The 92nd WorldVision Song Contest (Anÿme, DMN) - IC

by **Darkmania** » Mon Jul 19, 2021 12:52 pm

WORLDVISION SONG CONTEST 92

Anÿme, Darkmania

"#United"

[ANŸME'S BID] • [OOC-THREAD] • [PLAYLIST] • [TELEVOTE]

Welcome to Anÿme!

Anÿme is Darkmania's 5th biggest city by population and the one in Darkmania with the funniest name (The locals are aware of the name is fun but please spare the jokes). The city is well known in Darkmania as a holiday destination with at least 2 million visitors last year. Thousands of thousands of museums, cool attractions to see, and of course the biggest zoo in Darkmania with over 1 250 000 different animals. But it's not the zoo or the museums or even the attractions that have caught eyes this time. The holiday city will be organizing the Multiverse's biggest song contest with artists and bands from all over the round (or flat) world coming over with one goal of taking the glass microphone.

The venue is called "Anÿme Community Arena", it opened in 2020 and can seat 11 000 in their main hall. It is Darkmania's flagship tv-channel "DaTV" which produces the show live from the venue with an audience attending, and they send the broadcast of the contest via the newly formed IBA network to your country's television broadcaster. This thread is stricly IC and all OOC talk should go to the OOC thread (linked on the OP).

The following countries below will be competing for the glass-microphone. This list can be a bit long, so if you need to search up your nation name for reasons, the OP (Darkmania) recommend this.

01. Filshia

Dudi Filšitruš - Anču Svituš

[ENTRY] • [POSTCARD] • [JURYVOTE]

02. Placely Placington

Dave McDaverson b/w Jim the Grindcore Guy Bloke - WorldVision History

[ENTRY] • [POSTCARD] • [JURYVOTE]

03. Carrelie

Cały Świat - All Together Now

[ENTRY] • [POSTCARD] • [JURYVOTE]

04. Scotatrova

Diana Villamos - Day and Night

[ENTRY] • [POSTCARD] • [JURYVOTE]

05. Adab

Rashid Abdul Malik - Pinewood and Tulips

[ENTRY] • [POSTCARD] • [JURYVOTE]

06. Aenglide

Mittelgrad - Deserted

[ENTRY] • [POSTCARD] • [JURYVOTE]

07. Atzlana

Escanthro Roso - Over Again

[ENTRY] • [POSTCARD] • [JURYVOTE]

08. Pemecutan

Rika & The Pande's - Selamat Tinggal Kekasihku

[ENTRY] • [POSTCARD] • [JURYVOTE]

09. Vartugia

Benis Hahahaha - 2 and a Half a Minute of Someone Trying to Yodel and Failing Hard

[ENTRY] • [POSTCARD] • [JURYVOTE]

10. Waisnor

ne tvoya - Moya bol'

[ENTRY] • [POSTCARD] • [JURYVOTE]

11. Nekoni

Ciudade de Deus - Defiant

[ENTRY] • [POSTCARD] • [JURYVOTE]

12. Zamboodle

Justin Valley Fever - This Time

[ENTRY] • [POSTCARD] • [JURYVOTE]

13. Elejamie

IyilRifim & Deni Merinil - Falling Into The Abyss

[ENTRY] • [POSTCARD] • [JURYVOTE] • [COMMENTARY]

14. Kalosia

Lucia Edin - His Final Prayer

[ENTRY] • [POSTCARD] • [JURYVOTE]

15. Beepee

Miriam - Reasons

[ENTRY] • [POSTCARD] • [JURYVOTE]

16. Caryton (Spiritual Republic)

Pearl Schuft - Come Home, My Child

[ENTRY] • [POSTCARD] • [JURYVOTE]

17. Malta Comino Gozo

Cika Mizzi - Homeland

[ENTRY] • [POSTCARD] • [JURYVOTE]

18. Achaean Republic

P.P. Galore - Sonar

[ENTRY] • [POSTCARD] • [JURYVOTE]

19. Antahbrantahstan

Helena Reva - Pure Hate

[ENTRY] • [POSTCARD] • [JURYVOTE]

20. Alezian Union

NESIANA - I Am Lady Night

[ENTRY] • [POSTCARD] • [JURYVOTE]

21. Crustyland

Flomflom Whales - I Need A Love Right Now

[ENTRY] • [POSTCARD] • [JURYVOTE]

22. Darkmania

Gällard Alermi - Human

[ENTRY] • [POSTCARD] • [JURYVOTE]

23. Britonisea

Benjamin Walters - Won't Let You Down

[ENTRY] • [POSTCARD] • [JURYVOTE]

24. Bahia Roja

Suicidal Pickles - Wake Me Up

[ENTRY] • [POSTCARD] • [JURYVOTE]

25. Faraby

Serra Karakaya - The Big Man

[ENTRY] • [POSTCARD] • [JURYVOTE]

26. Rhim Flavezztowland

Marina Lee feat. LiLiTH - Sleepless in Sanghyeok

[ENTRY] • [POSTCARD] • [JURYVOTE]

27. Joija

The Zombos - Make A Killing

[ENTRY] • [POSTCARD] • [JURYVOTE]

~~28. Kyritakia~~

Widrawn

~~[ENTRY] • [POSTCARD] • [JURYVOTE]~~

29. Lagoa

Cenge Fekete - Draudo

[ENTRY] • [POSTCARD] • [JURYVOTE]

30. Tödlichebujoku

Kenstas Kaivaano - Let You Go

[ENTRY] • [POSTCARD] • [JURYVOTE]

by **Darkmania** » Mon Jul 19, 2021 12:53 pm

The broadcast opens with the IBA ident, and after it ends, it fades to black. For a moment, there is no sound. But then we hear a familiar voice and a line. "Welcome to the 91st Worldvision Song Contest, here in the Grand Centre in Haufenburg".

We now see clips from the last contest with ballads, pop and we also see memories of the staging. We also see several entries embarrass themselves with some out of tune singing and poor staging. But there is one song that gets more attention than the other 26 songs that took part that night ...

The entry from Malta Comino Gozo gets more and more footage and we also see the reaction from them, with a couple of "Malta, 12 points" and they get more points before we hear the famous words "The winner of the ninety-first Worldvision Song Contest, here in Haufenburg, Carrelie, is.... Malta Comino Gozo!!". We also see their performance one again, getting showered in confetti. Then everything gets pitch black again and we only hear one line. "Thank you, everyone, so much!"

A man and a woman were sitting on a bench, watching the exact clip we just saw. Both of them seems to enjoy the moment, as we see them cuddle with each other as we slowly fly away. When they are just dots, some texts appear.

"DaTV and IBA proudly present..." At this point, the commentators from all over the world start to commentate in their own native language, wising everyone welcomes to the broadcast.

Its nighttime and we are now at an airport as we see an Fluglinie-plane. It opens the doors and outcomes thousands and thousands of fans with flags from all over the world. All of them begins to walk towards the city. But it isn't the airport that has a sudden influx. The main train station also gets thousands and thousands of fans and the motorways that lead to Anÿme gets full of cars. We also see one from what looks like Placely Placington on a small rubber boat rowing toward the city.

The group of humans marches inside of the city, marching in front of the cathedral, the entrance to the zoo, and in front of popular bars and pubs. All marches toward one direction. After a while, we now see even more people, with flags from all over the world, as well as some other "colourful"-flags as well. All marches toward the lighted building, Anÿme Community Arena.

We are now inside the venue. It is completely in darkness and only the sounds of the 11 000 audience members break what would be an otherwise empty void. Out of nowhere, a sound from someone from the loudspeakers is said.

Voice: Sound! Check!

The audience gets more and more excited as there are just a few moments until it all is about to start. We now hear more of the same voice.

Voice: Light!

The lights get turned on, revealing the stage, from a sliding camera near that is surrounded by fans. The voice is back.

Voice: Check! Camera!

A techno-crane from the left side adorably now enters the view from said slider-cam. Some music begins to play.

Voice: Check! Multiverse, are you ready?

The excided sound of 11 000 gives the impression that all of them are ready as we hear many variants of the word "yes".

Voice: Let's go, Multiverse!

Üpnengs Nëmber / Opening Act

The RapDuo- "United”

LMFAO ft. Lauren Bennett & GoonRock - Party Rock Anthem

Opening Act WIP

The disco ball, being 3 metres up, slowly begins to open as DaTV abuses its budget when it comes to pyro as we now hear from the same voice we heard earlier.

Voice: Ladies and Genlemen, please give an warm aplause for your host for the evening, Hëntryëtta Tÿrlingen.

The pyro has stopped as the disco-ball open more and more. After a while, we now see a silhouette of the host before a dramatic reveal of the host, inside of the disco ball. Smiling, she begins to say the magic words as she opens her arms and stretches them outwards.

Hëntryëtta: Good evening, Multiverse!

As Hëntryëtta was 3 metres high inside of a disco ball and she needed to get to the stage level safely, the producers instead show us fans with interesting costumes. The arena is full-packed and all

After a while, Hëntryëtta is finally on the state level. She looks at the main camera while the disco ball gets removed by the backstage crew in the background.

Hënryëtta: Good Evening, multiverse and welcome to Anÿme, home of the 92nd Worldvision Song Contest. And for this evening, the world capital of music. We are here, united for one thing. We will represent our colours here. We will represent our shapes here. And we will represent our sound here. All here inside of this venue.

The audience gives a cheer giving

Hënryëtta: Last time, in Haufenburg, Carrelie, Malta Comino Gozo won for the third time on a row. So the question will be if it will be four in a row? Who knows? Well, it is up to decide on who will lift the glass trophy and take it back. Will it be Malta Comino Gozo or will it be a different nation? Who knows. The only one who knows is called "later in this program".

She quickly repeats the last thing she said in other languages but this isn't heard as the commentators tell the same information in their native tongue.

Hënryëtta and audience: Let the 92nd Worldvision Song Contest, from Anÿme in Darkmania, begin!

Fire blows up and the stage shows its pyros as we now start. Sit down, and enjoy the songs coming up.

The first entry of the night belongs to ...

by **Filshia** » Mon Jul 19, 2021 1:05 pm

1. FILSHIA
Dudi Filšitruš (Dudes from Filšitrum) - Anču Svituš (World's End)
Tune: Ruffus - Eighties Coming Back

ARTIST INFORMATION
Dudi Filšitruš is a band formed in 2014, consisting mainly of main singer Viktur Vulši, pianist Alisandru Famiš, electric guitarist Filipu Rimitur and drummer Murisiu Tuli. They have scored several hits on the Filshian charts, like "Pruti?" (Why?) and "Vjalni tivum" (We All Die), and are now hoping to break through internationally with this performance.

THE PERFORMANCE

After the postcard ends, the on-stage lighting turns on, the camera slowly going around Alisandru, after which it quickly moves to Filipu, then Murisiu, and finally Viktur. The camera then starts moving slowly from left to right.

Vi prist’jumi tusmja
I vi nišanum t’ vi titimu
Par’mi viki isint’ plu urfi altirum
A-a-a-a

On the fourth syllable of the fourth line (the "si" in "sit'si" (the t' is a shortening of the syllable "ti" to fit)), Viktur points at the camera.

I vi titimud’ ti?
Nut nu anču isti anišvu
Tač, vi parčum dajti vjalni tivum, al’
Tu sit’si, u-a-au

The camera changes to show the entire stage, then, after the third line, changes back to the one in front of Viktur.

Ali tu šanudu t’ vas’ musti tišačun?
Tu šanudu t’ vasi kuči usičun?
Untuč vi ličum stajunti inja
Stajum inja, stajum inja
Stajum inja ši

Viktur's movements start becoming more expressive.

Vi šadum inča
S’buk nu anču dujti baršul
Ali tu ridujsi nu silanti, tač
U-a-au

Viktur picked up the microphone from the stand and started walking to the island platform, arriving during the fourth line. During the second repetition of "tu sit'si", he puts his left hand on his face, covering his eyes and forehead, and pushes his head back.

I nut tu firisi utučištum sturmja
Nut vi tjuvum altirja dinja
Dajti suval dujti uvir vi ličum ši, al’
Tu sit’si, tu sit’si

The camera starts spinning around the island platform.

Al’ tu šanudu t’ vas’ musti tišačun?
Tu šanudu t’ vasi kuči usičun?
Untuč vi ličum ličunti inja
Ličum inja, ličum inja
Ličum inja ši

The camera starts moving around Alisandru, Filipu and Murisiu during the instrumental, before slowly spinning around the entire stage again.

A, tač, vi prist’jumi tusmja
Ali vi šanum t’ vi titimu
Nut su nisti nivju ča sabuk
Vi kačum isunti tusmja, tač
Du isimi sulavi

For the final chorus, the camera goes back to Viktur.

Tač, tu šanudu t’ vas’ musti tišačun?
Tu šanudu t’ vasi kuči usičun?
Untuč vi ličum stajunti inja
Stajum inja, stajum inja
Stajum inja ši

The audience cheers. Viktur softly says into the microphone: "Grasi, alnum, grasi."

by **Placely Placington** » Mon Jul 19, 2021 1:45 pm

02 - Placely Placington

Dave McDaverson b/w Jim the Grindcore Guy Bloke - WorldVision History

Tune: The KLF vs. Extreme Noise Terror - 3am Eternal (Live at the 1992 Brit Awards)

The last contest was a bit of an improvement for Placely Placington, in both staging terms and quality of the entry. They had sent a rousing song to cheer on their two football teams in the IBA Champions League, performed by none other than the sole player for both sides Sports Bloke. As well as a few Test Subjects he had brought in to do some backing vocals, even though they produced about 90% of them instead. Even if one of the teams fell in the group stage (but still placed fairly high) and the other fell in the Round of 16, it was still a bit of a surprise to see them doing that well and beating perfectly legit teams despite the massive disparity. As for the song itself? A somewhat respectful 21st place finish with 27 points and, surprisingly, they managed to get points from the televote as well. Nine of them in fact! While it meant they dropped a place so they were behind South Batoko, who would've been last otherwise, it was still a decent result nonetheless.

So much so that Dave McDaverson decided to have another crack at performing, mostly because he accidentally sold the prototype for his flying car to a scrap dealer again. Not just that but he also managed to enlist Jim the Grindcore Guy Bloke to help him out as well. How he did it is anyone's guess because Dave doesnt understand what Jim says but he managed to get it to work somehow. And while their styles didn't mesh that well on paper, they still managed to produce a song that would probably do not terribly. It probably helped that everyone in Placely Placington loved it, albeit because Dave would press the button if they didn't. After all, it's fast-paced chanting along with some guy belting words in a language he doesn't even speak, there've been worse sent to the contest.

And so, after binge-watching a whole bunch of cartoons in preparation, they then travelled to Anÿme over in Darkmania. They had quite an eventful time while they were waiting for the contest to start. They ate a whole load of food that turned them into pigs (and, fittingly for Placely Placingtonians, got turned into pork products not long after), they spent a long time reminiscing about pineapples, they got locked in a bathroom with no doors or windows, they got hit by some bald guy and they became shut-ins who got into conspiracy theories. You know, the usual when you're abroad. But they were still able to attend rehearsals and get ready for the big night. And when it came, they stepped out on stage and got ready to perform. It probably helped that they're on early just to get them out of the way already.

N.B. Due to there being no official lyrics to what Bill Drummond was saying, mostly because he was saying it so quickly and it was being drowned out by the music, Dave McDaverson’s lyrics definitely won’t match up with what’s actually being sung. It hasn’t stopped me before, see Placely Placington’s infamous WorldVision 84 entry, but it should still be fun.

Once the postcard was over, people were surprisingly clapping for the song. Of course, they could still be cheering for the previous entry provided to us by Filshia or because they just want to be polite. Who knows and who cares. Either way, Dave treated it as being treated like royalty because he’s a massive egotist and instead said something into the microphone while we waited for the song itself to start.

Dave McDaverson backed by the intense Jim the Grindcore Guy Bloke
This is WorldVision History!

And then we cut over to Jim who belted something out in Afrikaans before Guitar Clone and Drummer Clone began to play their instruments just so the song itself could begin. And... wait a second, this isn't grindcore! This is crust punk! Damnit, Jim, you should know the difference! Ah well, at least he can belt out some more stuff in a language he doesn't really speak. And, unlike the last time he was on the WorldVision stage, at least he's not burping them.

WORLDVISION SANGFEES!

EN ONS SING ONS LIED!
WÊRELD! EN ONS SING ONS LIED!
SANGFEES! EN ONS SING ONS LIED!

DIS GESKIEDENIS! WÊRELDVISIE SANGFEES!
DIE SANGFEES!
WORLDVISION SONG CONTEST!

AND WE'RE SINGING OUR SONG!
WORLD! AND WE'RE SINGING OUR SONG!
SONG FESTIVAL! AND WE'RE SINGING OUR SONG!

IT'S HISTORY! WORLDVISION (more literal translation) SONG CONTEST!
THE SONG FESTIVAL!

And then came Dave McDaverson just rapidly chanting some stuff into the microphone. Occasionally Guitar Clone was playing his instrument in the background, occasionally Drummer Clone was just punching his drum kit with his stick hands but overall, the cameras were concentrated on Dave. Who was clearly on something.

We’re from Citysburgh, Placely
And I’m the Chief President Man here singing
Our song which is the greatest song
The songiest song ever
It’s songier than the rest
It’ll make WorldVision history as the songiest song
And we hope it’s songy enough

And then it was back to Jim bellowing into his microphone. Meanwhile Guitar Clone had pulled back on his strings so hard that he tore them off and he was rapidly trying to get them back onto his instrument. And, not only was Drummer Clone repeatedly punching his instrument but at one point he even held a cymbal with his teeth while he punched down at it. Don’t do that, by the way, not even if you have a pathological hatred of your teeth and your hands.

DIE SANGFEES!
DIE SANGFEES!
DIE SANGFEES!
WORLDVISION! WORLDVISION!

EN ONS SING ONS LIED! WÊRELDVISIE!
WÊRELDVISIE!
SANGFEES! DIS ‘N SANGFEES!
DIE SANGFEES!
THE SONG FESTIVAL!
THE SONG FESTIVAL!
THE SONG FESTIVAL!
WORLDVISION! WORLDVISION!

AND WE’RE SINGING OUR SONG! WORLDVISION (again, the literal translation)
WORLDVISION! (see above)
SONG FESTIVAL! IT’S A SONG FESTIVAL!
THE SONG FESTIVAL!

Back to Dave now. After he was busy with some of his secret stash during the above bit, he resumed chanting absolute stuff into the microphone. He even took a brief break at some point to resume his interaction with his secret stash before carrying on with the verse.

Jim does grindcore, I do ruling
As we’re cooling more than everyone yes
Let’s all vote for Placely
As they make history
And get several 12s from everyone
(SECRET STASH INTAKE) yeah
And we’ve got the songiest song in the contest
Now please just give us some money!

And so we go back to Jim, who seemed to be part way through eating the microphone while Guitar Clone was busy banging the strings back onto his guitar with minimal success and Drummer Clone carried on his one-man war with his drum kit. Fortunately, Jim managed to get the microphone out somewhat unscathed so he could sing the next bit. Then there was a little mini solo and then Jim went back to belting the rest of his song. He even went off stage, walked up to a random member of the audience on whatever row and just bellowed into their face for no real reason at all. He was rewarded with his actions by a swift punch to the face and being thrown back onto the stage. It still didn’t stop him from singing the rest of his song.

DIE SANGFEES!
DIE SANGFEES!
DIE SANGFEES!
WORLDVISION! WORLDVISION!

OH JA! WÊRELDVISIE SANGFEES!
STADBERG! WÊRELDVISIE SANGFEES!
LIEDJIE! WÊRELDVISIE SANGFEES!
THE SONG FESTIVAL!
THE SONG FESTIVAL!
THE SONG FESTIVAL!
WORLDVISION! WORLDVISION!

OH YEAH! WORLDVISION (lit.) SONG CONTEST!
CITYSBURG! WORLDVISION (lit.) SONG CONTEST!
SONG! WORLDVISION (lit.) SONG CONTEST!

OK, now here’s a longer instrumental passage while the band just does what they were doing earlier. Fortunately, Guitar Clone managed to fix his guitar to some degree and carried on strumming it before one of the strings randomly disintegrated. Then Jim carried on with some more random Afrikaans bits.

WORLDVISION!
JOU MA!
i’m not translating any of this

JOU MA ** ****!

EN ONS SING ONS LIED! WÊRELDVISIE SANGFEES!
WÊRELD! WÊRELDVISIE SANGFEES!
LIEDJIE! WÊRELDVISIE SANGFEES!
SANGFEES! WÊRELDVISIE SANGFEES!
DIE SANGFEES!
DIE SANGFEES!
AND WE SING OUR SONG! WORLDVISION (lit.) SONG CONTEST!
WORLD! WORLDVISION (lit.) SONG CONTEST!
SONG! WORLDVISION (lit.) SONG CONTEST
SONG FESTIVAL! WORLDVISION (lit.) SONG CONTEST!
THE SONG FESTIVAL!
THE SONG FESTIVAL!

Fortunately, the song was nearing its end. As Drummer Clone carried on beating up the wrecked remains of his drum kit, he started to randomly swell up and inflate. He was fortunate enough to pick up a bit of a hi-hat which he threw at his remains before he reached the lights. When he reached them, he popped repeatedly as he flew all over the stage before one last pop resulted in just one tiny bit of him landing on the stage floor. Not that Jim, Dave and Guitar Clone could react much to it as they got hit by spaghetti that seemed to have had some kind of magical effect added to it. And then they got hit by a road roller out of nowhere. The audience applauded afterwards as a voice over the intercom said “Goodnight Darkmania! Goodnight from us over in Placely Placington!” Fortunately, the stage didn’t suffer too much damage so the next entrant could get on it without having to worry about too much. Fortunately, it’ll be better than this.

by **Carrelie** » Mon Jul 19, 2021 2:27 pm

3. Carrelie
Cały Świat - "All Together Now"
Music by Elisa Holzknecht, Irenka Kałuża
Lyrics by Irenka Kałuża
Tune: Yasuha - Flyday Chinatown

Background

Radio Dourie was left on a high note after the previous contest. From a successful hosting to Carrelie's highest placing yet, all of the nation rejoiced and celebrated, and Sylvia Knudsen returned home a hero. Radio Dourie also received a government grant to continue their selections for the contest, but their next selection would be no easy feat.

