Draft Thread of the 60th World Hit Festival [Closed]

by **Britonisea** » Tue Jul 13, 2021 8:07 am

OOC THREAD - IC THREAD - WHF NETWORK - RESERVED RL TUNES
DISCORD SERVER

THE COMPLETE SCHEDULE (SUBJECT TO CHANGE)

Sign Ups for the 60th World Hit Festival Close - 18th July 2021, 23:59 BST
Draft Thread Closes, 24 hours to make last changes - 28th July 2021, 22:59 BST (extended to make up for missed days)
The Official Live Draw - 28th July 2021, 23:30 BST
Running Order Released - 29th July 2021, 03:00 BST
Voting lines Opens, the IC Thread is Available - 30th July 2021, 03:00 BST
The Official Listen-Along (Asia & Pacific) - 1st August 2021, 13:00 BST
The Official Listen-Along (Europe & Americas) - 1st August 2021, 21:00 BST
Voting Lines Closes - 5th August 2021, 03:00 BST
Results Day 1 Phase 1 - 6th August 2021, 21:00 BST
Results Day 2 Phase 2- 7th August 2021, 21:00 BST
Results Day 3 Phase 2 - 8th August 2021, 21:00 BST if needed

Sign Ups for the 60th World Hit Festival Close - 18th July 2021, 23:59 BST
Draft Thread Closes, 24 hours to make last changes - 28th July 2021, 22:59 BST (extended to make up for missed days)
The Official Live Draw - 29th July 2021, 23:30 BST
Running Order Released - 29th July 2021, 03:00 BST
Voting lines Opens, the IC Thread is Available - 29th July 2021, 23:59 BST
The Official Listen-Along (Europe & Americas) - 31st August 2021, 21:00 BST
The Official Listen-Along (Asia & Pacific) - 1st August 2021, 13:00 BST
Voting Lines Closes - 7th August 2021, 23:59 BST
Semi-Final 1 Results & Halves Drawn - 9th August 2021, 21:00 BST
Semi-Final 2 Results & Halves Drawn - 11st August 2021, 21:00 BST

Grand Final
Running Order Announced - Straight after the Grand Final
Draft Thread Re-Opens, 24 hours to make last changes - 11st August 2021, 21:00 BST

The Grand Final will be put up straight after I announce the Grand Final. As I would've done all the graphics + formatting, getting the Grand Final up should take two hours... If people want to revote, they are able to do so during the times below;
Voting open for - 11st August 2021, 23:59 BST - 14th August 2021, 15:00 BST
Grand Final Listenalong - 14th August 2021, 13:00 BST
Results Phase 1 - 14th August 2021, 23:00 BST
Results Phase 1+2 - 15th August 2021, 21:00 BST

COMPLETING YOUR ENTRY

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

Helping Your Host: I am most probably going to use my own formatting for everybody's entry, to make it look uniform, which has been done in other editions, my previous edition of hosting included. I would appreciate if you could keep your formatting of your entry very simple (just text and the 'BOX' tag would be fantastic, no need for colours, bold, italics and underlining - unless they are keys or backing singers etc). You can align everything to the centre if you want to keep in neat, but it would help me very much to keep it quite minimalist. If you don't though, I'll get over it but don't blame me if your postcard comes out blurry xx

PLEASE LEAVE TRANSLATIONS AT THE END OF YOUR POST UNDER A SINGLE SPOILERS. It incredibly slows down the process of making all entries uniform. It really does.

WIP Entries: It would also help a lot if you put a "WIP" or Work In Progress sign somewhere obvious, preferably in the subject or at the top of your post if you don't want me to notice that as finished. All completed entries will be considered final when the Voting Lines open. In the case there are s*mi fin@ls, you can make edits to your entries, but this will be touched on if that time comes (which it might not).

What is a Complete Entry?: Please refer to the Acceptable Standards for Entries at the World Hit Festival. Your entry will appear in the spoiler above if it has been accepted.

Headers: Please use the header that is provided below. Failure to do so will count as your entry not being completed. Please do not use caps in the header unless your artist name/song title is stylised in that way.

OFFICIAL HEADER...

Code: Select all: [align=center][blocktext][box][size=250][b]XX[/b][/size] [size=200][color=#80e0d4][b]NATION_NAME[/b][/color] [color=#92C19E][b]ARTIST_NAME - "SONG_TITLE"[/b][/color][/size] [b]Language(s):[/b] LANGUAGE_HERE [b]Title Transcription:[/b] TRANSCRIPTION_HERE [b]Title Translation:[/b] TITLE_IN_ENGLISH_HERE [b]Tune:[/b] [url=YOUTUBE_LINK]RL_ARTIST - RL_TUNE[/url][hr][/hr][color=#a3adad][b][u]Additional Information[/u][/b] [b]Lyrics:[/b] LYRICISTS_HERE [b]Music:[/b] MUSICIANS_HERE [b]Trigramme:[/b] YOUR_3_LETTER_TRIGRAMME_HERE [b]Backing Dancers:[/b] DANCERS_HERE (Feel free to use the ones provided on the OP for no extra cost!) [b]Backing Singers:[/b] SINGERS_HERE (Feel free to use the ones provided on the OP for no extra cost!)[/box][/color][/blocktext][/align]

Here is an example of what it is supposed to look like using the winner from last edition...

FINAL NOTES

It is not the intention of either the host or the Overseer to stop any user from competing at the World Hit Festival as that would go against the reason of the Festival which is to bring people together. Thus, these are the new measures that will be put in place in order to make sure that you compete.

The Host will alert you that the Draft Thread is open on Discord and the OOC thread. At this point, you will be able to post your spot on the Draft Thread and start working on it.
The Host/Overseer will send a telegram to everyone when the sign-ups close (or a week into the Draft Thread) to everyone who has not submitted an entry adhering to the above entry standards (this includes those who have yet to submit an entry), reminding them that the Festival Draft Thread is still open. A reminder will be posted on #worldhitfestival too.
Between 24-72 hours before the World Hit Festival Draft Thread closes (before the Draft Thread), the Host/Overseer will contact you if you have posted on the Draft Thread but you have yet to reach the entry standards of the Festival. We will outline what needs to be done to take you over the edge.
If you need more time or assistance, please contact either the Host or the Overseer about this issue so we can sort out a fair way to get you to compete. If you don’t contact the Host or the Overseer if you intend to get your entry in a bit later, your entry will be outright rejected.

by **Britonisea** » Tue Jul 13, 2021 11:08 am

> Introduction
> Backing Singers & Dancers
> Stage Dimensions
> Cameras Available
> Journeying to Aronyk & Things To Do

Once someone has completed their entry/provided a backstory about their artist, I will contact them about doing a small interval act interview.

As always, when I host I will be sending three entries and will be having an extra column in my ratings which will be just for RP bonuses. Those who actually take in the information provided to you from Aronyk will score higher which can sway whether you receive points from any of the ABEN nations. This edition, I will be giving all my nations different categories that they will vote on so a nation could receive points from more than one nation. We will, however, try to give as many nations points as possible instead of concentrating them to one nation. Anyway, below you will be able to find some more information that you can add in your entry - helpfully especially if you run out of ideas.

BACKING DANCERS AND SINGERS

From left to right above you have Keisha Cole who is the lead dancer here in Bovingdon. She has a great history of dancing in shows just like the World Hit Festival and because of this, she is the one who will be leading her troupe of girls. She can also sing if you want her to sing and dance at the same tie. The second picture is Millie Banques (no relation to Kelsey Banques) will also be joining us here at the World Hit Festival. She has appeared on television shows too. Similarly to Keisha, she does sing as well as dance. Georgina Forest will be noticeable to those who watch Vha Mehlodhivestoile both in the country and outside of it as she was a backing dancer at the last edition of the national final and so has a lot of experience of performing in back-to-back shows.. Abigail Lai is another one of our dancers who has a background in musical theatre. She can sing as well as dance, a requirement for those who do musical theatre. Finally, there is Samantha Foster who has performed in Vha Mehlodhivestoile as well back in 2016 during the first show. Samantha will be a great addition to any performance due to the extensiveness of her job at Vha Mehlodhivestoile.

From left to right (of the above image), we have dancer Kai Lane who is another regular on the BVC circuit. You will see Kai in our different shows both as a singer and a dancer - he’s multi-faceted! Next up is Jackson Tomlinson who comes from a musical background also. You can bet that he will provide you with the best vocals while also being your dream dancer. The leader of the troupe is Teo Langley who is one of the most popular and noticeable faces, always in the background. Teo has performed in many different music videos, including that of our World Hit Festival winner, Meghan Jorgensen’s “Waiting For You”. Matthew Anderson is the fourth one along who comes from a break dancing background before only recently started performing on television. He is one of the new stars on the rise on the more mature scene. Finally, there’s Jordan Younes-Smith who was a dancer at the most recent Vha Mehlodhivestoile and so knows exactly what he’s doing here in Bovingdon.

All these dancers appeared at the 53rd World Hit Festival a year ago.

STAGE AND CAMERAS

More Images of the Stage here

If you have a question about how the stage works, please let me know on #worldhitfestival and @ me so I can see it

The stage is a rather simple design that includes five LED panels that makes up the back wall. The LED panels have lights behind them and can turn on its axis meaning if delegations wanted a lights backdrop instead of an LED screen that is possible. Around 4 metres in the air is a large object which is covered in OLED screens which bend around, as you can see in the picture. The "Tube" as it is called which looks a bit like a toilet roll has another screen around it that comes up and down (its similar to the Russian Eurovision stage, I believe). Ideally, a nation's name would be shown on that screen before each act so that can be added into RP. There are also other LED screens that flank the main five panels too which can be used as well. The stage is not a 360 stage, but does have a catwalk out into the audience so if they wanted to be surrounded by people - that is something that they can do. As you can see in the additional images of the stage, there is an LED both on the main stage and the two catwalks (which we're going to say are longer - both catwalks - and stretched down the entire arena to the Greenroom for one of them) that leads to the Greenroom where all the acts will be placed. There are also lights on either side of the stage which are shaped in a diamond formation, of course lending to the theme of the diamond edition. The stage has all the necessary pyros, including but not limited to plumes of fires around the whole stage and the catwalk, golden waterfall at the back of the stage, geysers and smoke machines, industrial fans etc. As holographic material is becoming increasingly common at the Festival, we have the facilities to bring holograms to life, but this would come as a higher price for a delegation to use if that is what they would like.

What I found surprising was that quite a few of you decided to use camera numbers instead of "random camera from the left"/right to convey what is being shown on screen. Because of this, I have brought it back for this edition and this time, in some more detail. Compared to Bovingdon '53, there will be 6 more cameras in operation as this is a large arena. 24 cameras (the same as Eurovision 2021) will be in use, with 20 of these cameras being available to each delegation. Below you can find a list of each of these cameras in order. It is absolutely no requirement to use this, however, if you'd like to incorporate it in your RP, you'd get a huge tick from me!

Aerial view, looking through The Tube cylinder onto the performer on the stage. Perfect for shots like this one...
Remote-controlled camera on a dolly from zipping and zooming from one side to the next. Perfect for shots like this one here...
Remote-controlled camera on a dolly, the main one that will be used. Whenever a delegation wants a moving shot with the audience in front of the stage, like this...
Remote-controlled camera on a dolly, this camera will go up and down the catwalk. It is most commonly used at events such as the 100m sprint in Athletics.
Not shown, will be a backstage camera on wheels, not available for use during the production.
Crane camera, zooming over the heads of the audience members, one can reach the main stage with this cam...
Crane camera, zooming over the heads of the audience members but now on the other side!
Remote-controlled camera on a dolly from as far as the greenroom provided coverage of the 4,5000 people in front.
Manned camera on a pedestal for shots to the stage right.
Manned camera on a pedestal for shots to the stage left.
Further away shot from behind the stands, stage right focusing on the stage (behind the performer)
Further away shot from behind the stands, stage right focusing on the audience
Furthest point from stage right, looking at the whole stage
Remote-controlled camera on a dolly, this camera will go along the back of the arena at amazing speeds. Perfect for shots like this one
Furthest point from stage left, looking at the whole stage
Further away shot from behind the stands, stage left focusing on the audience
Further away shot from behind the stands, stage left focusing on the stage (behind the performer)
Over the LED screen, shots looking out to the audience cheering, yay!
Not for use, greenroom only
Not for use, greenroom only
Not for use, greenroom only

We also then have three more cameras that have special names. SP is the spidercam that zips over all the audience which you can find here. It's small but mighty powerful. Finally there are two steadicams (S1,2) which is definitely something that is used a lot at the Eurovision Song Contest. Both are available for usage.

JOURNEYING & FINDING THINGS TO DO

Most delegations will be told to go to Aronyk International, which (as you can see) lies on the river which leads out into the Brito-Wolfrenian Channel. Aronyk International gets 20,000 people per day and this is expected to rise this summer as the IBA Champions League and the World Hit Festival comes to Aronyk. If not a lot of travel happens between your nation and Britonisea/it is unlikely there would be a direct route between a small airport in your nation to the 7th largest in ours, you are free to head to Quickenden Airport which is the main airport in the Authority. Quickenden isn't far at all from Aronyk so you can take the M1 to Aronyk from Quickenden. On a good day, that will take you 30 minutes (similar to the distance between Doportedas and Bovingdon), but if you arrive in rush hour, you could be experiencing delays of up to an hour or two! So make sure you book wisely!

Whilst you're here in Aronyk, there are plenty of things to do. Thanks to Aronyk being one of the most southern cities, you can benefit from warm temperatures and sunny skies. Aronyk lies, similarly to Quickenden up shore and Junterapten, on the coast where there are sandy beaches. While most of the beach in Aronyk is private, the immediate beachfront in front of the arena, which you can see in this video will be available for sunbathing and playing. Whilst we can't promise tropical heat, temperatures will reach up to the high 20s with a nice breeze coming in from the Channel. Whilst you're in Aronyk, feel free to travel to the mountains that look over Aronyk and have an excursion there - take a picture from a higher position and maybe you'll be able to see the WHF Arena from there. Aronyk is a world class city that is still being built as so while there might be a lot going on in terms of building, you can still head to the local parks to unwind and grab a hotdog and chill out. If you'd rather head to a major city with huge skyscrapers and whatnot, you can take The National Circular Route to Quickenden, home to nearly 3 million people and the host of the 41st WorldVision Song Contest. You can find out what you can do in Quickenden here. The train journey is around 30 minutes, so grab a quick snack whilst you're on the train!

We sure hope you enjoy a bit of Aronyk, we will see you all soon! Get in those RP bonuses!

WORLD! START POSTING NOW!

by **Northern Beepee** » Tue Jul 13, 2021 4:13 pm

XX
Northern Beepee
Ivana Tucker - "Journey to Aronyk"
Language(s): English
Tune: Francine Jordi - Voyage Voyage
Additional Information
Lyrics: Ivana Tucker
Music: Ivana Tucker
Trigramme: NBP
Backing Singers: Kitty Glitter, Carmen Gedit, Hannah Conda

DANS LE JARDIN DE MON ÁME

Ivana sat quietly at her piano, the one left to her in her father's will. The piano had seen better days, the walnut veener peeling from base after the time the water pipes burst and the house flooded in the cold winter. The left side of the piano was faded from sun beating through the window. Some of the keys were chipped or cracked, but it did not matter to Ivana. This piano reminded her of her father, how he would sit her on his lap, she would place her hands on his and he would play the traditional polkas of his time. Ivana let her mind drift back to those childhood memories, but only for a minute. Her mind was drawn back to the present, to the task in hand.

She looked down at the keys and glided her slender fingers in to a comfortable position. She began to hum a slight tune, repeating the few notes over in her head... slowly letting the melody develop in her mind.

She began to play, 3 notes... and stopped. She sighed. She blew out the nerves. And found comfortable position, the tune repeating in her mind. She began again. 3 notes, and stop.

It had been like this for days. Ever since she had been approached to write the entry for the World Hit Festival, her mind had gone blank. No more than 3 notes had flown out of her, but the same repeating rhythm was stuck in her head.

She had read that Friedrich Schiller had kept rotten apples in his desk as the smell cured his writers block. She tried it, but simply noticed more fruit flies in the room. She had heard Victor Hugo had to write naked to overcome his writers block, but after being walked in on by her flatmate, Ivana decided that wasnt for her. She had taken walks in the local park, exercised, skipped meals, all in the vain hope something would drive her forward. But now with the deadline for song submission rapidly approaching she was officially blocked.

And she had lied. In the initial euphoria of being chosen to write the illustrious song and represent her nation, she had told her family and friends. Now each time a friend visited they asked how's how's song coming along. 'Fine' would be her response. She felt she could hide no longer.

She stared back at the piano, and the blank piece of paper before her.

A glass diamond sat on her window ledge, engraved on one side naming her as the singer songwriter to represent her nation at WHF. Handed to her at the press conference announcing her selection, sat on her window ledge.   A beam of light refracted, spreading a rainbow prism over the empty sheet music in front of her. She thought of her future trip to Aronyk, and she wrote the title "Journey to Aronyk".

A start.

She replaced her fingers, holding her hands above the piano keys, and played.

VOYAGE VOYAGE

The Northern Beepee and Beepeean Delegations, as a way to save costs, decided to travel together to Britonisea in the traditional manner... a two week long ferry ride.

During their voyage, the two delegations were congenial, as they always are. And the boat rocked with music most nights. Indeed, both Ivana and her Beepeean counterpart, Moira Rose, and their respective bands, entertained the crew with nightly cabaret where they performed the greatest hits of the World Hit Festival. A mix of Beepeean and worldwide hits, were performed. Highlights included Ivana's rendition of Gigi Vadeboncoeur - "Let Yourself Free"... a proper banger.

The journey to Aronyk was largely uneventful for the first week. KooriTV provided weekly updates to the home audience with home video taken on board. Televisual viewers saw smiling happy Ivana looking out over the water, dolphins leading the boat, some impromptu performances.

During the second week however, the swells increased and the smiling faces seemed a little more tired and less upbeat performances.   Luckily, the board rode out the storms and arrived safely in Britonisea.

PERFORMANCE

Ivana stands centre stage, her three backing sings rear stage left. Ivana is wearing a floaty canary yellow dress; her backing singers dressed in olive green.

The 5 led panels, which make up the back wall, set to black.

The music begins.... slowly building.

Ivana begins to sway gently to the music lifts her microphone and begins to sing.

I have travelled land to land
From Ghiezland to Alshkan
I come for you
Hoping to find you

The 5 LED screens show images of some of the home videos filmed of Ivana and her entourage smiling and laughing on the ship, looking longing out over the vast ocean.

The mention of the Ghiezland and Alshkan results in applause by the appreciative local audience who appear to be supportive of the research carried out by Ivana.

I've been travelling far and wide
Flying over sea and over land
I come for you
Looking both high and low

Ivana is a consummate professional, providing strong eye contact with the camera and looking generally happy and present throughout her performance. As she sings the following bridge, she extends her free arm and spins... before focusing on the camera again for the chorus.

Flying o'er Bovingdon
Heading to you
But my heart still waits for you

As the chorus begins, the LED screens begin to show picture of Aronyk and its surrounds, the docks, the parks, the Arena Aronyk... all dutifully provided by our welcoming hosts: bvc.

During the chorus, Ivana's backing singers sing echoes (indicated in italics), in a call and reply fashion. It works relatively successfully.

In Aronyk
My heart still beats for you there
In Aronyk
Waiting
Waiting
For the day you'll come back to me
In Aronyk
In Aronyk
My heart still beats for you there
In Aronyk
Waiting
Waiting
For your love to find me here

The 'home crowd' seem to enjoy the visions of Aronyk beamed through the rear LED screen and they dutifully clap along throughout the performance.

During the chorus, Ivana, who had been gently swaying backwards and forwards to the music finally shook of her inhibitions and began to dance like all good 'Beepeeans', like an aunt who's had one sherry too many. Ivanas infectious smile, beams.

I left home a long time ago
But I didn't quite know where to go
Looking for you
I thought of Britonisea

The crows seem to be enjoying the performance, which they view as an ode to their growing metropolis.

