[IC] 95th WorldVision Song Contest | Nakom, Yvesia

by **Kalosia** » Tue Nov 30, 2021 8:19 pm

24
Kalosia
Oki — Domeniko Gaľanu
performed in Kalosian to the tune of Avalanche — Christian French

With Dafne Maržanu, the runner up of Festival dëla Kanžu Kalosianë 2021, having represented Kalosia at the 94th WorldVision Song Contest, all other competing artists that declared interest for WV that had not had their chance yet, had shifted their priorities and moved on to other projects. Thus, for the 95th WorldVision Song Contest, RTVK finally decided to open up to submissions from the public.

Out of the many songs they received, there was one track that stood out. The singer was also not unfamiliar, having competed twice in Festival dële Melodie Kalosiane (including winning the ticket to WHF on one occasion). He had also competed in FKK just last year, although his summery tune was not able to pprogress past the semifinals.

And so, the broadcaster announced that the Kalosian representative at the 95th WorldVision Song Contest is Domeniko Gaľanu.

The 26-year old heartthrob rose to fame after competing in La Vož, the Kalosian version of reality show The Voice, in 2015. He was only 20 years old at the time and managed to make it to the Top 6, after which he was eliminated. After being sent home, he was able to secure a recording contract with a small record label and packed his bags to move away from Sitria, the coastal tourist town where he grew up, to Monterra to build his career and produce music. He has lived there since.

3 years later, in 2018, he competed in the 35th edition of Festival dële Melodie Kalosiane, the Kalosian national final for the World Hit Festival, with the song 'Ti au përduto' (I have lost you). He came 2nd, losing out to Corpus Calosum, who eventually won the international final.

In December of that year, he competed at the 43rd World Hit Festival in Burgendore, Britonisea, with the song Donë (Woman), where he came 11th in a field of 20.

In 2020, he participated in the nation's most prestigious music show, Festival dëla Kanžu Kalosianë. With the song 'Ragažë mia' (My girl), he came 7th (second to last) in the semifinal and did not advance. It also so happens that Corpus Calosum had also won the previous year and subsequently represented Kalosia on home turf at the WorldVision Song Contest with their winning song. This was the first time this was ever done, setting a precedent and expectations that the 2020 FKK winner could do the same. In fact, it was not the reason Domeniko wanted to participate and, with his non-qualification past the semis, it didn't matter anyway. Following his announcement as the WV representative, he was finally asked if he would've gone to WV had he won FKK that year. And his answer was yes.

Personally, Domeniko thought that his current WV entry is a much stronger entry than his FKK song in terms of potential, as the latter was more tailored towards domestic audiences. This one, he thought, would have better appeal with wider audiences. The title of his WV entry is 'Oki' (Eyes), and tells the story of a man falling in love. It is a summery pop track, not unlike the ones that have been entered by the likes of Scotatrova and Malta Comino Gozo. The song was definitely considered a safe choice by fans, although as we have seen in the past edition, a safe choice may end up being forgettable, and so it is on Domeniko to make sure his performance will resonate with viewers.

Originally, the song was going to be titled Uv oki toji ('In your eyes'), however his team opted for a shorter, easier-to-remember title. The Kalosian delegation also decided for the song to remain entirely in Kalosian, rather than to translate into English as is common practice in both in Kalosian WV history and in WV in general. A music video of Oki was also made, which includes scenes of Domeniko singing as he lays in bed, him going out and meeting a girl, him dancing in the club with her, and ultimately him singing onstage in that club.

As the representatives of the participating countries arrived in Nakom, the Kalosian delegation surprised everyone with their cargo. A bunch of different components were constructed to produce some sort of makeshift room with wheels, measuring about 3 meters wide, 6 meters deep, and 3 meters tall. Once rehearsals commenced, everyone got to see how it all came together, with members of the press comparing it to the music video of Jamiroquai's Virtual Insanity or the Melodifestivalen performance of Danny Saucedo's Dandi Dansa.

Virtual Insanity

Click here to see an external shot from the Melodifestivalen performance of Dandi Dansa

For the big night, Domeniko is wearing a casual outfit. A red-and-black varsity jacket with a black t-shirt and a pair of sleek dark blue denim jeans. He tops the outfit with a pair of white sneakers.

As the song begins, the screen de-blurs and you can see Domeniko's face up close. He has one hand holding a mic, and the other to the back of his head, as if laying in bed. He filled up the screen, so other than that, you can't really make out anything else. He smirked and raised an eyebrow while singing, so you could tell he was quite confident, at least because of what he was singing about.

Tuto komenšavë
Un pomërižu, kadë au viditu
Kelu bel sorisu
Era tu

Domeniko looks like he's 'getting up' from a laying down position, and immediately it switches to a camera angle a medium distance. It turns out he was standing on some sort of ledge, and hops off. Now we get a good view of the scene; he appears to be in some sort of closed off room. The walls appear to be black with three lines running across the room. These are LED lights; the middle one is currently glowing red while the other two appear to be switched off and currently look grey. As Domeniko sings the last line of the part below, a song effect that mimicked his singing can be heard and these red bars (similar to equalizer visuals) could be seen animated in sync with the intensity of that sound effect. So, it appears that these walls are fitted with projector effects. On the ceiling, there are three lines that run vertically from the camera POV; these are LED light installations and are also currently emitting red light. 3 lines can be seen on the floor mimicking the ceiling pattern as well. As Domeniko continues to sing, he takes a few steps forward, closer to the camera.

Mondu mia a kañatu
Al improvisu lë sol a tornatu
Lasu alë ťelu
Gražia di tu

He takes a few steps forward, and suddenly on the walls, the lines to the song appear. "La vitë va..." first in the leftmost corner, followed by "e va..." in the middle and finally again on the right as he sings those lines. Ditto the next line with "Penšu kë sara" and the word sara repeated. As he sings the third line, although Domeniko was standing still, it suddenly seemed like he was being dragged to the back... but wait, looking at the movement of the lines on the floor, it seemed like the floor had started to move... but not the walls nor ceiling. In reality, the walls and ceiling are a wheeled structure which the camera is attached to. As this is the pre-chorus, the beat intensifies and Domeniko raises his voice. Meanwhile, the structure starts moving to the right, bringing a female dancer into the picture.

Mentrë la vitë va, e va, e va
Ja penšu kë sara, sara, sara
Unë aventurë për dwe, e tu mi aj
Poj veniz tu? Es or o maj!

With the beat dropped, we enter the chorus. The structure stopped moving, leaving Domeniko at a corner at back of the room. The female dancer is wearing a smart casual outfit, that is a white jacket over a black dress. She turns back and heads toward Domeniko, who steps forward. They meet, and while they never actually make physical contact, they engage in choreography that makes it seem like they are playing some sort of game, where they follow each other to different corners of the room. It definitely looks very intimate, and you can really see the passionate tension between them. Domeniko is singing the whole time this happens, and the lights that go around the room are emitting white light, although the intensity varies as the light pulsates around the room. The ceiling lights are off and the floor is plain black.

Ti portaru
Ala finë dël arkuťelu
Ove speta la primë luž dëla matinë
Saremu intrë li steli šintiľanti
Kë au trovatu uv oki toji

Now the two of them are at the front of the room, and the structure moved forward. Domeniko stood still as he sung, therefore appearing to be 'dragged' to the back, but the female dancer walked forward and stayed in the front of the room. In the third line of the next part, Domeniko walks forth to catch up with the girl, but she turns back and walks towards the back of the room, causing Domeniko to walk too fast and miss her completely.

Ti portaru
Ala finë dël arkuťelu
Ove speta la primë luž dëla matinë
Saremu intrë li steli šintiľanti
Kë au trovatu uv oki toji

Now the structure's movements slowly come to a halt. The ceiling lights come back on, shining in white. Now these graphics were projected onto the walls which looked a lot like a grid structure rendering of a park landscape (so somewhat like this but with trees and what have you). The ceiling lights glow in white, the LED floors show horizontal white lines, and Domeniko begins making his way to the back of the room, while looking at the female dancer (as if to sing to her). The structure has also begun to move backwards, forcing Domeniko to walk faster. The female dancer actually walks slowly, meaning the front wall quickly catches up with her, and she waves to him (as if to say goodbye at the end of the night) and quickly makes an exit to the left. Domeniko slowly stopped walking, realizing she left, and was now facing the front. The structure kept moving though, and by the time it stopped, Domeniko was closer to the front of the room.

Kadë avamu parlatu
Sentivu kë sentimenti moji
Eranu rešiproki a ti

The ceiling lights now turned red while the white horizontal lines on the floor got wiped away, being replaced with red vertical lines instead. The projectors showed a big heart on the back wall now, and the middle LED light started pulsating in red, somewhat slowly at first. As Domeniko kept singing, the wall projections began to fade into red, essentially recolouring them and drowning the heart in a sea of red. He definitely looked like he meant what he was saying, as he sang while grinning from ear to ear. At the same time, the pulsations of the lights became more intense, and once again Domeniko raised his voice as he finished off this pre-chorus. And right as that happened, the projections were turned off, leaving only the red LED lines in on a black background.

Poj mi san prometetu kë ti daru
Mi koru interu, ed or
Ja voľu mošarë ti
K’es veru, sej tuto për mi!

Now, the female dancer came back in, carry a little black handbag with her, the gold chain strap hanging over her shoulder. She circles Domeniko, and the dynamics of her movement are emphasized due to the structure also rotating... you can see the floor and its vertical lines rotating 90° clockwise (which means the structure is rotating 90° counter-clockwise). While this is happening, all LED lights are on and emitting red. The horizontal ones in particular are pulsating around the room. Being near her, Domeniko definitely seemed like he was having a good time. You could almost see the lustful expression in his eyes as the closeness between him and the dancer created tension.

Ti portaru
Ala finë dël arkuťelu
Ove speta la primë luž dëla matinë
Saremu intrë li steli šintiľanti
Kë au trovatu uv oki toji

Once the structure completed its rotation, the female backing singer tossed the handbag towards the back of the room and then playfully removed her jacket as well, revealling this gorgeous little black dress underneath. Not long after, the structure moved again, backwards this time, moving the bag and the jacket—both on the floor— towards the front of the room. Meanwhile, Domeniko was mainly focusing on his singing, as he made general, lax body movements. He sang while looking at the dancer.

Ti portaru
Ala finë dël arkuťelu
Ove speta la primë luž dëla matinë
Saremu intrë li steli šintiľanti
Kë au trovatu uv oki toji

Finally, the two embrace at the back of the room, and the structure moves backwards, bringing them forward, closer to the camera. Domeniko continues to sing as they hold hands, and projected onto the walls are many little shining dots that twinkle, mimicking a starry night sky. This is definitely the most intimate moment of the entire song, as he looks into her eyes as he sings about how "I have found myself in your eyes".

Au trovatu, trovatu, trovatu
Mi stesu uv oki toji
Au trovatu, trovatu, trovatu
Mi stesu uv oki toji

The structure stops moving right as the two of them are in front of the camera. Slowly, Domeniko lets go of the dancer, who also lets go and moves away. Being right in front of the camera, he walks to the left and exits the scene. It cuts to a camera outside the box; as it turns out Domeniko has come out of the structure as he sings the line below, revealing the stage setup outside the room. The camera follows him from in front as he makes it towards the front of the stage. He sings this line as that happens, and as he walks, we can gradually see that there is a whole band, namely an electric guitar player, an electric bass player, a drumkit (and its player), and three backing singers, including the female backing dancer from earlier. The stage lights here are pretty dimly lit, save for a spotlight on Domeniko and some more fainter lights on the other performers. Also, we get to see the structure being rotated again by stage crew. This time, it is being oriented so that the back wall is facing the audience. It turns out that this wall's exterior has been fitted with lights as well which will serve as a background for Domeniko now. Speaking of him, Domeniko makes it to the front of the stage and attaches his mic to the stand just in time for this part to finish.

Mentrë la vitë va, e va, e va
Ja penšu kë sara, sara, sara
Unë aventurë për dwe, e tu mi aj
Poj veniz tu? Es or o maj!

Now as the camera angle switches to a close-up of Domeniko, he sings the first line of the next part. Afterwards, the camera immediately zooms out to a wide shot, pyrotechnic fountains shoot once from all around the outline of the stage, and immediately the lighting kicks in. The LED fixtures installed into the stage design are a warm golden colour, while the stage lights illuminating the set are red, allowing for this warm, welcoming tone. Quickly, the camera angle switched to a dynamic one that circled the perimeter of the stage, with Domeniko in the picture, before switching to other camera angles.

Ti portaru
Ala finë dël arkuťelu
Ove speta la primë luž dëla matinë
Saremu intrë li steli šintiľanti
Kë au trovatu uv oki toji

Now, the atmosphere on the stage was amazing. It was clear that Domeniko was having tons of fun on stage, being very generous with his facial expressions and body gestures, particularly ones where he extends his arms as a reflection of his promises to take his new lover "there", be it the end of the rainbow or the stars that glisten in her eyes.

Ti portaru
Ala finë dël arkuťelu
Ove speta la primë luž dëla matinë
Saremu intrë li steli šintiľanti
Kë au trovatu uv oki toji

Now a pyro curtain began to fall at the back of the stage. As the stage was showered by light, the camera angles used in this part below were shots that focused on the stage—wide shots as well as side shots and even shots from above. These angles were able to display our performers in context, and conveyed the atmosphere that Domeniko performed in. A quite warm one, with an enthusiastic audience.

Au trovatu, trovatu, trovatu
Mi stesu uv oki toji
Au trovatu, trovatu, trovatu
Mi stesu uv oki toji

As the song starts coming to an end, the cameras now focus on more intimate shots of Domeniko. Not close up shots, but rather medium shots and ones where he is the main object. This was actually a great visual, particularly with the warmth of the stage lights and golden shower. Domeniko was definitely very happy, be it from the lyrical content of a guy falling in love, or from the fact that his performance, which was almost done, has been quite successful. For sure, he was giving this his all.

