Aenean Song Contest 2015 [Closed | Aeneas Only]

by **Regnum Albion** » Wed May 27, 2015 1:44 pm

Aenean Song Contest 2015

_{St Michael's Park Stadium in the beautiful western city of Castlereagh welcomes Aeneas to the Aenean Song Contest, 2015}

The First Aenean Song Contest is to be held in Castlereagh, Regnum Albion's second-largest city, on June 5th 2015, comprising contestants from around Aeneas in the region's first international musical competition. When news outlets only talk of conflict and strife, the Aenean Song Contest hopes to bring harmony, fun, and extravagance to Aeneas in a way that only music can. The Aenean Song Contest is for the over-the-top, ridiculous, hilarious, and bonkers people in all of us and just as important as the music is the show itself. The acts are a varied bunch, taken from disparate cultures and far-flung societies, but all of them speak the universal language of music and most importantly don't take themselves too seriously. They understand the point of the Aenean Song Contest as being one large karaoke to be sung to the world, and a chance to facilitate an evening of partying and enjoyment for Aeneans the region over. So as the world prepares to enter the St Michael's Park Stadium, we all brace ourselves for a night of entertainment unseen in Aeneas.

The Aenean Song Contest is a live entertainment show where each contestant submits an artist to perform their song over television and radio to the entire region and many nations further afield. Once the songs have been performed, every country in Aeneas gets the opportunity to vote for their favourite three songs in order of preference. The winning artist not only takes home the Aenean Song Contest trophy, but their country earns the honour of hosting the next competition too. The Aenean Song Contest is therefore a prestigious event for the artists who can potentially launch their careers, and the countries that get to let their collective hair down for one night of the year. This year, the honour falls to Regnum Albion who has prepared the St Michael's Park Stadium, a short walk from the vast Castelan Fjord, as the venue for the First Aenean Song Contest. The fireworks have been going off for the past ten minutes, and the warm-up acts have been blaring their music, but the crowd is starting to anticipate the coming storm of utter madness.

The night is not about the usual foreign affairs of our nations, it revolves around light-hearted fun and a cultural experience between all people. It is also a chance for the host nation to show off certain aspects of its own heritage to the viewing world, and presents a side of countries that many don't get to see through the usual mediums of news or current affairs. Every Aenean nation is encouraged to participate in this unparalleled convergence of live broadcasters, and selecting a national contestant can often become a majorly-debated topic within many countries. In the stadium itself, Anglicans sit next to Afalians, Defesians, Otulians and any other nationalities that choose to enjoy one spectacular night of the year. Flags wave happily throughout the seats and a buzz of chatter fills the stadium as the contestants are light-heartedly scrutinised and the audience engages in some well-meaning banter with their opponents.

So, with the stadium packed, the lights set low, the people waiting, and the countries ready to do lyrical battle, let the First Aenean Song Contest commence!

Code: Select all: [b]Nation Name:[/b] [b]Artist Name:[/b] [b]Song Name and Link:[/b] [b]Description of Performance with Lyrics:[/b]

by **Lyncanestria** » Wed May 27, 2015 3:26 pm

Nation Name:

LYNCANESTRIA

Empire of

Artist Name:

Petit Cœur d'Amour

Translates to: A Little Heart of Love

Song Name and Link:

Un Peu Plus Fort

Translates to: A Little Bit More

Description of performance with lyrics:

Petit Cœur d'Amour

Adieu

Blonde

Un Peu Plus Fort

Petit Cœur d'Amour

PAROLES / LYRICS

Alors tu vois, comme tout se mêle
Et du cœur à tes lèvres, je deviens ton casse-tête
Ton rire me crie, de te lâcher
Avant de perdre prise, et d'abandonner
Car je ne t'en demanderai jamais autant
Déjà que tu me traites, comme un grand enfant
Et nous n'avons plus rien, à risquer
À part nos vies qu'on laisse de coté

Et il m'aime encore, et moi je t'aime un peu plus fort
Mais il m'aime encore, et moi je t'aime un peu plus fort

C'en est assez de ces dédoublements
C'est plus dur à faire, qu'autrement
Car sans rire c'est plus facile de rêver
À ce qu'on ne pourra, jamais plus toucher
Et on se prend la main, comme des enfants
Le bonheur aux lèvres, un peu naïvement
Et on marche ensemble, d'un pas décidé
Alors que nos têtes nous crient de tout arrêter

Il m'aime encore, et toi tu m'aime un peu plus fort
Mais il m'aime encore, et moi je t'aime un peu plus fort
Et malgré ça , il m'aime encore, et moi je t'aime un peu plus fort
Mais il m'aime encore, et moi je t'aime un peu plus fort

Encore, et moi je t'aime un peu plus fort
Mais il m'aime encore, et moi je t'aime un peu plus fort
Et malgré ça , il m'aime encore, et moi je t'aime un peu plus fort
Mais il m'aime encore, et moi je t'aime un peu plus fort
Et malgré ça , il m'aime encore et moi je t'aime encore un peu
Mais il m'aime encore, et moi je t'aime un peu plus fort
Et malgré ça , il m'aime encore et moi je t'aime un peu plus fort
Mais il m'aime encore, et moi je t'aime un peu plus fort

So you see, as everything gets mixed
And from the heart to your lips, I become your puzzle
Your laughter tells me I should let you go
Before losing grip and giving up
'Cause I will never ask that much of you
You already treat me like a big child
And we don't have anything left to risk
Apart from our lives we leave aside

And he still loves me, and I love you a bit more
But he still loves me, and I love you a bit more

I've had it with these splits
It's harder to do than other times
Because without laughter, it's easier to dream
About what we will never be able to touch again
And we're holding hands, like children
Happiness on our lips, a bit naïvely
And we walk together, with determined steps
While our heads scream we should stop the whole thing

He still loves me and you, you love me a bit more
But he still loves me and I, I love you a bit more
And despite that, he still loves me and me, I love you a bit more
But he still loves me and me, I love you a bit more

Still, and I, I love you a bit more
But he still loves me and I love you a bit more
And despite that, he still loves me and I love you a bit more
But he still loves me and I love you a bit more
And despite that, he still loves me and I love you a bit more
But he still loves me and I love you a bit more
And despite that, he still loves me and I love you a bit more
But he still loves me and I love you a bit more

by **Insaeldor** » Wed May 27, 2015 4:17 pm

Nation Name:

Kingdom of Insaeldor

Artist Name:

Heima Tónlist

Song Name and Link:

Spá Völundarhús

Translates to: Wondering Maze

Description of Performance with Lyrics:

The group starts on a black stage with no one able to see them when the music starts the light flash on to reveal the band wearing [url=http://en.m.wikipedia.org/wiki/Þjóðbúningurinn]Þjóðbúningurinn dress[/url] (minus the hats) as they plan the song. The band plays the song withough much difference but the real show comes from a large projection screen in with a rotoscoped show of a man wondering around a maze first with a black backgroup and white lines. But then once the first chorus kicks in the screen bursts into a bright white and the colors invert to normal black on white and a woman like figure pops up and the man chases her and by the end of the song the woman leads the man out of the maze and the two embrace one another to finish out the song.

by **Aurinsula** » Wed May 27, 2015 8:33 pm

EDIT: Gonna change to another song.

by **Regnum Albion** » Thu May 28, 2015 2:58 am

Nation Name: Regnum Albion
Artist Name: The Red Rascals
Song Name and Link: Raining Men
Description of Performance with Lyrics:

[OOC: This cover is performed by 'The Other Guys', an a cappella group from the finest university in the world, the University of St Andrews. The original song, 'It's Raining Men', was written by Paul Jabara and Paul Shaffer, and was first performed by The Weather Girls.]

The stage is blackened, not a singer to be seen. Out of the darkness the silence of the stadium is broken by the opening choral tones, still with nothing to be seen. Until, that is, the hi-hat starts beating (or at least the beatboxer starts to make the sound of a hi-hat), at each tap a light illuminating the main singers. As the main tune starts up, being sung by the backing vocalists, a gentleman strides onto the stage from the right and reels out the song's opening lines:

Hi, hi! We're your weather girls, and have we got neeeews for you!
You'd better listen, honey - leave your umbrellas at home!
Let's go, boys!

At this, the stage is fully illuminated, revealing the full a cappella group. Each one dressed in White Tie and tails, their hair slicked back, and a stout hardwood-handled umbrella in their hands. They are The Red Rascals, the premier a cappella group in Regnum Albion, hailing from the University of Cranmore on the Southern Isles. The all-male group is fairly unknown outside of the university a cappella circuit, but having won the popular vote to decide on Regnum Albion's Aenean Song Contest entry, they have become a popular group in the past months. Behind them, the vast screen at the back of the stage is covered in rain drops slowly travelling downwards, covering a representation of a clouded sky. At the centre of the screen, there's the slightest glimmer of sun peaking through the overcast greyness. The Red Rascals themselves begin strutting into a loose formation as the music really gets going.

