WV100 Special Edition | 2nd Chance | Schuftsburg, Caryton

[Spiritual Republic of Caryton]

Welcome to the Centennial Special Edition of the
WorldVision Song Contest
Hosted in the lovely Schuftsburg, Caryton

Host Info _-*-_ OOC Thread

---

---

[TESTCARD]

[10..9..8..7..6..5..4..3..2..1..!]

IN COLLABORATION WITH THE IBC...

TRINITY BROADCASTING NETWORK OF CARYTON TV STARTUP (end 1:43)

A colorful depiction of the austere and pious citizenry of Caryton roll along the broadcasting screen. Families in modest Mennonite-type clothing smile at a bountiful green field. The brass and gold glory of the Georgine Central Opera House sparkle. Farmers and laborers work diligently as a church bell tolls on a distant hill. The startup ends at about the 1:43 mark. A panorama of the now bustling city of Schuftsburg in never-before-seen high quality is displayed, tourists enjoying the unique environment of the German enclave town as the special edition nears its commencement. Foreigners can see tourists cramming local businesses. The clinkery of diningware compliments the delicious-looking schnitzel being plated for the visitors to enjoy. Nearby, the host town's citizenry take tourists' hands in traditional dancing as the steamboat from the Arden River Tour sputters charismatically in the distance.

This Image takes up the screen in a live video feed as the silky, retro bass of the hosts' voice greets the viewer.

KARL ADAMS: "Welcome one and all to the WorldVision 100 Special Edition, the Second Chance! I'm your host, Karl Adams..."

The video cut to Karl standing in a dapper suit in a private viewing booth of the crowded venue. Fans excitedly settle in. Next to Karl is a familiar figure...

CAROL EMERSON: "And I'm your co-host, Carol Emerson. Substituting for the great Latanya Anderson as she is away performing."

KARL: "We have a wonderful event planned for you today. Here in historic Schuftsburg, we embrace this edition's message of celebrating the gift of song! The unifying mother that is music, that binds all people from the multiverse in solidarity."

CAROL: "We pray this edition is as fulfilling for you as it is for us."

KARL: "And so, without further ado- the opening act! We wish all entrants good luck, and a very merry Willkommen zu Schuftsburg!"

---

_-*-_

---

[Spiritual Republic of Caryton]

Opening Act
Sing Together by Summerset
tune

Summerset is a sunshine-pop band native to southwest Caryton, which encompasses Schutfsburg. An amateur band of 2 men and 2 women, the opening act is a high honor given to them by the county. Of all candidates, they would be selected to sing a song of unity.

-

Don't you get tired of the sour?
The constant fighting and hatred every odd hour?
It simply hurts!

And wouldn't you rather just... embrace people all around?
Don't you want to sing, sing together? (Don't you wanna sing together?)
Bring the derision to the ground! (Don't you wanna sing together?)
Don't you wanna sing together? (And so we can overcome!) So we can overcome?

A song is like medication for the soul.
A song can help everyone young or old.
Because the things of music are gold!

And wouldn't you rather just... embrace people?
Don't you want to sing, sing together? (Don't you wanna sing together?)
Bring the derision to the ground! (Don't you wanna sing together?)
Don't you wanna sing together? (And so we can overcome!) Oh, let's overcome?

Sing together, as a humanity! (Ah.... overcome!)
Sing together, as a community! (Ah... celebrate!)
Sing together, as a peaceful union! (Oh... Celebrate the gift of song, celebrate the gift mmm-)
Sing together, as a history! (Oh....)
Sing together, as a future! (Oh... you know...)
Sing together, as...

[Spiritual Republic of Caryton]

[LIST OF ENTRANTS HERE/PARADE OF NATIONS]

[StrayaRoos]

01-StrayaRoos
ZoLo & Lucky-BURN

---

Mans-Zemerlow-Fuego

---

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Yeah-eah!

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

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

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

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

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

[Vartugia]

02. Vartugia

The Friendatubbies- "Let`s Go Commit MassAtrosities!!!11" (WSC75)

Teletubbies - Teletubbies says “Eh-oh!"" // Playlistfriendly rip

NOTE! This entry was orginaly written in 2018 and might be seen as insentive due to current events.

---

The Friendatubbies became infamous when they took part in Worldvision 75, where they ended up murdering everyone.

---

ON STAGE

Main vocals: Dinky Spinky
Main vocals: Dipshit
Main vocals: Ethnic Cleansing
Main vocals: Murder Spree
Thing: A sun with a face.

---

The sound of some baby laughter is heard as we see a happy sun across the stage as the Friendatubbies run and then play some ring around the Rosie thingy. They sing but are not remotely in tune.

Meet the Friendatubbies
Meet the Friendatubbies
Meet the Friendatubbies
Meet the Friendatubbies

The audience at the venue is so confused what the fuck is happening? They then present themselves, in the most childish way possible.

Dinky Spinky (Dinky Spinky!)
Dipshit (Dipshit!)
Ethnic Cleansing (Ethnic Cleansing!)
Murder Spree Murder Spree (Murder Spree!)

Friendatubbies (Friendatubbies!)
Go commit death (YAAASSSS!)

The audience with open eyes realizes that they are fucked. The Friendatubbies then jump off the stage, pulls up chainsaws, knives, swords, and guns, and then begin to slaughter everyone (including the contestant at the greenroom, the camera operators, backstage crew, producers, and journalists). A group tries to run away, but all way out are locked and they end up being murdered by Friendatubbies.

The Friendatubbies then jump back up to the stage after the mass murders and dance some awful dance moves. Ethnic Cleansing randomly falls off the stage despite she is in the middle of the stage but I don't want to use extra afford in the RP lol.

Dinky Spinky (Dinky Spinky!)
Dipshit (Dipshit!)
Ethnic Cleansing (*Screams in agony*)
Murder Spree (Murder Spree!)

Friendatubbies (Friendatubbies!)
Go commit death (YAAASSSS!)

A random sheep enters the stage and what The Friendatubbies do to the poor sheep will not be written as it surely will break the Forum rules. The long answer is that it's a bit lewd and end with the sheep`s head being cut off.

And then, more unfunny dances while everyone is dead.

Dinky Spinky (Dinky Spinky!)
Dipshit (Dipshit!)
Ethnic Cleansing (*The sound of dying*)
Murder Spree (Murder Spree!)
Friendatubbies (Friendatubbies!)
Go commit death (YAAASSSS!)

The Friendatubbies then randomly take up a dead corpse and then rips off the dead corpse's heart. They then sing but they sound so satanic this time for some reason.

Hey Hey Worldvision
We are won the song fest
We is family safe for kids
As long we have no blender
Oh Shit! Oh Shit!

They get normal voices again as Murder Spree throws the corpse off the stage, and then spills the stage with blood.

Dinky Spinky (Dinky Spinky!)
Dipshit (Dipshit!)
Ethnic Cleansing (*Is dead*)
Murder Spree (Murder Spree!)

Friendatubbies (Friendatubbies!)
Blood!

The sun goes down as if nothing has happened. The venue is full of dead corpses and this by default ends the contest leaving 3/4 of the Vartugian act the sole survivor and the winner by default. The rest of the thread happens as if nothing has happen.

[Achaean Republic]

3| Achaean Republic
Yileishka Mercado: Chanson
Tune: Ana Mena-Música Ligera
Music & Lyrics:Augusto Yací Jiménez (Y-Jací), Cristal Oviedo, Fernando Zayas

She grew up listening to French chansons alongside the border between Metrópolis and the Federal District, the capital of the Achaean nation that switched names and allegiances faster than you could point a corrupt politician at them. From the bucolic, outgoing, extemporaneous and impulsive cacophony of music surrounding her in Achaea, she appreciated the staid, placid harmonies of French crooners in their chansons, even if she couldn’t understand the French language well. Well, until her parents got her a French language tutor who knew (and maybe dated) several chanson luminaries and corresponded to them on a first-name basis. Piaf. Gainsbourg. Clément. Fréhel. No one, not even her parents, know how he ended up in Achaea out of all places. Some say he was a double-agent Vichy collaborator/legionnaire that left France when things went south. Others say he fell in love with an Achaean—nobody could tell if it were a woman or a man, for his mannerisms were quite confusing—but he always brushed off any questions regarding his backstory. Regardless, the Frenchman introduced the young up-and-coming chanteuse the value of chanson.

Chanson led her to a path of music and poetry. The daughter of a public accountant and a public school music teacher, the young muñicista named Yileishka Mercado Mendoza (no relation to former WorldVision entrant Viviana Mercado) wanted to envelop herself in beautiful melodies and the ephemeral glances of music. She played the piano while she excelled in math and statistics, maybe even following her father’s footsteps as a public accountant by passing federal exams and acing the interviews (and maybe pulling a few strings here and there). It wouldn’t pay much, but it would be stable, rewarding work and a guarantee of a pension after 30 years of federal service. But no, she would stick to learning chansons in a language she barely understood, in a culture she barely dipped her feet in.

Chansons became her comfort when she felt afraid or sick or tired or exhausted. There was always a Piaf or a Gainsbourg lyric to comfort her when something in her life went sour, like that time her best friend died of leukemia while she was on a student exchange trip to Normandy and Picardy. Or that time she learned (through other ears, no less) that her parents would consider separating. Or that first time she lost her virginity a few months after graduating from high school—the chocolate, the candlelight, the romance of it all. There was always a chanson for every ocasión in Yileishka’s life—an old soul, perhaps.

This is what motivated her to sing Chanson, a retropop song composed by her as she was invited to compete in this edition’s WorldVision: La Nacional. After a middling place for a rebooted competition, the organizers decided to give the competition another chance and gave the opportunity to ten new singers to perform their best for the juries and the voting public. How did she manage to clinch both the televote and the jury after intense deliberations and discussions by the Achaean entertainment, was a surprise. She even thought of entering the long-running Festival de la Bahía, the country’s second-most prestigious music festival with Chanson, never knowing that she would be selected to represent the country in Caryton (Caryton!?). It shocked her greatly—even while she was boarding the plane to the nation, more so when she was still reeling off her third-place in Beepee!

---

Four women were on center stage, each of them with their backs on one side, and Yileishka standing in the middle with her microphone stand. They all had microphone stands, in fact—those big things that looked like fuzzy boomboxes and picked up the air like in the 70s. All the backup dancers used the same flower-mushroom fabrics, each tied to their specific personalities. The first vocalist, named Arelis, wore her fabrics on a fashion similar to a houndstooth tee and a miniskirt with vintage Converse All Star sneakers and a Farrah Faucett-style hair that coiffed into her shoulders to voluminous degrees. She had a tambourine in her hand, one she may have smuggled from her grandmother’s purse before she went to church. Then there was another singer with an afro (it was hard to distinguish from a distance whether or not it was her real hair) wearing a get-up similar to something Cleopatra Jones would wear in her action movies, alongside the attitude and the faux-fur coat. It looked great, regal, royal, vintage. She had a guitar in tow. Then the third singer used a jumper-style skirt with the overlaying fabrics and a white blouse as an accent, almost as if she were friends with Nancy Drew. Oddly enough, she also carried a smaller violin than usual, but she managed to have enough dexterity to play and sing at the same time. Then Yileishka was in the middle wearing her loose, dirty blonde hair tied out (she washed it two times beforehand) and wearing a sequined rose gold mini dress with adjustable band straps and matching sequined pumps. She looked elegant and vintage, almost as if she came crooning out of a Saturday night variety show back in 1975. Her makeup was minimal and effortless, just as she wanted to look in her pictures.

It was complicated enough. In Beepee, she could afford to be a little more sexual, looser, free. Not so much in Caryton, where the crooning from a Saturday night variety show would cause enough stares and heart attacks for the well-meaning yet fashionably stunted Carytonians. More so with her being an Achaean, whom many even likened to a tropical Sodom and Gomorrah of sorts, which did not help any matters. Which is why for this performance, she and her crew needed to cover legs, shoulders, tattoos and even unhem the skirts and pants and wear natural make-up so as not to distract the Carytonian men.

Eran tantas ruinas, ¿será un corazón
Llegando a la muerte con tanto dolor?
Tantos inocentes haciendo su vida
Una realidad
Trompetas anuncian cuando tú te vas
Me hiciste perdida

One of the top cameras slowly slid down the bird’s eye view and showed a dejected, forlorn Yileishka, ruefully grabbing her microphone. Her sultry voice also captured the torn feeling of the song, the nostalgia it attempted to exploit. She raised her right hand while grabbing her microphone with the left, despite being right-handed. She swayed with her left-right movements while slightly tossing her hair. Spunky, yet dejected. Pained, but accessible. Yileishka adored exploiting those contradictions more so than she liked exploiting her good looks and soft-spoken, bubblegum voice to get people (especially men) to do her bidding. It worked well for her in high school. Maybe it could work for her while competing, too. It definitely served her as she scrounged to the top in the charts and the Achaean national final.

The lights surrounding the stage converted into orange, rose gold, white tones in sudden succession. The singers were enjoying their moment on stage while playing their instruments as Yileishka sneakily moved past them. The cameras focused on her blonde body and her shiny dress shaking past each backup singer for what appeared to be an interesting optical illusion. Yileishka was never a dancer, and she un-proudly admitted to that. Not an issue, said the delegation—pathos, nostalgia and clever camera tricks ruled the day.

Dame una chanson que se asemeja
Lo que éramos antes
Cuerdas inquietísimas
Dejarnos en el silencio
Aunque sea otro día
Dame una chanson que se asemeja
Al nacer como infantes
Hazme olvidar un poco de quien yo soy
Y no perder la razón, yo tengo miedo

The spidercams swiped left and right as Yileishka hurried back to the front podium where she was originally singing. She continued to croon to the music, attempting to portray the same nostalgia, anomie, confusion and disdain over a long-lost love. She needed to remind herself of the chansons of years past, the ones the used to sing to herself while her face was buried on a pillow and tried to muster the courage to face her problems herself. She wasn’t crying, nope—it was the sweat pouring from her hair to her forehead and a little to her eye, the beads of sweat dripping down the bodice of her dress near her breast. It was warm, she thought, with all the lights on stage pouring down like a thousand suns and ruining her makeup. But she was used to it without lights and just a regular sun pouring down on her while in Achaea. Ah, screw that, she thought—at least it made her look sexier.

Si aún los hermanos pelean, yo no
Tantas sensaciones que se hacen malditas
Quién lo logrará
Trompetas anuncian cuando tú te vas
Tus cosas sueltas en trizas

Once again, the chorus. This time, instead of the birds-eye cameras grabbing the performers from top to bottom, a side camera captured the zoom-out image of Yileishka and her performers behind her into the overall stage, then another wide pan with the audience included. There were a couple of Achaeans scattered throughout the audience floor, ones that raised the legendary fueguero flags and had flagged masks and shawls (even though the contest occurred in the middle of the Northern Hemisphere summer, with enough clothing to please the Carytonians but not enough to slightly scoff at their displeasure for being puny Achaeans), waving and rooting for their entry. Yileishka continued to look dejected, forlorn and rueful, sultry, spunky, nostalgic and dejected. She tried to remember the chansons on those vinyl discs in her tocadiscos, the ones she still kept a tight hold on whenever she went to her parents’ home in San Fernando.

Dame una chanson que se asemeja
Lo que éramos antes
Cuerdas inquietísimas
Dejarnos en el silencio
Aunque sea otro día
Dame una chanson que se asemeja
Al nacer como infantes
Hazme olvidar un poco de quien yo soy
Y no perder la razón, yo tengo miedo

For this part of the song, Yileishka went back to her podium facing the crowd. A handheld camera was circling around her, more so with the backup singers perched on their stands and instruments, as well. She endeared herself to the audience, whipped her box-blonde hair back and forth (she was originally a brunette), carried her chorded microphone (she used that instead of the wireless microphones to keep a sense of historical anachronism), and shook her shoulders back and forth. This is the same spin that happened in the music video they were trying to reference. Then, a camera angle rapidly zoomed out and one could appreciate Yileishka’s vocal range, her head pushed back, her body arched, her dress shimmering in rose gold sparkles. The sparkles also ranged around the arena with the orange, rose gold, white, red lights surrounding the stage, the music, and the cheering audience.

Chanson por tus pecados
Chanson por cada helado
Sueño que te entrometes
Y me dejas en paro
Quien anta en su pedazo
Escucha un poco de tus sueños
Y dame un abrazo
Nadie habla con detalles
Y me dejas herida
En cada diccionario
De sueños que vendías
Nadie me hacía caso
Menos los de la esquina
Los locos que no creen en nadie

Dame una chanson que se asemeja
Dame una chanson que se asemeja
Dame una chanson que se asemeja
Dame una chanson que se asemeja

Finally, the chorus. It was time to bring it home. It was time for the camera angles to show This time, instead of the birds-eye cameras grabbing the performers and Yileishka in the center. It was time to get those wide pans of the cheering Beepeean audience, the fuegueros, the masks and shawls, the overall ambience, nostalgic, human and humorously anachronistic. Yileishka continued to look dejected, forlorn and rueful, sultry, spunky, nostalgic and dejected. There weren’t any chanson she could remember, but she tried looking as if she knew what she was doing. Faking it was more than enough.

Dame una chanson que se asemeja
Lo que éramos antes
Cuerdas inquietísimas
Dejarnos en el silencio
Aunque sea otro día
Dame una chanson que se asemeja
Al nacer como infantes
Hazme olvidar un poco de quien yo soy
Y no perder la razón, yo tengo miedo

The song ended, and Yileishka and her crew hugged each other, waving their hands to the audience. “¡Gracias, Caritón! Thank you so much! Gracias!” Yileishka said to the crowd who cheered on her. It was hard to say if they truly enjoyed the performance or they were doing it out of politeness. It was a tough crowd to follow, and the crowd tended to be tougher as the night wore on. Or more religious. It was hard to tell how things were run in Caryton.

In so many ruins, can this be a heart
Arriving to death with so much pain?
So many innocents
Trumpets announcing when you are leaving
You made me lost

Give me a chanson that feels like
What we were before
Disquieted chords
Leaving us in the silence
Even if it’s another day
Give me a chanson that feels like
Being born as infants
Let me forget a bit of what I am
And not lose my reason, I feel afraid

If even brothers fight, I do not
So many sensations that feel cursed
Who will make it?
Trumpets announcing when you can go
Your things left in pieces

Give me a chanson that feels like
What we were before
Disquieted chords
Leaving us in the silence
Even if it’s another day
Give me a chanson that feels like
Being born as infants
Let me forget a bit of what I am
And not lose my reason, I feel afraid

Chanson for your sins
Chanson for every ice cream
Dream that you meddle in
And leave me stunned
Who walks in its place
Listen a little of your dreams
And give me a hug
Nobody speaks with details
And you leave me hurt
In every dictionary
Of dreams that you were selling
Nobody listened to me
Except those in the corner
The crazy ones that don’t believe in anybody

Give me a chanson that feels like
Give me a chanson that feels like
Give me a chanson that feels like
Give me a chanson that feels like

Give me a chanson that feels like
What we were before
Disquieted chords
Leaving us in the silence
Even if it’s another day
Give me a chanson that feels like
Being born as infants
And not lose my reason, I feel afraid

[Beepee]

Withdrawn

[Beepee]

Withdrawn

[Elejamie]

06- Elejamie

Eterna - Goodbye

Tune: Panama - Always

Clicky HERE for original post

Left to right: Ryan Burns (keyboard, guitar, bass, occasional backing vocals), Bernard Jones (piano, keyboard, vocals), Mike Ramsey (drums, drum machine, vocals).

Ryan Alexander Burns was born in Coventry, AVEN, on 31st December, 1989. The son of a lawyer and an elementary school teacher, he was more interested in listening to music rather than making his own. While he did have some basic idea of how to play a keyboard due to him learning how to do so in high school, he originally wrote it off as something he’d never have to do when he sought employment. However, one Summer at the age of 16, he was so uninterested with the music that was dominating the airwaves at the minute that he made a Ꞅ20 bet with a friend that he could make something better that’d get played on the radio. Calling himself Lacemaker and with the help of some music software he downloaded, as well as a keyboard he borrowed off of a friend, he made a quick 4-track demo and sent it off to a couple of radio stations. To his surprise, one of the songs (which wasn’t named and thus was dubbed Song #3) did get a bit of playtime and, thus, he won that bet. He handed out a few copies of the demo to friends and kept a copy of it for himself but, other than that, he completely forgot about it after a few months and just carried on living life as normal.

However, at university while he was getting a law degree, he decided to resurrect the project, primarily to stave off boredom but also so he wouldn’t be so reliant on his parents for money. Using both his dorm and the university’s music studio as a way of making his music, he also learnt how to play guitar, bass and a whole heap of other instruments. To his surprise, he found out that his demo was quite popular and there was enough of a fandom to keep making tracks, so that’s what he did. As Lacemaker grew and that became his main focus, to the point where he ended up not going to law school after getting his Bachelor’s, he decided to expand from a solo project and ask a wide variety of guest musicians to either play with him live. Primarily because he wanted to include instruments he wasn’t really able to play but also because he decided he wanted to add vocals and he wasn't sure about his singing voice. Hiring a wide variety of musicians, both famous faces and up-and-comers, to help him out with performances and the odd in-studio thing he worked on, Lacemaker would soon prove to be a smash hit in the alternative scene despite tours being a rare occurrence and performances outside of the country being a rarity.