Their warmth spurs Ivana on and she gets even more into the performance.

At the mention of Britonisea, the local audience again bursts into spontaneous applause, which will not go unnoticedby the televisual viewer. (OOCly: don't we all think of Britonisea when times get hard? Err!.....I mean!.... nothing!)

I travelled days and nights
The thought of you was always on my mind
And step by step
I came closer to you

For the following bridge, again Ivana spins around again faster this time... freer.

Flying o'er Kyvivre
Heading to you
But my heart still waits for you
Where

In Aronyk
My heart still beats for you there
In Aronyk
Waiting
Waiting
For the day you'll come back to me
In Aronyk
In Aronyk
My heart still beats for you there
In Aronyk
Waiting
Waiting
For your love to find me here

As the tempo changes for the bridge, Ivana looks coyly down the camera. Reaching out at grasping to the audience, emotions her need for you, her lover...

I can't take it
Being without you
I have travelled for miles
I have travelled for miles
From Doportedas
To Aronyk
For you

The final chorus begins and Ivana is glowing, living her best life in Aronyk. She continues to dance to the rhythm, but decides to take a walk down the shorter of the catwalks into the audience, hi-fiving some of the outstretched hands of audience members as she goes.... I hope they all have some hand sanitiser handy... This seems to go down well with the audience, as a young fan squeals with delight.

Midway through through chorus, as she reaches the end of of catwalk, she throws her hand in the air and spins round once more.

In Aronyk
In Aronyk
My heart still beats for you there
In Aronyk
Waiting
Waiting
For the day you'll come back to me
In Aronyk
In Aronyk
My heart still beats for you there
In Aronyk
Waiting
Waiting
For your love to find me here

As the final line is sung...

Waiting.

A bunch of pyrotechnics go off filling the main stage in light and fire.

Ivana's voice echoes off into the distance, ending the perofrmance.

The audience applaud, politely and efficiently and Ivana, delightedly, walks off stage waving to the appreciative audience.

by **Llalta** » Tue Jul 13, 2021 4:26 pm

XX
Llalta
Zadkiel Lapuda-Avondon - "Forgive Yourself"
Language(s): English
Tune: Crowd Lu - 刻在我心底的名字 (Your Name Engraved Herein)
Additional Information
Lyrics: Zadkiel Lapuda-Avondon
Music: Zadkiel Lapuda-Avondon, Esther Winterbourne, John Marshall
Trigramme: LLA

The cover art for Zadkiel Lapuda-Avondon's single and entry to the 60th World Hit Festival, "Forgive Yourself"

Llalta finally returns to the World Hit Festival, after an everlasting hiatus of six editions, now twenty editions since the tiny island's debut into the prestigious contest. Six editions ago, in Bovingdon, Britonisea, the LBN had confirmed their participation in the contest after a break of two editions, which had felt long at the time, with the powerful and raw ballad "Ramène-moi", written and performed by 21-year old Rivera Lewis. And there, after two nail-biting semi-finals, Llalta had managed to qualify, and eventually placed 4th out of a final of 17 (overall 33). This was yet another top-5 position for the country, and contributed to the 10th top-10 placement in a row. Yet another successful entry seemed to only further the anticipation for the next entry, especially after a WorldVision win and a mostly successful hosting. With islanders buzzing and the international crowd interested in what the island nation was to present to the world next, it seemed Llalta was to set to see the stars. However, it was that success that ended up being the LBN's Achilles heel. With the WorldVision hosting scraping the last scrap of money from their pockets, the LBN found themselves barely being able to clean their pipes monthly, let alone participate in two song contests on a regular basis. Thus, sacrifices had to be made, the first being WHF participation whilst they stabled themselves financially, much to the disappointment of the dedicated WHF fanbase of Llalta. However, though it seemed Llaltese participation in WorldVision wasn't to be halted by their financial struggles, eventually even the participations for WV became spotty, despite recent success stories such as WorldVision 87's Himiko Arden with the song "Forevermore", which placed 2nd, and WorldVision 90's Lacey (Lee Shin-Hyun) with the song "Constellations", who placed 4th, in between less successful entries as well as not entering at all. However, with both WorldVision and World Hit Festival partaking becoming few and far between, Llaltese fans began to feel the imminent feeling of not participating at all.

However, after months of silence over WHF, the LBN finally dropped plans for participation on the 8th July, leaving Llaltese fans ecstatic. Only a few days later, the artist who would represent Llalta was revealed, being an aspiring singer, Zadkiel Lapuda-Avondon. Though he had sung theme songs for many Taiwanese dramas, such as "Wishbone" for the poignant 'Wishbone' and "If Tomorrow Never Came" for the powerful film 'On The Rays Of The Sun', he had never released much music beyond OSTs and theme songs. However, due to the great success of the songs he had sung, many were excited to hear the news. Behind closed doors, the LBN had desperately tried to change their direction. After the many successes and downfalls that came with mostly deep, beautiful ballads, many on the board thought that the country should move to the future: perhaps produce music that was no longer considered 'old-fashioned' or 'slow', but rather modern, powerful and catchy. Earlier in the year, the new direction was showcased with the highly successful LlaltaVision 2, which, despite ending up with a song that had not even been entered in the National Final, still managed to be fresh and modern, with much acclaim by international critics. Thus, after a successful WorldVision 90, the next step for the broadcaster was to showcase this 'new Llalta' at the 60th World Hit Festival, which would be exactly twenty editions after the country had debuted. Many on the WV/WHF board at the LBN thought it would be right to celebrate twenty editions gone with the new Llalta, to show how far the nation had come in terms of music. This mindset had also prompted the idea to send a young, rising artist who was to shine Llalta in a new light, which Zadkiel had been considered the ideal artist to fit that mould.

However, after briefing the ambitious new star, he had put forth a rather polarising vision, one that completely contrasted the 'new Llalta'. Though the LBN board had remained firm in their ideals, so had Zadkiel, who presented an early demo that he had written himself. Though many were unconvinced, one board member, Madeleine Wellwisher, saw the potential in the rough demo. After the ensuing debates, the eventual agreement was that Zadkiel was to record both the original song, and an improved version of the demo, and then the board would decide on which they preferred. Having been only ever sang to other people's songs, he knew this was his chance to become the artist that he wanted to be. He even had secretly met with acclaimed songwriter John Marshall, who had written many a successful WorldVision and World Hit Festival song among other awards, as well as WorldVision winner and World Hit Festival two-time runner-up Esther Winterbourne, who had also written the song that won WHF. The three together arranged and rewrote the song with the National Llaltese Orchestra, though kept the original lyrics for their earnestness. Presented with the two songs, the board unanimously chose his own song, despite completely contrasting with the original vision that the LBN had envisioned. Not to mention that many tears were shed in the boardroom. And on the 20th of July, the song was released.

Zadkiel Lapuda-Avondon, a 23-year old singer-songwriter who will represent Llalta at the 60th World Hit Festival.

Zadkiel Lapuda-Avondon was born in St.Christopher on the 20th August 1997, to two parents of Taiwanese descent, his grandparents having moved to Britonisea in the 60s, apart from one of his grandfathers who had been Llaltese himself, leading Zadkiel to be 3/4 Taiwanese and 1/4 Llaltese. Eventually, his parents had moved to Llalta shortly after their marriage and before his birth. He had been raised in a strictly Christian household, and had abided by many Taiwanese traditions that had been passed down his family. He had also learnt Mandarin, and grew up surrounded by a mix of Llaltese folk music and Taiwanese CDs brought to Llalta by his parents, who were not particularly musical themselves. At school, he had been academically proficient, but also grew a passion for music. There, he learnt the guitar, the piano and trained vocally, often connecting himself with his distant 'home' of Taiwan through music. He often stayed at school after hours to train using the instruments, his parents waiting outside the doors, silently listening to the music beyond his knowledge, before they picked him up. At 12, he had already become a frequent at St.Christopher's Academy music recitals. Despite his musicality, he had never once considered a career in music. However, at 13, his family had moved back to Taiwan for better work, leaving his life in Llalta behind for a new life. In Taiwan he had lived his teenage life as any other teenager, continuing his passion for music and his proficient studies as he did before. He would have considered his life rather average, until he had been talent-spotted at a singing recital at 16. There, he had been signed under a label, and he began singing for small-scale dramas. It wasn't much it certainly fulfilled a hole in his heart he didn't know he had. Sometimes he would toy with the idea of presenting the little melodies he had sang in his head, but had never grown the confidence to do so. Thus, he finished high school, and went on to university. Though his passion for music never died, his activity certainly slowed due to university studies, releasing less and less music year by year. Though, it had only been temporary, and with the release of his first original single "当花落 (When Flowers Fall)" in 2016, which, though failed commercially, brought him joy to create and perform like no other. It had been then that he knew music was the path for him. He still resides in Taipei, Taiwan, with his two parents and three dogs, Chewy, Kakao, and Totoro.

Released on the 20th July 2021, the song, "Forgive Yourself" is a slow, orchestral ballad which serves as a reminder that no matter our actions or mistakes, we shouldn't punish ourselves for being flawed is inescapable. That, rather than hurting yourself or trying to change yourself for being flawed, we should understand the reasons for our actions and grow as people. However, in order to grow, we must not hate ourselves or punish ourselves. Written and performed by Zadkiel Lapuda-Avondon, and composed by Zadkiel, Esther Winterbourne and John Marshall, the song is 5:20, and it has a progressive structure, slowly building with every verse and chorus. Inspired by old Hollywood songs of past infused with Llaltese ballads as well as the OSTs and theme songs he often sings for Taiwanese dramas, Zadkiel spoke of the song in an LBN interview, saying:

I want the song to serve as a reminder to everyone, that we shouldn't punish ourselves for everything we do. We shouldn't try to escape ourselves for everything we do. We all do wrong in our lives: that is just part of being human. The human soul is tarnished and flawed but... I suppose that's what makes us human. You know, there are lots of things we regret, and some things we can never forget, even if the world forgets. And we cannot escape that. But we cannot carry the burden of guilt forever, because we all deserve to be loved. We cannot grow as people if we do not accept what we have done wrong in our lives. You have to forgive yourself in order to become the best you can be.

With honest lyrics, the song topped the Llaltese charts within hours of release, staying at the top since release. Furthermore, many critics have praised the lyrics and instrumentation, as well as Zadkiel's earnest delivery and pretty voice. On the other hand, some critics describe the song as yet another Llaltese ballad, slow and unmoving from start to finish. However, amongst Llaltese, the song has been extremely popular, harking back to the Llaltese music of the 60s, when Hollywood music and romantic music was the trend, the oldest of the Llaltese community warming to the nostalgic arrangement. Taiwanese fans of his have also praised the song for a nostalgic soundscape and pretty vocals. The song has already reached over 80,000 streams on Spotify, a high amount even by Llaltese World Hit Festival standards, already becoming the fourth most-streamed Llaltese WHF entry in only two weeks.

As the postcard ends, the tranquil scene of seagulls flitting upon Pegasus Rock fades away, revealing the title card. The audience erupts into cheers as the tiny island nation is next to perform, not too long before the arena soon fading into darkness and silence descends upon the rowdy crowds of the WHF arena. Eventually, there is merely the final hushed whispers of the audience, and then, nothing. Onstage, amidst the visage of black, a nervous Zadkiel readies himself, swerving slightly on the balls of his feet. This was it. A few deep breaths seemed to slow the seconds into hours, as the start never seemed to start. Not that he minded, considering his nerves. Silently mouthing a prayer, he finally heard the prompt in his in-ear piece. One last deep breath, and it was to begin.

As the music began to play, the arena could be seen once again, fading from black as camera 6 delivered a slow zoom into the centre of the stage, where Zadkiel, stood rather meekly as he faced the floor, shifting on the balls of his feet. He wears a white shirt, unbuttoned at the top, the collar embellished with lace, with sleeves that billow slightly at the wrists, the shirt tucked into slim black trousers. Furthermore, he wears white socks and black leather shoes. With natural stage makeup, his hair falls around his face. Furthermore, there had been a slight blurred filter on the camera, creating a dreamy look as every frame was washed in a slight sepia tone, every light colour glowing just slightly. Upon every surface of every LED screen (from the curved screen at the back to the trapezoidal shards to the floor) it was black, disregarding lots of glittering golden stars that were scattered somewhat few and far between, but still framed Zadkiel in a warm lustre as he stood in front of the curved LED screen. The tube was not lowered for this performance, yet still portrayed the starry sky as every other LED screen. As the first notes of the song were plucked on the guitar, another shot zooming into Zadkiel was shown, this time at a more intimate head-on angle by camera 2. This time, he had slowly but surely lifted his head up, his eyes gazing at the ocean of audience that lay in front of him, reflecting the phone camera lights as they swayed from side to side like buoys upon the waves of a twilight sea. Though he had been initially astounded at the sheer size of the crowd, it had been his resolve not to back down, not to give in to his fears. Thus, as the soundscape thickened, with a volley of horns filling the arena with music, he tightly clutched the mic in front of him, raised on a stand, his eyelids fluttering as the spotlights hit his eye, bathing him in gold. With slow, intimate camera shots and a warm palette of soft greyed golds, almost sepia, the staging matched and conveyed the nostalgic, personal tone of the song. Another wide, slow pan of the stage from camera 3 was displayed, the phone lights and flags waving in unison to the rhythm of the song, as if lost in the music, much like Zadkiel. Whom of which, closed his eyes wistfully, a small glimmer of a smile upon his face he readied himself to sing the first verse of the song, nodding his head as he counted the beats until he was to sing. As the tempo began to grind to a halt, camera 7 zoomed into Zadkiel slowly, then zooming into his face before fading to black.

Once the verse had begun, the camera cut from black to Steadicam 1, which took an establishing shot of Zadkiel directly in front of him. His eyes opened, glittering in the lights as he softly sang the first lines, voice like silk. The camera shot did not change for a while, as he closed his eyes once again, letting the lyrics slip from his lips on the winds of the song. Though his body subtly swayed, his hands remained gripped upon the microphone as if it were holding him to the ground. With each painful truth, creases etched into his face, casting shadows that danced upon his smooth skin. As sang the last line, "Yourself" his eyes drifted shut as he glanced at the floor, camera 2 having panned the whole stage before fading to black. And, as the second section of the verse began, the camera lit up once more, this time starting with a zoom-in of Zadkiel, from camera 6, capturing every emotion painted upon his face. Horns began to fill the soundscape once again, and Zadkiel continued to sing every line softly. As he sang the line, "Through your fingertips", he took one hand off of the mic and spread his fingers as it moved slightly forwards. There, it caught the light, leaving small rays of shadows. However, he soon brought his hand back to the microphone as he prepared for the chorus. There was one last slow pan of camera 18, with Zadkiel's back turned towards the camera as he faced the audience. There, the full capacity of the arena could be seen, though just about, heads lit up by phone lights as they swayed. Finally, a steadicam slowly zoomed into him as the final words left his lips, the last breath being amplified around the arena.

Yesterday
It is so hard to face
Yesterday
All the mistakes you made
Yesterday
All the reasons you hate yourself
Yourself

Yesterday
You wish you could forget
Yesterday
Paint it all over again
But yesterday has slipped
Through your fingertips
Fingertips

As he began to sing the chorus, a few spotlights at the back billowed outwards, creating a sense of grandiose. Apart from that one light show however, the staging stayed the same for the first chorus. However, Zadkiel himself began to sing with a little more strength as he sang the message to the world, his body subtly shifting as he closed his eyes. One hand slipped from the microphone, grasping onto the mic stand instead before becoming free, expressing the song in the way that all singers do. Firstly, camera 6 steadily zoomed into Zadkiel, a shot of his face framed by the stars behind. Though it was so close to him, it seemed like he struggled to make eye contact with the camera, glancing away after a few seconds of eye contact. The next few shots were mostly closer and slower shots of Zadkiel via steadicams, cameras 2, 6 & 7, complimenting the more restrained and intimate instrumentation and atmosphere of the first section of the chorus. However, once the horns began to re-enter the soundscape, the shots began to grow in scale, the next shot being a pan of the stage via camera 3, the back wall of spotlights being shown as they began to brighten, glinting in the lens of the camera, sometimes obscuring Zadkiel for a split second. However, as the camera zoomed back into a close shot of Zadkiel, he sang the final line with a subtle anguish, his eyes tightly shut before opening to the spotlights, the shot fading out, transitioning to the next shot. As he began to sing the second part of the chorus, The lights brightened, in particular, the wall of spotlights behind the back LED wall. Via camera 14, a pan of the whole arena was shown, the phone lights like fireflies drowned out by the beauty of the stage. After that majestic pan, camera 7 zoomed into Zadkiel as he continued to sing with the youthful earnestness that wrote the lyrics in the first place, his voice tainted by a bittersweet optimism. As he sings, "rest a while", a faint small grows on his face, his eyes glancing upwards towards the steadicam which slowly zooms into his face, and for once, his eyes remain locked upon the camera. He then pushes his right arm forwards towards the camera, reaching out to the viewers at home. His eyes glimmer with gold, his shirt sleeves wafting in the air as his hand migrates back to his heart, where it rests for a moment. He nods his head upon singing the final line, holding the note, the camera panning until he was out of frame, before fading to the next shot.

And though you want to start again
You have one life you can't reset
And in the glimmer of an eye, it all can end
And though your tears may scar your face
It is ok to enjoy the life that you have left
No matter the blood you blame yourself for

You dream of running from the day
But in the starless night the slightest light remains
No one is perfect, yet, that is perfect enough
You don't have to punish yourself forever, rest a while
The world will always forgive you
And if not then
At least forgive yourself

The chorus lead straight into an instrumental, camera 18 taking the reins as a panorama of the whole arena is shown, the stage alight in gold glinting constantly in the lens of the camera like the moons reflecting in the sea. Onstage, Zadkiel sways to the music, lost in the song of his own design as he shuts his eyes and feels every instrument reverberating in the arena. Camera 8 then pans across the arena but from the other direction, flags and phones obscuring the Zadkiel every few moments, before the spidercam slowly glides across the arena, at first the crowd of lights being shown before the stage comes into clear view. These shots were far different from the more intimate and close shots of the previous verse and chorus, but displayed the sheer beauty of the stage and the energy of the arena, the emotional melodies of the song spilling out into the air. As Zadkiel began to sing the second verse, the spidercam had just finished it's zoom into the stage from the back, and camera 6 began to zoom into him. He turned his head towards the camera, slowly closing in, his confidence beginning to glimmer like a ray of light dispersed from the trees. Though only a small feeling, he began to feel at home upon the stage. The words left his lips with far more enunciation than before, and with more projection too. Lights at the back began to pulse softly to the introduced shaker, shining from the centre and rippling outwards, like the ebb of a pond. As a result, the stage felt a lot brighter than before, even if the lights had stayed the same, bar the lights that supported the slight percussion. After steadicam 2 slowly circled Zadkiel, now poised upright, camera 12 took a far-off shot of the stage, Zadkiel, a star in the night sky, glimmering. Then, as he sang the final line of the verse, camera 6 began to zoom in on him, his hand slipping down the microphone stand before being pulled up to where his heart is. He glances into the camera, the universe in his eyes, before closing them once more as he holds the final note of the verse, lifting both hands from the microphone as the camera fades the shot into the next shot, that being of the chorus.

