JWHF6 - Mera, Besen | Draft Thread

by **Besen** » Sun Aug 18, 2019 12:01 pm

OOC Thread – IC Thread

Hello, nations of the world! Welcome to the Draft Thread for the 6th Junior World Hit Festival which is due to take place in Mera, Besen for the first time ever. Here, you will be able to post and work on your entries, where I will eventually transfer them onto the IC Thread, and the contest shall begin. The final deadline will be Sunday 1st September 2019 at 8pm BST. You will be allowed to make small edits, as I move the entries - a 24 hour grace period basically. Once this has all been done, entries will be considered final and ready to compete.

There aren't many rules regarding the formatting of your entry, apart from the header, which I as host will supply, and edit to fit the running order of the contest etc. The header is also there to align entries with a common theme, that will look much more visually appealing. In addition, the host is permitted to make small RP additions before and after the entry, but not any major RP that you have worked on. This can be seen:

The host reserves the right to make alterations to your RP when copying it over to the IC thread. However, these alterations will be limited to cleaning up the formatting as well as adding (not deleting) RP regarding the situation in the arena (i.e. how the audience reacted). Substantial/major alterations will not be made without written permission, and any further changes to an entry within the IC thread will only be done upon written request by the user behind it, and with host discretion

Deadlines/Dates

~~Draft Thread opens: August 18th~~
Sign-ups close: August 25th
Draft thread closes, IC thread opens: September 1st
Jury voting: 2nd September - 8th September
Televoting: 9th September - 15th September
Voting reveal: 16th September - 23rd September

Additional Information

Running Order
_{Decided by Producers}

1 Axuva
2 Besen
3 Kalosia
4 Tödlichebojoku
5 Estogium
6 Izmedu
7 Achaean Republic
8 Fromulya
9 Bayilan
10 Monaeroglisseurest Pleindanguillese
11 Merecendi
12 Togonistan
13 Darkmania
14 Britonisea
15 Vartugia
16 Polkopia
17 Mercedini

RP and Stage Info: When determining your performance, you are highly encouraged to refer to the host bid post as you write your RP. If you have any questions about specific stage effects or trying to see what is/isn't possible on the stage, don't be afraid to ask the host through the JWHF5 OOC thread, via an NS telegram or via a Discord DM.

What is a Complete Entry?: A complete entry, by technical definition, is an entry on the draft thread with a usable tune and a complete set of lyrics (all stanzas, verses etc. covered). Which means, I can transfer a post with just pure lyrics onto the IC thread and mark it as a complete entry. However, I encourage all nations to put in RP to your entries. It makes the entry look far more complete than just lyrics on the page, and while it won't guarantee higher points, it will signal to the WHF community that you are putting in effort. What will not be transferred is an entry with incomplete lyrics or just a header.

Additional Information on Headers: You are highly encouraged for this edition to include the names of your song's IC producers and IC lyric writers. This information will go on your header. A header template for the draft thread can be found below, however, your entry will receive a graphic displaying most of the information in the IC thread. However, you are not required to use this particular header for this draft thread, as you are free to use whatever format you use, as long as you give all the information required.

Code: Select all: [align=center][box][b][size=200][u]? | Country[/u][/size] Artist - "Song Title"[/b] [b]Title Transcription:[/b] (If any, eliminate this line otherwise) [b]Title Translation:[/b] (If any, eliminate this line otherwise) [b]Language(s):[/b] Language(s) of the lyrics of the song [b]Tune:[/b] OOC Song used (with a link included, please) [b]Lyrics:[/b] IC song writers [b]Music:[/b] IC song composers [b]Two colours for postcards (Hex codes):[/b] [I]Leave blank or eliminate if already given.[/i][/align][/box]

WORLD! YOU MAY START POSTING NOW!

by **Britonisea** » Sun Aug 18, 2019 12:03 pm

? | Britonisea
Angelica (13) - "Capture The Moment"

Language(s): English, Britonish
Tune: Angélina - Jamais Sans Toi
Lyrics: Angelica, Tom Pearce
Music: Angelica, Harrold Mates, Gail Smitherson

After Britonisea withdrew from the Junior World Hit Festival which was last held in Togonistan, Britonisea returns to the Junior spin-off of the World Hit Festival as Overseers as Angelica represents her nation with "Capture The Moment"...

The last time that there was a Junior World Hit Festival, Britonisea took the decision to withdraw from the Festival, citing reasons such as the Overseer transfer making it a rather hectic time for BVC meaning that they were not focused on the Junior World Hit Festival. Britonisea's non-participation at the 5th Junior World Hit Festival was not a decision taken lightly, however. The World Hit Festival was being held in Togonistan, which is one of Britonisea's closest nations and so the nation didn't not want to turn up in some way. Moreover, Britonisea had been participating in the Junior World Hit Festival since it's 2nd ever contest and wanted to keep the participations going. Thirdly, at the 4th World Hit Festival which was held in Mercedini, Britonisea came second place - only two points away from leaders Alinghi Federal Democratic Republic which gave Britonisea hope once again at the World Hit Festival after the nation had a win drought. However, in the end, it just wasn't feasible to participate at the Junior World Hit Festival and the nation withdrew but BVC did encourage and support Aloquirbe, a semi-autonomous region within Britonisea to participate in place of the nation with ALO:TV stepping up to the plate and sending over Jared Zayne to represent Aloquirbe - and most certainly the rest of Britonisea - to the Junior World Hit Festival with his song "Power of Love" which became a favourite to win the Festival. Jared Zayne performed very well on the night, performing rather emotionally due to the immense proudness that he had representing Aloquirbe at the Junior World Hit Festival, singing lyrics that spoke directly about him being a singer and spending time away from home - with him being able to relate what he was singing on the stage. In the end, Aloquirbe finished the evening with 26 points - which at the time was one of ABEN's highest totals scored at any World Hit Festival competition - moving themselves past Nightom's and Estogium's highs. Drawing with Mercedini, the nation that finished 3rd, Aloquirbe finished in 4th place due to tiebreakers. Britonisea and BVC applauded the efforts of Aloquirbe as Jared Zayne came back to a very grateful audience at Aloquirbe's largest airport, Aloquirbe City International. Britonisea were quick to confirm that the nation would make an appearance at the upcoming Junior World Hit Festival...even if the corporation's existence depended on it...

There was a lot of speculation as to whether Britonisea would bid to host the Junior World Hit Festival, something that Britonisea has not yet done. Britonisea is known to be one of the nations that host these international song contests at the time and so to an ordinary fan of both the World Hit Festival and WorldVision Song Contest, people wonder why Britonisea hasn't yet put in a bid yet. Though according to sources, Britonisea did intend to bid for the 6th Junior World Hit Festival, but the nation won the 46th World Hit Festival very unexpectedly and decided to host that instead, with the broadcaster trying it's hardest to make the 47th World Hit Festival the largest Grand Final of the World Hit Festival - a title is technically achieved. BVC and the Overseer for the World Hit Festival instead launched a bidding process, much more extravagant and demanding than the bidding process for prior Junior World Hit Festivals. This time, a few nations decided to bid for the Junior World Hit Festival - a few more had intended to bid but never did in the end. After a round of voting, it was confirmed that Besen would host the Junior World Hit Festival for the first time, with the Overseer working for the first time with Besen who is a rather new nation to the circuit, not having ever participated in a Junior World Hit Festival themselves. Hosting on a debut - a very rare sight but the Britonish delegation welcomed this and couldn't wait to get to Mera, Besen for what was expected to be a fabulous Junior World Hit Festival. But first...an act.

People were wondering how Britonisea were going to pick their act for the Junior World Hit Festival. At the 2nd and the 3rd Junior World Hit Festival, the nation picked internally. The 3rd Junior World Hit Festival saw Britonisea not do as well as it wanted to, with the 2nd Junior World Hit Festival (you could say) ending in a draw. Vha Mehlodhivestoile Euvenoures was used as the selection process for the 4th Junior World Hit Festival in Mercedini, with the nation - as previously mentioned - finishing 2nd place. BVC thought that, with the success of Vha Mehlodhivestoile since the Vha Mehlodhivestoile Euvenoures 2017, it was time for Vha Mehlodhivestoile Euvenoures would make a comeback and pick the Britonish act for the 6th Junior World Hit Festival under a refreshed name "Vha MiniVestoile 2019". In a similar format as the one before, there were two semi-finals, but this was held in a week similar to the 40th World Hit Festival. In that time is when we met Angelica who performed first it the Second Semi-Final. Angelica managed to slip through into the Grand Final, coming third but things were about to change as the International Jury was included in the Grand Final of Vha Mehlodhivestoile Euvenoures. With a larger audience for the Grand Final, more televoters pandered to "Capture The Moment" as a family-friendly children's pop song with many complaining that some of the other songs sounded very mature for children. The International Jury vehemently agreed to place "Capture The Moment" at the top of their rankings, with the host giving the song 12 points. Normandy and Picardy, Todlichebujoku and Polkopia gave the Angelica 10 points while Izmedu gave Angelica 8 points. Achaean Republic gave her two points and she won't be expecting any points from Achaean Republic this edition...

She finished the night with 108 points, a huge total in line with the ever-increasing winning totals of Vha Mehlodhivestoile both in the Senior and Junior editions. Angelica had won the ticket to go to Mera, Besen - the first time that she would leave Britonisea. Angelica is a thirteen-year-old girl from Tonesk, the beating heart of the country. She was always interested in singing and wanted to be a star from a very young age, always performing wherever and whenever she can. She was a part of her school's musical productions, she was performing and representing her school around the country where she won multiple different awards. It seemed as though Angelica was ready for something such as the Junior World Hit Festival. How "Capture The Moment" came about is rather sweet though. Angelica simply wanted to write a song which she did with two members of her music class; Tom and Harrold who both knew how to play the piano and guitar at their young age. Together they came up with something before they went to their music teacher Gail Smitherson who helped the three develop their song by adding some more instruments and making it more digitalised. The end result was a basic version of the song that we have currently, with all of the song being in English, and with some beats that are currently in the song being missing. Gail Smitherson personally loved the song and encouraged the trio to perform the song in front of an audience of people who sponsor the school at an important evening at the school, showing the sponsors of the talent in the academy that they sponsor.

"I am so excited, we all are! I am so ready to wow everyone with my performance!!"

-Angelica

What they didn't know was that people from Brityunik Vefecosoin Cairkovoin were coming to the evening and when Angelica and her friends performed the song, they were certainly impressed by it and spoke to the music teacher about them perhaps polishing off their song in a BVC studio in Tonesk. The music teacher made it into a trip for them which happened after school on a Friday with the three being super excited about what it feels like to be a star in a nation full of them. While this happened, BVC officials spoke to the teacher and parents of the kids about the upcoming Junior World Hit Festival, asking them whether they would consent to their children perhaps competing with Angelica being the frontwoman. The parents, much to BVC's surprise, were more than happy to let their kids go onto this show - with of course the chance to win the cash prize too. It was decided that three would get the money split 1/3 each if they do win despite Angelica's more pronounced presence in the song. By the time everything was sorted out, including the making of the final version of the song, it was ready for Vha Mehlodhivestoile Euvenoures...an exciting prospect for the children and the parents... The boys were to be on the stage with Angelica as well, singing in the background to make sure that they were involved in the song as much as possible.

Everyone was shocked that the team went onto win the competition but in no way stooped as to how they did it - their talent spoke for itself. They all had a ticket to Mera, Besen which they used only a couple of days ago. This brings us to the present day, with the Britonish delegation enjoying their time in Mera, before rehearsing for what will be the biggest platform for all of them. Angelica, perhaps, is the most excited about the whole thing with her never not smiling since she stepped for in the MEB arena for her first practise. Tonight was the night, however. It was time to show the world what Britonisea and she was made of...it was time for the next trophy she wanted...the Junior World Hit Festival one. She can do it, she believes she can...

With her performance coming next, she was starting to feel nervous which was a totally different emotion to how she was feeling earlier on in the day. Her palms started to get a lot more sweaty and her breathing a bit more erratic. She had Tom and Harrold to reassure her that she will do very well on that stage regardless of what happens during her performance. She wasn't nervous to perform on the stage, but nervous to not disappoint her country when performing. Her teacher told her that Britonisea is always grateful for their artists, especially their young artists. The teacher explained that the feeling that she felt was only normal - she's human. Angelica was beating herself up about feeling nervous, but in no way should she feel guilty for feeling it. It was nearly time for her performance. Wearing something similar to this she really worked the black and white stripes that she was wearing. The boys that were on the stage with her wore something rather similar to her as well, wearing black trousers and a stripey top too. Britonisea's name flashed up on the screen for the first time as the audience loudly cheered for Britonisea. We went into the postcard for the nation with people running between the three to set the stage up in the forty or so seconds the Besen stage personnel had to set the stage up for her. For Angelica, what was set up on the stage was a tree on one side of the stage. There was also a large photo frame that was put on the stage too - this would be used during the performance quite a few times. Joining them on the stage was a girl as well who would be the girl that Angelica is singing about in the song. Finally, other things were bought on to the stage such a little room (like Malta ESC 2019) where she will stand for some parts of her performance. There would be projections onto the box that she was on which would bring her performance alive. It was Besen's broadcaster's decision not to have LEDs and so the Britonish delegation had to think of another way to use graphics...

With everything on the stage, it was time for her performance. At first, the audience couldn't see where Angelica was, with her sitting under the tree which was behind the room. She was sitting on a patch of grass placed around the tree with the girl, Tia, sitting next to her. The audience applauded again as the postcard finished as Angelica took one deep breath and smiled as the steadicam moved its way around the Angelica. Angelica looked at Tia and smiled as the audience went dark. The light on the steadicam beamed onto her face as she suddenly smiled, putting a show on for those who were watching. For those at home, the picture slowly faded into Angelica sitting on the ground with Tia before the music started. Eventually, the music did start and by this time, the camera was in full focus. She started as soon as the music came in...

As she sang the first line, "We met when we were just ten", she looked at Tia smiling and singing to her. With the hand that she wasn't holding the microphone with, she was picking at the grass with Tia doing the same as her. Throughout the first verse, the girls were playing around with each other, lightly brushing against each other and swaying along with the music with the steadicam pointed on them both throughout the first section of the song which builds the relationship between them both.

