AS1/AFT|WHF59|Orongumilá, Achaean Rep.|IC Thread

by **Achaean Republic** » Mon Jun 07, 2021 7:33 pm

11
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 **Achaean Republic** » Mon Jun 07, 2021 7:34 pm

by **Achaean Republic** » Mon Jun 07, 2021 7:35 pm

12
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 **Achaean Republic** » Mon Jun 07, 2021 7:35 pm

by **Achaean Republic** » Mon Jun 07, 2021 7:36 pm

13
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 **Achaean Republic** » Mon Jun 07, 2021 7:37 pm

by **Achaean Republic** » Mon Jun 07, 2021 7:37 pm

14
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 **Achaean Republic** » Mon Jun 07, 2021 7:38 pm

by **Achaean Republic** » Mon Jun 07, 2021 7:39 pm

15
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

by **Achaean Republic** » Mon Jun 07, 2021 7:39 pm

by **Achaean Republic** » Mon Jun 07, 2021 7:40 pm

16
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 **Achaean Republic** » Mon Jun 07, 2021 7:41 pm

by **Achaean Republic** » Mon Jun 07, 2021 7:41 pm

17
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 **Achaean Republic** » Mon Jun 07, 2021 7:46 pm

by **Achaean Republic** » Mon Jun 07, 2021 7:47 pm

18
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 **Achaean Republic** » Mon Jun 07, 2021 7:50 pm

After the final song was finished, the crowd let out a big primal roar the only way the Achaeans knew how to do: With instruments, clanging cymbals, cooking implements, and hollering out of their lungs. Both Pacheco and Hamilton were side to side waiting for their turn to speak while interacting with the crowd beside them. The women changed their clothes: Pacheco had a forest green one-shoulder, intricate flower-embellished dress with a shear gown that covered her black shoes. She also tied her hair in a bun, which highlighted her dark skin and facial complexion beautifully with the light makeup that embraced her. Hamilton, meanwhile, wore a short plain white dress with brown laced stilettos and loose hair. Here the fashion roles were reversed: whereas Pacheco was now embracing aplomb intricacy and description, Hamilton was embracing subdued effortlessness.

Behind them, the audience was waving flags and cheering on for their entries. It was time to open the voting.

LAURA HAMILTON: Thank you so much for performing!

DANIA PACHECO: Now, we have seen all the performances. We have laughed, we have cried, we have danced, and we have even enjoyed a little bit of eye-popping views of the me—stage, I mean.

LAURA HAMILTON: Hmm-hmm.

DANIA PACHECO: But now is the time to decide who will win the 59th World Hit Festival and have the opportunity to host next edition’s diamond contest.

LAURA HAMILTON: Yes! Their fate is in your hands! Who will get a shot at World Hit Festival fame and glory? Let’s find out soon!

DANIA PACHECO: You have 15 minutes to vote for your favorite entry online, by phone, text message, on our World Hit Festival app, or even by WhatsApp if you have allowed in your country.

LAURA HAMILTON: I can’t wait! So I guess it’s time to get started.

DANIA PACHECO & LAURA HAMILTON: START VOTING NOW!

Fireworks erupted from the stage and the fans cheered even louder. The cameras showed the people waving their flags and singing and dancing with each other—even if they didn’t know Spanish, the people would join in.

VOTING INSTRUCTIONS

You have until Monday, June 14 at 6:00 AM EST/11:00 AM BST. Buena suerte!

TO VOTE: Please send a TG to Achaean Republic or Discord DM to je-repac#4995 with a full ranking of all participating entries (excluding yourself, of course). You will also send an image of a spokesperson with a short bit of dialogue for the five points. You can use the following as a template:

Code: Select all: [b]Nation:[/b] [b]Picture of Spokesperson:[/b] (please make it as big as possible, preferably portrait) [b]Name IC of Spokesperson:[/b] [b]RP:[/b] [b]Ranking:[/b] 1- (FAVOURITE 5 POINTS) 2- 3- 4- 5- 6- 7- 8- 9- 10- 11- 12- 13- 14- 15- 16- 17-(LEAST FAVORITE)

Reminder TGs will be sent at least 48 hours before the voting deadline. Good luck!

by **Achaean Republic** » Mon Jun 07, 2021 7:50 pm

A bit of the contest’s leitmotif was played before the cameras returned to the Gran Arena Fortunense, with Hamilton in the green room standing beside the artists and Itamar, the festival’s most recent winner.

LAURA HAMILTON: I am back in the green room, ladies and gentlemen, standing next to the one and only reigning champion of the World Hit Festival, it’s the queen Itamar!

ITAMAR: ¡Muchas gracias! Thank you so much for having me here tonight, it’s an honor. (She blew kisses to the audience and the green room surrounding her, waving her hand wildly from left to right with her womanly grace. Everybody in the arena was cheering for her—or at least, the very enthusiastic ones who cared about a trans woman making waves in the Multiversal music scene.)

