Worldvision Song Contest 87 [IC] | Peeto, Polkopia

by **Malta Comino Gozo** » Tue Dec 29, 2020 2:38 am

24.Malta Comino Gozo

Nation Name: Malta Comino Gozo
Official Broadcaster: MCG 1
Tune: (Greyson Chance - Dancing Next To Me)
Song Title: I Became Everything to You
Artist(s) Name(s): Adam Borg
Lyrics & Music: Adam Borg

Background

Paloma Fennech had once again had a terrific time at the Worldvision Song Contest. Back when she was chosen to represent the small island nation again, the populace was thrilled to have the internationally well known singer, sing for them once again. Paloma again, blew the world away with "Hero" and showed the world what she was made off storming once again into the top 5 and even beating her previous attempt back in WV78 and placing a very respectable Fourth place, picking up 2 sets of 12 points one from Caryton and the other from debutants Carrelie. Paloma and her team where so pleased and humbled at their effort and were thrilled to have performed so well again. "Hero" has since charted at Number 1 in MCG and Caryton and Carrelie. Paloma flew home the next day and was greeted by crowds of people at Malta Comino Gozo International on her return. She has since been a guest on my local Radio shows and late night TV chats shows such as the favourite "BlahBlahBlah" with Peter Nilsem.

Adam Borg

As is the usual case, MCG 1 would pick their entrant internally. But this time they opened the floor up to private auditions of 12 promising, upcoming artists in the Malta Comino Gozo music scene. Over a period of 3 weeks the 12 young artists participated in serious of sing off's in front of a panel of 2 expert singing judges and WV winner Aris Mooe. In the Final, was Sam Carrel and Adam Borg. In the final both were presenting their new songs they wanted to send to WV 87 in Peeto, Polkopia. After intense deliberation and 2 votes to 1 Adam Borg was selected as the islands next act with his song "I became everything to you", a hard hitting dance track, about the high's and low's of a relationship between a man and his girlfriend. The track soon became a hit across the country.

Adam Borg, is a 26 year old singer from Bidnir, Malta Comino Gozo where he grew up alongside eight siblings. He is a new upcoming artist with a musical background, having attended music school from the age of 7 onwards. His teachers noticed his skills as a singer as well as a song writer in his teen years and pushed for him to start writing more music as well as releasing his tracks on social media platforms such as Youtube and Instagram. His most well known song written when he was 18 was "Old Lovers" which received 170 thousand downloads across the country. Adam Borg has since sung live in the islands biggest concerts and bars, and has had his songs played on local radio stations up and down the country. He is slowing become one of Malta Comino Gozo's best young artists. In his down time Adam apart from singing etc Adam enjoys boating, hiking and abseiling. He is a down to earth, well mannered young man with a passion for animals. He lives with his fiancée of 4 years, Victoria in her home town of Għasrin in Gozo. Adam has ben a fan of Worldvision for many years and feels his dream of going further in his career has come true.

Adams song " I became Everything to you" will represent the islands in Peeto. It's a hard hitting dance track on Adam's relationship and introduction to his now fiancée Victoria . In a interview on "BlahBlahBlah" about his entry Adam explained the message behind his song and what the title meant.

"Were we ever strangers? I'm not sure we were. That day I first saw her, there was something even then. I wonder if there's an element of time that allows us to feel a strong love, like an orange glow bursting over a dark horizon. It was light for our eyes only, something to carry us through this life. It was the dawn of the person I am today, the person I was destined to be. I would give up anything in the world for her, I would do anything to keep her safe. Though I work hard to keep her comfortable now and into our old age, I'd rather be poor in money than risk loosing her heart. I recall the day our bond was forged. It was like being let into the warmth after a lifetime of winter. I could never wish to go back to even a day before that. She's the greatest treasure of my life, the only one. She felt the same way"

After becoming more friendly with Victoria he realised how depressed and traumatic her childhood had been." I recall the day my father shook me above the couch by the scruff of my clothes." Victoria told him." My body moved more like a rag doll than a girl of eight. Right before then the radio had been playing The Beetles... those songs of love. Then there was his rage and I had no idea why. Mother ran in screaming for him to stop, "She was just doing her maths! Stop!" She was right, I had been lying before the fireplace with my workbook, quite happily doing these sums. My father thought I had been jumping and that was the reason his stereo had failed to record the music. He dropped me and left me crumpled there, too shocked to cry, just breathing." Adam wrote the song after the two met in the club for the first time. Their love sprung instantly from there, his caring ,sweet genuine character was what she needed, it was genuinely love at first sight and Adam became Victoria's, guard, friend, her everything.

Peeto

Polkopia was always a nation that was fruitful towards Malta Comino Gozo from the very start. The 2 nations had exchanged a heavy amount of points to each other from the off and the two nations had friendly relations as well outside of the contests, with both nations having a proportional diaspora of their citizens living in each others nations. Malta Comino Gozoans had mainly travelled to Daroban after the economic boom during the 1980. Many Polkoians had also fled to MCG during the 50's as it became quite clear that the Polkopian government couldn't keep up with building infrastructure, hospitals, schools, etc in many places and were primarily focused on repairing Peeto and Valinkova, so there were mass efforts from citizens to leave Polkopia in search for a better life. Malta Comino Gozo has a population of about 23,000 Polkopians.

Adam had never been this far abroad before and he and his team where raring to go. Adam would be accompanied by his HoD team, as well as 6 dancers who would accompany him on stage and Victoria as well. Due to Malta Comino Gozo being free of Covid-19 the team still had to take tests taken before their flight, which all tested negative. They set off from Malta Comino Gozo International Airport on the 5 hour flight to Verekovo Airport in Peeto. Thye arrived around mid afternoon and once out of the airport the Team were driven to their hotel , the fantastic and stylish Radisson in the middle of Peeto. The hotel was stunning, Adam was overwhelmed and didn't feel he fit in! This place was far too fancy!

The next day was all about exploring this picturesque city, equipped with a local tour guide, Adam ,Victoria and the delegation started off their day touring. The pavements were smooth grey stones, joined with such precision that the joins were almost invisible. The walls of most of the buildings were concrete, but not like a villa in rural Spain; they were more akin to the construction of a modernist skyscraper, all sharp edges and corners. The buildings were nothing short of monoliths, the bastions of the city's pride, stamping its arrival on the map of financially significant places to come and see.

It was a very cold day! The path sparkles and crunches, like sugar underfoot, and the coolness brings them right into the now. Though the flowers sleep and the trees show their lofty arms once more, a smile plays upon these cold lips. For as much as Adam and loved the summertime, he loved the winter too. As Malta Comino Gozoans they were not used to this weather and they were kitted out top to toe in the warmest clothes. Rosy cheeked, they stamp as they walk to keep warm, pulling woollen hats over their poor reddened ears and tightening scarves over their chilly necks. Adam was fascinated to learn about the how the city was partially destroyed a number of times throughout the years. He noticed in some neighbourhoods that every building was different, borrowing this and that from another era. It was a amazing patch work of old and new fused into this magnificent and friendly City. It's historic centre, lorded over by a colossal Gothic cathedral, was an intoxicating mix of resplendent palaces, baroque churches and winding medieval lanes.

At nearly every turn were golden domes peeking out over the rooftops church bells peeling through the streets, many of which are glittering after recent renovations. The exteriors of these cathedrals are adorned with stone carvings and glittering domes; interiors are packed with ancient icons, swirling incense and faithful worshippers. For more than a millennium, Orthodoxy had helped to define the Polkopian nation, a significance that is palpable in these grand spiritual places.

After a 3 course meal at a local restaurant and a good nights rest the team then ventured to the highly rated Worldvision Museum located in the cities Arts District, where they explored the many exhibits.

Parade of Nations

Adam walks onto stage alone to loud cheers. Somehow he'd poured himself into tight trousers and a crisp white t-shirt. .His top 2 buttons are left open. His flag colours displayed all around him. People often speak of the colour of his eyes, as if that were of importance, yet his would be beautiful in any shade. From them comes an intensity, an honesty, a gentleness. Perhaps this is what is meant by a gentleman, not one of weakness or trite politeness, but one of great spirit and noble ways. What he is, what is beautiful about him, comes from deep within; it makes girls want to feel how his lips move in a kiss, how his hands follow the curves of their body. He had tousled dark brown hair, which was thick and lustrous. His eyes were a mesmerising deep ocean blue, flecks of silvery light performed ballets throughout. His face was strong and defined, his features moulded from granite. He walked confidently and waved to the audience who cheered before exciting the stage.

Performance

For his performance, Adam is wearing the same outfit as the parade of nations, crisp white t shirt and tight jean trousers with brown loathers the perfect outfit for a night on the town. The postcard ends and the stage is dark. Over the roar of the music, a distant, hazy chatter could be heard you couldn’t make out any words. The beat starts up as wintery blue and UV white strobe lights slowly pulse around the arena, the blaring bass makes the room shake just like a typical club. Adam is central stage with 5 dancing bodies tangled together around him, dancing slowly as if time has slowed right down.Like this They are dressed for the club. The stage lights cut through the darkness of the club. All the white on peoples outlifts glowing and shining under the UV lights. Adam is not effected by this slow in time. The LED screens remain dark apart from neon signs aligning the walls. Beneath them dry ice smoke swirled a array of blues around the stage. The view is of Adam central stage, the camera onstage directly in front of him. It pans outwards ever so slowly, the dancers all around him. He has a blank expression and is facing the floor and looks up as he starts singing. The mic is in his right hand. He stays central stage as he sings the first verse, the dancers dancing slowly around him. The arena is one big nightclub as lights flash in time with the song every few seconds. The only colours visible are black, blue and white, like this.

You were
Just another stranger in the room
In a room,
Full of bodies, I was attracted
To you
I became your dancer, I became everything,
To you

As the next beat kicks in, bright golden lights start to flash above the crowd. Adam is bathed in golden light flashes. We have a close up as he sings the next line, half lit half in a shadow.

Hey

A flash of gold illuminates the entire stage before toning back to a smaller flash to the beat. The stage is still wintery blue and UV white strobe lights slowly pulse. The camera, which is still focused on Adam slowly moves backwards as he makes his way through the crowd, the camera swivels on the spot to the left as he sings "In my sights" now showing a side profile of Adam. I then pulls slightly behind him, showing in front of him where a young woman (This is not Victoria as she is shy) is stood a few meters away, she is looking anxious, and lost. She is shrouded in grey light, no colour visible. She is alone. Her emotions were not easily hidden on her innocent face. Her pain was evident in the crease of her lovely brow and the down-curve of her full lips. As Adam looked directly at her, he knew, all the beauty of the universe could not even hope to compete with this simple thing: passion. Passion turned her eyes into orbs of the brightest fire, and in them he read clearly that she would fight to the very last tear for her life. She would not let the world break her. Sure she could cry, but she would always fight back. The camera turns back to a close up shot of him as he lit periodically in blue and white, staring at her from the edge of the crowd of dancers. He is gobsmacked at her beauty. The camera begins to pan out slightly. His voice is charming and deep and carries a sense of simplicity and confidence. He plays with his hair.

Beating lights
My body moves
In my sights
A gorgeous figure
Love ignites
A spark in my heart
Hey

The girl turns her head and catches Adam looking at her. All around them the dancers have slowed even more and the light flashes are slower as well symbolising that time is almost slowing down as they catch each others eyes. The camera now switches to a view from her side looking directly at Adam. Her heart skips a beat and her eyes now look alert. The lights above him strobe and he takes a few steps closer through the flashing lights. His eyes wide. He quickly looks around embarrassed before turning back to look at the girl. The girl pains a small fake smile. Adam can tell she is depressed.

I catch your eye, the room around us stills
This love begins to intensify
Hey babe can I get ya a refill
But I feel
This love between us
Between us
I became, I became, I became everything to you

The LED screens now have neon vertical lines. (like this) Adam begins to slowly shuffle dance, his arms up, on the spot, the camera slowing his movements down as it pans around him. The girl in front watches, tis time she smiles properly, entertained by Adam trying his best to cheer her up. All the UV lights and blue lights twirl around them. Cold blue spotlights above them switch on to the beat of the chorus before fading and restarting again each time the beat plays. The camera dips in and out of being normal and slightly pixelated.

No boundaries
No boundaries
No boundaries
I became, I became, I became everything to you

We then have a onstage camera shot in front of Adam before it turns to his left side panning backwards slightly. Adam then meanders his way through the dancing dry ice towards her. She is still bathed in girl light symbolising that she is still down. Standing bold and tall he reaches his soft manly hand out to her and the camera pans towards her. Even before he touched her, she felt his hands and her lungs expanded with briny air. His voice had lilt, his words soft with the smile that already played on his face. She looks away briefly before turning back to him. She leans forward as he sings "I grab your mind." In that moment was the sweetness of passion, a million loving thoughts condensed into this moment.

I knew
That it was love, at first sight
The music slows around us
And our lips then kiss
I grab your mind
I became, I became, I became everything to you

We then have a side view of the two. All around them the lights flashing and dancing. Adam unbuttons one of his buttons on his shirt and sings passionately into the mic. The girl hooked one very word. Her eyes transfixed on the handsome man singing to her. His voice is warm and rich; the girls heart beats faster. Then it's silent for a moment- he's waiting for a response but she wasn't focusing on his words. As she blushes his look of bafflement becomes a shy smile.

I catch your eye, the room around us stills
This love begins to intensify
Hey babe can I get ya a refill
But I feel
This love between us
Between us
I became, I became, I became everything to you

The camera starts to blur slightly, a radial blur effect with a neon blue tint, it switches to a view of the dancers in the background it cuts between them all, some have their eyes shut some have their arms in the air. The camera slows their movements making them almost jerky like, before suddenly speeding them up into real time, their outfits glowing under the UV lights. We then have shot of Adam and the pretty girl.

Everything to you
Everything to you
Everything to you
I became, I became, I became everything to you

The camera starts to blur slightly, a radial blur effect with a neon blue tint. Its flashes in and out to black.(epilepsy flash warning for viewers.) The rest of the stage is now black, the dancers out of view for now. The cameras movement is jagged. The camera following Adam until he is really up close to her. She looks up at him. The camera pans around them in a circle, as they stare intently into each others eyes. He raises his left hand as he sings " So I became".

I didn't know the anguish
That you were in
Until I came your way
Don't you worry please girl
I'm here too stay
So I became,
I became, I became, I became everything to you

Suddenly as the chorus hits, there's a glowing yellow flash of light around the LED screens, the blurry camera effect disappears and he embraces her, the stage starts to lighten up a bit but keeping a nightclub feel, coloured lights above the girl begin to light her up, the grey lights being replaced by coloured ones instead symbolising her becoming happier as Adam holds her, soaking up all her pain. The audience can now see she has long, blonde hair and a smart casual jacket and black jeans. She is full of beauty. Her smile, breath taking her skin as soft as fabric. Her eyes glittering in the nightclub. His hand gently glided through her hair, as he looked at her in a way he had never looked at a girl before. Her eyes were candles in that night, their light a spark of passion... desire. As a small but teasing smile crept upon her face, goosebumps lined her skin the kind when nothing else matters except right here, right now. Adam runs his hand down her soft cheek with one hand, still holding the mic in his free hand he sings powerfully, his voice is strong, it drips with emotion and fire, allowing the audience to effectively feel his emotions. All around them the blue and UV lights flash. The spider camera pulls out towards the back of the arena showing the entire stage and much of the dancing, glowstick waving audience, before cutting back to the pair of them on stage. He grabs her by the hand and they excitedly make their way to the centre of the stage. The dancers are in the background, raving in slow mo. The LED screens flash a glowing gold light persistently lighting up the otherwise dark nightclub scene. The camera pans back to the pair. Both their gazes are fixed on each other. He pulls her against his chest. She let out a tiny gasp and smiles as he holds her.

Yeah I became everything to you!
Yeah I became everything to you!
Yeah I became everything to you!
I became, I became, I became everything to you

The camera pauses on a side of view of the pair before they both break into a huge smile! The stage lights up and the dancers stop, smile and wave to the camera showing the entire stage "Thank you Peeto! Grazzi!" Adam shouts! Before everyone walks off the stage. The camera pans around the arena with thousands of flags waving and cheers roaring. Victoria who is in the front audience is shouting and waving her flag passionately. The stage is ready for the Kalosia entry.

by **Kalosia** » Tue Dec 29, 2020 3:39 am

25
Kalosia
Lose My Mind — DAZHURI
performed in Kalosian and English to the tune of Sevgingni Menga Ayt — Lola Yuldasheva

What an embarrassment.

How did the winner of the most prestigious music festival in Kalosia come bottom 10 in an international contest despite Kalosia having come 2nd the edition before?

If Sierra Elena didn't soften the blow, this could have been Kalosia's WORST result in its 65-edition history of participating at the WorldVision Song Contest. Well, that depends on whether you see Jasmin Meier-Fernandes' 16th place out of 19 participants in WV70 as a worse result or not.

Domestically, it didn't matter too too much. Yes, the result was a shock and there were many strong reactions, but the song still charted and enjoyed popular success domestically. But it did embarrass the people at RTVK. The Kalosian head of delegation resigned (or more accurately, he relinquished the role to take on other projects but remained at RTVK), and executives agreed to lease participation rights to the private broadcaster MediTV for three editions. This means that MediTV will be the Kalosian broadcaster at WorldVision until at least WV89, although according to the contract there is a possibility for a renewal of this lease.

Faced with this new project, the people at MediTV knew that they had to make a good first impression with their hosting, and send an entry that can bring Kalosia back to the top. So they did what seemed logical and approached the recent runner-up DAZHURI with an offer to participate in the contest once again. Coincidentally, the singer was working on a follow-up single to her WV85 entry at the time that was not intended to be submitted to any contests. Although reluctant at first, she agreed to enter it into the contest.

