World Hit Festival 59|Orongumilá, Achaean Rep.|Draft Thread

by **Achaean Republic** » Sat May 22, 2021 7:42 pm

WHF NETWORK | OOC THREAD | IC THREAD

CITY AND STAGE DETAILS

Welcome to the Draft Thread of the 59thWorld Hit Festival! This will be the place where nations will work and post on their entry that I (the host) will then eventually transfer to the IC thread once it opens. The final deadline for posting entries will be Sunday, June 6, 2020 at 6:00 PM EST/11:00 PM BST, with the Live Allocation Draw being held shortly thereafter, at 6:30 PM EST/11:30 PM BST and the IC thread up 24 hours later. However, nations are free to make minor edits to their entries as I transfer them to the IC thread. There will be a 24-hour grace period after the entry posting deadline for nations to ask for edits as I complete the IC thread. After June 7, 2020 and the completion of the IC thread, all entries are considered final and unchangeable.

For this thread, you can use any format that you wish when posting your entry. The only things that will change as it is transferred to the IC thread will be the header (which will act as a link to your postcard and will be located at the top of your entry) as well as the text being aligned to the center for uniformity's sake. Otherwise, the host nation will not alter the RP aspect in any major form, but minor additions are liable to be made that will only come at the very end of your entries. That said, a few requests would facilitate the transfer process:

Please leave translations at the end of your post under a single spoiler.
If you are currently working on an entry, please put Work-in-Progress or WIP on the top of the entry or on a spoiler. This makes it easier to track which countries have completed their entries based on WHF standards.

As written by Kalosia for WHF26: The host (Achaean Republic) reserves the right to make alterations to your RP when copying it over to the IC thread. However, these alterations will be limited to cleaning up the formatting as well as adding (not deleting) RP regarding the situation in the arena (i.e. how the audience reacted). Substantial/major alterations will not be made without written permission, and any further changes to an entry within the IC thread will only be done upon written request by the user behind it, and with host discretion.

WHF Schedule: Unless altered otherwise, please review the below schedule for the upcoming World Hit Festival below:

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

Additional Information on Headers: You are encouraged to include the names of your song's IC producers and IC lyric writers. This information will go on your header. I will supply the header template used by Euskirribakondara and Normandy and Picardy (which will be replaced by a graphical header on the IC thread). I encourage you to use the below header to place on the top of your entry, as this information will be useful for IC thread preparation. Just make sure to delete any topics you don’t need.

OFFICIAL HEADER:

Code: Select all: [align=center][blocktext][box][size=250][b]XX[/b][/size] [size=200][b]NATION_NAME[/b] [b]ARTIST_NAME - "SONG_TITLE"[/b][/size] [b]Language(s):[/b] LANGUAGE_HERE [b]Title Transcription:[/b] TRANSCRIPTION_HERE [b]Title Translation:[/b] TITLE_IN_ENGLISH_HERE [b]Tune:[/b] [url=YOUTUBE_LINK]RL_ARTIST - RL_TUNE[/url][hr][/hr][b][u]Entry Specifics[/u][/b] [b]Trigramme:[/b] YOUR_3_LETTER_TRIGRAMME_HERE [b]Lyrics:[/b] LYRICISTS_HERE [b]Music:[/b] MUSICIANS_HERE [/box][/blocktext][/align]

As a final aside, please help yourselves to this very handy Spanish phrasebookif you would like to incorporate greetings and courtesies in your RP. Be mindful, however, that there are slight pronunciation differences between Castillan Spanish and Latin American Spanish; regarding the latter, do note that Achaean Spanish is influenced by Caribbean Spanish (namely, the Spanish spoken in Cuba, Dominican Republic, Puerto Rico and coastal Colombia and Venezuela). You can use this article summarizing the Caribbean dialect if you would like to understand more about Achaean Spanish diction and speech patterns and incorporate it into your RP.

WORLD! START POSTING NOW!

by **Alezian Union** » Sun May 23, 2021 12:12 am

XX
Alezian Union
Andi Robi Idris Novogrody - "Faraway Land"
Language(s): English
Title Transcription: -none-
Title Translation: -none-
Tune: Amir - On Verra Bien
Entry Specifics
Trigramme: ALE
Lyrics: Andi Robi Idris Novogrody
Music: Andi Robi Idris Novogrody

ANDI ROBI IDRIS NOVOGRODY TO REPRESENT THE ALEZIAN UNION FOR THE UPCOMING WORLD HIT FESTIVAL!
- World Of Music Magazine - May 2021

ANDI ROBI IDRIS NOVOGRODY IS DOING IT HIMSELF?!
- Taragonna Mode Magazine

IS ROBI THE TICKET TO BRING THE TROPHY TO ZAFIZAMARRAH?
- Zafizamarrah Herald Newspaper

"IF WE WANT TO WIN, SEND ROBI. AS A SINGER."
- Alimuddin Fattarah (Chairman of Alezian World Hit Festival Fan Club)

"IF WE'RE GOING TO WIN THIS, WE HAVE TO SEND ROBINOV. HE KNOWS WHAT WORLD HIT FESTIVAL IS"
- Makalayna Ruslin (Alezian Singer)

"WE KNOW HOW TO PLAY, NOW WE NEED TO FIGURE OUT HOW TO SLAY"
- Ishaq van Roosterijk (Alezian Composer)

"HE COMPOSED OUR BEST SELECTIONS, IT'S TIME FOR HIM TO GO FOR IT HIMSELF!"
- Makovia Shalashidze (Alezian Worldvision and World Hit Festival Superfan)

"HE BETTER WIN."
- A salty Alezian twitter user we don't know the real name of.

B A C K G R O U N D - INSANE PRESSURE, THE ALEZIANS BEST CARD?

The Alezian Union is participating for the first time, although they are continuing North Alezia's record from previous editions. Before, two of the regions (plus Pantabang Islands if you're counting WHF 56 as a separate entry) were participating separately. North Alezia who debuted in World Hit Festival 52 in Monterra, Kalosia has a stellar record, getting top 10 every single edition, nearly winning in 55 (but got beaten a few points by Todlichebujoku, which actually become one of the newly coined "The Alezian Less Important Question" and is also one of the moments where the Alezians are super pissed at another country, but they eventually accepted defeat)lol

South Alezia on the other hand, debuted in World Hit Festival 53 in Bovingdon, Britonisea. They're known for getting low scores every single edition, and known for sending "joke" songs (even though by some, they would be the favorite to win). They were the laughingstock of the competition before, but they're quickly changing, transforming into a new music industry, even getting to the level of North Alezia.

However, the overthrowing of the old monarchy system in South Alezia means that Reunification can be done, and through a referendum, on the 1st of May 2021, the entire Alezian Isles reunified into a new country called the Alezian Union. And since the two biggest members already know the World Hit Festival, the union decided to try and get the trophy, this time as one country.

A R T I S T - I N F O - WHO IS ANDI ROBI IDRIS NOVOGRODY?

Andi Robi Idris Novogrody, nickname Robi or Robinov (sometimes ARIN), is an Alezian singer and composer. He was born in Yakovskut, PY, NA which is a town near the city of Pyalivostok on 30th of January 1990. He was the oldest of two non-identical twin (where his twin sister is Andi Ainii Irqimaza Novogrody) of Mukhlis Krasnaya Novogrody (notably, he was the Premier of North Alezia from 1988 to 1998), and Andi Rinra Manriattang.

Education-wise, Robi loves music, However, he was initially not interested in pursuing music education, instead opting for a much more tempting and crazy Criminal Law degree, where he stunned everyone by graduating early in the super young age of 20. He then entered the Zafizamarrah Metropolitan Police Force as a detective from 2011-2014. It has to be noted that from 2011-2012, he was immediately sent to Oreo City, Antahbrantahstan. The other two years are spent in the Metropolitan City.

His life as a detective won't last long, however. He finds out that his higher-up are committing acts of fund embezzlement. Before he can do anything about it, that higher-up caught him and decided to kick Robi out of the force (the higher-up said that Robi was too lazy to work in the force) in order to prevent Robi from reporting it to the Alezian High Court. The case got revealed in 2017, and Robi got to testify against the higher-up, finally proving that he was right all this time. The force tried to get him back into the force after the case but he refused, especially since he already got a bigger, better, nicer, job.

Robi is married to Irasati Na'imatullah. They have two children. One boy named Fu'ad (age 4) and One girl named Ishani (age 2). Nowadays, the family lives in an apartment complex in Tel Hadiv after Robi decided to move there after falling in love with the city. (fun fact: Robi got so popular that there are people advocating for his name to be put in one of the city's avenues. Although Robi refused.)

As said previously, Robi has love for music even when he was little, where he would sing a lot from when he was little, joining choirs, musical projects, and much more. When he was only 7, he became a one-time participant on the popular kids show "Make Believe". Then he won the Children Singing Festival when he was 9. Then his singing career stall a little bit, due to him focusing on university, then on detective work and other things. However, after he got fired, he participated in the 2014 edition of the National Songwriters Competition with the song "I'm Your Universe" and won. After that, his name became known and he became a national sensation, especially after he revitalized the Buginese music industry when he released the song "Andi" in 2017. After he released "Andi", he signed a contract with ABAMusic (which is crazy because ABAMusic is where Alezian artists would peak, and he got there in just three years.)

Robi released albums such as "Milk" (2015), "March" (2016), "Manhattan" (2017), "Message" (2018), "Moving Someone Else" (2019), "Made in Alezia" (2020), and an upcoming one, "More Ways To Guess How I Feel" which will be released this year. And then he got singles such as "I'm Your Universe" (2014), "Ha" (2014), "When I Want To Say You're Insane" (2016), "Andi" (2017). Other than that, he's also played few roles in movies such as being Hasyim in "Okay Get Away From My Sight" (2018) and also dubbed Mardika for the Hebrew dub of the film "Mr. Isyaqqaruddin" (2019).

As said previously, Robi was responsible for writing previously North Alezian entries both in Worldvision and World Hit Festival. His first song being Bevakasha which he wrote together with Idresh Noam-Khaled where the latter sung it representing North Alezia in the 86th edition of the Worldvision Song Contest, which brought North Alezia 8th place and ending North Alezia's back then two non top 10 result.

Robi was even more well known for his World Hit Festival entries, first writing for Halimah Sa'adinova with the song "Hilang di Zafi" which earned the country its first top 3 in World Hit Festival 55 held in Brahmokerto, Fromulya, which was a second place, just two points behind winners Todlichebujoku. Then after a break in 56 returned in 57 to write for his sister, Ainii with the song "Kau, Yang Terbaik" which was the favorite to win, sadly only leaving them with a sixth place. Then finally last edition where Robi wrote for Aminah Al-Laila with the song "Atas Nama Sang Cinta" which earned seventh place.

Impatient Alezians wrote to the Alezian Broadcasting Authority about how North Alezia (a few weeks later Alezian Union) always earn excellent results, however, never winning it. And the pressure for the ABA to do something immensely shoots up until the ABA finally listened and finally enlisted Andi Robi Idris Novogrody himself to hopefully gain the trophy for the new Alezian Union.

Other than singing and acting, he's also a very good polyglot. And boy is he a good one. He can speak *ahem* English, Arabic, Hebrew, Indonesian, Russian, Aramnan, and Buginese. And he said that he's ain't stopping. Continuing adding to his language abilities by learning French, Dutch (more important than ever because Robi's going to South Alezia a lot because they're reunified now), Turkish, and Finnish.

Although he is the son of the ex-premier of North Alezia, he said that he's not interested in politics even if the family would eventually pressure him to try and run as Premier of the Alezian Union, where he said in an interview: "I'm sorry, but I am not interested on politics. And I don't think I will try and run the country even if a lot of people desired for me to lead. Maybe times will change, but for now? I'm not going to. Sorry." It is shown that politically, Robi supported the Meme Party where he advocated for minimalizing the usage of censorship in media (unless age related).

S O N G - I N F O - WHY FARAWAY LAND?

If you're an Alezian History enthusiast, Faraway Land is a great song to introduce or summarize the entire start of Alezian pre-colonialization civilization. The song talks about a lone merchant, trekking his way from a populated land (historic wise, this would be South Sulawesi, Indonesia), trying to find a new place that would welcome him and his new family, that will grow and live there, then eventually build a new community as more people come.

Back then, so many people sailed with their families or crew not knowing what place will they arrive at. The world is wide, wide enough for the people to be interested. Some even sailed away from their homeland for being different to the home's standards. The thing is, back then, compass or directional technology isn't so advanced back then (we doubt it even existed back then), and the ship lost its way. So the person prayed, that there'll be an new land, some place. Just one place. To love, to live, to grow. And they eventually found what they've been looking for, which is actually the Alezian Isles.

Robi himself confirmed that the place the people on the story behind the lyrics of Faraway Land eventually end up landing on is Al-Hakaradunna, ZF, NA. Which is the alleged location where the actual ship who contained the first settlers of Alezia landed. He planned to shout the much more accurate "Ali'cha'a'i", however he changed it to "Alezia" in order to not confuse international viewers.

The song teaches its listener to never give up even on the lowest and on uncertainty, and to accept everyone's differences and appreciate people based on who they are.

R P - THAT'S TEA INTERVIEW PART 1 (PRE- PRE -WHF)!

HD: Habisyul Damaqqi (Host of That's Tea)
AR: Andi Robi Idris Novogrody

HD: Ladies and gentemen! I'm your friendly tea-drinking Habisyul Damaqqi, and you're back in our broadcast of....
HD + Audience: THHAAAAAAAAATT'SSS TEEA!

(All people in the studio points to a glass (not cup) of tea while the camera that pointed into it zoomed out while the jingle plays.
The jingle ends and the audience clapped.)

HD: And welcome back to That's Tea! God, that wouldn't get old. Anyways, anyone has heard of an unknown musical competition called, "World Hit Festival?"

(The audience laughed)

HD: Of course, of course. Just kidding. Everyone in the newly reunificated Alezian Union Know the World Hit Festival. Why? Just watch this video.

(The audience applauded, and a video plays. It's the recap of previous North Alezian entries from Rahmat Zahulafi-Yamaqzul to the latest Aminah Al-Laila. Each videos shows the result that North Alezia earned in the competition. The video ends after Habisyul clicked the remote, and the people inside clapped their hands.)

HD: Nice video, right? And we won't show the South Alezian recap. Because they won't let us out of embarrassment.

(The audience "oof"ed.)

HD: Yeah. Anyway, notice something in the result? Actually don't answer. (Habisyul threw the remote to the sky before catching it again) We never win. Halimah Sa'adinova, props to her, got close, earning second place. Only for us... To be beaten by Todlichebujoku by two points. Honestly, ok ok. If you're a World Hit Festival fan, and you are an Alezian. You probably heard that joke too many times already. "HI I'M AN ALEZIAN" "OH! YOU GOT BEATEN BY TODLICHEBUJOKU BY TWO POINTS! BOOHOO-FIFTYFIVE-BOOHOO."

(The audience laughed)

HD: I do have to say, props too to the Tobukian team in the 55th World Hit Festival for winning that edition, and we also got to appreciate the Fromulyans. Especially since Halimah got a trophy as best female act from them!

(The audience applaused)

HD: Okay. But we also have to put to consideration, the Alezian Union, continuing from where North Alezia left off, is actually doing very well in the series of participations in this festival, getting top 10 every edition! We're on that left side every single edition. Now all I'm saying is, don't you think this is time for the Alezian Union to actually WIN?

(the audience applaused much more intensely and crazily this time, someone in the audience shouted "IT'S BLOODY TIME!")

HD: (points at the member of the audience) I KNOW YOUR FEELING! Actually I sadly don't really know. HOWEVER, I actually sneaked up today to the crazily long named "Alezian Broadcasting Authority Committee of Song Selection and Hosting of the Worldvision and World Hit Festival" or as we public like to call it, ABA Dream Team, and I find out that ABA has selected the entrant for the 59th World Hit Festival. They revealed it to us hosts later, especially me.

(the audience let out a curious "oooooh")

HD: YES! Wonder all you want! Why? Because we're going to bring in that Alezian artist. HE has the potential. You know HIM. Who is HE? Ladies and gentlemen, may we present you, ANDI ROBI IDRIS NOVOGRODY!

(the audience crazily applaused as Robi entered the studio, and the applause continues until Robi sat down on the stage's chair together with Habasyi.)

HD: AH! You're here! You're actually here. Normally for a composer like you, your schedule would be jam packed.

AR: Heheh. Normally that's the case, but I have a lot of time today, magically.

HD: Okay. Now that we know how you have the time to do this interview, it'd be fun for you to introduce yourself, and... actually who am I to ask. EVERY Alezian at least heard of your name at least once. Actually, maybe even EVERYONE around the multiverse. You're EVERYWHERE.

AR: I won't mind. Hi guys, I'm Andi Robi Idris Novogrody, usually called Robi, Robinov, or Arin. I'm your friendly composer and singer, also occasionally a dubber and rarely a criminal investigator. I'm also a father of two beautiful children, ah, one's attending Kindergarten this year!

(The audience applauded)

HD: Okay. You're a good dad, I admit. Congratulations!

AR: Thank you.

HD: Now, any other news that you would want to say?

AR: Right. I'll be representing the Alezian Union in this World Hit Festival held in Orongumilá, Achaean Republic. I'm also the one that wrote the song and the lyrics. So it's all me plus the delegation team. And my family too.

(The audience applauded again)

HD: So, I got a lot of "how does it feel" questions, but I guess we have to start with you. How does it feel for you when ABA selected you to participate in the World Hit Festival?

AR: Isn't it obvious that they're going to pick me at some point? I already come prepared.

(The audience laughed, while Robi chuckled on the stage.)

HD: (laughing) HAHAHAHAHA RIGHT- YOU-YOU'RE EVERYWHERE. You wrote the North Alezian entry in the Worldvision Song Contest 86

AR: Correct, with Idresh Noam-Khaled, incidentally I've worked there.

HD: And also, you got a MASSIVE portfolio in the World Hit Festival. You tried to represent North Alezia in the Worldvision Song Contest on the first season of Alezimania-now-named-Alma?

AR: First season. Correct. I actually got second place and would've gone to Monterra, Kalosia as the debut entry from North Alezia instead of Rahmat Zahulafi-Yamaqzul. However, Lady Alyoub got pissed that she got last, and punched my nose so hard that some bones got broken. I had to go to hospital and miss the festival.

HD: Oh god. Robi. Watch out, we don't want to get our age rating raised because of mentioning of violence and gore on non-educational content.

AR: Ohmygod, I'm so sorry.

HD: Nah, it's fine. Literally, around 50 people raised that age rating, for your information and the audience's information too. Anyways, how is your nose now?

AR: It's okay now! Although I still shiver every time I touch it. But after surgery, my nose shape returned to normal and I've recovered so much that I can sing live again. So, anyway, other than that Season 1 second place, I've also composed the Alezian Entry for World Hit Festival 55, then a break in 56, then a three edition streak from 57 to 59 where the international public might see my participation count is getting tedious.

HD: Oh yeah, you got a lot of participations even though you're only a composer on all of those entries. What happens after this one?

AR: After this... I'll probably step away from World Hit Festival business... Maybe jump to Worldvision, or maybe start actually chilling out from both competitions.

HD: Okay. Refreshing information. Second question, how does it feel when I told you that Alezians are getting impatient over us not winning?

AR: Well, I understand that Alezians wanted an Alezian to raise that trophy. But I suggest y'all to be patient, because we can't vote for ourselves. And do not use this as an excuse to say that "The world hates us"; no. It's because there are much more better songs out there. World Hit Festival is well, world. You can't argue with the world not liking your song.

HD: Okay. Third question. How does it feel looking at twitter now that you're revealed as the Alezian representative for this World Hit Festival?