LAURA HAMILTON: They love you here in Achaea! So, tell me what it felt like back in Le Havre, when you performed your song, Pass Me By, and you were waiting for the results.

ITAMAR: My God, I felt like it was yesterday! I wanted to cry and yell and drink and eat my nerves away, but let me tell you though—it was worth it because regardless of whatever happened, I made my own piece of history.

LAURA HAMILTON: And history you did! Now, being the first trans woman to win the competition, do you feel that responsibility weighing on your shoulders or—can you please let us know?

ITAMAR: I don’t think of myself as “the first,” really. I did it, I made it, and I want everybody else to make it too. It’s important to keep a humble perspective, yes, but it did help a lot of girls—um, I’ve received so many messages from support from around the world who are thrilled about the win and want to do so many things. And I must support that because they are the future. We are the future and we are the change and—(Many around the arena stood up and clapped for Itamar’s words. Some were also cheering, especially those surrounding the LGBTIQ+ community in Achaea, which was facing some troubling prospects for their struggles into the future. Faced with such love and support, Itamar wiped a tear or two, knowing how she was still respected in the circle after all she’s been through.) I do…I do believe that this is the generation that thrives on breaking the status quo and making things new.

LAURA HAMILTON: Thank you so much, Itamar. And we know you’ll perform your new song later, but first, what would you say to the contestants right here in the green room, waiting to follow in your footsteps?

ITAMAR: I’d say good luck, have fun, and don’t drink too much before eating! ([i]laughs[/i)

LAURA HAMILTON: Well, thank you once again for being with us tonight, and we can’t wait to hear you sing again!

ITAMAR: Me, either!

by **Achaean Republic** » Mon Jun 07, 2021 7:55 pm

The camera then switched to Pacheco in the other side of the arena, behind her with cheering crowds.

DANIA PACHECO: Don’t miss Itamar singing Pass Me By and her new, unreleased single later! But now, I think it’s time for some music, don’t you think? Here in Achaea, we always like to have a good party. And right now, we’ll start it with our very own merengue superstar, María Mercedes!

María Mercedes Ortíz is a popular merengue singer from Barrio Las Colinas, a small subdivision on the outskirts of Orongumilá. Being in the music industry for more than 30 years, María Mercedes has become a popular musical force in the country becoming one of the first women in the tropical genre in a time where the tropical industry was dominated by men. Her outspoken feminism, her ability to understand the Achaean woman’s perspective on life, liberty and the pursuit of happiness, and serving sabor to more than 30 countries have gained her legions of fans worldwide. In a region dominated by the strength of women, María Mercedes was invited by the host broadcasters to perform her hit song, El Fantasma (“The Ghost”) in her hometown for the interval act. She readily accepted.

María Mercedes appeared onstage with a form-fitting, sleeveless cheetah-print leopard print jumpsuit with see-through heels. She was always known for her outlandish, tacky and sometimes vulgar fashion, criticized by many in Achaea for it but at the same time memefied and followed on by her fans and detractors. There is always an idea of a merenguera to be cheap, scandalous, or both—and María Mercedes’ job was to cross the line twice and then flip it back while making her money, damn what everybody else thought. Even El Fantasma, the song she was about to sing, was controversial by many for depicting contentment with a passionate, sexual relationship with a man she does not know. But it also provided liberation for many women going through the same experience, at the same time being just a plain good song to dance to.

Que es mi fiel amigo
O un infiel testigo
Que se asoma a mi casa, me besa en la boca
Me vuelve un delirio
Nada en mí se incomoda
No digo que suprima
Nada me molesta si le hago caso
O mi cuerpo vibra

Que un fantasma me sigue
Paranoia sublime
De qué pueblo vino, que brujo alguien hizo
Lo dejo al olvido
Y si quieren lo piensan
O me dejan sin fuerzas
Los detalles no lo sé
Ni lo quiero saber

Say what you will, but one could not deny her stage presence and magnetic charisma. As she was singing the chorus, she was also circling around parts of the stage while unhooking the microphone to the stand. She motivated the audience to clap and dance, which many did. The performers in the green room also followed suit, though many who did not have a basic knowledge of Spanish could not follow the lyrics or the steps to merengue dancing. Others, with a bit of liquid courage in them, would try to dance in their chairs while trying not to fall on the levelled sofas beside the green room. Needless to say, people were having fun.

[align=center]Cuando lo siento, siento una y otra vez
Y en sus brazos yo vuelvo a nacer
Nadie pregunta si sé yo también
Cuantos saben de él
Una razón no es fantasma, es carne y huezo también
Tanto pedazos por descomponer
Y en el silencio quise comprender
Fantamas también

In the stage, two men jumped to the stage and began dancing alongside María Mercedes as she shimmied and shaked her hips and moved her body in heels. Despite being in her upper fifties, María Mercedes did plenty to keep herself in shape and it shows in her movements. Nevertheless, she tried to keep up with the dancers as best as she could.