We met when we were just ten
From the first day, we were best friends
You and I, yes we both promised to remain close
Making memories that we'll have 'till we grow old

Once you showed me your love,
Photography, retro camera.
I said bring it out,
And point it in my direction

As we swiftly moved into the next part of the song, Tia bought out this retro-looking camera that she had kept behind the tree. Throughout the performance, there would be a lot of emphasis on props because of the LEDs not being present. Tia held the camera out, with Angelica moving from a sitting position to on her knees before looking at the camera with excitement. When singing "bring it out", she got up and with her free hand, she helped Tia get up from where she was sitting before they ran around the stage to finally come out to the audience that cheered them - no longer did they have to look at the screen to wonder what was going on. The pair were followed by a camera from the side which panned as they ran past it. Angelica ran up to this camera as she sang "point it in my direction", with her slapping the camera to the side with it seeming like the camera span on its axis... Going into the pre-chorus of the song, the two boys jumped up from the ground as another camera joined them showing the front of stage. As the boys jumped up and the shot rather dynamically showing them jumping up, the two girls appeared hands in hands centre stage with either of the boys beside them.

The boys picked up a large photo frame which was laying there on the floor before holding it up with the camera zooming in to meet the size of the frame. As it did, we saw Angelica and Tia dancing together with the projections on the little room flashing colours and bubbles and hearts - things that we consider girly and stereotypical you could say. Here, you can see Tia pointing the camera at Angelica and taking pictures with the flash on the camera going off multiple times during the pre-chorus. As Angelica sings "And you will say", she holds both of her hands close to her heart before closing her hands and saying the first line of the chorus and we moved into the chorus...

Take a photo; you have got to capture the moment
Don’t think twice - otherwise, you’ll miss that perfect smile
Remember! One day you’ll look back on these photos,
And you will say…
I am so happy this exists.

God, I am so happy this exists.
God, I’m so happy this exists.

As Angelica sang "God I am so happy this exists", the pair dance around each other, doing little dances that you would find in a school playground to show the girl's innocence and friendship towards each other. There was a further away shot at the time which went from one side of the MEB arena to the other side of it. The audience started to applaud as the main colours that were on the stage were bright yellow and bubblegum pink, making the performance as saccharine as possible, with the song already contributing to the sweetness of the performance. The boys were on either side of the frame, which you could see when the shot was further away from going from one side of the stage to the other side. As they finished singing the chorus, the camera slowly zoomed in from further back, zooming past the frame to Angelica and Tia who both hugged. The shot faded to black with the bright colours fading away to more modest, natural colours. As Angelica moved onto the next part of the song, she took the hand of Tia and walked her onto the little open room (a la Malta 2019) which stood in the middle of the stage.

Still holding her hand but standing in the middle of this box, she sang directly to Angelica once again, smiling and trying to catch her eyes as Tia tried to hide her face away from Angelica in embarrassment. Another camera shot joined them from the side, giving the boys who were holding the frame throughout the chorus a time to rest their poor arms from holding the frame. Angelica, by the time she got to "Preferred to be behind the camera, not in front", she took the camera from Tia with Tia opening her mouth in shock, before Angelica put raised the camera in the air, refusing Tia from touching it before Angelica took some pictures of Tia. Tia looked a bit embarrassed, facing away from the camera and towards the audience with the audience seeing this. Angelica walked up to her and she sang "told you that you're beautiful" which made Tia turn around to Angelica, slightly smiling - the kind of smile you give when someone compliments you when you're feeling down...

At first you were camera shy
Saw the fear running through your eyes
Preferred to be behind the camera, not in front
Held your hands and I told you that you're beautiful

And tell me where's the lie?
You're a star, you know you are
Point the camera here,
And make sure we are both in shot

The projections behind her faded in and you could see that they were inside of a house with there being projections of windows on either side of the room. As she sung "And tell me where's the lie", Angelica quickly turned towards the camera with it quickly zooming into her face. As the camera quickly zoomed in, she slightly tilted her head and raised her shoulders before going on to the next line of the song. She held her hand out to Tia as she sung "You're a star" with Angelica dancing stupidly which made Tia chuckle a bit, with Tia starting to genuinely look a look more happier than she was before. Tia took the hand of Angelica as Angelica pulled her by the time it was the end of that verse. The camera quickly spun on its axis like the first time with the next shot showing the boys jumping into shot once again, with the camera making a point of it with a focus pull.

At this point, you could see that all of them were singing along to the pre-chorus and the chorus as well. The boys joined Angelica and Tia in the room that they were standing in as the same bubblegum pink and bright yellow flooded the stage once again. All four of them were doing synchronised dance movements, with Angelica standing in front of everyone and everyone copying what she was doing. A camera which was on a track around the stage quickly zoomed passed the four of them on the stage which Angelica looking at the camera as it passed directly past her before she looked out in front of the audience and continued to sing. With the strong beats which separated the pre-chorus to the chorus, each of the four beats was a different camera shot (1. Far away, 2. The left side of the arena, 3. The right side of the arena, 4. A mid shot square on) with all of them looking at the camera at the fourth shot change. Similarly to last time, as she sang "God I am so happy this exist", she bought her free hand closer to her chest before closing her eyes and nodding a tiny bit as she felt the music...

Take a photo; you have got to capture the moment
Don’t think twice - otherwise, you’ll miss that perfect smile
Remember! One day you’ll look back on these photos,
And you will say…
I am so happy this exists.

God, I am so happy this exists.
God, I’m so happy this exists.

They all then started to do their own thing on the stage, just dancing in the room which was changing colours - away from the pink and yellow colours which filled the stage elsewhere. The camera went between showing those at home of them in the room to some of the audience dancing and singing along to the music to the stage. After a while, we then went to the pre-chorus of the song which was in Britonish. The addition of Britonish was a last-minute thing, but they were hoping that this would further add another Britonish flare on to the song. As they reached the bridge, the colours dialled down a bit as a steadicam moved in towards Angelica and her friends. She looked into the steadicam with her friends almost climbing over her shoulder - with them being the ones singing the backing bits, moving their heads left to right as they sang this section. Angelica was smiling all the way through this section...

crete'et zeloer in pluste
(Zeloer, hacte carpe diem)
Phosier eyk Tyra Banks
(Phosier, hacte carpe diem)
Vis oe vis ridiero
(Ridiere, hacte carpe diem)
Captiere vhis momementum!
(Ridiere, hacte carpe diem)

Here, we went for the build-up to the chorus for the last time, with the camera dramatically pulling outwards to show the whole room. The people that were behind Angelica all jumped away from her to their own corner of the small room that they were in, with a bird-eye shot of them all jumping into their positions quickly showing before Angelica continued to sing the next bit of the chorus. Another shot, after the bird-eye shot slowly zoomed into Angelica who was looking at the camera even though it was rather far away from where she was. And like the times before, as she got to the section where she sings "I am so happy this exists" she closed her eyes and held her hands close to her chest.

With the four strong beats coming in for the last twenty seconds of the song, there were four different shots here as well (1. Far away, 2. A shot on top, 3. A shot behind, 4. A shot square on) before balloons started to fall over them and the audience too. Everyone looked up and pointed towards the rigs in the arena with the camera tilting upwards to show the falling pink balloons falling over the camera. There was a wide angle shot moving from the left to the right of the arena as we saw the balloons falling everywhere with the stage lights flashing pink and yellow and the kids enjoying themselves and doing their own thing on the stage...

Take a photo; you have got to capture the moment
Don’t think twice - otherwise, you’ll miss that perfect smile
Remember! One day you’ll look back on these photos,
And you will say…
I am so happy this exists.

God, I am so happy this exists.
God, I’m so happy this exists.

The four stepped out of the room and stood in a line with the camera zooming in on all of them before zooming into Angelica. It was the end of the song as the audience in the MEB arena came in with a mighty roar. "THANK YOUUUUUUU BESEN!!" Angelica shouted into the microphone as the stage crew annoying moved in to sort out the tens of balloons that were littered around the stage thanks to the Britonish performance... Angelica performed and she was more than happy with her performance. She went back to the Greenroom where the Britonish delegation proudly congratulated her and her friends...

It was now time to move on to the next proceedings...

by **Besen** » Sun Aug 18, 2019 2:48 pm

? | Besen
Adriana Rose - "Nothing I Can't Do"

Language(s): English
Tune: Carly Rae Jepsen - Now That I Found You
Lyrics: Sarina Nebuane, Taylor Blunel & Marc Fulso
Music: Madame V

At 15 years old, Adriana Rose was scouted by producers, after her appearance on The Voice Kids, which she ended in 4th place. Her singing style has been described as theatre influenced and crystal clear - often earning her support by critics, as she approaches the beginnings of her musical career. Nevertheless, Adriana has halted from pursuing commercial success. Being the age she is, there is of course a barrier to her exploring themes and sonically throwing herself into the type of music she wants to make. Yet still, she releases songs on her blog - closely supported by a tightly communal fan base, who say she is the "next alternative artist to break through the mainstream".

Not much is known about her journey to the Junior World Hit Festival, just that her participation is based on the scouting of BSB and they knew they wanted her from the beginning. With the contest being in Besen, there is an added pressure to showcase the local talent, and especially artistic difference. Adriana is born and raised in Mera, making her the ideal candidate and poster girl for her country at the contest. Thus far, she hasn't made much public interaction, and has clearly kept her song top secret. She did however comment, "I am working on a project. I have to keep it secret, but I think it will reach a lot of people, and I hope it touches them."

"Nothing I Can't Do" is written by a team of writers that have previously worked under many alternative artists, although they have never contributed to a contest like this one - unlike the group of songwriters that often collaborate for artists that go to Worldvision or the senior World Hit Festival. Adriana isn't credited with any aspect of creating the track, but she said she paid very close attention to the direction of the song and made sure it fit her style completely. Categorised as a pop song, this has meant that the song has received a lot of radio-play and has indeed charted on BMC, with a peak of #17 before the contest. This has not happened in a while for WHF acts, and as Adriana will be the inaugural participant for Besen for the junior version of the contest, it has been aided by a
hype created by fans of the format.

Ultimately, coming into the competition, Adriana has stuck to her guns and is singing a song that is definitely true to her. "Nothing I Can't Do" discusses the feeling of confidence as you navigate your problems. It is packaged into a light sounding experience, that appeals to a young audience. Critics of the song call it "too cringy" for a child's competition, but the team behind it say it will be an interesting message that a lot of kids will connect to - even if the pop sounds are the only thing they find appealing.

Sitting atop a transparent bed shape, under a rainbow graphic, Adriana sets the microphone to her mouth, ready to perform. She wears dungaree's - classic and rather lovely looking. The scenery uses soft colours to present a beautiful element.

Living in monotone
All of my mornings
I wanna exist without regret
I’m suddenly falling
Every nighttime
I dream of the sunlight
‘Cause everyday is brand new
I feel something calling

The light is rising
I feel my hope arrive, yeah
I feel my hope arrive, it’s new
My heart awakens
I feel my hope arrive, yeah
I feel my hope arrive, it’s new

I’ll get to us
Say it won’t work
But now I got my rhythm
There is nothing I can’t do
I won’t fall
‘Cause now I got my rhythm
There is nothing I can’t do
Nothing I can’t do
Nothing I can’t do

I hear a battle cry
It’s deep in my heart
Maybe it wants to run free
Without any complications
I never deny my heart
So I don’t waste it
I step out into the day
I’m all I’ve ever wanted

The light is rising
I feel my hope arrive, yeah
I feel my hope arrive, it’s new
My heart awakens
I feel my hope arrive, yeah
I feel my hope arrive, it’s new

I’ll get to us
Say it won’t work
But now I got my rhythm
There is nothing I can’t do
I won’t fall
‘Cause now I got my rhythm
There is nothing I can’t do
Nothing I can’t do
Nothing I can’t do

I was dreaming of a world
Where anything is reachable
I live in that world now
There’s nothing I can’t...
There’s nothing I can’t do
There’s nothing I can’t...
There’s nothing I can’t do!

Say it won’t work
But now I got my rhythm
There is nothing I can’t do
I won’t fall
‘Cause now I got my rhythm
There is nothing I can’t do (Ohhh!)
Nothing I can’t do (Nothing I can’t do)
Nothing I can’t do (Ohhh!)
Nothing I can’t do, nothing I can’t do

by **Monaeroglisseurest Pleindanguillese** » Mon Aug 19, 2019 2:58 pm

? | Monaeroglisseurest Pleindanguillese
Onni Vandr Loca - "Iðat lotad!"

Title Translation: Never Grow Up!
Language(s): Monaerese, English
Tune: Nanul - Im Tsnundn E Aysor
Lyrics: Onni Vandr Loca
Music: Onni Vandr Loca, Mart Vandr, Uram Nerakkir

10 year old Onni Vandr Loca, above, will represent Monaeroglisseurest Pleindanguillese at their debut JWHF

As the song begins, the arena is illuminated in a slight pink tone, shining onto the back panels. The first camera shot shows Onni on the further back slightly raised section of the stage standing on a large box made to look like a chest, her back turned to the camera and the audience, as everything starts to slowly come to life. She is shown clicking her fingers with her right hand, and bopping so as to temporarily move her body weight onto her right leg, before coming back up to a full stance, to the beat of the music. She is wearing the costume shown above, minus the humongous hairpiece.

Iðat lotad
Never grow up

Iðat, iðat, iðat lotad
Never, ever, ever grow up

Iðat lotad
Never grow up

Iðat lo-ta-ad
Never grow-ow up

As the verse begins there is a slight temporary increase in the brightness of the lights so as to accentuate the moment, and Onni swivels around such that she is now singing towards the camera and the audiences across the multiverse. The first verse is kept quite simple (as, I must warn you, is a lot of this staging, mostly due to MonaeroTV having been forced into doing this mostly against their will anyway by Onni's fathers, and them not having much money. But, of course, this in fact to help keep the childlike feel. Totally. Yep). Onni mostly just moves along to the music, and the camera gave a series of shots of the stage at various angles. As the verse draws to a close, two children's heads (don't worry, they are connected to bodies, which belong to living children) appear on either side of the box, to join in her questioning - Onni has some friends to play with!