Au trovatu, trovatu, trovatu
Mi stesu uv oki toji
Au trovatu, trovatu, trovatu
Mi stesu uv oki toji

For the final shot, the pyro curtain stopped falling and instead was replaced by a long pyro fountain shot from the stage outline. Domeniko excitedly had his hands extended up, as if to celebrate. As the song was now over, the audience went wild. "THANK YOU!!!!!" he screamed into the mic. He jumped around excitedly and hi-fived his mates as they returned to the green room, as the stage crew not only took the time to dismantle the setup, but also prepare for the next entry, coming from Yvesia.

by **Mister X** » Wed Dec 01, 2021 2:52 am

withdrawn

by **Yvesia** » Tue Dec 07, 2021 7:11 pm

withdrawn

by **Ertzei Kishim** » Wed Dec 08, 2021 2:33 pm

. : 27 - Ertzei Kishim - أراضي الكيش - ארצי כישים : .
Omer Grady - Statues
עומר גרדי - פסלים
Language: English
Lyrics & Composition: Roï Danker, Mifrah Dagani, Esma Ismaili, Omer Grady
To the Tune Of - Alban Ramosaj - Theje

Ertzei Kishim? Well, apparently yes. The Kishraeli hiatus began after WorldVision 89, concluding what had been an extremely successful decade of WorldVision for the country. Despite only counting a single victory in the 80th edition, Ertzei Kishim was ranked as the top nation of the 80's, with a perfect and consistent slew of top 10 placements, including podiums for a further three acts. However, despite these successes, overspending in HARESHET and on behalf of the Ministry of Culture on the contest, and in many cases, wasteful spending, after investment from the IBA led to many in Ertzei Kishim resenting the sums spent on the contest, which otherwise could have contributed to the improvement of the material conditions of Kishraelis. Under the stewardship of Batu Batuman, HARESHET underwent efficiency reviews in a number of departments. Initially it was decided that Kdam-WorldVision, Ertzei Kishim's national selection, was to be cut. This was largely controversial, due to its status as a large event in the WorldVision calendar, and its recent moves to capture international audiences. An internal selection was initially planned for the 90th edition of the contest, however this was soon scrapped as the Kishraeli delegation failed to nominate a song before the entry deadline. While the disappointment was immense amongst Kishraeli and international WorldVision fans alike, domestic opposition grew to the further waste of an internal selection process which failed to even yield a contestant. Despite various statements indicating a desire to return to the contest, ultimately no such entry was forthcoming. It was only at the end of the 94th edition when, in bilateral meetings between HARESHET and SSTR, that HARESHET indicated a strong desire to return. Scotatrova had just recorded a second successive result below 20th, and part of the discussion centred around Ertzei Kishim returning to the contest. Indeed, by the advent of the 95th contest, Ertzei Kishim had prepared an application for the contest, beginning speculation and rumour mills about who the Kishraeli entrant would be, and how they would be selected.

The reality was that HARESHET had their entrant in mind for a number of months. For those who don't remember, HARESHET is one of a number of companies under the state-owned umbrella - specifically, the Ministry of Culture and Sport. Because of this, HARESHET has a close relationship with the EKRA, the Ertzei Kishim Record Association, a state-owned, and only legal, music label in the country. Thus, HARESHET was often free to 'borrow' artists signed to the state label. Similarly, new talent which performed well in WorldVision were eligible for a professional recording contract with the KRA. The former however, was the arrangement for this contest. Omer Grady, a 27-year-old recording artist from Tiferet was approached to perform at the contest. HARESHET had previously prepared a song for publication, they just needed a singer to perform it. While Grady typically viewed himself as a singer-songwriter, he was eager to lead the Kishraeli return to the contest after their five-edition absence, on the condition that he could have a hand in the final instrumentation of the song. Hailing from a small village called Mahaskar on the periphery of Tiferet, Grady first caught the attention of KRA scouts during a street performance in Tiferet's trendy 'Ir Levan' district at the age of 25. From there, he was signed on a provisional contract to produce three singles and, depending on their success, he would then be eligible for a permanent contract. Eschewing Arabic and Hebrew, Grady immediately launched himself with an international audience in mind, singing exclusively in English. Commercial success followed, with his three singles charting in the top ten successively. Indeed, he was actually in the process of finalising his first album after signing his permanent contract. Thus, HARESHET and Grady saw the WorldVision opportunity as symbiotic, they would be able to access a successful artist cheaply, and Grady could use the contest's reach as a way to promote his new project globally. The new song was also given a place on his new album.

Inspired by both Balkan and Middle Eastern influences, 'Statues' is an English-language mid-tempo ballad which gradually builds throughout the song. It's relatively unique structure and style, particularly in relation to typical Kishraeli styles, was what drew the HARESHET delegation to the offering. Grady's performance in Yvesia was kept very secret, indeed it was just a few weeks before the contest that both singer and song were announced on official channels. While some fans were disappointed at the shift is musical style for Ertzei Kishim, many praised the brave decision and enjoyed the song's instrumentation, and especially Grady's voice. While the HARESHET delegation had voted for the Beepeean bid, ultimately it was Yvesia who had succeeded, and thus Grady and the team jetted off to Nakom for their rehearsals. Nakom was similar to the oil-backed Khaleeji cities of the Gulf, particularly Abu Dhabi and Dubai, but placed within an Eastern setting. While the city was exciting, compared to anywhere in Ertzei Kishim, the lifestyle was hectic, and for a number of days Omer and his team suffered mild homesickness as they adjusted to their new surroundings. Yvesia had spared no expense on their hosting however, the newly-built Santiphaph Park Arena was a beautiful example of modern sustainable architecture, while the stage offered a large number of visual and technological advances. As was typical for most delegations, different lighting, choreography and performance pacing was practiced throughout the two weeks, until a final product was agreed upon. Both Omer and the production team were pleased with the final product.

Performing between the hosts, and fan-favourites Llalta was no easy task for Omer, but the running order was decided and he had to make the most of it. His performance was, for some, a little on the nose, but ultimately transmitting the meaning of the song was the most important thing for him and his team. Omer was wearing a white t-shirt with a black mesh top overlayed, which created an interesting rippling dynamic over his torso (it also looked a bit gay, but that's okay too). Similarly, he was wearing thick, black-fabric wristbands, each of which had some tassels/fringe hanging, which, throughout the performance, was designed to create dramatic movements when he was gesticulating. The crowd began to hush as the Kishraeli postcard finished playing on the big screens. The stage was dark, save for a cluster of red LED lights underneath Omer. He took his first breath and began to sing, while simultaneously, the cluster of red lights began moving in a set rhythm, almost as if it were a living heartbeat. For the first part of the verse, he sings almost entirely with his head down. Because of the repetitive LEDs and lack of movement, dynamism is created through camera angles, which capture him from two sides and the front, as well as the general effect of the red LEDs on the stage.

Standing, amongst the statues and their cold marble smiles
Wondering, if they could teach you what it means to be human
My heart beats loud but the silence is louder
Khalas¹, my body got so cold waiting

As the song picks up in tempo, Omer lifts his head to look directly in the camera. At the same time, he raises one of his hands up with his palm facing the ceiling. While this happens the staging lights get warmer, with purples and oranges beginning to flick at the bottom of the stage too. However, because all of this light is coming from the stage floor it almost creates a 'fire-light' effect on Omer's face. Whether this can be interpreted as a cosy nice thing, or perhaps the remains of a burning village is up to the viewer. Aerial shots reveal the extent of the LED light show, which has now expanded about two metres around Omer. Silhouettes of stage props can be viewed slightly in these aerial shots, but because the lighting is from below, their details are undiscernable at the present time.

Laughing… laughing…
Love ain’t always fair but do you have to be so cruel
Laughing… laughing…
I try to look away but all I ever see is you

As the violins enter the song signalling the next part, a red halo shape lights up over Omer's head, approximately two metres above him. Its radius is about two metres. The rest of the stage remains black, and the LED lights once again retreat to just around Omer's standing position. This makes the lighting around him very minimal, with red illuminating the top half of his face, and the bottom half of his legs. Despite this, Omer has been practicing emoting with his eyes, and as the camera cuts in for close up shots, the audience at home is likely drawn into the story convincingly. Specifically, with each 'you' sung at the end of the verse, a new camera cut that 'slashes' across his eye line is taken.

Really thought I'd overcome the hardest part
But my agony's projected on their stone facades
Go to make a move but the circuit won’t restart
I try to see good in them, but all I see is you

Omer belts out the first long note of the chorus, and immediately red spotlights from above begin to shoot down around him. These illuminate four white marble statues, faced inwards towards where he is standing (they're not actually marble - too expensive, but they look very real). The four marble statues are not illuminated at the same time though, rather the spotlights move so that only two are lit at any given time. This creates shadows on Omer's face, so that as he sings, the lighting helps him convey different emotions due to the angling of the lights around him.

Oooohhhhh
Standing amongst the statues and their cold marble smiles
Oooohhhhh
Wondering do you think of me, even once in every while
Laughing, oh they’re laughing
Love ain’t always fair but do you have to be so cruel
Laughing, oh they’re laughing
I try to look away but all I ever see is you
Oooohhhhh (Hah-Hah)

Moving again to the verse, the 'reveal' of the statues has been established, and so now the red tones, made slightly darker flood the stage. The halo remains above Omer at a slightly brighter level. While the spotlights have stopped, the LED lights on the floor are flowing with different depths and textures bringing a sense of movement and dynamism to the stage. Omer gets gradually more passionate as the verse goes on, at some points almost growling the song (which I'm sure is a bit sexy to some people). As the last part of the verse ends, the stage goes completely black for just one second, eliciting cheers from the crowd.

And so, begins the process to clear the passion from name
Not that, I ever asked for you to feel the same
And what, from all that I’m willing to admit is true
I died, a million times waiting for you

The stage spotlights then once again shoot down, this time in a piercing white colour. Similarly, the halo above is now bright white. The speed at which the spotlights are moving around the statues has increased. Simultaneously, the camera is spinning 360 degrees around Omer from about five metres away. It appears there are two cameramen doing this, as each time one passes a statue, the darkness gives an opportunity to cut to the other camera angle. They time these cuts to perfection, specifically when a spotlight isn't illuminating the statue. The effect is frantic, and almost sickly to look at, but is intended to reproduce the swirling feelings of anguish Omer is trying to convey in his lyrics.

Laughing, oh they’re laughing
Love ain’t always fair but do you have to be so cruel (Hah-Hah)
Laughing, oh they’re laughing
I try to look away but all I ever see is you

For the very final part of the song, Omer lifts his hands up to the sky as the backing vocalists, hidden off stage, take most of the work. Omer then punches his hands to the sides, his tassels swirling around his body as he does. The camera now focuses directly onto his face, his shoulder and upper arms in shot. A strong wind begins, as the tassels on his outfit, as well as the mesh, begin rippling across his body, creating an interesting textured effect. Bringing the microphone to his lips, he sings, almost angrily, his final lines of the song. The white spotlights become even more frantic, reaching a crescendo in time with the song. The final shot is from above, as a white light on the floor rapidly recedes, before the stage goes black instantly with the finishing of the song.

(Laughing… Laughing)
(Standing amongst the statues and their cold marble smiles)
Laughing, oh they’re laughing
(Wondering do you think of me, even once in every while)
Mocking me with their carved smiles

The crowd lets out a roar with the end of the song. The lighting once again returns to normal, and Omer is seen smiling. He punches the air and shouts "yesh!" - which is the Hebrew equivalent of "yeah!". Pleased with his performance, he then remembers to thank the crowd, and the world etc. He walks off stage as the back-stage team prepare for the performance from Llalta, immediately loading the statues onto trolleys to be rolled off stage.

¹ Khalas is Arabic slang for 'Enough', also adopted in Hebrew

by **Todlichebujoku** » Thu Dec 09, 2021 10:39 pm

28. _Tödlichebujoku_

I Survive

Tune: Dana Kentai - Qatalespe

Héslichehito

The last rays of light filtered through the verdant birch trees as the boisterous Solstice celebrations started filtering into the bars and restaurants. Eirlis sighed as she gazed out of her window. She'd love to be down there, amongst the hubbub, drinking gaily and dancing around the holy trees once the moon began to rise. But no, her work called to her, a deadline poorly chosen that she had to meet. Why did this client think this was okay? And why did she accept it? It was just an art commission, nothing that pressing. She sipped her maple rum, the only nod to the celebrations that she allowed herself. It was pricey, but worth it. Worth it. The words echoed through her mind. Though the deadline was constricting, and the apartment felt empty, she could finally breathe easy. This second page of her latest chapter in life was one she had no idea she would ever see. At peace with herself, living on her own terms, and enjoying each moment as it comes.

It was a long overdue change.

2 years ago: Kaltekasai

Every night was starting to feel the same. And not in a good way.

It wasn't like this before. Sure there would be fights, but any couple has their fights. Maybe these fights were a bit more dramatic than usual, maybe a bit less logical than usual, but that's normal enough, right? Besides, there would always be times of joy, the high of being with one's one true love, a cyclone of intense affection and grandiose gestures that hit Eirlis like a wild manic high.

Those moments were growing fewer and further between.

The two went about their daily routines, barely acknowledging one another. Each word exchanged was like curt, terse, and aimed to kill. Though sheathed in plausible deniability, Eirlis knew that just one step in a certain direction would once again summon the escalating ouroboros of accusation and defensiveness. Maybe she was no angel herself. But she was not about to back down, admit defeat, take the blow to her pride. So the charade continued on. Lovers to enemies in just a few hundred words.

It was so normal, though.

She woke up. Started work. Ate her meals. Strategically skipped the odd bit of housework just for the cruel joy of knowing how it bring her partner immense displeasure, at least, until the same was done unto her. Seething, yet keeping things at a low intensity so it wouldn't look like she was the villain. What, are YOU going to be the one who blows up at a single misplaced glass? When it's always misplaced just in the most inconvenient location? "Not my problem," would be the reply. "Deal with it yourself." So she quietly seethed and quietly executed her own plans of petty vengeance.

In a way, it was almost fun.

Until it wasn't.

There was water on the tile floor. It could have been from anything. Eirlis had just come home late from a night at the bar, drinking her worries away. What other life was there? She didn't know. Knocked herself out as she walked in. And woke up in the evening, still on the cold floor, as her so-called love came back from work.

"Oh, still napping?"

If Eirlis had the strength, she would have punched that smirking face out the window.

In retrospect, obviously, this moment should have come much earlier. She had been so caught up in the game of shielding herself in the midst of mutual destruction, she had forgotten how it was like to be... free, to be normal. What true normality was. It took her a year to decompress, and realize why she had been doing what she did. To accept herself as complicit in the cycle of destruction. She was never a shrinking violet, she knew she could never see herself as a victim, which was precisely what fueled those years (had it really been that long?) of toxicity. So she took these lessons, and kept them in mind for every interaction onwards. Apologize to herself, resolve to do better, and make an attempt to do so to her ex.

Turns out her ex-girlfriend had been cheating on her with her male personal trainers. Yes, trainers. Eirlis decided not to learn more.

Maybe there would be an opportunity to apologize in the future.

ABOUT EIRLIS

Eirlis, full name Eirlis Lhude, is an Arnogachi-Tödlichebujoki artist from Héslichehito, in both senses of the word. Her family's move from cosmopolitan Estegoa to the mid-sized city in Tödlichebujoku's interior when she was a young child had left her looking for a medium to express herself in, and she found herself greatly drawn to the visual arts as she progressed through school. Her love for music only blossomed later on, as she began to become exposed to more and more music in her teenage years, prompting her to try her hand at composition and lyricism, at which she worked hard at as she continued into higher education. Eirlis's highly personal lyrics and unabashedly independent style have gained her a devoted following in the area, and increasingly, throughout the nation. In interviews she has shown herself to be an outspoken and unapologetic personality, most notably calling Tutia Nitiche out on her show for making fake conversation and explicitly lying about past interactions between the two. While this ultimately led to Tutia's downfall in the public eye as additional interviewees came out with their own experiences, Eirlis has had little to do with the show host since then, and has largely concentrated on working on new material and art pieces, staying out of the public spotlight. For many, then, it was a surprise to see her announce her participation in the WorldVision Song Contest, particularly as she has never appeared on any sort of competition show before. In explaining her choice to do so, she revealed that she has only traveled between Tödlichebujoku, Lagoa, and Arnog, and decided to take the opportunity offered to her by TÖBUK to explore the world beyond that of Jeme, and meet new people for further possibilities in the future. And of course, she has stated her intention to pull off her best job in staging and performing her song, one about self-discovery in the aftermath of a combative relationship, particularly as it is near and dear to her heart. We can't wait to see what she'll pull off in Nakom!