The original winners of the national selection was Iffrwff's Y Corneli. However, the band's lead singer, Gareth Jones, caught the flu the day before their flight, and so the band was unable to show up in Darkmania. Instead, third-placers Cały Świat from Vanirstaw were selected to fly the Carrelian flag and hopefully provide a good result at Worldvision.

Cały Świat

From left to right, the three members of Cały Świat: Kyoko Matsuda, Elisa Holzknecht & Irenka Kałuża

Unlike many a participant, this is very much Cały Świat's first rodeo. Formed of three students of the University of Warsaw with a passion for city pop, the band has only received a small amount of attention since its formation earlier this year. That is, until they were selected to represent Vanirstaw in the Melodifestival. Could this entry be what launches them into popularity?

Performance

After the spectacle that was the previous entry, the trio walks up onto the catwalk with great anxiety to a stunned audience as the music begins. Throughout the intro, they stand in a straight line, with Kyoko at the front and Elisa at the back, with those behind Kyoko sticking out their hands to the beat. As Kyoko begins to sing the first chorus, the other two girls slide out from behind in opposite directions.

It's all the world, all together now,
Everyone working all over the globe,
It's all the world, all together now,
And maybe it's just our time.

Irenka steps into the centre to take on the first verse, with Kyoko taking her place on the right. The lights dim, displaying hushed yellow and brown tones as she sings about companionship. The screen in the back shows an abstract pattern of yellow fading into brown, which is replaced with green fading into blue as the verse progresses.

There’s someone out there for everyone,
Whether a lover or a friend,
And it’s up to you, you know,
‘Cause the love in your life’s just begun.
You may want others to help you,
Maybe you can go alone,
All you need to remember is,
That the world's by your side, you will know!

Kyoko and Elisa begin to sing the chorus together, with Irenka behind them. She periodically throws green and blue confetti up into the air behind the two, symbolising the earth's land and water.

It's all the world, all together now,
Everyone helping all over the globe,
It's all the world, all together now,
And maybe it's just our time.

Elisa stays in the middle as the other girls disperse, with the lighting turning moody and somewhat dark. Throughout this verse, she slowly begins to show more confidence towards the arena.

And in your darkest hour you will know,
There is a way out of this,
You’ve got to seize what you’ve been given,
Even if you don’t think that you can.
You have friends around to help you,
Even some you won’t expect,
They will help you to find your way,
Because your life has just begun!

The stage brightens up once again, exploding in a flash of green light that radiates across the arena. All three girls take to the centre to sing the final choruses together, side by side like sisters.

It's all the world, all together now,
Everybody loving all over the globe,
It's all the world, all together now,
And maybe it's just our time.

It's all the world, all together now,
Everybody helping all over the globe,
It's all the world, all together now,
And maybe it's just our time.

They've done it! As the music fades out and the lights die, the audience applauds the performance and the trio shout praises towards the audience before leaving the stage altogether. Where will they go next?

by **Scotatrova** » Mon Jul 19, 2021 2:44 pm

4. Scotatrova
Diana Villamos
Day and Night
Tune: Eleni Foureira - Light It Up

With the end of the postcard, the stage comes into view. The camera slowly pans to Diana, who stands centerstage with her back toward the audience and spotlights shining down on her and at either side of her. She's wearing an outfit of bedazzled diamonds (outfit in the picture) and has one hand on her hip. Her free hand holds the microphone. Beside her is a male and female dancer who are on the floor, laying on their sides. They both stare out into the audience contently. Scattered lights, reminiscent of a disco ball, glitter the stage for this opening segment and dance off of Diana's dress.

Come on, come on
Promise I wont bite
Don’t be afraid
Just let it all go
Come on, come on
Turn off all the lights
And then, we can…
Well, you know the rest

Electricity
I feel it in my veins
Come on and love me
Like I love you

As she starts to sing, Diana turns her head to the left as the camera zooms in. It keeps that angle while she sings the first half of the verse, and then it quickly cuts back as she turns to her right and zooms back in. The lights can be seen in the background criss crossing each other. Once Diana finishes the first verse and begins the second, the camera pans out yet again to get a fuller view of the stage. The dancers can both be seen getting up and standing side by side with Diana while she is still facing backward. She raises a single hand up in the air as she finishes the verse.

Day and night, day and night, day and night
Do da ra da ra
Day and night, day and night, day and night
Do da da
Day and night, day and night, day and night
Do da ra da ra
Day and night, day and night, day and night
Do da da

Come on, come on
Its time to let loose
Just be yourself, and don’t be afraid
Come on, come on
Take off those glasses
So rose tinted
Time to see clearer

Just before the chorus starts, Diana quickly spins around and is now facing the audience. As the chorus begins, her and the backup dancers begin to dance. They all turn to the right and start strutting in place, before turning to their left and do the same movements. With the slight pause between the chorus and following verse, Diana and the dancers all take a quick moment to pose for the camera before continuing. As they turn back to face the camera, the dancers start to move forward slightly and are now diagonally dancing in front of Diana. The stage lights above blink in 2 second intervals, each lighting up either dancer next to Diana.

Electricity
I feel it in my veins
Come on and love me
Like I love you

Day and night, day and night, day and night
Do da ra da ra
Day and night, day and night, day and night
Do da da
Day and night, day and night, day and night
Do da ra da ra
Day and night, day and night, day and night
Do da da

With the start of the next pre-chorus, both dancers stop and stand in place with their backs toward Diana. She sings to the camera as it slowly moves in toward her. As she keeps her eye on it, she has a look of duplicity on her face. That look quickly changes as the chorus starts up once again. The dancers do the same moves that they were doing earlier, with Diana in tow between them. Again the stagelights just bounce off her dress as she does a quick twirl, and the pieces at the lower part of her dress glimmer as they are spun.

Baby, its time you learn
Our love is beauty and
So strong that it can burn
I’ll still love you endlessly
With you, I take your hand
I have you close to me
There’s nothing to demand
Just be all that you can be

Day and night, day and night, day and night
Do da ra da ra
Day and night, day and night, day and night
Do da da
Day and night, day and night, day and night
Do da ra da ra
Day and night, day and night, day and night
Do da da

Diana starts slowly moving to the front of the stage and the dancers keep up with her pace. There's a twang in their step, and Diana's hips can visibly be seen moving back and forth while she walks forward. She looks to the female dancer on her left and they lock eyes while she sings the first half of the verse. She then follows it up by turning toward the male dancer and doing the same thing. While doing so, Diana every so gently runs her finger up from his neck to the edge of his chin. She gives him a smile before turning back toward the camera as the chorus starts again.

Day and night, day and night, day and night
Do da ra da ra
Day and night, day and night, day and night
Do da da
Day and night, day and night, day and night
Do da ra da ra
Day and night, day and night, day and night
Do da da

The camera zooms out to get a wider view of the stage while Diana sings the final verse of the song. Again she can be seen dancing alongside her dancers, alternating between facing the both of them while dancing and singing. With the conclusion of the song, it seems as if the dancers are letting it all out while they do their routine, pulling out several neat tricks and moves that they didn't showcase before. As the song ends, Diana raises her microphone up into the air as the audience applauds. She wraps her arms around both dancers as they make their way offstage, but not before she tanks the audience "Greixas, Anÿme!"

by **Adab** » Mon Jul 19, 2021 2:45 pm

5. ADAB
Rashid Abdul Malik – "Pinewood and Tulips”
Tune: Peter Gabriel – Red Rain
Language: English

Rashid Abdul Malik

Background
That Adab’s previous WorldVision entry – “Still I Rise” by Libbalisarrat Eriba, Miriam Lavi, and the Still I Rise Troupe – placed 17th did not seem to deter ABC Director-General Benji Akiya, who, as usual, emphasized that Adab’s reason for participating in the contest was to expose the country’s best artists to an international audience and not to chase after points. Despite the meager placing at WV91, the song nevertheless shot to the top of the Adabian charts, affirming Benji and the ABC’s faith in the song as well as the buying public’s enthusiasm. With the next WorldVision and WHF editions approaching, Benji decided to implement a unified selection process for both contests, in contrast to the separate processes which had been used up to this point and were proving to be a drain on the institution’s time and finances. The first-placed applicant would go to WorldVision, the runner-up to the WHF. As usual, interested applicants were asked to submit a video of themselves singing the tune that they intended to sing onstage. The ten best applicants would then be invited to ABC headquarters to sing in front of judges selected by the ABC Board, with the Board and Head of Delegation Mehmet Bahri also watching. The judges would then decide Adab’s delegations to WorldVision and WHF.

Over the last several years, as Adab’s neighbors were torn by revolt and civil war, refugees came streaming across the border and into Adab, seeking refuge in a country which had long been seen as an oasis of stability in a volatile region. The Adabians greeted them warmly, and the central government tried its best to provide the massive number of refugees with food and shelter in government-constructed houses and apartments. As a spirit of humanitarian concern swept over the country, it was no surprise that the ABC judges would select a song that reflected said spirit. Rashid Abdul Malik had been one of the country’s most prominent musicians of the last twenty years, his music defined by its prominence of worldbeat influences and social concern. Having already had a career of his own, Rashid did not expect to be chosen for WorldVision, and his submitting a video to the ABC was somewhat of an afterthought for him as he sought to maximize publicity for his next single and album. Yet the ABC was evidently impressed enough by him, and Benji Akiya gladly jumped at the chance to have one of the country’s best-known artists carrying the Adabian banner on the WorldVision stage. Though not part of the judging panel himself, he nevertheless made his enthusiasm for Rashid’s performance known to the judges. Whether this influenced the judges or not will never be known for sure, but in the end Rashid was chosen as Adab’s contestant for WV92. His song, “Pinewood and Tulips”, about a person in a war-torn country who finds himself facing a returning enemy, will find an international audience.

OOC: The lyrics were written from the perspective of one of the Afghan interpreters who have served with and assisted international forces in the country since the invasion in 2001. As the United States withdraws its final troops in 2021, the interpreters’ plight came to the forefront of news, with 20,000 applying for asylum in the U.S. by mid-July, many fearing for themselves and their families as the Taliban continues to make rapid advances across the country. The tulip is the national flower of Afghanistan; the Afghan pine the national tree.

The Performance
Rashid Abdul Malik stood towards the back of the cube-staged stage in the Anÿme Community Venue, wearing a long black robe that exuded a sense of brooding harshness. The floor below him was completely black. His firm face and narrowed eyes were trained on the audience, as behind him the LCD screens on the back wall showed a harsh desert landscape under a clear blue sky, wind audibly blowing from one end to another. The view moved across the land, gradually revealing a greener landscape, featuring a smattering of tulips and a great pine tree on a hill in the background, the tulips and pine leaves blowing in the wind.

Right behind Rashad was his backing band: a guitarist, bassist, keyboardist, and drummer, but still Rashid cut out a lonesome figure on the stage, especially as he began to move away from his band and towards the audience. Two spotlights shone down and crisscrossed the stage, occasionally finding Rashad as he solemnly walked in a straight line from the back of the stage to the front, as if emerging from the desert into the venue, his throaty, commanding voice echoing across the arena.

Tulips blowing in the wind
Tulips
Pine leaves blowing in the wind
And the wind over my head

Rashid found himself stepping onto the catwalk to bring him closer to the audience. His face remained firm, almost scowling, unchanged by even the enthusiastic cheers of the Adabian fans in the crowd. He solemnly scanned the audience laid out in front of him from left to right, as one of the two spotlights that pointed down at the stage disappeared and the other now followed Rashid onto the spotlight.

I am standing here in the land of my forefathers
In my blood flows the strength of generations
And I have no fear, though they’re drawing near
The pines call me
I was born in this land and will die with it

Towering over and behind Rashid, the LCD screens at the back wall slowly zoomed in towards the lone pine tree on the hill. Some tulip flowers could be seen in front of the tree, but otherwise the land was rather barren, with half-grown grass barely masking the barrenness. A man could be seen emerging from behind the tree, walking towards the screen and crouching down to inspect the tulips. He picked one of them and raised it towards the sunlight, craning his head upwards and squinting his eyes as he contemplated the flower.

Tulips blowing in the wind
Tulips
Pine leaves blowing in the wind
And the wind over my head

Rashid stopped in the middle of the catwalk, standing there solemnly, rotating on his feet to take in the full width and length of the arena, as the full strength of his voice and his band’s playing continued to stream out of the venue’s sound system and into the ears and minds of the crowd. Behind him, on the LCD screens, the man was now staring straight at the camera, which zoomed in towards his eyes before shifting to an overhead view of trucks cruising down desert tracks, carrying soldiers with their rifles and rocket launchers, kicking up hefty amounts of dust behind them.

You were away for so long but I know this time will come
You’ll come for me for I speak a foreign language
And I can see my death right through your trigger
Your trigger
Watching the wind blowing, blow away

For a moment, Rashid glanced away from the audience and towards the LCD screens, now again showing the man in front of the palm tree, zooming away from him as he rose to his feet somewhat and went around inspecting the other tulip flowers around as well as the grass.

Tulips blowing in the wind
Tulips
Pine leaves blowing in the wind
And the wind over my head

In the LCD screens, the wind began to blow with greater strength, signified by the increased swaying of the tulips and pine leaves. The man turned to look the pine tree, dominating the landscape and reaching to the top half of the screens, its leaves dancing in an increasingly wild rhythm, some of them falling to the ground, landing around the man and among the tulips, which kept on swaying from left to right and back. Meanwhile, Rashid, still at the center of the catwalk, clenched his right fist and raised it in a show of defiance, his eyes wide open, emanating a commanding look at the audience.

Tulips
Oh, ohhh
Falling and wilting to the dusty ground
The great pinewood keeps on standing

Tulips
Though we fall we are alive
We are more than our bodies

Tulips
Like the great pine tree on the hill, oh
We’ll remain here and there

Rashid slowly and solemnly lowered his fist. Turning his back on the audience, he began his march up the catwalk and back to the main stage. Away from the spotlight, the band played on. If the audience could not see their faces, then they would make their presence known through their playing, and this they certainly had done.

Tulips blowing in the wind
Tulips
Pine leaves blowing in the wind
And the wind over my head

Rashid now took his first step back onto the main stage, the spotlight still following him. The LCD screens still showed the man gazing at the palm tree, his back to the viewer, as the wind blew past him, sending more leaves falling onto the ground or flying out of the screens.

I know I would pay the price
I know you would come
I’ve made my appointment with fate, so be it

Rashid assumed his position in the middle of the stage and turned back to face the audience, with the band a few feet behind him close to the LCD screens. The screens switched back to the trucks with the soldiers, rapidly cutting from one scene to the next, each scene showing the trucks crossing a village (and, in some cases, the soldiers gripping their rifles and seemingly preparing to point them at onlookers who watched them go by), giving the whole thing a hectic feel as they went from one village to another.

Tulips blow in the wind
Pine leaves blowing in the wind
Tulips are blowing, blowing in the wind
Blow away

Tulips blow in the wind
Pine leaves blowing in the wind
Tulips are blowing, blowing in the wind
Over my head

Tulips blow in the wind
Tulips are blowing in the wind
Tulips are blowing, blowing in the wind
I’ll be waiting

The LCD screens now zoomed in towards the man’s shoulder, with the man still facing away from the camera and watching the pine tree. Faint sounds of gunshots and trucks rolling in could be heard in the distance, and the camera followed the man as he walked around and behind the tree, ending where the hill began to slope gently downwards towards the flatlands. He could see his village in the distance, and the trucks stopping and the men jumping out of them before spreading in every direction.

Two of the soldiers, rifle in hand, stopped at the foot of the hill, where the man came into view. As the wind blew and leaves fell around them, one of the soldiers started to raise his rifle towards the man, who nodded calmly.

Tulips blow in the wind
Tulips blow in the wind
Pine leaves blow in the wind
Pine leaves blow in the wind
The wind blowing over my head
Blow away
Blow away
Tulips

The screens faded away to darkness, and the lights dimmed around the stage and the spotlight disappeared. As the audience applauded him, some – especially the Adabians – rising to their feet, Rashid mouthed a “Thank you” before turning around and making his way out of the stage with his band.

by **Aenglide** » Mon Jul 19, 2021 3:11 pm

06 - Aenglide

Mittelgrad - Deserted

Tune: Periphery - Absolomb

Mittelgrad and their song Deserted
Aenglide makes its debut into WorldVision with their selected song Deserted by Mittelgrad. Mittelgrad is a viking rock band from our shores over here in Aenglide. The band is made up of three people. The lead singer Olav Higridsen Iyjov (pictured on the Left), the drummer Jovin Hakkenyja (pictured in the centre), and guitarist Markkus Mugerhau (pictured on the right). The band from Lervyk will perform their song Deserted, which tells about a story about being lost and having nowhere to go, like losing something valuable in your life. This was a song that was very close and personal to Jovin Hakkenyja, the drummer in the band, as he lost his father to a battle with respiratory failure at a young age. Their song Deserted, mainly features Aenglish, the spoken language of Aenglide, but features some English words in the chorus.

The lights flash brightly to reveal the band in their position. They are closely positioned together. Jovin Hakkeyja, the drummer, and Markkus Mugerhau, the rock guitarist, begin the instrumentals. It is nearly a minute until the lead singer, Olav Higridsen Iyjov walks with his microphone on stage, with the camera focusing and moving to where he goes. Then, he stays in one spot to sing the first verse. The camera faces Olav in many angles and occasionally cuts to Jovin and Markkus also.

Gravæta-a-atynt... es levt yt valjn...
Gravita-a-ation... is gone and fallen…

Samtadt framm jand es yn te luvt...
Something strange is in the air...

Þy nyt si-ig... þy nyt si-ig...
I can’t see... I can’t see...

Bareg grypa þy sjyæ-æ-æl...
Just take my sou-u-ul...

Ja, grypa-a þy sjyæ-æ-æl...
Yeah, take-e my sou-u-ul...

Sje a te mæ-æne, dyr sje a te soln-ne…
Look to the mo-on, then look to the su-un…

Þu tel þy “es det dere?”... oh, “es det der-r-re?”...
You tell me “is it there?”... oh, “is it ther-r-re?”...

Þy nyt si-ig... þy nyt si-ig...
I can’t see... I can’t see...

Bareg grypa þy sjyæ-æ-æl...
Just take my sou-u-ul...

Ja, grypa-a þy sjyæ-æ-æ-æl...
Yeah, take-e my sou-u-u-ul...

The light goes bright again and Olav Higridsen Iyjov walks around the stage to sing the first chorus. The choruses are sung in English.

We are deserte-ed... Deserte-ed...
Oh! Chose-en one... Sa-a-a-a-ave us...
We are deserte-ed... Deserte-ed...
The one you gave us... The one you ga-a-a-ave us!

The song returns back to the verses with a dimmer light. The cameras still mainly focus on Olav, the singer, with frequent cuts to Jovin and Markkus on the drums and guitar.

Tap-p-p-pt... en te vyren œf hel…
Lo-o-o-ost…. In the flames of hell...

Sœ-œ-œ-œkyr... a klem hæveg...
Lo-o-o-oking... to claim revenge...

Fry-y-ytek... a vlyge-e-et...
Fre-e-edom…. to escap-e-e...

Ja, fry-y-ytek... a vlyge-e-et...
Yeah, fre-e-edom... to escap-e-e...

Vere ny-y-yt... tid a fynri-i-ing...
Theres no-o-o... Time to cha-a-ange...

Vat þæ-æ-æn... hav fe-e-erdig...
What we-e-e... have do-o-one...

Nyt, vat þæ-æ-æn... hav fe-e-erdig...
No, what we-e-e…. have do-o-one...

The lights flash again, lighting the entire stage, to sing the chorus for the second time. This time, pyro thrusts up when Olav, the main singers, powerfully sings the last line of the chorus powerfully.

We are deserte-ed... Deserte-ed...
Oh! Chose-en one... Sa-a-a-a-ave us...
We are deserte-ed... Deserte-ed...
The one you gave us... THE ONE THAT YOU GA-A-A-VE US!

This time, the chorus is not dimmed but is still on as a normal light. Olav begins to move around the stage for the final chorus, and the cameras follow him where he steps with occasional cuts to the drummer and guitarist.

Þy es varl bli-i-nd ... yt þy burd hav kjel …
I am very blind... and I should’ve known...

Valsig ens... ryd þen...
Chosen one... save us...

odi-i-ig... odi-i-ig...
deserted…. deserted...

Ja, odi-i-ig... þen es odi-i-ig…
Yeah, deserted… we are deserte-e-ed...

Þy es fangig… Nyt vit þu-u-u…
I am trapped…. Not with you-u-u...

Vat þæ-æ-æn… hav fe-e-erdig…
What we-e-e…. have do-o-one...

Nyt, vat þæ-æ-æn… hav fe-e-erdig…
No, what we-e-e…. have do-o-one...

The final chorus comes into play and the pyro flame up on repeat every two seconds. Olav, the singer, runs around the stage and sings the last lines with all his voice has got as his performance comes to a conclusion.

We are deserte-ed... Deserte-ed...
Oh! Chose-en one... Sa-a-a-a-ave us...
We are deserte-ed... Deserte-ed...
The one you gave us... THE ONE THAT YOU GA-A-A-VE US!

YEAH WE ARE DESERT-ED (DESERTE-ED)...
OH CHOSE-EN ONE... SA-A-A-AVE US...
WE ARE DESERTE-ED... DESERTE-ED...
THE ONE THAT YOU GAVE US... THE ONE THAT YOU GA-A-A-VE US!

Gave us...

