Worldvision Song Contest 98 - IC Thread - Keterig, Aenglide

by **Aenglide** » Mon Apr 04, 2022 2:12 pm

Welcome to the 98th Worldvision Song Contest
LIVE FROM KETERIG, AENGLIDE!

Velkom! Welcome! You are in Keterig, the capital city and largest city of a cold, mountainous, forest-covered and natural country that we know as Aenglide! With a population of 693,000 in the city proper, it is relatively small but still home of many things to see! As the city lies on Brjdo Bay, wander around the waterfront, where many cafes and shops lie. Take a stroll around picturesque Alexandra Hill. Walk among the wide Parisian-style boulevards of the city, including Hansenvej, one of the major roads of Keterig. From lines of historic buildings, from the old to new, to tonight. As they say, the Aenglish culture gives you a tree - but the Aenglish nature shows you an entire forest. The City of Keterig is only the beginning of vast landscapes of greatness - and greatness we shall see tonight. The VadTK Arena is almost filled up to its maximum capacity of 70,000 people - full of Worldvision fans from across the metaverse. Many people are holding big flags of their country, showing supportive pride. Others have just sat in their seats - ready to enjoy the show regardless of whoever wins the contest - but no other amounts of pride are shown by none other than the Aenglish people - the locals of Keterig. Everybody has their eyes set on Aenglide, and specifically on Keterig, a normally quiet city. Aenglide is ready to sign their name on the world stage tonight, as they are hosting one of the biggest - if not the biggest - nights in the entire metaverse.

All of the lights in the stage turn off, and the LED screen on the stage wall is completely pitch black. That is, for a few seconds, until a video plays. The screen slowly appears to show drone-captured videos of Aenglide, while the VADtk Arena becomes filled with a slight, mystical noise of a howling, chilly wind, which is meant to capture an ambience and peace. A video of steep hills which slope down into many fjords is shown on the large LED screen in the front of the arena, with a small village to be seen nearby. Hills are seen lined with boreal trees, and misty clouds surround the hills. This video is similar to this image. This plays, with different shots of the same place for nearly a minute. Then, for another minute, the video slowly transitions to a night time sky with a timelapse video of the aurora borealis, or the northern lights, which is a common sighting in the Aenglish skies. Lights of colours, mostly green but also red auroras appear on screen. The video that plays is similar to this image. That plays for around a minute when lastly, the transition of the aurora borealis becomes lighter, when a day time view of a mountain full of boreal trees is seen, as it pans around in more shots. This section that plays is similar to this image. The video of boreal trees plays for nearly a minute also, before the LED screen in the VADtk Arena turns completely black again, and the ambient wind noises of Aenglide slowly fade into blank noise. This is where we see the ÆTV Logo and the IBA Logo appear. It shows this exact screen:

Some people in the audience clap and cheer, but the lights within the arena do not change from the darkness, because of the opening act that is to follow. For now, there is little visibility in the dark VadTK for about a minute.

Erá and the Aenglish National Orchestra
“Vján de gaúðin blöver nær méj”
Tune: Máddji - Iditguovssu (Dawn Light) | Language: Aenglic

The opening act “Vján de gaúðin blöver nær méj”, which means When the wind blows near me in Aenglic, is tonight’s opening song. It was written by singer Erá Mojyk, and instrumentally composed by the Aenglish National Orchestra who are based in the city of Keterig. It was written as a poetic visualisation and lyrical encapsulation of both the theme of the contest, The Nature of Music, and many themes of the natural landscapes of Aenglide. It was written as in the genre of Aenglish Folk, with small Hööra music influences incorporated within it. It was written in only the Aenglish language, in recognition and for supporting the official language of Aenglide, Aenglic. This is a very fitting song to have opened the contest, because they believed that it was a great representation of the ‘gateway’ into the Aenglish culture from the multiverse. This song is meant to encapsulate the theme of this edition - The Nature of Music - as the lyrics are about someone getting lost in the wilderness - and describing their sights and feelings, as they admire the natural beauty everywhere they go.

Everybody in the VadTK Arena is sitting in their seats, waiting patiently for something to appear or happen. After a minute period of time in which the stage in the arena had been in complete darkness, the audience could hear many footsteps rushing towards and on the stage. About twenty or so members of the Aenglish National Orchestra, as well as Erá Mojyk run on to the stage. Behind the vast darkness of the stage, seats had been placed, flutes, violins, chime bells and acoustic guitars with their cases had been laid down, and Erá’s microphone stand had been set up. As soon as the Orchestra band members take their seats and the main conductor stands ready, there is a brief fifteen-second wait in preparation before the beginning of the act. Erá is seen with a long, white dress that falls on the stage floor, while the Orchestra band members can be found sitting to her right. She begins to sing with a calm and quiet voice, and as Erá says the first line, a light shines directly just on her, and when she says the second line, a broad light slowly illuminates and shines on the orchestra players - although not as bright as the light that is cast on Erá.

De kálda brafa fínið ós en tidsé
The cold breeze found us once

Vján de gaúðin blöver nær méj
When the wind blows near me

Őr de fetlen vítn séjð
Over the fields we looked

De vándír vor ós nővýa mer
The journey for us evermore

After she says the last line, the LED screen on the back wall behind them slowly shows a calm, deep blue sea in the middle of the water, to reflect and picture the calm pace of the song and her quiet voice. The screen shows something like this.

Idjyli-idjyliki valká én
Idyll-idyllic walks in

On stör blúm fylt koiliné
A grand flower-filled forest

Rúndý-rúndým lel víod háma
Aroun-around a small wooden house

Stromi flíten á farhílse
A stream flows to greet

Then, the screen switches from the ocean scene in a slow fade to something like this, where it shows a dark forest with the trees slowly swaying as shadows, while the northern lights in a bright green glow moves in the sky behind them. This background choice is also meant to be calming in reflection of the song.

De kálda brafa fínið ós en tidsé
The cold breeze found us once

Vján jé gaúðin blöver nær méj
When the wind blows near me

Starmet kuanen vrí brǽking báþ
Stormy seas are crashing by

Válken bruká derse stikren én vǽnen
People play their strings at arms

Something like this then appears on the LED screen, fading from the northern lights and a dark forest at night to another dark boreal forest, but this time at day, revealing a mountain range in the background that had been covered in snow. Just like the previous screen, it showed the trees in the foreground calmly swaying to a breeze. Erá, the singer, walked around the stage in a soft motion.

Idjyli-idjyliki valká én
Idyll-idyllic walks in

On stör blúm fylt koiliné
A grand flower-filled forest

Dapt én de jurd ő roymnú
Lost in the land of calmness

Bláden komið á vis yt stíre
The leaves came to view and stare

Near to the end of the entry act, the LED screen shuts off and the lights return back to the state they were in before; a spot light aimed at Erá, and a broader but dimmer light shone onto the Orchestra Band.

Vrécden ő de gös álbreden síkði
The fronds of the grass heals the mind

Snökapdi fýjlen klitir á de himi
Snow-capped mountains climb to the sky

In the instrumental part that concludes the song, the light that's upon the Orchestra Band dims and dissipates completely, while the light on Erá begins to disappear into darkness slowly after. This is the time where the seats, instruments, and band move off the stage, and with the help of the production team for the event, they managed to remove everything off in just two minutes, and after they gave the stage the “all clear, good to go”, the hosts were allowed to use the stairwell and enter the stage to begin the contest. Another brief period of time passes before the hosts make their grand entry onto the stage from the sides.

Five seconds after the Opening Act had ended, the voice on the speaker then said “And, please welcome your hosts for this edition of Worldvision, Kera Johanssen and Lere Hveda!” Kera and Lere both begin to walk on the stage from the side entrances, both in pearl. As the camera follows their movements when they are walking to the front of the stage, they are lending out waves and smiles towards everyone in the arena. As they stop, the camera focuses on both of them as they begin to speak.

Velkom á de 98ke Worldvisionsongkontest, broadkǽsta vrám Kéterig, Ænglide!

Welcome to the 98th Worldvision Song Contest, live from Keterig, Aenglide!

Kera: Hálo alhen, Gőd Afny, yt Vélkam a de stóriste nát en de várldi!
Lere: Hello everyone, Good Evening, and Welcome to the biggest night in the world!
Lere: Þe vrí her én de VADtkArena énát, én de hjéta ő gőd Kéterig!
Kera: You are here in the VADtk Arena tonight, in the heart of great Keterig!
Kera: Kome med ós gjenmö veíg tur én De Natur Ő Músik.
Lere: Join us through our adventure in The Nature Of Music.
Lere: Fðú béde dvér et vil luíaida a?
Kera: Who knows where it will lead us to?
Lere: Aenglide, of course.
Kera: Lere. Seriously?
Lere: What do you mean? WorldVision led us to Aenglide!
Kera: Yeah, okay, you’re right. Whatever.
Lere: Well, welcome to Aenglide everybody!

After slight awkwardness, everyone from Aenglide screams and cheers patriotically, after Lere mentions the country’s name. Some of the audience in general shortly screamed in pure excitement. Lere, too, jumps up in excitement as she has said the lines in front of the massive crowd after practicing it in what feels like countless rehearsals for her.

Kera: Lere, babes, just keep your excitement in for later. For now however, we have something important to do.
Lere: Really? What may that be?
Kera: Can you see all the thousands of people? They are patiently waiting.
Lere: Alright, jeez-louise Kera.
Kera & Lere: Are you ready?

The crowd begins to shout, as they become excited for the beginning of the contest. A few “yes” can be ever so heard amongst a loud roar.

Kera & Lere: On the count from Tri!

Kera, Lere, and the members of the audience that can count to three in Aenglic all shout:

Kera, Lere & Audience: Tri!
Kera, Lere & Audience: Ðe!
Kera, Lere & Audience: Ón!

The audience screams with great enthusiasm again, as they knew what they would be saying directly after the countdown.

Kera & Lere: LET THE 98TH WORLDVISION SONG CONTEST BEGIN!

The crowd erupts with their largest scream yet because of their grand line being said - and I would be surprised if their voices were not fading away, due to the number of loud cheers they have already done.

by **Aenglide** » Mon Apr 04, 2022 2:13 pm

Clicking on a postcard takes you to the respective entry.

17. ADAB WITHDREW

23. VLAVIA DISQUALIFIED

Elejamie - ETV1 Commentary

by **StrayaRoos** » Mon Apr 04, 2022 2:15 pm

01-StrayaRoos
ZoLo & Lucky-BURN

Mans-Zemerlow-Fuego

StrayaRoos is back Worldvision,time to watch us take home the title of Worst Dressed competitors and best song!

as the hosts leave the stage the lights go down and make a zoom sound
the camera moves to the front of the catwalk where Lola is standing as she opens the song

Ooh-ooh-ooh-ooh
Ooh-ooh-ooh-ooh
Ooh-ooh-ooh-ooh
Ooh-ooh-ooh-ooh
The time is frozen
It’s our time,
our time to Burn through the night

You see it,i want you,but you don’t seem to want me
And i guess you just need me to see

After the first verse finishes the lights go down then a spotlight goes on zoe who's standing on the bridge who sings the pre-chorus

Let’s run and Burn this place down
Burn This Place Doooooooooown

Lola then runs down the catwalk to zoe and they perform the chorus

'Cause I'm Burning In the Flames,You don't know my name (name)
and I Can't seem to watch you or Love you anymore (anymore)

a circle then lights up the stage showing lucky in the centre as hologram flames surround him

I see that,you abandoned me
i can’t piece it together
We were together then you left me (no-no-no)
It seems like you don’t really care about me anymore (no-no-no)

ZoLo then run down the stage to next to Lucky and circles light up the floor for them as well and repeat the chorus

Let’s run and Burn this place down
Burn This Place Doooooooooown
'Cause i'm Burning In the Flames,You don't know my name (name)
and I Can't seem to watch you or Love you anymore (anymore)

as the chorus ends the cameras move up into the top of the stage,and they show the circles of Lola and Lucky Joining together

Burn Me,Bite Me I don’t Know
What You did to meeee

the Pyro goes off and smoke covers the stage,and the audience hear Zoe's voice in the smoke

Yeah-eah!

Lucky and Lola then race to the front of the catwalk in the smoke,causing a spectacular reveal

We felt like we would dance Together
we felt like we would Fall Together
We felt like we Would Riiiiiiiiiise Together (Together,Together,Yeah-eah-eah)

as the final verse starts 4 sparks of fire go up on the stage and The LED Screen shows flames on it

Let’s run and Burn this place down
Burn This Place Doooooooooown
'Cause i'm Burning In the Flames,You don't know my name (name)
and I Can't seem to watch you or Love you anymore (anymore no,no,no)

One Final Firework display goes off,as they say "Thank You World!!!!"

by **Norrp** » Mon Apr 04, 2022 2:51 pm

02. Norrp

https://www.youtube.com/watch?v=68kHbtAyKyE

Alina Fischer was born on April 8, 1993 in Flaledo, Norrp.She is a Dancer, Choreographer, and Instagram star. She is well known for being a dancer who has danced along with her dance group in the movie LaLa Land and gained huge popularity in a short span of time. In December 2016 she appeared in a Lilit Hovhannisyan music video. Apart from dancing, she is constantly active and famous on various social media platforms including Instagram. She has earned over 231k followers on Instagram. In which she posts her lifestyle and dancing videos and amassed her fans. For Worldvision in Keterig she has teamed up with famous Rapper "The Mad Hatter" real name Michael Krensig born on January 14, 1988, in the city of Kapandorf. He also hosts an YouTube show. Apart from these, he is extremely popular on different social media platforms including Instagram where he has earned over 339k followers on Instagram. In which he uploads his images in different poses and attracts his fans.

A breathing noise echoes into the arena. The bat starts and the stage is all dark and moody and orange. The view is the stage in full view. Alina is wearing a pink top and dress with a black sports bra. her hair up and She is accompanied by 4 women rollerblades who perform several cool and wild choreographed routines around her as she sings. The stage flashes neon green and hot pink. She waggles her finger sensually to some of the lines and does a chit chat gesture with her left hand as she sings out the last lyric of the verse.

Hear the dilettante of disaster
This nightmare mad hatter
Watch toxic words as they continue to splatter
Nonsense twitter chitter chatter

She is animated as she sings with several camera views far and near. The rollerbladers skate to her and she interacts with them. She winks and smiles as she sings. She was really enjoying it. As the verse ends she twirls her dress crouches down and back up and sticks her song out as the spotlights flash madly.

I want to live in a world with no borders and divisions.
With no rallying religious leaders and no bickering politicians.
Where the shade of every thought, reflects the beauty that surrounds us.
With no conflicts full of hatred and no-one to scream abuse at us.
If we care about this earth
And the people living in it
We’ll be content with simple things not the wealth in our pockets.
Living for what I know is right for you and not for me.
Foreseeing the world’s future as a stream of possibilities.
I long for impartiality that’s what we all live for
It’s about peace and security, not drowning innocence in pointless wars.

The beat kicks in for the chorus and the crowd cheers and intent strobe lights illuminate the arena. The bass vibrates around as Alina and her dancers dance together before The Mad hatter enters the stage!

On the mad hatters street
Undercover Undercover Undercover Undercover Undercover Undercover Undercover Undercover Undercover
Hey!

The Mad hatter is wearing a leather jacket and sunglasses, his appearance on stage causes more cheers. He is lit in cobalt. As he raps towards the camera. The camera spins rolls and zooms in and out towards him. The women behind him are hidden as the lights are out behind him.

Mad Hatters Street
Wash away the violence and all the hurtful trash.
Wash away the need to hoard a heap of cash.
Wash away the problems.
Wash away the strife.
I see the bigger picture and for the whole world, I want life.
Not involved in all the hatred. I’ll flee from all the crimes.
Won’t generate or contribute to divisions in a world of minds.
Wash away the violence and all the hurtful trash.
Wash away the need to hoard a heap of hash.

The beat kicks in for the outro and the crowd cheers and intent strobe lights illuminate the arena. The bass vibrates around as Alina and her dancers dance together around the Mad Hatter.

"Vielen dank!" They both shout! They exit the stage.

by **Caribou Island** » Mon Apr 04, 2022 2:53 pm

03
Moorland
"Fuck You, Sabin Ansdot" - Mika Jannisdoten ft. Unnamed Stage Technician
Work - Rihanna

“What do you mean they died in a plane crash? We very purposefully didn’t even send her on a plane!”

The Moorish delegation was once again in crisis, and the mounting stress was getting to Rana Hennesen, the on-site coordinator (appointed after the unceremonious dumping of the last coordinator).

“Well, uh, ma’am ... it seems the plane with the Ikslund delegation sort of ... uh ...” the man on the other end of the line trailed off for a moment, clearly not relishing the news. “To be blunt: their plane crashed into the ship our act was on. We still don’t know if anyone survived. There was, uh ... a lot of fire. The wreckage ... it’s not pretty. A lot of lives have been lost and -”

“Oh no. No no no no no!”

“I know, it’s a real tragedy -”

“What? No, screw that. I don’t have an entry to get on this stage in less than fifteen minutes!”

“Excuse me?”

“No.”

She slammed her phone on the ground, shattering it and frightening the nearby acts and delegations. Fuck it all. How? How did the Moorish entrants keep dying in plane-related accidents? It was becoming a sort of superstition among the musical community in country. It had practically been an act of the gods themselves to get Rhiena, a leading northern pop artist, to agree to perform. And now she was probably a bloodstain on the water. Shit.. Okay.

The next ten minutes were a blur of searching the backstage for an act, until eventually Rana came across a mousy little women standing by the crafts table, munching on a carrot and with a headset around her head. A quick deputising later and the newest Moorish entry was Mika Jannisdoten, a newly appointed Moorish citizen and entrant to the WorldVision Song Contest.

“The music is already provided, just, I don’t know, make up some lyrics.”

Mika stared at the terrifying woman. “Okay?”

The stage was big and panic set in. Mika lost her mind.

Werg werg werg werg werg werg
Hisemiafi werg werg werg werg werg werg
Hasimidoomi durdurr dur dur durdurr
Sommipota, werg werg werg werg werg werg
Whenagona lananananana
Minaca huta urturt urtah

I feel like I'm crazy
The things you have me saying
In my dreams I feel your body
You know you got ta see a lot o' me
You know I'm blinded by the lights, yuh
You know I think I'm in a crisis
Stumbled onto the stage now I'm singing
And I don't know what it is that I'm saying
But Sabin Ansdot if you're out there and listening
You're a bitch ass little punk and I hope you rot in hell
All that I wanted from you was to give me
The good pillow for my back
Custody of our two kids
Fuck you and your new mistress, mmh
I guess I can settle for a call out

Jesgeredi werg werg werg werg werg werg
Hisemiafi werg werg werg werg werg werg
Hasimidoomi durdurr dur dur durdurr
Sommipota, werg werg werg werg werg werg
Na, na, na, na, na, na
Wenyuaga lananananana
Beffataba turn turn turn turn turn turn

Please don't think I'm mad
Promise I don't care
I just don't care if you drop dead, uh huh
If I get another chance to
I will drag your name through every gutter
I swear I will make you unemployable
I just hope that it gets to you
I hope that you rot in hell
I hope that you suffer well
What can I say?
I really hope you get cancer, babe

Jesgeredi werg werg werg werg werg werg
Hisemiafi werg werg werg werg werg werg
Hasimidoomi durdurr dur dur durdurr
Sommipota, werg werg werg werg werg werg
Whenagona lananananana
Minaca huta urturt urtah

A stage technician came running on stage and the spotlights swung to blind him, causing a small stumble.

Yeah, okay
You need to get off, off, off, off the stage, come on now
Please we don't want to detain you
This is really embarrassing
Security, I need you
Requesting backup oh god she's running off the stage
I think she's headed toward the back no wait
I don't wanna rush into it, she's in the crowd
Madam please come back to the stage, stage, stage, stage
If you come over
Sorry if I'm way less friendly
I got bosses tryna fire me, oh, yeah
I spilled all my emotions tonight, I'm sorry
Rollin', rollin', rollin', rollin', rollin'
How many cameras just caught that outburst'?
You just need to come backstage
Wait don't get back on the stage
No please don't scratch my face
Ow that was my kneecap

Mika dropped the mic stand she had used to beat the technician and ran away down the stage.

Anigimialda werg werg werg werg werg werg
Hisemiafi werg werg werg werg werg werg
Hasimidoomi durdurr dur dur durdurr
Sommipota, werg werg werg werg werg werg
Whenagona lananananana
Minaca huta urturt urtah

She ran through the crowd and disappeared into the night.

Mmmh
Mmmh
Werg werg werg werg werg werg
Mmmh

Rana lost her job.

by **Carrelie** » Mon Apr 04, 2022 2:58 pm

4. Carrelie
Monica - Burn
Paroles et musique de Monica
Tune: Marina - Numb

Almost every person in the Carrelian music scene knows who Monica is. She's one of the industry's leading figures domestically, and is starting to make waves in other countries. With hits galore and a WV participation already under her belt, it seems there's little she can't do, and with the advent of another internal selection the STC decided to put her on stage once more. Burn is one of her most emotional songs yet - and there's good reason.

Songs really do seem to come to a person at their worst. After being figuratively kicked and beaten onto the curb while staying in London, she was left without a home for a while, and had to count every penny she earned. Days passed with no sign of light, no help, no support, nothing. It seemed that her predicament would continue on forever, and she slumped into a deep depression. She would need a miracle to go on.

May 22nd, 2013 - 'some library in Lewisham'

Monica sat next to the window, reading the autobiography of some Vian Genamman. Every day, she read 30 pages of it - none of it went in, mind you - but today was not as usual. Halfway through reading it, she closed it, setting it down next to her. This was her safe space, a second home of sorts, somewhere where she could be with herself, but today she just couldn't. She broke down, right then and there, in front of her cup of tea, betwixt the bookcases and tables, in her own quiet corner. The sound of sobs was interrupted by soft footsteps, slowly approaching her.

"Monica?" called a familiar voice. "Are you okay?"
"It's fine.. I'm fine... Davide?"

Davide had always been one of Monica's closest friends. Their bond was basically inseperable, but Monica had never brought herself to tell him that she was homeless. The two talked, they talked for a long while, and by dusk Monica had moved in with Davide and his mother. It was the start of something big, Monica thought.