For a refresher, Lina d'Ažuri is a Kalosian singer from Palmañë. She previously represented Kalosia at the 85th WorldVision Song Contest in Malta Comino Gozo with the song Final Chance. Her stage name, DAZHURI, is a stylized spelling of her last name, partially inspired by the Albanian word for love, dashuri, which she learned during a vacation to the Albanian-speaking country Fusha Me-Bar in 2013. At WorldVision 85, she came 2nd in a field of 28 entries, winning the jury vote but not the televote, which allowed Beepee to win the contest.

The song that she will sing this time, which as mentioned was intended as a follow up single to Final Chance, is called Lose My Mind. Lyrically, the song deals with the medium-term aftermath of a break-up, sung from the perspective of someone who has moved on from the relationship and is once again living their best life. Since her previous WV entry was from the perspective of someone on the brink of ending their relationship, this song reads like a sequel to the former. Musically the song is a pop dance track with a beat akin to those that dominate the pop scene in Eastern Europe and many Slavic nations (such as WV host country Polkopia), although also lightly taking influence from Kalosian sounds which come together to produce a song worthy of the international stage; one that can continue to thrive in nightclubs across the multiverse. The track is not in DAZHURI's album Konfešioni, which was released July 2020, however it will be included as a bonus track in the album's re-release as a deluxe edition in February.

For the big night, she was wearing a sleek black pantsuit with very long sleeves. There was an opening halfway through the sleeves for the hands to come out, though the size of the sleeve design itself made for a very bold fashion statement, that went well with the themes behind the song.

Kalosia was drawn to perform after Malta Comino Gozo. Shortly after their song ended, Adam Borg and his entourage walk off the stage, and Lina follows the stage crew onto the stage as they prepare for their performance. Soon the postcard ends, and they are ready.

As the song began, the stage was pretty dark. The lights were dim, emanating a dark green tint across the arena. Smoke filled the stage. The camera began blurred, but slowly unblurred to reveal a top down view of Lina laying on a bench at the back of the stage. Right as the camera fully unblurred, Lina began singing.

I woke up on the ground
Without a tree to make a sound
Looked around, saw the clouds
Took a moment to realize what went wrong

Camera changed to a stage-level angle as Lina got up and sat straight on the bench. As she sang the next part, she also gradually got up on her feet.

You saw it in my eyes
But for me it was time to rise
In the heat of the moment
The fire was opened, I attacked your lies

As she sings this next part, Lina takes a few steps forward. Two backing dancers from both sides (so four total) join her and they form a V-formation, with Lina in the front. The dancers are wearing vests over white buttoned shirts. The lights kinda went crazy, like lightning flashes.

I don’t regret it now
And I will show you how
My world is best without you

I'm gonna lose my mind

Lina and her dancers made movements similar to the gif above. The lights behind them were raving to the beat.

I'm gonna lose my mind

The backing dancers then start crawling, one of them does so in front of Lina, who holds the dancer's ponytail like a leash. When photos of this part of the staging came out after rehearsals, it caused a bit of a stir in Kalosia. But Lina explained during a press conference that it symbolized her emancipation from the relationship she was leaving in the song.

After 4 bars, they had all arrived at the front of the catwalk. The dancers got up and stood close to Lina as they did surreal movements, sometimes in unison, but always in harmony with each other. These movements were very rapid, and combined with the flashing blue and red lights and rapidly moving camera angles, these were bound to overload the senses. Lina looked very free-spirited.

For the next part, Lina slowly seductively crouched on the floor and got on one knee, facing forward sideways. The lights were still lively if a little dim. The backing dancers just stood behind her, but the camera closed up on her so it didn't really matter that much.

Note: "Miu mondu" is Kalosian for "my world".

I’m gonna turn around my world, miu mondu
To get over you I will rise from under
Rebuild myself to be a stronger woman
It’s now or never — one-eighty degrees

Lina quickly got up and started walking back to the main stage, with the dancers behind her in V-formation. A camera from the back of the stage followed her movements.

I’ll be the baddest witch you’ll never see
A singing siren that swallows the key
Deep in the club with all focus on me
I’m leaving you red

Lina turned back towards the audience again. The camera closed up on her, but you could barely make out that behind her the backing dancers were rapidly walking behind her, presumably switching positions (so that those formerly on her left are on her right and vice versa). With a seemingly evil grin on her face, Lina sings the next part.

I don’t regret it now
And I will show you how
My world is best without you

I'm gonna lose my mind

Once again, Lina and her dancers make the same movements from the first gif above, making a V-shape with their arms.

I'm gonna lose my mind

Lina and her dancers quickly move forward, forming a single file line along the catwalk. After 4 bars, they get down and do choreography as the gif below.

Photographs of this scene were also a point of discussion in Kalosian media alongside the ponytail leash scene. Although some questioned the choreography, it did not become too big of an issue that it needed clarification. The audience responded differently though, they went wild, just like the lights had went wild.

Shortly afterwards, they took turns getting up in a choreographed way, and as they walked back to the main stage the cameras panned across the audience who were dancing. A few bars later the cameras went back to Lina and the dancers, who were going absolutely wild on stage with their moves. The stage turned from blue and red to a dark green, with yellow lights complimenting the scene.

By now, the bench that Lina was on at the beginning of the song was replaced by a round platform akin to a huge stool or table similar to the formation below.

As Lina sung this part below, the stage lights became dim, flashing periodically, and the dancers made movements similar to the above. Lina's face definitely seemed full of vengeance right now, and something tells me she is satisfied.

I don’t regret it now
And I will show you how
My world is best without you

I'm gonna lose my mind

Lina and the dancers slowly got up from the platform and went into their V-formation...

I'm gonna lose my mind

...and repeated the same dance moves from earlier (the V-shaped arms one). The lights went wild once again, and so did the audience.

I'm gonna lose my mind

Now Lina and the dancers walked forward to the beat with poise until they reached the end of the catwalk.

I'm gonna lose my mind

As the song comes to an end, Lina and the dancers repeated some of the wild, club-style dance moves they had done earlier, but then took a final pose as Lina sang the final line to the song:

I'm gonna lose my mind

The song ends and the audience goes crazy. Lina and the dancers take a bow and Lina thanks the audience, saying "Thank you Peeto! We love you!" before she and the dancers leave the stage as it is being prepared for the entry from Nekoni.

Will Lina bring Kalosia back to the podium as she had done previously, and quickly bring an end to Kalosia's fall from grace? Kalosians certainly hope so. But we'll see.

by **Nekoni** » Tue Dec 29, 2020 3:45 am

Entry No.26: NEKONI
Don't Give It Up
Kids With Guns
Based on: Nelly by Superbus

Well, damn. Turns out half-arsing an early-00s-esque not-quite-a-club-banger gets you your worst ever results. Who knew?

Naturally, NTR are a bit pissed off. And sadly, they now realise that to get to the top again, they need to dig into their pockets. And if this means going through a national selection again, well, so be it. Absolution was back for another run, and, given the relative shambles of the last one, you could forgive the Nekoni public for being a bit skeptical of its success. Nontheless, the country still came in strong, and the second version went off without a technical hitch.

It was a more star-studded affair than the previous one, too. Simplicity called for all ten entrants to be in a straight final instead of the convoluted-as-balls semifinal system from two contests ago, and in these, half of the entrants had already tasted either Absolution or the WorldVision itself, with the runner-up in Marina Point way back in WV80, Alex Ford, coming in at a rather sedate 7th. The top three was initially a closely fought one with the judges tending to give the ABS85 runner-up Elitsa Blanche the lead, but by the halfway stage, it was clear: Eliana Mitrecey, after forty-one contests, was going back to the WorldVision.

...or was she? Unfortunately, when it came to the reveal, on stage, Eliana had a massive crisis of confidence. As the pyro and confetti rang around her, the screens blaring her name out in gold for all to see, Eliana, immediately realised what she was about to do. The stress of representing her country. After she'd come fifth before, the nation expected big. And if she couldn't, that'd be her career over. Done. After risking so much to come back into the limelight, she couldn't take one more gamble. She dropped to her knees, and through choked tears, gasped, "I'm sorry. I can't do this. My time is not now. I forfeit."

In the confusion, NTR fortunately had a contingency plan, and the second placed act would be going through instead. Enter Kids With Guns. A rock band with an intriguing mix of modern indie stylings, yet unafraid to dabble in the classic new wave sounds of the early 80s, their USP is that they have two main singers, both of which guitarists, and they alternate between male and female vocalist depending on the overall feeling of the song and who has written it. This gives them the feeling of two bands in one, effectively. This was a good thing, as after the contest was over, controversy didn't leave the new selection, either.

Upon the end of the broadcast, it was found that the original song, I Can't Wait, was more than a lot like a former World Hit Festival song, in particular, Tödlichebujoku's bronze-medal winner from WHF39. This led to a dilemma; either come up with a different song, or NTR would ask the THIRD placed entrant to enter the contest. For everyone's relief, Kids With Guns had a back-up song ready and waiting. This showed off the sparse early-80s style of the band, with the male lead singer putting down tambourine and picking up guitar for this one. After all of that build-up, it was amazing that we have a song at all, but a song we indeed have.

Whilst the ongoing pandemic hasn't hit Nekoni as hard as other countries around the Esportivan continent, the message of unity and support that the crisis has spread is a message that we understand clearly. This song is meant to be from the outset a positive message of hope, that this too will pass, and the 'new normal' isn't here to stay. And just this once it's not a snide in-joke at Nekoni's infatuation with the number 14. Well done, guys.

As the postcard finishes, the shot changes to a shot on the camera placed on a tripod in the middle of the stage. The centre of the stage is set up in a box, about four or five metres each side, with a clear front so the audience can see in. In it, the space is decked out like a modern, cosy living room. We have a long leather sofa in white lining the back wall, the walls behind it painted to resemble a bookcase in the corner and a fireplace in the middle, with neutral shades decorating the wallpaper. To keep in with the modern bohemian theme, there's a cuckoo clock on the back wall, painted black. Due to the inevitable mishaps during rehearsals, it has been put on silent.

Visible to the outer audience thanks to a relay going along the back screens in the arena, the camera has a frame around the outside to depict a Zoom call, presumably to her boyfriend, with the usual volume, pause and close controls. Natalia is the only person in the living room box, starting off lying on the sofa. She's dressed effectively as you see her in the picture up top, with the only differences being a white, thick Alice band on her head, and a black dress shirt, unbuttoned, with a few tears and band logo patches sewn into it.

The song begins with Natalia rising up from her sofa, and sitting up like she's talking to her lover across webcam. She's smiling, and the right side of the screen scrolls up with messages that her boyfriend is saying: "It's so good to see your face again", "I love to see you smile", and finally "I miss you." The final message stays on screen for a lot longer than the other two.

The first verse begins with Natalia singing, sat on the sofa, holding and clutching one of the cushions on it tightly, rolling to her side, her head on the arm of the sofa as she does. It's as if she's been stuck in that small room for months, without any semblance of human contact. Her make-up, heavy on the eye-shadow, suggests a sleepless, borderline uncontrollable loss of being. She sings as the band on stage around the box plays. The lights are off around them, with all contact focusing on this one square.

(0'18)
I miss your kiss, magic in the air
The warmth when you were there
The touch of your skin, the smell of your hair
But we can't give up yet

The top of our screen shows another message from the invisible boyfriend, and a stark one. "I don't know how much longer I can hold on." Natalia sits up, immediately. She leans forwards into the camera, giving her next lines almost as a pep talk to her lover, a shot to the heart to tell him 'no, you can't give up now'.

In the build up to the chorus, she stands up, finds the guitar that somehow was on the floor out of shot, and, with determined gritted teeth, throws the strap around her and starts playing.

(0'32)
It's darkest before the dawn
Even if it drives us both mad
And after all we've been through
The worst can't be that bad

Don't ever, don't ever

Throughout the chorus, we finally see the band, as they are finally lit up, although focus is still on the small room. We see that the drummer and keyboardist is flanked to the left, with the bassist and once-vocalist, now-guitarist (the one crouching in the photo) on the right. All of them are dressed in your standard contemporary fare, with the only real point of note being that the drummer has taken to wearing the football shirt of Nekoni's premier team and 2020-21 Ligue N champions, FC Varea. One presumes the black and white of the shirt fit the general mood of the set.

Natalia starts shredding on her guitar (an Epiphone SG in a gun metal gray/black gradient), as she sings, standing up, but clearly bending forward due to the room's roof being not that high.

(0'48)
Don't give it up, don't give it in
The storm is nearly over
Don't give it up, don't give it in
Someday we'll be together

During the post-chorus bit, they continue as they did, but the messages on the screen now display something more uplifting: "Thank you :)" and then a heart.

(1'02)
All the clouds that blind us will soon clear
All the fog will clear up, and you'll see
Any minute now the day will be here
Something that was always meant to be

As the beat drops a little after the chorus to bring in the lighter instrumentation, the message displays "I wish I could be with you right now". Natalia sees this and smiles. As she sings the verse, she pushes against the screen hard, in an attempt to break the glass window, the screen representing the divide between her and her lover. As she pushes, bangs, and almost throws herself at the transparent wall in front of her, the screen for the viewer exaggeratedly shakes, looking like she's about to break through the thing, but alas, she just can't do it.

(1'29)
Come take my hand, pass through the screen
We'll chase the rain away
Just for today, we have to dream
But it will come true some day

She fails in her quest to break through the screen, and as a result she's noticeably irritated. In an unscripted fit of rage, she tears the cuckoo clock off the wall and slams it on the carpeted floor, and bits of wood, cogs and metal fly everywhere. Good on you, girl. I hate those bastards.

As she hits the line "don't break your stride", she snaps out of it, focused on the screen ahead of her. She stares deep into the centre, instinctively nodding, knowing exactly what she wants, and she knows exactly what she's going to do to get it. When she sings the last line of the lead into the chorus.

(1'420
It feels safe to hide inside
As the world slips through the nether
But don't let it break your stride
The dark won't last forever

Don't give up

When the chorus breaks, Natalia reaches her arm out, into the screen. With the camera focused in front of her, it gives the impression of Natalia physically trying to claw her way out of the screen. The main body of the screen (which Natalia has paid very close attention to never actually touch during the performance, always touching the framed side couple of inches and letting camera work do the rest) is actually an elasticated, rubber-like substance. With it, her hand reaches through, outstretched, distorting the surface, yet not permeating it. She slowly reaches into the screen, extending her arm as far as she can, until she reaches the bridge.

(1'59)
Don't give it up, don't give it in
The storm is nearly over
Don't give it up, don't give it in
Someday we'll be together

At the bridge, Natalia puts a second arm into the screen, and now we have purchase. The thin, stretched fabric is no match for both of Natalia's arms, and now she's finally able to push her body weight into it and tear it apart like a knife through hot butter. She outstretches her arms when fully through, opening the hole as wide as it can be, almost like she's leaning out of a window.

(2'13)
All the clouds that blind us will soon clear
All the fog will clear up, and you'll see
Any minute now the day will be here
Something that was always meant to be

When the bridge comes, she takes note to grab her guitar in the makeshift living room, before climbing out onto the main stage properly, taking her space at the front where she belongs. The backing screens, now no longer needing to focus on what's going on in the room, are displaying the effect of a rainstorm, lots of blues, dark purples and blacks, with the occasional white flash of lightning. Natalia, never one to shy away from a guitar lead, plays the solo part with a nice clean pickup, with that lovely undistorted sound of 80s new wave. You love to hear it.

(2'27)
Never give up, never give in
Outride the storm, see the day in
Never give up, never give in

Don't give up, don't give up

Finally free of the box and free to enjoy the world, the background completely changes tack. Both the stage lighting and the backing LED screens display much more vibrant, natural colours. Greens, yellows and peaches flood the arena, to match this cathartic explosion of freedom. With this, we finally get a nice long shot of the band playing as one, the wrecked room in the background, amongst the audience.

(2'57)
Don't give it up, don't give it in
The storm is nearly over
Don't give it up, don't give it in
Someday we'll be together

It isn't Nekoni without some kind of ostentatious cannon-based effect, isn't it? And indeed, you get one here. At the point of the final post-chorus, bursts of multi-coloured foil confetti explode up in the air around Natalia, as if the cleaner didn't have a tricky enough task of hoovering up spare bits of cuckoo clock. Never mind, it's what he's paid to do. Natalia, in the motion of being finally free and uncooped to do actual things, jumps down off the stage, with her guitar.

(3'11)
All the clouds that blind us will soon clear
All the fog will clear up, and you'll see
Any minute now the day will be here
Something that was always meant to be

In the final embers of the song, Natalia is in the little dugout bit at the front of the stage on the floor, close, but not dangerously so, to the audience up and jumping to the beat. A little channel for the cameraman in the middle of the crowd creates a little divide for her to move into, and then the camera moves 180 degrees around to see her with her guitar, a crowd hanging onto every line and every note, fully invested in the music behind her. A couple of security guys in neon orange T-shirts make sure that there's still a good gap between her and audience, and to stop any wannabe stage invaders.

(3'24)
Don't give it up, don't give it in
Don't give it up, don't give it in

Natalia finishes her final notes, the song ends, and she immediately turns round and welcomes the screaming crowd with a resounding "Merci, Peeto!" She climbs up onto the stage again, blowing a kiss to the crowd before she does so, and the band go off, to welcome on the next act. It seems, that despite everything, Nekoni were able to put up a damn solid performance on the night. Whether this will be rewarded in the hours to come, and whether Nekoni's fortunes will be actually reversed, will be a different, unknown matter altogether.

by **Electrum** » Tue Dec 29, 2020 6:02 am

27. ELECTRUM

Song: Everywhen
Artist: Dhuba Yolnge Band
Tune: Crying Softshell Turtle by Leenalchi

Introduction
After a two year absence from the WorldVision song contest, Electrum returns with Network ENN scraping together enough Synergies for one more spin at the contest. This time, Electrum internally selected the song "Everywhen" by the Dhuba Yolnge band. The song is based on indigenous Electrumite culture, with the lyrics being inspired by traditional stories about the Dreamtime, hence the name "Everywhen". The song is a mixture of both new and traditional forms of music, with the indie style being mashed up with traditional chanting. The song references the creation story of the Agri Delta, near the city of Agri, said to have been formed when the great snake Yolngu swallowed up the moon. Without the moon, the world became unbalanced because the sun no longer had a counterpart. It became an eternal day with the sun providing light that the moon normally provides until the female warrior Ciantha was chosen to slay the serpent. With one fell swoop, she hacked the snake into several pieces, which then fell onto the ground to form the delta system we know today.

