RetroVision Contest Thread | West Hartlepool, Teesdexxia

by **Teesdexxia** » Tue Jun 08, 2021 12:24 pm

OOC THREAD - HOST BID - PLAYLIST

INTRODUCTION

yeah this is gonna be placeholders for now lol

by **Teesdexxia** » Tue Jun 08, 2021 12:25 pm

Parade of Nations

it's a parade featuring a few nations

Postcards

1. CARRELIE
Entry | Votes

2. CARYTON
Entry | Votes

3. ADAB
Entry | Votes

4. ELEJAMIE
Entry | Votes

5. AMUAPLYE
Entry | Votes

6. ACHAEAN REPUBLIC
Entry | Votes

7. GREATER KOREAN JUCHE REPUBLIC
Entry | Votes

8. PEMECUTAN
Entry| Votes

9. BEEPEE
Entry| Votes

10. SYRCHE
Entry | Votes

11. FROMULYA
Entry | Votes

12. DARKMANIA
Entry | Votes

13. MISTER X
Entry| Votes

14. VARTUGIA
Entry| Votes

15. KALOSIA
Entry| Votes

16. TODLICHEBUJOKU
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17. BRITONISEA
Entry| Votes

18. NATANYA
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19. TEESDEXXIA
Entry | Votes

by **Carrelie** » Tue Jun 08, 2021 12:29 pm

1. Karelian Imperial Federation
Marie Loisenne & Camille Bernier - Whirlwind Romance
Music: Jeanne Bernier, Marie Loisenne
Lyrics: Marie Loisenne
Tune: ABBA - "Our Last Summer"

Einführung (Introduction)

~~Carelie~~ Karelie is in a crisis. It's 1985, and the hold of the National Restoration Party is crumbling. Meanwhile the Karelian Broadcasting Association's funding is coming almost exclusively from the donations of rich old people and the Carrelie Movement, a group which was outlawed by the party in 1982. In order to improve the tarnished image of the Karelian Imperial Federation, the NRP has promised to fund the KBA should they enter the new Worldvision Song Contest.

Loisenne und Bernier (Loisenne and Bernier)

Marie Loisenne is a star in the Karelian music scene. Having made her debut with her band Les Cerises in 1969 after an astonishing victory in the Eurovision Song Contest, Marie never really rose to prominence until she won Carelie Songfestival in 1978. Now she's looking for a career on her own, but rumors of her aligning herself with the Carrelie Movement have been a constant threat.

Camille Bernier is another more recent rising star in Karelie. Debuting in 1981 during the NRP's rise to power, she's been used as a cultural figurehead by the party, though sources suggest that she may feel differently. Her collaboration with Marie Loisenne may prove the most important she may ever do.

Marie Loisenne (left) and Camille Bernier (right)

Performance (Performance)

Marie and Camille walk out onto stage wearing the outfits above. The air is tense, and they've decided to stick with simple staging with a few lights, though in the background stands a strange arc with balls inside. What could it be for? Before these questions can be answered, the music begins to play. Marie begins by adressing the audience to the stage's left, before gradually moving to the right of the stage.

It was a night I remember, the sky was full of gracious stars,
Primed for a great romance,
What a coincidence we met,
I couldn’t quite believe it yet then you,
You took my hand and held it tight within your own,
As if I wanted that,
You know it’s true,
That I would never fall for you.

Spotlights shine on the stage as both Marie and Camille begin to sing together. Slowly, the arc is illuminated as smoke begins to rise from the bases on both sides. The both approach one another, still singing towards the audience.

You thought it was a whirlwind romance,
You thought I was glad.
Business trips away,
I would never stay,
Whirlwind romance, not another day.

Camille sings next, moving to the front platform while an audience who has no idea who she is reacts with mild interest. Marie looks on encouragingly as her heart sinks due to the audience's reaction, though she shows none of this to said audience.

But on another trip to Tokyo I was sitting in a rest,
Then someone approached me;
And she stood out from all the crowd,
She sat down next to me and found that we,
We had a lot of things between both of us in common,
Before I went, I sat and told her of you,
Of how a friend, unlike a lover, comes through,
And I resolved, I didn’t want you anymore.

Marie runs up to the platform as the arc lights up with colour. Meanwhile, two spotlights, one red and the other blue, shine onto the platform where the two are standing as they sing towards one another.

You thought it was a whirlwind romance,
You thought I was glad.
Business trips away,
I would never stay,
Whirlwind romance, not another day.
Oh, with her it was blooming friendship,
Paris restaurant,
Never really gaunt,
Equiponderant,
Blooming friendship, we would laugh and taunt.

Marie turns towards the audience as Camille stops her singing. While Camille isn't that famous even in Karelie, Marie is a national icon. In fact, the Karelians in the audience are cheering for her.

And five years on we’re still friends, and yes, we do still talk a lot,
We still see each other,
And as for you, from the beginning we were through.

Once again the stage explodes in colour. Behind the two singers, 4 backing dancers pour onto the stage. They begin to perform a routine consisting of extravagant moves around the arch, two leaping on top of it and the other four dancing around the base. Meanwhile, Marie and Camille begin the final chorus.

You thought it was a whirlwind romance,
You thought I was glad.
Business trips away,
I would never stay,
Whirlwind romance, not another day.
We never had a whirlwind romance,
It was all a fraud,
I was very drunk,
I wanted you gone,
Whirlwind romance, it was all a shod.

The lights begin to die as they sing the final part, the song's almost over. The two share a glance as the backing dancers leave the stage, leaving the two alone to sing. It's the final hurrah!

Oh, with her it was blooming friendship,
Paris restaurant,
Never really gaunt,
Equiponderant,
Blooming friendship, we would laugh and taunt.

Shouts of "Carrelie will be free!" ring out across the arena, stunning the audience into silence. What may become of Marie and Camille, and what punishment will they get for defying the government? Despite these questions, the audience delivers applause towards the two starlets as they leave the stage.

by **Spiritual Republic of Caryton** » Tue Jun 08, 2021 12:32 pm

Spiritual Republic of Caryton
Monica Hernandez - "Contigo" (With You)
Lyrics: Monica Hernandez
Music: Monica Hernandez
Instrumentals: The Lenny Weld Show Ensemble

tune

Background: Monica Hernandez is an Achaean-born immigrant to the Spiritual Republic of Caryton and a convert to the Gospel Church of Caryton. Her parents were staunch conservative Christians and raised her to be a resolute and independent woman while still following gospel principles. Hernandez and her parents were visited by missionaries, and their conversion came quickly. Afterwards, they emigrated to Caryton to live in a place which aligned more with their values and new-found belief. Monica had always loved songwriting, so her entry into Caryton's national selection was bashful and ironic, but the crowds loved her. She is something different- exquisite, refined, flavorful. This is the Spiritual Republic of Caryton's first attempt at attempting to culturally appeal to foreign crowds.

(big thanks to Achaea for the spanish translation, couldn't have had it done right without you)

Soy el calor del sol—contigo, contigo
Soy el frescor del rocío
Soy el horizonte—contigo, contigo
Así cuando estoy contigo

The flourishing brass would welcome the warm figure of Monica Hernandez, dressed in a golden and glittering adaptation to a traditional Achaean gown, more resembling a pollera inspired by the sun. The base would be a shimmering bronze with gold, yellow, and even hints of orange on the details and trim. The arranged lights behind her would be sparkling in the formation of a twinkling star, subtle cream-colored spotlights doing her glory as she longingly looked towards the audience, turning her body in a gentle sway in a way to capture the attention of the audience no matter their seating. She would end the verse with a fist over her heart, nothing but sheer reverence in her facial expression. Maybe a fond memory of a lover, maybe a solemn joy in her Savior- it was all supposed to be ambiguous to invite all to enjoy her music.

Mi alma es como la playa—contigo, contigo
Las olas de amor tocan mis pies
Los rayos brillan—contigo, contigo
Así cuando estoy contigo

Monica Hernandez would gently wave her free hand like an ocean wave, inviting the lights to do the same on part of an exceptional tech crew. She would take a few conservatively-paced steps forward, looking off towards the distance as if she were picturing herself on the beach. Monica would then enter a kick-ball-change and a step touch, drawing attention to her feet as she happily hopped around in her place. She would shake her head almost as if humored by something- the brilliant sunrays feeding into her glittering persona.

Contigo puedo hacer lo que desee
Contigo, mi fe en El se hace más fuerte.

Contigo, nada, mmhm
Nada quebrará nuestros sueños
Contigo, nada, mmhm
Nada quebrará nuestros sueños

Contigo puedo hacer lo que desee
Contigo, mi fe en El se hace más fuerte.

As Monica entered the first bridge, her true intentions for the song would be revealed- and the ambiguity played to her benefit. The mysterious lover Monica so fondly remembered in her nostalgia-blessed performance strengthened her faith in Jesus. This song was an open letter to a missed connection, who bettered her. Thanks to an inviting self-hug, the audience would be indirectly made aware of the meaning behind the song even despite a lack of props. As she entered the second bridge, Monica would approach the crowds, crouching down low as if to encourage them to place themselves in her shoes- to share a little bit of the joy she was conveying in her face and body motions to them. Back to the first bridge, she took the time to return to her position.

Soy el calor del sol—contigo
Soy el calor del sol—contigo.

Monica would sing the first line with almost a chuckle, the happiness of her life having just set in. Gratefully and reverently, she sang through the line again and for the last time with a choked voice and tears in her eyes. She would raise her hand in that same wave motion, the ocean waves washing her in bliss, eyes fixed on the spotlight to make her gaze truly sparkle. As the instrumentals resolved their dissonance in the familiar plagal cadence, applause overtook the venue.

by **Adab** » Tue Jun 08, 2021 12:50 pm

3. ADAB
Etana Lugaldalu – "Man on the Pale Horse”
Tune: Living Colour – Cult of Personality
Language: English

Etana Lugaldalu

Background
Adab’s WorldVision 90 entry, “Speeding Car” by Alina Shawqi, had finished in 13th place – not a bad placing, but certainly there were hopes that it could have been higher. Nevertheless, ABC Director-General Benji Akiya was satisfied with the song’s performance (“We still placed on the left side of the scoreboard!”) and began making plans for the country’s entry on WorldVision 91, with the song and performer selected through the usual process. He had not given much thought to the prospect of a special edition, even though a special edition would be held every ten regular editions or so, and was somewhat surprised when notified that the WorldVision Committee was holding such an edition, this time an 1980s-themed event which was already widely dubbed “RetroVision”. Benji immediately decided that the ABC would send an entry to this special edition, but the performer would be chosen by the ABC without any process involving the general public, as he – and the ABC Board in general – were reluctant to waste funds on another, simultaneous selection process that would probably attract fewer, older participants. Benji and the board spent long hours debating whether to send a young performer with a new song deliberately designed to evoke an 80s sound, or – for the sake of authenticity – to seek an actual performer from that era, even though at this point they were entering their sixties and seventies. In the end, they agreed first to seek out the stars of that era, or at least an older (over 50) performer from any era, and then – if there was no satisfactory candidate from that era – to search for a younger performer that could deliver an 80s-sounding song convincingly.

The first person Benji called was the most revered musician in Adab, whom he had come to see as his mentor. He had reportedly begun recording music again in the isolation of his Jabal al-Druze villa, the first time he had done so since his cancer went into remission, but Kinan al-Salaman insisted that he would not be returning to the stage, at WorldVision or anywhere else, at least not in the near future. “But I know someone who will,” al-Salaman said. “I can talk to him, he’s been a friend of mine for years. He’s a bit reclusive nowadays, mind you, but I know he’s wanted to return to the industry for some time now. I think he will appreciate the opportunity.”

Benji had heard of Etana Lugaldalu before. He was from Kinan al-Salaman’s generation, rose to fame at around the same time as al-Salaman, though ultimately he would never match al-Salaman’s stratospheric level of popularity. Nevertheless he was a constant presence on the Adabian charts for many years, his energetic rock and pop-rock songs and passion for social justice causes winning him many fans and admirers. Ten years ago, however, he suddenly announced his retirement from the music industry, declaring that he wanted to spend more of his time with his family. Since then he had rarely been seen in public, retreating to the comfort of his mansion in Eridu.

It was a pleasant surprise for Benji when he called Lugaldalu and he proved very receptive to Benji’s overtures, even inviting him to his house. Now Benji found himself in Lugaldalu’s home office, the singer sitting across the table, facing him. The dreadlocks of his youth were long gone. His hair was thinner and there were hints of gray all along, but he was unmistakably Etana Lugaldalu, rock star, occasional playboy, social justice warrior.

“Tell Kinan I said hi and I’d really like to see him again soon. I’d go up there to Druze hill or wherever he lives now when I’ve got the time,” said the older man, taking a sip from the cup of tea his housekeeper had served him. “Been eleven years since I last actually saw him. How fast time flies. Is he doing alright? I know he was sick recently.”

“He is,” said Benji, nodding. “He’s doing much better now.”

“Good for him.” Lugaldalu lowered his eyes and leaned back on his seat, appearing deep in thought. “Look, Benji, I’ll do this. I know sooner or later I’m gonna return to the stage, because that’s what my life is about, and I think my time has come. That being said, I’d like to perform this particular song that I happened to write back in the 80s but never got around to release.”

“Sounds good to me. What’s the song about?”

“AIDS, HIV/AIDS.” Lugaldalu’s eyes wandered up to the ceiling, his mind cast back several decades. His voice, once so crystal clear in his youth, had turned deeper and slightly ravaged. “Wrote this song when some folks I knew were dying from it. It was terrible seeing them go like that. Recorded some demos. Never actually released it. Maybe now it can have its time in the sunshine.”

“Sounds good to me.”

The Performance
Darkness washed over the stage, as the audience waited for the Adabian act to arrive. Above the stage, only half of the spotlights were on, and even then they were somewhat dim, allowing just enough light out – faint purple – for the audience to make out the outline of the stage, as well as the shape of the backing LED screens. Even those in the front rows could barely recognize the stagehands as they entered the stage to set up the drums, guitar, and bass before making their way out.

The next time movement was seen there was when Etana Lugaldalu and his backing band finally made their way onto the stage, but the venue did not light up even for them. Darkness reigned still as Etana and his men assumed their respective positions at the center part of the stage, Etana standing in the middle, holding a mic.

Then the LED screens behind them began to show signs of life, white light gradually encompassing the screens before giving way to moving pictures. The audience found themselves watching a video from 1982 on the LED screens, which opened with the face of journalist and news anchor Ted Koppel splashed on the screens. He then proceeded to deliver an ominous-sounding report to occasionally fuzzy footage of scientists in labs and people walking down the streets:

It’s mysterious, it’s deadly, and it’s baffling medical science – acquired immune deficiency syndrome. Once thought to affect only promiscuous homosexual males, AIDS is now spreading in epidemic proportions to other segments of the population.