December 29th, 2013 - Lambeth

Monica and Davide sat in a small café. Christmas has just passed and the two saw decorations being taken down in front of them. By this time, Monica was back on her feet, but hadn't yet found a place of her own. She still frequented that library in Lewisham when she could but it was a bit far now. The two were silent, the air was thick, and Monica was never the most confident. She decided to admit feelings then and there, but Davide stayed silent. Something was wrong.

That night, she found she was locked out. Davide had shut her out completely - the two never talked after that day.

Monica stands on stage, accompanied by three structures set up across the bridge and back. She's wearing a particularly frilly white dress, which reaches in layers down to the ground and is decorated with roses, flower petals and gold streaks. The music begins to play with her standing in one of these structures, shaped like a house with the walls facing the audience taken away. A spotlight shines down onto her.

“Don’t you go”, I hear you say
Right before you run away
Cold, abandoned in the rain
Will I ever trust again?

Satisfaction, fear and pain
Seeing you leave made me cry
Tears of the past, I’ve learned
Now I simply want you to

Suddenly the house goes up in flames, and Monica is left standing in the rubble of what once was. She moves to the second structure, and a new light appears following a backing dancer approaching the building. One of the layers of her dress is ripped away, revealing a pair of old shoes.

Burn
Burning like a silver flame
Never again will I call your name
Burn, burn, burn, bright

Monica sits down on a chair in the second structure, which is littered with decorative books. Her head faces downwards, though is picked up by the backing dancer, who is cloaked in a black cloth.

Sometimes feelings overtake
Lie in bed, I’m wide awake
Always a pleasure to see
But I was too scared to speak

Never spoke up against you
Seeing me, you must have felt blue
To reject me, now I turn
Now I simply want you to

The second building too goes up in flames, and the second figure slips away from view, his cloak left to burn with its surroundings. Another layer is ripped away

Burn
Burning like a silver flame
Never again will I call your name
Burn, burn, burn bright
Burn, burn tonight

A slow section follows, and Monica slowly approaches the bridge. She's clearly swaying with the music, paralleling its sudden slowness.

Oh, a nightmare, all I could bring
Have you say yes, or say anything
Just talk to me, I don’t want much of you
‘Cause now I’m in my bed
I’ll never be okay

The stage is enveloped in flames as Monica kneels onto the ground, facing downwards. As the chorus enters, last of her dress' layers is ripped away, revealing rags underneath.

Burn
Burning like a silver flame
Never again will I call your name
(Burn, burn, burn, burn, burn, burn, burn)
Burn
Burning like a silver flame
Never again will I call your name
Call your name

The bridge is repeated, and Monica slowly rises to face the audience as the song draws to a close. Three backing dancers, too dressed in black cloaks, accompany her, lifting her up into the air, towards new places, new ambitions and better days. The roof of the third building retracts to accommodate her.

Satisfaction, fear and pain
Seeing you leave made me cry
Tears of the past, I’ve learned
Now I simply want you to burn
And yet I dream of you
Wide awake, don’t know what to do
And yet I know you’re blue
Won’t you follow my lead

[box]Satisfaction, fear and pain
Seeing you leave made me cry
Tears of the past, I’ve learned
Now I simply want you to burn
And yet I dream of you
Wide awake, don’t know what to do
And yet I know you’re blue
Won’t you follow my lead

It's finished. The heartfelt performance gets a rousing applause from the audience, and Monica gives a very grateful
THANK YOU AENGLIDE!

by **Kalosia** » Mon Apr 04, 2022 3:39 pm

05
Kalosia
Ninanajna — Maria Karmen
performed in English and Kalosian to the tune of Republicanas — Belén Aguilera

Typically, information regarding head of delegations aren't huge news in the WorldVision sphere unless the chiefs in question have become notable personalities on their own. Thus, the appointment of Gabriél Ferer by Radiu-Televižio Kalosia as the island nation's HoD largely went unnoticed. But he will be relevant in the coming editions; Gabriél is a relatively young, hip showbiz exec whose past work deals more with a particular range of genres that don't often represent the face of Kalosia on the international stage, at least not in events like these.

But for his first edition on the job, he was able to secure Maria Karmen, a 22-year old who is anything but new to the Kalosian pop scene. Our Palmañë-born girlie previously competed at the 49th World Hit Festival along the border between Britonisea and Estogium with the song Veramentë. Despite being a favourite, she ultimately came 9th in a field of 19. Nevertheless, the song was a commercial success at home, and she continued to flourish.

Prior to this, her first and only appearance at the WorldVision Song Contest was as a spokesperson, announcing the results of the Kalosian vote at the 78th WorldVision in Malta Comino Gozo. That was 20 cycles ago; the edition we last won. But tonight, she graces the WorldVision stage as a contestant, vying to have another go at winning the hearts of the international audience.

The song is called "Ninanajna", which is Kalosian for 'lullaby'. Not to be confused with the North Macedonian pop track, which is apparently a coincidence. Lyrically, it is quite personal, as Maria intended it to be a letter to her younger self. She speaks highly of the girl she used to be, who has grown up to accept humility in lieu of achieving the lofty goals that the child in her dreamed of many years ago. Yet she finds comfort in this, and takes advantage of it to assure herself that the best thing to do is move forth.

On the big night, Kalosia was drawn to perform 5th, between Carrelie and Scotatrova. As the former's Monica stepped off the stage, the crew quickly set up the stage. There was wall of flower plants, of short length but considerable height (so like a tall version of this plant setup) and a sultry red chaise longue in front of it. As the song began, there sat Maria on the chaise.

The opening shot was absolutely beautiful. Maria wore a tiara and a massive red fur coat, the stereotypically royal kind, draped over her body. We know the coat is faux fur but we don't know whether the flowers are plant or plastic. With two black bars above and below the shot, the camera closed up on her. While she sang, however, the bars narrowed and the shot widened, and she also took off her tiara, safely placing it next to her on the chaise.

She ruled the six heavens on the day that she was born
A princess, she left the gates to the kingdom wide open
She wondered if she would one day grow up to become queen
To live like a woman, but now she parades around as me

Now we switch to a wide shot from the camera in front of the stage, which circles the set. Maria sang wistfully with sage, reflecting on her childhood self. There was a bit of longing in her face, perhaps wondering what could have been. She rose, taking off her fur coat to reveal a gold dance dress underneath, and took a few steps forward.

If the sun set in the east
And the memoirs I wrote could become trees
Life would be once again like it used to
And I would reach out my hand to-

Standing there barefoot, the stage lighting had been decent so far. Of course, she wanted the flowers to be seen. As the camera switched to a mid shot, the lights dimmed before the switch to a close up shot in the final line, where the stage was only illuminated by warm, golden lighting (giving a bit of a slight glow).

Want to live like it’s two-thousand
To laugh like a baby, who doesn’t?
Want to dispose of the armour
That was given to us when we grew, grew up much too soon

She extended her right hand forward dramatically as the next line began, and started a choreo routine that was bold and dramatic. Note that she has a face mic and right now she is the only person visible onstage. At this point the shots are a bit wider, to display her petiteness in the vastness of the stage. But then it switched to a close up.

No, but I will not let myself break
When my entire being is at stake
In the moments like these I remember
Voice of my mama who sang to me every night:

The lights kicked in, and switching to a wide shot, it was revealed that she was joined by 4 backing dancers—two girls on each side—each wearing a similar dress to Maria but in plain black. They were also the backing vocalists who joined along in the chorus. Here, they did a choreo routine together.

Na-na-na-é, na-na-na-é
Në oľal la foržë kë teni
Na-na-na-é, na-na-na-é
Tu alžeri se tu voľi

Maria took a few steps to the left and kneeled down. The girls followed suit, making a line behind her and hugging the girl in front of them, forming a human train (think New Rules by Dua Lipa). The lights became dim again, and here it was a bit calm as the camera closed up on Maria.

I’m really grateful for the advice that she gave me
And everywhere that I go
I hear once again, the words that she would come tell me

Now the girls did a bit of choreography in their position, mostly using their arms and a bit of torso movement as well. A wide shot meant viewers could see all of them as this happened.

Kë tuto stara ben alë fin, nël prëókuparë
But now it is my turn
A trovarë paž u mia propria mentë

Maria stood up and walked again to the centre, and the girls took their place. The lights came back on, allowing the flower setup to add vivid colours to the scenery once again.

Now as I lay down my footsteps
Wading through the river of tears I wept
Time has come, in the sky is a new moon
But still we grew up much too soon

The leftmost girl did choreo with sudden, dramatic movements, and then froze right as the girl to her right followed suit, basically making a 'wave' of choreo that went from left to right. Maria was in the middle, and her part was a bit less intense as she was carrying the lead vocal.

No, but I will not let myself break
When my entire being is at stake
In the moments like these I remember
Voice of my mama who sang to me every night:

Now they repeated the choreo from the earlier chorus as the camera made a wide shot, circling the stage.

Na-na-na-é, na-na-na-é
Në oľal la foržë kë teni
Na-na-na-é, na-na-na-é
Tu alžeri se tu voľi

The girls were already close to the chaise, so Maria took a few steps back and sat again on the chaise. The lights became dim again as two girls sat on both her sides and two more on the floor in front of her, effectively circling Maria. Each of them leaned on her as if to seek comfort. A 'divine' golden spotlight shone on Maria.

Eru la prinšipesë
K’a tenuto lë mondu a manu
Ed or diventaru la reǧinë
Ma noj samu krešuti tropu velošëmentë

Maria slowly got up and the girls followed suit. Quickly, she took a few steps to the front and the girls assumed their positions again.

No, në pošu përderë-mi or
Poj mi kantu la ninanajna:

A set of pyro shots from the floor came right at the beginning of the first line below, and then again. And when the music kicked back in, once again they repeated the choreography from the earlier choruses. The lights came back on as well.

Na-na-na-é, na-na-na-é
Në oľal la foržë kë teni
Na-na-na-é, na-na-na-é
Tu alžeri se tu voľi

Now the girls came closer to Maria and faced her, each of them extending an arm the the shoulder of the girl in front of them (including both Maria's shoulders) while harmonizing. The lights dimmed, and the same golden spotlight as earlier shone upon her as she raised her fist, singing the final lines of the song.

Na-na-na-é, na-na-na-é
Në oľal la foržë kë teni
Na-na-na-é, na-na-na-é
Tu alžeri se tu voľi

The song came to an end. The audience cheered as the girls came together for a group hug. And then they took a bow together, and Maria shouted to the audience "Gražia! Thank you Aenglide!" She seemed very touched by the warm reception, almost being moved to tears.

In any case, the stage crew were just about ready to come on stage to take down the flower and chaise setups so they could prepare for the next act, Mia Lazaro representing Scotatrova.

by **Scotatrova** » Mon Apr 04, 2022 4:13 pm

6. Scotatrova
Mia Lazaro
Shadow Step
Tune: Sofia Carson - It's Only Love, Nobody Dies

Mia Lazaro began her career as a child actor, starring in various television programs aimed for children. She gained a substantial following, and is deemed to be an important figure in the childhoods of many now young adults. But as she began to mature, so did her creative pathing. At the age of 17 Mia decided to take a try at songwriting. Her first few singles gained some traction but weren't standouts in a very competitive industry. Eventually she would release the single "Tue Miralle" as promotion for her debut album, "ll’óller plathe" and it would go on to become her most popular single to date, gaining over 300 million streams. Six years later, Mia is now an established artist working out of Oleria. She began to explore with different types of genres and sounds during the first COVID-19 lockdown and has come out with songs ranging from dance pop to R&B to hip hop. Mia had teased on social media that a big announcement was coming, to which many of her fans assumed it would be the dates for her upcoming tour. She followed up the post with cover art that depicted a boot with blue flames around it. Not long after, SSTR made a statement announcing that Mia had been selected to be Scotatrova's representative at WorldVision 98 in Keterig, following the broadcaster's recent trend of sending female acts. Her song, dubbed "Shadow Step" was then released on all streaming platforms a day later. Mia made a post on social media thanking SSTR for "the opportunity of a lifetime" in selecting her as the nation's next representative, and says she is very excited to perform her entry.

With the end of the postcard, the stage comes into view. On the LED screen is an image of a bright, full moon in a partly cloudly sky. The moon itself can be seen slightly pulsing, and the effects have the clouds moving past the moon. The camera pans over to Mia and four dancers, all of them surrounding Mia in the shape of a square. An overhead shot depicts the floor of the stage, adorned in an array of dim, twinkling stars. Their image also being slightly overcast with a thin layer from the smoke machines located around the stage. Mia wears a rather simple, dark outfit of a black t-shirt and blue jeans. She has on a very bright blue lipstick and eyeshadow, standing out on the very well lit stage. The two female dancers have on similar make up, and the male dancers just the blue eyeshadow and blots of the blue paint over their face. As the song is about to begin, each of the dancers start walking in a square around Mia.

After all this time I just can not
Get you out of my head, still driving me crazy
Staying up all night and wanting you
You’re always on my mind
Even now you’re guiding me

I can still smell that scent of yours,
That scent of yours
It’s so intoxicating
I always knew my way around when we were together
Now it’s all like one big blur
I need help to piece it all together

After a quick rotation around Mia, each of the background dancers pairs off with one another. They each dance with each other as Mia carries on with the rest of the song. After singing the first verse, she takes the microphone and starts walking around the stage. She goes up to one pair of the dancers while beginning the next verse, and the male dancer leans back and Mia gets close to him as she sings "I can still smell that scent of yours," and then quickly runs her hand across his chest as she moves on. She stands not too far behind the female dancer of the pair and watches on as the two of them slowly dance around one another. A slight sense of longing in her eyes quickly fades away as she makes her way back to the front of the stage.

All alone in the dark
I’m wandering about, can’t find you now
Give me a sign, I need to know
Shadow step in the dark
I’m wandering about, can’t find you now
Give me a sign, I need to know

I still carry a piece of, of you
Our days together began and ended like a story
There’s other ways we can say goodbye to us
But even then, I still can’t help but worry

With the end of the verse, the lights all around the stage and the LED screen quickly go black. As the chorus starts up, the makeup that was being worn by both Mia and the dancers are revealed to be glow in the dark. Each of them all perform synchronized choreography, with Mia standing in the front of stage of them all. The choreo places heavy emphasis on feet movement and rhythm, and with help from uniquely placed lights, illuminate the smoke around the bottom of the stage in a light blue hue. With each move, portions of the smoke are lifted up from the ground and evaporate away. The camera angle gives a quick overhead glimpse of the scene from below and everytime one of them steps, the LED floor erupts in a small purple burst of light.

I still remember your scent
On my neck, it was so intoxicating
I always knew my way around when we were together
Now it’s all like one big blur
I need help to piece it all together

All alone in the dark
I’m wandering about, can’t find you now
Give me a sign, I need to know
Shadow step in the dark
I’m wandering about, can’t find you now
Give me a sign, I need to know

I’ve been waiting for you, but it’s not enough
I’ve been hoping for you, but it’s not enough
Come change what always was, even that’s not enough
Give me a sign, I need to know

The angle reverts back to a far out shot of the stage overall, with some of the lighting amped up but still soft all around. The dancers go back to their one on one choreographies as Mia remains at the microphone stand. The camera zooms in and gets a close up look at Mia, makeup glowing in the dim light. She looks over at the camera while singing, watching carefully as it moves to her right. She diverts her attention back to the performance and to the audience as the camera continues panning, with the pair of dancers behind Mia's left coming into frame. As it does so, it then positions itself up at the moon on the LED screen. The image continues to zoom in as it eventually blurs and transitions into a different shot.

I always knew my way around when we were together
Now it’s all like one big blur
I need help to piece it all together
All alone in the dark
I’m wandering about, can’t find you now
Give me a sign, I need to know
Shadow step in the dark
I’m wandering about, can’t find you now
Give me a sign, I need to know

I’ve been waiting for you, but it’s not enough
I’ve been hoping for you, but it’s not enough
Come change what always was, even that’s not enough
Give me a sign, I need to know

I’ve been waiting for you, but it’s not enough
I’ve been hoping for you, but it’s not enough
Come change what always was, even that’s not enough
Give me a sign, I need to know

Just as before, all of them on stage break into the group choreography. Mia stops after completing one of the routines and continues walking around the stage with the mic in her hand. The camera follows in front of her as she walks, and she makes eye contact with the camera while she does so. She gives a quick smile before walking past it and another overhead shot shows that as Mia was walking the floor below depicted her footprints in a purple, almost dusty outline. After a few seconds each of the footsteps slowly fade away. Mia then stands between the two pairs of dancers and gives it her all as she begins to close out the song. Bright lights begin flashing all around the stage and wind machines come into full effect. She continues singing while looking toward the audience as her hair blows in the wind. She ends the song off with a soft tone compared to the rest of the song, and embraces her dancers once the song is concluded. She blows a kiss out to the audience as they begin to walk off stage. "Thank you so much!"

by **Britonisea** » Mon Apr 04, 2022 4:21 pm

#07 BRITONISEA
Sam Vanlian - "Bystander"
Tune : Ochman - "Prometeusz"
Music: Samir Vanlian, Kory Williamson, George Willis-Rhyne // Lyrics: Samir Vanlian

Samir Vanlian is to represent Britonisea in the upcoming 98th Worldvision Song Contest in Aenglide and is hoping for the nation's first victory in eleven editions...

Britonisea is having a bit of a renaissance at the WorldVision Song Contest as of late. Since the nation's second place at the 90th WorldVision Song Contest, it has very much struggled to place high on the scoreboard, with the nation receiving a 10th, 11th and 12th place - this was after missing the nation's 60th anniversary which took place in Carrelie. It seemed as though BITC went into some sort of turmoil during that time period as the broadcaster ran in to some temporary financial issues thanks to the pandemic. While BITC is one of the richest broadcasters in the country and has more than enough money to throw at the WorldVision Song Contest, precautionary methods were taken during the pandemic which meant that withdrawing from a couple of editions was seen as cost-effective, especially when the results weren't living up to expectation. After taking another break at the 95th WorldVision Song Contest, Britonisea returned on strong form, placing 3rd with a total of 203 points; the fifth highest total the nation had received since the introduction of the televote nearly twenty editions ago. The fact that Britonisea was able to return so strongly proved to the BITC officials that the idea of Britonisea winning isn't something we should sleep on and the nation is still very much in the game and considered. In fact, Britonisea won their third Jury vote in 9 editions which was a cause for celebration, only for Malta Comino Gozo to do exceedingly well in the televote and win overall. It was clear to BITC that the nation needed to work on televote support in order to win once again. On most occasions, the Jury vote is the reason why Britonisea has done quite well at the WorldVision Song Contest, and so going into the 97th WorldVision Song Contest, the BITC officials chose Amelia Stone and Tom Bastion, two well-known celebrities with little music background to send to Beepee. Now, some people were shocked at Britonisea's entry last edition because while it was mainstream pop, it didn't seem to be as serious as its previous entries and also included tongue in cheek humour. However, when the song was revealed, it was a hit with different nations that participated in the contest and was a contender to win the 97th WorldVision Song Contest which would have been perfect for BITC officials with it being 50 editions since Mini Surrey North's exceptional win in Ekoz at the 47th WorldVision. BITC then pushed for the staging to as alluring and extravagant as possible with a belief that the country had a real chance at securing victory. The actual night told a different story, however. At the halfway point of the Jury voting, Britonisea was nearly twenty points down from leaders and fellow Novapaxian nation, Aenglide and it looked unlikely that Britonisea would be securing a Jury victory there. With Britonisea being favoured in the Jury, with the nation slipping away from the lead, BITC officials were wondering what went wrong and whether the televote would help us in any way at all. Britonisea had been overtaken by a couple more nations to score an alright 73 points, down in 8th place -with the host nation, Beepee hot on Britonisea's heels. It was an incredibly close edition of the WorldVision Song Contest and if you weren't Polkopian, you couldn't be sure of your nation's final standing as the results were quite close to one another. As the televotes pushed Britonisea further down when we went in order of jury votes, there was an internal fear that Britonisea wouldn't pop back up but eventually, we got to the Britonish votes. Britonisea received 92 points from the televote which most definitely helped us out and gave us a total of 165 points in the end. While the score was not a winning total, we managed to jump a couple of places to 4th as other countries couldn't receive enough to overtake us. At the end of the night, Britonisea received their 25th top 5 placements in 50 editions but BITC want more.

As the nation gears up to send its Vha Mehlodhivestoile winning act next edition and then prepare for the 100th WorldVision Song Contest, only the 98th WorldVision Song Contest stands in the way. Samir - or just Sam - Vanlian is set to represent Britonisea at the upcoming WorldVision Song Contest in Aenglide. This will be the first Novapax WorldVision Song Contest since Darkmania and will mark 17 editions since the last Britonish hosting. Sam is a 25-year-old from Bayisone, which doesn't get a lot of attention for its music scene and that's because not a lot of music comes from there. But Sam is here to break records and the status quo with his entry, "Bystander" - hoping to make his native Bayisone proud of him. The song "Bystander" tells the story of someone that he has fallen in love with but can't fully trust, which is ironic because he, himself is quite untrustworthy which the audience can learn through his lyrics. On performing in Aenglide and representing the country, Sam said that he is "excited that [my] music is being put out there for a lot of people to hear." Sam has spent the last couple of weeks rehearsing his song and whilst he will be moving a bit, he won't be doing exhaustive movements with BITC hoping to create a show behind him through the use of props and staging effects such as lighting and pyrotechnics which the Britons know the best. He eventually travelled to Keterig and while he has participated in some of the pre-WorldVision events, Sam has mostly kept to himself and his delegation as he gets his head down to make sure he performs flawlessly at the WorldVision Song Contest in Keterig. The whole of Britonisea is behind Sam and wishes him well in Aenglide.

The beginning: A huge heart with red and blue on opposing sides is the first thing audiences see as Sam begins...