Mor entsyb gette emjas sok, so vu jitt
Having fun out in the sun, I love it

Morposk sijed goskir soðum kerun kan, s'vu tunn
Playing with friends all day long, I want to do it

Sonno vin kon siðe sonno tum tesub ykku vostkum
This is what being young is about

Som lot?
Why grow up?

Som lot, som lot, som?
Why grow up, why grow up, why?

The two backing singers/dancers, both girls, come around to the front of the box/chest and join Onni. They first just generally move about, but with the second line some synchronisation somehow emerges (how they got a bunch of ten year olds to do anything is quite beyond me). The two backing dancers point first to their left, then right, before putting both hands before them and, with their index fingers raised, shake them as if to say no. They then raise their arms up in the air and wave them, presumably trying for some audience interaction, whilst they swap sides around Onni, who is still singing. The cameras focus on Onni alone as she asks "Som lot?" (Why grow up?), before cutting away from her to show the two backing dancers, dressed in similar outfits, who sing the next bit whilst looking slightly confused.

Sok og sokjitt, hym losans tronniroz
Day and night, our parents have to work

Vu attan kon, vu eft kon, put iði entsyb ykku mys
Doing this, doing that, but they have no fun

So tet kerun kan ennarsjetis kon
I just want to party all the time

Som lot?
Why grow up?

Som lot?
Why grow up?

Som lot, som lot, som?
Why grow up, why grow up, why?

The camera view suddenly zooms in on Onni as she sasses everyone, having moved around to the lower level of the main stage. As she sings the first ling, she points to herself, then pulling her hand up and pointing into the air, sticking out one of her fingers and shaking it as if saying no, moving it to the beat, before seeming to push the camera away with her other hand, almost turning it around in a spiral.

Viotin ed, niðut ogs nist sum i vyt
Mum and dad tell me to be me

Ogs datta so ykku lotad
And so I won't ever grow up

As the chorus begins, Onni and the two young backing dancers, now stood slightly behind her, begin a sort of dance routine, as the camera view refocuses. Over the course of the camera, as shown by a series of panning shots giving various angles of the stage, the two backing dancers begin by miming that they are singing into microphones and rock from side to side, leaning forward slightly. They then turn around and put their thumbs up towards Onnr in the middle as they chant "yeah, yeah", as if showing their agreement with her. She then proceeds to turn to each in turn as she sings the next line, addressing them with her advice to never grow up, whilst they just dance and wave their arms in the air to the beat. Halfway through the next line, the two backing singers place both hands beneath their heads so as to mime that they are sleeping, each pointing in the direction away from Onnr, whilst she rests her head on her hands. They then all bring one hand before them, and stand forward with one leg, as they chant "Us, tjeo, sko!", showing 1, 2 and then 3 using their fingers, and rotating them with each number. They then proceed to pull the forward leg back and show simply one finger, again gesturing no to the beat. The two backing dancers proceed to do a cartwheel behind Onni as she grooves to the beat, thus swapping sides. Once they have done so, they then jump up into the air with youthful abandon. Following on, with the hand on the inside facing towards Onni on their hips, they raise the outside arm up and wave it about in the air, before bringing both together and clapping to bring the chorus to an end.

Ennag ogs morposk, vis i tunn?
Do you want to sing and play?

Yeah, yeah
Datta iðat lotad
Well then, never grow up

Losans, iði yktfunyb mys, je
Being a grown up is so boring

Us, tjeo, sko!
One, two, three!

Datta iðat lotad
So never grow up

Vis entsyb tunn?
Do you want to have fun?

Datta iðat lotad!
So never grow up

Vis entsyb tunn?
Do you want to have fun?

Datta iðat lotad!
So never grow up

The camera focuses on Onni as she turns back around during the beginning of the new verse, showing the audience behind her as she walked, before the steadicam operator turned around to show the box/chest once again. The two backing singers, standing behind both Onni and the box, opened the box and pulled out a series of costumes, as if for young children to dress up and play, matching those shown in the image and hold them around so that they are in front of Onni,such that it seems she is trying them on. She shakes her head at each, before walking forwards again. She moves about, but then pointing with both hands to herself. She is joined once again by the two backing dancers, all three of whom hold out their hands so as to gesture their question of "som".

Yes, I know there's so much that I could be
A doctor, a scientist, an astronaut
But why do all that when I can do what I want right now?
Som lot? Som lot? Som

As Onni sings the next line, she is lifted up by the two dancers, who them pretend to nearly drop her, leading them and Onni to pretend to laugh at their lovely youthish hijinks, bless. Beyond this, there is generally just bouncy movement across the stage, the backing dancers following Onni and dancing along, trying to get the audience involved, as they move from camera point to camera point in an attempt to hide just how little work has gone into this. Help.

They say growing up will be so much fun
But I look at the adults and I feel glad
That I'm going to stay young and have fun, why would I grow up?
Som lot? Som lot? Som

More sassiness, this time with her backing singers.

Viotin ed, niðut ogs nist sum i vyt
Mum and dad tell me to be me

Ogs datta so ykku lotad
And so I won't ever grow up

This chorus is pretty much a repetition of the first chorus, just with some different camera shots and lighting arrangements. Sorry to be quite boring

Ennag ogs morposk, vis i tunn?
Do you want to sing and play?

Yeah, yeah
Datta iðat lotad
Well then, never grow up

Losans, iði yktfunnyb mys, je
Being a grown up is so boring

Us, tjeo, sko!
One, two, three!

Datta iðat lotad
So never grow up

Vis entsyb tunn?
Do you want to have fun?

Datta iðat lotad!
Well then, never grow up

Vis entsyb tunn?
Do you want to have fun?

Datta iðat lotad!
Well then, never grow up

The lights darken, and redden slightly, and a series of searchlight-style spotlights begin moving around the stage, whilst the two backing dancers are joined by a third, this one a boy, and perform a much more slick, focused dance routine than the more bouncy, playful style of the choruses. Onni is nowhere to be seen, even though she is singing, as the camera remains focused on the dancing.

Iðat lotad
Never grow up
Iðat lotad
So ykku lotad
Iðat lotad
Never grow up
Iðat lotad
I will never grow up

The camera view finally turns to show Onni standing on top of the costume box from earlier on. A faint spotlight shines on Onni as she sings, bending down slightly towards the camera, which is looking up at a slight angle towards her. During the first line, she pounds her hand over where her heart is, before standing back up to full stand and slowly lifting her hand up during the "u-u-up" bit.

Mum and Dad tell me to be myself
Yeah yeah
So I'll never grow u-u-up

The camera shot suddenly shifts to show one side of the stage, where the boy and one of the girls - sitting on the end of the stage - move their legs about to the beat whilst looking awkwardly at each other during the first line. Then, with the number calling, they suddenly seem to get into the rhythm of things, signalling the numbers with their fingers before both pulling each other up and doing the arm lifted up/hand on hip thing from earlier.

Losans, iði yktfunyb mys, je
Being a grown up is so boring

Us, tjeo, sko!
One, two, three!

Datta so iðat lotad
So I will never grow up

This was all, to no one's surprise, a diversion, to allow for Onni to be lifted back down from the box and be brought forward to the front rounded extension to the stage, where we see her at the beginning of the final chorus, which is ushered in by a short burst of pyros. The boy and the girl dancers rush over and join the other girl dancer and Onni as they act out the routine, but arranged in a circle and facing outwards to match the area of the stage. There is a continous camera shot around the four showing each one dancing and singing along, and of course also showing off the audience and the rest of the stadium. As the 360 degree shot around them returns to show Onni, the others turn back around again. For the final line of the song, the three lift Onni up, which is accompanied by another burst of pyro. The song closes with a close-up shot of Onni as she sings the final "grow up".

Ennag ogs morposk, vis i tunn?
Do you want to sing and play?

Ha, ha
Datta iðat lotad
Well then, never grow up

Losans, iði yktfunyb mys, je
Being a grown up is so boring

Us, tjeo, sko!
One, two, three!

Datta iðat lotad
So never grow up

Vis entsyb tunn?
Do you want to have fun?

Datta iðat lotad!
So never grow up

Let's have fun
And never, ever grow up

by **Polkopia** » Thu Aug 22, 2019 6:58 pm

? | Polkopia
Viktoriya Mashininya - "Pust'"

Title Translation: The Way
Language(s): Polkopian
Tune: Marija Spasovska - Doma
Lyrics: Aleksei Drekko, Viktoriya Mashininya
Music: Daria Magden, Ali Varaan

Viktoriya Mashininya came to be Polkopia's first-ever entrant at the Junior World Hit Festival shortly after winning the junior version of the popular television show, Polkopia's Got Talent (V Polkopiyy Puzintažnost'). Mashininya wow'd the Polkopian audience with her incredible vocal capabilities at such a young age and was an obvious choice for the PNB2 to select in order to showcase Polkopia's young musical talents the multiverse. Previously, the PNB had entertained the idea about making a debut at the 5th edition of the Junior World Hit Festival, but eventually decided against it, as appropriate funds were to be allocated for Polkopia's participation at the Worldvision Song Contest - a project which took precedence over the JWHF according to the PNB. While the deadline had already hast, the PNB2, a much smaller broadcaster but still widely popular among Polkopians, opted to acquire the funds in order to be able to participate in the competition. Their goal was soon met, and the prospect of Polkopia making a debut at the Junior World Hit Festival turned into reality and the nation confirmed their participation moments after the dates for the JWHF were announced.

So Polkopia entered the competition but there was still plenty of work to be done. To start, Viktoriya needed a song. Coming up with the message behind the song was enough of an obstacle to send the music department of the PNB2 into a frenzy and producers soon found themselves split into two groups - those who preferred something light-hearted and child-friendly in order to stick to the aura of the original Junior World Hit Festivals, or something which brought some of Polkopia's social issues into the forefront and envoke a much deeper emotional reaction from the viewers, since the song would be sung by a child. The PNB2 eventually decided on the latter option and believed that it would be a special moment to sing about immigration since the entrant herself was a daughter of two refugees who faced immense hardships in order to obtain Polkopian citizenship. With a subject so relevant to not only the singer herself, but to many Polkopians as well, as many have friends or relatives who have faced similar challenges, the PNB2 believed that such a subject should be brought to the international stage in order to give it the recognition it deserves in Polkopia.

Moments before the performance began, the Polkopian postcard was shown and the stage was completely dark as Viktoriya took her place on stage. She stood center-stage and her sandy-blonde hair was pulled back in a long ponytail which ran down her back, though a few strands of hair were loose and were styled in a curl which dangled next to her forehead. Due to her age, Viktoriya wore no makeup, as in Polkopia, wearing makeup under the age of sixteen is considered taboo and is frowned upon by most Polkopians, and PNB2 adhered to this and decided against applying makeup to Viktoriya's face. She wore a black dress which hung inches above the stage floor and she wore no shoes. A matching headband was placed on top of her head and violets were stitched along the hem of her sleeves. In Polkopia, violets are used to mourn those you've lost and are widely used in funerals or memorials throughout the nation, and the use of these flowers is meant to symbolize exactly that. As soon as the opening notes of the song played, the LED screen showed an animated sailboat sailing through the turbulent waves of a stormy ocean late at night. The viewer could see the waves lap along the hull of the boat and the ship itself rock back and forth as it tried to navigate the rough waters. The people aboard the boat were not visible, but one could assume that there were people on board. Viktoriya held the microphone to her mouth, looked down at the ground, and sang. The ground, meanwhile, was covered in a thick layer of fog, and the lighting was very minimal; the only illumination at the moment was a weak spotlight trained on Viktoriya as she sang.

Ne, ne, ne, ne ne
ne-ne-ne-ne-ne

The camera focused on Viktoriya who now looked up from the floor and into the camera, singing with a somber expression present on her face. She held the microphone close to her face while she sang, making eye contact with the camera which moved around her in an arch.

Na kraite mežu stranyam

On the border between nations

Mežu ražunosti i ubeženosti, no

Between destruction and sanctuary, but

Vyes belo

Everything is beautiful

The sound of thunder erupted throughout the arena and the lighting mimicked that of lightning. Suddenly, the boat on the LED screen was overtaken by the waves and sank beneath the water. Viktoriya looked down at the ground and sang the next lines and the LED floor showed ripples of water where she was looking down and shadows moved across the water pattern. Viktoriya still maintained the same expression as before.

Nam biy nado bolša molitva

We'll need more than a prayer

Čtob propedit, čem noča, no ya žnayu

To make it through the night but I know

Pust' bela

The path is beautiful

The LED screen now showed a snowy garden with an open gate. Particles of fake snow started falling around the foggy stage and an effect was put in place on the camerawork which made it seem like Viktoriya's breath was showing on stage every time she sang, making it appear extremely cold on stage. When Viktoriya sang the word, uže in the first line of the chorus, the gate shut. Viktoriya closed her eyes and narrowed her brow as she sang the first two lines, but opened her eyes after, sticking her free hand out in front of her and looking up toward nothing in particular.

Poteryam sam uže

We've been lost before

Tanyalisya v beznadti

Drowned in hopelessness

Poyavelisya ušabani i rubežni

Emerged bruised and scarred

No lečimsya snova, snova

But we'll heal again, again, again

Eto tak khladno žes

It's so cold here

Kugda sneg spražesti

When the snow falls down

Ne ne ne ne

No no no no

I ne možet biy vited' pust' domoy, domoy, domoy...

And there's no way to see the path home, home, home, home

The camera rapidly zoomed out and showed the entire stage from afar. The stage floor was completely enveloped in smoke and the wind machine picked up, scattering the snow particles violently around the stage, The spotlight had been temporarily shut off as well, leaving only Viktoriya's silhouette as the only visible thing on stage besides the LED screen and smoke/snow.

Ne, ne, ne, ne ne
ne-ne-ne-ne-ne
Ne, ne, ne, ne ne
ne-ne-ne-ne-ne

The camera faded out to black for a moment but immediately cut back to Viktoriya, who was illuminated by another spotlight, right as the next verse began. This time, she sang with more power and a slight smile was visible on her face. The snow continued to blow behind her, although several particles had already accumulated on top of her head.

Lavta bolša čem prost' slova

Love is more than just a word

I miy bolša čem prost' numera

And we're more than just a number

Dal vas... dal vas

For you, for you

The stage LED showed the stage floor, while hardly visible due to the fog, start to crumble and leave a fragile cobblestone path running from the front of the stage toward the back, with Viktoriya standing in the very middle of it. Apart from the path, the rest of the stage floor was all black.

