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

by **Britonisea** » Thu Jul 22, 2021 12:27 pm

#23 BRITONISEA
Benjamin Walters - "Won't Let You Down"
Tune : John Duff - "High Heels"
Music: Guy Autriche, Georgie Allans Lyrics: Reece Lloyd, Zara Holland

After an unexpected break at the 91st WorldVision Song Contest, Britonisea returns with an uptempo pop banger, "Won't Let You Down" sung by Benjamin Walters hoping to put Britonisea back on track after the one-edition absence.

The 90th WorldVision Song Contest saw Britonisea once again winning the jury vote for the first time in only three editions. Vha Mehlodhivestoile 2021 winner, Aaliyah Banques nearly won with her song "Promise Me". Britonisea shot into the lead with 124 points after the Axuvian votes - ahead of second place who scored 121. However, Britonisea faltered - once again - in the televote, meaning Britonisea was not able to take the victory home. It was the first time since 2017 that the Vha Mehlodhivestoile winner didn't win WorldVision (even if it did win in the old system), but VM2021's reputation was restored with a World Hit Festival win, seeing the popular competition maintaining its 100% record for finding winners in international song competitions. WorldVision Song Contest 90 was supposed to be for the group TR3SANGULIS with the song, "Ethereal", but the group withdrew from the 91st WorldVision Song Contest stating that they weren't ready for the competition. With 3rd place of VM already having gone to World Hit Festival, and with the rest of the songs belonging to BVC, BITC had to think fast about the 91st edition. The contest in Carrelie would've marked 60 editions since Britonisea's first entry but BITC wasn't able to deliver on time and so had to withdraw from the contest despite a plan to participate consecutively at least until the 100th contest.

Benjamin Walters was performing after the host of the competition in 23rd position - the first time the nation has performed in this position since Meghan Jorgensen at the 84th WorldVision Song Contest. As the host performed their song, Benjamin looked at Gällard Alermi, wishing him well. Gällard was a fell Novapaxian like Benjamin was and so, compared to the rest of the field, felt a personal connection to him and his song. Benjamin listened to the lyrics of the Darkmanian song before calming himself down, getting ready to go on the stage. With BITC having saved the budget for the 91st WorldVision Song Contest, they didn't care what Benjamin wanted on the stage but just as long as it looked good, they said. With the Darkmanians finishing to the sound of large applause, which carried through onto the announcement that Britonisea would be the next on the stage. This would be the closest WorldVision Song Contest to Britonisea since we hosted eleven editions ago and so there were quite a few Britons in the audience who were excited about Darkmania's hosting and of course Britonisea's return to the Contest. As Darkmania left the stage, it was time for the stage personnel to work hard to make the Britonish performance come to life. For this performance, Benjamin wanted the staging to be quite creative and not like how other nations would stage entries. Britonisea has been known to be one of the nations that does stage performances quite well but even for the Britons this could be a quite difficult performance with a lot of moving around. The stage was quite a big one and Benjamin was excited to step onto it and start. The stage has been split into different sections on a turntable in the middle, with cameras focusing on each of the sections during the song. First of all, Benjamin started off at the front of the stage. At the start of the song, the background was darkened so all you would be able to see in Benjamin with a singular spotlight on him. You could see some objects in the back which would leave you wondering what is to come. The pianos came in with Benjamin singing the start of his song with power and in almost a theatrical way.

No more spending time alone and staring at the phone,
And no more wallowing and feeling sorry for myself, oh no more! (ohh, no, oh!)
'Cuz of you, you came along.
Gave me a reason to live, a reason to breathe, you gave me all
I owe my life to you, so wherever this goes
This is what you've got to know...

Throughout the first verse of the song, Benjamin sang deeply down the lens of the camera with the sounds of the choir singing slightly in the background, with Benjamin closing his eyes as he between soprano voices behind him. Suddenly there was a burst of energy as Benjamin sang the lyrics, "Cuz of you, you came along" with Benjamin moving backwards to the turntable that was brought onto the stage. Benjamin looked as though he was in a garden with two dancers on the stage, both of them doing gardening chores such as cutting the fake hedge on the left of that turn table while on the right someone was mowing the superficial grass. By the way, the dancers were acting, you could tell that it was very theatrical and over-acting. Though that was the vibe that Benjamin wanted to go for and so Benjamin himself was acting in a similar way. As he sang the lyric, "I owe my life to you," he walked over to the male dancer who was mowing the grass, pretending to flirt with him with the dancer winking at him leading Benjamin to have a huge smile emblazoned on his face. Benjamin slightly moved forwards off the turntable before doing a series of dance movements which the two dancers behind him copied. The two dancers were also wearing microphones on them and so were singing the start of the chorus together as they danced.

Wherever you go, babe, I'm there,
Whether you're far or near,
Count on me, you know I'm right behind ya.
This has got me feeling brand new,
I won't give up on you,
Count on me because it's just us two
And - I won't let you down.

I'm here, oh yeah! Won't let you down,
Oh no, I won't, I won't!
Brand new, oh yeah! Feeling brand new,
Count on me, oh yeah, oh yeah!

During the line "Count on me", the turntable started to move to the next quarter which was set in a studio for a quiz show. There was a typical host (dancer) standing on the left and on the right there was another dancer who was standing behind a podium with a big red button in front of him. Benjamin turned around to notice a different scenery as he was singing, "Count on me, oh yeah, oh yeah!". Benjamin runs back to the turntable and stands behind the podium with the green button which was furthest away from the audience. As took his position, he started staring at the other contestant beside him with the contestant answering all the questions the host was giving out in a very OTT manner. Benjamin was slumped over the podium that he was on, looking at the man but occasionally looking at the beckoning camera cheekily. The colours in the arena were reminiscent of a game show as well with a shot further away showing the current scene on the stage.

You showed me a different side to myself I never knew
(And boy I like it)
I've never felt so good about myself, so thank you
(confidence is dripping)

As the choir women sang the lyrics, "confidence is dripping", the lights in that part of the turntable went red with Benjamin snapping out of it and realising that he lost the game. Graphics on the screen flashed up on the screen with a big OUT sign showing up. Benjamin Walters looked shocked but as the turntable started to move once again to the next section, one of the doors behind him opened, with him walking through it into a bedroom set. The bedroom was in reds and purples with hearts and roses on the bed, with a close up of Benjamin's excitable expression on his face as he walks into the room. He runs to the huge bed that is in front of him before singing the next part of the song. As he sings "Waiting for you to ask to come over", he picks up the blue traditional looking phone that he had as it started flashing. He picked it up, singing the rest of the start of the pre-chorus the phone in his hands, but singing into the phone. As he starts singing the lyric "I'm here, oh yeah!" he chucks the phone behind him before he steps out from the turntable. Dancers from each side of the camera came behind him and started doing a series of dance moves with him. All the dancers and Benjamin turned around and faced their backs towards the audience as they celebrated the chorus together.

When you're alone (when you're alone), pick up the phone (pick up that phone!)
Dial the number, (I'm home) I'm home...
(I'm home) Waiting for you to ask to come over.
This has got me feeling brand new, (This has got me feeling brand new)
Something new to cling to,
Count on me because it's just us two
And - I won't let you down.

I'm here, oh yeah! Won't let you down,
Oh no, I won't, I won't!
Brand new, oh yeah! Feeling brand new,
Count on me, oh yeah, oh yeah!

As they faced away from the stage turning, the final quarter of the turntable was a greenscreen with other cameras not focused on Benjamin preparing for him. The green screen was showing clouds all around him which glowed in silver. It looked as though Benjamin was on cloud nine as he rapped the next part of the song. Benjamin started using his hands as he started rapping, trying to look cool and playing slightly into the stereotypes of rapping - but that was obviously for theatrical effect. He wasn't trying to sound good or anything, it was rather satirical at the end of the day. There was a huge cheer as the audience looked up at the screen and noticed the effects of the green screen behind Benjamin.

Oh no, I won't let you down
No, I won't ever turn away
I won't - give up on you
No way - I won't let this go
Wherever - you guys are all from
I'm just tryna spread all the love
So come - on sing with me
Come on - yeah dance with me

As we moved back into the final - extended chorus - there was a Steadicam brought onto the stage as Benjamin moved along with the turntable this time. The Steadicam wasn't really moving anywhere though, it was being kept just facing Benjamin as the turntable went around. As the turntable moved around, at the front, a choir moved onto the stage with pillars being brought on either side of them. From the section of the LED that you could see over the turntable, you could see that the LED showed the inner artwork of a church. As the turntable moved around completely, Benjamin hopped off with another camera following him appearing around the pillars and in front of the choir who were singing and swaying the backing to the song with power. Benjamin threw on a cloak so that he could fit in with everyone else but his sparkly outfit really shone through.

