Worldvision Song Contest 91 | IC | Haufenburg, Carrelie

by **Carrelie** » Mon Jun 14, 2021 1:09 pm

Radio Dourie presents...

OOC Thread • Host Bid & Stage Details • Playlist

Pre-Opening: Charpentier - Te Deum Prelude

Crowds gather in the Grand Centre - a show’s about to begin. There are people from all walks of life - young and old, black and white, people from every participating nation. It’s almost as if the arena’s about to explode. All forms of memorabilia are present, with flags littering the area, even the constituent flags of Carrelie make an appearance!

The crowd goes silent as nobody walks out onto the stage, and even the orchestra is confused. What's going on? Was the celebration a ruse?

Opening #1 - Scenes of Carrelie ("Pour le syndicat" - Carrelian National Anthem)

Tune: Li Tchant des Wallons

The conductor of the Haufenburg Philharmonic Orchestra, Klaus Auchendorf, readies his baton as the orchestra looks on in confusion. Nevertheless, they comply and ready their instruments and sheet music. The screens at the sides and centre of the stage flare up to show an image of a blue sky. The audience readies itself for this show.

WIP

Opening #2 - Pen to Paper ("La vieille horloge" - Léon Moúïse)

Tune: Kódaly - Viennese Musical Clock

And then, the scene changes. Aerial shots of Haufenburg are shown, from the Frederick VIII Plaza to the Grand Imperial Palace. The camera pans into the Grand Park, showing a child flying a kite, an old woman feeding the crows, a band playing in the field. On one of the benches sits Vian Genamann, pen to a postcard. The camera zooms in on the postcard, before it’s blown away by the wind. It then zooms out, past Haufenburg, past Carrelie, revealing the spinning globe.

The camera follows the postcard to the capital city of Dentricia, Densmouth. The audience can see the skyline, complete with the Queen Karine Tower, the Imperial Palace and the Lords’ Council building. Marien Lochnette is partying in the Newhadney Market when that same postcard flies into her hands. Looking around, it seems like the entire city of Densmouth is dancing, joining in on the celebration of colour. Marien dances her way towards the airport, spreading the celebration with her, and boards a plane for Haufenburg. She lets go of the postcard and it flies into the camera, revealing the contest’s logo.

by **Carrelie** » Mon Jun 14, 2021 1:10 pm

Flag Parade & Opening 3

Flag Parade - Let's Celebrate!
Performed by Madisenne Loisenne

Once, there was a time,
A time without Worldvision,
People were burdened with strife - an easy fall
But then just one night,
They made all alright.

Now we’re all singing here and it’s quite the spectacle
Oh, the people celebrate this great contest
It’s such a good time, it’s quite tenable!

Let’s all come celebrate!
From Britonisea to Beepee again!
Let’s all come celebrate!
Polkopia, Malta, Waisnor,
And everybody!
Oh yeah!
Come on guys, gals and theys,
Let’s all come celebrate!

It’s been many years you see,
And many have went,
Such as Swilatia, and Rejistania,
Lactatia was also there, we’re lucky that they’re gone!

Let’s all come celebrate!
With Tödlichebujoku, Kalosie!
Let’s all come celebrate!
With Carrelie, Caryton and United Alèsie!
Oh yeah!
Let’s all go, let’s all play,
Let’s all come celebrate!

Let’s all come celebrate!
It’s Elejamie and Nekoni!
Let’s all come celebrate!
With Biagium, Jojia, Åúphélïe!
Oh yeah!
Come on guys, gals and theys,
Let’s all come celebrate!
(Celebrate!) Let’s celebrate!
Let’s all come celebrate!

Vian: "Guten abend, gúsier-devre, bonsoir, dobry wieczór, skarwt da, goedenavond, and good evening! I am Vian Genamman, you know me as a number of things, mainly your commentator for Worldvisions past and our winner for Eurovision 1978, and I am delighted to be here tonight in the Grand Centre!"

Marien: "And my name is Marien Lochnette, the Carrelian entrant to the 86th contest, our very first entry, and it is my utmost pleasure to say: Mesdames, messieurs et téléspectateurs, welcome to the ninety-first Worldvision Song Contest Grand Prix!"

Vian: "Yes, welcome to the 91st Worldvision Song Contest, here in the Grand Centre in Haufenburg! We are delighted to be your host-presenters for this night of nights, where many nations gather in this very arena and show their music to the world!"

Marien: "And it’s those very nations we’d like to welcome to the city of Haufenburg! From Beepee to Tödlichebujoku, many, many nations are gathered here today to compete in this lovely song contest in our very own country! After Malta Comino Gozo’s win in Avon last edition, we've all been wondering who’ll be crowned the next winner! Could it be Waisnor? Or maybe Auphelia? It’s anyone's game at this point!"

Vian: "We’ll know who the winner is in about three or four hours from now, only when all the artists have performed and all the juries and televoters have voted!"

Marien: "Now, if you’re joining us for the first time this edition, you may be wondering: what am I watching? Why are these two ladies speaking about an MLM? Why does one look like the granddaughter of the other? What are these countries with gibberish names?"

Vian: "So we’ve produced a song to answer exactly one of those questions! Let’s hit the music!"

Opening #3 - That's Worldvision!
Performed by Vian Genamman & Marien Loisenne

It’s extravagant, maybe a little crazy,
For all these countries, to travel all these places,
Just to perform songs, in front of many people,
But soon you’ll see that this contest’s more than faces!

It’s more than singing, it’s more than pretty staging,
We come together, with us the world is changing!
We don’t control it, but certainly have a hand,
In all these new trends, that you cannot understand!

Yeah, that’s Worldvision, hey!
A massive culture icon!
Yeah, that’s Worldvision, hey!
Where on earth has the night gone?
It’s such a beautiful thing!
It’s always been here, come on, grab a beer, sit down and watch this contest!
Yeah, that’s Worldvision, hey!
I couldn’t quite believe it!
Yeah, that’s Worldvision, hey!
I think I might be dreaming!
It’s such a beautiful thing!
So let’s all come ‘round together, for now and forever, and let’s watch the contest!

So here’s the basics: each country has its own song,
That it’s selected, not any mean is quite wrong!
After the other, each country’s song’s performed,
And then the juries are very very boring!

There’s an interval - someone showcases their work,
And then the voting, ranking’s its own little quirk,
Then you all come in, you, the viewers in your home,
You get to vote too, by using your telephone!

Yeah, that’s Worldvision, hey!
A contest full of splendour!
Yeah, that’s Worldvision, hey!
But who’ll be crowned the winner?
We’ll just have to wait and see!
Wait and see who’s the winner, oh yes there’s a winner, of this lovely contest!
Yeah, that’s Worldvision, hey!
And we’re sure you will love it!
Yeah, that’s Worldvision, hey!
There’s nothing much above it!
It’s such a beautiful thing!
So let’s go and start this thing, let’s come on start hosting, this amazing contest!

Vian: "Yes, yes, thank you all! Now we've caught you up to speed, let's get this show on the road! Without further ado..."

"LET THE 91^st WORLDVISION SONG CONTEST BEGIN!"

by **Carrelie** » Mon Jun 14, 2021 1:11 pm

Postcards

1. Spiritual Republic of Caryton
Entry • [url]Votes[/url]

2. Kergle
Entry • [url]Votes[/url]

3. Scotatrova
Entry • [url]Votes[/url]

4. Waisnor
Entry • [url]Votes[/url]

5. Carrelie
Entry • [url]Votes[/url]

6. Greater Korean Juche Republic
Entry • [url]Votes[/url]

7. Syrche
Entry • [url]Votes[/url]
WIP
WIP

8. Hafamarimët
Entry • [url]Votes[/url]
WIP
WIP

9. Biagium
Entry • [url]Votes[/url]

10. 1zmedu
Entry • [url]Votes[/url]

11. Britonisea
Entry • [url]Votes[/url]

12. Alezian Union
Entry • [url]Votes[/url]

13. Pemecutan
Entry • [url]Votes[/url]

14. Adab
Entry • [url]Votes[/url]

15. Elejamie
Entry • [url]Votes[/url]

16. Rhim Flavezztowland
Entry • [url]Votes[/url]

17. Belgaam
Entry • [url]Votes[/url]

18. Alinghi
Entry • [url]Votes[/url]

19. Nekoni
Entry • [url]Votes[/url]

20. Malta Comino Gozo
Entry • [url]Votes[/url]

21. Placely Placington
Entry • [url]Votes[/url]

22. Kalosia
Entry • [url]Votes[/url]

23. Vartugia
Entry • [url]Votes[/url]

24. Antahbrantahstan
Entry • [url]Votes[/url]

25. Axuva
Entry • [url]Votes[/url]

26. Estogium
Entry • [url]Votes[/url]

27. New Douria
Entry • [url]Votes[/url]

28. Zamboodle
Entry • [url]Votes[/url]

29. Molotovsk
Entry • [url]Votes[/url]

30. South Batoko
Entry • [url]Votes[/url]

31. Beepee
Entry • [url]Votes[/url]

32. Crustyland
Entry • [url]Votes[/url]

33. Jojia
Entry • [url]Votes[/url]

34. Tylastrona
Entry • [url]Votes[/url]

by **Spiritual Republic of Caryton** » Mon Jun 14, 2021 1:33 pm

Spiritual Republic of Caryton
Latanya Anderson - Save Face
Lyrics & Music: Latanya Anderson

tune

Background: Latanya Anderson is a trailblazing contemporary gospel artist in the Spiritual Republic of Caryton. Having taken the nation to it's first WorldVision debut, she has a history especially within the first few editions of Carytonic Worldvision. However, as the state explored other artists, Latanya sort of fell on the backburner, pursuing her own music career. Having toured around several nations, she gained a greater understanding of how to appeal to the WorldVision crowd.

Hmm, mmhm.

No matter how hard I try,
I can’t seem to shed it cuz’ it’s part of my life.
I’m scared of that huge leap of faith-
So don’t tell me about the meaning of “sacrifice”.

You got no business in what I need to trim.
It’s all just between me and Him.

I’m done trying to save face. (Mmm.)
I’m done trying to turn outside. (Mmm.)
Listened to everything you said,
I’ma put it to bed.

Can’t you just let it go? (Mmm.)
I’ve repented and I cried. (Mmm.)
I’m a new woman this day,
Don’t care what you say.

The gospely piano riff would introduce Latanya in a dark environment, blackness surrounding her. She would only be illumined by a dim spotlight, giving an elegant amber hue to her features, almost caramelizing her aura. By the time her hummed riff would conclude, the main lights would turn off, revealing Latanya standing on a podium in a courtroom, various figures which resembled accusers and spectators standing in their two dimensional infamy, a metaphor for both the shallowness of their prejudices and the shallowness of the situation. Similar flat figures would be plastered on LED screens, almost as if surrounding Latanya from even above. A main judge- an actual person- sat idly in traditional Carytonic judicial robes- a jabot and powdered wig and all. The prosecutor was real as well, an envious-looking man, potentially an ex or a rival or even someone who crossed her. The prosecutor snarled as Latanya began singing, the judge looked indifferent and boring. Latanya would look sheepishly down at the podium as she made her "defense". As she reached the podium, she transformed from timid to resolved, meeting not the judges'- but the prosecutors own wicked eyes. Latanya was cutting straight to the point, her robes white and innocent.

I’m done trying to save face. (Face.)
I’m done trying to save face. (Face!)
Don’t wanna save face. (Face!)
Save face…

I pride myself on liberty.
It might not be something you know or even see.
I pride myself on my dignity.
It might not be something you even want for me.

You got no business in what I need to trim.
It’s all just between me and Him.

Latanya would continue the chorus, staring down her short-lived enemy, leaving him waving his arms, as if attacked or offended. Latanya would turn her head towards the judge for the "I pride myself" stanza, her facial expressions and tone much more respectful. She shook her head in determination, raising her arms in gestures of elaboration and trust. Every time she referenced "you", the prosecutor would get more riled up, to the point where he was reeling in his chair. The judge set down his hands, now looking invested. The dozens of accusers did not change their demeanor though, trapped in two-dimensional stasis.

I’m done trying to save face. (Mmm.)
I’m done trying to turn outside. (Mmm.)
Listened to everything you said,
I’ma put it to bed.

Can’t you just let it go? (Mmm.)
I’ve repented and I cried. (Mmm.)
I’m a new woman this day,
Don’t care what you say.
I’m done trying to save face. (Face.)
I’m done trying to save face. (Face!)
Don’t wanna save face. (Face!)
Oh, save face… huh.

I know I made a huge mistake.
But Christ knew just what to make!
If you can’t see this change in me.
Then you should come to Him and be free.
Yeah yeah, yeah yeah! Yeah!

I’m done trying to save face! (Face!)
I’m done trying to turn outside! (Mmm.)
Listened to everything you said,
I’ma put it to bed.

Can’t you just let it go? (Go!)
I’ve repented and I cried. (Mmm.)
I’m a new woman this day,
Don’t care what you say!

Latanya stepped back from the podium, placing her hand on the bible offered to her on the bottom of the wooden fixture. She looked up to the undetermined ceiling with an assured smile on her face. As she transitioned from the chorus into the bridge, the prosecutor would rush towards her but would be literally repelled by a force of blinding divine light. As Latanya hit the high note and the light subsided, she would have successfully changed costumes from her ministers' robe into a dress of glittering clear "diamonds", reflecting a personal metamorphosis. The 2D figures would have also changed into real people, shocked. The judge would stand up from his chair in shocked awe. The prosecutor covered his face.

I’m done trying to save face. (Face!)
I’m done trying to save face. (Face!)
Don’t wanna save face. (Face!)
I’m done trying to save face, hey!

I’m done trying to save face. . . oh, face! (Face! Face! Face!)

You got no business in what I need to trim.
It’s all just between me and Him.

Latanya turned the heat up, continuing on. For the first time in the song, she would move her position beyond the podium. She would vault over the podium and raise her arms as she held out that "face. . . ". After that triumphant gesture of victory, the formerly two-dimensional accusers and bystanders would begin cheering and jumping. The prosecutor would run off stage. Latanya would end the song in that same darkness, the caramel spotlight shining on her at the foot of the judges' podium, reaching her arms up to him before it faded to black.

"I find the defendant not guilty."

by **Kergle** » Mon Jun 14, 2021 1:53 pm

Tune Billy boyd with our last goodbye
https://m.youtube.com/watch?v=q8ir8rVl2Z4

The Rise of the King by Samir Rouscot

After the fight, we did salute
We have won lest we forget
This valley of death,with blood beneath my feet
We see the rise of the King

The wheather is now heavy
Thoughts in my head
Was this all worth it
And now I contenplate
Through battle, loss of life
To keep our country going strong
Our mountain tops, and plush meadows, to our cites

The Lord Grizgor, founded us
We celebrate forever more
His sacrifice, his greet deed
To make this our home

He travelled along a great distance
To bring this freedom
We now have this land, this noble land
We call our home

After the fight, we did salute
We have won lest we forget
This valley of death,with blood beneath my feet
We see the rise of the King

The wheather is now heavy
Thoughts in my head
Was this all worth it
And now I contenplate
Through battle, loss of life
To keep our country going strong
Our mountain tops, and plush meadows, to our cites

The Lord Grizgor, founded us
We celebrate forever more
His sacrifice, his greet deed
To make this our home

He travelled along a great distance
To bring this freedom
We now have this land, this noble land
We call our home

by **Scotatrova** » Mon Jun 14, 2021 1:54 pm

3. Scotatrova
Vítor Rasizade
All I Need
Tune: Jackson Wang - LMLY

Cirnoózero, Lagoa, Tödlichebujoku | 15 years ago

"Ha! Almost got you there!" Vítor darted after Ceslhаo through the ancient oaks, sunbeams slanting through the mist as the two crossed a clearing amidst the indignant cries of the dryads as stray lightshots flashed upon nearby trunks. Ceslhаo dove behind a massive fallen log and took aim at Vítor over the clumps of moss and ferns, forcing Vítor to slide behind the nearest oak, appeasing its spirit with his secret weapon - a few drops from a vial of blessed water that he had appropriated from the temple service earlier in the day.

"Otiêbish!" shouted Ceslhao, firing off lightshots toward Vítor, who was peeking from behind his tree. Coincidentally, random leaves drifted down from the canopy above to block each shot, while Vítor was able to quickly return fire, pops of brilliant green flashing as his shots hit the moss in front of Ceslhao. Recognizing his predicament, Ceslhao threw a rock at Vítor and once again bolted through the undergrowth and scrambled through a maze of low stone walls, the remains of a long-abandoned village. Ducking behind a crumbling but still relatively sturdy wall, Ceslhao fired off more shots at his pursuer. "Ya can't cheat here, suca!"

Porra, thought Vítor as he slid behind a wall across from Ceslhao. Stone spirits were not nearly as easily appeased by water compared to dryads, and what trees were in reach were spindly things, mostly shaded out by the behemoths that ringed the village ruins. It didn't take long before Ceslhao got his hands on another rock and with a lucky hit, managed to crumble Vítor's wall, which was evidently a bit weaker. With no options left, Vítor charged at Ceslhao's position, firing indiscriminately and lighting up the ruins with his shots. In return, Ceslhao fired back with similar abandon, and before long the two boys were grappling with one another, plastered in patches of glowing light, the toy weapons discarded on the forest floor. In the end, they didn't really figure out who won the round, nor did they care, and as the long summer day turned to evening and the lightshots had long faded away, the two eventually made their way home and parted ways, ready for another round tomorrow.

As the postcard concludes, the camera pans closer to the stage. Vítor stands onstage holding onto the microphone stand, with a guitarist to his left and a drummer in the back on the right. Vítor wears a casual plain white t-shirt and some jeans. The drummer and guitarist on the other hand are both wering white suits with white pants, and the guitarist is sporting a pair of gold rimmed glasses. As the song starts, the opening vocals begin. The guitarist and drummer begin playing as the camera slowly pans out. Red light is cast down from above, while a single spotlight is shone down upon Vítor. The combination of lighting doesn't have the stage as well lit, which helps set the atmosphere for the performance.

I saw you everywhere
All your expressions
On the whitewashed buildings
And in the sky, yeah

If I were the king
And you, my queen
You could have it all
And you know I would, ay

The song slowly progresses along while Vítor still holds onto the microphone stand, not letting go. On the LED screens, images of faded white buildings is shown, before they slowly go black. As they do so, white dots begin to litter to image. These white dots slowly become stars, and then the night sky can be seen. The image then starts rotating, depecting the earth's rotation. Each of the stars slowly start becoming streaks of light as it rotates.

