Worldvision Song Contest 99 | Densmouth, Carrelie

by **Carrelie** » Mon May 16, 2022 3:57 pm

INTRO

Benvér ère Dénmoúte! Ve cité de rêlles, d’örtúnire, de ve jén! Densmouth is the shining beacon of the mainland, a centre of opulence, and a hub for music and colours of all kinds. From wide avenues to small alleys, the colour of music is all around us, in our hearts and minds, as well as ingrained in our own cultures and traditions.

We’re only 1 edition away from the long-awaited 100, but this edition is sure to be as outstanding as any other. In fact, this arena is about to burst from the looks of it! All creeds, colours and cultures are here to experience this ever-unifying event, and…

Oh wow, would you look at that, it’s the opening video! Have fun!

OPENING VIDEO - THE COLOUR OF 99

The video begins with a spark. A man is working away at a metal sculpture, and the camera zooms out to reveal the 99 featured in the contest’s logo. We cut to a businessman presenting in front of a board. He sets up his powerpoint and we see the board applauding, before the camera pans to reveal that the powerpoint features the metalwork sculpture.
Following this, the camera cuts to a mother and her children painting a picture based on the sculpture, its influence travelling far and wide. The footage speeds up, and soon a multi-coloured splatter in the shape of the 99 appears. Cutting ahead, the painting is shown being awarded a blue ribbon in a competition to a grand applause.
The third section shows a crowd of people getting together outside the arena with sparklers. The camera pans up, revealing that the people have formed the 99 in all different colours. A time-lapse shows the scene getting dark, the sun setting, and sparklers eventually going out, until reduced to the last spark.

Résë Públie Déntroîs, CarrélieEn é v’Allénçë de Radiodiffúsië Intèrnàtaçe présille ve 99a Coútète oú Çäntes Worldvision - the 99th Worldvision Song Contest, live from Densmouth, Carrelie!

OPENING ACT
The Bartenders - "Colour of Music"
Tune: The Real Thing - You to Me are Everything

Magically sparks, emotions fill the air
Celebrating populations have no care
Mountains move and loving spreads the music of the soul
Colours onto canvas, songs are fillin’ in the hole
Carrelie, MCG, Waisnor, Alezia
We all come together in the arena
Tödlichebujoku, Britonisea, and Beepee too
Ev’ry single nation’s song, tonight it’s all for you!

Colours of music fill the air, ain’t nothing that could bring us down
You know it, you know it
And we could go ‘bout anywhere, just give the points, we’ll take you there
You know it, you know it
No matter creed or colour, gender, sexuality
We’re gathered here in union, song solidarity!
So let’s all get together now, come on let’s last forever now
You know it

Yellow, orange and blue hues matching rising suns
Pink and purple, indigo forever one
Complimenting each other, not meant to be apart
Like song genres together, now lemme hear your heart

Colours of music fill the air, ain’t nothing that could bring us down
You know it, you know it
And we could go ‘bout anywhere, just give the points, we’ll take you there
You know it, you know it
No matter creed or colour, gender, sexuality
We’re gathered here in union, song solidarity!
So let’s all get together now, come on let’s last forever now
You know it

Colours of music fill the air, ain’t nothing that could bring us down
You know it, you know it
And we could go ‘bout anywhere, just give the points, we’ll take you there
You know it, you know it
Colours of music fill the air, ain’t nothing that could bring us down
You know it, you know it
Colours of music fill the air, ain’t nothing that could bring us down
You know it, you know it

YOUR HOSTS - ARIANNE, IRIS AND VIAN!

Arianne: Mesdames et messieurs, bonsoir!
Vian: Médës é géritës, gúsé sélle!
Iris: Ladies and gentlemen, good evening! Let me hear you Densmouth!

The crowd cheers wildly, shaking flags and scarves supporting those from Scotatrova to StrayaRoos.

Arianne: We’re gathered here in the International Arena…
Iris: (That’s the Arène Intèrnàtaçe for the Dentrician among you!)
Arianne: For, uhm… Vian, what are we here for?
Vian: Well, the Worldvision Song Contest, of course! In fact, this is the 99th edition of the contest!
Iris: If it wasn’t blaringly obvious already…

Iris smirks at Vian, who rolls her eyes with a smile.

Arianne: Worldvision has gone to Carrelie once before, back in its 91st edition. Our Vian was even one of the hosts! But now, we’re back here, and we’re celebrating the colour of music!
Iris: Songs come in all shapes and sizes, with all different genres and audiences.
Vian: From grand anthems to hilarious novelty songs, we all have a genre, or colour, of music we enjoy!
Arianne: Tonight we’ll see XX songs, but only 1 can win. Could it be Waisnor or Alezia?
Iris: Could it be Achaea or Moorland?
Vian: Could it be Malta Comino Gozo or even Carrelie? We’ll just have to find out!
Arianne: Hah, that’s not the only thing we’ll be finding out…

Awkward silence. Iris and VIan glare confusedly at Arianne.

Vian: Anyway, music is what binds us, builds our communities, and our cultures. So now I ask you all, are we ready?

The crowd once again goes wild! They're clearly ready!

Iris: On the count of three!
ALL: TRÉ!
DÚ!
EN!

LET THE 99TH WORLDVISION SONG CONTEST BEGIN!

by **Carrelie** » Mon May 16, 2022 3:57 pm

POSTCARDS

1. BEEPEE

Postcard • Entry • Votes

by **Beepee** » Mon May 16, 2022 4:01 pm

1. BEEPEE

"Music's Getting Louder"
Performed by
Oliver Diplace

Tune: Kunz - "Musig"

Oliver Diplace

Oliver Diplace is 28 years old and hails from the tiny village of Kal'amity. A settlement with a population of only 14 people.

Growing up in a tiny hamlet, to a single mother, he didn't have much, though he never was found wanting.

He is a self taught musician and singer. His first song "Music's Getting Louder" was chosen by internal selection to represent Beepee at Worldvision 99.

Diplace confirms the love song was written for 'someone special', but refuses to divulge if he's single or not.

Kal'amity

The tiny town of Kal'amity isn't even a speck on the maps of Catenham. Almost no-one knows of its existence. The nearest town of Bixby is a forty-five minute drive, and even in Bixby it would be hard to find anyone who knew of the town of Kal'amity.

It's a hot dry desert town, and old uranium mining station, that never took of and never really died. It's dusty and inhospitable, but against all odds the small settlement somehow manages to survive.

The town of Kal'amity sits near the end of an arid valley at the base of the Catenham hills in an isolated pocket. The town was originally set up by uranium prospectors, but when more lucrative mines opened the town fell into steep decline. With only one road in and out of the town, People who come to live in Kal'amity often don't stay long.

The day before Oliver's tenth birthday, Joseph Chan is minding his store. The wooden panels are faded and dusty on the red box store is the only one in town. Outside empty vending machines and a rusted old ice freezer sit, rotting in the dry heat of the valley.

Chan never really cared for this dogshit town, but he liked the quiet away from the city, and out here without any competition he can jack up the prices on his store and make a quick buck. Once a week he travels in his ute to Bixby, fills up the tray and heads back.

It's only ten a.m. and already the heat is stifling, weighing heavy, and bringing a sweat to Chan's brow. He mopped it off with a handkerchief.

He looked out of the rear window of the store and spotted the town's water tower, a small rusty brown tower with "Kal'amity" painted in fading and peeled white paint. He couldn't tell the time.jusy by seeing where the sun was in relation to the tower.

He looked out from his seat behind the old cash register to the front of the shop. Across the dirt road from the General Store, was old spinster Anna's house. Her house was painted pistachio green with white trims. She had lived in the two storey house with her sister Mary, until Mary had died last year. Since then Anna had deteriorated she rarely left the house now. Occasionally, when the wind blew from the west, Anna would make her way to the small porch and sit in wicker chairs that had seen better days.

Chan glanced to the water tower... '10:30' he thought. He turned back to front of the shop beside the worn and faded green on Spinster Anna's house stands the small two bedroom house of Helen Diplace and her son Oliver. Whitewashed and clean, beside the fading elegance of its neighbour.

Helen Diplace had found a couple of hardy cactus and drought resistant plants which grew weedily in her front yard. It wasn't much but it was more pleasant than the occasional throng of tumbleweed that occasionally blow through town. Helen was due in any moment to pick up Oliver's birthday gift.

For his tenth birthday, Oliver's mother had ordered a guitar. Chan had dutifully ordered guitar. Chan lookef at it in its black plastic case. Chan knew he could chargedalmost twice what the guitar was worth, and begrudgingly Helen Diplace had to pay; he knew Helen wouldn't be able to collect one from Bixby and, anyway, it was too late to change her mind.

At 10:33, Chan head the metal gate at rhe front of Helen Diplace's property bang shut. Helen could be seen walking to the store. With a couple of minutes, just as Chan surmised , she reluctantly paid and then made her way back home.

She wrapped the guitar on brown paper and iced a small sponge cake she had baked the night before. Helen didn't have much but she never made her son feel like he didn't have enough.

The morning of his birthday, Oliver awoke with jump and rushed downstairs. His mother was awaiting him drinking coffee and she got up and made him breakfast. His eyes flitted around the room trying to see his gift. She placed some toast with red jam before him and a glass of milk.

He ate quickly. Wiping his mouth when he finished, a smeer of jam across his cheek and a dribble of milk running down his chin were missed. His mother rose from the coffee clearing the dishes to the white ceramic sink.

"In the living room!", she said quietly, feeling Oliver's eyes drill into the back of her. He rushed up, knocking the wooden dining chair over, in his haste to find his present laying beside the sofa.

He picked up the present, instantly recognising the shape and ripping off the paper. He beamed as he pulled the guitar from its case. Running his fingers over the polished wood and down the metal strings.
He cautiously plucked at one of the strings, making a healthy twang. It was the beginning of his love affair with music.

Performance

In the darkness before the performance begins, Oliver Diplace stands centre of the lower front stage. Behind him on the upper stage his group of musicians, with stage hands setting upmtheir respective instruments, preparing themselves.

Oliver is wearing a simple outfit of navy chinos and a crisp white shirt. His microphone stand in front of him and his guitar, the very one he was given for his 10th birthday is in front of him.

He adjusts his in-ear monitors and he sees the stage hands move off stage.

There's a brief pause and the beat begins.

The cameras focus on the hammered dulcimer setting the beat as the lights blaze out across the auditorium of the Aréne Intèrnàtaçe in teals, pinks and cyan. The shot then cuts to Oliver standing in front of his microphone, as he begins...

Can you hear the music play, echoing in my heart
I dont know how you do it, even when we're apart
You're playing on my heart strings like you're strumming a guitar
You're playing major chords like the maestro that you are

As he sings, the preceding stanza, Oliver has a twinkle in his eye, a glint of excitement and happiness. He smiles as he sings, about 'strumming a guitar'.

Behind him, the structure^tm turns. Each arch of the speaker turning to reveal the colours of the rainbow... the giant LED screen behind shimmers in different colours.

As the chorus begins, the music begins to flow through Oliver who begins to bounce up and down with enthusiasm.

And the music's gettin' louder
I hear it every time we kiss
Yeah, music's gettin' louder
I could get used to this

Oh you, conductor of my heart
Yeah you, make the music start

As Oliver sings the chorus, the Carellian director, takes the time to show band members playing their instruments the mandolin, the fiddle, the long neck guitar.

Before cutting to the drummer at the end of the chorus who excitedly bangs on his drums, before the chorus outro. The pounding drums are accompaniedby the lights flashing and the beats lift the audience who happily cheer and clap along... waving their flags.

As Oliver wails the chorus outro, small fireworks burst from the side of the side of the stage, and puffs of smoke with flashes of light envelope the upper platform.

You're the one who writes the lyrics, tattooed across my heart
You know the words I want to sing, you're a master of your art
Your music fills my heart and mind like a modern symphony
I want to be the one who joins you, singing harmony

As he's singing the second stanza, Oliver takes the microphone from its stand. His cheeky grin, endearing to many. He walks forward looking down the camera and turns to his bandmates acknowledging their contribution.

The Carellian director of the show is clearly enjoying cutting between long distance shots of the stage, highlighting the spectacular stage with its massive LED screen behind and to artistic cut shots looking at the stage showing the cascading waterfall.

As he come to the end of the stanza, Oliver replaces the mic in the stand and pulls his guitar back to strum his way through the chorus.

The music's gettin' louder
I hear it every time we kiss
Yeah, music's gettin' louder
I could get used to this

The music's gettin' louder
I hear it every time we kiss
Yeah, music's gettin' louder
I could get used to this

Oh you, conductor of my heart
Yeah you, make the music start

During the chorus, Oliver positively beams as he is singing. The WorldVision stage is his big break and he's keen to make a good impression on the viewing public.

Again as the chorus outro little fireworks explode puffing smoke up at the side of the stage. The lighting reflects through the lights in all the colours of the rainbow.

The chorus comes to and end and the music quietens in anticipation of the bridge. The structure^tm, begins to turn. Slowly but surely morphing from its rainbow into a a bright sun in golden yellow.

Let the bells chime, let the words rhyme
Let the song be the perfect melody
Let the strings soar, hear the crowd roar
But its only you and me

Let the bells chime, let the words rhyme
Let the song be the perfect melody
Let the strings soar, hear the crowd roar
But its only you and me

The bridge begins quietly, the music gentle. Oliver closes his eyes and feels the lyrics. As the bridge continues, the smile spreads across his face again. Opening his eyes as it contiunes so he can take in every moment of this experience.

As the final chorus begins, Oliver puts his hands above his head. Clapping to the beat of the music and encouraging the fifteen thousand or so WorldVision fans to clap along. The audience gets happily takes the cue, pleased that this opening song is seeking to involve the audience. Clapping echoes around the auditorium and gives Oliver a little boost to really finish the song strongly.

The music's gettin' louder
I hear it every time we kiss
Yeah, music's gettin' louder
I could get used to this

The music's gettin' louder
I hear it every time we kiss
Yeah, music's gettin' louder
I could get used to this

Oh you, conductor of my heart
Oh you, ohh

and with that the opening song of the 99th WorldVision Song Contest comes to an end.

Opening the show is necer easy but Oliver is exhausted but delighted as he smiles, waves and thanks the audience. The audience claps and cheers loudly, happy the contest is now underway.

The stage goes to darkness and Oliver and his Band leave the stage as the stagehands rush on to set up for the next participant.

by **Adab** » Mon May 16, 2022 7:06 pm

~~2. Adab~~

Last.fm · by **Faraby** » Mon May 16, 2022 7:06 pm

~~3. Faraby~~

by **Erie-Arcadia of Wombats** » Mon May 16, 2022 7:07 pm

4. Erie-Arcadia

Milo Merriam - Allergen

Tune

photo by https://generated.photos/

Milo Merriam, Erie-Arcadia's delegation to the 99th WorldVision, has had a swift shot to fame in the past few years. He was born in 1992 to parents Jonas and Sally Merriam in the mid-sized mountainous city of Pitton Hill, in Northern Erie-Arcadia. Growing up middle-class, Merriam was able to take singing lessons and learned the basics of online music editing from his father, Jonas, who was a computer engineer working for the EADIT, or the Erie-Arcadian Department of Information Technology. He took an early liking to artists like Elle Samber and Titus McCloud, both pioneers in Erie-Arcadia's now sizable indie-punk scene, and modeled much of his work after them. He attended school at the Pitton Hill School for The Arts, where he met his current girlfriend, editor, and lifelong friend Harriet Turner, and took classes in singing, online music editing programs, and acoustic guitar and piano along with the usual subjects.

For the performance, Merriam is wearing baggy black sweatpants with a soft pastel yellow sweatshirt on. The two band members are both wearing normal denim skinny jeans and a black sweatshirt, with the word allergen spelled out in tiny yellow letters that have the same font as the album's lettering all around the sweatshirt. Before they walk out, the stage's main screen has WorldVision's default screen on it, but as soon as Merriam's amplified footsteps begin to be heard, the screen changes to delightful swirls of color similar to the album's colors of navy blue, baby blue, pink, grey, and teal. Thunderous applause and cheering emanates throughout the venue, as Merriam's face is first seen. As soon as he gets to the microphone, he grabs it out of the holder and begins to sing.

Out in the garden everything’s starting to bloom
Roses of red and violets of blue
Why wouldn’t I do all of this for you

When Merriam says garden, the screen erupts into bursts of leaves, plants and different fruits all arranged pleasingly. As he continues on, the screen rotates until he hits the word roses, and then it bursts full of ruby red roses, rotating in a similar way to the previous plants. However, this lasts only a second or two until he reaches the word violets, when the screen begins to turn blue with beautiful purple hues, picturing various arrays of blue and purple flowers, but it is mostly made up of violets.

You've been sticking to me like pollen
I look at you then I cough again
I look away then I count to ten
then when I look back you’re laughiiiing

The screen returns to its previous album-cover-color swirls, this time speckled with yellow floating dots symbolizing pollen. The dots rearrange to materialize into numbers counting for Merriam, going 1-2-3-4-5-6-7-8-9-10, with it reaching ten right when he says it in the lyrics. The dots disperse again, and Merriam quickly trails off to begin the first chorus.

I'm losing all my oxygen,
finally can't breathe again
I guess
baby you’re my allergen
woah-ohhh-ohhh

As Merriam belts "oxygen", the screen changes to wisps of white air floating around and powerful smoke machines go off all around. The stage lights turn the fog yellow, and the crowd screams along and loves the smoke. Merriam sings the chorus line with more power then he's used yet in the song, and the sound radiates beautifully throughout the venue.

I don’t think straight when I'm around you
I'll do whatever to astound you
My lungs get weaker when you're near
And every single damn time it makes my year

As Merriam sings these lines, he turns his head downwards and faces to the screaming audience, with several small strands of his brown hair falling in front of his eyes. Multiple screams of joy are heard, followed by a few paramedics rushing to pick up and check the fallen teenage girls for concussions.