After the performance by Scotatrova, it was time for Britonisea to take the limelight. It was the first time in quite a bit that Britonisea performed this early in the competition and the first time in over fifty editions that the country performed in the seventh spot. Sam's song wasn't a long one. It was probably Britonisea's second shortest, only beaten by last edition's entry which was only a mere 2 minutes exactly but Britonisea preferred quality over quantity and while the song would go by in the blink of an eye, the broadcaster and Sam wanted to give the audience something that takes their breath away. Sam wasn't nervous as the postcard played. He thought about the glow worms that were present in his VT as he closed his eyes and took deep breaths in. Sam was standing on the middle of this large construction, a couple of metres high into the air. Sam wasn't going to get down easily and so the performance would mostly have him standing on this platform. He looked out to the audience and realised the sheer size of it, he knew that Britonisea wouldn't host a WorldVision of this size, with Britonisea's largest WorldVision only having half that of the audience in Keterig's arena. Huge arenas cause a multitude of challenges for the broadcaster. Certain shots that may look normal in an average-sized WorldVision arena suddenly don't work here, light travels further away and so certain effects are harder to pull off and also, if the stage is big - which it is - it makes it harder to create an intimate performance. However, there are upsides to a huge arena too - more explosive pyrotechnics for one! Sam wasn't wearing anything too special; he had a white t-shirt under his black jean jacket and black jeans, along with black boots. He was wearing rather dark clothing, but the scenery behind him would be quite bright - or at least contrast enough with Sam's clothing. It was the end of the postcard and time for Sam to perform. He would be assisted by two male vocalists who weren't on stage but you would be able to hear them in certain sections of the song. As evidenced by the photo above, a huge heart appears on the screen behind Sam. The heart, on one side, looked like it was flames, while the other side looked like condensation from ice.

Living behind a façade, only you know the real me.
Us, a pair bound by a multitude of sins,
I know I deserve no guarantees but…
When the truth is unveiled, will you still be here?

Sam had one of his hands covering his face during the first line of the song, as a camera was positioned in a close up of him. He removed his hand as he sang the lyric, "only you know the real me" - looking down the lens of the beckoning camera with a stern expression. One couldn't read the expression of Sam as he sang through the first verse, and he didn't even know how he was feeling. These lyrics, like most Britonish songs sent to the WorldVision Song Contest, were self-written and so all the lyrics that he was singing were written by him. The song for him was like catharsis, especially the ending bit of it but he had to hold himself back for an explosive ending. Like any good singer, he teased the audience of his impressive vocals during the first verse, with his perfect enunciation. At points, Sam was singing so gently, it could have been mistaken for a whisper. He would flourish the end of each sentence with a mini ad-lib, adding an extra bit of spice to the song as the cameras slowly moved around Sam. The audience in the arena were watching him intently, ready to see how the song progresses. As he asked who he was speaking to "will you still be here," the camera faded to black before we saw a reveal of the full stage in all of its glory. You could begin to realise... if you hadn't realised already, the true vastness of the arena and indeed the stage on which Sam was on.

Promise me that when…
Ashes fall from the heavens… you will stand by me,
Or will you leave me to shoulder the blame?
Watch as our lies ruin the place that we call home,
As a bystander.

Turning to blue: As we move from the chorus to the next verse, the performance took a cold turn...

As we moved into the chorus and Sam gently belted the last word of each line in the song, the LED behind him started to show speckles of embers and ashes falling from the sky, with the Briton looking up with one of his hands positioned in front of his forehead, and pivoted to face his right shoulder to the audience. The camera shot had Sam positioned in the lower-third region of the screen, with the whole screen turning into what could be described as the depths of hell. As he asked the question, "will you leave me to shoulder the blame?", Sam faced forwards with sihlouettes of men appearing behind him - much larger and even large due to the awkward camera position that made Sam look minuscule compared to them. As he moved to the end of the chorus, blue lights started to become more present with it circling around the audience. When singing the word "Bystander", there was a close up of Sam before the camera slowly went out of focus.

Will you still look at me the same when our secrets surface,
Can't keep it in no more, the guilt is eating me alive.
Oh you hide fear well… aren't you scared of
Our transition into fallen angels?

Smoke started to make its way onto the stage, billowing underneath him as we moved into what seemed like the coldest part of the performance. The camera movements, and even the lighting, were very slow but that didn't mean that the performance wasn't interesting. There were little effects that were done in terms of perspective that made the performance seem like Sam was small and being followed by these creatures, which are supposed to be his "guilt". Sam was thinking about the person that he was singing about. There was a sense of deep sorrow in his voice and at points, you could see Sam lost in thought - singing like he was on autopilot - as he had flashbacks of his past. After singing the third line, a large pair of wings which were as wide as the LED screens appeared behind Sam but as he sang the next line, those wings turned from pure white to black and burnt before crumbling apart. He belted out the last line there as we went into another chorus. The lights interacted with the pulsating beat underneath the song.

Promise me that when…
Ashes fall from the heavens… you will stand by me,
Or will you leave me to shoulder the blame?
Watch as our lies destroy the place that we call home,
As a bystander.

Then we moved to the most climactic part of the song, with all the lights turning to a warmer colour - oranges and reds. There was a large zoom out from Sam as he sang the first line of the chorus. The wind machine was turned on here with a lot of power to make it look as though he was slightly fighting against the current but without looking uncomfortable or weird on the stage. Sam maintained eye contact with the cameras despite the rather elaborate and experimental paths and rotations that it was taking. Sam could let himself go during this bit and it was the part of the song that he was most looking forward to. The backing singers were helped to keep the melody of the song as he went crazy with his vocals. You could see that he was giving it his all as he slightly turned red but he didn't look as though he was overdoing it.

As a bystander…
When I'm gasping for breath,
When the toxins are coursing through my blood,
Will you leave me here to face death all on my own?
Like a bystander?

At the end of the song, Sam looked out without expression in front of him. After the audience came in with a huge cheer, he gave a bow and blew kisses out into the audience, "Thank you all, thank you!" He took in the moment before walking off the stage for the next act.

by **Achaean Republic** » Mon Apr 04, 2022 4:25 pm

8| Achaean Republic
Louis Lacalle
Tune: Andrés Calamaro-Libros Sapienciales
Music & Lyrics: Louis Lacalle, Ernesto Pou, Francisco Ortíz-Casiano

Louis Lacalle is not a typical household name in the Achaean Republic. In a saturated musical environment where reggaeton, trap hip-hop, merengue, bachata, salsa and other tropical/urban rhythms occupy the Top 40 charts and the nation’s stop streaming charts. Rock, however, is considered a niche topic somewhat relegated to the trendy, English-speaking dad rock vibes (for those that even bothered to learn English), or stoners that waxing lyrical (and barely graduating high school). In Multiversal song competitions, few rock bands—barring those in special-edition national selections—have dared to compete, noting the links between fame and frivolity, others by sheer comfort of the known, still others by sheer discomfort of the known but not knowing what to do about the unknown. Still after their appearances in the contests, groups like BREAKNESS and Moquillos Embarazados have yet to become household names in the country and the winder Latin American region. (Singing in English might have complicated matters, not so for the Anglophiles).

Louis Lacalle is a name not known by many Achaeans but is hailed by music critic Lorenzo Spigolli from Rolling Stone Acaya as “one of Achaea’s greatest rock musicians, maybe one of the best in Latin America, maybe ever”—and yet, he has never been a household name. Miguel Martínez, one of the country’s greatest musical producers, placed Lacalle at the very top of musicians he wanted to collaborate with before he died—alongside legendary Cuban salsa singer Celia Cruz and Pink Floyd. In fact, Lacalle’s tone, sounds, wordplay and musical references have served as discrete influences over many musicians in Achaea and around the world beyond the realms of progressive rock. However, as much as a prophet is never wanted in his own land, most of Lacalle’s fame comes from outside the islands—and so is most of his life.

Louis Ezequiel Lacalle Fernández was born in 1969 in Montevideo, Uruguay, the son of a member of the prestigious Lacalle family, and a medical student who had a part-time job cleaning houses in Montevideo’s upscale residential neighborhoods. It wasn’t love at first sight—it was a few smirks, a few inviting glances, and an invitation for coffee and an asado in a Montevideo barrio, then a secret weekend trip to Buenos Aires over here, another trip to Colonia del Sarmiento for the summer there, and they ended up getting married once Louis’ mother discovered a small protrusion on her daughter’s belly when she returned to Achaea for vacation, despite the family’s protestations and threats of disownment for marrying a dark-skinned foreigner. After his birth, Lacalle spent his formative years in Uruguay while traveling to Achaea every so often, witnessing how Uruguay and the rest of the Southern Cone slowly descended into chaos and how, in 1973, the country became a civic-military dictatorship and remained so for 12 years. This led the Lacalle family to flee Uruguay and establish themselves elsewhere, first in Argentina—who was also under the auspices of a brutal dictatorship—, then Spain—who was getting out of another dictatorship—, then West Germany—who faced a communist dictatorship beside it—, until they finally settled in the city of Quebradillas, a suburb of Puerto Ámbar, where he remained until he graduated from high school. He was enthralled by the nascent tourism industry in the bustling port city, with all the cruise ships and bikinis and scandalous music coming from all corners of the globe from both tourists and Achaeans coming and going through the diaspora. And above all, he kept some of his Lunfardo accent even while talking, only carrying much of his Achaean twang once he was angry or passionate enough about something. This junction between the tropics and the pampas would gear towards his second concept album, Lunfardo Tropical, which never became a massive media hit in the country but was very well regarded by the specialized media with his mixture of prog rock, tango, milonga and even Afro-Achaean rhythms.

Nevertheless, he dropped out from his political studies degree at the University of Puerto Ámbar once he got bored of it, and decided to move back and forth between Montevideo, Paris and Corola to craft his music.

Ketterig felt cooler than what it should be at this point in spring. Not that the term “spring” mattered for an Achaean—he did remember Montevideo feeling a bit too cooler than what it is now every so often when October came along. Not so in Achaea, where it was swelteringly hot and humid any time of the year. But he did enjoy his Aenglidean delicacies and beers and pastries, promising himself he would eat more and not rely so much on his cigarettes that for some reason kept his voice the right type of hoarse for his music. Sprawling, too, much like Achaea—but not many skyscrapers or plazas, more like houses tucked between the fjords. Walking took quite a long time, but it was enough to clear his mind.

Louis and the crew were stationed in the bridge at the arena. The arena was supposed to feel empty and cavernous, but 70,000 fans from across the Multiverse would strongly disagree with that statement. It felt warm to the touch—too warm, in fact, though Louis couldn’t tell if it was for the caked-on makeup, the lights, or the faux-marble columns-cum-LED-strobe lights that gyrated its motions to the music (or lack thereof). The stage setup was quite awkward, Louis thought, as if the delegation couldn’t decide if they would blow their budget on elegant, silk costumes or Corinthian marble columns or a bundle of sticks and light them on fire. He never quite understood the conceptions and contraptions needed to run a successful TV show. Maybe that’s why he was never invited to host a TV show. But alas, we move on.

The stage began, and Louis was stationed with his electric guitar and his gumption to look good on a TV screen without putting much effort. He wore a toga with strapped-on sandals fastened to his calves, even though he slightly chided on the historical lack of accuracy—but he wouldn’t dare say it out loud, no, not to offend the sensibilities of the hard-working delegation. The drummer, the back-up singers and the guitarists behind him were feeling their togas, so maybe he should try to do the same. Then he also had [url=https://upload.wikimedia.org/wikipedia/commons/e/eb/Kotinos_light_background.jpg]an olive wreath covering his head, an icon he found quite silly because—according to the Apology—Socrates was not treated as an honorable man during his trial, and he did not take all the accusations lying down. He would be a victor of his own victimhood, or so he would die trying.

The camera would focus on Louis playing his guitar, and turning his first verses. Apología was inspired by Plato’s Apology, a vibrant defense of Socrates’ trial and his own philosophical images of death. He knew he was bound to die. He knew he was soon to meet his fate. He knew that the Athenian elite wanted to get rid of him as he was questioning their unwavering beliefs. Many allies were willing to help him escape a certain death by hemlock, but he chose to stay. Others could defend him from such gross charges, but he wanted to see how he would die. Was he being wise, or was he being suicidal? Was he fearless, or was he stupid?

¿Qué será?
Infamia y culpa la voz tendrá
Un hombre sabio por matar
Aunque de sabio no tengo más

Yo profetizo
Que se secarán esos argumentos
De los que me acusan los consiguieron
Creen que no merezco la libertad
Llanto, pena y llanto y tú llorarás

In the first part of the song, the poetic voice—maybe Socrates?—was acting resigned and inclined to accept his death, though not without putting up a fight that he knew he would lose. He was a philosopher, yet he saw himself as the stupidest man of them all. He was known to be wise, yet he saw himself as ignorant. Words and their meanings were being debated left and right, and the author could only stand and see how his life’s work, the impartment of knowledge and reason, was torn apart by the incivility of ostracism and jealousy. He was active in his life, yet dangerously passive at the time of facing his own death. Maybe his death would serve better as a tool to redeem his life?

Louis grabbed the microphone stand with his two hands, lightly cupping the body of the microphone with his fingers and slowly playing with it. He then took his right hand and swung the stand to a side, tipping it at an angle while singing on it. He tried to slowly bend his knee without going too far (did he remember to wear underwear before going on stage?) and sang once more. The cameras around him danced between the catwalk at the end of the bridge and the cheering throngs of fans surrounding the arena and the other performers in front of Louis and the band. The LED columns flickered in different colors—red, blue, green, white, then red again, blue again, light blue—as the song progressed. For Louis, it was hard to think of one of many times where he was slighted by, erm, anybody he encountered. It was pointless, too.

Guerra y paz
La muerte nunca ha de escapar
Misericordia, qué más da
De viejo me arranca el corazón

La verdad duele
Porque me acusaron, soy hombre bueno
Lucho por la verdad, lucho de lecho
Lucho por quien perdió como luchar
Y si yo no lucho, ¿quién luchará?

In the musical intermission, the cameras focused on Louis performing (or at least miming) with his guitar. He strung the chords and collided into creating beautiful music in a harmonious intermission the way he used to do. A brief glance would show the back-up singers following the same “ah-ah-aaah” in the brief refrain that managed to connect with the audience during the performance. They clearly understood the meaning of the music and tried to connect with it. That was Louis’ main concern—understanding, entertaining, preserving. It almost felt like too lofty goals that he had to contend with while performing. But at least he tried.

The audience at Aenglide, particularly the Achaeans, showed a puzzling look at the performance. Not the fact that a mixture of progressive rock and folclórico would be sent to the WorldVision stage, not really. But they were surprised by Louis’ detachment. Detached…that was the look he always portrayed to everyone during his performances, even at such a prestigious event (or so they said) as WorldVision. His devil-may-care attitude precluded him (or so many music critics said) to many opportunities to develop in the music business, keeping him in relative obscurity. But that was the same complaint that happened to many other performers past and present. Los Dos were still doing pop/rock with enough melisma and melodrama to fill up a room. AmbiDextra temporarily retired from performing due to cancer, but she would perform with a suero dripping down her veins if it ever came to be. Andrea García still kept touring after her victory. And Manamma…was still being Manamma, openly questioning why the Department of Family and Child Resources have yet to pry her daughter away from her arms. But Louis kept pressing on, performing famously despite his infamy.

¿Qué será?
Infamia y culpa la voz tendrá
Un hombre sabio por matar
Aunque de sabio no tengo más

Yo profetizo
Que se secarán esos argumentos
De los que me acusan los consiguieron
Creen que no merezco la libertad
Llanto, pena y llanto y tú llorarás

Yo profetizo
Que se secarán esos argumentos
De los que me acusan los consiguieron
Creen que no merezco la libertad
Llanto, pena y llanto y tú llorarás

The song ended, and the cheers could be heard from the crowd. The Achaeans knew how to turn out, especially with an unexpected genre like progressive rock with a relatively unknown, albeit legendary, singer. He bowed to the crowd and lightly fixed his historically accurate toga, waving to the crowd and smirking a curt smile that started in his right cheek. He did it three times: to the north, to the south, and to the east, though the cameras only captured the movements from the east. He gripped his guitar while he lightly hugged the other bandmembers that joined him on stage. Oddly enough, there were no fireworks or excessive light spectacles, nor was there a desire to have them—and no, they were not hampered by budgetary constraints. They just didn’t need to have those right now.

by **Illdonya** » Mon Apr 04, 2022 4:33 pm

9. Illdonya #ILD

Carla Morrison - Mi Ansiedad

Salamá
"Unhappiness"

Illdonya was extremely excited to participate for the first time in Worldvision 97, and are excited to participate in Worldvision 98. Because of the popularity of Worldvision in Illdonya, Illdonya created its first national final: Illdonyafest. 3 songs were selected to perform in the Set-Me-Free stadium in Feker Libi Illdonya. Illdonyafest was organized so that only televoters could determine the winner. After beating The Mocha Mochis, and Zura Makk in Illdonyafest, Salamá won with at total of 41 points.After Salamá won the first ever Illdonyafest, she was very excited to preform on the Aenglish stage. At a property held in Feker Libi, Salamá stated "I'm truly honored to represent Illdonya in Worldvision 98 and as well to be the winner of the first ever Illdonyafest."

The artist Salamá (birth name Salia Amária) was born in Celestia, Illdonya as an orphan but was quickly adopted by a couple who could never produce children. Her adopted parents let Salamá take singing and harp lessons and quickly became a prodigy. At the age of 8 she could sing operas and musicals. And soon she started composing music. At first she would compose operas and symphonies but she grew an interest in pop music and started composing that. At age 14 she composed her first hit "Cloud Time" which got onto the top ten on the Illdonyan charts. At age 18 she composed the song "Ocean Sun" which was her first song to reach 1st on the Illdonyan charts. At the age of 21 her adopted mother died of cancer and Salamá went into a brief period of depression. The period of depression was severe enough that the doctor had to prescribe her medicine and she stopped making music until she recovered.

The song "Unhappiness" was meant to reflect on her period of depression and as well as to commemorate her mother's life. This song has already been a smash hit in Illdonya before and after winning Illdonyafest. This song will be part of an album called "Back in Life". This will also be her second song that was released after her period of depression, being released 3 weeks after the other song, titled "Some Medicine". Due to how famous she is, she will be donating 50% of all her profit on this song to cancer research to help put an end to cancer. She has already donated millions of dollars toward cancer treatment.

Performance

Salamá walks in with a white skirt and black slippers. She seems quite calm even though she hasn't performed out of Illdonya in a while. Two initially dancers walk out, each holding one end of a red rope. Another two dancers follow up, each holding ends of a different red rope. Salamá doesn't speak as the first few verses are sung in the background.

I try to heal, but I cry
Really try, but I cry
It's so hard, so I cry (but I cry)

Salamá starts singing while the dancers do some dance moves using the rope that slow and speed up along with the song. It looks like there is no microphone that Salamá is singing into but if you look closely there is a white one clipped onto her skirt.

It’s a dark hole, empty, so much cold
It's so hard to escape, it's so hard
Not easy for anyone to say (say, say, say, say)
My inner brain starts to die help

Salamá begins the chorus and sings it beautifully. Salamá simultaneously grabs the middle of each rope and tugs it to her side. The dancers then tug back in a fashion that seems like a dance. This tugging and pulling seems to follow with the melody. On the floor, red lines randomly streak from one end of the floor to the other. On the LED screen dark thunder clouds appear making it seem like it is about to rain.

I try to heal, but I cry
Really try, but I cry
Try to stop, Fight it out, It's so hard, so I cry
I need help, but I cry
It hurts me, so I cry
It’s no use, please help me, it’s all pain, so I cry

The clouds on the LED screen start to make it rain. No actual water comes from the ceiling as an effect because in the past Salamá did not like getting her clothes wet. Salamá along with the dancers, dance to the chorus.

Unhappiness
Unhappiness

The rain on the LED screen stops as well as the streaking lines on the floor. The clouds on the LED screen remain. Salamá sings the next verse and she stops dancing. Like the first verse, the dancers do some dance that goes along with the music.

Everyday it hurts me it's just pain (just pain)
All it does is makes pain and pain
I just want to cry all the time now
Finally it ends but does it really?

For the next verse, Salamá and her dancers clap. The red ropes are dropped temporarily in order to clap.

It’s so hard to keep up, in me (in me)
It battles in my body, not for me (not for me)
Rumbles all my body, in me (in me)
A pain inside my body annoys me (annoys me)

Salamá and her dancers do everything the same. The LED screen and the floor are basically the same as before but this time there seems to be A LOT more rain shown the LED screen.

I try to heal, but I cry
Really try, but I cry
Try to stop, Fight it out, It's so hard, so I cry
I need help, but I cry
It hurts me, so I cry
It’s no use, please help me, it’s all pain, so I cry

For the next part of the chorus, Salamá does some sort of spin with the ropes while her dancers rotate as well.

Unhappiness
Unhappiness
Unhappiness
Unhappiness

The rain stops being shown on the LED screen and the LED screen fades to black. Salamá walks to the bridge where red streaks are streaking in every direction. Her dancers follow her while carrying the ropes and dancing.

In all this madness, I just need some help
And when that nice someone, comes and helps me
Then I’ll feel better, body and mind
But then I remember it all

By the time of the chorus, Salamá has made it to the end of the bridge. She and her dancers start dancing with the ropes as she sings the chorus. The streak on the floor of the bridge start picking up speed as she sing the chorus.

I try to heal, but I cry
Really try, but I cry
Try to stop, Fight it out, It's so hard, so I cry
I need help, but I cry
It hurts me, so I cry
It’s no use, please help me, it’s all pain, so I cry

She continues the chorus and continues dancing.