However, there were two musicians who completely stood out to him. The first was Mike Ramsey (born 12th May, 1986), a former drummer and backing vocalist for the Avon-based band The Sharp Nights, who had left the band amicably to concentrate on this new project. Originally having little to no interest in the style of lo-fi somewhat ambient music that Ryan was providing, he’d soon get into it after a few performances and would provide his own spin on things, adding more of a rock sound due to the use of an acoustic drum kit (only resorting to an electric one if the circumstances won’t allow it). He first worked with Lacemaker after answering a personal ad asking for a drummer for a live performance and ended up having such a great time of it that he decided to help out in future performances, only not showing up if he was otherwise unavailable.

The second was Kara Lindsay (born March 22nd, 1990). Born in Murgon, BNTT, she moved to Coventry when she was 18 for university. While she was studying microbiology, she decided to get a job working in a studio. While most of it was essentially being a runner, getting staff their drinks and all that, she also worked as a session singer given that she was part of a choir back in high school; although she also had some keyboard abilities, she wasn’t able to show them off for a variety of reasons. While he was recording tracks for a new song in a professional studio, he came across her singing in a studio and, once they both had some free time, he asked her if she’d be able to record some vocals on his new EP. She agreed to, although due to prior commitments, she had to leave it for a couple of weeks before she had enough free time. When she was able to record, he was interested by what he heard and asked her if she’d like to work together again. She agreed to and the duo quickly struck up a friendship that turned romantic for all of four weeks before returning back to just being friends.

Deciding to leave Lacemaker as a solo project, Burns and Ramsey would soon form Aeternus, the Latin phrase for “eternity”, with Ramsey providing drums and vocals and Burns providing everything else. Following a couple of demo recordings, in which a number of people (and even the band themselves once or twice) kept getting the name wrong, they decided to rename it Eterna, which has the same meaning but is in a few other different languages. After a couple of EPs, 3AM On A Monday Morning and Somewhere Sometime, the duo would then get to work on their first album Madrugada, which got released in early 2014. Although it received a fair amount of buzz in underground circles, often being described as the best Cross Plaza Scene release to never come out of the city, it wasn’t as successful on the charts. Shortly after the release of the album, Kara would then officially join the duo on keys and vocals to make it three and, after a brief hiatus, they got to work on their second album Be Careful How You Spend It, which was released later that year.

However, it wasn’t until the release of their self-titled third album in the Summer of 2015, where they started to gain a bit of traction, thanks to one of the songs being used in a TV show. However, it was around this time that they got noticed by Bernard Jones (born 24th October, 1987), a Bristol-born classically-trained concert pianist who was well-known for his piano concertos, primarily with the Coventry Philharmonia but also with a few other orchestras around the world and multiverse. Upon realising that they sampled one of his performances, albeit with permission, he got in touch with them and asked if they could do a session together, since he thought that them performing together would be much better. They agreed to it and a collaboration EP, simply titled Eterna and Bernard Jones, was released to positive reviews from both classical and electronic fans, who thought that the two artists’ styles meshed together very well. Deciding that they had a good thing going with him, he was allowed to join as the fourth member of the group, although due to his schedule he would often record his pieces as early as possible before heading off to where he needed to go. Despite this, they were able to record their fourth album Wedding Album, named so because it was released around the time Mike and Kara got married (Autumn 2017); it was also around this time that Bernard finally received Elejamian citizenship.

Following the brief mini-tour to support the album, Kara decided to leave the band as she was starting to feel a bit burnt out by it, although she’d also announced she’d still work with the band whenever they needed her. Now back as a trio, Bernard decided to learn how to sing just to ease Mike’s vocal duties. Although he was hesitant to show it off for their first few performances, he’d soon muster up the courage and began singing during a few demos before eventually being bumped up to co-lead vocalist. After a couple of non-album singles which featured his singing, Blaze of Glory and Don’t Forget That You’re Still Number One, they got to work on their fifth album Middle of the Road, which was not only released in late 2018 but also saw him and Mike split vocal duties, as promised. They announced they would be taking a year-long break following the WorldVision Song Contest to concentrate on other efforts but they would be back in 2021.

Or at least that was the plan had it not been for the coronavirus. Although Ryan had managed to get a Lacemaker album out in late January 2020 and even got a couple of performances done, any plans he had for March onwards had to be scuppered. Ditto Mike's side project with Kara, MiKaDeux. Bernard even had a few concertos planned for that Summer, although unlike his bandmates he would get something done in the meanwhile where he just streamed himself performing to pre-recorded music or play some requests (which resulted in a lot of meme covers). They did briefly re-unite to create Your Faith, a potential entry for WorldVisions 86 and 87, but it didn't make the final cut so they went back to their hiatus. Even when lockdown ended and everyone was somewhat free to do their own thing, they were still hesitant to perform together in person so they left it a little bit longer. They did eventually get back together in the Autumn of 2021 to get to work on a new album, A Closed Door for an Open Mind, that was eventually released in February 2022 to positive reviews, with a possible tour planned sometime after the Second Chance edition of the WorldVision.

Let's turn away from the misadventures of Los Hermanos Bailarines in Monterra for a brief moment and instead concentrate on the special edition of the WorldVision Song Contest. Held in Schuftsburg over in the Spiritual Republic of Caryton, who finally got their well-deserved chance due to WV100 host bid runners-up Doportedas declining to host, this contest's theme is "Second Chance". A contest specially made for songs that felt like they should've won but sadly fell short or could've used a makeover. Quite a no-brainer for a nation who had been unable to grab the crown, instead settling for three second place finishes, a single bronze medal and three other finishes in the top five. Originally they were going to send two entries, the other being the somewhat infamous Angel (I Can Feel You Now) by Fata Morgana, however a few hours after its announcement producer Patricio Esposito (who has a well-known grudge against the contest) rejected the opportunity when he found out about it and singer Yoni Maenilon declined the opportunity to go by himself, if only because he pledged not to perform any Fata Morgana songs solo and he intended to stick to it.

Anyway onto Goodbye, as it is the subject of this post. It was the Elejamian entry for the 77th WorldVision Song Contest, held in Majorium in Mister X. It was also their entry back following their boycott of the 76th WorldVision Song Contest as a result of the infamous Monterra Screwjob, where the Vartugian and Savieran juries accidentally sent the wrong votes, something that wasn't noticed for fixed until after the voting had closed, which resulted in a number of points being added or taken away; had Elejamie not been stripped of a single point Fata Morgana would've tied with Polkopian singer Anna Viktoreevna but won anyway due to tie-breakers*. Either way, this was more a test to see whether their high finish in their last contest was a fluke or if they had finally gotten their stuff together and were able to send quality entries. If it was the latter, then they were hoping that this finally avenge their loss whether it be with a win or, failing that, a podium finish without anything going wrong at the last minute. If it was the former then it'd be a sad crash back to reality but it would show that they could still be a competitive nation should everything fall into place for them. It was a bit of a win-win situation, really; either they've finally gotten everything right or they've learnt enough from their mistakes that they could send a potential winner.

However it didn't help that the odds were a little bit stacked against them. After all, it was a massive 180 from their last entry, it stood out like a sore thumb from the more upbeat and poppy entries that would regularly be sent to the contest and having a more stripped down performance compared to the massive shows of lights, dancing and stage effects the other entries usually were. However, they did have a few sighs of relief. Firstly, the Achaean Republic sent something a bit more orchestral which received a bit of hype and, while not a favourite to win, it was quite high up there. Secondly the song itself, inspired by a heart attack that happened to a relative of the band while they were nearing the end of a tour as well and said member wasn't sure if he was able to say goodbye, would probably end up resonating with a lot of people. And thirdly, being something different it could stand out a bit more from the other songs which should attract fans who are tired of the same old stuff.

And, indeed, it ended up being a bit of a runaway success. The first set of points it received was a 12 from Caryton, the first country to vote, whose commentator and spokesperson Carol Emerson praised the simplicity of the performance and how it conformed to Carytonic standards. Furthermore, it would go on to receive points from nearly everyone in the first half of voting, picking up more 12s from Malta Comino Gozo as well as 10s from Ruritane and the Achaean Republic. The only nation that didn't give any points to Eterna was their own nation. By half-time, it was at the top of the leaderboard with 76 points, just 20 points ahead of second-placed Kalosia. Unfortunately, in a pattern that would rather annoyingly become typical of future entries, the second half saw the points dry up. It wasn't all doom and gloom, however, as it would still pick up a 12 from Ertzei Kishim as well as 6s from Kalosia and Antahbrantahstan. When it came to the last nation to vote, things were very tense as Eterna only picked up a single point... which wouldn't have been bad if it weren't for the fact that Ethane would later give their 12 to Todlichebujoku which handed their act MÜRRÁKÁÁN the victory with literally the last set of points. While it was another last minute defeat, much like what happened in Monterra, at least this time it was due to bad luck instead of absolute incompetence so it didn't sting as badly. The country wouldn't get another podium finish until the 91st edition when The Lads and the Lasses would come third with Your Song, whereas the nation wouldn't get another silver again until Lisa Park and Her Gang came second in the 94th edition with Love In The Afternoon.

Eterna, on the other hand, would go on a lengthy hiatus after the contest, not because they were disappointed by the result but rather because they were planning to do so after the WorldVision regardless of what happened. While their hiatus had to be extended due to the COVID-19 pandemic, they did briefly re-unite to make a song called Your Faith, which was their entry for the 86th WorldVision Song Contest that ended up being rejected and saw them go back to their break. And, after all the stuff I mentioned in the Artist Background, they were pleasantly surprised when ETV gave them the opportunity to perform Goodbye at the contest once again as part of the Second Chance special edition. After all, given that it was considered one of the country's most beloved entries coupled with the fact that there was a worldwide pandemic that could make it a bit more relevant to listeners, there was a huge possibility that it could finally achieve what it failed to get the first time around. The fact that, since the 82nd WorldVision Song Contest in Tiferet over in Ertzei Kishim, there were separate jury votes and televotes would probably help them out; after all, why worry about being pipped at the post at the last minute with the juries when you've got a huge amount of support from the viewing public.

Anyway, their stay in Schuftsburg. After a flight from one airport to another, followed by a long drive from there to the town as well as a couple of regrets for not taking that steamboat river tour, they received quite a warm welcome. Granted they weren't sure how much of it was due to the whole friendly small town nature of the place and how much of it was due to the possibility that Carytonians still liked their song, it was still a nice reward for them trekking across empty stretches of barren desert, empty plains and absolute boredom that they met during the trip there. Apart from that, there wasn't really much for them to do while they were there but what they did do they at least had some fun out of it. Long hikes in the badlands for Mike and his wife/former bandmate Kara, a bit of agricultural sightseeing for Bernard and taking in the local culture for Ryan given that he had some German ancestry. Of course, there was the small issue of it being a dry area so, instead of a refreshing pilsner or a nice bottle of Malbec like they had in Thatcher City, they had to settle for peach ciders and ginger ale. And that wasn't to mention the whole religious aspect of the host nation, given that Ryan was raised in a religious family but lost interest as he grew up, both Kara and Mike were raised in secular households and Bernard is an Anglican (CofE in his birth country, ACE in his new one) but he doesn't bring up his faith as much.

Eventually it was showtime. They were dressed in the same outfits as they wore in Mister X and, while they weren't able to bring back the same backing singers, they did find a few locals who could do the job fairly well. The rehearsals went fairly well and, given the simplistic nature of their performance the first time around, they made little to no adjustments to it; any that were made were more to accomodate the fact that it was in a tent to a smaller crowd as opposed to an arena with a huge audience. The soundcheck was good, the audience could hear everything clearly as evidenced by the warm reception that most of the entries preceding this one received and they were all calm and ready to perform. Hell, they even received a good amount of cheering during the parade of nations which should hopefully be a confidence boost to them. Their names were called up and they got into position. Now it was just a matter of waiting for the signal to start performing their song.

*In reality the incident was much closer to Bottlegate than it was the Montreal Screwjob but a) pun, b) I didn't really know much about the former incident until sometime after the contest and c) even if I did I don't think Polkopia would want his winner having bottles thrown at her, Kalosia probably wouldn't want such an event RPed in his nation and I don't think everyone else would've approved of it (I certainly wouldn't no matter what).

---

Colour guide:

Green - Bernard
Red - Bernard + Backing singers
Blue - Everyone
Black/White - Everyone (sans Bernard)

---

Once the postcard had finished, we then cut to a wide-angled shot of the stage showing all of the performers. From left to right there was Bernard Jones, sat behind a plain, old white piano which had the lid open; Mike Ramsey, sat behind a white drum kit, although the skins were black; Ryan Burns, standing behind a double decker keyboard stand, with a grey keyboard with colour-inverted keys on the bottom and a dark grey metallic coloured normal guitar-shaped steel guitar perched neatly on the top; and, to the far right to the point where they’ll be mostly off-screen for the stage unless the behind the scenes people do the right cuts, are a couple of backing singers, one male and one female and both local to the area. All the band members had a microphone next to them, with Bernard’s being bent in a way so he can sing lead while playing the piano, whereas the backing singers had theirs right in front of them as you’d expect. With the sole exception of Mike, all the men were dressed in a black suit in varying degrees of buttoned-up, an off-white shirt, a plain black clip-on tie and a pair of black dress shoes. Bernard had his jacket buttoned all the way up all neat and tidy, the male backing singer’s jacket was half-buttoned and Ryan’s jacket was unbuttoned all the way. Mike was the only exception due to him wearing a black waistcoat and no tie instead of a jacket and tie but otherwise had the same attire. The female backing singer was wearing a black dress with a white trim and a white collar, as well as a pair of black high-heeled shoes with a white sole, though fortunately for her the heel was nice and chunky as to avoid it breaking.

The lights immediately dimmed so that the stage was immediately bathed in darkness, followed by a single white spotlight pointing down at Bernard getting ready to perform. We then almost immediately cut to a close-up of him actually singing the song while he begins to play the piano, something that took a lot of tries like they did in Mister X but they managed to get it down relatively pat. However, unlike in Thatcher City, the camera cut to him a fraction of a second too late although the same thing happened in that it'd only be noticeable if you rewatched it a copious amount of times.

Goodbye, it’s tough but I know
So long, I’ve got to let you go

Once Bernard was done singing his bit, we then cut to another wide-angled shot of the stage, which showed another white spotlight pointing downwards but this time it was on Mike who began to drum along to the beat. Or, rather, kick the pedal to play the bass drum. Afterwards, it cut to a short shot of Ryan, surrounded mostly by dim light other than a few areas of light from Mike’s spotlight, playing steel guitar by sliding a tone bar over the strings on the body with one hand while he used his other to pluck the strings on the neck. When Bernard was about to sing again, the camera then cut to him doing so.

I know that you can’t hear me
Now rest well, my friend, your soul’s now free

The lights briefly dimmed before all of the spotlights turned on at the same time, right when they began to sing again, completely illuminating the stage to reveal the band to the audience and, most importantly, to the folks back home. The stage itself was a simple affair, with the screens behind the band being completely black as if they were turned off (mainly because they were) but any lights underneath the stage were a bright white; any other screens, namely the ones outside the tent, were still on but they were more or less showing the TV feed just so they could see what was going on. There were no gimmicks, no dancers, no images, nothing to distract from the simplistic on stage performance on stage. Just three people playing their instruments and two local singers backing them up. Nothing more, nothing less.

Goodbye, it’s tough but I know
So long, I’ve got to let you go

As he sang the first line of the next verse, he closed his eyes as he still played the piano. He did a reverse blink, opening his eyes briefly before closing them again, during the break before re-opening them halfway through the second line. All of this while the camera slowly panned from the left of Bernard to his right, stopping when he finished his verse.

Now you’re gone
And it feels like my life’s been torn apart
An empty soul and a broken heart

Right after that last verse, the cameras slowly faded to black while the stage itself remained the way it was. It then immediately cut to a slow-motion zoom onto Mike, playing his drums while staring intently into the camera. When it came time for the second line, it then cut over to Bernard who shook his head to the right twice in time with him singing the first two words of the line before keeping his head straight while finishing the rest of the verse, looking into the camera from time to time but for the rest of the time either having his eyes closed or looking down at the keys he was pressing.

Farewell, my guiding light
Got to let you vacate this world
And gently go into that night

The lights, both on the rig above the stage and the white light below the performers, immediately turned off and left the stage bathed in complete darkness, to the point where it might’ve seemed like a power cut if it weren’t for a few other sources still producing lights. However, the instant the entire band and backing singers started to sing again, the lights immediately came back on, a bit brighter than before but fortunately not enough to irritate anyone’s eyes. Not just that but there was also a row of flames shooting out of the row of pyrotechnics right at the front of the stage, far away from any of the performers, camera people and audience members. The flames were a tiny bit smaller in both height and width and not as powerful as they were back in Thatcher City but they were still doing a decent job of being the sole stage effect of the whole performance.

Goodbye, I won’t forget you
So long and sleep my dearest friend
Goodbye, I will wait for you
Because I know that soon we'll meet again

During the instrumental break, the camera panned around quickly, showing all of the band members from left to right playing their instruments, before cutting to a close-up of Bernard playing a couple of notes on his piano. Once that was over, we cut to an overhead shot of the audience, some of whom were clapping in time to the beat, making its way to the performers, fading in to Bernard pressing the same keys again. When the time came for the outro, Bernard just kept playing his piano and instead left the singing to the other members with the camera slowly panning over to Mike and Ryan singing their bits.

Goodbye, now that it’s over I’ll accept the truth
That I must go on without you
(Goodbye) Goodbye, though I thought I’d tell you that this ain’t the end
(Goodbye) Take care because I know we’ll meet again

The camera then cut over to the backing singers singing the first “Goodbye”, before immediately cutting to Bernard playing his instrument, cutting once again to a close up of him hitting the same couple of notes on his piano. Afterwards it cut to the same backing singers, the male of whom started to raise his hands into the air as he sang and lowering them when he was done, before the camera cut yet again, this time to Mike drumming.

(Goodbye)
(Goodbye)

Once all the vocals were done, we see the lights start to dim but still lighting up the musicians. After a mostly wide angled shot of the performers, we then cut to a brief few seconds long behind close-up shot of Ryan pressing a few keys on his keyboard, moving one of his fingers slightly to play the next note, before cutting to an extreme close-up of Bernard's hands playing the last few notes of the song on the piano. Immediately after the song was over, he lowered the fallboard so it was covering the keys, with the resulting faint sound even getting picked up by the microphone.

Regardless, they still got a good round of applause from the viewing crowd. Sweeping shots showed that there were a couple of people giving it a standing ovation, presumably because they're also from the same country. There was another sweeping shot too but it was also of the crowd outside the tent cheering for the act they had just seen. When the time came to acknowledge the crowd, the band decided to do the same motions they did in Thatcher City, where they got up from behind their instruments and simply waved to the crowds. They didn’t smile or anything, they kept the same blank, neutral expression they had throughout most of the song; a stylistic choice given the type of song they had performed and they felt that showing any sort of emotions that could be seen as “happy” would taint that message. They even went as far as to agree not to smile or celebrate any votes given to them, including any 12 points should they receive any.

Bernard then leaned down and spoke into the piano microphone, saying a simple “Thank you.” before most of the band left. A couple of them stayed behind to help the stagehands get ready for the next act, not only in an attempt to endear themselves to the locals but also because some of the stuff probably would've required an extra hand even if they could manage it, before they too disappeared off-stage. The stage was now empty and it was time for the next act to get ready; Rika and the Pande's with their song "Selamat Tinggal Kekasihku", the Pemecutanian entry for the 92nd WorldVision Song Contest. Elsewhere, Mike, Bernard and Ryan were relaxing backstage with Kara and the backing singers. Everyone involved was pleased with the performance they had just given, no doubt about it as evidenced by how calm they were on the outside and on the inside, but it was still a matter of whether or not everyone else liked it. At least they had something to do while they played the waiting game.

[Pemecutan]

7/#PCU

---

---

Rika & The Pande's-"Selamat Tinggal Kekasihku"

---

---

Title Translation: Goodbye My Love
Language: Pemecutan Malay

Music: Pande Ekajaya
Lyric: Pande Ekajaya, Rika Widyastari

---

Tune: Gone West - I'm Never Getting Over You

A special edition is coming after the WorldVision 100th edition and GBC is excited by it. Following the theme of the special edition, GBC conduct a voting to select previous Pemecutanian entries to represent the country at the Second Chance Special Edition. All of Pemecutanian previous entries are eligible for vote as the country never win the contest. The result of the poll showed Pemecutanian only top 3 entry gets selected as the winner. Baladewa ft. Ayu Laksmi entry at the 90th edition which garnered Pemecutan as runner up. But the official is inclined to send them as Ayu Laksmi was send to the 100th WVSC edition. With that reason, the official select the second place of the poll. Gading Mahesa and Ayu Purnami, Pemecutan entry at 86th edition. However, Gading Mahesa was unable to accepted the selection as he is being hospitalized again. The official last choice is the third place of the vote, Rika & The Pande's.

