32nd World Hit Festival - Contest Thread

by **Euskirribakondara** » Fri May 19, 2017 11:16 pm

The IC date for all this thread is Thursday June 1st, 2017!
You can only post here if you have permission from the host
OOC Thread - Draft Thread
Past WHF Editions - Past WHF Winners

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Official Logo and Slogan

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Harrikes Olympic Stadium (222,222)
Venue of the Contest (layout HERE)

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(Stage description HERE)

by **Euskirribakondara** » Fri May 19, 2017 11:18 pm

Performed Acts (16)

01. IZMEDU (Postcard)
Anja Krajacic - "Rise Again"
Electro/Pop song in English.

02. TÖDLICHEBUJOKU (Postcard)
Tachicola - "Naida, Tappaa ya Yuosta"
Industrial Dance song in English and Tödlichebujoki Suomi.

03. GOLUTA (Postcard)
Kassmil - "Gujall Arinej"
Indie song in Golutian and English.

04. ANOLLASIA (Postcard)
The Bernsters - "Down In The City"
Rock song in English.

05. KWADAI (Postcard)
Kala - "Sounds"
Electropop song in English.

06. GIM (Postcard)
OML(Oh, My Lady!) - "Fell In Love"
Gimian Pop song in English.

07. MONAEROGLISSEUREST PLEINDANGUILLES (Postcard)
Leviticamicasicakikatikadikalikalika McMadooralananananafedoramorasorgoratorakurannam - "Help"
Pop song in English.

08. EUSKIRRIBAKONDARA (Postcard)
Samira - "طوّل بالك"
Indie/Alternative song in Euskal, Birugaian, Khauo, Aranese, Euskal Arabic and Greenlandic.

09. COSNEOLTA (Postcard)
Convikt ft. NVM - "This Feeling"
Indie Dance song in English.

10. DARKMANIA (Postcard)
Märiëlla Baelsä ft. Daniël Kisdmedspringer - "Kjærligheten Dør"
Chamber Pop song in Norwegian (Bokmål).

11. MERCEDINI (Postcard)
Samuel Borlaviac - "Stay Right Here"
Dance song in English and Mercedinian.

12. NORMANDY AND PICARDY (Postcard)
Suzy - "Again"
R&B/Electronic/Pop song in English.

13. KANNAP (Postcard)
Chosen Four - "Hike"
Folk Rock/Pop Rock song in English.

14. NIGHTOM (Postcard)
Aaliyah Banques - "Poisonous"
Pop song in English.

15. ESTOGIUM (Postcard)
Reis Malik - "I'm Ready"
Pop song in English.

16. KALOSIA (Postcard)
Paola Amadin - "L'Alba"
Ballad in Kalosian.

Other Posts
Opening Act 1 - "Aspaldiko!"
Opening Act 2 - "По, Дај Ми Любавте"
Halftime - 1
Interval Act 1 - ?
Interval Act 2 - ?
Host Intervention - "1 (Welcome)"
Host Intervention - "2 (Opening)"
Host Intervention - 3
Host Intervention - 4
Host Intervention - "5 (Voting Begins)"
Host Intervention - 6
Voting - Voting Indications
Voting - Statistics
Voting - Phase One
Voting - Phase Two
Voting - Phase Three
Voting - Phase Four

Coverage and Commentaries
Britonisea (1)
Britonisea (2)
Kannap
Normandy and Picardy

by **Euskirribakondara** » Fri May 19, 2017 11:19 pm

OOC: All this info, ICly, is being given by your own commentators. They can obviously omit some of it, but what you must know is here:

The Harrikes Olympic Stadium was ready. Harrikes was ready. 1811 days (4 years, 11 months, 16 days) had passed since WHF08, the last edition hosted in Harrikes; and 1656 days (4 years, 6 months, 14 days) since WHF10, the last edition hosted in Euskirribakondara. Although the Harrikia won later on (WHF11 and WHF13), EUSK1 couldn't take the challenge of hosting the contest due to financial and logistical difficulties... but brighter days had come to Flegavia and the sudden comeback of the country in WHF31 came with a sixth win... and a new opportunity to have the contest in one of the most avid fanbases of the World Hit Festival. Unlike the previous editions, where smaller arenas were preferred, EUSK1 decided to go all in. Supported by the Euskal Crown and a lot of fan-created crowd-funding campaigns, the WHF32 Organizing Committee found a larger budget than they ever wished for and decided to use it all... who knew when would be the next time Harrikes would host the contest again (if ever)?

222,222 places were available in the Harrikes Olympic Stadium (22 being an almost sacred number for Euskirribakondarans), and they all sold out, even if the contest featured less entries than EUSK1 predicted (even the neighboring nation, Artsakhestan, had to sit out on WHF32 citing financial difficulties. EUSK1 tried to fund their participation and that of San Andres Archipelago, but the hosting job required much more resources than they initially thought of). The stage expanded beyond the main stage and included elements of the whole stadium, marking a difference from any other previous design. It still, included elements that could remind people of the stages from WHF07, WHF08 and WHF10; the whole concept of this edition was about mixing the old and the new.

The sole host for the night would be Taliana Danberahaidia (4th place in WHF12, WHF07 host, Miss Flegavia 2012, Miss Euskirribakondara 2011); but she would have the support of Nadija Djokanović (WHF31 winner) from the Green Room.

For everything said/heard/sung on the show, subtitles on English, Kalosian, Izmeduan and French are being provided to foreign broadcasters. If the foreign channels broadcast on a language different than those mentioned, they shall use the subs provided to make their own ones in their own languages.

Just like in the three previous editions hosted by Euskirribakondara, the show would begin at 20:22 local time (for the current date, UTC -6).

[20:22:00 - 20:29:59]

OPENING ACT 1
Aspaldiko!

A new 16-second World Hit Festival intro began the broadcast (similar to the 2011 Eurovision intro, culminating in the base WHF logo with the Euskirribakondaran flag inside), to this tune [0:18 - 0:28]. The image then switched to an aerial view of Harrikes (thanks to a camera mounted on a helicopter). At 20:22.22 sharp, a huge amount of pyros came out from the perimeter of the Harrikes Olympic Stadium signaling the official start of the contest. After a few seconds of pyros, the opening sequence began. Similar to the ESC2017 SF1 opening sequence (0:00 - 1:07), it was a pre-recorded video that showed seventeen different women putting on modern versions of traditional dresses from the seventeen provinces of Euskirribakondara (in alphabetical order). The background music was "Kanta" by Sara Monkada (THIS (10:55 - 12:15), finishing in an echo of the last few seconds), which was actually being performed live from the WHF32 stage.

The last girl turned out to be Nadija Djokanović, whose heart-warming smile faded into pitch black as the opening sequence ended. The background music faded into the roar of 222,222 fans who cheered, not only for the WHF31 winner, but also for the 32nd edition that was about to start. A single spotlight shone over the Central Plaza, where a single man was standing. Dressed like in here (but with an orange vest and a blue belt), he started to perform an "Agurra-Aurresku (0:19 - 0:38)", a dance reserved to welcome important guests in Euskal culture. The camera was standing still, in front of him, as he performed. When he bowed, the image showed the main stage in the background coming to life to the notes of an accordion. The background screen showed a forest near Harrikes, the trapdoor zone had some real trees on it, and the floor of the main stage showed evergreen grass.

A fandango (0:34 - 2:00) began with ten men and women in traditional Euskal clothes surrounding a couple (like in the same video). They were on the main stage semicircle, and they joyously danced as the folk music played (the camera game similar to the video). Twenty-two men and women dressed in white arrived from the spirals as the dance went on and they gradually replaced the people dressed in black (like in the video). After a minute since the dance began, the people in white started leaving the main stage and spreading around (the main couple still on stage, dancing and twisting), and they greeted the audience (both in the Stadium and through the camera) as they danced, with a big smile on their faces.

The rhythm changed (1:58 - 2:29) and the catwalks were revealed. Fifty-five couples on the left catwalk, plus fifty-five couples on the right catwalk plus the couple on the main stage (totaling 222 people) started dancing like in the video. The perfect synchronization between all of them was beautifully captured on camera, as everything was panoramic shots and fly-overs of the catwalk. The people in the audience (most of them Euskirribakondarans and foreigners already familiar with Euskirribakondaran culture) joined them, so the North Standing Area looked somewhat like this (2:39 - 2:52).

(Translation between brackets; that translation is given to the participating broadcasters to subtitle this performance when broadcasting.)

Everyone froze abruptly, and a new song began. It was Mikel Laboa, one of the most important traditional artists in the country, standing on the left upper stage (level 4). For the first instrumental seconds, some shots were done of the right orchestra pit players; but as soon as Mikel started singing (in Euskara/Basque language), the focus was on him. He looked straight into the camera as he sang the first two verses (the camera slowly revolving around him); for the final two, the focus switched to the main stage, where a couple was dancing (something similar to tango/flamenco, in a "duel" fashion) a choreography inspired by the lines of the song.

[0:15 - 0:30]
"Aspaldiko!" esaten dizut: hemen zaude ("Long time, no see!" I say to you: you're here)
Herri urrunetik niri orain etorr(i) zara (You have come to me now, from a far away country)
"Aspaldiko!" esaten dut; batera gaude ("Long time, no see!" I say; we're together)
Denbora urrunetik, gu lagunak gara. (From a long time ago, we are friends)

The broadcast switched to a video in slow-motion and with a grain filter, that showed the first win of Euskirribakondara (WHF06), images from WHF07, WHF08 and WHF10, and the WHF13 win; focusing on the stages, the crowds, and the entries from Euskirribakondara, Anollasia and Kalosia (back then, Mediterra) of those editions.

[0:30 - 0:45]
Denborak hegan egiten du, baina (Time flies by, but)
Ateak irekita daude, ta badakizu (The doors are open, and you know that)
Denborak hegan egiten du, baina (Time flies by, but)
Ongi etorria orain zara, badakigu (You are always welcome, we know it)

For the next lyricless seconds, a steadicam shot the couple dancing on stage, panning around them. Their dance had very sharp movements but that somehow flowed along very nicely. Then, as Mikel started singing again, the broadcast came back to a slow-mo, grain filter video, this time with footage from more recent contests, showing entries from Goluta, Kwadai, Gim, Cosneolta, Darkmania, Monaeroglisseurest Pleindanguilles and Kannap.

[0:49 - 1:03]
Lagun berriak ongi etorriak dira (The new friends are welcome)
Dantza zaitezte eta kanta ezazue! (May y'all sing and dance!)
Kanta berriak opari handia dira (The new songs are a great gift)
Munduaren Hita Haixa goza ezazue! (Enjoy the World Hit Festival!)

The slow-mo, grain filter video continued, but this time with the WHF31 entries from Izmedu, Mercedini, Normandy and Picardy, Estogium, Nightom and Tödlichebujoku.

[1:03 - 1:18]
Denborak hegan egiten du, baina (Time flies by, but)
Ateak irekita daude, ta badakizu (The doors are open, and you know that)
Denborak hegan egiten du, baina (Time flies by, but)
Ongi etorria orain zara, badakigu (You are always welcome, we know it)

The image switched back to the Harrikes Olympic Stadium, where some fans were dancing to the song in a similar fashion to the actual dancers on stage. It was an interesting scene: because even though they weren't professional dancers, they were very much up to the task! The overall feeling of the show was of immense happiness and joie de vivre. The images from the crowd were mixed with images from the stage, and from the instrument players in the orchestra pit for the next few seconds. Meanwhile, Mikel descended to the trapdoor zone (that still had a lot of trees around) just in time to begin singing again. It looked as if he was in a forest! He gestured as if he was welcoming the audience in the name of the whole country, he conveyed comfort in an interesting way.

[1:38 - 1:52]
"Aspaldiko!" esaten dizut: hemen zaude ("Long time, no see!" I say to you: you're here)
Herri urrunetik niri orain etorr(i) zara (You have come to me now, from a far away country)
"Aspaldiko!" esaten dut; batera gaude ("Long time, no see!" I say; we're together)
Denbora urrunetik, gu lagunak gara. (From a long time ago, we are friends)

He continued as he descended from level 3 to level 1.5 in the trapdoor zone, playing around from tree to tree and gesturing for the audience to come into the forest. For the last line, the camera zoomed out from him, revealing the WHF32 logo in the background screen, and all of the main stage coming to life in pulsating light that went to the beat of the song.