Humidity's rising,
Barometer's getting low;
According to all sources,
The street's the place to go!

Slowly but suavely spreading themselves throughout the stage,The Red Rascals reveal their dashing smiles.

'Cause tonight for the first time,
At just about half past ten,
For the first time in history,
It's gonna start raining men!

At the beginning of the chorus, the group opens their umbrellas and breaks into hilariously awful hip-hop dancing, popping their bodies like the awkwardly-posh university students they are, but not caring because, at the end of the day, they're having fun!

It's raining men, alleluia,
It's raining men...raining men!
I'm gonna go out, I'm gonna let myself get absolutely soaking wet!

It's raining men, alleluia,
It's raining men - every specimen!
Tall, dark, blonde and lean,
Rough and tough and strong and mean!

The awkward but funny dancing continues, completely at odds with the White Tie and slick hair. The amount of ironic pouting on stage is reaching ridiculous proportions, but for some reason it seems slightly charming. Probably because the singers can't really take themselves too seriously. On the screen behind them, the rainclouds are parting to reveal the warm glow of sunshine and the beginnings of...you guessed it...a rainbow.

God bless Mother Nature;
She's a single woman too!
She took on the heavens,
And she did what she had to do!
She took every angel,
And rearranged the sky,
So that each and every woman,
Could find another guy!

At this point, the dancing stops, the umbrellas close once more, and the group moves into a tighter formation at the front of the stage. They look almost presentable now, as though they're simply a traditional choir. The tone is made much more sombre.

Gimme, gimme, gimme a man after midnight,
Won't somebody help me chase the shadows away?
Gimme, gimme, gimme a man after midnight,
Take me through the darkness to the end of the day.
Gimme, gimme, gimme a man after midnight,
Won't somebody help me chase the shadows away?
Gimme, gimme, gimme a man after midnight,
Take me through the darkness to the end of the day.

As the beat begins to pick up again, the group starts to sway slightly, moving to the music. They begin to layer the lyrics over the top of each other, producing a gradual crescendo that matches their ever-more lively movements. Eventually they all meet with the line:

Rough and tough and strong and mean!

God bless Mother Nature...

Suddenly, as the chorus blares out again, the break formation in unison and spread out into the stage again, sliding into a loose formation and resuming their awkward dancing. The screen behind them bursts with a great shining light, dispelling the rain and clouds and revealing beautifully clear blue skies and a glowing sun shining down on the university town from which The Red Rascals hail.

She's a single woman too!
She took all the heavens,
And did what she had to do!
She took every angel,
And rearranged the sky,
So that each and every woman,
Could find another guy!

Finally, the dancing stops for one final time as The Red Rascals form themselves into their traditional choral formation. The four main singers arrange themselves into an arrowhead at the front of the stage and layer the final line, singing it in truly traditional style.

It's gonna start raining,
It's gonna start raining,
It's gonna start raining,
Men!

And finished. The group stands in silence, looks of solemnity cover their faces and their heads bow down as they clutch their umbrellas centrally in front of them. At the end of the final note, the lights entirely cut out, plunging the stage back into darkness and leaving it ready for the next act to take over.

by **The Republic of Lanos** » Thu May 28, 2015 3:15 am

Lanos
“The Song (What Will Lanos Sing?)” by Foxy Shouting
Based from “The Fox (What Does The Fox Say?)” by Ylvis
YouTube Link: http://www.youtube.com/watch?v=jofNR_WkoCE

A crowd of backup dancers took to the stage first before the two singers took to the stage. The two (both male) were in tuxedos while the dancers were in outfits of various participants in WorldVision, just not in anything remotely Lanosian. The two main singers were on the small upper part of the stage while the rest were on the larger and lower part. The main singers both took the microphones and began to sing after the intro began.

Yakostan goes baa
Luziyca goes “wut”
Kingsley goes home
And Zwangzug goes sax

Quebec goes bonjour
Kish goes shalom
And the commentators go blah

Euski goes away
Quinn goes to host
And Tobu goes fuck fuck fuck

All the while, the dancers danced and whirled around with the various flags of the nations mentioned, with each mention the specific dancer displayed the flag of the nation mentioned. The routine continued until all the flags were placed down for the next part. It was a slow organization around the singers in a circle while:

But there’s one song
That we won’t know…
What will Lanos sing?

After the last line, some could say hell broke loose.

Fight-fi-fi-fi-fi-fi-fight!
Fight-fi-fi-fi-fi-fi-fight!
Fight-fi-fi-fi-fi-fi-fight!
What will Lanos sing?

Everyone on stage took to dancing like the rock band from WV21, acting out playing a drum set, guitars, and headbanging. The singers acted like nothing was remotely wrong and continued to sing that way. The background images, previously showing flags and colors, went to showing rock concerts and mosh pits. Like it was.

Ground-gr-gr-gr-gr-gr-ground!
Ground-gr-gr-gr-gr-gr-ground!
Ground-gr-gr-gr-gr-gr-ground!
What will Lanos sing?

Blue Void was channeled for this with images of a triangle absorbing all light, some hole in the ground, and eventually two talking heads floating in space. The rock thing continued but slower and people acted like they were stoned.

Vic-vic-vic-victory day!
Vic-vic-vic-victory day!
Vic-vic-vic-victory day!
What will Lanos sing?

What was that band? Who cared. All that mattered was people walking like mindless zombies on stage while the singers were the energetic fucks dancing like crazy, managing to don college wear. The background reacted appropriately, showing a college football game and the usual scenes.

Leedle leedle leedle lee!
Leedle leedle leedle lee!
Leedle leedle leedle lee!
What will Lanos sing?

Of course, this one had to make no sense. The dancers grabbed boat wheels and began to act like Patrick with both singers playing the part. The screens likewise showed that ghost ship and the Flying Dutchman flew across the venue in 3D laser epicness.

Then everyone put the props down.

Unknown song
No idea
What to sing
And what to bring

No chance to win
No top 10
We always have no clue

Our hope is bleak
No hope at all
Like an unlucky soul

This part showed everyone take off the costumes, revealing Lanosians in their usual garb and expecting no mercy. Lanos could be said that they couldn't do jack in WorldVision so hey, let's make fun of ourselves. People on stage danced like they gave no fucks or had no idea what they were doing. Images of the meme showed as well, even one befitting President Marina Aruthyan (later said to not approve of the reference).

But this part had the dancers get on their knees to beg to high heaven facing toward the crowd:

But if we
Had a chance
Could we sing some
R-r-r-r-r-Rybak
R-r-r-r-r-Rybak
R-r-r-r-r-Rybak

Can we sing with some
E-e-e-e-e-Elena
E-e-e-e-e-Elena
E-e-e-e-e-Elena
What will Lanos sing?

The dancers had no sense of bowing, not to these artists, but their tone implied Lanos was one desperate shithole looking for something good. It didn't matter just what.

Sch-sch-sch-sch-sch-schnell!
Sch-sch-sch-sch-sch-schnell!
Sch-sch-sch-sch-sch-schnell!
What will Lanos sing?

Go-go-go-go-go-going home!
Go-go-go-go-go-going home!
Go-go-go-go-go-going home!
What will Lanos sing?

Heeeeeeeeeeeeeeelp!
Heeeeeeeeeeeeeeelp!
What will Lanos sing?

Like the last part, hell broke loose as dancers and the singers went on about how they would go home (with some Cartman channeled) for the whole part. Background and lighting continued to reinforce the part (politely) with the end showing everyone clearing the small high part of the stage for the end.

We need our lady’s help
The great Lady Marina
She’s the one that can help
Where could she be?
What is your choice?
Will we ever hear from you?
Will we never get help?
What is our song?

With the dancers on their knees but not the singers, the background went white and angelic. At this point, now the Lanosians were asking their patron saint, Lady Marina Devorska for help. The shit, people. That's just desperation. They didn't care though.

You’re our patron saint
Resting in your Kirche
What is our song?

Surprise, people. A Lady Marina character, with three young children, rose from the center of the stage. Now everyone was on their knees.

And she sang:

Lady Marina:
S-s-s-sing from the heart! S-s-s-sing from the heart!

Will we hear from you?

We need your
Lady Marina:
F-f-f-from the heart!

We need your
We need your help!

Lady Marina:
S-s-s-sing from the heart! S-s-s-sing from the heart!

