10th World Hit Festival - Contest Thread

by **Euskirribakondara** » Thu Sep 06, 2012 8:02 pm

The IC date for all this thread is November 18th, 2012!
You can only post here if you've signed up in the correspondent thread

Official logo and slogan (Magükabañakekalarré means "I love you, and I want to thank you for what you've done for me. Do not forget to be also thankful to the universe/nature who brought us here, and who gave us the opportunity to be together and share this amazing moment. All my good energy goes to you, and I hope the canvas of your life can be painted with vivid colours today and forever")

Manguaré Arena (35,253)
Venue of the Contest (Layout here)

Tikuna, Silva Province, Euskirribakondara
Host City of the Contest

Stage (Full description here)

Green Room Zone

by **Euskirribakondara** » Thu Sep 06, 2012 8:03 pm

Official List of Participants

Performed Acts (25)
01. Valcluse - "Sans Toi" (Without You) by André Bozizé.
Pop song in French language.

02. Brulicsa - "Valjodza" (Wanderer) by Velna Szamolowa.
Pop song in Brulicsan language.

03. Deblinian Masovia - "Somewhere in Poland" by Qunegunda.
Opera song in English language.

04. Phoenigetuzstha - "Gol az al Sahrâ" (Desert Flower) by Anthousa Gatrabal.
Operatic pop song in Phoenigetuzsthan language.

05. Lymantatia - "Ki?" (Who?) by Katherine Szabo.
Classic ballad song in Hungarian language.

06. Bloodbath Generation - "Look At Me Now" by Argyle Fab.
Pop song in English language.

07. Fusha Me-Bar - "Koha Nuk Është Shërues" (Time Is Not A Healer) by Flutura Ristaru.
Pop song in Albanian language.

08. The Kiaser Colonies - "Blue" by Patrick Higginbotham.
Rock song in English language.

09. Hagasvyo - "A La Tikuna Style" by BBS ft. Soyeon.
K-Club song in English language.

10. Folkand - "Avrihe" (Africa) by Sabina Bojanovic & The Natives.
Dubstep, Electronic and folk song in Polish and Saintrabinian languages.

11. Polkopia - "Heartbeat" by Mikhail Venisov.
Pop song in English language.

12. VIXX - "Negadir (Alga Haga Islar Dugen)" (Mystery (In The Fog of the Island Dugen)) by Ransajid ft. The Ghetto Cellos.
Contemporary classical song in Vixxantian language.

13. TaQud - "Winning Everytime" by Melvin Van Teer & The Reds.
Rock&Roll song in English language.

14. Fromulya - "Gula" (Sugar) by Imam Az-Zokor.
Power ballad song in the Fromulyan and Standard variants of the Indonesian language.

15. New Warwick - "Stay With You" by Femme Vitale.
Indie song in English language.

16. Crolacia - "Sisters and Brothers" by Rose Muglleton.
Power ballad song in English language.

17. The Ultimate Evil - "Hump Hump" by Les Prostitutes.
Electronic "song" in English language.

18. Calimera - "El Cilombo" (The Lie) by Sofia Biagetti.
Club, electronic song in English and Spanish languages.

19. Rio de Fevereiro - "O Jeitinho" (The Knack) by XuxaCéu.
Axé song in Portuguese language.

20. Chinese Regions - "正、負" (Positive, Negative) by Vicki Xu & Masaaki Ichijō.
Rock song in Japanese and English languages.

21. Anollasia - "My Life Was Not Meant to Be" by Cynthia Pearson.
Pop song in English language.

22. Mediterra - "Muntanën Mediterranika" (Mediterran Mountains) by Anita Lilian.
Pop song in Mediterran language.

23. Gaituzstha - "Paradiso" (Paradise) by Dariya Emrazian.
Operatic pop song in Latin and English languages.

24. Artsakhestan - "Իմ մտքում/Im Mtk'um" (In My Mind) by Lilit Tadevosyan.
Power ballad song in Armenian and English languages.

25. Euskirribakondara - "ᒉᐤᐳ/Ñebu" (Time is Non-Existent) by BilbauskiZuink.
Jazz, Swing, Folk song in Mikunan, Euskal Arabic, Euskal, Hinga and Taloan languages.

Others
Posting Indications

Opening Acts
Number One: MAGÜKABAÑAKEKALARRÉ - Dance number by the thirteen main ethnic groups of Euskirribakondara.
Number Two: MONIHÑAMENA - A performance based in the popular legend of the Silva Province, "Monihñamena".
Number Three: THE CALL - A brief recap of diverse songs, followed by a magic performance of "The Call".

Hosts Interventions
01. Opening Hosts Intervention

by **Euskirribakondara** » Thu Sep 06, 2012 8:03 pm

OOC: As usual, all this preliminary information is given by the commentators of each country to the audience

It was 20.20 (local time, UTC-7), and it was here: the 10th World Hit Festival. With a relatively high temperature of 28°C, and the eternal 100% humidity, the city of Tikuna was ready to show the world all the magic behind the international show. Despite being a rainforest, the sky tonight was totally cloudless, which allowed everyone to watch the starry sky. The roof of the Manguaré Arena was actually made of a transparent plastic, so the audience wasn't missing that nature's spectacle either. In the greenrooms, located in the other side of the building (see layout image), the artists were awaiting the start of a night that could certainly change their lives. 35,253 attendants were watching the clock... two minutes, one minute, zero seconds. A flash of pyros in the sky of Tikuna City announced the mystical hour: 20:22. Then, a very quick flash of blue (that lasted a milisecond) light bathed all the arena through the treadmill-ways. With everything totally dark, the audience (both there and in home) wasn't able to watch the stage.

The hosts were going to be Samira Kareli and Jan Ardegorrián, the winners of the last edition. They were absolutely familiar with the whole show (rules, fromat, conventions, etc.), and the crowd was absolutely familiar with them as well. They are going to speak in a very strange way for an international event: in 22 different languages (the 13 official languages of Euskirribakondara, English, and 8 languages from the tribes of the Mikunan jungle). Of course, the ceremony would be subtitled, and EUSK1 this time made sure there were subtitles for every major language of the participanting/broadcasting countries (from Albertasby to Wilfred Test).

The lateral screens were turned on, and the intro video was shown. As pure Euskirribakondarans, the 20000 Euskal fans started to cheer during the video, showing their pride for all that represented the Silva Province. The other fans came from all parts of the world, specially from Flegavia and Rushmore. Four minutes later, the first opening act was going to take place. Unlike previous editions, there would be three opening acts this time: "Magükabañakekalarré", "Monihñamena" and "The Call".

(OOC: Everything in bronze colour represents the subtitles of a given sentence, since they are being said in languages not related to English)

Magükabañakekalarré - ᒪᐤᔨᑲᐸᒐᑫᑲᓫᐊᕽᐦᐁ

The flashes of the cameras from all over the Manguaré Arena, were the only lights in a sea of darkness. Suddenly, water started to flow "from" the outside towards the central stage, through the treadmill-ways. It carried beige-coloured water, like the Mikunan River, and as this was the first time the people was able to see that these 'lines' where actually carrying water under a crystal top, they were amazed, and a giant 'ooooh' was heard. Then, the water arrived to the sandpit in front of the central stage. Everything became quiet. And then, the cameras showed a man, walking in the left sandpit, dressed like this, moving his feathers around in the air, like invocating some kind of magic.