[1:52 - 2:12]
Denborak hegan egiten du, baina (Time flies by, but)
Ateak irekita daude, da sartzen! (The doors are open, come in!)
Kanta berriak.... opari handia dira (The new songs are a great gift)
Munduaren Hita Haixa goza ezaaaazuuuuuu...e! (Enjoy the World Hit Festival!)

At 2:14, a parade of nations began, with Anja Krajacic appearing on the right stage (level 2) from the backdoor. A flash of pyros introduced her and behind her, the LED spotlight screens showed the national colors of Izmedu, and imposed on the center of the image for the broadcast (and in the large background screen for the audience in the arena), the name of Izmedu appeared. The same process would follow for every one of the sixteen participating nations (six seconds of on-screen time for each act), alternating the stages (the right stage for the odd acts, the left stage for the even ones), and letting them have six seconds to strut on stage and do whatever they wanted to start the show. Tachicola only looked at the camera deeply; Kassmil smiled coyly and waved; The Bernsters came with their rockstar attitude and gestured at the audience; Kala did a little dance; OML performed a pre-rehearsed synchronized greeting; Leviticamicasicakikatikadikalikalika McMadooralananananafedoramorasorgoratorakurannam took the camera in her/his hands and shouted "help" at it; Samira waved an Euskal flag and danced with it to the beat of the song; the members NVM ran across the stage; Märiëlla Baelsä and Daniël Kisdmedspringer entered solemnly, Daniël smiling confidently and Märiëlla waving like a queen; Samuel Borlaviac winked and smiled at the cameras; Suzy waved her flag and walked confidently; Chosen Four sent kisses; Aaliyah Banques just laughed nervously and tried to divert the attention to the dancers entering the stage with her; Reis Malik waved his hands in the air (like he will in his act later on) and Paola Amadin stopped for a second and bowed to the audience in a very gentle (even kind of artistic) way. (The IC song has 54 more seconds than the IRL counterpart, to accomodate all the countries). It was not seen on the broadcast, but the artists were going from the left/right stages on to the nearest spiral for them and then to the adjacent catwalk, in order to walk towards the green room.

After Paola Amadin's seconds were over, the stage became pitch black and the audience roared.

by **Euskirribakondara** » Fri May 19, 2017 11:20 pm

[20:30:00 - 20:32:35]

Taliana Danberahaidia was standing on the raised circular stage of the Central Plaza. At its maximum height (10m), it provided the perfect angle to see the background screen in the back (which showed the WHF32 logo, with the colors flowing to provide a bit of dynamism to the scene). Taliana was wearing a dress like THIS ONE (with different shades of purple instead of the shades of orange), and she had a microphone in her left hand, and her notes in the right hand. She was very excited as she began her hosting duties:

"Emakuveak ta Gizomeveak, biheukeren Munduanaren Hita Haixa-ad betinapido!"
*audience cheers*
"Euskirribakondararen Harrikes-etan!"

The audience roared again, and the cameras showed the whole stadium waving their flags and their hands. After a few seconds, the camera focused on Taliana and she continued (american shot, with the background screen behind her)...

"Welcome to the 32nd World Hit Festival in Harrikes, Euskirribakondara"
*audience cheers again*
"My name is Taliana Danberahaidia, and I will be your host for tonight."
"For the first time in four years, the contest comes back to the Harrikia."
"Besides all of you watching at home through any of the participating broadcasters or the associate broadcasters from the Flegavian countries and Britonisea,"
"We also have people from the whole multiverse watching our webcast through whf.com and eusk1.com.eus..."
"And these wonderful two hundred and twenty two thousand, two hundred and twenty two people in the Harrikes Olympic Stadium!"
*audience cheers louder than before*

The broadcast shows some fans from the audience and then an aerial view of the tiers of seating around the ground level of the Olympic Stadium (the commentary boxes are in the VIP lounges that separate the lower seating tier from the upper one; and they can be seen in this shot as well). When the image comes back to Taliana, one of the additional screens (of the North Seating Area) is "next" to her, showing the list of the sixteen participating countries and their flags.

"As Mikel Laboa just sang, I say to all of you: 'Aspaldiko!'... Which means 'Long Time, No See' in Euskal and Euskara."
"Our beloved music contest has evolved and grown throughout the years and we may not have the same numbers of participation from yore,"
"But we do have an immense quality in the sixteen entries of tonight."
"You, the televoters at home, will be responsible for 50% of the outcome of tonight"
"The other 50% comes from a professional jury in each country"
"As for how to vote, I'll go back to that later, when the voting is open"
"But as you can see on screen right now, you have several options depending on your home country"

The broadcast showed the typical vignette with the list of the sixteen participating countries and the televote info in the bottom. Voting lines, SMSs, app votes and even tweets were options (depending on each country). After some seconds, Taliana appeared again on screen:

"This is not the first World Hit Festival"
"And that means, that there was a winner before tonight who brought the contest here"
*audience cheers*
"Ladies and gentlemen, please welcome the reason of our joy.... the amazing.... Nadija Djokanović!"
*audience roars*

by **Euskirribakondara** » Fri May 19, 2017 11:20 pm

[20:32:36 - 20:35:39]

OPENING ACT 2
По, Дај Ми Любавте (Po, Daj Mi Ljubavte)

(Translation between brackets; that translation is given to the participating broadcasters to subtitle this performance when broadcasting.)

Nadija Djokanović was dressed like THIS (with the temporary tattoos on her right arm and everything) and wearing the same jewelry of her WHF31 performance (the one in THIS image). She was in the front part of the main stage, kneeling down and looking at the floor. The song began (all the music being played live from the orchestra pits) and a camera ascended from the water pool to the main stage, zooming in on Nadija. The background screen flickering with white light to the beat. She brought her head up and smiled at the camera as she began singing.

[0:18 - 0:25]
Unea izan, exnaraki. (It's time to wake up.)
Axatzeapu, zu ikartuta... (When you are getting up, are you...)
Izanári zerbaki? (Afraid of anything?)

Nadija stood up and her six dancers (the same ones from her WHF31 performance) appeared from the trapdoor forest (a special screen was already in place on the main stage, but it was conveniently raised so that the dancers could pass right below it to reach Nadija). They weren't dancing yet, but they were coming closer to Nadija, their footprints marked on the LED floor as white shapes against a black backdrop.

[0:27 - 0:34]
Orduan kilak, zu jansa... (Why then, do you put on..)
Egunero sopalak goian... (Daily over your shoulders...)
Hurk' irribixea karsa? (That load that drags down your smile?)

Just like in the RL video, a camera zoomed in on Nadija, from the audience; whilst the whole stage contours were pulsating with light blue light. Her dancers stood in formation behind her and began their choreography (imitating being imprisoned somehow and then the breaking of chains). Nadija singing pitch-perfect, with a big smile on her face, in front of them.

[0:35 - 0:43]
Stavljate seb (Imagine)
Siluetu nožnici (The silhouette of scissors)
Za dlja razbite (To break)
Lance tih steni (The chains of those shadows)

A black semi-viscous liquid began to fall inside the special screen on the main stage, gradually blocking the view of the background screen from the cameras. The stage floor turned bright white, and the spiral lines as well; trying to shine bright and defeat the darkness from the special screen. In the last lines, we're able to see the forest of column lights, which are lighting up, one after the other, synchronized with the song's tempo.

[0:44 - 0:50]
Ustvaranje črno (Creating black)
Je teže naći svitlo (Is harder than creating light)
No je vsegno najtemnje... (But it's always darkest...)

The image came back to Nadija and her dancers, the special screen behind them already providing a completely black background. With the sound effect at 0:52 (similar to the OOC video), all the possible spotlights of the stadium came together over Nadija as she shouted with her backing singers:

[0:53 - 0:55]
... pred zore; uvzit skok vjere! (... before the dawn; take the leap of faith!)

A fast flash of pyrotechnics illuminated the stadium, coming out from the main stage perimeter. Nadija and her crew turned around (so that her backs were to the audience and the cameras could capture images from the stadium rather than the stage), and they danced altogether, the camera work being very similar to that in the OOC video (horizontal pans in circular motions, zooms both out and in) and a lot of light and energy overall (provided by the LED lights nets, the Constellation Dome and the Forest of Lights). The charisma that won WHF31 was still there, easily and readily transmitted to the audience. The choreography was very gritty, with strong moves and directing a second person message to the viewer (for the fourth line, the moves were of breaking imaginary chains; and for the eighth line all the crew pointed at the camera).

[0:55 - 1:12]
Po, daj ti silate (Come on, give yourself your own strength)
Ti si silate (You are your own strength)
Po, daj mju silate (Come on, give out your strength)
Samo tvoje, lancuhi i ključi! (Only yours are the chains and the keys)

Po, daj ti silate (Come on, give yourself your own strength)
Ti si silate (You are your own strength)
Po, daj mju silate (Come on, give out your strength)
Samo tej kto, mevažaje tovo! (You're the only one hindering this!)

Everyone froze as the chorus ended with an audible loud cheer from the audience. The special screen with the black liquid had disappeared, and the other special screen was already in place to be used for the rest of the song. The dancers left Nadija and went to the back of the stage whilst the cameras focused on Nadija, who still had her back to the audience (so in the image, we could see all the cheering and flag-waving behind her). She was gesturing a lot, firmly believing in her song and its message.

[1:17 - 1:23]
Unea izan, nouro kosteaki (It's time to start over)
Krozeapu, gure'baguneak... (Growing up, will we...)
Alfirrarípari? (Waste our opportunities?)

She turned around and her dancers were behind the special screen, doing their choreography. The special screen changed colors for every sentence, creating some sort of filter between Nadija and her crew. In the first line it was orange, in the second one blue, and in the third one purple. The stage floor and the far background screen still white, like it had been until now throughout the song.

[1:26 - 1:32]
Orduan kilak, zu ez... (Why then, don't you...)
Egunero aitortzen zuhá... (Everyday acknowledge yourself...)
Kisa benkogizanez*? (As a benkogizana*?)

*A 'benkogizana' is a concept in Euskal philosophy which represents the true nature of mankind: a human being with both virtues and flaws that can fail and succeed throughout his life in a duality universe where balance is achieved acknowledging both sides.

WIP.

by **Euskirribakondara** » Fri May 19, 2017 11:20 pm

[20:35:40 - 20:36:29]

Taliana Danberahaidia was walking around the Green Room. All the acts were there (except for Izmedu), and as Taliana talked, the camera showed all the acts. Some of them waved flags, some of them said 'hi' to the cameras, and everyone in the Monaerese green room was holding signs of "HELP!".