There is another minute of pure instrumentals from Jovin and Markkus after Olav ends the vocal lines. Olav runs around the stage with the camera following him and hurls a big "THANK YOUUUU WORLDVISION!" as he departs. After Olav leaves, the camera focuses onto the drummer Jovin and guitarist Markkus until the song finishes.

by **Atzlana** » Mon Jul 19, 2021 3:25 pm

7. Atzlana
Escanthro Roso
Over Again
Tune: Omar Rudberg - Om om och om igen

As Atzlana's postcard ends, the stage is barely visible. As the opening instrumental begins, the stagelights all around the LED screen turn on, along with lights from above. Escanthro stands near the front of the stage with his head looking down, microphone stand in front of him. The camera pans slowly down the front of him just as he prepares to sing the first note.

Every night I think of you
And all the mistakes I made
Can you come back to me?
Didn’t mean to push you out
Watching you walk out the door
What was it all for?

You’re the only one for me
One for me, baby
And I can’t even say your name
Say your name

With the opening verse, Escanthro grabs the microphone, still in the stand. When he sings "Every night I think of you", he points a finger out toward the camera, making eye contact with it. He gives a small grin that fades as he continues. After he finishes the first verse, he takes the mic from its stand and walks to his left. His voice slightly raises in pitch for the following verse. The LED screen behind him meanwhiles just shows a black and white spiral continuosly spinning over and over. The stage is draped in a flurry of blue and orange lighting, each intertwining with each other all over the stage.

O-o-o over again
You’re not the only one who can
I did not mean to box you in
Let’s start o-o-o over again, over again
Over again, over again

I know now what I did was wrong
And I regret making you choose
It was all my fault
You can’t deny our connection
Because we have loved for so long
Baby we still can, ey

As he gets to the chorus, the stagelights around the LED screen start blinking in unison. While singing "over again" he puts his hand up, and twirls it in a circle with a finger out. He continues to do this for a short time before walking over to the right. Singing the next verse, he holds his hand in a fist to his chest. He slightly leans forward as he sing "It was all my fault" and there's a slight look of remorse in his eyes as he sings directly to the camera for this portion of the song. But after he sings the final line he gives a quick wink out to the audience.

You’re the only one for me
One for me, baby
And I can’t even say your name
Say your name

O-o-o over again
You’re not the only one who can
I did not mean to box you in
Let’s start o-o-o over again, over again
Over again, over again

Again his voice raises while he sings the pre-chorus, this time closing his eyes while he does so. The emotion in his face expresses just how much the song and its message resonate with him. He opens his eyes as the chorus begins and throughout it he bops his head slightly to each side while he sings. While he walks around the stage, he takes these bouncy steps to the beat while being bathed in the orange light that is being given off by the stagelights. The camera pans out to get a wide shot of the vivid, orange stage as Escanthro continues grooving his way across it.

A-atre buele
Resu loquo zen thé xari
Ie sale que me pardonás
O-o-o-o over again
A-again
I'm crazy without you baby
I pray that you forgive me

O-o-o over again
You’re not the only one who can
I did not mean to box you in
O-o-o-o over again

The tempo of the song tones down similar to its opening while Escanthro sings in his mother tongue. While singing in Scotatrovian, its like he became a whole new person on stage. The camera cuts to an angle near his face as he sings out to the audience. He keeps his concentration as he holds the mic up to him with both hands. Only the white lights from the side of the stage are seen, beaming out from his sides in rays of light. As he sings "O-o-o-o over again" the lights all around the stage start to strobe.

O-o-o over again
You’re not the only one who can
I did not mean to box you in
Let’s start o-o-o over again, over again

Singing the final chorus of the song, Escanthro gains more strength to his voice. He moves his body back and forth to the rhythm while the lights circle around him from above. As he concludes with the final line, he once again starts moving his hand in a circle with his finger out. The song concludes and the audience bursts into applause. Having wrapped up Atzlana's debut, he gives a quick "Thank you!" before making his way off stage.

by **Pemecutan** » Mon Jul 19, 2021 6:28 pm

08
"SELAMAT TINGGAL KEKASIHKU"
RIKA & THE PANDE'S
Title Translation: Goodbye My Love
Language: Bahasa (Indonesian)

Music: Pande Ekajaya
Lyric: Pande Ekajaya, Rika Widyastari
Tune: Gone West - I'm Never Getting Over You

From left to right: Pande Sukrananta, Rika Widyastari, Pande Wirawan, Pande Ekajaya, Pande Suryanantha, Pande Arimbawa

Aku ingin mengakhiri segalanya
Disaat semuanya t'lah berbeda
Aku ingin meninggalkan semua
Saat segalanya terasa hampa
Aku ingin membuang kenangan yang t'lah ada

Dengarlah tangisan pilu dari dalam hatiku
Rasakan perihnya luka yang kau goreskan
Segala yang kau berikan hanyalah sebuah dusta
Manis senyum mu membawa beribu duka yang menyayat jiwaku slama ini
S'lamat tinggal kekasihku
S'lamat tinggal kekasihku
I want to end everything
When everything is different
I want to leave all
When everything feels empty
I want to throw away the memories that already exist

Hear the sad cry from inside my heart
Feel the pain of the wound you scratch
Everything you give is just a lie
Your sweet smile brings thousands of sorrows that have pierced my soul all this time
Goodbye my love
Goodbye my love

Aku lelah untuk selalu bertahan
Menghadapi semua sikapmu
Aku lelah untuk jadi yang selalu mengalah
Namun selama ini kau tak pernah mau berubah, tak berubah

Dengarlah tangisan pilu dari dalam hatiku
Rasakan perihnya luka yang kau goreskan
Segala yang kau berikan hanyalah sebuah dusta
Manis senyum mu membawa beribu duka yang menyayat jiwaku slama ini
S'lamat tinggal kekasihku
S'lamat tinggal kekasihku
I'm tired of always holding on
Facing all your attitude
I'm tired of being the one who always gives in
But all this time you never want to change, don't change

Hear the sad cry from inside my heart
Feel the pain of the wound you scratch
Everything you give is just a lie
Your sweet smile brings thousands of sorrows that have pierced my soul all this time
Goodbye my love
Goodbye my love

Cukup sampai disini
Biarkan lah aku tuk pergi

Dengarlah tangisan jiwa yang tersiksa
Rasakan perihnya luka hatiku
Segala yang kau berikan hanyalah sebuah dusta
Manis senyum mu membawa beribu duka yang menyayat jiwaku slama ini
S'lamat tinggal kekasihku
S'lamat tinggal kekasihku
S'lamat tinggal kekasihku

S'lamat tinggal kekasihku
Please stop here
Let me go

Hear the cries of the tormented soul
Feel the pain in my heart
Everything you give is just a lie
Your sweet smile brings thousands of sorrows that have pierced my soul all this time
Goodbye my love
Goodbye my love
Goodbye my love

Goodbye my love

by **Vartugia** » Mon Jul 19, 2021 10:53 pm

9. Vartugia

Benis Hahahaha- "2 and a half a minute of someone trying to yodel and failing hard

"

Franzl Lang - Auf und auf voll lebenslust

Vartugia, in a poor attempt to present some sense of culture, decided that the best one was to present something that isn't from Vartugia. They hijacked Benis Hahahaha, who was part of that group that represented Vartugia at WSC91 and give him an ultimatum. Either get last place or get shot.

The postcard has played and everyone now begins to scream out of fear as its Vartugia next. A country that is known for its incredibly low-quality entry. While Darkmania is by far the most tolerant when it comes to Vartugia, even the host has begin having 2nd thoughts of letting Vartugia participate.

Benis Hahahaha walks on stage, dressed in an eyesore of a dress, and begins to yodel. He mostly fails hard and its shows as he can even hit a single note right.

*Yodels in Vartugian*

The audience are silent as Benis begins to sing. His vocals get shittier and shittier by the second.

I love to sing to you
But your [Beeb] cant even tolerate us
Now we are yodeling with our heart, to get your heart
I learned it for 6 minutes ago, please forgive my shit
Why in the hell am I even here? Please answering me. I am lost.

Shock and horror as Vartugia said a "bad word" and they begin to boo as we hear more poor attempts at """yodeling""".

*Yodels in Vartugian*

Most of the audience begins to throw rotten tomatoes on the stage as Benis walks like he is drunk.

My name is Benis. I love to suck
- Whole this line has been removed due to the line not being "forum-friendly". -
Now please vote for our number, you fucking idiots
I learned it for 6 minutes ago, please forgive my shit
Why in the hell am I even here? Please answering me. I am lost.

Benis yodels even more as he walks out of the stage, before falling down the stairs at the end of the stage and is never seen for the rest of this night. The audience now begins to talk among themselves about what the fuck that was. Luckily, they forget this as the next entry is coming up.

by **Waisnor** » Tue Jul 20, 2021 12:04 am

10

WAISNOR

ne tvoya - Moya bol'/Tune: girl in red - rue

Firstly, some trivia on the singer. Real name of ne tvoya (or "not yours" in English) is Olga Ladutko. Her story is somewhat similar to previous representative of Waisnor in WorldVision - Catherine de Potier. At first she was not very known artist, posting her songs on YouTube, but then she decided to enter the national selection for WV and won it) Now she's preparing to start her big career)

But now, we go to performance. In the beginning, there was no light on the stage, but gradually the stage became more and more illuminated. Now on the stage one could see Ladutko, sitting on the stage in her civil clothes. In the background, a picture of a forest trail began to appear, with the camera pointing upward and capturing the night sky with the stars and the moon.

В моей жизни постоянные страсти
There are constant passions in my life

Мои чувства разрывают на части
My feelings are tearing me apart

Безмолвная борьба
Silent struggle

И мой главный враг - судьба
And my main enemy is fate

After that Olga began to slowly rise to her feet, and from one side slowly began to blow the wind from the wind turbine, but so far it was quite calm. When Ladutko stood up to her full height, viewers could see a red spot on her shirt, which was located in the area of her heart. By the way, the camera swayed a little from side to side in the background.

На моей душе не заживают раны
The wounds on my soul don't heal

Извержения и ураганы
Eruptions and hurricanes

В моём сердце живут
They live in my heart

И к безумию меня ведут
And they lead me to madness

When the chorus began, water began to drip on Olga from above, and then, when the chorus was sung for the second time, it became a full-fledged rain. Clouds appeared in the background, which sometimes obscured the moon and stars. The wind began to blow much stronger and it seemed that Ladutko was singing in the middle of a downpour.

Моя боль
My pain

Разрушила мой покой
Ruined my peace

Обрушила шторм с грозой
Has brought down a storm with a thunderstorm

И я хочу убежать, я хочу убежать
And I want to run, I want to run

As I said, the chorus was sung twice, after which there was silence on the stage for a few moments. The rain and wind stopped, and Ladutko continued to sing, but now she was wet after the chorus. All the light on the stage gradually concentrated on Olga. In the background the sky cleared and the moon and stars shone again.

Я хочу избавиться от страданий
I want to get rid of my misery

От печали, страха и истязаний
From sorrow, fear and torture

И я так стремлюсь спастить
And I'm so eager to save

И в надежде смотрю ввысь
And in hope I look up

Before singing the last verse, Ladutko turned her head and looked up. The light scattered again, but now to several points that lined up around Olga. On the background, the camera, on the contrary, turned to its normal position and the trail finally became visible to the audience, while the moon and stars disappeared from sight.

Но пока мои попытки тщетны
But so far my attempts are in vain

И кажется то, что это все беспросветно
And it seems that it's all hopeless

Но я всё же верю, что
But I still believe that

Моя боль обратится в ничто
My pain will turn to nothing

Now the whole stage was lit up again, and the wind blew again, but now without rain. Against the background, the trail emerged from the forest, and now the viewers saw a quiet meadow. When the chorus was sung a second time, the person carrying the camera started to run, and the camera began to shake somewhat.

Моя боль
My pain

Разрушила мой покой
Ruined my peace

Обрушила шторм с грозой
Has brought down a storm with a thunderstorm

И я хочу убежать, я хочу убежать
And I want to run, I want to run

After singing the chorus for the second time, song was over. After finishing the song, ne tvoya said "Thank you all for listening! Good luck to you!"

by **Nekoni** » Tue Jul 20, 2021 12:31 am

Entry No.11: NEKONI
Defiant
Cidade de Deus
Based on: Giants by Blind Channel (alt. link for Scandinavians)

The City of God. Either this band's into the favela underworlds of Brazil, or they're really into world cinema.

Anyway, it turns out that a bit of a sabbatical did the world of good for the nation that spent the 80s crashing and burning. A solid jury process put them just in the top ten for the first time in a long while...and then out of nowhere, they got their best ever televote score. A fourth-place would have been unheard of back in the dark days of the mid 80s, but somehow, it happened here, and Nekoni finished in tied 6th, pushed down to 7th thanks to Mister X's superior jury score. 167 points is the new benchmark, and now, after having a bit of confidence restored, Nekoni want to beat it.

The problem with catching a break like that is the follow-up. If the sequel ends up being too similar to the original, diminishing returns set in. And it appears that this is true here, as NTR have decided on going very, very different indeed. 80s-esque synthpop is out, and in its place, we see post-hardcore. CdD have always been labelled as nu-metal, being the sort of thing that gained prominence around the turn of the century, but they've always wanted to reject that label. Maybe it's how every song in that genre seemed to be written by 16 year olds angry at their dad. Maybe it's how they're ashamed that stuff technically counts as 'dad rock', now. Who knows.

Lead singer in the delightfully 80s hairdo is Miro Castel. The other three are also here.

The song was written fairly close to home, as Miro's sister, at the start of the year, turned professional in the martial art of Thai boxing. It's been a long time coming for Lana - she spent her childhood being bullied for most of it, and so she was introduced to kickboxing from a young age as both a means of self-defence and stress relief. As it turned out, she was pretty damn good at it, and now, age 20, she's gone pro. As her brother, naturally he wanted to write something for her, so this entry not only will represent the country on the WorldVision stage, but will also be her walk-out theme. Hopefully, this entry will be as much of a knockout as her punches ["oh, fuck you, Nek" - mods]

The appearance of the postcard in familiar blue, gold and black, causes the now-familiar rush of panic on stage, as platforms are pushed into position, and all the light fixtures are set up around the cubic stage. It was a straight-forward task for staging this year; thanks to the basic design of the arena, having perfect rectangular staging on a perfect rectangular stage meant that positioning everything in the correct place was effectively a large scale game of Tetris.

As the intro fades in, we see the band in full, sectioned off by long, neon flourescent tube structures, in groups of three not unlike the ropes of a boxing ring. Each instrumental band member is on their own raised section, with the drummer at the back on the highest platform, the bassist on the right next, the guitarist on the left next, and then Miro, on the floor. The light tubes all glow a dim orange, just enough to have that wonderful 2am kebab shop glow that Nekoni is naturally fond of. Never change.

All of the members are dressed as, well, how you'd expect. It's hard rock, they don't care how they look and if you did you're listening to the wrong genre. Miro starts leaning with his back against one of the tube arrangements at floor-height. The camera focused on him from the right starts off at the edge of the stage and moves towards him, following the light along the line. His head, originally facing upwards, faces the front as the song starts to come together, and he leans away from the light wall, moving towards the centre of the stage.

Tired of having my back against the wall
I will come back stronger than ever before
I'm too proud to stay knocked down on the floor
Come and get me, I'm not scared any more

As the chorus breaks in, the light tubes begin to pulse in time with the drummer hitting a pad to simulate the claps.

Put your gloves up now, I'll take you all on again
Let me show you how, I'll run with the wolves again

The lights around the arena start to glow into a bright white as the guitars start to come in as the camera starts to zoom out and bring the entire stage into view. We see on the screens behind him, a video of Miro's sister, Lana in training for a fight. She is seen in a locker room, dressed in her ring gear of and orange sports bra and baggy shorts combo, stitched red and golden dragons decorating it. She is sat on the bench of the room, lifting a single dumbell with her right hand, putting in some reps. At the end of the chorus, she tapes up her hands, puts her mouthguard in, and stands up proud, her gloves tied together over her shoulder.

'Cause I got this, I'm a champion
In the making, and I'll thank you
To get away from my desires
'Cause tonight I'm catching fire

I will rise, 'cause I am the riot
And I am defiant

I am defiant

The oh's come in as the stage ignites with light, and a few pyros around the sides to drive the point home. There's a few strobes as the camera cuts between the band and the audience, and both are jumping just like every great pre-pandemic rock club does. On the screens, we see a couple of clips of Lana during her amateur years, notably a number of KO shots, especially ones involving knee strikes and jumping kicks.

The lightshow calms down briefly for the second verse, as the camera focuses back on Miro. He has a brief solo moment to himself in front of the camera before the band kicks in.

I got nothing to lose now, I won't back down
Now I've shown you my power
Would you dare stop me now?

All eyes back on Miro now, as he walks from his normal spot on the main stage down the catwalk to the front, the camera focused on him, the cameraman somehow being able to blindly walk down the catwalk backwards without falling on his arse as he gets to the end.

I've goddamn had enough
I'm sick of getting knocked down and taking the loss
When the next L is, maybe you keep it
Because I will win, I don't care what it costs no more
I've been and done it all, every broken bone
Every drop of blood, sweat and tears that I lost
That makes me who I am, I've come back strong again
And I know the day I'll stop fighting's my last

As the chorus breaks, Lana herself appears on the stage, coming out from behind the musician platforms, dressed as she was in the video we saw before, taped gloves and mouthguard et al. She comes down stretching her arms, cracking her gloved knuckles like she was about to have a real fight. As she does, Miro's back on the main stage to be with her, giving her a welcoming pat on the back. She continues down the catwalk.

Put your gloves up now, I'll take you all on again
Let me show you how, I'll run with the wolves again

'Cause I got this, I'm a champion
In the making, and I'll thank you
To get away from my desires
'Cause tonight I'm catching fire

I will rise, 'cause I am the riot
And I am defiant

As she ends up at the end of the catwalk on the front stage section, we see that there's already someone there; another fighter dressed in blue (wearing a padded helmet not unlike the ones in Olympic boxing) and a referee. As she gets into position, and the referee moves to the centre of the section, both of the fighters square up. As the drums kick in, the referee declares seconds out...and they begin a fight.

Lana starts off strong out of the gate, with a right body shot, but her opponent absorbs the damage, and attempts to strike back with a flurry of punches, all of which are blocked. Lana connects with another punch, to the jaw this time, and has her opponent rattled. She attempts a body blow in retaliation, but Lana pushes her chest out, and takes it full-on to the stomach without a sign of a flinch, and with a look of dominance and control on her face. She spars more with the opponent in blue, toying with her, but in the end, she decides to put the poor bugger out of her misery. She steps back a little, before giving one hell of a crescent kick the side of the head of her opponent, sending her to Dream Street. She falls, and the referee raises Lana's arm as Miro finishes the final line, to a lovely blast of pyro.

And I am defiant

The audience go wild, as they do, the poor woman that took a spinkick to her head gets carried off (don't worry about her health, she'll be fine - it wasn't a full-strength kick, she's one of Lana's sparring partners and agreed to get stunt-KO'd on TV for a couple hundred thousand Gen payday), and Lana, arms still raised is joined by Miro, and they both have a big hug in the middle of the stage front. The next postcard comes in, and as soon as they entered, everything is cleared up.

by **Zamboodle** » Tue Jul 20, 2021 1:59 pm

12. ZAMBOODLE
JUSTIN VALLEY FEVER - THIS TIME

Justin Valley Fever, 19- self-proclaimed philanthropist, TokTik f-boy, and FansOnly sugar daddy- has decided to launch his music career with a direct subsidy from the Zamboodlese government using the vassalized WTF's funds and money extorted from internet scams. Using his already prominent internet personality, he left his Kumswalo-based Zamboodlese Hype House with similar cosmopolitan personalities to go sing in worldvision.

(Obligatory TW of a poorly-used gay joke. The user behind this puppet is a member of the LGBTQ community.)
-

https://www.youtube.com/watch?v=kffacxfA7G4

Oh oh oh oh…
Ohohohohoh…
Ohohoh ohohoh…

I’m from Zamboodle, and don’t you dare.
When I’m singing, just sit and stare.
I’m just trying hard, but we’re not missed.
You all think my country’s a stereotype and racist.

I had some sheet-blood, it’s no big deal.
At least my songs are actually real.
You think we’re not funny, but you’re all s**t,
Because you’re all f***ing f***ing hypocrites.

(Get off your high horse!)

The stage opens up to Fever sitting on a black stool, a visible look of resentment and distress in his eyes. When he starts singing, he stands up and walks towards the audience, the stage dark and dusty, red rays of light casting a sinister yet sensual tone. When Justin reaches the "I had some sheet-blood" line, he sways his hips, bending his knees. He then crouches towards the end of the stage, shaking his head at the audience as he accused some of them.

Shut up! Shut up! Shut up, hoe!
Like, shut up! Shut up! Shut up, blow my-
Shut up! Shut up! Shut up, hoe!

Let me win this time! You’re mine!

Shut up! Shut up! Shut up, hoe!
Like, shut up! Shut up! Shut up, blow my-
Shut up! Shut up! Shut up, hoe!

I’m gonna win this time, you’re so mine!

Because we’re risky, you blacklist points!
Even in good entries, you shut your ears.
Because of what we were, well that’s f***ing gae.
Guess what? Zamboodle’s here to stay! Zamboodle’s here to stay!

I’m looking at you Llalta, your graphics are nicely.
But they can’t cover your a**hole jury.
Your disguise is falling apart, part, part, part.
Get a better facade, because it smells like a bloody shart!

I’m like shut up! Shut up! Shut up, hoe!
Like, shut up! Shut up! Shut up, blow my-
Shut up! Shut up! Shut up, hoe!
Let me win this time! You’re mine!

Shut up! Shut up! Shut up, hoe!
Like, shut up! Shut up! Shut up, blow my-
Shut up! Shut up! Shut up, hoe!

I’m gonna win this time, you’re so mine!

Strobe lights would flash down on Justin as he bounced and swaggered across the stage, his "fans" screaming like little girls.

Yeah-yuh, from South Alezia, WTF corporate.
We’re still better than the north even though we work from a rusty shack and get paid rice from warlords and extort Kay Wateffs to the gangs!
No clean water? I got them worms in my can.
Malta keeps winning so please just throw an edition, man!
Our sex song didn’t get 12 points? The world needs to shut its mouth and-
Estogium or Britonisea had sent worse and Placely Placington’s was dry.
So how did we Zamboodlese, now rich and swag and fly,
Still lose to a f***ing seal? It’s discrimination.