Wherever you go, babe, I'm there,
Whether you're far or near,
Count on me, you know I'm right behind ya.
This has got me feeling brand new,
I won't give up on you,
Count on me because it's just us two

When you're alone, pick up the phone
Dial the number, I'm home...
Waiting for you to ask to come over.
This has got me feeling brand new,
Something new to cling to,
Count on me because it's just us two
And - I won't let you down.

I'm here, oh yeah! Won't let you down,
Oh no, I won't, I won't!
Brand new, oh yeah! Feeling brand new,
Count on me, oh yeah, oh yeah!

For the final part of the lyric, another man walked onto the stage as Benjamin and the choir behind him were celebrating in a loud and boisterous manner (very unlike church), throwing their hands up into the hair, grabbing each other and dancing in the arms of one another. Benjamin was facing to the left of the stage, with a taller man appearing behind him and tapping him on the back - the landowner from the first quarter of the timetable who grabbed him and stuck one on him after he sang the final lyric. There was then a huge explosion of confetti in the air as the camera focused on the whole scene - it looked like a church had a drunken unsaintly party! Benjamin stopped kissing after a good 10 seconds before taking a bow and shouting out, "THANK YOU SO MUCH DARKMANIA woooo!"

by **Bahia Roja** » Fri Jul 23, 2021 9:11 pm

Left to Right: Valentín Tarella (guitar and bass), Joan Feinmman (vocals and keyboard) and Julen Díez (drums and backup vocals)

BACKGROUND

In a cold Saturday evening in Urdaneta, Candelabros, 19-year olds Valentín Tarella and Julen Díez went to Tarella's house with some classmates to play around with their instruments and have a good time. Tarella and Díez started playing together months ago, and were making plans to formally start creating mixtapes, with Tarella playing bass and guitar and Díez providing the drums. However, there was one problem. Neither of them was particularly good at singing.

Coincidentally, Tarella's sister was dating Joan Feinmann, an 18-year old kid with long curly hair that delved into singing and mixing, who she invited to the get-together. There, Feinmann first heard them play. The duo's abilities impressed Joan, who asked if he could join their session and sing some songs.

I heard them jamming and I got hooked instantly. It's like they were synchronized.

- Joan Feinmann

We were obviously a bit skeptical at first. Like, we had never met him before and he just came up to us and asked if he could sing with us. We said that he could sing one or two with us and no more. But after that first song, it was clear. We kept playing all night long alongside him. The rest is history.

- Valentín Tarella

After the party, Joan, Julen and Valentín discussed plans for the future. And they all agreed to play together. They played in public squares and train stations. Every once in a while, they would get invited to play in bars and music stores where they would hand out mixtapes of their covers.

We weren't necessarily looking for someone to sign us. We just wanted to play; maybe open for some big band, but that was it. We didn't seriously consider writing our own music until some guy at a bar told us that we should add some original songs in our mixtapes to diversify them a little.

- Julen Díez

The trio wrote three songs later that week: Wake Me Up was the second song they wrote together.

It was Joan's idea. Him and my sister had an argument before we met and he was pretty heartbroken about it. So he wrote down some stuff he wanted to say to her, they reconciled and stuff and then he came up to us with the letter. We were like "Why didn't you bring this up earlier!? This is really good!". We basically turned the letter into a song. [...] It's funny because the original lyrics mentioned my sister by name, but, before we recorded, we decided to not leave it in to protect her privacy and stuff, but it's pretty much about him and her.

- Valentín Tarella

With three original songs under their belt, they decided to start releasing music online. But they came across a big obstacle.

Yeah, we didn't have a name yet. Not an official one, at least. We just said we were "a band". We wanted a memorable name. Something that people would listen to once and never forget. We were brainstorming late at night, and I suggested "Suicidal Pickles". We died laughing for like 15 minutes, and then... we looked at each other... and said: "Fuck it, that's our name".

- Julen Díez

The unconventional name of the band is considered to be one of the keys to the song's success.

It's a stupid name. That's what it is. But, honestly, it's perfect for like advertising purposes. You hook people in with it. They read the name, they laugh about it and then they listen to the song because they're curious what kind of music a band named "Suicidal Pickles" makes.

- Joan Feinmann

We did run into some trouble when radio stations wanted to play the song. They didn't like the "Suicidal" part of the name, so they would just call us "The Pickles" or something like that. But, other than that, we like the name. Audiences like the name. And everybody seems to understand that it's not supposed to be taken seriously.

- Julen Díez

The song exploded online. And it quickly became one of the most requested songs on the radio. Weeks after the song was uploaded, the trio was approached by record companies all across the world to sign for them. They opted for teaming up with bands around Bahia Roja and creating their own record label and releasing everything online by themselves. Wake Me Up now holds the record for most weeks in the Top 10 of Bahia Roja, is nominated for 4 categories in Bahia Roja's music awards and was selected to represent Bahia Roja at WorldVision with more than 89% of the popular vote. Despite all of the recognition and money they received, the trio wants to stay true to themselves.

I say it all the time: we got EXTREMELY lucky. We're grateful for everything we've been given, but we can't sit here and pretend it was all because of us and our "musical abilities". We didn't challenge any preconceptions, we didn't try to revolutionize the industry. We just released a catchy song, and everybody liked it.

- Valentín Tarella

I wasn't expecting the song to do as well as it did. Like, yeah, the song is cool and all, but like Top 1 for like 5 weeks straight seems a bit excessive to me. Not to mention the fact that they sent us here to perform it. Like, that was unexpected. Like what the fuck are we supposed to do? I'm still... I'm still in shock really.

- Julen Díez

In the end, I'm glad people like the song. And I'm glad some people caught on to the message of it. You know, it's a song about wanting to tell someone how sorry you are and how much you miss them and that you've messed up bad, but knowing that even words aren't enough to explain how you feel. [...] It's a personal song, I actually needed to write a new one for my girlfriend because [Wake Me Up] was technically our song, but you know, heh. I'm glad people liked it. I don't expect us to go far in the competition, but honestly it's fun to be here and just chill. So yeah, we'll do our best.

- Joan Feinmann

After WorldVision, Suicidal Pickles will go back to Bahia Roja to finish recording their debut album, mixed by Feinmann and notorious producer Dylan Ferrandis. More details about the album will be released during WorldVision.

PERFORMANCE

WAKE ME UP
by Suicidal Pickles

Label: Vereda Ciega
Songwriter(s): Valentín Tarella Prieto, Marc-Julen Díez Rivera, Joan Feinmann Suárez
Producer(s): Joan Feinmann Suárez, Dylan Ferrandis Pastor

To the tune of: Veronica by Caramelos de Cianuro

Ten months ago, Valentín, Julen and Joan started playing together. Now, they stand in front of thousand of people, millions if you count those that are watching from home, on a stage in a country far away from from, to sing a song written by them in an international competition. Neither of them are 20 years old, two of them still live with their parents and they have yet to release an album together. They're here, anyways. All that's left to do is go out and perform. The trio is sweating bullets.

Their legs are shaky, their breaths irregular. It's torture. They would rather be at home. Playing videogames, hanging out with friends, enjoying life like normal teenagers. But, no. They're here, anyways. All that's left to do is go out and perform.

The performers on stage did really good. Oh please, they did great! And now it's time for them to take the stage. What if they miss a cue? What if the lights blind them and they play the wrong note? What if... what if a meteor comes down and destroys the entire arena, killing everyone instantly and pulverizing the structure. So many things that could go wrong. They're here, anyways. All that's left to do is go out and perform.

People with clipboards and headsets walk in and out the backstage, the audience's cheers can be heard in the background. The stage lights dim, a guy gives them a thumbs up. The stage is set. No escape now. They're here, get out and perform.

