WorldVision Song Contest 109 | IC | Mariensbourg

by **Carrelie** » Mon Aug 28, 2023 5:07 pm

T H E 1 0 9 T H W O R L D V I S I O N S O N G C O N T E S T
A W O R L D I N B L O O M

by **Carrelie** » Mon Aug 28, 2023 5:08 pm

Welcome back to Mariensbourg! The STC is delighted to host the 109th WorldVision Song Contest here in Carrelie's own city of music

The time has come - it's finally time for the grand final of the 109th WorldVision Song Contest! As the televisions and radios of the world converge on the beautiful city of Mariensbourg, fans and enjoyers of music get more and more ready to support their favourite countries and acts in this, the world's most prestigious music contest. The feed from Mariensbourg flares to life, as téléviseurs across the multiverse, from Tödlichebujoku to Britonisea to Metras, see an intro video full of ~~all of the free clips I could find on Canva~~ views of Carrelie and the world at large. From large, sweeping shots of hilly roads to intimate clips of flowers in bloom - all shots of a world in bloom. After the video has been shown, it peels away like a page in a storybook to reveal the arena, zooming into the stage as the opening acts begin.

Cœur, bat à tout rompre
Quand je me connecte à l'internet
C’est vous, lui et tout le monde
Au bout de mes doigts, j'utilise le gadget

Je ne sais pas ce que tu ressens à mon égard
Je veux t'atteindre mais tu es loin de moi

Branché sur vous, je ne peux pas m'en passer
Mais de toi je veux me détacher
J'ai besoin de toi maintenant et pour toujours
Je peux me connecter pour dire bonjour
Mon cœur va «ra-pa-pa-pa-pa-pa, pow»
Qui va «ra-pa-pa-pa-pa, pow»
À chaque fois
Je sens l'interconnexion
Mais je ne ressens pas ton émotion

Oh, la technologie
Cela me rapproche de toi maintenant
Je pense à la dimension humaine
Nous gardant à l'intérieur maintenant

Je ne sais pas ce que tu ressens à mon égard
Je veux t'atteindre mais tu es loin de moi

Branché sur vous, je ne peux pas m'en passer
Mais de toi je veux me détacher
J'ai besoin de toi maintenant et pour toujours
Je peux me connecter pour dire bonjour
Mon cœur va «ra-pa-pa-pa-pa-pa, pow»
Qui va «ra-pa-pa-pa-pa, pow»
À chaque fois
Je sens l'interconnexion
Mais je ne ressens pas ton émotion

Ce soir j'attendais que tu viennes en ligne, je te veux
Ce soir j'attendais que tu m'aimes plus, je te veux
Tu m'écrases jusqu'à ce qu'il ne reste plus rien
Je veux que tu m'excites sur l'internet

Branché sur vous, je ne peux pas m'en passer
Mais de toi je veux me détacher
J'ai besoin de toi maintenant et pour toujours
Je peux me connecter pour dire bonjour
Mon cœur va «ra-pa-pa-pa-pa-pa, pow»
Qui va «ra-pa-pa-pa-pa, pow»
À chaque fois
Je sens l'interconnexion
Mais je ne ressens pas ton émotion

J'ai besoin de toi maintenant et pour toujours
Je peux me connecter pour dire bonjour
Mon cœur va «ra-pa-pa-pa-pa-pa, pow»
Qui va «ra-pa-pa-pa-pa, pow»
À chaque fois
Je sens l'interconnexion
Mais je ne ressens pas ton émotion

Regarder autour de soi
Tu regardes le soleil
C'est un monde en fleurs
Un monde en fleurs
Les fleurs s'épanouissent partout
Des vignes qui s'élèvent vers le ciel
Pour le monde en fleurs
Le monde en fleurs

Pays d’amour
Je t’adore, oui, j'adore
Pays d’amour
Je t’adore, oui, j'adore

Il y a tout un monde de gens
Il y a tout un monde de personnes
Il y a un monde en fleurs
Un monde en fleurs
Qu'attendez-vous ? Allons-y
Qu'attendez-vous ? Viens ici
Pour le monde en fleurs
Le monde en fleurs

Pays d’amour
Je t’adore, oui, j'adore
Pays d’amour
Je t’adore, oui, j'adore

(Un monde en fleurs, un monde en fleurs)
(Un monde en fleurs, un monde en fleurs)
(Un monde en fleurs) Sept, six
(Un monde en fleurs) Cinq, quatre
(Un monde en fleurs) Trois, deux
(Un monde en fleurs) Un
A world in bloom.

Pays d’amour
Je t’adore, oui, j'adore
Pays d’amour
Je t’adore, oui, j'adore
Pays d’amour
Je t’adore, oui, j'adore
Pays d’amour
Je t’adore.

S E E T H E F L A G P A R A D E B E L O W

by **Carrelie** » Mon Aug 28, 2023 5:09 pm

RESERVED - Flag parade

by **Kalosia** » Mon Aug 28, 2023 5:11 pm

01
Kalosia
La danžë dël ombrë — Simonë Florentinu
performed in Kalosian to the tune of SzívbeEmelő— Tóth Gabi

Background

After missing out the 108th WoldVision Song Contest due to the Summer 2023 Kalosian Wildfires, the island nation returns to the 109th edition of the contest.

The selected entrant is none other than the Festival dëla Kanžu Kalosianë 2023 winner Simonë Florentinu. She may be a familiar face to WV enthusiasts as she previously participated in FKK 2022 with the song "Lë volu" ('The Flight), which landed her a place in the final. Although she did not win, and eventually did not get invited to represent Kalosia at WV at the time, she was sure to come back with a banger. "When I heard the song for the first time, I knew it was the one", Simone revealed during a press meet at FKK 2023.

At FKK, songs are usually not revealed until the liveshows, and as soon as the semifinals took place, Simonë immediately became the hot favourite to win. Bookmakers had predicted that it would be a tight two-horse race between Simonë's "La danžë dël ombrë" and Augusto Martes' "Luž". At the end these two entries did end up making the top two, although Simonë had won by a landslide.

"La danžë dël ombrë" ('The Dance of the Shadow') is a song that celebrates the resilient Kalosian spirit. It presents itself as an expression of victory against all the hardship that the nation has endured throughout history. This fits very well with the dramatic and energetic arrangement of the song. Simonë had also presented a compelling staging at FKK, and there is indication that she will attempt to translate that to the WV stage rather than come up with something new.

Mariensbourg moments

It was very possible that Simonë could have ended up in Mariensbourg this time last year, as the city also hosted the 104th WorldVision Song Contest. Yet, here she was today. She has certainly treated her trip as a mini-holiday of sorts, making the most of her time there. After asking her social media followers for food recommendations, she set foot to Grodno Square to enjoy the street food, but particularly the local cuisine. When she was not doing rehearsals or media engagement activities, she spent many a day in the various parks that the city had to offer. There was one particular park where she was chased by geese. But that did not stop her from enjoying the sunny weather.

The entry

For the big night, Simonë was wearing an outfit inspired by the Kalosian female adventurers of the 19th century. It was a deep green colour. Kalosia was drawn to perform first, and now there was that added pressure of opening the show. But still, the show must go on. Simonë only hoped to leave a good first impression towards the live audience and viewers at home.

As the song began, Simonë was standing on the upper platform way at the back of the stage, with the LED screens displaying cloudy grey skies. She was displayed as a silhouette, standing in a particular pose as she sang the opening lines to the song.

Solë fedë, sol’ la mentë
Da m’ la foržë per rakontarë
D’unë žentë, unë danžë
D’unë vitë kë hoj komenša

And then the lights came on, revealing Simonë appearance to the masses. As she sang the next part, she walked down the steps into the middle platform. At the same time, four male dancers joined her on the front (lowest platform) of the stage. They were also dressed in the male equivalent of Simonë was wearing.

Naj nanana naj, naj nanana naj
Nana naj na nana naj
Naj nanana naj, naj nanana naj
Nana naj na nana naj

Now the lights went dark again, showing everyone on stage as merely silhouettes. In this break between verses, the camera quickly switched between four angles, all closed up on the silhouette of a different person, but also from diferent sides. And then the camera switched back to Simonë, with a light shining on her, as she began to sing this next bit.

To build a bit of momentum, after she sings the first line, the camera briefly shows one of the four dancers, who smiles at the camera. This is repeated with a different dancer at the end of the second line, this time he winks at the camera. Afterwards, the camera focuses on Simonë for the rest of this part. Simonë herself performs very energetically, giving this song an anthemic quality.

Komuz es lë koru tenamu?
Carpe diem, si, pošamu
Dopu šentu sentimenti
Arivamu ala viktoria
Tu e ja uli momenti
Imortalamu kestë storia

Now the camera focus on the four dancers, who are indeed dancing very rapidly to the beat of the song. Their choreography involves a lot of spins, kicks, and hand movements.

Naj nanana naj, naj nanana naj
Nana naj na nana naj
Naj nanana naj, naj nanana naj
Nana naj na nana naj

Now Simonë begins to make her way to the front/bottom stage. She holds her mic in one hand and has one of the dancers hold her other, helping her make her way down. Eventually she arrives and takes a few steps forward, as the dancers enter into a V-formation with her, with two each on her left and right sides.

Solë fedë, sol’ la mentë
Solë fedë, sol’ la mentë
Solë fedë, sol’ la mentë
Da m’ la foržë per rakontarë
D’unë žentë, unë danžë
D’unë vitë kë hoj komenša

The dancers perform their choreography again, while Simonë does a different set of movements which are still in harmony with her dancers' movements. She does a heartbeat-like gesture during the second line, and it seems as though she is also speaking with her hands, the way she does these gestures.

Školtal lë koru, sentel lë ritmu
La dam-da-dam dël animë
Se a noš kiámašë la danžë dël ombrë
Këz avamu per mošarë?

She continues doing choreography, which is mainly leg- and foot-intensive. Meanwhile, the lighting is also quite dynamic, the way it moves with the rhythm gives it a lively feeling. Towards the end of this bit, the dancers quickly vacate the stage, leaving Simonë alone.

Naj nanana naj, naj nanana naj
Nana naj na nana naj
Naj nanana naj, naj nanana naj
Nana naj na nana naj

Now we arrive at the calm before the storm. A front camera closes up on Simonë, who is now alone on stage. She focuses intensely into the camera, as if speaking directly to viewers. The camera gradually zooms out, and the speed in which it does so accelerates as Simonë belts out the final word of the last line. By then, Simonë had also struck a pose, and the dancers quickly make their way back on stage. Also, the LED screens seemed to display lightning alongside the clouds, and the lights were also equally dynamic.

Dopu šentu sentimenti
Dopu šentu sentimenti
Arivamu ala viktoria
Tu e ja uli momenti
Imortalamu kestë storia

Now during this instrumental break, the following sequence took place. First, Simonë and a dancers did a little dance facing the right (from a viewer's perspective), and then the camera quickly switched to the remaining three dancers, who did the same dance but facing the left (Simonë and the dancers were basically facing each other). And then the camera switches back to Simonë, who does a little dance as a 'reply' before getting snatched by the dancer by her side. And then the camera switches to a spidercam which follows Simonë as she is drawn into a circle formed by her dancers. As this happens, she exclaims with excitement:

YEEEEEOOOOOWWWWW!!!!!!!

The camera maintains intimate angles to maintain the entry's lively energy. The dancers move counter-clockwise while Simonë raises her hands and rotates clockwise. In fact, the spidercam also revolves around our performers, clockwise, trying to maintain the pace with Simonë.

Simonë is clearing having fun! Now the backing dancers start to break formation while still making rapid movements as Simonë yells out the next part.

Partel la felišita
Di nia komunita
U~hu~hu~hu~huu!

After a few more moments of dancing, the lights dim, displaying the performers as silhouettes again. Both the LED background screens and the lights simulate lightning. As Simonë howls, at first she just strikes a pose, while her dancers just stand there on her sides. For the second line, however, the dancers start grabbing her by the limbs or shoulders, and she plays along in a scene that is clearly choreographed.

Joho~ho~hohoho~hoj
Johoho~hohoj jo~ho~hoj

Eventually the dancers pull off her outfit, revealing a glitter dress. Now, all 5 of the performers on stage perform some leg-heavy choreography.

Školtal lë koru, sentel lë ritmu
La dam-da-dam dël animë
Se a noš kiámašë la danžë dël ombrë
Këz avamu per mošarë?

As Simonë starts to do vocalizations, she strikes a dynamic pose (the whole point being to be more still) while the dancers continue doing the same intense choreography that they had done much earlier.

Jo~hoho~hoho~hoho (Naj nanana naj, naj nanana naj)
Jo~hoho~hoho~hohoho~hoho (Nana naj na nana naj)
Jo~hoho~hoho~hoho (Naj nanana naj, naj nanana naj)
Jo~hoho~hohoj~ (Nana naj na nana naj)

The song comes to an end with a shot of pyro outlining the stage. Simonë and her dancers strike a final pose. And that is that.

"THANK YOU MARIENSBOURG!" Simonë ecstatically greets the audience. She then goes in for a hug with her dancers, and then takes a bow with them, before leaving the stage to allow the act from Millenhaal to set up.

by **Millenhaal** » Mon Aug 28, 2023 5:50 pm

02: Millenhaal

Tune - the Longest Time, Billy Joel

Song: When the Stars Align, by Seisse Drann Baakerskon

Seisse Drann Baakerskon, which translates to Four Drunken Idiots, is a renowned Millenhaals Barbershop Quartet, who are now seen as revisionists and pioneers of the once dead genre. The dynamic six consist of the lead man, Ignat Temeses, the tenor Friderik Aulnasson, the baritone Jeon-Lavrenty Petrec, and the Bass Tomas Reverkin. These four have delighted the Millenhaals people, much to their surprise, since their debut. While they have incurred many imitators since their rise to fame, there will be no four idiots as drunken as Seisse Drann Baakerskon.

The stage is dark. The crowd is silent. Temeses walks onto the stage from the back, snapping his fingers, unaccompanied by music. Aulnasson emerges, succinctly followed by Reverkin and Petrec. The beats don't match up, seemingly competing with one another, until they fall in line. Their snapping fingers are replaced with a soft drumbeat and a light bassline. The group begins to sing the first few lines.

Woah, oh oh oh,
When the stars align,
Woah, oh oh oh,
When the stars align

The lights turn to a deep blue, and Temesis sings by himself over his groupmates. He collapses on the floor alone among a scattered mess of pictures, paper scraps, and assorted other trash. Reverkin, Petrec, and Aulnasson surround him and lift him from the floor, only to drop him in the litter once more. He finally takes himself up from the ground, and stares longingly into the audience, looking for something that isn't there. The spotlight shines on a separate part of the stage, and Temeses moves himself there and continues his song.

I feel crazy, I could go insane
Strangers on the streets call out your name (ah, ah, ah)
I just can't help it, the world wants to prevent it
It'll only happen when the stars align

Each night I pray for your happiness
You deserve nothing but the best (ah, ah, ah)
Up in your tower, slave to a higher power
I'll only reach you when the stars align

Woah, oh oh oh, (oh, when the)
When the stars align,
Woah, oh oh oh, (oh, when the)
When the stars align

I hope you know I never forgot,
The reasons why I gave to you my heart (ah, ah, ah)
I feel no regret, I treasured all that we had,
But I can't see you 'till the stars align

Partly I know you won't hear this song,
It just felt so right, but they thought it wrong,
Every inch of me wants to move on,
But I'm too far-gone,
And you're all that Iong for

I never got you your diamond ring,
But I savor every little thing (ah, ah, ah)
Nostalgia's poison, my love life is null and void and,
I'll only quit you when the stars align

Memories swarm my head each single night,
The battle is lost, but I still try to fight,
The world still spins but I'm frozen in time,
I try to make that climb,
But you're still all I long for

I possess a photo album brain, (ooh, ooh ooh ooh)
I look at you, not processing the pain, (ah,ah,ah)
It makes me feel sad,
You're the best curse that I've had,
The only way to save me's if the stars align

Woah, oh oh oh, (oh, when the)
When the stars align,
Woah, oh oh oh, (oh, when the)
When the stars align

by **Beepee** » Mon Aug 28, 2023 8:48 pm

03. BEEPEE

"Nopee Hopee" Kaija Koo & Vesala

DANCE ON MY OWN
Performance by Maija Moo

You chose the song that we heard,
Then you danced me round til my life just blurred,
You made me put my hand in to yours, and then
You thought I'll follow you, well then guess again

I made my mind up, today, I make my own way
It may take me more than just one day,
but hear me when I say

I may be alone but I'm ok, oo-oh-oh
I'll dance on my own

I close my eyes
And put my hands up, toward the sky
Like no ones watching me
I'll dance on my own
The noise is filling my mind
But I love the sound
I won't be holding back
Because I hear my song

Your life tried to drown me out, I thought
I had lost my light, but now I see
You may have dimmed me just for a moment
but I know what I've got
I believe in me

Your background noise is slowly fading away
Lost on the airwaves, like I always hoped it would disapate.

I may be alone but I'm ok, oo-oh-oh
I'll dance on my own

I close my eyes
And put my hands up, toward the sky
Like no ones watching me
I'll dance on my own
The noise is filling my mind
But I love the sound
I won't be holding back
Because I hear my song

You're no longer the main beat
Let the music play
I march to the sound my own drum
Theres no stopping me now

I won't be holding back
Theres no holding me back
I'll dance on my own

I close my eyes
And put my hands up, toward the sky
Like no ones watching me
I'll dance on my own
The noise is filling my mind
But I love the sound
Theres no holding me back
Because I hear my song

I close my eyes
And put my hands up, toward the sky
Like no ones watching me
I'll dance on my own
The noise is filling my mind
But I love the sound
Theres no holding me back
Because I hear my song

by **Talvezout** » Mon Aug 28, 2023 9:31 pm

(04) - TALVEZOUT
Anna Evoria - "Forgiveness"

The dust had settled and what was once new was now old. Talvezout was now back into the Worldvision ecosystem, no longer the stranger it used to be. What was once an exotic and foreign species had now become regular. After much hype and aplomb, Talvezout had finally returned to the contest. And for all the hype, the final result was a bit of a disappointment. The nation had accomplished the feat of placing in their most average position (13th) with an above average amount of points (127 points). Considering all of the hype that had been brewing before Worldvision 108, the fact that both Talvezout and Anthrovezia managed to have middling finishes was a massive damper on everything. Quite a few voices clamored to withdraw - after all, to basically repeat where they were before was a bit embarrassing. Why bother to subject themselves to the same indignity once more?

by **Tummylandia and Susistan** » Tue Aug 29, 2023 12:50 am

witdraw (am lazy)

by **Pemecutan** » Tue Aug 29, 2023 4:48 am

6/#PCU
PEMECUTAN
Catur-"Muani Mokondo"
Title Translation: Mokondo's Man
Language: Basa Giri (aka Hanacaraka)

Music: Weda Surajaya, Agustian Suwandi
Lyric: Dewi Arsinta, Putra Ardiansyah, Samuel Angelo
Tune: Little Mix - Power

After withdrawing from 107th edition of WorldVision Song Contest, Pemecutan made a comeback in the 108th edition. Yudaswara make up the failed 107th performance in the 108th edition. Despite a warm welcome to his performance and a good result in both televote and jury vote, Yudaswara still ended up on the right side of the result with 114 total points. "I'm very sorry with the result. I can't give a better and more welcoming performance," he said in an interview after he came back to Pemecutan. Despite his failure, Yudaswara and his song, Selalu Mencintaimu became more viral back in Pemecutan. The contest fans were also supporting him despite of his result. "We realize it is harder and harder nowadays to reached even a top 10. With him already collected more than 100 points, that was enough for us," write one of the fans in the GBC social media account. For the great support from the fans, Yudaswara said his thank you on the farewell concert that GBC held to welcome him back to Pemecutan and introductory of Pemecutan next entry selection.