AR: OH. MY. GOD. Twitter? It's CRAZY. I'm getting tagged everywhere, people applied presure into me with comments like "You better win", "If you lose, the entire competition is rigged", "WHF 60 in Zafizamarrah?" Guys, first, what if the ABA wanted to host it in Doorsbreeken? second, I advise you to not get too confident in me. Things can happen. But a lot of people gave me support too, saying that all I need to do is to just have fun out in Achaean Republic.

HD: Hear that? You guys gotta cut him some slack. Fourth question. How will you feel if you won?

AR: Heheehehehe... Amen. If I won, I'll definitely feel that spark of joy, spark of victory, positive feelings, really.

HD: Okay fifth question. Let's pray that it won't happen, How will you feel if you actually return home with Alezia's WORST result? Or maybe... Let's pray hard that this won't happen ever on any of our artist, get last place?

AR: Oh no... That's super terrible. But I guess if I return home, I'll probably make that a lesson on how to kind of make my music relate to the people of the world. I can relate to Alezians, maybe I haven't created that relationship with the people of the world? Also, if I really got that bad of a position, please please please please, don't destroy me.

HD: I don't think we're going to do that. Although maybe we'll throw in some salt? Hopefully not. B-T-W, how's staging?

AR: Got that taken care of, I'm wearing designer clothing, which is designed with the old Islamic era in mind. And I got four backing dancers, I wanted to maximize everything that Achaean stage got to offer. Maybe I can serve the world with a bang that way.

HD: How about promotion?

AR: I focus on online promotion lately, not through ads- Actually, yes it's through ads, but all of them are in my social media. I kinda vowed not to disrupt anyone's peaceful video sessions on Youtube only for an ad to disrupt it and have me shout "HEY HEY HEY VOTE FOR ME" That's not really my mojo.

HD: Nice. Second to last question, what expectations do you have for yourself?

AR: Honestly, I'm looking at that top three. Because I can get there with Halimah Sa'adinova, let's see if I can reach it myself. But if fate say otherwise, any results would be fine, but I'm really trying to avoid that right side of the scoreboard.

HD: We really hope you do get that high. Now last question, any notable countries our audience need to look out for?

AR: We all watched the Worldvision Song Contest in Avon, Elejamie. We saw Malta Comino Gozo winning twice in a row. If they know how to transport that Worldvision Magic to the World Hit Festival, they got a strong chance of winning. HARD. Maybe even TWICE IN A ROW. Then, the host, Achaean Republic. Then, Pemecutan, who always got lyrics that caught my attention positively, and finally, I also watched the possibility of Britonisea getting the title. I mean, look, they always sends quality songs. And when they host, they host with ABSOLUTE style. But no matter who won, I'll be happy for him or her or they, because that means that even if it's not my song, the entire world has a song to unite themselves in.

HD: Okay! We'll listen to your song right after this ad break! Ladies and gentlemen, I'm Habisyul Damaqqi, your handsome host for the day, and you're watching...

HD + AR + Audience: (points at tea glass) THAAAAAT'S TEA!

(The camera zooms into the glass of tea, playing the jingle before transitioning to the show's logo and then transitioning to the ad break)

R P - THAT'S TEA INTERVIEW PART 2 (PRE-WHF)!

HD: Habisyul Damaqqi (Host of That's Tea)
AR: Andi Robi Idris Novogrody

HD: Ladies and gentemen! I'm your friendly tea-drinking Habisyul Damaqqi, and you're back in our broadcast of....
HD + Audience: THHAAAAAAAAATT'SSS TEEA!

(All people in the studio points to a glass (not cup) of tea while the camera that pointed into it zoomed out while the jingle plays.
The jingle ends and the audience clapped.)

HD: Okay. At this point, the Alezians are preparing for either the best... or the worst, at the World Hit Festival in Orongumila, Achaean Republic. With their carribean culture, telenovelas, crazy hot weather, wind, and bathhouses, we ALL know that this is going to be a steamy one.

(the audience let out an "ooh")

HD: But anyway, we haven't checked with our own Andi Robi Idris Novogrody. And since Orongumila and Zafizamarrah's distance is farther than the distance it would take me to get that fresh Buy 2 Get 2 offer at FABA from this studio.

(the audience laughed; context: That offer only applies to Mineral Bottled Water Products. Which only costs AZ$ 0.5 per 300 ml bottle. Super cheap.)

HD: I know. It's a bit tedious. Anyway, let's bring Andi Robi Idris Novogrody to the call, shall we?

(the sound effect of phone button clicking plays, then a live video of Andi Robi Idris Novogrody wearing sunglasses inside a hotel was shown)

AR: What?

(the audience applaused)

HD: Dude, no need to be rude!

AR: Hahahaha. Just kidding. Hello everyone! I'm Andi Robi Idris Novogrody, currently in the Achaean Republic as the representative for the Alezian Union this competition.

HD: Okay! Welcome back to That's Tea, Robi! I mean, you've been here for the show for... how many episodes? 10 if I see it myself, including collaboration episodes.

AR: Well, you kept calling my phone number and be like "Hey, Robinov, get to ABASphere, I got another That's Tea topic I need you to cover.

HD: Who else could I really call, huh?

AR: Halimah Sa'adinova?

(The audience laughed.)

HD: Smart. Anyways, how is Orongumila?

AR: Well, the city is just splendid. It's pretty well known for its sugar... Think of it as... Achaea's version of Moorsbrijk, South Alezia. They got sugar, and pretty good at it if I say so myself. I mean, their tea, which I'll show later, is great.

HD: Gotta appreciate that. I mean, this show came from the idea that I'm addicted to tea.

AR: Honestly, you've gotta visit this place one day.

HD: Will do. Anyway, enough about the city, have you read the news lately? How does it feel for you to be the Alezians favorite to win?

AR: Every single Alezian entry is their favorite to win. Duh. However, not going to lie, I'm super super thankful for the MASSIVE support that I've been getting lately. It makes me happy, reading positive vibes is really fun.

HD: Of course, we're supporting you 120%! Anyways, how's the rehearsals?

AR: Ah! I got a good story. So, I was at the stage, and I got this box. Right. Now, I missed my balance when I jumped and nearly sprained my ankle.

(The audience gasped)

HD: Oh god. Dude, you're fine right?

AR: Yes, I'm very fine. I say nearly, not totally.

HD: Glad to hear, because that jump is a new thing in Alezian choreography which is usually cat-given-a-treat kind of tame.

(The audience laughed)

HD: Anyways, worst case scenario, what would happen if something bad happened?

AR: Ankle-wise, worst case scenario, I'll probably not jump and just lame-ly walk down the stairs and walk to the front. And the spin is also compromised.

HD: I'm not imagining it. By the way, away from the bad, is there anything good in the rehearsals?

AR: More good than bad. The box to our surprise, connected perfectly! And the dancers, they are marvelous, even if the count of our rehearsal days together are pathetically low.

HD: Any notable countries while you're rehearsing?

AR: Song-wise, I don't think I really paid attention to the songs, but my opinion stays like the one I did the last time I was in this show. Yeah, the usual MCG, ABEN, Kalosia, Achaean Republic.

HD: Well, surely we can't wait for the live show?

AR: It's definitely something you gotta look for. It's crazy, I promise. Everything held in the Achaean Republic got that insanity put to their production, and at the max.

HD: Well you hear him, everyone! Keep your schedules tuned for the 59th World Hit Festival, live from Orongumila, Achaean Republic, right on the channel next door, ABA Channel Three! We'll continue with other artists doing many things after this ad break, including Sourire Allievais who is located on the opposite side of the department, the much more prestigious Worldvision Song Contest! Ladies and gentlemen, I'm Habisyul Damaqqi, your handsome host for the day, and you're watching...

HD + AR + Audience: (points at tea glass) THAAAAAT'S TEA!

(The camera zooms into the glass of tea, playing the jingle before transitioning to the show's logo and then transitioning to the ad break)

PERFORMANCE

(The postcard ended, and quickly it transitioned to the aerial view of the stage, with applause applausing and Alezians going crazy due to the fact that it's Andi Robi Idris Novogrody who will be singing now. Surely the Alezians got a good chance. Robi is on the center of the stage, wearing an Islamic-styled outfit which is a blue long-sleeved shirt that spans down to his thighs and black long pants and brown boots, standing on a large black box which has LEDs attached to it on all sides. while the four backing dancers occupied all the islands away from the center stage, wearing similiar clothing to Robi himself.)

(The instrumental starts, and the camera zooms into Robi in full sight, singing passionately, moving his left hand waving at the sky, and the stage showing a projection of the starry yet dark night sky)

Looking from the deck
Looking at the sea, and the starry sky
Looking at my future life, and my past life, wondered the meaning

Sailing away from home
Sailing away from, from the darker past
Sailing away from, the demons of me

(The camera zooms out, showing Robi still standing up on the box. The box then starts lighting up, showing a video of water movement which spreads below and to the floor projections.)

Where to go?
I don't know my way through
How I will survive even when I'm at my lowest?

(The camera zooms into Robi that only his upper half is visible, where Robi kept singing, where he raised his right pointing finger at the sky then opened his fist to put his hand on his chest where his heart is located under while closing his eyes preparing for the reff.)

Will there be,
One so special place,
One that welcomes me for who I am?

(Robi jumped from the box while raising his right hand and holding the microphone on his left hand. And at that second, the camera view changed to show the aerial view and the projection on the stage floor changed, where the water "gives way" for Robi, revealing a wooden texture like you would see on a ship hidden below the water effect. Robi walked forward, revealing even more wood below in a straight forward line)

Faraway Land,
Oh Faraway Land,
Where are you my dear? Embrace me, my far'way land

Faraway Land,
Oh Faraway Land,
Open my heart to you, oh my dear, my far'way land!

(The instrumental plays, and after that, Robi shouted "ALE!" and ran back to the center which followed by Robi (holding on to his microphone) and the backing dancers spin in circles (Turkish dancing style), which gave the clothing that the team wore a little bit of a "swish")

While that happened, a steadicam which was stationed on the left bottom island shows a backing dancer (and another one on the back) spinning in circles elegantly, and the camera quickly walks from the island and to the main stage where the camera shows Robi spinning as well. This dance quickly gained an applause from the audience. At the second repetition of the dance, Robi stopped and quickly shook his head and ran for the box and going up again with the help of the stairs. The instrumental stopped, and the water animation quickly returned to the stage, filling back the entire stage closing away the wooden texture, and this time becoming dark.)

Ports I've passed and towns I sailed through,
With the people that loved me and stayed true
I fought my way through the endless loop
So the lovers can have one more day through

(Robi raised his right hand which was pointed at by an overhead light)

God, please give my land for me
God, please give your best love for me
God, please give what's the best for me
Please be quick, so my eyes can look up and see

(Then the camera view changed to an overhead camera where it can be seen Robi spreading his right hand and spinning in the same place once. And when the first string was played, the LED box shows a shining light spreading like a heartbeat to the center stage before returning to the box and letting the dark take the spotlight for a little bit.)

Oh I pray that someday,
There will be that some place
Some place that can cherish me and love me for who I am

(The second string was played, and the light shines again with greater power, but dark still defeated light.)

Oh, is there such place?
For such place I'll continue life

(Robi jumped from the box while raising his right hand and holding the microphone on his left hand. And at that second, the camera view changed to show the aerial view and the projection on the stage floor changed, where the dark water quickly became overran by the light, and the view changes to a steadicam which walked to Robi and Robi looked at the steadicam camera in happiness)

Faraway Land,
Oh Faraway Land,
Where are you my dear? Embrace me, my far'way land

Faraway Land
Oh Faraway Land
Open my heart to you, my dear, my far'way land!

(Robi continued to sing, while the camera view changes to show all backing dancers spinning away from the island, through the corridors, and to the center stage to join Robi on the next instrumental)

Faraway Land,
Oh Faraway Land,
Where are you my dear? Embrace me, my far'way land

(The view changes back to the main stage where Robi kept singing, and the backing dancers arrived at the same time)

Faraway Land
Oh Faraway Land
Open my heart to you, my dear, my far'way land!

(Robi raised his right fist and shouted, "COME ON ACHAEAN REPUBLIC AND WORLD LET'S PARTY!" The five spin at the same spot, although Robi spins slower to sing the verse mid instrumental without making himself too dizzy to sing properly where he stopped and faced the front to sing that verse)

Faraway land,
Oh land so faraway land

(The instrumental continue, with the backing dancers even exchanging positions with each other, and Robi repeating the same thing, before all lights dimmed out while the instrumental changes pace.)

Faraway land,
Oh land so faraway

(Under the dark and and an overhead light pointing solely at him and the projection under still showing light, Robi stopped and sung a bit slower while water starts pouring down from the sky (pyrotechnics) )

Faraway land,
Oh god,
Give me strength so I'll see that far'way land

Faraway land,
Oh my far'way land
Give me strength so I'll meet you, my faraway land

(The instrumental picked up the quick pace again, and Robi shouted "ALEZIA!" quickly before spinning again followed by the backing dancer. This time at the same speed, before Robi has to stop, and the backing dancers spun slower.)

Mmmm....

(The instrumental ends, the audience applaused crazily with Robi raising both of his hands while shouting, 'GRACIAS! THANK YOU SO MUCH! I LOVE YOU, WORLD! KISSES FROM THE ALEZIAN UNION!!! YEAH!" The backing dancers celebrated together with Robi and the camera quickly changes its view to show Alezian fans being crazier than usual flying Alezian flags and celebrating their entrant.)

by **Rhim Flavezztowland** » Sun May 23, 2021 12:23 am

XX
Rhim Flavezztowland
Mikhail DeLangford - "(TBA)"
Language(s): English
Tune: G-Dragon - "Untitled, 2014"
Entry Specifics
Trigramme: RFL
Lyrics: Mikhail DeLangford
Music: Mikhail DeLangford

by **Carrelie** » Sun May 23, 2021 3:18 am

XX
Carrelie
Vian Genamman - "Wo bist du, Wassermann?"
Language(s): German, French, Dentrician, English
Title Transcription: TRANSCRIPTION_HERE
Title Translation: Where Are You, Aquarius?
Tune: Anita Skorgan - "Oliver"
Entry Specifics
Trigramme: CLE
Lyrics: Vian Genamman, Marie Loisenne
Music: Vian Genamman, Annemarie Köningsmann, Luiza Mały

Introduction

CarrelieOne is in a crisis. Protests have taken money out of the entertainment budget and the corporation is teetering on the brink of collapse. Despite this, the broadcaster is determined to grab that gold at the World Hit Festival, and a big goal calls for big names.

Vian Genamman is a well-known figure in Carrelie. After more than 50 years in the music industry, Vian is clearly not slowing down, with many of her singles still charting. She was the logical choice for CarrelieOne, being an employee already and a big name. She assembled a top team of musical icons, from the legendary Marie Loisenne to the newcomer Annemarie Köningsmann, all of which have seen times in the spotlight

Performance

Vian steps out onto the centre stage with a wide smile on her face. She's rather confident the night will go well, after all, she hasn't experienced any misfortune just yet. She's in her usual commentating outfit that has become ever-so-famous, neatly washed and ironed to perfection. It's not fancy, but it is comfortable.

The stage itself is littered with jugs of water, many of which are filled, as well as a few pots in the extreme corners of the stage and on the platforms. Some have soil in, some do not

Behind her stand three backing singers, familiar faces among Carrelian folk. To the left stands Annemarie Köningsmann, a woman who just walked into the Carrelian music scene in 2020 and everyone just accepted it, in the middle is Marien Lochnette, pop star and one of Carrelie's international big names, and to the right is the ageing Luiza Mały, who's only just younger than Vian. Once the resounding applause dies, the music begins.

(Wo bist, bist du, mein Wasserman?)
(Wo bist, bist du, so schnell gegangen, oh)
Wo bist du, Wassermann, Wassermann?
Warum bist du gegangen?
Wo bist du, Wassermann, Wassermann?
Wo bist du hin, jetzt bleibst du nicht bei mir?

Vian picks up one of the water jugs, pouring some water onto the stage. As it trickles onto the stage, a small puddle forms, pooling around Vian's shoes.

She was lost and alone, you were lonely and just waiting for a chance,
For one to call your own, you were sad.
Puis tu l'as rencontrée,
Et ta vie ne serait plus jamais la même, tu sais,
Kommst du jetzt nach hause, zurück zu mir?

During this reminiscence, Vian is swaying on the spot from side to side. She breifly walks to face the audience on the other side of the stage. When she returns, she grabs the water jug sitting near the microphone and holds it up. She travels to the stage's corner and pours some water into a plant pot.

(Où es-tu mon Verseau?)
Où es-tu, mon Verseau, mon Verseau?
Pourquoi êtes-vous allé?
Où es-tu, mon Verseau, mon Verseau?
Où êtes-vous allé, où êtes-vous allé, allé?

During the chorus, Vian and her backing singers travel to the four platforms on the stage's extremes, using their jugs to pour water into separate plant pots while singing.

I thought you would return, you thought I’d had enough when I kicked you out
But all I wanted was honesty;
Je t'aime toujours tellement,
Tu ne peux pas dire que je te veux maintenant?
Çe oüvre môntrë çoú, abëré.

During this verse, the audience's attention is diverted towards the screens. They show a scene of a young teenaged boy running from home, carrying water from stream to sea, waves lapping at his feet. He travels into the water, collecting a seemingly infinite amount of water.

(Á fontrë, Oúatèrmän?)
Á fontrë, Oúatèrmän, Oúatèrmän?
Á fontre lét gégarë?
Á fontrë, Oúatèrmän, Oúatèrmän?
Vatrë noún çe, Vatrë noún çe!

As the chorus ends, Vian returns to the centre to close the song. At the final line of the chorus, she 'rips' off her outfit to reveal a beautiful red ballgown, which spreads across the floor and over the puddle created by the water.

Wo bist du, Wassermann, Wassermann?
Warum bist du gegangen?
Wo bist du, Wassermann, Wassermann?
Wo bist du hin, jetzt bleibst du nicht bei mir?

(Oh, my Aquarius, -arius)
Jetzt bleibst du nicht bei mir?
Où es-tu, mon Verseau, mon Verseau?
Gésèr-trë çoú á çe?

At once, artificial flowers spiral out of the plant pots, reaching high above the stage and releasing confetti. Vian has finally performed on stage at a contest for the first time since 1981, over 40 years ago. She doesn't care how well she does, she'll always have memories.

by **New Zealandic South West Saint Martin** » Sun May 23, 2021 3:24 am

XX
New Zealandic South West Saint Martin
Tee-Bee-Aye - "Let's Commit a Crime!"
Language(s): English
Tune: Brian David Gilbert & Karen Han - we like watching birds
Entry Specifics
Trigramme: SSM
Lyrics: Lisa Doorstaupe
Music: Gerald Saansbrujs

Let’s commit a crime!
Let’s all run from the police today!
Let’s commit a crime!
We’ll embezzle, won’t cost a dime.
Every employee will be so
Confused why half their money’s gone!
Oh yes, let’s commit a crime,
Now why don’t you join in here too?

Let’s commit a crime,
We’ll go robbing the bank with guns and knives.
Let’s commit a crime!
Invade a guy’s privacy!

From the big crimes to the small,
We’ll go out and commit then all!
Come on, let’s commit a crime,
We’ll steal an old woman and hide her in the Sainsbury’s.

Let’s commit a crime!
What other crimes are there to do?
Let’s commit a crime,
I have an insatiable thirst!

I have done money laund’ring,
I have done some white collar crimes,
Come on, let’s commit a crime,
And we’ll someday be granted ascent!

Let’s commit a crime,
We will worship those above,
We pay in blood and other people’s fortunate demise,
We shall join in a circle,
We shall chant of those we see,
We are naught but those who shan’t resist the great all-seeing eye!

