects being added as she sang the song's refrain. Though her face was now visible, it was difficult to see her expression even as the camera would remain close to her. She would have both hands to her head, looking eerily as if she were burrowing her fingers deep into her head as she sang. At the final line of this brief introduction, the music would pare back slightly, 'stopping' as Prudencija acknowledged the camera and stopped its tracks. She would aggressively walk towards the camera, preparing to punch or kick it and creating the effect that she did so. The camera would jerk directly to the right, cutting to another camera view.

Tear the world down and burn the institution
We descend into madness
We descend into madness
Subjugate all your standards, the words I write are bastards
We descend into madness
We descend into madness, madness

The song then truly began in earnest, with Prudencija then singing the chorus. The drums began to get more aggressive, heralding the rock elements that were due to come later into the song. The lights in the venue began to shine a brighte red, now revealing enough what clothes Prudencija was bringing to the performance. She would be wearing a dark red body suit; one in which said body suit appealed to a more tactical than sensual aesthetic. If anything, she looked ready for battle. Prudencija's delivery of the chorus was direct, her eyes remaining cold as the stage and AR effects began to intensify. The stage floor itself began to be illuminated in a deluge of red, with streams of burning around Prudencija to the point where it looked as if Prudencija had engaged in pyromania. For the first half of the chorus, she would aggressively sing the first half to the camera. The anger subtly resonated as she stepped forward, not even caring that she was walking dangerously close to some of the local stage effects around her. The whole stage seemed to be descending into a never-ending sea of fire as she stared into the effects that RTI drummed up based on what she envisioned. She smiled, albeit in a bitter and twisted way, as she began to sing the chorus' second half. Her hands balled up into twitchy fists as she stared into the fire, with the camera dynamically focusing on close-ups of her at the final two refrains of the song's most used line. She stared into the virtual fire, Prudencija looking both angry yet pleased at the same time as her eyes reflected back what she was witnessing. The red lights intensified further as the chorus ended and the first verse began. The audience at home saw once more a close view of Prudencija's face bathed in blood red light.

Oh frustration, let me destroy you
My destruction, should titillate you
I’m no saintly angel, I’m a devil you know
Kill me, violence is pleasure

The first verse continued with that threatening image of Prudencija, a somewhat stark (or fitting) contrast compared to the high-pitched voice she sang with and was known for. An echo effect was applied to her singing during the verse, with Prudencija deliberately singing each line slowly and especially leaving plenty of space between them. Instrumentally, the rock elements began to be more pronounced here, with the guitar now being far more prominent and nearly dominating the electronic production that Prudencija was known for. Each line stood as its own most, with Prudencija mostly standing still and surveying the stage that was laid out before her. She would walk forward in the brief breaks after each line, her voice laden heavily with effects as she sang. To the audience at home and watching life, it was as if RTI had turned the Kishraeli stage into its own version of hell. There were the classic stereotypical images of fire and brimstone, with the stage floor turning into a dark red platform that looked ready to collapse into a pit of lava. However, spectral images of pale men in suits began to manifest around Prudencija as well as crumbling yet ornate houses. Prudencija knew that she was singing in a personal hell that she constructed, but she sang the lines as if she didn’t care. She began to take on an especially devilish attitude, donning one hell of an expression during the third line and goading the projections at the last line of the verse. She began to march forward to the beat when the sung lines of the verse ended, aggressively looking at the direction of the men in suits. The verse truly ended with the screams that began the song, with Prudencija screaming twice with her live vocals. The lights flashed white as the projections briefly disappeared. The camera was close to her face as she screamed, with her looking deranged heading into the chorus.

Tear the world down and burn the institution
We descend into madness
We descend into madness
Free the animal that brings our restitution
We descend into madness
We descend into madness, madness

The lights turned from a threatening red to an almost surreal baby blue when the chorus started. Prudencija’s vocals calmed from her screaming into a cold dis-attachment as she sang the chorus’ lines once more. The song’s instrumentation reflected that distance, paring down the aggressive guitar. The camera began to shy away from Prudencija’s more aggressive moments and expressions. The first half of the chorus saw the stage effects take on a blue tint, suggesting that she was entering another level of hell. The fires were now acting in slow motion, the ‘houses’ that manifested on the stage turned from red to a ghostly gray. The fires themselves also began to burn blue, but that didn’t stop Prudencija from walking dangerously close to them to the point of shattering the illusion. The camera kept somewhat close to Prudencija as she looked at the fire with an almost bile and yet uninterested fascination. At the second half of the chorus, she would walk straight into that digital, blue fire. The camera would zoom out slowly, lingering on her as she sang the fourth line of the chorus as she was being ‘burned.’ She didn’t act pained or surprised. She walked out of the fire casually, with the camera switching angles between too close and too wide as she kept repeating ‘we descend into madness.’ The chorus ended with an almost random shot of one of the gray houses, which was now beginning to also ‘burn’ from the blue fire. A montage of that big, ornate house on stage falling apart and breaking down was what was displayed when the song’s instrumental interlude began. As the camera lingered on that shot from the floor, Prudencija’s foot (covered by the bodysuit she was wearing) would nearly step onto that shot, causing the camera to frantically cut into another view. It was her, staring with an almost bizarre satisfaction seeing the house crumble.

I wish to inspire total despair
Rent asunder everything you hold dear
The universe shall crumble into an apocalypse
A reaction: unchained torment

For the second verse, the stage configuration switched back to red lights. Even though Prudencija was primarily singing at virtual stage projections, the camera didn’t shy away from close-ups of her or of the effects. It was fitting, as this part of the song also focused a bit more on her. For the first half of the verse, the stage effects remained somewhat scant, with only fire remaining on the stage as Prudencija walked away from the burning house. The house well and truly collapsed at the moment Prudencija finished singing the first line of the song, a twisted smile on her face as brief sounds of a collapsing building were played over the music. The house vanished as if it were a video game whose memory was overloaded, needing to clear up space to render other things. Much like the first verse, each line was sang almost as its own moment, with breaks in-between each of them. Prudencija took advantage of those brief interludes to truly begin to stake control of the song’s loose narrative. She smiled akin to a villain realizing their power and their reason for existing. After the second line, one hand movement saw her alight the stage with virtual fire. She would kneel down and punch the floor, causing the stage effects to contort and twist around her; with the floor ‘devolving’ into a lava-like mass. She was the one responsible for causing all of the destruction on stage, whether she meant to or not. This especially befit the way she delivered the third line. Red lights dawned on her, coating her face in red as her eyes and face twisted to a bloodthirsty expression. That kneeling turned into a crawling, with the camera switching to a view that was rooted closer to the stage floor. For the fourth line, Prudencija would sing with a cloying tone, inching closer to the camera and teasing it as if it were her pray. She would inch closer and closer until it was time for her to scream, with Prudencija lunging forward and physically ‘grabbing’ the camera. With that quick moment, the camera cut to yet another view, one that showed and surveyed the whole stage as the song quickly transitioned from verse to chorus.

Tear the world down and burn the institution
We descend into madness
We descend into madness
Subjugate all your standards, the words I write are bastards
We descend into madness
We descend into madness, madness

The lights turned to a much deeper red as Prudencija began to sing the chorus. She remained on her knees for the first line, before quickly standing up to her feet. Her vocals would intensify slightly, but she remained focused on delivering the line with an ethereal coldness that was interspersed with a disattached anger. After that first line, she would begin to march around the stage, leaving a trail of destruction in her wake. It was here that the stage effects began to truly be controlled by Prudencija, instead of it all happening by happenstance around her. As she marched to the beat of the song, the stage structure itself began to mold into a purple-red mixture that denoted that Prudencija was ‘taking over,’ with each of Prudencija’s marches causing the stage to be marked as her territory. The stage would marked with architectural scars and marks, being virtually fractured as she instead intensified the fire and destruction going on around her. The pale men in suits that manifested as holograms remained stock still and in fear of her. However, they couldn’t move as they became the focus for the second half of the chorus. With one swipe of her hand at the end of the fourth line, all but one would manifest out of existence. That remaining one would fall to the floor, the camera cutting away to focus on Prudencija as to not show the hologram writhing in agony. She looked oddly satisfied, a slight smirk coursing through her lips as she walked toward the lone hologram. This befit odd transition that led from the chorus to the bridge. She would sit down next to the fallen hologram, crouching down and kneeling down. By this point, the hologram had stopped moving, remaining still as said hologram was now in Prudencija’s literal and figurative clutches. This set the stage for the bridge itself…

You can’t delete this forever
Chaos shall last eternally
These rules hold no lasting value
Surrender your hopes and your life
You can’t delete this forever
Chaos shall last eternally
These rules hold no lasting value
Surrender your hopes, surrender them now

The music took a somewhat softer, more relaxed turn for this bridge. It turned from a song that was all aggression akin to something that was meant to calm. Prudencija played that shift down to the way she approached the fallen hologram. She sang these lines with that same, cloying tone, which clashed with the lyrics that she wrote. The hologram remained frozen, not moving despite the face being covered in pure, unadulterated fear. She would sing this bridge twice. For the first refrain of the bridge, she would caress the hologram’s face, with the camera gratuitously focusing on this moment of strange intimacy. The whole interaction almost looked somewhat real. Prudencija was careful not to overstep the technological limits of the hologram, knowing exactly where to ‘touch’ and ‘caress’ to ensure that her hands wouldn’t magically land right inside of the hologram. As she sang the four line that comprise the bridge, she would stare around the chaotic stage in wonderment. She glanced at the purple and red fires roaring around her as if she was encountering paradise. She sang as if she were trying to convince the clearly scared hologram that what she was creating was indeed some sort of twisted heaven. Though of course, her pleasure in singing these lines remained ever so villainous, with the way she seemed to burrow her hands into the hologram. At the fourth line of the bridge, she began to ‘break’ the illusion, the hologram only acting in surprise as she began to burrow her hands deep into its head. The second refrain of the bridge would see Prudencija ‘breaking’ the hologram. With each slow hand motion and the way she sang the bridge, each word would see the hologram’s existence splinter apart into digital chunks. The head would manifest out of existence slowly first, before one small smile from Prudencija caused the hologram to slowly disintegrate into existence, fading into a gray digital mass that seemed to float out into the stadium’s ceiling. The hologram’s full disappearance coincided with the very end of the bridge. After that fourth line, she began to stare directly into the camera. The interlude consisted of nothing more than the song beginning to wind down, creating the illusion that it was about to end. However, Prudencija’s actions was making it more and more clear that the song was far from its conclusion. As the song’s instrumentation began to ramp up, Prudencija would stand up and walk towards the camera. Her eyes and expression made it clear. If she could wipe away the existence of one digital being like that, she had no qualms of doing the same thing to whoever would cross her path next. The camera would move away from her in a show of fear, but Prudencija was not relenting as the song began to ramp up into its chorus once more.

Tear the world down and burn the institution
We descend into madness
We descend into madness
Subjugate all your standards, the words I write are bastards
We descend into madness
We descend into madness, madness
Tear the world down and burn the institution
We descend into madness
We descend into madness
Free the animal that brings our restitution
We descend into madness
We descend into madness

If the first half of the song focused on Prudencija’s perchance and capacity for senseless destruction, the second half of the would go about reaffirming it in a way that signaled a total domination. Nothing but bloodlust and total control filled Prudencija’s eyes as she began to repeat the two variations of the chorus that dotted this song. She sang these lines with more embellishments, but she maintained that sense of cold distance. She did not desire to connect to an audience or even be in their corner, indicated by the fact that she kept looking at the camera as an adversary, and not as a way to connect with the people at home. For the first variation of the chorus, the instrumentation remained somewhat pared back. The drums would dominate the proceedings as Prudencija’s outfit began to light up in red lights. Her power and control was ever-increasing as stretches of fire began to emanate from her hands. These fire effects were added as virtual reality effects, with a brief camera view to show her almost sadistic satisfaction at her power continuing to grow at uncontrolled levels. This was the kind of dream that she longed for, a dream where she could do nothing but destroy. She walked towards the camera that was trained on her, the red lines around her outfit beginning to emanate as she looked ready to burn the camera alive. Purple fire emanated from her hands as it grew ever so stronger. When it came time for the second refrain of the chorus, she would begin to march towards the camera, chasing it around the stage. Behind her, scenes of abject destruction would once more appear. Ghostly holograms of men in suits collapsing, streaks of purple, blue, and red light signaling a power incontinence and overload, and the stage seeming to be overloaded with special effects to the point where some in the audience (both at home and in the stadium itself) were struggling to ascertain what even was going on. The whole stage once more descended into a pandemonium of effects. She kept chasing into the camera, marching and then even jogging towards it as the camera kept running away from her. Though she didn’t make a full lap around the stage, by the time the chorus would ‘end,’ she would unleash a ball of purple fire towards the camera. The audience at home would bear witness to one camera being engulfed in flames, before needing to switch to another view.

We descend into madness
We descend into madness
We descend into madness
We descend into madness
We descend into madness
We descend into madness
We descend into madness
We descend into madness

The song itself was beginning into the kind of chaos that it was titled for. Prudencija would repeat the song’s refrain as if it were a mantra, with the view changing after each one to utilize all 8 overhead cameras that were present. The changes were frenetic, senseless, and fittingly, chaotic, almost to the point where some shots didn’t even have Prudencija in focus as she sang these lines. The more she sang these lines, the more Prudencija would begin to deliver them in a way that signaled that she herself was losing to insanity. These mantras began to devolve into a cry for help. Even then, Prudencija remained steadfast in her path towards destruction. In the brief camera views that did have her in the focus, eagle-eyed watchers could spot her eyes and her body language becoming far more frenetic. This befit the way the stage effects have been building up to an accretion of effects that had little rhyme or reason to them. Though the effects began to lessen slightly in order to make sure that Prudencija was able to be seen by the audience, that still didn’t lessen the general sense of confusion that was happening as she sang the same line over and over for at least 8 times. At the end of that eighth repetition, Prudencija would begin to extend her arms out, running throughout the stage as she wanted to increase the destruction she wrought. The destruction went from local to cosmic. This beginning to pierce into the very concept of reality itself, as fire morphed into a kind of spatial energy that twisting the energy around her into an apocalyptic alternate reality that she couldn’t even describe. These chaotic effects began to appear especially as the song’s instrumental interlude would refrain the first set of notes that heralded the beginning the song. The electronic production continued to fight a tug of war with the song’s more rock elements. This tug of war was literally represented as Prudencija made more movements that broke the reality that she was singing in. The lights that dotted her bodysuit began to flash in an uncomfortably fast pattern, and she was beginning to lose control of the power she once sought. She would begin to rock her body back and forth, timed to the almost chaotic energy consuming her whole. The quest for power was truly nothing more than one fueled by a questionable insanity, a thematic that was especially reinforced when an electronic wail began to course through the song.

The chord is dead and so is music
Let me eat cake, I’m lost too
Everything is just a construction
A plaything’s false imagination

The song’s outro saw Prudencija fall to her knees as she was being overtaken by the copious alternate reality effects and projections that she ‘created.’ By this point, only the audience at home could see her properly. Even then, the effects were almost too overwhelming to the point where their overdeployment made it difficult to see Prudencija or her expression. Despite the burgeoning insanity, Prudencija sang the outro as if she were saying something as a matter of fact. She was just swaying back and forth slowly at this rate, trying to regain some sort of control as the universe around her crumbled. The lights on her bodysuit were too overwhelmed to even function, turning off. She was now on her knees, only gazing helplessly at the destruction that was now destroying her. The tug of war, in terms of instrumentation, kept happening. At this point, it was unclear if there was even a winner in the tug of war or if there should even be one. All Prudencija knew was the overwhelming light of destruction that overwhelmed her, creating a deliberate ‘no-no’ when it came to staging a song for emotional impact. She relished being in the improvised privacy of being lost in a myriad of stage effects that clashed.

Liars
Liars
Liars
Liars
Liars
Liars
Liars
Liars

The entry would conclude with Prudencija muttering one word 8 times. The word ‘liars.’ Prudencija remained on her knees at the stage effects began to slowly dissipate at each time she uttered the word. The instrumentation would slowly pare down, but that didn’t eliminate the sense of the song being nearly unresolved. Prudencija’s uttering of each line was coated in a heavy production. The first times she uttered the word ‘liars’ sounded natural at first, her real and actual voice being channeled through the microphone. However, the more she sang the word, the more effects were added to her voice. The quick post-production would first distort her voice, making it sound slightly more robotic. These effects would keep getting piled on, contorting Prudencija’s voice to the point where she sounded like a demon at her last utterance of ‘liars.’ Even as she ended her vocals, the song didn’t stop there. She remained on her knees, covering her face and ending the song as she started with. She was not about to face the cameras as there was a hanging, stilted mood to the song’s final moments. Screams could be heard in the song’s production at its last seconds, all recorded by Prudencija herself. The song ended with uncertainty. However, the production effects didn’t go out without a whimper. A grainy filter kept intensifying, making the outro look like a retro broadcast that was about to fade out. When the song ended, there would be a brief flash and ‘turn off’ effect that would be applied as the entry ended, creating the illusory effect that the end of the Izmeduan entry had turned off televisions that were broadcasting WorldVision.

By the time the stage lit up, Prudencija was already gone and was making a beeline towards green room. She had no idea what to feel or say after the performance. If she could, she would’ve ran away and taken the first flight back home to forget that this contest was even happening. However, Prudencija legally knew that would be quite awkward. Thus, she made her way back to the delegation and simply retreated off to her corner as it was time for Zeganas’ entry to begin.

by **Zeganas** » Mon May 11, 2020 9:28 pm

02 Zeganas
Blackstarr ft Gage Kage
Nightlife in the Big City

Gage Kage is the musical producer of the song, he is the most popular DJ in Zeganas and produces electronic music ranging from electropop, to happy hardcore, to techno-trance. He is 33 Nakolnian years old. (29 earth years)

Picture of Blackstarr (humanized) a former scenepop artist and current electropop artist. He's the singer and main performer of the song. He is 30 Nakonian years old. (26 earth years)

*Blackstarr stands the center of the stage, spotlights on him as the stage lights up with an optical illusion of a 3D city with tall buildings with sparkling animations around him that works at a certain angle that one of the cameras facing down on him sees, and it zooms into him as the backup singers sing the intro*

*backup singers sing here*

(Nightlife in the big city)
(What else is for us to see)
(Nightlife in the big city)
(What else is for us to see)
(Nightlife in the big city)
(What else is for us to see)
(Nightlife in the big city-ty-ty-ty)

*blackstarr sings here, holding the mic in his right hand, and the camera angle changes to face directly forward at him, and sometimes shows the aerial shot of the 3d city illusion, any lyrics in parenthesis is done by the backup singers*

The city shines, it's a lightbulb like us.
Let's take a limo and no not a bus.
I wanna see us together just if you trust.
It's really party or bust.
we're clubing until the daaawwwnnn.
When we're on the dance floor we dance oooonnnnn.
I feel like the king of babylooooonnnn.
(go looooooong)

Let's have fun while we are in this club.
Order drinks and maybe get some grub.
Blackout go home and I wake to see
You on my bed, so whatev
Nightlife in the big city (woah-oh-oh)
What else is for us to see (woah-oh-oh)
Nightlife in the big city (woah-oh-oh)
Blackout go home
Night-life-in-the-big-ci-ty

The camera focuses on blackstarr, eyes closed for a second as the singing stops for a brief moment, and on cue, the backup singers and blackstarr sing again.

(nightlife in the big city)
We got cheap thrills and we got some red wine.
Partying hard in our penthouse suite high.
My life's a party and I know how to get by.
And oh I'd like to say hi.
we go home until the daaawwwnnn.
When I'm on the couch I sit and yaaawwwnnnn.
I feel like the king of babylooooonnnn.
(go looooooong)

Let's have fun while we are in this club.
Order drinks and maybe get some grub.
Blackout go home and I wake to see
You on my bed, so whatev
Nightlife in the big city (woah-oh-oh)
What else is for us to see (woah-oh-oh)
Nightlife in the big city (woah-oh-oh)
Blackout go home
Night-life-in-the-big-ci-ty

*short instrumental, where it switches to a camera beside Blackstarr facing him, then it switches to showing the city, and then to a camera facing him head-on*

I wanna see us together just if you trust.
It's really party or bust.
we're clubing until the daaawwwnnn.
When we're on the dance floor we dance oooonnnnn.
I feel like the king of babylooooonnnn.
This battle is something we both woooonnn.
Night-life-in-the-big-ci-ty (woah-oh-oh)
What else is for us to see (woah-oh-oh)
Nightlife in the big city (woah-oh-oh)
What else is for us to see (woah-oh-oh)

Yeah Let's have fun while we are in this club.
Order drinks and maybe get some grub.
Blackout go home and I wake to see
I am alooooone
Night-life-in-the-big-ci-ty

Nightlife in the big city (I am alooooone)

Nightlife in the big city

____________________________

THANK YOU, people of the world! *Blackstarr smiles, adjusting his hair and waving*

by **Waisnor** » Mon May 11, 2020 10:11 pm

03

WAISNOR

Renat & Plato - Dusha kak lyod/Tune: Stromae - Alors on Dance

The lights on the stage turned on. Plato sat at the DJ mixer, and Rinat stepped out to the center of the stage and snapped his fingers to the beat of the music.

Встретил я одну девчушку
I met one girl

И понравилась она
And I liked her

Главное, чтоб не ловушкой
The main thing is not to beauty

Оказалась красота
Turned out to be trap

Губы красные, как вишни
Lips are red like cherries

А в глазах горит огонь
And fire is burning in her eyes

Ведь невольно поразишься
After all, you will involuntarily marvel

Разве это всё не сон?
Isn't that all a dream?

Есть одна только загвоздка
There is one snag

Незначительный просчёт
Minor miscalculation

Что у этого подростка...
What does this teenager have...

Before the chorus, the music fell silent for a few moments ...

Душа как лёд
Is soul like ice

The chorus was repeated 4 times. Music was provided by Plato on the mixer, and Rinat was already clapping to the beat of the music. When the second verse began, Rinat stopped clapping and began to sing again.

Хоть снаружи бесподобна
Though peerless outside

Но внутри она - кошмар
Inside she's a nightmare

Эта дева очень злобна
This maiden is very vicious

И ужасный кулинар
And a terrible culinary specialist

Слишком уж она ревнива
She is too jealous

Много хочет, много ждёт
She wants a lot, she waits a lot

Но ничуть не похотлива
But not at all horny

Хоть какой-то плюс в зачёт
At least some plus in offset

В общем, девушка шальная
In general, the girl is crazy

Зачарует, подмигнёт
She will enchant, she will wink (to you)

Красота ведь неземная
Her beauly is unearthly

Но ты помни, у неё...
But you remember, she...

Душа как лёд
Is soul like ice

The chorus was again repeated 4 times. Only Plato acted further, and Rinat began to dance.
After the end of the song, the duo said "Thank you for listening)" and fraternally hugged)

by **Scotatrova** » Mon May 11, 2020 11:14 pm

4. Scotatrova
Rafael Rubio
Nel Danx Zen Thé
Tune: Darin - Ja må du leva

Last edition was seen as one of Scotatrova's most successful performances. Despite missing out on WorldVision 79 and 80, Scotatrova returned to WorldVision 81. Once its participation was announced, there was much speculation as to what route the country was going to take, National Final or Internal Selection. Several anonymous tips from inside the broadcaster hinted that it was leaning toward Internal Selection, but nothing official was known. As it turned out, the broadcaster had decided that they would go with internal selection for the contest. Then began the speculation for who would represent the country. Diego Pousa was revealed as the entrant with the ballad "Loquo que me fiuse". Diego would go on to bring Scotatrova the highest amount of points the nation has ever received at WorldVision, 105. Although this paled in comparison to Britonisea's winning 154 points, this was nevertheless one of Scotatrova's best placings. This was also Scotatrova's 4th top 10 placing of its 8 participations, with the highest its ever placed being 5th. With the announcement of WorldVision 82 being held in Tiferet, Ertzei Kishim, the entire country was curious as to what would be the case for WorldVision 82. The broadcaster revealed the return of the nation's National WorldVision Final, Ll'acteade Scotatrofina eu Cançis. This time the contest received an updated format, with the inclusion of semi-finals as a result of 10 songs competing instead of the previous five. Six songs qualified to the final, among them was trailblazer Rafael Rubio. Rafael had done particularly well in the first Semi-Final, receiving the most amount of points and ahead of the second place finisher by 18 points. This gave him very well chances heading into the final. During the final, Rafael came second in the national televote, receiving 137 points to Henrique Hernandez's first place 150 televote points. However, in the end Rafael closely prevailed over Henrique, beating him by only a 4 point margin. This made Rafael Rubio the winner of Ll'acteade Scotatrofina eu Cançis, and therefore he was offered to represent Scotatrova at WorldVision 82, to which he gleefully accepted.

Rafael and the rest of the Scotatrovian delegation flew out to Ertzei Kishim not too long before the contest began, as was customary with every edition. Once in the city of Tiferet, Rafael decided that it would be a good idea to get a good feel of the city and local culture as this was country was hosting him for the time being. He went out occasionally to experience the every day life of the Kishraelis and my did it give him quite the culture shock. Despite being thousands of miles apart, Rafael found that there were some similarities between Ertzei Kishim and Scotatrova, particularly the climate and Mediterranean culture. He would mainly spend his day at the beaches when he wasn't busy with rehearsels and sound checks. He explored the downtown center and was able to experience the vibrant Kishraeli nightlife. Rafael also took quite a liking to the local cuisine more than he expected. There were local Kishraeli restaurants back home, but none of them could top the cuisine from the mother country. There just was no comparison. Rafael also took his free time to learn more of the local customs and traditions, and even got a chance to utilize some of the Hebrew he learned back home. He gained the occasional glare as his non-native accent was quite obvious, but he appreciated the hospitality once they would correct him and give him tips on how to better his Hebrew. Eventually, it was that night, the night of the final. For the Parade of Nations, Rafael walked out wearing a denim jacket, white t-shirt and some black jeans accompanied by his four backup dancers. He was taken aback for a quick second due to the loud eruption of the audience and the Kishraeli song blaring, but eventually he settled into it as he walked down across the ramp. The stage illuminated with the colors of the Scotatrovian flag, and once Rafael noticed, he had calmed down. This was the opportunity of a lifetime, the chance to represent his home nation at the WorldVision Song Contest. As he followed the Scotatrovian green, red and gold across the stage, he smiled and waved to the audience along with his dancers. They all mingled with each other as they exited the other side of the ramp, prepared for their performance.

As the crowd had started to settle from Waisnor's performance, the Scotatrovian postcard commenced. In that time, Rafael had made his way onto the stage, with his guitar holstered to him. He looked down at his feet and took a deep breath in as the postcard finished. Four other dancers were scattered throughout the stage, each in different areas and levels. Rafael was situated in the center of the stage with the microphone stand in front of him, and held his breath as the tune started.

Tié un madefa eh’alegthi
She has a cannon of joy

Disparad, disparad ai ll’oes
Shooting, shooting in her eyes

Ía tiota que lúe garth
And all who look at her

Se impleze gom súe emor
Are filled with her love

Lé xurá que nel lé valegá
I swear that I’m not exaggerating it

Nel lé valegá, gom toth míe corth
I’m not exaggerating it, with all my heart

Once he started strumming, the camera was immediately zoomed in on the guitar. Rafael strummed the chords flawlessly, his fingers flowing over the strings with little effort. The camera slowly started to zoom out away from the guitar and positioned itself in front of him. At first, he sang the lyrics with a some what blank emotion, not entirely deadpan but keeping a calm composure. The camera switched to a right side angle of him which gave a view of two of the dancers diagonally to him. They weren't really doing much besides some slight dancing in place, however they were doing it in such a lively manner you could see they were enjoying themselves.

Tié la ridicula que
She has the laugh that

Saet gom toth lí mosales
Helps with all problems

Ei agia puruelle que cada
It’s that word that every

Supire othze, ei le samises
Sigh hears, it’s the umbrellas

As the song began to ramp up, Rafael's facial expression begin to display more joy. He smiled as he sang, and the dancers themselves also started to dance differently. The one diagonally right to Rafael begin to clap to the beat as the other to his left started doing a little tap with his foot and bouncing in place as he danced. A camera directly above Rafael gave a view of the stage floor, which displayed a water effect, almost as if Rafael was standing in a puddle. The various texture of the stage gave the impression that towards the center, it was as if there was a puddle there, and among the outer elevated edges of the stage, they weren't submerged. Two of the dancers on either side of him were on the elevated edges of the stage and the other two on the flat surface.