At the end of that last sentence, the serenity of the venue was suddenly broken by the rapid shredding of the guitar, followed by the beat of the drums. What once was dark was now bright, as all the spotlights were now turned on and the entire stage erupted into view in a sudden flash of light. The screens displayed a dizzying array of newspaper headlines, magazine covers, and pages from scientific journals from across the 80s, describing this newly-publicized malady that would become the disease of the decade.

And at the center of it all stood Etana Lugaldalu, his first live performance in more than a decade, holding on defiantly to his mic. Adabian viewers at home and in the venue were quick to recognize his figure, and equally quick to notice the hints of gray in his hair, the thin, dark lines that now marked his face, and the somewhat deeper voice, the bright tenor of youth now lost to age. But he was still the same man.

In every corner, I can see
The man on the pale horse
He’s invisible, still you see him
The rashes and lesions

Oh, he’s the man on the pale horse
In every corner, on every street
He’s the man on the pale horse
The man on the pale horse
The man on the pale horse

The screens now shifted to show black-and-white pictures and videos of AIDS patients, sitting and lying in bed, some looking out the window, their figures shockingly thin and gaunt. The purple lights now turned dark red, followed by the flights of stairs going down the tiers of the stage, and as the red lights crisscrossed the stage floor Etana moved down the stairs towards the satellite stage. He had deliberately chosen red in order to invoke the red ribbon, the symbol of AIDS awareness. White spotlights shone down on him and his band, spots of white amid all the red.

Thinning bones, worn-out faces
What once was so strong, now wasting away
The life has gone out of their eyes
The horseman waits by their beds

Etana now found himself at the center of the satellite stage. As the sound of the guitar solo blared across the arena, Etana began moving his head back and forth, jumping along the edge of the stage, swaying his body, as if he had attained some sort of maniacal state, every movement fueled by rage. The screens now displayed a series of notable 80s figures who were afflicted by the disease, including – but not limited to – Rock Hudson, Freddie Mercury, Arthur Ashe, Liberace, Gia Carangi, and Magic Johnson.

The horseman rides knowing no rest
No race, gender, sexuality
Oh, he’s the man on the pale horse
But to face him, the wise men rose
In the houses of knowledge

Oh, he’s the man on the pale horse
In every corner, every country
Oh, he’s the man on the pale horse
The man on the pale horse
The man on the pale horse

The spotlight around Etana’s guitarist grew larger as he launched into another lively solo back at the center part of the stage, even doing a few jumps of his own in the process. As for Etana himself, he was now walking around the satellite stage, holding on to the mic, turning to look at the audience at several points during his walk, the spotlight still following him. The screens behind him were now showing photos and videos of seminal moments in the history of HIV/AIDS, among others the announcement that Rock Hudson had AIDS, Ryan White’s legal battle to return to school, and Diana, Princess of Wales opening an AIDS ward and shaking hands with a patient.

Thinning bones, worn-out faces
What once was so strong, now wasting away
The life has gone out of their eyes
The horseman waits by their beds

As the band played on and the guitarist launched into another, lengthier solo, Etana turned his back on the audience and went back up to the main stage. Then he began walking back and forth across the stage, giving a thumbs-up to the band as he passed them by, craning his neck upwards, then to his left to the audience, to the right towards the screens, as if deep in thought. For someone who had not performed onstage for more than ten years, he was doing pretty well for himself, especially in front of a global audience. Meanwhile, the screens changed to show videos of scientists in laboratories, working to create a drug that could halt the progress of this disease.

When the time came for him to sing once again, Etana returned to the center of the stage, his gaze, piercing and vaguely menacing, fixed at the audience. The Adabians in the audience cheered and waved their flags at an increasing speed as Etana looked at them while launching into the next verse. As the song raced towards its conclusion, Etana pushed his voice almost to its limit, his increasingly loud and forceful voice, and the emotions that came with it, heard clearly even by the last row of the audience.

The wise men keep working
Making miracles
Day and night in the houses of knowledge
Making these pills, named it AZT
To beat back the man on the pale horse

He’s the man on
He’s the man on
He’s the man on
He’s the man on
He’s the man on
He’s the man on
He’s the man on the pale horse

The music stopped momentarily to allow Etana to speak a few words, which he took straight out of Revelation 6:8:

And his name that sat on him was Death

The band then immediately picked up again as Etana ran back and forth around them to the sound of guitar shredding and rapid drum beats. After about ten seconds of this, the band stopped again – this time for good – and with the last note of the guitar the entire stage was suddenly plunged into near-complete darkness, with only a few dim white lights on the ceiling remaining on. The screens in the background, too, were still on, and as Etana mouthed “Thank you” to the mic to the applause of the audience and turned to leave the stage with his backing band, the crowd was treated to a ten-second snippet of a young American doctor opening his speech in 1984 on the then-new disease.

This evening, what I’d like to do is discuss with you a topic which I’m sure all of you, to a greater or lesser degree, are aware of. It's a topic that has occupied the interest and energy of a substantial proportion of the biomedical research community here at the NIH and throughout the country and the world, most recently, and that is the subject of the acquired immunodeficiency syndrome.
-Dr. Anthony Fauci

The screens then went dark.

by **Elejamie** » Tue Jun 08, 2021 1:23 pm

04. Elejamie

ESLM - Return To Dust

Tune: The Fallen King (aka The Mysterious Power Metal Song)

From left to right: Roberto “Beto” Núñez (lead guitar), Carlos “Colo” O’Houlihan (vocals, rhythm guitar), Javier “Tuco” Romero (bass), Daniel “Dani” Torres (drums). Taken in 1987 and presented in its black and white glory.

Ego Sum Lux Mundi was formed in early 1984 by Roberto Alberto “Beto” Núñez Armenteros and Daniel Armando Esteban “Dani” Torres Manzanares. The two were already established names in the underground metal community as they were the both the guitarist and drummer respectively of the glam metal outfit Los Sanados. After the band broke up due to a lack of interest and an inability to make it into the mainstream, Beto and Dani decided to form their own band. In an attempt to start completely from scratch they decided to switch up their style and instead go for a more thrash metal approach. After bringing in Javier Romero Hernández from the band Tirano (where he adopted the nickname “Tuco”, an Hispano-Elejamian slang term for “cursed” or “disastrous”), they would then get to work on auditioning a lead singer. After going through a number of auditionees, a handful of which would then form bands in their own right, they eventually settled on Carlos Gregorio O’Houlihan Rodríguez, an old neighbour of Tuco’s who was different to the others in that he had no prior experience being in a band, although he was part of his high school drama club. In keeping with his new bandmates’ habit of going by four-letter two-syllable nicknames, he decided to call himself “Colo”, a childhood nickname of his. He would also prove to be an important hire as, given that he was ¼ Anglo and would often speak the language at home, he was able to translate their songs into English without much difficulty and would often help write original songs in the same language. It also meant that their English-language lyrics are marginally better than their European counterparts, although Colo would admit that sometimes he messes it up either for stylistic purposes, because it’d work a bit better that way or to pay homage. And occasionally because he slipped up and didn't notice it until it was too late.

Due to both of their previous bands being signed for them they were picked up by 2000 Records, a label best known for their many rock en español releases, which helped give them some studio time. While they didn’t have a name when they began recording their debut EP, they decided to go with the name “Ego Sum Lux Mundi”, taken from a line from the Bible (more specifically John 8:12) after Dani had suggested it. While Colo and Tuco weren’t really that religious, they weren’t able to come up with any other ideas and so they rolled with the name. They released their self-titled debut EP in May that year, where it started to get some major attention from underground magazines. Their debut album, also titled Ego Sum Lux Mundi, was released in November that year, although partway through the recording of it the band decided to shorten their name. At first they picked Ego because it was quick, snappy and memorable but, because it was such a common word, they decided to just initialise the original name into ESLM to avoid any unnecessary confusion and inevitable jokes.

Ego Sum Lux Mundi the debut album wasn’t a massive success at first, although it did sell well enough for the four to go on a mini-tour of Nuevo Paraíso with a couple of stops in the neighbouring tracts of Eastern Elejamie, Valledorado and Shiner. However, it still gave them a springboard to switch their style up or experiment a bit. While the band still kept a thrash edge to their style, they became more power metal to fit Colo’s vocal style. Furthermore, while Beto handled all of the guitar work on their first two releases, during this time Colo learnt how to play the guitar and eventually became the band’s rhythm guitarist, even if he was still overshadowed by Beto in that department. And finally, while their work was still social commentary, they added a more high fantasy element to it, either as a way of getting past the censors or to add a little extra for anyone who could get the reference.

As a result, their second album Río De Sangre received a much better reception and much better sales when it was released in February 1986. It also helped when they were booked to appear on the 9th March episode of The Live Music Show, where they played a combination of songs from the album, a few songs from their last album and even a rough demo of what turned out to be “Bilis negra”, a part of their “La Suite de los cuatro humores” section for what turned out to be their next album, although at the time it was just an untitled instrumental jam that the band added on at the end of their set to kill time. It also led to a nationwide tour that became fairly profitable and saw them become one of the biggest metal bands in the country, as well as the most well-known Hispano one.

Their next three albums would turn them into a worldwide phenomenon. The first of these, their 1988 album Idus Martiae, a concept album that was based on the anti-austerity protests going on in Nuevo Paraíso from 1986-87 and the 1986 election that dealt with a corrupt and evil king and the people propping him up being overthrown only for a series of mishaps to fall upon the land. Not only would it contain the aforementioned “Four Humours Suite” which ended up taking up most of the second side of the LP but it also contained their first all-English language hit “Return to Dust”, which was also their highest charting song when it reached #21 in the domestic charts, as well as “Idus de marzo'' which became a concert ender since its live debut during the tour for the album. Their 1990 album Juicio Final was also critically acclaimed and contained a number of well known tracks such as the title track, “Listón rojo” (a rare ballad from them) and “Rata de plaga”. It also led to them going on a worldwide tour due to it being fairly successful abroad as well. They even managed to sell out a few dates while they were away from home, which was a bit of a bonus to them. Their 1992 album Vox Populi, Vox Dei wasn’t as well received as the other two, not to mention that a number of disagreements on the direction of the album started to crop up while it was being made, but is still generally considered to be a part of their golden era. It was also their only double studio album, with one disc containing all Spanish-lanugage songs whereas the other disc has the same songs but translated into English.

Unfortunately tensions between the band would reach a boiling point in 1994. Whether it be creative differences (with Tuco preferring a more doomy direction while Beto wanted a return to their thrash roots, for example), a clash of egos or disputes over money, it seemed like there would be at least reason for them to have a go at each other at any given moment. While things simmered down when the four appeared together at the funeral for Acorazado lead singer Jano Garcia, it was clear that the peace wouldn’t last forever. While their self-titled album still received some positive reviews when it was released in November that year, with the major complaint being that it seemed to be an early victim of the loudness war, it was clearly obvious that there wouldn’t be a tour to support the album afterwards. Indeed, on February 12th 1995, almost three months after its release, Colo had announced in a letter co-signed by the others that the band had officially been dissolved. He would then form the band Laberinto the following year with Dani joining him in 1999; Beto would form the thrash/power metal band SuperVórtice where he would be the only consistent member until he ended the band in the mid 2010s; and Tuco would form the doom metal band Ranfástidos, which would last until 2001 when he left to work off and on with other bands.

That wouldn’t spell the end of ESLM, however. In June 2000 the band reunited for Resurrección 2000, a one-off three-day music festival to celebrate the 25th anniversary (and also rebirth) of 2000 Records. At that point the four were back on speaking terms again, although they weren’t planning on officially releasing any new music together anytime soon. They reunited again in 2004 when they went on a 20th anniversary tour that coincided with the release of their Greatest Hits album “Fue hace veinte años”. While they didn’t tour again for their 25th anniversary in 2009, they did re-release their old albums and even made them available digitally. In 2012, Tuco openly came out as bisexual when in an interview he off-handedly mentioned bringing male and female partners along with him on tours and mentioned that their 1990 hit “Listón rojo” was inspired by an ex-boyfriend testing positive for AIDS the year before as well as his fears that he caught the disease itself. His sexuality was an open secret among his bandmates and the revelation was met with general acceptance among the band’s fans.

In 2014 the band had announced that they would officially be reuniting for their 30th anniversary tour. Furthermore, they announced that they would be working on a new album, their first in around 20 years, much to the delight of the fans. Upon the conclusion of the tour, they got to work on it and, in April 2016, Los Cuatro Hermanos was released. It did receive some warm reviews but fans and critics both felt that it wasn’t really worth the 20+ year wait for its release. While they didn’t really tour to support the album, they did appear on the Season 71 finale for The Live Music Show, about 30 years after their last performance on the show. After a brief hiatus so they can work on other projects, they got back together to make their seventh album Ahogado en Fuego, which was released in June 2019. While it did see a tour to support the album, it had to be cut short due to the coronavirus pandemic that swept the world, although the band has said that when they’re able to tour without restrictions they’ll honour any tickets bought for any cancelled gigs and even play extra nights just so those who missed out could still enjoy a show.

As always, there has to be some facts about the band. Beto was originally planning on joining the priesthood and admitted in the 1986 episode of The Live Music Show that had ESLM been a failure he would’ve hung up his guitar and gone through with it. Indeed, as the only member who remains a practicing Catholic he does tend to override any lyrics that he feels might be pro-Satanic, although in a 2003 interview he explained that it just felt cliché and would diminish the messages that the band were trying to get across. Furthermore, Dani is the sole Protestant member of the band, having been raised as a Methodist although he has also admitted that he’s not as observant these days. Offstage, Colo nery rarely speaks and would often listen to ambient music and perform yoga and meditation, especially after a performance; not only did he say that this was to preserve his voice but also to help snap him out of his stage mindset. And all four band members are big fans of the local ice hockey team Ángeles de la Playa de Rocas, as they are regularly seen attending games (or taking time out from recording to check up on their team) and, when Ángeles won the Royal Inaetar Cup for the first time in 2016, the band played a free concert in the city to celebrate.

The 1980s was somewhat of a notable decade in Elejamie. Much like a number of nations, the main conservative party (in this case, literally called The Conservatives) was in charge and experiencing a steady level of support. And not just because the infighting between the centre-left Elejamian Labour Party, the left-wing Democratic Alliance and various groups were wracked by infighting to the point where they could win by doing absolutely nothing. Furthermore, the sofanc (Ꞅ) was also fairly strong during this era, with it reaching a lofty high in $1=Ꞅ0.98 in October 1987, a feat it has not replicated since. The Iyilim rights movement also scored its biggest win when the government officially apologised for the treatment of Iyilim children in religious schools during the mid-late 19th century, an event that was one of the catalysts for the Settler-Iyilim War in the 1880s. In the world of sport, Michael Madgwick, widely considered to be one of the best Elejamian ice hockey players, began his career in 1981 with his hometown team in the Davenport Dockers; the Murgon Bullfrogs became a household name in the Elejamian Rugby Championship (the main rugby union competition in the nation) when they finished in the top four every single year of the decade; the limited overs cricket tournament the Cross-Tractal Cup lasted was only around for a short period of time (1987-91) but still enjoyed enough popularity that a Twenty20 successor called the Elejamian Cricket League began play in 2005 and is continuing to this day; and in the last match of the 1985-86 Elejamian League 1, “The Greatest Finale” happened when the Auckhampton Sky Blues went from 2-0 down at half-time to beat the Edgebaston Wild 4-3 to claim the title with two games to go. There was also some decent music with artists such as Redheads, Saturday Morning, Alan Merini, The Style Police and Este Nova dominating the charts, as well as some metal and hard rock acts such as Acorazado, Formula X, Spatter and, of course, our entrants for this competition reaching the height of their popularity during this period.