Unhappiness
Unhappiness
Unhappiness
Unhappiness
Unhappiness

When the song ends Salamá and her dancers freeze. Then, Salamá screams "THANK YOU PEOPLE OF AENGLIDE AND THANK YOU WORLD!!" After that she thens runs of the stage with great velocity. Her dancers also run off holding the two ropes.

by **Elejamie** » Mon Apr 04, 2022 6:23 pm

10. Elejamie

Hasmat - Eternia

Tune: Slowdive - Souvlaki Space Station

From left to right: Matt Charteris (bass guitar, rhythm guitar, male vocals), Alex Bolton (drums, percussion, loops), Jasmine Veneziano (lead guitar, female vocals), Jimmy Supriadi (keyboards, rhythm guitar, sampler)

Hasmat was formed in 2015 by two high school friends, Jasmine Veneziano (born 1st February, 1997) and Matt Charteris (born 23rd September, 1996). The duo had originally met while attending Aldenport High School in Aldenport, ATMN through a few mutual friends. Although they didn’t interact much at first, they soon bonded over a joint interest in experimental and often-times extreme music. Eventually, they both decided to form a band, partly out of boredom but also because they also wanted to replicate the sounds of their idols, picking out the name “Hasmat” simply because it was the first thing that came to their minds. At first, they with a more noise rock-based sound as they wanted to go for a sound that’ll “bludgeon [their] audience into submission” as Matt put it in an interview the one time, which resulted in them not getting very far at a high school talent show, but after a while they decided to go in a more melodic direction after they decided that they wanted to take this band thing a bit more seriously.

After high school, the duo then attended Longford University where they both studied music. This was primarily because it was the biggest university in the tract, despite the fact that the town of Longford itself doesn’t really have a whole lot going for it outside of it and a few bars. Still, they were able to find some gigs, which resulted in a revolving door of drummers to back them up on stage. Some lasted for one gig whereas others lasted for two or three. Eventually they settled on Alex Bolton (born 15th February, 1993), someone who originally wasn’t really super keen on the sort of music they played but went along with it anyway because a) they stated that his style of drumming fitted the band best and b) he wanted to stay on as they allowed him to improvise his own drum breaks from time to time. It probably helped that, around the time they hired him, they had started to shift towards a more shoegaze direction. They then got to work on their first EP that Summer; a self-titled EP, it was recorded in Alex’s garage and released a week after they finished recording it, where it was released on the internet to not a whole lot of fanfare and a small amount of fans. They would play a number of concerts over the following year and release a couple more EPs but would firmly remain an underground act.

In December 2017, the band made another hire in Jimmy Supriadi (born 7th November, 1995 in Yogyakarta, Indonesia), who was training to be a mixing engineer. An avid guitarist and keyboardist, he was approached by the band thanks to a chance meeting where he managed to get them some studio time. While he also wasn’t super interested in the band’s sound at first, he still managed to add his own inputs that made the others interested in keeping him around. As Jimmy was more interested in ambient, dub and dream pop, he started to incorporate more of that into their music which they ended up being fine with as they felt it was the best direction to go in. It probably helped that he snagged them a record contract which helped them out quite a bit. After a couple more years of them refining their sound and releasing a couple more EPs, primarily because both Jasmine and Matt were still in university and didn’t want to drop out just in case the band didn’t pan out, they eventually got to work on their debut album. Self-titled, it was released in November 2019 to some positive critical reception and a decent amount of sales. Nothing really mainstream came of it, however, although it was still an underground darling and a couple of national newspapers included reviews of it.

Regardless, there were plans for them to go on tour the following year to support the album. At first it was planned to be a nationwide tour but, after the album started to sell fairly well abroad they decided to include a handful of dates in other countries as well. Unfortunately, midway through rehearsals the coronavirus pandemic struck the world and those plans had to be cancelled. With not much to do other than an appearance on the Live Music Show that April (which wasn’t that bad since it requires a minimal crew and has no presenters or studio audience, meaning it was one of the least-affected shows) the band decided to go on a hiatus until it blew over enough for them to play live again. Matt formed Ibad which was more a lo-fi take on the band’s noise rock roots with a hint of the later shoegaze they started to develop when they became a trio; whereas Jasmine would form blackmetal which, despite the name, was more ambient and drone-based, with just a hint of old-school industrial. Jimmy, in the meanwhile, made an entire instrumental album by himself titled Orba which got some fairly good reviews from listeners, although he hasn’t really said anything about plans for a follow-up. It probably also didn’t help that both he and Alex joined the others’ bands once lockdown ended and they could get together, albeit in small groups.

When both Ibad and blackmetal hit brick walls in Summer of 2021, Jasmine and Matt decided to reform Hasmat and the four then got to work on their next album. Originally going to be another self-titled album, they decided to name it Eka-Radium. Taking what they had from their first album, they decided to build on it by adding more hazy guitars, for drum loops and burying the vocals in the mix in some songs to provide a perfectly dreamy atmosphere. The album was released in early January 2022 to some positive reviews and a fair amount of commercial success. A brief mini-tour followed as did the “interest” of a certain television broadcaster, which eventually resulted in them being picked as the Elejamian entrant for the 98th WorldVision Song Contest. However, the band have stated that, no matter the result, they will be going on a long break after the contest. Partially because the experience will be draining but also so all the hype behind them can die down and they won’t have to worry about obsessive fans dictating how they should do things or just being a massive pest. Especially since the band themselves aren’t really fans of the contest in the first place.

Fun fact, all members of the band are LGBT. Both Jasmine and Matt are gay, whereas Jimmy and Alex are both bisexual. However, not only have none of the members of the band ever dated each other but, in an interview that they did around the release of their first album, Matt later stated that they haven’t even shown any interest in each other: “Me, Alex and Jimmy brought it up once or twice but, in all honesty, there’s nothing there. We see each other as friends and as bandmates but there’s not really enough of a spark between us to take it to the next level.” Relationship-wise Alex is currently married to a woman, Matt’s currently living with his boyfriend, Jasmine broke up with her girlfriend towards the end of 2022 (with the break-up inspiring the entry they’re about to perform) and, while he has dated men and women in the past, Jimmy is currently single.

The last competition in Norfolk Pinewoods, Beepee saw the kings of Elejamian synthwave Mason and Jon Navarez to team up once again to perform their song Saudade. A trilingual song performed not only in English but also in Spanish and Portuguese, it was about the loneliness a crime kingpin felt after reaching the top at the expense of everyone close to him abandoning him. And, fortunately for them, the voting saw another more mild improvement for Elejamie. For a start, the country had finally gotten a set of 12 for the first time since the 94th edition in Marina Point. Two of them in fact, the first set coming from the hosts and the second from the Achaean Republic. The song was even in fifth place going into half-time with 43 points, only for the inevitable to happen during the second half of the jury votes. However, the slip wasn’t too bad as by the end of the jury voting they were in 7th place with 74 points. Only for the televote to add an extra layer of screwing over as they received 67 points which eventually saw them slip down into 9th place. At least they still managed to hold on to a top ten spot?

While Mason was mildly disappointed that he was unable to beat his fourth place in his first appearance back in WV80, whereas Jon was mildly pleased that he had beaten his 12th place finish in WV83, EB met the result with general apathy. After all, they were leaving the contest after WV100, they didn’t really care where their entries finished. The WorldVision fandom were kind of split on the result, some praising the fact that it was a top ten finish while the rest bemoaned the usual goings-on, but overall they were feeling a bit positive. At least the graph seemed to be going up? It was now just a question of whether that graph will still go up or if it’ll start going back down again.

Regardless, they were quick to start scouting for who’d represent the country at the next contest. At first they thought they had hit it big with the industrial rock band Suture who had an anti-war hit in the making with Doomsday, inspired by a certain conflict that’s been going on at the moment. However, for reasons unspecified, the deal didn’t work out and the band ended up dropping out. After scrambling to find some replacement, they eventually settled on Hasmat, a relatively unknown band that had been making some headway in the mainstream. While the band weren’t exactly fans of the WorldVision, not necessarily because of any personal gripes with it but rather because they don’t see what the big deal is, they decided to take part in the contest anyway because unless they were lucky or the broadcaster was desperate it was a once-in-a-lifetime opportunity. Of course there’s the question of what a dream pop/shoegaze band would be doing at a contest that’s more commonly associated with normal pop but none of the higher-ups were available for comment to the point where a junior staffer had to step in with their views: “Either they don’t know or don’t care. They seem to be in a very “fuck it, we’re quitting” mood about the contest.”

Either way, the four then made their way over to Keterig to get ready to participate in the contest. Much like Mason and Jon Navarez in the contest prior, they didn’t need to quarantine themselves upon arrival due to loosened restrictions by their government, so they were all ready to hit the town. From visiting the Aenglish National Museum and the Keterig Zoo to relaxing by the waterfront looking out on the Brjdo Bay, as well as a small stroll down Hansevéj which resulted in them have an idea about doing an album in the Stave Church of Saint-Jan due to the atmosphere it brings, they were still able to find some stuff to pass the time in between rehearsals. It probably helped that they had a simple staging, playing in near darkness with tons of fog like most of their indoor concerts, although the fact that they insisted on playing their own instruments instead of having them pre-recorded and played back was a little bit of a hassle for the same reason why they don’t do it in the real-life Eurovision. But, other than that, everything went fairly smoothly and eventually had everything down pat. And now they’re ready to perform at the VADtk Arena, so hopefully everything will go smoothly regardless of the result.

Once the postcard came to an end, we then cut to an aerial shot of the stage with the audience applauding and cheering for the act they’re about to watch. Presumably out of being polite given that, again, this is a genre that seems a bit too out there for the WorldVision crowd and whether or not the World Hit Festival would be any kinder is anyone’s guess. But then again there could be some people in the crowd who are genuine fans. Regardless, the camera slowly panned over to the stage where the band were doing some last minute adjustments and checks, all in front of what appeared to be a giant wall of speakers, with a few cracks in rows to let some light shine through. They were also putting in some ear plugs as they are known for being blisteringly loud in concert and, since they insisted on performing live, this was going to be no exception. The noise from the audience died down around the same time as them finishing their checks and pre-song stuff and, once they were in position, the lights started to dim and they got ready to perform.

Once the stage was in darkness, with only faint light sources making it possible to know who was where and doing what and the performance now being in black and white, the song began. Over at his mixing desk with a built-in keyboard all the way on the far-left of the stage, Jimmy appeared to be fiddling with a few of the dials with one hand while he strummed his guitar with the other. Just as soon as Alex drummed a little bit the camera then slowly panned from left to right showing where the rest of the band was. It went from Jimmy to Alex all the way at the back to Jasmine, also strumming her guitar, before it stopped at Matt, who was standing there in near-complete darkness, the only bit of light seemed to be a bit of light reflecting off a bit of a mirror stuck to his guitar. All of this while the fog slowly started to creep in and envelop the stage. It stopped when it reached him and slowly zoomed in before it panned all the way back over to Jimmy. When the music started to kick in we then cut to a shot of Jasmine from below, the camera tilted up as if she was a giant, making it a rare moment where it was easy to make out what she was wearing. It seemed to be a plain white T-shirt, a pair of black jeans and a pair of black and white trainers, which weren’t really in the shot but were ready to press against whatever effects pedal it needed to be pressed against; she was also playing a guitar with a white body and headstock that, much like Matt, had some shards of a mirror glued onto it in random places like a wonky mosaic and all the edges sanded down to prevent anyone getting cut by it. After the camera lingered on her for a few seconds while it zoomed out, it then cut to a wide shot of the stage and various close-ups and medium shots of the band playing their instruments. The stage was still in darkness but there seemed to be a bit less light. Part of it stemmed from the fact that the arena lights were a little bit less dim than at the beginning but also the fact that the LED wall behind the wall of speakers was also showing a bright white light and the flooring showed a faint white light that was just about visible from underneath the heavy fog.

After a few more shots of the band, all taken at various angles and distances (as an aside, the more close-up shots were taken on days when they had the volume a lot lower, making it safer for the crew to do what they needed to do), the camera then cuts over to Jasmine. She moved her hair out of her face with a small shake of the head before she started singing, although the lines in brackets were fed into Jimmy’s mixing deck and played back over her singing normally as a bit of layering. Most of the shots was of her standing in front of the microphone, which she sang into while she was strumming her guitar. However, there were occasional cuts to the other band members, with the longest being one of Matt with all but his face and a faint slither of his guitar masked in near-darkness made worse by the black and white filter on the screen. He was also wearing a black shirt with the top two buttons undone to reveal a white undershirt underneath, along with a different pair of black jeans and a pair of black shoes, although the camera couldn’t make it out clearly in that shot. He also had an all black bass that too had shards of a mirror glued on in order to reflect light, albeit not as many as on Jasmine’s guitar. Speaking of, towards the end of the verse, the camera cut back to her and after she sang the last line, she looked down at the ground while she kept strumming and got ready for the next part of the song.

Floating in silent space
(It feels just like a dream)
In the vast, I see
(But is it a mirage?)
Visage slowly forming
(I can’t avert my gaze)
I don’t know if that’s you

And then it was time for the next part of the song. Jasmine looked down at the stage as she kept strumming her guitar before she looked up to sing into the mic, although during the brief pause in the first line she went back down to look at the stage while she pressed another effect with her foot. Due to the angle of the camera and the lighting starting to dim around this stage, only a small percentage of her face and hair were actually able to be seen by the camera. During the gap in between both lines, there was a quick cut to Jimmy behind his desk strumming away to provide a bit more rhythm underneath Jasmine’s guitar; he was leaning back a little bit and the camera. He was wearing a blue and white flannel shirt with the top three buttons undone (although, unlike Matt, he wasn’t wearing a shirt underneath so there was a good view of his somewhat bare chest), a pair of blue jeans and a pair of black shoes which were obscured by both the desk and the thick fog from the machines. Once that break was over, the camera returned to a frontal view of Jasmine as she lifted her head up and sang in the microphone again, the camera doing a slow clockwise pan as she sang. There was a moment where she looked up and stared into the camera while she sang before she looked back down.

I want you, I can’t see
I feel you, I can’t reach

The lights dimmed, along with the LED wall, and the band played in near darkness once more. It was possible to make out the outlines and certain features on each of the band members but, other than that, the only sources of light were any exit signs, any flashes from any phones in the crowd and possibly any backstage bits that the camera could pick up. It was a complete crapshoot to find out where everything was and what was going on. There were, however, a number of close-up shots where the brightness was turned up for the viewers at home just so they could make out what was going home, although even so it was hard to make out exact articles of clothing and what was on them, if anything. There were a couple of close-ups of Alex drumming along, appearing to stare into nothing with a completely neutral expression on his face. There were a couple of close-ups of Matt plucking his bass strings, although in both cases he was looking down at the ground to see what pedal he should be pressing next, as well as a third of him holding his guitar up in front of the wall of speakers which, fortunately, was just a massive prop as most of the sound was coming from Jimmy’s desk. And there was a shot or two of Jasmine strumming his guitar during the break. Jimmy was in wide shots and, indeed, during one of the close-ups where he wasn't on-screen he was getting a quick drink from a nearby water bottle just to quench his thirst.

And then the music picked up. The lights at the foot of the stage shone brightly, cutting through the fog and made it easier to make out who was wearing what. Furthermore, the LED wall turned back on, doing a slow strobing white on black effect, with the wall of speakers and its cracks doing a fairly decent job of preventing anyone getting any seizures from it. There was a Dutch angle shot of Jasmine bending the strings of her guitar as the lights shone brighter before slowly fading back to how they were. The mirror shards even caught one of the lights and reflected it back into the camera before the light faded, meaning that they weren’t entirely for show. The camera zoomed out before it faded into a sweeping shot of a camera making its way over to Jimmy before it slowly turned to face Alex, whereupon it zoomed on him; for artistic reasons, they decided to get rid of every frame or two of footage so it looked like someone was messing around with the play/pause button. Speaking of Alex, we could now see that he was wearing a black shirt with “I’m not as think as you drunk I am” written on it, along with a pair of black jeans and a pair of black shoes as well. His drum kit was all black with white heads and, while he didn’t have any mirror shards on it, the bass drum head did have “tetap bernafas” crudely written at the top of it in black permanent marker; when and why he wrote it, however, is another matter. The camera stayed on that shot for a couple of seconds, with a picture in picture shot of Jasmine playing her guitar in the same way she did a few seconds ago (except this time she was holding it at an angle where the lights didn’t shine off the mirror shards and back into the camera) before it travelled over to Matt who was playing his bass. He was mostly looking down and, while he did look up at some point, his gaze was directed at the audience and not the camera. It then travelled behind him and then moved to his side, where it zoomed out to end the instrumental segment.

When it was time for Jasmine to sing again, the camera then faded into a shot from above that slowly lowered itself down so it was right in front of her. She was singing into the microphone, her head tilted down a little bit but her voice was still coming in clearly. She was still strumming along, with the camera turning a little bit to catch Alex drumming in the background. At some point before the fifth line, there was a brief cut to Jimmy also playing his guitar while he moved another dial for a brief second. When it was time for that fifth line, the camera immediately cut back to the same shot of Jasmine singing while she played her guitar, although it was followed by another brief shot, this time of Matt playing his bass while some of the lights reflected off his mirror shards. The camera returned back to Jasmine for the seventh line, except this time it was from the side and it was primarily a head shot. She looked down at the ground towards the end of the verse as she carried on playing, getting ready for the last few lines of the song.

Can’t speak, words won’t come out
(There’s so much to tell you)
Thoughts veer to our demise
(I don’t want you to go)
I’m pulled away from you
(I want to stay with you)
Other worlds are calling
(But will we meet again?)

And then there was a small instrumental passage. Jasmine turned herself around a little bit, keeping one foot on her effects pedals, all while she kept strumming her guitar. She briefly glanced over to Matt and, with that, the camera then cut over to him. He looked up at her while he kept plucking his bass and gave her a small nod to let her know he acknowledged her presence. The camera then cut back to her as she nodded back before she turned back around to face both the microphone and the audience. After all, she had one last verse to sing and they tend to go a lot better when the audience can hear what she’s singing even if they can’t make it out through the layered vocals coming from Jimmy’s mixing desk.

When it was time for her to sing, her head was down a little bit but it was still clear that she was still singing into the microphone. The first line was simply a side shot of her singing before it cut to another slo-mo cut of Alex hitting his drums fairly harder than he normally would. There was another cut to Jasmine singing, this time from the front, before the camera returned to a close-up of him drumming. There was another lingering shot of Jasmine singing the third line, who was also slowly raising the neck of her guitar as the camera slowly zoomed in on her before it cut to an extreme close-up of Alex’s sticks hitting the drums as he kept playing. Towards the end of the fourth and final line, which was also the last line of the song, the camera lowered itself as she moved her other foot onto the pedals as she turned around again to face Matt once more. And also hold her guitar in front of the speakers as if she was about to create some feedback despite the fact that, again, they weren't really working.

I must go but I don’t want to leave
(Stay here) I must go but I don’t want to leave
(Stay here) I must go but I don’t want to leave
(Stay here) I must go but I don’t want to leave

And now it was time for the coda of the song. A nearly two-minute long instrumental outro to wrap things up. And, with that, we got a series of sweeping shots of the band playing their instruments while the fog continues to pour in and envelop the stage. At some point there was a small bit of noise creeping into the rhythm, something that was intentional as Jimmy twisted another dial off-screen, and at that point there was another shot of the band playing their instruments while the camera was very stop-start; it began with a shot of Matt looking down at the stage while he played his bass before the camera headed over to Jasmine, where it looked down at her from the side while she continued to strum (and also looked down at the ground just so she could know which pedal to press next). The shot lingered on her before the camera pulled back and went around her, whereupon it stopped right in front of Alex, who was drumming along. It turned round and caught him drumming along, all while a bright flash of light erupted behind him and was caught by the camera. After it focused on him for a few seconds, it then turned back around and travelled over to Jimmy, where he was playing his guitar while he was standing in front of the desk; unlike his fellow guitarists he wasn’t looking down at the stage while he played but, rather, he was directly looking right in front of him.

The music started to die down a little bit, as did the lights around them and the lights being emitted by the LED wall behind them. Jimmy took his hands off his guitar and seemed to man the desk in front of him, leaving Jasmine to do guitar work while he handled all the loops, samples and any effects work that the band needed doing. While there was a brief moment off-screen where he played a little bit, whenever the camera was on him he had his hands on the desk playing with any dials, sliders or buttons that he needed to play with. At some point during this bit, there was a cut to Alex playing his drums a little bit harder than he normally does for a brief couple of seconds before he goes back to playing them normally, something that was an accident during recording but they left it in because it fit the whole aesthetic of the song. After that the camera went to different shots of the band playing their instruments or, in Jimmy’s case, messing around with their desk. Towards the end, there was one last lingering slo-mo shot of Matt playing his bass in near-darkness before it then faded into a shot of Jasmine playing her guitar. It then faded into a close-up of her hands playing the last couple of notes before it then immediately cut over to Jimmy leaning forwards and twisting a couple of knobs. He then kept that same pose as the camera then changed to an orbital shot of the stage. When he was finished, he twisted the dial back and the stage went into complete darkness to signify that the song was over, especially since the fog machine turned off just over a second later.

The audience started to applaud when the song had finally come to an end and the lights turned back on a couple of seconds later. Whether it was because they had genuinely enjoyed the tune they had listened to for the past <6 minutes or because they were doing it out of kindness was another matter but, either way, there were shots of the audience cheering and waving flags, along with any other paraphernalia with their country of origin’s flag on it. Meanwhile, the camera then cut to the foot of the stage with the band standing in a line. They just simply waved at the crowd and did a bow or two. Jasmine then returned to her microphone and said “Thank you. Thank you.” After that, the band grabbed whatever stuff they could get and headed backstage. One of the hard parts was over. Now they just had to sit back, relax and maybe have a couple of beers while they waited for the end of the contest so they could deal with the other hard bit. At least they had a way of passing the time.

by **These American States** » Mon Apr 04, 2022 9:10 pm

Jackson Carter was a reclusive country boy from down the South. He'd long called the hollars and hills his home.
He'd growed up and lived most of his life adjacent the major metropolitan center of Thottlanta. Thats where he met the record executive who eventually got him an album deal. That was in 2013

The album was bigly successful . That's when Jackson Carter dissappeared back into the wiles.
Then in 2017 BLAM the dude is on the cover of magazines and has a new album come out.... Major success.

Then he disappeared from the public eye once more.

BUT

NOW

HE'S

BACK!

Clip from Recent FAUX NEWS Interview

Reporter: Tell me about February 24th, 2022

Jackson Carter: It started like any other day. I got up, lit the fire, let Lacey, that's my dog, i let her out the door, put the coffee on.
That's when I turned on the TV.

Reporter: What was on the Television that day ?