A watery blue light shines from the back of the stage, cutting through the misty air, flanked by silhouettes of bare trees (inspiration). Eirlis is visible as a hooded figure as she begins to sing, seen to be facing away from the audience as the stage lighting brightens and shifts to white. The stage floor is revealed to be covered in frosted plants and a thick white fog (inspiration), and Eirlis's cloak is revealed to be thick and velvety white, shimmering in the stage lights. The camera view passes by close to her as she continues to face the blue light, not acknowledging the camera, her eyes closed as if singing to someone who is not present

Kuka luulet mun olevan?
Who do you think I am?

Kuka haluat mun olevan?
Who do you want me to be?

Sá tuomitset yáákülmáni
You condemn my frigidity

Yoten teen pahimpani
So I will do my worst

She turns around, as a light snow begins to drift down around her, her expression unsettled, just barely held together, as if on the edge of breaking into a rage. The light on her is soft, but combined with her countenance and the wavering blue light behind her, creates more on a tense calm before the storm. All is still and peaceful while Eirlis grows increasingly aggressive in her eye contact and movements, her voice rising in volume and heatedness as she slowly steps forward

Out of control in a downward spin
Know that it hurts if I let you win
Don't you know why?
Don't you know why?

As a light wind begins to blow after the first verse, she drops her hood back, revealing her hair done tightly in a bun, sprinkled with tiny silvery crystals, kept together with what seems to be a gleaming posy of flowers made of cut ice. Dramatically serious, she warily looks around her, hands facing away from her as if expecting a hidden enemy to jump out and attack her at any moment. As the camera view arcs close in around her, it almost seems like the snow is spiraling around her, even as she progresses, step by step, through the fog onstage

Wars could be fought with the looks sent between us
Colder than winter, they burn and they freeze us
Heartlessly stare, heartlessly stare
As if I care, as if I care

Icy blue-white spotlights then descend upon Eirlis as she continues into the chorus, the strong light glimmering off the reflective threads in her cloak and the crystals of her hair and hairpiece. There is even sparkle now evident on her face as well, though it isn't immediately obvious. What is indeed obvious is the energy with which she now performs, throwing down her serious persona and letting loose her true feelings of the moment. Desperation, anger, masked vulnerability all play out on her face as she regards the camera view not so much as an icy adversary, but as partner she wishes to make amends with, looking for support with a not very subtle undercurrent of skittish defensiveness should things go awry

Love me or hate me in all my glory
All I can do is to speak of my story
What kind of savior exists to absolve me
Yet I survive, yet I survive

With every breath I must stand you or fight you
Nothing to do but for me to defy you
Scour me down to the bedrock, I'll rise through
Dare me to die, dare me to die...

After growing more animated, desperate, and heated as she finishes the chorus amidst an increasingly stiff wind, she winces against it, turning away before collapsing onto the floor, trying to rise again, but soon overtaken by the fog as the lights dim down to darkness. After a moment, she is seen rising up above the stage floor in a draping, billowing white dress in surreal half light, the camera angle making it unclear if she is actually rising up or if it is just a background screen animation. The fog beneath begins to glow, with a dark spot in the middle, but that could easily just be her cloak left abandoned. She plummets down back to the ground as the drumbeats kick in, leaving the camera view to pan along the edge of the stage, just above the fog, before the climax of the instrumental

[Instrumental]

A single harsh spotlight, golden white, shines straight down onto Eirlis as she begins to stand up, wrapped in a loose white dress, slightly crinkled and tattered. The light then cuts out, to be replaced by a succession of strobing golden spotlights as Eirlis writhes and dances around the stage, creating an otherworldly effect, especially with the gleaming from all the frosty plants around her. The stage floor itself is flashing in time with the spotlights as well, occasionally illuminated with a few flashes of shockingly vibrant fire bursting forth from the stage edge, with a few moments where a blue light catches her seemingly floating in the darkness in between bursts of light. As the instrumental comes to an end, Eirlis is found fallen back to the stage floor, once again illuminated by a harsh golden white spotlight. She gazes upward to the camera view as she resumes singing, before slowly looking away in shame

I know you hate me but so do I
Pains me to say it but I won't deny
Yet I survive, yet I survive...

She slowly stands back up, surveying her surroundings, the surrounding plants now charred black and no longer frosty, and the fog rapidly dissipating. She removes her hairpiece of ice flowers, taking a moment to look at it with a jaded eye, before casting it away into the surrounding darkness and turning to the camera view with wizened regret and a level gaze, her hair falling down behind her as she does so

The cold kept me comfort all through the night
Deadened the doubt you had sown inside
Living a lie, living a lie
Yet I survive, yet I survive!

Golden lights arc down from behind her as she casts off the white dress to reveal a short, tight-fitting earthy black satin dress, with a sheen of russet in the light. The wind once again blows upon Eirlis, tossing her hair freely. This time, it is a wind not of suffering but of liberation, with golden light suffusing the stage and the dense ground fog lifting away from the rest of the stage to reveal new growth, green and verdant, that had been hidden beneath the chilly tableau all along. Now it is bathed in light, ready to soon grow and blossom, like Eirlis as she thrusts her arms out, embracing the warmth all around her
in ecstasy

Love me or hate me in all my glory
All I can do is to speak of my story
What kind of savior exists to absolve me
Yet I survive, yet I survive...

All of these trials, and tribulations
Have left me reaching for meager salvation
From shattered pieces I must forge creation
Yet I survive, yet I survive...

With an air of liberation and great relief, she belts out the last bit of chorus. Having made it near the edge of the stage, she drops to her knees among the array of young green plants around her, lights reducing back down to a single spotlight, though this one is soft, providing almost a dreamlike appearance to the scene. She closes her eyes, bows her head

Oh...

She lies down on her side, snuggling against a budding blossom, the camera view closing in from above, capturing her almost surrounded by greenery, as if in a primordial garden, once lost but now found again. Her eyes open, a tender though regretful expression on her face, as she sings the final lines, barely acknowledging the camera view above her as she sings more to herself than to the audience around her, accepting the consequences and cause of her actions

Too proud to admit that I hurt me too
But sometimes our souls wander far from truth
Yet I survive, yet I survive
Yet I survive, yet I survive...

She closes her eyes once more, a contented smile forming as the light slowly fades out, the camera view slowly zooming out- first vertically from above her, then from another angle drawing farther and farther away from the stage. A small pool of warm light on a woman who is finally able to breathe, finally able to rest in contentment, unafraid of vulnerability, a verdant promise of lush abundance surrounding her, sheltering from the enveloping darkness. The cold and defensiveness is left in the past, and the focus is on the warmth and light

The lights come back on, and Eirlis rises to her feet shakily. "Kiitos, thank you Nakom. This all means so much to me, thank you," she breathes into the microphone before making her way off the stage. It was difficult, reliving it like that on stage. There was some emotional distance in weaving the metaphors, sure, but still it was a relief to have it all go well, and she could be at peace for the rest of the night. A breath she didn't know she was holding in, finally escaped her as she crashed into her seat, and enjoyed the moments as they came.

by **Spiritual Republic of Caryton** » Thu Dec 09, 2021 11:23 pm

29. Spiritual Republic of Caryton
The Good Neighbors - Their Purpose
Lyrics & Music: The Good Neighbors

by **Llalta** » Fri Dec 10, 2021 6:34 pm

30 ⯌ LLALTA
"The Time Of Your Life" - Titania
Music ⯌ Titania Blue, Laurent Pierce-Carter, Lucian Wilde, Esther Winterbourne
Lyrics ⯌ Titania Blue, Laurent Pierce-Carter, Jude St.Claire
~⯌~
"XO" - Beyoncé

The cover art of the single "The Time Of Your Life", by Titania. The single is also Llalta's entry in the 95th WorldVision Song Contest in Nakom, Yvesia.

~⯌~ BACKGROUND ~⯌~

In the last WorldVision Llalta competed in, WorldVision 90 in Avon, Elejamie, the island nation had decided to hold the very 2nd Llaltavision to decide their entry. Despite this, the official entry that was sent ended up being internally picked. The song, "Constellations" both performed and written by Korean-Llaltese Lacey (Lee Shin-Hyun), was a simple pop song about loving yourself. At first, the song flew under the WorldVision fan base radar due to being overshadowed by the national final, though that soon changed on the night. With a simple yet dazzling LED display and with dancers to boot, the song lit up the show. It ended up placing 4th, the nation's 5th top 5 entry in it's 12 edition run, reigniting the spark the Llaltese had 2 editions prior. Afterwards, the reaction from the LBN was ecstatic. However, this energy did not last long. The LBN was facing budget issues, and shortly disclosed it's withdrawal from subsequent contests only a week after the largely successful WorldVision 90, much to the disappointment of the islanders and international fans. What wasn't known, was that preparations for the next foreseeable contest, WorldVision 94, was underway. Behind the scenes, the LBN prepared the 3rd Llaltavision, much bigger than those that came before it. Collaborating with Llaltese, Britonish and even Todlichebujokuan artists to create a 'super-national final' of sorts. Llaltavision was also to encompass a large range of genres and styles, paying homage to the diverse Llaltese music industry (at least diverse for its size). Big names such as Esther Winterbourne, Evergreen and Yvonne Guardenia were set to compete in 4 semi-finals and a grand final, all in hopes to find the winner of all winners. A few weeks before WorldVision 94 however, and the small Llaltese budget proved insufficient, meaning a long edition wait was to occur. However, this only bred the excitement of fans all around the world. The LBN's goal was to find a song that was modern yet bursting with Llaltese passion and music, that only Llalta could create. Though this end goal would place a heavy burden on Llaltese budgets, the tiny network was determined to create something beautiful that they could be proud of.

After the failures of the 2 Llaltavision before it, the 1st won by international superstar Pingu performing his song "Nööt Nööt Nööt" going to Darkmania, who ended up placing 23rd, Llalta's 2nd worst placement of all time, and the 2nd Llaltavision being scrapped, replaced by Lacey and her song "Constellation". And though every Llaltavision had been successful and internationally regarded at the time, the results never seemed to pay the price of the hype. However, the LBN knew this had to be the one. Llaltavision 3 begun early November, starting with 4 semi-finals aired in quick succession. Each semi consisted of 3 'duels' pitting 2 songs against one another. The national final was an instant success, garnering much international attention. However, cracks were beginning to show in the national final. The budget had drained quickly, and though it would be a waste to stop now, any longer and the LBN would be bankrupt. However, the duels continued to run as if nothing was wrong. Though, without the funds to even participate in WorldVision, the national final would be useless. Thus, just after the release of the grand final, the whole thing was pulled. Rather than focussing and monetarily supporting 24 acts, the LBN could only really afford to produce 1: the song that would be sent to WorldVision. So the LBN went back to the drawing board. The artists involved all understood the shortcomings of the LBN gracefully. After all, they did not want to participate if the LBN could not facilitate their entry and stage it. Furthermore, many of the acts had scheduling conflicts anyway, meaning they could not participate if they wanted to. Many in the LBN felt it was like a badly written excuse by the Gods to essentially retcon Llaltavision 3. In distress, the LBN looked through countless Llaltese people, then emigrants to try and find the exact artist they were looking for. Something that would blow the world away, and show a modern side of Llalta. Many in the LBN considered withdrawing to save the embarrassment. Then, the Gods seemed to conveniently bless them with yet another Llaltese singer, Titania Blue.

A week after Llaltavision was left to ruin, Britonish-Llaltese star Titania Blue had arrived in Llalta for her upcoming album, looking for inspiration from her Llaltese roots to incorporate into her album. Upon hearing the news, the LBN immediately contacted her, realising her modern sound and powerful voice was exactly what they had been looking for this whole time. Not only was she a talented musician and song-writer moreover, but she was a renowned performer, and they met up at once. Despite being unsure at first, not wanting to postpone her already tight schedule, she soon agreed after hearing the passion and desperation of the Llaltese delegate, as well as being given the first hand opportunity to experience Llaltese life and culture, something hard to come by in a usual brief visit, as she had a originally planned. Upon accepting the role, she knew the perfect song she wanted to represent herself and Llalta with. Playing the demo from her phone, the delegate fell in love with the song within the first few seconds of hearing the opening synths, sharing it to his co-workers out of excitement, who also reciprocated the same excitement. And at once, the song and artist had been found, and Titania and the Llaltese delegation whipped up a plan immediately. Since the song was only a demo, the track was particularly rough around the edges, lacking any Llaltese influence. Thus, their work was cut out for them. And there was a lot of work.

Using the recording studio in the garage of John Summerfields, lead singer and composer of Evergreen, she worked on and produced the song alongside Llaltese songwriters Esther Winterbourne and John Summerfields, using their knowledge of Llaltese music to flavour the track. Implementing Llaltese drums in particular, the goal was to immerse the listener with all the colours of a Llaltese festival, which she had experienced first hand a few days into her arrival in the Winter Festival of Lights, where the main event was marching through the streets with lights and music. Alongside those studio sessions, she also frequently visited Llaltese hotspots and talked with historians and islanders to gage the history and culture of the island, even travelling to Lilliannes to visit the mines. Eventually, the track was almost finished in late November, though the process was not all finished. Filming part of the music video in Llalta, she left for Doportedas, Britonisea, to film the rest of the music video as well as polish the track with her producers. She also recorded a few other songs for her album also using the influence of Llaltese culture. With little time left, the Llaltese delegation as well as TItania were on a burner, rapidly completing everything that needed to be done, from music to music videos to promotions to graphics, leaving them all worn out once everything had been completed. Furthermore, though they had gone over budget by a little, Titania herself, alongside her label, had ended up paying the excess funds, leaving the LBN not bankrupt. Everyone had ended up extremely stressed and tired, but in the end, relieved, like a huge weight had been lifted off their shoulders. The only thing left was to perform. And finally the 6th of December, the delegation travelled to Yvesia, resting on the plane journey. After all, there was another journey to be had once they got there.

~⯌~ THE ARTIST ~⯌~

TITANIA BLUE
Age 26 (born 18th June, 1995)
Born in St.Christopher to a Llaltese mother and Britonish father, Titania Blue (known by the mononym 'Titania') is a R&B singer-songwriter hailing from Llalta and Britonisea. Titania spent her childhood in the quiet and peaceful outskirts of the port town, where her poet mother often spent the days with her telling stories. However, the family moved to Doportedas in 1999 in search of a more stable career and a better education for Titania, only 4-years-old at the time. There, she grew up surrounded by the vastly more urban and populous environment. At first, she found it stressful, considering the whip lash of moving from St.Christopher to the capital of Britonisea, Doportedas. From a young age she grew up with severe anxiety as a result, having met few friends and finding it challenging to keep up with the fast paced lifestyle. During primary school, it had gotten to a point in which she was removed from school and became home schooled. Working with a private tutor, she managed to flourish, finding life a lot easier. When it came around to secondary education, she made the decision to join school again. However, it did not fare much better than her primary school beginnings. Her anxiety spiralled as a result, and also became severely depressed. Fortunately, by the age of 11, she had gotten into poetry with the support of her mother and her therapist, writing poetry as a release from her social and school stress. Though at first she kept the poems to herself, eventually she began to share them, at first to her mother and therapist, and then family and even further to entering competitions. Through this, she managed to gain the confidence and support she had struggled to find for so long, finally seeing the shining light within her. She also made many friends from her poetry endeavours. She even was a runner-up in the National Youth Poetry Competition at 14, and made a lifelong poetry soul mate in her now, partner, Jude St.Clair, who was the winner of that very competition, also of the same age. With a new found spirit, she proceeded to finish secondary school with flying colours. During this time, she and Jude had begun experimenting with turning poetry into music and dance. This developed into a passion for Titania, who had chosen to develop her singing talents by applying to Doportedas College of Music. Once there, she also took dance lessons on the side. Despite this, she had still remained relatively shy and often restrained from putting herself out there. Although, she had become a fiercely independent soul throughout, staying strong.