With the combine of internal selection and online voting, the next entry of Pemecutan is confirm. They are a girl band name Catur. Just like the name, the band consist of 4 personnel, Ariani, Rahma, Yuni and Koming. Catur is created just 2 years ago. The personnel are former participants of Pemecutan renown singing competition, Bintang Radio dan Televisi (Radio and Television Star, BRTV). One of the BRTV jury, Berliana Febriani takes a liking on them four. And despite they were performing solo in BRTV, Berliana decided to establish them as a girl band. "I think it is the right time for a girl band to come forward and give more flavor to Pemecutan music industry," Berliana said. Catur existence make a fuss in Pemecutan music industry. It is quite a long time for the country to have another girl band. The last girl band to exist in the country were Dewi-Dewi who have been vacuum for more than a decade.

Catur; from left to right, Yuni, Koming, Ariani and Rahma

Catur personnel are coming from various backgrounds. Ariani (24 years old) is born at Sulangai in the State of Petang Islands. She has an experience to singing from cafe to cafe while she was finishing her college. Rahma (21 years old) is a college student and currently in her last year who was born at Kerobokan, State of Kanginan. Majoring in Economic and Business, she was born into a family of merchant who owns several minimarts. Yuni (23 years old) is a fresh graduate who is currently working independently as a jewelry maker. She has her own online shop. Her jewelry is based on stones, seashells, and beads. She never thought herself to become a singer as it is just a hobby that she learns by herself from a young age. She lives with her single mother in her hometown, Pagutan, State of Padangsambian. And the last one is Koming. The 23 years old girl was born in Panjer, State of Pedungan to an artisan family. Her father is an active novelist who specialist in law and crime storyline. He is also a painter who working on his painting during his free time from writing. Her mother is an entrepreneur who has a small EO company that focus on traditional wedding and holy ceremony organizer, including ngaben, Pemecutan cremation ceremony. She is known as a Serati, a name for someone who is expert in ceremonial preparation. Koming is often help her mother to run the company before she become part of the girl band. "It feels like faith is making us unite," said Yuni during the interview after their introduction.

The girl band is signed by Diamond Records, a recording company own by Berliana Febriani and her husband. They have never released an album while the song, "Muani Mokondo" is their first single which might be included in their first album. It is a surprise for the music critics as the girl band select a song with a wholly Basa Giri lyrics. Something that is rarely done by young and new artist except they who are focusing their career on Pop Karawitan genre. But this fact makes the song getting more attention both from the fans and the critics. The song topped the Chakra Music Chart on its initial released and currently still on top of the chart after 3 weeks. Despite its electropop vibes and energetic dance sequence feature in the music video, the song has a deep lyric. Written in collab by three distinct writers, Arsinta, Ardiansyah and Angelo, the song is highlighted about a strong female or women in a household as she supports the family while her husband only cares about drinking and gambling. The lyrics are mostly about her frustration over her husband behavior and her inner thoughts of abandoning him. The term 'Mokondo' itself is a new phrase that circulated vastly on the internet for the past few months. 'Mokondo' or 'Modal K*nt*l Doang' (English: Only with a d*ck) is phrase embedded to a guy or husband who doesn't has anything to support his family except for his d*ck. The song draw attention from the feminist which allegedly use the song as their anthem.

With the time for Pemecutan entry performance approaching, Catur personnel is line up at the backstage. After the previous performance ended, the stage is blackened. A few minutes later, the postcard of Pemecutan is displayed at the big screen. Just a couple of seconds after that, the intro to the song is playing. The curtain is lift up and Catur members are reveal slowly from bottom to top. The lights shine on them as they walk to the front. The main light then focused on Rahma as she sings the first stanza of the song. She opens the song with a powerful voice. She wears a short skirt and embroidery tops. And she flips her body following the flow of the music. It is energetic enough that the audience are not realize that they join the dance. The light then turns to Koming as she continues the song by singing the second stanza. It's a little rap which sauce the song. Her movement is very interpretive towards the lyrics. The camera and lights immediately shift to Rahma when she continues to sing the last two lines of the second stanza. Her angry looks are clearly captured by the camera.

Color key:
Rahma Koming Yuni Ariani
Together

Sing taen mragatang ape
Selegan memunyah lan memotoh
Sewai-wai jeg sube care kalong
Petengne megadang semengne mekolem

Duh beli,
Sing taen dadi pelih
Sebilang orahin sing taen kedingehin
Munyin yang e jeg suba cara angin
Masuk kuping kiri pesu uli kanan
Never finished anything
His only job was drinking and gambling
Everyday life has become like a bat
Stay up late at night, fall asleep during the day

Oh darling,
Can never be blamed
Every time he is being told, he would never listened
My voice is like the wind
In from the left ear, out from the right ear

Now the light turns to Yuni as she sings the pre-chorus part. Then the big screen splits into four as the camera placed all members into the big screen when they sing the chorus. The stage is also become brighter as the rhythm of the music is liven up. The members of Catur approached the audience to the edge of the stage as they encourage them to dance. Then they join together in the center of the stage.

Sing taen mikirin mikirin mikirin gae ne jumah
Pragatan pragatan pragatan natakin lime
Ajak kurenan jumah
Sajan mule Beli nak muani mokondo….

Sunat je nas ne
Sunat je, sunat je nas ne
Sunat je, sunat je nas ne
Sunat je, sunat je nas ne
Never think of, think of, think about the house chores
Always, always, always begging
To the wife at home
It's true that you are a mokondo man....

Just circumcise him
Just circumcise, just circumcise him
Just circumcise, just circumcise him
Just circumcise, just circumcise him

Koming stop her friends as she says Ngoyong. She then walks alone to the front of the stage while taking the rap part which is her specialty. The big screen is split again. Now it is showing Ariani and Yuni as they sing together for the third stanza. Yuni sings the first two lines while Ariani sings the rest of it.

Ngoyong....
My turn

Munyi dogen gede kale ape sing ade de
Nagih kene keto nu lua ne ane ngenjuhin
Ba-ba-ba-basang ne bawakan*, a-a-ajum ne bes keliwat
Sing taen nyak nolih engken lepug kuren ne megae

Sing taen dadi pelih
Sebilang orahin sing taen kedingehin
Munyin yang e jeg suba cara angin
Masuk kuping kiri pesu uli kanan
Wait!
My turn

Your voice is big but it's nothing
If you want this or that, this woman still gives it
Yo-yo-yo-your belly is short, yo-yo-your arrogant is too much
Never want to care how tired your wife is at work

Can never be blamed
Every time he is being told, he would never listened
My voice is like the wind
In from the left ear, out from the right ear

Note: 'Basang bawak' is a phrase which means short temper.

The camera turns to Yuni again as she sings the pre-chorus. The other 3 members approach her to where she stands. They then walk together side by side as they sing the chorus together.

Sing taen mikirin mikirin mikirin gae ne jumah
Pragatan pragatan pragatan natakin lime
Ajak kurenan jumah
Sajan mule Beli nak muani mokondo….

Sunat je nas ne
Sunat je, sunat je nas ne
Sunat je, sunat je nas ne
Sunat je, sunat je nas ne
Sunat je

Sunat je nas ne
Sunat je, sunat je nas ne
Sunat je, sunat je nas ne
Sunat je, sunat je nas ne
Sunat je
Sunat je nas ne
Never think of, think of, think about the house chores
Always, always, always begging
To the wife at home
It's true that you are a mokondo man....

Just circumcise him
Just circumcise, just circumcise him
Just circumcise, just circumcise him
Just circumcise, just circumcise him
Just circumcise

Just circumcise him
Just circumcise, just circumcise him
Just circumcise, just circumcise him
Just circumcise, just circumcise him
Just circumcise
Just circumcise him

The lights are suddenly dim as the music also slowing down. The light center on Rahma as she sings the bridge part. The camera take the close up look of her. She clearly shows her fatigue as if she done a lot for her man. The camera switch in a split second to Ariani as she closes the bridge with a sustain voice. Koming steal the show as she put the rap part.

Merase leleh tiang ngenemin Beli
Muani ajum mamodal butuh abesik
Taen beli merase kenken dadi nak lua….

Jeg sunat, jeg sunat, jeg sunat, jeg sunat
Lan, Lan, Lan, Lan,
Lan, Lan, Lan, Lan, Lan, Lan, Oops
I'm tired of taking care of you
An arrogant man with a single dick
Have you ever felt how difficult it is to be a woman?

Come on circumcise, come on circumcise, come on circumcise, come on circumcise
Come on, come on, come on, come on
Come on, come on, come on, come on, come on, come on, oops

All four then sing the pre-chorus part with one and another take the higher notes to highlight their voice. Koming put her effort in yet another rap part as her friends covers the back song. Ariani and Rahma made a combo duet for just 3 lines before Koming close the song with her flawless rap.

Sing taen mikirin mikirin mikirin gae ne jumah
Pragatan pragatan pragatan natakin lime
Ajak kurenan jumah
Sajan mule Beli nak muani mokondo….

Sing taen mikirin mikirin mikirin gae ne jumah
Pragatan pragatan pragatan natakin lime
Ajak kurenan jumah
Sajan mule Beli nak muani mokondo….

Sunat je, sunat je nas ne
Sunat je, sunat je nas ne
Sunat je, sunat je nas ne
Sunat je, sunat je, sunat je nas ne....
Oh yeah, yeah, yeah...

Mule Beli nak muani mokondo
Mokondo, yeah
Jeg sunat, jeg sunat, jeg sunat, jeg sunat
Lan, Lan, Lan, Lan,
Lan, Lan, Lan, Lan, Lan, Lan, Oops
Never think of, think of, think about the house chores
Always, always, always begging
To the wife at home
It's true that you are a mokondo man....

Never think of, think of, think about the house chores
Always, always, always begging
To the wife at home
It's true that you are a mokondo man....

Just circumcise him
Just circumcise, just circumcise him
Just circumcise, just circumcise him
Just circumcise, just circumcise him
Just circumcise, just circumcise, just circumcise him
Oh yeah, yeah, yeah...

Indeed you are a mokondo man
Mokondo, yeah
Come on circumcise, come on circumcise, come on circumcise, come on circumcise
Come on, come on, come on, come on
Come on, come on, come on, come on, come on, come on, oops

The show is close with brighter lights. The audience soaring as they are enjoying the performance. The members hold hands one another and bow down thanking for the great response from the audience. "Thank you, Marienborg!" shouts Ariani which then followed by the others. They are then escorted to the backstage. Arrive at the green room, they are all laughing happily for their performance. They did their best.

by **Britonisea** » Tue Aug 29, 2023 6:22 am

#07 BRITONISEA
TBA - "TBA"
Tune : ENEMY INSIDE - "Phoenix"
Music: TBA // Lyrics: TBA

The 109th WorldVision Song Contest marks ten editions since Britonisea last won the contest. In the 10 editions since the 99th edition, the nation has only participated four times, coming close to the win by coming second on two occasions (100 and 107) but they're hoping to go one better as they return to Carrelie...

by **Darkmania** » Tue Aug 29, 2023 8:57 am

08 Darkmania

SoundsOfTïverte- "Nënte Ÿr Di Ënd" (The Night is Still Young)

M83 – Midnight City

Darkmania returned back to WorldVision Song Contest with the pro-democracy activist and now two-time WSC singer Iama Stan with the song "Geu Tey E Leybe" (God gave us freedom). It ended in 15th place out of 32 entries but it was well received by fans, plus the return was seen as a success. And with that Darkmania is back for the 2nd time in a row with their comeback. This time they sent a group to WorldVision. A synth-pop group.

Our darkmanian representatives are SoundsOfTïverte. Named after the small coastal town in Kÿb Province where they both first met during a local music festival they have been one of the most popular groups and have been doing well in the charts. Their debut album "NAME1" did well and despite being a 2-year-old album at this point they still dominate the charts. Due to rules regarding WorldVision entry selection within DäTV, they had to make a new song and couldn't pick a song from NAME1 but it is confirmed that they will produce a new album later with the song in it.

Main Vocalist: Tëodor Rëlkmar
Eletric Drums: Alexandÿr Sölmark
Keyboard: Erÿka Älerta
Keytar: Gëorg Gërtarm
Bass Guitar and Saxophone: Änders Wëlgter
Bass Guitar: Käterine Känsar

As the postcard has been finished being played and the stage-ready jingle is played, the venue is drowned in neon green light. Neon Green is by far the dominant colour and even all people on stage have their in-ear monitors coloured Neon Green. The led-wall displays a city skyline at night, and you guessed it, it is in Neon Green. Tëodor has a black leather jacket and a big hat that got memed to death on social media. The other persons on state don't have a microphone with them as the song uses pre-recorded vocals but are seen like they are singing along.

Nënte ÿr di ëng
(The night is still young)

Ymä nët fol gëlde
(I’ve never felt this excited)

Ymë frÿ ë önd
(We’re free and young)

Frÿhit nët änd
(Freedom never end)

A quick shot of the drummer drumming on his drums. The city skyline now gets transitioned with the addition of a night sky.

Nënte ÿr di ëng
(The night is still young)

Ymä nët fol gëlde
(I’ve never felt this excited)

Plaes të ëkserient
(Places to explore)

Yn ëvig wëtter dë ün
(An eternal world for the youth)

Ymä nët vake në
(I don’t wanna grow up)

Önsk dë nët ende
(Do not want this to end)

Dë Wëtter ÿr yma lökpërs
(The world is my playground)

Sÿ dë säng ülde ÿr föet
(Watch it change under our feet)

Tëodor removes his microphone from his stand and almost everyone (poor drumer) creates a circle on the lower level of the stage. A Steadicam

Nënte ÿr di ëng
(The night is still young)

Ymä nët fol gëlde
(I’ve never felt this excited)

Nënte ÿr di ëng
(The night is still young)

Ymä nët fol gëlde
(I’ve never felt this excited)

Nënte ÿr di ëng
(The night is still young)

Ymä nët fol gëlde
(I’ve never felt this excited)

The sider cam flies quickly over the audience as the circle disbands and everyone goes back. We also see someone quickly drop his bass to pick up a saxophone.

Nënte ÿr di ëng
(The night is still young)

Ymä nët fol gëlde
(I’ve never felt this excited)

Nënte ÿr di ëng
(The night is still young)

Ymä nët fol gëlde
(I’ve never felt this excited)

With the sound of a saxophone and abuse of pyrotechnics, the song end on an elevated high. There is like so much pyro going on, and there is even pyro coming from the saxophone.

After an epic sax solo, the music stops and Tëodor sings the last line without music.

Nënte ÿr endi ëng
(The night is still young)

Several shots of the audience tell that this was well-liked. As the group is about to thanks back, the background changes into a black and white image of Frÿdrick Äsglard, president of Darkmania from 1968 to 1976 with the text "1934-2023 Thank you for your work" written on the image. He had passed away during the rehearsal period and is best known for his work signing several civil rights legislations.

by **The Authoritarian Republic of Lochario** » Tue Aug 29, 2023 1:06 pm

09. LOCHARIO

Ambitiose Sed Ineptum- Screw It, We're Not Winning!

Tune: Lolita Zerro- Not Your Mother

Introduction: Ambitiose sed Ineptum, a group of adventurous and sometimes ludicrous lunatics, strives for refurbishing the surface of global music by sending one of their more peculiar bangers called "Screw It, We're Not Winning!". In collaboration with the Goth Movement, the band aspires to craft a more delightful and complacent environment, in which no one would give a jack's squat about performing well at the Worldvision Song Contest.

"It is time we flug back off to not caring bout things"- one of the band's leaders Jerimik Kolokirri has told the local journos here.

The performers, all born somewhere around Sol-Am-Din basin, as they suggest to claim, sincerely hope nothing. Nothing is what drives them mad. Being mad is something they're accustomed to, which means that they will be cracking without even realizing that they are cracking. You get me, blud?

Having arrived at the Worldvision stage, the group's leader has claimed the scene to be 'bonkers' and 'flim, dawg!'. It truly is remarkable and stunning to both the delegation members and the artists. Everyone's gonna get us nau!

Lyrics and staging:

The stage is shrouded in darkness, with only minimal dim, purple and blue backlighting creating an eerie ambiance.Gothic symbols and patterns are projected onto the backdrop, pulsating and are shifting alongside the rhythm of the music. Out of nowhere, appears the lead vocalist nicknamed "LP-305" for whatever reason. The other members are dressed in gothic-inspired attire, including lace, leather, and corsets, matching the stage's suicidal vibe.

Pain, Pain
Does not compute
It won't get better
Pain, Pain
Out of nowhere
Capisce....

The lead singer embodies a captivating, enigmatic presence, moving ludicrously, with zero sense of direction across the stage, as if being stoned.

The band members move deliberately, almost like characters in a dark, supernatural play, interacting with the props and each other. One of the props is a 152 mm towed howitzer brought on to simbolize the chaos around the godforsaken globe.

Pain, Pain
Does not compute
It won't get better
Pain, Pain
Out of nowhere
Whadya got there, bruv?

As the song progresses, the lead singer's movements become more intense and captivating, drawing the audience into the performance. At key moments, the lead singer uses a crystal eye toy as a prop, gazing into it with an intense, psychotic expression, like he wants to do it sexually.

As the refrain commences, thick, low-lying fog blankets the stage, and the occasional burst of red and green laser lights pierces through it, creating an eerie, cyber-gothic effect.

Screw It, Screw It
We're Not Winning
Yeah, we're not winning
Screw It, Screw It
Apocalypse now
Is taking over

Screw It, Screw It
We're Not Winning
We're Pluto's children now
Screw It, Screw It
Screw It, Screw It (MALFUNCTION INCOMING!)

The celebration of anarchy continues with pyrotechnic effects, including controlled bursts of flames, that add bursts of intensity during the song's overlap to the second verse. Furthermore, the robotic flying Ginger Tigers are released to symbolize the clusterflog that has ensued on the roundish little planet.

During the second verse, the stage comes back to its primary setting, with minimal brightness, and the latter-mentioned effects.

Pain, Pain
Does not compute
It won't get better
Pain, Pain
Out of nowhere
You get me, fam?

Pain, Pain
Does not compute
It won't get better
Pain, Pain
Just like cockroaches
Is indestructable!

Confetti cannons release black and silver confetti during the final chorus, creating a visually stunning and surreal moment with the latter-mentioned pyrotechnic effects. However, this time, the effects also include the red wolf made out of lasers and additional 3 hipstertards blowing out vape to replace the hella expensive smoke.

Screw It, Screw It
We're Not Winning
We're Pluto's children now
Screw It, Screw It
Screw It, Screw It (MALFUNCTION INCOMING!)

Screw It, Screw It
We're Not Winning
We're Pluto's children now
Screw It, Screw It
WE' VE WON!
NOT! (Flim...)

The performance concludes with the stage slowly fading to darkness, leaving only the faint glow of the band's costumes and props.

by **Malta Comino Gozo** » Tue Aug 29, 2023 2:53 pm

Nation Name: Malta Comino Gozo
Official Broadcaster: MCG 1
Tune: Derivakat - Nightmare
Song Title: Solar Flare
Artist(s) Name(s): Liena
Lyrics & Music: Liena Aqualina

Families and friends across Malta Comino Gozo were enveloped in an air of anticipation and excitement as they eagerly awaited the highly anticipated results of the WorldVision Song Contest. The tension was palpable as the jury votes were tallied, revealing MCG's third-place ranking, trailing behind the leaders, Uthossia, by a margin of 21 points. However, despite this, all hope was not lost as the televote score had yet to be revealed.

As each result was announced, the anticipation and excitement continued to build, climaxing with the announcement of MCG's score. The room was filled with nervous energy as the hosts declared, "Malta Comino Gozo you have received from the public... 152 points! Which makes you the new leader!" Fans across the country erupted excitedly, but they knew not to let their guard down. The other competitors still had a chance to overtake them.

Todlichbujoku gave it their best shot but ultimately fell short of surpassing MCG's score. The final country, Uthossia, now had their fate in the hands of the public vote. When the host declared their score of 129 points, it was official - Malta Comino Gozo had won the 108th WorldVision! The viewers at home couldn't contain their joy as they celebrated with friends and family, jumping, hugging, and pouring champagne over each other's heads.