The Dhuba Yolnge Band are based out of Agri and are intimately familiar with this creation story. Inspired by it, they decided to create a modern retelling of the story through song. They hope to inspire appreciation of indigenous culture throughout the multiverse, and hope that the song will encourage people to relearn their traditional stories

The Performer

The Dhuba Yolnge Band members come on stage wearing the above suits.

Front: Larissa (backing vocals), Gurruwi (co-lead singer), Thelma (co-lead singer)
Back: Scott (guitar 1), Gali (guitar 2), Landa (synthesizer and backing vocals), Marrtju (drums)

The Performance

The band walk on stage and assume their positions. They walk in in the outfits shown in the promotional image, with Gurruwi, Larissa and Thelma taking centre/front stage. The guitarists are on stage left, and the percussionists are on stage right. As soon as the song begins, the three singers start going crazy. The camera is affixed on them as Larissa moves to the front most area of the stage and gestures to the ground while singing. Behind them, the LED screens show a video of someone seemingly drawing and colouring in the brown dirt and blue sky of the Electrumite landscape.

0:13
Listen to the spirits of the land
Listen to the spirits of the land
Listen to the spirits of the land
Listen to the spirits of the land
Listen to the spirits of the land

0:25
They tell the story of Everywhen
Talk of the moon gone in one bite
Stories passed down and told today
The serpent Yolngu baying for blood
And the brave warrior Ciantha who eviscerated him to bits

Listen to the spirits of the sky
Listen to the spirits of the sky
Listen to the spirits of the sky
Listen to the spirits of the sky
Listen to the spirits of the sky

By the time the last 'sky' is sung, four people clad in all black drop down from the ceiling's rings, as the LED background animation turns from its hand-drawn look to a more cartoonish look. While the camera cuts to Marrtju, the sunglasses-man on the drums, the four people come together with their segments of a serpent costume to make one large serpent, similar to a dragon dance costume. As Gurruwi starts singing about the serpent, the background animation slowly becomes darker to show the night. The cameras cut back to centre stage as the serpent dance makes it ways to back stage where it appears to be gobbling up the animated moon. Once it is entirely consumed, the green serpent spurts out a flame of fire from its mouth. The other singers continue to dance around Gurruwi.

0:51
Yolngu the jealous unworshipped god
Flew up to the moon and swallowed her whole
Will a hero step up and bring back the moonlight once again?

Listen to the spirits of the sea
Listen to the spirits of the sea
Listen to the spirits of the sea
Listen to the spirits of the sea
Listen to the spirits of the sea

The backing vocalist Larissa, takes the next verse. She pulls off her quick-change brown costume rapidly to an even slim fit warrior dress, which is seemingly made of iron all around. As she mentions the forging process of her sword, the screen behind her shows the animation of a community of native Electrumites in the night coming together and crafting it. The camera goes in tight from her as she somehow pulls the sword from the electronic screen once it is done. The serpent is dancers move the serpent all around the stage, and harasses the two main singers.

1:14
"Let me fight" - Ciantha cried
The sun stayed up all day and all night long
So a great sword forged from sky metal
Basked in the sun's seemingly eternal glow
Cooled down in the ocean water
Yolngu laughed hurrah at down below
Time will tell the outcome of the slaughter

Ciantha, catch me if you can!
Ciantha, catch me if you can!
Ciantha, catch me if you can!
Ciantha, catch me if you can!

The main singers continue to sing from stage front. Once "Ciantha" (Larissa) took the sword, the serpent started focusing its attention on her, with the camera and audience attention on them. From behind, the animation shakes as the background scenes start moving vertically up into the sky, as if Ciantha were flying towards the serpent. The long serpent starts surrounding her, as she disappears from the camera's view, behind the dancers.

1:58
With everyone's well wishes
She started her journey flying up to the sky and
on the way the sun was cheering her on
This is destiny she thought, nothing can stop me now
But from behind the snake wrapped around her
The swallowed moon was beckoning Ciantha
It was growing closer but so was the noose

Ciantha took just one last breath!
Ciantha took just one last breath!
Ciantha took just one last breath!
Ciantha took just one last breath!

All of a sudden, a sword, and then a hand emerges from the circling serpent, and she thrusts the sword from within, penetrating the serpent's body from the outside. As the main singers start pointing to the sword, the serpent dancers collapse all around, and all of a sudden, Ciantha is lifted from the air. She, along with the other singers, sing the final verses together. The serpent blows one last flame from its mouth, blocking the back LED screen. Once the flame burns out, the moon reappears, bathing the stage in a muted white light.

2:27
She grasped her sword and plunged towards herself
Yolngu gasped as air rushed into her lungs again
It spit the moon back to where it belonged up above
And fell to pieces on the ground
Forming the lifeblood river we always cherish

2:40
These words have been passed down!
These words have been passed down!
These words have been passed down!
Remember the moon and its story
Pass it down to the next generation

The three singers come to the front stage and sing directly to the camera, pointing at it and gesturing.

2:56
Listen to the stories from within
Listen to the stories from within
Listen to the stories from within
Listen to the stories from within
Listen to the stories from within

by **Electrum Diplomatic Offices** » Tue Dec 29, 2020 6:02 am

28. ELECTRUM DIPLOMATIC OFFICES

Song: The Gertrude Eats Tonight
Artist: Gertrude Pullman
Tune: The Lion Sleeps Tonight by The Tokens

Introduction
Gertrude Pullman is back once again. Known for her sporadic entrances into the WorldVision Song Contest, she has convinced the Electrumite authorities to permanently give her this slot (as if she weren't already given this slot already) because she was recently crowned as an Electrumite Cultural Icon. Known for her many and varied songs, this time she is singing about the consequences of not voting for her. It is a dramatic song, and once that she hopes will attract the youth's attention.

The Performer

The Performance

Gertrude comes on stage wearing a lion costume. While she does the main vocals, her band, the Gertrude Pullman Band are her backing vocallists. They have had a long break from performing, after their last song, a twenty-seven minute sermon about the Church of Gertrude Pullman gained notoriety for being one of WorldVision's longest ever songs.

Gertrudegertrude ger GertrudeGetrude is so very cool
Gertrudegertrude ger GertrudeGetrude is so very cool

Is so very cool... Is so very cool...

Gertrude Pullman has just recently endorsed a line of raw meat detox diets, and with steaks hanging from hooks on the ceiling, she took one and start biting into it, her mouth full while she continued singing. She takes especially big rips from her mouth every time she says "I'll eat you tonight".

Watch your backs youth, watch your backs youth
Or I'll eat you tonight
Vote for me now, vote for me now
Or I'll eat you tonight

Gertrudegertrude ger GertrudeGetrude is so very cool
Gertrudegertrude ger GertrudeGetrude is so very cool

For this next verse, Gertrude Pullman starts crawling on the floor, still in her lion costume. Her posse of elderly Electrum diplomatic security guards (decked in their uniforms, of course) walk on stage with boxes of old phones with pre-paid sims, with text messages loaded up for Polkopians to vote 28 on the phones. Some in the audience take the opportunity to delete 28 to put in their favourite number instead. Meanwhile, some of the guards, who are wearing glasses, mistakenly see others voting against Gertrude Pullman, so they go down on stage and slap the audience members with the raw steaks which have now dropped onto the floor.

Text twenty-eight, text twenty-eight
Or I'll beat you tonight
Use your mum's card, use your mum's card
Or I'll beat you tonight

Gertrudegertrude ger GertrudeGetrude is so very cool
Rrr, la la la I am so very cool

Gertrude Pullman, still crawling on the floor from the last verse, struggles to stand up. She falls on her butt after slipping on a piece of steak. But eventually, she does stand up, and does a little roar motion with her arms as she closes out the song.

Hey, little child, cower, little child,
Or I'll yeet you tonight
Hey, little child, cower, little child,
Or I'll yeet you tonight

Wah oh oh, wah oh oh, wah oh wimoweh
Gertrudegertrude ger GertrudeGetrude is so very cool
Gertrudegertrude ger GertrudeGetrude is so very cool

by **Northern Beepee** » Tue Dec 29, 2020 6:02 am

29. NORTHERN BEEPEE
"Goodbye"
Performed by
Miriam

Tune: Michelle - Vorbei Vorbei

Music and Lyrics by Miriam and Jigay

Northern Beepee's KooriTV has determined to return to the WorldVision Contest following its debut at WV84. At that contest, held in Milano, Besen, Jigay presented the song (The Deepest Shade of) Blue. The song finished 22nd.

It was unclear following that event if Northern Beepee would ever return to the contest, but a recent upsurge in popularity of the contest following the surprise win of neighbouring Beepee gave the North hope of being competitive.

Following a tough internal selection, Miriam has been chosen to represent the state with the song "Goodbye".

Miriam worked with Northern Beepee singer Jigay to write the song.

Miriam is 27 years old from the capital of Northern Beepee, Melaleuca. She works part time behind the counter in a small cafe which her mum owns. In the evenings she performs self penned tracks in small venues around the capital.

In her spare time, Miriam enjoys swimming in the Huawan River, visiting the suburban markets to try local cuisine and feeding the sulphur crested cockatoos who visit her balcony.

Ya Tiho Lavam Yo

It was that time of year once again in Northern Beepee when the winter corroboree occurred.

Miriam and her mother noticed their café becoming busier with the out of towners arriving for the gathering. Miriam had to pull extra shifts to deal with the influx.

The corroboree was to be held at the Karlu, the local convention centre. The corroboree included events, singing and dancing and costumes.

Miriam was always a little bemused as to why the city harked back to these roots and traditions, these customs, despite it being a modern and successful city. However, this year Miriam was looking forward to the corroboree. She had been asked by one of the local elders to perform a song.

Her mother told her this was a great honour, and showed they were now an important part of the local community. Miriam wasn't so sure. She had always felt different, she put it down to her not being from Melaleuca itself.

Miriam's mother had fled from the nearby Huawan provinces when she was pregnant with Miriam and although Miriam had been born in Melaleuca, she had always felt separate from the locals.

As the corroboree approached, Miriam's nerves increased. She wrote, and re-wrote the lyrics to her song, and nervously counted down the days until her performance.

The corroboree began in the tradition Northern Beepeean manner with a traditional smoking ceremony. The ceremony was held outdoors as, despite it being the rainy season, the rains had not yet arrived from the west. The smell of the smouldering emu bush leaves made the air taste both smoky and herbal at the same time. The local elders danced, as smoke filled the air, until the evil spirits had been warded off.

Then small campfires were lit and the local Larrakin elders stood at the entrance to the karlu. The elders would warm their hands in the fire and then gently hold and warm the hands of each visiting guest. A process called budawa.

As the people filled the Karlu, Uncle Yankirri took to the stage. As the most respected of the local Larrakin elders he had the pleasure of welcoming to country.

As the various performers and orators, sang, danced and told their stories. Eventually it came to Miriam's turn...

Nervously she walked on stage with her guitar and sang a song about the rainbow lorikeet brothers, out into he rain.

"They came looking for shelter
But none could be found,
The rain started falling,
They tried to sleep on the ground.

The rain got more heavy,
The serpent turned them away,
As the rain started pouring,
He said "come in here and stay."

He opened his mouth,
The brothers were scared,
"I won't eat you I promise.
Get in here" he dared.

The serpents mouth closed,
With the brothers inside,
He swalled them whole,
And the brothers, they died.

Now the serpent is coloured,
Like the rain when it falls,
Except when the sun shines,
Or the lorikeet calls."

Her voice was powerful, more powerful than she expected and it soared through the auditorium. Despite her nerves she performed well and the audience appreciated her talent.

After the performance many people came to Miriam and told her how much they enjoyed her performance and the storytelling.

Of all the people who praised her performance, there was one who's comments meant the most... her mother's.

PERFORMANCE

As the postcard ends and the gentle applause fades, Miriam is centre stage gingerly holding a microphone stand. She has three backing singers located at stands to the right of the stage and a guitarist and drummer on stage with her.

The stage is set and in shades of umber.

Miriam closer to the microphone stand and begins.

Two o'clock, and the rain hits off the window,
Lying here, listening to the wind blow,
Outside the storm, echoes in my heart.

Miriam pulls the mic-stand closer to her caressing the microphone, whilst staring intensely down the camera.

Thinking of the times when we were happy,
All the days you told me that you love me,
They have faded now in to the dark.

A la Lena Ph, Miriam pulls the microphone to the side, and sings down in a control profile view.

As she sings the following bridge, Miriam runs her hand gently down her cheek to signify her loneliness and her despair.

Sleeping in this bed alone,
Next to your heart of stone,
The end can't come for us soon enough
I've had enough of your empty love.

As the chorus begins, the stage which has been mottled in colours of orange and brown, bursts into bright light. With lights streaming out over the audience.

Hey, if the world were to end today,
You'd watch me as I walk away,
You wouldn't even beg me to stay,
Goodbye, Goodbye.
Ahh Hey, if the pain ever feels too great,
Like some last minute twist of fate,
You want to call, but hesitate,
Goodbye, goodbye.

As she sings the preceding chorus, listeners will notice a deep pain and occasional crack in the voice that suggests this song may be written from a personal experience.

Oh goodbye.

As the chorus comes to an end, the lighting fades back to the browns and oranges of before.

Goodbye, goodbye

Miriam herself is a strong, independent woman and her that inner confidence exudes as she continues with the next verse.

Morning comes, light begins to wake me,
But even now, the feeling doesn't shake me,
The feeling of a love that's gone for good.

As she sings the next verse she drags the microphone stand over towards the backing guitarist and she sings...

The loneliness, has become part of us,
Nothing left, no words for us to discuss,
I wouldn't save our love now even if I could.

With this bridge Miriam returns to the centre stage. The show director cuts between views of Miriam and the audience to ensure visual interest for the viewing public.

I sit here in our living room,
My bags by my side,
And there's nothing said from you,
it's sad to see our old love die.

As the chorus begins the set lighting again goes into overdrive. With lights spraying out of the audience and lighting up the whole stage.

But, hey, if the world were to end today,
You'd watch me as I walk away,
You wouldn't even beg me to stay,
Goodbye, Goodbye.
Oh-Oh!
Hey, if the pain ever feels too great,
Like some last minute twist of fate,
You want to call, but hesitate,
Goodbye, Goodbye.

As she sings the following verse there's a sense of deep anger and rage in Miriams voice.

I hope you look with a sense of fear,
And if your eye should shed a tear,
My parting words still ringing in your ear,
I said goodbye, goodbye.

As she sings this following chorus, Miriam walks forward over the mic-stand, leaving it behind her between her legs. She herself leaning down into the lowered microphone.

Hey, if the world were to end today,
You'd watch me as I walk away,
You wouldn't even beg me to stay,
Goodbye, Goodbye.
Oh-Oh!
Hey, if the pain ever feels too great,
Like some last minute twist of fate,
You want to call, but hesitate,
Goodbye, Goodbye.

Miriam steps out over the mic-stand and pulls it back up to her ad she sings the outro.

Oh-oh, Goodbye.
Oh, Goodbye.
I'm leaving, Goodbye, goodbye, goodbye.
Mhhhh,
Oh Goodbye.

With the music fading and the performance over, Miriam bows politely waves and "says thank you before leaving the stage for the next performer.

by **Crustyland** » Tue Dec 29, 2020 6:05 am

30. Crustyland

Official Broadcaster: CRAP
Song Title: Abstract Waves
Artist(s) Name(s): Joanne Coften
Tune: Maruv Siren Song

Colin ft The Urinary Tract and the Yeast Infection all returned to Crustyland on their delipidated boat and were greeted by hundreds of people at the local harbour. The boat sailed past the harbour littered with abandoned boats which had become home to thousands of breeding pairs of angry Walruses. People awkwardly stood on the harbour walls clapping while some were chased for getting to close to seal pups by their angry mothers. Who decided to build this shop where the seals live aye! The nations had placed 28th out of 32 but received 2 12 points as well as 2 10 points putting the country at one point in the top 10! But their points soon dried up after four countries back to back voted for them and then nothing. They received 7 points in the televote leaving the country in the bottom 5. Even so they were greeted warmly and praised for their efforts in what was the countries first ever contest.

The contest had actually been a hit for Crustyland with tourism despite the pandemic up by 80% from nations such as Placely Placington and South Alezia. Despite the nation being severely indebt still and barely able to stay afloat as they had done nothing about finding alternative ways to boost the economy since the fishing industry went bust the nations had gained a small cash boost from the tourists who came over to see and taking selfies with the local semi aquatic sea mammals which roamed the streets.

Attention soon turned to who would be their next entrant. CRAP, the nations broadcaster would select their entry internally. Joanne Coften is a 30 year old artist from Flomalas a city in the western part of Crustyland's main island. The once thriving fishing city where once the leaf blowers were out as soon as the leaves tumbled onto the paths and the ploughs pushed away winter snow after each flurry. Now the city is infested with a massive Walrus colony, the cities population now only about 10,000. Now the leaves decompose over the concrete and the snow is unabused. The city is mostly abandoned. The harsh call of the Alpha male Walruses echo through the streets. The streets stink of Walrus. The boats in the harbour sinking. The remaining people have all but given up on personal transport as their cars are viscously attacked by protective Walruses often mistaken for other Walruses.