Can’t stop thinking about how we loved
Its you and me again, time to rejoice
Oh, yeah
Never had a doubt

I have found all I need
No longer searching
I have found all I need
And to think I ignored all the signs, they led the way home

It all fell into place
I’m no longer searching
I have found all I need
I looked toward the stars and found my way, they led the way home

Once the pre-chorus begins, the guitarist and drummer shift as they each start to pick up the pace at which they play. Not necessarily playing faster, but they each become more in tune with the song as it starts elevating. Vítor's voice can also be heard rising as well just before the chorus begins. Once Vítor sings the opening line of the chorus, the red light from above morphs into regular lighting as the above spotlights come on, turning the stage from dark and obscure to more visible. The camera pans slowly before its not that far in front of Vítor. It slightly angles itself off to his right, but Vítor keeps his eyes fixated on the audience.

I have found all I need, yeah
No longer searching, no
I have found all I need, yeah
Ooh, yeah

We should get going
This time me and you
There will be no one
That can stop us now
Yeah-ah

The camera pans over to the guitarist, who keeps his eye focused on the guitar while he plays. He glances over at the camera while casually strumming and gives a slight smirk before it returns to Vítor. Vítor has his eyes closed as he's singing, and in the background the drummer can barely be seen. The camera then pans out to a wide shot and captures more of the stage. The lights around the stage are flashing as the song progresses. On the screen above, the stars can once again be seen, but instead of a moving sky, the image is still. A slight shimmer can be seen from the stars as a white line starts being drawn between then. This plays into the narrative of how Vítor read the stars and followed the signs given to him.

Don’t ever let go
Can you promise me
I just got you back
Just hold on real tight

Can’t stop thinking about how we loved
Its you and me again, time to rejoice
Oh, yeah
Never had a doubt

Vítor at this point has taken the microphone off the stand and starts walking around the stage. He goes up to the guitarist and they both face each other for a bit. They flash each other a quick smile before Vítor starts walking down to the front platform. As he does so, he makes sure to acknowledge the audience members just directly below him. He holds his free arm out as he walks and gives the audience a quick wave, smiling while he continues singing. Eventually he gets to the front platform and continues performing from there.

I have found all I need
No longer searching
I have found all I need
And to think I ignored all the signs, they led the way home

It all fell into place
I’m no longer searching
I have found all I need
I looked toward the stars and found my way, they led the way home

Once again the image of the stars is displayed on the screens behind Vítor. When he sings the line "I have found all I need" he holds his free hand up to his chest. He again closes his eyes as he continues singing the rest of the chorus. He holds his arm out when he sings "It all fell into place, I'm no longer searching". The camera angle displays the stage from afar and as Vítor is seen on the platform, the spotlights are dancing all around the stage. The angle quickly changes back to a side angle of both the guitarist and drummer, who are repeatedly being cast in the lights as they dance around the stage.

I have found all I need, yeah
No longer searching, no
I have found all I need, yeah
No longer searching, no
I have found all I need, yeah
No longer searching, no
I have found all I need, yeah
Ooh, yeah

I have found all I need
No longer searching
I have found all I need
And to think I ignored all the signs, they led the way home
I have found all I need

Getting to the final chorus, Vítor gets down to his knees. He slightly leans forward while he sings the finishing verse and as soon as the song concludes, the lights on the stage go out. They then start to slowly illuminate again as Vítor rises off of the ground. With the audience applauding, Vítor smiles out to the crowd. "Thank you!" He then walks back to the main stage where he and the guitarist start making their way off stage together.

by **Waisnor** » Mon Jun 14, 2021 2:06 pm

04

WAISNOR

Catherine de Potier - Mne pridetsya otpustit'/Tune: GRANT - Don't Recall Growing Old

Catherine de Potier real name is Ekaterina Goncharyuk and she basically translated her name to French. When asked why, she replied "Because I like France)". She was pretty obscure singer until she applied for Internet selection for WV91 and won it. Now she is about to release several singles, and possibly her first album.

Let's move on to the performance. At first Caterine was difficult to see - she was hidden by a large amount of smoke. The light shed some light on the smoke, however. The silhouette of the singer could be seen through the smoke. Despite this situation, De Potier was in no hurry to leave and began to sing.

Все эти мысли, осколки прошлых лет
All these thoughts, fragments of passed years

Я в плену, не могу уйти
I'm a prisoner, I can't leave

Воспоминания и каждый мой секрет
Memories and my every secret

Меня держат, будто взаперти
They keep me locked up

Но это моя жизнь, это оставить сложно
But this is my life, it's hard to leave

Где счастье и мечты, но так жить невозможно
Where happiness and dreams are, but it's impossible to live like that

Suddenly the wind blew and the smoke disappeared from the stage, as a result of which the audience could finally see Catherine properly. You could also see what was in the background - there were personal footage of Goncharyuk, made as if they were filmed on the VHS tapes. Outfit of de Potier fluttering in the wind as she sang the chorus:

Я не знаю, как мне жить (х2)
I don't know how to live (x2)

И хоть прошлое меня так и манит
And even though the past beckons me

Но оно меня одурманит
But it will intoxicate me

Мне придется отпустить
I will have to let go

After the chorus was over, de Potier sat on the stage, and the stage lights concentrated on her. In the meantime, the video had problems in the background - sometimes clips of the video played over and over, sometimes they stopped for a few moments, sometimes it just turned off. When the second verse was finished, the video completely turned off.

Да, это трудно, но иначе жить нельзя
Yes, it's difficult, but I can't live otherwise

Или прошлое меня сожрет
Or the past will devour me

Поглотит с головой, и сознание исказя
Swallow up with the head, and distort the consciousness

Моё будущее заберёт
It will take my future away

Но это моя жизнь, это оставить сложно
But this is my life, it's hard to leave

Где счастье и мечты, но так жить невозможно
Where happiness and dreams are, but it's impossible to live like that

This time there was no wind after the verse. Catherine walked slowly towards the stage, while there was white noise in the background, but with the same VHS effects. The light followed Goncharyuk as she walked towards the stage. Catherine stopped when she was almost on the edge of the stage.

Я не знаю, как мне жить (х2)
I don't know how to live (x2)

И хоть прошлое меня так и манит
And even though the past beckons me

Но оно меня одурманит
But it will intoxicate me

Мне придется отпустить
I will have to let go

After this Catherine sang the next verse more sensitively than the rest. However, after him, the next two lines were sung quieter than all the others, while complete silence and darkness reigned on the stage. Before leaving the stage, the light spread from Catherine in all directions. De Potier returned to the center of the stage while she was in the dark.

Я не могу жить в прошлом
I cannot live in the past

Такой судьбы мне не надо
I don't need such a fate

В этом мире сложном
In this complex world

Я не хочу страдать от яда
I do not want to suffer from poison

Но это моя жизнь, это оставить сложно
But this is my life, it's hard to leave

Где счастье и мечты, но так жить невозможно
Where happiness and dreams are, but it's impossible to live like that

After that, the background and light returned to the stage very abruptly when Katrina began to sing the first line of the chorus. At the same time, the wind returned to the stage, which again began to blow on the singer. On the background, the white noise began to recede and turned out to be a recording on the TV.

Я не знаю, как мне жить (х2)
I don't know how to live (x2)

И хоть прошлое меня так и манит
And even though the past beckons me

Но оно меня одурманит
But it will intoxicate me

Мне придется отпустить
I will have to let go

When de Potier finished her song, she waved to the audience and said "Thank you! Good luck everyone!"

by **Carrelie** » Mon Jun 14, 2021 2:23 pm

Radio Dourie présente le Concours de Chanson Worldvision et l'entrée Carrelien

5. Carrelie
Sylvia Knudsen - "Tryllestav"
Music by Marie Anthonsen
Lyrics by Rita Rasmussen
Tune: Hoshi - "Allez là"

Introduction

A lot has happened since Carrelie's last participation. After their participation in the 89th contest, everything was looking up for CarrelieOne, until Freiche was signed away by the nation's ruling party. Immediately, CarrelieOne diverted much of its funding towards the news sector of its programming, and, coupled with the recent transfer of power both in Carrelie and the broadcaster, was the main catalyst driving Carrelie's withdrawal from the 90th contest.

In order to handle their next steps in the Worldvision process, CarrelieOne called in Radio Dourie to take over handling of things. The wealthy broadcaster was overjoyed to be granted such responsibility and got to work on both the selection and a widening of CarrelieOne's host bid for the 90th contest. This bid contained a new sleek set of postcards and a consistent overarching theme, being a celebration of music, and it blew the other two bids out of the water, taking the contest to Carrelie for the very first time.

The Carrelian public was excited to see the Worldvision Song Contest come to Carrelie. From north to south, from east to west, people celebrated and the tickets almost sold out in a matter of two days. What a spectacle this was going to be!

Sylvia Knudsen

Sylvia Knudsen, also known by her former stage mononym Sylvie, is an Andlic singer-songwriter born in 1997. She's been called the voice of Carrelie and la femme musique, and became the fifth Andlic winner of Carrelie Songfestival in 2018. Her career began at the age of 15, with her first appearence as part of Femmes Fatale, a minor group from the city of Danzig, the largest city of Andlin. After leaving the group at age 20, Knudsen began to pursue a solo career with great success. Her ventures in the world of indie pop proved very successful, with her first gold certification in Carrelie coming in 2020, with her single 'Gold'.

Knudsen is a well-known proponent of LGBTQ+ rights in Carrelie. She's been seen marching in many a pride parade and headlining many more and herself identifies as bisexual. Since 2010, she's been campaigning for the legalisation of same-sex marriage in the nation and pushed for it to be added to the Green Party's manifesto. It's clear that this was a great time for her to participate!

Performance

The postcard ends and Sylvia Knudsen walks out onto stage to deafening applause from the sizeable Carrelian audience in the arena. She's wearing a fairly simple lavender coat as she walks onto stage in boots. Once the applause dies down, Vian Genamman speaks from off the stage.

V: "And now, representing Carrelie is Sylvia Knudsen!"

The music begins subsequently after this announcement, with Sylvia having only a few seconds to prepare herself mentally before her cue to sing.

It’s been a long night, I’m tired out,
The world is spinning and I just can’t keep up,
Everyone knows I’m stuck in a drought,
Not good with change, not good with luck.

Red-blue tones flash over the stage as a small amount smoke is dispensed from overhead. Meanwhile, Sylvia is slowly moving towards the front of the platform as she sings the second verse.

They say I’m alright, that I’ll be fine,
But the home is warm, can’t pull myself outside,
Want to explore, but it’s not right,
For those who wander pay the fine.

During the verse, a troupe of backing dancers arrive on stage behind Sylvia, though they do not do much. As they enter, Sylvia creeps down onto the platform. Once the verse is finished, she throws her right hand into the air as the backing dancers distribute themselves at her sides as the chorus begins.

Tryllestav,
I need a miracle son,
I need it before it’s gone,
Selling out, like my pride, and I can’t hold on.

She spins around to face the cameras as fire pulses around the platform, and it looks like she's covered by flames. However, the viewers at home can see that she's instead stomping her foot onto the ground as her dancers envelop the stage.

Tryllestav,
And it’s all clear as daylight to see,
I’m losing my memory,
And I know everyone is better than me.
Tryllestav!

During the short instrumental, the flames sprout to new heights as Sylvia is lifted up by her backing dancers just above the flames in quite the dangerous stunt. By the end of the instrumental, the flames have died down and Sylvia has touched back down onto the ground

When I was young, I had a dream,
The only one I would really mean,
And in darkness, I trod through the mud,
Reclaim myself, I wish I could.

After the last line of the verse, Sylvia simply shrugs as she finds no way to lift herself out of the situation described. It's much like a vicious cycle of misfortune and sadness. Despite this, the music remains somewhat joyful.

At least I’m not just a deadweight,
I contribute, but I can’t think straight,
There is a chance that I’m good,
But don’t think I really would.

As Sylvia recounts on what hasn't gone wrong, she and her dancers appear to be searching, looking from left to right to left again, perhaps in search of promised joy or a miracle. The chorus begins and the stage lights up once more in ruby and sapphire tones, with hints of quartz and emerald scattered throughout.

Tryllestav,
I need a miracle son,
I need it before it’s gone,
Selling out, like my pride, and I can’t hold on.

Tryllestav,
It’s clear as daylight to see,
I’m losing my memory,
And I know everyone is better than me.

Suddenly, Sylvia's backing dancers surround her, with them dispersing a few moments later revealing that Sylvia has changed into a dress reminiscent of a disco ball that can easily reflect light. She really shines!

Tryllestav,
I need a miracle son,
I need it before it’s gone,
Selling out, like my pride, and I can’t hold on.

Tryllestav,
It’s clear as daylight to see,
I’m losing my memory,
And I know everyone is better than me.
Tryllestav!

During the final instrumental that ensues, Sylvia is lifted up above the flames licking at the stage so that the entire audience can see as light bounces off of her in a spectacular fashion. Meanwhile, two backing dancers utilise the main stage away from the audience to also showcase disco ball-like outfits that shine in the spotlight!

Tryllestav! (x6)

And thus the song comes to an end. Sylvia is slowly lowered and the flames die, though her newfound dignity does not. "Thank you all so much! Thank you!" she shouts towards the audience, which is clapping and cheering for her like a real icon.

by **Greater Korean Juche Republic** » Mon Jun 14, 2021 2:37 pm

6 - GREATER KOREAN JUCHE REPUBLIC
Spirit - Mangyongdae Ensemble
https://www.youtube.com/watch?v=x9YUo1r1WNI

Covered in the strength of the mind, build a bastion impenetrable.
Covered in the firmness of the heart, delegate all strength to the fight.
Ah-! Spirit is abundant and resolve is prosperous!
Spirit is abundant in the presence of a revolutionary! (Spirit of a revolutionary!)

Forged in the will of the countrymen, become a ironclad hero.
Forged in the image of the Mother, take up arms and wage a war.
Ah-! Spirit is abundant and resolve is prosperous!
Spirit is abundant in the presence of a revolutionary!

As the massive collection of men and women perform, soldiers are pictured marching across the LED screen, giving a militaristic vibe. Insert a few panoramas of fighters- both male and female and civilian and soldier- clutching weapons and flags to their heart.

Inspired by the legends of forefathers, create a new era.
Inspired by the fate of the future, defeat the imperialists.
Ah-! Spirit is abundant and resolve is prosperous!
Spirit is abundant in the mind of a revolutionary!

Ah-! Spirit is abundant!

by **Syrche** » Mon Jun 14, 2021 3:10 pm

7. Syrche
SHEANTE - One Night in Haufenburg
Tune: Conchita Wurst - Malebu

Exposition:

We stand in the midst of a transitory phase. This great dilemma we face, a treacherous sea of smite, at the ready any moment to rise in furious anger, to splinter our debilitated vessel. Do we change direction in the hopes of farer seas? or shall we stay the course, and hope the waters break? The trend, clear as it may be to some, has become starkly evident, that I, the captain of this floundering ship, must perish with it, no longer to hinder the badly needed progress that has so long eluded our endeavors on the world stage. I am... truly remorseful, that our journeys were not smoother... and this... analogous boat... not better crafted.
- Diek Lovitt, Talent Coordinator at AIT 2019-2021

Worldvision 90 marked the 70th anniversary of Syrche's Debut in the Contest. As such, the nation had sent along a pair of revered artists in collaboration, in the form of Varøka Salona and Peer Nostalgia. WV90 was meant to buoy Syrche's chances in the contest, and instead, had fallen flat on its face, with an abysmal 30th place finish. It was the second-worst showing Syrche had ever landed in the song contest; better only than K-City-X's disastrous Worldvision 26 act: Minor Attraction, which had been followed up by the equally poorly received album, Corruption of a Minor. K-City-X were subsequently blamed for the falloff of R&B in Syrche.

Rumours stirred that the Government was considering creating a new Ministry; The Ministry of Sÿrchesi Culture, which would be tasked with (among other things) dismantling the current system used for the song contest, including the dismissal of The Sunlight Song Contest as National Final, and creation of a new Board of Directors, with the intention of creating more accurate national representation.

Alpine Interior Telekast, the broadcast network responsible for bringing Worldvision to Syrche, and concurrently, bringing Syrche to Worldvision, was now under fire as well. In lieu of continuously lackluster jury appointments, commentary that was thought by many to be inconsiderate and sometimes rude, and broadcast which prioritized network interests over that of the contest.

One Corporation, the company which owned Alpine Interior Telekast, and which had already suffered stock losses over the last quarter due to a decline in projected membership to its streaming service, VIDEOSTREAM, had taken another hit following Worldvision 90.

The rumor-mill was in full swing. Then Diek Lovitt announced his resignation. Despite having presided over many moderately successful acts, Lovitt felt the mounting pressure from the public and thought it best he step aside.

The reality of the moment was crushing and grim.

Bob Lezar , a failed former musician turned Network lacky, was placed in the vacant seat during the interim, and was as such tasked with finalizing acts for WorldVision.

Bob Lezar was more ambitious than his predecessor; and so it was his decision to embark on 2 contests back to back, a move that would never have been done in the past. In fact, at this point, Diek Lovitt would have opted out of a contest or two...or five, but not Bob, He had something to prove.

So Lady Ruth, a One Hit Wonder from the early 1980s were sent to Teesdexxia to attend the first ever Retrovision Song Contest with their song "Alone in the Dark."

Conrad Flemming was an up and coming artist in Syrche who seemed to have the edge. tapped as the followup act. He had penned a tumultuous piece of music titled "Talking Down," which was meant as a social reaction to the disaster in WorldVision 90.

Unfortunately Conrad Flemming caught the 'Rona, and was barred from flying.

The AIT reps were all up in arms. Bob Lezar went nuclear.

That's where SHEANTE comes into the picture....

Backstory

SHEANTE, Recording Artist, WVSC 29, 66

Sheante was not new to the Worldvision Stage. She had already twice performed for the world. Sheante was last seen in Worldvision 66. Her 7th place finish in that contest had set a new bar for Syrchesi music, and has yet to be bested in this contest or any other.

In the years since Telm City had made her headline news, Sheante had learned to take things more in stride. You win some, You lose some... but it's a damn site more fun winning...

SHEANTE gained fame by winning the reality competition "Miss Trans-Syrche" in 2011. Afterwhich she became a significant celebrity influencer, and later, a cultural Icon for her role in Worldvision Song Contest. In recent years, her music career has slowed, largely due to the ongoing COVID19 Pandemic.

Performance

Darkness...

The arena is pitch black. Stale air permeates the venue. It has taken at least twice as long as any of the other acts during this intermission, and the audience is becoming restless.

Full Light!

The stage is washed in a predominantly yellowed hue.
A smoke bomb goes off at the center of the stage, shrouding the audiences view, as the music abruptly starts.
SHEANTE's voice sails swiftly over the audience as SHEANTE herself struts out of the smoke.

ONE NIGHT
In Haufenburg....

Sheante struts her way down the center of the stage toward the catwalk. The entire way she is making overly dramatic gestures and huge grins.

We're gonna change the world
Forever
With a simple song
Even if you don't fit in
Whatever
Sing along...