After the postcard, we fade in to an aerial view of the crowd. A lower third fades in: "24. Bahia Roja | Suicidal Pickles - Wake Me Up", fade to a wide shot of the band. They're not alone, due to human limitations and to ensure the best performance possible, they hired a bassist and a keyboardist to play alongside them. Tarella is on the right hand side, the bassist on the left, with the keyboardist slightly out of view on the back, Feinmann and Diez on the center of the stage. All of them are wearing black jeans and pink hoodies to raise awareness about a children's hospital in Bahia Roja. The stage is backlit with a blue-ish tint, giving the band a nice blue halo that contrasts with the diffused white lights that fall on them from different angles, bringing their faces to the spotlight. The audience's cheers die down. The first note of the song plays alongside the first lyric sung by Feinmann. As soon as the band starts playing, we cut to a mid-shot of Joan. He grabs the mic with both hands and starts bobbing to the music. He starts singing, the camera dollies in closer. We briefly cut to see Valentín playing the guitar riff, the guitar and his hands make up the entire frame, then back to Feinmann.

Verse

It's been more than seven days. I've got not energy.
No money, no sleep.
I'm starting to feel so exhausted.

Cut to low mid close-up of Feinmann, this time from a 45 degree angle, one of the lights forms a glare that hits the camera, giving the shot a fever dream look. The camera keeps pushing in, the mid-close up is turning more and more into a close up. Feinmann closes his eyes, most likely to avoid eye contact with people in the audience. He holds "TV' for a beat, his head slightly leans to the side as he emphasizes the word. Just as he starts the final line of this section, the camera cuts to a close-up of Joan, now facing the camera. He opens his eyes, the camera stops pushing in.

Maybe I should get myself away from the TV,
so I can begin to see.
All of the things that surround me.

The beat drops. The LED screen shows a black and white wave pattern that goes along the music. Some of the lights start to wander across the stage, making for a nice effect. We see a shot from the perspective of the crowd, then to Julen on the drums. His whole body starts to dance along. A smile starts to form across his face. His facial expressions shift along with the song, he's in his zone. He loves drumming, he always did. Cut to Joan, with his eyes closed once again. This time not due to nervousness, but to feel the rhythm of the music. In the middle of the final sentence, the camera cuts back to Julen, as he plays the drum fill. With each hit, he makes a different expression, culminating in an wide smile as he hits the crash to end the fill.

And you know I'm pretty sick and tired of
being under your shadow.
That's why I sat down and started writing this song.

With the crash, the background lights turn red. The LCD pattern shifts in orientation. Some of the lights start to flicker, as well. The camera focuses on Valentín's face, counting along. Cut to Joan grabbing the mic away from the stand, the angle then shifts to an on-stage camera that follows Joan as he walks across the stage and points at the crowd. He notices a camera near the corner and approaches it. We cut to the camera, the music briefly stops as he sings "It's something you deserve". Feinmann emphasizes the line as he points to the camera, the camera zooms out and then zooms in when the music comes back. Cut to a new angle, we see Joan from behind, he jumps up and down and points at the crowd in front of him as he sings the final line.

I know that you need respect.
It's something you deserve.
So, I hope that you'll sing it along.

Joan walks towards the bassist, the camera focuses on both. They smile at the crowd, Joan quickly glances at him. The bassist looks down to focus on his bass-playing. Joan walks away from him, the camera follows him across to the stage. New angle: we see the bassist playing in the foreground, Feinmann in the back singing to the crowd once again. We stay on this angle for a while, the camera zooms in, leaving the bassist behind and making Joan the focus of the shot. Until we cut to a low angle of Feinmann pointing at the crowd. He finishes the pre-chorus, and before singing the chorus, he jumps and encourages the audience to make some noise.

Pre-Chorus

Though I'm always saying that my world isn't decaying,
you can see from one quick glance that it's a lie.
I'm looking out the window; looking down, hoping to see you.
Hoping to finally feel you by my side.

The camera flies above the crowd, dollying in on Joan Feinmann and Valentín Tarella. A diffused spotlight falls on Tarella, who's mouthing along. After every sentence, the lights flash, and the background lights change from blue to red, then red to blue and so, with each chord that's played. Cut to a side-angled close up of Tarella mouthing the lyrics, he's putting a lot of passion into lip-syncing the song. Behind him, Feinmann is singing. We shift the focus from Tarella to Feinmann in the background, singing passionately. We cut to a close up of the bassist playing the notes, then to a 45 degree view of the stage, the camera zooms out giving room for everybody to be in the shot. Cut to a camera in front of the stage following Feinmann as he walks towards Tarella, he positions himself next to him. Then we cut to a familiar shot, Tarella mouthing along and Feinmann singing, only this time their positions are reversed. With Feinmann on the foreground and Tarella on the back, both in focus.

Chorus

Just wake me up. Yes, wake me up to see the morning.
I've been waiting for the moment where we meet again.
I don't forget the letter that you left in my bed.
All the things you left in my head.
I remember them since then.

From the angle we were in, we cut to a close up of the keyboardist, providing the piano track we hear in the background. We stay with him for a few seconds, then cut to Tarella mouthing: "This is all I've got". A series of fast intercuts of the band members playing are shown in beat with the small fill Julen provides. Afterwards, we see Joan in the middle of the stage, looking at the crowd. He notices some crowd members and points at them smiling. We cut to see the crowd members, and we notice it's three guys holding the Bahiarojense flag singing along the music. For the final shot of the chorus, we cut to Joan. As he sings the last line, he holds "back" for a few seconds, the camera zooms in on his face.

I know that words are futile. And that words mean nothing.
But I have to give you something, this is all I've got.
Just so you know, I won't give up. I know you're hurting.
But, I swear to god I'm searching
for a way to pay you back.

Still on the previous angle, Joan moves out of frame so Valentín and the bassist can take the stage for the instrumental section. Cut to a low angle, the spotlights shining on both Tarella and the bassist. We switch to a high angle, the camera pans from the performers on stage to the crowd enjoying the music. Fast intercuts: close up of Tarella's guitar, the bassist's face, then Tarella's face. We briefly cut to Julen on the drums, he plays the fill energetically. As soon as Julen hits the crash, we cut to a shot of Tarella and Feinmann facing each other. Feinmann dancing along to the solo and smiling at Valentín, Tarella moving his shoulders as he plays the guitar to feel the rhythm. We switch to a reverse shot of the situation, Valentín smiles back at Joan. Intercut of the bassist looking at a secondary camera making faces. As Tarella plays the last few notes of the instrumental, Joan and him face back to the crowd. We cut to the camera on-stage, capturing both of them in the shot from the side. Feinmann continues to sing.

As Feinmann sings the pre-chorus again, we stay on him. The camera focuses on him and Tarella, but as Tarella steps back and Feinmann starts to walk across the stage, we follow him. We maintain this dynamic for the rest of the pre-chorus section, with only a small cut-away to show people with face-paint singing along during the third sentence. We cut back to Feinmann to finish the section.

Pre-Chorus

Though I'm always saying that my world isn't decaying,
you can see from one quick glance that it's a lie.
I'm looking out the window; looking down, hoping to see you.
Hoping to finally feel you by my side.

As the chorus starts, we cut to a wide shot that shows all of the stage. The black and white wave pattern on the LED's behind them start to gain color. The entire band is playing in harmony, the camera zooms out a bit more, letting us see the crowd and part of the arena.

Chorus

Just wake me up. Yes, wake me up to see the morning.
I've been waiting for the moment where we meet again.

Cut back to Feinmann, now completely immersed in the music. He does hands gestures for almost every sentence he sings. We briefly cut to Julen, hitting the crashes violently. The camera dollies out and rotates as we get farther and farther away from Julen, the LED's behind him outlining him contrast with the strong spotlights on him. Now back to Feinmann, who's slowly falling to his knees as he finishes the section, the camera zooms in slowly to his face. By the end, his face fills all of the frame, some strands of hair fall on his face, we can clearly see his sweat.

I don't forget the letter that you left in my bed.
All the things you left in my head.
I remember them since then.

The keyboardist plays a glissando. The camera shows his fingers running across the piano, and then continuing to play the rest of the song. We now cut to a dolly shot where the camera goes from one part of the stage to the other. Showing every performer. Tarella going nuts with his guitar, Feinmann on his knees singing the rest of the chorus, the bassist and keyboardist moving along to the music and Julen nodding his head as he plays the drums. As the camera reaches the end of the stage, we cut to a tilted angle of Valentín playing the guitar, the camera spins around him as he plays, we finish the shot with a close up of Valentín's face nodding and biting his lip, he looks at the camera and then back to his guitar. Cut to a full shot of Joan, still on his knees and arching his back, holding the note on "back".