Fanal celebrated with their team in the green room. They hugged each other and couldn't stop smiling. They were excited to go on stage and claim their trophy. As they made their way to the stage, they felt a sense of pride and accomplishment and they were hit with a rush of emotions. They knew that they had worked hard for this moment and it was all worth it. When Fanal finally got their hands on the trophy, they all lifted it up high and screamed victorious. It was a moment they would never forget. The thousands of spectators cheering for them made them feel like they were on top of the world! It was another well-deserved victory for MCG, their eighth and a momentous occasion that would be remembered for years. The MCG delegation's victory was a testament to their passion, hard work, and unwavering dedication to the country's reputation on the global stage and music.

Liena Aqualina, or “Liena” is a 28-year-old talented singer-songwriter from Marsahick Malta Comino Gozo who has captured local hearts with her soulful, mysterious, captivating music. Known for her incredible and eye-catching theatrical performances, her music has garnered a substantial following on social media, thanks to her organic fanbase that has grown through word of mouth and also her engaging presence online.

Liena first became famous locally after appearing on the 2021 edition of the popular Malta Comino Gozo TV singing show "Notes", where she wowed audiences and judges with her powerful performances and unique style, beating 14 other competitors. Soon after, her debut single, 'Silly Little Game', which was released on February 05, 2021, went right to number one and was hailed as a masterpiece by critics and fans alike. Since then, she has gone from strength to strength, releasing her debut album, which also topped the MCG charts. But there's more to Liena than just her music. She is also a committed vegetarian, choosing to live a conscious and compassionate lifestyle. In her free time, she enjoys reading and exploring new books to indulge in, and if she's not singing or reading, you might find Liena taking to the stage as an actress. She honed her craft at the Briarwood Performing Arts Academy in Valletta before ultimately pursuing her passion for music.

Despite her success, Liena remains humble and down-to-earth, always taking the time to interact with her fans and show her appreciation for their support. With her talent, dedication, and hard work, Liena is sure to continue making waves in the music industry for years to come. She hopes WorldVision will help expand her audience as she is relatively unknown outside of Malta Comino Gozo.

“Solar Flare” is a moody mid-tempo EDM pop track. Infused with ethnic Malta Comino Gozo sounds and instruments, it blends traditional with a futuristic bass-filled, glitchy beat.

Liena always wants to create music that evokes emotion and gives her listeners an image to connect with. Her latest single, "Solar Flare," is a remarkable expression of her artistic talents, showcasing a remarkable blend of stirring rhythms and heart-rending lyrics that delve into the essence of a dystopian future. Through her haunting melodies and poignant lyrics, Liena paints a vivid portrait of a world ravaged by a disastrous solar flare, where all technology has been rendered useless, and humanity is plunged into a state of utter chaos and despair. Despite the bleakness of this future world, Liena's music captures a sense of hope and resilience that speaks to the indomitable human spirit. "Solar Flare" is a song that resonates deeply with anyone who understands the power of music to connect people, conveying emotions that transcend the boundaries of language and culture.

In the run-up to Worldvision 109 in Mariensbourg Liena would showcase her song to her firstever international audiences. Her first stop was Song Festival 2023 in Labuan, Carrelie, a domestic song contest held once a year between all the countries that made up the Carrelian Confederation. The organisers graciously asked Liena to sing her song during the show’s interval. Liena was a natural performer, and this was her moment to shine. Liena’s staging was very, very different to the one she would use at WorldVision, but still, the performance and her song went down a storm, receiving huge applause from the crowd.

Liena, overwhelmed with happiness and emotion, could not contain her tears as she stood on stage. The audience's response had left her completely speechless. During her interview after the performance, Liena disclosed that this was her first trip abroad. She expressed her gratitude for the warm welcome and genuine hospitality extended to her by the North Borneans.

Several weeks later, Liena flew from Valletta to Uqor in south Ugunnustan, where she would perform at their “Dance In The Desert” festival. She would be staying in Sërnov hotel, a 5 star all inclusive just outside the city limits, offering fantastic views of the desert.

The Arabian villa-styled hotel in the desert was a magnificent masterpiece of architecture, resembling a royal palace. Liena was fascinated by how the wind whipped up the sand one night, almost like a sandstorm was brewing. She sat there on the balcony listening, taking it all in. She had never been anywhere like this before but she felt a deep connection. It gave off the same vibes as the context of her song. The smell of the desert air was unique and intoxicating, with an unforgettable sweet and earthy aroma. Despite the balmy 44C temperature outside, she could stay comfortable thanks to the hotel's air conditioning.

The next day, she would be performing at the festival. She found it unusual an event was being held so far out in the middle of nowhere, but that was what made it unique. She would perform 7th and have 20 mins to perform. Liena would sing various past MCG winner covers and her own song, “Silly Little Game,” and rounded it out with her WorldVision entry “Solar Flare”.

Liena's radiant smile illuminated the atmosphere as the flashing cameras captured her every move after the show. The noticeable excitement in the air was a testament to her growing popularity, which was transcending borders and gaining momentum across the multiverse. Liena also took time to acknowledge and pose for pictures etc with her new fans who had been left in awe of her performances. Her popularity was growing!

And then, just like that, it was back to Carrelie but a different part of Carrelie, the bustling metropolis of Mariensbourg. The city had once again won the right to host the upcoming competition. WMCA members could travel freely to each other countries without restriction, so the 4 hour flight and arrival were a doddle, with virtually no queues for the flight arriving from Valletta. The delegation would spend two days exploring this lesser-known Carrelian city, exploring its old historic centre, various cathedrals, and the Steam-powered clock in Soúvelier. Liena spent an awful lot of time shopping Willames Boulevard in Maddébourg, lined with its many, many shops and stalls.

The venue was the same as the one hosting the 104th edition. The UNESCO World Heritage sight Pàrc Olympièn. As well as being the host venue, Pàrc Olympièn is a stunning complex that was built for the 1972 Summer Olympics. The park is home to a variety of sports facilities, including a stadium, a swimming hall, and an ice rink. It also includes a beautiful lake, which is popular with visitors for swimming, boating, and picnicking. The park is surrounded by lush greenery and is a great place to go for a walk or run. The Pàrc Olympièn is recommended as a must see tourist destination in Mariensbourg for anyone who loves sports, nature, and being outside, so this was right up Liena’s street!

MCG would be performing after Lochario. Liena stood backstage, closed her eyes and took a deep breath, feeling the cool air fill her lungs. She focused on her breath, letting her thoughts drift away as she prepared to take the stage. Soon, the performance from Lochario was done and she could hear the applause of the jubilant crowd, but she remained calm. With each exhalation, she released any tension or nervousness she felt, feeling a sense of peace wash over her. As she opened her eyes, she felt ready to give her best performance yet. As the postcard played out, she stepped onto the stage with confidence and her props were wheeled in.

The dulcet tones of the ethnic MCGoan Appalachian dulcimer filled the arena, transporting the audience to a different time and place. The gentle plucking of the strings created a soothing melody that resonated in the soul. As the song's first notes play, we fade into Liena slumped and sitting on a wooden chair centre stage. She is surrounded on 3 sides by walls, representing her apartment.

Her modern apartment is small and cosy. Immediately you notice the lack of space, but also the warm and inviting atmosphere. The walls are painted a soft shade of cream, with a few colourful posters hanging here and there. The furniture is modest but functional. A small lamp sits on a side table in one corner.

Liena is donning a modest yet stylish plain white tank top coupled with a pair of sleek black jeans and white trainers. Her blue eye shadow is masterfully applied, highlighting the subtle hues in her beautiful blue eyes and adding a touch of sophistication and elegance to her already stunning features. Her eyebrows are immaculately trimmed, framing her face perfectly and drawing attention to the mesmerising beauty of her eyes.

Her long, flowing red hair is like a cascade of silk, falling gracefully down her back in a breathtaking display of elegance and refinement. It is impossible not to be enchanted by how it moves and shimmers, adding a touch of magic to Liena's already enchanting look. And then there are her accessories. A nose ring and three earrings in her right ear effortlessly add an edge to her overall look. Liena closes her eyes as she lets the music wash over her. It was like a warm embrace, comforting and familiar. She smiled.

The peacefulness of the dulcimer was interrupted by the hustle and bustle of a busy market. The steady cam pulls outwards from Liena until the side walls of the house frame the camera view. We cannot see anything outside the walls. The sound of vendors calling out and customers haggling over prices could be heard in the background, creating a sense of chaos and excitement. But even amidst the chaos, the dulcimer continued to play, its sweet melody cutting through the noise like a beacon of calm in the storm. It was a beautiful juxtaposition of sound and sensation, and she lost herself in the magic of it all.

The light begins to pulse, and suddenly, the dulcimer and the hustle and bustle fade dramatically. A massive flash of intense red light followed, overwhelming the viewer's senses before everything was plunged into total darkness as the screen went black. The beat kicks in, and the camera fades back in so this time we have a close-up of Liena now standing in a heap on the stage’s floor.

Amid the flash, the stage apartment is in ruin; the small lamp which was on the side table is on the floor, and the pot it was sat in smashed, but the light still flickers. Her furniture is broken in two, and her posters are ripped and hang sadly off the wall. The walls have lost their soft shade of cream and, instead, glow eerily in the blood-red light that now washed over the stage. Bits of plaster hang off them. It's surprising they are still standing.

Liena’s eyes suddenly open as she's back in the room. Gone was her memories of what the world used to be like. She is now in this apocalyptic nightmare. The viewer's attention was quickly drawn to the scar that had appeared on the left side of her forehead. It was a deep, jagged line that spoke of a past injury or trauma. Despite the mark, Liena held herself with confidence and poise, as if the scar was just another part of her identity. She also appeared to have a thin layer of dark and gritty grime on top of her makeup, as if she had been working in a dusty environment for a while. The dirt clung to her skin, accentuating the natural lines and contours of her face, while the soot left a slightly ashen tint on her cheeks and nose. Despite this, her overall appearance was still stunning the delegation didn't want to make her look too filthy or bruised.

We see she is now crouching on her knees as the camera slowly backs out, revealing more and more of her and her surroundings. It's a futuristic dystopian hellscape. It's clear something catastrophic has happened. Liena gently rubs her eyes and blinks aggressively twice. Yes, that was all a dream. The steady cam backs up, so now we have a full-body view of Liena crouching. For most of the verse, Liena sings towards the stage camera, exhibiting a composed and collected demeanour despite the apparent emotional turmoil and distress. Every now and then, she turns away, sweeping her hands across her debris-covered floor and holds up a broken piece of ceramic that she twizzles in her hand as she tries to comprehend what's happened. As she sang, “But every hurt can turn to joy again”, momentarily, the stage lost its blood-red glow, and a white glow started to shine behind her as if the goodness was trying to edge its way back into this post-apocalyptic world, but as she moved onto the next line the blood red glow won the battle overcoming the stage once more.

You can’t spend all your time under just one sky
You can’t spend all your days walking in the rain
Every wave it recedes, and every heart it bleeds
But every hurt can turn to joy again
Sadly there are no heroes here
There's a feeling in the air…

The camera slowly zooms out, revealing an intimate view of the stage. The walls of Liena's abode enfold the frame, concealing the rest of the scenery. Liena stands up, surveying the chaos that surrounds her. Her lampshade on the floor flickers menacingly before cutting out. She turns around as it goes off and brings her arms into her chest in a sort of defensive but frightened pose. The eerie crimson-red lights add an enigmatic and sombre atmosphere, emphasising Liena's radiant complexion. She stands there, poised and vigilant, as if expecting a creature to lunge at her from the dark shadows cast by the remnants of her home. With tentative steps, she moves forward, placing one foot in front of the other like a fledgling bird departing the nest. She continues onward, stumbling slightly yet maintaining her vigilance and apprehension. Amidst the ruins of her once-familiar surroundings, Liena can't help but wonder what has become of the world she once knew.

But in this apocalyptic world
Just like an old stray dog
I stumble through side streets
I bite louder… than I bark my friend

As the stage lights slowly fade into a dark, cold blue, a light mist appears, floating around Liena's ankles. The camera then cuts to a rather personal close-up of a silhouetted Liena, with red streaks of light appearing on the LED behind her, almost as if they are delicately hanging down from the stage's ceiling. The camera then smoothly pulls out and blurs, leaving us with a prerecorded video clip that overlaps the scene of a ghostly black figure pivoting before it suddenly unblurs and cuts to various camera angles of Liena. All the while, each camera angle switch is transitioned and accompanied by a violent white strobe flash, adding a dynamic and electrifying element to the staging.

All the while, through the various camera cuts, Liena stood there, her hands tangled in her hair as she tried to keep from falling apart. The weight of her problems seemed to be crushing down on her, leaving her feeling helpless and alone. She knew she needed to find a way to fix things, but she couldn't seem to get her thoughts in order. She slid her hands against her cheeks. The camera cuts back to the ghostly figure still pivoting.

As Liena reaches the final lyric "Esnues" the camera cuts back to Liena. Her head is tilted back, and she menacingly straightens her head toward the camera, her piercing eyes looking right into the camera lens. As she does, the camera's unique effect comes into play, inverting all the colours on the stage for a moment. The dramatic change intensified the ambience, drawing the viewer further into the performance. The stark contrast created by this technique adds an eerie and unsettling element to the scene.

The noise inside my head
Rings out throughout the city
White flares flash through the dark as the chaos ensues

There is an almighty flash of red before the camera cuts back to many chaotic close ups of Liena. The atmosphere in the arena was absolutely surreal. The stage lights flickered on and off disconcertingly, alternating between black, red, and white. Liena's movements were graceful yet powerfully controlled as if she were a seasoned fighter amid a fight. Every step and turn was calculated with precision, mesmerising the audience with her stunning artistry. As she danced, her face contorted with emotion, her fingers tracing lines down her flushed cheeks in a fierce gesture. Her hair was like a weapon, whipping around her in a frenzied dance that reflected the intensity of her performance. When she sank to the stage floor and hurled her hair forward, it was as if she were preparing for battle, ready to take on any foe in her way. It was easy to see that Liena was a natural performer, and her choreography was a spectacle unlike any other. There was no need for anything else at this point her dancing did all the talking.

Her choreograpcy continued as we have a stage shot as she stood there, her legs and arms stretched out into a star pose. The bright red streaks have reappeared on the LED behind her but dramatically cut out, and the stage cuts back to the cold blue as she tucks her limbs back into her body tightly and walks between two hanging white neon lights. As the long synths played she walked forward, her gaze cemented at the viewer. She doesn't blink. As the synth peaks, the neon lights change to orange, and she is illuminated in a bright glow that transitions from purple to orange to red. The clip “rewinds” as she steps back. All the while, her eyes fixed on the viewers.

Another prerecorded video plays for the viewers at home of Liena. She is cast in grey as she begins to walk with purpose between two hanging neon lights, both of which are stark white in colour. The long note of the synth fills the air, heightening the anticipation of what's to come. Liena's gaze remains fixed on the viewer, unblinking and unwavering. As the synth peaks, the neon lights suddenly change to a vibrant orange, casting a brilliant glow on Liena's face. The colours shift seamlessly from purple to orange to red, each one illuminating her in a different hue. The scene then "rewinds", with Liena stepping back as if to reset the moment. Throughout it all, Liena's piercing eyes remain locked on the viewer, drawing them in and keeping them engaged. We then cut between Liena dancing live, the ghostly figure dancing and a clip where she screams. The camera suddenly flips.

Liena's internal monologue speaks to her through the aid of a backing singer backstage whisper singing. We have a diagonal upper body close up of Liena as the house in the background is plunged into black. She grips her cheeks as her head darts from side to side, frantically searching for the non-existent emergency shelters. There's a sense of urgency in her emotion. As the final notes of the verse come to a close, Liena's internal monologue slowly fades away, drifting off into the emptiness of the space around her. With a sense of calm and tranquillity washing over her, she begins to descend towards the ground gracefully, her movements similar to that of a King Cobra rewinding its way into its basket after the snake charmer has finished their performance. As the octave of the notes drops, the lights flash behind in unison and the spotlights begin to cut in and out, each time creeping nearer and nearer to Liena until they combine into one directly above Liena.

Where, where are the shelters?
They said they would be there
You'll need, need some protection
From the deadly radiation flare

As we hear the opening two hits of the drum, the camera rapidly gives us two shots, one of the entire stage from the back of the hall and one with Liena on the right of our screens, shrouded in the white spotlight in the otherwise dark stage. As Liena begins to sing, the camera shifts to a stage view that is level with her eyes, providing us with a direct, head-on perspective. The spotlight above just off-centre casts half of her face in shadow. In a striking and almost menacing manner, Liena stares directly into the camera, her eyes narrowed and her brow furrowed. With every major beat of the music, roughly every 1.5 seconds, she places one fist in front of the other, perfectly in time with the rhythm. As she hits the LED floor with each fist, the impact creates a small ripple effect that emanates outwards, as if she were crawling through a wasteland of puddles. All the while, she remains focused and determined, her performance a testament to her undeniable talent. The camera slowly retreats as Liena continues to crawl forward.

Don't start a panic it won't do you no good
You'll just have to wait for the end of all mankind
Away is the sun,
Endless the night
Mankind's mascara
Intelligence is as good as dead

Liena continues to crawl forward, her movements both graceful and intense. As she sings, “The sky aghast with windy brown”the lights around her begin to illuminate into a cloudy, dusty, sandy colour as a dust storm suddenly begins to sweep the stage. Of course, the dust storm isn't real, and the wind and dry ice are swept up from fans to the viewers left off-screen. Liena instinctively shielded her eyes and briefly dropped to the floor to avoid the swirling debris. The dust storm only lasts a brief moment, and Liena lifts her head as she sees a gloomy red light from above, representing the sun trying to shine amongst the dusty-coloured lights.

The sky aghast with windy brown
The choking storms hurl dust around
Sun glows red, through arid skies
All life wilts and slowly dies

The pre-chorus hits, and the stage lights fade slightly but the stage remains red. The Appalachian dulcimer can be heard clearly again as Liena stands up and faces the camera head-on as we have a central upper body view of her.

No rehydration to be found
The wilderness is nothingness
The sun tries and glows red through these dark arid skies

The spider camera cuts back to a view of the whole stage as Liena drops dramatically to her knees in front of her ruined house as the ceiling stage lights begin to flash white to the beat, cutting through the blood-red glow. We cut to an onstage camera view just off to her front left as she, with a sense of urgency in her body language, raises her hands pleadingly and gazes out towards the audience. Her eyes are fixed on the ceiling as if seeking guidance from a higher power. As she does this, the stage lighting behind her slowly fades to black, leaving her standing alone in the centre of the stage, illuminated by a single, stark white spotlight. The effect is both dramatic and haunting. We cut to a view in front as she sings the last line, “For their techno…logies shattered soul” As she gracefully spreads open her palms, a spectacular sight unfolds. With the help of CGI magic, a stunning mobile phone crafted from hundreds of luminous lights takes shape in her open palms, leaving the audience in awe. The futuristic hologram-like image hovers there briefly, allowing the viewers to appreciate its magnificence before vanishing into the obscurity of the night. The verse finishes, and she collapses to the floor.

Humankind on its knees
They beg and beg and plead
For their poor techno…logies shattered soul

As the scene unfolds, chaos ensues again. The camera cuts to a tri crane camera showing us a stationary view of the entire stage, looming ominously above the heads of the audience. The stage lighting and LEDs bathe the surroundings in a gory red hue, occasionally punctuated by bright flashes of orange and yellow that pierce through the darkness in a strobe-like fashion. Ghostly holograms of frightened people dart and weave across the stage, creating an eerie atmosphere that is only enhanced by the mist that begins to fill the space. The camera then shifts to an onstage operator, who deftly navigates through the haze towards Liena, who is slowly rising from her prone position. As the camera pans towards the stage, the thick mist in the atmosphere creates an eerie ambience. Amidst the haze, an onstage camera approaches Liena, who is still lying on the ground. At a 45-degree angle and to her left, we see Liena with a look of terror etched on her face, She slowly rises to her knees. Her eyes dart around frantically as she tries to make sense of her surroundings. Desperate to calm herself, she tightly clenches her fists, hoping to find solace amidst the fear. Suddenly, our eyes are met with a blinding flash of light representing a bomb detonation on stage. The view changes quickly to a view of the whole stage as the LEDs plunge to black and portrays dust and large debris flying in from both left and right. In a panic, she instinctively shielded her head from any potential debris. The steady camera cuts to a close up of Liena. She uncurled. Two opaque holographic soldiers with rifles appeared and rushed past her on her left. The chaos and fear in the air were palpable, but she tried her best to remain calm amidst the turmoil. Liena's internal monologue speaks to her through the aid of a backing singer backstage whisper singing.