Le aigua nel danx zen thé
The water doesn’t dance without you

Le aigua nel danx zen thé
The water doesn’t dance without you

Le aigua nel danx zen thé
The water doesn’t dance without you

Vitha tié moiç si lá tia girsa
Life has more to it if you have it close

Par axía ela ei míe emiga
That’s why she is my friend

Par bue ía mal, ax un sema
Through good or bad, there’s a candle

Si ax u diar ai le scuro
If there is a day in the dark

Bue siophre que sempri reta age
Good to know that you’re always there

Bue emar ía poere sunrir
Good to love and be able to smile

The effect made it seem like the water was reacting to their foot movements, making these "splashes". As Rafael sang the chorus, the camera panned in a 360 degree motion around him. With the motion, the dancers in the background were still doing their own dances, however they could be seen interacting with each other as if they were dancing together. Again the camera gave an overhead view and the floor was a brilliant blue depicting water. It even simulated ripples out from each of their feet whenever they danced, adding to the effect.

Tié la ridicula que
She has the laugh that

Saet gom toth lí mosales
Helps with all problems

Ei agia puruelle que cada
It’s that word that every

Supire othze, ei le samises
Sigh hears, it’s the umbrellas

Le aigua nel danx zen thé
The water doesn’t dance without you

Le aigua nel danx zen thé
The water doesn’t dance without you

Le aigua nel danx zen thé
The water doesn’t dance without you

Le aigua nel danx zen thé
The water doesn’t dance without you

Le aigua nel danx zen thé
The water doesn’t dance without you

The water illusion on the floor of the stage soon changed, as the water soon began to spread out across the stage. It started to move around in different directions and in different shaped, as if the water was dancing. Rafael gave a slight smile as he could make out the water start to begin its transformation. There was these small rings that began to swirl around each of the dancers, calling for their attention. Each of them looked at the water circles while they danced, and watched as each of the circles began to spread back to Rafael. Soon, there was a single water ring circuling around Rafael with four lines being traced back to each of the dancers. They all then lit up as the circle around Rafael began to increase in intensity. It stayed that way for the rest of the song.

Tié un madefa eh’alegthi
She has a cannon of joy

Nel tié epur eh’oneix, ela lot par ganar (Hey!)
She is not scared of people, she fights to win (Hey!)

Le aigua nel danx zen thé
The water doesn’t dance without you

Le aigua nel danx zen thé
The water doesn’t dance without you

Le aigua nel danx zen thé
The water doesn’t dance without you

Le aigua nel danx zen thé
The water doesn’t dance without you

Rafael began to tap his feet and dance in place more rythmically as the song progressed. The camera focused up close in front of him as he sang the verse shortly before the chorus was to repeat. His face returned to the same level of emotion it had did when he started, but as he continued to sing, a smirk began to develop. Once the chorus started up again, he starting singing with a smile once his face. The dancers now danced around him, clapping their hands and jumping in place. The camera panned around him again once last time as he began the last verse.

Tié la ridicula que
She has the laugh that

Saet gom toth lí mosales
Helps with all problems

Ei agia puruelle que cada
It’s that word that every

Supire othze, ei le samise
Sigh hears, it’s the umbrellas

Le aigua nel danx zen thé
The water doesn’t dance without you

With the final verse of the song, the water ring around Rafael finally dispersed with the effect as if it was stomped on. With the song concluded, Rafael took a step back from the microphone as he moved some of his hair out of his face. He smiled as he put his hands together and nodded his head down. The dancers then came up closer to him, all hugging him and each other. He grabbed the microphone as the audience erupted into applause. "Greixas Tiferet! Agióse Greixas!" They all laughed with each other as they walked off the stage, and Rafael had the biggest smile on his face the whole time.

by **Beepee** » Mon May 11, 2020 11:22 pm

5. BEEPEE

"All In Your Mind"

Birthe Right

---O---

Tune: Vi Maler Byen Rød by Birthe Kjær.

Pre-amble

Since the last entry for the WorldVision, the desperate nation of Beepee has seen an outbreak of the disease that causes CoVid-19 ravage the population.

As a result, the Beepeean Occassional News Corportation (BONC) determined that 'the spirits of all Beepeeps should be uplifted' this WorldVision. Head of Light Entertainment and Social Happiness, Ms Fanny Golightly, made a call for public submssions in Beepee. Over 1,500 uplifting entries were recieved.

Ms Golightly, together with the Government's Office for Promoting Public Positivity, determined that "All In Your Mind" performed by Birthe Right would represent Beepee.

Artist

Birthe, a handsome woman, of undeterminable middle age, has had a long and fruitful career as a schlager singer in Beepee.

With a career spanning four decades, Birthe has become a staple of Beepeean light entertainment. Her songs "exude a positivity and naivety often lacking in these modern emotional times" (Rolling Stains Magazine, 2017).

Further, Birthe has also authored over 40 bestselling romantic novels such as "Quick! Before My Husband Gets Home!", "One Missing Tooth", "Nice Car! Compensating for Something?" "How old are you?" and the Australian set romance "Lost in the Bush".

For this years WorldVision, Birthe will be joined on stage by three male backing singers/dancers, who themselves look like they could be ripped from the cover of a romance novel. They will however be adhereing to minimim social distancing rules throughout the performance.

Parade of Nations

With some excitement, televisual viewers across Beepee are glued to their screens as the Parade of Nations begins. Naturally, Hugh Jakeman provides a running commentary of all the entrants as they strut their stuff down the walkways.

"I enjoy the Parade of Nations., Hugh pontificates, You know, they have to do the parade at the start of the evening as by the end, very few of the acts are sober enough to walk.

It'll be the first chance we get to see Birthe and her trio of chippendales and I know you, our dear viewer, will be casting a keen eye over the competition as well as the backing singers."

Birthe Right and her backing troupe gently descend from the left ramp to the stage, as though floating from cloud to cloud.

Ahh, there she is. Looking like an overstuffed, half-plucked turkey. For those of you watching in black and white, Birthe is wearing a pink evening gown adorned with ostrich feathers around the neck and the hemline. A distinguished look...

Her backing troupe, Tom, Dick and Harry, are dressed in black slacks and black polo necks. It appears Birthe really does love milk tray with those three eejits.

In accordance with the requirements for preventing the spread of the virus which causes CoViD, Birthe and her troupe are wearing face masks. Very responsible... that's what we like to see... you show 'em how it's done!

Walking down the slope, Birthe's dress sheds slightly leaving a trail of ostrich down clearly showing where she walks.

I have news from fitting room that our Birthe's dress was designed by Helen Keller, an unfair slur against the fine creator of that dress I'm sure.

Now it is some hike to get down that slope, I do hope that Birthe is not going to need a jump start half way down"

Birthe and her team are carrying, and waving the small Beepeean flags, whilst waving to the assembled audience and directly into the TV. Dick, clearly excited by the prospect of being on international television, makes love heart signs with his hands and plays up to the camera.

"Now would you look at the eejit! That's the kind of nonsense we expect from the Vartugian entrant... not us fine, upstanding and reserved Beepeeans! Get a hold of yourself man!

Now reaching the bottom of the ramp Birthe will be meeting with Joelle of Titaniumland, who appears after Birthe in the running order, and I'm sure Joelle will be wondering how a woman of Birthe's stature made it down that ramp without falling".

Birthe and Joelle meet on stage and although they maintain a safe social distance although are clearly pleased to meet each other on stage.

Some fluff from one of the ostrich feathers floats away from the dressand, if one were to look closely would they see it swiff past Joelle's nose, causing her to sneeze once.

With the sneeze, a deep fear spreads across Birthes face who turns and scurries along left side of the ascending ramp to the green room, where can use hand sanitiser and maintain a safe social distance.

Participation

Once again, Hugh Jakeman is providing commentary for the televisual viewers back in Beepee.

"Well that song makes me want wash my hands......next up... us? its us! Oh yes... like the second wave, we're back for more. We've been progressively getting better in WorldVision, can we keep that going this year.

Birthe Right is our singer this year... you know and love her. She's a national institution.

She'll be joined on stage by her backing dancers, Tom, Dick and Harry; who appear to have forgotten to bring their wives along to this contest.

Birthe'll be singing "All In Your Mind", which bounces along quite nicely, as does the lovely Birthe.

Now then, let's cheer her on in word and gesture!"

---O---

As the postcard ends, the stage is set.

Birthe stands centre stage; standing to the left of the stage and keeping a safe and appropriate 1.5m from each other are the three backing dancers.

Birthe wearing a delighful, simple, off the shoulder long white dress in shimmering satin.

The backing singers are dressed in, what can only be described as, poorly fitting pilots outfits sans hat.

The music begins...

Tom, Dick and Harry run around Birthe with their arms out, akin to a child pretending to be an aircraft. Before encircling Birthe.

Birthe raises her microphone, looks into the camera in a warm and friendly manner and begins...

You're sitting in your room tonight,
You're feeling all alone.
No one's coming to see you.
There's CoVid all around.

Birthe's warmth shines through to the watching public, as she continues.

Despite all of those feelings that are running through your mind.
Just close your eyes, and just lie back,
And I'll take you all for a ride.

As the verse comes to an end, her voice soars into the chorus.

Tom, Dick and Harry Israeli sidestep their way around and to the rear of Birthe, as the chorus begins.

Come on and fly with me to Britoni-sea, we'll spend a day.
We'll have a lovely time in Besen,
It's the best.
There's fun in Talve-zou(t),
In Iz-med-u the weather's fair,
All you've got to do is close your eyes, i'll take you there,
All in your mind.

Televisual viewers in each of the mentioned nations would be sure to pick their nations name, although the Beepeean accent which alters some of the nations to a more naïve and simplistic sound.

For the final line of the chorus, the camera focusses on a head shot of Birthe, who with a knowning nod of her head sing "all in your mind".

The second verse begins...

There's no need to feel lonely, sad or blue, when you're stuck inside,
I've an great trick to help you,
You travel in your mind.

The camera cuts to Tom, Dick and Harry, who are box stepping and side stepping their way across the stage.

There's Malta 'mino Gozo,
Tell me, can you feel the sun?
Close your eyes, take a breath, and imagine all of the fun.

As Birthe sings "can you feel the sun?", Tom, Dick and Harry rip off their oversized jackets to reveal their toned abs, and perhaps slightly overoiled torsos... in a clear attempt to wake up housewives across the WorldVision Network (and possibly a few of the househusbands too).

The camera cuts back to a wide shot of the stage for the chorus, who all now dance in rythm in a good old fashioned way.

Come on and fly with me to Britoni-sea, we'll spend a day.
We'll have a lovely time in Besen,
It's the best.
There's fun in Talve-zou(t),
In Iz-med-u the weather's fair,
All you've got to do is close your eyes, i'll take you there,

All in your mind.

The dancers stop and the camera zooms to a closer angle of the singer and dancers. Tom, Dick and Harry are tapping their toes in time to the music and fake snapping their fingers, as Birthe continues to the bridge...

Nothing can ruin that feeling!
Nothing can ruin your day!
Imagining all of the world
As wonderful as in Beepee.

Birthe riases her hand and head tto the sky as Tom, Dick and Harry in harmony repeat.

As wonderful as in Beepee

The final chorus approaches and Birthe, still smiling warmly continues...

Come on and fly with me to Britoni-sea, we'll spend a day.
We'll have a lovely time in Besen,
It's the best.
There's fun in Talve-zou(t),
In Iz-med-u the weather's fair,
All you've got to do is close your eyes, i'll take you there,
All you've got to do is close your eyes, i'll take you there,
All in your mind.

The rousing sound of the horn fades and Birthe and her mob stand, bow politely before saying "Thank you everyone". Before securing their face masks on and in place and leaving the stage.

---O---

For the televisual viewers back in Beepee, Hugh Jakeman commentary returns to broadcast.

Well I thought that went very well indeed, a more traditional style WorldVision Song there, like something out of the late 50s. And of course we've not been ingratiating ourselves at all to those nations by naming them in a song!

Who's up next..... *pause, and with a slight inflection of sadness*.... Oh God! You'll need a stiff drink for this one! Grab yourself a red wine and settle down for the next 12 hours.... I swear these things get longer every year!

by **Titaniumland** » Mon May 11, 2020 11:29 pm

Joelle: "Equality"
Tune: Tinashe & MAKJ: "Save Room for Us"
Music: Mandi Dawson, Joelle Manna & Riley Levin / Lyrics: Joelle Manna

Joelle may have been a stranger to the music industry, two years ago, when she was still working 9 to 5 as an accountant. Her interest in music actually has started since she was 5 years old, growing up singing at school festivals. Her music producing career started in high school when her parents bought her recording kit then started uploading her self-composed recordings to social media. She stopped making music when she was in college, majoring Accounting at University of Henium. Being away from home and her hectic college life made her put her music career on hold.

Graduating from college, she worked as an accountant for many different companies before deciding to resign. Her unpleasant experience working in those companies caused her to resign and decided to give music another shot. "It was hell. Stressful and I had seen terrible things happening in the office," said Joelle in an interview with Grade magazine regarding her decision. Her activism didn't stop there, she is vocal about the issues she believes in, including equal pay rights, labor rights, gender equality and sexual harassment, marching on the streets and speaking at the parliament.

About the song she would perform on stage at the Worldvision, she said:

It sums up my work experience at that time, and I'm very lucky to have this platform where not only Titans hear my story but also the world. I'm not afraid of whatever will actually happen and if they wanna destroy my career, I don't care. I am entitled to speak the truth and given the opportunity to do it through this contest on behalf of thousands or million people who experience it, I'm beyond grateful.

I wanna keep the music light and you can dance to it despite the lyrics are heavy. I'm tired of people assuming if you go through hard shit, you can't have fun. So, why can't we have both?

For the performance in Tiferet, Joelle would be joined by Between Shifts, a dance troupe consisting of thirty-five factory workers who found their passion in dance and practiced between their work shifts. The thirty-six people were wearing black tuxedo on stage.

In addition to promote her entry, she embarked on live performances during the home segments of television late night talk shows, including Tonight Show Starring Kamilah Tobela and Live with Paxton! She also was interviewed about the story of the song in a segment with website Einstein, which we could see the lyrics breakdown on every part of the performance below. (OOC: Similar to Genius' Lyrics Breakdown videos)

After the postcard ended, the camera panned Joelle while laying on the floor looking at the camera. She began to sing. The floor showed the visuals of light and clouds, making it seem like Joelle floating. After singing the first two lines, she leaned to her side. The camera switched to her side shot. The floor turned dark, indicating the situation that the first two lines were a dream and the next lines were reality.

Work so hard
And it all got paid off
I'm not born into wealth
Finding ways how to relate

Joelle crawled towards the camera. The camera then panned dancers sitting and standing in front of the stage contour. Joelle stood up and accompanied by two dancers on her right and left sides. They walked along the stage. Joelle came across a depiction of women and men sitting in their cubicles, dressed in black tuxedo. People eventually left their cubicles and packed their things then joined Joelle to dance around and walk towards the center of the stage. Chloe, one of the people inspiring the track (see Lyrics Breakdown), was interacting with Joelle while they were walking.

Building the courage
Behind her cubicle, oh sweet lord
Risking everything she had had
To fight for everyone's rights

The camera panned the stage from above. The thirty six people, including Joelle, started dancing to the rhythm. The camera switched constantly between Joelle and the bird-view shots. The stage screen showed white background with dark spots moving the same movement and position as the dancers, indicating that those were Joelle and the dancers' shadows. At the end of the chorus, the stage turned black and Joelle started walking along the stage.

Equal rights for us
Equal pay for us, someday
Equal rights for us, I keep
Dreaming to be true, someday

The set had been changed. The camera panned a situation inside of a subway. The car had a lot of people with Joelle hanged on a grab handle. Throughout the part, they were swinging side to side and dancing switching grab handles. Paul, one of the people inspiring the song (see Lyrics Breakdown), interacting with Joelle while fighting a spot beside her with a dancer.

Hold tears on the way home
Crying myself to sleep
I ain't no strong like chrome
Hoping feelings to sweep
Slowly disappearing
Ain't taboo to talk bout well-being

Joelle went out of the subway, now seen in a subway station, projected on one of the stage contours. She sat on top while the dancers were sitting and standing around her. All of them were looking straight at the camera while doing hand choreography.

Equal chance for us
I know you need it
Someday, somehow
Equal rights for us, I keep
Dreaming to be true, someday
Equal chance for us

Joelle was carried by the dancers then they laid her down on stage. Then, the shot was bird-view. Joelle was moving while laying on the floor. While Joelle slid her body to the right, the stage screen swiped to the right. So was to the left. During the second half of the last chorus, Joelle stood up and embraced Paul and Chloe while posing for the last shot on camera along with Paul, Chloe, also other dancers.

You know it's not the end
Ready to fight again
Put ourselves up to keep the sparks
Equal rights for us
And it may not be today
We'll still have a long way
Just give a chance for us
Equal rights for us
I know you need it someday, someday

Joelle ended the song with a smile to the camera and shouted "Thank you! This is for equality!"

by **Ekoz** » Tue May 12, 2020 2:35 am

WITHDRAWN.

by **Missus X** » Tue May 12, 2020 3:32 am

~~08 Missus X~~

Withdrawn.

by **North Alezia** » Tue May 12, 2020 4:07 am

9. North Alezia / L'Uni Alezie du Nord
https://www.youtube.com/watch?v=3CchOtQMKTE<----- TUNE (La Voix-Malena Ernman)

(Imara pictured with her self designed dress, of course humanized)

Imara's Twitter after WVSC announcement

Artist Information

Parade of Nations
When the announcer calls North Alezia and Britonisea, Imara walks out from the back wearing her own designed white gown with two of her backing singers wearing black dresses. Below her is the floor that emits a flow with the colors of North Alezia, Blue, White and Green. Imara holds her bouquet and all three bring the essential, which is the flag of North Alezia in which they wave enthuiastically. When that was done, the backing singers take out their own bouquets and threw it to the sky only for it to fall back down again and back to their hands. They wave their bouquet and their flags again while walking to the other side of the stage. While that happen, Imara glance to the other side, looking at the Britonisean Delegation amazed, still couldn't believe she's now bringing her country's name into the international stage, and we can see Imara giggle a little bit while saying " I still can't believe we're here..."

IMARA IN TIFERET

"Hi guys, I'm Imara, the participant representing North Alezia for WVSC 82. And... Today is Eid, Yay! I'd done my rehearsals, so it won't hurt to explore, right? And I'm wearing my normal outfit now."

(Imara and her head of delegation, Azmi Raz-Muhillah walked away from the venue and proceeds to call a taxi, which is apparently a good source of transportation in Tiferet.)

Azmi spoke to the driver, "Take us to.... Any place you recommended for culinary". The driver didn't say anything. Maybe he want to surprise us.And thus, we drove through The Queen Protector Statue. It's so big that I can see it from far away. I'd say that it's a very beautiful way to showcase Ertzei Kishim's culture.

The driver then began to talk:

Driver: So, Ma'am, You're Imara Syafani?
Imara: Ah yes, I am!
Driver: Welcome to Tiferet. I hope you enjoy the trip. So... Yesterday my wife is... (ends up talking about his family and the history of Tiferet, and I dare to say that this guy should've work as a History Teacher. His explanation is perfect from top to toe!) (He's friendly after all!)

We traveled to Downtown Tiferet. The atmosphere is very lively, with people around (I don't know how Tiferet handles this COVID-19 stuff). And we stopped at one street which is FILLED with street vendors (although only some stay open) who sells Ertzei Kishim's culinary, which is similiar to what we have in Tel Hadiv. But it'll be beautiful if we're tasting it from the master. Three people recognized me (they apparently want to go shopping for essentials) because I appeared in the previews of WVSC weeks ago. I asked one local about the culinary:

"Ah, you should try Kadayif, Baklava, and Dejaaj!" said the local, with two people next to him nodding in agreement. (We obviously have some distance between us and the locals (North Alezia also have distancing policies, and the people back in North Alezia reminds me to TRY NOT TO TOUCH TOO MANY PEOPLE AND TOO MANY STUFF))"

Trusting the local,We went to a restaurant which if I checked, have 5 stars even though it is small. "Magic of Tiferet, huh?" We entered, and tasted the culinary of Tiferet, and DAMN IT IS NICE! No wonder Tel Hadivians always said "We are nothing in culinary if we're gonna compare to Tiferet" Their Chicken in the Dejaaj is tender, like I always like it, the Baklava here is cold and sweet! They have the peanuts, it was spot on. I gotta bring a few back to Zafizamarrah. The Kadayif is also crispy. We obviously take it away because we can't eat it in the resto... But one thing is wrong. No it's not the food... It's only:

Azmi: Imara... I forgot I was allergic to peanuts.

Obviously, Azmi's peanut allergy kicked in, which surprised many people around. I forgot to bring Azmi's autoinjector. Luckily, someone ran quickly to us and fortunately, he brought his autoinjector. Thank god, Azmi's fine because of the fast treatment. I obviously thanked the guy and I gave him an Alezian dollar banknote as a gift from North Alezia, and he gave me Ertzei Kishim's currenct banknote. We both immediately sprayed the banknote with disinfectant. And stupidly, I also sprayed the guy's face with disinfectant (it is a tradition to clean your friends face with spraying his/her in North Alezia, not available in Ertzei Kishim.). The person looks pissed, until he sprayed back. I was relieved. We end up being friends. I hope to meet him again soon. We obviously, wasted no time ordered EVEN MORE food for Azmi that don't includes peanuts. We immediately rushed back to the venue to avoid almost any interaction.

I'm inspired to be nice to others. I'm very thankful that someone helped us and I hope we can meet again one day. Well, that's my adventure in Tiferet! Thank you for following me today. I had fun although the very much crazy experience there. See you in Zafi one day!

Broadcaster Commentary (ABA Channel Salasatun/ ABACH3):

YOU ARE
Main Singer: Imara Syafani
Backing Singer 1: Elis Marhabani
Backing Singer 2: Isa Binti Said
Music: Adnan Hauqasar
Lyrics: Hana Shirmisvana and Imara Syafani
Head Delegate: Azmi Raz-Muhilah
Broadcaster: ABACH3

““The stage and the lighting go dark, while the only light is pointing at Imara who wear a white long dress that’s decked with jewels and glitter from above while she’s walking to the center while holding a flower . She’s followed by two female backing singers wearing black. Imara stands on the center of the stage, looking directly at the camera while holding a bouquet with her mic hidden inside the bouquet. And she starts.”

(Intro)
“The stage starts to light up a little bit”

I.

Is it more than friendship
More than awkward feelings
Is it even real?

“The camera started moving away from her. The camera is now far from her sight”

Is it more than heartbeats,
More than simple poems,
More than little quests
whoaaa...
I think that I'm in love[

“The stage glows white. while Imara starts her operatic reff. Her two backing singers start dancing like ballerinas, still on their black dresses. The prespective now change to the front of Imara's face"

REFF:

[]You are the one that I need all this time,
You are the one that I can rely on,
I can't just deny, We cannot just be friends,
You are the one that I would call my Love

II.
“Everything go dark again. Time for the classic. The camera comes close to Imara, and then away from her.”

هل هي أكثر من صداقة(Hal hi'aktar min sadaqa)
أكثر من مشاعر غير عادلة(Akhtar minshaeir ghyr 'adila)
هل هو حقيقي؟ (Hal hu haqiqi?)
Translation
Is it more than friendship
More than unjust feelings
Is it even real?

المزيد من القلوب (Almazid min alqulb)
المزيد من المشاعر (Almazid min almashaeir)
المزيد من الحب (Almazid min alhabi)
Whoaaaaa....
هل هذه هي الحقيقة؟ (Hal hadhih hi alhaqiqat)
Translation
More Hearts
More Feelings
More Love
Whoaaa...
Is this the truth?

REFF: (NOW IN ARABIC)

أنت الشخص الذي أريده إلى الأبد (Ant alshakhs aldhy 'uridah 'iilaa al'abad)
أنا فقط لا أستطيع تحمله ('Ana faqat la 'astatie tahmiluh)
هل هي خرافة؟ (Hal hi kharafa?)
أو مجرد كتاب قصص ('Aw mjrd kitab qasas?)
Translation
You are the one that I want forever
I just can't hold it (anymore)
Is it a myth?
Or just a storybook (story) ?

“Everything becomes dark. Only allowing the camera to see her face”

........ أنت الذي أنا ('Ant Aldhy 'ana.....)Translate
(You Are The one that I..........)

“The Lights, the LEDs slowly start to light, her dress start to flow with the wind machine.”

!أنا أحب ( 'ana 'ahb!)
Translation
I Love!

“Everything went light again, now with the addition of the wind machine and with her dress shining with small LEDs on her dress, Imara flew to the sky (at least, the venue’s ceiling), and with that happening, holographs showing her face appears, mimicing her emotion and mouth movement. Her backing singers start revealing their white dresses.”

Backing Singers:
(You are the one that I need all this time,)
(You are the one that I can rely on,)

Backing + Imara:
(I can't just deny, We cannot just be friends,)
(You are the one that I would call my Love)

Oh my Love....
*Suddenly she starts to scream gracefully in tune that soars around the venue, the cameras start to rotate uncontrolably around her. she took out her microphone from her bouquet she's holding and threw the bouquet to the audience (obviously, it's already sprayed with disinfectant before)*
!!!!أحبك ('Ahbak!!!)
Translation
(I Love You!!!)

“She landed back to the center of the stage. Everything went silent and dark again after that operatic finale. Rounds of applause from the audience. Imara and her backing singers bow like ladies in finesse while enthusiastically shout “Tokran, Ertzei Kishim!,Syukran Kasiira!.... Thank You World,I LOVE YOU!!!” And everyone erupted into massive rounds of applause. Imara walks out of the stage while giving out air kisses.

The camera switched to the most hysteric crowd, which is the North Alezian crowd. There are apparently North Alezians who live and work in Ertzei Kishim and North Alezians who dare to buy plane tickets and earn their COVID 19 papers which is no easy task. They're actually supported by the government by providing Alezian Air 737-0001 "OPERATION GO IMARA!" Moving on, there are live feeds back from North Alezia (maybe this is ABA exclusive) where families all around North Alezia and the Government Palace celebrated the nation's first try into the contest, also signing the success of the first ever broadcast and live from another country broadcast from the ABA. They even going with a long banner which spans from family to family that's written with "THANK YOU IMARA, WE ARE PROUD OF YOU #GoImara" ”

ABACH3 Commentary: "Well, that was a really good performance, I shall say! Thank you, Imara, we're really proud of you. Now on to song number 10, which is Britonisea! They have a good record. They won last edition if I'm not mistaken... whatever. They'll do well. Just for good sport, goodluck to everyone!"

by **Britonisea** » Tue May 12, 2020 4:46 am

#10 BRITONISEA
Kristiana Totem - "Prominence"
Tune : Iveta Mukuchyan- "Hayastani Axjikner"
Music: Jake Apollo, Frank Dean-Smith, Georgie Allans Lyrics: Kristiana Totem, Fiona Bruce, Jake Apollo

Iveta Mukuchyan - Hayastani Axjikner

Kristiana Totem goes to Ertzei Kishim: Britonisea will be represented for the 39th time at the 82nd WorldVision Song Contest with her song, "Prominence" - her brand new single...

After flying high on triumph at the successfully hosted Boschkian WorldVision Song Contest last edition, Britonisea returns to the contest - this time set in Ertzei Kishim - for what will be the 39th song sent by the nation...

Last edition, in the eyes of the Britonish, was a very successful one. A grand total of 35 nations - if we are including the disqualified Zamboodle - participated in the 81st WorldVision Song Contest which was Britonisea's 50th-anniversary celebration in Boschke. The contest drew in millions of viewers from across the world as fans saw a total of 9 nations break the 100-point boundary in a single edition alone which was something we haven't seen in a very long time - if ever. But at the end of the night, there only had to be one winner and it was a close fight between Britonisea, Izmedu and Todlichebujoku with many nations trying to make their mark in the top section of the scoreboard. Though coming down to the last vote, it was announced that Britonisea had won their 6th title at the WorldVision Song Contest, no longer being tied for wins with current hosts, Ertzei Kishim, and being within touching distance of Todlichebujoku's 7 and hopefully on course to catch Polkopia's deserving 10 gold medals. BITC wanted the 81st WorldVision Song Contest to be big, with Britonisea having so many ties with contests that end in 1 - first participation, first hosting, first win, second hosting but nothing for 61 and 71 which lead to a real drive towards the 81st WorldVision Song Contest. It was clear that the winner of VM was going to represent Britonisea and while some did think that this was going to end up in a Mehkl Maddox-Ajax situation, BITC was very confident in the BVC format. Kelsey Banques, of course, was chosen to represent and performed 26th in the contest. For Kelsey, although this was her second time representing Britonisea, she has never been outside the country to represent us with both times, the contest taking place in Britonisea. She came 2nd the last time she represented Britonisea and was more determined than ever to represent us once again. Everything was thrown at the performance, including the rising middle stage with Britonisea being one of a couple nations to use it. As the points came in, Izmedu and Britonisea battled it out once again. Izmedu was coming for another win after winning '61 and '71 but the Britons were more than eager to put an end to that. As Britonisea went on in the scoreboard, the Britonish 139 point record which had been held by Mini Surrey North for 34 editions had been broken as Britonisea entered the 140s and eventually the 150s. While it was hoped that Britonisea would crack into the 160s, the night ended with Britonisea on 154 points and Britonisea at first place. The young Kelsey Banques became the most successful Briton ever at the WorldVision Song Contest and she deserved that.