Joanne is one of the countries most talented artists and loves dancing. She is one of the only people in the nation with a degree in music and entertainment as most of the population is far too thick to even graduate from secondary school with any grade above a C. She is married.
Joanne and her team of 5 set off from the countries only Airport on their tin can of a plane which was donated to them by MCG back in the 1980's. The propeller plane creaked and groaned and barely made it to Peeto Polkopia. As it landed the plane lost a propeller blade which broke and spun off in gosh know what direction, only to turn up miles down the road crash landing into park . The plane taxied to their gate and as the team got out the co pilot slammed the door shut and the plane fell apart instantly leaving a pule of debris all over the parking spot. Joanne and her team made their way to Peeto by car. Joanne's team smelt slightly of mackerel meaning the poor driver had to vomit a few times as he drove along.

The postcard ends and there's a few cheers from the crowd. Many of the front rows were ready to move quickly in case some huge semi aquatic seal mammal appeared. Deep red light lit up the stage and Joanne appears centre stage with her mic She is stood on top of a massive white plastic plinth. There are no semi aquatic sea mammals to be seen. The front row settles. The camera works its way up starting from the bottom to the top as Joanne sings the opening lines. She's wearing the same outfit as the image above. The LED screens dripping with red rain drop effects. The spotlights above her gradually brightening as she sings.

Ooohh
Gonna hate gonna hate
Oooh what is it what is it

Joanne sing the first line to the frontal stage camera. Her left hand is raised and she spins it around. She is confident and smirking. The camera pans out as she sings the third line. She clenches her fist as she sings "What's inside of you?" and places it over her chest. All around her the stage is red.

How wide is
How wide is
Your field of vision?
Do you see
Do you see
Just what’s inside you?

She raises her hand to her forehead pretending to look around. The camera now a body shot of her.

Or see
Or see
Only what you’re missing
And a world that’s full, of fear and endless hate?

The stage lights now turn white and red. Joanne steps off the box and walks forward slowly. The camera a frontal shot. She pleads with the camera. As she sings the last line she looks upwards with a saddened face.

Is your life just
An illusion that contains no rhyme or reason?
Don’t look down,
Look at the skies above.

She suddenly drops her head down and looks intensively into the frontal camera lens

Yeah!

Out of nowhere two female dancers dressed in black skirts and white silky tops appears on her side and hype up the crowd. The stage lights now bright and golden. Spotlights swirl around the arena. The camera is a shot of the entire arena before switching to a stage shot. Joanne does a dance on the spot, she peers into the camera as she does.

Who could ever have imagined, it would be this way.
I'm all you want, what you what you waiting for
I'm casting out, out these unspoken feelings

The dancers curl up into a ball on either side of her. Joanne looks directly into the stage camera again. Joanne gesture about as she sings. A pink cartoon heart appears on the LED screens behind her.

Weighing on weighing on, weighing on my mind.
I know, I know you’re out there somewhere.
Where though, where though I could not say.
Give me love
Give me love
Come near me

The stages now dark and Joanne is lit up in a dim spotlight. She looks to several cameras she sings the next lines. Making it as dramatic as she can. The dancers start to become more animated and slowly start to rise.

Or see
Only what you’re missing
And a world
That’s full of fear and endless hate?
Is your life just
An illusion
That contains
No rhyme or reason?

Yeah!

The stage lights back up in white yellow and light red. White Spotlights move fast above them on the stage. The camera shows stage shot. All 3 of them, now dance in unison like this. The crowd cheers. The camera zooms into Joanne as she sings the next lines. She is leaning forward. Behind her the white plastic box is shaking.

I'm all you want, what you what you waiting for?
I'm all you want, what you what you waiting for

The camera zooms out as the 3 of them dance again. Their dances quite sensual. The stage flashing violently with flashing lights. Suddenly as the song ends a large seal break open the plastic box and lets out a loud noise. It sits there mid stage staring out. Joanne and her team are unfazed. The dancers look towards her and then to the camera as Joanne winks.

I'm all you want, what you what you waiting for?
I'm all you that want, what you what you waiting for
BLARGHHH!

"Thanbk you!" She shouts into the mic. The audience actually cheering despite the very bizarre ending. The team walks off the stage and the stage team escort the seal cautiously with some fish backstage. The seal which is very sweet follows straight away.

by **Elejamie** » Tue Dec 29, 2020 7:44 am

ETV1 presents WorldVision 87 - English language commentary by Cerin Erali and Flynn Taggart

CE: Welcome to WorldVision 87! Bienvenido a WorldVision 87! Yalcom WorldVision 87! Live from Peeto, Polcopi! I'm Cerin Erali...
FT: ... And I'm Flynn Taggart.
CE: And we are your English language commentators for this evening. For a Spanish commentary, Iyilim language commentary or to sing-along to each entry, please press the red button. Thank you. Para Español, Iyilim o karaoke, pulse botón rojo por favor. Gracias. Aspenol, Iyilim o cereoc - Ancelis o Aspenol, ne Iyilim - plaes toc rad boton. Fenci.
FT: Televoting works the same way it always does. You can call the number, you can send a text message to that number, you can use the app. They all end up getting added together and presented as our results for each of the different nations. Simple as that.
CE: When was the last time we were here, by the way?
FT: Nearly five years ago.
CE: Wow, really? It feels like it's been longer.
FT: Let's not question it.
CE: Anyhoo, we're drawn third. There've been a number of countries that have been drawn from that position that went on to win the competition. Do you think we'll be able to add our names to that list?
FT: I doubt it but we'll see.
CE: A bit too early to be negative, don't you think?
FT: Never too early to be negative.
CE: Eh, I'll let you be negative. For now, let's get on with the show!

by **Kyritakia** » Tue Dec 29, 2020 10:57 am

by **Ertzei Kishim** » Tue Dec 29, 2020 3:33 pm

. : 32 - Ertzei Kishim - أراضي الكيش - ארצי כישים : .
Dikla Romanova - This One's For You
ديكلة رومانوا - هاد الك | דקלה רומנובה - זה בשבילך
Language: English
Lyrics & Composition: Dikla Romanova, Moshe Huldai
To the Tune Of - Miley Cyrus - Midnight Sky

The 86th edition of the WorldVision Song Contest was one of immense hope within HARESHET, indeed they believed that with the song "Neon Tigers" there was an excellent chance of victory. After the Jury votes, Ertzei Kishim sat second in the points table, and despite not a victory, the team at the broadcaster were more than happy with such a high finish. That is of course, until the televotes arrived. It turned out that ISRAA had finished 12th in the televote, causing Ertzei Kishim to fall to 5th in the rankings. While 5th is of course an excellent result, it did feel like a disappointment to all involved. Somewhat ironically, HARESHET were the ones who pushed for, and oversaw the implementation of the televote, and now for a second time they had been punished by it (the first of course with Sandy Santini). Despite this, ISRAA's song remained extremely popular in Ertzei Kishim, being certified two-times platinum shortly after the grand final. Not only that, but the song had charted well internationally, particularly in Scotatrova but also in friendly countries like Achaea and Polkopia. Due to ongoing restructuring within HARESHET, another internal selection was decided, with a creative panel drawn up to decide on the artist. Similarly to last time however, the artist was to be given a relatively large amount of creative input in their own song, where the creative panel would have something of an advisory role after the artist was chosen. The panel settled on a singer who was no stranger to WorldVision, and who conveniently had an upcoming album to promote. It was seen as a deal that served both artist, record label, and broadcaster.

Dikla Romanova had participated in WorldVision before. In fact, she had performed very well, taking home second place in the 76th edition of the contest. The Kishraeli-Polkopian who was born in Peeto but made aliyah when she was a teenager had in fact controversially claimed second place, after the Polkopian-aligned puppet state, Lactatia, had given 5 points to Polkopia, allowing them to beat Ertzei Kishim by just a single point. While she did finish second officially, Dikla came home like a winner, along with her stage partner Natanui. Dikla had originally fronted a rock band, 'From Ash' which had moderate success in Ertzei Kishim, however her first foray into WorldVision was to launch her solo career on an international level. She succeeded in doing just that, and her debut solo album Mah She'Nishar (What Remains) became the best selling record of the year. Almost five years later, and still without a second album, Dikla decided to accept the invitation to perform again in WorldVision. She wanted to choose a song which was commercial enough to succeed, and different enough to hail a new era in her creative journey, but still maintain her distinctive style. In the end she decided on "This One's For You", co-produced and written with former bandmate Moshe Huldai. The song was more pop, but infused with 80's disco rock that gave it a harder edge than most others in the contest. She was confident that this would be the song to bring her success, and launch her second album, and the creative panel at HARESHET agreed.

For most acts Peeto was going to be an exciting and new experience, but for Dikla it was just her second home. Apart from the extra promotional events she had to do because of WorldVision, it was pretty normal for her. She was relatively well-known in Polkopia anyway, and for the duration of the contest was staying in her second home near the city centre. That's not to say she didn't participate with the other acts, and was used as a translator more than incidentally by those who struggled to understand Polkopian, and ventured off the beaten track from the typical English-speaking areas. Because she was well accustomed to the city of her birth, instead she could focus all of her attention on her stage performance, which was going to be key to sell this mid-tempo song. HARESHET had stumped up a decent amount for an impressive stage show, with Dikla's record label topping it up so that the show could be tailored to exactly what she wanted. Dikla enjoyed the creative freedom she was given, however on the stage, the final say was with famous designer Maya Fares, who had worked on a number of Kishraeli stage performances in WorldVision. The first part of the week focused on getting the right angles, later tuning the vocals before a finished package was more than ready before the final rehearsal, which excited some of the WorldVision bloggers who were covering the event.

The day of the final was slightly hurried. There were final preparations to make to her outfit, and to the stage directions, but ultimately everything was finished on time. Ertzei Kishim was drawn to compete between Kyritakia, a country that had only participated once before and finished in the top 10, and Normandy & Picardy, WorldVision stalwarts whose participation streak had wavered more recently. This was the latest Ertzei Kishim had performed since WorldVision 34, interestingly, Ertzei Kishim won that edition. Not ones for superstition however, fans were hoping Dikla could do it on her own. Following the performance of Kyritakia, the Kishraeli postcard was beamed on the screen as the stage crew hauled on the stage items. Dikla hurried to her position at the centre of the stage. She was wearing a black dress with see-through cut outs that gave it a slight edge. Her hair was pinned up messily, and she had dark face-makeup a black eyeliner and a smokey eye with deep red lips. The effect was intended to be somewhat intimidating, but in a beautiful way. As the stage went dark, it was time for Dikla to begin. She was a seasoned performer, but she still got nervous sometimes. As the first notes rang out, she readied herself and served it all to the camera. The song began, and Dikla widened her gate, looked down to the right. As the camera passed her face, she looked up and followed it, beginning to sing.

Why am I still fighting for every breath that I take?
Damn it’s cold outside but between us I’m frozen here
Like a broken arrow immovable in my lungs
Breathless I can’t carry on

The backing screen then lit up in a purple sunset. A stage fitting, particularly for the Kishraeli act obscured some of the view, but the camera provided a wider picture so that the whole ambience could be seen. Overset on this was a translucent video of Dikla singing live, which then disappeared as the camera zoomed out when she hit the high not on "admit", signalling the beginning of the chorus.

They say each day comes a lesson learned
I’m not too proud to admit!

The stage gradually goes darker, and has it does the stage fitting is revealed. Tiny candlelights begin to slowly flicker at the back of the stage, as the backing goes completely dark. The artificial lights almost looked real as they give the stage an eery, yet warming glow. Dikla leans forward with the microphone stand in her hand, before rising back up. On the "it's what you do", she whips her arms open and looks to the side and down, before immediately returning a piercing gaze to the front camera which captured the move. The camera then does a faded transition to an angle even closer on Dikla's face, upon which the raw emotion, almost anger, can be seen.

Now we’re here tonight
I don’t want you to change your mind
Oh no! Pull the pin from every grenade
Stop the world a minute
Smokey crimson in my eyes
Oh no! Blow it all up in my face
Shards of noise still seep through
But it gets me over you, baby!
Ooooh! It’s what you do!
I’ll light a cigarette, there’s not a feeling I regret, oh no!
Yeah, baby this one’s for you

As the chorus transitions into the next verse, Dikla pushes the microphone stand out, and grabs the microphone off it, putting it closer to her lips. As the next verse begins, she sultrily steps around the microphone stand, holding onto it before letting it go and moving on forwards to the edge of the stage. She drops low at "why we don't get on", before singing the rest of the next line squatting down. For the final line of the verse, she heads towards the microphone stand, the beautiful dress showing every curve of her body as she walks. The silhouette created by the burning candlelight in the background looked almost apocalyptic in some regards.

Don’t stir your drink and pretend like there’s nothing wrong
Let's both get drunk and remember why we don’t get on
Bring the heat, bring the fire, bring the anger to the stage
I’m too tired to care anymore

For the bridge to the chorus, Dikla's projection was heightened. With her louder notes, the stage begins to show flicking fires of red flashing through the stage on a random, infrequent basis. Dikla stretches on arm out to emphasise the power of her notes.

They say love cannibalises itself
Before the heart grows old!

The stage becomes even warmer, as the flames seem to travel in the former of a road forming either side of Dikla. She is strict to stay in the middle of the lines, in an almost symbolic representation of getting over somebody or a situation, in which focus and strictness is key to succeeding. She widens her gate on the second half of the chorus to give her vocal even more power, ringing out inside the hall. Something which the fans and bloggers had commented on was the amazing echoey reverberance her rehearsals in the empty arena had. While tonight she was less echoey, the power remained, impressing many at home (I'm sure).

Now we’re here tonight
I don’t want you to change your mind
Oh no! Pull the pins from every grenade
Stop the world a minute
Smokey crimson in my eyes
Oh no! Blow it all up in my face
Shards of noise still seep through
But it gets me over you, baby!
Ooooh! It’s what you do!
I’ll light a cigarette, there’s not a feeling I regret, oh no!
Yeah, baby this one’s for you

The screen at home turns grey, apart from the warm candlelight in the background. Apart from the candles and the spotlight illuminating Dikla, the stage returns to darkness as it did at the start of the performance. The softer tone of the final chorus is reflected in Dikla's voice, which demonstrates a lot more raw emotion and a lot less power than it did before. It's even possible to hear some small cracks in it as she hits the lower notes. As the chorus builds however, more and more power is needed. At the end it in fact becomes her most powerful note yet. As she hits it, the backing screen has a smashed glass effect which quickly falls off, and the camera zooms out into the stadium, panning over the crowd who are occasionally lit by travelling lights.

The silence seems to scream louder
Than you will ever know
Now we’re here tonight
I don’t want you to change your mind
(Oh no! Pull the pins from every grenade)
Stop the world a minute
Smokey crimson in my eyes
Oh no! Blow it all up in my face

The screens at home return with full colour. Dikla pulls out the pin which was holding her hair and shakes it out. As the camera zoomed out, she had also smudged her lipstick to give a true messy rocker look. This chorus was lyrically different to the others, and was much more raw in its wording. As a result, Dikla's portrayal was much looser, she moved more erratically while still clasping onto the microphone stand. Some had described this as a charming revelation of real and raw emotion. Whatever it was, it was setting the stage, and the arena on fire.

In the fog of the smoke
I think what a fucking joke, baby!
Ooooh! It’s what you do, yeah!
Playing out a part when I never really had your heart, oh no!
Yeah, baby this one’s for you
Yeah…

The warm orange tones that were flickering through the stage began to calm down, and extinguish, as did the candlelight in the background of the stage. Gradually, the stage became more and more dark, until the only light was the spotlight illuminating Dikla. On the final note, this also went out, signalling the end of her performance.

It’s what you do…
It’s what you do…

"Thank you Peeto! Glory to Our State!" She shouted, the name of the Polkopian national anthem. After all, she was a native here too. The crowd let out what was likely the second loudest cheer of the night for their second home performance. Dikla walked off the stage as the crew got the next act ready. She was more than happy with that performance, and now it was up to the public and juries, to see where she would finish.

by **Normandy and Picardy** » Tue Dec 29, 2020 3:52 pm

33 - Normandy and Picardy
"Tic-Tac" - ENF3R
Tune: ("Плак-Плак" - IC3PEAK)

ENF3R, the controversial music group made up of Anais LeFebvre and Jean-Luc Martin, representing Normandy and Picardy in Peeto

SRNP never explained why they hadn't competed at the 886th WorldVision held in Oreo City, the very city in which indeed the first ever Normand win had come (for those of you who keep track of these things, i.e. myself). They had explained the lack of entry in the 85th WorldVision; the act they had selected and held a preselection show for, Après le déluge, had to pull out at the very last minute, and the broadcaster had been unable to replace them. But the absence the contest after went unexplained. Now, under normal circumstances, this would be a bit unusual but not completely unprecedented. Indeed, the Normands had returned to the contest after a rather long hiatus in any case, and their attendance before that had at times been... not certain, such that the two contest gap now presented doesn't seem so odd. So, it was not perhaps a surprise. That would be the case had by not come 5th and 2nd in the two contests beforehand, yes, the heady heights of 2nd, in touching distance of the trophy itself (or well, points-wise, not that close). 2nd, the country's best result in a very long time in the WorldVision, not obviously counting the 5th which had been the country's best for a very long time beforehand, notwithstanding the aforementioned long hiatus. It was not as if there was a risk they might win and have to host; WorldVision is, it will shock you to learn, not World Hit Festival, and the risk/opportunity (take your pick) of hosting the thing was certainly not holding them back there and their recent run of good entries. So, why had the broadcaster pulled out? Some blamed financial issues, with the focus being given over to WHF, but that didn't quite sit right for aforementioned reasons. They certainly had no major problems with the systems that had been introduced in recent contests, the televote indeed having very much benefited themselves. There were no international events or national holidays in the way. No, what had happened is that the Normand delegation had simply forgotten to send in their application on time. Rather embarrassing, naturally. That's why nothing was said.

