WorldVision: The Teams | IC | Ordium, Scotatrova

by **Scotatrova** » Mon Jun 01, 2020 4:00 pm

SSTR Presents, WorldVision: The Teams, live from Ordium!

Host Details | Official Playlist
Opening Act | List of Entries

Benuvenie ai Ortheo! We welcome you to Scotatrova for this special edition of the WorldVision Song Contest, WorldVision: The Teams! Scotatrova has been eager to host the contest ever since its debut in Lipa, Besen in WorldVision 72. Since its debut, Scotatrova has put forth two bids, one for WorldVision 75 in Saluto and another for WorldVision 79 for Muse, neither of which were successful. Now, the country finally gets the chance to host and will put itself on display for the world as we host for you live from Ordium! In its 8 editions that its participated in, Scotatrova has landed in the top 10 for half of those editions. Its highest ever placing is its only top 5 placing, in which Marcos Reçiona got the country a 5th place in WorldVision 77. Since then, it also got its highest amount of points ever received just recently in WorldVision 81, in which Diego Pousa got the country 6th place with 105 points. Now the country is looking to keep up the track record of success, and hopefully that can be accomplished at WorldVision: The Teams as well. We look forward to you enjoying your time here with us in Ordium, and that everyone has a fun time. Are you ready, Avam!

The Parade of Nations

Julia Rouco - Get Up and Dance (Come Dance With Me)

Eden Alene - Feker Libi

Get up and dance, come dance with me
Qüeras danxar gomego?
Do you want to dance with me?

Get up and dance, come dance with me
Qüeras danxar gomego?
Do you want to dance with me?

(La la la, la la la, la la la, la la la)

Time to put aside, all that keeps up divided
Wanna have fun, wanna have fun?
I can show you a good time (gomego)
Feel it on my lips
Feel the rhythm in your hips
We keep dancing, we keep dancing
My head’s spinning round and round

Such beauty that comes from all these different lands
Come on, clap your hands
A večeras plešemo, jamo večeras slavimo
Tonight we dance, now tonight we celebrate

A večeras plešemo, jamo večeras
Tonight we dance, now tonight

Get up and dance, now’s the time to party
Don’t sit there and be sorry
Let’s celebrate
Get up and dance, someone turn up the music
Or go throw on a tunic
Let’s have some fun

Get up and dance, veneu ai danxar
Come dance

Venel baľarë, törmáá alas permantoon
Come dance, hit the floor

Get up and dance, veneu ai danxar
Come dance

Venel baľarë, törmáá alas permantoon
Come dance, hit the floor

Aren’t you having fun
Let’s dance and rise with the sun
Šabai so mnoi, šabai so mnoi
Celebrate with me, celebrate with me

At night we’ll shine like the moon

Such beauty that comes from all these different lands
Come on, clap your hands
A večeras plešemo, jamo večeras slavimo
Tonight we dance, now tonight we celebrate

A večeras plešemo, jamo večeras
Tonight we dance, now tonight

Get up and dance, now’s the time to party
Don’t sit there and be sorry
Let’s celebrate
Get up and dance, someone turn up the music
Or go throw on a tunic
Let’s have some fun

Get up and dance, veneu ai danxar
Come dance

Venel baľarë, törmáá alas permantoon
Come dance, hit the floor

Get up and dance, veneu ai danxar
Come dance

Venel baľarë, törmáá alas permantoon
Come dance, hit the floor

Get up and dance, come dance with me, qüeras danxar gomego?
Do you want to dance with me?

Get up and dance, come dance with me, qüeras danxar gomego?
Do you want to dance with me?

Get up and dance, come dance with me, qüeras danxar gomego?
Do you want to dance with me?

Get up and dance, come dance with me, qüeras danxar gomego?
Do you want to dance with me?

Get up and dance, come dance with me, qüeras danxar gomego?
Do you want to dance with me?

by **Scotatrova** » Mon Jun 01, 2020 4:00 pm

Opening Act

Alexa Lliege - Arígia

ROSALÍA - Juro Que

Er hodiar le anne equier
It was last year today

Qüenia se lúo prenso
When they took him

Lúo teon gomego ai la leixa
I had him with me in bed

Ía loqüe se foie
And then he was gone

Nel pioxe thare lúo un blessa
I couldn't give him a kiss

Athór duloze
Now it hurts

Arígia, arígia, arígia, arígia
Please, please, please, please

Ful, resri esperadte diarení
Boy, I'll be waiting for you daily

Ful, resri esperadte diarení
Boy, I'll be waiting for you daily

Arígia, arígia, arígia, arígia
Please, please, please, please

Ful, resri esperadte diarení
Boy, I'll be waiting for you daily

Ful, resri esperadte diarení
Boy, I'll be waiting for you daily

Ei un míssel lúo diçá
In a letter I tell him

Qüenia reta enfora, retre gomego toth le diar
When you are out, you will be with me all day

Toth ll’orre ía elmas que I’etang
All the gold and diamonds I have

Toth ll’orre ía elmas que I’etang
All the gold and diamonds I have

Thazre toth par livrarte
I will give everything to free you

Siv, toth sol par livrarte
Yes, just to free you

Duefás venir ai mançul
You need to come home

Thazre toth par livrarte
I will give everything to free you

Siv, toth sol par livrarte
Yes, just to free you

Duefás venir ai mançul
You need to come home

Si nel te solte, intrere
If they don’t let you go, I’ll get in

Si nel te solte, intrere
If they don’t let you go, I’ll get in

Robere u bance axtia nuixa
I’ll rob a bank tonight

Ía me prenzru ai le saín
And they will take me to prison

Me prenzru ai le saín
They will take me to prison

Me prenzru ai le saín
They will take me to prison

Arígia, arígia, arígia, arígia
Please, please, please, please

Ful, resri esperadte diarení
Boy, I'll be waiting for you daily

Ful, resri esperadte diarení (x3)
Boy, I'll be waiting for you daily

by **Scotatrova** » Mon Jun 01, 2020 4:01 pm

1. Amuaplye and Natanya | Amúaple ía Natania
Jenson Karaiyev - Paper Dolls
Entry | Postcard

2. Scotatrova and Ekoz | Scotatrófidna ía Ecose
Miguel and Anna - If We Trust Our Hearts
Entry | Postcard

3. Kalosia and Normandy & Picardy | Calosidna ía Normanthidna & Picarthidna
Guillaume de la Croix - Il Ya Une Mélodie
Entry | Postcard

4. Polkopia and Ertzei Kishim | Polcopidna ía Kixidna
Lihi Litvi - Long Way Down
Entry | Postcard

5. Beepee and Elejamie | Vipi ía Eleiame
Amina Pickle and Andrea Garcia - Memories
Entry | Postcard

6. Mister X and Nekoni | Seniurexe ía Neconie
Entourage - Through the Rain
Entry | Postcard

7. Malta Comino Gozo and Achaean Republic | Malta Comino Goso ía Repuvlia Acaiena
Lewis Sarucino and Manamma - Give Me One More
Entry | Postcard

8. Axuva and Besen | Exufa ía Bésan
Tyra and Marietta - Movin
Entry | Postcard

9. Izmedu and Tödlichebujoku | Ismádo ía Tothliquebúxoce
Lumikellot and Hajni - Forgiven
Entry | Postcard

10. Darkmania and Antahbrantahstan | Teirscuro ía Antabrantastan
Dävyd Fëngas and Putri Pariaman - With Love
Entry | Postcard

by **Amuaplye** » Mon Jun 01, 2020 4:14 pm

1. AMUAPLYE & NATANYA (WIP)

JENSON KARAIYEV - PAPER DOLLS

Lyrics: Jenson Karaiyev & Nicholas Morales
Music: Jenson Karaiyev
Tune: https://www.youtube.com/watch?v=lX44CAz-JhU

Jenson Karaiyev is a Natanyan musician, born in the city of Tanzburg in 1993, he grew up in a more working-class part of the city but managed to live comfortably with his parents always having stable incomes. While in public school for his education, he also received private music tutoring from the age of 14, in which he learnt how to play the guitar and worked on his vocal abilities. He graduated college in 2011 but chose not to go on to university and instead took some smaller jobs for experience, including being a waiter in a café and the occasional busking on the busy city streets.

He emigrated to Amuaplye in 2009, primarily in search of more job opportunities but also longing for a change of scenery. Living in Sydney, he got a fairly stable job after taking joining a small family pizzeria as waiter once again, occasionally performing for the customers of the restaurant as well as performing on the streets for that extra bit of cash. While performing at the pizzeria in 2017, he was picked up by a scout for a Sydney-based music label, who invited him to audition for them. After the audition went well, he was the signed to their label and has introduced to a myriad of different songwriters and producers.
Mainly working behind the scenes as a session musician and backing vocalist both in the studio and on the stage, it was in late 2018 that he got the approval to start working on his own independent music, and after the further approval of his label, formed a band with local Amuaplean musicians, however his music would still be released until just his name. However, with the civil unrest that struck Amuaplye in early 2019, the production of his debut album got put on hold for months.

After the dust had settled and stability had begun to return to the streets of Sydney, Jenson was once again free to start working on his music, and while picking up the pieces and starting again, he met Nicholas Morales, best known as the frontman of the band Love and War who have represented Amuaplye at Worldvision twice, in 73 and 75, with Morales also writing the song for WV81. Karaiyev would work with Morales on multiple of the songs on his debut album once production began again, including the song ‘Paper Dolls’ which would go on to be chosen as the first single from the yet unnamed and undated album.

Once the team of Natanya and Amuaplye was announced for the special teams edition of the contest, ATV and AITV both started searching for talent in the country that also had links to Natanya. Seeing this as a good opportunity to boost his upcoming debut single, the label put forward Karaiyev, and with NTV’s approval, he was selected as their joint entry for the edition. While his label chose to put him forward anyway, Jenson Karaiyev was very pleased with the decision and was delighted to be able to represent both his homeland and his current home on the stage and looked forward to going to the competition immensely.

As the music began, the backing LED flashed brightly in tune with the drums. Once the melody comes into play, an array of spotlights shine, moving from the stage up out to the audience and coming back around again, deliberately delayed from each other and both sides starting in the middle and working outwards with their lights, mirroring each other. During this section, the camera moves through the crowd. Once the lyrics begin, Jenson, the lead singer of the band, comes into the shot of the camera. Singing into the camera at half-body level zoom for most of the first two verses, the camera switches to a side view for both of the final line of the first, switching side for each of the two “sections” of the lyrics, left side for “not too good” and right side for “not too bad”. For the final line of the second verse, the camera moves away from Jenson and shortly fades to black.

Just a average man
Nothing unique to see
Launched into the limelight
(Not too good, not too bad)

You said I was good
You expected the best
Raised the bar way too high
(Overhyped and betrayed)

The screen stays black for the few moments of backing before springing back to life in the chorus. The backing LED shows moves in a theme of black, white and red, showing stylized versions of the items mentioned within the lyrics, all of which materialise and fade in and out of the screen, while the background seemingly fluidly moves in tune to the beat of the song. The spotlights, this time red in colour, also reappear, this time static in place in an arch shape across the audience, occasionally flashing throughout the chorus. The camera switches between panning long and stage shots, and a static centralised shot that shows the backing LED. On the stage Jenson and his band become more animated, with the band members playing more passionately and Jenson being expressive with his body language.

The pen didn't work
The sword will have to do
'Cause you can run but you can't hide
From an invisible foe

The pen didn't work
The sword will have to do
'Cause right now you're just getting
Exactly what you deserve

In the post-chorus instrumental the spotlights once again move in a cycle, with the camera changing from different shots at different angles, fading to black in-between each shot. The second 2 verses play much like the first two, however this time around that stage is somewhat darker and the shots of Jenson and more zoomed in. Jenson’s hand movements in the verse mirror the emotions of the lyrics.

Ain't no fairytale
This is the real world now
Wrongs have to be made right
(Not too low, not too high)

Maybe I'll regret
What I am about to do
But I really don't care
(If I'm right, I'll go free)

The staging for the vocal parts in the second repeat of the chorus stays effectively the exact same, with the only major difference being that Janson picks up his mic stand and walks down the stage’s runway while singing. For the longer post chorus instrumental part, the camera swings round the arena, with the spot lights continuing their cycles, with the stage darkened and the camera focusing more on the backing LED, which switches from icon to icon while the background around it flows.

The pen didn't work
The sword will have to do
'Cause you can run but you can't hide
From an invisible foe

The pen didn't work
The sword will have to do
'Cause right now you're just getting
Exactly what you deserve

The pen didn't work
The sword will have to do
'Cause you can run but you can't hide
From an invisible foe

For the final repeat of the chorus, the camera stays completely focused on Jenson, who is now on the satellite stage. Stood on a platform that begins to rise in the air while he sings, pillars of fire pyrotechnics also slowly rise from spots on the edges of the stages and the runway, in time with him in the first half the chorus’ repeats. For the second half the stages plays like it did before, but now with this tall pyrotechnic flames firing up into the air in turn with the music. At the very end of the song, all the pyro goes off at once, causing a loud explosion sound, and smoke is used to obscure Jenson. During this Jenson jumps from the platform out of view, seemingly disappearing for the final notes of the song.

The pen didn't work
The sword will have to do
'Cause right now you're just getting
Exactly what you deserve

After the music ends, the camera finds the now exhausted Jenson, who bows to the camera and thanks the Scotatrovan crowd. The camera switches to the band members who all stand together and wave before the show moves onto the next act.

by **Scotatrova x Ekoz** » Tue Jun 02, 2020 2:52 pm

Tune: Smith and Thell - Goliath

Due to travel restrictions from the Ekozian Government in light of the COVID-19 pandemic, Sjarnafestivalen winners Viktor & Anna were unable to travel to Ertzei Kishim to take part in the 82nd WorldVision Song Contest. STE had previously confirmed its intention of performing in the spin-off contest, “WorldVision: The Teams” and were pre-planning for artist and song selection. Head of Delegation Sabrina Colarna, extremely impressed with Scotatrova’s approach to WorldVision in the eighty-first contest, reached out to Scotatrova’s delegation in regards to collaborating with the STE in the upcoming spin off edition.

As the STE had a song and artist readily available, Sabrina proposed that Anna Velesbra, (from Viktor & Anna, winners of Sjarnafestivalen) perform the song (previously titled Can’t Stop The Fire) with the Scotatrovan artist Miguel Caldera, as to which SSTR agreed, proposing that the song be re-written to feel more organic to both of the artists. Together, both STE and SSTR set up virtual writing camps in their respective headquarters and the song “If We Trust Our Hearts” was written. SSTR had suggested that the song should include Scotatrovian and Ekozian, as well as English with STE agreeing; the latter having only ever sent a song in English to the WorldVision Song Contest.

Anna Velesbra, 24 is an Ekozian singer-songwriter and actress, born in Alsi, Rokkestaat. Anna studied music at the prestigious Köniksskol Musiken, graduating with a first class honours. She started her career as part of folk-pop group Sonsut, achieving a top fourty hit with the song 'Nu,Nu'. She has written melody's and songs for many popular television shows, most recently the winners song for Talang Eköse (Ekoz's Got Talent). She, as part of pop-duo Viktor & Anna, won the Ekozian national final selection format Sjårnafestivalen with landslide international jury votes. She is set to release her debut album and a solo artist this year, both the Sjårnafestivalen & WorldVision: The Teams versions will be featured.

Miguel Camacho Caldera was born in 1997 in Alhandria. He moved with his family back home to Scotatrova when he was three years old. His father is a musician and cameraman and his mother is a dancer, which is also a hobby for him. He was inspired by his late grandfather to pursue his music career. In 2018, he released the lead single to his debut album, both titled “Si te vas”. Si te vas would debut at number one on the AMMS Charts in Scotatrova. He followed up with a national tour soon after the album’s release and has been a prominent feature on the charts since.

Miguel and Anna walk onto the pitch black stage. Anna is wearing a flowy white dress with her long blonde hair in waves. Miguel is wearing a smart casual suit. Both Miguel and Anna are on opposite sides of the stage. Miguel and Anna are both carrying guitars which they will play throughout the duration of the performance. Both are wearing microphone headsets. The background LED screen, in black and white, features a mountain symbolising the distance and hurdles between Miguel and Anna.

As the home-crowd roar at Miguel, and Anna prepares herself for the performance, the stage goes black. As the music begins to start, two solid spotlights appear on both Miguel and Anna, For the viewers at home, the stage appears in black and white and is poorly lit due to both performers being either side of the stage, and the zoomed shots are the vocus of the early part of the performance. The camera pans directly onto the upper half of Miguel and that of Anna, appearing as a split-screen visual for the home viewers. Anna can be seen looking at her guitar, whilst looking back up to the camera longingly. Miguel, also strumming the guitar looks directly into the camera, smiling. Anna begins to sing, looking shyly into the camera. Whilst she sings, the camera quickly pans back to Miguel, still playing the guitar, looking and gazing into the camera.

Trigeri om nagöt ny och nagöt specielt,
The beginning of something new, and something special

När jag faller i huvet i din ogön,
When I fall into the sea of your eyes,

Jag tar en resa ner på en väg som leder direkt til ditt hjärt,
I take a trip on a road that leads straight to your heart,

Där jag kan vara med dig til slutet
Where I can be with you until the very end

Similarly to the first stanza, the camera shots remain split screen until Anna continues to sing. The camera zooms out revealing Anna stood in a sea of fog. The camera pans around the centre of the stage, showing the mountain, as well a mist of fog clouding the view of the LED screen. Both Miguel and Anna have windmachines, adding to the affect. Miguel continues to sing with backing vocals during Anna's verse with the camera cutting to snippets of Miguel as Anna sings, before then returning to a split screen view. As Anna finishes her final line "lät oss rida in på nått", the camera pans back to Miguel only, also revealing that he is standing within a sea of fog

Ja, du är min, du är en, du är min vårld,
Yes, you are mine, you are the one, you are my world

Hur kan jag nagötsin leva utan dig,
How can I ever live without you

Lät oss fli, hitta en plats, en plats att kalla var egen
Lets run away, lets find a place, a place we can call our own,

Så lät oss go, lät oss rida in på nått
So let’s go, let’s ride into the night

Miguel begins to sing, gazing into the camera lense. The camera, showing Miguel completely, then begins to zoom back in to his upper body, whilst also cutting to zoomed shots of his face. He continues strumming his guitar to the beat of the song. The camera also quickly pans to Anna, also strumming at the exact same moment of the beat and providing backing vocals when needed to MIguel. He at one point raises his hand to the camera as he sings "brillan ai la nuixa" before continuing to play his guitar. As Miguel sings his final line, the camera pans around the arena showing the audience holding Ekozian and Scotatrovian flags. When Miguel finishes, the camera pans back to the stage, with both Anna and Miguel visible in split screen, with the view of the mountain behind them.