Let’s commit a crime!
Let’s go rob a grandpa who is blind!
Let’s commit a crime!
The bloodshed is inevitable!
From the petty to the large,
We won’t be guided by those in charge!
For now, let’s commit a crime,
And one day we’ll be rich too!

by **Sedoniae** » Sun May 23, 2021 3:32 am

XX
Sedoniæ
Ester og Kompanie - "Sefære Kom"
Language(s): English, Sefære
Title Translation: Seafarer Come
Tune: Bamses Venner - Tænker altid på dig
Entry Specifics
Trigramme: SEA
Lyrics: Ester Eriksdottír
Music: Ester Eriksdottír

by **Achaean Republic** » Sun May 23, 2021 7:56 am

XX
ACHAEAN REPUBLIC
Viviana Mercado - "Lo Vas a Perder"
Language(s): Spanish
Title Translation: You’re Going to Lose
Tune: Ednita Nazario-No Pienso Volver
Entry Specifics
Trigramme: ACH
Lyrics: Carlos Manuel Ortíz, Luisa Rincón, Talía Benítez
Music: Carlos Manuel Ortíz, Talía Benítez

La Leonesa de Acaya. La Diva Corolana. The Achaean Lioness. Corola’s diva. A proud Corolana and a masterful queen of Latin pop music on her own right, Viviana Mercado was invited by host broadcasters AS1 and AFT to compose and perform a song for the upcoming World Hit Festival in Orongumilá. With a career spanning more than 40 years of music, talent and charisma, the sixty-year-old singer was already a powerful figure and a reference for many singers that came after her across Latin America. Ballads, rock, pop, salsa, merengue, bachata, reggaeton, EDM, alternative—Viviana Mercado has done it all, has sung all, has performed it all and was ready to tackle the World Hit Festival as another pearl in her more than illustrious career.

Born in 1950 in Corola’s Barrio Tercero from parents Marcelo Oscar Mercado and Catalan-born Leticia Heredia i Montserrat, Viviana Mercado was born into a life of privilege, given her father’s successful home construction company quickly expanding across the nation building American-style Levittowns and her mother’s once noble roots in a Catalan family of bankers and lawyers, who escaped to Achaea once the Spanish Civil War tore down on Barcelona. She studied at the country’s best private schools and enjoyed the finest luxuries imported from Europe and America. She sang in the Corola Catholic Children’s Choir and was confirmed by the then-Bishop of the Corola Diocese, Monsignor Felipe Khoury y Castell—also of mixed Lebanese/Catalan heritage—and developed the opportunity to sing in Spanish, French, Latin, and Catalan. She was always surrounded by comfort and opulence, and even her quinceañera became the social event of the summer of 1965. Still, Viviana never forgot her roots, and her privileged youth became the catalyst for her humbling journey towards the world of music.

Besides singing in the choir at Corola’s Primate Metropolitan Cathedral, she was also accepted into the Corola School of Fine Arts for her impressive vocal delivery and melisma. She enjoyed learning about the history of music, not so with musical theory and philosophy that quite bored her to death—and rumors ran afoul that she was accepted into the Corola School of Fine Arts due to her parent’s financial contributions to the school’s endowment and not the scholarship and recommendations she earned by her teachers and colleagues. At the same time, her father’s construction business was going bankrupt due to one of his business partner’s get-rich-quick schemes and shady businesses in Florida. Her mother, on the other hand, was forced to go to Spain and stay there for months trying to sign assets to private developers looking to build tourist complexes in prime Mediterranean real estate. Faced by her parents’ financial situation, the mounting tuition and bills, and the ongoing criticisms from the city’s elite, Vivana was forced to drop out of the Corola School of Fine Arts and take the helm of one of her father’s struggling businesses, all the while singing in some piano bars in the city’s exclusive business districts at night.

One fateful September night, however, AS1 television producer Albert Herger found Viviana singing one of Nina Simone’s classic lounge songs at a piano bar in Barrio Tercero, where business executives would take their secretaries and wives—and concubines—for a night out. He was impressed with Viviana’s smooth, yet powerful voice, her delicate features, and her snowy, blonde complexion that contrasted with the Achaean night. After a conversation or two, Herger persuaded Viviana to ditch the bar and join him in La Nueva Ola de Corola, an Achaean primetime show aimed at the newfound youth who sang new wave covers from American artists in one single live take. Her voice took over the news at the time and, in 1969, she had her new CD, Viviana Soy (“Viviana Am I”), certified platinum in the country and kicking off her long singing career.

Nineteen albums, seven compilations, countless world tours and seven failed marriages did not stop Viviana’s appeal to the Achaean public. She became a gay icon when she was one of the first mainstream celebrities to perform a concert at the legendary Constantinopla bathhouse in her native Corola City. She was also awarded five Agüeybaná Awards for best musical score and original song, despite not having a formal musical education since she dropped out of the Corola School of Fine Arts. A feminist and a self-penned “philosopher for women,” Viviana Mercado has been a fixture on the music scene and her versatility and longevity has been rewarded by the loyalty of the nation.

Which is why having Viviana perform in the World Hit Festival is a dream come true, first prize or not.

Viviana did not need much convincing to perform in Orongumilá. Her song, Te Vas a Perder (“You’re Going to Get Lost”) charted highly once it came out, more so when it was revealed as the host entry for this festival. Unlike other performers who have represented Achaea in the competition, she was given creative freedom to craft the entry—lyrics, music, staging—as she pleased, with budget and direction from the delegation and full responsibility if this very costly exercise of trust failed spectacularly among the Multiversal audience. Her age, her movements, her flexibility would be vividly scrutinized by the public, and more so the Achaean audience that would crucify it with dank memes and such. The stakes were, thusly, incidentally high—not because they were explicitly aiming to win, but because Viviana’s storied career was on the line. And she was living to take the risk.

Before the postcard began, she was dutifully whisked away from her green room position and taken to the stage where she would perform to the adoring eyes of the Achaean Republic and the rest of the Multiverse in an attempt to seal her fate. Her sparkling white-and-gold dress. Her blonde hair. Her waterproof makeup, slightly ruined by the arena’s low-lying humidity (despite the air conditioning) and the nervous sweat and the tension. It was too much to handle, but she’s been used to performing under very strenuous conditions with even much higher—one can only remember what it took to pull off a 100,000 concert at the Maracanã, or that one time she almost died of altitude sickness while performing in Bolivia. The World Hit Festival, however, was a different beast, one that she wasn’t used to since the last time she judged at the OTI Festivals in Miami. Performing to a hometown crew was not the issue. But then came the magic, the mystery, the helplessness of the Multiverse, of which she had to convince in order to gain the validation needed to win. Can she do it?

The Achaean postcard was finished. The hometown crowd was ready to see Viviana sing and (maybe) snag another trophy. The country was nervous. The delegation was nervous. The accounting department at AS1 and its sponsors were nervous. Viviana herself was even more nervous. But it had to be done. The extremities of the stage lit up, and an effusive, enthusiastic cheer was shared by the restive Achaean audience. The stage lit up and turned back off, turning itself back on again to show Viviana and her band on stage—Viviana in the center and the rest surrounding her. Her eyes were downcast and her hair let loose, her gold-and-white decorated form-fitting bodice and black pants with Louboutin-style black heels and Louboutin-inspired gold heels. She also carried a white gold Geneve 14-karat white gold watch that she bought from a lightly used luxury store in Lugano.

Viviana was standing on the center stage, looking quite downcast and aloof. Surrounding her was her ragtag band of trusted musical misfits: Her keybard player, Alejandro, was on her first clockwise left. Arturo, the bassist/guitar player was beside him. Behind Viviana, Lorenzo Manuel was fine-tuning (or at least pretending to fine-tune) his drumset. And on Viviana’s top-right corner were the two vocalists, Erika and Yileyshka, two cousins that oftentimes toured with artists—but mostly Viviana—in order to hone their singing skills. Barring the vocalists, who were engaging with the rhythms in one of the bridge extensions, the rest were arranged in a semicircle around Viviana. At least that’s the shape that looked like when viewed from the top camera angle. Likewise, They looked entertained, surprised even, that they were playing for the Multiverse. Especially for Yileyshka, who is from Kaduba, ten minutes away from Orongumilá and having been in the arena so many times since, it was a treat.

The floor was covered with mist. The stage was neatly divided in two colors: sky blue for heaven, and dark red for hell. The sky blue with the stars made the half look celestial, peaceful, and cordial. The dark red appointed the nuances of a troubled, toxic relationship. Both colors congregated in the center, where Viviana was standing with a look of tense unease at the floor. Part of her gaze was at the floor, mentally trying to remember her steps. Another part was at the camera, glancing up and down with her gaze while trying to appear sullen and forlorn. The music began playing, and the cameras beamed down on her, one of them turning slightly to the left. And there she was, lightly crooning to the camera, vaguely explaining to her imaginary lover why she needed to leave.

Yo vi el cielo
Y el infierno
En sueños toque
La razón
Que no pude obtener
Sangró mi cuerpo
Cuando te besé

Viviana kicked the misty fog with her left hand, and the cameras could perceive how the sky and the blue would mix with each other in the foamy air. The delegation itself spared on design by choice—the symbols were abstract, the colors contrasted with each other, and the movements were spare. Much like the music video for Te Vas a Perder, filmed in a Corola studio, there were reminders of brokenness and destruction surrounding the center stage. A broken chair. Shards of (sugar) glass from a collapsed table. A ruined flower vase. There were elements of an argument, a tussle that occurred between two former lovers that ended a passionate disagreement with violence. Viviana’s had her share of those. One could remember the countless times salacious tabloids would report on her many famous partners and their spectacular fallings out. With her strong temperament and the ability to get her way, it was no wonder why many criticized she couldn’t keep a man. But that was pointless as she was ready to find love—and lose it—her way and no one else’s.

In her voice, one could hear the sense of finality and diplomacy that can come from being hurt for so long or disappointed or resolved. This also determined the gaze coming from the cameras surrounding her, pointing at them and lightly scratching her face with her nails. What was the idea, if not to end things before they began escalating?

Yo me enciendo
Y tú lejos
Y me quieres convencer
Desprenderme de lo que puedo obtener
Mas de lo que sentí
Por ti se fue
Ya es tiempo, márchate

For the bridge, her mezzo-soprano voice would show the camera’s focus on her face, and then rapidly zoom out to a bird’s eye view of the center stage. This camera angle had a symbolic focus: she, the singer, was willing to bid her former lover farewell and was willing to lose him in the crowd. Forgetting was not an option—rather, it was required. Forgetting was all the singer had left in her soul, as she was deadly exhausted over everything she could possibly give. All give and no take, that was the experience. And she was more than willing to expect anything less than good riddance for this worthless man.

There was a certain duality in Viviana’s countenance. On one hand, she portrayed herself as an iconic, legendary, second-wave feminist that carried her weight at the forefront of music and equality. But on the other point, she was also fragile, broken, wounded, distorted. Fighting against objectification and sexism made her too self-aware of her body, even at the ripe old age of sixty. Fighting for equality made her slowly cynical (even if she didn’t show it) unable to shield her eyes from oppression. The weight of fame weighed her down, and if she was tired of being seen as a token and not a human. So this also happened in her love life. True, she was no Eleonora Buckingham falling down the stairs. But her age was showing despite all that makeup and low-degree filers, and one could clearly hear Viviana expound on her conscience through the words.

Bien, bien, te vas a perder
Bien, bien, te olvidaré

She dismissed the imaginary kisses she was trying to shrug from her face. She was trying to clear the sweat from her heavy forehead. The bitterness of the failed love was gone, yet she could harbor a small taste in the back of her throat. The stage lights would grow brighter, and the fog below her feet would become thicker, the LED projections below her feet switching colors—from red to blue, from blue to red. She glanced at the camera with determination and finality, the same one that characterized her music and made her womanly gaze so powerful. Her songs always carried a weight of catharsis for its lifelong fans, especially women that felt the fragility and vulnerability and empowerment of her voice. There was a harshness in her movements, though that could be the tiredness of being awake for endless hours practicing, praying, promoting, and preparing for this moment. She’s done it multiple times, but so many times can become too much.

At age sixty, it was hard not to observe how her age was also becoming chained to her music. Sure, she could reminisce and sing her oldies and give the fans the memories they want, but she’s always been adamant to live and love at her time. “I’m at my prime!” she always declared in her interview with a slight chuckle and a sassy smile. But there was no denying it. She’s curtailed her trips outside the nation to the bare minimum for the past years. She’s been adamant about spending time with her grandchildren in the morning and going to the doctor in the afternoon (or Zooming her physician on the Internet). But then she struggled, she truly struggled, on the experience of love. So many people came by and went and left without a trace. So many hearts broken from side to side. So many broken interactions. Was everything she’s done, and loved, and lost, worth it?

Ya no muero por tus besos
Ni tus excusas que
Me dejaron en amargo hiel
Aún así cedí a la razón
Ya es tiempo, márchate

Once again, her mezzo-soprano voice towered above the camera’s glances on her heavy countenance, now placing on the right side of the stage. It would spin around on an active Viviana moving around, the musicians playing their instruments on the semicircle, and the vocalists on the corner. (They were always on a corner harmonizing on the entries, almost sight unseen but her powerful voices being heard around the group). Unlike the first bridge, the camera angles were heavily geared towards showing Viviana’s body and get-up contrasting with the relative emptiness of the stage and the frantic activity of the audience. Like before, forgetting was not an option, and forgetting was more than needed for her to survive. But this time, what is she truly willing to forget?

Bien, bien, te vas a perder
Bien, bien, te olvidaré

At this point of the song, the singer expressed her own resolution. She was willing to start over, to reinvent herself, to give herself over to love once more. So many loves lost. So many hearts broken. Her unsteady life as a singer, a diva, a legend, a woman, led to many disappointments and a couple divorces. The stage began to light up with bright colors as if the sun were shining behind them. On a camera angle, it was easy to see the shadows that popped up below the performers’ feet. This served as how her mezzo-soprano voice changed from resigned to resolved, broken to finalized, just as she was at this golden stage of her life.

Y es el turno de mi corazón
sentir emoción
Mañana es un día nuevo
Y es el turno de mi corazón
Sentir emoción

Resolution. Resolution. That must be the word she’s been looking for! If she could die on the stage tonight—and God forbid she did, for that would be quite morbid and upsetting—she would be a happy woman. All her prospects, all her dreams, all her desires, were finally hers and able to grab on to the magic of life. Once she sang, her fears melted away like butter, and she was able to touch the hearts of people who listened to her. Now it was the time to express freedom, hope, dreams, future. She was ready to move over and enjoy the time she had left—and one could hope it was plenty! But first, it was enough for that annoying lover to go away, to shut the door, and to forget him, albeit with a newfound sense of compassion, once more.

Bien, bien, te vas a perder
Bien, bien, te olvidaré
Bien (te vas a), bien (perder, perder)
Bien (te vas a, te vas a) bien (perder)

Yo vi el cielo
Y el infierno
Pues te vas a perder

“Yeah.” For a few seconds as the song was winding down, the arena went quiet. Then, the crowd went into thunderous applause. The Achaeans were beyond excited to have a diva perform for them, compete for them, and if they were lucky, win another trophy for them as she did before. For many who previously listened to the song, it served as a good riddance of sorts to the ongoing pandemic, to the poverty of their lives, to the fear and loathing of cynicism, to anything else that troubled their lives. For Viviana, though, the passion of the hometown crowd almost reduced her to tears, trying so hard not to bawl in front of the cameras for fear of ruining her waterproof makeup!

“¡Gracias, Acaya!” she said to the cheering, flag-waving audience, waving her hands and kissing and trying to wipe the sweat mixed with her tears from her waterproof mascara and her adjusted her tight pants before waking, nay hobbling, out of the stage. The stilettos were murdering her feet. But they at least looked good

by **Adab** » Sun May 23, 2021 8:11 am

XX
ADAB
Hasan al-Jafar and Sania Sadiq - "The Children's Battle"
Language(s): English
Tune: Youssou N'Dour and Neneh Cherry - 7 Seconds
Entry Specifics
Trigramme: ADB
Lyrics: Hasan al-Jafar, Sania Sadiq
Music: Hasan al-Jafar, Sania Sadiq

Hasan al-Jafar and Sania Sadiq

Background
Adab’s participation in the 58th World Hit Festival, which marked their return to the event after an absence of a decade and a half, saw them place a respectable 10th place out of 22 competing nations. ABC insiders had always had mixed feelings about Aisha al-Badri’s “Sail”, wondering if a lyrically dark song about the plight of refugees would perform well in the event. Making it into the top 10 – even if only barely – was far from a failure though, and in any case ABC Director-General Benji Akiya was quick to remind the board and ABC employees that winning was not and would not be their main objective in the WHF and WorldVision. The world had been exposed to the best of Adabian music, and they liked it enough to send it to the top 10. That, in Benji’s view, equaled to a triumph.

With the 59th edition inching closer, Benji and the ABC Board hunkered down to decide what approach they would take for Adab’s next entry. Aisha al-Badri’s harrowing, yet inspiring life story, combined with her performance at the WHF, had further increased the Adabian public’s interest in the festival, something which the board kept in mind, no doubt still concerned by accusations that they were treating the WHF as a “second-rate WorldVision”. Benji and the board were eager to demonstrate that they were taking the WHF seriously, and al-Badri’s selection and performance had increased the public’s confidence in the ABC’s handling of the WHF. With this in mind, Benji decided that, for the next contest, they must go for another entry with “an important – heavy, even – subject matter”, performed by people who could credibly perform a song about said matter. That would show to the people that they cared enough about the WHF to use it as a platform for lyrically-heavy songs. The video selection process would be set aside for this edition; the ABC would go out and invite whoever they wanted to invite to the WHF.

The ABC did not take long to find their next contestant – the first people Benji invited to perform at the WHF immediately accepted his offer. Hasan al-Jafar and Sania Sadiq had had a half-time gig for some years, performing in Adab’s major cities with the laboriously-titled Tashlultum Lugal’s Adab City Traditional Music Ensemble, singing classic Adabian folk and country tunes, with all proceeds from recordings and concerts going to charities. Old Tashlultum had passed away recently, and the ensemble did not see themselves returning onstage anytime soon as they continued their search for a new leader. Suddenly finding themselves with more spare time, Hasan and Sania – already long regarded as the ensemble’s standouts – took to the studio to record an entire album together, half the songs being covers of classic Adabian tunes and the other half being their own compositions, heavily influenced by Arabic and African music. The album was well-received and they embarked on a small tour around the country. Benji caught a performance in the city of Eridu, where he was visiting friends, and was mightily impressed. When the time came to search for a WHF contestant, Benji called them first. They accepted, with one condition: they would perform their new song decrying the warfare going on in Adab’s neighboring countries and its effects on children. This, of course, fit well with Benji’s desire for a song with a “heavy” subject matter, and he immediately agreed.

The Performance
A dark, ominous shade of red washed over the stage and cylinders at Orongumilá’s Gran Arena Fortunense Antonio Guzmán. Towering over the stage, the screen gradually zoomed in on Hasan al-Jafar and Sania Sadiq standing solemnly at the center, each wearing an earset mic hanging down from the ear. The backing track filtered in across the width and length of the arena, the ethereal synth making itself heard over the commanding sound of the bass and drums. Hasan and Sania turned their backs on each other and began walking in opposite directions, Hasan towards the northwest, Sania to the southeast, both of them followed by a spotlight, stopping at the edge of the center stage. The screen now shifted to show scenes of bright spots of light - rockets - rising ominously in the night sky over a city, to be met with rockets coming in from another direction. Those rockets collided in the air, producing a spectacular, if terrifying, burst of light covering the horizon. Then the audience was shown scenes of explosions destroying buildings across the city, as people poured onto the streets in panic.