"Makukülipain kotta muajtahjain, borém po hanch'ankgkaka. Urugdamaty yympänâ"
The morning welcomes the heroes of every tribe, those who bear their culture with pride. And the sun salutes them.

Suddenly, some macaws began to fly around the arena, as a sound of distant flutes and duduks began to be heard (OOC: From now on, pay attention to the moment of the video, as it will be referenced like this {0.00} to indicate a point of the track). Steps were being heard, and the beating of some drums too. In {0.21}, a rush of air was expired by the central stage, moving the leaves of the Babünga trees. A single spotlight directed its light towards the left grasspit, where a dudukahar (duduk player) and a dzournerrarë (dzourka player) began to play a rhythm known as "Euskelarre" (the rising of the sun). From the right door, drummers emerged (they were HarrikesDrums), and joined the rhythm that was captivating all the crowd.

{0.37} With the rhythm of the drums, very characteristic of Euskirribakondaran music, a group of people from the Euskal ethnic group, dressed in their traditional costume (this one (but imagine it in blue and orange)), began walking/dancing (like in the video) from the left door towards the grasspit of the center of the lower stage. With this first look of the stage, many in the crowd again let out a 'oooh'.

{0.46} The rhythm of the drums changed to a very fast tempo. From the right door, a group of Armenian people emerged with a fast-paced dance and a big smile on their faces. They were dressed in their traditional costume. The cameras were crossing their lines, and taking shots from above, making everything look even more dynamic than it was. They also went towards the central grasspit of the lower stage.

{0.55} The tempo began to normalize again, and now the Armenians and the Euskals gathered in the grasspit, and merged their lines into two heterogeneous ones. The dance was now a combination of Euskal and Armenian influences, and the steadicams and spider cams were capturing this in a very nice way: horizontally, showing all the synchronization and beauty of it.

{1.02} Again, the tempo went from mezzo to something very fast in a milisecond. From the left and right doors, a group of Valdaranean and Lillamut men and women, started to invade the upper stage. The tubes were lighten up for the first time, showing different shades of golden, beating with the rhythm of the drums.

{1.10} In the treadmill-ways, which now looked like rivers, canoes were advancing, being lead by Taloan chiefs. They were arriving to the gathering of the center of the stage, and their musical influence was reflected in the change of style that the tune made at this moment. The chiefs were actors, and they were looking around everywhere, like if they were actually captains in an endless sea.

{1.18} All the people made a shout of "whoah", and with the change of the rhythm, Azerbaijani and Georgian peoples appeared on the front sandpits. As they had moves of jumps and swift feet changes, the sand and dust were coming up from the ground in interesting shapes. The cameras, and a slow-motion-camera captured all the action here, resulting in breathtaking images for the screens. Now, the tubes were showing different colours from an endless array of tones associated with party and cultures in Euskirribakondara. With such lights, the stage was 100% visible for the first time.

{1.30} The Taloan canoes had arrived to the sandpit, like a seafarer arrives to a beach. Whilst they were descending from their ships, a colourful caravan of Euskal Arabs appeared. Walking with the beating of drums and the rumble of darboukas {1.41}. As they entered the group of dancers, the ethnic groups were mixing up, and making a choreography that combined influences of all of them. The Georgians, Azerbaijanis and Taloans began to ascend to the lower stage, leaving the sandpit.

{1.51} A hora (circle of dancing), very typical of the Sirbadians started in the sandpits with the new drumming style of the song. Everyone was happy, showing their cultures. And at around {2.00} a typical Euskirribakondaran rhythm was started by the different types of flutes. The 9 present ethnic groups and their respective more than 150 dancers were presenting a complex and incredible synchronized step of dancing. All the cameras were being used, and if that weren't enough, slow and almost soundless pyros were adorning the edges of the stage, as well as different colours were being shown in the tubes, that were also moving back and forward, floating in the air.

{2.19} Darkness came again, and all the dancers directed (with their bodies, eyes, etc.) the attention towards the roof. In the air, hanging from a rope, a Takynypí drummer was being descended. He started a soft, yet stable beat, that was being complement by the tender sound of a duduk. He touched the stage in {2.55}, (OOC: stop current video here), and a new part of the song started, to celebrate the tribes of the Silva Province.

All the set of lights in the whole arena switched to green, and a choir of Mikunan women and men (dressed this way) began to sing from each one of the lateral grasspits, being directed by the Takynypí drummer (OOC: Stop it when it hits {0.30})...

Héjya, héjya, yagki yé hè eya (Come everyone, come everyone, gather around the holy and wise fire)
Yagki yé hejykejeëyäm (The fire will tell us our history through stories, our singing through songs)
Héjya, héjya, yagki yé hè eya (Come everyone, come everyone, gather around the holy and wise fire)
Yagki yé hejykejeëyäm (The fire will tell us our history through stories, our singing through songs)

(OOC: Now go back to the other tune, in {2.56}) The Mikunan Choir ascended to the stage in robotic-like moves that went with the beat, and gathered with the other 9 ethnic groups that were up there. Everyone was tapping their feet slowly, indicating the suspense before the emotions explosion that would come next.

{3.05} With another shout of the men, the song resumed its fast drumming rhythm. This time, the whole beat was being directed by a group of Eundarians that came rushing through the corridors around the venue's seating area. They arrived to the central stage whilst fire was being shot from all over the place, and the tubes were painted in different shades of red/orange/yellow.

{3.17} The whole group of dancers, which now accounted for 11 ethnic groups, was mixed up in a milisecond and then was separated in groups of 5 dancers that started to rotate in their place (like in the video). The Eundarians kept coming from everywhere, and now we had 187 people on stage. The song continued and everyone got together to dance together a "Mixaltán" (a national dance that combines influences from the 13 main ethnic groups) that was similar to a "Barloa", a dance where the drums 'ask', and the dancers 'answer' the rhythm. The rhythm is supposed to resemble a conversation.

{3.55} From the different doors, Hingans and Greenlandic Inuits began to fill the stage. Rapidly, they were incorporated into the giant community Mixaltán, and now, besides the light, pyros and tubes effects, the grasspits began to show their function as lifts, going up and down. The crowd was truly amazed, as it was all a splash of colour, culture and good vibe, all at once. The cameras were doing fast pans from left to right, and aerial shots to capture all the possible angles of this amazing visual impact. 222 people on stage now, following the common Euskal tradition.

{4.30} The Mixaltán itself had ended despite the fact that the tune continued. A huge roar from the men was heard, and then the people began to scatter around the stage in different groups. A flute was leading the change, and everyone was moving very fast to its position. Even the tubes were moving, upwards to leave all the stage space clear.

{4.46} Everyone was now in the final positions, and the song ended. In the same exact moment, they kneeled and then covered themselves with tiles. From the air, the combination of tiles read "Magükabañakekalarré", in both Latin and Mikunan writing systems. A huge splash of pyros came from the floor, the roof, and even illuminated the outside of the arena: the whole city was aware of the big show.