Ie poix vethre nosre vitha iunx
I can see our life together

Ei bue ía benále
Its good and beautiful

Comon estrelas, brillan ai la nuixa
Like stars, we shine in the night

Duezire par sempri
It will last forever

As both Anna and Miguel begin to sing the chorus, the camera pans to the stage,where individual pyro fires shoot up from the bottom of the stage. This occurs every time the duo sing "If We Trust Our Hearts". Both Miguel and Anna look into the camera gazingly, singing to eachother whilst continuing to play their respective guitars. As the begin the second part of the chorus, the camera pans around to the audience before returning back to the split screen view, still in black and white. The spotlights still appear on Miguel and Anna, however more are visible centre stage, with the tip of the mountain being the centre point of the lighting 'triangle'".

If we trust our hearts
Trovere míe camino vers thé
I will find my way to you

Sovre egavles ía sovre iumitos
Over mountains and over oceans

If we trust our hearts
Trovere míe camino vers thé
I will find my way to you

Sovre egavles ía sovre iumitos
Over mountains and over oceans

The split screen view of Miguel and Anna return, where Anna and Miguel to sing the second verse. Both Anna and Miguel, playing their guitars interract with each other more so, singing and looking to the left/right side of eachother, creating the illusion that the two are looking directly at eachother through the split screen camera view. As they continue to sing through the verse, the camera (still in split screen view) follows Anna and Miguel as the slowly walk, making their way into the centre of the stage, however still very much remaining on the sides. As the verse ends, the two turn to the camera and stop walking, where they begin to sing the pre-chorus.

Ll’emor entres nuose vivara par sempri
The love between us will live forever

Axtia lana mía nax ea nuose emor
This melody of mine is born of our love

Cada draxa ei u vatite eu nosre corthos
Every note is a beat from our hearts

Si cantás gomego, tedra mulde urgolio
If you sing with me, I will have lots of pride

The camera pans to to full views of Anna and Miguel as they both sing the pre-chorus. Both Anna and Miguel remain coy and playful whilst singing directly into the camera lense in split-screen view. As Miguel and Anna sings his final line, the camera pans around the arena showing the audience holding Ekozian and Scotatrovian flags. When Miguel finishes, the camera pans back to the stage, with both Anna and Miguel visible in split screen, with the view of the mountain behind them. Just before the chorus is about to begin, both Anna and Miguel through the split screen, create a love heart sign with their hands through the split screen. see here for context.

Ie poix vethre nosre vitha iunx
I can see our life together

Ei bue ía benále
Its good and beautiful

Comon estrelas, brillan ai la nuixa
Like stars, we shine in the night

Duezire par sempri
It will last forever

As both Anna and Miguel begin to sing the second chorus, the camera pans to the stage,where individual pyro fires shoot up from the bottom of the stage. This occurs, similarly to the previous chorus every time the duo sing "If We Trust Our Hearts". Both Miguel and Anna look into the camera gazingly, singing to eachother whilst continuing to play their respective guitars. As the begin the second part of the chorus, the camera pans around to the audience before returning back to the split screen view, still in black and white. However, both Anna and Miguel get rid of their guitars.

If we trust our hearts
Jag komma att hitt min väg til dig
I will find my way to you

över berg och över hav, att vara når dig
Over mountains and over oceans, to be with you

If we trust our hearts
Jag komma att hitt min väg til dig
I will find my way to you

över berg och över hav, att vara når dig
Over mountains and over oceans, to be with you

As the finish the final part of the chorus and the instrumental break begins, the camera (still split-screen and in black and white) pans into a full view shot of both Anna and Miguel. The camera follows quickly as both Anna and Miguel appear to run into the centre of the stage. The camera then pans to an aerial view of the entire stage, where both Miguel and Anna can be seen running towards eachother, for the first time in one single shot. The camera quickly pans to point of view shots of Anna and Miguel running towards eachother. On the 2:50s mark,on the beat of the music, Anna and Miguel collide into a hug embrace. Suddently, the entire stage lights up into golden colours, and the black and white effect is removed, revealing the performance in colour for the audience at home. A pyrotechnic curtain shower then begins to fall at the back of the stage. Miguel spins Anna around during the embrace, before the two begin to dance romantically, to the beat of the song, around the stage to the music. The camera pans around Anna and Miguel, before panning back around the audience and then back to the two performers. As they both begin to sing the final chorus, the camera shows a full shot of the two, looking and singing directly into eachothers eyes. The lighting and spotlights focus directly onto the two performers.

If we trust our hearts
Trovere míe camino vers thé
I will find my way to you

över berg och över hav, att vara når dig
Over mountains and over oceans, to be with you

As Miguel and Anna continue to sing to eachother, the stage dims around them. As they sing the final line, a bright spotlight shines from the back of the stage, creating a sillhouette view of Anna and Miguel. As the music ends, only the sillhouette view of the two is visible to the audience, before completely falling into darkness. The crowd erupt, chanting Miguels name, then Anna's. As the stage lights briefly light up, the two can be seen laughing and hugging, before both thank the audience and wave at the adoring crowd.

by **Saviera** » Wed Jun 10, 2020 4:08 pm

03
Kalosia & Normandy and Picardy
"Il y a une mélodie" - Guillaume de la Croix
performed in Normand French and Kalosian to the tune of C'est une chanson — Claudio Capéo

When delegations were notified by the WorldVision Committee of the planned spinoff show, there was a bit of hesitation from RTVK to participate given the travel restrictions imposed by the Kalosian government due to the spread of COVID-19. Initially RTVK had considered approaching BITC, the Britonish participating broadcaster at WorldVision to possibly come to an agreement to send O-Kai, a Britonish-Kalosian singer who herself had done WorldVision in the past and was thus familiar with the format. BITC, however, confirmed that Britonisea would not be represented in WorldVision: Teams. Furthermore, O-Kai was in Kalosia for the duration of the pandemic, meaning it would be more difficult to make travel arrangements for her to Scotatrova to participate in the contest.

RTVK then approached the Normand broadcaster, SRNP. As it turns out, they made much more suitable partners for a variety of reasons. The two countries had similar cultures and thus a shared music taste, making it easier for the two broadcasters to reach a consensus on how they would be represented in this contest. Furthermore, Normandy & Picardy have not been affected at all by the pandemic, which means that making arrangements was significantly less of a hassle. Given that the Kalosians wanted to limit travel as much as possible, a number of Kalosian personnel stationed in a foreign regional office of RTVK, located in a third country that did not have travel restrictions, was sent to Scotatrova as the official representatives of the broadcaster at the contest. But their presence was mostly for administrative reasons. By then, most of the decisions had already been made, and RTVK trusted SRNP to handle most of the participation and planning.

When it came to selecting an entrant, it was clear that RTVK wanted a singer with some sort of connection to Kalosia, although it was very unlikely that they were able to select an act that was physically in Kalosia at the moment due to travel restrictions. When delegations were notified by the WorldVision Committee of the planned spinoff show, there was a bit of hesitation from RTVK to participate given the travel restrictions imposed by the Kalosian government due to the spread of COVID-19. Initially RTVK had considered approaching BITC, the Britonish participating broadcaster at WorldVision to possibly come to an agreement to send O-Kai, a Britonish-Kalosian singer who herself had done WorldVision in the past and was thus familiar with the format. BITC, however, confirmed that Britonisea would not be represented in WorldVision: Teams. Furthermore, O-Kai was in Kalosia for the duration of the pandemic, meaning it would be more difficult to make travel arrangements for her to Scotatrova to participate in the contest.

RTVK then approached the Normand broadcaster, SRNP. As it turns out, they made much more suitable partners for a variety of reasons. The two countries had similar cultures and thus a shared music taste, making it easier for the two broadcasters to reach a consensus on how they would be represented in this contest. Furthermore, Normandy & Picardy have not been affected at all by the pandemic, which means that making arrangements was significantly less of a hassle. Given that the Kalosians wanted to limit travel as much as possible, a number of Kalosian personnel stationed in a foreign regional office of RTVK, located in a third country that did not have travel restrictions, was sent to Scotatrova as the official representatives of the broadcaster at the contest. But their presence was mostly for administrative reasons. By then, most of the decisions had already been made, and RTVK trusted SRNP to handle most of the participation and planning.

When it came to selecting an entrant, it was clear that RTVK wanted a singer with some sort of connection to Kalosia, although it was very unlikely that they were able to select an act that was physically in Kalosia at the moment due to travel restrictions. Meanwhile, SRNP were able to call on the talents of their various radio hosts and other members of their cultural programming department, with their many links within the Normand music scene, and were also looking to show a modern, open Normandy and Picardy, and thus were happy to work with the Kalosians as regards choosing a singer of Kalosian descent, much like their recent programming has also shone a light on both the Picard Republic and the various, small minority groups within the country. Thus, it is no surprise that the act chosen to represent the joint Normand-Kalosian team at this contest is one of the most prominent Normand persons of Kalosian descent.

Guillaume de la Croix, real name Guillaume Kruž, is a Normand singer. His connection to Kalosia is that he himself is of Kalosian descent, being born in Caen to Kalosian parents who moved to the country and became naturalized citizens before he was born. Thus, he held Normand citizenship from birth and enjoyed a childhood that was not unlike the average Normand child. Due to the aforementioned similarities between the two countries, he was in many ways able to fit in, especially more so than other immigrant groups within the country, especially in a big city like Caen, the administrative capital of the Norman Republic. His early life was in this respect unremarkable, living in one of the many modern banlieux that surround the old city centre, but it must be admitted that the city is not known for its cultural life, especially in comparison to other cities like Rouen, Cherbourg and Amiens.

Consequently, when Guillaume decided he wanted to pursue music as a career, against the initial wishes of his parents, and having got the grades, he applied to the prestigious Cherbourg College of Music, one of the central hubs of the Normand music industry. However, his application was surprisingly rejected, and the College never gave a reason why; however, it must be noted the College does have a problem with admitting even native Picard students, let alone a 2nd generation immigrant. Guillaume certainly saw this as a potential factor, but he was also determined to be able to build a career for himself. He decided to go to Rouen, home to a bustling music scene, where he renamed himself as Guillaume de la Croix, to sound more Normand, and it is there on the gig scene that he was able to build his reputation, before getting his big break when one of his songs was played on SRNP Radio 1; since then, he has seen success in the Normand charts and become one of, if not the most, high profile Kalosians in the country.

Despite his Normand upbringing, he never let go of his Kalosian identity, incorporating it into his music. He speaks rather fluent Kalosian and has also performed in Kalosia a few times, typically under the stage name Giľermu Kruž, particularly in Kafalon where his parents are from. The song he's going to sing is "Il y a une mélodie" (English: There is a Melody), a folk-style song, drawing on both Normand and Kalosian music (as similar as they are), that tells a tale that might be all too familiar to those who travel beyond their homelands in pursuit of meaning, bringing a part of their identity with them wherever they go. To reflect upon Guillaume's own identities, the song is mostly in Normand French, although the chorus is in Kalosian.

For the big night, Guillaume is wearing a blue dress shirt and khaki chinos. As the song begins, the camera zooms in on the background screen, which is pitch black save for a piece of red text in a handwritten font saying "Il y a une...", which quickly fades away and a new one appears in its place. This happens for every occurrence of that phrase in the part below.

Il y a une...
Il y a une...
Il y a une...
Il y a une...

The camera had been gradually zooming out but by this point, it quickly jerked backward to show the stage, which Guillaume and a group of performers on the stage, playing an assortment of instruments, forming an ensemble of people playing the trombone; a mandolin; an accordian; and, slightly more twee, a tambourine, with the men (playing the trombone and mandolin) dressed in a manner rather similar to Guillaume, whereas one of the women playing the accordian was dressed in a rather flowery, quite traditional looking dress, and the tambourinist was dressed in a long, flowing red dress. The stage is adorned with those vintage-looking suitcases, some of which have travel stickers on them made to look old, including one specifically having the Kalosian flag on it on the suitcase Guillaume is standing on, whilst others have an assortment of locations from the competing nations in this special edition, albeit this of course is not the main focus, but rather something that might be caught at a glance during the performance. Guillaume, as aforementioned, is standing on one lying on the floor while his friends are mostly sitting on them, for now. While the focus is on Guillaume, if you look at the background screens it is showing white doodle-like animations portraying the flow of wind.

Il y a une mélodie qui vole sur le vent
Qui résonne avec chaque bruit de pas
Une histoire qui se déroule avec chaque pulsation
Un air qui simplement ne s'arrete pas

The camera angle now switched to one that gradually circled the stage, showing the backing musicians more properly. As the verse progresses and the camera moved around, the various instrumentalists came in, starting with the tambourinist, who was turned to look toward the camera as it came around, slowly moving herself around as it went. This was followed by a slightly old man playing the mandolin; the rest of the instrumentalists remained sitting and swaying along to the beat of the song. If you looked at the background screen, you could see a yellow stick figure of a child walking from the right hand side of the screen, approaching a bigger, female adult stick figure appearing from the left side of the screen.

Il y a un conte qui je peux entendre encore
Comme les autres j'écouterais jadis
En tendant la main à moi, une mère chante
Les paroles suivantes sont ces qu'elle dit

In the background, the 'child' reaches out for the hand of his 'mother'. This is only briefly seen as the camera then closes up on Guillaume.

En tendant la main à moi, la patrie chante
Les paroles suivantes sont ces qu'elle dit

In the background, as soon as the two make contact, the scene quickly transform into a depiction of flags (appearing blank because there intentionally isn't any detail given to their content so as to not become flags of specific countries) flowing in the wind, still to the same doodling style as it has been so far. While this is happening, a camera is showing a dynamic wide shot of the stage, as well as other shots of the performers, all of whom were now performing, looking towards each other and smiling/laughing and all that sort of thing, showing a general sense of comaraderie, with Guillaume himself in the middle of it all.

Kon orgoľu, kon orgoľu portal la banderë
N'oľal tia identita e
Dišël tiu nom

Kon orgoľu, kon orgoľu portal la banderë
N'oľal tia identita e
Dišël tiu nom

The background screen briefly fade to black. Suddenly, there was an explosion of colour, and reflecting this the stage also lit up in all sorts of different colours, including the crystals on the top of the stage. The camera angle used is a wide shot of the stage, allowing us to see all that unfold, before then changing to other angles. Otherwise, much actually stays the same on the stage, although as he sings Guillaume gestures to the other performers and otherwise acts rather cheekily with both them and the cameras when they draw closer; in general, there is a feeling amongst this group of community, even as Guillaume questions his relationship with his homeland.

Elle débarque dans mes oreilles comme une explosion
Et je commencer se mettre à chanter
L'image d'enfant de chœur qui chante en même temps
Maintenant l'image est très étrangère

Slowly, the colours on the screen began to move to the right as if they were being 'blown by the wind', however the colours did not go away, rather it became a single, continuous flow of a diverse array of colours. A middle shot is used here, the one where the camera circles the stage. Guillaume continues to act in the same way, a rather wry smile on his face throughout; with the first line he points to his watch, before gesturing that he is looking out with his hand held to just above his eyes so as to look as if he is trying to look out into the distance, looking both comical and yet also reflecting his relationship with his homes. This perhaps also serves as an insight into how he is trying to process this relationship, especially as a showman, employing all his charm to reach out to the audience across the multiverse.

Pour moi ici en passant le temps
Tandis que je fais attention
J'attends pour cette chanson à sonner de nouveau et me prendre
Prend-moi loin d'ci
La brise, récupére-moi chez moi

The colours in the background screen stop blowing and remain essentially somewhat static from here on, until further notice.

Ooh, prend-moi loin d'ci
La brise, récupére-moi chez toi avec...

Although he was never exactly static, Guillaume starts to walk around the stage when the second chorus starts, jumping off his suitcase and in general moving about, for example jumping back up to sway with his arms around the shoulders of the mandolinist, and otherwise just moving around in time to the beat and helping add a bit more motion to the performance. This, of course, also means playing with the cameras which joined him in his movement on the level of the stage itself, helping to add to the intimate and friendly feel.

Kon orgoľu, kon orgoľu portal la banderë
N'oľal tia identita e
Dišël tiu nom

Kon orgoľu, kon orgoľu portal la banderë
N'oľal tia identita e
Dišël tiu nom

As he sings the bridge, Guillaume makes his way down the catwalk. The camera view, starting at about stage height, follows him backwards as he walks toward the catwalk, before moving up and to the left to show the audience and the back of the stage again. Indeed, Guillaume reaches out and high-fives members of the audience and the like, before, with the last line, looking up to the camera which had moved to look down slightly at him. He points towards the camera and looked straight out to the Kalosians watching this programme in isolation at home with a rather knowing look, in a sense trying to reach out to them (virtually, of course).

Quand j'étais juste un petit gamin
Je rêvais des côtes étrangères
Une fois de plus, j'suis cette chemin
Isolé et plein d'envie, j'attendrais l'appel
J'attends que vous me transportiez
J'veux vous reconnaître mieux

As Guillaume reaches the centre of the forward platform, the lights briefly dim and the stage and background does dark save for a spotlight on Guillaume as he switches back into Kalosian once more. The camera is slowly closing up on him as he sings.

Kon orgoľu, kon orgoľu portal la banderë
N'oľal tia identita e
Dišël tiu nom

The stage lights light up in yellowy-gold colour, providing illumination again and flooding the area with light, and, although the background screens remain off, a pyro curtain comes down. Of course, wide and medium shots are used in this part (with occasional close up shots in between) to fully capture the glory of this moment of the song.

Kestë vië, kestë vië portami a kazë
N'oľavu mia identita kë
Sto tornandu ja

Now the backing performers are walking down the catwalk too, to the rhythm of the song. The camera follows them as they walk around, playing their instruments and singing along with the final refrain. as well as showing Guillaume gesturing for them to come more quickly, in a friendly manner of course, greeting them with smiles, pats on the back and the like and they almost bounced along onto the front platform. The camera shot again changes to show the full stage, with the pyro curtain continuing to fall behind them and bathing the arena in a golden warmth.