From left to right: Pande Sukrananta, Rika Widyastari, Pande Wirawan, Pande Ekajaya, Pande Suryanantha, Pande Arimbawa

Rika & The Pande's was Pemecutan entry at the 92nd edition of WorldVision Song Contest. At the contest, the band ended placed 16th out of 29 participant. The band is established more than a decade ago. Started with the 5 Pande's who banded together during their college year. They were met at the Satria University of Arts. The name of Pande is based on the fact that all of them are part of Pande clan, an ancient family clan in Pemecutan which have thousands of familial branches. They start to performed from cafe to cafe in the city of Satria in their college year. To focused in music, the lead singer, Pande Ekajaya have to spent 7 years in college before he graduated.

One time when they performed, they were collaborated with Rika Widyastari, a local singer and songwriter. The chemistry build up between the two and the band officially ask Rika to be part of the band. And the new band officially established, Rika & The Pande's. Their first album was release 2 years after they were established. They took jazz as their main repertoire. But in the course of time, they are also singing and composing other genres such as soul, pop, pop country, blues and reggae. Until today, the group have released a total of 6 albums and several singles.

From the song Selamat Tinggal Kekasihku, the group was nominated for 6 Chakra Awards at the 37th Chakra Awards. Unfortunately, they don't bring home any award. Even though didn't win any awards, but the song success to bring Rika & The Pande's back to Pemecutan music industry after their 3 years hiatus.

---

---

After the contestant from Elejamie end their performance, a brief of silence come to the stage. The stage is being prepare for Pemecutanian delegation. The stage is fastly prepared as the postcard of Pemecutan is being shown at the big screen. The members of Rika & The Pande's get to their position including the singers, Rika and Ekajaya. With the end of the postcard viewing, the intro of the song is played. The downlight spotted to Rika as she begin to sing. She sit on a black stool, looking stunning in a casual clothes. She holds the standing mic as she sing the first verse. The camera success to capture her facial expression as she continue to sing. The sad expression can be clearly seen from her face, reminiscing the lyrics of the song.

The light from Rika is dimmed while another light shine through Ekajaya who is sitting in front of her. He is also wearing a casual outfit. It seems like the band theme for the night to wear a more casual outfits. Ekajaya sings the chorus part of the song. And the camera shoot him in a close up. His expression is seen clearly by the audience. The broken heart can be felt. His voice become softer as he sing, Selamat tinggal kekasihku part.

Aku ingin mengakhiri segalanya
Disaat semuanya t'lah berbeda
Aku ingin meninggalkan semua
Saat segalanya terasa hampa
Aku ingin membuang kenangan yang t'lah ada

Dengarlah tangisan pilu dari dalam hatiku
Rasakan perihnya luka yang kau goreskan
Segala yang kau berikan hanyalah sebuah dusta
Manis senyum mu membawa beribu duka yang menyayat jiwaku slama ini
S'lamat tinggal kekasihku
S'lamat tinggal kekasihku

I want to end everything
When everything is different
I want to leave all
When everything feels empty
I want to throw away the memories that already exist

Hear the sad cry from inside my heart
Feel the pain of the wound you scratch
Everything you give is just a lie
Your sweet smile brings thousands of sorrows that have pierced my soul all this time
Goodbye my love
Goodbye my love

The change is made again. The light on Ekajaya is dimmed while the light on Rika is getting brighter. Rika is taking her part to sing the second verse. Her gesture makes it look likes she is talking to Ekajaya. The intimacy atmosphere is kept with the low lightings outside the singers as the audience focused are directed to them. The screen at the back is only viewing a glistening stars that changes it's lights.

The light on Ekajaya is getting brighter as they enter the chorus. The light on Rika is kept so both singers can be seen clearly. Although they are seating on a black stool, but their eyes talking to one another as they singing the chorus together. This beautiful eye contacts are captured greatly by the camera. And the partends beautifully with Ekajaya soft voice.

Aku lelah untuk selalu bertahan
Menghadapi semua sikapmu
Aku lelah untuk jadi yang selalu mengalah
Namun selama ini kau tak pernah mau berubah, tak berubah

Dengarlah tangisan pilu dari dalam hatiku
Rasakan perihnya luka yang kau goreskan
Segala yang kau berikan hanyalah sebuah dusta
Manis senyum mu membawa beribu duka yang menyayat jiwaku slama ini
S'lamat tinggal kekasihku
S'lamat tinggal kekasihku

I'm tired of always holding on
Facing all your attitude
I'm tired of being the one who always gives in
But all this time you never want to change, never change

Hear the sad cry from inside my heart
Feel the pain of the wound you scratch
Everything you give is just a lie
Your sweet smile brings thousands of sorrows that have pierced my soul all this time
Goodbye my love
Goodbye my love

Just one breathe away, Ekajaya continue with the bridge part. He let out his hand to reached Rika. Rika welcomed his hand as she grip it lightly. Both of them walk to the front of the stage with the downlights following them. The audience have lighten a river of glowing sticks which are waved following the rhythm of the song. They continue to sing the chorus as the camera view them 360 degress and sometimes zooming out to see the glowing from the audience. Both of them walk closer and closer, almost hugging. And as Ekajaya sing Selamat tinggal kekasihku part, they parted ways with the ended of the song.

Cukup sampai disini
Biarkan lah aku tuk pergi

Dengarlah tangisan jiwa yang tersiksa
Rasakan perihnya luka hatiku
Segala yang kau berikan hanyalah sebuah dusta
Manis senyum mu membawa beribu duka yang menyayat jiwaku slama ini
S'lamat tinggal kekasihku
S'lamat tinggal kekasihku
S'lamat tinggal kekasihku

S'lamat tinggal kekasihku

Please stop here
Let me go

Hear the cries of the tormented soul
Feel the pain in my heart
Everything you give is just a lie
Your sweet smile brings thousands of sorrows that have pierced my soul all this time
Goodbye my love
Goodbye my love
Goodbye my love

Goodbye my love

The audience give an applause as the lights on the stage is lighten up again. It seems that the song get a positive feedbacks. Even a scream can be heard. But it might be coming from Pemecutanian audience. The band create a line at the front of the stage. They're holding hands to one another and give a little bow to the audience. "Thank you, Schuftsburg! shouts Ekajaya before they walk to the back stage.

[Scotatrova]

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

[Scotatrova]

9. Scotatrova
Giuliana Maxes
Súe Maleca
Tune: Agnes - 24 Hours

---

With the postcard concluding, a camera pans down as the stage comes into frame. Giuliana is standing onstage wearing a small tiara adorned in little lights, reminiscent of some sort of halo. She's wearing a flowy, layered off white dress that is somewhat seeming to be smothering her but she remains unbothered. A man can be seen far off on the left, blending in with the rest of the dark stage as the lighting isn't all too bright, just a pale orange that engulfs the stage. As soon as the music begins 'whirring' up at the start, more lights around the stage begin to slowly light up and then pulse as the little synth riff ends and the drum beat hits.

Seeking my own path, heading toward the dark
The light from the halo dims, seems I missed the mark
Oh, I can still see his silhouette, so stark
Oh, I have nothing left to lose (lose, lose, lose)
I should have never left the golden kingdom
Oh, he convinced me, and I agreed
I was foolish to believe him, I was deceived
Oh, I have nothing left to lose (ooh, ooh, ooh)

Nothing in the world could keep me away
I wouldn’t be caught dead near you now
Although, I wouldn’t mind if it was you
I wouldn’t be caught dead near you now

Giuliana has both of her hands on her hips, standing in a sort of superhero pose as she starts the song. When she sings "the light from the halo dims," the actual lights on her tiara smart blinking and then it goes out. She grabs it off her head, examines it with a curious look on her face and then tosses it to the side. She then turns to face the man onstage with her, which is then revealed to be a stage performer dressed in all black and a mask covering the top part of his face. She motions out to him when she gets to the third line of the opening verse, but then recoils her arm away in disinterest as she continues singing. While she does so, the performer starts slowly walking up to her and starts slowly dancing around her, in a way that is trying to capture her attention. As he does this Giuliana remains dismissive of his attempts, but nevertheless he persists throughout the rest of the verse.

Súe maleca that he said was his whole world
Always told the biggest lies
Súe maleca, that did it all for him
Era súe maleca - I was his angel

They think religion is the mighty cure
Yeah, don’t believe everything in the book
Oh, to think that I thought it had all the answers
I have nothing left to lose (ooh, ooh, ooh)

As the chorus commences, Giuliana becomes more animated in her performance. Suddenly, she starts singing the chorus directly to the male performer. With the way the chorus goes, its clear that this is who she's directing it at. She goes from singing to him as if she was reminiscing to a quick 180 where she seems annoyed and bothered. He reaches out to grab her hand, and for a moment she takes it, admiring it for a quick second. Afterwards, she 'snaps back' to reality and pushes the hand away, focusing back on the performance. Met with this rejection, the performer starts dancing around her in a more 'pushy' manner, moving closer and closer to her while still going with the same goal of trying to get his attention. At this point, Giuliana sharpens her tunnel vision and continues her performance.

Nothing in the world could keep me away
I wouldn’t be caught dead near you now
Although, I wouldn’t mind if it was you
I wouldn’t be caught dead near you now

Súe maleca that he said was his whole world
Always told the biggest lies
Súe maleca, that did it all for him
Era súe maleca - I was his angel

After realizing that his attempts are failing to persuade her, the man then drops to his knees and looks at the ground. Even though she doesn't look directly at him, Giuliana can be seen smirking at the action. She grabs the mic off the stand and turns to him. He looks up at her while she looks down, not changing the continuity of disinterest on her face that she's kept for this duration of the performance. As the chorus starts yet again, she kneels down to him. While singing the first line, she grabs his face and brings his gaze towards hers. Once she sings the second line however, she pushes his face away and faces toward the back of the stage, now facing the LED screen.

Away from his grasp, I’ll seek my own divination
Siv, era súe maleca - Yes, I was his angel
Away from his grasp, I’ll seek my own divination
Siv, era súe maleca - Yes, I was his angel

No more chances for you
You can’t erase the day you left me
But its all that you want to do
About time I grew my own wings
About time I grew my own wings
(I grew my own wings)

Giuliana continues with the next verse as the LED screen becomes active. It displays an image that is split down the middle with a line, two separate spaces. An outline of a man becomes visible on the left space, while on the right a woman is depicted. While all this is going on, Giuliana opens the verse while she's singing "No more chances for you". The outline of the man can be seen putting his hand up on the line dividing the two, and nods his head, motioning for the woman to do the same. She begins to, but is then hesitant and her hand can be seen wavering. Once again the male figure nods at her to do so, and she eventually agrees and puts her hand up to meet his at the barrier. As she does so, the man retracts his hand after a brief moment and walks out of the frame. The woman, now left behind, slowly takes her hand off and can be seen clenching her fists as the image shatters with the commencement of the final verses.

Súe maleca that he said was his whole world
Always told the biggest lies
Súe maleca, that did it all for him
Era súe maleca - I was his angel

Súe maleca that he said was his whole world
Always told the biggest lies
Súe maleca, that did it all for him
Era súe maleca - I was his angel

Away from his grasp, I’ll seek my own divination
Siv, era súe maleca - Yes, I was his angel
Away from his grasp, I’ll seek my own divination
Siv, era súe maleca - Yes, I was his angel

Once the animation on the LED screen had finished, Giuliana turned back toward the audience and glanced over at the performer who was still on his knees on the floor. She had a piercing look on her face as she stared him down, and she slowly starts taking off the white, bulky dress she was wearing. Underneath it was revealed to be, another white dress, but this time perfectly fit to her proportions instead of being draped over her. She walks back up toward the mic stand where the man stood near and puts his head down toward the ground in the defeat for the remainder of the performance. Not long after, Giuliana finishes the final chorus of the song and the audience applause broke through. After a quick "Thank you!" Giuliana puts the microphone back on the stand and then helps her male performer get back on his feet, both smiling and laughing to one another. She waves out to the audience before they walk off together.

[Spiritual Republic of Caryton]

10. Spiritual Republic of Caryton
Granny Janine - Strawberry Cake
tune


Granny Janine

---

---

Background: She's back. Amateur children's song-writer Granny Janine has been invited to perform for the Special Edition in Schuftsburg. Despite a low score in WorldVision 87, the positive commentary has inspired Granny Janine to continue pursuing music and the media attention has gotten her into famed children's show "Poppyseed Street" where she sang along the likes of Eldo, Chocolate Monster, and Big Bear. She's written several children's books, most popular is "Thank You, Mrs Folkner". Granny Janine has also become the head of a foundation whose mission is to protect libraries worldwide to foster a love of reading.

PERFORMANCE

-

Strawberry Cake! It’s what I baked, and I baked it just for you!
Don’t wait, Strawberry Cake! It’s all free to take, oh-
Strawberry Cake! The days went by, the frosting’s empty from the shelf.
A clean plate from you, means you’re true! Get ready for dessert two! (It's dessert two!)

A spotlight opens on Granny Janine standing in a very familiar mock kitchen, smiling sweetly at a crying five-year-old girl who the audience could tell endured a day of bullying and mockery for being unable to read fluently. On the table is a heavenly strawberry cake, pink frosting and fresh berries like a sign of love from above. Granny lifts the cake for the child to see and she sheepishly smiles despite the tears. The old woman gracefully trots about despite her age, her apron fluttering like the curtains behind her.

Granny’s kitchen is a-full of pots and pans!
Steamin’ and laughin’ as we do our special cake dance!
Who said dessert had to come after lunch?
Those bullies are mad, we get to eat fudge for brunch!

Granny comedically squats and stands in a form of dance along the tuba, which makes the child giggle, following along their "special cake dance". Pots and pans clink in the background as she opens the oven door, revealing bubbling and scrumptious-looking fudge, which she sets down on the cooling rack. She gives the child a fudge-covered spatula to lick, spinning once into the next verse.

If God put me on this world to get cake in my hair-
Then I’d sift and knead and frost until my apron would tear!

The spotlight shone on Janine, revealing the tattered apron that conveyed hours of hard work into making such a labor of love. The kid now happily ate a slice of cake, taking choreographed bites before setting the finished plate down. It was a small slice but enough to make their skit complete. At the end of the buildup, the lighting fixed itself, plain and white.

Strawberry Cake, don’t distress! Let’s put honey on our books!
Reading is sweet, Jesus we’ll greet, Get ready for dessert two!
Oh, Strawberry! Nothing can ever be so blue, when Granny’s beside you! (And she loves you too!)

(Eat some ice-cream, eat some brownies, oh life’s sweet as you!)
You know that Cary and Jesus too, they’re all beside you!
(Eat some cookies, eat some candies, then eat some donuts!)
Don’t you know it? A little sugar in life’s nice, so take a big slice! Strawberry true, Strawberry true!

The two pranced around, in front of the kitchen. Men and women dressed as waitresses held up bowls of ice cream, plates of brownies, cookies, candies, and donuts, entering a kick line as the two happily skipped around each other. The kid at this point was fully happy in an emotional, physical, and spiritual sense. An old 80s-style box tv broadcast a golden retriever dashing through an open field-- actual footage of Cary. The kid beams a bright smile.

Who said dessert had to come after lunch?
Those bullies are mad, we get to eat fudge for brunch!
If God put me on this country to get cake in my hair-
Then I’d sift and knead and frost until my apron would tear!

Strawberry dear! When I’m gone, and I let go of that grass!
Look at the stars and you’ll shine, best of your class!
Strawberry Cake! Don’t hide away, friends will light you a new day!
Spell on the chalkboard with a sponge, and you’ll find a way!

Oh, Strawberry! Nothing can ever be so blue, when Granny’s beside you!

Their prancing slowed into a more serious step touch. Granny wouldn't be around forever, but even then it wouldn't matter. The child obviously learned a valuable lesson. It didn't matter how much she learned, her family would still love her. Granny Janine referenced her book in the fourth line of the second stanza, where the kid spelled words with a sponge in order to make reading fun. The two shared a few sticks of fudge, mimicking eating them. After the second stanza of this segment ended, they pranced back to the kitchen, stirring pots and pans together as the song built up to their energetic chorus.

(Eat some ice-cream, eat some brownies, then eat some cupcakes!)
Oh! You know that Cary and Jesus too, they’re all beside you!
(Eat some cookies, eat some candies, then eat some donuts!)
Oh! A little sugar in life’s nice, so take a big slice of life!

The two bobbed up and down in an alternating pattern, stirring and whisking merrily, a happy ending conveyed through a soft yellow light that shone around them like a halo.

Strawberry Cake!

The grandmother raised their cake in the air, holding it between them in a final ending pose. The stage went pink as applause filled the chamber. The fade-to-black ended the song.

[Illdonya]

11. Illdonya #ILD

Carla Morrison - Mi Ansiedad

Salamá
"Unhappiness"

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

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

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

Performance

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

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

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

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

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

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

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

Unhappiness
Unhappiness

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

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

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

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

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

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

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

Unhappiness
Unhappiness
Unhappiness
Unhappiness

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

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

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

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

She continues the chorus and continues dancing.

Unhappiness
Unhappiness
Unhappiness
Unhappiness
Unhappiness

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

[StrayaRoos]

12
StrayaRoos
αλρηα-Stars
Go_A-Solovey

---

Music:Cathrine Ritea
Lyrics:Cathrine Ritea,Luci Asqi

αλρηα come out onto the stage as the flute starts and the LEDs go Red and Black flashing as the moon and stars show on the back screen

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

as the chorus starts the crowd start clapping to the beat,and the LED screen has the moon getting brighter and brighter

Αστέρια,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 drums kick in and the audience cheer

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 LED Moon moves closer to the opposite end to where it started and it becomes darker

Αστέρια,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
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 music stops and the sun rises as catherine sings the last verse softly in acapella

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

every night in the fields I look up
at the stars and I wish he loved me
he never spoke
he was quiet
I missed the voice of the angel
But he does not notice me
Although we were so close as two children in the forest
but now we have lost this connection

Stars high in the sky
because he can not see that I love him or does not care
can not see that I want to restore this connection?
stars lighting up the night
why can't he just remember what we used to do?

If he can not see it then it is no longer useful to do so
Every night in the fields we were together
but now it is over
and we will not be like that again
the joy was lost years ago
why can't he just come with me?
how could we go back to those days

Stars high in the sky
because he can not see that I love him or does not care
can not see that I want to restore this connection?
stars lighting up the night
why can't he just remember what we used to do?

I just want to see the Stars glistening in the night
with him next to me
Why Can't I let it be?
come to me
come to me
please

káthe vrády sta choráfia
koitázo psilá kai koitázo ta astéria
kai éfchomai na me agapísei
den miloúse poté, ítan ísychos
Mou éleipse i foní tou angélou
Allá den me proséchei
Parólo pou ímastan tóso kontá san dýo paidiá sto dásos
allá tóra échoume chásei aftí ti sýndesi

Astéria,Astéria psilá ston ouranó
epeidí den boreí na dei óti ton agapó í den ton noiázei
den boreí na dei óti thélo na apokatastíso aftí ti sýndesi
astéria pou fotízoun ti nýchta
giatí den thymátai ti káname

An den boreí na to dei tóte den ofeleí pléon na to kánei aftó
Káthe vrády sta choráfia ímastan mazí
allá tóra teleíose
kai den tha xanagínoume étsi
giatí den boreí na érthei mazí mou
i chará eíche chatheí prin apó chrónia
pós tha boroúsame na epistrépsoume se ekeínes tis méres

Astéria,Astéria psilá ston ouranó
epeidí den boreí na dei óti ton agapó í den ton noiázei
den boreí na dei óti thélo na apokatastíso aftí ti sýndesi
astéria pou fotízoun ti nýchta
giatí den thymátai ti káname
psilá ston ouranó
epeidí den boreí na dei óti ton agapó í den ton noiázei
den boreí na dei óti thélo na apokatastíso aftí ti sýndesi
astéria pou fotízoun ti nýchta
giatí den thymátai ti káname

Thélo aplós na do ta astéria na astráftoun mésa sti nýchta
me aftón dípla mou
Giatí den boró na to afíso?
éla se ména
éla se ména
sas parakaloúme

[Malta Comino Gozo]

13

Nation Name: Malta Comino Gozo
Official Broadcaster: MCG 1
Tune: (Jake Reese - Make It)
Song Title: Safari
Artist(s) Name(s): Nathan Aperitivo
Lyrics & Music: Nathan Aperitivo

It was not Malta Comino Gozo's finest hour sadly at Worldvision 94, 19th place. Nathan Aperitivo who had represented them once before and helped write the nation's entries for the 89th and 91st WV song contests had sadly, achieved the country's worst place so far. As the votes came in and Malta Comino Gozo failed to score early it did not look good, even 1 twelve didn't see them gain much traction. It was not Malta Comino Gozo's night. This sadly broke their douze top ten place streak. Could it be the fact they sent such a summery hit in wintertime, who knows, but with summer back again and a special edition of Worldvision taking pace to make the 100th anniversary of Worldvision MCG1 knew the perfect act to send. Nathan was back!