Then, the audience bursted into cheers and applause. Then everything was fading into darkness again, to welcome the second opening act.

by **Euskirribakondara** » Thu Sep 06, 2012 8:03 pm

Monihñamena - ᒧᓂᐦᒐᒣᓇ

PLACEHOLDER FOR SECOND OPENING ACT.

by **Euskirribakondara** » Thu Sep 06, 2012 8:04 pm

The Call - ᑌ ᑯᓫ

PLACEHOLDER FOR THIRD OPENING ACT.

by **Euskirribakondara** » Thu Sep 06, 2012 8:04 pm

The hosts were going to be Samira Kareli and Jan Ardegorrián, the winners of the last edition. They were absolutely familiar with the whole show (rules, fromat, conventions, etc.), and the crowd was absolutely familiar with them as well. They are going to speak in a very strange way for an international event: in 22 different languages (the 13 official languages of Euskirribakondara, English, and 8 languages from the tribes of the Mikunan jungle). Of course, the ceremony would be subtitled, and EUSK1 this time made sure there were subtitles for every major language of the participanting/broadcasting countries (from Albertasby to Wilfred Test).

Samira was dressed as she appears in this photo (but with orange instead of red), and Jan was dressed like this with this hairstyle and facial hairstyle.

TO BE CONTINUED

by **Euskirribakondara** » Thu Sep 06, 2012 8:05 pm

Time to post!

Post your entries and performance description from now on. You have to put on your performance the number of the posting order. (01 if you've posted first, 02 if you've posted second, 03 if you've posted third, 04 if you've posted fourth, etc.) You can post ONLY until Sunday September 30th!

Take into account how the stage IS. For my participating acts, and the opening/interval/etc; I'll use the name of the places around the stage. These names are in the description afore-linked.

Magükabañakekalarré.... And fill the world with music NOW!

by **Nouvelle Valcluse** » Thu Sep 06, 2012 9:59 pm

1. Valcluse

André Bozizé: Sans Toi

André Bozizé sat on a stool with his guitar and strummed out the opening notes of his song. He was wearing a black silk shirt, with white pants and matching shoes. His pants were also held up by white braces. The stage light was upon him only and he was in the centre of the stage as he began to sing the first notes and first verse.

Sans toi......

Oooooooooh.....

Je réalisé après tu me parti,
Je ne pourrais pas vivre sans toi.
Alors je te voudrais voir encore.
Autrement, je serai toujours souffrirai.

The lights began to brighten and off to his left was a drummer and drum kit.

Sans toi, je ne peux pas vivre, pas vivre.
Sans tois, je ne peux pas rire, pas rire.

The lights then lit up the whole stage and the drummer began the beat for the rest of the song.

Aujourd'hui, je marche ces rues tout seul.
Je veux renaître, mais Dieu ne pas le temps.
Je refusé d'accepter ton absence.
Et maintenant, tout que je pouvoir est rêver.

Before the final chorus and the rest of the song, the lights turned red and then faded out once the song had finished.

Sans toi, je ne peux pas vivre, pas vivre.
Sans tois, je ne peux pas rire, pas rire.

Tu me faire triste. Tu me faire triste. Mais je ne sais quoi je fait.
Tu me fair triste. Tu me faire triste. Mais je ne sais quoi je fait.

San toi, je ne peux pas vivre. Pas vivre.

by **Brulicsa** » Fri Sep 07, 2012 1:58 am

2. Brulicsa
SONG: Valjodza
ARTIST: Velna Szamolowa
LANGUAGE: Brulicsan

Melody: Márta Sebestyén: Szerelem, Szerelem

Velna stands alone in the middle of the stage. There is a spotlight on her. After the first bridge, she is lit from the front by white light, and the emptiness of the stage around her is revealed. She doesn't move, instead concentrating on the emotion and story in the song. As there is no backing track, she begins to sing, and stays in perfect pitch throughout the song.

BRULICSAN

Valjodza, valjodze
Wal gloj jelemol tajow
Zsemol se waralaj
Noj ti bulol har dve

Szam wilwotn nekvtajajs
Evol lekjn kolow
Tol grodje zsanakult
Halovjn araste

Csamolol geter ljuwult?
Getera ti ljuwuvt?
Taj daszno ha hlova
Ha evova zdoron

Sa jemovani remek
Zsilova dalulajs
Hra bolova gelos
Vatskova njem tol tije

Mmmm

Zsanakuvt elunlekjas
Dvovajelem navol
Dvova valjodz remek
Tvaram sa uj tam

Zsanakut elunlekjas
A, dvojelem navol
A, oj dvo valjodz remek
Tvaram oj uj tam

Mmmm

ENGLISH

Wanderer, o wanderer
Through hills you walk alone
You look for something
Not even you know what it is

In the misty night sky
You see the glowing lights
Of the city you left behind
Wishing you safe travels

Do you remember the girl you loved?
The girl who loved you?
She will think of you when the wind blows
And when she watches the stars

She doesn't laugh now
She stares out her window
Her breath fogs up the glass
She scrawls your name

Mmmm

She left by moonlight
Walking in the opposite direction
She is a wanderer now
To escape from you

I left by moonlight
Oh, walking in the opposite direction
Oh, I am a wanderer now
To escape from you

Mmmm

by **Deblinian Masovia** » Fri Sep 07, 2012 6:22 am

03. DEBLINIAN MASOVIA
Qunegunda
Somewhere in Poland

As Deblinian Masovia is the Polish Principality, we decided to send the song about Poland. It's performed by Qunegunda - famous Deblinian female opera singer. Qunegunda (actually: Kunegunda Anna Wojciechowska) was born in Lublin in 1985.

Qunegunda is standing in the middle of the stage. There is dark around but when she started singing the white light is falling on her. She's wearing long red dress. Behind her we can see the two female violinists and the big black piano and male pianist playing it. The screen is showing the landscapes of Poland accordingly to the lyrics.

Qunegunda puts her head up and sing 1st versus. The pianist isplaying softly but classically.

I'm like an eagle flying around
Around Mazovia and lake districts
Around the Tatra Mountains
And making peace

I'm like a seagull making a sound
Over the Baltic Sea and Polish coast
And our Hel Peninsula
That I still miss

She puts her left hand up and sings the refrain with her strong powerful voice. The violinists join the pianist and are playing together the beautiful melody.

I've found myself
Somewhere in Poland
There is my heart
There is my homeland

I've found myself
In Polish bosom
Full of my prayers
And my memories

I've found you there
In Polish Autumn
We should take care
Of white and red
The colours of our totem

The music stops for a while but then we can hear the gentle vocal of Qunegunda accompanied by one of the violinists.

I'm like a willow crying sometimes
By the Masurian lakes and marshes
Next to calamus lashes
And feeling pain

I'm like a treasure hiding in mines
In the Silesian grounds and uplands
Near the Krakowian Wawel
Under the rain

Then we can hear the piano. Qunegunda is coming closer to the audience and sings powerfully but pathetically.