You've been sticking to me like pollen
I look at you then I cough again
I look away then I count to ten
then when I look back you’re laughiiiing

As the smoke begins to disperse, similar to the last time Merriam repeated this verse, dots on the screen count up to ten perfectly timed for 10 to bounce onto the screen when Merriam sings "ten" in the song. The dots disperse and switch colors from baby blue to yellow against the black screen, forming a little bee buzzing around with a little trail following it making a heart. The teenage girls that previously fainted have been confirmed to be alright, in case any of you compassionate fans out there were wondering.

I'm losing all my oxyge-ee-een,
finally can't breathe again
I guess baby you’re my allergen
woah-ohhh-ohhh
woah-ohhh-ohh-oh-ohh
ohh-oh-oh-oh-oh-ohh

As Merriam heads into the second repetition of the hook, the smoke machines begin going off again, once again pastel yellow from the stage lights. He flips his hair out of his eyes, but this time we don't see the teenagers fall because of the smoke.

You've been sticking to me like pollen
I look at you then I cough again
I look away then I count to ten
then when I look back you’re laughiiiing

Merriam goes into the final repetition of the second-to-last verse, this time with more oomph and power than before, truly singing his heart out. The dissipating smoke is turned yellow, black, blue and pink, highlighting various parts of the stage and venue in a breathtaking collage of color.

I'm losing all my oxyge-ee-een,
finally can't breathe again
I guess baby you’re my allergen
woah-ohhh-ohhh
ohh-oh-oh-oh-oh-ohh

A hidden tether suddenly pulls Merriam up, flying around 20 feet above the adoring crowd, still belting out the lyrics. As he flies around, he briefly stops in the upper balcony and high-fives and hugs a row of fans decked out in yellow and blue. As he comes to the last person in the line, he picks her up, spins her around, then swoops back down to the stage with her in his arms. As he sings out the final notes back on the stage, he pulls out a box from the pockets of his baggy pants, sets down the mic, gets on one knee, and says the line every long-term partner wishes to hear: "Will you marry me?"

As Turner nods yes holding back tears, Merriam pulls her into a loving embrace and spins around gleefully with her in his arms. Exhilarated, they collapse to the ground, laughing and crying tears of pure joy. With one final address to the screaming crowd, he yells "I love you and thank you all so very much! I LOVE YOU ERIE-ARCADIA!" and walks backstage holding hands with his fiancee.

by **Izmedu** » Mon May 16, 2022 7:21 pm

05. IZMEDU #IZM
Alan Andric & Andjela Matic - Don't Play Me
Tune: Nathan Dawe x Ella Henderson - 21 Reasons

By this point, any thought of an Izmeduan entry would have to be assembled by shoestrings and constructed by fortunes that are conducive to incredible timing.

Alan Andric and Andjela Matic conceived of “Don’t Play Me” with every intention of the song being an Izmeduan summer dance hit as a way to try and contest what seemed to be a shifting music market. Though the country had long given up the post of sending regular entries to the contest, those who lived within its borders consumed an enormous amount of music made at home and from abroad. What was popular at home continued to shift and change, what once were reliable trends becoming unreliable after a particular style or theme had been allowed to settle in the charts for a few months. In a lot of ways, “Don’t Play Me” harked back to a nostalgic comeback of a more straight up dancepop that used to rule the Izmeduan charts.

Unusual for a singer-songwriter of someone like Andjela Matic’s calibre, the song itself was produced by an armada of songwriters with rising producer Alan Andric taking the sole production reigns of the song. In the lead-up to the song, Andjela’s career had began to pivot from the Izmeduan singer-songwriter model to one where she positioned herself as a reliable vocal for dance producers that were seeking a familiar but not necessarily popular voice. While Andjela found modest success through the confessional-style pop that was a mainstay through Izmeduan airwaves, she never quite reached the top heights of fame that her past WV and WHF attained. She attracted the attention of Alan Andric as her most recent collaboration began to slowly climb up the Izmeduan charts.

Around the time that Andjela was beginning to chart a path to renewed industry success, Alan was seeking vocalists for a set of demos he was hoping to shop around as potential hits. “Don’t Play Me” started out life as a demo, being only a very rough instrumental cut with no lyrics. A chance happenstance online was the very avenue with which Andjela stumbled upon the demo. Considering she was in the rise, Alan was more than happy to fold her into what could be a new single. After setting up a quick date together to meet up in a Vodiznad studio, Alan and Andjela quickly got to work in the song that would become “Don’t Play Me,” especially to the approval of executives of their respective labels. There was a noted gap in the Izmeduan singer for something new to especially impact the clubs.

Written and conceived more with production in mind than any grander ambition, the strategy for the song’s release seemed more in line to be an unceremonial surprise than coming with any sort of statement. That also befit its jouney to the WorldVision Song Contest in Carrelie, with Alan being the one to propose the idea and being willing to bankroll Izmeduan participation. Much like the song’s creation, it was all circumstantial, with song deadlines and a rather scant WorldVision delegation that constituted the country’s broadcasting channel. It meant that anyone with some modicum of rather heavy income or even sponsorships could pull the country to the contest on their lonesome. That was Alan’s intent. With Andjela’s consent, especially with her aware that she had been tipped in the past for an Izmepisma participation, the song was given the green light to go.

Given there was a lack of competition from the Izmeduan side, “Don’t Play Me” was the default option. Thus, by sheer accident, Alan and Andjela were in many ways the two people that were singlehandedly largely responsible for putting Izmedu back into the WorldVision map once more. Given the contest’s more diminished promotional presence back at home, they were allowed freer reign to duck under the spotlight and really focus more on promoting the song. For the two, WorldVision really was just a chance at not just a practically sponsored vacation to Carrelie, it was their promotional vehicle to hopefully launch a potential dance hit to the multiverse. Indeed, it was even emphasized with the way they handled Izmedu’s confirmation to return to the contest, but in many ways, it befit how past Izmeduan stars handled the WorldVision Song Contest and the World Hit Festival. The country really was just the vehicle for their music, but those in the delegation know this really is Alan and Andjela’s project.

A number of press conferences and rehearsals later, it was time to take the stage.

Stage lights billowed down to the center of the stage in the International Arena, Andjela standing on stage with a few dancers flanked to her left and right. Alan, not exactly fond of dancing while performing live, would be watching the proceedings from the green room. The arena stood in a still darkness and silence for a few moments as Andjela awaited the cue to begin performing. The camera view was still rather wide, revealed to be so as baby blue lights began to gradually illuminate the arena and spotlights began to shine. Before long, blaring horns began to play an upbeat melody for a few moments, the camera cutting to some of the dancers gyrating to a quick routine. The camera cuts themselves were rather frenetic before the production began to seep into the song and the horns were buried into the beat. Then, the view from home would quickly fade into a view of Andjela herself, stepping towards the camera with a confident and sly gait, a free hand reached out as she began to sing into the microphone she held.

Boy you flash that smile of yours
And you got me strung up
You know you’re charming as hell
‘Nough that I can’t say no
And my friends are gettin’ tired
Of hearin’ all about you
Of hearin’ all about you
That’s not all of it though

A brighter spotlight shone on Andjela as she sung the first lines of this verse, playing to the cameras with a coy if expectant expression. Around her, the dancers would move to the beat, doing so in a way that would complement and frame her actions than taking the attention away. She would move and sway to the beat as she sang the verses rather quickly, a sense of concession in her voice as in reference to the way she couldn’t resist the person that she would be addressing in this song. The close camera view would slowly rotate around her as Andjela followed it, briefly revealing to the viewers at home that the background screens (framed by the sun-like structure at the back center of the stage) were projecting graphics befitting a Vodiznad nightclub. By the end of the verse, the camera on stage would’ve made a full rotation around Andjela herself, and she would slowly ‘push off’ the camera view to transition gracefully to another further from the stage. It made for a quick transition to the song’s pre-chorus.

I know you got a rep, don’t hide it
Don’t take for me a damn fool cause I’m not
I ain’t your toy (no no)
I ain’t for show (no)
I ain’t just an option

As the song further built to a beat during the pre-chorus, Andjela would begin to sway to the increased tempo even more. The dancers would disperse for a few quick moments during the hook, allowing Andjela to take the spotlight for a few moments. The cameras were performing quick cuts from the larger arena to the people on stage, the focus gradually growing moreso on Andjela at each line. She would have a hand on her hip as she sang the last three lines, a clear defiance and a strong stance in her expression. As the song approached the chorus, the lights in the arena would began to quickly flicker in a chaotic way, engulfing the arena in a maelstrom of lights. At the end of the hook, the lights in the arena would darken except for a lone spotlight on Andjela.

Don’t play me cause I ain’t goin’ solo
Lo-lo-lo-lo, Lo-lo-lo-lo-lo, lo-lo-lo-lo
Don’t play me cause I ain’t goin’ solo
Lo-lo-lo-lo, Lo-lo-lo-lo-lo, lo-lo-lo-lo
Don’t play me cause I ain’t goin’ solo

It was a fast transition to the chorus, the lights remaining dark only for the first line and the production seeming to very quickly hold back. However, once Andjela began the vocalizations, the production would begin to crawl back into the fray. This was seen as the first set of ‘los’ were marked with faint pulsations of blue lights that dotted the lighting rigs that illuminated the stage and the abstract blue graphics on the screens. The lights that framed the ‘sun’ also shone to the beat. Timed to this, Andjela and the dancers would be swaying their bodies to beat, shaking their shoulders; though Andjela kept her end of the bargain less intensive to preserve her vocals while the dancers were doing a far more strenuous version. As the chorus progressed, the lights would return back to the arena and Andjela would be free styling her movements more, the camera shots widening as she engaged the audience from the stage to dance to the song’s beats. The camera would linger on Andjela specifically as the final line of the chorus, a fierce look in her eyes as she made her message clear to her lover.

Boy you got that way you talk
Making me want you more
Have that risky edge to you
That you flaunt all over
You say this is all for real
God this better be real
Don’t let this be a dream
This better not be fake

The blue lights would return to consistently illuminate the stage, giving the audience in Carrelie and the viewers at home a better view of Andjela herself and her dancers. As she began the second verse of the song, she would approach one of the male dancers with an expectant gait. Tinges of desire filled her eyes as the male dancer goaded her with a charming smile, gyrating his body slowly to the production as the camera cut between them. The emphasis was on this brief interplay between them as Andjela quickly sang through each line. As soon as she was close to the dancer, occurring at about the verse’s latter half, she would also groove to his dances and be directly addressing him, finger snaps and arm crosses included. She would turn away from the dancer as the verse ended, the production receding as the song immediately transitioned to the pre-chorus.

I know you got a rep, don’t hide it
Don’t take for me a damn fool cause I’m not
I ain’t your toy (no no)
I ain’t for show (no)
I ain’t just an option

The routine for this part of the song was much the same for this song. However, given the interplay that was displayed earlier, the lights only darkened and shifted to a dark blue color, allowing the stage to once more resemble a nightclub about to truly come to life. The song once built to its chorus, the dancers having frozen in place and standing still as Andjela was moving through each one with expectant looks. Her movements needed to be quick, given just how fast the song moved. As soon as the third line of the hit, she would inflect more sass and purpose into her vocals, hanging back and staying still as the production quickly progressed towards the chorus. The lights around the stage would flash frenetically, the light rigs creating an atmosphere that evoked strobe lights about that timed with the rapidly accelerating beat that built to a head. The stage would darken except for one bright blue light on Andjela, heralding the beginning of the chorus.

Don’t play me cause I ain’t goin’ solo
Lo-lo-lo-lo, Lo-lo-lo-lo-lo, lo-lo-lo-lo
Don’t play me cause I ain’t goin’ solo
Lo-lo-lo-lo, Lo-lo-lo-lo-lo, lo-lo-lo-lo
Don’t play me cause I ain’t goin’ solo

As soon as Andjela sang the first line, the stage was once more engulfed in a sea of dark blue lights. She and the dancers would engage in the same dance routine as before, with Andjela joining in the proceedings a bit more without risking her vocals too audibly. They would sway their bodies to the beat, the singer taking the chance as the lights flashed to the beat. The dancers would then get into a new formation as the chorus approached its end, the same dancer and Andjela approaching each other as the chorus ended, with the lights dying down and the two spotlights focusing on them as camera fades were strategically placed to mask their movements from the viewers at home.

I got every reason to go
Living stress free with no drama
Something ‘bout you makes me stay
And take a chance on this
And take a chance on this
Don’t you dare play any games or tricks with me
I’ll remind you
I ain’t just an option

The entry finally had a moment to breathe, the frenetic dance production slowing down a touch as the moment focused on Andjela and the dancer she interacted with earlier. She approached him as her vocals intensify, a light plea in her vocals and expression even though the song was by far from an emotional ballad. There was an undercurrent of her desire to make whatever this relationship was to work, and the dancer seemed to respond with a sense of reciprocity. Andjela’s vocals held more power to them, her voice soaring to new heights especially during the first few lines of the bridge. The production would return as she progressed through the bridge, with Andjela returning her attention to the audience and the dancer returning to the shadows at the sixth line. The lights were dark as she sang that line directly to the camera, quickly going through each line as the song quickly hastened to its original pace. The lights and the stage began to tease a return back to the song’s original ferocity, a quick cut to the chorus imminent…

Don’t play me cause I ain’t goin’ solo
Lo-lo-lo-lo, Lo-lo-lo-lo-lo, lo-lo-lo-lo
Don’t play me cause I ain’t goin’ solo
Lo-lo-lo-lo, Lo-lo-lo-lo-lo, lo-lo-lo-lo
Don’t play me cause I ain’t goin’ solo

With the end of the song fast coming, a different approach to the chorus was taken. Instead of Andjela dancing alongside her entourage, she would instead elongate the last syllable of ‘solo,’ letting her vocals soar as the background vocals vocalized for her. The stage lights and the routine returned with full ferocity as Andjela let her vocals soar, doing some vocal runs that she reserved specifically for the jury rehearsal and the night of the contest itself. The camera cuts were frenetic and chaotic, but reserved focus for moments when Andjela’s vocals and the dancers’ routines needed the spotlight. She would return back to singing the song regularly at the final line of the chorus, quickly pivoting towards the final half minute of the entry.

Don’t you dare play any games or tricks with me
I’ll remind you
I ain’t just an option
So don’t play me cause I ain’t goin’ solo
Lo-lo-lo-lo-lo, lo-lo-lo-lo
Don’t play me cause I ain’t goin’ solo

She began the beginning of the end with the line that framed the bridge, closing out the song with just the right amount of sass and ferocity to bring the song to its conclusion. She would then reprise the last half of chorus as she began to freestyle more with the dancers around her, engagining in a brief bit of vocal acrobatics midway through this section. It would not be long until the song itself would conclude, the blue lights fading with a flash as Andjela held her hand up as the concluding note to the song. She would step back, audibly breathing for a few moments as she took in the crowd cheer and the immediate post-performance glow.

“Thank you so much, Carrelie!” She shouted to the microphone, waving to the audience as she and the dancers would quickly leave the stage to allow the stagehands to set up the next entry from Scotatrova.

by **Scotatrova** » Mon May 16, 2022 7:48 pm

6. Scotatrova
Ioana Erea & Brendan Senxas
Positions
Tune: Gülşen & Edis - Nirvana

Brendan and Ioana are seen onstage as the performance begins. Stage lights shine down on both from above, glimmering the stage as they flash in sync with the opening beats of the song. Standing side by side one another, they lift their heads up in unison not long after the song begins. Ioana starts making a slight circle around Brendan as the camera follows her, giving the camera directly out in front of them a quick wink and smile. She lifts the microphone up as she opens the song.

Take me somewhere we can be alone
It’s time we had a new milestone
The touch of your skin is as cold as stone
You and I need to leave this comfort zone

I needed little convincing to start
Our rhythm goes with the beat of my heart
With every sway, needing to catch my breath
Never in so long have I felt like this

Ioana continues to circle around Brendan while she sings the opening verse. Brendan stands in place, watching her as she does so. The two of them maintain eye contact, giving each other stares that created tension you could pick up on from afar. As she sings the line "the touch of your skin is as cold as stone" she runs her hand along the side of Brendan's face. She does it rather quickly and pulls her hand away in what seems like a hurry, echoing the statement of "cold as stone." One stagelight from above shines down upon Brendan, while another is following Ioana as she makes her way around him. Other lights along the circular contraption at the back of the stage strobe to the beat of the song, slowing down or speeding up as the tempo progresses. She gets closer to him as she starts the second verse, placing her hand on his chest. When she continues to the line "Our rhythm goes with the beat of my heart", both Ioana and Brendan move their shoulders to emphasize a heart beat, with Ioana removing her hand from him as she walks a couple feet away from Brendan and continues with the rest of the verse.

Don’t be afraid to tell me
What you want, when you want, if you want
Remember that we can be
Whatever you want

You always make me feel so innocent, being around you all the time
If you want to go to new heights, I’ll be right there behind you to climb
Your body is one big work of art, a piece of stunning exhibition

Brendan finally lifts the mic up as he begins his turn to sing, slowly walking in the direction of where Ioana walked off to. He walks up to her in a slower motion, nodding his head and looking her up and down as he does so. Ioana crosses her arms as she watches him do so, smiling and seemingly entertained. The camera zooms in as Brendan stops just a few feet from Ioana and sings to her. He reaches down and grabs her free hand, bringing it up to his face and mimicking the motion of kissing it. Ioana looks at him as he does so, keeping eye contact and not giving much of a reaction. She pulls her hand away and then turns her back to him. He gets closer to her while keeping distance at the same time, and sings to her while looking over her shoulder. Ioana looks away unimpressed but as Brendan continues she looks back and the two of them meet the other's gaze as the verse ends. With the chorus, the two of them turn to one another and sing to each other. Each of them dance in place, watching one another as they do so. The two of them walk up to one another, practically in each other's face, and sing the final few lines of the chorus while maintaining eye contact and distance.