Nam biy nado bolša molitva

We'll need more than a prayer

Čtob propedit, čem noča, no ya žnayu

To make it through the night but I know

Pust' bela

The path is beautiful

The background LED showed a brick wall being constructed, set in place brick by brick until a large wall had been constructed. The LED screen showed this wall from afar so that the sky and surrounding nature was still in view, and storm clouds began to gather up above.

Poteryam sam uže

We've been lost before

Tanyalisya v beznadti

Drowned in hopelessness

Poyavelisya ušabani i rubežni

Emerged bruised and scarred

No lečimsya snova, snova

But we'll heal again, again, again

Eto tak khladno žes

It's so cold here

Kugda sneg spražesti

When the snow falls down

Ne ne ne ne

No no no no

I ne možet biy vited' pust' domoy, domoy, domoy...

And there's no way to see the path home, home, home, home

During the instrumental break, thunder began to sound and lightning struck the wall. Cracks began to form along the entirety of the wall and bits and pieces began to fall off as Viktoiya sang the next part. By the end of this part, a large gap had formed in the center of the wall.

Poteryam sam uže

We've been lost before

Ne ne ne ne

No no no no

No lečimsya snova

But we'll heal again

Viktoriya moved down to crouch, holding out her hand in front of her to nobody in particular. On the LED screen, the sun emerged over the horizon and the silhouette of a family was shown in the gap of the brick wall.

Eto tak khladno žes

It's so cold here

Kugda sneg spražesti

When the snow falls down

I ne možet biy vited' pust' domoy, domoy, domoy yo yo yo yo...

And there's no way to see the path home, home, home, home

"Thank you!" Viktoriya said, and the lighting returned back to normal. She waved at the crowd and left the stage.

by **Estogium** » Sat Aug 24, 2019 4:24 pm

5 | Estogium
Low15 - "Go Out With Friends And Party"

Language(s): English
Tune: High15 - No Drama
Lyrics: Ana Marelli, Brielle Houghston-Sangster, Cici Nationwide, Daria Calitch
Music: Ana Marelli, Brielle Houghston-Sangster, Cici Nationwide, Daria Calitch, Simon Baker, Jordan Zuvah

Low15 aiming HIGH: Low15 is vying to win the Junior World Hit Festival, which would be Estogium's first major song competition win...

Representing Estogium at the upcoming Junior World Hit Festival are four girls from a city in the North of Estogium. Ana Marelli, Brielle Houghston-Sangster, Cici Nationwide, Daria Calitch - pictured above in the same order - will be carrying on Estogium's unbroken record of participating at the Junior World Hit Festival since they debuted at the 2nd Junior World Hit Festival. This makes Estogium the nation with the second most amount of Junior World Hit participations after Kalosia. With the 2nd Junior World Hit Festival being non-competitive, the third Junior World Hit Festival was the first time Estogium participated competitively coming 9th place with 4 points. At the fourth Junior World Hit Festival, Estogium finished 6th place with 17 points which was a major improvement from the edition before. Then, at the fifth Junior World Hit Festival, Estogium came 8th place with 12 points and so Estogium is hoping to do even better here in Mera, Besen for what will be the nation's 5th attempt to win. Can Estogium do it?

As soon as the postcard finished there was a huge applause for Estogium in the audience. Suddenly there was silence. The music came in very quickly with the lights flashing at the same time as the beat. The camera pointed itself to Daria who was the first one to sing...

I am I am I am getting older, yeah.
I won't stop growing, I'm am getting older
And I'm tired of being treated
Like I am just another kid

People round me they chat nonsense I don't like
Why don't you keep your nose out my business
I hate the way that I am treated
I know I'm young but I gotta brain.

For this bit, the girls went into a different formation, a new formation. It was a line. At the front of the line was the next person to sing Ana who started singing the pre-chorus leading up into the chorus. She swayed her hips and flicked her hair enjoying the song.

So I am gonna ignore momma
Cuz she don't want me to go out, no
Oh no no no, oh no no no no
So I am gonna ignore momma
Cuz she don't want me to go out, no
Oh no no no, oh no no no no

I just want to go out with my friends and party, go out with friends - party
Go out with friends and party
Go out with my friends and party, go out with friends and party
Go out with friends and party!

They were all singing the chorus as you can see... The lights went a bit crazy here, especially the bars that you could see in the background. They actually went crazy! The kids must love this one. Screams from the audience were heard - they must've loved it. Cici was next to sing...

I'm gonna become better than you,
I am going to be a star, brand new
You're going to be irrelevant,
And I am gonna be relevant

Boy don't you cry, you can still change that
But haha I can't help you with that
You treated me like I am just dirt
And no way do I think I am dirt

All of the girls decided to sing in this section, getting into yet another formation. They all performed in a happy way as the cameras swirled around them. They looked at each other, smiling as they got into a trapezium shape, with the shortest girls at the back. They repeated themselves

So I am gonna ignore momma
Cuz she don't want me to go out, no
Oh no no no, oh no no no no
So I am gonna ignore momma
Cuz she don't want me to go out, no
Oh no no no, oh no no no no

I just want to go out with my friends and party, go out with friends - party
Go out with friends and party
Go out with my friends and party, go out with friends and party
Go out with friends and party!

Daria took this one coming up. The steadicam man entered the stage and circled around Daria as she stepped out in front of the other girls and took the limelight...

I am I am I am getting older, yeah.
I won't stop growing, I'm am getting older
And I'm tired of being treated
Like I am just another kid
I just want to go out with my friends and party, go out with friends !!!

At this section, they all sung together. Loads of different colours on the television screen and on stage bringing the whole performing alight. The kids loved it. The audience shouted as we went into the last chorus.

I just want to go out with my friends and party, go out with friends - party
Go out with friends and party
Go out with my friends and party, go out with friends and party
Go out with friends and party!
I just want to go out with my friends and party, go out with friends - party
Go out with friends and party
Go out with my friends and party, go out with friends and party
Go out with friends and party!

At the end of the song, all of the band members applauded one another before taking a bow. "Thank you very much" said Brielle in to the microphone. It was time for the next performance of the night from Izmedu...

by **Vartugia** » Sun Aug 25, 2019 7:55 am

? | Vartugia
LGRTRwphdaikalawløbsv<aertlrlsvkzkjgrrørwøavlvklfg (12) - We Has Gone Downhill Since Löv...."

Title Transcription: (If any, eliminate this line otherwise)
Title Translation: (If any, eliminate this line otherwise)
Language(s): Engrish and Robloxian
Tune: Kyary Pamyu Pamyu - PONPONPON, but its a finnish fandub
Lyrics and Music: I dont have it

Two colours for postcards (Hex codes): #FFFFFF & #FF69B4

LGRTRwphdaikalawløbsv<aertlrlsvkzkjgrrørwøavlvklfg wanted to be a pop star, but she is sadly from Vartugia and this is not looking good for her. #Pray4Her.

LGRTRwphdaikalawløbsv<aertlrlsvkzkjgrrørwøavlvklfg stands a little too close to the microphone stand and she doesn't sing remotely in tune.

FJHILRSEFGFDSFGREVDGEWBW GGEGIDGBAØ
(I wanna be your pencil to your notebook)

I wanna car with your pineappe
TOTOTOTOTOTTOTOTOTOTOTOTOTOTOTOTOTOTOTOTO
(And the tranlation of this song dosent make sence)

4TREKWRTKFDKKSRTERLWFDFHGFLGFSDSLL
(But atleast i am singing long lines so it makes me look smart but these lyrics are so depresing as hell so why do i have to sing these)

She dabs for 0,5 secounds, accidenly hitting herself in the face.

I wanna apple on your product placment
REkasdfgtreiruiftggeøwqjhgwh
(Please dont vote for us)

*The sound of your life being wasted*

She yells.

*The guy who wrote this entry gives up mid-entry. Enjoy this trainwreck*

She sings but not remotely in tune. This causes every ear to bleed and everyone gets deaf because of here.

by **Achaean Republic** » Sun Aug 25, 2019 6:41 pm

? | Achaean Republic

Carla Pabón:"Yo Te Ví"

Title Translation: I Saw You

Language(s): Spanish

Tune: Melody - De Pata Negra

Lyrics: Carla Pabón, Arístides Cintrón

Music: Arístides Cintrón, Temerario Pabón

It was the first time out of the country for Carla Pabón, a spunky twelve-year-old singer from the small city of Tiuna, in the outskirts of Corola. She knew her classmates back home were watching her perform in Besen, a strange, cold placer for her tropical sensibilities. She felt welcome, yes, but also homesick. The food wasn’t the same. The weather wasn’t the same. The people, as comfortable as they tried to make her feel, as much as her parents wanted to comfort her in every step of her musical journey, weren’t the same. She missed the smell of the morning dew hitting the plates of zinc in her grandparent’s Tiuna estate. She missed the hearty soups, the small tubers, and the small squirms of the cetí whenever she walked through the river. Oh, but was she ready to make small Tiuna proud with the very first-ever Junior World Hit Festival trophy––and that was her dream!

Young Carlota, as her father would call in jest––if only to slightly annoy her––came from a family of flamenco musicians. According to local folklore, her forefathers were famous cantaores from somewhere in Southern Spain, who were forced to leave their homeland to Corola, lured by the promises of untold riches in the new world. They may not have found diamonds––for that commodity was scarce and well depleted by the time they arrived to Corola––, but they discovered the power of music enchanted the bored and bustling city. Her grandfather was a talented bolero singer who mixed flamenco with his craft and sang in local bars around the Corola suburbs. Her father became a factory supervisor, moonlighting as a guitar player in a Tiuna restaurant some nights and driving Uber or Lyft in other nights. Her mother was a homemaker who took care of her two kids (young Carla also has a ten-year-old sister) who, until now, discovered she had a knack for numbers…which helped a lot when Carla suddenly became famous.

Her father filmed a video of her singing an old sevillana her grandfather used to sing in the Spanish countryside. Little did he know that, by when he uploaded that video to Facebook and Instagram, young Carla would become a viral sensation. For several weeks, she became the newest #TrendingTopic; signed autographs to cellphones and glossy passport pictures; was invited to audition for The Voice Kids Acaya (Sundays live on AS1!) with a bye to the finals; and was even invited to perform the Achaean national anthem at a Leones de Corola baseball game. She was enjoying her time in the spotlight, but her worried parents kept a tight leash on her appearances if only to avoid hurting her grades.

She was approached by Ernesto Velázquez, head of delegation of the World Hit Festival Steering Committee in the Achaean Republic. Carla was very surprised, but also confused––and so were her parents, wary that this old man might try to hurt their little baby by promising her the world on a silver platter. But no, he actually meant it: She can compete for the Achaean Republic in the Junior World Hit Festival! It took lots of negotiations and salary concessions (a parent has to provide for their kids, you know, and a shot at stardom for Carla was eating up their very thin finances!) to convince them, but it was all worth it in the end, and they flew to Besen with the hopes of providing a win for Achaea and a strong placing for Vázquez’s leadership hopes.

As the song begins, Carla walks on the stage, almost skipping, wearing a frilly red jumpsuit and carrying an ornamental red fan. She fans herself and walks to the beat of the music. Her hair is wrapped in two ponytails, also in a red band. Five young dancers are also on stage with their red fans, dressed in sneakers and smiling.

Desde Corola yo llegué
Allí yo te ví
Allí yo te ví
Comiéndote un helado
Con antojo, sí
con antojo, sí
En el parque quería jugar
Mas helado quería comprar

The camera switches to the flickering red, blue, green, and white lights surrounding the stage. As Carla moves in the stage, fanning herself while singing, her dancers also follow her around to the same beat.

Y ví nenes con dos conitos
de chocolate y amarillitos
de zanahoria o tamarindo
jugando un dos tres pescaíto

As the song's beat changes, Carla and her dancers slowly crouch as she sings, some of them making shush sounds and fanning themselves with their ornamental fans. Carla suddenly stands up and switches her fan from her left hand to the right, all the while moving her hands and elbows in a circular motion, her fingers moving within the contortions of her elbows. Like a true flamenco dancer, her elbow movements feel graceful and delicate, yet strong and forceful.

Y los nenes me empujaban
Y los nenes me empujaban
Que los nenes me empujaban
Entre los dientes decían:
Esta boba no hace caso
esta boba no hace caso
que esta boba no hace caso
y los empujé pa’ tras
pa’ poder contestar:

The camera retreats from the stage and showcases Carla and her dancers jumping to the beat. The stage lights flicker into a succession of green, white, and blue in marked contrast to the red dresses and fans of the young Achaean dancers. Carla sings as she moves to the stage, first to the left and then to the right. In one step of the song, she spins and twirls her wrists with the same flexibility she does when dancing flamenco with her grandfather.

Déjame quieta, déjame quieta
quiero un helado, déjame quieta
Déjame quieta, déjame quieta
quiero un helado, déjame quieta

Carla hurries to the center of the stage where her dancers are twirling and playing with their fans as the camera suddenly switches to the right. The stage lights transform into a panel of red-yellow-red, almost reminiscent of a sunset in the Playa de Beras, one of Carla's favorite Corola hangouts. One of the dancers, who actually has two fans, suddenly gives Carla one of she picked up from the floor. As she fans herself and the dancers jump around making silly expression––one was flailing their hands, another one was doing the Sprinkler, and still another one cupped her hands to her mouth in an expression of surprise and wonder as the young girl beside her did silly faces to the camera. The camera quickly switched to a wide-pan motion of Carla and her dancers, all reenacting scenes at the beach, for the next part of her song.

Desde Corola yo llegué
Allí yo te ví
Allí yo te ví
Fuimos a la playa de Beras
otras me comí
otras me comí
Tenía arena y un poco de sal
y de a poco me sentía mal

A new camera switch has Carla and her dancers assembled at one spot, with the young singer pretending to feel faint and one of them fanning her with two of her fans. Another dancer tries to hold her arms, and Carla crosses her eyes in a woozy motion. It was hard for Carla to pretend to be woozy; yes, she faked it once or twice to get out of school for a day or buy herself some time to "study" for a test. But in a stage with millions of children watching her? That was a whole different type of interpretation! Nevertheless, it goes off without a hitch.