"Blagadarim Nadija!"
*audience cheers*
"Nadija will help me here in the green room later on, let's give her a break now!"
"Here we have almost all of the sixteen acts participating tonight"
"Anja from Izmedu is already getting prepared to open the show"
"Which, by the way, reminds me..."
"Hvala vam puno za biala natjecanja u Mousiki, Između"
*audience roars*
"Mousiki hosted a great show last time, and now it's time for the Izmeduan flag to fly once again..."
"LET THE WORLD HIT FESTIVAL.... BEGIN!"
*audience roars*

by **Euskirribakondara** » Fri May 19, 2017 11:21 pm

[20:36:30 - 20:37:49]

The background music began (0:00 - 1:20). The broadcast showed a small timelapse of Viskuncagrad's Downtown (the information in the bottom left appeared with an effect similar to this one). A few seconds later, the voice of Anja Krajacic could be heard saying, passionately, "Strasti, Ritam", and as she said those words, they were written on screen. Both boxes disappeared and then the camera moved and zoomed in on a guy who was walking by that same street. The camera followed him (different shots and cameras were used to create a more dynamic effect) as he walked through Viskuncagrad's downtown. At one point, he catches the tramway and in the next shot we see him sitting, listening to some music with his headphones, he whispers, "Stronger than before... Stronger than before...". The camera zooms out from the city of Viskuncagrad. In the next image, in a forest in a mountain, a woman from Vil D'Oski appears, wearing the traditional dress. She has her back to the camera, and so, she spins around (in a very classy way). Behind her, there's a lot of people, also dressed in a traditional way, and they begin dancing a Vil D'Oski Hora. The camera does several shots from several angles of this dance (even though the music is still the background one from the postcard). We discover now that Anja is one of the dancers, and she's enjoying herself with this dance. Another dancer turns out to be the guy from the beginning. When he realizes Anja is there, he stops dancing, he grabs her hand and says "maja zvučna traka je...". The camera turns around to reveal the Volkijam Mountains (the background of the last frame) and the box with the logo (with the Izmeduan flag) appears (with a heartbeat sound and visual effect and all). And gradually, the bottom box with the song information reveals itself.

by **Euskirribakondara** » Fri May 19, 2017 11:24 pm

01. Izmedu
Anja Krajacic - "Rise Again"
Genre: Electro, Pop
Language: English
Lyrics: Anja Krajacic
Music: Lalstina
Tune: HERE ("True Colors" by Zedd, Kesha)

"I've lived long enough where I've seen my life, my calling, my existence get taken away and reduced to nothing... Now, I take a stand. I'm taking my life back.” - Anja Krajacic

Opening the show was no issue for Anja Krajacic as she solemnly gazed at the sky, watching the Euskal opening act with fierce interest. However, despite the feelings of relief she felt that the work she had put into the entry was coming to its fruition, she also felt fear. As a singer whose greatest moment of the limelight was incoming, Anja would be at her most vulnerable and hurt. The audience in the Harrikes Olympic Stadium, with 222,222 people about to watch her performance, was enough to make even the most seasoned performer quiver to their knees. Anja had extensive rehearsals, but she was facing just her delegation and technical workers that would polish the entry. Now, as the hosts were beginning to introduce the Izmeduan entry, Anja fixed her view onto the stage, her eyes brimming with fire.

Anja Krajacic was a singer who was positioned to be the next Izmeduan pop princess 10 years prior to her World Hit Festival participation. Particularly, she was going to be one of the first to codify the Izmeduan party anthem, taking the Izmeduan pop industry from its largely staid state to one where raunchy yet confident music could begin to make airwaves. Anja had released a few successful underground dance hits as she was tirelessly working to promote her image and music to the larger music label outfits in Vodiznad. After a chance gig at one of the Vodiznad nightclubs, she had caught the attention of a fledgling label manager who had just gotten their first bite at that career, Lana Borovac. She, for better or for worse, would be the one of the people that would define Anja's career in the music industry.

As soon as Anja and Lana met with each other, and with Lana offering that record label contract to Zvizde Records, that was when things were truly set in motion for Anja. The record deal, back then, seemed like a deal made in heaven. Just as Anja's demos were gaining social media traction and became popular enough to chart on the lower Izmeduan Top 100 singles without the aid of radioplay or single sales, the record deal was a signal to her fans that she was the next big thing in Izmeduan music. Lana knew of Anja's underground popularity, and on the specific terms of the contract she helped build for the singer; there was a guaranteed album, three or four singles, and a clause for vaguely 'creative freedom.' What Anja didn't realize at the time was that the specific clause that she had sought relief in, namely the creative freedom, was the very loophole that would send her career spiraling down to descent...

What started off as a positive soon turned to a creative nightmare for Anja. Lana was a master manipulator, arguing that she had creative freedom over Anja's career and image, and acted accordingly utilizing the threat of terminating Anja's contract through a thinly veiled disobedience clause. She had the singer at her mercy as Anja was forced to modify her work, veering her first album towards a more bubblegum sound and sanitizing her party image. The more profound songs that Anja wanted to put in were immediately rejected in the studio as well. The frustrations abound caused work on Anja's hotly anticipated first single to face delays, and when it came time for artist, manager, and label executives to square off, it ended with an incident that would cause Anja to leave the music industry scorned, burned, and blacklisted.

It all came to a head with a public slagging match between Anja and Lana, paparazzi catching Lana slapping and berating Anja as label executives were settling court briefs on a potential lawsuit. Anja herself fought back, but she had fought back utilizing the same dirty tactics that her manager used against her, breaking the Izmeduan tenet of gratefulness and humility. These events caused Anja to settle defamation, libel, and slander charges privately, and it was the last straw for her manager. Lana terminated the contract under the condition that Anja would never perform or take a contract from the Izmeduan music industry, and ensuring that a suit is ready if Anja had dared to make an attempt to make a comeback. At the time, this was supported, and Anja's career died before it could even begin.

The silencing of her voice never stopped Anja from making music, but she now had to be careful where she'd release her demos. She disguised her voice in the following 10 years, but at the same time, she had developed a host of mental anxieties that plagued her life. Depression, GAD, and insomnia was prevalent through her first few years, and it wasn't until very recently that she was back on track from recovery. This was where she met LaIstina (real name: Robert Ivanic) and regained her footing in the music industry via a loophole.

LaIstina had been working on a demo that would become the Izmeduan entry to WHF32, titled “Rise Again,” which the EDM producer had been shopping around but never found a suitable singer for. Being a newer face to the music industry, he had never known Anja Krajacic's name until he had read her story in a program that detailed the Izmedu's greatest music controversies. The producer further researched, took note that his discovery of her landed at the perfect time to submit for WHF32 (in which he himself identified a loophole in which her contract didn't stop her from performing internationally), and contacted Anja personally... He presented to her the demo, and a humble offer of helping her regain her footing again.

RTI, when seeing the song, story, and artist knew it was a big risk, especially when the label that had destroyed their entrant's life was a subsidiary they funded. However, these demons of the past were just that, from the past. Anja knew that that stage was her future, and despite the nightmare of being in the limelight again, she knew that even if her country wasn't supporting her, she knew that there were people that did. LaIstina, the people in RTI that campaigned for her, her fans...

The stage was set for the 32nd World Hit Festival to begin. After the opening act and first hosts interventions, Anja turned back to the greenroom and nodded briefly to the head of delegation before ascending to the stage...

There was no other sound than the collective cheering of over 200,000 fans, many of whom were giving a roaring applause as stage lights billowed down to the center of the stage, heralding the beginning of the Izmeduan entry (as the postcard was being shown on TV). Anja felt her breath hitch as the sounds of the enormous amounts of WHF fans resonated through the Harrikes Olympic Stadium. As the lights darkened, Anja closed her eyes as the camera faded to a closer view of the stage, where she stood still at the center of the Main Stage.

The music and entry commenced, with each little note from the instrumental causing the individual LED light nets to slowly light, trickling from the central plaza to the outer area with the camera fading to a slowly zooming out panorama view, casting a glance at the effect before a slight beat made itself known, causing the 'Forest of Light' domes to start pulsing softly to a blue color, and the LED light nets to go suddenly dark. As customary of previous World Hit Festivals with a present orchestra, RTI elected to play the song live, causing the instrumentation to resonate with a few echoes.

My world's fallen down, to the edge of disaster
I know who caused it, it's the monster inside me
I don't have a choice, I have to fight back
No more running, it's time

Anja was located at the main stage as a spotlight shined down upon her, revealing her to be wearing these clothes, and facing sideways as the camera faded to a close view of her solemn singing. Her eyes were closed for the first two lines, as she opened them with a fiery determination for the last two lines, her free hand cupped into a fist. She sang these lines directly to the spiral, which had glowed a grim dark red that befit the screen image that was projected behind Anja herself. These were various images of a post-apocalyptic world, one of ruined buildings and utter destruction. The LED light nets and Forests of Light pulsed to the beat with various colors of red and dark blue. At the end of this first verse, Anja turned towards the audience, preparing for the chorus...

This I swear, I will not back down
I promise you I will rise again
It's not a lie. I refuse to let you bask in my suffering
So make no mistake, I'll rise again, stronger than before

For the chorus, Anja belted out the words with immense passion as she had looked directly to the camera for most of it, pointedly directing her finger towards it and nodding passionately to affirm her words. Behind her, the post-apocalyptic image was broken with an image of a large bluebird taking its place and 'dissolving' the image at the start of the chorus, with the camera making a nice effect with Anja holding her arm out in time with the bird destroying the image of destruction. In its place, the possibilities of renewal began to sprout towards the screen. A slowly recovering city as well as a blue and green color palette began to propagate the Harrikes Olympic Stadium. The LED Light nets shined a bright blue, waving towards the increased intensity of the instrumentation as the camera expertly navigated between shots of the arena and back to Anja. At the last line, the constellation dome began to 'write out' the last line of lyrics in green, emphasizing 'I'll Rise Again' at the end of the chorus as they lingered when the rest of the words faded.

I know I've spent too long trapped in self-destruction
You thought I knew nothing, keeping your twisted pleasure
Of my pain unspoken... I draw the line here
No more crying, it's time

For this second verse, the camera mostly focused on Anja as she walked towards the spiral, the LED floor tracking each of her movements with wisps of white CGI smoke. The Harrikes Olympic Stadium went dark as the LED light nets ceased their movements, as the constellation dome began to inscribe key words that Anja was singing, writing this verse in red. Anja knelt down as she reached the left spiral, her vocal laced and borderline choked with emotion for the first two lines as the camera caught her emotional expression. At the third line, she stood up, with the LED floor screen drawing a line of blue fire near her approximate position that stretched out from stage tip to stage tip. The constellation dome erased every line except for the last two, as the LED Light nets shone a resonant blue as she walked to the center, her expression more determined than ever.

This I swear, I will not back down
I promise you I will rise again
It's not a lie. I refuse to let you bask in my suffering
So make no mistake, I'll rise again, stronger than before

The triumphant reprise of the chorus saw Anja unleash her all once again, with the bluebird from earlier re-appearing to give life to the background screen behind her. The Harrikes Olympic Stadium's interior began to radiate a bright blue as the background images, with the bluebird only appearing for a few seconds, saw images of hope and renewal. Anja had sung against a background of a slowly recovering nature, her passionate singing timed to the re-growth of trees interspersed with the reversal from a ruined city block to a vibrant city center. On the stage floor, each step that Anja took served to only give new life as her increased self-confidence and passion helped to revive the dead world presented in the first chorus. The instrumentation itself had more added layers compared to previously, with the orchestra hard at work to capture the rumbling, cinematic-effect of the instrumentation. The camera, throughout all of this, focused mostly on Anja, sparing a few shots for the multitude of stage effects that were occurring.

I know I'm the cause of my own downfall
But I am not worthless, nor won't I surrender
I'm broken, yet I'll always fight

The instrumentation was layered back to an intense series of piano chords for the bridge as the lights and effects in the Harrikes O. S. went dark save for the individual pulsing of each forest of light columns in the south standing area at each iteration of that one piano chord. On the screen, the bluebird re-appeared again, struggling to fly as it seemed to be push back against an unknown force. It fit cleanly with the solemn tone that Anja utilized, as she looked down on the bluebird feathers suddenly materializing on the floor screen. At the second line, the bluebird continued on forward as Anja began to march forward, the floor resonating with strong waves at her movements. The bluebird began to prepare its final push towards flight, as Anja ended the bridge with a rising high note, holding out one arm as she cupped it into a fist, looking ready to fight like the words she was singing.

This I swear, I will not back down
I promise you I will rise again
It's not a lie. I refuse to let you bask in my suffering
So make no mistake, I'll rise again, stronger than before

At the final reprise of the chorus, the instrumentation soared to new heights as the bluebird broke free from its suffering and flew higher than ever before, causing the LED Light nets to float in greater waves than before, the orchestra resonating stronger than before, and Anja unleashing her most powerful vocals yet as the bluebird remained in flight, before freezing into a majestic pose that would remain on the screen until the end of the entry. Like the bluebird, Anja had truly broken free as she was at her most emotional, with both spirals flashing bright blue and the floor and LED screens presenting freeform blue energy. At the last line, the camera focused on Anja as she unleashed her glory note on 'stronger than before,' arching her arm out and holding it even longer than the studio version.

(Stronger than before)
Stronger than before
Stronger than before

At the aftermath of that long note, the camera made a quick survey of the Harrikes Olympic Stadium, with the bluebird even breaking free from the screen and beginning to 'fly' out via an intricate hologram effect. It flew through Anja as she was passionately vocalizing the end of the song, singing 'Stronger than before' twice as the instrumentation calmed down. The song itself ended how it started, a soft set of notes that involved the LED Light notes to shine individually, before fading out... As the spotlight faded, so did the bluebird.