Kestë vië, kestë vië portami a kazë
N'oľavu mia identita kë
Sto tornandu ja

The pyro curtain slowly fizzles out, and yet the general golden glow of the stage remains. Surrounded by his friends, Guillaume sings the final lines of the song, with the camera again focusing on the group, and especially the group rather than just Guillaume, as they all sit as a group, arms around each other and looking ultimately as if they hardly had a care in the world. They hardly look as if they are performing to millions of people across the multiverse in this moment, even if really they are all exhausted and relieved, Guillaume especially; perhaps this feeling of relief helped added in a way its own energy to this final moment, capped off with Guillaume winking to the camera before he and this group around him burst into laughter.

Kestë vië mi porta a kazë
Sto tornandu ja
Apartenu la

The song ends and the crowd cheers, particularly the small yet very vocally supported group of Normand fans and the few Kalosians there were. The performers take a bow and Guillame says into the mic: "Thank you! Merci! Gražia!" before leaving the stage, together as one group chatting to each other.

by **Polkishim** » Thu Jun 11, 2020 9:32 am

. : 04 - Polkopia X Ertzei Kishim: .

Lihi Litvi // "Long Way Down"

Lihi Litvinova was born in Peeto to a Jewish-Polkopian family in the year 2000. Her family made aliyah to then Kishrael before her 5th birthday, as the communist Polkopian government allowed some formal immigration to Jewish populations throughout the country, partly to ease the state's financial burden of responsibility. Thus, the family moved to Kishrael early in her life, and moved to the settlement town of Yahavne in central Kishrael, specifically built to absorp immigrants from the former USSR and other Middle Eastern countries. As was the case with most Soviet Jews, Lihi's family's first language was Russian, and upon leaving Polkopia neither her or her family saw any need to continue using Polkopian in their daily life. Her life in Kishrael was relatively pleasant, certainly she enjoyed a higher quality of life than what she would have maintained in Polkopia, particularly during the period of multiple revolutions which caused repeated economic shocks. More and more, Polkopian and Soviet Jews would move to her city and this sparked something within, a longing that she didn't know she had. She certainly never forget Polkopia, and her fractured memories, stories from her parents, and infrequent visits to her Polkopian relatives kept her ties to her homeland strong. It was a random day in the summer of 2011, where she decided to go to the local bookshop in Yahavne, and pick up a Polkopian textbook - just to see what it was like. This would be the start of a huge adventure of discovery for Lihi into her cultural past. The deep connection she forged with both nations led her to return to Polkopia to pursue higher education, at the time the university fees in Polkopia were much cheaper than in her home country (recently that has changed, maybe she's kicking herself, we didn't ask). She was accepted to Polkopia's premium educational institution, Peeto State University, to study Law. During her time in university she had been a part of an amateur musicians club as a singer, but she had never considered it as a viable career choice, rather she was focused mainly on her studies. She wanted to use her degree to help other Soviet Jews make aliyah to Ertzei Kishim - this becoming ever more urgent before the new Kishrael government repealed the Aliyah legislation. It was during a public performance in one of Peeto State's vast auditoriums that she was approached by a scout from PNB approached her with an offer.

Broadcasters had been told privately by the WorldVision Committee Board that there would be a special contest, where two nations would be paired together to produce one entry to represent both of their countries. It was believed HARESHET had immediately approached PNB after the private notification to propose working together. Kishraeli WorldVision 76 entrant and second place Dikla Romanova who was also a Polkopian Jew was a name which was bandied around the HARESHET headquarters, however she had declined the offer, preferring to focus on other musical projects. It was then decided that new talent was needed, rather than mediocre mid-level singers. Luckily, the government of Polkopia had maintained the extensive records of the communist era on all those citizens born after 1991 until 2008. Equally, despite their posturing in public, Ertzei Kishim maintained a shared intelligence agency with Israel, the Mossad. Uniquely, these files were used by HARESHET and PNB scouts to locate people relevant to the network (Kishraeli Culture Ministers have access to the relevant secret files). Lihi was invited to an audition in Peeto, where she was asked to perform a set of Hebrew and Polkopian songs. She was then sent home and told if she was successful, she'd hear back. One week went by, two weeks... nothing. Lihi was disappointed, but she didn't mind, it just wasn't meant to be. On the third week as she was walking to go and meet some of her friends, she received a phone call from an unknown number with a Kishraeli dialling code. It wasn't unusual for her to get calls from Kishrael, of course most of her family lived there, but not from an unknown number. "Hello, is this Lihi Litvinova?... Great. I'm Dan Sufoni from HARESHET. I'd just like to let you know that we've decided we'd like you to be our representative in the Teams event, we will be sending you an email shortly with the contract and information package." Lihi froze... she managed to get out a "Todahhh" before the phone was put down, and she caught herself smiling like crazy. She flew to Ertzei Kishim just two weeks later to take part in the process to create her song, mixed by both Polkopian and Kishraeli musicians. The final product was an empowering pop song, called "Long Way Down". It talked of a woman's power to break free from a bad relationship, to learn her self worth, and to fly high and succeed.

The promotion for her song was relatively limited, partly because HARESHET and PNB wanted to keep the announcement secret, and partly because a planned appearance at the 82nd WorldVision in Tiferet could not go ahead as her song wasn't finished at the time. She didn't however feel much issue about that, as no other artist in the Teams edition had been doing much international promotion either. Rather than a season of national finals and international juries, all the songs to be performed in Ordium had heavy influence from the broadcasters as to who the artist and song would be. Thus, her announcement as the artist came actually only a few days before the contest - and equally, because of her unknown status, superfans on social media platforms such as Reddit and Instagram were unable to predict her choosing, in fact many maintained that it would still be Dikla Romanova. With this as the backdrop to her adventure, she set off from Lut Airport to Ordium (she had been based in Ertzei Kishim since the coronavirus outbreak because of the cancelling of academic classes in her university, and simply because in such a time she preferred to be with her close family and relaxing in nicer weather). The journey was comparatively less than for some other artists, only around 4 hours direct from each airport. Ordium was BIG. It was a bigger city than Lihi expected. Of course living in Peeto was much bigger than anything in Ertzei Kishim, but Peeto had more of a classic charming quality to it, whereas Ordium seemed cutting edge, advanced and slick. Her team's hotel as actually based in the financial district, which in itself was an experience. The glass towers emblazoned with shining names of corporations couldn't be any different from either of her home countries. No such culture existed in Polkopia, and it was being actively eradicated in Ertzei Kishim. Rehearsals had been going extremely well, in fact, for a complete beginner, the stage producers were happy with her ability to remember moves, hit marks, and maintain decent vocals while moving. She was also easy with the media, and honest. When asked about her selection and why she wanted to represent her countries she answered "Well... I actually didn't, I'm not sure if music is the direction I will definitely take, but I'm certainly enjoying the ride so far".

The crowd had just been shown the postcard for Polkopia and Ertzei Kishim, resulting in a massive wave of applause from the audience in the Freita Stadium. Now, the stage was set for Lihi to begin her performance. Lihi stood center-stage, facing the audience, though the spotlights had yet to illuminate her. The crowd cheered yet again as soon as the instrumental introduction played and once it began, the crystals hanging above the stage illuminated in a deep maroon color, and quickly faded into black again. Each crystal did this in its own seemingly random pattern in rapid succession and the camera alternated between various overhead views of the stage, panning around so that the audience at home was able to see every bit of the stage as possible. Red spotlights finally illuminated bits and pieces of the stage during the five percussion notes that hit before she sang, with each spotlight centered on her from various angles. The illumination occurred in-sync with the 5 percussion notes. On the ground, the viewer could see gold and red glitter had been scattered all over the floor of the stage, and every speck of glitter glistened in the lighting of the arena.

Lihi was wearing a bright red bodysuit with ruffles, similarly-colored knee-high boots, and a choker. Once Lihi began singing, the first line of the first verse, she moved one of her hands in a slow-motion hook punch, before grasping the microphone with both of her hands. Her attitude was a mixture of sass and anger, and her facial expressions made this as clear as day. Throughout the rest of the verse, Lihi sang with one hand holding her microphone and her other hand on her hip. The camera panned around her and her eyes followed the camera wherever it went, staring daggers at those watching from back home. During the last line, she rolled her shoulders up and down before ending the line with a hair-flip. Throughout all of this, the LED screen behind the stage showed an animation of bullets slowly falling from the ceiling against a black background.

Knocked out
Coming around
Keep shooting empty bullets in this loveless battleground
And boy you’re up there dropping bombs all on my heart
And it’s a long way down, it’s a long way down oooh

Lihi moved from her original spot and started walking around the perimeter of the stage, only meters away from the cheering crowd below her. She continued to sing with animate facial expressions and hand movements. As she sang the first line, she had her hand to her side, swaying as she strutted around the perimeter of the stage, before listing her hand to her head and furiously beating her temple with her index finger as she sang the word, "imagination." During the next line, she couldn't help but to extend her arm out to some of the cheering members of the audience for a few moments, before walking around the perimeter again, beating her chest as she sang the word, "expectations." She brushed some of the loose hairs out of her face and toned her animate performance down a little bit for this next line with her facial expressions no longer showing the intense anger she was conveying throughout the performance. Toward the end of the third line, she walked back toward the center stage, and for the last line, she looked up toward the ceiling and held her free hand above her head as she camera rapidly zoomed in on her from afar.

If this is love then that’s just your imagination
You sold me down a path of hopeless expectation
And as for me, I’ve come to the realization, yeah
If life’s a game then finally I wanna play it out!

The start of the chorus resulted in a brief illumination from the stage lights which then proceeded to fade back to normal after a split second. The background LED screen now showed a rain of gold glitter falling from the ceiling against a black background, however the stage lights retained their original maroon color. Lihi extended her hand out to her side and held her head high as she sang the powerful notes in the chorus. For the third line, she brought her hand back closer to her body and rapidly moved her hand closer and further away from her abdomen four times in rapid succession as she sang "they can never be undone". She then pointed to the camera and smirked, before pointing to the ground and moving her whole body lower until she was practically squatting. For the second-half of the chorus, she jumped up and moved around the perimeter of the stage again, pointing to the crowd. For the third line, she pat her heart in the same four-count that she had done in the first half of the chorus. During the last line, she turned her body away from the crowd, though her face was still facing the camera. She winked as she sang the last few words of the final line.

If nothings gained
And nothings won
Mistakes were made and they can never be undone
And you’ve been flying high on your pride
But it’s a long way down, it’s a long way down

We played our games
And rolled the dice
And thanks to you my broken heart has paid the price
And you’ve been flying high on your pride
But it’s a long way down, it’s a long way down

The camera now showed a view of Lihi where the crowd was in the background. Prior to the start of this performance, members of the audience were asked to hold up their LED wristbands during this bit of the song, and most obliged. In the background, viewers from home could see thousands of red specks of light behind Lihi and although the camera was trained on her face, the background seemed just as powerful as the performer herself. As she sang, she slowly moved forward toward the camera and the camera, in turn, backed up away from Lihi. During the last line, her eyes widened and her head rocked back and forth rapidly.

Your departure left a bad taste
I got so tired of drinking in your bitterness
You got too used to doing what you know ain’t right
And it’s a long way down, it’s a long way down oooh

The camera changed to an overhead view, rotating in place. The viewers from home could see that the glitter that was around the stage since the beginning had actually been scattered in a pattern so that it resembled a spiral at which Lihi stood at the very center of it at this point in time. The camera returned to a view of Lihi mid-way through the second line, who was signing to the audience instead of the camera, exemplifying the same passion and emotion that she had been doing since the beginning of the song, showing no sign of slowing down. During the last line, the camera showed her from a side-angle, and mid-way through the line, Lihi stomped toward the camera and delivered a high-kick toward it. Off-camera effects make it so that the glass appeared cracked as soon as she delivered the kick, and the camera rapidly spun away in order to transition to the chorus.

How do you see yourself through all this self-absorption
When we are standing on these crumbling foundations
Consider these words something of an escalation now
If life’s a game then finally I wanna play it out!

With the chorus starting back up again, the camera showed Lihi once more and no longer had the broken glass effect that it had during the last bridge. During first couple of lines, she was at the very front of the stage, holding her hand up high, singing to the cheering crowd in front of her, but as she sang the fourth line, she started to walk to her right and then down the catwalk. As she sang the fifth line, she held her hand up above her had again and waved her arm and hips, while slightly bending her knees. She then proceeded to jump back up and strut down the runway, belting out these notes as if it was little to no effort for her. All around her, flags from all participating nations waved, though it seemed as if there were far more flags from Polkopia and Ertzei Kishim than any other nation. For Lihi, this was an incredible feeling - singing among passionate Polkopian and Kishraeli fans and seeing flags from both of her countries gave her an incredible sense of pride. She fought hard to keep focused on her performance and not let her emotions get in the way, but it wasn't easy. By the end of the chorus, she had made it to the stage island and she allowed herself to breathe, knowing that there wasn't much time left in the performance.

If nothings gained
And nothings won
Mistakes were made and they can never be undone
And you’ve been flying high on your pride
But it’s a long way down, it’s a long way down

We played our games
And rolled the dice
And thanks to you my broken heart has paid the price
And you’ve been flying high on your pride
But it’s a long way down, it’s a long way down

Large columns of fire spurt out from the stage and its perimeter as Lihi hit some of the higher notes in this bit. The camera panned out so that the entirety of the stage and arena were visible to the viewers back home. During the third line of this bit, the camera rapidly zoomed around Lihi, who was squeezing her eyes shut and concentrating on maintaining vocal perfection as she delivered some of these notes. Toward the end of this, the camera panned out and faded to black.

Ooooh
Hell yeahh (and my heart has paid the price)
And I rolled the dice!
(And my heart has paid the price)

The camera faded into a close-up view of Lihi, who started singing the breakdown of the song by looking directly into the camera as she sang. The lighting, meanwhile, changed from the fiery hot colors of red and gold to a softer color scheme of deeper blues and purples. All around her, people continued waving flags however Lihi was fully concentrated on the performance now, only breaking her intense stare into the camera a few times, but always maintaining a stone-cold facial expression. At the end of the song's breakdown, she allowed herself to rise, holding her head up as she sang the last line, holding the note for a bit.

If nothings gained
And nothings won
Mistakes were made and they can never be undone
And you’ve been flying high on your pride
But it’s a long way down, it’s a long way down

With the final chorus, she rose up and as it began with a bang, flares shot up from the stage. The background became a fiery colour, deep reds, oranges and the like. She was centred directly in the middle of the stage, and then, began to walk along the runway while singing the end of the song. The path to the end shot with fire every few seconds, creating a warming effect with her outfit, and the background. Reaching the end circle of the podium for the very final part of the chorus, she widened her gate and closed her eyes to emphasize the power of what she was singing.

If nothings gained
And nothings won
Mistakes were made and they can never be undone
And you’ve been flying high on your pride
But it’s a long way down, it’s a long way down

We played our games
And rolled the dice
And thanks to you my broken heart has paid the price
And you’ve been flying high on your pride
But it’s a long way down, it’s a long way down

As she finished she lowered the microphone in an arch slowly. One final flare burst out from the stage as she finished. The crowd erupted with huge cheers, particularly from the Kishraeli and Polkopian sections of the crowd. Lihi smiled with relief, her body language became almost shy as she bowed slightly and shouted "Thank you everybody, thank you!". Smiling and waving, she jogged off the stage. She was thrilled with her performance, and she hoped that it would be enough to do both of her countries proud. This was a special event for her, and for everyone else competing, but she wanted to win. Hopefully her song could do that for her.

by **Elejamie** » Sat Jun 13, 2020 4:58 am

05. Beepee + Elejamie

Amina Pickle and Andrea Garcia - Memories

Tune: Magazin & Lidija Horvat-Dunjko - Nostalgija

Elejamie

Elejamie has a long and distinguished history at WorldVision, first performing at WV35 in Fontvieille, Yttribia. There, they were represented by Electric Blue, whose song The Wave finished an average 16th place (out of 39) with 61 points. This was followed by a 25th place (out of 41) finish with 44 points before they would absolutely bomb at the 37th edition, where Sataeveni Jamuri would ultimately finish second last (39th out of 40) with only 19 points. They’d bounce back with joint Pracib-Elejamian duo Monochrome Haze in WV38 and, after a one edition break for reasons unknown, Electric Blue would make a return when their song Let Me Go; though far from their first choice, given that the original entrants had visa troubles, it still went on to finish in 35th place with only 24 points. Elejamie would then go on a massive hiatus where, other than an appearance at the 50th edition where Monochrome Haze would finish 12th place with 60 points (their highest placing at the time), the contest would be relegated from ETV1 to ETV3 and not much attention would be paid to it.

However, the 74th edition saw the nation make a welcome return to the competition when Artist Unknown represented the country with his indietronica song Never Going To Sleep Again. While there were some doubts about whether or not the entry would do well at the contest given that the nation hadn’t performed for 24 editions, doubts that would eventually be proven right as the song ended up finishing in 13th place (out of 32) with 60 points, it still proved that there would be life in the contest for the nation. And that’s what ended up happening when Fata Morgana went on to represent the nation in Monterra, Kalosia for the 75th edition. Not only would they finally get the nation’s first ever top ten placing but also their first ever podium finish, 2nd place with 122 points. However, this result was mired in controversy but that’s another story for another day.

Following ETV’s boycott of the 76th edition in the Achaean Republic (which was still broadcast in Elejamie albeit on a different channel and saw longtime commentators Cerin Erali and Flynn Taggart still travelling to commentate), they would return for the 77th edition in Mister X with the song Goodbye by Eterna. Although completely different in style to the usual fare you’d expect at the contest, being a stripped down indietronica ballad about coping with loss and the song itself having a minimalist stage performance, the entry was still among the favourites to win the contest. In fact, it would go on to dominate the first half of the voting, getting points from every nation and by halftime it was twenty points ahead of then-second placed Kalosia. However, the stream of points would soon dry up and their lead would eventually narrow. By the time the last country (Ethane) voted, they ended up giving only a single point to Elejamie but the full 12 to Todlichebujoku, which was more than enough to give MÜRÁKKÁÁN the win and see Elejamie finish second yet again, with 102 points.

Not disheartened by it, along with Eterna still going on their planned hiatus regardless of where they finished up, ETV would send dance-rock band Imogene to Malta Comino Gozo in an attempt to carry on their surprising run of good form. And that’s what happened there; while finishing nowhere close to the top three (and only getting one single set of 12 points), they still finished an impressive 4th place with 87 points, 15 points behind third placed Izmedu and 37 points behind winners Kalosia. The 79th edition was a step down in form, with Shireen’s song BE A STAR finishing in 7th place with 76 points, finishing ahead of Kalosia who had the same amount of points and the same amount of votes but fewer sets of 12 points (two for Elejamie and one for Kalosia). However, Mason would help the nation bounce back in style for the 80th edition in Marina Point in Nekoni, where he’d not only finish in 4th place with 118 points but he would also nearly win the contest having an incredibly brief lead at one stage before losing it after the next country’s votes; eventually, a 12 points for Ertzei Kishim from penultimate voters Axuva would see Lika Dia grab an unbeatable lead and thus the win for her country and a 6 points from Todlichebujoku to Polkopia (and zero to Elejamie) would see Mason just miss out on a podium spot due to tie-breakers.