Jackson Carter: Ya know, i'm supposed to be this tough guy, but to see the path of carnage and destruction being wrought here...

Reporter: It Bothers you. doesn't it?

Jackson Carter: I Hate War.... I Do... I Hate It.....

*Screaming at the Top of His Lungs*

THIS WARRING NEEDS TO END!!!

*His face turns visibly red and he stares into the camera.*

11

These

American

States

Artist: Jackson Carter

Song:" Off to War Again"
Tune:Brothers Osbourne - Midnight Riders Prayer

Jackson Carter enters the stage, though, from the audience all that can be seen is a smattering of shadows, flittering about in the back up-hind. Carter is ready to perform. He is more than excited to unleash his social commentary on the atrocity of war, in hopes that this audience will be more receptive to his anti-war sentiments than the Rad-Reps back home.

He plugged in his Electric Acoustic guitar, and began to play....

3...2...1....

Dim LED lights sufficiently support the performance, while maintaining the illusion of intrigue.

Screeching violin strings
Everyone is tensing
Stops your heart, Stand still hairs on your arms

Same old is gettin old
the boats rolled, the dam can't hold
every gambler knows when it's gettin past time to go

As the Chorus begins, the LED wall is lit with image of a fighter pilot in the cockpit of a plane.
The camera pulls back to reveal a formation of jets in sequence. T
he screen then cuts to a bombed out village filled with tearful, mourning survivors.

Off to WAR again
in the air and on the ground you'll be in our prayers
until the very end
when we're aware we've lost more than our share
it's not fair

After the chorus, the Led Screens turn off, and the LED lights turn back to dimmed as before.
From the stage right, Soldiers begin to March onto the stage, forming 3 rows of 7 behind the performance.

Stand Tall, Stand Proud
stand your ground and walk 'em out
or run em through if that's what ya gotta do

The Soldiers move in sequence to the song, marching, saluting, turning, and mock loading weaponry.

We're fired up and ready
but war is hell and heavy
and never worth the cost your counting to

...

Two of the soldiers don War Drums which are played with the song during the next chorus.
A dramatic clip is then displayed showing a front lines Army Solldier in the middle of active fighting.
Artillery fire is going off all around.
Smoke rising from everywhere all at once.
The distant sounds of explosions.
The frantic pace of taking it all in.

off to war again
in the air and on the ground you'll be in our prayers
until the blessed end
when we're aware we've lost more than our share
it's not fair

A little girl and her mother stare up at a military jet overhead.
Zoom in on the Jet, the pilot smiles down.
Cut to: The Jet Zooms by. The little girl smiles up at her mother.

The Fight is Never Ending
But The World is Worth Defending,
Off We Go Again

Jackson looks up at the soldiers.

And i Promise You we're keeping you in our Prayers
until the blessed end
when we're aware we've lost more than our share
it's not fair

The Soldiers continue to pace in place behind JC until the end of the song.

We're off to WAR again
Will you find the faith to brave the path before you?
Until the fighting ends
When boys, lay down their arms
to hold their families
and loved ones

Jackson Carter stood on the stage. The performance was over.
Still he kept hold of the mic.

"These Arms are meant for Holding.... People, not guns.
Some Tyrantical leaders though, in certain Eastern nations, i don't believe i need to identify which,
don't seem to embrace these ideals.

The Birds can't sing their songs when there's bombs going off....
And the people can't get on, with their limbs gone...

To all the soldiers here tonight, and abroad, i appreciate your service,
i commend the honor with which you have served your ONE NATION UNDER GOD
and the world, also, and i'm honored to have you here tonight.

That said, THIS WARRING NEEDS TO END!"

At this point, it was becoming clear that Jackson had overrun his slot time, and he made a hasty departure, along with the rest of his group.

by **Todlichebujoku** » Mon Apr 04, 2022 9:29 pm

12. _Tödlichebujoku_

AMMU (Fire Away)

Sisu Hákkánen

Tune: Robin Packalen - "Drop Dead"

Sisu Hákkánen first appeared on the international stage during the 6th Junior World Hit Festival in Mera, Besen, where his song "Rakkautemme Kruveejet" had won Estegoa100's children's national final Lauluküselü: Yausnikset, notably contending against his brother Oiva in a bit of friendly fraternal competition, and triumphing in the tiebreaker round against Ainaarsi Pekkanen- who would later represent the nation in the following JWHF in the Achaean Republic. Ultimately, Sisu placed 3rd in the Festival, easily Tödlichebujoku's best result in the Junior version of the contest, and blasting the doors wide open to an array of opportunities in his music career. Opting not to compete in the same space, Oiva shifted to a strong career in acting, at times easily eclipsing Sisu in the national spotlight. It was at such a time, a nadir in his recent career, that Sisu would come to bite at the chance to return to the international spotlight as a hopeful in the special edition national final, Sinun Valintasi: Starfall.

Placed in the Pulsar semi, Sisu found himself among strong competition; in both previous editions of Starfall, a Pulsar entry made it to the top two, representing the nation in both WorldVision and the World Hit Festival- with "Feel Alive" by Noravas ft. Álvrüttá Matsuvoka actually competing in both contests in a surprise twist of fate. Luck was on his side as he managed to qualify in what was to later be revealed as 2nd place in the semi-final, and perform admirably as the 2nd performance in the 9-entry strong Collision grand final. Through a tense voting sequence, he managed to scrape his way to the top with only an 8-point lead, most notably carried by StrayaRoos, Scotatrova, and the Achaean Republic, but he still managed to keep his lead in the televote, squeezing an additional 9-point lead through the international segment, which kept him afloat even through the 5-point deficit in the domestic segment. The entire sequence had his heart racing in anticipation and anxiety, and it felt truly unreal to find himself being guided along to the stage, be handed the shimmering trophy, and breathe out his gratitude to his friends and family to the rapt audience, before breaking into the reprise. It felt like mere moments later, a flash in the pan, when he found himself landing in Aenglide...

Keterig felt... oddly homelike. The cool clime was certainly very Tödlichebujoki, but even past that, certain architectural notes and motifs were surprising to recognize so far away from his native lands. Of course, there was much that was very different, but even so, Sisu found himself transported back as he sat in a café along the Waterfront, and dwelled upon the past that had led up to the creation of his song. Usko, Usko, Usko. He thought he had found love, fallen so deeply in a whirlwind of romance and companionship, and entirely convinced himself that they were meant to be for life. Even when the fights began intensifying, the erratic shifts between icy coldness and ardent passion came more frequently, Sisu still clung on to the thought that this was simply expected, that they were soulmates, that Usko always meant for the best. It took him far longer than he would like to admit, to realize just how utterly conceited and self-centered Usko was, how it was problem, and how Usko cared not at all about recognizing or mending that core issue. It was so hard to reconcile that image of Usko the lover, the soulmate, Sisu's savior from the sparkling but hollow social life of fame, with the reality of Usko the narcissist, the gaslighter, the petulant child wrapped in an adult body. But he knew in his core that he could not live this torment for the rest of his life, and had to come to terms with the fact that the beautiful parts of Usko coexisted with the despicable parts, and that in the end, the best for him was to treasure the good memories, and leave the bad along with the rest of Usko himself in the past. When Usko found out, of course, he flew into an all-consuming rage. Sisu was his pet, his reward for living his life as he had, and Usko could not imagine such a thing as separation. But by this point, Sisu had grown so profoundly emotionally distant, from all the soaring highs and crushing lows, the constantly growing crescendo of discomfort with the status quo, that he could only gaze upon Usko's meltdown with a stony, detached expression, before turning away. It was only later that he could truly unpack his experience and put it into words, and put it into words to express publicly. But he felt that it was only natural for him to weave his experience into his music, and with his Starfall, and now WorldVision song he hoped to fully express that feeling of final liberation and cutting of toxic ties to the world's audience. As he looked out over the sea, through the pitter-patter of raindrops on the café window, he felt warmth and hope despite the overcast skies in front of him.

Only the faintest glimmer of blue is visible on stage before red lasers flicker and flash at the rear of the stage, revealing Sisu's silhouette as he stands tall in the center of the main stage. A red pulsating glow begins to shine upon him from below as he begins to sing, his eyes boring straight into the camera view, unapologetic and unwavering, accusatory. But if one looked a bit too long and too analytically at his eyes, you would notice a faint waver, as if this face of strength is built up on a foundation of suffering

Kerro mitá todella ayattelet musta
Silmási válkküvát mua niin vihamielisesti
Anna mulle süü katsoa sua uudelleen
Mutta sá et ümmárrá
Tell me what you truly think of me
Eyes flashing at me so hatefully
Give me a reason to look at you again
But you don't understand

A series of white lights flicker upon him horizontally from either side, alternating, before white joins the red in lighting him up from below, revealing him to be dressed in a metallic silver jacket, designed with pads and folds so that it looks reminiscent of armor. He gazes into the camera, his façade cracking with that suppressed rage and unsettled emotion roiling within

Olen kertonut sulle aiemmin raivoissani
Valkokuumat küüneleet, happoa iholla
Arpeuttavat mua kuin terát lihassa
Silti váitát, etta son mun süütáni
I've told you before in a fury
White-hot tears, acid on skin
Scarring me like blades in the flesh
Still you insist that it's all my fault

A projection of brilliant red bloody slashes drying to a murky maroon plays out on his torso before it fades away. The rest of the lights then fade out of focus as the camera view centers on Sisu's head, which is well lit by a wedge of light along with his right shoulder, with the rest of his body in darkness, so that he seems to be floating in space and gazing into a window of paradise- or at least, someone's golden fantasy world

Elát harhassa, ihmemaassa (pois mielestási)
Ei ole enáá, mitáán tekemistá
You live in a delusion, in a wonderland (out of your mind)
There's nothing left to do

Red lasers strike at him in pulses from a point behind him as the lights brighten and a breeze blows upon him from the front, the brilliant bursts visible through subtly hazy air. He struts forward along the walkway, shrugging it all off, barely acknowledging the strikes, which originate from a silhouette upon the rear background screen that now becomes visible in the camera view as it arcs outward from close by the stage. Puffs of smoke pop out from various points along the stage edge occasionally in accompaniment with occasional laser strikes directly on the stage, like missed shots

Yatka siis:
Ammu, aseilla
Yoita sulla, ei ole
Olen táállá, olen táállá
Uskallan sua tappaa mua, ammu mua
Ammu mua, aseilla
Yoita sulla, ei ole
Ya sá tiedát, ya sá tiedát
Ettet satuta mua ollenkaan
So go on:
Fire away, with weapons
That you don't have
I'm here, I'm here
I dare you to kill me, go shoot me
Shoot me, with weapons
That you don't have
And you know, and you know
That you won't hurt me at all

The lighting reduces back to darkness, with one side of him harshly lit with pure white light. He glances behind him, lingering for a moment, where the silhouette was just a few moments ago. Turning back to the audience, his expression is not of longing, not of fury, or hurt, but of pity and weariness, and so his voice echoes those notes

En tule yuoksemaan takaisin vaikka keryáát
Maailmasi on niin táüdellinen, álá koskaan vinossa
Et válitá virhetiá tiettüün, kunnes
Purskahdit liekehtiváán atriebiiba
I won't come running back even though you beg
Your world is so perfect, never askew
Ignoring the flaws, until
You burst into flaming vengeance

Smoke issues forth from around the stage edge, as a slice of brilliant light on his upper body happens as before, a sharp edge slanting diagonally across his chest, this time with glowing smoke lit from below wreathing his abdominal region

Elát harhassa, ihmemaassa (pois mielestási)
Ei ole enáá, mitáán tekemistá
You live in a delusion, in a wonderland (out of your mind)
There's nothing left to do

He steps forward, a blast of air dissipating the smoke cloud, even as more smoke puffs up from around the stage. More red lasers strike him, their paths brilliantly visible through the smoky air, as he strikes poses unbothered

Yatka siis:
Ammu, aseilla
Yoita sulla, ei ole
Olen táállá, olen táállá
Uskallan sua tappaa mua, ammu mua
Ammu mua, aseilla
Yoita sulla, ei ole
Ya sá tiedát, ya sá tiedát
Ettet satuta mua ollenkaan
So go on:
Fire away, with weapons
That you don't have
I'm here, I'm here
I dare you to kill me, go shoot me
Shoot me, with weapons
That you don't have
And you know, and you know
That you won't hurt me at all

Fireballs spurt up around the stage. Sisu tears off his jacket, a scarred lithe body gleaming with sweat on display. With a burst of great energy, he flings his jacket outward and hunches down toward the audience, along the edge of the stage, as if singing directly to them, before turning to acknowledge the camera

Olen niin küllástünüt teeskentelemáán
Valkokuumat küüneleet, happoa iholla
Arpeuttavat mua kuin terát lihassa
Silti váitát, etta son mun süütáni

An array of red lasers strikes his torso amidst the flashing fire and light around him, the camera rotating around the end platform

Yatka siis:
Ammu, aseilla
Yoita sulla, ei ole
Olen táállá, olen táállá
Uskallan sua tappaa mua, ammu mua
Ammu mua, aseilla
Yoita sulla, ei ole
Ya sá tiedát, ya sá tiedát
Ettet satuta mua ollenkaan
So go on:
Fire away, with weapons
That you don't have
I'm here, I'm here
I dare you to kill me, go shoot me
Shoot me, with weapons
That you don't have
And you know, and you know
That you won't hurt me at all

The effects end, only a light shining upon him

Olen táállá, olen táállá
Uskallan sua tappaa mua
Uskallan sua tappaa mua
Kül
Ammu
I'm here, I'm here
I dare you to kill me
I dare you to kill me
Yeah
Fire away

Hands on hips, he glares defiantly ahead as the light fades to darkness, leaving a red crosshairs projection on his chest

"Kiitos Keterig!" he exclaims after a quick bow, "thank you so much Aenglide!" He waves to the audience and then escapes backstage.

by **Linnebourg** » Mon Apr 04, 2022 9:33 pm

13. LINNEBOURG
Noëlle & Marie de Kaëlsch
"Our Lucky Day (Gléck)"
Languages: Lëinnebourgesch (Linnebourgish), Englesch (English)
Tune: Strawberry Switchblade-Since Yesterday

Ёmmer gléck mat äre chancen
Always have luck with your chances

Liewen ass onberechenbaren
Life is unpredictable

May the odds ever be in your favor
That is what they all say

Huelt risiken a wann dir gewënnt,
Take risks and if you win,

It’s happy-go-lucky all laanscht
It’s happy-go-lucky all along

Mir spillen an dann verléieren mir
We gamble and then we lose

Mee ech wäert fir dech verléier’
But I’ll lose for you

Räichtum kënnt eise way
Fortune is coming our way

It’s our lucky day, okay
D'Sonn schéngt fir eis Léift
The sun shines for our love

It’s our lucky day, hey

Mir spillen an dann verléieren mir
We gamble and then we lose

Mee ech wäert fir dech verléier’
But I’ll lose for you

Räichtum kënnt eise way
Fortune is coming our way

It’s our lucky day, hey

Woah woah woah woah woah woah woah woah woah
Woah woah woah woah woah woah woah
Woah woah woah woah woah woah woah woah woah
Woah woah woah woah woah woah woah

Probéiert ëmmer hell ze fillen
Always try to feel bright

De Jackpot ass wat mir erreechen
The Jackpot is what we aim for

Kommt bei eis a gleeft
Come to us and believe

Ni angscht oder kräischen
Never fear or cry

Mir spillen an dann verléieren mir
We gamble and then we lose

Mee ech wäert fir dech verléier’
But I’ll lose for you

Räichtum kënnt eise way
Fortune is coming our way

It’s our lucky day, hey

Woah woah woah woah woah woah woah woah woah
Woah woah woah woah woah woah woah
Woah woah woah woah woah woah woah woah woah
Woah woah woah woah woah woah woah
Woah woah woah woah woah woah woah woah woah
Woah woah woah woah woah woah woah
Woah woah woah woah woah woah woah woah woah
Woah woah woah woah woah woah woah

by **Waisnor** » Mon Apr 04, 2022 9:57 pm

14

WAISNOR

VIRA/MAINA - Pustoy sosud/Tune: Dolores Forever - Party In My Mind

Anastasia Bogdanova, also known as VIRA/MAINA, began her music career literally in the last year. After releasing a few singles, she got herself a little following, and after she appeared on a national selection for WorldVision Song Contest, Anastasia became pretty well known, and especially so after she won it, trying to prolong this newfound streak of top 10 results.

Now let's go to the performance. Anastasia was lying on the stage in a completely white dress without any additions, her hair was loose and also looked like no one had styled it for a long time. In the background, clouds of smoke could be seen that obscured the sun, which was trying to break through this veil.

Я хотела это все забыть
I wanted to forget it all

Я не знала, как мне дальше жить
I didn't know how to live on

Моя рана была глубока
My wound was deep

Думала, что это навсегда
Thought it was for forever

After she finished the first verse, Bogdanova began to rise and, over time, already firmly stood on her feet. The smoke in the background now seemed to act in tandem with the smoke that appeared on the stage when the smoke machines turned on. The light was evenly distributed throughout the scene, leaving no part of the scene completely dark.

Мое сердце разрывалось
My heart was breaking

Никаких чувств там уже не оставалось
There were no feelings left

Боль давила и душила
The pain crushed and choked

Но в какой-то момент она отпустила
But at some point it let go

When Anastasia began to sing the chorus, she did it, waving her rather large dress along the way, as if dispelling the fog around her. Since both the fog and the dress were white, they seemed to merge together into one single whole. Meanwhile, against the background, the smoke gradually began to change color from gray, the usual color of smoke, to white.

Я очнулась, я вольна, я теперь пустой сосуд
I woke up, I'm free, I'm now an empty vessel

Я могу начать все вновь, а не ждать, когда спасут
I can start over again instead of waiting to be rescued

The singer repeated this chorus one more time, after which she began to spin a little, creating some kind of circle, free of smoke. However, he did not last long, the smoke filled the entire stage again. After the chorus, the smoke in the background gradually transformed into clouds, which was done quite smoothly.

Я начну жизнь с чистого листа
I will start life from scratch

С меня спала моя слепота
My blindness fell off me

Хочу жить и быть свободной вновь
I want to live and be free again

Это требуют душа и кровь
My soul and blood demand it

After that, the light was made so that a long shadow formed behind Bogdanova, which was supposed to symbolize her past. Meanwhile, a bonfire appeared in the background, from which all this smoke originally emanated. Anastasia, meanwhile, danced a little.

Я разбила все оковы
I broke all the shackles

Но мои чаяния всё ещё рисковы
But my aspirations are still risky

Хочу жить нормальной жизнью
I want to live a normal life

Но прошлое проходит красной нитью
But the past runs like a red thread

Before the last chorus, the smoke machines stopped working, and now Anastasia, with her dances, dispersed the smoke in earnest and for a long time. Meanwhile, in the background, the camera moved away from the fire so that it remained visible, but now the view of the audience opened up to a picturesque landscape.

Я очнулась, я вольна, я теперь пустой сосуд
I woke up, I'm free, I'm now an empty vessel

Я могу начать все вновь, а не ждать, когда спасут
I can start over again instead of waiting to be rescued

After Bogdanova repeated the chorus again, she danced some more, and when the number ended, she waved to the audience and said "Thank you all! I love you!"

by **Autonomous Hoora Peoples and Provinces** » Mon Apr 04, 2022 10:15 pm

15. Hööra | #HOO
Oksidentäälikvëaka
"Lavläj'ëë"
(Sing it)
Tune: Bališ - Fajn se mej | Language: Hööra

Introduction

Wow! The Hööra really put on a show last edition over in Norfolk Pinewoods, Beepee! 13th place shocked the entire metaverse. It was a very impressive response considering it was a debut entry from the Autonomous Province and the new culture, language, and first general appearance could have had mixed responses from the international viewership. Nonetheless, the entire country of Aenglide was proud that not only did the country itself come in the runners-up position, the indigenous culture within the country managed to score 131 points in the final rankings, putting it on the left side of the leaderboard. It was an unbelievable response given to Hööra, and Elsena Oleviäniku, the singer from Hööra’s last entry, was immensely proud. She was seen waving both the Aenglish flag and the Hööra flag in both of her hands.

Oksidentäälikvëaka

The men from the Hööra band Oksidentäälikvëaka. Drummer Jüri Ajapeđöru is on the left, while lead singer and guitarist Koot Aëdegi is on the right.

It was only a matter of time to select the next entry. The Worldvision delegation for Hööra selected two-man group Oksidentäälikvëaka. The band, whose name translates to “[the people from Terra Occidentalis]” (Terra Occidentalis being the continent that Hööra/Aenglide is situated on), is a duo folk rock band from the small village of Ajiküühu, in the Hööra Autonomous Province, where only around 340 live. The band is made up of singer and guitarist Koot Aëdegi, and drummer Jüri Ajapeđöru, who were friends since their toddler years. They have always maintained a part-time hobby-like band status as well, being from a village with not even 400 people, how would you get your name on the radar? It is nearly impossible to get their band playing around their country - let alone if they were to go overseas.

Lavläj’ëë

Well. At least they thought that. The delegation recognised their name from a recent Hööra folk music festival in Öölus/Aúlus, the largest town in the Hööra Autonomous Province. They thought that the band was a perfect next choice for Worldvision. It was immediately a matter of “Who are you?” to a matter of “That is who they are.” Their song, “Lavläj’ëë”, which means “Sing it!” in the Hööra language is a song to encourage the fellow people in the audience of Keterig, to “Sing it”, in support of what the Hööra people, culture, and language is. At least they had to travel within Aenglide, which gave them comfort. Staying to the country you live in and know in is definitely better than going overseas, not knowing if Hööra culture even exists.

Song & Performance

They were ready to perform after the Waisnor entry, and as the lights were off, showing the postcard to everyone in the arena, which for Hööra, was Fýljen, or Mountains in Aenglic. The band hauled the drum kit and the guitar over to the stage, while staff members helped move the microphone. They took their positions, ready up and began like they did in the rehearsal performances. The lights turn on, revealing singer Koot, with his electric guitar strapped around his shoulders ready, standing in front of the microphone. Drummer Jüri, at the back of the stage with a large drum kit, is ready, holding the drumsticks firmly. The first scene shows the camera close up to the singer/guitarist Koot, strumming his guitar lightly, to begin the song. This light guitar introduction carries on for a few seconds until Koot starts singing the first words.