A South Alezian rapper "Lil Richard", would enter the stage with ken dolls being dropped on the ground to hype him up... by not moving at all. Justin starts twerking. He'd trample over the barbie dolls of each "offending" nation in the order of that which they were sung. At this rate the stage is a full on death sentence for anybody with epilepsy, but nobody seems to care.

Shut up! Shut up! Shut up, hoe!
Like, shut up! Shut up! Shut up, blow my-
Shut up! Shut up! Shut up, hoe!

Let me win this time! You’re mine!

Shut up! Shut up! Shut up, hoe!
Like, shut up! Shut up! Shut up, blow my-
Shut up! Shut up! Shut up, hoe!

I’m gonna win this time, you’re so mine!

Give us a chance! (Just shut up, just shut up!)
Soften your glance! (Just shut up, just shut up!)
Change your stance! (Just shut up, just shut up!)
Sheet-blood pants! (Just shut up, just shut up!)
So just dance...

Justin powered through the last chorus, returning to his starting position with a pep in his step, putting a hand over his heart as he sang through the last verse emotionally. Lil Richard and a few unnamed Zamboodlese militiamen dance with a microphone and AK rifles respectively.

by **Elejamie** » Tue Jul 20, 2021 4:41 pm

13. Elejamie

IyilRifim and Deni Merinil - Falling Into The Abyss

Tune: Rüfüs Du Sol - Underwater

Left: IyilRifim (production); Right: Deni Merinil (vocals)

IyilRifim is the DJ name for one Peter Evans (born 29th August, 1991). Born in Rosetta, the titular (and only city) on the eponymous island to the north of the eastern half of the Elejamian mainland, he was quite a shy, quiet kid which kind of went as well as you’d expect. However, he was a decent fullback for his high school and university soccer teams and even won a couple of trophies for his respective sides (a regional one in high school and a national one in university). Furthermore, during the off-season he would work as a DJ, having picked it up at the age of 16 after a lifelong interest in electronic music. Unfortunately, despite a tryout for the local Rosetta Strikers soccer team that didn’t go too badly, he decided to concentrate on a music career instead. And if that didn’t pan out then at least he has a degree in IT that he can fall on.

When he first began DJing, he didn’t really have much of an idea and his mixes felt a bit sloppy. Fortunately, some time with a couple of friends with more experience and even a chance meeting with the same person who DJ’d his high school prom helped him with his craft a bit and people he. When he decided to actually get behind the decks, he either played to small crowds of people or to close everything off, mostly to help him get used to it or because everyone would be mostly partied out so they wouldn’t mind it that much. Indeed, at first he mostly played dubstep under the name DJ Waidh because not only was it the type of music he was into at the time but it was also incredibly popular. While he mostly played other people’s songs he did make a couple of his own. While he’s not exactly proud of them and won’t remaster them at any point, he’s at least apathetic enough to keep them up.

At the start of 2015, a series of events changed his life. Dubstep started to fall out of vogue, his girlfriend broke up with him and his aunt was diagnosed with cancer. As a result, he travelled all the way up to Portham on the north-east tip of the island to help take care of her and to help take his mind off of everything. He would also help volunteer for the Methodist Church while he was up there, which he also credits for helping him out of his funk. It was also here that he would discover a new love as a beachside café he would regularly visit would often play deep house music. While he wasn’t that into it at first, he would soon grow to love it and would ask which songs were playing so he could listen to them later. This would soon evolve into him making his own playlists and mixes. While he would eventually return to Rosetta after four months, his time spent in Portham would have a lasting impression on him.

When he returned to Rosetta, he decided to completely change his identity. He abandoned dubstep and the whole DJ Waidh act entirely and instead decided to rebrand himself as IyilRifim, which means “Island Rhythm” or “Island Rhythms”. Not only did he say that it was a nod to his Iyilim heritage, which he claims through his mother, but also because he said that he wants to “capture and display the beauty, the feel, the rhythm of [his] home island through [his] music”. Not only did he switch over to deep house but he also incorporated some tech house, deeptech, progressive house and whatever the hell Ishkur would call the sort of stuff put out by Houseum and Chikyu-u. Not only did he feel much more comfortable and more in his element but also he ended up drawing more of a crowd.

Despite this, however, he wasn’t that active in making new music of his own. Whether it be because of a busy schedule, being unable to think of something when it was time to get into the studio or just pure procrastination, he only really seemed to put out one release every so often. While they did do well enough in the dance charts and get enough airplay to get people to anticipate the next one and maybe go to one of his sets, it did mean that plans for an album or even an EP were often put on hold and he had to self-release his songs out of a fear that a label would rush his output. Those fears would soon be scuppered when he would finally sign for a dance label in April 2020 now that he had plenty of free time and, come June the same year, he would finally release his first EP. Simply titled “Everything Will Be Alright”, it was a charity EP that consisted of some remixes he did to a few songs he had made in the past. It received some positive reviews but not a huge enough amount of sales. In December the same year, he found some abandoned demos he made and released them all as a single 29 minute long mix titled “Various Failures”. And in May 2021 he released his first album “Go To Work On A Monday”, which received some positive reviews and did fairly well with the dance charts, although again it didn’t make much of an impact on the mainstream charts. Although he hasn’t said much about his plans for future releases, he has said that he’ll take a break following the contest so he could let things die down for long enough to let him go back to making music that he enjoyed without having to worry about anything.

Deni Merinil, on the other hand, was born on 22nd December, 1998 in Aloc, ELIY. He had been interested in singing since an early age, although he was never sure of what type of singer he would be. He was part of a choir during his teenage years and had aspirations of becoming a rock singer before spending some time trying his hand (and being average at) rapping, before just deciding to go with pop. However, his life wasn’t concentrated around trying to make it big through his singing. Other than an interest in anime and skateboarding, he did show some talent at soccer much like his second cousin and even played for his high school team but repeated injuries and a growing lack of interest scuppered any chance of playing at university level.

However, he didn’t go to university when he left high school but rather he went straight into employment. Whether it be because his grades weren’t good enough or because he wasn’t really that interested in higher education is unknown but he decided to go into retail instead so he could at least make something of his life. However, that dream of becoming a singer never died and he would often sing to himself on the job just to make it that less soul sucking. Eventually, when the coronavirus pandemic meant that everything not-vital had to shut down, Deni not only tried to up his singing game even more but, when they opened, he sent a video audition to the Elejamian version of the X Factor as that’s the only way to apply to appear on the show for now.

He was accepted and eventually appeared on the show after a successful private audition with one of the judges via video call, which was used in lieu of the Judges’ Houses round. And while he did have his ups and downs on the show, he didn’t do too badly. He had the most votes for the first week and was fairly strong for the second but, as the competition went on the other singers upped their game so he was starting to fall behind a bit. He finished in the bottom two once but managed to win the sing-off and thus survive another week. After another average placing, he made it to the quarter-finals. There, he was in the bottom two again but, despite trying his best in the sing-off, he was eliminated and thus he came fifth. He wasn’t the first contestant from the 2020 edition of the X-Factor to participate in the Contest, as Aribella who finished one place above him, had previously taken part in the 89th WorldVision Song Contest, but unlike her he doesn’t really have a record contract at the moment. Will this catapult him to fame and glory? Will he do averagely and have to settle for a career in Christian pop? Or will he finally give up on his dream of a successful singing career? Let’s see what the future will have in store for him.

In the last competition, Elejamie were supposed to be represented by The Humanoids, who had finished second in the ElejamieVision leading up to the 90th WorldVision Song Contest with their song “Come On/Join Us”. However, shortly before they were to jet off to Carrelie, one of their members broke his leg in an accident and the band decided to stay home rather than make the trek over. Instead of sending a video in lieu of a performance as the band wanted to actually perform at the contest, ETV instead decided to send The Lads and the Lasses who had originally finished in third place with their song “Your Song”. As a consolation prize, ETV announced that The Humanoids will be an internally selected entrant for either the 94th or 95th edition of the contest.

At first, the nation was dreading the results, especially since they had just come out of a series of contests where one song placed top ten but the next one would just drop out. It didn’t help that, with Manoy’s fifth place finish in Avon, the bar had been set quite high And, indeed, the first two nations to vote (Zamboodle and South Batoko) didn’t give The Lads and the Lasses any points. However, a string of points which included two 10 points and even a 12 from Adab was enough to restore some faith for the downtrodden nation. In fact, by the surprisingly-early (mea culpa) halfway mark they were in second place, just behind reigning champions Malta Comino Gozo. While they were unable to get another set of 12 outside of a fan poll by a leading magazine from Molotovsk, they were still able to get a couple of eight points from Ethane and the aforementioned Malta Comino Gozo and they still received a consistent number of points to retain their second place finish at the end of the jury phase with 99 points, just behind MCG but ahead of the likes of the hosts, Scotatrova and Antahbrantahstan. Although they only finished seventh in the televote with 103 points, they were still able to retain a podium spot albeit a bronze medal spot with 202 total points. Not only was it the first time they had back-to-back top ten finishes since WV79-80 but it was also their first podium finish since their second place in WV77. Other notable events from the contest include Malta Comino Gozo getting the first ever WorldVision hat-trick with their third consecutive win, Scotatrova winning the televote with 127 points and finishing second as a result, newcomers Jojia coming in fifth, the host’s seventh place finish and Waisnor getting their second consecutive top ten spot.

Absolutely jubilated by these two results, not only have EB announced that they won’t be withdrawing from the competition after all but also that they’ll be hosting another edition of ElejamieVision to see who’ll be representing the nation at the contest. The jury was kept the same as they managed to bring it down to five acts: Juáner, the youngest son of singer Antonio Cisneros (1956-2019), with the minimalist song “No lo sé” which was the first majority Spanish song that made it to the final; Motiv with “Look Inside”; Mália Dimas with “It’s A State of Mind”; IyilRifim and his second cousin Deni Merinil with “Falling Into The Abyss”; and Imogene, who were last at the 78th WorldVision in Valletta, hoping to make a return with “The End of the World”. While Imogene and IyilRifim and Deni Merinil were the favourites to win the contest, there was a bit of hype surrounding Motiv, especially since they had broken into the mainstream not that long ago. Either way, it was also considered to be quite a tough contest where anyone could stand a chance, even if some acts stood more of a chance.

Eventually, when the night came and all the acts performed, they were given their votes. While unsurprisingly the two favourites managed to take the top two spots, it was just a question of which of the two artists was the lucky winner. And, as it turned out, Falling Into The Abyss was the lucky tune to represent the nation at the 92nd WorldVision Song Contest in Darkmania. While it was a smash hit with the international juries, nabbing 5s from seven different countries (Malta Comino Gozo, Carrelie, Normandy and Picardy, Pemeuctan, Polkopia, Scotatrova and Waisnor) and a 4 from Antahbrantahstan, it was less of a smash with the domestic televoters at it finished in second place behind the second placed entry. However, due to Falling Into The Abyss having a four point lead overall, it managed to hold on to its winning spot. Imogene’s song The End of the World had to settle for runner-up and, as a result, represent the nation at the 93rd edition. It’s A State of Mind came third and will move on to the special third-placers edition which’ll have a small change due to the circumstances behind WV91, whereas the fourth and fifth placers No lo sé and Look Inside have both been eliminated from further running.

The win came as somewhat of a surprise for the duo. Not only did it sound a bit different to what IyilRifim normally make, as it was a bit more clubby than his usual “party on the beach” type of beat, but he was also still not used to the spotlight, instead being a fairly well-known and respected underground house DJ who had only signed to a label the previous year after a long time being independent. He also isn’t really a very sociable person, which kind of makes it difficult to do interviews with him in person. Furthermore, he’s even requested that, should anyone like his music, that they not “stan” him due to him not being comfortable with that amount of attention. Luckily, he explained most of the song through his website to avoid being asked about it and Deni was more than happy to do all the interviews instead. While it was admittedly a bit counter-intuitive to have someone with social anxiety disorder take part in a massive competition where millions of eyes would be looking at him, he has cracked a few jokes about it; when asked why he signed up for the contest, he responded “Free vacation.”

Whatever the reason, the two flew off to Anÿme over in Darkmania. After they boarded themselves up in their hotel room for a week due to their government guidelines. Avoiding jokes about the obvious, mostly because the letter Ÿ in the Darkmanian language in an “oo” sound and mostly because the locals have probably heard all of them, they actually had quite a decent time over there. Naturally they visited the zoo, which seemed to be the must-visit place in the city, but they also saw the local soccer team in action. They also took in some of the nightlife but, since IyilRifim has been straight edge since his university days, he didn’t have as much of an experience as Deni did. Not a whole lot for them to do but on the upside at least they were still able to keep themselves occupied in between rehearsals.

Going back to the song now and how it was mostly explained on IyilRifim’s website. There, he wrote “It’s basically a song about despair, something we can all relate to as we’ve all had periods where it feels like it just consumes us, where we just fall into this abyss of pure negativity and just want to keep falling. I’ve had moments like that myself. I’ve seen people have moments like that. But, at the end of the day, there’s only one person who can save you from the abyss. Yourself. Other people can guide you along the right path or offer advice whether it be good or bad, and sometimes you want other people to help you even if you’re feeling a bit unsure of it, but at the end of the day it’s up to you to either try and spread your wings and soar out of this freefall or just embrace it until there’s nothing left but pitch darkness.”

After the postcard came to an end, we then cut to a distant shot of the stage and the audience at the foot of it cheering for the next entry. The header at the bottom showed the name of the performers, the song title itself and how IyilRifim was credited for both the lyrics and the music, albeit under his real name Peter Evans. That disappeared and the camera moved closer to the stage. On one side of the stage, mainly at the back but with still enough room for him to get in and out, there was a DJ booth and a figure behind it. The booth itself was just a simple desk with a giant LED screen facing the crowd, along with a couple of turntables, a mixer in between them, a microphone for when he needed to help with backing vocals and a cup holder with an unopened can of caffeine-free cola in it. In the middle of the stage was another person, just standing still and waiting for the song to start. The camera then got to a certain distance from the stage, there was a message on the PA system warning the audience of flashing lights the audience’s cheering died down and then it was time to start the song.

When it started, not only did the lights dim but the camera faded out too. A second after the music started, the cameras faded in and showed a shot of the stage from an angle, although the difference was that everything was in black and white. The floor was covered in a thin layer of fog, thick enough to cover most of the stage but thin enough that people could still see where everything was and wouldn’t accidentally walk off the stage like what nearly happened in rehearsals the one time. There were faint lights shining on the two people on stage, although one was more so he could clearly see where everything was and the other was because it was aiming at the person about to sing. As the song carried on, the camera slowly raised and then panned over to the right a little bit as a sample of a song played. It was an old recording of an Iyilim hymn called “Javae Taec Ma In AEm” (God Carries Me In His Arms; lit. God Takes Me In Arm) that was performed by a children’s choir back in the 1940s and a sample that would repeat a number of times throughout the song; although both IyilRifim and Deni Merinil are both Methodist, they have stated that this is not a religious song and instead it was chosen because they thought it fit both musically and lyrically.

Just before he was about to sing, the camera then faded to a close-up of Deni himself. He was looking down at the ground with his eyes closed and his hands by his side. When it was time for him to sing, he lifted his head up and moved the mic to his face so he could sing into it. After he sang the first line, the camera slowly zoomed out to reveal what he was wearing; it was a white tank top, a pair of black jeans and a pair of white and black trainers. In between the second and third lines he moved his hand down and looked down at the ground before he lifted them both back up just in time to sing again. He did it again at the third line before lifting his head up for the fourth. Towards the end of that, he closed his eyes, held up his other hand to his chest and softly moved it up and down in a fist before he just as slowly pressed his flat hand to his chest for a hand-on-heart gesture.

(Javae taec ma jam, Javae taec ma in aem)
(God carries me home, He carries me in His arms)

Tell me
Are you a vision, watching out to help me?
(Javae taec ma jam, Javae taec ma in aem)
(God carries me home, He carries me in His arms)

The abyss is calling
Are you going to save me from myself?
(Javae taec ma jam, Javae taec ma in aem)
(God carries me home, He carries me in His arms)

And then we come to the pre-chorus. The lights turned on to illuminate the stage, even if everything was still in black and white, and to show what everything looked like. The back screen simply displayed some stock footage of a rainy and cloudy city, although it had been edited a bit to make things a bit darker at the bottom of the screen to represent how high this was taken up from. The side screens were turned off, primarily because the same shots of the city as the back screen looked a bit off and they couldn’t think of what else to put there instead. The fog that was covering the stage eventually disappeared and revealed that the floor underneath them was showing the same thing, mostly to prevent another mishap like at that rehearsal. And the LED screen showed a few lines of dots arranged into a diamond that expanded and retracted throughout the song, with a smaller diamond appearing every now and then before disappearing into the dot in the exact middle of the screen.

A couple of seconds after the lights turned back on, Deni started to sing his bit. He was bouncing up and down on the spot as he faced the crowd throughout the first line; towards the end of it and at the beginning of the second the camera changed to a view of the side of his face and midway through that line Deni turned to face it and sing into it. As he lowered the microphone at the end of the line, we then cut over to IyilRifim who was busy DJing on his decks. He was wearing a grey knit cap, a white and black tracksuit, a plain black t-shirt underneath and the same shoes as Deni. As he was doing that, there was a quick cut to a close-up of his hands showing what he was doing and giving the audience a better look at it; it also showed that, despite the fact that there was no music coming out of his equipment he was still acting like there was instead of being incredibly obvious with it. Shortly after the little instrumental break, we then cut back to Deni pacing up and down the stage, bouncing along a little bit as he moves before he stops dead in his tracks to start the fourth line. At that point he turned around to face the stage and simply stood there while he sang, although for the last couple of words he gave a small nod before he tilted his head down.

Looking all over, I’m looking for an exit
But I don’t know where to go
You’re speaking in riddles, I don’t really know what to say
I’ve given you all that I know

The lights dimmed a little bit before they shone a bit brighter, coinciding with jets of white smoke coming out of front of the stage. At that point, we then cut to a side shot of Deni who started to look at the stage before he quickly turned to look at the camera with a neutral expression on his face. As he started to walk closer to it, the cameraman walked backwards just to keep Deni in the same type of shot. Fortunately, when it was time for a line to be sung, they both stopped. For the first line, Deni looked towards the sky and held both of his arms above his head, although he pointed his microphone down so he could still sing into it. He then carried on walking before making a slight turn so that he could step onto the catwalk that branched off the middle of the stage. For the second line, he held his microphone at a 90° angle and moved it an inch away for each of the first three words before moving it back to where it was and fanned his hand back and forth in front of his chest. For the third line, he leaned forwards and again inched the upper half of his body closer for the first three words before he straightened himself up and shook his fist up and down a little bit for the rest of the line. Before he made it onto the fourth line, he stepped onto the island platform, where the cameraman would walk around the outside until he had a good shot of Deni who, with a somewhat pleading expression on his face, sang the fourth line as he moved forward a little bit to step into the exact centre of the stage.

(Javae taec ma jam, Javae taec ma in aem)
(God carries me home, He carries me in His arms)

The abyss will swallow me
(Javae taec ma jam, Javae taec ma in aem)
(God carries me home, He carries me in His arms)

I don’t want you to let me go
(Javae taec ma jam, Javae taec ma in aem)
(God carries me home, He carries me in His arms)

I don’t want to hit the ground
(Javae taec ma jam, Javae taec ma in aem)
(God carries me home, He carries me in His arms)

I only want some

It was then time for the next verse. As Deni started to lie down on his back the camera changed to an overhead shot of him, where the camera was slowly zooming out and rotating on the spot. After he sang the first line, the camera faded out before it faded back in again. It didn’t appear that much had changed but his brown eyes were suddenly a lot more visible and there seemed to be a faint blue haze all over the picture. Partway through the second line, he raised his other arm up as if he was trying to grab something above him before he slowly lowered it towards the end of the line. At the start of the third, the camera held in place as Deni stared into the camera, although when it cut to a side camera midway through the line, he turned his head and stared into that one while he kept singing his line. For the fourth line, the camera then went back to the overhead one and Deni turned his head accordingly to look at it again, writhing on the floor a little bit before he rested his head to his side to finish up the line.

Freedom
Thinking about life and if it has meaning
(Javae taec ma jam, Javae taec ma in aem)
(God carries me home, He carries me in His arms)

How I can fight this despair
And how your words can set me free
(Javae taec ma jam, Javae taec ma in aem)
(God carries me home, He carries me in His arms)

During the instrumental mini-break, the camera quickly cut over to IyilRifim bobbing his head back and forth as he kept spinning his records in the lead-up to the pre-chorus. When it got to that bit, all of the lights shone brightly and less than a second later Deni sat up as he began to sing. As the camera captured this from the side, while he looked straight at the audience in front of him, he held the microphone completely flat in front of his face. He didn’t do anything else with it nor did he bust out any moves while he was sitting down, he just held it in that way. However, during the couple of seconds of music he slowly started to get himself standing up; indeed, when it was his turn to sing he kept on getting himself stood up straight, even tilting his head back and forth a little bit to stretch his neck during the musical interlude while IyilRifim was still doing what he did best in the background. When it was time for the third line, the camera was now mainly focused on Deni who shook a fist close to his chest for the first half of the line before waving his flat hand back and forth for the second half. For the fourth, he shook the upper half of his body back and forth in a small semicircle while he repeatedly patted his chest with his hand. Once that was over, we then cut over to IyilRifim, spinning one of the records with one hand while he fiddled with a switch with his other hand, just so it would look like he was making the last two words of the line repeat a few times and each repetition would get quieter.

You try to lead me, I can’t seem to follow
I can’t see the things you see
You try to teach me that but I don’t understand
What all of it means to me

The lights started to swell before they all shone brightly for a few seconds, coinciding with both jets of white smoke coming out of the stage and the samples playing. While that was going on, Deni was pogoing on the spot before he started to walk around the platform in a circle, which he did throughout the entire chorus. When it was time to sing his first line, he put the microphone to his lips and did a few fist bumps with his arm before shaking his head a little at the end. For his second line, Deni just waved that arm around in a few random directions. We didn’t really see much of what he did for the third line as the camera cut over to IyilRifim providing some backing vocals while he was still working the decks (and a number of lights were flashing) and, by the time we cut back to Deni, he had already lowered the microphone. Once he reached the front of the platform after a couple of walking tours of it, we then cut to Deni making another pleading expression at the camera as it zooms out and raises itself up, although it still tilted itself down so it could keep concentrated on Deni.