Anja nearly collapsed to her knees as all she could do was sob at the immense crowd reaction at the entry's end: even though Izmedu was a "new" country for the Euskal fanbase, it was already a favorite. All she could mouth was a thank you before she had to leave the stage.

I hope... She said to herself, not daring to complete the thought.

by **Euskirribakondara** » Fri May 19, 2017 11:26 pm

[20:41:42 - 20:43:02]

The background music began (0:40 - 2:00). The broadcast showed a small timelapse of the sun rising over Kastela, birds flying around and the building shadows shifting (the information in the bottom left appeared with an effect similar to this one). A few seconds later, the robotic voice of Tachicola could be heard saying, "Sielun huuto", and as those words were said, they were written on screen. Both boxes disappeared and then the camera turned around and showed a couple jogging, then it zoomed in on them. The camera followed them as they jogged through that park/mountain in Downtown Kastela (different shots and cameras were used to create a more dynamic effect; we even see a raccoon at some point). At some point they stop, they look at each other, they smile mischievously and then they shout "Vauvat!". The camera zooms out from the city of Kastela. In the next image, in a lakeside pier, a woman from Southwest appears, wearing the traditional dress. She has her back to the camera, and so, she spins around (in a very classy way). She's setting up a canoe with some other people. The camera does several shots from several angles of the canoe's setup. We discover at some point that two of the men helping are the couple from before. They carry Tachicola from a nearby cabin and they load him onto the canoe, saying "Minun skáániraita on...". The camera turns around to reveal the Adirañ Lakes (the background of the last frame) and the box with the logo (with the Tödlichebujoki flag) appears (with a heartbeat sound and visual effect and all). And gradually, the bottom box with the song information reveals itself.

by **Euskirribakondara** » Fri May 19, 2017 11:29 pm

02. Tödlichebujoku
Tachicola - "Naida, Tappaa ya Yuosta"
Genre: Industrial Dance
Title Translation: Marry, Kill and Run
Languages: English, Tödlichebujoki Suomi
Lyrics: Frej Kruckel, Kaspar Kruckel, Pats Vaidybanen
Music: Pats Vaidybanen
Tune: HERE ("Glowstix, Neon and Blood" by Incubite)

"Tachicola" is an anthroponymic construct used to apply a human demeanor to an intrinsically inhuman object that has begun to give voice and obtain knowledge. Its origins are unknown, but luckily for you Viisi Vanhaa Maitomiestá xD has been able to make use of the SterGo100 offices and privileges to bring you this metallic wonder to the World Hit Festival. Please do enjoy. Those eyes can see into you. Deep into you.

(Translation between brackets; that translation is given to the participating broadcasters to subtitle this performance when broadcasting.)

An automaton sits at center stage. Its eyes glow white and it begins to speak, its mouth moving as it does so. The stage lights flash rhythmically as the drumbeats start, with green lasers dancing about with the high notes.

Hold me

I know you

Its eyes flash red with the beat, staying red when it speaks a line, occasionally moving an arm and scribbling something on a notepad.

I know who you are
I found your whole family

Now let's play a game

Your mom is fucking torture
Marry, kill her quick and run
Shake it, lovely, ask them to make it up

Naida, tappaa ya yuosta (Marry, kill and run)
Shake it, lovely, ask them to make it up

Naida, tappaa ya yuosta (Marry, kill and run)
Shake it, lovely, ask them to make it up

Naida, tappaa ya yuosta (Marry, kill and run)
Shake it, lovely, ask them to make it up

Naida, tappaa ya yuosta (Marry, kill and run)
Shake it, lovely, ask them to make it up

Vauvat (Babies)

The camera focuses on its unending gaze. You feel a strange sensation of being watched from behind. When you close your eyes, you can still see its glowing orbs of light staring into you. There is no escape.

Your mom is fucking torture
Marry, kill her quick and run
Shake it, lovely, ask them to make it up

Naida, tappaa ya yuosta (Marry, kill and run)
Shake it, lovely, ask them to make it up

Naida, tappaa ya yuosta (Marry, kill and run)
Shake it, lovely, ask them to make it up

Naida, tappaa ya yuosta (Marry, kill and run)
Shake it, lovely, ask them to make it up

Naida, tappaa ya yuosta (Marry, kill and run)
Shake it, lovely, ask them to make it up

Vauvat (Babies)

[As the music pauses, the camera zooms into the automaton's face. It blinks. The camera then turns to the paper on which the automaton is scribbling upon. It is your face. Red lasers begin to flash out of the automaton's eyes to the beat.

Your mom is fucking torture

Marry, kill her quick and run
Shake it, lovely, ask them to make it up

Naida, tappaa ya yuosta (Marry, kill and run)
Shake it, lovely, ask them to make it up

Vauvat (Babies)

Naida, tappaa ya yuosta (Marry, kill and run)
Shake it, lovely, ask them to make it up

Naida, tappaa ya yuosta (Marry, kill and run)
Shake it, lovely, ask them to make it up

Tiedán kaiken sinusta. (I know everything about you.)
Olen siná nyt. (I am you now.)

A sound like wind blowing through a vast, empty hallway vibrates through the stage. The sound of your soul emptying into the automaton. It is you now.

The automaton sits on stage for a second as the lights return to normal. Suddenly, all of the lights go out, and when they come back on again a second later, there is nothing on stage. The audience at the Harrikes Olympic Stadium claps as the act finishes, but everyone is still wondering what is it that they just witnessed.

by **Euskirribakondara** » Fri May 19, 2017 11:32 pm

[20:47:35 - 20:48:54]

The background music began (1:30 - 2:50). The broadcast showed a small timelapse of the Main Bridge of Bagratvis, with a lot of people and bikes crossing over it (the information in the bottom left appeared with an effect similar to this one). A few seconds later, the soft voice of Kassmil could be heard saying, very mystically, "Siun Boter", and as those words were said, they were written on screen. Both boxes disappeared and then the camera zoomed in on a young woman, on a bike, crossing the bridge. The camera followed her as she crossed the bridge and continued her way through the maze of the Arts District of Bagratvis (different shots and cameras were used to create a more dynamic effect; people greeted her on her way). She stops in a riverside park, gets off her bike, and sits as close to the water as she can and she sings... "irdaj innk bej mel ixj bebes" before throwing a glass bottle into the river. The camera zooms out from the city of Bagratvis. In the next image, in an evergreen riverbend, a woman from Northern Sakhovelo appears, wearing the traditional dress. She has her back to the camera, and so, she spins around (in a very classy way, her braid moving along). She has the glass bottle of before in her hand. She performs a few moves from a traditional Georgian dance and then she starts walking. The camera turns and we can see the Mesneti Towers not too far away, and a few tourists taking pictures of them. The woman approaches them and one of them turns out to be Kassmil, to whom the glass bottle is given (the camera zooms in on the bottle). Kassmil opens it and takes out a note that reads, "Mevev dunu "Gujall Arinej" sos". The camera zooms out and focuses on the Mesneti Towers (the background of the last frame) and the box with the logo (with the Golutian flag) appears (with a heartbeat sound and visual effect and all). And gradually, the bottom box with the song information reveals itself.

by **Euskirribakondara** » Fri May 19, 2017 11:35 pm

03. Goluta
Kassmil - "Gujall Arinej"
Genre: Indie
Title Translation: Beautiful Evenings
Languages: Golutian, English
Lyrics: Kassmil Tennta, Omenne Petov
Music: Lohall Dedilekj
Tune: HERE ("1940 (Section Quartet Remix)" by The Submarines)

(Translation between brackets; that translation is given to the participating broadcasters to subtitle this performance when broadcasting.)

Kassmil stands in the main stage semicircle in front of her microphone and performs her song.

Jet risaj mett wogass us inxall menn addmo lisaj (Now I'm awake and see new people in my nights)
Agpju kjell deduss ki nisaj? (But why am I so alone?)
Sinn keddi stett dess til plusjaj (Because today I wish I was just with you.)
Now I'm alive

Jet metsaj pedsinn ef met (Now I'm happy not because of happiness)
Agg tjeraj tixnaj inx gujall (But because I know I'm sad during beautiful)
Arinej (Evenings)

Fejma mell teddojenn ellena agg ajaj obb mell krika (My mother told me of the perfect one, but I'm waiting untill she brings me him)
Tapp ja dess inx kell tjam lisaj (So while I see you in this light)
Irdaj innk bej mel ixj bebes (Please stay with me here)
Irdaj innk bej mel ixj bebes (Please stay with me here)
Now I've arrived

Jet metsaj pedsinn ef met, (Now I'm happy not because of happiness)
Agg tjeraj tixnaj inx gujall (But because I know I'm sad during beautiful)
Arinej (Evenings)

Now I will fly
I'll be free and in my mind
I've met the one I need the most
Now I shall find
Find the one I need the most
To give me what I need...
Inx gujall arinej (During beautiful evenings)

The Euskal audience really appreciates the voice of the singer and the instrumentation of the song, and thus this receives a much better reaction that ToBu's entry. In fact, the fact of having Golutian might see this entry enter into the top 5 of the televote in Euskirribakondara.

by **Euskirribakondara** » Fri May 19, 2017 11:36 pm

[20:51:54 - 20:52:33]

The background music began (2:20 - 3:40). The broadcast showed a small timelapse of the Plaza of the Old Tower of Dakı, with some people passing by (the information in the bottom left appeared with an effect similar to this one). A few seconds later, we hear the choir formed by the voices of Bernie, Jim, Mark and Arnold (The Bernsters) saying "Limitsiz ifade". As the words were said, they were written on screen. Both boxes disappeared and then the camera zoomed in on the woman holding the cellphone in the initial frame. She has a small (for us inaudible) conversation and then hangs up and moves on. She takes a taxi, and the cameras follow her, showing different places around the city of Dakı (different shots and cameras were used to create a more dynamic effect; her taxi even gets in an improvised race against another cab). She reaches the Öskal-Dakı International Airport and she goes to the 'Arrivals' area. There, a woman from Southern Azerxurade appears, wearing the traditional dress. She has her back to the camera, and so, she spins around (in a very classy way). As she spins around, the guys from the Bernsters appear behind her. The camera zooms out from Dakı. In the next image, some people are in a small gig, somewhere near a beach. It turns out that the band playing there is The Bernsters, and their biggest fan is the girl from the beginning, who says to the camera "benmy sesoundparack" before completing her sentence by singing "We're gonna have fun!". The camera turns around and we realize we're in Güldanmë Bay (the background of the last frame) and the box with the logo (with the Anollasian flag) appears (with a heartbeat sound and visual effect and all). And gradually, the bottom box with the song information reveals itself.

by **Euskirribakondara** » Fri May 19, 2017 11:39 pm

04. Anollasia
The Bernsters - "Down In The City"
Genre: Rock
Language: English
Lyrics: Bernie, Jim, Mark, and Arnold Bernson
Music: Bernie, Jim, Mark, and Arnold Bernson
Tune: HERE ("Gold On The Ceiling" by The Black Keys)

The Bernsters are a rock band formed in Jefferton, Anollasia in 2001. They are, in reality, brothers of the Bernson family, consisting of Bernie (lead vocals), Jim (guitar/backing vocals), Mark (drums), and Arnold (bass/backing vocals) Bernson. This is where the band's name originates from. Their sound ranges from heavy to light, being known for alternative rock, hard rock, pop rock, and soft rock. They released their first album, The Bernsters, in 2003. It was received well and gave the band some recognition. Their next album, Tides, was released in 2004 and propelled them to stardom. They followed with the albums It Berns (2005), The Final Nail (2007), Börnstörz (2008), Virgo, Gemini, Taurus, Capricorn (2011), Faces (2012), Retsnreb (2013), and Reflections (2016). Many of these albums have sold incredibly well, leading to The Bernsters becoming the bestselling Anollasian band of all time. They have also performed in Anollasia's WorldVision debut (WorldVision 22) with the song "Just Keep Going On" and in the 11th World Hit Festival with the song "All I Want Is Love".