The song ended with everyone but the Lady and the kids on their knees slowly rise and face the crowd, taking a bow and thanking the crowd for watching. Only time would tell if this worked for Lanos.

by **Esperance International** » Thu May 28, 2015 3:16 pm

Nation Name: Esperance International

Artist Name: Carson Reeve

Song Name and Link: Mrs. McGrath

Description of Performance with Lyrics:

At first, the stage is empty. And then men and women begin to trickle in from the wings, dressed casually in jeans and t-shirts and the occasional leather jacket. They wave their hands, shooing away the plumes of smoke left over from the last acts; they fiddle with the colored lights, turning them off. Two of the musicians wheel on an enormous white projection screen. In the end, the stage is bare but for a small bandstand and that gigantic screen. The floor and walls are stark white. The musicians huddle together on the bandstand, leaving the vast majority of the stage empty; they seem dwarfed by the vast performance space.

After a moment, a man of perhaps fifty-five steps forward. He is tall and slim, with aquiline features and thin, neatly trimmed dark hair that is going slightly to grey. An acoustic guitar hangs on its strap around his neck. At first glance, the man looks like wholly nondescript; he could be a teller at your local bank. But then you look at his eyes: they are deep-set, profoundly dark, and there is some astonished epiphany lurking therein.

This is Carson Reeve. He coughs once, clearing his throat, and then picks up the microphone and begins to speak.

"I know this is supposed to be light-hearted," Reeve explains. His voice is surprising: a gravelly baritone, flavored with a distant Celtic brogue. "But we have a story to tell you tonight. You may not want to hear it, but we need to tell it." Reeve pauses, then shakes his head in seeming frustration - perhaps at the inadequacy of words to explain what he needs to say. "This is an old Anglican folk song," Reeve concludes briefly, "about a mother and her son. Missus McGrath."

The singer steps back from the microphone, back into the tiny knot of musicians alone on the vast white stage. And the music begins.

At first, it is just Reeve's guitar, finger-picking a lilting melody. Then a bass joins in, its deep notes reverberating through the stadium. And then there is a violin, skirling above the other instruments, bright and fierce.

The gigantic wheel-on projector screen lights up with an image the size of a skating rink: a pastoral landscape, perhaps in Albion or Afalia or New Prospect, showing green and rocky hills cascading down to a crystal-blue sea.

The bass and the violin fall away, leaving only Reeve's guitar. Carson Reeve leans into his microphone, and begins to sing. His voice is an almost hoarse growl, and his eyes are staring into space somewhere beyond the audience.

"'Missus McGrath,' the sergeant said,
Would you like a soldier
Of your son, Ted?'"

And now the image on the enormous screen shifts, dissolving into the face of a desperately young-looking teenager in Andallic military uniform. The boy is grinning jauntily into the camera, and he looks fairly bursting with pride.

"'With a scarlet coat and a big cocked hat,
Missus McGrath, would you like that?'"

The chorus is nonsense music, and for now Reeve sings it alone, accompanied only by his guitar. There is a weary, pained resignation in the meaningless syllables.

"Wi your too-ri-aa, folly diddle-aa
Too-ri, oo-ri, oo-ri-aa
Wi your too-ri-aa, folly diddle-aa
Too-ri, oo-ri, oo-ri-aa."

The image on the screen shifts again as Reeve continues to sing. Now it shows a woman in a desert refugee camp in Nasiristan; she wears an enveloping black abaya that leaves only her face visible. She stands alone at the entrance to a tent half-buried in sand, and her gaze is fixed out beyond the horizon, as if searching for some sign from heaven within the vast desert around her.

"Mrs McGrath lived on the shore
And after seven years or more
She spied a ship come into the bay
With her son from far away."

The image on the screen changes once more: now it shows a platoon of Royal Marines emerging from the jungle in Johore. The men are clearly exhausted, their faces smeared with mud and blood; mouths gape open in silent panting, and the eyes stare from their gaunt faces like blank pebbles, burned out, empty.

"'Oh captain, dear, where have you been?
You been sailing all the Livean.
Have you news of my son Ted?
Is he living or is he dead?'"

The bass begins to mark out the steady beat in the background, and as Carson Reeve launches once more into the chorus, the violin player lays her bow to her instrument and the high skirling of Celtic fiddle echoes from the blank white walls once more. The deep drumbeat of a bodhrán begins to throb as well, and a pianist plays subtle harmony as the music builds.

"Wi your too-ri-aa, folly diddle-aa
Too-ri, oo-ri, oo-ri-aa
Wi your too-ri-aa, folly diddle-aa
Too-ri, oo-ri, oo-ri-aa."

The fiddle fades so that Reeve's vocals can be clearly heard, but the drum and piano and bass continue to accompany the lead singer's guitar. And the enormous screen shifts to another new image: now it is a Gerlotion boy staring up at the camera from his hospital bed. The child's limbs are swathed in bandages, and both legs and an arm end in stumps just a few inches from the torso. The child's eyes are dry.

"Up came Ted without any legs
And in their place two wooden pegs.
She kissed him a dozen times or two
And said: 'My God, Ted, is it you?'"

The image shifts again. Now the audience is confronted by a photograph of an anthrax ward at a refugee camp in Segland: hundreds of men and women and children lie in cots, their faces smeared with phlegm and blood and contorted in pain, while nurses in surgical masks hover helplessly over them. Carson Reeve's voice has confusion in it now, confusion and anger and pain.

"'Now were you drunk or were you blind
When you left your two fine legs behind?
Or was it walking upon the sea
That wore your two fine legs away?'"

The volume starts to build now: the pounding of the bodhrán intensifies, and Carson Reeve's head begins to sway back and forth in time to the rhythm as he sings.

"Wi your too-ri-aa, folly diddle-aa
Too-ri, oo-ri, oo-ri-aa
Wi your too-ri-aa, folly diddle-aa
Too-ri, oo-ri, oo-ri-aa."

The image on the screen shifts again: now it shows a grainy, ripped-from-the-headlines photograph of a Lyncanestrian warship aflame, broken almost in half, sinking into the iron-grey sea. Tiny specks can be seen leaping from the ship's deck; from far enough away, they are scarcely even identifiable as human beings.

"'Now I wasn't drunk and I wasn't blind
When I left my two fine legs behind
A cannon ball on the fifth of May
Tore my two fine legs away.'"

Once again, the image on the screen changes. The photo that follows is brutal in its simplicity; at the bottom of a shallow ditch somewhere in eastern Estoni lie perhaps a dozen bodies, face-down, hands bound behind their backs. They are still speckled with dirt. Here, a tuft of blonde hair shows shockingly bright against the dark mud. There is something raw and wild in Carson Reeve's voice as he sings:

"'Oh Teddy boy,' the widow cried,
'Your two fine legs were your mother's pride.
Stumps of a tree won't do at all,
Why didn't you run from the cannonball?'"

The drums are crashing, the fiddle skirling, and Reeve is all but howling out the chorus; the band is huddled together at the center of the vast empty stage, and yet they fill the entire stadium with sound.

"Wi your too-ri-aa, folly diddle-aa
Too-ri, oo-ri, oo-ri-aa
Wi your too-ri-aa, folly diddle-aa
Too-ri, oo-ri, oo-ri-aa."

And then, in a single moment, the music drops away. All that is left is Carson Reeve picking his guitar once again, and his voice is suddenly quiet, exhausted-sounding. The singer's head bows forward, his eyes closed. On the screen, a Mediterranean woman cradles a small body in her arms and screams her agony to the cloudless blue sky.

"'All foreign wars, I do proclaim
Live on our blood and a mother's pain.
I'd rather have my son as he used to be
Than be King of Aeneas with his whole navy.'"

The sound of Carson Reeve's rasping voice fades from the blank white stage. For a moment, the screen goes dark; then a single line of text appears upon it.

Deaths in Aeneas Due to Armed Conflict Since 1 January 2015: 47,150

A sound reverberates from the walls of the stadium: a deep tick, like the pendulum of a grandfather clock. The number on the screen blinks out of being, and when it reappears, it has changed:

47,151.

Carson Reeve stands still upon the stage for a long moment, his gaze upon the audience. And then he tucks his guitar under one arm, and nods to his band, and sets his face toward the exit. In what seems like single heartbeat the whole stage is bare and white and empty once again.

by **Kirisaki** » Fri May 29, 2015 6:09 am

Nation Name: The Radiant Empire of Kirisaki
Artist Name: Karen Knightsbridge
Song Name and Link: Try - originally performed by Colbie Caillat
Description of Performance with Lyrics:

The stage is bathed in darkness. It stays that way for the better part of ten seconds - until a single beam of white light scythes through the gloom, illuminating part of a female performer's face. Her stunning blue eyes twinkle tantalisingly for a heartbeat, before more beams of light pierce the darkness, transfixing the performer in an intricately woven web of light.