Busking heartthrob Nathan Aperitvo needs no introduction. He is a well renowned Malta Comino Gozoan singer and songwriter, with a folk/acoustic genre background. He was born in Santa Lucija, Malta Comino Gozo in June 1993. He launched his career in music in 2011 and moved to what was North Alezia in 2014 for seven months to further his music career as well as his studies in sound engineering and then onto Corola, The Achaean Republic for four months. He moved back to Malta Comino Gozo afterwards. Since then, he has been working in several fields in the professional audio industry, as sales in audio shops, P.A., dubbing, acoustic design, music production, music arrangement and especially, recording and mixing, with a wide list of national and international artist and producers, in his jobs studio.



Before his music career and studies in sound engineering, he studied 3 years of piano and pop guitar. Nathan has had three number one hits already. "Infinite" "No pain no gain" and his first Worldvision song "Fire". All three songs reached the top of the local charts and his first hits secured him the title of 'Malta Comino Gozo's best newcomer 2013. The tracks, “No pain no gain,” and, “Moon Baby” landed in film trailers worldwide such as Stefan Spelbergs: Space Man and also major television shows like, "Realness" and "the Shame World."

Nathan won the Producer of the Year award at the Gozo Traditional Music Awards 2018 and 2019. He is currently highly sought after in the Malta Comino Gozoan music scene and has helped write many of the countries entries recently. He works closely with local musicians, producers and arrangers.

Nathan is a keen busker and is often seen on the streets of Malta Comino Gozo performing in front of large crowds of tourists and or fans. He is a very quiet, well-natured optimistic young man and has not let his fame get to his head. He quietly gets on with his daily life mostly undisturbed by the locals. He enjoys playing football, participating in cross fit and enjoys jogging. He is a keen animal lover and owns two dogs, two parrots and one cat.

"I’ve always loved music, and I’ve always loved the sound. Just a few months old, I started drumming the hell out of my mum's kitchen cupboard." Nathan told MCG1."At the age of six, I invited my friends to record imaginary radio programmes on my cassette recorder. Simultaneously, I took my first piano lesson, adding more and more instruments to my portfolio further down the road. As a teen, I took my band's first audio interface home to figure it out, as nobody wanted to read the manual. Turning eighteen, I realized I wanted my productions to sound like those of my heroes. This was when I decided to go professional in music and audio to help other musicians achieve the best quality possible with their own recordings.'"

Nathan is no stranger to WV having participated back in Worldvision 85 in Valletta. He also helped write the nations entries for the 89th and 91st WV song contests, both of which won the contest. "Safari" offers an exciting vibe, which is absolutely contagious and irresistible. It's such a warm and happy song. It combines his love for his girlfriend and travelling. He and his girlfriend Sue would often go on long road trips together, which would only strengthen their love for each other. "Actually, something as simple as sleeping under the stars in a sleeping bag, can be an incredibly romantic experience. The sounds of the African bush all around you. Above you, a kaleidoscope of stars with their ethereal light dancing across the sky. Of course, you need to be careful where you do this and I would strongly advise not near a river. There is nothing like a three-tonne hippo snuffling around your ankles to snuff out any budding romance." Nathan joked and told MCG 1. Malta Comino Gozo has always liked sending buzzing pop songs and is hoping this is no exception to that!

[]

Caryton has always been a good ally of Malta Comino Gozo and the Hod was delighted to fly here for the Special edition. Nathan has attended several Worldvision as part of the MCG delegation but this time he was incredibly excited to be singing for his beloved country again with his self-penned pop song "Safari". The Malta Comino Gozoan delegation arrived by plane in the evening to Lavonne Regional Airport, nestled in the Western Authority of the Spiritual Republic of Caryton

Stepping off the plane into the warm evening heat, Nathan couldn’t help but be a little bemused by his surroundings. This was one the quietest airport he'd ever experienced with only a few light aircraft on the tarmac, it was past 11 pm after all.

The bed and breakfast made Nathan want to dance on his toes. The room was as perfect as a fine English tea of small cakes. The lace was white, the pink as fresh as a baby's smile and everything with the fragrance of lavender. He felt like a cosseted child just to peer from the mullioned window over the fields. This little room would be home for the next week... Could there be anything finer than bed & breakfast in Schuftsburg? Warm croissant, homemade jams and fine coffee... The air smells like every desert daydream and the pace of life drifts by rather than marches. Every morning the only wake-up call is a chorus of birds that flit between the summer-clad trees outside. Nathan could never really relax in the hotels of the Valletta Bay/ Swatar Bay strip or on frenetic city getaways, he soaked in the ambience of Schuftsburg like it was the only medication he required. With strict rules on alcohol, it was peach cider instead as the team explored the beautiful town.

Sharing many cultural ties Malta Comino Gozoans felt very much at home in Caryton, both in Malta, Comino and Gozo, people are of the same nation and on the face of it, appear identical in every respect. They dress the same, speak the same language, and enjoy the same cuisine and traditions. At first glance, you wouldn’t be able to tell the difference between them in a fit. But if you take the time and trouble to scratch below the surface, you will become aware of the fine-spun differences. While all Malta Comino Gozoans are naturally friendly, convivial people, the citizens of Gozo and Comino tend to be more earthy and plainspoken than their big island counterparts. They will more likely nurture personal relationships and tend to me more helpful. This is really only to be expected from a much smaller community where everyone knows everyone and everyone’s business. Gozo and Comino are less developed than their main sibling Malta they are smaller and more of an intimate kind of place. Caryton, was basically a twin which made it very homely indeed.

His heart pounded, and his hands began to shake against his bouncing knee. He began to pace back and forth, stomping his feet impatiently at each end of the room. Nathan let out a slow controlled breath and attempted to loosen his body movements. He was walking like a clockwork soldier and that was no way to be back stage. He gave his broad shoulders a wiggle and lolled his head in a circle, let his stride slacken to a more casual pace. It was a decent effort, enough to fool the casual observer, but for the onlooker with a keen eye, he was a walking advert for tension. His eyes moved with the alertness that comes from heavy stress and his hands remained clenched by subconscious demand. "Nathan you're up!" He walked proudly out onto the stage, the stage shining brightly white and red, his nation's flags plastered all over the screen and arena. He smiles proudly and waves to huge applause before exiting the beautiful stage.

Nathan was handsome, not perhaps in the conventional sense, but he had that appearance that could make him stand out in the crowd. He was fair, with an olive tone. His unfathomable, golden-brown eyes contrasted exceptionally with his toned face. His eyes were as deep and expressive, where you could get lost if you stared long enough. His face had that faraway look in it, which cannot be described in words. His smile, which reached up to his eyes and wrinkled them, flaunted his modesty and humility. Often, you could see a hint of pain in his sparkling eyes, which would disappear as suddenly as it emerged. He sometimes spoke too fast, which perhaps revealed how much creativity he concealed within himself. Above all were his frame and his stature. He was not extremely muscular, with 8 pack abs or huge biceps. However, he could stand out in a crowd, which was mostly due to his way of carrying himself. His sleeves hugged his arms, and his muscular chest protruded outwards slightly. His long fingers ran through his short moussed brown hair which shifted back into place once his hand had gone past. The light made it shine to a shade of melting milk chocolate and his slightly tanned skin glowed, making his manly stubble-covered chin seem darker. Perhaps he was not the kind who had girls swooning over him. But he was simple and innocent. He was perhaps, just one in a million, who was nothing special, but all the same unique.



The lights flash and the spotlights on the stage swirl as the crowd roars loudly for Malta Comino Gozo. This was the type of buzz Nathen adored and why he loved singing publicly. The song begins and the camera is focused on the back LED. We have a first-person view of a car being driven, looking up at the streetlights whizzing by above his head in the crisp dark blue twilight sky. He is on his way to pick up his girlfriend in the early hours ready for their road trip. As he drove south along the road, the colours behind him show dawn had broken. The lights in front remained darkened to represent the dark sky but behind him, a mixture of yellow and orange on the horizon beneath a dark neon blue ocean of night had begun to evaporate. Against the tri-coloured rainbow sky, palm trees, powerlines and buildings remained in shadow. The camera pans down to Nathan sitting in his smart, prop red convertible Ferrari from his left and then, we are left with a camera angle like this which will remain through much of the performance. The crowd cheers excitedly as Nathan begins to sing. The background behind moves to represent Nathan driving down the street in a classic green screen style. Spotlights reflect and bounce off his windscreen and the shining colour of the red hue bonnet, to help represent the motion. His smile was one of happiness growing, much as a spring flower opens. The viewers could see how it came from deep inside to light his eyes and spread into every part of him. A person smiles with more than their mouth, and they could hear it in his voice, in the choice of his words and the way he relaxed.

Oh my road trip buddy
My road trip buddy
Oh my road trip buddy

Nathan wore tight beige cotton chinos and a loose cotton shirt striped with shades of blue, yellow, pink and red. He has a pair of black sunglasses hooked into his top button. He is perfectly dressed for a summer day out. As he sings "On my new Ferrari" he comically turns the steering wheel and the camera pans in briefly as he sings, a positive happy upbeat tone to his voice. The camera cuts to a shot of the top part of the stage where the car is sat in front of the LED background showing the entire car. Suddenly it pans out as his "girlfriend" struts onto the stage from our left to applause and cheers from the excited crowd below as he sings "Me and her got it looking like" She struts towards the Ferrari and opens the door with a cute wink to the camera and gets in. The camera pans back in on the two of them in the car.

The woman wore a perfect dress for the beach, city, or savannah. It was a dazzling stunning garment that showed off her sense of style, sophistication, and flair for fun. She looked and felt her absolute best in this striped red white and blue summer chiffon dress with roll-up sleeves. The above-the-knee hemline created a short and sassy look. The colourful stripes deliver a sparkling dazzle to her walk. The combination of vertical stripes and the belt tie offered a cinching and slimming effect that sleeked out the woman's figure. The belt accentuated the hips and waist for a look that was both smart and flattering. The buttons down the front defined her slim figure with a V-shaped opening at the neck, giving the dress a touch of sensuality. The pair share a quick glance and she enunciates a silent giggle and over-the-top cute face scrunch, much like a silent performer on an acting stage.

Paints on baby red
On my new Ferrari
Me and her got it looking like
We're on a lovers road trip safari

As Nathan sings "So foot down on the gas" the background almost wormholes like someone has pressed fast forward on the remote control as they both comically lean back against the back of their seats as the car pretends to propel in motion.

So foot down on the gas
With, my lovely road trip buddy

The background now changes to a daytime scene of the pair in the African bushland. The savanna is a rolling grassland scattered with shrubs and isolated trees. The spotlights around them turn to a golden yellow to represent the sunlight. His "girlfriend shifts excitedly in her seat a broad open-mouthed smile on her face, her shining white teeth catching everyone's eye. She proceeds to climb out of her seat. Nathan looks over in shock before smiling again. We are left with a view of Nathan with the girl's upper body cut out of the frame. This causes the camera to pull outwards showing the girl in full view now. The view for the viewers at home now slows down by about a quarter, as the wind machines turn on and the girl stretches her arms upwards. The wind fluttered through lush brown hair, her dress flapping gently against her torso. The camera pans upwards towards her hands before it cuts out to a full view again of the pair in the convertible car. We then have an in-car close up of Nathan from his right, his left hand hanging out the edge of his car. He sits back and let the happiness soak right into his frame. He closed his eyes and savoured the moment but never released his grip on the wheel.

Stick your head out the window
Might as well enjoy the ride
Let the wind blow your lush hair about
Before you come back inside

The camera cuts back to a camera angle like this as Nathan proceeds to put his foot down on the gas again. The background races again but remains the same but this time we have silhouettes of giraffes walking the plains behind them to their right.

So foot down on the gas
On this luxurious road trip safari

The tone of the song changes ever so slightly taking a slight backseat from the tropical vibe. The girl grabs some brown binoculars from her handbag and brings them up to her eyes. This time we can now hear the 2 male backing singers who are not in the shot, accompany Nathan singing the "Oohs". The girl proceeds to look to her left and point and then to her right as Nathan sings, "Compassion out the left side" and "Honesty on the right side" A childish excited grin etched on her face.

Baby can you see the
Butterflies you give me
Oooh Ooooh Oooh Ooooh
Compassion out the left side
Honesty on the right side
Out spotting love on..
Our road trip safari

The background LED now changes to a colourful, happy, tribal Safari theme, with zebra stripes, masks and symbols. Nathan and the girl sway left to right in time to the beat, a joyous grin on their faces. Nathan keeps one hand on the steering wheel.

So come on a road trip safari
Road trip safari
Oh on a road trip safari

The steel drums kick in again in the background and the LED changes back to the safari landscape from earlier on and the lighting turns hot pink. Nathan leans in towards the girl, smiling gayly, singing to her. With his warm breath in her ear, she sits there cheekily and pretends to blush at the lyrics. His brash, deep voice oozed charm. The girl smiled, knowing full well that Nathan was seducing her. Even before he touched her cheek, she felt her lungs expand with briny air. His voice had the lilt she knew so well - his words soft with the smile that already played on his face.

The best lover in a jungle,
Swamp or a safari
City or a country town
We're gonna rock this party

As Nathan sings "So foot down on the gas" the background almost wormholes like someone has pressed fast forward on a remote control as they both lean back against the back of their seats as the car pretends to propel in motion. The background changes into a dark blue night sky. In every direction, there are stars all over the screens. The stage lights turn a dark twilight blue.

So foot down on the gas
With my road trip buddy

We then cut to a back view of the pair in the back passenger seat of the convertible, the lights tinged blue, lights flickering out from phone lights in the darkened hall. The audience can be heard cheering as Nathan sings towards his "girlfriend". Nathan linked his fingers into her hand and she shots him a look that was all love, just the right hint of softness, a crease at the corners of her eyes. Both of them try but fail to repress a grin. We can hear the backing singers sing "I guess, I love you." Her heart was thumping hard, and her soft, freckled cheeks were a fiery shade of red. Nathan places a hand on her cheek and then places his strong hands gently on her small shoulders and lowered his face to hers.

Do you remember that you took my heart?
And do you remember you took my soul?
I guess, I love you
And I love you girl
Love you for it baby
So foot down on the gas
On this luxurious road trip safari

The lights turn back to white. The camera then pans back to the front view of the car and Nathan start driving again, we have a quick view of the smitten lovestruck girl looking out her side of the vehicle. The background has now changed to an 80's style, moving road with palm trees and setting sun, the skyline silhouetted against it. The camera moves out slightly and towards the middle as she leans in against Nathan. The backing singer can be heard supporting. The pair of them smile and carry on driving. Nathan glances over to not take his eyes off the road every now and again. He had the kind of Cheshire grin that brought new life to those around him.

Oh road trip safari
Road trip safari
On a road trip safari
Road trip safari
Oh on a road trip safari
Road trip safari
On a road trip safari
Road trip safari

The view stays the same. The stage turns dark apart from two clean white spotlights which light up the couple. The stage lights pulsate to the beat illuminating the dark stage. The lights reflected off the shiny surface of the convertible. As Nathan and the backing singers, sing "Ohhhhhh..." Both backing singers who have appeared in the two back passenger seats pop up unexpectedly to cheers from the crowd as they help serenade the girl. They are dressed in safari costumes topped with a safari hat. She is flattered. A lovely grin spreads across her face again from ear to ear.

Come on take a ride, its a rush
It's only a matter of time
You'll be fine, you'll be mine
When the animals shout!
And the sonics all resound
It's a wild, wild safari life
And I say Ohhhhhh...

The camera cuts to a view in front of them showing the entire stage this time but keeping the vehicle in view as pyros shoot out the edges of the stage high into the air and a pyro fall started falling from the roof of the arena with the audience ecstatically cheering. The crowd goes wild. We then have a shot of the entire stage off centre right from above the audience. The spotlights shoot out of the stage into the excited crowd. The camera cuts back it cuts back to the car view. Nathan the girl and the backing singers bop left to right to the beat swaying at the same time. The background has now changed to an 80's style, moving road with palm trees and setting sun, the skyline silhouetted against it again. Some folks wear a smile, this guy was the smile. Nathan wrapped his arms around her in a moment and he let her head rest upon his chest. All her thoughts stopped as if her heart took over from her head when they were close. Next, he would squeeze as if he needed to check she was really there with him, really there and really real... and she was.

Oh on a road trip safari
Lovers road trip safari
On a road trip safari
Road trip safari!
Oh on a road trip safari
My road trip buddy
On a road trip safari
A road trip safari

The backing singers help lift the last chorus of the song as Nathan carries on singing. He belts out the lines which are bigger, with confidence and passion. The audience cheers his impressive vocals. The steel drums and beat resonate through the crowd, lifting everyone's spirits. This was the pop song they all wanted. A catchy, summery upbeat song that stuck in the listener's ear. Nathan was intoxicated with joy. The girl taps her slender fingers on the dashboard. The lights were flashing canonically along with the beat of the song, almost creating a nightclub feel. The camera stays focused on the couple in the car, the entire prop car in view, the background zooming looping behind them giving the audience the feeling they are both driving along still. The camera pans towards them for the last line as he lands a kiss on her cheek and they hug excitedly!

Road trip safari!
Oh road trip safari
Road trip lovers safari!
Road trip safari!
On a road trip safari
Road trip safari!

The song finishes and the background fades into black and the spotlights calm. The audience erupts into loud cheers screams and applause for the entry. Nathan and the girl are beaming. Nathan shakes his fists into the air, his grin stretching his face. "Grazzi! Grazzi Caryton!" The camera pans around the hall, everyone on their feet cheering, flags of all nations being waved into the air. They leave the stage ready for the next entry. He was delighted and thrilled. It was such a rush! It was now in the hands of millions watching.

[Izmedu]

14 IZMEDU #IZM
Terezija Novak - Rat
Translation: War
Tune: Loreen - Statements
WV56 | 2nd place, 118 points
Link to Original Entry

---

"What you allow is what will continue."

---

In many ways, seeing Armo & Küllikki take home the trophy in Besini during the 56th WorldVision Song Contest was a relief for Terezija Novak.

There was always pressure this, pressure that. Endless amounts of rehearsals and message meetings that ultimately ran counter to the kind of performance that Terezija wanted to bring to the WorldVision stage. Though the venue was in jubilation at the announcement of the Tödlichebujoki win, the moments of heartbreak that flashed through some particularly competitive members of the Izmeduan delegation were not lost to her observant eyes. Regardless, seeing the hopes for a win being dashed at the last possible moment didn’t really soil Terezija’s night. If anything, it allowed her to engage in some sense of hedonism and fun even if the entry she brought didn’t really make it too appropriate to do so. Without overt media attention bearing down upon her, Terezija actually felt a limited sense of liberation in the 24 hours following the contest. The implications of “Rat” were something she could answer to when she was back home, but going back home didn’t need to be so immediate.

Her eventual distance from the Izmeduan music industry was exemplified when she found herself enjoying a post-show drink on her lonesome during one of the many WorldVision afterparties. She was too tired and exhausted to sing old hits or pop on some Anna Petravona or Oda karaoke. Tempting as it was, the thought of home exhausted her more, depleting her already limited social battery and instead sending her to the direction of ingesting some wine before trudging herself to bed to her hotel room. Though she desired isolation, there were still parties that raged on in Besini that night, and it was inevitable that passersby would strike conversation. As fate would have it, it was the then Izmeduan head of delegation that sought her out right on time in a sense. They popped a rather intriguing question to Terezija, and the ensuing conversation was something that even to the present day she still remembers.

“So… you’ve taken it really well, coming 2nd.”

“It was never about the win.” She responded back, her voice lowered partly for her own vocal protection.

“What was it about, anyway? I’ve tried understanding you since you won Izmepisma, but… between the people back at home and you… a lot of them love you, but a lot of them… you know.”

She couldn’t help but chuckle at the way the question was framed. Looking back, even Terezija could barely unearth and decode her reasons for even taking “Rat” to the WorldVision stage in the first place outside of the immediate practicals. How could it not be sent when Samira Kareli’s musicianship formed the backbone of the song? How could she disappoint the people that poured their hearts and souls into the making of this song? It dovetailed with a lot of the official messaging she often spouted in interviews ad nauseam. That song wasn't about her. However, what was it about? In truth, she was lucky to have evaded some of the more hard-hitting questions, especially given her introversion naturally inclined her to take less interviews in the lead up to the contest. That was a way to approach an answer, that much she knew of her line of thinking all those years ago.

“It wasn’t just for me, you know.” Terezija took a sip of her wine first, the sensation of its burn allowing those precious few seconds to quickly contemplate a follow-up. “The whole point was that it was performed, and that someone heard it. I… understand being competitive sure, but I’ve already done my dues to this contest a long time ago. This… the important part was that it was there. That matters, right?”

She could see the rather unreadable look on the head of delegation’s face, a pursed expression coming soon after that suggested that they didn’t quite particularly believe Terezija’s reasoning. It wasn’t so much their expression that stuck with Terezija. Instead, she began to wonder about the meaning of what the song actually meant to her at the time. Though it felt easy to intuit what the song was speaking at the time, she wasn’t sure if she had actually truly understood the required nuances of the message of defiance that she was trying to extoll on stage. Yes, there was the necessity of taking a stance in order for peace to truly be achieved, but she wondered if the very message of the song she was trying to express absorbed her more into its clutches than her necessarily being the driving force. Really, it spoke to the lucky circumstances behind the song’s journey to the WorldVision stage, given the amount of debts that she owed to so many people before, during, and after the contest.