Carla and her backup crew
Y me desmayé un poquito
bebí agua y comí pescao frito
con ensalada y tostoncito
Carlota, papá
Carlota, papá

Once again, as the song's beat changes, Carla and her dancers slowly crouch as she sings and the camera does a wide pan to a view of the stage within the crowd. The dancers, as before, make more faces and shush sounds and fan themselves with their ornamental fans. Carla plays with her fan gracefully and continues rotating her elbows as before, with the elegance of a young bailaora. She, as well as her backup dancers, keep switching fans from their hands and tiptoe from one side to the other. The camera follows suit. The contortions within her arms keeep being circular, graceful and delicate, yet strong and forceful.

Y los nenes me empujaban
Y los nenes me empujaban
Que los nenes me empujaban
Entre los dientes decían
Esta boba no hace caso
esta boba no hace caso
que esta boba no hace caso
y los empujé pa’ tras
pa’ poder contestar:

As before, the camera retreats from the stage and showcases Carla and her dancers jumping to the beat. A full-pan of the stage shows the lights flickering once more into a rapid-fire succession of green, white, and blue against the red dresses the Achaeans are wearing. The camera returns to see Carla sing and move as before, this time a bit shaky but with greater gusto, finishing the song with a high note.

Déjame quieta, déjame quieta
quiero una ostra, déjame quieta
Déjame quieta, déjame quieta
quiero un ostra, déjame quieta

Achaea's performance is complete. Claps, cheers, and hoots could be heard from the audience, and more so from a small group of Achaean fans inside the arena. People knew they were Achaean because they carried wooden pilones and cacerolas and kept banging on them with gusto, loudly speaking Spanish to everyone in their path. Carla, visibly shaken but also happy that she gets to relax, started waving to the crowd and hugging her friendly dancers. She says to the crowd, "Thank you! Gracias!" before leaving the stage, awaiting to be embraced by her loving family.

by **Darkmania** » Tue Aug 27, 2019 11:05 am

? | Darkmania
Thëresä Fulgeby - "Töu"

Title Transcription: (If any, eliminate this line otherwise)
Title Translation: You
Language(s): Darkmanian (Western variant), with one line in Norwegian and one line in English
Tune: Duncan Laurence - Arcade (Acoustic Version)
Lyrics: Thëresä Fulgeby
Music: Thëresä Fulgeby

Two colours for postcards (Hex codes): (Proveded at the sign-in app)

"Sometimes, i miss my friend ever since her dad got a new job and moved to Cäer and leaving me behind." - Thëresä Fulgeby

Thëresä Fulgeby had a best friend called "Kämyla" ever since the first day at school and they had a promise to be "BFFS" as they meet each other on the first day at school. And they played together for many years. They were happy.

But then Kämyla`s dad got a new job as a teacher at a high-school in Cäer, causing Kämyla and her parents to move. And while Kämyla and Thëresä will have contact with each other, the fact that both are separated physically means that they no longer can hang out with each other, considering its 200 kms from where Thëresä lives to Cäer.

The stage is set and there is only her and a piano on stage. The spider camera slowly glides toward the stage and is the sole camera that records at the start of this entry.

Yn loëf künk yr stuk mid mÿg
(A broken promise is stuck with me)

Bëstefrÿnd sëdan vÿr ër bö
(Best friends since we were children)

Töu ë mÿg yr bëstefrÿnd, me
(You and me are best friends, but)

Töur fët, fët, fët gët yn arbÿt
(Your father, father, father got a new job)

The spider cam slowly flies upward while facing the stage and Thëresä

Yma hyr ë vënt fü töur hÿmkam
(I am here and waints for your returning home)

«Jeg vill komme tilbake for å treffe deg igjen"
(I`ll come back to meet you again)

Yma sävm ën yn sëe dërnk
(I am lost in a sea (of) darkmness)

Snëme, këim, këim, këim të mü
(Please come, come, come to me)

Töu ë mÿg yr bëstefrÿnd
(You and me are best friends)

Mëvte förm mÿg utän svör
(Moved from me without answers)

Yma hyr ë yme sävme töu
(I am here and i am missing you)

Yma föele mÿg aline
(I feel myself alone)

Aaaaaaahhhh, oooooohhhhhh
Yma hir, Yma hir
(I am here, I am here)

Yma hyr ë yme sävme töu
(I am here and i am missing you)

Këm hyr töu nü?
(Where are you now?)

Mëvte förm mÿg utän svör
(Moved from me without answers)

Töu ë mÿg yr bëstefrÿnd
(You and me are best friends)

Më töu mëvt, mëvt, mëvt frü mÿg
(But you moved, moved, moved from me)

Aaaaaaahhhh, oooooohhhhhh
Yma hir, Yma hir
(I am here, I am here)

Yma hyr ë yme sävme töu
(I am here and i am missing you)

Aaaaaaahhhh, oooooohhhhhh
Yma hir, Yma hir
(I am here, I am here)

Yma hyr ë yme sävme töu
(I am here and i am missing you)

A techno crane placed left for the stage then slowly records Thëresä as a grey picture of Thëresä and Kämyla on the first day at school.

Yma trÿf töu en de skül, Sëk Ald
(I meet you in the school, aged six)

“Lets be best friends forever”

The lights get turned off, leaving only a single spotlight to shine on Thërese and her piano to represent that the is all alone. The techno crane slowly

Aaaaaaahhhh, oooooohhhhhh
Yma hir, Yma hir
(I am here, I am here)

Yma hyr ë yme sävme töu
(I am here and i am missing you)

Aaaaaaahhhh, oooooohhhhhh
Yma hir, Yma hir
(I am here, I am here)

Yma hyr ë yme sävme töu
(I am here and i am missing you)

The entry ends as she sits there as the audience applauded her. "Thank you so much", Thëresä thanks the audiences-members as the postcard for the next country, (BLANK) plays.

by **Todlichebujoku** » Thu Aug 29, 2019 11:17 pm

? | Tödlichebujoku
Sisu Hákkánen - "Rakkautemme Kruveejet"

Title Translation: Ruins of Our Love
Language(s): Taploukki, English
Tune: Robin ft. Kasmir - Milloin nään sut uudestaan
Lyrics: Sisu Hákkánen, Oiva Hákkánen
Music: Sisu Hákkánen, Šun Fukui, Inka Astravsks

Tödlichebujoku has had a rather spotty record at JWHF. Only recently has Estegoa100 been able and willing to devote full resources to the junior version of the World Hit Festival, and even then has had questionable success in its endeavors. During the broadcaster's joint hosting with VVMxD in JWHF3, Roch Madeira received 5th place in a field of 11, while in the latest edition Gerda Mizušima and Dimas Švangau achieved a disappointing 10th place out of 15. While Estegoa100 has consistently achieved better results than VVMxD's efforts (one was sent to a non-competitive edition, and the other achieved 14th out of 16), they have not been particularly impressive to the broadcaster's board of directors, the Tödlichebujoki public, or the international WHF fanbase. Thus, Estegoa100 launched the Iausnikset edition of Lauluküselü, assembling a lineup in order to choose the best candidate for the nation's next JWHF entry. The final resulted in Ainaarsi Pekkanen tying with Sisu Hákkánen, a tie broken by international audience representatives in favor of Sisu, who then accepted the offer to perform in Besen to represent Tödlichebujoku in the 6th Junior World Hit Festival.
Sisu Hákkánen was born and raised in a variety of locations around Tödlichebujoku and its allied co-planetary nations with his fraternal twin Oiva, the parents of the two being military personnel on deployment in various international bases. It came as a surprise when the two boys showed an inclination for performance and musical ability, as neither of their parents and none of their grandparents had shown any such talent. The military priest divined the boys as having been blessed by Váinámö, the patron deity of singers and musicians, and urged them to pursue a path of performance and creativity in order to best comply with the deity's unexpected gift. Thus advised, Sisu and Oiva's parents arranged for vocal training and pushed the two to become the best that they could be, their no-compromises mindset pushing the boys to star in and achieve success in various crystal shows before the age of ten, beloved by housewives and husbands across the nation.
This intensive training and do-or-die-trying mindset soon wore down the two boys, despite the efforts of their blood father to tone down the training regiment and rhetoric. At the age of eleven, Sisu and Oiva began to slow down in their progress, their stress levels spiking and triggering physical symptoms that baffled their mothers, and at times the two would even openly rebel, running away from home to camp out in the wilderness of whatever nation they were in. The dissolution of the parent-child relationship, and the ensuing media drama, reached a peak when the two were twelve years old, with a 2-week sojourn into the mountains of Calhostralha that caused a high-profile search and much consternation between the two nations. After an intensive series of meetings with a social worker, Sisu and Oiva's parents were convinced to loosen their tight training regimen on the two boys, and allow them to live fairly normal lives, with a much more casual music schedule. This allowed the familial relationship to heal, at least mostly, and the family dropped out of the media limelight until the two returned under the gleaming spotlights of Lauluküselü.
Sisu's song "Rakkautemme Kruveejet" was borne out of a relationship he had quite recently, one that had been very intense but ended in a very awkward note without closure. He was still reeling from the loss he felt in that breakup- almost more of a break-away, in how it happened- and with it being his first real relationship, Sisu was highly affected and inspired to put his experience down into words. The aspiring singer had also come across a stroke of luck in meeting and befriending a rising hotshot producer duo called Desparadores while visiting a studio in Sterblichengokai, who would later be instrumental (ha ha what a terrible pun) in helping Sisu produce his Lauluküselü track. The Hákkánen brothers also collaborated on lyrics- while they certainly were a competitive pair, they worked best when bouncing ideas off of one another and prized their relationship highly. Oiva, while certainly disappointed with his lackluster placing in Lauluküselü, quickly moved on to support his brother and together the two prepared for Sisu's big performance, before flying off to Mera. That impromptu 2-week camping trip must have helped in really cementing their relationship, it seems.

The stage's edge glimmers blue in the darkness, creating a serene initial scene. Sisu is barely visible at this point, only a faint outline of white light shines upon his head and shoulders. The camera starts off directly in front of center stage, zooming outward. Standing still in the center of the stage, gripping the mic stand nervously, he begins

Ooh, ooh
Ooh, ooh ooh

A soft light partially illuminates Sisu's face, seemingly impassive, but with a note of wistfulness creeping into his voice as he reminisces.

Pudotimme hosankaan, oh
We fell into a rhythm

Kaikki nuo páivát sulautuvat nüt ühteen
All those days now blend into one

With the camera close by, he glances at it for a second, as if at a loss with how to feel, how to process this abandonment, before taking a breath and gazing out and ahead, pleading

Álá unohda, ma
Don't forget, me

Kun muistat kaikki mitá oltiin tehneet
When you remember all that we had done

The slightly increased lighting level, along with the wider camera angle, allows the camera to take in his outfit, a leather hoodie and black pants, as he continues to sing at the mic stand. Sisu gazes longingly into the camera view during a close shot for a few lines before breaking eye contact and staring off into the distance. In reference to the lyrics, he places a hand on his heart, then gestures out to the audience

Ooh, ooh
My heartache is a minaret
Ooh, ooh, ooh
Calling to a long-lost lover
Ooh, ooh
You could stick around but you missed it
Ooh, ooh

With a sudden burst of passion and an expression of desperation, he lurches forward, grasping at the microphone stand

So guilty

A row of soft spotlights appears along the back wall, sweeping outward, as the camera view swoops in an arc around the stage. Eyes closed, he seems to calm down a bit, as mist floats up around him and a sketched-out animation of falling debris plays behind him, white linework on a black background. Before long he opens his eyes again and lets his gaze drift out, unfocused, eventually finally bringing his attention back to the camera ahead of him

Rakkautemme oli pokšta
Our love was a tower

Nüt katsomme sen hayoaa
Now we watch it fall it apart

Tukehtunut pölüpilvessá
I'm choking in the dust cloud

Ya en voi enáá náhdá sa
And I can no longer see you

Tapaammeko rakkautemme kruveejet üli?
Will we meet across the ruins of our love?

The lighting cuts back, leaving an effect where only half of Sisu is visible, the light being cut out along a stark line diagonally along his torso. As the verse progresses, the remaining light fades out, transitioning to a glow that illuminates him on one side. Sisu stands calmly, with a level gaze, keeping his composure steady, with a perhaps questioning look, trying to make sense out of this unresolved relationship

Náen sut varyoissa
I see you in the shadows

Katson sun háipüván viimeisillá sáteiltá
I watch you fade away with the last rays

Kuuletko ma?
Can you hear me?

Tuntuu kuin kaikki meillá oli on mennüt
It feels like all we had is gone

The glow is reciprocated on his other side. He turns away, off to the side, as if needing to take a moment to collect himself, before looking back to the audience with desperate eyes

Ooh, ooh
My heartache is a minaret
Ooh, ooh, ooh
Calling to a long-lost lover
Ooh, ooh
You could stick around but you missed it
Ooh, ooh
So guilty

The lights strengthen once more, and the soft spotlights from behind sweep up. A soft breeze from wind machines stirs up the surface of the fog layer as Sisu grips the mic stand close to him like he's trying to hold on to a fading love. This time, he stands and sings in a determined manner, with a more aggressive demeanor

Rakkautemme oli pokšta
Our love was a tower

Nüt katsomme sen hayoaa
Now we watch it fall it apart

Tukehtunut pölüpilvessá
I'm choking in the dust cloud

Ya en voi enáá náhdá sa
And I can no longer see you

Tapaammeko rakkautemme kruveejet üli?
Will we meet across the ruins of our love?

He closes his eyes, body close around the mic stand, and lets himself get lost in the rhythm for a bit. The camera view arcs close in around him, only catching the whirling mist and spotlights in the background

Ooh ooh, küa
Ooh ooh, yeah

Ooh ooh, küa
Ooh ooh, yeah

Rakkautemme kruveejet üli
Across the ruins of our love

With a quick motion, Sisu detaches the microphone from the stand as the surrounding spotlights and ambient lighting cut out, and he steps forward, eyes burning in the search for answers, for closure. He looks into the camera, looks up and out into the distance, before turning back to the camera view

Muistot kummittelevat mua yoka ilta
Memories haunt me every night

Oliko se mun süütáni, vai yotain muuta?
Was it my fault or was it something else?