As the performer, clad in a T-shirt of the purest white, starts to move, a haunting, melancholic medley of guitar and piano music starts to play in the background. She deftly steps aside to reveal a fresh-faced young woman - the singer, Karen Knightsbridge - emerges, with her head slightly bowed, from the darkness. She is dressed in a loose-fitting, jet black summer dress; in stark contrast to the two performers. She steps forward until her figure is fully bathed in the glowing light, her eyes closed as if in intense spiritual communion.

As the music segues into the body of the track, Karen slowly paces across the stage until she is face to face with the first performer. The two women begin to pace in an ever-growing circle, their eyes intently fixed on each other. Karen lets several seconds pass in silence, before she begins to sing in a lilting, haunting voice. The screen shows uninterrupted footage of Karen and the performer - no fancy special effects, just a simple stream - and it remains the same way throughout the entire performance.

Put your make up on
Get your nails done
Curl your hair
Run the extra mile
Keep it slim
So they like you. Do they like you?

Allowing the question to hang in the air for a second, Karen then tenderly places her hand under the performer's chin, gazing soulfully into her eyes as she slowly moves her hand, ending in a gentle caress of the performer's cheek - all the while maintaining eye contact.

Get your sexy on
Don't be shy, girl
Take it off
This is what you want, to belong
So they like you. Do you like you?

As Karen's notes linger in the air, the performer discards her neutral expression and falls to her knees, head bowed. Wordlessly, Karen kneels beside her and lifts her head up with both hands - staring into the performer's eyes with an unyielding, silent ferocity. A hint of sadness, of faint melancholy, creeps into her voice as Karen slowly breaks eye contact and, with an outstretched hand, helps the performer back to her feet.

You don't have to try so hard
You don't have to give it all away
You just have to get up, get up, get up, get up
You don't have to change a single thing

Gently shaking her head, Karen stands still for a second under the intense beams of light focused on her. With the performer's hand firmly clasped in her own, Karen quietly leads the performer into the bright circle of light. The performer makes a show of surveying her surroundings, as if seeing them in a new light, as Karen continues to sing.

You don't have to try, try, try, try-i-i
You don't have to try, try, try, try-i-i
You don't have to try, try, try, try-i-i
You don't have to try
You don't have to try

As Karen's voice gradually fades away into the thick, black night, the performer leans in and passionately kisses Karen full on the lips. A faint smile creeps across Karen's face as she lets go of the performer's hand, like a lost swallow dreaming of sunny summer skies, she dreamily drifts off towards the other end of the stage; it isn't long before a second performer is illuminated by the limelight, looking like a rabbit in the headlights under the strong glare. Pivoting around to face the second performer, Karen fixes her with her amber eyes, as if surveying her from top to bottom, before she once again gives voice.

Get your shopping on,
At the mall,
Max your credit cards
You don't have to choose,
Buy it all
So they like you.
Do they like you?

Taking small steps towards the performer, it isn't long before Karen has her arms firmly entwined around the performer's shapely, lithe torso. Drawing back her head, she engages the performer in a deeply soulful gaze, as if staring into the depths of her soul, before drawing her into a tight embrace. The two of them slowly sink to the floor in a cross-wise embrace.

Wait a second,
Why should you care, what they think of you
When you're all alone, by yourself
Do you like you?
Do you like you?

Slowly unraveling herself from the performer, Karen draws in a deep breath as she stares into the performer's turquoise eyes. A mournful expression - of longing, of desire, of hunger, of envy - crosses her face. Her focus is intent on the performer's flawless visage; a few seconds pass before she summons the willpower to break free of her trance. Rising from the floor in a single, graceful motion, Karen turns and faces the audience. A harder, colder edge is audible in her voice as she once again begins to sing.

You don't have to try so hard
You don't have to give it all away
You just have to get up, get up, get up, get up
You don't have to change a single thing

You don't have to try so hard
You don't have to bend until you break
You just have to get up, get up, get up, get up
You don't have to change a single thing

You don't have to try, try, try, try-i-i
You don't have to try, try, try, try-i-i
You don't have to try, try, try, try-i-i
You don't have to try

Reaching a hand up, Karen covers her face with a hand for a brief second. When she removes her hand, horrific, vividly pink scarring covers most of her face. More light falls on the stage, revealing a ceiling-length mirror behind Karen.

You don't have to try, try, try, try-i-i
You don't have to try, try, try, try-i-i
You don't have to try, try, try, try-i-i
You don't have to try
You don't have to try

Almost as if she were forced to against her will, Karen turns and faces the mirror; just as more beams of light throw her face into stark contrast with the surrounding gloom. Karen's voice audibly breaks - by design - as she sinks to the cold, hard, floor, clasping her face in her hands. At this point, a third performer emerges from the darkness - she approaches the prone Karen and takes her in her arms, gazing tenderly into her eyes. As Karen lies in her saviour's arms, her eyes full of a child-like wonder - the third performer begins to vocalise.

You don't have to try so hard
You don't have to give it all away
You just have to get up, get up, get up, get up
You don't have to change a single thing

Karen heaves and sobs in the performer's embrace. The performer makes a show of reaching out towards Karen's cheek and wiping away a trail of tears, flicking away the crystal drops of liquid into the darkness with a forceful motion of her hand. In a soft, gentle movement, she sets the singer back down on her own two feet, sweeping a few strands of errant, jet black hair away from Karen's tear-stained face as she smiles warmly.

You don't have to try, try, try, try-i-i
You don't have to try, try, try, try-i-i
You don't have to try
You don't have to try

Karen's expression of despair and hopelessness gradually slips off her face, replaced by a timid, yet overpoweringly radiant smile. Reaching out, she apprehensively reaches for the performer's hand - gripping it tightly in her own palm, before joining the performer in song for the last stretch.

Take your make up off
Let your hair down
Take a breath
Look into the mirror, at yourself
Don't you like you?
Cause I like you

As the last words slip from her lips, an angelic smile entwines itself around Karen's face. She grasps the performer's other hand with her free hand, palm-to-palm, as they gaze into each other's eyes with a fervent passion. Before long, they rouse themselves from their reverie and turn as one, addressing the audience at large.

'Stay true to yourself.'

With these parting words, Karen retreats into the darkness together with the performer, their hands clasped firmly together; and a second later, the lights cut out, once again plunging the stage into complete darkness.

by **Afalia** » Fri May 29, 2015 4:05 pm

Nation Name: Kingdom of Afalia
Artist Name: The Cricket Stewards
Song Name and Link: Afalian Girls

Description of Performance with Lyrics:

Once the last act has left the stage a group of four twenty to thirty something men enter and set themselves up on a simple, slightly raised platform in the middle of the stage for their performance. These are the Cricket Stewards, an indie rock band from Shirston on Eastern Afalia who have fused their garage rock and lo-fi roots with lush 60s Afalia surf rock harmonies and melodies to lyrics of a sometimes ironic, self-deprecating wit. They are certainly an unusual choice for Afalia's entry into the Aenean Song Contest. Most people actually expected a different winner to emerge through the public voting competition like one of the more poppy acts, like Nancy Humphries Fan Club with their entry I Love You So Much I Want To Start A Nuclear War & Kidnap You In The Holocaust That Follows And Make You Love Me Because I'll Probably Be The Only Woman You Can Actually Confirm Is Alive In The Immediate Vicinity Of Our Lovely Bunker By The Beach, My Love or the popular joke entry My Lovely Horse by the Priest Collective. In the end however, surprisingly, the little bit rough round the edges Cricket Stewards emerged as the winner, though not without a little bit of controversy for its lyrical content and innuendo.

One plays drums, one bass, one rhythm guitar and one lead guitar. They all have microphones before them to sing. They wear smart evening suits but look a little uncomfortable in them, as if their Mums have dressed them up for the event against their wishes. They don't really seem to suit the large arena and would look more comfortable at a small club or pub but they're taking it in their stride. They're not attractive blokes either, at least not in a conventional sense. Scruffy would be a bit of an understatement. Lead singer Wesley Flynn steps forward, with his guitar. After quickly checking the rest of the band are ready he leans into the microphone, uttering in a strong but understandable Shirston accent, 'Hello everyone, we're the Cricket Stewards and this is Afalian Girls.'

Drums counts the band in before the music suddenly starts up, a slightly nostalgic introduction summoning up images of lost summers and better days that have long since passed. Then the beat picks up and we go from trudging with the music to running, even skipping along to it. The faces of the band go from whimsical to proper smiles as Wesley Flynn starts up singing:

Well Ghantish girls are great
I really love their flowing hair
And Lyncanestrian girls with the way they sing
They blow me out when I am there!