(Javae taec ma jam, Javae taec ma in aem)
(God carries me home, He carries me in His arms)

The abyss will swallow me
(Javae taec ma jam, Javae taec ma in aem)
(God carries me home, He carries me in His arms)

I don’t want you to let me go
(Javae taec ma jam, Javae taec ma in aem)
(God carries me home, He carries me in His arms)

I don’t want to hit the ground
(Javae taec ma jam, Javae taec ma in aem)
(God carries me home, He carries me in His arms)

I just want to be free

At that point nearly all of the lights went dark, with the only lights staying on being a spotlight that shone down on Deni as he turned around and headed down the catwalk, all of which was being shown through an overhead distant shot. The backing screens and the screen on IyilRifim's booth also turned off as well, just to add that little bit more darkness. While that was going on, there was a brief cut to IyilRifim, covered in darkness other than the faintest glimmer of light, still pushing the records with a couple of fingers while he pretended to play an invisible keyboard with his other hand. Afterwards, we then got back to Deni who made it back to the main stage, where he stopped and turned around once more. When he did that, he got down and squatted in what seemed to be an “upright foetal position”. He looked down at the floor a little bit before he raised the microphone to his mouth to sing the first two lines. At that point, a couple of lights at the foot of the stage started to strobe, which was the first sign that an epilepsy warning may not have been a bad idea after all. After singing those bits, he lowered the microphone to breathe before bringing it back up to sing the last two, all while he was slowly standing up straight and staring at the audience.

It’s like I’m falling, it’s like I’m falling, yeah
Deeper into the abyss
I’m trying to fight it, I’m lifting myself up
Because I won’t go down like this

After singing that last line, Deni lowered his head and kept as still as he could, with the camera slowly but noticeably zooming out as it lingered on a frontal shot of him. While he was doing that, there was a cut to a shot of a just-about-visible IyilRifim working his stuff on the wheels of steel. There were cuts between the two of them that started to speed up as the music intensified, another reason why the epilepsy warning that was hopefully given by the commentators was a good call. And then there was an explosion of light and the cameras immediately started to show everything in colour. The audience, the stage, the effects, the performers, everything was no longer in black, white and the occasional splash of something else. There were a series of blue, red and yellow lights coming from the sides, cycling through the various colours every 2-3 seconds. And, according to an aerial shot of IyilRifim’s decks, one of the records he was spinning (even if they were both just blank) had a red label whereas the other one had a blue one. The screen on his booth also turned back on and showed the same pattern as last time, albeit in reverse, as well as showing that they were yellow dots on a very dark grey background.

At that point it was time for Deni to sing a variation of the chorus. After jumping in the air and pogoing on the spot, he bent forward slightly as he sang each word during the first line, although he bent forward a bit more when he did the last word. After a bit more pogoing during the break, he bent forward again for the second line, balling his fist and raised it up and down for the first half of the line before opening it up and acting like he was throwing something behind him. After walking back and forth in a small circle, Deni started the third line where he waved his arm around (with his hand in a fist again) while he moved the upper half of the body. The music died down in the lead-up to the fourth line and, as such, Deni just stood still and appeared to breathe heavily; when he sang that line, he just kept still and stared into the camera. Also, during every bassy keyboard bit, a jet of white smoke would shoot out of a random hole on the stage.

After that fourth line, there was another explosion of light as Deni jumped into the air, raising the arm that was holding the microphone right above his head. As he landed, he had a small smile on his face as he bobbed his head back and forth before we got a couple of sweeping shots of the stage, with one camera going from left to right before the other went vice versa and finished on a close-up of IyilRifim’s face. He was deep in concentration as he carried on what he was doing before we then cut to a medium shot of Deni. As he sang the last line of the song, he was bent backwards with an arm stretched out and his hand flat, although he balled it into a fist towards the end of it. The camera also spun around in a circle around him a couple of times as it zoomed out, with IyilRifim visible on the left-hand side of the screen just as soon as Deni lowered the microphone.

(Javae taec ma jam, Javae taec ma in aem)
(God carries me home, He carries me in His arms)

The abyss won't swallow me
(Javae taec ma jam, Javae taec ma in aem)
(God carries me home, He carries me in His arms)

I'm not going to let you go
(Javae taec ma jam, Javae taec ma in aem)
(God carries me home, He carries me in His arms)

There's no way I'll hit the ground
(Javae taec ma jam, Javae taec ma in aem)
(God carries me home, He carries me in His arms)

I'm going to be free

I won't fall into despair!

After singing the last line of the song, Deni started to pace up and down the stage with a bit of a spring in his step. Occasionally, there would be cuts to IyilRifim with a headphone cup sandwiched between his head and his shoulder still working his stuff on the DJ decks despite the fact that it wasn’t playing anything. He would eventually walk down the catwalk to the platform and simply went down on one knee. He had his head down and his eyes shut, which was handy for him because the lights started to dim around him. The only source of light anywhere were the ones at the foot of the stage, which flashed in a random pattern at different times. Towards the end, the camera then cut to a close-up of his face, mostly shrouded by the darkness with the odd flash of light illuminating it as the song started to reach its end, as evidenced by the beeps that were happening by this point.

Shortly after the beeps faded out, the song officially came to an end. The audience gave a round of applause and, indeed, while the cameras were concentrated on that Deni moved back to the main stage. They didn’t necessarily give it a standing ovation but rather the typical one they gave out for songs they liked. The lights then turned back on while the effects and machines causing them were turned off. At that point, both IyilRifim and Deni both stood at the front of the stage and at least 2m from each other before they gave a couple of bows to the audience. They then waved towards the crowd before Deni raised the mic to his mouth and only said one word to thank the audience: “Fenci.” Once that was over, IyilRifim grabbed his drink out of the holder and then the two of them headed backstage while everything was getting set up for the next act, which was Lucia Edin from Kalosia performing her song “His Final Prayer”. As the duo passed her on the way back to their table, Deni wished her the best of luck before the two made it to their destination and simply relaxed. The hard part was over and the people at the Anÿme Convention Centre seemed to like it, now it was just a question of what the viewers at home thought. Regardless of whether or not the two left a good impression, all they could do was wait. At least they could keep themselves occupied until then.

by **Kalosia** » Tue Jul 20, 2021 8:33 pm

14
Kalosia
His Final Prayer — Lucia Edin
performed in English to the tune of Si j'etais un homme — Camélia Jordana

This is what she looks like

Lucia Edin, winner of the 42nd WorldVision Song Contest in Caen, Normandy & Picardy. She was the first ever Kalosian WorldVision champion. By the time she won, the nation had already established a rich presence at the WorldVision Song Contest, which only continued to develop into a powerful legacy that had become staple at the contest. With her winning song, 'Goodbye to Yesterday', she helped a nation say goodbye to a various close and unfruitful attempts, bringing the nation to the top and marking the dawn of a new era for Kalosia's WorldVision heritage.

Now, 50 editions after the fact, she returns. Having won the 60th edition of the Kalosian Song Festival (Festival dëla Kanžu Kalosianë) with the song 'Sia prehiérë oltimë', she accepted the opportunity to perform her winning entry on the international competitive stage. She had to turn down an immediate ticket (to the 91st WorldVision) due to scheduling issues, but this allowed her to treat her participation as the golden celebration of her unforgettable moment.

At the national festival, her song was found to be not particularly popular among juries. She only came 7th (out of 12) in the semifinal and was placed 9th out of 14 in the final. However, the audience loved her, placing her 2nd in the semifinal and making her the televoting winner in the final. Overall, she came third in the semis, where she performed back-to-back with fellow WorldVision winners Zlato, and subsequently qualified and eventually won the competition.

Fellow participant Martina Guerra was the first of this year's entrants to perform her song at WorldVision, bringing Kalosia to a top 10 placing last edition with 'Higher'. Like her, Lucia has also opted to translate her entry into English, with the title 'His Final Prayer'.

The song is a very emotional ballad lasting almost 6 minutes long. Despite the duration, the pace of the song does not make it feel excessively long. The song is about the prayers of a dying man who laments the life he is leaving behind, expressing the regrets he has. Although the song doesn't explicitly mention the pandemic, the song does feel relevant in that context, and serves as a reminder that all life comes to an end.

As a former WorldVision winner, Lucia had gotten ample media attention during her journey to Darkmania. From the moment she set foot in Anÿme, there was great interest among fans and fan-press alike, all of whom were wondering if she was going to emerge once again as the WorldVision winner, or if she was only going to be the second most relevant WorldVision winner in the arena by the end of the show. Despite Kalosia rarely having bad betting odds, her numerical chances were admittedly relatively modest, as her poor jury results in FKK humbled the confidence that her supporters have. But then again, she did not expect to win WorldVision 42 either. No one has won the WorldVision Song Contest twice before, but maybe, just maybe, she could pull off that stunt once again here tonight and become the first two-time WV champion.

For the big night, Lucia was wearing an elegant gown, not a funeral gown, but designed in a way that would make it appropriate for that occasion. It was a sultry black colour, and Lucia wore black gloves and a white pearl bracelet on one hand. She also had a pearl necklace to match, although these pearls were more subtle accents to her outfit. Her hair was curled beautifully and she put on deep red lipstick that contrasted the pale make-up on her face.

Once the performers from Elejamie cleared the stage, it was time for her to step onto the scene and perform her entry. Eventually the postcard was over, and the few seconds of darkness and silence that followed felt like an eternity. This is it, she thought. Finally, the void was broken by the playing of a few piano notes—part of the backing track, of course, since there was no live orchestra this edition. As the song began, the camera zoomed in on Lucia, who was standing alone on stage. After a few moments, she gathered the courage to use her voice.

What has he become?
The man who went away
The blessings that he had
Were like leaves in the wind

She was alone on stage. Despite the Kalosian head of delegation suggesting the possibility of having a piano played on stage, Lucia, who had full creative control over her entry, was worried it would be a little cliché and detract from her performance. Her solitude was further emphasized by light settings in play. The whole stage was, in fact, still left in the dark. There was only a spotlight, with a slight, very subtle, not too obvious warm tint, bringing Lucia out of the shadows with its illumination.

Now he sits in his frame
With skin as pale as paper
Not a thing to his name
But I hear as he says:

Throughout the course of this song, Lucia did not hesitate to bring out her full range of facial expressions, as appropriate. This was, of course, a very emotional song, and the loneliness that enveloped her onstage allowed her to fully lament on what the song truly meant. Actually, although she was portrayed in her solitude, there was a backing vocalist hidden away in the shadows of the corners of the stage. She was not visible at all, but her outfit was much simpler and, like the lead, was in all-black. It was at this point she provided vocal support that accompanied Lucia's voice very well.

Ah...
Is this what I deserve?
Let me say a word
I want to be heard

Up until this point, Lucia very clearly expressed the sadness on her face. Her body language was full of remorse, and the way in which she softly gasped to breath between lines was almost akin to the cries of regret. Even the way she ended each line reflected whimpers for help.

If I still had time
I would leave behind
The doubts in my mind
To live my best life

The camera, throughout this performance, had mainly given static-adjacent angles that were only subtly dynamic. They refused to distract from the highly touching performance Lucia was giving, focusing on her through close up shots but also alternating between middle and even wide shots when necessary.

Laying in the dark
In defense of his pain
He could not move at all
Past the weight of his shame

At this point, fog had began to fill the stage. It wasn't all that visible, since most of the stage was still dark, but it still made a difference.

In the tears of his silence
He tries to push away
The breaths that he wasted
The regrets of yesterday

As we enter the chorus a second time, the illumination that had simply made Lucia visible now started to become a visible spotlight, diffusing into the background. This made the fog much more clear, but in a way that added depth into the staging rather than detract from it.

Ah...
Is this what I deserve?
Let me say a word
I want to be heard

With this added illumination, it was possible to get a better glimpse of the stage setup. It was in fact, very simply, just Lucia in front of a mic stand, with a barely visible backing vocalist in the corner. The background LED screens were clearly off as well. Lucia continued to perform, full of emotion, as the chorus continued.

If I still had time
I would leave behind
The doubts in my mind
To live my best life

As we enter the third verse, the spotlight subdued a little, leaving Lucia in a dark blanket of fog. Singing this song was like walking through the five stages of grief, that is for the man who is presented as the star of the song. Acceptance of death is of course what ends the song, but lyrically we were at the penultimate stage — bargaining. Lucia sounds desperate — not in the sense of being eager to do well but rather attempting to channel the kind of thoughts that goes through the head of someone who suddenly has to leave, despite having thought that they had many many more moments to enjoy in this short, short life.

"Just one moment more"
As he pleads for a chance
To look into the skies
And see one more sunrise

Despite the man's pleas, Lucia knows that his time has come, and the last verse illustrates the moments in which the man finds himself unable to catch up with the sunrise, instead he can no longer run away from the tunnel of light.

I'd say on his behalf
That it's worth fighting for
But the pain is too much
To go through any more

As we enter this verse, a steadicam operator comes on stage, slowly approaching Lucia and eventually circling her. In this, we see a silhouette of her from behind facing the audience, and we see that various members of the audience have their phone flashlights turned on, creating an incredibly sobering atmosphere, as if to honour the man that Lucia sings of.

Ah...
Is this what I deserve?
Let me say a word
I want to be heard

But as the cameraman continues to circle Lucia, we see up close once again the pure raw emotion in her face. The rosy tint of her cheeks really complimented her face, but the overall paleness of her face stood out not only from her outfit, but also the staging as a whole. It was incredibly easy to not get distracted by any possible gimmicks in the background, as the focus was mainly on her voice and the kind of emotions that she shares with the world in this moment in time.

If I still had time
I would leave behind
The doubts in my mind
To live my best life

As the cameraman finishes circling Lucia, he slowly leaves the stage. As the camera gets switched to one of the front views, the stage is still blanketed in fog, although most of it is behind Lucia, as if she was facing away from a wave. This does create a backdrop with depth, one that isn't simply the plain background screens. The stage lights subtly begin to illuminate the stage in a very warm yellow colour.

Ah...
Is this what I deserve?
Let me say a word
I want to be heard

Although subtle, if you listened closely, you could notice the gradual buildup in the song. What had initially began as a piano ballad now even had a slight beat to it, as if to accumulate all the emotions that Lucia had felt over the course of this performance.

If I still had time
I would leave behind
The doubts in my mind
To live my best life

With just under a whole minute left in the song, Lucia utters the final lines, of course in English. Still, particularly with these lyrics, she can't help but think, almost subconsciously, of the journey she has made up until this point. Everything that has happened since her WorldVision victory 6 years ago—all the ups and downs, trials and tribulations, and of course the journey of this very song, from being just another submission in the FKK pool, to winning the festival, to getting reworked for what may possible be the greatest performance she will put on of this song. At this point, the stage lights were still a dark, warm yellow, emerging out of the fog that closely followed her from behind.

What have I become?
Is this what I deserve?
Hmm...
Let me say a word

And it may also be incredibly symbolic that, at least in the English version of this song, the final full line of the song is the demand to have one last word, i.e. to leave one final mark in space and time while the chance is still there. Those last words, why wouldn't they be the man's final prayer? But as the song continues, Lucia can only hum in sadness and in solace. The man is gone. And here she is, on stage, in loneliness.

Hmm...

The illumination of the stage goes away and the fog machine no longer produces fog, leaving the stage to the same conditions as earlier in the song—a visible spotlight over Lucia, left to be diffused in whatever fog remained on the stage, as it flowed outwards.

Hmm...

These hums were so emotional, with the pauses for breath in between them sounding like someone who gasps for air as if it were a cry for help. At this point, the song was well on its way out, with his final prayer having been uttered.

Hmm...

As Lucia sounded the final hum, one that was incredibly intimate, so personal that it sounded almost like a whimper. This song had been slow the whole time and, much like a man with nothing left to his name, the song went out quietly into the darkness, without a bang.

Hmm...

The song came to an end with a close up shot of Lucia looking very very longingly into the camera. After a few seconds, the audience cheered, and Lucia broke out of this pose, taking a sigh of relief. The arena lights came back on and Lucia said into the camera, "Thank you Anÿme!", blowing a few kisses before she had to clear the stage for the entrant from Beepee.

The former WorldVision winner left the stage with all sorts of thoughts rushing through her head, although she was mainly relieved that it was over. Still, there was one thing that was pondered by many watching the show...

Could she do it again?

by **Beepee** » Tue Jul 20, 2021 9:05 pm

15. BEEPEE
"Reasons"
Performed by
Miriam

Tune: 'Anders ist Gut' - Michelle

MIRIAM

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.

Miriam previously performed "Goodbye" for Northern Beepee at Worldvision 87. At that contest, held in Peeto, Polkopia, she finished 16th and will be hoping to improve this time around. Finishing 16th makes her Northern Beepee's highest placing entrant, and by performing for Beepee she'll be the first competitor to perform for both Beepee and Northern Beepee.

Speaking exclusively to BONC in advance of the contest, Miriam said...

"I'm delighted to be returning to the WorldVision stage.

Five cycles ago, I was a nervous wreck but I still thoroughly enjoyed my time in Polkopia.

To sing on the stage with performers such as Charlotte Davies, Adam Borg and Rena Lorak was a huge learning experience and I was very starstruck.

Over the time that's passed I've continued to write my music and hone my craft and now I'm ready to set my new song "Reasons" to the world stage.

I'm excited to performing for Beepee, it isn't often they choose a Northern Beepeean act for their performer, so I'm delighted to be the first act to represent both our nations".

The song "Reasons" becomes the second single of her eponymous debut album, after "Goodbye".

PERFORMANCE

The audience cheers fade in anticipation of the performance to come. The stage begins in darkness and through the darkness comes The sound of Miriam and her backing singers....

Oh-Oooh-oohohoh

The sound echoes around the vast Anÿme Community Venue.

Slowly the lighting comes up.

The rear LCD screen shows a silver glitter slowly falling and fluttering against a dark navy background.

As Miriam sings the opening line, the director chooses a sweeping camera across the front of the stage. With a knowing wink and nod to the camera as it sweeps past and Miriam begins

The earth moves whenever you are close
Somehow I just can't find my feet

It's like a dream, when you hold me so tight
It's like that whenever we meet

Miriam is wearing a glorious aubergine tuile dress, with a plunging neckline, tight wrapped bodice and flowing hemline. She feels both comfortable and bold in her dress. The flowing dress flutters under a light wind turbine.

And I don't know how, I can show
All the things that you make me feel
All those stories, romance novels,
You make them all seem so real to me.

As she sings about "romance novels", Miriam sensually touches her face, which is expertly framed by the Darkmanian director. Its a surprisingly tender moment, which would shock most Beepeeans who like their performances a bit more campy.

As the bridge approaches the LCD screen behind the stage stops showering glitter, and now a single silver star falls and then hovers from in the middle of the screen.

I'd thank you
If you really want me to
But I would rather show you
All the reasons why

The Darkmanian director provides interest in the staging by utilising the variety of camera cuts and showing members of the audience. It's a highly professional endeavour.

Ooh, I'll take you
All the places I go
Then you'll finally know
All the reasons why

The star, which has been hovering behind Miriam on the LCD screen, explodes. At the same time two hidden glitter canons also explode showering silver glitter over the stage and the first rows of the crowd. Miriam gets a slight fright as the glitter canons explode.

There's 10,000 reasons
I can't explain why
But all the reasons
The reasons are good

As she sings the next stanza, Miriam reaches out to the televisual audience. Her hand reaching out into the space and towards the audience.There's a lot of tender expression in this performance, more than is normally seen from the Beepeean entrants. Elements of glitter still shower down around her, the bright stage lights glinting off each part like little falling stars all around Miriam. It provides for an interesting visual aesthetic.

You give me something
Something the others can't
And all the others
They envy you

As the bridge begins to signify the end of the chorus, a viewer listening closely to the lyrics may try to read between the lines and wonder what these reasons may be. But Miriam is clearly remaining tight lipped about those specific reasons at this stage. as the saying goes... a lady never tells.

There's reasons for days
Reasons I'm sure
They're there for you too

There's reasons that you're
Making me feel
The way that you do

With the end of the bridge, Miriam blows a kiss down the camera. Miriam is clearly enjoying herself, unburdened by any nerves that may have been present earlier in the performance.

Oohohoh ohOoh ohohoh

Whilst singing the next stanza, miriam holds a hand to make believe headphone, pretending she can hear 'all those songs'. With the glitter from the glitter bomb now fully settled on the ground. miriam determines to walk back and forth along the front of the stage, as she does her wind machine is gallantly trying to keep up with the movement.

Before you came, I'd listen to all those songs
Playing all day on the radio
I'd wonder how people felt the way they do
I thought I'd could never fall so

Every now and then the wind machine whips up a cloud of glitter causing it to swirl in the backdrop, and under the heat of the stage lights, every now and again the glitter is swept upwards in the heat, like mini sparkling tornados swirling across the stage.

But then you came,
like a ray of light
Shining the way
through the hardest rain

When the glitter tornado falls, it continues to sparkle down, and like a sudden quirk of fate a collapsing glitter tornado falls behind Miriam as she sings 'the hardest rain. It's a moment of pure happenstance that feels manufactured, but it's utterly enjoyable.

And when your light
Shone on me
All I could feel
Were the reasons why

With the chorus beginning again, Miriam resolves to finish the rest of the song off strongly. Her vocals become more forceful as she continues. And with that gritty resolve, miriam.makes her way down the catwalk to into the crowd. Utilising ever inch of the mighty stage in the Anÿme venue.

I'd thank you
If you really want me to
But I would rather show you
All the reasons why

Upon reaching the end of the catwalk, the audience is clealry interested in the performance. Although perhaps the audience may be too keen on playing up to the camera as the Darkmanian director decides to show a shot of some local fans. Regardless, the flags are waving and the bright lights of the stage, silhouette the audience as the director chooses a long shot to frame Miriam as she continues.

