WorldVision 55 - Dreiichibu-u-Mousiki, Izmedu [IC]

by **Grellenbyosha-ga** » Mon Apr 03, 2017 2:30 pm

OPENING INSTRUMENTAL

Kai Unruh - Recommended Exorcise
Tune: Thomas Bergerson - My Soul Not Yours

The stage pulses red-orange like the vanquished magma that once occupied the chamber, as the bass pulses through the cavern. Three instrumentalists, seated with their backs to each other, began to play in the middle of the stage. They are dressed in sumptuous robes, woven with reflective threads that shimmer in the stage's fiery glow. As the instrumentalists intensify their parts, the spotlights, pointing straight down, flash in radial patterns like lights on a marquee over the stage and audience.

When the heavy electronic elements storm in, the stage panels flicker with brilliant white, blue, and green bars as strobes flare above the stage and audience. A single woman, lit only from behind, sings from the back of the stage in liturgical chant. A fiery apparition of a great creature appears, arcing over the stage and audience in all its terrifying glory. It seems to writhe and dance, almost, with the music.

The electronic "guitar solo" begins, and with it a set of blue and green lasers dance over the stage in a shaky cathedral formation. The crystals begin to glow blue and green as well, but when the piano starts the crystals rapidly flash with white light, randomly across the stage. A pair of robed figures enter the stage and are apparently attacked by the great apparition, disappearing into smoke and ashes after a short display of fright and attempted defensive attack. Soon after, a team of mages wearing military uniform enter. An intense display of white and golden strobes explode from the back of the stage, as the apparition and the mages perform a push-and-pull routine, before the apparition dissipates into smoke. The mages dance around the three instrumentalists and disappear into them, as if bonded. The stage lights and screens then begin to darken, and is pitch black by the time the music ends.

OPENING ACT

Gabija Yamaguchi & Kupa T ft. Kai Unruh (composer) - Victory
Tune: Jay-Z, Rihanna, E.S. Posthumus - Run This Town (turn up volume)

The stage is dark. The lights slowly turn up, revealing Gabija Yamaguchi in a sparkling white dress. The Izmeduans in the crowd explode in joy, screaming, as the stage subtly glows red and orange

Fire pulsing through my veins
What is life but just a game
Take my hand and drink your fill
Chase the glory, chase the fame

Sing your songs of love and doubt
In the end we'll all be bound
The beat is thudding in my mind
Fight for victory tonight

Gabija fades into a glimmering silhouette making fluid body movements as Kupa T bursts into view at the end of the main projecting platform, dressed in all black with shades. He begins rapping with intense energy, jumping at points, kneeling at points

12 points, what is there in 12 points
Your last stand is all that I can stand for
Choose your position, modulated sonic blasts
Ballads, dancepop, modulated sonic blasts
And you see the veterans, strutting with them trophies three
Can't stop the debuts from snatching future victories
You're not in a talent show
Gambling with failure
Back to back, vets are back with their fire intact
Debutants gotta hold up and just never crack
Yeah we're not stopping for breaks or for chats or whatever
Take me to the zone, let's beat it

He heads down the main platform and tours the other two on each side. The lights sweep about the cavern in a dramatic fashion, as an array of colored fireballs, one for every participant and colored to match, fires from the stage over the audience in quick succession

Gold star, I know you want a gold star
I can give you three cars, but that won't get you too far
Cop a feel in VR, but that won't be the full R
Humidity is rising but it's not just the heatR

Is it temperature or pressure
I mean, look at all the singers
Are they hot or are they anxious
They getting sweat all on their heads
But their minds packed with worries
We ain't feelin' no pain
Music takes you over and soothes your whole brain
This WorldVision is dope, cuz we're dueling with melodies and words, you know

Gabija is illuminated again, and is joined by Kupa T, who is having the time of his life, grooving beside her and randomly interjecting

Fire pulsing through my veins
What is life but just a game
Take my hand and drink your fill
Chase the glory, chase the fame

Sing your songs of love and doubt
In the end we'll all be bound
The beat is thudding in my mind
Fight for victory tonight

Gotta fight for victory tonight

Yeh, yeah, yeh

The two bow to the audience's applause, thanking them, and then exit the stage

As soon as Gabija and Kupa exited the stage, the camera had taken a zoomed out view, the lights in the Great Bulge pulsing in energy as it was time to welcome the three hosts for the night. As the camera had slowly zoomed in onto the crystalline stage amongst the sonic background of a heavy crowd cheer, one of the three hosts, Henrik Lang, came walking out onto the stage.

"Wow, what a performance! Thank you Gabija, Kupa T and Kai Unruh for that blast of a show! Anyway, I'm Henrik Lang," this elicited a massive cheer from the Izmeduan crowds, especially considering that Henrik Lang has a rather loud and passionate fanbase in Izmedu. Some that were in the front row were having revelatory experiences just being nearby him.

"and I'm your Tödlichebujoki host for the night."

After Henrik introduced himself, another man walked onto the stage, also being greeted by a very receptive cheer. It was the Kalosian host.

"I'm Ǧianni Kruž, and I'm your Kalosian host for the night."

After Ǧianni introduced himself, it wasn't long until the Izmeduan host would take the reins for a brief second. He had skulked onto the stage in a much more bizarre manner than his Todlichebujoki and Kalosian counterparts, looking hunched over and drenched in shadow. With a brief side step, which the camera briefly caught with him 'accidentally' shoving poor Ǧianni with that movement, and a considerable pair of lungs ready, he was now center-stage.

"And I am... HYENA!!!!!!!!!" an unexpectedly booming and high pitched voice came from the host followed by bizarre and a similarly high-pitched sounding laughter that caused the audience to go into a brief, stunned silence. Unfortunately, the camera had chosen to be quite the voyeur and presented him in his total glory at his moment of laughter, with his back arched and his eyes going white as his face was etched with the expression of madness. Not long after, the audience laughed right back at him.

"And tonight I'll be your Izmeduan host," he quickly and casually said.

Henrik cracks up a bit at HYENA's entrance, giving him a slight side-eye as the camera was keen to focus on Henrik, and then continues. "So welcome to Dreiichibu-u-Mousiki! We're here inside the Great Bulge, and, as you saw earlier, also the location of an intense little conflict."

Henrik then pauses here to allow Ǧianni to continue the little monologue on the history of the rather unique island.

Ǧianni smoothly continued from Henrik's pause, looking directly at the camera "In fact, that 'intense little conflict' that Henrik is talking about involved a demon that lived inside here that made the Great Bulge spout out some lava in the past-" Unfortunately, HYENA side-steps into Ǧianni's moment and takes control.

"That 'intense little conflict' that Henrik is talking about involved a demon that lived inside here that made the Great Bulge spout out some lava in the past. Because of some Tödlichebujoki thaumaturges, that Great Bulge is now safe enough to hold something like WorldVision here. So, no need to worry, if you feel hot, it's only energy."

Much to everyone's surprise, HYENA sounded surprisingly coherent when in normal talking voice.

Henrik nods. "With that said, I think it's time to kick off the WorldVision festivities. Okay everyone," he nods toward his fellow hosts and the audience

"LET WORLDVISION 55 BEGIN!"

With the above statement in unison, an array of lights flashed in the Great Bulge and an especially massive cheer came in regard to the identity of the first performing nation. The Kalosian postcard began to envelope the screens, WorldVision 55 now began in earnest.

by **Grellenbyosha-ga** » Mon Apr 03, 2017 2:31 pm

ENTRIES

01. KALOSIA
Lessandra - March On
(Performance) | (Postcard)

02. NORMANDY AND PICARDY
Chezmoi ft. Marco Garen - Hold On
(Performance) | (Postcard)

03. ADAB
Kinan al-Salaman - Just This One Time (Reflection on an Upcoming Tragedy)
(Performance) | (Postcard)

04. TINHAMPTON
Ian O'Neill - Desire Your Freedoms (Do What You Want)
(Performance) | (Postcard)

05. MISSUS X
Rick Leg - All I Want For Christmas Is Unilateral Nuclear Disarmament
(Performance) | (Postcard)

06. ARIOSLAVIA
Igor Yermakov - Android
(Performance) | (Postcard)

07. EKOZ
Yohanna vam Umsaak - Memory
(Performance) | (Postcard)

08. ELECTRUM DIPLOMATIC OFFICES
Gertrude Pullman ft. Danny DingDong and Yang Sae-Hyung - Join my church!
(Performance) | (Postcard)

09. GIM
??? - Rain
(Performance) | (Postcard)

10. MONAEROGLISSEUREST PLEINDANGUILLES
V'Lanta'la'mana'na'nisha ft Zebulon - Huge Ass
(Performance) | (Postcard)

11. TOGONISTAN
Grace Lekker - Thunder
(Performance) | (Postcard)

12. NIGHTOM
Matinée Schylestreake - "I Will Not Concede"
(Performance) | (Postcard)

13. ZEGANAS
Blackstarr - Holding On To Hope
(Performance) | (Postcard)

14. ELECTRUM
Daniel Waters and Liam Green - Blind
(Performance) | (Postcard)

15. KWADAI
Azalea - Paradise
(Performance) | (Postcard)

16. MERCEDINI
Alicia Mocha - Higher
(Performance) | (Postcard)

17. MISTER X
Rebound - Desire
(Performance) | (Postcard)

18. TÖDLICHEBUJOKU
Siiri Wolf - Make Me Late
(Performance) | (Postcard)

19. ETHANE
Elizabeth Harris - Epitaph
(Performance) | (Postcard)

20. BALKVLA ISLANDS
Rainbow 7 - Always Ever
(Performance) | (Postcard)

21. IZMEDU
Grupa TRI-DIVA - Abas
(Performance) | (Postcard)

22. GRELLENBYŌSHA-GA
Ensio Aasili - Tides of Time
(Performance) | (Postcard)

23. BRITONISEA
Mehkl Maddox-Ajax - I'll Be There
(Performance) | (Postcard)

Commentaries

Britonisea (BVC)
Part 1

Mister X (MRX)
Part 1

Arioslavia (ATV1)
Part 1

Normandy and Picardy (NNN)
Part 1

Togonistan (TNTV)
Part 1

Electrum (Network ENN)
Part 1

by **Kalosia** » Mon Apr 03, 2017 2:34 pm

01
Kalosia
March On — Lessandra
performed in English to the tune of Dance Alone — Jana Burčeska

Lessandra finished 9th at the 49th WorldVision Song Contest with the song "Coming for You (Watch Out)". Although still a respectable finish, the entry was expected to place higher as it was one of the fan favourites.

When previously announced entrant Nawra Halabi withdrew from performing at WorldVision 55, she vowed to return the next edition. However, there was still a vacant position left. After RTVK briefly opened song submissions, Lessandra was announced to be making a return to WorldVision, this time being held in a place where a sizeable ethnic Kalosian population exists. The song wasn't written for WorldVision; it was due to be released in a month to coincide with the beginning of summer but March On is still expected to become a summer hit regardless.

In Dreïchibu-u-Mousiki, Kalosia had the honour of opening the show. As the song began, the crystals surrounding the stage slowly glowed a bright white, and then flashed a few times to the beat, and then stopped glowing. From showing the whole stage, the camera switches to an angle parallel with the background screen, showing just a figure sitting on a bench. That figure was Lessandra, wearing a hooded cloak, with the hood on so that her face was not visible. The background shows a white grid on a black background, with intense flashes of light nyooming upward to the beat. Lessandra then opens the hood slightly as to show her face, as she brings the mic to her face and starts singing.

regular text is sung just by Lessandra, (text in brackets is sung just by her backing singers, hidden away behind the crystals), and bolded text is sung by both.

You feel mad at the institution
You’re disapproving of the show
So you wanna start a revolution?
Maybe for now, just start out slow

The camera switches angles in each of those clicks in the song, and finally shows Lessandra from a front view. She gets up and walks forward, stopping just short of the runway. Her cloak, seemingly attached to the bench, comes off, and she is revealed to be wearing an all-black outfit. From the third line of the next part, she marches on the spot.

I’ll keep marching on
Because now I know that I’m not alone
I’ll keep marching on
In sun or in rain, in the great parade

Lessandra slowly begins to turn around, while the camera drifts upward as it fades into the next angle. Then, Lessandra is shown backing the audience, in a medium shot where she faces the camera with the audience visible in the background.

The crowds come in, they’re getting restless
Together you sing the same song
When people say the cause is hopeless
Time to prove that they are wrong

Again, the camera cuts to different angles to the snapping sounds and Lessandra turns around again. She begins walking to the front of the catwalk, but with a conveyor belt placed on the catwalk, she just keeps marching, seemingly toward the camera. 4 backing dancers are also seen behind her, wearing the same outfit and on other conveyor belts, marching as well. They hold big plain flags of pastel colours, flying thanks to the wind machines. The bench and cloak appear to have been removed.

I’ll keep marching on
Because now I know that I’m not alone
I’ll keep marching on
In sun or in rain, in the great parade

The crystals slowly "warm up" and glow, and then along with the background screen produce a single huge flash to a beat.

I’ll never go down, oh
I’ll never go down
I’ll never go down, oh
I’ll never go—
I’ll keep marching on
Because now I know that I’m not alone

All lights fade away, save for a single spotlight on Lessandra. She stops marching, but the treadmill only slows down, so she moves away from the camera as she sings this next part.

When the storm comes and the sky’s turning gray
Stand up, remember your cause, and then say:

Now no longer on the catwalk, she is handed a big white flag that says "March On" in all caps. The lights come back on and her backing dancers are all holding a sign each that says "I'll", "Keep", "Marching", and "On" respectively. They form a single line and march on the spot.

I’ll keep marching on
Because now I know that I’m not alone
I’ll keep marching on
In sun or in rain, in the great parade
(I’ll keep marching on!)

The backing dancers dramatically put down the signs while still marching on the spot.

I’ll never go down, oh
I’ll never go down
I’ll never go down, oh
I’ll never go down

Lessandra begins marching forward to the front of the catwalk, leaving her dancers behind.

I’ll never go down, oh
I’ll never go down
I’ll never go down, oh
I’ll never go down

She puts down her flag and the stage becomes dark again with a spotlight only shining on her.

And I will keep marching on
Even if I walk alone

The song ends, the crowd goes wild, and Lessandra shouts "Gretsi Dreíčibu! Thank you!" and leaves the stage as it is prepared for Chezmoi and Marco Garen from Normandy & Picardy.

by **Normandy and Picardy** » Tue Apr 04, 2017 8:09 am

2 - Normandy and Picardy
Chezmoi ft. Marco Garen - Hold On
Tune (Cartoon ft. Juri Pootsman - I'll Remember U)

NNN had never expected to win in Kønikstaat, Ekoz, but win they did, and Jules Atrante did it with the folky ballad 'The Sounds of My Heart', a sincere song of forbidden love and desire. It was a resounding victory for Anais Aloren, the new Head of Delegation as well, who had replaced Marco Orans after he stood down. She had promised a new style, bringing back a bigger and better QCPN and it had paid off, thus vindicating her new direction. NNN head office was naturally ecstatic, and they sort of forget to actually begin organising anything after the contest. However, someone finally woke up and recovered from the hangover (the result of two weeks of partying), and realised that they actually did have to begin preparing for the next contest, much to the dissapointment of everyone else except Anais, who seemed to have avoided all the chaos. In that time, she had already laid the framework for the next QCPN and also kept the actual TV network running, for which she was certainly going to claim on overtime. So, in the way that these things happen a new QCPN was organised and the ten acts (they'd decided for some reason that eight wasn't enough; there must have been some spare change lying about) were prepared. The final was to be held in the Cherbourg Amphi, rather than in Caen where the contest had been held every single time; NNN had just been told by a government media regulations body they had to spend more money outside of Caen. The Normand televote voted overwhelmingly for the eventual winner, 'Hold On' by Chezmoi ft. Marco Garen (hence why they are performing here in Izmedu), but there was much costernation as the international juries voted in favour of 'Magic' by Una and the Woodland; the Normand televote meanwhile totally disregarded the song and it came 7th, with just 11 points from the public. 'Hold On' meanwhile got 77 points from the televote and 37 points, winning with a grand total of 113 points, a margin of 32 points from the second place 'Morning/Mourning'. So, it was Chezmoi who were going to WorldVision, with their EDM track about giving up on a relationship, due to one partner being controlling and manipulative. Will it do well? Only time will tell...