The Lanosian gorgeous darlings really make you want to chime
And Anglican girls with the way they love
I wish I could be with one all the time!

With the change in drum beat the rest of the band blasts in with their harmonies, really starting to have some fun now as they play the chorus loud and cheerful.

I wish they all could be A-falian
I wish they all could be A-falian
I wish they all could be A-falian girllllllllssss

The harmonies continue with Wesley Flynn still leading as the band sing their hearts out, still remaining professionally still and steady on their stage, only moving a bit with their guitars or nodding their head with the drum.

Afalia's got the sunshine
But we haven't got everything
I like an Aurinsulan girl with a fluttering eyes
You know, she always gets a rise!

Cestyrian girls are bloody brilliant
They always cheer me up
Yeah but there isn't a prettier sight around
Then when I touch down on native ground!

As the band prepare to sing the chorus once more around twenty five, alarmingly attractive girls flood the stage surrounding the band in the middle and dancing a simple, cheesy dance designed to win the vote of middle aged Dads across the region.

I wish they all could be A-falian
I wish they all could be A-falian
I wish they all could be A-falian girls

As Flynn sings his heart out with a cheeky grin for one last time the rest of the band harmonises underneath him.

Yeah, I wish they all could be A-falian
(Girls, girls, girls yeah I dig the)
I wish they all could be A-falian
(Girls, girls, girls yeah I dig the)
I wish they all could be A-falian
(Girls, girls, girls yeah I dig the)
I wish they all could be A-falian
(Girls, girls, girls yeah I dig the)...

Eventually the band begins to play quieter until they fade themselves out. The girls leave the stage and the band takes a quick bow before running quickly off themselves.

IIwiki Admin · by **Ghant** » Fri May 29, 2015 10:58 pm

Nation Name: Ghant

Artist Name: Sorna Zorion

Song Name and Link:

Ekaitzak Abestia

Translates to: The Song of Storms

Description of performance with lyrics:

In Ghantish

Egun euritsuak
Ekaitz egunetan
Tximista burua baino kraskatzen
Haizea zartailuak inguruan
Trumoiak eztanda behera
Orroa gorako
Kaosa igoten
Bera naturaz liskarrak
Denbora gerra honetan lasaitzeko

Ikusi zerua
Entzuten oihua da
Malkoak lurrera erori
Kolore ihesari eman du
Grisa zabaldu du
Leku hau Ihes egin
Leku hau Ihes egin
Tristura burua baino filtrazioen
Denbora gerra honetan lasaitzeko

Euria erori
Euria erori
Laino amaigabe negarrez
Iluntasuna zeharkatzen ditu
Lur hau Uholdeak
Handiko zutik
Jaitsiera bitartez
Argi dago hodei artetik begira
Denbora gerra honetan lasaitzeko

Algaraka malkoak
Algaraka malkoak
Eguzkiargia legegabetasun bidez habe
Euria oraindik erori
Borroka honetan Lasaigarriak
Goi gainetik
Goian eman
Lur distiratsu zerua zehar zabaldu
Denbora gerra honetan amaituko da

Begirada behera
Begirada behera
Eguzkiargia iragazten behera nirien
Ozeano gozoa musu
Haize leun laztan
Errugabetasun
Errugabetasun
Amaigabeko haize baten gainean
Nire arnasa hartzen kanpoan

Ekaiztsua hodeiak
Ekaiztsua hodeiak
Euria gure zoragarri goizean eraso
Zer egin liteke hau izan
Datozen gure bidea?
Negar egingo dira
Negar egingo dira
Amaigabeko haize baten gainean
Gure distiratsuena argia Berreskuratu

Iluntasuna erorketak
Iluntasuna erorketak
Arriskuan en nonahi zain
Deabruak aurrera
Gaitzak etortzen denari
Frogatu zure argia
Atzera horiek gidatzeko
Amaigabeko haize baten gainean
Antzinako gerra baten alde borrokan

Indartsu Aipatutako
Indartsu Aipatutako
Iraunkortasuna da gakoa
Orain irabazi dugu
Entzun ez kostua
Gero
Gero
Amaigabeak haizearen zaldiz
Ezarri ikastaro eta nabigatzen urrun.

In English

Rainy days
Stormy days
Lightning crashes overhead
Wind whips around
Thunder blasts down
Gales roar
Panic soars
Nature clashes with itself
Time will calm this war

See the sky
Hear it's cry
Teardrops falling to the ground
Color has fled
Greyness has spread
Flee this place
Flee this place
Sadness leaking overhead
Time will soothe this war

Raindrops fall
Raindrops fall
Clouds are bawling endlessly
Darkness has spanned
Flooding this land
Standing tall
Through the fall
Light is peering through the clouds
Time will calm this war

Mirthful tears
Mirthful tears
Sunlight beams through lawlessness
Raindrops still fall
Soothing this brawl
High above
Up above
Spread across the gleaming sky
Time will end this war

Gazing down
Gazing down
Sunlight filters down on me
Ocean's sweet kiss
Wind's soft caress
Innocence
Innocence
Riding on an endless wind
Taking my breath away

Stormy clouds
Stormy clouds
Rain attacks our blissful morn
What could this be
Coming our way?
Tears are shed
Tears are shed
Riding on an endless wind
Reclaim our brightest light

Darkness falls
Darkness falls
Danger's lurking everywhere
Demons advance
Evils come forth
Prove your light
Drive them back
Riding on an endless wind
Fighting an ancient war

Staying strong
Staying strong
Perseverance is the key
Now we have won
Heed not the cost
Carry on
Carry on
Riding on the endless wind
Set course and sail away.

by **Viridisolum** » Sat May 30, 2015 5:31 am

Nation Name: Viridisolum
Artist Name: The Viridisian Band
Song Name and Link: "God Save The King" based off God Save The Queen by Sex Pistols.
Description of Performance with Lyrics:

The performance kicked off with the first eight bars of the Viridisian Imperial Anthem played in the form of monotone. It horribly progresses until the last bar. The stage remained empty. An explosion of the Valaran Imperial Colours of Cerulean blue and black illuminated the stage. The colour red took the stage floor as the Viridisian Band singer Jone Koihed, lead guitarist Ferde Higoa, drummer Hindam Mabla, and bass player Sam Zachary took their places. All were wearing white peaked caps and dark blue double-breasted tunics decorated by high rank patterns and ribbon placements along with white trousers and Hessian black leather boots. Their faces were hidden by prosthetic masks that resemble scaled reptiles and their hands with white gloves.

The band singer is wearing a green pigmented mask, the lead guitarist in the other hand is wearing a yellow mask, the drummer is wearing black, and the bass player is wearing blue.

The band stood idle in the stage. Meanwhile in the background series of short video clips featuring His Imperial Majesty Emperor Edric Skaran III appeared lacking facial features while waving at the audience. More video clips followed featuring His Imperial Highness Prince William Skaran, Her Imperial Highness Princess Lyanna Skaran, and His Imperial Highness Prince Sven Skaran sharing the same features of the Emperor, came afterwards a defaced portrait of His Late Imperial Majesty Emperor Alphonse IV. The Late Emperor's eyes were obscured by the words "God Save The King."

The band commenced to sing with a bang. The band singer dawdled around as he lewdly shouted. The pitch and volume shifted infrequently. The sounds of drums produced heavy and dry beats. The music resonated loudly across the stage and the audience before them. As the song progressed they began moving and expressing gestures of sexual provocation, the lead guitarist and bass player fingerpicking in various such poses.

During the last three verses of the song the background exhibited video clips of Viridisian anti-monarchist protesters running away from the Viridisian National Police, His Imperial Majesty the Emperor's speech to the Confederate Legislature last December, students and civilians being detained, the Coronation of His Late Imperial Majesty the Emperor, labour union protests, His Imperial Majesty's Yacht Viridisia cruising off the coast of Northern Haruna Island, trash littered in front of Government Palace.

Fountain of green and blue fireworks erupted from the stage upwards. The band mounted their finale with rising tension of increasing intonations, rhythm ascending. The music stopped as it started.

The red light that flooded the stage transitioned to darkness. The band faded away. The background briefly displayed the Viridisian National Flag torn apart surmounted by the Late Emperor's disfigured face that was displayed earlier which dominated verses in the middle of the performance, disappearing in a flash of light.

God save the King!
Imperialist regime,
We’re all made slaves,
To their great game!

God save the King!
He ain't no human being,
There is no future,
And North Minea’s dreaming!

They don’t want what you want,
They tell what you need,
There's no future,
No future,
No future for you!

God save the King!
He killed his daddy,
But we love our King,
God saves!

God save the King!
'Cause he is our money,
But our figurehead,
Is not what he seems.

