World Hit Festival 18 | Senmerí, Chámelíyá [DRAFT THREAD]

by **Chameliya** » Wed Jun 17, 2015 1:52 am

Welcome to the draft thread for the 18^th World Hit Festival! Think of it as the dress rehearsal before the big event itself. In this thread participants will post their entries (i.e. lyrics, RP etc.) ready for it to be transferred into the official RP thread.

NOTICE

The changed format of this edition is a trial based on the original format of the World Hit Festival. It's implementation is being directed by the Festival Overseer, Kalosia, in cooperation with this edition's host, Chameliya. If participants have any questions about this new format, feel free to contact either one of those nation.

DEADLINE FOR ENTRIES:

1800 UTC, Friday 26 June.

GOOD LUCK!

by **Ekoz** » Wed Jun 17, 2015 4:38 am

Ekoz

Lijøn Hoorderskoll - Rokkestaat

Lijøn, 25, a well established television personality and comedian who approached the ØTE (Ønavånliekkes Televisie Ekoes, Independent Television Ekoz) after it was announced that the lisence-fee funded STE submitted a bid to host the 40th WorldVision Song Contest. His song, Rokkestaat, is a light-hearted protest to the STE. His song is currently at #2 on the Toppistann Ekoeses, selling just 3000 less copies than Ekoz's representative for the WorldVision Song Contest, Elle Angistård.

Lijøn is dressed in an custome made Addidas tracksuit of the Ekozian flag. He has 4 female dancers in Ekozian bikinis holding up pompoms. The camera pans directly centre stage with all members of the performance visible.

Here We go now, Did you hear now? It's the talk all over town now,
Rokkestaat is going to get great,
Don't be fooled though, nothings new though, shoddy service on the metro
Our money is going down the drain,

Ten minutes late, I'm still waiting,
Overcrowded, and it's crazy,
Public transport? It runs like a snail

Give it more funds, are you joking?
Watch the train wheels, they are smokin'
Public safety, here, it's number one...

As the chorus kicks in, Lijøn and his dancers start their choreograpy. The LED background shows Ekozian crøna raining. The lights start flashing. Lijøn's tracksuit as well as the female dancers Ekozian bikinis also light up to the beat of the music.

Well, only in Ekoz would we we want to pay,
50 million crøna spent on just one day,
So are we stupid? Crazy? Have we just gone mad?
Hosting WorldVision here in Rokkestaat?

Well, only in Ekoz would we we want to pay,
50 million crøna spent on just one day,
So are we stupid? Crazy? Have we just gone mad?
Hosting WorldVision here in Rokkestaat?

Spending, wasting all our crøna
Spending, wasting all our crøna
Spending, wasting, crøna, throw away.

Spending, wasting all our crøna
Spending, wasting all our crøna
Spending, wasting, crøna, throw away.

Lijøn and his dancers move the left side of the stage where classroom with a blackboard is visible. Lijøn puts on a techers hat and a pair of classes as the female dancers sit on their tables running riot chucking paper planes at eachother.

Education? It's frustration,all their grades are sliding backwards,
our schools are crumbling to the ground
Children hoping, teachers smoking, education's system's fastly slopying,
All their funding's no where to be found...

Host WorldVision, we don't need grades,
50 million, it's a disgrace,
People boycott, STE's vision.

Host WorldVision, we don't need grades,
50 million, it's a disgrace,
People boycott, STE's vision.

Lijøn and his dancers then go centre stage to complete their choreography. The camera pans to the audience where Ekozian flags are waving.

Well, only in Ekoz would we we want to pay,
50 million crøna spent on just one day,
So are we stupid? Crazy? Have we just gone mad?
Hosting WorldVision here in Rokkestaat?

Spending, wasting all our crøna
Spending, wasting all our crøna
Spending, wasting, crøna, throw away.

Spending, wasting all our crøna
Spending, wasting all our crøna
Spending, wasting, crøna, throw away.

Lijon and his dancers are again centre stage, the camera blurrs and focues directly onto Lijøns face as he sings and winks into the camera.

Million's have gone away,
Unemployments growing fast, but it's ok cos Kishrael won...
Lisence fee, guarantee,
The STE will take our tax, spend it all on sequin pants,

For the final chorus, the stage lights up into a golden colour. 8 more dancers appear on the stage waving Ekozian flags. Confetti, in the style of 100, GE notes (Ekozian Crøna) fall from the stage and into the audience. The dancers also have confetti guns spraying to the audience handing fake money.

Well, only in Ekoz would we we want to pay,
50 million crøna spent on just one day,
So are we stupid? Crazy? Have we just gone mad?
Hosting WorldVision here in Rokkestaat?

Well, only in Ekoz would we we want to pay,
50 million crøna spent on just one day,
So are we stupid? Crazy? Have we just gone mad?
Hosting WorldVision here in Rokkestaat?

Spending, wasting all our crøna
Spending, wasting all our crøna
Spending, wasting, crøna, throw away.

Spending, wasting all our crøna
Spending, wasting all our crøna
Spending, wasting, crøna, throw away.

by **Izmedu** » Wed Jun 17, 2015 8:29 am

23. IZMEDU
Nada Markusic - Every Sin

Nada Markusic is a 23-year old trance and big house producer as well as a singer-songwriter, dealing primarily with the latter even though she started off her entertainment career in DJ'ing for nightclubs. Though incredibly popular in the dance underground, especially in the clubs of cities in Sastavak and Vodiznad, she is by no means a mainstream artist, and to Nada, she preferred it that way. She liked DJ'ing and performing to more intimate venues, and didn't particularly enjoy the limelight. It was for those reasons as to why, even though a few music watchers and house pundits have predicted time and time again that Nada Markusic would become a renowned producer, she didn't bother becoming popular.

She traditionally shied away from participating in big contests like WorldVision or the World Hit Festival, but that would all change in the time following Izmedu's intention to invest and participate in the latter contest. Nada had learned of the WHF's more intimate nature and had seen leaks of the host's stage and bid package, and thus her choice was made. She sent in 'Every Sin' to RTI, a trance song that she had written fairly recently that she had planned only to be released in music portfolios. However, something about the song spoke to her, begging Nada to expose it to a greater audience, thus she chose it for WHF consideration.