The 81st edition in Boschke, Britonisea would sadly see their top ten streak end in an absolute disaster. Although hopes were high that Second Choice would carry things on with their entry Until The Bitter End. However, for a variety of reasons (dull stage performance, song that didn’t stand out, average lyrics and technical issues to name a few), the song would not only miss the mark but would see the nation go back to their old ways with a 20th place finish (out of 34) with 35 points. This was enough for ETV to end their internal selection policy and announce that, while the next two artists will be internally selected, their songs won’t be; following a short poll, Aurora Cassidy would go on to represent Elejamie in the 82nd WorldVision Song Contest in Tiferet, Ertzei Kishim with the song Since I Lost Him, a retro-sounding song about how a woman became hostile to love after her partner walked out on her. Though not as much of a favourite compared to Izmedu, Britonisea and even surprise winners Llalta, the song would still perform fairly decently, getting 112 points from the juries and 115 points from the experimental televote system to finish 5th overall with 227 points. Jon Navarez, another synthwave musician, has been internally selected to represent the country for WV83 with another poll on the ETV website (that’s also available to foreign audiences for the first time), but not much else has been revealed.

Beepee

Beepee, by contrast, has performed only four times at WorldVision since entering the festival at the 79th Contest. After an inglorious start, finishing 22nd (of 23), the small but dedicated Beepeean delegation has improved, finishing 18th (of 26) at WV80, and 22nd (of 34) at WV81. Further, Beepee achieved a top ten finish at WV82 finishing 9th to the surprise and delight of Beepeeps everywhere.

Despite this most recent success, many Beepeeps consider themselves a bottom tier entrant. Although Beepeeans do take the competition seriously, most Beepeeans are just pleased to be there. Beepee has developed a distinctive old school sound which often grates with the more musically progressive nations.

Andrea Garcia

Andrea Josefina Rocío Garcia Escobar, simply known as just Andrea Garcia, was born in St. Andrews Point, WYKN, on 6th April, 1969. The oldest of two children, she had an interest in singing ever since she was young but didn’t put it to good use until she joined her high school’s choir alongside her brother Rodrigo, a well-known operatic tenor in his own right following a few brief stints trying to make it into pop music. Discovering she had a knack for it, she would try to develop her own style, which eventually led her to attend the Davenport School of Performing Arts when she decided that she wanted to become an opera singer after stumbling across some classical recordings, including a couple by world renowned soprano Janet Carey (1928-2002) who would later go on to tutor Andrea.

Upon graduating in 1991, she spent the good part of a year auditioning for various opera houses and theatre troupes while working a series of odd jobs to ensure that she had enough money to keep her going. Indeed, by late Spring of 1992 she almost gave up and decided to settle down on becoming a secretary, given that she enjoyed that job and it paid fairly well. However, she managed to get accepted into a small local theatre group that primarily did musicals. There, she was able to shine thanks to her operatic background and land a number of lead or main supporting roles. Indeed, it was her role as one of the female leads in their 1994 production of the musical Vice (which is basically like Chicago but everyone’s in love with each other) that saw her get scouted by the Wyken Opera, one of the subdivisions of the Elejamian National Opera that mainly deals with the Wyken tract; this would end up being short-lived, however, for reasons explained in the next paragraph.

After being a cover for roughly a year, most notably filling in for someone shortly before a performance of La bohéme in August 1995 (where she ended up playing the role of Musetta), she ended up moving to Avon towards the end of the year to be with the man who would end up being her husband (see below). However, before she left, she would end up making her big break when she played the role of Giannetta in L’eliser d’amore in November. Her talents were noticed by the Aventry Opera as she was later selected to play the role of Adina in that very same opera when it was performed in January 1996. Since then, she’s performed hundreds of roles over the years, including the titular role in Tosca which she has repeatedly stated to be her favourite role due to how hectic it can get (especially since she’s usually joined on stage by her brother Rodrigo Garcia Escobar, who usually plays the role of Cavaradossi though for obvious reasons takes the role of Spoletta whenever he’s alongside his sister).

Offstage, she has recorded a few albums consisting entirely of studio versions of soprano pieces she has performed over the years, as well as a live collaboration with her husband Chris where he either performed a solo violin piece while she sang over it or he conducted an orchestra to back her up. She also did a straight-forward pop covers album early in her career and, while she has since disapproved of it, she still advocated keeping it in circulation to avoid people overpaying for it or making it lost media. She was also one of the coaches on the short-lived Pop Star to Opera Star, a show that lasted from 2012 and ended in 2014, which differed from the original British version by getting rid of the eliminations and all the contestants were tasked with getting to grips with and putting on an opera for their friends, family, a number of music professionals and opera fans. She career was put on hold in 2015 due to a health scare but she returned to stage towards the start of the following year and has been performing since.

She is currently married to violinist, composer and conductor Chris Basset, whom she met at a luncheon in December 1995 and would eventually wed the following Summer; along with two of his children from a previous relationship, the couple have a son of their own, Nathaniel (born 1998). However, believe it or not, this’ll be the 11th time the two have worked together in their 25 years of being a couple, as they try and intentionally avoid any crossovers so it doesn’t come across as them leeching off of each others’ popularity. Although she’s a fan of the Davenport Commandos rugby union side, she can be sometimes seen at Avon Knights games alongside Chris, who’s a season ticket holder for them. She is a devout Anglican, being part of the rare Hispano-Elejamian Protestant population. And she’s also an avid gamer, having taken up live-streaming games during the lockdown because of COVID-19 and she’s even reviewed a number of games in her blog over the years. She also has no issues if you spell her surname with the acute accent over the I, even though she and her family officially use a normal I instead.

Preamble

WorldVision Teams, an exciting new format for the WorldVision family, was greeted with great optimism and excitement when announced in both the Elejamie and Beepee populous.

Following the announcement of the partnership the two nations shared their feelings about their partnered nation. In Beepee, Ms Fanny Golightly, Head of the Beepean Occasional News Corporation (BONC) declared herself "delighted and thrilled", with the prospect of working together with ETV. "I am delighted to be working with our good friends in Elejamie. We are excited and eager to work with such an established and high quality powerhouse of the WorldVision family.”, she said when interviewed, ”We certainly don’t want to let Elejamie TV down and will be deploying our very best.”

Reports however surfaced that a, as of yet unidentified, BONC executive raised concerns and was quoted in some media as saying "We're very niche, I do hope the Elejamians are not too disappointed in having us as their team mates".

Meanwhile, ETV head honcho Michael Carradine said “We are very proud to be working alongside BONC and the Beepeean delegation and we are hoping that we’re able to provide a good show for everyone regardless of where we end up. While we do have one or two concerns, namely if the entry we end up sending will be too out there for the multiverse, but we’re still confident that our joint song will be something that people like and we wish the best for both Amina and Andrea. And, of course, we’ll be looking forward to working with our Beepeean counterparts again in the future should we get another chance.”

Due to Beepee being declared CoViD free, the Elejamian Delegation spent the weeks leading up to the show in Norfolk Pinewoods, Beepee. The days and nights were filled with anticipation and practice for the finals, practicing the choreography, and ironing out the kinks in the performance. Over the time spent rehearsing, Amina and Andrea became friendly and closer. The duo were often spotted out and about in the Beepeean capital and were happy to give out interviews about how the song was coming along and all of that.

Several events were hosted with the Elejamie Delegation, including a state dinner with the Beepeean Prime Minister Stan Bach - keen to impress their visiting dignitaries - the night before the joint Beepee-Elejamie delegation headed to Ordium, Scotatrova. The state dinner, which was known as the Prime Minister’s Ball, was not only a celebration of new-found friendship between the two nations but was also to honour the two singers before their trip. Following a meal and a speech from the Prime Minister himself where he wished the best of luck to the two entrants, the partygoers were treated to classical renditions of two Elejamian entries to dance to - Never Going to Sleep Again by Artist Unknown (WV74) and Worlds Apart by Imogene (WV78) - before the night was rounded off with a performance of the entry that’ll represent both nations at WorldVision: The Teams, one that received a rapturous applause from those in attendance.

Onto the actual song itself. The song "Memories" is the Elejamie/Beepee entry, with lyrics written by Beepeean lyricist Otto Tune and the music composed by Elejamian composer Chris Basset, who decided to bring his wife into the fold when he realised the piece he had written could work with an extra soprano part. This isn’t Basset’s first crack at the WorldVision, however, as he participated in the recently-finished 82nd WorldVision Song Contest where he conducted Since I Lost Him, a song that he also joint-composed and a song that would go on to finish in 5th place with 227 points. Basset will also appear at the contest himself, appearing on stage where he’ll play the violin. The song speaks to the recovery from heartache and has received a surprising amount of support from the LGBT community in Elejamie thanks to a popular interpretation that the song’s about a lesbian relationship that had to be broken up; however, there hasn’t been any actual confirmation about whether or not this is true.

Red=Amina
Green = Andrea
Blue = Amina and Andrea
Black/White = Amina, Andrea and backing band (except for Chris, who doesn't sing)

We then cut to an aerial shot of the stage. To the left, we have the three Beepeean musicians making up the backing band: Willie Plucket on bass, Ivor Ease on keyboards and Stix McReady on the drums. On the right side of the stage, we had Chris Basset himself, dressed in the same outfit as he did in Tiferet, although there were a few adjustments. While he retained the smartly pressed suit (with matching trousers) and waistcoat, he was completely lacking the tie that he wore in Ertzei Kishim. And while he still had an Elejamian flag pin in his right lapel, he also had a Beepeean flag in his left one to symbolise the two nations working together on this momentous occasion. Finally, at the podium at the front of the stage, cutting into the audience, was Amina Pickle herself. She was dressed in a bodicon dress where the top was black but the skirt itself (which went down to around her knees) was white, with a red rose in the lapel to represent the red dot on her nation’s flag. She was also wearing a pair of black slip-on dress shoes with a slight heel, barely an inch off of the ground and the heel itself nice and chunky to avoid easily breaking.

Once the applause subsided, we then cut to an extreme close-up of Chris taking a deep breath as he began to play the opening notes of the song. Originally the sound was from a take of him warming up but Otto, Amina and Andrea liked it enough that he decided to incorporate it into the song, with it actually appearing in the single release of it. Once he segued into the actual music, the camera then cut to a medium shot of Amina. She was holding the microphone delicately, raising it to her lips as she began to sing. She gave a wistful look to the audience and then the cameras, almost as if she was reliving the experience she was singing about. There was a single spotlight shining down upon her and, while there were still lights shining down on it to keep it lit up, the stage behind her was darkened somewhat, though towards the end of the verse it lit back up again.

Dreaming, dreaming about that old time feeling,
I watch your car as you are leaving,
We made a promise, we said "forever",
Forever, wish we were together.

Just as the next verse started, we then cut to the left-hand side of the stage. There, we see Andrea Garcia herself making a welcome appearance onto the stage, singing her verse. She was wearing a green dress with a white belt around her waist. There was also a slight black trim to her dress, much like the faint black cross on her nation’s flag. She was wearing a pair of white pumps, with a much bigger heel but just as chunky again to support her weight. Much like her co-singer, she has a couple of flowers attached to her dress but the differences were that there were three of them and they were blue, red and yellow, instead of just the single red. She was holding the same make and model of microphone as Amina, albeit in her left hand as that was her dominant one. The camera slowly panned alongside her while she was walking, making it seem like she was moving in place while everyone else and the stage were on a conveyor belt behind her. She stopped when she was in the middle of the stage and looking in Amina’s general direction before the camera zoomed out and panned away, now looking at Amina and the audience as the chorus was set to begin.

Thinking, thinking about that old time feeling,
When my life, it had more meaning,
Absence makes the heart grow fonder,
How I wish I could be stronger.

And so we cut to a wide shot of the stage, with everyone standing perfectly still as they were either singing or playing their instruments. The lighting also changed, going from a bright white to a duller white with a slight blue tinge to it. Around the start of the second verse, we fade into a medium shot of Andrea singing before we fade into a waist-high shot of Amina. The two singers were still staring at each other as they kept singing, with a faded picture-in-picture shot of Andrea still singing even when the camera was primarily concentrated on Amina.

The sunlight, the sunlight breaks through a cloudy day,
It dries up all my tears, chases all my blues away,
Walking through the hallway, I feel you dissipate,
Like memories.

At that point, where the backing band started to sing along as well, we then cut over to Willie Plucket and Ivor Ease, both of whom started to sing along while they played their instruments. It also gave the audience the opportunity to fully make out what they were wearing. They, alongside Stix McReady who was off-screen at that point, were wearing red suits with black lapels, white buttoned-up shirt and black ties, as well as matching red trousers and black neatly laced up dress shoes. In fact, the camera would slowly pan from left to right to reveal that everyone barring Chris was singing and, indeed, Stix McReady was wearing the same outfit as their fellow bandmates. Afterwards, we then fade into another mid-shot of Amina, finishing off the chorus so she could get ready to sing her next verse.

The sunlight, the sunlight breaks through a cloudy day,
It dries up all my tears, chases all my blues away,
Walking through the hallway, I feel you dissipate,
Like memories.

As Andrea would warble in the background, the camera would concentrate on Amina as she began her verse. At that point, she slowly walked down the podium and over to the stage, all while she carried on singing. All while the cameraman was facing her and moving alongside her, something that required an immense amount of concentration and balance lest he falls off stage (something that’s happened once or twice during rehearsals but fortunately not on the big day). Once she reached the stage itself, the camera turned around so it was now behind her, with Andrea standing in the background, behind Willie, Ivor and Stix. Andrea would then start to move forward, sticking out her hand as if she was about to touch Amina’s hand, only stopping when she was barely inches from her. The two of them began to sing the last line together before they moved on to the chorus.

Morning, morning comes, the day is dawning,
I guess the world did not stop turning,
Life goes on, I'm not living in the dark,
The sun is shining in my heart.

As they moved on to the chorus again, the two singers made circles around each other as if they were about to face off before they both turned to face the audience in front of them. After the camera circled them while they sang, they turned to face each other and continued to do so while the camera faded out briefly to Stix McReady singing before fading back out to the two singers. Towards the end of the song, the two of them finally put their palms together, as if they were finally able to break through the glass and

The sunlight, the sunlight breaks through a cloudy day,
It dries up all my tears, chases all my blues away,
Walking through the hallway, I feel you dissipate,
Like memories.

The music would then swell up for the final chorus and the obligatory key change. The two of them would then stand side-by-side, slowly swaying their bodies a little bit as the camera, which was below their waists and pointing up at their torsos, did a small pan from left to right before we cut to a distant shot showing Amina wrapping an arm around Andrea, sort of like in a buddy-buddy way. We then fade to another cut of Willie Plucket and Ivor Ease singing along before we cut back to the two singers, with Amina taking her arm off of Andrea’s shoulder. And then, at the last line, we cut to a close-up of Andrea, eyes wide open for the camera as she sang the first couple of syllables before she started to close them and raise her empty hand up for the third syllable. When it came to the fourth one, her hand was all the way up, her eyes were fully closed and, as she held the note, the camera would start to zoom out to an aerial shot of the stage.

The sunlight, the sunlight breaks through a cloudy day,
It dries up all my tears, chases all my blues away,
Walking through the hallway, I feel you dissipate,
Like memories.

As Andrea held that last note, we see a faded picture-in-picture of Chris playing the last few notes on his violin, bringing a roundabout end to the song. She would continue to hold that note for a few more seconds before stopping to signify that the song was over, especially when she lowered her microphone. Of course, before that point, there was a round of applause to show that some of the fans in attendance liked it, or perhaps because it was good manners after each entry. Including a brief shot that showed a fan waving a scarf with Elejamie written on one half and Beepee on the other, both halves featuring their respective flag’s colours.

However they weren’t prepared for what happened next. Presumably because of that interpretation of the song, or because it might’ve been a way to get some votes from people, Andrea would go on to kiss Amina right on the cheek, much to the latter’s surprise (as well as that of a couple of backing band members and her husband Chris). Shaking it off, she waved towards the cameras and said their thanks yous. “Thank you Ordium, Thank you Andrea! Thank you everyone!” said Amina.

“Muchas gracias, Ordio.” Andrea added. The two would then walk off stage, shortly followed by Chris and the rest of their backing band, letting everyone get ready for the next act.

Credits: Lyrics - Beepee; Stage RP - Elejamie; Pre-entry stuff - Beepee, Elejamie or Elejamie adapting Beepee’s ideas (and vice versa); Cover artwork - Beepee (adapting Elejamie's ideas).

by **Scotatrova** » Sat Jun 13, 2020 5:11 am

Interval Act

Olga Vrbic and Adrian Rouco - Last Chance

Pentatonix - Shallow

Garthat ai le cail
Looking at the sky

Ía la vitha nel va ai sisar
And life isn’t going to stop

Atiem un fusa?
Do we have a chance?

Asperá que nel par núele
I hope that it’s not for nothing

So axte
I’m here

Nel lúo soltás
Don’t let go

Nosre maxa ía emor
Our glory and love

I’etang epur, duefe saete
I’m scared, I need help

Staring at the skies
Life's passing us by without stopping
We still got a shot?
Or are we just hoping for nothing?

I'm still here
Holding on to us
To our glories and hopes, our love
Maybe I'm a fool, scared and lonely

I'm taking this chance, I'm not letting go
I'm jumping in with you
Through this crazy world, these wild emotions
Because this is our last chance

This is our last chance
The only one we'll ever have
This is our last chance
The only one we'll ever have
Because this is our last chance

I'm taking this chance, I'm not letting go
I'm jumping in with you
Through this crazy world, these wild emotions
Because this is our last chance

This is our last chance
The only one we'll ever have
This is our last chance
The only one we'll ever have
Because this is our last chance

by **Nekoni** » Sat Jun 13, 2020 4:25 pm

SONG 06: MISTER × NEKONI
Through the Rain by Entourage
Based on The Flood by Take That

The first WorldVision that requires individual nations to team up sounds like it would benefit some more than others. One can immediately come up with a list of potential shipping candidates for entries to provide some very interesting combinations, however, the combination we have here intrigues most of all. Take the two nations of Mister X and Nekoni. At first glance, it sounds like a match made in heaven. In the regular contests, both nations are very friendly towards each other, they debuted very close to each other and the two can claim a solitary win each. However, both nations tend to keep their cards very close to their chest when it comes to the contest itself. Neither, it seems, likes anyone to meddle in its affairs. What would happen, then, if they were forced to?