Back on the stage, Hasan looked up towards the ceiling, mouth agape, fists clenched as if pleading. A thin, but nevertheless ominous, fog began descending on the stage as the screen showed smoke rising from where the destroyed buildings once stood.

Hasan:
Our fathers, our fathers on the streets, on the streets
Our mothers, our mothers have their hands over our heads
Shooting stars burn and explode above us, right above us
The houses fall, still the stars rise, the cycle continues

Sania was still facing the opposite direction from Hasan, a spotlight also on her. She began making semi circles around her part of the stage, putting her hands over her heart and her eyes squarely on the audience, her face that of desperation, occasionally making gestures such as throwing her hands up to demonstrate the severity of the situation she was describing in song. The screen showed variously people wandering aimlessly around destroyed streets in towns and cities across the world, gazing at what remained of their house as the occasional sound of gunfire could be heard.

Sania:
Fire and rubble
In the home we live in
Another future going up in flames
By the gun and the stone
Another house blown
The sirens ringing out
Our lives are in doubt

At this point, Sania stepped backwards, returning to the center of the stage. Hasan, who had turned to watch Sania singing her part, now himself began walking back to the center to join his partner, facing her back.

Sania:
Though they send the fathers out to fight the war
The children, too, suffer against an enemy invisible

The fog by now had enveloped the entire stage, although it was quite thin and still allowed the audience to clearly see the performers. Hasan and Sania were now both at the center of the stage. Sania still had her back on Hasan, but slowly, gradually she turned, until finally they were facing each other, both of them with a tired, pleading, desperate look on their faces. But they would not be singing to each other. As soon as Sania had faced Hasan, they both turned at the same direction to face the audience. The screen now changed to show scenes of children, their faces covered with dust, their clothes torn at places, some playing on the streets amid smoke and rubble, some sitting on the rubble.

Hasan and Sania:
And our battlefield
Our battlefield is here
In the destroyed houses and playgrounds
The joy deprived
And our battlefield
Our battlefield is here
In the torn-down schools and libraries
The ideas lost
Relationships frayed
Living in fear

While Sania stayed at the center of the stage, Hasan now stepped forward and started walking around the center stage, detouring to the bridges along the way, appearing as if to beg and plead to the audience in all directions to listen to what he had to say. The screen was now changing between images of soldiers marching off to battle everywhere from the streets of Panama to the jungles of the Congo, planes dropping bombs, and children sitting and watching as dead bodies – victims of war – were carried through the streets amid piles of rubble and smoke emanating from what remained of the buildings.

Hasan:
The elders do battle on the streets, on the fields
The young left behind to do battle with our own body and soul
When we see our fathers and friends come home in shrouds
Our home reduced to rubble and our food is gone
We are cast out onto the streets with our clothes torn
Our faces covered in dust and our hair too, not knowing what to do

Hasan was now standing on one of the bridges, holding on to the railing, as Sania remained on the center stage but began walking closer to where Hasan was. The fog – which was already thin to begin with – thinned even further, but now sparks of fire appeared around the stage, accompanied by thin columns of smoke, all strategically placed to convey a vision of destruction while not hindering the audience’s view of the performers. Both Hasan and Sania then turned to the screen, now showing bodies of children, covered in shrouds as their parents, relatives, and friends wept over them.

Hasan and Sania:
Our battlefield is here
In the destroyed houses and playgrounds
The joy deprived
And our battlefield
Our battlefield is here
In the torn-down schools and libraries
The ideas lost
Relationships frayed
Living in fear

Sania was now at the end of the bridge on which Hasan stood, and Hasan went down to meet her, stopping just two or three feet away. Sania began singing in his direction, and when the time came for them to sing together they turned in unison to face the audience. By now the fog had mostly cleared, but the fire and smoke continued to rise, fade, and rise around the stage. The screen now showed before and after photos of schools, libraries, museums, and places of worship that were destroyed by war.

Sania:
Though they send the fathers out to fight the war
The children, too, suffer against an enemy invisible

Hasan and Sania:
And we are lost and destroyed
And we are lost and destroyed
Lost our house, our school, our friends, our dream
We are completely hopeless and we live in fear

Hasan and Sania now marched back to the center of the stage as the song inched towards its end, singing together, sometimes facing each other, sometimes turning their backs on each other and gesticulating towards the audience, with Hasan letting out some wails from time to time as Sania sang on. Hasan and Sania then separated from each other and, as at the beginning of the performance, walked in opposite directions, both of them clenching their fists, putting their hands over their hearts, throwing their hands up, and performing other gestures along the way to communicate their anguish and plead to the audience to listen to their words. The screen focused back on children, standing before the remains of their house, watching the burial of their parents, recovering whatever remained of their possessions from the rubble.

Hasan and Sania:
Our battlefield is here
In the destroyed houses and playgrounds
The joy deprived
And our battlefield
Our battlefield is here
In the torn-down schools and libraries
The ideas lost

And our battlefield
Our battlefield is here
In the destroyed houses and playgrounds
The joy deprived
And our battlefield
Our battlefield is here
In the torn-down schools and libraries
The ideas lost

The fire and smoke gradually died down. Hasan and Sania remained at their respective parts of the stage, reducing their movements as the backing track began to fade. Yet their words were as clear as ever, and they made sure everyone in the audience would hear them.

Hasan and Sania:
And our battlefield
Our battlefield is here
In the destroyed houses and playgrounds
The joy deprived

Our battlefield is here

As the backing track finally dissipated into thin air, Hasan and Sania stopped singing. The screen was turned off, the cylinders following soon after, and the red of the stage gradually faded until it was almost black. The spotlight remained on Hasan and Sania, who had now returned to the center of the stage. “Thank you,” they said as the audience cheered and applauded. “Please give peace a chance.” Then they made their exit as darkness descended on the stage.

by **Britonisea** » Sun May 23, 2021 10:05 am

01
Britonisea
Josh Morris - "Mine"
Language(s): English
Tune: Irama - La genesi de tuo colore
Entry Specifics
Trigramme: BRI
Lyrics: Atekon Shipton, Josh Morris
Music: Jayden Christopher, William Cross

Can Josh Morris bring it back to Brit?: As the country nears the 60th World Hit Festival, Britonisea is pulling out all the stops to hopefully clinch victory, potentially giving the broadcaster an offer they simply couldn't refuse...

After the nation's first-ever bronze medal and fourteenth podium position, Britonisea's form seems to be repairing after a shaky beginning to the WHF50s. As we say goodbye to the turbulent 50s, pressure lays on VM2021 third-placed to act, Josh Morris to bring the Festival back to Britonisea after the nation's longest wait for a win since the 37th World Hit Festival...

While the 50s gave Britonisea two of its seven wins, Meghan Jorgensen's "Waiting For You" and ELIANA's "Tongue-Tied" which both scored two of Britonisea's highest scores at the Festival and arguably had the most chart success of all of Britonisea's seven wins at the Festival, no one can deny that the 50s have also been the hardest for the country which saw a return to double figures in the final placements with Todlichebujoku's first hosting of the 50s (in 51) resulting in a Britonish 12th place - a result which hadn't been seen in 32 editions (coincidentally at the rival WorldVision Song Contest only recently, Britonisea had only recently received its worst position 36 editions). A couple of editions later when Britonisea hosted spectacularly with the added pressure of Semi-Finals, the country automatically qualified but came 10th in the final - another lower than the average result for the country who had frequented top five positions during the 40s. Many had wondered whether the best days of Britonisea had finally come to an end as newer, fresher, and more unique nations started to climb up the scoreboard and challenge the dominating presence that came in the form of Britonisea and Izmedu, who - in contrast to Britonisea - has taken a step back from the Festival since the turn of the decade. People wondered whether BVC and Britonisea should do the same, but BVC weren't quitters. The period between World Hit Festival 50 and 52 saw three different Heads of Delegations for Britonisea but Tom Stardust - our current Head of Delegation - was responsible for the most recent victory by ELIANA. Following the triumphant run by the current World Hit Festival Overseer (who during his reign managed and won four WHF titles), it was always going to be hard to keep up Britonisea's success and he whilst "Tongue-Tied" provided him with a massive ego boost, Tom Stardust started to realise that managing the contest was going to be much difficult than he once thought. After the placement in Bovingdon (which was fine because 10th place was seen as good in a field of 33 nations especially when you consider that there was a Semi-Finals stage too), Tom hoped that the Britonish could return to a podium finish, but similarly to their World Hit Festival 51 performance, the team at BVC scored less than 20 points for the next two editions in a row, a fate Britonisea managed to avoid for nine editions straight during the 40s. There's no doubt that Britonisea held the World Hit Festival with great respect and so when the result wasn't what was expected, probably due to Britonish complacency at the Festival, the country does not react rather well to it. Though, the next orchestral edition of the Festival was upon us with Britonisea having won the last one held at the 46th World Hit Festival. There was much discussion about what Britonisea would go on to send in Todlichebujoku who had the pleasure of hosting twice in 5 editions. Despite international fans thinking that Britonisea would go for a rock-orchestral song like it did last time, they went in the opposite direction, sending a six-minute french and english ballad which managed to earn them 2nd place with 34 points which was not too far away from the victory at all. The Britonish Delegation were thrilled at the result, and even though their initial plan was to win with "Enchante", they could be proud that they returned to the podium position after a period of uncertainty. At the 57th World Hit Fesitval, James Benamar's "Quicksand" placed a respectable fifth, another 20+ points haul that Britonisea could pocket as we moved closer to the 60th World Hit Festival. This leads us to the 58th World Hit Festival which was recently held in Normandy and Picardy...

Now while a win for Normandy & Picardy was long overdue, the nation had done the double and bookies thought that the country could've won another gold medal at the Festival which meant that the team at BVC felt pressured by not only the Britonish fans but also themselves to go out and do a bit more to try and bring the Festival back home to the Headquarters of the World Hit Festival. For Britonish fans protective of their record, they didn't want yet another nation to place above them in the all-time league table as Normandy and Picardy stood on seven wins alongside Britonisea. Though, the country was sending stellar acts and while Britonisea arguably was once doing the same in its past, there was a tough search for the Britonish representative this edition. Liam Narain was selected as the Britonish representative - but he wasn't supposed to in the beginning. Backstage gossip suggests that a female artist was supposed to head to Le Havre, but was dropped in favour of Liam. Liam's World Hit Festival live performance debut was rather late, with the song first being heard during the Vha Mehlodhivestoile 2021 live final when usually it is heard during the Semis. The song did gain a lot more traction than it usually gets, however, with the song immediately appearing on the charts of streaming websites across Britonisea. Performing third in the Grand Final, Liam performed his strong power ballad which saw Liam receive 21 points in Phase One - placing in joint second at the time. Togonistan and Adab were the two nations generous enough to give Britonisea five points, placing the country on 31 points and 2nd place before the last vote from Todlichebujoku. How Todlichebujoku would vote was unknown, but despite the nation hoping for the best, in the end, Todlichebujoku gave their 5 points to the Achaean Republic who ended up winning. Britonisea scored 3rd place with 31 points which was a very good score for Liam and the team. It was now time to focus ahead to the 59th World Hit Festival and there wasn't much need to look far and wide for an act to represent Britonisea. This time, the nation had the handy use of Vha Mehlodhivestoile where they could pick songs from their disposal.

"Doing so well at VM2021 was shocking! I really appreciated the support - bring on the World Hit Festival, I say!"

- Josh Morris after the VM2021 Grand Final a month ago...

It was announced that the BVC would choose any song from Vha Mehlodhivestoile that they think would do well at the World Hit Festival no matter where they placed but announced during the show, Josh Morris would go on to represent Britonisea at the upcoming World Hit Festival with his third place at the national final making him the frontrunner for the producers at BVC. Looking back to Vha Mehlodhivestoile 2021, Josh Morris performed in what turned out to be the most difficult Semi-Final with there being four qualifiers into the Grand Final coming from that one Semi-Final. With 104 points in the end, Josh Morris managed to secure himself a spot in the Grand Final but he only placed third with the eight international juries that voted in that competition and came second with the Britonish fans. After a month passed, it was time for Josh to once again perform his song - now in front of a larger audience. Performing in Aloquirbe, in position number 11, Josh Morris had a good chance of winning with odds looking in his favour ahead of the Grand Final. When analysing the results after, Josh managed to come second in the Britonish televote, with 182 points, third behind Rochelle Fox and TR3SANGULIS. Looking at the international vote, while the international televote ranked Josh 6th out of 12 songs (with a very respectable 71 points), the juries loved him, giving him 2nd place - only 8 points from leaders, Darlington. This gave BVC enough confidence that Josh Morris would be a suitable candidate to send to the World Hit Festival and he most certainly wanted to go - no one even needed to ask him.

Brityunik Vefecosoin Cairkovoin hadn't won the World Hit Festival for what would be now seven editions which translates to a full and complete year without a win. There have been close misses, however, with the country coming second and third at the 56th and 58th World Hit Festival, with a couple of top 5 finishes along the way since Bovingdon '53. The broadcaster grew slightly hungrier as the nation waits yet again for another win after missing out by a matter of a few points. Liam Narain did a fantastic job however, and definitely exceeded the expectations of the viewers who thought that a simple male ballad would fail to make an impact on the scoreboard. Liam said that he loved to experience and is something that he is willing to try again in the future. With that being said, the attention now turns to Josh Morris who was the current Britonish representative. He had a huge task on his hands - at the end of the day, of the eighteen nations that are participating in the World Hit Festival, Britonisea had the best record - and was ranked in the first position for the pots with quite some distance between first and second place. Some of the major hitters weren't participating in this edition such as Normandy and Picardy, Todlichebujoku and Izmedu - despite initial rumours that their broadcast would finally come back to the festival. There were even whispers about Euskirribakondara coming back - but none of this materialised. To round off the 50s decade, a smaller edition than what we have experienced - especially as of late - but definitely one that was going to be wide open. Who was going to host the 60th World Hit Festival? It was unclear, but whoever was to host, they must know that it would be a huge task if we're using the 40th and 50th World Hit Festival as an example of what is to come at the 60th edition. It would also be the final competitions for current World Hit Festival overseer Guy Autriche who only experienced one home edition of the Festival; compared to Fabio McAlpine's three. Perhaps that is just showing Britonisea's fortunes at the Festival - was the nation finally toppled by the likes of Normandy and Picardy and newer nations?

The first camera cut: Josh Morris can be seen facing the camera, but you can't see his face...

Josh Morris wasn't too thrilled about opening the show - it was a task that Britonisea hadn't done before at the World Hit Festival (or well, not in recent memory anyway). BVC was hoping that for the first time in the 50s, the country would be drawn in the second half just to spice things up - but it seemed as though that wasn't going to be the case - always destined for the first half. Cancelling out the 51st and 58th World Hit Festival, Britonisea was always expected to perform in the latter half of the running order of the first half, but due to the added clause which sees the first and last (well, the penultimate performance since Achaean Republic was suspiciously drawn to close the show), Britonisea was chosen to open the show. Compared to where he performed in Vha Mehlodhivestoile - both times in the second half - this was completely different for him but after his initial disappointment, he was excited to get on the stage. He wanted to set a great standard for the competition and with the song that he has - he would definitely try his hardest. Minutes after the show started, Josh Morris was whisked away backstage where the man started his myriad of vocal and breathing exercises in preparation for what would be the biggest performance of his life. He knew that not as many Britonish people would be watching as they did in Vha Mehlodhivestoile but he knew that the World Hit Festival had a big international appeal - more so than the ever-growing popular national final. He knew that this would the performance in which people remember him from and so that was a huge task. As he took a deep breath in, one of the Achaean stage personnel grabbed him - rather inappropriately for his standards - around the arm and said to him, "It's your time on the stage now." Josh Morris left out a nervous laugh as he was pulled along the corridor towards the main stage - his delegation following him very closely but also respecting social distancing measures that we're sure the Achaeans didn't really care that much about.

As he moved onto the big stage, he was greeted by the waft of thousands of people sitting in the arena tonight. The stage was an odd one - not only was it in 360, but it was a square - almost as though it was a boxing ring with people watching the performers battling it out. He wondered how the Achaeans would do the scoreboard in the arena near the end of the show, but I guess that was something he would find out at the end. It was interesting that the Britonish performance was first - in all honesty, it made sense. Britonisea wanted to excel in the staging category and bag another award this time duly sponsored by Fuego Airlines or whatever Achaean company wanted to exposure. There was a huge black box with an opening on one of the sides. The black box was around 3 metres tall and would be quite intricate to film. There were lights all along the edges of the block in order for dimensions to be seen clearly - but also strobe lights in the box itself. The top of the box was clear as well, with there being no lights apart from the bright spotlights being on display to give the illusion that was another black wall above him. The staging took some time to set up and we're sure that the stage personnel started during the host intervention. Josh took one last breath as the postcard came to an end. Josh enjoyed tasting the sweet treats that Orongumilá had to offer - slightly smiling to himself as he had memories of filming that postcard - a story that he couldn't wait to share with everyone at the end of the Festival.

It was time for the performance and the first thing that audiences could see is the masculine outline of Josh Morris' chest upwards. As shown on the image above, you couldn't see Josh Morris' facial features at all - just his body and he slightly swayed along with the heavenly strings at the beginning of the song. There were going to be a lot of personal shots of Josh Morris throughout the performance with the team at BVC wanting to create a confused and dysfunctional mood on the stage.

Before you leave, let me speak...
Let me say what went through my head
I'm not here to fight, not here to raise my voice, no
Don't want no back and forth, I'm in the wrong, I know

During the first section of the song, it was almost sung as though it was spoken word. You could tell that the words that were being said were personal to him - it was almost as though he was speaking to the woman in his life. Josh Morris penned this song himself - lyrics-wise and had Jayden Christopher and William Cross write the song that matched the themes that he came up with within his head. Essentially, the song is a real-life account of the things that went wrong between him and his partner. It is something that he is ashamed of but he has the courage to hold his head up and admit to the things that he did wrong. There would be times in the past where Britonish lyricists would try and fine-tune the lyrics in the song but making it grammatically correct, but Josh wanted it to be in exactly the way he speaks in day-to-day life. Thus, in the lyrics such as "Don't want no", it wasn't changed but you could tell that the words were true to him and that was the essence that they wanted to bring to the stage. At the national final, Josh Morris' song had way past 80 camera cuts and ahead of the performance in the Achaean Republic, they really had to think about whether that was feasible - could the Achaeans do it? The camerawork in both the countries was bound to be different, but Josh wanted to keep a load of the elements that he had at the national final with one of those elements being the flickering camera angles and whatnot so after some clear directions from the team at BVC, they took a risk but doing such a high energy performance in Orongumilá. Throughout the first verse, apart from the first line which was focused on Josh Morrris' face - we started to show different parts of his body - such as his hands, before showing his chest which - in and amongst the darkness - had a red beam pointing at him, similar to the ones you'd find if you were about to be shot. The lights which lined the bottom of the box flickered with low intensity, with parts of Josh Morris being shown in between the shaky and quick camera jumps. As we moved into the next verse of the song, you could hear Alexei Posagne - the name of the main backing vocalist humming in the back, repeating some of the words that Josh Morris was singing. The pair of them get on very well as they both had quite similar voices which jelled pretty well when singing.

Hear me out as I make one final plea, I'm begging, I'm begging
I'm brought to my knees, don't ignore me
Just one more chance, I'm not asking for much
Then our future's in your hands, will you decide to stay?
Will you leave?

