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The 51st WHF - Sinnlichšukai, Tödlichebujoku - IC Thread

Where nations come together and discuss matters of varying degrees of importance. [In character]
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Todlichebujoku
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The 51st WHF - Sinnlichšukai, Tödlichebujoku - IC Thread

Postby Todlichebujoku » Mon May 04, 2020 10:54 pm

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W H F N E T W O R K | O O C T H R E A D | D R A F T T H R E A D

[ O F F I C I A L P L A Y L I S T ]




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della Mello - SNAP

Tune: Noisestorm - Crab Rave



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Kaapo Séélinen - The Best

Tune: ZAYDE WOLF - I GOT YOU (END OF THE WORLD)



T H E H O S T S

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- Anya & Momoko Krebs -
WHF21 2nd place, and Sinun Valintasi veteran


As Kaapo Séélinen heads off the stage, he nods to the two hosts, Anya and Momoko Krebs, who breeze in from the other end of the stage. As the camera view and lights turn toward them, they wave at the audience before Momoko speaks.

"Thank you so much Kaapo, what a fantastic opening for the show! Why don't you all give him another round of applause!"

The audience indulges her and erupts back into applause, Anya waiting for it to die down a bit before speaking.

"Hello, world, hei! Welcome back to Tödlichebujoku, it's been what, about 30 editions now? It's been too long, hasn't it! It's great to see you all here tonight in Sinnlichšukai!"

The locals in the crowd whoop and cheer wildly, with a rather more normal cheery reaction from the rest of the audience.

Momoko nods. "A huge thanks and congratulations to VELUNA and Meghan Jorgensen for their hard work last edition! That was such a jaw-dropping voting sequence, and we can only hope to have such an iconic moment again here tonight. We are so excited to present the acts and voting tonight, and we hope you are as well!"

"That's right," Anya adds, "we have some acts that have had quite a journey to get here, such as our own home act Noravas & Álvrüttá Matsuvoka and the Britonish act Shards of Diamonds, along with Letenje from Izmedu who is really topping the charts here in Tödlichebujoku, and we are sure they will all provide quite the show. Meanwhile we have some newcomers and whole new nations like Waisnor and Petroslovania, that we gladly welcome to the Festival." She nods to the mentioned delegations as the audience erupts in cheering.

Momoko smiles. "Now, we all are quite aware of some very stressful and dangerous situations that are happening outside this building and beyond, in many nations, and tonight we hope help you all transcend that fear, to escape reality just for a few hours, and Shine Strong with the power that we all have within us. The power of music unites and strengthens us, and we hope to make an impact, to fuel hope in all of you, and radiate strength for the dark times ahead."

"And with that," both chime in, "welcome to the 51st World Hit Festival and... LET THE CONTEST, BEGIN!"
Last edited by Todlichebujoku on Tue Jul 28, 2020 5:23 pm, edited 11 times in total.

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Postby Todlichebujoku » Mon May 04, 2020 10:56 pm

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Last edited by Todlichebujoku on Mon May 11, 2020 9:07 pm, edited 7 times in total.

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Postby Todlichebujoku » Tue May 05, 2020 5:55 pm

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01. Beepee
"Love Me" - Betty Wont

Language(s): English
Lyrics: Woody Kuhm and Betty Wont
Music: Woody Kuhm and Betty Wont
Tune: 'Зажигай сердце' by Ani Lorak



Pre-amble

The ever hopeful Beepeean public is once again throwing itself headfirst into the World Hit Festival despite last cycles 'disappointing' result.

Despite coming last in the first semifinal at WHF50, Ms Fanny Golightly of the Beepeean Occassional News Corporation declared the debut entry a success, "The enjoyment levels amongst the Beepeean populace were through the roof. Whilst last place was disappointing, Eileen, and the Beepeean public thoroughly enjoyed the show and all the entrants. We will endeavour to do better and improve."

Eileen Dover has spent the time since the last WHF touring Beepee with her song 'Inside Me', which peaked at number 32 on the Beepeean charts before the contest, jumped to number 18 post compeition. Speaking of the WHF competition, Eileen said "it was so much fun. I got to sing, and dance and meet lots of new friends."

Selection Process

This year Beepee held an internal selection to chose their entrant. A professional jury chose from three final entrants.

"Love Me" perfomed by Betty Wont was chosen by the jury.

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The song, about the break down of a relationship, was written by Woody Kuhm and Betty Wont.

Co-author of the song, Woody Kuhm, said of the song described the song as "the desperate plea of a woman longing for the warmth of a relationship juxtaposed against the cheerful optimism of a Beepeean Bop!"

Artist

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Betty Wont is a relatively new singer on the Beepeean scene. However, she is no stranger to the world stage after performing in the 81st running of the Worldvision Contest in Boschke, Britonisea. Betty sang "Fight For My Love", and finished 22nd.

For WHF51, Betty will be joined on stage by four male backing dancers, (l to r)

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Photo taken at dress rehearsal


• Omar Gosh, who supported Betty in WorldVision 81,
• Mustapha Wyne,
• Eoghan Muhnie,
• Holden MacGroyne.

Omar Gosh has also choreographed this years routine.

In dark on the stage will also be backing singer, Pat MacGroyne, who will provide added strength to Betty's voice.

Promo Tour

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Following on from last years contestant, Eileen, Betty Wont determined to undertake a tour around some of the competing nations. In each stop of the tour, Betty confirmed she'll utilise social media to promote keep Beepeeps up to to date with her tour.

The tour is seen a way of promoting tourism both to and from Beepee.

The Fatiman Federation

Betty visited Fatima City and performed two concerts over two nights to a crowd of approximately a thousand.

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The crowds appeared to enjoy the show which included guest appearances from congresswoman and singer Angelica Magsaysay.

During the day, Betty was spotted perusing the shops of Fatima City and was snapped by paparazzi buying Stapleton '89: Best Tracks of Eastern Siberia (Album 1). When the pictures were published in Beepee tabliods, internet searches for the album sky rocketted.

Waisnor

Some eyebrows were raised when Betty confirmed Waisnor as a stop on the tour, which is known as the "little hell of eastern Europe".

However, Betty played a single concert in the capital Smorgon, to an almost sold out crowd of 1,200. Again to bolster the limited catalogue of songs, Betty invited Waisnor stars Dmitry Konovalov and Ekaterina Miller on satge to perform their hit songs.

The next day Betty performed her two songs for a televisual spectacular on Waisnor TV at the 'Grodno Concert Telethon'.

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Following her performance, the Telethon presenter presented Betty with a graceful wood carving, for which Waisnor is well known, as a token of her involvement.

Petroslovania

Betty's final stop of her tour was to Petroslovania, where shortly after arriving she took in a football match between Fuego United and Björkland Bombardiers.

Travelling to New Manila, Betty performed a show to an audience of 700. The crowd seemed a little bemused by the performance but generally clapped and applauded.

Following the performance she returned to Beepee.

Chart Performance

"Love Me" performed well in the Beepeean charts entering at number 2 in the Beepeean Billlboard charts Hot 5.

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Participation

Once again, Beepeean television personality, Hugh Jakeman, is providing commentary for the Beepeean television audience.

The 'at home' audience, may once again query as to how many glasses of red wine Hugh has consumed.

Well wasn't that jolly! You'd never guess they made their own clothes, would you?!

Right now! listen up! it's us next... what already?...

Betty Wont, who you know and love, will be performing for us tonight with her smash hit "Love Me". Now, I've got this in the BBC sweepstakes, so there's a good few bob riding on her doing well tonight, I tell you.

The Beepeean bookies are giving you 5 to 1 she wont be last for us this time lads... and I have a sneaking suspicion the international juries might take a fancy to Betty in this outfit, but I've never been to good a judge of these things...

Right now, lets wave her on in word and gesture... go on yourself Betty."


--○--

Betty stands center stage rear, in the dark, awaiting the music to begin, wearing a silver and gold tigly fititing bodice with tasselled skirt. (See dress rehearsal photo).

Betty stands beside a large LED screen, extending the full width of the stage, currently sitting at black. Behind the LED screen wait the four backing dancers.

The beat begins, and the LED screen pounds red illuminating the stage, thumping a love heart shape behind Betty.

Betty begins...

We stay, together yet apart,
Nothing to say, nothing to do.


As she sings, she shoots out her left hand to her side and the heart races across the screen to where Betty points.

Betty pulls her arm back, as she does the heart returns to behind Betty, and she continues...

We pray, hoping this continues,
But deep inside, we know it dies.


This time, as she's singing, Betty shoots her right hand out to the right side and the heart zooms across the LED screen to the right.

Again she pulls her hand back to her and the heart returns to center as she continues...

We've never felt less, never wanted more,
Crying out loud, for something else


Betty begins walking forward as she sings and behind her the heart explodes into a bright shining light. Filling the auditorium in bright white light, as the rest of the set lights come up.

The LED screen opens slightly and the four backing dancers move through to join Betty on stage, as the chorus begins...


Tell me 'you need me',
'you'll never leave me',
Say 'it's forever',
Tell me 'you love me'.

Tell me 'you need me',
'you'll never leave me',
Say 'it's forever',
Tell me 'you love me'.


The backing dancers dance energetically in formation to the side and in concert with Betty, making strong and definite arm movements and stamping in time to the music.

Betty turns to the right, into profile, puts her hand on the chest of Eoghan and continues...


We lie, hoping it's not over,
Telling ourselves 'it's all okay'.


Betty flips to face left, and puts her hand on the chest of Omar, and continues...


We hope, this will last forever,
But deep inside, we know it wont.


Betty turns back to the face the audience, her face expressing the anguish of the song...


We've never felt less, never wanted more,
Crying out loud, for something else


The camera suddenly cuts to a tight angle on Betty's face as a solitary tear rolls down her cheek.

As the camera cuts back to a full stage shot, the four buff backing dancers contiue to pound the rhythm...


Tell me 'you need me',
'you'll never leave me',
Say 'it's forever',
Tell me 'you love me'.

Tell me 'you need me',
'you'll never leave me',
Say 'it's forever',
Tell me 'you love me'.


The music slows, and the backing dancers retreat from Betty as she wails...


Tell me you love me. Love me! Love me! Ooh-oh
Tell me you love me. Love me, Love me!


As the music builds again for the final choruses, the LED screen, which has been slowly fading from the bright white of earlier to now a dull gray, begins to show giant red cracks shoot across.

Betty turns to face the screen and, as the music builds the LED screen shows the cracks fall away to reveal the beating red heart once again.

The backing dancers slide in towards Betty who turns to the audience, and she and the backing dancers contiune their routine for the remaining choruses....


Tell me 'you need me',
'you'll never leave me',
Say 'it's forever',
Tell me 'you love me'.

Tell me 'you need me',
'you'll never leave me',
Say 'it's forever',
Tell me 'you love me'.

Tell me 'you need me',
'you'll never leave me',
Say 'it's forever',
Tell me 'you love me'.

Tell me 'you need me',
'you'll never leave me',
Say 'it's forever',
Tell me 'you love me'.


As the song ends the auditorium briefly goes dark.

Out of the darkness, Betty yells "Thank you.... love from Beepee", as she runs of stage.

--○--


For televiewers in Beepee, Hugh Jakeman's commentary comes back on.

Well the lights have gone out across Sinnlichšukai tonight.

That was a great perfomance by Betty there. I dont think she could have done much better.

Good lass.

She's done us proud!

Right lads, compose yourself... what's next?... where are we up to?... can we get a red wine in here?"


Live Online Reaction

The Beepeean Twitterati had a largely positive reaction to the song.

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However some users noticed a suspicious number of bot accounts appeared to be praising the Beepeean song, raising fears Beepee would once again come bottom of the heap.
Last edited by Todlichebujoku on Sat May 09, 2020 10:14 pm, edited 2 times in total.

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Postby Todlichebujoku » Tue May 05, 2020 8:06 pm

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02. Antalanga
"Atam" - Vicente Pliego

Title Translation: Silent
Language(s): Lipata
Lyrics: Vicente Pliego, Carlos Galan
Music: Eliana Sarmiento, Edmundo Pion, Justin Laguna
Tune: Madame Monsieur - Mercy



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Antalanga is a nation new to the World Hit Festival, and the audience quiets down to see what they will bring to the WHF stage.

Blangkeman pernasi
Gumising atam
Nang si ay nadulas
Dag ensayo atam

After they arrived
Everything went silent
Before, life was good
They made it silent


Kao mamaolek tatatmanu nan mu
Nalang yu takhachun sangano miyu
Alu sangano miyu

Conquerors from a far off land
Came and destroyed our way of life
Their legacy still lives


Hangtud sa sunod higayon salamat
Nibaba ko sa dyip sa kantomasat
Aldu kamusta mabow

The history of those long ago
Now erased as if they weren't here
All because of them


Blangkeman pernasi
Gumising atam
Manasa aminy
Savonu aho
Sawidak sapulu
Dumagat luto
Tigan dasa satung
Gumising atam

After they arrived
Everything went silent
I speak for the souls
That are no longer here
Our peace was disturbed
By the people of the sea
We tried to fight but
Everything went silent


Madya krama andhap ku arep mangan
Aja kaya kuwe ora temenan
Kalu pangah lagek napehle

Who knows what our future
Would be if we were left alone
It is no longer our own


Manusia dila hirkan bebas
Lempunyai hati dan dengan sumas
Peng ajaran terpe lajar neas

Responsibility has still not been taken
Against the injustices we've faced
Even now they do nothing but deny


Blangkeman pernasi
Gumising atam
Manasa aminy
Savonu aho
Sawidak sapulu
Dumagat luto
Tigan dasa satung
Gumising atam

Blangkeman pernasi
Gumising atam

After they arrived
Everything went silent
I speak for the souls
That are no longer here
Our peace was disturbed
By the people of the sea
We tried to fight but
Everything went silent

After they arrived
Everything went silent


Atam, atam, atam, atam
Atam, atam, kerajaan atam
Atam, atam, atam, atam
Atam, atam, kerajaan atam
Atam, atam, atam, atam
Atam, atam, kerajaan atam

Silent, silent, silent, silent
Silent, silent, a now silent kingdom
Silent, silent, silent, silent
Silent, silent, a now silent kingdom
Silent, silent, silent, silent
Silent, silent, a now silent kingdom
Last edited by Todlichebujoku on Sat May 09, 2020 10:13 pm, edited 4 times in total.

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Postby Todlichebujoku » Tue May 05, 2020 8:12 pm

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03. Britonisea
"Full of Surprises" - Shards of Diamonds

Language(s): English
Lyrics: Kasandra Louise, Filomena West, Daya Smith, Abi Harrods, Sam Pickett
Music: Kasandra Louise, Filomena West, Daya Smith, Abi Harrods, Sam Pickett, Désirée Blanche, Kenya Ash
Tune: The Saturdays - Not Giving Up



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Vha Mehlodhivestoile 2020 Runner Up: Shards of Diamonds will represent Britonisea at the 51st World Hit Fesitval taking place in Todlichebujoku...


Due to Kelsey Banques' record-breaking win at Vha Mehlodhivestoile, it was obvious pretty early on that she would win the contest. Though, for second place it seemed like it was going to hard to tell who was going to make it to the World Hit Festival and who was going to miss out. In the Semi-Final in which Shards of Diamonds was in, the group managed to win the International Vote, scoring the second highest score of each Semi-Final, with 68 points. They didn't score very well with the Britonish voters who scored them last. While they didn't know this, they did know that they did not receive as much hype as the two that were close to taking their spot on the plane to Tödlichebujoku for the 51st World Hit Festival; eventual third place Tobias Noah and Semi-Final One winner, KAYLEY who both finished within touching distance of Shards of Diamonds in the final. While both scored higher Britonish televotes than them, the pair couldn't receive enough points to comfortably pass Shards of Diamonds in the Grand Final so here we are they are in Tödlichebujoku.

The group left the country before the novel coronavirus outbreak in Britonisea meant that the nation would go into lockdown. Britonisea's participation at the World Hit Festival was maybe in jeopardy, but all members of the group were adamant to represent their country at the World Hit Festival and insisted that they would stay in Tödlichebujoku for longer than intended until the lockdown would cease to exist, or until restrictions ease in another ABEN nation. Them, along with the team that didn't back out of going, are taking a huge risk - which could see them be separate from their friends and family for at least three weeks on top of their World Hit participation. With Britonisea's rate of infections stabilising at 9%, it is hoped that the nation - which has seen a drastic amount of confirmed cases due to the mass testing that has been rolled out over the past two weeks - is starting to reach the peak of the virus as Britonisea hits the 50k mark as of the 5th May 2020. Hopefully by the time of the Grand Final of the World Hit, Britonisea would've reached and hopefully surpassed the peak.

The girls found out that they would perform in the first half which seems to be a go-to for the nation. They said they're happy they'll be able to watch the other performances in peace after getting over the nerves earlier in the running order.

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Duration: 03:20
Main Vocalist 1: Kasandra Louise
Main Vocalist 2: Filomena West
Main Vocalist 3: Daya Smith
Main Vocalist 4: Abi Harrods
Main Vocalist 5: Sam Pickett
Male Dancer 1: Sebastien Lumley-Sydenham
Male Dancer 2: Jordan Younes-Smith
Male Dancer 3: Lukas Reece-Nicholls
Male Dancer 4: Edward Holland
Male Dancer 5: Tom Norton


Stage personnel ran onto the stage to lay down four luminous mats in which the five women all laid down on holding a pole in their hands, exactly like this. All of the women wore clothes such as the ones in that picture too, all with high heels on. At the start of the song, there was an aerial image of all of the girls saying down on the stage floor.

As the first member of the group started to sing, their glow stick started to shine brighter than the rest.

You know I'm yours,
Cross my heart and hope to die.
I'm up all night, you're in my mind,
I want you here.

I hear a knock at my door, my door
Don't know who it is - then I hear your voice
Came to provide me relief, relief
Boy, you're my saviour - I'm in distress


As the song picked up speed and more members of the group started to join in and speak, they all made their way up into a standing position. Poles from the rigs, which had been used in previous performances, was used again here in this performance with them being lowered during the performance of "Full of Surprises".

As they reached the chorus of the song, all of the women do a series of movements, moving with the pole in a systematic, canon way which looked like a feast for the eyes as each of the poles changed colours with one another.

Boy you never fail to impress
Awestruck - you are the best.
You are, you are, you’re full of surprises
And for me, you are always there
Non-stop - you always care.
You are, you are, you’re full of surprises

Don’t want you stop, no - keep on going
Never stop your love, we’re going strong, oh
Keep on being full of surprises, woah
Don’t want you stop, no - keep on going
Never stop your love, we’re going strong, oh
Keep on being full of surprises, woah


As we moved to the second verse, the member who started singing started making their way down the centre catwalk whereas the other girls split to take the left and right catwalk. A Steadicam followed the singer down the whole course of the catwalk before we reached the end. The other members of the groups joined the main singer as we reached the pre-chorus.

You and I, just us two
Under the sheets, no prying eyes
I get lost in your world,
Pull me in deeper, never let me leave

I feel your skin rub against mi-ine
I know who it is - then I hear your voice
Whispering sweet melodies, baby
Boy, you're my saviour - I'm in distress


Once again, we had reached the high-energy chorus. The lights went crazy before they with the girls doing the same movements as they were doing before.