Que un fantasma me sigue
Paranoia sublime
De qué pueblo vino, que brujo alguien hizo
Lo dejo al olvido
Y si quieren lo piensan
O me dejan sin fuerzas
Los detalles no lo sé
Ni lo quiero saber

Cuando lo siento, siento una y otra vez
Y en sus brazos yo vuelvo a nacer
Nadie pregunta si sé yo también
Cuantos saben de él
Una razón no es fantasma, es carne y huezo también
Tantos pedazos por descomponer
Y en el silencio quise comprender
Fantamas también

Cuando lo siento, siento una y otra vez
Y en sus brazos yo vuelvo a nacer
Nadie pregunta si sé yo también
Cuantos saben de él
Una razón no es fantasma, es carne y huezo también
Tantos pedazos por descomponer
Y en el silencio quise comprender
Fantamas también

After she was done with the performance, the arena grew into a raucous applause. For the first time, the Multiverse was exposed to the power and sensuality of tropical music, and that was an important cause for celebration. Especially for María Mercedes, she hoped exposing the genre into such a bigger platform the World Hit Festival provides would prove invaluable for her career prospects, nonetheless performing in more venues where Achaeans and non-Achaeans alike (especially the Latins) would knock down a beer or two and have some old-fashioned, sweaty fun. “¡Gracias! ¡Gracias! Thank you for coming!” said María Mercedes with what little English she could muster, sweating and breathless from such activity she was not used to in her performances. But you can’t deny it wasn’t fun.

by **Achaean Republic** » Mon Jun 07, 2021 7:57 pm

After another recap of all the entries is completed, the cameras returned to the arena, where Hamilton was standing alongside a crowd of cheering fans, some furiously voting for their entries with their cellphone apps or even WhatsApp, which was allowed in countries like the Achaean Republic. Others were also trying to grab their five seconds of mediatic attention through their outlandish costumes and extraneous wigs.

LAURA HAMILTON: Have you voted yet!?

AUDIENCE: Yes!

LAURA HAMILTON: Well, have you, dear viewer at home, voted yet? (The camera shakes sideways, as if it were doing a vigorous “no motion.”) Well, what are you waiting for!? The choice is yours! Telephone, text message, app, WhatsApp, online—there are so many ways to vote for your favorites, and each of them are at the palm of your hand! Right?

AUDIENCE: Yes!

LAURA HAMILTON: So, while you make up your mind and choose your entries carefully, we’ve got some more music to share with you! Here we have the Queen of Carniva, coming to you live on stage, AmbiDextra!

Marlene Brown, best known as AmbiDextra, has been through a lot in a year since the pandemic. Her main gig, the Rosario Carnival, has been grounded until further notice due to the still quite dangerous perception of unnecessary gatherings by public health authorities—it wouldn’t be until 2022 at the earliest where carnival may safely resume in Rosario and the rest of the Achaean Republic. At the same time, she and her husband were sick with COVID-19 and had to stay away from her two children, who were sent to her grandmother’s house on the far side of Rosario Island just to stay away. (On a silver lining, her husband and manager Jafed stopped smoking right after he recovered from the illness.) Then, as she recently revealed on social media, AmbiDextra was diagnosed with stage II breast cancer. Her world stopped. It wasn’t fair! Having gone through Hell shouldn’t have meant going through another Hell next to it!

News of AmbiDextra’s cancer diagnosis shook the Achaean musical industry. In Rosario, it was impossible to have a decent carnival without the presence of the legendary queen. Across the country, fans and colleagues alike provided her with flowers, prayer, support and the best wishes for her recovery, more so when her first LP in five years was due to come out and was already expected to be the next hot summer hit. She was also excited to perform on stage again, more so when AS1 and AFT invited AmbiDextra to show her new song in Orongumilá, just as she did in Rosario a while back ago. (Rumor has it she was slated to host the competition, but her English skills were not up to par—despite being raised with a Trinidadian father).

But the cancer threatened to derail all that. So she decided to become candid. After all, who is AmbiDextra if not ambitious and determined? She proactively cut her hair bald, rocking the looks on her Instagram page as she took her chemo. She scheduled her double mastectomy and wanted to show it to her fans. She clung to her faith and family, trying to prove to herself and no one at the same time that she could still be the queen of Carnival and—against all sense and medical advice—would still perform in the World Hit Festival.

AmbiDextra was at a trio eléctrico imported from Brazil, the massive trucks that decorate the Rosario Carnival and would have revelers dancing and drinking beside them. Because these structures involve so many complex things and settings occupying gadgets and gizmos a-plenty, a small truck was modified for the occasion. A picture of AmbiDextra in carnival with other revelers—some of them digitally inserted wearing masks and carrying drinks in their pockets.