A spotlight shines on Jim, as he starts with a rough guitar riff. He's wearing a black vest, white shirt, black pants and sunglasses. He has guitar pedals by his feet, currently playing with the distortion pedal. The rest of the stage is illuminated, revealing the band: Bernie in front with a microphone in his hand, Mark on the drums at the back, and Arnold on bass next to Jim. Bernie is wearing a buttoned up black leather jacket with dark blue jeans, Mark is wearing a white shirt and non-visible (because the drum kit is blocking it) light blue jeans, and Arnold is wearing a black (cotton) jacket, white shirt, and sunglasses like Jim's. The screens show scenes taken of Jefferton taken while driving down Peace Avenue, the most prominent avenue in the city and the longest road in the nation. As the band starts playing along, Jim switches to the fuzz pedal and plays a choppier riff. The screens stop showing the footage and turns orange, gradually changing colour. He quickly switches back to distortion, while Bernie starts singing.

I feel the pain
It strikes again
She told me to go
She doesn't love me anymore

The stage quiets down as Bernie is strolling down the stage, while Jim and Arnold sing into their microphones on their own respective microphone stands. They create an otherworldly harmony with Bernie.

I need to drown out this feeling

Jim then erupts with a powerful guitar riff to provide a transition to the chorus. Bernie then runs from one side of the stage to the other, singing "we're gonna have fun" and then runs to the other side of the stage repeating that same verse. The screens continue showing footage of Jefferton, this time showing theatres and bars in an entertainment district.

We're gonna have fun
We're gonna have fun

Bernie makes his way slowly back to the band, singing in harmony with Jim and Arnold. Bernie makes various hand gestures, such as pointing his thumb backward, signalling "Uptown", waving his free hand around to signify "roaming freely", and pointing to his head, showing "my mind". Jim is back to his fuzz pedal and plays the choppy riff again. The screens show footage of Downtown Jefferton and Uptown Jefferton at night.

Down in the city
First Downtown, then a tram to Uptown
Roaming freely
I'm so drunk but can't get her out of my mind

Jim, back to distortion, plays a guitar solo, jamming out with the rest of the band. The screens are showing nightlife in Jefferton, especially in Uptown which is a very upscale and lively area of the city, before changing back to changing colours. The band are looking at each other and smiling, while Bernie plays air guitar next to Jim. Jim ends his solo, allowing Bernie to sing the next verses. He puts his palm on his heart and imitates a gun with his hand. He then strolls along the stage.

Heart armed with guns
Barbed wire hands
She'll stone me if I come back
I'd best leave for a while

Bernie stops in his tracks and sings in harmony with the guitarist and bassist again.

I need to drown out this feeling

As the guitar riff starts again, Bernie jumps around and sings. Now the screens show footage of Jefferton's beaches and a theme park.

We're gonna have fun
We're gonna have fun

Bernie sways toward the front of the stage while singing the chorus. There's the same footage of Downtown and Uptown Jefferton.

Down in the city
First Downtown, then a tram to Uptown
Roaming freely
I'm so drunk but can't get her out of my mind

The screens show more nightlife of Jefferton, through its nightclubs, stores, restaurants, and other businesses. Jim runs up to the front of the stage and plays the guitar solo, sort of in an 'in your face' manner. Seeing as he has nothing much to do during the solo, Bernie is reaching towards the audience. Once the guitar solo is over, Jim goes back to the powerful guitar riff and runs back to the band. Bernie raises his fist in the air while singing.

We're gonna have fun
We're gonna have fun

Once again, the chorus as usual. Except this time, Bernie unbuttons his jacket to reveal a shirt with the Euskirribakondaran flag on it. A great portion of the audience cheer at the sight of the host flag. The screens also show live footage of the audience in the arena. As a result, the audience cheers even louder and wave at the camera, bewildered with excitement. As the chorus is back, the screens show footage of Harrikes.

Down in the city
First Downtown, then a tram to Uptown
Roaming freely
I'm so drunk but can't get her out of my mind

The screens splice footage of Jefferton with footage of Harrikes, comparing and contrasting the unique culture and atmosphere of each city. The audience, although quieter, is still cheering.

Down in the city
First Downtown, then a tram to Uptown
Roaming freely
I'm so drunk but can't get her out of my mind

The band plays the same notes, leading up to the song's inevitable end. The lights intensify and then go out as the band finishes the song with a bang. The audience cheers while the lights come back on as Jim plays a very short coda. "Thank you, Harrikes!" Bernie shouts and they leave the stage by hopping onto a fake tram which had been passing by the back of the stage. The tram vanishes into the realm of the backstage.

by **Euskirribakondara** » Fri May 19, 2017 11:39 pm

[20:56:32 - 20:57:51]

The background music began (3:10 - 4:30). The broadcast showed a small timelapse of the Colorful Walkway of Qahera, with a lot of people passing by (some of them just passing, some others taking pictures of it); (the information in the bottom left appeared with an effect similar to this one). A few seconds later, we hear Kala saying "Lugha Shayie'"; words that were written on screen as she said them. Both boxes disappeared and then the camera zoomed in on one of the women of the initial frame. She is running down the stairs and the camera is frantically following her. She goes along a large section of the Colorful Walkway and we are able to see the different buildings and businesses on it, showing us the dynamism of a city like Qahera (different shots and cameras were being used). At one point she reaches an antiquities shop and gets a phonograph. The camera zooms out from Qahera. In the next image, people are on a sailboat down the 'Alkhi River. A woman from Tal-Arabak appears, wearing the traditional dress. She has her back to the camera, and so, she spins around (in a very classy way). She has a vinyl in her hand which she then proceeds to play in the phonograph. The camera turns around to reveal a boat full of women surrounding Kala singing with her. The woman from the initial frame says "My soundtrack is..." in Arabic and then everyone is heard singing "'Till we're free from whatever". The camera zooms out to reveal a beautiful image from the 'Alkhi River (the background of the last frame) and the box with the logo (with the Kwadaian flag) appears (with a heartbeat sound and visual effect and all). And gradually, the bottom box with the song information reveals itself.

by **Euskirribakondara** » Fri May 19, 2017 11:41 pm

05. Kwadai
Kala - "Sounds"
Genre: Electropop
Language: English
Lyrics: Rashid Ghazzawy, Kala
Music: Rashid Ghazzawy, Ingrid Bjurman
Tune: HERE ("Now Or Never" by Halsey)

The stage opened with a gentle glow of pulsing turquoise light over the upper half while the lower to the floor consisted of projected archways, similar to those typically found in a mosque or shrine. Apart from that, the stage was empty. Kala stood centre stage dressed in a black floor length but narrow dress topped by a veil. Her head pointed down as if she were staring at the floor as she began to sing the first verse. After the first few lines she looked up and two black clad female dancers peeled back her veil tossing it aside a small Kala began the chorus.

Will you fill my empty heart
Or leave it hanging
I'm trying to keep you round for me
Everybody's saying you're not for me
Watching the smiles
In the places free from me
Not a whole lot of love
In this world built not for you or me
How can you still want me?
When you're told otherwise?
Why so picky and wanting?
There's more there right behind
But I ain't mad or faulting
Now I know that you're mine
Baby we've done enough talking
I think it's time now, time now

While singing the words now and sound the dancers and Kala herself crouched lower and lower to the ground in sync with the drop in melody. As for staging, it remained dim, but a garden could now be seen behind the arches and the floor changed to look as if it were a giant pit or chasm with the three performers standing in craggy pedistools protruding out.

So come on save me now, now, now
Now, now, now
To be free together
I won't hear a sound, sound, sound
Sound, sound, sound
'Till we're free from whatever
We can't always go hide
From whatever
I won't hear a sound, sound, sound
(Sound, sound, sound)
Free together

Slowly the scene faded however back to simply the pulsing turquoise lights and the back screen showing movements of a seismograph in tune with the ups and downs of the beat. Now Kala started to walk around the stage circling the dancers who were performing various fast paced but almost yoga like positions.

They're shutting down our minds right now
Why can't you put up a fight
I'm saying we got everything
Yet everything's not enough for me
By now been told it all
But you could never spit it out for me
I'm yelling to a wall
That you could never tear down for me
How can you still want me?
When you're told otherwise?
Why so picky and wanting?
There's more there right behind
But I ain't mad or faulting
Now I know that you are mine
Baby we've done enough talking
I think it's time now, time now

The resumption of the chorus was paired with Kala leaving the stage and advancing along the catwalk toward the plaza in the centre. The camera followed her as the stage became dark and forbidding with the catwalk a bright light as if leading out of a tunnel to a better place. Here it was noticed the back of her dress unfurling into a cape (also black, but encrusted with sparkling studs).

So come on save me now, now, now
Now, now, now
To be free together
I won't hear a sound, sound, sound
Sound, sound, sound
'Till we're free from whatever
We can't always go hide
From whatever
I won't hear a sound, sound, sound
(Sound, sound, sound)
Free together

For the bridge she halted in the plaza and her two dancers circled her while keeping their right hands on her side forming a wheel shape of sorts. The angle changed to look down on the group with Kala looking up and stretching her hand up as a pleading type of gesture, her face showed pain and at the same time lust.

Hmm
Why not
Play your cards now
Watch them waste their time now
Play your cards now
Watch them waste their time now
Play your cards now
Watch them waste their time now
Play your final checkmate
Right 'bout now

Finally, they marched elegantly back along the other catwalk to the main stage which was now illuminating in aqua and turquoise light with the arches growing taller and red flowers and ivy growing out from the previously dim garden out onto the floor. This feeling of relief and freedom matched with the fact that Kala's hair hung loosely on her shoulders whereas it had been neatly tied back during the rest of the song.

So come on save me now, now, now
Now, now, now
To be free together
I won't hear a sound, sound, sound
Sound, sound, sound
'Till we're free from whatever
We can't always go hide
From whatever
I won't hear a sound, sound, sound
(Sound, sound, sound)
Free together

Now at an end with a circle of light in her and her dancers, Kala blew a kiss to the crowd, smiling gently and thanking them. Much to cheering of Kwadaian, Euskal and other international fans.

by **Euskirribakondara** » Fri May 19, 2017 11:41 pm

[21:01:28 - 21:02:47]

The background music began (4:00 - 5:20). The broadcast showed a small timelapse of the Leaning Temple of Zhounkhap (this one different to the previous ones because it spanned for several days, showing a few sunrises and sunsets); (the information in the bottom left appeared with an effect similar to this one). A few seconds later, the OML! girls said "haengbog, pyeonghwa"; words that were written on screen as they said them. Both boxes disappeared and then the camera turned around to zoom in on an elder lady who was passing by. She is on her way to the local market, to buy food for a special lunch. The liveliness of a Narni market is shown on screen (different shots and cameras were being used for a dynamic effect), as well as that of the lady's kitchen. She then takes the ferry and the camera zooms out from Zhounkhap. In the next image, a woman from Narni appears, wearing the traditional dress. She has her back to the camera, and so, she spins around (in a very classy way). She then helps the elder lady get off the ferry and takes her somewhere. Along the way, the lady says "nae saundeu teulaeg-eun-i" and she completes it with "Fell in lo~o~o~o~ve!". We realize we're in an outdoor romantic picnic between the elder lady and her husband, surrounded by the OML girls singing live for both. The camera zooms out and away to reveal an aerial image of the Southwestern Narni National Park (the background of the last frame) and the box with the logo (with the Gimian flag) appears (with a heartbeat sound and visual effect and all). And gradually, the bottom box with the song information reveals itself.

by **Euskirribakondara** » Fri May 19, 2017 11:43 pm

06. Gim
OML(Oh, My Lady!)- "Fell In Love"
Genre: Gimian Pop
Language: English
Lyrics: OML
Music: OML
Tune: HERE ("Coloring Book" by 오마이걸)

Oh, My Lady! (Gimian: 오마이레이디) is an eight-member Gimian girl group formed by WM Entertainment. They debuted on April 21, 2015, with an eponymous mini-album.

To elaborate on the group members, Hyojung (Gimian: 효정) was born Choi Hyo-jung (Gimian: 최효정) on July 28, 1994 (age 22) in Ansan, Gim. She is one of the main vocalists and leader of the group. Weeks after Hyojung was born, she and her family moved to Manticore and lived there until she turned six.