As the song begins, the stage explodes into life,with the background showing an old, 70s esque wallpaper design, Marco walks onto the stage, wearing a shirt top with the top two buttons loose, and a pair of old fashioned suit trousers. He has a tweed coat hung over his shoulder. He walks towards the microphone at the centre of the stage, stylised as a vintage microphone, and as he walks the floor comes to life in a complementary shade of brown. He sings towards the camera as it pans around the front of the stage, and throughout the first verse a wave of black begins to cover the wallpaper, dripping down like paint over the design. At the very end of the verse, the background is fully black, and the white silhouette of a girl, presumably the one who he is talking about appears, before it is replaced by an image of dark, blue and red clouds that rip apart the silhouette, filling the background.

Just say those words one more time, baby
So I can tell myself I am right
Because my mind is full of all your fictions, hmm
I needed you, but these shackles hurt

The floor also becomes like this, and the whole visual effect created using the cameras gives the impression that he is falling down through this clouds, with flashes of colour like lightening appearing around it. Marco stands with his hands out to the side, reflecting how he is letting himself fall away from the girl he is talking about.

So I won’t hold on
Can’t keep doing this
Lying to myself, my cold heart
Is beating out of time, my love
Is wilting like a flower
Is going nowhere
The path leads only to despair
So I won’t, so I won’t…

As the beat kicks in, a series of lights begin flashing on and off, in varying shades of red and blue, and smoke begins covering the stage. The lights move rapidly across the stage and the audience, adding to the organised chaos representing Marco's escape from his partner. A white silhouette of a hand reaches down through the background, with the camera at the right angle to show it trying to grab Marco, but missing every time.

So I won’t hold on
Can’t keep doing this
Lying to myself, my cold heart
Is beating out of time, my love
Is wilting like a flower
Is going nowhere
The path leads only to despair
So I won’t, so I won’t…

Oooooh oh oh, oh oh oh oh x4

The stage returns to how it had been, and Marco shakes himself little as if he is 'reconfiguring' for want of a better word. He composes himself and begins singing as he had in the first verse, although now he is gripping onto the microphone stand. The background and floor also return, fading in above the clouds and what not that had been there during the chorus. However, little cracks appear in the wallpaper throughout the verse, with a red light seeming to shine through them.

Just say those words one more time, baby
So I know that you were the one who was wrong, oh yeah
Your eyes held me, but I’ve seen the reflection
And I can’t stay, I can’t be your fool

During the prechorus, the wall almost seems to begin thumping, the red lights in the background becoming brighter and the cracks becoming bigger throughout the chorus as well. Marco lines himself up directly behind the stand, holding it with one hand and pushing it in front of him.

So I won’t hold on
Can’t keep doing this
Lying to myself, my cold heart
Is beating out of time, my love
Is wilting like a flower
Is going nowhere
The path leads only to despair
So I won’t, so I won’t…

As the main chorus begins, Marco pushes the microphone stand onto the floor (he now sings with a headset microphone thing), and as it hits the floor a ring of red spreads out from when it lands, going up the background screens and peeling away the wallpaper and showing the clouds once more. The lights kick in again, and Marco appears to be falling once more, moving to the music as well.

So I won’t hold on
Can’t keep doing this
Lying to myself, my cold heart
Is beating out of time, my love
Is wilting like a flower
Is going nowhere
The path leads only to despair
So I won’t, so I won’t…

Oooooh oh oh, oh oh oh oh x4

After the final chorus, the stage becomes dark except for a single spotlight shining on Marco as he sings , the camera panning around him and smoke lapping at his feet. The light has a slight yellow tinge to it, reflecting the main colours of the verses. As he sings the last line, he looks towards the camera, shaking his head and loosening up and giving a particularly seductive look into the camera before the lights turn off fully, leaving the stage in darkness.

Ooooooh, no more
No more, no more, no mooooore
Oh
I’m falling
Falling
And I won’t hold on

Marco can be heard shouting 'Merci Izmedu, Merci WorldVision!' as he leaves the stage and preparations for the next act are made.

by **Adab** » Wed Apr 05, 2017 8:03 am

3. Adab
"Just This One Time (Reflection on an Upcoming Tragedy)"
Writer: Kinan al-Salaman
Performer: Kinan al-Salaman

Al-Salaman during his much-acclaimed recent performance at the Adab Rocks Festival

Tune: Lenny Kravitz - It Ain't Over 'til It's Over
Language: English

Background
Having appeared in twelve WorldVision editions up to WorldVision 54, there were rumors immediately preceding the 55th iteration of the contest that Kinan al-Salaman was finally going to announce his retirement from the WorldVision stage. These rumors were mainly fueled by the unusual lack, until less than a week before the beginning of the contest, of an official announcement - be it from the government or the music industry - that al-Salaman was going to represent the country once again in this latest WorldVision edition. There were also reports that al-Salaman was at odds with certain figures in the government and the music industry, most likely over Adab's low finish at WorldVision 54 and increasing demands by younger musicians who wanted a share of the fame that would come from WorldVision and were clearly growing tired of al-Salaman. Al-Salaman himself was not getting any younger and, as he himself had admitted on several occasions, felt that his music career was eating too much of his time, denying him the chance to rest, "live a regular human life," and start a family of his own. At an age where most of his childhood and teenage friends had tied the knot and were already raising children, al-Salaman remained wifeless and childless, seemingly intent to focus on his career, even though in reality he was becoming somewhat exhausted by music. The country's biggest and most admired music star, idol of millions, sought a retreat from the greatness that he had created.

Nevertheless, all rumors were quashed when the government of Adab officially announced, at the behest of Emperor Tizqar III, that al-Salaman was returning to WorldVision 55 after all. Despite the growing line of musicians eager to replace al-Salaman on the WorldVision spot, he was still one of the country's most admired and famous citizens, after all, and the quality of his music remained consistently high while also selling extremely well, something which could and should not be taken lightly. If he no longer wanted to return to the competition, al-Salaman did not admit it to the public; in an announcement released just an hour after that of the government, al-Salaman declared that he was "proud to once again carry the banner of our nation to the WorldVision stage" and pledged that he would do his best and "God willing, achieve the best possible result."

Al-Salaman's thirteenth WorldVision appearance coincided with a happy time in his personal life, if not in his music career; he was finally reconciled to his family, from whom he had been estranged for some time, embittered by a prolonged custody battle and monetary disputes among various relatives. By this time, the battle had come to an end and the disputes resolved, leaving the family emotionally scarred and almost torn apart, but nevertheless still hanging on by a thread and having a chance to heal. Although many older relatives were still alive, al-Salaman slowly started to assume the role of family patriarch, serving as mediator for his uncles, aunts, and cousins, and as the occasional mentor and always-benevolent uncle to his young nephews. He donated a sizable sum of his money to the renovation of the al-Salaman ancestral home on the Jabal al-Druze and even held a free, open-air concert on the slopes of Tell Qeni, the highest point of Jabal al-Druze. This concert was followed by an acclaimed performance a few days later at the Adab Rocks Festival, in which an excited, rejuvenated al-Salaman was on stage until dawn, performing a total of forty songs from all albums he had released thus far, including his twelve WorldVision songs, and drawing rave reviews from fans and critics alike.

The performance
Kinan al-Salaman, the latest iteration of his backing band, and the string orchestra marched onto the stage, to the deafening cheers of Adabian fans present at the venue. The backing band looked at and around the stage, seemingly surprised to find the stage a bit smaller than they thought, although al-Salaman himself did not seem to think too much about it and walked to the front of the stage, admiring the gleaming, pointy crystals that they had put around him. To the visible surprise and gasps of some in the audience, al-Salaman did not wear anything over his upper body; below he was wearing old, slightly faded jeans and red sneakers. The band members were all wearing T-shirts of varying colors and jeans, while the string orchestra wore state-of-the-art tuxedos and black trousers.

"Thank you, thank you very much," al-Salaman took the microphone and signaled with his other hand to silence the audience, if only for a while. "It's always been a pleasure to come back here, despite what some people might say. The crowd, the energy, all of them always bring me back to this competition. Thank you for being here. May we live in peace with one another and may love guide us all." Al-Salaman turned around and, waving his arms excitedly, shouted to the band, "1, 2, 3!"

The crystals shone in purple light as al-Salaman sashayed his way around the stage, behind and past the keyboardist. The stage floor alternated between flashes of bright green and glorious purple as al-Salaman made his way back to the front of the stage, swaying his hips, microphone on his hand. Behind him, a flickering candle against a background of black was projected onto the wall and curtains, only to fade into a video of a dirty, almost surreal corridor, dim green lights shining upon the dust and the wind, accompanied by the lonely howls of an owl. The video started taking viewers further along the corridor; it was a first-person viewpoint.

Dear father, it's never easy
We have love, we have love
All we can only waste, only waste
Something you can never have

Too many words, little time
I know it's all useless
But father let me do it just this one time
I threw away so much of it all
Can't even reach my heart
But father let me do it just this one time

A door opened in the video, and our man emerged from the corridor to find himself facing a road in the middle of the night, with the wind clashing against his body as lonely leaves flew under the faint moonlight. He turned and walked along the road, past dark, half-collapsed buildings and charred grass.

How it came to this
The escalation
Are we not good enough, good enough?
But all I think this time
Keep me up at night now
Like a drug, yeah, needle in my mind

The crystals gradually turned red as the stage floor became a dark purple. Al-Salaman's facial expression had noticeably darkened. In the video, the man went over a windswept hill, away from the town, and found in the midst of the flat grassland that beheld him a bus, brightly lit, a star in the darkness.

Too many words, little time
I know it's all useless
But father let me do it just this one time
I threw away so much of it all
Can't even reach my heart
But father let me do it just this one time

It was time for the bluesy guitar solo, and al-Salaman jumped off the stage to greet his fans. The Adabians in the venue were particularly enthusiastic, as always, rising to their feet as al-Salaman approached them and even shook hands with some of them. The singer almost drowned in their hugs, and at one point the microphone slipped off his grasp. Luckily he was able to grab the microphone before it hit the floor and disappeared between the legs of the excited spectators. Al-Salaman then walked back to the stage.

In the video, the man was now in the bus. His eyes saw no one else under the lights but the driver; he was the only passenger. The sound of the engine was his only companion in the lonely, almost solemn journey.

Too many words, little time
I know it's all useless
But father let me do it just this one time
I threw away so much of it all
Still have a debt to pay
So father let me do it just this one time

Too many words, little time
I know it's all useless
But father let me do it just this one time
I threw away so much of it all
Can't even reach my heart
But father let me do it just this one time

As the music began to fade, al-Salaman again walked around the stage and, smiling, talked to his musicians one-by-one, microphone firmly in his hand. He seemed very pleased with the performance.

The man in the video disembarked from the bus, apparently in the middle of nowhere. Yet, at the edge of the horizon, was a small, dimly-lit cottage. The man walked towards the cottage.

Too many words, little time
I know it's all useless
But father let me do it just this one time
I threw away so much of it all
Can't even reach my heart
But father let me do it just this one time

Too many words, little time
I know it's all useless
But father let me do it just this one time

The man in the video forced his way into the cottage. The door was cracked and already on the verge of collapse; with a strong push it tumbled over. Inside, another man was sitting by the fireplace.

Here the video switched to a third-person viewpoint. Our man was visible for the first time.

He finally was able to see the man he was looking for, an older, worn-down man leaning on his cane. The old man slowly rose and walked over to the visitor. The two men stared at each other for a few seconds.

"Father," our man said as he drew something from his pocket. And the screen went to black as the crystal lights turned white; the stage floor light was extinguished.

Al-Salaman gathered his backing band and the string orchestra at the front of the stage for a final bow; the audience mostly applauded and cheered, and the Adabians of course gave them a standing ovation, but a sizable portion could be seen sitting in silence. If al-Salaman noticed them, he paid them no heed; he and his men immediately made their way backstage.

by **Tinhampton** » Wed Apr 05, 2017 8:05 am

#04 - TINHAMPTON
Ian O'Neill - Desire Your Freedoms (Do What You Want)

DrUMs, Izmedu
It was the 17th of April, 2017 - 5:38pm. Tinhampton had seen a diversity of acts come before them (most of which were of dubious quality), and Ian O'Neill was anxious to come up. Desire Your Freedoms had just hit #3 in the Tinhampton Highnote Charts - not too shabby, considering that it had hung on for two weeks, including the day of the vote. Some might have called his proclaimation of victory for Mayor Anderson a bit too soon, but she was in for a second term... and there was nothing that anybody could do about it, especially since she was to be sworn in the next day. Of course, it being after 5pm, and with everybody doubting Tinhampton's odds of a shock debut win, few cared, but all were up watching the TV. What a way to spend Easter Monday...

The time was quarter past eleven
Fourth of March, nineteen eighty-seven
When I then saw an insurrection outside

Dozens at City Hall protesting
crying "Micronations are a thing!
Mayoress, at least let us be happy men!"

I ask you now - just how did it start?
I wonder what - What was the first part?
Were there political moooootivatioooooons?

And if it comes up again, tell me
"I won't vote SDL again - we
were clearly ruined by Petroshenko!"

Now is the time to say - I don't care
whether you go or you stay. Lay bare
the establishment, but keep to the laws
You wanna be Tinhampton-i-an?
Well, the SDL's had you scammed - and
Thank Violet, Maggie and Elune that she won
Mayor Anderson will help us get
What we want - they're freedoooooooms
And so I tell you, desire freedoms
After all, you can... do what you want

Desire your freedoms, do what you want
Desire your freedoms, do what you want
I don't care how audacious are your stunts
Just desire your freedoms, and do what you want

.

So - how on Earth did this all start? Well,
It happened March eighty-five, in part:
When the Social Democrats were in charge

We all think Young was a disaster;
We thought she was to be a plaster;
Her plans for safety very well laid-out
But, as we learned, it was not to be
A conspiracy clear for all to see
Despite her audacious welfare state plans
She just ignored our constitution
Sent people to the institutions
Of course, she really hated our freedoooooms

After all, you can... do what you want
Desire your freedoms, do what you want
Desire your freedoms, do what you want
I don't care how audacious are your stunts
Just desire your freedoms, and do what you want

.

Summer '86 was bad for we
Mike Ronation's land left out to sea
It was "not officially recognised"
The Cow Peninsula, soon his own land
Mailman arrested and then banned
More of them left us in June - they grew fast

And then came the 2nd of July
For Petroshenko, 'twas decision time
And she chose silent reintegration
Cutting many of the secessionists
from telecoms and u-til-i-tes
urging them to return and fall victim to taxatiooooon

The T1P had far from a party
They, too, were also split apart-y
In October, the Mayor nearly quit
She said that the dissidents were safe
Only minor secessionists unsafe
She held on for the March vote

After all, you can... do what you want
Desire your freedoms, do what you want
Desire your freedoms, do what you want
I don't care how audacious are your stunts
Just desire your freedoms, and do what you want

.