AmbiDextra was on the top wearing a bejeweled blue bodice with blue, white and hot pink feathers and a bejeweled diadem. She also wore blue peacock feathers, which made her look regal and imposing. (An avid animal rights enthusiast, she made sure that the feathers on her costume were fake.) She also wore royal blue stiletto gladiator heels with straps that had synthetic soles but were comfortable enough to be worn for long periods of time, although it was not advisable by podiatrists and revelers alike. She was singing and adjusting her microphone from afar, but it was somewhat possible to observe her slight discomfort and paling face.

Y aquí es el vacilón
Aquí comienza el rumbón
Soy dueña del fiestón
Hasta romper el suelo

Y aquí está la libertad
Y aquí está la libertad

She was helped by a troupe of dancers who were also dressed in extravagant costumes like AmbiDextra’s. This was a common sight in the city’s carnival celebrations, and that proved to be a welcome throwback and a taste of a post-pandemic carnival to come, whatever and whenever that meant, one the overly anxious Fortunenses and other Achaeans were waiting to revel in. But it was further noticeable that she was struggling a bit with the pain of standing up in high heels—the treatment started, but it would take a while for Marlene to get used to it if she ever. Nevertheless, she winced a bit and did her best to dance with the rest of the troupe.

Yo soy quien monto la ley--¡no!
Deja suelo el bum-bum de pie
Ahora el juego está bien--¡no!
Quiero gozar hasta las diez

Si deja hasta llegar (a llegar)
Ella quiere jugar (a jugar)
Y quien se quiere negar
Ven—empezar o a continuar

As she walked to the center of the stage, the began to jump around and wine and grind. For a brief moment, dancing led her away from the pain she was feeling inside of her bones, the breasts she was about to lose in a few weeks, the feelings of fear and pity surrounding her when people sent her messages of support from around the world, the DMs she couldn’t answer, the letters she couldn’t open. It was overwhelming to go through with the pain and still have enough strength to dance. That in itself is admirable.

The cameras glanced at the audience having fun, and the performers in the greenroom trying to dance and drink too. Some conservative viewers would be a tad aghast at the shameless grinding and thrusting thrown upon their television screens, but it would be quite easy to explain away that Achaean celebratory dancing is wild and carefree, just like the African ancestors who came here and introduced these dances to the islands.

Y aquí es el vacilón
Aquí comienza el rumbón
Soy dueña del fiestón
Hasta romper el suelo

Y aquí está la libertad
Y aquí está la libertad

Y aquí es el vacilón
Aquí comienza el rumbón
Soy dueña del fiestón
Hasta romper el suelo

Y aquí está la libertad
Y aquí está la libertad

The cameras glanced at the audience having fun, and the performers in the greenroom trying to dance and drink too. Some conservative viewers would be a tad aghast at the shameless grinding and thrusting thrown upon their television screens, but it would be quite easy to explain away that Achaean celebratory dancing is wild and carefree, just like the African ancestors who came here and introduced these dances to the islands.

Yo soy quien monto la ley--¡no!
Deja suelo el bum-bum de pie
Ahora el juego está bien--¡no!
Quiero gozar hasta las diez

Si deja hasta llegar (a llegar)
Ella quiere jugar (a jugar)
Y quien se quiere negar
Ven—empezar o a continuar

Y aquí es el vacilón
Aquí comienza el rumbón
Soy dueña del fiestón
Hasta romper el suelo

Y aquí está la libertad
Y aquí está la libertad

AmbiDextra was sweating, standing, borderline collapsing. She wanted to sit down. She wanted to stand up. She wanted to faint. It was impossible to tell what the chemo would do to her newly fragile body. But for a moment, it was possible to hear a sob or two come down from her microphone. The male revelers beside her dutifully noticed her tiredness so they were able to scoop her up and carry her by their shoulders. In an instant, the singer was swept away, wiped her tears, and also waved and kissed the crowd. For a brief moment, she forgot she was in a basketball arena-turned-tv-show and returned to the “before times” in a trio eléctrico on the intersection of Avenida Kaduba and Avenida de Los Santos with a crowd of tens of thousands dancing and drinking and throwing water bottles and cannons with their friends, family and lovers. She longed to go back to those times—and she will, God willing, once she kicks cancer in the tits.

by **Achaean Republic** » Mon Jun 07, 2021 7:59 pm

The cameras then turned to Dania Pacheco, who was standing with the crowd in the lower levels, on the right side of the stage. They were cheering on and—interestingly—had were wearing a lot of rainbow-colored gear and had flags of different colors. Ever the journalist, Pacheco talked to several of them off-camera and asked their motivations for watching the World Hit Festival and any causal links to their sexuality. Some found no causality. Others loved the festival for what it stands, as a testament to nature, nurture, music and diversity. (For many, the WHF took significant leap in priority over other song contests, more so with two wins under the nation’s belt and high expectations for each subsequent entry.)