Boy you never fail to impress
Awestruck - you are the best.
You are, you are, you’re full of surprises
And for me, you are always there
Non-stop - you always care.
You are, you are, you’re full of surprises


By the time they reached the end of the chorus (before it started to get distorted - 02:14), the lights in the arena continue to be as crazy and high impact as the song. There was a lot of flashing on and off with the five women appearing on the screen at one second before plunging into darkness during the next. The camera was frantically flicking between one another and no shot was stable, with the cameras shaking from side to side and up and down. The women moved into position ready for the next proceedings on the stage.

Don’t want you stop, no - keep on going
Never stop your love, we’re going strong, oh
Keep on being full of surprises, woah
Don’t want you stop, no - keep on going
Never stop your love, we’re going strong, oh
Keep on being full of surprises, woah


Five male dancers, with all of their names and faces in the detailed description in the spoiler, joined the women on the stage standing behind them all. As they sang the "oh-ah-oh" parts, the men and each band member interacted with each other, with the male dancer taking the light stick away from each of the singers. They all danced with one and another, with all of the women whining themselves on these men who were touching the necks of the women. Although it might've been a bit...wrong...for the Todlichebujoki audience, the women really weren't concerned as they enjoyed a bit of male action during the performance. The men were oiled up and topless, with their fine bodies all on display for all the eager fans in the audience, hoping those who would be offended being slightly distracted by the gorgeous men.

The apple of my eye,
You're always by my side
Boy, you got me tongue-tied, oh my
You are forever mine
Our bond will transcend time
So never keep surprising me

Oh-ah-oh!, Oh-ah-oh!, Oh-ah-oh!,
Oh-ah-oh!,Oh-ah-oh!,Oh-ah-oh!


As they moved into the last chorus, the dancers moved off of the stage as the five women turned their bodies so their backs are facing the audience as a camera was pointed at them from their front.

Boy you never fail to impress
Awestruck - you are the best.
You are, you are, you’re full of surprises
And for me, you are always there
Non-stop - you always care.
You are, you are, you’re full of surprises

Don’t want you stop, no - keep on going
Never stop your love, we’re going strong, oh
Keep on being full of surprises, woah
Don’t want you stop, no - keep on going
Never stop your love, we’re going strong, oh
Keep on being full of surprises, woah


At the end of the song, the five women stood in a row as a bright light was pointed behind them. Their strong silhouettes were exaggerated through the final camera shot, with the camera slowly moving outwards. The women held that strong position as the audience came in with a cheer. The lights turned on, showing their faces with them all coming close together, "Thank you so much all!" one of the band members said into the microphone as the rest of the girls waved.
Last edited by Todlichebujoku on Sat May 09, 2020 1:30 am, edited 4 times in total.

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Postby Todlichebujoku » Tue May 05, 2020 8:18 pm

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04. Malta Comino Gozo
"Shine" - Lucia Abel

Languages(s): Language(s) English
Lyrics: Lucia Abela and Mylk Music
Music: Mylk Music
Tune: Destiny - All of My Love



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The camera is above the stage and the whole arena is dark, the camera fades out and fades into a close up of Lucia's face, the view stays for then entire verse. She looks down at the ground and back up at the camera mid way through. Her left fist is clenched shut. The backing choir is hidden from sight. She begins to walk forward as the chorus approaches.

If you don't believe
Your lies will come true
Your kingdom might fall
Might fall
They said you're no good
Downtrodden in the mud
But I stand firm
I stand firm


The stage lights begin pulsing white and she outstretches her hand and unravels her clenched fist. Inside is a white glowing flame which begins to shine brighter. She pretends to blow on it as the verse ends.

The choir is it up gradually and starts clicking along to the next verse.

Cause this light within is healing me
Breathing warmth into my heart
Getting revived again so I tell you too


The whole arena and stage abruptly light up white and yellow to the audience cheers. Lucia shimmies along to the beat.The choir is illuminated on Lucia's left side towards the back of the stage. On the first line of each chorus the stage pulsates even brighter.
Shine bright
Be the beacon in a dark room
To scare away the gloom
Strengthen your soul
Don't let them dim your glow


Lucia follows the camera along the front of the stage as it pans right to left. She is grinning.

Shine bright
Be the beacon in a dark room
To scare away the gloom
Strengthen your soul
Don't let them dim your glow



Lucia sings at the front facing camera.
Shine bright
Like the glorious star you are
Shine bright
Like the glorious star you are yeah


The stage this time fades into black but is illuminated with spotlights and dark blue and yellow. Lucia struts confidently around the stage with attitude, the camera following her. Lucia has a look of sorrow on her face for the next verse, before a sense of pride is expressed on her face towards the end of the verse

They might try to knock you down
Bury your voice, and mute your sound
But you survive, and get back up
Now filled with this magnificent glow
You let them all know
You're powerful, cant hurt me, anymore


Lucia stares into the camera which cuts to a close up

Cause this light within is healing me
Breathing warmth into my heart
I am revived again so I tell you too


The camera transitions to a view of the whole stage before cutting back to Lucia on stage Again the whole arena and stage abruptly light up white and yellow to the audience cheers. Lucia shimmies along to the beat.The choir is illuminated on Lucia's left side towards the back of the stage.

Shine bright
Be the beacon in a dark room
To scare away the gloom
Strengthen your soul
Don't let them dim your glow


The camera pans out showing the audience before panning back onto the stage. Lucia dances away to the beat subtly.

Shine bright
Be the beacon in a dark room
To scare away the gloom
Strengthen your soul
Don't let them dim your glow


The choir can be seen swaying in the background with smiling faces.

Shine bright
Like the glorious star you are
Shine bright
Like the glorious star you are yeah


The camera pans around Lucia and a close up shot of the Choir. The raise the hands up, as if they are praising. On the last line Lucia sings into a camera directly above her as the LED floor around her explodes with blue and the whole arena explodes with white and red colour. The choir claps through the next few versus.
Share your glow, let the light flow everywhere
Just ignore the haters
Please (Just ignore the haters)
Share your glow, let the light flow everywhere
Just ignore the haters
Shineeeee


Lucia holds the note right into the next verse without loosing it. Sparklers shoot out the edges of the stage and stay until the end of the song.

The choir raise their hands up and down throughout the rest of the song. Lucia struts confidently to the front of the stage before walking along to the left with a outstretched hand towards the audience.

Shine bright
Be the beacon in a dark room
To scare away the gloom
Strengthen your soul
Don't let them dim your glow

Lucia walks in the opposite direction back towards the centre of the stage, which is lit up with by the sparklers. The crowd can be seen waving many flags of the WHF nations.

Shine bright
Be the beacon in a dark room
To scare away the gloom
Strengthen your soul
Don't let them dim your glow


The camera pans outwards showing the whole stage. Lucia's gaze follows its as it pans out.

Shine bright
Like the glorious star you are
Shine Bright
Like the glorious star you are yeah


The camera which was above the arena cuts to s stage camera that zooms in slowly so it finishes as a frontal shot with the choir just in the back as she finishes singing.
Shine bright
Like the glorious star you are
Shine bright
Like the glorious star you are yeah


Lucia and the choir explode with happiness and run and hug each other. They all shout "thank you!!!" to a roaring crowd!
Last edited by Todlichebujoku on Sat May 09, 2020 9:12 pm, edited 2 times in total.

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Postby Todlichebujoku » Tue May 05, 2020 8:29 pm

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05. Normandy and Picardy
"Comme Une Enfant" - Jean-Pierre Gaulfier and Sacha Deschamps

Title Translation: "Like A Child"
Language(s): Normand French
Lyrics: Jean-Pierre Gaulfier
Music: Jean-Pierre Gaulfier, Marcel Dumariner, Sacha Deschamps
Tune: Hozier ft. Mavis Staples - Nina Cried Power



Image
Jean-Pierre and Sacha performing together at a music festival in Amiens, Picardy, before setting off to Todlichebujoku



SRNP had put a lot of time and effort into their last entry, alongside bucketloads of money, in large part simply to avoid another embarrassing non-qualification, but also because they truly wanted to win the 50th contest. They had certainly achieved one of these goals, bringing the non-qualification rate down to 50% (or the qualification rate up to 50%, read the situation as you are wont), but, giving the contest was won by Britonisea, and was being held in Todlichebujoku who came 2nd, it should be obvious that this did not happen. Given simply how much was put into such a risky enterprise, questions slowly began to spread around the SRNP offices in Caen, murmurs about whether they could afford to compete, and hushed suggestions that the country simply couldn't win; Normandy and Picardy has not won the contest since a badly bodged hosting in WHF24, and some suggested or hinted at suggesting that the powers that be simply did not want them winning again, so it was simply not worth it. Whether Normandy and Picardy would be back in WHF 51 was, surprisingly to those in the fan community and the country more widely who were more than happy with the country's recent results, suddenly under question. And then there was another shock.

Head of Delegation Jacques Braudel suddenly resigned from his post. Had he gone of his own accord? Or had he been pushed? Whatever reason, and none has ever been provided, firmly helping to fuel speculation (especially given the large amount of money invested on M. Braudel's advice) that he had been forced from his position. Suddenly things were very much in the air. What was going to happen? Luckily for fans of the contest across Normandy and Picardy, SRNP were quick to confirm following Braudel's resignation that, "SRNP remains committed to its Arts and Culture programming, and World Hit Festival will continue to provide an essential and popular part of that programming for the foreseeable future." Hidden within this innocuous quote, however, was a sign of change to come, namely the specific linking to "Arts and Culture programming". Up until this point, WHF had very much been treated as its own thing, never particularly falling under the remit of any of the "broadcasting remits" that SRNP normally works by, although unsurprisingly whoever has been the Head of Delegation has had close connections to the music industry or to music broadcasting on the SRNP network in one way or another. Now, it was firmly being brought in-shop and into the hands of Arts and Culture.

This break was secured when, a few months following Braudel's resignation, the new Head of Delegation, Simone Derrida, was unveiled to the world. Simone Derrida has worked on much of SRNP's cultural programming, especially that relating to the Picard Republic, beginning her career 30 years ago at SRNP member radio station "La Voix Picarde", before working for much of her career both within the sphere of music, and is currently the director of SRNP's central Radio 3, famed for its more unusual, slightly left-field broadcasting, which she helped bolster even further by promoting and championing new artists from across the United Republics, leading her at one point to be attacked by those who accused her of a pro-Picard bias. She recently was involved in the production of a series of shows for SRNP 1 about music and its importance in various media. What this is all saying is that she is a figure with years of experience, but also very much with her own way of working. Her ethos came through during an interview she gave, in which she answered a question about how she would approach the position:

I want to focus on using WHF as the best platform possible to promote the best of Normand talent, whether up-and-coming or well established, but focusing very much on the musician, his or her relation to the craft, and this important role of representation... We won't shy away from being daring or promoting something different, as has been the case throughout my career, but we want to focus on pure quality tracks, representative of the amazing talent our small Republics have to offer, and how we can show off the best of our industry, but must importantly the act themselves, in the best way possible.
- Simone Derrida, HoD


With this mission statement in mind, Simone decided to pursue what she called an "organic" strategy, carrying on as she normally would, interacting with musicians and artists, and trying to find Normandy and Picardy's entry as 'raw talent, out in the wild'. One thing she was certain she wanted was to reach out to singer-songwriters and bands, the sort of people she often encountered anyway. Luckily, this organic approach soon worked out, when she ended up at a gig in her native Beauvais, where she saw Jean-Pierre Gaulfier, a relatively well-known name within the musical circles Mme. Derrida walks in, but not so much beyond it. Watching his performance in a small, smoky venue and yet still being able to see the way he performed, the way he was able to show his emotions, and of course his music itself, Derrida decided that Gaulfier was the one, and so following the gig, she suggested the idea to him. And this is where we meet M. Gaulfier more properly. Gaulfier, 30, is as aforementioned a singer-songwriter himself too from Beauvais, where he was performing on that fateful evening. Although he had built a loyal following, and connections within the wider industry like Derrida, her offer very much was a bolt out of the blue, and he in fact originally rejected the idea, but Derrida, hoping to get her way, told him the offer would remain open.

Gaulfier, later describing how he ended up accepting a very happy Derrida's offer to FITUni, a popular Normand fansite (WHF United: the contest is known as the Festival International de Tubes in Normandy and Picardy), recounted the story of how the entry came to be. Following a local music festival soon after his gig, Jean-Pierre ended up working with Sacha Deschamps, a very well respected musician within the country's alternative scene, alongside a close friend, Marcel Dumariner. The three very quickly created a number of tracks, one of which was the one that would become "Comme Une Enfant". Who should turn up to that studio but Simone Derrida, ostensibly coming to approach Sacha Deschamps regarding a documentary on the country's alternative scene in the 1980s. But in many ways, unsurprisingly, she had come as she knew Jean-Pierre was there. He agreed to play her some of the demos. Simone instantly fell in love with the nascent "Comme Une Enfant". It had to be the song. And, with the encouragement of Marcel and Sacha, who agreed to take part in the performance, Jean-Pierre ultimately agreed to take the leap.

The song was, unsurprisingly, brushed up and readied. In line with Derrida's hopes to "promote" the artists, she gave Jean-Pierre and Sacha a large amount of autonomy as regards the artistic direction, culminating in first the music video and then, finally, the staging below. The music video was released following the song's first debut, synchronised on SRNP Radio 1 and 3, to be followed by an interview carried out by Normand commentator Hilaire Martin on his radio show on SRNP 1, in which he asked Jean-Pierre about the song and its inspiration, and how he was preparing for his journey alongside Sacha to Todlichebujoku to fly the flag for the United Republics. Speaking about the nature of the lyrics in general, Jean-Pierre remarked,

These lyrics are in a way very personal, but I think they do speak to a common experience. I recently reached the milestone of becoming 30, and so thinking about my life, whether I'm really happy with it, is something I've been doing more recently... My sister has just had her first child, and it has made me think about these questions anew... but also I worry about whether I worry too much, and fear that I will regret spending too much time thinking about a possible beyond, and what I might leave behind, that I will forget to live at all.
- Jean-Paul Gaulfier


The entry as a whole is a marked departure from the previous Normand entry, the loud, perhaps brash and ultra-modern O Tempora. Instead, we have Jean-Pierre's usual mix of soul, blues and indie rock, aided and abetted by Sacha Deschamps, who was to join him on stage, and tinged with the R&B leanings of Dumariner, resulting in the track below, a homage to childhood innocence, the need to actually live life, and the anxieties we all face up to at one time or another about our lives. Jean-Pierre and Sacha, backed by SRNP, helped promote the song, which became Jean-Pierre's first number one hit, and Sacha's first since 1997, before whisking the two of them away to Sinnlichšukai, host city of the 51st WHF. Before he knew it, Jean-Pierre was definitely no longer in his small bar-cum-venue in Beauvais where he had bumped into Derrida. Now, he was performing to many millions in a large arena. He knew, as he stood waiting for his cue on stage, that he just needed to give it his all..




It's a Normand entry, so of course the stadium began pitch black. Well, at least things are consistent, although it would be nice to shake things up now and again. Although something interesting then happened. Rather than the song beginning straight away, the entry began with an old projector being turned on, the figure turning it on vaguely becoming partially visible in the residual back-glow of the light. The camera turned around from the sideways view of the camera to show a large, fancy projection panel, made up of many different panels, some further forward than others to create a textured look, onto which the projector, well, projected, as well as maintaining a contemporary touch. As they are wont to do. The projector originally began playing an old style countdown onto this panel, which was arranged at a 90 degree angle to the front of the stage, and situated in the lower down section, which reached 0 as the drums kicked in. During the first verse we only the projected images could be seen, with the projector itself providing the only light in the entire arena. The cameras captured the dust slowly moving around, milking it for aesthetic value, as it also showed, now from a view behind the projector, the images on the screen. What were these? We begin with a child turning around a spinning top and watching it spiral off, and most of the first verse is spent watching it slow down, begin to wobble and finally, no, it's still going, and it's gone, fallen flat on its side. There's imagery in there somewhere I guess.

La nuit au lit, je me demande
"Qu'est-ce qui arrivera quand je me serai enfui?"
"Peut-il y avoir du bonheur?"
Des problemes pour les penseurs
Mais pour tout le monde aussi

Lying on my bed at night, I ask myself
"What will come once I have escaped?"
"And can there be happiness (there/then)?"
Problems for the philosophers
But for everyone else as well

The first verse ended with a partial fade out as the spinning top stopped, well, spinning to allow for Jean-Pierre to move into position. The camera feed faded back in to show Jean-Pierre behind a microphone stand and in front of the projector, wearing something not too dissimilar to in the image above, nice and understated, but not shabby by any means (or, well, at least not joggers). His hands trembling as they hovered ever so slightly above the microphone as he felt the emotion of the whole moment dawn on him, but also knew he needed to kill this performance, Jean-Pierre steeled himself and began to sing, presenting an air of fragility. The camera moved slightly to look over his shoulder and show the image projected behind him, which now shows an old recording of toddlers playing together as their parents watch on, a scene of innocence yet also showing the natural progression of time, the growth from child to adult.

Dans une gare isolée
En montant dans un train qui mène a rien
Ou je suis dans une navire
Toujours en train de sombrer
Hein, une couchemar ou realité?

In an empty station
Whilst getting on a train to nowhere
Or I am on a ship
That feels like its always sinking
Oh, is it a dream or reality?

You might have noticed that the projected images don't exactly match what is going on in the lyrics. All I can say regarding that is that this is a staging concept to go along with the song, although there will be some moments where the two come together more perfectly. This is one of them; time to stop being meta and go back into the action, and the past tense. Jean-Pierre kept singing, looking up in an almost longing way (albeit not the sort of romantic longing, as he tried to retain some sort of composure; now was not the time to go all in. In any case, in many ways this verse had little different from the previous one, the sense of atmosphere provided by the fact that the projector was the only light source remaining, and the camera shot remaining quite tight, although still able to show what was on the projector screen. For this verse, that consisted of now showing a child of about 6 or 7, daydreaming away, before suddenly this was almost "washed away", in a sense.

Comme une enfant, je croyais à l'infini
Mais maintenant je vois juste des impasses
Ou les rêves qui ont flétri
Des avenirs annulées
Et les passés qui n'importent plus

Like a child, I used to believe in infinity
But now all I see is just dead ends
Or the dreams that have wilted away
Futures that have been cancelled
And pasts that no longer matter

As the chorus began, a series of background lights, providing a low blue hue with a touch of white, came into action, helping to lift things slightly to help show the shift to the chorus. As the first half of the chorus began, the background projection changed to show a simpler dark blue background with smoke moving about, matching the new lighting. Then, a new voice could be heard. Sacha, not to be shown at this point at least, much like the notably absent backing singers, joined in (starting with "Et je peux pleurer"), a faint figure appeared amongst the smoke behind Jean-Pierre. And then another. Faint figures, seemingly made out simply of points like constellations, or even coming from the smoke itself, of all different sizes and ages appear behind Jean-Pierre, fading in and away, before one who actually looks rather like Jean-Pierre is shown reaching out and patting his shoulder, an effect allowed for by the camera angle. Thus, it appeared that Sacha's voice represents a part of Jean-Pierre, telling him to carry on and that it will all be fine, as well as representing the "adulthood" stage of this journey through life.