Yesterday
You know it is only
Yesterday
You are not tainted by
The life that you have made
It's not too late to change
To change

As the chorus begins, the shot begins with a close-up of Zadkiel, who glances straight into the camera as he sings the first line, eyes alight with hope. Cheeks blushed with the rush of blood, as he sings the line, "want to start again", camera 3 takes a slow panorama of the whole stage, which is now illuminated in a warm gold light as a few spotlights billow outwards from the back of the stage, glinting in the camera as they shine into its lens. Furthermore, the gold lights behind the back LED wall once again flare up brighter than before, shining as the light hits the lens. The stars that twinkle upon all the LEDs also brighten a little, matching the musical flourish in the music. Not to mention that Zadkiel also sings with a little more power, emotion perhaps also, than before. The panorama of the stage captures every slow pulse of light, a radiant yet not blinding stage display that is also minimalistic, much like the song. A steadicam then takes yet another zoom-in of Zadkiel, who faces the camera as he sings with all the emotion he has to give, the glimpse of a smile shining like the spotlights that engulf him in gold. His sleeves once again flutter in the air as he sways to the slow rhythm of the song, his hands clutching tightly to the microphone. In the shot, spotlights behind can be seen once again billowing upwards and filling the arena with a dim light, swallowing his silhouette as they flare into the camera lens. However, his warm smile cannot be dimmed by brighter lights. The chorus is grandiose, being the precipice of the song as he paints each word upon the backing track, carried by his emotions, though he does not waver. As the chorus progresses, gold lights continue to billow across the four corners of the arena, as if they were searching for a star. The filter upon the camera is so that the lights blur and linger far longer than normal, hazy like a far-off memory. As he sings the second stanza of the chorus, the lights billow once again, each word sung as smooth as the last, each syllable connected like raindrops upon a cobweb. Camera 14 takes yet another panorama from the back of the arena, the Zadkiel so small yet so prominent, surrounded by a palace of golden lights. Not long after, the spidercam zooms into the mainstage once more, the audience, now washed in the burnished hues, flags indistinguishable as they are blurred by lights. Shaking his head, he sings the final few lines, a steadicam zooming into him, capturing the bitter-sweetness of accepting the past lacing his lips. As he sings the final line, "At least forgive yourself", the lights hush until they are not lit any longer, matching the gradual quiet of the instrumentation, now just Zadkiel and a single horn. His eyes shut as he sings the final word, "yourself", holding the final note into the near silent, dark arena. He softly sang the final note, as the camera that had a close-up shot of him, faded to black, leaving just the simple melody of the horn to fill the arena with song.

And though you want to start again
You have one life you can't reset
And in the glimmer of an eye, it all can end
And though your tears may scar your face
It is ok to enjoy the life that you have left
No matter the blood you blame yourself for

You dream of running from the day
But in the starless night the slightest light remains
No one is perfect, yet, that is perfect enough
You don't have to punish yourself forever, rest a while
The world will always forgive you
And if not then
At least forgive yourself

As the silence persisted for a few moments, the arena remained pitch black, until a high up panorama from camera 7 finally faded the stage into view. Onstage, Zadkiel had been lit up by a single golden spotlight, his head facing the floor as his entire front had been cast in shadows. Behind him, was a large sepia-toned moon of golden hues, surrounding him like a halo, casting gold upon the borders of his silhouette. As camera 2 took a full body shot of him, he placed his hands back upon the microphone, slowly raising his head to sing the final chorus. His eyes shimmered even through the cloak of darkness. As he began to sing acapella however, his front was lit up slightly, so that every emotion could be captured, but not too bright that it slit the quiet, hushed atmosphere. From there, he steadily lifted the microphone to his lips and brought his melody into the empty air. And then, for just a moment, time seemed to stop. The words that had so effortlessly left his lips earlier now seemed so hard to sing, almost choking. The reality that had shaped his lyrics, that had shaped him, were beginning to dawn upon him, and he could feel tears gathering at his eyes, though he was determined not to cry. Camera 10 took a close-up of his face from the side, a light behind almost obscuring his face entirely. However, from this angle, his face could be seen slightly wavering as lyrics left his lips. He had almost whispered them, the silence straying him from the high of song. However, he sang them, no matter how much effort it took, his voice slightly raw and whispered. The moment seemed to last a lifetime or two, as each word took his all from him. A steadicam took yet another close up, his eyes fixed on the camera and yet, they were looking someplace else, someplace beyond the lens of the camera. His normally warm, dark brown eyes were like a vast space, with an infinite depth to them that held no other side. As he began to sing the line, "Someday you'll smile at the life you've lived", the guitar joins the soundscape, the warm timbre comforting him immediately. Moreover, upon the pitch black LED screens, only painted by a single moon behind him, stars began to sparkle once more. However, they appeared only gradually, and unlike before, without the presence of other lights, such as the spotlights, allowing them to shine without being outshined. With camera 2 continuing to zoom into his face, his eyes finally meet the camera, and the camera alone, a slight smile painted upon his face. He stood mostly still as he softly sang the words, as if he were singing a lullaby. As the camera zoomed in, it was clear that his smile was one of happiness, yet also of sadness. Regret of his own life. As if he had wished that someone had sung this to him when he needed it most. And yet, here he was. Singing his song to those who needed it most. Perhaps, his own experience of self-hatred had weathered him into something beautiful, the song, this performance, the result of his life.

And though you want to start again
You have one life you can't reset
And in the glimmer of an eye, it all can end
Someday you'll smile at the life you've lived
But until then
The world will always forgive you
And if not then
At least forgive yourself

As he sang the final two lines, the tempo of the song began to slow, his voice near whispering the final lyrics as he felt himself choke up with tears. And yet, his earnest smile persevered as he sang the final note, lit up by a golden moon and her children, the stars, his eyes closed as the final note filled the arena with the honey of his voice. Finally, the note ended, fading into the air. The camera then faded into the next shot. As the final instrumental began to play, the spotlight faded so that he was a mere silhouette obscuring the radiant moon behind him, his head lowered as his hands slumped off the microphone and clasped together, touching his lips. As he did so, camera 7, which had been zoomed in on him, now very slowly zoomed out, letting the audience at home have plenty of time to take in the sheer beauty of the staging, the moon and the stars crowning Zadkiel's shadow as he stood upon the stage, the reality of the performance striking him like the cold hiss of the sea. Then, as soon as the performance had begun, the song came to a close, the ending shot of his silhouette amongst the moon and the stars with all the beauty and grace of a renaissance painting. And silence filled the air, only to be interrupted by the cheers of the audience as the performance came to a close. The arena lighting up to normal once more, Zadkiel stepped to the front rather shakily, tears on the brim of his eyes as he attempted to be professional. Giggling, he raised the microphone once more and said, "Thank you Aryonk! Thank you, thank you so much! Mua! I love every single one of you!" before bowing for more than a moment, lifting his head, taking in the support of the audience with a big smile. Blowing kisses to the crowd, he walked off, letting Northern Beepee take the stage.

He had done it. For himself.

by **Achaean Republic** » Tue Jul 13, 2021 6:26 pm

XX
Achaean Republic
DYY - "Deja"
Language(s): Spanish, Tauí
Title Translation: Stop
Tune: DUDA BEAT & Mateus Carrilho & Jaloo – Chega
Additional Information
Lyrics: Augusto Yací Rodríguez
Music: Marianna Ríos, Yandel Britto, Augusto Yací Rodríguez
Trigramme: ACH

They met each other in the gayest way possible: At Sunday Brunch at a downtown Corola restaurant, drinking mimosas and sharing waffles mixed with poached eggs and locally sourced pique from a local pepper starch next to fried plantain and breadfruit slices.

Marianna Ríos, best known as up-and-coming pop singer Duchess Marianna, invited two men to join her at brunch. Yes, they were gay—or at least one truly was (the other she eagerly wanted to find out). No, they were not Corola locals, nor they met before this somewhat festive occasion, only sharing passing glances at one another during so-and-so musical events they were scheduled to appear in. She always hangs out near this spot in Downton Corola, next to the Plaza Mayor and the stunning old Ayuntamiento, where she used to meet her grandparents for an old-fashioned Sunday walk after Mass and lunch. Now, she still carried the memories of Old Corola in her music, combining sleek pop rhythms with classical Latin beats. But she decided to stray from that a little bit, enveloping herself in electronica and pioneering the self-titled “lacriany pop” genre—empowering feminist chants that provided clear messages on life, sex, and the unapologetic pursuit of happiness that quite doubled as gay anthems, too. But that was beside the point. She was low-key thrilled to meet new friends and musical allies.

Then came Yandel Márquez, best known as Yandel Britto, walking towards the table where Duchess was sitting at. Britto hugged and kissed Marianna since they met each other in a few Corola clubs and indie performance venues, where one would perform and the other one would watch and root for them, or other times just having a drink and enjoying the music. It was surprising, though, since Britto’s musical style was much more indie/alternative, moody and self-reflective, sometimes autobiographical, at other times obscurely philosophical. But one cannot deny the beautiful intimacy described in Britto’s music, ne that appealed the Achaean alternative music scene.

And finally, Augusto Yací Rodríguez, best known as Y-Jacie, or “The Queer Tauí” by fellow families and friends and fans. The oldest of the trio and the most experienced in international musical competitions, Y-Jacie previously competed in the World Hit Festival eight editions ago with Lluvia, an ethnopop ballad combining electronic sounds, natural resources and a vivid description of Tauí mythology. Since then, Y-Jacie has used music and identity to reinforce indigenous rights in the Achaean Republic, more so in a generation ready to embrace their native identities. Besides the Tauí, Y-Jacie also became an advocate for greater indigenous representation in Achaean society and education, empowerment and the continuous preservation of the Tauí and Taíno languages. (He was even supposed to travel to Paraguay for an eco-indigenous rights conference, but the COVID-19 situation has put a stop to his plans on further political interaction.) Out of all three singers, he had a much bigger clout, more so for his soulful composition and political commitment. He greeted Marianna and Yandel with warmth, but also with confusion. It was an awkward meeting, given that until recently, they were competitors.

Now, they had to make a song together for a festival none of them quite signed up for but still agreed with. At least Y-Jacie had an idea.

AS1’s method of selecting the entries for the WorldVision Song Contest was quite straightforward: make a national final, have people vote on it, and choose a winner by the power of sheer populism, balancing it out with the word of a few musical juries with nothing better to do on a Friday or Saturday night. It was quick, easy, lazy and a big draw for ratings. The World Hit Festival delegation, however, had a slightly more hermetic and intensive search for their selections, but since Tamar de Andrade arrived as Head of Delegation she always used the concert as a pool for festival talent pending on acceptance. This provision also led performers to be highly aware that their main focus is to win WorldVision, but they may also be tapped to enter the World Hit Festival regardless of results. This system, after all, led Itamar to break the glass ceiling and win the competition in Normandy & Picardy. Now, Marianna, Yandel and Y-Jacie had to find a way to send a song to Ayronik and bring the Achaean trophy home once again. How would they pull it off?

The trio decided to name themselves DYY (Duchess, Yandel, Y-Jacie), a one-off alterna-pop supergroup dedicated to sign a song for the competition and maybe a scheduled tour or two once the pandemic subsided in full. Under a gentleman’s agreement, the trio would split the work as equitably as possible: Duchess would compose most of the vocals; Yandel would use his studies in music theory to create the perfect tune that blended Achaean tropical sounds and electronica; and Y-Jacie would write the lyrics—and include a line or two in Tauí. From this agreement, a natural friendship would flourish, an appreciation for each other’s talents. They began developing a musical chemistry that was both sensible and eclectic as their styles, and their brunch meets throughout Corola served as inspiration for different types of music. Of course the team did enter through periods of conflict, but these were minor and quickly forgotten. But they encouraged each other and, while the arrangement lasted, decided to take a piece of each other and make it their own.

They came up with Deja (“Stop”), a tropical anthem “inviting listeners to take part in a game of seduction,” said Y-Jacie in a virtual press conference shortly before departing to Britonisea. “We aim to show a playful side of us, a more sensual side, one that’s more inviting—and funny as well,” Marianna chimed over. “We like having fun, so we pretend to make this entry very unique and colorful. We want to showcase Achaea in our performance,” explained Yandel.

From a general standpoint, Aronyk didn’t—ironically—look like other Britonish cities. Yes, it had the same curb appeal and organizational standpoint as a Bovingdon or Kyvivre or Chickenville, but it also had the characteristics of an up-and-coming boomtown that was suddenly endearing itself to the world’s many winners and losers and everywhere in between. The industrial vibe provided mixed results: Marianna loved the grunge, Yandel hated it, and Y-Jacie was dutifully concerned on the environmental impacts of the city’s explosive growth on its resources and its long-term sustainability. (He would speak about this matter to a councilmember later).

While they had some free time after practices and conferences and promotional shots for the editin, the gang stopped by one of the city’s largest stone quarries, of which important pieces of marble and quartz rocks were mined and harvested for various uses, including columns, countertops, statues and even tiles. Yes, tiles. Achaeans love tiles of all shapes and sizes, given the ease of cleanup and practicality of covering a floor filled with them with a mop and a bucket. Even those who had wooden houses sometimes opt to put tiles on the floors just to avoid being burdened with all the wood polishing needed to keep the floors shiny. It was an immersive experience, somewhat intoxicating and loud and exhilarating. Who knew watching excavators dig holes on the blemishes of the earth would be so interesting? Some of these stones would be processed and sent to the Achaean Republic, and those could be easily identified with the marks of ACH and the fueguera alongside the boxes. It wasn’t hard to sneak past them and borrow” a fallen piece or two that did not pass muster. That would’ve been a nice souveniour to take home.

In the Ayronik Arena, the crowd was anxiously waiting for the Achaean entry after the postcard was finished. There were Achaean flags waving here or there in the crowd, some other speaking Spanish and trying to make instruments with wooden mortals and pestles and plastic noisemakers and party horns. They were ready for the Acheans to serve up something funny and whimsical, or pensive and confrontational, or maybe even abstract and symbolical. Since competing in the World Hit Festival, the Achaeans have tried to engage in numerous styles and diverse performances showcasing the alternative, the experimental, the obscure, the tropical. From Narinho’s pagodeira to Nadine’s Levantine longing and Y-Jacie’s exploration of Tauí mythology, the journey the Achaeans have been through in the competition has truly stretched their skills and imagination. More so with two ground-breaking victories on their own—an article of faith, and an assertion of identity. Now, it was the time to do something playful and welcoming to their true face.

There were three boxes stacked alongside each other near the center of the stage. They looked quite similar to the ones designed for action figures or fashion dolls, only with plexiglass coverings instead of plastic trimmings. The first “box” had Yandel wearing white pants with lapel beach short sleeve Hawaiian shirts, the buttons open to expose his chiseled chest and the tattoos on his right forearm and chest. In the center, Marianna wore a sixties inspired dress with bold colors and patterns and stripes, red shoes, green stockings, a white designer shirt and knitted accessories—the textbook definition of garish tackiness. On the right, Y-Jacie had a jacket-tracksuit combo with tie dye colors and colorful patterns swirling randomly around the shirt, with a fedora as an accented monochrome.[/url] Yes, it felt like a gross violation of taste and good sense, with the delegation somewhat inclining to include warnings to photosensitive viewers who may fall ill with the explosion of color. But they pulled through, muting some performance details while slightly enhancing others. Regardless, color, garishness and tackiness was the name of the game.

When the music began, two vocalists sat atop of the boxes with colorfully matching blue and red baby doll dresses with puff sleeves and organza construction on a cloud print. It was enough to show one of the vocalists’ multiple tattoos. They were nodding their heads left and right, barely humming to the beat. They were good vocalists, said Marianna—the duo worked with her for several years, first on a freelance basis and then on a “full-time lease”, or so joked Marianna once she finally set up her band. Suddenly, Mariana appeared to “blink” even though her eyes were already open, as if she finally “woke up” from a slumber, gazing intently on the camera. Her movements were stiff and robotic much like a toy made from plastic come to life, banging on the “plastic” covering in swift rhythms. The two other singers beside her only looked at her and gazed back, not batting an eye.

Yo sabía que tus ojos me están siguiendo
Quieres leer todos mis pensamientos
Ya

Yo sabía que tus ojos me están siguiendo
Quieres leer todos mis pensamientos
Ya

Then, Marianna was finally able to wrestle herself free from the “box” and started walking towards the stage. The LEDs behind the performers started bursting into sudden expressions of color reminiscent of the sixties’ patterns. The LED floor, however, remained black, though rings of red, blue, green and a thin circumference of yellow would contrast every so often. It was psychedelic. It was psychotic. It was intoxicating. The idea of color and happiness and freedom was engaging. At the same time, the vocalists came down from the top and joined Marianna in doing a simple choreography with her hands and clunky feet.

Quién pensaba que yo me iba a enamorar
La nena noña que no queria más
Te ví sentado en la cama así
Ahora mi cuerpo no me deja en paz

Algo se enciende y me deja fuerte
Me quedo sin voz para imaginar
El corazón me dio tanta suerte
Que me convertí en un animal

For the chorus, Yandel left the boxes and started strutting down the catwalk while singing the chorus. The LED screens below him shone with different colors in every step he took. He was enjoying the beat and living his performance trying to adjust the microphone. On the other side of the stage, Y-Jacie was still locked in the step, looking for the perfect moment to exit the box. It made him feel sweaty and breathless, trying to escape the exit. He wasn’t claustrophobic, but the setup made him a bit uncomfortable. That said, the goal was to make the trio work.

Marianna’s voice and movements remained painful and seductive with her eclectic, colorful wardrobe. Unlike in the music video, she could not change as much clothes as she wanted within a reasonable amount of time-after all, she had only the bold-colored dress to carry over, playing with her fringes and drawing attention to the cheering crowd. Like the song, she was playful and feeling fabulous, a little flirty, and sensually attentive to all senses of color. The color was magical. The color was flavorful. The color was uniquely Achaean, reminiscent of the cobalt-blue adoquines that line up the streets of colonial cities, the mango-colored houses and the coconut-flavored candies that sweetened up Achaeans’ lives.

Deja de tanto drenaje
Entrégate a la espera
Sé que quieres algo
De la boca que en mí peca
Sí, así, papí, yo quiero más

Deja de tanto drenaje
Entrégate a la espera
Sé que quieres algo
De la boca que en mí peca
Sí, así, papí, yo quiero más

On Camera 10, Yandel was wryly smirking at the camera and puffing his chest. He looked attractive, yes, and gained quite some looks and admirations from the local crowd. (He likes to fool around with a few Britonish tourists every once in a while, having visited the country and showing them that famous Achaean hospitality). At the same time, he attempted to show an exaggerated sense of masculinity and virility through his janky, somewhat awkward moves, complimenting his eclectic countenance. It was all in playful fun, a complete departure from his contemplative and demure personality—that is, until a few cups of rum have runneth over.

The handheld cameras showed Yandel lightly touching Marianna’s chin while she did little kissy faces. The idea was not to be seductive; rather, she wanted to play hard-to-get and poke holes at his haughtiness. No hunter, no prey. There was no reason to hunt. Behind her, however, Camera 2 showed Y-Jacie still in his box, locked over, playfully keeling over at the actions but also looking dashing. Eagle-eyed viewers could appreciate the beads of sweat rolling over his clothes. Despite the small breathing holes, it was unbearably hot—and he really wanted to get out and breathe!

¡Ay! En el pasado no quise pensar
La pasión que en mí no quería perder
Eran escándalos vacíos
Que racasan y me dejan mal

Te ví comiendo galletas con leche
No te quería interrumpir más
Pero si sabe que tú quieres aglo
Es la hora de confesar

When the chorus returned, Y-Jacie was finally free of the sweaty box and, timed to the beat, took out a fan in his pocket and started strutting as he walked. He thworped the fan with his right hands and began fanning himself while adjusting his microphone with the right. Camera 4, set on a dolly, went beside him as he reached the center circle. He loved fans. Fans made him look fabulous. Fans made him look gay. He had a small mint collection of fans tucked away somewhere in his Zacatecas apartment, but it was hard to pick out a specific fan for the performance that was whimsically apropos and fitting for his already eclectic design choices. It was hot in the Ayronik Arena and he could feel it. But of course he had to let that slide—this wasn’t his first ring around the block.

While Y-Jacie walked towards the circle, the overhead Camera 1 had a bird’s eye view of the stage. Marianna and Yandel were singing over, one hand gently inciting Y-Jacie to pick up the pace, the other to get the party going with the crowd. Brief camera glances featured the crowd dancing and having fun with a few Achaeans sprinkled here and there waving their fueguero flags and deafening those on their surroundings. If there was something the Acheans brought to their performances, it was always energy—energy from their songs, energy from their music, energy from their culture. The sixty editions, of which the Achaean nation was a latecomer, brought them a richness that they felt was missing from the competition. Nobody could forget The Intermissión prophetic dreams or Beauchamp’s soul-crushing ballads. Or Laura Lee’s philosophical exploration of death and Narinho’s depiction of vanity. Those moments were necessary to unleash a creative spirit that has allowed the Achaean crowd to support their own acts and infuse them with the energy they needed.