Moving onto the 82nd WorldVision Song Contest, for BITC it was now about maintaining success throughout the 80s and keep up the participation throughout the 80s, which was hoped for the last decade but the nation gave up the 74th WorldVision Song Contest. While BITC confirmed that Britonisea will definitely not be looking to bid any time soon - especially due to the COVID-19 situation, BITC could focus more on the song selection. The broadcaster would revert back to internal selection, picking the cream of the crop to represent Britonisea which, similarly to in the 60s, has a lot of hype going for it coming into this WorldVision Song Contest. After watching the performance of Britonisea at the World Hit Festival, they noted that 'Britonisea, while it wants to be, isn't always "Indestructible", and so we must constantly change our formulae every couple of editions or so to make sure we excel every time.' which is what they're doing behind closed doors. While they had picked their artist, Kristiana Totem, for the upcoming WorldVision, with the news that Britonisea would go into lockdown, BITC quickly rushed Kristiana Totem, a family member and the WorldVision Song Contest delegation out of Britonisea right before May 1st - only just missing the closing of the borders. The broadcaster is in close contact with the Foreign Office to make sure Kristiana can return to Britonisea as soon as possible after the contest, with it being announced only recently that Kristiana may not have to worry due to the easing of restrictions in Britonisea come June 1st. Kristiana Totem is a 24-year-old singer from the city of Araparta - a relatively unmentioned gem in the south of the country. Kristiana is used to the sun and sea, with her journey to Ertzei Kishim being rather hard for her since, despite the heat, she won't be able to enjoy it due to her very busy schedule at the upcoming WorldVision Song Contest - which includes a quarantine period.

With the song being released 30th May 2020 and arriving in Ertzei Kishim on the 30th April, she had to undergo a 14-day quarantine that the country had put in place for international arrivals. In that time, Kristiana spent that time finishing up the song with her team before planning on how to film the music video to it. They decided that the music video had to be shot in Ertzei Kishim. Would they have enough time? Well, after their fourteen-day quarantine and the two weeks of rehearsal time, it gave the BITC team a single week to shoot and the Britonish don't mess about when they need to get stuff done...

It was time. At 20:00 GMT on the 30th May 2020 the song premiered for the first time during a break between two shows, with the finished music video getting a Prime Time shot. As the music video was played to all of those participating, on twitter, it seemed as though #KristianaTotem and #Prominence were popular with it shooting to #1 Trending Topics in not only Britonisea, but across ABEN as online services pointed everyone to the music video of Prominence. The song tells the story about someone who once was "great" but had a fall and no longer is great anymore. She goes on to sing about how the people made fun of her when she fell down, perhaps pointing them out for not being supportive as she once perceived them to be. The bottom line of the song is about how she will rise to glory once again, this time being much more prominent than she was before. The music video is something that she would like to recreate on the vast stage that Ertzei Kishim is sporting, with the Britonish Delegation getting in contact with Ertzei Kishim officials asking them whether it was possible to have a dancing troupe in their nation to join Kristiana Totem on stage - instead of Britonish dancers. As the stage is vast and delegation sizes are supposed to be kept to a minimum, the WorldVision Song Contest 82 organisers agreed, thus the Britonish partnership with Kishraeli dance troupe, Hamishah Tza’adim began. It was the first time in Britonisea's 51-edition history that such a co-operation would happen, with the COVID-19 situation forcing the nation to stop the stubbornness it usually has when sourcing those involved in the delegation being from Britonisea only. While the song hasn't yet been out long enough to judge the long term success of the song, it is hoped that it would do well at the Contest.

"I am so proud to represent my country, especially after last edition - I cannot wait to step out onto the stage with all those dancers and the people cheering from the sidelines. It will be an amazing experience..."

-Kristiana Totem

During her time in quarantine, one of those who was quarantining with her was the dance teacher who would show Kristiana some of the moves that dance troupe, Hamishah Tza’adim had come up with, taking inspiration from the music video that she gave them - she gave them a copy way before it was revealed on the 30th May 2020. She did not have a bad thing to say about any of the moves, but it was her time to learn the moves and as it came closer to the first day that she stepped foot onto the WorldVision stage, being joined by all those men made her feel alive - readier than ever to represent her country at the WorldVision Song Contest. She found out that this WorldVision Song Contest would be the first that would introduce a Televote, with the televote being 50% of the result but this time split from the normal amalgamation we're used to. This could mean that we will see the record broken this edition, and Britonisea would certainly like to have a shot at breaking that record. No other country has come 1st place twice for a second time other than the hosts so is this some sort of sign? The Britonish Delegation are hoping so! Britonisea will perform 10th in the Grand Final since the 68th WorldVision Song Contest, where Britonisea placed 4th place with 129 points. These are all pointing towards good news in Tiferet. Only time will tell!

It was the night of the WorldVision Song Contest, and before anyone could perform, it was time for the Parade of Nations which was a tradition that seems to have caught on in recent hostings. It was time for Ertzei Kishim to organise the Parade and as acts came out with the sounds of Kishraeli culture, it was time for Kristiana Totem to come out. Kristiana had requested that two of the male performers from Hamishah Tza’adim would assist her on either side, slightly behind her. The oiled gentlemen (oiled for the performance with more information below) strongly walked behind Kristiana as she fiercely walked out onto the stage as Britonisea's name called out along with North Alezia who were on the other ramp (two came out at the same time a la Boschke). The Britonish colours bathed Totem and her men as she blew and kiss to the camera and adjusted her crown. The gold sparkles on her dress glistened...

KEY
To my superiority, boy you’ll succumb - Sung by backing singers only
[ad lib] - Note elongated (over backing singers)

It was time for her to sing. The audience was applauding the performance from North Alezia rather loudly, with many in the audience probably not hearing that Britonisea was next to perform. But as the lights went down to play the postcard of the performance, Kristiana ran into the middle of the stage as fast as she could before taking a huge deep breath to calm herself down. It wasn't that much that was going on, on the stage. Four members of Hamishah Tza’adim were on the corners of the stage, the sections which were slightly elevated, but the lights were not on them so you could not see them at the moment. Kristiana wasn't wearing that much on stage, especially by Britonish standards, with her wearing a simple two piece golden diamond dress which was made to show the sexiness she wanted to portray. We couldn't have the men from Ertzei Kishim dressing anymore conservatively, however! The dancers had a military theme going on, wearing nothing on top, but military trousers slightly opened at the front just for added thirst.

It was time for Kristiana Totem to sing. She stood in the middle of the arena, ready for her queue. The audience came in with a huge cheer before dying out once again...

Laugh at me, point your fingers
I know to you, I’m just a jester
Fell from greatness, stroked your ego
You’ve hit a new low-now, it’s over

I’ll bounce back up,
Blink and I’m gone,
I’ll fly through the treetops, so high...
Kick me when I’m weak,
But hide when I rise to prominence again

Kristiana Totem was standing in the middle of the stage, swaying her body from left to right as she moved closer to the first chorus of the song. As she was singing, the camera would cut to one of the four men that were standing on the corners of the stage - all of them looking at her with stern faces on them. The men, who glistened in the light thanks to the coconut oil all over their bodies, were slightly bopping from left to right along with music, but only slightly - with some people who were watching the show from afar probably not noticing. As she sang the lyrics "I'll fly through the treetops", she looked up, before putting her hand up in the sky. Using the right angle, the camera slowly moved outwards from Kristiana as a beautiful true spouted behind her on the projection beneath her. She was frozen in position for a second before another camera caught her eye darting from one end of the arena to the Britonish perception of where the front is.

As we move on to the first section of the chorus, the tree that was once behind her slowly faded away as she cheekily smirked and started to roll her shoulders along with the beat of the music. As we moved away, there was the use of virtual reality, with - what looked like - volts of electricity surrounding her as the fans on stage were turned onto full blast. She squinted her eyes as the wind starting blowing. With her free (left) hand, she ran her hand through her flowing locks as she started to grind and get real low in slow motion. While she did this, another camera swirled around her as the four men we once saw on the podiums around her slowly started to walk in a sultry way towards her...

The throne will be... mine again.
I’ll be supreme...so beware.
Don’t you go nowhere!

Oh yeah! Hey!
Heh, Heh, Heh
Heh Heh!
Heh, Heh, Heh
Heh Heh!

As she shouted the lyrics, "Don't you go nowhere!", the camera quickly moved in towards her before we were met with an explosive shot of the electricity voltage around her exploding, forcing the four men who were creeping up on her to jump away from her. Turning the whole space white, Kristiana started dancing on the spot - flicking her hair and body from left to right, rolling her shoulders, before dropping to the floor, slowly moving back upwards from an almost laying position, into all fours, before standing up once again. She looked like she was having fun as she was dancing - looking serious but committed to all of the dance moves that she was doing. As the music continued to play, lights from around the arena helped assist the party atmosphere in the arena, but this was also spurred on by the audience dancing and cheering to the music. As we got to the end of the chorus, a single gentleman - not one who was already on the stage suddenly appeared out of nowhere, placing his hand over her stomach.

There was a medium close-up of Kristiana and this mystery man as she started to sing once again. She slightly leant into him, leaning her head slightly in the space between his shoulder and his neck. She looked at the camera with mischief before we saw a wide shot of the whole arena with an on-screen graphic of a lightning bolt appearing from the top of the sky, striking the man that she was standing with. As the bolt hit, she moved forward before the white stage flickered (like lightning). There was another shot of her with her hair slightly in her face, with her hair over her head looking at the people at home as if to tell them to be quiet at what she had just done...

Forget me, I’ll come back fighting,
Strike you harder than lightning.
I will appear out of nowhere,
You won’t know what has hit you…

Come on baby, did you think this was the end?
You were so wrong…
What goes around comes back around,
You shot me down,
So you pay now.

With the one-man still on the floor, still probably suffering from the effects of a lightning bolt hitting him, Kristiana was joined by another man. The way he joined the scene was much different to how the first one did, with the new dancer appearing from behind the camera, circling around Kristiana with her circling in the other direction. As she sang the lyrics, "Come on baby, did you think this was the end?" she slightly caressed the stubble of the taller, much more bodacious figure than the man before. Though, despite his tempting demeanour, he wasn't safe from feeling the wrath of Kristiana Totem. As Kristiana sang the words, "Shot", there was another flicker in the arena before the man looked up in shock, dropping to floor as Kristiana looked at the camera trained on her and winked at it.

As she did this and we moved onto the chorus again, the whole stage was covered in red with the men that had dropped to the floor both standing up, flanking her. They were both facing her on opposite sides, as she looked forward towards the camera. She rolled her shoulders once again, before making sudden movements in the build-up to the chorus, with the men on either side of her following the exact movements that she was doing. She had reached the loud cry before the chorus, and with every time that she said a syllable, "Don't", "You", "Go", "No", "Where", the piercing red that the stage was filled in turned to black as more men started to appear in random locations on the vast stage.

The throne will be... mine again.
I’ll be top league...so beware.
Don’t you go nowhere!

Oh yeah! Hey!
Heh, Heh, Heh
Heh Heh!
Heh, Heh, Heh
Heh Heh!
Watch your back, watch your back!
Heh, Heh, Heh
Heh Heh!
Heh, Heh, Heh
Heh Heh!

As the dance break started again, Kristiana, now joined by the two men who were flanking her started to do a similar dance sequence that she had down before, dancing fiercely through every movement with the men doing more masculine versions of some of the moves that she was doing. A new dance move that they had added was Kristiana running towards one of the dancers before the flung her into the air for the other to catch. This happened 02:22 in the music, after she sang the words, "Watch your back, watch your back!", with the stage momentarily going gold as she shouted "HEY!" whilst being launched into the air. A further away shot of her being flung was used, with all of the men that were in random spots around the stage still, only moving their heads and necks in a circular way to show their attention of the prominent Kristiana.

As we move onto the bridge section, from the right ramp (which was chosen due to the Parade of Nations having delegations walk from right and exiting left), the rest of the incredibly fit dance troupe, Hamishah Tza’adim started to walk out on to the stage in rows of 4. Similarly dressed to the other dancers that were on the stage, topless wearing some sort of army-inspired trousers walked out in Britonish military fashion. The other men who were dotted around the arena joined the others, with Kristiana also joining them - standing in front of them all. The men and her stopped for a second as Kristiana looked to the side and quickly shot her arm up into the air to "boy you'll succumb" for the first time...

Dum da di da dum, I have won,
Dum di di da di dum look what I’ve done,
Ta da li ba bam come boy come
To my superiority, boy you’ll succumb

Da Dum da di da dum, I have won,
Dum di di da di dum look what I’ve done,
Ta da li ba bam come boy come
To my superiority, boy you’ll succumb

As she started to sing the "Da dum..." for the second time, she started walking from the right side of the stage to the left side, similar to Beyonce being alone here and with way less men. She continues singing into the microphone as she could hear the audience getting louder at her superiority over the men that followed her. As the group made their way across the arena floor, a single spotlight followed them.

During the last chorus, as she shouted "The throne, it is mine!", she ran to the middle of the squadron of men, with them all forming a circle around her...

I will rise to prominence [ad lib]
Da Dum da di da dum, I have won,
Dum di di da di dum look what I’ve done,
Ta da li ba bam come boy come
To my superiority, boy you’ll succumb

I will rise to prominence [ad lib]
Da Dum da di da dum, I have won,
Dum di di da di dum look what I’ve done,
Ta da li ba bam come boy come
To my superiority, boy you’ll succumb

The throne, it is mine!
Oh yeah! Hey!
Heh, Heh, Heh
Heh Heh!
Heh, Heh, Heh
Heh Heh!
Watch your back, watch your back!
Heh, Heh, Heh
Heh Heh!
Heh, Heh, Heh
Heh Heh!

At the end of the performance, Kristiana looked up as all of the men around her fell to their knees and eventually were all laid down. The audience came in with a huge cheer as there was an aerial shot showing Kristiana Totem with her hands up in the air with a group of men laying down in a large circle around her which made up quite some space on the vast stage. As the lights went up, she thanked the audience, "Thank you Tiferet! Thank you all!" before we quickly moved to the next act...

by **Mister X** » Tue May 12, 2020 5:14 am

11 MISTER X

The Doctor - "Don't be Afraid (Unless it's a Dalek)"
Tune: RuPaul - "Superstar (Hollywood Royalty Remix)"

Since Mister X didn't have a lot of time to write this song, The Doctor decided to do the singing role, whilst the spokesperson role would be left up to his trusty companion (and usual Missus Xian spokesperson), Ace.

Though we're apart we're never afraid
Trust me, we'll always be making the grade
Not for forever, we will meet again
Let's just tell ourselves it's never the end

Some disco lights come on.

Not afraid to be apart
Not afraid 'til you hear that sound
Not afraid to be apart
Until you hear them say "EXTERMINATE!"

Then a Dalek comes onto the stage and chases The Doctor around.

Although though we're apart
We'll always be here together
And let me tell you, please,
Things can be tough but we're moving

We will always be
Whatever, can't you see? (Oh...)

Several Daleks creep up behind him.

Though we're apart we're never afraid
Trust me, we'll always be making the grade
Not for forever, we will meet again
Let's just tell ourselves it's never the end

However, The Doctor is one step ahead of them and backflips over them. He then doffs his hat to them.

Not afraid to be apart
Not afraid 'til you hear that sound
Not afraid to be apart
Until you hear them say "EXTERMINATE!"

There's then a Scooby Doo-style chase where The Doctor runs from left to right off the stage, then appears from left to right again, and they do that corridor joke that wasn't funny when Scooby Doo did it and is even less funny now but whatever just rofl :rofl:

We know where we belong
And it's not where we wanna
But if we all stay alert
We will win together

We will always be
Whatever, can't you see? (Oh...)

A Dalek mothership "lands" on the stage (i.e. it gets lowered from a crane).

Though we're apart we're never afraid
Trust me, we'll always be making the grade
Not for forever, we will meet again
Let's just tell ourselves it's never the end

Daleks come out of the mothership like an assembly line.

Not afraid to be apart
Not afraid 'til you hear that sound
Not afraid to be apart
Until you hear them say "EXTERMINATE!"

Everything stops for a bit for the serious bit.

Seriously, everyone, stay alert, control the virus, and save lives. It's not fair on you to break lockdown rules when the rest of your country is obeying them. The more you stay at home, the quicker this will all be over. Just because you can go out in your country, it doesn't mean you should unless you have to.

The lights come back on and the Daleks move in slow-mo, which, given they're Daleks, isn't that impressive.

Not afraid to be apart
Not afraid 'til you hear that sound
Not afraid to be apart

EXTERMINATE! EXTERMINATE!

There's a key change and the Daleks join in the singing.

Not afraid to be apart
Not afraid 'til you hear that sound
Not afraid to be apart
Until you hear them say "EXTERMINATE!"

Not afraid to be apart
Not afraid 'til you hear that sound
Not afraid to be apart
Until you hear them say "EXTERMINATE!"

by **Elejamie** » Tue May 12, 2020 5:15 am

12- Elejamie

Aurora Cassidy - Since I Lost Him

Tune: Mariya Takeuchi - Plastic Love

A promotional picture of Aurora Cassidy, kindly provided by her record label.

Aurora Cassidy was born in Playa de Rocas, NUPA, on 13th May, 1995. Born into an Anglophone family in the primarily Spanish-speaking tract of Nuevo Paraíso, she was the only child of notable Elejamian chef Richard Cassidy and his first wife Elaine. Her parents divorced when she was only a few years old and she would regularly go back and forth between the two houses. While it was easy and manageable at first, given that they ended up living in different parts of the same neighbourhood, she would end up moving to Blackport, SRTR at the age of 8 when her mother had a job there. She would move back to Playa de Rocas a couple of years later but didn’t spend too much time as she would end up moving again, this time to Birkirkara due to her father accepting a job as head chef at a restaurant there.

While she was living abroad and studying at an international school, she would get into poetry and would spend most of her time taking out poetry books to study them, as well as trying to write some of her own. One of them was even published in a local English-speaking newspaper, albeit as part of a competition when she was twelve where she would end up finishing in second place. Eventually, when she moved back to Elejamie at the age of 13, where she would settle back down in Blackport where she would resume living with her mother but would also join her high school’s glee club. This in turn not only led her to go over her old poems and try to adapt them into songs but it would also lead her into a career in songwriting. While she did still sing from time to time, not just in the aforementioned glee club but also in her spare time while she was getting her degree in creative writing at the Surter Arts Academy, she would spend more time writing songs for other people as well as poems.

In November 2018, she would meet Soraya Esposito, who was not only known as a concert pianist but also dabbled a bit in production alongside her younger twin brother Patricio (yes, THAT Patricio Esposito), through a mutual friend. Although things started off icy between the two due to the different styles and methods that they would use, they would soon start to get along a lot better and become friends. A few months later, Aurora would reveal that she was planning on releasing her own album and, indeed, had recorded herself doing vocal versions of old poems she had rewritten and adapted to not only fit her vocal style better but also to make it easier to sing. Upon listening to these vocal tracks, Soraya would then use outtakes and rejected beats she used for other people or herself to turn them into backing tracks. Once Aurora was satisfied with everything, she uploaded the finished album onto the internet under the name “Aurora Cassidy Sings the Blues” and then called it a day.

Fortunately, this gamble seemed to have paid off for her as, while it didn’t make a big dent on the singles charts, it did become an underground hit and the album received rave reviews, with some praising its lo-fi yet polished sound. While the money didn’t exactly pour in at first, resulting in her having to sell her car just to stay afloat (especially since she didn’t want to rely on her parents for anything), she was able to score a number of gigs which made her enough money to get by. One of them would eventually result in her getting a recording contract for a small label (that’s a subsidiary for a larger one) and she would get to work on her second album, which was self-titled. With the majority of it being produced or co-produced by Soraya, it was eventually released in October the same year, though she had to fight incredibly hard to prevent a re-release of her first one as she felt like a remaster or anything along those lines would ruin any magic she felt the original version had. There wasn’t a tour in support for the album for budgetary reasons and the fact that Aurora wasn’t really that green on touring in the first place but, rather, a string of unconnected performances in different places (even performing at the New Year 2020 celebrations in Coventry where she closed out the show). There is a third album in the works but, other than a few of the songs (including this entry), she hasn’t revealed much about it yet.

Outside the world of music, she has two step brothers from her father’s second marriage as well as a younger half-sister from her mother’s current relationship. She’s also an avid chef and, had she not gotten into poetry and eventually music, she probably would’ve gone into the restaurant business. And she's somewhat shy outside of music; while she can handle herself OK in interviews if she's notified in advance and given a little bit of time to prepare, anything on the spot will just cause her to become flustered and unable to speak. She’s also a vegetarian, having given up meat while she was in university, though she does admit that she had once eaten something that she didn’t know had meat in it. And, in an interview with a magazine, she announced that she was bisexual and, while she currently has a boyfriend, she had an on-off relationship with another, older woman for a few years. End of pointless filler.

Chris Basset, as seen here in his recording studio according to a picture on his official site.

Christopher Alan Basset (pronounced “bass-it” as opposed to “bass-ay” or “bay-set”) was born in what was Salisbury, Rhodesia, on 7th November, 1967. Born into a middle class family under minority rule, he was essentially raised by his older brother Ray and older sister Charlene, who were 15 and 13 years older than him respectively, given that his parents were more busy with work, other partners and other such stuff. Indeed, he would admit that him getting into the violin was an attempt to get his parents to notice him. While it didn’t exactly work, he did eventually develop an interest in the instrument and would eventually learn to play a litany of classical pieces either by ear or from music sheets he bought with his own money. In 1983, he and his family moved south of the border to Rustenburg, where he could carry on his secondary education as well as building up his skills.

In the next couple of years he applied for the University of Avon over in Elejamie, where he would eventually get a bachelor’s degree in music, as well as do a number of odd jobs to pass the time in between lessons and make some money for necessities. He also played rugby as a number eight (or an eightman as they’re called in Elejamie) for the University of Avon Cats, where he showed a lot of promise and there were rumours of him going on to either play for the Sables, Boks or the Elejamian national team once he graduated and maybe found a job, due to union still being an amateur sport at the time, though he would deny those rumours while he was still playing. He would eventually receive his bachelor’s in 1991 and, in December that year, he would be accepted as a violinist for the Aventry Sinfonia, a small orchestra made up of semi-professional musicians or anyone looking for a bit of training before going into an orchestra, primarily those from around the Avon and Coventry area. Given the informal nature of the orchestra, he found himself switching between first and second violin though around June 1994, six weeks after becoming an Elejamian citizen, he would find himself becoming a somewhat permanent first violinist.

However, by 1995, he was starting to feel a bit burnt-out. While he didn’t have any problems playing the same pieces over and over again, he wanted to try his own thing and regain that spark. As a result, he took a hiatus from performing as he returned to the University of Avon to get his Master’s degree. While he was doing that, he unintentionally got into conducting by watching videos of old performances to try and study how he can liven up his fingerwork but ended up paying more attention to the conductors than he did the performers. While he was practicing, he ended up having to step in as a replacement when the Sinfonia’s usual conductor was unable to attend rehearsals due to illness. Although he was a bit rough at first, he would soon get into the swing of things in later rehearsals and was eventually asked to conduct their latest concert, which he was able to do with only one or two slight mishaps that ultimately didn’t affect the whole performance. After realising that that was missing from his life, he decided to apprentice under a few conductors and study in his spare time just to refine his skills. He would receive his Master’s degree in 1998 and return to the Sinfonia the same year to retain his position as a first violin; though he would ultimately leave the position in July the following year, he stayed on as occasional conductor until 2004, though he still helps out from time to time.

In January 2000, after applying for a number of orchestras around the country, he would get accepted as second violin for the Coventry Symphony Orchestra, which is widely considered to be part of the Big Five Orchestras in Elejamie; while the orchestra felt he was strong enough to be a first violin, there weren’t any positions available there. While at first he didn’t do much to stand out for the first few months, by the time the 2000/01 season got underway it started to become clear that he had some talent in him. In 2003, following the retirement of one of the original first violinists, Chris finally received his promotion. There, he was able to shine and even get the odd violin solo, albeit on rare occasions and where it’d fit with the whole programme. In 2005, his conducting work with the Aventry Sinfonia became known and he was allowed to conduct rehearsals from time to time as a backup, though it wouldn’t be until October 2008 where he’d finally be allowed to conduct his first live performance. After three more seasons of performing with the CSO, where he would be given more chances to conduct as time went on, he announced that he would retire from playing violin to conduct full time. His first performance after the announcement was in September 2012 with the Avon Philharmonia, another one of the Big Five as well as an orchestra much closer to home. While he would primarily conduct their performances, he does however occasionally get invited to conduct other orchestras across the country and around the world.

Outside of the world of classical music, he’s a season-ticket holder for the Avon Knights, the local rugby union team, as well as a casual fan of Avon FC. He is currently married to Andrea Garcia, a soprano with the Aventry Opera, and has a child with her; he also has two children from a previous relationship, Tim (born 1992) and Sophia (born 1994). And, understandably, other than an interview where he briefly mentions being a supporter of the Elejamian Labour Party and being a part of an anti-Apartheid group while in university (in a country where he wouldn’t have been punished for doing so), he avoids talking about politics.

Over at the last WorldVision Song Contest, held in Boschke in Britonisea, Elejamie were represented by the all-female electronic-rock trio Second Choice with their song Until The Bitter End. A song about friendship and being there for someone “until the bitter end”, the sisters Kleinschmidt admitted that it was just a song they grabbed off of their second album that was in development at the time; a complete 180 from WV80 entrant Mason contacting ETV themselves and sending a tune he had made, a tune that’d end up finishing in fourth place. Despite that, along with concerns about whether or not the contest would be allowed to take place given the ongoing coronavirus outbreak (which was why they stayed in their hotel rooms and didn’t do much promotion), the song still received some positive reception from a fair amount of those who listened to it. Although the song itself was far from a favourite, being 15/1 with the Talvezian broadcaster TRT and the domestic bookmakers not being that much kinder, Second Choice were still optimistic and were hoping to carry on the streak of top ten finishes going back to WV75.

Unfortunately, the night ended in a total disaster as Elejamie would finish outside of the top ten for the first time since WV74, thanks to a 20th place finish with 35 points. They would also end the night with no sets of 12 points, the first time that’s happened since the WV30s, as the most they received from one nation that night was a set of eight points from Malta Comino Gozo. However, while they also defended the song, Elejamian fans were quick to explain why it flopped: It didn’t stand out too much from the big songs musically, the performance itself was kind of dull compared to what the big names were offering, the competition itself was stacked with dozens of good entries, lyrically it wasn’t that interesting and it all felt a bit slap-dash, and it wasn’t really promoted that well so there wasn’t that much interest in it before the competition. It also turned out that there were technical issues during the song and, while Second Choice were told about it right after they performed, they declined to perform a second time as they didn’t want to hold things up. In hindsight, they probably should’ve.

As a result, ETV announced that they were going to end the internal selection process much earlier than expected. Although they pre-selected Aurora Cassidy, a pop singer well-known for her retro-sounding tunes, they decided to let the voting public decide on which tune to send over to Tiferet. Given that the country was still in lockdown due to the coronavirus pandemic, where the death toll has since risen to 309 (with Sataeveni Jamuri, Elejamie’s representative in WV37, dying of cardiac arrest brought on by the virus the night before the competition) despite nationwide infection rates gradually slowing down, the poll was taken online and the links were simply audio versions of the three songs chosen. Given that the country doesn’t perform at the World Hit Festival, which is usually the fate of a number of National Final runners-up, what would happen to the remaining two songs remains a mystery, though Aurora has hinted she’ll still release them as singles after the contest.

A week after the poll was posted, the results were announced and it was revealed the winning song was Since I Lost Him, a song that harkened back to 80s city pop. Soraya Esposito primarily composed the track as well as played piano and keyboard, though her younger twin brother Patricio (best-known for being one half of Fata Morgana, who finished second in the 75th WorldVision in Monterra) did a bit of uncredited work with programming and producing the track; world-famous and primarily self-taught violinist and slightly self-taught conductor Chris Basset also helped out with composing the orchestral parts of the track. Aurora wrote the lyrics herself, deciding to go against the norms of verses and choruses (although the extended version of the track repeats a couple of verses) and rhyming couplets and instead concentrating on writing a story itself.