When you’re with me, there’s no “maybe”
I’m always here to be your champion baby
It is time for you to make your debut
Tell me what you want, I’ll give it all to you
Even now, I can see that you’re not patient though
Your body language tells me all I need to know
You know that I will do anything that you ask me to do

Don’t be afraid to tell me
What you want, when you want, if you want
Remember that we can be
Whatever you want

As Brendan begins his verse, Ioana once again walks away from him. She makes some distance before turning back and watching him sing. He makes a quick flex of his arms when he sings "I'm always here to be your champion baby" while Ioana makes a dismissive but amused shaking motion with her head. Once again he begins to walk up to her, but before he could get close enough she holds her hand out and stops him. Brendan continues singing to her despite it, and then reaches up and holds her hand in his. Still maintaining eye contact, the two of them stay like this as the verse progresses before Ioana nudges him away entirely. Brendan holds his arms out and points to Ioana as he sings the final line of the verse, raising his eyebrows at her and smiling.

You always make me feel so innocent, being around you all the time
If you want to go to new heights, I’ll be right there behind you to climb
Your body is one big work of art, a piece of stunning exhibition
Enough of the same old routine, time to get into more comfortable positions

You always make me feel so innocent, being around you all the time
If you want to go to new heights, I’ll be right there behind you to climb
Your body is one big work of art, a piece of stunning exhibition
Enough of the same old routine, time to get into more comfortable positions

As Ioana sings the first of the two final verses, she allows Brendan to keep approaching her instead of stopping him. When she finishes singing her line and picks up after her, she lets the microphone drop to the side and stares into his eyes, trying to discern what his intent could be. The two of them then start singing the chorus together side by side, slowly make their way to the front of the stage. This time, all the overhead and backstage stage lights start flashing all at once. An overhead camera angle pans slowly from left to right as Ioana and Brendan start finishing up their performance, each of them looking over at one another often as they do so. They dance side by side as they do so, with Brendan bending down with his knees as he starts feeling the performance. Ioana runs her hand through her hair and lets it fall free, holding her hand out as the continue. As they sing the final line, they get in each other's faces close enough to the point where they could kiss. Instead, they just hold that distance and stare into each other's eyes, each with a promiscuous look on their face. The song ends shortly after and the two of them embrace as the audience starts to applaud. They hold hands and then lift them up as they wave to the audience. "Greixas Carrelie!" "Thank you so much!"

by **Waisnor** » Mon May 16, 2022 8:13 pm

07

WAISNOR

Alexa - Prosto zhit'/Tune: BRÍET - Hann er ekki þú

Alexa, or Aleksandra Samarina, is up-an-coming singer, who started her career several years ago and already landed herself several well-known hits in Waisnor, and so, hew participation in Worldvision was pretty much expected, when she signed up for national selection, and this feelings confirmed when she easily won her ticket to Densmouth.

Now, let's begin talking about her performance. She was dressed in a simple white dress, with a gray ribbon tied around her waist. The same tape tied her hands, so that she could not gesticulate with them. However, they were tied far enough away from her palms that Samarina could take the microphone in her hands.

Расскажи, как мне сделать свою жизнь чуть-чуть светлей
Tell me how can I make my life a little brighter

Расскажи, и тогда, наверно, стану я трезвей
Tell me, and then, probably, I will become sober

Туман закрыл мне путь
The fog blocked my way

Я не могу свернуть
I can't go back

Alexandra moved away from the microphone stand a little and began to show some ballet moves. Meanwhile, everything was quite simple in the background - at first it was snowing in the background, but it was quite quiet. As Alexa began to sing the verse, it changed to a blizzard.

Моя жизнь будто клубок, нету четкой тропы
My life is like a clew, there is no clear path

Моя голова трещит, хочется простоты
My head is cracking, I want simplicity

Так что я прошу, судьба, услышь мои мольбы
So I ask destiny hear to my pleas

Прекрати душить
Stop choking me

Дай мне просто жить
Let me just live

While the music was playing, but it was not yet the turn to sing for Alexandra, Samarina tried to untie the knot tied at her waist, but this attempt was unsuccessful. Meanwhile, in the background, the blizzard began to be accompanied by lightning, which appeared from time to time.

Столько лиц, и из них никто не сможет мне помочь
So many faces and none of them can help me

Столько лиц, и они все гонят взглядом меня прочь
So many faces, and they all drive me away with their eyes

Я не хочу молчать
I don't want to be silent

Душа хочет кричать
My soul wants to scream

Alexa began to dance again, but now her movements have become much more chaotic, not like the measured ballet movements that were shown before. Against the background, meanwhile, the snow gradually covered the entire background, turning it into just a huge white screen.

Моя жизнь будто клубок, нету четкой тропы
My life is like a clew, there is no clear path

Моя голова трещит, хочется простоты
My head is cracking, I want simplicity

Так что я прошу, судьба, услышь мои мольбы
So I ask destiny hear to my pleas

Прекрати душить
Stop choking me

Дай мне просто жить
Let me just live

While Alexandra sang the next verse, she gradually untied her knot at the waist, and after that she took hold of the knot in her hands, which she almost untied, but it was time for the chorus and Samarina stopped, leaving it for later. And in the background, meanwhile, black lines appeared that cruised around the screen.

Я сквозь огонь бегу, никак я не пойму
I'm running through the fire, I can't understand

Что дальше делать мне, как отогнать чуму
What should I do next, how to drive away the plague

Но я ещё бегу, в надежде, что найду
But I'm still running, hoping I'll find

Свое спасение, то, что развеет тьму
My salvation, which dispels the darkness

Meanwhile, in the background, these black lines began to gradually take shape in a square house with windows and a roof. Well, as for Alexandra, she is. when she finished this last verse, as a last spectacular gesture, she finally untied the knot on her hands and the ribbon fell to the floor.

Моя жизнь будто клубок, нету четкой тропы
My life is like a clew, there is no clear path

Моя голова трещит, хочется простоты
My head is cracking, I want simplicity

Так что я прошу, судьба, услышь мои мольбы
So I ask destiny hear to my pleas

Прекрати душить
Stop choking me

Дай мне просто жить
Let me just live

After finishing her performance Alexa bowed to the audience, picked up her ribbons and slightly waved them. After which she said: "Thank you, you're the best! Good evening, Carrelie!"

Transcriptions for Ertzei Kishim)

by **StrayaRoos** » Mon May 16, 2022 10:24 pm

8.StrayaRoos
αλρηα-Stars

Go_A-Solovey

Music:Catherine Ritea
Lyrics:Catherine Ritea,Luci Asqi

Αλρηα are an up and coming roosian band with Greek Roots and they’re representing StrayaRoos with the first roosian entry sung in a Language other than english in Worldvision,stars

Before The Show
αλρηα are a Circunses-Based electro-folk group,who have only very recently rose to fame, with their single Τι είμαστε εμείς? (What are We?),which hit number one on StrayaRoos' Digital and Dance Charts,and after this rtvS invited them to represent the nation at Worldvision 99,as before then Nobody had heard of them outside of StrayaRoos,unlike ZoLo and Lucky Last edition,which was among the reasons about out 27th place Finish in Keterig,even though early in the week they were tipped to finish top 15 by the bookies,so let's see if αλρηα can break into the top 20 for StrayaRoos

The Performance
after Waisnor's performance,A Keyboard and Microphone were put on stage and the LED screen turned to Stars
a flute plays and red lights scatter around the arena
The Sun Starts to rotate as Catherine opens the song

κάθε βράδυ στα χωράφια
κοιτάζω ψηλά και κοιτάζω τα αστέρια
και εύχομαι να με αγαπήσει
δεν μιλούσε ποτέ, ήταν ήσυχος
Μου έλειψε η φωνή του αγγέλου
Αλλά δεν με προσέχει
Παρόλο που ήμασταν τόσο κοντά σαν δύο παιδιά στο δάσος
αλλά τώρα έχουμε χάσει αυτή τη σύνδεση

The Crowd starts clapping along to the rythm as the chorus starts and the stars on the LED start pulsating,and

Αστέρια ψηλά στον ουρανό
επειδή δεν μπορεί να δει ότι τον αγαπώ ή δεν τον νοιάζει
δεν μπορεί να δει ότι θέλω να αποκαταστήσω αυτή τη σύνδεση
αστέρια που φωτίζουν τη νύχτα
γιατί δεν θυμάται τι κάναμε

the lights on the sun flicker,creating an effect of Shooting Stars across the stage

Αν δεν μπορεί να το δει τότε δεν ωφελεί πλέον να το κάνει αυτό
Κάθε βράδυ στα χωράφια ήμασταν μαζί
αλλά τώρα τελείωσε
και δεν θα ξαναγίνουμε έτσι
γιατί δεν μπορεί να έρθει μαζί μου
η χαρά είχε χαθεί πριν από χρόνια
πώς θα μπορούσαμε να επιστρέψουμε σε εκείνες τις μέρες

The arena then lights up with a sunrise on the screen,Signalling the song is coming to an end and the sun starts to slow down

Αστέρια ψηλά στον ουρανό
επειδή δεν μπορεί να δει ότι τον αγαπώ ή δεν τον νοιάζει
δεν μπορεί να δει ότι θέλω να αποκαταστήσω αυτή τη σύνδεση
αστέρια που φωτίζουν τη νύχτα
γιατί δεν θυμάται τι κάναμε

the sun continues to rise as the kinetic sun slows down and lights start to fade
Catherine waits for the platform to come down then she descends down to the lower level of the stage for the final verse

Θέλω απλώς να δω τα αστέρια να αστράφτουν μέσα στη νύχτα
με αυτόν δίπλα μου
Γιατί δεν μπορώ να το αφήσω?
έλα σε μένα
έλα σε μένα
σας παρακαλούμε

the arena is fully alight as the song finishes
after the performance ends all 3 members of αλρηα say "Σας ευχαριστώ Κόσμε!" (Thank You World!)

by **Axuva** » Mon May 16, 2022 10:37 pm

#9 Axuva
Airen - "Trouble"
Music: KeHoon Lyrics: Airen, KeHoon

Tune: MAX CHANGMIN - Devil

The set blocks the middle stage piece, allowing the way for visuals to show around the set piece on the stage that compliments the performance, on this set, Airen stands center stage looking at the crowd, underneath the chandelier as the dancers surround him in a circle and the lights of the stage are dimmed, as the set changes color via the light work adjusted to the set. As he starts to sing, he lifts his hands and the dancers spread out as Airen does precise and minor movements, and the dancers follow.

sueopshi bureooneun geosen shiryeone makyeo
They told me I was the trouble
Cause that’s the only way to play the game
Oh oh oh oh trouble, go ahead and silence me

They continued with the sharp and precise movements of their bodies, moving to the beat and the camera zooms out to the dancers and Airen, then gradually gets closer as it proceeds to the end of the pre chorus.

There’s no other option
Just give me my penalty naneun dangsin-eul majuhago issseubnida
my glory balgyeondoel geos-ida
Oh oh oh oh trouble yeah I’m talking to you

As the pre chorus ends, the camera is on Airens face and then zooms out as the chorus starts and everyone on stage begins to dance to the tempo of the chorus, raising their hands, spinning and following the direction of Airen, while they kneeled on the ground.

Cause it’s all on me
(It’s all on me)
This story won’t be untold
(It’s all on me)
Freedom don’t let go of me
(It’s all on me)
It’s nobody but me
(It’s all on me)

As the chorus ends, Airen, spins towards the camera and the camera zooms out and he steps to the beat, and the dancers go the opposite way of Airen, stepping to the beat as everyone on stage continues the choreography, the lighting on stage was blue with white accents, which captured the mood of the song and scene. As he gets back to the chorus, he moves back to the center of the stage, repeating the same dances as last time.

Ooh where do I even begin, it’s eating me alive
hangsang nae jalmos-iya
I don’t doubt em, waenyahamyeon nan the villain now
Oh oh oh oh trouble, is what I’m all about
Cause it’s all on me
(It’s all on me)
This story won’t be untold
(It’s all on me)
Freedom don’t let go of me
(It’s all on me)
It’s nobody but me
(It’s all on me)

As the chorus ends, going into the bridge, The dancers go out of the view of the camera, and Airen appears to be the only one on stage and a he sings passionately, looking into the camera, and then the view switches to a camera above him, and he looks up at it while singing and as he hits the climax of the bridge, he forces his jacket off of himself, then ripping his shirt off, and it would start to rain on the stage, covering him and the camera would move around him, showing him and the audience then the dancers would creep back into the frame as the camera faces the stage again. They start to dance as the chorus kicks back in
and Airen continued to stare into the crowd, and then the dancers all begin to pull on Airens arms, and he acts as if he is trying to let go, which is expressed through the lyrics.

I don’t even iyuleul ihae
I am feeling cheoleom like this
Just stop making me agdang-eulo now, Yeah..
(It’s all on me)
(It’s all on me)
Freedom don’t let go of me (Yeah, oh)
(It’s all on me)
It’s nobody but me
(It’s all on me)
Oh, no one but me
(It’s all on me) (Ye-yeah!)
Don’t blame me for your nappeun life..
(It’s all on me)
Oh, I, don’t understand... Freedom don’t let go of me
(It’s all on me)
Yeah it’s all on me.. that’s what I don’t believe
(It’s all on me)
Yeah, it’s all.. on me..

As the end of the song nears, Airen is still being pulled by the dancers but eventually, he breaks free from them and they charge behind him, pulling him backwards and he lets go again, and they all jump into the air as he hits another high note, continuing to dance as Airen continues and nears to the end of the song. And as the song ends, he stares into the camera and it continues to rain, and then he pushes it away. “Thank you.” He says, as he runs his hands through his hair, bowing to the audience.

by **StrayaRoos Barrier Islands** » Mon May 16, 2022 10:46 pm

by **Iqq Northwest Bir Tawil Halaib Triangles** » Mon May 16, 2022 11:52 pm

11. The Supreme Democratic Monarchist Communist Grand Duchy Language-Speaking Carbon Dioxide-Breathing Idiocracy Fascist Marxist Socialist Soviet Vietcong Proletariat Autocracy Kingdom Colony Republic Empire Juche Dictatorship American Constitutional Free Federal Liberal Theocratic Great State Autonomous Regional Provinces Oppressed Peoples of Iqq Northwest Bir Tawil Halaib Triangles and Herzegovina-Ossetia-Southwestern-Kyrgyzstania-Switzerland

#thecolourofiqq :sus:

People just want to know why in God's name that Iqq Northwest Bir Tawil Halaib Triangles has returned. The worst song, the worst singers, the worst performance ... the worst possible thing ever, shall we say :trollge:

Everyone in Iqq hates Worldvision. Everything about it, they say, is just a rigged mess of hot trash from a dusty uranium mine. This is why we've decided to send a song that deeply expresses our feelings about Worldvision.

The song is called "Why The F*cking Hell Are We Even In This Stupid Contest?", which is censored for your own benefits. Performing are: Skittles Teeth, named that way because ... his teeth look like skittles? And FurryRawrXDUwU. Again, fairly obvious name there. A furry who goes rawr, XD, and UwU.

And not forgetting our glorious leader Daz Fred (and not forgetting him otherwise we would be shot and sent to the camp) who will be performing as "The OG MC Glorious Leader Daz Fred". He will sadly only be coming in on the LED screen. He's a very important man. He needs to be in Iqq to enforce the Juche laws and to also commit le epic Kakistocratism. Otherwise he would love to have joined them on stage (Densmouth, your lives are being spared! Be grateful!)

CUNT News Update, May 17th, 2022

Gringo McGusto: Welcome to CUNT. Casting United News Television! I’m Gringo McGusto and we’re back with the Iqq Worldvision 99 crew! We’ve got Glorious Leader Daz Fred on the call from his studio office in Sark Le Coq, while we have Skittles Teeth and FurryRawrXDUwU calling from Densmouth, the city of Carrelie where the contest is being held. Hello all three of you!
Daz Fred: Yo yo wassup.
Skittles Teeth: Yo Gringo, we’re over here in the Dens. The smoking Dens. Haha, I’m the jokester with you homie, I’m in Den’s mouth. Idk who Den is but I don’t wanna be in their mouth ew. That sounds disgusting. Got you again!! I’m in Densmouth! In Carrelie.
FurryRawrXDUwU: UwU! It is me XD calling from Den’s Mouth (UwU Rawr)! I love being in people’s mouths UwU XD! Joined next to me is the TommyPlaysMinecraft, the famous kid youtuber that stumbled across me here in Denny Mouthy UwU nuzzle wuzzle!
Gringo McGusto: Great to see all three of you again. Now, how is the city and the preparations!
Skittles Teeth: Bloody magnificent.
FurryRawrXDUwU: gOwOood!
Gringo McGusto: Great to see! You look like you are all enjoying your times!
TommyPlaysMinecraft: Help me.
FurryRawrXDUwU: Do you want me to blast you with LEAD?
TommyPlaysMinecraft: No, god no, please.
FurryRawrXDUwU: Then QUIT SPEAKING! Anyway (UwU rawr) yes we’re great XD!
Gringo McGusto: Awesome, how are you feeling!
Daz Fred: Oh look Gringo, they’re gonna do well. We’re gonna do well. Iqq will win. IQQ IS GONNA BE SUPREME!
Skittles Teeth: That’s exactly right!
Daz Fred: And I’m gonna support them every way. And I’m gonna send them nukes. And if we don’t win, Densmouth is going to say goodbye forever.
Gringo McGusto: Amazing to hear. You all take care. Good luck, you are gonna win every time. Thank you for the interview.
Daz Fred: One last thing before we go.
Gringo McGusto: Go ahead, Daz!
Daz Fred: Shout out to my boys at DJ Trummmp, the one and only sickest lad, Not_DonT you legend of a friend, brother from another mother, from These American States And, n00blet, from Robby Rob Robloxia, you're a sick eshay too bah. Good to have you two along for the ride. All lads for the twuut replies. I hope you do just as well as us mates!
Gringo McGusto: Alright, I do agree, Thank you Daz and thank you all!

Key
RED: Skittles Teeth
BLUE: FurryRawrXDUwU
PURPLE: i guess both of the two above

And because get rekt to all light mode users...

YELLOW: The OG MC Glorious Leader Daz Fred

Skittles Teeth & FurryRawrXDUwU (ft. The OG MC Glorious Leader Daz Fred)

-

"Why The F*cking Hell Are We Even In This Stupid Contest?"