Though the rest of the night became a blur, the true test of her willingness to stay in an abusive and ultimately unfulfilling music industry came when she would inevitably go through the gauntlet of blowback as a result of her entry. Her words began to take on an increased resonance when as it turns out, “Rat” provoked a conversation about what it meant to send a ‘political’ entry to the WorldVision Song Contest, and questions were raised about her artistry and longevity in the Izmeduan music sphere. She found herself becoming a helplessly passive observer to debates that had become so much larger than her song, even if Terezija herself had become many people’s case studies from armchair academics that posted their thoughts online to scholars working within the ivory tower of an institution like the University of Vodiznad. Her song began to speak to the experiences of Izmeduans beyond the reaches of her capital. Sure, it was an intent fulfilled, but the conversations began to grow to a much larger extent that drew on years of history that she was ignorant of.

She had become someone’s mouthpiece, someone’s example. Ultimately, the consensus was that her entry to Besini wasn’t quite the effective 'message song' as it could’ve been. On the case of discussions happening within WorldVision fandom specifically, there was some dissemination regarding if Samira should’ve been the one to instead sing the entry or if Terezija was simply a miscalculated attempt to position Izmedu for what would’ve been their then second win. Terezija wondered where people were fashioning these narratives from, especially given that the words behind the song were her ideas from the beginning. Ultimately, the narrative of “Rat” had spun out of control, and the interceding years had left people with a sense that the entry was perhaps not just too ambitious, but also a bit too meandering to really leave any real significance.

Terezija was not ignorant to the fact that it had remained a favorite exclusively within the fandom, but the song began to claw at her sense of artistic integrity and capability. What was she to do? What kind of career can she have? Should she even have a career given how reticent she was to play into the system? There was so much to prove to herself, but she wasn’t sure exactly what she was seeking.

Through it all, she wanted this whole music thing to make sense beyond just simply working away at a music industry that had every intention of extracting every last bit of labor and value from its constituents.

To her mind, she knew that putting it across in such a way was rather dramatic. More than a lot of other music stars that mostly based themselves around Vodiznad, she knew that she courted a lot of privilege even when she existed mostly at the periphery of the Izmeduan mainstream. Fame from WorldVision aside on top of the discourse surrounding “Rat,” she wasn’t blind to the realities of Izmeduan social life outside of its toxic music industry. There was so much to be said about how the country seemed to be constantly at the seams, with a government barely able to keep up much less even provide the barest threads of a social safety net. However, her years of volunteering after the 42nd WorldVision Song Contest were her most naked encounters with what happened in Izmedu’s furthest reaches. The romanticized mountains that constituted the Varajic Alps were time and time filled with the stories of Izmedu’s most impoverished and vulnerable, the first to inevitably fall should conflict arise from within or from a much larger force.

She left the song alone for a long while, even though it refused to disappear from Izmeduans fans’ hearts and minds. In the years following the contest in Besini, Terezija would settle into a small but modest living mostly as a gig performer, eschewing record label deals with major outfits and preferring instead to mostly do it on her own as an independent artist. Such a move came with an immense amount of privilege on her end, given that she had a built-in fanbase that was both enamored with her voice and artistry alongside the fact that she developed a following from her WorldVision appearances. To continually produce was a pressure she did not feel, and thus, the years of wandering about the country had allowed her to develop an intimacy with her listeners that other artists weren’t able to afford. She stood adjacent to the clarion call of Izmeduan music, but she never crossed the door to have a seat on the table. This rather mediated existence was one that she was honestly happy with, especially given that the world and the country surrounding her seemed to continually deteriorate.

In the occasions when Izmedu found itself being tangentially attached to international conflicts, her song was often utilized as a rallying cry of defiance against fighting without one’s own will and consent. Funnily enough, it was in those situations where she was performing without the need for choreography or well-timed movements was where Terezija felt like she ‘got’ the song in a way that she never could during the peak of the WorldVision bubble. It felt like the lyrics she wrote were staring at her right in the face all throughout these years. However, each realization of how simple the message never really stamped out the feeling that there had to be far more here than simply the declarations she wrote to Samira when this song was being produced. There was more nuance here than simply defiance. There was the complex mediation of someone like her writing these words, and ultimately a much larger conversation about what it meant to fight for the nation-state and the very limitations of music’s capacities for expression beyond the self.

Her journey to seeking meaning beyond music entailed years of living quietly around Izmedu, having undertaken a pseudo-nomadic lifestyle where she often uprooted her life every couple of months and potentially years. However, it was only but repeating the very same mental limbo she often found herself as the years passed and as the country never seemed to get ‘better’ in the sense that people still needed help. She tried to utilize her platform to spotlight where Izmeduan social safety nets needed more support. Hard as she tried though, she wasn’t immune to how the world outside of Izmedu and the larger multiverse would often find itself crumbling to events so outside of their control. Her home was invariably affected by the Coronavirus pandemic around the time she would move back to Vodiznad.

From being a nomad to having to make do with the apartment she was barely able to afford, Terezija once more was forced to play a passive observer for other world events that no amount of dissemination and expression were able to salve. The past few years have especially been difficult, with recent news being almost impossible to absorb and stomach without spiraling down into a hopelessness she could not claw away from. What was art when all it did was just reify and simply erase nuance away from issues that needed care? What was art when no matter how much she learned, she would always find herself facing a chasm where she could never truly know? The world’s crumbling and the very definitions of war were the avenues with which she had to slowly learn that seeking for meaning deliberately was not going to be the way to go. It was forces so outside of her control acting in an agonizingly slow pace, begging to be stopped but with no obvious answers to do so, was where she realized the very limits of artistic expression beyond simply what was told to her as an artist.

In recent Izmeduan social discourse, there was a silent yet well-known fear that the worst that could possibly happen to her country was for a larger force to either bombard the fragile coastal nation or simply invade it with a stunning efficiency that could imperil the life she’s always known. The fears were part of the bloody history she had known and recited by heart when she was but a young child, even though that history was always inflected through a fear that settled deep within older Izmeduans’ hearts and became more apocryphal as years would pass. However, the realities of such a thing would become more and more real throughout the years, or at least the prospect of it landing right at their doorstep and Vodiznad succumbing to the destruction of a war that nobody consented to fighting to. If Vodiznad would fall, the fragile threads that constituted the country would crumble, and the desperation she would see as a volunteer would lead inevitably into their destruction.

RTI reaching out to her on the dawn of planning out Izmedu’s entries for “Second Chance” was something of a serendipitous opportunity for Terezija. Though she was approached first as an artist, the representatives she talked to weren’t exactly hiding what they were hoping she would sing. Given that Terezija had agonized more over “Rat” than “Beautiful Chaos,” the choice was an obvious one, and for Terezija, the chance to sing “Rat” again was something she couldn’t resist. For her, the opportunity to sing once more was a way to reclarify and recalibrate the message she wanted to say this time around. Instead of letting the earnestness of the message get to her, she wanted to be the very driver, the very animus of a declaration instead of hoping that the message itself would transcend her voice. Years had passed that allowed her to at least garner a better understanding of what it meant to actually say that she would not fight someone else’s war. The words could not be changed lest she break the rules, but she hoped that she would be entering the contest a slightly wiser woman with a better handle on nuance.

Or perhaps, a part of her also missed the moments of having an audience to spread this message around. With the world seeming to splinter, falter, fray, and destruct at so many moments, perhaps it was time for her to meet the very moment once more, even though this was a song whose first impressions were already emblazoned to history. It was extra fuel for the fire, she reasoned. Touching down upon Caryton and press conferences with this mindset was a surreal experience for her and her fellow entrant, Dijana Jurina. However, there was a strange silver lining with this occasion being but a special celebration instead of being the main event. There was none of the backlash she had felt when she won her national final, nor were there as many eyes gazing upon her. It allowed her a touch more laterality when it came time to reconceptualize “Rat” for the WorldVision stage. She had a bigger stage to tell a story after years of singing in more low-key gigs.

During rehearsals for “Second Chance,” Almatsi Mustonen would claim victory in the centennial edition with the song, “Quarter to Two.” The message behind Almatsi’s song was one of the driving forces that helped motivate Terezija to stick with “Rat” even if the prospect of performing the song once more made her anxious than excited. There was a resonance in the lyrics that Almatsi sang, especially since every waking day really did feel like they were approaching the proverbial end times. Maybe the end of the world was already upon them and it would only be mere hours as the realities of war, strife, chaos, and unsustainability would choke the world into a slow motion death. It was another spark added on to the flames and another reason to stay committed to the contest. Terezija’s time had long passed, but perhaps she could be another voice that reinforced what Almatsi was saying.

Even so, that didn’t stop Terezija from feeling nervous in Schuftsburg. She could feel a sharp pit in her stomach during the Malta Comino Gozoan entry, the sounds of Nathan Aperitivo’s “Safari” booming through the Carytonic venue. She tried to focus on Nathan’s performance to allay and assuage the fears, but as the seconds dawned, Terezija wondered if she should even doing a contest like this again. Despite the name, “Second Chance,” perhaps it would’ve been better to listen to her late night post-rehearsal fears and left “Rat” to the history books, only to be performed in nostalgic gigs. Her nerves were bad enough that Dijana even noticed, to the point where her fellow entrant embraced her in an attempt for comfort. It helped just a touch, though the embrace happened for as soon as Nathan’s entry ended.

There was no turning back now.

Much like in Caen and Besini Pācretana, she hummed to herself a silent prayer in Izmeduan. She clasped her hands together, sauntering towards the stage as she softly sang beneath her breath those comforting words from days long past.

Terezija’s hums would end as soon as she was directed to where she needed to go on stage. Each rehearsal that inched closer to the actual night of the performance intensified the feelings of anxiety that roiled within her mind, even though she knew that this contest was more about celebrating the past than necessarily competing for WorldVision glory. Memories of her performance in Besini flashed through her mind as precious seconds ticked to the start of the first Izmeduan entry of the night. Already, this was going to be one hell of a contrast from Nathan’s song just minutes prior and she feared how that contrast would come across. Even though she had no recourse to retreat to the green room, those same second thoughts continued to float about the periphery of her mind as she took in the Carytonic crowd. How would she have been able to survive if this was the main WorldVision contest? However, as the lights began to shift and as the postcard ended, her mind had no choice but to focus on the performance that was due to begin in a matter of seconds.

She’d performed this song for what felt like a million times now since WV56. She took some solace in that fact, trying to find a place in her mind to relax and to let things be.

Before long, the lights in the marquee tent would quickly shift to the center of the Carytonic stage, drowning the stage and the venue in total darkness for a brief moment. After a few seconds passed for on-screen graphic headers to fade away from the television screens, the entry began with a startling and heartwrenching wail that reverberated through the venue. The venue would then be subsumed in blood-red lights timed to the duration of that wail, one that would devolve into sounds that vaguely sounded like sobbing, becoming distorted and warbled before quickly fading. Terezija’s shadow could be seen on that stage, physically arching as if she were the one letting out such a sound before appearing to cover her face in visible emotional distress. The sound of such a wail would soon fade into a solemn arpeggio that provided the backbone of the song’s melody. As soon as the lights would fade, an image of an older woman who looked vaguely similar to Terezija would appear on the screens. The woman would be holding out a flower, but unlike the original performance, the flower had long since wilted. Only a few petals, slowly falling and fading, remained. In anticipation for the first verse, the woman would crush the dead flower in her hands and turn away with her eyes closed. Just a mere second before the first verse would begin, the camera would fade to a view of a kneeling Terezija, beginning to be illuminated by a faint white light.

Čutas i brágoli od pali
Njihov životi distruzaro
Naši organi smo iskidani
Po ovo bescjilinih bitaka

Terezija’s eyes remained locked with the camera throughout this first verse, her eyes gazing towards it with an intensity of a weary survivor who no longer wanted to live a life filled with meaningless destruction. She began and delivered this first verse with a heavy solemnity that threaded her voice, her expression heavy with sorrow even though her vocals remained steady. Her shoulders were hunched and the cameras maintained this close view of her, as if this were a candid moment of an innocent life caught in the whirlwind of a war not of her own choosing. On the screens behind Terezija, abstract images of destruction could be seen forming behind her, represented mostly through sketches and drawings of tortured landscapes with some scant details of buildings reduced to ash and rubble. They were faint on the Carytonic screens, only acting as a frame to Terezija’s performance. The stage and the lights began to be accented with the same haunting, blood red hue that began the entry. By the fourth line, she would begin to reach her arms out towards the cameras, the growing spotlight on her slowly illuminating the ragged outfit she was wearing, and soon, the pre-chorus would begin.

Jo je stabilitet
Jo je spašavanje
Jo je izručenje

At the advent of the pre-chorus, Terezija would arise from her kneeling. As she did so, the camera would move back slightly for a fuller body shot of her, though still it refused to show the audience or even a larger shot of the stage. While singing these three lines, Terezija would slowly reach for the camera with both hands, what once was weariness in her eyes now gradually showing a deep-seated desperation. These lyrics and these lines were questions and pleas, and such a tone began to be lightly shown in her vocals. However, she kept them low and steady, and instead of the innocence that was there in the original performance, there was only but a heaviness in the presentation and in her demeanor. Her shoulders were still slumped, and there was naught the wonder of an innocence that could’ve been. Behind her, the world remained in utter ashes. Below her, the screens that constituted the floor would only be marked with the spilling of blood and the ruin of rubble. The lights remained a dimmed red as the pre-chorus ended, Terezija retracting her hands back as her eyes gazed downwards, eyes closing as the chorus was upon her. The only sign that the song would transition into the chorus were two seats of two beats that saw the venue flash in brief, but haunting white lights, and soon, that chorus would begin.

Stojim protiv tvoja tiranija
Ćemo čuti naše glasove
Nikad neću
Se boriti

Terezija’s vocals were imbibed with agony and power as the chorus began. Her vocals soared at her declaration of defiance, each word reverberating throughout the arena as she arched her body in approximation of pain. Her eyes were closed in a visible strain and the cameras would finally switch views for the first time in this performance. As Terezija commenced the chorus, the screens behind would show a haunting yet familiar image to those that remembered the original performance in Besini. Coinciding with her haunting vocals paired with an ominous electronic buildup, images of a familiar coastal city could be seen being burned and razed to the ground. The sources of such destruction were left vague from such violent and disturbing imagery, but Terezija’s visible agony was framed by the inferno wrought in a city that evoked the structure and form of Vodiznad. As her vocals intensified into a defiant plea, the inferno behind would continue to ravage the city, fire and ash torrenting and swallowing whole the home she once knew. The camera would take on an overhead view for the first two lines, Terezija clutching her chest as she sang, the buildings behind her continuing to burn, marked with destruction that could only have come from weapons capable of such horrific destruction. Terezija’s fists would be clenched, shaking as the cameras would return to a closer view of her for the final two lines, her eyes and expression laced with a pain that could only have come from unspeakable anger. The lines were brief and short, yet each syllable she would elongate and lengthen, each line a belt that expressed the horror and anger of seeing one’s home be taken away in such an instant. The instrumentation would shift from the ominous build up to one of a light cinematic bent, matching the quick shift in emotion and sentiment, and framing the vocals that were not just screams for help, but were also battle cries of resistance. The images behind her began to distort at the fourth lines, timed to the production beginning to transition to the song’s refrain.

Tvoj rat
Tvoj rat

The song’s refrain was now upon Terezija, commencing with an almost cold delivery of the song’s title. Her eyes were cognizant of the danger that was abound, her eyes quickly gazing about at every inch of what she could see of the Carytonic stage and her movements frantic that scant pause between the first and second refrain. Her fists were now unclenched, though she now was beginning to take a move within and against the destruction of a place she called home. The harsh post-apocalyptic electronica framed each movement as a beat would play in each refrain. Terezija would soon quickly focus on the camera, having since shifted from a wider to a closer view of the singer. Her expression would shift from one of light panic to one that was seething with buried rage. Suitably, the second refrain was delivered with more anger, as if spit out with a grit even beginning to seep into her tone. The lights in the marquee tent would begin to flash in sync with the rapid beats that connected the post-chorus with the second verse, red and white confluencing to accentuate the destruction surrounding the lone singer on stage.

Vidješ la destrukcija jesi
Vodiznad gori u canaisa
Ćemo odolivati ljuto
Čak protiv svih rizika kod muart

The second chorus began not with a wail or even an impassioned plea, but instead commenced with the embers of resistance beginning to be fanned to a full-on protest. Though Terezija would have every reason to be filled with fear with what was happening, her eyes were filled with a cold and brutal determination that saw her point a lone hand towards the audience during the first line of the chorus. Behind her, it was clear to the audience at Caryton and partially to the viewers at home that the imagery would have shifted. In reflection of the lyrics, what we were now seeing is a Vodiznad that had since been laid to utter ruins. The city no longer burned, but it was now choked with dark smoke and ash. Such destruction that surrounded her only served to further motivate Terezija in her lone defiance against whatever aggressor had did this to her home. From the second line, the movements she were making, light so as to not compromise the quality of her vocals, were evocative of someone who was fighting to survive on her lonesome. From the third line, Terezija would move strategically move backwards to give herself some breathing room away from the audience and would get into position to appear as if she were leading a march. As a result, each movement she made would appear more forceful and deliberate. This was especially evident as she raised a hand by the third line, never once keeping it down throughout the rest of the verse. The camera never left its relatively close view of her, keeping her well within the center of its focus.

Jo je stabilitet
Jo je spašavanje
Jo je izručenje

If the previous pre-chorus was delivered with quiet pleas that would go unanswered, this pre-chorus was delivered with a burgeoning ferocity that saw the instrumentation begin to burst at the very seams as per its current build-up. Though the instrumentation would ‘hang back’ in a sense, that did not stop the further intensity on Terezija’s part. Each line, posed as a question, was delivered first almost as a hurried question. She held back the kind of vocal capability that she would exude in the song’s chorus, especially to account for the more chaotic movements that the pre-chorus intended. Breaking from the largely static views that the performance had thus maintained, Terezija would be marching about the stage as if she were marching through the ruins. The camera would switch angles frenetically, though the camerawork was at pains to ensure that Terezija would continue to be the central focus. The lights that absorbed the venue continued to flash with a surreal mixture of red and white, sometimes even accenting the still image of a ruined Vodiznad behind her still choked and surrounded by white and gray smoke. The smoke was still smothering the buildings, leaving the city nigh unrecognizable. As the pre-chorus progressed through its latter half, the instrumentation and Terezija’s vocals would begin to intensify as she looped into the position that she needed to be in for the chorus. At the last line, the camera would then begin to settle into place as Terezija belted out that last question, less so as a plea and more as an urgent demand for an answer.

Stojim protiv tvoja tiranija
Ćemo čuti naše glasove
Nikad neću
Se boriti

With the chorus at hand, there was no answer to Terezija’s pleas except for the destruction that had been wrought behind her. Even so, this did not stop the determination that was wrested in each lyric she was singing and each movement she was making. The instrumentation reached its most dramatic heights as the lights continued its strange and resonant unison of reds and whites, especially reds drenched and surrounded against beams of white light. Terezija’s hands were raised at the beginning of the chorus, belting out the chorus with her most powerful and resonant vocals yet. Though the camera was not close enough to catch the nuances of her expression, the sheer fury of her protest in song resonated both in her face and voice. It was to the point where she was no longer even gazing towards the camera directly, in a sense looking ‘beyond’ the viewers at home and bypassing them entirely. For the second line, she would begin to execute the very movements that would constitute her lone protest framed by the destroyed city behind her. In protest of those who would force a war upon her home, she would make a movement that evoked an image of a rebellious salute at the second line. Each movement was timed the words she belted out with pure rage and impassion at the second line of the chorus. Ending that line saw Terezija place a cupped fist over her chest as the final action of that salute. Red lights would quickly flash through the stage as a quick transition to the second half of the chorus. From there, Terezija began to march in place, each step in sync with the rhythm. As she did so, she would also thump her chest as she belted out the ends of each line, her vocals displaying even more grit and rage than the first iteration of the chorus. A roughness began to enter her voice as it reverberated throughout the tent, Terezija’s face arching upwards towards the red and white lights that shined upon her. However, this protest would not last without any sort of consequence.

Tvoj rat
Tvoj rat

The transition to the post-chorus was fittingly abrupt, the fires of protest being quickly snuffed out by a force that desires its quick end. The haunting image of a destroyed Vodiznad choked by smoke and ash would cut out from the screen as a piercing and blinding white light would shine above Terezija. She would raise both of her hands as she gazed upon the spotlight with rage burning in her eyes, not caring if this was the day she would fall. Her face remained arch upwards as she nearly screamed out the refrain, awaiting the fate that would ultimately befall her in the wake of such defiance. She would remain in place for the very brief interval between each uttering of the song’s title, the lights around the marquee tent pulsing red and white for two beats before she would reprise ‘tvoj rat’ once more. At that, Terezija would fall to the ground clutching her chest, the tent being subsumed in a maelstrom of red light as it was clear that whatever protest that happened had met its swift and unfortunate conclusion. The singer was now wrapped in darkness, unable to reckon with what has happened in the brief interval from this post-chorus to the ensuing conclusion of the song. During that brief interval, she would gaze towards the cameras as she remained silhouetted in darkness, hands slowly going limp to her sides. There would be no external force to aid her in her plight.