Well, that is only partially the story. Really, SRNP had been undergoing lots of internal restructuring. The broadcaster, which is funded by the federal government, is really a network of different broadcasters, some of which only broadcast content on SRNP channels and others which help co-produce or even simply just pay for the upkeep of the central SRNP programming, which focuses on radio, cultural programming and news content. Indeed, to broadcast in Normandy and Picardy at all, you had to at least contribute to SRNP, even if you have programming all on your own channels and run otherwise privately. There have been attempts to open up the system recently, and indeed, the broadcaster became stuck in a situtation in which the contribution expected had been reduced slightly (not enough to say there were major budgetry issues) alongside a whole range of reforms, separating the new programming from the radio and cultural side, delegating more to the also nationally run and fully integrated part of SRNP, ORTN (L'Organisation de Radio-Télévision Normande, funded primarily by the Normand Republic), and allowing L'Équipe, a broadcaster focused on sports content, to fully take over the sporting aspects, including major events that previously would have fallen under SRNP's 'cultural' remit. These, alongside a host of smaller, internal reforms, meant things were up in the air for months. Still, you might have expected someone to remember the biggest song contest in the multiverse...

Once the dust had settled, for the most part, the broadcaster realised they had missed their chance to take part in Oreo City, which was rather annoying. Luckily, they would still be able to broadcast the contest, and they couldn't do badly if they weren't competing at all to be fair, but naturally it would have been nice to send an entry. There had been plans to send Après le déluge again, but apparently these had never gone anywhere, nor had any of their plans evidently. However, the Head of Delegation, Marcel Gaultier, who very much had noticed that he hadn't really been doing his job, took this as an opportunity to start the selection of an act for the next contest, wherever that one might be held, from very early on, so that this time they might actually remember they had an act and might be able to send in the paperwork on time. And thus, the series of events that led to ENF3R representing Normandy and Picardy in Peeto had begun.

This time, Après le déluge were not going to be asked back. Not just because it would be slightly awkward at this point, but because Gaultier had at some point decided that having sent to very rocky entries in a row (and doing well with best), it would be best for Normandy and Picardy not to be typecast; also, following the first success of Les Vandales in St Christopher, Llalta, the Normands had been joined by a small but very much there wave of rock, and it might be nice not to look like they were sending it. This rather faulty reason laid at the heart of Gaultier's shift away, but what to replace it with? How about a pivot to one of the country's most controversial electronic acts, ENF3R? Evidently, Marcel thought to himself, he'd gone mad. There is no way they would do it. And they'd certainly be a difficult sell to SRNP let alone the Normand public. Why ENF3R? The group, whose name means "Hell" with a 3 in it instead of an e for some reason (French l'enfer) are a duo from Rouen, made up of partners Anais LeFebvre and Jean-Luc Martin, both natives of the city. Rouen is home to Normandy and Picardy's federal government and the largest city in the country, and thus unsurprisingly important as a cultural centre. This is especially so for the electronic industry. In any case, it had been on a night out in Rouen, during a visit to the city (Gaultier had moved out to the Ville de Média at Avranches, much to his annoyance), that he had heard them perform live. Sitting in his little office in Avranches, he knew he had to book them.

But there was the controversy problem, which probably needs some explaining. Beyond the sometimes rather out there soundscape and aesthetic, the group are well known for having taken part in various protests and are quite outspoken on a number of issues, especially environmental issues. This has included some time in prison following a series of protests in the city itself a few years ago. Perhaps not having some of Normandy and Picardy's most famous criminals representing them might be a good idea. Yet Gaultier was determined to have his way; they would go to WorldVision, even if they might have to tone themselves down just a little bit. The band themselves were certainly up for the job; speaking about the contest on Simone Derrida's show on SRNP3, Anais said, "For us it's obviously a major chance to present ourselves, to present our message, but also to represent Normandy and Picardy and what this country is and could be." Unsurprisingly even that message had ruffled a few feathers, due to how certain figures in SRNP and the wider press decided to interpret it. Yet, as many people loved the idea of them going to WorldVision as hated it, and it had certainly got people talking about the contest again; in a way, Gaultier had done his job very well indeed. And before he, and anyone else, knew it, they would actually be performing on the WorldVision stage in Polkopia, if someone remembered to actually sign up and pay the entry fee in time...

Darkness, pitch black. Darker, certainly darker, than the dark outside, although naturally there were a few lights on, a few flickering phone screens. Annoying, but they were always going to be there, staring blankly, seeing all, seeing the stage. Smoke billowed over the edges, perhaps a kind of retort. Perhaps not the way to treat your audience, but then again, they started it. Or did they? And why the suddenly combative tone? Well, ENF3R could certainly have that vibe. Perhaps not the way to win a contest? Ah well, nevermind. They could only do the job they had come to do, thought Anais as she stood barefoot in the pool of water that had been placed at the centre of the stage, brought by the Normand delegation naturally. She could feel the water lapping around her feet. She had never got used to how cold it was going to be, depsite the rehearsals, but of course she knew she had to put that aside, as she adjusted her long, black dress. Truth be told, she looked rather like a doll, indeed rather like this, albeit the dress was slightly more form fitting, and she actually had feet, and shoes on as aforementioned. Also, her face had been caked in white, so that she pracitcally looked somewhere between a porcelain figure and a corpse; a look at the image at the top here will help you imagine the effect. Two little tears in red had been drawn on just coming from her tear ducts.

This, and indeed the rest of it was, however, not all that visible at that time. As said at the start of this ramble, it was very dark. In any case, as the song slowly came to life, the first shot was not to be of Anais, or at least not directly. The performance started with a shot from fairly far back, as a ghostly white clock was shown on the main background screen, slowly ticking forwards; aesthetically, it looked something rather like the clock face of Big Ben, but rather worn down and decayed, plants obscuring the pale white somewhat. Having begun from a distant shot at a slightly raised angle, the camera view came in closer to the stage, closer to Anais, such that, with the final "tic-tac", the "minute hand" was perfectly behind her, the camera having come down to nearly eye level. With that, the clock seemed to dissolve away as though scattered by the wind, and thus the Stadion Hanisova was plunged back into darkness once more, and the camera feed also faded to black to ensure the effect.

Tic-tac
Tic-tac
Tic-tac
Tic-tac

A spotlight then suddenly shone down, quite harshly, on Anais. She had been looking downwards throughout the introduction but suddenly jolted her head upwards to look up towards the camera, which had moved to an ever so slightly further out and an ever so slightly elevated shot using the descent back into darkness as a chance to move slightly. Anais seemed to stare almost blankly as she began to sing the verse, tilting her head ever so slightly to her right, the audience watching's left, but almost as if struggling to move it. Around her feet, it was possible to see the water slowly rippling, as the smoke caressed and just about hid the sides of the pool. It was quite still, but the smoke played about, almost dancing, toying with the water. There was a generally uncanny feeling to the whole affair, something ever so slightly off, as Anais continued to sing, with a series of slow but panning shots around her as she stood, perhaps ever so slightly bent over but otherwise still. As the verse came to a close, the light began to flicker slightly, and there was a sudden close up shot of Anais' eyes as she sang the final line of the verse, as if something had just gone wrong, as if the scared little girl inside was trying to get out.

Entre la nuit et la journée, tu me trouvera (Tic-tac)
Sous la terre qui racontent pas d'histoires, j'étais là (Tic-tac)
Dépêchez-vous ou tu ne m'attrapera pas (Tic-tac)
Mais je verrai si tu fais un faux-pas (Tic-tac)

C'est le temps pour un rendez-vous et pour tchatter (Tic-tac)
Avant que tu ne puisses plus le retirer (Tic-tac)
Je suis sympa mais juste pour maintenant, mais (Tic-tac)
C'est simple pour moi vu que je peux pas parler (Tic-tac)

A sudden shot to a camera shot from quite far out accompanied the end of the first verse as one of the backing singers, hidden at a far end of the stage (such is sadly often the way of the backing singer, but ah well!), sang the small yet powerfully haunting prechorus section. The spotlight could still be seen flickering on Anais, who slowly seemed to begin to stagger on the stage from this far vantage point. The LED strips on the floor of the stage, and the smaller platformy sections, also began to fade on and off. Everything, however, slowly began to shift colour, as if something wasn't quite right, a lurking menace waiting, a mounting tension. It was becoming red, and everything had become fully, brightly red as the chorus began with a sudden jump cut back to the stage where Anais had just collapsed into the pool of water, now rippling around, casting around the red light which also tinged the smoke that continued to unfurl itself around the edges. She seemed to pull herself together as a series of spotlights replaced the main one on her, moving around the stage rather slowly, before throwing her hands back down into the water and looking up towards the camera that was panning left to right across the front of the pool. She then seemed to slowly pick herself up, the water obviously having left its mark, but at this point the fact the dress had been rather fitting suddenly became an asset, rather than simply a fashion choice. She then proceeded to almost prawl around the pool, a cameraman on the stage with a steadicam following her as she did so, with her sometimes almost throwing herself or running towards it, and the camerman pulling back.

La, la la la, la
La, la la la, la, la
La, la la la, la
La, la la la, la, la

Maman, dit-moi pourquoi tu te tiens debout nue
Et ne pleurez plus, et ne pleurez plus
Papa, dit-moi pourquoi tu est couvert de la sang
Et faites le arreter, faites le arreter

Maman, dit-moi pourquoi tu te tiens debout nue
Et ne pleurez plus, et ne pleurez plus
Mon frère, enlevez mes yeux et me liberez
Je ne voudrais plus voir cet histoire

Everything seemed to suddenly stop as the chorus ended, the spotlights converged on Anais, and she turned to look up, arms outstretched, at the screen where an old woman sat. The iamge, being shown on the background screen, was black and white, patchy, almost appearing to be projected onto the back screen. She appeared rather sad and forlorn, perhaps a relic of the past as indicated by the traditional Normand costume she was wearing, something a bit like this, with the hat sat on the table on which the woman rested, looking rather limp and sorry for itself. She was also wearing a single earing, whilst in the background there was an image of what appeared to be a proper, stone built house, whilst it is clear she is in some sort of wood shack. Everything was cluttered and dirty, but with a hole large enough for her to fit in, looking disapprovingly, nay, dissapointedly down towards Anais, as if judging her. She seemed a figure out of space, out of time. The camera turned up to look to the screen as Anais did, beginning with her outstretched arms and turning towards the screen itself, before completing the circle back around to Anais again, with a close up on her face, showing off the red tears. Whilst the disappearance of this image was not directly shown, it could be discerned by two things; one was the reduction in the light hitting Anais' face, and the other was the single, solitary tear that slowly began to role down her face. Another fade to black.

Y a pas* besoin d'me consoler
Je n'ai plus des larmes
Ils sont les rivières et lacs
Qui maintenant s'assechent
Ma chair et mes os sont
La terre et mer que tu profanent
Mon père, mon frère, arretez
Non, je ne comprends pas

And a quick fade back in, as the tic-tacs announced the end of the first chorus more properly and began their ushering in of the next verse, a relentless, ceaseless call, time slowly passing. Indeed, it felt like an eternity for poor Anais, and indeed for Jean-Luc who was waiting patiently behind stage, willing Anais on with every fibre of his being, or at least those that won't involved in getting ready himself and looking out for the inevitable cue. Pretty much everything that was going on in this section was with the lighting, as it as once died down but left the LED strips around the back and along the floor of the stage lit, and there were changing to a blue colour, a very dark blue mind you. A spotlight flickered again, almost spluttering, coughing itself into life, and then suddenly appearing to burst into an array of much brighter, intense spotlights with a smaller area, arranged around the pool, coming down at an angle and seeming to form a cage around (think of Undo, Sweden ESC 2014).

Tic-tac
Tic-tac
Tic-tac
Tic-tac

As the next verse began, the camera view returned to stage level. Anais slowly reached out a gloved hand and seemed to play with the beam of light before her (which were white, as opposed to the more general dark blue ambient lighting), at one point almost plucking it like a string. She almost seemed to marvel at it, before a slow realisation appeared to slowly dawn on her; she was trapped. Of course, she actually wasn't, it was just light, but of course, it had been arranged to look as if she was trapped and she was playing her part. The light almost seemed to drain out of her eyes as she turned up to the camera, which slowly moved away as the first half of the verse ended. This was to show the fact that Jean-Luc had finally had his cue and had walked onto the stage. He appeared behind the pool, coming from behind, as a sort of ghostly drummer boy type deal to go along with the rather doll-like appearance of Anais, dancing beneath a ghostly blue-white light. Well, that is partially true, but he was covered in bursts of red, meant to look like splatters of blood, the kind you might find on a butcher's jacket. Nice. He held a set of keys in one hand, and the earing of the woman from the post-chorus section in the other. Anais turned around, saw him, and seemed to shrink back, leaning against the light bars. But she would be safe, right? He would not be able to get in, right. Still, she moved right to the edge as he slowly walked forwards, at what seemed a glacial pace and yet allowed him to have reached the very edge of the 'cage' by the end of the verse.

La mort est si facile quand tu ne meurs pas (Tic-tac)
Et tout le monde t'aimes bien quand tu est mort (Tic-tac)
Ou plutot ils aiment ce que tu serais (Tic-tac)
Et les autres choses que tu as laissé (Tic-tac)

La fille emmène les bijoux, le fils emmène la maison (Tic-tac)
A ce moment, toutes les choses s'ont désagrégé (Tic-tac)
Tout ce qui n'est pas gardé sera perdu (Tic-tac)
Et tu sais que rien ne sera pas sauvegardé (Tic-tac)

Then, as the chorus began, there was a much more sudden shift to the fully red light scheme again as Jean-Luc reached his arm in, not just through a gap in the lights, but through one of the very beams of light, a fact that naturally much was made of. Indeed, by doing so, the cage disappeared away, to be replaced with the spotlights moving around the stage again. Dropping the key and the earing, he then proceeded to step into the pool of water. Anais seemed to gather up some amount of courage as she stepped up towards him. Jean-Luc grabbed her arm and pulled it up, and the two slowly walked around the pool, using their joined together arms as a central axis. After a few wider shots of the stage to help give the general atmosphere, to provide some movement and some depth, the view once again returned to the stage via the steadicam, which slowly walked around the edge of the pool in a circle as the two of them began a sort of dance-routine. Jean-Luc held up Anais' hand and walked around her as she twirled. She tried to break free, suddenly breaking from her pirouette, but Jean-Luc was able to grab hold of her. He then held her essentially at arms length as the two of them walked slowly around, disturbing the thin layer of water and smoke, sending out ripples in both. Once again, Anais seemed to try and make a break for it, before Jean-Luc pulled her back in once more. The two almost seemed to do a kind of slow dance shuffle type deal as the chorus proper came to an end and the backing singer began to sing once more, providing a rather exhausted Anais (who had been singing this entire time, bless her) a little break of sorts.

Maman, dit-moi pourquoi tu te tiens debout nue
Et ne pleurez plus, et ne pleurez plus
Papa, dit-moi pourquoi tu est couvert de la sang
Et faites le arreter, faites le arreter

Maman, dit-moi pourquoi tu te tiens debout nue
Et ne pleurez plus, et ne pleurez plus
Mon frère, enlevez mes yeux et me liberez
Je ne voudrais plus voir cet histoire

La, la la la, la
La, la la la, la, la
La, la la la, la
La, la la la, la, la

Just before the final prechorus section started, however, Anais finally pulled herself away, simultaneously pushing Jean-Luc back. With this, there was a fade to black. When it fades back in, the audience were shown, Anais, rather wet by this point and sat, knees close to her, in the centre of the pool. She looked downwards at first, a single, faint red spotlight shining on her, before looking up and moving her legs out slightly as she began to sing. As she sang, the camera moved back but this time looked upwards, yet remaining quite tight. The point was to show the fact that from behind her, rather like in the ESC performance of 1944 a tree was beginning to grow in the background. Its blood red trunk slowly grew upwards, the background LED screen her perfectly framing Anais, and its branches slowly beginning to reach out and unfurl. Long, twisting, they stretched out along the wider LEDs, reaching pasting the stage, making use of the full extent as was shown by the slow zoom outwards, as white 'leaves' or rather dots of white light made to look something like general foliage. It was with this image, of the tree and the long, winding branches reaching around and beginning almost to envelop the Stadion Hanisova, that the song came to an end.

Y a pas besoin d'me consoler
Je n'ai plus des larmes
Ils sont les rivières et lacs
Qui maintenant s'assechent
Ma chair et mes os sont La, la la la, la
La terre et mer que tu profanent La, la la la, la, la
Mon père, mon frère, ne dites pas moi La, la la la, la
Je ne veux pas comprendre La, la la la, la, la

A very, very large sigh of relief could be heard coming from Anais as the song came to an end. Jean-Luc rushed back out onto the stage and met her as, catching her breath, she slowly began to walk around from the pool. He pointed out to the cheering audience, reminding Anais to shout a rather exasperated "Merci!", which he joined in with with a bit more life and spirit, given both the fact he hadn't been singing and his brief respite backstage. Then, the two walked back off as preparations began to be made for the next entry and the postcard began to play. They had done it, they had finished their performance. But there was a long night to get through now...

by **Achaean Republic** » Tue Dec 29, 2020 4:52 pm

34| Achaean Republic
BREAKNESS-“Fire”)
Tune: Red - Breathe Into Me
Music & Lyrics: Yasiel Montero, Carlos Bertolucci

The first act of a day was to kindle a fire; the last act, to bank the coals; and in between, fire was a constant companion. Humanity's power was ultimately a fire power. (…) The place the hearth held in a home, that the prytaneum held for a city, or a vestal fire had within a culture, intellectual fire had for the universe of ideas. With it gods were manifest, about it myths were told, through it philosophy was explored and out of it a science evolved that would, in the end, deconstruct fire's magic, mystery and metaphysic. -Stephen J. Pyne

Every February 2nd, Achaeans celebrate their independence by creating large bonfires at dawn, in a reminder of the beginning of the Liberators’ struggle for independence from Spain in 1789. These bonfires are ridiculously dangerous as these are done in the midst of the dry season, but they are a source of pride for every Achaean. This is no accident, either, as February 2nd is also the feast day of the Virgin of the Candelaria, the Patroness of the Achaean Republic, under whose Name is the nation consecrated to, and whose Name the Liberators began their struggle for freedom. They cook under the fire. They dance around the fire. They sing and frolic and remember the price of their freedom. Some take advantage of the bonfire and try to purify their souls from all the sins they committed in the past. Others burn their Christmas decorations in a final bow to the holiday season to transition into Carnival. Still others use the bonfires as a protest to whatever government action has earned their outrage—high taxes, high crime, low salaries, emigration, environmental injustices, the inconclusive end of a popular telenovela…

Fire is an element that has been deified, mystified, reviled and magnified throughout the ages. It is such an important manifestation of energy that has both blessed and condemned our lives. With fire we have created great accomplishments in technology and adventure. But with fire we have also faced judgment and destruction, and few in modern times have learned to harness its power. Fire means energy, power, passion, sensuality, hope, hell, and so much more. No element brings such raw emotions like fire does—so beautiful, so majestic, so awe-inspiring, and yet so misunderstood. Fire can purify, but fire can also punish.