Tune: NANDA?! - PewDiePie Made a Video About Us

The song begins. That's literally all I have to say.

IQQ’s here!
¿QUÉ?
Worldvision!
Yeah, this is shit!
Why is this still a thing?
I don’t knowwwww?
It sucks!
It sucks???
Yeah, I agree! Let’s shit here!
OH MY GOD!!!!!

Why.

Why The F*cking Hell Are We Even In This Stupid Contest?
BRUH-BRUH-BRUH-BRUH-BRUH-BRUH-BRUH!
Worldvision is the dumbest thing to ever f*cking exist!
BRUH-BRUH-BRUH-BRUH-BRUH-BRUH-BRUH!
Why The F*cking Hell Are We Even In This Stupid Contest!!!!
BRUH-BRUH-BRUH-BRUH-BRUH-BRUH-BRUH!
I hope we just lose and come the f*ck last!!!!
BRUH-BRUH-BRUH-BRUH-BRUH-BRUH-BRUH!

Again, just why?

Committee, ban us now!
Joe mama’s fat, and poo is coming your way!
Pee and poo, you don’t f*cking say!
I know right!
Committee, I will push you into a volcano if you don’t ban us!

Okay. Seriously. Why are these two acting like this.

We are cringey weebs that want you to ban us!
LOL-LOL-LOL-LOL-LOL-LOL!! (what the f*ck are we doing)
Why The F*cking Hell Are We Even In This Stupid Contest!!!!
BRUH-BRUH-BRUH-BRUH-BRUH-BRUH-BRUH!

On the LED screen, Daz Fred appears, to say a word to the audience of Carrelie.

I’m interviewing you guys from here.
This is so f*cking dumb, please just f*cking cancel.

Just quit the show, or we’ll kill you all…
Alllll………

So, should we get the nukes out, then?
I guess. Say goodbye, everyone.

A nuke is set off in Densmouth. Killing hundreds of thousands of people, including all of the audience. The terrain is completely wiped away, and the entire landscape is filled with radiation everywhere. Thankfully however, within 0.00001 milliseconds, everything is reverted back to normal and it seems like nothing ever happened.

by **Carrelie** » Mon May 16, 2022 11:55 pm

HOST INTERVENTION 1

by **Altmelia** » Mon May 16, 2022 11:55 pm

[Deleted]

by **Hafamarimyht** » Tue May 17, 2022 12:16 am

12 | Hafamarimët
All Over - Lërana Vodetka
Tune: They by Jem
Music: Tanël Pnejvat, Tejšë Odu'uole | Lyrics: Tanël Pnejvat, Tejšë Odu'uole, Lërana Vodetka

Lërana Vodetka's 29th birthday was a momentous occasion. It was the grand final of WorldVision Judadïl 99, so she was already ecstatic to have been there at all - but to win and earn the honor of going to WorldVision was the "best birthday present I never could have asked for," she tearfully said that night. Lërana's career was full of ups and downs; her first single reached #4 in 2014, but her next three didn't chart at all, making her wonder if she wasn't just a one hit wonder, if she maybe didn't belong on the charts at all. She took a break to do some soul searching in Kalosia, where she met producer Tanël Pnejvat at a club, and they made a plan to record a full album. Unfortunately, the Covid-19 pandemic struck before they were able to begin recording. Ultimately that was for the best - Tejšë Odu'uole, who represented Hafamarimët in WV91, made contact with Tanël and shared with him a beat she had been working on. He fleshed out the rest of the track and the two started writing lyrics, and eventually he realized this would be a good comeback single for Lërana. After some lyrical input from her and a smooth recording process, Tejšë encouraged Lërana to submit the song to the WorldVision selection process. At first, she was considered a long shot, expected to finish around 5th place. However, the public loved her, and despite a 4th place jury finish, she scored high enough in the televote to secure the victory and take the song to Carrelie.

As the music begins, a spotlight falls on the center of the stage to reveal a figure in a trench coat and a hat, their face pointed towards the ground so that the audience can only see the hat, no face. They stand still for the first few seconds as the structure behind them begins to slowly flash a white light in a counterclockwise pattern moving closer to the center, so that by the time the figure whips her head back and throws the hat into the audience as the beat begins, revealing a cascade of dark brown hair down well past her shoulders, the lights move in a perfect spiral pattern in a sort of hypnotizing manner. Lërana's choreography is sharp and angled, with her arms striking specific still poses as her body twists and spins. She slowly opens and closes her eyes, serving face to the camera. As the backing choir samples change to their verse loops, she walks straight forward, head back, shoulders squared, confident and ready. She stops with a stomp and throws off her jacket as the verse begins.

What if you didn't leave?
What would you think of me
If I could never see
The way things ought to be?

She strikes a pose and looks into different cameras on each line, the lights going from bright to just the spotlight on her. The lights wash a warm golden color as she pulls into herself for the chorus. The camera cuts to a wide shot where we see her framed by golden lines emanating around her on the fixture in the back, perfectly framing her and contrasting with her blue dress.

I see you all over
I feel you all over
I love you all over
I know it's all over

The fixture flashes bright half circles going away from her as she does jump rope motions while the chant plays in the background. She hops twice on each foot, then alternates back and forth four times while crossing her arms downwards every third beat out of four. The routine repeats, but this time she lands one foot in rhythm with the chants instead of the beat during the second half. Her poses for this verse are somehow more confident, directly pointing into the camera a few times.

I did it all for you
Leaned into what was new
But if I think it through
It's what I had to do

The gold wash comes back as fountains spray over her head. She walks down to the front walkway in time with the beat as the waterfall begins to fade from gold to red. Shots of her interacting with audience members fade through each other.

I see you all over
I feel you all over
I love you all over
I know it's all over

She lands center exactly in time to sing this next verse staring straight into the camera. All the lights now wash red as she stares accusingly at the viewers. For the second part of this verse she goes back to looking into different cameras or at the audience as the shot pulls back to reveal the center fixture fading back to gold as the rest of the lights remain red, although a less intense shade.

It's over
All over
There's no way nothing could survive this

I know you
You know me
There's no way nothing could survive this

The camera follows her from above as she stares up and completes a slow turn with just her legs, her upper body appearing completely still. As the measure repeats, she dances sensuously with her eyes closed in a wide shot, showing single lights illuminating in red with each note. She runs back up the other walkway back to the main part of the stage on the next repeat, dancing around for a moment to make it back to the center as the beat comes back in. She rolls her eyes and makes the jerk off motion on the last line.

You came in
Like something
Was digging
No reason

If anything mattered
I felt truly flattered

She holds her arms out towards the camera as the lights fade into alternating layers of gold and red. She puts her hands on the side of her head, shaking it while slightly giving her hair a tug, giving the appearance of being at wit's end. She thumps her fist to her heart then holds both her arms out to the side while looking up in a gesture of annoyed defeat.

I see you all over
I feel you all over
I love you all over
I know it's all over

She walks forward to sing this refrain, making eye contact with different cameras as the lights fade back into just gold.

I said then
I'd leave when
You depend
On bad zen

If anything mattered
My heart really shattered

She begins to look desperate, half laughing half almost crying as the cuts between angles gets faster through this chorus. The lights are sparkling between red and gold and fountains again leap over her head.

I see you all over
I feel you all over
I love you all over
I know it's all over

The lights flash a random red and gold pattern as she repeats the jump rope choreography from earlier, but this time peppier and with a bigger smile on her face. She repeats it again and lands as the echo fades in a fighting stance, fists up, back to pure confidence. As the last echoes fade out, she breaks into a huge smile, bows, and shouts "THANK YOU! I LOVE YOU!"

by **Carrelie** » Tue May 17, 2022 12:17 am

13. Carrelie
Magra Rassa - Pass Me By
Written and composed by Magra Rassa
Tune: Miriam Bryant - Passa dig

Magra Rassa is one of the newest names on the Carrelian music scene. In fact, she's very new to Carrelie on the whole, only moving from Moorland in 2020. She was already established in Moorland, having appeared on a fair few radio shows and having been interviewed a fair few times, but she was never really known outside of the nation. And so, in January 2020, she departed for Moorland's southern neighbour, Carrelie.

A ship pulled in to the port at Carolina. Magra had always been a confident person, and rightly so, but as she took one last look at the city's hanging gardens and ancient towers, a strange mixture of doubt and regret filled her heart. She loved Moorland as her home, and while she knew that she could truly find her element in Carrelie, she couldn't shake the feeling that this was a mistake. Behind her was her mother Iris, who gave her a soft smile and a wave, before signalling for her to get on. And so, Magra left, set off on the adventure of a lifetime. Her destination? The city of lights, Densmouth.

Densmouth is the place to be in Carrelie. Over 4 million people strong and brimming with culture, it was the logical place for Magra to move to. Adapting to her new home was hard, Dentrician is a notorious language what with its copious diacritics, but the mannerisms were also very different. No longer did she order food in cafeterias, but in high-class restaurants, no longer did she just pass people by as everyone seemed to know everyone else in the city, no longer did she see gardens and towers, but domes and bridges were plenty. The culture shock was unfathomable, but she managed to adapt. Her music career netted her a bit of attention, and eventually the attention of the STC, who found her to be the perfect representative.

Now, this wouldn't just be a massive undertaking for Magra. Sending a foreigner to participate for Carrelie, especially while the nation is playing host, wouldn't be the safest move, but the STC were willing to risk it. But the question was, and is - will that risk pay off?

As the Carrelian postcard ends, Magra walks on stage. As expected from a host entry, she receives some applause before she even starts peforming, and she seems a little flustered before she begins. On stage she wears a short white dress decorated with yellow and blue stars, alongside white stockings and shoes. This outfit is barely visible, however, as the stage starts dark, with only Magra's silhouette visible.

You’re like a train
In the rush hour
You’re on my commute
You don’t see me
People leave and people change
Slowly, slowly, ev’ryone fades
But I’ll keep going, oh I can
I know I can

As the song moves into its chorus, the stage suddenly lights up. Where there was before darkness comes lights in yellow and green flooding the stage. Subsequently, smoke machines are pulled out and smoke covers the top half of the stage while Magra steps onto a slightly raised platform.

Cherish every passing moment
Let me go, I’ll wear my own crown
Never let life pass me by now
Pass me by, won’t pass me by
Can you hear the people singing
For the future world we’re bringing
Never let life pass me by now
Pass me by, won’t pass me by
I’ll never let you pass me by

During the chorus, a number of different camera angles are played with. Each lines alternating between spider cams zooming towards the stage. Eventually, these two cameras meet, fading into one angle by the end of the first half of the chorus. Between the halves the lights in the arena shine brightly twice, before the process repeats. This time, Magra runs down the stage, closer to the audience, as the sun in the background rotates to show its screens.

Going into the next verse the action slows significantly, and the smoke begins to clear to reveal Magra singing to the audience.

I’m sure you think
That I’m insane
But then again
I go against the grain
People leave and people change
I adapt, I’ll never fade
I’ll keep going, oh I can
Oh, I can

As she sings, the backing singers begin to pull out a higher platform, placing it behind her.

The next chorus is mostly the same as the previous, what with its alternating angles and lights.

Cherish every passing moment
Let me go, I’ll wear my own crown
Never let life pass me by now
Pass me by, won’t pass me by
Can you hear the people singing
For the future world we’re bringing
Never let life pass me by now
Pass me by, won’t pass me by
I’ll never let you pass me by

A brief instrumental ensues, slowing down the song. Magra clutches the microphone tightly as she steps onto the platform, elevated above her backing singers.

In the back of my mind there’s doubt
That I can can change, that I’ll get out
I won’t let it rule on my life
Living it on my terms

Magra sings of the doubt she feels about living in Carrelie and adapting to local culture, and the stage begins to darken once more. After returning to the state it was in at the beginning, it once again lights up, this time in pink, purple and blue, as she goes in to the final chorus. The platform begins to rise, taking her even higher than before. At this point, the audience has to look even higher to see her in her blue, yellow and white dress, which some may consider kitschy.

Cherish every passing moment
Let me go, I’ll wear my own crown
Never let life pass me by now
Pass me by, won’t pass me by
Can you hear the people singing
For the future world we’re bringing
Never let life pass me by now
Pass me by, won’t pass me by
I’ll never let you pass me by

As the song draws to a close, Magra stretches out her arms and sings the final lines. The music fading, the platform lowers and the lights die down, though it is clear that they will remain lit. Her smile is unparalleled in the arena, perhaps the widest she's ever smiled.

Pass me by, pass me by, pass me by, pass me by (x6)

The song ends with Magra throwing her fist in the air. The audience gives an uproarous applause, and Magra is visibly sweating. She smiles even wider, before thanking the audience profusely.

Her "Méçér, Dénmoute!" brings an even wilder applause.

by **Pemecutan** » Tue May 17, 2022 1:00 am

14/#PCU
Yan Sida ft. Dek Cilik-"Sangsaya"
Title Translation: Doubts
Language: Hanacaraka

Music: Pande Ega, Ketut Yasa
Lyric: Dek Cilik
Tune: Yudi Kresna ft. Dek Ulik - Curhat

Pemecutan retain their 100+ points at the latest edition of WorldVision Song Contest. The song, 'Berlian' was success to scored a total of 149 points and becoming the second best entry of Pemecutan in their WVSC history. Their position however just 1 place lower than top 10 in the edition which is very unfortunate. However, the result has catapult Ayu Sekar popularity back home.

Although the euphoria is still there, GBC as the organizer already setting up Pemecutanian entry for the next 2 editions. 'Let's go traditional.' They say. The GBC spokesperson, Arya Chandra, commented about the lack of traditional songs that enters into WVSC with only Baladewa and Ayu Laksmi entry in the 90th edition have that kind of vibe. But the organizer wants to use something more traditional.

As a country who has a rich culture and traditions, it is no doubts that Pemecutan also has its own music style. In traditional sense, they call it Karawitan or Kidung. And the way they sing it is called Nembang which literally means to sing from the root word of Tembang (lit. Song). With the coming of modernization and westernization, Karawitan begin to left behind to a much easy listening song like pop or jazz. To preserve their traditional music and makes it more appeal to younger generation, a new music genre is created. It is called Pop Karawitan (it's RL name is Pop Bali). This type of genre have a blend music of pop and traditional instrument such as gamelan or suling (bamboo flute). The musicality technic to sing this genre song also different from pop. The singers have to use what's usually call cengkok when they are singing (similar to pansori technic in Korean folk song). This cengkok that makes the genre differ from other pop genre. The new genre become a new hitwave in Pemecutan music industry in the 1980s. Younger generations started to like the genre more. Especially people from the suburbs and villages area. Today, the genre have placed amongst one of the most popular genre in the country besides pop ballad and pop rock.

GBC decisions to choose Pop Karawitan genre as their next entry have become a hot topic domestically. Some thoughts that it is a good move to promote local genre. But others says that it could be a flop entry. Nevertheless, the organizer still stick to their plan. And after thorough selections, they choose the song Sangsaya by Yan Sida ft. Dek Cilik as Pemecutan entry for 99th WorldVision Song Contest.

The song Sangsaya is the first single of Yan Sida upcoming album, Sida Sapurna which will be release next month. He collaborated with Dek Cilik for the project. It is their second collaboration together. The song is about a cheating husband who try to hide his behaviour and ask his wife to always trust on him. But in the wife can't stand again and reveal his cheating proof which makes the husband promise her to stay faithful to her.

The fans see the song as the reminisce of Dek Cilik's personal experience. She was divorce from her husband last year. When being confirmed about the theory, Dek Cilik doesn't give a clear explanation. She said, anyone can have that situation in their marriage life. It is not something new. Nevertheless, the song have steal everyone's heart and becoming a hit single instantly. It is currently sitting at the top of Chakra Music Chart.

Dek Cilik

Born 38 years ago with a real name Ni Made Suastini, Dek Cilik, as she is known, have been in the Pemecutan music industry for almost 2 decades. At first she never thought herself to become a singer as she is a professional traditional dancer. She have begin to dance from about 4 years old. She begin to entered dance competition locally at the age of 10. During her highschool year, she do a side job as a radio announcer. This is when her live is turn upside down.

A talent agent of a local record company in her hometown Peguyangan attracted with her voice. One day, the talent agent ask her to record a song. Dek Cilik was confused at first but she did the recording. Fortunate for her, the record label manager love her record and ask her to become a singer. She is in doubt at first because she is not a professional singer. She do learn to sing but then more focus on traditional dance. Seeing it as a one time opportunity, Dek Cilik finally agreed.

The record label then ask her to use a stage name that is more saleable. It can be her own nickname or other name. Then she come up with the name Dek Cilik. Dek from a shorten word of Kadek which is another word for Made which means second child. Cilik is her nickname because of her small body. The name has become her trademark. She is condered as one of Pemecutan diva and Pop Karawitan Queen. Throughout her career, she has release 10 albums and numerous singles. She is one of the most productive singer in the country.

Yan Sida

Born as I Wayan Sida Arimbawa 34 years ago, Yan Sida is also one of Pemecutan veteran singer in Pop Karawitan genre. Started his career about 13 years ago, he has release 6 albums and several singles. Attracted to singing at early age, Yan Sida pursue his career as a singer from early age. He entered several local competitions in his hometown, Intaran. At the age of 16, he entered Bintang Radio dan Televisi (BRTV), a currently defunct idol-like singing competition in Pemecutan. Although not winning the contest, his name become known after that. A record company based in Kesiman give him a contract for 3 albums. His first album Kanti Semengan which was release 2 years after his BRTV participation was have a rough start. It was not until his third single from that album that he started to gain popularity. The album get a mediocre selling. After his second album release, the label cut his contract.

He then try to pursue his career in the capital. Luckily, he immediately get another label contract. He was surprise that he will be in a duet with Dek Cilik which is already famous at the time. Their duet success to catapult Yan Sida's popularity. His third album went into a huge selling. Although dubbed as one of the productive singer in Pemecutan, Yan Sida has slowing down his career recently. His sixth album Bayu Gede was release 2 years ago which give him 4 nominations in the 36th Chakra Music Awards.