Eikö sitá voi vain tiedetáán?
Can't it just be known?

Ei...
No...

Álá yátá mua pimeáán
Don't leave me in the dark

Eyes clenched shut, body tensed

So guilty

He releases his pent up energy and emotions as he begins the chorus again, at first meandering along the edge of the stage amongst the sweeping lights and swirling mist. The camera executes some wide shots, interspersed with some shots closer in, tracking him as he walks along

Rakkautemme oli pokšta
Our love was a tower

Nüt katsomme sen hayoaa
Now we watch it fall it apart

Tukehtunut pölüpilvessá
I'm choking in the dust cloud

Ya en voi enáá náhdá sa
And I can no longer see you

Tapaammeko rakkautemme kruveejet üli?
Will we meet across the ruins of our love?

Rakkautemme oli pokšta
Our love was a tower

Nüt katsomme sen hayoaa
Now we watch it fall it apart

Tukehtunut pölüpilvessá
I'm choking in the dust cloud

Ya en voi enáá náhdá sa
And I can no longer see you

Tapaammeko rakkautemme kruveejet üli?
Will we meet across the ruins of our love?

The light show becomes dazzling around Sisu as he comes to a stop, his eyes drifting shut for a few moments and his body moving along with the rhythm, the camera close in and around him

Ooh ooh, küa
Ooh ooh, yeah

Ooh ooh, küa
Ooh ooh, yeah

He falls to his knees as all other lights but one cut out, the contrast stark with his illuminated backside against the black background

Rakkautemme kruveešissá
In the ruins of our love

In a slow, deliberate movement, the deactivated microphone slides out of his hand rolls onto the stage floor, before the final spotlights cuts to darkness.

The lights take a moment before returning to normal. Sisu bows quickly, drops a quick and nervous "Kiitos Mera!" before exiting, eager to be wrapped in the ecstatic arms of his family.

by **Merecendi-** » Sun Sep 01, 2019 1:09 am

? | MERECENDI
Zayra's Daughters - "#####"

Title Transcription: Lmfasiamfjc;lasmgsogb;,msg
Title Translation: Nanobees
Language(s): ERROR
Tune: BZIKEBI - BZZZ
Lyrics: IC song writers
Music: IC song composers

Two colours for postcards (Hex codes): the blue and the yellow from the flag

Zayra's Daughters asked to perform in JWHF. Merecendi said yes. They're here now. Representing Merecendi!!!

Zayra's daughters stand on the stage.

BZZZZZZZZZZZZZZZZZZweoiruweitityoiweuoi
Nonebees, Nanoebes!
Ha! Ha!

I! U!

The music intensifies

cnznbmcbnmcbvmnsdnv,n.,zxmcnv$$$$...xnxc,n,..
oureiwweowieuwoioeroweioiepwoipewiroewp38472384299(*&^&^#oi!
jwoeiuiew847830497eiu*^#3ieu!

There is a pause.

The chorus then begins. But no one can hear because every single person has been invaded by nanobees, which immediately buzz in every single cell of their bodies. They are bees. You are bees. Everything is BZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZ

THey then do this dance because they're not sure if their earpieces are working

Eventually the next song happens. After Vartugia is Merecendi 2.

by **Natanya** » Sun Sep 01, 2019 6:37 am

yo we in this bish, entry will come soon i promise

by **Kalosia** » Sun Sep 01, 2019 8:19 am

? | Kalosia
Felipo Salvator - "Kampežu"

Title Translation: Camping
Language(s): Kalosian
Tune: Een Tocht Door Het Donker — Thor!
Lyrics: Felipo Salvator
Music: Felipo Salvator

Two colours for postcards (Hex codes): Navy blue, silver

Felipo Salvator, born 2010, is a 9 year old. He was chosen to represent Kalosia at the 6th World Hit Festival through an online poll held on the RTVK website. Fortunately for him, there were not a lot of applicants this time 'round, so he was able to sail through with his self-penned song, Kampežu, beating songs by other entrants, many who were older than him.

The song, which translates to Camping, is about... well, just that. It seemed to have won the hearts and minds of the Kalosian populace, and after the results were announced, Felipo was off to prepare for the competition.

For the occasion, he was dressed in a buttoned shirt and shorts and a bucket hat. He is joined on stage with some of his friends, who will be singing along with him.

As the song begins, they all come on stage excitedly and sit across two logs forming a half-circle. They sway along to the music as Felipo sings.

Noj kampežamu, di-di-di di-di
Stamu ula naturë, di-di-di di-di
Ki stanu di arbeli, di-di-di di-di
Ma noj n’avamu porë, di-di-di di-di

Papa fa lë foku, di-di-di di-di
Sentamu lë kalor, di-di-di di-di
Avamu kestë kanžu, di-di-di di-di
E lo kantamu o~or

Felipo and his friends sang this next part together. It was a very cheerful atmosphere and that cheerfulness was very infections here in the arena.

Un, dwe, tre, katru!

Di di di di di-di-di di
Di di di di di-di-di di
Di di di di di-di-di di
Di di di di di-di-di di

Now Felipo took hold as the song came back to the verses.

Sedamu insemë, di-di-di di-di
Utornu lë foku, di-di-di di-di
E noj sto školtandu, di-di-di di-di
Ale storie di Papa, di-di-di di-di

In the next part, as Felipo sang about eating and drinking, the kids shouted "mmm!" and "yeah!" along with him, while making gestures mimicking eating and drinking.

Manǧamu lë marshmallow, mmm!
Bevamu tšoklatu, yeah!
Kantamu e baľamu, di-di-di di-di
Kantal kon me, vamu!

So infectious was the song that Felipo got the audience singing with him.

Un, dwe, tre, katru!

Di di di di di-di-di di
Di di di di di-di-di di
Di di di di di-di-di di
Di di di di di-di-di di

Felipo stood up from the log he was sitting on and walked a bit forward, putting him in the spotlight.

Ja voľu starë ki ula naturë
E ja pjašu kampežarë

Felipo gestured to his friends to come join him, and they ran towards him and formed a line, all of their arms on each others' shoulders, swaying from left to right. It was incredibly infectious, and the entire arena was singing along. The atmosphere was unbelievable.

Un, dwe, tre, katru!

Di di di di di-di-di di
Di di di di di-di-di di
Di di di di di-di-di di
Di di di di di-di-di di

Di di di di di-di-di di
Di di di di di-di-di di
Di di di di di-di-di di
Di di di di di-di-di di

And now Felipo was left to delivery the final line of the song.

Noj kampežamu!

The crowd went wild for Felipo, who was grinning ear-to-ear. He put the microphone to his mouth again as he said "gražia mama, gražia papa!" while he and his friends waved to the audience. Afterwards, they all went back together as it was time to prepare the stage for the next entry.

by **Bayilan** » Sun Sep 01, 2019 11:48 am

Haha
Tear it down
Yo dude, I need you to do somethin' for me
Come on

Give me any task, I can handle it
I’m already a star you just can’t mess with it
We’re taking over and you ain’t understanding

Own the floor rockin it you can’t handle it

Give yourself a chance just abandon it
I show the crowd what they need, outstanding
Just get up and move, start dancing

Take control give some more, we’re outstanding

Just get up and go
Let the song touch your soul
Killing the flow
We won’t leave you alone
Feel the sound
Feel the sound
We can’t stop the sound

You can’t stop the sound
We won’t end it now
It’s a party now
Let’s go and break it down
We can’t stop the sound

The groove
It’s awesome
The beat
We love it
Tonight,
We dancing
You can’t stop the sound
The sound
It’s awesome
The show
Has started
Right now
Just own it
You can’t stop the sound

The sound right now, it’s producing flames
Just keep in touch we got the good game
The beat feels so hot, nobody can complain

Got the game feel so hot nobody can complain

We can do this dance all night long
The party will not stop we having a ball
Ill take it easy on you , Just watch the recall

Show them what they can take we already great

Just get up and go
Let the song touch your soul
Killing the flow
We won’t leave you alone
Feel the sound
Feel the sound
We can’t stop the sound

You can’t stop the sound
We won’t end it now
It’s a party now
Let’s go and break it down
We can’t stop the sound

The groove
It’s awesome
The beat
We love it
Tonight,
We dancing
You can’t stop the sound
The sound
It’s awesome
The show
Has started
Right now
Just own it
You can’t stop the sound

Yes yes, I hope you know we the best in it
We can dance all night make it big
The final act just give it that
We showing you that
No competing games up against the game
We the best and ain’t no one complain
We show you what’s what
Show us some love
We taking the cup
So just give it up

Just get up and go
Let the song touch your soul
Killing the flow
We won’t leave you alone
Feel the sound
Feel the sound
We can’t stop the sound

You can’t stop the sound
We won’t end it now
It’s a party now
Let’s go and break it down
We can’t stop the sound

The groove
It’s awesome
The beat
We love it
Tonight,
We dancing
You can’t stop the sound
The sound
It’s awesome
The show
Has started
Right now
Just own it
You can’t stop the sound

by **Izmedu** » Mon Sep 02, 2019 8:13 pm

? | Izmedu
Vesna - "La bauda"

Title Translation: The Voice
Language(s): Izmeduan
Tune: Indila - Mini world
Lyrics: Vesna
Music: Vesna, Dijana Jelinic

“I try to write what I see and hear... I try to write with the words that I know. To feel everything I'm listening. It is not perfect, but still I try to make sense of everything I've experienced.” - Vesna

One could say that Vesna was more of a poet than a songwriter or an artist. That is what Vesna felt as she reflected upon her journey to Mera, Besen.

She couldn't help but reflect upon the things that made her different from the girls to which she followed. Vesna felt the most resonance with Lea Rogosic, being a young 14 year old disconnected from the music industry. Prior to being selected to the Junior World Hit Festival, Vesna's closest interaction to music was being part of a choir as part of an extracurricular activity. Otherwise, Vesna's interests were mostly academic in nature. She mostly lost herself in literature, and specifically, poetry. She couldn't articulate the true root of how she was attracted to poetry in the first place, especially emotionally charged lyrics that bordered on the existential. These interests coalesced as a salve in her mostly conflicted early adolescence to now, where she felt disenfranchised from peers. She found a way to connect to them, take them on as acquaintances, but someone to connect to... someone to share who she was, that was what she felt was missing.

Her personal life was guarded. Vesna was bringing to the table a song that wasn't connected to an equally conflicted childhood. Poetry served as an escape to an empty home life that she was loathe to try and retell. Vesna lived in a suburban household in Vodiznad with her brother, Josip, and a single (but often distant) father. For her whole life, all she knew was a constant sense of schooling, utilizing academics as a way to block out both the emptiness but also the latent pain of the house that she lived in. She wasn't privy to much of the events that caused her and Josip's brother to be the way he was. However, Vesna's early childhood to early adolescence was marked with a long and protracted divorce proceeding from their mother, the details of which to this day remain unknown to both children. Either way, there was a constant sense of back and forth in regards to the legal proceedings, a sense of uncertainty as to who or even what was the family. There was money in place to help ease the cost of living, and help ease the cost of Vesna's education, and of course... enough to satisfy the demand for material goods.

She tried to block these out while attending school, especially once she entered the Izmeduan secondary education system. Her early immersion into academics was what set the path down to her interests in literature and poetry, but it wasn't until her first months in high school was where those interests were truly provoked to the point where she felt the freedom to let them reign. Her immersion to education was marked with trying to become an omniglot of sorts. Vesna never felt herself to be any sort of genius or even someone of 'marked native force' as her father would try and constantly claim, yet she was foisted upon almost any subject that could be possible to learn. Music being one, the sciences, the classical languages, anything that could be learned, she absorbed like a sponge. And she didn't mind at first, knowing it was a good distraction. Yet, even the precociousness couldn't stop the constant feeling of emptiness that she kept enduring.

There was something wrong. She couldn't find the words to place it. But she knew there was.

It kept dogging at her mind persistently. The emptiness developed into a burgeoning melancholy, something that threatened to capsize not just the thread of happiness she held onto, but her will to attend school. It was through poetry, reading and writing with a greater sense of attention and care, and through literature was where she found a center of gravity to hold onto. At the tender age of 14, she began to write lyrics that extended beyond her age range. She had control over the word that astounded the teachers that would see her nascent writing, a control over both the Izmeduan and English lyric that had them flash this one warning sign, 'potential.' She didn't understand the attention at the time, feeling only a cathartic relief in letting out her emotions in a way that felt... healthy. She finally found a suitable outlet that wasn't simply contemplating her existence endlessly, or only bottling them up and letting them out through limited means by talking to her brother.

This identification of potential was how she was traipsed into the Junior World Hit Festival. The very genesis behind “La bauda” was based off a poem she wrote in those bursts of early inspiration that led to her literature teacher recommending her. The poems that she wrote, in a sense, began to resemble songs. They certainly weren't like conventional songs that one would hear in the Izmeduan airwaves. However, with some refinement, the lyrics that Vesna wrote could transformed into an actual, singable song. At first, the plan was for Vesna to submit herself as a songwriter to the RTI team... Considering that young singers the age of Vesna's and below were still an uncommon occurrence in Izmedu, Vesna was alright with the original plan. She saw the opportunity to go to the Junior World Hit Festival as another chance to escape her circumstances and as a way to exercise her craft. If she could write a song that the RTI committee would be satisfied by, that was job well done. If not, it was another opportunity to practice, and that would be the end of it.

That was, until her capability to sing was identified.

That was when the whole package in its current form started to inadvertently to come together. Vesna had never considered herself a professional-grade singer, much less anyone who was capable of putting on a stage show. Upon reflection, Vesna wasn't even sure where or how she got her singing capability. Was it genes? Was it the practice she did as a child upon occasion? Or luck? Either way, her capacity as a choir singer (another escape upon many) was seen as a boon to an RTI that was running out of suitable candidates to be able to succeed Lea Rogosic in her capacity as the Izmeduan representative. Now, from submission, to consideration, and now the screening process of being selected, Vesna now had a whirlwind and a choice in her hands. Not only was she now offered to be the songwriter for the Izmeduan entry, she was now the full face of Izmedu's entire representation.