For whatever reason, be it the temperature at this time of year, the political swayings or just the fact that Nekoni doesn't really know how to do coffee properly, the ins-and-outs were settled in Thatcher City instead of Nekoni. To what may be the surprise of both delegations, the ins-and-outs of the deal were formulated within about an hour. Mister X would send its musical talent. It was Nekoni's job to make it look fantastic.
Flying the flag for this dual proposition are familiar faces to those into their WorldVision. Entourage are indeed back, and the quartet of Josh, George, Jaymi & JJ have returned for the first contest since WVSC42. It appears that time has been very kind to the boys: despite their voices maturing, they have still managed to retain the looks that won them so many fans back at home in the first place.

At the start, we see nothing. The lights are all turned off, save for the audience using the lights of their phones to create a starry sky. The sound of thunder causes some mild dim flashes of light across the arena, but nothing to show any of what occurs on the stage.
As the first vocals come in, a bright white spotlight shines down on the stage, slightly off-center to the right, displaying Josh in full view. He moves from his starting position (as all of the band members will be) of standing, head down, hands by his front, to head up high, right arm to microphone, left still to his side.

The camera is set up so the audience cannot be seen, with Josh singing on his own to a background of what appears to be an infinite nothing, but tilted at 45 degrees to the side so it's clear that he's not singing to the camera. For here, we also note the outfits. The order of the day here is a simple combo of black suit jacket, plain shirts underneath and either slacks or neutrally coloured jeans.

I came running to your house tonight
There was not a single light
Shining onto the road

As soon as Josh finishes his section, the light dims on him, and he returns to his starting pose, as the light then comes up a little to the left along the line to shine on George. He has accentuated his clothing with a black tie, but it's very, very loose.

Was scared, wondered where you could be now
Then I swore I would find out
No one will stop me

We then go to Jamie, third along the line, who has his suit buttoned, but he's pulled the jacket arms in around his elbows, to provide a bit of a mild 'rebel streak' alongside his gravity-defying hair. Can't appear too formal, y'know? Whilst the other members join in backing vocals in this part, their spotlights do not shine on them.

I will find you, where'er you are
'Cause I know now what's in my heart
Said I would be there for you
And I will keep this promise, yes, I will

From here, as the light comes up on the final member, JJ, the camera begins to shift to the center of the stage, as the drums begin to build up. In the second half of this verse section, all the lights gradually begin to build in luminescence, starting with the other members of the band, then slowly the rest of the stage. Of course, as it's a Nekoni performance, dry ice begins to swarm the stage floor.

Why have you gone tonight
I don't know where you are
Your house shines no lights
It's death in paradise

As the chorus comes in, there's a bold flash of warm light to envelop the arena, as the camera cuts to a wide shot of the entire stage. The background LED panels have finally come into play, and they help surround the stage with a blue/purple nighttime-esque sky, with some pastel greens and pinks to create a light aurora. Additionally, a meteor shower effect gives the impression almost that it's raining.

In addition, we see the full stage personnel. On the left flank of the stage, we have a seven-strong string section; three violin, two viola, one cello, one bass. On the right contains the rhythm section; a drummer, a synthesizer, bass guitarist and acoustic guitarist. All 11 performers are sensibly distanced from each other, and all wearing non-descript black clothing.

'Cause all I want is your heart
But I know it's just the start
I'll be driving through the rain
Through the darkness and the light
Just to see you once again

All four of them are now able to move from their starting position, and each moves towards the front of the stage when it is their turn to sing. Josh begins, standing front-center. Then follows JJ on the right, and George to our left.

Missing, or just getting away from me?
I am coming so that I can make you see
I will find you, where'er you are
So to tell you what's in my heart
Even if you're mad at me
That's no excuse to up and run away

As Jaymi leads us into the second chorus, he makes his way to the very front of the stage solo, whilst the other bandmates who provide harmonies for him surround him in a diamond formation. The lights of the stage begin pulsing steadily in time to the beat.

Missing in action
Taken from my love
Stolen from my heart
But it's not for long

The second chorus hits with the three members in the diamond formation joining in a line at the front, as we enjoy a slow pan from far out across the stage, the silhouettes of the crowd visible along the bottom of the screen. The dry ice from earlier has now dissipated, and so we can see a shiny black floor, with the blue reflection giving them all the impression as though they're walking on water.

'Cause all I want is your heart
But I know it's just the start
I'll be driving through the rain
Through the darkness and the light
Just to see you once again

At some point during this chorus, we see that the floor itself is displaying some kind of rippled effect to simulate raindrops on water. To give the display a bit of variance, we cut to shots of the Mister X and Nekoni fanbases riddled in the audience, who are as ever, waving flags and cheering wildly.

'Cause all I want is your heart
But I know it's just the start
I'll be driving through the rain
Through the darkness and the light
Just to see you once again

As the chorus reaches the bridge, all four begin walking down the walkway to the stage at the front. In sync with where they walk, a lightstrip in the middle of the walkway gradually fills with a bright orange light. The camera at the left hand side of the walkway is able to pick up both Jaymi and Josh as they reach their point of the lyrics, with it following Josh at the tail of the line towards the circular platform at the front.

I will find you where'er you are
Let me tell you what's in my heart
I have got to let you know
That all my love is yours for me to show

All four of them are into the smaller circular stage at the front, and the moment the instrumental hits, the entire area around the stage begins raining a silver pyro shower, the camera zooming out to show the little stage, and the performers on it vocalising, being illuminated in front of the huge crowd.

During the chorus, all of members of Entourage have their back to each other, and the camera slowly pans around the entire 360 degree circle to show all of them, one at at time, with the lights of the shower still kicking combined with the reflection of the floor and the background LED board making them appear like they're in a field of stars.

'Cause all I want is your heart
But I know it's just the start
I'll be driving through the rain (driving through the rain)
Through the darkness and the light
Just to see you once again (just to see you once again)

They all face the front of the stage, out to the audience, as a little bit of wind comes in to accentuate the final section, the loose clothing of the band swaying in the light breeze, with their gelled hair of course remaining as robust as it ever was. As the drums drop out for the final four repetitions, the camera centres on the foursome, as the lights surrounding the circular stage all turn golden, alongside the white spotlights centering on them as well.

(Again) (x8)

As the thunder rolls, it is drowned out by the cheering of the screaming fans. And well deserved, too. For a first attempt at a dual entry, both Nekoni and Mister X's delegations have brought their A-game, Entourage haven't missed a beat in all this time, and if the votes from home match the reaction of the excited crowd, this could be a night to remember.

by **Achaean Republic** » Sun Jun 14, 2020 1:04 pm

7: Malta Comino Gozo/Achaean Republic
Give Me One More-Lewis Sarucino & Manamma
Tune: Venus Here For Love X Someone You Loved - Azealia Banks & Sigala ft. Lewis Capaldi

What did Francheska see in Lewis? He was everything she never expected to see in a white man. He was sweet, quiet, and somewhat of a dork. He always lived life next to a guitar with a pen and a pencil, jotting a line or working on a song anytime he was at the piers back home in Valletta. He enjoys long walks on the beach and a nice pint or two at the docks with his footy buddies after a nice day at the park. Which is why the idea of such a wild child like Manamma try and conquer a young, strapping, somewhat meek and depressive fellow to the side without at least trying to bite his foreskin off? (There’s a rumor going on in Corola that Manamma likes to bite foreskins. It has never been proven.) Nevertheless, they began talking to each other little by little—a Tweet here, a WhatsApp there––and, before you know it, she was evading quarantine to buy a plane ticket for Valletta to catch up with Lewis. Lewis always loved her free spirit, her ability to say and do whatever scandalous idea burst within her head. Sometimes soothing calmness is nice to have, but too much can become boredom––her unpredictability was predictable for him, and he genuinely enjoyed every moment of her presence.

What did Lewis see in Francheska? She was everything he expected to see in an Achaean woman. His friends would always regale him with stories of hot steamy encounters with Achaean women that visited Malta Comino Gozo: they were dark, tanned, easy, and very passionate in bed––but beware their wrath whenever they’re easily angered! They were to be treated like princesses searching for a castle, or they would let the wrath of God fall loose in their worst dreams. And Francheska was all that, and more. On her first day in Malta Comino Gozo, she flashed her breasts on a double-decker tour bus on the streets of Valletta; urinated on a public fountain while searching for florins; smoked marijuana in at least three designated non-smoking areas; and spent three hours under the stars near the beach talking about Foccault, the occult, Warhol and the inevitability of political action in philosophical artistry. Under her veneer of uncontrollable chaos, she was, in fact, a sweet, nerdy girl looking for a sweet, nerdy boy. Someone that can set boundaries when she needs them. Someone that can distinguish whenever she’s playing and whenever she’s having a tantrum (which is often). She enjoyed being with Lewis, little by little. Is she falling in love with him?

Manamma met Lewis at a hookup after watching him perform in a concert on a Valletta bar. They talked for two hours, drank a few beers, and decided to have a little nightcap in Manamma’s hotel near the bar. But she heard of Lewis when the floods happened in Malta Comino Gozo. She heard a song of two from him in YouTube whenever she needed something to relax. So she friended him on Twitter and began talking after he was safe on higher ground. So they kept talking about a little and a lot of things that happened in their lives after the floods, the saline plant incident, Carnival, coronavirus, and all the more. They then reencountered in Britonisea for the WorldVision Song Contest where they performed their entries but also met each other in between rehearsals for quick cups of coffee—whenever Manamma didn’t cause a scandal, that is.

What happened after they met in the brief hours between Junterapten and Boschke is anyone’s guess. While the AS1 management team went crazy searching for Manamma throughout the city and Lewis’ delegation was snugly sleeping in their beds, both the odd lovebirds met each other in a nondescript hotel room that wasn’t even theirs––violently, tenderly, emotionally, quixotically. Francheska found the stability she craved in Lewis. Lewis found the spark of danger and adventure he always wanted in Francheska. So she didn’t bite his foreskin as he so feared. But it didn’t mean he didn’t bite in other places as well.

While the relationship between the two of them was initially confined to a mutual, sexual relationship into something refreshingly intimate for both of them.

After Boschke, where they were mercilessly yanked apart by their respective delegations and whisked back into their nations, they kept busy contacting each other and dreaming of a time the two of them would be together again. Little did they know that a special WorldVision would be brewing up in Scotatrova, ironically one of the countries that shouldn’t even be thinking about hosting a contest at this moment—but they’re doing it somehow, and that moxie was more than good enough for them. Although it took a little convincing on both sides––with Manamma’s agents, lawyers, Ph.D. advisors and personal celebrity therapist Emilly Santiago-Cabrera, M.D., Ph.D, who was interrupted in between her 20 personal consultations to vouch for Manamma’s sanity, and Lewis’ constant threats to his physical, mental, and social wellbeing if he wasn’t picked yet again by MCG1 to perform in a team––, they finally boarded the planes to Scotatrova to win this competition and maybe spend some time together again.

In Scotatrova, their fame followed them. The WorldVision gossip circuit had a field day barraging both Lewis and Manamma, who were more than comfortable walking around Ordium while grasping their hands. Some columnists were saying that both Manamma and Lewis were using each other to raise the stakes of their performance, or that Lewis was the Harley Quinn to Manamma’s Joker-like tendencies. The paparazzi would barge into rehearsals and press conferences if only to poke fun at their relationship and make Manama lose her hair-trigger temper. But not this time: it was Lewis who angrily defended their newfound relationship at the press—all without cursing and losing the down-to-earth kindness the Malta Comino Gozoan had, while Manamma, of all people, would slowly breathe and count to ten, all the while keeping a very icy stare at the press while shadily smiling through the back of her muela. What a reversal! Who would’ve thought that opposites would attract!? Nobody believed that love would flourish on the stage. But maybe it was time to prove those naysayers wrong.

After the postcard ends and the cameras are quickly brought back to the cheering fans in the arena, another camera suddenly focuses on stage with Lewis sitting at a large, wooden bar. He is sitting with a dark liquor in his hand, looking dejected. He is wearing a white sweatshirt with the coat of arms of Malta Comino Gozo and dark jeans with black shoes and a cream winter fleece jacket--even though it's technically summer at the time of the performance. He is that heartbroken, downtrodden, dejected, or at least it's the look he wants to portray in his countenance. Typical Lewis.

He is looking intently at his glass filled with liquor. Despite the high definition the cameras show, there is no way to distinguish the quality and quantity of liquor Lewis is swinging through the glass. Is it whiskey? Bourbon? Hennesey? (Manamma showed him how to drink Hennessy she bought at a shady bodega in New York while on layover to Britonisea.) What matters is that he needed to show and tell in his countenance that he was more than sozzled. He begins to sing, downcast, with his eyes half-gazing at the camera, half-gazing at the floor. Part of it was distracting him from the song, but part of it needed to focus his gaze on something other than the camera if he wanted to make the song work. Yes, it was his third try at the competition--but that did not abate his nerves any less.

(L) The shots turn down the volume on all of my thoughts
It brings memories of good times past,
And I let myself
Dwell in them rather than think

So far, so good. His mood--quiet, meek, self-tempered, self-conscious--begins to show through the song. He tries to pick up the guitar sitting on his lap, the one he carries and the very instrument even Francheska refuses to break during sex, but he can't. He's supposed to act drunk if he isn't somewhat already thanks to a special cheer-up glass before the performance. Another camera angle shows Lewis in the middle of the empty stage, lonely beside the wooden bar, surrounded by a brown-ish light that reflects from below the stage. White lights slightly blind him as it reflects on his wooden jacket. The LED screen behind him, once pitch black, is suddenly transformed into a cacophony of color: red, blue, green, yellow, orange. Spinning circles and brushstrokes, almost as if Lewis' brain was both poisoned and fuzzled by the excess of alcohol running through his body. It's as if he wanted to puke, but he couldn't because he was in public, performing a song. Maybe he wanted to puke. He took a deep breath in and found some control and found some middle ground between reveling in his brokenness and trying to find a way to stand on some ground without falling, tip-toeing little by little.

(L) And in that moment
I am here and not
Existing in perfect moments.
Somehow it steadies me,
Gives me the resolve to go on
Fill up my tumbler again

Suddenly a camera behind Lewis focuses on the sudden image of Manamma appearing beneath the midst. She is, as usual, making a show-stopping scene, making a fool of herself. She duckwalks and struts down the catwalk with gusto and confidence a mad genius like her could do. She is wearing a sparkling red jumpsuit designed by one of her drag queen friends (which she may have or may have not stolen from her closet before making the trip to Scotatrova) and six-inch-high stiletto heels that make Manamma look as if she were walking in stilts. Manamma's makeup is somewhat demure for the performance (she was never really known for excellent makeup skills), but her hair had black-and-red graduated curls that caught the crowd's attention--courtesy, of course, of another Corola drag queen that designed wigs made of hemp and natural fibers for cancer patients. The fact that she could effortlessly crouch and duckwalk and vogue and pose with the salient and irreverent soft-and-cunt fierceness that made Lewis fall in love with her. At least if she would play the devil, let it be a fancy one that can drag you to hell with fashion.

(M) Iva, le-ah, hello, ¿cómo tú estás?
Yes, no, hello, how are you?

Merhba, kif int, x'ishmeh, ah?
Welcome, how are you? What is your name, ah?

Iva, le-ah, hello, ¿cómo tú estás?
Yes, no, hello, how are you?

Merhba, kif int, x'ishmeh, ah?
Welcome, how are you? What is your name, ah?

Lewis slumps back onto the bar, his head beating his eyes doing rolls, but he kept character and sang perfectly in tune. Unaware of the surrounding flashing lively light’s his mood remained downtrodden and dejected. This was supposed to be a happy bar, but instead he was drawing his sorrows with cheap liquor. (Lewis off camera pulls another glass from behind the bar off camera, this time it’s a glass of cold water, cleverly disguised as vodka, but the audience doesn't know that. To save him spoiling his performance he knew that any more alcohol could tamper their efforts).

(L) Drunken mess, beer all over the club floor
The party vibe beating, bartender give me one more
My head is a mess
My thoughts run astray
Without you by my side
I don’t know how to feel

Lewis slides his hands distraughtly down his cheeks, and turns to the camera close up. The cacophony of colour and spinning circles and brushstrokes which were in LED slow down and fade into a wave effect on the background LED, flowing from white, red and orange, dictating that the water he had drunk was taking effect.

(L) The easier way out
This slow soothing juice
I drink myself to my breaking point
Fill up my tumbler again

Manama places herself in the bar, extending her arms to its center length and focusing on Lewis' face. So heavenly! So innocent! So gullible! How did he do it? How did he, of all people, didn't run away from her at first glance!? How to corrupt him while having some fun? Those were the decisions that a fabulous devil like Manamma reveled in making while enjoying his gaze. However, they needed to continue the performance, and she needed to show off those kicks and splits as Lewis foolishly tries to keep up with her frenetic pace.

(M)I can coax you so we can have some fun
and you can suck all of my poor attention
-no, it's the absinthe that's making you so damn hard
but it'll set in some more, you'll love it so much, oh

Lewis downs his water and then lets his head hang down and swing from the weight. He slowly raises it back up, through squinted eyes, he watches Manama’s every move with his drunken gaze.

(M)I can coax you so we can have some fun
and you can suck all of my poor attention
-no, it's the absinthe that's making you so damn hard
but it'll set in some more, you'll love it so much, oh

The stage lights palpitate in time with the beat. Manama struts towards Lewis, and leans in behind him places her hands on both his shoulders, she sings seductively into his right ear before moving to the left halfway through her verse to sing seductively into his left ear. The whole time her hands slowly creeping down towards his chest. Her grip tightening. A sexual look on her face.She was the angel and devil on his shoulders, only this time there wasn’t a differential good or bad tone.

Manamma rapidly drags Lewis to the catwalk as the cameras focus on the contrast between them: Manamma voguing and duck walking, showing her soft and cute expressions and exposing her club moves. Lewis failing to keep up, making many attempts to dance the aserejé and confusing it with the Macarena in his apparently drunken stupor. The beat keeps pulsating as the cameras focus on both Lewis and Manamma and the proud, flag-waving crowd.

(L)Dazed, and so confused
I rub my eyes
Then I look across the room
This woman in my view
Should I do it?