The three of them finally reunited at the center—Yandel to the left, Marianna in the center, and Y-Jacie to the right—, they were ready to sing together. They were dancing in their sections of the circular stage. The LED screens below them maintained the colorful psychedelic patterns and magical experiences, a colorful aesthetic. The light looked liquid and repetitive like acid raindrops or balloons floating in the air. The LED cameras surrounding them kept floating the psychedelic colors with cheerfully saturated hues complementing those shown in their eclectic costumes. The trio was having fun with their performance indeed, even if their clothes were overwhelmingly heavy! And what about the vocalists? They were shimmying and shaking with their poufy, colorful dresses and their nonchalant, devil-may-care attitude. Their presence was a small fixture behind them, but one cannot deny the contrast of their clothes with the trio. While they looked like monochrome pastel flowers and the trio had embossed color with their dresses, they looked to harmonize with each other and the rest of the crowd. There was order in the disorder of the arena, a method to the madness that can only be experienced when five personalities interact with each other in an act of musical chemistry.

Deja de tanto drenaje
Entrégate a la espera
Sé que quieres algo
De la boca que en mí peca
Sí, así, papí, yo quiero más

Deja de tanto drenaje
Entrégate a la espera
Sé que quieres algo
De la boca que en mí peca
Sí, así, papí, yo quiero más

Yo quiero más—deja
Yo quiero más—deja
Yo quiero más—deja
Yo quiero más—deja
Deja, deja, deja
Deja, deja
Deja, deja

Then came Y-Jacie’s lines, the fewest of them but arguably the most interesting, given he repeated the use of Tauí, a “Caribbeanized” Tupi-Guaraní language that adapted to the reality of exploitation and is somewhat moribund in Western Achaea. After all, if he wrote the lyrics, wouldn’t it make sense to stretch the channel’s language restrictions and add some Tauí. He did it before eight editions ago, back in Monterra, when he was growing queasy and drowning from all the spinning on stage. Since then, he better developed his Tauí language skills and has become conversational with them enough that he is planning a new Tauí-only album. Because it is moribund, though, he always struggled to relate to his musical companions on certain terms that could not be easily translated to Spanish. But it never frustrated him—in fact, it served to motivate him to teach a little bit more about the indigenous culture that is oftentimes overlooked at in modern Achaean culture.

Che ayahu hetū
Profundamente
Déjate llevar
Mbaé he!

Che ayahu hetū
Profundamente
Déjate llevar
Mbaé he!

As the song ended, the singers yelled to the camera, “¡Aguyjé!” while hugging and kissing each other—social distancing be damned. (Never fear: all have been vaccinated before boarding the plan to Britonisea.) Camera 18 showed the crowd shouting and waving their fueguero and Britonisea flags alongside supporters from other countries competing in the Ayronik Arena. The trio waved to the crowd while the vocalists behind them blew kisses and smiled and waved and smiled some more. Yandel made ridiculous gestures to make the crowd laugh. Marianna started jumping with her big tacos, and Y-Jacie was proudly waving his rainbw-colored fan with the word “¡AGUYJÉ!” on each side. Each performer was showing their thanks to specific sections of the crowd, more so to the Achaeans clustered on the sides. They were living their diamond fantasy.

Deja de tanto drenaje
Entrégate a la espera
Sé que quieres algo
De la boca que en mí peca
Sí, así, papí, yo quiero más

Deja de tanto drenaje
Entrégate a la espera
Sé que quieres algo
De la boca que en mí peca
Sí, así, papí, yo quiero más

To finalize the song, the three singers were dancing in their stretch of the stage. Camera 4 provided a wide view of the stage where all the five performer were dancing, vast stretches of psychedelic color swaddling the camera. It was an intentional attack to the senses, an invitation to live the Achaean way. Yandel was memetically fist-pumping in the air as if he were in a rave (not that he knew anything about that). Marianna was attempting to sensually strut her somewhat-expensive stuff (even though she repurposed it from a thrift stop in Corola City). Y-Jacie was playing with his fan, voguing intensely and trying to serve face-face-face with the camera, even though he was making some awkward faces. The vocalists, meanwhile, were still shimmying and shaking and inconspicuously adjusting their microphones. The goal was to have fun—winning the festival was just a bonus.

by **Pemecutan** » Tue Jul 13, 2021 7:47 pm

XX
Pemecutan
Mang Ayu - "Hempaskan"
Language(s): Bahasa (Indonesian)
Title Transcription: N/A
Title Translation: Throw It Away
Tune: Ailee - Starting Now
Additional Information
Lyrics: Mila Anjani
Music: Antonius Huda
Trigramme: PCU
Backing Dancers: -
Backing Singers: Citra Kamila, Mira Andini

Previously at Orongumila, Pemecutan was represented by a duet of Soracanian singer, Iktamila Kamnajada and well known singer, Gading Mahesa. The ballad song that they performed classically was making quite an impression. But the voting didn't quite lean to them. They were only received 18 points with no 5 point which makes them finished 7th. This points is the third lowest points that the country ever got in their WHF competition history. Seeing on an interview after their comeback to Pemecutan, Gading Mahesa stated that the competition have been a tight one as the contestant were performing a numbers of great songs. Iktamila added that they were still relieve to get the 7th placement.

For the next edition of World Hit Festival, UBC as the official broadcaster teams up with PRIA as the recording industry association in Pemecutan to select a representative for the country. After a series of ballad and low to mid tempo song, the organizer decide to change their music taste. They feel that the audience might get bored with the repetitiveness of contestant from Pemecutan which only send ballad, low tempo songs into the festival. Some refreshment is needed. So 8 songs are selected with mid to up tempo vibe for the online televote to choose. And after a week of televoting session, the winning song is announce. And the song is Hempaskan.

The song Hempaskan is sung by Mang Ayu, a 30 years old singer from Penatih, a mid-size beach town in State of JImbarwana. Komang Ayu Pradnyani Dewi, her real name, comes from a business background. Her family own a local seafood restaurant in her hometown. She taught to sing from an early age after her father noticing she likes to mimicking a singer in the television. In her teen, she is already singing in her father restaurant to entertain the restaurant's guests. She was also actively entered in local singing competition. She was also representing her school in Penatih Arts and Sports Student Competition during her time in middle and high school. Her professional career begin in her final year of college after her demo record was being pick by Mandala Record. She then flew to Ubung for contract signing and begin her journey as a singer. From this on she use Mang Ayu as her stage name.

Throughout her career, she is still live in her hometown, Penatih. She only go to Ubung for recording session or if there any performance that she has to do. Her first self title album was released in 2014 with a mediocre success. She was taking a local tour to several towns to promoted her album and also showing in some TV shows. It was not until her third album, "Nyata Adanya", that she gained her success. Released in late 2019, the album reached No. 1 best selling album in the country in its initial release week. And its still on the spots for 3 consecutive weeks, which is a huge accomplishment for her. From the album, she get nominated in 4 categories of Chakra Award although she didn't win any.

"Hempaskan" itself is a single that she released in early 2021. The song has gained success nationally and even got gold certificate after selling its 25,000 copies both physically and digitally. The song is an introduction for her upcoming album which will be released in September this year. The song which is written and composed by Pemecutanian famous music couple, Mila Anjani and Antonius Huda, is telling about being yourself and believing in yourself. The song was inspire by some of Anjani's friend who has to struggling to find themselves after they are always being taught what they can and can't do. She also get the inspiration from social phenomenon where society sometimes try to build up what's a person can be. This phenomenon can implicitly give impact to someones mental health as they have to abide to social rule which sometimes doesn't go with what they really want. The term Hempaskan is likely choose to break free from the overbearing societal norm.

Mang Ayu is standing anxiously at the backstage as the host announce her and her song as the representative of Pemecutan. The "Tube" screen is showing Pemecutan postcard complete with her name and her song title on it. The stage then goes all dark. Mang Ayu comes out of the back stage and position herself at the center of the stage. The intro to the song can be heard slowly and the backing singers start to sing. The camera 2 showing the close up of Mang Ayu who is still blacken with only a single light shine from her back which showing her silhouette. As she start to sing, the lights are up and the audience can see her clearly. The camera 2 interchangeably shoot her side and front view as she sing the first verse. She is wearing a black belted blazer, black legging and boots. Her hair is left flowing with a simple make up that still makes her look fresh. Camera 2, 9 and 10 are used to show her front, left and right view as she continue to sing. With a closed up look then change into a full body view then another close up view.

Dan kau terdiam
Termenung sendu di sudut sana
Teringat kata yang trus memaksa
Mengontrol setiap langkah langkahmu

Hidupmu hanyalah engkau yang kan jalani
Bahagiamu hanya engkau yang mengerti
Lukislah warnamu

As she enter the chorus, she spread her hands wide open as she say "Hempaskan" and camera 3 taking over the shot as the view suddenly change from close up into wide view of the stage. Camera 2 still show a close up view of her which is shown at the five hanging LED which showing her movement from different angle. The lights on the the stage become brighten as the music of the chorus got up beat. It's flashing out following the sound of the beat. While Mang Ayu is still casually standing at the center singing with a standing microphone in front of her.

Hempaskan
Sgala belenggu dirimu
Janganlah engkau meragu
Tunjukan sebenarnya dirimu
Jangan dengarkan mereka
Hidupmu di tanganmu
Raihlah kebahagiaanmu

She grab her microphone and walk right to the shorter catwalk as she sing the second verse. Camera 2 takes her side view while camera 6 is following her move until she standing at the end of the catwalk. She walks left and right making an interaction with the audience. She back to the center of the catwalk as she sing the bridge. The microphone stand is already there where she put her mic on again.

Kau berangan
Akan satu hari yang berwarna
Disaat kau bisa melakukan apa yang sangat engkau impikan

Hidupmu hanyalah engkau yang kan jalani
Bahagiamu hanya engkaulah yang mengerti
Lukislah warnamu...

She spread her hands again as she say "Hempaskan" starting the chorus. The SP cam take over and showing a zoom out view of her. The lights on the stage and catwalks are dancing following the sound of the beat. Flashing their lights which energize the performance. She walks fast back to the main stage as she sing the chorus. Camera 6 and 7 interchangeably showing her movement with camera 2 showing her closed up view on the hanging LED.

Hempaskan
Sgala belenggu dirimu
Janganlah engkau meragu
Tunjukan sebenarnya dirimu
Jangan dengarkan mereka
Hidupmu di tanganmu
Raihlah kebahagiaanmu

She is standing at the center of the main stage as she sing "Raihlah...." part. A perfect timing with camera 2 showing her full body view and a bright light shower her from behind makes her looks glowing. The lights are dimmed as she sing "Dan kau terdiam, Termenung sendu di sudut sana" part. In line with the slowing down of the music.

Raihlah….

Ingatkan dirimu setiap jiwa sangat berharga...oh...

Dan kau terdiam
Termenung sendu di sudut sana….

The lights come back up, more brighter than ever as she sing "Hempaskan" part. The SP camera play their part as it viewing a sudden change from closed up then zooming out into an aerial view of the stage as she sing that word. Camera 2 and 3 interchangeably showing her view from closed up, full body and audience view. While camera 9 and 10 taking her side view which is shown on the hanging LED and the "Tube".

Hempaskan
Sgala belenggu dirimu
Janganlah engkau meragu
Tunjukan sebenarnya dirimu
Jangan dengarkan mereka
Hidupmu di tanganmu
Raihlah kebahagiaanmu

The SP camera still showing the aerial view of the stage. Zooming in and out to the center stage as Mang Ayu continue to sing. The lights become more colorful as she sing the last part of the song. Camera 2 then take over showing her closed up look. Then the SP once again show a sudden change into stage zoom out as she sing the last "Hempaskanlah!" where the stage goes into a complete darkness.

Hempaskan...Kau hempaskan...oh....

Dan hempaskan...Hempaskanlah semua...

Oh...Hempaskanlah!

A soaring clapping sound can be heard from the audience as the powerful performance of Mang Ayu ended. The stage is lighten up again with Mang Ayu standing there giving a bow to the positive feedback from the audience. Some of the audience are giving her a standing ovation. While a loud voices screaming "Pemecutan!" can be heard over and over again. The host take over the show and once again thanking Mang Ayu for her performance. Mang Ayu then walk back to the greenroom as the next performer is preparing themselves.

by **Beepee** » Tue Jul 13, 2021 8:19 pm

XX
Beepee
Moira Rose- "Enough Is Enough"
Language(s): English
Tune: Mela Rose - So Bin Ich
Additional Information
Lyrics: Otto Tune
Music: Otto Tune
Trigramme: BPE
Backing Dancers: Millie Banques, Abigail Lai, Jackson Tomlinson
Backing Singers: Millie Banques, Abigail Lai, Jackson Tomlinson

The Beepeean and Northern Beepee Delegations, as a way to save costs, decided to travel together to Britonisea in the traditional manner... a two week long ferry ride.

During their voyage, the two delegations were congenial, as they always are. And the boat rocked with music most nights. Indeed, both Moria and her Northern Beepee counterpart, Ivana Tucker, and their respective bands, entertained the crew with nightly cabaret where they performed the greatest hits of the World Hit Festival. A mix of Beepeean and worldwide hits, were performed. Highlights included Moira 's acoustic rendition of Andres Cesare - "Rewind".

Unlike the Northern Beepee Delegation, the Beepeean delegation travelled.in the upper decks with the suites, after all the boat had been chartered by BONC, and Ms Fanny Golightly (Beepee's chef de mission) was not going to lower herself to a single cabin.

Whilst Northen Beepee delegation were filming on camcorders and personal mobiles, and whipping our their special equipment to film everything going on. The Beepeean Delegation preferred filming in a more structured manner...for a special dvd edition to he released exclusively on Ama-hon... the Beepeean online retailer.

Moira Rose is an eccentric.

She once had a recurring role in Beepee's highest rating televisual drama, The Meek and The Ugly.   As Helga the busty wench of mega-billionaire tycoon, Jimmy Dalocke. She performed for 3 years between 1996 and 1999. Before her character came to an untimely death after a freak rowboat accident, where she was stuck in the face by a seagull and suffered cerebral hemorrhaging. Despite Doctor I Lovett, performing life saving brain surgery, Helga died from complications of thrush.

It soon became apparent that Moira had signed a lead actress contract for a new daytime televisual drama with a rival network.   From 2000 to 2005 she lead the 'Good Manners, Bad Manners' cast as Geena Rindheart.. an eccentric entrepreneur. She won 3 daytime Bemmies for the role. Before the show was cancelled due to contract negotiation breakdowns - allegedly Moira Rose was demanding a packet of gold leaf M&Ms for each day filming and a subscription to 'gourmet desserts' magazine.

Moira Roses film career took off leaving television behind and starring in two critically acclaimed films 'Shut up and take my money and ' Treat Yo'self. Before her seminal performance as Heidi Beer in 'You're a Drunk, but I Love You', where she was nominated for a Silver Globe award, losing to Meryl Heep.

Going into semi retirement in 2010 to raise her family. Moira Rose returned to prominence in 2015 with her schlager album "You may not want me, but this ASBO says otherwise", with the lead single "Through Your Window" and follow up single "You need to dust under your bed" topping the Beepeean Schlager Charts.

Since that time, Moira Rose has released 3 albums containing new music, 2017's "I don't care how many time you call, I don't need double glazing", 2018's "That had better be a roll of coins in your pocket" and 2020's "Sneezing my way back to you". In 2021, she released a greatest hits album containing 2 new song: "If you're favourite colour is yellow, you're a psychopath" and "Enough Is Enough". In 2019, Moira performed in the off-off-off Broad Street musical revival of "Beans: The Musical Fruit".

Moia herself is as youthful as the man she feels.... and despite clearly being several years older than her toyboy husband, she uses his age. If that were the case Moira would have been -5 years old when she started her acting career... as a result no-one is quite sure how old Moira Rose is
Unlike her Northern Beepee counterpart, Moira Rose was filled with confidence about her preparation and performance.

She had packed her signature black and white wardrobe and packed her wig collection. She has named each wig, each wig, each e.g. Kristen and Robin.

---------------------------

For this performance, the Beepeean delegation will be utilising the " talents" of Millie Banques, Abigail Lai, Jackson Tomlinson. The three Britonish singers and dancers specifically chosen for their photogenic appeal and charisma.

They will be providing backing vocals and, Jackson in particular will be dancing alongside Moira, centre stage.

The trio of support artists are dressed in black, the ladies in black velvet dresses, Jackson in a black satin shirt with black jeans.... which really makes his tan pop... each of the backing singers outfits has a plunging neckline... which is clearly meant for the benefit of the more virile televisual viewer.

Moira herself will be wearing a delightful figure hugging gown in white silk, and finished with white ostrich feathers.   The dress, being silk, showed every line underneath it... thankfully this was picked up at dress rehearsal, so tonight Moira will be going commando on stage.

The performance starts with candles dotted about the stage, providing a smoldering glow. The rest of the stage is darkness. As the music begins, a spotlight focuses on Moira and Jackson standing facing each other, side on to the audience. Moira looks down the camera, places her free hand on Jackson's slightly shiny oiled up chest.

She lift the microphone in her other hand and begins.

I found her lipstick
In the pocket of the car last night
I knew that it was on now once again
Enough is enough for me

During the first stanza, Moira and Jackson walk back and forward in an old fashioned manner symbolising the struggle they have I their relationship. (Think 0:36-0:45 Stjórnin ESC1990's dance moves... one of the all-time classic choreographies in ESC history).

At the end of the stanza she pushes Jackson forcefully away and using all of his acrobatic prowess, he backflips away.

With the second stanza, Jackson attempts to win the good graces of Moira Rose once more. However she puts her finger to his lips when she sings "I know I hear your lies". Moira then uses Jackson to upstage as she ambles to downstage to bask in the glory of the chorus.

I want so much more
Than you can give to me, my heart ain't blind
And even though I know I hear your lies
Enough is enough for me

Moira certainly is giving it everything she has... she has chosen wig 'Regina', and Regina wafts in breeze from the cranked up wind machine.

The chorus itself sees the three Britonish backing dancers providing harmonising vocals, together the the electronic overlay on the microphone... certainly this performance has a little bit of everything....

The Britonish director determines that raising camera shot from the feet to the face of Moira Rose should take place and he slowly pans up over her silk gown, the ostrich feathers fluttering on the breeze from the wind machine. If only the Director and Televsiual audience knew.

So hear me when I say that
Enough is Enough
Oh-oh-o-o-o-it's over now
Enough is Enough
Again I say
Enough Is Enough
Oh-oh-o-o-o-o it's over so
It's time for me to let you go

Still Moira carries on unabated. Performing her little heart out and addressing the camera as she finishes the chorus and the bridge.

Oh oh oh oh
Enough is Enough
Oh oh oh oh
Enough is Enough
Oh oh oh oh
it's over so
It's time for me to finally let you go

With each 'oh-oh-oh-oh' of the bridge, the backing trio dance in pose-vogue style, which the camera cuts to. It's simple yet effective.

Oh oh oh oh oh

Her diva-esque qualities have certainly gone down well with a slice of the auditorium audience who are feverishly waving their flags backand forth. Regardless of her performance in the scoring tonight, Moira will certainly see her views on Who-Tube increasing as a result of the show tonight... and the thought of that spurs her on.

Oh oh oh oh oh

For the next stanzas, Jackson leaves the trio at the rear of the stage and once again joins Moira downstage. He seems persistent in his chasing of Moira Rose, who clearly is old enough be that boys lover.

Still she deflects, pushing him out of her way as she stomps along the front of the stage.

You can tell me that
You're so sorry that you caused all this
I can be so much more without you here
Enough is enough for me

As the fourth stanza progresses, Millie and Abigail head downstage. The four artists standing in a line with Jackson and Moira Central of the four.