I know that words are futile. And that words mean nothing.
But I have to give you something, this is all I've got.
Just so you know, I won't give up. I know you're hurting.
But, I swear to god I'm searching
for a way to pay you back.

An aerial shot of the arena itself, we see the lights flashing, flickering and moving across the stage, the crowd jumping up and down to the music. Halfway through this final reiteration of the chorus, Joan stands up. We see a shot from behind the keyboardist, zooming in and focusing on Joan in the center of the stage. Low angle of Joan, the camera slowly rises, then cuts to a close up of him as he sings "All the things you left in my head". After that, we cut to a shot of some crowd members singing along to "I remember them since then". The crowd behind them holds flags and cheers as they notice the camera focusing on them.

Just wake me up. Yes, wake me up to see the morning.
I've been waiting for the moment where we meet again.
I don't forget the letter that you left in my bed.
All the things you left in my head.
I remember them since then.

A wide angle of the stage, Tarella and the bassist start moving towards the center to join Joan in the last lines of the song. Tarella and the bassist mouth the lyrics. Slowly zooming in, the three of them fill up the frame. Joan shakes his shoulders as he emphasizes "words mean nothing". Side angle of the trio, the bassist at the front, Joan in the middle and Tarella on the back, they keep singing. Cut to the same angle we were holding before, Tarella and the bassist move their heads closer to Joan's, to sing "This is all I've got" together.

I know that words are futile. And that words mean nothing.
But I have to give you something, this is all I've got.

Cut to Julen, playing the drums, the lights behind him flickering. Then to, Joan singing "hurting". A final angle from the crowd's perspective, shows Joan, Valentín and the bassist together singing the final lines. Intercuts of the keyboardist, Tarella's guitar, the bassist, and finally Tarella's face. The camera cuts to a wide angle of the trio, the camera zooms in on Feinmann's face as he holds the note on "back". We briefly cut to a side angle of Joan, then back to the angle. Intercuts of Julen playing the drums, the keyboardist, the bassist, Tarella and Joan; sometimes the camera tilts to the side, sometimes it zooms in, sometimes it zooms out. The cuts are synced to Julen's last drum fill. We cut to the final shot of the band as the final chord is played. The stage goes dark.

Just so you know, I won't give up. I know you're hurting.
But, I swear to god I'm searching
for a way to pay you back.

Aerial shot of the arena. The crowd starts cheering. The lights turn back on, we cut to a side angle of the band. Feinmann shouts, "Muchas gracias, Darkmania!" and blows a kiss to the crowd. Valentín and the bassist point at the crowd, smiling. Joan does a bow and waves at the crowd one last time. Valentín yells "Los queremos!" before going back to the backstage alongside Joan and the rest of the band. The shot fades to an ident, leading to commercials.

by **Elejamie** » Sat Jul 24, 2021 4:33 am

ETV1 presents WorldVision 92 - English language commentary by Cerin Erali and Flynn Taggart

CE: Welcome to WorldVision 92! Bienvenido a WorldVision 92! Yalcom WorldVision 92!
FT: Live from Anÿme because I know how you're going to pronounce it.
CE: I'm Cerin Erali.
FT: And I'm Flynn Taggart.
CE: And we are your English language commentators for this evening. For a Spanish commentary, Iyilim language commentary or to sing-along to each entry, please press the red button. Thank you. Para Español, Iyilim o karaoke, pulse botón rojo por favor. Gracias. Aspenol, Iyilim o cereoc - Ancelis o Aspenol, ne Iyilim - plaes toc rad boton. Fenci.
FT: Call the number, text the number, use the app. Use whatever way you want to televote.
CE: That's it in a nutshell Fleen.
FT: And we're performing thirteenth tonight.
CE: Ooh, unlucky thirteen. Hope it'll be lucky for us tonight!
FT: We'll see.
CE: Anything else?
FT: No.
CE: Let's start!

Last.fm · by **Faraby** » Sun Jul 25, 2021 1:40 am

25. FARABY
Serra Karakaya – "The Big Man”
Tune: Olivia Rodrigo – deja vu
Language: English

Serra Karakaya

Background
Though public support and enthusiasm were high for Faraby’s continued participation in WorldVision and the World Hit Festival, budgetary concerns eventually forced the Faraby Broadcasting Corporation (FBC) to take a break from the 91st and 60th editions, respectively, of those contests. There was never any intention for this break to be permanent; rather, it was simply an acknowledgement that the FBC just could not participate for now with its time and attention diverted to launching a new slate of television and online programs intended to modernize the FBC’s image, as well as bring the FBC into line with the broadcasting standards of its new Adabian overlords. There were also rumors that Prince’s Palace was reluctant to release the necessary funds for the FBC’s operations, though they were denied by both the Palace and the FBC.

FBC Director-General Sabiha Vali and Head of Delegation Kara Abbas expected to be back in WorldVision on the 93rd edition at the soonest – meaning a break of two editions – but the launching of the FBC’s new programs went so well, and Prince’s Palace was unexpectedly generous with its funds in the next state budget, that the FBC decided that they could return to WorldVision one edition earlier. Starting from this edition, to save funds, the FBC followed Adab’s model of a unified selection process for its WorldVision and WHF delegations, with applicants asked to send videos of themselves singing their own original song and the ten best applicants then invited to perform before FBC-selected judges.

Though it was not explicitly said, lingering concerns over the budget meant that, for their return to WorldVision, the FBC brass was keen for a somewhat low-key performance which would not be required to rely on bombastic stage props or special effects. This they got from Serra Karakaya, a young, up-and-coming folk-pop artist. Her WorldVision song, “The Big Man”, features a pop-rock influence typical of the musical turn she took with her latest album, The Sunshine, the Sunset, or the Darkness?, which is marked by increasingly prominent electric instrumentation and feedback.

“The Big Man” is a recounting of one of the infamous moments in Farabian history: the assassination of the former Grand Vizier Mustafa Karamanoğlu in 1974. Returning from a self-imposed ten-year exile in Adab, Karamanoğlu’s motorcade was fired upon. Karamanoğlu was killed, while the Governor of Adab City, Vito Ruggeri, who had personally gone to the airport to greet Karamanoğlu, was grievously injured. His assassin was never caught. Many eyewitnesses reported that the shots came from a warehouse that the motorcade had just passed by; some claimed they also heard shots from a nearby grassy knoll. Various people have been accused of killing or being involved in a conspiracy to kill Karamanoğlu, including the princely family, political rivals, dissidents, and mobsters. The crime remains unsolved.

The Performance
Serra Karakaya stood somewhat to the back of the stage, adjusting her earset microphone to make sure it could pick up her voice. Behind her the LCD screens on the back wall displayed the front view of a limousine as it picked up several people at the airport – reportedly symbolizing Karamanoğlu, Ruggeri, Ruggeri’s wife, and the bodyguards – and cruised down the streets towards the city, with a crowd cheering them on both sides of the street.

Under her feet a black line with dotted white lines – the street – cut through the middle of the LCD screen on the floor, leading towards the catwalk. The layout was such that the street on the back wall seemed to connect with the street on the stage.

Landing on the airport
The sun’s above us, the jet-blue sky
Going down the steps
They’d all come here to see the big man
A-a-a-a, a-a-a-a-a, a-a-a-a

Hopping in the black car
There must have been twenty cars all lined up
Settled in the seat
Right behind the big man and the governor

Behind Serra, some twenty people came onto the stage, separating themselves into two groups of ten. The first group went to Serra’s left, the other to her right – a representation of the crowd that witnessed the tragic event which inspired this song. Three people dressed entirely in black and wearing shades followed them onto the stage, riding in a miniature, almost toy-sized 1961 Lincoln Continental – with no roof – that had been specially designed and measured so as not to take up too much space on the stage. Serra jumped onto the back seat, as it slowly – very slowly – rode down the stage.

The LCD screens on the back wall switched to an overhead view of what turned out to be quite the large motorcade, rolling down the streets of Faraby City. The quality of the footage was somewhat lower than before. Some in the audience wondered if the video was malfunctioning, but soon the realization dawned on them; this was the historical footage.