Eventually, she completed her course at college and returned to live with Jude, who had also completed college, now looking to enter university. Titania on the other hand looked to create a blossoming music career for herself. Auditioning for only a few labels, she quickly signed and became part of the girl group, 'Little Angels', debuting on the 12th January 2014. Consisting of 5 members, the group enjoyed limited success in Britonisea, releasing 8 singles and 2 albums over their short, 3-year tenure. However, Titania had the time of her life, even if she was rarely front and centre. The 5 girls were near inseparable and had a bond like no other, always enjoying each other's presence as they performed onstage. Her confidence also grew, the Pop/R&B inspired group often sang empowering and sexy up-tempo numbers, paired with equally sensual yet up-tempo dances. As a result, she began to shift her tastes from subtler ballads to R&B and pop, and celebrating her sexuality more. However, after they had not gained enough of a profit, as well as the girls often having creative clashes with producers, the group disbanded on the 3rd May 2017.

Even after the disbandment, the girls remained strong friends and still sing together and hang out to this day. For Titania, it was bittersweet. Though the experience had been incomparable to anything she had ever done before, she now had to go through the music industry alone, a scary thought for her. However, one positive that she was ready for was being able to write her own music, which she had been unable to do in 'Little Angels'. Being in the group had also meant she had new found music industry connections she could reach for. After preparing a demo of her future hit song, "Running Wild", she soon became acquainted with another label, which gave her more creative control. And then, on the 7th May 2018, she released the mid-tempo alternative R&B track "Running Wild", where she reached far higher heights than she had before. Debuting in the Bubbling Under Hot 100 charts, she became an overnight success.

Since then, she has released 7 singles, mostly R&B and Pop, her most successful being "Body Me". She is well known for her alternative and visionary songs, incorporating everything she is with each, as well as tackling all kinds of social issues alongside her more light hearted tracks. She is also renowned for her tough work ethic, working vigorously to perfect each musical as well as visual detail, producing almost all of her music and videos. Titania is also an iconic performer, known for her a emotive voice that does not waver, even as she kicks and dances. In recent times, she is working on her upcoming eponymous album, "Titania" which will infuse her many identities to create music that contains everything that she is, to prove that many different sides and halves of a person is still a whole person, and that there is more to define someone than just outwards appearances. Thus far, she has travelled around the world to incorporate sounds from her heritage, something she has been passionate about since the start of her poetry career. Though she still retains reserved generally, she hopes to open up with her album. As a promising young artist with bountiful amounts of depth, her vision and perfectionism, she has been cited as one to watch from all around the world.

~⯌~ THE SONG ~⯌~

"THE TIME OF YOUR LIFE"

"The Time Of Your Life", performed by Titania, is a Pop/R&B song released on the 4th of December 2021, which encapsulates all the joys and sorrows that life brings in one big, uplifting yet bittersweet anthem. Harkening back to songs of the early 2010s, the song uses an electronic instrumental as well as a call and response chorus, as if the whole world is singing the lyrics of hope right back at you. the song is about the misconception that life has a peak, a singular time in which life is at it's best. In fact, everyday can is the time of your life. Life is too short to wait for the good to arrive, because, when you look around, the good is all around you. The song also contains themes of suicide, the lyrics talking directly to someone who is thinking of jumping to their death, personal details of Titania's life interwoven into the song. However, it is about how you cannot waste a moment of your life, to look around you at the world and realise that life and death, joy and suffering all come in hand in hand. It is part of being alive.
At it's core, the song is about the facets of human hope. It's both very delicate as well as resilient and pure. An integral part of humanity is hope. Even if we do not realise it, it's the reason we wake up every morning. It's the reason we live another day. However, hope is easily corruptible. Many can become so enamoured with hope that it destroys them. Some people see it as something that spits in their face. So... I guess, the song is a message of hope. The purest kind of hope that lays in every person around us, and ourselves. The reason you were born: hope. I hope to inspire the world with this song, as it has inspired me in my darkest times. The time of your life is, every time. We deserve to experience that, and we have one chance to do so. Even with the hopes and despairs of living. I think there's something beautiful in that, yes. That is what makes humans, humans.

The original demo written in late summer of 2021, the song serves as the lead single for her upcoming album "Titania", and is also the Llaltese entry for the 95th WorldVision in Nakom, Yvesia. Originally written as an EDM dance track, upon experiencing Llaltese music Titania opted to incorporate both Britonish and Llaltese elements, as well as drawing influence from R&B and her African heritage, creating a far more thick and colourful instrumental. Originally written as a simple summer song to lift people's spirits, Titania shifted the direction of the track to encompass a far more bittersweet theme, developing the original themes of hope and life to embrace the negative facets of life that many find hard to face, yet with such an uplifting chorus, paints even the worst of humanity in a positive light, a reason to live. The track also samples a quote from Llaltese socialite Rudolph Carmendale (1897 - 1981), the quote originating from his speech about keeping hope during the war in 1940. The inclusion of the quote emphasises the themes of never letting go of life. Since it's release, it has already peaked at #1 on the Llaltese charts (as of the 13th of December), an accomplishment that has been continued with each Llaltese WorldVision entry.

The music video also followed the narrative of the song, beginning with someone on the roof of a building and delving into their mentality, an overarching story dispersed with scenes filled with brilliant colours, of raves, city lights and fireworks. Each scene, flowing with many neon colours and scenes that meander between joyous and tragic moments.

~⯌~ THE PERFORMANCE ~⯌~

As the postcard ends, the arena dims until it is almost pitch black. The Yvesian crowd cheers one last time, before the arena is deafened with silence. Onstage, Titania took a deep breath. This is it. In her in ear, the countdown begins, and she shakes off the last of her nerves. Even having performed many times before, this performance felt different. She had rarely performed on her own, and especially not for such a large crowd, and an even bigger one sitting behind the cameras in their homes all around the the world. Not to mention, this song was her everything. She wasn't necessarily performing for the audience, or even Llalta, or for her family, but herself. She supposed that was what made this performance seem so nerve-racking. It was herself, flowing through every note in the music and through her voice, through each word. But she also realised that this was the reason the performance would be her best thus far. She would just have to do her best, just have fun, be herself, the usual spiel. But most of all, live the time of her life. As she heard the final number of the countdown, she thought of Jude, and how proud she would be as she watched from Doportedas. A smile broke out from her lips once as she imagined running up to her in the airport, when she returned home afterwards. She had to hold back laughter just from the thought. She wanted this childish excitement to last forever, the thoughts and feelings of seeing Jude again filling her with pure happiness, like a child with thinking of their first love. She supposed that was all she really was. One final breath was all that separated Titania and the performance of her life.

As the opening of the song begins, the recording of the quote, by Llaltese socialite Rudolph Carmendale, plays throughout the arena. As it does so, the camera points directly straight on to the stage, with Titania standing centre stage in the darkness. Fading in from black, the camera starts off blurry, creating a Bokeh effect on the few lights that glimmer in deep blues, pinks and golds, obscuring the faint outline of Titania's silhouette. The camera is zoomed relatively close to her face. During the beep that separates the quote, a much brighter light pierces the lens, almost obscuring Titania entirely before it fades out. Afterwards, the camera becomes less and less blurry, leading up to the end of the quote.

“We are all waiting for the time of our lives. But it has already begun.
All that comes next is the end.”

As the music begins, the camera is completely in focus on Titania's face, which bears make-up that makes her like ethereal, with a deep blue lipstick and eye liner that gradients from pink to blue. Furthermore, the both are embellished with small amounts of glitter that shimmer like stars in the lights. Her reveal leads the audience to cheer for her arrival. Upon her face, a multitude of strips of light and effervescent glows are projected onto her face in all shades of blues, pinks and yellows, as if she were the beating heart of a city. She opens her eyes, which reflect the multicoloured spotlights and reflections, and looks longingly into the camera before raising the microphone to her lips to sing the opening verse. She softly sings, 'The city paints the skyline", eyes still fixed on the camera. As she sings, the camera begins to slowly zoom out. As the camera zooms out however, the LED screens behind her begin to steadily light up to. At first, it appears as just abstract lights and a few outlines, but slowly builds to depict a whole city. As she sings, "A million lights below", a multitude of lights throughout the LED cityscape begin to shine, in the windows on the buildings and in the streets, subtly rippling out in a glowing ebb of light before returning to darkness with the first beat in every bar. As the camera zooms out even more, the audience is able to gage that she stands near the back of the stage, a whole fortress of LED city splayed out in front of her on the floor, like veins from the heart, the heart being Titania. Matching the music, which is relatively toned down thus far, the lights are near formless as they glitter subtly, almost jittering like the riff produced by the organ instrument. The stage is still dark however, filling the arena with the atmosphere of a city in the night.

Titania wears a tight cocktail dress that hugs her form, with an off-the-shoulder neckline, the straps elegantly drooping on her arms. The deep sapphire dress is also sequined, iridescent as it shifts from blue to pink to shades of purple. Asymmetric in it's styling, the skirt is not tight, instead rippling as it drops straight down to the mid-thigh, rippling slightly. The skirt is slightly elongated at the back, dropping slightly past the knee. Titania's hair is styled the exact same way as in the album pictures, black and curly as it unfurls to her shoulder bones. A few embellishments of tulle in blue and pink nestle on the right side of her hair, like abstract butterflies of flowers, scrunched up as they trail down. Her earrings are also of the same design, a tulle piece scrunched up from one end creating a fabric flourish, the earrings containing multiple that dangle down in a small chain, the largest at the top. Her necklaces consists of multiple gold pieces, with a few bangles alongside a delicate chain with a jewelled butterfly hanging at the end. Her nails are painted in the same gradient as her eye shadow. Despite the formal styling of the dress, Titania wears blue boot style shoes with a semi-high platform. The continuous zoom out maintains the shot until the last line of the first stanza, where the camera fades to black. Before that however, the shot eventually encapsulates the whole stage within the frame, the beautiful cityscape with Titania at its core setting the scene, where she seems miniscule in comparison to the rest of the stage. As she sings the final line, she closes her eyes, her mouth slowly painting a peaceful smile. As the music transitions into the 2nd stanza of the verse, spotlights dotted around the stage flash subtly to each click, building the stage up. Furthermore, the camera angles finally change, panning the stage from left to right, taking in the dazzling display of lights. Whilst the focus isn't on her, Titania steps forward to take centre stage, readying her microphone.

As the 2nd stanza of the verse begins the LED city bursts into colour, matching the introduction of percussion that lifts the music. Rather than rippling, the lights in the city flash in variation to the beat, though with every first beat of every bar, the lights did ripple like before. Furthermore, the lighting turns from just a pale yellow to pale yellow, blue and pink. Throughout the 2nd stanza, spotlights flash rhythmically, dancing along with the music. Stood centre stage, she sings once again, bouncing slightly to the beat as she gets into the rhythm. Her dress glimmers like a disco ball as she does so. The camera takes closer shots not to lose Titania in the sea of lights and colours, as well as to preserve her smile. Her gaze dances across the audience, unable to look at one place at a time as the volume of WorldVision began to sink in. Despite the increase in energy however, her voice seems just as soft and vulnerable, echoing through the arena like a zephyr, a single passing breath of the heavens. As she sings, "It hits you", the camera faces towards her, her gaze returned as she sings the lyrics to the lens. After, she loosens a little, swinging her body side to side a little as she loses herself in the song. Singing the final of the song, the camera takes a shot from behind, displaying the tumultuous ocean of lights and flags and people in the audience, Titania facing the camera, her voice cracking slightly, smiling a little from the accident. The camera zooms in a little, Titania singing to the lens, pushing her hair, before turning to face the crowd, the camera turning with her, ending up facing the stage once again.

The city paints the skyline
A million lights below
Ready, three, two
And everything feels alright

And as the world fades away
And as the earth draws nearer
Then it hits you
It was the time of your life
It was the time of your life
But you cannot rewind

As the chorus begins, the lights flash, billowing outwards. Upon the LED screens the cityscape remains, with trails of neon lights blazing through the streets like veins. The spotlights also flash and dance to the music, giving the chorus a grand feeling, like a fiesta. Titania opens by belting the lyrics, "As the city flies by", dancing to the right of the stage, the camera following her as she glances across the audience. After she sings, a volley of backing singers from offstage respond to her call, filling the arena with a chorus of voices. It helped that even the audience seemed to join in, making her blush with such a positive audience response. Though she was alone onstage, her charisma alone made her presence enough to fill the arena, not to mention the stage. The camera also took many close up shots to diminish the space, as well as having wider shots be to show the beauty of the LED, though often the shots were artfully taken not to lose Titania. After the second line utilising call and response, she sings, "Beautiful and ugly hearts", her voice straining with passion, passion for life, thrusting her hand to the camera which began to steadily zoom into her, smiling as brightly as the lights into the lens. She then returned to centre stage, walking backwards not to lose her gaze with the audience or the camera. Once there, she spread her arms out, her hair bouncing outwards from the force. As she sings the final line, "And you just wanna die", she thrusts her hand to the sky, the camera zooming in from a waist-up shot to follow her hand going upwards. As the shot is taken, all the LED screens begin to depict the city falling into a blur of passing lights, like shooting stars, giving the illusion of falling. The spotlights also rear their focus upwards, the lights painting the crowd as it flashes to the ceiling, though this would hardly be seen from the view of the camera. The camera focus becomes blurry however as it zooms into Titania's hand, the lights forming bouquets of Bokeh effects, before fading to black, transitioning to the next shot.

As the city flies by (As the city flies by)
Each and every life (Each and every life)
Beautiful little hearts
Just trying to see the light
What a time to be alive
It’s the time of your life
And you just wanna die

As the second verse begins, the camera shot fades in from black, revealing her lying across the floor of the stage shown from a birds eye view, the shot slowly zooming outwards as the verse progresses, slowly building up. The camera shot is slightly blurry, as if someone had just opened their eyes, matching the slightly muffled quality of the song. Her hair is sprawled out, cushioning her head as she faces the ceiling, her dress gracefully draped around as if the impact of a raindrop had been frozen in time, glistening in the thousands of lights. Her body is strewn completely flat upon the floor, apart from her right hand which holds the microphone to her lips. As she begins to sing, the LED flooring which begins as empty space with a multitude of speckled stars upon its surface quickly becomes the street of a city. Around her lays a splatter of colour upon a zebra crossing, having the same colour and iridescent quality of her dress, as if it were an extension of it entirely. Feathers also lay around her gathering around her as if they had come from her body. The street itself is just like any other city street; lights flashing neon colours across the grey tarmac as cars pass by, spewing lights from all directions. Using spotlights, the lights also wash onto Titania, a cool effect that immerses her in the city scenery around her. Her voice returns to a softer state, almost whispering the lines as stares into the camera lens, and beyond that, the sky. A heartbeat like pulse can be heard over the riff, which slowly builds over the course of the verse. To emphasise the pulsing, the lights that edge the stage dimly flash to the beat and in the LED scenery. The central road line which Titania lies upon becomes a vein of sorts, a light travelling along it and through her, again using external spotlights to create the effect. As the verse continues, the LED scenery begins to speed up, the cars beside her lying body eventually forming into trails of light that rapidly pass by in the blink of an eye, like shooting stars. Then, the music begins to build up as, Titania sits up from the floor, straightening her body to vocalise as she reaches the 2nd stanza of the verse.