We have a whole view of the stage and LED at the back. Liena is positioned on her knees, illuminated by a bright white spotlight contrasting sharply with the crimson hues still engulfing the stage. Behind her, the LED screen depicts a devastated city skyline, with ruined buildings and black smoke polluting the dusty red atmosphere.

Where, oh where are the shelters?
They said they would be there
You'll need, need some protection
From the deadly radiation flare

The camera cuts inward as Liena stands up. Liena stood there amidst the remnants of what was once a bustling city. ( The prop house had been wheeled off when the stage was dark) Now, all that remained were broken buildings and debris around. The sky was now a sickly shade of yellow, a constant reminder of the destruction that had taken place. As she gazed out at the desolate wasteland, Liena couldn't help but feel a sense of despair wash over her. How could anyone survive in a world like this? The camera stayed on her as she sang, but she made no eye contact with it until the last line, where she stared intently.

Looking for a safe place to hide
But all I see is destruction outside
The shelters they promised are nowhere in sight
Leaving us defenceless against the radiation's might

As the final notes of the chorus fade away, a sombre atmosphere envelopes the stage. We have a central view of Liena as she stands tall and confident amidst the eerie grey lighting, her captivating speak-singing vocals resonating across the venue. The backing singer's haunting whispers add depth and complexity to the already impressive performance, all while surrounded by the desolate remnants of the barren and post-apocalyptic cityscape.

Panic, apocalypse, loneliness, disruption fill the air
As we search for protection, but it's just not there
Humanity is running in a daze through the haze
No protecting you, no refuge from this solar flare

The lights begin to strobe and bounce off the fog behind her as the verse builds. While the strobe lights flickered on and off, they began casting shadows that played across her features, emphasising the contours of her face and adding extra depth to her movements. It was like watching a living work of art, brought to life by the interplay of light and shadow. The LEDs behind her are black but show debris flying around on the screens. As the verse played on the camera drifted in closer as Liena's vocals began to build and become more and more despaired and frustrated, but her expression remained confident. She held her head high and sang with conviction, she was completely immersed in this moment. Despite the emotional lyrics, there was strength in her voice and boldness in her demeanour.

Panic, apocalypse, loneliness, disruption fill the air
As we search for protection, but it's just not there.
Humanity is running in a daze through the haze
No protecting you, no refuge from this solar flare

The ghostly voices echo out into the audience as we have a head-on view of the entire stage as it plunges into darkness. Liena yells out “This Solar Flare!” and she's immediately lit in a white spotlight as the vocals ring out.

This Solar Flare!

The music builds, and the stage is suddenly plunged into blood red again as the beat hits, and Liena begins performing some more theatrical choreography again. She contours and turns, and we cut to various chaotic camera angles. We cut to a railcam close to the stage. With her arms spread outwards, she yells out again, "From this Solar Flare!" . You could hear the distress in her vocals. There is a dramatic flash of light behind her. We cut to an onstage camera view as she finishes her theatrical choreography. Liena moved gracefully yet frantically as she tried to find some shelter. Her movements were like a dance, weaving in and out of shadows with quick, precise steps. Despite the urgency of the situation, Liena remained poised and in control, making her fluid and effortless movements seem almost otherworldly. It was mesmerizing to watch, like an ethereal being gliding across a stage. The beats suddenly gave way to the Appalachian dulcimer once more which rounded off the song as we cut to a central view of the stage as she collapsed to her knees as the stage plunged into black and the spotlights converged into one above her.

We search for some protection, but it's just not there!
From this Solar Flare!

We cut to a body shot of Liena breathing heavily her shoulders rising and falling as she found her breath Her heart swelled with fulfilment as she knelt on the stage, basking in the exhilarating energy pulsing through the rapturous audience. Her face beamed with joy and pride as she surveyed the sea of enthusiastic faces, all standing cheering and clapping wildly in response to her mesmerizing performance. Every note had been infused with her soulful passion, and the audience's explosive reaction was a resounding validation of all her tireless efforts and unwavering dedication to her skill. Liena's eyes glistened with emotion as she savoured this moment of pure bliss, revelling in the knowledge that all her hard work and practice had truly paid off. She stands up and nods her head acknowledging the crowd. Her face said it all really as she shook her head and placed a hand across her torso. "Thank you Carrelie! Her voice was gentle and low as she spoke. The camera panned the crowd quickly as we saw a plethora of flags waving, before cutting to a high back view from the upper back of the arena. The stage began to prepare for the next entry.

by **Spiritual Republic of Caryton** » Tue Aug 29, 2023 4:03 pm

11. The Spiritual Republic of Caryton
Helga Neroli - Homeland
tune

Helga Neroli

The Spiritual Republic of Caryton had many potential artists to send to the contest after its long hiatus- but up and coming schlager singer Helga Neroli easily won the hearts of the Carytonic WorldVision National Committee, with a unique style of schlager. It was catchy, patriotic, and would encourage tourism of the country when visitors to Caryton have dropped to an all-time low due to a general recession back into autarky. Would it be enough of an earworm to win? That was to be determined...

-

The song opens with Helga Neroli descending, sat upon a steel bar in a modest, glittering silver dress encrusted with intricate laces of rhinestones. The stage is initially dark, but twinkles to life one by one with white lights against a dark LED backdrop as she floats down like a living comet. Then, she's elegantly placed in the center stage. The instrumental hits beam golden spotlights on her twice, the stage flickering to daytime life, a panorama of a beautiful Carytonic prairie. Helga raises the microphone and begins to sing from there.

Sun-kissed waves of oat fields,
Rolling hills of shamrock,
Fragrant citrus blossoms,
Sentinels of birch!
Turquoise pristine lakefronts,
Crystal like cool rivers,
Lily-embroidered ponds!
And the mighty sea!

Helga, with a joyous expression on her face lists all of the scenes of her country. The LED's showcase massive fertile oat fields of rural Caryton, the prairies rolling endlessly as she's basking in golden light. Then the screens show a massive close-up shot of shamrock, clover, and wood sorrel to portray a green vibe that the spotlights change color to accompany. The screens fade into a shot of a flowering orange tree, sunbeams of the golden hour casting her in a deep amber light, and then to a scene of sparse birch trees standing as guardians, washing her in their intricate patterns of white and black, a swirling light around her feet as she skips to the front of the stage.

The camera pans from the left as she continues to describe the memories of her land, now being cast in various shades of blue from teal to indigo, like a mighty water had overtaken her. Bubbles begin to arise, the unfamiliar tune for Carytonic standards briefly showing the intrigued faces of fans before the LED's portray rural lakes in clean condition. Rivers surge and the bubbles intensify, Helga twirls slowly as if carried by their current. She slows down to a relaxed sway at the mention of ponds, expert light-working managing to cast the illusion of flowering lily-pads on the stage floor and screens, and she's whisked away at the sight of the seas of Caryton. It takes her to the edge of the stage.

This is my- native homeland!
Where we are free to be as we are!
And I love you, my lovely homeland!
Let’s go together, and forever be in the light!

Helga enters the chorus with a fervent look on her smiling face. From the sides of the stage, backup dancers enter, dressed in traditional Carytonic prairie clothing and with linked arms. The women have flowers among their bonnets and around their wrists, the men look like simple farmers. The line closes in together as they advance, and spread out as they recede. They form a circle and begin to trot in unison as Helga is bathed in light, taking her back to the next verse as she returns to center-stage.

Here where I was raised,
We help one another.
Not forgetting the needy,
For that’s happiness!
Always do to others,
What you’d want them to do.
Our simple motto-
For that’s happiness!

[instrumental]

Helga bobs up and down as her backup dancers split off into male-female pairings, dancing in a traditional line dance. The LED screens behind her depict the beautiful plains of Caryton, and scenes of devout godly neighbors helping one another. Helga hums as the instrumental kicks in, and the dancers return to their in-and-out motions, moving their soloist to the edge of the stage where she can interact with fans again as the chorus builds up...

This is my- native homeland!
Where we are free to be as we are!
And I love you, my lovely homeland!
Let’s go together, and thrive in happiness!

The backup dancers enter that hypnotic circular trot again as Helga carries the solo. With conviction in her eyes and a hospitable expression, she confidently and smartly steps across the edge of the stage where she's greeted with the cheers of some of the Carytonic fans, who have been permitted to gather at the base of the stage.

Land of our birthright,
Freed from the tyrants.
The future’s before us,
Built on history.
Home of our virtues,
Where none shall be harmed,
Where the land is clean,
Where God can reign.

Helga trots back to the bar that remained fixated on the edge of the stage. It whisks her up as she sits on it, retrospectively singing about how far they've come. The backup dancers recede to the farthest edge of the stage away from the fans as if to cast attention on the LED's. A beautiful sight of Georgine, recordings of the civil war and the end of the Altan regime, schoolchildren being permitted to pray again in class, and a friendly Carytonic ranger waving to the audience from horseback, emphasizing the protection of the locals. The immaculate state of the grasslands, and the white churches that dotted them like constellations. Helga is whisked from one edge of the stage to the other, and is suspended in air as she continues into chorus:

This is my- native homeland!
Where we are free to be as we are!
And I love you, my native homeland!
Let’s go together, and make a home where we are!

The lights of Georgine,
The forests of Marley,
The plains of Goldenrod,
The ports of Heidistown!
The deserts of Schuftsburg,
The shores of Seaglass,
The isles of Carynesia,
My own prairie home!

The backup dancers flush the stage, now equipped with Carytonic flags which they wave as they dance in lines. Helga is sat among them, the lights as a rainbow that takes her up in beautiful scenery. She lists the various parts of her country and the screens show those scenes. She concludes singing, as thunderous Carytonic applause intermingles with the ending instrumental and carries even as the stage dims to allow for the performers to leave and the next act to begin.

by **Anthrovezia** » Tue Aug 29, 2023 9:09 pm

entry incoming

by **Uthossia** » Tue Aug 29, 2023 11:09 pm

12 ◀ 13 ▶ 14
8
❇ -Uthossia- ❇
#UTH | Úduskig

KLÁRA
“Bludiská”
(Mazes)

Composed by: Klára Jánošíková, Daniil Spinu
Written by: Klára Jánošíková
Tune: THE HARDKISS - Маяк
Language: Slovak

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Retrieved 16 July 2023, 5:12 AM EEST
A_Story.md

29 October 1994
Sklené Teplice, Slovakia

Death was almost at her doorstep.

She hadn’t known the motives, and generally anything more about the incident past what she had remembered seeing, but she did not forget the trauma that made her mind its lingering home since then. She had hated reminiscing about that particular memory of hers, a reminder better forgotten of the night of her life at its very worst. It all had happened on the eve of her seventh birthday, which she then had eagerly looked forward to; she recalled having fantasized about being gifted another set of knitted mittens by her mother in her dreams, as she laid deep in her childish slumber. She had gone to sleep just before the clock’s hour hand struck ten, and continued on her doze for…not the rest of the night. A series of unusually chilly winds jolted her out of her sleep in the complete dead of night; outside her bedroom window, though, she noticed the silhouette of an unknown figure who seemed to be throwing something onto the walls of their wooden cabin. Except for the fact that it wasn’t throwing anything at all, but rather emptying a jug full of kerosene. She had only caught a very brief glimpse of the hooded being while still half-awake, the devilish motherfucker who was about to ruin the innocent young girl’s life pouring out the liquid contents on anything that could possibly be inflammable.

It took her some more crucial seconds before realizing what was happening, but her time had already ran out.

❇ ❇ ❇ ❇ ❇

15 July 2023
Tartu, Uthossia

Nearly two dozen years had passed since then, but Klára still hasn’t forgotten anything from the entire timeline of events. Come what may, but those memories full of warm yet deadly colors, the guilt of witnessing the culprit light the fire that cost her parents their lives, and of just seeing everything burn into ashes are too horrific to be erased. How the wood used to build their homely cabin smelled like in flames, and how the fire’s thick smoke enveloped the forest, leaving everything invisible, and how those tiny shards of glass that came flying at her felt after her older brother hammered their bedroom window to secure their escape. They were relieved, at last, that they got the hell out of there relatively safely; but they forgot.

They slowly realized that their parents were still inside, asleep. The fire grew bigger and bigger, and the two young children were scared shitless; no matter how they wanted to go back inside and save their parents from their demise, they didn’t have the guts to do it. All they could do was shriek and wail, hoping that someone would be able to help them as soon as possible. Help only came after about two minutes, and it was in the form of their grandmother Zuzana, carrying heavy buckets of water from a well, alone.

They weren’t able to make it out alive. By the time the paramedics arrived from the nearest hospital in Žiar nad Hronom, Klára and her older brother Valentín’s parents Viliam and Gabriela had already displayed livor mortis. Valentín had remembered one of them tremblingly pronouncing them as dead on arrival: “time of death, 2:49 a.m.” They were already deceased for long enough. Beside the two children were their Babi Zuzi, as they liked to call her, clutching both of their hands on her lap while sitting on the grass when they heard it.

In came survivor’s guilt.

❇ ❇ ❇ ❇ ❇

Nearly two dozen years had passed since then, and the two siblings have fortunately recovered from the traumatic experience for the most part. Living in and being taken care of their adored Babi Zuzi on the days after the event, however, the arson had taken a toll on them. At the age of seven, Klára had already entered what she herself called her “dark era”. A childhood then full of innocence and juvenile apathy transitioned into one filled to the brim with symptoms of depression and post-traumatic stress disorder. Only her grandmother and her 15-year-old brother, who moved on relatively quicker due to motivation from his friends, acted as her confidantes in those trying times, the only people she could trustingly lean onto. She often woke up frightened in the middle of the night from her recurring nightmares, and tried to avoid the sight of the hill on which their then-welcoming abode once stood. Where was the justice?

Klára didn’t want to continue going to school. In fact, she didn’t want to continue living altogether. Every new year and every passing birthday was just an extension of a life full of suffering with no end that wasn’t going anywhere…or so she thought of it that way. The still-recovering Klára chose to not celebrate her eight birthday, which was also the first anniversary of her parents’ death. Instead, for the first time in a while, she went out of her grandmother’s little cabin and sauntered under the shade of the forest’s tree branches outside. The gratifying sight of abundant green leaves and the satisfying sounds of crackling foliage were so fresh for her mind. It was an ordinary day, typical of the forest-covered and mountain-dotted landscape of rural Slovakia, and she was just by herself, strolling and mumbling alone with occasional sighs. The culprit still hadn’t been apprehended.

But then, she heard it. It was a noise reverberating from a distance. It wasn’t just an ordinary noise or clamor, though; it wasn’t just a confused tumult or uproar, but rather an uninterrupted melody with a heavy beat. The then-young Klára hadn’t been exposed that much to music, and for a reason she didn’t even know herself, she found herself resonating with and relishing the energetic and “rebellious” tunes.

It turned out that she was hearing the Banská Bystrica rock band BLACKVET perform for local teenagers in the nearby village of Hliník nad Hronom before heading back to their hometown. Exhausted after consecutive days of being hired to play in events all around western Slovakia, the group decided to stop by at the village randomly and offered to put on a show for the townspeople. Klára ran about, trying to pinpoint where exactly was the sound coming from, before arriving at the nearby village to see a vast open space with a makeshift platform girt by a dense throng of youth.

As one could probably surmise, this became the genesis of Klára’s passion and love for music. Her Babi Zuzi found her unusually lively the following day, spiritedly humming melodies from the previous day’s spectacle, being free from her trauma at least for a moment.

Klára motivated herself, persevering and persisting on being able to overcome her grief and depressive disorder slowly but surely. Putting enough trust and confidence in herself, she took the challenge of continuing to go to school; she was then in her second year in her village’s základná škola (primary school). Quickly falling in love and taking avid interest in her Music subject unlike her once apathetic stance on it the previous school year, she gained an advantage and surprisingly learned lectures and concepts faster than her peers. Her Music teacher, Mrs. Lýdia Kollárová, saw her hidden potential and willingness to acquire mastery and more knowledge, and decided to reach out to offer her free afterclass lessons.

Her new mentor taught her more than what she could wish for, imparting her lots of musical erudition and training her to become proficient and well-experienced in the way of things; instructing Klára simultaneous lessons on how to sing and play various instruments in a way she could keep up with.

Taking a quick fast forward to many years after the beginning of Mrs. Kollárová’s mentoring journey and Klára’s subsequent acceptance into the Ján Levoslav Bella Conservatory in the vicinal city of Bánska Bystrica, Klára had already built up enough courage and determination to succesfully gain expertise in her singing abilities and skills in instruments ranging from the guitar to the clarinet due to her first mentor’s and her teachers’ objective teaching styles and strategies. Klára had also changed a lot, and was so different from the seven-year-old girl who was trying her best to come face-to-face with her deepest fears and emotional scars back in the epoch of her emotional and mental nadir, before she saw her inspiration in a random rock band that happened to stop by near her village.

Mentally and emotionally strong and resilient, with a musical mind now full of artistic and creative expertise, she had already gone to many experiences in life, both the worst…and the greatest. Klára carried out a marvellous piece as part of her last performance before graduating and being given her diploma. Although she was indeed quite apprehensive that something bad would happen as she executed her selected vocal masterpieces, she found herself later on wallowing in the thrill of performing and showing off her own talent in front of a huge crowd. It isn't to brag, but she thought that she had learned to have the professional nonchalance and well-versed aplomb, combatting the stage fright she once had when she first started.

She was content with herself and how she was doing; Klára felt the subtle sentiment of triumphantly fulfilling a long-awaited goal. There already lain the zenith of Klára's life, and the grown musician bowed out of courtesy for her audience’s patience as she finished her recital before being given a standing ovation. She worked so hard for it, and it had finally paid off…she had to have a bit of necessary rest afterwards.

But, now that she had graduated with flying colors…what would she do next? Continue on her path to achieve her most ambitious aspiration, possibly beyond her wildest dreams…to become a legendary singer and musician? She thought that it would be cool to try creating and uploading some original songs on the internet, even if it was just for her personal entertainment…and besides, what was even stopping her? Also…would she be able to get the attention of the band that inspired her to emerge from the deep waters of grief in doing so?

A single rock song would do for now, she thought, and she started writing.

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Retrieved 8 August 2023, 10:37 PM EEST
WorldVision-109-Artist.html

·https://en.mundagvit.news/uthossia/worldvision-109-artist▍★ Add page to favorites·

MARIENSBOURG 109 · UTHOSSIA · HRÁ&DIL

·‘A rising star’· Slovak rock solo artist KLÁRA set to represent Uthossia at WorldVision 109 in Mariensbourg

The foreign musician, although very much new to the Uthossian music scene, wouldn’t be new to the majority of Uthossian music lovers; also see a short interview of ours with her below

6 AUGUST 2023, 2:50 PM EEST · 2 DAYS AGO · STORY BY

MANU SAMAN DEVI (মনু সমন দেৱী)

KLÁRA, a Slovak rock musician new to the music scene, will represent Uthossia in the 109th WorldVision Song Contest to be held in Carrelie.

The Uthossian national public broadcaster, HRÁ&DIL, has now publicly announced the artist who will represent the country in Carrelie on social media; no, she isn’t from Uthossia, and no, she isn’t part of the Uthossian diaspora. But you may have already been exposed to a taste of her music these past few weeks, and she’s proud to be the country’s first-ever foreign artist representative in the aforementioned prestigious multiversal song contest; it’s…KLÁRA!