Rolling to the city, must have been 12 p.m.
They’re all cheering on both sides of the street
They’d come here to see the big man
The gov’s wife said, “You can’t say they don’t love you here”

Was that a firecracker I just heard?
That’s a firecracker, yeah
Just a firecracker, yeah

Suddenly a loud, startling bang was heard on the stage. As the crowd onstage turned and looked in all directions like lost sheep, looking for the source of the bang, Serra laid back on the seat and raised a hand to her throat as she continued singing. The LCD screens on the back wall switched to a blurry, slow-motion side view of Karamanoğlu in his limo, himself raising his arms to his throat as the other occupants of the limo, including Governor Ruggeri, looked at him in concern.

The big man raised his hand to his throat
The crowd went a-looking for the firecracker
By the old warehouse
Then the bang came clearer than ever
And the poor governor held his back
Said, “They’re gonna kill us all”
His wife pulled him into her
Then I heard the bang again from the old warehouse
And everything turned into chaos

Another bang rang across the arena, soon followed by a third, even louder one. On the stage, the crowd started walking, wandering, running in all directions, some of them blocking the street that ran down the stage, a few even exiting the stage and three of them jumping into the crowd, adding to the sense of chaos and panic. Serra slid down the back seat, while the front passenger held his back and shoulder as if in pain. The toy car rode, at a somewhat increased speed, past the end of the main stage and onto the catwalk, barely fitting onto the latter. From the disorganized crowd another man in black emerged – another bodyguard – running towards and jumping on the back of the car to protect its occupants.

On the back wall, the footage now zoomed in to Karamanoğlu apparently hit in the head by a shot, which caused his head to rock back and to the left. In front of him, Governor Ruggeri had himself been hit. The footage grew increasingly blurry.

Speeding down the street, it must have been 12:30
One agent jumped into the big man’s car
That bang hit him, sent him backwards
Back, to the left, back, to the left, back and to the left

They brought the big man down, they brought him down
They brought the big man down, ooh
They brought the big man down

The miniature car rode all the way to the end of the catwalk, with Serra now so far down the back seat that only the tip of her head was visible to the crowd. The man in front of her was still holding his back in pain. Meanwhile, behind them, the footage again switched back to an overhead view of the motorcade, speeding away from the scene of the shooting to the closest hospital.

Trip canceled, driver told to change course
“Where the hell do we go?!” the driver asked
“The nearest hospital, of course, where else?!”
They just brought the big man down
Crowd was shouting, ran in all directions
Got them to hospital, the big man and the gov
The poor gov made it, but the big man’s gone

The on-stage crowd who still remained now rapidly made their way out of the stage, with those who leapt into the crowd jumping back onto the stage just to make their way out by the backstage exit. The footage now displayed a growing crowd of journalists, police, and ordinary people gathering in front of the hospital Karamanoğlu and Ruggeri had been rushed to.

They just brought the big man down
They just brought the big man down
They just brought the big man down

At the end of the last line, the music stopped, the screens switched off, and the lights went dark. In the darkness, Serra and everyone else on the car acknowledged the crowd applauding them with a nod and a thumbs-up, with Serra rising back up to make herself visible to the crowd. The car then slowly drove backwards to the back end of the stage, whereupon the car was turned off, everyone disembarked, and they pulled the car backstage.

by **Rhim Flavezztowland** » Mon Jul 26, 2021 8:48 pm

26. Rhim Flavezztowland
Marina Lee - "Sleepless in Sanghyeok (feat. LiLiTH)"
Lyricists: Marina Lee, Lilith Bailey
Composers: Jessica Burnet, Martin Koga
RL tune: EXID - "Night Rather Than Day"

Marina Lee, the lead artist in the song

LiLiTH, the featured artist in the song

Born on June 18, 1992 in Standale City, Standale County, Rhim Flavezztowland, Marina Lee is a Flavezztowlander singer and television personality who first rose to prominence in the mid-to-late-2000s as the youngest member of the Flavezztowlander girl group NEWMiX, which was known for domestic hits such as "Save for Later" and "Third-Time Charms". After NEWMiX's disbandment in 2011, Marina Lee decided not to renew her contract with the group's label - Kitcon Music - and instead signed a recording contract with Blueyoung Entertainment, where she's gone on to release 4 domestic number-one solo albums since 2012.

Her latest song, "Sleepless in Sanghyeok", is the song that she'll perform at WorldVision 92 as the Flavezztowlander entry into it (as the song won Infinite Voices, the Flavezztowlander national final for WV92). The song features Flavezztowlander rapper/singer and fellow labelmate LiLiTH (real name: Lilith Bailey; she was a member of the girl group Heart Zone from its debut up until 2019), and was inspired by a recent trip by Marina Lee to the foreign socialist federation of Sanghyeok, where she was amazed by its magical girl forces and the magic that some of its population possessed. The song even has lyrics that allude to the unification of the countries of the world Sanghyeok exists in into one single socialist federation that involved magical girl forces (as in the lyrics of "Magic, I should say it's all together thanks to magic / 'Cause its history tells me that magic girls served in some battles just to liberate lan-an-an-ands...") and the federation's sheer land area and population size (as in the lyrics of "In this strange socialist state where there's billions of people in there livin'" and "Many millions of vast lands all united as one big country").

The Flavezztowlander postcard had just finished, and Marina Lee and LiLiTH were both standing on the stage behind some microphone props, with some theatrical fog being emitted to the heights of their knees. As the tune started, the lights on the stage floor slowly lit up one by one as Marina Lee sang the first few lyrics of the song.

Sleepless, sleepless
I just can't stop being sleepless
Sanghyeok, Sanghyeok
In Sanghyeok where magic don't rest
Sleepless, I'm sleepless in this strangeness
(I'm so sleepless in Sanghyeok)

The rear LCD screen then lit up to show shots of places in Sanghyeok as Marina Lee sang the first verse with one of the microphone props in front of her.

Callin', the voices of some magical girls are callin', oh...
In this strange socialist state where there's billions of people in there livin'
The busy city, all the people movin' in the busy city, oh...
There was this magic girl who I met there
I asked her how life was goin' in her lair
Genpai desu, sankyu beri was what she told me au clair

As the chorus started to be sung, the LCD screen on the floor lit up to a white color, and the theatrical fog had started evaporating.

Sleepless, sleepless
I just can't stop being sleepless
Sanghyeok, Sanghyeok
In Sanghyeok where magic don't rest
Sleepless, sleepless
Can some magical girl help me
To get me out, get me out, out of this insomnia?
(I'm so sleepless in Sanghyeok)

The camera then zoomed into LiLiTH's face as she sang her rap verse, again with one of the microphone props in front; also, the theatrical fog had completely evaporated, and the LED screen on the floor went blank.

All day, all night
I'm tryna sleep but the smell of magic comes by
To fuel insomnia in my mind just because I'm in this strange place in my life
Someway, somehow the magic of all this land makes me euphoric
And I ain't used to it 'cause, you know

Marina Lee then sang her part, again with one of the microphone props in front of her; with that, the camera rapidly zoomed out to focus on the entire stage.

Rumor has it that this magic
Can resolve so many problems that could be tragic, oh-oh...
But what I know for sure is how big this place is
(Many millions of vast lands all united as one big country)Magic, I should say it's all together thanks to magic
'Cause its history tells me that magic girls served in some battles just to liberate lan-an-an-ands...

As the chorus started to be sung again, the LCD screen on the floor lit up again, this time to a rainbow gradient.

Sleepless, sleepless
I just can't stop being sleepless
Sanghyeok, Sanghyeok
In Sanghyeok where magic don't rest
Sleepless, sleepless
Can some magical girl help me
To get me out, get me out, out of this insomnia?
(I'm so sleepless in Sanghyeok)

Colorful lasers then began to be emitted from the stage perimeter as the two sang the bridge.

I'm so sleepless in Sanghyeok, can somebody please help me?
I don't want no normal girl, I just want a magic one
Gone around all parts of this strange land
From Chu'o Tokai to the furthest north, yet
(I'm so sleepless in Sanghyeok)

As the chorus started to be sung one last time, the LCD screen on the floor lit up to a white color again, and with Marina Lee singing "Oh..." at higher notes than normal up until the "I'm so sleepless in Sanghyeok" line, LiLiTH sang the chorus that'd previously sung by her and Marina Lee as a duo in solo mode.