In the primarily Hispano-Elejamian tracts of Nuevo Paraíso and Valledorado, however, the decade was known as La Década Perdida or “The Lost Decade”. One of the few upsides for them was that both tracts were starting become more secular, such as the legalisation of divorce in both tracts in 1983, the legalisation of abortion in NUPA in 1985 and VADO in 1986, and the repealing of the blasphemy law in NUPA in 1988. Furthermore, CR Los Reyes won back to back ERC trophies in 1984 and ‘85 and CF Playa de Rocas were one of the most dominant sides in Elejamian soccer during this period, either winning the league, coming close to it and making it to at least the semi-finals of the Football Cup. Unfortunately, there were a number of downsides such as a rise in poverty and to come along with this but the most notable one of all was the region-wide recession that wouldn’t see the area recover until the mid-90s. The effects of the 1970s, which was somewhat of a golden age for them, came back to bite them when they racked up a decent amount of debt and saw record unemployment and austerity. It wasn’t uncommon to see people move out of state or even out of the nation in order to look for work.

This ultimately culminated in what was known as La revolución francesa (The French Revolution). While the Elejamian Conservatives had been a fairly popular party in the two tracts, especially among those on the religious right due to the pro-Church governor Gustavo Herrera (1936-2001) aka “Vicepresidente de Dios”, their popularity was somewhat slipping due to a number of laws seeming to ignore Nuevo Paraíso’s autonomy (most notably a small tax rise that affected the tract despite their Chamber voting overwhelmingly against it) and a notorious corruption case in November 1985 that saw a number of prominent political people stand down from their roles (ranging from civil servants to representatives). But the other most notable case came in July ‘85, when the two tracts decided to hold a referendum on whether or not the two tracts should gain independence from Elejamie and instead become one new nation. It was expected that all the main parties would remain neutral in the whole affair and avoid backing either side; indeed, Herrera openly stated that he would abstain from picking a side and would accept the results regardless of what they were, a promise that he kept when he stayed home the entire day when it came time to vote. However, when The Conservatives announced that they’d support the anti-independence campaign, even if it ended up being a simple “We endorse this message”, there was a massive outcry from pro-independence people especially since the ELP and DA announced their impartiality as well. VADO voted massively against independence (81.3%-28.7%), whereas the voting was a bit closer in NUPA (60.1%-39.9%), but it still had a bit of a knock-on effect on voters at the general election the following year. Ultimately, despite a decent amount of campaigning in the two tracts as well as making a number of major gains in other areas, The Conservatives would be wiped out in VADO and would lose all but seven seats in NUPA. The newly formed centrist and pro-independence Partido Español would gain the majority of the seats in the two tracts, with the Elejamian Labour Party and the right-wing National Party picking up the spoils.

Despite the election along with the anti-austerity protests coming after it, along with some serious challenges from Partido Español candidate Luisa Menéndez and Elejamian Labour Party candidate Luca Osorio, Herrera would ultimately retain his role as governor in the 1988 elections when he won 51.3% of the vote in the second round. With a more secular government to deal with and a lot fewer members of his party to have his back, he was a lot less effective at pushing through any laws and eventually he decided not to contest the 1992 gubernatorial election, although a stroke he suffered earlier that year also helped push him further into a lack of interest. He would ultimately retire the following year and managed to get his memoirs published in November 2000, four months before his passing from a second stroke. The Conservatives wouldn’t win a seat in NUPA until 2006, when they managed to win seven, whereas VADO would have to wait until the 2010 election to see its first Conservative seat in nearly 25 years.

An interesting set of events that had quite a lasting impression on a number of artists from the area. Local rapper Pabby J (real name Pablo Jímenez Escobar) had a hit song around the time called “Es dificil” which talked about life in the poorer parts of Playa de Rocas but ended up being an unlikely soundtrack to the protests and Alan Merini (who was an Anglophone Nuevoparaísan) did a song called Leave Me Alone, not to mention a number of songs that were popular with the agró scene of the mid 80s-mid 90s took shots at both politics and the Church. But the most well-known bit of music from that period of time was ESLM’s album Idus Martiae (translated as The Ides of March), a concept album based on the protests. While their epic piece “La suite de la cuatro humores” was an underground hit and would regularly be covered by many a garage band, it would be the sole English-language song from the album called Return to Dust that would become one of their most well-known songs and their first song to actually make it onto the charts, where it peaked at #25. Not just because it was in English and thus easier for people to access and understand but also because of the raw imagery behind it and because of the moral guardians worrying about the Satanic Panic (and the album taking a few shots at the Church for having too much power didn't help either despite the fact that one of the band members was a devout Catholic and the other is a Protestant).

However, when ETV announced that it would be the Elejamian entry sent to a song competition over in a land called Teesdexxia, namely a spinoff of the WorldVision Song Contest, there was mass confusion all-round. Some argued that a power metal band wouldn’t really be a good fit among the synthpop and other more mainstream stuff typical of that era. Others argued that the political bent of the song would probably turn away potential voters, even though the song’s nearly 35 years old at this point. And others asked why they couldn’t find one of the more popular artists from the era to represent them. And, as it turned out for the last one, most of them were either busy, broken up or, in the case of Antonio Cisneros whose song Forever was fairly popular around the early part of the 1980s, been dead for a couple of years. It then turned out that ESLM were the first artists to actually get back to them and expressed interest in taking part, albeit with the condition that they pick their own song. ETV were OK with it, ESLM jetted off to West Hartlepool, did their mandatory quarantine and got themselves ready to perform at the contest. Will they do better than the last time Elejamie was at a special edition of WorldVision? Or will it be a double case of failure? Let’s see.

Most of this seems disjointed and out of place because I imagined it to be set in the actual 1980s. Oh well.

Once the postcard came to an end, we then cut to a shot of the stage and the sound of applause. No wild cheering like at the normal WorldVision but rather just everyone clapping for it to show their appreciation. The lighting was pretty much the standard stuff, really, and the band were just standing there waiting for their cues. They weren’t nervous, they weren’t geared up, they really weren’t anything. They didn’t even think of this as a contest or a competition, they still didn’t even know why they were even here. To them, it was just a quick three-minute performance of one of their songs with the possibility of performing it again if it got enough points. That would be nice but they wouldn’t have been too broken up about it if they failed to achieve that goal. Eventually, the applause died down and then it was their cue. Go time.

After a close-up of Beto strumming away on his guitar for a few seconds, we then cut to a wide shot of the stage and a row of pyrotechnics going off. When Dani started to drum to the song, we then cut to a side shot of him doing so, which also gave the audience a good look at what he was wearing. He was wearing a plain white tank top, a pair of blue jeans and a pair of black and white sneakers (which weren’t visible due to them being underneath his kit), along with a pair of black and red fingerless gloves and a white sweatband on his head. He had a look of extreme concentration on his face as he was playing along. His kit was the standard metal set-up with multiple different drums, cymbals and hi-hats; two bass drums (one of which had ES and the other LM); and it had black skins with red and yellow shells. The stage had a light layer of fog, especially at the bottom of it, the lighting was an incredibly light yellow as if a filter was put on the cameras and the whole thing appeared to have been shot on video, which presumably explained the lighting effect during the performance. There were a few wide shots of the stage interspersed with the band playing their instruments, showing that the stage lights were flashing red, white and blue lights but, not only were they flashing long enough to avoid setting off any seizures or causing any headaches but what the lights were aiming at weren’t really visible on screen.

After a return to the same close-up of Beto playing his instrument, we then cut over to Colo as it was his turn to sing. Due to Beto handling almost all of the guitar work on this song, he had his rhythm guitar on a stand on the floor a good distance away from the microphone. There was also a good shot of him picking the stand up, with the microphone still attached to it, and starting to sing into it, which revealed what his outfit for the show was. He was wearing a black T-shirt with the band’s logo in red, a pair of black leather trousers that had some obvious tears in them and a pair of black work boots to go with it. He was also wearing a pair of black Wayfarers, although there was a silver finish to it and, indeed, the lenses appeared to have a silver gradient to them. After he sang the first line, we then cut over to a medium shot of Beto (which was slowly panning from left to right) strumming along to his guitar, a Flying V guitar with a red body, a white pickguard and black highlights in both. After Colo sang the second line and did a couple of small fist bumps towards the end of it, we then cut to a shot of Tuco playing his bass with the camera doing the same thing. We then cut back to Colo for the third line, where he was shaking his head a little bit to move his hair out of his face before he sang the line while staring into the camera. After a quick cut to Dani drumming along while the camera also panned, we then returned to Colo again for the fourth line. He was bending forward a bit and, towards the end of that line, he headbanged a little bit. Fortunately the mic wasn’t close enough for him to accidentally hit himself with it.

Their evil deeds have been revealed
The mindless drones all just run and cower
Their master ousted from his throne
Now they shall no longer have power

When it was time for the pre-chorus, Colo was looking up towards the ceiling and pointing at it, almost as if he just noticed an interesting spot on it and he wanted to direct some attention to it. He was also tilting the microphone a bit to his mouth for the first line before he moved it back upright. At that point, he just kept it still while he looked straight at the audience and moved his arms around as he sang into it, purely for emphasis but also it gave him something to do while he didn’t have an instrument in his hands. All of this while the camera did a couple of pans, tilts and zooms When it was the end of the pre-chorus, we then cut to a medium shot of Beto playing a note on his guitar. He was dressed in a black leather jacket with nothing but a golden cross necklace underneath, a pair of blue jeans and a pair of black and white trainers. He was also holding his guitar at an angle and he had a neutral expression as he played that note, although there was a small smile as he lowered it to segue into the chorus.

Peoples’ eyes are no longer shut
The puppet strings have been cut
Scum controlled us all, betrayed our trust
Now it’s their time to return to dust

And then it was time for the chorus. After Colo sang the first word, he headbanged a couple of times to the guitars while the row of pyrotechnics shot out a couple of sets of sparks. They were gentle headbangs, though, as he didn’t want his glasses to slip off his head again. When it was his turn to complete the line, he held onto the mic as he pushed the stand forward, holding it at an angle as he sang into it. He then pulled it back closer to him as he again headbanged to the song while the sets of sparks shot out twice again. The second line was the same action as the first but instead of pushing the mic forward for the second bit, he just tilted it to the side while he sang into it. He even did a couple more fist pumps there before he raised his fist up into the air at the end of the line.

Return, return to dust!
Return, return to dust!

After a quick cut to Dani drumming away on his instrument, along with a quick wide shot of the stage to show that the LED screens behind them went from being turned off to displaying what appeared to be an AI-generated GIF or at least a video that had the same aesthetic of a building in front of a fire (not necessarily ON fire but it’s there in the background), we then cut over to Colo taking the microphone out of the stand and singing into it. He also held onto the stand in his other hand and, while he kept it still for the first line, he waved it back and forth throughout the second. It was also towards the end of the second line that we cut to a close-up of Colo, smiling maniacally as he sang the last word of it while a quick burst of flames erupted from the row of pyrotechnics at the foot of the stage; an intentional choice because his bandmates felt that he sang that line “as if he was a dragon breathing fire” and he pretty much agreed with them. He tilted his head back and let out a normal smile before he started to walk over to near Tuco, although he was keeping a good distance away as to avoid hitting his bandmate with the stand. The bassist was wearing a blue denim jacket with various band-related patches on it, a black shirt with a flaming skull and crossbones on it, a pair of stonewashed blue jeans and a pair of white shoes. He was also playing an all-black bass guitar, although the controls were silver and black. Once Colo was in the place he wanted to be, he turned around and stood in a triumphant stance as he sang the third line. When it came time for the fourth, he lunged the stand forward as if he was stabbing something and then swiping it from his right side to his left almost as if he was trying to clear something. When he finished the line, he held it upright as if he was about to put it down normally.

The flag raised above the ruins
A consequence of their own doing
Because they would propagandise
‘Til they believed in their own lies

In fact, that’s what he did when he started the pre-chorus bit. He kept singing it as he put the microphone back on the stand, which he then held on its side at a bit of an angle. For the second line, he did the same thing again but from the other side. For the third line, he pulled the microphone closer to him, although he still kept it at a bit of a distance to make sure he didn’t accidentally hit himself with it. And for the fourth line he let go of the stand and did a little fist pump before he lunged his arm forwards, his fist in the crowd’s direction. All of this while the camera did a slow pan from right to left at a slight angle.

They thought they could pull the wool
They tried to play us like a fool
They broke their own rules, fell into lust
And soon they all will return to dust

Back to the chorus now. Much like the first time he sang the chorus, Colo sang the first word before he proceeded to headbang while a series of sparks came out of the row of pyrotechnics before him. However, for the second line, he decided to do something different. Indeed, he didn’t headbang again but rather he reached down and picked up his guitar. He quickly turned his head over to the microphone to sing the first word of the second line before he equipped his guitar. He even moved his hands to where they needed to be as he finished singing the rest of the line, just so he could easily segue into the solo.

Return, return to dust!
Return, return to dust!

And then we got the breakdown. The camera was still concentrated on Colo as he walked to the main stage behind him as he played his instrument. He bobbed his head back and forth as he walked over to Beto and the two seemed to engage in a guitar duel. This wasn’t uncommon for fans of the band to see, as it would be a staple of live performances whenever there was a lengthy solo in any of their songs. Whether it be bass vs guitar or rhythm vs lead, two of the three guitarists would stand close to each other and just shred and maybe headbang as well. There was a brief cut to Dani drumming furiously, at first with a neutral expression before it slowly changed to a slight smirk, as the camera zoomed out to show Colo deciding to “duel” Tuco instead. He kept a look of pure concentration on his face as he turned towards his lead singer and just plucked his bass instrument. Towards the end of the breakdown, the camera then cut to an extremely wide shot of the stage and the audience could see Colo making his way back over to the stand so he could sing the next verse.