DANIA PACHECO: Thank you, AmbiDextra! We love you, girl, and we hope for the best! We appreciate everything you do to make our Carnivals bigger, better, and badder! (The audience began cheering for AmbiDextra, well aware of her current condition.) Now, I know we’ve been nagging you for so long, but this is important: Have you voted yet? (Once again, the camera shakes sideways, as if it were doing a vigorous “no motion.”) Then start voting! Here you go, here’s another recap for you to see while we wait…

Another recap of all entries was shown to jog viewers’ memories on who to vote—barring their own country of course. Once the recap was complete, Pacheco returned to scene.

DANIA PACHECO: Now that you have voted, (sigh) we can continue. In its fifty-nine years, the World Hit Festival has been known for showcasing the Multiverse’s diversity and cultural heritage to people of different stripes, races, cultures and even, yes, orientations. We are all proud to showcase who we are, our truth, our values, our journeys and our music so that everybody can enjoy a little piece of us. We are proud of who we are and of what we have become. And last edition, one brave woman was able to break through barriers, face all kinds of attitudes and show her truth so it would never pass the world by. Her victory became a symbol of freedom and diversity at a time the world needs it most. And we are proud—(The audience began clapping and cheering for her. It was impossible for many not to swell up in pride once thinking about her. Yes, many disagreed or shrugged in silent approval. But those were the few, and the tide in the Achaean nation is turning towards the future.) And we are proud of having her with us tonight, which is fitting because this is the time of the year we celebrate our pride. Let’s take a look.

A video is shown of a couple volunteers cutting down a small chunk of a sugar cane plantation and painting the sugarcanes with organic paint and placing a chair. They also put up two flags: the flag of the Achaean Republic on the viewer’s left, and the Pride flag on the viewer’s right. There was a small wooden chair in the middle where the flags would be placed. Then, a few random people would sit on the chair and talk about how Itamar’s victory in the 58th World Hit Festival reignited a sense of hope and pride for the LGBTQI+ community—and Achaean society in general.

Cuando Itamar ganó el festival, yo me quedé boquiabierto. ¿Qué pasó? ¿Qué fue eso? ¿Cómo? ¡Jajaja!

Yo recuerdo la noche que Itamar ganó en Le Havre. Yo estaba atendiendo a pacientes en mi rutina, y yo entré en llanto. Es…Era impresionante. Nunca en la vida pensé que una mujer como ella llegase a cargar una victoria para nuestro país, para nuestra República Acayana en tiempos tan díficiles como estos.

En la calle me ven no como una prostituta. Muchos me ven como una mujer entera, completa, perfecta. Ya no soy una de la calle. Sí, hay muchos así, pero (laughs) ¡ellos se arrepienten!

Cuando Itamar ganó el World Hit Festival, no podíamos dejar de hablar de ella en la escuela. Me hizo sentir más libre, más cómoda de ser quien soy y de amar a quien yo quiera.

Then, Itamar sat down on the chair and started speaking about her life, her goals, and her work with Bloque Colorido, one of Achaea’s largest LGBTQI+ advocacy groups as its goodwill ambassador:

Yo he luchado para muchas cosas en esta vida. Por mi trabajo. Por mis sueños. Por erradicar la violencia. Por ser mujer. Pero cuando gané…No sé cómo explicarlo. Sentí orgullo de ser yo por primera vez en mi vida. ¡Una mujer como yo! ¡Está allí, en mi televisor, cantando! Nosotros en Bloque Colorido vimos la victoria como un avance en las relaciones de nuestra comunidad con el resto del país. Ser embajadora de este grupo ha aumentado nuestra visibilidad, nuestro rango y alcance y nuesta misión con el público en general. ¡Espero que nuestra unión dure años y años y años, jaja!

by **Achaean Republic** » Mon Jun 07, 2021 8:00 pm

As the VT ended and the cameras went back to the arena, the expectation in the audience was high for the next set of performances from the contest’s reigning champion. The set up on stage, however, was quite simple and a very nice throwback to the seventies funk, Itamar’s favorite musical inspiration. She was a fan of the seventies’ fashion, that with bell-bottom jeans, afros, colorful pants and dresses, and the swagger of a woman walking down the street in ornamental sleeves, big Farrah Fawcet hair and the embracing sexuality of someone without anything to lose. Itamar’s main inspiration for dress, however, was La Lupe, the trailblazing Cuban salsa singer whose sexually explosive performances led her to become a feminist icon—and a low-key inspiration for many Latin trans women in Achaea during the decade. There is a reason why she wore a get-up similar to the one in a famous CD cover, with the big coiffed hair and the long white dresses (Itamar was a santera, a follower of Ochún, but she kept the rituals in her privacy).

The music began, and three singers were dressed with faux-afros and bell-bottoms while scatting to the beat and swinging left to right. Eagle-eyed viewers, however, would notice that these were the same enby vocalists joining Itamar last time in Le Havre. She was able to reunite them once again for the performance.