Ooh, I'll take you
All the places I go
Then you'll finally know
All the reasons why

Slowly, the camera zooms in over the audience to Miriam who is still belting out the chorus as if this is her last chance to impress at the worldivison stage. Miriam can feel the energy of the crowd and it provides her with additional energy to get through the rest of the performance.

There's 10,000 reasons
I can't explain why
But all the reasons
The reasons are good.

As she sings the next stanza, she (again) reaches out to the televisual audience; particularly as she sings 'they envy you'. It's a well worn Beepeean choreographic move to engage with the audience in the hope for some additional televote points. Still it's effective, and even the in auditorium audience love it.

You give me something
Something the others can't
And all the others
They envy you

With the following stanzas, Miriam again goes very personal an d introspective with her choreography, running her hands gently over her aubergine dress. The sensitive moment is caught expertly by the Darkmanian director, who cuts expectantly to a full body shot of Miriam.

There's reasons for days
Reasons I'm sure
They're there for you too

There's reasons that you're
Making me feel
The way that you do

As the song is beginning to wind down, Miriam takes the opportunity to head back to main stage. Returning back down the catwalk. As she walks down she happily smiles and waves at the assembled audience.

10,000 reasons
Reasons for feeling
All of the feelings
You make me feel

With the stanzas sung, and only the outros to go, Miriam is released. She has returned to the main stage. The LCD screens, which have throughout the performance had gently falling glitter as a backdrop, now change to a black screen which shows the word in gold outline "Reasons".

Those reasons are good

It's either very cold in the auditorium or it's very clear to the televisual audience that those reasons are good. As she sings the next stanza a large beaming smile comes across her face. It's a beautiful smile and it really does light up a room. Either that or the lighting director just upped the house lights a bit early.

Those reasons are good
They make me smile
You make it good

You make it good.

As she sings the final words pyrotechnics pop around the stage, casting a plume of smoke across the front of the stage and an audible gasp from the audience.

With that the perofrmance is over. Miriam waves at the crowd and thanks them and worldvision for the opportunity, before heading off stage. Next up it's the Spiritual Republic of Caryton...

by **Spiritual Republic of Caryton** » Wed Jul 21, 2021 12:39 am

16. Spiritual Republic of Caryton
Pearl Schuft - Come Home, My Child
Lyrics & Music: Pearl Schuft

Background: Pearl Schuft represents the musical tastes of the majority of the Spiritual Republic of Caryton. The grandmotherly contralto sings old style gospel music without pandering to the foreign WorldVision community of modern music and excessive theatrics. Simplicity in tune and lyrics alike have earned Pearl several Goldie awards- the highest musical honor in Caryton. She is outmatched only by Latanya Anderson in amount of Goldies won. Pearl Schuft's debut in WorldVision symbolizes Caryton's embrace of its own identity amidst a storm of identical opposition.

tune

Come home, my child! The sunshine awaits!

Come home, my child! A new morning begins!
Soft dewdrops still give way to floral glory!
What is already wonderful will still get better!
Why then, be lonely- when you can soar free?

Pearl would stand on the stage with nothing else but a single golden spotlight shining on her. The backing orchestral and vocals would be obscured by dim amber lights as they began. Any visual aids that could have been provided by screens have been shut off. The tender contralto of Pearl would ring forth as she sang into a single microphone. A soft smile trailed her face as she detailed the betterment of everything through spiritual reinvention.

Come home, my child! The sunshine awaits!
Come home, my child! The rainstorm is gone!
What will you do when Jesus knocks at your door, friend?
How can you deny Him the love He will send?

Pearl would reach the chorus of her song. The first two lines, she extended her arm first left, then right- as if to guide the audiences' eyes and take them along on her emotional journey. The backing vocals cooed as she took a few soft steps forward, the spotlight illumining a modest cream-colored floral-patterned dress. When she reached the reference to Jesus knocking at the door, she raised her fist to her chest, only to let it go, holding a tender hand to her heart as she sang through the last line of the chorus.

Come home, my child! The bridge is in wait!
Trials you’ve faced blow away with prayer!
What is now sanctified will become sacred!
Why then, be bitter- when you know His care?

Come home, my child! The pathway is now clear!
Meadows of life grow in summer’s sustain!
What is now a still pond will reach the ocean’s depth!
Why then, be silent- when you can sing this refrain?

After a short intermission of music, she would excitedly sing through the next two verses.

Come home, my child! The sunshine awaits!
Come home, my child! The rainstorm is gone!
What will you do when Jesus knocks at your door, friend?
How can you deny Him the love He will send?

Her emotions would intensify as she leaped into the final chorus. Bright yellow lights shone down on her and the audience when referring to the sunshine. The backing artists would be in beautiful khaki suits and dresses. When mentioning the rainstorm being gone, Pearl would walk to the end of the stage, several sparklers going off. She repeated the same knocking and heart choreography, throwing her arms up to the air, the wind blowing her dress back triumphantly as the grandmotherly singer gave glory to heaven.

Come home, my child! . . . My friend!

Pearl sang through the last note of the chorus as the backing vocal artists carried them through. Pearl's smile was wider than ever, the screens finally turning on to reveal a candid painting of Cary the Golden Retriever sitting in a golden meadow of Carytonic oats, under a rainbow, the fresh rainy dew still on the plantlife. Pearl would sing the final two words with tears streaming down her face, repeating the same gesture to heaven.

by **Malta Comino Gozo** » Wed Jul 21, 2021 1:42 am

Song Title:Homeland
Artist: Cika Mizzi
Lyrics and Music: Adam Borg, Cika Mizzi
Language: English
Sonnet Son-I'm Not A Warrior

Malta Comino Gozo was in the lead again! The jury votes wrapped up and they had racked up 118 points with two sets of 12 points from Rhim Flavezztowland and Ethane putting them 19 points in the lead. Thousands of people back home couldn't believe their eyes as they sat watching their television or were out in the main squares of many towns watching it all on the big screens set up. One by one the televotes were released. MCG still hadn't been called out. We reached the top 2, Malta Comino Gozo and Scotatrova. "I can reveal that second place in the televote got 121 points, and this nation is... Malta Comino Gozo!" The camera had split the two countries onto one screen and Unnamed Static and the HoD screamed with pride and excitement!! They were on 239 points! The hosts paused for what seems like hours. "Scotatrova is the winner of our televote, but they still need 150 points to surpass Malta Comino Gozo! Can they do it?"
Vítor Rasizade, your nation could come out as the winner of tonight's competition. Without further ado, Scotatrova received...127 points! Which means... The winner... of the 91st Worldvision Song Contest is MALTA COMINO GOZO!!!!!!!!!!!!!!!"

The band leapt up hugging and cheering and waving their flags. The HoD burst into tears of joy. The crowd in the Grand Centre go mad cheering and screaming. The lights all turn to the national colours of Malta Comino Gozo as the band make their way onto the stage to accept the trophy from the only and only Brooke Galea. Brooke waves enthusiastically to the crowd who roars. She group hugs the band and passes the trophy to Brody. The band all take turns in kissing the amazing trophy. The small island nation had done the impossible and won three contests in a row, something that has never happened before in the history of the Contest. The small nation home to under over 490K people now had four impressive wins under its belt.

Back home, there were jubilant scenes up and down the country, and the partying did not stop for days. When the band landed back in MCG the next day they were mobbed by thousands of excited fans at the airport. The news dominated local headlines for weeks to come. Malta Comino Gozo had certainly become one of the greatest ever nations in the Worldvision Song Contest.

Cika Mizzi

Cika Mizzi, 19, comes from Gozo in the archipelago of Malta Comino Gozo. She started taking singing lessons at a very early age. She participated and won several local children's festivals. At the age of seven, she represented Malta Comino Gozo for the first time at the 'Verdi International Singers Festival' held in Normandy and Picardy. There she secured second place. A year later she jetted off to the 'Ti Amo' festival held in Kalosia and then to the 'Tralcio D'Oro' festival in Izmedu where she placed first in both festivals.

Her local success includes an outstanding record at the popular festival 'Fl-Ghaqda l-Melodija' where she placed among the top winning songs for three consecutive years and was honoured as the overall festival winner (Children, Adolescents and Adults categories) together with Best Presentation and Choreography. Other local successes include the best interpretation and third place during the prestigious Malta Comino Gozoan festival 'L-Ghanja tal-Poplu', as well as best overall interpretation and first place in the popular festival 'L-Ghanja Tal-Maltin'.

In 2011, Cika was invited to take part in one of the leading international children and youth music festivals 'Extra Music' which was held in Coventry Elejamie. There she launched two brand new upbeat songs called 'My Heart Beats For Love' and 'Simply Hiya'.

Cika is an active member of the 'St Monica Choir', Malta Comino Gozo's leading polyphonic choir, respected by international connoisseurs for the quality, standards and discipline with which it executes its productions. In addition, she has performed as a senior choir member in the popular local rock opera. She has also formed part of the main choir that accompanied the internationally known Tenor Jon Calleja and international artist Michael Bolton. More recently, she took part in another concert as a senior choir member again supporting the Tenor Jon Calleja.

Cika is now one of the main cast that takes part in the very popular youth TV musical serial called 'Dreams' which is broadcast on MCG1. Cika has obtained a distinction in pianoforte practice. She has a Grade four qualification in both theory and practice for the piano and violin.#

Homeland is bursting with national pride. Homeland is about Cika's love for her home country. Wherever she travels in the world she always feels a strong link to home. She also touches on the topic of war, and invasion etc as she sings about past events in history where Malta Comino Gozo was besieged and brutally captured but her people came together to fight the aggressors and eventually claim their homeland back. "Homeland" is an expressive ballad that Cika Mizzi imbues with touching hope and meaning.

This was the first time since WV81 that Malta Comino Gozo had held a national final. 3 Songs and artists were selected by MCG1 to compete with a national televote and international jury vote which saw 12 nations voting. Homeland received the top five points from 7 nations, South Batoko, Carrelie, Joija, Antahbrantahstan, Normandy and Picardy, Pemecutan and Beepee and received the most points on the televote.

Located in South Darkmania Anÿme is a summer getaway that has family attractions and untouched nature on land and water. Behind Anÿme’s allure are a pretty historical quarter, a green seaside promenade and the adorable wooden wharves where fishermen once sold their catch.
It took about 5 hours to fly. The MCG team would stay in the centre of the city in a 4-star hotel. The Hotel called the ‘Haymaker’ was the biggest building in the town, save for the cathedral at the northern edge of the town, thanks to its steeple. The hotel was of a thick grey stone and the streets around were lined with cobbles. Cika quickly unpacked her things and got ready to explore. She had heard all about the famous zoo and this was on her list of things to see.

The giraffe in the paddock leaned its long neck over toward its mother, resting its head against her silky fur and half closing its eyes in bliss. Cika was mesmerized by their shape, so elegant, beautiful. Their pattern was like a rich chestnut painted on golden cream and their heads were art. She watched them, ears like cuddly toys moving according to their mood. She couldn't quite get over their legs, so stretched looking but strong at the same time. Then as if right on cue the smaller giraffe looked her way, its eyes a rich brown. It reminded her of that time a beluga whale had eyed her at the aquarium.

The audience in the hall cheers ferociously as the reigning champions take to the stage. The added cheers excited Cika as she stood in the darkness of the stage. The time had finally come, her very first performance to an audience of this magnitude. She inhales deeply, exhales and smiles. Cika walks out into the middle of the black stage. The arena lights are dim but the hall is loud with cheers and screaming. The postcard ends.

The music starts and we have a close-up shot of a man's hands playing the piano, playing as if the room was empty except himself and Cika as if he were practising and the audience was his mirror. His fingers run effortlessly across the shining keys. The camera fades from the piano into a shot of the stage from afar. A spotlight from the right of the ceiling enlightens Cika's right side in a delicate glowing whitish-yellow spotlight, the LEDs on the stage remain black. The camera begins from afar and then gets closer. Cika who is initially looking at the floor looks upwards slowly. Her blue ombre dress skirtpooled about her like a cascading waterfall, chiffon layering sumptuously, beckoning you to touch it. The halterneck top revealed her smooth shoulders and accentuated her neck, and all that would have made her appear soft as a wisp if not for the detail in leather, crisscrossed under her small breasts and cinching her waist. A touch of strength, just enough, to give this princess the presence of a warrior. This was accompanied by wearing grey stilettos. In that light, her skin was the gold of wheat, of those golden ears that sing right to the poetic heart. Her long brown wavy hair wraps over her shoulders, flickering in the lights. The camera fades to a stage shot from the left looking at Cika. She is half cast in darkness from the dark stage. She brings the microphone to her lips and sings the first line "Hmm Oh." She sings delicately, her breath hauling the song around the auditorium like a breeze. She has a composed and apprehensive look. Her eyes shimmer in the spotlights. Her dress flutters gently in the wind from the wind machine.

The camera then fades into a close-up facial shot and slowly spins around her. Cika the whole time, remains looking forward. As the camera turns clockwise around her, we gradually face the direction in which the spotlight is coming from. We are left with a bright screen and a silhouette of Cika and her microphone briefly before the camera slowly rotates even more slowly concealing the spotlight as it goes out of view. The camera fades to black as it reaches Cika's back just enough time to see a sea of lights from the audience twinkling, and fades into a diagonal stage shot on Cika's right. She sings outwards into the audience before looking directly into the camera, a sombre look on her face. as she sings "But you couldn't leave me alone."

Hmm Oh
I am your childhood home
Home of
The words you said
But you couldn't leave me alone

The camera is still focused on Cika. She raises her left hand slightly upwards as she sings the first line of the next verse as if caressing the glowing light shining onto her from the ceiling to the right. Half of her is still cast in shadow. Her voice carries a bittersweet nostalgic sadness as she sings about her home country. Her usual relaxed notes are intertwined with a bit of sadness. Her eyes are usually glowing with light, but they are obscured by shades of fear and pain. But above all else, a lingering hope lurking in her mind is dispersed in her soft, beautiful voice. As she sings "My native country thee" the camera picks up from where it left off earlier back behind Cika looking into the crowd. As the camera continues its clockwise turn the right spotlight fades allowing a left spotlight to illuminate her once again on her left side. The spotlight then moves in front of her illuminating Cika only in a bright splendid warm white/golden light.

Shifting sands
And broken plains
All lead me onto my homeland
My native country thee
Land of the noble free..

For the chorus, the camera moves clockwise around Cika as she sings out into the audience. The stage remains pitch black but this time the LED backscreen fills with nostalgic drone footage of Malta Comino Gozo, from its turquoise seas, ancient forts and the Valletta skyline each one fades effortlessly into the next. For each quarter rotation, the spotlight again shifts. It starts on her left, fades out to allow a spotlight from behind to come in,

This is my homeland
This is my motherland
Here in my country
My lands shining in the sea

The camera carries on the same again for the right and then the back as the camera does a full orbit. Each quarter leaves a part of Cika in shadow. We have a breathtaking silhouette shot of Cika again as the camera moves behind her as Cika eclipses the spotlight coming from in front of her. She stretches her hand outwards delicately as she sings "Finding the way for me" Before the camera fades into a side on facial camera shot for the last line. She stares out intently into the arena before turning to her right shoulder as the camera fades into black. The crowd cheers.

This is my homeland
Lost, my homing compass with me
Pointing north for thee
Finding the way for me
This is my homeland

We have a brief close up camera shot again of the piano keys being played, before the camera rises elegantly upwards as she sings "Light begins to rise" revealing Cika again. The stage begins to fill with golden threads of morning light. The rising sun on the LED behind casts a rosy hue across the stage floor. The sun rises over the rolling countryside of Malta Comino Gozo. Golden light dribbled over the land like syrup on oat porridge. On the LED we see a beautiful view of the sunrise above Laqba.

Light begins to rise
Above the skies
Lighting up
All the islands in their way
The sun-washed tones
And rolling fields
Here in my country, I am proud to call home

We have another onstage facial close up of Cika's right. The stage behind her turns dark again and the images fade. She is still cast in a white/golden spotlight. She shuts her eyes as she sings passionately. The camera turns slowly so it is now diagonal to Cika. (0:00-0:15 of the video) Cika raises her left hand for emphasis as she sings. A soft silence fell over the audience; they were enthralled by the intoxicating melody produced by such a slender throat. From the very depths of her soul, the song rose and swelled, and it seemed as if all could feel her sorrows and joys.

My native country thee
Land of the noble free..

The camera quickly cuts to a view in front showing Cika. The camera is near to the floor looking upwards and we can see the breathtaking lit-up white LED's behind her. The stage fills with bright light from all around the back of her. The stage shines around her beautifully. The wind blows her dress subtly. Cika gestures with her free hand as she sings. The camera then cuts to a close-up body shot as she sings "Here in my country". She makes no eye contact with the camera. She has a little smile on her face. The camera moves outwards. Her powerful voice resonating out. The camera pans outwards showing the stage and some of the audience members with their lights.

This is my homeland
This is my birthplace
Here in my country
My lands shining in the sea

The LED's turn black again. We then pan around Cika slowly at an obtuse angle right to left as she sings emotionally and delicately her voice that caresses the notes and lyrics. There is also a heroic tone to her voice too, a voice that is filled with confidence and inspires bravery. As she sings "Finding the way for me" she stretches her palm out to the camera right in front of her as we have a close up facial shot. Cika has a pained almost angry expression on her face. Her genuine love and patriotism for her home country can clearly be seen due to her expression.

This is my homeland
My homing compass with me
Pointing north for thee
Finding the way for me

The camera fades to an on-stage shot on the right of the stage in front of the grand piano as Cika walks over to it with renewed vigour, the onstage camera stays on her as she walks across the centre of the stage slowly. As she walks along parallel to the front of the stage we have an augmented reality scene played out in front of her, as we see male knights and soldiers caught up in a war. (Please see this video for an example.) The LED floor changes into a wasteland. Every mind was as much a battlefield as the sand at their feet. Every gaze lay resolutely ahead, none able to take in the emotion of their friends as well as their own. When the cry came they launched forwards without delay, the grains shifting under their boots were their homeland and to see the foreign warriors upon it was all the motivation their hearts required. The battlefield was dust and dirt, all baked under an unrelenting sun. To the soldiers, it felt more like a gladiator's arena, albeit without the cheering blood-thirsty crowd. The soldiers charge at each other. Cannon fire explodes all around Cika, with dirt exploding into the air, still, Cika carries on walking. The AR figures charge and battle in front and behind as Cika walks through the gaps in the battle. They crashed upon the castle walls as their commander screamed; “Fire!” in desperation. Their iron-shod feet clapped off the ground like the rumbling of thunder. A tempest of wicked, barbed fire arrows soared into the sombre sky. They sizzled before hitting their targets. Fountains of fire embers rise into the sky. The scene carries on playing out as Cika reaches the grand piano and leans over it. The camera swings from behind the man playing the piano onto Cika who follows the lense with a glaring stare. The camera nears her face as she carries on singing passionately before it curves right around shooting off to the left keeping her in view at all times. The LED's are black. The stage floor is now covered in a light whispy fog and the battle scene is over. The camera fades from the left edge onto a front body shot of Cika as she raises her left arm and closes her eyes for the last line "No no one can longer conquer us.." Her face full of power, as a white spotlight, rises spectacularly behind her illuminating her from behind. She delivers the last line perfectly. The stripes in the stage design glowing white.

Have you forgotten how it felt that day?
To see your homeland under fire
And her people there blown away..
Have you forgotten when those towers fell?
Besieged and strangled we stand back up
No, no one can longer conquer us..

(0:32 of the video)[/i]The camera fades into a shot of the whole stage and arena from the back of the hall. Huge white beams of light stretch outwards from the stage penetrating the darkness of the arena. The lights billowed out, matching the sudden boost the song had. The LED's sparkling silver. We can see an array of mobile phone lights swaying side to side. The camera fades to a below the stage shot looking upwards towards Cika with most of the stage in view as she sings "I see a lighthouse." The camera slowly creeps nearer as Cika walks away from the piano towards the centre of the stage again. It fades into an upper body close up as she sings "It's not dark I'm not alone." Her eyes look almost teary.

I'm finally home
I see a lighthouse
I don't have to roam
It's not dark I'm not alone

She takes a quick deep breath and spreads her left hand out to her side, shutting her eyes as she sings, leaning back, the emotion taking over. She opens her eyes. The camera fades to a shot on her left again looking up from below the stage as she sings "Pointing north for thee" The LED's are still glittering white and silver behind her, a gentle fog rolling across the stage floor. The camera fades back to the frontal upper body shot as Cika places her left hand on her chest ready for the long note of the last line. The camera gentle fades into a boom camera that pulls away from her outwards as Cika raises her left hand up, her eyes shut again as she nails the note. She sings with pure emotion and power.

This is my homeland
My compass with me
Pointing north for thee
Finding the way for me
This is my homeland...

The on-stage camera pans around Cika on her right, right to left, the spotlight coming from her left glaring briefly on the lense. She leans forward, her posture spoke of graceful self-confidence, her eyes tightly shut and belts the first "This is my homeland" Her voice echoes out. Her right hand gripping the mic. The audience cheers. The LED's begin to fade to black as she sings the next "This is my homeland." The camera focused purely on her intent and glaring gaze. The camera pans around her left, right to left as she sings "Oh oh" She softly sings the final note, her eyes slowly trailing upwards to the lens of the camera, which is zooming towards Cika steadily. Her eyes tinted with bittersweet joy, her smile tinged with sadness. The camera fades to black as the song finishes.

Here in my country
I'm free to be me
This is my homeland
This is my birthplace
Here in my country
My lands shining in the sea
This is my homeland
Oh oh
This is my homeland

The lights in the hall turn on and the crowd are on their feet roaring and cheering! Cika clutches her face with emotion, trying to hold back tears. She is overcome with emotion Finally, she pulls the mic to her lips, "Th-thank you so much!" Breathless but smiling she vacates the stage as "MCG!" chants ring out through the hall.

by **Darkmania** » Wed Jul 21, 2021 9:05 am

The camera cuts to Hënryëtta, now surrounded by the audience. She has a phone on her pocket that can be seen and she pulls it up, while speaking.