Oh God save them,
God save the Viridisian people,
Oh Lord God have mercy,
All sins are paid!

When there's no future,
How can there be sin,
We're the flowers,
In the dustbin,
We're the poison,
In your human machine,
We're the future,
You're future.

God save the King!
He killed his daddy,
But we love our King,
God saves!

God save the King,
He killed his daddy,
There is no future,
And North Minea's dreaming!

No future, no future, no future for you,
No future, no future, no future for me,
No future, no future, no future for you,
No future, no future for me!

by **Estoni** » Sat May 30, 2015 3:18 pm

Nation Name: The People's Republic of Estoni
Artist Name: Ivan Aleksandrovitch Babchenko
Song Name and Link: The Music Has Ended, https://www.youtube.com/watch?v=dGPOISHYFxA
Description of Performance with Lyrics: The Eesti entry to this edition of the Aenean Song Contest was considered the best of the five finalists chosen by public vote and is sung by renowned father of Eesti folk music, a rapidly recovering scene after it's appropriation by heroes of the civil war like Dr Roki Vukovic with overtly political messages. Honorably mentions must go to the other four songs which included such popular ballads as 'David Becerra has only got one ball' and 'Was Jerusalem builded here in Agenor's brown unpleasant land'. Another folk tune which made it to the the final five was 'Sometimes it is hard to be in AgCo, Giving all your ore to just Defese' but was rejected as a poor song for international relations. The last of the rejected entries was perhaps the popular choice of the nation but was objected to for it's political message which could harm chances of winning the international vote, however it has already found it's way to number two in the charts and is fast becoming a popular anthem for Estoni. Forever immortal is the chorus; It's springtime for Agenor and Estoni, Winter for Lanos and Ghant!

But now for the winning song and the official Estoni entry to the 2015 contest:

The screen cuts to black and in what some would consider a grotesque mimicry of the Esperance International entry begins to portray images of mass graves within Segland, highlighting the number of civilian deaths caused by Lanosian trained terrorists and bringing particular attention to EI aid in the hands of these murderous gangs. Then an image of a raven haired child weeping over the body of her mother and Babchenko begins to sing.

I would like to tell you the story,
Of a seven year old girl with braided black hair,
It was her birthday,
And we still celebrated in Segland
It was in April,
And the sun shone,
Somewhere in the city,
A musician was playing,

And now the music has ended,
And now the music has ended,
The men from Lanos are coming,
And flower of jade,
Began to cry,

And under the image of the Virgin Mary,
An incense batonnet is quietly consumed,
A bouquet of fresh flowers as an offering placed,
Surrounded a cake and an almond plate,

On the wooden stairs
Sly men's laughter,
Does not resonate
They are coming and will defile,

And now the music has ended,
And now the music has ended,
The men from Lanos have arrived,
And the flower of jade,
Began to cry,

And now the music has ended,
And now the music has ended,
The men from Lanos have arrived,

Segland has ceased to exist,
And now the music has ended,
And now the music has ended.

by **North Defese** » Sun May 31, 2015 6:15 pm

Nation Name: Aeynerilis
Artist Name: Band: Stormrage. Vocalist: Rurik Kirill
Song Name and Link:
Melt Thy Steel, https://www.youtube.com/watch?v=AKBBYOpUQFg
Description of Performance with Lyrics:

Unlike the seemingly endless parade of dark and broody introductions, the Defesian entry is immediately energetic. The band emerge with their instruments jumping into the spirit immediately. Their outfits make up the difference, being dark black leather and with all of them even boasting black eye shadow. They're unquestionably the most popular band in Defese right now, with their records soaring to the top of the charts and remaining there for weeks. The combination of power metal and the Defesian love of folklore and focus on oral history have their songs endlessly playing for nearly the entire generation of youths.

With the instruments giving a symphony of metal, Rurik fills the stadium with the raw power of his voice. The drummer keeps the flow at a fast pace, and the guitar creates a crescendo as Rurik's epic tale continues, culminating in the guitar solo performed effortlessly. The final act has an entire pyrotechnic seizure erupt on stage, with the final lyric enunciated with sparks and flames exploding on stage and making an extremely dazzling display.

Melt thy steel in the fire
And let the power flow
It's the art of the warrior
The wisdom of the old
Melt thy steel, forge your sword then
Anneal it in the snow
When pride is what you feel
Melt thy steel

In darkest times there was a young man, servant's child
They told him that he'll serve for life
But his will was strong, his heart was young and wild
He knew that he was born to fight.

Choose your destiny
Fight until you're free!

Melt thy steel in the fire
And let the power flow
It's the art of the warrior
The wisdom of the old
Melt thy steel, forge your sword than
Anneal it in the snow
When pride is what you feel
Melt thy steel
Your power is for real
Melt thy steel!

A mighty sorcerer appeared out of the shades
He brought a flame out of the night
"Now forge a sword of magic which becomes your fate
And which will fill your strength with might".

Choose your destiny
Fight until you're free!

Melt thy steel in the fire
And let the power flow
It's the art of the warrior
The wisdom of the old
Melt thy steel, forge your sword than
Anneal it in the snow
When pride is what you feel
Melt thy steel
Your power is for real
Melt thy steel!

I have seen the golden sea,
Crossed the mountains of believe
Gained the wisdom of the holy dragongrail.

Now I fly so fast and high
On a dragon in the sky
Forged a sword of steel forever to prevail.

Melt thy steel in the fire. Mighty flame!

Melt thy steel in the fire
And let the power flow
It's the art of the warrior
The wisdom of the old
Melt thy steel, forge your sword then
Anneal it in the snow
When pride is what you feel
Melt thy steel in the fire
And let the power flow
It's the art of the warrior
The wisdom of the old
Melt thy steel, forge your sword then
Anneal it in the snow
When pride is what you feel
Melt thy steel
Your power is for real
Melt thy steel!

by **North Rietumimark** » Mon Jun 01, 2015 4:30 pm

Nation Name: Rietumish Ozoliņšist Republika
Artist Name: Emily Ozoliņš
Song Name and Link: Killing Minean Gangsters
Description of Performance with Lyrics: Rietumimark's entry for this edition of the Aenean Song Contest was voted the best of the three finalists which included: "There's No Fatherland Without You" by the Rietumish Army Choir, an remix of the old classic "No Fatherland Without You," and "Spring has Sprung for Rietumimark!" by Nikolay Markov. Killing Minean Gangsters, sung by the Emily Ozoliņš - who's patriotic political rock swept Rietumish youth last year - overwhelmingly won the vote.

****

A thick blanket of darkness covers the stage, staying that way for the better part of 15 seconds. Then from the wall of darkness encompassing the stage, a low, soft voice emerges from the darkness, encompassing the entire auditorium.

This world doesn't need no Gangsters
Riet's here for the operation
We don't need a bigger knife
(Cause we got guns)
We got guns, we got guns
We got guns, you gangsters better run
(you better run, you better run, you better run)

Her voice slowly rises as the darkness bathing the stage recedes, exposing a young girl, no older that eighteen sitting on a stool in the middle of the stage; her long, silvery blood hair draped over most of her face as though she had been crying. Gently, she looked up at the crowd, revealing her face with a soft and submissive look on it. Sliding off the stool she was sitting on, the submissive look morphed into a defiant one as she paced around the front of the stage.

We're killing Minean Gangsters
We're killing Minean Gangsters
We're killing Minean Gangsters, so they don't enslave the ones that we
Love

We're killing Minean Gangsters
We're killing Minean Gangsters,
We're killing Minean Gangsters, so they don't enslave the ones that we
Love, love, love, love

We pack ammunition
We can't pack emotion
Dynamite, we just might
Swing your fists, swing your fists
Swing your fists, and I'll blow you to pieces

Slowly, Emily walked back towards her stool in the centre of the stage; around her, backup dances poured onto the stage, some wearing time-honoured Rietumish clothing, while other wore corrupted older versions of Lanosian and Ghantish military uniforms. The dancers positioned themselves along her flanks; then, once she began the second chorus, they began to perform traditional Rietumish war dances.

We're killing Minean Gangsters
We're killing Minean Gangsters
We're killing Minean Gangsters, so they don't enslave the ones that we
Love, love, love, love

Entering the bridge, Emily strode towards the front of the stage. Around her, a battle unfolded between the Lanosian/Ghantar "invaders," whom the dancers portray as evil, destructive, barbarians; kidnapping and enslaving the Rietumish they capture. Whereas the Rietumish dancers are seen as the brave revolutionaries, liberating themselves from the invaders.