Jë, jë, baby, rëpma lavläji
Yeah, yeah, baby, start singing

Vëaka leöt mo ätad il
The people* will give you joy

Lavläjo, danso, ccäänso’maj
Sing, dance, join us

Jägvëaka leöt nijükis bëëj
Everyone is gonna jump up

* = people, referring to Oksidentäälikvëaka (the people from Terra Occidentalis), themselves

Koot begins a brief guitar riff after the first verse, and Jüri starts playing the drums for this instrumental. The crowd can be heard screaming as the camera begins to show the arena, which slowly transitions and pans over to Jüri, who is drumming at the back. It then does a general camera view of both of the band members. Koot starts singing again.

Jë, jë, baby, düt dep ijda
Yeah, yeah, baby, this is the night

Ä bidäät ssađta i vëjeovä
To put up your hands and arms

Dövt oru i ccööju, jë
Feel alive and bright, yeah

Diä’lavläj dep world-hit
This song is the world-hit

Immediately coming after the verse is the chorus.

Lavläj’ëë, lavläj’ëë!
Sing it, sing it!

Lavläjo huj garääse
Sing very loud

Lavläj’ëë, lavläj’ëë!
Sing it, sing it!

I jägvëaka leöt lej party
And everyone will have a party

It pans to most people in the front audience. Lots of flags, fans, and faces to be seen for this part, which then shortly moves over around to face the band.

Diä’lavläj đas müü
This song is for you

Đas vëaka süüma määjilmu
For the people of the world

Otavuöta su harmonik
Unite in the harmonies

I sääoulut Hööra vëje
And embrace the Hööra way

It gets to a part of instrumentals with the guitar and the drum. The band gets general scenes shown of them, while it again points over and around the audience. In this part, Koot, the guitarist, really goes hard playing his acoustic, and successfully hits some melodic notes in a stylish riff. Koot then starts singing again.

Diä’lavläj đas mo
This song is for you

Đas vëaka süüma määjilmo
For the people of the world

Otavuöta su harmonik
Unite in the harmonies

I sääoulut Hööra vëje
And embrace the Hööra way

This verse contains some English lyricism. The band thought it would be nice to include some words that the audience can roughly understand while still keeping with the friendly, cosy-party vibes that the song releases. They also rhyme well, so they decided that it was a great lyrical option.

Beääs ustit daj drink
Grab a friend or a drink

Trambik oru mo väjmu pumping
The drums get your heart pumping

Gitäär leöt oru mo müüdji
The guitar will give you a smile

Diä’lavläj dep mo darbjäässi
This song is what you need

The last few choruses make most of the audience cheer. They must be aware that it means “sing it!” somehow. It was possibly revealed during the song reveal before the contest but their screams whenever the title of the song is sung must mean they like their performance. This gives singer Koot a smile, with a bright grin to the audience.

Lavläj’ëë, lavläj’ëë!
Sing it, sing it!

Lavläjo huj garääse
Sing very loud

Lavläj’ëë, lavläj’ëë!
Sing it, sing it!

I jägvëaka leöt lej party
And everyone will have a party

In the last sentence which is “I sääoulut Hööra vëje”, Koot, the singer puts on a strong falsetto as it is the last lyric of the song, putting the emphasis to end the song well. Also happens with the strength of drummer Jüri hitting the drums.

Lavläj’ëë, lavläj’ëë!
Sing it, sing it!

Lavläjo huj garääse
Sing very loud

Lavläj’ëë, lavläj’ëë!
Sing it, sing it!

I sääoulut Hööra vëje
And embrace the Hööra way

And… pose! To end the song, with the lights all centred on them two. They strike a pose as the audience cheers to finish their performance.

by **Alezian Union** » Mon Apr 04, 2022 10:24 pm

16. Alezian Union #ALE
Hafizaruddin - "Di Bawah Langit Yang Sama"

Music : Almahrazina Umrayan, Isa Arzoelveld, Wilhelm Roosvelijk, Hafizaruddin
Lyrics: Almahrazina Umrayan, Isa Arzoelveld, Wilhelm Roosvelijk, Hafizaruddin

Violin : Marsama Haudar
Piano : Imran Noos
Tambours : Adelowijk Nezeloun
Accoustic Guitar : Hayrel Salim
Backing Singer (also acting as "The Woman") : Mikhana Amiruddina Soulewijk

Tune: Armin Muzaferija - Dzehva

BACKGROUND

So, 18th place, right? The Alezian Union just can't seem to replicate the win they had back in 94 with Aziz-Lutfi Garanov and the Time-Killers with the song "I've Faith In You". Before 94, The Union seems to be invincible, earning top 10 since it's debut in Avon, Elejamie back in the 90th edition of the contest after participating separately under North and South Alezia.

However, After 94, something happened with Alezia, due to varying factor such as poor selection of songs in Alma, the song selected, and according to an article on Arico.net News about Alezia's issue in Worldvision, one of the biggest factors is in the lyrics that might have failed to capture the international audience, others say that Alezia was extremely unlucky in the latest edition, running before or after songs that is similiar to theirs, with the most famous being back in 96 where Alezia ran after Ertzei Kishim with a similiar feeling song.

Alezia started ending up out of the top-10 spot, creating some kind of a polemic in the Alezian public about whether Alezia has lost its' thunder in the competition, especially considering that the previous top-10 drought by North Alezia only lasted two editions while the present drought lasted three editions and maybe more if ABA didn't act fast.

Due to this, when ABA Doorsbreeken got it's record fourth turn (while Zafizamarrah and Bucinnois has represented the Union twice and Trishi only once due to their second turn not starting yet), they promised an increase of quality and a showcase of Alezian culture. And for this, they selected Hafizaruddin to represent the union.

Around this time, arguments were raised in Alezian social media about the efficiency of the cycle rule. While the cycle rule ensures that all regions get represented, some critics suggested that this might made the regions too "spoiled" at their song selection, knowing that their region would go to Worldvision anyway. So some suggested ditching the cycle rule, keep the rule but do a better search of artist and song, or hold a small-scale Alma every edition. ABA is predicted to align more with the small-scale national final, which might happen after Mosin-Nagan's entry on the next edition of Worldvision and a special entry from Junior WHF Runner-up Andi F.M. on the 100th edition of Worldvision (which has been confirmed by both ABA and Andi himself).

ARTIST INFO

Hafizaruddin on a photoshoot in Doorsbreeken for the Aliziyyat Muslim Fashion Website.

Hafizaruddin Furqan Muammar Almahmudanni or more known as Hafizaruddin is an Alezian actor and singer, mostly specializing in Alezian Sultanate-era Folk Songs.

Born in Loegelend-Arveelzen, Oost-Brenaven, South Alezia on 16th of November 1994, He's the third of four children from Alfaruqqi Almahmudanni and Aminatul Almahmudanni (nee Ilhamina). Around this time, Hafizaruddin lived under the military dictatorship. However, he lived differently than other South Alezians because his father was a North Alezian folk singer who married a South Alezian before the dictatorship took over, which means that the family earned an easy pass to go back and forth between North and South Alezia whenever they liked (with the dictatorship's heavy supervision, by the way).

Hafizaruddin was brought to Iskandaruddin, Zafizamarrah, North Alezia by his parents for further studies where he attended the Institute of Arts of Iskandaruddin where he earned a degree in Music Arts with a minor in Sultanate-era Music Studies. His decision to choose this minor (which is a rare decision even now) was indeed from his father, who taught him the basics and the history of Alezian Islamic-era Folk, and how to write Zafizamarranian poetry, which shows in the song he'll present to Worldvision.

SONG INFO

The song talks about someone breaking up with their significant other due to personal problems that happened between them, mostly from betrayal. The singer prays to God about whether breaking up is really the best for them, because even though problems happen, the singer felt ready to forgive and start everything over. Because of that, the singer hoped to meet the person again, in hope to meet them again, hopefully ready to talk.

Arico.net rumours suggested that the song also discussed about a couple that was separated due to the Separation of Alezia back in 1800 that divided the Sultanate of Zafizamarrah into mostly British north and Dutch south. This is supported by the fact that while the language used in the song is in Indonesian, remnants of the usage of language used in the Sultanate era can be seen, where the singer said "Kota Dawari" which was the Sultanate's name for Doorsbreeken, South Alezia.

Another proof is the usage of Alezian idiom that was told in Arabic then translated to Indonesian in the song which said "Jika bunga bisa mekar, dua kali setahun (If flowers can bloom twice a year)" which symbolizes thinking about something that could happen but might be impossible (because flowers only bloom once a year)

PERFORMANCE

The postcard ends, with the applause of people watching live at the venue, many can be seen flying flags of various countries, mostly from Aenglide and for this entry, a lot of those flags are Alezian.

The stage dims dark for now, as a narration can be heard on the stage without anyone visible on stage. Wind blowing, birds chirping, squirrels squeaking. Once in a while, the stage was shown to show some sudden lights.

NARASI:

Dilanda, dilema.

Struck by a dilemma

Suatu saat, dan sesaat, kau memilih, demi siapa.

One time, and one time, you choose, for who.

Kau merasa hancur, hancur terkikis karenanya.

You felt destroyed, eroded because of her

Kau merasa, tak dapat mengampuninya.

You felt like, you can't forgive her

Kau terus bertanya, setelah dia menghilang,

You kept asking, after she was gone,

"Apa kita memang, di bawah langit yang sama?"

"Are we really, under the same sky?

The lights light up a bit, revealing Hafizaruddin entering the stage with an ensemble of a piano, a guitar, a set of tambours and a violin, each manned by one person. The appearance was met with applause, as the camera zooms in slowly as Hafizaruddin stopped on the center of the stage and started to sing.

Aku berdiri tanpa tongkat untuk menahanku

I stood up without a cane to hold me

Aku ditinggal waktu yang terus berlalu

I'm being left by time that keeps on going

Siapa yang menyangka bahwa ia kan pergi?

Who would've thought that she would go away from me?

Pergi menjauh dariku...

Go away far from me...

The camera shows the floor showing an animation of thin white circles on a black background, and as the last sentence was sung, the white lines thicken, then spreads outwards, prompting a camera change.

Siapa yang menyangka bahwa ia kan pergi?

Who would've thought that she would go away from me?

Pergi menjauh dariku...

Go away far from me...

A wind machine was activated to give a slow windy feel to the entry, you can see Hafizaruddin's outfit (look at the Artist Info) flowing along the wind blowing backwards. Here, hanging lights prepared by the Alezian delegation also started to light up and moved downwards to the beat.

Ya Allah, beri aku jawaban yang pasti,

Oh Allah, give me a sure answer

Apakah, ini, kesempatanku?

Is this my chance?

Kutahu bahwa dunia takkan selalu abadi

I know that the world won't last forever

Maka luluhkanlah, hati ini

So please, melt this heart

Hafizaruddin looked up for a split second and moved his hands along with the slow beat, then the camera view changes to show Hafizaruddin from the side with a woman wearing a long white hijab and a long robe on the background blurred. Then, the camera followed his hand movement after the last sentence where he moved it down then swished it upwards as he looked at the woman, changing the focus to the woman before a view of the stage from the ceiling was shown.

Ya Allah, beri aku jawaban yang pasti,

Oh Allah, give me a sure answer

Apakah, ini, kesempatanku?

Is this my chance?

Kutahu bahwa kami di bawah langit yang sama

I know that we're under the same sky

Maka bawa dia, ke Kota Dawari...

So bring her back, to the City of Dawari...

The instrumental plays as Hafizaruddin and the woman danced slowly rotating around in a circle holding each other's hand, and then a steadicam was set to broadcast the slow dance from the right side of the stage to the center and exit to the left. Here, the camera shows the woman looking at the camera first, then Hafizaruddin. Both looks lightly smiling. You can see the ensemble a bit there, too.

The instrumental-only part stops and the view transitioned with a blur. The lights dims again only leaving Hafizaruddin on the stage visible. The performance then was viewed from the center, where Hafizaruddin gave the woman a rose as she left the light. The LED screens show a rose growing to it's fullest beauty as Hafizaruddin sung his song on the front.

Jika bunga bisa mekar, dua kali setahun,

If flowers can bloom twice a year

Kuingin tuk bisa mengampuni hatinya,

I want to be able to forgive her heart

Saat waktu menghilang, suatu saat,

When time vanishes, one day

Ku tak bisa, bersiasat

I won't be able to make a plan

The camera then shows Hafizaruddin from the side, as he holds his right chest on the last sentence, and suddenly looking at the audience at the sudden beat. Hafizaruddin closed his eyes, faced the front again, and then the view transitioned with a glow to show the stage from the top.

Saat waktu menghilang, suatu saat,

When time vanishes, one day

Ku tak bisa, bersiasat

I won't be able to make a plan

The lights light up again as the Alezians looked really small as the camera zooms away from the stage and into the audience, before it moves back into the front with Hafizaruddin on stage with the reappearance of the woman facing away the audience while being Hafizaruddin's backing singer.

Ya Allah, beri aku jawaban yang pasti,

Oh Allah, give me a sure answer

Apakah, ini, kesempatanku?

Is this my chance?

Kutahu bahwa dunia takkan selalu abadi

I know that the world won't last forever

Maka luluhkanlah, hati ini

So please, melt this heart

The view shows Hafizaruddin and the woman from the top with the stage floor showing blooming flowers as the backing LED screen shows the rising sun.

Ya Allah, beri aku jawaban yang pasti,

Oh Allah, give me a sure answer

Apakah, ini, kesempatanku?

Is this my chance?

Kutahu bahwa kami di bawah langit yang sama

I know that we're under the same sky

Maka bawa dia, ke Kota Dawari...

So bring her back, to the City of Dawari...

Kutahu bahwa kami di bawah langit yang sama

I know that we're under the same sky

Maka bawa dia, ke Kota Dawari...

So bring her back, to the City of Dawari...

Then the camera shows the view from the front again as the lights dim again and as Hafizaruddin and the woman faced each other and hold each other's hands, but after the second sentence was sung, the woman faces away from Hafizaruddin, looked down, closed her eyes, leaving the scene.

The instrumental ends, and the audience applaused for the Alezian entry as lights were lighted up again. Hafizaruddin gathered the team to the center and bowed before Hafizaruddin shouted "SHUKRAN KASIRA! TERIMA KASIH! THANK YOU, AENGLIDE, THANK YOU, WORLD!

by **Adab** » Mon Apr 04, 2022 10:56 pm

~~17. Adab~~ WITHDRAWN

by **StrayaRoos Barrier Islands** » Tue Apr 05, 2022 1:14 am

18-StrayaRoos Barrier Islands|Бар'єрні острови СтраяРус
The Woggles-Painful Noises

Tune:Verka Serduchka - Dancing Lasha Tumbai
Languages:English,Italian,Mrrp

Internal Selection Performance

404 ERROR:PERFROMANCE NOT FOUND

The Performance

Hello World,we Are the woggles!

After the intro Random human sounds come out of the speakers “creating” the second verse

Kya,chvaa,jauyer,poi
poi,poi,reatalasajuna,altoas,kei
ces bruits de pain me font mal aux oreilles
Insalata di frutta, ya, ya, ya, ya Perché cazzo stiamo cantando?

The crowd is gobsmacked about how stupid the entry of the nation who literally sent a man and a rock to worldvision,and then start booing

Vegemite and Koalas
And Kangaroos

Over 10,000 Kilograms of vegemite falls down onto the stage,then emus stampede the stage and ‘sing’ in harmony:

Mrrp,Mrrp,Mrrp,Mrrp,Mrrp,Mrrp!

Emus are the supreme overlords of the world

The chorus then repeats

ces bruits de pain me font mal aux oreilles

The crowd is gobsmacked that this entry is not just shit,it’s mega shit

GIVE US THE TWELVE NOW!

that ends the song (and the rotten tomato throwing),but before the music ends Koalas,Kangaroos,Dingoes and Bin Chickens start invading the stage and fighting the emus,and the woggles are evacuated (or they went missing in the vegemite,or were killed by the animals)
THE END (FOR NOW,we hope)

by **Malta Comino Gozo** » Tue Apr 05, 2022 1:44 am

Nation Name: Malta Comino Gozo
Official Broadcaster: MCG 1
Tune: (Red Electrick - I Will Be Fine)
Song Title: Faultlines
Artist(s) Name(s): 5ive
Lyrics & Music: Kieran Schiano and James Favray

The last edition in Beepee, Malta Comino Gozo narrowingly missed out on the top 10 again coming 11th. Now 11th place wasn't really an issue but for the country that was used to top tens, this was a slight slip up. Fradel and Spies performed extremely well on the night and still managed to rack up 136 points. The public was still very proud of them. Fradel and Spies had had an extremely fun time in Beepee and were honoured to have got to sing on the Worldvision stage.

In what seemed to become a bit of a tradition in Malta Comino Gozo, they again decided on sending yet ANOTHER boyband but Worldvision was no stranger to this boyband, 5ive (pronounced Five) the Malta Comino Gozo pop band consisting of 5 members, Keiran Schiano, James Favray, Sebastjan Guerrera, Benjamin Miller and Kristofer Azzopardi who won the contest back in Äuszer, Tödlichebujoku becoming the first in the trio of wins and also the first boyband to win for the country.

2021 was the next big breakthrough year for 5ive after their Worldvision win. Shortly after their great win, the band toured safely despite the COVID 19 pandemic through Norrp, Elejamie, Caryton, Achaean Republic, Estogium and the fellow WMCA countries. Each tour was a success and 5ive soon became one of the biggest ever boybands in Malta Comino Gozoan history with their winning song "Summer Nights" gaining almost a billion streams.

Back in Worldvision 96, 5ive were back hotter and cooler than ever before with an indie-rock song that mixed guitar and drum instrumentation with some elements of electronic production called "What about?" featuring a collaboration with Brooke Galea the 90th winner who would actually then go on to host the contest there in Valletta. They entered Malta Comino Gozo decides where they eventually placed 3rd. Determined to give the contest another shot after sadly not making it in WV96 the band approached MCG1 and they quickly accepted. Initially, E.P.I.C were approached but the band did not comment on participation. Without a doubt, 5ive has become one of the most popular bands on the island and they are not showing any signs of slowing down. Their hard work and determination showed in the music they create and in the performances they give on any stage they are on.

Late last year, MCG1 spoke with 5ive one of MCG’s most exciting bands. Their blend of upbeat, melody-driven guitar pop has won them a sizeable fan base stretching across the island nation, and beyond.

For over ten years the band have experienced first-hand the development of MCG’s music scene. With MCG often omitted from touring schedules, there has been a rise in home-grown talent, with bands like 5ive capturing the attention of local music fans – roughly 80% of Malta Comino Gozoans have streamed their music videos on YouTube.

5ive has grown into a tight-knit, intuitive group of writers and performers, each member bringing to the table a unique set of attributes and influences. Music however during 2021/2 will forever be the language that brings everyone together, and while some events had to be cancelled, it still found a way to connect everyone, reaching people's homes and hearts, not from the stage, but via the internet. Faultline, 5ive's latest release, is perhaps the perfect example of music stepping in as a reaction to the times we are living in. "The song was not planned to be an official single", the band's recent press release stated. "It is a song off our latest album Beauty nor Optimistic. We decided to spontaneously send it out to all local radio stations because the lyrics are very relatable during this particular time in our lives".

The band released an acoustic version of the song on Instagram. "We instantly started getting messages from radio stations to send it to them, so we said, why not?”, Benjamin Miller, the band's lead guitarist and producer, commented, adding that "the beauty of music is that every listener can relate to a song in different ways and Faultlines is one of those songs". The song's lyrics revolve around taking a leap of faith and chasing a dream you might not have thought was possible to pursue. "However the song can also be a message of hope, knowing that people around you love you and are there to support you no matter what”, lead singer and lyricist Keiran Schiano, explained. "These unprecedented times can be stressful and lonely but knowing that you will be fine and coming together with your loved ones will make a big difference in how we adapt to this new ‘normal’. Stay Safe, we will cross these faultines"!

As well as singing in his spare time lead singer Kerian, 30 is also a male model and he was adored by the fairer sex for his fair brown hair. It was a casual jumble sometimes but mostly neat and flowing. His crescent-of-moon eyebrows were thin and narrow. He carried an imperious nose well and his angular cheekbones carved down towards a flinty jaw. Unusually for a model, he had a manly, tall, well-built physique. His muscles are always on show through his tank top at the slightest bit of sun. The catwalk loved the way he glided with an athletic grace without skipping a beat.
Everyone commented on his vivacious character and his gentle nature. His voice could be foghorn loud when he was booming out a guffaw but it was normally mellifluous. His gap year clothes always made him appear younger than his years. The swirl of his loamy cologne had them swooning in the aisles.

With the newly opened air route between Malta Comino Gozo and Aenglide, the MCG delegation would fly via Transcon to Keterig International Airport. The flight lasted around 10 hours and soon the team landed in Aenglide. The team disembarked the plane. The spring weather is such crystalline joy, those brilliant rays that show the uniqueness of every snowflake. It was the sunniest of days but cold when you can see your breath rise as neat and pure vapour. The journey through customs and the airport went smoothly and soon the team were on their coach on the way to the host city. The coach took them through some of the most natural and gorgeous scenery Aenglide had to offer. Upon the forest floor lie trees of yesteryear, fallen in storms long forgotten. The seasons have been harsh, stripping away the bark and outer layers, yet rendering them all the more beautiful. They have the appearance of driftwood, twisting in patterns that remind Kierran of seaside waves; even the colour of the moss is kelp-like. They are soft and damp. Kieran tilts his head upward and pears out the glass, the pines are several houses tall, reaching toward the golden rays of spring. Birdsong comes in lulls and bursts, the silence and the singing working together as well as any improvised melody. A new smile paints itself upon his face, rose lips semi-illuminated by the dappled light. The delegation was stunned by the beauty of the countryside.