I'm not holding back
I'm leaving now and I'm not looking back
If you think these tears are for you, think again
Enough is enough for me

The four artists proceed to the chorus, and the director decides to make a sweeping panoramic of the inside of the inpressive Arena Aronyk.

So hear me when I say that
Enough is Enough
Oh-oh-o-o-o-it's over now
Enough is Enough
Again I say
Enough Is Enough
Oh-oh-o-o-o-o it's over so
It's time for me to let you go

As the bridge once more comes, this time Moira Rose joins the backing trio in their vogueing... pose, pose, pose for each in rhythm with each 'oh'. Together with the synthesised vocals it adds an element of modernity and interest to the song.

Oh oh oh oh
Enough is Enough
Oh oh oh oh
Enough is Enough
Oh oh oh oh
it's over so
It's time for me to finally let you go

With the final stanza, the stage lights dim and a single spotlight focuses on Moira who looks emotionally down the camera lens in an appeal to the international juries. She coyly wraps her arms around herself and acts demure as she sings 'When the nights get cold'.

Never think of me
When you're feeling alone
Never call on my phone
When the nights get cold
Listen to me when I say
Say to you

As the beat kicks in once more from the break, the lights go up in the hall and a golden waterfall cascades from the rear of the stage.

Enough is Enough
Oh-oh-o-o-o-it's over now
Enough is Enough
Again I say
Enough Is Enough
Oh-oh-o-o-o-o it's over so
It's time for me to finally let you go

As the final chorus is being sung, Moira decides to walk the shorter catwalk into the audience, taking the director and the backing singers by surprise as this had not occurred during the dress rehearsal. However, the consummate professionalism of the Brityunik Vefecosoin Cairkovoin director, no-one would notice Moira going rogue.

Moira reaches the end of the short catwalk and in the directors box, the Britonish director is breathing heavily. But moira simply sways her hips to the beat of the music, like a bride-to-be who is filled with the self-confidence of one too many vodka cranberry juices in a male only establishment.

Oh oh oh oh oh

As the final lines are being sung, the professional Britonish backing singers, continue with their choreographed routine on the main stage. The Britonish director decides to put them on screen one more time, and why not they're bound to get the juries hearts a flutter.

Oh oh oh oh oh

It's time for me to finally let you go

The director cuts back to Moira for the final verse... It's time for me to finally let you go. And with that the Beepeean entry is over. The production crew and backing trio breathe a collective sigh of relief, as the crowd cheers.

A nice Britonish man yells something to Moira, who speaks into the microphone and says "I can hardly hear you. The cheering and accolades are drowning out your gentle voice". The Britonish director cuts the mic and we move on to the next festivity.

by **Adab** » Tue Jul 13, 2021 9:46 pm

XX
Adab
Nergalsarusur Kas - "The Cross"
Language(s): English
Tune: Seal – Crazy (single version)
Additional Information
Lyrics: Nergalsarusur Kas
Music: Nergalsarusur Kas
Trigramme: ADB
Backing Dancers: Millie Banques, Georgina Forest, Samantha Foster

Nergalsarusur Kas

Background
Adab’s entry at World Hit Festival 59, “The Children’s Battle” by Hasan al-Jafar and Sania Sadiq, had mixed fortunes; the song placed 13th out of 18 participating nations, but also won Best Lyrics, which is no mean feat. Domestically the song was a hit, topping the singles chart, and it brought much publicity to its performers – and by extension the Tashlultum Lugal’s Adab City Traditional Music Ensemble, with whom they had been performing for some years as a half-time gig. As for the ABC, Director-General Benji Akiya was satisfied with the song’s performance, but at the same time was also starting to consider a new, unified selection process for both WorldVision and the WHF. Maintaining a separate selection process for each contest was putting an increasing strain on Benji and the Board, and – inspired by several other nations which sent their first-placed song to WorldVision and the runner-up to the WHF – they began planning to implement a similar process, starting from WorldVision 92 and WHF 60.

For this new selection process, the ABC asked interested applicants to submit a video of themselves singing an original tune that they intended to perform onstage. After a painstaking process of watching and evaluating every single video, the ten best applicants were then invited to ABC headquarters to perform in front of judges selected by the Board, with the Board and Head of Delegation Mehmet Bahri watching as well. Coming in second place was 24-year-old Nergalsarusur Kas, already quite successful as an up-and-coming singer, with several of his songs becoming hits on MyTube and Songtify. But he was already famous for being much more than a singer.

The previous year, the young musician and social media sensation hit the headlines when he claimed to have been abused by a Catholic priest while serving as an altar boy in his Eridu church. The abuse, Nergalsarusur said at the time, caused him to suffer a “temporary loss of faith” and led him to stop attending church for “some years” and turn to music and drinking (the latter he had since given up on) as a form of solace. In an interview several weeks later, he stated that he still occasionally suffered from nightmares as a result of his experience. He clarified that he was still a Catholic, albeit one with “skepticism towards the leaders of the Church”. Nergalsarusur’s accusation came amid a wave of allegations of sexual abuse and harassment directed against leaders of various religions in Adab, most notably the Catholic former Archbishop of Adab City, who was sentenced to a life of prayer and penance by the Pope amid a series of lawsuits.

Nergalsarusur described his WHF song, “The Cross”, as “my attempt to come to terms with the pain of my youth”. “Putting that pain and tragedy into song,” he continued, “is my form of therapy, I suppose. I know this may sound strange to some people, but, well, I do find some comfort in putting all this into song, and maybe getting the chance to perform it in front of thousands of people. It’s a form of release for me.”

Nergalsarusur and the Adabian delegation arrived at Aronyk Intenational, the 7th busiest airport in Britonisea, and quickly settled into their hotel in the city. Though he did not say this directly to Nergalsarusur, Benji had concerns about the young man’s mental health, especially after all that he had gone through, and urged Head of Delegation Bahri to keep a close watch over him. This Bahri and the rest of the delegation did, loyally accompanying Nergalsarusur as they took long walks across the city, relaxed on the beachfront in front of the Aronyk Arena, and journeyed to the mountains overlooking the city. Much amusement was had when Bahri realized he had misread the map and that the nearby lake was named Wakeness and not Wokeness. Finally, with just a day remaining until the performance, they impulsively decided to take a train ride to nearby Quickenden, spending the rest of the day wandering around the city and touring one of the Centreplex stores there.

The Performance
The crowd waited for the Adabian performance to begin as the nation’s name was displayed in the screen around the Tube above. The stage – indeed, the entire hall – was covered in almost-complete blackness, with the only source of light being the aforementioned screen. But the blackness would not linger for much longer, for soon the LED back wall, which had hitherto been turned off, now began to emit a bright orange across its entire length, its color intended to evoke the image and sensation of a fire. The lights across the ceiling, too, started to shine down on the stage, gradually followed by the lights on either side of the stage, the latter also emitting a bright orange which contrasted with the blue-white of the ceiling lights.

As the stage was reborn in light, viewers at home were treated to an aerial view of the width and length of the stage, delivered by camera no. 14, gradually zooming in to reveal Nergalsarusur Kas standing on the circular LED stage floor, looking towards the catwalk and scanning the audience around it. Behind him were three Britonish people who had so generously agreed to lend their services to WHF contestants this year. Georgina Forest and Samantha Foster were each wearing a glove and holding a lit candle, both of them flanking Millie Banques who was sitting on a small golden chair, a few steps behind Nergalsarusur. Officially they were here as “backing dancers”, but it seemed that they would not be dancing that much after all.

His head now slightly bowed, clenched fist over his heart, the backing track playing behind him, Nergalsarusur took a deep breath and solemnly began singing.

By the altar, candlelight
You stood there, dark was the night

I remember

Each of the five LED panels that made up the back wall now showed a cross at the center of the panel, burning somewhat in thin jets of yellow and faint orange against the bright orange background. The view now switched to camera no. 1, zooming in at Nergalsarusur from above as he turned his back on the crowd and began walking towards Millie Banques on her throne, with Georgina and Samantha holding their candles aloft and not moving an inch. Cue camera no. 3 showing Nergalsarusur fall to his knees, head bowed even lower, before Millie, who proceeded to place her hands on the top of his head, then slowly lowering her hands to the back of his neck as Nergalsarusur continued singing.

A man of good, everyone knows you for
Do good, you would implore
My trust I placed in you
Your name was the one we would live up to

You said the cross would keep us protected
“All men are flawed,” you said. “We all are corrupted.”
Your touch, even now I can feel it

Millie suddenly jerked her hands away from Nergalsarusur, and the latter rose to his feet, his eyes focused on Millie. Gradually he stepped backwards, one step, two steps, three steps. Then, as he was seemingly about to turn to face the audience, Nergalsarusur swiveled backwards again and, leaning towards Georgina, grabbed her candle and held it quite close to his face, but not so close so as to burn his face. Still holding the candle, he now leaned towards Millie, his face assuming a more defiant look, their faces separated only by the candle as he sang the chorus. As he reached the second “I’m still the same man as I was back then”, he turned his back on Millie and thumped his chest with his free hand, trying to assure the audience with his words.

I’m still the same man as I was back then
No matter how you tried to change me
I’m still the same man as I was back then
No matter how you wish for the contrary

Handing back the candle to Georgina, Nergalsarusur went around and behind Millie’s chair before softly grabbing her by her robes, leaning down to her and delivering his words in an increasingly assertive voice right to her ear. Home viewers now found themselves watching the performance through camera no. 2, zooming in very closely at Nergalsarusur and Millie. Behind them, on the LED wall the crosses burned even brighter, the fire now actually threatening to consume the crosses.

You thought those robes made you a man of honor
I thought you’d deliver us from moral squalor
I was quiet as you let boundaries fall
“It’s fine,” you said. “It’s fine, all fine.”

And I knew little, I wish I had known more
But I know, but I know, but I know, but I know
I’m still who I was and who I am

Nergalsarusur released his hold on Millie. Now walking around and ahead of the women, he marched towards the catwalk, the camera zooming in on and following him, one hand continually banging on his chest and the other extended to the audience, reaching it to them. His eyes wandered between the audience and the roof of the venue, as if searching for God, or some angels, or someone or something up there who would happen to be listening to him.

I’m still the same man as I was back then
No matter how you tried to change me
I’m still the same man as I was back then
No matter how you wished for the contrary

No, no, I haven’t changed at all no matter how you wish I had

Nergalsarusur proceeded to the middle of the catwalk, where he stopped and slowly spun around on his feet, taking in the entire width and length of the stands as he continued singing. Behind him, Millie rose from her chair. Followed closely by Georgina and Samantha, still holding the candles, they, too, walked towards the catwalk, but stopped where the catwalk met the circular stage. At this point, Nergalsarusur turned around and walked back to them. He stopped with just a few feet separating him from them. Millie, with her robes and golden chair, symbolized to him the Church. His words were pointed at her, and by extension the Church.

No, no, no
I let you see me as I was, now let me see you as you are
Now that’s only right
Let me see you as you are, let me know you as you are
Now that’s only right, right
Let us see you as you are, let us know you as you are
Now that’s only right
That’s right, that’s right
Let us see you as you are, let us know you as you are
Now that’s only right, now that’s only right, now that’s only right, now that’s only right, oh

Nergalsarusur reached for his pocket, grabbing what was revealed to be a small, pristine white cross and displaying it to the audience as he turned his back once again on the women and walked towards the end of the catwalk, approaching the green room. The display of this small cross against the backdrop of burning crosses on the LED wall was meant to symbolize his faith, which lingered on, damaged and diminished as it was. But it was still there.

I’m still the same man as I was back then
No matter how you tried to change me
I’m still the same man as I was back then
No matter how you wish for the contrary
I’m still the same man as I was back then
No matter how you tried to change me
I’m still the same man as I was back then
No matter how you wish for the contrary
No, no, I haven’t changed at all no matter how you wish I had

At the end of the last line, as the backing track faded away, the lights gradually dimmed. The LED wall faded entirely to black, and soon the stage was in the same condition as it was before this performance, clothed in quiet, solemn darkness. The audience cheered and applauded Nergalsarusur and his “backing dancers”, who ended up not doing much dancing after all, and the Adabians in the crowd waved their flags enthusiastically. They continued doing so as Nergalsarusur and the women made their way out of the stage.

by **New Zealandic South West Saint Martin** » Wed Jul 14, 2021 1:54 am

XX
New Zealandic South West Saint Martin
Vera - "Laissez moi maintenant"
Language(s): English, French
Title Translation: Leave Me Now
Tune: Sophie Carle - 100% d'amour
Additional Information
Lyrics: Havena Baul, Etin Tumach
Music: Vera Montremontremont
Trigramme: NSM
Backing Dancers: None
Backing Singers: Jem Bombahie, Elise de Rien

Introduction

New Zealandic South West Saint Martin is not the best place to live. In fact, it's often considered one of the worst. However, even through all this, the New Zealandic Southern Western Saintian Martinishian Government of New Zealandic South West Saint Martin must portray themselves as a lovely destination for tourists and travellers alike, and so has decided to commission another World Hit Festival entry.

The people of NZSWSM were thoroughly disinterested with the 59th World Hit Festival, though the government has set up advertisements for the contest around the island, in the hopes that people would actually pay attention.

Vera Montremontremont, more commonly known by her mononym Vera, is a Port Anilisine by birth and a New Zealandic Southern Western Saintian Martinishian by ~~abduction~~ adoption. She's also one of the greatest voices on the island, behind the angels of Tee-Bee-Aye, and she's also the only person of foreign birth to inhabit the island after The Incident. However, she's been quite the jailbird, having entered the correctional facility 12 times on accounts of accidental minor genocide.

Recently, Vera's been looking at a possible escape in secret, and has signed up to the WHF in the hopes that she may 'accidentally get lost' in the city of Aronyk, perhaps on a train or in someone's house. Will these plans ever come to fruition, or will she be discovered?

Performance

There is no love, there is no peace,
There’s no wind blowing through the trees,
The telephone isn’t working,
And there’s no service where I live.
Always violins, playing so loud
And it’s unbearable, the sound,
How do you cope here, how do you feel,
‘Cause you may have a heart of steel.

Je veux que
Tu me quittes maintenant
You need to escape this hellhole,
I can’t come with you right now so,
Je veux que
Tu me quittes maintenant.

Another day, another storm,
Natural disasters where we roam,
In our mud huts, olden TVs,
Our government is made of bees.
Even if I wanted to leave,
Emigration can’t be achieved,
There’s no way out, I’m crying for help,
Won’t someone save me, get me out!

Je veux que
Tu me quittes maintenant
You need to escape this hellhole,
I can’t come with you right now so,
Je veux que
Tu me quittes maintenant.

It’s not enough, I just can’t cope
You should escape here, I’ll just hope

Je veux que (Je veux que..)
Tu me quittes maintenant
You need to escape this hellhole,
I can’t come with you right now so,
Je veux que
Tu me quittes maintenant.

Je veux que
Tu me quittes maintenant
You need to escape this hellhole,
I can’t come with you right now so,
Je veux que
Tu me quittes maintenant.

by **Britonisea** » Wed Jul 14, 2021 6:42 am

XX
Britonisea
Dupontii- "You Took All I Have"
Language(s): English
Tune: Stark/Ayoni - All out of Love
Additional Information
Lyrics: Aria Duponte
Music: Aled Duponte
Trigramme: BRI
Backing Dancers: Keisha Cole, Georgina Forest
Backing Singers: Zoey Stratis, Zoe Wilkinson

(Oooooo)
You've got what you want, I'm now left picking up,
The fragments of the love that we once shared between us.
You took all I have, except my dignity
I... won't forgive ever forgive you

Told you I had a work dinner, won't be home till eleven
You said that you're staying home, you were feeling under the weather
I had my doubts but I kissed your forehead in the morning, then I left (I left) hmmm
I knew something was off, call it women's intuition,
What were you up to all day, boy you have me feeling all curious.
What if I cancel that work dinner, oh I'll come straight home with some soup.
Yeah wishing you were better...

You've got what you want, I'm now left picking up,
The fragments of the love that we once shared between us.
You took all I have, except my dignity
I... won't forgive ever forgive you
(I won't forget what you did. No, I won't forget)

Got home about five hours before I was supposed to,
I could see the lights on, I could see a shadow I'm not used to.
Put the keys in the door, couldn't believe what I saw
The fighting, the shouting, the pain that followed
How could you do all this, especially at home?
I had to catch you out, I need you to go
Have fun, leave me all alone!

(You've got what you want, I'm now left picking up,)
The fragments of the love that we once shared between us.
You took all I have, except my dignity
I... won't forgive ever forgive you
(I won't forget what you did. No, I won't forget)

I won't forgive, I won't forgive
No, I won't forget!
You've got what you want, I'm now left picking up,
The fragments of the love that we once shared between us.
You took all I have, except my dignity
I... won't forgive all you've done
(I won't forgive what you've done)
(And I won't forget)

by **Alezian Union** » Wed Jul 14, 2021 5:36 pm

XX
Alezian Union
Hariyana Madinayya Salem - "Change Of Heart"
Language(s): English, Arabic, Alezian
Title Transcription: -none-
Title Translation: -none-
Tune: Wany Hasrita - Canggung
Additional Information
Lyrics: Hariyana Madinayya Salem
Music: Hariyana Madinayya Salem, Ishaq Aftar Dadon
Trigramme: ALE
Backing Dancers: Muzakka Akhlafi Ancic, Arifin Roosweerter Ancic, Indrawan Sulaiman Makarina
Backing Singers: Bella Roosvijk, Eni Mafaruddina

WATCH ABA'S PROMOTION FOR THE 60TH WORLD HIT FESTIVAL HERE!

B A C K G R O U N D

World Hit Festival 59 just ended with the Alezian Union who is-and-yet-is-also-not (it's complicated but to summarize, Alezian Union is a new boy on the block but also continued where North Alezia left off) a new participant earning a respectable third place. While the majority of Alezians celebrated the top 3 result, which also marks the Alezians' continued streak of top 10 finishes, many also can't bug off their feeling of asking:

H O W

How did an artist as popular as Andi Robi Idris Novogrody failed to finally bring the trophy to Zafizamarrah? Sure the third place is ABSOLUTELY BEAUTIFUL, but people expected him to win here, yet he didn't. But no worries, Robi's reputation is not too tarnished after WHF, but it becomes sort of a warning sign that if Robi can't do it, it's possible that no one else can, and it might push ABA to just give up on the World Hit Festival. And worse, ABA had announced that they're going to temporarily stop participating in the World Hit Festival after 60 unless they had to host the competition. This is in order to focus more songs to the Worldvision Song Contest, where they've been also saying that they're running out of quality songs to send

Since the turn-based system pointed to Pantabang Islands, they're expected to send an entry to both Worldvision and the World Hit Festival. In WHF, they selected Hariyana Madinayya Salem to fly the flag for the Alezian Union.

A R T I S T - I N F O

(H.M. Salem with her costume for WHF)

Hariyana Madinayyah Salem is a Pantabang Islander Composer, and Singer. She was born in Bucinnois in 18th of March 1989 as an only child to Harznaruddin Madinayyah Salem and Intaruna Madinayyah (nee Ma'aka'iuna) Salem. She was pretty known for her beautiful voice and the ability to incorporate traditional shouting to modern pop-feeling compositions.

Hariyana has been singing since she was 10, going around Northern Pantabang Islands (at that time the Southern part is still off limits due to reunification not yet happening at that time a.k.a 1999), winning local competitions, earning reputations in school as a star student even with her... Not so good academic grades in school. When she was 13, she toured NPI together with her friends (So'ai Ma'uska Dadon which is nowadays an Alezian Rapper and Drummer and Endana Sartika Salem which is nowadays a legislative member of Parliament of Bucinnois who just so happens to know how to play the Guitar.). Thanks to her tour experience, she never had anything bad stage-related. Thanks to that too, she knows the entirety of Bucinnois, Na'uspa, A'inka, Ma'urin, Es'u'su'a, Ma'i, and Epo'oan by heart. (Maybe not the entirety, just the must know parts of it)

Hariyana earned a degree of Music Composing in the Millenium (later Millenial) University of Zafizamarrah in 2013. In Zafizamarrah, she admitted that she experienced culture shock for the first time living in the biggest city in North Alezia. However, she got used to it and eventually wrote her premier song "Ca'a'pi'i'ca'ama'a'i" which is Alezian (actually it's more on Salemese Dialect) for Zafizamarrah in 2013 as well. She released it to ARICO.net (which is THE go-to social media for Alezians (still exists, and still used by almost every single Alezian)) and the song received 100 thousand listens in a week and 500 reccomendations. Due to this Hariyana earned the Alezian Internet Award for the best Alezian-made Composition Uploaded To The Internet of 2013.