Et je pleure comme une enfant, Enfant
Enfant, Enfant
Enfant
Dis-moi tout va
Va bien aller
Juste comme une enfant
Et je peux pleurer, Enfant
Enfant, Enfant
Enfant
Tout va bien aller
Fermes tes yeux
Vis comme une enfant

And I cry like a child, child
Child, Child
Child
Tell me it will all
It will all be alright
Just like a child
And I could cry, Child
Child, Child
Child
Everything will be alright
So just close your eyes
And live like a child

The lights somewhat died down as the next verse began, and from the smoke behind Jean-Pierre, who had just about been able to hold it all together during the chorus and pour the emotion into his vocal performance, a new image emerged, again looking more like an old style projector film, with a few old scratch marks even appearing here and there. The camera shots in this verse really made the most of one of the main effects provided by the setup thus far, namely the fact that the images being projected onto the background screen were also projected slightly onto Jean-Pierre's face, to which the focus changed. The camera was situated as a slight angle beneath and ever so slightly to the left of Jean-Pierre to help best capture this effect, which mostly manifested itself as varying degrees of colours. This is not, to clarify, static block colour changing over time, but a more dynamic process using archival footage, but due to the face being an imperfect projecting surface mostly the main colours as well as certain images, including what looks faintly like the image of a family. As the verse came to an end the camera pans out and shows the main background projector image once more, where the audience now saw rather grainy shot of an empty bed, a solitary picture like the one seen earlier, and sunlight playfully dancing through a window pane, blissfully unaware yet adding to the power of the scene, which is more static.

Ce n'est pas cette vie qui m'effraie
Mais quoi que le dépasse
C'est la vide qui me ronge
La silence qui me maintient éveillé
Et qui me rend sourd
C'est se réveiller pas le matin

It's not this life that scares me
But what lies beyond it
It's the emptiness that eats away at me
The silence that keeps me up at night
And deafens me
It's not waking up in the morning

The next chorus saw the background lighting intensify even more, working alongside the other elements of the song to help keep the sense of progression going. The camera slowly panned around Jean-Pierre as the image behind him slowly faded away but at the same time zoomed in on the family photo, which appears to have a crack across it which extends across the projecting screen. Jean-Pierre let even more of himself into this chorus, in a way both getting more comfortable with the thought of performing this song to such a large audience across the multiverse, yet at the same time giving more of himself away and channelling everything into the performance. Then, as the second half of the chorus began once, the camera view changed to show Sacha, who was situated on the other side of the projector screen, although this side of the very large and expensive kit which the Normand delegation had brought with them was not made up of projector screens but rather LED screens, a least in the middle section, moving to LED lights towards the far end at the back of the stage. A big thank you to the technicians that helped get this on stage by the way. Anyway, back to the action. Sacha was in an outfit rather like the middle Mama here, as the camera panned around her and she followed it. With the final line of this chorus, and with the help of some post-effects works the audience at home saw a shot of both Sacha and Jean-Pierre, the projector-LED screen no longer between them but the two almost fading into one another in a sense, as they sang the final line. This also meant the actual back of the stage and the arena was shown for the first time in the entire song.

Et je pleure comme une enfant, Enfant
Enfant, Enfant
Enfant
Dis-moi tout va
Va bien aller
Juste comme une enfant
Et je peux pleurer, Enfant
Enfant, Enfant
Enfant
Tout va bien aller
Fermes tes yeux
Juste comme une enfant

And I cry like a child, child
Child, Child
Child
Tell me it will all
It will all be alright
Just like a child
And I could cry, Child
Child, Child
Child
Everything will be alright
So just close your eyes
Just like a child

It was now time for the bridge, to be sung by Sacha. The audience could of course see Sacha in front of her side of the screen-thing, with the word "VIS" (Live) originally emblazoned across it. Whilst the lighting for the most part remained a rich blue, almost navy in tone but not so dark, a red undertone emerged, shown mostly on the back LED panels. The camera panned out slowly from Sacha to show more of the background, as "VIS" made way for a series of concentric rings which expanded outwards across the background screen in time with the claps/beat, which the led lights on the screen-thing towards the back of the stage also flashed to. Meanwhile, Sacha was serving not so much the buckets of swag for which she is well known in Normandy and Picardy but rather a touch of this alongside a sense of almost motherly care and reassurance, but with the sass and her stage presence helping ensure that this was not sickly sweet, and coming through truly with the "oh ouais".

Et tu peux pleurer plus
Mais à quoi sert une vie d'regret
ou une vie pas bien vécue?
Alors, ouvres ton coeur
Et fais tous les moments compter, oh ouais
Vis comme une enfant

And you could keep on crying
But what good is a life of regret
or a life not well lived?
So, open your heart
And make every moment count, oh yes
Live like a child

The camera view moved back around to the other side of the screen-thingy as the final chorus began, and we once again see Jean-Pierre. The actual beginning of this final chorus was actually quite simple, focusing very much on Jean-Pierre himself and his singing, as a whole range of emotions were on show, showing perhaps a tortured man, trying to heed the advice but also having to come to terms with himself and the world, trying to get himself going by repeating what Sacha said and telling himself he can do it. Indeed, perhaps the most interesting thing to happen in this first part of the chorus was Jean-Pierre taking the microphone from its stand, before beginning to walk out towards the front of the the actual stage. As he did so, the camera feed came well out to show a wide panoramic shot of the entire stadium, and a series of closer panning ones as the chorus continued. On the background were various clips of people in all stages of their lives, kind of like this type of footage, right from a mother cradling her new-born to people around a deathbed for an old man. At first Jean-Pierre is on his own at the front of the stage, putting every sinew into his desperate yet ultimately vain questioning, hoping the sun won't set, although on either side of the main stage on the raised sections the backing singers, doing a wonderful job, can finally be seen. A series of closer shots are used for the final call-and-response style section (the "Enfant, Enfant" bit) to show, over his shoulder, Sacha walking towards him, before, as he sang the final line Sacha reached him and placed her hand on his shoulder. For the final shot, the feed returned once more to the projector side of the screen-thingy as all the lights in the arena slowly died away, to show a faded image of a young boy reaching out, almost as if he were trying to get through to the stage or the viewers home, albeit not in a menacing way but more a youthful "come and play". With that final image, even the projector turned off, and everything became black. Just like it had been at the beginning. There is probably some symbolism in that.

Je peux vivre comme une enfant, Enfant
Et faire la course vers une crépuscule sans fin, Enfant
Tout va bien aller
Je fermerais mes yeux
Et vivre comme une enfant
Oooooooh ouais enfant
Dis-moi ç'va bien
Dis-moi le soleil
Ne couchera jamais
Enfant, Enfant
Enfant, Enfant
Enfant, Enfant
J'ai vécu comme une enfant

I can live like a child, child
And race off into the endless sunset
Everything will be fine
I will close my eyes
And live like a child
Tell me its going well
Tell me the sun
Will never set
Child, child
Child, child
Child, child
I lived like a child

And with that the performance was over. Sacha and Jean-Pierre hugged each othet, each very much relieved but especially Jean-Pierre, who was looking forward to relaxing for the rest of the night. The two of them turned to the audience, shouting "Merci", before leaving the stage. Their job was done, and matters were now out of their hands...
Last edited by Todlichebujoku on Sat May 09, 2020 9:12 pm, edited 2 times in total.

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Postby Todlichebujoku » Tue May 05, 2020 8:35 pm

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06. Antenovaria
"Meu Amor é Seu" - Caio Pereira da Silva

Title Translation: (My Love Is Yours)
Language(s): Language(s) English, Portuguese
Lyrics: Caio Perira da Silva, Matheus
Music: Matheus
Tune: https://www.youtube.com/watch?v=TNWfz5mn5G4



Image


Ai sim, Ai sim, Ai sim, Ai sim

We’ll keep dancing through the night, Oh, oh (oh la la la la la)
Keep looking into your eyes, oh (oh la la la la la)
Take me to heaven, that’s what you do to me
You are my treasure
Baby you’re all mine (oh la la la la la)
Just keep the pace, don’t go slow don’t go fast
Just keep calling out my name
No one else will be the same, yeah

Meu amor é seu, your love is like a potion
Theres something in you that makes you so special
Just you and me forever, you’re my pleasure, you are
Just you and me forever, you’re my pleasure, you are

Vem cá meu amor
You make me feel so weak, oh
(I love your taste, I love your taste)
Baby do you need more
(Keep it between us, between us)
Just come kick it with me, oh
(Theres no time for space, no time for space)
Just keep the pace, don’t go slow don’t go fast
Just keep calling out my name
No one else will be the same, yeah

Meu amor é seu, your love is like a potion
There’s something in you that makes you so special
Just you and me forever, you’re my pleasure, you are
Just you and me forever, you’re my pleasure, you are
Just you and me forever, you’re my pleasure, you are
Just you and me forever, you’re my pleasure, you are

Ai sim

You are, you know, baby you’re so special me dê mais de você ,me dê mais de você
(ai sim, ai sim)
You are, you know, baby you’re so special me dê mais de você ,me dê mais de você
(ai sim, ai sim)

Meu amor é seu, your love is like a potion
Theres something in you that makes you so special
Just you and me forever, you’re my pleasure, you are
Just you and me forever, you’re my pleasure, you are

Meu amor é seu, your love is like a potion
Theres something in you that makes you so special
Just you and me forever, you’re my pleasure, you are
Just you and me forever, you’re my pleasure, you are

Meu amor é seu, your love is like a potion
Theres something in you that makes you so special
Just you and me forever, you’re my pleasure, you are
Just you and me forever, you’re my pleasure, you are

Ai sim, Ai sim, Ai sim, Ai sim, Ai sim
Last edited by Todlichebujoku on Mon May 11, 2020 8:09 pm, edited 3 times in total.

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Postby Todlichebujoku » Tue May 05, 2020 8:45 pm

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07. Kalosia
"L'Eklisu" - Domeniku Kaľari

Title Translation: The eclipse
Language(s): Kalosian
Lyrics: Domeniku Kaľari
Music: Domeniku Kaľari
Tune: Fai rumore — Diodato



Due to the ongoing COVID-19 pandemic, the continued participation of Kalosia at the World Hit Festival has been called into question. On one hand, there was a continued desire for the nation to continue its participation streak, having never withdrew since its debut 43 editions ago. However, the pandemic had cancelled many events and made it harder for Kalosians to participate in any events that were still ongoing. Kalosian ports of entry/exit had also been closed to the general public, making it harder for people to travel.

Fortunately, the Kalosian government reached an argument with the state broadcaster, Radiu-Televižio Kalosia. On the basis of maintaining high morale of the Kalosian people, RTVK will be allowed to continue participating in the World Hit Festival, with limitations. Under the agreement, the Kalosian delegation was to be as small as possible, with only solo acts being sent (duets may be considered on a case-by-case basis) and backing performers to be as few as possible. If possible, delegation members could assume multiple roles, as there is no rule saying that a technical staff member cannot also be a backing singer. In addition, RTVK is required to request special provisions from the host organizer (in this case Estegoa100 and their organizing team) to allow social distancing to be enforced, and delegation members were required to self-isolate for 14 days upon arriving in the host country, and upon returning from the host country.

As a result of the circumstances, Festival dële Melodie Kalosiane was cancelled for the first time. Had it gone on, the Kalosian WHF entry would have been selected through the 46th edition of the festival. Instead, a replacement show called La Melodië Kalosianë was aired. It was an entry reveal program presented talkshow-style. It was presented live, and on the night it took place, the Kalosian entrant was asked to walk out onto the stage...

...it was Domeniku Kaľari. He is a Kalosian singer-songwriter but writes way more songs than he sings. He wrote the song that won Festival dëla Kanžu Kalosianë 2017, for example, although it wasn't him who performed it. Well, this time he decided to put on a one-man show — he is the singer, author, and composer of the song. He then went on to premiere the song, which was revealed to be called L'Eklisu. Translated into English as "The Eclipse", the song is a ballad that talks about a failing romance, with Domeniku comparing it to an eclipse that reveals the true nature of the relationship. L'Eklisu — the first Kalosian WHF entry to be selected internally — subsequently became one of the favourites to win the festival hosted in Tödlichebujoku.

Performing in a completely foreign country was definitely very intimidating. For one, the Tödlichebujoki people were a highly advanced society and had various technological developments that Kalosia and most Rushmori countries simply did not have. This proved to be somewhat of a culture shock for Domeniku, poor Domeniku, who wanted to focus on preparing for his performance. Luckily, he was given space to cope, physically and mentally. As a result of enforced social distancing measures, he spent most of his time in his hotel room or otherwise not in the presence of many people, and he had ample time alone with his thoughts. Of course, the world as it is was no longer the same, not even in Kalosia.
On that note, it must have been depressing for him to know that there was going to be a lack of Kalosian presence in the audience. Because of travel restrictions still being imposed on most Kalosians, barely anyone could travel to Tödlichebujoku to support Domeniku. Any Kalosians in the audience would have been expats living in Tödlichebujoku, or would have traveled from third countries that did not have travel restrictions.



For the big event, Domeniku was was wearing a floral patterned blazer that made a statement but did not distract too much from the somber vibe of the song. As the postcard finished playing, he took the stage and seated himself in front of a piano.
The arena was dark, save for a spotlight on him, but the dim lighting of the stage had a somewhat blue aura to it. The background screen actually had a bright reddish-orange circle, much like this. As a medium-shot camera started zooming in on him, he played the opening notes to the song.
Sta kelkuno oskuro
Ma në es la notë
Sëmbla komë lë mondu sta silenžosu
Ma es la ilušio, lë silenžo

There’s something dark
But it’s not the night
It seems like the world is silent
But silence is the illusion

The camera showed him up close and slowly circled around him on the piano as he continued to play and sing.
Se la vitë stesë brušandu
La foku sarebë pašio
E se le stelle stesë niu siñu
Noš giderebere a kazë

If life was burning
The fire would be passion
And if the stars were our sign
They would guide us home

Now the camera angle changed to a wide shot, and there was a black circle (not identifiable on the black background) that started to — you guessed it — 'eclipse' the sun.
Në briľa lasu
Keste mezoñe
N’atšeka mi pju

It doesn’t shine up there
These lies
No longer blind me

The background screen displayed an eclipse like this. It was almost like an eye that watched over Domeniku, reminding him of the limited time he has to potentially save this relationship or salvage whatever damage can be saved. The eclipse persisted on screen for the remainder of the song.
You could really hear the amount of emotion that Domeniku was conveying. Indeed, he seemed like he was truly singing from the bottom of his heart.
Vidël l’eklisu ki
U miu stanku koru flestuto
Es klaru, tu e ja saputo

See the eclipse here
In my tired, wilting heart
It’s clear, you and I know

Halfway through the next part, the camera switches to a close up angle and as he sings the last too lines ("it's too much, you and me"), he looks deeply into the camera.
Kë eklisamu ši
U kestë albë në sta lë sol
Komë un poémë senzë paroli
Es tropu
Ja e tu

That we eclipse each other
There’s no sun in this sunrise
Like a poem without words
It’s too much
Me and you

Now it switches to another camera angle that circles Domeniku and the piano completely. The song begins to build momentum, and the subtly, the lights begin to come to life, just enough to carry on that momentum.
Lë ventu noš kanta unë melodië
Lë tšelu es niu pitor
Ma ov’z es kela vož?
Ov’z es kela piturë?
Kestu kanžu es un kridu

The wind sings us a melody
The sky is our painter
But where is that voice?
Where is that picture?
This song is a cry for help

As the camera continues to circle the Domeniku, we get a glimpse of the audience in the arena, many of them with their phone lights out. In the darkness of the eclipse, it is this — the support of the people around you — that allows life to shine. It was as if Domeniku was singing amongst the stars that were meant to guide him on this depressing journey of love.
Kadë le nuve diventanu oskure
E le lakrime dëla pložë stanu kadendu
Semprë ja spetu pël’arkutšelu
Ma n’es arivatu maj, l’arkutšelu

When the clouds become dark
And tears of rain fall
I always await the rainbow
But the rainbow never came

But as Domeniku sings this next part, his eyes glisten, and his face reflects resolve. As he sings the next part, it's as if he realizes that it's not worth saving the relationship, and that he should let things fall apart.
Në briľa kaǧu
Kestë speranzë
Në gida mi pju

It doesn’t shine down here
This hope
No longer guides me

With his newfound determination, Domeniku gets up, abandoning the piano, and brings the mic with him, singing as he walks towards the front of the stage.
Vidël l’eklisu ki
U miu stanku koru flestuto
Es klaru, tu e ja saputo

See the eclipse here
In my tired, wilting heart
It’s clear, you and I know

He reaches a mic stand at the front of the stage where he attaches the mic. This frees his hands to perform gestures that really convey the emotion that he is trying to convey. That grief that he could not save the relationship, but the relief that it is now over and he is left with a blank slate.
Kë eklisamu ši
U kestë albë në sta lë sol
Komë un poémë senzë paroli
Es tropu
Ja e tu

That we eclipse each other
There’s no sun in this sunrise
Like a poem without words
It’s too much
Me and you

The last word of the last part was prolonged, and Domeniku spread his arms, reflecting his newfound sense of freedom. The dark blue stage lights were not stagnant, and the flow here somewhat reflected the flurry of emotions and thoughts that ran through Domeniku's head at this current moment. The wind machine blew subtly over him, giving a little bit of life to his outfit.
In this next part, the stage lights turned orange, a sign that the eclipse was over but that the light that illuminated the skies was no longer the lies of the love, but the rays of righteousness.
Noj eklisamu ši
U kestë albë në sta lë sol
Komë un poémë senzë paroli

We eclipse each other
There’s no sun in this sunrise
Like a poem without words

But then the lights become subdued, returning to its dark blues, reflecting that the song was coming to an end.
Oľal lo, kestë romanzë es mortu ǧa
Amurë nia a finitë tantu tempu fa

Forget it, this romance is dead already
Our love ended a long time ago


As Domeniku let out one last "Oh...", the crowd cheered. A grin spread across Domeniku's face, and he took a bow. Afterwards he leaned into the mic one more time, stuttering out "Gražia... gražia". Perhaps he was in disbelief and completely overwhelmed over the very warm reaction that the audience gave him, knowing well that they were all foreigners without any bias towards Kalosia.
Last edited by Todlichebujoku on Sat May 09, 2020 1:30 am, edited 2 times in total.

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Postby Todlichebujoku » Tue May 05, 2020 8:49 pm

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08. Vartugia
"Please Dont Vote 4 Us" - YES

Language(s): Engrish with a hint of Robloxian
Lyrics: No one.
Music: Why do you want to know this?
Tune: Carmen Twillie feat Lebo M. – Circle Of Life (OST from Lion King 1994)



The entry begin with someone shouting so loud that everyone has to cover their ears.

RUILSBKRJBREAHRJHBA
Hqukgrsvu srjksratgjhsergrt

Holy fuck its Vartugia TIme
Prepare yourself for a trainwreck

More shouting.