Well, I'm gonna tell you what came next
The Mayoress read the wrong text
That led to more disasterous moments
Bubblewrap an abomination of nature
The "RAP GANG" act that led to failure
Amnesty not needed ever since then
And of course, the Rubellan Measles
Our government's failed cull of weasels
And a since-reversed loss of some freedooooooms

Now is the time to say - I don't care
whether you go or you stay. Lay bare
the establishment, but keep to the laws
You wanna be Tinhampton-i-an?
Well, the SDL's had you scammed - and
Thank Violet, Maggie and Elune that she won
Mayor Anderson will help us get
What we want - they're freedoooooooms
And so I tell you, desire freedoms
After all, you can... do what you want

Desire your freedoms, do what you want
Desire your freedoms, do what you want
I don't care how audacious are your stunts
Just desire your freedoms, and do what you want

I tell you again... Desire your freedoms, do what you want!

As soon as the music dies down, O'Neill smacks his microphone against the floor, shouting "So long, and thanks for all the fish and chips!" As both the TBS and Tinhampton in general were aware, this song would arguably be one of the most-politically-charged of the contest, not to say strongly divisive. No matter what, however, Tinhampton could take pride in their music. All they had to do now was wait...

by **Missus X** » Wed Apr 05, 2017 8:46 am

05 Missus X

Rick Leg - "All I Want For Christmas Is Unilateral Nuclear Disarmament".
Tune: "JC4PM4me" - The Corbynistas feat. Robb Johnson.

After the last WorldVision Song Contest, Rick was taken by a friend of his to a house which, to Rick, looked familiar, but couldn't quite name. Exploring said house, Rick found a snuff box with the initials "RFC" on them. The box was radioactive. He suddenly had a spear pointed at him by a man who did not give his name, but claimed he was a hunter, looking for Rogers Fin Corporal. After taking the box and pointing a gun at Rick, the man caught sight of his reflection, and proclaimed that he had found Rogers - for it was he. He'd gone quite mad, having lost sight of who he was. As Rick was coming to terms with this revelation, the man was dragged away by womenservants and they were followed by the butler, who looked almost like a Neanderthal. "A most unfortunate mishap, sir", proclaimed the butler, Dormin, "the gentleman has fits of distracting behaviour and must, for his own safety, be confined". Dormin took Rick to the drawing room, whereupon he met the Rev. Lewis Andrews. Rick engaged his brain and distracted Dormin, asking him to make some tea. Andrews clearly believed that Rick was Jenson Sandy Soporos, the owner of the house and an evolutionist. Andrews, a fundamental creationist, took one look at Rick and proclaimed "now, sir--", and Rick cut in with "yes, let me guess: my theories appal you, my heresies outrage you, I never answer letters, and you don't like my tie?", which was met with "you are a worse scoundrel than Darwin". The masquerade was soon over, though, as Jenson entered the room, immediately dimming the lights despite wearing sunglasses. They were then disturbed by a screaming sound coming from an upstairs room. Racing upstairs, the chief servant, Mrs Prillard, refused to let anybody in until Jenson ordered her to. Only when the room was unlocked, Jenson couldn't face the bright light coming into the room. Only Dormin and Rick entered, but Dormin quickly removed Rick from the room, after asking Rogers what he saw, to which he got no coherent reply. The light was coming from the snuff box. Dragged back to the drawing room, Dormin took them through to the dining room for dinner and went into the basement via the lift. At dinner, Andrews began to give a lecture on creationism to Jenson and Rick, but Jenson was called away by a telephone call. Andrews then named the house, causing Rick to run upstairs in panic. Meanwhile, in the basement, Dormin had been knocked cold and the person on the other end of Jenson's telephone was a female ghostly voice saying one thing... "I escaped". Rick, meanwhile, was collecting his thoughts.

This house... when he was 13, he climbed over the wall for a dare. He didn't care any more. He and a friend dossed around together. They'd out-dare each other on things. Skiving off, stupid things. Then they burnt out Michael's flat. White kids firebombed it. That's when he came over the walls of the house. This house. He was so mad, and he needed to get away. It was empty, all overgrown and falling down. No one came here. But when he got inside it was even worse. He didn't know then. It was horrible. He burnt the house down. And now it was back. Running into the basement, Rick was confronted by an unconscious Dormin and two strange alien-like beings. With the lift having been called up again, the husks cornered Rick, whilst, from within a cupboard, he heard "Ratkin!" Rick looked around - the basement was the WorldVision stage.

The music started and the husks all of a sudden fell unconscious. Rick thought that if he sang, it may assist him in defeating these husks, so Rick sang his song.

(Ratkin!)
(Ratkin!)
Would would you husks want with me?
It's nearly Christmas, you know.
I've been here before, do you know that?
I haven't got the money for that.
To me this stage is nuclear-powered,
It would be nice for a change
If we didn't have a stage that was waste-
Ful of nuclear fuels and fossils and more
So...

This didn't work and the husks regained consciousness. They captured Rick and started dragging him across the stage. Dormin regained consciousness and told Rick that the answer was to wave a lantern in their faces. Rick then realised that they couldn't survive in non-nuclear zones, so he started to sing along that trope.

All that I want for Christmas
Is unilateral CND
All that I want for
Christmas is uni-
lateral nuclear disarmament-y
All that I want for Christmas
Is unilateral CND
All that I want for Christmas
Let's all join the CND!

That gave Rick the distraction he needed. Finding a cane on the stage, he started beating the husks and, in turn with the lantern, started driving them back.

Let's all join the CND!
Nothing I've seen is right, you know:
Unsustainable, you know.
No fracking either, I'd rather I spent
All of my money on wind farms in halls,
I don't want nuclear power,
What good is it going to do?
Keep you alive it could well may do,
If not I don't care, atchoo!
So...

Unfortunately, Dormin could also not survive on nuclear power, so Rick had now offended him too. Rick went to the back of the stage and threatened to smash the technical readouts of the powerplant with the cane.

All that I want for Christmas
Is unilateral CND
All that I want for
Christmas is uni-
lateral nuclear disarmament-y
All that I want for Christmas
Is unilateral CND
All that I want for Christmas
Let's all join the CND!

Dormin began to struggle with Rick, and in their struggle, the cane smashed the screen and steam went everywhere. This froze Dormin dead still, as Rick continued to sing.

All that I want for Christmas
Is unilateral CND
All that I want for
Christmas is uni-
lateral nuclear disarmament-y
All that I want for Christmas
Is unilateral CND
All that I want for Christmas
Let's all join the CND!

This alarmed Jenson, who descended down the lift, proclaiming all of his work could be ruined. Along also came his ward, Geraldine. Rick looked in the chest of draws on the stage, and saw a policeman in a sleeping state in the last one. Geraldine explained that it was from Java. Jenson claimed there was an energy escape, and thus it must be stopped. Rick and Jenson moved towards the control rods, but in his haste, let many things slip. Those husks used to be Jenson; they are cast-offs of him. Rick then smashed an energy rod and ran back towards the lift, singing, dragging Dormin with him, whilst Jenson pursued. A creature then escaped from a cupboard yelling "give me freeness!" and tried to catch the lift but failed.

All that I want for Christmas
Let's all join the CND!
All that I want for Christmas
Let's all join the CND!
(Ratkin!)

Mrs Pillard was at the top of the lift, but Jenson was getting weaker. He was evolving again. In so doing, he broke the lift and went to the royal observatory at the top of the building, where Andrews was. Andrews' lecture on creationism continued, but after taking a banana, he began to change into a monkey. As it was now morning, things were winding down - the night maids for one thing were going to sleep. Geraldine went to the royal observatory, and gradually watched Jenson, her uncle, die. What Jenson told her, however, was to "send Matthews to Java", which Geraldine did so. Rick then returned to the stage to wake up the policeman, and Rick left the stage for the time being.

He would return to the stage later on, but only after the end of the contest.

by **Britonisea** » Thu Apr 06, 2017 11:45 am

BVC ONE
The 55th WorldVision Song Contest
Brityunik Vefecosoin Cairkovoin

Live Coverage of the 55th WorldVision Song Contest in Dreiichibu-u-Mousiki, Izmedu with your hosts Zeke Lemondey and Rigas Jengiz

Rigas Jengiz: I can't actually believe that the BVC has reinstated us as your hosts for the WorldVision Song Contest!
Zeke Lemondey: Yeah, I can't believe it either, but it seems that we are here to stay, and that is what I like to hear!
Rigas: Tonight we have loads of acts ready to perform, who are ready to take down Britonisea for the WorldVision 55 title.
Zeke: So much stiff competition! WorldVision 55: we are half-way between the 50s period, and we are still going.
Rigas: Drechiboo-Moosiki won over Cheongji for host, which is quite sad, but they promise an excellent WorldVision Song Contest...and that is exactly what I expect.
Zeke: Indeed, indeed. We all know that the one representing us is Mehkl Maddox Ajax; he won Vha Mehlodhivestoile.
Rigas: I am totally not salty, because I simply love Mehkl Maddox - we are very close! And I wish him all of successes in this contest.
Zeke: You were there, how was it different to last edition; Vha Mehlodhivestoile that is...?
Rigas: Well, it is just different in every way. First, you weren't there...
Zeke: Ah babe! (In Essex Accent)
Rigas: Haha, but everything seemed a bit more...WorldVision-y.
Zeke: How so?
Rigas: I am not sure, maybe the songs of today are very different to the songs last year.
Zeke: Perhaps. Well, we will carry on speaking about this nearer his performance, but before we go to the first act, we have a nice opening act. Let's see what they can dish up.

00. Opening Sequences
Opening Instrumental
Rigas: Okay...this is something new.
Zeke: Yes, indeed. I don't really know what to say other than...it felt very techno.
Rigas: It was alright, but of course, we have the next part of the opening coming up...
Zeke: Which is the most important part. The opening act.
Rigas: Yes, for the new viewers at home, the Opening Act is usually a song which introduces us to the contest.
Zeke: It is usually about winning the competition, or it could be an expression of the culture of that country.
Rigas: Let's see what this place has for us...
Opening Act
Zeke: Right...
Rigas: Kupa is a little cutie, ain't he?
Zeke: Rap in WorldVision is quite unheard of...unless it is from Todlichebujoku.
Rigas: I've got to say, I didn't like this.
Zeke: Actually, I liked the girl.
Rigas: Other than that it is way too dramatic.
Zeke: Is this the hunger games or a group of around twenty nations sending songs, which around four minutes each.
Rigas: To them, the former.

Zeke: I'm going to be an idiot and speak of the hosts on the stage. All you need to know is that there are three different hosts.
Rigas: Yes, one from Kalosia, Izmedu and Todlichebujoku. Kalosia's host is the one with the interesting name, Ǧianni Kruž.
Zeke: Todlichebujoku's host is the Henrik Lang male.
Rigas: While Izmedu is sending as their host...
Zeke: Hy-HYENA.
Rigas: What an odd name.
Zeke: It's WorldVision, isn't it?
Rigas: Also, this Great Bulge malarkey is getting on my nerves.
Zeke: Oh, indeed.
Rigas: Anyway, up first is Kalosia!

Rigas: That's it folks.
Zeke: That is all the songs. Rigas; name me three of your favourites...
Rigas: That's hard. Balkvla Islands, Mercedini and probably Kwadai.
Zeke: Yeah, to add to that list, I liked Electrum, Nightom, Gim - all of them!
Rigas: Song number 22 was amazing.
Zeke: Totally agreed.
Rigas: Let's get to the interval act...

by **Arioslavia** » Thu Apr 06, 2017 11:59 am

06. Arioslavia
Igor Yermakov - Android
TUNE

Igor Yermakov (born in 1989 in Samira) is a popular artist in Arioslavia since 2014, when his first single titled Nevesta was released. His songs are typical pop songs with slight reggae influences. His choice as a representant of Arioslavia at the WVSC 55 was commented in a positive way in media, as Arioslavian audience seems to await another success in nation comeback to the contest - right after Debora's victory at the WVSC 53.

Android is a song about a man who is completely under control of his beloved woman. The lyrics were written personally by the singer.

***

Igor was standing at the stage, wearing a black T-shirt, revealing his tatoos. All the lights concentrated on him as he starts singing:

Oooh...
I have no heart, I have no mind,
I have no feelings, I'm blind.

The lights turned red when the refrain began. Igor extended his right hand, singing:

Just tell me and I will do,
You have the power and full control
Over me!
I'm an android and you're my master.
Just tell me and I will do,
You have the power and full control
Over me!
I'm an android...

The stage was dominated by red lights. The backscreens displayed a cherry-colour pattern. A female dancer entered the stage. She approached Igor, leaned over him, and looked deeply into his eyes as he was singing. He had a mindless expression on his face, it looked like he's hypnotized:

Every day.
Whenever you switch me on, I'm ready to serve you.
I'm waiting for your orders, they're sacrosanct to me.
No resistance!
Every night, when I sense your presence near me,
My cold soul cries for more.
It's an addiction.
I know it, you know it, we know it,
We both march into the future,
Like a servant and his master.

The dancer suddenly clapped her hands and it looked like Igor was awake from his trance. She was dancin near him, in a way suggesting that she wants to possess him. He sang the refrain:

Just tell me and I will do,
You have the power and full control
Over me!
I'm an android and you're my master.
Just tell me and I will do,
You have the power and full control
Over me!
I'm an android...

Again, she approached him, taking control of him:

You know I obey your will and your orders,
But you think that my loyalty has no borders.
I'm patient in my obedience,
But even an android has limits of patience!
I have a heart, I have a mind,
I just gave you a code to take control over it (Over it!)
Just remember about it,
Remember...

At one point, it seemed like he was struggling to avoid her. But finally, he gave up, as she wrapped her arms around his neck. Hugging her, he whispered:

Remember...

After a moment of darkness, when only some lights lighted the scene, the stage returned to its red, vivid colours. Dancing with the woman, Igor was singing the refrain, repeating it until the end of the song:

Just tell me and I will do,
You have the power and full control
Over me!
I'm an android and you're my master.
Just tell me and I will do,
You have the power and full control
Over me!
I'm an android...

Just tell me and I will do,
You have the power and full control
Over me!
I'm an android and you're my master.
Just tell me and I will do,
You have the power and full control
Over me!
I'm an android...

The song came to an end. Igor took the dancer in his arms and kissed her, to the audience thunderous applauze. After a long kiss, he smiled, bowed to the audience and raised both of his hands, as a farewell to the WV fans. Then, he left the stage. The fans cheered and shouted Igor! Igor! In the final shot, he waved to the camera, as he was walking to the greenroom.

by **Ekoz** » Thu Apr 06, 2017 1:31 pm

STE's official withdrawal from the 55th WorldVision Song Contest

by **Electrum Diplomatic Offices** » Thu Apr 06, 2017 6:59 pm

8. ELECTRUM DIPLOMATIC OFFICES

Song: "Join my church!"
Artist: Gertrude Pullman ft. Danny DingDong and Yang Sae-Hyung
Tune: "Macarena" by Los Del Rio (3:40 version used)

Introduction
Gertrude Pullman's has recently created the church of Gertrude Pullman, believing that she is the true and ultimate saviour of the multiverse, and that she was put on this earth to rid of the world of sin. She now believes she was put on this world to spread a message of sinnery, but before then, she needs people to join her church, and what better way to do that then to speak to an audience of millions to join her church. She has also enlisted the help of two famous comedians, Danny DingDong from Cosneolta and Yang Sae-Hyung from Gim, to help support her cause. It is rumoured she gave them a large sum, but those are just rumours and nothing more.