RTI had picked her, much to her surprise, but she imagined anyone picked in for these music contests would feel this sense of pride and of course, surprise. Nada took being the first Izmeduan WHF representative since Valentina Loncar quite well, since WHF was not entirely well-known in Izmedu, not much of a media fuss was made. This allowed Nada to focus on the performance. As much experience as she had behind DJ equipment, she had not performed without all of the machinery or a fellow producer behind her. She was quite taken with the concept that RTI's staging producers had proposed to her, performing alone on stage with a dynamic, but minimal backdrop.

It was now time to perform. Though she had few rehearsals, Nada had faith that her instincts would allow her to pull off the performance. At the all clear, Nada walked alone to the stage, feeling the eyes of her delegation and soon enough, the audience watching her.

Nada was center stage near the screen sitting down, looking away from the audience and towards one of the entrances. The stage darkened as the postcard ended and the crowd cheered. The song had started with a bang, a frenetic dance beat that the lights flashed to in colors of white, while the other spotlights moved around chaotically and with the floor also lit up in white. The song then calmed down, with the stage lights darkening and the spotlight on Nada being made obvious, allowing the audience to see her. She is seen wearing an black top with a white number on the center and stripes on its bottom, along with leather pants. The camera switched to a shot close to her, her face being prominent though she seemed to be looking down. She sang into the headset she was wearing...

Don't speak, turn away from me
Run far and don't look back
Just leave, I don't need pity
Let me bleed on my own

The camera turned around slightly for a better angle for Nada, as she looked directly to the camera for the first two lines, before turning away at the third line. She looked forlorn as she sang, placing a hand upon her arm as she sang the fourth line, a beat being added to the song as soon as she finished the first verse.

For if I let you near my soul
All the pain would then come alive
And I'd be left to face my fears
Confronting my never-ending hell

The stage remained dark as the song progressed to the first verse's second half despite the beat adding some light in. The lights were configured in a way to give an almost claustrophobic and dark atmosphere to the staging. The camera view switched to a near-aerial view of the stage as Nada, made motions to her heart in occasion and had another hand holding her head. Each motion came in at every two syllables, with the movements appearing messy and unrehearsed, as if Nada was emotionally unraveled. At the end of the first verse, the song's electronic production built up, with the flashing lights beginning to glow more intensely.

Now I'm lost within this nightmare
Atoning every sin I've committed
Searching for a fleeting mercy
But maybe forgiveness is just a lost cause

Nada looked directly to the camera at the start of the chorus, looking desperate for some sort of solace. The stage lights stopped flashing, remaining constant but also making enshrouding Nada in shadow, giving her an almost enigmatic appearance as if she were due to disappear at any moment. At the final two lines, the camera made a slow movement towards Nada's face as she sang, looking at her hand and curling at the end of the first chorus' reprise.

Now I'm lost within this nightmare
Atoning every sin I've committed
Searching for a fleeting mercy
But maybe forgiveness is just a lost cause

The lights started to flash with the newly added beat to the chorus, starting to flash at a chaotic rhythm at the end of the second line. The camera occasionaly flashed to a shot of Nada's face and rotated between that and aerial view, with Nada looking fearful and lost. The increasingly rapid pace of the dance beat precluded the following electronic break, which acted as the bridge to the song's chorus and second verse.

During the instrumental interlude, Nada began a freestyle-like dance to the music, with the lights flashing about and hiding her sporadic movements throughout the small stage. The lights began to get more stable and flash simultaneously as a percussion beat was added, with Nada's movements looking tighter as the instrumental interlude continued on.

However, the end of the interlude was commenced with the stage's sudden darkening, with the central screen displaying a window that was stained with raindrops. The camera switched views to an angle nearby the screen, coinciding with a spotlight on Nada herself, revealing her to be angled sideways to the screen. She was touching the screen, looking out to the virtual world created by screen as if it were an actual window.

Defeated, what do I have left
Nothing, my soul becomes hollow
Empty, a meaningless life
All because of sins I've done to you

Nada sang the first part of the second verse without glancing at the audience, her attention being paid to the fake window that was next to her. As the second verse progressed, the camera rotated around her to catch a better view of her face, with some of her hair covering her face as she sang. She was at the verge of an emotional breakdown, with more heartbreak appearing on her posture and facial expression as the verse transitioned to its second part.

Do I confront this guilt head on?
Or should I just run from myself?
Maybe I'll just deny this pain
Even if I am falling apart

Nada turned away from the window on the screen and started to walk towards the audience, stopping when she reached the center. Unlike from the earlier verse, she didn't bother with any sort of dance move, instead just arching her back forward and a look of anxiety and distraught in her face. At the last line, she started to hold her face, seeming to prevent herself from visibly crying on stage and breaking down.

Now I'm lost within this nightmare
Atoning every sin I've committed
Searching for a fleeting mercy
But maybe forgiveness is just a lost cause

The camera was squarely focused on Nada at the chorus, with the lights beginning to flash in an initially middling pace, but progressing to a much more rapid one. At this, Nada began to look as if the stage was beginning to enclose on her, a look of pure and utter fear on her face, before it crumpled into utter despair at the end of this refrain.

Now I'm lost within this nightmare
Atoning every sin I've committed
Searching for a fleeting mercy
But maybe forgiveness is just a lost cause

Now I'm lost within this nightmare
Atoning every sin I've committed
Searching for a fleeting mercy
But maybe forgiveness is just a lost cause

The electronic breakdown was filled in with two repetitions of the chorus. Nada's movements, consisting of a return back to the window on the central screen, which had now displayed a completely black sky, conveyed fear. She jerked her arms out, seeming to fight an invisible force and trying to fight off the feeling of inclosure. As she reached the central screen, she put an arm out and held the screen with one hand and arched her back forward, looking exhausted and drained, which coincided to the song's sudden minimizing of instruments.

Now I'm lost within this nightmare
Atoning every sin I've committed
Searching for a fleeting mercy
But maybe forgiveness is just a lost cause

The camera focused on Nada even more as the lights stopped flashing, with Nada looking she is barely holding to the fake window. She fell her knees at the end of the second to last refrain, looking directly to the camera as she sang, a lone tear streaming down her face as her vocals began to waver, her voice going flat at the last line.

Now I'm lost within this nightmare
Atoning every sin I've committed
Searching for a fleeting mercy
But maybe forgiveness is just a lost cause

Nada stayed on the floor, a lone hand in her arm for the chorus' final refrain. At the last line, with the beat going at an increasingly fast pace, she turned away from the camera and the audience, looking out of the fake window. She tried to recover her vocals while facing away from the audience, but it was clear that she was shaken, with the notes barely sung on-tune and some ending up flat or sharp.