The added percussion is met with spotlights pulsing wildly around the stage, as if the lights were dancing to the rhythm. As the 2nd stanza begins the LED show the scenery reversing, the cars going backwards and such. The camera pans the stage, showing the buildings surrounding the streets upon the LED screens, graphics that had been obscured in the 1st stanza. As Titania sings, "one last time", the LED scene (still reversing) shows the splattered colours drawing back into where Titania was stood, the feathers disappearing also. Then, the scene changes, showing the city passing by in reverse, coloured blocks of windows and the reflections of the building themselves flashing across the LED screens. This animation continues for the majority of the verse. Titania on the other hand, sings the lyrics with a voice laced with sadness and joy, all at once. She moves far less than in the chorus, instead standing on the same spot, her hands elegantly caressing her face and the air above her, as if she were falling. She does not smile either, her lips slightly parted at rest as if she were just, breathing. Afterwards, she sings, "Dancing with the high", her voice slightly aching, the pain soaking through every syllable. She rears her chin up, facing the ceiling as she slowly raises her hand to the sky, jolting slightly to the beat as she taps her foot, unable to resist the rhythm. She then turns her attention to the camera as she sings the next 2 lines, repeating their importance as she glares into the lens, an almost unreadable smile slowly growing up her face. As the verse draws to a close, the music grows quieter, the buildings passing by steadily slowing to a halt, the lights also steadily grow dimmer. Eventually, the scene stops as she sings the 2nd "‘Cus it’s the time of your life",, only a black background behind her, filled with a bouquet of stars twinkling as she is plunged into dramatic pink and blue lighting from either side, shadows covering much that is shown. A few lights of blue, pink and gold, trail across the screen towards the space behind Titania, forming a colourful display of unfurling wings, flickering slightly. As the camera takes a full body shot of Titania, she looks like an angel with the wings fully spread across the screen, visible in ebbs and flows as the subtle background synths play. After she sings the final line, "It’s too late to rewind" the camera zooms into her face before taking a wider shot, her face lighting up with a smile. The LED scene behind her shifts back the buildings, this time, not in reverse, rapidly passing by in real time, the lights near blurring into one big puddle of colour, as if she were falling again.

In the quietest laughter
Oh, in the faintest smile
Yearns the human hope
Wishing for the time of your life
Mmm, woah oh oh

Running out of life one last time
A few moments ‘till impact, yeah
Dancing with the high
‘Cus it’s the time of your life
‘Cus it’s the time of your life
It’s too late to rewind

The camera uses the blurred visuals upon all the LED screens to transition to the cityscape shown in the 1st chorus via an explosion of colours and lights that splash out across the whole stage, spotlights billowing outwards to wash the audience with vivid colours, before rapidly shifting to the cityscape. With few changes, the city lights ebb and flow and flicker to the Llaltese rhythm, pulsing like ripples upon a lake. Titania brightly sings the line, "As the city flies by", giving her everything before thrusting the microphone out towards the audience, shouting "SING ALONG!!" as she does so, inviting the audience to sing alongside the response, which the crowd do diligently, if not rather messily as their voices blur into one incomprehensible noise. Even so, Titania begins to laugh at the sheer volume of audience, removing her left earpiece as she goes in for round 2, stepping towards the front of the stage. The audience sing even louder, causing her to almost miss her cue for the next line, impressed and proud all at once. The camera takes a wide pan of the audience after, showing the crowd as they jump and dance to the music, flags and phone lights bouncing to the beat. Back onstage, Titania puts her earpiece back, fumbling from excitement as she sings the latter half of the chorus, her voice slightly shaky. Even so, she continues with a performer's vigour, eyes latched on the crowd as the camera takes a few more uncontrolled shots (yet not blurry or wild), capturing the spontaneous nature of the song. Titania herself steps all around the centre of the stage, as if the music was controlling her, forcing her to move to the rhythm, to dance with high of being alive. As the chorus comes to a close, she sings the final line, "And you just wanna fly", raising her hand to the sky, hr eyes following it as it soared to the heavens. The camera zoomed into her face, bathed in lights as her eyes then slowly fall to meet with the lens of the camera, her eyes sparkling in the light like a constellation.

As the city flies by (As the city flies by)
Each and every life (Each and every life)
Beautiful little hearts
Just trying to see the light
What a time to be alive
It’s the time of your life
And you just wanna fly

Though the LED screens stay the same throughout the bridge, every time the backing singers shout "Angels" after Titania's lines, fireworks upon the LED cityscape burst out, spellings angels, AN on the first syllable and GELS on the second. Titania edges towards the front of the stage, raising her hand once again as she sings the first line, "You’ll fly high like angels". She then shifts her gaze from the back of the arena to the camera, which takes a waist-upwards shot as she sings to the audience at home. With every 'response' she gestures for the audience to sing along, once again removing her earpiece to hear the chorus of "Angels". Dancing to the right of the stage, the camera following her as it panned, she bent down, causing the crowd around her to jump up, trying to get even a graze of her presence. She returned to centre stage as she sung, "All that you are", shifting her gaze to the camera zooming in, smiling warmly as she spoke directly to the world. She seemed almost desperate in her delivery, her voice intertwined with pain and longing, as if bleeding. As she sings, "Step back from the skyline", she herself steps back slightly, preparing herself for the instrumental. The camera pans the stage from a large distance as she does so, capturing the crowd dancing like stormy waves crashing into one another. She looks dwarfed compared to the stage, covered in a million tiny details, Titania just one of them from such a far distance. The camera zooms back into Titania's face, masking her location upon the stage, as lights trample the shot with sparkling lens flares as they pass by. Singing the final line, she winks into the camera, her face unmoving as her eye shadow flashes in the light like the scales of a fish, shimmering as it turns against the lights.

You’ll fly high like angels (Angels)
Beyond the night, angels (Angels)
You’ll fly high like angels (Angels)
You’re a beautiful angel (Angel)
All that you are
A beautiful angel
It’s not too late to hold tight
Step back from the skyline
It’s the time of your life

As the instrumental begins, Titania turns to the side. The lights change drastically, the LED screens becoming completely black as large neon light trails of blue, pink and gold streak the LED screens as they flash by, travelling downwards and towards the audience as they cross the stage floor. Not only this but spotlights that ring the edges of the stage pulse directly downwards or upwards (depending on whether they are positioned higher or lower respectively) to create the illusion of the light trails. As a result, it is as if Titania is surrounding by prison bars of light trails, though they do not obscure her. Speaking of which, the lighting is such that TItania becomes a silhouette, only the edge of her lit up in pink and blue like a border. As she turns to the side, behind her upon the LED screen are wings. The camera is placed to give the illusion the wings are hers, flying upwards, towards the sky where Titania is facing. She softly sings the high notes over the drum-based instrumental. The striking staging is met with a few cheers, the contrastingly dark staging being especially beautiful from the camera's point of view, which at first zooms outwards at Titania's eye level, showing the illusion as it was supposed to be seen. Titania's voice like a warm summer breeze, the camera pans the stage slowly, before taking a wider shot of the stage, incorporating many of the audience members also, though they could only be seen in brief trails of light before fading away once more. Nearing the end of the instrumental, the camera takes yet another frontal shot of Titania, who turns to face the front. In the final moments of the section, she walks forward, though the camera takes a pan of the arena, starting from the audience ending up onstage, covering the walk. Just as the final chorus begins, the spotlights flash harshly, accompanied by a shockwave of sparks starting from the centre bursting outwards, in time with the drums that speed up.

The final chorus is opened by a huge flash of sparks that rim the stage. Spotlights billow outwards in a grand flourish, the LED screens covered by a large mass of fireworks whose petals spread across the whole stage. Then, the explosions dissipate, revealing the LED screens depicting the cityscape, the same one as the first two choruses. However, the angle that the city can be seen on is not a birds eye view, rather a 45° angle from above, so that the sky can be seen upon the back LEDs as well. The sky is a deep blue, though is still noticeable as blue rather than indigo or black. Stars litter the night sky, twinkling in gold, with fireworks streaking the sky to the rhythm of the song, matching the festival sound of the song. Furthermore, the city is filled with lights that pulse to the rhythm, although far more subtly than the fireworks. The spotlights are also active in creating the festival atmosphere, billowing upwards and around in short bursts, much like the fireworks themselves. As for Titania, she dances around the front of the stage, completely encapsulated by the music, singing her heart out, even if her voice seems slightly over-exerted, almost growling though she doesn't seem to care, her smile seemingly infinite. Though her eyes are mainly locked upon the audience, every so often her eyes will glance into the camera, looking deep into the lens. As she sings the line, "Perhaps you’re just one little life", the camera takes a frontal shot of Titania, zooming into her face as she pushes her hand towards the camera. The following line is met by Titania spreading her arm out to the side, stomping her feet. The camera takes far more shots, especially shots that show the wider stage, showing the full beauty of the LED display.

As she sings the line, "Everything will be alright" the shots return to being closer up, allowing Titania to convey the personal lyrics more intimately. Her tone becomes a little more soft once again moreover, closing her eyes as she holds herself, the camera zooming in slowly before panning the stage. The camera takes a close-up of her face from a 45° angle, though her head is tilted to capture the camera head on. There, she slowly opens her eyes, large pupils swallowing the dazzling lights like a black hole. She then tilts her head before returning her attention to the audience. The camera then takes one more waist-up shot of Titania, head on as she sings the final line, "It’s the time of your life", putting the last of her energy into every word. Surrounding by a beautiful city of light, she thrusts her hand towards the sky with the advent of the end, eyes fixed determinedly forward, a bright smile upon her face. A last burst of sparks erupts from the sides of the stage, as the last beat of the chorus plays, the fireworks bursting upon the LED screens one last time, the city saying goodbye as it is obscured by the sudden flash of lights.

And as the time flies by (And as the time flies by)
Perhaps you’re just one little life (You’re just one little life)
But you’re a beautiful angel
On the painting of our timeline
Everything will be alright
So please hold, hold on tight
It’s the time of your life

As the outro plays, Titania's raised arm slowly retracts, her eyes trailing the floor somewhat blankly, though many emotions seem to be bursting at her lips. As she does this the LED screens are once again painted by trails of lights upon a black screen, spotlights flashing harshly to the rhythm. However, Titania can be seen almost fully, not a silhouette as before. The camera starts with a high angled shot, moving smoothly down to meet Titania's gaze as she faces the front. The trails of light do not last long however, as the graphics are replaced with a similar LED city as the last chorus, though beneath Titania's feet appears to be a rooftop of a high-rise, giving off the illusion she is standing on the edge of a building in the city. Her hands are clasped behind her back, her eyes falling on the floor below, a whole cityscape beneath her. The lights are far softer as the atmosphere changes, the colour palette becoming light blue, grey, purple and pale yellow, though it is rather realistic in quality. The camera slowly zooms into a full body shot of Titania from the front. Behind her, the horizon is lit up by a morning sun, eclipsing the edge of the city in light. The sky becomes a pale mauve colour, like the morning sky. A pair of angel wings form behind Titania upon the LED screen also, slightly folded as if they were at rest. As the music comes ends on the last beat, the stage pulses with light just once, and Titania looks up into the camera, unable to hide her smile any longer. A wind machine blows her hair as if she were really standing on the edge of a building. She smiles into the camera, the beautiful shot like that of a movie still, the city piercing the sky behind her, the sun radiant upon the lands.

With the end of the song came the applause from the Yvesian crowd, Titania laughing as if she was unable to process what had just happened. Looking around at all the cheering people, she hesitated to bring the microphone to her lips, a wide smile of pride plastered on her face. Eventually, she spoke, giggling in between almost every word, "Thank you... world, Yvesia... thank you!", before bowing multiple times. If it weren't for the sheer volume of the crowd, she might not have ever truly come to her senses. She could not be prouder, all her struggles and hard work and joy had all built up to her best performance to date. And yet there were even greater performances to come. Even so, in the moment she felt as if she could fly, as if she could step off the tallest building and soar to the heavens. It was a feeling she didn't want to let go of, not ever. A feeling not even she could put into words.

~⯌~

by **Elejamie** » Sat Dec 11, 2021 4:15 pm

ETV1 presents WorldVision 95 - English language commentary by Cerin Erali and Flynn Taggart

CE: Welcome to WorldVision 95! Bienvenido a WorldVision 95! Yalcom WorldVision 95! Live in... Yivesia?
FT: Yvesia.
CE: Fenci.
FT: I should really teach you how to pronounce each country before we fly there.
CE: You should. Anyhoo, 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. Except for #13 which is us.
CE: Ooh will it be lucky 13 this time?
FT: Knowing us, no.
CE: We'll see. Anyway, unless we've got anything else we can cover, let's start this thing!

by **Caribou Island** » Sun Dec 12, 2021 1:29 pm

31
.: Moorland :.
Steal My Bones
Misty Moore
Tune
---
Music: Esta Dok, Misa Mor
Lyrics: Misa Mor
Performance: Misa Mor

The wind wound its way across the city, picking up dried leaves as it coursed with wild abandon through the streets, carrying the crisp scent of a late fall that had finally arrived. Children laughed and played in public parks. Cafeterias and communal gathering areas buzzed with the day's gossip as midday meals wound their way to a close. And up above it all stood the gleaming skyscrapers of Moorlea, towers piercing the heavens and reflecting their radiance on the masses down below. Clouds bounced playfully along the skyline, filling the floor-to-ceiling windows of the Deputy Director of Programming's office. For all the gentle tranquillity outside the sanctum of his office, the sheer force of dread and shock was just as palpable within the constricting walls around him. The phone in his grasp shook with tremors as he struggled to take in the enormity of the news.

The intercom on his desk buzzed and the grainy voice of Han Skan's secretary came through. "Sir, your 2:30 is here."

He quickly buried the receiver of his phone in his chest. Dear gods, not the Ikslanders. "Not now, Hana! Tell them to wait!"

"But sir, she -"

"Not now!" he barked, clicking the intercom off and returning to the matter at hand. He stilled his breathing and put the phone back up to his ear.

"Raina, what do you mean they're gone?"

"Just what I said. Their plane disappeared somewhere over the Stone Mountains and -"

"And now we have no act."

"And now we need to find them!"

He scoffed, turning to his windows to gaze out at the grey-black blur of mountains far to the north, barely visible over the vast stretches of moorland between. "Searching the mountains at the onset of winter? Impossible, we'd never find one band and their plane wreckage in time. Besides, the odds of them being alive and well enough to perform - "

"Han!" she shrieked.

It was that tone again, the one his vice director of musical entertainment used whenever she was scandalised. She was entirely too proper for the cutthroat world of entertainment programming, but she'd yet to have failed him this badly. Imagine losing an entire plane full of musicians. "What?"

"We can't leave them to die out there, we need to send a search party! Something!"