The Performer

The Song

The two comedians are off to the side as Gertrude wears her ceremonial robes, just gold upon gold everywhere - gold breastplate, gold leggings, gold boots, this is the life of the extravagance. She is also holding a cross in her left hand as she starts singing. When the chorus starts, she does the infamous Gertrude Pullman dance (which is identical to the Macarena dance in real life), which are the rituals required to fulfil the requirements of the Religions Registration Act 1934.

0:34
(This is not sanctioned by ENN)
Time to join the cult of Gertrude Pullman
Where all you will do is worship me
You’ll beg for me, you won't have me
Learnt from the best and Gregory helped me
Pray for me, chant for me
And if you're good maybe you might see me

Don’t believe all of these accusations
We’re just two men who don’t see no manipulation
Don’t believe all of these accusations
False allegation!
(Ay!)

Don’t believe all of these accusations
We’re just two men who don’t see no manipulation
Don’t believe all of these accusations
False allegation!
(Ay!)

Gertrude points to the two comedians, and they are laughing! In the corner, the spotlight is on them whilst a crowd of fifty old security guards go on stage and mirror Gertrude Pullman's moves. They are all wearing grey robes with her face as the logo. All of the guards are doing the Gertrude Pullman dance, but they are so close as to touching each others shoulders whilst doing it.

1:00
Now why don’t you trust these comedians?
They're legitimate and well known.
Ha! This is our cults brand new hymn
Not for me to profit, ha ha ha

Now come on, just because religions aren’t taxed
This isn’t a suspiciously specific denial

Don’t believe all of these accusations
We’re just two men who don’t see no manipulation
Don’t believe all of these accusations
Needs adulation!
(Ay!)

Don’t believe all of these accusations
We’re just two men who don’t see no manipulation
Don’t believe all of these accusations
Needs admiration!
(Ay!)

Gertrude puts her arms outstretched, and presses a button on the cross that she was holding. Massive electrical sparks fly from the cross and make a lot of sparks. She then touches one of the guards, and as all the guards are touching each other doing the dance, they all simultaneously get sparked as well. In Gertrude's next move, she randomly throws tasers into the audience, so that they can experience the shock too.

1:46
(Ay! Ay!)
(Ay! Ay!)
(Ay! Ay!)
(This is not sanctioned by ENN)
(Ay!)

G-G-Gertrude Pullman
G-G-Gertrude Pullman
G-G-Gertrude Pullman
(Ay!)

G-G-Gertrude Pullman
G-G-Gertrude Pullman
G-G-Gertrude Pullman
Give me your, give me your, give me your, give me your soul

Don’t believe all of these accusations
We’re just two men who don’t see no manipulation
Don’t believe all of these accusations
Our narration!
(Ay!)

Don’t believe all of these accusations
We’re just two men who don’t see no manipulation
Don’t believe all of these accusations
No negation!
(Ay!)

Gertrude Pullman pulls out a wad of one dollar bills and starts doing the thing that rich people do, and distributes them one by one to the audience.

2:41
(Ay!)
Come and find me, we’ll profit together
Devote your soul to me, sell your house and join the compound
Pray for me, chant for me
And if you're good maybe you might see me

Don’t believe all of these accusations
We’re just two men who don’t see no manipulation
Don’t believe all of these accusations
False allegation!
(Ay!)

Don’t believe all of these accusations
We’re just two men who don’t see no manipulation
Don’t believe all of these accusations
Needs adulation!
(Ay!)

Don’t believe all of these accusations
We’re just two men who don’t see no manipulation
Don’t believe all of these accusations
Needs admiration!
(Ay!)

Don’t believe all of these accusations
We’re just two men who don’t see no manipulation
Don’t believe all of these accusations
Our narration!
(Ay!)

Don’t believe all of these accusations
We’re just two men who don’t see no manipulation
Don’t believe all of these accusations
No negation!
(Ay!)

by **Gim** » Fri Apr 07, 2017 7:11 am

Tune: Joy - Fox (The Liar and HIs Lover OST)

A mysterious singer with long hair wearing a laced, white skirt and a light-blue, checkered shirt stands at the center of the stage. She(?) is also wearinga blue, dolphin mask. She holds the microphone as the song begins. A male drummer is near the back of the stage, and a female keyboard player is at the right side of the stage.

She(?), now, starts to sing:

I drew the curtains but I on-ly see the rain,
Filled to the brim with only sad thoughts.
It was a great pain,
and as time went, the more I got.

She(?) took a breath and started singing again:

When we first met, the wea-ther was sunny with heat,
a light wind blew to sparkle our love.
It's a feeling we could not defeat,
Was more than enough.

More rhythm came from the drums and the keyboard as she(?) continued singing:

Tonight, I want to sing this melody.
'Cause I am in love with you, baby.
No one will listen to my pain,
Because you know why? Oh-oh, scattering in the rain.

I be-gin to call out your name into the air,
However, I know, it won't reach anywhere.
Staying up all night long a-lone,
Through the rain now, there approaches dawn.

The keyboard plays and segues into the second verse as the singer starts to sing.

Although mostly I thought I should never reach you again,
Because tears kept pouring down and dry,
How-e-ver, I'd picture you, now and then,
Then I'd not cry.

Once, you told me to lean on you all the time,
You were my destiny, my comfort,
Now, that you're erased from my head, I'm,
afraid I have to break down the fort.

More rhythm came from the drums and the keyboard as she(?) continued singing:

Tonight, I want to sing this melody.
'Cause I am in love with you, baby.
No one will listen to my pain,
Because you know why? Oh-oh, scattering in the rain.

I be-gin to call out your name into the air,
However, I know, it won't reach anywhere.
Staying up all night long a-lone,
Through the rain now, there approaches dawn.

The MC of WV55 begins to speak:

Now, mysterious singer, unveil yourself by taking off your mask!

As the crowd cheers after the identity of the mysterious singer has been revealed, the keyboarder makes a pitch change and the chorus is sung again:

Tonight, I want to sing this melody.
'Cause I am in love with you, baby.
No one will listen to my pain,
Because you know why? Oh-oh, scattering in the rain.

I be-gin to call out your name into the air,
However, I know, it won't reach anywhere.
Staying up all night long a-lone,
Through the rain now, there approaches dawn.

by **Monaeroglisseurest Pleindanguillese** » Fri Apr 07, 2017 12:45 pm

10 - Monaeroglisseurest Pleindanguilles
V'Lanta'la'mana'na'nisha ft Zebulon - Huge Ass
Tunes : (Toybox - Best Friend: 0:00-1:41, 2:36-3:30) | (Martin Solveig & GTA - Intoxicated : 0:27-2:18)

After the roaring success for the nation on their return last year, Monaero were quick to announce they were back, and they were going to leave an even bigger hole in NNN's budget than last time. Marie Montrer, who finished 11th last contest, was called back to MonAeroTV headquarters to begin working on a newer, better entry that would surely guarantee victory, especially as it seemed her satirical lyrics were popular with the WV Community. The bill increased and increased, especially after Marie composed two seperate songs, one more than necessary (some might say two); the money was saved on the lyrics, which were practically the same in both. Some bright spark in accounting realised it would be better to merge both songs into one, and was promptly sacked, before Marie suggested the idea and made it magically work, without decreasing the bill for the contest. To make matters worst Marie refused to compete again, saying that, 'Her job was done'. So instead, she found V'Lanta'la'mana'na'nisha Jones, who goes by her first name on stage, who she believed would do a good job with the song, and who certainly fit the brief. Just before the bill was due to be sent to NNN, having been greatly increased by V'Lanta and her 'needs', Marie decided she wanted male vocals as well to make it even better, and so called up her friend Zorg who recommended his friend Zebulon. The bill now completed, the total for which can't be released because a. NNN are too embarrased and b. legal reasons (you decide which was most important), it was mailed off to NNN, where the same editor as last time signed of the bill without looking; he was later killed by the head of NNN Accounting, who was fully acquitted of his crime. Now, let's see what this money was spent on...

(Toybox - Best Friend: 0:00-1:41)

The song begins with a trumpet fanfare seemingly delivered by one man on the stage, before an explosion; he stumbles about as the synthy sounds play, and then he is swamped by a troupe of dancers, wearing tight, revealing costumes of a tribal nature, ripping off his uniform to reveal a similar sort of costume. 4 of them carry V'Lanta'la'mana'na'nisha on their backs, clearly looking fatigued but carrying on regardless. As V'Lanta'la'mana'na'nisha sings/speaks her first line, she looks seductively, yet also slightly rapeface-like into the camera, before blowing a kiss.

Huge ass, huge ass
Na na na na na na na na na na na
Na na na na na na na na na na na
Do you want a f*ck for luck?
Ass!

V'Lanta'la'mana'na'nisha 'climbs' 'gracefully' down from her position on top of the 4 men who, as if they weren't exhausted already, join the dancing that takes places, with all the backing dancers performing a choreographed, very 90seque dance routine with plenty of airgrabs and what not. The background also matches the 90s aesthetic. V'Lanta'la'mana'na'nisha stands in the centre of it all on a slightly raised platform, bulging out of her small costume as she sings to the camera, reaching out when the backing dancers do on the third line but for the most part ignoring the dancers.

Do you want me?
Tell me do you want me?
Because I want every inch of you
You make me so horny
You’re extraordinary
I know what I’ll do with you

Huge ass, huge ass

One of the backing dancers walks up to V'Lanta'la'mana'na'nisha, who turns to him and stares madly, looking right up in his face. She picks him up, gives him a big kiss smearing lipstick everywhere, before two other dancers come to take him away. On the last line of the verse, by which she has fully regained her breath, V'Lanta'la'mana'na'nisha performs a blowjob gesture with her hand and her mouth.

Hello Mr Hottie, I don’t need your name
A number and a time, and I’m yours all the same
Use me and abuse me anyway that you want
No d*ck is ever too much
That’s right

V'Lanta'la'mana'na'nisha walks up to the left hand side of the stage, as the background changes to this, with silhouettes of V'Lanta'la'mana'na'nisha, walking away from the silhouette of a man (Zebulon), to which V'Lanta'la'mana'na'nisha turns and blows a kiss, before she points to the camera with her middle finger and follows it as it pans around her.

Oh maybe, some other girls won’t do those things
But baby, I’ll do whatever you want
So tease me, and wrap me round your finger
Na na na na na na na na na na na

V'Lanta'la'mana'na'nisha joins the backing dancers in a choreographed dance during the chorus much like the one in the beginning, but the number of dancers decreases throughout the chorus as their contracts run out. The problem of how they leave is solved by V'Lanta'la'mana'na'nisha kicking or bouncing them off the stage in various ways, sometimes into backstage and sometimes into the chorus. Eventually she is left dancing in the middle of the stage like a madwoman by herself, yet the backing vocals still come from somewhere.

Do you want me?
Tell me do you want me?
Because I want every inch of you
You make me so horny
You’re extraordinary
I know what I’ll do with you
With you

Huge ass, huge ass
Huge ass, huge ass
Na na na na na na na na na na na
Huge ass, huge ass

(Martin Solveig & GTA - Intoxicated : 0:27-2:18)

The background changes to show this, with the flamingo flying off the screen quickly and front falling down and across the background. Zebulon rides onto the stage in a golf buggy which has some 'questionable items' in the back, and holding a beach ball under his arm. He drives around the back of the stage before ending up at the side of V'Lanta'la'mana'na'nisha, who stares at him in a manner that suggests she is thinking 'What are you doing b*tch?', singing as he comes up to the side of her.

Huge ass
Let me worship it
Huge ass
Let me worship it

In the instrumental, Zebulon - shirtless as always - gets up out of the golf buggy and throws the beach ball into the crowd. He pushes V'Lanta'la'mana'na'nisha aside, and is joined by a series of hot guys, who begin performing all sorts of acrobatics and what not to fill the instrumental, as V'Lanta'la'mana'na'nisha continues staring, now from the side of the stage, at what is happening, as if she can't believe it; this carries on into the next 'singing section'

Huge, huge, huge, huge

All the things I could do with you
All the things I could do with you
All the things I could do with you
All the things I could do with you

Huge ass...

The stage descends into darkness other than where Zebulon is standing, with the LEDs below him showing a circle of pink, which fades on and off. As he begins singing, the spotlight begins slowly to grow in size and become brighter, as does the pink circle. Zebulon reaches out to the camera as it pans around him. Halfway through this section, Zebulon is joined by V'Lanta'la'mana'na'nisha, who now seems very interested and 'dances' (the use of that word is stretching its meaning) around him. By the end, the whole stage is lit once more, the background has come back to life and Zebulon and V'Lanta'la'mana'na'nisha are standing together, now back to back in the centre of the stage.

Huge ass
Let me worship it
Huge ass
(All the things I could do with you)
Let me worship it
(All the things I could do with you)
Huge ass
(All the things I could do with you)
Let me worship it
(All the things I could do with you)

Huge ass
(with you, with you, with you, with you)
Let me worship it
(with you, with you, with you, with you)
Huge ass
(with you, with you, with you, with you)
Let me worship it
(with you, with you, with you, with you)

(Toybox - Best Friend: 2:36-3:30)

The stage suddenly reverts to how it was during the first verse of the first song minus the backing dancers, with V'Lanta'la'mana'na'nisha almost singing to Zebulon, as if she is trying to appeal to him. He appeals happy to oblige as he does the same, before running past her with a cheeky squeeze of the bum.

Oh maybe, some other girls won’t do those things
But baby, I’ll do whatever you want
So tease me, and wrap me round your finger

You know I want you hun
Now just give me that bum

The two of them dance away, pretending to be doing a ballroom dance in the centre of the stage, before forming a series of suggestive poses and generally dancing to the music as the background carries on being lively, with the flamingo from the chorus returning and moving across the screen, appearing and dissapearing in a cycle.

Ooooooh
Oh yes
Oooooh
I know what I’ll do with you

Do you want me?
Tell me do you want me?
Because I want every inch of you
You make me so horny
You’re extraordinary
I know what I’ll do with you
With you

The backing dancers from earlier return to the stage as Zebulon returns to his golf buggy, which now has 'Just Married' in big letters on the side of it. V'Lanta'la'mana'na'nisha follows him, trying to sit on it but the two of them fall over. Taking the opportunity, V'Lanta'la'mana'na'nisha jumps onto the buggy and begin driving it around the stage; Zebulon jumps on to try and stop her.

Huge ass, huge ass
Huge ass, huge ass
Na na na na na na na na na na na
Huge ass, huge ass
Ooooooooh
Ooooooooh

V'Lanta'la'mana'na'nisha shouts 'BY THE WAY THAT WAS SATIRE YOU *!@&*' as she drives off of the stage, Zebulon riding on her back.

by **Togonistan** » Fri Apr 07, 2017 12:58 pm

11. Togonistan

Song: "Thunder"
Artist: Grace Lekker
Tune: https://www.youtube.com/watch?v=6UZ65GfDFn8

Introduction:

Grace Lekker (17 years old) is Togonistanian actor and singer. With her music, she wants to give people a message that even during hard times, there is always hope that things will evenually get better. As soon as Togonistan announced that they will participate in Worldvision Song Contest this year, Grace immediately signed her song up for the national final, which she won. According to her, Worldvision is place where she can send her message to a wider public.