JinE (Gimian: 진이) was born Shin Hye-jin (Gimian: 신혜진) on January 22, 1995 (age 22) in Joun, Gim. She is one of the sub-vocalists for the group.
In her first year of high school, JinE traveled from her hometown in Joun to Ansan by herself to audition for WM Entertainment. She passed WM Entertainment's audition and was a trainee for four years with Jiho before debuting with Oh, My Lady! In August 2016, JinE took a temporary break from Oh, My Lady's activities due to symptoms of anorexia. Since then she has been living with her parents in Joun, receiving treatment and diligently working on regaining her health. On March 13th, 2017, WM Entertainment posted an announcement on Oh, My Lady's fancafe stating that JinE will not be participating in Oh, My Lady's latest album, Fell In Love. She will continue resting while the remaining seven members promote their new album.

Mimi (Gimian: 미미) was born Kim Mi-hyun (Gimian: 김미현) on May 1, 1995 (age 21) in Ansan, Gim. She is the main rapper and one of the main dancers.

YooA (Gimian: 유아) was born Yoo Yeon-joo (Gimian: 유연주) on September 17, 1995 (age 21) in Ansan, Gim. She legally changed her name to Yoo Si-a (Hangul: 유시아). She is the face of the group, one of the lead vocalists and one of the main dancers.

Seunghee (Gimian: 승희) was born Hyun Seung-hee (Gimian: 현승희) on January 25, 1996 (age 21) in Seosan, Gim. She is one of the main vocalist and in charge of highest-range backing vocals of the group.

Jiho (Gimian: 지호) was born Kim Ji-ho (Gimian: 김지호) on April 4, 1997 (age 20) in Joun, Ansan. She is the visual of the group and one of the lead vocalists.

Binnie (Gimian: 비니) was born Bae Yu-bin (Gimian: 배유빈) on September 9, 1997 (age 19) in Seosan, Gim. She is a sub vocalist for the group.

Arin (Gimian: 아린) was born Choi Ye-won (Gimian: 최예원) on June 18, 1999 (age 17) in Joun, Gim. She is a sub vocalist and maknae(youngest) of the group.

Hyojung, Mimi, YooA, Seunghee
Jiho, Binnie, Arin, All Together

The stage is dark, but, within a few seconds, lights are turned on. The background consists of multicolored circles moving from right to left on its upper part, and multicolored crayons are moving right to left on its lower part. The girls are wearing light-blue and white cropped tops with short skirts as shown in the video(Link at the end of the sentence.). The girls are lined up in a single line at the center front to back(Hyojung in the front), and once the music starts. they disperse left and right, leaving Jiho at the center of the stage. Jiho dances in the center of the stage, along with other members, until Hyojung starts singing alonefrom the right side of the stage.

[0:00 - 0:09]
Hey, Hey! (You stop right there!)
Hey, Hey! (You stop right there!)

Hyojung and Mimi start singing as most of the girls lined up behind her and danced.

[0:09 - 0:17]
Wait, there! Have I seen you before?
I think I have seen you before.
Wait, there! Can you make some time?
This can't be real; this is a dream!

Seunghee, Arin, Binnie, and Mimi then start singing with Seunghee starting to sing first when she is at the left side of the stage.

[0:17 - 0:26]
This may be a story beginning,
This'll be a joyful story,
Can I ask you a favor?
WIll you go out with me?

Jiho moves to the center of the stage as Mimi moves towards the back of the stage covered by her. She puts her hands under her neck to emphasize her pretty face towards the camera. Arin does the same thing on the right side of the stage, and Binnie, when her part came, had two hands together, as if she were praying, while she was smiling.

[0:27 - 0:35]
Take me with you around the world,
Take me with you with heavenly hands,
Take me with you ; Oh, this joyful feeling,
This is per-fect! Ya-y!

YooA, Seunghee, and Hyojung sing the next part, while dancing the song's signature move. They first move their arms from head-high towards the front of the stage, lowering their arms every beat. After that, they crouch and rotate their right arms while aiming their left arms towards the audience. After that, they all crouch, except for Hyojung, who stands up and sings.

[0:36 - 1:00]
Bang, bang, fireworks in my heart,
Bang, bang, 'fetti goes, "Pop!"
Everywhere, it's par-ty time! I just--
Fell in lo~o~o~o~ve!
Fell in lo~o~o~o~ve!
Fell in lo~o~o~o~ve,
Fell in love, in the blink of an eye, look, I really fell in love.

Jiho, Binnie, and YooA start singing as they stood up again. The camera zooms in on YooA covering the right half of her eye and flipping the hand used to cover it and smiling.

[1:01 - 1:09]
Oh dear, is this real-ly a dream?
I am walking on stairs of clouds,
Your eyes are like stars of a half-moon,
Oh, oh, oh, oh, oh, oh, oh.

Hyojung starts singing, and then when Seunghee sings, the girls all put their hands on their waists and bend downwards and then back up again.

[1:09 - 1:18]
I was stealing glances at you,
Then when our eyes meet, my heart drops,
Don’t stop, hey, oh my,
Uh, hey, oh my!

Jiho moves to the center of the stage as Mimi moves towards the back of the stage covered by her. She puts her hands under her neck to emphasize her pretty face towards the camera. Arin does the same thing on the right side of the stage, and Binnie, when her part came, had two hands together, as if she were praying, while she was smiling.

[1:18 - 1:27]
Take me with you around the world,
Take me with you with heavenly hands,
Take me with you; Oh, this joyful feeling,
This is per-fect! Ya-y!

YooA, Seunghee, and Hyojung sing the next part, while dancing the song's signature move. They first move their arms from head-high towards the front of the stage, lowering their arms every beat. After that, they crouch and rotate their right arms while aiming their left arms towards the audience. After that, they all crouch, except for Hyojung, who stands up and sings.

[1:27 - 1:53]
Bang, bang, fireworks in my heart,
Bang, bang, 'fetti goes, "Pop!"
Everywhere, it's par-ty time! I just--
Fell in lo~o~o~o~ve!
Fell in lo~o~o~o~ve!
Fell in lo~o~o~o~ve,
Fell in love, in the blink of an eye, look, I really fell in love.

Mimi, then, goes to the center of the stage, starting to dance and, during her dance, forms scissors using her hands and putting them over her eyes.

[1:53 - 2:02]
The more I see you, the more I like you, hey,
Without knowing, my eyes go to you again, hey,
I wanna hear you talk all night,
I’m colored by you, yeah, colored, yeah

YooA, then, goes to the center of the stage and dances.

[2:03 - 2:11]
The more I see you, the more I like you, hey,
Without knowing, my eyes go to you again, hey,
I wanna hear you talk all night,
I’m colored by you, yeah, colored, yeah

[2:12 - 2:19]
Take me with you around the world,
Take me with you with heavenly hands,
Take me with you; Oh, this joyful feeling,
This is per-fect! Ya-y!

YooA, Seunghee, and Hyojung sing the next part, while dancing the song's signature move. They first move their arms from head-high towards the front of the stage, lowering their arms every beat. After that, they crouch and rotate their right arms while aiming their left arms towards the audience. After that, they all crouch, except for Hyojung, who stands up and sings.

[2:20 - 2:46]
Bang, bang, fireworks in my heart,
Bang, bang, 'fetti goes, "Pop!"
Everywhere, it's par-ty time! I just--
Fell in lo~o~o~o~ve!
Fell in lo~o~o~o~ve!
Fell in lo~o~o~o~ve,
Fell in love, in the blink of an eye, look, I really fell in love.

The girls sing the chorus one more time. This time, the audience joins them, the chorus is quite catchy, and everyone knows this part of the lyrics already...

[2:46 - 3:06]
Lo~o~o~o~ve!
Fell in lo~o~o~o~ve!
Fell in lo~o~o~o~ve,
Fell in love, in the blink of an eye, look, I really fell in love.

The bubbly, happy atmosphere of the song really did the trick for the Euskal fans, who cheered a lot at the end of the song for OML (rendering the group's "thank you" almost inaudible). Was it going to do the trick in other countries?

by **Euskirribakondara** » Fri May 19, 2017 11:44 pm

[21:06:01 - 21:07:20]

The background music began (4:50 - 6:10). The broadcast showed a timelapse of the Central Avenue Intersection of Menvashat (with hundreds of cars going through it); (the information in the bottom left appeared with an effect similar to this one). A few seconds later, the Monaerese entrant is heard saying "f*ing rad!" (censored for the broadcast). Both boxes disappeared and then the camera zoomed in on one car that had a family inside. They're on a family car trip towards the Cascades of Hayk. The night passes and we see several landscapes of rural Erebuni (different shots and cameras were being used for a dynamic effect). At one point the camera zooms out from the Erebunakan countryside. In the next image, a woman from Erebuni appears, wearing the traditional dress. She has her back to the camera, and so, she spins around (in a very classy way). She introduces the family to Leviticamicasicakikatikadikalikalika McMadooralananananafedoramorasorgoratorakurannam. Altogether, they start trekking around the Cascades of Hayk. At one point the girl of the family says "my boombox playlist is..." and then the Monaerese entrant falls into a lake; to which everyone (the entrant included) shout, rhythmically, "help help help help help help". Everyone jumps to the lake and the camera turns around to reveal the actual Cascades of Hayk (the background of the last frame) and the box with the logo (with the Monaerese flag) appears (with a heartbeat sound and visual effect and all). And gradually, the bottom box with the song information reveals itself.

by **Euskirribakondara** » Fri May 19, 2017 11:45 pm

07. Monaeroglissuerest Pleindanguilles
Leviticamicasicakikatikadikalikalika McMadooralananananafedoramorasorgoratorakurannam - "Help"
Genre: Pop
Language: English
Lyrics: Leviticamicasicakikatikadikalikalika McMadooralananananafedoramorasorgoratorakurannam
Music: Leviticamicasicakikatikadikalikalika McMadooralananananafedoramorasorgoratorakurannam
Tune: HERE ("Get Frighten" by Lolita Zero)

Yes, we're back. We convinced someone at NNN to give us money using our powers of suggestion as learnt from a book a guy in accounts who is now the Senior Junior Senior Managing Superdirector of Accounting Subunit B5.4231a pick up for 2p in a car boot sale. Hope you enjoy!

Leviticamicasicakikatikadikalikalika McMadooralananananafedoramorasorgoratorakurannam stands in the middle of the stage, golden light coming from her feet across the LED floor. A single, faint, golden light shines on her as the intro plays, but this grows more and more intense as the intro carries on. The camera pans around as is normal. As the music fully kicks in, a group of 6 dancers suddenly appear from somewhere (or maybe they'd been in the darkness all along, who knows) and begin doing a dance part way between the Birdie/Chicken Dance and some sort of serious choreographed dance routine. One of the dancers picks up Leviticamicasicakikatikadikalikalika McMadooralananananafedoramorasorgoratorakurannam as she begins singing, and she appears to try to escape. During the second 'verse', all of the dancers crowd around Leviticamicasicakikatikadikalikalika McMadooralananananafedoramorasorgoratorakurannam as she does a series of vogue-like (as in the Madonna music video) poses.

Help help help help help help
Help help help help help help
Help help help help help help
Help help help help help help
Please help me

Help help help help help
Help help help help help help
Help help help help help help
Help help help help help help
Please help me

The dancers pull ou strands of cloth from Leviticamicasicakikatikadikalikalika McMadooralananananafedoramorasorgoratorakurannam's dress, before dissapearing into the darkness as a wind machine blows the cloth around and behind her, with Leviticamicasicakikatikadikalikalika McMadooralananananafedoramorasorgoratorakurannam bending on one knee and staring straight into the camera, as if trying to weather the wind. At the end of the second part of this section, she reaches out to the camera as it pans away from then.

I hear the demons
Or is it cold callers?
I don't want a fridge!

Just leave me alone
No wait, please don't
Come on, help me

An array of blinding lights a la Georgia Eurovision 2016 start being an array of blinding lights a la Georgia Eurovision 2016, temporarily blinding a large section of the audience. The stage descends into utter anarchy, with all of the dancers running around and jumping, circling Leviticamicasicakikatikadikalikalika McMadooralananananafedoramorasorgoratorakurannam like sharks.