After that, Hariyana composed more songs such as "Tom", "Great Things Never Lie", "Aga'ia'ma", "Algae", and many more.

S O N G - I N F O

After The Reunification Ceremony happened, Hariyana felt inspired after seeing what her neighbours down in the South are doing in order to "change" the "heart" of the Government there. And thus after she did some research, she found out that major things, in history or just life in general, happens because a change happen, mainly, a change in the core or in the heart. And when she find out that it's already a philosophy term, the song "Change Of Heart" is born.

Before Hariyana can upload the song to the internet, ABA out of the blue contacted her in an email saying that they're finding an artist and a song from Pantabang Islands to represent the newly born Alezian Union in the World Hit Festival. Suddenly, Hariyana agreed to send the song to the ABA first. Needless to say they're pretty impressed with the song and ended up selecting her for WHF. The song ended up released a week after the planned date in ARICO.net, Youtube, and Spotify at the same time and it ended with a massive blow up, earning 10 million views in total.

The song "Change of Heart" tells about the philosophy of how a change in someone's heart can create monumental change in the person. And how Change will always happen and no one can ever refuse because no matter how they run away from it, change will happen to them no matter how late they are to it.

The song teaches the listener to accept change in a healthy way, taking the good from a change and leaving the bad behind. The song also teaches the listener to accept the fact that time moves on and you can't stay in one place in time.

(After the postcard ended and the applause from the audience stopped, a backing singer who is situated in the most front side of the stage started the song with a chant in Alezian which was met with applause, moreso from the Alezians, even more from the Native Alezians who understood the sentence)

(Wa'ai Kau Pu'a'ai Ho'a'i...)

(The view quickly blurs and transitioned to Hariyana holding on to her microphone, singing, wearing her signature red hijab and long dress with pearls all over the dress. She was surrounded by three male backing dancers. A steadicam walks around the group)

Blood streams the colour dark red, Red as a bag of roses that smells elegant
Love that people thirst for, Thirst that they have longed to quench over things that they can't

(The view then changes between the two backing singers and Hariyana changing every sentence somewhat like a fight scene, with the final sentence being given to the backing singers before suddenly)

Everything in the world, They have two distant sides
The Earth and The Sky, Of Black and Of White
And of The Life and Death

(A glow encompassed the entire stage and fireworks shoots up for a few quick seconds, while the backing dancers did a backflip away from Hariyana, giving way to the steadicam to record Hariyana singing. In the quick instrumental between sentences, Hariyana did a small spin, giving her dress a bit of a swish. Hariyana then opened her left hand while holding to the microphone with the right)

A.... All of the world's secrets
It's called the Change of Heart

Whoever, ever doubted
Never had their Change of Heart

A.... All changes happened
Because of the Change Of Heart

And yes, you can't change it
It's called the Change Of Heart

(Before the next verse happened, the view changes quickly to the backing singer before quickly returning to Hariyana using a blur transition)

(And yes, you can't change it
It's called the Change Of Heart,

Oh, it's the Change Of Heart)

(The backing dancers gather around Hariyana again while she sung.)

All your life, everywhere you go, It's always one side or the another side
All the time you have spent, it's always between one choice or the other side

Everything in the world, They have two distant sides
The Day and The Night, Of Truth and Of Lies
And of The Hate and Love

(A glow encompassed the entire stage and fireworks shoots up for a few quick seconds, while the backing dancers did a backflip away from Hariyana, giving way to the steadicam to record Hariyana singing. In the quick instrumental between sentences, Hariyana did a small spin, giving her dress a bit of a swish. Hariyana then opened her left hand while holding to the microphone with the right)

A.... All of the world's secrets
It's called the Change of Heart

Whoever, ever doubted
Never had their Change of Heart

A.... All changes happened
Because of the Change Of Heart

And yes, you can't change it
It's called the Change Of Heart

(At this part, Hariyana puts her left hand on her hips and right as usual, holding the microphone, as the backing dancers rushed back with a baton that emits fire around it, holding on to the baton with a glaze of fire on the tip.)

إنها مثل البراكين ('iinaha mithl albarakin)
لا يمكن التنبؤ به (la yumkin altanabuw bih)
مثل القلوب (mithl alqulub)

هل الجو حار أو بارد ، لا أحد يعلم (hal aljawu har 'aw barid , la 'ahad yaelam)
إما أن تعانق أو تقتل ('iimaa 'an tueaniq 'aw tuqtal)
مثل القلوب (mithl alqulub)

(As the Arabic part ended, and the screen went black for a few seconds, the batons were swished down, and as a single light opened for Hariyana to sing a few sentences before...)

A.... All of the world's secrets
It's called the Change of Heart

Whoever, ever doubted
Never had their Change of Heart

(A glow encompassed the entire stage and fireworks shoots up for a few quick seconds, while the backing dancers did a backflip away from Hariyana, giving way to the steadicam to record Hariyana singing. In the quick instrumental between sentences, Hariyana did a small spin, giving her dress a bit of a swish. Hariyana then opened her left hand while holding to the microphone with the right)

A.... All changes happened
Because of the Change Of Heart

And yes, you can't change it
It's called the Change Of Heart

إنها مثل البراكين ('iinaha mithl albarakin)
It's called the Change Of Heart

إما أن تعانق أو تقتل ('iimaa 'an tueaniq 'aw tuqtal)
It's.... called.... the Change.... Of ..... Heart

A.... All changes happened
Because of the Change Of Heart

And yes, you can't change it
It's called the Change Of Heart

(As the song coming to an end in a few seconds, the backing singers and dancers gather around Hariyana looking confidently at the camera as fire was shot from every single place that allows.)

(And yes, you can't change it
It's called the Change Of Heart,

Oh, it's the Change Of Heart,

Oh, it's the Change Of Heart)

(As the song ended, Hariyana pointed her finger at the camera before raising her hands celebrating her performance with the backings, after that she shouted, "YEAH! THANK YOU SO MUCH, SHUKRAN KASIIIRAAAA!!!" after which the view changes to a pack of Alezians celebrating another great entry)

by **Malta Comino Gozo** » Fri Jul 16, 2021 5:19 am

XX
Malta Comino Gozo
Lucas Muscat - "OK"
Language(s): English
Tune: Ten Tonnes-Go
Additional Information
Lyrics: LYRICISTS_HERE
Music: MUSICIANS_HERE
Trigramme: MCG
Backing Dancers: DANCERS_HERE (Feel free to use the ones provided on the OP for no extra cost!)
Backing Singers: SINGERS_HERE (Feel free to use the ones provided on the OP for no extra cost!)

by **Estogium** » Fri Jul 16, 2021 6:10 am

XX
Estogium
Asher Rozen - "Do You Want Me Too?"
Language(s): English
Tune: Oliver Nelson & Milkwish ft Syron - Miss Me Much
Additional Information
Lyrics: Asher Rozen, Dean Samuels-Harrington, Sam Toser
Music: Viktor Nelsson, Lizzy Emmanuel
Trigramme: RWH
Backing Dancers: Coming soon
Backing Singers: Coming soon

Estogium returns to the World Hit Festival once again for the first time since World Hit Festival 57, this time with Asher Rozen leading the way.

Estogium's niche has never been international song contests. Despite the general Estogian population liking the types of songs that are sent the Festival, it never seems as though any of the songs sent are that much likeable to the international audience. Estogium's most recent World Hit Festival entry was at the 57th entry which gave Estogium a left hand side score which was good for the nation. Estogium, however, barely got onto the left hand side with the nation coming 11th - one place from the right. Estogium's population are starting to grow some sort of dislike for song contests such as the WHF as they are convinced the festival is out to get them. Perhaps that is because of the Britons that are in charge - some of the most traditionalist of Estogians believe that. However, it is important to note that since the Britons were in charge of the Festival, Estogian entries had (in the past) scored pretty well. Estogium scored in the top five of World Hot Festival 45, nearly won the 48th World Hit Festival after they came 2nd under Britonisea (which was ABEN's first ever 1-2). Another ABEN 1-2 happened in the first Semi-Final of the 50th edition, with Estogium finishing second there with Elias Nordin, with Estogium finishing 7th overall and then a few editions later at the 52nd edition, Estogium scored a massive 36 points which saw Estogium in third place - 2 points away from victory. That song, "Shot" went on to be an international success and a pinnacle of successful Estogian pop music. Since, the Festival hasn't treated Estogium very well and that's not just at this contest. The WorldVision Song Contest also hasn't been kind to Estogium and the nation is wondering why. The entries they have sent, RVC thought, were fantastically put together. Though other people believed it was middle of the road and basic. Estogium is keen on showing its authentic taste in music, which is usually the uptemo pop songs, a little bit of EDM here and there, bass & drum - but can also slay in the ballad department too (as seen through the hugely popular Elias Nordin entry. The Estogians won't be changing the genre of music that they are sending, but they're going to continue to see whether they could find a more appealing song.

In comes Asher Rozen, a nice 25 year old man from the south of Estogium who will represent his country in Aronyk. Singing "Do You Want Me Too", Estogium are hoping that with a similar formula that did them justice at the 52nd World Hit Festival, they can succeed once again at the 60th World Hit Festival. Asher Rozen had applied to be involved in the World Hit Festival after watching it a few editions in a row and believing it was a cool idea. Asher has had some experience already in television - but behind the camera, working with rival broadcaster Channel 5 Rwhitton where he was a cameraman. He had a job offer to work with RVC but knew that if he did, he wouldn't be able to represent the country due to ABEN broadcasters having restrictions such as those to help prevent bias vote calculations and bribery within the corporation. Asher has always been amazed at television production and how shows such as the World Hit Festival was put together and what better place to go to than Aronyk for the World Hit Festival? Britonisea had been known as the place to be in television due to the country's professionalism when hosting large events - Britonisea had hosted 13 song contests alone. Asher was hoping that he could not only get singing experience, but also experience what happens on his line at work in a country such as Britonisea. Could he work here one day? But either way, he was still focused on his main mission. Win the World Hit Festival.

Upon arrival to the mountainous Aronyk, he watched in glee as he landed at the airport embedded amongst the mountains. He got off the aeroplane with no one noticing him - they didn't know that he was about to be on their screens in only a couple of weeks time. He noticed that there were rowdy, rather rambunctious youth hanging around the airport, but then he remembered that Arena Aronyk did host a football match recently and the overflow of fans still probably stayed ~ especially ahead of the World Hit Festival. In a city where music and sport combine, you could feel the excitement of the area and Rozen loved it. Sure, Estogium and Britonisea had some differences, but Aronyk didn't look to dissimilar from any Estogium cities apart from the fact most tall buildings had cranes on them. He wondered why BVC had chosen an unfinished city to host the Festival, but he supposed the nation used it for advertisement when it was done. It was now time to get ready for the show and as he woke up the next day, he would be enthralled into the madness that was the efficient rehearsal process of a Britonish World Hit Festival...

You got me so whipped, I’m weak
I’m like your puppet on a string
No matter how hard I try,
I just can’t stay away for too long, no.
Got me where you want me
And since I know how you love to tease,
I will let you indulge more,
I’ll let you in, come in and explore

I want us skin-to-skin, light’s low,
All throughout the night.
No giving in, yeah, show me
Your inner beast unleashed.
(I need you, I want you)
(I need you, I want you)

I want us together, no one interrupting us
You and I, going at it - come on oh give in
(I need you, I want you)
(I need you, I want you)

Do you want me too?
‘Cuz I’m hungry and I’m craving you,
Do you want me too?
You had me sold with only one look.
Do you want me too?
Want me too?
Want me too?
Want me too?
Want me too?

I want us skin-to-skin, light’s low,
All throughout the night.
No giving in, yeah, show me
Your inner beast unleashed.
(I need you, I want you)
(I need you, I want you)

I want us together, no one interrupting us
You and I, going at it - come on oh give in
(I need you, I want you)
(I need you, I want you)

Do you want me too?
‘Cuz I’m hungry and I’m craving you,
Do you want me too?
You had me sold with only one look.
Do you want me too?
Want me too?
Want me too?
Want me too?
Want me too?

by **Alinghi Federal-Democratic Republic** » Mon Jul 19, 2021 6:08 am

XX.
Federal-Democratic Republic of Alinghi
Dwamas - Nightmares
Language(s): English
Tune: SIAMES - The Wolf
Additional Information
Lyrics: Szwed Van Dijk Raganhildis,
Music: Bzet Hoppeman Hudgyrt, Grungrass Malfoy Appinta
Trigramme: ALH
Backing Dancers:
Backing Singers: Petuan Kofegobe Septimus

[/blocktext]

The general performance, and colours of stage was black and white.

The music begin the singer was in the Stage.

The singer begin to sing, in led behind are show a stylized white bus in a black background, and after when the singer sayd that the bus driver los control the buss "fall" down from a bridge

I was in the bus
talikng with my classmates
the bus run in the motorway, not too fast, not too slow
but when the bus was on the bridge. the driver lose the control
and we fall, and I believe to die.

The singer and his backing singer sing the refrain. Then and the Led screen became suddenly all white as you wake up from a nightmare

The nightmare continue, every night, I don't remember,
by brain removed it, leaving to me only the terror.
The nightmare continue, every night, I don't remember,
by brain removed it, leaving to me only the terror.

The screen become again darker, with stylized white images, now the screen are represented a bar table, where a guy offer a drink to a woman, and after the woman drank the drink, slowly it became darker until to become all black

I was in the bar
as I do every Saturday night
the bar was attended as usual, not too busy not too empty.
Whemn some one offer me a drink, I thought that he was nice
and slowly I begun to lose senses, and after I don't know

As at the first refrain the screen become suddetly white. ANd the singer and co singer sing that

The nightmare continue, every night, I don't remember,
by brain removed it, leaving to me only the terror.
The nightmare continue, every night, I don't remember,
by brain removed it, leaving to me only the terror.

The nightmare continue, every night, I don't remember,
The nightmare continue, every night, I don't remember.

The nightmare continue, every night, I don't remember,
by brain removed it, leaving to me only the terror.
The nightmare continue, every night, I don't remember,
by brain removed it, leaving to me only the terror.

WIP for more detailed narration and background

by **Normandy and Picardy** » Tue Jul 20, 2021 1:19 pm

XX. Normandy and Picardy
Marianne Vidal, Anne-Marie Paquet - "On commencera encore le matin"
Language(s): Normand French
Title Translation: We'll start again in the morning
Tune: Emma, Alessandra Amoroso - Pezzo Di Cuore
Additional Information
Lyrics: Anne-Marie Paquet, Jean Bourdieu
Music: Anne-Marie Paquet, Marianne Vidal, Jean Bourdieu

Marianne Vidal and Anne-Marie Paquet, who will represent Normandy and Picardy in Aronyk with «On commencera encore le matin»

So close! SRNP really had a crisis on their hands as the results came in for the 58th World Hit Festival in Le Havre. Having hosted the previous contest in Amiens and then having taken it upon themselves again the next contest, under heavy encouragement from the Normand government - whilst of course it was still expected to come from the same budget - the Normand fan base and those who had been heavily impressed by SRNP's Amiens contest, alongside a sense of pride, the broadcaster had already decided internally that they would not be able to host again. This, in many ways, was not going to be a shock. Of course, in the end, it didn't matter, as the country came close, very close, to its third successive win, but ultimately handed the trophy over to the Achaean Republic. Even this, however, was unlikely to solve all of SRNP's problems, as the two contests had very much strained its resources, and threatened its domestic programming. They were going to try and send an entry to the Achaean Republic, given sending a delegation itself could be relatively cheap, but Simone Derrida knew, and had it made clear to her, that they would very much be on a budget this time around. The process started as normal, with Simone, staying on as Head of Delegation but agreeing to give up the (admittedly small) grant given on top of her regular wage - which itself decreased as a result of attempts to cut costs - for her job as head of cultural programming and host of the weekday afternoon slot on SRNP 3. Indeed, she soon honed in on the target, the act she wished to send to the World Hit Festival, in part due to an interview on her radio show with Anne-Marie Paquet. Anne-Marie is a respected name in the Normand music industry, and was making a comeback after a period taking a break and spending time writing new music, with a series of collaborations. During the course of the interview, the topic of WHF came up casually (as it so often does) and Anne-Marie made the mistake (?) of suggesting she might be up to it.

From that point, Derrida would not let go. Luckily, Anne-Marie kept up her word, and soon was in the studio working with longrunning collaborator Jean Bourdieu, not a famous name outside of the industry but well known within it, and a very steady set of hands. Given it would be part of her comeback, the studio was willing to take up a large amount of the costs, obviously hoping they would profit in the long run. The season all went as normal, well, with perhaps a little less activity than usual, and SRNP were noticeably slower to announce their return than normal which caused a few jitters. Nevertheless, the song, "La lumière dans tes yeux" (The Light in Your Eyes), a very traditional Normand ballad and a safe bet as they appear to have become in the contest, was confirmed as the Normand entry, and whilst there was amongst the accountants at SRNP a hope they wouldn't win, the delegation itself was certainly bullish about its chances of bringing the contest back to Normandy and Picardy for the 60th contest. As you'll have noted, however, this didn't happen, and in fact it couldn't have happened for one very important reason. Just before the Normand delegation was due to fly out to Orongumila, Martin Furcheval, a member of the Conseil d'Etat, the body that acts as Head of State of the Two Republics, died. It was clear that the broadcaster would have to withdraw at the last minute in order to folllow the proper protocol. It would appear that Anne-Marie's hopes, and the suggestion that had indeed become a dream of standing on the WHF stage, had been dashed by a bolt out of the blue. It was devastating to everyone involved, and Normandy and Picardy were forced to stay out of matters.

Soon afterwards, Simone called Anne-Marie to personally assure her that if she wanted, the offer of representing Normandy and Picardy at the next contest, the 60th anniversary edition no less, was wide open for her, and that even SRNP - who were determined to be back - would be more than happy to have her fly the flag once more. At first, Anne-Marie was certainly not sure. The whole ordeal had obviously shaken her, the fact that she had got so close and it had all come crumbling down. Perhaps it simply wasn't meant to be, this was a sign of fate. The single had still sold well in Normandy and Picardy, indeed perhaps better as awful as it seemed, so it wasn't a complete loss, so she could walk away now and not risk any more potential pain to come, given she had now become rather invested. The journey to the contest had been a wonderful experience, a mad experience, albeit cut short, but still, it could not be taken form her. And, she wasn't sure she'd have, or would be willing, to devote the time again. Writing a new song, working with the creative directors again, promoting it, promoting it, preparing for the shows, and promoting it. Yet, she also wanted to fulfil the dream, to have the full experience, to be able to share something with the entire multiverse. That spark would prove to be enough, and with some helpful cajoling from Simone, conversations with friends, and the like, she decided to take up the invitation, and take the advantage of having the best part of a year to come up with something new.