Performance:

The stage is dark. As the music starts playing, the stage slowly gets more light and Grace is seen standing in the middle, wearing a long sky blue dress. She is feeling a little bit nervous in front of the audience, but despite that she still smiles to the camera and starts singing:

I see the clouds in the sky
They get darker all the time
I feel the weather wants to cry
And it is kind of shame

Soon there is gonna be a rainfall
It’s another gray day
Soon there is gonna be a rainfall

A light flashes through the stage for a moment as the chorus starts. Three background vocals, all dressed in black, have appeared on stage, standing about five meters away from Grace. They open their mouth and start singing along:

I hear the thunder
Bolt is flashing through the sky
It is the feel of summer
I see beauty and also the danger

Indeed I hear the thunder
Bolt is flashing through the sky
I am a lonely runner
It’s beauty and also it’s danger

Stage theme goes to full black again and Grace is alone on stage again, as the background vocal are hiding in the dark area. Grace sings:

It started and now it’s done
Everything is silent now
And even though the sun is gone
I feel it will get brighter soon

Soon there is gonna be a rainfall
It’s another gray day
Soon there is gonna be a rainfall

And once again, a light flashes through the stage as the chorus starts, with background vocals being shown again. Grace, who has been stading still for the whole performance so far, starts swinging herself a bit from side to side:

I hear the thunder
Bolt is flashing through the sky
It is the feel of summer
I see beauty and also the danger

Indeed I hear the thunder
Bolt is flashing through the sky
I am a lonely runner
It’s beauty and also it’s danger
(Beauty, danger)

Suddenly, stage theme changes drastically into a mix of bright red and yellow colors. Grace gets down to her knees as background vocal singers slowly step closer to her. Grace keeps singing while looking at the ground and showing strong facial expressions. She raises her left fist and slowly brings it back down.

Suddenly the light breaks all apart
And it all gets back together
Together… apart… together…
Suddenly the light breaks all apart
And it all gets back together
Together… apart… together…

Grace raises her head and looks at the audience. She stands up again and sings the final part of her song, doing different hand gestures at the same time:

I hear the thunder
Bolt is flashing through the sky
It is the feel of summer
I see beauty and also the danger

Indeed I hear the thunder
Bolt is flashing through the sky
I am a lonely runner
It’s beauty and also it’s danger

It’s beauty, and also, it’s danger
It’s beauty, and also, it’s danger
It’s beauty, and also, it’s danger

The song ends and Grace smiles for the audience. ''Thank you world! Thank you everyone!'' she says and leaves the stage.

by **Nightom** » Fri Apr 07, 2017 1:11 pm

#12 NIGHTOM
Matinée Schylestreake - "I Will Not Concede"
Tune : Simone - "Heart Shaped Hole"
Writers: Silver Kjornborn, Vincenti Xaveborn
Music Enwritin Smegborn, Nirentina Chubyorn, Naqeemi Salhelm

Matinée Schylestreake will represent Nightom in the 55th WorldVision Song Contest. Nightom is returning to the song contest after ten editions. Last time that Nightom participated in the WorldVision Song Contest, it was during the WorldVision Song Contest 45 in The Sarian's Lavington. During the contest in The Sarian, Nightom performed first out of twenty nine countries (thirty-eight countries if you count those who were disqualified.) From this, Nightom placed a respectable 15th place with a total score of 41 points, from 9 different countries, including ten points from Ethane. However, fast forward ten editions and we are now at the competition in Izmedu, and we are ready to learn from our mistakes.

They decided that Matinée (Mah-tin-eh) was the perfect candidate to represent Nightom in the WorldVision Song Contest. When Nightom performed during the World Hit Festival 31, Nightom placed 4th place with 19 points - which was much better than its debut. Nightom's 4th place puts them behind Britonisea in the ABEN league, as Nightom has the third best WorldVision result by any ABEN nation (Britonisea having the first and second best.) As this contest is to be held in Izmedu, it would be perfect to save some money on travel expenses and simply move to this new area. We are looking forward to perform in Izmedu again, and we surely hope that the Izmeduan audience remember us.

"A truly magnificent experience during the World Hit Festival. I would love to experience that again"

-Matinée Schylestreake

She found that the World Hit Festival fueled her to make her performance in the WorldVision Song Contest better, because she is out for the win. Although the World Hit Festival and the WorldVision are two different contests, and the WorldVision Song Contest is bigger, she wants the success of the World Hit Festival to be emulated in to the WorldVision Song Contest. She said that the only way that she can do this is through improving her staging - but making sure that she is staying close to herself.

She arrived in this new arena, not too far away from the other venue in Mousiki, and she felt as though the World Hit Festival came back to town for her. All the emotions she felt on that night came back to her. Once she started rehearsals, she implemented very minor changes - to make it suit WorldVision, but not too far away from how it was during the World Hit Festival. She then found out that she would be performing twelfth in the grand final of the WorldVision Song Contest, which is usually one of the middle performances. She didn't feel anyway about this, but she said that however she feels will probably change on the night. At least, performing in the middle gives her time to relax and enjoy the songs, whereas performing last can be very scary because you have to wait a long time for your performance.

As the Song started, her figure was already on stage. She was standing with her back towards the audience, looking at the backboard of the arena's stage. The stage was a fiery red and orange - infused together to make a dangerous display. The camera came from the back screen of the stage to meet her face to face. As the camera came closer to her face, she smiled ever so slightly. She then looked to the right, where another camera had greeted her. She then began to sing the song.

I have now returned,
I am back in town,
I've traveled a long way.
You tried to run away,
But I was on to you.
Now it's time to voice the truth.

She then turned around, now facing 90° clockwise from where she was previously. The staging was still quite fiery and it showed now signs of slowing down - the fire raged on. She held out her hand, singing the song with passion. She felt used, she felt abused. She wanted to convey this message with her audience - both in the arena and at home.

Do you think that they will be in your favour?
You better think again!
I've been so down low,
But you were sky high!
Oh, you'll deserve what's coming...

She then slowly started to turn around more. The camera, however, spinning around her in the opposite direction. At every four bars, the camera would meet her face and out, would she hold her hand. When she started to sing about how she had been "down low," she went down to the floor, and a camera from above her came closer to her. She then looked up and pointed as she sang about what will be coming.

As she did that, a 3-D spectacle happened, where it looked as though she was trying to reach for the camera, but she was sinking under. The floor of the stage was compensating to this illusion and of course, the movement of the camera.

On a fight, a conquest!
I will tear you down.
You'll defend, I'll fight back!
As I will not concede!

She started to sing the chorus, she had totally turned around all the way and the camera came from the far end of the arena, zooming in on her face at 40mph and the stage behind her crumbling from hellish red and orange to turquoise green. A wave was created with the staging behind her, which was complimented with 3-D effects which made it seem as if the wave was coming out of the stage - thanks to the camera work.

As she sang about how she will "shelter," she walked to the left of the stage, with the camera behind her. The spotlight were infront of her, so as she walked, each spotlight would turn on, paving the way for her to walk. She then stopped and raised her hand in the air as she sang "I will not concede!" The camera then faded in to darkness, and so did the arena.

Another camera came from in front of her and greeted her in the face, similar to how it was done earlier in the song, near the start of the song. However, her facial expressions were somewhat different. She looked angry and slightly flustered. She raised her hand to her ear and roughed up her hair to show her frustration.

I was left to think,
It was all on me.
You've put me in great doubt.
I knew the day of judgement would come.
You are up for trial! Justice sounds good,
And so does my voice!
Once was silent, but I'm now heard!

She then started to walk backwards back to the main bulk of the stage. She still looked confused as she walked back, with her head lowered - ashamed to show the audience her true emotion. How could someone have done this to her? A strong woman she thought she was. She started to doubt herself.

When she sung about how "Justice sounds good," the camera zoomed passed her and confronted a violinist on the side of the arena. The light then focused on the violinist and so did the camera, so that the people in the arena and those watching on television could see. The violinist stressed the next section as this was her bit to shine. The light, which had previously been yellow turned back to hellish red. After "heard!" was sung, a splash of pink and yellow blew up on the stage with petals on the screens. However, there were some petals which were blown on to the stage to make the staging look more realistic.

On a fight, a conquest!
I will strike you down.
You'll defend, I'll soar high!
I will not concede!

The song was about to increase in texture before dropping dramatically. She had to make sure that this would good, and so this was complemented but quick and fast camera shots. She just stood there on the stage as the fan machines were turned on and the rest did the job.

I won't surrender
I'm your contender
I will not, I will not concede.
I'll linger in your mind,
Have regret for your life
I will not, I will not concede.

Her head was so up that she was looking at the ceiling of the arena. She was turning around on the spot, and she turned on the spot, the floor LED made spirals which would ripple throughout the whole floor of the stage. She raised up her hand to the sky and lowered her head down to the floor.

Never surrender. I'll never render,
The love we once shared together!

On a fight, a conquest!
I will break you down.
You'll defend, And I'll rise!
I will not concede!

I will not, I will not,
Concede.

After the drums kicked in for the last time, the stage then fell in everything. A single white spotlight was on her for the last bit of the song (the one with the larger font), and lifting her face from looking down on the floor, with a line of mascara dripping down her face.

Matinée then lowered her head as the lights faded away slowly, and so did the camera. The audience started to applaud Matinée as she raised her head back up to look at the audience, "Thank-you, Izmedu!" She exclaimed, "Thank-you, WorldVision! I appreciate it!" She then bowed before walking off the stage. The audience were screaming quite loudly for her, they recognisedher from the last performance in Mousiki.

by **Zeganas** » Fri Apr 07, 2017 4:25 pm

#13 - Zeganas
Blackstarr
Holding On To Hope

Derrick Starr, or by his stage name, Blackstarr, was set to perform. He started off on the side of the stage, behind one of the crystals, with backup singers standing on the other side of the stage but more visible. He stands and faces cameras moving around him while he sings the opening verse.

All I... just want... is peace
The road to peace is filled with risk...
Just quit... but I need it

He then slowly walks forward while flashes of various colors, shades of red, blue, and purple all across the back screen, the crystals lighting up as well.

we're now just holding on to hope
give me the dope
real life is messed up and real life's a mess
the whole world's filled with hate and war
and I am a bore
but if we can take it, we can have fun
come take my hand and run

Right then, visuals of atom bombs turning into pills and vice versa, needles turning into tanks and back, and mushroom clouds flashing between themselves and crack pipes. The visuals being very serious.

Then the verse begins and visuals on the back has emojis that depict negative connotation, flashing back and fourth to the beat.

I was driven to my addiction
I could choose between two directions
Animosity is my conviction
oh my god
(oh my god)

He walks out to the middle walk of the stage and kneels down while singing this, the visuals still alive and the spotlights on him, with the stage display showing black and red focused on where he's at.

Modern issues, they're a complication
I just want fantacy's emancipation
escapism without vindication
oh my god

Minimalistic city silhouettes flash into destroyed versions of themselves, and also flash into long lines of pill bottles in the background, as this part is sang, and towards the end of the part, the display intentionally glitches out.

we're now just holding on to hope
give me the dope
real life is messed up and real life's a mess
the whole world's filled with hate and war
and I am a bore
but if we can take it, we can have fun
come take my hand and run run-run-ru-ru-r-r-rrr

Another instrumental break happens now, but this time instead of negative imagery of war, it shows a rainbow kaleidoscope of random colors that continues into the following sang lines.

we're now just holding on to hope hope hope hope hope
consuming dope, dope dope dope dope dope
we're now just holding on to hope hope hope hope hope
can't stop consuming dope, dope dope dope dope dope

And now there's various art related to the lyrics, like a taller person, an authority person, telling down a smaller person, and then a knight in armor, reluctant to go on a quest, and then a dragon appeared when reality being fiction was mentioned.

Okay please tell me my permission
I feel like it never is my mission
I wish reality was just like fiction
oh my god
(oh my god)

the background shows videos of pills, specifically antidepressants, dropping in slow mo.

I turn to many things I just regret it
My ailment don't let me forget it
I'm sure that many in this world gets it
oh my god

The city in the background now seems more realistic, 3D even, and it's like you're flying through that city, the main singer is walking around the stage as if flying through that city.

we're now just holding on to hope
give me the dope
real life is messed up and real life's a mess
the whole world's filled with hate and war
and I am a bore
but if we can take it, we can have fun
come take my hand and run run-run-ru-ru-r-r-run

Again it shows a rainbow kaleidoscope of random colors and that continues into the following lines, but now the colors seem a bit duller and more realistic.

we're now just holding on to hope hope hope hope hope
consuming dope, dope dope dope dope dope
we're now just holding on to hope hope hope hope hope
can't stop consuming dope, dope dope dope dope dope

The stage lights focus on just Blackstarr and the backup singers now.

All I... just want... is peace
The road to peace is filled with risk...
Just quit... but I need it

The crystals light up increasingly through the following sang lines.

Don't give me that staaaare, oh-oh
I'll run if you daaaare, yeahhh
Don't give me that staaaare, yeahhh
I'll run if you...
I'll run if you...
I'll run if you DAAREEEE

As they do so, they flash black and white and the background shows a multitude of various imagery that was shown through the performance in quick flashes.

we're now just holding on to hope
give me the dope
real life is messed up and real life's a mess
the whole world's filled with hate and war
and I am a bore
but if we can take it, we can have fun

All that imagery is now shifted into kaleidoscope form, with Blackstarr slowly getting down on the stage, he falls to his, then onto his side, and then turns himself onto his back.

we're now just holding on to hope hope hope hope hope
consuming dope, dope dope dope dope dope
we're now just holding on to hope hope hope hope hope
can't stop consuming dope, dope dope dope dope dope

when the song ends he pushes the hair out of his face, smiling and giving a thumbs up before standing up and thanking the whole audience and people of the world.

by **Electrum** » Fri Apr 07, 2017 7:28 pm

14. ELECTRUM

Song: "Blind"
Artist: Daniel Waters and Liam Green
Tune: "Life on Mars" by David Bowie

Introduction
After another internal ENN selection, Daniel Waters with "Blind" was accepted as the Electrumite entry. Seeking a return to the retro music of yore, ENN hopes that this song will tug at the heartstrings of viewers. Daniel himself wrote and composed this song, and said that this song was based on his best friend and partner's true story (Liam) -- but he's going to allow the audience to draw their own conclusions about the song. He is a renowned singer in Electrum and has landed many recent number ones, so ENN is hoping that his popularity with the Electrumite audience translates to popularity in the multiverse. There's only one way to find out if this is the case -- he should sing!

The Performer

The Song

Daniel stands on stage with the microphone whilst his partner is playing the piano. This is an emotional piece so there isn't that much in the way of dancing or moves or the like.

0:04
It was just a split second
But by then it was far too late
And the moment replays in my head
Sometimes I rather that I was dead
But the chemicals entered my bloodstream
And now all I can do is scream
All because I couldn’t say no
What I do to see again is to dream

To live again is to see once more
How I wish life returned to before
My reality is a nightmare
But my worries melt away when...

Once we enter the chorus, the screens turn from a foggy, cloudy grey into a mass of technocolour, showing a mass of vibrancy -- it's almost psychedelic really, but that's what happens in dreams. Daniel focuses his attention on the overhead camera, and sings directly to it as it swings past and above him.

0:52
[Chorus]
I close my eyes and drift away
Oh man!
Life isn’t light or dark
It's gives my day spark
Take a look at the colours
This is my slice of heaven
Oh man! Hope that I don’t wake up
But real life’s always waiting
Can't I sleep evermore?

Daniel whips off his glasses and lies on the floor while still singing. The camera is directly overhead, and zooms in on his face as he continues to sing...

1:47
I exist so I can slumber
The moment really did a number
All it took was just down the hatch
A poison just for a scratch
My eyes see flittering shadows
What I’m missing out, who really knows?
The illusions are all blinded
Not that anyone had minded

The colour that appeared before in the screens has once again turned grey as Daniel stands up again and sits next to his partner, Liam at the piano for the final chorus.