Es una mujer sincera, nadie la puede parar
Está enamorada, busca con gente fina
Quería bautizar sus realidades
Provocando con otros malestares
Sí, sí (sí, sí)
Sí, sí (sí, sí)
Sí, sí (sí, sí)

Es una mujer sincera, nadie la puede parar
Está enamorada, busca con gente fina
Quería bautizar sus realidades
Provocando con otros malestares
Sí, sí (sí, sí)
Sí, sí (sí, sí)
Sí, sí (sí, sí)

The crew beside her began playing the funky beat. The vocalists started playing saying “Hoot! Hoot! Hoot! Hoot!” with vigor as if they were scatting a jazzy tune. Itamar started jumping with her heels (an impressive feet nonetheless!) and subtly invited the audience to join her. It was a fun moment, and funny watching Itamar try to keep her hair present whilst she sang.

Then, the song changed to something softer and subtler. Itamar began lowering her voice in a sensuous tone, somewhat longing, not quite different from what was observed in Le Havre. (She wrote the lyrics in honor of her ifá, a young woman who showed her way while she began discovering her journey.) The lights became softer, and the tone was demure.

¿Quién pensará
Que ella sabe cuál de sus sueños se irán?
Yo sé, no se perdió
Pero siempre buscará su amistad

¿Quién pensará
Que ella sabe cuál de sus sueños se irán?
Yo sé, no se perdió
Pero siempre buscará su amistad

Yo lo presentí
Mas si ecucha
Es solo presentir así
Temo decir
Que se tiene que ir
Oh, oh
Sí

The audience received Itamar’s return to the stage with rapturous applause. The stage lights turned into many colors such as those on the pride flag, which made the audience even more restive and anticipating for what would come next. Itamar was never a subtle woman, more so after winning the festival and maybe even becoming the face of community magazines like Out and Attitude. But her countentance needed to change as well: from happy-go-lucky to serious and decided.

“We’re not done yet, Orongumilá!” Itamar shouted to the public who was ready to sing along—those who knew the English part at least.

A few Achaeans, always loud and boisterous, could be heard waving their flags and speaking Spanish to each other during the few seconds before the transition. For those that were present—and especially to progressive Achaeans—, it was a scene to behold: for the first time, a trans woman would represent the fueguero nation on the World Hit Festival, and it was a point of pride and honor that, despite the somewhat uneven forces against the community in recent times, there are still opportunities to be forged and glass ceilings to be broken. Then, a light turned on and Itamar was in full view.

Unlike her previous performance, her countenance and tone of voice was much more contemplative and not as aggressive or repulsive—she used the word repulsive to describe the alienation she wanted to provoke with her music. Instead, she started off singing with her eyes half-gazed on the floor, breathing heavily but not audibly towards the microphone stand, trying to settle her unusual nerves and keeping her cool. However, where she sang the song with a black-and-white filter, now it is displayed in full color. As much as she tried to keep a steady face and calm her nerves, it’s impossible for her not to live her fantasy as a soul chanteuse, a conception of femininity she thought it was nigh impossible for a woman of her frame to portray.

I’ve been told that I am bound to waste my youth
Because I’m not afraid to live tested, tried and true
It’s the wrath I’ve faced, I’ve been made so new
The darkness of life won’t leave me blue

Flesh and bones, they waste and I’m burning
On fire and glass I bleed and I’m hurting
Who’s to say that looks cannot deceive?
I cannot escape yet I’m skirting
The rules of lie that are always diverting
Who’s to say that looks cannot deceive?

It was hard for Itamar to not think of other Achaean performances in the Festival, which always involved some type of movement, be it upwards or downwards or sideways. Yet she was standing, holding tight to her microphone, crooning her discontent to people she never even met before, judging her looks, judging her womanhood, judging herself. Despite all the nimble acrobatics and feats of prowess she could throw at a number—she was a child of the streets, after all—Itamar needed to balance her insecurities with her self-worth. It filled her with anger. It filled her with sadness. The bright cameras were blinding her. The music was too loud. She worried she’d trip on her dress and pratfall down the stage in front of the Multiverse. She worried the backing track would mess up the vocalists’ performances. Too much was going on, and that made her feel powerless all at once.

But now she had backup from a beautiful team.

Don’t want the rest of life to pass me by
What is love, what to try
Enjoy my hands and enjoy my time
Don’t want the rest of life to pass me by
Let the world see what I can see
Let them wake up and see how I’m complete

Now she has to sing the part in Spanish, again. She didn’t mind singing in English, even if Itamar felt she wasn’t proficient enough yet. Of course, she needed to respect the broadcaster’s wishes if she wanted to take the trip to Le Havre—getting out of the contract would be a pain—but if she were honest, she would’ve lobbied to avoid the language switch. But that was her opinion, and that cannot serve as a petty distraction. Itamar has been distracted enough by the forces. Nevertheless, she slowly and tenderly grabbed the microphone stand. It felt weird to keep one position while singing and limiting any sharp movements that would not keep into the song’s tone. She closed her eyes, breathed in, breathed out, and opened them up again. She kept the gaze at the camera, and to the Multiversal viewer at home, watching the performance. It was the time to let the resolution in her mind and body speak for itself. Maybe she should just change her line of work to soul and R&B.