Hënryëtta: That was the entry from Malta Comino Gozo, "Homeland". They have won the three last contests in a row so the question is will it be a fourth one? Well, we will know by the end of this show where you can have a say on who will win. Don't forget to download the official Worldvision App at your local app store on your phone. There you can see all of the news, exclusive rehearsal clips, and of course, you can vote via the official app. Remember that it will cost the price as a regular SMS vote in your own country and you can vote up to 25 times on any entries from other countries you like, bar your own.

Hënryëtta puts her phone back into her pocket.

Hëntryëtta: It appears that people don't know a lot about Darkmania, bar some interesting persons. Luckily, we got one that will try - and I emphasize "try" - to present Darkmania. Ladies and Gentlemen, give a warm welcome to the one and only.... Käroline Füks!!!

The audience goes wild as an old comic relief character now returns with her usual shenanigans.

THE FÜKS CRONICLES

Wait, we are hosting Worldvision?!?

(Kärolina Füks is a fictional character played by darkmanian actress and television-host Rëbeccä Rÿstamirn. She (Füks) has a long history with World Hit Festival but has now been brought back after a long time not being used, ans will act as comic relief for Worldvision.)

Kärolina Füks are sitting on a chair, in front of a green wall, as she is about to present the votes. There is a man that interrupts her, announcing that Darkmania is hosting and that they need one to present Darkmania. Füks does look at the camera.

Kärolina: Good evening, Insert host city here, and wh...
Voice of a man: Füks, no.
Kärolina: ...at an amazing ho..
Voice of a man: We are hosting the Worldvision.
Kärolina: Can yo ... Wait, we are hosting Worldvision?!?
Voice of a man: Yes. And they need one to present Darkmania on the world stage, as well as the host city of Anÿme.
Kärolina: Anÿme?!? Is it the place with that fun name that has caused a lot of jokes on the web? Ill do it. What can go wrong, right?

Füks have now moved in front of a map of Darkmania, with her now being in view in full. All of the cities are written on the map and the rivers of Darkmania, the lakes and the motorways are on this map Some darkmanian flags are placed on the non-land area of the map, but it isn't distracting.

Kärolina: First, what is a Darkmania? Well... it's a country that is located in ... er... in Darkmania. Look, geography is not my strongest part, ok.

Füks then points at the strait that separates the province of Hiklarmangia and "the mainland".

Kärolina: The capital, if you remember the 67th Worldvision, are Örkendrem and they have 12 million inhabitants that live there for some reasons.

Füks then realizes that she has pointed at the wrong stop and then moves her pointing finger to a piece of land in the "mainland", but still isn't at the exact spot where the city is located, despite it being clearly written on the map. She then moves her hand at the map of the area, showcasing Hiklarmangia (an autonomous province of Darkmania).

Kärolina: If you wonder what this, its called Hiklarmaniga. And they speak hikarmangian instead of darkmanian. But unlike darkmanian, few people speak it. Only like 5 million.

There is an another island that lies on the south coast of Darkmania. Kärolina moves her hand to point at the island.

Kärolina: And here is the island of Fëruga. The island-province where you can have fun and accidentally become a parent to a child you never want anyway.

She removes her hands from the map and accidentally knocks on some darkmanain flags that end up falling off the maps.

Kärolina: We have studied darkmanian people and it took us 19 years. And after 19 years, we come to the stunning conclusion that people living in Darkmania are living in a society. I know. I lost my mind hearing it for the first time.

New scene, and this time, she is inside of what looks like a car factory that produces cars. She has an orange safety-west on as well as a yellow helmet on her head, with the logo of the company in mind, being the sole car brand from Darkmania "Dëritee".

Kärolina: Dëritee are the icon of Darkmania. They produce cars with 10% of the labour-force. Cars that don't break down after just a few kilometres unlike other brands since manage to get one kilometre more.

A new scene as we now see Kärolina in front of a yellow wall inside of what looks like a regular room. She has a table and on said table, there is a glass and a bottle of wine.

Kärolina: Darkmania are known for their wine. There are some rumours that the wine tastes quite strange. I am here to disprove it. Danyël! Please give me a glass of wine, thanks.

An arm of a man now opens the bottle and pour the wine from the bottle. The colour of the liquid coming out from the bottle comes out red. After the glass gets full, the arm that poured the wine moves out of the picture. Kärolina takes a sip from the glass, but after a few seconds, the looks she gives hints that the wine tasted poorly. She moves her head under the table and vomits the wine out. After she has got everything out she faces the camera falsely smiling.

Kärolina: That wine tasted good. I need an other shot of it.

We now cut to a montage where we see Kärolina drinks more and more wine, getting more drunker and drunker at the same time. Empty bottles fill the table and one of them even falls of and shader on the ground. After the montage, we return to a clearly not sober Kärolina looking at the producer behind the camera.

Kärolina: *Unintelligible mumbling*-ing phone! I need to present my two friends to him. They will have fun. *Unintelligible mumbling*.

Who Kärolina calls will be unknown. She calls the number to whomever she calls and she begins to talk. She also begins to undress drunkenly.

Kärolina: Hello. Is this *Unintelligible mumbling*? I have two friends with me and i want to have fun with them . They are called "Bo" and "Ob". *Unintelligible mumbling*.

The last scene of the short video how has moved so some street with a canal running in the background. Kärolina doesn't look quite sober but this time, you can now hear what she says this time.

Kärolina: And that was *hick* what Darkmania has to offer. Join me *hick* next time as we explore the "shity" of Anime. Anÿme! Oh God. I'm gonna go away before someone finds out. Bye.

She walks out of the picture, only to hear a scream and then a splash. The camera then gets a place on the ground on its side as we see two men run toward her to save her from drowning. One of them dives into the canal while the other is on the ground. Luckily, they save Kärolina and pulls her out of the canal, soaking wet. But sadly that was the end of the film.

We are now back at the live broadcast from the venue, and we see the stage are getting ready for the next entry. Hëntryëtta are on the platform that are surrounded by the fans.

Hëntryëtta: Ah, Kärolina Füks. Trying to present the basics of Darkmania and ends up becoming wet. Don't worry, she will be dry. Now we still have songs to go so give it up for our next entry, "Sonar" from the one and the only Achaean Republic!

The camera flies away as we cuts to the postcards to Achaean Republic.

by **Achaean Republic** » Wed Jul 21, 2021 5:05 pm

18| Achaean Republic
P.P. Galore-“Sonar”
Tune: Gloria Groove-Radar
Music & Lyrics:P.P. Galore, Marianne Castro, Juan Álvarez

It’s hard being the Achaean Republic’s most famous drag queen.

After performing to a respectable sixth place in the 79th WorldVision song Contest in Phoda, Talvezout, legendary performer P.P. Galore was ready to hit the international stage. Tapped to host Drag Race Acaya and also receiving an invitation to compete in Landa vy Polkopia—a move not many were and still are unhappy witnessing—, she seemed to be reaching the pinnacle of pop music excellence. She became Achaea’s most popular LGBTQIA+ artist on Spotify with millions of followers and listeners and downloads. She caught up with the hottest trends, lending her signature bombastic drag style into iconic fashion houses like Guess, Coach and Andrew Christian. She also became part of the Achaean Department of Health’s iconic Condonízate (“Condom Yourself”) Carnival campaign advising revelers to enjoy the festivities safely. For a moment, P.P. Galore became a legend and a household name, and not just in the WorldVision sphere.

But then came the pandemic, and everything changed. For more than a year, P.P. Galore became Tomás, just Tomás. The powerful, energetic, iconic woman hidden under the wig of a balding, lonely, somewhat frustrated young gay man named Tomás Pérez Jiménez had to deal with the isolation forced upon the world by COVID-19. Navigating through the pandemic was hard enough, living alone in a penthouse that he could barely afford, afraid of downsizing not because of any issues of appearance but because of the claustrophobia exacerbated by his loneliness. (Having somewhat overcome the fear of heights by her performance in Phoda, dealing with claustrophobia and agoraphobia should have been the least of Tomás’ worries at this point.) He was bored, frustrated, dejected.

To top it all off, he might have caught COVID-19 during a random trip to the store, what with wearing masks and gloves and anointing his body with hand sanitizer all over. Thankfully the effects were quite mild and annoying—just enough coughing, sneezing, wheezing and chest pain frustrating enough to beg his mother to come make him chicken soup all the way from Buenaventura. He felt like it was almost dying, though he only wet his bed once or twice. Tomás felt that he was not just losing money out of quarantine—he was also driving himself mad. But he—erm…she…needed to do something to himself.

There were the lives and the fundraises for COVID-19 research. There was the blogs and the interviews showing his messy apartment, his life as Tomás and his fabulously feminine alter ego. It was a moment of clarity and revelation for many of the singer’s fans, more so the young ones, who learned that the powerful, feminine and feminist queen was also a strapping, vulnerable young man.
It was at this moment where Sonar was born, a play into relationships failed, past and present, but also offered a metaphor into the duality of Tomás’ public identity and P.P.’s privacy. The idea was to turn the idea of the intimate and the intricate into its head. “Sonar is an analogy of the times,” said P.P.—now fully in drag—on a virtual press conference before going to WorldVision. “When I was invited to perform, I pulled it out of my head. It was an important opportunity to demonstrate the other side of things and get something with a sexy, danceable beat. It’s a club track, yes, but it’s a club track designed to make you think.”

Despite taking an unthinkable one-edition break, the Achaean Republic was once again expected to compete in Anÿme while following through with the broadcaster’s internal selection. There was some expectation in the arena for the Achaean performance, more so with a popular drag queen that some might have stereotypically dismissed as one part of the Achaean nation’s multiple sexual eccentricities. Nevertheless, the crowd cheered for Achaea, more so the few nationals in the crowd that somehow traveled there or somehow lived there (Darkmania was not known as a destination where Achaeans would emigrate to unlike Malta Comino Gozo, Ertzei Kishim, Britonisea, Scotatrova or even the United States—were they competing in the WorldVision).

P.P. Galore—erm, I mean, Tomás—was nervous, sweating bullets through his—erm, her—steely façade. Not the first time competing in WorldVision, yes: she did remember her iconic performance back in Phoda that cemented her as an iconic queer household name. But this time, she didn’t have the luxury nor the backup of a troupe of backup dancers whom she could copy off any movements or dangle around a rail-less platform in the air. This time, she needed to perform the choreography herself with the unhelpful aide of a hologram who would mimic every move. This was the secret: unlike other times where the staging was irreverent and boombastic, the performance was meant to be upbeat and minimalistic, relying on P.P’s stage charisma, stage presence and her two left feet. This was enough pressure for a simple drag queen.

The first scenes of the stage featured the LED beams with green fimbriations instead of the usual red-blue-green patterns shown previously. Hidden smoke machines were deployed into the stage covering the floor. Initially unseen unless eagle-eyed viewers would notice, there was a glass partition in the center of the floor. On the massive LED screen behind it was a classic image of a green radar with a beeping red dot on the center. The titular sonar was pictured as waves of echoing sounds that interacted and crisscrossed within each other, making curvy X-shaped crosses every so often. This would be the extent of the performance, a quite minimalistic interaction than previous performances.

P.P. wore a forest green zip-up track suit with white fimbriations on its bodice, a golden chain crafted of zamak alloys, and a pair of custom-designed hi-ankle Reebok boots from Maison Margiela. She also had golden stiletto nails that were accented on the ring finger with a cream-colored polish. Compared to previous entries, her look was much more sporty and demure, ready to dance. A lot of queens would criticize the fact that she didn’t dance in heels—but she never did before. It was too much work to pull off successfully. Besides, it’s been a while since she pulled something chic and sporty while on drag.

As the music began, P.P. started dancing. Shimmy to the left. Shimmy to the right—her right, or the dancer’s right? Wait, the dancer’s not showing up now! It was confusing in her brain. It was chaotic. But she would make it work. She whipped her jet-black African locks to and fro in a way that would give any viewer whiplash. She needed to start out strong, stomping her feet and moving her shoulders, swinging sideways to the beat of the music. The cameras were focusing on P.P.—not Tomás, the scared little gay boy from Buenaventura, but the powerful drag queen who beat the virus and lived to tell the tale. The cameras were surrounding her as she moved with confidence and then strutted herself as if she were wearing Vera Wang haute couture-style heels (which, she might add, are very comfortable to wear!)

Camera angles were important to create a sense of disorientation for the viewer, much like the disorientation experienced by the singer. A shadowy figure was waiting beside her, which was impossible to determine just by camera angles alone. Another camera angle showed an image that was intently watching her from afar. It was copying her movements from the distance, almost to the same beat. It was her and him…or her…or it…dancing in a social distance, separated from a large glass panel.

(Roll the fat beat!)
Me hiciste volver al pasado
Tú estabas bien, y yo errando
Yo perdí

Aún así, es débil la memoria
Pues me llevaste a la gloria
Yo perdí

A bird’s eye camera of the stage featured the partition between P.P. and the shadowy figure on each side of the partition. The person kept copying her moves, her slides, gliding its way to and fro the scene, trying to grab the camera’s attention. It felt like a game of follow-the-leader that had no beginning, no end, no purpose whatsoever, if it only meant to trip her up. At least it felt like it for her, all the while she tried to sing and not mess up her beat and attempted to portray a sense of misplaced confidence in the rupture of her broken relationship. It reminded her of the placement within her relationships: the fear, the loathing, the expectations, the frustrations. It reminded her of the shadowy presence of doubt trying to throw her off her game.

Te escucho aquí, cuéntame tu gran verdad
Aquel sonido no escuché de mi sonar
Contando cuanto eres juglar, sí
Es el momento todo debe la realidad
Desde la realidad
Desde la realidad
Nada será final
Nada será final
Desde la realidad
Desde la realidad

Then came the rapping part. She was always good at rapping, spitting her game and freestyling when need be. That’s what distinguished her from the rest of the Achaean drag performers. She listened to a lot of bootleg copies of Tupac and DMX in her tape recorder, trying to copy the flow and mimic the impressive delivery in their rough vocals. She translated that same delivery to the song, attempting to fit its content to the motions of the music. This was the part she mostly enjoyed—as Tomás, not P.P.—to craft the perceptions and reveal the intricate patterns that made music enjoyable.

But then she had to dance and sing at the same time. Tomás could remember the first time he tried to do it back at his local Corola club at rehearsals, singing, dancing, and rapping all the while supporting her weight in six-inch heels! In many drag circles, performing without heels is virtually anathema to the experience, and P.P. would definitely get some flak by doing that on WorldVision. But she didn’t care—comfort over style, all the way.

Her comfort was reflected on how she seriously delivered her lyrics to the many cameras while attempting to mimic the same movements as the shadowy figure on the other side. What was he, you might ask—an old boyfriend? A nebulous picture of self-doubt? P.P.’s long-lost twin brother? A shoddy hologram? (It wasn’t clear if Darkmania offered holograms at a price, or if Vartugia somehow destroyed them along the show.) The question could never be answered, for all the figure would do is copy P.P’s moves.

Quisiera saber dónde están sus heridas
Un buen pedazo se ecuchó en nuestra compañía
Un fracaso a fuego lento, me quedé sin el aliento
Así estaba perdido, tú estabas tan sola y fría

Era tanta la desgracia
Que yo pienso el sueño pensando en tu cara
Entre el vacío estabas tú y la nada
Y ahora el deseo de perder la mirada

At every line, the TV cameras titled leftwards. Then rightwards. Then leftwards. Then leftwards. P.P. was placed on the viewer’s left, the masked dancing figurine on the right. She was leaning her body to the left. She was leaning her body to the right. It was leaning its body to the right. It was leaning its body to the right. There were more than camera tricks—nothing or nobody behind them were propping them to make those angles. It took a lot of dexterity, exercise and balance training (not to mention a couple ballerina classes and a few size 13 en pointe shoes!) to manage to work those angles. These provided a resounding roar from the audience, more so the Achaeans excited to seeing their countrywoman perform again, spicing up the cool, Darkmanian summer night.

Tanto tengo a seguir
Hasta el fin
Puedo saber que tantos errores
Antes yo ví
Puedo ser así
Dime que sí
Así te perdí

Again came the chorus. She needed to keep up the same energy she had during the rest of the song. Energy, energy, energy—drag queens needed a lot of energy! She needed energy (and a lot of booze!) to put up with twenty-minute dance numbers on heels and three-hour livestreams without resting her voice and filibustering her team’s group in the distance. She was thankful the song was shorter, though, for she could avoid pelting her feet with corns and calluses while attempting to follow the dance moves. Strut to the left. Strut to the right. Strut to the camera, heel-toe-heel-toe-heel-toe-heel-toe. Slightly wave to the fans to the left. Slightly wave to the fans to the right.

Te escucho aquí, cuéntame tu gran verdad
Aquel sonido no escuché de mi sonar
Contando cuanto eres juglar, sí
Es el momento todo debe la realidad
Desde la realidad
Desde la realidad
Nada será final
Nada será final
Desde la realidad
Desde la realidad

The song suddenly stopped. The lights turned on, and the cheers from the crowd were finally growing. More so the Achaeans, who were excited to see P.P. back to some type of form, within some type of normality. Tired, hurting, strained from all the footwork and wonky camerawork needed to make the performance make sense. She was grateful, though, soaking up all the attention from the fans, Achaean and foreign alike. Waving to the crowd to the left and the right.

She was ready to this again. This time, on a bigger stage. Or maybe at a local gay club, between the hours of midnight and 3:00 AM.

by **Antahbrantahstan** » Wed Jul 21, 2021 8:17 pm

19. ANTAHBRANTAHSTAN | إانتهبرنتهستن

Helena Reva - Pure Hate
Tune: Ani Lorak - Noviy Bishiy
m & l: Aditya Gemilang

The stage is dark, until we finally see Reva, wearing a blazing red trenchcoat, sitting on a bench. Looking very exhausted, as if she was chased by someone so terrifying to her, though unknown to the audience. The LED screen simply shows red and black colours moving about, in tune to the song's beat (a la Luca Hanni's Eurovision performance). The camera, seemingly mounted on a steadicam, focuses on Reva from the waist up, until she finally started to sing, explaining to the audience what goes on, revealing the unnamed antagonist whom Reva and her unseen friends fear, Reva then stands up, revealing her full outfit, which also consists of black, knee-high boots.

Reva later lets her guard down, transforming her onstage persona into a sassy, almost bitchy attitude, pretending the enormous Darkmanian WorldVision stage is a catwalk platform, trying to make this unnamed antagonist shiver in fear, perhaps apologizing to her, but Reva understands, that this antagonist will never to that, for he has a heart as dark as cold, stormy night. Reva walks into the middle of the stage, carrying her microphone with her, letting her body and mind have some fun, enjoying the stage, until her verse echoes.

Before chaos will ensue.

Everything goes smooth, nothing in the middle
As soft like a fleece blanket, off the drawer
Until you walk inside, full of ignorance
The laughs we had now turns into deep shivers
Have you ever reflected off your mistakes?
Or will a slap bring your mind back to your own senses?
No sane person loves you, they never scold you
So i'll take the chance before chaos will ensue (Before chaos will ensue)

The LED screen suddenly changes the image to an MC Escher-like stair design. Complete with versions of Reva, complete with her trenchcoat, walking about in this dizzying array of stairs. Presumably signifying Reva's desire to enter the mind of this unnamed antagonist, though at the end, she simply cannot figure out what is wrong with him. Mindlessly walking the unending stairs, Reva is confused, and the audience, having no idea what is going on, is invited to enter the bizzare mind of the antagonist, complemented with the camera angles, including a shot where the camera slowly zooms into a singing Reva, and the camera tilting, both at different occasions.

During the "This will be the end.." verse, the camera stays at a comfortable, shoulder-up angle, with the LED screen purposefully made blurry by the cameras, the stair image now just a plethora of random shades of white.

Stop the clocks! This is too much
I can't stand your own ignorance
Everyone else sees you as a malady
Make up your mind
I am not what you're looking for
Don't ever make me do favors
Hushed you a hundred times, i hope to God
This will be the
End, end
End, end
This will be the
End, end
End, end
This will be the
End, end
End, end
This will be the
End, end
End, end

The LED screen turns to a plain white, now relying on camera angles. The camera would switch angles, ranging from a zoomed out waist-up angle, to a close-up angle, showing every single inch of Reva's confusion, this antagonist seeping into her mind and soul like a blob of ink on a river.

Like a wolf scaring off a small pack of cows
Your nuisance makes you nothing more but an asshole
May i see you on the news, you on death row
Cause your sins are more than the weight of a charcoal (The weight of a charcoal)

As before, the LED screen changes to the same staircase image we've seen before, though this time, the floor LED screen also showcased the same image. Reva, startled, dropped to the floor, her face turning into an even more confusing array of emotions, like an actress starring in a B-movie slasher. Her fingers, her arms, turn from a confident stance, to a scared, meek shiver, protruding from every single inch of her body. The camera, to Reva's horror, tried to capture every moment of her anguish, with dramatic, Indian soap opera-like zoom ins being used during the "This will be the..." verse.

Stop the clocks! This is too much
I can't stand your own ignorance
Everyone else sees you as a malady
Make up your mind
I am not what you're looking for
Don't ever make me do favors
Hushed you a hundred times, i hope to God
This will be the
End, end
End, end
This will be the
End, end
End, end
This will be the
End, end
End, end
This will be the
End, end
End, end

Reva makes peace with herself, seemingly understanding that she is safe, she stands up, triumphantly, all signs of horror and anguish gone from her body. As the LED screen changes the image to the same red shade we have seen before, an unknown man, smartly dressed, enters the stage, walking behind her, before he taps on her shoulder, just as she finished whispering.

Reva, finally facing her antagonist that have ruined her life, sings in front of him, her face turned into anger, as if it will explode in any moment. The LED screen now shows the image of a busy intersection. With random extras, dressing casually, walks about on stage, as if walking on an actual intersection. Presumably hinting Reva's reconnection with this world, the world that made her suffer, however, Reva doesn't seem to mind. Choosing to finally confront the man that have ruined herself, for once and for all, possibly as an act of revenge, an act of mockery, or maybe, just maybe... she is doing this out of love.