From here, the overhead lights are quickly reduced so that by the end of the verse the stage lighting is completely dark. 12 backup dancers dancers converge on the stage from all directions, surrounding Sheante before the mouth of the catwalk. Some have paper banners in their hands. others hold unseen objects. They march to the rhythm of her voice, and sway to the infectious rhythm of the music, cha-cha'ing and sliding, moving and grooving all over.

In the Street
People dance
in complete
mindlessness

The Lights have reached full dark. As the Chorus begins, the LED screens at the back of the stage light up with picturesque images of Carrelie nightlife.

Also as the chorus begins, the dancers begin flitting about the stage in a sort of figure eight around Sheante, their paper banners flowing out around her in a rainbow.

ONE NIGHT
In Haufenburg
Where all the World your stage
all unite, in harmony
under the music we create
Just One Night
In Haufenburg
with all these friends of mine
celebrate what we create
and let your talent shine

A Spotlight shines down on the end of the catwalk, as Sheante pushes her way through the backup dancers like Moses parting the Red Sea. She dons her signature huge smile, beginning to shimmy and shake her booty down the walk

Boys, I'm stayin' at the Ritz Savoy
Come see me
After the after-show
Lit up like a firefly
In the hazy
Afterglow ...

She has reached the end of the walkway. She stands motionless. Her left hand moves up along her face, toward the ceiling, almost pointing. Then as she continues singing, sweeps to the left. Her hand clamps shut.Her fist slams to her chest.

Let's Forget (Forget tomorrow)
No Regrets (Live for right now)
Just Have Fun (Spirits rise)
Music Never Dies

Sparks shoot up from the stage and the lighting comes back to a yellowish gold hue. Sheante struts her way back up the catwalk to the main stage. Joining the backup dancers who continue to flit about the stage in gleeful enthusiastic spates.

ONE NIGHT
In Haufenburg
Where all the World your stage
all unite, in harmony
under the music we create
In Haufenburg
for Just One Night
with all these friends of mine
celebrate what we create
and let your talent shine

Sheante now stands still at the front center of the stage. As she sings the refrain, all of the backup dancers surround her, coming together like in a group photo. Some stand, some take a knee.

ONE NIGHT
In Haufenburg
Where all the World your stage
all unite, in harmony
under the music we create

ONE NIGHT ... IN HAUFENBURG
ONE NIGHT ... IN HAUFENBURG
ONE NIGHT ... IN HAUFENBURG

The music stops, and SHEANTE addresses the crowd. "Thank You to Carrelie, for such a wonderful experience, and Thank You WORLDVISION for having me back again!....who want's to party with SHEANTE???? The audience cheers for SHEANTE as she and her dancers leave the stage area.

by **Hafamarimyht** » Mon Jun 14, 2021 3:27 pm

8| Hafamarimët
Tejšë - Into the Light
Tune: It Feels So Good by Sonique
Music: Tejšë Odu'uole, Nina Bremeb | Lyrics: Tejšë Odu'uole

Tejšë Odu'uole is a 33 year old from Pöcë who won WorldVision Judadïl 91, the Hafamari national final for WV91. She had originally submitted a self-recorded demo of Into the Light for the national final for WV89, but withdrew it two days later after receiving a message from producer Nina Bremeb offering to record it professionally. With 34% of the televote and 58 out of 72 possible jury points, she was the clear favorite to represent Hafamarimët in Haufenburg.

Faded white sparkles of light and a dark background start the performance. When Tejšë starts to sing, the white gets a bit brighter and white circles form on the stage beneath and behind her, appearing to travel upwards. She is lit by a very tight spotlight so the audience can see her face but not ruin the illusion. During this verse she is mostly still, only occasionally reaching out.

When I have lost the path
I only feel wrath
I just close my eyes
And see you there in the light, mm

When the whole world is wrong
And when the night's way too long
When nothing's feeling right
You reach down from this height

As the beat drops in for the chorus, Tejšë is lifted straight into the air as the arena fills with a wash of light that starts white and fades into different colors in different areas, yellow on one side, orange on another, a light pink in the background. A pair of dancers spin and seem to throw each other while never breaking contact. Background singers can be seen behind and slightly to the right of where Tejšë stood a moment before. She floats gently, happily, ethereally back down to the stage, arriving at the "oh oh baby," when she looks directly into the camera.

(Pull me into the light)
And save my weary soul
(Blessing me with holy love)
Broken bones that you've made whole
(Heal me within your arms)
See the world now with no fright
(Can't hold me back from life)
With you I'll run into the light
Oh oh baby

The arena turns dark again, with flickering, flowing bits of white light and vague blue tints making it seem as if the arena is under dark water. She flows athletically while standing in one spot, reaching out from one side to the other as if she is being pulled with the tide. The LED screen shows a distorted light starting on the second line, which is revealed to be a lighthouse by the buildup to the next chorus.

Ooh when I'm drowning in
All the oceans of depression
You are the lighthouse
Call me to shore, yes
Reach to me

Tejšë's flowing movements found her on her hands and knees, and as the backup singers begin the chorus, she pulls herself up as if she's climbing on a rocky shore. The dark blue waters give way once more to bright, sunny washes and fades throughout the arena. The dancers are even more acrobatic in their routines, at one point having one dancer laying on their back with their feet up and the other dancer standing on their feet. Tejšë shows a little more joy in this chorus, interacting with the camera and audience more often.

(Pull me into the light)
And save my weary soul
(Blessing me with holy love)
Broken bones that you've made whole
(Heal me within your arms)
See the world now with no fright
(Can't hold me back from life)
With you I'll run into the light
Oh oh baby

Smoke pours from the floor as the lights wash back to an almost darkness for a moment. The dancers slow their movement and seem to bend in half in impossible ways. The lights fly back into warmth as the chorus kicks in again.

(Pull me into the light)
And save my weary soul
(Blessing me with holy love)
Broken bones that you've made whole
(Heal me within your arms)
See the world now with no fright
(Can't hold me back from life)
With you I'll run into the light
Oh oh baby

The dancers are back to their acrobatics and the background singers have started dancing along. Tejšë's smile is huge and contageous.

(Pull me into the light)
And save my weary soul
(Blessing me with holy love)
Broken bones that you've made whole
(Heal me within your arms)
See the world now with no fright
(Can't hold me back from life)
With you I'll run into the light
Oh oh baby

Sparks shoot up from around the stage for a moment as well as rain down from the ceiling. Tejšë fully lets go and makes her way to the edge of the stage, walking around and interacting with the audience, holding hands, pointing, waving, dancing with them. The dancers embrace for a moment, their routine taking on a sort of classical ballet feel, though still distinctly modern.

(Pull me into the light)
And save my weary soul
(Blessing me with holy love)
Broken bones that you've made whole
(Heal me within your arms)
See the world now with no fright
(Can't hold me back from life)
With you I'll run into the light
Oh oh baby

Another volley of sparks fly up from around the edge of the stage as Tejšë had danced backwards, back to her starting position to deliver the final oh oh baby. She reaches directly upwards with her left arm while looking up and smiling, right hand still holding the microphone snapping downward. She holds this pose for a moment then begins to laugh-cry, overcome with the thrill of having performed for such a good audience at WorldVision, not to mention the millions of people watching on TV and the internet. She breathes hard for a few seconds, then brings the mic back up and shouts "Thank you! Thank you Carrelie, thank you world! I can't believe it, thank you!"

by **Biagium** » Mon Jun 14, 2021 3:44 pm

9 biagium

by **1zmedu** » Mon Jun 14, 2021 4:37 pm

10 - 1ZMEDU
"At The Altar" - Katarina Generić
Music - Stefan Örn, Johan Kronlund, Alessandra Günthardt
Lyrics - Katarina Generić, Stefan Örn, Johan Kronlund, Sandra Bjurman

Tune: Tijana Bogićević - Hajde Onda Nista

Stranded at the altar you left me to burn
Stranded at the altar you left me to hurt
And in the flutter of an eye
My heaven turned to hell
A fallen angel
A fallen angel, blinded by lust
Stranded at the altar you left me to burn
Burn to the dust

by **Britonisea** » Mon Jun 14, 2021 5:19 pm

by **Alezian Union** » Mon Jun 14, 2021 6:38 pm

B A C K G R O U N D

The Alezian Union which is a one-month old country which came after a referendum on whether Alezians wanted reunification (87% voted yes) debuted in the Worldvision Song Contest last edition held in Avon, Elejamie continuing North Alezia's previous record.

For its debut, The Alezian Union selected its entry using a previously tested method that was already used in North Alezia at that point, which is a televised live national final with other countries contributing their votes, which the Northerners call "Alma". At that time, everyone in the Alezian Union were stunned over the fact that South Alezia has won the whole thing. The country started to a good start in the Worldvision Song Contest with a very satisfactory 10th place, signing for better things to come.

After the 90th edition concluded, the Alezian Broadcasting Authority decided that in order to make things fair between all regions of the Alezian Union, each region will get the right to represent the whole union one by one, which was assembled based on geographical positions clockwise starting from Zafizamarrah. That means that North Alezia start first, then Pantabang Islands, then South Alezia, and then Mosin-Nagan. Once the cycle ended, a nation-wide Alma will be held, before the cycle restarted.

Since this is North Alezia's turn, the Northerners would've gone with Sourire Allievais who got 3rd place in the Grand Alma. However, Allievais refused due to her having much more intriguing deals other than the Worldvision Song Contest. Thus, North Alezia internally selected a newly made band called FIRE to sing in the Worldvision Song Contest.

A R T I S T - I N F O

(From Left to Right : Ariz Dawaruddin, Hasanita Rusma'ida, Annelie Routavainais)

The band "FIRE" was assembled on 16th of January 2021, which means that this band is a fairly new one. It consists of Ariz Dawaruddin as the drummer, Hasanita Rusma'ida as the main vocalist and guitarist, and Annelie Routavainais as the violinist/pianist and backing vocal. The band was created after the three met in AleziRadio Festival of Songs 2020 which was held in 16th of May last year. All three competed back then separately with Ariz representing Basna, Hasanita representing Zafizamarrah, and Annelie representing Aramna. None of them end up winning the competition (Annelie even got near last), but the three quickly became friends and created a band. As of the present, the band has only made one album which is called "Fireworks", which entered the Alezian charts, peaking at number 1 for 6 weeks. The band quickly became famous, which caught ABA's attention, which resulted in them being internally selected for the 91st Worldvision Song Contest.

ARIZ DAWARUDDIN is the drummer of the group. He was born in Kencana Perak Selatan, Basna, North Alezia on 23rd of March 1983. He has been drumming since he was 9, with his talent he contributed in his school's talent show in a homemade band called "Petranovich" named after an Alezian movie actress popular at that time, Nishikov Petranovich. It consists of him, Nazr Hamisyaqqa, Rafael Hasyima, and Ishaq Fahruzi. The four stayed together, even making an album in 2005 called "Comparative" when they went to the same college together (Music and Art Institute of Basna). One song inside the album even got selected to represent Basna in that year's AleziRadio Festival of Songs, which is "Sparing Someone". The song earned 5th place. After ARFOS, the band kept writing and performing until they had to surprisingly break up in 2009. After the break up, Ariz continued drumming for himself, and he got to participate representing Basna in AleziRadio Festival of Songs 2020 where he earned 6th place out of 18 songs (each region plus Mosin-Nagan, Pantabang Islands, and Daya Island sends two) with his song "Kebenaran" (Truth) After the competition, fellow competitor Hasanita Rusma'ida contacted him to ask whether he would be interested in joining forces with her and Annelie and create a band. Ariz agreed, and finally he became the drummer for FIRE.

HASANITA RUSMA'IDA is the main singer and guitarist of the group. She was born in Immatara'ain, Zafizamarrah, North Alezia on 7th of July 1990. She has been singing since she was a toddler, and she starts playing the guitar when she was 8. She starts singing and playing the guitar professionally when she was 13 when she won ARICO Middle School Talent Competition of the year. She has released singles such as "My", "Real", "Truth About Him" and many more, however, all failed to enter the Alezian musical charts. Although she received positive acclaim from critics saying that people who don't buy her singles "missed out" on "great potential". Hasanita participated in AleziRadio Festival of Songs 2020 and earned 5th out of 12 songs. After the competition, Hasanita got the idea of creating a band consisting of her and two other participants of this year's festival (which ended up being Ariz and Annelie).

ANNELIE ROUTAVAINAIS is the violinist or pianist of the group depending on what song they perform. She is also the backing vocal of the group. She was born in Cartourpellerha, Aramna, North Alezia on 18th of December 1990. Growing up, Annelie was considered gifted since she was young, especially when she mastered both the piano and violin on the young age of 10. Although sadly Annelie never translated that to performance since she never sung or performed on stage before. Her first performance was only a few months ago in the AleziRadio Festival of Songs 2020, where she was actually one of the favorites to win the competition. However, due to unknown reasons (some speculated Annelie was sick or experienced stage fright), Annelie's song which is called "Amarais" (Lover) earned near last a.k.a 11th out of 12 songs. Annelie nearly gave up singing after that until Hasanita out of the blue contacted her asking if she would be interested in being a member of FIRE. Annelie agreed due to her feeling that a band might worked out better for her instead of working alone.

Q&A
1. In conclusion, who got the idea of FIRE first?
= The idea of FIRE was created by Hasanita.

2. Why and how did Hasanita came up with the band?
= Hasanita feels that her musical journey is not over yet, and she wants to find cooperation and teamwork with other participants. Hasanita came up with the idea of a band when she was cleaning her house and the idea came on a flash.

3. Why Ariz and Annelie?
= Both are selected due to their unique abilities such as drumming and violin/piano playing. Hasanita felt that if fused together properly and carefully, the musical feel can be "there".

4. Why FIRE?
= The name came after the three accidentally blurted out that their favorite element is Fire. Thus FIRE is selected over names such as "Radio", "AHA", and "Three". And FIRE is the most suitable name they can pick after looking at their direction of music genre, which is rock.

5. Why ABA selected such a new band, especially for a region as prestigious as North Alezia?
= ABA feels that the Worldvision Song Contest is a good ground for new artist to introduce themselves to the world. So when Sourire Allievais can't go to Worldvision, ABA picked the best new band there is, and that's how ABA met FIRE.

6. Who agreed to ABA's proposal first?
= If you think Hasanita, you're very wrong. Hasanita actually hesitated at first because of how young the band is and how a dissapointing result might create dissapointment from the Alezian public that the band had to broke up. However, Hasanita got convinced by the first person who agreed to it where the person said that Worldvision Song Contest is a good introduction to the international community. Anyway, the person who agreed to the proposal first is... Surprise surprise, it's Annelie.

S O N G - I N F O

FIRE (the song) was supposed to be the introductory song for FIRE (the band). However, an electrical fault at the studio where they recorded it wiped the song entirely out of the computer system of the studio, and they need an introductory song quick, and they don't want to recreate it due to the fear that the quality would be pathetic, and thus they postponed the song to a much later date and instead introduced themselves to the Alezian community with the song "Never Die" which entered the Alezian charts.

The final version of FIRE that was sent and approved by ABA has some difference compared to the original intended version of FIRE, where it was rumoured that Annelie was planned to play the piano, not the violin like the final version.

FIRE was about a girl who was lonely without friends who promised to rock the world no matter what the obstacle is. The message of the song is self-explanatory in the lyrics. The song teaches its listeners to not afraid to set goals and turn it to reality even if various obstacles tried to stop you.

P E R F O R M A N C E

Tune : Umsuura - Moksogollor

The postcard ended, and the applause from the audience starts to weaken down. The instrumental starts by Ariz playing the first parts of drum, then joined by Hasanita's guitar, then finally complemented by Annelie's violin, creating a harmony. Hasanita shouted to the audience "EVENING WORLD! TIME TO THROW THIS WORLDVISION STAGE TO FLAMES!" which earned a massive reaction from the audience.

Seconds before Hasanita starts her vocal part, behind the three there's a fire projection made of light that blaze up to the ceiling. And the camera from far away zooms into Hasanita. On the third sentence, the view moves to a steadicam which walks to the band from behind, and especially Hasanita who looked at the camera while holding on to her fist before the reff.

When I was a lil child waiting for a ride home,
People laughed at me because they said I've no one
They then left me, crying my eyes alone,
At that moment I promise to rock the world whole,

Hasanita raised both of her hands as she sung the first sentence, then she put her right hand on her heart and then "flings" it away on the second sentence. Hasanita then holds on to her microphone stand for the third and fourth sentence.

Cuz I'm on Fire!
I've experienced amour and I threw it to the fire!
Cuz I'm on Fire!
I don't care if I'm hurt, I'll put myself on fire!

As the second part of the reff comes, the camera gives a glimpse of Annelie and Ariz playing their instruments to the beat, and all lights pointed at the trio while moving all around.

Cuz I'm on Fire!
I've loaded my gun and I'll pull the trigger to fire!
Cuz I'm on Fire!
I don't care what they say, I'll rock the stage to FIRE!!!

As Hasanita shouted the last word, she raised both of her hands and jumped once to the beat as fireworks starts being shot up and as the camera runs away from the center to record the reaction of the audience, where some raised their hands, some flew their flags left and right.

However, Hasanita still got to play her guitar so she stopped raising her hands and starts playing her guitar while accompanied by Annelie's violin for a few seconds before Hasanita starts the next "fire". At this verse, the second and fourth sentence has Hasanita's voice being accompanied by Annelie, where the two are being shown side by side if you watch from the television feed.

BLACK : Hasanita
RED: Hasanita and Annelie
ORANGE: Annelie

Living life is so hard, hard as that rock that I found
Walking through the countryside, I've walked round and round
Feeling betrayed, I won't find myself defeated
Because when I make a step, I'll make a sound!

At the reff part, Annelie still accompanies Hasanita, however, Annelie's voice was drowned a little bit by the technology of voice mixing. The camera at this segment zooms out as fast as possible to show once again fireworks falling down from the ceiling.

Cuz I'm on Fire!
I've experienced amour and I threw it to the fire!
Cuz I'm on Fire!
I don't care if I'm hurt, I'll put myself on fire!

The view returns to the stage, showing the trio performing from the right side of the stage.

Cuz I'm on Fire!
I've loaded my gun and I'll pull the trigger to fire!
Cuz I'm on Fire!
I don't care what they say, I'll rock the stage to FIRE!!!

When the reff ended, the view all went for Annelie as all things relating to fire calmed down for a few seconds, giving a view of Annelie finishing her last note before raising both of her hands and shouted to the camera as the camera quickly zooms out revealing the reactivated fire pyrotechnics being crazy and running all over the place

CUZ I'M ON FIRE!!!

As the instrumental came, Ariz earned the spotlight as he hits his drums and the camera spinning on him for a few beats before the transition of a shining light changed the view where now camera flies around the stage where lights and fire continue to flicker. A few seconds later, Hasanita continues to play her guitar as she ran to the catwalk while continuing on as fire pyrotechnics being shot up one by one along the pathway from the main stage to the island. Around this part, Ariz, Hasanita, and Annelie each got a steadicam pointing at them where all three feeds are put to a split screen. On the left side, Ariz is jamming on to the beat with his drums, Hasanita was having fun with her guitar solo, and Annelie looks pretty confident with her violin playing.