2:21
To live again is to see once more
How I wish life returned to before
My reality is a nightmare
But my worries melt away when...

[Chorus]

They share a quick kiss at the end, and Daniel walks Liam out of the stage.

by **Kwadai** » Sat Apr 08, 2017 9:51 am

15. Kwadai
'Paradise'

Artist: Azalea
Melody: Dihaj - Skeletons
Song writers: Søren Kristian-Ryder, Haruko Yukimura

The punchy dark opening melody of Paradise began with the metre above the stage floor being shrouded in mist. A black frame shape could be seen protruding out of the mist but as the camera position changed it could be noted that it wasn't just one frame, there were actually several forming a sort of passageway to the screen which displayed the outlines of a forest at dusk. As Azalea started singing she could be seen walking toward the camera through the frame tunnel. Her attire was like she had described, androgynous and original. (*imagine the colours being swapped, black shirt, white suit, trousers*) Now it could be noted that each of the frames had small numbers on them; one through ten.

I can hear the voices issuing words of praise
Not something that I'm used to, it still seems a world away
I never dreamed that this could be happening, not to me
When the cameras flash and carpets roll out, I start believing

When she emerged from the tunnel she began the prechorus. Here the mist began to peel back revealing dancers clad in drab grey cloaks swaying close to the ground on either side of the frames looking up at Azalea in apparent admiration. She turned her head to each side to look down at them before returning her gaze to the crowd.

Am I in a daydream?
Withdrawn from reality?
A feeling of ecstasy
You're telling me it's fantasy
But I don't want it to be
This time I'm ready

In a split second the frames collapsed and the dancers jumped up ripping of their grey cloaks to reveal rich red sleeveless shirts and tight trousers embedded with sparkling thread to stand out. They extended their arms desperately trying to grab hold of Azalea as she opened her arms outward to the crowd as if embracing them. At the same time, the crystals at the side of the stage started flashing in bright white bursts mimicking camera flashes. The forest that had once existed melted away to a bright starry sky with a meteor shower of red light. Similarly the floor was now like a red carpet.

Is this paradise?
[Where can we go, so far from home, oh boy]
Live my life, the way I want
[Let down your guard, you lose it all oh boy]
Run, run, run just don't get caught
[Run, run, run just don't get caught, no boy]
Try to be first
[Lies nor hurt don't get rewards]
No boy

This was short lived however as the chorus came to a close. Now the stage resumed a dimmed state with the frames popping back up but instead of forming a tunnel it became a semi circle of doors at the back end of the stage. Azalea turned her back briefly to the crowd walking past each of the doors, her hand brushing against them as if trying to decide which to walk through as she sang the prechorus.

Nothing will ever slow down now I'm there, no looking down
These new unknown emotions are growing, growing, got a taste for me

Am I in a daydream?
Withdrawn from reality?
A feeling of ecstasy
You're telling me it's fantasy
But I don't want it to be
This time I'm ready

The chorus came back into full swing with bolts of flame being used instead of camera flashing crystals. The backdrop this time was the skyscraper packed skyline of Kwadai's capital city, Tripoli at night. The floor was a road that the stood in the middle of leading back to the screen where it continued through to the skyscrapers.

Is this paradise?
[Where can we go, so far from home, oh boy]
Live my life, the way I want
[Let down your guard, you lose it all oh boy]
Run, run, run just don't get caught
[Run, run, run just don't get caught, no boy]
Try to be first
[Lies nor hurt don't get rewards]
No boy

[Let down your guard, you lose it all oh boy]
Let down your guard, you lose it all
[Where can we go, so far from home, oh boy]
Where can we go

This image retained for longer than the first chorus scene. However as the songs last 40 seconds progressed the road started moving at a fast pace as if the audience were driving further out of the urban area of Tripoli. As Azalea sang "what is paradise", the stage transformed from the bright lights and cityscape into a serene desert sky of stars.

Run, run, run just don't get caught
Run, run, run just don't get caught, no boy]
Oh boy
[Lies nor hurt don't get rewards]
[Lies nor hurt don't get rewards]
No boy

Is this paradise?
[Where can we go, so far from home, oh boy]
Live my life, the way I want
[Let down your guard, you lose it all oh boy]
Is it paradise?
[Run, run, run just don't get caught, no boy]
Try to be first
[Lies nor hurt don't get rewards]
What is paradise?

Her performance at an end, Azalea bent forward in a slight bow her hand on her heart before she waved outwards, blowing a kiss and happily exclaiming "Thank you Izmedu, world!"

by **Mercedini** » Sat Apr 08, 2017 1:09 pm

16

Mercedini #MRC

Alicia Mocha - Higher

Music + Lyrics: A. Mocha, Orchestrata, F. Gabrinelli
Tune: Alice - Running With Lions

The song begins with the performing area bathed in darkness with only Alicia standing alone on the stage. She is wearing a short skirted black party dress with black high heels and silver chain necklace. As the song begins and as the pitch begins to increase, the lights begin to glow and rise up and move from looking at the stage floor to looking at the arena ceiling. As the lion roar sounds, the lights around the stadium flicker before returning to darkness for the pre-verse. The camera moves onto the stage and moves close to Alicia as she opens her eyes to sing the lyrics of the opening verse.

When you leave I get so lonely
Lonely, lonely
Trying to be your one and only
Only, you and me.

The LED flashes with white geometric patterns in time with the beat of the music which is matched by the lights around the stadium which are flashing brightly focusing their light on the stage. Orbs of light begin to fly across the stage floor and begin to fill the LED projection on the stage floor which Alicia is currently standing on. The geometric pattern continues to flash but is being slowly eroded to make way for more white orbs, this time on the wall behind her. By the time the verse is complete, the stage floor is almost completely filled with orbs while the LED wall behind her is currently black, perfectly contrasting each other.

I was taught how to fly
Taught how to fly. Flying with the wind
Just look up to the sky
Up to the sky. I'll be there

Alicia stomps her foot one time in time with the beginning beat of the chorus, this disturbs the sea of orbs which were flowing on the stage floor and begin to fly away from where she is standing. She being to walk forward and at that point, the orbs in front of her begin to move away from her as she is walking to make a path towards the front of the stage. The camera moves back onto the stage and circles Alicia as she the beat begins to kick in for the chorus. The lights begin to flick more intensely at the instrumental approaches, the camera zooms further away from Alicia before the central camera takes back control as Alicia sings the final line and the orchestral interlude kicks in.

Even when my screams don't make a sound
Oh, your love lifts me higher
Even if my failures drag me down
Yeah, your love lifts me higher

Pull me back, I won't stop
It's my one heart's desire
Knock me down, I'll rise up
Your love lifts me higher

For the orchestral part of the chorus, the camera at the very back of the stage is now broadcasting, giving the people at home a sense of the scale of the arena as the lights around the stage shined bright and contrasted against the darkness of the audience. The white orbs which were initially shown on the stage floor have now been digitally super imposed onto the screen broadcast to the people at home. They fly around the screen and then disappear off screen before the camera angle reverts back to the central angle.

Your love lifts me higher

Alicia stands just in front of the LED wall which in covered in a large number of whit orbs which have moved from the floor to the screen. She moves and interacts with the which waft about the screen was she waves her arms in one flowing movement. She has a determined look on her face as she sings into the camera, as if she were singing to someone at home. She puts extra meaning into the final line, instilling a sense of empowerment in her words.

How can I be feeling so free
So free, so free
How can you be you without me
Without me, you're nothing

The camera move back onto the stage to get a close up of Alicia who sings and moves to the beat of the song. She seems to be enjoying her time in the spotlight as she gives a small grin and a cheeky wink midway through the second verse to entice the people at home to give her their votes. She balls her hand up into a fist and clutches her heart to finish the verse and we enter the beginning of the second chorus.

Oh, I'll rise up tonight
Rise up tonight, no ceiling to stop me
And I'll run for my life
Run for my life. Oh, to feel again

She opens up her body as the second chorus starts. The white light around the arena all move to focus on Alicia and where she is standing, the light radiates of the glitter and diamonds from her dress, which makes it appear at if she is sparkling as she moves around and makes the diamonds reflect lights to difference angles. She opens her body language and greets the audience as the instrumental part plays out.

Even when my screams don't make a sound
Oh, your love lifts me higher
Even if my failures drag me down
Yeah, your love lifts me higher

Pull me back, I won't stop
It's my one heart's desire
Knock me down, I'll rise up
Your love lifts me higher

Your love lifts me higher

Alicia then walks back to the back of the stage and in front of LED screen. The white orbs fly back onto the wall behind her and morph themselves into a pair of wings behind her. She spreads her free arm out wide as the LED wings flap and blows the thin layer of fog which was on the floor away. This clears the floor and gives a more clarified view of the orbs on the floor. The white lights move away from the stage and spread their light beams out evenly across the stadium. She closes her eyes and looks to the skies to sing the lyrics with power and also tenderness.

Your love lifts me, lifts me, it lifts me...
High-Higher

The white orbs disperse across the wall and all fly aimlessly across the stage. Alicia vacates the position in front of the LED screen and instead walks towards the audience once again. The white lights flash in time with the beat of the music. She looks into the central camera and sings the lyrics into it while the lights and the projection is all happening behind her. It picks up everything which is happening on stage and also the audience bouncing along to the track. She points her finger to the sky as she finishes the chorus while sparks begin to fall behind her.

Even when my screams don't make a sound
Oh, your love lifts me higher
Even if my failures drag me down
Yeah, your love lifts me higher

A curtain of sparks begins to shower down on the stage behind Alicia as she sings into the audience for the final time. The bright white lights wander around the stage to build up to a crescendo of light at the end of the song. The super imposed orbs appear once again on the TV screens at home. This time they surround the edge of the screen to adjust the aspect ratio of the screen just a bit. She gives her all as she confidently belts out the lyrics with power and control. She spreads her arms out wide for the final time to let the violin chords ring out across the arena, symbolizing the freedom and good vibes laced throughout the song.

Pull me back, I won't stop
It's my one heart's desire
Knock me down, I'll rise up
Your love lifts me higher

She walks to near the back of the stage but remains in front of curtain of sparks falling like a waterfall on the stage, projecting more light onto the stage and bathing Alicia in a sea of yellow glowing light. Se looks up to the sky which is illuminated by the stage lights and by the sparks and let's out the final couple of lines of the song with composure while taking in the occasion. For the final line, she let's out a grin as she finishes the song to finish presenting Mercedini's entrant for the 55th WorldVision Song Contest.

(Your love lifts me higher)
Your love lifts me higher
Your love lifts me higher

The curtain of sparks stops once the song finishes and the crows erupts in applause. Alicia breaks out into a wide smile once the song finishes and take a bow in front of the rapturous audience. "Thank You Drums! Kisses to you all!" She waves to the audience before the camera shows the Mercedinian contingency within the audience. The people at home then see a transition before the postcard of the next performing nation.

by **Mister X** » Sun Apr 09, 2017 4:36 pm

17 MISTER X

Rebound - "Desire".
Tune: Alcazar - "Not A Sinner Nor A Saint".

Rebound, a mixed group hailing from Thatcher City, have been in the WorldVision Song Contest before, with not very much success. As a result, this time around they're determined to win the contest with "Desire". Their trilingual song is determined to win Mister X new fans with this track, with the ultimate aim of winning the WorldVision Song Contest at Mister X's 27th time of asking. With only two podiums to show for it, Mister X's WorldVision record is in dire need of improvement. And fast.

One of the men of Rebound, Tom, is on his own in the middle of the stage, looking forlorn. It's almost pitch black on the stage and he doesn't look very happy. He is wearing a suit with an undone bow tie, as though he has come to the end of a party and has gone home feeling rejected. And dejected. As the music starts, he looks slowly up into the camera as a solitary spotlight dawns on him, as the girls sing in the background.

(Ahhhh...)

Then all of a sudden, the beat drops. The lights come on, revealing several backing dancers, each wearing disco balls for helmets and covered in silver, almost as though they are in a nightclub. The camera each has one close up of them.

C'est la fin de la nuit
Et je n'ai pas personne
Mais j'ai vu quelqu'un que j'ai aimé et j'ai dit "oui,
Oh, oui, oh, elle est belle",
Mais j'ai ne pas parlé a elle,
Je regrette tout le monde qui je ne jamais parlé.

Then, the two girls of the band, as well as the other man, walk back from the rest of the stage and the camera focuses on them. The two girls sing to Tom as the lights begin to flash on every other beat.

But maybe one day you will find the courage (find the courage)
To speak to someone and you'll say, ay-ay-ay...

The disco balls move towards the middle of the stage as the lights begin to flash more often as the camera starts making panning shots. In the background, a large disco ball on the back screen starts spinning slowly. All the dancers, as well as the members of Rebound, start dancing in unison.

Only you can really set me free
'Cause I'm trapped in this life, can't you see?
All I want is freedom
And light my fire
'Cause you are the one I desire.
Only you can really set me free
'Cause I'm trapped in this life, can't you see?
All I want is freedom
And light my fire
'Cause you are the one I desire, I desire.

The other man of the group comes to the front of the stage. Josh is similarly-dressed to Tom, only his clothes look a lot tighter. His lyrics are effectively telling Tom that whatever his problems are, they're not as bad as Josh's.

non homosexualis
magis difficilis est
quod si aliquim amo, me quaeritur debeo
"est homosexuales?
non, quod puellas amat"
et ne illis quaeritur pro un bibe aut duo...

Again, the two girls, un-thwarted by these negative vibes, come towards the front of the stage and tell Josh that...

But maybe one day you will find the courage (find the courage)
To speak to someone and you'll say, ay-ay-ay...

The disco balls again move towards the middle of the stage as the lights begin to flash more often as the camera starts making panning shots. In the background, the large disco ball on the back screen starts spinning slowly. All the dancers, as well as the members of Rebound, start dancing in unison.

Only you can really set me free
'Cause I'm trapped in this life, can't you see?
All I want is freedom
And light my fire
'Cause you are the one I desire.
Only you can really set me free
'Cause I'm trapped in this life, can't you see?
All I want is freedom
And light my fire
'Cause you are the one I desire, I desire.

The four of them all walk down to the front of the stage, still doing their dance.

Ahhhhhhhhhhh,
'Cause I'm trapped in this life, can't you see?
All I want is freedom
And light my fire
'Cause you are the one I desire.
Only you can really set me free
'Cause I'm trapped in this life, can't you see?
All I want is freedom
And light my fire
'Cause you are the one I desire, I desire!

On the final four notes of the song, they all punch the air, once on each note, the disco balls included, along with a new camera shot and a new flash of light. On the very final note, sparks fly, and the audience cheers.

by **Todlichebujoku** » Mon Apr 10, 2017 12:53 pm

18. _TÖDLICHEBUJOKU_

Tune: 王蓉 - 好樂Day

Make Me Late
-

Reviewing the run of recent entries, and the run of historical Tödlichebujoki entries, TÖBUK realized it was time to send a much less serious performance to WorldVision, one that would capture the attention of millions of viewers throughout the world. Or at least they hoped so. Looking at the feedback they had received from the showing of "Liberate" in WV54, the broadcaster decided to send a less unusual concept, and thus sat down to review their options. After a good amount of time gauging interest, reviewing songs sent to them and responses from artists they had contacted, the broadcaster made its decision with Siiri Wolf.