Me han dicho que voy a perder mi juventud
Porque no pierdo el miedo de probar mi virtud
Mi mente se hizo libre de la esclavitud
Y ahora mis días tienen tanta gratitud

From angelical and feminine and aspirational—cunt, cunt, cunt—, a muted but primal energy was bleeding through the stage. It was hard to not think of the many costly surgeries she did in order to make herself look feminine. The humiliations of going to the women’s bathroom and weaning back at the very last minute in order to avoid inducing discomfort to other women…even though she was one. The hormones that made her puke many times over, or the dates that immediately rejected her when they knew she was trans. She was tired—no, definitely, she was tired.

Con la piel y mis huesos quemando
En fuego y vidrio hiriendo y sangrando
¿Quién dijo que el sembante no engañará?
No puedo escapar, mas bordeando
Las reglas de la vida desviando
¿Quién dijo que el sembante no engañará?

No quiero que la vida se haga pasar
¿Qué es el amor? ¿Qué hay que intentar?
Disruto mis manos, mi tiempo igual
No quiero que la vida se haga pasar
Que el mundo vea lo que veo y
Que se despierte una nueva razón

She was born to live, made to love, ready to win. Or at least those were the affirmations she lived by. Now, it was time to switch from English and Spanish while the vocalists keep vamping their vocals from behind her. It was also time to reflect, to show her vocal prowess, her grip and iron grit. You need it when living in Achaea. But now she needed to envelop herself in the music and take this to the end, if there ever was one. If she could not appreciate her own talents, who would do that for her? If she cannot regale herself in her womanhood, who would do that for her. The cameras were staring down Itamar’s countentance, circling around her in the smaller platform and providing brief, side-angle glances of the cheering, flag-waving, barely socially distanced (and hopefully vaccinated) crowds that were present in Orongumilá. But it was time to bring closure. She needed it.

Don’t want the rest of life to pass me by
What is love, what to try
Enjoy my hands and enjoy my time
Don’t want the rest of life to pass me by
Let the world see what I can see
Let them wake up and see how I’m complete

No quiero que la vida se haga pasar
¿Qué es el amor? ¿Qué hay que intentar?
Disruto mis manos, mi tiempo igual
No quiero que la vida se haga pasar
Que el mundo vea lo que veo y
Que se despierte una nueva razón

Once the music died down and the cheering crowds could be heard in full force, Itamar placed her right hand to her heart and took a bow. Her backup singers, good friends she made along the way, also blew kisses and waved at the audience. Itamar, on the other hand, blew kisses at the crowd in every directions and said to her microphone, “¡Gracias, Acaya! ¡Gracias, Orongumilá! ¡Maferefún Ogún! ¡Fueguero, carajo! ¡Lo hicimos de nuevo!” She yelled and waved and kissed the crowd, while pulling an Achaean pride flag from her bra. It was a magical moment for the community, the tourists, the nation and—above all—for herself.

by **Achaean Republic** » Mon Jun 14, 2021 4:09 pm

After Itamar was received with cheers, the hosts were once again on an extreme corner of the stage, standing together. Both Pacheco and Hamilton were holding their microphones, briefly reviewing their cue cards and waiting for their turn. It was time to close the voting down.

DANIA PACHECO: ¡Gracias, Itamar! Thank you so, so much!

LAURA HAMILTON: And now, ladies and gentlemen, it’s almost time to close down the voting. You’ve been waiting for it, so now it’s only sixty seconds left before we close.
DANIA PACHECO: Phone number, text message, WhatsApp, website, app—there are so many ways to vote for your favorite artists, and the time is running out fast!

LAURA HAMILTON: Yes! Only you can determine who is the winner of the World Hit Festival, so act now or forever hold your peace!

DANIA PACHECO: Well, it’s almost time! (The countdown began in Spanish.) ¡Diez! ¡Nueve!

LAURA HAMILTON: (joins the countdown) ¡Ocho! ¡Siete!

DANIA PACHECO & LAURA HAMILTON: ¡Seis! ¡Cinco! ¡Cuatro! ¡Tres! ¡Dos! ¡Uno!

Fireworks once again came down the arena and the stage. The audience cheered and began to wave their flags, as a sign that voting has come to an end. Immediately, the tune of a popular merengue song popped down the loudspeakers. For both Achaeans and foreigners alike, it was a signal to begin a brief dance party, awkward ass it seemed for the rest of the Multiverse watching on their screens. But this was, stereotypical as it could be, the norm for many Achaeans who watched television at some point during the day. It was sweaty, crazy, and quite exhilarating—and of course, fun! No one could reliably resist the dancing and not join in on the fun.

by **Achaean Republic** » Mon Jun 14, 2021 4:21 pm

LAURA HAMILTON: (panting) That was fun, don’t you think?

DANIA PACHECO: Yep, a welcome break! (Hamilton fixed her hairs.) Now, while we compute the results from throughout the Multiverse, it’s time to give out some special awards, don’t you think?