As we move into the thirty-second mark in the performance, there was a remarkable difference, as the strobes turned on all around which exposed Josh Morris completely, from a shot slightly further away to show the huge expanse of the box in which he was standing in. Josh Morris slightly tilted his head backwards, swaying along to the song, and tightly grasping his palm as he begged the person he was singing to. You could hear some cheers from the audience as strobes lit up the box around him - showing him in and amongst the light. His white shirt blended in with the background slightly as Alexei sang that first line of the pre-chorus with him - the echoic reverb sending waves throughout the arena. As Josh sang "don't ignore me" along with Alexei - he tightly closed his eyes and went to the top of his vocal range in order to correctly hit the notes. He was told by his vocal coach to go over the notes as though he was on a mountain, slightly increasing the dynamics/volume of the note as he gained more confidence with those three words. With the help of Alexei, he managed to clear that note before moving onto the next line - with a closer camera shot focusing on one of his eyes as he asked for one more chance. As the mention of hands was brought up, similarly to a shot before, we focused on his hand as he moved it up to his face and outwards - his facial expression one of serious doubt. There was a sense of sadness in his eyes as he finished the chorus - transmitting the sense of guilt he feels for wrecking the relationship between him and the person he still loves.

A sketch of the box: Here is what the box looks like without Josh Morris standing in it - the box is about 3 metres tall...

With the first sections of the song being rather simple but intricate with the staging - for this section of the song - the lights started flashing erratically, fitting along with the camera shots which would change along with every drum beat - especially during the first few lines of the chorus which otherwise was quite quiet. Each of these shots would be moving - even if it was ever so slightly, but just to make the performance seem dynamic and still visually interesting. The red light that was once there was gone now, with the flashing lights from each of the lamps on the stage along with the pulsating beat of the song. As we moved closer to the end of the chorus, and the instrumental - Josh Morris interacted with the camera a little bit more. Lights similar to this was being seen for a matter of seconds during the instrumental section at the end of the chorus which is the reason that there was an epileptic warning at the start of this performance! As it can look rather jarring if it happened for a long period of time, this section was only very short and would happen once - with the high contrast between the black or white not being the most comfortable thing to watch. Luckily, due to the changing camera cuts and the focus of Josh Morris who always took up most of the screen, the audience watching at home didn't have to endure the full effect of it making it more comfortable for those sitting at home.

Mine, you were mine,
The fault's mine, threw away all we had.
Lie - my way through life, karma bites
Now I gotta live with...live with what I've done

The motorised-sounding voice added to the theme as well and the friction - made the song seem slightly off which is what Josh wanted. As he sang the final line - he sang it out towards the audience, before looking out into nothingness with confidence. With the use of a gobo with prison cell bars cut out in front of the light, creating a picture such as this one, it looked as though Josh was behind bars - which obviously relates to what he is singing about. There were flashing deep Britonish blue and red lights around him which signified the colours you'd universally find on police cars - which is the type of vibe that Josh wanted to go for. Josh was happy with how the performance was going so far, and while he wanted to smile and be all happy during the performance, he knew that he had to remain focused and stay in character. You could see that as he thought this, his facial expressions changed slightly to become more poised and rearing for the next part of the performance - there was a sense of determination in his eyes - there was one thing on his mind and it was showing the world the talent that comes out of his nation...he wanted to make his country proud. As he sung through the lyrics of the second verse - or stanza if you wish - he slightly lowered his head before rocking from side to side in an abstract way (especially when Alexei came in what was a call and response thing going on between the pair of them). There were frantic camera cuts, similar to before, from all angles - including an overhead shot or two. During the final call and response, there was a quick zoom from a point further away, slightly breaking the illusion but not too much as the rest of the arena was quite dark anyway.

Drank myself into oblivion, caused a scene
(Put...your hands behind your back,
Lower your head, get into the back, and shut up)
Didn't know what I had done (How do you plead on the account of..)
Couldn't remember last night (You're sentenced to...)

As he sang the lyric, "Yeah, you warned me", the gobo looked like tumbling bricks which Josh Morris reacted to by also falling to his knees as well at the same speed as the bricks which fell around him. He then sang the high note once again with "I couldn't stop", as the lights flickered with him. A shot caught Josh while he was on the floor but the man slowly picked himself back up like he did after being ridiculed for going to prison. During 1:37 where there was a static sound, there was a similar flash of light as well which looked like electrocution, with Josh Morris holding himself high up, before dropping once again, but this time keeping on his feet. There was a shot as Josh stepped heavily on the ground before it trailed the front of his body to his eyes as he sang how the pain was strong. The lights slightly died down once again as he moved towards the end of the pre-chorus.

Yeah, you warned me, I couldn't stop
Was stuck in a rut 'cuz the pain was strong
But after time in solitude, I visualised the light ahead

Mine, you were mine,
The fault's mine, threw away all we had.
Lie - my way through life, karma bites
Now I gotta live with...live with what I've done
All the pain that I've caused.
Didn't want to hurt you, I hate seeing you cry,
Your wounds, they'll heal with time and I'll face what I've done.

A wide shot of the whole stage for a split second as we moved into the chorus before we went back to the box with it being more of a technicolour display, lights interchanging (but with different colours such as black and white, with a hint of deep blue). Josh Morris continued to sing with his heart throughout this longer chorus which would lead into the bridge section of the song. Josh felt as though he was nearly at the end. As he explains that he didn't want to hurt, you could see the sorry in his facial expressions as he touches his own face, closing his eyes gently at his own touch trying to imagine that it was his partner's touch. It was the obligatory steadicam time of the performance as we moved onto the bridge section. The camera came to him while the lights were playing up and flickering, circling rather quickly around him and at points exposing the audience behind him who were plunged in darkness but all had their torches out. There was then a shot looking up at him as he extended his arm with - the one without the microphone with a huge shadow appearing in front of him thanks to the overhead lights.

You were my forever,
I know that I betrayed your trust,
Could you forgive me for what I'd done?
I know that our love for one another is still there,
I can see it, I can still see it in your eyes...

At the end of the climax of the song, each of the sides of the box falls over (similar to this, but in this example, it was curtains that were used instead of it being actual sides). As the sides of the box collapse, there was a huge applause in the arena for Josh Morris and his countries. Thousands of people around had their mobile phone torches out with Josh almost surrounded by a sea of lights - which was a great shot from further away in the arena. As we moved into the final chorus and everything slowed down for a hot minute, we were then greeted to a circle of fresnel lights and strobes all around him 360 with one of the cameras focusing on the lights before swiveling around to Josh Morris who was waiting for the camera to face him again. He had a very serious facial expression on him which slowly tuned into one of hope as we moved into the final chorus of the song.

Mine, you were mine,
The fault's mine threw away all we had.
Lie - my way through life, karma bites.
Now I gotta live with...

Didn't want to hurt you, I hate seeing you cry,
Your wounds, they'll heal with time and I'll face what I've done. (the fault, it is all mine)
You might not trust me but I'll admit when I am wrong. (the fault, it is all mine)
I hope we'll reconcile and restore what we had.

(The fault, it is all mine)

At the end of the song, there were a lot of bright lights from every light source in the arena before they all quickly switched off and turned pitch black, and then there was nothing on the stage. There was a roar at the end, with our Achaean friends supporting us every step of the way as they always do - "Thank you, gracias!" Josh Morris shouts out into the vast darkness. It was time now for the nation with the longest name in the competition...

by **Malta Comino Gozo** » Sun May 23, 2021 12:25 pm

XX
Malta Comino Gozo
Marcelo Cutajar - "Enough is Enough"
Language(s): English

Tune: Robin Packalen - Hard To Love
Entry Specifics
Trigramme: MCG
Lyrics: Adam Borg
Music: Pallix and Adam Borg

Background

Malta Comino Gozo has never won the World Hit Festival but has come close, coming in second with their second attempt back in WHF51 in Sinnlichšukai Tödlichebujoku. Despite a hard start and a second last place, the country has now managed to finish in the top 10 in the last 4 editions coming in at 6th in the last contest held in Normandy and Picardy. With a winning streak in the Worldvision Song Contest, interest in the World Hit Festival had gained more popularity around the nation. MCG1 had been in serious talks with the HoD for MCG and it was time to put their foot on the gas. The nation was ready to win!

Marcelo Cutajar will represent Malta Comino Gozo with his song, "Enough is Enough" A song about a relationship that isn't working anymore.

Marcelo Cutajar is 27 years old and is from Laqba a small suburban town located a mile away from downtown Valletta. He began singing at 15 years old. Before he got involved in music, he spent most of his time playing sports. This was one of his favourite things to do when he was younger, and he still remains active up to this day. He was in several sports teams and when his mum was first trying to get him into music, he would always reply that he would rather just concentrate on his sports.

His song is about an abusive relationship where it's very one-sided or maybe even abusive. He says that while the story is personal to him, he believes that the ambiguity of the song means that more people can relate to it. "Enough is Enough was released shortly after Marcelo was announced and has charted at #2 in the MCG charts with over 400k streams.

Malta Comino Gozo and The Achaean Republic had always had a close friendship since they debuted in Rosario WV#76 and since then have exchanged points often as well as teaming up for a contest special. MCG1 was very excited to be sending a delegation to Orongumilá.

The MCG delegation arrived in the early hours of the morning on board an Air MCG flight from MCG international to the ultra-modern terminal. As they disembarked, they noticed the extraordinary light and the silhouette of imposing mountains in the distance. Marcelo and his delegation were tired but incredibly excited. After reaching their beautiful hotel Orongumilá. Marcelo found himself on the stunning white sands of Orongumilá beach, in the southeastern corner of the island, at the gorgeous St. Regis Resort. He pinched himself several times and dug his toes into the sand in the crystal-clear water. “Yes, I kid you not! You’re in the Achaean Republic!”, he reminded himself. The resort spread out along the beach, with numerous pools and beautiful restaurants, in a mix of colonial and contemporary styles. Marcelo sat on the beach, his eyes moving from sand to stone, from rock pools to breaking waves. In the gentle spring sunshine, he felt as if he were swimming in the briny aroma as if the new rays of the day brought a frisson of energy to his fingertips. It was a day for letting his eyes stay open, as he were an old fashioned camera, remaining still while the image developed. The gulls brought their high notes to the percussion of pebbles at the shoreline. It was a day for dreaming, for allowing time to move fast and slow. Marcelo and his team would spend a few days exploring this wonderful city and its attractions and sampling its exquisite cuisine and sampling many sugary dishes this city was famous for!

The city was known for its colourful mix of architecture, live music and hospitable people. Jewels and fashion stores lie like pearls on a string on the main street where friendly touts will try to steer you into their bars. Outside the pastel-coloured downtown is rustic and surprisingly run-down but beautiful. Inside the thick city, walls are a labyrinth of streets lined with houses painted candy colours: mint green, cornflower blue, coral orange. Hot-pink bougainvillaea tumbles from every balcony and around each corner is a new plaza, hiding a church, boutique shop, or a pavement cafe perfect for watching the world go by.

Performance

(Please use the video of the routine for reference)

The postcards end and the arena is full of cheers. The cheers settle down. The stage and cylinders are suddenly ablaze with bright warm golden light which shines brightly and powerfully encompassing the entire stage. Spotlights shoot around the arena chaotically (0:07-0:09) Marcelo is stood in the centre. He is wearing ablue and black suit. We have a male dancer (Zach, on the top, left side platform) and 1 female dancer, Stephanie, she is on our right, Marcelo's left, on the top right platform. They are both wearing black tops, Zach has a black tank top and Stephanie a full black top. Despite being 360 degrees we start with a frontal shot of the stage zooming in from a view of the whole stage towards Marcelo. The lights steady and the golden lights fade as a white spotlight fades in above Marcelo as he begins to sing. The camera cuts from the body shot to a frontal shot as Marcelo looks up after staring downwards into the facing camera. Despite the unhappy lyrics he has somewhat of a subtle but cheeky smirk on his face. The mic is in his left hand. As he sings "Always having to watch my sidelines" we cut to a view of the dancers on his left on the two smaller platforms they are poised steady legs stretched looking towards him. The camera cuts back to an upper-body shot of Marcelo. He turns to his side so his right side is on display to the camera. Marcelo mimics being trapped in some sort of box, he crouches down shielding his face with his right arm. He flinches his eyes fluttering cautiously. As he rounds up his verse he slowly stands upright again and turns to face the camera.

Battered and bruised
Always having to watch my sidelines
Stuck in these confines
Counting my options
Clearing my conscience down to my last prospect
What to expect?

The lights of the stage fade into a light blue whilst the surroundings remains dark. Spotlights flash to the beat as the 2 dancers walk down the bridges. We cut to a view of the dancers on the left side of the stage walk like a soldier to the beat one step at a time, the camera transitions to show the dancer on his right does the same. They will convene on the centre stage. Marcelo looks dramatically left to right at the two dancers who have now entered the shot and stand on either side of him. Their eyes cut past Marcelo to only stare at each other.

Tired of this second-hand fun
I'm heading for the absolute one
All your wrongdoings..
Wrongdoings

During the brief pause before the chorus hits the whole stages turns back before exploding into bright golden light. We have a stage shot from above the audience showing the whole stage. Marcelo jumps forward and stretches out a hand to the camera which is above his head. It looks like he's begging to the camera. The two dancers then accompany him dancing behind him. They throw fists at each other as Marcelo sings "when you're too wild" Marcelo swings his head as if he is the one being attacked, he raises his hand to face to try and stop the blows. He jumps forward as he sings the next Enough is enough. The stage flashes even brighter each time he sings this line and will do it each time he sings it. The camera stays on him as he makes his way to the outer right edge of the stage.

Enough is enough
I don't need your anger
It's hard to love you when you're too wild
Enough is enough
Raw like a diamond
In the rough
I've had my fill baby
Enough is enough...

The camera does a 360 degree around him as he makes his way back to the centre. The stage lights calm and fades to black. Marcelo is lit in a white spotlight. (The rest of the performance will rely heavily on this video) As Marcelo sings "A little aggressive " we can clearly hear his 2 backing singers. The dancers converge in front of Marcelo by rolling in, we can hear the crowd applaud loudly. Spotlights follow the 2 dancers for their dance routine symbolising the abusive relationship the song was about. Marcelo steps back now and is out of shot. The dancers move like water transformed by music, flowing in graceful arcs, limbs in constant motion, painting a picture sound alone can never achieve. They bring a wordless interpretation of the beats, in a way the audience can understand no matter what language they speak. In that way, their dance isn't simply movement, but the most honest form of communication we know. The camera floats around just above the stage floor capturing the whole dance act in motion head-on, it follows them along as the couple dances. It zooms in and out when needed and cuts to various close-ups shots.

All your wrongdoings
But we will be the last boys left standing in these ruins
A little aggressive (A little aggressive)
Finding the safe path outta here
Here yeah..

"From the punch to the erosion of self-esteem over time, the abusive relationships can either come fast or act as a dimmer switch. I got out of my situation. It almost killed me. You get out and make a new life, a better one, and become a role model." Marcelo explains to MCG1. The dancers continue their contemporary dance. The dancers are so passionate through their facial expressions and the way they move their bodies. The viewers and audience can sense the strong chemistry between them both. For the last line, we can see both the dancers and Marcelo in the shot.

Tired of this second-hand fun
I'm heading for the absolute one
All your horrible wrongdoings
Wrongdoings

During the brief pause before the chorus hits, we again see the whole stages turns back before exploding into a bright golden light. We have a stage shot from above the audience showing the whole stage, before the camera cuts to a shot of the dancers again (0:25 in the video) Zach stands up and spins towards Stephanie. She then begins to attack him, pounding relentlessly against his back, Zach remains emotionless and tries to walk away as she pounds his back before suddenly their wrists clash as she goes to strike him as Marcelo sings "when you're too wild" The camera pans leaving the dancers on the left of the camera shot. The stage flashes even brighter each time he sings "Enough". We have a quick shot of scared and onlooking Marcelo singing with his hand out following the couple, he cannot intervene as he watches the ghost of him and his ex. We cut back to a view of the couple holding hands and keeping each other balanced as Marcelo sings "In the rough" They fall to the floor before spinning their legs to stand back up. The lights of the stage flash a deep yellow as Stephanie approaches Zach a wild rage burning in her face, an open palm displayed ready to try and recapture his love (heart). She strikes Zach and he flays backwards before they perform the next part of their synchronized routine perfectly. Marcelo comes back into view in the background as Stephanie jumps onto Zach back. The pair turn slowly a pained look on Zach's facebefore she slips down to the floor to grab his leg.

Enough is enough
I don't need your anger
It's hard to love you when you're too wild
Enough is enough
Raw like a diamond
In the rough
I've had my fill baby
Enough is enough..
Enough..
Enough is enough..
Enough ..

The lights fade again and the stage is lit in a cold white spotlight as Marcelo approaches Zach. The camera pans around Zachs back as Marcelo sings towards him begging his ghost to tear himself away from this abuse. Marcelo approaches the edge of the stage. We can see the dancers behind him still performing. Stephanie is suspended above Zach before they sit up and she tries to grab his throat.

Enough is enough
Yeah
Enough is enough
Hmmm so my love
I think that enough is enough
Enough..

As the chorus hits Marcelo spins three times as he sings, the camera starting close before spiralling outwards showing the whole stage as a fire curtain rains down and fire sparklers shoot out around the stage. The stage is lit in a bright white and the cylinders are ablaze with bright warm golden light. The camera then pans around the 360-degree stage. The camera then pans in on the dancers as Zach with an upset expression mimics a blow to Stephanie's chest, she flinches each time, before they synchronize and spin and roll left. The onstage camera backs outwards towards Marcelo as he sings "Enough is enough, I don't need your anger." He sings eloquently towards the camera his right arm outstretched. The camera follows him as he walks left along the edge of the main stage, singing passionately towards the camera lens before he makes his way towards the middle. We cut to an onstage view of the dancers. Their routine is almost over as she pulls on Zach's tank top, Zach lashes out and she lets go before the pair miserably sit down facing outwards beside Marcelo who is now crouching centre stage looking forward. The lights around them fade leaving just the 3 of them lit. He finishes the song and rests his head up.

Enough is enough..
Enough..
Enough is enough..
Enough..
Enough is enough
I don't need your anger
It's hard to love you when you're too wild
Enough is enough
Raw like a diamond
In the rough
I've had my fill baby
Enough is enough...

The stage lights come back on and Marcelo and his dancers stand up and hug before Marcelo speaks into his mic. "Grazzi Orongumilá! Let's stop domestic abuse!" The crowd cheers ecstatically for the MCG entry. The camera then shows the crowds. There are several MCG fans who've made their way to The Achaean Rep waving their flags at the camera.

by **Pemecutan** » Sun May 23, 2021 6:37 pm

XX
PEMECUTAN
IKTAMILA KAMNAJADA & GADING MAHESA - "TANPAMU"
Language(s): Bahasa (Indonesian)
Title Transcription: N/A
Title Translation: Without You
Tune: Faouzia & John Legend - Minefields
Entry Specifics
Trigramme: PCU
Lyrics: Gading Mahesa
Music: Gading Mahesa, Chandra Karmila

Pemecutan once again reach 5th place in the 58th World Hit Festival which was held in Le Havre, Normandy & Picardy. The entrants which sung by Arini received a total of 25 points, the second highest points received by the country since their exemption in 53rd edition. The points and result is tied with Ayu Pratiwi entrants in the special edition event. This result makes Pemecutan still retain their top 10 run in the competition with 3 times 5th placement out of 6 participations.

For the next edition, the 59th World Hit Festival, PRIA send a unique entrant after the polling show an interest for a sensational duets. The song was just release in the country and suddenly become sensation and a favorite song. Although there are several collaboration between Pemecutan and Soracana singers before the merger, but this song is surely the first after the merger of both countries. The song is seen as a new breeze to the situation in the country. With several editions have been held after the merger and none Soracanian artist ever selected, this song have represent them. The song not just give recognition to Soracanian singers in Pemecutan but also to show that the relationship between both parties have been cool down. The sudden merge have give a huge impact in both part of the country and hopefully the song can show them that both part can still work together to produce something great.