BREAKNESS, the Candelaria-born symphonic hard rock band, has made itself a splash with fire, the musical quartet being born out of the University of Candelaria’s School of Musical Arts. Drummer Lorenzo Almeida, guitarist Ezequiel Torres, violinist Yasiel Montero and vocalist Carlos Bertolucci began jamming in the lonely auditorium and moonlighting in La Llama, the college town’s hippest rock bar/hookah joint where they crafted their indie rock hits, La Mula (“The Mule”), Oasis and Transubstanciación (“Transubstantiation”). However, the band was inspired to create Fire, their most recent entry to the WorldVision Song Contest, was refined out of a philosophical need to explain the nature of fire.
Ever the philosopher, Yasiel indulged in Pre-Socratic thinking in between band practices. He was enthralled by the cosmogony of Heraclitus of Ephesus, Ionian philosopher that developed the nature of his philosophy on fire. Whereas other philosophers drew their varied discourses from other elements—earth, wind, water—, Heraclitus used fire as a metaphor for change and contradiction: Even if it changes its course, the fire never seems to be constant, switching its flames up and down and spreading its energy throughout. A fire needs to be constantly fed by fuel, oxygen, sunlight, energy in order to keep burning. For Heraclitus, fire was the arche, the fundamental element that created others, the Logos that codified life.

Fire is also notable for being the first Achaean WorldVision entry in over seventy years to be performed fully in English, much to the consternation of many purists, including the somewhat overbearing yet totally irrelevant Achaean Academy of the Spanish Language. They took advantage of the fact that, for the past few editions, AS1 no longer requires that entries have at least 50% of their lyrical content in Spanish. This, they said, was done to maximize their appeal towards the Multiversal crowd, and maybe inspire other Achaean performers to do the same while infusing some of their own fire into their music.

Peeto was an important city for the Achaean delegation. It was the first time they returned to compete in WorldVision after more than a fifty-five-edition absence, only to earn a somewhat-deserved middling spot with a Latin ballad. But it was also the first spot where the Achaean diaspora, more so in the midst of a particularly harsh Polkopian winter, would enjoy seeing their island bretheren compete in their adopted home. The return to Peeto was welcome for AS1, who just recently struck a gold mine of a deal with Polkopia’s PNB to record and broadcast Peeto Nights, the Corola-based channel’s first super series in the Eastern European nation. So not only was this much-prized visit to Polkopia a reason to compete in the contest, but it also served to executives as a way to prize commercial broadcasting ties and search for popular places for principal photography at the same time.

BREAKNESS, however, could care less about petty politics. While the executives were feasting on caviar and loads of complimentary vodka courtesy of the Peeto high street, the group was enjoying the sights and sounds of the Polkopian winter. Where the photographers looked for the gritty and decadent, the team members split up around the city and saw the small beauty of things. Post-Soviet apartment blocks with heavy, ornate doors. The babushkas selling mead and bread with hot soups and copious amounts of mayonnaise. The manual dexterity of women walking in six-inch stilettos in the snow on their way to the club. In a few hours off rehearsals, they discovered more of the city with the Achaeans that made this northern city home—teachers, doctors, entrepreneurs, activists, sex workers, students, journalists, maids, homemakers, nurses—those that left the fire of their Caribbean home for once and decided to spread it in their new city. Each of them had a story to tell, and a fire to kindle for the family they left back in Achaea.

Once the Achaean postcard is complete and the cameras returned to the vibrant Stadion Hanisova and its throngs of socially distanced, cheering crowds, the group placed themselves into their positions for the performance of a lifetime. They rehearsed so long and so hard for this, they grew tired and hoarse with all the arguments they between the delegation and the organizers, acting as the middlemen for the vision they wanted to portray for their performance against the delegation’s needs to secure votes (and funding) for this contest. In a crowded field like this, it was important to go big or go home, and the broadcast specifications for the Achaean performance were the most demanding yet. But the group wasn’t worried much for the technical specs—rather, they worried that their English would be understandable to the Multiverse.

The stage lights dimmed down. Then the stage floor colors changed to an illuminated red-orange gradient, giving the stage a somewhat hellish landscape. Behind them, the stage lights showed a black screen with the ever-moving flames. Fire is sensual. Fire is hypnotic. Fire is hard to look away from, even if it means the difference between life and death. Then, the music started and fireworks started spewing from the stage and the five rings atop the ceiling, forcing the Achaeans to play their instruments at a safe distance and—just in case—cover their clothes with fireproof-insulated clothes prepared just for them. Drummer Lorenzo was at the back wearing a sleeveless leather vest with his tattoos showing up, not unlike those of a Tom of Finland cartoon fantasy come to life. Ezequiel, the guitarist, had black-and-fire-red laced gloves and a handmade pickaxe to grind his tools with. Yasiel, the violinist, was banging his head as hard as he can to the beat of the music (a migraine sufferer as he is, he proactively took two Tylenol just before hopping on stage, noting that the sudden explosion of color and light could become a dangerous trigger). Carlos, the vocalist, began preparing his chords to shred the wrenching, guttural sounds he was about to do. No amount of intense vocal training could accurately guide him to the impressive amount of gymnastic pressure has was about to put to his voice—the delegation had a vocal surgeon on speed dial in any case it were to be necessary.

The singer began growling his voices, portraying a menacing glance to the cameras. Bursting flames circled around him as the cameras circled at a safe distance. He also circled around the cameras and also kept his distance to avoid being engulfed by the flames. But as he looked towards the camera, the singer kept his gaze fixed to the camera, his eyes transforming from a white circle to a red-tinged hue, the gaze grimacing with the fire.

God is day, winter, summer, night
War and peace, hunger delight
But in this world that burns alight
Everything quenches and blows away

The camera then circled around the perimeter where the singer was trapped by the flames, and he walked to the edge of the stage, firmly grasping the microphone with his two hands. Behind him, flames of fire would surround the stage and fireworks would also explode from the ceiling. Eagle-eyed viewers could see the beads of sweat emanating from the band, especially from the singer, who attempted to concentrate the guttural sounds that his voice was making through the belly and then controlling his breath to release the right amount of pressure.

One cannot deny that fire is enthralling and seductive, toying with our emotions and inviting us to touch upon it—at a price. We know something needs to be sacrificed, but we are willing to pay for it if it means harnessing the power of fire to suit our precious needs. Cooking. Burning. Healing. Wounding. Steaming. Charring. We cannot live our lives without precious fire, and yet we are afraid of being held back and tortured from it. It both means as a source of empowerment—as the apostles received flaming tongues of fire above their heads as a blessing from Pentecost—and judgment—as the foundations that will be purified on the day all souls will face the Almighty. As much as it builds, it destroys. As it prepares, it engulfs. And humans have yet been unable to conquer it with their bare hands.

Oh, see the embers growing
Like fuel, we are consumed every day
A stream of constant motion
Who’ll purify me

The singer jumped to the first beat of the drum. The cameras turned an angle to the stage to see the violinist flow through the notes, the drummer break through the sounds, and the singer tried to expose his guttural sounds as the pyrotechnics flew and the delegation worried about the safety and the ballooning costs of the performance. The crowd was cheering wildly for the Achaeans, more so the Achaeans on stage, the diaspora, aiming for their team’s success as if it were a local baseball game. What was the emotion they needed to show? Confusion? Anger? Pensiveness? Agony? Can the people think as they headbang?

Fire’s coursing through me
How I need you
I’m burning, burning answers
Fire’s coursing through me
Who’ll believe it
I’m burning, burning
Come set me free
Come set me free

The context of the next set of verses would continue to veer in to the philosophical, into the arche—which should’ve been another suitable substitute for the song’s title. For according to the ancient philosophers, elements like fire contributed to a beginning. Anaximander, for example, believed that the Sun and the Moon were hollow rings filled with fire, and that the Earth was surrounded with three rings of fire. Before the beginning, there was chaos, and that chaos provided the template to begin the existence of things.The arche of fire was divine in and of itself, capable of shaping the world we enjoy into its past, present and future.

The colors on the stage floor changed from reds and oranges to light blues and whites. The flames popped up in succession during the stage, as well as the fireworks that popped up in the circles atop the stage. The LED screen behind him kept showing the flames in the beginning. Again, the singer was surrounded by a red light, with tongues of fire showing in augmented reality that pushed the limits of the Achaeans’ technological innovation. As he sang, the cameras around him were gliding through the tongues of fire of the other band members, each of then banging hard to their instruments—in particular the violinist, surrendering himself to the strings as he patiently sat on the flow of the tongues of fire.

All the while, the audience below was completely transformed into an impromptu mosh pit.

And what words will you say to me
Reality’s crossing a stream
Nothing can ever stay in place
To fire everything shall return

Our words are lost and hidden
In sleep, we’re the source of our pain
But are we separated
When my heart is enraged

The singer jumped to the first beat of the drum. The cameras turned an angle to the stage to see the violinist flow through the notes, the drummer break through the sounds, and the singer tried to expose his guttural sounds as the pyrotechnics flew and the delegation worried about the safety and the ballooning costs of the performance. The crowd was cheering wildly for the Achaeans, more so the Achaeans on stage, the diaspora, aiming for their team’s success as if it were a local baseball game. What was the emotion they needed to show? Confusion? Anger? Pensiveness? Agony? Can the people think as they headbang?

Fire’s coursing through me
How I need you
I’m burning, burning answers
Fire’s coursing through me
Who’ll believe it
I’m burning, burning
Come set me free
Come set me free
Come set me free

For a moment, the stage turned abruptly into black. The violinist could be seen under a red light, playing his chords and surrendering himself to the flow of the music. With the pitch-black stage, the flames of fire spewing from the circular columns above the stage could be better appreciated. Surrounding the singer, still in the center circle, two men on fire appeared and circled around him, making acrobatic pirouettes and gymnastic handstands. They were faceless, nameless, ageless, wearing white fire-retardant clothes while being turned alight. The singer tried to evade their kicks and stunts as if he were surrounded by enemy fire. Fire was something to be cherished, but also something that needed to be carefully tendered with so as not to be consumed by it—and with fire so close to his chin, he carefully needed to interact with it in order to protect himself and his performance.

The cameras were circling around the fired-up performers. It was an egregious display of artistic violence, the fire looking so close yet the actions looked so far. The Achaean delegation imposed several illusions to protect the integrity of the performance. In one wide pan of the stage, the pitch-black scenario, the columns of fire, the performers, the violence, the confusion, the frenetic pace of the cameras and the head-thumping, spine-tingling music. It was all too much, yet it quite made some sense. Each of them were headed towards the climax: a head-turning scream.

Fire’s coursing through me
How I need you
I’m burning, burning answers
Fire’s coursing through me
Who’ll believe it
I’m burning, burning
Come set me free

Fire’s coursing through me
How I need you
I’m burning, burning answers
Fire’s coursing through me
Who’ll believe it
I’m burning, burning
Come set me free
Come set me free
Come set me free

Free!

The performance ended with a powerful display of fireworks shooting out from the stage—the edges, the top circles, the small edges surrounding the LED screens, the guttural sounds of the singer’s voice, and even a “prop” violin and guitar showing some fireworks on stage. They were received into bombastic and ecstatic cheers from the audience, and more so the Achaeans present that, despite the cavernous stadium, were hanging their fueguero flags with pride. The camera angles could not do justice to the incendiary majesty of the performance in the last ten seconds.

The performers bowed and thanked their crowd. One of them shouted, “Thank you! ¡Gracias!,” while another one said, “We love you, Polkopia!” before they left the stage, satisfied that they were able to keep their heads—and voices—relatively intact.

by **Zeganas** » Tue Dec 29, 2020 5:06 pm

35: Zeganas
Artist: Sarkovona
Song: Philosophy
Tune is Ashley by Disco Curtis

Background
They're called Sarkovona. They're from metropolitan Sahana City and formed 7 years ago as a duo between Michael Sarkovona (27) and Rowan Sarkovona (27). Michael played the lead guitar and was a backup singer while Rowan was the bass player and main vocals, and they used synthetic drum software before they added Garrett Mraz (26) as the drummer 5 years ago, forming the trio.

Their submission "Philosophy" follows their stressful college life, basically. Garrett in an interview with BCBC said that he dropped out of college 3 years ago to focus more on music. Michael and Rowan co-wrote the middle and latter part of the song while Garrett wrote the earlier part of the song and the chorus.

Below is a picture of the trio, in the outfits they'll be wearing onstage.

Text in () is Michael's lines and text in [] is both Rowan and Michael singing. All other text is Rowan's lines.

The postcard for Zeganas plays out and shows as the band preps for the performance of a lifetime on the worldvision stage. The drummer, Garrett Mraz, does a "1, 2, 1 2 3 4" with his drumsticks as Rowan Sarkovona goes up to the microphone, into the spotlight, to sing-

Phil-o-so-phy
It's weird and strange.
I have the key.
Though weird, don't change.
And truthfully.
I wish I didn't care.

The beginning chorus is followed by a guitar solo that lights up the stage and reveals the other two performers, and Rowan backs up a bit from the mic and goes "oh!" in the background as part of the song to do his guitar solo. Cameras get different angle shots of Rowan and Michael jamming away, and then Rowan begins to sing again.

From aristotle to zoro-aster.
And alphabetical, thought masters.
When things are bleak, I go and turn to them.
(them, turn to them)
Take it from me, please just work in STEM.

Someone to save me
They will help me be free
[be free]
Someone to save me
I will be free.

[Phil-o-so-phy]
It's weird and strange.
[I have the key.]
Though weird (though weird), don't change.
And truthfully.
[I wish I didn't care!]

A second post-chorus guitar solo happens and Michael goes "oh!" as part of the song this time. Michael and Rowan back away from the mics again to do their guitar solo and then walk back up to the mics to sing.

From Diogenes to George Hegel.
I can't believe it, that my mind's in hell.
I am sweating and I am nervous.
College is a curse and it's a drag and a service.

Someone to save me
They will help me be free
[be free]
Someone to save me
I will be free.

[Phil-o-so-phy]
It's weird and strange.
[I have the key.]
Though weird (though weird), don't change.
And truthfully.
(I wish I didn't care).

Phil-o-so-phy
It's weird and strange.
[I have the key.]
Though weird (though weird), don't change.
And truthfully.
[I wish I didn't care!]

The camera is somewhat closer up to Rowan's face than the camera shots beforehand as he faces it to sing the next part of the song.

My mind is racing now.
Now's the time.
Senior year thesis, now what to rhyme?
Coffee makes me feel high, please don't die.
[Coffee makes me feel high and]
Coffee makes me feel high, please don't die.
[Coffee makes me feel high and]
Coffee makes me feel high, please don't die.
[Coffee makes me feel high, high, high.]

And then it pans over to Michael to sing this next part, the stage darkens a bit.

(Someone to save me)
(They will help me be free, be free.)
(Someone to save me)

Now the home stretch of the song is left, and Rowan sings again with Michael sometimes coming in. The stage brightens up again.

Phil-o-so-phy
It's weird and strange.
I have the key.
Though weird (though weird), don't change.
And truthfully.
(I wish I didn't care.)

Phil-o-so-phy
It's weird and strange.
[I have the key.]
Though weird (though weird), don't change.
And truthfully.
(I wish I didn't caaaarrreeeeee!)

Phil-o-so-phy

(I wish I didn't caaaarrreeeeee!)

Phil-o-so-phy

[I wish I didn't care!]

The song ends with the brothers holding their guitars up and Garrett holding his drumsticks up. They stand at the mics to thank the audience and the international community.

Michael: "Thank you worldvision community!"
Rowan: "Thank you all so much!"

by **Talvezout** » Tue Dec 29, 2020 5:08 pm

TRT Presents: Worldvision 87, Live from Peeto, Polkopia
Commentary in Mercanti and provided by Sunny Siracauso.

Hello everyone, and welcome to Worldvision 87, coming to you live from the beautiful but also somewhat frosty Peeto! The TRT delegation has been effectively shuttered in at a lovely hotel in the Arts District, and now we are sequestered over the illustrious Stadion Hanisova. I'm all cozy here in the commentary box with some lovely Talfossian food to keep me energized for the evening, so folks I am ready. This marks out return to the contest after a brief disappearance for two of them, and I'm sure many at home and abroad are interested in seeing what we have in store. I am being told we have as much as 40 countries competing tonight! However the quality of the entries may be, I think I can say for certain that we are in for a major treat tonight.We just watched a very high energy opening act, and now the contest is just getting started. Are y'all ready?

by **Shorestead** » Tue Dec 29, 2020 5:13 pm

[WITHDRAWN]

by **Carrelie** » Tue Dec 29, 2020 5:32 pm

WIP
CanerilaEn Acementere: GaieVisée Coutète oú Sondier, Ídetion 87
CarrelieOne presents: WorldVision Song Contest, Edition 87
With English commentary by Vian Genamman & Gwie Kasrow

Opening

V - "Jeg si'r hallo, hallo! Yes, gúsier-devre, good evening and welcome to the eighty-seventh Worldvision Song Contest, here in the lovely city of Peeto, Polkopia, the very first of 2021! Last time, Scotatrova achieved their very first win with the song 'Distractions', but this time, who knows who'll win? It could even be a newcomer! I'm here with a new guest commentator, the lovely Gwie Kasrow, who you may know as playing Lady Rouge in the Colour Calamity series of stage musicals, as well as a few other roles on Royal Disslismont!"
G - "Oh, one can only be so flattering! Yes, I am delighted to be here among the representatives of over 50 nations from all over! I simply cannot wait to hear them!"
V - "Of course, you know me as Vian Genamman, your resident commentator of Worldvisions and Eurovisions alike, I've been doing this job for almost 50 years, ever since 1973! This time, we've got Les Quatre Chanteuses representing our nation with their song 'Let's Go!' I can't wait to see how it does! Now, let's see tonight's opening act, then we'll pass you onto the hosts of tonight's show, Tati & A Marzipan, Lana Verona, and Dima Bog-dan-o-vic.."
G - "Those are absolutely terrible pronunciations, but very well!"