As the song entered its last instrumental break, the production began to remove some of the backing instruments with the song as the window began to fade away. The lights began to disappear one by one, with the spotlight on Nada being the last one to fade out. At the very end of the song, there was no flash, only the sound of a simulated air burst closing out the song. The stage was dark for a few moments before the lights were normalized.

Nada said her thanks and left the stage, unsure of how everything went. There was a nervous feeling in her chest, a weird sensation she wanted gone, but she put on her best smile, despite feeling horrible inside.

by **Brittanny** » Wed Jun 17, 2015 10:10 am

BRITTANNY
Je Suis Desolé - Joanna Etienson
Tune:https://www.youtube.com/watch?v=dXRqaFgYAGU

Joanna Etienson is a 17 year old singer from Louiter who is currently studying at Caen College of the Arts. She has had a short career, releasing just one song, J'ai Besoin. However, this became a Top 5 hit overnight. Loutier is in the French-speaking area of Brittanny. Joanna was forced to grow up quickly, after the attempted ethnic cleansing of the French area of the country, which ended after foreign intervention, and both her parents and her brother were killed, so she went to live with her grandparents. Recently, she has just left a relationship in which both she and her girlfriend argued with each other, leading at times to violence, but there was still a lot of love in the relationship. She shows this in this song, written totally by her.

As the song begins, Joanna can be seen in this dress. The lighting is totally turned off. The background begins as a fairly dark and mucky purple, and the silhouette of a bird flies across. It then disappears, to be replaced by the silhouette of a tree, the leafs of which begin to fall off. When the drums come in, a drummer, hidden in the darkness, hits a drum, and a burst of light is seen whenever it is hit. As Joanna begins singing, the drummer leaves the stage and then the lighting becomes just light enough for Joanna to be visible. The stage is covered by a thin layer of smoke.

Je suis desolé (I am sorry)
Pour la blessure j'ai créé (For the wound I created)
Pour quel je t'ai fait (For what I did to you)
Pour tous les choses que j'ai fait (For everything I did)

As the violin in the small bridge begins, a violinist is illuminated slightly by a faint beam of light. Joanna continues to sing in the centre of the stage.

Je veux, à recommencer (I want, to start again)
Je veux, à t'adorer encore (I want, to love you still)

As the chorus begins, the lights become brighter, although only slightly. The tree in the background loses it's final leaf and is replaced by an eye, a tear forming at the edge throughout the chorus. At the end, the tear drops.

Mais maintenant, je sais (But now, I know)
Ca ne devait pas arriver (It was not to be)
Je suis desolé (I am sorry)
Mais je sais tu ne reviendras pas (But I now you won't return)
Je suis desolé pour la peine et l'haine (I am sorry for the pain and the hate)
S'il vous plait, revenez, ma cher (Please, come back, my dear)

After the tear drops, it washes across the background before the background changes to show falling leaves.

Je suis perdu (I am lost)
Sans toi dans ma vie (Without you in my life)
Je t'ai besoin à survivre (I need you to survive)
Je t'ai besoin à sentir en vie (I need you to feel alive)

As the second chorus begins, the wind machine begins to blow lightly, blowing Joanna's dress. The smoke machine is also pumped up, and the violinist comes up beside Joanna. The leafs in the background are now replaced by tears.

Mais maintenant, je sais (But now, I know)
Ça ne devait pas arriver (It was not to be)
Je suis desolé (I am sorry)
Mais je sais tu ne reviendras pas (But I know you won't return)
Je suis desolé pour la peine et l'haine (I am sorry for the pain and the hate)
S'il vous plait, revenez (Please, return)

As the chorus ends and the instrumental begins, Joanna disappears into the darkness and the violinist plays a solo. The background shows a silhouette of the violinist, acting like a shadow as he plays it. Joanne is illuminated for a moment and she sings, before disappearing into the darkness once more. She then reappears in the centre for the final two lines, with the wind machine on full blast, blowing both her dress and the smoke. As the song ends, the lights fade out.

Ooooooooooh

Je suis desolé pour la peine et l'haine (I am sorry for the pain and the hate)
S'il vous plait, revenez, ma cher (Please, return, my dear)

by **Normandy and Picardy** » Wed Jun 17, 2015 10:43 am

NormandyandPicardy
ESUM - They'll Come After You
Tune: https://www.youtube.com/watch?v=avM_UsVo0IA

ESUM are a band from Cherbourg, the previous host city of World Hit Festival. This is partly why they were chosen; BNRT wanted to show how WHF is still inspiring people in Cherbourg and Normandy and Picardy. ESUM are made up of Matt Crane, Christophe Etienner and Dominic PIersoje. They are known for their lyrics and their music videos, which are often full of real meaning, with that meaning often being a critique on society or the government. They are popular within the genre, and some of the songs are known outside as well. One of their songs was used for epic spy thriller, Royal Flush, and was an instant number one.

The stage is dark and not a single light is turned on. As the song begins, the lights flash red with the drums. Then, as the guitar begins to play the melody, the lights begins to turn on in a rectangular strip in the middle, from the front to the back, with ESUM in the middle, and the strip is continued onto the background as a white stripe in the middle, and also along the floor. Either side of this strip remain dark, but people in strange body suits can be seen creeping up. ESUM are on a stand in the middle, with Matt at the front. With each beat of the drum, a series of LEDs at the front of the stage flash, changing colour between red and blue. As the violins come in, the lights suddenly turn on, revealing violinists on both sides of the band, all of them wearing this dress, playing along with the music. They show no emotion on their faces, appearing totally blank. The strange performers at the sides disappear. The background shows a kaleidoscopic image of guns and missiles, spinning around. As the music builds up, the lights get brighter and redder, before returning to being soft and white as the music calms down. The background also changes, showing a view of a destroyed and burning city. A spotlight shines on the band.

I warned you
But you didn't listen
And now you'll see

A blast of what looks like fire appears on the background, which warps into a woman's face staring with desperation at the audience, before returning to the view of the city.

The firestorm
Waiting to fall on your soul
They were always there

Two sets of two large dominoes positioned at either side of the stage fall over (but because they are made of foam, the audience can't tell this, they don't make much of a sound) after Matt makes a hand gesture as if he was flicking the dominoes over.

Waiting for you to fall to them
Now you try
To escape from them
But you won't

The background of the city changes to show a white background made to look like cloth, but red begins to run down it, and this represents blood. There is a bullet hole visible in the centre. The lights begin to intensify and turn slightly red.