Performing after the host is really rising up the tension for the artists. Dek Cilik and Yan Sida are already standing at the backstage as Magra Rassa ended their performance. A slight intermission happen with the host announcing Pemecutan performers. The country's postcard is shown at the big screen. The intro of the then follow. The solo piano sound is accompanied with autumn atmosphere. The big screen showing the footage of a falling leaves. A spotlight turn the audiences attention to the left corner of the stage where Yan Sida walking towards the stage as he sing the first verse of the song. Wearing a traditional attire, he walk slowly as he get to the center of the stage with the spotlight follow his movement.


Yan Sida and Dek Cilik Costume

I Luh Adi sane sayang Beli
Pirengang je pitutur Beli ne
De Adi sangsaya
Teken tresna sane ade dihatin Beli

Beli sing taen ngajak nah luh len
Mirib ade sane iri ati
Nyingakin rage jak dua matunangan
My dear love
Listen to my story
Don't you doubt
Of the love that is in my heart

I've never been with another woman
Maybe someone is jealous
Seeing the intimacy of the two of us

As Yan Sida nearing to the center of the stage, a second spotlight in enlight. It give the spot to Dek Cilik who is already standing at the center stage. Both of them wearing a traditional attire with brown based color. Yan Sida end his part as he reach Dek Cilik. Then Dek Cilik follow suit to continue the second verse. They are standing side by side. Dek Cilik placed her hand towards her chest several times when she sing the tiang part in each line. Yan Sida take her hand when she sing Mirib Beli sing je merhatiang but Dek Cilik suddenly letting it go. She walk away from him as Yan Sida try to catch her again.

Tiang dini state mercayayang
Tresnan tiang tekening Beline
Dong tiang sangsaya
Nanging suba liu sane teka mesadu

Nyingakin Beli ajak nak luh len
Mirib Beli sing je merhatiang
Bes kademenan Beli ne mademenan
I'm here to entrust
My love is only for you
I'm not doubting
But many people have come to complain

Seeing you with another woman
Maybe you didn't notice
Because you're too busy making out with her

The camera give a 360 view where Yan Sida catch Dek Cilik's hand when she try to walk away. Yan Sida then sing the chorus part. Dek Cilik once again let go the hand but she looks like listening to what Yan Sida say through his lyrics. Dek Cilik take her chorus part. She lift her hand and give a stop sign with her hand when she sing suud sajan.... part. She looks as if she doesn't believe in him anymore. As she walks away, Yan Sida looking down. His helpless expression is capture by the camera. He then chase her while singing the Ampurayang Beli..... part.

De adi ningehang
Omongan anak sane lianan
Percaya Beli
Oh Beli suud sajan Beli ngebogbogin
Bes liu bukti ne sube jelas
Sing perlu buin Beli mangengkebin
Don't you listen
Other people's talk
Trust me

Oh dear, stop lying
There's a lot of clear evidence
You don't need to hide anymore

Ampurayang Beli, I Luh (Tiang)
Beli ngaku pelih
Janjin Beli lakar satya teken Adi
I am sorry, dear (okay*)
I admit I was wrong
I promise to be faithful to you

* Tiang literally means Me or I but for the sentence context, it is to express agreement of the previous statement

Both of them walk to the lower stage as the intermission is played. The camera turn from close up view to aerial view as both of them walking down. The spotlight continue to follow their movement to the lower stage while the stage lights are still giving the autumn vibes.


Close up View

Aha...ha...

Both of them standing at the opposite side of the lower stage. Dek Cilik repeat to sing her verse part as if she is pressing her statement. She repeatedly placed her hand on her chest every time she sing tiang part on the lyric. While Yan Sida looks so sad when the camera sometimes turn the view between the two.

Tiang dini state mercayayang
Tresnan tiang tekening Beline
Dong tiang sangsaya
Nanging suba liu sane teka mesadu

Nyingakin Beli ajak nak luh len
Mirib Beli sing je merhatiang
Bes kademenan Beli ne mademenan
I'm here to entrust
My love is only for you
I'm not doubting
But many people have come to complain

Seeing you with another woman
Maybe you didn't notice
Because you're too busy making out with her

Yan Sida belted his voice as he sing his chorus part as if he is trying to convince Dek Cilik. He slowing down to make his words more convincing when he sing Percaya Beli. But Dek Cilik is also take a higher note to sing her part as if she has had enough with his talking. Yan Sida slowly approach her during she singing her part as Dek Cilik lowering her voice through the end of her part. Yan Sida then take Dek Cilik hands as he start to sing Ampurayang Beli..... Dek Cilik seems flattered. Yan Sida makes a bold move when he kneel down as he sing Janjin Beli...... The move sparks a loud applause from one side of the venue which flocks with Pemecutanian viewers. The lights on the stage getting dimmer and dimmer as the finally ended. Leaving the spotlights only to the two singers where the two are still in that position, Yan Sida kneel down while holding Dek Cilik's hand.

Ho...De adi ningehang
Omongan anak sane lianan
Percaya Beli
Oh Beli suud sajan Beli ngebogbogin
Bes liu bukti ne sube jelas
Sing perlu buin Beli mangengkebin
Ho...Don't you listen
Other people's talk
Trust me

Oh dear, stop lying
There's a lot of clear evidence
You don't need to hide anymore

Ampurayang Beli, I Luh (Tiang)
Beli ngaku pelih
Janjin Beli lakar satya teken Adi
I am sorry, dear (okay*)
I admit I was wrong
I promise to be faithful to you

* Tiang literally means Me or I but for the sentence context, it is to express agreement of the previous statement

A round of applause soared especially at the Pemecutanian viewers corner. They are satisfied with their delegation's performance. The lights on the stage are lighten up as Yan Sida and Dek Cilik walk to the center. Both bow down thanking for the great response. "Thank you, Densmouth! Terima kasih!" shout Yan Sida. "Suksma!!!!" Dek Cilik swoop in.

by **Spiritual Republic of Caryton** » Tue May 17, 2022 1:06 am

15. Spiritual Republic of Caryton
The Peonysuns - What May Come
tune

left-to-right: Terry Letiman, Grace Hartford, Samuel Toller, Samantha Toller, and Percy Finn

single cover

The Peonysuns are a folk/easy listening music ensemble from the Spiritual Republic of Caryton. Formed in 2019, the group has enjoyed modest success in Caryton, being a particular favorite among the youth for their relatively lively musical style. The main vocalists are the males, Terry Letiman, Samuel Toller, and Percy Finn with females Grace Hartford and Samantha Toller (sister of Samuel) as alternates. After a particularly long and grueling hiatus from Worldvision concerning the passing of Leading Reverend Dorothy Shirleyton and the title of Leading Reverend being earned by liberal-conservative Richard Hannis. The Peonysuns volunteered to represent Caryton in WorldVision 99 during a time where no other ensemble would step up.

"What's To Come" is a recent song released by this band, with the core messages of persevering through sorrow with remembrance of one's origin in order to find faith and achieve hope for the future. Many hypothesize this song's release was in direct reaction to the passing of Dorothy Shirleyton, to ease a nation in grieving.

*-*-* Performance: *-*-*

What's to come?
There is nothing left that can be done:
There's only justice for a privileged some-
But I don't fear for what's to come.

The stage is a muted mix of amber and yellow, the arches above a simple bokeh pattern of the same. Elsewise, the stage is dark, the illumination of the Poppysuns being intimate and close. The audience can tell that the band is in retro sweaters, with men having the white dress shirt and women having a plain white sundress underneath it and matching blue ribbons in their hair. The simple nature of the string instrumental is introspective and thoughtful, complimented by the serious look on the band members' faces- cordial smiles but with longing in their eyes as they played and sang.

Let it come:
Torrential, relentless, second-to-none:
The misery of a missing sun.
But I don't fear for what's to come.

The males- who clearly are taking the lead in the vocals- step forward in unison. The fountains lightly start behind the band, with a serene cerulean illumination to contrast the hues of caramel and amber about the stage elegantly. The males stand in place with the microphones in their right hand, but sing with conviction and annunciation, their slight head movements and the light movement of their shoulders giving life to the message they were delivering- perseverance against all odds.

Some say there's no hope, that we're better off alone-
I say that by ourselves there's no place that can be home.

What's to come?
A way to pay back the ransom sum:
The cost of our lives, a sea of blood it's from-
But I don't fear for what's to come.

The females hum in the background as the men arrive at the bridge. The lighting behind them fades into an ambiguous khaki, the blue of the fountain trailing into a timid grey as mist cascades along the band member's feet, contributing to a refreshing feeling as the lyrics right the tension caused in the bridge. The singers gently trail back to where the women are, making meaningful eye contact with the audience.

The Poppysuns reach the new verse, the warm and secure amber returning, the fountains continuing their refreshing stream. On the lighting, a video version of the album cover is projected onto the screens, with the trees gently rustling in the breeze of the golden hour. The females' backing is now noticeable, and they as a group stand in a staggered formation to give their placement more depth. The camera faces them at an angle, capturing their diagonal-facing bodies as they transitioned verses into the bridge with misty eyes.

If we strive to be kind, charitable and meek-
We'll all be better and improve every week.

The Poppysuns smile as they begin swaying in unison, the stage brightening and the fountains' color transitioning to a golden hue. The cameras return to front-facing, as they step-touch in cadence. The stage is at about 75% of its brightness now. The group as a whole moves towards the edge of the stage with lightness on their feet and grace in their steps, conveying wisdom in their words.

Let it come:
Torrential, relentless, second-to-none:
The misery of a missing sun.
But I don't fear for what's to come...

So please don't fear for what's to come...

The group stands in a single shoulder-to-shoulder line, singing through the refrain with conviction in their voices and smiles on their faces. They move with strength yet subtlety in their gentle swaying. They sit down, free arms around each other at the last line of their final refrain. They look at each other with loving and healed eyes as they sing the last line. A subtle picture of Dorothy Shirleyton is overlaid the peaceful tree scene. The final note is in synchrony with a slow dimming of the lights to only one spotlight, which shone at the feet of the group. The audience is left in a thoughtful dark as the LEDs and fountains totally cease.

by **Linnebourg** » Tue May 17, 2022 2:40 am

16. Linnebourg
Bëschwee - Léiftmaschinn

Language: Lëinnebourgesch (Linnebourgish)
Tune: Ocean Colour Scene - Rockfield
Participating Broadcaster: RLë | Radio Lëinnebourge

The band Bëschwee, which means “Forest Way” in Lëinnebourgesch (The Linnebourgish language) is a band made up of country boys Johannes Hoëhn, Felix Marisch and Thomas de Hof. It was hard times for their band at the very beginning as they were just a couple of unknown boys from the farmlands of Linnebourg. Music about their childhood beginnings and where they came from as people were said to be a large help in their lives, and that making music was the ‘enjoyable thing’ about living far from the city. The song Léiftmaschinn, which means “Love machine”, is about the secret admirers that they were as kids, keeping their eyes on the farm girls that lived around them.

After the postcard for Linnebourg is shown, the song begins, revealing them all on stage in the lights!

Sonn iwwer d'hiwwelen
The sunshine over the hills

Wand op meng säit
The wind on my side

D'léift ass bei mech komm
The love came to me

Jo d'léift ass bei mir komm
Yeah the love came to me

D'distanz schéngt sou wäit
The distance seems so far

Ech wäert ni spéit sinn
I will never be late

D'léift ass bei mech komm
The love came to me

Jo d'léift ass bei mir komm
Yeah the love came to me

Si ass komm fir mech ze gesinn
She came to see me

Léift gëtt am Liewen ginn
Love is given in life

Si ass sou eng léift maschinn
She’s such a love machine

Erof op de verschleeften zille
Down at the worn bricks

Dir hutt mech gekrasch gesinn
You used to see me cry

Ouni d’Léift maschinn
Without the love machine

Mir kënnen Iech net soen goodbye
I can no longer say goodbye

Et ass keen Dram méi
It’s no longer a dream

D'léift ass bei mir komm
The love came to me

D'léift ass bei mir komm
The love came to me

Sonn iwwer d'hiwwelen
The sunshine over the hills

Wand op meng säit
The wind on my side

D'léift ass bei mech komm
The love came to me

Jo d'léift ass bei mir komm
Yeah the love came to me

D'distanz schéngt sou wäit
The distance seems so far

Ech wäert ni spéit sinn
I will never be late

D'léift ass bei mech komm
The love came to me

Jo d'léift ass bei mir komm
Yeah the love came to me

Some instrumentals are played here, breaking up the lyrics

Si ass komm fir mech ze gesinn
She came to see me

Léift gëtt am Liewen ginn
Love is given in life

Si ass sou eng léift maschinn
She’s such a love machine

Erof op de verschleeften zille
Down at the worn bricks

Dir hutt mech gekrasch gesinn
You used to see me cry

Ouni d’Léift maschinn
Without the love machine

Mir kënnen Iech net soen goodbye
I can no longer say goodbye

Et ass keen Dram méi
It’s no longer a dream

D'léift ass bei mir komm
The love came to me

D'léift ass bei mir komm
The love came to me

D'léift ass bei mir komm
The love came to me

D'léift ass bei mir komm
The love came to me

D'léift ass bei mir komm
The love came to me

D'léift ass bei mir komm
The love came to me

D'léift ass bei mir komm
The love came to me

An amazing guitar solo is performed after this, and it ends the song off

Jo d'léift ass bei mir komm
Yeah the love came to me

by **Elejamie** » Tue May 17, 2022 3:23 am

17. Elejamie

Lucía Beltrán - Sin nombre (MH2 Remix)

Tune: Blu-Swing - Sunset

Lucía Beltrán, performing live at the 2019 Festival Casals classical music festival.

Lucía Annalisa Beltrán Villanueva was born in Playa de Rocas, NUPA, on 29th March, 1988. Her father, Germán Beltrán (1952-2020), was a Hispano-Elejamian electrical engineer who worked on a number of projects including the 1990 revamp of the streetlights in the Centro Histórico district, whereas her mother Yasmenia Villanueva was a university student from the Achaean Republic at the time and 13 years his junior. When she was five years old, her family moved over to San Capriaco, a twenty-minute commute to the Achaean capital in the District of Muñíz due to Germán receiving a contract to work there but ended up liking the country so much he decided to stay behind and work on other projects there. While he would spend most of his time in and around the capital, he would occasionally do work in other parts of the country such as Corola and Candelaria. Although he was shot in a robbery gone wrong in 1999 (he wasn’t even the intended target or a look-alike, he just happened to be in the wrong place at the wrong time, he accidentally startled the would-be robber and ended up getting hit in the leg), he would still recover just in time to help put the finishing touches of Corola’s Millennial light show celebration. He and his family would remain in the country for two more years before receiving another job offer in late August 2001 that saw him return home.

However, she wasn't interested in following in her father's footsteps as an engineer but rather she was interested in his jazz records. From instrumentalists like Tony Hallion and Juan Pablo "J.P." Acuña to singers like Harley Nathans and Eduardo Santacruz to even a few local legends like Gabriel "Gabo" Sánchez, Francisco Calderón and Elvin P (who is essentially the Achaean Kenny G), she would fervently listen to those records and, in one instance, played one so much she had to buy a new copy (albeit with great difficulty) because it had been worn out from being overplayed. Eventually she decided that she wanted to become a jazz musician when she got older. Though she was either nothing special or totally hopeless with an instrument, she actually showed a bit of promise as a singer. However, she wouldn’t join any glee clubs or choirs or anything like that but instead she taught herself how to sing better thanks to audio guides she bought and, by the time she finished her first few performances at a local jazz club she had already built up quite a bit of buzz.

Although her family was fairly low-middle class, she still scraped together her own money doing odd jobs to get some recording time. Eventually, when she was able to do so, she ended up recording a few demos, all of them covers: Tu vaz a mi cabesa (You Go To My Head), Aguas de marzo (Waters of March) but, most importantly, the Elejamian jazz standard Dios te ama (tal como eres) (God loves you (Just the way you are)), which ended up being one of her best known songs. They managed to attract the attention of she was eventually signed to one on her 19th birthday, with her debut album, which also consisted of covers, coming out three months later (which included a re-recording of Dios te ama).

While generally unknown amongst the general populace and it received mixed to positive reviews from critics, it still received a bit of love from fans. There wasn’t any touring in support of the album and, over the next couple of years, she would provide backing vocals or even harmonies for other musicians. During that time, she began to write her own songs and, after eventually convincing her label to allow some of her own compositions, she then got to work on her second album Hipermercardo (Hypermarket). Again, it didn’t do super well but it received more positive reviews from critics, who enjoyed the fact that she was able to do her own work. After the release of the album, she decided to take a break from music, though she didn’t state exactly what she did in the meantime.

Unbeknownst to everyone, the album did end up getting one well-known fan: Elvin P. He was impressed enough by her vocal abilities to get into contact with her and ask her if she wanted to do a couple of songs for his new album Voces (Voices), where a saxophonist primarily known for his instrumental work collaborated with a whole bunch of singers. Naturally, she was interested and ended up performing lead vocals on two songs: Noche lluviosa (Rainy Night) and Números telefónicos (Telephone Numbers), as well as providing harmonies on the song Verano (Summer). This ended up exposing her to a wider audience and even saw her get picked up by a subsidiary label. Spurred on by this, as well as a bigger budget, she would then get to work on her third album, which would see release six weeks after her 23rd birthday.

Entitled Vudú, it ended up being the album that shot her into the limelight. With a bigger budget, she was able to pull out all the stops and get what she felt was a much better sound to her recordings. Furthermore, not only did it receive rave reviews but, due to it receiving better promotion, it would also receive a good amount of sales, even going as far as placing her on the albums charts in quite a few countries (including her home one, where she peaked at #33) There wasn’t a tour in support of the album per se, though she did do some concerts, a couple of TV performances and even had a spot at the Ron Cerveza Jazz Fest which would later become her first live album, En vivo en RCJF (Live at the RCJF), which also sold decently and got a good amount of reviews.