1 - Caryton
Pre-Song

V - "That was the absolutely stellar opening, and now we've got the Carytonic entry, 'Strawberry Cake'! Reminds me of the lovely cakes my mam would bake back when we still had rations!"
G - "Wow, must've been hard times!"
V - "They were, believe me! Now, let's go to Granny Janine for the Carytonic entry!"

by **Indusse** » Tue Dec 29, 2020 11:00 pm

38
INDUSSE

Tune: Satyam Shivam Sundaram_Samir Date
Song: Jaya Desha Paramparam
Translation: Hail the nation patriots!
Singer: Ramesh Chandra Buxar
Lyrics: Ramesh Chandra Buxar

Song Information
The song was written and sung by third three year-old Ramesh Chandra Buxar. The song is about the sufferings of the soldiers and patriots who have laid down their lifes for the sake of the nation. The composer says to his fellow friends to feel proud but pity on them for the sufferings they have. The song is now regarded as one of the best patriotic songs in the nation and is widely sung in events.

About the Singer
The singer and the composer is the same person here. Ramesh Chandra Buxar (33) born near Rockies Islands in Indusse is a famous classical musician and composer. He has written almost 16 Ragas (Styles of Music) and has been awarded various prizes for his contribution to the traditional classical music world. 'Bhanu Raga' which is one of the ragas invented by him is said to be the bridge from Classical music and Western Modern Music.
Song

इश्वर सत्य हे। सत्य ही देश है ।
देश ही प्राण है। जागो उठ कर देखो।
देश की वीर योधो को ।
सत्यम् शिवम् सुंदरम । सुंदरम (२)
वीर मनुष्य देश के लिए जान देता है।
देश भक्ति सिर के उपर जीवन से लडा है ।
दया करो मित्रो देखो इनको ( 2 )
हर समय देश के लड़ता है।
सत्यम् शिवम् सुंदरम् । सुंदरम् ( 2 )
इश्वर सत्य है ...
राष्ट्र के शत्रु को मरने के लिए
परिवारो को छोडते
दया करो मित्रो देखो इनको ( 2 )
हर समय देश के लड़ता है।
जय देश परंपरम ।
सत्यम् शिवम् सुंदरम् ( 2 )
इश्वर सत्य है ...
जय देश परंपरम ]
वीर जय देश परंपरम ]
(] =together three times)

Translation
God exists as truth, motherland is the truth. Your Motherland is the beautiful land. Everyone wake up!
Look at the patriots of the nation.
Truth,Lord,Beauty.. (2)
The Brave Patriots give up their life for the sake of the nation.
Patriotism hangs like a sword in their head, creating problems as they do more good.
Feel Pity friends, look at the patriots (2)
Who fights for the nation till death
Truth,Lord,Beauty.... (2)
God exist as truth...
They give up their lives for the nation defeating the enemies..
They give up their families to save their nation, give up their happiness for the nation... Giving up all luxuries...
Feel Pity friends, look at the patriots (2)
Who fights for the nation till death.
Hail the nation patriots!
Truth,Lord,Beauty... (2)
God exists as truth...

Hail the Nation's patriots!
All hail the Nation's Brave Patriots! (3)

by **Ekoz** » Wed Dec 30, 2020 7:04 am

Misha Sjelmsgor - In Time (Ekoz)

by **Hafamarimyht** » Wed Dec 30, 2020 1:54 pm

38| Hafamarimët
Samëči - Vajedjëm
Title Translation: Together
Tune: Kylie Minogue - Say Something
Music: Samëči, Sëteja Bïdmo | Lyrics: Samëči

In the weeks leading up to the contest, the level of excitement around Samëči's return is one that hasn't been seen about WorldVision in Hafamarimët for quite some time - perhaps even since the country's debut back in WorldVision 19. Which is fitting, because it was in fact Samëči who represented Hafamarimët almost ten years ago.

The song went straight to #1 the week it was released, giving Samëči her 15th #1 song. The song has been everywhere, from clubs to the radio to suburban grocery stores, igniting a social media craze of just stopping whatever you were doing to film yourself dancing and singing along. Thankfully, nobody was seriously injured, although a few fenders got bent by drivers participating less than intelligently.

In interview after interview, Samëči remained cautiously hopeful about her chances in the contest. Hafamarimët is known, if it's known for anything, for being towards the bottom of the scoreboard. She immediately shot down accusations that this is because the world doesn't like Hafamarimët. "If anything," she said during a radio interview, "they like us despite our taste in music."

Not everyone is as convinced in her chances, though. A few days before the contest, she appeared on Ksunëh Sučavjë, a popular morning tv show. By now, everyone has seen this clip with one of the hosts Pmena Pmïlganetka, but we'll run it again just in case.

Pmena: Do you think, honestly, this little pop song is gonna change anything about how we do in this contest, or more importantly, change the way the world works?

Samëči: Maybe not, especially not when it comes to WorldVision. You literally never know how these things will go. But as far as changing the world, no, maybe the song itself won't, but hopefully enough people feel something and are inspired to come together and make the world a better place and not ask pointed, mean-spirited, shallow questions on morning talk shows.

So she's here to do her best, no matter what happens.

She takes one final breath as the stage manager calls places.

In the pitch darkness, a small yellow burst of sparks at the back of the stage causes yellow light to slowly snake its way around the edges of the stage, staying lit once it passes, in both directions. The rings around the stage light up as well, with the outer part of each ring being yellow and the inner being white. In the dark, a few background singers "ooh" a little tune. The lights meet at the front, blinking out as they arrive, in perfect timing with the first kick of the beat. Sparks fly in several places along the edge of the stage, and a white wash of light illuminates Samëči as she walks forward. Her chin-length blonde hair is curly, the curls bouncing as she walks. She wears black leggings with a hole in the right knee underneath a dark green and black plaid button-up dress which is slightly longer in the back than in the front. Her black boots are chunky and somewhat worn, as if she's been walking in them for a long time. Five backing singers stand behind her, two men and three women, all dressed in basic black evening wear. All five of them are also wearing a vibrant darkish red shade of lipstick. Samëči puts a little bounce in her walk, dancing her way up to the front of the front walkway, ending with a little twirl as she arrives just before her first verse begins.

I can feel the disconnect
What are you about?
Baby we could be anything
If we talk it out

When we think of what we're missing
To complete our life
If we found another sunrise
Would it be alright?

As she sings about another sunrise, the lights mimic a sunrise - starting to the side low, deep, and red, passing overhead and getting brighter and more golden, ending directly above the stage as Samëči hits the "ooh, oh no," at which point she turns and walks back to the center of the stage. The backing singers move as well - the two men to the left, and the three women to the right, going all the way to the ends of their respective wings of the stage. One of the backing singers, the one speaking the lines in parentheses below, is the closest to the center, although still a ways away, and reaches out towards Samëči on the second round of "oohs." Samëči reaches up with her right arm when she pleads for the audience to "stay with me," draping her arm over her head gently as she sings the last line of the chorus.

Oh, another problem
ooh, ooh, ooh, oh no
(Looks like the world is ending,
looks like my heart is breaking)
ooh, ooh, ooh, oh
So-so-so stay with me, stay with me
We can find the answer

As the beat cuts out and the second verse begins, a wash of white light angles down from the back of the stage, falling from the top of the arena and ending directly shining towards the audience and the cameras, silhouetting Samëči and the backing singers. They stand in place until the beat kicks back in, then make their way to the center of the stage. They arrive at the beginning of the section where Samëči's line "do we bother saving something" comes in, circled around her. She rests her arm on her head again and slowly sinks as the backing singers turn to face away from her, mostly facing the audience, although two are more facing the back left and right rather than any actual audience members. The camera turns around the circle as the line "if it don't serve everyone" is sung, making it back to the front singer as Samëči sings "no no no." As the next line begins, Samëči is raised into the air, holding onto a trapeze with one hand, and the singers split. The two men head to the ends of the left and right walkways, while the three women go about halfway down the front walkway. Samëči floats overhead, landing at the start of the chorus, on "oh, another problem."

If society is crumbling
Oh, what should we save?
Do we bother saving something
That leaves some behind?

That's not fair - if it don't serve everyone
Why keep it around? No no no
If we let it tear itself down
We can start again

A wash of color-changing light, coming from the same place as the previous white wash, fills the arena as she lands at the front edge of the front walkway. As the beat kicks up at the beginning of the "oohs," a flash of sparks from each end of the stage illuminate the smoke beginning to pour from the center, washing over most of the stage and even a bit down into the audience. The backing singer who speaks after the "oohs" kneels, reaching out towards the audience, the emotion on her face as she talks about her heart breaking bringing a tear to her eye. On each of the "stays," more sparks fly and the smoke stops pouring. It dissipates and rises somewhat during "we can find the answer," and spotlights from each end of the stage light upwards towards the center of the ceiling, with the beams being outlined and made clear by passing through the smoke.

Oh, another problem
ooh, ooh, ooh, oh no
(Looks like the world is ending,
looks like my heart is breaking)
ooh, ooh, ooh, oh
So-so-so stay with me, stay with me
We can find the answer

The lights calm until there is only white light from above, directly in the center, where Samëči finds herself alone. The backdrop of the stage begins to look like a hall of mirrors, reflections of reflections carrying on forever, giving off a sparkling, almost shimmering appearance. The backing singers make their way into the darkness of the left and right ends of the stage, singing and harmonizing unseen. The lights begin to fade into different colors, being matched by the backdrop, and another arena-wide wash is added, though the left and right ends of the stage are left in the dark.

Minvevalï vajedjëm
Meva vehtvalï vajedjëm
A, minvevalï vajedjëm
Meva vehtvalï vajedjëm
Ta, minvevalï vajedjëm
Meva vehtvalï vajedjëm

As the music fades out in the buildup, the lights also fade, a few white spotlights whirling out into the crowd, never standing still. As the beat kicks back in, an explosion of multicolored sparks - more or less indoor fireworks - shoot up from the back of the stage, as well as the ends of both wings. The spotlights now also become multicolored, and white lights shine like stars from above. The circles turn red and white and the lip of the stage glows bright gold, and one single spotlight finds Samëči handing daisies to audience members from the very front edge of the front path of the stage. The background singers stand in a v formation behind her, where the wings all come together. There is one singer in front, with the two men behind her, slightly off to each side, and the other two women behind them, each one to the outer edges of the one in front of them. They hold bouquets of daisies, deep red chrysanthemums, and purple wildflowers. During their second line, on the last, loud "vajedjëm," they toss their bouquets into the crowd. They are not held together, so each flower arcs along a slightly different path, finding their way to different audience members. As Samëči finishes her last line, a faint shower of sparks falls along the back edge of the stage for a few seconds as the music echoes and fades.

Cos we can find it vajedjëm
And we will love it vajedjëm
Cos we can find it vajedjëm
(And we will love it vajedjëm) Yeah, yeah... vajedjëm!
Cos we can find it vajedjëm
And we will love it vajedjëm
Cos we can find it vajedjëm
And we will love it vajedjëm (vajedjëm, vajedjëm... vajedjëm!)
Cos we can find it vajedjëm
And we will love it vajedjëm
Cos we can find it vajedjëm
And we will love it vajedjëm

Samëči looks teary-eyed to her backing singers as they bow before looking straight at the audience and shouting "Thank you! Stay together, build a better world full of love!" She bows, waving as she straightens back up.

by **Spiritual Republic of Caryton** » Thu Dec 31, 2020 2:47 pm

COMMENTARY - SPIRITUAL REPUBLIC OF CARYTON
Commentary by Carol Emerson, Master's Degree in Music - Music Theory Concentration
Broadcast by the Trinity Broadcasting Network of Caryton

Carol Emerson, in her outfit for tonight's event

Disclaimer: Some opinions in this commentary do not reflect my honest opinions about the entry or performing nation, and are merely in-character representations of Carytonic rhetoric and standards.

https://www.youtube.com/watch?v=a6pExaRPg84

CE: Good evening to all blessed Carytonic citizens and God-fearing people of the world. This is the WorldVision Contest number 87, held in the beautiful Peeto, Polkopia. I'm Carol Emerson. May God bless this contest.

CE:

1. Caryton
CE: Quite lovely, as usual. Such a fun song!

2. Carrielle
CE: This is a wholesome and party-heavy love song presented in a unique style. This piece matches Caryton's speed, and it suffices to say that I quite like it.

3. Elejamie
CE: This is textbook "pop" music, but I fear its message may be irresponsibly interpreted. Nothing stands out to me much aside from that but that doesn't mean that it's bad by any measure.

4. South Alezia
CE: I believe our adolescent viewers are going to send in votes for Kay Wateffs person out of irony. They couldn't possibly like a song with profanity in it? Well, it is quite catchy.

5. Todlichebujoku
CE: That was an un-christian auditory assault. Moving on!

6. Rhim
CE: What's this? I don't understand it at all.

7. Tohotokai
CE: Right, my friends. Take what I had said about the previous entry. Give it confusing lyrics and an annoyingly loud instrumental base.

8. Polkopia
CE: For a host nation, one would imagine that they'd refrain from such... inappropriate staging. But, of course they didn't.

9. Oqmet
CE: This is... groovy? I can't ever fathom saying that word again but it certainly has my interest peaked, even if only for the moment as we get into more songs...

10. Antahbrantahstan
CE: The lyrics, they go by so fast. They are quite hopeful though, and the music makes up for it. A fair entry so far, quite refreshing!

11. Britonisea
CE: This song has some good staging but otherwise, I am quite indifferent to it.

12. Belgaam
CE: Why is that accursed bass sequence in every one of these songs? I'm quite sick of it, it makes music like this feel so... sinful, degenerated from the classical masterpieces. This instrumental is a song animals mate to, and with these foreigners it's all quite the same. I pray for any nation that uses this bass from henceforth.

13. North Alezia
CE: The song is unremarkable, which is quite a shame for North Alezian standards. They've certainly paved the way for Kay Wateff's return. Still, I shall take heed to the song's warnings. I would not want to cross her.

14. Placely Placington
CE: Jesus Christ is Lord, those people need a vocal coach.

15. Estogium
CE: Put quite simply, it's heathen rubbish. For Estogium's standards, it really is a shame.

16. Beepee
CE: This is wholesome, but sort of generic. I really can't predict how well it will do.

17. Pemecutan
CE: Why, this is just boring. Again, for a nation with such standards as Pemecutan, I expected excellence, but this surely fell short.

18. Talvezout
CE: Strippers are NOT welcome in WorldVision. If your likes ever step foot in Caryton, we will imprison you. You should all be ashamed. That was nothing but bestial- a disgrace to art! Modern standards are set so low. There are children watching this!

19. Waisnor
CE: The instrumentals are clunky but considering the previous entry, I shan't complain.

20. MCG
CE: Now this has magic behind it. The instrumentals are excellent, the lyrics are inoffensive, and considering Malta's standards this is predestined to be a crowd-pleaser.

21. Kalosia
CE: That same unoriginal bass from hell has returned. Makes the entire song bitter to the ears. The only redeeming thing about this piece is the staging and choreography are quite good.

22. Nekoni
CE: "Kids with Guns." Really? The blatant edginess aside, the lyrics to this song are surprisingly important and carry a significant meaning. Thank you.

23. Electrum
CE: I can draw a line of similarity to the cultural customs of the island peoples of Carynesia. The music is exotic and the lyrics have a simple and comprehensible message. This will certainly get a few Carytonic points.

24. EDO
CE: I will not dignify this song with a proper commentary. This makes the Jehovah's Witnesses look sane by comparison.

25. N. Beepee
CE: Goodbye, indeed. I can't say much about this song except for the fact that the singer shows good promise.

26. Crustyland
CE: That annoying bass appears yet again. It ruins what little promise the lyrics had in the first place. That was truly a wasted opportunity. Show a little bit of diversity in your instrumentals.

27. Ertzei Kishim
CE: That was intense, but not in a disdainful manner. I hold no contempt with this song because it is quite decent, truthfully.

28. N & P
CE: I'm horrified.

29. Achaean Republic
CE: I prefer the drag queen from their previous entry over this.

30. Zeganas
CE: This... sounds like an educational music video.

31. Indusse
CE: Quite a poetic and culturally broadening experience. I liked it!

32. Hafamarimet
CE: Very refreshing considering a majority of the songs tonight. I hope with all sincerity this song scores well.

33. Santabrina
CE: Where to begin? The harmonies are excellent and the theory behind this song is enough to earn respect from me. The lyrics and symbolism are expertly crafted and I felt immersed. Bravo!

34. Christarnia
CE: This song was awkward to listen to but still rather pleasant.

35. Saviera
CE: If this wasn't filled with anti-church material and a bothersome instrumental, I would have something positive to say about it.

36. Mister X
CE: Even though the Spiritual Republic of Caryton has maintained zero COVID-19 cases for several months, I'm sick of having to hear about it in the foreign media. I can't imagine how exhausted those actually struck by the pandemic must feel. This song is irritating. Even though this entry is more abrasive than a knee to the pavement, I must equally declare that the fact there has to be a song like this that reminds people to practice basic hygiene is also disappointing.