Help help help help help help
Help help help help help help
Help help help help help help
Help help help help help help
Please help me

Help help help help help
Help help help help help help
Help help help help help help
Help help help help help help
Please help me

Help help help help help help
Help help help help help help
Help help help help help help
Help help help help help help
Please help me

Help help help help help
Help help help help help help
Help help help help help help
Help help help help help help
Please help me

I hear the demons
Or is it a politican
Not strong and stable for me

A coalition of chaos
Tearing me apart
Come on, help me

The lights cease being an array of blinding lights a la Georgia Eurovision 2016, and instead a single spotlight now shines on Leviticamicasicakikatikadikalikalika McMadooralananananafedoramorasorgoratorakurannam who sits on a platform in the middle of the stage which is glowing various bright, luminous colours. Her dancers begin crawling and scrambling onto the platform, as she appears to try and kick them away, all whilst singing into the camera.

I must go on
I must fight this fight
I will not bend over, I will go
Seek the wisdom of
A thousand buddhist monks
Maybe write a book!

The lights return, after what was a brief respite, and now the pyro begins flaring randomly. More dancers appear in the top left and right stages, waving Monaero flags and in very scanty costumes, dancing around like raving lunatics. Leviticamicasicakikatikadikalikalika McMadooralananananafedoramorasorgoratorakurannam begins walking down the spiral, the pyro there flaring as she walks, and she walks down the catwalk as of the lights, strobing and the pyro carry on. The cameras return to the stage, where the dancers are now squirming around in the water pit, all writhing on top of one another. As the song ends, the cameras return to show Leviticamicasicakikatikadikalikalika McMadooralananananafedoramorasorgoratorakurannam, who rips of her dress to reveal a luminous green mankini - yes, it was a man all along.

Help help help help help
Help help help help help help
Help help help help help help
Help help help help help help
Please help me

Help help help help help
Help help help help help help
Help help help help help help
Help help help help help help
Please help me

Help help help help help
Help help help help help help
Help help help help help help
Help help help help help help
Please help me

Help help help help help
Help help help help help help
Help help help help help help
Help help help help help help
Please help me

Leviticamicasicakikatikadikalikalika McMadooralananananafedoramorasorgoratorakurannam, who's real name is Michael Robson, shouts 'Thank You World! Help Me, Please!' as he leaves the stage with his dancers. The audience is puzzled, and the song is the least cheer/applauded act of the night so far. The camera captures a puzzled group of fans who are looking at the cameras like "WTF?", before going on to show a panoramic view of the whole stadium. The next act was their favorite, though, so the "low volume" of the Harrikes Olympic Stadium wasn't going to last any longer.

by **Euskirribakondara** » Fri May 19, 2017 11:45 pm

[21:10:08 - 21:11:27]

The background music began (6:10 - 7:30). The broadcast showed a small timelapse of the Manã Square of Tikuna (with several people crossing and/or using it); (the information in the bottom left appeared with an effect similar to this one). A few seconds later, the voice of Samira is heard saying, passionately, "Haixea, Kolorak". Both boxes disappeared and then the camera zoomed in on a guy passing by. He's walking along the city, trying to reach the Manguaré Arena, where the 10th World Hit Festival was hosted. As he walks around we see a lot of places around Tikuna (different shots and cameras were being used for a dynamic effect). The guy smiles. The camera almost zooms out but it rather turns around and zooms in on the Manguaré Arena. Right in the entrance, a woman from Silva appears, wearing the traditional dress. She has her back to the camera, and so, she spins around (in a very classy way). Samira was besides her, and she enters the Arena with Samira and the guy. The guy keeps walking (everything is dark around him and the woman) and at one point he says, "la mia banna sonora è...". Then the lights turn on and we see a huge crowd showing their support for Samira. They sing altogether "Ṭawwal Bālak", to which Samira just laughs and smiles excitedly. The camera zooms out from the Arena, and it zooms in somewhere in the Mikunan Rainforest, to capture the Pink Mikunan River Dolphins playing around (the background of the last frame) and the box with the logo (with the Euskal flag) appears (with a heartbeat sound and visual effect and all). And gradually, the bottom box with the song information reveals itself.

by **Euskirribakondara** » Fri May 19, 2017 11:46 pm

08. Euskirribakondara
Samira - "طوّل بالك"
Genre: Indie, Alternative
Title Transcription: Ṭawwal Bālak
Title Translation: Be Patient
Languages: Euskal, Birugaian, Khauo, Aranese, Euskal Arabic, Greenlandic
Lyrics: Samira Kareli
Music: Samira Kareli
Tune: HERE ("When We're High" by LP)

Disclaimer: Even though LP is the OOC artist of this tune, Samira is inspired by Anush Arshakyan... So imagine the same tune, but sung with this voice.

The WHF32 entrant from Euskirribakondara had been kept as a secret until the very last days. And when she was finally revealed, the excitement could be felt in the Euskirribakondaran air. Samira Kareli has righteously been called the "Queen of Euskal Music", and she was the perfect fit to fly the Euskal colors in home turf: she was no stranger to the multiverse musical contests (having participated twice in WV, and twice in WHF... winning WHF9), she loved the diversity of cultures and languages of her nation (writing lyrics in most of the seventeen official languages of the country), and she believed in music as a tool to join people from many different backgrounds under one feeling, one beat. She was internally selected by EUSK1, and she composed her entry staying true to her style: music that is not exactly mainstream, and lyrics that require some kind of analysis behind it.

Song Intro by Samira: "Recently, I've gone through many moments in which I doubted my decisions and wondered if the path I took was the path I should have taken. It is not the first time this happens to me, or to anyone; but this time I was conscious enough to realize that life is nothing but a constant process of making decisions, and owing them, in whichever way we can do best. "Ṭawwal Bālak" is about realizing that everything has its own time, its own rhythm, and that we have to take chances even when we can never be completely sure about what we're doing and what's going to happen in the future. It's about appreciating life with that in mind; and about giving out what you want, whenever you want, even if you can't expect anything in exchange. It's just betting on yourself!"

Samira was wearing an orange blouse with shoulder pads and a velvet sash (somewhat visually close to THIS), some golden jewelry (similar in shape to the silver jewelry of the previous picture), her hair in a bun (like in the picture), brown ripped jeans (not too ripped, only a few lines) and high red/orange-ish heels. Samira would have the help of two choirs of eleven women each; all of them dressed in a dress like THIS (but in white and a special fabric that "takes" the color of the light that shines upon it); a modified orchestra of forty-four (the Harrikes Philharmonic); a crew of nineteen backing dancers (of several races and genders; all of them dressed in urban-y outfits); and two castellers. Totalling, eighty-eight people.

(Translation between brackets; that translation is given to the participating broadcasters to subtitle this performance when broadcasting.)

The stage and the stadium were pitch black and ready after the Monaero's performance. Samira would begin the song singing as the top of a pilar de 3 (a castellers' construction), with both of her arms forward (she was using a headset microphone). This pilar was being done on the Central Plaza. The orchestra was scattered among the two orchestra pits; whilst the choirs were, one on the left stage, and the other one in the right stage (both at level 2).

The song began (OOC: all the music was going to be played live by the Harrikes Philharmonic, so the sound would be more powerful and harmonious than in the IRL audio). The camera focused on the hand of a guitarist of the Philharmonic, and zoomed out as he played the very first notes of the song to a roaring of the crowd, as the spotlights brought back the light into the stadium. The image quickly faded into that of Samira's face, who began to sing. Behind her, we can see the light columns of the south seating area; all of them gradually coming into life (with a yellow/golden/orange/brown palette of colors). Samira is focused: not only on not falling from the pilar, but also in her song, in the lyrics, in the energy of 222,222 people inside the Harrikes Olympic Stadium. We can see in her eyes that she's determined to use this song as a healing for herself, as a shout of empowerment, as a breaking point in her life. She's not looking into the camera, though; and for each word, a different camera and angle is used (zooming in on her face).

[0:03 - 0:11]
Biziapez (Everyone has lived)
Baleneplarpez (Everyone has cried until they've fallen asleep)
Balenbarreapez (Everyone has laughed until they've ran out of breath)

A new camera zooms out from her face and we can see that she is actually, standing on a pilar. As the crowd realizes, a huge roar is heard again. Castells are a very important Aranese tradition, and it symbolizes courage and strength, which is exactly what Samira was conveying by standing there, hitting the right notes, more than three meters above the ground. She kept on singing as the camera slowly moved away (gesturing in the "us" and "them" words), to finally move up and look at the constellation dome (lit with the current stars above Harrikes), to end on a blurred image of those stars.

[0:12 - 0:17]
Maitesupez (Everyone has loved)
Gu, haikak, airenez (Us, them, all of us have been charged with the same crimes)

In the main stage area, the only visible part (thanks to the bright spotlights) is the orchestra pits and the main stage (which has already set up one of the special screens, the one on the back). Eight backing dancers are standing in the semicircle (in front of the special screen), and they perform as Samira keeps on singing (she isn't shown on screen, because she's being descended from the pilar). Their dance incorporates elements of urban music, hip-hop and contemporary dance, so it is still very artistic but bold in appearance and movements (you could say it has a lot of character). They are wearing white outfits, which contrast very nicely with the black floor; and their movements are captured by cameras going around them.

[0:20 - 0:27]
Ni niha (Of sometimes having brought myself down)
Aixeaki dak (I'm guilty too)
Berrada guren majormak (Again, we build our own walls that contain us)*

*In Euskal philosophy, the human soul is perceived as a fluid, akin to a river. It is said that when the soul doesn't "flow", it has encountered a containing wall; and when it "flows" with a lot of strength, it is said that it has become a waterfall. Euskal people are all looking to be waterfalls in life and avoid containing walls.

The dancers continued their performance, but suddenly, water started falling in the additional screen, creating a visual (and actually, physical) waterfall behind them, to the awe of the audience.

[0:29 - 0:34]
Guren akaxak, gu erakiripesa (But we also build our own waterfalls)

The attention went away from the main stage as it "turned off" (except for the orchestra pits, of course). The language of the song (which until now had been only Euskal) would now switch into Greenlandic. Samira was already standing on the left catwalk, with six of her backing dancers (dressed in a sepia tone) between her and the camera taking this shot. They were striking poses every second, with the flags of the fans waving on their back.

[0:38 - 0:44]
Ullut inuuffigisakka (In the memories of my lifetime)
Aliannaarpunga; aak! (I rejoice, I remember them with pleasure; take that!)
Ooooh! (Ooooh!)

As the chorus kicked in after a very heartfelt 'oh' by Samira, all the light columns shone bright for a second (blinding the shot): a panoramic camera was traveling from the south seating area to the main stage area, showing us the whole crowd. Samira and her dancers advanced to the beat of the chorus, and the orchestra was playing marvelously. When this camera reached the main stage (which was turned off at the moment); it turned left, and the image switched to a steadicam that was in front of Samira and her dancers, and who moved back as the latter moved forward with their choreography. They incorporated finger snaps and claps to their choreography (matching the snap heard in the music of the song), and the crowd instantly caught up with it (elevating the sound and feel of the performance). For this chorus, the languages would be Aranese and Birugaian.

[0:46 - 0:59]
Ho compro tot (I buy it all)
Non regreto niente, non (I don't regret anything at all, no)
Są pīmti elām (Let's accept life)
Tulē viss yātta (Everything will come at last)

A big "whoah" could be heard from the audience, as the spotlights shone bright over the two choirs, revealing them finally. The golden light made the choir women look as if they were wearing golden dresses, adding to the 'wow' effect of their sudden appearance, that came thanks to the first Euskal Arabic line of the song: the title of it, actually.

[0:59 - 1:02]
(Ṭawwal bālak) (Be patient)

The chorus continued as a collaboration between Samira (marked in black in the lyrics), the left choir (marked in purple), the right choir (marked in blue) or both of them (marked in golden). This time, in Khauo (the most recently officialized language of Euskirribakondara) and Birugaian. When it was the turn of Samira, the camera would shoot close-ups of her face, that faded into the image of the choir singing the next line (both general shots and special takes from inside the choir with the help of additional cameras).