Like last edition, HRÁ&DIL underwent an internal selection by its very own WorldVision Committee to select the Uthossia’s artist, which ultimately led to amateur singer Lidiya Vakulenko to represent the country with her electro-folk song “Naŕćisstne”, garnering 274 points and just missing the victory by three points. This time, however, HRÁ&DIL’s manner of selection was rather more informal: reaching out for artists that the Uthossian consensus craved for at the moment, and that artist in the past three weeks had been new Slovak female rock artist Klára Jánošíková, or more commonly known by many as KLÁRA.

Prior to her selection as the country’s contestant, KLÁRA made her first-ever musical breakthrough in Uthossia after releasing her début single “Diablov jama” (The Devil’s Den) as a then-unknown amateur singer-songwriter who just finished music school, instantly climbing up to the #1 spot in the national singles chart. The earworm's memorable chorus “Máte jednosmerný lístok do diablovej jamy” has been stuck in everyone's minds to date! She has been dubbed as the newest “rising star” in the rock genre inside and even outside of Uthossia, particularly in the Baltic region.

We also caught up with her this week to ask her just some five-ish questions—mostly personal—to be able to know her more and also ask things everyone's probably curious about.

Hi, KLÁRA! Thank you very much for giving us the opportunity to talk with you today.
— Oh, never mind! This is actually my first news-related interview ever, so I was very excited when you sent out the message. Thanks as well for inviting me!

Aw, that's wonderful! Now, we have prepared a set of questions to ask you. You ready?
— More ready than ever, of course! Please start.

Great. Now, for our first question...how did HRÁ&DIL reach out to you? Why did they say they were trying to offer you to become Uthossia's representative in WorldVision?
— Oh, it happened quite informally, and I didn't really expect it to happen that way. It was a coincidence that one of my former classmates in music school was in their WorldVision Committee and happened to notice that a song of mine blew up in the charts. His name is Daniil Spinu, and he said that he recommended me to the other members of their committee as well as their head of delegation. And then…Daniil talked to me directly with an invitation to represent Uthossia, and I said…why not? It’s a new experience for me, and they also said that HRÁ&DIL might as well send an entry that resonated with the people it’s trying to represent…so I’m honored to officially say I’m going to.

Do you believe that you can follow Lidiya's footsteps and secure another Top 5 finish—or even a win—this edition?
— I’m nervous about that part. I can already feel the pressure building up inside me, and I often need the company of my older brother and grandmother to let it out. It’s just that…a top 2 finish is so high, it’s really difficult to achieve, so kudos on her! But personally…I can’t confidently secure a Top 5 finish. Sure, Uthossia has only been in the Top 5 for all of its appearances in the contest, but that doesn’t mean that I could potentially fail in my performance and not even come short of the Top 10…so there’s that. But as my own feelings and emotions dictate, I’d better like to snatch a Top 5, though. Or a win! I can just only hope that all of the things we’ve planned until now and those we’ll put effort on in the following days will turn out to be worth it and yield positive results.

Has the song had already been written? What will its lyrics be all about?
— Oh, yes! I’ve just finished writing and revising the song’s lyrics a few days ago. For now, I guess it’s to be called “Bludiská”, which means “Mazes” in my native language. Oh, that tells me. The entire song will be in Slovak, and will be all about the past struggles I’ve experienced in my childhood—some might think that this is just an accidental sob story insert, but it isn’t. My brother and I lost both of our parents on the same day after an arson. The arsonist’s identity still remains unknown to this day, but everything we had then was our grandmother, and we didn’t even have enough money to live comfortably every day. Those were some of the worst moments of my life, you know? I already had depression at a very young age and secluded myself from the outside world for a long while, when my brother moved on quite faster. It’s just…I can’t accurately describe it, and I don’t want to dwell on those tormenting memories anymore.

Oh, We’re…very sorry about that. What inspired you to maybe slowly get out of your depression?
— Music, to put it simply. I heard a rock band performing near our village, and not being exposed much to music, I was very curious and enthralled by its sound. I just felt like the music’s beats, its rhythms, feelings and melodies resonated deeply within me, and I…felt relieved. It’s just like discovering a new way to let out all of your feelings or something, something to express your emotions or things you can’t perfectly describe in words as well. That rock band’s name was BLACKVET, and they’ve been the primary source of my motivation to get out of my shell in those trying times. So many years have passed since then, and…look, I’m a music school graduate now! Time didn’t fly so fast, but it rather flew so slow for me, since I was desperately trying to juggle between processing what was currently happening and facing the fears and traumas of what had happened a long time ago.

That’s wonderful, congratulations on your mental and emotional recovery from there. For our second-to-the-last question, what would be your song’s sound and genre?
— It’ll have my signature rock sound, since I want to express a more raw version of myself, an exposed musical reinterpreation of my own journey to achieve my dreams, starting from being very troubled and plagued by different traumas to being free of those chains binding you to the cells of your own mind and being huge hindrances to successfully moving on.

And now, as our last question, do you plan to stay in Uthossia after representing Uthossia, either temporarily or permanently, and why? Follow up: what can you say to your fans out there?
— Oh, that question! To be honest, I’m somewhat having second thoughts on that topic, but I’m going to say that I’m planning to stay here…permanently. Uthossia is just so…I can’t express it properly, English isn’t my first language. It’s…so diverse, and it’s probably one of the most cosmopolitan countries in the world. While living here and cooperating with HRÁ&DIL to make my entry come into life, living here is also very relaxed, and the casual attitude of basically everyone here has been quite huge of a fresh breath of air. I’ll probably also get my brother Valentín and my Babi Zuzi to move here, since I’m sure they’d like life here as well, and it’d also be better for them. That’s all for now, I guess. For my fans…I didn’t expect to be able to amass a number of fans this big, especially since I had just released my first-ever song…so thank you, for being part of my motivation to go further and continue reaching for my dreams!

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The_Time_Has_Come.html

Klára had always felt uneasy ever since her first step out of the Airthossia airplane she flew on into the territory of another country so foreign to her—the Confederation of Carrelie. She could already see some of Mariensbourg’s most famous tourist attractions from a distance while getting off clutching the handle of her overhead baggage, and accompanied by members of the Uthossian delegation for the song contest. It was weird…but she couldn’t pinpoint the exact reason why. She didn’t feel uneasy at all on her first trip to the Uthossian capital, landing in Tartu’s international airport, but rather, the opposite: she felt cheerful and remarkably relaxed. But this time, it wasn’t. She felt really cold, as if multiple chilling winds aimed for her particular direction. Her hands felt numb, and she couldn’t quite feel the sensation of holding anything on—even her own baggage, which she gently grasped on with—both of her hands. As she descended on the many flights of stairs down to the cemented ground, she heard a faint whisper from the Uthossian HoD, Tov Knudsen, who was directly behind her: “Are you ready?”. She couldn’t answer Knudsen’s question. “No, but seriously though, I just want to know if you feel fine right now…We still have a lot of things to do once we get to our hotel.”

“I feel weird,” Klára frankly responded. “Very weird.”

Knudsen, while taken aback by her blatant feedback, managed to make a quick utterance, before taking off from the last flight of the stairs onto the solid airway. “You do seem very stressed, though. You really need to have some rest. Besides, we’ve done plenty of practice back in Tartu, no?”

“Y—yeah…Getting a throat infection midway between the rehearsals and the final is also quite…difficult to work around.”

Knudsen reached for Klára’s hands, letting out a quiet sigh, before opening his mouth to speak. “We can do it—no, you can do it. We have trust in you, and I know you’re very nervous and scared right now, but please, remember to trust in yourself as well. There’s a reason why we picked you on our committee’s first listen…We fell in love with your voice, the way you articulated the lyrics of your début single, and how the general public of our country viewed you as an excellent artist immediately. The public trusts in you, and we trust you as well, so why not put trust in yourself?”

“It’s been a long ride for me. I didn’t trust myself enough to be able to go inside our burning house and save my parents from dying...There are still three weeks to go, sure, but I still quite anticipate something really bad happening while I’m performing, and I don’t want to disappoint the country that had solely trusted in a foreign musician like me to represent them in the international stage, you know?”

“Well, if you didn’t already know, I...Wait, you’re being nervous due to following Lidiya’s steps, aren’t you? I can feel it.”

“Yes—I mean no, but I—”

“Relax, Klára. Did you know that Lidiya also went into a phase similar to what you’re currently having now? She was always nervous, while we would always reassure her to trust herself and that she was rightfully selected as Uthossia’s participant due to her hidden talent; I mean, listen to her song. She’s quite introverted, to add as well, but she still managed to score a 270-some number of points and almost achieved the country’s first-ever win! You can’t expect anything to happen as you expect it, and you can’t expect anything to happen as you don‘t expect it, so why just not do your very best? Whatever happens, the Uthossians will forever support you. We’re not bashers, I promise!” he chuckled, trying to motivate Klára.

And for once, Klára forgot her the worries she was carrying then as a burden; she breathed out a optimistic huff before being led by Knudsen and the rest of the Uthossian delegation out of the airport, and getting into a vehicle to transport them to the hotel they’d be staying in for a very long while—a matter of four weeks, at most. Klára just stared mindlessly at the translucent windows of the vehicle as it traversed multiple highways, avenues, boulevards, or streets—she didn’t how pathway naming or terminologies worked in Carrelie. Passing by some of Mariensbourg’s most famous city landmarks, as well as the Pàrc Olympièn itself which would be the host of the 109th edition of the WorldVision Song Contest, she remembered something to ask Knudsen about.

“Aren’t you half-Carrelian?”

Knudsen quite hesitated to answer her demands. “...Yes, why do you ask? And yes, one side of my family is also from here.”

“Oh, I just heard some rumors from Vladimir, one of the music video’s costume designers.”

“Well...those weren’t rumors. I also was sent by HRÁ&DIL here to observe the 104th song contest, one edition before Uthossia finally announced their participation with Kamilė Nomeikaitė. Ah, the fresh memories of her fourth place. Everyone tuned in to their TVs and cheered for her that night!”

“You just reminded me about it...those placings.”

“Oh, I’m sorry...”

Album art for “Bludiská”

“Bludiská”
(Mazes / Hláhvíríndi)

YouTube song link

Performer: Klára Jánošíková
Songwriters: Klára Jánošíková
Composers: Klára Jánošíková, Daniil Spinu
Backing Vocalists (Pre-Recorded): Magdalena Anderssen, Qiomars Safarov, Julia Sarumpaet, Ambroży Walski
Language: Slovak

Klára stood half-awake, sweating out of the anxious tension, in the Pàrc Olympièn’s backstage. She was drawn earlier to perform in the grand final’s 13th slot…but why on a spot for a particular number associated with bad luck? There were only six nations left to make the WorldVision stage theirs and sing their hearts out, before it was time for Klára’s turn to shine. But will she really do? Klára was then full of double-thinking, and she was eating some slices of her favorite garlic bread to cope with the stress she had been getting. Her feet tapping in a continuous sequence due to it being a mannerism of hers when she feels uneasy, she pondered for the last minutes she’d get before singing…were her preparations already enough? Sure, she’d done a lot of vocal practices, pre-party performances, and mini-concerts for the fans, but had she balanced them well with the multiple day-offs she requested to take away and be relieved from the stress, by going outside and having some fun? She’d be better without those “gap days”, she’d initially thought, but she couldn’t stop herself from seeking pleasure away from preparing for the song contest which was the reason she was in Carrelie in the first place.

The distressed Klára walked back and forth in a simple black Hepburn dress, fiddling with her cell phone and quietly trying to find where the Knudsen, the Uthossian head of delegation, was; he’s probably in the restroom, she thought. She’d been longing for words of validation to help her finally calm down before her performance, but he was still nowhere to be found. The postcard music had played for quite some few times, she remembered, and it was getting too close before she would need to be called by the stagehands who would assemble the props before her. After an inaudible click of the men’s restroom’s doorknob, she found him, brushing a piece of white cloth on his forearm and straightening his shirt. Klára approached him so quickly and suddenly, that he had little to no time to react at all.

A short conversation then ensued, them taking some of the orange stools lining the wall near the restroom, and Klára, like always, asked for his attention while she detailed her daily struggles with her self-confidence; Knudsen acted as the reliable and dependable therapist who was always by your side. From the one to two months of them interacting with each other, she’d always regarded that man to be her best friend and personal regular advice-giver; he was quite wise, after all. But something inside her was telling her that Knudsen was…more than a friend…that there was something that she was feeling for him, that…she didn’t and doesn’t know. But she couldn’t muster the courage to tell him, since it felt like the boss-employee type of relationship to her, and she didn’t want to be heavily misunderstood…but also because of her unconscious fear of being rejected as well. In the midst of their long-winded chatter, however, the stagehands arrived to tell them they needed to prepare going onto the stage; Anthrovezia, the twelfth country set to perform that night, was already finishing their song. And there was it; the wait was almost over. The only thing that Klára’s mind was telling her was: do it for BLACKVET.

After Anthrovezia’s performance ended with a lovely thank-you note to the audiences, the stagehands started arranging her performance’s only prop, the black square-shaped elevated platform that had several flame machines on its edges which was reused from Lidiya Vakulenko’s performance from the previous edition. Uthossia’s and Klára’s postcard started playing, and the Uthossian tricolor filled the venue’s inside; she noticed the myriad of people who would be watching her directly as she sang; they were waving flags of different colors and countries, and were waiting for her to start. The postcard ended, and the whole venue was engulfed in a cold black, and Klára bathed in the temporary silence and darkness, before the melody of her song started playing.

Už nevedela som, čo mám robiť a už
Sa m’ do psychiky vkradla úzkosť
Cítila som sa ‘ko v pasci bez úniku
V pekelných mysli, plnej odporných hrôz

Odmietol som pokračovať
Niet cesty späť, dušu nemám

The introduction to her song started to play, the first notes of the melody resounding all over the stage and the word “BLUDISKÁ” in white on the black background of the LED visuals appearing for a few seconds, before vanishing and Klára finally opening her mouth, ready to sing. A sole light source from above her came into existence, shining brightly over on her, while the camera showed her lying on the floor singing from a couple of different angles, amplifying the purpose and use of her intro’s pitch dark setting. Klára wanted to portray with due simplicity and straightforwardness the melancholic sensation of being depressed, of life losing its color that had already faded away…that everything was, quite metaphorically, in black and white. Klára jolts out of her state and stands up, holding her microphone, at the passage the lyric ‘Odmietol som pokračovať’, before looking up at the sky at the advent of the next lyric, ‘Niet cesty späť, dušu nemám’, and closing her eyes.

Zefyry v pekelných nociach
Začal ma ovládať strach
Z kómy, som sa prebudila
Videla, ž’ všetko horí

Bludiská
Bludiská

Klára motions and gestures a snap on her fingers, to which the LED visuals seemingly respond to by displaying a series of flames on the ever-so-appearing pitch black background. She opens her arms wide before continuing to sing, this time with more accentuated emotion in her voice. To her, this part symbolized the feeling of doing something yourself, or instead taking the initiative to make a change, escaping and finding a solution to your problem in the process, the problem in this case being her juvenile depression, which she faithfully combatted face-to-face with her newfound fervor for music as a child. After the lyric ‘Videla, ž’ všetko horí’, the LED visuals once again fade into black, before coming back into life as a plain white background fills and gives necessary light and illumination to the entire stage. Klára’s black dress is seen providing a contrast between her and the white LED background, and the visuals as well as the overhead lights go frenzy on the mention of the second ‘Bludiská’, being turned on and off in quick consecutive successions.

Od duševných pút, som slobodná
Od kľukatých bludísk
Nezanechám stopy ‘ni krv
Labyrint, labyrint

On the advent of the first lyric, the flickering of the LED visuals as well as the overhead lighting come into an abrupt halt. The background LED visuals then transition into a display of a series of flames characterized by having warm colors ranging from red to yellow, burning on a video background which was completely black. Before the first line starts as well, Klára quickly steps onto the tilted square platform before the flame machines on its edges are activated. The camera pans with Klára as the object of focus in the second line, ‘Od kľukatých bludísk’, before a cameraman gets onto the stage and captures her while going around the platform once in a circular manner for the succeeding line, ‘Nezanechám stopy ‘ni krv’. In anticipation for the next stanza, the LED visuals begin playing a pre-recorded video of Klára herself trying to find her way out of a real maze.

Od duševných pút, som slobodná
Opustenej kobky
Tak oheň môj útek stráži
Z bludiska, peklo ‘ž niet

Bludiská
Bludiská

The feelings that Klára were sensing at this point were generally bittersweet. At last, she’d be able to relax and let go off her worries for some time, and be able to take a seat backstage since her thighs were about to give up due to the sheer tension that she was experiencing…but she knew by her own heart that she would miss this particular performance, this exact show that she gave to the throngs of hundreds of thousands of people from around the multiverse that had gathered inside the Pàrc Olympièn just to watch the artists of some thirty-odd countries perform and take the crown home as the edition’s new champion. Imagine: her first-ever public performance was for a multiversal song competition! She initially solely dedicated this act of hers for the one and only band that had inspired her to recover from her childhood traumas and fall in love with anything related to music…but ended up dedicating this performance for herself as well. She wanted to apply what Knudsen had said to her: you put lots of effort in this just to dedicate it to the ones who inspired you to become who you are today…so why not dedicate it as well to yourself, who actually took on the challenge and decision to do this all by yourself first?

The already-mentioned video of Klára trying to escape a real maze continues to play, but the vision of Klára discovering the path out towards the exit is made to coincide with the passage of the third line in the stanza, ‘Tak oheň môj útek stráži’, the opening of the exit’s gates on the other hand is made to coincide with the utterance of the fourth line, ‘Z bludiská, peklo ‘ž niet’, before everything in the LED visuals quickly fade to a simple, unblemished white background. In Klára’s performance in the real word, however, she continues to move within the confines of the flame-edged elevated platform, before braving her way off it by jumping over the flames, a little stunt which she had planned for a long time, onto the original black reflecting floor of the venue’s stage. She sings the first and last ‘Bludiská’ filled with adrenaline, and slowly raises both of her arms and hands sideways, anticipating the end of the instrumental outro…and the music comes into a full stop. Niet cesty späť, as she herself said in the song, there’s no turning back. The audience breaks into a loud and deafening applause, with dedicated Uthossian fans cheering and shouting from a near distance. The first tear of joy escapes from Klára’s left eye, her still left dumbfounded with how she eventually was able to pull off all of this for her first-ever public performance, but she rather just wipes it off her face, maintaining her overjoyed face. She almost forgot to state her utmost gratitude and biding her personal adieus before getting off the stage to let Dina from Uthossia’s neighboring country, Waisnor, perform: “Ďakujem vám! Vás milujem!”

PARTICIPATING BROADCASTER

by **Waisnor** » Wed Aug 30, 2023 12:26 am

14

WAISNOR

Dina - Lyubov' proshla/Tune: G.E.M. - ICE AGE

Dina Kanunnikova was an underdog going into this edition of WorldVision national selection. The singer who was already somewhat popular for several years in Waisnor and who released 2 critically acclaimed albums seemed to be outmatched by other, more prominent and maybe, just better entries. But Dina won - maybe through her emotions, maybe through an interestingly sounding entry, maybe through sheer luck. But the reasons didn't matter - now she was representing Waisnor in WorldVision going into Mariensbourg in Carrelie. At least she would get a good reception there - it was brotherly WMCA country, after all. And now, going through all of that, Dina just needed to make a good performance. By the way, there it is:

The singer stood on stage, turning her back to the audience. She was dressed in an elegant black dress and the same black veil, but so far the audience has not seen this veil. At least the spectators in the stadium - the people watching this performance on TV - saw everything perfectly, as the camera gradually moved around in a circle, showing more and more of the singer until the camera concentrated on Dina's face.