Iktamila Kamnajada and Gading Mahesa

Iktamila Kamnajada, a 25 years old singer born in Halangkaya, Soracana Islands. She begin her music career at an early age as a child singer and released 2 albums. Growing up, she took a break from music industry and focused on her study. She graduated from Nilayam University Economic and Business Department. After graduation, she turn to her music again. Released her first single as an adult 2 years ago to test the water. Luckily the market love her music genre which makes her being recognized again easily. In late 2019, she released her first adult album to a wide success. She is also spread her wing to Pemecutan and held a mini concert in both Soracana and Pemecutan.

Gading Mahesa is a returnee in the multiverse song competition. After previously participated in 86th World Vision Song Contest, where he was finished 10th, now Gading enter the World Hit Festival. This making him the first and only Pemecutanian singers to enter in both singing competitions. Although he had retires from music industry after he was diagnosed with kidney cancer, he come back to the industry that have lifted his name after he recovered. His image have not been fade even with the retirement. His first album after his comeback have give the prove that his music and talent are still being loved by Pemecutanian music fans and critics.

After the annexation of Soracana, many artists from both parts (singers, songwriters, painters, and others) have come together to create a collaborative work in order to ease tension between them and to make Soracanian feel welcomed. This song in one of them. Gading Mahesa who is known for his charity work after his cancer diagnosed use this idea to promote togetherness between both part of the country. He chose Iktamila to be his singing partners knowing that she is one of the aspiring and well known artist in Soracana. For the song composition, Gading seek help from Chandra Karmila. Karmila is one of the best female composer in Pemecutan and a good friend of Gading. They have been work together several times when producing songs for Gading and other artists which the song written by Gading. Iktamila have to flew to Ubung for their recording. The song was being released digitally in early May and it went viral. It topped the music chart in the country until now.

For the performance, Iktamila is wearing an elegant off-shoulder white satin long dress which kind of like a wedding dress. Her hair is left flowing with a simple necklace and earring to complete her outfit. While Gading is wearing a navy blue blazer and trousers with simple white shirt underneath. His hair is keep slick complete with a brown shoes. As the host announce their names, the stage goes dark. A glimpse of light comes from the screen above which shows the postcard of Pemecutan with detail of the performer. As the screen finished showing the postcard, a light focused on the center of the stage. A grand piano is there with someone playing the intro to the song. It is not Iktamila nor Gading, But she is Chandra Karmila. She was ask by both singers to help their tonight's performance. Chandra is wearing a black gown. The camera showing her playing the piano elegantly. When suddenly the light on the front right of the island stage enlighten. There we can see Iktamila is standing with a mic on her hand humming to the intro of the song. She then face the audience as she sing the first verse of the song. The camera give a full 360 degrees view of her in her lovely white dress. The light on her goes off and the light on the front left island stage is light up. There is Gading Mahesa looking stunning with his outfits. He is singing his part of the verse. Once again the camera took a 360 degrees view of him.

Iktamila Kamnajada
Gading Mahesa
Both

Semilir angin malam yang memeluk ku manja
Mengingatkan ku kepada dirinya
Sampaikanlah rindu ku kepada nya disana
Hatiku tersimpan hanya untuk nya

The light on Iktamila is on again as she sing the bridge. Both lights on Iktamila and Gading is keep on as they continue to sing the bridge. Both of them then walking through the stage bridge to the center stage as they sing the chorus. The lights are following their movement until they are reaching the center stage. While the 5 screens divide the view between the piano in the center, Iktamila on the right and Gading on the left. They reach the center stage as the chorus is ended.

Hu...perasaan ini
Tak kan pernah mati
Hingga akhir masa ku nanti

Uh...disini aku berdiri
Hu...bertahan tanpa hadirmu
Uh...dan kini aku sendiri
Hu...menyambung hampa hidup ku
Tanpamu…..

All 3 lights are focused on the center stage while the other part of the stage is kept dark. As Iktamila's start to sing the second verse, both of them walking encircling the piano in the center in opposite ways so they won't meet up. The camera took this movement very detailed.

Fajar datang menyapa membawa kehangatan
Kepada hatiku yang t'lah membeku
Kenangan yang tersimpan di relung yang terdalam
Tak pernah kan terhapus oleh waktu

They are stopping their movement as they sing the bridge part. They are like in a singing battle as they sing with a grand piano between them. The camera took a view from the front so the audience can see their exact position. Now, Gading is standing on the right, the piano still at the center and Iktamila is on the left. They started to walk away from the piano in the island stage as they sing the chorus. Just like before, the lights are following their movement until they reach the island stage as the chorus ended.

Hu...perasaan ini
Tak kan pernah mati
Hingga akhir masa ku nanti

Uh...disini aku berdiri
Hu...bertahan tanpa hadirmu
Uh...dan kini aku sendiri
Hu...menyambung hampa hidup ku
Tanpamu…..

They repeat the last part of the chorus in more energize power making the audience amaze with their voices. Suddenly all the lights are off except the one at Iktamila's. The camera also focused on her as she repeat 2 sentences from the first verse of the song. The lights is off as she finished the sentences.

Tanpamu....

Semilir angin malam yang memeluk ku manja
Mengingatkan ku kepada dirinya

The audience are clapping with a soaring voice that filling the venue with joy and mesmerize. They are moved by the performance. The lights on the stage is being lighten up. There we can see the 3 of them, Iktamila, Chandra Karmila and Gading. They are standing there hand in hand. Bowing to the audience that give them a welcoming feedback.

by **Vartugia** » Mon May 24, 2021 11:47 am

XX
Vartugia
Do We Need A Name? - "We are 90 years old"
Language(s): English
Tune: Eva Rydberg och Ewa Roos - Rena rama ding dong
Entry Specifics
Trigramme:VAR
Lyrics: Yes
Music: Someone WroteThis

WIP LOL

by **Independent South Africa** » Wed May 26, 2021 8:42 am

XX
South Africa
WILLIE JOUBERT - "HELLO WORLD
Language(s): English
Tune: Pat Boone - Venus
Entry Specifics
Trigramme: UZA
Lyrics: Peter de Angelis
Music: Peter de Angelis

the Background of the video board changes to the flag of South Africa

then Willie Joubert arrives in a Citroen DS 19 , and says

This song is dedicated to our Armed Forces Currently fighting in the Tzatzikistani Civil War

Peter de Angelis then begins to play and Mr Joubert begins to sing

Hello World I'm Here
I'm here to help the SADF
and the Free Tzatzikistani Army
to help liberate Tzatzikistan

footage of the war then plays in the video board
https://youtu.be/Bou08IQ4tFk

All of the World , show me you're goodwill spirit ,
Surely the things i command
Please donate to Tzatzikistan .

it then shows the flags of the Free Tzatzikistani Army and South Africa

World if you donate
Tzatzikistan would be stable
I promise that there will peace
in Tzatzikistan as we both shall live

It then shows a dove with a leaf

All of the World , show me you're goodwill spirit ,
Surely the things i command
Please donate to Tzatzikistan .

World if you donate
Tzatzikistan would be stable
I promise that there will peace
in Tzatzikistan as we both shall live

Hello, World! oh, World!
Peace be with youuuuuuuu.

The Crowd Wave South African and Free Tzatzikistani Army Flags in the Jumbotron back in Pretoria

Thank you and for the viewers at home please call your National Red Cross

Goodnight Orongumilá

He then drives away in the Same Citroen DS 19 he used to enter

Last.fm · by **Faraby** » Wed May 26, 2021 9:39 am

XX
FARABY
Meskigalla Amir - "You and Me"
Language(s): English
Tune: They Might Be Giants - Tippecanoe and Tyler Too
Entry Specifics
Trigramme: FRB
Lyrics: Meskigalla Amir
Music: Meskigalla Amir

Meskigalla Amir

Background
Faraby’s previous entry at the World Hit Festival, “Dance with Me” by Ela Aydilek, had placed a stunning 22nd place out of 22 nations. While the FBC did not expect to reach the top of the rankings, placing last nevertheless stung more than a little bit and led to some soul-searching within the organization regarding the direction that it wanted to take for its future WHF entries. There were even rumors that the FBC would withdraw from the WHF completely and focus solely on WorldVision. FBC Director-General Sabiha Vali and Head of Delegation Kara Abbas were taken aback by Faraby’s underwhelming performance at WHF 58 but nevertheless were determined to press on. There would be no withdrawal; the show must go on and Faraby will continue participating in the WHF.

Vali and Abbas were keen to demonstrate that the FBC was taking the WHF seriously, but their dance-pop number had not performed very well and they agreed that for now a change of genre was needed. Vali, as usual, desired something catchy and marketable, but understood that Faraby’s entry this year would most likely not be the typical radio-friendly pop song. While the public was still very much interested in the WHF, Faraby’s low placing deterred several high-profile artists in the island from participating, and after being turned down several times Vali and Abbas settled on the rising folk rock artist Meskigalla Amir, who, seeing the potential for global publicity, agreed to represent Faraby on the WHF stage. Vali and Abbas emphasized to Amir that he had “full freedom” in deciding which song he wanted to perform and the form of the staging. “We are not pressing for high-budget staging this edition,” said Vali to the media. “We are still finding our footing, trying to figure out the ideal approach for the WHF in the future.”

The Performance
Meskigalla Amir stood alone at the center of the stage at the Gran Arena Fortunense Antonio Guzmán, carrying an acoustic guitar, the mic hanging down from his ear, dressed smartly in a plain black shirt and blue jeans as if he had come to the arena straight from a cafe or shopping mall. A black-and-white image of Meskigalla filled the screen behind him, with the words “FARABY – MESKIGALLA AMIR” towering above his head in all-caps Arial.

The sound of the backing track soon enveloped the arena, its drum beats and deep-voiced chants of “Ooooo” reaching into the ears of everyone present. Meskigalla began strumming, and soon his soft, yet commanding baritone voice could be heard across the venue. The stage was bathed entirely in blue, with a lone spotlight on the singer.

Who haven’t heard the grumbling of critics, critics, critics
All day long and night
Offering false analytics
But I believe in you and me
And we’ll prove the naysayers wrong, wrong
Prove them wrong all along
And we’ll prove the naysayers wrong

Meskigalla began making his way around the center stage, every step roughly matching the beat of the drums, taking in the appreciation of the Farabian fans who had made the journey all the way to Orongumilá. The black-and-white picture of Meskigalla on the screen gradually faded away, to be replaced by color videos of Meskigalla at home with his girlfriend and recording at the studio.

Let ‘em blabber like the fools they are, they are, they are
Like a simpleton
But you and I, we’ll go so far
And I believe in you and me
And we’ll prove the naysayers wrong, wrong
Prove them wrong all along
And we’ll prove the naysayers wrong

As the instrumental played on, Meskigalla found himself on one of the smaller stages, the one that put him closest to fans from his home state. As the Farabian fans excitedly waved the national flag, Meskigalla extended his hand towards the crowd, reaching out for them. “Orongumilá, you’re the best!” he bellowed to cheers from the audience. “And to all the fans from Faraby, you’re even better!”

Like dictators and murderers, ‘derers, ‘derers
One day they’ll get their due
But until then we’ll keep on living
And I believe in you and me
And we’ll prove the naysayers wrong, wrong
Prove them wrong all along
And we’ll prove the naysayers wrong

Meskigalla marched back to the center stage as the final stanza progressed, the spotlight still following him. He was now back at the very center of the stage, where he began his performance. The moment he said the final “And we’ll prove the naysayers wrong”, the spotlight dissipated, the screen was turned off, and the stage was plunged into almost-complete darkness, with only dim white lights emanating from the ceiling allowing the audience to make out the outline of the stage. The Farabians in the crowd rose to applaud their contestant, with the rest soon also clapping and cheering – out of politeness if not outright enthusiasm. “Thank you everyone, thank you very much, thank you Orongumilá!” said Meskigalla, bowing to and waving at the audience before making his way out of the stage.

by **Hafamarimyht** » Wed May 26, 2021 1:56 pm

XX
Hafamarimët
gumdrop - Vrïdrek Tevanavjë Pa
Language(s): Hafamari, English
Title Translation: Something's Different
Tune: Kitten - Memphis
Entry Specifics
Trigramme: HAF
Lyrics: gumdrop
Music: gumdrop

gumdrop is a band from Pöcë whose song Vrïdrek Tevanavjë Pa originally won HafaHitFest, the national selection for World Hit Festival 58. Guitarist Hes Ëtëm Pajël unfortunately felt ill the day the band was due to fly to Le Havre, so the decision was made to withdraw Hafamarimët from the contest. After three negative covid tests, TVH has made arrangements for the band to perform at World Hit Festival 59.

gumdrop has five members, lead singer Nika Zïčan, guitarist Hes Ëtëm Pajël, bassist Pnet Čejvunëg, synth player Ïsada Pohač, and drummer Anta Nödvjeman. All of them are between the ages of 22 and 24 and formed the band while they were students at the University of Pöcë in 2019. Vrïdrek Tevanavjë Pa is their debut song, which spent a week at #1 when it won HafaHitFest earlier this year. When asked during a recent interview if the band has a chance of winning, singer Nika laughed happily and said "Absolutely not, but we're going to have a great time anyway."

As the lights come up in the arena, the guitarist, bassist, synth player, and drummer are each on a different platform with Nika in the middle. Lights rise on the bassist first as the song starts, then the synth player as she starts playing her line. The lights rise on each member as their parts start, finally ending with Nika. As she begins to sing, a few Hafamari audience members can be heard cheering.

Vnät sil pavata
Dän utöi čïnatöita, čïs saju čïnajëkta
Hubancu vadu tuvabicalï vra vaman rajavata, vnugëk?

Ränči rindïlda, hangoverčida, vajedjëm pata
Pentušädada, pentušädada
Hučudravjë, huvravjë

Ajan drïpöjt tabahva, vajedïl
Vrïdrek tevanavjë pa vapöjt

The bassist is the first to move. He heads to the center as the arena washes with a gentle yellow, joining Nika, who playfully punches his shoulder. The guitarist then joins them, standing back to back with the bassist as Nika walks towards the synth player, still on her platform. Nika wraps her arms around Ïsada from behind, lovingly stroking her hair as she sings "You're my number one."

Everything can change
Vajedïl dropcalïh po vajedïlpöjt čvecalïh
Ajan dregöijev pa, hulërïkavjë
Vajun sunakut whatever

Savur sïdanëk, öivëdïl
Umo kadöi vrïd kadöi
Tasanjatöidïl, vïničič ruva
Ïmdre dregöi ë suna

You're my number one po
Vnahtöi umo
Vrïdrek tevanavjë pa vapöjt
I just hope that my hope makes you happy

During the break, the drummer throws her sticks into the audience and gets up to go dance with the guitarist and bassist. Ïsada leaves her keyboard and walks hand in hand with Nika, also back to the center. Nika sings this next verse directly into the camera, which circles around her and the band as they play and dance.

Banču umo sa, banču 'mo öi, vajedjëm banču bančava
Dva dnavjë maköb čëht pa rijava
Dva vad fimgičilï pa

Dvo čibančuvun tačekavjë ubahavata (čïkta)
Ïm abyss vajedjëm dnïjamvarijata
We're not performing

Čïvjëmeja vajedjëm mevrijata
Tëkan vihavjë pa madva
Dvoči četači ïm vekrëju čavarijata

Lyrically the verse repeats, but visually, the lights in the arena change as the band begins to dance around more. The guitarist and bassist abandon their instruments as well as the lights turn from a solid yellow to a pulsating, shifting orange-pink, sort of giving the appearance that the light itself is a sentient being moving around the stage and arena.

Banču umo sa, banču 'mo öi, vajedjëm banču bančava
Dva dnavjë maköb čëht pa rijava
Dva vad fimgičilï pa

Dvo čibančuvun tačekavjë ubahavata (čïkta)
Ïm abyss vajedjëm dnïjamvarijata
We're not performing

Čïvjëmeja vajedjëm mevrijata
Tëkan vihavjë pa madva
Dvoči četači ïm vekrëju čavarijata

Vrïdrek tevanavjë pa vapöjt

The lights cut out except for a faint wash of white and a spotlight on Nika. The lights slowly rise back through yellow to the orange-pink at the end of this verse. The band stand around her, facing away and pretending to play invisible versions of their instruments.

It's true when people say, everything good has to end someday or another
I never thought it would be like this
When I saw something was different

I knew it then, I know it now, I could never make it without you
I could do for you what you've done for me, if you'd just let me
I could love you

And we could have a life, just like we want
Because something's different between us

The background lights cut out so that it's only spots of the orange-pink almost like a strobe, but not quite as intense. Nika looks somewhat sad, but if you focus on her eyes, they are shining with the fun and joy of performing.

Ahtavdan kjač čojëkïlï da

Everything can change
Vajedïl dropcalïh po vajedïlpöjt čvecalïh
Ajan dregöijev pa, hulërïkavjë
Vajun sunakut whatever

Savur sïdanëk, öivëdïl
Umo kadöi vrïd kadöi
Tasanjatöidïl, vïničič ruva
Ïmdre dregöi ë suna

You're my number one po
Vnahtöi umo
Vrïdrek tevanavjë pa vapöjt
I just hope that my hope makes you happy

As the song ends, Nika says "Thank you! Orongumilá, gracias!" and the band almost fall over in a very joyful and loving group hug.

by **Beepee** » Fri May 28, 2021 5:11 am

XX
BEEPEE
Max Doubt - "On and On"
Language(s): English
Title Transcription: N/A
Title Translation: N/A
Tune: Max Weidner - Schau Ma Moi
Entry Specifics
Trigramme: BPE
Lyrics: Otto Tune and Max Doubt
Music: Otto Tune

MAX DOUBT

Max is a 22 year old singer from Beepee.

He enjoys working out, shirtless selfies and sunbathing at the beach.

Early Life

Born in a rundown shack on the outskirts of Isring Forest. Max is the son of Martha and Shane Landon. Martha, a fisherwoman, and Shane a textile vendor always knew their son was destined for stardom at an early age. Singing and dancing and writing songs, performing in school plays and entertaining relatives.

Max was an only child, but lived an ordinary childhood.

Education

In his early teens, Max earned spare change by performing on street corners and eventually made a name for himself. Playing local gigs, before joining the prestigious School of Performing Arts where he learned the art of performance.

In his late teens, Max became interested in fitness an suffered a weight room accident at the age of twenty when a barbell he was bench pressing become unbalanced. He has a small scar on his right shoulder from the accident.

Personal Life

In early 2021, Max started dating Nas Teerash, a local politician. The relationship made local news, as after a few weeks of going public Mr Teerash was photographed pashing violently with Homer Ecker at the hottest new bar in Isring Forest, "Itch". The incident lead to a twitter spat between Max and Homer. Shortly after, Nas and Max announced they were no longer dating.

Career

After finishing his studies, Max was signed to the Beepeean Schlager music label.

His first single, "On and On" was chosen to represent Beepee at World Hit Festival 59 to be held in the city of Orongumilá, in Achaean Republic.

Upon the announcement of the choice, the song was played in heavy rotation on Beepeean Radio.

The song itself is co-written with Otto Tune. Otto Tune, one of the most prolific writers of Beepeean hits also penned "Walk a Mile" which was performed by Ashi N at WHF 54 and "Sing Along With Me" performed by Britney C at WHF 53.

PERFORMANCE

Max has a sense of youthful exuberance which permeates through he's very being and is nothing if not contagious.

Max is dressed in a simple outfit if skinny black jeans and a cream tree.

The music begins and Max instantly begins bouncing along to the music.