Stojim protiv tvoja tiranija
Ćemo čuti naše glasove
Nikad neću
Se boriti

Unlike the original performance, there was no other presence or possibility of another singer that would help Terezija. The chorus would begin with the marquee tent being gently lit with dimmed white lights, a spotlight shining upon the Izmeduan singer as she gazed upon it not with rage, but with a weary desperation in her expression. The camera would shift to a view of one just right above, with Terezija reaching for the light as she sang. There were no signs or accents of red throughout this reprise of the chorus. She, her life, and her nation were proverbially hanging in the balance between surrendering and resistance. Terezija’s hands would tremble as a representation of such a fragile limbo, her vocals expressing the precarity of the situation. Due to the camera view, the viewers at home were able to see some of the visual representations on the floor, that being more graphic depictions of rubble, crumbled stone, and wilted flowers that surrounded her feet. At the third line of the chorus, Terezija could be seen struggling to arise from the floor as she belted out the vocals once more. There remained no other to come to her rescue as it was evident that she would have no choice but to continue onwards on her own. Her eyes were closed as she belted out the fourth line, fists and expression clenched for as long as she held that note. A silence would befall the venue after she sang ‘se boriti,’ lasting in a manner of only a few seconds. These lines were no longer delivered as cries for help as per her original WorldVision performance. They were declarations made in an attempt to alight a fraying determination.

(Tvoj rat)
Tvoj rat
(Tvoj rat)
(Tvoj Rat) Nikad neću
Se boriti
(Tvoj Rat)
Se boriti
Tvoj Rat

She would arise, no longer protesting, but simply surviving and living as a form of resistance. Though her movements were not as dynamic for the conclusion of the song, the children’s choir that was added to the song’s backing track emboldened Terezija to push through the proverbial pain. She would walk onwards with arms reaching out towards the audience, vocalizing for them, hoping that someone, anyone, would find a weary hope in this destruction. The lights remained white as Terezija would begin to regain her will to keep resisting through each utterance of ‘tvoj rat.’ She would march onwards once more, going as far as she could before risking getting too close to the edge of the Carytonic stage. Her vocals remained impassioned, and her statements of defiance were delivered with power. Once the song approached its final refrain, Terezija raise her right arm upwards with her fist cupped. The lights behind her would flash a brilliant white, leaving her silhouette as the final impression that the entry would leave for the viewers both at home and in Caryton.

Terezija wanted nothing more than to collapse on the stage, but the adrenaline rush of performing prevented her from falling to the ground and risking medical attention. She was so overwhelmed with emotion that it took a moment to even register the crowd cheer, no less the fact that she needed to vacate the stage quickly in order for stagehands to get ready for her fellow entrant’s performance. She clasped her hands to her chest, unable to speak for a few moments before she found the resolve within her to do so.

“Caryton, volim vas. Hvala lipa, hvala lipa,” Admittedly, it came out more like hushed whispers even with the headset she was wearing. Regardless, she hoped they got the message.

She would walk backstage to be greeted by the sight of Dijana, who herself was getting ready for her performance.

It was in the post-performance rush was where she realized, time and time again, just how much performing mattered. The fact that she was able to sing this song again in such a huge platform mattered to her in ways that words could not articulate. That feeling is what she would hold on to for the rest of the night.

Hear the cries of the fallen
Their lives shattered
Our bodies torn
By aimless battles

Where is our peace
Where is our salvation
Where is our release

I stand against your tyranny
Our voices will be heard
I will never
Fight

Your war
Your war

See the destruction you have caused
Vodiznad burns to ashes
We will resist with anger
Even if we face death itself

Where is our peace
Where is our salvation
Where is our release

I stand against your tyranny
Our voices will be heard
I will never
Fight

Your war
Your war

I stand against your tyranny
Our voices will be heard
I will never
Fight

[Izmedu]

15 IZMEDU #IZM
Dijana Jurina - Zaključan
Translation: Locked Up
Tune: Tamta - Unloved
WV65 | 2nd place, 122 points
Link to Original Entry

---

Compared to other former Izmeduan WorldVision hopefuls, Dijana Jurina knew she got off rather easy.

As was predicted by Izmeduan industry insiders at the time, her runner-up placing in the 65th WorldVision Song Contest was precisely the shot in the arm for Dijana’s career in Izmedu to truly begin in earnest, and she was able to overcome a fairly ‘late’ start in comparison to her peers to become the very vanguard and reigning name in Izmeduan pop. She’d revitalized a flagging model of the Izmeduan pop star meant to exude star quality, looks, glamour, and especially a larger-than-life personality. Coming off the 65th WorldVision Song Contest, “Zaključan” had become a song that began to slowly chip away (for a time at least) at the dominant singer-songwriter model that often dominated the Izmeduan music industry and the respective national charts. In the months and years following, she’d recodified the ‘no-frills’ model that had fallen into disfavor, inspiring future entrants such as PRIAMAIKI and TINA to take the Izmepisma and, subsequently, the WorldVision stage.

Then came the era that was “No Air” itself, her entry to the 79th WorldVision Song Contest and arguably in contention with “Zaključan” for her most successful single domestically and worldwide. Her journey to the 79th WorldVision Song Contest was one that was well-documented by domestic press, having been the only one to truly give then hot Izmepisma favorite IzaRa a challenge. Ultimately, a “second chance” edition in Izmepisma gave Dijana a second lease and attempt at the WorldVision crown. She enjoyed a second go at the WorldVision experience and coming 2nd again was something of a silver lining in regards to her status back at home. Throughout the contest, her mind was set on how her commercial fortunes simultaneously aligned and contrasted with her country’s appetite for her kind of pop as a whole. Given just how much of a contrast “No Air” in comparison to her debut, it was easy to assume that she would simply fall down further as Izmedu would begin to again naturally favor the singer-songwriter. However, that was at all not the case, and “No Air” was the second shot in the arm that perhaps saved Dijana’s career from toiling in the doldrums of flirting with being cut from her label prematurely. The hype surrounding her second entry allowed Dijana a second lease at not just being a WorldVision entrant, but also a new lease in her career.

Lightning struck twice and perhaps thrice for Dijana, as her dual silver medals were marked with a dancepop resurgence that was led mostly on her shoulders (though Olga Vrbic would make a return back to dancepop, albeit with a campier flair, as Dijana would enter a hiatus). Ultimately, she was able to translate this success into an appearance in the Games of the XIV Olympiad hosted by both Liventia and Banija. Such successes prolonged her time in the international spotlight, and to her knowledge, she remains the only runner-up from Izmedu to have been granted the honor of such a huge stage. This coincided with domestic hit after domestic hit, with Dijana undertaking a steady career with a reliable set of songwriters that provided her with prime material. Reflecting back on this success, Dijana knew that she had been graced with an extremely good fortune that not many other Izmeduan singers would find in their careers. As others toiled, even her lowest moments would find her going from strength to strength as she already had an extensive enough back catalogue that would ensure a great legacy deal later on down the road.

She emerges out of a hiatus with a deliberate aim to utilize the Second Chance special edition as a springboard into hoping to regain some of the hype she once had. Beyond just simply the commercial viability of putting herself back into the international spotlight, she had other reasons for taking RTI’s offer to represent Izmedu in the WorldVision stage once more. Though Dijana had certainly flirted with being cut out from the Izmeduan music industry by executives due to her variable success in the charts, when being compared against others in the same quadrant, she knew that she carried far greater financial security in comparison to her peers. Indeed, it was that kind of laterality and safety cushion was what allowed Dijana to take on RTI’s offer without so much as even a second thought.

The moment RTI had proposed letting her decide what entry to send for the special edition, she already had an answer in her mind. The choice between both of her entries was an obvious one. For as much fun as she had in Rouen all those many editions ago, the pressure of both winning Izmepisma and bearing the Izmeduan baton did admittedly get to her more than she would’ve ever publicly admitted. In contrast to “No Air,” in which she already performed it multiple times for a voting audience and also had more time with teams to tighten the package and messaging, “Zaključan” in hindsight felt like a mesh of ideas that seemed to function well on paper that ended up instead not living up quite to its full potential in the execution. She remembered those days and nights leading up to the contest in Rouen rather well, in which there was constant anxieties regarding how to match the concept to the execution on stage. Ultimately, many ideas were left on the cutting room floor as there were too many people that had a stake in what the song should be.

Though her career had gone from strength to strength in the interceding time from then (WV65) to now, the problem of simply having too many cooks in the kitchen was one that dogged her through most of her career. While she wasn’t one to exude too much detail-oriented control over all aspects of her career, she will definitely admit that there were times (especially concerning hiatus-breaking relaunches) where it honestly felt like the choices were not even hers. With the amount of stakeholders in her career, Dijana is one to cynically admit in drunken rants that it really was just her record label and her management that decided the successes, and that they could just place anybody else with a similar voice in her spot and the trajectory would be the same. She ultimately stayed her tongue surrounding people who did hold actual stakes in her success, but the potential veracity of such a strong and damning claim against the Izmeduan music industry stuck through her mind as her career progressed.

It also didn’t help that, systematically speaking, it held a grain of truth with singers like Ljubica. It was a common tactic for Izmeduan singers with the ‘look’ to be instead entirely supported by not just a committee of songwriters, but also by an unnamed and unseen singer who would provide the ‘voice.’ There was so much performativity, so much need to push out the perfect first single and the perfect debut that by the time Izmedu had embarked on its extended hiatus from international song contests, Dijana had grown tired of the business model. Her own extended hiatus was marked by trying to seek and gather some sort of meaning from a career that she felt like wasn’t really wholly ‘hers.’ In a sense, learning about music industry foibles from an observer standpoint as well as simply growing older had made Dijana realize why career and creative control was an integral aspect to one’s long term care and sustainability in the music industry. What did success mean when so much of it was just decided by other people? Did that success matter when so much of it was orchestrated by big wigs in power suits that she would occasionally see in perfectly timed quarterly financial meetings?

As someone whose career was on the eventual and inevitable decline, Dijana was feeling the pressure of trying to find ways to remain relevant without exuding a sense of desperation that often dogged smaller Izmeduan artists trying to make it. To her non-surprise, meetings were held about the potential financial and commercial implications of her fading star. Though Dijana perfected the ability to stay calm and collected with executives, the meetings were an embarrassing series of affairs that sent one message home: she was not relevant anymore. To hope that she could recapture the glory days and entertain the kind of wild success of her debut was simply no longer feasible, no matter how much she would try. However, much like the agonization over what “Zaključan” should’ve been, there was also much haranguing and contradiction over what Dijana’s late stage career should also be. Unsurprisingly, there was no consensus as to what kind of career she should even have, no less the kind of music she ‘should’ be recording outside of a vague sense of continuing on with her brand of dancepop.

Framing “Second Chance” as a last hurrah afforded Dijana the psychological and logistical laterality to make an executive decision regarding her participation. It also helps that RTI were the ones to approach her than the other way around. With a smaller team surrounding her this time, she aimed to rectify some of the problems she was having with “Zaključan” by focusing less on what she was hoping to execute (that being the ill-thought theme of this song being about a relationship, which never really bore fruit anyway) and focusing more on what the song represented now. There were themes of isolation and pleading that were threaded in the lyrics that she could utilize to tighten the raw product that was its original staging. There was a routine that could’ve used a little bit more refining. The song, especially as she began to enter vocal rehearsals, began to take on a much more different meaning now than before.

Even if she didn’t write a single word of the song, being ‘locked up’ was something she understood far more now than ever before. While she had no prayer of fully breaking free from the Izmeduan music industry, she hoped to utilize the special edition as a sort of last hurrah before having to figure out her eventual exit strategy and retirement from show business. Given that she didn’t have much in the way of newer material, she was able to clear this move with her management with some consternation on their behalf. Thus, it was time to go through the WorldVision gauntlet once more, though with the express knowledge that she was doing this reprising her entry than going in with something new. Though she didn’t want to jinx or chance anything, going through rehearsals with “Zaključan” felt a far smoother experience in Schuftsburg than the anxiety-prone meetings her team was often having while in Rouen.

It was time to perform again. It was a surreal feeling being in the WorldVision stage once more, even though the tenor of how RTI and her team approached this participation was far different. Given the amount of attention that was being placed on the debacle that was Izmedu’s entry to the centennial edition, she and her fellow Izmeduan entrant Terezija Novak were allowed to fly down the radar without much media attention. For that, Dijana was glad. Yes, it did cause concern for those that wanted to monetize this appearance and build promotional momentum, but it was freeing to participate without the pressure of needing an entry to be brilliant. In a lot of ways, this was quite like participating in the 79th WorldVision Song Contest all over again, where the rehearsal days were filled with far more fun and spontaneity than simply a constant barrage of meetings and promotional appearances.

Terezija gave her a wink and a brief hug when both met each other backstage in those precious intervals between performances. Surprisingly, Dijana felt less pressure off her shoulders as the seconds ticked quickly to her cue.

It was showtime.

It was a surreal feeling being back on the WorldVision stage again, even though she wasn’t participating in the main contest this time. With Terezija’s entry now over and with Dijana now responsible for closing out her country’s offerings to this special edition, she could feel the familiar pressure of needing to impress go through her mind and body. The lack of media attention was a silver lining after all, especially as she and Terezija mostly tag-teamed press conferences in Caryton without much difficulty and fanfare. It was enough time to enjoy the change in scenery, alongside decreasing the pressure during rehearsals and planning meetings. Additionally, the more intimate nature of the contest with a smaller audience than the usual alongside the stage configuration allowed for more flexibility when it came to sketching out how the performance would come across to the viewers both at home and in the Carytonic stage.

The seconds ticked to the commencement of the second Izmeduan entry, the lights rigged to the marquee tent flashing to the very center of the stage before wreathing the stage in absolute darkness. Dijana was in position, mostly standing on her lonesome as the four dancers that would accompany her were hidden deep within the darkness that absorbed the stage. Silence would fill the venue for a few seconds before the entry began in earnest, familiar plucks from an electric guitar that seemed to not really befit a dancepop song such as this. However, they only sounded like one, and any thought of this being dissonant would soon disappear with a first shot of Dijana standing against swirling smoke lit up by purple light, casting a striking silhouette of her shadow. Such a shot was timed to when the song began, stage hands by the microsecond making sure to fill the stage with the right amount of smoke before the song truly began.

She would take a few steps towards the audience, the camera lingering close to catch her confident posture. With hands on hips, each step that Dijana took was deliberate and slow, to the point where the producers added sound effects of high boots clacking against the floor timed to the ‘beat’ of the song. However, the introduction to the song would not last long, vocalized ‘ahs’ tied to the production heralding that Dijana was soon to sing. Striking a fierce pose on stage, the lights would flash white to reveal the singer herself in full, gazing upwards into the stage light bearing upon her with an empty look in her face, eyes wide open. Though she looked ready to confront what force was above, the way she posed herself teased a sense of helplessness, as if the moment after would entail her being put in danger. The camera would quickly fade to a close shot of her, in time for the first verse of the song to begin.

Mi amar baud, damnoćen jamno
Neviđen pol, o ardari me
Molim slobodi me, oslobodi me
Ovaj fuma, ovaj strast sentirem
Nemoj me pustiti, trebam te čaike
Molim slobodi me, oslobodi me

With her singing through a headset as per her original performance of the song, Dijana made full use of the increased movement to begin to sell the sense of isolation this song exuded. Each movement of her arms and her body was deliberate, her face never once betraying too much emotion as she would continue to step towards the audience, the light that followed her revealing bit by bit the amount of smoke that abounded the stage’s floor. Regardless of what she went, Dijana seemed trapped in the realm that was the stage, never finding any sort of escape or even finding another soul. It befit the quieter first half of the verse, the brief interval allowing time for Dijana to recede back to the center of the Carytonic stage. The second half would soon manifest, with a greater sense of desperation now in her expression even though her voice remained stately and collected. The lights in the Carytonic venue would begin to strobe to the beat as per the original performance in Rouen, though there was less an emphasis on showing the wider stage with the camera more focused on showcasing Dijana herself. She would inject a greater power in her vocals as the camera would gradually take on more distanced shots, dancers crawling through the smoke to slowly reveal themselves to the singer. Dijana glanced at them with pleading looks, reaching out to them and yet, they did not even respond or acknowledge her only except to further recede within the smoke and the darkness. Such a moment was timed to the last line of the verse, Dijana’s lone hand reaching through the darkness only for the dancer never to respond back. In turn, Dijana would put her head down, standing at the center of the stage surrounded by dancers facing away form her. This was the parting image of the first verse, with a quick transition to the chorus and eventual drop of the song.

Postojim u tišikare
Sam slomjen, sam slomjen, sam zaključan
Postojim zaključano
Sam slomjen, sam slomjen, sam zaključan

She would hunch her body forwards as she vocalized the first line of what would constitute the chorus, even though the instrumentation would be building to the drop that was soon to be imminent. As she sang the first line, she would move in a way for her hair to nearly cover her face, Dijana becoming almost anonymous as the smoke would begin to gradually abate and the Carytonic venue beginning to gradually be alight with light. Hues of purple and white began to clash and meld as Dijana sang the refrains that contained the song’s main theme and even its title. As she would enter the third line, the dancers would begin to surround her and quite literally ‘trap’ in Dijana in place, though they were strategically placed to ensure that the cameras still had a view of what little of her face was peeking out from her hair. Fittingly enough, she kept her vocals low, only gazing at the dancers with a look of weariness, not realizing the situation that she found herself entrapped in. She would figuratively recede within herself, crossing both of her arms into a cross as her face would begin to peek upwards towards the light, hoping that perhaps there was something up above that would act as an escape.

Ne mogu živjeti u pol
Sam slomjen, sam slomjen, sam zaključan
Postojim u tišikare
Sam slomjen, sam slomjen, sam zaključan
Sam zaključan

The chorus would begin to further build into the song’s eventual drop. As the production intensified, so too did the lights on stage. No longer would Dijana find the solace she sought, only instead to find that she was left hostage to this chaotic world with no possible and obvious escape. Suitably, her vocals began to grow in desperation as the dancers surrounded her. The lights were cleverly placed to continue exposing Dijana’s expressions, which had went from a cool and calm denial to one where she was only now processing the gravity of her situation. She would attempt to seek a way out from the empty hell she was in. This half of the chorus began with intensified vocals, with Dijana’s hands grasping for any space she could escape. However, the dancers blocked her every move, the viewers at home and in Caryton only able to gleam scant details to how frenetic the camera movements and how much the lights aggressively strobed. Before long, Dijana could do naught but isolate herself to the center of the circle she was trapped in, holding her chest both to control her vocals and to express that need to be set free. She would then let her hands to her side at the final line, gazing into the camera as the venue seemed to pause in time for just a scant few seconds. A wild look was etched into her expression as she sang the song’s title, and before long, the song’s drop finally began.

A strong blur effect was applied to both shift the camera view and properly introduce the dance routine that constituted the song’s drop. In one second, Dijana went from being surrounded by her four dancers to leading them through a strenuous routine framed by a venue that was drowning in strobe lights, hues of purple and white streaking through the Carytonic stage. The routine was aggressive, with the cameras moving along to their arm and body movements. For those watching at home, post-production distortion effects could be visibly seen, causing the broadcasting to appear as if it was glitching and on the verge of losing signal. For a few seconds, Dijana and her dancers would appear in flickering colors of black, white, red, cyan, and the deliberate glitch effects would not end as the drop continued to intensify.

Sam zaključan

A generous amount of post-production effects would go into this part of the drop, the dancers continuing their routine as Dijana would begin to execute the part of the routine that was considered the original crown jewel of the concept. Each step she took and danced with was a stomp that began to break the ‘reality’ that was the LED stage floor. By the time she reprised the song’s title, what once a blank stage floor was now displaying a vortex that was slowly but surely beginning to ‘absorb’ Dijana into its unforgiving clutches. Soon enough, the camera would begin to take more aerial shots, taking clever angles to frame the persons on stage as being subjects that would fall into an unending abyss. The vortex itself was tinted purple, pulsing to the beat and intensifying as the routine continued. However, the real money shot was when Dijana broke routine and found a way to fall to her knees, each chaotic movement being deliberately shot in slow motion. In the middle of the drop, Dijana’s face was exuded a desperate delirium as she swayed her head to the left as the short second half of the instrumental would approach its conclusion. Aggressive haze and blur effects would be added to that specific shot, the cameras catching a moment of chaos shot in a moment where things were slowed down to the frame. Before long, the drop would find its abrupt conclusion, a glitchy blur providing ample enough cover for the cameras to flash forward to what was happening in the present moment timed to the ‘ah’ that represented the start of the second verse.