However, it wasn’t originally like that. Originally the orchestra was synthesized, along with most of the instruments. However, after playing it back a few times, both Soraya and Aurora realised that it lacked that charm. After tweaking it a few times and not getting anywhere, they decided to hire an orchestra. Fortunately, due to her playing a few concertos with him in the past, Soraya was able to get in contact with Basset. After sending him a demo of the song, or more accurately the synthesized orchestra she used, and asking him if he could compose and record an orchestral version of that he agreed to, only agreeing to work for cheap if he receives royalties, is credited for working on the track and, once he found out the song was to be sent to WorldVision (the same reason why Patricio wanted to remain uncredited for his work), he conducts the performance live on the night. More than pleased by the final result the two stuck it into the final track, Aurora re-recorded her vocals to fit the final result (though she recorded three takes only the first one was used) before they all called it a day. Only the original demo itself still exists from these sessions; any tweaks made between the recording of that and the final product were deleted and are pretty much considered lost, though since there wasn’t anything of much value that you wouldn’t find in some half-arsed bargain bin compilation.

Shortly after the results were revealed, where it was also revealed that 60% of the tracts gave the winning song the maximum three points, Soraya and Aurora announced that there’ll be a live performance at the Blackport Arts Rec in Blackport, SRTR. Of course, due to the current situation, they had to make a few adjustments, namely by not allowing a physical audience although the event as well as the lead-up to it was live streamed on the internet and Channel 3-2 aired the song live as a special presentation; other precautions included the conductor, his orchestra and even Aurora herself wearing masks to avoid catching coronavirus, the already minimal orchestra being advised to leave a chair or two empty so they can distance themselves, a special orchestra mix that only differed from the normal orchestra mix by having the brass section being part of the backing track and only a small behind-the-scenes crew was used as to minimise the risk of infection. After all, given that she’s unable to tour and promote her song, it was essentially the next best thing to do to get the song out there and drum up interest for it.

Unfortunately, by the time they had arrived in Ertzei Kishim to perform at the contest, there turned out to be a little problem, namely a complete lack of an orchestra pit. While one did appear in Malta Comino Gozo, Talvezout and Nekoni, there was a complete lack of one in Britonisea and there wasn’t one being used here, presumably because of how underused it was during the aforementioned contests. Fortunately, HARESHET agreed to close off a small section of the stage for the orchestra, members of the local State Academic Orchestra (or HaTizmoret HaAkademit HaLeumit as it’s called in its native Hebrew) were brought in along with a few other guitars and bassists being added to extend the strings section a bit and . After all, the broadcaster would be able to promote some local talent and Chris would be able to do a live concerto on the WorldVision stage, win-win. Another issue was that the stage being used was another 360-degree stage, which meant that Aurora couldn’t reuse her stage design that she did for her promotion video. After struggling to come up with an alternative plan, she along with the broadcaster ultimately came up with a few differences, namely the backdrop of a city at night being removed and the fake walls being shortened so they wouldn’t be so obstructive and would fit the contours of the stage better, as well as the use of screens showing the performance to those who wouldn’t normally be able to see it because of said walls, but the rest of it was allowed to be used as normal.

However, despite all of that, there was still the big question as to why such a retro-sounding song was sent to a competition mainly dominated by recent-sounding pop songs. Soraya Esposito, who not only composed the song but also helped with the majority of Aurora’s currently unnamed and upcoming third album, said “The main reason why it sounds the way it does was because Aurora told me about this song idea she had, I was just messing around with some random samples and an hour later I ended up making something kind of 80s that we both liked, so I built on that. After all, we had a song that was simply “girl sings a sad love song about the one that got away and how it turned her into an ice maiden and how being apathetic towards love worked as a coping mechanism”. And I found it a little bit hard to do properly for a modern point of view, so we had to turn the clock back a few decades for help. But I think it turned out well, I’m proud of the end result whether it was the demo or with a real orchestra, the latter of which I kind of prefer because I feel it adds a bit more body to it. Plus the song itself sounds a bit different, sounds a bit unique, so I hope the multiverse likes it as much as we did making it.”

Once the postcard was over, we don’t actually cut to the stage but rather a close-up of the conductor himself and a caption underneath him stating his name and occupation for the evening: “Conductor - Chris Basset”. Underneath that was a little addendum saying “Orchestra kindly provided by The State Academic Orchestra / HaTizmoret HaAkademit HaLeumit”. Chris was dressed impeccably, wearing a smart black suit with matching tie and waistcoat, his hair combed back and his beard trimmed to look neat and tidy. In his right hand a black and gold baton that, if you weren’t paying attention, looked like a giant pen. In his right lapel was an Elejamian flag pin, in his suit pocket was the standard white handkerchief turned into a pocket square. His orchestra was also dressed smartly for the occasion; black suits with either matching bow-ties or matching normal neckties for the men and a partially-buttoned black pantsuit with a white shirt underneath for the women. Looking into the camera, Chris did a small bow, letting out a small smile as he did so before he said “Good luck” to the camera, something that just about made it over the applause. He then turned around to face his orchestra and tapped his baton on the stand to call his orchestra to attention. Once the applause ended, the drums started to kick in and he started to twirl his baton to let them know it was time to start playing.

A fraction of a second after the brief piano bit, we then slowly pan over to the stage itself, with a bit of information on the entry in a caption underneath, namely the name of the song, the artist and the writers and composers. The stage itself was dimmed, not darkened or anything like that but rather it felt like the lights were being shone through a black or dark grey filter. On one end of the stage was a fake wall with a brown wooden door, on the other end was another fake wall with a mirror and a picture of a man on it. The walls themselves were white, although the door itself on one of them was brown with a black door knob. Between those two walls were a couple of white leather sofas with a small table in between them, a small brown wooden table with a glass bowl full of plastic fruit and an empty coat stand. There was another small table in front of the far fake wall, right next to the mirror, which had some makeup on it as well as items to remove it with.

Shortly before the vocals were to kick in, Aurora opened the door and walked into the “apartment”, complete with headset on her head just so she could sing the song hands-free, closing the door right behind her to a faint cheer from the crowd. It was also at this point where the lights brightened, as if they automatically turned on because they knew she was there, not only giving the audience a better view of what was going on on stage but also what the lady on stage was doing. The stage itself also turned on, designed to look like your standard wood-panelled floor with a furry white rectangle in the middle to represent a rug. Immediately after she entered the “apartment”, she started to sing. She started to lean against the door with her back to it, careful not to apply any pressure onto it lest it tips over and hits the orchestra; a brief close-up on her face revealed she was wearing a minimal amount of makeup, which was an intentional choice because of what she was going to do later on in the song. Halfway through the first line, she moved away from the door and moved over to the coat stand where she took off the already-undone brown cotton trench coat to reveal a plain white sleeveless midi dress, as well as throw the coat onto the stand because she didn’t need it anymore. As she continued her verse, she also took off her pair of white strappy heels and gently put them down next to the coat stand, just so she could change into a comfier pair of slippers before she sat down on the sofa closest to the fake wall with the picture and mirror on it, where she concluded the verse.

I find myself tossing and turning and then staring at the ceiling
My mind starts to slowly wander as I start to remember
About how it all went wrong and how I got into this mess
How I was abandoned by the one I loved
So quickly

After a brief cut away to the brass section of the orchestra, we then go to a slow pan of the stage, the camera finally stopping when it catches her standing at the table right in front of the mirror, slowly zooming in once it caught up to her. It turned out that she was taking off her makeup, not to spite anyone or make a statement but rather to fit the whole performance she had in mind; indeed, much like the live-streamed performance she did to promote the song, she simply stuck some mascara and lipstick on just so she could have something that’ll easily be removed in the 30-40 seconds it’d take her to do the verse. She was holding some wipes which had a red smear on it, something that turned out to be lipstick going by the fact most of it was removed from her lips. Once all of the lipstick was removed, she got out a couple of cotton pads, added some makeup remover to one of them and started to get the stuff from around her eyes, though she used the other one just to be a bit safe. All of that while she was singing her verse, although she had to time the lipstick-removing bit with the pauses just so it’d be less of a hassle to make the words come out clearly. Once she was done with her makeup removal, she opened up the bin next to the table and dumped the used stuff inside just so she could get ready to do the next bit.

Or however you take off makeup. I don’t really do that sort of thing so naturally I’ve probably messed up a bit here. Please correct me.

Ever since I lost him I knew I had to settle on a façade
A distant, cold-hearted woman who is a complete enigma
The guys fawn all over me but I do not have much time for them
So I don’t get broken once again
And empty

During the incredibly brief interlude in between the verses, the lights surrounding the stage turned from bright white to a bright yellow, one after another, until they went back to their normal colour. This wasn’t for any effect, it was simply there to liven up the performance and because they felt like they needed to do something with that part. Right after that, we then cut to Aurora raising her arms up in the air as she started to sing again, kind of like she was about to start the YMCA dance without doing the M-C-A bit. After stretching them out wide, she slowly lowered them down in a circular motion until they were back down by her sides. Once they were like that the camera still lingered on her as she leaned back a bit during the second line, cutting to a close-up for the third line just so she could look to one side before looking back in front of her so her hair would fly across her face, though she moved any strands to one side once the camera went back to the long shot. During the penultimate line, we then cut to a medium shot of Aurora with both of her hands on her heart, leaning forwards a little bit with her eyes closed to show a bit of emphasis. She then re-opened her eyes towards the end of that line and moved her hands down to her waist before she looked around the stage. During the last line, she looked straight ahead and moved her head down, closing her eyes the instant she was looking directly at the stage beneath her.

Don’t try to understand my intentions
Don’t try to understand me
Gone are the days where I was so carefree
But I make the best with what I can do
When I’m home alone and there no one’s around
I stare at photos of us together
And the memories start to flood back

Roughly a second after that, we have a jump cut back to the orchestra. Or, more accurately, to one of the guitarists playing a solo. This wasn’t something that was improvised for the track but rather something that was originally sampled for the song but ended in the composition because why not. Partway through that, we then fade to Aurora slow dancing around the stage by herself, either because it was to symbolise something that her character was doing, because it was probably the best thing to do to fill in time in between the verses or because she wanted to dance like no one was watching even though thousands if not millions were. Whatever the reason, she did it. Halfway through that, we then see a faded incredibly close-up shot in the top right corner of the screen (filling about 25% of it) of the guitarist’s hands playing the instrument, with close attention to his fingerwork on the neck, before the shot then fades out and we’re back to just Aurora on stage.

After that little interlude, we then cut back to a shot of Chris from behind, still conducting the orchestra as they do a little buildup alongside the piano bit, which also doubles as a hint for Aurora to start the next verse. As the camera tilted up, it then proceeded to slowly do a diagonal-left pan downwards to Aurora, who’s now standing in front of one of the fake walls, namely the one with the picture and mirror on it. She took it off of the wall and stared at the handsome stock photo in the frame, her eyes filled to the brim with sehnsucht. As she stared at it, she carried on singing, slowly carrying it over to the sofa closest to the door. At that point, she laid down on the sofa, getting comfortable on it as she resumed staring longingly at the man in the picture frame. With the camera concentrating on her lying there throughout the last two lines, we then see her become on the verge of tears as she continues, even going as far as closing her eyes and turning her head to the side as she sang. She kept her head there as she slowly lowered it to her chest towards the end of the last line.

I think back to the time when he walked out
Without even saying a word to me
I stood by there waiting for him to come back
Hours passed and still no return
And then the realisation had hit me
He had chewed me up, then spat me right out
And I break down crying

We then cut to a wide shot of the orchestral section of the stage, with Chris doing some more baton movements and a brief close-up of the bassist sliding his fingers down the fretboard before we instantly cut back over to Aurora. She put the picture frame up just as she started to sing and rested it on the table behind her, making sure the stand was jutting out so that the picture wouldn’t tip over at all. During that moment, there was a brief faded picture-in-picture shot of one of the violinists playing her instrument before it faded out a few seconds later. Afterwards, she slowly sat herself up and turned around, almost as if she was about to get up. Probably because that’s what she did, gracefully getting up from the couch and slowly walking to the middle of the “apartment”. Once she had arrived there, she did a little bit of slow dancing while she was singing, even going as far as flicking her hair again towards the end of the third line, though it wasn’t as quickly as when she did it earlier. On the last line, she simply leaned forward with her head wobbling a little bit as she sang it before she stood back up straight.

So now I’ve told you my story about how I became like this
How my life came crashing down hard and how I reject new lovers
But I’ll be an optimist, maybe I will find someone new
Someone who will melt my own icy heart
Hopefully

After that last line, we cut back to an overhead shot of the orchestra, with the brass section lifting their instruments up a little bit while Chris waved his baton accordingly. It was also thanks to this overhead shot that we finally found out what the orchestra looks like. On the left hand side, as well as surrounding the front of the conductor stand, was the string section, made up of violas and violins as you’d expect but on the right hand side of that were the two guitarists and the bassist instead of a group of double bassists. At the back of that was essentially the brass section, consisting mainly of trumpets and the odd saxophone but there was also a trombone and a horn as well. As there didn’t seem to be any woodwind parts in the song, that section was left out. Ditto the percussion section, although that was more because all of the drums was part of the backing track and thus there was no need to hire anyone to play those parts. We could also see that they were arranged so that they were completely in line with the ramps, as evidenced by the fact that the backing wall without the door was in some of the shots of the orchestra as well as any establishing shots of the stage in full showing that Chris was directly facing the apartment while he was conducting.

Onto the outro now. The camera immediately cut over to Aurora, slowly swaying her body in time to the beat as she sang, joined by backing singers who were off-stage. After all, she felt that there was no need to go too in-depth with a proper dance routine, given that it’s just the same four lines repeated a couple of times. Halfway through the first repetition, she stopped swaying and started to slow dance around the apartment, again for no real reason other than maybe her character trying to make the best of things now that she’s alone, but rather because she has all this space she might as well use it. There are occasional cuts to close-ups of her face while she was singing, with the occasional shot of the stage or the orchestra. There was also a guitar lick towards the end but, unlike the solo much earlier in the song, this was completely improvised as the guitarist who did it felt like it would spice up the song. Here’s hoping he was right.

I’ll just break your heart
But you are free to try
I get by day by day
And then I start again
I’ll just break your heart
But you are free to try
I get by day by day
And then I start again
I’ll just break your heart
But you are free to try
I get by day by day
And then I start again

After that last line, the strings did one last flourish to end the song. Normally the studio version of the song would have the music still playing and Aurora still singing right after that bit but, as it would normally fade out to end the song, they decided to just end it right at that point. Compare that to the extended version which loops it for around two and a half minutes thanks to the power of editing. Either way, the song was over and Aurora held her pose, while Chris lowered his baton for a couple of seconds and placed it down onto his stand.

Meanwhile, the audience broke out in applause and cheering, the standard procedure for the end of each entry. We then cut to a group of Elejamian fans, the few who managed to brave the journey and tested negative for coronavirus, emphatically waving their flags and signs in support for their nation’s representative. We even cut to a few people far into the stands giving the entry a standing ovation, though it’s just a question of whether they were Elejamian fans in the nosebleeds or if they were people from the other competing nations who actually genuinely liked the song. We then cut back to Aurora on stage, smiling and bowing for the audience, though she had to do the same thing to the part of the audience behind her given the 360-degree stage. After blowing each side a kiss, she then said a simple ‘Tokran, Tiferet! Ma’a mazal.’^* before heading off stage.

*According to the host’s “Walk like a Kishraeli” thing in his bid, this simply means “Thanks Tiferet. Goodbye." Thank you Ertzei Kishim for helping me out with the orchestra bit and apologies to Malta Comino Gozo for having my singer live in your nation for a couple of years without consulting you first.

by **Malta Comino Gozo** » Tue May 12, 2020 5:19 am

13.Malta Comino Gozo

Nation Name: Malta Comino Gozo
Official Broadcaster: MCG 1
Tune: (Dami Im & Måns Zelmerlöw - Walk With Me)
Song Title: Serenity
Artist(s) Name(s): Glen Ferguson and Kartha Gewart

Kartha and Glen

Background

Kartha Gewart was born in Valletta Malta Comino Gozo in 1991. From a young age she had always had a keen interest in singing, taking part in many school musical numbers, often being the lead singer in the choir. At 16 she sung at her first national holiday celebrations by singing on stage in the city centre in front of thousands of people. It was at this celebration to mark the Birthday of their country that Kartha was noticed by her now record label. Sorny Music. From then till now, Kartha has gained national and international fame, with her number one hit "Army" which shot to number one in the charts in more than 16 countries. She has since had numerous hits in the top ten of the charts. She has always been a solo artist but has sang with Glen before on numerous occasions and she was a backing vocalist for Glen for several months during his early years as a singer and the two remain very good friends.

Glen Ferguson was born in 1980 in Swittar Malta Comino Gozo, a tiny town located 2 miles from the capital. Ferguson started his career, as a song writer co writing with Malta Comino Gozoan producer Jay Amaro. In 2008, he released his first single "Atlantic " which made it to the number one spot on the Malta Comino Gozoan charts. It led him to being nominated "Best Newcomer" at the 2008 MCG Music Awards. From then Glen has taken a step back in singing and focuses more on song writing. Glen is also one of co founders of one the largest rescue dog shelters in MCG founded in 2014, he has helped raise millions for stray dogs and help feed rehabilitate them, and re home them. Kartha's dog, Bananas( seen in the single cover) is a rescue dog from the shelter.

Despite their international success the two singers remain huge national stars at home, and are often seen performing local gigs and shows throughout the MCG Calendar year often at their local feasts.

Kartha and Glen were both approached by MCG 1 at a local music venue in downtown Valletta, a popular hangout for many singers and bands. With popularity of the contest still going strong in MCG, the pair were asked if they were interested in participating. Glen immediately had a song in mind, but initially had only one vocalist. The pair over the next few weeks, recorded the song "Serenity" many times each one slightly different from the last until Glen adapted the song for a mixed duet. The pair sang it together at MCG1 HQ

and the HoD for MCG and public immediately fell in love with the captivating song. The song was perfect and the pair were announced as the next artists to represent the island country at Worldvision to be held in Ertz Kishim. The duet then sang in front of a live audience in a show broadcast to the country. Their song received overwhelmingly positive feedback from the press and public calling it "The best song to represent the islands since "Never" the countries host entry. In an interview the pair were asked about their song, " Serenity is about finding some peace in this busy busy world, its about finding your oasis amongst the busy city, some calm, where you can relax ,just breathe slowly, smile and compose yourself." With a string of mid table results MCG1 was very passionate about bringing the country back into its early days of top 10 songs.

With public mood fluctuating over their mixed results recently, neither brilliant neither poor, their previous entry placing 13th scoring 62 points, with eight points from Eljida and ten points from Estogium. MCG1 knew that their choice of artist and their song would hopefully push Malta Comino Gozo back into the spotlight, a real contender for a winning result. On being presented the stage to work with MCG1 and the MCG HoD as well as Kartha and Glen knew they had a lot of space to work with. With an expanded performance team large than ever the nation knew they had to increase their production on the stage as a result. As a result in the weeks leading up to the competition MCG1, Glen and Kartha and the Delegation worked painstakingly hard on creating the perfect backdrop that would play on the LED's of the stage. A backdrop video that would carefully capture the mood and atmosphere of the song perfectly with an added dramatic feel.

With very few cases of COVID-19 present in the country the pair were flown out on a private flight from MCG Airport to Ertz Kishim with relative ease. They would fly out an extra week early to spend a week in the hotel isolating in cooperation with EK laws on people entering the country. The team would wear masks whenever they were outside the hotel. During their stay the pair and delegation enjoyed the city’s beautiful beaches, which they spent many days relaxing and swimming on, the diverse cultural scene and history sights, the absolutely top-notch cuisine, and vibrant nightlife, all things which appeal to the everyday Malta Comino Gozoan, especially the last one, which did see the pair party until the early hours, but all drinking was done in moderation as to not effect their performance. A lot off calories were lost due to all the dancing. The pair were heard saying that they would love to come back here again, the city, the hospitality of the people were second to none. Numerous interviews and press conferences were also held by the multiverse press. One of the most frequently asked question's was MCG1's new eye to "staging". With MCG1 being a major player in the use of Pyrotechnics in Worldvision's gone by, what had shifted there "usual fireworks" to something more "quiet?" HoD, Selma Vella was quick to respond. " On being presented this stage as soon as our representatives were chosen we knew that smoke and fireworks were't going to cut it, plus our song didn't suit the idea of a firework curtain etc, that's why me and the rest of the team thought long and hard about how to utilise this impressive space we had been given. We knew that we were taking risks, but we feel this is a risk worth taking in incorporating a video into our staging to create a huge impact and by also taking the less is more approach"

Key (G, means Glen sings. K, means Kartha. GK, means both)

Glen is wearing a black suit with black trousers and black leather shoes, with gems encrusted into the bottom of the suit jacket. He has a black tshirt on under his jacket which is also encrusted with small gems. His hair is slightly styled upwards with mousse, and he has light stubble. Kartha is wearing a stunning almost floral like grey dress with many different shades of grey and a black tape around the waist. The dress hooks around her upper arms. She has a pink eye shadow, and her hair is down.

Parade of Nations
Kartha and Glen are both wearing the same outfits for their performance. They both walk confidently down from the right of the stage both waving a small Malta Comino Gozo flag. They walk down the ramp, smiling and waving to the right and then to the left to the audience, blown away from the applause from the arena they can both be seen mouthing "Thank you!" Kartha turns her head to face behind her and waves at the crowd behind before turning back. This was by far the most exciting thing they had both done so far in their lives and they were honoured to be in the contest.

Performance

This video is how the staging will look from an audience member high up in the stands. There will be several references to this video throughout the performance so please watch and enjoy. The cut scene for how it will be shown for the audience at home will also be shown

After the performance from Elejamie had finished, preparations quickly began for MCG to take to the stage. Kartha and Glen would now have to split up. Glen blows a kiss to Kartha as she waves and makes her way to the right hand ramp of the stage where she will remain until her first verse after the first chorus. They are both handed a grey microphone each. Glen makes his way to the left hand ramp of the stage. They both start to feel nervous, but this was just normal nerves, then a rush of excitement and adrenaline kicked in as they both heard the ending of the postcards. The MCG HoD who was stood with Glen pats him on the back as he makes his way onto the starting "X" at the start of the ramp.

The audience erupts into cheer as the postcard ends. The arena turns dark, but not pitch black. 24 cold soft white spotlights evenly spread around the arena whoosh up and point upwards for the entire song. (As can be seen in the video above). The camera view is from the very top of the arena looking down. The stage which is black fades into a misty mountain scene, with a river below as the song begins. The camera fades out to black and fades into Glen showing his entire figure. A spotlight where Glen is stood illuminates him up, in a cool light. The light has a blue/white tone. The small encrusted gems begin sparking like diamonds on his suit in the dim lights. Voices echo out from the MCG choir which is hidden from view as they sing "Ohh serenity" to start off the song. They wont be heard now until the last chorus.

The microphone is in his right hand. Glen is looking at the floor and slowly raises his head perfectly in time so he is facing the camera the second he needs to begin singing the first line. Glen begins singing and slowly extends his open left hand towards the camera. As he sings "And learn to forgive myself" he tentatively places his left hand on his heart, a small grin of excitement sets in, but he remains calm and collected. As he sings the next line the camera follows his outstretched left hand down as it makes its way downwards, Glen extends his hand down from his heart downwards towards the floor, as if he is dipping his hand into a bucket of water.

By the magic of virtual reality, cameras and LED, it looks as if Glen is placing his hand into the LED floor screen as the camera smoothly and fancily transitions to a cut scene( the LED graphic is now his hand gently flowing through a grassy meadow scene with dew drops,see 0:21. Audible cheers can be heard. The camera then cuts to one from the stands of the arena showing the entire stage for the rest of the chorus. Glen is now out of view and he has made his way to the centre of the stage and by the magic that is his outfit, he is concealed from view as the LED graphics plays on the contours and troughs of the stage as well as off his black suit, so he can't be seen from the top camera views.
G

Grant me the peace
To stop beating myself up
For not doing things perfectly
And learn to forgive myself
Don't let the behaviour of others
Destroy your inner peace

The camera stays at the same angle (as can be seen in the video ) on the LED graphic as Glen sings the chorus. The 24 cold white spotlights evenly spread around the arena are still pointing upwards and do not move for the entire song.

G

Ohh serenity
You're my sense of calm, my security
Just protect me
An oasis amidst the bustling city
Serenity
Your waters heal my soul, heal my soul
Embrace me
Baptise me with your love

The camera fades and transitions to Kartha who is stood on the opposite side of the stage. She is lit up up, in a cool light. The light has a blue/white tone as well. She is also looking down with the microphone in both her hands. She raises her head and the microphone towards her lips and sings at the same time too cheers from the audience. Her voice rolled over the arena like waves. Swells of power rose up in her throat. Kartha wanted to connect with the audience, singing as if she was telling everyone watching her that when times get hard you can always rely on someone. She immediately begins to make her way down the gradient of the ramp towards the centre of the stage. The camera stays solely on a body shot of her. She stares soothingly into the camera.

K

Though times may get hard now
You can always rely on me
My soothing waters heal you

Kartha is now in the middle of the stage, and the camera view cuts to more wider angled view of both Kartha and Glen as they sing the next line together. They are stood about 3m apart.They both face each other, a look of concentration embedded on their faces, and sing the line towards each other with an outstretched hand.
GK

I'll help you work it out

The camera now transitions to one from the stands (see 1:12) as a hand again is gently flowing through a grassy meadow scene with dew drops on the LED screen.
G

Be the calm on the (ooooh)
Still blue sea

The LED graphic shows the hand pull slowly away from the grass before cutting back to the outstretched hand back in the grassy meadow. Kartha and Glen are lit with a cold blue spotlight each bathing them in a cool eerie light.The overheard lights and some lights in the middle section of the arena pulsate like a heart subtly to the beat of the chorus as the rest of the arena remains dark, allowing for a vivid contrast and tense mood. The camera pans smoothly right to left around the front of Kartha and Glen before pulling outwards bringing more of the stage into view. It then cuts to a frontal shot of them both singing, their eyes going from the audience to the camera and back again.Their voices blend together beautifully, and both sing completely at the same volume. Kartha sings (Just protect me) at a slightly slower pace to blend in with the next line. As the chorus comes to an end ("Embrace me" onwards) their voices fill with more emotion and spark cheers from the audience. Both Kartha and Glen are feeling it now, their build was here. All the lights tone down to darkness as to not distract away from the impressive LED graphics being portrayed on the superb stage, apart from the 24 spotlights which again have remained constant throughout the whole performance.

GK

Ohh serenity
You're my sense of calm, my security
Just protect me (Just protect me)
An oasis amidst the bustling city
Serenity
Your waters heal my soul, heal my soul
Embrace me
Baptise me with your love

Its very important to note that the camera now cuts to a video (that fills up the entire screen for viewers at home) so they are now watching full screen what is being portrayed to the audience live in the arena on the LED floor. (1:43-2:13 of the video)Glen and Kartha for this segment both stay in the middle of the stage but distance themselves evenly apart from each other, they are now standing a good 8m apart. They crouch down inwards facing one another. Off camera they share a cheeky smile. The LED graphics being portrayed on their backs so as to not affect the graphics being played.

GK

With this new found knowledge
I can help achieve my inner calm
Knocked and bruised I still stand tall
Next to me I'll never walk this route alone
Alone

The audience in the arena erupts into cheers as the beat of the chorus kicks in with the graphic of the man plunging into the water. For the viewers in the arena, a 8 strong choir , 4 male, 4 female from the Royal MCG Choir all dressed in grey suits/ dresses, have accompanied Kartha and Glen on the outer flanks of the stage. Two men and two women each side.
As they sing the fist line of the chorus both singers belt out "Ohhhh" and hold it long into the second line of the chorus. The choir keeps the chorus flowing by singing in the background as the duet carry their notes.Both shutting their eyes as they sing, Kartha bends down and straightens back up again with her left arm stretched as she sings powerfully. Glen's left hands has formed into a first and he emotionally stamps the stage several times, as he holds the note willing his vocals to carry on despite the lack of air. They both nail the notes perfectly. As they sing "You're my sense of calm" the video shot for the audience at home switches back to a view of the arena.The lights in the arena beat to the song(The view that can be seen from 2:13 onward).)

Kartha and Glen are now stood either side of the graphic of the Antenna of the Freedom Tower In New York as the video graphic spirals around the tower before cutting to a roaring river flowing with power representing an oasis amidst the bustling city. Glen holds his note the shortest and begins singing half way through "You're my sense of calm" Kartha holds her note just slightly longer until "my security" where she sings alongside Glen. Just like they practised in the rehearsals. Glens voice is slightly deeper this time as he lets Kartha take on the emotion of the next lines which she sings slightly higher so her voice overtakes Glens, before rejoining at the same for "Just protect me, An oasis amidst" Kartha sings "the bustling city" higher and holds the notes longer and passionately as Glen carries on singing. The camera cuts back to the two of them for the line "Serenity" They both look fiercely at the cameras before singing at one another for the next lines. The camera switches to Kartha as she sings intensely "they heal my soul". Her gaze right into the lens. We then have a body shot of Glen who is also singing straight into the camera lens.Glen and Kartha begin to walk towards one another. For the last line the camera pulls away outwards showing the LED which is waves crashing against a shore. Very subtle sounds of waves crashing against the rocky shoreline can be heard before the camera transitions back to the pair after Kartha sings "Yeah" The choir rounds of the last line.