Keterig was about half an hour's drive from the airport. It was both the capital and the largest city in Aenglide, with roughly around 693,000 people living in and around the Keterig District. Despite the size it was a relatively small city and lacked the main CBD you'd find in many other capitals, this was not a bad thing, it added to the charm. Thanks to its location in the south of the country, Keterig was a favourite holiday destination for the Aenglish.

After settling into their hotel it was time to sightsee! 5ive had visited many cities since Äuszer and each one was a breath of fresh air and this city was no exception. This pretty proper port city had a vibrant fish market down by the docks. At Fiskebrygga, you could taste delectable shrimp and mussels caught just as they were being taken out of the boat, buy various kinds of fresh fish, or dine at one of the city's seaside restaurants. When the weather was nicer, you could also visit the docks just to chill with some ice cream, or enjoy one of the many open-air concerts that frequently take place here. The cool sea air snapped at the team's eyes causing their eyes to water. After exploring the area and taking MANY pictures the team wandered over to Hansenvéj.

The next day as the city came out of the darkness of night, the team crossed the main plaza in silence. It had rained in the night and the area was damp. Without the traffic, they walked right down the centre of the street and not far away lay Saint-Jan Stave Church, like a skeleton of wood projecting up into a sky that was rapidly becoming blue. A morning like this should be foggy, misty at the least, but in contrast to our mood, it looked determined to be a story-book perfect day in Keterig. Soon they found Hansenvéj which was the main street, a Parisian style boulevard in the heart of Keterig. The delegation was blown away by the classic architecture of this beautiful city. The architecture featured large, elegant buildings with stone facades and wrought iron details. Consider it a quintessential Parisian style.

The street was the most private of public spaces, much the same as walking in a country lane in some rural place. Yet if you are okay with solitude, if you matured passed the point of loneliness to feel your own worth, there is a vibrancy here that can uplift the soul. All around there are moments of kindness, fleeting smiles and gestures of appreciation that are the beauty of this canvas of weathered grey. We are separate, it's true, but we are together too. These streetlamps that light the way in every nighttime are ours, as brilliant as any landing strip for skyborne pilots.

Every knows Malta Comino Gozoan's love their animals so a trip to Aenglide wasn't complete without a trip to the Zoo! First of all 5ive and the team saw the birds. There were so many beautiful and rare kinds of birds from all over the world such as canaries, swallows, peacocks, cranes, herons, hummingbirds and geese. Next on the agenda were the wild beasts, a lioness and her cub basking in the sun, wolves, tigers, elephants and rhinos gracefully munching on vegetation.

One of the zoo's main attractions however was The Glow Worm Shelter. Being another part of The Keterig Zoo, this was a place where those who enter must stay quiet while walking in a dark cave-like shelter, where Aenglish Glow Worms that have been brought into the city from the many forests and natural caves, can be found. A large fracture in the otherwise solid rock served as the entrance to the cave. The opening is half a foot shorter than James six feet two inches, and approximately half as wide. Standing in front of the small threshold, the cool, musty air from inside the chamber leaks out through the crack and pricks their skin. The jagged gap is just big enough for them to squeeze through sideways if they kept their heads ducked down. The cave had no man mace lightning it was all lit by the Glowworms! The bright, steady stream of yellowish-green light shone like stars. Most of the females had climbed to a high point, such as a grass stem, and turned their glowing light upwards. This ensures that she was as visible as possible to flying males. Their bioluminescent lights were very magical.

After a few more days of exploring the team would head to the arena for rehearsals

There are lots of stage visuals you can find here.)

The postcard ends and the crowd fills the arena with applause and cheers as the stage is set. The band would be spread out over the rectangular stage. Benjamin on an electric guitar is standing with an assured posture, at the far right back of the stage, his dazzling white electric guitar hanging around his neck in front of him, James who is centre back behind Keiran, standing in front of his Electronic Keyboard, Sebastjan, far left with his electric guitar and Kristofer slightly centre right on an elevated podium, on his drums. They are accompanied by 3 women backing singers/dancers. The stage is pitch black. The camera stays steady in the middle of the arena as we can only see a rough outline of the stage thanks to the glow from a few mobile phone lights.

The song opens with a tinkering of the keyboard and a basic beat from the drums, sounding through the darkness before the beat kicks in. As the keyboard note holds and fades magically into the hall, the camera pans cuts to the guitar amp box situated in front of the stage, here, amongst the state fog, using fancy CGI's only the viewers at home can see and a nod to their staging of Summer Nights, (see this video) the camera follows the cable which leads to Keirans Electric guitar as a white electric glow flows up the cable towards the guitar as the beat kicks in. As it does a small burst of pyrotechnics bursts forth out of the main stage into the air amongst loud cheers as the camera then pans across the audience's heads slowly left to right as the stage dazzles a glorious snow-white and dark blue and red from the bright strobe lights. The band remain silhouetted by the powerful lights as they all play their instruments respectfully. Keiran could be seen grinning. He loved performing in crowds like this. He smiled with more than his mouth, and everyone heard it in his voice, in the choice of his words and the way he relaxed. It was beautiful.

People often speak of the colour of his eyes, as if that were of importance, yet he would be beautiful in any shade. From them comes an intensity, an honesty, a gentleness. Perhaps this is what is meant by a gentleman, not one of weakness or trite politeness, but one of great spirit and noble ways. What he is, what is beautiful about him, comes from deep within.

A pulsating ring of red ripples blasts out of the LED screen behind him as his shadowy figure approaches the mic. The stage then fades into purple as Kieran begins singing. The LED wall at the back glowed a deep warm red, the red of those homely screens warmed the stage in a pretty glow. The band are all wearing basically the same outfit, a simple white t-shirt and black denim jeans. Kieran's natural honeyed tanned skin glowed under the dark blue spotlights. His white t-shirt clung tightly to his muscular upper body. The muscles were his proof that he could overcome adversity and rise, proof that he valued himself enough to put in the effort it took. A loose electric guitar hangs around his neck. He grips the microphone stand tightly as the camera fades out to a body shot of him. He sings with emotion, with his eyes closed. His body language was tense, as he connects to the song. His beautiful deep and husky manly voice captivated the audience.

The camera delicately floats around him before we cut smoothly to a shot from the back of the arena showing the beautiful stage shining tinged with red. The camera view fades into a closeup shot of Kieran as he lifts up his left hand, his eyes still closed and lightly taps his head once as he sings "Playing on my mind" before gently opening his eyes. His brown eyes were orb round, and darted constantly, a-gleam with delight and the vigour of youth. They were soft eyes and swam with joy. They shone brightly like two sapphires dipped in a milky pool and like the colour of earth kissed by spring rains, the hue that promises to stir life from dormant seeds guiding the plants upward by the light before blossoming into their vibrant colours of the spring season.

We have a quick view of James tinkering on his Yamaha keyboard during the brief gap between lyrics. His keyboard is bathed in a deep warm red from the glowing screen before we have an aerial shot looking down on Kristofer playing the drums enthusiastically. The crowd cheers. The camera then shows a stage shot as fancy camera magic erases certain members of the band (like this) as the verse plays out.As the lights flash, light blue and deep red, briefly we can just make out the 3 women backing singers/dancers. In the run-up to the line "Cause my fear wants to define it all" the camera shows the viewers at home (the same view plays out on the screen in the arena) an almost animated esque video, the band outlined in white on a constantly changing red background. It shows each band member to the beat, respectively playing their instruments before a close up of Kieran wearing sunglasses before more shots of the band before it fades back into a live shot of Kieran and the rest of the band behind him again.

Kull piż li tieħu

Every burden you take

U kull dubju u żball komuni

And every single selfdoubt and common mistake

Logħob f'moħħi

Playing on my mind

Inti ma tibgħatx it-terremot

You don't send the earthquake

Imma int fejqan Il-Heartbreak ta 'dan ... kollha

But you heal the heartbreak of it... all

Jikkawżaw biża tiegħi trid tiddefiniha kollha

Cause my fear wants to define it all

The camera pulls out from the stage bathed in deep red where the only colours visible are red and black. It was the red of courage and of danger to which the song was about. We then quickly cut to a shot of Benjamin, the band's lead guitarist as he plays the strings of his electric guitar it again lights up white magically against the deep red of the stage. The magical white lines shoot out the guitar and from a tree in the background for the audience in the arena, but for the viewers at home it takes over the screen. There in the centre of the deep red background, it stretches up, as if so proud to stand there under the sun in any weather. Its canopy of leaves opened wide. The words "Give me the energy, all I need to turn the key" fall like autumn leaves down onto an animated Kieran.

Salib il-linji tal-ħsara

Cross the faultlines

U, ibqa kalm

And, stay calm

The view fades back into a live shot as Kieran points openly towards the camera panning below the edge of the impressive stage. Everything is still illuminated in red. In the instrumental before he sings "Are they yours or mine, or mine?" we have a quick frontal stage shot as the stage is bathed by ice blue spotlights attached to the floor of the stage. This leaves everyone on stage as a silhouette. The red background cascades like a rockfall on a hill slope into an indigo background. Keiran's guitar slowly lights up around the edges like someone has grabbed a pencil and quickly drawn a guitar. It shines bright amongst the indigo lights. The camera then cuts rapidly, capturing a shot of everyone on the stage within one second before it finishes on Kieran this time his figure receiving the glow outline treatment. Before he sings the last "or mine? we almost have a shot like a camera has been knocked into as it jolts and bumps forward turning the stage back into the flaming deep red colour dappled with scarlet. The camera view stays on the frontal shot of the stage but shunts sharply to our left towards Bejanmin playing the guitar. He is staring out into the audience with a calm and relaxed emotion on his face. A red and white tunnelled rippled effect bursts onto the back LED. The camera pulls back and upwards at an angle away from the LED screen outwards until the whole stage is in view. We then have a brief and slowed down view of Kristofer on drums as Kieran sings "Cause my fear wants to define it all,". The camera now hovers above the stage, the band looking out into the audience.

Cool ice blue spotlights now shine upwards from the back of the stage before bowing down into the spacesso nicely left between each band member. The camera continues to hover and pulls out slightly as we have a massive and brilliant blast of white as Kieran strums his guitar away from the microphone. He strums with a sense of strongness. His face concentrating.

Kollha dwar dawn il-ħsarat

All about these faultlines

Huma tiegħek jew tiegħi, jew tiegħi?

Are they yours or mine, or mine?

Kawża li l-biża 'tiegħi trid tiddefinixxi kollox,

Cause my fear wants to define it all,

Poġġi t-tort sabiex inkun nista' nimxi flimkien

Place the blame so I can move along

Aqsamhom, difettużi

Cross these, faultlines

The lights slightly subdue down into a dark purple. The only other light is the pale blue spotlight shining down on Kieran. His guitar lies limp around his neck. We have a close up upper body shot. He holds the microphone in his right hand as gently wanders on the spot. His face creased with despair. As he sings the line "I toss, turn beneath the waves" he shuts his eyes tight and hugs his chest with his left and sways left to right as he let the song's words and emotions speak to the crowds. The lights slowly fade into a hazy sea blue before he sings "Cast aside I'm scrambling to catch my..." the camera cuts to a full stage view as the guys are plunged into a black silhouette as a tidal wave of blue light washes over them only their shadow figures showing. Kieran's movements are subtle. Kieran wrote this part of the song in a brief and slight nod to the Storm Surge that hit MCG in 2020.

In an interview after the disaster, Kieran said, "The wave that hit was nothing like the waves that lapped the shore every minute of every day. It was a wall of water, cold and powerful. It raced at the shoreline as swift and unforgiving as an axe, felling anything and everyone in its path. It had no emotion, no thought, no hesitation. It just came, granting a few seconds to enjoy breathing the ocean air before it wrapped everyone near the coast." The sound of a loud wave cresting fills the hall briefly, the arena is silent as the wave crests, before the drums and keyboard kick back in for the second part of the verse. Tentative applause and cheers break out from the people who understood the reference.

The camera pans outwards and up from the stage slowly. We then have a video graphic for viewers at home of Kieran's head spinning clockwise on a burgundy backdrop as he sings "As I'm descending" The graphic is played out to the viewers on the LED screen in the arena surrounded by the lyrics to this verse. The video continues as it zooms out showing the lyrics he is singing portrayed on the screen". He is joined by his band. In the brief guitar interval before he sings "We live in the wreckage" the screen swipes back to a live shot of the stage. The stage is now a dark night sky UV blue speckled with tiny white stars, the floor is lit hot pink representing suppressed anger and anxiety. On the stage we now have the 3 women dancers their slender and curved figures dressed in white with glowing neon paint painted on their hands and lips move mysteriously and majestically their white tops glowing fluorescently in the UV lights, as we cut to brief shots of just them and the whole band, the same glow outline treatment runs around the dancers outlines. The camera then begins to shake and shudder and cuts like a TV losing signal to various shots before the chorus hits.

Miżerja, awto-disperazzjoni

Misery, self despair

Jiena tafa', dawwar taħt il-mewġ vittma siekta tal-fond

I toss, turn beneath the waves a silent victim, of the depths

Imwarrba qed inħabbtu biex naqbad tiegħi ...

Cast aside I'm scrambling to catch my...

Ma nistax insibha triqti 'l barra,

I can't find my way out,

Hekk kif qed jinżel

As I'm descending

It-triq tiegħi tibqa '... mhux ċar

My path remains.. unclear

Hekk kif l-ilma jaqbeżni

As the water overtakes me

Ngħixu fil-fdalijiet,

We live in the wreckage,

U fuq il-ħtija

And on the faultlines

The chorus bursts into life as we cut to a shot of Kristofer on drums, the same red and white rippled effect replaces the blue background. The stage again flashes a cold white and a deep red colour dappled with scarlet. We have a quick shot of Sebastjan strumming away on his electric guitar. Kieran's vocals were more than enough for the task, as he belted out each line with as much emotion and force as he could, his vocals soaring. His very body language indicated the joy he felt from singing. There are then various closeup shots of each band member and their respective instruments surrounded by the glowing outlines as the camera bumbles around cutting to each one before a closeup shot looking upwards at Benjamin as he strums away looking into the crowd. The camera pulls outwards again so the whole stage is now in view. The whole stage is swamped with red and white spotlights that cut through the mist that's forming like knives.

Difetti tal-qalb

Heartbroken faultlines

Xquq u ċikatriċi, tiegħek jew tiegħi? Qlub jallinjaw

Cracks and scars, yours or mine? Hearts align

Kawża li l-biża 'tiegħi trid tiddefinixxi kollox,

Cause my fear wants to define it all,

Poġġi t-tort sabiex inkun nista' nimxi flimkien

Place the blame so I can move along

Aqsamhom, difettużi

Cross these, faultlines

Kieran finished out the chorus with as much emotion as he could pour into, nearly sending him onto his knees as he felt every single feeling risk overtaking the performance. He carried the song with an emotional yet restrained voice. He gazed at the camera with a cloying and fragile grace, addressing the viewers at home like the recipient of the song. As soon as the singing part of the chorus ended, the effects and lights pulsed as he took a step back.

As Benjamin's guitar kicks up a gear Kieran points at the camera taking off away from the stage as a screen wipe then superimposes another video onto the viewer's screens. The video zooms out from a red background with the animated band up to the stars. Here the words "We are the sons of the night, we will not let go, Chase the fire and lights " are floating. The video ends with the words "Waiting for the show!" as these words are displayed the video fizzles apart to a live view of Kieran his arms outstretched wide, his guitar hanging as ice blue spotlights cascade downwards between each band member again. The backing singers/dancers have returned to their posts and sing the "Ooohhh" and "Ahhh." their voices are beautiful and fill the arena spectacularly. The crowd can be heard cheering. He then lifts his right hand, palm up and looks upwards in what could be described as him paying respect before he grabs his guitar and plays away almost enthusiastically tinged with some anger and hurt. The camera cuts to various shots that circle him eclipsing him against the warm yellow spotlights. There are some smooth transitions to each band member as they play their instruments, none of the band looks at the camera to add a cool and slightly moody effect. Their faces show no happy expressions, when in fact they were having the time of their lives on the stage it's just the solemn expressions fitted the song. We have a really cool slow-motion effect of Kristofer hitting the drums and other various epic slow motion shots of each band member to add a very cool atmosphere this awesome band had to offer.

Ooohhh....
Ahhh...
Oohhh...
Ahhh...

The instrumentation took a turn for this part of the song. While this was indeed the song's chorus, the production made it clear that was simply a build to the eventual payoff. And indeed there was the payoff as Benjamin's guitar solo reaches its peak as the backing vocals faded out slightly. This song climaxed with a consistently dramatic and yet glorious coalescing of all the elements that built up to this final outro. The stage flashed beautifully white and red with blue spotlights perforating the air. Kieran's voice echoes out into the arena. The camera now is just lots of shots sometimes slow-motion shots of the stage at long range and on stage. There are some slide motion effects as the camera slides left to right like someone flickering through pages of a book and a shot of the 3 dancers lit up again glowing in the UV Lights as they dance to the song. Benjamin's guitar solo captivated the audience as we have several shots of him playing

Aqbeż fuq il-linja difettuża tiegħek, Emmen fik innifsek

Jump over your faultlines, Believe in yourself

The song's outro was a calm one, with Kieran now decreasing his movements and taking on a confident pose. With a strategic camera and staging placement, Kieran and the band would place themselves in front of the bright spotlights, their bodies cast in shadow as the spotlights fell in between them as the production faded. They stand there motionless their guitars limp with just the tinkering of the keyboard fading the song out.

The excitement, the adrenaline, and the feeling all caught up with him as he tried to process the impressively loud cheer that was happening.

“Thank you all so much!,” he shouted. He bowed dignifiedly. He was left transfixed on the stage for a few moments, his eyes glazing over the audience as he looked visibly shocked. The band was agape at the number of people cheering at the end of their entry. No matter how the results turned out at the end of the show, he would never forget the kind of electricity that this crowd displayed here in Keterig. There was no greater feeling than finishing what could possibly be the performance of a lifetime.

by **Ertzei Kishim** » Tue Apr 05, 2022 4:19 am

OOC: The song is written to rhyme in Hebrew, not English, FYI

. : 20 - Ertzei Kishim - أراضي الكيش - ארצי כישים : .
Melis Bileh - Judas
מליס בילה - יהודה
Language: Hebrew
Lyrics & Composition: Melis Bileh, Ya'ar Doron, El Zahavi
To the Tune Of - Agam Buhbut - Atah Lo Ba'reshimot

Ertzei Kishim's participation record had, in recent editions, been spotty to say the least. After the victory of Omer Grady in Yvesia, and then Gunas Timur's respectable fourth place finish in Malta, fans expected a permanent return to the contest, especially as Beepee, a beloved nation in Ertzei Kishim, was to host the 97th edition. The announcement of David Abaty also peaked hopes, as many thought the song he had announced had a decent chance of a good result. Yet, when the final entry list was announced, Ertzei Kishim did not feature, leaving many fans puzzled as to why Abaty had himself announced his song. It turned out that Abaty had been approached for a provisional entry into the contest which HARESHET had never finalised, and so, Abaty's announcement of his song was premature. Nevertheless, the song went on to moderate chart success both at home and abroad. To avoid such an embarrassing mix up for the next edition, HARESHET announced themselves that they intended to return to the contest, at least until the 100th edition. That meant a guaranteed three entry stint for the country who once had a streak of some 20+ songs in a row. Of course, it wouldn't be a Kishraeli selection with a drama - something the country had somewhat embarrassingly become known for. The original song "Scream" by Pazit Mikhaeli, while well received especially domestically, had actually been released a number of years earlier by the songwriter under a different name. Subsequently, it was withdrawn in favour of another artist who was on the national record association's (EKRA) books.

Melis Bileh was just 18 years old when she got the call from HARESHET, asking her if she would like to do WorldVision. While it was an immediate yes from her, EKRA had pipped Bileh as one of the future starts of the Kishraeli music scene for her ability to effortlessly convey the emotion of songs whether a ballad, or particularly, a dance beat. Bileh, who comes from a Circassian background in Shapmangat was currently employed full-time by EKRA and was working on her debut EP, with none of the songs yet released. When HARESHET made the call, herself and her team at EKRA decided to use one of her already prerecorded, yet unreleased songs for the contest. Specifically, they wanted to return to a more typically Kishraeli sound - that being hard dance music with a hint of Middle Eastern flavour. This was to be achieved by recording the song completely in Hebrew, the first song to be sung entirely in the national language since Tanya Benisti's third place finish in Rhim Flavezztowland. The song itself discusses issues of betrayal, rejection, and, to an extent, unrequited love. Explaining the song, Bileh said "Everyone can interpret the song in a different way, all of us have felt a betrayal in our lives. For me when I sing it, I think about a romantic betrayal, but of course this is flexible. The lyrical basis of the song is of course the biblical betrayal of Jesus by Judas, so it has a number of layers which I hope the viewers at home can explore - if they get subtitles in their countries of course!". As the lead single by a new artist, as well as the new WorldVision entry, there was a lot of domestic hype around the song - further rumours circulated that Melis may already be in the running to represent Ertzei Kishim in the 100th edition - but of course this remained unconfirmed. Nevertheless, "Judas" had remained number one in Ertzei Kishim for six weeks at the time of the contest, a hue feat for a new artist. The song could be heard throughout Kishraeli clubs, while simultaneously infiltrating some international markets where Kishraeli club music still remained a popular genre. Four backup dancers were dressed similarly. The stage has been flooded with smoke, with a dark blue hue hanging over it all. The four back up dancers and Melis herself were lounging on five chez-langes, all seemingly not paying attention to their surroundings and deliberately acting nonchalant.