IOERSJIYAU B SHREFDSGTG
DRGJØOELHI EAR JKWEJK.SADFKJGJK
EEEEEEEEEEEEEEEEEEEEEEEEEE

This entry will go down in WHF history
As the most undankest entry ever
???

Out of nowhere, we see a homeless guy, some drug-dealer, some young children and something even the guy who wrote this didnt know what it is. Theey do something that is so confuing it cant be written down. Let just say that they try to dance, but are miles off beat and it is just a mess.

LOlrglhdflk dfkjfsrga
Srgahy frtga
Aerjthert

We are putting cars inside cars who eats pineapples
We are the english tounge
These tranlations dosnent make sence but then this song isnt gonna win anyways...

Now we are singing a song that we steals
One thing is for sure, we are not the winners
There is so many unanswerd questions right now like
Why the fuck are we here with a high quality shitpost?


We try to sing but we are floping hard
And this line is totaly plagarized
But this line is original
But we dont have numbers fucking dancing
No i dont want to finish this line so this one is blank


Holy freaking fuck, its us
The last place entry
Can we get nul points please?
Because we are the shit
Lyrics that dosent make sence
Last place, here we come
Please dont vote us
Oh fuck, its us


A out of place flute instrumental are being played.

One of the person then crack upen one of the child and blood then spills over the stage



Then the homeless-looking guy then slowly walks to the egde of the triangle part of the stage when he



While the last part are being sung, the homeless gut just yeets the child and throws it away, never to be seen again...Unless

Holy freaking fuck, its us
The last place entry
Can we get nul points please?
Because we are the shit
Lyrics that dosent make sence
Last place, here we come
Please dont vote us
Oh fuck, its us


The audience disliked the song.
Last edited by Todlichebujoku on Sat May 09, 2020 1:29 am, edited 2 times in total.

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Postby Todlichebujoku » Tue May 05, 2020 8:52 pm

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09. Lagoa
"Sim" - Saição Novômem

Title Translation: Yes
Language(s): Language(s) of the lyrics of the song
Lyrics: Reeta Appe, Saição Novômem
Music: Biasgju Akula, Donato Funar, Saição Novômem, Aulo Carreira
Tune: James Newman - My Last Breath



Though Saição Novômem placed third in the talent show "A Voz Dourada", he captured the hearts of the Lagoan audience and also caught the eyes and ears of the broadcaster MTL, which provided him with a number of opportunities to advance his music career. Though he came from the academic city of Boivau, Saição had always found himself attracted to the stage, taking the risk of avoiding higher education to focus on building relationships and skill in the cosmopolitan city of Estegoa where he eventually made it to the bright lights of the nationally broadcasted shows and eventually the good graces of MTL. This led to his participation in WorldVision 81, where he represented the historical nation, placing 21st out of 34 and avoiding the bottom ten despite unforeseen problems with staging. Now, hoping to redeem his result, Saição and MTL have agreed for him to compete in the 51st World Hit Festival much closer to home in Sinnlichšukai, on the other coast of Tödlichebujoku.


The lights throb faintly as Saição stands in center stage, head down, nodding to the beat before raising his head and bringing the resonator to his lips, and begins to sing

Vós se virasteis
Eu não portava de novo, não
Faz muito tempo agora
Olho para trás, e prisimino

You turned away
I couldn't bear it again, no
It's been too long now
I look back, and reminisce

The camera view swoops in on him from a distance as he gazes up towards it

Não fujais do passado
Eu sei cue é dôroso

Don't run away from the past
I know it's painful

The lights sweep out, a golden aura suffusing the stage, Saição putting his all into his voice, gazing benevolently into the camera view, a warm expression as he nods towards it

Sabei cue eu inhoço
E se vós voltardes a mim
Vós tereis certeza
Eu sempre direi... sim
Eu sempre direi... sim

Know that I forgive
And if you return to me
You'll be sure
I will always say... yes
I will always say... yes

There is nothing but understanding in his expression as he returns to the verse, stepping back from the unbridled positivity of the chorus to shift toward a more serious, sympathetic tone, his voice cracking ever so slightly as he reminisces upon his own darkest moments

Um rosto no brinâis
Perdido no erdue, tão sozinho
Sei cue dói pra caramba
Eu estive lá e vivi isso, como vos

A face in the mirror
Lost in space, so alone
I know it hurts like hell
I've been there and lived that, like you

The lights sweep out once more as Saição belts out the chorus once more, smiling at the camera view

Sabei cue eu inhoço
E se vós voltardes a mim
Vós tereis certeza
Eu sempre direi... sim
Eu sempre direi... sim

Know that I forgive
And if you return to me
You'll be sure
I will always say... yes
I will always say... yes

The lighting effects tone down as the camera view consists primarily of close ups, intimate angles of Saição, who gestures toward it

Não fujais do passado
Eu sei cue é dôroso

Don't run away from the past
I know it's painful

An arc of golden pyros rains down behind him as the golden glow invades the stage once more, all is warm and inviting as Saição reaches outwards, nodding ever so slightly whenever he says, "Sim"

Sabei cue eu inhoço
E se vós voltardes a mim
Vós tereis certeza
Eu sempre direi... sim
Eu sempre direi... sim

Know that I forgive
And if you return to me
You'll be sure
I will always say... yes
I will always say... yes

He executes one last nod

Eu sempre direi... sim

I will always say... yes

With a warm smile, he fades away as the light cuts out



"Obrigado Sinnlichšukai!" he shouts, before very quickly and demurely bowing and then stepping off the stage.
Last edited by Todlichebujoku on Mon May 11, 2020 8:58 pm, edited 2 times in total.

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Postby Todlichebujoku » Tue May 05, 2020 8:58 pm

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10. Natanya
"Jackalope" - The Tears of Wrath

Language(s): English
Lyrics:
Music:
Tune: Of Monsters And Men - Alligator



Image
The Tears of Wrath



The Tears of Wrath are a band with members from all over Natanya, formed at a folk festival meet-up some 50 miles out from Nightton. The band usually performs Folk and Folk-Rock music, occasionally deviating into other genres. Rising stars in the Natanyan folk scene, they were chosen to represent Natanya at the 51st World Hit Festival in a shock late announcement, and will be taking their more rock inspired song "Jackalope" to the stage in Todlichebujoku. The band is reported excited for the night, and hope to be able to themselves and their nation proud. When asked about expectations, Hanna, the band's female lead, said they didn't really have many and instead were just hoping to have some fun and maybe pick up some points along the way.



Before the song begins, the band take up their positions on the centre of the stage, spaced a couple metres from each other as to take up space around the centre part of the stage. As the music begins to play, most of the stage is in darkness, with a thin border of light around the backing LEDs flashing. During this period, the camera pans through the audience, changing angles a couple times. When the vocals start with the first Ha!, pyrotechnics shoot up from the sides of the stage, leaving smoke lingering in the air, along with this, the backing LED springs to life, with waves of neon colours emanating from the centre of the screen. More pyrotechnics fire up for the second “ha!”. As the lyrics properly start, the camera focus’s on Hanna with an upper body shot, she sings straight to the camera, being expressive with her arm movements. This continues for the second line, however the camera moves to a side shot. For the third line, the camera quickly pans out, before changing to a shot of Hanna with her arm extended. For the short mid-verse intermission, the camera changes to a shot from within the audience and the LED background briefly flashes multiple block colours. The final two lines play much like the first, but with more zoomed out shots.

(Ha! Ha!)
In my senses I have drowned,
Bring me colours, bring me sound,
Can you dance with me tonight?
Times are changing and time is ticking,
Feel the heat in you, let the heat in you.


In the chorus the camera pans round the band members and the stage until the line “let it go”, in which the camera zooms out in time with the lyric “go”, with spotlights pointing from the ceiling to the back of the stage flashings quickly in the short instrumental after the 4th line. The second half follows the same pattern, but instead with the camera zooming in from a far shot on the lyric “go”. In the instrumental after the chorus, the backing LED displays multiple fluid shapes and shadows crashing into each other, but these constantly flash different colours, similarly, the spotlights are focused across the arena flashing very quickly. In this section, the camera also cuts from shot to shot in quick succession, only resting when the guitar in the instrumental also briefly rests.

Shout it out,
I must be dreaming,
And when I let it go,
I must be dreaming,
Hear me now,
And my heart is screaming,
And now you let it go,
I must be dreaming (I must be dreaming
)


During the first line the camera turns so the stage is upside down, the camera then lifts so that only the LED background is visible, which is displaying a neon blue coloured sky scattered with pink stars. The camera continues to move through the sky before descending back onto the band, now the right way up despite there being seemingly no change with the camera while focusing on the sky scene

Oh so bright when our eyes started to gleam
In the neon sky, flashing way up high,
Visions of hope and of love swiftly run by,
Oh I,


The staging for the first chorus repeats here, however towards the end each stop of the guitar is met with a burst of pyrotechnics.

Shout it out,
I must be dreaming,
And when I let it go,
I must be dreaming,
Hear me now,
And my heart is screaming,
And now you let it go,
I must be dreaming (I must be dreaming)


After the song ends the band, with Hanna front and centre, stays posed for a couple seconds, before bowing while Hanna shouts “Thank you” into the mic. As the camera pans away for the next performance, they band get ready to exit the stage.
Last edited by Todlichebujoku on Sat May 09, 2020 9:14 pm, edited 2 times in total.

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Postby Todlichebujoku » Tue May 05, 2020 9:01 pm

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11. Fatiman Federation (Indo States)
"Love Letter" - Elena Marie Cuseta

Title Transcription:
Title Translation:
Language(s): English
Lyrics: Eric Lando Makabayan, Elissa Mariel Cuseta
Music: Anders Enger Jensen, Kristine Frøberg (Original Tune)
Kenny Hyannis, Eric Sanchez, Elise Danielle Cuseta, John Genesis Malaya and Rose de Fuentes (Cover Version)
Tune: Anders Enter Jensen - A Song Long Ago



Image

A Song Dedicated for College Lovelife




Prologue

Image


May 3 2020, Leaving Fatima City to Sinnlichšukai

Before she Departed Fatima City Int'l Airport at 12:00 PM, At Her Home in Indo City, Marie take an Shower at 4:30 AM, After Taking a Shower, Eating her Breakfast and she Prepared her Baggage that she will Bring. Before Going to Airport, She'd Brought her Baggage to her car and she've Gone to her Rehersal Studio at Fatima City and She'd Driven for 1 Hour.

After Rehersing at Fatima City, She is now Ready to go at the Airport with her Musical and Technical Team by 11:00 AM and Takes 5 Minutes to Airport, She Departed Fatima City Int'l Airport in a Plane going to Sinnlichšukai in Todlichebujoku.

Exactly, Fatimania has now Opened a Portal Terminal where Everybody can go to Novapax and Jëmes. So, Mariel Wasted a Time Ending up Going to Pinewood City and Driven for 12 Hours, The Portal Trip Leaves at 12:00 MN.


Duration: 7m15s
Main Vocalist: Elena Marie Cuseta
Female Vocalist 1: Elena Marie Cuseta (Pre-Recorded in the Backing Track), Ara Cruz and Aileen Parada (Live and Recorded Versions)
Lyricists: Eric Lando Makabayan
Composers: Kenny Hyannis, Elena Marie Cuseta
Props Manager: Freddy Malapitan
Sound: Kenny Hyannis, Eric Sanchez (Synthesizers), Elise Danielle Cuseta (Guitar), John Genesis Malaya (Drums) and Rose de Fuentes from Siena College Symphony Band (Saxophone)
Video: Dandy Marquez






The Performance

Before Marie Sings, An Edited Short Musical Movie was Begun which it is was a Full Short Movie of Love Leter. Where 14-Year Old Crisel (Starred by Elena Antoinette Cuseta) met 15-Year Old Ivan (Starred by Gary Cuseta), But that's not the Start of their Romance Yet. It begins in their Childhood Years, when 11-Year Old Crisel (Starred by Alicia Labagnoy) accidentally Slipped on a Wet Floor in their School but 10-Year Old Ivan (Starred by Fredrick Mangyan) Catches her. After a Years having a Romance in High School, They Graduated at the High School and Moved to College. But it Became Complicated, 16-Year Old Ivan wants Crisel Break their Relationships to Remove his "Depression" caused by her.

The Movie Takes 3 Minutes, Then the LED Backround Changes into Skies. Then Marie Appears and Started Singing, During the Performance, The LED Changes into Scenes from the Short Movie that Previewed Earlier. The First Clips in the LED was the Part 2 Where they are

A Long Ago, My Lovelife has Destroyed that I didn't want to happen.
He's not Cheating at me but He Became Aggressive at me for no Reason.
In our High School Days, we Write Love Letters Together without being Caught.
We Just Talk in Real Life, not in Telephone or Text that my Parents could Caught me Dating.

Is it a Failure of Romance or Continued,
What Is the Thing that Loves?

I Write this Letter for you, That I tell about my Feelings
But Today, You Break my Heart for no Reason.

But if you Apologize for our Argument,
Don't let the hate Spread in our Relationship

I Write this Letter for you, I Write this Letter for you to Love with you.


Menwhile, The LED Changed a Video. The Second Clip was shown in the LED Screen was The JS Prom Scene.

Sometimes, We are having Picnic in a Park with Full of Trees
With our Favorite Snacks (Favorite Snacks)
I Belive that Your Love during High School Days is Better than the College Days.
A Love Letters.

Is it a Failure of Romance or Continued,
What Is the Thing that Loves?

I Write this Letter for you, That I tell about my Feelings
But Today, You Break my Heart for no Reason.

But if you Apologize for our Argument,
Don't let the hate Spread in our Relationship

I Write this Letter for you, I Write this Letter for you to Love with you.


Again, The LED Changed a Video Clip. The Last Scene was College Days and Their Last Moment where they (Crisel and Ivan) Break on their Relationships. The Saxophone was Played by Rose de Fuentes from Siena College Symphony Band.

(Saxophone Instrumental)

Is it a Failure of Romance or Continued,
What Is the Thing that Loves?

I Write this Letter for you, That I tell about my Feelings
But Today, You Break my Heart for no Reason.

But if you Apologize for our Argument,
Don't let the hate Spread in our Relationship

I Write this Letter for you, I Write this Letter for you to Love with you.


The Ending Scene in the LED Screen was the Mail Envelope Dropped from the Mailbox with the Song Title and the Singer's Picture in a Stamp, The Music Team and Marie Nods Down as Audience Claps for her Performance.
Last edited by Todlichebujoku on Tue May 12, 2020 8:13 pm, edited 3 times in total.

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Postby Todlichebujoku » Tue May 05, 2020 9:03 pm

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12. Togonistan
"Faster" - Johnny Zabka

Language(s): English
Lyrics: Johnny Zabka
Music: Eliah Hamous
Tune: David Hasselhoff - ''True Survivor''



Image
Johnny Zabka is representing Togonistan in WHF51 with his song ''Faster''


Johnny Zabka is a 48-year old actor, martial artist and part-time musician. Born in Tanzburg, a middle-class city in Natanya, Johnny spent his childhood watching many classical martial arts movies. At the age of 12, he started taking karate lessons. Despite his parents not being overwhelmingly supportive in his actions, hard work led Johnny to participating in multiple tournaments and bringing home many trophies during his junior years. Johnny grew up to love the sport and the values of honour and discipline it was teaching him. Meanwhile, he never lost his passion for the movies, thus made up his mind at the age of 18 that he wanted to pursue a career as an actor. He applied to study acting in multiple Natanyan schools, however, none would accept him. Thus, Johnny spent some time as a martial arts instructor in his native Natanya instead.

At the age of 25, Johnny decided to take a year off from his daily job and venture around the world, in what he called his personal pilgrimage to find the inner peace in himself. His adventures eventually took him to, then still colonial, Togonistan, where a happy set of circumstances landed him a job in acting career. Not much details are known, however it supposedly involved a bar fight witnessed by a foreign movie producer.

This resulted in Johnny getting his first movie role in a low-budget martial arts movie. While the critical response was far from great, a certain fan base grew around Johnny, which resulted in him eventually moving to Togonistan in order to work full time in the growing movie industry. During the following years, Johnny had multiple movie roles, as well as few gigs as a behind the scenes martial arts choreographer. Around this time, he also started singing for some movie soundtracks.

Fast forwarding to present time, Johnny is currently one of the most valued martial arts choreographers and trainers in Togonistan. He has a wife and two kids, both of whom are following a path similar to their father's, although by learning Taekwondo instead of Karate. During one evening, Johnny received a phone call from Eliah Hamous, an independent Togonistani musician who was working on something he called a fun little project. Eliah was writing a song inspired by the 80s movies soundtracks, and thought Johnny would be a perfect vocalist for his song. Together, they started working on ''Faster'' which they also sent to Lucky 7 for evaluation, in the hopes of getting a deal with the broadcaster to make a music video for the song. Response for the yet unreleased song was overwhelming on Lucky 7's end, who liked the non-mainstream approach they had taken and offered the two an opportunity to represent Togonistan in the 51st World Hit Festival. The opportunity was first turned back by Johnny, saying he is too old for this. However, after some further discussion, an agreement was reached and here he is. In Sinnlichšukai, Tödlichebujoku. About to perform in front of millions of viewers worldwide.



The stage is dark, as the act begins. Music starts playing, with various beams of light sliding across the stage. As the tune reaches 0:20 mark, lights start fading in and out, with a silhouette of Johnny being seen standing in the back of the stage. Eventually, lights kick in and camera focuses on Johnny, who starts walking forward while singing, looking left and right between the lines. He is wearing an unzipped red leather jacket, a black T-shirt accompanied by a pain of slim black jeans and black trainers with white bottom. He also wears black gloves without fingertips. Background screens display a city at night.

Under the city lights
Riding down the streets
Baby we go, no turning back, there's no surrender

We're riding through the night
A roar of the beast
Echoes through night, the time's our only true contende
r


Stage graphics start displaying a whirling background mixing together a neon pink and electric blue colour.

Wild and free, no one can stop us now
Our love's protected by the power of fists of fury


Johnny has reached the middle of the stage, where he stops and stands. Some thunderbolts appear on the background, as Johnny starts doing some gestures. They consist of him rising up his fist as well as seemingly punching the air, accompanied by some sudden head movements. Every once in a while, he also does some dodging movements, as if he dodges the thunderbolts trying to hit him.

Baby we need to
We need to go

Faster
If we want to make our final destination
We need to go faster
Our fate is nothing but our own creation
We need to
Rise like phoenix, never back down
Our feelings are a solid foundation
Faster
If we want to make our final destination


Thunderbolts stop and the stage graphics turn to the city display again. Johnny stands where he is, bending his knees a bit as he tries to sing some higher notes.

Whoa-oh-oh-oh
Determined til' the end
Never shall we bend
Fighting for love, for us, for which we show no mercy

Baby we need to
We need to go


Thunderbolts appear again, with Johnny doing the same movements he did before.

Faster
If we want to make our final destination
We need to go faster
Our fate is nothing but our own creation
We need to
Rise like phoenix, never back down
Our feelings are a solid foundation
Faster
If we want to make our final destination


Johnny starts walking around the stage, with city graphics displayed on the background, accompanied by some thunderbolts in the sky.