The camera zooms back onto the pair .Lewis turns and tries to retire back to the bar but Manamma swoops round, and delicately sings into his ear, as the camera catches a close up of this. The crowd cheers again as she tightly yet sheepishly and briefly grabs Lewis' crotch while walking to the stage. She sings most of this refrain in Maltese and one question in Spanish. She said to the press that it was kind of the first words she said to Lewis in the bar after his performance. While it turned heads and brought coos and ah's to watchers onboard with the very complex relationship, it was a bit of a lie: she just picked up some random Maltese phrases from a guidebook she looked up on the internet while composing the song on Skype with a naked Lewis.

(M) Iva, le-ah, hello, ¿cómo tú estás?
Yes, no, hello, how are you?

Merhba, kif int, x'ishmeh, ah?
Welcome, how are you? What is your name, ah?

Iva, le-ah, hello, ¿cómo tú estás?
Yes, no, hello, how are you?

Merhba, kif int, x'ishmeh, ah?
Welcome, how are you? What is your name, ah?

Manama places her hands on Lewis shoulders and marches him enthusiastically along as he sings, towards the catwalk onto the rising platform part of the stage. She has a wild look written across her face whereas Lewis still looks emotional. Lewis stretches one hand up to his shoulder so he and Manama are now touching hands. The pair march their way to the rising platform to huge cheers from the crowd and flashing lights.

(L)And in that moment
I am here and not
Existing in perfect moments
Somehow it steadies me,
Gives me the resolve to go on
Fill up my tumbler again

(M) Iva, le-ah, hello, ¿cómo tú estás?
Yes, no, hello, how are you?

Merhba, kif int, x'ishmeh, ah?
Welcome, how are you? What is your name, ah?

Iva, le-ah, hello, ¿cómo tú estás?
Yes, no, hello, how are you?

Merhba, kif int, x'ishmeh, ah?
Welcome, how are you? What is your name, ah?

The stage explodes with colour and spotlights beam out from the stage and dart around quickly around the arena as Mannama and Lewis spectacularly rise into the air to a euphoric crowd. The stage lights below them, showing red, glow in even more colors: blue, green, yellow, orange, pink. These lights flash rapidly flash alongside the glow of the LED screens while the platform is raised. A bit confuzzled and somewhat sozzled by the drinks, he tries to hold on to his wits while singing. Mannama, on the other hand, is kicking and spliting, trying not to fall off the platform.

(L)And in that moment
I am here and not
Existing in perfect moments
Somehow it steadies me,
Gives me the resolve to go on
Fill up my tumbler again

Manama and Lewis share a provocative, lustful look as Lewis sings the last few lines. The platform is finally raised to its highest point, and a brief camera angle shows how they are atop of the crowd.

(L)Somehow it steadies me,
Gives me the resolve to go on
Girl, fill up my tumbler again

The arena explodes into cheers. "Thank you! Grazzi ħafna!," shouted Lewis to the crowd as he held Manamma--erm, Francheska--to his arms and gives her a passionate kiss. Francheska is still waving at the crowds, not at all distracted by Lewis' tongue.

"And I'm pregnant, motherfuckers!," she suddenly shouts to the microphone to the confusion of applause, bewilderment, amusal and arousal of the Scotatrovan crowd, and the sudden face of shock in Lewis' face. Can Manamma, the Manamma, be with a child? He knew he loved her so much, but even the sight of a child at this moment is a bit too much for him to handle! He was about to faint and crack his head atop of the slowly-descending platform when, in the final shots of the performance, Manamma begins throwing used pregnancy tests to the crowd's disgust and the press' delight. Everybody knows that, despite her madness, Manamma is good tabloid fodder, and hawking one of those used pregnancy tests would net them lots of money.

The strong hundred or so Malta Comino Gozoan supporters who had flown out to Scotatrova who had been cheering insanely for the performance, almost instantly grew quieter, their waving flags dropping down, their cheers turned into gasps. The opposite can be said for the Achaean fans who sure made up for the lack of noise from the shocked Malta Comino Gozoan supporters!

The final scene before the next performance was as disgusting as it was hilarious: Manamma yelling to the crowd while throwing pregnancy tests out of her pockets; Lewis paralyzed and even whiter in a state of shock; the audience taking pictures of the mess, and the Scotatrovan organizers trying to shoo the performers away and quickly decontaminate the stage of any bodily fluids.

But they were still in love. Somehow.

by **Mister X** » Sun Jun 14, 2020 2:39 pm

COMMENTARY

MRX One
WITH ROBERT BAXTER
AND SAM SMITH

Robert: Hello Mister X, and a very good evening to everyone back home for this special edition of the WorldVision Song Contest, coming to you LIVE from Ordee-erm, S... S... Sco-at-ah-roe-va.
Sam: Ha... that wasn't a bad attempt, was it?
Robert: Yeees... and anyway, for this special WorldVision Song Contest, nations were paired together, to attempt to pool resources and see what could be done when it's not just one nation thinking up all the staging and concepts. In our case, that's usually one man in a shed.
Sam: Yep. Disappointing result for us last time out there in WorldVision 82, we're partnered with the Nekoni broadcaster, let's see how we get on today in there as well.

IMPORTANT OOC DISCLAIMER: Since it turns out everyone hates my commentary, for this edition their comments from this point on are (almost entirely) based on real-life quotations from their real-life counterparts, occasionally changed slightly to refer to the contest. So don't get mad at me.

Robert: Now it's time for the flag ceremony. It's a new tradition. It's a way of making the show just that little bit longer.

Robert: So that's it. You have heard all of tonight's songs, here's a quick reminder.

by **AXUVA X BESEN** » Sun Jun 14, 2020 6:43 pm

08
Axuva | Besen
Tyra & Marietta - "Movin"
Studio Version
Performance Version

When the special Worldvision Teams contest was announced after the closing of the 81st WVSC, Marietta and Tyra had a feeling they could do something interesting at the competition. However, it was BAEN (who had just taken over from BSB on the Besenian end) and TPNB-X for Axuva who were the ones that reached out to them to possibly participate at the special event.
They already had knowledge of the two women’s close friendship after officials had introduced them at a Worldvision Celebration party before the 81st contest in Boschke had begun. They could see that Marietta and Tyra had real charisma between them - and once they heard about the teams edition, they instantly added them to their hotlist. Eventually, they gave the call to the girls and without a doubt, they accepted the offer instantly.
Work on the song commenced pretty soon, with studio sessions happening all throughout April and May, producing and writing “Movin’”, a song about telling a man who is acting like a pest to back off and telling him to earn their love.
They also worked on their performance for a long time in these months, with several different producers, making sure they were both completely comfortable with what was going on on stage, but it was very easily decided what was going to happen in the end. Their friendship prevailed and they came up with something that they could both have fun with and something that they had both had their hand in creating artistically and visually.

The light beams that surrounded Tyra and Marietta were all pointing to the sky in a white color and they would slowly fade out as the two stood next to eachother and lights behind them would turn yellow, creating a pattern. The light beams would fade back in, this time in a yellow color. The lights beams on the inside of the outer light beams that surrounded Tyra and Marietta went inwards as the outside beams slowly moved backwards and Tyra and Marietta would be posing in many different ways as Marietta spoke before she would sing. Orange lights would burst behind them and the light beams would be still and Tyra and Marietta would be slowly moving their hips to the beat.

Oh
Oh, oh
Oh
When the world stops
And you cant go on
And your heart drops and you feel like falling down now
That’s just how we’re movin
Movin, movin...
World, we’re here again… and we’re movin'

The first camera shot spins around to display Marietta up front, with Tyra directly behind her with her back to her. It's clear under a soft glowing yellow light, Marietta wears a coutre, gradient white and blue dress, which is complimented by the light tranparency which hugs around her body nicely. The girls click as the beat slides into focus, and Marietta sings. Around them, they stand in a circle, with twelve light projecters, which begin to shine out with a similarly yellow-ish colour - as Marietta starts her verse.

Ain’t no trace
Not a single thing you can tell ‘bout me
I am cocky so you know I’m not a fake
I am secure, each and every part of me
And that’s the case
So honestly, you could try and be mine,
But I’ll say, I’m hard to get, see it in my face
Boy, this FaceTime ain’t gonna get you nowhere
You’re too late

As Tyra began singing the pre-chorus, the beams would all turn blue and they would begin walking around and they would dance near each other as Tyra had her hand on Marietta's shoulder. They directly switch positions and then Tyra comes into the front, and reveals her similar attire - a tight darker coloured dress. As the sonics transition into something smoother, the sexiness of the performance come through a lot more. The red lights display this as well, turning and spinning slowly with each snap of the beat.

I ain’t feeling you
Don’t try to tell me what to do
Cause baby I’ll be alright without you
Me myself and I, boy I don’t need you
Boy I don’t need your loving
Your loving
Im walkin’ out, cause im getting something new

The two girls weave in between each other, dancing sensually and alternating their shoulders movements, to equal the quick snapping of the music. The camera spins back around and then settles on a subtle turning movement, tracing the shape of the circle of lights which surround the women. The male dancers that stood behind them would get on the sides of them and they all started to rock side to side, along with Tyra and Marietta swinging to the beat with their hips and having their hand on their side and a microphone in their other hand. They would point to each other while flicking their hips and then pointing at the cameras and the male dancers would be repeating the same dances.

Fool, fool
Got a message for, you, you
You better keep it movin’, movin’, movin’
Or I will get to movin’, movin’, movin’
Cause I’m not in the mood. Are you?
You always play the fool, ooh, ooh
You better keep it movin’
Or I will get you movin’
I know it sounds cruel, ooh, ooh

The male dancers would grab onto their hips as they sway side to side and dance around in the circle of lights that surrounded them and Marietta caresses them playfully while singing and so would Tyra. Marietta would grab her dancers face and turn back around to the stage as she completed the verse. The camera swings around in a similar circular motion to display the scenery, and it’s complemented by the beams of light that are projected all around Tyra, Marietta and the two dancers, who stand close to them.

There’s no way
Will I ever even let you have your way (Have your way)
Don’t act like you know what’s best for me (Best for me)
And boy you’re just all in the way (In the way)
In my way (In my way)
But baby boy I’m fine, I don’t need you to support me
Goodbye, see ya later, My flight comes next week
And boy i’m movin out, you don’t know how to deal with me
This is best for me

At the beginning of the pre-chorus Tyra would grab her dancers face as well, and the lights would turn back to blue, this time adding purple light beams in the mix and then Tyra would turn around facing the audience. Then, Tyra and Marietta would get closer to each other near the end and the two male dancers would do the same, getting behind them both, following a familiar movement which has been displayed in the previous verse. Sensuality is sprawling all over the stage in this moment, as Marietta softly smiles into the camera, which comes closer towards the end of the pre-chorus.

I ain’t feeling you
Don’t try to tell me what to do
Cause baby I’ll be alright without you
Me myself and I, boy I don’t need you
Boy I don’t need your loving
Your loving
Im walkin’ out, cause im getting something new

They would all sway their hips to the beat as the male dancers repeated the first two dances that Marietta and Tyra were doing for the rest of the song and Tyra and Marietta began pointing to each other, in rhythm with the sonics of the song. The lighting twists around them in the circle, glowing in a bright crimson, sexy type colour - complimenting the subtle movements of the stage show happening. The camera ends atop the scene, and Marietta and Tyra look up and direct their singing towards it - keeping with the motion of the camera as it begins to slowly drift down and then settle dead centre, where the lights start to cross over each other symetrically.

Fool, fool
Got a message for, you, you
You better keep it movin’, movin’, movin’
Or I will get to movin’, movin’, movin’
Cause I’m not in the mood. Are you?
You always play the fool, ooh, ooh
You better keep it movin’
Or I will get you movin’
I know it sounds cruel, ooh, ooh

Tyra and Marietta would push the dancers away and they would dance together as the lights would move in many different ways as they sang the outro of the song and they would be staring at each other as they sang, them they would grab each other’s hands and spin and they would break apart, moving their bodies with the song. The breakdown of the music leads to a motion within the lighting, in which the projectors fall slowly to the ground and then shoot straight back up in a simple bright white shade, which helps to visually stimulate the end of the performance.

Fool, fool
Got a message for, you, you
You better keep it movin’, movin’, movin’
Or I will get to movin’, movin’, movin’
Cause I’m not in the mood. Are you?
You always play the fool, ooh, ooh
You better keep it movin’
Or I will get you movin’
I know it sounds cruel, ooh, ooh
You better keep it movin’...

They posed and Tyra put her arm on Mariettas shoulder and the lights would go out and the lights that were patternized, turned blue and all other lights would go out and they blue lights would go away as the light beams turned back on to the original white color, pointing to the sky and they would both be smiling to the audience and the male dancers would be kneeled on the ground.

by **Elejamie** » Sun Jun 14, 2020 7:00 pm

ETV1 presents WorldVision: The Teams - English language commentary by Cerin Erali and Flynn Taggart

CE: Welcome to WorldVision: The Teams! Bienvenido a WorldVision: Los Grupos! Yalcom WorldVision: Tim! Live in Ordium in Scotatreasuretrova...
FT: It's just "Scotatrova".
CE: Easy way for me to remember it. Anyhoo, I'm Cerin Erali...
FT: ... And I'm Flynn Taggart.
CE: And we're your English language commentators. For a Spanish commentary, Iyilim language commentary or to sing-along to each entry, please press the red button. Thank you. Para Español, Iyilim o karaoke, pulse botón rojo por favor. Gracias. Aspenol, Iyilim o cereoc - Ancelis o Aspenol, ne Iyilim - plaes toc rad boton. Fenci.
FT: Voting works the same way it always does. You either dial the number, text SONG, S-O-N-G in all caps, followed by the entry number to the other number, you click the button on the app.
CE: But there'll be a slight difference in the voting, isn't that right Fleen?
FT: Yes. There's ten entrants tonight - at least we're hoping it's ten - so we won't have the usual WorldVision voting system. We'll still have 12, 10 and 8 points as normal. However, after that, it'll be 6-4-2-1. Yes, only seven pairings can receive points from any one nation. Don't ask us how that works.
CE: And obviously we can't vote for song #5 because that's us. But the thing is that our partnering nation here, Beepee, also can't vote for song #5. So the only thing we can both do here at ETV and what the lovely people over at BONC can do is wish the best for Amina Pickle and Andrea Garcia.
FT: Where do they get these names from?
CE: Anyway, anything else we should bring up?
FT: Other than how because there'll be fewer acts we can go a bit more into detail with our commentary -
CE: If we can think of anything.
FT: - But other than that I can't think of anything.
CE: Neither can I. Let's get on with the show!

Opening Act

TBA but expect neither of them to like the second song (but Cerin will like the first song so it'll all balance out).

01 - Amuaplye + Natanya

CE: Ooh, now I like this. Great way to kick off the contest. A nice beat, a silky voice, what's not to love.
FT: It's decent.
CE: I wouldn't be surprised if this makes top five. I mean, we've got a lot of dream teams and there's a good chance they might miss out but still, if they do finish in the top five then they deserve it.

02 - Scotatrova + Ekoz

CE: Disappointed that we couldn't hear it in Tiferet with the two original singers but that's what happens when you've got a massive disease going around. Heck, we're starting to loosen our lockdown rules because fewer people are getting sick from it but we're still keeping our eyes peeled just in case.
FT: Those restrictions are in place and unless you've got a good reason to break it then it's your own fault. Selfishness is not a good reason.
CE: Anyway, onto the song. And this is still a good song, even if it only has one half of the original duo. But the hosts sent someone to step in and everyone involved still did an admirable job.
FT: I'll probably forget it after the next few songs.
CE: I might, I might not, but I'm going to try and find a copy after this contest just so I can listen to it again if I ever come close to forgetting it.

03 - Kalosia + Normandy and Picardy

CE: I'm not really feeling this.
FT: Hm?
CE: It feels a bit, how can I say, iffy. It's not sitting right with me and I don't know why.
FT: I know you feel, I feel the same way. But it felt average for me. I wouldn't be surprised if this finishes top three.
CE: Good performance, though.
FT: That it was.

04 - Polkopia + Ertzei Kishim (or Polkishim if you prefer)

FT: Well, what did you expect really?
CE: They are the favourites for a reason. In fact, what are your thoughts on this Fleen? Let's switch things up
FT: It starts off OK but sounds like everything they always put out.
CE: I liked the intro but I liked the rest of the song too. Got me dancing up here in the booth a little bit! This'll definitely score high with the folks back home.
FT: It's Polkopia and it's Ertzei Kishim. Of course they'll score it high.
CE: Oh, don't be like that.

05 - Beepee + Elejamie

FT: Here's us and Beepee.
CE: I can understand why people would be doubting this song's chances. We're sending an old fashioned song where one of the singers - the lovely Andrea Garcia - does opera. We've got her husband, the equally lovely Chris Basset, on violin. And if there was enough room for an orchestra pit, we'd be using it here. But I've still got a bit of hope in it, it still sounds good and there's nothing wrong with a bit of variety.
FT: And even if I was 20 or 30 years younger I'd probably still like this. It still speaks to me.
CE: Best of luck for everyone involved, we're hoping the multiverse liked this entry.

Interval Act 1

WIP

06 - Nekoni + Mister X

CE: In a way, it sounds like what you'd expect from a collaboration from these two nations. BUT! That doesn't mean it's a bad song. It's a very good one.
FT: It's decent enough.
CE: I wouldn't be surprised if it makes the charts over here. It sounds like something that'd chart quite high. Good luck to Entourage and good luck to both Mister X and Nekoni.

07 - Malta Comino Gozo + Achaean Republic

CE: And here we have the power couple themselves. Lewis Sarucino and Francheska... *pauses for a brief second because he genuinely forgot her paternal surname before he starts to speak slowly* Manamanason.
FT: González. Francheska González.
CE: Fenci. She's better known as Manamma.
FT: Or that crazy lady who'll probably go after you for getting her last name wrong.
CE: Eh, I'm sure she won't mind. Anyway, potential violence aside, the song!
FT: It works.
CE: Yeah, that's how I feel too. It shouldn't work because the music's too upbeat for his usual glum style. But it does work and I could see this becoming a runaway hit. I really do. Especially with the lyrics being about how they're unsure how they've hit it off but they're glad they did! Not so keen on the ending.
FT: Not a very hygenic pregnancy reveal but at this point I've given up trying to reason with things.

08 - Axuva + Besen

FT: Very Axuvian.
CE: That it is. Nice, smooth R&B beat, good vocals and quite a good performance. Some very good chemistry there too between the singers, I think that might help them out a bit. But will that be the case, though? Well, only one way to find out.