"Oh yes, fine, I'm sure someone is working on that, but what are we going to do about an act then? Hm? We're caught with our pants down, Raina, and we need to be practical. This contest is what, tomorrow? They were already running late because of that tour of theirs and now we don't have time -"

"Pardon me," a knife cut into the conversation. He stiffened, not turning around. That voice. It was in the room with him. Oh angry saints above, why was she here?

"Raina, I'm going to call you back."

"But Han- !"

He turned back around to face the door where Vana Mannan stood in the doorway, a sleek spire of a woman. Her neatly pinned hair glistened black and silky, her eyes piercing and her smile twisted into the confident snarl of a predator. His secretary, all bushy white hair and fuzzy kitten sweaters, nervously buzzed around behind her.

"I'm so sorry, sir, but she just wouldn't stay still."

"It's all right, Hana. Why don't you go make us some tea?" he said, watching the older woman bob her head and buzz out of the office. Once the doors were firmly closed, he carefully made his way to his desk and gestured for Vana to sit. She obliged, the two eyeing each other as they sat down at the same time, neither one wanting to give up their edge. He kept his eyes on her, knowing better than to ever take his eye off of something so dangerous and so close. He watched her hungry gaze lazily flick across his office, getting the distinct impression she was measuring it for curtains, cataloguing everything she would do differently with the space.

"Vana. I didn't know they would be sending you in for this meeting."

"Mm, yes, isn't it lovely? Just like old times," she smiled slightly. If there were any truth to the world she would have revealed fangs dripping with drool and blood. Instead her dark red lips parted to reveal annoyingly perfect teeth. He tried not to shiver.

"Yes, yes. Well ... ah, what can I do for you?"

"Well, well, it seems I should be asking you that, Deputy Director. Seems you've shit the bed again."

He blanched. "It was -"

"A figure of speech, naturally."

"- one time!"

He stared, despairing at how quickly the conversation had spun out of his control and directly into her hands. He was already off kilter, but then, she always seemed to know just when to catch him at his weakest.

"Hm," she purred, clearly taking pleasure in picking him apart so easily. "Let me see if I can't deduce your situation, yes? You are stuck, on the eve of the WorldVision Song Contest, without an act to send. Worse, us lowly Isklanders are sending our first entry. What a blow to national pride, if something as low as one of your territories can manage to outdo such a great nation as Moorland. The sort of thing that ends careers, don't you think?"

She had him and she knew it. He repeated himself. "What do you want, Varina?"

"I wish to help, naturally."

"Why?"

"Why Han, why wouldn't I help a colleague in need?" Her voice was saccharine sweetness laced with just enough acrid bite to make sure he knew that she knew exactly why he didn't trust her - and she loved it. He was going to have to be the first one to break decorum, but by now he didn't have much more power in this conversation to lose.

"Because this blunder is probably going to cost me my job, or at least put my career on ice for a good long while, and we both know you want out of Ikslund."

She gasped with great exaggeration, placing a manicured hand on her chest. "My dear Han, do you truly think so little of me?"

A nod.

Her grin widened, lips thinning into bloody slashes. "Fair enough. You're right, I would love to see your head on a pike as I toss it out of those stunning windows you have there behind you. I'm tired of being the director of programming for an icy rock where our number one programme is The Real Housewives of Fishery Row. But I don't want your job. In fact, it would be nice to keep you right where you are."

He looked up into her eyes but couldn't see past the layers of calculations and deceptions that filled her mind at all times. "Why?" Gods, his voice sounded so pitiful.

"I'm done with the television game. Radio is where the real power is, and I have it on good authority that the head director of radio programming is retiring soon - good old Asa is finally moving off that old throne of hers. I want it, and you can put in a good word for me. "

"And she's my old mentor."

"She likes you, Han. There's no accounting for taste, but alas, your recommendation will be worse than useless if you're some washed-up has-been. So yes, I will help you and you will help me."

"How?"

"Our entrant is already in the city. Misty Moore? One of your local girls, but she knows when to follow the money and our department in Ikslund can be very persuasive when we want to be. I'm certain she'd be willing to perform one of her backup songs for Moorland, saving you quite a bit of embarrassment."

"Do I have a choice in the matter?"

"I don't expect you do."

"Then I accept."

A quick knock at the door just barely preceded the clattering of the tea cart as Hana pushed it in, steam rising from the tea pot and freshly warmed cups. Vana glanced over at Han.

"Ah, ah, how refreshing. This is going to be wonderful, don't you agree?"

He sat in the auditorium, the buzz of angry hornets flying all around him. This watch party was hardly festive, the staff of the Ministry of Culture barely present to watch the WorldVision Song Contest. Worry and anger propelled people around the room in nervous anticipation as other acts came and went, nervous nibbling barely making a dent in the food put out at the back of the room. Most of the staff were too scared to watch in public, not knowing what the entry would be and fearing the worst. It wasn't an unfounded fear. Ikslund had always been a thorn in the side of Moorland, a semi-independent territory with the inferiority complex of a nation twice its size. No one sat next to him, but he could feel wary eyes watching. No one knew why he'd accepted the offer of the Ikslanders and he didn't care to tell just yet. Nor could he, really, until the families of the act that had gone down in the mountains were all contacted. For now he would take their blame.

"It's starting, it's starting!" Whispers filled the auditorium and the volume increased, the introductory graphics for the Moorish entry coming up. There was nothing left to do but watch.

The entry coming up on the stage looked ... nice enough. Misty was a pretty young woman, dressed in a nice white dress with some odd but indiscernible patterning. Her band members carried interesting instruments and dressed in similar white clothes. Misty glanced off stage and gave a smile and nod. Was that good? Was it bad? The music was starting. Okay, okay.

But then the stage changed. The lights went dark. Sirens? What was she saying? Bones? And the lights, the stage and lights were pulsating in shades of black and red to the beat of a heartbeat as it came over the speakers. Oh gods above, why was she singing about bones!? The white of the performers' clothes were drenched in dark red light as Misty sang. Her voice whispered feather light throughout the arena before being smashed through with the powerful blaring of some electric instrument.

Come and steal all my bones
Come and steal all my bones
Come and steal all my bones
Come and steal all my bones
Come and steal all my bones, strip them all of my meat , get my nails and my teeth
Come and steal all my bones, strip them all of my meat , get my nails and my teeth

This ... oh gods no. He had made a mistake. This was sabotage. Or ... the lights suddenly flashed and the stage was awash in pink light as the song suddenly changed, sweetness and light replacing the darkness. Misty bopped around the stage happily, bouncing her head side to side as she sang, doing some playful and light choreography.

Ooey gooey, juicy juicy juicy
Hard and shiny, sticky sticky sticky
Break me, take a piece of that tasty meat
Plastic in your teeth, nothing’s what it seems
Feast yourself on me and enjoy your meal

Then she dropped into a grotesque stance. Was she a contortionist or had she broken something? But no, her body seemed alright. Her limbs her twisted, however, her entire body arched backwards and her limbs bent in unnatural positions as she swayed, the lights going back to blood-red. Her voice was joined by the raspy screams of her band as the song switched to darkness again.

Come and steal all my bones, strip them all of my meat , get my nails and my teeth

But now it was light again as Misty popped right back up into a normal position, the pink coming back, shades of yellow and orange gently gliding around the stage. But for all the sweetness, the lyrics, they were just so ... this wasn't a proper entry. Han sank lower in his seat as he watched Moorland's chances of victory, or even a good showing, slip from his grasp.

You said you liked veggies
You said you liked sweet things
But nothing I had could ever satisfy
I gave you my silver
I gave you my gold
But you need the crunch of my bones in your teeth

Those guitar interludes were so grating, but the melody was nice but then the lyrics - and then he understood. This song. Damn Vana! Of course those Ikslanders would perform a song about Moorish exploitation of their lands. It was always a point of bitter contention between the territory and its motherland, and of course they would seize this opportunity to ruin Moorland's name just to be spiteful. The staging was lost on him as he moaned in despair, drawing several pitying looks from his colleagues as they tore their eyes away from the train wreck on screen.

Ooey gooey, juicy juicy juicy
Hard and shiny, sticky sticky sticky
Break me, take a piece of that tasty meat
Plastic in your teeth, nothing’s what it seems
Feast yourself on me and enjoy your meal
Rotting in your teeth, spoiled in defeat
Suck the marrow out and choke on the bones

But wait. The crowd. Why were they chanting her name? He looked up and saw shots of people swarming in the audience, chanting Misty's name as she seemed to play around with some sort of ... something on stage. Okay, okay, at least the audience there liked it. Maybe ... maybe he still had a future. Or a job, at least.

Misty! Misty! Misty! Misty! Misty!

He was still watching when the final verse began and he realised what Misty had been fiddling with. She suddenly rose off of the stage in a harness as the red and pink bled off the stage, replaced by pure white. Misty soared over the audience, grasping arms reaching out and just missing her feet.

Come and steal all my bones and make something great out of them please
Already lost my blood, already lost my mind
I don't wanna live like this anymore, please
Take them quickly and leave
Take them quickly and leave
Take them quickly and leave
Take them quickly and leave

The screams of adoring fans over in Yvesia filled out the silence in the auditorium in Moorland. Han could feel the weight of the stares on him. This was bad.

by **Ikslund** » Sun Dec 12, 2021 2:07 pm

32
.: Ikslund :.

A Meditation on the Struggle Between Desire and Wholeness of Self
Misty Moore
Tune
---
Music: Jan Djard, Arm Kinsblod, Esta Dok
Lyrics: Misa Mor, C.H. Wexler
Performance: Misa Mor

Director Mannan stood smiling in the wings as Misty ran off stage for a quick costume change, having to quickly get into her outfit for her back to back performance. She was still a little breathless from the exhilarating performance - flying over the audience had been wild! - but she managed to keep going to strip out of her dress and put on her new bodysuit. It was all pink, her absolute fave colour, and fit just right. Very Brittany Piers circa. Oh No! I Have Done It Once More! She hoped to be an icon like that one day. Imagine it! The crowd tonight had been electric and she was ready to get back out there.

"You did wonderfully, my dear child." The older woman smiled widely, her enviably white teeth practically glowing in the dim lights. People bustled around the space, working to set up the
stage for her next performance, but some cool mix between her intimidating height and force of presence kept people at a wide berth of the two of them. "Are you ready to continue?"

"Yep!" The sparkly blonde flashed a grin of her own, the cocky confidence of a young pop star on the rise. "Metal is fun and it was cool to get to show off some of my more obscure work, but I really think the class messaging of this new song will speak to a generation that's -"

"Oh yes, you're the one who likes to send messages in your work."

Misty beamed proudly. "Yes, I am! Do you think they got what I was trying to say before about the oppression of the Ikslanders? Subtlety is a thin line and I'm not the most nimble person."

"I'm sure it was fine dear. You did a wonderful job of representing Moorland. Now, it looks like they're ready for you on stage."

Misty glanced back and saw the last of the workers were rushing off stage. "Gotta go then! See you soon!"

The woman smiled one last time and seemed to melt into the shadows as Misty flounced her way back on stage to the approval of the crowd. Quite a number did a double take, not realising she was representing two nations that night, but hardly anyone was mad. Her inner ear piece hummed with the countdown and began to cue up her music. It was showtime!

Vana watched the performance from the wings, her eyes glancing back and forth from a monitor to the stage and back into view. The stage this time was flanked with over a dozen background dancers and singers, each dressed in shades of pink and purple and white to fit the pop fantasia Misty had requested. As the opening beats bounced from the speakers all around, the lights in the arena pulsed in rhythm on the stage. The dancers bobbed and weaved up and down in patterns as they made sounds with their mouths. Misty began to sing as the girls danced in sync around her.

I came from nothing at all
Thought I was weak, dumb, and small for wanting more than I had
I never had any hope, no one to show me the ropes, that maybe greed isn’t bad
Who needs a heart that is full when my pockets are empty
And I want everything?

But one day I found out the key
To fulfill every need
So now I’ve gotta chance

The girls all fall into step and begin to dance as a unit to the beat, waving their arms and stomping their feet and just dancing well enough. Fairly basic moves to a trained eye but plenty flashy for the average viewer to be wowed. The stage sparkles as the pink mixes with gold, lights dancing across the audience.

I'm still running that rat race
I’ve gotta chase after that cheese
C’mon put on that Rolex
I’m gonna flex with all my G's
I want all of it, all of it, so much bling your eyes would bleed
If life isn't about success then why am I still chasing it?

The girls stop for a little dance break before resuming their bopping as Misty moves on to the next verse.

When I had only pennies, I set out on my own path
To meet my destiny
I hustled day after day, scraping food off of plates
In the exploited class
They say the best things are free but they don’t see what I see
Gold haunts my every dream

Gold begins to bleed into the stage as the next verse comes up.

And they don’t want me to succeed
To meet my every need
They want to keep us down

The girls dance again, some doing cartwheels and backflips across the stage, pausing every time her voice goes high and quiet.

I'm still running that rat race
I’ve gotta chase after that cheese
C’mon put on that Rolex
I’m gonna flex with all my G's
I want all of it, all of it, so much bling your eyes would bleed
If life isn't about success then why am I still chasing it?

The girls enter an extended dance break, the stage still gold and shimmering as they move their bodies. Halfway through their verses a series of cage wheels begin to lower from the ceiling and are pushed in from the side of the stage, also painted gold.

Break the system
Make my own future
Gonna make that money
Make my own future
Break the system
Make my own future
If I am such a big success then why can't I find joy with less?

Several of the girls hop into the cages and begin running, doing different tricks in the wheels as they latch into bars and allow themselves to spin fully around and do other feats of acrobatics, several of the wheels rising up into the air with their passengers still on board. Misty continues to sing up front, dancing only slightly to save her breath. On the lines "rat race", "cold cash", and "all of it, all of it" a series of cannons placed around the stadium shoot out massive blasts of confetti mixed with real and fake currencies from around the world. Tens of thousands of dollars rain down on the audience as the lights do wild and the stage is nearly lost in a cloud of fluttering bills.

Always running that rat race
Nothing’s enough when you’re like me
Flashin’ all of that cold cash
I want some ice around my throat
I want all of it, all of it, get so rich my blood runs blue
If life isn't about success then why am I still chasing it?

The dancing and acrobatics continue, the cannons releasing a few more belches of bills as the song winds down. The last line is delivered amid the fluttering of confetti and money, a screaming audience scrambling for the cash they're suddenly realising is actual real.

I'm still running that rat race
I’ve gotta chase after that cheese
I got all of them fast cars
Yeah now there ain't no stopping me
I want all of it, all of it, so much bling your eyes would bleed
If life isn't about success then why am I still chasing it?

Misty beams at the rowdy audience. The audience is beside themselves with appreciation. Vana smiles on at her plan falling into place.

Now to hope the vote goes just as well.

by **New Zealandic South West Saint Martin** » Sun Dec 12, 2021 2:16 pm

#32 | NEW ZEALANDIC SOUTH WEST SAINT MARTIN
"0.26" - Parsocm McOsrap
"Tune"

Parsocm McOsrap is an experimental music artist currently residing in Stadt. He prefers to keep a very low profile in his appearences, and has never shown his face. Not much else can be said about him - he's infamously private about his life and backstory.

Parsocm walks out onto stage, face covered by a mask. He takes a deep breath.

The Soviet Union was a nation spanning northern Eurasia, currently the nations of-

And then he's cut off. So much for experimental music.
He leaves the stage in a huff.

by **Kasanovakoratica** » Mon Dec 13, 2021 6:07 am

33.KASANOVA-KORATICA

Big mess beauty

By Brittany Sia

Tune: Sarah Brand - "Red Dress"

She walks on the stage, happy.