A few years later, she would release three albums in three years. The first, Pulpo (Octopus), was released in 2014 to decent reviews and sales, as well as the title track being used in the soundtrack for the film Los muertos pueden hablar (more commonly known by its English language title The Dead Can Speak) which opened her up to more fans. The second, Pulga (Flea), was released the following year to more of the same, although some critics noted that it wasn’t offering anything new to the table. The third and final album, called Mouthwash (despite the English title, all the songs on the album entirely in Spanish), did see her experiment with bossa nova and funk and, while it did sell well, it did receive some mixed reviews, praising how she’s willing to branch out but a few pointing out how jarring some of the music is. Though she didn’t tour in support of these albums she would still do a number of concerts, including another performance at the Ron Cerveza Jazz Fest and headlining the 24 Hours of Jazz @ Newford in Newford, ESEL. For the next three years she would end up going on a hiatus due to family matters and the birth of her first son Gabriel, though a greatest hits album entitled ¿Han pasado diez años? (Has it been ten years?) was released during this time.

She would make a welcome return to music in February 2020 when she announced that she would release not one, not two but three albums that year. The first, a collaboration with the jazz group Plymouth, was released at the end of the month to good reviews; plans to go on tour with them the following year had to be cancelled due to the coronavirus pandemic (that would ultimately claim the life of her father and leave her mother in hospital with some damage). The second was a solo album, Rayo, which not only saw her mix some pop into her style but is also the album that this song is on, albeit under its original title Pide un deseo. And the third was also her first English-language album, unimaginatively titled This Will Be My Only Album in English; it was also a greatest hits album, although Wish managed to worm its way onto the album, but the main difference is that all of the songs were English language translations of some of her songs, co-written with her sister-in-law Grace Morgan.

This was then followed by back to back collaborations with Lisa Park and Her Gang, a well-known jazz group fronted by who else on lead vocals and saxophone. The first was a performance at the 85th WorldVision Song Contest where they would place 12th with 130 points, with the most points they got being a 10 from the Achaean Republic (although whether it was because of her ancestry or because their juries enjoyed the song is anyone’s guess). The second was an album the two made, Machinmae Juntos. Released in early 2021 after being recorded the previous December, the album did receive some positive reviews but critics felt that both Lisa and Lucía could’ve had stronger vocals throughout. The two of them didn’t tour in support of it either, primarily due to the fact that Lisa Park wanted to concentrate on her band’s then-upcoming 9th album but also because Lucía wanted to take a bit of a break from music following the huge amount she put in the previous year. She’s currently in the process of making her eighth solo studio album, Absenta, which will see release in June 2022 and she has announced she'll go on a worldwide "Lo siento, he estado ocupado" tour the following year.

The last contest in Aenglide was a bit of a write-off for Elejamie, who had sent the band Hasmat who performed their song Eterna. After all, not only were the most points they had received was a ten from Missus X, followed closely by an eight from the hosts, but also they only had 23 points and were on the right-hand side of the leaderboard at half-time. They did have a small amount of luck when they went on to finish in 16th place with the juries with 52 points, which saw them just able to crack the left-hand side of the leaderboard. The televote may not have been as kind to them, as they were only able to snag 50 points from the viewing public, but they were still able to keep their 16th place spot by the end of it. While the bad result would’ve been disheartening given that they had finished top ten the contest prior, the bad result was mostly met with apathy and a lack of a surprise. This was because a) the song itself went on for nearly six minutes; b) it was performed by a band who normally performed shoegaze and dream pop, two genres that weren’t massively popular with the WorldVision audience; and c) the song was only sent due to EB’s growing lack of interest in competing. On the upside, it could’ve been worse as Placely Placington managed to receive the first nul points of the televoting era (and even then it was due to a technicality as the only nation to vote for them was disqualified due to an incomplete entry).

Fortunately, they decided that coasting on mediocre or unappealing entries would definitely not be a good look and, thus, decided to put some effort into their entry for the 99th WorldVision Song Contest. Especially since there were rumours abound that they were going to send a jokey song made by the group Lemon Ice which, fortunately, didn’t come to fruition. Instead, after a couple of attempts at trying to find someone (and even offering both Yoni Maenilon and Patricio Esposito a fair amount of money to reform Fata Morgana, which they both unsurprisingly declined), they finally settled on Achaean-Elejamian jazz singer Lucía Beltrán, who had taken a fair amount of a year off from music due to her working on so many projects over the past year and a half and was currently in the process of making a new album. She agreed to and, with a remix of a song of one of the new songs being sent and approved, EB had a song that people would probably actually want to listen to.

WorldVision fans would know that this wouldn’t be Lucía’s first stint at the contest. She had previously competed at the 85th edition in Valletta, Malta Comino Gozo with her song Wish, which was the English translation of Pide un deseo. While the song didn’t do too badly, it was sent during the turbulent 80s where the country would hit the top ten in even-numbered contests and miss out in odd-numbered ones (more often than not they would finish top ten with the juries but the televote would force them to eat shit). And, indeed, this was no exception as they would finish in 9th place with the juries with 72 points only to finish 12th place overall with 130 total points; she would also fail to score a single set of 12 with the highest amount of points she got from one country being a 10 from the Achaean Republic. So why would she have another crack at the WorldVision? Other than the potential to massively improve on her scoring and to restore national pride to one of her countries, there was the fact that her backing band for that contest (Lisa Park and Her Gang) had another go as well when they performed Love in the Afternoon at the 94th edition in Marina Point. To say it was an improvement was a small understatement as it received four sets of 12 points (courtesy of hosts Nekoni, Carrelie, the Achaean Republic and Joija), it went on to finish 3rd with the juries with 95 points, it received a whopping 123 points in the televote and, not only did it finish 2nd overall, it was FIVE points behind the winning song from the Alezian Union.

Once everything was ready, it was time for the trip over to Dentricia for the contest. While she didn’t do much of note outside rehearsals, primarily because she has visited the city a couple of times and even performed there once, during them it was a whole other story. For a start, a small but significant amount of time was spent on her trying to work out how she should lie on the piano and how she should get off it. Normally that wouldn’t be anything noteworthy but it did lead to a couple of amusing incidents, like the time she accidentally kicked off her high heel and it landed in the (fortunately empty) audience seating area, the time she tried to sit upright only for her foot to accidentally hit some of the keys and the time she tried to climb up on it and nearly fell, although given that she’s a fraction of an inch over five foot and she didn’t have the best grip on it to pull herself up the last one was a bit more understandable. All of this for what was essentially the first 45 seconds of the performance. There were also a couple of other moments, like her getting her hair wet from one of the fountains on stage and her backing band playing bowling with some water bottles, although they were more just times they were goofing off rather than awkward mess-ups or lack of morale. Fortunately, by the dress rehearsals, everything was down pat and there was no need to worry about her copying Blanche on one of the biggest nights of her life.

Still, it was time to talk about the song itself. The original 5:30 version was originally planned to be put on her upcoming album Absenta, however she couldn’t really find a good place for it and thus she decided to make it the B-side for the title track’s 7-inch vinyl release on Record Store Day. However, it ended up getting a fair amount of praise and airplay and, while she didn’t end up recanting her decision, she did perform a stripped-down live version of it on the radio. Remixer Sebastián Galassi, better known by the name Mitad Hombre Mitad Hormiga (or MH2 for short), was another fan of the song and as such decided to make a remix of it. While Lucía was a fan of the end result, enough to make it her official entry to WV99 and including it on Absenta, she did mention that she didn’t like how a few of the verses were missing and so it felt a bit incomplete; while Galassi did admit that he had to trim off some of it to make it a bit more radio-friendly and to give listeners a chance to enjoy the music, he did make an extended version with the track he had and called it the “MH2 Presents Lucía’s Full Story” mix. As for the name itself? In an interview she did before the contest, Lucía briefly mentioned that she and her co-writers were having trouble with coming up with an actual title for the song (and the obvious choice of “He tenido suficiente” was already used for a song she did years ago and was thus ruled out) so they decided to just go without an actual name for it.

And with that, let’s join Lucía as she sings the first Elejamian entry without a single lyric in the English language (should be fun to see how our resident Hispanics feel about me butchering their language). Would it help her fare better than her original go on the WorldVision stage? Would she finally get a set of 12 points? Or would it just be another mediocre placing, if not a flop? There’s a whole load of songs to get through before we find out so, for now, how about we just listen and read before we come to any sort of conclusion? Take it away, Luc…

When the postcard ended, we then cut to a still shot from above of the stage, with the audience in the foreground applauding for the entry that’s about to be performed. Standard fare, really. The camera was then raised a little bit to give the viewers at home a better view of the stage. All the action was concentrated on the upper platform, with a double bassist in one part as well as a trumpeter in another. In the middle, just on the edge but not close to the front, was a grand piano. There was one person seated behind it and another lying down on top of it. However, the lower platform wasn’t completely barren as there was a small wooden stable, long enough for two people to sit next to each other lengthways and sturdy enough to allow a person to stand on it despite its supposed flimsiness. The camera lingered on that shot as it lowered another half an inch. The lights around the stage dimmed, not to near darkness but still dark enough that it’d be hard to make out where everything was. It was showtime.

When the music started, the lights turned back on and the camera then cut to the top of the stage. It stayed like that for a few seconds as the backing structure had a slow strobe of colour on it, all in time with the music. The backing screen, however, remained off for the first ten seconds of it. When the drums and the piano kicked in, not only was there now a wide shot of the stage but also a shower of sparks coming from the row of pyrotechnics at the front of the upper platform and an explosion of light. The backing screen finally turned on and, with that, showed a line full of thick golden dashes that tilted themselves until it was revealed that they were the words “LUCIA BELTRAN” written in thick gold letters; a couple of acute letters, also in gold, appeared a fraction of a second later above the I and the second A, simply because the font they used didn’t really support Í and Á and this was a good way of getting around that. The camera then returned to the top of the stage and, as it lowered itself, there were faded picture-in-picture shots of different parts of the stage. There were aerial shots of Lucía writhing on top of the piano, there were shots of a local pianist playing her instrument, there were shots of Achaean double bassist Carlos Alcala (who had worked on a few of Lucía’s favourite tracks and even collaborated with her on her album Pulpo) playing his instrument and, towards the end of the proceedings, there was a shot of William Tucker (the original trumpeter for Lisa Park and Her Gang) playing his instrument as well.

And then it was time for Lucía to sing. When the main shot reached the bottom of the stage, the camera immediately cut to the aforementioned shot of Lucía. It slowly but noticeably zoomed in as she stirred and grabbed the microphone. She held it up to her lips and started to sing into it. Clothes-wise, she was wearing a little black dress that had a couple of thin shoulder straps and went three quarters of the way down her thighs, along with a pair of black strappy high heels and a stainless steel necklace in the shape of the Cross with the Lord’s Prayer written on it in Spanish to complete the look. For her make-up she had a faint amount of cyan eyeshadow along with a bit of eyeliner to match as well as a bit of foundation. And her hair was flowing long and free, although fortunately she managed to angle everything so that it wouldn’t get in the way of the pianist playing her instrument. As she sang into the microphone, she stared up at the ceiling but not into the camera. Halfway through the verse, the camera then cuts to a side shot of the piano with the pianist just in frame playing along on her instrument. At that point Lucía slowly turned over and carried on singing, staring at the audience instead of at the camera. Afterwards, there was a cut to Carlos just plucking away on his double bass while William started to get into the shot, just so the camera people would have a way of setting up the segue to the pre-chorus.

Quiero decir eso
Tengo problemas con mi hombre
No se que vi en él
Tal vez fue su apariencia
I want to say that
I have some problems with my man
I don’t know what I saw in him
Maybe it was his looks

As the pre-chorus started, Lucía sat up and stretched one of her arms before she got off the piano. The camera also zoomed out a little bit as she did that, also revealing that the backing screen had changed to a swirling mass of different coloured shapes and lines, some overlapping each other to create a different colour, although the backing structure retained the strobing effect it was playing earlier as it started to split apart and rotate a little bit. She wandered around the stage as she sang before she decided to pay Carlos a visit. The camera then cut to him playing his instrument before she entered from the left, looking up at him while he looked down at her and nodded. He was wearing a black suit with matching trousers and black dress shoes, along with a white shirt with the collar popped and the top two buttons undone. His grey-ish black hair was slicked back neatly and his moustache had been elegantly trimmed and styled for the occasion, his skin showing his age but was still looking remarkably young for a 60-something-year-old person. Lucía nodded at him before she walked away, with the camera following her as she stood right next to the piano and leaned on it, ready to sing the chorus.

Diré eso
Cuando llegó a casa ayer
Olía a perfume y vi
Lápiz labial en su camisa
I’ll say that
When he came home yesterday
He smelled of perfume and I saw
Lipstick on his shirt

There was a close-up of Lucía’s face as she started to sing the chorus before it then cut to a wide shot of the stage a couple of syllables in. At that point, there was another shower of sparks coming from the foot of the stage. As they started to disappear, the camera then cut to a medium shot of Lucía, now moving away from the stage and staring into the camera so she can dance a little bit while she sings. During the second line, the camera passed by her and she stared a little bit into it as she sang; during the brief instrumental passage, she turned her head away and shook her body from side to side. Starting at the third line, there was a more distant shot as she started to walk down the catwalk over to the table on the lower platform. When she reached it, she leaned on it a little bit before she started to sit down on it. She also pulled a pose or two, simply because it gave her something to do while she was there.

Él siempre está engañando
Él siempre está mintiendo
Él sigue poniendo excusas
Y he tenido suficiente
He is always cheating
He is always lying
He is always making excuses
And I’ve had enough

During the instrumental break, Lucía climbed up onto the table and lay down flat on it, keeping one leg straight while bending the other one so it formed a rough triangle. Seeing as she was getting ready for the next bit which didn’t really need the cameras focused on her, the action was centred around the pianist, Carlos and William playing their parts. Nothing super special, really, just an exchange of quick shots between the three, playing as if they had been working together for quite a while now. At some point, there was a long shot of William walking down the catwalk over to the table but, partway through that, it cut back to Carlos playing his double bass. He even spun it around, just to add a bit of flair. There was a wide shot of the stage before the screen started to fade to black.

When the picture faded back in, it was in a letterbox view with the top and the bottom just being black bars. All the action was centred around the middle, which saw Lucía now sitting up and staring down at William, who was hunched over the table and looking up at her. He was wearing a red Hawaiian shirt with a floral pattern, a white tank-top, a pair of blue jeans with a black belt and a pair of black and white shoes, as well as a boater hat with a white above the brim. While he looked up at her to try and get her attention, she just sang the first three lines of the song while she stared down at him in clear disinterest. Towards the end of the third line, he moved a bit closer and started to play his instrument, to which she responded by putting her hand on his shoulder and pushing him into the pool behind him. His expression quickly changed to one of shock as he splashed into the small amount of water, although fortunately as this was part of the act he managed to fall in a way that he wouldn’t bang his head or anything like that when he fell in. As he did that, the camera changed to a side shot of what was going on and the screen started to open up until it was full-screen again. Once that was over with, the camera then returned to the frontal shot of Lucía as she lay her legs flat and leaned back a bit while she kept singing. While she got off the table at the end of the fifth line, the camera cut to an aerial shot of the pool with William looking up at the ceiling, blowing his horn with a bemused look on his face while his hat floats in the water next to him.

¿Que tengo que hacer?
Decir adiós
Y seguir adelante
Olvídate de él
Eso es lo que estoy tratando de hacer
What have I got to do?
Say goodbye
And move on
Forget about him
That’s what I’m trying to do

When the camera cut back to Lucía not only was it back the way it was earlier but she was also leaning on the table with the pool of water out of frame. Halfway through the first line, there was a cut to a close-up of her face before the camera then changed to a shot from a different angle. She started to move away from the table during the second line with a small smile on her face and a small shaking of her hips. She stopped moving at the start of the third line, where she showed off one of her biceps and pointed at herself before stretching her arm out straight and moving her palm out in front of her as if she was wiping something off. All of this while, off-screen, William was getting himself out of the pool. The back of his clothes were soaked but at least he had a spare set so he didn’t leave stains or wetness all over the seats. Plus in the event of a reprise she can push him back into the pool again.

A veces mi plan funciona y a veces no
Lo seguiré intentando
Seré una mujer libre
Sometimes my plan works and sometimes it doesn’t
I will keep trying
I will be a free woman

And then it was time for a variation of the chorus. In the original version of the song, there was an instrumental break and another verse before this but, naturally, MH2 had to trim off a few bits just so it’d be radio-friendly. Regardless, as Lucía started moving she raised her arm in time with another shower of sparks coming from the row of pyrotechnics at the front of the upper platform, something that was just caught in the top right of the screen. The camera followed her as she walked up the catwalk back up to the upper platform, although it stopped at one point to let her walk on ahead and panned to the right as she kept on walking. Midway through the third verse, she stopped walking and the camera cut to a side shot of her. She slowly turned around slightly as she kept singing before she carried on walking over to the piano, standing a small distance away with her back to it and with a good view of the back of the stage. The camera also picked up the pianist in the shot. She was wearing a white suit with matching trousers, as well as a black buttoned-up shirt and black shoes. Her short brown hair was still tied up in a ponytail of sorts and she didn’t seem to have much make-up on, or at the very least she wasn’t as made up as Lucía. The piano itself was just an ordinary white one but the lid was down for obvious reasons.

A él no le importa nadie
Y él siempre pide dinero
Él es una persona deshonesta
Y he tenido suficiente
He doesn’t care about anyone
And he always asks for money
He is a dishonest person
And I've had enough

There was a shot of William walking up the stage while he was busy playing his trumpet, the back of his clothes dripping with water with every step. While he was keeping his instrument still while he played it, he was moving his head around to the music. Not in sync with it but in a way that showed he was enjoying what he was doing and what was going on. The camera cut back and forth between him and Lucía with her arms in the air, flailing them around from side to side while she also shook her hips from side to side. Not only was she appearing to walk backwards towards the piano but she seemed to be more in sync with the music with her movements than William was. The cuts between the two started to speed up as the music did the same until it was time for a repeat of the first chorus earlier. The lights also started to flash as well just to really amp things up.