We need to go faster
And make it to the end
For our love we shall fight, we will not bend


Johnny raises his fist up and looks to the sky, as he sings.

Wild and free, no one can stop us now
Our love's protected by the power of fists of fury


Johnny makes a little jump and runs for a few meters.

Baby we need to
We need to go


Johnny abruptly stops running and lands on his knees, with graphics displaying thunderbolts around him.

Faster
(Ahhhhhhhhhhh-ahhhh-ahhh-ahh-ahhhhhhhhhhhh-ahhhhhh)
Faster
(Faster)
(Whaaah)


Johnny gets up on his feet and starts doing his usual punching and dodging gestures again, accompanied by thunderbolt graphics.

Faster
(Faster)
If we want to make our final destination
We need to go faster
(Faster)
Our fate is nothing but our own creation
We need to
Rise like phoenix, never back down
Our feelings are a solid foundation
Faster
(Faster)
If we want to make our final destination


Johnny turns around and starts walking towards the back of the stage. As the music starts fading out, so do the lights in the arena. Johnny looks over his shoulder every once in a while as he sings the outro lyrics.

No surrender
Whoa-oh-oh-oh
Never back down
Whooooaaah
Fighting for love
Show no mercy


Eventually, the stage goes dark again as the song comes to an end. It remains like this for a few moments, before the lights get turned on again. Audience applauds for Johnny's performance, who raises his fist up once again and nods thankfully. ''Thank you everyone!''
Last edited by Todlichebujoku on Sat May 09, 2020 9:14 pm, edited 4 times in total.

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Postby Todlichebujoku » Tue May 05, 2020 9:07 pm

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13. Petroslovania
"Escape" - The Sausage Cats

Language(s): English
Lyrics: Marvin Jones
Music: Marvin Jones, Gino Foster, Popeye, Malik Smith
Tune: Basket Case - Green Day



[align=center]Image
From Left to Right: Malik Smith (Drums), Connor "Popeye" Huang (Bass), Marvin Jones (Lead Vocals), John "Gino" Foster (Guitar)




Despite what many have characterized as a less than average performance in WorldVision 81 The Sausage Cats are back on behalf of Petroslovania. Their WorldVision entrance, Red Wind may have won over the hearts of Petroslovanian's but the political nature and mellow tone were not necessarily popular on the international level. Taking note of this, the Petroslovanian delegation has selected a more uptempo and internationally relatable song. From the same album as Red Wind comes the song Escape, the namesake song for the album, Escape. Head of the Petroslovanian delegation, Latin-Pop star and Petroslovanian Under Secretary for the Musical Arts, Santiago Cruz has stated, "The WorldVision Contest was fun, it was a unique experience and we have learned that the "retro" type of song that sells out in Petroslovania isn't necessarily successful on the world scale." After the previous statement, Cruz was asked why the delegation decide to keep The Sausage Cats as their act Cruz said, "The Sausage Cats have been a hallmark of our nation and we think the next song will appeal internationally while still paying tribute to our symbolic and inspirational band." Cruz's statements in conjunction with several statements released by Marvin Jones suggest that the band may be breaking up, when Jones was asked he stated, "I think its best if we go on hiatus. We're breaking up great terms, Malik just had his third child, Gino is getting married, I'd like to start producing, and Popeye, well Popeye never settles down, he'll probably go form another band. We'll probably get together and perform every other year but we're definitely going to stay in touch." Though the break up of The Sausage Cats will mark the end of an era, it will open the already competitive music industry to many new bands or artists looking to fill the void that will be left behind.




I dreamt I could fly to somewhere far away
Leave this place behind and get some peace of mind
I could never stay
And live my life this way
I need to be set free
No doubt about it



My life is falling in on me
Everything’s starting to repeat
No, I'm not made for this
Fake happiness and bliss
I'm trapped inside a cage
Please let me go.



As I laid in bed
It echoed in head
My life is on repeat, I need to break out
As I’m hard at work
My boss just sits and jerks
Society’s a cage I’m going to shout



My life is falling in on me
Everything’s starting to repeat
No, I'm not made for this
Fake happiness and bliss
I'm trapped inside a cage
A ya-ya-ya



Trying to break free
Everybody back up



My life is falling in on me
Everything’s starting to repeat
No, I'm not made for this
Fake happiness and bliss
I'm trapped inside a cage
Please let me go.
Last edited by Todlichebujoku on Sat May 09, 2020 10:16 pm, edited 2 times in total.

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Postby Todlichebujoku » Tue May 05, 2020 9:14 pm

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14. Estogium
"Empire" - Aakash James

Language(s): English
Lyrics: Aakash James, Viktor Nelson
Music: Aakash James, Viktor Nelson, Jordan Willis
Tune: Flori Mumajesi - Plas



Image
Aakash to represent Estogium: Aakash becomes Estogium's 24th representative with his song "Empire".


Aakash James is set to represent Estogium with his song, "Empire". He is hoping to keep up the top ten results Estogium has been receiving as of late. Estogium's record at the World Hit Festival hasn't been great recently until the 48th World Hit Festival where the nation came 2nd place which was a needed boost for RVC. Though the nation lowered to 10th place for their co-host edition in Alshkan, they managed to qualify for the Grand Final at the 50th World Hit Festival along with Estogium's other ABEN friends, before placing 7th place with 34 points, as the popular figure Elias Nordin gave the nation's it's best score. It's time for Elias to pass the baton onto Aakash.


Before the start of the song, Aakash walked into the middle of the stage section that came out into the audience. At the time, the LED screens behind him weren't on, with the strobes being the main sources of light on the stage. Aakash took a deep breath in as the Estogian postcard finished - it was time for him to represent his country. He knew that after Estogium's three top ten results, including a second place and a grand final qualifier spot, that he was expected to keep up Estogium's good results. As the postcard finished, the Todlichebujoki audience cheered politely for his performance.

His performance was relatively lowkey and dark. He stood on the stage wearing a black shirt and trousers with a fresh pair of white trainers which seemed to contrast what he was wearing. As the unforgettable, majestic and alluring female voices came in at the start, a camera poised above him, slowly moved forwards as Aakash looked to the audience. There were a few strobes behind him, making it look as though the there was a lot of space behind him, widening out the stage. Just before he started to sing, the camera cut changed, with it being out of focus at the beginning. As it gained focused, we were treated to the almost emotionless gaze of Aakash. He started singing;

You told me lies which I can't forgive.
You broke my heart, you show no remorse,
The pain I feel is unreal.
As much as it hurts to let you go,
I've got to protect my heart and soul, I
Held tears back as you walked away.


As he slowly made his way through the first verse of the song, there was only the piano providing accompaniment for him, with the song slowly building on texture. The camera didn't do much - there was only so many things you could do with a performance such as this one. The was focused on Aakash throughout the first three lines of the song as he only did small gestures such as shaking his head slightly when singing, or looking down, especially at the line "The pain I feel is unreal" where the first bit of emotion from his was shown. As the camera shot faded into another one, Aakash's eyes darted to meet that cue, as he continued to sing, when be said the lyrics "my heart" he put his hand on his chest, with the camera slowly moving inwards from a mid shot to a close up of his face before he swiftly moved onto the chorus of the song.

He closed his eyes and put his hand, which one was rested on his chest, to his collar as he slightly moved his head away from the microphone as he felt the music through his body. You could say, though, his reaction was him trying to hold himself back from releasing all of his emotion of the song too early on, with him being able to control how much power he wanted to put into the first chorus. As he started to sing the first line of the chorus, the camera slowly moved outwards, with it cutting back to a close up of him asking the camera to the viewer. Aakash looked in pain, like the lyrics he sang before. As he sang the first line, a sparkle of white light showed up into the background, appearing every 8 beats - or at every line of the song.

What am I supposed to do, living a life without you?
You and I in our empire - our happily ever after...
Now it's burnt into the ground, it's set ablaze by your words.
You painted a picture far from the reality


Also, as he brought up the words "burnt" the white sparkles that was mentioned before turned to a reddish orange which were higher in intensity than the lights before. He looked down at his hand, which he hand down, with his palm opened and tensed, looking down at it as if it was a mirror of nostalgia. As he sang the last lyric, he looked up from his hand with a stern expression on his face. The lights in the arena slowly faded away, with the arena sinking into complete darkness.

The lights came back in with a subtle colour and intensity difference as we moved from the chorus to the second verse. Aakash decided to walk right down one of the sides of the stage, as there were a few minor cheers from the audience. Aakash continued singing with pain in his voice, slightly giving more gusto than he gave before. As the man sang "I want no tears", he put his finger up, looking down the lens of the camera as though be was speaking directly to those who were sitting on their couches at home. He then did a quick circular motion with his finger as he said "Turn your back", with the camera fading to the next shot.

No, I do not want your apologies,
I want no tears, want no excuses,
Turn your back, forget about me.
Oh, as you walk into the sunset,
For me, a new chapter has begun I,
Wonder where life will take me


As he continued to sing his song, and spoke about the sunset, suddenly there was a remarked different in the staging of the entry. There was a large bright orange dusk-like light which was shone of Aakash, with the camera moving further away to view this. Here, he was still standing in the middle section which winged the runway, but facing the right of the arena (back to the left) with the whole of the stage behind him, apart from his shadow being lit in this warm light. The camera slowly moved away from him, gaining altitude as we saw his shadow get larger and larger.

What am I supposed to do, living a life without you?
You and I in our empire - our happily ever after...
Now it's burnt into the ground, it's set ablaze by your words.
You painted a picture far from the reality


As he sang the lyrics "burnt into the ground" the warm orange light turned to red with a moving gobo on the lights which made it look as though Aakash was staring into a fire. The camera slowly moved closer and closer to him as he looked at the flames created by the effect. The intensity of the red light was so visible, with even members of the audience being lit in the light. We move onto the bridge of the song, as Aakash turned around to face the main audience once again.

I refuse to give you a second chance,
I refuse to let you hurt me again
If you'd love me, you wouldn't have done what you did,
Aaaaah, you shattered me to pieces,
I loved you...


During this section, the red light from his right was still there, but from the other side of him, a blue light was being shone. Where he was standing was purple, as he looked out to the audience. He sang the bridge with emotion, especially as he screamed "Aaaaah" into the microphone with him bending, looking as though he was about to collapse on the stage floor in pain, he looked up with a broken voice, singing "I loved you."

As the women came back in, on the LED screen was used for the first time. Amongst the colour juxtaposition between the red and blue lights, huge silhouettes of woman swaying and singing to the lyrics showed up with a shot of the whole arena showing this haunting sight. Bright white lights from behind him made Aakash and what was happening on stage looking otherworldly. As he paused to sing "empire" and the music quickly built in texture, fans were turned on with his shirt and hair slightly being moved by the breeze.

What am I supposed to do, living a life without you?
You and I in our empire - our happily ever after...

You and I in our em-
-pire, it's set ablaze by your words.
You painted a picture far from the reality



At the end of the song, the lights slowly faded away before there was silence. Soon the audience came in with a light cheer. Smiling, Aakash shouted, "Thank you all! Kiitos!!" Before walking off the stage...
Last edited by Todlichebujoku on Sat May 09, 2020 1:28 am, edited 2 times in total.

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Postby Todlichebujoku » Tue May 05, 2020 9:16 pm

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15. Izmedu
"Anywhere" - Letenje & Noviostar

Language(s): English
Lyrics: Letenje, Noviostar
Music: Letenje
Tune: Illenium, X Ambassadors - In Your Arms



"I've always believed in the kinds of love songs that I'd hear as a kid. But... knowing all that's happened, I began to think all of it was one of those fantasies I'd never get in my lifetime, you know? They were escapes from all the loneliness I felt when I couldn't escape with either drugs or alcohol, hell sometimes both. You begin to wonder how they were ever written. And then... long after all is said and done, long after you think you've hit a creative breakthrough, you actually find it. I won't say who they are, but... It happened at the later half of Rebirth's production. Noviostar, the duo I collabed with just for this song, were really pushing for a love song but we'd been stuck on this concept for god knows how long because the lines I wrote just weren't believable. I'd began to date for the first time since... we're not gonna get into that, but I found someone who actually... made me feel like I actually deserved it. I found someone who saw behind the stories, the image, the everything. It hit me when I was head over heels that I finally found the words to make it believable." - An interview excerpt from Letenje when asked about the story behind "Anywhere."

Tödlichebujoku, in the months following Sinun Valintasi: Starfall, began to feel more and more like home for Letenje.

When the Britonish overseership made the announcement that the 51st World Hit Festival would be hosted in Sinnlichšukai, Letenje could barely believe what he was hearing. He was prepared to travel the world, knowing that his own country would be unlikely to take up the mantle of hosting the World Hit Festival. However, returning to Tödlichebujoku carried its own significant symbolism that allowed Letenje to feel more relaxed and calmer as he began to prepare for his second World Hit Festival appearance. If anything, it was surreal that his name carried so much cachet beyond Izmedu. He may not have won the hearts of the international juries in the same way that Rasiña, Noravas, and Álvrütta did, but he was shocked to have ran away with the Tödlichebujoki domestic televote. "Missing You" was a song close to his heart, but he thought that having it leave any sort of dramatic impact was going to be too much of a flight of fancy. The chance to work with Midbara, her team, and Tödlichebujoki songwriters was itself the sweet reward in undertaking the long incubation process of writing the album he'd spent years on after the 41st World Hit Festival. He knew that his style would be amenable to Sinun Valintasi, but to go all the way up to 3rd in such a competitive environment was something that gave Letenje the confidence to move forward with the decision to compete in the World Hit Festival once more. Thus, returning to Tödlichebujoku was a poetic homecoming.

This was not Letenje’s first brush with the World Hit Festival. His biggest claim to fame was the 3rd place he attained for Izmedu when the contest was hosted in Polumisec. Looking back at his journey to writing “Let Me Go” and performing the song with his now close friend and regular collaborator, Kara, he was amazed at just how much time had inadvertently changed him and his outlook in life. He was picking up the ashes from a harrowing period of his life where he was stringing along and yet pushing away his close friends and his family in a time where living close to the edge was the only the source of relief. Letenje back then knew that old cliché often used when people recount their life stories. From every downfall into the abyss always hold a hope that there a spark of light at the end that allows for a rebirth. He faced that abyss head on and found that spark of light with Kara. Upon reflection, it wasn’t the results, the fame, nor even the attention from being Izmedu’s World Hit Festival entrant. Writing “Let Me Go” was not at all a conclusion that he’d retire from. Instead, it became the start of something. He hadn’t yet known in the period following WHF41 that what he had in mind was a full-on album, but he had a project with an intent that was slowly finding focus. Much like the symbol of a phoenix that he often adopted as his brand, Letenje found a fire within him to focus this sudden surge of inspiration.

Following the contest, he focused on recovery and kindling the growing fanbase that he was now having. Letenje wasn’t used to having fans that resonated this strongly with his message, and he’d heard infamous stories around Izmeduan EDM about how fans can help or harm a producer’s trajectory. However, it was through knowing that there were people that were that strongly affected by his work was what pushed Letenje to keep writing songs. He began to identify common themes and he knew that what he was building was going to require more collaborators than most Izmeduan producers would ever let into their albums. His entire project was going to be defined by a team. He was writing songs that documented the existential experience from his becoming a DJ up to the person trying to navigate their next steps in life. Songs about trying to find companionship, emotions through turbulence, finding hope where there is none, and finding a reassurance that one’s light can shine brightly against the darkness. Ultimately, it began to congeal to a common theme: rebirth. This was Letenje’s new lease on life. This was an album that declared that he would look on life with a new lens, diving deep into the extremes of the two sides of the human condition he was intimately familiar with. There was the euphoria of experiencing unadulterated joy for the first time and there was the reckoning with a crushing darkness that threatened to overwhelm him. Yet, his victory was to be in the position to be able to feel both, and to have hope that he can feel more in the future he was actively trying to build.

A project had officially become an album. Letenje marshalled every single connection he knew and every single association in order to begin assembling a team that would propel ‘Rebirth’ from becoming a collection of songs to a unified album that would mark Letenje’s first full-length album release to the Izmeduan music industry. It would be his statement to the world, not just a statement about himself, but a statement that even in the depths of darkness, it is still possible to find hope in possibility and that there is a second chance lying in wait. The album would document each step of that condition, ranging from feeling that hopeful possibility to a hopeless darkness. The process of being able to collaborate with many artists was a thankfully smooth one. The success following his entry to WHF41 resulted in Letenje’s name getting serious traction amongst the Izmeduan EDM sphere. While his name pre-WHF41 was already one to watch, Letenje already had people eager to collaborate with him for the ‘Rebirth’ project. He knew he was lucky as he began to negotiate with his new label about the terms of each collaboration and the album itself. Something like this was going to require a hell of a gestation period. Each song, outside of a prologue and a brief interlude, was going to require a collaborator, and the ambitions that he had for each was that every person that was contacted would have a major role to play in the song beyond just providing the vocals. This wasn’t going to be just a project that lingered within Letenje’s mind. He wanted this to be a team effort.

The production of the album was no doubt stressful, but the songwriting and production process for each song was what validated the whole endeavor. Letenje thanked his lucky stars and his profound luck for some of the names he was able to work with. Kara was happy to work with him again, with them jointly writing a song together. He’d be a regular feature in World Hit Festivals hosted by Izmedu, allowing his new singles to be used as interval acts. He also found his name resonating beyond his country’s borders, which led him to undertake a project with Midbara. Said project became his entry to Tödlichebujoku’s Sinun Valintasi: Starfall. It was also his first taste of working on a song that had a truly international team, but it was certainly not his first time through a national final. While the prospect of representing Tödlichebujoku was a tempting prospect, he saw his work with Midbara as an opportunity to plant roots beyond his home and to keep perfecting the craft that he worked on. His time on Starfall, from qualifying from the Eclipse round to attaining 3rd place in Collision, solidified his reasons to keep pushing.

Mid-way through working on ‘Rebirth,’ Letenje began to reckon with the fact that while his professional life was both soaring and intensifying in terms of the demands on his time, he didn’t have much of a personal life. He was prepared to encounter, but not necessarily deal, with the crisis that many Izmeduan artists have had to go through: what do they go home to? Letenje certainly wasn’t lacking of friends to talk, but he never felt that kind of deep emotional connection that he desired unconsciously for in “Let Me Go.” Kara had come profoundly close, especially when they were working on “Our Song” and submitted to that to an Izmepisma in WV73, but professionalism and busy schedules had made that kind of relationship difficult to foster. What was it that he was searching for? He began to realize the answer to that when Noviostar, a Vodiznad-based indie rock duo, composed of brother Marko and Renato Goreta, reached out to him to write a song for ‘Rebirth.’ Noviostar were an underground duo was were slowly breaking into the mainstream but were seeking new opportunities to collaborate with other artists that were outside of their comfort zone. Marko and Renato, both being fans of Letenje when he sent out the call for anyone interested in working with him, were writing and pitching an intimate love song that would serve as the basis for “Anywhere.” Their initial lyrics plus a rough acoustic demo were the initial points of contact that would serve as the starting point for Letenje and Noviostar’s song.