Your beauty shines like a mythic dove
Love you, beauty, you are the best
You are the one for me
And I gave you a pretty bead

And valentine's day deals
So baby kiss me hard before i kneel
Get a pile drive in me
Until I hurt so hard that i cant see

Oh all in all

I'm feeling all the big stress, cleaning up a big mess
Thinking of us, getting hit by the bus
Baby I'm getting near
I'm feeling up my big bress, cleaning up this big mess
Feeling up my bus, getting hit by your bus
Baby I'm getting near!!

Never enough, past all the signs
Loved you before the stars could align
Sighing at your great design
The way I'd never stay benign

Should I believe I'm insane?
Every day I play this game
It hurts so much when you come right in
But oh how I'm trashy like a garbage bin

Against the law

I'm feeling up my big bress, cleaning up this big mess
Feeling up my bus, getting hit by your bus
Baby I'm getting near!!
Baby being my guest, no it's never just jest
Doesn't smell like must, oh just come on and trust
Baby come for me dear!

Humming a song, won't give up
Loving your sassiness
And all the while looking at the guys
I know you want me! Come and try!

I'm feeling up my big bress, cleaning up this big mess
Feeling up my bus, getting hit by your bus
Baby I'm getting near!!
Lips are like a rose bud, cheeks are like a big budd
Dancing in lime green, you're my wildest Dream
Baby come for me dear!!!!!!
Come for me dear

Cleaning up a big mess....

Yay! She wants to go home. The music continues to play but she walks away. Bye bye Worldvision!!

She is so talented.

by **Alezian Union** » Mon Dec 13, 2021 6:32 am

IH: Ishtar Hamaza
LM: Lily McHammerson

IH: Good evening and welcome to the biggest musical competition in the world, the 95th running, of the Worldvision Song Contest!
LM: Welcome to Nakom, Yvesia! A beautiful city comparable to Basna Kota in North Alezia.
IH: Yes, and we have a great reason to participate once again this time, and it's because last time we're in this thing, we surprised everyone and brought the Worldvision trophy back home!
LM: I still smile thinking about it... ANYWAY, We have a lot of countries tonight with a lot of performances to comment on. I have to say, If you want to follow the lyrics, turn on subtitles using your remote or click the button if you're watching through the internet. Or if you wanted to move to Azzahri and Maryam in Arabic, Andi Hazrun and Marina in Indonesian, Donnovan and Janelle in Dutch, Isa and Glenn in Georgian, or Hazel and Felicite in Alezian, you can click the Red button on your remote or your screen and press a number to change your commentary
IH: Thank you, Lily. Tonight we shall wonder whether we'll keep the trophy, or maybe another country would take it? We will know.

(FAST FORWARD TO DEM PERFORMANCES)

1. WAISNOR
IH: And to open is Waisnor! And they've been showing good quality music as they're starting to figure out this whole thing out!
LM: This is my cup of tea indeed. The tune is upbeat and catchy, and will catch many votes here. Good job from Waisnor indeed!
To vote for WAISNOR, call 010-1010-1010-01, each vote costs 20 cents of your data plan. Or you can cast your vote in your nearest FABA branch. Each person have 5 votes.

2. AENGLIDE
LM: Okay! This song is performed well enough to pull some attention!
IH: The lyrics are well written as well.
To vote for AENGLIDE, call 010-1010-1010-02, each vote costs 20 cents of your data plan. Or you can cast your vote in your nearest FABA branch. Each person have 5 votes.

3. SAVIERA
IH: I like the music, kinda reminds me of some of Habanara's City Pop.
LM: Not going to lie, this feels like something that Elejamie would send. Saviera's trying their formula it seems. Whether it'll work out depends on you viewers and other viewers across and outside the country.
To vote for SAVIERA, call 010-1010-1010-03, each vote costs 20 cents of your data plan. Or you can cast your vote in your nearest FABA branch. Each person have 5 votes.

4. SCOTATROVA
LM: We're only a few songs in and most of the songs shows promise! This one did a good job as well!
IH: It shows elegance, and it won't stop, which could help it to stardom. Nice job!
To vote for SCOTATROVA, call 010-1010-1010-04, each vote costs 20 cents of your data plan. Or you can cast your vote in your nearest FABA branch. Each person have 5 votes.

5. ADAB
IH: And comes a trip on to NEVESLENA Lane. Ever since they won ARFOS in 1973, they've been releasing songs similiar to this, so I think this might click well with our jury and public.
LM: I don't think they know that yet, but truly, I have to say, it might caught attention thanks to it's similiarity to NEVESLENA.
To vote for ADAB, call 010-1010-1010-05, each vote costs 20 cents of your data plan. Or you can cast your vote in your nearest FABA branch. Each person have 5 votes.

6. FARABY
LM: Err... I don't want to be rude, but-
IH: What is this.
LM: Okay, Ishtar just represented me. Although I have to say, it might caught on some people's attention. The thing is, it might take a long time, maybe even becoming a cult classic AFTER the contest was over.
IH: Yes, but a cult classic needs to be born BEFORE the contest was over in order to do well.
To vote for FARABY, call 010-1010-1010-06, each vote costs 20 cents of your data plan. Or you can cast your vote in your nearest FABA branch. Each person have 5 votes.

7. STRAYAROOS
IH: Lemme see, it's a calm song. Good.
LM: I think they need to try harder with their staging and their effort to sell their entry, because, this might took a hard time to swallow.
To vote for STRAYAROOS, call 010-1010-1010-07, each vote costs 20 cents of your data plan. Or you can cast your vote in your nearest FABA branch. Each person have 5 votes.

8. BRITONISEA WITHDREW.

9. CARRELIE
IH: An excellent production from Carrelie! It kinda reminds me of the 2000s, I don't know how I came to that conclusion, but it appealed to me that way.
LM: This is something you would hear on like, "When Rest Time Arrives" (A 2000s Alezian sitcom taking place in a school, still exists), and Monica have a great aura on stage. That will definitely help her later.
To vote for CARRELIE, call 010-1010-1010-09, each vote costs 20 cents of your data plan. Or you can cast your vote in your nearest FABA branch. Each person have 5 votes.

10. BEEPEE
LM: First the 70s, then the 2000s, then the 90s. The world really wanted to make us dizzy jumping back and forth through memory lane. Hahah. Anyway, this is a fun song, and expected from Beepee!
IH: Very enjoyful, very cute, something my cat would dance to.
To vote for BEEPEE, call 010-1010-1010-10, each vote costs 20 cents of your data plan. Or you can cast your vote in your nearest FABA branch. Each person have 5 votes.

11. NEKONI
IH: This is fun, and another jump through memory lane, somewhat. Anyway, everything here is cute.
LM: I expected rock everytime I hear Nekoni, but still, a great song from them.
To vote for NEKONI, call 010-1010-1010-11, each vote costs 20 cents of your data plan. Or you can cast your vote in your nearest FABA branch. Each person have 5 votes.

12. PEMECUTAN
LM: I like it! And the way it uses Indonesian might pull South Alezian televoters! A great production!
IH: This is something that would do well in Alezia, with easy to listen to tunes.
To vote for PEMECUTAN, call 010-1010-1010-12, each vote costs 20 cents of your data plan. Or you can cast your vote in your nearest FABA branch. Each person have 5 votes.

13. ELEJAMIE
IH: And that was Elejamie! The country we beat to the victory last edition! And this time, they're definitely back for that trophy, because I love this!
LM: This song definitely tastes like Elejamie. I can't wait for what they have in store. Excellent!
To vote for ELEJAMIE, call 010-1010-1010-13, each vote costs 20 cents of your data plan. Or you can cast your vote in your nearest FABA branch. Each person have 5 votes.

14. ELEJAMIE
LM: I fear that this might be drowned by other songs, but who cares because this song is cowboy-ey!
IH: Crustyland has proven that it's not a country to always be laughed at. Lately, they feel like they're taking the path of South Alezia. Doing much more proper songs.
To vote for CRUSTYLAND, call 010-1010-1010-14, each vote costs 20 cents of your data plan. Or you can cast your vote in your nearest FABA branch. Each person have 5 votes.

15. ANTAHBRANTAHSTAN
IH: This is definitely Antahbrantahstan. Everyone are doing great, the music is great, and the performer can definitely sing. And that part where they do some melodies, great!
LM: I agree, this is Antahbrantahstan at their best. And the rap parts, is very hearthy and feels like it's prepared from the kitchen of the heart!
To vote for ANTAHBRANTAHSTAN, call 010-1010-1010-15, each vote costs 20 cents of your data plan. Or you can cast your vote in your nearest FABA branch. Each person have 5 votes.

16. ALEZIAN UNION
LM: And that was Irlene! She really proved to the world that Alezia can still do it. But I wonder how it'll go?
IH: Hearing from other commentators, it seems like we're doing really good! No matter how the result are later, we'll still be proud of you, Irlene. FANTASTIC JOB.
LM: I have to say, South Alezia has been doing well for themselves, representing the entire union THREE TIMES now.
IH: Massive character development, they used to get bottom placings, and now they're bringing us two top 10s.
Sorry, you can't vote for your own nation. If you did you may still be charged, so be careful! Let's just hope for the best for Alezia! ALE! ALE! ALE!

(bonus South Alezian regional commentary with Donnovan and Janelle in Dutch (we translated it for you!))
D: AND THAT'S IRLENE LILVOUW!!! WOOOOOO!!! ALE! ALE! ALE!
J: This is the moment where you feel unstoppable indeed! And she presents herself beautifully, the acrobatic acts, a great act.
D: The Alezian Union is an excellent idea, we get to kick our terrible dictator, and now we get to kick butt in Worldvision!
J: Let's hope the public and jury receives it well. Irlene fulfilled the expectations everyone had after Aziz-Lutfi Garanov.

17. POLKOPIA
LM: Polkopia shows a great song this time.
IH: I have to agree, but it may drown, but it's Polkopia, so we don't know how it'll go.
To vote for POLKOPIA, call 010-1010-1010-17, each vote costs 20 cents of your data plan. Or you can cast your vote in your nearest FABA branch. Each person have 5 votes.

18. PLACELY PLACINGTON
IH: ...
LM: ...
IH: This song could singlehandedly move THE ENTIRE Alezian Age Rating System upside down.
LM: Seriously bizzare. But atleast they tried selling the best out of it... Yeah.
To vote for PLACELY PLACINGTON, call 010-1010-1010-18, each vote costs 20 cents of your data plan. Or you can cast your vote in your nearest FABA branch. Each person have 5 votes.

19. MALTA COMINO GOZO
LM: Previously, they went bubbly with "LET'S DO SOME SAFARI!"
IH: This time, the Malta Comino Gozoans got into a hamster wheel and reworked the entire idea of their entry, this time into "IN THE WASTELAND THE LAND LAID WASTE." But yet, they still prove that they can be versatile, and be excellent at it. Great job!
To vote for MALTA COMINO GOZO, call 010-1010-1010-19, each vote costs 20 cents of your data plan. Or you can cast your vote in your nearest FABA branch. Each person have 5 votes.

20. KYRITAKIA WITHDREW.

21. AXUVA
IH: I have to say, the Axuvans did an excellent job on assisting the Yvesians on hosting this thing. And for the entry itself,may be one of the best we have!
LM: They can really appeal to the Alezians, especially since we have a similiar song trying for Alma weeks ago.
To vote for AXUVA, call 010-1010-1010-21, each vote costs 20 cents of your data plan. Or you can cast your vote in your nearest FABA branch. Each person have 5 votes.

22. ACHAEAN REPUBLIC
LM: ...
IH : ...
LM: It's not bad, but I'm surprised that Ach- Okay what are the Achaean delegation taking? Actually, their clubhouse culture might influence it.
IH: I might believe that they've entered their breaking point... But this is kind of helping them, especially considering that in Alezia, the entire music style explains the Achaean Republic in three minutes.
To vote for ACHAEAN REPUBLIC, call 010-1010-1010-22, each vote costs 20 cents of your data plan. Or you can cast your vote in your nearest FABA branch. Each person have 5 votes.

23. NATANYA WITHDREW.

24. KALOSIA
IH: Okay, this is good.
LM: And I have to say, the Kalosian is a plus. It's my favourite language to have competed in Worldvision. Their excessive use of "ë", "ž", and the g thing always bring a smile to me.
To vote for KALOSIA, call 010-1010-1010-24, each vote costs 20 cents of your data plan. Or you can cast your vote in your nearest FABA branch. Each person have 5 votes.

25. MISTER X WITHDREW.

26. YVESIA WITHDREW. wait what

27. ERTZEI KISHIM
LM: I Am GLAD to see Ertzei Kishim finally returning. Honestly, I've been wanting them back since we hosted in Zafizamarrah.
IH: This song is massive, excellent job!
To vote for ERTZEI KISHIM, call 010-1010-1010-27, each vote costs 20 cents of your data plan. Or you can cast your vote in your nearest FABA branch. Each person have 5 votes.

28. TODLICHEBUJOKU
IH: This is beautifully made, and beautifully performed.
LM: I agree, this is a pretty strong entry, I have to say.
To vote for TODLICHEBUJOKU, call 010-1010-1010-28, each vote costs 20 cents of your data plan. Or you can cast your vote in your nearest FABA branch. Each person have 5 votes.

29. CARYTON TBA wait what

30. LLALTA
IH: This is cute.
LM: Agree.
To vote for LLALTA , call 010-1010-1010-30, each vote costs 20 cents of your data plan. Or you can cast your vote in your nearest FABA branch. Each person have 5 votes.

31. MOORLAND
LM: And that was Moorland! It seems that they're still experimenting with stuff and doing research on what sticks and what not.
IH: They seem to figure that one already since like, their debut in Zafizamarrah. But this is a brave step indeed.
To vote for MOORLAND , call 010-1010-1010-31, each vote costs 20 cents of your data plan. Or you can cast your vote in your nearest FABA branch. Each person have 5 votes.

32. IKSLUND
IH: This is nice! It feels Cheerleader-ey if I think so myself.
LM: Very cute and enjoyable, I think they're going places.
To vote for IKSLUND , call 010-1010-1010-32, each vote costs 20 cents of your data plan. Or you can cast your vote in your nearest FABA branch. Each person have 5 votes.

33. NZSWSM
LM: ... What.
IH: ... What is going on there?
To vote for NZSWSM , call 010-1010-1010-33, each vote costs 20 cents of your data plan. Or you can cast your vote in your nearest FABA branch. Each person have 5 votes.

34. KASANOVAKORATICA
IH: Poor her, there must be an audio malfunction there, she can sing I see, but the audio and the voice didn't mix well.
LM: Either that or she have vocal problems on the big night... Poor her indeed. Or maybe that's intentional???
To vote for KASANOVAKORATICA , call 010-1010-1010-34, each vote costs 20 cents of your data plan. Or you can cast your vote in your nearest FABA branch. Each person have 5 votes.