Wait for the shots
For the blood to flow

The cloth background appears to begin to burn, flames engulfing it as the blood keeps flowing. The lights continue to turn red and intensify.

Wait for the flames
Wait for it all

There is a sudden burst of light and the stadium is filled with red. As the guitar plays the melodic idea from the beginning, the lights dim but when the violins enter, there is what seems to be a wave of light. Pyrotechnics begins to flare as the and the performers from earlier enter the stage, writhing up the sides of the platform and trying to reach the band. However, the band keep staring forward and keep on playing, simply focusing on what they are doing. One hand reaches Matt's foot but he kicks it away. The background returns to the kaleidoscopic image from earlier.

They'll come after you
You..........
You..........
You..........

As the music loses it's intensity again, the lights dim, eventually leaving only the spotlight on the band, who continue to play the song. The background changes to show wispy fire, floating around like food dye and dish soap in milk. The pyrotechnics end, the performers leave the stage and the violinists are hidden by the darkness. The lights begin to lighten up once more, this time just as white rather than red. Matt make a cutting movement across his throat, to fit with the line being sung.

Wait for the agents
Here to cut your throat

A bullet hole appears in the background, creating a black void in the centre. He points his finger out towards the audience.

Wait for the drugs
Wait for it all
They'll come after you
You...

Everything on stage goes crazy, as pyrotechnics flare, the performers return on stage, pretending to fight with the violinists as well as starting to climb up the sides of the platform again, The lights flash between red and white, and the background shows a nuclear explosion, then an army marching, then a series of propaganda clips.

They'll come after you!
You...

The lights instantly turn off along with the pyrotechnics, and all the performers and violinists leave the stage. A spotlight shines on Matt as he plays the final rolled chord, and then fades out.

by **Fromulya** » Wed Jun 17, 2015 2:49 pm

XX
Fromulya
Ramadan - Ayu Bahari
To the tune of Makhluk Tuhan Paling Seksi — Mulan Jameela

Ayu Bahari had previously presented this song as Fromulya's debut entry at the WorldVision Song Contest 27, held in Kalosia. Coincidentally, she placed 27th too, gaining 37 points from the other 41 nations she competed against.

The song is about the holy Islamic month of Ramadan (Fromulya is a Muslim-majority country), and 2 years after she first presented it on the WorldVision stage for Ramadan 2013, she has been asked to reperform it for the World Hit Festival.

Ayu managed to reunite the backing band that originally performed with her, again wearing batik shirts along with matching pants. Ayu opted for a more extravagant dress than what she wore at WorldVision. The LED background displayed a well-known Fromulyan mosque, and one could tell that the picture of the mosque was taken during the day.
As the song started, the stage lights were dim and only silhouettes could be seen, but later the lights brightened and everyone was visible. Ayu started singing.

Salam padamu
Pada dunia
Serta umatNya
Di jalan yang lurus

Saat puasa
Kita mendekat
KepadaNya dan
Berakhlak baik

Membaca Kitab Suci
Dan juga berdoa
Bersa~bar

Semoga sehat
Supaya bisa
Pergi ke masjid
Beramal soleh

Semoga Allah
Memberi berkah
Kepadamu
Dan yang beriman

Ingat 'tuk bersedekah
Pada fakir miskin
Bera~mal

Ramadan telah datang
Bulan yang telah dinantikan
Tolong jaga nafsumu
Agar mendapatkan rahmatNya

Oh oh oh...
Oh oh oh...

The 'sky' in the mosque displayed on the LED screen visibly turned red, then purple, indicating dusk.

Sekarang adzan
T'lah berkumandang
Mari berbuka
Dan memakan kurma

Lalu berwudhu
Pergi ke masjid
Dan bertaraweh
Mari berjama'ah

Menjelang Idul Fitri
Kita bayar zakat
Yang wa~jib

Ramadan telah datang
Bulan yang telah dinantikan
Tolong jaga nafsumu
Agar mendapatkan rahmatNya

Oh oh oh...

Marilah kita semua berpuasa
Berpuasa dan dapat hikmahnya
Ramadan telah data~a~ang

Ayu held the note in that last part.

Ramadan telah datang
Bulan yang telah dinantikan
Tolong jaga nafsumu
Agar mendapatkan rahmatNya

Ramadan telah datang
Bulan yang telah dinantikan
Tolong jaga nafsumu
Agar mendapatkan rahmatNya

Oh oh oh...
Oh oh oh...
Oh oh oh...
Oh oh oh...

And then the song ended. Ayu said "Thank you, terima kasih!" and left the stage. Some viewers were disappointed that they didn't make the most of that dress (by projecting images onto it).

by **Bloodbath Generation** » Wed Jun 17, 2015 3:25 pm

Bloodbath Generation
Forever Young- Peter Yacurgjara
to the tune of Axwell /\ Ingrosso- Sun is Shining

The shot opens with a wide view of a cavernous room of lights. Peter is laying down as seen in the picture.

Lost inside her skin
Laying deep within
Someone different, someone new

Lost her heart and home
no lover her own
There was still something left to do

The camera then swoops down and is on the other side of the chain of lights, like so. Peter is now standing in the middle.

But we've got the world in our hands right now
Don't know why and I don't know how
Spending our days chasing the sun
You and I, we're forever young

Every hour's our last one
Bottoms up, 'cause we aren't done
Spending our days chasing the sun
You and I, we're forever young

The instrumental kicks in, and the lights turn a bright gold. Peter is now in full view of the camera, and it pans around him as he sticks his hand out, making almost perfect eye contact as he repeats the last verse in the midst of a triumphant EDM beat.