The instrumental ended, as Hasanita stood behind yet another microphone stand prepared on the island stage, and when she sung the first sentence, immediately the camera quickly changes to Ariz's yet another short drum solo before fire starts shooting up again from every single place unimaginable.

Cuz I'm on Fire!
I've experienced amour and I threw it to the fire!
Cuz I'm on Fire!
I don't care if I'm hurt, I'll put myself on fire!

The camera zooms away from the stage, and as Hasanita sung the last sentence, the view changes again as the last note was being played, first to Ariz hitting his drums, then to Annelie playing the few last notes with her violin, then finally to Hasanita rocking the last note with her guitar as she jumped, and fire came out of once again every single place where pyrotechnics can be launched inside the stage for a single second before everyone and everything that has something to do with fire settled down

Cuz I'm on Fire!
I've loaded my gun and I'll pull the trigger to fire!
Cuz I'm on Fire!
I don't care what they say, I'll rock the stage to FIRE!!!

As the instrumental ended, Hasanita ran back to the main stage, and Ariz and Annelie got to the center to join Hasanita. Hasanita shouted to the audience in Carrelie, "THANK YOU!!! THANK YOU VERY MUCH!!! YOU GUYS ARE ON FIRE! YEAH!" The audience applauded loudly, especially the Alezians, as the view changes to a group of Alezians enjoying their entry and swinging around their flags and enjoying being in there. One Alezian even got a cat plushie for some reason.

by **Pemecutan** » Mon Jun 14, 2021 6:39 pm

13 -PEMECUTAN

"YAKINLAH"
AGUSTINUS SETIAWAN ft. DEK YULI
Title Translation: Believe It
Language: Bahasa (Indonesian)

Music: Gus Teja
Lyric: Dek Yuli
Tune: Jussie Smollett ft. Alicia Keys - Powerful (Empire TV Series)

Previously at WorldVision Song Contest, Pemecutan was represent by an ethnic collaboration of Baladewa and Ayu Laksmi. Their song entry, "Nada Cinta", successfully captivated the audience at Avon, Elejamie. The song gained many praises and become one of the favorite in that night. The result, they are manage to grab 3rd rank in combine score with 211 points. It is the highest placement for Pemecutan and also their first to break into top 5 and top 3 in the competition. It is also their second top 10 placement after a duet by Gading Mahesa and Ayu Purnami did it in the 86th edition. With 211 points, it is their first to reach 200 points combine score. They also received 5 12 points from Jury votes which is their highest accomplishment.

The result is a shocker but also a great accomplishment for the nation. The song contest fans are wildly celebrate their delegation result. The song also surge in their sale with both Baladewa and Ayu Laksmi are getting many invitation for live show after the result. But the test is come later. With a high accomplishment that being set in 90th edition, could Pemecutan hold their position? The search for the next WorldVision entry begin shortly after the previous one ended. And there are many songs to be pick. The online televote comes up with the result of another duet. This time it is Agustinus Setiawan and Dek Yuli.

Agustinus Setiawan (left) and Dek Yuli (right)

Agustinus Setiawan is a familiar face in WorldVision Song Contest. The 30 years old singer was the representative of Pemecutan in 87th edition of WorldVision. The song entry end up placing 27th which is the worst placement for Pemecutan although the combine score is the third lowest for the nation. Dek Yuli or Kadek Yuliani Putri is a 41 years old Pemecutanian singer and songwriters. She was a solo singer before joined in one of Pemecutanian famous girl band member, Tiga Dara. She become a replacement in the girl band after the previous singer decided to retire from music industry. She was with Tiga Dara for about 3 years before the group was dissolved. Throughout her career, she have been released 7 albums and several singles. She decided to take a break from music industry after her second pregnancy 7 years ago. But she is still continue to make contribution from behind the scene. She is also still singing off air occasionally. This collaboration is her first single after her hiatus.

The audience applaud lightly after the host announce Pemecutan entry which will be perform. Most of them are coming from Pemecutanian audience. The stage is darken for a while before a center light enlighten the stage. Two grand piano are seen in the middle of the stage. It is envelope one another so the pianist will be facing each other.

Both singers are coming to the stage from both side of the stage. Agustinus Setiawan is wearing burgundy notch lapel suit walking from the left side. And Dek Yuli is coming from the right side while wearing an elegant black dress. Both are smiling to each other. Agustinus make a gesture to help Dek Yuli take her seat before he himself took his place in front of the piano. They are starting to play the piano for the intro of the song. The camera give the spot to Agustinus as he sing the first verse from close up shot to full body shot where he is singing while playing the piano. The camera shift to Dek Yuli as she take her singing part.

Begitu banyak suara
Yang dapat buatmu bimbang
Dan keraguan pun datang...datang

Coba renungkan sejenak
Dengarkan kata hati kita
Dan jawaban pun kan datang...datang
So many voices
That can make you confuse
And doubts come... come

Think about it for a moment
Listen to our hearts
And the answer will come...come

As they singing the bridge, the camera shifting into many faces which can be seen from the different screens on the stage. Front close up, left side and right side. The left 3 screens shows Dek Yuli while the opposite side shows Agustinus. The large screen behind them then shows the full display of both performers and their piano as the small screens on the left and right sides showing footage of several videos. From a disable people who is struggle to walk, a depress woman who is about to suicide on the bridge, a hospitalize man, a crying teenager who failed to accomplished her dream, a teenage boy who is being bullied at school and a lonely man who is gazing towards the crowd. These footage are shown as they are singing the chorus.

Jangan meragukan kemampuanmu
Yakinlah kepada dirimu

Dan kau bisa
Meraih titik tertinggi
Kau bisa
Melakukan yang terbaik
Tak ada yang dapat lemahkan mu
Tak ada yang dapat rendahkan mu
Yakinlah….kau bisa…
Don't doubt your ability
Believe in yourself

And you can
Reach the highest point
You can
Do your best
Nothing can weaken you
Nothing can bring you down
Trust me....you can...

The footage is change as they enter the second verse. The camera once again capture both singers in every angle as they took part in the song. Everyone can see the expression that being shown by the singers as they sing each words.

Suara yang penuh ragu
Tak kan membuatmu mundur
Tegapkan langkahmu maju...maju

Rintangan kan selalu ada
Di jalan seorang pemenang
Kuatkan hati bertahan...tahan
A voice full of doubt
Won't make you back down
Straighten your steps forward...forward

Obstacles are always there
On the road of a winner
Be strong, endure... hold on

The camera slowly give a full display of both singers while they are singing the bridge. The footage are shown again as they enter the chorus and the scene which display both singers is changing from side to side and rotate in 360 degrees.

Jalan panjang ada di hadapanmu
Melangkahlah tanpa kau ragu...

Dan kau bisa
Meraih titik tertinggi
Kau bisa
Melakukan yang terbaik
Tak ada yang dapat lemahkan mu
Tak ada yang dapat rendahkan mu
Yakinlah….kau bisa…
A long road is ahead of you
Step on without you hesitate

And you can
Reach the highest point
You can
Do your best
Nothing can weaken you
Nothing can bring you down
Trust me....you can...

As the intro come, both singers are playing the piano energetically. Both are smiling to each other which capture by the camera. The music is slowing down as Dek Yuli take the lead to sing the last chorus. As the second half of the chorus is sing together, the footage on the the 6 screens are showing a progress footage. The disable man are given a crutch. The depress woman is being saved by a man from the bridge. The hospitalize man is accompanied by all of his family. The crying teenager is jumping in joy as she able to reach her dream on a second chance. The bullied boy is showing that he is good at something and even defeats his bully. And the lonely man is approached by his friend who take him together. While the central screen showing both singers singing wholeheartedly. The camera changes view from 360 degree showing into eagle eye view as the audience see both singers from above before going back down to viewing from the front of the stage.

Kau bisa
Meraih titik tertinggi
Kau bisa
Lakukan yang terbaik
Tak ada yang dapat lemahkan mu
Tak ada yang dapat rendahkan mu
Yakinlah….kau bisa…
You can
Reach the highest point
You can
Do the best
Nothing can weaken you
Nothing can bring you down
Trust me....you can...

The music suddenly stop and the screens are off as the performance end. Suddenly a big pink heart shape image is shown in the center screen. Then there's like someone writing on it which says "You are Grand". The applause can be heard especially from Pemecutanian audiences. The stage light is back on and the screen is off again. Agustinus and Dek Yuli are standing hand-in-hand in front of the piano. They are waving to the audience before bowing thanking for the applause.

by **Adab** » Mon Jun 14, 2021 6:39 pm

14. ADAB
Libbalisarrat Eriba, Miriam Lavi, Still I Rise Troupe – "Because It’s There”
Tune: Kristin Chenowith and Idina Menzel - What Is This Feeling?
Language: English

Libbalisarrat Eriba (left) and Miriam Lavi

Background
Adab’s WorldVision 90 entry, “Speeding Car” by Alina Shawqi, placed 13th out of 34 nations with 141 points. While the ABC felt that the song should have placed even higher – preferably in the top ten – this was not a complete disappointment; the song, after all, still placed safely on the left side of the scoreboard and became a hit on the Adabian charts, and in any case ABC Director-General Benji Akiya had repeatedly emphasized that Adab’s aim in participating in WorldVision and the World Hit Festival was not to win those contests, but to allow the country’s most promising artists to have a chance at the spotlight and introduce the multiverse to the latest trends in Adabian music and culture. “You must remember that our primary aim in participating is not to win the whole thing,” Benji said in an interview with ABC News a few days after the conclusion of WorldVision 90. “We want the world to see all the great talent that we have here in all their diversity and uniqueness. If we’re only here to win then we would end up stifling our own creative freedom in pandering to the audience.”

The coming of the WorldVision 91 cycle placed an additional burden on Benji and the ABC; not only would they have to prepare an entry for the regular edition, they also found themselves participating in the 1980s-themed RetroVision special edition, which was held before the regular edition. As a result, the available time to prepare for their next regular entry was somewhat reduced as they focused their attention on RetroVision. Benji quickly enlisted the venerable Etana Lugaldalu to represent Adab on RetroVision, watching as Lugaldalu came onstage in Teesdexxia to perform his outtake “Man on the Pale Horse”, which calls attention to the AIDS epidemic which broke into global consciousness in the 80s. Benji never cared much about whether the song would do well with the jury and public; it had a good message, and in any case with RetroVision out of the way he could now turn his attention to the regular edition.

From the beginning, Benji wanted “something different” for this edition. Looking at the ABC records, he noticed that Adab had never done a musical-style number for WorldVision or the WHF. “I told the board that I wanted a musical number, a show tune or something like that,” Benji would later remember. “There was some debate between me and the board about this, and between the other board members themselves about this, but eventually we agreed that this fresh approach could be beneficial for us. This time, at least, we’re not going to be sending radio stuff, even if that meant we had to do away with the video selection for this edition and go on the hunt ourselves, because we had spent quite a lot of time, energy, and budget on RetroVision and we’re not gonna spend even more on a musical-only selection process.”

So who would represent Adab this edition? With WorldVision 91 rapidly approaching, Benji and the board knew that they did not have much time to find their contestants and quickly went on the hunt. Luckily, the hunt would not take long; Benji went to see a performance of the comedic musical Hammurabi and His Code at Adab City’s Palm Street – popularly dubbed the “Adabian Broadway” – starring Libbalisarrat “Libba” Eriba and Miriam Lavi, two popular rising stars of Palm Street. Benji was sufficiently enamored by their performance and vocal capabilities to request a backstage meeting with them and Amir Kalam, the great composer and lyricist who wrote the music and lyrics for this play. Benji asked Libba and Miriam to represent Adab on the WorldVision stage and requested Kalam’s help in writing a musical-style song to be performed at the event. While Kalam immediately agreed, Libba and Miriam were initially skeptical and asked for more time to consider Benji’s request. When they called back a few days later, they agreed but on the condition that “the cast, or backing musicians, or whoever will help us perform this thing onstage” be drawn from the ranks of the poor, underprivileged, or marginalized, so as to allow them the opportunity to share in the spotlight. Benji quickly acceded to this.

Over the next few weeks, Benji, Libba, Miriam, and Kalam would regularly meet at Kalam’s Adab City apartment and in the ABC’s studio as they worked on their song and the details of their WorldVision performance. Several song ideas were discussed and thrown out, and during this period it leaked out that at one point the song had the working title “I Hate Britonisea (Death to Britonisea)” – with lyrics in which the narrator imagines Britonish people “drowning in a lake of fire” and compares Britonish WHF Overseer Guy Autriche to such luminaries as Idi Amin and Mobutu Sese Seko – which was later discarded out of fear of offending said nation. Kalam and the ABC issued a statement insisting that the lyrics did not represent a genuine hatred of Britonisea, but were a parody of racist, xenophobic attitudes around the world.

In any case, Benji, Libba, Miriam, and Kalam agreed that the lyrics were too controversial and proceeded to rewrite the song. As the four isolated themselves in Kalam’s apartment for the rewriting process, several Adabian mountaineers returned to the country after climbing the Seven Summits (the highest mountains of each continent). Inspired by watching the hero’s welcome that they received, as well as a documentary on attempts to reach the summit of Mount Everest before Edmund Hillary and Tenzing Norgay’s successful first ascent in 1953, Kalam suggested that they (yet again) rewrite the song, this time centering it around the theme of climbing the world’s highest mountain (i.e. Everest, although the mountain is not explicitly named) as an allegory for overcoming adversity. Benji, Libba, and Miriam agreed. The final lyrics were reportedly written in under an hour.

Keeping with the theme of the song, Libba and Miriam now believed that they should be accompanied onstage with “people who truly know how it feels to triumph over adversity”. Within a few days, Benji had enlisted the help of the Still I Rise Troupe (named after the Maya Angelou poetry collection). Libba and Miriam then insisted that the troupe would receive equal credit with them. There would be no “Libbalisarrat Eriba and Miriam Lavi feat. Still I Rise Troupe” situation; they, too, would be fully and officially regarded as Adab’s WorldVision contestants. Not wanting Libba and Miriam to withdraw when they had come this far, Benji agreed.

The Performance
Darkness. It was darkness in the Grand Centre of Haufenburg, Carrelie as the audience waited with bated breath for the next act. None were more excited – and anxious – than the Adabian fans, whom the government had finally allowed to travel without restrictions on their number after banning them from the previous contest in Elejamie in the midst of the Great Pestilence. But now that a large number of Adabians had been vaccinated against this pestilence, and Carrelie had shown no worrying signs in regards to their handling of said disease, the government had finally decided it was safe for them to travel abroad. And now there was a sizable contingent of them, their noise exaggerating their actual number, intent on showing the multiverse that, yes, Adabian fans were back in international events.

The stage was still clothed in black, but not for long. Like a newborn coming out of their mother’s womb into the light, the stage gradually began to reveal itself in its glory. It began with the LCD screens at the back, shedding the darkness which had hitherto covered them, the largest screen at the back showing a panorama of the Himalayan mountains on a cold, clear morning, the sky blue, the highest of them all – Mount Everest – right in the middle of the screen, a scene which for some must have called to mind the Paramount Pictures intro. The LCD screen above was now an expanse of darker blue, the six squares between the large screen – three on the left, three on the right – a lighter blue, fitting in with the color of the sky. Bright lines of white sped along both sides of the walkway jutting out towards the audience, eventually encircling the entire walkway and the front platform, contrasting with the pitch black of the walkway and platform.

And onto the newly-bright stage came those the audience had been waiting for. Libbalisarrat Eriba came in from the audience’s left, Miriam Lavi from the right. Libba was wearing a pristine white dress, occasionally dotted with diamonds that sparkled in the Grand Centre, whereas Miriam was dressed in a cyan gown, with thin gold patterns encircling her just above her chest. They stopped well before the center of the stage floor, facing each other, their faces those of two women intent on finishing their mission: in song it was to climb the mountain, in real life to deliver a performance that would make the country proud.

Miriam was the first to speak, extending her hand towards Libba, her bright, optimistic voice contrasting with Libba’s deeper, authoritative tone.

Miriam:
Libba, my friend, the time has come

Libba:
My dear Miriam

Then they shifted to their singing voice, slowly moving, inching closer towards the center of the stage. The camera displayed a view of them from above as they met each other at the center, stopping just about two feet from each other as if maintaining their distance, before they began to move in circles around each other, turning their heads at the large screen displaying the mountains behind them as they emphasized the reason why they were here. Under their feet a blank expanse of white swept over the stage floor all the way to the front platform, making them appear as if they were now standing on ice and snow. The lines of white along the stage now turned cyan to distinguish them from the white.

Libba and Miriam:
There’s a very great mission
That’s been thrust on our shoulders

Libba:
It’s the highest mountain of all

Miriam:
It’s the roof of the world

Libba and Miriam:
For you see our mission has brought us to this place
Yes, now we stand before you
The mother of mountains

At this point Libba and Miriam ceased circling each other, making a sudden turn towards the audience and staying in that position for a while. As Miriam sang the next verse, her voice bright yet soft, she slowly, tentatively began to step forward. One step, two steps, three steps. Along the way she laid her hands over her heart and craned her neck up, her eyes catching the ceiling, imagining the clouds and above them the vast expanse of space laid out before her. Then Libba came up behind her, her steps clearly more assertive, her voice colored with determination, putting her hand on Miriam’s shoulder and prompting the latter to turn her head around slightly at her partner as Libba declared, “We’ll climb it.”

Miriam:
Towering over this earth, reaching up to the stars
So high and mighty in the cold and storm

Libba:
We’ll climb it

Miriam nodded in understanding – and in newly-found strength – and then the two of them began moving together towards the walkway which would lead them closer to the audience. The camera shifted to display a front, zoomed-in view of Libba and Miriam as they found themselves on the verge of the walkway. Here they separated, Libba moving towards the (audience’s) left side of the walkway and Miriam to the right, both of them initially facing the audience, but then turning to each other as they began to stride along the edges of the walkway, pointing to each other and then to themselves as they sang “What even are we”, to themselves at “I’ve got a feeling”, and finally to each other again at “We’ll reach for the ceiling”. Behind them the large LCD screen at the back, which until now had been displaying a view of the Himalayas, shifted to show photos of famous mountaineers and moments in the history of mountaineering, displaying among others Oscar Eckenstein, Edmund Hillary, Tenzing Norgay, and Reinhold Messner.