One of those friends was fellow musicians Marianne, who like Anne-Marie had also taken a break from the music industry. Both of them, having been highly popular a few years ago, had decided to take a break from the scene, but it is clear that the experience had affected Marianne more. She had actually been planning to work on Anne-Marie's collaboration album, but decided that the time was not right for her to return, but had since agreed at last to enter the Festival de la College de Cherbourg, the premier song festival in Normandy and Picardy (essentially the Normand version of Sanremo: for more, see the page for the current contest here. Her entry for the festival, "À la lueur de l'aube" (In the light of dawn) discusses her personal issues and the strange feeling of being disconnected from a musical industry in which she had been immersed from so long from a young age, and which basically constituted her life for a long period of time. In many ways, this was a common experience for two, and whilst the two had known each other before their break, they had turned to each other in order to help each other and had grown very close as friends. You may have noted a common lyrical theme between that entry and "On commencera encore le matin", and unsurprisingly this is not accidental. Both were written about the same time, as Anne-Marie and Marianne tried to decide on an entry to send to World Hit Festival. Yes, Anne-Marie managed to convince Marianne to join her on that stage as the first step to her return, just as it was going to be for Anne-Marie, around a month before the 'domestic' return at Cherbourg. They would do it together as friends, and work through it all together, Anne-Marie helping Marianne through the twists and turns. They both poured everything into the entry, and the result was "On commencera encore le matin", a song about deep, personal loss, both a loss of some object of love or desire, but also a sense of emotional loss, perhaps a loss of self due to some sort of trauma, and what might seem, or even be, hope against all hope, and trying to walk on through to the other side. It might all be in vain, nothing is certain, and perhaps in a sense the walking on is in fact a running away from the real issue, but still in some sense we have to try and make sense of it all, to find the path in the darkness. Perhaps not the happiest message, but one the two deeply felt, and the one that they channeled into their entry. In many ways, it was again a very proper, traditional Normand ballad, but for the two of them, it was obviously much more. They just had to convince everyone else that this was the case too.

A familiar setting, Simone Derrida's SRNP 3 Radio Show, served as a setting for the reveal of the song to both the Normand and Picard audience but also the rest of the multiverse too, for those who happened to listen in, and follow the contest closely enough to care. The Normands had certainly grown to care though since the country's veritable renaissance after a long time in the wilderness, so now what might have seen like a bit of annoyance for Derrida's regular listeners had become a relatively hotly anticipated event, and, as customary, the song rose up high in the Normand charts before Marianne and Anne-Marie had even stepped onto the plane heading out to Quickenden (the only airport in Britonisea to which Normandy and Picardy has any sort of connection), and well before they had stepped off the team coach and into the hotel in Aronyk. This was all to come, the whole hectic experience come at last for both of them. Things were already hectic enough in Normandy and Picardy with various interviews, the end of a concert tour for Anne-Marie, Marianne's preparations for the Festival de Cherbourg which had begun, alongside the World Hit Festival, and indeed, more so than normal, the WHF and the Festival jostled for space in the headlines; to some extent, this is a sign of just how popular the WHF has begun in the country in recent years. Both of them had temporarily had to move from Avranches (Anne-Marie living in Rouen, Marianne in Bayeux), which is quickly growing to become a new media hub, as supported by SRNP, and also home to the camp where their final preparations for the trip to Britonisea were being made. Everything was going fast, perhaps a bit too fast for Marianne, who had been out of the loop for so long. There were jitters in the Normand delegation with just days to go, as it seemed likely that Marianne might pull out for her own sake, but she knew in a way that she had to make the step one way or another, and that she was alongside Anne-Marie too...

It was hot. Very hot. Not Achaean Republic actually melting hot, but still height of summer for Normandy and Picardy hot. That was the first thing the pair, and the Normand delegation, noted as they got off their AirNormandie flight at Quickenden Airport. It felt almost like holiday weather, and thoughts were cast to how they might spend their time as though they weren't, in fact, taking part in a major international singing competition. The heat only got worse as they got stuck in traffic on the way to Aronyk, the actual host city, inside the coach that the delegation had hired, as opposed to forcing the artist to travel by train as had happened to Gerard Arduane when the contest was last in Britonisea. Evidently the budget had stretched enough this time around. For Simone Derrida, here as Head of Delegation, this was a return to Britonisea, and she definitely hoped to get to know it better than she had in Bovingdon, when the delegation had arrived very late, been bundled onto a train, and had only a few days to prepare. They were definitely much more in control of the situation this time, she felt, as she looked up at the mountains that had been promised alongside the motorway. They were very pretty, she conceeded, and she, the artists, and a couple of other delegation members were due to go hiking as a team exercise during their stay. What she was not happy about was that the mountains refused to move, or rather that they were not moving (funny how relativity works), given they were stuck in a heatbox on a Britonish motorway. At least they all had each other for company. And, she thought, she had been in much worse situations in the past. She just hoped that Anne-Marie and especially Marianne were enjoying themselves. Indeed, they were. Slowly, the fact they were finally here was dawning on them. The fact that in what would seem like the blink of an eye, after a whirlwind of rehearsals, press interviews, meeting with fans and indeed the other artists, spending some time getting to know the city (and its beaches), and everything in between, they would be stood together on stage preparing to sing for millions. Blink. And they were there...

The final preparations had been made. As they were called on and quickly rushed onto the stage, Marianne and Anne-Marie had just enough time for one more hug, for one more "Bonne chance", and then they were whisked away. They knew they had a job to do now, and they knew they could do it, but at the same time the eyes of the audience, perhaps more than anything else the millions of eyes they couldn't see, certainly set the stomach in motion, especially for Marianne. As she came up to her spot at the front of the stage, only just in time too as the postcard came to an end, her heart was absolutely pounding; this would be her first major live performance in several years. No pressure, then. It was time. The first couple of piano notes. Everything was pitch black except for one light shining across, showing part of Marianne's head, her face disappearing back into the dark just above her eyes, her hair falling back down from the darkness again, and then fading back in, and what you could see was white - indeed, the Normand delegation had discovered the black and white filter again, thought "Oooh, fancy", and decided to run with it. The camera shot, using camera 16 zoomed very close in - this may help give you an idea where Marianne is, though of course that was deliberately obscured for the time being - was such that Marianne appeared to be looking off at a slight angle away from the camera to the left of the shot, although really she was sat facing forward. For the first couple of lines, all that could be seen, as the camera very slowly zoomed out, was Marianne's face and her lips moving as she sung, wobbling at the end of every line as the nerves just threatened to take over, but not, of course, managing to. If she had been able to think at that point, she may have been celebrating getting through the first couple, and indeed everything after that definitely easier now she had taken the plunge, but really she wasn't thinking at all, just letting the words flow out, and flow they did.

As Marianne sang "J'ai compté..", the shot transitioned to a closer one from one of the steadicam operators, looking up to the front pedestal area of the catwalk from the right hand side, which is in fact where Marianne had been (and still was) sat at the top of the (very small) steps. You could now tell where on the stage she was at least, but the shot was still rather dark, with the light being provided from the very back of the stage, a series of different lights of different heights and depths, to help keep the somewhat moody vibe. You could also properly make out her outfit too, which consisted on a long-sleeved and relatively high necked black shirt, a patterned skirt, high-heeled black boots and a thick black coat with fur lining, as can be seen here (on the right). Some of what was to come next was slightly betrayed too, as behind her now the base of a streetlight - a prop borrowed from a certain winning performance, it having been found in an SRNP warehouse and put back into good use, being seen behind her, but for now the focus was on Marianne, now looking up to the camera, and simply singing and emoting, trying to channel everything into the performance.

J'me tiens en comptant les étoiles
Seule au milieu de cette nuit
Chacun comme un tache de rousseur
Et ils sont tres, trop loins aussi
J'ai compté toutes les secondes, toutes les heures pour ce qui me parait à des années
Depuis la dernière fois que je t'ai vue et n'importe quoi avait un air vrai

As the prechorus began, there was a turn upwards and fade transition into a shot of one of the trapezoidal LEDs as it slowly came to life, although life here means for the majority of the others from the four of which could be seen in the perspective of the previous shot as so (the final image here; thank you Brit) changing from showing nothing to showing a general seen of the night sky, which was still in black and white anyway (so naturally it was exaggerated to make it easier to be picked up on). The more important image though was the one that was being shown, namely the moon emerging from behind the clouds and looking down, casting yet another, eerie glow. Transition back to the stage and to the second camera now on the front pedestal bit, with the shot being provided by the other steadicam essentially perched at the edge of the greenroom (the Normand delegation hadn't quite realised the limitations of the stage until they actually got to the arena themselves). The lights that had been coming from the back had flickered away to be replaced by the light from the left hand side, i.e. so that it seemed the light was shining down on the moon. Marianne, who could now be seen be holding a book in one hand, came up to the aforementioned lampost during her travail through the night, as was being described in the lyrics, and slowly, almost listleslly, swung around it, helping add to the general tone, but also meaning she didn't use up too much energy either which she could direct elsewhere. As the verse came to an end, the camera zoomed in, slowly, on the book she held in her hands, on which the lettering, in gold if it were in colour, could just be made out reading "On commencera...", clearly the title of the song itself.

Et c'est pas pareil quand je me promène dans ces rues
Ou je pouvais entendre tes pas comme un bienvenue
Et tes larmes, et ton rire, et tout le reste
Chaque étreinte chaleureuse
Maintenant ils m’étouffent, les ténèbres et le silence
Pendant que j'essaye discuter avec l'obscurité, et
Ca me donne toutes les réponses que je ne voulais pas entendre
Et je continue à marcher
Je dois

The chorus mostly saw some broader shots as the main introduction, helping show just how stark Marianne's position was, especially given the majority of the stage was actually still shrouded in darkness. She truly was alone in the night of the soul, seemingly with nowhere to go and so sign of daylight. Thus, cameras 13-15 were put into surface, but of course not in their usual way to show off the entire stage, but to be interspersed with closer shots from the steadicam, as well as one of the crane cameras that had been brought over to provide an extra angle to play with. Really the point was to show this wider scene but then keep bringing it back to Marianne, to her performance and to her emotions, and by the juxtaposition help bring an added strength. The final shot of the chorus saw the majority of the lights almost dissolve away, as if all hope finally was fading, except for the fact that the lamppost (made to look, for the romantic imagery of it, like an old gas style one, but clearly not if only for health and safety reasons) now actually lit up, and actually lit up in colour, old and warm in tone, as Marianne came to rest beneath it once more, the light and shadow mingling once more of a hazy fade led into the verse.

Combien de temps dois-je marcher?
Jusqu'au lever du soleil?
Mais le soleil se lèvera-t-il pour nous deux un jour?
Pourquoi tu n'es pas là?
Tu ne m’entends pas?
J'suis épuisée, j'suis fatiguée
Je l'envie de laisser me tomber
Mais je sais que tu est en attente ailleurs (en attente ailleurs)
Et qu'on commencera encore le matin, sans encore de pleurs

And at last onto the main stage we go, working now with camera 2. Whilst the lamppost had perhaps promised a turn at last to colour, this was not actually going to be provided at this point. Instead the audiences across the multiverse got a black and white shot beginning pretty close up and focused on Anne-Marie as she stepped into view, but unlike with Marianne, what was going on was a lot clearer, and looked in general a bit more like the opening of Portugal ESC 2021 in how the black and white worked here, although the areas of shadow were still prominent, and a lot of the lighting was coming from behind. Further, rather than a Portuguese jazz band, what we are dealing with a Normand woman walking through assorted boxes, the sort that you would pack up stuff if you were moving house in, tables, old chairs, a painting wrapped in paper and a string nestled up, generally looking like a house in that sort of phase when you're about to leave, that moment of transition where both a deep loss but the hope to come mingle up. A less literal interpretation of the theme of the song, perhaps, but nevertheless. As she sang, Anne-Marie, who was dressed in a black leather skirt, a white thick fleeced jumper, a tweed/patterned blazer, and similar boots, as here (on the left), seemed to look around, to mess with a few of the objects, including an old doll in a box that had stopped spinning, an old family picture from within one of the boxes, and running her hand along one of the tables on which a layer of dust was visible (some of the other cameras were also being used to provide other angles and reach in closer as needed), but with no great intent or purpose, again appearing to have no real purpose as one can feel in the situations the song is evoking, almost an indifference, an attempt to disconnect to hide from the issue, though of course this also means one cannot move forward. Just before the chorus, we come to stage level itself with one of the poor steadicam operators being put hard to work, with a shot that comes from around Anne-Marie as she picked up what appeared to be a book, which now appeared in colour, the only item to do so. It was a dark navy colour, with golden lettering... you can guess where this is going.

Mes pieds sont de plus en plus minces
Le chemin devient plus étroit
Et il n’y a aucun signe de lumière
Et il n'y a aucun signe de toi

J’ai l’impression que je ne vais nulle part
J'ai l'impression de tourner en rond
Je ne vois pas où je dois aller
Je suis seule dans la nuit comme dans l'enfance
Mais je dois continuer

This provided a point of focus for the transition into the chorus again, which began with a shot from camera 3 to really show off the stage, as now the background LED panels were properly put to use. Taking advantage of the broad width of the panels but also the fact that it is panels we're talking about with different sections, certain bits now showed Marianne singing along with Anne-Marie from different angles and perspectives (and one even upside down, the flip image of the section above) and often not full images either - in a way serving almost as fragments, the blurry figments of an old memory, an old face, an old friend - alongside some sections where now the words of the song could be seen emerging and disappearing, in a sort of reverse colour scheme so that the words were black and the background white, and indeed the fading away of the lyrics was almost like ink into another liquid - a quite deliberate choice, given the book. Everything had been overthought enought for something like this, in the classic Normand way. Otherwise, everything would be as you would expect, crane cameras 6 and 7 and the further out camera 3 being used to provide a series of broader shots from further out to capture this, although obviously not too far because Marianne was still on the front stage and not meant to be seen again at this point (well, for the audiences at home anyway, she was very much there for those in the arena, but nvm), interspersed with closer shots with camera 2 (the steadicam operator now being allowed a rest), alongside 6 and 7 to help add shots from the sides and the like to break up the frontal shots, and highlight different aspects of Anne-Marie's movements, posture and general flow as she let herself express the song.

Combien de temps dois-je marcher?
Jusqu'au lever du soleil?
Mais le soleil se lèvera-t-il pour nous deux un jour?
Pourquoi tu n'es pas là?
Tu ne m’entends pas?
J'suis épuisée, j'suis fatiguée
Je l'envie de laisser me tomber
Mais je sais que tu est en attente ailleurs (en attente ailleurs)
Et qu'on commencera encore le matin, sans encore de pleurs

And so we go into the bridge, with one of the crane cameras coming down alongside Anne-Marie as she walked across the stage, looking just off into the distance beyond it and slowly reaching out her hand, slightly bent but trying to push it forward, almost pulsing to the beat of the music, if that makes any sense. Then, cut to another shot, from camera 4, as now we turn to Emma walking up along the catwalk from the front, again not quite looking out to the camera, and going at quite some pace, as if at last she has found her direction, the beacon of hope, the focus that she needs to get through to daylight. Then, we got a shot looking across the catwalk at some remove as the two come closer, closer, agonisingly close...

Et je, et je ne pense pas pouvoir marcher plus loin
Et je, et je pourrais m’allonger un moment enfin
Et esperer que le soleil se lèvera
Comme il l'habitude

And, as they finally came together, holding each other's hands, arms bent at the elbow, a burst of colour spread across the screen, at least in FX land as the black and white filter faded away, well, melted away at last, and the stadium was shown in full colour, the lights now generally a warm, almost golden colour, like the streetlamp earlier but now spread across the entirity of the venue. There were various blue highlights provided by the lighting strips around the roof-borne LED panels and along the floor too, whilst in the background LEDs, which weren't shown all that much, we could now see the two of them, in colour, singing with one another, one in front of a black background, the other white. But of course, that wasn't really shown as the focus was on the two of them on the catwalk, with various shots from all different angles. The cameras were arranged such that a proper 360 degree round shot as in the music video wasn't possible, but nevertheless, around them we went, albeit more broken up, from different depths, etc. The audience around them had been encouraged to turn on their torches on their phones or similar devices for this section, and the further up shots showing Anne-Marie and Marianne singing to each other, soaking in the incredible, unbelievable moment they shared now as two friends who had, as they as they cared at this point, conquered the world, surrounded in a sea of lights helped show the crowd had been obliging. Of course, the shots came in close and closer as the chorus came to a close.

Je continuerai à marcher
Jusqu'au lever du soleil
Parce qu'il y a une chance que le soleil se lève à nouveau
Et que tu reviennes
Et que tu m'etendes
J'suis épuisée, j'suis fatiguée
Mais j'laisserai pas me tomber
Alors, je sais que tu est en attente ailleurs (en attente ailleurs)
Et qu'on commencera encore le matin, un matin un jour

As the performance slowly came to a close, the audience unsurprisingly starting to cheer slightly early before it had actually finished, as the final few piano notes were played, Marianne fell into (or, well, onto) Anne-Marie's arms. She had finally done it, she was back, and she had performed as well as she ever had, and had done so alongside a close friend. But she was also shattered, and needed her support. The two hugged, for a moment forgetting the entirity of the world around them, before realising where they were, that another performance would be starting soon, and they needed to get off stage. They managed to sneak in a quick, exasperated "MERCI!" just before the next postcard started. The greenroom awaited, where now they could enjoy the rest of the show, and then the nervous wait from there... a drink was definitely in order.

by **Monaeroglisseurest Pleindanguillese** » Tue Jul 20, 2021 1:43 pm

XX
Monaeroglisseurest Pleindanguillese
Jean et Michelle - "I Don't Want To Know What Love Is"
Language(s): English
Tune: Monica Törnell and Lasse Holm - E' de' det här du kallar karlek
Additional Information
Lyrics: Jean, Michelle
Music: Jean, Michelle
Trigramme: MOP

Jean and Michelle, or rather Michelle and Jean, performing on MonaeroTV show "Le Chantuer" (The Singer) before their trip to Aronyk

One day, someone at Monaero TV realised they hadn't entered WHF in rather a long time. It seemed that they had simply forgotten about it, or forgotten to pay the fees, or something like that. It didn't matter. How did they come to realise this? The person in question is a massive fan of the contest, but clearly hadn't been watching closely enough to realise that Monaero weren't actually competing. Ah well, we can put that beside, though it may make you question the competence of the delegation (which is wise). In any case, this employee decided he might as well tell his higher ups, who were looking for ways to plug the schedule anyway. They talked. It sounded like a pretty good idea. It was relatively cheap - although evidently in the past they'd decided not to bother - and they could just send any old rubbish. In fact, they could send something that couldn't possibly win, but which would be fun for the older viewership that MonaeroTV could proudly call its own. So they reheated the corpse of smoe of the best songwriters of the 1980s (whether or not they were dead, tbf), and set them to the task of writing a winning song... for 1986. Thus, they could have some fun, Jean and Michelle, the artists who had been chosen - Jean was an aging popular musician who hadn't had any success for a number of years, Michelle the wife of the head of programming who had tried to have a career in the past and was now provided an opportunity. The two already new each other, so that helped. In any case, them and a bunch of dancers - only the finest Monaeroese talent could do, of course - were packed off (somewhat literally) to Britonisea. They were going to have the time of their life, relaxing on the beach, eating fine Britonish food (which was a nice change) and, you know, casually competing in a major international song contest, as you do...

My life was quiet, maybe, but it worked well for me
I didn't have a care in the whole world
But then I saw you one day, you walked into the room
And everything became one big whirl

I was being silly
And a little naive
I couldn't bear this new lover's load
I became so giddy
I felt so alive
I just wanted to burt and explode

But I don't want to know what love is
(Don't want to know what love is)
If love's what I'm feeling for you
And I don't want to be your lover
(Don't want to be your lover)
But I don't know what else to do

I felt it grow inside me, yes I felt so alive
But I've never been so lonely, all the same
I wanted to feel you with me, every hour, every day
But I dreaded the moments when you came

You're more than a handful, and perhaps even two
I'm not quite sure what I'm meant to do
Oh I got a whole lot more than I bargained for
But boy I enjoyed the encore

Yet I don't want to know what love is
(Don't want to know what love is)
If love's what I'm feeling for you
And I don't want to be your lover
(Don't want to be your lover)
But I don't know what else to do

It tears me up inside
And I think my back's packed in
I don't know what to do
But neither really do you

Still I don't want to know what love is
(Don't want to know what love is)
If love's what I'm feeling for you
And I don't want to be your lover
(Don't want to be your lover)
But I don't know what else to do

It hurts
My heart
Help me
No, that's just our loving again

by **Antahbrantahstan** » Wed Jul 21, 2021 7:16 am

XX
Antahbrantahstan
Elodia Durán - "Miss Interpretation"
Language(s): English
Tune: Mayré Martinez - La Reina De La Noche
Additional Information
Lyrics: Jen-Richard de Guzman
Music: Jen-Richard de Guzman, Harrison Morgan
Trigramme: ANT
Backing Dancers: Kai Lane, Jackson Tomlinson, Teo Langley
Backing Singer: Sofia Natalia

The stage lights up, full of imageries of a disco ball, ranging from disco balls that hangs the ceiling, to close-up imageries of disco balls strewn on the LED screens. Elodia, however, is totally nowhere to be seen, and soon after, the music starts, the electronic dance music slowly lifting up the mood, with whistling noises being heard by the audience soon after. After a few wide camera shots of the venue, revealing the brightly-lit World Hit Festival stage in their glory, A steadicam-operated camera then enters the stage floor, wherein it is revealed that the floor is covered with smokes, and in the middle of the stage, a single door stands, like an obelisk peering over the stage. Without warning, the door opens, revealing Elodia, wearing a plain black dress with high slits on her legs and cleavage area. Sensuously inviting the audience to enter her realm like a beautiful courtesan.