Cover Art of "Judas" by Melis Bileh

The Kishraeli arrival to Keterig was not the simplest affair. Currently there were no direct flights from Tiferet to the Aenglidish capital due to its extreme northern location. Thus, the Kishraeli delegation, alongside all of their staging accoutrements, costumes, and personnel had a connecting flight in Istanbul (Turkish Airlines can take you anywhere). Keterig was unlike anywhere in Ertzei Kishim - flat, cold, and at this time of year, particularly rainy. The city, despite acting as the capital of Aenglide and having a population roughly equivalent to that of Tiferet and Rakaphy felt very local, almost provincial. Large suburban home complexes dotted the city, and in three such homes, the entire Kishraeli delegation was to stay. As with many of the WorldVision events, the host country had prepared a number of exciting activities for the artists to partake in in order to promote the contest. Despite Aenglide's relatively recent foray into the contest, these events were well planned, almost as if the delegation was in a veteran country. The delegation thought it would be a great promotional tool to put Melis, who to most seemed like a pretty, put-together teenager, into the glow-worm cave which, to their appreciation, caused a fun reaction on socials. Melis herself ventured into the beautiful city centre which almost felt central European in design, visiting trendy cafes, bars, and restaurants when she had downtime for her rehearsals. This edition, the Kishraeli stage show was not particularly complicated, indeed the song was a bassy dance number, and so the need to bring the energy to the stage was paramount, but gimmicks would not play a major role here.

The night of the contest had finally come around - many in Ertzei Kishim were not super optimistic about their chances in what they evaluated as a strong edition particularly in the genres that Kishraeli excelled, typically ethno-pop and dance. The latter was especially well represented with a number of exciting number in the genre. Nevertheless, Melis was determined to stand out. Sandwiched between a classic middle-of-the-road boyband pop song from Malta, and the chronically unfunny Placely Placington, at least in her part of the show, Melis was in a unique position. Walking up to the stage following an excellent performance by the Maltese contigent, Melis was ready. Wearing a neon-rave outfit (with a translucent plastic skirt), her face was decorated with neon paint, slick eyeliner, and neon sunglasses sat upon her head, with her hair pulled back into a ponytail. As the music started, blue and purple pulses of light ran through the bottom of the stage and white spotlights flashed out to the sides. Melis stood from her chez-lange and walked towards the front of the stage putting the microphone to her mouth, as she did, she, and her dancers all became clear on the stage as the lights brightened (but her back-up dancers remained in a blue light nonetheless).

Kshe'hikhazti lekha ta'yad bemeshekh hamesibot
כשהחזקתי לך את היד במשך המסיבות

Pakhadti b'etzmi biglal she'kol hahargashot
פחדתי בעצמי בגלל שכל ההרגשות

Ooooh
אווווה

Akhsav zeh avud
עכשיו זה אבוד

Tishir li mabat ve'tagid li et zeh yashirot
תישיר לי מבט ותגיד לי את זה ישירות

Hegati la'maskenah ki khibarti ta'nekudot
הגעתי למסקנה כי חיברתי את הנקודות

Ooooh
אווווה

Zeh lo ya'avor
זה לא יעבור

With the chorus upon us already, the lights became lighters and shimmery across the stage, almost as if the stage was set in a shining glistening sea. It was now revealed that next to the chez-langes were small tables with full champagne glasses. Melis looked to the side of the stage, moving her hand across her other arm and then out to her side, twinkling her fingers as she did. As the chorus progressed the dancers began to sit up extremely straight, then, stand, and slowly step seductively towards Melis. As the final lines of the chorus began "Ein mah la'asot, Yehuda lo la'azov" the stage almost freezes, with everything going pitch black, before the beat drops and the lights return, primarily green and white, swirling and pulsing to the beat. At this point, Melis and her dancers do a small dance together, mainly just in a style as one might do on a night out, as there wasn't much time before the next verse came.

Az ani...
אז אני...

Zorakat tzava al kol ha'mar'ot
זורקת צבע על כל המראות

Ki lo rotzah lirot mi she'mabit bi
כי לא רוצה לראות מי שמביט בי

Kshe'ne'eveket lehakhzik b'khol davar
כנאבקת להחזיק בכל דבר

Im khorim eleh b'yadayyim sheli
עם חורים אלה בידיים שלי

Ein mah la'asot
אין מה לעשות

Yehuda lo la'azov
יהודה לא לעזוב

Now the song had truly gotten into its swing, as the beat from the chorus continued into the next verse. Now as the lyrics became slightly more raw and in your face, Melis worked to emote how she was feeling throughout. Meanwhile her dancers had returned to their chez-langes and began performing a routine which began with sitting on the couches, before slowly leaning back and raising their legs before snapping them down and emoting aggressively with their faces. Specifically, the dancers were conveying the anger and distress of someone in this position, baring their teeth and then going from this to somewhat manic crying to sleeping. It was conceptual, probably not everyone "got it". Melis began walking back to her own couch and table, picking up her champagne flute. She then turned, looked at the camera mischievously and dropped it onto the floor, smashing it instantly.

Kamah kesef zeh alah livgod bi
כמה כסף זה עלה כדי לבגוד בי

Shloshim khatikhat kesef o guf aheret bamitati
שלושים חתיכת כסף או גוף אחרת במיטתי

Ooooh
אווווה

Akhsav zeh avud
עכשיו זה אבוד

Ve'kamah she'hitga'agati kamah she'nisiti
וכמה שהתגעגעתי כמה שניסיתי

Aval atah ba'vradim sheli keilu ra'al katlani
אבל אתה בוורדים שלי כאילו רעל קטלני

Ooooh
אווווה

Zeh lo ya'avor
זה לא יעבור

Returning to the chorus, she turned once again to the front of the stage. This time the lights on the stage did not become soft and shimmery, but rather the blues, purples, and then greens, intensified for an interesting visual sensation which at times, was hard to look at. Melis specifically followed the camera, looking into it and to the people at home with almost baby-doll eyes as she talked of her betrayal to the world. The clapping and bass in this chorus intensified, as did the lights which began flashing at a crescendo right before the bass drop. As this occurred, the dancers came with their glasses and, as the bass dropped, they threw them. At the same time the backing screens showed a cracked glass effect, however the cracks were illuminated in various neon purples, blues, and greens.

Az ani...
אז אני...

Zorakat tzava al kol ha'mar'ot
זורקת צבע על כל המראות

Ki lo rotzah lirot mi she'mabit bi
כי לא רוצה לראות מי שמביט בי

Kshe'ne'eveket lehakhzik b'khol davar
כנאבקת להחזיק בכל דבר

Im khorim eleh b'yadayyim sheli
עם חורים אלה בידיים שלי

Ein mah la'asot
אין מה לעשות

Yehuda lo la'azov
יהודה לא לעזוב

This time when the final verse began, the lights didn't brighten. Instead, Melis and her dancers who had fanned out in a line either side of her, were illuminated only as silhouettes with a green light around them. As Melis sang the final verse, she gesticulated to the sky as she called for the thunder and lightning, which also was represented on the LED screen behind her as a flash of white light shot down as she said it. When calling the eastern winds, blue and green clouds on the LED appeared swirling on the screen - at the same time as Melis gesticulated, giving the appearance that she was in control of the winds.

Kara-kara la
קרא-קרא ל

Ra'am kara la'varak lehakot bi
רעם קרא לברק להכות בי

Lifgoa ba'libi
לפגוע בליבי

Az mah agid l'kha
אז מה אגיד לך

Kara-kara la
קרא-קרא ל

Kholot mizrakhim lakhnok oti
חולות מזרחים לחנוק אותי

Ki im ani kenah kvar lo ekhpat li
כי אם אני כנה כבר לא אכפת לי

The final chorus arrived and Melis, needing to focus more on the vocal ad-libs to go along with it, abstained from too much dancing. Instead, her dancers, spinning around her in a contemporary manner carried the visual aspect as Melis, after much training, maintained a strong vocal performance. As the crescendo of the song, the green and white strobe lights grew and grew, creating an intense visual effect for the viewers in the arena and at home. Indeed, the pace of the song had slowly built throughout and thus, the final light show was intended to represent all aspects of the visuals that had gone beforehand.

Az ani...
אז אני...

Zorakat tzava al kol ha'mar'ot
זורקת צבע על כל המראות

Ki lo rotzah lirot mi she'mabit bi
כי לא רוצה לראות מי שמביט בי

Kshe'ne'eveket lehakhzik b'khol davar
כנאבקת להחזיק בכל דבר

Im khorim eleh b'yadayyim sheli
עם חורים אלה בידיים שלי

Ein mah la'asot
אין מה לעשות

Yehuda lo la'azov
יהודה לא לעזוב

At the end of the song, Melis squealed from joy. She had done it, having delivered a stellar performance to a song she truly believed in. Kishrael hadn't sent such a dance song in a long time and so, while risky, the hope was that this was enough for a good result. As the stage team began to sweep up the smashed sugar glass, Melis and her dancers jogged off stage, back to the green room, and awaited the following exciting performances.

by **Placely Placington** » Tue Apr 05, 2022 4:28 am

21 - Placely Placington

E Oe - Uoiauai

Tune: Anaal Nathrakh - Pandemonic Hyperblast

Things weren't looking good for Placely Placington. First of all, Dave McDaverson was still recovering from the humiliation and the beating he had received from the last competition. Secondly they were saddened by the fact that Elejamie, the nation they constantly give five points to for no real reason, will be leaving the competition after WV100. This is despite the fact that they had repeatedly given them five points and not received anything in return and they don't return their calls, texts or and their baggies end up getting caught by customs. And thirdly, Dave McDaverson wasn't pleased when he found out that E Oe's song wasn't accepted by Vha Mehlodhivestoile.

"Do these people not know anything about art?" Dave said, slamming his hand down on his desk. A couple of the legs broke and as a result the lamp that was on it went flying and ended up replacing a passing Test Subject's head. Upon realising that its head was now a light source, it turned the lamp off and immediately fell over dead. Naturally, neither Dave nor Television Director took notice of this.

"I'm not sure either, sir. I think it might've been a bit too out there for them." Television Director said, knowing exactly why the song failed but didn't want to stop sucking up to his boss lest he suddenly gets his button pressed.

"Feh. What's Veha- Vooha- Ver- the melody festival good for anyway? What's it done at the contest anyway?"

"Last year the winning song from it finished in second place. The year before that, it won the contest. And the same thing the year before that." Television Director said, immediately answering Dave's question without a beat and completely proving his minirant wrong.

Dave hovered his finger over the button and very nearly pressed it out of sheer petty spite before he moved it away. "Fine. But I still think they're missing something. In fact, I'm so confident that they're missing out on such an exciting, excellent tune that I think they should represent us at this upcoming WorldVision. And when they win with a thousand points and whoever wins that melody festival gets -70 then they'll think twice about rejecting us!"

"Y-y-yes sir." Television Director said, not sure where to start correcting Dave with that. Or if it's even worth it. "I'll let them know."

And with that E Oe were off to Aenglide. Fortunately, unlike Ertzei Kishim, the people here used vowels so they were still able to communicate fairly well. Unfortunately they had to not only contend with people wondering what the hell they were trying to say but also the dreaded Y being replaced by a J. It probably also didn't help that this song was a bit different to their last offering so it might not do as well. Only one way to find out, really.

OOC: I TG'd Britonisea months ago about the whole idea of me sending a Placely entry to Vha Mehlodhivestoile for him to reject and he seemed to be on board with it so a special thanks to him for helping me out here.

Postcard ends. People give a pithy applause. Caption goes away. Song starts. The usual motions, really. Except for the last one, as they were busy getting themselves ready for the song itself. This wasn't them trying to one-up Hasmat earlier. This was just them being lazy and forgetful. Eventually, they just got on with the song with Oo a e Ee shrieking like someone tazed him repeatedly between the legs while the rest of the band repeatedly thrashed their instruments.

IIIIII IOOO UUUAA
EEEE UAAAAAA OOOO AAA
AAAAUU OOOIAA
UUUU OAOAOA IOIA
OOOIAA IIIIIII UAUAUAUAUAuauauauuaaaa

After a brief instrumental interlude, Oo went back to what he was doing while the band kind of changed things up a little bit. Then again, this was a complete change to their last entry. Maybe Jim the Grindcore Guy Bloke came to the studio once and that affected everyone in the same way the Chainsmokers' presence makes everything a boring, easily-digestible slog (except for that one track) whenever they show up.

AAAAAAA UUIAOA OOOOOO
EEEEE UAUIAIOO - AAAAAAEEEE
UIUIIIIII AOAOAO EAAAAAA
AAAAAEEEEE A
OOOOIOI OIAUIO OO

There was a brief moment of relative silence. In the meanwhile, A Eie held his hands in front of his face and said "Ou, ou, ou" repeatedly in pain until it was time to go back to thrashing the strings of his guitar. It probably helped that he also let out an unearthly roar alongside Oo when he went back to singing.

UUUUUUUUUUUUaaaAAoIaoOO

After a ~20 second instrumental break, Oo went back to singing like he was about to bite your face off. Meanwhile Iee Ea Aue's legs were starting to tunnel into the stage due to the amount of blast beats he was providing. Probably for the best because both they and the audience were starting to be pushed back by the force of the music. The poor camera people are barely unable to get a good shot of them because they keep flying into the audience.

OOOOOO AIIIIII UUUU AAAAI
EEEEEEE UAUAUA OIIIIIAO
UAUAIO OOOAAI UUU
EEEE AAAOI IIIII AAAAAU
AAAAAAAIIIIIII UOUAUAI

After Oo glided a finger up one of his strings, the band then went into another instrumental break before going. Nothing else to report there other than the cracks were starting to get bigger and his microphone was about to escape. Fortunately (or not depending on how you feel) he grabbed it and pulled it back to him just so he could carry on singing.

EEEEEEOOO AAAIIAOAI OOO
AAAUIIO UUUAI - OOO
AOIAOAOAOAOeeeeee
AOAOAO
EEEEIOI IIIIII

Don't worry it's nearly over. Just this heavy bit that saw the arena sink into the floor for a bit while Oo repeatedly growled into the microphone, as well as another bit, and the song will come to an end. Oh and one guy tried to stand up but he ended up flying out of the arena. At least he landed safely somewhere.

AAAAAAAAA IOIIIII UUUUEEEEEE
AAAA UUUIU AUIOOOO
OAIAOAI IIIUIO UEUUUU AEIOOOU
EUEIEUEIE OOAOAO EEEEEE

After another brief instrumental passage, Oo and A growled into the microphone as a sort of crescendo. This is the last bit, don't worry.

AAAAAAAAAAAAAAAAAAAAAAAAAAAaaaaaaaaaaaaaaaaaaa

Eventually the song just cut which brought it to an untimely end. As a result, all of the members of E Oe flew into the LED wall behind them. However, instead of dying because that's just cliché, they peeled themselves off it but were frozen in the positions they were in when they landed. Oo could only let out a pained, muffled "A OU" before he and his bandmates slowly shuffled off. So slowly, in fact, that they had to be prodded by less-than-pleased stagehands just to make them move faster. While the organisers got to work on billing Dave McDaverson for the damages, everyone got ready for the next song. Hopefully it'll be better.

by **Antahbrantahstan** » Tue Apr 05, 2022 6:36 am

22. ANTAHBRANTAHSTAN | إانتهبرنتهستن

Ariffin Abdel Haris - Bad Words
Tune: Yll Limani - Buzet e kuqe
m & l: TOMAZINI, Houssain Al-Shamsi, Ariffin Abdel Haris

Although Darja achieved a respectable 10th place finish last edition, RR executives were not very happy in what they thought was "the wrong musical climate" to enter the song, populated by ballads and mid-tempos. In a bid to ensure that musical variety is achieved through the internal selection, RR set forth an unspoken rule that ballads (or midtempos) and upbeat songs should be selected every alternating years. Especially since the public grew with some discontent since Mika achieved a more respectable placing in the World Hit Festival (though the public seemingly ignored that WHF has a lesser field of songs). As per the RR guidelines, sifting through the songs, the musical committee immediately shortlisted several upbeat songs to be sung in a live audition round. The winner was more than clear: Ariffin Abdel Haris.

Ariffin, while seemingly ordinary, also made history by being the first ever Anturian representative to be of Arabic ancestry, with some of his extended relatives living in Ertzei Kishim. "My family was a part of this huge Maronite Catholic branch, though my grandparents was poor during that time. They later on moved here and converted to Sunni Islam afterwards, and now i'm here!" Ariffin laughs. "I still visit Ertzei Kishim from time to time, though my relatives are probably way too confused to understand my Indonesian-accented Arabic".

"Other than growing up with Arabic singers like Cheb Khaled or Umm Kulthum. I grow up accustomed with disco music, my father loves disco so much to the point my mom will not hesitate to turn off the radio in case he plays another disco song again!" Ariffin recalls, "That's why sometimes i wondered if whether or not i would see a disco nation coming to WorldVision. Beepee was close, but i think they're much more Schlager than disco." Ariffin continues. "That's why i made this song."

Ariffin remarks that this song, inspired by 80s disco-slash-Beepee schlager, is about a guy who lost his girlfriend because of his sharp tongue. "This song is pretty much about how words can kill somebody, literally and figuratively." He continues. "I know this is another song in the upbeat-tune-yet-sad-lyrics that this contest has seen many times. But, hopefully this song can still entertain people.. I cannot wait to see this song being played in nightclubs near your location! That would be my dream." Ariffin concludes with an excited note.

Ariffin stands in the center of the stage, eyes looking towards the crowd. The stage is set in a laboratory environment with the help of LED screens, albeit with a more orange and pinkish hue, akin to the music video. Ariffin, wearing appropriate laboratory attire and dark green trousers, with safety glasses, is seemingly unbothered regarding how things are going around him, with boiling and overflowing array of colored liquids stored in clear flasks, sitting on a table in front of him. The camera captures him at a close angle, ensuring Ariffin's upper body and the surrounding flasks are captured in their entirety. Ariffin, holding a microphone in his right hand and a non-boiling flask containing a rosy red liquid in the other, lifts the flask intently, analyzing every single scope of the liquid before putting it down.

Ariffin then dips one of his fingers in the flask, his finger now coated with a thick substance, almost like a liquified red lipstick. Without warning, he dabs the so-called rouge substance on his cheek, his face smiling into the crowd in such a strange, almost psychopathic grin. Maybe he went insane because of this love, but, to be fair, not even the RP writer know what is going on with his mind. Ariffin later walks and stands in front of the table.

I run, i run away
Through all the hard pouring rain
In the telephone box
I seek my refuge
Satu-satu* Bombay Sapphire, i drown my heart in this little glass
'Cause my life is torn, Oh, i tresspassed

Through the pulsating disco beats, Ariffin sings of his heartbreak to the crowd, done because of his carelessness. The lights now becoming less intense and shifting between the typical clinically-white colors people get accustomed seeing laboratory images alongside a saturated orange-pink hue the audience saw before. As if the "laboratory" would routinely gets shined on by a huge, orange-pink coloured rotating lamps. Ariffin's back, slightly leaning on the table, hints at a relaxed state of mind (atleast, according to what the audience saw). The camera would shot Ariffin and the table in a slightly far away angle, coupled with a very slow zooming-out effect, creating an almost surreal, dreamlike quality. Thanks to Aengilde's camera technology.

Maybe life is so much better
When there's no me in your life
Oh, i am so distraught
I'm an idiot
Maybe life won't be so bitter
If i thought before i have spoke
Oh, i am so distraught
I'm an idiot

Ariffin later removes his lab coat, revealing a black sleeveless t-shirt. Taking away a single flask. The laboratory environment would later on be discreetly changed into a hot pink, coloured room, straight out of Tumblr moodboards. Although the lighting is set up to ensure that Affandi would still be visible under such dim lighting. Holding the flask in one of his (non-microphone holding) hand, he stares at it intently, gently shaking the content of the flask like someone swirling the contents of a cocktail. Before dropping the flask to the floor (Don't worry, it's all made of sugar).

I run, i run away
Let the telephone ring away the pain
'Cause one bad decisio-o-o-o-on
Turns efforts to dust
Satu-satu kata yang ku ucap**, the more i lost her trust
I said this single word, Oh, i tresspassed

Ariffin continues to sing through the pulsating, almost racing disco beat. His deep voice echoing throughout the arena. His emotional state being crippled by the reality that his actions have contributed to his misfortune. A flurry of deep red and hot pinks would later swarm the stage, still keeping the room background the audience saw earlier.

Maybe your life's so much better
When there's no me in your life
Oh, i am so distraught
I'm an idiot
Maybe life won't be so bitter
If i thought before i have spoke
Oh, i am so distraught
I'm an idiot

Ariffin rethinks about his actions in this bridge, his voice now changing to a more natural tone, presumably hinting that he wants to snap back to reality, and soon after, the disco beats would be followed by rhythmic electric guitar sounds that forms a wonderful instrumental layer atop the high energy beats. With Ariffin, presumably intoxicated, accepts his fate as someone of bad fortune. Trusting all his actions and decisions towards Goddess Fortuna, he raises his hands, and a flurry of winds immediately comes across the stage, throwing the entire "room" into disarray.

Maybe there's no more mercy for me
Your heart is now locked away
I'm just a stain in your life
Now you're better off with somebody
'Cause of this single word
Now i tresspassed

Maybe life is so much better
When there's no me in your life
Oh, i am so distraught
I'm an idiot
Maybe life won't be so bitter
If i thought before i have spoke
Oh, i am so distraught
I'm an idiot

Now his voice turns into an echo, with less clarity compared to before. He then sits down, one of his finger touching the liquid that he has dropped before, now a mess of broken (sugar) glass and dyed liquid on the floor. Lifting his finger, he continues to stare at it, now in a clearly absent-minded state compared to what the audience has seen in the beginning. His unseen backing singer now takes the spotlight, with his voice trailing off, probably signifying that Ariffin's conscience is now flying away into some kind of dreamland nobody knows, or to another kind of realm that exists to Ariffin only.

Maybe life is so much better
('Cause i'm an idiot)
Maybe life won't be so bitter
('Cause i'm an idiot)

During the shouts and applauses from the audience, Ariffin immediately shouted, "Thank you Aengilde!!" before going backstage in preparation for the next performance.

*Satu-satu: One by one.
**Satu-satu kata yang ku ucap: The more words that i have said [to her].

by **Vlavia** » Tue Apr 05, 2022 9:04 am

23. Vlavia

Vivvi V. ~ An Alloy

Netta ~ Toy

(OOC comment: I'm pretty new to this so I don't know what I'm doing)

Worldvision Song Contest 98 - IC Thread - Keterig, Aenglide

Worldvision Song Contest 98 - IC Thread - Keterig, Aenglide

01|StrayaRoos|ZoLo & Lucky|BURN|#STR

07 | Britonisea | Sam Vanlian - Bystander

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