09 - Todlichebujoku + Izmedu

CE: So, fun fact, I thought one of the people singing this was called "Luke Mike Elliot". But no, it's Lumikellot.
FT: Wouldn't be the first time tonight.
CE: Anyway, the song itself. It's not bad. It'll do very well tonight because we've got two powerhouses joining forces and sending a brilliant tune. Again, they are the other favourites for a very good reason. And just because one's won a lot and the other's been runners-up a lot.
FT: But?
CE: I don't know, it's not sitting right with me. They sing great and the music is mostly OK. But it sounds a bit, I don't know how to put it, but screechy. Like, it just makes it a chore for me to listen to. I might listen to it if it's playing somewhere and I won't kick up a fuss. But I sadly won't be playing it on my own free time. Sorry.

10 - Antahbrantahstan + Darkmania
(Quick OOC note: While I'm not super keen on the actual song itself, I'm being a bit nicer here since Darkmania had to pretty much do the entry by himself due to everyone trying to get this done in the last few days before the deadline, myself and Beepee included)

CE: And to round off the night, we've got this...
FT: Disappointing song.
CE: I wouldn't go that far, Fleen. It's not great, I'll give you that. They're great singers but the tune itself, not so much. A bit plain. But I think it's a bit unfair to call it a disappointment. It might still have some fans and some potential, we'll just have to see when we get to the voting.
FT: I hope you're right.

by **North Alezia** » Mon Jun 15, 2020 12:10 am

Commentators (English)
Ishtar Hamaza
Lily McHammerson

IH: Welcome to Worldvision Teams, everyone! And although we didn't participate here, we can still have fun by watching how two countries, with sometimes opposite personalities can make a beautiful song...

LM: Or a disaster. Today we have 20 countries which is put into 10 teams. Obviously, because we didn't took part that means we can't vote for anyone. All we can do back home is hope that our personal favorite won or something. Except if the commitee allows non-participants to vote as well.

OPENING CEREMONY
IH: Another beautiful opening ceremony from Worldvision! And the music, it's really beautiful and tropical.
LM: Fantastic hosting from Scotatrova. I must say that!
IH: The opening act is also very latino, yet very calm on some points.
LM: I like it, as well! It's also very simple in my opinion, and I like simple things. Guitars, Claps, and Voice. What a beautiful combination!

ALL ACTS

1. AMUAPLYE AND NATANYA
LM: Why do everyone's songs must be so upbeat?
IH: It's just their recipe, Lily. Well executed, I say.

2. SCOTATROVA AND EKOZ
IH: Upbeat! Upbeat! Upbeat! I love how these broadcasters worked together!
LM: I agree with you. Both countries' languages also blend really nicely creating beautiful set of lyrics.

3. KALOSIA AND NORMANDY and PICARDY
LM: Again, this countries work really well with each other, and Again, this song blends their languages beautifully!
IH: I like the song, myself. I wanna dance, but I left that disco ball back in Tiferet, with no way of founding it again.
LM: Sorry that you lost your disco ball

4. POLKOPIA AND ERTZEI KISHIM
IH: I'm kinda sad that they don't fuse their languages. But the music is very upbeat.
LM: It's good, and I can see more possibility if they work together more. A very good job for Ertzei Kishim and Polkopia!

5. BEEPEE AND ELEJAMIE
LM: THE DREAM TEAM! They went slow this time. The singers also blend beautifully, like Polkopia and Ertzei Kishim, I can see more possibilities if they work together more. The violins... Really they are the dream team. In my opinion, this team of Positivity can bring the victory to both countries.
IH: And operatic voice. Kinda reminded me of Imara (Imara made other songs similiar to this one, but ABA picked You Are). But still, it's very beautiful and I can see few North Alezians taking their phone and then realized "Shoot. North Alezia isn't participating. I can't vote."

INTERVAL ACT
LM: So beautiful. I love how the voices blend beautifully
IH: We really are praisers. Everyone are working together and that made me shed a tear.

6. MISTER X AND NEKONI
IH: Gave me a good impression. Really beautiful and somewhat inspiring.
LM: Good lyrics, as well.

7. MALTA COMINO GOZO AND ACHAEAN REPUBLIC
LM: Love the remix! It's giving the song some...
IH: Malta's obsession with pop and Achaean "La Tomatina" (How North Alezians spell Latin Pop)

8. AXUVA AND BESEN
LM: The Sexy Duo! I love it. It kinda feels that these two singers and countries are made for eachother
IH: You're not making a fanfiction, right? Good lyrics and music, anyway.

9. IZMEDU AND TODLICHEBUJOKU
IH: They're sisters?
LM: Yeah, apparently. It's pretty obvious by hearing their voices.

10. DARKMANIA AND ANTABRANTAHSTAN
LM: Okay, I did NOT expect these countries to blend so good! It's a good representation of love.
IH: Hmm... Yeah, I feel that atmosphere now.

INTERVAL ACT
IH: Okay, Scotatrova making another beautiful interval act.
LM: I hope they keep their quality for more contest to come and more hostings to come! And, North Alezia's bidding for 83, right?
IH: We withdrew.
LM: Oh. I forgot. I hope we can bid again one day

(after the Interval act)

IH: Okay, that's all the 10 teams for this edition special!
LM: I can say, they're all beautiful.
IH: And, i'm a bit sad there's no song to facepalm to.
LM: You mean like Vartugia-Placey Placington entry?
IH: Yeah, like that.
LM: Ah. Well, we're entering the voting, because we're not in there, we can't vote. So all we can do like I told you before, is to pray that your best won.

by **Varaj and Taploukku** » Mon Jun 15, 2020 11:06 am

09. I Z M E D U & T Ö D L I C H E B U J O K U

F O R G I V E N

L U M I K E L L O T & H A J N I

Tune: Calvin Harris ft. HAIM - Pray To God

"Wait, so you’re telling us that we’re actually gonna be?... You’ve got to be kidding." - Hajni, upon learning of the collaboration

"It's been so long, but damn I miss that experience on the stage! So much different from just touring, it really is." - Airi Vettekintti, on returning to the song contest stage

Vodiznad, Izmedu | Shortly after WV81

Jadranka and Sabina Hajni were twin sisters that existed in the realm of Izmeduan pop rock.

Reasonably famous with some hits under their name, but they didn’t have the breakthrough they were still seeking for after some years of making modestly successful hits. Around the time that Britonisea’s Kelsey Banques won the 81st contest, they began to muse and ponder the idea of entering the WorldVision Song Contest. It was a tempting possibility, but Sabina feared that they were creatively flagging… And it especially was apparent in this lazy Vodiznad day, with both sisters lounging about their apartment trying to come up with song ideas for the upcoming special edition, The Teams. The initial flurry of excitement in being called upon by RTI led to the worries that befell most Izmeduan artists during the creative process. What were ‘Hajni,’ as they were professionally called in the industry, supposed to do at this juncture? They had ideas, but Jadranka knew that they weren’t exactly heading towards some sort of conclusion or even burgeoning song concept. All they had, at best, were sketches of ideas that could lead into something.

And even there, the pressure was on. Hajni were still reckoning with the fact that they were the ones to be chosen to team up with Tödlichebujoku. The prospect of teaming up or collaborating with the nation was a hell of a dream for many Izmeduan singers, especially to those that sought inspiration from Tödlichebujoki artists. So that was another source of pressure that hung over both sisters, well aware that they needed to deliver.

“S, if we keep staring at our computers, you’re gonna have Lumikellot and TÖBUK on our doorstep screaming at us.” Jadranka lazily said, saying it more for the sake of banter than insinuating that it would actually happen.

“As if. You know our label would get to us first before they’d get here. But still… I’m liking the concept Lumikellot sent us. We could do something with Airi on the stage and we could send them our lyric drafts and concepts.” Sabina replied, messing with some music tools on her laptop.

“But what do we have?...”

Sabina rolled her eyes and got her notebook out.

“Well… Forgiveness. I’ve been hashing it out in my head. Us two sisters, fighting… both lyrically and on stage. I’ve sent some sketches of that to them and they seem to like it.” Sabina said.

“Huh… you just might be onto something.”

With Jadranka’s words, both sisters would get into writing and singing. The journey to Ordium, Scotatrova had only just begun.

Blutigenteikei, Tödlichebujoku | The following week

Harsh sunlight beamed through the carriage windows as the ley-line train glided out of the East Blutigenteikei station, the cityscape beginning to flash by as the vehicle picked up speed. Airi Vettekintti breathed out a sigh into the cool cabin air as she turned back toward Vester Saito, who was facing her across the small stowaway table, working on various bits and pieces of new songs. Just as her eyes fell upon him, he decided to take a break and nod to her.

"It's so crazy to think that we're going to be back out there in a contest again. How long has it been, honestly?"

Airi laughed, taken a bit by surprised at the thought. "Wow we were in the 20th World Hit Festival.. so where are they now, the 52nd one? It feels like forever. Powers we were so young back then."

"I know right, it was a time. Honestly we don't need the publicity now like we did back then but hey, it's always great to give back to the community, I know they're a tight knit one and that's always a good one to keep happy. Honestly it's surprising how many fans learned of us through that performance in Chameliya."

"Really, I can't wait to sing with those two Izmeduan girls, they have such great voices and I love their material. They are just so lovely to communicate as well, their personalities really come through even via crystal!"

"They definitely have a unique style- I think we'll do great together," Vester concluded as a stewardess stepped up to the two. Enjoying the refreshments as the countryside sped past them, the two took a few moments to relax before turning back to their work, opting to drop a few hints on social media and chatting to fans for just a bit as well. Hopes high and bellies full, the duo glided onwards as afternoon slowly gave way to evening, and discussion slowly became reality.

The stage was drowned in darkness at the start of the Tödlichebujoki-Izmeduan entry, the faintest hints of light manifesting after only a few seconds of the stage hanging in darkness. Accents of dark blue and orange began to dot the stage, as Izmeduan sisters Sabina and Jadranka Hajni were situated right next to each other. Lumikellot’s singer, Airi Vettekinti, would stand watch from a distance. Her arms were crossed as she stood almost like a statue. Their silhouettes were faint, only being able to be seen by watchful eyes. The camera view descends from its original, bird’s eye angle of the Scotatrovian stage to a more intimate angle of the Hajni sisters. The music began in earnest, a single note that heralded the beginning of the entry. A mixture of dark oranges and white lights, crafting an image of the stage in sunset, began to manifest on the stage. The silhouettes were uncovered, revealing Sabina and Jadranka to the audience. Their expressions were enigmatic, their heads were down, and they were ready to sing. Behind them, a background of a slightly pink sky would slowly appear on the stage, fully illuminating the stage just in time for the first verse. As the camera inches closer, the two sisters would face each other, looking away from the audience.

Oh, turning back to all the secrets you told
Now wicked thoughts, they sink us deep into war
A wounded dove, its bloodied wing at the door

You know
How your devils, they burst forth from your soul
You and I, we could be unbroken and whole
You hear me now, I lay my life on the floor

Between the two sisters, Jadranka was the designated singer. The first verse saw her sing with cold eyes to her sister, the camera slowly fading between both. Their expressions remained enigmatic, almost as if they were concealing what they truly felt. The lyrics were the very expressions of a thinly veiled anger hidden beneath the surface, magma waiting to burst into the scene through Jadranka’s singing. The first three lines saw Jadranka toe the dual line between being emotive vocally while maintaining a cold exterior. Despite this, the camera was close enough to catch the trembling anger in her visage. At the verse’s second half, the words became more direct and pointed. Jadranka stepped forward toward her sister, a hand at her heart that was almost a literal signification that she was the wounded dove. Sabina was the passive receptacle, only accepting her words as if she were a silent arbiter of judgment. Her steely eyes were only highlighted a scant few times through the close camera views, but it was as day to see that she was only playing the passive audience to Jadranka’s simultaneous accusations and pleas. However, this was only a prologue to what was to come. The interplay of guitar and electronic production was ramping up to a more dramatic moment, with only the prospect of an equally messy conclusion being teased to the audience.

Now there’s no coming back, no time to spare
Every breath I breathe is now a dream I must leave
So much hatred in the dark, anger in our eyes
Every step I take leaves me screaming for release

If each breath brings suffering
If each life were to extinguish by a selfish mind
Why should we stand and fight
When nature, she begs us to forget our lies

The pre-chorus continued that tease towards a possibly dramatic conclusion. The thinly veiled silhouette of emotion began to slowly uncover from Jadranka’s eyes and body language at the first half of this pre-chorus. Her vocals would increase in intensity through minor bits, at points almost seeming like she was spitting out the lyrics. She was a walking and living landscape due to crackle and crumble, a transparent inner turmoil that Sabina remained emotionless. There was a lack of reaction from her as Jadranka began to break from her stationary position. She moved towards Sabina, fists balling and twitching. A moment of eruption was inevitable; it was forthcoming. It was clear from the way she sang each word that she was the one laying it all on the stage. The empty emotions from Sabina, or lack thereof, only intensified the anger that Jadranka would induce from each word. Her soul was crying for any sort of reaction. Yet Jadranka was met with a metaphorical and literal well, a realization she reckoned with as she sang the fourth line. The camera was a shameless voyeur, almost hiding the stage effects and uncomfortably centering the drama between the two performers. It was only through close observations that scant changes to the stage could be seen. Orange lights intensified as the pink sky from earlier grew darker, giving those in the venue a literal sign that times would grow darker. The second half of the pre-chorus was a subtle shift away from anger. White lights slightly intensified on the two sisters, Jadranka turning away and looking toward the audience. She would reach out slightly towards their direction, eyes pleading instead of the emotionless orbs that Sabina continued to don. The words that Jadranka sang were laced with sorrow, a plea towards Sabina to cease this needless conflict. As the song moved towards the chorus, a conclusion so neat and easy was certainly not going to be the case.

Forgiven
Forgiven
Forgiven
Forgiven anew
Living anew

Lumikellot’s production played stage to the violent dramas bursting on the stage. The drop and the song erupted into its dramatic burst. Sabina was the woman to enact the charge, a slow-mo effect as she rushed towards Jadranka at the first invocation of ‘forgiven.’ At that exact moment, post-production effects of Sabina and Jadranka being horses tussling against each other (akin to the album cover) would flash to the camera. Through liberal and heavy use of effects, the entire chorus and drop effectively appeared as if it were in perpetual slow-motion, with fast cuts being made to ensure that what was being displayed would catch up to what was happening live. The camera’s frenetic flashes through each refrain of the chorus line remained both intimate and yet far-reaching. Jadranka’s anguish was clearly seen as she was struggling against her sister’s tussle. The slow effects created exaggerations of the expressions she was pulling, with Jadranka appearing as if she was breaking down. However, the strenuous actions on stage looked almost like an aggressively choreographed dance to those watching live in Scotatrova. Jadranka’s refrain of ‘forgiven’ sounded almost like cries, an irony considering that Sabina had made it clear that she was not seeking forgiveness. The chorus ended with Jadranka bitterly singing ‘living anew,’ as if anything but what she had sought had ever been achieved. She looked away from Sabina as the song quickly faded into its second verse, marking a clear flashpoint in the narrative. What Sabina attempted to do could no longer be denied. Jadranka was left shaken, reeling and reckoning with one question: was forgiveness still possible?

Go, hear the wolf cry out in the storm wind
Hear me out when I ask for an ending
Tell me now, why should we cut to the bone?

An eye for an eye, blind in the night
Bleeding in the cold as our vision loses light
There’s no reason to deny, no reason left to run
No better time to cease and admit what we’ve done

There was scant time for rest at the second verse’s appearance. The stage was now marked with an aftermath of an emotional and literal eruption. The pink sky gradually turned into skies marred by a volcanic eruption. The illusory dead of night was nearly dawning upon both sisters, cloistering them in a darkness of their own creation as Jadranka’s words and delivery were far more pointed and direct. Between the sisters, Jadranka had given up on attempting to maintain any sort of illusion of strength or distance. For the first half of this verse, Jadranka was the one to continually direct and address Sabina. For Sabina, she was now the one to look away, staring at a faint hologram of a wolf in the distance. As the camera faded between views of both sisters, one could see in Sabina’s eyes that the cold wall she built was beginning to crumble. The cuts between both sisters made it evident that what Jadranka sang were armor piercings that slowly chipped away at Sabina’s attempt to hide away from her sister and the conflict that raged between the both of them. The second half of this verse played to that drama. By then, the stage had descended into a total darkness, the only sources of light being the white spotlights on the Hajni sisters and the faint accents of orange that lingered on the stage. Jadranka was actively invoking and willing another eruption, a clear desire to end the conflict with a faint hope that the resolution would be met under their own terms. That hope continued to look faint as Jadranka inched closer to the still Sabina. Eruptions do not simply happen just once.

If each breath brings suffering
If each life were to extinguish by a selfish mind
Why should we stand and fight
When nature, she begs us to forget our lies

Any illusion of holding back had been fully broken, a forthcoming eruption once more waiting to happen. There was no need for a silhouette of emotion as Jadranka was singing directly towards Sabina’s direction, willing and imploring her to look Jadranka in the eyes. The very production of the song was pared back, especially in comparison to the first refrain of the pre-chorus. In here, Jadranka’s vocals were granted the highlight, accentuating the drama between the two sisters. The camera views equally focused between both. Despite Sabina not having sung a single word, the words that she once remained so strong against were beginning to pierce through her armor. Her face trembled and contorted with a conflicted emotion as Sabina began to mouth the lyrics silently. However, Sabina’s emotions remained enigmatic and indeterminate as Jadranka’s pleas continued. Would Sabina herself seek forgiveness? Or would she continue the interminable conflict? At the pre-chorus’ concluding line, the camera would flash its gaze towards Sabina’s balling fist. The words that Jadranka kept singing had become almost too unbearable to keep hearing, over and over. Still situated at the back of the stage, Airi had been silently watching over the two sisters the entire time. The camera’s gaze would only meet her eyes for scant microseconds. Her crossed arms and her concerned eyes glanced at the billowing conflict, about to erupt once more.