It was more than what she bargained for, but it was something that she didn't mind. This led to a dramatic disruption of her schooling, knowing the more intensive schedule that was needed for this kind of participation. There was constant revision of the lyrics, briefings about stardom, briefings about public appearances, the need for vocal lessons, some form of stage presence, and stage control. It was a lot to take in a whirlwind, and also one fraught with compromises due to scheduling and limited resources. Regardless, a package had come together. It hit Vesna that the whole arrangement was 'for real' when she actually touched down on Besenian soil, taking in Mera for the first time.

On the night of the contest itself... She took in a deep breath and stepped forward when it was her turn. All of that haphazard training, those days and nights spent trying to prepare for this moment was now faced with the moment of judgment. This could pay off or this could backfire.

For Vesna... she could only hope that in the end, this would be something she would not come to regret.

Stage lights billowed down to the center of the MEB Arena, flashing in a brilliant white before simmering down to a chilling, pitch black darkness. The crowd were hungrily cheering, quieting down in anticipation for the entry. Vesna was situated right at the center of the stage, gripping on the microphone like a vice. The feeling of the crowd's energy was unlike anything she ever felt, one that she only got a rough approximation of in the rehearsals that led up to this point. She felt a certain feeling in her chest, a precarious one that could lead into either glory or disaster. She took a deep breath as the short buffer time between postcard to entry ended. Now, was the moment of truth...

The entry began by coating the arena in a haunting blue light. Wisps of smoke would begin to be released around the stage as the camera would take carefully framed wide views of the stage. Small specks of light would begin to appear on the six panels on the MEB Arena's back, looking almost like the faint outlines of stars if one were to look closely. The camera would tilt, approaching the stage as if it were like a new planet to be landed on. The view was framed as such that the stage looked far bigger than it actually was, creating a mood of quiet wonder and discovery for those watching back home. The instrumental intro would continue on in this fashion until the camera would focus on Vesna. Her eyes were closed as a faint spotlight would shine on her, disrupting the blue hues that coated the stage. The camera zoomed in closely on her, doing so in a slow manner that befit the slow pace of the instrumental. She would raise the microphone to her mouth and begin to sing, a calm, tranquil, yet high voice emanating from her...

Dekro me priče
Dekro me snove
Dekro me dolk
Pa mogu naučiti
Lutao sam la svita
Pronaći maj cre
Pronaći me
Jamo, pivam inam

There was a surreal ethereality to the way the first verse was delivered. The back panels would alternate between haunting colors and presentations, remaining dark enough to ensure that they were not intruding on the performance. The hues remained in their haunting blue color, but pared back enough so as to not detract from the spotlights shining down on Vesna. Vesna herself was selling these lines with as much subtlety and restraint as possible, while playing to the cameras that were trained in her. However, one could easily spot the lack of training from her demure visage and look. She was always just a touch late in capturing a camera's gaze, sometimes almost shyly looking at the camera and gazing into another, one that was perhaps not meant for her gaze at the time. Her tone was tentative, her arms reached out, and she was slowly moving forward. The alternating views displayed a Vesna that was alone on the stage and in the world, starting out her journey through the song. Each movement she made was made with care, making sure to be slow yet precise, and cautious to hide any potential shaking that could've been exposed by the cameras. The instrumental remained with its calm and explorative tone, slowly unfurling an orchestral bent as it progressed to the chorus.

Maja bauda, bauda, la bauda, bauda, bauda
La bauda, la jamna, jamna
La jamna, la bauda, bauda, bauda
Oni su maja snaga, la intrika
Maja bauda, bauda, la bauda, bauda, bauda
La bauda, la jamna, jamna
La jamna, la bauda, bauda, bauda
Oni postoje u meni, ultra izgleda

The camera faded to a closer view of Vesna as the song transitioned to its second chorus. Her hand and arm gestures, while not the most precise, were quietly passionate. She gently swayed her fingers around to the ceiling, utilizing them as a way to control her breathing and her diction. She would look towards the side as she sang, her eyes opening and closing at opportune moments of the song. Each time she would refrain the song's two key words, 'bauda' and 'jamna,' her eyes would remain closed, and there was a clear sense of concentration ladened in her expression to prevent any tongue-tied incidents. For the lines that were not part of the major refrains, she would open them and stare at the camera with a solemn expression, reaching out as they faded to closer views of her. The camera, throughout the moments where Vesna was singing the refrains, would occasionally also show wider views of the stage. These were timed to the song's orchestral elements being at their most apparent, the panels behind Vesna displaying constellations of stars that flashed through almost gradually, adding to the almost life-like presentation of the stage as if it were one big landscape. At the very end of the chorus, the camera would end the way it began, a focus on a close view of her as she sang the last line. Her eyes stared deep into the camera, a look that was a cross between piercing and vulnerable, a clear statement of intent behind her expression.

Pišem ova priča
Tražiti nada
Kauka stojim
Ispod la guarna
Moram ići se naprid
Nastiviti el san
Jamo miscam
Na-la zvuka maja cra

The camera looked like it would swoop upwards, making a dramatic fade to an upwards in time to the lights and instrumentation changing. The lights switched from a haunting blue to an almost warm yellow, evoking the imagues and feelings of dawn. Vesna was performing in a new day, which coincided with more varied and livelier movements from her body. She would tell the song's story through her arms and her expressions, her free arm making movements that suggested that just as she was singing this song, she was also 'writing' and documenting the song in her mind as well. The instrumentation itself would also intensify, adding a drum beat to the introduction of the second verse that gave a more cinematic take to the proceedings. Each other drum beat saw Vesna begin to make limited movements around the stage, while taking care to make sure she wasn't losing the camera and the audience. Each movement she made, from hand, to body, to arm, began to underscore an increasing sense of eccentricity to vulnerability. Her expressions were wide, yet her vocal delivery still remained unstrained. Her rawness was only revealed by each wider movement she made, yet Vesna made sure to keep it as controlled as possible. For the latter half of the verse, the camera would focus exclusively on her, with Vesna having found herself a touch closer to the audience than before. Her vocals would beign to intensify just slightly, a yearning tone being evident from the way she delivered them. She reached her arms to the audience, and then reached for the side, nearly 'leaping' forward as per the lyrics.

Maja bauda, bauda, la bauda, bauda, bauda
La bauda, la jamna, jamna
La jamna, la bauda, bauda, bauda
Oni su maja snaga, la intrika
Maja bauda, bauda, la bauda, bauda, bauda
La bauda, la jamna, jamna
La jamna, la bauda, bauda, bauda
Oni postoje u meni, ultra izgleda

For this chorus, the MEB Arena would flash an even brighter world, as the camera would take a brief view behind Vesna to display the vastness of the audience itself. The music itself, now moving beyond unfurling the orchestra and the drums, would also begin to reflect the increasing scale of the song itself. Vesna's vocal delivery complemented the slight angelic undertones to the slight increase in the background music's power. Her movements were more daring, but Vesna was careful not to overextend herself or to land in somewhere where the cameras could not catch her. She would step back, remaining in the center of the stage as she focused on delivering these lines as passionately and effectively as she could. The words flowed from her like rivers, becoming more and more natural as she began to embody the character that she played for this song and this lyric. The very delivery began to reflect even upon the panels, to which the very galaxy of stars that was present as a near static image began themselves to nearly 'flow' as well, as the panels would display the stars blurring by. The yellow lights would darken into a pastel, a progression fo time towards noon. The chorus itself did not end as the previous one did. Instead, it led to an instrumental interlude, one that saw the camera undertake a close bird's eye view of the stage. Vesna would still vocalize the proceedings, but the camera would slowly rotate as the lights around Vesna would dim into various colors. For those in the audience and at home, the constantly fading views and the changing lights reinforced the theme of the passage of time. These changes happened slowly, alternating between close and wide views of Vesna's singing, her eyes open and staring into the heavens. The lights would alternate between blues, oranges, and yellows, with almost 3 days that 'passed' from the beginning of the interlude until the very end of it. Once that interlude, and the chorus proper, ended, the camera returned back to Vesna.

Maje putovanje
Još nije gotov ipak
Le stale
Vode maja jamna
Počinjem razumiti
Ko, imprandrim maja bauda
Kroz života
Jamo leži u meni

The journey, for this song, may be coming to its eventual end. However, Vesna knew from the song this was only going to be the beginning. That notion was reflected upon her expression at the advent of this third verse. The instrumentation may have calmed, but there was a sense of exhaustion, a calm before the storm. Vesna looked as if left unchecked, she could well be on the verge of collapse, needing rest. However, she pushed on either way, knowing that time did not stop, even if the stage's passage of time had rested upon 'blue.' The presentation of 'stars' on the back panels would intensify in reflection of the lyrics. She would also intensify her vocals bit by bit, adding in more power as she was now truly lost in the song, comfortable with the persona of the character and performer she embodied. Her body swayed only slightly, her arms remained close to her. The camera would dramatically zoom in just slightly on her for the final few lines. Her vocals intensified, Vesna letting out a few vocal flourishes that would end the third verse. Suitably enough, there was a brief and soft orchestral flourish that would herald in the final chorus itself. The lights transformed from evening to yet another new day, a warm orange.

Maja bauda, bauda, la bauda, bauda, bauda
La bauda, la jamna, jamna
La jamna, la bauda, bauda, bauda
Oni su maja snaga, la intrika
Maja bauda, bauda, la bauda, bauda, bauda
La bauda, la jamna, jamna
La jamna, la bauda, bauda, bauda
Oni postoje u meni, ultra izgleda

Vesna unleashed her most passionate vocals for the final chorus of the song, finding as much of a conclusion as she could from the brief journey she hoped she took the audience on. The stage emphasized wider views, emphasizing a mood of the sublime and awe. She was rising on a new day. The stars had disappeared, but in place was a backdrop of a hopeful continuation of the journey she was on, a journey that would not find its eventual conclusion. The instrumentation and the vocals intensified in lockstep with each other. Vesna's movements were also suitably much more forceful, with the restraint from earlier finally being let out only slightly. These moments of an increased passion were the last vocals associated with the lines. The ending of them saw Vesna returned to the restrained movements for just a bit. These may have been the final lines of the song, but they were far from the end of it. The song would conclude with an instrumental interlude, which saw the stage once more progress to a night scene, the lights returning back to their blue hue. The song would end the way it began. Though there were no words, Vesna did not relent on her vocals, unleashing a series of notes that would climax into a dramatic final moment of the song. She belted out notes that sounded like 'yeahs,' arching into 'ohs' that would coincide with a mirroring of the song's most dramatic instrumentations. The song would then conclude with a moment of calm...

The stage had now fully darkened, the camera was now solely on Vesna. Her vocals remained ethereal, almost willowing across the stage as she sounded quite similar to a siren. At the song's conclusion, the spotlight on Vesna would darken, marking the official end to the entry.

Vesna was left frozen at the crowd's cheering. She wasn't sure of how to react, or how to proceed. Stage fright was one thing, but to see the reaction... She could only say a brief 'thank you,' before mouthing a 'wow' at the crowd before her. Vesna knew the proceedings were going to be quick, so she made sure to return to the delegations as soon as possible.

I... she started. However, she could not complete that thought except for the feeling of a fragile hope and a sense of fulfillment. She could only hope, and wished, for the best come the end of tonight.

by **Fromulya** » Mon Sep 02, 2019 9:16 pm

? | Fromulya
Krisnamurti Wijaya Putra - "Mari Berlibur"

Title Translation: Let's go on holiday
Language(s): Indonesian (standard)
Tune: Doroga K Solntsu — Vladislav Krutskikh
Lyrics: Krisnamurti Wijaya Putra, Nadhilah Sugandhi
Music: Nadhilah Sugandhi, Ryan Putra

Krisnamurti Wijaya Putra is a Fromulyan child singer. He was chosen to represent Fromulya at the 6th Junior World Hit Festival with a song that was penned in a collaboration with his music teacher, Nadhilah Sugandhi. She saw the talent in him and together they tried their luck by submitting a song to TVRF, which had opened submissions at the time.

After the song was chosen, the song was mixed and revamped by the help of a professional musician named Ryan Putra, who had helped mix songs for Fromulya's top pop singers.

For the special occasion, Krisna — as he likes to be called — was wearing a batik shirt, shorts, and a straw hat. He also has a backpack on him. Seems like he's already developed a sense of fashion coming into his teen years.

As the song begins, he comes onstage with some dancers. Throughout the song the dancers do beach activities, such as playing volleyball or sunbathing. It's done in a way that's dynamic and doesn't bore viewers. He also does gestures in line with the lyrics he sings.

Pagi ini cerah
Tak kurasa gerah
Angin yang berhembus
Terasa adem

Hari yang ku mimpi
Ini yang ku nanti
Perjalanan mulus
Dan pohon palem

Mari berlibur
Dan bertamasya
Menikmati
Pemandangan ini

Mari berlibur
Dan berbahagia
Saat ini saja yuk bersenang-senang

He discards his backpack and walks around the stage.

Tinggalkan bukumu
Tinggalkan sibukmu
Ayo duduk santai
Tak apa-apa

Passing by some of the dancers who are relaxing, one of them extends their hand, holding a camera, and they appear to take a selfie on stage before Krisna continues walking around.

Ayo berswafoto
Sambil makan soto
Menikmati pantai
Minum kelapa

Mari berlibur
Dan bertamasya
Menikmati
Pemandangan ini

Mari berlibur
Dan berbahagia
Saat ini saja yuk bersenang-senang

Now the dancers begin to pack their belongings and clear the stage of any props, including beach balls and chairs.

Namun saat ini
Waktunya kembali
Pada rutinitas
Ke realita

Pada kali lain
Ku ingin bermain
Dan beraktivitas
Bersama-sama

Mari berlibur
Dan bertamasya
Menikmati
Pemandangan ini

Mari berlibur
Dan berbahagia
Saat ini saja yuk bersenang-senang

As Krisna returns to the center of the main stage, he is joined by the dancers where they, in sync, do choreography together.