Indeed, when it came to the next verse, we then cut again to Colo just making it into the frame as he started to sing. Once he finished the first line, the camera then cut over to Beto strumming away before it cut back over to Colo. Not only was he now holding the guitar he had used by the neck but he also had his hand balled up into a fist, which he raised in triumph at the end of the line. There was a quick cut to Dani, who gave a quick flourish before we returned to Colo for the third line, albeit from the back and at an angle. He shook his fist from side to side before he raised it even higher, above his head even, at the end. There was also another burst of fire coming from the pyrotechnics during that bit, again because of how he emphasised the last word in that line. We then cut to a front shot of Colo once the flames disappeared as he pumped his arm a couple of times before he swiped it from left to right in a downwards diagonal motion, followed by a quick smile at the end. This wasn’t for any emphasis or anything, this was just where the song was taking him in his head.

Their evil schemes are crumbling down
Where is their dark messiah now?
They will not learn, they’ll have to go!
Exile them to where no one knows

And so we reach the last pre-chorus bit. Colo picked up the stand with the microphone with it and marched up the stairs behind him as he sang into the microphone. Again, he was keeping it at a distance from him so don’t expect him to accidentally hit himself with it, much like that one guy did that one time. Fortunately, this was something he had done multiple times at multiple concerts over the years so naturally he knows what to do to avoid the possibility of that mishap happening. As he kept singing he then turned around and kept singing into it as he carried the microphone back to where it was, simply because he wanted to prove to himself that he could still pull that trick off. Once he returned to where he was earlier, he held his arms up in the standard “showing off your muscles” pose before he pointed at the audience, which then segued into him making a number of different and random hand gestures, almost as if that bit had been entirely improvised (and in reality it was, as the rehearsals saw him do different gestures compared to what he did on the night). Right at the very end of the bit there was also a quick cut over to an extreme close-up of Beto’s guitar, as he made it squeal to lead into the chorus.

But they won’t leave without a fight
Now it’s our turn to do what’s right
There’s no turning back, do what you must
To make sure their plans return to dust

And so we finally reach the last chorus. Much like the last time, the first line saw him sing the first word normally, headbang while the two sets of sparks went off and then finish the rest of the line before headbanging again while some more sparks went off. For the second line, however, he sang the line normally before pushing the microphone and the stand it was on twice in time with Beto’s riffs before pulling it back to him to complete the line, at which point he shook the stand from left to right then back to his left again. There was a quick cut over to Beto strumming his bits before we cut back to Colo for the third line, where he took the microphone off and, with a hand on the stand, crouched down a bit as he sang the first bit before banging his head to the side a couple of times before he carried on with his verse. As he stood back up and put the microphone back on the stand, he just sang the word and looked up to make it look like he was getting his breath back before finishing the verse. To finish this bit off, we get a cut over to Beto strumming along instead of what Colo was doing.

Return, return to dust!
Return, return to dust!
Return, return to dust!
Return, return to dust!

We then get a wide shot of the stage and the band playing their instruments before we then cut to a quick close-up of Tuco playing a couple of notes on his bass before we return to the wide shot of the stage. There were jets upon jets of flames shooting out of the pyrotechnics before Dani went into a brief drum solo. While the cameras were mostly focused on him exhaustedly playing his instrument, there were a couple of moments where the people at home could see the rows of sparks coming out of the pyrotechnics. Towards the end of the solo we then get a brief look over at Colo, who was standing still, facing forward with his eyes closed and he had one hand raised in the air directly above his head while the other one was directly at his side. There was a quick cut over to Dani hitting the last of his drums before we get a side shot of the stage and, with that, the two guitarists and the lead singer headbanging to the last couple of notes of the song. With a couple more jets of fire from the pyros for good measure.

Once the song officially came to an end, they received a round of applause from the audience. In fact, there were even a couple of shots of people in the audience clapping for them. However, unlike the proper WorldVision where everyone would be standing up and cheering while dressed in whatever, not only was everyone neatly dressed in tuxedos and other such formal clothing but they were all sat down. Not exactly the target demographic for this band but ESLM didn’t mind. They just stood together and took a bow. Colo walked up to the microphone and simply said “Gracias, Hartlepool del Oeste.” He flashed a quick metal horns towards the crowd before picking up his guitar and walking off with the rest of the band. He would’ve been a bit more flashy and elegant with his ending but since this was a new experience for him he had no idea how they would react to that. Not to mention that they had to vacate the stage so that they could get ready for the next act, so there was no need to stay for longer than they needed to be.

by **Amuaplye** » Tue Jun 08, 2021 1:44 pm

5. AMUAPLYE

THE SIRENS - IMMORTAL

LYRICS: O. Petrov, vocals

INSTRUMENTAL: G. Terrell, guitar, T. Johnson & L. Thompson, synthesizers, S. Oscar, bass guitar

TUNE: Молчат Дома - Судно

A photo of the band taken in 2017, before Thompson joined

~~Yes, this song is about exactly what you think it's about because some things never change~~

The stage is entirely dark, save for the illumination of a thousand phones, barely enough to light up the seat in front of them, let alone the stage. The band walks up onto the stage in near-complete silence, just their footsteps & a few hushed whispers from one of the members.

Then the opening drum beats begin, the lights on the stage flashing to the beat and almost startling compared the eternity of silence between the power metal of last time and the post-punk that was about to play.

A loud piercing sound wakes me up
The night sky turns a shade of red
Hell's sirens bore into my ears
In a minute I'll be dead

The singer, though a myriad of filters & distortions, sings in a monotone. This makes his vocals incredibly difficult to understand, and combined with his thick Russian accent, makes it sound almost foreign as well.

A loud piercing sound wakes me up
The night sky turns a shade of red
Hell's sirens bore into my ears
In a minute I'll be dead

He quickly repeats the stanza again, before turning his back to the audience, the lights still flashing only to the beat of the music. He quickly turns around to sing the next stanza.

And the endless storm rages on
And the whirlpool drags them all down
And out of the fog comes a new dawn
Within this broken, empty town

He turns back around, the lights flashing faster and faster as the short instrumental goes on, before turning back on for the rest of the song. At this point it should be noted that the other band members haven't even moved an inch since the song began.

I must rise from the endless rest
I must confront the still-burning flames
The burning flames that still contain me
In order to love again
So we can love again

His voice rises in pitch, seemingly escaping the monotone for short periods of time. His voice implies a sense of hopefulness & optimism, but a weary & easily-shattered optimism.

So we can love again
So we can love again
So we can love again
So we can love again

He raises his arms, the incredibly bright lights almost blinding him. The other band members start moving slightly, but only slightly.

And so they will never feel like this
So the sky won't ever turn red
So the sirens won't ever sound
So they'll never die like this

And so they will never feel like this
So the sky won't ever turn red
So the sirens won't ever sound
So they'll never die like this

The guitarists finally begin to move around the stage, while the drummer & keyboardists stay where they are (for obvious reasons). The singer starts moving a fair amount too, but stays fairly close to the stage.

Once the song ends, the lights shut off & the band leaves the stage without a word. Rude in most cases, but after you just sang a coldwave tune about war, it might be ever so slightly more appropriate. At least being dead last on the scoreboard would make up for it.

by **Achaean Republic** » Tue Jun 08, 2021 6:42 pm

Achaean Republic
Anna Núñez-Perdí Mi Corazón (I Lost My Heart)
Tune: Rocío Jurado-Se Nos Rompió El Amor
Music & Lyrics: Ricardo Rodríguez, Andrés Wittenham, Anna Núñez-Wittenham

Perdí mi corazón
I lost my heart

Yo he de buscarlo
I’ll have to look for it

En el suelo perdí
On the ground I lost

Cualquier abrazo
Any cuddling

Entregué hasta mi voz
I surrendered to my voice

Tanto ha sobrado
So much is left

Perdí el derecho
I lost my rights

Cedí al fracaso
I yielded to failure

Perdí mi corazón
I lost my heart

¿Quién lo ha arrancado?
Who has ripped it apart?

Hubo otro milagro
There was another miracle

Otra destreza
Another skill

Mi cuerpo temblará
My body will tremble

Y tiembla poco
And it trembles little

Jamás logre vivir
I was never able to live

Vivir cualquiera
Live elsewhere

Cuando te conocí
When I met you

Te amaba tanto
I loved you so much

Aquí yo te entrego
And here I surrender

Nada en todo
Nothing in everything

Aún así, me has hecho daño
Even so, you have done so much pain to me

Y me desechaste
And threw me away

Dios no quiera
God wouldn’t want to

Buen mozo eras así
You were so handsme

En el pasado
In the past

Y ahora me niegas
And now you deny me

Tirando un lado
Throwing it away

El sueño lo perdí
I lost the dream

Hostil e incierto
Hostile and uncertain

Jamás imaginé otro tormento
I never imagined another torment

Perdí mi corazón
I lost my heart

Yo he de buscarlo
I’ll have to look for it

Perdí mi corazón
I lost my heart

Yo he de buscarlo
I’ll have to look for it

En el suelo perdí
On the ground I lost

Cualquier abrazo
Any cuddling

Entregué hasta mi voz
I surrendered to my voice

Tanto ha sobrado
So much is left

Perdí el derecho
I lost my rights

Cedí al fracaso
I yielded to failure

Perdí mi corazón
I lost my heart

¿Quién lo ha arrancado?
Who has ripped it apart?

Hubo otro milagro
There was another miracle

Otra destreza
Another skill

Mi cuerpo temblará
My body will tremble

Y tiembla poco
And it trembles little

Jamás logre vivir
I was never able to live

Vivir cualquiera
Live elsewhere

Cuando te conocí
When I met you

Te amaba tanto
I loved you so much

Aquí yo te entrego
And here I surrender

Nada en todo
Nothing in everything

Aún así, me has hecho daño
Even so, you have done so much pain to me

Y me desechaste
And threw me away

Dios no quiera
God wouldn’t want to

Buen mozo eras así
You were so handsme

En el pasado
In the past

Y ahora me niegas
And now you deny me

Tirando un lado
Throwing it away

El sueño lo perdí
I lost the dream

Hostil e incierto
Hostile and uncertain

Jamás imaginé otro tormento
I never imagined another torment

Perdí mi corazón
I lost my heart

Yo he de buscarlo
I’ll have to look for it

by **Greater Korean Juche Republic** » Tue Jun 08, 2021 6:48 pm

7. GREATER KOREAN JUCHE REPUBLIC
I'll See You Again - Ri Pyong-Suk and the Mangyongdae Ensemble
https://www.youtube.com/watch?v=AP6qS2m6Cyc

From Paektu to Halla, our family is one!
Embroidered with glory of the sun, I'll see you again!
The joy of our home shines as a beacon above!
No front or trial can separate our love!
Oh oh oh... do you remember?

I'll see you again! I'll see you again!
I'll see you again! I'll see you again!

(I'll see you again! I'll see you again!)

You might go away, but here I stand strong.
Like a rock immovable in a sea of strength!
You'll go away to serve the Leader!
You'll go away to protect the Party!
Ooh ooh ooh, do you remember?

I'll see you again! (Remember?) I'll see you again! (Do you remember?)
I'll see you again! I'll see you again!

Long live our country!
...
The Soldiers! (The Soldiers!)
The Party! (The Party!)
The General! (The General!)
We are one! (Manse!)

...

One two! One two!
Two... three!
(I'll see you again!)

Insert a segment of dancing Koreans in traditional joseon-ot and suits, performing a tiny part of a mass dance. A block of female soldiers would direct the Korean audience in the chant. On the LED screen would be an image of Kim Il-Sung, eliciting a massive round of applause from Koreans in the audience. With the second instrumental starting, the mass dancers would clap with the soldiers, vacating the stage as the count-off began. After it ended, the woman would return to her song.

You might go away, but here I stand strong.
Embroidered with glory of the sun, I'll see you again!
You'll go away to serve the Leader! (To serve!)
No front or trial can separate our love! (Our love!)
Ooh ooh ooh, do you remember?

I'll see you again! (Remember?) I'll see you again! (Do you remember?)
I'll see you again! (Remember?) I'll see you again! (Do you remember?)

I'll see you again! I'll see you again!
I'll see you again! I'll see you again!

Do you remember?

The performer drew her enthusiasm from the back-up singers, carrying it through to the end of the song. Once it came around, she looked to the crowd before humbly bowing.

by **Pemecutan** » Tue Jun 08, 2021 8:30 pm

8 - PEMECUTAN
Faizal Rahmat - Selamanya
Title Translation: Forever
Language: Bahasa (Indonesian)
Music & Lyric: Faizal Rahmat
Tune: Fariz RM - Barcelona

Faizal Rahmat

Born in the small town of Kepaon, Faizal Rahmat is one of a few popular Malay singer in Pemecutan. He begin his career as a songwriter when he enter a songwriter competition held by Giri Radio in 1977. His writing was managed to reached top ten list. His first album was released in 1979 to a mild success. It was his second album, Flamboyan, which was catapult his fame.

Di gemerlap nya sudut kota
Kulihat dia terduduk dengan anggun nya
Sayu matanya memandang
Seakan diri ini ikut terbawa

Dan aku pun terpaku
Dalam pesonamu
Ingin ku merayu
Memikat hatimu
Yang t'lah mengusik kalbu
In the glittering corner of the city
I saw her sitting gracefully
Her eyes are looking
As if this self was carried away

And I'm stuck
In your charm
I want to seduce
Captivate your heart
The one that has disturbed the heart

Gemuruh dada ku terdengar
Disaat langkahku kini mulai mendekat
Kucoba untuk menyapa
Berharap ada rasa yang kan terbalas

Senyum yang merekah
Saat dia membalas
Berikan pertanda
Adanya getaran
Yang t'lah menggoda jiwa
The rumbling of my chest is heard
When my steps are now getting closer
I try to say hello
Hope there is a feeling that will be reciprocated

The smile that bursts
When he replies
Give a sign
There is a vibration
The one that has seduced the soul

Raihlah tanganku kasih
Genggamlah erat
Bersama kita jalani
Ikatan bertabur cinta yang kan abadi selamanya
Take my hand love
Hold on tight
Together we live
A bond studded with love that will last forever

Waktu seakan berjalan cepat
Tak terasa malam pun kian larut
Sudah saat nya tuk berpisah
Janji akan bertemu di hari nanti

Pelukan yang hangat
Memberikan asa
Kan sebuah hubungan
Telah hadir menyapa
Dan trus akan merekah
Time seems to go fast
It doesn't feel like the night is getting late
It's time to part
Promise to meet someday

Warm hugs
Give hope
For a relationship
That come to say hello
And then it will always bloom

Sampai bertemu kembali
Kekasih hati
Kan kuyakinkan hatimu
Akan rasa yang hadir menabur benih rindu
See you again
Sweetheart
I'll convince your heart
The feeling that is present will sow the seeds of longing

Tak tertahan lagi
Tuk selalu bersama
Menyatukan hati
Dalam sebuah ikatan
Berdua untuk selamanya

Yakinlah padaku kasih
Suara hati
Tak akan pernah ingkari
Perasaan yang tumbuh di dalam sukma ini

Raihlah tanganku kasih
Genggamlah erat
Bersama kita jalani
Ikatan bertabur cinta yang kan abadi selamanya

Kan abadi selamanya....
Can't stand it anymore
To always be together
Unite the heart
In a bond
Together forever

Trust me love
Conscience
Will never deny
The feeling that grows inside this soul

Take my hand love
Hold on tight
Together we live
A bond studded with love that will last forever

It's eternal forever....

by **Beepee** » Wed Jun 09, 2021 5:34 am

9. BEEPEE
"The Witch of the North"
Performed by
Blair

Tune: Ami Aspelund - Fantasiaa

BLAIR

From the light came the Father. From the darkness, the Mother. That is both the beginning and the end.