LAURA HAMILTON: Yes! Since the 55th World Hit Festival, a special series of awards have been given out by fan clubs, press organizations and viewers like you who support each and every one of each edition’s entries. And this time, Fuego Airlines has teamed up with the World Hit Festival to take over these special awards!

DANIA PACHECO: That’s right! Each winner will receive a special trophy, a $2,000 gift card sponsored by Fuego Airlines—that’s about 3,100 corcinos—and a free trip from any destinations to the Achaean Republic for their tropical vacation getaway! Our first special award is the Best Male Performer Award, which goes to…

LAURA HAMILTON: ¡Felicidades! Our second award is the Best Female Performer Award, which will be awarded to…

DANIA PACHECO: And now the next award is the Best Group Act, which goes to…

by **Achaean Republic** » Mon Jun 14, 2021 4:23 pm

LAURA HAMILTON: And next up, it’s the Best Lyrics award for the song with the best lyrical composition. And this goes to…

DANIA PACHECO: And next, it’s the Congeniality Award, given to the nation with the best journey to Orongumilá. You’ve all enjoyed each contestant’s story, but one has risen to the top of the charts…

LAURA HAMILTON: And last but definitely not least, we have two special awards to give out to one winner. For Best Performance as declared by this year’s musical juries, and Best Composition for the musical creators of each song, we have a winner…

LAURA HAMILTON: Congratulations to our winners! And don’t forget to fly a sweet ride in Fuego Airlines! But now, I think it’s time to begin the voting, don’t you think? I can’t wait! Dania, what have you got for us, ma’am?

by **Achaean Republic** » Tue Jun 15, 2021 6:56 pm

DANIA PACHECO: I guess it’s time to reveal what everybody wants to know—the winner of the 59th World Hit Festival! I can’t wait! But before we do, I guess it’s time to speak with the Oveseer of this competition, making sure everything is done accurately and respectfully according to the laws of the game…Mr. Guy Autriche!

The camera panned to a table where the Overseer was sitting alongside other executive directors of the World Hit Festival and the International Broadcasting Association, who sanctioned the event for the fourth time since its inception. Then there were two independent scrutineers, one hired by the IBA and another one from an accounting firm in the Achaean Republic, with offices in nearby Rosario. The Overseer waved at the camera and grabbed his microphone.

DANIA PACHECO: “Buenas noches, Mr. Autriche! Good evening, and welcome to Orongumilá! How are you enjoying your sweet experience through our city?”

GUY AUTRICHE:¿Qué tal Dania? I hope all is well with you! You've both done a fantastic job tonight—let me just say that first! Well done. I am definitely enjoying the sweet experience indeed. I can't have too much Achaean sweetness however; I've got to keep my blood sugars low!"

DANIA PACHECO: Of course, everybody knows that the last time you’ve been in the Achaean Republic you were…erm, let’s say “attacked” (air quotes) by busty women at the Corola International Airport and that became a meme. This—at least we hope—hasn’t happened this time around. How do you feel about that?

GUY AUTRICHE: (He laughed to himself and got a bit red in the face, and the whole arena laughed with him. He took a minute to compose himself.) Well, this is a tad awkward, isn't it? I'm not really sure what I can say to that in all honesty! I wish the busty women at the Corola International Airport enjoyed that moment--I certainly didn't—I'm very happily with somebody and with child so as much as it was flattering, it wasn't for me haha. I think we've definitely taken extra precautions to make sure something similar doesn't happen this time around!"

DANIA PACHECO: All right, enough joking around, Mr. Autriche! What the whole Multiverse wants to know is: are we ready to find out the winner of the 59th World Hit Festival?

GUY AUTRICHE: Yes, I've had a look at the results and gone through everything and I'm sending them over to you...As always this will be a fun and exciting voting sequence!

DANIA PACHECO: Thank you so much, Mr. Autriche! Muchas gracias!”

GUY AUTRICHE: De nada! Of course!

Pacheco walked towards a table behind the green room, where all the anxious contestants were waiting for their fate.

AS1/AFT|WHF59|Orongumilá, Achaean Rep.|IC Thread

11|Kalosia

Alezian Union: Postcard

12|Alezian Union

Darkmania: Postcard

13|Darkmania

Hafamarmimët: Postcard

14|Hafamarmimët

South Africa: Postcard

15|South Africa

Fromulya: Postcard

16|Fromulya

Carrelie: Postcard

17|Carrelie

Achaean Republic: Postcard

18|Achaean Republic

Let the Voting Begin!

An Intermission with Itamar

Interval: María Mercedes-El Fantasma

Interval: AmbiDextra-Y Aquí

Pride is Sweet

Interval: Itamar-Liliana/Pass Me By

Countdown

WHF59 Awards, Sponsored by Fuego Airlines (I)

WHF59 Awards, Sponsored by Fuego Airlines (II)

A Talk With the Overseer

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