Libba:
What even are we
So small and fragile

Miriam:
To take this challenge
So great to handle

Libba:
I’ve got a feeling

Miriam:
Don’t have to keep dreaming

Libba:
We’ll reach for the ceiling

Libba and Miriam now finally found themselves at the front platform, bringing themselves as close to the audience as possible. The Adabian fans, clearly enjoying their return in full force to WorldVision venues, cheered and waved their flags as Libba and Miriam once again began moving clockwise around each other, with the backing music gradually becoming more prominent starting from this point, accompanying their rising vocals. The camera changed once again to a bird’s eye view of both performers, capturing the full extent of their movements, the circles they made around each other, which a front view could not capture quite as clearly.

Libba and Miriam:
What even are we
Doing in this place?
Is there a reason?
Yeeee-eeesss

Now firmly at the center of the front platform, they stopped moving again, facing each other. They began to extend their fingers, seemingly poised to point at one another, but instead they both spun, turning their back on the audience and pointing at the LCD screen at the back – which had now changed once again to show the Himalayan mountains with Mount Everest at the very center – as they sang “Because, yes because the mountain is there”, before turning to look at one another again, pointing at each other four times, one for every “We”, at “And we dare”, “We declare”, “We believe”, and “We’re up to it”.

Libba and Miriam:
Because
Yes, because the mountain is there^{[nb 1]}

Miriam:
’Cause it’s there

Libba:
And we dare

Miriam:
We declare

Libba and Miriam:
We believe – we’re up to it

Note 1: Asked why he wanted to climb Mount Everest, George Mallory (1886-1924) is reported to have said, “Because it’s there.” Mallory and his climbing partner Andrew Irvine disappeared during their 1924 expedition to scale Everest. Mallory’s body was discovered in 1999; Irvine’s has not been found. Whether or not they had reached the summit – 29 years before Hillary and Tenzing’s famous first ascent – remains a subject of debate.

Then they swiveled around to the front, once again facing the masses. They put their hands over their hearts in unison, their voices becoming one, before extending their arms sideways – Libba’s left hand momentarily linking with Miriam’s right – and then turning them towards the audience, their hands pointing at some point in the crowd near to where the Adabian contingent was. As they reached “And even as the rocks fall/As the blizzard blows over us”, the large LCD screen at the back flashed three times in quick succession, accompanied by the harrowing sound of a snowstorm suddenly coming out of the venue’s sound system. When the flashes stopped, the crowd was treated to a scene of a blizzard blowing across the mountains in the screen, occasionally interspersed with the sound of falling rocks. At “Yes, I do sometimes feel it’s too much”, they pointed at themselves again, before pounding the stage floor with their right feet four times at “every step” and “every touch”.

Libba and Miriam:
Every little hurdle we’ll overcome
And you know well we’ll never succumb
And even as the rocks fall
As the blizzard blows over us
Really it’s not much of a fuss
Our goal’s the same, our sight is clear
Yes, I do sometimes feel it’s too much
But with every step and every touch
Of my axe on the rock, I believe
That we can

As Libba and Miriam reached the end of the previous stanza, twenty people filtered onto the primary stage behind them, ten entering from the audience’s left and ten from the right. Men and women, aged 14 to 50, of various faiths and complexions, dressed in button shirts of various colors – blue, red, white, black, depending on the wearer – they lined up just behind the center of the primary stage in two rows, the front row consisting of eight people, the back row twelve. At the moment of their entrance, Libba and Miriam turned behind and started towards the walkway, stopping at the border between the front platform and the walkway, looking towards the congregation at the other end of the walkway.

They were not a long-established organization. When Libba and Miriam expressed their desire to have people onstage who had gone through adversity in their lives, Benji proceeded to gather twenty people. Two of them were his friends; a few others were at least acquaintances of Benji, Kalam, Libba, and/or Miriam; the rest of them were complete strangers introduced to Benji by his associates who personally knew or at least had heard of those people. About half of those twenty people had not known anyone else in the group previously. The vast majority had no prior experience in the music industry and required at least some vocal coaching. The common bond between them was that they all had survived cancer. Benji christened them the Still I Rise Troupe.

Still I Rise Troupe:
Dear Libba and Miriam, this is Base Camp
On history you will leave your stamp
We’ll cheer you on, you’ll carry on
We know you’ll knock that bastard off^{[nb 2]}
When you come down we’ll leave the lights on

Miriam:
Oh you know we’ll do our best

Note 2: Returning from the summit after the first ascent of Everest in 1953, Edmund Hillary told fellow expedition member George Lowe, “Well, George, we knocked the bastard off.”

Libba and Miriam advanced through the walkway back to the primary stage, their eyes locked on the troupe as they continued singing to and pointing at the women, offering them encouragement as they embarked on their mission. Once Libba and Miriam found themselves back on the primary stage, the troupe split up, half of them making their way towards Libba’s side and the other to Miriam’s.

Still I Rise Troupe:
Libba, Miriam, we’re all with you
We know you two will carry through
In spite of everything
Nothing will stop you
Because the

Libba and Miriam were now at the center of the primary stage, looking at the screen, with the troupe evenly divided between those who were facing Libba’s side and those looking at Miriam’s side, flanking the women. As the noise of the blizzard continued filtering through the sound system, Libba turned sideways to encounter the troupe members by her side, with Miriam almost immediately following suit, turning to the troupe members by her own side. Both women now found themselves singing together with the troupe, face-to-face with the congregation, with the latter singing back confidently to the women, quoting their own words from earlier in the song. Libba and Miriam pointed at themselves at “What even are we”, turning momentarily to and pointing at the mountain at “To take this challenge”, and again at themselves at “I’ve got a feeling”. The troupe fixed their gaze at the women throughout this part, pointing back and forth at the women and at themselves for every “We” that they sang to emphasize that they were all in this together.

All (Still I Rise Troupe in italic parentheses):
What even are we (Because)
So small and fragile (Yes, because the mountain is there)
To take this challenge
So great to handle (‘Cause it’s there, and we dare, we declare)
I’ve got a feeling (We believe)
Don’t have to keep dreaming (We’re up to it)
Oh, what even are we? (Every little hurdle we’ll overcome)
To dare so greatly (And you know well we’ll never succumb)
Yes, aaah (Aaah)

Together, they all – Libba, Miriam, and the entire troupe – spun to face the audience as the song marched towards its conclusion. Libba and Miriam advanced slightly just past the center of the primary stage, as the troupe returned to their previous configuration of a front row of eight and back row of twelve. Their voices echoed across the Grand Centre, their power complemented by their number. Libba and Miriam briefly turned to point at each other at “As the blizzard blows over us”, then went back to looking at the audience for “Our goal’s the same, our sight is clear”, intending to convince the masses of the power and unity of their vision. Their voices became seemingly more vigorous with every line, their feet pounding the stage floor at “My feet firm on the rock”. Then they turned to face each other once again at “I do believe”, this time holding this position, holding eye contact as they assured each other, “We’ll get through this”.

All (Still I Rise Troupe in italic parentheses):
As the (As the)
As the blizzard blows over us (Over us)
Really it’s not much of a fuss (A fuss)
Our goal’s the same, our sight is clear (Is clear)
Yes, I do sometimes feel it’s too much
But with every step and every touch
Of my axe on the rock (The rock)
My feet firm on the rock (The rock)
I do believe
I believe (I believe)
We’ll get through this

Libba and Miriam spun around to face the troupe, smiling and nodding at them as if to say “Mission accomplished”. The troupe members smiled back at them. No matter how well they would do in the voting, they were sure they had done the best that they could. This was no disgrace of a performance.

Still I Rise Troupe:
Because
Yes, because the mountain is there

Libba:
Yeah!

Miriam:
Yes!

With Miriam’s final “Yes!”, the music stopped, all the LCD screens went black, and the color went out of the stage floor, eventually turning it into a wide expanse of black, just as it had been before this performance. For a few seconds after the sound of music had ceased echoing across the venue, Libba, Miriam, and the troupe stood still – Libba and Miriam facing the troupe, and vice versa – taking in the silence, as it dawned on them that all their weeks and months of hard work had reached their culmination. That silence would not last long, quickly interrupted by the sound of cheers and applause, starting from the Adabians in the crowd and spreading to the rest of the audience. Libba and Miriam turned to the audience again, so lost for words that they themselves clapped for the audience. Eventually Libba managed to mouth a rather faint “Thank you” to cheers from the crowd, after which she repeated “Thank you” in a slightly louder voice to even louder cheers. The troupe then began marching for the exit, followed by Libba and Miriam. Once they all had exited the stage was once clothed in darkness, and the audience now waited for the next act.

by **Elejamie** » Mon Jun 14, 2021 6:40 pm

15. Elejamie

The Lads and the Lasses - Your Song

Tune: !!! - One Girl/One Boy

From left to right: Rebecca Larsen (keyboards, backing vocals), Jennifer Wallace (lead guitar, backing vocals), Paul Larsen (rhythm guitar, backing vocals), Savannah Smith (bass, female lead vocals), Franco Cauchi (male lead vocals, production, “assorted instruments”), Dave McKenzie (drums, drum machine programming, tea and coffee maker)

The Lads and the Lasses were formed out of the ashes of two different Cross Plaza bands. The first, Moto, was made up of Rebecca Larsen (born 12th August 1990) on keyboards, Jennifer Wallace (born 9th July, 1990) on guitar and Savannah Smith (born 10th May, 1990) and played in the standard Cross Plaza Scene style, a sub-subgenre of alternative rock that was more electronic and dancey with plenty of emphasis on bass and was named after the. The band had lasted from 2011-2014 and broke up because lead singer Alison Monroe decided to leave the band mutually to pursue a solo career. The other band was called 27 and was just simply a straightforward alt-rock band. They were made up of Dave McKenzie (born 12th June, 1990) on drums and Rebecca’s older brother Paul Larsen (born 6th May, 1988) on guitar, as well as another person on bass and lead vocals. While 27 were somewhat more successful, even getting a hit with the song “Hold Tight”, Dave and Paul couldn’t agree with the other person and they all just decided to call it quits the same year as Moto did.

After debating on whether or not he should give up music, Paul instead asked his sister if he and Dave can play with her and her friends. She was OK with it and they had a couple of jam sessions the following weekend. Realising that they all had a good vibe going with one another, they decided to form a supergroup out of the whole affair, which they dubbed “The Lads and the Lasses” because it was the first thing that came to everyone’s mind. Shortly after the band was formed, however, the Larsen siblings left the band: Rebecca because she had gone into labour and Paul because he wanted to work towards his degree just so he’d have something to fall on just in case the band didn’t pan out. Fortunately, their old neighbour Ari Berman (a fairly respected guitarist in the underground scene) offered to step in as a rhythm guitarist while they decided they could just use a session keyboardist when it came time to use the studio. Fortunately, as 27 were able to sign for a label shortly after they were formed, Dave decided to use his connections there to sign the new band and they got to work on their debut album.

While they were working on that album, they made a surprising hire in Franco Cauchi (born 29th September, 1991), a session musician who had arrived from Rabat to study at the local university. While she wasn’t 100% sure he would be a perfect fit with the style they were going with, she still enjoyed his singing and asked him if he could perform some vocals with her band. Although he was suspicious at first, he agreed to it and sang on a few of their tracks. At first he didn’t think much of it and just went on his way afterwards but when he picked up a copy of their self-titled debut album, which was released in March 2015, not only did he see his name credited on the album but he also found out that they kept his vocals. As a result of this, he got back in touch with them and joined the band full-time. It turned out to be a bit of good timing because they weren’t really able to find a good male singer to join them in their tour to support the abum.

Shortly after the tour came to an end, Ari Berman decided to leave the band. While he didn’t go into much detail about it other than the fact that it was a mutual split and both parties are on good terms with one another, the fact that he ended up joining Imogene shortly afterwards as their new guitarist might’ve played a hand in his decision to leave. It wasn’t all doom and gloom because a) the band were taking a break from recording music so him leaving the band didn’t affect anything major and b) Rebecca announced that she would be returning to the band when they get around to their next release. Indeed, that’s what she did a month and a half later when they got back together to rehearse and then work on their second album. Although Paul was still unable to come back full time, he would still chip in every now and then whenever he was available while Jennifer would provide most of the rhythm guitars in addition to her usual lead guitar. The resulting album, titled “II”, was released in April 2017 and received much more positive reviews, with some critics saying it improved on their debut. This was also followed by a tour, with a number of guest musicians stepping in at each location to provide rhythm guitar.

The good news was that Paul had finally graduated from university with a degree in mathematics in 2019, meaning that he was able to fully rejoin the band. The bad news was that, shortly before they were to return to the studio, Savannah had accidentally fractured her wrist in a fall while she was redecorating her house. However, she was fortunate enough to have recorded some bass lines that she was going to use for the album and half of those ended up appearing on the album itself while the other half was re-recorded by Naomi Hamanaka (better known as Kyandii), who also provided some new basslines with Savannah’s blessing and direction. Regardless, the album, Battle of the Sexes, was released on time for September 2019 where it received critical praise and was a candidate for many a critic’s top ten list. The tour they went on was also successful and they were planning to go international but the coronavirus pandemic completely scuppered those plans for the time being. Regardless, they have released a couple of EPs (the first simply being called EP was released in May 2020 and the second, called Long Distance came out in October the same year) and are currently making their fourth album Pandemonium, which’ll be released in late August and if all goes well it should be the first album from the band to have all the members actually take part in the recording.

Some random facts now. Despite having some good chemistry together to the point where fans ship them and outsiders think they’re actually dating, Savannah and Franco aren’t actually in a relationship and indeed never have been; she’s currently engaged to Dave while Franco was in a brief relationship with Jennifer but at the moment he’s in a relationship with WV81 and WV84 entrant Jacqueline Kleinschmidt, having met her while they were both doing a radio show at the start of the year. Speaking of Jennifer, she’s openly bisexual and is currently married to Natalia Vásquez, an artist who regular does the band’s artwork. And, despite the stereotypes about drummers, Dave McKenzie graduated summa cum laude in his physics class in university and would’ve gone on to get his Master’s or Doctorate had he not decided to stick with music. Indeed, not only does he use his knowledge to get the best conditions for his drumming but he also uses it to make the perfect cuppa as well when the band aren't in the recording booth.

In the lead-up to the last competition, Elejamie were kind of at a low point. Although Kyandii’s song Lotus received a record-breaking total score of 172 points in the ElejamieVision national final (49 with the international juries and 123 with the domestic televote), the song failed to score a single set of 12 points at the contest. It failed to get even a single set of 10 points as well, only managing 8s from a number of different countries. It still managed to finish 10th with the juries, with the televote pushing it up to an overall 9th place. Despite the top ten result, it was still considered enough of a dud for ETV to pull their planned WV89 entry out of fears that the next tune would continue the rut the broadcaster was in. It also didn’t help that there were some allegations of suspected tactical voting in the previous contest that were ultimately dismissed due to a lack of concrete evidence. The song was replaced by I’ve Been Waiting by former X Factor entrant Aribella who worked alongside former WorldVision entrant Patricio Esposito to make the song. Despite it being in the top three at half-time, by the end of the jury vote it had tanked even harder with a 12th place finish, the first time the country had finished outside of the top ten with the juries since the introduction of separate jury votes and televote; it would go on to finish 14th overall. Regardless of whether or not it failed to hit the mark because it didn’t appeal to the juries, the lyrics weren’t that good or the fact that Esposito was a fairly polarising figure due to his comments about the competition, WorldVisions 88 and 89 were both demoralising events that strengthened the calls for the nation to just leave the competition altogether.

Not to be deterred by this, Elejamian Broadcasting (which owns both ETV and its radio equivalents) announced that the nation would be competing at the 90th edition, with ElejamieVision returning yet again despite concerns abouts its effectiveness and calls for either a reboot or a return to internal selection. Furthermore, they had also announced that they’re planning on submitting a bid to host said contest after spending months going through different city bids and narrowing them down. Avon ended up being the lucky winner out of all of them, with the contest ultimately being held at the Riverside Arena right on the bank of the River Garpu which separates Avon and Coventry. Hopes were high for a good show and that being on home soil would be enough to elevate them to a good position.

And that’s what they got. Despite the withdrawal of some notable nations such as Polkopia, Antahbrantahstan, Carrelie, Talvezout and Belgaam, to name a few, there were some returning countries as well, namely Mister X (who had returned after a rather controversial disqualification and mandatory break), Nekoni, Llalta and Eljida. The contest even saw the debut of the newly formed Alezian Union, who fortunately inherited the results of the more successful North as opposed to the what-the-hell-is-this results the South got. As for the Elejamian entrant in that edition? None other than Emmanuel Salvador Agoncillo, best known as Manoy, who performed his song Underbelly, a song that caused a bit of controversy locally but was more warmly received around the multiverse. Despite having a minimalist performance to the point where he, his backing dancers and the entire stage performance only used two colours, it was still among the favourites to win the contest. Things were looking up for ETV, especially when it was revealed that Malta Comino Gozoan entrant Brooke Galea, another favourite to take home the crown, had some Elejamian ancestry which the media definitely picked up on.

Once all of the songs had been performed, the voting commenced and everyone was bracing themselves to see if this was enough to break their small run of bad luck. And, fortunately, it was as Manoy had picked up a set of 12 right from the get-go from Norrp. In fact, his song would go on to pick up two more sets of 12s that night, one from Malta Comino Gozo and another from Hafamarimët. By the halfway mark, he was in second place with 70 points, only six points behind Malta Comino Gozo but fourteen points clear of Pemecutan. While the second half proved to be a bit of a disappointment, as he didn’t pick up any more 12s and picked up only 21 (!) points, by the end of the jury votes he was still in a very comfortable 5th place with 91 total points trailing behind Llalta, Pemecutan, Malta Comino Gozo and jury winners Britonisea but only ahead of the Alezian Union by a single point. Luckily, he managed to pick up a decent amount of points from the televote, 82 points to be precise, to remain in 5th with a grand total of 173 points. Couple that with Nekoni and Mister X receiving good scores upon their respective returns to the competition, Waisnor finally breaking the top ten for the first time, Pemecutan not only breaking the top ten as well but also claiming their first ever podium spot with that bronze medal, Malta Comino Gozo claiming the first WorldVision double since Polkopia in 75-76 (and, due to Brooke Galea’s ancestry, Elejamians jokingly claiming that they’ve finally won the contest thanks to a technicality) and the Alezian Union getting a top ten spot to round off their first contest as a unified nation and you’ve got a contest that won’t be forgotten in a hurry. At least it was better than the last time my nation came fifth.

Spurred on by this good result and the good show they’ve provided, ETV announced that the second placed act from ElejamieVision 90 would represent the nation at the 91st edition as planned. The song, Come On/Join Us by The Humanoids, had originally finished joint second with the juries in the aforementioned competition, receiving 5s from Beepee, Talvezout, the Achaean Republic and the Alezian Union and receiving 1s from Polkopia, Caryton and Llalta. In fact, it was about to finish second proper with the juries before the Kalosian jurors gave it a 4 and gave The Lads and the Lasses’ song Your Song a 5, making them both tie with 41 points. While the 77 points that The Humanoids had gotten in the domestic televote (which they ended up winning as a result) was enough to break it, they pulled out shortly before they were to fly off to Haufenburg due to bassist/vocalist/keyboardist Brian Linehan fracturing his leg in a motorbike accident and the band refusing to go without him. As a result, The Lads and the Lasses took the trip over to Carrelie instead.