- The Holy Scriptures

At dawn Blair's mother lead Blair from their small cottage, through the village and into the woods. As she passed each house, the women of each household slammed shut their storm shutters, each with a heavy clack as the wooden frames met.

Blair's eyes welled with tears, unsure as to why the people of her village were shunning her. It was her thirteenth birthday, and she was still in her nightclothes.

Clack.

She saw Ms. Happ, her schoolteacher, slam her shutters...

Clack.

She saw Ms. Deeds, the local shopkeeper, slam her shutters...

Clack.

The sound echoed through the villages empty streets. Each sound stinging Blair's eyes.

After the short walk through the village and past the fields, they came to the edge of the wood. Blair looked quizzically at her mother who did not speak but simply pointed Blair into the woods. For as long as Blair could remember, warned her not to go into these particular woods. Now without word Blair entered the woods.

A few steps in, Blair turned to see her mother, but the tangled branches of the wood had already closed behind her, and her mother could not be seen.

Blair turned back and headed deeper into the woods. The eerily quiet woods. The knotted branches of oak and yew seemed to claw after her, as a gust of wind would wind its way through the woods. Her night dress caught on a sapling and tore away as struggled deeper into the woods. The thicket became more impenetrable as she got deeper. The canopy closing over to block the sky from view and disorientating Blair.

As she continued, she became more exhausted, pushing aside branches and twigs, srltumbling over roots. Still unsure of why she was walking, instinctually she was driven onwards.

Resting against the wide trunk of a wide ficus, the smell of a log fire drifted through the air. Blair followed the faint odour, sure that this was where her mother had intended her to reach.

As she pushed forward, she reached the edge of a clearing, and peering through the branches she saw a stone cottage, slightly dilapidated, with a thatched roof, a chimney billowing. A small kitchen garden was to the side with hens. A goat bleated from a small pen.

Blair headed to the cottage. At least, she hoped, the owner could warm her.

As she knocked on the faded and rotten cottage door, it swung open. An elderly female voice, frail and quivering, called out "Come in dear".

As she entered the dusty cottage, the aromas of dried herbs, and stale air hit Blair. The dark interior on the one room cottage was punctuated by the fireplace which glowed in orange and red, as wooden logs burned beneath a large cauldron.

"Come in dear", the voice said again.

As she moved into the room, the log fire sent shadows sprawling over the stone floor. Flickers of light, burned quickly glinting over a table full of bottles of vials filled with various oddments and liquids. A bookshelf filled with tomes, hundreds, lined a wall. A heavy featherbed stood in a corner, unmade and unkempt.

As she made her way in deeper to the room, the smell of boiling vegetables, a stew maybe, permeated from the cauldron.

"Let me fix you a bowl"

Blair watched as out of the darkest shadow of the room hobbled an old woman, small and hunched, dressed in black, anf aided by a large stick, made her way to cauldron. Her hands gnarled by arthritis. A shawl covering her head, with long tresses of back hair obscuring her face.

The old woman ladled out the stew into a wooden bowl and brought it to a space at the large table.

"Eat!" she said.

As she said the word, Blair suddenly became very aware of her hunger and sat at the table and began to eat the stew. When the bowl was finished, Blair was satiate.

And the lady came back towards her, running her hands over Blairs hair.

"Such pretty hair"

Blair looked up into the old woman's face and into deep emerald green eyes. The light of the cauldron fire reflecting in the darkness of her pupils.

"I am the Witch of the North", said the old woman.

---

THE WITCH OF THE NORTH

On the stage is a large cauldron, bubbling over with green smoke filling the base of the stage in a light green fog. The cauldron, which sits on the right half of the stage, glows ominously lit by a single spotlight.

The rest of the stage is dark... as the music begins.

Shortly before the first stanza begin, seemingly out of nowhere, Blair appears on the central satellite stage.

She's wearing a simple black tunic over a floaty black dress.

As she sings the first line, she points at a Teesdexxian man sitting in the front row.

Look at him there,
He looks so innocent, and so unaware,
He doesn't know,
He'll be coming home with me right after the show.

As Blair sings "He'll be coming home with me right after the show", she gives a raised eyebrow and a knowing nod to the audience watching at home. Her deep emerald eyes glinting down the camera.

For the following stanza, she points at the Teesdexxian man's female companion, who shifts rather uncomfortably in her seat as she holds her beau's arm.

Look at her come,
She doesn't know it cause he's under my thumb,
I've got to laugh,
'cause she thinks she stands half a chance.

Blair has a small smirk as sings "I've got to laugh".

As the chorus begins three darkly hooded figures appear by the cauldron, and begin dancing around the cauldron in a gay old fashioned way.

Blairs demeanour is strong and upright, a proud woman sure and self confident.

Cause I'm the Witch of the North and you had better beware,
If you should find yourself crossing me, you'd better take care,
I'll put a hex on your house or a pox on your kin,
And you'll wake one day to find boils all over your skin.

As she sings about hexes and poxes, Blair wiggling her fingers as though casting a spell. A low menacing smirk casts over her face, and the Teesdexxian woman, again looks very uncomfortable at the performance.

As she sings the following chorus, the Teesdexxian male audience member stands from his seat and begins to each towards the central satellite stage. He looks entranced by the performance.

Yes, I'm the Witch of the North, I'll cast my potion on you,
You'll sleep for a thousand years, or discover love that is true,
I'll be gone in a flash or a green puff of smoke,
And you'll wish you never came to know,
The Witch of the North.

The backing singers, throw of their hooded capes to reveal three very attractive women, Winifred, Mary and Sarah Sanderson. And begin to pace around the cauldron in unison. As the sing the following bridge.

Eye of newt,
And sole of boot,
Wing of bat,
And all of that,
Stir the cauldron round and cast the spell.

With each ingredient the Sanderson sisters sing, they throw an element into the cauldron, which bubbles over with the foggy steam and glows in a deep pulsating green. At the end of their bridge they look over at Blair on the other stage and nod.

The Teesdexxian man has now made his way to the front of satellite stage, where Blair stands. The Teesdexxian security seem ready to pounce on him, clearly afraid of a stage rushing incident. But Blair shoos them away.

The Teesdexxian woman has followed her man and is desperately trying to pull him back to their seat and is screaming at him to pay attention to her.

As she begins the next stanza, Blair points again at the man and beckons him forward.

Look at him there,
My spell is working, there's a glassy cold stare,
He'll never know,
But that feeling inside him will continue to grow.

Blair reaches into an inside pocket of her dress and pulls out a shimmering vial, filled with a fluorescent pink liquid... she hands it to the man who's is making his way up the front steps of the satellite stage.

My potion of love,
Drink it down, hear the lightning above,
I've got to laugh,
Once drunk, theres no coming back.

The Teesdexxian woman tries to stop him, but the man follows Blair's instructions and drinks the potion.

Blair smiles and raises her arms in triumph as she sings the second bridge, in preparation for the key change.

Cause I'm the Witch of the North and you had better beware...

The Teesdexxian woman rushes towards Blair, heading up the stairs to the stage as Blair sings...

Yes, I'm the Witch of the North and you had better beware,
If you should find yourself crossing me, you'd better take care,
I'll put a hex on your house or a pox on your kin,
And you'll wake one day to find boils all over your skin.

As she finishes the first part of the chorus, the Teesdexxian woman falls to the ground and shrieks covering her face with her hands... pulling them back as Blair sings "you'll wake one day to find boils all over your skin.".. to show large welts over her face and neck as she begins to sob.

The Teesdexxian man however ignores his former squeezes anguish and heads, glassy eyed, towards Blair. Reaching her, as she finishes the following chorus.

Yes, I'm the Witch of the North, I'll cast my potion on you,
You'll sleep for a thousand years, or discover love that is true,
I'll be gone in a flash or a green puff of smoke,
And you'll wish you never came to know me.

The Teesdexxian man takes blairs free hand.

You'll wish you never came to know,
The Witch of the North.

As she sings the final line, the green billowing fog which has hugged the floor shoots up enveloping the stage. As it clears the stage is empty except of the Teesdexxian woman, covered in welts, sobbing at the base of the stairs to the satellite stage. The cauldron, the Sanderson sisters, the Teesdexxian man and Blair are nowhere to be seen.

by **Syrche** » Thu Jun 10, 2021 5:10 am

10. SYRCHE
Alone In the Dark
by
Lady Ruth
Tune: Quarterflash - Harden My Heart

Lady Ruth Consists of the following members:
Eldrik Larsen, Bass, Keyboards;
Jonny Liddle, Drums;
Kathleen Rohrer, Vocals and Saxophone;
Dom Johaness, Guitars.

Lady Ruth were a one hit wonder band. This is their one hit. But even it didn't hit number 1 on the Sÿrchesi Hot 40; Slow burning at number 2 for several weeks before a long descent down the charts. This song originally came out in 1982 and it changed the music scene in Syrche.

The song was the first in slew of more modern sounding pop-rock oriented songs being released on the newly formed Andersson Rekords, and by virtue of competition,Kersner Music joined the trend, creating a plethora of Pop Rock bands in the early 80s through the 90s. This bucked the trend that had been strong since the mid sixties of DuWop and soul dominating the mainstream. It would pave the way for Pop Rock to become the quintessential 80s sound in Syrche.

Despite moderate success, the band called it quits after one album. However, they've been riding high on 80s Nostalgia, booking tours again since 2012.

The Performance

The stage appeared dark, the the band were already positioned. The first three notes of the saxophone music burst out into the venue, signalling that the song had begun. A spotlight shines down on Kathleen Rohrer, as her Saxophone screams.

After the sax solo, the lights come up, revealing the rest of the band.

Standing in the Dark
Pacing in Place
I'm Powerless to stop the Rivers
Flowing down my Face
Thinking of You
and what you sold as truth

As the next verse is sung, Kathleen stands motionless staring out to the audience as though shocked, or in a trance. Her eyes look glossy and sad.

They become angry and her face contorts a bit as she belts the last line of prechorus.
As the chorus begins, the lighting changes to red backlights, emphasizing Kathleens moody appearance while the band grooves against the backlights, creating silhouettes that towered above on the wall behind.

Remember what you spoke to me
This life could be a dream
BUT YOU RIPPED IT AT THE SEAMS!

I Stand Alone in the Dark
Crying Rivers of Tears
and its becoming abundantly clear...

An ethereal haze pours over the stage as the Synths hold out.
Lights begin to alternate in quick pulses between a deep dark red that obscures the band from sight, and the normal moody red it had been.

All this time i've been waiting for change
some kind of revelation to move me from this place
a winter so cold
feelings dissapear....

At this point things changed up a bit, and Kathleen sang in Dåtsche.

Rememre werdes sprækern dig
"Livet som en drømme...."
Men att liv ikke jeg se...

I Stand Alone in the Dark
Crying Rivers of Tears
I Just Want to Dissapear...

[[Sax Solo]]
[[guitar solo]]

Rememre werdes sprækern dig
"Livet som en drømme...."
Men att liv ikke jeg se...

I Stand Alone in the Dark
Crying Rivers of Tears
I Just Want to Dissapear...

I Stand Alone in the Dark
Crying Rivers of Tears
I Stand Alone in the Dark
Crying Rivers of Tears

Alone in the Dark....
Crying Rivers of Tears...
Oh, no oh no oh....
Alone in the dark
Alone in the Dark
Rivers of Tears3
Alone in the dark
Alone in the Dark
Feelings Disappear...

by **Fromulya** » Fri Jun 11, 2021 7:42 am

11
FROMULYA
Djajakarta by Irawati Soedibjo & Koesno Moeljadi Singers
translation: n/a | tune: Cinderella — Sexta
language: Standard Indonesian, written using the old spelling system

Although Fromulya does not participate in the WorldVision Song Contest anymore, Televisi Republik Fromulya was notified of this event through the IBA news exchange and agreed to send a participant. The 1970s, 1980s, and 1990s were Fromulya's golden age of song festivals, so they sought to send something that reflected their history.

Singer-songwriter Koesno Moeljadi (modern spelling: Kusno Mulyadi) started the girl group Koesno Moeljadi Singers in the 1970s in an effort to bring something new and modern to a still conservative Fromulyan music scene at the time. The group turned out to be a hit, singing covers of popular Fromulyan songs as well as their own original compositions. To ensure the group's longevity, the members are periodically renewed in 'waves'. Thus, the current generation do not consist of the same members that Koesno Moeljadi Singers had in the 1980s. Koesno died in the 1990s after a brief period of illness, and although the group continued to be active in the Fromulyan music scene, its popularity waned a little.

For this event, the song they are going to sing is titled Djajakarta. It was originally released in 1981, prior to the spelling reform that Fromulya underwent in the 1980s. The lyrics below have been retained in its original form to reflect this, although at the bottom of this post there is both the translation as well as the set of lyrics written under the modern spelling system. It was also decided, in accordance with the spirit of the event, that one of the members of the group's lineup at the time this song was released would be invited to perform alongside the current lineup. Former member Irawati Soedibjo (modern spelling: Irawati Sudibyo) was chosen and will take the position of lead vocalist for this performance.

What is Djajakarta, by the way? Fromulya's capital, Paris Baru, is culturally divided into two areas. The first is Weltevreden, which is the original town that was developed and settled by colonial powers. The outskirts of this town were settled by the local natives, and the urban area as a whole was named Paris Baru ('New Paris'), also by the colonial powers. After Fromulyan independence, the urban settlements outside of Weltevreden was formally named Djajakarta (modern spelling: Jayakarta). Due to the infrastructural gap left behind by the colonial powers, the Fromulyan government spent its first few decades developing Djajakarta and attempting to close that gap. By the late 1970s/early 1980s, Djajakarta had caught up with Weltevreden and, due to developments in technology, was arguably even more modern, such that the government campaigned to invite the international community to invest in the area. This provided the background to Djajakarta's lyrics, which talk about the promise that the sprawling city provided at the time.

For the big night, Irawati (hereafter Ira) was wearing a blue batik gown while the rest of the group members, all significantly younger than her, wore a significantly more fitting modern batik outfit.

As the song began, the girls all walked forth onto the stage. Ira was of course in front of the other girls, who stood in a line. The background LED screens displayed pictures and footage of Jayakarta from the 1980s.

Akoe bermimpi
Soeatoe kehidoepan
Penoeh oleh harapan
Sedjaoeh pandangan

In this next part, the other singers sing the part in brackets.