(Oh...)
Sleepless, sleepless
I just can't stop being sleepless
Sanghyeok, Sanghyeok
In Sanghyeok where magic don't rest
Sleepless, sleepless
Can some magical girl help me
To get me out, get me out, out of this insomnia?
(I'm so sleepless in Sanghyeok)

After the "I'm so sleepless in Sanghyeok" line was sung, all the stage lights and LED screens went dark, and Marina Lee sang all but the last of the song's lyrics (the last of which was sung by LiLiTH).

Sleepless, sleepless
I just can't stop being sleepless
Sanghyeok, Sanghyeok
In Sanghyeok where magic don't rest
Sleepless, I'm sleepless in this strangeness
(I'm so sleepless in Sanghyeok)

Upon LiLiTH finishing her singing of her final line in the song, aqua jets were emitted from the stage's perimeter and the stage lights were brightened up again; by this time, the crowd was cheering for Rhim Flavezztowland, and both LiLiTH and Marina Lee left the stage with a "Thank you!" to the cheering crowd.

by **Darkmania** » Tue Jul 27, 2021 8:02 am

Filler goes here lol

(Need to finish things then this will be used)

by **Joija** » Wed Jul 28, 2021 7:03 am

27. Joija
The Zombos - Make A Killing

Language(s): English
Lyrics: The Zombos (Emijl de Waal, Sajid Sequeira, Amir Malik, Cillian Hrtzel, Pierre Fiera)
Music: The Zombos
Tune: Hate To Say I Told You So - The Hives

Lyrics and staging
A spotlight immediately shines on Sajid, who is doing the beginning chords of the song. As the drum sounds, all the spotlights abruptly come on, making the entire band visible. Emijl runs up to a nearby speaker, jumping on, raising his hands and jumping down again before moving around erratically. The LCD screen displays a larger version of the performance, and a camera suddenly zooms into Emijl's face just before he sings.

Straddle the line of ethicality because I gotta
Be warned 'fore I come to ya door because I gotta
I'm out for the hunt, no point pullin' the stops because I gotta
This ain't a race cause I'm still getting paid because I gotta

Emijl runs to the end of the stage as pyrotechnics go off nearby as he starts singing the chorus.

I make a killing off it so (Okay! Alright!)
I'll make a killing off ya so...

Emijl looks directly into a camera as he holds the final 'so'. As he finishes the first line of the second verse, the camera zooms out and he runs back to centre stage. The pyrotechnics stop.

Ya head is mine, you know! Cause I got to...
Don't turn your back for a sec, I've got a plan all set because I gotta
No need for me to wait because I gotta
No time to rest at all because I gotta

Emijl jumps up onto another speaker as the camera is near his face. Pyrotechnics activate again as he raises his hand into a fist.

I make a killing off it so (Okay! Alright!)
I'll make a killing off ya so...

Emijl jumps off the speaker and runs to centre stage. As the instrumental starts, everyone goes still except from Sajid. All spotlights focus on him as he plays the electric guitar.

[Instrumental]

Emijl starts to move again and the others, towards the end of the bridge, start to gradually move again. At the end of the bridge, Emijl raises his fist again.

I do I need, got a family to feed because I gotta
I don't do 'ifs' and 'buts', don't deal in no qualms because I gotta
Yeah!

As the drum sounds a second time, the pyrotechnics go off again. Emijl runs and jump around while cameras record him at multiple angles.

Don't you tell another soul, I reach my final goals because I gotta
I don't care bout what I'm asked, I'll leave you in the dust because I gotta
Ah yeah...

As the song finishes, Emijl dances around erratically again as the others become more aggressive in their movements. He yells indecipherably down the microphone as the song ends and he gradually falls on the floor, knees up. While laid down, he yells "You're welcome!". He stands up and all of the members come to centre stage, bowing. In a calmer voice, he says "Once again, you're welcome.

by **Kyritakia** » Thu Aug 05, 2021 2:27 am

- kyritakia can't come to the phone right now, they're being arrested for tax evasion -

by **Lagoa** » Sun Aug 08, 2021 11:22 pm

-29. LAGOA-

DRAUDO
(DANGEROUS)

Cenge Fekete
Tune: Rina Sawayama - "XS" X "Toxic"

Born in the town of Öčöd, Naforâchia, Cenge Fekete is a rising star in the Lagoan music scene. She made her name after moving to Estegoa, better known as Sterblichengokai, and pursuing her passion of singing. Initially, she was the frontwoman of a band called Medalhas Roxas, before coming to the realization that she had been basing too much of her identity on being a "rock chick" and began to allow herself to expand into different genres, and experiment. After creating several mixtapes and such, she found herself gravitating to the hectic world of pop music. Despite a vocal part of her being highly against "selling out" and conforming to the popular scene, she realized that she legitimately enjoyed the format, and the possibilities of what she could do with it. And with that, she began recording her first album, which came out of the blue to hit the pop scene in a way that no one had seen coming. With a tide of rising popularity, she caught the eye of MTL and happily agreed to strutting her stuff on the WorldVision stage.

Cenge had been to a number of different countries on Jemaa, but of course coming to Darkmania was a very different experience, both culturally and technologically. After taking a number of selfies and pictures in Anÿme on her new phone and posting them online, she gained a surprising following from WorldVision fans, who loved her energy, her song, and the quirky interactions she posted with a number of the Anÿme zoo animals. Enlivened by this support, she has posted pictures and stories often, gone to all the fun pre-WorldVision events, and hopes to make a splash tonight!

The stage is blocked out in black and white. Cenge is first nearly invisible, her black and white catsuit blending perfectly with the staging. Just as she begins her first line, she cocks her head toward the close camera view, and then steps forward with a sassy and seductive step, just before the backing dancers break free from the pattern as well and follow her in a chevron pattern

Vós, dissestes ke não mentistes
Mas não ajais como se eu não soubesse
Tem sido uma, duas, e três vezes
Sorride para o salê

Vós podeis correr, ou nolhegar
Escondei-se, ke glhêvulis
Eu vou achar, e vos caçar
Estou doidão, com meu ojo

Me provocai um pouco (sim)
Só um pouco (draudo)
Estais morta

Como vós estais? (burro)
Digai-me (veloz)
Me provocai um pouco (draudo, draudo)
Estais morta
Me provocai um pouco (sim)
Só um pouco (draudo)

Me provocai um pouco (sim)
Só um pouco (draudo)
Estais morta
Como vós estais? (burro)
Digai-me (veloz)
Me provocai um pouco (draudo, draudo)
Estais morta
Me provocai um pouco (sim)
Só um pouco (draudo)

Eu, estou cansada de mentiras
Então vós não podeis me deixar em paz?
Se vós voltardes não tenteis me amar
Pois estou prestes a matar

Podeis dizer, cualker coisa
Algo néscio, ninguém liga
Minha cuça, é afiada
Estou pronto, para usá-lo

Me provocai um pouco (sim)
Só um pouco (draudo)
Estais morta
Como vós estais? (burro)
Digai-me (veloz)
Me provocai um pouco (draudo, draudo)
Estais morta
Me provocai um pouco (sim)
Só um pouco (draudo)

Estais morta, não faleis comigo
Vou cortar vos, ensanguentar vos
Não me cruzeis, ides encontrar o cestimento
Sim, de mim, mim, mim, mim

Me provocai um pouco (sim)
Só um pouco (draudo)
Estais morta
Como vós estais? (burro)
Digai-me (veloz)
Me provocai um pouco (draudo, draudo)
Estais morta
Me provocai um pouco (sim)
Só um pouco (draudo)

Me provocai um pouco
Mas não demais (estais morta)
Me provocai um pouco, provocai me

Menti para mim de novo (draudo, draudo)
Só mais uma vez (draudo, draudo)
Só mais uma vez (draudo, draudo)
Ohhh, draudo

She falls to her knees, legs splayed out, and whips her slick ponytail around before snapping her head upwards, as the camera view comes down from above. The feed then shuts off just as the music does.

"Obrigado, Darkmania! Takk and thank you so much Anÿme!" she shouts before jogging as well as she can off the stage.

by **Todlichebujoku** » Sun Aug 08, 2021 11:23 pm

30. _Tödlichebujoku_

Let You Go

Kenstas Kaivaano
Tune: Gryffin & SLANDER ft. Calle Lehmann - "All You Need To Know (Acoustic)"

It was growing brighter outside as he finally began to write. He wiped away the tears of the night, and turned his attention to the blank sheet in front of him. It only seemed like a moment since the sun last set, yet it also seemed like an eternal night of collapse and destruction. Breathe in. Breathe out. The birds sing out, the city awakens, life must go on, even though it ends.