Letenje loved the idea and immediately agreed to collaborate. However, of all the songs in the new album, Anywhere represented the biggest personal challenge. Writing about loss and existential crises wasn’t difficult for Letenje, but Noviostar’s pitch to write a song about feeling at home with someone was where he realized what was missing in his life. Ultimately, his personal feelings began to embark on a collision course with his professional music dealings. The writing process between him and the Goreta brothers involved Letenje having to become honest with the both of them. The music production was not a problem, but a lyrics were a struggle to jot down. What Letenje could write about love was simply not believable in comparison to Marko and Renato’s relative ease in shaping the narrative. Letenje was faced with a quandary. He was hesitant to disrespect Mario and Renato’s wishes and ask them to write another song, but he also knew that a song was going to have to be written or else the whole partnership wouldn’t bear fruit. He also realized then that he also needed a break from music making… This wasn’t after an onerous contract where Letenje needed to be productive. As far as anyone’s label knew, this was simply three musicians on the precipice of embarking on a project but had yet to actually ink anything official. Letenje held onto the concept of “Anywhere,” not wanting to let the song go into the archives of other songs that would never see the light of day.

It was in his personal time away from “Rebirth” was where Letenje began to take off his persona as the up-and-coming Izmeduan DJ and to simply become Alan Rodin again. He was now reaching his mid-30s and he realized then… he wanted someone. He’d disappeared in music for so long only to realize that he was missing more than a companion. He wanted someone and he wanted to share his beyond just music. He took a brief break to Izmedu’s southern edge, Mousiki, where he knew his name wasn’t going to be nearly as big and where paparazzi usually respected the artist’s desire for privacy. It was there that he would meet someone wholly unrelated to music or to even the circles he would frequent. In Mousiki, he would meet a freelance pilot who would work a pretty stable job as a chef in a local restaurant in Mousiki named Albert Kulas. He’d met Albert by chance in one lonely night in Mousiki, where Letenje was realizing just how much was missing from his life at a personal level. They both ran into each other in one of Mousiki’s marinas. For Albert, it had been a long day of work then, and Letenje to him seemed to be the only one taking things slow and trying to relax when everyone is trying to watch. They both hit it each other suddenly, with Letenje realizing he had met someone who not only did not recognize him, but began to want to know him at a personal level.

In the space of the two-week break that Letenje schedule, things turned from a burgeoning friendship to a sudden romance. Letenje realized that he’d fallen for Albert, both for reasons that he knew were self-serving and because of Albert himself. For once, he felt free to not be just Letenje, but free to be Alan Rodin. Free to be the kind of man that took life as is, and free to begin to develop a personal identity outside of work. With Albert, Letenje found a real possibility that there could be a life outside of music-making, and that he wouldn’t have to go back home alone. Of course, music industry artists falling in love with people outside of the bubble was often a risk. Letenje knew how much he was risking, considering he knew more stories of relationships crumbling because of the immense workload that labels would put on their artists. Hell, not even relationships between two singers were often successful. He knew that deciding to begin to date Albert would entail a risk between the both of them, knowing that it could either end unsuccessfully or the relationship could blossom into a stable, long-term, and loving dynamic. Despite the risk it entailed and how uncertain his future with music would’ve been… He wanted to take a chance with Albert.

Letenje knew he had to be transparent with him. He told the pilot who he was professionally and just how much being Letenje was often being one and the same as being Alan Rodin. He was in the middle of creating an album and he had some awfully long hours on the daily. But the time he spent with Albert in the hours away from the music industry, often making trips to Mousiki and engaging in as much video chats as he could, began to give Letenje a creative mojo necessary to take on Noviostar’s project with new eyes. The words that once seemed so unbelievable to him began to flow naturally when he restarted the second round of writing with Marko and Renato. He tried to treat the process by once again being more upfront with the fact that again, he was going to be bringing personal experience to the forefront of the song. He vividly remembered him, Marko, and Renato sharing their experiences with the multitude of relationships they've had. Marko was engaged and Renato was still searching for someone he could settle down with. Letenje told the stories he had about Albert, whether it was going for a plane ride around Mousiki or the late nights they spent staring at the marina, sharing those small and intimate moment of quietude. These stories began to congeal into the very song Letenje and Noviostar were writing. Thus, "Anywhere" moved from being an unfinished song to being on its way to become the very entry that would be competing in Sinnlichšukai.

This was the moment of pure, unadulterated and yet initmate joy that Letenje was seeking. That was made possible because of the kinds of bonds he knew he was taking for granted. Marko and Renato reaching out to him warmed his heart and was the first step. The relationship he had with Albert, though while not necessarily the answer to everything, was how Letenje looked onto the future with a genuine hope in his eyes. There were a lot of unknowns following the song's eventual inclusion and podium finish in the 25th edition in Izmepisma as well as coming off from a third place in Sinun Valintasi: Starfall. Was he going to come back to the contest? What was going to happen to the album? Yet, he realized that Albert was one of the things that he was holding stable. Without that ability to be able to go home and just be... Alan Rodin again, and without the ability to feel like he can metaphorically fly and be himself, Letenje wasn't sure how he could contemplate the possibility of the rest of his career. He had to take things as they are. He celebrated the 3rd places, the offers from RTI and the Sinun Valintasi committee to represent either Izmedu or Tödlichebujoku in either WV or the WHF, seeing his album get released... This was a lot to contemplate as he was twiddling his thumbs in the TS Smelauka's green room, anxiously waiting to perform.

In the end, it was Letenje and Noviostar off to the 51st World Hit Festival in Tödlichebujoku.

For Letenje, it was home.



A streak of dark orange raced through the LED screens situated at the back of the stage, timed with the brilliant flash of white lights that billowed down to the center of the stage. They briefly illuminated the TS Smelauka for a few seconds, revealing for a second the DJ equipment that Letenje would be using and where he would be situated. He was at the back of the stage, taking deep breaths as he felt the familiar anxieties of performing on the stage once more. Of course, he knew that he was a much different person than the one performing in Polumisec 10 editions ago. Yet even in that long interval, the feelings of excitement and anxiety performing before a big crowd never really faded. There was a particular anxiety that especially became apparent when he was preparing for the World Hit Festival. The added weight of not just representing a country, but also being a past participant in a previous edition, was on his mind as he took in the crowd cheer. He tried to remind himself that this was exactly like performing with Midbara in Sinun Valintasi. The pressure was there to do well, of course. However, the focus was and is always on the music. He had a reason to be here and it wasn’t just because of promoting a new album. Letenje smiled against the intensely shrouded darkness as he let in the strong crowd cheer through his system. No matter how many times he went through the wringer of national finals and contest appearances, rehearsals never really truly captured the electricity of the real thing.

He and Noviostar’s Marko were in position on the TS Smelauka’s stage. Marko was situated in the central projection, sitting down against one of the adjacent platforms. The stage itself would be enshrouded in total darkness until the music itself began. Marko couldn’t help but hide the small smile on his face when the crowd renewed their cheering, one that he kept when the entry began in earnest. Next to Marko was a dancer who would serve as the other actor that would play a role in the song’s narrative and staging. That male dancer was hidden in the darkness as a faint spotlight shone on Marko. The camera would begin to broadcast its first shot of the entry to the audience at home, starting off with a slow zoom-in shot to the stage timed with the music. The first strains of the music was soft. They were a series of soft guitar notes that evoked a feeling of intimacy and love. Viewers at home would see that soft smile from Marko as the dancer looked to be ‘asleep,’ lying on Marko’s shoulder. The camera would approach closer, making it more apparent that they were singing against the darkness. Marko’s face was oriented toward the LED screens. Those same screens showed a background of a clear night sky. A shooting star would streak across the LED screen, one that caused Marko to smile wistfully. That shooting star was a sign that the story and the entry were truly about to begin. Marko got ready as he would gingerly hold the microphone in front of his mouth, his eyes half-open, and his face glazed as if he were in a dream. In his mind and according the stage team’s storyboard, Marko and his lover were in the Izmeduan wilderness, tired after a late night of star-gazing. It was time for the song’s first verse…

I always said you felt like home
I breathe you in slowly and hold you close
You leave me helpless and desiring more
You've caught me in your string and I am yours


Gentle lights would begin to shine brighter on Marko and the backup singer, acting as his lover for the song. The first verse would drive home the intimacy of the song’s theme; the cameras maintained a close shot of them both as Marko sang the first few lines with a soft, tender voice. Marko would gently lay a hand on his lover’s, waking him up as the backup singer would smile back fondly, and sing an ad-libbed vocal line after each line. However, the backup singer still looked rather sleepy and almost unconscious. However, for Marko, he didn’t let that deter his singing or the message he wanted to bring across to him. Marko sang these words as someone who had been holding a confession. These were words that only he could’ve ever thought in his mind but were afraid to say out loud. Marko vocalized each word slowly, under a hope that singing them out loud would concretize and make them more real. Each smile that was brought out from Marko was one of joy and wistfulness. At the second half of the first verse, Marko would sing to both his lover and to the screen itself. His eyes were enraptured by both his love and the sight of the stars itself that dotted the LED screens still. His smiles would turn into a vulnerable expression at the third line. Now, he was speaking and singing about his lover, admitting something he normally wouldn’t ever say out loud. The camera would linger on this one shot of Marko and his lover close to each other, huddling in the metaphoric cold and dark landscape that was the stage. It would occasionally fade into stationary shots of the LED screen stars, ones that were carefully positioned to ensure that Letenje would not be revealed. At the final line of the first verse, Marko would gently coax his 'lover' to stand up, staring into the stars with an awed face of wonder and contentment. They both would walk forward as the camera began to cut to a wider view of the stage, representing that the production would begin to take more varied shots instead of lingering on the two that they were focusing on for the verse. The break from verse to pre-hook was brief, with not much room to breathe or ponder for Marko.

I was lost and alone
You saved me from turning to stone


For this pre-hook, Marko would still fix his attention to his on-stage lover. However, those sitting the arena's audience were able to get a better look of the performance. Marko would intensify his vocals slightly, vocalizing the inner thoughts that he would struggle to say out loud. His voice was laced with a vulnerable profundity and a tone of confession, his body language slightly hunched and his faced was laced with the expression of someone who was confronting these words out loud for the first time. Letenje then intensified the instrumental backing on the song, adding some light production onto the simple set of guitar notes introduced in the first chorus. The beats that he added coincided with the slightly intensified vocals and the stage effects beginning to be introduced. White stage lights would begin to flash onto the stage, timed to those very same beats. The camera would take wide shots of the stage, ones that revealed Letenje's shadow. Marko and his on-stage lover were still facing each other, the camera sometimes cutting close shots as the former's eyes were emotional. The frontal shell of Letenje's screens also acted as their own LED screen to complement the ones on the stage. Throughout this pre-chorus, a darkened, rocky landscape would begin to show on the screens associated with Letenje's DJ equipment. At the end of this pre-hook, Marko and his dancer would separate.

Will you take me with you, to a world where we are free
When I stay by your side, my soul will fly anywhere
Next to you, my heart's ablaze from your caring gaze
Will you take me with you, to a world where we are free


Letenje would dial back on the production at the chorus, deftly allowing a piano timed to Marko's lines to play during the first half of the chorus. He couldn't help but smile when the crowd began to cheer at the chorus' sudden appearance, but he knew that the attention was still all on Marko. When the chorus started, Marko passionately belted out the first two lines, letting his voice echo slightly throughout the TS Smelauka. The lights would flash a brilliant white for a few seconds, illuminating the entire arena and even Letenje himself for a few seconds. The camera would focus closely on Marko himself. For the first two lines, Marko would clutch his chest tightly and sang directly to the camera. His eyes smoldered with the care and affection of a lover, but this was someone finally confessing what they truly wanted. Marko would reach out to the camera, expressing that long-held yearning within him with as much conviction as possible. Befitting the theme of flight, the landscapes would begin to blur and the stars on the screen would disappear in favor of an image of a bird's eye view of a moving landscape. The audience at home were beginning to fly through the computer-generated landscapes shown on the screen. This continued as the production began to intensify, Letenje adding a faster beat to the third line of the chorus. The camera then focused itself back on Marko, taking alternating views during the faster beat as he stepped forward closer to the audience. Behind Marko, Letenje, and the dancer, the scenes of the night sky would begin to fade in favor of a morning sunrise. This time of day happened during the final two lines of the chorus, one in which the passage of time especially began to increase when the beats got faster. The final line saw Letenje and Marko ramp up to the beat drop. Marko would hunch over slightly, delivering and singing that line to the camera with as much heft and vulnerability as he could muster. He would hold the last word of the chorus, 'free,' for as long as he could. He ended that line with an ad-lib, immediately stepping back as it was now time for the beat drop.

The crowd in the TS Smelauka would cheer wildly at the beat drop, with Letenje taking the background singer's ad-lib from the first verse and using it for his production. The beat drop and instrumental break was short, but Letenje made sure to use it to ensure as much impact as possible. He couldn't fight the unadulterated joy in his face as he felt the cameras train down on him, with the stage lights now fully lighting up the arena and the attention taken away from Marko. This was the moment where Letenje himself would now be formally introduced to the audience on the stage and at home during the entry. Thus, he would move his body and head to the beat, the cameras actively catching him at work producing the sounds live. However, this didn't stop Letenje from catching the cameras and occasionally holding a free arm out, the same way Marko had his arms spread out and was moving along to the beat. On the screens, the effects would change from the dramatic, rocky landscapes to one familiar to Letenje fans. It was the black and orange background that played host to his symbol. On LED screens behind Letenje, faint outlines of wings can be seen about to develop as he kept playing the instrumental break. Those wings did not flap, but they definitely played to the mood of pure, unadulterated euphoria that was etched on Letenje's expression as he almost quite literally flew through the music. The beat drop would meet its end, seeing that it was on the shorter-end and it being the first. The light effects would soften slightly after the end of the instrumental break and the screens would now return back to those dramatic landscapes.

Just one touch from your hand leaves a sweet trace
Oh how I long to be in your embrace


The second verse to the song would be brief and fly by quite quickly. During the instrumental break, Marko and his dancer would move much more closer to the DJ table that Letenje was situated upon, standing right in front of the screens that the large table was fit with. For this verse, Letenje would bring back the guitar instrumental that introduced the song itself. However, he kept that beat to the song, with the lights timed to flash to that beat. On the DJ table's screen, images of a rocky landscape would be seen once more, showing off ice peaks, jagged gray rocks, and patches of green growing on those rocks. The landscape was both wide and yet provided an intimate setting, perfect for the way Marko and his dancer were beginning to interact with each other. The first line saw Marko and the dancer hold one hand up and then clasping it with each other. The camera would focus on this moment, sometimes fading to a shot of Letenje silently singing the lyrics alongside Marko. The second line would then start with a view of the hand that Marko and his dancer were clasping, before slowly zooming out to Marko and his dancer engaging in a slight half-embrace before breaking off.

I was lost and alone (alone)
You saved me from turning to stone


The beat didn't stop when the song entered its pre-hook. Letenje would maintain it, mouthing the lyrics alongside as Marko sang these lines with a slightly greater half and emotionality. For Marko, these words were getting easier to express, but they still held a weight to them that still scared him to admit it so freely and easily. The dancer's eyes stared back fondly, receiving the message and beginning to coax Marko into feeling more free. For these two lines, Marko would hold on closer to his lover, his vocals soaring to an even higher extent than the previous version of this pre-hook. There was more force, a greater commitment to making sure that these words were truly real. His eyes also solidified that greater resolve. These weren't just words that could be applied to anyone. These were words he could only say and sing precisely because his lover was right there in front of him. The camera would maintain these close and intimate views throughout this quick pre-chorus. Marko would end this pre-chorus by belting out that final word, 'stone.' He would ad-lib slightly, but held himself. There wasn't going to be much of a break in-between this brief pre-hook and the chorus itself. Indeed, that ended up to be the case.

Will you take me with you, to a world where we are free
When I stay by your side, my soul will fly anywhere
Next to you, my heart's ablaze from your caring gaze
Will you take me with you, to a world where we are free
(I'm yours)


Similar to the last chorus, the TS Semlauka would light up in a brilliant array of white lights at the start of the chorus before simmering down. Much of the arrangement of the chorus was similar, with the first half being focused primarily on Marko's voice and Letenje adding the beats and the production on the second half. However, the stage effects would disappear, with the screens de-activating as soon as the chorus began. This increased the camera's attention on both Marko, Letenje, and the light show that was planned for this particular section. Marko's vocals for this chorus were just that little bit more intense. Though his lover was once more out of the picture, he would step forward towards the audience once more, taking a few tentative steps throughout the first two lines. Though he would sing directly to the camera, there would be also switches to views of Letenje himself. In a similar tactic to his WHF41 performance, he would silently sing these lines alongside Marko in a similar way he did for Kara. He mirrored his collaborator, his eyes and expression displaying that same expression of vulnerability and love as Marko. However, Marko wouldn't stay alone for the chorus. As soon as the second half of the chorus began, Marko and his dancer would join their hands together. The dancer would then lead Marko to the front of the stage, timed to the intensifying beat of the song. The final line of the song saw them glance at each other, their attentions and gazes enraptured by one another. The lights would again brilliantly flash with the beat of the song, with the lights being mixed with a flash of white and orange. Letenje would smile, closing his eyes in preparation for the song's second beat drop and instrumental break.

(I'm yours)
Will you take me with you, to a world where we are free
(I'm yours)
(I'm yours)


The insturmental break and beat drop were also different this time around as well. This time, an added refrain was added, sung primarily by a backup singer. The lights would flash a mixture of white and orange, a reflection of the image and brand that Letenje built and cultivated in the years following the 41st World Hit Festival. Of course, these differences didn't change the unadulterated euphoria and happiness on Letenje's face as he played the instrumental break. Marko and his dancer were dancing on the stage, performing a brief routine but primarily moving to the music. Marko would also sing one of the lines from the chorus, belting it out as passionately as possible. However, the focus was all on Letenje as the stage was his during this instrumental break. This befit how the cameras were acting as well. A lot of the action and views were focused on Letenje himself, showing him not just nodding along to the music, but he was absolutely embodying the joy and the intimacy that the song brought to the table. The cameras would also engage in wide views of the arneas as well, catching the action not just on the performers, but sometimes occasionally glancing at the audience as well. The wide views would allow viewers at home to ascertain what was going on in the larger screens. Throughout the instrumental break, the screens would return to the black and orange background that was seen in the previous one. However, orange dominated what was being seen on screen. The 'wings' that were being generated near Letenje's shoulders looked more detailed. They began to pulse as they would slightly sway throughout the break. The camera made sure to maintain these mid-view shots of Letenje to ensure that the illusion these were Letenje's wings was kept. However, these views couldn't be constant, and the instrumental break found its eventual end at the second time 'I'm yours' was song. After a triumphant and joyous break, it was time for a softer approach.