When that happened, there was a wide shot of the stage with Lucía climbing onto the piano while the shower of sparks erupted from the row of pyrotechnics again. The lights also stopped flashing but they still started to move around the stage and even shine down on the audience, while the camera then cut to a shot of Lucía from the side posing on the piano. For the first line she was sitting normally with her legs crossed, for the second she leaned back a bit. For the third, she put her legs up on the piano and looked down at the pianist and then, for the fourth and final line of the song, she started to turn herself over so she was now lying down on her front, although she pushed herself up a bit to make herself more comfortable.

Él siempre esta engañando
Él siempre esta mintiendo
Él sigue poniendo excuas
Y he tenido suficiente
He is always cheating
He is always lying
He is always making excuses
And I’ve had enough

The camera quickly panned over to the pianist who was playing along merrily. She looked up at Lucía at some point and flashed her a quick smile, which was fortunately returned as the singer rested her elbows on the top and put her chin in her hands. Elsewhere, there were shots of Carlos just playing his double bass and even dancing with it a little bit and a shot or two of William wandering about the stage playing his instrument. But the action was mainly centred around Lucía and the pianist. Towards the end of the song, she moved herself back and took her head out of her hands so she could rest them on the piano itself. When the song finally came to an end, she rested her head on the piano and didn’t move as the sound faded out. Meanwhile, Carlos held his double bass at an angle, William held his trumpet out to his side and the pianist just took her hands off the keys and rested them on her lap. The lights stayed on however instead of dimming.

When the song was eventually over, the audience broke out in applause. Indeed, there was a sweeping shot of them cheering for the song they had just seen. It also gave Lucía an ample opportunity to get off the piano and not have the camera pick her up just in case something happens. Fortunately it didn’t. He and her band stood in a line and bowed towards the audience. She picked up the microphone and held it up to her lips as she started to speak into it. “¡Gracias Densmouth! ¡Gracias mucho! Buenas noches, adiós.” After that, they all headed off-stage so they could get the stage set up for Aenglide’s entry. And also so that William could get a dry pair of clothes on. At least it meant he had something to do while he waited for the voting to start.

by **Aenglide** » Tue May 17, 2022 4:09 am

#thecolourofaed

Language: Aenglic
Translation: "Who do you love?"

Music & Lyrics: Marja Bjárnisdoter, Pjotr B.

Tune: Drömhus - Ge upp

Introduction

The 98th Worldvision Song Contest was and quite possibly will be one of the best modern events to happen in all of Aenglide’s history. Not only did the country win the bid of hosting the contest out of three other cities, but obviously Aenglide had also won the contest itself. Nothing could possibly be any better than a win on home ground, with just the right audience to see it. Worldvision 98 is when Aenglide had laid out their first host city bid, in the capital city of Keterig. It was a perfect contender, but had to face Hercules, a city in Beepee, who were trying to get their country to be the first ever country to have hosted the Worldvision Song Contest twice. There was also Duomji, StrayaRoos Barrier Islands, but… it would probably be better if we didn’t mention them. Nonetheless - it was a nail-biting and anxiety-lifting wait for the international communities to elect and select who would host the contest. When it was finally revealed that Aenglide’s very own capital city and largest city, Keterig, was to officially host the 98th Worldvision Song Contest, lots of people from Aenglide celebrated and cheered that the incredibly popular live contest was going to their country. For the Kéterigeren, or in English, the people from Keterig, it was even more exciting as what was one of the largest contests, if not the largest contest, was only just a quick drive away from them.

It was an amazing night at Keterig’s very own VADtk Arena. An audience that showed joy, that sang along, and that had a tremendous time on the seats, gave hope and love to all of the participants and their respective thirty-one countries that they were each representing. A night full of ballads, pop, and whatever genres they were that Vartugia and Placely Placington had sent. That night, Aenglide’s home entry was the song “Way Of Life” by DJ-singer duo Jannix & Eva Kújlora, which had sat near to the end at the 30th spot, between Crustyland’s - well - whatever ear damage generator that was and Mister X’s boy band. Aenglide was willing to impress the world with the nice mix of sentimental ballad with EDM flavour. Everyone cheered for all of the songs and made that night full of love. And love was shown in the voting which came at the end of all of the entries. Aenglish people, as well as people from around the world, were excited yet nervous about the voting that was to come. The winner came as a mystery as many people argued over which song deserved to win. First came the juries, and all of the international juries from worldwide had spoken. Aenglide had topped the jury leaderboard with 137 points, which made Aenglish people extremely excited and emotional with happiness. However, that was only half of the result and everyone knew what was to come. The audience became flooded with flags being waved in the air, and the televotes were revealed to every country one by one. Aenglide was in fact, last to be called out since they were first out of the jury votes. Everyone in the arena had long waited for the televotes to be wrapped up, and the winner to be revealed. The last televote showed on screen. “AENGLIDE RECEIVES 123 POINTS”. This had bumped Aenglide up to first place, and the final leaderboard was shown. Aenglide had officially won the 98th Worldvision Song Contest. This was when the predominantly-Aenglish audience exploded in joy and unbelievability. The audience were screaming and tears were shed around. Especially Eva, Aenglide’s singer, who was so emotional that it was a struggle to even breathe. Both Jannix and Eva Kújlora were then called for their reprise, where Eva gave it her all.

This was the performance that obviously gave Aenglide its best result. First place. To make it even better, a first place for Aenglide, in Aenglide, which had beat the previous “Benevolent Frequencies” by The Mercantiles, who had performed only one contest earlier and one place lower. It came as an extravagant surprise anyway but this was made even more shocking as Aenglide was only seven contests in. That performance and that hosting was only the seventh time Aenglide has participated, making it quite a recent country from the humble beginnings of a debut to a host, a win, and combining the two - a host win. After this contest, high expectations were set for Aenglide about what next. This is the edition where Ænglidsféstival 99 was broadcasted to select Aenglide’s entry for the 99th Worldvision Song Contest, where we are right now.

Ænglidsféstival

Ænglidsféstival 99 was the second time Ænglidsféstival has happened to select Aenglide’s entry, the first one being Ænglidsféstival 97 which selected - you guessed it - Aenglide’s entry for Worldvision Song Contest 97 in Norfolk Pinewoods, Beepee where The Mercantiles managed to get second place with their song “Benevolent Frequencies”.
As like last time, six entries performed that night at the VADtk Arena in Keterig, the same arena as the venue of Worldvision 98, where people from all around the metaverse were keeping an eye of who might be the successor to Jannix & Eva Kújlora, if they could even succeed higher than they did. All of the entries performed well but there was only one winner. When it came to the voting, seven juries from other countries had voted in. The juries from StrayaRoos, Elejamie, Syrche, Beepee, Malta Comino Gozo, Britonisea and Polkopia in that order, gave their points to all six of the entries. It was a close contest, but the song that came first was “Stone” by Lucja, the song that was in the 3rd slot in the running order.

Lucja and her song “Stone” was initially going to be Aenglish entry for Worldvision 99. At the end of the night, Lucja had scored 34 points, just a single point off a tie for second which was shared between goth metal band Anti Gloria’s song “Shot Dead” who performed after Lucja in the 4th spot, and 80s-styled band Le Ték, with their song “Spfínks” which in English means Sphinx, who was 6th and last in the running order. Both Anti Gloria and Le Ték had scored 33 points in Ænglidsféstival 99. One more point and it could have been a potential change in the song that Aenglide was sending.

However, this version of Ænglidsféstival was messy and frankly, all-over-the-show. Firstly, Aenglish Worldvision fans took to social media to complain how the winner was a weak song and also how the entire list of songs in Ænglidsféstival 99 were the weakest group of songs that they had ever heard in their lives. It was a flood of disaster, and the public were not happy about it. The worst of all, Lucja could not perform because shortly after winning the contest, she had been diagnosed with a health problem that made her unable to perform tonight here in Densmouth. With both of these affecting how Worldvision would be for Aenglide, the national broadcaster ÆTV had to come up with a plan to fix this.

Selection

After that complex mess of a decision from ÆTV, it was decided upon two things for the future starting from this point onwards. The first decision was that Ænglidsféstival was no longer going to be broadcasted and that the national final to select Aenglide’s Worldvision entries would no longer exist. This is due to unfortunate circumstances which are mentioned before. This would result in a fair amount of possible and expected backlash, but as quoted by ÆTV, “having six songs as options for a national final is unexciting and quite possibly predictable results”. This in turn makes the decision of ÆTV internally selecting Aenglide’s entries from now on, as the head delegation for Aenglide feels they know what songs are best.

Due to the aforementioned turn of events, a new act and song has been selected for Worldvision 99, which is right here at The International Arena in Densmouth, Carrelie. ÆTV has selected upcoming singer-songwriter Marja Bjárnisdoter with her song “Þe élsk fðú?”. Excluding the Old Aenglic songs that were sent to represent Aenglide in Worldvisions 92 and 93, then this song is the first Aenglic song that Aenglide is sending. ÆTV is immensely proud to send something with our modernised version of the Aenglic language and to show the world a language that otherwise may be unheard of in some places. And this time, the Aenglish public adored this entry. The reception may not be as good as Jannix & Eva Kujlora, but it is enough to have good hopes for Aenglide this edition.

Marja Bjárnisdoter

Marja Bjárnisdoter at a studio

Marja Bjárnisdoter is a young up-and-coming singer-songwriter from the large town of Tönbaduos, in the province of Tönbaduos in northeastern Aenglide, in the rural outskirts of the third-largest-city Kagyjov. Marja has just come out of secondary education, and it was always her dream to pursue a career in music. Recently received small popularity around social media, making short videos of her doing covers on Aenglish songs. She has become a local name, but then she released her 2022 single “Þe élsk fðú?” or in English, “Who do you love?” and it was a chart-hitter on ÆVK (Ænglidsvéklikǽrten) which is Aenglide’s primary and most-followed weekly music charts.

Þe élsk fðú?

Cover of “Þe élsk fðú?”, released as a single recently.

“Þe élsk fðú?” is officially the first modern Aenglic song to be sent to Worldvision, and the song peaked to third place on ÆSK (Ænglidesteymkærten) but still continues to roam around the charts until now. Marja Bjárnisdoter produced the music and wrote the lyrics with her brother Pjotr (who is credited as Pjotr B.) who also makes music as a pastime. Due to its status as being Aenglide’s entry for the 99th Worldvision Song Contest, and due to its better response with the Aenglish public, it is expected to rise higher in the charts, which it already is doing so at the moment. Before leaving for Densmouth, Marja had performed at a pre-contest show, singing her song at a crowd in another smaller venue in Keterig. This got Aenglish people in Keterig to have a small feel of her song before her flight for the real event. Her song will be the eighth song to represent Aenglide in Worldvision, however many claim that it feels like Aenglide has already done so much in and for Worldvision while being so recent.

Densmouth

It was a long flight from Keterig to Densmouth for Marja, but thankfully due to the fact that both countries have connections to the WMCA alliance (Carrelie being one of the four countries to make up the group, Aenglide being an observer state of the alliance), it was a faster link between to the two countries. This was the second time that Carrelie was hosting the Worldvision Song Contest, after the 91st version, which Aenglide had just missed on participating in as the country debuted in the 92nd version. As she left the airport, she went into the city, the heart of Densmouth where all of the picturesque canals lie, and where all of the life is. V’Härves was where she was staying, which is the most influential part of Densmouth, and the small sound of a musical band filled the air from even a distance. Densmouth is the second largest city of Carrelie, and a popular tourist destination for domestic and international tourists alike. It is not hard to see why, as the bustling centre was full of history and amazing views, and at night, the scene was even better. To finish her day, she went around the centre looking for an amazing dinner for her appetite, and she found one with dining right next to the canal. With a glass of wine in her hand and a calm breeze in the city, it was one of the most relaxing things Marja has ever experienced outside of Aenglide.

The next morning, Marja had paid in advance for a bus tour around all seven of Densmouth’s borough-like areas, which the locals call èrdissémë. She was in V’Härves, and got on the bus for an enjoyable scenic view stopping at Densmouth’s most prominent places. It was a trip that took a good six hours - but it was worth every single second. V’Härves was home to an amazing theatre quarter which was one of the stops in the district. Another stop was the Hamburg Harbour, which Marja learnt was where the hamburger was invented. It’s quite interesting that that exact location is where the popular, well-known fast food around the world was created, but you learn something new everyday! The bus headed southwest to Densmouth’s southwestern borough, Úéstfalie Grände. The area is served by a historical tram that looked wonderful running down the streets by lots of picturesque gardens, which Úéstfalie Grände is also known for! The district is such a rich and expensive place, with lots of greenery surrounded by luxurious-looking houses. Úéstfalie Grände is also the home to the Grand Westphalia Palace, which was another stop on the bus tour. It is the residence of the Dentrician royals, and it was an amazing building to see.

The bus then went east to Súdöre, which was basically a modern version of V’Härves. New harbours around, large convention centres in sight, as well as arenas. There was no particular stop, so the district itself acted as one and Marja went around the harbour and the buildings it had, and also got a coffee from a local café, before quickly hopping back to the bus. While briefly making its way across the eastern side of V’Härves, the next èrdissémë that the bus was visiting was Öfrés, which was more of a rural area, but Marja had already been familiar with the area as it was home to King Willame International Airport, the main airport of Densmouth that serves international flights.

Norde-Grände was the next district that the bus was going to. It’s seen as the most opulent borough and the fact that it split away as its own area from neighbouring Victoire gave off heavy the-rich-always-get-what-they-want vibes. Nonetheless, Norde-Grände is a beautiful area, and it is home to the University of Densmouth, a popular Carrelian university, with buildings complete with beauty. The bus then went to the aforementioned Victoire, which in Marja’s opinion, was the most pulchritudinous out of them all. Victoire is home to a handful of museums including the Imperial Museum, a number of statues around its streets, and the fair share of historical buildings like many of the districts. The people in the area have said to be more tame and friendly, compared to the other boroughs. The bus went past the city’s largest lake, Élladë, which was a great stop which provided relaxation and connection to nature.

The last borough in Densmouth that the bus went to was Oúéste. As the name suggests, the area is the westernmost area of the city, and is a spectacular mix of cultures that blends in with the area’s history. This èrdissémë has a large industrial area in the background of streets while having streets full of markets and is even home to Chinatowns and many foreign restaurants. This is due to the area’s large immigrant population, which has allowed for a spectacular combination of cultures. Some of the market streets were stops on their own, and the smell of food from many countries filled the air. Marja even tried some of the small-snack delights that this area has to offer. On the bus, it returned to where it began in V’Härves, completing a full anti-clockwise trip around the city. Densmouth has meant a lot to her, with lots of beauty, but unfortunately, this day was her last day of touring around the city, as rehearsals and interviews for the 99th Worldvision Song Contest were coming the next day.

Performance

The running order of all of the songs came along and was shown to everyone. It was found out that Aenglide would be performing in the 18th slot, right after Elejamie and Antahbrantahstan, both strong contenders in the Worldvision world. Marja and the Aenglish delegation was praying that this would not affect negatively at all, but still hoped they were placed after some of those consistently unhumourous countries with their awful joke entries, for a performance that would act somewhat like a breath of fresh air.

It was nearing Marja's performance. Marja Bjárnisdoter felt confident in her performance and after many rehearsals, practising her song on stage, and she felt like she was going to do well. Still, she felt that tiny bit of anxiety rush through her, and it was because there is a difference to performing in front of literally nobody except the stage crew, as opposed to performing in front of thousands of people live, with definitely a lot, lot more watching from digital screens all across the metaverse. However, after socialising with some of the people at the International Arena, she found the missing piece that she needed and she knew that she was going to do well on stage.

She has four background dancers. All of them are female around Marja's age, and three came with Marja as part of the Aenglish delegation, and one was hired from Carrelie. They had been taught the choreography of the song for long days and long nights. Through lots of trial and error, they managed to pull through with this, and they promised to make Marja's performance a phenomenal one.

As the lights came down to end Elejamie's performance, Marja and the four background dancers was ready to be called onto stage. Both the arena and the stage were shrouded in darkness as the postcard played. The Aenglish people in the crowd made some noise for their entry. While the arena was dark, Marja and the dancers scurried towards the centre of the stage, where they would all get into position. Since there were four background dancers, two stood on Marja's left, and two stood on Marja's right, like a flock of birds in a V position.

The lights brightened all of the International Arena up, and the music began to play. The lights revealed the whole stage, as well as Marja in a short, pastel pink dress with ripped denim shorts and slip-on shoes with glitter on them. The dress compliments nicely with her wavy dyed pastel pink hair. It also revealed the background dancers, all in short, pearl white dresses. The first introduction to the song consists lots of "woah-woah-woah-yeahs", but those are not sung, instead part of the backing track. After a few seconds of general shots of Marja and the performers, Marja begins to sing the first verse.

Þe vrí ‘sprökenin’ oms’ áneg
You’re talkin’ ‘bout her

Som jé vek nytinon á þe
Like I’m noone to you

Sý á méj, dvér es de élsk?
Tell me, where is the love?

A near close up of Marja is shown, just to her face, where it shows her looking around the audience, and then smiling at the camera.

Dár for, jé vas þes jetle
Before, I was your girl

Nov et és on anjerled vjerd
Now it’s a different world

Þe akd som jé vek nyt her (je je je)
You act like I’m not here (yeah yeah yeah)

At the start, there is the line "Mmm, þes onskejdelnen vrí bullsh-". Marja does not complete the word but it's more fitting to the flow of the song. A wide view of the stage is shown, with Marja and the background dancers in sight. Marja begins to walk to the right of the stage, where the camera pans around to follow her movement. The background dancers are still in their spot in sync with eachother, and a few brief camera shots show them around.

Mmm, þes onskejdelnen vrí bullsh-
Mmm, your excuses are bullsh-

Jé övkið þe á fon ját þe dæið nyt
I wanted you to call but you didn’t

Þe dæt nyt surg dit jé vóls
You don’t care how I feel

Bers futer yt gőj
Just shut up and leave

The camera closes up on Marja as she sings the chorus. For a few moments, the camera shows the audience of Densmouth, with many colours, flags, and people being shown, but since this is the chorus of the song, it is most Marja being shown.