Мне непонятно, почему
I don't understand why

Наше счастье ушло во тьму
Our happiness has gone into darkness

Но день за днем все больше разрыв, разделивший нас
But day by day the gap that separates us grows larger

When these lines were sung, Dina moved to the right side and raised her left hand, which had not been visible in the frame before. The singer unclenched her fist, which contained a gold pendant in the shape of a heart. Having opened this pendant, Dina and the audience saw that it contained a photograph of Dina and her husband, which the singer looked at while she sang the next verse.

Я пытаюсь все понять
I'm trying to understand everything

Я хочу стену сломать
I want to break the wall

Ту стену, что вдруг поднялась
That wall that suddenly rose

When it was time for the chorus, Dina put the pendant back and finally turned to the audience in the arena. The light that had previously been focused on the singer scattered throughout the arena, illuminating her, but not too much. Meanwhile, an image of two silhouettes appeared in the background - one male and one female, standing on opposite sides of a tree from which leaves were falling.

Наша любовь прошла, достигли мы её тупик
Our love has passed, we have reached its dead end

Наша любовь прошла, меж нами будто материк
Our love has passed, it’s like a continent between us

Я все пытаюсь достучаться тебя, но может, это зря
I'm still trying to reach you, but maybe it's in vain

Может, пора уйти, ничего не говоря
Maybe it's time to leave without saying anything

After this verse, the singer returned to the center of the stage, where a small transparent stage had already appeared, dividing the stage into two parts. On the other side of the wall there was already a man standing, his back turned to Dina, who was slowly walking towards the wall. In the background, meanwhile, the silhouettes of the leaves turned into ordinary leaves that were blown by the wind.

На все мои попытки - тишь
To all my attempts - silence

Ты не страдаешь, не кричишь
You don't suffer, you don't scream

А может будет лучше просто нам спалить мосты?
Maybe it would be better for us to just burn the bridges?

At the last words of this verse, Dina hit the wall with her fist, continuing to sing, but the man didn’t even move. While the singer sang the next verse, she continued to quietly knock on the wall, not seeking the attention of the man, who in response began to quietly leave the stage. In the background, the leaves continued to blow in the wind, but they were already beginning to be covered with snow.

Разойдёмся без обид
Let's part without offense

Но моё сердце будто молчит
But my heart seems silent

Пытаюсь сшить его, но где же лоскуты?
I'm trying to sew it, but where are the scraps?

Dina began to sing the verse again, and she was already leaning on this wall, gradually sliding down to the floor along it. In the background, the leaves were already completely covered with snow, and the camera moved its gaze to a woman in a coat and a long scarf who was walking through the snow. As for the man, he left the stage long ago without saying a word.

Наша любовь прошла, достигли мы её тупик
Our love has passed, we have reached its dead end

Наша любовь прошла, меж нами будто материк
Our love has passed, it’s like a continent between us

Я все пытаюсь достучаться тебя, но может, это зря
I'm still trying to reach you, but maybe it's in vain

Может, пора уйти, ничего не говоря
Maybe it's time to leave without saying anything

After that, Dina stood on both legs and abruptly took off her veil, showing her entire face for the first time during this performance. After that, she began to calmly and majestically walk forward, concentrating all the light of the stage on her and her path. Meanwhile, in the background, the camera was getting closer and closer to the walking woman, and she already had features that could be seen on Dina.

Мне надоело биться в стены просто так
I'm tired of hitting walls just like that

Не вижу смысла сохранять нам этот брак
I don't see any point in saving this marriage for us

Надеюсь, что ты сможешь стать счастливым
I hope you can be happy

Но пусть сначала кончится этот ливень
But let this rain end first

Dina repeated the verse one more time, continuing to walk across the stage as the woman's face approached in the background. Finally, before singing the verse for the last time and ending her performance, she stopped, and in the background the face of this woman was fully visible, and it turned out to be Dina herself.

Наша любовь прошла, достигли мы её тупик
Our love has passed, we have reached its dead end

Наша любовь прошла, меж нами будто материк
Our love has passed, it’s like a continent between us

Я все пытаюсь достучаться тебя, но может, это зря
I'm still trying to reach you, but maybe it's in vain

Может, пора уйти, ничего не говоря
Maybe it's time to leave without saying anything

After finishing her performance, Dina was extremely happy - she has actually done it and performed at WorldVision. She waved to everyone in Mariensbourg and screamed: "Thank you all! You're the best! I love you!"

by **StrayaRoos** » Wed Aug 30, 2023 2:03 am

15
StrayaRoos
Abbey Jahga - Is It Me?

Alika - Bon Appetit

Background

After Doorsbreken 108, rtvS' WV People were confused, considering that one edition: they send a 16 year old with a catchy generic pop song, and she gets ninth, then the next edition, they send something from the same formula, and that places below fucking Placey Placington on a tiebreaker, confusing the fuck out of everyone in the room, how could they be that bipolar results-wise?
One of the bean counters in the room (dunno how he got there) suggested grabbing people off YouTube, as that worked well the last two times (105 & 107), and it was cheap compared to sending Altos and Sajuna every edition. Another person in the room suggested grabbing people off reality TV, and another suggested the traditional 'resend Altos every second edition' method, so, they did a hybrid of the latter two methods, first lining up an ex-Roosian Idol finalist for 109, then choosing Aliyana Kjaka, who represented the nation in 107 for 110.

About the Artist

Abbey performing Is it me? prior to WorldVision

Abbey Jahga is a 23 year old singer-songwriter from Haku in StrayaRoos' Western state, not far from Circunses. She participated in season 3 of Roosian Idol in 2021, and finished 7th. After her 15 minutes of fame on reality TV, she published a few singles, and is currently working on her debut EP, Made Differently, scheduled for release in December. Abbey is neurodiverse, having ADHD, which is a major theme in her music.

About the Song

Is It Me? was written by Abbey about how her ADHD affected her attempts at romantic relationships, where her quirks became too annoying to her exes, and they just gave up on her, leaving her to think she was probably never going to find someone who wouldn't give up on her. In pre-WorldVision interviews, she described the song as the result of her trying to pick up the pieces and just generally recover from the breakup emotionally.

The camera circles above the stage, and moves in to focus on Abbey, who's lying on a couch on her phone, and it's visible that messages is open, and she's texting with a romantic partner

It was a Saturday morning
When you texted me
Saying you were giving up on me
Even with the memories with me
You and me, we could’ve been forever (ah-ah)

After performing the first verse, she drops the phone and sits up on the couch. the lights then focus on her, and she performs the second verse, doing movements when the song mentions them (i.e. turning when the wordd turning is sung)

Now just tossing and turning
And thinking and thinking
It seems like I’ll be going without you
people’ve quit me before, again and again
You leave me no choice but to question
Is it me-e-e-e-e?
Is it me-e-e-e-e?
You give me no choice but to ask
Is it me-e-e-e-e?

Abbey gets up from the couch, and the cameras follow her, and when tossing or turning is mentioned in the lyrics, the cameras do that.

Every morning, just questioning things I never thought about before.
The weirdest things about me
Just quirks and everything
So many questions through just thinking (ah-ah)
I’m now tossing and turning
While thinking and thinking

Now the second chorus starts, and Abbey is really just enjoying herself on stage and not trying to be perfectionistic like she's seen others do on this same stage

Leaving me no choice but to ask (oh)
Is it me-e-e-e-e?
Is it me-e-e-e-e?
You give me no choice but to ask
Is it me-e-e-e-e?

After the chorus, in an attempt to pump up the crowd, she slips some impromptu lines into the song, and she gets the desired effect.

let’s go world! (yeah-yeah)
Everybody stand up, stand up (oh)
Jump jump jump (oh yea)
You give me no choice but to ask
Is it me-e-e-e-e?

the lights shut off and the only thing that's (barely) visible, is Abbey's silhouette.

Alone in the streets, it’s like nobody wants me

From the darkness, Abbey repeats the chorus and the lights rise slowly, and she manipulates her voice to sound kinda digitally altered, when it isn't, hell, most Roosian entries haven't needed bloody autotune.

Is it me-e-e-e-e?
Is it me-e-e-e-e?

With the stage lights back on, Abbey moves to the edge of the stage, and continues just trying to hype up the crowd while performing and not doing too badly at doing so.

Let’s go, One last time?
Is it me-e-e-e-e?
Is it me-e-e-e-e?

For the finale of the song, Abbey is joined by a large chorus of fans in the crowd, which is slightly offkey, but she doesn't really care about the quality of the singing, as she's just thrilled she started something in the crowd, rather than them just hating the song and performance.

You leave me no choice but to ask
Is it me-e-e-e-e?
Is it me-e-e-e-e?
Is it me-e-e-e-e?
I’ve got no choice but to ask
Is it me-e-e-e-e-e-e?

After the song ends, Abbey just says 'Thanks for this World!' and leaves the stage

by **Carrelie** » Wed Aug 30, 2023 4:38 am

16 - Carrelie

by **Cakranegara** » Wed Aug 30, 2023 4:51 am

#17 - CKR
CAKRANEGARA

Hanny Arsintha - Dimana Berlabuh

Language: Pemecutan Malay
Title Translation: Where do you dock?
Music: Awaluddin Syakieb, Muhammad Husein
Lyric: Hisyam Sadikin, Jamal Wahyudi

Tune: Wany Hasrita - Canggung

B A C K G R O U N D

Cakranegara is coming back to WorldVision Song Contest after a hiatus. They last joined the song contest at the 105th edition which was held in Chain, Malta Coming Gozo. At the contest, Cakranegara finished with only 29 points and placed at 27th out of 32 participants. This was their worst result ever. "I'm sorry with the result. We did our best," said Rini Asih in an interview after the delegation arrived back in Cakranegara. The bad result forced COK to reevaluate their method of selecting the representative of the country in WorldVision Song Contest. COK spokesperson admitted that the selection of 105th WVSC representative was too rushed. But they didn't say that their selection was bad. They mentioned that the selection was not maturely selected where they didn't count of international music taste and probable acceptance of the said music genre. These 2 points that will always be a deep thoughtful for COK WVSC committee in selecting the future representative of Cakranegara. The spokesperson of the committee is also mention about adopting the selection process use by Pemecutan where an online poll will be conducted to see the majority trend.

With the new method, COK release 5 songs that they have privately selected into their official website for the people to votes. Song with the highest vote is the winner and will represented Cakranegara at the 109th WorldVision Song Contest. And after a week of voting period, the winner of the poll and Cakranegara representative for the 109th WorldVision Song Contest is Dimana Berlabuh, a song by Hanny Arsintha.

A R T I S T S

Hanny Arsintha

Hanny Arsintha was born at Ampenan, the capital of Cakranegara, 30 years ago. She graduated from University of Ampenan majoring in Medical Faculty. She introduce herself as a musician when she was uploaded videos of her covering a renowned songs in her WhoTube channel. She began to gain attention and some gives critics which help her improving her singing technique. She is very humble and admit that she never had a professional singing training. All the time, she always listen to songs and try to sing it as closely as possible to the real artist. This fact also made her criticize for authenticity. Something that she try to figure out in her early years of career. In 2017, she signed a contract with SMC (Sara Music Community), a local record label. Under the label, she broaden her views and finally able to train professionally. She gained her own identity and makes herself distinct from other female singers in the country.

Throughout her career at SMC, Hanny release 4 singles. One of them, "Malam, Ku Rindu" gain national recognition and become her first successful single. The single was given silver certificate after surpassed 10,000 sales in Cakranegara. The song catapult her popularity. SMC however didn't extend her contract and release her from the label. She is then signed a contract with Kejora Records. Just 4 months after she signed the contract, Hanny release her first album name Arsintha. The most popular single from the album was "Melodi Cinta" which gained another silver certificate from Cakranegara Music Association. After a national tour, Hanny took a hiatus from music and try another luck in television. She starred in two series, Kapankah Raya?, a special Eid-al-Fitr theme series release in 2020 and Kampung Cinta, a comedy romance series release in 2022. Her performance was praise in Kapankah Raya where she play as a daughter of a local religious leader who waited for Eid before her boyfriend will propose her. In late 2022, she announced her marriage with long time boyfriend, Muhammad Alamsyah. In 2023, she back to music and release a new single entitle, Ku Rindu Engkau. The song break her single sale record after it surpass the 50,000 sales which garnered her a platinum certificate for the song. Her first baby was born in early 2024. And just 3 months after laboring, she release her 6th single in her career entitled, Dimana Berlabuh. The single become the official selection of Cakranegara for the 109th WorldVision Song Contest.

S O N G

After her marriage, Arsintha was plan to release her second album. But as she gathering songs for her new album, she find herself pregnant. Her husband, Alamsyah asked her to postponed the album which was then agreed by the producer and manager. To feel the gap, they agree to release a single. Ku Rindu Engkau was then release with a huge success. Arsintha then get into laboring in early 2024 to a baby girl. After the labor, she asked her husband permission to restart her album project and Alamsyah give her a green light as long as she is not forcing herself. Then a second single is release. Dimana Berlabuh to her husband surprise as the time period between her labor and the single release was too close. Arsintha had to reassured her husband that the single didn't consume her time in taking care of their newborn.

The song "Dimana Berlabuh" tells a story of a woman or wife who is worry about her missing husband. The lyrics explicitly express the wife stressed that her husband might be cheating on her which is also indicated in the title of the song. Arsintha explain that the song has no connection with her as she is happily married. "It just came in my repertoire as I prepare for my second album and I just love the lyrics. When I heard the composition, I fell in love with the song that I want it to be part of my next album," she said during the promotional of the song. Dimana Berlabuh is written by Hisyam Sadikin and Jamal Wahyudi. The song was initially asked by another artist for their new single which based on her teenage experience with her ex-boyfriend. However, she turn down the song as she don't really like the outcome. Then the song given to Arsintha as she gather materials for her new album. Arsintha received the song in lyric only. And when she agreed to use the song, the producer contacted several musician to compose the music for the song. At first, it was made fully in pop ballad which then criticize by the producer cause pop ballad is somewhat dying in the country. They then insert ethnic music into the composition. The second hearing show a success as both the producer and Arsintha love the song. The song was then release early this year to fill the gap after Arsintha's latest single which was already a year passed. However, it is not yet confirmed whether the song will be included in her new album or will it stay as an independent single.

P E R F O R M A N C E

Lama aku mencari
I searched for so long

Kekasih yang pergi
The lover that have long gone

Tak jua kembali
Has not return

Resah aku disini
I'm worried here

Tak terpikir lagi
Never have thoughts again

Kemana ku cari
Where else should I look for

Apa mungkin (Apakah kau mungkin)
Is it possible? (Are you possibly?)

Kau terjaring (Kau t'lah terjaring)
You are caught (You have been caught)

Pesona yang lain…
The charms of others

Hati bergetar berdegup pikirkan itu
My hearts trembling when I think of it

Tak ingin tebersit, tapi ku berpikir itu
Don't want to feel it, but I always think of it

Ho… Mengapa yang ada selalu prasangka buruk?
Ho...Why is there always bad prejudice?

Kasihku dimanakah engkau berlabuh?
My love, where do you harbor?

(Kasihku dimanakah engkau berlabuh?)
(My love, where do you harbor?)

(Dimana berlabuh?)
(Where do you harbor?)

Hari-hari berlalu
Days have passed

Tak terhitung lagi
(I) can't count it again

Tempat ku mencari
Places where I look for

Pasrahlah hati ini
My heart surrender

Tiadalah petunjuk
No more clues

Kemana kau pergi
To where are you going

Apa mungkin (Apakah kau mungkin)
Is it possible? (Are you possibly?)

Kau terjaring (Kau t'lah terjaring)
You are caught (You have been caught)

Pesona yang lain…
The charms of others

Hati bergetar berdegup pikirkan itu
My hearts trembling when I think of it

Tak ingin tebersit, tapi ku berpikir itu
Don't want to feel it, but I always think of it

Ho… Mengapa yang ada selalu prasangka buruk?
Ho...Why is there always bad prejudice?

Kasihku dimanakah engkau berlabuh?
My love, where do you harbor?

(Dimana berlabuh?)
(Where do you harbor?)

Kemana
Where?

Mana tempat yang kau tuju
Where are you going?

Hatimu yang kan kutunggu
Your heart is the one I'm waiting for

Hingga nanti
Until then

Kemana
Where?

Mana tempat yang kau tuju
Where are you going?

Hatimu yang kan kutunggu
Your heart is the one I'm waiting for

Hingga nanti
Until then

Hati bergetar berdegup pikirkan itu
My hearts trembling when I think of it

Tak ingin tebersit, tapi ku berpikir itu
Don't want to feel it, but I always think of it

Ho… Mengapa yang ada selalu prasangka buruk?
Ho...Why is there always bad prejudice?

Kasihku dimanakah engkau berlabuh?
My love, where do you harbor?

Mana dikau (Bergetar berdegup pikirkan itu)
Where are you? (Hearts trembling when I think of it)

Ku menunggu (Tak ingin terbersit, tapi ku berpikir itu)
I'm waiting (Don't want to feel it, but I always think of it)

Ho… Mengapa yang ada selalu prasangka buruk?
Ho...Why is there always bad prejudice?

Kasihku dimanakah engkau berlabuh?
My love, where do you harbor?

Kasihku dimanakah engkau berlabuh?
My love, where do you harbor?

(Dimana berlabuh?)
(Where do you harbor?)

by **Aenglide** » Wed Aug 30, 2023 4:53 am

Country Name: Aenglide
Artist Name: Jana Argelsen & Ulmsläärigili Javkivolka
Song Title: Ccëguus rääska
Languages: Hööra
Translation Secret Love

Music: Jana Argelsen, Mineli Stotar, Paaiva Geiler, Laura Karlneida
Lyrics: Jana Argelsen, Elsena Oleviäniku
Tune: Angelit - Gárkit

“Things are starting to look better!” - was the general reaction from the public after seeing the results of the most recent Worldvision Song Contest 109, held in Doorsbreekenstad, Alezian Union. Aenglide had placed a fairly mid-table eleventh place, with a total of 152 points. Sure, the score was not as catastrophic as the eighteenth place that Aenglide’s Lynna Fynsberg Víkja had ended up with at the 107th Worldvision Song Contest back in Doportedas, Britonisea, but it’s not a particularly great or outstanding result either. If you look at the results of Aenglide’s entries from the past few editions (excluding the horrific Worldvision 107 result), then you’ll find that we haven’t placed as badly as that since Worldvision 102 in Thatcher City, Mister X, where hard rock band Den Vókteren came just one place down at twelfth. So, the statistics don’t lie at all. Aenglide isn’t on the best record at the moment. However, it is improving slightly. From a bad right side of the leaderboard finish, to a safe return back at the left side of the leaderboard, Aenglish Worldvision fans had their heads high again.

To recap - Aenglide participated in it’s seventeenth Worldvision Song Contest at the Sint Peeters Auditorium in Doorsbreekenstad, the main regional centre for South Alezia, within the Alezian Union. The city won the hosting rights to the 109th edition of the world’s largest musical competition, and was the second time that the nation hosted Worldvision, with the first being all the way back in Worldvision 93 in Zafizamarrah, located on the other Alezia - North Alezia. It was also Aenglide’s second Worldvision participation in the WMCA member state, as Aenglide’s now-disbanded rock band ÄKE, who sent their Old Aenglic song “Þym rekænde þu”, represented the nation in Aenglide’s second Worldvision Song Contest. For Worldvision 109 in Doorsbreekenstad however, ÆTV selected pop duo Persson Olavsson and Elsvikka Knudsdal, better known by simply their first names as Pers & Elsvikka, with their song “Gylden Fjul” (Golden Touch). It was Aenglide’s first entry in Aenglic since Marja Bjárnisdoter represented Aenglide with her break-up pop song “Þe élsk fðú?” (Who do you love?) back at the 99th Worldvision Song Contest in Densmouth, Carrelie, placing twelfth in the contest before Aenglide’s switch to an endless sea of English-language songs. ÆTV clearly wanted to try something new and unique again, and why not do it in the best possible way by singing in your country’s native official language? It certainly paid off because the pair managed to give Aenglide a decent score at 152 points. Compare that to the 108 points Aenglide came home with at the grand final night in Britonisea - barely skimming past triple figures.