I've found myself
Somewhere in Poland
There is my heart
There is my homeland

I've found myself
In Polish bosom
Full of my prayers
And my memories

I've found you there
In Polish Autumn
We should take care
Of white and red
The colours of our totem

Then the music seems to be more rased. Qunegunda is looking up and singing the next part:

Poland hasn't disappeared yet
Because we are there
Like the soldiers that wanna
Go together
We'll take care
Despite the other lands

Then the music becomes more melodic and harmonic. We can hear all of the violinists. Qunegunda is walking and singing the last refrain:

I've found myself
Somewhere in Poland
There is my heart
There is my homeland

I've found myself
In Polish bosom
Full of my prayers
And my memories

I've found you there
In Polish Autumn
We should take care
Of white and red
The colours of our totem

Then we can hear something like a boom created by the pianist with his piano. Qunegunda is sending a kiss to the audience and taking a bow. She says quietly 'Dziekuję bardzo' ('Thank you very much' in Polish).

by **Euskirribakondara** » Fri Sep 07, 2012 9:49 am

Placeholder for postcards for the three first acts.

by **Phoenigetuzstha** » Fri Sep 07, 2012 12:39 pm

04. Phoenigetuzstha
Anthousa Gatrabal
Gol az al Sahrâ

To the melody of: Cvet z Juga - Alenka Gotar (Live) - (Studio)

Anthousa Gatrabal was a Phoenigetuzsthan operatic singer of Slovenian descent. This was her first 'big break' as it were, after being the 2nd highest Phoenigetuzsthan in the national final, therefore qualifying for the World Hit Festival. She was slightly nervous, but excited, as this could be what she needed to become a renowned opera singer, like she'd always dreamed of. This was the first time a song was going to be performed entirely in Phoenigetuzsthan, which was a big feat in itself. At the age of 30, she wasn't getting any younger, but had a lot of passion and experience in smaller venues. This was her time to shine...

On the front part of the stage, there was a large, cylindrical tower (similar to his, but only one of them). Down the side of it were some stairs. As the music started, Anthousa walked out onto the top of the tower. In the sand pit (which was perfect for this song) various sand structures were present, in the leftmost column were various sand sculptures of flowers of the desert, in particular, Phoenigetuzstha's national flower, the Echinops. The next column along was filled with traditional Phoenigetuzsthan weapons of war, sculptures of maces, bows and arrows and spears. In the next column, flower sculptures were once again present, as were in the rightmost column, sand sculptures of weapons. Anthousa, after coming into the light, was wearing this (including the flowers in her hair and the shoes).

Al bâds az al sahrâ labriz gerde mâ man istâdan sâbet
Be man dânestan yâd dâshtan
O al va'de sâkhte, dâshtan al gol

She threw her hands up in the air for the chorus, as she had a headpiece rather than a microphone. Female dancers, covered in an arrangement of sand coloured things burst onto the stage, all of them were covered in flowers attached to their dresses, with their faces covered with masks like this. They began to dance on the floor, their long dresses creating large arcs in the air as mist began to pour from the tubes on the stage, not reaching high enough to hinder anyone viewing Anthousa, but covering the dancers, adding a sense of mystery to the performance.

Al sahrâ gol, Man dâdan be
Gozâshtan in dâgh yâd âvardan az
Man erâde mobâr be
Tei al sahrâ rig
Man erâde budan tanumand
Gol az al sahrâ
Yâd dâshtan

After the chorus was over, two women appeared next to her, wearing this (minus the clutch and a microphone instead). They are backing singers, which sing parts of the interlude.

(Yâd dâshtan)
(Aaaahhhh)
(Aaaahhhh)

Vaqtike morâja'at, mâ raqs
Be in gol baste be abad

She began walking down the steps to the floor, as the fog was beginning to clear, the audience had not seen the transition of dancers because of the fog, and now soldiers, dressed in Sacred Band uniform formed two lines parallel to eachother. Anthousa stopped at the back of the lines, looking down through them before starting the chorus,

Al sahrâ gol (Man dâdan harciz az man)
Man dâdan be (Be lâciz ziâd basi)
Gozâshtan in dâgh (Aaahhh-aaahhh-ahhh)
Yâd âvardan az
Man erâde mobâr be
Tei al sahrâ rig
Man erâde budan tanumand
Gol az al sahrâ

She began to walk down the line, the soldiers locking shields and facing the audience as she passed them. After getting to the front of the line, she began to sing the final part of the song, the big finish, the grand finale.

Aaaaaah! Aaaaaah! Aaaahhh-Aaaahhhhh!

Man erâde mobâr be
Tei al sahrâ rig
Man erâde budan tanumand
Gol az al sahrâ
Yâd dâshtan

As she finished the song, she picked up something small of the floor, it was a tiny glowing flower.

After hearing the applause for her song, she was thrilled, shouting: "Thank you Tikuna! Gracias Eskkiriarzstan!"

by **Lymantatia** » Fri Sep 07, 2012 2:42 pm

5. Ki? by Katherine Szabo
Katherine Szabo is on stage and the lights start going rainbow.

Két milliárd lyimántok
De az emberek tudják, te 1
Egyes emberek különböző
De ez melyik melyik?

Ki ő?
Ki ez?

Ki ő?, Ki ő?
Ki ez?, Ki ez?
Ki az?, Ki az?
Kik ők?, Kik ők?

Rainbow gas explosions which smell like cherries happen behind Szabo and everyone cheers.

Melody: Tu te reconnaîtras by Anne-Marie David (1973 Eurovision Winner)

by **Bloodbath Generation** » Fri Sep 07, 2012 6:55 pm

06. Bloodbath Generation
Argyle Fab-Look At Me Now
To the tune of: Conchita Wurst-That's What I Am

Argyle Fab. The name alone attracted attention from many, especially international WHF fans. She was a daring act, who wasn't afraid to be herself. She had a beard, but wore a dress. Some looked at her and called broadcasters to block her performance. Others praised her for bringing something different to the World Hit Festival stage. But all she knew now was that she had to give the performance of her live.

The huge screen and tubes in their default colors rose as Argyle walked out in a simple red evening gown. Her back-up singers already in place, the screen closed, the tubes were dark, as was the entire stage. Then, a lone spotlight shone on the performer. She sang the first notes in a very high pitch, gently and airily:

Look at me now,
look at what I've become
I'm not what you said I'd be
Guess karma has played~ its~ part~

The lights shone, and the whole stage could be seen. The tubes were painted in the colors of the rainbow, the violins soared, and three bass drum beats sounded, as the song went more uptempo, into more of a camp club tune. Drums beat after every two line, with every other tube moving up, while the others go down, creating a clash of directions.

Should you care if I'm a little bit different?
So what, everybody is in their own~ waaaay~!
Look past my face and in more deep~
I'm not what I seem~

Argyle once again sings in more of a soprano tone:

Fag, gay, homo
words that should never be~ said, no, no
Why should I be what
you want me to be

Then the melody, singing in a deeper, more camp voice. Here you can tell she's a man by her deep voice. But she sings powerfully nonetheless.