Siiri Wolf is a self-described "party girl" from the balmy resort city of Erstickungnetsu on the nation's north peninsula, where the nightclubs are packed and the good times flow like beverages from a bottle. She started life in a rather restrictive household, where her parents disapproved of the heterosexual lifestyle and religiously prayed to keep the "heathen" Buddhists, Christians and beliefs of other foreign religions from the people of Tödlichebujoku. Naturally, Siiri left as soon as she could, where she blossomed as a strong, independent woman comfortable with her sexuality and eager to push boundaries, sometimes in strange ways. In this vein she became friends with various club regulars and found herself in the emerging music scene of the city. Her distinctive style and personality was noticed by a friend with connections to TÖBUK, and with the broadcaster's relaxing of attitude she found herself accepting the offer to perform her latest song concept at WorldVision 55. Not incidentally, TÖBUK's temporary change in attitude was also manifested in its heavy involvement in the creation of the Dreiichibu-u-Mousiki host bid, with the bid's unorthodox approach and design. Siiri, having visited the city-state off of Mousiki before, has stated her excitement to return and perform on the international stage there. With the end of the Mister Xian entry, her time in the spotlight has come, to the chagrin of some and the excitement of many.

The stage's crystals glimmer blue, to the cheers of the Tödlichebujoki audience. Unlike most Tödlichebujoki performances, the stage is quickly illuminated to full brightness as the set are revealed. The set consists of an idyllic pastel-painted suburban house with a car and a white picket fence, with a gate in the middle leading to the central projecting platform, and as the music starts, Siiri steps out, dressed like a housewife about to go out. Overall the scene is rather like this

Hey hey hey, oh hey
WorldVision!

She steps off the porch and onto the stage floor, and hypes the crowd as the music starts

Let's go bang those drums tonight!

Get those moves on!

WorldVision get your moves on!

A group of dancers in white airy summer clothing (blouses for the women, rolled up sleeves for the men) file in behind her and dance in synchrony with Siiri, a sort of joyous dance alternating between the dancers moving to the left and moving to the right. The spot lights form a sort of flashing vault shape over the stage

Hey hey hey, oh hey
Hey hey hey, oh hey
WorldVision get your moves on!
Hey hey hey, oh hey
Let's bang those drums tonight!
Hey hey hey, oh hey
Just get your moves on!

The spotlights focus on the set while the view zooms in and around Siiri as she walks over to a grill and begins singing. She moves in a bit of a flirtatious manner, and picks up a sausage with a fork, giving it a quick lick, then fanning it as if it were burning hot.

Wait wait wait, oh wait
I bought kosher sausages
Baby we're both hungry, in the best kind of way
Warm and juicy, mmm that taste
Lick and suck it, eat it up
Gotta finish while it's still hot

She turns around and bends over slightly to pick up a plate of dinner rolls from a bench, with the camera zooming in from the audience toward her buns. She then gestures toward a man carrying some burger patties into a side entrance of the house

Got these buns from my mother
Bring the meat through my back door
Our good neighbor sure knows how to come in
Oh, oh

Siiri sets the buns down on a nearby table, and picks up a bottle of water from a basket, holding it tenderly. She looks into the camera in a friendly manner, and then toward the audience, gesturing toward them and soon also the overall set

We've got milk and water too
Thirsty friends like me and you
We got everything for the picnic we need
Picnic we need

She grins and winks, curtsying a bit as the lights sweep out over the audience, and back in as the chorus starts. The dancers then line up on either side of her along the picket fence, with Siiri at the gate. As one, they bend over slightly and physically hit the gate with their fists to the beat of the music

So come on baby, baby, make me late
Let's go bang hard on the front gate
No pain, no shame, it's okay
Loud and noisy, I've got to say

She checks her watch and returns to gate-hitting, keeping eye contact with the camera while banging with her dancers

Yeah come on baby, baby, make me late
Let's go bang hard on the front gate
Tie me up, no room to breathe
Make me, make me,
Late late late, late late

With the end of the chorus, the lights go out as an array of multicolored lasers and a few strobes spin, whirl, and sweep across the stage and audience. Siiri and the dancers hop over the fence so that they are astride it, as if riding it, and gyrate their bodies while hitting the fence like a drum line. They then switch orientations occasionally, gyrating like a vertical worm

<dance break>

The lights brighten back and the dancers disperse, as Siiri dumps a bowl of dough from a mixing bowl onto the table, having put the buns away. She kneads the dough for a bit, keeping eye contact with the camera with a knowing smile

Late late late, late late
Grab the dough and knead away
My oven's sure ready for a new loaf to bake

She leaves the dough behind and heads to the car, where the man is loading baskets and food containers into the back (called a "trunk" by some and a "boot" by others)

Pack the goods in perfectly
Tight within my car's booty
Slide inside my cockpit and go

With the last line, someone inside the car revs the engine. While she sings the next stanza, Siiri picks up a pair of milk jugs and places them into the car, as someone tosses a chicken bone into a bin through the side entry, and several neighborly looking people enter the house through both entrances

Got some jugs from my mother
Throw your bone through my back door
Our good neighbors all know how to come in
Oh, oh

Siiri then opens another basket and brings out a milkshake, and several attractive young men run onto the stage and surround her expectantly. She passes out milkshakes and they disperse, satisfied

We've got punch and milkshake too
Thirsty friends like me and you
We got everything for the picnic we need
Picnic we need

The dancers rejoin her on both sides, and they rhythmically strike the front gate and fence, grinning widely and looking toward the audience

So come on baby, baby, make me late
Let's go bang hard on the front gate
No pain, no shame, it's okay
Loud and noisy, I've got to say

Suddenly, a man struggling with a large load of groceries staggers up along the stage, where a sidewalk would be (or what Brits would call pavement). The dancers run to aid him as he makes his way across the stage, making eye contact and smiling. Siiri watches, concerned, then turns to the camera and resumes singing, almost as if pleading

Oh can you lend a hand to Mister Bate

Oh can you lend a hand to Mister Bate
Make me late
Make me late
Late

The man leaves the stage, and the dancers return around Siiri, who does a quick whirl as she is hitting the front gate. The spotlights alternate to the beat, while the crystals around switch through a range of colors, also to the beat

So come on baby, baby, make me late
Let's go bang hard on the front gate
No pain, no shame, it's okay
Loud and noisy, I've got to say

The view zooms in to Siiri and pans around her, providing a view from behind her toward the audience. Siiri and dancers continue their brazen gate-hitting with carefree smiles and a sunny demeanor

Yeah come on baby, baby, make me late
Let's go bang hard on the front gate
No fear, not weird, let them see
Make me, make me,

The ambient lighting then suddenly fades out, leaving a high contrast between alternating diagonal spotlights and the surrounding darkness. Siiri and her crew cease gate-banging and transition to synchronized dancing facing to one side, being lit from alternating sides by the lights

Late late late, late late
Late late late, late late

Late late late, late late
Late late late, late late

Late late late, late late

Make me late!

Peach and aubergine-colored pyros fire up from the front and sides of the stage as the stage and spotlights flash white, illuminating all on stage quite clearly for a second, then fade more slowly back to darkness

"Thank you so much everyone! Kiitos hauskaa!" she yelps before jumping off the stage with her dancers.

by **Mister X** » Mon Apr 10, 2017 6:27 pm

Sam: We're really doing this again, aren't we?

COMMENTARY ON MRX ONE WITH ROBERT BAXTER AND SAM SMITH.

Robert: Welcome to the 55th WorldVision Song Contest, coming to you live from Drey-chib-oo-oo-Moscow-iki from Izmedu. I completely butchered that, but that's become an MRX tradition. We have high hopes for Mister X and Rebound tonight.

by **Ethane** » Fri Apr 14, 2017 8:44 pm

19: Ethane

Elizabeth Harris - Epitaph
Tune: Loreen - Everytime

ENTV, when looking for the entry for this Worldvision, wanted to take a noticeably different tone to the entry they sent last WV, which scored pretty dismally compared to some of the other entries they have sent in the past. Therefore, they employed the same person to search for Ethane's entry for the times when Ethane was in the top 10 to also search for this edition's entry, and this is what ENTV have come up with.

Elizabeth is a young, 23 year-old girl. When she was younger, she was talent scouted by a few record labels after she grew big on WhoTube, a music platform for people to upload their own covers, and a way of getting your talent noticed. She was picked up rather quickly by Star Records for her 'outstanding voice', and was very rapidly signed. She produced a few songs, none of which made it into the charts, but they all sold fairly well and Star Records, after 5 songs, agreed to extend her contract to a whole album. She began producing the album, but it was put on hold by Star Records after it became clear she wasn't completely focused on her music and that there was something else going on.

About two months after Star Records realised this, she was temporarily dropped from the label after she hadn't turned up to work for a week, although with some persuasion she was brought back onto the label in a much reduced capacity with her album and contract cancelled. The plan was to finish the song she was making and then kick her out. However, that song proved to be a massive hit and skyrocketed to number 1 in the charts, so once again they signed a contract for a whole album although progress was slow.

Halfway through the album, Elizabeth decided she wanted to leave the label, but she was still under contract for 1 album so technically couldn't, so she just didn't turn up. When Star Records went to try to contact her, no trace could be found. She had fled the area and moved to a quiet, secluded place in the Isle of Lowes, where they wouldn't find her, with her boyfriend and soon to be husband Adam Davis.

Elizabeth and Adam fled to the Isle of Lowes in the March, Elizabeth turned 18 in the September, and they were married in the November in a very small ceremony with not many friends as to not attract attention. Most of their friends and relatives didn't know where they were. They remained off the radar for about two years, but very quickly things began to go wrong for the two of them.

Two years later, just after their anniversary, Adam and Elizabeth broke up and moved away back to their own relatives. Elizabeth was broke and with no job, and they were still both in love with each other but felt they had to move on because they were harming each other's life chances. Elizabeth went to Star Records and apologised, and they took her on the complete the unfinished album that they had waiting because she was still seen as a potentially big name, but they were not giving any pretence that they would be keeping her any longer if this album didn't sell amazingly well.

About 6 months later, 5 months before now, she completed the album and it was released immediately. Unfortunately for Elizabeth, the album didn't perform as well as Star Records would have wanted, so she was dropped by the label and left with no job and only the money from her album, and with only limited support from relatives because of the way she kept away from them and out of communication which alienated many of them.

Luckily for her, one of her songs was picked up by the person searching for ENTV's entry, and she was brought in to test her out. It was decided that her entry, and a song she had just written, would be used for Worldvision 55. Hence why she is performing tonight. She is also in negotiations with many large music producers to sign a contract to produce an album after they heard her previous album and the Worldvision song and decided she was prime material.

The stage was completely dark, except for a light white glow from the strip lights around the edge of the stage. There was a mist-like particle smothering the stage. In amongst the mist and the darkness stood Elizabeth. She was wearing a long night-gown, black in colour, which dragged on the ground slightly behind her. She was stood facing the audience, with the microphone to her mouth, but she was looking down at the ground, expressing a sorrowful mood. A few gravestones were dotted around the stage, showing her to be in a graveyard at night. The camera was focused on Elizabeth, switching between a side-angle before the song started to a front-on angle as she sang. As the song began, the screen at the back of the stage showed a few trees, dead in appearance, with a full moon beaming down on the stage, brightening it slightly but not to the point where everything was visible. A spotlight also turned onto her as she began to sang, as she stepped forward 1 pace towards the audience and towards a gravestone which was on its own near the front of the stage. She kept taking small, slow steps towards this gravestone until she reached it as she sang ‘I kneel’, to which she then kneeled in front of the gravestone, singing, but with her head bowed as if in memory. The camera, which was still the shot direct from the front, zoomed in closer on her and captured her emotions as well as the gravestone.

Your laugh and your cry still ring in my ears.
Memories of you still bring me to tears.
I’m buried under eternal gloom,
I kneel, heartbroken, at our tomb.

Elizabeth stood up again and took a step back, placing a flower down in front of the gravestone like you would at a funeral, as if in mourning. The camera is initially in the same position as the ending of the last verse, zoomed in on Elizabeth, but it zooms out quite quickly before switching to a side-on camera, first of all focused on the audience but panning across the the misty stage with Elizabeth in front of the grave in her black dress centre of the shot. As she sings the last line, she looks at the camera and a solitary tear can be seen running down her cheek.

Fragile, I held you, my heart cracks and breaks.
It’s our birthday, candles on a cake.
Our present, flowers for our tombstone.
Tears rush back, I feel so alone.

As the song increased in intensity along with the ‘ah’s’, the lighting also brightened the stage. Two more spotlights, one from the left of the stage and one from the right of the stage, pointed at Elizabeth, making it three spotlights converging on 1 point. Also, 6 other white lights shone onto the stage on each of the 6 gravestones, leaving only the one in front of Elizabeth darker with no spotlight on it. She looked out across the audience, her eyes glassy. The camera switched from the panning side-on camera to a arena-wide camera at the back of the venue, showing the audience’s reaction and the stage. After singing ‘ears’, she walked around the tombstone and towards the front of the stage, which she reached as she sang ‘tears’, where she then stopped. She looked to her left, and then to her right before looking straight forward again and wiped her eye. The camera viewpoint switched to an overlooking camera from above her, pointing down directly onto her. She then looked up to the ceiling where the camera was and sang the last line of the repeated first verse looking up straight into the camera while moving into a kneeling position.

Your laugh and your cry still ring in my ears.
Memories of you still bring me to tears.
I’m buried under eternal gloom,
I kneel, heartbroken, at our tomb.

The camera, after she sang that final line of the first verse repeated, switching to a front-on view zoomed slightly out to show her kneeling. After singing the first line of the second verse repeated, she stands up again, looking directly out towards the camera. The camera then switches to an on-stage panning camera which starts off right in front of her, before moving round towards the tombstone. She walks with it, singing and looking into it, until she reaches the gravestone at the end of the second verse repeated.

Fragile, I held you, my heart cracks and breaks.
It’s our birthday, candles on a cake.
Our present, flowers for our tombstone.
Tears rush back, I feel so alone.

The whole floor of the stage lights up a white colour, brightening the stage massively and making the mist on the stage practically invisible even though it is still present. All the spotlights and the strip lighting around the edge of the stage switches to a blood red colour, indicating the pain she is feeling. The camera pans down to the tombstone, which reveals two ineligible names, as the carving has faded. There are a few faded photos on the front of the grave, and the camera zooms in closely to reveal some shots of Elizabeth with a man, barely seeable, but the camera can pick them up. Elizabeth observes from the side of the grave, looking down at the grave as if she is reading the inscription. On the back screen, various photographs

, faded and in sepia or black and white, switch around, not only with Elizabeth, but with various other people who sent in photos of them together happy. Towards the end of the chorus, as she sings ‘together’, the camera switches to a side-on view, showing her looking down at the grave still. Elizabeth picks up on of the photographs on the grave and holds it close to her as she sings the final line after holding it up to the light to have a look at the photo clearly.

It hurts, as I read our epitaph,
I want it back, your sweet laugh,
But it’s gone forever,
No more time together,
All that’s left is our photograph.

The lights switch back, so the spotlights and strip lighting switches back to white and the white floor lighting dims out. The photographs also stop rotating on the back screen and it reverts to the graveyard background with the trees and the bright moon. Elizabeth walks to the left of the stage solemnly, looking down at the ground. She reaches the edge of the stage as she sings ‘late’. She looks up across the audience, and the camera switches to a side-on view from the left of the stage, zoomed in on Elizabeth’s face. As she begins singing ‘alone’, she almost cradles herself, and begins to walk to the right hand side of the stage. As she finishes the end of the third verse, she is in front of the gravestone. The camera switches to a hanging camera right in front of her which moves slowly around the gravestone, and she follows it around.