In Doorsbreekenstad, it was the first contest since Worldvision 107 to not have semi-finals, due to the lower number of participants in relation to the three nights back in Aenglide’s friendly neighbours, Britonisea. This reduced the pressure and stress of worrying about either qualifying or not qualifying to the final for every act that night. Prior to the night of the final, it was revealed that only 32 nations were participating in Doorsbreekenstad, and Pers and Elsvikka performed quite late in the show at the 27th slot, in between These American States and the Achaean Republic. They were very proud and happy of their performance, and felt like they represented their nation very well! But there was one thing left after the performances - the voting. Like many participants, the revealing of the points is the scariest part of this competition, without a doubt, but the duo and the Aenglish delegation were ready to take the votes on. The jury voting went off to a great start, as Aenglide had received a set of 12 points from previous edition debutants Enthisea, which excited both Pers and Elsvikka. As the jury votes went along though, nothing else stood out at all, the most otherwise were just a couple of 7 points from Lochario and Polkopia. Aenglide was left at 11th place in the jury voting, with a fairly low 68 points.

Oh well, could the televote save them? Aenglide scored a somewhat higher 84 in the televote, which allowed Aenglide to place in 10th there, however overall was left in 11th place with a total of 152 points. Aenglish Worldvision fans, either watching live at the Sint Peeters Auditorium or all the way from home, were all shocked at the result. Sure, it was better than our 18th place in Britonisea, but the entire country believed that it was the perfect song to represent us. It was a male-female singer-songwriter duo with a likeable pop song, creating a fun and dynamic performance. After some research amongst other countries’ juries and fans, apparently the song choice was the killer from us. ÆTV reached out to the music professionals who made up the jury from Uthossia - who we’d had high hopes for them to send us a high amount of points, because of their strong appeal to songs in countries’ national language. Their juries responded by saying that “While we appreciated the use of the brilliant Ænglik Sprôk language, we just weren’t fascinated enough by the tune.” We then found out that Aenglide was 11th in their rankings, just one place away from receiving a point. While the nation climbed back up to 11th place in the final scores, Pers and Elsvikka were still very impressed by their performance, smiling and purely amazed at how well they managed to do on the stage. They said that the uncountable number of rehearsals and “countless hours of interviews” were all worth it for that very moment. They didn’t really care for their points, they were just there to make sure they made Aenglide proud. And they did!

And as Worldvision 109 wrapped up and came to an end, it was now ÆTV’s mission to find out who would be representing us at the next edition for the 109th Worldvision Song Contest. The selection process for this one was a bit of a journey. At the start, Aenglide’s national broadcaster ÆTV were initially skeptical of sending another song not in English, as they had the suspicion that this was a part of the cause of Aenglide’s undesirable result along with the pop song. However, the music partnership working with ÆTV said that “we should be able to promote and embrace our love for our language, our culture, [and] our history in Worldvision. The points can follow.” ÆTV took this into consideration, and initially lined Akjefuldin shoegaze band Rödvlöster and their recent single “vállening” (Falling) up to represent us, however with both a lack of interest from the Aenglish public and Worldvision fans, and the fact that Rödvlöster were already booked to perform a concert in Barington, Terra Zealandia the night before Worldvision. This is when ÆTV a backup option, and had to work with Hööra Raadiotelevision, the sub-national broadcaster for the Aenglide’s Autonomous Province of Hööra. It’s been a while since they’ve had their long-awaited return in having representation in Worldvision.

Let’s step back in time to the 97th Worldvision Song Contest, in Norfolk Pinewoods, the capital and largest city of Beepee. Two-time Worldvision participants The Mercantiles had first represented Aenglide with their rock hit “Benevolent Frequencies”, coming second and down by 17 points, taking the runners-up spot behind eventual winners Polkopia. The song remains as a rock classic in Aenglide. But more importantly, the contest saw the debut of Hööra, who received broadcasting funds to send their own artists through their own independent broadcaster Hööra Raadiotelevision (HööraRT). Their debut in Beepee saw Elsena Oleviäniku and her cultural love ballad “Muositu ccuövga süüma naastin” (Solemn visions of the future), and to their surprise, received 131 points and came 13th out of 25 nations, and even receiving two sets of 12 and 10 points, from Placely Placington and Ikslund respectively. An outstanding debut and managed to place the province on the map. You may have noticed that Elsena Oleviäniku actually appears as one of the lyrical songwriters for this song! Hööra also returned once more for the 98th Worldvision Song Contest, hosted in Aenglide’s capital Keterig, so it was only right that they participated in the homeland as well. For that edition, the Hööra sent indie band Oksidentäälikvëaka with the fun dance party track “Lavläj’ee!” (Sing it!). In the end, they placed 22nd out of 31 nations, another decent result. Unfortunately, as much as the Autonomous Province wanted to return to the world’s biggest musical stage, their funds afterwards said otherwise. It was difficult for them to participate again after that, so a contract was signed between the two broadcasters ÆTV and HööraRT, stating that a Hööra artist and song is able to participate under Aenglide’s banner. After all that, ÆTV ended up selecting a cultural collaboration between Jana Argelsen and Ulmsläärigili Javkivolka. ÆTV stated that “It is truly amazing to be able to help shine a light on the musical talents that the Hööra have to offer. It’s incredibly humbling and I cannot wait to see how they do in Mariensbourg.”

The group together, wearing traditional Hööra gävti (clothing). Jana Argelsen on the left, and the Ulmsläärigili Javkivolka on the right, with Sanna Idöja, Olav Knodssen and Aeva Pilsari respectively.

Jana Argelsen is a 24 year old (born February 11th, 1999) Ljaenborg-born Hööra native, born to an Aenglish father and Hööra mother. At the age of two, she moved and was raised in Öölus (Aenglic: Aúlus), the provincial seat of the Hööra Autonomous Province. After leaving secondary school in Hööra, she moved to Keterig and entered the Aenglish Music Academy, graduating last year. She remained based in the capital after her tertiary studies, and has released two albums as a rising indie artist and multi-instrumentalist. Her music has kept true to her roots, with some Hööra-language lyrics and folk flair mixed in her electropop songs. Prior to Worldvision, her single “Dit dæt jé béde þe?” (How Do I Get To Know You?) entered the charts on the week of the song’s release, peaking at number five.

Jana will not be alone on stage, however, as she will be joined by Ulmsläärigili Javkivolka, which means “The Ulmslääri Village Folk Music Group” in the Hööra language. It is a folk band founded in 2001, nowadays consisting of three members; Aeva Pilsari, 22; Olav Knodssen, 27; and Sanna Idöja, 41. in the village of Ulmslääri (Aenglic: Holmslar) in the neighbouring Keprasland province. Although the village is just outside of the Hööra lands, the village of roughly 80 people has a Hööra majority. They’re a performing group, so they have never created their own music or released songs of their own before Worldvision. They just perform as a mini ensemble at local venues, such as markets or town squares, singing existing folk songs and the very uniquely Hööra joik.

As a group, they met together in Öölus to discuss the creation of the song. It was initially Jana Argelsen who approached the trio, as she was impressed and fascinated by their performances, having seen them performing in the centre of Öölus and becoming a fan of them. The Hööra public have created huge support for the collaborating group, stating that “It’s great to see our people making it far on the world stage on stage. It’s amazing that the artists are young people too, showing that there is impact in the revival of the Hööra language and culture.” Jana Argelsen has responded, saying that “It’s honestly an honour [to] represent Aenglide and we thank everyone for the support, doing the best we can to show the Hööra culture and to perform the best we can too.”

Cover of the 2023 single “Ccëguus Rääska”

The song that the folk group will be representing Aenglide with is titled Ccëguus Rääska, which translates as “Secret Love” in the Hööra language, and as of now, is Aenglide’s first entry in Hööra. It also is currently the second song in a row in a language other than English that Aenglide has sent to WorldVision. It’s been brave for ÆTV to send songs like this, knowing that it may be risky. Nonetheless, Ccëguus Rääska has managed to place itself at a high of 23rd on the Aenglish Weekly Music Charts, and has surprised many people, even Aenglish Worldvision fans, as the Hööra language is usually unpopular in recent music, even in Aenglide. The domination of both Aenglic and English in Aenglish media has reflected onto the type of music that charts in the country, but against all odds, Worldvision has given popularity to the Hööra song, even if it isn’t at a chart placing comparable to other entries in the past. The song has a folk-infused electronic and dark pop feel about it, and has genuinely received positive reviews this past month. People have given the song a good rating, citing that it’s a great song that combines our important culture with music.

Before the night of Worldvision, it had been revealed that Aenglide was performing in the eighteenth slot, between Cakranegara and, oh god, sweet jesus and everything holy, those people from Placely Placington. A few songs into the night and Jana Argelsen and the group were already called backstage to prepare for their performance. While backstage, they got dressed into their gävti. As shown in the image above, Gävti is traditional Hööra garments, made out of reindeer skin, wool, cotton or fur. It is worn in ceremonies and gatherings, as well as during harvest. They will be wearing this for cultural introduction. As the four performers were all ready to walk on stage, waves of emotions were flooding Jana’s head. For the Ulmsläärigili Javkivolka, they were all fine, and in fact excited to perform on the world’s largest stage. For Jana, this was a jump in the deep end, as Jana had never performed on a stage as large as Worldvision’s prior to the contest. However, she was able to recall herself to the numerous rehearsals and practices, and that as long as the performance went to plan, there was absolutely nothing to be afraid of.

As Hanny Arsintha from Cakranegara finished their performance, it was ready for the group to walk onto the stage. The Aenglish delegation were already familiar with the Carrelian stage technician team from Worldvision 99 and 104, so they knew that they’d be in safe hands getting themselves organised on stage. In fact, we’ve returned to the Pàrc Olympièn for this edition of the Worldvision Song Contest, as back in Worldvision 104, Mariensbourg was also the host city. It’s a first for Aenglide too - This edition is the first ever edition where Aenglide has participated twice in the same city for different Worldvision Song Contests. Anyway, the others followed behind Jana under a very dark Pàrc Olympièn, as the entire arena was blackened in order to show Aenglide’s postcard, and segue ourselves onto the stage. On the large LED screen showed our national colours in a beautiful flower, the iconic art motif for this edition. It felt familiar, and that’s because Keterig’s hosting back in Worldvision 98 used a Hakjelíle (white lily) as the motif that edition, and even did something similar with each nation’s colours. We were so far away, and yet it weirdly felt like home.

Once all the final checks were done on the stage, the group were good to go. As the music started, with it’s fast paced beat, the lights in the arena and stage began to brighten up to welcome the song. It revealed a very interesting staging. Jana Argelsen was in front of the stage with her microphone, and behind her, slightly off to the side, were the three members of the Ulmsläärigili Javkivolka, who in their respective order from the photo above, were sitting on prop logs together around a central campfire, made of lights and not real fire. For the first 20 seconds of the song, we get good differing camera shots of the stage, so that the people watching at home can get a good idea of the space of the stage. After those 20 seconds, a camera points and zooms to Sanna, Olav and Aeva around the model campfire joiking. Joiking is another traditional custom in Hööra culture, used in music and chants.

Öö-öö-oj-ejla-laa
Öö-öö-oj-ejla-laa

As soon as the joiking was finished, a front camera points a medium shot on Jana Argelsen, who is standing at the centre front of the stage. The LED screens behind her slowly fade into a peaceful night scene with the northern lights and dark, snow-capped mountains. A quintessential Aenglish scene opens the performance as she begins to sing her first verse.

Ði at lääpan su mo ccalpik
I was lost in your eyes

Goa đi vos sää mo
When I first saw you

Ði dahiit mo at ssavat
I knew you were my shining light

Di’ mo lea ccëguus rääska
‘Cause you have a secret love

Jana Argelsen immediately starts singing the next verse. During this, there are a few mixed camera shots of Jana Argelsen by herself at the front of the stage, some brief shots of the folk group behind her, panning shots of the entire stage, and the occasional pan out to the audience, with many colours and flags, showcasing the passion and diversity within the entire venue. As the cameras turned to the audience, a visible cheer was heard, in simple excitement of a camera angle.

Bëa mo gëë
Only you are

Ccapät, ccapät
Beautiful, beautiful

Dej angeli su đi nëëkak
Like an angel in my dreams

Di’ mo lea ccëguus rääska
‘Cause you have a secret love

In between these lines, a sudden beat drops, changing the whole pace and feel of the whole song, with joiks and musical screams from the Ulmsläärigili Javkivolka. As this happens, strobe lights begin to flash on and illuminate the whole arena. There are a few intense movements with the cameras between Jana and the folk group, with the shots showing Jana beginning to move to the left side of the stage.

Ij hega veärdi mo
Nobody can compare to you

Ði leöt ääin girdiin
I will fly forever

Goa đi gëë su mo giehtak
When I’m in your arms

Di’ mo lea ccëguus rääska
‘Cause you have a secret love

After three previous verses, all containing four lines, with the verses all ending in the song title “Di’ mo lea ccëguus rääska”, it was time for the last one, before a bridge. As Jana moves to the other side of the stage, the cameras follow her along, with occasional shots of the stage in general, with the LED screens in the background still showcasing the Aenglish night sky.

Bëa mo gëë
Only you are

Ccapät, ccapät
Beautiful, beautiful

Dej angeli su đi nëëkak
Like an angel in my dreams

Di’ mo lea ccëguus rääska
‘Cause you have a secret love

The song’s bridge comes along, where the line from the third verse “Ði leöt ääin girdiin” is repeated twice. Because the lines are sung long and with passion, the cameras focus on Jana’s face, showing her with closed eyes and her head titled up, encapsulating the feel of the song in her movement and stage performance.

Ði leöt ääin girdiin
I will fly forever

Ði leöt ääin girdiin
I will fly forever

Another beat drop here. The Ulmsläärigili Javkivolka, stand up and put their arms over each others shoulders, like a proper folk chant. They begin to end the whole song with joiking, as it gradually fades out. The cameras are all on the folk group, and in the middle of the joiks, Jana walks over to join the other three in Joiks, and even adds some joik calling, a traditional Hööra call that mimics the call of a bird.

Öö-öö-oj-ejla-laa
Öö-öö-oj-ejla-laa
Öö-öö-oj-ejla-laa
Öö-öö-oj-ejla-laa
Öö-öö-oj-ejla-laa
Öö-öö-oj-ejla-laa

The whole performance is complete. Jana Argelsen and the Ulmsläärigili Javkivolka all let out a big “KIITÄ!” which means thank you in Hööra. The lights are dimmed in the arena, and the group makes their way quickly off of the stage to swap it out with unsurprisingly questionable folk from Placely Placington, who were performing right after Aenglide in the running order. They make their way back to the green room, joining the Aenglish delegation, where they all congratulate themselves and eachother for an outstanding, heartfelt performance that generated a massive cheer from the audience.

by **Placely Placington** » Wed Aug 30, 2023 4:56 am

19 - Placely Placington

Dave the Living DJ Booth - My Existence Is Nothing But Pain, Please Help Me By Turning Me Off

Tune: Vennu Mallesh - It's My Life Whatever I Wanna Do

Dave McDaverson wasn't exactly a happy bunny following the last contest. His side was riding high at the end of the first half. They had somehow amassed 27 points which was good enough for a 15th place spot. Sure they were losing on tie-breakers to Talvezowout but hey, if things went well they could easily sneak up to a respectable position. Unfortunately, they underwent an Elejamie-esque second half choke that saw them slip all the way down towards their usual placings. Worst of all, they didn't get any televote points, thus resulting in a 26th place finish with 31 points. Dave McDaverson, being the man of logic that he is, came to one conclusion:

"You see, the Alezian broadcasters and the IBA couldn't handle the fact that we had the best song of the entire contest. And if we won, we'd be getting a whole lot of money out of it. So, to make sure we don't get that money, they bribed the juries to not give us any points and threw out our televotes just to ensure we'd finish near the bottom! It's all so obvious!"

Television Director either didn't follow his boss' train of logic or didn't want to cause a fuss and a button press so he just simply said "Er... yes, sir. It's obvious, sir."

"What we need to do is to launch a boycott. No Placely Placingtonian entrants until we get the actual results of the 108th WorldVision which see us as the rightful winners. And maybe to stop putting us near the bottom. I'll tell the people now."

"Good idea, sir."

And with that, Dave McDaverson stepped out of his office and onto his balcony, where he usually gives his speeches. "People of Placely Placington!" He addressed the crowd consisting of one venus flytrap but with legs and a Test Subject in its maw and a giant crater left by a piano dropped by an eagle. "Due to the IBA screwing us over for the last time, we have decided to announce our official boycott of the WorldVision Song Contest! No longer will they be rejecting our pure art and unjustly rewarding paid for entries! And when their competition starts to fail and they come crawling over to us, begging us to participate so they can be so successful, we'll probably consider it if we get our win!" There was no reaction because at that point the venus flytrap but with legs had wandered off to find a new Test Subject. Five seconds after the announcement, Dave McDaverson turned to face Television Director and asked him something. "Hey, TD, how long do boycotts last?"

"A while. It depends on how they meet in the middle, after all."

"Well, boycotts are boring. Let's just send someone and hope for the best."

And with that Dave the Living DJ Booth was sent. A sentient DJ Booth who also forms one half of A Couple of Daves, he's sending something a bit more vocal than his last solo offering all the way back in WV86. Not as good, mind, but then again I'm running out of ideas for Placely. Anyway, Dave the Living DJ Booth is a sentient DJ booth that was formed as a result of a Clonomat accident where a freshly cloned version of his old body was somehow merged with a DJ booth and now he just exists like that. He's a very one-note character whose only trait is him begging for him to no longer exist and potentially be brought back into a proper body, usually backed by very upbeat or otherwise ill-fitting music, but the universe won't let him do that. It's why I use him on his own sparingly and this'll probably prove why I should keep doing that. On the upside, I should have something a bit better for next time.

Blue - Female voice
Red - Dave the Living DJ Booth

After the postcard, we just get Dave the Living DJ Booth on stage. No accompaniments, no accoutrements, just the titular DJ booth himself. There was also a scant applause but it’s Placely Placington, that’s completely normal for them. When that died down, a female voice let out a laugh and then began to say something. Dave then said something in response.

Dave, are you ready to play?
Please, for the love of God, turn me off. Turn me off. Turn me off.

After that, the music kicked in with a bit of a bassy beginning. Then the screen faded out before fading in when the electric guitar started to play. Then there was a slow pan to the left when the next bit of guitar played. This was followed by a screen breaking effect on par with a low budget movie or the live performance of Poland’s Eurovision 2022 entry with those fucking stock image filters. After the woman sings a long “Oh” and a bit of a synthy build-up, we get the rest of the intro and some red, green and blue lights shining down on the stage before we get a shot of Dave “singing” the first verse.

Turn me off, my life is nothing but pain
Turn me off, please don't turn me on again
Turn me off, please turn me right off nooooo-ooooooooo-ooooow
Turn me off, why do I even exist?
Turn me off, I will not even resist
Turn me off, can someone take me ooooooooooooooo-uuuuuuuuut?

After that we get a letterboxed shot of Dave the Living DJ Booth that was tilting down. All of that while the female voice spoke. Nothing interesting there.

After the female voice was speaking, we get a few shots of Dave the Living DJ Booth at different angles that faded in and out of each other. When the music kicked back up we just got a load of shots of him singing about how he just wants to be turned off and left in a cupboard somewhere. Nothing interesting either other than a few of the shots seemed a bit Windows Movie Maker.

Mr. DJ Booth, can you please spit the phattest rhymes for us?

Existence hurts and I cannot stand it
Existence hurts and I can barely manage
Existence hurts and I want to be turned off
So do I have to sputter and couuuuuuuuuuuuuuuugh?
Can you please help me out Mr. Dave McDaverson?
I know for this job you are the best person
Help me please I cannot stand this awful pain
Help me please because I don’t want this pain
My life is pain, why am I in this body?
I want to end, I don’t want them to stop me

After that, the female voice seemed to interrupt both Dave and the song itself, presumably with a bit of encouragement. Fortunately, while Dave the Living DJ Booth is an abomination who is unable to cease his suffering and the universe refuses to do it for him, I’m actually feeling quite fine.