35. ETHANE
LM: A good song to close the contest! A nice song from Ethane.
IH: The singer got some class, I really have to say that.
To vote for ETHANE, call 010-1010-1010-35, each vote costs 20 cents of your data plan. Or you can cast your vote in your nearest FABA branch. Each person have 5 votes.

by **Ethane** » Mon Dec 13, 2021 11:58 am

ETHANE: Taylor Kinsey - Called To It
To the tune of: Isaac Dunbar - God, This Feels Good

Taylor Kinsey stepped out on to the stage, swaying his hips slightly as he emerged. He was relatively scantily dressed, and what he was wearing expressed a certain element of nonbinary identity to it. This was a man that did not conform to norms, and could do what he wanted. He wore a bright golden crown on his head which was so bright it seemed to be almost ablaze. The stage was lit with a deep purple hue, reflecting monarchical imagery. All this created this idea that Taylor was a monarchical figure, but one that doesn't fit into typical gendered expectations of royalty as we know it.

Taylor positioned himself centre-stage. looking out with emotionless eyes towards the audience as he was introduced. He bowed his head, breathing in and out slowly. Preparing himself. As the music began, various hues of red lights ebbed and brightened, illuminating the stage in a way that implied some eroticism alongside royalty. The song clearly wants the audience to objectify Taylor - reflecting the desires embedded in this song.

Finally, just as Taylor started singing bright white lights with a slight yellow tinge shone down on to Taylor. These lights illuminated him brightly, creating this image of religion and power within the character Taylor was representing. The camera was sure to focus in on Taylor as the music started, with his facial expressions revealing pent up desire and passion in what he was singing. This was more than just a performance - it felt like a disclosure, or an expression of identity in itself.

Repetition,
My eyes keep glancing over.
"Fruit forbidden",
But that fruit is dangling close.
Don't stray into sin,
Wanna feel like the King.

As the song entered the next section within its structure, a slight change in atmosphere could be observed on the stage. Taylor was pacing around more, the scene transformed to that of a party or nightclub with the monarchical and religious imagery running throughout. Backing dancers moved forward from the rear of the stage - all men. They surrounded Taylor and engaged in some cultish-looking dance expression, the movements positioned to make it seem like they were half-worshipping Taylor, who was in the middle of their circle. During this section Taylor slowly moved in a circle looking at all of the men in the group, the camera following his face as he looked at all of them, capturing the inherent desire burning in Taylor's eyes. The impression given was that Taylor was hungry for this. The lights reflected this change in mood: most of the lights focused in on the circle. The spotlights still remained on Taylor with the edge of their light falling just before the men in the circle around him, creating an element of division between him and them. The other coloured lights pulsed slightly more, ad shone across the circle.

On the floor, Crown adorned,
Heart beating fast, I've got a task -
To go out there and "fish for men".
I proclaim, I'm the way,
Five thousand more, and I'm assured,
I live on men, not bread alone.
"Know they vision."

The circle of dancers around him appeared to get more energetic in their cultish-style dancing, moving around in a clockwise rotation with Taylor still in the middle. The lights dim slightly, but half-way through when it's sung, all the men in the circle grab an apple from a hidden trolley in the middle of the circle and take a bit from it before discarding it. Taylor remains transfixed with his eyes out to the audience, his face reflecting his desires and passion. His look to the camera and audience would've looked flirtatious perhaps, but it was more than that - he didn't just "want" you, he knew he could "get" you.

"Know thy vision."
I'll eat all that fruit -
took an apple from many trees.
"Know thy vision."
I know what I like.
And it's got your face on it.

As the song entered it's next section, the men dancing around him stopped and streamed off the either end of the stage, still engaging in cultish-like dancing but not in a circle. They exited the long-way round the circle and passed through the spotlight rather briefly, perhaps illustrating how their time with Taylor was limited; their time bathing in his 'glory' was fleeting. As they passed through, you could see the backing dancers were not exactly overdressed either, with not too much left to the imagination. The lights amped up during this section of the song, with pulsing white lights illuminating random sections of the stage. Taylor stepped forward slowly, one foot at a time, towards the front of the stage. At the front of the stage was a pool. He slowly stepped into the pool and submerged himself - the musical equipment he was using was specially designed for limited underwater submersion. As his face - and thus his ability to sing - came close to going under the water - he disappeared quickly under the water and exited from the rear of the small tank where there was a dry passageway back up to the rear of the stage.

This is my heaven on earth,
I know I'm called to it!
Where pleasure's above self-worth,
That's where I'll baptise.
"Know thy vision."
"Know thy vision", ah.

The white lights stopped, as had the spotlight when Taylor disappeared, and the lights had dimmed. All that you could see really was the silhouettes of backing dancers engaging in cultish dances against the backdrop of a dim red background. They looked like they were lacking the energy and commitment they had when Taylor was here though, dancing slowly and less seductively. They could hear Taylor singing - but he could not be seen.

Repetition,
My eyes keep glancing over.
"Fruit forbidden",
But that fruit is dangling close.
Don't stray into sin,
Wanna feel like the King.

Taylor emerged from the rear of the stage again, soaking wet and dripping water everywhere. He'd also adorned a royal gown, like that you'd expect a King to wear at his royal court or in a procession. He was clearly flaunting it as the spotlight shone back on him and the lights brightened once again. Two of the backing dancers ran up to the back of him and grabbed his gown, holding it aloft so that it would not drag on the floor (but also clearly trying to 'peek'). The other men slowly moved their way over, continuing to dance in line patterns as if in a religious cult.

On the floor, Crown adorned,
Heart beating fast, I've got a task -
To go out there and "fish for men".
I proclaim, I'm the way,
Five thousand more, and I'm assured,
I live on men, not bread alone.
"Know they vision."

As the throng of men reached Taylor, he paused and stared straight ahead, past the group of people who were trying to crowd around him. He looked emotionless. The lights stopped flashing, a steady red, purple and white hue expressed across the whole stage. It was as if the whole arena waited with baited breath. And then the ebbing and pulsing returned, but the spotlight flashed at intervals correlating to when Taylor "threw a man away". Gradually, the group of men was whittled down. Taylor grabbed each one, putting his hands on their heads before moving his hands down their face, chest before pausing just below the waist before getting too personal. For each one, he did this, quickly bent down by bending his knees, rapidly stood up again, turned them around so their back was facing him, and then "discarded" them to the left or right.

"Know thy vision."
I'll eat all that fruit -
took an apple from many trees.
"Know thy vision."
I know what I like.
And it's got your face on it.

The dance from the previous section continued (See previous description for more information).

This is my heaven on earth,
I know I'm called to it!
Where pleasure's above self-worth,
That's where I'll baptise.
"Know thy vision."
"Know thy vision", ah.

All the men were gone. Taylor took another few steps forward, paused, and then turned so his back was facing the audience. Standing there was a tall throne, adorned with jewels and gems. Taylor took a few steps towards it so he was standing just in front of it. The spotlight moved so it was no longer centred on Taylor, but on the throne. The men that were part of the group from the previous section crawled their way so they made a circle around the throne. They cowered and covered their eyes, but looked up towards Taylor and the throne.

"Know thy vision."
"Know thy vision."
Five thousand more, and I'm assured,
I live on men, not bread alone.

Taylor turns once more and sits on the throne. The throng of men shift slightly closer but keep a clear distance around the whole circle. A loud creak is heard across the arena, and then silently Taylor begins to move upwards, his throne being raised on a circular platform. The men around him sit and watch, slowly standing up as the platform rises keeping their eyes fixated on Taylor and the throne.

"Know thy vision."
I'll eat all that fruit -
took an apple from many trees.
"Know thy vision."
I know what I like.
And it's got your face on it.

As the song comes towards it's climax, Taylor stands up and looks down at the crowd before then looking further down at the men standing below him, staring up at him. He pauses, the power he has reflected in all the imagery in the scene. Right near the end of the song, he tears his royal robe off and throws it down to the men below him who grab at it with desparation.

This is my heaven on earth,
I know I'm called to it!
Where pleasure's above self-worth,
That's where I'll baptise.
"Know thy vision."
"Know thy vision", ah.

The song comes to an end. Silence falls. The general lights flick out slowly, one by one. All is dark apart from the spotlight on Taylor, whose gaze has risen back to the audience again. That spotlight remains on for about half a second before it, too, turns off leaving the stage in darkness. From the gloom, you could hear Taylor shout out "thank you everyone, you guys are amazing!". But when the light came back on, the stage was reset - the platform, the throne, Taylor nor the backing dancers could be seen on the stage.

by **Yvesia** » Mon Dec 13, 2021 9:45 pm

Amuleon mal-eobs-i goyohi jamdeun dosi wilo
Jogeumahan jogag-i hana dul mikkeuleojyeo naelyeowa
Seuchyeo jinaganeun igsughaejyeo beolin halu
Cham sasohan ilsang-e nado mollae nunmul maejhigon hae

Neuj-eun bam chaoleun dalbich-e geueullyeojyeo
Hanalo pogaejin uli dul-ui geulim jan mos bojiman
Sigan-i heulleo ajigkkajido
I salang-eun kkeutnaji anh-assdago geuleohge midgo iss-eo

Gieog-eul ttalaseo geuttaelo dol-aga nae gyeot-e jamdeuldeon
Neol bol su issdamyeon eolmana joh-eulkka
Heut-eojin byeoldeul-eul hana dul moaseo gip-eun bamhaneul-e
Neol dalm-eun byeoljali geuligo iss-eo

Neol ij-eulyeo neol jiulyeo
Sumanh-eun nal-eul nolyeoghaess-eodo
Taeyeonhan cheog babocheoleom
Seotuleun insaman-i naegen dayeoss-eo

Jigeumcheoleomman then I will never cry
Tto eonjekkaji nae mam sog-e nega sal su issge
Geochin sesang geu an-eseo uli kkeut-il suneun eobs-eo
I know that we're meant to be

Geudae bal dahneun gos-e eodilado
Naega hangsang seoiss-eul geoyeyo
Manh-eun naldeul nam-a ibyeol-eun ajig ileun

Jigeumcheoleomman then I will never cry
Tto eonjekkaji nae mam sog-e nega sal su issge
Geochin sesang geu an-eseo uli kkeut-il suneun eobs-eo
Jigeumcheoleomman then I will never cry
Tto eonjekkaji nae mam sog-e nega sal su issge
Geochin sesang geu an-eseo uli kkeut-il suneun eobs-eo
I know that we were meant to be

by **Llalta** » Mon Dec 13, 2021 10:15 pm

Spokesperson: HALLELUJAH!

1 - Carrelie
2 - Pemecutan
3 - Ethane
4 - Polkopia
5 - Scotatrova
6 - Saviera
7 - Antahbrantahstan
8 - Ertzei Kishim
10 - Axuva
12 - Todlichebujoku

by **StrayaRoos** » Mon Dec 13, 2021 11:23 pm

Hello WorldVision these are our results
1:Nekoni
2:Ethane
3:Carrelie
4:Kalosia
5:Aenglide
6:Waisor
7:Alezian Union
8:Placely Placington
10:Elejamie
12:Adab

ooc-Sorry about no Emu Droppings or Even Fire this time

by **Beepee** » Tue Dec 14, 2021 2:34 am

Good evening World,

This is BONC Norfolk Pinewoods calling. I want to thank you for a lovely show tonight. The Beepeean Jury found scoring very difficult this edition.

And without further ado, here are the results of the Beepeean Jury

1 point to Kalosia
2 points to Ethane
3 points to Axuva
4 points to Carrelie
5 points to Polkopia
6 points to Nekoni
7 points to Scotatrova

And now for our top points:

Congratulations to all the Contestants and best of luck to everyone.

Goodnight

by **Waisnor** » Tue Dec 14, 2021 3:15 am

WAISNOR IS CALLING

"Grodno is calling again, now to Nakom! Ilya Kuzin is again with you, and I'm again presenting you the votes of Waisnorian jury. Let the best song win, and let's go to the results:"

1 point - AXUVA
2 points - SAVIERA
3 points - ELEJAMIE
4 points - SCOTATROVA
5 points - POLKOPIA
6 points - ALEZIAN UNION
7 points - CARRELIE

by **Aenglide** » Tue Dec 14, 2021 3:25 am

Hálo! Vét es Ænglide kǽlening! Tákþe Yvesja vor on vónderglade víse vét nőt! Lere, ven vrí héjkerening vor þe. Næ dit, jé vil nov sý de pæn vrám de Ænglidsjury!

1 | Ón pæn es gőening á: Eþane.
2 | Ðe pæn es gőening á: Pólkopja.
3 | Dri pæn es gőening á: Kareli.
4 | Fejór pæn es gőening á: Republýk Akæð.
5 | Fet pæn es gőening á: Únjon Alesið.
6 | Síks pæn es gőening á: Skotátrova.
7 | Syéog pæn es gőening á: Pemekutan.
8 | Öt pæn es gőening á: Vajsnor.
10 | Tin pæn es gőening á: Erstejkisim.
12 | Tvoǽd pæn es gőening á: Lálta.

Tákþe en dőur tidsé, yt férvel!

by **Alezian Union** » Wed Dec 15, 2021 2:37 am

Hello, Nakom! Doorsbreeken calling! Thank you for the wonderful show, and thank you to all participants for showcasing a really beautiful competition. As usual, we had a hard time deciding, but we've decided to give the Alezian jury results as follows:

1 point go to Pemecutan
2 points go to Carrelie
3 points go to the Achean Republic
4 points go to Antahbrantahstan
5 points go to Beepee
6 points go to Todlichebujoku
7 points go to Elejamie

Okay that's 1-7, now the top 3.

8 POINTS GO TO....
WAISNOR!

10 POINTS GO TO....
ERTZEI KISHIM!

12 POINTS GO TO...
CONGRATULATIONS! AXUVA!

Once again, congratulations to the top 10, and to the 12 points receiver, we hope to see you again, next edition. Thank you, from Doorsbreeken, South Alezia.

by **Crustyland** » Wed Dec 15, 2021 7:01 am

Hello Yvesia! Thank you for the fab show, here are the Crustyland votes

Leon Fishwillie

12 Aenglide!
10 Adab
8 StrayaRoos
7 Antahbrantahstan
6 Achaean Republic
5 Malta Comino Gozo
4 Placely Placington
3 Pemecutan
2 Ethane
1 Nekoni

Thank you!

by **Malta Comino Gozo** » Wed Dec 15, 2021 7:17 am

Hello Nakom! Hello this is Valletta! Thank you so much for a great show tonight!

Ira Lesco

Now for the exciting bit the first jury votes from Malta Comino Gozo

1 Pemecutan
2 Scotatrova
3 Polkopia
4 Antahbrantahstan
5 Crustyland
6 Waisnor
7 Carrelie

Now for our top 3!

8 points go to the infectious song from..

10 points are heading to the wonderful song from..

12 points go to a song that we literally can not shift out of our heads and we've been singing all night..

Congratulations and good luck!

Last.fm · by **Faraby** » Wed Dec 15, 2021 9:53 am

Faraby jury results:

12 - Polkopia
10 - Ertzei Kishim
8 - Alezian Union
7 - Todlichebujoku
6 - Axuva
5 - Crustyland
4 - Ikslund
3 - Adab
2 - Achaean Republic
1 - Waisnor

by **Adab** » Wed Dec 15, 2021 9:54 am

Adab jury results:

12 - Llalta
10 - Elejamie
8 - Malta Comino Gozo
7 - Saviera
6 - Antahbrantahstan
5 - Pemecutan
4 - Scotatrova
3 - Faraby
2 - Nekoni
1 - Ethane

[IC] 95th WorldVision Song Contest | Nakom, Yvesia

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