Probine cre, ultre mučenje
Samo tvoja, možeš spasiti
Molim te spasi me, Molim spasi me
Ovaj fuma, ovaj strast sentirem
Nemoj me pustiti, trebam te čaike
Molim te spasi me, Molim spasi me

The second verse saw Dijana being entrapped and encircled once more. However, instead of the dancers offering themselves as a physical barrier, two of them would instead be holding Dijana in place. One of her arms was outstretched by the dancer on her right, causing Dijana to lean towards that direction while the other was acting as the proverbial balancing board. Suitably, Dijana and the dancers were illuminated with haunting white lights, Dijana’s face especially looking akin to a porcelain doll as her gaze never broke from the audience during the first half of this verse. Her voice remained low and steady as she appeared almost like an uncaring statue, the camera slowly moving throughout the first three lines to capture the moment. The second half of the verse would see more production being added to the instrumentation, Dijana and the dancers breaking formation as the audience would now see four dancers begin to surround her. Mirroring the desperation of the first verse, she would add more dramatics to this verse’s latter half through sliding downwards, her face contorting in agony to match the plea within the lyrics. The dancers would also move in sync with her, surrounding Dijana in a prison of their own making. In the brief interval from verse to chorus, the camera would cut to a view right above Dijana, showcasing her and the dancers from slightly up above, and also a vortex that was ‘stopped’ in time.

Postojim u tišikare
Sam slomjen, sam slomjen, sam zaključan
Postojim zaključano
Sam slomjen, sam slomjen, sam zaključan

Despite being surrounded, she was still able to set at least one hand free to reach towards the camera that was focusing on them. Though her face exuded an emotional pain, it was a contrast to the vocals that she was just holding at bay to sound as calm and controlled as possible. Timed to this, the beginning of the chorus would see the lights confluence into one bright beam, descending the rest of the stage into a total darkness. She reached towards the light, a visible tremble coursing through them as the camera would temporarily switch views for a few moments, focusing on Dijana’s arm and hand for only a scant few moments before returning back to the singer and her dancers. She would recede that hand back to herself at the fourth line, closing her eyes in preparation for the part of the chorus that acted as the true build-up to the drop. The dancers could be seen beginning to break formation, Dijana on the verge of being temporarily ‘set free’ for the next few seconds.

Ne mogu živjeti u pol
Sam slomjen, sam slomjen, sam zaključan
Postojim u tišikare
Sam slomjen, sam slomjen, sam zaključan
Sam zaključan

As soon as Dijana’s vocals soared for the second half of the chorus, the dancers would disperse away from her. The vortex beneath them all on the stage floor would be ‘unstuck’ from time, beginning to swirl with purple and blue tints. Beneath them all, a storm would begin to rumble and rage, though Dijana and her dancers were none the wiser. The former was focused on trying to set herself free from this forlorn world, pleading to anyone beyond this realm to hear her pain and agony. However, even the power of her voice could not prove effective as the dancers were like magnets to her. She could escape their overarching influence and their seemingly single-track intent to keep her in perpetual isolation. She was a woman on the verge of a breakdown, her vocals remaining powerful but her expression falling into signs of mania. She would be actively avoiding the camera, even though the cameras were precisely looking for her throughout this verse. The strobe lights would continue to intensify throughout these lines, teasing the audience for the chaos to come. The time for the drop was nigh, Dijana belting out the song’s title in the fourth line leaving the arena to hang in darkness for only a brief second. Her hands were to her eyes as she faced away from the audience.

However, she would have no choice but to confront the demons that were in front of her. With a dramatic flash to a wider angle and a momentary blurring of the screen, Dijana and her dancers were in formation once more. They would perform a tight but strenuous choreography for the drop, the strobe lights surrounding them flashing with abandon as purples and whites drowned the stage in once more. They would perform a beat-heavy choreography focused more on gyrations than hand movements. There was a different tenor to even the way the production acted during the drop. There was a brief moment where the music seemed to malfunction, with the frames deliberately slowing and being disruptive during the choreography before returning back to ‘normal.’ After that brief disruption, Dijana would directly face the audience once more, the dancers swirling around her.

Sam zaključan

Beneath Dijana, the vortex would become a frenzy swirl of purple design and lights. The storm was due to consume those still remaining and dancing on the stage. The audience in Caryton would see a more intense version of the choreography performed, except the dancers would be training their gazes towards Dijana’s way. However, the viewers at home would be seeing something entirely different. The storm from the vortex on the LED screen began to ‘leak’ onto the camera view, with post-production once more bearing the fruits of their labor. Soon, that storm would then be paired with an overbearing amount of distortion that began to overtake the screens, to the point where one could mistake this for a broadcast on the verge of going out. As the drop intensified, so too would the effects, to the point where the viewers at home were no longer even able to see the performance except Dijana becoming lost to the world that she could never escape from. Before long, she would have to reprise the chorus one last time, and just before she would have to, the camera would break away to another view to break the spell from the intense amount of effects being displayed on screen. Much like before, Dijana and her dancers were in formation, with the singer being dead center while the others encircled her.

Ne mogu živjeti u pol
Sam slomjen, sam slomjen, sam zaključan
Postojim u tišikare
Sam slomjen, sam slomjen, sam zaključan
Sam zaključan

For this final chorus, the dancers would be giving it their all, reprising variations of the choreography they performed with Dijana in earlier choruses. Dijana herself focused on not just letting her vocals soar to their most powerful extent, but also focusing on giving the last hurrah of her plea to be saved from this empty hell. The camera shots and the lights remained frenetic. Unlike the staging in Rouen, the vortex on the floor would not be repaired. Instead, the storm that they performed upon would instead intensify, risking engulfing them in a maelstrom of fury if the storm was actually real. Dijana would reach for the audience, her eyes closing and her face contorting in visible emotional pain once more. She would lightly follow the dancers in their choreography, but it was clear that she was far more focused on the vocals and expressing that anguish. As the song approached its conclusion, she would take a step back with eyes locked on the camera. In turn, that camera view approach would then begin to approach her face. Timed squarely to the final line, Dijana would cover her eyes as she sang last refrain of the song’s title. As she did so, the entry would finally conclude, and the stage would be absorbed into total darkness.

It took a crowd cheer to remind her that for as much as rehearsing could be, nothing truly beat the real deal when it came to moments like this. The stage was finally lit up after a few moments and Dijana was absorbed first into a tight huddle with her dancers, celebrating with the people she rehearsed with day in and day out. They were aglow from that post-performance euphoria and it was a feeling she wanted to cherish and hold onto for as long as she could. In the few moments she had before she and her team needed back to the stage, she would blow multiple kisses to the Carytonic crowd.

“Thank you so much!” Hardly the most original response, but it had to do.

Regardless of what happened, she walked away with a feeling of fulfillment. She keenly anticipated what the rest of the night would hold for her and Terezija.

My bitter voice, damaged soul
Unseen pain, it burns me
Please set me free, set me free

This hunger, this desire I feel
Don't let me go, I need you here
Please set me free, set me free

I exist in silence
I'm broken, I'm broken, I'm locked up
I exist in pain
I'm broken, I'm broken, I'm locked up

I can't live in pain
I'm broken, I'm broken, I'm locked up
I exist in silence
I'm broken, I'm broken, I'm locked up
I'm locked up

I'm locked up

Ruptured hearts, beyond agony
Only you, can rescue
Please save me, please save me

This hunger, this desire I feel
Don't let me go, I need you here
Please save me, please save me

I exist in silence
I'm broken, I'm broken, I'm locked up
I exist in pain
I'm broken, I'm broken, I'm locked up

I can't live in pain
I'm broken, I'm broken, I'm locked up
I exist in silence
I'm broken, I'm broken, I'm locked up
I'm locked up

I'm locked up

I can't live in pain
I'm broken, I'm broken, I'm locked up
I exist in silence
I'm broken, I'm broken, I'm locked up
I'm locked up

[Spiritual Republic of Caryton]

interval?

[Darkmania]

16 Darkmania

Ändrea Sëdtÿrme- "Enkle Toner” (Simple notes)

Maya Sar - Korake Ti Znam

---

NOTE! This entry was orginaly written in 2018 and might be seen as pandering due to current events.

---

"Enkle Toner" was selected as the darkmanian entry to Worldvision as the date it was said clashed with 28th November, also known as "War Memorial Day" in Darkmania to honor the 100-year anniversary of the armistice that ended "the vartugian-darkmanian war". There was one minor problem. This was the 69th WorldVision Song Contest, a contest infamous for its many joke entry. Enkle Toner was seen as too serious in a contest where everyone was making low-quality entries, but in the end came 2nd place, only being beaten by "Wigless". But the story of Enkle Toner didn't end there.

28th November is as told earlier "War Memorial Day", an official day of mourning to honor all those who have fallen. The song was replayed the next year and has since become an unofficial War Memorial Day anthem, being replayed every time in the War Cemetery.

---

ON STAGE
Piano/Vocals: Ändrea Sëdtÿrme
Person: Jürgen Maïones

The postcard has played and Ändrea, being a piano player, plays on the piano. She is alone, but she will be joined later. She wears this dress and the performance is shot in black-white. She will remain sitting and playing on the piano.
In the third line, a grey hologram of what a typical darkmanian soldier looked like in 1918 before disappearing into the air.

Her er min sang, laget spesielt til deg, kjære

(Here is my song, made specily for you, dear)

Det er enger med røde blomster

(There are fields with red flowers)

4 og en halv år har godt forbi

(4 and a half years has passed)

Millioner døde vill ikke se freden

(Millions will not see the peace)

The background begins to slowly fade back into a city in ruin with black skies.

Freden skal vare i 100 år

( (The) Peace shall last 100 years)

La oss håpe at denne krig ender alle kriger

(Let us hope this war ends all war)

Jeg tror at det er bare den første av slike kriger

(I belive that this is the first of these kinds of wars)

Jeg venter på at noen hører mine noter

(Im wating that some hears my notes)

The background is now a green field, but it shows a black field from the first marked words, only to be normal on the other marked word.

Enkle toner til deg, men hører du den?

(Simple notes to you, but do you hear them?)

Forsvarer fedreland. Si ifra når du kommer hjem

(Defenfing motherland. Say when you are coming come)

Venter. Kansje vil du høre min sang

(Waiting. Maybe you will hear my song)

Bare når krigen er ferdig kan du kansje komme, da

(Only when the war is over can you maybe come)

Under the sound of an "Ekÿraflüet", she removes the microphone from the stand that is used doing her piano segment. And steady cam comes and flies around her before the cam goes away. The colours begin to be shown, but its slow.

Enger du var er røde av blomster vakre

(Fields you once was are red of flowers beutifull)

Men vi skulle bli sammen til døden skiller oss

(But we shall remain until death do us apart)

Out of nowhere, a microphone stand is placed and she takes the free microphone and places it on the stand and she performs the last song on the stand. A wind machine blows, causing her dress to blow in the wind.

Enkle toner til deg, men hører du den?

(Simple notes to you, but do you hear them?)

Forsvarer fedreland. Si ifra når du kommer hjem

(Defenfing motherland. Say when you are coming come)

Venter...

(Waiting...)

Venter...

(Waiting...)

The light switches off.

Her er min sang

(Here are my song)

As the song ends we see Ändreä and a soldier hugging each other.

[Todlichebujoku]

17. _Tödlichebujoku_

---

The Kiss Of Night

Viduriksin

Tune: The MVI ft. Karra - Kryptonite

Viduriksin is a group composed of Airi Kamiya & Kirsikka Jucausco. Having met at a dancefloor in Kaltekasai, the two bonded over their mutual interests in music and soon began to produce together. Their success in the club market began to emanate toward other audiences, and soon, they were in touch with TÖBUK for a possible performance internationally. That soon came to pass, and the two landed in Valletta, ready to party. They had only gone as far as Liberuya and Naforaaš before, and so landing in the island nation of Malta Comino Gozo was an entry into a world they had never experienced before. There was some weight on their shoulders- pressure to do as well as Eirlis did the contest prior, and certainly to do better than Sasechaya. had after HIATSUMSI's podium in 93. But as a dance group, things were looking to go decently well - the reception at home and abroad was strong, and promising, though of course they had to be ready for sub-top-10 result like Cauniścasis Mieras had suffered in WV85. While a performance mishap did indeed occur on stage on the big night, the power of fortune ultimately turned out to be on their side.

The sheer heat was unlike any other the two had known, comparable only to the record-breaking heat wave they had experienced in their childhood. It was incredible that people managed to go about their daily business in such conditions, but somehow they did it with smiles on their faces and with jocular countenances. Similarly, the heat could not crack the sheer euphoria Airi and Kirsikka felt upon achieving the nation's best result in 14 editions. Reclining on the beach for a lazy day after the most wild night of partying either had experienced in a long time, the two clinked cocktail glasses as the sun set on the Mediterranean shore.

WorldVision 96 turned into a massive breakout for the pair, their very close 2nd place opening up doors for them to perform in a huge number of nations. Viduriksin became a standard in clubs, and you could not walk a block in any Tödlichebujoki city at night without hearing the signature bassline of "The Kiss of Night" thumping away into the morning light. So it was natural for TÖBUK to select them for the WV100 Second Chance festivities in Caryton, with their silver medal solidifying the resurgence of the nation's WorldVision fortunes that would culminate in Almatsi Mustonen's climactic WV100 win in Monterra. It was certainly going to be a bit odd playing a club banger in a Carytonian festival tent, but as long as night fell, Airi and Kirsikka were determined to bring the nightclub to Caryton, and give them a performance that likely has never occurred on their sunbaked soil.

---

At first, darkness. And then, music and light. The stage floor instantly glows blue with light, illuminating Airi from below, her voluptuous dress glowing from below, its silky white folds spreading across the ground, covered from behind by a dark, velvety cape. No other light is shining upon her other than that from below, the blue light creating a dramatic and spooky mood as she gazes imperiously out of her bejeweled masquerade mask from center stage, even as other blue lights shine straight down into the audience, flashing with the beat

Give me something I could never have
From the realm where all must speak in whispers
Broker deals that risk a deadly wrath
If you're not worthy, then no one's worthy

A soft white light begins to shine upon her as she turns to her addressee, the camera view following along to focus on Kirsikka dressed in an intricate silver dress and wielding a sword, rather like Grimes at the Met, the camera view coming close in for the intimate second as Kirsikka stares daringly into the camera view, her posture steady and unyielding, the background dark and blurred

I'll offer my heart to steel your might
Show me your strength, now cast the die
Oh can you fight her, can you deny her,
Can't see you fall to the kiss of night

Airi fades from view as the camera view turns to Kirsikka as she whirls and battles three figures that rush upon the stage clad entirely in black, the fighting highly stylized and in time to the music, all involved gracefully striking and twirling in time to the beat. The colors of the stage alternate between blue and red, the light from below throbbing as it does so, as spears of white light strike through dull colors from below. The effect is of a deadly duel on the dancefloor in a spy movie

As the dance break ends, Airi has moved away, floating down a projecting platform, a haughty look cast back to Kirsikka and her attackers as she resumes singing, a soft light once again cast upon her as lights glimmer and flash down upon the audience all around. She acts as if she is far removed from the action, looking down from a crystal tower, entirely isolated from all that goes on beneath her. But with her words come dark portents that will soon realize in the coming seconds

Maybe you don't truly understand
The consequences of your lust for solace
Pray the fates might give a second chance
If no one's worthy, then you're not worthy

So tell me again what you desire
Am I so great, you'd face the pyre?
Try to fight her, try to deny her
So will you fall to the kiss of night

Once again, she fades from view. In an exciting dance-chase, Kirsikka weaves around her assailants, heading down the now-empty catwalk, dodging and striking, sword over the audience, but soon finding herself on the defensive. Airi gazes imperiously over, perhaps a faint tilt betraying a slight sense of favor in light of this talented bladework, so much so that she fails to notice another group of assailants encroaching upon her from behind and around

She weaves words, into your own
Breaks your mind, she stays unknown
And you fall

Her touch upon you, ooh
And I feel it too

Airi too is found to be overpowered, pushing and pulling futilely as her cape is pulled away, face contorted in horror and shock as she makes an attempt to fight the other figures grasping at her, but soon giving up and surrendering as she sings the final chorus, falling languidly into their dark embrace

I offered my heart to steel your might
Lured by your strength, we've cast the die
Tried to fight her, tried to deny her
Together we feed the kiss of night

Together, they are carried by the dark figures, raised up high like trophies, before being set down and dancing in a stilted, jerky manner, in synchrony with their former adversaries, as if being controlled by a puppetmaster. A severe contrast of searing white light, and darkness accented by a suble glow of blacklight, fills out the scene as the final dance beats echo through the air

"Thank you, kiitos Schuftsburg," the two breathe as the the lighting returns and the dancers have filed off the stage. They bow and turn to leave, nodding to the members of Tulisvi as they pass by backstage.

[Todlichebujoku]

18. _Tödlichebujoku_

---

Venom

Tulisvi

Tune: 5 Seconds of Summer- Teeth
(Lyric video for listenalong)

So you've all heard that we have a new act for this coming WorldVision in Britonisea! But who is it? What's their story? We're glad you asked! Here on Viihde-Páivittáinen, we've summarized all you need to know about our next WV entry!

Tulisvi is a 5-man pop-rock band that's been running just under the current of the mainstream Tödlichebujoki pop music scene. While they do describe themselves as being primarily pop-rock, Tulisvi has been known to experiment with various styles of music including alternative and electronic, which is increasingly evident in their newer releases. Although the band has stated that it has no intention to become a chart-topping act, music industry analysts have become increasingly vocal and optimistic about the band's future prospects, becoming a sort of out of control public relations machine for them. In reaction, Tulisvi has more or less withdrawn from making statements about their intentions and direction, choosing instead to allow their work to speak for themselves. Only very recently, in conjunction with their partnership with TÖBUK in participating in the WorldVision Song Contest, have the band members broken out of their shell of silence in the press, revealing that they had opted to step back from fueling any sort of hype machine, and that they had no problem with the idea of being successful- only that they would rather avoid having to chase the limelight and constantly stand center stage in the unending circus of gossip that so often surrounds big acts in the music industry.

We were able to get an answer from Vilapertti Serisava, lead singer of Tulisvi, to a question in his most recent question-and-answer session.

Q: What are your plans after participating in WorldVision?

A: Probably drink.

This mentality came to serve the group well, coming in second at WorldVision 81, far exceeding the 6th place received by Rasiña, winner of the first Starfall. Unfortunately, their success would be the last Tödlichebujoki podium for over 10 editions, only followed up by HIATSUMSI's 3rd place in WV93. This final success that served as the penultimate beacon before the nation's streak of excellence that had started in WV76 came to an abrupt end after WV82 dropping out of the top 5, and the top 10 entirely, all the way to WV90- with only 1 blip where the Starfall 2 winner MXB shot into 4th place during WV89. For this reason, Tulisvi was invited to represent the nation in the WV100 Second Chance special edition.... that happened to be in the famously devout and moralistic nation of Caryton. With TÖBUK's assurances, the group proceeded on to enter the nation and set up shop in Schuftsburg. It was a very quaint and cozy town, and the atmosphere was indicated to be quite like an outdoor festival, which Tulisvi were very accustomed to playing. So, things seemed to be on the up and up, and spirits were high going in to play "Venom" once more on the WorldVision stage. When asked about the appropriateness of their song in the Carytonian setting, the band simply responded with, "They'll manage."