37. Missus X
CE: The lyrics are nonsensical but this is kind of catchy. Bravo, I guess? Likely won't be received well at home but then again, considering what we've seen thus far...

38. Ethane
CE: This song is mediocre namely due to the overbearing instrumentals but I enjoyed it regardless.

by **Saintrabina** » Fri Jan 01, 2021 2:16 am

40 | SAINTRABINA
Yanka - Bloomtime
Music and lyrics: Ante Jonasz, Felika Kava, Jana Letak
Languages: English, Polish
Tune: Sanah - Duszki

Jana Letak a.k.a. Yanka is a 22 y.o. singer from Etagier, the capital city of Saintrabina. She was chosen by SAVF and Folkandish record company FolkAuds to represent Saintrabina at the 87th Worldvision Song Contest in Peeto, Polkopia. The Polish version of the song called "Kwitnę" (eng. "I blossom") has become a pan-Folkandish hit. In Peeto The public will hear the English version of "Bloomtime" with some Polish parts.

The dark silhouette of Yanka is appearing on the main stage surrounded by the weak pink light. On the screen behind the animation of blossoming flowers is presented. She is singing the first verses.

Garden
Have a look at my garden
The seventh wonder
Memories buzz
In the grass

The fair light is falling on Yanka's dress. She is wearing a long dress that looks like it is made of violet, pink, red, orange and yellow flowers. The microphone stand is entwined by similar kind of flowers. Her hair is loose and wavy.

Flower
I am one of the flowers
I spend my hours
Pleasing eyes
Eyes of guys

More and more flowers are appearing on the screen and they are forming some kind of flowery hurricane.

Bloomtime
Got me drunk with rage
Not ready to engage
Wait for the seasons change

The flowers are wilting at the moment and the animation is getting grey.

Bloomtime
Got me drunk with rage
Not ready to engage
Wait for the seasons change

Then the bright light is bursting around the stage and the colors came back to the flowers that are blooming afresh. They are starting to spin faster and faster. The refrain is coming:

Let me grow
Even if I do it
On my own
Out of your influence
Come back soon
To reveal how much I bloomed
My autumn

Yanka is playing with her hair.

Let me grow
And I want to do it
On my own
Let me build and ruin
See you soon
And reveal how much I bloomed

The flowery hurricane is calming down and just one flower is appearing on the screen behind Yanka. It is weak and white. The lights around are white and blue.

Water
Don't let run out of water
I shouldn't bother
Other hands
With my plants

The drops of water are falling on the flower and it is getting bigger, prettier and stronger. The light is getting yellow and pink.

Sunlight
This place is full of sunlight
But I need dark clouds
Bring the rain
And go away

The wind from the wind machines is starting to blow. More and more flowers are starting to grow on the screen behind and the floor.

Bloomtime
Got me drunk with rage
Not ready to engage
Wait for the seasons change

The wind is getting stronger and the wreath of flowers is starting to swirl. Yanka's hair and dress are surging in the air.

Let me grow
Even if I do it
On my own
Out of your influence
Come back soon
To reveal how much I bloomed
My autumn

Yanka is focused on the microphone. Her eyes are sensual and innocent at the same time.

Let me grow
And I want to do it
On my own
Let me build and ruin
See you soon
And reveal how much I bloomed

She is taking the microphone out of the stand and heading towards the closer platform. The Polish part is coming.

Pogódź się lub nie
Rozkwitam tak jak chcę
Dba o mnie deszcz
I słońce też
Wróć kiedy sen
Się znów zrówna z dniem

She is waving to the audience performing her innocent kind of dance.

Pogódź się lub nie
Rozkwitam tak jak chcę
Dba o mnie deszcz
I słońce też
Wróć kiedy sen
Się znów zrówna z dniem

She is coming back to the microphone stand and it is time for an instrumental part. The stage is getting dark and only tiny streams of white lights from three sides are focusing on Yanka's dress. She is making shadow theatre with her hands presenting flowers blooming. Then the Polish refrain is coming with the bright flash of light bursting with flowers on the screens.

Własny pąk
Rozpostarty wiosną
Z moich rąk
Będzie silny rosnąć
Odejdź w świat
Wróć zobaczyć pełny kwiat
Jesienią

The flowers on the screen are swirling quicker and quicker transforming into a kind of golden ring. Soon it is morphing into the burning sun.

Własny pąk
Rozpostarty wiosną
Z moich rąk
Będzie silny rosnąć
Zwiedzisz świat
Ja rozwinę wtedy kwiat

The stage is golden and white when the pyrotechnics are having their time.

Pogódź się lub nie
Rozkwitam tak jak chcę
Dba o mnie deszcz
I słońce też
Wróć kiedy sen
Się znów zrówna z dniem

The lights are fading away and the stage is getting dark. The single stream of white light is focusing on Yanka's face.

Pogódź się lub nie
Rozkwitam tak jak chcę
Dba o mnie deszcz
I słońce też
Wróć kiedy sen
Się znów zrówna z dniem

The stage is outshining again. Yanka is waving to the audience smiling and bowing charmingly. That completes the Saintrabinian performance.

by **Rosmana** » Fri Jan 01, 2021 3:18 am

Entry No.41:

Artist: Bando Fodder-(stage name of Jake Davis)
Song: Beta but still all male.

https://www.youtube.com/watch?v=QRn67fL4FB4

Stage:
A futuristic, Star Wars battlefield with goth/emo like young men and women dancing with a post apocalyptic background, as laser beams shoot across the stage like a weird battle, as well as pictures of the background dancers in the military, doing exercises, as Bando Fodder sings, dressed in a black, leather battle skirt, as he holds a lightsaber toy, with all his tattoos visible on his bare chest as his red highlights on his black hair sway around as he sings.

Art in the background, made by Bando

by **Christarnea** » Wed Jan 06, 2021 11:13 am

42 | CHRISTARNEA
Pirov - Watermark
Music and lyrics: Dmitry Pirov, Ana Pirov, Matej Ulme
Languages: English, Polish
Tune: Dawid Podsiadło - Trofea (ending at 3:08)

Dmitry Pirov, simply Pirov, is a 30 y.o. famous Rusmailican artist of young generation who has been married to a Christarnean woman, Ana Pirov, who is also the autor of the lyrics. They both live in Busolaher, the capital city of Christarnea. He was chosen by KAVF and Folkandish record company FolkAuds to represent Christarnea at the 87th Worldvision Song Contest in Peeto, Polkopia. The Polish version of the Christarnean entry called "Wodny znak" has been released on the Pirov's third album with the same title. In Peeto the public will hear the English version of "Watermark" with some Polish parts.

Pirov is wearing simple white T-shirt, blue jeans and white sneakers. He is in the company of two female choirists - his wife Ana Pirov and a young singer Dina Dziewańska. They are standing at the right side of the stage wearing colourful short skirts and white blank T-shirts. The LED screens shows geometric shapes in different colours that are bouncing to the rhythm of the instrumental.

There's no answer
Could you call me back?
Are you spending time with someone else?
My imagination
Freaks me out
I am going crazy, don't you care

The expression of Pirov who is standing behind the microphone stand is theatrically nonchalant. His eyes are flirting with the smiling choirists.

Another signal
Did you even take your phone
How could I sleep tight
When I'm shaking to the bone
Is it our final
It was such a work of art
Right time to line up
In a line of broken hearts

The colourful shapes on the background are freezing in place when the Polish pre-chorus is coming.

Stare zdjęcia
I trzask starych płyt
Gdzie w brzuchu te motyle?
W chórze rozpacz, gdzie zębów zgrzyt
Tak czarna jak winyle

The refrain is setting animation in motion again. The lights are bright white. The choirists are performing their static dance routine.

How could minds be clearer
Since their thoughts are dark
Have you signed them with your watermark?
Isn't another lover
A sequel from the start
If I were him I'd leave you torn-apart

When the next versus comes, Pirov is taking his microphone out of the stand that is thrown by him somewhere behind. He is heading towards the front part of the stage.

Has loving you became a tournament?
I can't conquer with a guy in your apartment
I don't know him
Don't know him

Dmitry is leaning down from time to time singing to the people in the audience.

Could you guarantee a fair result
Should I compete and expect the worst?
Darling, there's no offence, no insult
I am giving up, the stage is yours
Eternal wisdom
Tells me to forget this love
Rise of the kingdom
I'm a king, I'm on my own

He is running towars his choirists joining them in singing the bridge part.

Stare zdjęcia
I trzask starych płyt
Gdzie w brzuchu te motyle?
W chórze rozpacz, gdzie zębów zgrzyt
Tak czarna jak winyle

Pirov is taking back his place at the main platform. He is clapping his hands to the rhythm trying to encourage the audience to sing along with him.

How could minds be clearer
Since their thoughts are dark
Have you signed them with your watermark?
Isn't another lover
A sequel from the start
If I were him I'd leave you torn-apart

When the Polish refrains are coming, the shapes on the screen are changing their colours to the rhythm.

Gdzie ta jasność myśli
Ciemność w głowie mam
Zostawiłaś na nich wodny znak
Czy ten kolejny koleś
To lustro moich wad?
Czy on jest świadom czy z księżyca spadł?

The last refrain is accompanied by the pyrotechnic effects. Pirov seems to be enjoyed performing his charismatic mad dance while singing.

Gdzie ta jasność myśli
Ciemność w głowie mam
Zostawiłaś na nich wodny znak
Czy ten kolejny koleś
To lustro moich wad?
Czy on jest świadom czy z księżyca spadł?

When the music stops, the animation in the background is freezing and the last fireworks are being thrown out with the bang. Pirov is waving to the audience screaming "Thank you, Peeto!" out loud and blinking cheekily. That completes the Christarnean entry.

by **Saviera** » Fri Jan 08, 2021 6:41 am

.::: 43 ✾ Saviera :::.
They
Jorts Sirmemes
To the tune of The Righteous Ones by Ben Ivory

Jorts Sirmemes uses he/him pronouns. He previously represented Saviera at the 62nd Worldvision Song Contest with Is He Man?, coming 9th (in a field of 15) with 56 points. He comes from a different universe and had to be teleported to this one to represent Saviera at Worldvision. He teleported back to his home universe shortly afterwards, with the help of S. Larry A.

For the 87th Worldvision Song Contest Jorts was summoned once again, and this procedure was repeated. This entry has some similarities with his previous one, namely that both are exploring the realm of gender. They, as the song is called, is intended as an anthem for people who identify as non-binary. The title refers to the use of they/them pronouns which is popular among non-binary and genderfluid people, and indeed Jorts spends the bulk of the song singing in praise of them.

For the performance, Jorts was wearing this really rad #look. As the song begins, Jorts emerges from the smoke and darkness. Some strobe lights, but not too many, flash to the beat of the song.

They are a stream
They are like water
They are no son
They are no daughter

They stand outside
The white and black
It’s their identity
It’s their identity

The camera moves around the stage slowly and tries out different angles for Jorts. This was enough to build tension; Jorts' assertive singing style made it sound like he was making a declaration, and when you're declaring something, you sure as hell want people to focus on you and not get distracted by background happenings. But also, Jorts begins to make arm/hand gestures that kinda go with what he's saying, in a way that fits the beat of the song.

More than a shirt
More than a skirt
They move like models
With flowing hair

They are the voices
Up in the air
It’s their identity
It’s their identity

The camera dramatically zooms in (a la the first few seconds of Montenegro's 2013 entry "Igranka") before quickly switching to another angle, and as this happens green lasers are transmitted across the arena, creating a magnificent laser show.

They are colours beyond pink and blue
Combinations that you never knew
Breaking all the rules but they pull through
Cause they have always been here
Cause they have always been here

The green colour for the lasers was an intentional decision. Jorts had initially wanted to go with blue lasers, but due to the colour's strong association with the male gender he felt it wasn't the best choice for a song about the non-binary. Red, while a great option, was too close to pink. But green actually went well with both the stage, his outfit, and his performance. After one country's crazy election season that many across the multiverse have been following in the news, perhaps a break from the blue and red binary was also well-needed.

They will help you see from a new view
Reject all the boxes for who’s who
Count the numbers that lie beyond two
Cause they have always been here
Cause they have always been here

Throughout this whole performance, Jorts' moves have been a little robotic, but only because it suits the vibe of the song. The LED screens, by the way, aren't used. If anything, the pitch black of the background actually enhances the mysterious, futuristic aura of the song even more. That being said, there is nothing mysterious or futuristic about not being part of the gender binary, even if the music may give off that vibe.

They are a book
They are the plot
They push the limits
Of human thought

They are the flow
They’re in control
You can’t deny them
You can’t deny them

Jorts reached towards the audience and slowly moved forward like he was trying to make it through a snowstorm. The camera panned around the stage slowly adding to the slo-mo effect, but at the same time the strobe lights in the background went wild, flashing like a static TV screen. And then suddenly, Jorts started running and eventually jumped, making it to the front of the stage and landing just in time to sing this next part. For the chorus, the stage lights are also definitely more vibrant and lively, much brighter than during the verses.

They are colours beyond pink and blue
Combinations that you never knew
Breaking all the rules but they pull through
Cause they have always been here
Cause they have always been here

They will help you see from a new view
Reject all the boxes for who’s who
Count the numbers that lie beyond two
Cause they have always been here
Cause they have always been here

Now Jorts turned back and as he walked back he sang this next part, the post-chorus or bridge, while looking into the camera.

Don’t be scared for they are not the enemy
There is more to them than their biology
They can find the life outside the binary
Outside the binary, outside the binary (Don’t you like them?)

Don’t be scared for they are not the enemy (No one like them)
There is more to them than their biology (Please don’t mind them)
They can find the life outside the binary (You will find them)
Outside the binary, outside the binary

Now the stage lights and strobe lights went crazy and we see a silhouette of Jorts making some poses to the beats. The use of the smoke machine was even more intense for the duration of this part, adding to that mysterious aura. Indeed, the concept of being outside the traditional gender binary is a foreign and mysterious concept to many people, but isn't that what Jorts is here for? It is exactly his aim to make the world a bit more familiar with these kinds of things, which as the song asserts has always been here.

Towards the end of this part, Jorts addresses the audience, "Peeto, are you ready to have some fun?!" The audience goes wild for a moment. And right as we reach this next part below, everything goes back to normal and Jorts continues to sing as he did.

They are colours beyond pink and blue
Combinations that you never knew
Breaking all the rules but they pull through
Cause they have always been here
Cause they have always been here

I have to say, the laser show is magnificent. It makes sudden, stiff movements that make the performance quite dynamic even if it remains rather minimalistic.

They will help you see from a new view
Reject all the boxes for who’s who
Count the numbers that lie beyond two
Cause they have always been here
Cause they have always been here

The camera closes up on Jorts as he grins while singing this next part. When the part with the backing singer kicks in, the camera switches to an angle that closes up on Jorts but gives enough space so that you can see the silhouette of backing singer in the background, who seems to be wearing a plain black t-shirt and dark denim jeans.

Don’t be scared for they are not the enemy
There is more to them than their biology
They can find the life outside the binary
Outside the binary, outside the binary (Don’t you like them?)

Now the strobe lights flash in a different pattern, as the rhythm changes slightly. Towards the end of this next part the camera switches away to an angle that pans around the stage, and then later to a camera that looks upon the stage from the back of the arena.

Don’t be scared for they are not the enemy (No one like them)
There is more to them than their biology (Please don’t mind them)
They can find the life outside the binary (You will find them)
Outside the binary, outside the binary

There are a few final flashes as the song ends, and while this happens Jorts takes a few steps forwards. He then fists the air at the exact moment the song ends, and at the same time the camera dramatically and at hyperspeed zooms in on Jorts from aaall the way at the back of the arena. Also at this same moment, the stage goes dark save for a spotlight on Jorts.

The entry is over. The audience cheers. "Thank you Polkopia! God bless Saviera!!!" Jorts says as he thanks the audience, before then leaving the stage.

by **Mister X** » Mon Jan 11, 2021 10:24 am

44 Mister X

Martin Trundle - "Single Jingle"
Tune: Will Ferrell & Molly Sanden - "Double Trouble"

This is a very generic song, just so MRX can continue its streak. It's pretty much autopilot whilst the creative brains are on holiday.

Martin stands on the middle of the stage. No dancers or anything, really.

I know that I am
Always alone and lonely
You find me in my
Solace and solitudeness
Sometimes I find I am just quite alone
Only on my own
So I will sing this song just so I know
What to sing alone...

Here's a song for all the singles there
It's just a jingle for you singles tonight
Here's a song for all the singles there
It's just a jingle for you singles tonight
This is a chorus
Just a chorus
In a minute you'll hear it again
A good chorus
A great chorus
It's a single jingle tonight (single jingle, single single jingle tonight)
Yeah (single jingle, single single jingle tonight)
Single jingle tonight

If you're feeling alone
Call somebody on the phone
Stay at home, do not catch the plague
Left is right, right is left
Stay alert, control the [argh]
Do not kill your gran, work from home

Sometimes I find I am just quite alone
Only on my own (on my own, no)
So I will sing this song just so I know (just so I know)
What to sing alone...

Here's a song for all the singles there
It's just a jingle for you singles tonight
Here's a song for all the singles there
It's just a jingle for you singles tonight
This is a chorus
Just a chorus
In a minute you'll hear it again
A good chorus
A great chorus
It's a single jingle tonight (single jingle, single single jingle tonight)
Yeah (single jingle, single single jingle tonight)
Single jingle tonight

(single jingle, single single jingle tonight)
(single jingle, single single jingle tonight)
It's a single jingle tonight
(single jingle, single single jingle tonight)
(single jingle, single single jingle tonight)
It's a single jingle tonight

Stay at home.
Protect the NHS.
Save lives.
Stay alert.
Control the virus.
Save lives.
Wash hands.
Cover face.
Make space.

Worldvision Song Contest 87 [IC] | Peeto, Polkopia

39 | Misha Sjelmsgor - In Time (Ekoz) [WIP]

Who is online