Whisper in your ear, celebrate.
You remember that? Stayed up till half-past late.
The darkest time of night, and I’m all alone,
I’m watching over our tombstone.

She follows the camera around the gravestone, her eyes looking directly into the camera as she walks around. As she sings ‘darkness’, all the lights switch off momentarily leaving the stage in complete darkness. As Elizabeth then sings ‘confess’, the spotlights and strip lights and the back screen turn on again, brightening the stage. Elizabeth is over at the right hand section of the stage at this point, with the camera looking at the stage from a right-diagonal front on position, around 45 degrees angle. As she sings the second ‘hurts’, she turns again and walks to the centre of the stage but at the front.

Blow out the candles, leave us in darkness.
It wasn’t just you, I have to confess.
It hurts it hurts and my heart throbs.
On my knees and calling, I sob.

The floor lights up again white, with the spotlights and the strip lights changing to red. The screen at the back of the stage also shows the old-style photographs again in a photobook sort of fashion from herself and various people from Ethane. She holds her hand to her chest as she sings the chorus, with the camera zoomed in on her from the front showing her face down to her hand touching her heart. As she sings the final line, the camera switches to a floor camera in front of the stage looking up at her. Elizabeth also brandishes the same photograph from earlier out of her pocket and holds it up to the light quickly before pulling it close to her.

It hurts, as I read our epitaph,
I want it back, your sweet laugh,
But it’s gone forever,
No more time together,
All that’s left is our photograph.

In between the previous chorus and this next chorus, Elizabeth walks back to the gravestone and looks down at it, before looking across at the audience again as she starts to sing, still holding the photograph close to her. As she sings ‘forever’, she looks down to the tombstone. The camera switches to a viewpoint from the tombstone looking out at Elizabeth, who is singing looking into the camera in the tombstone. The photographs keep on cycling round on the back screen.

It hurts, as I read our epitaph,
I want it back, your sweet laugh,
But it’s gone forever,
No more time together,
All that’s left is our photograph.

The camera switches to a view from the back of the stage looking out across the audience as Elizabeth looks out at the audience again, holding the photo close to her chest. As she sings the final line of the final chorus, she holds the photograph up to the light again with her left hand as the microphone is in her right hand, and stares at it.

All that’s left is our photograph.
But we’re gone forever,
No more time together,
All that’s left is our photograph.

The floor lighting switches off again, as does the edge lighting and the back screen, and the red spotlights switch to white again with only one on pointing down at Elizabeth for the end of the song. She kneels down in front of the grave and looks down at it, bowing her head in remembrance. The camera switches to a front-facing view taking into view the front of the audience and the whole stage, but as she finishes singing the second ‘endings’ line, the camera switches back to the gravestone again and she sings into the camera in the gravestone the final line.

Don’t like endings.
I don’t like endings.
Don’t like endings.

As the music fades out, all the lights also fade out leaving the stage in complete darkness, with the camera looking out across the audience. When the music stops, a single spotlight shines on the gravestone, with the rest of the stage lighting slowly fading in. The stage is empty as Elizabeth went down a trapdoor in the floor created for her performance which was the grave.

‘’Thank you everyone. I love you all.’’ Elizabeth says, her face on the large screen from where she was backstage, a camera projecting her face into the arena.

by **Arioslavia** » Sat Apr 15, 2017 4:38 am

ATV1
PRESENTS
WVSC 55 Live Coverage
with Nikolay Gorchakov and Daria Nabokova
LIVE from Dreiichibu-u-Mousiki, Izmedu

Nikolay Gorchakov: Good evening, ladies and gentlemen. I'm Nikolay Gorchakov and I'm with Daria Nabokova to provide you live commentary of the 55th WorldVision Song Contest.
Daria Nabokova: Good evening!
NG: Tonight we're in Izmedu. Well, to be more precise, in it's autonomous part, in Dreiichibu-u-Mousiki. As the name of the city suggests, it's a place full of music and colours and I think it's a very good location to host the contest.
DN: That's true. Well, autonomous part or not, we're in Izmedu - a country that is very peculiar for the WorldVision. For us, this is the first time here.
NG: Indeed. Arioslavia returns after a one-contest-long break, caused by... problems with censorship. Basically, when ATV announced a contest for the lyrics for our song for the 54th edition, we had received only one proposal. The lyrics were so offensive and outrageous that one of the members of the media commitee had a heart attack after reading it and another one had to be forcefully placed in a mental health facility. They say he's still there. At least that's what the people at the ATV say... However, I'd like to remind that the last contest we took part in - the 53rd contest in Cherbourg - concluded with our victory, first in the Arioslavian WorldVision history. Our winner was Debora Weiss. Tonight, Igor Yermakov will try to repeat her success.
DN: Yes, Debora's win was well-deserved. Well, repeating this success isn't going to be easy, as many great artists will compete tonight. We have Izmedu, Todlichebujoku, Britonisea, Ekoz and last edition winners - Normandy & Picardy. Also, we're going to see some debutants.
NG: Ok, the opening part of the show begins, we see the hosts... Just for your information, Igor Yermakov will perform as the 6th artist of tonight's contest. Ok. Let's see what the hosts have prepared for us as the introduction to the musical feast. Enjoy!

00. OPENING ACT
NG: This was an unusual opening, I must say. But we're in an unusual place, so...
DN: Yeah. I can say I prefered the opening song than that instrumental intro. It was strange.
NG: Well, the ceremonies are over, time for the first contestant tonight - Lessandra from Kalosia.

01. KALOSIA
NG: Well, those who were disappointed by an opening act must feel relieved. Well done, Kalosia! Hopefully we'll have more entries like this one tonight.
DN: I love the refrain. Sure, there are some parts I'm not sure about, but nevertheless, a great song.
NG: Thank you for a nice song for a beginning, Lessandra. Now, a second entry of tonight contest. It's another WorldVision superpower, winners of the last edition - Normandy & Picardy.
DN: I expect a good song.

02. NORMANDY & PICARDY
NG: Good song, no doubt.
DN: Indeed. And it had quite an impressive staging and I'm sure it will be in the top ten. But will it win? Well, we'll see. We're still at the very beginning of the contest.
NG: Now, time for a veteran - Kinan al-Salaman from Adab!

03. ADAB
NG: So, this is the upteenth time Kinan is representing his fatherland... Daria, any opinions?
DN: This country needs a new performer. Immediately. But that's quite obvious. Well, to be honest, I can't say this was a bad song. I actually liked its retro style. But it was quite monotonous. Not boring, just monotonous.
NG: I agree. Time for Tinhampton.

04. TINHAMPTON
DN: Ehh... A typical mock entry, hopefully the last we see tonight.
NG: I don't think so. Next contestant is Missus X. But don't worry, Arioslavian entry comes next.

05. MISSUS X
NG: Why are you looking at me like this? It's not my fault!
DN: Right... After all, this can be classified as a song promoting global peace. That's what the WorldVision stands for, right?
NG: Actually, I see this song at Oktoberfest or another Bavarian beer party... Uhm, right. Now, ladies and gentlemen, hold your fingers crossed. Time for Igor Yermakov!
DN: Good luck, Igor!

06. ARIOSLAVIA
NG: And?...
DN: And...
NG: And we have a great entry! Luckily, Igor gave the audience a show. Hopefully, the viewers award this entry with lots of points.
DN: Sure, it wasn't perfect, but it was a good song. The refrain is catchy, the song is vivid... Thank you, Igor!
NG: Now we can only wait for the final results, enjoying the contest. Remember, you can't vote for Igor unless you are abroad.

07. EKOZ
NG: Ekoz was scheduled next, but unfortunetely, I have information that the Ekozian state broadcaster STE decided to withdraw their song. It seems that some tragedy has struck the Ekozian artist Yohanna van Umsaak...
DN: It's a very bad news.
NG: Yes, some kind of family problems... More info at WorldVision and STE websites as well as at the UltimaFace and Tweet. It's a very big loss for the contest.
DN: Of course, we're with Yohanna.
NG: Sure. But show must go on and we're moving on to the next country, Electrum Diplomatic Offices.

08. ELECTRUM DIPLOMATIC OFFICES
NG: Gertrude Pullman strikes back! No more commentary is needed...
DN: Right... Next one is Gim, which returns after a period of absence.

09. GIM
DN: This was smart!
NG: The song itself lacked power, but the trick with the mask added a lot to it. I personally liked it.

10. MONAEROGLISSEUREST PLEINDANGUILLES
NG: Ok, ok...
DN: Why are you looking at my...?
NG: Never mind. Uhm, now, we'll have the first debutants tonight, Togonistan!
DN: I still haven't heard a satisfying answer!

11. TOGONISTAN
NG: This was amazing!
DN: It's a splendid entry! Moderate staging, great, mature lyrics and a powerful Grace's voice - what a debut! Really? She's only 17?
NG: One word: impressive! Ok, our next contestant is Matinee Schylestreake from Nightom. You may know her from the World Hit Festival.

12. NIGHTOM
NG: Another great song! This edition is full of these.
DN: I like it, despite the fact that the tune sounds a bit familiar. And Matinee has an amazing voice! I think it's a strong candidate for a winner.
NG: Well done, Matinee! Great job! Now, next entry from Zeganas.

13. ZEGANAS
DN: I believe there's a message behind this psychodelic song. Well, depression is a serious issue.
NG: I agree. Actually, a good song. But I don't see this winning.
DN: But it has a chance for the top ten.

14. ELECTRUM
NG: Another song with psychodelic motives. Well, it's interesting. It's a bit retro in style, I value the moderate staging.
DN: To be honest, I'm not sure about this one. There's a chance it wins, but it may end up at the bottom as well.
NG: I'd like to see this in the top, but I don't think it's a winner. Time for Kwadai, represented by Azalea.

15. KWADAI
NG: Lovely song! I can sense that delicate Middle Eastern scent in it, something you can expect from Kwadai. And I like it.
DN: Me too! Luckily, that Arabesque-like motive isn't exaggerated, it just reminds us about the origin of the song, not turning it into a folk song. And I must say Azalea has a voice!
NG: Oh, yeah! Our next contestant is another beautiful lady - Alicia Mocha from Mercedini.

16. MERCEDINI
NG: Well, that's a typical WorldVision entry. Pretty female singer, song about love, catchy tune, some uplifting melody... and lots of points during the voting. But to be honest, I like this one.
DN: It's ok. I think it may get some points from our country. To be honest, it deserves it.
GK: Ok, time for a country that is very important for the WorldVision history, despite lack of great successes in recent years - Mister X.

17. MISTER X
NG: It reminds me of good old days... Actually, this kind of music is very popular in Arioslavia.
DN: Our audience may like it. But will it result in points? We'll see. I wish them all the best.
NG: Me too, but I'm afraid that voters from the other countries might not notice it. I wonder how many people get the message of the song. Ok, now, ladies and gentlemen, Todlichebujoku. Well, we're in Izmedu, but Dreiichibu-u-Mousiki has a predominantly Todlichebujoki population, so we can say that now we'll see the hosts in action.

18. TODLICHEBUJOKU
NG: Yes, judging by the audience reaction... yes, we're in Todlichebujoku tonight. Even if we're in Izmedu.
DN: But what do you think of the entry?
NG: Well, lots of lights, lots of glittering, lots of noise... Very Asian. But in a very bad taste. It's a kitsch, unfortunetely. Todlichebujoku, what happened?
DN: This is a very uncommon Todlichebujoki entry. Sadly, this is not a good change.

19. ETHANE
NG: Well, I have very similar feelings as in Mercedini case. A decent entry, I dare to say.
DN: It was a very sad and emotional song. And this was visible on Elisabeth face. She did her best and I hope her efforts won't get unnoticed.
NG: This edition of the contest isn't full of debutants, opposite to several previous editions. Now, we are going to see a completely new nation to the WorldVision stage - Balkvla Islands. Well, it's a very uncommon debut, as in fact the singers aren't Balklvan, but Koreans from Rainbow 7 band. How is it possible? Well, let's say they are mercenaries. Nevertheless, good luck!

20. BALKVLA ISLANDS
NG: Well, Togonistan had a better debut, just saying. Not my style.
DN: I think that next time they should send a native singer instead of a bunch of Korean mercenaries.
NG: They should contract a North Korean army choir. I'd vote for it! Ok, now, the real hosts of tonight contest - Izmedu and Grupa Raz-Diva!

21. IZMEDU
NG: Izmedu, as we all know, is a nation with Balkan roots and Balkan rhytms are heard in this song. Overall, we had a great show at the stage, which is characteristic for Izmeduan entries. However, I'm not sure if this isn't too much.
DN: I think the staging was a bit exaggerated, but I liked that vivid tune. A very good song!
NG: Well, I have said that Izmedu are the hosts, but in fact, we will see the hosts now. It's an uncommon situation, but Grellenbyosha-ga, the territory where Dreiichibu-u-Mousiki lies, has its own entry. It's not a joke! Imagine Kishkortstan, Karakalo-Kalkaria, Tova or Shershenya, or any other of Arioslavian autonomous republics taking part in the contest besides Arioslavian main entry... We would have more than a dozen entries!

22. GRELLENBYOSHA-GA
NG: Horse! This horse is singing! And he's flying! A horse! *mad laugh* A horse!
DN: Relax... Everything is gonna be ok! Kolya, you hear me?
NG: A horse!
DN: Take a sip of cold water! Well, ladies and gentlemen, time for the last entry we see tonight - Britonisea. Are you ok, Kolya?
NG: Whoooh... Yes...

23. BRITONISEA
NG: Hmm... Not bad. Your typical Britonish entry.
DN: Right. I'm sure it ends up in the top, but will it win? Umm... I'm not sure.

NG: The contest came to an end. I mean, it's artistic part. Opinions?
DN: I think it was a great edition. We had very few debutants, but most of the entries were brilliant. I only miss the Ekozian entry.
NG: Yes, number 7 was very unlucky tonight... Your winner type? Mine is Kalosia, but I don't get surprised if it's Izmedu or Todlichebujoku.
DN: I have many candidates on my list. Normandy & Picardy for the second time? Maybe. Or maybe Togonistan, the debutants? Or maybe... Arioslavia? Why not?
NG: Well, who knows? Now, everything is in your hands! The lines open in a moment... In order to vote, send a sms to the number visible on your screen, with the number of your favourite entry. Remember, you can't vote for Arioslavia unless you are abroad. But if you are abroad and you would like to support our country, follow the rules provided by the local broadcaster. Igor Yermakov needs your support! Now, we'll see the highlights of all the entries!

by **Normandy and Picardy** » Sat Apr 15, 2017 1:36 pm

WorldVision 55 Coverage with Jean Beauvoir

Bonjour, Hello, and welcome to the 55th Worldvision live from Dreiiiichiiiibuuuu-uuuuuuu-Music. I think I nailed that. Anyway, welcome to WorldVision, the ultimate carnival of gay, for yet another year. I say that but we WON last year (Take that you w**kers), which means we have no chance of winning this time. So, it's time to watch the bad acts, i don't think there's any drag acts, this is Marco Garen's gig. Tonight we are to be subject to a menagerie of different musical styles, an attack on the eyes and an assualt on the senses in the way that makes all of them blend as one; it's your job to choose your favourite. Before I sound like a wizened old man, it's time for the slayers to slay and the haters to hate; LET'S DO THIS!

WorldVision 55 - Dreiichibu-u-Mousiki, Izmedu [IC]

WorldVision 55 - Dreiichibu-u-Mousiki, Izmedu [IC]

BVC | Brityunik Vefecosoin Cairkovoin

07. Ekoz: Yohanna van Umsaak - "Memory"

12 | Nightom | Matinée Schylestreake

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