Every hour's our last one
Bottoms up, 'cause we aren't done
Spending our days chasing the sun
You and I, we're forever young

Paper cities burn

But we've got the world in our hands right now
Don't know why and I don't know how
Spending our days chasing the sun
You and I, we're forever young

Every hour's our last one
Bottoms up, 'cause we aren't done
Spending our days chasing the sun
You and I, we're forever young

IN PROGRESS

by **Talvezout** » Wed Jun 17, 2015 4:26 pm

Talvezout
Matt Bachelor
"Amen"

You keep on telling me
You keep on saying
Just keep hoping
Just keep praying

I just want to believe
But then I don't feel
I just want to believe
But I can't make out the final amen

I was thinking
Maybe it ain't this
Maybe it ain't real, maybe it ain't real
Maybe it ain't real, maybe it ain't real

So, hold your spirits one last time
This I'll be my final ride
See me on my dying side
When I slip from spiritual light
Don't pray for me
This is gotta happen
If it doesn't, what was it worth, was it worth, was it worth

Maybe I was wrong and right
Maybe I'll go back tonight
Maybe I was wrong and I'll die tonight
Before I can make out that final amen

Just wanna go on
Just wanna move on
Just wanna move on

by **Electrum** » Wed Jun 17, 2015 5:39 pm

Electrum - Starry Night
performed by Alize Hawthorne

Tune: Rainbow Connection - Karen Carpenter

Looking out the windowsill at the night sky
Wishing upon a star
On this lonely night
Twinkle so bright
And to wish I was where you are

But the sun rises
Blanketing the sky with light
The night'll be back, wait and see
We'll be waiting here
The newborn starry night
The wishers, the dreamers, and me

Our hearts all whole
Hope for a new night appears
When kindness looks all over us
On this high summer's day
And the night's further away
But we'll wait for it to come

When you're far away
That I'm led astray
I'll wish upon the Northern Star
Blink and you'll miss it
The newborn starry night
The wishers, the dreamers, and me

When the night finally comes, we know that dreams can come true

Staging/IC notes to be added tomorrow as I am very tired

Did you make a wish?
And gaze upon a comet?
The Northern Star beckons once
Blink and you'll miss it
The heavenly gaze calls for you
The twinkles bright in the sky

But night must turn into day as always
It's something that's supposed to be
Someday it'll come back
The newborn starry night
The wishers, the dreamers, and me

Someday it'll come back
The newborn starry night
The wishers, the dreamers, and me

Someday somewhere I'll know it'll come
The wishers, the dreamers and me

by **Al-Balansiyya** » Thu Jun 18, 2015 9:05 am

Pronunciation is that of Turkish alphabet

6. Muhteşem Soltanat Al-Walensalith'in
Dimdindidiniz - Şikarcıklar (Little Games)
Language: Osman
To the tune of: maNga - Hint Kumaşı

Dimdindidiniz are an alternative rock band formed through using foreign aid money in the early years of the Al-Balansiyyan sultanate. Due to being employed by the government, as well as a record label, they primarily perform in the governmental language of Osman (or Othmanisan/Osmanisan) so as to culturally promote the language among the 65% non-speakers in the nation. Their music is often received with success, their first album "Kucu Karankte" peaked at number 2 on the Balansiyyan albums chart, and number 1 in the Osman language only charts, marking a trend towards Osman language artists receiving similar success to their Balansiyyan language counterparts. With the WHF being seen by the government as more of a cultural show, rather than a contest like WV, they have been drafted in as chief ambassador's of Osman language within music.

As the music begins fast paced, the stage bursts into red light, the smoke machines flare up releasing fast, loud gushes of air. After the original fanfare the stage turns to a darker colour as the singing begins.

Paralmış cana gibi bir barğçık
Bağla jürekim bunlar söydlerle
Kayip cana bilmecelerinden
Bengi tava şikarcıkların
Paralmış cana gibi bir barğçık
Bağla jürekim bunlar söydlerle
Kayip cana bilmecelerinden
Bengi tava şikarcıkların

Her bengiz bu ahlak izdiham
Aynı be sonraki
Ama zana karank jengin görünür
Bir fırtına jürekimde patlıyor
Sevgili prensesim başkan torprakten
Müklıyeçi seltenetçikin
Bilinen kimi jürekim
Gel bana, gel bana, imdi
Ölüyorüm

Heryer iberirum
Her biri bir guaların
Ama sen, ışıldıyorsun çok elvan
Bok neden ocunuyorsun bunlar şikarcıkların mı
Bengi tava şikarcıkların

Paralmış cana gibi bir barğçık
Bağla jürekim bunlar söydlerle
Kayip cana bilmecelerinden
Bengi tava şikarcıkların
Paralmış cana gibi bir barğçık
Bağla jürekim bunlar söydlerle
Kayip cana bilmecelerinden
Bengi tava şikarcıkların

Gözlerim almdılar karbacaklar
Bakandan edlerde ku sen değildi
Ama imdi sen geldin onları iyileşmek
Deziyorsun ceylan gözölerinle
Ben gibi avan çita savanende
Ama beni byraqacaksın ölturneyi

Heryer iberirum
Her biri bir guaların
Ama sen, ışıldıyorsun çok elvan
Bok neden ocunuyorsun bunlar şikarcıkların mı
Bengi tava şikarcıkların

Paralmış cana gibi bir barğçık
Bağla jürekim bunlar söydlerle
Kayip cana bilmecelerinden
Bengi tava şikarcıkların
Paralmış cana gibi bir barğçık
Bağla jürekim bunlar söydlerle
Kayip cana bilmecelerinden
Bengi tava şikarcıkların

Paralmış cana gibi bir barğçık
Bağla jürekim bunlar söydlerle
Kayip cana bilmecelerinden
Bengi tava şikarcıkların
Paralmış cana gibi bir barğçık
Bağla jürekim bunlar söydlerle
Kayip cana bilmecelerinden
Bengi tava şikarcıkların

by **The Free City of Rouen** » Thu Jun 18, 2015 11:18 am

The Free City Of Rouen
Brendon Diamond - I See You
Tune: https://www.youtube.com/watch?v=vX5fAb76r-U

Brendon Diamond is a singer from Rouen and has spent all of his life within the city. Diamond has seen success on the Normand Charts and the local Rouennaise Charts, with a series of Number 1 hits including "I Still Love You" and "Velvet Nights", and he has been a judge on a Normand talent show for several years. He is proud of his Rouennaise heritage, which is one of the reasons why he was chosen to represent the nation at its first WHF. Rouen also want to bring something different to this contest, and so they have sent this song.

Thin bits of smoke from a smoke machine wisp around the stage, representing the smoke in an old lounge bar. A piano is set up at one side of the stage, with Diamond sat on it clicking his fingers and tapping his foot. There are a selection of tables and chairs, with different actors in positions reminiscent of those in Madonna's Vogue video . As the singing begins, a dim spotlight shines on Brendon. The actors begin to pretending to chat to eachother.

I've been waiting all these years
For someone just like you
Why haven't I met you before?
Where have been all my life?
No one else could take my heart now
You hold the key and I am yours
I love you

Brendon gets off his piano and walks to the centre of the stage, kissing a girl on at one of the tables on the way. He reaches the centre, where there is a lone microphone, as well as two backing singers dressed in loose women's suits.