Mari berlibur
Dan bertamasya
Menikmati
Pemandangan ini

Mari berlibur
Dan berbahagia
Saat ini saja yuk bersenang-senang

Mari berlibur serta bersenang-senang

And right as the song ends, they pose. The crowd cheers. "Thank you, terima kasih!" Krisna shouts before leaving the stage to allow the next entry to be prepared.

by **Axuva** » Tue Sep 03, 2019 11:53 am

Nation: Axuva
Broadcaster: MTV Axuva WEST

Song Title: Music is The Way
Artist (Age in brackets): Kayla Kordeva (15)
Language(s): English
Tune: https://www.youtube.com/watch?v=bzPQ61oYMtQ

[Verse 1]
It’s something that just makes me dance
The beat is just so tempting
The song is strong it gives a trance
The world loves music, so get up and dance

[Chorus]
Because music is the way
Music is the way, yeah yeah
Music fills your soul and gives
You joy inside, oh

[Verse 2]
Feeling down or feeling sad
Dont know where to go cause it’s so bad
But when the music lives inside
Your soul will feel happy after while so

[Chorus]
Music is the way
Music is the way, yeah yeah
'Music fills your soul
And gives you joy inside
I said music is the way
Music is the way, yeah
Come on!

[Verse 3]
Theres a tune that writes your life
It makes you feel so full
The song moves to your heartbeat
When it just gives you something brand new
Oh, oh, oh, oh, oh, oh, oh

[Bridge]
Music is the way, way
Music is the way, way
Music is the way, way
Music is the way, way

Pa-pa-p, pa-pa-pa-pa
Pa-pa-pa-pa-pa-pa-pa-pa
Pa-pa-p, pa-pa-pa-pa
Pa-pa-pa-pa-pa-pa-pa-pa

[Chorus]
Music is the way, way
Music is the way, way, Yeah yeah
Muisc fills your soul and gives
You joy inside, oh

[Outro]
Oh woah, ooooh, music is the way!

by **Mercedini** » Wed Sep 04, 2019 7:22 am

? | Mercedini
Whiskers - "Gold Hearts"

Language(s): English & Mercedinian
Tune: K/DA - "POP/STARS"
Lyrics: S. Borlaviac, D. Alishkaerni
Music: S. Borlaviac, D. Alishkaerni

It was a late entrant from Mercedinian broadcaster ENM, but Mercedini finally confirmed their place at the 6th Junior World Hit Festival, they will send girl group Whiskers to Mara, Besen. Dini have had a decent track record as these contests in recent memory, with the nation notching up three 3rd-places in a row since their debut in Todlichebujoku with a large variety of representatives. This will be the first girl group that ENM will send to the Junior World Hit Festival, so expectations are high as the four sixteen-year olds head to Besen. They only need to go two better than previous to earn their nation's first Junior title and claim the triple crown that the nation so desperately craves, and with Junior Festivals coming around so rarely, this is by far the most difficult contest to win out of the three.

Mercedini will be represented by female quartet 'Whiskers', who are seen as their own domestic super-group as they were put together from four contestants of the most recent series of 'The Young Voice of Mercedini' with all four making it to the live shows but failing to win the show's top accolade. The four are (from left to right): Madison, Ella, Kaisa and Victoria; all 16 and have combined for their first television appearance since forming as a group. It will be one of the biggest night of their young lives so far and potentially the biggest night of their careers if they hit all the right cues and enough people across the multiverse pick up the phone and vote. Mercedini have had a decent time of it when it comes to the JWHF they just need to break the chain of third places and claim one of the other spots on the podium, and we all know which spot they'll be after on the night.

The final performance of the night comes from Mercedini, with white beams of light circling the stage as the camera flies in from above the audience. The lights momentarily glace across each member of the group as the crowd's cheers become visibly audible from the stadium microphones. The lights flicker as the first vocals are heard from the group's members, with the intensifying lights matching the introduction to the song. Quick cuts between each of the members shows the audience and the viewers that they mean business. Play time is over for these juniors, and these next three minutes will define them and their careers.

The four performers arrange themselves with Ella and Victoria front and centre, as the introduction comes to an end, a transition is made as those two make way for the opening verse, starring Madison as the main rapper and Kaisa as the main vocalist.

The power comes within
No longer just a trend
Whiskers are running this
And the fire never ends, uh!

The camera moves up onto the stage for the first rapped verse of the song, with Madison strutting to the front of the stage to meet it before moving with the camera as it spins and rotates around the stage. She turns to face the crowd and beckons the camera to follow her to the front of the stage where she finished her part of the verse with a hand on her hip and a simple heel flick, handing the figurative baton to Kaisa at the camera stays on the stage.

Seduto un doratio
Il regno tutt’intorno, stanno urlando il mio
Nom, nom, nom, nom
Quadri sono nul volore
Ho quello di cui ho bisogno
Sono io, io, io, io
Sitting on my throne
Kingdom around me, they’re screaming my
Name, name, name, name
Diamonds are worthless
I have what I need
That’s me, me, me, me

The camera moves away from Madison and onto Kaisa who is walking from the back of the stage to trace the same path as Madison walked moments ago. The lights from the stage focus on the performers and flash brightly in a mixture of navy blues, deep purples and bright whites which converge into an intense and energetic staging from the Mercedinian delegation. Kaisa ends her part of the opening verse with a simple hair flick as she turns her back on the camera while still keeping her face visible to the audience, in a composed look for the young performer.

You can tell that we’re all attack
If you come, you’ll never go back
I’m the ruler of this place
Rule it all with my grace
Yeah, I’m hunting, on the prowl, prowl, prowl, prowl

The final two members of the band yet to be heard are the two which we saw, Ella and Victoria. The two march forward from the steps at the back of the stage and walk forward to where their group-mates are. At this point, Ella is the only one singing before Victoria takes over for the chorus. Elegant pink flowers begin to bloom on the rear screen behind the performers at this lights moment in the first part of the song, this is before the pink petals are blown away and replaced with a dark and thunderous sky. The white lights get even more vivid at the song further builds in intensity before it's climax at the chorus. A quick wide shot of the stadium gives enough time for the four to rearrange themselves off screen ready for the chorus.

E la forza raccolta
Grande muovera le montagne
Il valore come uno
Ci da il coraggio di fare di piet
So come on, take a chance now
An opportunity for once in your life
So look up
Prepare for taking off
High enough from rough skies
The strength inside
Big enough to move mountains
Our value as one
Gives us courage to do more

The four performers then give a polished routine to the main chorus of the song, with the camera angles switching between wide shots of the four together, wide shots of the entire arena and shot which show close ups of each individual members, amongst others. Flags are flying high for the final song of the night, and there is no doubt that the night will end of a high with such an energetic performance being saved for last. During the second half of the chorus, the stepping moves within the dance allow for a swift transition between members. This means that members who were at the back have now moved their way to the front, giving every member a chance to chance during the three minutes or so they have.

Il l’unica via
Sou, sou, sou, sou, sou, sou
Fino quando piedi toccano il’cielao
Siamo pronti per ‘knockout’
Out, out, out, out, out, out
In fiamme, ma lo faremo vivao
On your marks (marks) yeah we’ll get set, get set
Deal your cards (cards), only aces, aces
Our gold hearts, will never give in, give in now
Il l’unica via sou, sou, sou, sou, sou
The only way is up
Up, up, up, up, up, up
Until our feet touch the sky
We’re ready for the knockout
In flames, but we’ll make it out alive
The only way is up, up, up, up, up

Madison returns to the stage as the lead member for the second verse, and she moves to the front as the other members make their way to another area of the stage which isn't currently visible to the camera shots currently being broadcast. The colour is drained from the performance and flashing neon lights are visible around the stage to show the differences between the vocals and the rap portions of the song. The camera moves forward from the audience and focuses on the Mercedinian as she moves around the stage, staring intently at the camera.

You listening to this? (let's go!)
Si, una cosa, siamo e rumerosi lo sicuramente sappiamo
Now now, non siamo arrogante
La forza e io veniamo come una cosa solayeu
We’re coming, there’s no stopping it
Overthrown
Working everyday, more than you’ve ever known
You know we just aint the same, uh!
Yes, one thing, we're loud and we're definitely sure of it
We're not arrogant
The strength and myself come as one

A quick switch is made to Kaisa on the far side of the stage as she sings into her camera which was been on her side Madison's part ended in the second verse. She floats her hand in the air as if letting a butterfly free from her grasp. The camera tracks the loosening out before fading and transitioning into the part of the song.

Quadri sono nul volore
That’s what we’re saying everyday
Think instead you’re in your z-o-o-one

Diamonds are worthless

Ella returns to the forefront of the performance walks back to the centre of the stage with all of her other group mates in tow as the follow her and form their now familiar formation, mirroring the first part of the song. Lights fly around the arena, lighting up the audience and the air around them to create a party-like atmosphere for those in attendance.

E la forza raccolta
Grande muovera le montagne
So look up
Prepare for taking off
High enough from rough skies
The strength inside
Big enough to move mountains

Another polished performance in the chorus as the girls pull the same moves as the first chorus, wit minor changes in the camera work to make it appear fresh and exciting to the viewers at home. The girls are now visible more comfortable in their movements and choreography now they have gotten over their nerves from earlier in the song. A series of sweeping camera shots make their way over the audience and towards the girls on the stage, with some of them making quick glances over to the aerial shot to catch the eye and seduce the camera, making sure the audience and the rest of the participants know they mean business.

Il l’unica via
Sou, sou, sou, sou, sou, sou
Fino quando piedi toccano il’cielao
Siamo pronti per ‘knockout’
Out, out, out, out, out, out
In fiamme, ma lo faremo vivao
On your marks (marks) yeah we’ll get set, get set
Deal your cards (cards), only aces, aces
Our gold hearts, will never give in, give in now
Il l’unica via sou, sou, sou, sou, sou
The only way is up
Up, up, up, up, up, up
Until our feet touch the sky
We’re ready for the knockout
In flames, but we’ll make it out alive
The only way is up, up, up, up, up

A brief break in the music gives the performers an opportunity to brethe and give the audience a chance to rest, although loud cheers from the Besenian crowd signals that they, nor the song will relent just yet. The beat returns to the song as Ella sings to the audience, before the third and final chorus comes back into play.

Oh, your beauty comes from inside
Oh, oh your gold heart
Oh, oh, our gold hearts, hearts
Il l’unica via…

Another dance routine for the girls to get past, and something which marks the beginning of the end of the song. The lights are flying around the stadium s purple confetti begins to fall on the stage and the audience, not that it matters too much to the programming as it is the final song of the night. The four performers get together got one final time in this performance to show solidarity with each other. They all look strong as they all hold their microphones up high as the look into the central camera in the arena. The four finish with one final pose to finsh the performance which sends the stadium into raptures. A big song to end on, it could be one of the contenders come the end of the night.

Il l’unica via
Sou, sou, sou, sou, sou, sou
Fino quando piedi toccano il’cielao
Siamo pronti per ‘knockout’
Out, out, out, out, out, out
In fiamme, ma lo faremo vivao
On your marks (marks) yeah we’ll get set, get set
Deal your cards (hard), only aces, aces
Our gold hearts, will never give in, give in now
Il l’unica via sou, sou, sou, sou, sou
The only way is up
Up, up, up, up, up, up
Until our feet touch the sky
We’re ready for the knockout
In flames, but we’ll make it out alive
The only way is up, up, up, up, up

The four performers embrace for the end of the song as the last few strands of confetti drift down in front of them. They all take one synchronised bow to the audience before waving and thanking the audience in a rather unsynchronised way. "Grazile, Thank You Besen! We Lone You!" The camera cuts to Mercedinian flags waving before the hosts of tonight's show are seen to mark the end of the night's competing songs.

by **Togonistan** » Wed Sep 04, 2019 10:52 am

? | Togonistan
Amiria Tahana - "Toku Aroha Anake"

Title Translation: My Only Love
Language(s): Togoni-Maori
Tune: Desiree - ''On My Mind''
Lyrics: Amiria Tahana
Music: Lewis Martin-Fuega, Samuel Talagi

Two colours for postcards (Hex codes):
1. #ED1C24
2. #FFF200

Amiria Tahana

Amiria Tahana is a 15-year old musician born in Incendia, Togonistan. Her rise to fame started with her participating in the first season of Rising Star, a local youth-oriented talent show broadcast on Lucky 7, which she won. The broadcaster, on the lookout for a JWHF representative, made Amiria an offer to represent the nation, which she happily agreed on. ''It feels so exciting to be here in Besen and compete alongside all these great and talented young artists from all around the world,'' Amiria told during an interview given to Lucky 7 Music.

Performance:

Amiria is standing on the stage with her back turned at the audience. She wears white sneakers along with white sweatpants and a hoodie with her name written on it. Stage lighting is light pink and as the music starts playing, Amiria starts turning herself around and starts singing, slightly moving her body to the rhythm of the music.

Ngatahi, aroha
Po ririki koe taku whetu
Toku paipa kiaora
No tatou te po

Eventually, she turns herself facing the audience and steps forward.

Ngahau me te roimata, oh!
Kokoe me ahau, tuari aroha
Ngahau me te roimata, oh!
Kokoe me ahau, tuari aroha

Background lights starts flashing in and out to the rhythm of the music, displaying pink light. Amiria dances while singing at the same time with a smile on her face, accompanied by some eyebrow movements.

Toku aroha anake
Toku aroha anake
Toku aroha anake
Toku aroha anake

Amiria starts walking around on the stage with the camera following her.

Tenei po, aroha, tenei po
Kotahi matou
Tenei po, paipa, tenei po
Ko koutou naku

Ngahau me te roimata, oh!
Kokoe me ahau, tuari aroha
Ngahau me te roimata, oh!
Kokoe me ahau, tuari aroha

Once again, background lights starts flashing in and out to the rhythm of the music. Amiria dances and sings while flirting both with the camera as well as the audience.

Toku aroha anake
Toku aroha anake
Toku aroha anake
Toku aroha anake

Ngahau me te roimata, oh!
Kokoe me ahau, tuari aroha
Ngahau me te roimata, oh!
Kokoe me ahau, tuari aroha

Some pink smoke starts appearing on the stage throughout the last part of Amiria's song, eventually covering the stage in a pink cloud with Amiria standing in front of it.

Toku aroha anake
Ngahau me te roimata, oh!
Toku aroha anake
Kokoe me ahau, tuari aroha
Toku aroha anake
Ngahau me te roimata, oh!
Toku aroha anake
Kokoe me ahau, tuari aroha

The audience applauds to her performance. Amiria starts jumping up and down, sending some blow kisses to the audience: ''Thank you Mera, thank you!!!''

JWHF6 - Mera, Besen | Draft Thread

JWHF6 - Mera, Besen | Draft Thread

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