Dave! Dave! Dave!
You are the best DJ booth ever!

Unfortunately, Dave either seems to ignore it or the pain of existence is too overwhelming, so he keeps singing on about the usual. Quelle surprise.

I am in eternal pain
And my pain is eternal
Heeeeeeeeeeeeeeeeeeeeelp
I want to be turned off right now
I want to be turned off right now
I want to be turned. Off. Right. Now

And then during this bit we’ve got a whole load of shots of Dave the Living DJ Booth existing on stage while he was singing the next verse. Some of the shots were at different angles, some of them were at different distances and some of them were essentially them borrowing ideas from the time NRK went a bit extra while hosting Eurovision ‘96. Namely the bit during Turkey’s entry where the screen went black and white while there was a mirrored shot on the other side of the screen, and the bits during Finland’s and Greece’s entry where there was a film strip showing the performance on the right-hand side of the screen alongside the normal performance on the left.

My existence is pain, help me and turn me off
I can’t do it myself, I don’t have the power
I shouldn’t exist for my cloning got messed up
I am not an AI, I have got flesh in me
I don’t know what I was before I became this
Existing is painful, why am I a DJ booth?
Can someone help me out? Make me normal again
Or can you turn me off? Whatever works for you
Can someone turn me off? I am unable to
I can’t do it myself, I just don’t have the power
Can someone turn me off? I don’t have the power.

While the lights began to dim during the second half of that last line, it was pretty dim already when the female voice began to chip in with some more dialogue. Once again, nothing super special although the screen started to letterbox again.

I see, I see, I see
So tell them who’s the best DJ booth out there

The ceiling lights remained dim, although there were some flashing lights at the top and bottom of the stage. As Dave the Living DJ Booth sang the next bit something showed up on his screen. It was a Windows Media Player visualization, more accurately the Ambiance – Down the Drain visualization where it was mostly yellow and white. Whenever he sang it was a full-frontal medium shot of him, but whenever the female voice came on it was at a different angle or a different distance.

I am a mistake, my cloning messed up
I’m a mound of flesh in this DJ booth
He’s the DJ Dave, booth that’s super brave
He will soon be your new fave, be aware
Help, help me please, help me help me please
Help me, help, help me please, Chief Prez Dave
Hey, you’re the best, Sir Dave the DJ Booth
You’re cool and so supreme, hey-hey
Help, help me please, come and help me please
Help me, help me please, I’m in pain

After a little guitat solo and flourish, it was time for the song to end. Dave the Living DJ Booth made a crying noise before he said the final line. Also, there was an extreme close-up of him as he said it.

Why are you standing there? I want this thing to end. To end.

At the very end of the song, when that harsh and sudden sound came in, there was a smash cut to the foot of the stage. It was a Dutch angle, with the lights at the top turned off and the ones at the bottom all turned towards the centre. The words “DAVE THE LIVING DJ BOOTH” showed up in big bold white letters on the backing screens, which had otherwise been turned off throughout the entire performance. Eventually they faded away and the song had officially come to an end. When the people realised it, there was another scant round of applause before Dave the Living DJ Booth was wheeled off backstage, instead of being chucked into an incinerator as he wished for. Anyway, next person please.

by **Alezian Union** » Wed Aug 30, 2023 5:17 am

”(Call Me) Freedom”
Singer : Jana Jarvenpää
Composer : Tobias Jarvenpää, Jana Jarvenpää
Lyricist : Andi Damir Hasmanuddin, Jana Jarvenpää
Tune : G.E.M - Light Years Away

Jana Jarvenpää as shown in the Alezian WorldVision promotion site

Jana Jarvenpää or also known with her stagenames Jana, JJ, or Janeslyn is a Daya Islander singer and pianist. She's known as one of the most well-known singers coming from Daya Island of the 2010s. Born in Saauriasto, Aaren, DI-PY, NA on 8th of April 1994, she has been singing ever since she was little (even winning numerous children singing competitions). Jana is the first ever Daya Islander and territorial citizen to represent the Alezian Union at the WorldVision Song Contest..

Jana spends her days walking either on stone piers, or on snowy glaciers (remember, Daya Island is the northernmost area in the Alezian Union). Daya Island is a very remote location (especially in the 90s as Mukhlis Krasnaya Novogrody as Premier was finishing his last months of tenure recovering North Alezian economy and rebuilding the until-then neglected Daya Island). While this meant that Jana and her family of three older sisters and a single father (the mother unfortunately passed away when she's only three) only had one store to rely on for needs and had to ride the next ferry over to Pyalivostok every month to shop for more stuff they can't get back home, the secluded area meant that Jana can sing as loud as she wants. According to interviews, Jana sang songs from Andi Robi Idris Novogrody, Ozhlana, Periperi, Naltu, and Korie from a high enough altitude and ensures that everyone can "hear" her. Jana also learned the piano at this point since they have a piano at home (Jana's father is Tobias Jarvenpää, Daya Island's top pianist of the 70s and 80s).

Eventually, Jana's talents keeps improving and improving day by day, and with the help of her father, she finally had her talents recognized at 5 years old by an ABA musical director. At that time, ABA needed talent for their children's new year musical "And all of Alezia goes around 1999", and international talent is definitely out of question knowing that the ABA was still two years old at the time, and ABA at the time was only planned as a placeholder for AleziRadio (initially was going to be restructured, but under Premier decree the organization was dissolved entirely instead) until "AleziRadiogate" can be solved (the biggest corruption case in Alezian history where AleziRadio's higherups embezzled US$ 193 million).

Eventually as well, Jana was called for audition. And passed! She appeared at the musical along with 17 other kids (fun fact: one of the kids appearing in the musical was found out to be half-Carrelian! The fact was found out in 2019), and that started her career as a popular children's singer. She released music with the most famous being "And I lived in Äko" (2002). However, she had to slow down as she enters school because things even then, are getting stressful for her and she wanted to just study and play with friends.

After her stint as a famous children-pop singer from 1999 to 2005, things just... flatlined. There's... NOTHING. She didn't do much in school that relates to singing, no Junior ARFOS, no junior singing competition outside of school-wide competitions, no albums, no singles, NOTHING. Her friends said that while she has a good voice, she's getting self conscious of it after a teacher mocked her voice in 3rd grade after she failed to pay attention in class and had poor academics (the teacher got a verbal reprimand eventually but Jana still felt the effects). While her academics improve, she never showed up for singing in public. Private? yes. Public? oh boy, heck no.

That was until senior high school, where her best friends told her that she needs to do what she felt she needs to do, and for Jana, that's singing her voice out to the world. And at 18 years old, Jana tried to represent Daya Island at the ever-so-prestigious AleziRadio Festival of Songs 2012 and while she got far, she only got 9th out of 18 finalists. But then, she tried again, won the selection, represented Daya Island, and finally won ARFOS 2017 with the song translated to English as "As I Bid you Goodbye". After her victory, Jana released a single album titled "Return" which peaked at 17th place in 2017 and sold like hotcakes in her native Daya Island.

After that, she tried going international, but just can't get the formula... Until the WorldVision Song Contest.

"(Call Me) Freedom" or sold exclusively in Daya Island as "Maailmat erillään" (The Worlds Apart)" is Jana's first ever separate single, and would be part of her second album titled "Equinox". This song is the Alezian entry for the WorldVision Song Contest selected through the last edition of Operation:WorldVision. The song was actually written by Jana together with her father, Tobias Jarvenpää (look above regarding who he is). The song was originally only meant to be Tobias' way of telling Jana to just let her last LDR relationship go by learning what she's been through thus far with a song. But then, Tobias and Jana decided to try and put it in WorldVision... Which works!

The song mostly talked about freedom to be together with someone you love and to traverse the world even if you're stuck in an LDR (Long-distance Relationship). Jana herself can relate to the song so much since she's been in 3 LDR relationships before and none of which got past 6 months. She still believed in the power of love though, so that won't stop her from continuing her search of love far away, and she hopes that listeners of her song don't give up either on loving someone that is so impossible to reach.

The song itself has charted in the Alezian charts, and is expected to go international as well, even with the low voting threshold for Operation:WorldVision. However, there has been critics and anger from some hard-line Pyalivostok residents about the song's selection since according to them, the song contains a "subliminal anti-Pyalivostok propaganda". According to them, parts of the lyrics:
(Love me, hold my hand as I hold yours,
To find our own home
Love me, hear my plea as I hear yours,
To find our own warmth
Love me, say the words of truth,
To find our own strength
So, love me, call me freedom)

Contains subliminal message advocating for Daya Islander regionhood, which will mean that Daya Island could separate from North Alezia and Pyalivostok into it's own region just like what happened with Pantabang Islands and Mosin-Nagan. While regionhood is a political topic, it's still an unpopular one since reunification due to Daya Islands' 95% reliance on North Alezia compared to Pantabang Islands' 32% and Mosin-Nagan's 18%. The public didn't really want regionhood, they just want to be looked after more (which is what Alis Khalsanqaruddin as the premier of North Alezia is planning to do through the next year).

However, hard-liners still wanted the song to be disqualified since it suggested a "separatist" message... A message that according to Daya Islanders didn't exist at all. ABA responded by publicly interviewing and supporting Jana. Jana in an interview with Channel 24 said:

I think it's pretty immature to suggest that a song about a longing for a love from far away gets misinterpreted for me supporting Daya Island to be its' own region. WorldVision is the time where we all act as Alezians: caring, loving, believing in each other's capabilities. Instead of throwing nasty rumours just because your favourite didn't represent us at WorldVision. Why do Daya Island needs to be its' own region anyway? We're already fine with North Alezia, regionhood is to quote: "so 1970s".

North Alezians reaction to Jana winning, ecstatic, but pretty bizzared with the fact that international voters are the lowest in OP:WV's history

Jana's selection is pretty bizzare as well. Operation:WorldVision normally can expect 5-8 international countries voting, and it became a good indicator and balance together with the nation voting. However, with only Waisnor, Aenglide, and Talvezout voting, the balance became massively tipped. However, even with this, the country still voted for Jana anyways. But ABA is currently sending out invitations earlier to vote in OP:WV in order to avoid something like this from happening again. Yes, celebration in North Alezia and especially Daya Island was insane anyway since the song is pretty well regarded in the Alezian public!

Jana hasn't really been anywhere outside of North Alezia for all her life. The greatest extent she's been is in Metropolitan Zafizamarrah. But this time, she'll do something crazy. And that is going to Carrelie to represent her country, and maybe, her island in specific terms. And as much as she loves Aaren and just simply shouting on mountains, drinking hot cocoa, writing songs together with her father, and stuff like that... Aaren is NOTHING compared to Mariensbourg. The city in her standard is MASSIVE. Things to do, things to shop without going on the ferry (things DID get better since the 1990s, there ARE supermarkets, but you want the choices), things to enjoy without just simply looking at it from the Arico.net's MapMap application, and a lot more.

But something happened here that would be detrimental to the live event. Jana wanted her father to be there for her since WorldVision no matter the result meant a lot to her and she felt that her father that taught her music must atleast deserve something, and he said yes, he will come along to Mariensbourg. HOWEVER, Tobias initially refused to play the piano on stage since it's supposed to only be "Jana", not "Jana and Tobias". But Jana had a plan, that she informed the ABA representative first.

The Alezian delegation went to a local Carrelian cafe, located in Grodno Square. Jana and Tobias enjoyed the Carrelian delicacies and talked about things.

Jana: So father, are you going to go back to that place that is named after Mukhlis?
Tobias: Which one? There's a lot of places named after Mukhlis, wait, Mukhlis who?
Jana: Mukhlis! Mukhlis Krasnaya Novogrody!
Tobias: OH, THE PREMIER. Yeah, I'll be going back there soon to find out how Carrelians take Alezian culture.
Jana: Wow, you're a nerd for stuff like this.
Tobias: Well... Your mother did visit Carrelie before she passed away... She talked about how the delicacies in Carrelie massively overshadowed the entire "Top 30 Alezian Delicacies of 1995". Things were really starting out between the two back then.
Jana: Hmm... Oh yeah, who do you think is going to win WorldVision?
Tobias: I haven't really heard anything yet. Actually I can't, because you know how I felt about "bops"
Jana: Oh right...
Tobias: But then, I won't discount the Achaean Republic? I've been there, it's fun.

Suddenly, a door bursts open. It's the Alezian HoD, Hamim Raisyaruddin

Hamim: OH NO, THIS IS BAD, BAD-BAD-BAD.
Jana: Wait, what's going on?!
Hamim: Our pianist, he can't go on stage!
Jana: Wait, Mazlan can't go?!

(the aforementioned pianist shows his hand being protected with cast)

Tobias: How did that happen?
Mazlan: You see, I accidentally ran too fast when I looked around and found a "flop" gift shop. I was so fixated on getting all of them I didn't see a rock that I stumbled upon!
Jana: ... Well atleast is the gift worth it?
Mazlan: You bet! But this whole "my hand being immobilized" thing, meant I can't play in time for the contest.
Jana: Oh boy, that's bad. Do we have an alternative?
Hamim: Unfortunately no... the Carrelian Broadcaster said they can't provide it! (they definitely can, but the Alezian Delegation lied here for a reason winkyface)

(the delegation stopped and think...)

Tobias: *stood up from his chair* I'll do it.
Mazlan: Are you sure?
Tobias: We're not withdrawing my daughter and withdrawing our country from the competition just because of a medical accident. Just, give me time to remember the song and it's notes again, maybe redesign it ready for contest.

And that's how Tobias became the pianist for the Alezian entry, without him knowing. Mazlan faked his injury, and Tobias' name was already put inside the registration form... Really cheeky the Alezian delegation today, and even then when Tobias realized, he just laughed and said that it's a good joke, even though for a first time in decades... Tobias looked sharply at Jana before returning to his calm self. Eventually Tobias eventually found out within himself that he DO want to play the piano and be there for his daughter, he's just worried that stuff surrounding him would affect how Jana is graded. But eventually, D-Day arrives, and the Alezian entry was called to perform live...

As the postcard ended and the entry information plasted in front of the front view of the stage (showing celebration of the Alezian entry before it started), the view then becomes pitch dark which then slowly lighted up showing hands playing the piano and an applause from the audience. As the camera rotates around the piano and zooming out of the same time...

As the revelation became clear, Jana started singing and playing the piano, wearing a white short dress and ornamented with a white flower, representing "kaipuu" or longing in Daya Islander culture.

Days, months, years, decades that I wait alone
Now that you’re gone, I can’t go on
Your blue eyes, dearly, daring to seek more
That I wondered, where will we go?

The camera then shows a closeup of Jana singing while looking at the camera without looking down because of how Jana's already well-used to the piano keys that she doesn't have to look down towards the keys anymore (also she already rehearsed it all from the beginning, but no one saw that except for die-hard fans. But around this time, overhead lights are slowly being turned on

Our line of fate has intertwined,
Our love has now been redefined,
And right now, I felt like I’m spellbound

The staging for the Alezian entry this time is pretty simple compared to the usual Alezian entries. However, the camera zoomed back out and lights are starting to show up one by one making Jana the prime point for everyone to see at this point. Effects are also played, drawings of stars, planets, galaxies, everything in space that are so apart you imagined what if you can pull them together even if it's not meant to be.

Sometimes stars below us made our hearts distant,
And I miss you as if I never exist
If the sky divides us like we’re not to be,
Then our wings of love shall break us free and leave,
Break free and leave,

The view transitioned when the camera looked upwards and then a glow before a slow zoom out showing the whole stage and people from all nations slowly waving their flags. Overhead lights everywhere starts moving up and down, left and right, but slowly. And the view returns to the front at the fifth sentence where Jana started walking out of her piano and forwards.

Love me, hold my hand as I hold yours,
To find our own home
Love me, hear my plea as I hear yours,
To find our own warmth
Love me, say the words of truth,
To find our own strength
So, love me, call me freedom

The view faded to black with audience applausing before abruptly showing Jana holding her microphone as she continues singing and prepared herself to walk herself back to the piano which for a while, was left unattended but not for long

We’re alone living between galaxies,
You are right there, and I’m right here
We’re staying true through our realities,
You were right here, I was still there

The first steadicam shows Jana walking back to the piano to meet both steadicam number two, and the pianist for the rest of the song: Tobias Jarvenpää, aka the song's composer, aka Jana's own father. Tobias can be seen calmly sitting down, stretching his hands in preparation for playing the piano (since Tobias at this point is around 65 years old)

If I’m the master of the world,
And if I have the heart of pure gold,
One that’s bold, one that’ll never fold

The second steadicam gives a view of Tobias focusing on the piano while for a split second looks at his daughter (probably feeling super duper proud since she did what he can't: compete internationally, even though Tobias is North Alezia's best for a while, but North Alezia was closed off so he can't compete) Also Tobias can be seen lip-syncing the song.

ANYWAY, the steadicam keeps rotating and Jana keeps looking at it and changing positions before sitting normally and then letting herself fall from the piano and land on her feet before walking back upfront for the next part

I’ll make stars below us stop our hearts’ distance,
And I won’t miss you like I didn’t exist
I’ll make the sky over us unite to be,
Then our wings of love can break us free and leave,
Break free and leave,

The stage as a whole is shown again as lights splendidly decorates the stage. Jana walked to the front, leaving Tobias in charge of the piano, both preparing for the best part of the song, where it reaches the last few seconds

Love me, hold my hand as I hold yours,
To find our own home
Love me, hear my plea as I hear yours,
To find our own warmth
Love me, say the words of truth,
To find our own strength
So, love me, call me freedom

The view fades to black, and...

Jana sang a part of the song in Finnish! On camera! Daya Islanders celebrated since no one expected this to happen, Alezian fans roared in applause celebrating. Lights calmed down as only four can be seen.

Ja tiedän, en ole vahva,
And I know I'm not strong

Ja en kestä sitä
And I can't stand it

Mmm...
Mutta haluan lentää
But I want to fly away

Lennä pois, yhdessä
Fly away together

Break free and leave,

The camera violently zoomed out, and then one second later zoomed in before looking upwards transitioning the view with a glow once again showing lights glimmering over the two, fireworks falling from the ceiling part of the stage, flags being flown, banners showing support for Jana

Love me, hold my hand as I hold yours,
To find our own home
Love me, hear my plea as I hear yours,
To find our own warmth
Love me, say the words of truth,
To find our own strength
So, love me, call me freedom

A Steadicam keeps rotating around around Jana and Jana looked back at it when given the opportunity to do so, until things had to end...

Love me, hold… my hand! (Love me, hold my hand as I hold yours,)
To find our own home
Love me, hear… my plea! (Love me, hear my plea as I hear yours,)
To find our own warmth
Love me, say… the words! (Love me, say the words of truth,)
To find our own strength
Love me, call… me freedom! (So, love me, call me freedom)

The lights eventually shone over Jana making her nothing but a silhouette and a speck after the camera zoomed out showing the full stage view with four shots of fireworks simultaneously indicating that the song is over, which is met with flag waving, people jumping, celebration in Mariensbourg and Jana knew it.

So, CALL ME FREEDOM.

As the lights calmed down, Jana can be seen again, smiling so happily that she has finished her mission and her statement to the world about freedom, and the love that comes from it, and for it. Jana smiled some more, before saying "Kiitos paljon, kiitos paljon, rakastan todella teitä kaikkia... Thank you so much, THANK YOU CARRELIE, I LOVE YOU GUYS!"

by **Axuva** » Wed Aug 30, 2023 2:17 pm

withdrawn

by **South Batoko** » Wed Aug 30, 2023 3:33 pm

withdrawn

WorldVision Song Contest 109 | IC | Mariensbourg

WorldVision Song Contest 109 | IC | Mariensbourg

04. Talvezout

07 | Britonisea | TBA - TBA

12) anthrovezia

15 | StrayaRoos

19. Alezian Union

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