Dum dum da da de da
Dum dum da da de da
Dum dum da da de da

Televisual viewers will clearly note that Max has more confidence that talent... but when has that ever stopped anyone before.

Everyday
I'm hoping you're OK
Although you're far away
And I cry-y-y-y...

As he sings "I cry-y-y-y" he traces the line of a fake tear down his face.

Every night
I'm hoping you're alright
Sometimes I wake in fright
I wonder why-y-y-y...

There's plenty of pointing at the the assembled auditorium audience. As he sings "why-y-y-y" the director cuts to a head shot and Max cocks his head to the side and points to his head, looking confused.

I dont know
Just why I let you go
And even though
I ache from head to toe

As the chorus begins, Max waves his hands upwards, trying to get the crowd excited in his performance and song by bouncing along with him.

Oh, I miss you near
Your voice in my ear
Tells me "hon,
My love for you goes on and on"

Oh, you'll never know
Just how low I go
When you're gone
My love for you goes on and on

As a result of the rectangular 360 degree stage of the Gran Arena Fortunense Antonio Guzmán having audience members on each side, Max does his best to run around to each side of the stage during the "Dum dum da da de da"'s encouraging each side to get involved.

The, predominantly, Achaean audience clearly love a good party and even though Beepeean Schlager may not be their thing, they seem to enjoy the attempt at crowd interaction.

Dum dum da da de da
Dum dum da da de da
Dum dum da da de da
My love for you goes on and on

With the next stanzas, Max puts on his best sad, puppy dog eyes look in an attempt to secure some sympathy votes.

If you only knew
What I'm going through
My heart it broke in two
When you said bye-y-y-y

And now I try
To keep my eyes real dry
They just wanna cry
Tears in my eye-y-y-y

I dont know
Just why I let you go
And even though
I ache from head to toe

As the chorus ramps up once more, Max begins begins bounce around the stage again. (For those of you who are having trouble imagining how enthusiastic Max is, imagine if you gave Jedward a sugary sweet).

Oh, I miss you near
Your voice in my ear
Tells me "hon,
My love for you goes on and on"

Oh, you'll never know
Just how low I go
When you're gone
My love for you goes on and on

For the break, Max begins again running around the stage to interact with the audience.

Dum dum da da de da
Dum dum da da de da
Dum dum da da de da
My love for you goes on and on

The director decides to do a brief cut to the green room, and sees Andi Robi Idris Novogrody, the Alezian entrant, looking a little bemused by Max's performance. But he smiles and waves the Alezian flag... he's nothing if not a consummate professional.

Dum dum da da de da
Dum dum da da de da
Dum dum da da de da
My love for you goes on and on

Meanwhile... in order to avoid the audience being bored, Max decides to pull up his tee slightly to show his toned abs. This seems to send the auditorium audience into a tizzy with some now cheering. It's clear Max is Thicc but Thick.

Dum dum da da de da
Dum dum da da de da
Dum dum da da de da
My love for you goes on and on

Dum dum da da de da
Dum dum da da de da
Dum dum da da de da

As the final chorus begins, Max is becoming puffed, so he slows it down, caressing his microphone and looking longing down the camera

Oooooooh, I miss you near
Your voice in my ear
Tells me "hon,
My love for you goes on and on"

After the brief reprieve, Max once again bounds around the stage for the dum dum's

Oh, you'll never know
Just how low I go
When you're gone
My love for you goes on and on

Dum dum da da de da
Dum dum da da de da
Dum dum da da de da
My love for you goes on and on

As he sings his final words, Max thrusts his hand in the air in triumph. His chest heaving as he tries to catch his breath after his energetic performance. After a brief pause he thanks the audience, waving as he walks off stage.

by **Axuva** » Sat May 29, 2021 5:36 pm

here girl

by **Kalosia** » Wed Jun 02, 2021 4:59 am

XX
Kalosia
Sick Transit - "Lë mondu kontina a ǧirarë"
Language(s): Kalosian
Title Translation: The world keeps turning
Tune: Accidentally in Love — Counting Crows
Entry Specifics
Trigramme: KLS
Lyrics: Karlu Taraži
Music: Karlu Taraži, Petru Danželo

Kalosian pronunciation guide

Sick Transit in a Kalosian indie band. They consist of members Karlu Taraži, Petru Danželo, Ǧorǧu Maľani, Daniél Duranu, and Lukas Valio. Karlu is the lead singer. The band released their first EP, Gloria Mundi, in 2012. Yes, the pun was totally intended by them. They've been a mostly lowkey name, they have their fans but don't see growing their following as a priority. But, you see, growth happens when you do things that lead to said growth. Sick Transit participated in the edition of Festival dele Melodie Kalosiane held to choose the Kalosian representative for the 59th World Hit Festival in Orongumilá, Achaean Republic. They won the contest and thus were given the ticket to represent Kalosia on the international stage.

The song, Lë mondu kontina a ǧirarë (The world keeps turning), is a hint of nostalgia. It is in the same style as those pop punk bands of the 2000s, a time in which the members of this band were growing up. The song's lyrics reflect this, as it tells the story of a guy who rediscovers his teenage crush and seeks to reunite with her, after presumably having been separated. It appears these lyrics were found to be relatable enough to viewers and resonated enough for the Kalosian public to vote for them.

They're not big on special outfits, but they decided to opt for a hipster look. Flannel, y'know the kind of look that was big in the early 2010s. Karlu is wearing a beanie as well. And as the postcard plays, the people in the audience can see that Sick Transit has opted for a regular band setup on the main stage.

Anyway, the song begins. They are met with modest cheering from the audience, and Karlu shouts into the mic: Hello Achaea! Are you ready to make some noise?!" to which the crowd cheers slightly louder than previous. Given the background screen's distance from the stage, it gets used as a display for people to get a better view of the performance (i.e. it's just the camera feed).

Tuto rëkordavu ankorë kadë li
Ǧovani sul skranu
Semblavanu tu e ja (ja)
Kadë eravamu noj adolešente
Eranu li žorni

By the way, the stage has a whitish-red ambience to it. The stage floor and stage lights are all white, but the lights surrounding the edges of the stage are all red. And parts in the brackets are all performed by the other band members, who also provide backing vocals throughout this song.

Tornavanu tuti kesti soñi
Ulë tšelu dëla ǧoventudë
Vidu tu e ja (ja)
Stamu kaminandu intrë li steli
E lë ventu porta-mi via

As it jumps to the chorus, the band are laid back as ever. No meticulous planning here, just good vibes.

Erë, erë
Un momentu belu
Komuz, komuz
Pošu oľarë kestu
Amurë, amurë?
Lë mondu kontina a ǧirarë

It does feel very concert-y. And I have to say, Karlu is singing with the full range of emotions one would use when telling a story, it's almost like you know what he's saying, even if you don't speak a word of Kalosian. The energy is there, and it has been conveyed unto you.

Ja mentere se au negatu kë au
Ťerkatu tiu profilu
Perkiz në provarë?
Lë primu amurë semprë es
Kalkëkosë spešal

Karlu sounds so excited singing this next part that it's actually kinda cute ngl.

Ed au trovatu un anǧelu novu
Kë në pošavu ad krederë kë sej tu!
E kon bone intenžioni
Au inižiatu a skriverë

A little pre-chorus before we move back onto the chorus. Lights go just a little crazy in this next part before it goes back to normalcy.

Al improvisu kaña mondu miu
Mondu miu, oh oh

It seems like the Achaean audience, particularly those between 25-35 years old, who grew up when this kind of music was big, are enjoying the entry and having a good time.

Erë, erë
Un momentu belu
Komuz, komuz
Pošu oľarë kestu
Amurë, amurë?
Lë mondu kontina a ǧirarë

Now a new set of lyrics for the chorus are introduced.

Sara, sara
Una posibilta
Se tu voľi
Rëviverë di novu
Amurë, amurë
Dovi solë a dirë mi “si”

It fades to black and the stage lights become dim. A spideycam now creeps up in front of Karlu and closes up on him as he sings this bridge. It slowly zooms out as this goes on.

Lë mondu kontina a ǧirarë
Mondu kontina a ǧirarë
Mondu kontina a ǧirarë
Mondu kontina a ǧirarë

He quickly shouts "Come on!" between the lines, and some members of the audience actually sing along, since it's so repetitive.

Mondu kontina a ǧirarë
Mondu kontina a ǧirarë
Mondu kontina a ǧirarë
Mondu kontina a ǧirarë

For this next part, Karlu decided not to simply repeat one word but decided to give a wide range of different verbs to describe the way the world continues to be over time, and all the different emotions that the world has felt, and continues to feel. Also, the camera angle has changed to other ones.

Mondu kontina…
A ǧirarë, a pasarë
A kantarë, a baľarë
A spetarë, a soñarë

Yes, some fans have joked that they looked at a dictionary to come up with this particular part. Whether or not that's true is irrelevant.

Mondu kontina…
A briľarë, a sperarë
A kañarë, a tornarë
A provarë, ad amarë
Mondu kontina

Now Karlu sings with more energy as ever, the band plays as energetically as ever as well.

Sara, sara
Una posibilta
Se tu voľi
Rëviverë di novu
Amurë, amurë
Dovi solë a dirë mi “si”

Finally, the camera closes up on Karlu as he delivers the closing line of the song. He ends the performance with a big grin on his face, satisfied for the 3 minutes that he has been onstage.

Ja t’amu!

The audience cheers. The boys take a bow, and Karlu says into the mic: "Gracias, gražia, thank you!" before they leave the stage as it is prepared for the entry from the Alezian Union.

by **Darkmania** » Wed Jun 02, 2021 9:48 am

XX
Darkmania
Marÿe Grëymann ë Röbert Alsberg - "I Din Himmel"
Language(s): Norwegian (Bokmål)
Title Translation: In Your Heaven
Tune: Marie Bergman & Roger Pontare - Stjärnorna (Studio)//Live version at Melodifestivalen 1994
Entry Specifics
Trigramme: DMN
Lyrics and Music: Marÿe Grëymann, Röbert Alsberg, Frÿdrik Grëymann, Erÿka Farbourg

Darkmania hasn't had the best results in recent World Hit Festivals, but DaTV, has stated that they aren't throwing the towel just yet. For WHF59, they will send two legends when it comes to music in Darkmania. One won the darkmanain Sähn füür Därkmänsij song festival twice, in 1972 as part of a band and in 1987 as herself. The other may still yet to get the glass crown, but he has at least been close (2nd place in 2015). While the odds don't predict Darkmania to be the winner, they will nevertheless give it all.

The stage has been set and Marÿe and Röbert have been placed at each end of the stage with even the four backing vocalists being placed at the other boxes, with the male on Röbert's side and the female on Marÿe's side. Röbert begins to sing while walking from a curved bridge that connected his box, whereas Marÿe also walks on the curved bridge but she doesn't sing until the end of the coloured part of this entry where she joins along. The stage has some fog that covers the floor on the stage, but it isn't much.

En glød som aldri slukner
(A spark that never goes out)

En som er der når jeg trenger noen
(One that is there when i need someone)

Det finns ingen andre enn deg
(There is not other than you)

Tørker mine tårer tørre, mens du dusjer meg ren
(Dries my tears while you shower me clean)

Du gir meg lys som skinner veien
(You gives me light that shines the path)

Vi to sammen skal alltid være sammen for evig tid
(We two together shall be together for ever)

They are now located in the middle of the stage while looking at each other, and with the harmony of the back vocals sings the refrain plus the power of Marÿe's vocals it adds more power to this duet-ballad.

Du er i min himmel med meg
(You are in my heaven with me)

En som alltid bryr seg
(One that always care)

Er der når jeg trenger deg
(Are there when i need you)

I min himmel er det plass for deg
(In my heavan there is space for you)

Kom med meg, elskling
(Come with me, love)

Til drømmens land,du og jeg
(To the lands of dreams, you and i)

Kom og ta min hand og bli med
(Come and take my hand, and join)

Marÿe now sings alone as she holds Röbert's hand and will hold it for the rest of the song.

En uten mørke i seg
(One without darkness inside)

Kjærlighetens lys skinner og binder oss sammen
(The light of love shines and binds us together)

Vi to er til døden skiller oss
(We to are to death do us apart)

Du er en skulder å gråte på når alt går til helvete
(You are an shoulder to cry on when everthing goes to hell)

En som bryr seg
(One who cares)

Du gir meg lys som skinner veien
Vi to sammen skal alltid være sammen for evig tid

We now see a repeat of the bridge being sung again with the back vocals added.

Du er i min himmel med meg
(You are in my heaven with me)

En som alltid bryr seg
(One that always care)

Er der når jeg trenger deg
(Are there when i need you)

I min himmel er det plass for deg
(In my heavan there is space for you)

Kom med meg, elskling
(Come with me, love)

Her er du trygg med meg
(Here are you save with me)

From this point, the pyro starts raining down and the wind machine goes on overdrive and it can be noticed when Marÿe's hair and dress start to flutter.

Du er i min himmel med meg
(You are in my heaven with me)

En som alltid bryr seg
(One that always care)

Er der når jeg trenger deg
(Are there when i need you)

I min himmel er det plass for deg
(In my heavan there is space for you)

Kom med meg, elskling
(Come with me, love)

Til drømmens land,du og jeg
(To the lands of dreams, you and i)

Kom og ta min hand og bli med
(Come and take my hand, and join)

The audience gives applause as Marÿe and Robërt bow and sends their thanks to the audience.

by **Nightom** » Wed Jun 02, 2021 7:34 pm

09
Nightom
Henry Nikkelsen - "Cloud 9"
Language(s): English
Tune: Years and Years - Starstruck
Entry Specifics
Trigramme: KNI
Lyrics: Dora Bloomqvist, Sam Tillbury
Music: George Hamilton

Henry for Nightom: Henry will represent Nightom at the upcoming WorldVision Song Contest in Elejamie, hoping to give Nightom its second win at the Contest...

Henry was wearing something similar to this - white everything

At the start of the song, Henry was standing on top of a large platform with instruments on either side of him...

You think you’re under the radar but my eyes are on you,
I love the way you carry yourself down to the way you move.
Whisper sweet words, the kind that I like oh yeah
Say that you want me over tonight...
A boy can dream, am I right?
I'd like a chance, I can show you a new world
Take you to new heights...

The lights flashed between orange and blue with the young man enjoying himself delightfully on the stage.

I’m on cloud nine, high on your smile,
I’ll admit... I’m smitten with you, yeah
I’m on cloud nine, lost in your eyes,
Come find me, bring me to you.

As he moved onto the second verse of the song, four men joined him on the stage all wearing white. They came onto the stage without too much enthusiasm - they didn't want to show off.

I know what I'm capable of, no I won't disappoint you oh
Your deepest, darkest fantasies will come to life baby
What you want, I'm there for it
Whisper sweet words, the kind that I like oh yeah
Say that you want me over tonight...
A boy can dream, am I right?
I'd like a chance, I can show you a new world
Take you to new heights...

As he sang this section, there was a lot of low flying fog which appeared on the screen.

I’m on cloud nine, high on your smile,
I’ll admit... I’m smitten with you, yeah
I’m on cloud nine, lost in your eyes,
Come find me, bring me to you.

There was then some cool effects now with the greenscreen where we could see Henry travelling through space, with him making some movements...

On cloud nine, I'm high on your smile
Oh cloud nine, I'm lost in your eyes
On cloud nine, I'm high on your smile
Oh cloud nine, I'm lost in your eyes, eyes, eyes oh
Am I trippin'? Pinch me,
Bring me back to Earth, bring me to you baby yeah

Cloud nine, high on your smile oh!
Cloud nine, I'm lost in your eyes woo!
I'm on cloud nine, h-high on your smile
I'm on cloud nine, h-high on your smile
I'm on cloud nine, h-high on cloud nine[/i]

There was then a BANG of pyrotechnics everywhere because the Nightomese fandom asked for some. There wasn't intially any but they thought the performance would look better with them.

I’m on cloud nine, high on your smile,
I’ll admit... I’m smitten with you, yeah
I’m on cloud nine, lost in your eyes,
Come find me, bring me to you.

On cloud nine, I'm high on your smile
Oh cloud nine, I'm lost in your eyes
On cloud nine, I'm high on your smile
Oh cloud nine, I'm lost in your eyes, eyes, eyes oh
Am I trippin'? Pinch me,
Bring me back to Earth, bring me to you baby yeah

There was another final bang. "Thank you all so so much - vote NIGHTOM" he shouted into the audience.

by **Fromulya** » Sat Jun 05, 2021 9:26 pm

XX
Fromulya
Stafsus Ahli Bidang Musik Dirjen Humas BP2NS - "ASI"
Language(s): Indonesian (Standard)
Title Transcription: Air Susu Ibu
Title Translation: Maternal breast milk
Tune: Global.Kryner — Y Así
Entry Specifics
Trigramme: FRM
Lyrics: Kristofer Kusno Müller, Maliha Soerjawatie
Music: Kristofer Kusno Müller

Stafsus Ahli Bidang Musik Dirjen Humas BP2NS: kerjasama Kemenkes-KP3A-TVRF untuk mewakili NKRF di WHF.
— Fromulyan press release excerpt

After a brief break, Fromulya has returned. This time however the Fromulyan entry has been decided in cooperation with the Fromulyan Ministry of Health (Kementerian Kesehatan — Kemenkes) and the Fromulyan Ministry of Women's Empowerment and Child Protection (Kementerian Pemberdayaan Perempuan dan Perlindungan Anak — Kemenpppa/KP3A). The two government bodies are currently running a campaign on breast milk and have jointly formed a committee known as the Preparatory Body for the Achievement of a Healthy Nation (Badan Persiapan Pencapaian Negara Sehat — BP2NS).

The participating broadcaster representing the nation at the World Hit Festival, Television of the Republic of Fromulya (Televisi Republik Fromulya — TVRF), is working together with BP2NS to produce the nation's WHF entry. BP2NS's Public Relations Directorate-General (Direktoran Jendral Hubungan Masyarakat BP2NS — Dirjen Humas BP2NS) has been the body in charge of coordinating this with TVRF. What they ended up doing was forming a band lightheartedly known as the "Expert Special Staff in Music" (Staf Khusus Ahli Bidang Musik) who will perform the Fromulyan entry to the 59th WHF.

The band's full name is Staf Khusus Ahli Bidang Musik Direktorat Jendral Hubungan Masyarakat Badan Persiapan Pencapaian Negara Sehat, which translates to "Expert Special Staff of the Directorate-General of Public Relations of the Preparatory Body for the Achievement of a Healthy Nation, specializing in Music". For practical purposes, they have abbreviated their name and will be credited at the event as "Stafsus Ahli Bidang Musik Dirjen Humas BP2NS".

The band consists of a few members but here's the two members you need to know: Maliha Soerjawatie is the lead singer. She was also the lyricist of this entry. Kristofer Kusno Müller is the songwriter and will also be providing vocals in this. He is of mixed German-Fromulyan descent (German father). This is relevant because during the songwriting process, Kristofer was encouraged to write something that would appeal to international audiences. Being of partial German descent, he sought to include a bit of a German flair into the song, even if it was held in a country with a completely different culture. Furthermore, the association between Northern European cultures and high-quality milk was hoped to influence perceptions regarding this song.

OOC note: I came up with this entry idea many many years ago... I drafted the first lines to this in 2015. This song is 6 years in the making, and I'm finally glad to be able to use it!

The performance was rather simple really, Maliha wore this casual, chic red dress while the other band members, all male here, wore flannel. Two members were playing the guitar, another playing accordion sound effects on a keyboard, one playing a brass instrument, and Kristoerf also playing a brass instrument. Kristofer and the guy on the keyboard provided backing vocals.

Throughout the performance, they were just vibing, really.

Mama-mama dan papa-papa
Tahukan Anda mengenai
Gizi yang baik
Untuk buah hati?