So look at me now~
look at what I've become
I'm not what you said I'd be
Guess karma has played~ its~ part~
And I'm up he~e~e~ere,
I know just who I am,
Who's to tell me I should~n't be
who says I can't~ be~ free~

She repeats the beat of the first verse (same tubes moving, same drums every two lines) here:

I'm not a freak or something from a monster,
I'm Argyle Fab and that's who I'll always be~
Just because I wasn't like the rest of you~
But now you'll all wait and see~~

She once again displays her soprano voice:

Not~ a freak~show,
But who's to say though,
not everyone is perfect,
but get some self~ re~spect and

The melody once again, only the beat is louder and Argyle's voice more powerful and driving:

look at me now~
look at what I've become
I'm not what you said I'd be
Guess karma has played~ its~ part~
And I'm up he~e~e~ere,
I know just who I am,
Who's to tell me I should~n't be
who says I can't~ be~ free

She carries the high note. Then, the stage is dark except for the spotlight on Argyle as in the beginning. She looks down, and, wiping off a tear, she sings in a very high tone:

Look at me now,
look at what I've become
I'm not what you said I'd be
Guess karma has played~ its part

Now the beat had a gay club-esque sound as she sang the final verses:

And I'm up he~e~e~ere,
I know just who I am,
Who's to tell me I should~n't be
who says~ I can't~~ be~~ free~~~

She held her arm up and showed a smile. She had made her country proud, but most of all, she made the small, hidden LGBT community proud and made acceptance one step closer. She said in a pre-WHF press conference that "I don't care if I get 1 point, I don't care if I get 10, all I want is to change the perspective of LGBT Bloodbathians and to have people find their true selves, and be proud of who they are"

by **Fusha Me-Bar** » Sat Sep 08, 2012 3:45 am

06. Fusha Me-Bar
Flutura Ristaru
Koha Nuk Është Shërues

To the melody of: Me Jeto - Kejsi Tola (Live)

Flutura was the debutant for Fusha Me-Bar in the World Hit Festival. After formally ratifying their independence from Phoenigetuzstha, the country seemed to rush into what was one of Phoenigetuzstha's favourite things, music contest, already having entered the WorldVision Song Contest. Flutura's ballad was nothing like Fusha Me-Bar's WorldVision entry, it was entirely in Albanian, and had a deeper meaning than fun and partying. Flutura who was not used to the tropical heat had found it difficult, as did her team, as one of the delegation had a found tropical fungus in his ear, which had to be removed by the local doctors of Tikuna who were trained in such things. Over the week or so she'd been here, she'd acclimatised slightly, and so things were better, however she did have to wear a very light, airy dress to prevent her from over-heating during rehearsals.

Everything on the stage was Fusha Me-Barian colours, Maroon and White. Flutura could be clearly seen on the stage, wearing this dress. It was obvious that this was going to be a performance all about the song, rather than something crazy, however she knew that it had to have a performance to have an impact on anyone. She was looking to the side, her eyes closed, and her non-microphone hand splayed out at the side of her face. As the music started, she turned to the front and began to sing.

Ishte dje se ne dashur
Ishte dje se ne qeshi
Ishte dje kur çdo gjë, ishte mire
Por tani kujtimet është
Të gjithë unë kam prej nesh
Për gjërat e ndamë, janë zhdukur

Four women, dressed something like this (Thanks Folkand!) walk onto the stage, each holding two maroon fans and form behind Flutura. They begin to splay there fans in perfect synchronisation around Flutura, giving the impression of her having multiple arms. Their movements are slow, to reflect the pace of the song.

Nëse vetëm unë mund të kthehet përsëri kohë
Nëse vetëm ne mund të fix tone gabime
Ne do të i lumtur, ashtu si para
Ashtu si para…

The backing dancers now dispersed from Flutura, covering their faces with their fans as they knelt at the front of the stage, so the attention was on Flutura and the chorus.

Unë jetoj me këtë barrë
Që nuk e kam të bëjë më
E çfarë, e çfarë
Kemi pasur dhe ndahet
Dhe dhemb mua përditshme
Se ne nuk bëjnë atë punë
Ajo dhemb
Ajo dhimbje
Zemra ime…
Nuk do të ndalet…
Ajo nuk do të ndalet gjakderdhje

The dancers stood up, walking past Flutura and forming a line, their fans covering their faces as they walked in a ling one way then the other. The tubes began to light up in maroon and white, while the bamboo began to glow different shades of maroon and purple.

Çfarë do të nesër sjell?
Ndoshta jo shumë
Sepse ju nuk jeni ketu me mua
Nëse vetëm unë mund të kthehet përsëri kohë
Nëse vetëm ne mund të fix tone gabime
Ne do të i lumtur, ashtu si para
Ashtu si para…

The dancers formed around her, their fans making an unbroken semi circle around her shoulders and head, giving her a look of majesty or divinity.

Unë jetoj me këtë barrë
Që nuk e kam të bëjë më
E çfarë, e çfarë
Kemi pasur dhe ndahet
Dhe dhemb mua përditshme
Se ne nuk bëjnë atë punë
Ajo dhemb
Ajo dhimbje
Zemra ime…
Nuk do të ndalet…
Ajo nuk do të ndalet gjakderdhje

Closing her eyes and composing herself for a moment, she began the final part of the song, the dancers fans now shaking back and forth. While theatrical, this also cooled Flutura, as her large dress was very heavy, and she was getting quite hot.

Po ta dija se si të
Bërë gjithçka më mire
Rrjedhin fluksi i dhimbjes
Ti e di nëse unë mund
Unë do të bëj gjithçka mundur
Për të bërë atë punëëëëë!

The final chorus was here, the performance of her life and she had to do it perfectly.

Unë jetoj me këtë barrë
Që nuk e kam të bëjë më
E çfarë! E çfarë! E çfarë!
Kemi pasur dhe ndahet
Dhe dhemb mua përditshme
Se ne nuk bëjnë atë punë!
Ajo dhemb!
Ajo dhimbje!
Zemra ime!
Nuk do të ndalet…
Ajo nuk do të ndalet gjakderdhje

She'd did it. She was happy with her performance, and the crowd looked happy too. "Thank you Euskirribakondara! I love you all!" She shouted before bouncing off the stage to the green room, which looked a bit like a Costa Coffee shop.

by **The Kiaser Colonies** » Sat Sep 08, 2012 2:29 pm

08. The Kiaser Colonies
Blue
Patrick Higginbotham
Melody: Sidelines by Royseven

(Performance to come)

It was not what I had searched for,
We stepped out onto the floor.
The blue paint covered your pale skin,
Made smurf

Your red hair brushed through my fingers,
My eyes gazed deep into thine.
That dance we didnt care who saw,
Us smile

And even though it's over you still dictate my heart,
Your skin was just as blue as I am feeling right now,
The joy behind the memory sits forlorn,
Forlorn inside

But those days you soon left behind,
Decided we'd had our time.
The cold words tore right through me,
Goodbye

And all I feel is pain,
And all I feel is pain

And even though it's over you still dictate my heart,
Your eyes are just as blue as I am feeling right now,
The joy behind the memory sits forlorn,
Forlorn inside

I failed to catch you, I had fell first
I failed to heal you, I was hit worst
I failed to have you, I had lost most
I failed to catch you, I had fell first

And even though it's over you still dictate my heart,
Your skin was just as blue as I am feeling right now,
The joy behind the memory sits forlorn,
Forlorn inside

by **Hagasvyo** » Sat Sep 08, 2012 2:59 pm

09. Hagasvyo
a La Tikuna Style
BBS ft. Soyeon
to the tune of PSY ft. Hyuna- Oppa's Just My Style

OOC: It's not really like it, just loosely based of that version.
[size=150]Blue is BBS, Pink is Soyeon and means a crowd chant or singing in unison[/size]

BBS and Soyeon were now on stage, with 6 back-up dancers, 3 on each side. A crowd of people in uniforms of nurses, teachers and military personnel were in the very front of the audience.