Koe bersa’si (koe bersa'si)
Terpadoe siang dan malam (siang malam)
Memberi kesan mendalam
Jang eso’ akan ada

Here comes the chorus. While it's upbeat, to be honest not much happens onstage other than them singing. At least they sound like they're passionate about this entry. Everyone on stage sang the chorus together, by the way.

Koe telah tinggalkan hatikoe, hatikoe di Djajakarta
Akoe telah tinggalkan hatikoe, hatikoe di Djajakarta

Akoe ta’ bisa meloepakan
Senjoemanmoe, kenanganmoe
Akoe telah tinggalkan hatikoe, hatikoe di Djajakarta

Ira sang the verses alone again. The singers walked towards Ira.

Ada kamoe
Sang lelaki roepawan
Jang mendjadi teladan
Bagikoe, bagi negeri

Now they were all gathered around her, they all faced into the camera and kept singing. One or two of the singers sang this next part with Ira, while the others sang the part in brackets.

Satoe sa’at (satoe sa'at)
Akoe dalam genggamanmoe (genggamanmoe)
Tatapan mendoenia
Jang ta’ ingin koetinggalkan

Now back to the chorus, where once again they sang altogether. Surely, the liveliness of this song captured the kind of excitement that the hustle and bustle in Jayakarta promised at the time.

Koe telah tinggalkan hatikoe, hatikoe di Djajakarta
Akoe telah tinggalkan hatikoe, hatikoe di Djajakarta

Akoe ta’ bisa meloepakan
Senjoemanmoe, kenanganmoe
Akoe telah tinggalkan hatikoe, hatikoe di Djajakarta

For the bridge, Ira took a few steps forward, still singing with the same passionate she had all those years ago.

Djajakarta
Kota impian kebangga’an negeri
Sang primadona ta’ loepa membawa benih
Berboedaja, bertjampoer dengan tjanggih

The other singers walk up and catch up with Ira, adding a bit of tension to this performance.

Djajakarta
Indah nan istiméwa, penoeh rindoe
Namamoe teroes teroetjap di bibirkoe
Kan teroes berkesan sampai achir djaman

Finally comes the final chorus. The lights are as lively as ever and the performers are singing as passionately as ever.

Koe telah tinggalkan hatikoe, hatikoe di Djajakarta
Akoe telah tinggalkan hatikoe, hatikoe di Djajakarta
Koe telah tinggalkan hatikoe, hatikoe di Djajakarta
Akoe telah tinggalkan hatikoe, hatikoe di Djajakarta

The song came to an end. The audience cheered. Ira and the singers took a bow before leaving the stage as it was prepared for the entry from Darkmania.

by **Darkmania** » Sun Jun 13, 2021 12:59 pm

12. Darkmania

HairStyle- "Öyle" (Lying)

A Flock of Seagulls - I Ran (So Far Away)

(Image of the band as they were in 1982)

When it was announced that a special version of Worldvision with 80's hit will be hosted, Darkmania confirmed their intention to participate. And they knew who to send.

"HairStyle", as the band called themself, was a band that was formed in 1978 but didn't hit mainstream success until 1981. However, they are best known for their 1982 Sähn füür Därkmänsij song festival winning entry, "Öyle". The band wound later be disbanded in 1987 but has agreed to reunify for this contest as part of a reunion tour.

The band is now ready to perform their song. All of the band members play their usual instruments on the main stage. Only Mäksvell will sing.

Triff ÿn gërn en vÿge
(Meet a girl on the street)

Së spüre ÿrma «Hva heter du?»
(She asked me "What's your name?")

«Hva heter du?»
("What's your name?")

Yma nëves ë nët söser
(I was talking and dosent hasitate)

Së lokä ët së gÿme nëye fër ÿm
(She looks like she hides something for me)

Gÿme töu nëye?
(Do you hide something?)

We now see a female dancer who joins on the stage. Her dance moves are a bit distracting.

Töu ë ÿr, vÿrke nët üny
(You and i, didnt work together)

Yma sprënt, yma sprënt vÿk töyma
(I ran, you ran away from me

Töu ÿr öyle my
(You was lying to me)

Yma ë së nët ëlske
(I and her was not in love)

Töu mäk lö töu tÿger të yr
(You look like you are (planing to use) to me)

Tÿger toü të yr?
(Are you (planing to use) to me)

Sër löke ÿr nët rÿtt të ym
(Her look are not right to me)

Ë töu lokä sït süse
(And you look a bit suspicious)

Töu lokä sït süse
(You look a bit suspicious)

Töu ë ÿr, vÿrke nët üny
(You and i, didnt work together)

Yma sprënt, Yma sprënt vÿk töyma
(I ran, you ran away from me

Töu ÿr öyle my
(You was lying to me)

Erÿk now has placed himself on the part of the stage closest to the audience and does a guitar solo while he is on his knees.

Pëlity këm ë tëck së
(Police came and took her)

Hÿrle hëmber ärle ë töu sëck nët rÿtt
(Murdered someone alone you spoke not right)

Eÿ, töu sëck nët rÿtt
(No, you spoke not right)

Wëtter kärse füür yr
((The) world wasent for us)

Së sprënt ë yma nët lokä sër mÿr
(She ran and i never saw her gain)

Yma nët lokä sër mÿr
(I never saw her again)

The female dancer is seen putting her hands at Mäksvell's t-shirt and slowly moves them down before she backs out.

Töu ë ÿr, vÿrke nët üny
(You and i, didnt work together)

Yma sprënt, yma sprënt vÿk töyma
(I ran, you ran away from me)

The female dancer now has left the stage.

Töu ë ÿr, vÿrke nët üny
(You and i, didnt work together)

Yma sprënt, töu ÿr öyle my
(I ran, you was lying to me)

The audience liked this song as the band bows and thanks as the next county get ready to perform their entry.

by **Mister X** » Mon Jun 14, 2021 9:40 am

13 Mister X

(Apologies for not doing this earlier. I have been extremely looking forward to Retrovision but RL caught up with me. I’m also writing this on my phone from my seat in a sports ground, so this is by no means slick and polished.)

Lauren - “It’s Over, You Lied To Me”
Tune: Donna Summer - “This Time I Know It’s For Real” (1989)

There are two quite attractive men in silhouette against a wall making a slow movement with one arm during the first note before the beat comes in.

The lights go on properly to reveal Lauren. Wearing a pair of kinky boots, and black leather trousers, she starts dancing good and proper, but unlike on previous WV appearances she is aware of her advancing mid-40s age and dances classily like a grown-up, “mature” lady.

She is flanked by the two dancers throughout the song. There is a projection behind her of a fast-moving vortex, as though she is inside a tornado, in blue and orange and purple colours.

How can I let you know
To let you and make you go
Should I text your name
So as to tell you it’s not the same

Would I lie from me to you
I just don’t know what to do

The camerawork is very 80s - lots of close-ups of dancing feet and so on, interspersed with wide panning shots and energetic pacing.

This song is hi-NRG and the camerawork is to match.

So I will tell you that it’s over now
Just let me go and I’ll be safe and sound
I have to tell you, I just don’t know how:
It’s over, you lied to me…!

For the second verse, Lauren and the two dancers dance over to one side of the stage and then to the other, before returning to the middle for the second chorus.

I don’t know what to do
Do I text or call you?
I have got to let you know
Got to find a way to get rid of you

Shout out to the street that it’s all over, babe
You’ve got to know: I’ve something to say…

The dancing gets extremely energetic.

‘Cause I will tell you that it’s over now
I’m leaving you, you ungrateful cow
I have to tell you, I just don’t know how:
It’s over, you lied to me…!

During the bridge section, two more dancers come on, so that Lauren is backed up by four dancers by the time of the final choruses.

You liar
Liar, liar
You liar
Liar, liar
You liar…!

Lauren takes a reprieve from dancing for two lines.

Would I lie from me to you
I just don’t know what to do

Lauren gees the crowd up in these last two choruses.

So I will tell you that it’s over now
Just let me go and I’ll be safe and sound
I have to tell you, I just don’t know how:
It’s over, you lied to me…!
And I will tell you that it’s over now
I’m leaving you, you ungrateful cow
I have to tell you, I just don’t know how:
It’s over, you lied to…

…meeeeee!

She stops dancing and holds the note impressively.

The instrumental continues for two more lyric-less choruses, during which time Lauren keeps dancing.

by **Vartugia** » Fri Jun 18, 2021 11:41 am

14. Vartugia

PM and the Frontbench- "Vartugian Parliament”

Spitting Image - House of commons

Vartugia is the most democratic nation in the universe, hands down. In order to promote this, every single 498 MPs have written a song and will stand on the stage to present their song.

The stage is now set and we see all 4998 MPs. None of them can sing well.

Why the heck are
And now lets fuck up for the 42069th time.

The music starts and all of the MPs do some cringy dance moves.

Vartugian Parliament. Nobody cares of you.
I am of the people
And I have 4747473807835935935935935935935935920 NS dollars

The audience now looks confused as the MPs do some bad moves and no one of them can sing in key, resulting in them singing in multiple notes and none of them are the right notes.

Vartugian Parliament. This song is so dumb.
This song is like the people. Always shit
You sir are speaking the truth and we stan

The first and surprisingly the only rotten tomato got thrown and hits a MPs right in the face.

We need to ban food since if you eat it once you will die
We need to hide our submarines in the ocean
I got a shady contract and now are richer than my mum
Silence! Silence! Fuckup nr. 4946 now in motion.
Corruption is my middle name, son.

We hear more whaling vocals from all 498 mps and some of them even have massive voice cracks.

Vartugian Parliament. 498 mps out of 499.
We are the Party.
And I am dead now

The bad dance moves now are finally over and only 35 MPs finally sings the right vocals.

Vartugian Parliament. Everyone is batshit insane
The laws don’t apply for us mps, only the plebs.
We are a democracy. We just win every seat. How strange…

The audience begins to leave the arena as this entry is just bad. We now hear even worse vocals.

Put that tiny thing there and make it
*Akward noices*
SILENCE LIBERAL! WE SPEAK NOW!
And now we are losing our minds

Loud booing can now be heard from the remaining audience as this entry is now proven to be unfunny and crap.

Im an MP and I don’t want to be here anymore
Who the fuck cares anymore? We don’t.

The venue now looks empty as 60% of the audience has left and the other 20% are on the process of leaving.

Vartugian Parliament. How to be an idiot.
Our laws are a hit
Hit with a capital “S”

We now see even more cringy dance moves.

Vartugian Parliament. We must be in line
Who do you represent, e5yio0y86e?
Yes.

The venue now looks empty.

Vartugian Parliament. Totally for the folk
You are a son of a bi…
If you understand this then your brain is dead

No one looks at this entry funny.

Vartugian Parliament. Vartugian Parliament
We only have 498 out of 499 seats.
Stop being a f***ing moron and vote for something that we hate.

Some vocals from the MPs sound now that they are out of voice.

Vartugian Parliament. Vartugian Parliament
This way to the cliff where we can drop
Vartugian Parliament. Vartugian Parliament

More unfunny dance moves whereas everyone at the audience are leaving. More bad vocals.

The money are above the people, honey.
Vartugian Parliament. Vartugian Parliament
How many taxes do you pay?
No

They stop doing the cringy dance moves.

Vartugian Parliament. Corruption rule supreme.
This bill, just like this song, are not useful and are just there for reasons
But atleast we will get last place

Even more bad vocals as the venue get empty.

*Some form of gibberish*
What, we serve the people?

The venue now is empty as the last audience member just left.

Vartugian Parliament. Vartugian Parliament
Who was we respresenting?
And now we are more richer than you

At this point, the voice of a majority of the MPs is now gone.

Vartugian Parliament. Vartugian Parliament.
Fin!

No one laughed at this. Since everyone has left.

Luckily, the audience does come back for the next nation to perform.

by **Kalosia** » Sat Jun 19, 2021 2:24 am

15
Kalosia
Sorry — Praetorio
performed in Kalosian to the tune of Even the Nights are Better — Air Supply
Kalosian pronunciation guide

When it was announced that a retro-themed spinoff of the WorldVision Song Contest, full of 1980s nostalgia, was being held, RTVK once again took up the responsibility of finding a suitable participant. At this time, preparations for the annual Festival dëla Kanžu Kalosianë was in full swing. Thus, it was easy for them to get the idea to invite participants from past editions of the festival to reprise their entries in this contest, particularly winning entrants or those whose entries were otherwise notable. The name Franšeska Serafini came to mind, as all three of the songs she performed in the contest in 1983, 1984, and 1985 respectively are popular to this day (particularly La storia dëli gavjani, which won the 1985 edition. Simone Gallas, who herself did WorldVision proper 3 years ago, was also considered. Additionally, the father of FKK 2021 entrant Valencina Siara, Robiarto Siara, himself had won the festival in 1982. His song, Miu koru es per ti, was also being covered by another one of the entrants. At the same time, due to FKK being more urgent, Kalosia's RetroVision participation wasn't seriously discussed until after the festival was over.

Mikel Tarži & Fabiu Seralta were present at the festival. The two are the core members of the band Praetorio, who were popular in the 80s and themselves won the festival in 1987 with Sentu le vože (I hear the voices). Backstage at the festival, at some point a conversation sparked with RTVK staff members. One thing led to another and this culminated in the two agreeing to do RetroVision.

To be completely honest, they mostly really just see it as another gig, another chance to perform. Of course they hope to do well, but they are less concerned with getting votes and care more about being able to have a good time onstage and hopefully touching the hearts of the audience, both those in the arena and those watching on screens. Especially given that this spinoff event is relatively lower in profile compared to its parent event WorldVision, the publicity for Kalosia's RetroVision entry was much lower compared to if it were WV.

Regarding the song, Mikel & Fabiu had considered performing their FKK winning song, but ultimately decided that their 1982 song Sorry was going to be their entry. It was a hit that year and their first #1 on the Kalosian charts. The success of this song was what made them household names in the country. Additionally, as the band was founded in 1981, they figured that this performance could also be a form of celebrating their 40th anniversary. These days they don't perform much, but when they do they have a backing band that comes along for performances and tours. This band will be flying with the core duo to Teesdexxia for the contest.

The song, Sorry, is one of heartbreak. It is performed from the perspective of a man who was caught with another girl by his girlfriend, who regrets his actions. It is implied that he sings the song as an apology, to show that he truly wants her back and won't leave her again. It has become somewhat of a cult classic among the band's (largely male) fans, and has been hugely popular among teen boys throughout the generations.

For the big night, the two are wearing casual dress shirts and denim jeans. Mikel's dress shirt is white, and Fabiu's is black. As the song began, Mikel was standing on the satellite stage in front of a mic stand while Fabiu was on the left stage (from the audience perspective) in front of a keyboard. As the song began, the camera closed up on Fabiu as he played the opening notes to the song. Not long after, the camera switched to Mikel as he began to sing.