In your eyes I can fly through the whole world, love
You, you are my home, when my body curls up next to yours
Our lives may break but you make joy where there is none
My heart ignites from your smile when you take my hand
Now I see, a golden fire reborn
Here we stand, soaring high, now joined as one


The song's bridge was a callback to the very first verse of the song. Letenje dramatically scaled back the production of the song, bringing it all the way back to just a singular guitar for the first two lines. This had the intended effect of Marko singing almost in a ca pella, his voice almost naked. Also befitting the callback, Marko and his dancer would be lying against the screen on the DJ table. It was a much similar image to what viewers at home and in the audience were greeted with at the very beginning of the entry. It was Marko, lying against the screen, with the dancer's head nestled against his shoulder. The familiar night sky background began to appear once moe. For the first two lines, Marko would sing those lines without much backing. He would stare up into the camera gazing down on him and inadvertently, he would be singing to the stars. By the second line, he would be singing directly to the dancer, with Marko peering and singing directly to his eyes. The bridge didn’t linger in that intimate sound for long, as Letenje would begin to quickly add more beats to the bridge as it progressed faster and faster toward the song’s final chorus. This befit the way Marko would rapidly go through the lines as he sang more of the bridge, as if he were singing some sort of revelation and thought he couldn’t help but express. These words were once again thoughts that Marko wanted to let out; thoughts that he couldn’t let go unsaid. A quiet determination began to course through Marko’s eyes at the latter half of the bridge. Each two lines would see Letenje add more to the production. Marko would slowly stand up with the dancer throughout each line. This time, it was Marko that had the courage to fly free. Throughout each line after the second, the orange background that appeared in each drop began to gradually re-appear after and the lights would gradually turn to a warm orange. The song was truly on the verge of having one more moment of joy, and the vocals, production, and effects were leading up to that. Letenje smiled as he could hear the excitement burgeoning through Marko’s vocals. This paid off at the final line of the bridge, when Marko would belt out those words while tightly holding the dancer’s hand close. The camera caught that image, emphasizing and literalizing the words.

Will you take me with you, to a world where we are free
When I stay by your side, my soul will fly anywhere
Next to you, my heart's ablaze from your caring gaze
Will you take me with you, to a world where we are free
(I'm yours)


For the final chorus, it was a mixture of both the instrumental break and the heightened vocals added together to create the final 30 seconds of the song. Letenje would once more put in as much as he could, molding the beats he saved from the instrumental breaks with Marko’s soaring vocals. Marko, throughout this chorus, would passionately belt and sing each line, with the backup dancer also singing along with him as both would dance and groove to the music on stage. They were now singing the words to each other, with the words no longer being a one-way street. Behind Letenje, the screens would showcase the wings against the orange background to their most glorious extent. The wings on Letenje’s shoulders, when viewed from a cerain angle, were at their most detailed. They would slowly sway and flap, with timed and resonant pulses to the beat. The camera, in turn, would attempt to focus on close and wide shots of Letenje, Marko, and the dancer. This final chorus emphasized the moment of joy that Letenje and Marko so desired. Despite the darkness that threatened to uproot their lives, this was a moment of reprieve and relief that they so sought. The final shot of the entry would be Letenje himself, ending the song with a peace sign and a smile as the lights darkened.


Letenje took pains to remind himself that things happened for a reason and that sometimes, dwelling on the why can almost be too harmful. Life always found ways to surprise, unsettle, but also give him a profound happiness. In moments like this, where he was met with an immense crowd cheer and a feeling of happiness he wished he could savor for eternity, he decided to stop the voice in his head that would question why this would happen.

“Thank you so much, Tödlichebujoku! Kiitos! Hvala!” He shouted to the audience.

This happiness was fleeting, but he savored it all the same. He embedded this memory deep into his mind, but he’d have time to ponder over it later. What he wanted was to be in the moment.

He was met backstage by both members of Noviostar. Letenje couldn’t have been more grateful for Marko and Renato and gave them both the strongest hug he could muster.

No matter what happens now, he knew one thing.

It was going to be okay.
Last edited by Todlichebujoku on Sat May 09, 2020 1:27 am, edited 1 time in total.

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Todlichebujoku
Senator
 
Posts: 4455
Founded: Feb 24, 2012
Left-Leaning College State

Postby Todlichebujoku » Tue May 05, 2020 9:25 pm

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16. Achaean Republic
"¿Por Qué?" - Martita Jara

Title Transcription: (If any, eliminate this line otherwise)
Title Translation: Why?
Language(s): Spanish
Lyrics: Martita Jara
Music: Martita Jara, Ernesto H. Villafañe, Carmelita Ortíz
Tune: Mon Laferte - Tu Falta De Querer



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Marta Luisa Velázquez, better known as Martita Jara after a musical encounter with the Chilean nueva canción singer during her university years, was born and raised in the outskirts of Puerto Ámbar, in the northeastern state of Suárez del Norte. Her father, Roberto, worked in the port dockyards. Her mother, Helena, was a social worker and a choir singer in her Maronite Catholic parish. The typical port city environment, filled with drunken mariners singing explicit sea shanties and the dynamics of travel in the city’s tourist destinations exposed Martita to different cultures at an early age. Unlike other cities at the foothills of Pico Altador, the Achaean Republic’s largest mountain, Puerto Ámbar’s relatively shielded location between the mountains and the port’s outlet towards the Caribbean Sea brought forward an enormous wave of cultural progressivism––sometimes even farther than what you could find in Corola. This enriched Martita’s experiences growing up. Let us say she did not need to leave Puerto Ámbar to have fun.

All in all, Martita’s childhood was that of a typical working/middle-class Achaean family: a life without many luxuries, but lots of love, who taught the value of hard work and perseverance in one’s dreams. Bar a few trips to Corola to see her family and that summer she visited part of her mom’s family in Beirut, she had a very content, studious, and peaceful childhood with her two smaller siblings whom she adored to play with and boss around.

However, Martita received a scholarship to study Physics from the prestigious Pontificial Catholic University of Corola, so she packed her bags when she was seventeen as soon as she graduated from her ambarense high school and moved to her grandparent’s home in Corola City. The city opened her eyes to new sounds, new sights, and new experiences far those she experienced back home in Puerto Ámbar: a thriving LGBTQ+ community, a ridiculously advanced public system (by Caribbean standards), a welcoming, yet somewhat aloof, musical community, and a long list of elegible, attractive college boys willing to date a young, naive girl from Suárez del Norte.

One man, called Nicolás Barbado, met her match. He was 22 years old and was on his third year of Structural Engineering at the PUCCO, just as Martita began her physics studies. He first invited her for a coffee, then some drinks at the local student bar in Barrio Tercero. Then they decided to go on a day trip or two to study the structural architecture of Corola’s numerous barrios, and then explored other cities like Guadalupana, La Izquierda and Bucaná, Nicolás’ historical hometown. They slowly feel into a habit of seeing each other and meeting up for these day trips, which turned into study groups, which turned into sleepovers…which turned into love.

When Martita turned 19, she made the ridiculously foolish decision to marry Nicolás to the detriment of her studies. Her parents didn’t approve, yet reluctantly supported Martita’s decision. She was an adult now, and they gave it all so she could study, for her to waste it on a man who barely finished his degree with a barely passing grade that only got a high-profile engineering job due to his father’s connections. She was too young, too naive, and too precious to settle so quick and make the same mistakes they did in their youth––not that she was getting married, but with who she was getting married.

But she married Nicolás anyway, just as she was starting to develop a hidden passion for singing, one that caught the eye of local Corola record company ALBAN. She settled into two years of married bliss when she cranked out songs like Represa (“Dam”), Cariño Mío (“My Love”) and Ternura (“Tenderness”). In these songs, the naiveté of youth was juxtaposed with the fear of failing to meet societal expectations, more so due to her age. She was beginning to make a splash on the Corola music scene, slowly getting her name though many gigs, features, collars and even a small mention by the mayor of Corola City in one of his speeches. She was in love with life, in love with her dreams, and very in love with her husband.

Until one day, Nicolás left her.

The abandonment and subsequent divorce was the beginning of a world of frustration sand disappointments for Martita. She lost three years of precious college schooling and almost lost her gigs as her soon-to-be ex-husband blocked her from performing on various music venues and radio shows. The divorce was nasty, messy, and oftentimes dangerous. It drained what little savings she had and what little goodwill she exhibited toward men. It was foolish, yes, to allow them the power to step on you like that. But it made her stronger and awarded Martita with the very first hit, Por Qué (“Why?”), which quickly shot up the Achaean music charts and turned her into an instant star––and more so an icon for scorned women. This is what gave Martita a ticket to Todlichebujoku to perform in the World Hit Festival.





As the Achaean postcard ends, a jazz-style big band composed of 18 musicians—9 on each side of the central microphone near the stage, where Martita will be walking soon. There are saxophonists, drummers, violinists, flute players, saxophonists, and one or two tambourine players that, despite the song not actually requiring it, were there as an internal gag only Martita and the gang knew. The LED screens below them turn red with the shape of an elegant red carpet with golden fimbriationsas if to provide an impression that they were playing in an exclusive Achaean lounge bar at night.

The song begins with Martita walking towards the center of the stage near the podium. She is wearing a high-neck white lace wedding dress with a red sash on her belt, covered with intricate lace patterns. She also has a long, luxurious red wedding veil that also exhibits a small, red comb in the middle to affix the veil. On her left hand, she carries a bouquet of red and white roses with faux-diamonds and bedazzled dollar-store crystals at its stem.

However, there is something unsettling about her appearance: Martita’s dress is dirty and covered with old stains of dark red wine. Her veil is broken, unthreaded, and even lacking some accents to make the red color of the veil pop in the light. Her flowers are broken, missing, wilted and almost dying. Her nails look ruined and chipped in, as if she bit off the acrylic without knowing. Her gait, the way she hunches her body while walking towards the microphone, makes her feel hopeless and dejected. Even her dollar store makeup, the waterproof one that wouldn’t run over the face, is melting and dripping towards the dress. Her mood is as melancholy as the song she is singing. She grabs the microphone and begins to sing.

Hoy pequé
con antidepresivos que jamás tomé
y los contraceptivos para no perder
los besos que dejaste en mi mesa

I have sinned
With antidepressives that I never took
And the contraceptives so I don't have to lose
the kisses that you left me on the table

Martita’s tone is rueful and dejected. Like the wedding dress she’s wearing, she looks at the camera with glassy eyes, as if she is singing a lament or a dirge to the crowd who somewhat deigned to listen to her. Her hand expressions are delicate and soft. She tries to reach the air with her right arm, but she still squeezes the wilted flowers in her left hand. In a brief shot of the camera, eagle-eyed viewers would notice that Martita’s flowers were wilting their dark red color away, the pigment dripping on the floor, making it look at is Martita was bleeding. Perhaps her soul was bleeding away as she sang.

te fuiste ayer
la puerta abierta y no pude recorrer
la soledad atada a mi parecer
quiero morirme y tú no me dejas

You left yesterday
The door is open and I can't walk past it
The sadness is tied to my countenance
I want to die and you won't let me

For the chorus, she belts out her first “Ven" with with such power that she needs to hold her microphone away from her voice so she won’t break it through the sound. In one camera angle beside her, you could see a stray tear falling down Martita’s face. It’s always painful to sing the chorus––it floods her memory with images of that empty Corola apartment on Christmas morning. It was hard for her to not transport herself back and witness that broken ring sitting on the table. The socks on the hallway. The ransacked Christmas tree with all the golden decorations taken away. He wanted to leave without a trace and let Martita know it was over––and she knew it. She wanted everybody in the world to know it. She still loves him, even today. But she still cannot understand why he betrayed her. Perhaps it was the music. Perhaps it was the overwhelming emotions of performing on the stage. Or maybe it was the blinding stage lights. But tears kept streaming down Martita’s worn-down face as she sang the chorus, while subtly trying to wipe them with her right forearm.

Ven
¿por qué no me haces tu hogar
en mi mar?
Pues extráñame
Sí, no, por qué
Cuanto fue que el amor dejó de pagar
Nunca te pude olvidar
Nunca me dijiste por qué

Come
why can't you make your home
in my sea?
Well, miss me,
yes, no, why not
When did it happen that love stopped paying you
I could never forget you
You never told me why

As she raises her arms to get ready to sing the second part of the chorus––and maybe wipe her tears mixed with her sweat dripping down her face––, she reveals a small tattoo showing a broken wedding ring in her right arm. She had it done a few months after the divorce, when she could think clearly, but still felt the need to experience pain since part of her life was still so numb. This was the numbness she felt during the second part of the song, one that the brassy instruments were accompanying her in an elegant fashion. It was hard for Martita to relive the experiences of being locked away in a psych ward for two weeks trying to convince herself she never wanted to kill herself, that it was all his fault for making her feel miserable, that if he didn’t leave her for another whore, she wouldn’t have felt the need to overdose on those stupid pills left on the table. The camera circles around her as she sings, trying to portray the confusion (and nausea) to the viewers at home.

Al despertar
me encuentro en una cama en la oscuridad
Rodeada de enfermeros y de necedad
Confiastes en mi juicio, ¡qué problema!

Waking up
I'm surrounded by a bed in the darkness
surrounded by nurses and foolishness
You trusted in my judgement, what a problem that was!
No, no, no

Her naturally raspy voice draws attention. It is sulky, sensual, and captivating. Even though she doesn’t feel like it, she tends to draw attention to the men (and a few other women) surrounding her when she speaks. Perhaps that’s what got her in trouble many, many times when she lived in Puerto Ámbar, which got her at odds with her very devout Catholic Maronite mother. In the song, she could feel how her hands felt tied to her body as she kept singing this portion of her song. A camera pan shows how Martita embraces her body tightly as if she felt the psych ward’s straightjacket contorting her body. Not the proudest moment in the world to lose her sanity for a man who left her. But she still makes a choice not to forget, but to thrive through the pain. Despite her tears, her glassy-eyed cameras show she’s slowly gaining acceptance of the music. The big band beside her plays their instruments flawlessly, perhaps accepting their own losses as well.

Mis brazos de atar,
me diste alas para nunca más confiar
en hombres que mi alma quiera traicionar
ven, por favor, no me dejes a ciega
s

My hands are tied
You gave me wings to never trust again
in men that my hard could ever betray––
come quickly, please, and don't leave me blind

The chorus again. Accompanied by the big brass band, Martita belts out the first "Ven" with a long and extensive power that reverberates throughout the arena. A bird’s eye view of the stage shows Martita in the center, singing her hear out, the big band playing their instruments passionately on both sides––with a split-camera screen for a short seconds showing both sides––and another camera angle showing the swaying crowd in Sinnlichšukai. The few Achaeans in the crowd, the ones who bravely (or, perhaps, stupidly?) escaped quarantine back home to travel to somewhat-cold-and-arid Tödlichebujoku to follow, encourage, and celebrate with their Martita.

Ven
¿por qué no me haces tu hogar
en mi mar?
Pues extráñame
Sí, no, por qué
Cuanto fue que el amor dejó de pagar
Nunca te pude olvidar
Nunca me dijiste por qué

Come
why can't you make your home
in my sea?
Well, miss me,
yes, no, why not
When did it happen that love stopped paying you
I could never forget you
You never told me why

For a brief moment, the stage darkens and a red light emerges from the sky to show a lone electric guitarist playing his instrument. The camera moves slowly off Martita and goes behind her to circle him for the few seconds he gets to show off his sick guitar riffs. Each riff is almost like a stab to a broken heart: pungent, broken, violent, rapid. It’s almost as if you could hear Martita’s heart throughout the abandonment, as if you could swallow the very bitter pills of the antidepressants and cheap, boxed wine coursing through her body; the endless, sleepless nights at the psych ward, the lengthy and traumatic court battle that ensued following the division of assets; the child she may or may not have miscarried when she was bowling with her friends. It was a tough time for her to express her pain and pen the words to her song, and each guitar riff was one more wound that needed to be healed. She just couldn’t hide it anymore.

Ven
¿por qué no me haces tu hogar
en mi mar?
Pues extráñame
Sí, no, por qué
Cuanto fue que el amor dejó de pagar
Nunca te pude olvidar
Nunca me dijiste por qué

Come
why can't you make your home
in my sea?
Well, miss me,
yes, no, why not
When did it happen that love stopped paying you
I could never forget you
You never told me why

She definitely choked up in the last verse. She played her hand in her hard, trying to wipe the stray tears falling through her cheek with the right. Of course she slightly removed herself from the microphone as the amera sang, if trying to compose herself in the midst of ending. Luckily, the crowd could muse out what the final verse meant––for the Achaeans, who mostly knew the song by heart, they could belt out the lyrics just fine. For the rest who had very little to no exposure of Achaean Spanish, they would try to half-heartedly mumble her the verse while cheering Martita on.


As the song ends, Martita musters the courage to wave to the crowd, mid-tears, and waving the captive audience in the arena. “¡Gracias!,” she says to the people. “¡Gracias!” She is at least trying to move on from that crisis. Why? She thought. At least the crowd can figure out why she can live again.
Last edited by Todlichebujoku on Mon May 11, 2020 4:36 pm, edited 3 times in total.

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Todlichebujoku
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Posts: 4455
Founded: Feb 24, 2012
Left-Leaning College State

Postby Todlichebujoku » Tue May 05, 2020 9:27 pm

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17. Mercedini
"Nothing Left To Fight For" - Alicia Mocha

Language(s): English
Lyrics: A. Mocha, D. Alishkaerni, F. Gabbani
Music: D. Alishkaerni
Tune: Ella Nor - Nao



Following the handover from ENM at the end of the previous edition, private broadcaster TeleDini has become the new home of the World Hit Festival in Mercedini, with executives beginning their journey by announcing Dini's new head of delegation and their first representative of their new tenure. It was announced live on TeleDini's flagship breakfast programme 'Wake Up With Wendy' with both artist and head of delegation making an appearance and debuting the song for the first time. It was expected that the delegation would pull out all the stops for their first appearance, with TeleDini hoping to add to ENM's two victories as host broadcaster, and potentially bring the World Hit Festival to Mercedini for the first time.

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The announcement made eyebrows as two of Mercedini's heavy hitters joined forces, with new Head of Delegation Daniel Alishkaerni bringing out WHF and WorldVision runner-up Alicia Mocha with her song 'Nothing Left To Fight For'. It brings back the intense pop songs which twice won Mercedini the crown in recent editions, with Mocha returning after a lengthy hiatus from music with a new sound and renewing new hope that Dini can end back where they once were. In a complete spin from the former broadcaster ENM, TeleDini have chosen an overtly political and charged song regarding the state of racism in Mercedini other competing nations.

Results in recent edition have not been kind to Mercedini, with their most recent podium position in any edition seeming an age away. This new blood is hoped to restore Mercedinian music on the international stage. After being delayed one edition due to late paperwork, Alicia can finally grace the stage for the 51st edition in Sinnlichsukai.


It's a sign of what we can't do
You say that it's not fair
When our reflections won't convince you.
Healing to get more ill.


Then you can't the pressure
And you face away-ay-ay
Your disguise won't seem to help you
As it thrives withi-in


If you can't fight, fight no longer
If you can't fight, fight no longer, yeah


There's no amount to prove it's not fair
There's nothing left to fight for. Now, now. Now, now
Yeah, we can shout, but not today
There's nothing left to fight for. Now, now. Now.
Nothing left to fight for.