BBS was swinging like a monkey from a hook hung from one of the end tubes, while Soyeon was walking out quite sexily onto the stage. The opening sounds of electronic synths begin the song as BBS swings to the beat, and Soyeon struts to the beat. BBS opens the song:

a la Tikuna style
Tikuna style!

6 electro sounds are heard, with Soyeon over-dramatically walking to the mic as BBS runs back to his hook, now colored green to look like a vine. Soyeon begins the first verse:

Walkin around
can't understand a thing and
all these people from different lands
talking like "ching chong ching ching"
and I can't even walk a mile before i run into the forest
oh my gosh, aren't I the cutest?

The electro sounds from before are back, and now BBS has jumped from his vine into his back-up dancers arms, and he kicks them away as he walks with spunk and sass across the stage.

Euski-bleh bleh bleh,
I'm in a country where everyone speaks
bleh bleh bleh,
5 languages and what the hell am I speaking and it's like
he he he,
and everything's made of wood
how many forests did it take
forests did it take?

Soyeon is now strutting and crawling across the catwalk with the back-up dancers, while BBS awkwardly stands at attention in the middle of the stage.

Wanna touch me,
touch me all over,
well you can't,
bitch you just can't
this is Tikuna,
not strip-club Hyuna,
Mediterra,
Masinova,
Phoen Albertsaby Euski doria-a-a-a-aaaaaaa

The beat suddenly dropped, and BBS was seen in the middle of the first part of the sand where all the water starts. The crowd of workers that were in the front are now along this part, with some are standing in canoes lining the water seperating the sand from each other, and the rest are lining the wooden platform BBS is standing on properly. He looks into the camera with his big black sunglasses sternly and says:

a la Tikuna style.

Then, the workers, BBS, Soyeon and the back-up dancers break out into their signature galloping horse dance, with regular audience members joining in as well

During all this, BBS is dancing, but also singing:

woop, woop, woop,
a la Tikuna style (x2)
ayyyyyyy, Garukaka,
woop, woop, woop,
a la Tikuna style

Soyeon parodies

Damn, all these uptight people
what happened to illegal,
everyone's all obeying the rules
worshiping them like crown jewels
I swear I'm gonna run in the forest
and live in the trees boy
because nigga, I is the dopest hoe around

Soyeon continues the song:

Albersaby, and then Chenky,
all these songs
well fuck them all,
Calimera, and Gaituzstha,
Lymantia!
Anollasia!
Shut up cuz this is a la Tikuna ti-i-i-i-iiiiiiii-ime.

The hundred-thousand and more people in the audience now know the catchy melody, and scream:

a la Tikuna style!

BBS has jumped from the stage onto one of the sand runways, and is doing his signature horse dance to the hosts platform, with a throng of workers following his moves. The screen showed flashmobs of "a la Tikuna style" performed by different people in Tikuna performing the "galloping horse" dance in the stores, sidewalks, sports events, in front of monuments, in public spaces and finally at the entrance to the arena

BBS was now at the hosts podium with Soyeon, just the two of them. The dancers and workers are on the sand walkways and in the aisles of the arena, standing diligently as Soyeon and BBS sing:

Let us go
Tikuna, come on, go,
hey-o, hey-o come on Tikuna go
Tikuna go,
a la Tikuna go,
hey-o hey-o people let's go-o-o-o-oooooooo.

Now, the crowd and dancers all chant, sending a huge roar that could be heard by people all the way in the forest close to the arena:

A LA TIKUNA STYLE!

BBS sang:

Eh, eh, eh, eh, eh, eh, eh,

And on that last "eh", several notable singers, commentators and other figures from this edition and past editions, including The Black Belt Club (Tim Milligan, Damien House, Simon Rudd, Bart Ludovic, representing The Kiaser Colonies in WHF 9), Annika X and Kellen Walsh from New Warwick (commentators for WV 23 and WHF 10), Csarlod Hjulovics and Drina Walkodowa from Brulicsa, Argyle Fab from Bloodbath Generation and even the hosts of this edition, Samira Kareli and Jan Ardegorrián and the president of Hagasvyo Saami Surksalu, ran in from both left and right ends of the stage, joining the workers in the "galloping horse dance" once more as the people at home and in the Manguaré Arena danced. On screen showed clips of regular WHF fans and residents of Tikuna dancing "a la Tikuna Style" all over the city again,with occasional lyrics popping up on screen so the crowd could sing and chant along. BBS and Soyeon were, in all this sudden flashmob madness, singing:

Eh~ yea Tikuna~
woop~ woop woop woop~
a la Tikuna stylewoop~ woop woop woop~ a la Tikuna Style

With everyone in their "Thinker" pose, the music stopped, and BBS and Soyeon were under the spotlight, held hands and the crowd roared to their bow, and roared even louder as the rest of the dancers took their last bow. It was by far the most care-free, crowd engaging song of the night. Everyone had fun, no denying it, and the whole arena was buzzing from "a la Tikuna Style," and people were dancing it in between songs for fun, drunk or sober, Euskal or Chenkoyran. This was poised to be a fan favorite for many years. No other entry had such worldwide unity and appeal, and the idea of having singers, commentators and even the hosts come on and have a good time was a far cry from the serious ballads and highly-polished songs many nations sent. BBS and Soyeon galloped their way to the green room as Folkland came up next.

by **Euskirribakondara** » Sat Sep 08, 2012 7:53 pm

Placeholder for postcards for acts 4 - 9

by **Folkand** » Sun Sep 09, 2012 6:28 am

10. FOLKAND
Sabina Bojanovic & The Natives
Avrihe
album: Natura
translation: Africa
languages: Polish, Saintrabinian
genre: dubstep, electronic, folk
melody: Ifi Ude - My Baby Gone

Sabina and the three female dancers wear the dresses like in Ifi Ude's music video. Their dance is similar, too. Behind them we can see the members of the group 'The Natives' (two of them are playing the drums, one of them playing the synthesizer) wearing the clothes like the African natives. We can see also the big torches around the stage.

The drummers are playing when Sabina starts singing the intro. The dancers stand behind her in line and wave their fans making the beautiful effect like in the music video. The screen shows the savannah.

Gdzie bezkres pustyni, (Where the endless desert)
Gdzie słońce gorące (Where the hot sun)
I lasy deszczowe. (And the rainforests)
Kżia pasglaz bozdymi, (Where the endless desert)
Kżia zjumha kulęha (Where the hot sun)
I rezy taćśufa (And the rainforests)
Tam jest Afryka, (There is Africa)

The dancers spread out to the sides. Sabina stays in her position. The dancers are spinning using their fans. Suddenly, we can hear the synthesizer.