Maybe I'm blind. Maybe I'm deaf. Maybe I'm oblivious, or quite simply stupid. I always thought things were going alright, going fine, that we would go on to have a family, make all the arrangements, and live our lives til the end. I never saw the signs you showed. I never understood the hints you sent. Maybe I was too caught up in assuming the best, that everything had a perfectly innocuous cause, giving you the benefit of the doubt when I really shouldn't have. We made it through three anniversaries since our first date, and in not one of those, nor at the engagement, did I ever think that anything was awry. You were... are the world to me, and I don't know how I'm going to release myself from your orbit, now that all I'm clinging to are memories. I thought we were as one, and could never fathom how much darkness you were keeping hidden, shielded, behind that façade. I know you must have felt joy and felt alive inside with me at some point.. right? At this point, I don't even know, I could only hope, looking back. And I always thought I did.

Tell me, what could I have done to fix it all? I know, I'm no archmage or priest, but I know that there must have been something I could have done to ease the suffering that was eating you inside. I brought you treats, cooked you good food, gave you my all.. but I guess it must have been that bravado that I loved so much about you, that tricked me into believing that you were just tired, just sore, falling victim to the unrelenting pace of age as I was. It just kills me, though, to think about what I could have done. I'd have moved the heavens if only you'd told me upfront, but you never would, because... well, because you must have tried to shield me from all that was inside you. Well, look where we are now. I'm sorry, I'm just... I'm getting worked up, getting aggressive, because I love you so damn much I can't stand to be sitting here, knowing that you tried to save me but in doing so, didn't save yourself. I have to respect that, I do, but the sheer hubris- I could have helped you, and it destroys me to think that all this happened and I could have done something, anything, if only I had known. We could have worked through this together, like we did for everything else, but no. You had to walk that path alone. And I hate you for it, but even so, I can't bring myself to let that hate bleed into the rest of my love for you, for all that you were to me and all that we had done and lived together.

I suppose I can only hope that our time together, it gave you joy, some measure of hope, to stave off this horrible ending. I can only hope that my love and my actions gave you the strength to live out these last years, that you wish in all your soul and being that you could have stayed with me, if not for the unbreakable pull and dissociation that wreaked havoc upon you at a fever pitch. I don't know if I'll ever be blessed, or cursed, to love someone as much as I loved you. For what it's worth.. one day, we will meet once again in the afterlife, and truly embrace and commune once more. Even if you answer my pleading on some full moon, I'll always be dreaming of finally joining with you again, in that final eternity that awaits. And.. I don't know how to end this letter. As if I knew how to end anything, anyway. I guess I should say.. thank you for bringing light into my life, and I hope I brought light into yours as well.

Til we meet again.

Fresh tears welled forth within his eyes as he fought to keep awake. He delicately folded the letter into the form of a falcon, and quietly gazed up on it for a few moments. Then, with a baleful hiccup as he tried to keep from outright weeping, he cast it into the dying embers of the incense burner, and watched it shrivel into ashes, the smoke ascending into the air, into the realm of spirits.

Ice blue. Pure black. And then, a spotlight, soft but steady, casting a golden glow upon Kenstas. He is in an all black, slim fitting suit, seated at a black piano. Face placid, gazing off into the distance, he begins, as if mentally in another world. On the other side of the piano sits Váinö, who had co-written the song with him, also clad in all-black, cradling a guitar with his head cast downward

Lay your hands on me
Walk with me one more time
We can trek across a thousand seas
Tell me what's on your mind

Kenstas breaks off his thousand yard stare, and gazes downward, before acknowledging the camera view on him. A mixture of grief and hope is visible on his face, perhaps a hint of desperation, as he soon stares off beyond the camera view over the audience, with Váinö calmly strumming his guitar in the distance

Though it can't be real, it's still real to me
Cast all of my fears from reality
Let me hold your hand, as the stars align
Tell me what you see
Tell me what you see

Pursing his lips, trying to suppress the wellspring of emotions surging forth within him, he continues into the chorus, voice quavering but ultimately holding steady. The light upon him shifts from a soft gold to a cold shade of moonlight, reflecting off the piano keys as the camera view slowly swings around in a close shot

Don't hide away your twisted pain
Don't shield me from the freezing rain
'Cause now that I'm left on my own
I can't stand to let you go

The sun sets with a burning red
That night, I would take mine instead
I'm left to live all on my own
And it hurts to let you go
Oh...

And it hurts to let you go

Kenstas's visage comes back into the present, as he turns back to follow the camera view with a weary but determined expression. The light, back to a soft gold, washes the scene in a nearly dreamy cast, as he forces a slight smile at the end of the stanza

Show me what you need
Know I won't let you down
Even in our last eternity
Our souls are forever bound

Additional spotlights come into play around the stage, illuminating it further as Kenstas's voice strengthens, his conviction becoming noticeable as he pleads to the camera view, a sort of desperate hope visible in his eyes

In the darkest night, come and bare your heart
Don't turn away until it falls apart
Let me hold your hand, heed the stars no mind
Tell me what you see
Tell me what you see

And now, his voice magnifies and fills the arena, raw with passion, blinking back tears, as spotlights sweep out from the edge of the stage floor, over the audience in a radial fashion, the camera view coasting over the beams as it captures a 360 degree view of center stage, periodically interspersed with closer shots of Kenstas giving his all

Don't hide away your twisted pain
Don't shield me from the freezing rain
'Cause now that I'm left on my own
I can't stand to let you go

The sun sets with a burning red
That night, I would take mine instead
I'm left to live all on my own
And it hurts to let you go
Oh...

And it hurts to let you go

The lights pare back down to the two on Kenstas and Váinö, though a bit harsher now, as the camera view comes in for a close shot, capturing the shadows and highlights of Kensta's downcast face

Ooh, how it hurts
How it hurts to let you go
It hurts, yeah

And now, the lights sweep out over the audience once again, along with a circle of lights centered on the two performers on stage. After a number of wider shots, the camera view cuts in closer to capture Kenstas at probably the most animated he's been the whole performance, letting his emotions out and mildly forgetting about the camera's existence, as he is caught up in the moment

And it hurts to let you go
Oh...
Hurts so much to let you go
Oh...
It hurts, yeah
Hurts to let you go
Oh...
And it hurts to let you go
Oh...

Slowly, the extraneous spotlights begin to fade away, as the camera view slowly comes forward to rest on a close shot of Kensta's face as he gradually fades into darkness

And I'm so scared to let you go

With that, he closes his eyes and disappears into the black of darkness

"Kiitos, thank you," says Kenstas as he nods to the audience. He and Váinö share a hug before exiting the stage.

He needed a moment to compose himself. Locking himself in a backstage room, he patted his eyes dry and took his time to breathe, and whisper a prayer. Then, he turned and opened the door, the sound of the interval act beginning to reverberate through the walls and air. Life must go on.

by **Darkmania** » Mon Aug 09, 2021 12:39 pm

CUTTOFF!!!

Edits after the posting of this are not allowed.

-This post are an placeholder-

by **Darkmania** » Mon Aug 09, 2021 12:53 pm

-Placeholder Interval Act and other things-

BËCK SËV / INTERVAL ACT

Hëntryëtta Tÿrlingen- “The Land of the Golden Eagle”

Petra Mede – Swedish Smörgåsbord

RP WIP

You are thinking to yourself with some questions
Where the hell lies Darkmania?
Honey, we will present our lands with this song
Darkmania are gonna surprise you

We are hot, but our animals are even hotter
The elks live in our green lands
We take great care of our land and make it nice
You are in afterall the land of the golden eagle

You might not know a lot about our home but
There are things that you will learn when you are here
Solid made cars and questionable wine
And an english that somehow exists
Yes, that's true.

When you host WSC, you might end up
Having to embarrass your own country with awful jokes
At least your hosting skills can be improved
Welcome to the land of the golden eagle

We have been recycling since 1942
We love our nature a lot
Oh, look!
We sell our products all over the world
We do not offer refunds for our goods
We don’t speak a lot and we don't show our feelings all the time
Please put your head down and shut up
We often break the fourth wall when it suits us best
When we get offended when something isn't right

Hëntryëtta: Who the heck wrote that part?
The person who did it should be fired!