Þe élsk fðú? (u-u-u, je)
Who do you love? (oo-oo-oo, yeah)

Veíg vorholde, je, þe tékið (u-u-u, je)
Our relationship, yeah, you took (oo-oo-oo, yeah)

Sý á méj, þe élsk fðú? (u-u-u, je)
Tell me, who do you love? (oo-oo-oo, yeah)

Jé máðe béde et és nyt méj (u-u-u, je)
I know very well it’s not me (oo-oo-oo, yeah)

Þe vrí nyt tidsé men svőtligig
You are no longer my responsibility

The background dancers come follow Marja around as she lightly moves around the stage, and moves around her. The camera still hangs around a mid shot of the stage, but to deviate a bit with the angles that are being shown, it occasionally moves around from Marja's face to wide stage views and everything in between.

Þe élsk fðú? (u-u-u, je)
Who do you love? (oo-oo-oo, yeah)

Veíg vorholde, je, þe tékið (u-u-u, je)
Our relationship, yeah, you took (oo-oo-oo, yeah)

Sý á méj, þe élsk fðú? (u-u-u, je)
Tell me, who do you love? (oo-oo-oo, yeah)

Jé máðe béde et és nyt méj (u-u-u, je)
I know very well it’s not me (oo-oo-oo, yeah)

Jé vek nyt de inon gratáning
I’m not the one who’s crying

The cold and fairly grim lyrical content in this verse, meant that Marja made her voice sound more powerful here. Still, it felt like a light-hearted entry with the dancing synchronisation, which was shown along with Marja in a wide shot of the stage, with the odd audience showcase here and there.

Nov, váje es ále þoíðen þesen?
Now, why is everything yours?

Þe tékið þoíðen áledágen
You took stuff everyday

Jé vas máðe dul a séj
I was too blind to see

Þes gorújnen, þyn vrí máðe gátme
Your reasons, they’re so old

Þvhér es máðe ált jé gíanið
There’s a lot that I gave

“Vítn vil væ somlá”, (je) þe sýið
“We will be together”, (yeah) you said

Þvhér es nyt máðe jé séjve vor
There’s not a lot that I search for

Þes liv es ále őr
Your life is completely over

Mmm, þes onskejdelnen vrí bullsh-
Mmm, your excuses are bullsh-

Jé övkið þe á fon ját þe dæið nyt
I wanted you to call but you didn’t

Þe dæt nyt surg dit jé vóls
You don’t care how I feel

Bers futer yt gőj
Just shut up and leave

Þe élsk fðú? (u-u-u, je)
Who do you love? (oo-oo-oo, yeah)

Veíg vorholde, je, þe tékið (u-u-u, je)
Our relationship, yeah, you took (oo-oo-oo, yeah)

Sý á méj, þe élsk fðú? (u-u-u, je)
Tell me, who do you love? (oo-oo-oo, yeah)

Jé máðe béde et és nyt méj (u-u-u, je)
I know very well it’s not me (oo-oo-oo, yeah)

Þe vrí nyt tidsé men svőtligig
You are no longer my responsibility

Þe élsk fðú? (u-u-u, je)
Who do you love? (oo-oo-oo, yeah)

Veíg vorholde, je, þe tékið (u-u-u, je)
Our relationship, yeah, you took (oo-oo-oo, yeah)

Sý á méj, þe élsk fðú? (u-u-u, je)
Tell me, who do you love? (oo-oo-oo, yeah)

Jé máðe béde et és nyt méj (u-u-u, je)
I know very well it’s not me (oo-oo-oo, yeah)

Jé vek nyt de inon gratáning
I’m not the one who’s crying

The one line gives Marja a tiny break from singing and so she decides to look at the audience and smile and some of the people cheering her on at the front of the audience, right next to the stage.

Þe élsk fðú?
Who do you love?

These repeated lines give a good opportunity for a camera to follow around Marja in a circular motion. Marja smiles at the camera while singing, and then changes to a stage camera facing her, where Marja then turns to look at.

Sý á méj, þe élsk fðú?
Tell me, who do you love?

Élsk fðú? Élsk fðú?
Love who? Love who?

Élsk fðú? Élsk fðú?
Love who? Love who?

To end the song, the background dancers stop dancing, and Marja walks away from them, being completely independent for the last part of the performance. To also capture this, is just showing her face. The last line "La liv gőj rá þe yt sædeg svadrö" is a changed up line from the other chorus parts heard in the song to attempt to make it a less predictable ending.

Þe élsk fðú? (u-u-u, je)
Who do you love? (oo-oo-oo, yeah)

Veíg vorholde, je, þe tékið (u-u-u, je)
Our relationship, yeah, you took (oo-oo-oo, yeah)

Sý á méj, þe élsk fðú? (u-u-u, je)
Tell me, who do you love? (oo-oo-oo, yeah)

Jé máðe béde et és nyt méj (u-u-u, je)
I know very well it’s not me (oo-oo-oo, yeah)

La liv gőj rá þe yt sædeg svadrö
Let life go to you and turn miserable

A bit of a sad line to end the song on. However, the audience of Carrelie lets an uplifting cheer for Marja, and Marja is left on stage feeling proud of herself, proud of the dancers that helped her, and proud of her song. She lets out a large "TAKÞE CARRELIE! THANK YOU" and blows a few quick kisses to everyone in the audience. The arena goes pitch black again to get everyone off the stage and to prepare the stage for Antahbrantahstan's performance.

by **Antahbrantahstan** » Tue May 17, 2022 6:50 am

19. Antahbrantahstan

TBA - TBA
Tune: Yianna Terzi - Oneiro Mou (Tentative)

by **Plangainer** » Tue May 17, 2022 7:31 am

Jason Blume

Carrie Mill

The contest had come as quickly as the previous one, with Plangainer scoring 109 points on their debut, putting them in 15th place and irreversibly increasing interest in Plangainer on Melodine, with ratings skyrocketing by nearly a million in comparison to the fifth edition of the song festival. This would, of course, entail a second attempt at WorldVision, to see whether the festival's voting rework had any bearing on the type of song that would be sent to represent the country in the competition, which had ultimately decided on a duet, a song performed by Jason Blume and Carrie Mill to leave Orley for Densmouth on a journey to WorldVision.

Camille's unprecedented success was met positively by the general populace, with both a parade upon her return, leaving her emotional at such a reaction. AIM set their sights higher as they started experimenting with a system of voting aimed at giving a broader range of the public a say in the process of choosing the winner and potential representative, who were given the chance to go to WorldVision and try to score big. The sixth edition featured a range of genres and alternative music stars who threw their hats into the ring in an attempt to break through to the festival's final, some succeeded, some did not, and one of the few passing through were Jason Blume and Carrie Mill, who have only recently begun their musical journey, and performing as a duet in the hopes of breaking through and winning the festival - and win they did, with 193 points overall, placing first in the public vote.

Jason and Carrie couldn't believe it, they'd finally made it, having been chosen by the public and given the golden ticket, which they were honored to accept. The air after the festival felt enthralling, as they knew this was their chance to see how well their shot at the contest would go.

Jason Blume as not really a huge pop star back home, but he was well-known by some in and out of the indie music industry. After graduating from Orley College of Music and Drama Arts, he found himself exploring the landscape of avant-garde musical genres, experimenting with what he could to find the type of style that would stick to him, but he'd still continue pursuing pop music and release more than two albums over his career, both of which have received significant amounts of praise. Prior to Melodine, he worked in the music industry primarily as a songwriter for other artists, but some songs included him as the composer, and in rare cases, he worked in both roles, which enabled him to gain a reputation in the indie pop scene. One of his other songs, "Smells Like Money," which Jason co-wrote with vocalist Julia Green, gave him even more motivation to keep going and maybe return to recording his own music, to which he did.

Returning with his homecoming album "Wonderworld," Jason would spark three viral hits that instantly charted in the top 5 on the Plangainerian Billboard and Spotify Charts; this was the moment his career began to take a drastic turn, and two months later released a single "Say Goodnight," beating his triple viral hits and achieving his first number one from a self-produced and self-written piece. Jason was announced to be competing in the Melodine Song Festival alongside his long-time artist companion Carrie Mill six months later, to a resoundingly positive reception.

Carrie Mill had been in the industry for several years, receiving critical acclaim for her most successful album "Cobra," which she co-produced with individuals such as Fritz Lilith, one of the producers who helped compose Camille's song for the Melodine Song Festival and the 98th WorldVision Song Contest "Darling," as well as Valkyrie Scott, an award winning producer for major record labels like Pond Music and Diamond Records. Carrie had already won several awards, including "Song of the Year" at the 30th Millennium Awards for "Goddess" and "Best Vocalist" at the 31st Millennium Awards for "Roses," a song that became an important musical element for the multi-award winning film "Tears of Blood." She's also cameoed in a number of films and TV episodes, as well as participated at the Plangainerian version of The Masked Singer.

She would subsequently declare a year-long break from music, upon which she would return and compete in the Melodine Song Festival, collaborating and performing as a pair with Jason Blume, before going on to send their song to represent Plangainer in the 99th edition of the WorldVision Song Contest.

"STARS"
Performed By: Jason Blume, Carrie Mill

Song Written by: Jason Blume
Producing by: Jason Blume, Liam Lilith, Zayne Francisco
Mixed By: Redwood, Diamond Records

Song Runtime: 3:27 (3 Minutes, 27 Seconds)

Description:

A heavy deadening silence between two close souls left them with a longing to find each other, torn apart by the shadows of uncertainty, as this
song echoes how separation can grow to become one's worst fear.

"I've had friends and family who've gotten very close to early in my childhood," writes Blume, "but sometimes that feeling of having to part ways
from those who you've been close towards, being able to feel safe with those sorts of people and delving far away into the unknown scares me."

Jason Blume with Liam Lilith & Zayne Francisco produced the duet song "Stars" featuring Carrie Mill and competed in the Melodine Song Festival,
winning 193 points overall after having placed Second in the Jury, and First in the Public votes.

Listen to the song HERE!

James and Carrie had stood off to the side as they watched the performers from Antahbrantahstan perform on-stage, the wait for their call to step onto the open stage feeling as tense as it could ever have, clutching their clothes and fumbling with their fingers until they see the act scuttling away out of sight, until one of the stage crew taps them on their shoulders and give the all clear to proceed onto the stage. They hear the audience begin to applaud as the next act is being prepared and the postcard is being shown, with the piano and microphone stand being wheeled out from the backstage and onto the set, as they see themselves appearing on the large screens scattered throughout the arena in several places, James is guided towards the piano as Carrie walks to her starting position just out of sight from the rest of the set, as required per their staging of the performance. Quickly glancing at one another they nod and wave towards one another before giving a few more glances towards the vast audience that filled up each individual seat in the arena, spotting a few with their phones out and recording, for which Jason didn't spare a moment to blow a kiss towards several of the audience members.

But as the postcard comes to a close, with the audience letting out a welcoming applause as the screens in the arena showed the distinct Plangainerian colors of Yellow, Blue and White. This was it, to say that Carrie and Jason hadn't been nervous about finally appearing on a big stage would be a big underplaying on their journey from home, it was a big undertaking to try their shot for a higher score above their debut, but of course this was something the duo had sought out to beat in any case they could with their song an performance, to put all of their efforts on maximum and aim higher on the scoreboard and prove right to their nation's capabilities in making it big and setting the bar higher and higher, to say they would win it here wouldn't be wise, but even if they don't manage to succeed, they will still be grateful for the privilege of being sent to represent their home nation, and for the memories and moments made in Densmouth, as well as the wonderful artists they met along the way from other nations, knowing of all the new ventures that would await them after this.

As they heard the start of the countdown through their in-ears signaling the beginning of their performance, Jason leaned his fingers atop the keys...

The opening shot fades into a blurry silhouette of Jason Blume sitting at the piano, wearing a dark navy blue suit with faint patterns which slowly faded from the navy blue to white as they moved the wrists, most of his apparel being of the same color, in the center of the stage as the image becomes clearer as the camera slowly moves towards him, sitting by the piano as it was lit by a singular spotlight casting down at him at an angle, masking his face facing in the direction of where the camera was approaching in a dark silhouette, the camera shot lasted through the entirety of the first verse as it moved from the right side towards the left across the span of the stage.

The crowd had begun to cheer once more as the song started to play, as James leant into the microphone which was propped up by a stand in front of him as he played the piano, illuminated by the singular light casting down and leaving a defining outline which helped to separate him and the piano from the pitch-black stage.

Fading light through broken mirrors
Darkness filling up the seams
Waiting for you
Thinking of your lullaby

The clock‘s ticking and you‘re not here
Dream that you run back to me
It’s so cold here
Like a stranger sitting all alone now

The shot faded to another lengthy Steadicam shot but from the other side of the piano, the background now filled with lights of the audience as Jason continued to sing. The spotlight was switched to another off from the stage to the side, which retained the outline lighting and keeping Jason's face mostly shrouded in the shadow, the shot maintained a slow glide across from the right towards the left of the stage, to where it slowly panned to Jason pressing down onto the keys of the piano. Once the last line was being sung, the camera cut to a crane camera which slowly zoomed out away from Jason and the stage before slowly fading to black.

For the days that we have spent
And moments we have shared
I hold them close to my heart

But if there’s something that I did
That made you go away
I‘d make sure to mend all those wounds

The outline faded from the sharp contrasting white to a more subtle orange as Jason was lit up by two more spotlights, one of which had a warmer hue to it but only gave a subtle gradient as the other secondary spotlight acted as the primary illuminator, the LED backdrop just behind the kinetic sun had a video of a mountainous landscape as the sky was filled with orange dust clouds mixed in with spiraling lines and particles that moved slowly towards the general direction of the screen.

The stars never stopped to fade
The days of joy I can’t forget
A dearest memory of you
Will it fade away?

The arches which were facing the fixtures side radiated a soft, deep blue glow as the shot was cut to a spider-cam which slowly pulled away from the stage showing Jason being visibly lit up by a singular spotlight from up-top, zooming out as the stage was now enriched in a mix of deep blue, with the area leading towards the B-Stage instead possessing a warmer orange. The shot then later fades as the chorus ends.

I’ll be looking at the wall
And singing songs to keep me calm
I promised to never leave your side
But here I am, by myself tonight

The shot fades back into an top-down shot which slowly moves down, panning up as it glided towards the front-end of the B-Stage while still following Carrie Mill walking down along the catwalk, as she wore an all-black uniform set with a mixture of maroon and deep purple crystal-like scales that covered her left shoulder all the way down to her ankles, the area around her left shoulder to her wrist bare and open as pear-cut gems went down along her left arm in a subtle gradient. Descending down the catwalk towards the B-Stage, the arena lighting up with a soft mix of oranges and iridescent blues with the floor LEDs showcasing a glittering starfield, as Carrie makes it to the center of the B-Stage, the shot is cut to a rail camera which slowly pulls out to show the stage as it glides slowly from one side to another.

I still hear you, sirens calling.
Looking for you in the dark.
All those days of you and I staring at the clouds.

Far away, so far away too.
That I feel the air getting cold.
Here without you
It’s getting hard to breathe.

The lights on stage slowly fade to black, as the backdrop now transitions to a more intense cloud-like visual, with rings and lines radiating around the kinetic sun in glittery orange and yellow colors, the lights on the stage turn to a more golden mix of yellows and blue-ish purple, as the kinetic sun now slowly begins to rotate with each individual arch moving in a random direction.

The stars never stopped to fade
The days of joy I can’t forget
A dearest memory of you
Will it hide away?

I’ll be looking at the wall
And singing songs to keep me calm
I promised to never leave your side
But here I am, by myself tonight

As the instrumentation grows ever more dramatic, the lighting on the stage begins to pulse in time with the underlying percussion. As Carrie would walk back from the B-Stage towards the main stage, the lighting on the catwalk would trail behind her and change to a vivid blue color before fading back to its warm oranges. The shot then switches to the right-side crane camera, which would follow Carrie's ascent as she'd walk her way up the platform towards the front of the set, before cutting to the Spidercam as it glides across the arena towards the front-end of the very stage, as James gets up from the piano and walks himself towards the opposite of Carrie had stood. The lights on the stage fades as the instrumentation dies down, before the shot fades to black.

Nothing will stop me from reaching my hand out to you
The wind trying to blow us down
But I’ll keep moving on (I’ll keep moving on)
So that we could be together (we could be together)

The image gradually zooms in from the track camera which gradually panned from left to right around the bounds of the main stage's to James and Carrie, who are illuminated up by two lights from atop the set, with a warmer tone of orange illuminating James and an opposing blue lighting Carrie. The kinetic sun is lit up by a glorious mix of blues and yellows upon the explosive swell of the instrumentation, the backdrop visualizing a shiny, pearlescent mix of the two colors scattering in a haze of clouds and particles, while the lights periodically flash white on the recurring percussion hit. The pair are engulfed in a twirling fog created by the wind machines, which lends volumetric grandeur to the view thanks to the lighting above the sun.

The stars never stopped to fade
The days of joy I can’t forget
A dearest memory of you
Will it hide away?

I’ll be looking at the wall
And singing songs to keep me calm
I promised to never leave your side
But here we are, all alone tonight

The song ends in a soft blue haze shining behind the stage, as the clouds in the backdrop slowly fade into the darkness of the arena, with a large cheer of the audience following after the piano track echoed away into nothing, as the two walk up and embrace one another in a moment of happiness which followed soon after their performance, Jason and Carrie looked at the vast audience both of them sharing a smile before bowing down together.

"Thank you so much Densmouth, you're all wonderful!" Carrie shouted into the mic, with James and her waving to the applauding crowd as they walked off stage. The applause slowly died down by the time the second host intervention began.

by **Carrelie** » Tue May 17, 2022 7:49 am

HOST INTERVENTION 2

Worldvision Song Contest 99 | Densmouth, Carrelie

Worldvision Song Contest 99 | Densmouth, Carrelie

Erie-Arcadia of Wombats

08|StrayaRoos|αλρηα-Stars

WITHDRAWN

20. Plangainer

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