Walking down the street, I see you
Coming towards me, I see you
Messing with your hair, I see you
Looking unaware, I see you
Not looking at me, but I see you
Come and talk to me, I see you
Come on baby, I love you

As the next verse begins, the background shows the silhouette of a woman, her head turned away. Brendon sways from side to side with the rhythm of the song along with the backing singers.

I don't know why you ignore me
But I can't look away
I don't know why you ignore me
But I'll always listen to you
And when I see your face
I feel so alive
Baby, don't go away

As the chorus begins, the people in the background begin walking around like a busy crowd, but a spotlight is shining on one woman, who is standing in the centre of it all.

Walking down the street, I see you
Coming towards me, I see you
Messing with your hair, I see you
Looking unaware, I see you
Not looking at me, but I see you
Come and talk to me, I see you
Come on baby, I love you

A spotlight shines on Brendon and another on the woman, who begins to walk towards him very slowly. The crowd disappears into the darkness. The two backing singers come up close to Brendon, as if listening in on some gossip. A very thin layer of smoke (as in barely visible) covers the stage.

Oh why can't you
Just notice me?
And why can't you
Love me?
Like I love you
Baby
Come and love me
Is it too much to ask?
I really need to know

By the time the chorus begins, the woman has reached Brendon, who begins to direct his singing at her. He is supported by the backing singers, who seem to act like his mates. When the chorus begins, there is a flash of light and then the lighting returns to how it was, except it is now a very light shade of red, almost verging on pink.

Walking down the street, I see you
Coming towards me, I see you
Messing with your hair, I see you
Looking unaware, I see you
Not looking at me, but I see you
Come and talk to me, I see you
Come on baby, I love you
Walking down the street, I see you
Coming towards me, I see you
Messing with your hair, I see you
Looking unaware, I see you
Not looking at me, but I see you
Come and talk to me, I see you
Come on baby, come on baby
I love you

As the song ends, Brendon looks dejected after the woman walks away, seemingly rejecting his advances. The lights fade into darkness and Brendon and his backing singers leave the stage, as preparations for the next act begin.

by **The former Ekozian Colony of Milea** » Thu Jun 18, 2015 1:14 pm

former Ekozian Colony of Milea

WIP

by **Anollasia** » Thu Jun 18, 2015 1:22 pm

Anollasia
Blue Margarita - Ahmet Tepe'ye Giderken
Tune: Pink Martini - Üsküdar'a Gideriken

WIP

The stage is completely lit up, and the screen behind is turned off. Blue Margarita walks to the stage and sets up their instruments. Once that's done, the performance starts.

The lead vocalist, Japan Forbes walks up to the microphone as the drum and string intro plays and starts singing in broken Turkish.

On the screen behind, a panorama of northern Anollton and a tambur appears.

Ahmet Tepe'ye giderken
Çaldım da bir tambur
Ahmet Tepe'ye giderken
Çaldım da bir tambur

Next, a vacation scene and then a night scene and cotton appears on the screen.

Tatilimin günleri uzun
Geceler pamuk
Tatilimin günleri uzun
Geceler pamuk

Next, comes a picture that is supposedly love at first sight.

Ahmet Tepe'ye giderken
Aşkımı bir buldum
Ahmet Tepe'ye giderken
Aşkımı bir buldum

The same pictures of a vacation scene, night scene, and cotton are shown again.

Tatilimin geceleri uzun
Günleri pamuk
Tatilimin geceleri uzun
Günleri pamuk

Then, a picture of an arrow going through a heart is shown.

Ahmet Tepe'ye giderken
Kalbini vurdum
Ahmet Tepe'ye giderken
Kalbini vurdum

A heart with love written in different languages is shown then.

Kalbinin içine sevgi doldurdum
Kalbinin içine sevgi doldurdum

Soon, a man on the street is shown.

Ahmet Tepe'ye giderken
Bir anda durdum
Ahmet Tepe'ye giderken
Bir anda durdum

Next is the cable car that takes you to Ahmet Tepe.

Yürüyerek bir yere gidemem
Yolculuk uzun
Teleferiğe bineyim ben
Yolculuk uzun

Then, a picture of Ahmet Tepe.

Ahmet Tepe'ye gelince
Çimene yattım
Ahmet Tepe'ye gelince
Çimene yattım

Ben çimende
O yanımda
Ne güzelmiş bu

En güzel ne biliyor musun?
Mangal yapmaktır

Mangal yaptık
Ayran içtik
Doyduk biz, doyduk

Mangal yaptık
Ayran içtik
Doyduk biz, doyduk

Ben çimende
O yanımda
Ne güzelmiş bu

En güzel ne biliyor musun?
Aşkımı buldum

by **Todlichebujoku** » Thu Jun 18, 2015 6:45 pm

_24. _Tödlichebujoku_

Tune: Полина Гагарина - Навек

Remain With Me

Pranashei Krüger

Pranashei Krüger, winner of SterGo100's latest season of the popular show "Sing Like The Wind", gladly agreed to try and bring Tödlichebujoku back to the top half of the rankings after Shichirou's unexpected disappointing finish in WHF17. Her new electropop song has seen a positive reception in several nations, but will it be enough?

The stage lights flash blue, briefly illuminating Pranashei (in the pictured silvery-white dress), who is sitting on the floor in the middle of the stage. An unintelligible prayer-like whisper is played in the relative darkness. As the lights brighten, she rises and sings, with a male dancer (looking like this) coming up from behind and embracing her

My only true soulmate
We met and our love was true
But nobody's perfect
We started withdrawing away

He steps back and disappears into a wall of mist. When Pranashei turns to follow him, he thrusts his hand out to stop her

I'm back to retrieve you
Return to you from afar
But you felt we were through
And told me "Goodbye" at the door

Pranashei turns back, appearing heartbroken

I'm lost in my failure,
My failure to make it work

A glimmer of hope appears in her eyes as she looks straight at the audience

But if you return now
Have faith in our story
Together we'll live our dream

The spotlights behind the stage swing out like a great pair of wings as Pranashei mimes holding a person close to her body, her face to the camera as the camera spirals up

Hold my body, so close to yours
Show me deep inside, show me what you feel
Just remember the times we've had

Golden spotlights sweep out over the audience

We laughed and we loved and we gleamed like the sun
I know we can do even better tonight
And I beg of you,
Remain with me

Mist invades the stage floor, so that Pranashei is backed by a wall of mist and also amid a floor of mist. She kneels and looks down to the mist, as if her lover would appear out of it. At the second line, she looks up and closes her eyes.