GK

Ohhhh serenity
You're my sense of calm, my security
Just protect me
An oasis amidst the bustling city
Serenity
Your waters heal my soul, they heal my soul
Embrace me
Baptise me with your love yeah

Choir

Ohh serenity

Kartha and Glen stare deeply into one another's eyes before a huge smile grows across across both their faces and immediately hug each other tightly. The LED graphics still playing away beneath them. The arena is on their feet, with a thunderous applause and cheers. Air horns can be heard as well as a familiar chant "MCG MCG!" They both shout excitedly into their microphones "Thank you Tiferet! Tokran!" The camera stays on them as they wave and start to exit the stage before zooming around the arena onto the excited crowds. Flags of all nations are being waved frantically. The crowd has gone insane and the cheers go on long after they leave the stage.

by **Llalta** » Tue May 12, 2020 6:23 am

LLALTA || 14
"Fate"
Esther Winterbourne
Music - Esther Winterbourne
Lyrics - Esther Winterbourne

Shaj - Arilena Ara

ENTRY BACKGROUND

Album cover for Esther Winterbourne's Britonish debut album "fate", set to release July 17th.

The previous edition, WV81 in the bustling Britonish city of Boschke, Llalta had feared that June Summerfields happy, nostalgic and positive dance number wouldn't even reach top 20 in one of the toughest contests as of yet. With over 30+ entries, many of which considered possible to win, Llaltese chances of even reaching top 10 were slim. Many had considered it a lost cause, Llalta soon to become the next background dancer of the WorldVision Contest. However, June herself stayed positive. She knew in her heart that all she'd come to do was to make the world dance, even if for only 3 minutes. To make her country proud. On the night, her performance shook the Britonish arena who fell deeply in love with the entry and the charismatic performer, who danced choreographies that people of her age sweat at the thought of. Truly, just like what she had aimed to do, she managed to get the whole arena dancing along with her, having fun with their friends and family. In Llalta, many went out into their balconies and streets to sing and dance along. It was truly a moment for the Llaltese. As voting rolled around however, many feared their efforts would be forgotten as a result of the strong competition. And as the 1st half of voting began, that nightmare seemed to become reality, ending up 11th by the half time period. Whilst the Llaltese would be extremely proud of such a result, many seemed to think that they may even fall below 20th. Fortunately, the 2nd half gave June and the Llaltese hope. Gaining various 12 points from Britonisea and others, Llalta picked up the pace on the leader board. By the end of the exciting action-packed voting sequence, Llalta had ended up in an amazing 9th place with 101 points, the first time Llalta had exceeded the 100 points mark. June and the population of her tiny island nation were ecstatic at the result, far better than what they had feared. Furthermore it marked Llalta as a strong contender in the contest, especially after their long break.

As a result, participation to the 82nd contest was confirmed as soon as the contest ended, many excited to reach beyond 9th, perhaps even a top 5 position. However, many feared that the LBN were running dry of money. As a result of competing frequently in the World Hit Festival and WorldVision, funds for the small broadcasting network were low. Many even suspected that the LBN would have another hiatus in order to save enough funds to compete in the near future. And yet, luck for the small island nation never seemed to run out. June Summerfields, Llaltese singer-songwriter and entrant for WorldVision 81 and World Hit Festival 48, set up a charity event in Llalta in order to help for their next participation. The charity event was a huge fete, with stalls, food and games to play. June also created a GoFundMe so that people in other nations could donate if they wanted, including bonuses such as free online concerts and artwork from thankful Llaltese. The scheme was a success, the LBN garnering enough money to finally compete in the contest once again. Struggles to find a suitable entry were diminished as well, Llaltese starlet Esther Winterbourne stepping up to the plate even during her university studies. The WorldVision delegation for Llalta decided to send a polarising entry to the contest, completely different from "Cherish Life". In an interview, the head of LBN, Erik McGarrisson said, "AHahaha! We decided to send something different because... well... uh... I don't actually remember ahaha... old age must really be catching up to me! Oh yes! We sent the fun, the happy, now let's change the game. Send something edgy perhaps or something that really sparks thoughts and feelings towards current events yes. Something that leaves you stunned and on the edge of your seat!"

Unlike other editions of the contest, the LBN gave Esther Winterbourne a brief, describing the sort of entry they wanted. Key ideas included, "powerful" and "raw". This was in order to create a song truly from Esther's heart, something which brings out the emotions of herself and the meaning of the song that she is fighting for. From this Esther wrote three songs to which were presented to previous entrants of the WorldVision and World Hit Festival. They unanimously agreed on the entry "Fate", a powerful ballad of resistance and rebellion. The song was then rewritten and recomposed in order to bring out the song's strongest elements. The song as well as the other two she wrote were also placed on her Britonish debut album of the same name, "fate", set to release July 17th. The song "Fate" however, was first released as a single May 25th.

The song "Fate", as described by Esther Winterbourne, the composer and singer, is a "powerful yearning for peace." The instrumental contains a prominent piano and violin, with other instruments adding to the flair and filling the soundscape with music. Unlike the typical, slow piano ballads with lyrics describing the senses of nostalgia and childhood, "Fate" has lyrics of pain and anger, calling for peace in these turbulent times. The song was written in response to the recent events of the death of George Floyd and the violence and protests that ensued. "Fate" is a message of peace, a message in which calls for coexistence and the fall of systematic racism that has been ingrained in society for so long. Following the unjust death of George Floyd, many peacefully protested this clear example of said racism, fighting for the justice so long deserved. In an interview with the LBN, Esther said, "I see it all the time you know. Hatred, anger, vengeance. Hatred only sparks hatred. It's like a disease, an invisible disease I see spreading daily. And I watch it take more and more people everyday. People on both sides, one looting and burning down their communities and buildings whilst the other is steeped in a system of racism, harming and injuring innocent protesters who are merely fighting for the rights they have deserved for so long. The people who are supposed to protecting them, committing the very crimes they were meant to halt. A city in flames, a world crumbling. Oppression of centuries old - I can't bear to see another soul die. But if this hatred continues I fear we'll see a thousand more. When will this violence stop? And yet, is the only way to gain justice through violence itself? Are they to fight fire with fire for even a glimpse of change? My song, can't do much I know. But I guess, it's the most I can do. A yearn for coexistence, for peace, for justice. A warning to the police of the consequences of their violence. A message to the African-Americans so long oppressed to soothe their souls of this rightful hatred and anger that consumes them. A future not in flames as it is now, and as my lyrics describe. A future where they will be equal through peace. I won't let another soul die to this disease of hatred." The song's powerful composition and melody as well as the poetic yet harsh, chilling lyrics have lead to the songs critical acclaim, the song reaching #1 on the Llaltese charts since it's release as well as doing successfully (by Llaltese standards) abroad as a result. Many cite it's raw, heart-wrenching lyrics as one of Esther's best. But for Esther, the song is a yearning from her heart for peace. A scream in the abyss of this planet.

ABOUT ESTHER

Esther Winterbourne, Llaltese singer-songwriter and Llaltese entrant for WorldVision 69 and 71 placing 5th and 9th respectively. As well as that, the young starlet participated in World Hit Festival 40, 41, 42, 49 and 50, earning 17th, 2nd, 2nd, 3rd and 8th in the respective order. Now, she returns to WorldVision 82.

Esther Winterbourne, 19-year old Llaltese singer-songwriter, was born in the tiny village of Lilliannes. She is very well known throughout Llalta, being one of the biggest artists behind Evergreen. From the age of three, one of her favourite pastimes was singing, where she would sing songs 24/7. At four, she started school at St. Christopher’s Academy, where she stayed at the school until she was 18, the school teaching almost every Llaltese child. From four to eighteen, she participated in many school talent shows and open mic nights at pubs, where she became ubiquitous for her singing and piano playing. The piano she learnt from 6, from the renowned John Marshall of the Evergreens, and reached up to grade 8. She began writing music from 8, leading up to her debut album, "Wonderful Days" at age 13. Her first real album however was written when she was only 16, which was "Titanium" to which the title song of the album reached #1 on the Llaltese chart. Her audience originally was merely the Llaltese but since her debut on the international stage namely World Hit Festival 40, her albums and music has began to gain international tract too. She now is considered the most successful Llaltese artist abroad after big names such as June Summerfields and the band the Evergreens. Her only album since "Titanium" was "Only Yesterday", released in the success of WorldVision 71, and not only swept Llaltese charts, but was her first burst of success abroad, doing particularly well (by Llaltese standards) in Izmedu among others.

Now 19, Esther Winterbourne is currently taking a gap year to focus on her music career and travel the world before going to Britonisea to study at the University of Telm, where she will study Healthcare and medicine. She says, “While I love making music and singing and so on, I want to do something more with my life, helping people and others in need.” She plans to get her degree and become a doctor back in Llalta to help those less fortunate than her. “I want to make people happy; save lives; make Llalta stand out for its amazing healthcare.” She said in an interview. However, now her music career has really set off, boasting two-second places and most recently a third place and qualifying at the 2 most recent participations of Llalta in the World Hit Festival. Despite this and being a commercial success abroad, she still believes that being a doctor is her dream, and to help people. However, she couldn’t be more thankful for what World Hit Festival has done for her. She said, “The World Hit Festival and WorldVision really has changed my life. Like, people know who I am and you know. I just can’t put it into words how... thankful and glad I am for the opportunities and having the chance to meet amazing people I wouldn’t have met before. It really is surreal.” The starlet now has three podium positions out of her six participations as well as WorldVision 69 and 71, gaining 5th and 9th respectively. She returns for WorldVision 82 to hopefully continue Llalta's success in WorldVision.

IN TIFERET

She arrived in Tiferet, Ertzei Kishim and was quite frankly stunned. She knew little to nothing about the continent, not to mention the city itself. She'd only ever heard of the illusive Tiferet when she would watch WorldVision on the TV at home, where they'd reveal the votes but other than that the place was beyond Esther's comprehension. She'd studied rigorously about the cultures, food etc not to act like a complete fool, but all that studying seemed to dissipate as soon as she landed in the luxurious airport. She was in complete awe at the place, it's crystalline buildings of the future towering over the city, like shards of diamonds. It was unlike anything she'd ever seen before. Though Telm City was modern in it's own way, Tiferet was something else. Though she tried to learn the language, it was far too hard for her, so she ended up learning hello, thank you and good bye. Even so, she could rarely nail the pronunciation so she thought she might be better off letting the delegation do the work. Not that they knew the language either, but at least she wouldn't be the one looking ridiculous. On the first day of arrival, Esther was rather tired from the long trip, thus followed her delegation around, gazing at the tremendous, almost alien buildings that scraped the skies. It was like going through a time machine into the future for Esther. She wondered if Llalta would ever become as prosperous looking as this. She hoped not. Despite this, she thoroughly enjoyed her first day. The people were rather welcoming and friendly, almost too much so. She was rather overwhelmed with the choices of food and attractions to visit, wondering whether this was like the lives princesses in fairy tales lived or whether people actually eat exotic fruits on the daily. As the days went by, she grew to love the city and it's surroundings. She managed to sneak off to visit all the places she found in the guide book she brought, and also managed to limit her public foolery. On the second day, she was surprised to wake up where she did. The hotel had a beautiful view of the city and whilst, Llalta's views of the sea were both stunning and nostalgic, she enjoyed gazing out on her balcony also. Maybe it was just her imagination exaggerating the experiences but, everything was so much bigger and bolder in the city. People dressing as they did, and the food, and especially the decoration. Although it may have just been the culture. She never go to answer that question. Days past, and the heat only seemed to grow more intense. Far too much in comparison to the cold Llalta. Nevertheless, she did all the things she's done before in the run up to any song competition, answer the interviews, practise, all the things mock celebrities such as WorldVision competitors did. She may even have to take her family to Tiferet in the near future. It was far too big and beautiful to be explored fully in the surprisingly little time she had.

PARADE OF NATIONS

Before Esther Winterbourne even reached the stage, she could hear the excited cheering of the audience even from backstage. Even though she had done it a million times before, it still made her nervous and shaky. Every time she'd reminisce of her very first major performance, when she was merely a small town Llaltese girl. World Hit Festival 40. She remembered pacing her dressing room in fear, whispering all her feelings to herself in an effort to calm herself down. Under her makeup she was as white as a sheet. She remembered how once she stepped on the Izmeduan stage for the parade of nations, how she numbed at the sight and sounds of the huge crowd cheering for her arrival. She even stumbled onstage as a result, certainly making a first impression. Now, even years later, she still felt numb at the thought of so many people. She quickly composed herself however, telling herself that she'd done it many times before. She just needed to be herself, the Esther that everyone knows. However, she was merely talking over the screaming small town girl still inside her. There was no need to be scared. It was only the Parade of Nations. Nothing could go wrong; nothing has gone wrong. So why should it now?

She stepped out onstage as the hosts called her name, the loud, energetic music numbing her ears, not to mention the crowd cheering, as loud as she last remembered. Even so, the volume they produced still shocked her every time. The train of her beautifully embroidered dress flowed elegantly behind her, Esther making special attention that she didn't slip on the silky fabric. She waved and smiled, blushing at the prospect of the cheering crowd. In rehearsals, the arena seemed so large and empty, but this was a completely different story. The flashing lights, the din of the crowd, all the things that only seemed to make the arena so much bigger. She felt so humbled to be there, not only as a result of looking at the artists, whom of which she supposed were far bigger stars, waving her Llaltese flag in an almost pathetic manner in comparison. Intimidating, but gave her a rush of energy to perform to the best of her abilities. Beyond what she'd ever done before. Even as she walked elegantly backstage, her heart was still pulsing, the adrenaline of it all settling in. And yet, she couldn't stop smiling. She wanted to perform her entry now, a million times over, she was that pumped. After a while, the adrenaline would go down once again, and she'd be pacing her dressing room praying not to mess up. But at that moment, nothing mattered to her.

'This is it.'

THE PERFORMANCE

The Maltese entry had certainly lived up to expectations, garnering a loud cheer from the audience of Ertzei Kishim. Backstage, Esther waited patiently, clapping and cheering for Kartha and Glen as they made their way back to their dressing room. Esther was more nervous than ever, despite the fact she'd experienced this so many times before. Although, she was far better composed than her first performance all the way in Mousiki. She distinctly remembered being a total mess in her dressing room, tearing up before she even got onstage. And yet, even then she got her act together to perform the best she could. She may not have qualified, but she exceeded her own expectations, and that's all that mattered to her. Receiving the last touch ups, Esther then made her way to the stage during the playing of the Llaltese postcard. Through the cheery music that often came with the postcard, she reached the stage. From that point on she was to be seen by the whole world. The prospect would've terrified her if she had not have been already scared of messing up onstage or performing badly. Esther made her way to her starting position and took a deep breath. Even in the pitch black she could feel the energy and mere size of the arena. So diminished was she. But as soon as the song would begin, none of that would matter anymore. She would become one with her song, drifting away on the wings of music. She took one final deep breath, thinking of her family and friends back home in the Llalta she presents. This was the moment she'd been waiting for.

As the postcard comes to an end, the arena darkens to almost pitch black in preparation for the Llaltese entry. The last of the audience's cheers hush, and silence descends on the arena. As the melodic piano and violin duet begin to play, a single dim, white spotlight shines over Esther Winterbourne, who is stood centre stage. As a result, she is left as a silhouette merely framed by the spotlight, creating a dramatic yet mysterious beginning to a song of the same vein. Furthermore, she struck a dynamic pose, interesting to the eye even in a silhouette. Though her body faces the camera, her head is turned to the side, gazing at her arm which is lifted in an elegant position, like a black streak in the light. Her dress also contributes to the elegant, almost royal pose, roses in her hair providing an interesting silhouette among other roses placed on her dress to exaggerate her figure and the dress itself. The camera travels downwards, originally starting in a close-up of her hand, poised and perfect, before zooming out to see her whole silhouette in the light. As the camera zooms out, it becomes apparent of how pitch black the arena around her is, the spotlight the central focus of the performance as of yet. Moreover, not even the audience or the stage around her can be seen in the dead of dark, almost as if she were in the middle of an infinite dark room, no walls, boundaries or features in sight. Merely Esther. As the short introduction plays, the camera focusses on some more close-up shots of Esther, taking different angles and slowly circling her to really intrigue the viewer and to emphasise the mystery of the song. Thus, the stage feels smaller that it really is, not to drown Esther out in the large space and stage. As the introduction draws to a close, the camera begins to zoom into Esther's face which is now turned to the front, which becomes dimly illuminated, revealing her from the shadows and the silhouette she was cloaked behind.

As Esther begins to sing the first verse, the camera continues to take the closer shots, however now mainly of Esther's face as she sings. Speaking of which, her make-up is predominantly black, matching the theme and tone of the song. Her chestnut hair is placed in a messy bun, a few red roses like blood placed on both sides of the base of the bun which flick outwards. Her eyes are framed with red rose petals upon the lid of her eye, a touch of elegance and avantgarde, and she has red lipstick to match. Though not seen particularly clearly, her dress is black also, matching red roses also placed subtly on the neckline of the dress. As she sings the poetic yet harsh, dismal lyrics of the song, her voice is raw and filled with emotion, however subtly as she sings quietly not to overshadow the quieter piano which opens the song softly. In her eyes, one may see regret, anger, a myriad of emotions that lay silently inside her, yearning to be freed. Unlike other entries in WorldVision, the mic is upon a stand, allowing Esther to move her hands, which gracefully yet in small movements express the emotions unable to be sung. One might view them as choreography of their own. Nevertheless, on the third line, she almost spits out the line, almost angry, maybe disappointed. Nonetheless it is apparent from the very start it is a song of extreme zeal towards the matter, as shown by the serious emotions not seen before from Esther. As the second section of the verse begins, her tone retains the original feel of the song, more sombre and sorrowful. She lowers her hands to hold onto the mic stand tightly as the camera zooms out slowly, her eyes glimmering in the argent light. On the last line, she looks up to the spotlight above her, casting a silver light upon her face, almost heavenly, contrasting the gloom before. She reaches up shakily, before lowering in a show of disappointment. As if she were calling for God with no reply. Though the song had only just begun, her eyes were already lost in the stories of the song, the melody taking over her soul. The camera view faded to black in preparation for the first chorus.

Watch the world go up in flames
Only humans left to blame
Don't dare deny
Deny ensanguined lies

Stygian smoke in leaden spires
Black deluge of lost desires
The ebb of bygone vice
Prodigal sacrifice

As the first chorus begins, a ring of white spotlights from the sides of the stage point directly towards Esther. Then, as the Llaltese starlet sings the long note which opens the chorus, the lights billow upwards, creating glare as they face the camera, outshining Esther as they sparkle into the camera. Meanwhile, the camera itself slowly circles Esther from a lower down position, further emphasising the drama and the billowing of the lights. The lights then settle shining directly upwards, creating an illusion like the bars of a prison cell or like pillars of Olympus. Esther herself sings the note with all her might, opening the powerful chorus, sending chills down many a spine. The camera then switches into a closer shot of Esther, who glares powerfully straight into the camera, conveying her call for peace with every drop of fire she has within her. There is a mild reaction from the audience, who cheers at Esther's powerful vocal prowess. On the second line she reaches towards the camera, before swinging her arm to the side in a motion so full of emotion as her voice. As she sings the second section of the chorus, yet again, the ring of white lights billow upwards and settling as they face directly above. However, this time the camera zooms into Esther as she holds the note with all the strength and might of her voice. At some points, the billow of the lights would catch Esther's eye, which would shimmer like starlight as a result. Her pose was like that of a statue of a Greek goddess; powerful and intense, royal and elegant. Her voice on the other hand was far more raw than any goddess or royalty, filled with tinges of agony for the message she wants to convey. Streaking with the yearn for justice and peace. Tinted with the pain of loss. Her expression was often just as fierce, etched with scars of stress that cast shadows upon her normally perfectly unblemished face. It was unlike any performance Esther had done before, yet possibly could be described as a true song from her heart. The passion she had stoked truly set the audience ablaze that night, soon to become more intense. As she sang the last line of the chorus, a tinge of sorrow and desperation could be made out in her voice, like a show of vulnerability. Her eyes pleaded to the camera, shimmering and glaring in the white spotlights that trapped her upon the stage.

Is this our fate?
Set the world ablaze, unfazed
'Till only our ashes remain

Is this our fate?
Shatter auric empires, spark fires
Could it cease your anguish so dire?

As the song picks up in energy and intensity, particularly in the introduction of the drums among other instruments of the song, the lighting and staging also reflected that. A couple lights billow outwards from around Esther, washing the arena in a dark, gloomy and almost hellish dark red hue, the audience being seen too as a result. On the floor, a splash of roses of warm tones burst from beneath Esther, ranging from reds to magenta, reddish-brown to crimson, like an explosion of paint, spreading out around Esther, also matching the lighting shift. The camera takes a shot from further out, reflecting the change from more intimate staging to a grander, more powerful staging style. Circling her, the full beauty of Esther's gown is seen in the red lights. For instance, the roses which adorn her neck line also appear at the bottom of the dress, an ombre of roses which appear more frequently the lower down on the dress you look. As a result, the dress appears to shift into the floor, an illusion due to the use of roses upon the dress and the roses upon the floor. Throughout the verse, Esther's voice remains softer than the chorus before it, however one may notice tinges of agony and anger, yearning to be freed. As per the usual Esther style, her hands elegantly dance around her, conveying emotions displayed not by words. The camera makes sure to vary the further back shots with many close ups, capturing all the emotions of Esther. On the first line of the second section of the verse, Esther thrusts her fist in the air, not hesitating once, in a powerful show of defiance. The camera makes sure to capture the moment also, taking a shot of Esther chest up, her iron arm and fist taking the focus as it shines in the darkness of the arena, Esther looking dead straight into the camera with a blazing fire in her eyes. Soon after however, she drops her fist, clutching the mic stand. On the final line however, she looks into the camera which zooms towards her face and her voice suddenly become stronger, letting more energy out, showing her passion for the lyrics she sings. It is clear her heart and soul are truly pouring out throughout. The camera fades to black once again, building up for the second chorus and adding a moment of tension.

All I see is enmity
Diffused in eyes of sapphire dreams
So blind abhor
The earth's heart yearns for concord

Raise your fist abrade the skies
Fight for the justice long arised
But at what cost?
Somber warriors of the lost

Like the chorus before, a ring of spotlights billow upwards, creating a glare of light as they pass the camera lens, eventually until they face directly above. There is also a notable flash of white from all around at the introduction of the chorus, opening it with a grand lighting that is a feast for the eyes. As Esther sings the long notes with the strength that her heart can muster, the camera circles her, before zooming outwards, focussing on Esther and the dramatic lights that shine behind her. Upon the projective floor beneath Esther, the roses that were once gathered in burst beneath her spread quickly outwards upon the black abyss of the stage, more and more roses emanating from Esther, giving movement and intensity to the so far slow performance. Esther clutches tightly onto the mic stand as she belts the notes with confidence, carried away with the music and the message she presents. Even with the increased anarchy of the lights, she stands posed and strong, flinging her arms in a melodic anger. On the end of the second line, the lights flash white on different parts of the stage to the rhythm of the syllables, creating added drama and power to each and every word Esther sings with the raw and unfiltered power she is not so known for. Furthermore, her eyes are glazed over with the music, gleaming and burning with the prospect of peace and justice. The second stanza of the chorus is also introduced in a similar way with the spotlights billowing upwards once more. Roses continue to stream outwards from beneath Esther, who herself radiated both the beauty and harshness of rose as she stood upon the stage, her soul shining through as she sung. As she sings the last line, her eyes once again glimmer with desperation, pleading her case to any viewer at home as she reaches out shakily, her hand firmly upon her heart. The camera zooms in on these emotions, before taking a wider shot, capturing the audience, many of which truly taken by the raw emotions of the entry. Esther spreads her arms out wide, as if encompassing the whole arena in her aura of emotion.

Is this our fate?
Set the world ablaze, unfazed
'Till only our ashes remain

Is this our fate?
Shatter auric empires, spark fires
Could it cease your anguish so dire?

As the chorus shifts into the bridge, the spotlights that surrounded the stage began roaming the arena, the lights slowly shining around the walls of the arena, painting it in warm hues of red. At the start of the instrumental, only the back singers backstage sing, leaving Esther upon the large stage. As the camera circles her, she slowly shifts into a powerful pose similar to that of the beginning, one arm elegantly positioned in the air with her face directly looking at her hand, high in the sky. The camera as it circles her moves to take a shot of her hand, a silhouette in the white spotlight shining directly upon Esther. Through the gaps between her thin, yet rather delicate fingers, the spotlight flares in the lens. A birds eye view from above reveals scenes depicted upon the stage of the recent protests, buildings burning, people protesting as well as scenes of police violence also, ever so slightly distorted by the contours of the stage. Dramatic scenes which match the overall tone and colour scheme of the performance as of yet, such as reds, blacks and whites, shown in the burning of buildings, explosions and violent protests alongside police violence with explosions and flames. The scenes play out, each around three seconds long, slow to convey the context and events, but not too slow as to match the rhythm of the song. As Esther begins to sing the three "fate" lines, the camera transitions directly to a shot of Esther, rapidly zooming in throughout the three lines. The lights also intensify at this moment, flashing a bold white as the song builds up, slowly getting brighter and more harsh to match the rising tension of the moment. Pyrotechnics are also used, various random shots of flames bursting from different places of the stage. These, much like the lights, also intensify as the song builds up, growing increasingly more rapid and large as the section of the song continues. As the camera zooms into Esther's face as she sings the three words, her voice growing stronger and louder with each moment, the dance of flames can be seen reflected in her normally grey-green eyes. Her face expresses an agony unseen as of yet also, becoming more noticeable as the camera zooms in. While the focus is clearly on Esther, behind her the wild dances of flames and lights can be seen, slightly blurred, almost transporting her from the stage to somewhere of violence, like the flames of a building. The floor beneath her rapidly flicks through various photos of African-American victims, each face appearing to the quick rhythm of the song. Familiar faces of those that have died. However, this is hardly seen by the camera, which keeps it's focus on Esther throughout the thrilling sequence.

The build up finally precipices on the final fate, in which Esther sings the final "fate", holding the note with immense power and passion, eyes closed in focus. As she sings the note, all the pyrotechnics shoots upwards for whole duration of the note. The flames become especially apparent and bold as the whole arena turns pitch black, stage included, apart from the flames and the single white spotlight which shines on Esther like a ray of godly light. As she sings the note, the arena almost feels is if at a standstill, as if time had stopped, even for just a moment. To her, the note lasts a lifetime. Esther was too full of the music to really think about the note, or any of that. It seems both effortless, yet, full of pain and sorrow. She lets out all her anger, frustrations and pain towards the situation into a single note. The burden of life and it's tribulations is lifted, even if only for a while. She feels almost at peace, surprising considering the drama of the song and the situation she fights for. She spreads her arms out wide throughout, before throwing them up in the air as the note stops. The crowd cheer for this impressive feat of skill from Esther. As the note ends, the arena is plunged into darkness once again, if only briefly, the pyrotechnics cutting off all in sync, the spotlight that shone of Esther gone, leaving the arena in darkness for a mere moment. When the single, dim, white spotlight lights up once again, the stage looks similar to that of the beginning of the entry. Esther a mere silhouette in the bright light of the spotlight, poised in a position like that of a goddess. However, unlike the beginning sequence, her fist is placed like iron in the air, making her stance clear. Furthermore, in the aftermath of the powerful, long note, she is clearly breathing deeply, not even the shadows able to conceal it. The camera angles make use of her poise however, taking shots that emphasise her inner elegance and strength, Esther like a Ancient Greek statue of the gods, or like Lady Liberty herself. The brief moment of silence is beautiful yet sombre, peaceful yet filled with tension. Then, as the violin begins to play its beautiful melody in the pitch black of silence, brilliant red rose petals begin falling elegantly from above Esther. They waltz and dance with the little breeze there is in the arena. Esther stands her ground in the wake of the beautiful rain of red, creating a beautiful, moving scene like that of the climax of a movie. Petals drifting with the grace of a ballet dancer, twirling around Esther, a memorable moment of the song, making use of the quiet in the midst of the drama of the song. The camera circles the scene, capitalizing on the beauty of the petals alongside Esther's lonely shadow. Peace within a world of violence.