---

Different elements of the stage's accent lighting blink blue in time with the music, with the rest of the stage being dark, before shifting to a deep, moody red as the lyrics begin. The members of Tulisvi are arrayed around the center, facing outward, with Vilapertti on the edge. The band is wearing a variety of armor pieces, each one wearing a set from a different era. Vertical spotlights illuminate each member individually, the arcing elements of the stage showing dripping fangs, with the abstracted writhing bodies of snakes appearing on the projections and screens immediately around the band. On a close-up view, Vilapertti has his head leaned forward toward the microphone, his face in half shadow, as he plays the guitar, the camera catching a gleam of reflected light from the guitar finishings as it absorbs the scene

Your hatred worms so warmly in my soul
Give me more and more because my heart's a hole
Want me to die, want me to die
Once more you cry, once more you cry, ohh

The snake forms disappear in a circular black void that opens up around the band as a set of spotlights sweep inwards toward the band. There's a quick flash, like that of a blade of a knife, right in front of him, before a projected wound appears on his chest, red dripping down from it. Vilapertti gazes up at the camera with a daring, almost lascivious expression, as if the wound triggered not pain but instead pleasure. The lights create a rotary motion via a marquee effect periodically, in time with the music

Love me like you want to end my life
Kiss me with your anger and don't drop the knife
Twist it right in, twist it right in
Excise my sin, excise my sin, yea

The center stage now becomes suffused with light, cut during the second line with blacklight before returning to white light. The members of Tulisvi have their heads raised up, eyes closed, as if trying to endure the brightness of day, only looking outward once more once the stanza ends. The camera view pans across the stage, capturing the whole scene

Attack me in the sunlight with your piercing eyes
Strangle me in darkness till the next sunrise
Every day it's slaughter with another try
And powers if I love it for the daily high

Fangs form, in projections that arc up around the band, dripping liquid, with snakes coiled around one another just below. Red highlights form and pulse around the band as the vertical spotlights flash to the beat, as a second set wraps around the center of the stage in a twisting formation within the cylinder of flashing spotlights. Vilapertti and everyone else but the drummer Alvar Šinotta hop to the beat, an accessory set of spotlights along the stage edge shining out over the audience as the camera swoops in and back out

Take my venom and we'll get no sleep
Fight like lovers, every wound so deep
Midnight murder making life a dream
Hurt me harder, harder, harder, each go

Take my venom and we'll get no sleep
Fight like lovers, every wound so deep
Midnight murder making life a dream
Hurt me harder, harder, harder, each go

All the lighting and effects fade out to a single vertical spotlight that persists on Vilapertti for one line, then is joined by the four flanking ones on each member. The camera view is close in on his intense expression, almost animalistic, with Vilapertti seeming like he's just on the verge of control despite his vocals being firmly in control. The lighting pulses to the rhythm of the music as the rest of the stage remains dark, allowing for a strong contrast and tense atmosphere

Your poison that I swallow gives me breath
Burning in my innards like a kiss of death
Consuming all the conscience I have left
Bleeding me dry, bleeding me dry, yeah

A bright glow suffuses the stage, coupled with a few roving lights amidst the other spotlights. In the bright light, Tulisvi's armor accompaniments shine and glow in the camera view. This time, Vilapertti has his eyes open and leans forward, clutching the microphone stand as he takes a step forward in an aggressive motion

Attack me in the sunlight with your piercing eyes
Strangle me in darkness till the next sunrise
Every day it's slaughter with another try
And powers if I love it for the daily high

Lights based along the stage edge sweep out on each flank over the audience as the ceiling array sweeps inward to the band before creating a spiral marquee blinking effect, shutting down to one light roving around in a circle during the most rhythmic portion of the chorus. Most of the members head toward the stage edge as the camera heads into an array of dramatic and overarching shots amidst the dazzling light show

Take my venom and we'll get no sleep
Fight like lovers, every wound so deep
Midnight murder making life a dream
Hurt me harder, harder, harder, each go

Take my venom and we'll get no sleep
Fight like lovers, every wound so deep
Midnight murder making life a dream
Hurt me harder, harder, harder, each go

All the lights tone down to darkness, allowing the stage floor to supply all necessary lighting, focusing the attention on Vilapertti, who is on his knees, guitar nestled in lap. At first he sings innocently and innocuously, before tilting his head right back up and gazing deep into the camera view with a very direct expression

Tear me apart, won't ask you to stop
Till I spear you once more with vengeance on my thoughts
Tear you apart, don't ask me to stop
You need me

Surrounded by darkness except for the floor, Vilapertti launches into the chorus, a capella interspersed with instrumentation as he begins to rise. With each burst of instrumentation, the lights ignite into a flurry of activity before dissipating once more into darkness upon the next a capella line

Take my venom and we'll get no sleep
Fight like lovers, every wound so deep
Midnight murder making life a dream
Hurt me harder, harder, harder, each go

Sparks fire out along the stage edge as the light show begins once more, a glow amongst the smoke created by all the lights. Vilapertti is putting all his energy into his performance, as are the rest of the members. A red circle pulses around them, creating a ripple effect across the stage that echoes throughout the tent, over the audience, almost a hypnotic rhythm

Take my venom and we'll get no sleep
Fight like lovers, every wound so deep
Midnight murder making life a dream
Hurt me harder, harder, harder, each go

The lighting fades, so that the smoke is illuminated from below by the stage, with the periodic and rhythmic flurry of spotlights cutting through the darkness. As this happens, the band can be seen to be slowly rising above the smoke, back into clear view of the camera, flashes of red glinting off their eyes, echoing an animalistic bloodlust as their movements grow almost manic, jumping to the beat with vibrant energy

Bleed
Bleed
Bleed

The spotlights converge on the now elevated center stage as Vilapertti sings the last line, a hunger in his eyes, wet hair plastered on his forehead, finally standing still, yet also extremely animated as he lurches forward, gripping the microphone, the lighting revealing a light shower of dark red-tinted water drizzling down from the ceiling and onto the stage

Hurt me harder, harder, harder, each go

As the song winds down, the spotlights execute a repeating action to the rhythm of the song: strobing and sweeping toward the center of the stage, amidst the blood-red rain, with the band members jamming out to the tune, excess water being flung off dark hair and out into the blinking rays of light. As the music ends, the lights cut out to darkness in a sudden motion, and all is quiet and black for some seconds

"Kiitos Caryton!" they shout in unison as the lighting returns to normal levels and the stage returns to normal, before swiftly bowing out and exiting the stage, leaving the Carytonians to react as to the song as they will, while the stage crew mops the stage dry for Antahbrantahstan's Tike Prihastiwi. It was a very fun time, and whether they do well or not, at least they gave a performance to remember.

[Antahbrantahstan]

19. ANTAHBRANTAHSTAN | إانتهبرنتهستن

Tike Prihastiwi - Phenomenon
Tune: IZA - Esse Brilho É Meu
m & l: Daniel Acevedo, Morris de Oliveira, Thainara Fernandes, Tike Prihastiwi

The stage goes dark, awash with white lights and dim blacks after the Todlichebujoki performance ended. The stage then lights up in a soft pink color, with Tike nowhere to be seen, instead, the audience, both in the arena and through the television, watches a plethora of dancers, wearing hot pink outfits, standing in the satellite stage, emotionless like a statue, however, as Tike starts singing, the dancers moves away as if opening a gate to reveal the central act, revealing Tike, singing in the center stage above a life-sized martini glass, with water and fruit props inside them, with the top part covered, seemingly inviting the audience into the fun, night-time experience that she will show for the next three-and-a-half minutes. Tike hides her nervousness behind a bubbly and charming, yet strong on-stage persona, dancing around above the martini glass, with the dancers on the satellite stage imitating her movements with much sass, drag-queen like fierceness.

Tike then sits down above the martini glass, letting the chandelier LED screens and spotlights, which is now showing a bright image of a pink feathery surface, complemented with soft pink colours emanating from the spotlights envelop her like the true queen she is, however, Tike realizes that even though she wants to be fierce as much as she dreamed, there is still this feeling in her heart that confuses her, she has no idea how to deal with someone who's in love with her, and thus, with the camera shooting her and the dancers having fun, it seems like Tike still have some feeling of anxiety and nervousness that shows in her expressions and movements, with the dancers, seemingly unnoticing, continues to imitate her hip shake and is trying to have fun on their own.

Ai-ai-ai-ai-ai
Ai-ai-ai-ai, ai-ai, ai-ai
Yeah, it's a phenomenon
Months of endless summer that i just keep counting on
I never thought that we'll make a good connection
But i'm too scared to call it what it is
Lo-o-ove

---

Yeah, it's a phenomenon
Months of endless summer that i just keep counting on
I never thought that we'll make a good connection
But i'm too scared to call it what it is
Lo-o-ove

Afterwards, the stage then dimmed, and now we are seeing Tike, lying down above the covered martini glass, surrounded with pink cherry blossom petals, she seems to tell the story about how she met her lover, the dreamy landscape on the stage complements her story, as if signifying that love is not all about sunshine and rainbows, however, she deep down realizes that love might not be a mystical affair as she originally thought, so, she decides to stand up and sit on the glass, contemplating if her feelings toward her lover is real or just happened on a whim, as if the cameraman understood her problems, the camera captures the action with much precise and angle, interpolated with a panoramic shot of the gigantic stage which is awash in pink colours, and shots from the audience.

Semua berawal dari kata "halo"
Dilanjutkan dengan rasa malu-malu
Tentu saja tidak mulus, ada pertengkaran di antara kita
Pelukan bagai pohon dan benalu
Mencari sinyal untuk berbagi galau
Perlu waktu yang lama, perlakuan ramah, dan sedikit dusta

Everything started from a single "hello"
Followed by some degree of shyness between us
Of course, it is not always smooth, there are some fights happening between us
Hugging together like trees and parasite plants
Searching for signals just to share our sadness together
It takes a very long time, a sense of politeness, and little bit of lies

Suddenly, a projection of a small, beating heart shape appears on Tike's chest, with Tike seemingly acknowledging its existence, slowly, she then stands up, with the bright, pastel pink scenery around her now replaced with dim, fiery, pink-tinted fires, Selina's expression then brightens, seemingly realizing that love is actually not as bad and strange as what people talked about, and she then embraces the feeling of immense love by slowly dancing as she then sings the final part of the prechorus.

Tidak kusangka-sangka
Hari, bulan, terlewatkan
Tak dapat dihitung
Oh, fenomenal!

Oh, i can't believe it
Days and month just passed by
It's uncountable
Oh, phenomenal!

The pink fires that the audience saw is suddenly gone, replaced with the same feathery pastel scenery that was introduced in the beginning, Tike, now embracing the sunshine-and-rainbows nature of love, sings and dances her heart out in rhythm with the song, complemented by the dancers who are doing intricate steps in the satellite stage, and during the "lo-o-ove" part, she then shook her hips without much difficulty, signifying that she has gained the confidence about being in love, with the dancers happily imitating and dancing her, as if celebrating their queen's return to her rightful throne.

Yeah, it's a phenomenon
Months of endless summer that i just keep counting on
I never thought that we'll make a good connection
But i'm too scared to call it what it is
Lo-o-ove

---

Yeah, it's a phenomenon
Months of endless summer that i just keep counting on
I never thought that we'll make a good connection
But i'm too scared to call it what it is
Lo-o-ove

Without introduction, three backup dancers, all women, wearing either pink or mauve croptops and trousers, then appeared on the center stage, standing atop the giant martini glass, as Tike continues to sing her heart out to the elation of the audience, the dancers complemented Tike's singing by dancing to the rhythm of the music, albeit with a more casual choreography, without much intricacies that the backup dancers inn the satellite stage have shown. Tike also notices the dancers surrounding her and sometimes imitates their movements, much to the dancer's joy. However, during the pre-chorus, the lights dimmed, purposefully obstructing the backup dancers from view and putting the entire spotlight on Tike, who is singing the prechorus with much glee.

Semua berawal dari kata "halo"
Dilanjutkan dengan rasa malu-malu
Tentu saja tidak mulus, ada pertengkaran di antara kita
Pelukan bagai pohon dan benalu
Mencari sinyal untuk berbagi galau
Perlu waktu yang lama, perlakuan ramah, dan sedikit dusta

Everything started from a single "hello"
Followed by some degree of shyness between us
Of course, it is not always smooth, there are some fights happening between us
Hugging together like trees and parasite plants
Searching for signals just to share our sadness together
It takes a very long time, a sense of politeness, and little bit of lies

---

Tidak kusangka-sangka
Hari, bulan, terlewatkan
Tak dapat dihitung
Oh, fenomenal!

Oh, i can't believe it
Days and month just passed by
It's uncountable
Oh, phenomenal!

Suddenly, the chandelier lights atop the stage now goes down, enveloping the stage like a semi-transparent dome constructed of LED and lights, which is now showing pink, abstract painting in the making, The stage are now also shown in a zoom-out angle, focusing on the panorama of the gigantic dome and the circular stage, with some shots of Selina and her dancers interpolating in between.

Yeah, it's a phenomenon
Months of endless summer that i just keep counting on
I never thought that we'll make a good connection
But i'm too scared to call it what it is
Lo-o-ove

---

Yeah, it's a phenomenon
Months of endless summer that i just keep counting on
I never thought that we'll make a good connection
But i'm too scared to call it what it is
Lo-o-ove

Suddenly, an attractive man (use this guy as an approximation) appears on the center stage, standing above the giant martini glass, wearing a white shirt and trousers, trying to seduce Tike, however, Tike seems to be unfazed, yet the backup dancers seem to swoon over him (acting like that, of course), as the man seemingly caresses Tike's cheek, she stares in disgust over him, yet, she then smirks, having made a plan in her head to do something to him, while all of this is happening, the camera now shoots the entire debacle, keeping a close eye on Tike and the dancers, acting as if it was a Big Brother-style drama, albeit with less scripted affairs and temper tantrums.

Love is very surreal, yet, everybody want some taste
Only to show off, faking, doing it with haste
Don't come to me if it fails sooner or later, soon, later, soon, later (Before you get your own lesson)
Take your time to play, just do your own thing baby
Having colours in your life, don't need boyfriend or girlfriend
You and your angels, walking the path, make a phenomenon, yeah

Tike then seemingly instructs the man to do a dance off with him, with the backup dancers as a judge, as Selina moves her hips in rhythm of the song, accompanied with the backup dancers cheering on her, the man does not want to admit his defeat, he then takes off his shirt (much to the swoon of girls, gays, and grandmas across the venue and throughout the multiverse), and tries to imitate her movement, failing miserably, before inviting Tike to a Spanish-style dance with him, dancing with her romantically and seductively, with the camera keeping a close eye, however, as the song slowly builds up upon the electronica beat, the lights and the LED chandeliers begin to go haywire, showcasing a dizzying ray of blinding white lights and pink lights, before the chandelier moves up, floating in the air like a kinetic sculpture.

Tike and the man is on a verge of a kiss, however, to the audience's surprise, she then throws the man off into the edge of the martini glass, with the covering, now acting as a trapdoor, now entraps the man in the water inside the Martini glass, with Tike and the backup dancers laughing, singing, and dancing around with much glee, ignoring the poor man who is now all soaking wet because he fell towards Tike's love trap. Slowly, yet surely, as the song begins to end, the lights begin to dim, now showing a vivid, hot pink shade that engulfs Tike, while obscuring the glass and the dancers off the view, and she sings the last "ai-ai" vocalizations, the stage darkens.

Yeah, it's a phenomenon
Months of endless summer that i just keep counting on
I never thought that we'll make a good connection
But i'm too scared to call it what it is
Lo-o-ove

---

Yeah, it's a phenomenon
Months of endless summer that i just keep counting on
I never thought that we'll make a good connection
But i'm too scared to call it what it is
Lo-o-ove

---

Ai-ai, ai-ai, ai-ai, ai-ai
Ai-ai, ai-ai, ai-ai
Ai-ai, ai-ai, ai-ai, ai-ai
Ai-ai, ai-ai, ai-ai, ai-ai

The audience then erupted in a thunderous applause, with Selina and the dancers helping the poor man out of the martini glass before saying "Thank You! Terima Kasih Antahbrantahstan!" Before slowly walking their way backstage, in order to prepare for the next performance.

[Kalosia]

20
Kalosia
I Know — Yasmin
WorldVision Song Contest 60, 2nd place
performed in English to the tune of Konyrau/Qoñyrau — Dana Kentai
original entry

Yasmin, real name Jasmin Ošman, is a Kalosian singer. She was announced to be the Kalosian entrant for the 60th WorldVision Song Contest in Norjihan, and later debuted the entry during the interval act of the 30th Festival dele Melodie Kalosiane.
The song, "I Know", became an instant hit, with many comparing it to Branka Larisa's "Not Me", which had won the 48th WorldVision for Polkopia. Will it achieve the same fate? While Kalosians and fans alike hope so, others would not be too optimistic, although ultimately it is up to the voters to decide.

Ultimately, she did come 2nd in a field of 21 participants. It was a strong contender, but at the end of the day it could not beat the host entry, which to this day remains a classic among WorldVision fans. Yasmin later returned to WorldVision 74, but came 19th.

For tonight's show, Yasmin decided to reenact her WV performance as it happened. After all, if it worked then, surely it'll work now? Besides, if the host country didn't send such a strong entry, she probably would've won, right? With Norjihan out of the way, this could be her chance to shine.

Yasmin is wearing a classy red dress for the show, one that is elegant but still allows for flexibility and movement throughout the song. She stands at the front edge of the catwalk, in front of a microphone stand. Lights are dimmed, so only she is visible and it is otherwise dark. The song begins.

note: the original tune starts with phone ringing noises, however this song does not and they are to be ignored.

When you fall in love you feel overjoyed
That is when you know it is true
And you have so much energy
To say something of it

But when you drop your little hints
And there’s no response
I’m tired
This is what I want to tell him…

Lights start to kick in, and Yasmin snatches the mic of the stand, turns around, and follows the camera as she walks down the catwalk and sings this next part.

Every day, when I smile at you, you look the other way
Every day, I say hi to you, but it don’t hold no sway
You pretend that you’re shy, but I have truly known
I know you don’t wanna be alone

She is now on the main stage, among a group of male backing dancers all wearing this. They now form some sort of flash mob, all breaking into the exact same dance routine (kinda like this).
In this next part, the backing dancers continue dancing energetically, while Yasmin does a more simpler type of choreography. In the last line of the next part, she winks.

Watch me sing, watch me dance, I put on a show
Am I going too far? My bar is low
You ignore my plea but believe me, I know
I know

Yasmin and the dancers continue to do what they are doing, but in the last line of this next part Yasmin stands still as she eventually lets out that high-pitched note, which 'topples' the dancers as they all fall to the floor.

But when I am around, your eyes become lit
Can’t help notice when you’re expressing it
Maybe someday you’ll dare to tell me how you are feeling
But for now…

In this next part, Yasmin does gestures that fit the song while the backing dancers get up in a choreographed way.

Every day, when I smile at you, you look the other way
Every day, I say hi to you, but it don’t hold no sway
You pretend that you’re shy, but I have truly known
I know you don’t wanna be alone

Again the dancers do energetic choreography while Yasmin does simpler movements. In the last line the camera focuses on Yasmin.

Every day, when I smile at you, you look the other way
Every day, I say hi to you, but it don’t hold no sway
You pretend that you’re shy, but I have truly known
I know you don’t wanna be alone

Yasmin points (off camera) to the general direction of the right circular platform.

Saxophone!

A saxophone player is revealed to be on the right circular platform, and as he starts playing the sax solo, the backing dancers form a circle around Yasmin, moving clockwise (kinda like this). The cameras move dynamically around both the main stage and the platform, and the picture alternates every few seconds.
After the sax solo ends, Yasmin and the dancers return to the choreography of the previous chorus.

Every day, when I smile at you, you look the other way
Every day, I say hi to you, but it don’t hold no sway
You pretend that you’re shy, but I have truly known
I know you don’t wanna be alone

And then they return to the movements from after the first chorus. Occasionally the camera would show shots of the audience dancing along, and later of the saxophone player.
Yasmin and the dancers finally end their movements, and as Yasmin stands still while she sings the next part, the dancers walk towards behind her to pose for the final shot.

But I know
You don’t wanna be
Don’t wanna be alone

The song comes to an end. The audience cheers, and Yasmin shouts "Thank you Caryton! God bless you all!" which is met with even more cheering from the audience as she starts to walk off the stage.

[Saviera]

21. Saviera
The Cub, by L. Yanny
To The Tune Of Through The Night By IU

WorldVision 71, 15th place

Saviera is Back!!! Y. Laurel, Who is the Voting Spokesperson This Edition, Thinks that This will be Saviera's Best-Placing Entry Yet.

The Orchestra is Used in This Entry. On the Stage There is an LED Screen. L. Yanny Sings on the Right Side of the Stage, So the Screen Takes the Spotlight.

When the Song Begins, on the Screen There is a Cute Little Bear Who has Just Woken Up. It's the Middle of the Night. He Starts Packing His Belongings into His Suitcase. This Entire Animation is Line Art, with the Lines Being White on a Maroon Background.

The cub
Packs his bag
For his journey
Through the night

Run
Far away
From the danger

And pierce the darkness to safety

The Cub Brings the Suitcase and Leaves His House. He Keeps Walking.

The cub
Leaves his home
Or what is left of
The ruins

The Cub Finds Himself in a Crowded Bus Terminal.

The moon
Guards on him
The darkness watching

Will this be the end of bad dreams?

The Cub Manages to Get on a Bus.

Go!
Away with all your might
Spread your wings if winds are merciful
Fly

While the Bus Nyooms, We Can See that it Passes by Some Horrible Scenes, Like War and Fighting and Human Rights Violations and Suffering. It's Really Sad.

Escape the war and
The fighting that torments your soul
Come
Heal the past, heal the pain

You won’t feel so helpless here
Where the light is
The forgiving future waits for you
A promise for your heart
New start

The Bus Transforms into a Train.

After all you’ve been through
After all the fighting you’ve survived
Life has given you another chance
Yes it’s worth it
Leave your past

The Train Transforms into a Plane. It Takes Off into Flight.

Go!
Away with all your might
Spread your wings if winds are merciful
Fly

We Can See More Sad Scenes as the Plane Flies Away.

Escape the war and
The fighting that torments you
Come
Come heal the past, come heal the pain

The Plane Soon Lands in a Much Better Place. The Cub Disembarks.

You won’t feel so helpless here
Where the light is
The forgiving future waits for you
A promise for your heart

The Cub Sees Two Bears Who Appear to be His Parents. They Have a Moment.

The cub
Leaves it all
For his journey
Through the night

The Three Bears All Hug. It's Really Sad. The Audience is Crying.

Runs
Far away
From the danger

The Bears Fade Away and a Burning Plane Crash is Revealed.

This will be the end of bad dreams

The Camera Finally Shows L. Yanny. The Crowd Cheers. L. Yanny Says: Thank You Rowan! God Bless Saviera!!! And Then Leave the Stage.