Upon completing their mandatory seven day quarantine, as expected for any citizen who leaves Elejamie, they just spent the days doing whatever. Whether it be hopping from one interesting restaurant serving up some local cuisine to another or going from bar to bar trying some of the local tipple, they still had a whale of a time. Even more so when they learnt about the history of the place, which they figured could give them ideas for future projects. While there was still a bit of homesickness, especially since they weren’t able to find that many products from home, they were still able to take in some of the local entertainment and even attend a few sports games just so they didn’t feel left out. Regardless, they still kept themselves occupied in between rehearsals so it wasn’t a bad little holiday for them really.

When he was asked what the song was about in an AMA for a popular website, male singer Franco Cauchi replied “To put the song simply, it’s about two former lovers having a chance meeting on the street, catching up with old times and seeing if they could regain that spark. However, it was quite a tumultuous relationship so she’s a bit, shall we say, “iffy” on whether or not to restart their relationship. Will they get back together, will they carry on going their separate ways? I’d say listen to the tune and you shall find the answer. :P”

Blue - Franco
Purple - Entire band
Pink - Savannah

Once the postcard came to an end, we’re greeted with a distant shot of the stage and a caption at the bottom of the screen saying the country along with all the info about the song, along with the audience cheering for the act that they were about to see. As the camera slowly zoomed closer to the stage, we could make out more of the details. There was just one band member on the stage sitting right behind their drum kit, the backing screens were turned off for the moment and there were four microphone stands, although only three of them actually had microphones in them. Presumably the drummer’s bandmates were all backstage and waiting for their cues to come on. They also seemed to be a bit calm, either because they just thought of it as just a normal concert except they had to perform only the one song or they were able to put all of their fears to one side. A bit easier said than done due to the fact that not only were they following up from Manoy’s fifth place finish on home soil but they were also hoping to get back to back top ten finishes, something that had eluded the Elejamian acts throughout the 80s. Either way, they were confident, which was the best thing to be in this situation. The lights dimmed and the state was set, if a bit more barren than usual.

And then the song started. There was a bit of a guitar flourish before the backing screen turned on. It showed a simple tie-dye pattern with different shades of blue, purple and green and the actual pattern itself changed by swirling around the screens, splitting apart or fusing back together. There was also some white Trebuchet MS text on top of this, which simply read “THE LADS AND THE LASSES ARE:”. A couple of seconds later, the text on the screen changed to “DAVE MCKENZIE” with a down arrow appearing over the drummer’s head. Shortly after this, the text changed again to “PAUL LARSEN” as one of the guitarists walked onto the stage. Then it changed to “SAVANNAH SMITH'' as the bassist came onto the stage. A couple of seconds afterwards it changed to “REBECCA LARSEN” as the keyboardist came onto the stage with her instrument in one hand and the stand for it in the other. The next name to show up was “JENNIFER WALLACE” as the other guitarist showed up on stage to play the lead parts. And, finally, there was something a bit different for the last person, as it said “AND FRANCO CAUCHI”, along with a small GIF of the person in question waving and an arrow pointing at him and a small caption that said “THIS GUY”. The text disappeared shortly afterwards before there was a quick flash of text on the screen in the same font and colour that said “ENJOY”.

By the time that was over, Franco Cauchi himself walked onto the stage resulting in a small cheer from the audience. Indeed, when the camera picked up the first bit of him appearing on the stage it immediately cut to a shot of him from the front walking onto the stage with a spring in his step, with the camera getting closer to him as if the cameraman was actually physically moving closer (because he was). Franco was wearing a blue unbuttoned shirt, a plain white t-shirt underneath, a pair of blue Bermuda shorts and a pair of black and white boat shoes and, in one hand, he was holding the microphone in which he was singing into and, in the other, he was holding a pink headless tambourine which he was shaking around. Halfway through the verse the camera changed to a different shot as he put the microphone into the empty stand. He stood there for the rest of the verse, although he carried on shaking his tambourine and he danced on the spot a little bit to liven things up. Towards the end of the seventh line he pointed towards the audience and, for the eighth, we then cut to a shot of Jennifer and Paul singing the line into their microphones while they played their instruments; she was wearing a short green and white summer dress with trainers in the same colour and her hair tied up in a ponytail, whereas he was wearing a black shirt that had the top two buttons undone along with a pair of blue jeans and black shoes. They both had the same model of guitar but hers had a green body and a white pickguard while his left-handed guitar was just all black. For the ninth line, we then return to a shot of Franco singing into the microphone. He had stopped dancing and, while he was hunched over a little bit, he was still moving his upper body back and forth in time with the beat. But he was still shaking his tambourine and having a blast doing so. Once he finished his verse, he moved over to one side of the microphone and smiled a little bit as he saw Savannah walk over to him so they could sing the chorus together.

Well I don’t know what to say
I was walking down the street
And then I saw you come my way
I was lost and didn’t know what to do
It’s been years since we last talked
Seeing you has made me start
Flashing back to the time where you
Stormed out of my life
Now I just want to make things better
Are you free to talk to me?

Once Savannah was in the right spot she started to sing the chorus with Franco and the rest of the band. She was wearing a white tank top, a pair of blue jeans with a brown belt and a pair of black boots that had a flat sole and went a quarter of the way up her shin, as well as a black wristband on her right arm. She had her hair up like she did in the picture in the Artist Background spoiler and her bass guitar was purple, although it did have some black highlights especially around the outside of the instrument. As the two sang into the microphone in the same way two 50s teenagers would share a milkshake the camera span around them. Paul, Jennifer and Rebecca were providing backing vocals while Dave just sat in his seat and drummed away; this wasn’t just because drumming and singing at the same time would be absolute hell on your back but also because Dave openly admitted that he’s not a good singer. When it came to the second half of the chorus, the camera remained still but went back and forth between close-up shots of the two moving their shoulders back and forth while they were singing and shots of their bandmates providing their backup vocals while they were playing their instruments. At the end of the chorus, Franco walked away from the microphone because it was Savannah’s verse.

And as we wait in line
I’ll try to find the time
To make my amends
I wanna make up
I know I’ve done you wrong
But I’ll play you your song
To make up for what
I have done

And so we get to Savannah’s verse. As Franco headed towards the back of the stage shaking his tambourine, she moved around until she was standing right in front of the microphone. When she was in the right position she immediately started singing and the camera pretty much concentrated on her, resorting to a number of different shots from different distances, a couple of pans and even a small tilt to mix things up. After the “happened” in the fourth line, there was a quick cut to Rebecca who was playing the keyboards while Franco kept dancing and playing his tambourine in front of her. She was wearing a dark blue sweater that had thin white stripes with a white polo shirt underneath, a blue skirt that goes down just below her knees and a pair of white socks and matching shoes. She was wearing her usual pair of black glasses and her hair, which would go down past her shoulders should she stand up straight, was curled neatly even if it was thanks to a hairdresser. Once it was Savannah’s turn to say “Yeah” in the same line, the camera returned to her and carried on with the business it was doing earlier. At the start of the last line, the camera was still concentrated on her but in the background Franco stopped shaking his tambourine and instead moved it to his other hand, simply because the first hand was starting to get tired. As the line carried on, Savannah moved to where she was just before the start of the verse and Franco moved to where he was earlier, as it was time for the chorus again.

Well I was taken by surprise
I walking down the street when I
Saw you right before my eyes
Never expected this, glad it happened, yeah
Then I start to remember
All the hurt that you had created
With all of your lies and all of your BS
But all of that was so long ago
And it was still nice catching up on old times

And so it was time for the chorus, or more accurately the chorus but from Savannah’s character’s point of view. Once again, she and Franco stood in their spots and played their instruments while the camera spun around them. Indeed, much like last time, the camera also picked up everyone but Dave providing the backing vocals. Once the cameraman essentially did a 360° of the two, he stepped back a bit while the camera cut over to another shot of the two from the side. They were leaning closer to the mic and still had that “two lovers sharing a milkshake” energy that they had the last time they did this. They were both also hunched forwards and moving their shoulders back and forth as they were singing and playing their instruments. The camera then cut to a different angle of them doing the same thing before there was a quick cut over to Dave doing a drum fill. He was wearing a long-sleeved and fully unbuttoned white shirt with a plain black t-shirt underneath, a pair of black cargo pants and a pair of black shoes; he was also sitting behind a clear drum kit, although the shells of it had a yellow-ish tint to it and the skins themselves had a grey tint as well.

And as we wait in line
He’ll try to find the time
To make his amends
He wants to make up
He’s sorry for what he’s done
And though he’s playing my song
It won’t fix his sins
No it won’t

And then it was time for the next verse. Savannah moved back to the general area of where she was at the start of the song, where she just walked around from side to side and in a small circle. Franco, meanwhile, walked in front of the microphone and slowly took it out of the stand while he started to sing the verse; he originally planned to do this bit a bit quicker but at the very first rehearsal he accidentally knocked the stand over and caused the whole thing to fall onto the floor, so you could see why he wanted to be a bit more careful. Either way, once he was holding onto the microphone, he turned to face Savannah’s general direction and kept on singing. The camera kept a profile shot of him at first before the cameraman moved around so that he was in front of him. There we could see a look of longing and sadness on his face, almost as if he wanted to fix things up but wasn’t able to. Exactly what his character in the song would be feeling. Towards the end of the verse he did a small shrug, said the last line and turned around to walk away.

But I guess that’s that
It was nice to talk to you
I’d love to talk more but
It seems like you have moved on
And truth be told so have I
As much as I would like to change the past
But I guess we can’t do anything but
Say goodbye, say goodbye, say goodbye

And then it was time for the instrumental break. The camera was still concentrated on Franco as he walked off in the opposite direction of the camera, which picked up him switching which hand was holding what. Once he switched hands he shook his hips from side to side while he waved the tambourine up and down. In fact, he even timed it right so he made it look like he was smacking himself with the tambourine. After a few seconds of this we then cut to different shots of the band playing their instrument. Each shot lasted only a few seconds each and only concentrated on an individual member of the group having some fun while they played their instruments but it still gave the viewers back home a good idea of what the atmosphere was like on stage.

Eventually it was time for another modified version of the chorus again. The backing screens turned off and bright white lights shone down on each of the band members. The camera quickly cut to above Rebecca and it slowly tilted down to show her standing completely still while she was playing her keyboard. A few seconds after that we then cut to Jennifer strumming her guitar strings, albeit with breaks of a few seconds after each strum. After that, we then cut back over to Franco, who started to sing his half of the chorus as he walked over to Savannah, with the camera following him. When he was close enough he held the microphone right in her face for her to sing into. As she sang into it, Franco walked backwards and over to the where the empty mic stand is so he can put the microphone in; the camera also followed them there.

And as we leave the line
I wish I had more time
To make my amends
Still wanna make up
He’s sorry for what he’s done
And though he’s played my song
I’ll keep moving on
And hope he does too~

After another drum fill by Dave, we then get a wide shot of the stage as not only did it erupt in light but also the backing screens turned back on again, showing the same visuals they did earlier in the show. There was a sweeping pan of the stage, going from left to right, which showed the entire band grooving along on the spot while they were playing their instruments or, once again excluding Dave, providing some vocals. The camera once again cut to Savannah and Franco singing into the same mic while they were shuffling their shoulders back and forth. Unlike the last time they did it, they were a bit closer to each other and they weren’t hunched over. They were also both smiling at each other, even though it wasn’t really a happy chorus or indeed a happy song. The camera then did a 360° spin of the two singers, although again the difference here was that it was in the second half of the chorus instead of the first half, before it returned to where it was just in time for the song to end.

And as we leave the line
I wish I had more time
To make my amends
Still wanna make up
He’s sorry for what he’s done
And though he’s played my song
I’ll keep moving on
And hope he does too~

Shortly after the last guitar flourish, the band pulled a few poses to end the song. The audience applauded and the lights dimmed as they kept their poses, although the lights turned on shortly afterwards and they were still in the same positions. After a quick cut to the audience waving their flags and signs around, as well as another cut to a different group of supporters cheering on the entry they had just seen, we then cut back to the stage where the band were waving to the crowd and taking a bow. Franco then put his tambourine onto the ground and then said “Thank you! Gracias! Grazzi!”

Savannah then walked up to one of the microphones and said her bit as well. In an attempt to try and get some love from the host nation, she decided to say a phrase in their native language. It was a bit slow, stilted and clearly not fluent but considering that it was just a simple phrase thanking the audience and telling them to enjoy the show. “Çéçère! Méhaúe ve spéctäclë.”

After one last wave everyone except for Dave picked up their instruments and left the stage. This wasn’t to make it easier for the stagehands, as is a common tradition with Elejamian representatives at the competition, but rather because they carried them onto the stage when they began the song so it would’ve been fair to take them off when they were finished with their song. While the stage was being cleared and set up for the next act, the very talented Ruslan from Rhim Flavezztowland with his song "Kingdom", the band put their equipment into storage for the time being and headed back to their booth. There was no doubt that it was going to be a long night. But would it be a long night with a huge reward at the end? Or a long night of nothing but disappointment? That remained to be seen...

by **Rhim Flavezztowland** » Mon Jun 14, 2021 7:13 pm

16. Rhim Flavezztowland
"Kingdom" by Ruslan
(RL tune: "Mama" by EXO-K)

Ruslan

By the time Rhim Flavezztowland's postcard had ended, the stage in Haufenburg had already been prepared for Ruslan's performance for the country, with 6 Greek column props having been placed around its center in a circular arrangement for the performance and Ruslan standing exactly at the center of the stage.

A few moments before the tune had even started playing, all the stage lights had been dimmed, a lot of theatrical fog was being used around the stage, and the rear LED screens began showing nighttime thunderstorm graphics with a few sound effects of church bells and thunder playing from the speakers to boot; when the tune started to be played, some prerecorded backing vocals that were done by a choir were played along with it while the sound effects continued to be played.

(What if, what if
The seeds of our lives, seeds of our lives
Never, ever
Grow into trees of leaves green?)

As the prerecorded backing vocals were repeated within the tune for a second time, Ruslan started singing in spite of the dimmed lights.

(What if, what if
The seeds of our lives, seeds of our lives)
Even all the greatest will fall in some way someday
(Never, ever
Grow into trees of leaves green?)
But then somewhere brand new life is sprouting up like a seed, oh...

After a few seconds of Ruslan singing the "oh..." in the lyrics at a male alto pitch, the lights and ring-shaped LED screen above the stage were both lit up to a bright white color, and all the sound effects were turned off; Ruslan then walked up to the front platform and the rear LED screens then went black as he sang the first verse.

Many scores of years and decades ago
When everything was new and nothing old
Everybody really had a reason without a fool's gold
Now that everything has changed, it ain't the same
Everybody's warring just to blame
Barely anyone's a well-hearted man, what a shame

Another set of prerecorded backing vocals was then played within the tune as Ruslan sang the pre-chorus.

Now that nobody can be spared from trials and tribulations
Where did all our hearts of gold go?
Please answer, my lord!

Ruslan then sang the chorus with the rearmost LED screen showing nighttime thunderstorm graphics again.

Nothing is the same from the age of hearts of pure gold
All the new seeds of our lives grow into trees of evil
Is there any way to end the grand feud within?
When will our kingdom be the way it used to again?
Where are you, my lord, my lord?

Aqua jets were then ejected and the rearmost LED screen then went blank again as Ruslan started singing the second verse.

People take advantage of each other, they don't really give a damn thought
About how much it can hurt the things they ain't aware of
Why did all the loving and the warmth of the ages gone by have to be so fragile
That it had to crash into pieces?
In these desolate lands where only evil grows
Who are the very few of the pure-hearted left
Among all those souls?

Another set of prerecorded backing vocals was then played within the tune as Ruslan sang the pre-chorus.

Now that nobody can be spared from trials and tribulations
Where did all our hearts of gold go?
Please answer, my lord!

Ruslan then sang the chorus with the rearmost LED screen showing nighttime thunderstorm graphics again.

Nothing is the same from the age when everything was gold
All the new seeds of our lives grow into trees of evil
Is there any way to end the grand feud within?
When will this kingdom be the way it used to again?
Where are you, my lord, my lord?

All the LED screens then started flashing between black and white with pyrotechnics being used as the transition between the song's chorus and bridge had begun.

(Drop it)

After a few seconds of an instrumental, Ruslan began singing the song's bridge with a few seconds in between lines.

Not a single soul left without the greed unsurmountably extreme
When will all this inner feud between us all end for good like we all dream?

(Yeah...!)[/box]

When Ruslan sang the "yeah...!" in the bridge, pyrotechnics and aqua jets were used again; the LED screens then returned to showing nighttime thunderstorm graphics, with prerecorded backing vocals being played again and Ruslan singing the third verse.

(What if, what if
The seeds of our lives, seeds of our lives
Never, ever
Grow into trees of leaves green?)
Seasons change and go
But if our lives sprout under wicked shadows
How can everything be the way it was before?
Hoping someday that these lands of ours will be purified
And the days of perfect hearts will return...

Ruslan then sang the chorus one last time with the LED screens still showing nighttime thunderstorm graphics.

Nothing is the same from the age of hearts of pure gold
All the new seeds of our lives grow into trees of evil
Is there any way to end the grand feud within?
When will our kingdom be the way it used to again?
Where are you, my lord, my lord?

(What if, what if
The seeds of our lives, seeds of our lives
Never, ever
Grow into trees of leaves green?)

by **Belgaam** » Mon Jun 14, 2021 11:20 pm

by **Alinghi Federal-Democratic Republic** » Tue Jun 15, 2021 2:43 am

18. FEDERAL-DEMOCRATIC REPUBLIC of ALINGHI
DEMOKRATICHE BUNDESREPUBLIk von ALINGHI
REPUBBLICA FEDERAL-DEMOCRATICA d'ALINGHI
REPUBLIQUE FEDERAL-DEMOCRATIQUE du ALINGHI
ФЕДЕРАЛЬНАЯ ДЕМОКРАТИЧЕСКАЯ РЕСПУБЛИКА АЛИНГИ (FEDERAL'NAYA DEMOKRATICHESKAYA RESPUBLIKA ALINGHI)
FEDERACIA DEMOKRATO RESPUBLIKO do ALINGHI
REPÚBLICA FEDERAL-DEMOCRÁTICA de ALINGHI
tune: https://www.youtube.com/watch?v=JNfEpmVP7Zc

Artist: The Apocalipse
Song: Everyone want survive

BACKGROUND

Composed from left to right by: Van Hostel Nelle Hazbib, Leipan Notte Jakhar, Miller Hillestein Druhghagz, L'ebbe Antonio Hehgzin

The apocalypse are a band formed circa 1 year ago, ad become a bit popular among the Confederation, the theme of their song spaces from the actual social critics, to the bad side of human nature, or themes as this song about an apocalypses and post-apocalyptic world themes.