Oooh, Fate, Oooh

Fate
Fate
Fate

The moment of quiet ends as the final chorus begins, opened by a synchronised burst of pyrotechnics. The arena lights up once again in the song's signature hues of red, magenta and brown, filling the arena with a hellish aura of flames and destruction. The spotlights once again billow upwards, flaring in the lens of the camera. The full extent of the arena can be seen in this sudden rush of colour, Esther somehow seeming rather prominent and bold even in the large space of the stage. Though the rose petals stop falling, the lay elegantly at the hem of Esther's dress, similar in effect to the rose graphic upon the floor in which blending with the dress. Speaking of which, the floor beneath Esther depicts roses and rose petals emanating from within Esther, flying outwards in a dramatic show of beauty. These rose graphics are placed over more scenes of protests in hues of the same as the stage, of fires, protest and violence in sequence with one another in order to show the full extent of Esther's cause and what she fights against. Taking wider shots of the stage, the camera focusses on the grandeur of the staging and lighting, rarely taking closer shots of Esther. Through these camera shots, both the scenes of protest projected upon the stage can be shown to the audience at home as well as the matching lighting. As a result, the tone of the song is wild and violent, pyrotechnics further flying out in time with the rhythm of the song. Though at first, Esther does not sing, she instead throws her arms about in a violent yet contrastingly graceful and eloquent manner, throwing rose petals in the air as she does. She moves to the beat, lost in the music, eyes closed, feeling the essence of the song in every movement. The camera transitions, unlike the earlier scenes of the song, are erratic and moving to the rhythm of the song, moving quickly and rapidly, capturing the violence and anarchy of the instrumental and the message it represents. As Esther sings the long note before the ultimate chorus, the camera switches focus to her once more, Esther tightly ripping the mic from the stand, allowing for more free movements. As impressive as every note before, she sings the note, swaying her body as she does. She swings her body, feeling the music with every bone in her body. As if the music were freeing her from the darkness and hopelessness of the situation. Behind her the pyrotechnics can be seen, pulsing and flying from the sides of the stage to the beat of the song, less maniacal than before. The camera zooms onto her as she sings the note, capturing each emotion etched upon her face. With her free hand, she guides her body, like a choreography of it's own, elegantly twirling and dancing. '

As she sings the final chorus, the camera takes a still, close up of her face, her eyes of zeal ablaze staring directly into the camera, an air of power radiating from her. In the foreground of the shot, Esther's right arm, reaching forward towards the camera can be seen, out of focus hence the slight dramatic blur. After, as the long note of the "fate", is sung, all the spotlights around the stage billow upwards in a pure, bright white, more bold than the lighting before in order to emphasise the peak of the song. Esther's eyes gleam as lights shine into them, flames dancing in crimson like blood in the reflection. Upon the stage below, more scenes of powerful protest is shown, however, many more symbols are seen as well as fires and fighting. The scenes are shown quicker than before, a confused, anarchic montage of various events and symbols of power and justice. As a result, the staging is dramatic and sharp, yet also filled with raw emotion, also carried by Esther's powerful voice like the rawest ores within a geode. As she sings, her voice is streaked with all kinds of emotions, raw and unfiltered. Within Esther's mind she thinks nothing of the future or past, rather, her onstage in the present, singing her heart out as she yearns for peace. She thinks only of the people she fights for right now. Soaring with the wings of her song. Pictures of those who have died appear on the stage below, referring to the lyrics she sings. Esther begins tearing up, yet not letting it affect her voice. Even so, she thinks of the people she sings of. People who have died for merely the colour of their skin and there's a blossom of guilt. Not that she'd let it show. Not only that, but she sings of the people who may die in the violence. If this violence continues. However, as the final chorus of the song begins to reach it's end, the song begins to slow too, reflected in the lighting, which becomes less wild and dramatic. The pyros halt, only ablaze to emphasise the two syllables of the two last words of the second line. Alongside that, the spotlights flash along with the pyros, only to fade moments later. Thus leaving the stage in pitch black, only a spotlight shining above Esther, illuminating her in the holiest of whites. The music quietens and softens, Esther following closely, her voice desperate and soft, filled with mere sorrow. Beneath her is a black and white video of a African-American child, looking innocently into the camera, after which fades, replaced with graphics of stars upon the black canvas of space, representing the most important features of his face. Rose petals once again rain from the sky, waltzing around Esther who sings the final line with tears streaming down her face, her voice raw yet soft and sentimental. The camera throughout the final sequence takes close-up shots of Esther, presenting the intimacy of the moment, taken a couple shots from a distance to show the projection on the stage, and the shift to starlight. Esther's eyes are shattered from the burdens of guilt and sorrow, glazed over, shimmering in the lonely spotlight above.

Fate, Fate
Fate, Fate
Oooh

Is this our fate?
Cursed sloe souls blaze afire, alar
Departed to the face etched in stars

The song finally fades to silence. The spotlight that illuminates Esther dims, leaving her once again a silhouette. The stars that shine on the floor and fade away into black, the final rose petals falling from the ceiling. The final shot is one of Esther's silhouette, stood with her fist in the air, rays of light in a divine manner gleaming into the camera, like golden auroras. In the darkness, she lifts her mic to her lips before saying, "black lives matter!", a message which echoes around the arena like a candle in the dark. The last of the petals fall in the silence, before the audience cheers loudly for the Llaltese starlet's raw and emotional performance. The lights shine once again to reveal Esther in tears, stunned at her own performance. Not once in her life had she ever expected to perform with such emotion and anger, with a message so relevant as now. She was proud of herself. Though there was little in reality she could do, at least with a song such as that she could spread the relevant message and guide others to support the cause. Help save a life. Esther bows shakily, almost stumbling in her state of weakness. "Shasgeretzi Ertzei Kishim! Th-thank you world!" She said weakly, not really knowing what to do with herself. In her mind she had a million thoughts, each racing through her mind like a hurricane. She never thought in her life she'd make a statement such as that, but there she was, in tears, stumbling like a drunkard. And yet, she knew she performed to the best she could perform. No result could topple such pride as spreading the message that was needed to be said. She just hoped that she'd done enough. No matter, she would soon stumble away back to the greenroom, hugging a university friend she'd dragged along. Nevertheless. She'd done it.

by **Polkopia** » Tue May 12, 2020 7:40 am

Rokzana // "Route 99"

Rokžana Fyodorovna Bogolyubova was born in Valinkova, Polkopia, where she spent most of her childhood. She shared her three-bedroom apartment with her mother and father, maternal grandparents, and seven siblings. Due to rising living costs in Polkopia's urban centers, Rokžana was forced to seek employment at the age of 12 in order to help pay for living expenses. She and her brother, Nikolai found employment together in the coal mines that were located within walking distance from her apartment, where she worked for four years. Due to the poor working conditions of the industry, Rokžana developed asthma at an early age and was forced to seek alternate employment when she was 16. Soon after quitting, she secured a job in downtown Valinkova working as a waitress, where she worked until she was 20. In her most recent interview with Z! News, Rokžana recalls this year as being the most difficult period of her life. During this time, she lost her grandfather and mother in a car accident, and her brother, Nikolai, in work-related accident. Later that year, she was fired from her job due to issues regarding to her growing alcoholism addiction. She remained at home for one more year before enrolling at Mesa Institute for the Liberal Arts, where she studied philosophy for four years. Here, she developed a passion for poetry and drew inspiration from the fragility of one's life and the struggles and anxieties she suffered throughout her life. In her early works, her late brother was referenced in seven out of her twenty pieces in her portfolio. In her opening line from her graduation speech, she quoted one of her poems, "Sometimes we're faced with unspeakable tragedies that can render our minds and souls into a cavernous pit of despair and we, as creatures whose search for ephemeral pleasure seems ever-lasting, waste our entire lives trying to climb our way out of this chasm rather than adapt to this unfamiliar environment, whose beauty can transcend even the most glamorous life we think we've lived before." The first line of her speech remains highly influential and often quoted by alumni of the Mesa Institute, and a sign reading the entire quote is situated right in front of the admissions building.

Sometimes we're faced with unspeakable tragedies that can render our minds and souls into a cavernous pit of despair and we, as creatures whose search for ephemeral pleasure seems ever-lasting, waste our entire lives trying to climb our way out of this chasm rather than adapt to this unfamiliar environment, whose beauty can transcend even the most glamorous life we think we've lived before.

After graduation, she worked developing poetry and working on her portfolio as an artist, occasionally attending poetry readings at some of the city's local venues. She experimented with the idea of singing her poems over an acoustic guitar, however she felt as if though singing and playing an instrument simultaneously distracted herself from display the proper facial emotions in order to properly convey her poetry to an audience. Although she discarded the idea of playing a guitar, she persisted with the idea of singing her poems rather than having them be delivered through spoken word, and took several years of singing lessons. During this time she was able to really develop her brand as an artist and establish herself in the Polkopian writing community as a professional. Historically speaking, Polkopia has always been a country of writers, however, establishing yourself as a professional writer is extremely difficult. Many old-school Polkopian citizens often criticize the new generation of writers for "dumbing down" the works of great Polkopian writers in the 18th and 19th centuries, and while the pieces that were written during the "Polkopian Renaissance" left behind a legacy in Polkopian culture transcending any other art form, it causes an issue where new and aspiring artists are often compared to these writers and are more or less discarded by the writing community, so there is an incredibly large risk factor in taking up writing as a profession in Polkopia. Nevertheless, Rokžana seemed to persevere, landing more gigs in one month than the previous, being invited to larger venues and to speak in front of a larger amount of people. Before long, her invitations included that of television appearances, social media collaborations, and lyrical composers for already-established Polkopian musicians, the latter of which Rokžana almost never accepted. She believed that she would be able to best convey her poetry to the public and that her delivery was an essential part of how her work was perceived to the public. Be that as it may, the idea of performing her pieces to an audience of such a grand scale of onlookers definitely held some sort of appeal for her, so she used her resources and wrote the song, Route 99, alongside Worldvision alum, Martin Tyvin, who helped produce some of the music as well, and released it, intending to use it for the upcoming Landa vy Polkopiya.

Originally, the idea behind her performance was to utilize the saying, "less is more", as Rokzana intended for viewers to really pay attention to the song over everything else, which she feared could distract people from the lyrics in the song, however as preparations for the contest went underway, Rokzana and her team understood that they could perhaps paint a picture in order to evoke certain feelings from the viewer, which could work to further invigorate the emotions that Rokzana was already planning to portray. The staging idea was to be simple, but effective, and her strategy seemed to pay off, as she won both the jury votes and the domestic televote in order to secure the lead. In the days following her victory, she considered rejecting the offer to perform at Worldvision, as she didn't quite see it fitting into how she wanted to portray herself as an artist, and she felt that the exposure that Worldvision would bring her would be too much for her. She was typically more quiet and reserved, and the thought about being in the public spotlight and to represent an entire country would bring an enormous amount of pressure that she felt she wasn't quite ready to take on, but regardless of these thoughts, she accepted the proposition, eager to take on new challenges and see where this new path would lead her. For her, the preparation for Worldvision was relatively simple; there was no need to learn choreography, or any intense stage placements. As it was her personal project, she would have the final say on what the stage performance would look like, so she and her work partner, Martin Tyvin, devised a staging concept similar to that of her performance at Landa vy Polkopiya, but more suitable to the grandeur of the Worldvision stage.

As with any foreign delegation arriving in Ertzei Kishim, the standard protocol was to arrive about two weeks early in order for proper quarantine measures to be implemented, and Rokzana was no exception to this rule. She and her team arrived in Tiferet two and a half weeks before the show, allowing for a little bit of time in order to explore the city a little bit once self-isolation was over. During this time, Rokzana used her solitude to study some of the cultural norms about Ertzei Kishim, including the language, customs, and people, did her very best to grasp some conversational Hebrew at the very least. The most difficult thing, according to Rokzana on one of her social media platforms, was to learn the alphabet. Although necessary, Rokzana admitted that she struggled for days when trying to learn the alphabet, despite utilizing all of the resources she had. On her social media, Rozkana frequently documented her progress, and many of her fans found her struggles humorous in one way or another. Kishraeli-Polkopians found it particularly humorous regarding Rokzana's mispronunciation of the letter ר and the struggles she faced when trying to familiarize herself with the Niqqud system, however many applauded her for using her spare time in such a way. In a two-hour long live session on her social media platform, Rokzana spent the first hour practicing her vocabulary with words such as מלון and מפתח and trying to use them in context to the best of her ability. At the end of her two-week quarantine, she was actually able to go out and explore Tiferet as much as she could in three days, choosing to visit locations that were culturally significant and mentally relaxing rather than visit nightclubs or bars. Photos of her surfaced online of her in front of the clock tower in downtown Tiferet and her walking along the road hugging the Tiferet Mountain Beach Coastline. Back home, Rokzana preferred her solitude, preferring to engage in activities that stimulated one's spirit and rid the mind of materialistic occupations, and her experience in Ertzei Kishim wasn't going to be any different.

Although spending time in another country was a great break from all of the press and drama that came with representing a county at Worldvision, eventually she had to resume preparations, and with only days before the big show, every moment that Rokzana and her team could spend perfecting the performance was crucial. Being on such a big stage proved to be a hindrance for the Polkopian team this edition, as a slow-tempo song such as Rokzana's could lead to the stage swallowing her up, whereas any background dancers and props they added to the performance ran the possibility of seeming out of place. Martin Tyvin and Rokzana had drawn up plans for staging back in Polkopia but seeing the stage in-person was entirely different. They still wanted to draw up the feeling of nostalgia and the loss of a loved one - something that had been discussed since the very beginning, but how was one to do that with the current stage scenario? The first day of rehearsals was spent answering this very question, and the entire time was spent experimenting with different backgrounds, lighting techniques, and stage positioning for Rokzana, but nothing seemed to be working for them. The Polkopian team thus left the first day of rehearsals feeling extremely discouraged and nervous, really, as none of them wanted to deliver a performance that seemed amiss. The next day, the pair sat in Rokzana's hotel room with a sketchbook and a notebook and drew all possible stage-designs that could mesh well with the song's message. They wanted to feature a highway - that seemed rather obvious considering the title of the song, but what about the performance? They couldn't simply have Rokzana stand on-stage while the LED screens move past her, that just wouldn't be exciting enough. This was the looming question heading into the second and final day of rehearsals.

The second day of rehearsals seemed to go much smoother; Rokzana seemed to be a bit more comfortable with the stage directions and the overall performance, however there were some notable technical difficulties that occurred on several occasions. On the Worldvision's official channel, snippets of the contestants' rehearsals were published in order to give viewers a small insight on what to expect for each nation's performance, and Rokzana's video showed a solid visual performance, but the audio left something to be desired, as it sounded as if Rokzana's microphone continuously cut in and out at random occasions throughout the song. In an interview after the performance, a reporter asked an obviously frustrated Rokzana what she thought of her second rehearsal, to which she responded, "I'm not happy about it. I'm really not happy about it at all. I just hope we can figure everything out by the Final. That's all." Videos capturing Rokzana in this element circulated around Polkopian entertainment channels, leaving many Polkopian fans to question whether or not their country would succeed in this year's Worldvision. Some blamed Rokzana herself, citing her unprofessional outburst and lack of experience directing a stage performance as a result of this, while others blamed HARESHET, the Kishraeli broadcaster, who was in charge of ensuring that the contest ran smoothly. Regardless of who was to blame for it all, tensions were high in Polkopia on the eve of the Worldvision Final regarding Rokzana's performance. After the second rehearsal, Rokzana stayed quiet on all of her social media platforms, choosing to focus her time and energy on regaining her composure in order to maintain a level-head during the night of the final. She didn't want to waste her time reading any sort of negative comments online about her or her performance, as each comment would only eat away at her emotional well-being - something she couldn't afford to give up before the show.

After the applause died down following the Llaltese performance, the Polkopian postcard was shown, resulting in another round of cheering from those in the Zirah Leumit. Backstage, Rokzana's makeup team applied their finishing touches on her face before sending her out on the stage, where she hurried to take her place. Once onstage, she stood at the base of one of the ramps, standing in front of a generic microphone stand. Her blonde hair was messier than usual and fell down to her shoulders in waves. Backstage, Rokzana opted for this look in order to draw a comparison to having one's hair out while in the sun all day, having it still fashionable, but still natural at the same time. She wore a metallic amber dress that glistened in the stage lighting and covered the floor around her (Think this, bit a little bit longer). For now, she was alone and the stage was completely dark to start off with, however the opening chords of the instrumentals would soon change that. Once the opening chords played, the stage would light up, but only very slightly. On the sides of the stage, the illusion of sand dunes would be displayed on the LED screen, however the lighting was nowhere near bright enough to make it particularly obvious. The entire stage was lit up as if it was early dawn, so only bits and pieces of the terrain was visible. In the middle of the stage, a road was displayed, with the center dotted line and the lines on the perimeter of the road being the only parts that were explicitly visible. All throughout the first bit, the LED screen moved as if Rokzana stood in place of a speeding car and everything moved past her as she "drove" along. The camera was centered on her, but positioned far enough away where the entire stage was visible. As she sang the first verse, the camera slowly zoomed in on the stage, though Rokzana was not yet visible to the audience. It wasn't until the beginning of the third line where a spotlight illuminated Rokzana.

Daydreams, nightmares
Layin' wide awake all afternoon, I swear, I was like
Cruising, care-free,
Feelin' so alive, feelin' the wind blow through my hair.

During the first line of the next verse, the camera switched angles and did a side-to-side panoramic of Rokzana, who stood there, singing with a stone-cold expression on her face. Meanwhile the lights evolved so that it mimicked the lighting pattern of a sunrise. For the second and third lines, the camera did a full-frontal view of the stage, and the desert terrain and two-lane highway were all fully-visible to the viewer now that the lighting changed. For the fourth line, the camera panned in from above and rotated upon itself, and the fifth line saw a return back to a full-frontal view of the stage, only zoomed in much closer on Rokzana this time.

You were sitting up front, I was riding shotgun
And I felt much better, whenever we were together.
And I know,
That memories, still sting.
And I'll never forget those days riding in your corvette, oh baby.

During the first line of the chorus, Rokzana looked up toward the ceiling and held her other hand delicately inches from her face while her other hand held the microphone stand. She pulled her hand closer to her chest and balled her hand up into a fist, before slightly patting it up against her chest. During the next two lines, the camera switched to another overhead view of the stage and moved in a slight rotational movement. The next two lines saw a camera angle situated at the bottom of the stage, looking up at Rokzana, who squeezed her eyes closed and held her hands up to her head before she allowed herself to relax as she sang the last line of the chorus, and the camera switched to a zoomed-in view of her face. At this time, Rokzana smiled for the first time throughout the performance, and nodded as she sang it.

I'll replay those songs inside my head.
I know that you'll always be mine.
See the horizon up ahead.
When we drive down Route 99.
Sunlight's burning ,the waves are crashing in,
Let's go even faster so we can escape disaster, baby.
Ooohh... I know that you'll always be mine.

Between the last chorus and this next verse, the camera faded into black in order to transition between the two. Once Rokzana began to sing this next verse, the camera started with a view from overhead. During the entire verse, the lights faded into a pattern that resembled daylight fading into dusk. The camera transitioned between different views here, and Rokzana's expression maintained the same stone-cold demeanor as before.

Midnight, heartbreak.
Throwing empty words, it was my worst mistake
It was burning, through me
How we both said things we knew we didn't mean.

Wind machines that were hidden from view started to pick up and blow Rokzana's hair back as she sang. By now, the lighting around the stage resembled that of an early night, but the scenery was still all completely visible to the viewer. During this part, we start to see a new wave of emotion from Rokzana as she sang. Before, she was rather emotionless throughout the entire performance but now her eyes seemed sad and she seemed to be almost pleading with the audience as she sang this verse.

I told you that I hate you, you told me that we were through
And I sat there trying, and compromising, and crying
But you had, made up your mind.
And you left me all alone in the dark of the night.

As Rokzana sang the next chorus, the lighting occasionally flashed, resembling lightning, though the pattern only occurred twice throughout the entire chorus. Fog started to creep onto the stage, meanwhile, and Rokzana's eyes filled with tears as she sang. During certain parts, she clutched her collarbone with her hand, moved her hand up to her lips, and other small movements that showed a side of fragility to her personality as she sang. The wind machine kept blowing and was much stronger than before.

I'll replay those songs inside my head.
I know that you'll always be mine.
See the horizon up ahead.
When we drive down Route 99.
Sunlight's burning ,the waves are crashing in,
Let's go even faster so we can escape disaster, baby.
Ooohh... I know that you'll always be mine.

During this bit, the bits of lightning intensified and the wind picked up as well, now blowing the fog and smoke behind Rokzana. The road LED screen slowly began to crack and crumble, beginning with the far end of the stage, and ending with where Rokzana stood. The only piece of the road that remained intact was where Rokzana stood, and it was only large enough to fit the area that she stood on. Meanwhile the dessert patterns on the side of the stage changed into teal and cyan geometric triangular patterns spinning against a black background. The camera switched to quick transitions between views in order to add to the entire chaotic feel of the breakdown of the song here. The last shot showed Rokzana rip the microphone off of the stand and clutching it as she fell to her knees. The transition between the breakdown and the final chorus would be a longer transition, fading into black for a few moments.

Remember everyday, how you were holding me,
I felt like nothing could ever stand in our way.
'Cause we were flying high, this kind of love can't die
But now this is goodbye.
And when you walked out the door,
This pain in my chest, it's something I can't ignore.
You drove down the road, just like we had before.
You were driving all night, 'til they took you away
And cruising on the highway, I can't help but remember...

For the last chorus, the lighting returned to that of a bright sunny day, and the desert landscape returned as well. The only part that was different now, was the road in the middle of the stage, which was missing and dropped into a seemingly endless abyss. Again, the only part of the asphalt remaining was where Rokzana sat. Rokzana sat on the stage now, her eyes red and swollen, clutching her arm which held the microphone with her other hand, and looking into the distance with a sad smile as she sang.

I'll replay those songs inside my head.
I know that you'll always be mine.
See the horizon up ahead.
When we drive down Route 99.
Sunlight's burning ,the waves are crashing in,
Let's go even faster so we can escape disaster, baby.
Ooohh... I know that you'll always be mine.

When the performance was over, Rokzana stood up and wiped her eyes. "Thank you! Toda Kishrael, ani ohevet et’h’em!" Rokzana said, before walking off the stage.

by **Antahbrantahstan** » Tue May 12, 2020 8:40 am

16. ANTAHBRANTAHSTAN | إانتهبرنتهستن

Ruslan Miroslavovic-Guilt
Tune: UNINE's Xia Hanyu-Arrival
m & l: Ruslan Miroslavovic, Maria Theresa McKennon, David McKennon

Ruslan Miroslavovic is a singer, born to an Izmeduan father and an Anturian mother. Ruslan's interest in music was piqued since his childhood, where he participated in several singing contests across the country, however, her mother died during his teenage years, and thus, Ruslan put his music career on hold in order to focus on his studies and to care for his father.

At the same time, Ruslan was spotted by a talent scout while he was ordering food in a restaurant, at first, Ruslan does not want to, however, after some encouragement from his father, he signed with the then-unnamed record label, where he trained with FOUR members and several others in singing, dancing, songwriting and variety, although he would quit the record label just before debut, after Ruslan realized that he just wants to pursue a solo career rather than be in a group.

Ruslan was selected internally by RR after the broadcaster cancelled the Melodi Grand Prix due to the ongoing COVID-19 pandemic, wherein Ruslan was given the freedom to write and compose the song as he wishes, with the limitation that it wouldn't be a joke entry. "The creative process was very complicated, me and my producers (Maria Theresa and David) went through many videocall sessions within a month, there were lots of screaming, meltdown and disagreements between us, not to mention the sometimes bad, sometimes lagging internet connection, to be honest, it was horrible." Ruslan remarks in an long distance interiew with RR. "But then i realized that, at the end of the day, i was given the amanah [trust] to represent this country, so me and my producers combined both our experiences and whatnot to write this moody, sultry song, and, i am honestly not disappointed at all." Ruslan shrugs.

When asked about life in Ertzei Kishim, Ruslan thinks that the nation itself is wonderful, although he has to be very wary as the COVID-19 pandemic hasn't ended yet. "Kishrael have nice foods, nice beaches, basically nice everything! although i have a hard time finding foods since everything is kosher here, it's compensated by the warm, friendly atmosphere that this nation has, even if there is still this pandemic looming down on us, i honestly wouldn't mind to go here again, after everything goes back to normal, of course." Ruslan closes.

The stage is dimly lit and quiet, until all of a sudden, a voice, sounding like a woman's choir singing wordlessly, is heard throughout the arena and the audience, at the same time, a single, bright spotlight shines to Ruslan, who is standing still, his silhouette waiting for the music to start. Afterwards, some bass drops echoes throughout the arena, while at the same time, more and more lights begin to shine on Ruslan, who is now revealing to be wearing a white coloured shirt and black pants, behind him are hands, moving in motion to the rhythm of the song, imitating the Buddhist thousand hand dance, complementing the dark, eerie, electronic-driven synth melodies, this, alongside Ruslan's deep, dark voice, creates a concoction of dark, moody sounds that is felt by the audience members.

I wake up in a dark strange world
No one speaks, no warmth, only darkness
Tears keep pouring, yet i wonder why
I cannot escape
I can feel no sign of love here
Emotions i cannot convey
Only laughs, and mocking sounds here
I-don't-know, i-don't-know why
It looks like, they have now shut me out

The stage lit up a little, where below Ruslan's feet, the LED screen began to show a red coloured dot, at the same time, the backup dancers would then hide from the cameras. As white, bright lights begin to lit the stage, Ruslan continues to sing his wonderfully-composed harmony of a song, interspersed with some fast talking that accentuates the already moody piece of music. Letting his smoky, sensuous voice be heard across the venue and through the audience's television screen.

The world has locked their doors and won't let me in
Everyone, everyone pretends i'm not here
As if i've made one unforgivable sin
All my past, all my past comes back to haunt me

The instrumentation of the song begins to intensify, with the lights beginning to go more haywire and the song progresses, Ruslan begins to show a more pained expression as the song progresses, as he sings, the backing dancers drop to the floor, with the dancers trying to grab Ruslan's thighs, as if trying to forbid Ruslan from running away from his "sins" that he had committeed, before the beat finally drops, a flurry of lights and colors of black and white begin to flood the arena.

After the beat drops, Ruslan and his backing dancers would then dance in rhythm of the song, with the dancers displaying some fluid moves that relates to the song's theme, while Ruslan would simply dance according to the cacophony of pulsating, ominous-sounding bass, accompanied with some flashing red and white luminescence, which highlights the song's separation theme to the viewing audiences across Ertzei Kishim and the multiverse.

Leave me here, leave me here, let me go, let me go
I guess everything's true
No one loves me but you
Leave me here, leave me here, let me go, let me go
Just run away from me
Separation
A separation
A separation
Separation

Afterwards, the lights and the LED screen simply go back to normal, and Ruslan combines his fast talking and singing again for the second verse, letting his face and gestures speaks to the world that he is falsely accused by everyone that he knows, trying to deny the accusations that the audience has seemingly inflicted upon him and trying to prove that at the end of the day, he did nothing wrong.

Afterwards, Ruslan finally points towards the audience, and finally raps, letting his inner anger through towards the viewers who thinks they have done nothing to prove Ruslan's very innocence, though Ruslan would later imply that at the end of the day, even if someone tries to stand up for him, there would be more people that won't stop until Ruslan gets the justice the crowd thinks he deserves, and Ruslan seems to know this, implied by the very actions he's doing on stage.

Everyone thinks, everyone says
That i am the culprit
I can't shout, i can't speak
For my own innocence
For i am wrongly accused, no enemy
I wish everyone can soon come to their senses

You are the witness that always speaks with deafening silence
And blurs within the crowd, who tries to make me fall from the edge of this world
No cool, no hate, though if you try to help me stand up
Everyone knows me, hates me, torments, demotivate
And will try until i am silenced

Ruslan has finally succumbed towards being portrayed as the culprit, and at the same time, a very long chain, hidden beneath Ruslan's outfit, is taken by the backing dancers, who then promptly attach it to a hidden mechanism provided by Ertzei Kishim, the WorldVision host, wherein Ruslan is now shown to be barefoot, the chains would get attached towards the ceiling of the stage (off-screen), creating an illusion that Ruslan is floating, Ruslan tries to run away, but he cannot as he is now going to be "executed" for his past "crimes".

After he finally sang, the floor LED begins to show a glowing, reddish coloured flower batik pattern, symbolizing his blood that will soon be shed into the arena, as the xylophone-sounding noises gets heard throughout the arena, Ruslan finally does some gracefully executed dance, all while chained and floating slightly above the stage, the backing singers would stand like a soldier trying to guard his culprit, afterwards, as the song begins to intensify, the dancers made a gun motion, pointing towards Ruslan while Ruslan puts his arms up in the air, almost as if he's getting crucified. The gunshot sounds are heard, and Ruslan suddenly drops, seemingly died.