Ej jaija i
Den łazd Avrihe nuła. (There is my Africa)
Ej ja i ja i ja, eja eja aaaa.
Ete ete esz, Ete ete esz

Then the screen changes and now it shows the desert. The lights are yellow and orange. Sabina sings.

Znalazłam cząstkę mnie (I've found a piece of me)
Na pustyni gdzieś, (Somewhere in the desert)
Lecz ja nie wiem gdzie mam dalej iść. (But I don't know where should I go)

Now the screen shows the jungle trees.

Słyszę Afryki zew, (I'm hearing the call of Africa)
Wśród bujnych z dżungli drzew, (Among the lush jungle trees)
Dźwięk bębnów w mojej głowie brzmi. (The beat of the drums is sounding in my head)
Wnet poczułam obfity deszcz, (Suddenly I'm feeling the heavy rain)

Then we can see the raindrops on the screen. The lights are green.

Na skórze przyjemny dreszcz. (Pleasant shiver on my skin)
Niech wiecznie trwa chwila ta, (Let this moment last forever)
Która ma nieba smak słodki. (That has the sweet taste of the heaven)
Gdzieś ptaków śpiew, melodia drzew, zew i śpiew, (Somewhere the birds are singing, the melody of the trees, the call and singing)
Tak i tak, tak i tak. (On and on, on and on)
Tak I tak I tak, Chę dlfeh f dał cfiri fiaśmia, ee. (on and on and on, I want this moment to last forever)

The rain disappears. Now we can see the sun above the forest.

Avrihu, teł ni zią heję. (Africa, give me yourself)
Aaaa. Eja eja, heję. Ee.
Aa eja a eja,
Avrihu, teł ziapia heję (Africa, give yourself)
Ee, Avrihe ne, eja
Eja la a ja.
Avrihu, do łazd źyhia na. (Africa, there is my life)
Aija la, aija aja aja a, aijala, eija
Aija la, aija aja aja a, aijala, eija
Aija la, aija aja aja a, aijala, eija

Sabina is dancing with the dancers. She has got her fan, too. The screen changes again and now it shows the fire and the African village. Sabina sings the second versus.

Tubylców ciągły gwar, (Continuous buzz of the natives)
Słyszę gdzieś dosyć blisko mnie. (I'm hearing it somewhere near)
Ognisko pali się (The fire is burning)
Dając jasny żar, światło dnia. (Giving the heat, the light of the day)
Niech wiecznie trwa chwila ta. (Let this moment last forever)
Która ma piekła smak - ostry. (That has the pungent taste of the hell)
Tak I tak I tak. (On and on and on)
Avrihu, dodeł łazd nuł tun, (Africa, there is my home)
Ee, aa eja a eja,
Avrihu, dodeł źyfud nuł (Africa, there is my lifetime)
Avrihe, eja eja a a ja.
Avrihu, dodeł łazd nuł tun. (Africa, there is my home)
Aija la, aija aja aja a, aijala, eija
Aija la, aija aja aja a, aijala, eija
Aija la, aija aja aja a, aijala, eija

Suddenly the picture of village disappears. We see the desert again. The dancers are standing in the line and Sabina sings the last lines of the lyrics.

Znalazłam cząstkę mnie (I've found a piece of me)
Na pustyni gdzieś. (Somewhere in the desert)

Then Sabina smiles and say 'Dziękuję' (Thank you).

Legend:

in Polish
in Saintrabinian
(English subtitles)

by **Polkopia** » Wed Sep 12, 2012 3:00 pm

11. Polkopia
Mikhail Venisov
Heartbeat

Tune: Love Unlimited

Boom boom boom boom hey
Boom boom boom boom hey
Boom boom boom boom hey-a

Boom boom boom boom hey
Boom boom boom boom hey
Boom boom boom boom hey-a

Hear that beat?
You should know that it beats just for you.
It’s rhythm is directed all towards you.
Do you even hear it?
It may be permanent.

Hear that beat?
There’s no doubt on where it comes from.
Now, if you could only give me some.
For you… for me… for us

Do you hear my heartbeat?
It’s anything but discrete.
Come on, get on your feet
And show me the heat

With me and you
There’s nothing but us two
I’ll let you know I love you-

Whenever we are close
You look like a rose.
Delicate and sweet
Lifts me off my feet

With me and you
There’s nothing but us two
I’ll let you know I love you-

Hear that beat?
I wish you knew that it beats just for you
I have no doubts; I know that it is true
Do you even hear it?
It may be permanent.

Hear that beat?
There’s no doubt on where it comes from.
Now, if you could only give me some.
For you… for me… for us

Boom boom boom boom hey
Boom boom boom boom hey
Boom boom boom boom hey-a

Boom boom boom boom hey
Boom boom boom boom hey
Boom boom boom boom hey-a

Do you hear my heartbeat?
It’s anything but discrete.
Come on, get on your feet
And show me the heat

With me and you
There’s nothing but us two
I’ll let you know I love you-

Whenever we are close
You look like a rose.
Delicate and sweet
Lifts me off my feet

With me and you
There’s nothing but us two
I’ll let you know I love you-

I want you so much-

I want you so much…

by **VIXX** » Wed Sep 12, 2012 5:46 pm

Still in progress.

12. VIXX
Negadir (Alga Haga Islar Dugen)
Translation: Mystery (In The Fog of the Island Dugen)

Ransajid ft. The Ghetto Cellos
to Urban Symphony - Rändajad

Ransajid, made up of Linda Carvechi and The Daley Trio were now on stage, The Ghetto Cellos (Laqueesha Jackson and Darell Williams) already on with their mics hooked up near the bridge for optimum sound. Linda was wearing this sleek silver dress while The Daley Trio wore this simple dress. Lights were dim, the screen was pitch black, with gray raindrops floating on the screen. The fog machines were in full effect, and the song started to the beat of a maraca and violin in a clash of tropical and classical sounds, creating a mystical, gypsy-like sound. The tubes have partly surrounded the singers. The gray raindrops crashed on the screen into a giant splatter, with the splash being flowing lines moving around as Linda sang:

Kok liem, kik jiemi gana (As the boat approaches)
cai pakcha (we see a mist)
yen dakiteh haga steamvur (a mystical cloud is on the horizon)

As she was singing the entire time, The Ghetto Cellos were playing a repeated beat on the C and G strings, adding to the mysterious allure.

Linda continues the song, leading up to the melody:

Ukeah, kupleah, selfigag (With tattered sails, it moves slowly)
jha kafue elga ya stoh (and slows as it reaches the rocky shore)

The backing singers join in and the tubes lift, fully revealing the singers, and with The Ghetto Cellos on either side of the stage.:

Negadir, habam aga yilse tugen, (Mystery falls on the mysterious Tugen)
negafuir, habam aga yakiso taiga, (Mysterious, this chill in the air)
Negadir, ura, yako vadada girem tugen, (Mystery and fear collide in Tugen)
Negadir,alga haga islar dugen, (Mystery in the island Tugen)

The camera pans up into the mystified crowd as Linda continues:

Ee klistar eek liem misogya, (We approach the misguided boat)
klebo nebo kavorkiem lek so (They were fooled by a conman at the port)
ulg yemi bif havem saki toya (we slowly regained their trust and they joined us as we saw)

The melody is repeated as two dancers prance in the background:

Negadir, habam aga yilse tugen, (Mystery falls on the mysterious Tugen)
negafuir, habam aga yakiso taiga, (Mysterious, this chill in the air)
Negadir, ura, yako vadada girem tugen, (Mystery and fear collide in Tugen)
Negadir,alga haga islar dugen, (Mystery in the island Tugen)

by **TaQud** » Mon Sep 17, 2012 2:58 pm

Winning Everytime by Melvin Van Teer & The Reds

From the melody of Rockin Robin'

Melvin and his friends entered the stage. Waiting to make the performance. The Reds would act as Melvin's backup singers. They were excited to see all the fans out there actually watching them.