The song won the AlinghiVision Song Contest, the Alingan National Selection Festival where the 44 canton compete with a format similar to WorldVision, as representative of canton Horgen, the winning of the competition make them more famous across the Confederation, and they will wish to make a good result at the WorldVision Song Contest.

PERFORMANCE

The stage is colored all by black and red, on the screen are show a fire that burn a devastated city and red/black colored smoke that are risen from the ruins.

The song begin with an intro of the performers that scream "uh", and the performers that clap their hands above the head.

The guitarist begin to play is guitar, when the singer arrives and the guitarist going behind, an the camera show the singer that begin to sing

Escaping from the town
Anarchy is reigning
Social Order by now doesn't exist
Escaping Humanity

The camera for a moment show the keyboardist wan benin to play and after the camera was turned again to the singer
The stage colors became ore bright, with red tone more accentuate

Running trough the road in fire
with terror in the hearth
keep you rifle and get ready to kill
eat or to be eaten
The sky is red by fire and blood
and, nobody will save you
prepare to run or die.

at the last line the singer make sing of cutting his neck with the hand.

the tones of stage's color become more dark

This is your mission
run from the mob
Everyone want survive
no matter that is the cost.
This is your mission
run from the mob
Everyone want survive
no matter that is the cost.

Cries of desperation are all around
constantly as a broken disk
Going forward ever
and don't turn you head behind

The stage colors became ore bright, with red tone more accentuate

Running trough the road in fire
with terror in the hearth
keep you rifle and get ready to kill
eat or to be eaten
The sky is red by fire and blood
and, nobody will save you
prepare to run or die.

at the last line the singer make sing of cutting his neck with the hand.

This is your mission
run from the mob
Everyone want survive
no matter that is the cost.
This is your mission
run from the mob
Everyone want survive
no matter that is the cost.

The camera turn to the keyboardist what play the keyboard interlude.

The camera turn again to the general stage. Suddently the become more dark, including the screen, near that you can't see the performers, with only a light what show the permormers face and the singers when at low voices sing the nest four lines, at next four line, the "lights" return and the screen return the apocalypse theme.

This is your mission
run from the mob
Everyone want survive
no matter that is the cost.
This is your mission
run from the mob
Everyone want survive
no matter that is the cost.

by **Nekoni** » Tue Jun 15, 2021 3:23 am

by **Malta Comino Gozo** » Tue Jun 15, 2021 3:31 am

Song Title:Reckless 24/7
Artist: Unnamed Static
Lyrics and Music: Joe Doran, Elliot Buttigieg and Nathan Aperitivo
Language: English
Why Don't We - Fallin' (Adrenaline)

From Left to right Joe, Christopher, Lawrenz, Manuel and Brody

The nervous MCG team sat there biting their lips and holding hands. They had led all the way through until the last jury. Could they regain the top position again? Just like before country after country was announced. Her heart pounded, and her hands began to feel clammy against her bouncing knee. We were down to the top 10, then top 5! Malta Comino Gozo was yet to be announced. Suddenly Britonisea who was first received their televote score in second pushing them to first. The Cameras split between the 2 nations as both sat there anxiously. It was one of them. Then the hosts cruelly played out the animation of Malta Comino Gozo's televoting score in silence as the audience cheered the two nations on and roared with screams impatiently waiting to see who would win! They watched and saw MCG's name move to the top of the board! Brooke couldn't look away. Her eyes are unable to comprehend what was happening on the screen above her. "And the winner is... with 242 points, MALTA COMINO GOZO!" She burst with excitement, audible loud cheers erupt from the crowd and the greenroom as Brooke burst into tears her delegation bouncing around climbing on the sofas. Brooke is mobbed by a group of dancers before she shouts with joy! After some huge celebrations, Brooke carrying her large MCG flag makes her way to the stage to collect her trophy from last years winners, 5ive! There is a shot of the audience before we cut to a stage view. The MCG delegation now on the stage. Brooke breaks down into tears again being presented her trophy by her actual friends 5ive from back home. The crowd goes wild and the stage is full of the MCG delegation waving flags and taking videos. The hosts approach Brooke. "How does it feel?" they ask. "I can't believe it!!! "Brooke gasps for air and wafts her face with excitement. "YESSSS! Thank you all so much!! Thank you! Grazzi! The crowd erupts again. Malta Comino Gozo had another victory! Brooke had done MCG and Elejamie proud.

It was an unexpected victory, to say the least. How had little old Malta Comino Gozo done it again?! Their win, their 3rd win in the contest and their first consecutive win stunned the public back home and abroad. Malta Comino Gozo now had a very good track record with 12 top ten placings out of 15! The nation, the smallest competing nation in the contest was punching high above its weight producing formidable songs and singers, not bad from a country with less than 500 thousand people.

Brooke returned home to heroes welcome with thousands turning out at the airport ready to bombard her for selfies. She was showered with champagne and confetti as she walked through the airport gate. Brooke was loving it. Her winning song charted at number 1 in MCG for 7 weeks as well as number one in Pemecutan, the only country to award Malta Comino Gozo the highest score. She achieved top 10 charts success in Elejamie, Nekoni, Syrche and Northern Beepee. Brooke would perform her song live on MCG1 television almost every week after the contest. She would also perform at several events. Winning had catapulted into even more fame. She was famous worldwide.

Unnamed Static features Guitarist Joe Doran, 20, Guitarist Christopher Lionetti, 22, Keyboard player Lawrenz Micallef, 23, Drummer Manuel Grech, 22 and Bassist Brody Calleja, 22. The boyband has deep roots in music and combines a very powerful and melodic sound with a fresh new touch, unlike any other.

Before they formed, most members of the band already had fans. Brody and Chris were live-streaming their home performances on platforms like Instagram, sometimes for audiences as large as 50,000 at once who would tune in to watch. Manuel posted a cover of Nathan Aperitivo “Fire” on Instagram that earned 10 million views when cross-posted to Facebook. Joe covered "Simeon" for his personal YouTube page. Lawrenz, who plays several instruments, was the only one to gain his platform from national television when he placed second in the popular singing show Malta Comino Gozo Muzika. In September 2016, the boys who all attended the same college met up at an after school club for music where they officially formed Unnamed Static. Over the years they have become one of Malta Comino Gozo's biggest boybands and signed for "Citytell" records in 2019 and have gone on to have two Numbers one single at home as well as five top tens worldwide.

The band's management team had been in talks with the boyband singing at Worldivision and the boys were delighted. Their management team and MCG1 agreed and they were internally selected. In May 2021, the band dropped their third album "Unlimted" It was a 10 track album featuring their Worldvision Single "Reckless" amongst many other songs. Reckless debuted at number 5 in the Malta Comino Gozo single charts before reaching number one, three weeks later.

Reckless is about a relationship. Romantic relationships are not as simple as some women are led to believe. For once again we are treated to the tale of a romance featuring a man who promised to forever be faithful to his lady with the latter actually being naïve enough to take him at his word. And yet again the man disappoints the woman by, contrary to his promises, going on to date another woman regardless. The song is sung from the woman's perspective for most of the song except the pre-chorus and chorus which is about the man's reckless behaviour.

Host city Haufenburg is an ancient and largest city situated along the Main river or Métïne in Carrelie. Although it’s mostly been known as the beating heart of Carrelie's financial sector, Haufenburg – with its fresh collection of sophisticated bars and Michelin-star eateries springing up all over the city – is slowly emerging as a new trendy travel destination. Unlike many other Carreliean cities, Haufenburg was badly bombed during the war, the reason why it has since been rebuilt with new buildings and modern skyscrapers. This also explains the interesting blend of restored Carrelian architecture and the modern-urban skyline that the city has today.

The MCG HoD stayed at the British-inspired Hotel Waldorf with its luxurious grand restaurant. The hotel room was bathed in the hues of nature, a story told in strong browns and forest greens.

Haufenburg as told by Lawrenz

Not that we got to sleep much, Jet lag had us in its clutches and we were wide awake at 5 a.m. Joe went for a workout and was surprised by the number of Saturday night revellers he saw still out partying. We would soon learn that Carrelian people will drink beer at any time and in huge glasses!

Bed & Breakfast in the hotel was a far cry from the seaside establishments of the English coast. They took the notion and made it something more sublime than the boys could ever have imagined. The rooms were every shade of luxury from the four-poster beds to the jacuzzi bathrooms. There were open fireplaces with soft leather chairs, fire pits for making s'mores campfire-style when the sunset.

Preferring to discover a city on foot we walked along the river to the old town known as the Altstadt. There’s an excellent walking path that passes lovely green gardens and parks that’s perfect for a trek. It's just as impressive as I expected with long clean streets punctuated by the odd shiny black limousine and eye-catching skyscraper which gleamed in the bright sunshine.
We were lucky enough to dine in Lebua’s Breeze bar and restaurant. Located in the basement of the Five Star Steigenberger Hotel the award-winning restaurant has been world-renowned for its Asian gourmet cuisine and spectacular views in the “Tower Club at lebua” Hotel Bangkok. This is Lebua’s first establishment in Carrelie and after spending an evening there it’s definitely unlike any other place we’ve ever visited! They combine excellent food (with a la carte tasting menus choreographed by award-winning Culinary Creative Director Sam Leong), service, design and ambience to create a very unique dining experience.

The next few days would be for the rehearsals. These are the band's outfits they are wearing on stage.

Key: All, Lawrenz Micallef, Manuel Grech, Christopher Lionetti, Brody Calleja, Joe Doran

The crowd in the arena roar loudly and excitedly as the Malta Comino Gozo postcard finishes. The crowd was eagerly excited to see the current champions perform. The stage goes dark and the spotlights zoom around before pointing themselves upwards leaving the stage dark again. The crowd settles but not for long. The beat starts and the numerous expressive LCD screens in both the back and on the stage floor light up in blue before strobing between blue light and dark blue. We have an opening onstage shot of Manuel on the drums at the centre back of the stage and Brody in front of him to his right on bass. He is shadowed in blue light. Manuel plays the drums with abandon. We have a white flash each time the symbol is hit. (Epilepsy warnings)
The camera cuts finely to Lawrenz who is lit splendidly in a glowing white spotlight, on a stand-up keyboard towards the back left of the stage. We hear some girls scream. The LED screen behind him is a blue and white particle effect.The camera gradually makes its way towards him. His left hand on the keyboard his right hand on the microphone. His entire right arm is covered in a colourful tattoo sleeve. His voice walks the fine line between being seductive and being charming. he doesn't take his gaze off the camera. In his blue eyes, a golden caramel radiated from each pupil as if it were a bright new sun. He shuts his eyes tightly as he sings "I'm not one of your machines", before slowly reopening them as he sings "Cut loose all these extremes"

I will, never be like you
I'm not just, a man on a string
I'm not one of your machines
Cut loose all these extremes

The camera has now made its way in closer so we now have an upper-body shot of Lawrenz. He is slightly off centre towards the right part of the screen. The white spotlight transitions into red and the background changes into red and golden yellow lights. Lawrenz is wearing what wasn't quite a t-shirt, not quite a shirt. The collar played about his neck in the warm wind, the fabric was close enough to show the shape of his chest. It would have been pretty in any colour but red fit him the best. Describing red is describing the passion in your heart that you feel when the magnetic force pulling you together is stronger than anything you’ve felt before.
He looked consummately professional, except for the hair. It was round, longish, curly, brown and messy. A typical handsome boyband hairstyle (Harry Styles). He places his right hand off the mic onto his chest as he sings "This is about me". He carries on singing seductively, into the camera his lips right up against the mic, Every now and then he looks away but very briefly at his keyboard before looking back into the camera lens.

I'm not, doing this for you
This is about me
It's bigger than what you choose to see
First, you set me on fire
With tender temptation, sweet sensation

The camera cuts quickly to Manuel on his drums for the pre chorus, the entire drum kit in view, the background stays the same red effect but flashes white every time he hits a symbol. He does not make eye contact with the camera instead singing into his mic positioned to his left (right off the screen for viewers at home). He's wearing a black tank top with a silver chain around his neck black stud earrings. He was lean but well built. His toned arms hitting the symbol. He was handsome from the depth of his brown eyes to the gentle expressions of his angelic voice. His voice is light in terms of vocal weight, and clear and ripples with warmth and confidence. His hair was so blond, it brought memories of golden wheat fields, of those many-hued stems that danced in the autumn light, whispering gentle songs into the wind. He turns to face the camera as he sings "That I don't need an excuse". For the last two lines, the stage LED's and all the lights fade into a deep blood red. He spins a drumstick in his left hand as he prepares for the chorus smiling cheekily as he does.

We..., might get along better now,
That I don't need an excuse,
But I can tell by your face,
Thats' probably not the case

The camera moves to the left before cutting to an onstage shot of everyone before cutting to a shot of Chris on electric guitar. He is off centre and the camera pans to the left until he is in the middle of the screen. The LED background turns to flames. He is lit in a dim white spotlight light, but the rest of him is mainly lit by the flames on the LED. We can see Manuel just behind him playing the drums. He is wearing a white baggy sleeveless t-shirt. His Roman nose and half-dome cheekbones sat above an oaken jaw. His wrestler’s shoulders were part of his burly physique. He walked with a tiger-like tread and his nomad-blue eyes twinkled in the bright spotlights. He also has a silver necklace around his neck. Halfway through the verse he grips the mic with both his hands and sings expressively into the mic. His derring-do personality and bass voice were a big part of his ambitious character. His sexy voice oozes sex appeal and conveys a sense of persuasion. The camera slowly moves towards him until were left with a facial shot. The camera switches to a view of Brody on bass and Manuel on drums as the whole band sings "And do something reckless."

But you were right about the stuff we fought about
I didn't care.., and the fighting
Gave me a rush, an excuse to get out the house
And do something reckless

The LED's continue showing the flames as we have a constant shot of the stage and the whole band for the first line before we cut to an angled on stage shot of Chris cupping the microphone in both hands singing before its cuts to a shot of Brody who is also cupping the mic stand with both hands. Manuel is standing up in the background playing the drums enthusiastically. The camera pans out so Joe, Brody and Manuel are all in the shot now.

But you were right about the stuff we fought about
I didn't care, and the fighting
Gave me a rush, an excuse to get out the house
And do something reckless

The flames background fades into black. We now have a close up of Brody. His brown hair moves in the fan wind as if it felt the need to add an exclamation point to his cuteness. He is wearing a patchy red lumberjack styled shirt that is torn at the sleeves with a white t-shirt underneath. There was a softness to his appearance, a kind of warmth married to a shyness. He was one of the most built members of the band. He winks to the camera. His voice uses a large amount of breath in its production, in some cases giving it a more intimate quality, and in others obscuring diction. We can see Manuel just behind him. As Brody sings "I know, no other way" we can see Manuel beat the drums heavily as the lights around the stage flash blue and white to the drumming before steadying again as he carries on singing. The crowd cheers. Brody sings passionately towards the camera shutting his eyes briefly before opening them for the last line.

I've been, through this before
I know, no other way
I wish that I could have the heart to stay
Losing what we started
Destroyed everything in the area

The camera fades quickly to Manuel on his drums for the pre chorus, the entire drum kit in view. The background behind him has turned into flames again. He again isn't looking at the camera. He turns to face the camera as he sings "That I don't need an excuse". For the last two lines, the stage LED's and all the lights fade into a deep blood red. He hits the symbol as he sings "face" before pausing his drumming and holding the symbol so the note doesn't carry on before he commences drumming again for the chorus. The LED screens violently flash red and purple as we have a shot of Christopher, Lawrenz and Manuel and all in shot.

We..., might get along better now,
That I don't need an excuse,
But I can tell by your face,
Thats' probably not the case

The background LED screen and floor have changed to flames again. For this Chrous we now have an upper body close up of each band member singing, cutting to the next bandmate every few seconds, playing their respective instruments. Each singer looking intently at the camera as they sing. They are all lit up by the flames. White spotlights are shooting around the arena. The background violently strobes blue and white as the band sing "And do something reckless".

But you were right about the stuff we fought about
I didn't care.., and the fighting
Gave me a rush, an excuse to get out the house
And do something reckless

The camera slowly pans out as we have the last shot of Chris. We now have a spectacular stage shot suspended just above the audience. Each member of the band apart from Manuel is standing in front of their mics, legs quite wide apart. The background violently strobes blue and white as the band sing "And do something reckless". We end on a shot of Joe singing.

But you were right about the stuff we fought about
I didn't care, and the fighting
Gave me a rush, an excuse to get out the house
And do something reckless

The camera cuts to Brody as he sings the next verse. We hear the pre-recorded vocals repeating the word "reckless" in the background. He is completely bathed in deep red light. His eyes are shut for most of the verse as he contemplates the reckless behaviour. The woman, the song is about agreed with her "boyfriend" about the stuff they fought about but sadly he doesn't care, and the fighting that follows gave him a rush, an excuse to get out of the house, and do something reckless. The reckless behaviour is not mentioned but when asked in an interview the band hinted at the man abusing substances and sleeping with others.

Reckless..
Reckless..
Reckless..
And do something reckless

The camera cuts to a frontal shot of Joe whose stood the furthest right on stage just behind Brody and to the right of Manuel. A blinding white light illuminating him from behind before the background flows into blue and white curvy lines. He is wearing a thick black and white top with Haufenburg written on the front of it. His silver long earrings dangle catching the light. He has a youthful bright and high pitched voice that echoes out throughout the hall. He has blond locks, messy but also fashionable. He wasn’t a proper male model but he should have been. The lush, mother lode-gold hair he groomed so carefully had a rippling quality, a sign of his rude health. His eyes were a flicker with curiosity over a genial smile.

We.., might get along better now,
That I don't need an excuse
But I can tell by your face,
That's probably not the case...

The next part relies heavily on this video Everyone except Manuel marches in unison down the catwalk, they march slowly, one step at a time to the beat. The guitarists have their guitars hanging around their necks. (Lawrenz does not have his keyboard like in the video) The arena lights flash white and blue immensely as the camera pans outwards from the lads as they march down the catwalk. The LED screens remain electrical blue. The camera pans back into the boys as they all sing "I didn't care, and the fighting" They carry on marching in sync until we get to "And do something reckless" At this moment the overhead lights hall strobe a brilliant white amongst the blue still lights. The boom camera swings outwards dramatically backwards and upwards showing large swatches of the hall and audience. The standing audience all on their feet jumping and waving various flags.