La… mi aj lašatu la
Unë semanë fa
Solu, ula pložë
E rëflektevu

Camera switched angles but overall there wasn't a lot of movement on stage, at least nothing more than you'd expect from a bunch of 50-60 year olds.

Ja… eru un tontu, ja
Eru šiko a krederë
Kë kestu era
Kompletëmentë inokwo

Still, the song built up a bit of pace. The LED screens weren't really used here, but the LED lights were dimly blue.

Aj vid’tu mi kon un’ altrë ragažë
Or sentu komë un’ animë persë

From the pre-chorus we quickly went into the chorus. The LED lights were somewhat pulsating, but not enough to distract from the performance. Both Mikel and Fabiu sung in the chorus, and the camera kinda had them overlaid (Fabiu on the left side of the screen, Mikel on the right).

Eru inamuratu
Ma or ja au pekatu
Koru tiu au pežatu
Ti au traǧitu

Also, with wide shots of the stage, we were able to see that Praetorio's backing band were at a distance behind Fabiu. They were visible, but the lights gave better illumination to our two stars.

Kapiu moji spaľi
E voľu ja dirë ti ‘sorry’
Prometu kë san kañatu
Ankorë t’amu

Now the atmosphere calmed down a little as we went back into the verse. Camera closed up on Mikel in this next part.

Tu… eri deludetu
Solë u kamarë tia
E tu vidi mi
Da tia fenestrë

Now Mikel took the mic off the stand and, as he continued to sing, he walked towards the main stage as there were slight cheers from the audience.

Ja… kon flori u manu mia
Kaminu a portë tia
E spetu, ja spetu
Bate miu koru

On the centre of the main stage, another mic stand awaited. Mikel went ahead and installed his mic there while singing the pre-chorus.

E poj ešpremu a ti miu rëmorsu
Davanti a tu, ja konfešu, kantandu:

The LED lights were lively once again. More wide shots, and the camera also showed Fabiu, now playing an electric guitar, as well as the backing band a few times.

Eru inamuratu
Ma or ja au pekatu
Koru tiu au pežatu
Ti au traǧitu

The camera went to showing Mikel, but towards the end of this next part, the camera went back to focusing on Fabiu, and for good reason (as you'll see in a bit).

Kapiu moji spaľi
E voľu ja dirë ti ‘sorry’
Prometu kë san kañatu
Ankorë t’amu

Now the camera returned to Mikel who now had an electric guitar in his hands (given to him by one of the stage hands. He and Fabiu played this solo (duo?) as he made it through the left stage. The audience cheered.

By this next part, they were standing together in front of a pair of mic stands, around the front of the left stage.

Aj vid’tu mi kon un’ altrë ragažë
Davanti a tu, ja konfešu, kantandu:

Now as they sang together and next to each other, all eyes focused on them.

Eru inamuratu
Ma or ja au pekatu
Koru tiu au pežatu
Ti au traǧitu

The LED lights were lively as well, pulsating throughout the stage. Together, Fabiu and Mikel delivered the final lines to the song.

Kapiu moji spaľi
E voľu ja dirë ti ‘sorry’
Prometu kë san kañatu
Ankorë t’amu

However, the song wasn't over right away. Together, they played the outro to the song on their electric guitars. Camera also managed to show us a peek of the backing band. A few moments later, the song came to an end and the audience cheered. Fabiu and Mikel smiled and waved. Mikel leaned in to the mic and said, "Thank you West Hartlepool, we love you!". A few moments later, they left the stage as it was being prepared for the next performance.

by **Todlichebujoku** » Sun Jun 20, 2021 10:50 pm

16. _TÖDLICHEBUJOKU_

These Straps

Pelkáán Pimeáá
Tune: Danny Chan 陳百強 - "神仙也移民"

It has been a long road for the members of Pelkáán Pimeáá. A slowly rising music project from Hésslicheširi composed of lead singer Löötar Hittaka and producer Agnetsi Lahtinen, Pelkáán Pimeáá came into fame as they began to play at a number of electronic music festivals throughout Tödlichebujoku. Of course, as time went on, they began to hone their distinctive style, adapting elements of older music styles from the other worlds, and began releasing new singles that would not be out of place in certain decades. As this was occurring, a member of the TÖBUK WV committee had reached out to them for a potential WorldVision appearance. However, due to a vast number of reasons and one specifically major national circumstance, this invitation ended up dragging on for a large number of WV editions. With the restructuring of the nation, and the appearance of the RetroVision special edition, Pelkáán Pimeáá became the natural choice for Tödlichebujoku's act.

"These Straps" was written after a recreational visit to the nation's orbital longship, where Löötar enjoyed himself with a number of jockstrapped escorts against the backdrop of the moon, so crisp and clearly shining through the vessel's portholes. He was so invigorated by the experience that he began to write the lyrics before landing back home. Upon learning of his creation, Agnetsi was so abjectly horrified that she immediately agreed to create the song with him, being immensely entertained by the trashiness and simplicity of the idea. Once released in Tödlichebujoku, the song became an unexpected viral hit, with droves of people listening to the song "ironically" but accidentally finding themselves to enjoy it, and hating themselves for that. Either way, Pelkáán Pimeáá was launched into the national spotlight, even if for only a short time before the contest. Will their fame continue? Ask your local farseer or diviner.

Stripes of blue pass through the stage, with projectors continuing the stripes over several men on stage. Swiftly, with the music, Löötar is illuminated, dressed in an incredibly slim-fitting silvery suit. Behind him, a line of well-built male models in matching white crop tops and non-matching brightly colored short shorts and basketball high tops dance to the music, the spotlights giving a bit of a disco effect upon the stage and arena

Tell me, how it's special
To be beautiful and free
With each footstep, come and show me
The tender curves of your sweet rolls

A smoky look from Löötar as he dances with one of the male models, who lets slip his shorts from the rear, revealing a pair of just slightly bronzed cheeks framed by a white jockstrap. Löötar gazes at it in awe, and then presents it like a prize on a game show

Ohh..
You can serve up this pastry
With a crust so softly browned
Sold out downtown
Can't you save me the best piece?
A tantalizing feast!

Together, the models, in a line behind Löötar, join him in a dance as he sings the chorus with a lascivious grin, an array of brightly colored spotlights joining the white ones in whirling about the stage. It doesn't take a sharp eye to note that the men have shimmied their rears a bit out of their shorts as they dance

Every night I dream of you
Wrapped with these straps, these straps
Packaging my favorite food
And every day I'm chasing you
Give me a little peek
A bounce from these straps, we clap

These straps
Welcoming me tonight

All the men (except Löötar) step forward to the front of the stage and turn around, swaying their strapped cheeks from side to side around him. Löötar claps as he dances, glancing around him in awe of the golden globes nearest him.

As the next verse begins, the spotlights fade out, with a few white beams converging on Löötar, who whirls around in wonderment as he sings, his face aglow with fulfillment

Singing, all these praises
What more, could I ever ask?
In the streetlights, advertising
Flashing moonlight in passing

He winks, a devilish smirk upon his face as he begins the bridge, with scantily clad caterers wheeling in carts of rolls and buns across the stage around him. Löötar looks around them, trying to pick one, but there are simply so many!

Ohh..
You can serve up this pastry
With a crust so softly browned
Sold out downtown
Can't you save me the best piece?
Let's go on down to feast!

One cart stops by him as the bridge ends, with Löötar taking a roll and smelling it with a deep, invigorated breath. Soon, the rest of the men on stage stride over to take a bun and eat it out. The smell of baked goods then envelops the audience as the catering carts disperse among the audience, distributing the pastries

Every night I dream of you
Wrapped with these straps, these straps
Packaging my favorite food
And every day I'm chasing you
Give me a little peek
A bounce from these straps, we clap

Amongst all the distraction caused by the bun distribution, each male model is now holding a tray of dinner rolls. With their own set of strapped buns out on display, they whirl and orbit around Löötar in an elaborately choreographed display, the camera angle high and looking downwards at Löötar's ecstatic face and outstretched arms, surrounded by light and mounds of well-supported golden brown dough

Soon, the lights slim down to a single spotlight on each person on stage. Löötar is out in front, clapping, with the line of men facing backwards behind him, cheeks out and holding those trays of buns high as they sway in time to the beat

These straps
These straps

These straps
These straps
These straps
We're ready to eat, tonight

A hazy layer of light begins to illuminate the stage, revealing the appearance of a soft layer of mist throughout the area. Rose tinted lights wash the scene with a feeling of unreality, like a dreamscape. Löötar certainly seems enraptured as he sings, eyes closed, head tilted towards the heavens, before coming back to earth with a nod to the audience and a smoking grin at the two men who have appeared at his sides, slowly gyrating their generous rearward endowments

All my senses are soaring
I'm rising up, to paradise
It's so divine
Your whole batch is the best piece
A one-man walking feast!

A blast of wind clears the mist away, leaving Löötar and his men clear on stage, the hunks flanking him in a V formation as they begin to dance and whirl. Löötar himself is really living joyfully as he sings, somehow still managing to be the center of attention despite the immense number of distractions around him

Every night I dream of you
Wrapped with these straps, these straps
Packaging my favorite food
And every day I'm chasing you
Give me a little peek
A bounce from these straps, we clap

With a clap from everyone on stage - well, two claps from everyone except Löötar

- they spin as one, before Löötar launches back into the chorus, surrounded by a dynamic array of buns, of both the baked and homegrown varieties, a scene worthy of a song from a Disney animated musical film - be our guest!

Every night I dream of you
Wrapped with these straps, these straps
Packaging my favorite food
And every day I'm chasing you
Give me a little peek
A bounce from these straps, we clap

Still dancing, still gyrating, still flashing, the men on stage slowly fade into darkness as the lights dim out

As the lights return to their normal brightness, and the male models set their trays of rolls back onto a cart and adjust their specially designed shorts after all that dancing, Löötar shouts, "Kiitos Teesdexxia, thank you West Hartlepool!". He then bows, and the rest of the men also bow, just in the other direction. Werewolves in the audience beware, it's a full moon tonight in Teesdexxia!

by **Britonisea** » Mon Jun 21, 2021 8:58 am

#17 BRITONISEA
Jacob Davies Jr - "Your Love is Just A Mirage"
Tune : Billy Ocean - "Love Really Hurts Without You (1986 Remix)"
Music: Jacob Davies Sr., Colin Harrows-Bateman Lyrics: Jacob Davies Jr., Jacob Davies Sr.

Son of the famous 80s musician Jacob Davies: Jacob Davies Jr will be hoping to win over the crowd at the Retrovision Song Contest with a song penned by his father who had multiple chart-topping hits back in the 80s...

Britonisea participates in its first spin-off event in fifty editions, with the country sending son of 70s and 80s mogul, Jacob Davies to the Retrovision Song Contest with a song the mogul co-wrote with his son, "Your Love is Just A Mirage"

Britonisea had never really been a fan of the spin-off shows that were done in the past at the WorldVision Song Contest, especially during the times BVC were looking after the contest. After the special event at the 40th contest where Britonisea didn't do as well as it wanted to, there hadn't been much interested to compete, and what the broadcaster thought that nothing more than "an extra event." The contest wasn't financially feasible either as it cost a similar price to participating in the WorldVision Song Contest, with fewer nations and no one watched it. Though this might be the fault of the broadcaster themselves who decided to put it on one of the lesser channels. Now that BITC are in charge of the Britonish participation in the competition, despite the falling viewing figures except when Britonisea sends someone who was famous beforehand (such as the likes of the Banques sisters), BITC has been strapped for shows to put on the television due to the coronavirus pandemic. As the country has opened up once again and production resumes, the broadcaster is still in need of some shows to show now, and what is better than taking a walk down a nostalgic past - when there were better times. BITC announced rather surprisingly that they would participate at the upcoming Retrovision Song Contest much to the surprise of many Britonish fans who admittedly were way too busy focusing on the recent 90th WorldVision Song Contest in Elejamie. They wondered how Britonisea would go on to approach the contest and what type of song would be sent to the competition. Well, they were about to have their answer as on the 15th June it was announced that Jacob Davies Jr would go on to represent the country at the Retrovision Song Contest.

While WorldVision Song Contest is probably targeted to those who are 16 to 35 (but is still watched by many outside of that age bracket!), they might not know exactly who Jacob Davies Jr is. The man isn't a famous one, but they might be able to recognise who he is from the name - at least the parents of those who would watch Retrovision would know. Jacob Davies Snr. used to be one of the biggest singers back in the day with him scoring multiple Britonish Top 10 hits across the 70s and the 80s, with hits including "Cleopatra" and "It Ain't Easy" particularly scoring #1 for multiple months in the 1980s. Jacob Davies music might not be the status quo nowadays, but for the Retrovision Song Contest, he was definitely interested in bringing back the soul and energy that he once had at the contest - even if he had to do it through his very talented son. Jacob Davies Jr. (who is 25 years old) wasn't famous but he was still musically inclined. Jacob frequents theatres across the Entertainment District in both major cities: Doportedas and Telm City, more so the latter where he is actually from. Being from a musical background where he has to act, he says that doing something like Retrovision would be like an act for him - he gets to transport himself almost 40 years ago and act out what life used to be like for the likes of his father.

While Britonisea might be known for its good, creative and rather experimental staging at the WorldVision Song Contest - and the World Hit Festival - at this Retrovision Song Contest, the stage designers didn't want to go too overboard with the contest. They wanted it to be a modern take on an authentic 1980s feel. Jacob got onto the stage wearing waist high white trousers with a darker coloured blazer. Ahead of the occasion, he decided that he wanted to straighten his hair, and have it curly and frizzy, in a similar fashion to how it was done in the 80s which took a very long time to do - but it paid off and looked perfect on camera. He was joined by his father on the guitar who flanked him on the right and Keyboard player Leon martyns on the left. On large podiums behind him, there were two drummers with full kits waiting for their cues to start playing. The scene was ready for the Britonish performance. After the audience came in with a relatively loud applause, it was time to go. At the start of the song, we focused on the drummers in the back who were the first we could hear. The lights lit up only on them, with the cameras switching between the two men. The two men who were on the drums were young, they looked around Junior's age and as the cameras were on them, as they drummed, they looked at the camera and smiled cheesily, before letting off a flirtatious wink each before the keyboard came in. Junior came in with a couple of ad-libs here and there and we focused on Leon Martyns on the keys. Leon exaggeratedly swayed along to the music, enjoying himself as he played the notes that would set up the tune for the rest of the song.

Yeah, just like a Goddess, you rule your queendom with fierce prowess.
You walk into a crowded room, you catch everyone's eyes,
I know that you love it all.
You've got all the boys down on their knees and craving attention. (Give us more, oh give us more!)
We're nothing but prey to you, we're the unfortunate flies
Caught in your web of lies, oh no

Oh darling,
You're so near yet you're so far, your love is just a mirage,
It's breaking me apart, girl give me a chance.
Honey, you're so near yet you're so far,
I can't take no more heartache, no please don't lead me on
Just tell me the truth or I'm gone.