(Winning-win-win-win-win, Winning-win-win-win x 3)
(Win x 4)

I win everytime every day
Tryin' to a-chievin' and win-to get my pay
All my lifetime I try to be best
Train ev ery day to win my quest

Winnin' every (Time x 3)
winner' every (Time, ev'ry-time)
Being the' best so
I can finally be champion
(win, winning-ev'ry)

Time for me to be to take glory to be supreme
Time to take control whether I'm nice or mean
Been number one for all my life
and if' you hate then they'll be a strife

Winnin' every (Time x 3)
winner' every (Time, ev'ry-time)
Being the' best so
I can finally be champion
(win, winning-ev'ry)

Talent is what I have it is what makes me good
ev'ry day when i go to my neighborhood
They look at me and respect what I Have done
And thats because I am al ways number one

I win everytime every day
Tryin' to a-chievin' and win-to get my pay
All my lifetime I try to be best
Train ev ery day to win my quest

Winnin' every (Time x 3)
winner' every (Time, ev'ry-time)
Being the' best so
I can finally be champion
(win, winning-ev'ry)

Talent is what I have it is what makes me good
ev'ry day when i go to my neighborhood
They look at me and respect what I Have done
And thats because I am al ways number one

Winnin' every (Time x 3)
winner' every (Time, ev'ry-time)
Being the' best so
I can finally be champion
(win, winning-ev'ry)

Winnin' every (Time x 3)
winner' every (Time, ev'ry-time)
Being the' best so
I can finally be champion
(win, winning-ev'ry)

Melvin and Friends then bowed their heads after the performance while they were cheered on.

by **Fromulya** » Fri Sep 21, 2012 7:48 am

14 Fromulya
Gula - Imam Az-Zokor

The atmosphere didn't change for most of the song, and the singer's lack of performance suited it very well. He was Imam Az-Zokor, owner of a candy shop in Fromulya and imam of the local mosque. He was alone on the grassy part of the stage, and everything was dark and black.

Languages: Fromulyan (dialect of Indonesian), Standard Indonesian.

As said, Imam Az-Zokor remained still as the song began, and stayed that way until the end of the song.

Semut, meréka suka lo
Ants, they like you
Kita yang masukin lo ke
We put you into
Dalem cangkir téh yang anget
Warm teacups
Gula
Sugar

Permén gak énak tanpa lo
Candy doesn't taste good without you
Coklat sebelomnya paït
Chocolate was bitter before
Gula, dari tebu asli
Sugar, from real sugarcane
Gula
Sugar

Gula, lo manis banget sih
Sugar, you're so sweet
Gula, kecil-kecil putih
Sugar, small and white
Lo gula, manisin hidup gua
You're sugar, sweetening my life

Kusenyum setiap kali ku
I smile everytime I
Melihatmu di dalamnya
See you inside it
Toples yang ada di dapur
The jar in the kitchen
Tetapi apa jadinya aku bila
But what would I become if I
Tak pernah melihatmu lagi?
Never see you again?

Gula, penting buat gué
Sugar, important for me
Gula, jalanin ékonomi
Sugar, runs the economy
Hidup gua bergantung pada gula
My life depends on sugar

Lo gula, penting
You're sugar, important

by **New Warwick** » Sat Sep 22, 2012 12:35 pm

15. New Warwick
SONG: Stay With You
ARTIST: Femme Vitale
LANGUAGE: English
Melody: Number 1, by Goldfrapp
Live version

Chelsea Howard, the lead singer of Femme Vitale, stands in the center of the hosts' stage while the rest of her band - a bass guitarist, two keyboardists, and a drum-machine-ist - stand in a semi-circle on the main stage. At first, the lighting is minimal, a soft white. Three spotlights shine on Chelsea, one directly above, and one slightly to each side. As the music starts, a fan blows on her slightly, her curly blonde hair blowing up and back from her face, which she has turned to the side. As she starts to sing, the fan stops blowing, and the lights on her turn blue.

"I've been thinking of you
How you think of me
No one loves like you do
How you set me free"

She begins to do some basic dance moves, essentially improvising to the music.

"I wanna stay with you
And that's a new feeling
They say that love is true
Now you've got me believing
Please stay with me"

She stands on one of the treadmills and it moves her backwards, towards the main stage. The lights change to a soft red, washing the entire stage in passion.

"Wake up to the sunrise
Light plays across your face
Look deep into my eyes
I know I've found my place"

She has reached the main stage and stands in the middle of the semicircle, with the rest of the band behind her. The lights change to a mixture of white and light blue, giving the appearance of a sunny afternoon.

"I wanna stay with you
And that's a new feeling
They say that love is true
Now you've got me believing
Please stay with me"

She begins to dance as the band plays a short instrumental break. As the music get quiet, another fan begins to blow on her and the rest of the band. The lights slowly shift to a fainter white, coming only from directly above and barely illuminating the whole band.

"In the clouds I see you
In the night I need you"

The fan stops and a bright light illuminates the band from behind. She moves forwards to the edge of the stage and a bright spotlight shines down on her. During this verse she rolls her head in a circle and opens her eyes wide at first, then almost closes them, fitting the lyrics.

"And when you're not here
I go a bit insane
I stare at the mirror
I call out your name"

She begins to dance a little heavily, but still basic steps.

"I wanna stay with you
And that's a new feeling
They say that love is true
Now you've got me believing
Please stay with me"

The beat drops out and the fan blows from beneath her. She does some interpretive-dance-type movements, slowly moving her body in place. As the break is coming to an end, the lights start to wash back in in a gentle red. She runs forward and jumps into the crowd. She sings the last chorus directly to a few audience members, putting an arm around an attractive guy.

"I wanna stay with you
And that's a new feeling
They say that love is true
Now you've got me believing
Please stay with me"

The crowd lifts her up. She looks a little surprised at first but goes with it, crowdsurfing. A camera shoots her from above as she undulates with the crowd's movements.

"How long til we meet again?
How long til we meet again?
Please stay with me"

The crowd puts her back up on the hosts' stage in time for her to sing the last bit.

"How long til we meet again?
How long til we meet again?
I'll stay with you"

The beat drops out and the lights change back to what they were at the beginning. She does some more interpretive-dance-ish moves and strikes a pose as the last note is hit. The crowd erupts in cheers.

"Thank you so much. Magükabañakekalarré!"

by **Euskirribakondara** » Sun Sep 23, 2012 9:01 am

Postcards until act 15

10th World Hit Festival - Contest Thread

10th World Hit Festival - Contest Thread

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