We are quiet and polite all the time
We complain when the train is on time
And if someone ever wants to speak with you
Then leave the train as fast as you can

Welcome to our home
Please stay here and enjoy
Welcome to Darkmania
(The land of the golden eagle)

When the night is upon us
And you want to have some fun
You can always slay the dragons on Ëyeland

Descendents from warriors
Pillaging and doing non-great things
Thank God we have no longer like that

We let dads be nurses
We flip the roles here
Everywhere in Darkmania
Though men didn't shat out the kiddies
They help their wives to raise their child

Our football boys cant kick their balls straight
We are yet to go well in international games

Mälë!!

Förgy mi Güf, füür er hä sÿrm
(Forgive me God, for I have sinned)

Come and eat some Äälegma
You are more than welcome
You are in the land of the golden eagle

Come and taste the best dishes we have to offer
Here is some Bäärma. Don't be scared
Have some Diëre-cake and Tääl as desert
Just don't ask for any fish dishes

The land of brands like Olër
Sägerman and Gëono
Dëritee and Mälgwear
The most democratic Särterhüs
We have AëroDM and Lÿiber
Novapax’s best apples and pears
Don't forget our blue-coloured red wine with 99% alcohol

Dancer: Oh my God! Its Cärtenne Sërnänä!

Tou ë Yr! Vi går i stjerner!
(You and me! We walks in stars)

Tar på astroider
(Touching astroides)

We went from last place in earlier days
To giving you memorable acts
Don’t forget we gave you kink with MIL
And a winning gay

Let us write a song about a song
A ballad about war
No one will save us
Smokedfiled Spirit was us

Fish-dish that smells bad
Captial city with 12 million idiots
A racist MP from Änsver
1 percent of us are rainbows
The other 99 percent are grey and boring
In our paradise, we call our home

The land of the golden eagle!

You may now vote below this line

by **Filshia** » Tue Aug 10, 2021 2:23 am

1/29 countries voting
Spokesperson: Alina Famiš

‍
FILSHIA'S JURY VOTES
Hello, everyone! Thank you for htis amazing show! Now let's reveal the points, shall we?
1 - Elejamie
2 - Lagoa
3 - Nekoni
4 - Achaean Republic
5 - Kalosia
6 - Beepee
7 - Waisnor

Now...
8 points go to...

10 points go to...

And finally, 12 points go to...

by **Beepee** » Tue Aug 10, 2021 4:40 am

Good evening Anÿme, this is BONC Norfolk Pinewoods calling.

I'd like to thank you for a wonderful show tonight. A great spectacle for the love of music.

Without further ado. I present the points of the Beepeean Jury

1 point goes to Elejamie
2 points from Beepee go to ... *dramatic pause*... you our wonderful hosts tonight, Darkmania
3 points go to the Achaean Republic
4 points are awarded to Kalosia
5 points from our jury goes to Antahbrantahstan
6 points go to Tödlichebujoku
Our 7 points go to Bahai Roja

And now for our top points....

And finally

Thank you again for a wonderful show... goodnight Anÿme.

by **Vartugia** » Tue Aug 10, 2021 9:24 am

3/29 : Vartugia

IpwnNubs69420

I am still stuck in an endless loop of shitty dancing. Someone please help me!

12 - ~~Vartugia~~ Placely Placington
10 - Crustyland
8 - Zamboodle

7 - Kalosia
6 - Nekoni
5 - Darkmania
4 - Rhim Flavezztowland
3 - Lagoa
2 - Adab
1 - Faraby

by **Waisnor** » Tue Aug 10, 2021 10:37 am

WAISNOR IS CALLING

"Hello from Grodno! Once again, Nikolay Girshik is with you to announce top 10 of Waisnorian jury! I would like to wish good luck to all participants! And points are going as follows:"

1 point - MALTA COMINO GOZO
2 points - ADAB
3 points - LAGOA
4 points - BAHIA ROJA
5 points - BRITONISEA
6 points - NEKONI
7 points - ACHAEAN REPUBLIC

by **Elejamie** » Tue Aug 10, 2021 3:04 pm

Buenas noches, magandang gabi! Yes, good evening Anÿme, Manoy here and I'm here to give you the points from the Elejamian jury. While I wish the best for IyilRifim and Deni Merinil, I also wish the best for everyone else. I know how tough it can be on the WorldVision stage but I think everyone did a good job of it. So, without further ado and without leaving you all deaf, dumb and bli-ind, here are our points.

Malta Comino Gozo
Aenglide
Nekoni
Britonisea
Filshia
Scotatrova
Beepee
Adab

10. Joija

And so we get to our twelve points. The song that the juries thought was the best. And without further ado, those twelve points are going to Carrelie. I've been Manoy, buenas noches, gudnayt!

by **Malta Comino Gozo** » Tue Aug 10, 2021 3:47 pm

God kveld Darkmania! Hello, This is Valletta calling!

Ira Lesco

Thank you so much for a fantastic show, a big kiss from our homeland to you.

Let's get to the points the first 7 points from our jury,

1 Aenglide
2 Carrelie
3 Todlichebujoku
4 Kalosia
5 Waisnor
6 Rhim Flavezztowland
7 Antanbrantahstan

Yay! Lets go on

We have 8 points for the lovely ...

10 points go to...

And finally... 12 points. The 12 points from Malta Comino Gozo, goes too...

by **Crustyland** » Tue Aug 10, 2021 3:53 pm

Crustyland votes

12 Lagoa
10 Alezian Union
8 Caryton

7 Britonisea
6 Placely Placington
5 Malta Comino Gozo
4 Atzlana
3 Vartugia
2 Joija
1 Filshia

by **Nekoni** » Tue Aug 10, 2021 4:34 pm

by **Aenglide** » Tue Aug 10, 2021 11:31 pm

9/29 Countries Voting

Hello! This is the Aenglish Jury calling! Thank you for Anÿme and Darkmania for hosting a wonderful show! Here are our points to give!
Hej! Dis es þe Ænglidjury ringæd! Takþu vor Anÿme yt Darkmanja vor vesding on vonderbig stagad! Er es være vespresenen a haner!

1 - Joija Joija
2 - Pemecutan Pemekutan
3 - Nekoni Nekoni
4 - Achaean Republic Republyk Achæn
5 - Malta Comino Gozo Maltakominogoso
6 - Waisnor Vajsnor
7 - Adab Adab

We are giving our eight points to...
8 - KALOSIA Kalosja

And now our ten points go to...
10 - BRITONISEA Britonjsea

Finally, our great douze points, they go to...
12 - BEEPEE Bijpi

by **Placely Placington** » Wed Aug 11, 2021 4:07 am

10/29 - Placely Placington

It was time for the next set of points. As I'm running out of ideas, here is one of E OE giving out the points. It doesn't matter which one, they're all the same person really. On the upside, expect them to make a return in a future competition, albeit in a completely different style to their first song at the contest.

OE OI OE O AOOE
O OI OE O AEIE
EE OI OE O AEIA UIO
OU OI OE O AAA
IE OI OE O EEAIE
I OI OE O AIA OA
EE OI OE O I AEOA
EI OI OE O AIO
E OI OE O UA
A O II OU OE EE OI OE O AUIA

by **Darkmania** » Wed Aug 11, 2021 8:14 am

11/ 29 : Darkmania

Kärolina Füks

Hello Anime. This is Darkmania calling themselves and here are the results from the darkmanian jury.

12 - Faraby
10 - Waisnor
8 - Malta Comino Gozo

7 - Kalosia
6 - Alezian Union
5 - Achaean Republic
4 - Rhim Flavezztowland
3 - Elejamie
2 - Nekoni
1 - Tödlichebujoku

Last.fm · by **Faraby** » Wed Aug 11, 2021 8:26 am

Faraby jury votes:

12 – Nekoni
10 – Tödlichebujoku
8 – Aenglide
7 – Beepee
6 – Malta Comino Gozo
5 – Adab
4 – Waisnor
3 – Rhim Flavezztowland
2 – Caryton
1 – Alezian Union

by **Adab** » Wed Aug 11, 2021 8:26 am

Adab jury votes:

12 – Bahia Roja
10 – Elejamie
8 – Scotatrova
7 – Britonisea
6 – Achaean Republic
5 – Kalosia
4 – Joija
3 – Lagoa
2 – Antahbrantahstan
1 – Carrelie

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

23 | Britonisea | Benjamin Walters - Won't Let You Down

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