But you were right about the stuff we fought about
I didn't care.., and the fighting
Gave me a rush, an excuse to get out the house
And do something reckless

As the chorus breaks again there is an amazing flash of lightning on the LED and 4 fireworks around the stage shoot upwards quickly in the air right on queue to the beat. A pyro waterfall starts falling behind Manuel illuminating the back of the stage. The lights around the hall all turn bright blue, pink and yellow and mix all over the audience. The camera then pans around the bottom of the singers on the edge of the catwalk stage as they jump around excitedly. Joe then leans down and sings directly down towards the camera, before we cut to a view of Brody waving his arms around singing. We then have a boom camera shot that sweeps in and then around the edge of the catwalk as fireworks fountains shoot outwards out of the edges of the catwalk stage.

But you were right about the stuff we fought about
I didn't care.., and the fighting
Gave me a rush, an excuse to get out the house
And do something reckless

We hear the pre-recorded vocals repeating the word "reckless" in the background. We then have a close-up shot of Brody playing bass he moves towards the centre of the catwalk stage where he meets Christopher who has also made his way to the centre. The pair face each other and play their guitars with vigour. Meanwhile, the rest of the band have made their way back to their posts on the main stage. We cut to an upper-body shot of Joe on the main stage back at his microphone stand, as he sings "Reckless.. And do something reckless"
The camera cuts to a close-up view of Manuel playing the drums excitedly. The rest of the band have made their way back onto the stage and are stood at their respective stands as we have a front stage shot as they all sings the last line together.

Reckless..
And do something reckless
Reckless..
And do something reckless

The stage lights turn back on as the crowd jumps excitedly for the current champs. The band come together in the centre of the stage and all take a bow. The roaring crowd is deafening as the camera pans around the arena to a sea of people cheering and flags waving. We cut to a group of MCG fans with the MCG flag faceplanted on their faces. They jump and shout to the camera. The camera switches to a view of the stage as the band thanks, everyone. "Thank you so much! We love you Haufenburg!" They shout. "Grazzi Malta Kemmuna Għawdex! The band leaves the stage ready for the next performance.

by **Placely Placington** » Tue Jun 15, 2021 3:38 am

N.B. It’s recommended that you read this before reading this entry, just to understand the pre-entry bit.

21 - Placely Placington

Sports Bloke and a Bunch of Test Subjects - Placely's on the Field!

Tune: Hulk Hogan and the Wrestling Boot Band - Hulkster's in the House

Wynan Schitt, who was arguably Placely Placington’s most beloved entry because he actually got points from well-respected nations, made a surprising return for the 90th WorldVision Song Contest in Avon, Elejamie. The land whose televotes they keep copying and keep inexplicably giving five points to for some reason. Hopes were high that he’d make another song that was just as entertaining as his entry from WV85. And the song, called “Chad is a Huge Jerk >:(” wasn’t. He only managed to get 19 points in total, a 12 from Vartugia and a 7 from Crustyland. And absolutely nothing in the televote. Furthermore South Alezia, who was a source of points in the past, had reunited with the North to create the Alezian Union, much to Dave McDaverson's disappointment because it meant one less friend on the international stage. On the upside, at least Wynan wasn't dead last. In fact, the only people to finish lower than him were Vartugia, Auphelia and Antenovaria (who, even if they weren't disqualified, would've come last anyway because they had gotten the dreaded nul points). But it was still a bit of a buggerance.

But the low placing wasn't the worst of what was going on back home. Back in his office, Dave McDaverson was busy looking over some forms and schematics. After the failure that was the flying car demonstration, made even worse when in a new test it took off and flew and did loop-de-loops and trust me it was awesome, he was stuck trying to make it more marketable for everyone involved as well as trying to iron out the kinks for any future shareholders. He then heard a knock on his door and looked up. “Come in.” He said.

It turned out to be Dave the Hobo, cardboard box enthusiast and main sciencey bloke in charge of the whole project. He did propose a flying bus because he felt they would be more harmonious but they couldn’t take off because only one door opened, it didn’t open quite a bit for it to gain flight and they were too heavy. So cars it was. “Sir.” He said.

“Hello Dave.” Dave McDaverson said Dave the Hobo turned over a cardboard box and sat on it. It surprisingly held his weight but considering that nearly all of his work has been based around cardboard boxes and this was his first project that has nothing to do with them, it’s not that surprising.

“Sir, I have a problem with the flying car project!”

“Let’s hear it.”

“I tested it with some more cars and I have found a problem with your theory that would make the cars turn into war hellrides. What happens if the car has four doors?” Dave was at a bit of a crossroads here and not just because Dave the Hobo had a rare bout of sanity. Either he could try and explain his theory in a bit more depth but would probably look a bit foolish in front of his main science guy who could easily use his boxes to disprove his theory, he would come up with a lie that’d end up being disproved just as easily or he would have to spend more money that he didn’t have and he’d rather spend on statues of himself to try and get the thing to work. Or he could just press the button. He pressed the button. “GULAR!” Dave the Hobo said as he immediately stood up and his body stiffened before he fell over, completely straight and completely dead.

Dave then walked over to the corner of the room and lifted up a hatch before he grabbed a broom. He walked over to Dave the Hobo’s body and repeatedly prodded it with the broom handle to push it over to the hole. This understandably took a few minutes. By the time that the former Dave the Hobo was dangling over the small hole, Television Director arrived. “Someone disagreed with you again, sir?” He asked as Dave McDaverson repeatedly prodded Dave the Hobo down the chute to try and make him go down it.

“Yes.” Dave McDaverson said, a bit bemused until he heard Dave the Hobo slide down the chute into the clone disposer. He then closed the hatch and turned around to face his trusted advisor and friend.

“If it helps, sir, our two soccerball teams are doing good at the IBA Champions League.”

“Let me check this out for myself.” Dave then said as he turned the TV on Television Director’s head to watch a bit of a match. He saw Sports Bloke score a goal and celebrate it while some commentary was supposedly going on in the background. Supposedly, because he couldn’t hear much over Television Director screaming in agony. “Be quiet, I can’t hear the game over your screaming.” After a few more seconds, he turned the TV set off and Television Director stumbled away, just barely living. “I have an idea!”

“Yes, sir?” Television Director asked, collapsing onto Dave McDaverson’s desk to try and keep his life together.

“We’ll send a song to celebrate their success! Get Sports Bloke and we’ll get him to record it.”

“Yes sir.” Television Director said with little enthusiasm, although it was mostly because he was nearly dead. Not to mention having to drag Sports Bloke away from the IBA Champions League just so he could actually record the actual song. On the upside, at least there were some Test Subjects to take his place, along with some to actually record the song itself. Now it’s just a question of whether or not this song will be able to do well so they can finally get more money and if they’ll be able to send Sports Bloke back to the soccer competition in time for him to help them keep winning.

Once the postcard came to an end, we saw plenty of empty spots from people deciding to take their toilet breaks during the song and the people left over sparsely clapping. After all, it’s Placely Placington, no one would want to be subjected to it. After a couple of seconds then we got the music. It just sounded like what you’d get from page 103 from an archive of stock music. And then came the Test Subjects chanting the verses. There were two on Sports Bloke’s left who were wearing A Placely Placington Team jerseys and two on his right who were wearing The Other Placely Placington Team jerseys. They were all crouched a bit, arms spread wide and just bouncing in place like early cartoon characters (or, if I decided to be “hip” and “with it”, like a Cuphead idle animation).

We’re from A Placely Team!
We’re supreme, we’re supreme!
But The Other Team is cool!
We’ll take our foes to school!

Now some of you may be wondering where Sports Bloke was during that verse. Don’t worry, he sings the first line of the chorus. But, sadly, only that line. Probably mandatory brand recognition or something.

We’re Placely Placington, we’re number one!
Leh-het’s go-ho, Placely Place-ton!

Now it’s the second verse. And while this was going on, a football made its way onto the stage. It didn’t roll towards the singers or anything, it just stood there. At least the cameras found it more exciting than the artists.

Now Placely’s on the field!
The other teams must yield!
And we’re kicking tons of butt!
Above the rest we’re cut!

The cameraman suddenly realised that he actually had to film the people singing so we then just cut to a wide shot of the stage. The ball was still there, it was just faintly in the shot.

We’re Placely Placington, we’re number one!
Leh-het’s go-ho, Placely Place-ton!

And then we saw some overly muscular Test Subject wailing away on a guitar for a solo. The guitar had no strings simply because no one in Carrelie wanted to hear what actual music being performed by one of these guys sounded like and it was actually a bass guitar but don’t tell it that. It probably didn’t help that it was pulling a whole load of weird faces, as if it was trying to stop itself sneezing or it was trying to bite its gum. Unfortunately for the Test Subject its fingers started to get turned into hot dog slices even without the strings which was probably a bit of a buggerance but considering that it was the end of his bit anyway, it could’ve been worse. At least he managed to last long enough for the end of this bit.

We’re Placely Placington, we’re number one!
Leh-het’s go-ho, Placely Place-ton!
Leh-het’s go-ho, Placely Place-ton

As they sang the next verse, a second ball rolled closer to them. They picked up their microphones and, surprisingly, decided to break apart from each other and just kick it about while they sang their song. They just did simple passes but it was clear from their movement that they didn’t know how to play football. Cristiano Ronaldo they are not.

We’re kicking all the balls!
We’re breaking down the walls!
We’re scoring lots of goals!
And they’re right between the poles!

And the final chorus now. At least it’s finally over, even if they did repeat the last line a number of times.

We’re Placely Placington, we’re number one!
Leh-het’s go-ho, Placely Place-ton!
Leh-het’s go-ho, Placely Place-ton!
Leh-het’s go-ho, Placely Place-ton!
Leh-het’s go-ho, Placely Place-ton!
Leh-het’s go-ho, Placely Place-ton!
Leh-het’s go-ho, Placely Place-ton!
Leh-het’s go-ho, Placely Place-ton!
Leh-het’s go-ho, Placely Place-ton!

Once the song finally came to an end, they finished their kickabout. One of the Test Subjects was missing an entire leg, another somehow managed to have a soccer ball for a head, a third tried to boot the ball but instead kicked himself in the head and the fourth tripped over the ball from earlier and fell into the stage. Literally, he got sucked up by it and disappeared into the ether. Sports Bloke went up to a microphone and said “Thank you! I will kick more footballs into the goals to win more games. Go Placely Placington!” He then walked off while he left the Test Subjects to be dealt with by the stagehands. On the upside, Kalosia’s next with either the winner of Festival dëla Kanžu Kalosianë or an entrant from it who was willing to perform their song on the WorldVision stage, so get ready for a song that is infinitely greater than this.

by **Kalosia** » Tue Jun 15, 2021 7:41 am

22
Kalosia
Higher — Martina Guerra
performed in English to the tune of Ajër — Sara Bajraktari

Martina Guerra is a Kalosian folk singer. She hails from Leciro, the province on Kalosia's west coast that serves as the homeland of the Lecirian people as well as the native centre of the Lecirian language. While she does speak and sing in that language, most of her music is in Kalosian.

She was listed as one of the acts competing in the 60th Kalosian Song Festival, which was held in late May. Established in 1962, the Kalosian Song Festival (Festival dëla Kanžu Kalosianë — FKK) is an annually run domestic song contest, and the most high profile of its kind in the Republic of Kalosia. The festival, which was inspired by Italy's Festival della Canzone Italiana di Sanremo, is a highly anticipated show every year and reflects the quality of Kalosian music. This year was a very special one as we celebrated 6 decades of the successful running of FKK. This year's edition took place over the course of 4 days, with 24 competing songs. The first and second days consisted of the first and second semifinals, each with half of the competing songs performing. The third night was a covers night, and the fourth and last night was the grand final of the show.

Martina competed in the second evening, or the second semifinal, performing third. She was there alongside 11 other artists. These ranged from established names such as Ǧuľo Baľarti and Filipe Gardañu, to singers who have represented Kalosia internationally such as Dafne Maržanu and Yasmin, to two of Kalosia's three WorldVision winners, namely Lucia Edin and Zlato. Of course, with such a line-up, it was daunting. Given that the results weren't announced at the end of the night, it was easy for Martina to feel nervous about her results.

The next day was the 3rd evening, or covers night. Martina performed 'Sara bon' ('It will be well'), originally by Natalia Bisu who won the festival 20 years ago. Unfortunately it wasn't as well received, with Martina getting a score of 2.2 out of 5, the lowest of any of the 24 acts. However, she was announced as one of the 7 acts that qualified to the grand final that night. It was later revealed that she came 8th with the juries, receiving 26 points from them, while coming 3rd in the televote with a total of 49 points. Overall, she came 5th with 75 points and this was enough for her to qualify to the final. In the final, she performed 13th or second last. She also came second-last with the juries having received from them 13 points, however this was compensated by coming 3rd in the televote with a robust 47 points. It seems televoters loved her, huh? Overall, she came 8th in a field of 14 with 60 points.

(OOC: In the semifinal, Martina received two sets of 12 points from Darkmania and Carrelie, and two sets of 1 point from Scotatrova and Normandy & Picardy. In the final, she received one set of 12 points from Carrelie and one set of 1 point from Darkmania.)

Prior to the festival, all 24 acts were asked if they were interested in participating in WorldVision. Of the acts that qualified to the final, 8 of the 14 acts said yes, while the other 6 declined. The winning act was one of those 8 acts, however declined to participate in the 91st WorldVision due to scheduling reasons, something that will end up being a blessing when she finally comes to WV.

At the same time, it was previously determined that FKK will not serve as a national final for the contest, rather that WorldVision entrants will be selected from the pool of artists that stated a willingness to do WorldVision. This is in order to prevent the incident that happened last year, where the song that won both the contest ended up flopping heavily, while there were other competing songs that year that were more radio friendly and could have been better received on the international stage.

Martina Guerra, as one of the 8 acts that were willing to go to WorldVision, was the first to be selected. The executives at RTVK must've seen how pop songs were no longer doing it for Kalosia, and that perhaps sending something a bit more faithful to the Kalosian character will bring a better result.

For the big night, Martina wore this beautiful dress inspired by regional Kalosian folk patterns. She was at the center of the stage, accompanied by a guitar player in the distant background. The song begins with the guitar player, who by the way was playing a Kalosian guitar, playing the opening notes to the song. The camera also happened to zoom in on the guitar as this happened. However, as it was Martina's turn to sing, it faded into another camera that focused on her.

Tell me, what is it you see
There beyond the light horizon?
Listen to waves of the sea
You can feel that life is in motion

You could see that the stage was dark, with some subtle golden light bathing the stage, and warm spotlights on Martina and the guitarist. Perhaps you were able to catch a few glimpses of the audience, who were holding out their flashlights.

Aaah…
My heart and yours are beating
Aaah…
To the rhythm of fate, we’re dreaming

Now as the chorus kicks in, in the LED screens you could see various golden speckles, as if it were a starry sky. It was a very warm, somewhat glittery view. Martina sings emotionally, in English. She competed with this song in FKK under the title 'Altu' ('High'), singing entirely in Kalosian.

Higher
Come take my hand, you’re a fighter
Reach for the stars and go higher
Higher, higher
Walk away from the past

Martina coincidentally prepared a set of English lyrics long before competing in FKK, and planned to release an English version of this song as a bonus track. The decision to sing in English was made practically as she was chosen, under the belief that it would be more accessible to an international audience. After all, the lyrics were there already, might as well. As she sang the next part, she not only largely nailed the English accent, but she really showed emotion in her voice.

We will go higher
Deep in your eyes I see fire
Follow that passion, go higher
Higher, higher
We will be free at last

This was the way it was going to be. The guitarist just doing his thing (seemingly freestyling at some parts, even), with Martina singing in the middle of the stage, on a background of stars. Actually in the background there are two female backing singers but they're right at the back and unilluminated, so they aren't very visible in the camera angles. If anything, their absence made for a more intimate visual experience... sorry girls

As Martina sang this next verse, her eyes gazed into the camera full of hope and passion. Her arms and hands occasionally moved, making gestures that conveyed the feelings she expressed throughout the song.

Just from the way that you speak
I can tell, that deep down you’re hurting
Wipe off the tear on your cheek
Shine as bright as the sun is rising

If you couldn't tell, by the way, Altu/Higher is a song of care and comfort. It is sung from the perspective of a person trying to push a companion, perhaps a lover, to do their best. To reach higher. To reach for the stars. To follow their dreams and passion. These English lyrics encourage the second person to ground themselves and 'dream to the rhythm of fate', as you can see in the pre-chorus below.

Aaah…
My heart and yours are beating
Aaah…
To the rhythm of fate, we’re dreaming

Martina up until this point had been largely carrying the song by herself. But now, in the second chorus, the aforementioned backing singers kicked in to give vocal support. For such an intimate song, it was judged that Martina did not need any fancy gimmicks. Focusing on the song was what mattered most here.

Higher
Come take my hand, you’re a fighter
Reach for the stars and go higher
Higher, higher
Walk away from the past

Although the cameras had mostly been using intimate shots, it panned over the stage in the first half of the second chorus above. In the part below, two camera crew members brought a steadicam onto the stage, beginning with the backing vocalists who turned out to be slightly illuminated, before slowly making their way to Martina. It may remind some of the camera techniques of decades past, but for a song this slow, it perhaps felt like you were on a little boat rocking by the waves, seeking refuge from the storm. You could see the flashlights in the audience for sure.

We will go higher
Deep in your eyes I see fire
Follow that passion, go higher
Higher, higher
We will be free at last

When the camera did reach Martina, you could really tell from her facial expressions that she was really feeling it. Honestly, even from her voice alone, for those of you tuning in to the contest by radio, you could feel the emotion she conveys. At this next part, however, begin the ad libs. She begins the first one, and the steadicam withdraws as it switches to a medium shot from another camera.

Higher
Oh… higher (Come take my hand, you’re a fighter)
(Reach for the stars and go higher)
Higher, higher, higher (Higher, higher)
(Walk away from the past)

Almost there. By now you may have noticed the stage was now absolutely bathing in golden light, and Martina was giving it her all, her 100%. You could hear the ardour in her cries. In the last half of the part below, she finally joins in with the backing singers to deliver the final few lines of the song. For the last line, the camera begins with a close up and slowly but slightly zooms out, showing the entire stage (think Australia's 2016 closing shot), including the stars in the background, the guitarist and, if you look closely, the backing singers.

Oh… higher
Aaaa… higher (Deep in your eyes I see fire)
Follow that passion, go higher
Higher, higher
We will be free at last

With that closing shot, the audience cheered. Martina took a bow and said "Moltë gražia, thank you!". She then gestured towards the guitarist, who was waving, and the backing singers who politely made a slight bow, before leaving the stage as it was to be prepared for the entry from Vartugia. Having performed after Placely Placington, Martina had thought during rehearsals how being drawn to perform sandwiched between two entries predicted to not be well received could potentially boost her chances. After this performance, however, there was no room for that. All she could think about was her performance and what was to come next for her (i.e. on the scoreboard).

Worldvision Song Contest 91 | IC | Haufenburg, Carrelie

Worldvision Song Contest 91 | IC | Haufenburg, Carrelie

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