We got guns, we got guns
Minean Gangsters better run, better run
We got guns, we got guns
Minean Gangsters beteer run, better run
And we got guns, we got guns
You better run, better run
We got, we got guns
Minean Gangsters better run

The battle waging on stage climaxes, with the Rietumish dancers rallying against the Lanosian/Ghantar "invaders," as Emily continues to pace left to right at the front of the stage, the look on her face becoming more and more rebellious the longer she sang.

We're killing Minean Gangsters
We're killing Minean Gangsters
We're killing Minean Gangsters, so they don't enslave the ones that we (better run!)

We're killing Minean Gangsters (we got guns!)
We're killing Minean Gangsters (we got guns!)
We're killing Minean Gangsters, so they (we got guns!) don't enslave the ones that we
Love, love, love, love
Love, love, love

The battle comes to an end, with the Rietumish coming out victorious, just as Emily finishes singing the final chorus. The Rietumish dancers could be seen performing celebratory dances behind Emily as she began the outro.

They better run
We got guns, we got guns, we got guns, we got guns

Emily voice slowly fades, her bright blue eyes staring into the lens of the camera, before taking a bow. For a split second, the stage was consumed by darkness, then a picture of a solder in his mid to late teens, covered in blood and dirt, shielding a young girl, no older than three, appeared on the screen for several moments, with a single line of text written over it.

Never forget the 9,500 brave martyrs whom lost their lives fighting foreign terrorists ten years ago.

Then as the image disappeared, Emily and her band left the stage, all looking visibly upset, their's glassy eyes gleaming in the light.

by **Gvozdevsk** » Tue Jun 02, 2015 12:11 am

Nation Name: Gvozdevsk
Artist Name: Narodnaya Volya
Song Name and Link: Fight Club

Description of Performance with Lyrics:
Narodnaya Volya is one of the most popular up and coming hard rock acts in Gvozdevsk. They take their name from one of the more extreme revolutionary elements in Tsarist Gvozdevsk. Their selection for the Aenean Song Contest is somewhat surprising, as they perform heavier music than has generally been seen in the contest so far and the band has also been known to be critical of the Gvozdevski government and how the country has, in their opinion, essentially devolved into a one party state. "Fight Club" was not the song the band was originally meant to perform and was selected in a last minute decision. The song has become popular both among Gvozdevsk's civilian population and among the armed services as a battle song as the nation begins its largest anti-terrorism operation in history. The version being presented to the Aenean Song Contest is a translation of the original song.

The vocalist, Taline Nazarian, is the first to come on stage. She's dressed as a typical punk-rocker with a Gvozdevski Army camouflage jacket over a plaid shirt, skinny jeans, combat boots, heavy eyeliner, a few more piercings than would be acceptable by some of the more cultured attending the contest, and messy black hair. Loud cheers can be heard from Gvozdevskis attending the song contest. She comes to the mic and says "This performance is dedicated to the soldiers of Gvozdevsk, who have made this song their fight song as they go into battle to finally rid our country of terrorism." The cheers of the Gvozdevski audience members become louder.

The other band members enter soon after, each one of them also wearing a camouflage jacket of either the Gvozdevski Army or Internal Troops. The band starts to play, as the screen behind the stage shows footage of the gun battle between Internal Troops and terrorists in Ugolgrad.

Taline starts to sing and the video on the screen shift to convoys of Gvozdevski military vehicles driving along highways, soldiers moving either on foot or atop armoured vehicles and Gvozdevski military aircraft taking off and in flight, loaded down with air to ground ordnance. As the vocals become more aggressive and intense, the video switches to combat footage from the ground, footage of artillery and rockets firing, and bomb camera footage from aircraft. The vocals become less aggressive again and the screen goes black as multi-coloured lights begin to flash on on the stage and red flares are set off behind the band. The song and vocals become more aggressive again and remain that way, with the video resuming, again showing footage of the early battles of the anti-terrorist operation but this time partially obscured by smoke and light.

The band maintains a high energy throughout the entire performance. A mixture of anger and frustration can almost be felt through both the vocals and music, unsurprising considering the reasoning for the song being chosen. Some Gvozdevskis in the audience can be heard shouting along to the song. The performance ends with more flares and smoke being set off behind the band.

Would drawing attention to recent terrorist attacks help Gvozdevsk win based on the sympathy of foreign peoples, or would their selection of heavier music prove a hindrance? Only time will tell.

Lyrics:
You're only garbage, you're the system's slave
You don't believe me, just go make a wave
So taste the flavor of the blood you lose
This is the fight club and we welcome you

Pain
There are some rules that you should know about
More pain
So don't turn back 'cause you will figure out
Pain
You'll know the first time you step in this ring
Pain
Without your fear you can do anything
Hey

No one will ring a bell, you must embrace the pain
Fight your way out of hell 'til babylon is gone and nothing else still remains
So what you waiting for, you must embrace the pain
Life has got nothing more to offer you because our parents threw it all away

Yeah Tyler Durdan was completely right
Down from the basements to the highest heights
The time has come for us to trim the fat
So we can make them soap and sell it back

Pain
There's only one solution I can see
More pain
So mix the acid with the gasoline
Pain
Just make a wish and throw it back to them
Pain
Now is the time to let mayhem begin
Hey

Don't let yourself fall down, you must embrace the pain
Just look at what we found, they are afraid of us and all the things we want to change
So what you waiting for, you must embrace the pain
Set the old world ablaze, we didn't need it, all it did was take our lives away

Don't let yourself fall down, you must embrace the pain
Just think about the sound of children's tears that soon will never fade
So what you waiting for, you must embrace the pain
There's nothing left to lose except our bonds and bars and minds they've trapped in chains

Don't let yourself fall down, you must embrace the pain
Don't let yourself fall down, you must become the pain

by **Regnum Albion** » Fri Jun 05, 2015 7:24 am

[OOC: Submissions to the ASC are now closed, and voting is officially open. Voting shall be allowed from this point until June 8 at 12:00 BST. To vote, simply award 8, 10 and 12 points to three different nations - you may not vote for yourself. Voting is open to all Aenean nations regardless of whether they competed, as per the RL Eurovision Song Contest. Good luck all.]

As the Gvozdevski act leaves the stage and large fans whir to extract the smoke left over from their performance, the lights blare up in the stadium. By now, it is late evening and the sky is getting just dark enough that the outdoor arena needs to be bathed in the light of large LED flood lamps. The screen to the rear of the stage goes through the various graphics of the ASC, finally settling on a gently-moving representation of the Competition's logo. In front of the screen, the two hosts of the evening (who welcomed the world to the St Michael's Park Stadium and introduced every act) stride on and take up positions in the very centre of the stage. The crowd's cheering and general din dies down to an absolute minimum as the hosts, one gentleman dressed in brogues, slim dark trousers, a tailored cotton shirt, and a stylish tweed jacket (essentially a sophisticated hipster to all intents and purposes), the other a woman in an elegant yet casual dress and muted high-heels, prepare to speak.

"And with that final act from Gvozdevsk, the Aenean Song Contest is now officially over! It's now your chance to take control as we ask everyone in Aeneas to pick up the phones or get online and vote for their favourite performances of this fantastic evening. For those of you with tablets or smart phones, you can also vote using the Aenean Song Contest's free app, available on all operating systems." Behind the hosts, if you can tear your eyes away from their blatantly-forced smiles, the screen transitions smoothly to another graphic informing viewers that the voting lines are now open. "You won't have long to vote though, as lines will close in twenty minutes, so wherever you are, whatever you're doing, get to a phone now and make your voice heard in Aeneas."

Until this point, the female host had been speaking, but as the official voting brief ended the male stepped up, cameras panning onto his bearded face and slick hair. "Thanks Charlotte. And now, while we wait for the votes to come in and be counted, I'm proud to welcome to the stage the first of our interval performances this evening." At this news, the crowd began cheering, expectant of a high-energy piece of entertainment that could keep them occupied for the tense half an hour they would have to endure as votes were transmitted and verified. "Ladies, gentlemen, however you choose to identify, please give it up for the Beat Brothers!" The audience erupted into a huge collective cry of excitement, flags of Regnum Albion, Defese, Kirisaki and countless other nations waving frantically in the air. On stage, the hosts had retired to one side and the lights had focused in on a central platform. On it was positioned five gentlemen in glitzy white tie and tails (similar to those worn by the Anglican act, in fact). The crowd's cheers died down. The music started up.