Leave me here, leave me here, let me go, let me go
I guess everything's true
No one loves me but you
Leave me here, leave me here, let me go, let me go
Just run away from me
Separation
A separation
A separation
Separation

Ruslan and his dancers then stands in a line and bow together, with Ruslan shouting to the mic, "Shukran Ertzei Kishim!" and they go backstage.

by **Ertzei Kishim** » Tue May 12, 2020 10:03 am

RESERVED FOR HOST

by **Saviera** » Tue May 12, 2020 1:53 pm

17. Saviera
Me and My World, by Andrea Christian
To The Tune Of Là Con Gái Phải Xinh by Bảo Thy

Saviera Returns After a Short Hiatus. The Singer is Andrea Christian and the Song She is Going to Sing is Called "Me and My World".

Fun Fact: Originally, She was Going to Sing a Different Song, but Before the Entry was Announced She Decided to Change the Entry with the One She's About to Sing Here.

As the Song Begins, the Stage is Covered by a Cloud of Mist. It's So Thick that No One Can See the Floor or Even If Anyone is Standing On It. When the Music Sings, the Lights Flash All Around the Stage and It Almost Looks Like a Thunderstorm. If You've Ever Looked Outside the Window While Your Plane is Flying Through a Thunderstorm You'd Know What It Looks Like.

The Camera Shows a Top-Down View of the Stage. Even Though Andrea is Nowhere to Be Seen, When She Starts Singing There is a Holograph of the Below Text, Showing the Lyrics as She Sings Them.

Welcome to my world
Welcome to my world

I’m the queen, bow to me
I’m the land, I’m the sea
I’m the queen, bow to me
I’m the land, I’m the sea

As the Beat Calms Down, the Smoke Subsides, Revealing Andrea Sitting on a Throne at the End of One of the Ramps. She is Fully Dressed in Shining Metallic Gear, Giving a Rather Royal Feel to Herself. There are Four Backing Dancers Posing as Warrior Princesses, Two on Both Her Sides. They are All 1 Meter Apart from Each Other. The Two Who are Closer to Andrea are Kneeling on One Knee (Whichever Knee is Farther Away from Andrea), and the Two Farthest are Sitting with One Leg Forming a Triangle and the Other Extended Far Out. Each of Them are Facing to the Front, Looking Towards the Camera, but Tilted Away from Andrea.

The Crowd Cheers as the Camera Angle Gradually Gets Closer to Them. When It Gets to a Close Up Shot, Andrea Grins and Opens Her Mouth to Sing This Next Part.

Have you found it?
In this moment in time
When your eyes have interlocked with mine

Passion burns me
All the stars are a sign
Hearts are beating
Feel it baby, we have aligned

The Camera Moves to a Low-Angle Shot That Rotates Around Them, From One Side to the Other. They are All Still Posing Still, with the Only Movement Being Andrea's Mouth Singing. At This Point, Some Lights Also Start Flashing.

Your lips, your pain, it is so fine
And you know it is not enough
So babe tonight let us cross the line
Take it slow, take it soft

Andrea Slowly Gets Up from the Throne. So Do Her Dancers. In the Third Line of the Next Part, She Slowly Takes a Few Calculated Steps Forward, with Her Dancers Following. The Lights Flash to the Beat, So Here They Intensify.

With our power we control all that’s around us
And I allow it to burn, this fire
Like a jewel, we’re gonna shine and light the way
The fertile earth is my body

The Dancers Quickly Walk Towards Andrea and, Right as the Music Pauses Before the Beat Drops, They Dramatically Pull Off Her Dress, Revealing a More Daring One Underneath.

Welcome to my world

The Beat Drops, and a Dance Number Begins. The Lights Go Wild in a Frenzy Like a Kishraeli Nightclub. The Girls Move to the Beat, Thrusting Their Hips and Arms into the Air in Different Directions in a Coordinated Manner.

Welcome to my world

They Bow as They Turn to Their Left, Quickly Raising Their Heads Again, Flipping Their Hair. They Then Repeat Some of the Dance Moves, and Then Thrust Their Hips Around, Rotating Their Bodies, Turning Around Until They Face the Front (i.e. Away from the Ramp/Throne).

Welcome to my world

Andrea Now Walks Forward to the Beat, Like a Model on a Catwalk. She Walks Towards the Camera, Making Her Way Across the Stage.

I’m the queen, bow to me
You’re the seat of my throne
I’m the land, I’m the sea
It’s my world, make it my own

As She Makes Her Way Across the Stage, You Can See the Backing Dancers Following Her as Well, in a V-Formation Similar to Military Planes.

Make it right, make it mine
Take your time and I’ll take the lead
Yeah, I’ll take the lead
Let me tell you this

The Dancers Seem to Disperse. The Camera Switches to a Bird's Eye View as We See that on the Floor, a Projection Sprung from Below Andrea's Feet of a Very Futuristic Looking Forest Landscape. We, the Viewers, are Being Introduced to Andrea's World, Finally. There Weren't a Lot of Moves for This One, Other than Andrea's Body Language Displaying the Confidence She Now Had as We Enter Her Territory. This Includes Facial Movements and Hand Gestures that Support the Flow of the Song, and the Emotions and Message that Andrea is Trying to Convey.

Yeah, baby
Welcome to my world, baby
Yeah I know that you got yours but you’re in mine
And it’s exciting baby

Let me tell you ‘bout it
Boomerang, I keep you coming back
I provide, so if you wanna snack
Then I’ll give you my snack like yeah, baby
Yeah, baby

The Backing Dancers Now Come Back. While the Lights and Colours are Energetically Moving/Changing to the Beat, Andrea and Her Dancers, Too, Move. This Time, the Moves are Rather Rigid, with Them Striking a New Pose with Each Beat, and Holding It for the Duration of That Beat. Yet, Despite the Roughness and Suddenness of These Moves, Andrea's Voice Remains Silky Soft, Sultry and Seductive.

Have you found it?
In this moment in time
When your eyes have interlocked with mine

Passion burns me
All the stars are a sign
Hearts are beating
Feel it baby, we have aligned

While the Backing Dancers Have Somewhat Loosened Up Their Rigid Choreography, Andrea Meanwhile Takes It Easy. With a Medium Shot, She Walks Slowly and Confidently Towards the Camera, Although as She Continues to Sing, Her Body Language Also Displays a Frailness in Her Voice and Vulnerability in Her Heart. This Killer Combination is What Makes Her So Seductive. At Some Point She Looks Down and Smiles While Playing with Her Hair, Like Below.

Your lips, your pain, it is so fine
And you know it is not enough
So babe tonight let us cross the line
Take it slow, take it soft

The Angle Switches to a Camera on Andrea's Right (Viewer's Left). Now She and the Dancers Appear to Be Aligned in One Line, Although Distanced from Each Other. Slowly, They Each Turn Towards the Camera One by One to the Beat. In the Second Line of the Next Part, Andrea Reaches Out for the Camera and Then Brings Her Arm Back Towards Her Body. In the Third Line, the Angle Switches to Another Camera to the Previous Camera's Left (Andrea's Right), Making the 90° Turn into a 180° One.

With our power we control all that’s around us
And I allow it to burn, this fire
Like a jewel, we’re gonna shine and light the way
The fertile earth is my body

Now Andrea Walks Towards the Camera. As She Passes Each Backing Dancer, the Dancer Joins Her in Walking. In the Third Line of the Next Part, She Takes a Right and Walks Back Towards the Throne, with the Camera Following Her from Her Front.

With our power we control all that’s around us
And I allow it to burn, this fire
Like a jewel, we’re gonna shine and light the way
The fertile earth is my body

As the Camera Angle Switches to a Middle Shot Facing the Throne, She Dramatically Turns, and So Do All of Her Backing Singers. The Lights Pause and the Music Briefly Comes to a Halt for This Quick Moment Before the Drop.

Welcome to my world

The Arena Goes Wild. The Lights Flash by in a Frenzy, as Andrea and Her Dancers Repeat Those Same Thrusts and Body Movements from Earlier. The Camera Angles are Dynamic, Constantly Moving and Changing Frequently.

Welcome to my world

They Bow as They Turn to Their Left, Quickly Raising Their Heads Again, Flipping Their Hair. They Then Repeat Some of the Dance Moves, and Then Thrust Their Hips Around, Rotating Their Bodies, Turning Around Until They Face the Front (i.e. Away from the Ramp/Throne).

Welcome to my world

Andrea Now Walks Forward to the Beat, Like a Model on a Catwalk. She Walks Towards the Camera, Making Her Way Across the Stage.

I’m the queen, bow to me
You’re the seat of my throne
I’m the land, I’m the sea
It’s my world, make it my own

Make it right, make it mine
Take your time and I’ll take the lead

Andrea Suddenly Stops Walking, Striking a Pose, While the Backing Dancers Then Start Moving Towards Her.

Yeah, I’ll take the lead

Now That They're All Together, They Take 3 Steps Foward...

Welcome baby to...

...and Strike a Final Pose.

My world.

The Song is Over and the Audience Goes Wild. "Thank You Ertzei Kishim! God Bless Saviera!" She Thanks the Crowd, Right Before Leaving the Stage as It Is Being Prepared for Estogium.

by **Estogium** » Tue May 12, 2020 2:11 pm

#18 ESTOGIUM
Elias Nordin - "Promise Me"
Tune : Tom Grennan - "Sober"
Language: English
Duration: 3:40

Elias is back, but this time at the WorldVision Song Contest!: Elias Nordin will represent his country for the third time, but unlike in the past, he has made the switch over to the WorldVision Song Contest, where he is hoping to better his past World Hit results.

One of Estogium's most well-known faces, Elias Nordin, is making yet another appearance, representing his country once again but this time at the WorldVision Song Contest. He has already stepped out on to the World stage a total of four times, including twice competing in World Hit, once hosting the World Hit but was also the Opening Act for the WorldVision Song Contest hosted in Estogium for the first time for the nation's 40th anniversary. This will be his fifth time on the international stage - he is the perfect candidate for Estogium to deliver a confident performance.

ORIGINAL RVC POST;

Elias Nordin will represent Estogium at the 82nd WorldVision Song Contest with his song, "Promise Me" after his recent World Hit Festival participation...

It has been officially announced that the person who will represent Estogium will be Elias Nordin, who is known in both the World Hit Festival and WorldVision Song Contest fandoms. The singer-songwriter first burst into the song contest scene at the 40th World Hit Festival with his song, "One Step Ahead", but this song never came to be with his participation being pushed back to the 45th World Hit Festival was was held in Izmedu. With 18 points, Elias Nordin scored 5th place in the competition, making it Estogium's 2nd best result to date. In the time between his first and second participation at the World Hit Festival, he was invited to sing in the Opening Act of the 73rd WorldVision Song Contest. He went back to the World Hit Festival for the 50th festival, which had over 30 nations participating. Elias came 2nd in his Semi-Final behind neighbours Britonisea, before taking a respectable 7th place, drawing with Teesdexxia with a total of 34 points - Estogium's largest ever points total. In that time, Elias has stayed away from Estogium as the country went into lockdown, giving him the opportunity to go to the WorldVision Song Contest 82 in Ertzei Kishim - a plan that had been in place for quite some time.

His song, "Promise Me" is about his newborn child that he had not too long with wife, Macey Nordin. In "Promise Me", he seems to be speaking directly to his newborn, preparing him for the road ahead, in a world that is "terrible". He asks his child, in the song, to never lose contact with him as they're a team.

Elias Nordin is a 29 year old musician from Jorsvik which is a city in Northern Estogium where people are from the Brityunikosphere and migrants from Kalmarlund usually reside if they choose to live in Estogium. In fact, Elias Nordin has heritage from the nation of Kalmarlund, regularly visiting the nation over festive periods in order to remain true to his roots there and also back home in Estogium. Elias has had mixed success making music over the past ten years, with his success mainly being focused in Estogium alone, never really making an impact on neighbouring nations where the music industry is a lot harder to crack. Elias Nordin has also appeared on multiple different shows in Estogium where he has been a host of shows on smaller channels. Over the past year, Elias has gained a lot of attention. The dashing Estoge has become somewhat of an icon in the country since his marvellous World Hit Festival 45 placement which made him even more popular than before.

Upon arriving to Ertzei Kishim, Elias had to self isolate for fourteen days where he was thinking about his performance, but more specifically, what he would do at the Parade of Nations. Then came the day, he thought about what he would wear for the Parade fo Nations and thought about whether he could incorporate it into his entry. Coming out with Saviera, Elias walked out with a white T-shirt and dark jean trousers - a trend for him to wear. He waved at the camera before pointing and winking, making the Estogians watching weak to their knees.

Elias, while he had performed on the stage many times before, of course felt nervous about coming to the WorldVision Song Contest. For one, this would be the first time that he had represented his country in such a faraway location, but this was also a song that he really cared about too and he wanted to make sure that the performance went very well. With that being said, after the audience applauded after the performance for Saviera, Elias decided to get ready for where he was going to start. Keeping some inspiration from his album cover, Elias decided to sit on one of the upper sections of the stage in the corner, shown here, 59 seconds in where the male/female dancer is dancing alone with the top section of the projection being a beach. The floor below him was a violent sea, which at the start of the song seemed rather tame. The audience applauded to the Estogians as their name flashed up across the arena. It was time for the performance for Estogium and hopefully, this time, he will be successful. He was going to be joined on stage with a few other people who wouldn't be directly involved in the staging of the song and weren't yet visible.

There was a camera shot looking down from the top of the arena to the stage floor which projected an ocean. The next shot, we saw Elias Nordin, a lonesome figure who was sitting off the edge of the raised platform. The camera slowly beckoned closer and closer to Elias as he moved his hand up to sing into his microphone. His expression, still, as he gazed deep into the camera...

When I look at you, I see youth and innocence,
Your heart - pure as gold, I can’t help but envy you, dear
I envy you, dear.

As you grow and spread your wings, no doubt, you’ll fly high
No matter how long it takes, you’ll try and you will try
You’ll try and you’ll try

As we move onto the next part of the song - the pre-chorus, the once seated Elias Nordin, slowly makes his way up into a standing position, making sure to maintain eye contact with the camera that followed him up. As Elias sang the words, "You'll try and you'll try", he slightly smirked as though he was actually thinking about the child in his arms. We then move into the next part of the song - the actual chorus of the song, there was a shot that was further away, as Elias Nordin jumped from where he was standing off the edge into a sea of people who were wearing blue and sparkles. Aiding this as to not look cheap, the Estogian broadcaster decided to have some on-screen graphics of water wooshing in with the projection also showing this - hoping that Elias' jump into the sea of people looked realistic.

While this world may look beautiful,
It’s not, It’s terrible.
Unbearable when you know the truth.
It might turn you all cynical,
I have been through it all.
Hope that you’ll remember who you are...

Can you promise me...
That you won't change for anyone else
Promise me.
Please reassure me,
Tell me everything will be alright.
Oh, I don’t want you to get older
I fear for you as you get older

The sea of people carried Elias from the corner of the stage had now carried him over straight into the middle. As soon as Elias had reached the start of the verse, the lighting in the arena quickly changed to a spotlight focused on him, with the rest of the arena plunging into blackness. He was still being slightly held up. It was almost as though everything was frozen in time as he started to sing...

You’ll know I’ll be there to tell you what’s right from wrong,
What you and I have, it’s lifelong,
I’m preparing you.
I won’t let you lose.

I’ll embrace you on... your darkest days,
I’ll shel-ter you from evil
Away from the pain...

He is placed on the floor with an aerial shot and with the changing of the song, a whirlpool around him started to grow with him in the centre and the people that were on the stage with him, getting closer to one another around him. Elias, wearing a white shirt stood out in the middle of those wearing blue as a further away shot showed him singing out to the audience and in the middle of the tsunami. Then the chorus hit, with the whirpool exploding into some short of tsunami as everyone runs off stage.

While this world may look beautiful,
It’s not, It’s terrible.
Unbearable when you know the truth.
It might turn you all cynical,
I have been through it all.
Hope that you’ll remember who you are

Can you promise me...
That you’ll come to me with your problems?
Promise me.
Please reassure me,
Because together we are a team.
Oh, I don’t want you to get older
I fear for you as you get older

As the bridge section hits, lights start flashing over and over again, he is standing in the middle as people run from side to side - facing forward. There was a motion blur effect that was put on the camera, to make it look as though the people that were running from side to side running faster than they actually were. Focused in the middle was Elias who simply sang into his microphone, making eye contact with the camera in front of him.

Oh no, no. oh, no, no. oh, no, no, oh
Oh no, no. oh, no, no. oh, no, no, oh

Can you promise me...
That you won't change for anyone else?
Promise me.
Please reassure me,
Tell me everything will be alright.

Can you promise me...
That you’ll come to me with your problems?
Promise me.
Please reassure me,
Because together we are a team.
No, I don’t want us to get older
(Oh no, no. oh, no, no. oh, no, no, oh!)
I fear for us as we get older
(Oh no, no. oh, no, no. oh, no, no, oh!)

As we hit the final chorus of the song, it was the most dramatic section ever with the flashing on and off. In addition to this, as he stood in the middle of the stage, there was an aerial shot of him looking slightly upwards. Beneath him, the projection had a large schism going right down the middle - with him on an island in the middle of the schism. As he continued singing, it seemed as though lava was rising from the schism with Elias looking to his left and right, visibly getting scared (though not getting scared in a dramatic way - a normal way) as he sang along with the backing, "oh no, no. Oh no, no."

Can you promise me that you won’t go?

And the end of the song, he looks up towards the camera with everything seeming calm once again. He took a seat on the section of the floor that he was on - in the middle as he sat right at the end of what was a beach. There was a steadicam which was behind him as he looked out in front of him which looked like ocean beyond the horizon. The audience came in with a nice cheer after a dramatic performance, "Thank you, Tiferet, torkan!" he exclaimed before jumping into the air. The audience was rather loud, though this might be because of who was performing after him...

by **Ertzei Kishim** » Tue May 12, 2020 2:52 pm

. : 19 - Ertzei Kishim - أراضي الكيش - ארצי כישים : .
Kafeh Shahor - Habibi
القهوة السوداء - حبيبي | קפה שחור - חביבי
Language: English, Hebrew
Lyrics & Composition: Tikvah Alene, Joni Solomi, Ali Ibn-Soudaani
To the Tune Of - KEiiNO ft. Electric Fields - Would I Lie?

Concept: This song is built mainly around the saying "rose-tinted glasses", in that by looking through these glasses everything becomes better, but at the cost of self-awareness and higher ignorance. The singers are expressing what it is like to love someone who doesn't really love them back, doesn't treat them how they should treat them and who'd be better off alone, but rather than breaking it off, they choose to make excuses, and so look at the situation through "rose tinted glasses". The final chorus then shows the mental transformation of removing these glasses, and seeing clearly that this relationship is not right for them.

The events of the last WorldVision had once again become fresh in the minds of the HARESHET delegation when the national final season rolled around. In the previous edition, Saseh Kounmourzeh had finished in an impressive fourth place in Bosche, however some in HARESHET were disappointed in the fact that Ertzei Kishim never truly challenged for the podium throughout the voting, despite some predictions suggesting that Saseh could have even won. The system which got Ertzei Kishim their most recent win, Kdam-WorldVision was thus revamped, redesigned and brought back to Kishraeli TV screens to choose the next act to follow Saseh. The viewers and international juries chose the group Kafeh Shahor (Black Coffee in English), who were composed of sisters Hadas and Ester Massala with their friends Yonatan Molla and Gadi Tegegne. They were all born from the same Ethiopian community in Djati, their parents were refugess saved from Ethiopian famine of the 80's, and their families were just a few of the 900 that were resettled in Ertzei Kishim following a sharing deal with Israel. Today the Ethiopian community in Ertzei Kishim number around 35,000, however despite their small size, they have made quite the impression on the WorldVision stage - two of the members of Cinderella Ra'ah are of Ethiopian origin, as well as one member of SAMBUCCA, and Naobi, 9th place artist at WorldVision 79. The group had achieved moderate success previously, with a number of songs entering around the 20# mark in the Kishraeli charts (this of course not enough to sustain a living as a professional musician). Recent Kishraeli success had however made WorldVision a viable career path for domestic artists to improve their standing within the market, and recent entrants had certainly capitalised on the increased interest in the contest.

This however was not a normal contest, as soon after earning the right to represent Ertzei Kishim (with a huge points haul from the international juries present at Kdam), HARESHET announced its intention to host the WorldVision Song Contest. After much internal debate, Tiferet was chosen as the host city, and this added a whole new dimension for Kafeh Shahor, who were now to perform in their own country in front of a home crowd. Of course a bigger weight of expectation was put on them, if it wasn't enough that they were following two strong finishes by Kishrael in the recent contests. There would be no international travel for the group, which in some ways bummed them out, as a part of the WorldVision experience was exactly that, however they were certainly excited by the prospect of hearing thousands of Kishraelis screaming their name. In some psychological way, this could spur them on to do better they surmised, the energy of the crowd would drive them on to give a more dynamic and energetic performance. The performance of course was a difficult aspect, as the Kishraeli stage while not only huge, had no backing panels. This made HARESHET's traditional stage planners think a lot harder than they usually did about how to stage the entry. Thankfully, they had a plan, which involved plenty of aerial-visual material.

With the parade of nations, Ertzei Kishim marched out with the Achaean Republic to the tune of Safa El-Ajami's beasty dance song. The members of Kafeh Shahor were having a good time with it, dancing and playing up to the ecstatic crowd that were cheering their home favourites on. In the weeks around WorldVision the song had bounced around in the top 10 of the Kishraeli charts, never quite hitting number one, but garnering enough interest to create some domestic momentum heading into the contest. As the performance from Estogium came to an end, the group were getting nervous, good nerves of course, like a jittery feeling building up inside. They couldn't sit still and were bouncing around backstage to release some of their energy. The stage at Kdam was much MUCH smaller than this gigantic offering, and the crowd was a lot less too. This was going to be a totally new experience. As the Estogium song came to a close, the group took their positions on the stage, ready for their performance.

As the voiceover announces Ertzei Kishim, the crowd doesn't stop cheering. Grinning, Yonatan gives the signal to the rest of the band to assume their positions. Luckily, Kafeh Shahor had been quarantining in the same house for the past few months, meaning their performance on stage showed a remarkable lack of social distancing, but this was okay. The stage was dark, illuminated throughout by a very deep purple, with small electric threads through the stage projection. There was a hollow cube structure, illuminated also by small strands of pink (it was definitely recycled from Lika's winning performance, but this time it felt more refined and professional). The lights on the box are rushing through the frame quickly. The music starts, and an aerial shot of the stage is shown. On the floor, geometric line patterns are shown being drawn, appearing in very angular ways, turning and disappearing before being redrawn. The camera slowly pans down and sideward, into a shot of the cube and in front of it Hadas.

Now you’re everything I see
Oooohhhh
(Habibi… Habibi…)
I’m running out of that feeling

Hadas begins the song, with Ester providing backing vocals. The girls switch after the third verse so that both get independent singing time. They are dressed in urban gear, mainly blacks and greys, however the pink lasers from the stage floor are also being projected onto them as they sing, creating an almost cage-like effect. Both girls play up to the camera with a confident attitude, gesticulating with their non-microphone hand. Their eyeliner was accentuating their already naturally beautiful eyes, and I'm SURE many at home were like "they're so beautiful".

I am falling so deep, swimming semi-blind
Line of sight, in my mind
I’m watching out for you
Prescribe me some love, ‘coz I need that feeling
Need a high, to stay alive
Forget the clarity

As the pre-chorus and chorus begin, Hadas, Yonatan and Gadi all make their way to the box, while Ester poses in the front of the box. The camera goes from the front and panning up and above, as the three inside the box stand equidistant from one another, looking forward. Another camera shot circles around them, as each one of them takes a turn singing they simply hold their microphone up and sing their part. As the more lively chorus part begins they break off with a big bounce. The camera zooms out as a beautiful pink and red laser show begins on the black stage. Afterwards the next camera shot comes from below, arching round each of them as they sing.

I bought some glasses to see clearer
Tagidi li habibti (Tell me, my dear)
(תגידי לי חביבתי)

Everything’s turning pink, it’s not a fix but it certainly helps
Rose tinted clouding all my vision
Tagidi li habibti (Tell me, my dear)
(תגידי לי חביבתי)

Glass is full but it’s running out, for us!
Now you’re everything I see (oh-oh)
Now you’re everything I see (oh-oh)
Habibi… Habibi….
Now you’re everything I see (oh-oh)
Now you’re everything I see (oh-oh)
Habibi… Habibi….

As the guys take the majority of the vocal work, they step forward together, travelling around the length of the stage together with the camera following them. The women return to within the box, holding onto two of the four vertical poles which connect the box, and swinging round them while providing smooth backing vocals. The men then stop near the middle quartile of the stage's width, both stretching out their hands and gesticulating to the camera, but not at the same time and not uniformly, giving it an edge.

You make me feel like
I could live forever
Flip the switch, the music dies
I deserve much better
Am I building bridges,
Just so you destroy them
In the end, who really cares
Mamash lo ekhpat li (I really don't care)
(ממש לא אכפת לי)

As the prechorus began, the laser effect in the very middle of the stage (which incorporated the hollow box) was replaced with a pink swirling whirlpool effect which grey and grew. It was almost galactic in how it looked. The two girls stepped out of the box and moved their hands to look as if they were spinning and controlling the whirlpool. As the chorus started, Hadas lashed her hand out and the swirl dispersed across the stadium as a bright pink light, as if she was controlling it. This caused delight among those in the arena and at home and the pure fancy effects. With the extended nature of the chorus, the laser show came back for it, however the pink was lighter this time, giving it a much more dynamic appearance.

I bought some glasses to see clearer
Tagidi li habibti (Tell me, my dear)
(תגידי לי חביבתי)

Everything’s turning pink!
Now you’re everything I see (oh-oh)
Now you’re everything I see (oh-oh)
Habibi… Habibi….
Now you’re everything I see (oh-oh)
Now you’re everything I see (oh-oh)
Habibi… Habibi….
Pulling me down
You’re the gravity
Now you’re everything I see (oh-oh)
Now you’re everything I see (oh-oh)
Habibi… Habibi….

With the final verse, Gadi took the lead on the rap. The stage went dark and line art drawings, similar to those at the start but slightly more ornate (in a more middle-eastern art style) began to appear around him in the centre. The camera spun around him from above and then moved down to spin around him individually, at which point he began to rap at the camera with a passionate look on his face. Ester then stepped in with her vocal. She spun next to Gadi, doing an almost contemporary dance style move to switch him out from the line drawing effects. Hadas sung the "Now finally I see" part of the song. At this point the stage became overall, more dark. A large panned out effect showed the whole stage. As the final chorus was about to start, the group stood in a line, facing a huge white spotlight. Suddenly a cracking sound went through the arena, and what seemed to be hundreds of pink virtual arrows shot out from the white light onto Kafeh Shahor. As the arrows were about to impact, the camera faded out to white.

Love isn’t a one-way ticket
To a foreign destination
With the pink haze fading in my mind
It’s becoming so clear to me
My melody begins with you, but I won’t let it die
Necrosis flame I'm gonna drown out
Now finally I see
Now finally I see

The next shot was immediately of Hadas' face, which then panned out to show the whole group, who then broke apart to dance at different points on the stage, all of them climbing up to the sides of the stage where they could elevate their position and interact the more of the crowd at the higher levels. The whole spectacle at the end was bathed in pink - releasing their narrow "rose tinted" view allowed the pink to explode all around the stage, and rather than shooting motions, flowing pinks bathed the whole stage.

Now finally I see
Now finally I see
Habibi... Habibi...
This ain’t the love for me
And pink ain’t the colour for me
Yalla bye… Yalla bye…

At the end of the performance the local Kishraeli crowd went wild. It had been so long since they had the pleasure of hosting a Worldvision in their country, and some of the most dedicated Kishraeli world fans had come tonight, veterans in the fandom some may say. For them, and for those who simply wanted to see Ertzei Kishim do well, this was a fabulous night. Kafeh Shahor, at all different points of the stage at this point, jog back to the centre. On their way breathing heavily "TOKRAAAN!! TODAH RABA, SHUKRAN, THANK YOU WORLD! They had done their country proud, in fact they felt proud themselves. What an amazing experience to hear the home crowd chant "Kafeh Shahor, Kafeh Shahor!". Well now, it was now time to relax and see the other entries, and await the voting.

by **Achaean Republic** » Tue May 12, 2020 3:16 pm

20| Achaean Republic
MC Yesca “Amansa Guapo"
Tune: MC Tha - Coração Vagabundo
Music & Lyrics:Andrea Marín, Yuleishka Montero, Carlos Sánchez

After Yaritza Valentín and the whole Achaean crew finished their quarantine right after arriving to Tiferet’s Lut Airport, she was so happy she would be able to finally meet her aunt María. María lived in Ertzei Kishim for years, and whenever she came to visit Yaritza she would always regale her with stories of long-bearded rabbis living harmoniously with mullas and Roman Catholic nuns in the same long-winded streets. The Tiferet her aunt María spoke about always had many crosses with madrasas, monasteries in the desert and synagogues close to the beach. They would always bring some freshly-made hummus that was always half-eaten on the way home (she could never keep her hands off the pita bread she bought in the airport!), with only a few bites for Yaritza to enjoy. She could never find a smoother garbanzo dip quite like that one––and she hated every time Yaritza’s mom would stew garbanzos with rice!