Only takes a glimpse to see it
Your body stops on it's own
I know now your feeling helpless
We know all the same

For the few, it's a career
The misery they ma-a-ake
It's your fault it's their dominion
Your chances, they take


If you can't fight, fight no longer
If you can't fight, fight no longer, yeah


There's no amount to prove it's not fair
There's nothing left to fight for. Now, now. Now, now
Yeah, we can shout, but not today
There's nothing left to fight for. Now, now (Na-na-na-na-now) now.
Nothing left to fight for.


So I decided my life is mine
Facing the boundaries that seemed to oppressive
Our oppressors ran out of time
What's now ugly once seemed so progressive
Effecting our lives, both for you and for me.
You said 'this is our country', but I'm standing here for our kind.
Oooo-oooo-ooo-ohh


There's no amount to prove it's not fair
There's nothing left to fight for. Now, now. Now, now
Yeah, we can shout, but not today
There's nothing left to fight for. Now, now, now.
Nothing left to fight for.
Last edited by Todlichebujoku on Sat May 09, 2020 10:16 pm, edited 2 times in total.

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Postby Todlichebujoku » Tue May 05, 2020 9:30 pm

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18. Tödlichebujoku
"Feel Alive" - Noravas ft. Álvrüttá Matsuvoka

Language(s): English
Lyrics: Álvrüttá Matsuvoka
Music: Artteman Vanhanen, Álvrüttá Matsuvoka, Armo Mori
Tune:Gryffin, ZOHARA - Remember



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Artteman Vanhanen, better known as Noravas, and Álvrüttá Matsuvoka first met on the matrix shard for one of Noravas's early songs. The two connected quickly over their love of the electronic genre, but the pace of their lives and simple distance prevented them from collaborating for years. It was only during a festival in Eisikke-ka that the east coast producer and the west coast singer were able to meet in person and actually come up with any plans at all for a proper collaboration. Their concept was still in the early stages when TÖBUK and Estegoa100 scouted them out based on their previous work for a potential spot in the largest edition of Sinun Valintasi yet- SV Starfall. Intrigued by the idea, and having been previously been inspired by previous Tödlichebujoki WorldVision and World Hit Festival acts, the two agreed to participate in the national selection, and were eventually placed in the PULSAR semi-final. The pair quickly gained favor with international juries, sailing through their semi before placing second in the cutthroat COLLISION final against a variety of competitive acts, holding their own against the MAGMA pre-qualifiers that ended up dominating the top of the final standings. The two certainly did not originally enter to win, but with their growing traction, they realized that the path was open and that they were really in for the long haul. With Starfall winner Rasiña managing 6th place in WorldVision 80, Álvrüttá and Artteman realized that they would really have to push hard in order to do Tödlichebujoku's prior entrant and 2nd placer VELUNA any justice at all. The pressure was on.



The stage slowly begins to glow with a deep blue haze, which morphs in an iridescent manner to a deep red that pulsates with the beat. A bright white spotlight shines down upon the backside of Álvrüttá, who is dressed in a slim, shimmering white gown that trails down behind her. At first she is facing away from the audience, eventually turning her head back to face them, before ultimately turning back and hanging her head in internal turmoil, taking a moment to take a breath and steady her nerves. In the mist of the soft haze, she appears to glow in the white light, ethereal and otherworldly like a fever dream

Each night we're focused on fighting
Though there's no passion igniting
Maybe it's not worth this denying
Oh there never was enough
There never was enough


Álvrüttá whirls around, arcing her head around just so in a comfortable fashion, letting her hair follow her movement and wrap over to her front in an elegant motion, thus breaking the façade of an illusion and shifting back into sharp reality. She raises her head upwards to the light, as if pleading for answers from the gods above, before sinking her weary gaze back down toward the audience before her, eyes drained of hope and desperate. Around her wraps an oppressive darkness, virtually a physical presence despite the pulsating haze below and the spotlight above, a faint crackle of electric light occasionally visible in the dark mist around her

Found me searching for answers
Why we're in a disaster, zone
I feel I'm swimming through darkness
Won't ever find enough
Won't ever find it


With the transition to the chorus, the ambient pulsing and lights dissipate, leaving Álvrüttá alone glowing in a cloud of crackling darkness that blends into the darkness throughout the arena. She strikes an arm outward, pushing away the darkness, which crackles angrily upon contact. She continues pushing at it with both arms as she continues, stepping forward, such that the crackling darkness begins to recede behind her and become a background, instead of a danger and obstacle. Upon singing "Gotta close this door in our lives," she steps fully clear of the darkness and shines with all her glory

Can't keep pretending
That all our heartbeats tremble for something
That we both know we won't wait for nothing
Gotta close this door in our lives
And let's feel alive


The darkness fades away, melding into the rest of the unlit expanse of the arena, as pure beams of light pierce across the stage and interior, lingering for a moment like brilliant lightning bolts, before dissipating and giving way to a new beam of light elsewhere in the arena. Álvrüttá slowly whirls around, the camera view tracking her face from an angle above, the beams of light visible as they pierce diagonally in different directions around her as she clutches at herself, her eyes closed as the occasional gleam of light bounces off her and reflects into the camera view

Oh, baby, let me go
Oh, baby, let me go
Oh, baby, let me go
Let me, let me

Oh, baby, let me go
Oh, baby, let me go
Oh, baby, let me go
I gotta feel alive, I gotta feel


Álvrüttá leans and transitions into an elegant dance, grooving to the music, arms over her head and down her body, as bolts of light hit her from random directions, and vertical lights blink down over the audience, slowly slanting diagonally away from the stage. Flanking her, on the side portions of the stage floor, are visions of two feminine-looking figures on each side, one silver and one charcoal black, performing a combative yet also avoidant dance, dueling in close quarters and then separating to be yards apart, mirroring one another's moves as they circle one another, eventually turning away, with the silver figure mirroring Álvrüttá's moves

Can't keep pretending
That all our heartbeats tremble for something
That we both know we won't wait for nothing
Gotta close this door in our lives
And let's feel alive


The figures fade away as the focus returns to Álvrüttá, however shots of light still flash across the air to the beat as she stops dancing and returns her attention to the audience before and around her. She strides to the edge of the stage gazing straight toward the audience, and straight into the camera view as it passes near her, determined, direct, and unwavering. A faint breeze shifts her hair ever so slightly as she turns away in disappointment and weariness at the last two lines

You don't believe its deceiving
I know you see what I'm seeing
I'm dreaming of freedom
And this just isn't love
No it just isn't love


A low rim of fire rises along the edge of the stage, as a camera shot along its length captures prophetic visions within the myriad dancing flames that shift colors beyond the ordinary range of white to red. Soon after, another shot at about waist height pans by Álvrüttá, facing upward toward the wavering, star-like lights far above her, the occasional diagonal beam of light flashing by, before being replaced by a more traditional shot of her, with a distant gaze, first in the direction of the fire, then in the direction of the stars. She then turns back to the audience with a sweeping, disappointed glance

I look to the fire that's breathing
I turn to the stars for their meaning
But they answer the same, oh
This never was enough
It never was enough


A large number of spotlights concentrate around Álvrüttá, strobing around her in a conical pattern as she raises her arms out in front of her, as if pleading. The strobing spotlights transition to several sets of spotlights that flash in different configurations around her in time to the beat. Putting all of her power in her voice, Álvrüttá feels as if her world is bounded by the array of spotlights flashing around her, making a conscious effort to look beyond toward the audience, and toward the broadcast crystals hovering around her, to smoothly transition between the two points of focus

Can't keep pretending
That all our heartbeats tremble for something
That we both know we won't wait for nothing
Gotta close this door in our lives
And let's feel alive

Oh, baby, let me go
Oh, baby, let me go
Oh, baby, let me go
Let me, let me

Oh, baby, let me go
Oh, baby, let me go
Oh, baby, let me go
I gotta feel alive, I gotta feel


A gust of wind blasts upon her, so that the fire along the stage edge billows into a huge blast of flame, whereupon Álvrüttá's gown burns off and dissolves into smoke, leaving her with a skintight shimmering golden jumpsuit, her skin and hair unsinged, her appearance otherwise untouched. She spins around, the light reflecting off her suit in a dazzle, before leaning forward, into the song, with all her energy

Can't keep pretending
That all our heartbeats tremble for something
That we both know we won't wait for nothing
Gotta close this door in our lives
And let's feel alive


The lighting dies down, the fire ceases, as Álvrüttá transitions to a calmer, more fluid dance that is only visible during the occasional, sporadic flash of light amidst the utter darkness, her outfit radiant with every flash, and every flash coming in faster and faster as the song builds back up to the final chorus

I gotta feel alive
I gotta feel alive
I gotta feel alive
I gotta feel alive
I gotta feel alive
I gotta feel alive
This never was enough
What will it take now?


As the lighting intensifies, Artteman makes an appearance clad all in black, with a black jacket on top. Surrounded by bursts of sparks, the two re-enact the dance performed by the figures earlier on in the performance, starting with an intimate, yet combative choreography that transitions to a distant circling with mirrored moves. Álvrüttá's dancing grows more euphoric and liberated as the chorus goes on

Can't keep pretending
That all our heartbeats tremble for something
That we both know we won't wait for nothing
Gotta close this door in our lives
And let's feel alive


The lights cut out bit by bit, as the two fall to the floor, reaching for one another, before turning away, the camera capturing the two from above as they form a symmetrical pattern on the stage floor

I gotta feel alive
I gotta feel alive
I gotta feel alive
I gotta feel alive
Something, I gotta feel it


The light lingers on Álvrüttá before blinking out


"Kiitos kaikille, Sinnlichšukai!" shouted Álvrüttá after getting back on her feet. Next to her, Artteman nods, tossing out a quick "Rauha, suk" with a quick salute before the two executed a quick bow and exited the stage.
Last edited by Todlichebujoku on Sat May 09, 2020 1:28 am, edited 2 times in total.

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Postby Todlichebujoku » Tue May 05, 2020 9:33 pm

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19. Teesdexxia
"what would I even say?" - Jeany Aylan

Language(s): English
Tune:Billie Eilish - when the party's over


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Jeany in a promotional picture

Jeany Aylan is a 19-year-old Teesdexxian singer from the suburbs of Stockton. Born on the 13th November 2000 into a well-connected family of Teesdexxian musicians, music was something that has always been present in her life from a young age, with her enrolling in classes from the age of 5 and making music with her older brother for as long as she can remember. A rising star, Jeany’s career is still in its infancy, so the opportunity to represent the nation at an international competition is an opportunity Jeany could not afford to miss. “I just couldn’t believe it, it was surreal” Jeany is noted with saying about the call she got about WHF, “I was just in total shock that they’d ask me, such shock I forgot to even answer at first, I just stood there like an idiot. Obviously when I came to my senses I said yes, yes, a thousand times yes!”.

News of her choosing, or of Teesdexxia’s return for the 51st edition in general did not come until fairly late, and due to this the song in which she will sing at the contest has been kept fairly under wraps, with the only official information released before the contest being that it was a personal ballad, and that it would be called “What Would I Even Say?”, stylised in all lowercase. For the creation of the song, Jeany knew she needed to do something personal and real to her. This would be a big opportunity for exposure, so she knew she had to put her best and most genuine on display. She enlisted the help of her usual collaborator, her older brother Fionn, and they got to work on a personal and emotive ballad. Jeany has said that the lyrics aren’t so much that of a typical break-up song, but are instead meant to reflect more of a complicated situation in love, where you’re stuck in confusion of your position and where you are going, and where the other person in the situation isn’t giving off many clues to help you know either.

Jeany arrived in Sinnlichšukai 3 weeks early. This was mainly so she could sightsee a little around the beautiful city before she had to focus all of her energy on the competition. Enjoying her time in the city very much, when the time came for rehearsals, Jeany and her team had exactly what they wanted all already figured out, and after a couple of attempts to get everything just as planned, their staging was ready for the big night.

When the night itself came, so did the nerves creeping over Jeany’s back. She tried to ward them off, but there was no way she could with how important this show, especially to her personally. The weight of a nation’s expectations, and her own, were on her shoulders. Alas, her time had come, her name was called, and her nation’s postcard had begun to play. It was now or never, so she took a deep breath, got a hug from Fionn, and ran onto the stage, ready to give it her all and present her song the best she could to the millions watching.





The song begins with the camera zoomed out with a full view of the stage. The arena is darkened, with alone the edges of the stages and the screens lit in bright white light and around 6 spotlights criss-crossed from one side of the arena, over the top of the stage on onto the other side, with 3 on each side. The stage itself is covered in a thick layer of fog and stood within this fog is Jeany herself. As the vocals begin the camera slowly moves towards the stage, with Jeany herself not moving and just singing towards to the crowd. Once the camera meets her, it pans around her.

Ice cold air cutting on my skin,
Lonesome late night walks, patience wears thin,
My mind is filling up with doubt,
My heart wants nothing but to shout out.


When the song transitions into the chorus, the camera focuses on Jeany from a full body view, she now sings to the camera directly. From within the fog at the backend of the stage, light emanates, pulsating in time with the bass in the chorus. Similarly, the crossed spotlights move in their opposite pairs across the stage in the second line, and then back to their original positions in the third.

Mixed signals and a torn heart, but I'm still alone,
In my mind, thoughts just play me like that, play me like that,
In my mind, thoughts just play me like that, play me like that.


As the second verse starts, red synthetic blood starts dripping down from what would be the position of Jeany’s heart, staining her white shirt in the process, the flow of blood drips down her entire body. Jeany starts to walk forward, wiping some of the blood with her hand. During the jarring “Call for me” line, she staggeringly rubs her hand on her face and her hair, in turn wiping the blood on there. During this verse, the camera just seemingly floats in front of Jeany, keeping the same amount of distance from her as she begins to walk. However, the camera stops in the last line, letting Jeany get closer until only her chest and above is in view. On the last lyric, the camera momentarily fades to black.

Underwhelm or Overbearing?
All I want, I need is some caring,
Hear my name but too far away, (Call for me)
And if I called, what would I even say?


The staging effects in this chorus are much like the first, however instead of being static, Jeany moves while singing, emotively swaying and doing arm movements like she’s trying, and struggling, to comprehend something, mirroring the themes of the lyrics.

Mixed signals and a torn heart, but I'm still alone,
In my mind, thoughts just play me like that, play me like that,
In my mind, thoughts just play me like that, play me like that.


Into the bridge, Jeany again walks towards the front of the stage, while the camera pans around her. During the bridge it begins to rain on the stage, slowly washing the “blood” off and leaving a reddish trail.

But do I just tell myself lies,
4AM and muffled cries,
Should I just move on,
Can I even move on?


For the final repeat of the chorus, Jeany sits on the front edge of the stage, singing out into the audience. Slowly, the few bits of light behind her fade out one-by-one, and as the camera slowly pans to a shot of her face, the camera itself fades into darkness for the final words.

Mixed signals and a torn heart, but I'm still alone,
In my mind, thoughts just play me like that, play me like that,
In my mind, thoughts just play me like that, play me like that.


After the lights come back on within the arena, Jeany jumps back up and waves towards the audience, quickly she says “Thank you for having me Sinnlichšukai, thank you!” before turning to run off stage.
Last edited by Todlichebujoku on Mon May 11, 2020 8:56 pm, edited 4 times in total.

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Founded: Feb 24, 2012
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Postby Todlichebujoku » Tue May 05, 2020 9:43 pm

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20. Waisnor
"Dramy bol'she net" - Anastasia Ryzhikova

Title Translation: Drama is gone
Language(s): Russian
Lyrics: Anastasia Ryzhikova, Mikhail Pavlov
Music: Daniil Varkulevich
Tune: Polina Gagarina - Драмы больше нет



Anastasia goes on stage with a man. First, she put her hand on the man’s chest, and during the first verse she dances with him.

Давай решим всё без вражды
Я знаю, что нам сложно теперь быть вместе
Но всё же, спорить нам уже нет нужды
Так что я скажу тебе - нет нужды в лести

Мы можем жить, как жили раньше
Мы можем просто быть друзьями
Но сейчас мы станем гостями

Let's solve everything without enmity
I know that it's hard for us to be together now
But still, we no longer need to argue
So I tell you - no need for flattery

We can live as we used to
We can just be friends
But now we will be guests

Before the chorus, Anastasia pushed the man away from her.

Драмы больше нет, нет больше драмы
Жизнь мне на душе, жизнь мне на душе оставила шрамы
Драмы больше нет, просто прощай
По мне ты не скучай (х3)

Drama is gone, no more drama
Life on my soul, life on my soul has left scars
Drama is gone, just goodbye
Don't miss me

Anastasia stood with her back to the man, he did the same.

Надеюсь, что ты сможешь простить меня
И будь уверен, я не держу обиды
Для нас эта часть жизни пройдена
И наши чувства ещё не забыты

Мы можем начать жизнь с чистого листа
Мы можем влюбиться снова
Но сейчас скажу я три слова:

I hope you can forgive me
And rest assured, I hold no grudge
For us, this part of life is passed
And our feelings are not forgotten

We can start our life from scratch
We can fall in love again
But now I will say three words:

When the second verse ended, the light illuminating the man faded. And when the refrain began, the light turned on again, only the man was not there.

Драмы больше нет, нет больше драмы
Жизнь мне на душе, жизнь мне на душе оставила шрамы
Драмы больше нет, просто прощай
По мне ты не скучай (х3)

Drama is gone, no more drama
Life on my soul, life on my soul has left scars
Drama is gone, just goodbye
Don't miss me

After the song was sung, Anastasia was very happy and thanked the audience:
"Thank you! You are the best!"
Last edited by Todlichebujoku on Sat May 09, 2020 9:15 pm, edited 2 times in total.

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Postby Todlichebujoku » Tue May 05, 2020 9:44 pm

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Kerlintee Nieminen - Kanssani

Tune: Joey Yung - 心之科学

Ya yuoksen susta, pois teiltá, hengittáá ulkona
Yokainen henkáüs otan, on kipua sivuuttan
Mutta táállá, pelkáán kuolen niin üksin
Ilman sinua, en voi eláá tai toivoa
Mutta kanssani en náe
Mutta kanssani en löüdá
Ašni


And I run from you, away from you, to breathe in open air
Every breath I take, I ignore the pain
But here, I fear I'll die so alone
Without you, I can't live or hope
But with you I can't see
But with you I can't find
My sense of self
Last edited by Todlichebujoku on Mon May 11, 2020 9:24 pm, edited 3 times in total.

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Founded: Feb 24, 2012
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Postby Todlichebujoku » Thu May 14, 2020 3:36 pm

The starting scoreboard is shown on the screen

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Todlichebujoku
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Posts: 4455
Founded: Feb 24, 2012
Left-Leaning College State

Postby Todlichebujoku » Thu May 14, 2020 3:37 pm

V O T I N G P H A S E 1



As Kerlintee fades from view, Momoko breezes back in.

"Hello all! The votes are in and all has been counted! We begin the voting with Phase 1, which will run in the running order. Phase 2 will be announced in a separately curated fashion for the most exciting show! Are you all ready?"

The audience shouts and cheers as the first points are revealed on the screen.
Last edited by Todlichebujoku on Thu May 14, 2020 3:38 pm, edited 2 times in total.

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