I beg of you, remain with me
I beg of you...

The extra lights fade out, with just a few spotlights on Pranashei and some lights behind the mist glowing. She rises

Are you tired of loving?
Are you scared of committing now?
No matter what happens,
I'll always be by your side

She looks back to the wall of mist, then turns back to the audience and kneels down a bit, skimming the top of the mist floor with an arm

It's alright to turn back,
Alright to come home with me

And if you return now
Have faith in our story
Together we'll live our dream

The spotlights behind the stage fan out again, and the ones on Pranashei brighten. Several strategically placed fans turn the mist floor into a whirlwind of mist surrounding Pranashei

Hold my body, so close to yours
Show me deep inside, show me what you feel
Just remember the times we've had

We laughed and we loved and we shone like the sun
I know we can do even better tonight
And I beg of you,
Remain with me

Everything darkens, with Pranashei lit only by the glow of the mist

Let me see inside, can I change your mind
Can you recall our past glory
You can be what you'd like and I'll like what you'd be, now

She points to the audience and the lights brighten back to normal

I dare you to turn back and we can be free
I beg of you,
Remain with me
Oh

The male dancer whirls out of the mist wall and embraces Pranashei in a dance. The lights sweep out behind the stage and over the audience as the whirlwind of mist kicks up

Hold my body, so close to yours (ooh)
Show me deep inside, show me what you feel
Just remember the times we've had

We laughed and we loved and we shone like the sun
I know we can do even better tonight
I beg of you,
Remain with me

Silver glitter cascades from the ceiling into the whirlwind as Pranashei stops and looks to the audience

And now I beg of you,
Remain with me
I beg of you, remain with me

The lights fade, except for the lights underneath the mist illuminating the glittering whirlwind

I beg of you...

Even those lights fade, with the stage becoming pitch black for a few seconds before turning back to normal

"Thank you, Senmerí, thank you all so much!" she shouts joyfully to the cheering audience. She and the dancer bow, and then exit.

by **Chameliya** » Fri Jun 19, 2015 10:43 am

17
Chámelíyá
You Belong With Me - Malina Ráná
Quédate Conmigo - Pastora Soler

Malina Ráná is already an established household name thanks to her work in some of Chámelíyá's most renowned films. However, her participation at the World Hit Festival represents uncovered ground for her as it marks the debut of her music career. Entrusted with representing Chámelíyá on home turf, her ballad, You Belong With Me, covers the themes of loss and redemption.

Malina stands alone at the front of the stage in a simple, white dress. The backdrop is dark save the muted glimmer of the dim constellation it displays. The lights are low and only a few spotlights are centred on Malina but the soft focus of the cameras makes her appear to glow faintly. As the piano begins to the play introduction, Malina raises an arm to hold her microphone tenderly atop its stand as she starts to sing.

I never ever wanted this
For a short moment it was bliss
But now I’m here alone

The cameras shift their focus to Malina's face capturing her dark, defined eyes look into them with an air of sadness and guilt. Malina raises her other hand to the microphone, cupping it gently as she closes her eyes in a moment of intimacy caught voyeuristically by the cameras.

Your love was pure, it made me strong
Your heart of gold could do no wrong
But I messed it up so badly
I’m so sorry

The camera begins to pan away from Malina as she opens her piercing eyes once more. However, this time there is a different quality to them, a look of hope.

I hope that you’ll forgive
‘Cos your place is right next to me

The camera cuts to a different angle; Malina's illuminated profile in stark contrast to the darkness of the auditorium. Malina reaches one hand out away from the microphone stand into the darkness and holds it there, almost as though she is caressing an invisible lover. The lights are stronger and the glow of her dress is almost dazzling.

We don’t have to be at war
Stay with me forevermore
‘Cos you belong with me
Please return back to me
I’ll give what I never gave before

The lights fade again as the camera cuts back to Malina, standing in front of the starry backdrop before the immense blackness of the auditorium. Behind her, to her side, a spotlight begins to outline a circles of light around a solitary contemporary dancer, dressed only in narrow black shorts, pirouetting and propelling himself into the air.

I know you’re hurting ‘cos of me
I didn’t mean to, honestly
Please believe me

The dancer concludes his routine and begins to stride towards Malina who continues to sing strongly to the camera, seemingly unaware of his advances.

I hope that you’ll forgive
‘Cos your place is right next to me

The dancer places a hand on Malina's shoulder. Suddenly she falls to her side but is dutifully caught by the dancer who lifts her back onto her feet and spins her gracefully around. However, the pair's eyes never stray to look at each other, instead remaining fixed on the audience, creating a void between them. The lights begin to intensify once more.

We don’t have to be at war
Stay with me forevermore
‘Cos you belong with me
Please return back to me
I’ll give what I never gave before

Malina and the dancer separate, each stepping towards the corners of the stage. The camera cuts between shots of the pair, each time capturing the other over the shoulder. Now apart, they allow their faces to betray their emotions, their cold façades crumbling away into despair and bereavement.

I really hope that you’ll see
That us together is our destiny!

As Malina climaxes, the starry backdrop fades to a brilliant white revealing five backing singers, dressed in simple black suits and dresses, standing at the back of the stage. Unable to conceal their emotions any more, Malina and the dancer turn around to face each other and run towards each other, and envelope each other in a warm embrace - the dancer standing behind Malina, spooning her as she sings to the applauding crowd.

We don't have to be at war
Please I beg there’s no more war
Stay with me forevermore
Yes!
‘Cos you belong with me
Please return back to me
I’ll give what I never gave before

The dancer bends down and raises Malina into the air on his shoulder causing the audience to erupt in approval. Behind them, a pyrotechnic waterfall erupts, allowing glittering embers to flutter gently onto the stage. A blast from the wind machine catches Malina's hair causing it to flow elegantly behind her. Malina looks into the camera with a fierce, yet joyous, intensity as she belts out the final chorus.

I can’t live if we’re apart
No longer shall we be apart
You and I, we share a beating heart
Without you, it’s a bleeding heart
‘Cos you belong with me
Please return back to me
This can be our brand new start!

The dancer places Malina back onto the stage and steps away leaving Malina on her own. Smiling, overwhelmed at the cheering home crowd, she speaks softly into the microphone, 'Thank you. Dhanyabád!'

by **Coreyo Entertainment** » Fri Jun 19, 2015 5:25 pm

13. Coreyo

MM - After Obstacles

In the middle of the stage, there stand two people, MM and HG. In the left of the stage, there is a black piano, and an unnamed individual begins to play the piano.