Her aunt María was one of the many Achaeans that left the country in the 70’s and 80’s in search of the Promised Land, of walking where maybe Jesus walked and being baptized in the waters that Jesus drank. A few of them made aliyah to Kishrael and decided to establish themselves in the country permanently. Others were entrepreneurs, managers and hoteliers that took advantage of Kishrael’s budding tourism industry at a time Achaea was world-renowned for theirs. Still others became housecleaners, babysitters, teachers, doctors, and—oftentimes—escorts (or so the rumor goes). In fact, she does remember a young Achaean lady from the countryside who became an au pair and married a handsome Portuguese stud and had a young girl named Catarina…

Yaritza was born and raised on the slums of suburban Corola, the ones that hard-working people travel hours and hours to get to the center of the city where the important people live in sleek, high-rise apartments. She grew up listening to the sounds of the hip-hop, rap en español, reggaeton and frequent drive-by shootings in the barrio. She never knew her father—her parents divorced as soon as her father became abusive when he learned that Yaritza’s mom learned he was having an affair with her best friend, a local drug dealer. Life for Yaritza, like everybody else in the suburbs, was subpar and struggling—but also happy. Despite the crime, the drugs, and the daily grind of life in a sweltering town on the shores of the Caribbean, this was the source of her music once she dropped out of high school and started to become a DJ at local discotecas throughout the Corola region. Once regageton became popular, she was already spinning disks and spitting lyrics that, in some way, relate to the female experience of life in the barrio: drugs, relationships, periods, sex, sex, and lots of sex. But the sexual expression wasn’t meant to be gratuitous; it was meant to express her empowerment, not to pursue titillation.

As the years went by, she started developing her involvement in santería, her mother’s “secret" religion (she was also a devout Catholic, and santeros tend not to be exclusive on their religious practices). The reglas and chicken sacrifices in the corner of the living room were not enough to make her squeamish, and the toquesthat will play on the patio every Sunday after Mass wouldn’t sway her thoughts. Yaritza, now known in Corola as MC Yesca, would finally grow to appreciate her religion and began incorporating small details into her music. The thump-thump beats of reggaeton slowly gave way to the batuques of drums playing for an invocation. English became Spanish, and Spanish incorporated the ancient slave words of Lucumí. She wasn’t in-your-face about the chances; rather, the lyrical content was usually playful, but self-referential for those that knew her deeply. This became her calling card and it was powerful (and controversial) that when AS1 contacted her, she was already in the midst of an invocation to Ochún, her personal orisha in the midst of a pilgrimage to the famous Ocumá temple. She quickly grabbed her collares and hopped on a plane back to Corola for a meeting.

Yaritza did have a chance to see Tiferet after she left quarantine. Her aunt María picked her up the airport and had a nice afternoon eating hummus with fresh shanklish and taboon bread. They had fun dipping their toes in the Mediterranean, drinking fresh wine from the Kishraeli highland vineyards, and learning a few words in Kishraeli Hebrew and Arabic. She even enjoyed one of those famous midnight lunches with her cousins to a couple of exclusive bars and clubs that give the city its well-known party vibe. Tifieret felt much like Corola, if only it were a bit cleaner, safer, and more expensive. But of course, after a few days of fun, it was time to get to work trying to bring the very first WorldVision crown to Achaea.

For the Parade of Nations, Yesca walked with several of the men that would accompany her in the performance–-all of them observing proper social distancing and wearing yellow masks and hand-woven cloths. She was waving her hands in the air and was waving her hands at the crowd. She was also making heart shapes with her hands and blowing “air" kisses through her mask. Of course, she tried to shout something to the Achaeans in the crowd––most of them expat workers in the city––but it couldn’t be heard based on the glances of the crowd. Nevertheless, she tried to look for her aunt’s family in the midst of the euphoria of the crowd, but she quickly had to bend to the other side of the stage and get ready for the performance.

After the Achaean postcard ends, the stage has been turned into a busy street in the Achaean suburbs. The silhouettes of cars pass by alongside skid marks, honking horns, rotten mangoes, quenepas burnt by the Caribbean sun and the sea breezes that rust the bulging metal bars on windows. The lights surrounding the stage are getting darker, allowing the humongous stage portray the very raucous scene unfolding. MC Yesca is wearing a long, chiffon summer dress that flows from top to bottom like the Sun’s rays, enough to show the tattoos on her sleeve. She is also wearing braided dreads made from her natural, curvy hair and augmented with some locks she brought from Corola that could easily tie on her hair. (Normally, she would’ve complained of not using her trademark hat and short-shorts as she is used to wearing. But she’s grown used to playing with different styles of hair––and dreads do show her Caribbean vibe.) Each of the locks have interlocking red and yellow beads on her hair, yellow representing Ochún, the Orisha of fertility and sensuality and brown-red for Oyá, the Orisha of thunder, lightning, and strength. She is barefoot, a look that is very unusual for her as a rapper, but her ankle bracelets show red-and-yellow beads (yellow is an accent color, not uncommon for Achaean santeros to wear), also demonstrating her devotion to Ochún and Oyá.

Yesca carries a bushel of amansa guapo or a “bully-tamer", a herb common in the Caribbean and used to control, dominate, appease and make someone fall in love with the spellcaster. For Santeria practitioners, the amansa guapo carries a very powerful connotation: While the sweet, even faint scent of the bark extract can be used to knock down enemies a peg, it can bring disastrous consequences for those that foolishly play with the orishas’ power––especially when it comes to love.

As the song begins, Yesca is sitting on the middle of the LED road, barefoot, carrying her bushel of amansa guapo and holding a small statue of Saint Anthony of Padua with its head crushed under two small rocks (this is supposed to represent the typical tradition for single women, which somewhat carried over to this day, that the saint’s head is buried upside down so as to “force" him to tell them who will they marry). The overhead camera closely shines down on Yesca’s head in a bird’s-eye view and then switches to her in the center of the stage, where people criss-cross beside her, as if it were a busy street.

Mi amansa guapo está fecundo
My bully-tamer has been sprouting

de mi patio lo saqué
I took it from my backyard

lo hice en cinco segundos
I made the potion in five seconds

como un baño pa’ la piel
As a shower for the skin

She stands up from the ground and walks towards the camera facing her. A shirtless man carrying flowers gives her a white lilly––a symbol of love for Saint Anthony of Padua. Another shirtless man gives her sunflowers, which she puts one on her head and the rest she carries with her hands. Sunflowers are powerful reminders of beauty that please Ochún. Her aura is vibrant, her hair glistening, her skin radiant. The stage lights turn into a faint yellow hue that Yesca walks towards to as the other performers pass by her––adhering to strict social distancing, of course.

Para hacer de ti
So I can make of you

un hombre feliz
A happier man

y cuando sea de noche
And when the night is coming

mi cuerpo te haré
My body I will make

The camera turns as she does as if she turned her back against the road with the faint honks of imaginary cars and trucks stopping by, the also faint sound of chatter in the bars, and the quixotic look of passers-by (and the audience) picking up their drums and sticks ready for the batucada, getting ready to hit the beat.

Yesca is walking backwards and moving her arms as if she were gliding through the air, moving her body as the Queen of the Damned. But rather, she was embodying Ochún, the Queen of the rivers, carrying her sunflowers and throwing them to the camera that followed her in a sensual glance that was both innocent and inviting. Oucún is young and flirtatious, always elegant in her beauty. Like before, it was hard for her to step into a role she never felt ready to portray in her life––embodying an orisha, more so a powerful one, one that many women look to for guidance and pleasure. It was a honor, but also a great responsibility, as many santero Achaeans looked to her to embody tact and respect for their goddess, the one they painstakingly prayed to so she could finally win the contest.

un río de placeres,
into a river of pleasure,

dulzura y fe
of sweetness and faith

As she winks, the shirtless, sweaty dancers suddenly line up and being playing their drums. Some hold the shekere, a beaded percussion instrument that made its way to the Caribbean through the Moors and the blacks that were caught up in the terrible slave trade. The men are playing drums, their shirtless backs dripping with the sweat of the stage lights and the LED screen––not unlike the sweat that comes from the tropical, Achaean sun––as Yesca flirts, spins, dances and twirls beside them. She touches their sweaty backs as the camera follows her. She hides in between one chest and cuddles over another. For a brief moment, she was Oshun, doubly pampering and provoking men to worship her and do her bidding. Because she is beautiful, it doesn’t mean the goddess can’t have some fun with her subjects.

Como la miel
Like the honey

mis besos son poema
My kisses are poetry

como la miel
Like the honey

los girasoles me veneran
The sunflowers venerate me

Como la miel
Like the honey

mis besos son poema
My kisses are poetry

como la miel
Like the honey

los girasoles me veneran
The sunflowers venerate me

In her steed, Yesca repeats an invocation to Ochún she always heard on the toques at the ritual. It was in Lucumí, a sacred language that came straight from the Yoruba slaves who first practiced the Ifá. Some were forcibly converted to Catholicism, while others retained their African roots and mixed in their orishas with the Catholic saints as a way to fool their religious captors, inadvertently creating a new religion. Those were the words that carried many generations throughout the centuries until today, when Yesca is performing them on stage in Tiferet. The gravity of the performance cannot be understated, for Ochún is a goddess that does not like to be taken in vain. One false move, and she could strike death in the hearts of men as much as she does lust. Of course the babalawo in her temple would give her so much grief. But at least she had fun with it.

Ochú, yeyé, mi ogá
Mother Oshun, river queen

oni alafia
Sweet water

Ochú, yeyé, mi ogá
Mother Oshun, river queen

oni alafia
Sweet water

Quickly wearing masks and gloves––but not wearing shirts––, the shirtless men quickly take Yesca and carry and lift her. The bird’s eye-view camera shows how the stage transforms into a river with an extensive riverbed on both sides, filled with spots of dirt, rock, flowers and bit of condensation from the rain. The river is Ochún’s domain; sweet waters, as opposed to Yemanyá’s bitter seas and oceans where she desires praise. Yesca is still barefoot, and she extends her skirt to the cameras while she appears to be swimming along. It feels heavy at the beginning, being carried like that, but it still has a feel for lightness in the end.

Mi amansa guapo está fecundo
My bully-tamer has been sprouting

de mi patio lo saqué
I took it from my backyard

lo hice en cinco segundos
I made the potion in five seconds

como un baño pa’ la piel
As a shower for the skin

Para hacer de ti
So I can make of you

un hombre feliz
A happier man

y cuando sea de noche
And when the night is coming

mi cuerpo te haré
My body I will make

Yesca is quickly brought back to the ground. She is, once again, turning and coyly flirting with the men that lifted her up in the first place. She pick-pockets a set of yellow gloves from the back pockets of a shirtless man carrying an atabaque. She also quickly rushes to the other side and takes away a headpiece bedazzled with jewels and seashells and suns and moons and keys wrapped in various chains. Ochún was not just any queen—she was the queen of the rivers, and she needed to show it to the world.

un río de placeres,
into a river of pleasure,

dulzura y fe
of sweetness and faith

The shirtless men line up once again on both sides of the aisle and play their drums in the same maracatu fashion as before while Yesca passes by them. She is feeling the power of Ochún coursing through her veins, tearing through the stage asunder like a violent runoff in the river the goddess inhabits whenever she walks through the waters. She attempts to be sultry, yet innocent; sweet, but confident. There is a feeling of opulence in the midst, one that makes her intriguing and mysterious—but also very dangerous to cross if she’s ever angered.

Como la miel
Like the honey

mis besos son poema
My kisses are poetry

como la miel
Like the honey

los girasoles me veneran
The sunflowers venerate me

Como la miel
Like the honey

mis besos son poema
My kisses are poetry

como la miel
Like the honey

los girasoles me veneran
The sunflowers venerate me

Ochú, yeyé, mi ogá
Mother Oshun, river queen

oni alafia
Sweet water

Ochú, yeyé, mi ogá
Mother Oshun, river queen

oni alafia
Sweet water

Before the song ends, the camera focuses on Yesca carrying the tassels of her long dress, stretching the very detailed fabric. She is en pointe like a ballerina, smiling seductively and enjoying her vanity. The Achaean crowd—at least those who practiced Santería or those that wanted to support her performance—carried an abebé, a special mirror-like fan that Ochún uses to gaze at her naked beauty on the river. The Achaeans swing the abebé left and right, as if to give Yesca more power and respect to the performance. At the same time, she gyrates to the left and right, to which the cameras at the top capture her spinning as the Sun would spin in the middle of the river, as the legend says. She is enjoying herself—and she hopes Ochún would enjoy it, too.

Como la miel
Like the honey

mis besos son poema
My kisses are poetry

como la miel
Like the honey

los girasoles me veneran
The sunflowers venerate me

Como la miel
Like the honey

mis besos son poema
My kisses are poetry

como la miel
Like the honey

los girasoles me veneran
The sunflowers venerate me

She is left kneeling as she were in the beginning. The LED below her, somewhat heating her knees, returns to show a typical Achaean street with potholes, iguanas, and the odd skid mark or two. She has an abebé on hand. The crown she places beside a small bowl made up of the skins of a coconut, one used in many santero rituals alongside the Achaean coast. The statue of Saint Anthony, the one whose head she attempted to crush a few minutes ago, is left standing, unharmed by the rocks—if it ever was. Perhaps innocently, she exhibits the same longing she had at the beginning of the performance. Did Saint Anthony reveal her love? It is hard to tell.

The crowd claps, and the Achaeans holler across the stage. Most of them were congregated on one part of the stadium, as most of them already lived in Tiferet. Only very few foolishly dared to travel to Ertzei Kishrim for a wanton pleasure trip. But they cheered. Yesca waves back to the audience and bows across all four sides of the stage. “Thank you! ¡Gracias! Tokran! ¡Salve Ochún!” Yesca screams to the audience and quickly runs to the ramp with the rest of the shirtless men that joined her from Achaea (and some that live in Tiferet). She waves and bows and keeps waving.

by **Placely Placington** » Tue May 12, 2020 4:23 pm

21 - Placely Placington

E Oe - Euaoue

Tune: Dragons - Anarchy in the UK

Their second go-around didn't go as smoothly as they had hoped. Despite sending two songs to the competition as one entry, which is more than what all the other countries did by sending just one, Jim the Grindcore Guy Bloke ended up near the bottom with his entry Song One and Song Two. Maybe it was because grindcore wasn't that popular in the multiverse, maybe it was because no one liked a whole bunch of random words in Afrikaans. Maybe it was because of the fact that the drummer randomly exploded, who knows. Either way, he was fortunate enough to come away with 16 points, including ten points from Vartugia, more than what a few of the other countries did. Plus he was lucky enough to avoid getting the dreaded nul points; that dubious honour went to Zentata instead.

Fortunately, Dave McDaverson managed to find a band who were willing to get the nation to bounce back as well as a secret plan involving him and Television Director, the main person behind Wait, We Have A Broadcaster? (the Placely Placingtonian broadcaster), though they're not willing to show their hand yet. He was able to find E Oe, a punk quartet made up of four people: Oo a e Ee, A Eie, O I and Iee Ea Aue. Four people who have a number of things in common, namely a love of the same kind of music and a crippling fear of consonants. They're not the only band like that in Placely Placington, as there's another band called Th Cnsnnts, made up entirely of people who have a crippling fear of vowels. No word yet on when the split 7" EP will be released.

After a long trip to Ertzei Kishim, which got delayed for half an hour because one of the band members died again, they finally made it to where they'll be performing. The Zirah Leumit in or around Tiferet, the country's capital. Granted they didn't have exactly the best time in the country, with one of the biggest problems being that no one knew how to say their personal names (let alone the name of the band) in the local language, but they still made it work, they still had an OK time with the locals. And now they're on the biggest stage of their life, ready to show the world what they can bring. Other than ear fatigue, of course.

The band was standing on stage, all four members in a straight line because there was more than enough room for them. From left to right we had Oo on lead guitar and lead vocals; A on rhythm guitar and backing vocals, O on bass and backing vocals, and Iee on drums. The stage itself was just a plain bright light, almost as if the band didn't know what they wanted. In reality, they did have a clear idea of what they wanted to be displayed on stage but since the behind-the-scenes people had no idea what the hell these people were saying and none of the band members could draw, they decided on just the default. No matter, let's hope the song itself is actually good, especially with a guitar intro this promising and Oo stepping up to his microphone to sing.

EEE UUUU

After the song just completely went to shit. "The lead guitar sounded like an accordion that was half-rusted shut. The bass was barely audible (though he still would've been a better bassist than Sid Vicious). The drummer was hitting around the right notes but there was barely any passion in his beats. And a song made up entirely of vocals will go exactly as you'd expect." is what one critic would presumably say.

AAAA EEE AE AEIOU
UUU UUU EE IOI
EEE EEE EEE OO OIU IO UU UA AEE
IIII AAA OOUEUE AA IIIEUEUO

UUU EEEEOEOEOEOEOEOEOE
AAA IOIOEEEEE

"Oh God, even more of them are singing." Yes, dear reader, because of how there won't really be any changes or interesting bits in the RP, with the only real action being changes in camera angles and perhaps lighting, I'll be filling these up with comments that I'm sure the critics would make.

UUU OO AU UO UO EU AAU IO OEE OE UUAUA
OOOO UA UI UAA EE OU AU EEAEEA
EUU AUU OO UAIO IOAU OAI
UU UAAU UU OIO EU

EEEEOEOEOEOEOEOEOE
AAA IOIOEEEEE (aaa uu oia)

"Hard to believe we're barely a minute into this thing."

AAA UEU AOAO EEE OOIOUA
OA OAOA IEaeaoOIAU
AAAAA UAAUAOA AO
EEEE aoia oi AIO

EEEEOEOEOEOEOEOEOE
(ioioioioioio) AAA IOIOEEEEE (ioioioioioio)

EEEEOEOEOEOEOEOEOE
AAA IOIOEEEEE

"I think we're nearly at the end. Fortunately."

OOAAAAAAAAUEUEU
OAOAOAOAOA UUU EEEEE
(e e e)

EEEEEEE UAIOE
EOEOEOEOEO EIEIEEEE

Commentary snark finally over, we see A strumming his guitar a bit to end the song along with the rest of the band, with Oo giving one last scream into the microphone to completely end things. Too bad he coughed towards the end.

IIIIIIIIEEEEEEEEEEEEEEEEEEeueueuuea

After the squeal of feedback finally came to an end, the band put down their instruments. The song was finally over, much to the possible relief of the audience. They were once again silent, much like they were when E Oe showed up for their Parade of Nations appearance and much like they were in Placely Placington's previous two performances. There were a few boos but they weren't loud enough to be picked up unless you listened extremely closely. Oo waved to the audience and said "A ou Iee, oue ee a oeu auiee!" before he and his bandmates walked off the stage via the opposite ramp to where they came on. Next entry, please.

by **Kalosia** » Wed May 13, 2020 1:23 pm

RTVK
Radiu-Televižio Kalosia
Official commentary
by Martin Baľarti

Good evening Kalosia, and welcome to the 82nd WorldVision Song Contest, live from Tiferet, Kishrael. My name is Martin Baľarti and I will be providing you commentary live from the RTVK Broadcasting Centre here in Monterra.

We have something like 30 entries planned to compete tonight, including our own Max Calder and Bella Verano, performing 22nd.

Opening Act

Right now we are being treated to a medley of the country’s previous WorldVision winners… Kishrael is, after all, one of the most successful countries at the contest. Although they have not participated as much as us, it seems like they know how to get the trophy more than we do… perhaps we can learn from them?

Also, look at the stage. We’ve seen recently there has been a trend of innovation with the stage, for example last edition in Britonisea they used a 360° stage. Now it seems we are being treated to a stage fit for an Olympics opening ceremony. I’ve heard that Max and Bella have planned accordingly and will have quiet a magical performance.

So now it’s time to watch the songs, starting with Izmedu. You should be familiar with this powerhouse, having come 2nd several times and often getting votes from us.

01 Izmeǧu

To be honest, it’s not quite the kind of music we typically like to hear from Izmedu, although Prudencija does a good job at conveying the message behind it. It does make for a strong show opening, so maybe people will remember it when the time comes to vote?
Next we have Zeganas.

02 Zeganas

This is a style of music that appears to be timeless, since we’ve heard this kind of song several times in the years since our debut at WorldVision 21.
Song number 3 is from Waisnor, a relatively new country to the WV family but it seems like they are committed to participating in the long term.

03 Waísnor

I feel like Renat & Plato could do a bit more to get the audience involved and up on their feet, but the juries might like it. Lyrically, the song is quite poetic, talking about one’s experience with romance turned dark.
Next we have Scotatrova, which by the way is hosting a spinoff of this contest called WorldVision Teams. RTVK will air the show online, although the Kalosian team is a group of expats that live in the host country.

04 Skotatrovë

It is a nice, mellow country pop song which might do well with us. I’d imagine a young teen boy like Rafael would also be popular among the girls.
Next we have Beepee.

05 Bipi

It’s quite vintage, I’ll say that. It does feel like something out of a musical. Frankly I’m not sure if it’s the kind of song to send to competitions like these, even though Kalosia I’m sure has sent songs like these in the past.
And next we have WorldVision veteran nation Titaniumland.

06 Titanioterë

This is exactly the type of music to be expected from Titaniumland. I love its powerful message, which is increasingly relevant with all that is going on in the world.
Next is Ekoz…

07 Ekož

…but I have been informed that they have withdrawn from tonight’s show.

08 Señoraku

The same applies to the entry from Missus X, so we now have song 9 from a debuting country, North Alezia.

09 Alezia di Nord

It’s an interesting touch that the song contains Arabic, perhaps as a nod towards the Kishraeli hosts. A nice operatic number, though it seems they have a lot to learn.
Next is a country that is no stranger to Kalosian audiences. They hosted the last WorldVision, so let’s tune in to Britonisea.

10 Bretonesia

It’s a very…unlike what I would expect from Britonisea. They tend to send more modern pop songs, so this ethnic sound isn’t exactly what I would have expected. Perhaps it’s also a salute to the host country? It’s no surprise, then, that the audience shows that they’ve truly enjoyed this entry.
Next we have the country with the longest unbroken participation record at WorldVision, Mister X.

11 Señoriko

So the singer is the same person who is typically announces their votes. It’s typical for them to send this kind of retro pop sound, and I understand that especially since I heard this song was composed and submitted at the last minute. However, I really don’t think it hurts to look at current music trends and learn a thing or two from them?
Next is Elejamie, the country that came 2nd when we last hosted WorldVision.

12 Eleǧamia

So it’s another retro song, but I find it a bit more enjoyable. Maybe it’s the addition of the orchestra, or the meticulous planning of the performance. It seems like retro is trendy, so perhaps this might pick up a few more points and land them back in the top 5?
Next is a relatively newcomer to the WorldVision scene who is bursting full of energy, Malta Comino Gozo.

13 Maltë Kominu Gozu

The staging concept is okay, but the lyrics are great. I’m not particularly confident that this song will do well in the Kalosian vote, but I do have to acknowledge the hard work and dedication they have put to this contest. Maybe they might win this edition?
Next is a country whose English name rhymes, with the previous Llalta.

14 Ëľaltë

Everything about this performance seems very very calculated, with each move and each decision fully intentional. It’s beautiful and I think it could be popular in the Kalosian vote, as Esther has been in the past.
Next we have our longtime friends from Polkopia!

15 Polkopia

This has quite a mysterious vibe to it. I had begun to associate Polkopia with dark, upbeat Eastern European pop (and the occasional summer tune) but it does show that they have more to offer than that. This could be a dark horse.
Next we have Antahbrantahstan, a regular.

16 Antabrantastan

This country has turned towards this kind of dark, grunge kind of sound, although it hasn’t been particularly heard often at WorldVision. I could see it barely making the Top 10.
Next we have longtime regulars Saviera.

17 Savierë

It’s quite the track, I think Saviera might also be a dark horse this edition. They’ve typically not seemed to care about what the rest of the world thinks of them, although it seems like they’ve listened, and now they’re delivering.
Next we have another regular, Estogium.

18 Estogio

It has a spring or autumn vibe to it, not exactly a summer one. I’m more than confident, given their reputation, that they’re going to place midtable at worst.
Next we have the hosts, Ertzei Kishim.

19 Kišraél

It’s the same quality we expect from a Kishraeli entry, but in a rather interesting way… the folk sound isn’t exactly one I had associated with Kishraeli music, but perhaps I have to expand my horizons.
Next we have the Achaean Republic.

20 Akaja

That tropical sound, at this point, has become a staple for Achaean entries. It has become their brand. I think this could do decently enough, but I don’t think it hurts to switched things up a bit and be a little creative.
Next is Placely Placington…

21 Postoviľë

It’s uhh… something.
It’s us next, so hopefully this means better chances for us.

22 Kalosia

Bravo Max & Bella! The flying is something we haven’t seen a lot, and I think the star visual effects are a nice touch to the song.
Next we have Axuva.

23 Aksuvë

An eastern sound similar to the entry from Antahbrantahstan. I feel like they could have refined it a bit more, there wasn’t that much movement on stage and adding a bit more refined choreography to the song would have made a big difference, in my opinion.
Now it is time for the 24th song, from Talvezout.

24 Talvežia

This sounds like an 80s ballad, which is definitely not out of place in a contest where some of the songs are ballads and some of the songs sound like they come from the 80s. But it’s… not your conventional 80s ballad. There’s also not much being done in terms of the stage performance, and the lyrics, while good, don’t do too much to elevate the song.
Now we have Nahlcomo.

25 Nalkomu

It’s… not that much either. It feels like a filler song, designed to help us neutralize our thoughts in between entries. But there’s a slightly dreamy quality to it which some people might find joy in.
Next it is the entry from Bayilan.

26 Baílan

It’s an interesting song, with a bit f an R&B feel to it. I don’t particularly know how this will do with voters, but I can’t same I’m confident.
Next is supposed to be Amuaplye…

27 Amuáplia

…but they have withdrawn, so Nekoni will perform next.

28 Li Nekoni

I always appreciate rock songs at WorldVision, and this is no exception. Maybe it’s because it sounds like the kind of music I listened to as a teen boy, but maybe it’s also because we hear all of these pop songs that it’s nice to have a change.
Performing at number 29 we have… Vartugia.

29 Vartugia

It’s Vartugia, I don’t know why they always put in the least effort and are proud of it.
30 songs in, with the next one being from Besen.

30 Besen

I had heard that there was a lot of excitement for this entry, but the performance falls a bit flat. The song is great but surely by now they would have learned that the visuals have become an important aspect of the performance as well?
As we pull into the last 5 songs, we have Lochario upcoming.

31 Lokario

Musically it tries to be relevant, but the performance doesn’t seem to match that standard. Again, it falls flat, although it could have been much more.
Next is supposed to be Proluvia…

32 Proluvia

…but they have withdrawn as well, so Normandy & Picardy is next.

33 Normandia & Pikardia

They have been absent from WorldVision these past few editions although we continue to see them at the World Hit Festival. It’s… not quite like the type of music we see from them. Although they typically send folk and pop that has some distinct Normand sound to it, this piece of music in the folk genre does not.
Next we have a country returning after a long, long break, Hafämarimët.

34 Hafamarimët

It’s quite a comeback, though it’s as if they have forgotten how to do WorldVision. I don’t know much about their past entries but I’m sure they can do much better than this.
And finally, it’s time for the last song of the night from Tödlichebujoku.

35 Tëdlišbuǧoku

I think this is a worthy closing number from the Tödlichebujokis, who clearly know how to go out with a bang. I think they can easily sail to yet another top 5 position.
Soon, voting lines will be open, so prepare your phones and the countries you’d like to vote for.

Interval act

This interval act is a reprise of last edition’s winner, which in my opinion was quite deserved. After this comes the voting, which we’ll finally find out who will win the 82nd WorldVision Song Contest.

82nd WorldVision Song Contest | Tiferet, Ertzei Kishim

82nd WorldVision Song Contest | Tiferet, Ertzei Kishim

06 / Titaniumland / Joelle: "Equality"

Withdrawn

10 | Britonisea | Kristiana Totem - Prominence

18 | Estogium | Elias Nordin - Promise Me

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