Jangan sembarangan tentunya
Tidaklah baik bergantung
Pada yang bubuk
Bagi si batita

Janganlah memberinya
Susu sapi jika mémang belum waktunya
Si kecil membutuhkan
Kasih sayang tulus yang ibunya berikan

ASI, ASI
Air susu ibu yang bernutrisi
ASI, ASI
ASI yang terbaik untuk anakmu

They danced around a little before the camera went back to Maliha. By the way, the stage lights were white with red accents.

Jika sudah bertumbuh besar
Boléhlah mengenalkannya
Pada susu lain
Dan makanan séhat

In this part, Kristofer yodels! A weird choice for a Fromulyan song, yes, but as previously mentioned it was hoped he could get the attention of foreign voters.

Supaya bisa tumbuh kuat
Dan… jadi pandai
Perlu berlatih
Perhatikan gizi

And we get back to the chorus.

Janganlah memberinya
Susu sapi jika mémang belum waktunya
Si kecil membutuhkan
Kasih sayang tulus yang ibunya berikan

More yodeling from Kristofer.

ASI, ASI
Air susu ibu yang bernutrisi
ASI, ASI
ASI yang terbaik untuk anakmu

ASI, ASI
Air susu ibu yang bernutrisi
ASI, ASI
ASI yang terbaik untuk anakmu

Now it's just chanting the titular line. Maybe at this point the Achaeans finally were able to process that their word for "like this" meant breast milk in Indonesian.

ASI, ASI
ASI, ASI
ASI, ASI
ASI

The song ended and Stafsus Ahli Bidang Musik Dirjen Humas BP2NS received modest applause from the audience. Maliha bowed and said "Thank you Acaya, gracias!" before leaving the stage as the entry from Carrelie was about to be set up.

by **Kergle** » Sun Jun 06, 2021 3:55 am

Tune Billy boyd with our last goodbye
https://m.youtube.com/watch?v=q8ir8rVl2Z4

The Rise of the King

After the fight, we did salute
We have won lest we forget
This valley of death,with blood beneath my feet
We see the rise of the King

The wheather is now heavy
Thoughts in my head
Was this all worth it
And now I contenplate
Through battle, loss of life
To keep our country going strong
Our mountain tops, and plush meadows, to our cites

The Lord Grizgor, founded us
We celebrate forever more
His sacrifice, his greet deed
To make this our home

He travelled along a great distance
To bring this freedom
We now have this land, this noble land
We call our home

After the fight, we did salute
We have won lest we forget
This valley of death,with blood beneath my feet
We see the rise of the King

The wheather is now heavy
Thoughts in my head
Was this all worth it
And now I contenplate
Through battle, loss of life
To keep our country going strong
Our mountain tops, and plush meadows, to our cites

The Lord Grizgor, founded us
We celebrate forever more
His sacrifice, his greet deed
To make this our home

He travelled along a great distance
To bring this freedom
We now have this land, this noble land
We call our home

by **Mercedini** » Sun Jun 06, 2021 9:26 am

XX
Mercedini
IO - "Between Borders"
Language(s): English
Tune: Davina Michelle - Sweet Water
Entry Specifics
Trigramme: MRC
Lyrics: G. Kletinka, K. Marianno
Music: G. Kletinka

The lights go down on the audience as the song presentation fades out and the music begins on Mercedini's return to the World Hit Festival. The opening notes ring out as the stage screen shows a starry night, with the stage floor depicting flowing waves of a deep blue ocean. It's a very dark setup to open the song, which is only lit by a light from above which illuminates IO in the centre of the stage. The young performer sits on the stage floor in a flowing grey dress, but with the notable addition of a silver foil blanket, similar to those refugees wear. The visual is strikingly similar to those seen on boats drifting at sea, which is what it is supposed to portray.

As the opening lines approach, IO seems steady on the stage with the thousands in the arena watching on, and the millions watching at home. She has been in this position before as a junior, but now it's time for her to take tot he stage in the senior competition. She lifts the microphone up to her lips to open the Mercedinian's performance.

Play your silly games
Sit in your ivory tower
A million miles away
Their taste is twice as sour
Hiding from the pain
Where the fate is far too tough
Why can't you see?

IO slowly begin to get to her feet following the end of the first verse, with the audience static and quiet as they respectfully watch the performance. She stands tall in the middle of the stage with the water still flowing and the stars still faintly twinkling in the background. The camera slowly sweeps along the bottom of the stage, before returning back to IO as she sings into the camera, and to the audience at home. For the second half of the verse, she turns away from the audience and faces the screen behind her, as the light of a lighthouse glimmers on the horizon, lighting up the water around her.

It's not their fault
It's not their sin
We close our eyes to feel good within
A whole new world is there, but you omit
But life's game for you to lose
And you can end just like them too
If we all just lend a hand to help them build.

For the first chorus, a flash of light fills the stage floor and the screen, briefly lighting up the arena. The shot returns to it's original view, but with lights converging on IO in the middle of the stage, it's all eyes on the Mercedinian performer as the first chorus rapidly approaches. The song begins to build with camera sweeping in from afar to reach IO. She offers out her hand to the camera as it sweeps forward, before the camera retracts and flies back out into the audience. The lights, which were once converged, now spread apart as IO opens up her body to reach the high note, which prompt a loud cheer from the crowd which is picked up by the microphone.

The lights twinkle around the arena as the beat drops and the intensity that the song built up has now been released. IO opens her body and closes her eyes as she takes in the moment. Taking Mercedini back to the World Hit Festival, while simultaneously returning to the place where she started her career.

Does hope exist between borders?
Out in the cold hoping to feel a little warmer
But is life fair between borders?
We only love to turn away, to stop the horror!
(Oh oh oo-oh oh)

(Between borders)
(Living between borders)

Following the first chorus, the lights and the atmosphere dies down, giving the viewers a small rest in the song. IO lifts her hand in the air, which the camera on stage tracks as her fingers flutter and her hand floats down. As she sings the second verse, she delicately touches the side of her face with the back of her hand, signifying how she longs for a tender touch like the subject of her song.

She strains to hit the high notes so softly, but that doesn't stop her from delivering a professional performance at such a young age. The light behind her begins to get brighter as the horizon begins to reveal itself on the screen behind her.

Play your silly games
Sit in your ivory tower
We can scream their names
So your shouts are just a whisper
Time to make a change
Forget the things you feel, to block the pain

The camera returns to the stage as IO and the camera orbit the same centre point. The lights around the arena and on stage a match the same drum snare as in the song, make for a customary Mercedinian light show. You can see IO is getting into the song as she bobs along to the song with a determined look on her face to deliver. When she makes it to the centre of the stage, the camera zooms into her while physically moving away from her, making for quite a trippy transition. She offers her hand with the word 'hey', before retracting it as soon as the second build up comes in.

It's not their fault
It's not their sin
We close our eyes to feel good within
A whole new world is there, but you omit (Woah oh oh oh)
But life's game for you to lose
And you can end just like them too
If we all just lend a hand to help them build, hey!

An aerial shot kicks off the second build-up as it shows IO on the stage floor, with flowing water being portrayed on it. The foil blanket she it wearing is catching the light, and is almost glistening as the light is reflected into the camera. The wide shot of the arena shows a faint glimmer of light in a sea of darkness, with IO singing her heart out with the lights and the eyes on her. As the beat drop approaches, she sticks her free arm out wide and walks forward to the centre of the stage before stretching down to belt the second high note out.

With another beat drop, the lights spread out once again, and circle around the audience, making a sense of chaos with everything going on across and behind the stage. In the LED screen behind IO, it begins to rain in the sea and she sea begins to get choppy, with IO walking back to her centre spot.

Does hope exist between borders?
Out in the cold hoping to feel a little warmer
But is life fair between borders?
We only love to turn away, to stop the horror!
(Oh oh oo-oh oh)

(Between borders)
(Living between borders)

The second beat drop comes into the song, with steam jets flying from the stage, lighting is now flickering on the stage which is reflected by the strobe lights around the arena. Flags are flying in the audience as IO stands a lonely figure in the middle of it all. Ending the performance in the usual furore of a typical Mercedinian entry. There isn't much left in the performance, but the Mercedinian delegation of going all-in to make an impression on their return.

Yeah is life fair between borders?
Between borders
Yeah, oh, between borders

Io keels down in the centre of the stage, still with her foil blanket over her, the chaos begins to die down as the night begins to fade away into a clam morning. Some of the crowd are already beginning to cheer as the song begins to grind to a slow halt. Io gets to her feet as the sun begins to rise on calm waters to cap off the end of the song. IO is smiling and unpins her foil blanket as land is now visible in the background. The background signified a treacherous journey across a stormy sea, and that journey has now come to an end with the conclusion of the song.

IO simply moves the microphone away from her lips and gives a wry smile as the final chimes of the song ring out in the Achaean Republic. Whether it's a night that ends in success remains to be seen, but it's a big night for IO and TeleDini, as they leave everything on the stage.

It's not their fault
It's not their sin
We close our eyes to feel good within
We can all just lend a hand to help them build.

The crowd kicks into full gear as the performance officially comes to an end, a beaming smile appears on her face as she covers her mouth in shock of what she has just done. She waves and takes a bow to the crowd to finish her time in the spotlight. 'Grazije Achaea, thank you so much!', a transition is made to the postcard of the next nation, all Mercedini can do now is wait and see how the juries and the public reacts.

by **Not Auphelia** » Sun Jun 06, 2021 11:31 am

XX
NOT AUPHELIA
Mia Culpa - "Holy Water"
Language(s): English
Tune: Megan thee Stallion - Savage
Entry Specifics
Trigramme: NAU
Lyrics: Mia Culpa
Music: Leena Norton, Elizabeth Holmes

The Entry

Not Auphelian audiences first came to know Mia Culpa through her 2019 breakthrough hit "Sticky Summer Nights" and has been dominating the hip hop scene ever since, releasing her self-titled debut album in the summer of 2020 and capturing the hearts and minds of many with her unapologetic blackness, transness, and overt sexuality - helped by her very down-to-earth personality juxtaposing well in interviews with the larger-than-life persona of wealth and confidence she has created for herself with Mia Culpa. Named the Best New Artist at the 33rd Annual Orpheum Awards, Not Auphelia's most prestigious musical awards show, she has become the unofficial new hope for hip hop to break back into the realm of the mainstream after having suffered from an severe image problem in the music industry over the last decade, accused (somewhat validly) of becoming too derivative. Her sharp lyrics and willingness to stir up controversy have inspired several new artists in the past year to follow in her footsteps, already trailblazing as a relative newcomer. This coming summer season she will be debuting her sophomore album, Come and Get It in June and having lined up several performances at Pride festivals the world over as part of its roll out. This will be her first World Hit Festival performance and first major international televised performance.

Mia Culpa - Holy Water

From the darkness, a beat begins to pulsate throughout the stage, a catchy sonic hook sinking into thousands of ears. Spotlights come on and raise up from behind, illuminating a baker's dozen of women in nun's habits kneeling on the ground, hands clasped in prayer. As the beat goes on, the camera cuts to the nun in the front and centre, who looks up, staring right into the camera as she and the dancers begin to move, thrusting their hips while still on their knees in a very suggestive manner. She addresses the camera as it slowly pulls away.

I'm that bitch (yeah)
Been that bitch, still that bitch (ah)
Will forever be that bitch (forever be that bitch)
Yeah (ayy, ha)

As her first verse begins, she and the dancers move their upper bodies to the beat, rolling their backs and shoulders, their heads moving sensually side to side as they continue the slow rhythmic thrusting of their hips.

I'm the new St. Teresa, one they all now wanna piece of
Had to dump some messy bitches out my life so that it’s cleana’ (yeah)
I'm way too elusive, ain’t bout to catch me goin’ wild
All them lil' ass hoes gon’ end up with a child

As the song picks up and her verse gets more aggressive, she and the dancers flip from their knees onto their sides, lifting one leg in the air up and down to the beat, the habits covering their upper bodies and only providing a small skirt like flare in a bare attempt at modesty over their legs, the rest only just barely covered in fishnet stockings. The lights flare up, coating them in flashes of pink and purple that sparkle on their body glitter. The camera slides on on the line of women as they then flip onto all fours, parallel to the edge of the stage and in a line, shaking their bottoms, also set in tempo to the beat. On the last line the camera cuts to Mia Culpa as she delivers the last line with enviably seductive scorn.

Mad rich, still talking cash shit
Sipping ice water, I'm hydrating and relaxin’
I ain’t gonna slip on the finish line, it’s happenin’
Bitch, I’m on top, got it made, ‘cause I got ‘em, ah

As the chorus begins, the dancers and Mia Culpa now leap to their feet from where they were on all fours in an incredible display of strength, ripping off their habits in the next motion, revealing strapless tight black leather bodices underneath. They continue to shake their bodies, ample bosoms and bottoms shaking rhythmically under the lights as they flare up in the change of pace.

I got morals (yeah)
Patience, courage, virtue (yeah)
Justice, temp’rance, prudence (hey, hey, yeah)
Acting holy, what's happening? Bitch (whoa, whoa)
What's happening? Bitch (whoa, whoa)

At the second round of the chorus the women begin to turn, pivoting a few degrees with every shake until they are frontally facing the audience, many of whom are cheering quite loudly at the display. The women bend their knees lower and lower until they are still shaking their bottoms just barely above the floor, arms out in front of them for balance, hands making carefully choreographed motions.

I got morals (yeah)
Patience, courage, virtue (yeah)
Justice, temp’rance, prudence
Acting holy, what's happening? Bitch
What's happening? Bitch (ay, ah)

The second verse begins and Mia Culpa rises back to her feet, addressing the camera and audience, walking towards the edge of the stage and pointing into the audience, her attitude confident and eyes smouldering. The dozen dancers break into groups of two behind her, one dropping to their knees and the other remaining standing, facing each other parallel to the audience. The standing women gyrate their hips, legs spread wide as the kneeling women continue the shaking choreography from earlier in a very suggestive display. At the mention of "dangle", the standing women pull out strands of beads that had been hidden in their cleavage, whipping them around and then grasping both ends and rubbing them against their groins before throwing them away into the audience. The kneeling women then grasp the hips of the standing women and put their own legs together, using their grip slide between the wide legs of the standing women and then using their momentum to raise up to their feet as they and the standing women turn to face towards another once again, the standing women grabbing the hands of the now-upright women to steady them and pull them into a sort of T-pose, body to body, arms out.

Eat me up, yes please, you’re still always on your knees (ah)
Put your taint on holy ground, never been in a baptistery (baow)
I know you like the dangle, licking on my rosaries
If it’s really what you want, then you can go and suck on these
I'm the shit, ooh (ayy)
I need a mop to clean the floor, don’t wanna slip, ooh (just a lick, ooh)
I keep ‘em hot, I keep on top, I keep ‘em slick, ooh (I keep ‘em slick, baow)
We’re all the same, gotta go and scratch that itch, ayy (scratch that itch)
But not too quick, yeah (ah)

At the beginning of the chorus again, the women in their T-poses, pressed against one another, begin to thrust against each other to the beat, bringing out their knees perpendicular to their bodies as they slowly crouch towards the ground, still torso to torso as they grind. They keep their hands at approximately the same level as they lower, their arms now raised directly above their heads, hands still clasped together. By the time the second verse of the chorus is over they are once again standing, arms still raised above their heads.

I got morals (yeah)
Patience, courage, virtue (yeah)
Justice, temp’rance, prudence (hey, hey, yeah)
Acting holy, what's happening? Bitch (whoa, whoa)
What's happening? Bitch (whoa, whoa)

I got morals (yeah)
Patience, courage, virtue (yeah)
Justice, temp’rance, prudence
Acting holy, what's happening? Bitch what’s up?
What's happening? Bitch (ay, ah)

The last verse begins and the women, stomach to stomach, flip around and are now back to back as they quickly drop to their knees, pop back up to straighten their legs, and then fall forwards onto their hands, legs still straight and bottoms high up in the air, shaking with wild abandon. Mia Culpa turns her back to the audience and bends so that her face can be seen through her spread legs, still singing and gesturing. The dancers all roll forwards, each towards a new partner. The new pairs grasp each other by the waist, touching heads ear to ear and bent over so that their torsos make a triangle and their legs are straight, still shaking everything they've got. The dancers on the end who rolled forward, now partner less, cartwheel from the edges of the stage and towards Mia Culpa as she raises her head and torso back into a fully upright position, looking over her shoulder and singing for a beat or two before finally spinning around on the beat just as the dancers on the ends come out of their cartwheels and slide on their knees towards her, stopping on either side of her spread legs, grasping them while on their knees and leaning against her, heads on the side of her waist. On the line "too spicy" one dancer darts forward her head towards Mia Culpa's little delight before having her head shoved back by Mia Culpa. On the line "use your hand", the other dancer places her flat palm, fingers spread, against Mia Culpa's little hot pocket as all of the dancers in the background stop and face the audience, bodies rolling in time to the beat, Mia and the kneeling dancers at her legs thrusting as well.

Bitch, she lick on my snatch ooh
And you know that taste has got her still attached, ooh
She movin’ right, gave me all this drippin’ cat, ooh
I drop it low down, now these bitches gonna snack, ayy
Don't let men catch you ‘cause what ladies got they lack, ooh
It’s not a sin, it ain’t a dick that’s getting whacked, uh
These bitches talkin' 'bout eating up, well, where you at? Ooh
I sure ain’t bland, bitch, taste me if you can, ooh
If I’m too spicy, got you hot, use your hand, yeah (ah, yeah)

Mia shoves the dancers at her side away and steps forward, addressing the camera again, blowing a kiss to it as the song ends, finishing with a more freestyle but undeniably sensual shaking of her body as the dancers line up behind her.

I’m the Mother Superior, ain’t got time for nun ya’ nonsense, ah
Mwah
Ayy, ayy, ooh, ooh, ooh, ooh, mwah!

The audience is going wild at the display, the air seeming to almost vibrate (and the cameras themselves shaking a bit) with the sheer energy in the room. She and the dancers take their bows and give their thanks to the audience as they leave the stage, blowing kisses to the cameras as thunderous applause and cheering follow them out. Mia Culpa played to her strengths and to the right audience, a fabulous cocktail to create the performance of a lifetime.

by **Kergle** » Sun Jun 06, 2021 4:17 pm

Kergle wrote:Tune Billy boyd with our last goodbye
https://m.youtube.com/watch?v=q8ir8rVl2Z4

The Rise of the King

After the fight, we did salute
We have won lest we forget
This valley of death,with blood beneath my feet
We see the rise of the King

The wheather is now heavy
Thoughts in my head
Was this all worth it
And now I contenplate
Through battle, loss of life
To keep our country going strong
Our mountain tops, and plush meadows, to our cites

The Lord Grizgor, founded us
We celebrate forever more
His sacrifice, his greet deed
To make this our home

He travelled along a great distance
To bring this freedom
We now have this land, this noble land
We call our home

After the fight, we did salute
We have won lest we forget
This valley of death,with blood beneath my feet
We see the rise of the King

The wheather is now heavy
Thoughts in my head
Was this all worth it
And now I contenplate
Through battle, loss of life
To keep our country going strong
Our mountain tops, and plush meadows, to our cites

The Lord Grizgor, founded us
We celebrate forever more
His sacrifice, his greet deed
To make this our home

He travelled along a great distance
To bring this freedom
We now have this land, this noble land
We call our home

Kergle was forgotten about in the draw so has decided to withdraw

World Hit Festival 59|Orongumilá, Achaean Rep.|Draft Thread

World Hit Festival 59|Orongumilá, Achaean Rep.|Draft Thread

WIP

01 | Britonisea | Josh Morris - Mine

09 | Nightom | Henry Nikkelsen - Cloud 9

Kergle song

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