[1:03 - 1:19]
Rhǎtà songsē (Our insomnias)
(Cê khwã̀) (Our insomnias of regrets)
Jièhāb thàsáomã́? (Why do we accept them?)
(Phrang ngyèb) (If the moon always stays silent)
(Thàsáomã́?) (Why do we refuse to sleep?)
Są pīmti elām (Let's accept life)
(Kās ÿrā) (The way it is)
Tulē viss yātta (Everything will come at last)
(Ṭawwal bālak) (Be patient)

The attention went back to the left catwalk where Samira and her backing dancers started to move forward again with their choreography, which was more dramatic and theatrical this time. The dancers interacted with Samira in such away that they appeared to be those excuses and doubts she was singing about. The many years of experience of Samira were paying off now: she didn't seem to struggle at all dancing and singing (a vocally challenging song already) at the same time. For the third line, the dancers and Samira rushed forward and froze.

[1:20 - 1:27]
Beté ai-tzakiá (There will always be an excuse)
Zapteak dirá (There will always be doubts)
Abúr lag(e) xi, paginagá (If it makes sense today, go ahead)

The image now switched to a camera (from the roof of the stadium) that showed the left and right nets of the stadium: each displaying a spinning dharmachakra (and the nets were moving up and down to give it even more movement).

[1:28 - 1:34]
Oré tarmatxakra biratariná (The wheel keeps spinning anyway)*

*This proverb means that change is an inevitable thing, and also, that whatever happens, life still goes on. In Euskal philosophy, which is heavily influenced by Buddhism, the tarmatxakra (dharmachakra) is a symbol of constant change (it is even featured in the Euskal flag) and the acknowledgement that every action has consequences. Samira aims to highlight the fact that things that might seem right today, might not seem right tomorrow, but we took a decision already when we thought it was right.

The cameras focused on the eight additional screens above the north standing area. Each of them showed a different person, with a different emotion or look (one was sad, one was angry, the other was fearful, another one was crying, one had scars, another one had a pokerface, another one looked in love, and another one looked bored). First a general shot, and then shots for every screen. For the last line, a general shot again in which the on-screens people smiled (each in their own way) in a synchronized way. In these seconds, Samira was being taken in a golf cart from where she was standing before (in the left catwalk) to the main stage.

[1:37 - 1:45]
(Aaaaaah....) (Aaaaaah....)
Ajornarkkatoorpunga (In the memories of the times I met my obstacles)
(Aaaaaah....) (Aaaaaah....)
Aliannaarpunga; aak! (I rejoice, I remember them with pleasure; take that!)
Ooooh! (Ooooh!)

The main stage lit up again (the left and right stages, where the choirs were standing, would only light up when they sang); and the eight dressed-in-white dancers from before re-appeared (the special screen was gone). The camera movements were very dynamic, panning around; and the choreography was once again bold on every movement. Images from the choir would intersperse with the dancers images when the former sang. For a mid-tempo song like this, the performance and visuals were actually very lively: the left and right bridges would beat (as blood flowing through a vein, from bottom to top) with golden light with every snap of the song (the trapdoor zone had no props at all, by the way). Samira was still singing in the golf cart, so she wasn't seen on screen. By the end of this part of the chorus she had already reached the left spiral, and the golf cart was moving away, trying to disappear from the view. Her six initial backing dancers were running to reach the main stage.

[1:45 - 2:01]
Del que dono jo (From what I give out)
Non espero niente, non (I don't expect anything at all, no)
Pīmti hiset ((Let's) accept people)
(Kās ÿrā) (The way they are)
Tulē viss yagate (Everything will come in due time)
(Ṭawwal bālak) (Be patient)

We can now see Samira again, this time on the center of the left spiral of the stage and backed up by five dancers in grey outfits (similar to this). They are surrounding her, trying to cover her and keep her like a prisoner. The spiral lines are beating with orange light. Unlike previously, the choir isn't shown in its lines, here the attention is all on the spiral (with cameras capturing the action from above). For the last four lines, the cameras would focus on other parts of the stadium (in order to give time to the five grey dancers to leave the spiral, and the six previous backing dancers to join Samira on stage). For the "let's be love" line, they would focus on the embrace of a couple of fans; then on the audience around the stadium (so far, the attention of the show had been focused on the ground level of the stadium) with two panoramic shots, and finally in the Euskal die-hard fan zone, where the fans knew the lyrics well enough to follow the song.

[2:01 - 2:19]
Oooh... (Oooh...)
Rhǎtà àkhchêap (Our silences)
(Cê phánglaph) (Our silences of pain)
Chyānẽ thàsáomã́? (Why do we share them?)
(Xīn pùthôi) (If our hearts aren't dark)
(Thàsáomã́?) (Why do we share our silences of pain?)
Būt miyarū (Let's be love)
(Kās ÿrā) (The way we are)
Tulē viss yamaru (Everything will come the way it's meant to be)
(Ṭawwal bālak) (Be patient)

The whole stadium went dark, and Samira started a very interesting and modern dance with her six backing dancers, with the LED spotlight screens behind the left spiral as a backdrop (and as the only source of light): the effect achieved was a dance of shadows in front of these spotlights (the camera was standing still, in front of them). Samira was giving it her all; and the dance crew as well, who were perfectly synchronized among each other creating an image of symmetry in the whole thing (with Samira as the axis of symmetry). As an easter egg, in the moment 2:22, the spotlights changed to orange and blue (the national colors) for a second. The crowd roared again; they had never before seen Samira performing so well.

[2:26 - 2:28]
Ja arribarà… (It will come…)

The dance of shadows continued until the song's bridge came in. At that moment, the spotlights were turned off, a bright white light took over the stadium for a fraction of a second, and Samira turned, so that her back would face the fire pit that separated the spiral from the main stage, and her face would face another camera. A huge column of fire came out of the fire pit and acted as a backdrop for this shot (that only featured Samira): the fire behind her empowered her (both visually and in reality). The bridge, in Euskal language, was probably the most meaning-packed lyrical portion of the song. On each line, there would be a camera switch (in order to show different angles of Samira) and a fire color change (to keep dynamism). In the last line, Samira reached out to the audience with both arms, and the camera moved up and away from her, as the fire behind her reached its maximum intensity.

[2:35 - 2:53]
I és verità… (And it is true…)

Benóu maites - zorúi halde (Nine stories of love - eight different homes)
Zazti lan ketxetan seian (Seven major jobs that make you get home at six o' clock)
Bótxi mepal - láu E.E.A. (A good routine my friend (and five life crises), four stages of education)
Hiru mentxa, biai bide (Three dimensions, two possible ways)
Un erbatria bakada arazoaper (Only one decision for every dilemma/situation/problem)
Kebez bai/ez galdeeee… (It is never as easy as having yes or no questions….)

*The bridge is actually a countdown from nine to one, making several Euskal cultural references and criticizing the fact of living a standard life and following a strict routine; highlighting the fact that we always make decisions and that usually, they are not easy. Click on the spoiler below to know more about these references.

- 9: In the Harianada, the epic poem of Euskirribakondara, Harián (the main character) has nine different stories of love with nine different people throughout his life. In Euskal tradition, thus, it is said that even though one can have many significant others, there is a maximum of nine "true loves" along the way. In fact, in Euskal wedding vows, one usually refers to his/her bride/groom as his/her ninth love... the last, and lasting, one. Samira thus, here refers to love as a milestone in life.
- 8: According to the Euskirribakondaran Department of Statistics, the average Euskirribakondaran lives in eight different homes throughout his life.
- 7: According to the Euskirribakondaran Department of Statistics, the average Euskirribakondaran has seven major jobs throughout his life.
- 6: With the normal work shift going from 9 to 5, most people are already home by six (if they have an average job, of course). Samira here criticizes the fact of dedicating one's life to a constant routine of working from 9 to 5 if that's not really your passion.
- 5: There's a clever word play here: "bo tximé, pal" means "a good routine, my friend"; but "bótxi mepal" means "five life crises". Coincidence? No one knows, but Samira seems to be the first one who spotted this!
- 4: The E.E.A. (Euskirribakondararen Etuketa Ardariak, Euskirribakondaran Stages of Education) are the different stages of education according to the government: (1) Primary School and Secondary School, (2) College/University, (3) Continued Education and (4) Education for the Elderly.
- 3: Samira references the three commonly accepted dimensions of the world, as she references an Euskal saying... In Euskirribakondara, an open mind is called a "4D mind"; thus implying that you should think outside the box.
- 2: In Euskal philosophy there are two possible ways for every action: doing something or not doing it.
- 1: In Euskal philosophy every single action has a consequence; and every single action demands a decision (that doesn't necessarily have to be easy).

Samira took a very deep breath and belted out her opera-singing days with a vocal riff (2:53 - 3:01). A camera was filming her from the floor, in a low-angle shot, showing the main background screen in the back; which was beating like a heart (following the heartbeat heard in the song) with red light (a single, white spotlight was shining over Samira).

As she came back to a normal register (#godshehitveryhighnotes), she started strutting with extreme determination towards the semicircle of the main stage. A steadicam was ahead of her moving backwards as she moved forward. Her six main backing dancers appeared again to complement her performance. This was also a very nice opportunity to see the LED spotlight backscreen again.

[3:02 - 3:18]
I és que al final… (And the thing is that in the end…)
Lo vescut, vescut està (What has been lived, has been lived and that's it)
Są pīmti mūtta (Let's accept change)
(Kās ÿrā) (The way it is)
Tulē yegas yātta (Everything will make sense eventually)
(Ṭawwal bālak) (Be patient)

Samira reached the semicircle of the main stage and the six dancers with her joined the other eight. They began their final routine as both Samira and the cameras moved among them. The steadicams played with the zoom level of their lenses and their own tilt to create a visual effect like THIS (0:06 - 0:23). The cameras were filming in all possible angles, so at times we would see the bridges of the back of the stage (shining bright in plain colors of the golden palette); and at times the huge Harrikes Olympic Stadium and its ecstatic crowd.

[3:19 - 3:35]
Cěhuì (Chances)
(Xàyú ba!) (Take them all!)
Nǐcê hâlõi dàoha (Get answers to the questions you have)
(Dàoha ba!) (Get them all!)
(Hâhǎzhōngphà) (An answer is better than a lifelong doubt)
Gapīmti elām (Accept life)
(Kās ÿrā) (The way it is)
Tulē viss yātta (Everything will come at last)
(Ṭawwal bālak) (Be patient)

The fourteen dancers created a circle around Samira, who began belting out her opera high notes again (3:36 - 3:40). They started running around her, as the camera shooting her stood still in front of her... The result was flashes of shadows passing in front of her, as she, with her eyes closed, entered a musical trance. For the choir line, the cameras would show the choir again before coming back to the main stage.

[3:40 - 3:44]
(Ṭawwal bālak) (Be patient)
Ja arribarà… (It will come…)

One final high-notes vocal riff (3:44-3:48), this time provided by one member from the choir (Samira's cousin, actually); as the fourteen running dancers around Samira increased their speed. They suddenly stopped, the stage suddenly turned off, and all the spotlights (bright and white) quickly gathered together right above Samira, as she delivered her final line to a close-up of her face.

[3:48 - 3:49]
Gui*, benkogizanak (We*, the imperfect humankind)

*An i is added to the end of a final pronoun (like, "Gu" = we/us), to sign letters in Euskal language. Thus not only is Samira acknowledging the fact that she is singing in the name of an imperfect humankind, but also, she's ending the song as if she was signing a letter: she's closing her statement about life.

The song ended with the choir singing (and the crowd, as well) the title of the song, with a massive echo effect. The images switched to outside of the Harrikes Olympic Stadium, to a camera in a helicopter that hovered around the stadium, and showed how a flash of golden pyros came out from the perimeter of the stadium and lit up the night.

[3:49 - 3:53]
(Ṭawwal bālak) (Be patient)

The camera quickly showed Samira, who broke into tears as she thanked the audience, before going on to a mid-show hosts' intervention.

Thank you WHF world! Géskerri Rasko Harrikia! Ni zuhakoha maitesu!

by **Euskirribakondara** » Fri May 19, 2017 11:48 pm

[21:15:33 - 21:XX:XX]

WIP.

by **Euskirribakondara** » Fri May 19, 2017 11:49 pm

[21:XX:XX - 21:XX:XX]

Halftime - WIP.

by **Euskirribakondara** » Fri May 19, 2017 11:49 pm

[21:XX:XX - 21:19:59]

WIP.

32nd World Hit Festival - Contest Thread

32nd World Hit Festival - Contest Thread

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