However, she then pulls a gun from her trenchcoat...

Andaikan kamu bisa menyadari segala
Kesalahan yang kamu buat kepada semuanya
Tapi kurasa hatimu sama sekali tidak punya
Kebaikan
Rasa cinta
If only you understood everything
The mistakes you have done to everyone
But, i guess you simply do not have
Kindness
Love, at all

Stop the clocks! This is too much
I can't stand your own ignorance
Everyone else sees you as a malady
Make up your mind
I am not what you're looking for
Don't ever make me do favors
Hushed you a hundred times, i hope to God
This will be the
End, end
End, end
This will be the
End, end
End, end
This will be the
End, end
End, end
This will be the
End, end
End, end

...And shot him, the stage suddenly turning dark, the man collapsing to the floor.

The audience then screamed in horror, or dumbfounded that such event happened again, a sight they never seen before since Gregoryisgodistan. However, the stage lights up, Reva then helps the man stand, revealing it was just acting, much to the audience's relief, before finally erupting into applause, Reva, and the man, bowed down, with Reva saying "Tusen takk, Darkmania!" before running off backstage.

by **Alezian Union** » Wed Jul 21, 2021 9:46 pm

B A C K G R O U N D

Alezian Union might've earned enough reputation as a formidable country in the Worldvision Song Contest, earning top 10 in all of its participations, earning 10th in 90 after reunification with South Alezia's "If I Can Repeat The Past" by QUARTER who won the national Golden Alma, then North Alezia's "FIRE" by the band of the same name which earned 7th, and finally according to the rules, it's Pantabang Island's turn to try and keep the good record or perhaps do better.

A R T I S T - I N F O

(NESIANA at a photoshoot in Bucinnois)

Nellie Aschen Makarina or more known with her stage name of NESIANA is an Alezian Model and Singer. She was born in Rooschfeld / Ra'icha'i, Southern Main Island, Pantabang Islands on 15th of March 1995 to Benny Aschen Makarina and Ammerienne Aschen (nee: Marie) Makarina. NESIANA has shown her talents and interest of singing and modelling since she was 8.

However, due to the conditions in South Alezia (which include Southern parts of Pantabang Islands), Nellie cannot develop her talents properly and her talent went unrecognized due to the government's minimal appreciation for any kind of artistic talents. Due to that, Nellie's parents helped her immigrate to North Alezia when she was 8 with the help of her uncle and aunt (her uncle is actually Willies Aschen Makarina, who is a North Alezian composer (who work with Andi Robi Idris Novogrody a lot) that actually composed her entry as a gift for Nellie eventually.) and Nellie settled in Metropolitan Zafizamarrah with them.

In North Alezia, Nellie finally earned her long-deserved appreciation, winning talent shows for her school starting locally when she was 9. With her highest point being her performance in the National Teenagers' Talent Competition 2010 where she got 2nd. Eventually, she starts doing modelling for Alezian Fashion Digest starting from 2013 until 2019. This is the time where her stage name "NESIANA" started getting known

Eventually, the Alezian Reunification happened, reopening transportation in the Pantabang Islands, thus making it possible for Nellie to return home to the Pantabang Islands. Now she lives in Bucinnois at the northern part of the Main Island.

In her music career, she has not released any albums or participated in any music competition at all. However, when Pantabang Islands got selected to send an artist, ABA/PI wanted to send someone new, and thus Nellie was called to audition, eventually, Nellie was selected after she perfectly sung "My Life Falls Apart Before Me" (North Alezia WV 83).

S O N G - I N F O

As mentioned before, "I Am Lady Night" is a gift from Nellie's uncle after he found out that Nellie was selected for the Worldvision Song Contest. When ABA reviewed it, they accepted the song straightaway. It's upbeatness might've earned a win similiar to what Antahbrantahstan did in Worldvision 83, just a tad bit faster than that song, they say.

The song refers to a Pantabang Islander Folk Story of "Lady Night", where Lady Night enacted her revenge on a hunter who always hurt her feelings and the feelings of those around her. Lady Night haunted his life so much that the hunter always shouted "SORRY" whenever he would woke up from his sleep, looking around himself too many times, and never entered Lady Night's territory anymore.

The message of the song and the folk story that the song was based of is that to never hurt anyone's feelings because some people might never take feelings of hurt well, and to say sorry whenever you hurt someone in any way before it's too late.

R P

HD: Habisyul Damaqqi (Host of That's Tea)
N: NESIANA

HD: Oh god. I'm back to this Worldvision Business... It feels like it's an excuse someone made when they need a quick way to introduce a popular person. What have we become. And speaking of be COME, ladies and gentlemen, I'm Habisyul Damaqqi your friendly host and welCOME to....

HD + Audience: THHAAAAAAAAATT'SSS TEEA!

(All people in the studio points to a glass (not cup) of tea while the camera that pointed into it zoomed out while the jingle plays.
The jingle ends and the audience clapped.)

HD: And welcome back to That's Tea! Well, the Worldvision Song Contest is coming once again the Alezian Union is ready to come back to the competition, especially considering that we'll be taking a rest from World Hit Festival for a while...

(the audience booed)

HD: Hey it's not me who did it, blame the time and the ABA.

(the audience booed)

HD: You really like doing this to me, huh.

(the audience laughed)

HD: Well, anyways. *ahem* Like usual, every pre-Worldvision Song Contest we would introduce who will sing the Alezian Entry this Worldvision Song Contest. Well, unlike Robinov who is a National Superstar at this point even with his WHF 3rd place, we have someone pretty unknown this time, even more unknown than FIRE. They atleast got an album released previously. THIS LADY HAS NOT! But if you read some magazines you'll know her. LADIES AND GENTLEMEN, NESIANA!

(the audience applaused as NESIANA entered the studio, NESIANA waved to the audience before proceeding to sit on her designated chair for the show.)

HD: Oh my god, Nellie you look gorgeous.

N: Ah, oh my god. I- Thank you so much for the remark!

HD: Well, why won't you introduce yourself in case some people haven't known you yet?

N: Well, I shall. Attho'i, everyone, I'm Nellie Aschen Makarina from the region of Pantabang Islands! Or actually, call me NESIANA I feel great being called that. Anyway, I'll be representing the Alezian Union at the 92nd Worldvision Song Contest in Darkmania.

(the audience applaused)

HD: First up, Pantabang Islands. How is it currently?

N: Reunification had been great for the region, I mean, no more espionage, no more confrontations, it's perfect!

HD: How's Bu-chee-no-ees?

N: First of all, for everyone's record, it's Bucinnois (Bou-Chee-No-Ah), and second, oh god it's beautiful. No more traffic jams unlike Zafizamarrah! That was a monstrosity.

(The audience laughed crazily, one even shouted "BLOODY RIGHT")

N: But I do miss the night skyline of the metropolitan, so it's nice that I got to come back a lot lately.

(The audience let out an "awww")

HD: Okay, Bucinnois, check. Now, time for our new segment...

(an LED screen rolls down from the ceiling, and it suddenly lights up emitting the words "SPILL THE TEA")

HD: Well! Time for SPILL THE TEA! A segment where we'll talk about unknown facts and what shall we talk about today?

(the LED screen changes its writing, this time rolling WORLDVISION INVOLVEMENT)

HD: AH! How did you get involved with Worldvision. You have thirty seconds to give a short spill about the reason, or else that tea above your head will pour over your head, NESIANA. So better be quick! Because time to...

HD + Audience: SPILL. THE. TEA!

(the timer starts ticking)

N: Oh god. Oh my god. So basically, ABA contacted me, and uh... they told me, we're searching for artists from the Pantabang Islands, told me they got my modeling pictures and told me I'm currently their best bet. They ask me, I accept. I gave them my uncle's song, I already asked him if I can put it to WV no worries, he accepted, they accepted, Now I have to go to ABASphere once in a week- DONE!

(the timer stops leaving only 6 seconds left)

HD: Well that's nice! You've spilled the tea WITHOUT spilling the tea. Well let's hope that ABA picked the correct choice, I'm pretty sure they're right. Now, you said that the song was your uncle's? how did that happen?

N: Well, first of all, thank you to Uncle Will for the song. He gave me a song that was crazy, upbeat, and pretty... Alezian, I guess? Anyways, he gave the song in my 25th birthday, telling me that I could only use the song for important occasion, and I have to ask him first before I use it. ABA contacted me, I contacted my uncle, ONE SECOND LATER he goes "OH. MY. GOD. USE IT. USE IT AND STUN EVERYONE. Hopefully you'll stun the world with that song." His words. And that's how the story goes. Anyway, the theme was Lady Night because he would always read the story to me when I can't see my parents alot.

HD: Wow. What a story. Anyways how's choreography?

N: Oh my god I don't think I want to show it today... You guys just have to watch the rehearsal clip or the actual contest live later... But I do have to say, I'll be wearing something unusually short. And there'll be a lot of kicking.

(the audience let out an "ooh")

HD: I imagine it to be some kind of a short dress or something? Any crazy details?

N: I'm keeping my secrets for later.

HD: Well, you're really are Lady Night. Keeping her secrets for later.

N: Well for the contest I AM Lady Night. I have to say though, the way my dress was designed, is fantastic. It's designed by Tamarlin, and the way they did it, is that the bottom part will be made more elastic than the usual store bought dresses, so it won't rip when I kick! I mean, a special clothing is always special in my heart since I got a lot of those when I do modelling. But this is Worldvision, we probably got like what, 100x the audience than your usual fashion show?

HD: *nods* well any more details?

N: Also that dress is one of a kind so I'm wearing that for the live event only. For rehearsals I'll probably wear my jeans and t-shirt or something.

(the audience laughed)

HD: Okay! We'll listen to your song right after this ad break! I do have to say, the 92nd Worldvision Song Contest is an international spectacle you don't want to miss! Watch it live from Anyme, Darkmania on the channel THE OTHER next door, ABA Channel 1! Ladies and gentlemen, I'm Habisyul Damaqqi, your handsome host for the day, and you're watching...

HD + N + Audience: (points at tea glass) THAAAAAT'S TEA!

(The camera zooms into the glass of tea, playing the jingle before transitioning to the show's logo and then transitioning to the ad break)

P E R F O R M A N C E

I'm Your Lady Night
Sung by NESIANA

Music: Willies Aschen Makarina
Lyrics: Nellie Aschen Makarina
Backing Dancers: Aaron Sartel, Wayne Harris-Willings, Muharram Yasma'un
Backing Singers: Isabel Darei Dadon, Maria Darei Dadon
Tune: Kratae Rsiam - Wilisamala

(The postcard ended, the audience started to settle down. The stage was pitch dark at the start. As the instrumental starts, and the camera gave the view of the backing singers shouting a long chant in the dark, then the instrumental becomes more intense as the view changes to a closeup of NESIANA from bottom to top as lights slowly turns on, not too quickly.

Suddenly, when the first "HEY" was shouted, the lights violently started lighting up everywhere, as fire was quickly activated and bursted upwards for a quick second. This was repeated for every single "HEY", as the camera shows NESIANA and her backing dancers walking to the front of the stage, before the camera zooms in to NESIANA wearing a white short dress that is decked with diamonds with her white high-heels as her footwear. Afterwards she received her microphone from one backing dancers which prompted her to start singing, as at this point the fire and lights start slowing down.)

The sun sets down to rest
It's time to create unrest

And I've tell you time and time
Don't mess with me as a game

(The backing dancers assembled a horizontal line behind NESIANA as NESIANA falls backwards which then followed by two nearest backing dancers giving her support from behind as the furthest two kicked their leg upwards)

Do it like that,
Not like those or not like them
With a kick,
And I am not stopping giving 'em

(The backing dancers helped NESIANA stand up again, as she elegantly hold her microphone standing proudly with her heels, wagging her finger at the last sentence)

The time to act is right now
Curtains opening right now

Now follow me, now?
Don't you dare defy, now.

(The backing dancers quickly take hold of NESIANA as she calmly sits on the makeshift human chair singing, holding on to her microphone. Then NESIANA lies down as the backing dancers assembled a vertical line, still singing while the vertical line spin once)

Do it like that,
Not like those or not like them
With a kick,
And I am not stopping giving 'em

(The dancers put NESIANA back down as NESIANA sings, walking much further away from the backing dancers, which did a side-slide of some sort. Around that time, a steadicam walks around NESIANA singing and as NESIANA arrived at the last sentence, she raised her right hand while her left hand continues to hold on to the microphone.)

Cuz' I'm Lady Night
Cuz' I'm Lady Night
Told you, I, won't give up without a fight, now

Cuz' I'm Lady Night
I'll do it if I might
So watch out, watch your mouth, watch your moves, ask why?
Cuz I'm Lady Night!

(As the instrumental plays, NESIANA adlibbed "COME ON WORLD! MAKE THE NIGHT CRAZY!" which was met with crazy applause and shouting from the audience as she returned to the backing dancers on the center.)

As loud as the sound of drum
It's my ultimatum

Remember, watch your back
And erase your own track

(The backing dancers quickly take hold of NESIANA as she calmly sits on the makeshift human chair singing, holding on to her microphone. Then NESIANA lies down as the backing dancers assembled a vertical line, still singing while the vertical line spin once)

Do it like that,
Not like those or not like them
With a kick,
And I am not stopping giving 'em

(Still on lying down position, the camera changes to the ceiling recording Nesiana from up there. The backing dancers widened their legs so it looks somewhat like a ship)

Cuz' I'm Lady Night
Cuz' I'm Lady Night
Told you, I, won't give up without a fight, now

Cuz' I'm Lady Night
I'll do it if I might
So watch out, watch your mouth, watch your moves, ask why?
Cuz I'm Lady Night!

(As the instrumental plays, NESIANA got back to the floor, and danced her way through the instrumental, moving her hands like a wave then moving her shoulders then as the camera changes the view to view her upclose, she "kicked" towards the camera prompting the view to change to view the entire stage from far away. The audience reacted by shouting crazily.)

(And as the climax comes, the backing dancers and NESIANA together walked forwards as NESIANA sung the difficult part of the song, and when the HEY part comes, NESIANA and the backing dancers kicked their right leg upwards then the left, so it comes alternatively.)

Cuz I'm Lady Night! (HEY!)
HEY!
HEY!

Cuz I'm Lady Night! (HEY!)
HEY!
HEY!
HEY!

(As the last part of instrumental comes, NESIANA did a spin kick towards the camera which prompted the view to show an effect of "cracking" due to the "kick" which prompted the view to crack and slowly change the view to the closeup of NESIANA and the backing dancers assembling an "A" with NESIANA standing while the backing dancers crouched.)

(The song ended, and with an applause, NESIANA shouted "A'IS'A'I! SHUKRAN KASIIRA, THANK YOU SO MUCH!" then proceed to leave the stage. The view changes to Alezian fans celebrating their very new entry.)

by **Crustyland** » Thu Jul 22, 2021 3:49 am

Crustyland

From Left to Right Larry, Britney, Clarice and Michael.

Tune

With Crustyland's desperate attempts the last edition to compete with barely any money to fund a proper entry, instead, inviting a Woman and her pet seal of the street to sing and thus ending up with 0 points in the televote, they are back now with a not so terrible entrant. They did however manage two sets of twelve from Vartugia and Zamboodle and a ten from Placely Placington.

CRAP had had time to recover and this time had enough cash to fund a semi alright entry. Roll on the Flom Flom Whales and their song "I need a love right now." This fun catchy pop song is borderline annoying BUT infused with some rather sweet lyrics. The band is hoping they can do well with this song they believe everyone will remember for its catchy beat.

Michael Britney Everyone

The crowd cheers as the postcard end. The audience is ready to flee but thankful no seal mammals are present this time. The stage is dark. A spotlight comes on as Michael comes out rapping the first verse. The lights build in the back.

I need a love right now
I need a love right now
Won't you show me how..

The camera pans away from the stage as the LED's bursts into an array of colours as pyros shoot out of the edge of the stage. The audience cheers excitedly. We can see everyone else on stage now.

I need a love right now
I need a love right now
Won't you show me how..

The group join together in the middle before all dispersing.

I need a love right now
I need a love right now
Won't you show me how BLARGH!

The camera follows each one for a 1 line.

I've been staggering through this land
Doing what I can
Trying hard hard
To get someone to see

Every time the camera pans to each singer they point a hand into the crowd and ramps them up to dance.

I need a love right now
I need a love right now
Won't you show me how..

We cut to Britney who raps the camera comically. The LED's turn brown and black.

But I never got a hand
Never had a plan..
To bring a love to me
But..I can't go on much more
I'm beat and I am sore

She crouches down and the camera stays on a close up of her.

Need someone to fall in love with me me
In my nights of rain and tears
I need you to still my fears
I need someone
To help me understand

She carries on rapping to the camera before we have a shot of the rest of the band bopping along.

I can't go on much more
I am sick and I am poor
But not beaten
I never will give in
I never will give in uh huh..

We have another full stage shot and pyro's shoot out and the wild colourful LED colours come back. The band members bounce around to the beat. Pink heart shaped lights rush around the stage.

I need a love right now
I need a love right now
Won't you show me how..
I need a love right now
I need love right now
Won't you show me how..

The band carry on dancing as we see a stage shot pan out before we see the audience dancing.

I've been staggering through this land
Doing what I can
Trying hard hard
To get someone to see

The camera follows each band member for a second.

I need a love right now
I need a love right now
Won't you show me how..

The camera follows Britney again. She carries on rapping to the camera before we have a shot of the rest of the band bopping along. She staggers along as she sings "staggering."

In all the coming years
I'll cry a million tears
Won't you lend a hand
Won't you lend a hand
I've been staggering through this land
Doing what I can!
Trying hard hard
To get someone to see

A sun rises on the LED's for the last line.

And when at last you've come
To show me how it's done
I'll greet you with a heart so strong
I will gain the power
Make the long nights all ours
I'll be here
In the morning sun

The LED's calm down to black.

I need a love right now
I need a a love right now
Won't you show me how..

We have various camera shots of the singers jumping and also singing.

I need a love right now
I need a a love right now
Won't you show me how BLARGH!

Pyros shoot out again and the colourful LED come back on.

I've been staggering through this land
Doing what I can!
Trying hard hard
To get someone to see

Various close-ups of each band member singing.

I need a love right now
I need a love right now
Won't you show me how..

We have pyro's shoot out of the stage as the singers meet back in the middle and pose the camera coming towards them.

I need a love right now
I need a love right now
Won't you show me how..

The crowd cheers as the song finishes. Crustyland had actually sent something deemed okay. The band wave and thank the crowd. "Thank you!!" Before they leave the stage.

by **Darkmania** » Thu Jul 22, 2021 12:26 pm

22 Darkmania

Gällard Alermi- "Human”

Tusse - Voices

Gällard Husamin Alermi grew up with parents that had fleed their home country to reach Darkmania at a very young age. However, his childhood was marred with racist remarks at both him and his parents. This despite he was born in Darkmania less than 5 months after both his parents got asylum as one of the few that got it at that time. He has been called everything from the n-word and a thief that takes away the glory from "normal white darkmanians". Now he will perform a song about his struggle as an "afro-darkmanian".

In a shock, Gällard has decided to become the first darkmanian to perform in English in a long time. The last time Darkmania ever sang in English in Worldvision didn't give them the best results, mostly putting them around the bottom parts of the scoreboard. There has been a lot of controversy on why Darkmania had performed in their national languages ever since and they have gotten better results, even podium places in their native tongue. DaTV has explained that they are aware of the controversy and this is only a one-time event for now.

The postcard has played and it's now time for the host-nation of Darkmania. Gällard has been placed at the island platform and is alone for now, and only a silhouette of him is present in front of the camera. After the 4th line is sung, the silhouette becomes Gällard. Gällards wears casual clothes throughout the entry.

Night and day are different
Applies to us too
I may not look like you
Not a great past
Called things not good
My world was burning
That was in the past
Time to move on

Gällard walks toward the main stage. At the drop section of the tune, epileptic lights reveal the 4 backup singers, in the order listed in the spoiler. Gällard are placed in the middle of the backup singer line, in front of them. All of the singers also wears casual clothes aswell.

We stand up for what's fair and just
Proud of my colour, don't give a damn
The things don't affect me in anyways anymore

Gällard's vocals get harmonized by the four backup singers that have joined him. All four backup singers have their microphones placed in microphone stands behind Gällard.

Hear the calls. I am human
Hear the voices of us all
The bullshit I have gone through
Will not hurt me anymore

I am human, human
I am human, human
I am human, human
I am human

The lights got turned off for the spotlight that lights up the back vocals, making them disappear and only leaving Gällard. A steadicam from behind films Gällard before flying away from the other side as

Night and day are different
I got that experienced
Licking all of my wounds
Look forward and not back
The history is now in the past
The history is now in the past
You try to put me down
I rise anyways

We stand up for what's fair and just
Proud of my colour, don't give a damn
The things don't affect me in anyways anymore

Hear the calls. I am human
Hear the voices of us all
The bullshit I have gone through
Will not hurt me anymore

The backups are back, without the mic stands and holding their microphones with their hands

Make your voice loud
I am human, human
Make your voice loud
I am human, human
Make your voice loud
I am human, human
Make your voice loud
I am human

All four back vocals now surround Gällard as the steadicam goes around the ring that the back vocalists form. An camera from the top prepective an

Make your voice loud (Make your voice loud)
Make your voice loud

Hear the calls. I am human
Hear the voices of us all
The bullshit I have gone through
Will not hurt me anymore

One of the back vocals, however, gets a voice crack that is hearable.

Make your voice loud
I am human, human
Make your voice loud
I am human, human
Make your voice loud
I am human, human
Make your voice loud
I am human

Gällard and his backup raise their right fist upward as the song ends with the biggest applause from the audience. Loud breathing from Gällard can be heard. "Thank you!", Gällard thanks the audience as the postcard from the next nation, Britonisea begins to play.

The 92nd WorldVision Song Contest (Anÿme, DMN) - IC

The 92nd WorldVision Song Contest (Anÿme, DMN) - IC

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