After waiting four measures, MM begins to rap:

On a rainy, gloomy day,
I conjure up my past,
Life was bitter, then; more than I can say,
Good thing I'm all right now, finally, at last!

Relationships strained,
I didn't mean for it to happen,
The sorrow engrained,
My voice, my opinion dampened.

Voice of kindness, patience and sympathy
Act of kindness, courtesy and empathy,
I displayed all those with care and prayer,
but the clothing of virtues I wanted to tear.

Strangely right now, it's all a good memory,
but back then, 'twas about me, a ridiculous parody,
it was as if I were chewing a bitter tablet,
Oh man, I'm not going back to that.

HG, begins to sing:

Without love, without human succor,
a lonely island left alone,
Clashing against the wind of humanity,
I cried and let it all out with the words, "I can fight this!",
and with that courage, I have overcome all obstacles.

MM begins to rap again:

Liar, but not lying, failure, but not failing,
Fool, but not ignorant, of those, I'm cognizant.
People will deny the truth, and embrace the falsehood.
The act I've encountered, ever since my childhood.

Silent when I'm rewarded the good,
Boisterous when I'm at fault, as they should,
Picking out excuses, just as there's game to hunt,
"You're not exactly Flavor of the Month".

You say you stand up to the bullies,
but you stand with the bullies,
You say you are filled with virtuosity,
but your actions say otherwise; you're just a pity.

Strangely right now, it's all a good memory,
but back then, 'twas about me, a ridiculous parody,
it was as if I were chewing a bitter tablet,
Oh man, I'm not going back to that.

HG, begins to sing:

Without love, without human succor,
a lonely island left alone,
Clashing against the wind of humanity,
I cried and let it all out with the words, "I can fight this!",
and with that courage, I have overcome all obstacles.

MM begins to rap again:

After trials and tribulations, I finally reached the summit,
after trials and tribulations, I finally reached the end of evil.

MM continues rapping, while HG adds ad lib sound effects(HG's lyrics are parenthesized.):

Now I can rejoice, (Hum-ha!)
I have reached the end of suffering, (Oh yeah!)
Fought my way through,
I have overcome,
all obstacles.

After trials and tribulations, I finally reached the summit, (Oh-ho!)
after trials and tribulations, I finally reached the end of evil. (Oh..yeah!)
Now I can rejoice,
I have reached the end of suffering.

(I shout to the sky.
I cried and let it all out with the words, "I can fight this!",
and with that courage, I have overcome all obstacles.)

MM begins to rap all by himself again:

On a rainy, gloomy day,
I conjure up my past.
On a rainy, gloomy day,
I conjure up my past.

Strangely right now, it's all a good memory,
I have overcome,
all obstacles.
I have overcome,
all obstacles.

An unnamed individual playing the piano stops playing.

by **San Llera** » Fri Jun 19, 2015 11:30 pm

San Llera

San Llera's entry to the WHF will be "Bygones" by the Sentient 5 (tune).

I’m sorry to the world (Ooh)
I have changed
Sorry that I killed that man
That me was a different man

I’m sorry to the world (Ooh)
I am different
Sorry that I killed that man
That me was a different man

The world loves drama, and drama doesn’t love me
The media ambushes like they want to fight me
They need to back off a little, and let me explain
I evolved
I don’t want anybody to feel no pain
Let them know that I regret the mistakes I’ve made
My public sorrow ain’t a façade
I regret things, how many times should I say that?
You can’t punish me again, I’ve already served that
You don’t listen to me, realize my oppression
Can’t go anywhere, no sympathy for my depression
So I couldn’t handle my aggression
I can now, so let bygones be bygones

I’m sorry to the world (Ooh)
I have changed
Sorry that I killed that man
That me was a different man

I’m sorry to the world (Ooh)
I am different
Sorry that I killed that man
That me was a different man

Jesus said to forgive and forget
You like repeating it
But not carrying it out
This will hang over me, hang over me forever
Don’t have to throw a banquet for me but please don’t hate forever
Society

Society hates me, society berates me
All I can do is lay here and wait out the storm
You’re all so cold, why can’t you be warm?
I can dream about a future where bygones are bygones
Bygones are bygones, I hope bygones can be bygones forever
Bygones, bygones forever, bygones forever?
Forgiving never seemed so hard from the cell
I was taught my lesson, so shouldn’t all be well?
My intentions are now good I wish I could
Go back in time to fix it as I should
I think of him, I think of the family
Asking why I did what I did
Prayed to God so much I need knee pads
Yes I can understand why y’all are mad
But now I’m out and everything’s cool
At least I thought so, but I am a fool

I’m sorry to the world (Ooh)
I have changed
Sorry that I killed that man
That me was a different man

I’m sorry to the world (Ooh)
I am different
Sorry that I killed that man
That me was a different man

Look at the way you treat me
I’m a man like all of you else
We all make mistakes
And I was sent to prison for mine
You are relentless, I’m trying to ride this thing on out
But I can’t when you’re putting words in my mouth.
I know how it’s like to perpetrate cruelty, no mercy,
Inhumanity, insanity, we’re both doing the same thing
What about the bygones? What about the bygones?
Let’s let bygones be bygones and we can all get the hell on

I’m sorry to the world (Ooh)
I have changed
Sorry that I killed that man
That me was a different man

I’m sorry to the world (Ooh)
I am different
Sorry that I killed that man
That me was a different man

I’m sorry to the world (Ooh)
I have changed
Sorry that I killed that man
That me was a different man

I’m sorry to the world (Ooh)
I am different
Sorry that I killed that man
That me was a different man

by **Plaschea** » Sat Jun 20, 2015 4:49 am

Plaschea

Selenië Voivod
Deparetel (Leave It Be)

To the tune of Francesca Michielin - L'amore esiste

_________________________________________________________

0:00

Raçeo e fadën (Races and religion)
Videune vorlen d'micde (Living in a mixed world)
En un erë d'aprosatro (In a time of turmoil)
Tempunt minoriden ai vravë (When minorities are furled)
Ei vai subodzein videu (But we're meant to be living)
En tracoi e 'armeni (In peace and harmony)
Vamoi sedet porteu temp d'vide (Let's care for our lifetime)
E atraçet ved non-clusdë (And love no matter what)