Forgiven
Forgiven
Forgiven
Forgiven anew
Living anew

The stage was alight with a brilliant burst of orange light. Lumikellot’s production played host to what erupted between Jadranka and Sabina, renewing an endless conflict and the stage beats that came from the earlier chorus. The renewed fighting looked more violent and emotional than before, the two sisters engaging in a dance that looked almost like swordplay. Sabina was looking for blood; but instead of acting with coldness, the anger that she had been holding inside had now burst into the stage. The anger that Sabina harbored was of an indescribable intensity, one that Jadranka was not even prepared for. Upon reflection, the vocals would not be sang by Jadranka or even Sabina. Instead, the words would be sang by Airi herself, revealing herself in full to the audience for this specific chorus and stepping forward with a quick and confident gait. Her eyes brimmed with focus and concern, an awareness that this conflict needed to be stopped. By the fourth line of the chorus, Airi’s presence and direct intervention looked to be enough to stop the fighting. However, Airi would have to directly step in front of Jadranka to protect her from Sabina’s actions. By the end of the chorus, Sabina had fallen to her knees, exhausted from the outburst. It was here that Airi was now directly addressing and singing to both sisters, reaching a hand towards the fallen sister as she sang ‘living anew.’ Sabina looked up with uncertain eyes, tears threatening to leak and unsure of how to proceed.

Heal these wounds, back to back
Oh, oh, make us ready for a new devotion
Eye to eye, spirits high
Oh, oh, make us ready for a new devotion
Forgiven
Oh oh we are ready for a new devotion
Forgiven
Oh oh we are ready for a new devotion
Forgiven
Oh oh we are ready for a new devotion
Forgiven anew, we live anew

Could the song’s bridge be a sign that things were looking up? The stage lights began to be accented in a warm yellow. Sabina would tentatively grab Airi’s hand, marking the very start of the bridge and in turn, the complex healing process of each wound inflicted by each Hajni sister. Airi would warily glance between both sisters, taking care to lead the process while maintaining her role as a mediator who ensured that peace would slowly begin to win out, instead of needless conflict. As a result, Airi would primarily drive the vocals for this bridge, being the strongest and most apparent vocal as Jadranka and Sabina would be her backup singers. She sang these songs as points and messages for the two sisters, remaining between the both of them for most of the bridge. As it progressed towards its ending, Airi would need to make a judgment call as to whether or not both sisters can proceed together or if she needed to remain with them. She would slowly coax Jadranka and Sabina towards more gentler interactions, initiating at first just a simple acknowledgment between the two sisters. Airi would sing these words as things to pass on to both sisters, in a hope they can find their way beyond the conflict. For Jadranka and Sabina, ‘we are ready for a new devotion’ was a revelation that both were actively coming to terms with. Healing would be uneasy, clearly indicated as both sisters were hesitant to become too close to each other. However, what Airi started gave reason to believe that this conflict may find a peaceful resolution. The lights on the Scotatrovian stage would begin to flash a yellow as Lumikellot’s production began to intensify once more…

Forgiven
Forgiven
Forgiven
Forgiven anew
Living anew

A new day dawned upon Airi and the Hajni sisters. The song once more burst into life, but instead of starting conflict; it would begin with healing. Though the slow-mo effects were still added, they were instead shots of Airi, Jadranka, and Sabina all singing the words together. Each camera shot would focus on each singer one at a time. There would be a slow shot of Airi, Jadranka, and Sabina directly singing to the camera at each refrain of ‘Forgiven.’ The three would combine their vocals together for the chorus. Expressions of hope and renewal were laced through their eyes and faces, a hope that there is a possibility of a brighter future filled with happiness on the horizon. Their backs were against each other, with Jadranka and Sabina beginning to look more comfortable being around each other instead of engaging in fight. Streaks of sunlight began to pierce through the virtual screen on the background, as the stage began to shine a glorious yellow. Hope pierced through the dark veil, Airi aiding profoundly in the process of forgiveness and setting the Hajni sisters down the long path towards healing. Though the song itself was approaching its conclusion, this was by no means the end of the story for all involved.

Forgiven
Forgiven
Forgiven
Forgiven anew
Living anew

The chorus was sung once more, sunlight fully piercing through the sky and brightening the stage. The scene on the screens meshed with the brighter color palette on the stage. Yellow accents gave way to the stage imbued with that yellow light. The crystal structures surrounding them also pulsed with that color. However, the cameras remained close to them as Airi, Jadranka, and Sabina would close out the song with a note of hope and forgiveness. The slow-mo shots constituted of tentative gazes at each other, Airi’s small smile indicating that there truly might be a seed of hope about to blossom into an eventual resolution. However, this ending was in itself a victory. The song’s instrumental outro saw the stage slowly darken. The blinding yellow lights faded to only faint accents on the stage. Despite the darkness that would slowly consume the three, the sky on the background didn’t quite fade… Instead, they would stand under the gaze of a new day. They looked onwards with the hope of possibility, one that they would hold onto as the song reached its conclusion.

The crowd cheer was overwhelming, almost to the point where it might’ve been all-consuming. They’d done it. The Hajni sisters felt as if a profound weight had been lifted off their shoulders. Sabina and Jadranka would catch Airi in a tight embrace, not hesitating to immediately break character.

“Hvala!” shouted Jadranka and Sabina, breathing through the rush of excitement.

“Kiitos, Ordium! Thank you all so much!” exclaimed Airi.

With that, they exited the stage and headed back to the green room, basking in the post-performance glow.

by **Darkmania** » Mon Jun 15, 2020 11:57 am

10. Darkmania and Antahbrantahstan

Dävyd Fëngas & Putri Pariaman- "With Love”

Ben og Tan - Yes

The postcard has played for the last entry of tonight song contest and it Darkmania, a country who hasn't been presented in either WHF or WSC for quite a while and Antahbrantahstan, who is best remembered for their smash hit "Wigless" in WSC69 ~~but is also made Darkmania quite salty since they came 2nd place with a serious song somehow~~.

Dävyd are joined with Putri Paraman, with Dävyd playing the guitar. This also marks the first time an act from Darkmania performs in English in quite a while. However, Dävyd has a noticeable accent. The background wall displays a picture of the world as well as the many issues facing the world in grey. Both Dävyd and Putri don't face each other while performing.

(The lines both sings at the same time are marked colourless and in bold.)

Why is the world filled with such bad things?
With all those evil things that happen in the world
It makes me want to make our home a better place
I will not be stopping before we fix our problems
Now i need you all to fix the mess everyone right now

The singers then faces each other. The globe that is behind them now displays images of empowerment as well as positive changes)

This world always continue to change
Whether everyone love or leave it
But one thing’s for sure, we’ll deal with it
With love, with love
We two can not alone change the world
But together everyone we can make the change
We are the generation of change
With love, with love
Ooh, ooh, ooh

Putri now facies Dävyd from the left. The depressing images from the beginning are back.

With all the hate and all the suffering in the world right now
Why cant we just learn how to love each other as we are?
Lets get our greatest desire of peace and happiness
Come with me as we are making the world a better place
And now we are together and we will be written in history

Dävyd and Putri are now joined by 4 backup singers (one male and one female from Darkmania as well as one male and one female from Antahbrantahstan) who sing alone. That male backup singer from Darkmania has his vocals a bit off but it's not so off it destroys the song. We also see more uplifting images on the backroundwall.

This world always continue to change
Whether everyone love or leave it
But one thing’s for sure, we’ll deal with it
With love, with love
We two can not alone change the world
But together everyone we can make the change
We are the generation of change
With love, with love
Ooh, ooh, ooh

The song ends with the sentence "Work together and make the world better" written on the backround wall.

by **Scotatrova** » Mon Jun 15, 2020 12:34 pm

Interval Act

Aaron Garrido - Qüen Sond

Charlie Puth - How Long

Imlevari, míe fols
I admit, my falsehoods

Quoth edra ei axil, nin?
What else is there, girl?

Nel poíx tú culbar míe corth?
I can't let you fault my heart?

Siv, inebre, ithule, ax ei neth elseqüelav, mur
Yes, I'm drunk, I'm gone, none of that makes this right, but

Luatrá, axil neth sentimenas a merolb
I promise, I do not feel a single thing

Diço, "Ful, me diça la verth
I said, "boy, tell me the truth

Er’x que ége u t’amiuzás?"
Is this real or for your amusement?"

Diço, "Tia tua fatherges
I said, "you can say you're sorry

Ful, i’eteng que coniazar!"
But boy, I must know the truth!"

Qüen sond axo s’er occurrar?
What time did this happen?

Reftarabe voltha miá
I feel you creep around me

Me thaevi un frant
You give me a façade

Qüen sond axo s’er occurar?
What time did this happen?

Mithiesabe istranii
You're acting so strange

Lúo vethze recienti, xari
I know you saw him recently, baby

Imlevari, míe culbe
I admit, it was my fault

Mur necessith me quiore
But I need you to believe me

Guante diçe que era un comte
When I said this would count

I’intenth ía i’intenth, mur nung discovrora
I tried and I tried, but I found no one else

Que et le sol u que poix emar
There is only one whom I can love

Diço, "Ful, me diça la verth
I said, "boy, tell me the truth

Er’x que ége u t’amiuzás?"
Is this real or for your amusement?"

Diço, "Tia tua fatherges
I said, "you can say you're sorry

Ful, i’eteng que coniazar!"
But boy, I must know the truth!"

Qüen sond axo s’er occurrar?
What time did this happen?

Reftarabe voltha miá
I feel you creep around me

Me thaevi un frant
You give me a façade

Qüen sond axo s’er occurar?
What time did this happen?

Mithiesabe istranii
You're acting so strange

Lúo vethze recienti, xari
I know you saw him recently, baby

Qüen sond axo s’er occurrar?
What time did this happen?

Duefea me diça athór!
I need you to tell me now!

Diço, "Ful, me diça la verth
I said, "boy, tell me the truth

Er’x que ége u t’amiuzás?"
Is this real or for your amusement?"

Diço, "Tia tua fatherges
I said, "you can say you're sorry

Ful, i’eteng que coniazar!"
But boy, I must know the truth!"

Qüen sond axo s’er occurrar?
What time did this happen?

Reftarabe voltha miá
I feel you creep around me

Me thaevi un frant
You give me a façade

Qüen sond axo s’er occurar?
What time did this happen?

Mithiesabe istranii
You're acting so strange

Lúo vethze recienti, xari
I know you saw him recently, baby

Qüen sond axo s’er occurrar?
What time did this happen?

Reftarabe voltha miá
I feel you creep around me

(Qüen sond axo s’er occurrar, xari?)
(What time did this happen, baby?)

Qüen sond axo s’er occurar?
What time did this happen?

(Duefea me diça athór!)
(I need you to tell me now!)

Mithiesabe istranii
You're acting so strange

Lúo vethze recienti, xari
I know you saw him recently, baby

by **Besen** » Mon Jun 15, 2020 6:18 pm

Hello Besen! What a crazy turn of events it has been for us at the Worldvision Song Contest, and BAEN has taken over control of our nation's participation from now - that's why you're hearing my voice right now! I'm Alma Salvini, you might know me as the host of Besen's Next Top Model - you know me right? Just kidding, I don't mind if you don't, and if you didn't, now you do!
So, what is on the agenda for tonight? You're watching Worldvision Teams! Something we didn't see coming to be honest! As a big fan of Worldvision - I'm sure it's going to be lots of fun, nothing too serious. You might be wondering, "Well, who are we paired with?". Well, we're paired with Axuva! Probably one of our biggest allies in the world, I'm expecting nothing else but a smooth R&B tune, maybe some artistic visuals to go along with it? I sure hope so, we're up against some tough competition tonight...

by **Beepee** » Tue Jun 16, 2020 3:07 am

Good Evening Ordium,

This is BONC Norfolk Pinewoods Calling.

I am Anita Margarita, and I am standing here amongst over 2, 000 WorldVision fans at Wattle Theatre, enjoying this wonderful show. Thank you so much.

I am delighted to announce the votes of the Beepeean Jury

1 point to Song 7. Malta Comino Gozo and Achaean Republic
2 points to Song 3. Kalosia and Normandy & Picardy
4 points to Song 9. Izmedu and Tödlichebujoku
6 points to Song 6. Mister X and Nekoni
8 points to Song 8. Axuva and Besen

10 points to Song 4. Polkopia and Ertzei Kishim

And finally our twelve point, the douze points, from Beepee go to you our wonderful hosts and your delightful partner...

Song 2. Scotatrova and Ekoz

by **Mister X** » Tue Jun 16, 2020 12:48 pm

by **Kalosia** » Tue Jun 16, 2020 1:37 pm

3/20 voting
KALOSIA

12 Izmedu / Tödlichebujoku
10 Ekoz / Scotatrova
08 Ertzei Kishim / Polkopia
06 Achaean Republic / Malta Comino Gozo
04 Beepee / Elejamie
02 Axuva / Besen
01 Amuaplye / Natanya

by **Elejamie** » Tue Jun 16, 2020 1:40 pm

Hello Ordium, it's Jon Navarez. I've been selected by ETV to represent my nation at the next WorldVision Song Contest but, to get me used to being on TV, I've been asked to give the votes out instead of the person they'd usually send. I'm not going to beat around the bush, I'll just give them out so we can get this over and done with.

One point goes to Darkmania and Antahbrantahstan.
Two points goes to Axuva and Besen.
Four points goes to Polkopia and Ertzei Kishim.
Six points goes to Scotatrova and Ekoz.
Eight points goes to Malta Comino Gozo and the Achaean Republic.
Ten points goes to Mister X and Nekoni.
And twelve points goes to Amuaplye and Natanya. Muchas gracias Ordio y que tengan una buena noche.

by **Ertzei Kishim** » Tue Jun 16, 2020 1:45 pm

הצבעות מארצי כישים
The following points are presented with some jury notes

12 points

Achaean Republic & Malta Comino Gozo

A stunningly brave entry from Achaea and Malta, mixing two WorldVision favourites in wild musical blend. While at times the mixing was messy, the dancey-uplifting beat and the wild transitions between parts makes this a WorldVision classic. The sheer audacity of the staging is very clearly intended to be jarring, and it is for this reason why we love it. While lyrically, it is clear that Lewis' parts demonstrate more care and maturity, Manama takes the baton and runs with her stage interpretation of the song. Overall a daring entry, which receives our 12 points!
Rating: ★★★★☆ (actually 4.5/5)

10 points

Ekoz & Scotatrova

Warm, upbeat and fun, some words to describe this fabulous entry. While the song starts rather slow, in some ways even boring, it smoothly develops where we meet a thumping beat combined with the consistent folky instrumentation. The lyrics are perhaps a little simple, sickly for some as well, they fit perfectly with the mood of the song. Equally the stage performance tells a whole story, something which can't be said about all stage efforts this time. The use of the national languages is also a nice addition - with one caveat, that it perhaps makes the story overall less believable as they sing to each other in languages the other presumably doesn't understand. This however does not matter at all, a great entry from Ekoz & Scotatrova that we should see pushing for a podium finish.
Rating: ★★★★☆

8 points

Izmedu & Todlichebujoku

Arguably the best instrumental track of the contest, the vocalists blend superbly, creating a dancefloor ready song with a mystical backdrop, giving it a sense of sophistication above what such songs would typically command. The staging adds to the ambience of uncertainty, and the girls are experts at emoting, although sometimes it feels a little uncomfortable when they stare so intensely at the viewers at home. The lyrics of this song are extremely... high-level. Todlichebujoki lyricists always strive for the best lyrical quality, in fact this is why they have been so successful, however this time I think was a miss. In attempting to achieve this high-level of lyrical quality, most meaning has been obscured, even lost at times. Complex for the sake of complexity does not work.
Rating: ★★★★☆

6 points

Axuva & Besen

This genre is not particularly popular in Ertzei Kishim - that being the slow R&B chill style. With that in mind, this is truly a quality representation of this genre. The silky smooth blend of the girls' vocals goes into the ears like honey, and the way Marietta & Tyra present their offering on stage is classy, yet sensual. This does feel much more like an Axuvan entry than a Besenian one, however it is clear how BAEN has elevated the Axuvan core of this entry. A stellar offering, despite its unpopular genre.
Rating: ★★★★☆

4 points

Amuaplye & Natanya

Truly a pleasant surprise from the combination of Amuaplye and Natanya. This alternative offering has a very steady and consistent chorus, that has a very smooth progression, without too many jarring transitions. The lyrics, particularly of the chorus are interesting, in some ways innovative in a way we haven't seen of Amuaplyean entries thus far (but the future looks bright!), as in other entries, it is clear that the Natanyan influence has elevated Amuaplye and vice-versa. The staging, while at times literal, has a moody atmosphere which fits the vibe of the song. Overall, a solid entry which should be in the top half of the scoreboard come the end of the night.
Rating: ★★★☆☆ (actually 3.5/5)

2 points

Mister X & Nekoni

Mister X and Nekoni have managed to do something quite remarkable in that they have taken a very straightforward pop song, yet it perfectly encapsulates the styles of both nations. A soaring chorus is accompanied in equal measure with soaring, hopeful lyrics that fit the song well. The rhymes do not seem forced either, which is welcome to see. While the staging of the entry is in many ways typical for a boyband, it is solid, and there are a number of interesting flashes that elevate the performance overall.
Rating: ★★★☆☆

1 point

Kalosia & Normandy/Picardy

This entry from Kalosia and N&P sounds decidedly Normandy (?), but in equal parts, it is very believable that this style of music may be found in the countryside hills of Kalosia. The lyrics of this entry are actually fantastic, partly patriotic, partly inspiring - if only Kishraelis could understand the lyrics, they would be roused by its content. The use of the national languages complements the musical arrangement, and as ever, the Kalosian language is pleasant to the ears. The musical arrangement is however dated, or maybe the word is traditional. Ultimately, that is what lets this entry down. With a remix and repackaging, this entry would be storming to the top of the Kishraeli charts.
Rating: ★★★☆☆

by **Malta Comino Gozo** » Tue Jun 16, 2020 4:18 pm

Lucia Abel MCG's Spokesperson

Good Evening Scotatrova, Good evening multiverse This is Valletta calling. First of all I want to say, Grazzi for such a fabulous show we loved it here in Malta Comino Gozo. WV fever is sweeping the nation again!

Here are our points!

1 Scotarova & Ekoz
2 Izmedu & Todlichebujoku
4 Polkopia & Ertzei Kishim
6 Amuaplye & Natanya

8 Beepee & Elejamie

10 Darkmania and Antahbrantahstan

And finally our 12 points go to...12 Mister X & Nekoni!

Well done!
Thanks Everybody!

WorldVision: The Teams | IC | Ordium, Scotatrova

WorldVision: The Teams | IC | Ordium, Scotatrova

List of Entries

2 | Miguel & Anna - "If We Trust Our Hearts"

04. Polkopia X Ertzei Kishim

#MCG/ACH7: Give Me One More-Lewis Sarucino & Manamma

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