It was an obscure act that reflected the odd Anglican taste for modernity mixed with history and tradition, as well as a certain level of formality, but the up-beat tempo of the dancers and the popping jazz certainly helped keep the audience interested, and at the finale of their routine the crowd was thumping, applauding and screaming out for more - a sign of success, surely. With a formal bow to finish (in spite of their heavy breathing and slightly sweaty brows), the Beat Brothers were immersed in darkness as the lights dimmed over the stage. The crowd murmered, wondering what could possibly be happening, but when the stage was illuminated once more after a minute or so, they saw a full orchestra assembled in front of them. This elicited some confusion and shock, but gradually a more reserved applause filled the stadium, even without the prompting of the hosts who were conspicuously absent. Instead, a voice eerily drifted over the quieted stadium: "Ladies, gentlemen and any other identities, please welcome the Castlereagh Royal Philharmonic Orchestra, performing 'Chariots of Fire'."

Though the orchestra was a vast body of men and women, the camera panned into one particular musician during the opening bars. The man, dressed as formally as everyone else in the ensemble, was known to Anglicans more than he would be to foreigners, but the face of famous comedian Ronald Carmichael still caused a sudden surge of laughter and applause as he was revealed to be playing the keyboard in the performance. After a few initial gags, the screens around the stadium cut to a film which ran alongside the orchestra's performance, depicting Ronald Carmichael taking the place of a famous Anglican athlete who had competed in the 1924 International Athletic Games and, of course, introducing a great deal of slapstick comedy to the event. However little it might have meant to foreign observers, it certainly meant a lot to Anglican viewers, and they lapped it up, awarding Mr Carmichael a standing ovation at the conclusion of the set. The orchestra, bowing in thanks to the audience, gradually began to file off the stage. To one side, the hosts came back into the spotlight and began speaking to the cameras once more.

"Ladies, gentlemen and every identity in between (or, indeed, outside thereof), the lines are now officially closed." The screen behind the hosts displayed large graphics confirming that fact. "We can confirm that the results have been counted and verified, and we shall now be crossing to reporters around Aeneas to find out how each country voted. This year, we start close to home in Regnum Albion!"

Now, the screen revealed a table of all the performers, currently organised in their performance order, but as more votes came in they would be ranked according to score instead. Beside this table, a box would show live feed of reporters from around the various capitals of Aeneas. At this moment, that box showed a blonde woman dressed in a delicate blue dress. Behind her was the famous Great Western Road Bridge, and further in the background, high upon a hill above the centre of Port Somersby, Castle Montgarrie, two icons of Regnum Albion's capital. The woman was an RABC national news presenter who had achieved a sort of stardom for her cool tone and occasional use of innuendo during live broadcasts. She was extremely popular amongst the younger generation especially, but a large portion of middle-aged males were also among her support-base.

"Good evening Aeneas, this is Port Somersby calling. Allow me first of all to thank the entire region for tuning in to watch the Aenean Song Contest, and to congratulate all of the contestants for a night of entertainment and excellent music. And now, the results of the Anglican vote." There was, of course, a slight pause for dramatic effect before she continued with the votes. "Regnum Albion's 8 points go to Lyncanestria. Our 10 points go to Insaeldor. And finally, the 12 points from Regnum Albion have been awarded to...Kirisaki for their phenomenal performance. Thank you Aeneas, and goodnight."

The crowd positively exploded at the first results, particularly the Kirisaki-jin amongst them. It took a good minute for them to calm down enough for the hosts to be able to speak. "Thank you for that Amanda. And now we cross the ocean to our next results..."

by **The Republic of Lanos** » Fri Jun 05, 2015 8:12 pm

Lanos votes in the Aenean Song Contest:
8 votes to Afalia
10 votes to Kirisaki
12 votes to Regnum Albion

by **Viridisolum** » Sat Jun 06, 2015 3:13 am

THE IMPERIAL STATE OF VIRIDISOLUM

Official ~~Not-So-Secret~~ Ballot

The Imperial State of Viridisolum votes in the Aenean Song Contest:

Eight

Empire of Kirisaki

10

Empire of Ghant

12

Esperance International.

Hugz and kisses from the judges,
CLASSIFIED

CLASSIFIED

Countersigned, CLASSIFIED

by **Insaeldor** » Sat Jun 06, 2015 11:59 am

Insaeldic Bites in the Aeneas Song Contest

8 votes to Gvozdevsk
10 votes to Kirisaki
12 votes to Ghant

by **North Defese** » Sat Jun 06, 2015 7:47 pm

The Defesian judges whisper amongst each other, and there's a lot of articulate gesticulation and angry gesturing at each other. However, what is eventually discovered to be a lover's quarrel does little to delay the votes.

8 votes to Esperance International
10 votes to Viridisolum
12 votes to Gvozdevsk

by **Aurinsula** » Sat Jun 06, 2015 10:12 pm

The Aurinsulans eventually vote as follows:

12 to Kirisaki
10 to Gvozdesk
8 to Defese

IIwiki Admin · by **Ghant** » Sun Jun 07, 2015 9:51 am

by **Gvozdevsk** » Sun Jun 07, 2015 9:58 am

The Gvozdevski vote is as follows

8 to Kirisaki
10 to Defese
12 to Esperance International

by **Afalia** » Sun Jun 07, 2015 5:10 pm

This is Blackdon calling:

8 votes to Viridisolum

10 votes to Lanos

12 votes to Lyncanestria

by **Lyncanestria** » Sun Jun 07, 2015 9:09 pm

Audiences all over Lyncanestria had proved to have been among the more intensely following the regional event. Following each and every one of the performances, the Lyncanestrian social media burst into trending "hashtags" and other lingo that had to do with the performance before. Obviously, the success and popularity of Petit Coeur d'Amour within her fatherland could attest to the tastes and desires of the Lyncanestrian people when it comes to music. The Empire was hub for pop music and was considered to be among the biggest originators of so-called "mainstream" music in Aeneas.

Going down the list of nations the entries that had little to no chance were obvious, taking into account musicality, tone, genre and lyrics. Those politicised performances certainly struck a negative chord with the over-apathetic Lyncanestrian population. Entries such as Viridisolum's blatant attack against an honourable institution certainly drew criticisms from viewers across the nation. And given the ongoing situation in Otulia and the Empire's entry into their war, the performance by Esperance International's Carson Reeve tended to polarise Lyncanestrian audiences on the issue.

But now, in the Imperial Pavilion, which had been outfitted with screens of monumental proportions, the seated audience cheered and applauded as a pair of well-known Lyncanestrian personages made their way into the centre of the stage. The man, known professionally as Gregoire Estève, was dressed casually, donning a plain blue jacket, a complement to his red hair, atop his plaid white shirt and khakis. The woman dressed in a similar genre, taking a more casual approach to her choice in. Thalie, dressed in a casual striped red and white dress, wearing complementary earring and bracelets, and with her hair done up, she walked to the centre of the stage to join her male colleague.

They both stood side by side, taking a wave at the cheering crowd before it began to settle and hush, anxiously awaiting the results of the Lyncanestrian vote.

Mesdames et messieurs, began Estève, his voice amplified by his Lavalier mic. He continued in Anglican, a slight Frennish accent in his speech, the results for your votes are now in. We are very excited to report them now to our friends in Albion.

The eight points of the Lyncanestrian vote goes to, began Thalie, almost without a hint of an accent (she lived in Albion in her university years). After drawing the silence for some nice, suspenseful seconds, she said, Regnum Albion. The result was received with cheer by the Lyncanestrian audience; the piece sung acapella, while not quite in the pop genre, really did attest to the appeal more classical-esque music had to the Lyncanestrian population.

After the few moments of applause and cheer had died down, it was now Estève's turn to reveal the second place ten-point winner of the Lyncanestrian vote.

Looking down at the results tabulated on his card, Estève began, The ten points of the Lyncanestrian vote goes to, and much like Thalie had held her response a few moments, so did he. Ghant, he finally said, again to be received by much enthusiasm in the audience.

For the final result, both the hosts looked down to a shared card, and, once the audience had had time to cool down, both began in unison, The twelve points of the Lyncanestrian vote go to... This suspense break seemed to go on longer than the previous ones though, most likely caused by the unsurety of a proper moment to announce the winner together. In any case, the break was only further elongated by a few mere seconds, albeit they felt like eternity.

Insaeldor, they finally said, to great applause. Once in a while, you'd see the occasional audience member sitting still, obviously contemplating why their chosen entry hadn't won. Perhaps they were going for Afalia or for Kirisaki, both could certainly appeal to the average Lyncanestrian, but alas, thus were the tallied results.

And that concludes our night here in the Imperial Pavilion, the Lyncanestrian votes have been counted and released, said Thalie, immediately turning to her ginger college to her right.

Estève took his cue, That's right Aeneas, the Lyncanestrian votes are in, and with this, we continue on as the final results are tallied in Castlereagh...

Aenean Song Contest 2015 [Closed | Aeneas Only]

Aenean Song Contest 2015 [Closed | Aeneas Only]

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