After a long introduction, the lights filled up most of the stage with a camera poised to capture Jacob Jr's very first words slightly, lowering his shoulders towards the direction of the camera in order for what he was singing to seem like a personal conversation with you and him. Something that we don't usually see now in modern-day television is synchronicity between the dance movements - which were simple - a little sway here and there, nothing too special but they were very exact in their movements which made it look very cool. The only time they broke their swaying was when everyone joined in by singing "Give us more, oh give us more!" with all of them staying still, looking forwards. The camera split into five sections, with Junior in the middle. It continued in this way until the chorus, where there was a shot of the whole stage.

Got me all dazed, I feel like I'm living in a fairytale,
You know I can be your Prince Charming, just pardon my looks,
Let me live out this dream.
I know you got a huge list of guys that you would rather have, (who would you rather have?)
But all of them, they're just simple guys, one look at they'll rise
Why do the good guys always finish last?

Honey,
You're so near yet you're so far, your love is just a mirage,
It's breaking me apart, girl give me a chance.
Honey, you're so near yet you're so far,
I can't take no more heartache, no please don't lead me on
Just tell me the truth or I'm gone.

The lights went frantic for a couple of seconds right at the end of the first chorus before we moved onto the next verse of the song, "Got me all dazed", where there was an eyeliner shot of Junior looking straight into the camera. As there wasn't much special effects being used in general at the Retrovision, it was all about the facial expressions here, with Jacob using them to full effect during this verse especially. As he mentions "Prince Charming", he runs his hands through his curly hair before winking as the camera quickly moves outwards over the audience. As the men came in once again, the camera focused on the two drummers who were just doing their thing in the back. As we moved into the next chorus of the song, there was a shot further away, with Jacob really going for it with his microphone, holding onto the mic stand very strongly as he belted some of the lyrics that he was singing.

[Instrumental Break]
Just tell me the truth or I'm gone.
Tell me the truth or I'm gone.
You're so near yet you're so far, your love is just a mirage,
It's breaking me apart, girl give me a chance.
Honey, you're so near yet you're so far,
I can't take no more heartache, no please don't lead me on
Just tell me the truth or I'm gone.

Honey,
You're so near yet you're so far, your love is just a mirage,
It's breaking me apart, girl give me a chance.
Honey, you're so near yet you're so far,
I can't take no more heartache, no please don't lead me on
Just tell me the truth!

As we moved onto the instrumental break of the song, he and those that weren't bounded by a keyboard and drums moved onto the middle stage more towards the audience. This part was quite short, with Jacob putting the microphone on a new stand on the middle stage that was already there. He smiled as he chucked in on, looking as the camera as he did this with his hands. He slightly hyped up the audience by waving his arms in the air. The lights flickered with there being a very fast zoom as we changed the key of the song. Jacob sung loudly down the microphone with power as we moved to this new section.

Honey
(You're so near yet you're so far, your love is just a mirage,) Woah!
(It's breaking me apart, girl give me a chance.) Ohhohhhh
(Honey, you're so near yet you're so far, ) oh oh oh!
(I can't take no more heartache, no please don't lead me on)
(Just tell me the truth or I'm gone.)
(You're so near yet you're so far, your love is just a mirage,)
(It's breaking me apart, girl give me a chance.)
(Honey, you're so near yet you're so far,)
(I can't take no more heartache, no please don't lead me on)
(Just tell me the truth or I'm gone.)

Jacob Davies Jr turned to his father who was singing in the background, with the pair of them looking at one another - having a cute father and son moment together on the stage. The pair of them looked as though they were having so much fun together. In the background, there were retro-looking colours being used on the LED - whatever those colours were. After a while, there was an aerial shot of everything going on, with Junior looking up to the camera before pointing at it.

Honey,
You're so near yet you're so far, your love is just a mirage,
It's breaking me apart, girl give me a chance.
Honey, you're so near yet you're so far,
I can't take no more heartache, no please don't lead me on
Just tell me the truth!
Honey,
You're so near yet you're so far, your love is just a mirage,
It's breaking me apart, girl give me a chance.
Honey, you're so near yet you're so far,
I can't take no more heartache, no please don't lead me on
Just tell me the truth!

At the end of the song, the lights slightly faded as the audio was turned down to the sound of applause from Teesdexxia. After a while the you could hear Jacob Davies saying "Thank you all!" before he gave a massive hug to his father.

by **Natanya** » Tue Jun 22, 2021 3:27 am

18. Natanya
Bíó - Once Again
Music & Lyrics: Viktor Ñoi
Tune: Kino - Хочу перемен

Clockwise from left: Yewri (Lead Guitar), Greygory (Drums), Igore (Bass) and Viktor (Vocals)

Bíó is an Natanyan rock band, formed in the suburb of Nightton, who are heavily inspired by new wave rock bands from throughout the 80s and the aesthetic that comes with them. Especially inspired by the music and styles of eastern Europe at this time, the band has a recognisable sound of deep bassline and natural vocals that was fairly common among the rock scene of the time. Having already released some music directly inspired from this era, the band members themselves are actually in their late 20s but have already built up a fair following from both older listeners and fellow 80s lovers alike.

Once the WorldVision special edition came around and was announced to be an 80's themed "retro" edition, the members of Bíó took immediate interest in the idea around the contest, so once Natanyan participation was confirmed, the 4 boys immediately took to the NTV headquarters to inquire about our act. Luckily for them, NTV was hoping to do something a little different for the special edition, and once they had seen the group perform live for them, chose Bíó to represent the nation, much to the joy of the boys and their modest, but growing fandom. Bíó announced they would perform "Once Again" in Teesdexxia, a classic 80s new wave rock song with lyrics from the point of view of someone in a yo-yo relationship that they know is bad for them, yet they can't escape.

The journey to West Hartlepool was a unexpected one for the band, the physical journey posed much less surprised however. A few hours flying over the North Sea and Bíó had safely landed in Teesdexxia and was on their way to West Hartlepool via train. The relatively stress-free journey had allowed the group to come collected and prepared, and so they had practised the full week in Teesdexxia ready for this opportunity. As the cameras were dim, they lined themselves up on stage, wearing all black as usual. Yewri and Igore were on the left and right hand sides of the stage respectively, Greygory and his drum kit were positioned at the back, top stage and Viktor walked down to the centre satellite stage. The lights come on and the music begins, springing the band to life. Throughout the first verse the camera changes between the different band members, and changes from a real time, colour video and a staggered, slow motion greyscale video. The musicians play their instruments to themselves, while Viktor sings out into the audience. The stage is most black, and the 8 pillars of light flash, each one only having a pair of lights on at the same time, and each pair of pillars having the opposite lights on.

Twisting, turning,
Vigoured churning,
Everything burning me,
All these steps you take, entertain your spite.
When every move is so undiscerning,
I just wanna be free,
Trap and trick me like a moth to a candlelight.

During the chorus, the camera focuses on Viktor singing to the camera, starting with a fairly close short and slow panning outward and rising. For each "once again", a row a spot lights shines down causing a flash of light on the wider stage behind him.

Once again, I’m led like a fool by you,
Once again, I’m led to believe that it’s true,
Round in circles waiting for each other to attack,
Know how it’s gonna be:
Once again, my love, once again.

In the post-chorus instrumental, Viktor runs off the stage and start to walk along the edge of the audience and up and down some of the aisle between them. The camera follows much the same pattern as last time, however due to Viktor's audience rendezvous, this time it also shows some random audience members, along with the same effects as before.

Wound up in a web made out of spite,
I cut the strings tying me back down,
But I know all you’ll do is weave some more,
A constant battle going back and forth, words from a dimly lit frown,
Knowing I’ll likely end up sleeping on the floor.

This chorus, Viktor is located behind the centre-front block of audience seats, in the small aisle that separates them and the block behind. The camera is positioned to the right of Viktor, who is looking back at the stage, in between him and the stage and panning back and forth from far shots of him singing to the stage to the other band band members playing on the stage. The row of lights flash again, but this time extend out into the audience too.

Once again, I’m led like a fool by you,
Once again, I’m led to believe that it’s true,
Round in circles waiting for each other to attack,
Know how it’s gonna be:
Once again, my love, once again.

During this verse Viktor makes his way back to the main stage as his band members play directly to the camera among shots of audience members watching and dance.

Despite the fact I should know what is and isn’t true,
You still catch me and sink your hook,
Sinking your poison into my mind and every thought,
Forcing me to move in your one direction as if I were a rook,
And when I think about us I see all the nothing you brought.

This final chorus works much as the same, however the pan of the camera is reversed, coming from a wider shot and zooming into Viktor, who slowly walks backwards towards the main part of the stage.

Once again, I’m led like a fool by you,
Once again, I’m led to believe that it’s true,
Round in circles waiting for each other to attack,
Know how it’s gonna be:
Once again, my love, once again.

For the final instrumental, Viktor runs around the stage and dancers with the guitars and the lights flash in unison to the tune of the main guitar, the camera once again changing from real time and edited shots of the band, stage and audience. The music finally ends and the 4 boys join hands and bow to the audience, Viktor raising his microphone one last time to thank them for the warm reception and bid them farewell, he claps and waves while slowly backing up as the other boys make their way off before the screen transitions to the final performance of the night, the entry from the hosts.

by **Teesdexxia** » Tue Jun 22, 2021 4:33 am

19. Teesdexxia
Aurora Beddington - Victoria
Tune: Laura Branigan - Gloria

Aurora in a promotional image

Teesdexxian singer Aurora hails from the small village of Hart, not far from our host venue of West Hartlepool therefore travelling to the contest today was not at all an issue for the young singer. A rising star who regularly calls back to the power ballads of the 80s but she loves so dearly, Aurora was an obvious choice for TBA, even before they got hosting rights. Performing last on the night in front of a home crowd was sure to stir some nerves but also allowed Aurora to you experience the height of the atmosphere. So, with a mixture of fear and excitement, she took to the stage.

The intro for the song begins and the spotlights among the stage flash as the camera pans in from afar out of view towards the centre back of the stage. From the back of the stage emerges Aurora who is wearing tight black trousers and a red blouse. She is joined onstage by various backing singers who are positioned on both wings of the stage. As the main melody for the song kicks in, Aurora smiles to the camera and begins clapping along getting the audience to also clap with her. Once the vocals begin, she started singing directly to the camera which is focused on an upper body shot of her, talking with her hands and my miming along as if she was not just singing but directly talking and pleading with the viewer. For the last three lines of the verse, the camera switches to a full body side shot of Aurora and on the final long note the camera pans out from in front of her to show the full stage.

Victory,
That is what your name means,
Yet your always so unlucky,
Guess it ain’t all like it seems,
You move through life like the wind,
Never stick in one place, do you?
Running through life like a whirlwind,
Never deliberate, do you?
You always end up back here,
You’re a wreck clear to see,
Just wait a minute here with me, hey Victoria.

Aurora continues stood centre of the main stage, with a close shot of her slightly off centre to the left used for the next, however very time at the end of a line when the backing singers join in too, the camera switches to a full stage view, and all the lights on the pillars light up to full. After the big note on "fallin'", Aurora starts to walk around left parts of the stage, interacting with the backing singers before reaching near the front of the stage. During the second verse in this section, Aurora turns to the side, so she is now in line with her backing singers. for most of the verse the camera is focused on a full body shot of her but at the end of each line when the backing singers sing “Toria”, the camera zooms out to show that side of the stage and the small LED screen in that part of the stage flash is the word “Victoria”. Once again during the last three lines Aurora gets on the move and starts moving back towards the centre of the stage and then back across to the right hand side through the instrumental section, smiling all the way.

Victory,
You gotta stop stallin’,
If ya never get outta here,
Then ya gonna start fallin’,
But you just catch your breath,
Then off you go another time,
Oh, oh, oh, hey Victoria.

Victory, (Toria)
Don’t tear yourself asunder, (Toria)
Don’t wear yourself to ruin, (Toria)
Coming through here like thunder, (Toria)
But you always end up back here,
You’re a wreck clear to see,
Just wait a minute here with me, hey Victoria.

For this whole verse Aurora gradually walks down to the edge of the stage for as she does, she stops and interacts with each backing singer singing with them on certain lines. Then after she reaches the end, she starts making her way back down and loops around to the base of the catwalk section.

(A-ha-ha, A-ha-ha)
Victory, a name with a hint of irony,
You always try and use all your time,
Maybe get in the books of history,
Are you looking for money?
Or finding what your destined?
Maybe let that come to you,
But that’s just a suggestion.
And you always end up back here,
You’re a wreck clear to see,
Just wait a minute here with me, hey Victoria.

Aurora walks down the catwalk to the satellite stage while performing the final verse of the song. Once again, every time the backing singers chant "Toria", the camera zooms out to show the whole stage, however this time it shows a wave of criss-crossing spotlights briefly descending onto the stage behind Aurora each time. Once on the satellite stage, Aurora finishes the song singing to both the audience and when close, the camera. As the song fades outs the camera shows people dancing in the audience, backing singers dancing and of course Aurora herself dancing to the music as the aforementioned spotlights move back and forth into the audience in a wave like formation.

Victory, (Toria)
Don’t tear yourself asunder, (Toria)
Don’t wear yourself to ruin, (Toria)
Coming through here like thunder, (Toria)
But you always end up back here,
You’re a wreck clear to see,
Just wait a minute here with me, hey Victoria.
(Victoria, Victoria, Victoria, Victoria)

As the lights start to dim, the camera focuses back on Aurora one last time, who giggles at the camera, beaming with exciting and overwhelmed by the roaring applause of the home crowd. She barely manages to get out a "Thank you West Hartlepool!" before running off stage.

by **Teesdexxia** » Tue Jun 22, 2021 4:34 am

[insert interval acts here]

by **Teesdexxia** » Tue Jun 22, 2021 4:34 am

And now, technically....

THE LINES ARE OPEN!

by **Vartugia** » Tue Jun 22, 2021 9:24 am

1 /19 : Vartugia

Unindenified Spokesperson

Yo. This is Vartugia speaking and where are our points.

12 - Greater Korean Juche Republic
10 - Elejamie
8 - Spiritual Republic of Caryton

7 - Natanya
6 - Beepee
5 - Darkmania
4 - Tödlichebujoku
3 - Teesdexxia
2 - Britonisea
1 - Karelian Imperial Federation (Karrelie)

by **Spiritual Republic of Caryton** » Tue Jun 22, 2021 1:39 pm

Caryton - 2/19

Votes:

12: Beepee
10: Carrelie
8: Britonisea

7: Mister X
6: Todlichebujoku
5: Teesdexxia
4: Elejamie
3: Greater Korean Juche Republic
2: Kalosia
1: Syrche

RetroVision Contest Thread | West Hartlepool, Teesdexxia

RetroVision Contest Thread | West Hartlepool, Teesdexxia

17 | Britonisea |Jacob Davies Jr -Your Love is Just A Mirage

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