Elodia, obviously enthralled by the audiences "entering" her paradise of sorts, continues to do what she is best at: singing. Singing at such a register, complimented with her styling, cements her place not as an ordinary World Hit Festival participant, but rather a majestic, yet mysterious goddess or mythological being of sorts, seducing the audience to acknowledge her as "Miss Interpretation", with the cameraperson, seemingly understanding her nature, continue to shoot her in a variety of wide and close-up angles.

As i balance the scales
Of glamour, and sensuality
The world knows who i am, except you, the one who thinks
You know everything about me

I am not defined
Cannot be put in a box just like you
I’m not as bleak as night, and not as warm as day
I will show you who i really am

Soon after, Elodia sang the prechorus, belting the final note with ease, and soon after, the three Britonish backing dancers join, wearing nothing but plain black trousers. Complimenting Elodia's beautiful singing and vocal with their energetic dancing, adding an entertaining, camp edge to what is a somewhat serious performance by Elodia. However, the stage soon darkens.

I rule the days, where the sun rays caresses trees
And nights, when the dark have covered my own deeds
Today, i’ll give you a lesson ‘bout that
I'm miss interpretation
You might wonder, "Who the hell do you think you are?"
I am someone you wish to be
At the same time i am someone you'll hate to meet
I'm miss interpretation
You might wonder, "Who the hell do you think you are?"
Am i someone who's wrong or right?
I'll just let your own perception decide

The stage then lights up, revealing a shoulders-up camera angle, shooting Elodia's singing. Behind her, the LED is obscured by several black, floral motif decorated hand fans. However, the sight is not permanent, as the camera then changes their angle, panning away from Elodia. With the backing dancers, now holding a hand fan, adjust their positions for the chorus.

I'm inviting you to
Where i rule over everything not known
Prepare your best outfit, call me "Her Majesty"
And enter the door into the unknown

And soon after, the audience can finally see that the LED screen changed their image to a plain, black satin fabric, with the lighting being kept to a minimum, safe for a single disco ball, which is shined by several strobelights, their glimmery reflections engulfing the stage like a moss covering a tree branch. Elodia and her dancers doesn't seem to mind however, continuing to perform for the audience with sheer energy, as if they have pushed their own self to unpredictable limits.

I rule the days, where the sun rays caresses trees
And nights, when the dark have covered my own deeds
Today, i’ll give you a lesson ‘bout that
I'm miss interpretation
You might wonder, "Who the hell do you think you are?"
I am someone you wish to be
At the same time i am someone you'll hate to meet
I'm miss interpretation
You might wonder, "Who the hell do you think you are?"
Am i someone who's wrong or right?
I'll just let your own perception decide

During the bridge part, the backing dancers then dropped to the floor, laying down, touching Elodia's legs. Elodia, now trying to cement her role as "Miss Interpretation", finally pushed her voice to her limits, belting with such immense power, complimented by the voice of her unseen backing singer, Sofia. Soon after, the backing dancers stood up, and ripped off her original dress, revealing a black, onepiece swimsuit. With the backing dancers discreetly attaching gold-coloured bangles on both of her arms for a pop of colour.

While all of this is happening, the silver disco ball that hangs from the ceiling is replaced with a gold one, with the LED screens and strobelights now lighting up to the fullest, with imagery of golden disco balls pestered around the arena. Elodia and her dancers, continue to perform to their fullest, however, after the "you'll have to meet" verse, the backing dancers then formed a human stool, with two backing dancers bending their left and right leg respectively for Elodia to sit in, showcasing her extraordinary vocal prowess, including operatic-style high notes that culminates into several whistling noises, reminiscent of Mozart's "Queen of The Night" aria. Elodia and her dancers later stood up, waving their hands just as Mayre did in the video, but soon after, the song comes to an abrupt end.

I am a force that is always unstoppable
Where i rule over the unknown one
The beings that you despise, yeaaah, yeaaaaaaaah
I'm miss interpretation (Ooooooh)
You might wonder, "Who the hell do you think you are?"
I am someone you wish to be
At the same time i am someone you'll hate to meet
Hee oh oh oh oh oh oh oh oh oh
Oh oh oh oh
Oh oh oh oh oh oh oh oh~
I'm miss interpretation
You might wonder, "Who the hell do you think you are?"
Am i someone who's wrong or right?
I'll just let your own perception decide

Hearing the cheers of the Britonish and worldwide audience, Elodia screamed "Thank You!" to the microphone, letting herself awash in the spotlight for several seconds, before she, alonsgide the backing dancers and Sofia, her backing singer, went backstage.

by **Nightom** » Wed Jul 21, 2021 7:26 am

XX
Nightom
Abbie Lindström - "Until The End"
Language(s): English
Tune: NEONI - Where We Rise
Additional Information
Lyrics: LYRICISTS_HERE
Music: MUSICIANS_HERE
Trigramme: KNI
Backing Singers: TBA

Nightom returns to the World Hit Festival: Abbie Lindström will represent Nightom at the upcoming World Hit Festival with an official ABEN Union Olympics song...

Kalmarlundian-Nightomiton, Abbie Lindström will represent Nightom in Aronyk, Britonisea with her song "Until The End" as Nightom hopes for gold to get their first World Hit Festival win...

Soldiers arm your weapons, get for the war,
Judgement day is coming, there's no backing out,
There's no backing out.

Our existence is threatened unless we fight back,
Don't let our foes take all,
Stand strong 'till the end, stand strong 'til the end
Stand strong and make us proud
Stand strong and make us proud

Prepare for blood, sweat and tears,
Put to bed all your fears,
Eventhough the end is near,
Stand strong 'till the end, stand strong 'til the end
Stand strong 'till the end, stand strong 'til the end
Stand strong and make us proud

This journey has been long (stand strong 'til the end),
Treacherous and painful (stand strong 'til the end),
This is your time to shine,
Show no mercy now! Go and fight
Stand strong and make us proud

by **Carrelie** » Fri Jul 23, 2021 1:31 pm

XX
Carrelie
AKARi - "Hermes"
Language(s): English
Tune: yozaquar feat.むた - Brightness
Additional Information
Lyrics: AKARi
Music: AKARi, Déâne Oúdèlle
Trigramme: CLE
Backing Dancers: N/A
Backing Singers: N/A

Introduction

No expense was spared during Carrelie's WHF59 performance, leaving CarrelieOne absolutely destitute. With their already plummeting finances, they were forced to take a loan from the government. This loan would be put into various things, including the selection for the next WHF, Hitfest 60. This time, the Carrelian public selected someone from the Commonwealth of Port Anilis, one of Carrelie's Caribbean territories. This selection was unprecedented as never before has a Port Anilisine artist represented Carrelie as a whole in any song contest, not even Eurovision! Despite certain hardships, CarrelieOne is still in high spirits and is confident that this performance can give them an even better result than Vian did!

AKARi

AKARi, real name Victoire Ito, is an 18 year old Port Anilisine-Japanese artist hailing from the Port Anilisine capital of Nouvelle Depelier. As the daughter of composer Shigeru Ito, she's no stranger to music of the Japanese variety. After the death of her father in 2013, she decided to travel into the world of music and started performing in bars and restaurants across the island. During one of these performances she was noticed by the child band RoKit, who themselves specialised in rock from all corners of the world. On this fateful evening at the age of 11, she was invited to join the band, beginning her climb in the music industry.

By the time RoKit separated in 2018, Victoire was one of its most recognisable members. Her first solo single became a hit in a matter of hours and it became clear that a life of music is what she wanted to pursue. However, not everything would go as planned as in May 2019, her fiancée Manuel died in a car accident and she was plunged into a severe depression. Music became the only outlet she could use to express her feelings, and thus, Hermes was born.

Performance

AKARi walks alone out onto the stage with a new nervousness she's never experienced before. Sure, she's been on stage before, but not in front of this many people! In an effort to compose herself, she takes a few deep breaths, in, then out, then in, then out again, before the intro begins. In her hands sits her signature electric guitar, designed with streaks of red and purple. As the intro begins, she starts playing this guitar and running down the catwalk as camera 4 follows her, then makes her way back to the centre stage. The lyrics soon begin, but the excitement of those few seconds still remains.

Nothing is going my way,
And I, I’m unsure what I’m going to even do,
Is there any place for me?
Will I have to stay here and die alone and upset?
I am stuck at the great crossroads of all our lives,
But directions were never my greatest outlet.

As the verse progresses, cameras 6 & 7 begin to move towards the stage, looking like this on the screens of those viewing as AKARi bounds about the stage, playing her guitar. During the final two lines of the first verse, the spidercam begins to zoom over towards the stage, joining cameras 6 & 7 in this configuration as excitement builds among both AKARi and the audience members watching. All three cameras reach her as the chorus begins in an explosion of flames and fire encircling the stage.

And there’s a grave on the hill that they’re digging for me,
Oh, won’t someone save me, oh, Hermes,
Will I know if I am ever wanted?
What do they want me to do?
We’re not together, even when we should all be,
Is there anything for you?
Oh, all these questions to be asked between god and man,
I don’t know if I can.

Throughout the chorus, the camera angle switches rapidly, going from camera 2, to 10, to 3, to 1. Behind the fire stands AKARi, playing her guitar like her life depends on it. The short break between this chorus and the next part only affords her a few seconds to breathe and consider how far she's come, but there's no time to do such things as there's an audience of regular people and jurors alike to please.

All these games that we play, none of them have value,
People go about their lives, not giving a damn,
Even when somewhere there’s someone crying,
What humanity is left?

It's time for an instrumental break! AKARi continues to play her guitar, forgetting about her minor stage fright and consideration. At this point, she's elated to simply be there, playing her music in front of thousands, if not tens of thousands, of admirers and simply being herself.

The chorus begins slow and almost silent, with great emotion. AKARi is clearly speaking these words straight from the heart, a beacon of her genuine feelings.

And there’s a grave on the hill that they’re digging for me,
Oh, won’t someone save me, oh, Hermes,
Will I know if I am ever wanted?
What do they expect?

AKARi goes in for the big finish as the chorus picks up, bringing the audience with it. Spirits are high as she crosses into the final part of her song, putting in all the effort she could possibly muster for her grand finale!

We’re not together, even when we should all be,
Is there anything for you?
Oh, all these questions to be asked between god and man,
I don’t know if I can.

And thus it is done. AKARi lifts both her hands into the air, almost crying with joy after such a performance she gave as the crowd cheers her on. She looks around, breathing in the air of the arena and taking in its sights.
"THANK YOU! THANK YOU SO MUCH! ARIGATO!"

by **Kalosia** » Mon Jul 26, 2021 4:35 am

XX
Kalosia
Meliora Napoleti - "Finu al ťelu n'es blu"
Language(s): Kalosia
Title Translation: Until the sky is no longer blue
Tune: Arisa - Potevi fare di più
Additional Information
Lyrics: Meliora Napoleti
Music: Meliora Napoleti, Filipa Rikardi
Trigramme: KLS
Backing Dancers: n/a
Backing Singers: n/a

The 50th edition of the Festival of Kalosian Melodies (Festival dële Melodie Kalosiane — FMK) was held recently as the national final for the 60th World Hit Festival. It was won by veteran contestant Meliora Napoleti with the song Finu al ťelu n'es blu (Until the sky is no longer blue). Napoleti previously won the 24th FMK and subsequently represented Kalosia at the 30th World Hit Festival in Vodiznad, Izmedu. More recently, she performed as an interval act at the 52nd festival held in Monterra.

What was notable about the show, however, was that it was the last edition before the event was to be discontinued. An RTVK official stated that, as times evolved, the time had come to rethink the way Kalosian entries are selected for the World Hit Festival. They cited the internal selections conducted between WHF51 and 54 which all resulted in good results for the island nation in the contest. Furthermore, interest in FMK was in decline, the official said, with the number of submissions each edition continuing to diminish. "Therefore," she said, "we deem it no longer viable to continue to sustain this show, and we will seek other ways to attract interest towards the World Hit Festival, including the possibility of a different selection format."

The very first Festival dële Melodie Kalosiane was held in 2012 as a selection for Kalosia's inaugural participation in the 7th World Hit Festival in Harrikes, Euskirribakondara. Since then, the festival had become a regular fixture of RTVK broadcasting and has seen the selection of three WHF winners, although the quality of music has been deemed to be largely subpar to that of the annual Festival dëla Kanžu Kalosianë (FKK). There is speculation that RTVK wishes to divert the resources used on FMK to FKK instead, as well as similar projects.

The RTVK official also announced that, for the foreseeable future, Kalosia's WHF entrants will be chosen by internal selection. However, she emphasized that this did not close the door for a new televised selection format to come to Kalosian screens in the near future.

As for now, Meliora is delighted with her second and last FMK victory. For her, preparations are in full swing to perform as the Kalosian entry to the 60th World Hit Festival in Aronyk, Britonisea. The entry, by the way, is one of heartbreak. In this song, Meliora sings from the perspective of a woman who has been abandoned by her (male) lover, who seemed to simply and suddenly disappear from her life. This song, therefore, can be interpreted as a way to navigate the distraught state that the woman is left in, having not seen any red flags but trying to retroactively recognize the warning signs.

For the big night, Meliora opted to wear an elegant red dress adorned with roses. As the song began, she stood still in the middle of the massive stage, in front of a mic stand. It was all dark, save for a spotlight on Meliora.

Anu enkontratu oki toji kon oki moji
Kadë l'albë plu belë a aparitu su noš
E tu mi prometevi kë sare inamuratu
Finu al ťelu n'es blu

A camera from the beginning of the song had been slowly zooming in and by now had met Meliora from a medium distance. She looked sad coming face to face with the camera, of course not because she is scared of cameras, but because she was trying to convey the emotions of the song. It quickly changed to other angles for this next part anyway.

Kestu žornu d'amurë era moltu ǧuvan
E noj samu ešitati per andarë su kaminu
Per ešplorarë kë kosë sta ultrë l'orižontë
E poševamu farë di plu

Now the camera angle changed to a close up, allowing us to see Meliora look around herself as if searching for something in her surroundings. Less noticeable is the fact that the stage was slowly being illuminated in golden and white lights, although not by a lot, preserving that solemn atmosphere.

Ma la poésia dulťë kë aj skrivuto su
Moji labri vana kadë venonu le nuve
Oñe lakrime eranu unë prehiérë mutu
Kë kawsavu le montañë per tremarë kon porë

Actually the background screen was turned so that the light fixtures were used instead. However, the little LED screens scattered around the stage were all set to different heights. These turned on around this part, still in black, but displaying white text. All of them were variations of the phrase "Where did you go?" in the languages of the different countries participating in the festival.

Tu davi mi un rožë senzë li pëtali
Sentavu kestë tristežë ditru li sorisi
Eri kalmë komë un mar senzë unë mareá
E nesunë poševë viderë tia riálta

As there are a limited amount of screens, the phrases took turns, and every few seconds each screen (not in sync) switched the language of the phrase (basically akin to France's Eurovision 2009 entry).

Sto u niu kasteľu, ov'esëz tia koronë?
Samu ankorë ǧuvani, moltu tempu avamu
Or ti keru kë kosë esëz toje intenžioni?
E kë kosë tu voľiz tu e ja per diventarë?

A third chorus further intensified the emotions Meliora was expressing. The text slowly faded out, leaving only her and the lights, which shone upon her and illuminated the stage like the windows of a cathedral in the quiet mornings of the day.

Ed au sentitë toji paši, kë arivanu maj
Perki tu në venevi, u l'oskurita vaj
E n'aj portatu tute keste kose toje
Ma a tu n'importava, perki aj tu freta

During this short string break, Meliora closed her eyes as the floating screens around her were all moved upwards to the top as they were no longer going to be used, clearing up the space. As this happened, the stage lights also turned blue and the background screens rotated, as they were now to be used instead of the lighting fixtures.

As she began singing the next part, the background screens showed raindrops dripping like tears, creating ripples. It was still quite dim, though, so as to not take the focus away from Meliora.

Mi mankanu toji ombraši, elë kalor kë mi davu
E ťerku per un tražë di tiu rëmorsu
Ma në san unë pitorë, në pošu farë un imažë
Dëla faťë verë di tu

Ed oñë orë es la stesë ul absenšë di tiu korpu
U kestu letu fridu, plu grandë al improvisu
Komë tuto es persu, miu mondu interu
A diventatu un mar di tristežë e konfušio

The background screens switched into a plain white background with a warm golden gradient, as if late afternoon. The stage lights switched colours accordingly. Still, Meliora was standing where she stood, singing more emotionally than ever.

Tu davi mi un rožë senzë li pëtali
Sentavu kestë tristežë ditru li sorisi
Eri kalmë komë un mar senzë unë mareá
E nesunë poševë viderë tia riálta

Sto u niu kasteľu, ov'esëz tia koronë?
Samu ankorë ǧuvani, moltu tempu avamu
Or ti keru kë kosë esëz toje intenžioni?
E kë kosë tu voľiz tu e ja per diventarë?

Meliora let out a long note there. In this break, the stage lights took turns flashing to the rhythm of the song (akin to in Albania's Eurovision 2012 entry), but it was a short break and she continued singing the third chorus.

Although this was a very emotional part of the song, it was mostly Meliora who was animated. The stage lights did move, albeit slowly.

Ed au sentitë toji paši, kë arivanu maj
Perki tu në venevi, u l'oskurita vaj
E n'aj portatu tute keste kose toje
Ma a tu n'importava, perki aj tu freta

After another long note, the background screen faded off and the stage lights turned blue. But the stage was mostly dim anyway, and even if that mattered the camera closed up on Meliora as she tearfully sang the last lines of the song.

Aj lašatu lë mondu kë konstrivamu insemë
Kë or dovu governarë solë senzë un rež
Benkë mi prometesë kë sare inamuratu
Finu al ťelu n'es blu

The song came to an end. The audience cheered, Meliora smiled, took a bow, and said "Thank you Aronyk, gražia!" before leaving the stage.

by **Fromulya** » Tue Jul 27, 2021 1:55 am

XX
Fromulya
Nur Syamsiah Effendy - "Matahari"
Language(s): Indonesian
Title Translation: Sun
Tune: Efendi - Mata Hari (slow version)
Additional Information
Lyrics: Nur Syamsiah Effendy
Music: Nur Syamsiah Effendy
Trigramme: FRM
Backing Dancers: n/a
Backing Singers: Laila Kirana Putri

Nur Syamsiah Effendy was chosen to represent Fromulya in the 60th World Hit Festival in Aronyk, Britonisea. She will be singing a self-penned song called Matahari (Sun), which compares her lover to the powerful sun, whose passionate, fiery warmth sustains life on earth.

The song is somewhat notable for its opening verses, which consist entirely of Indonesian-language words of Sanskrit origin. These words particularly are stringed poetically such that their meaning cannot be interpreted at face value. The rather liberal translation given for these eight lines reflect this. It confused many at first too, but Nur Syamsiah stood by this, as it helped set the stage for the rest of the song.

The song is a contemporary ballad, which begins as a piano piece, however other instruments are brought in as the song picks up, eventually turning into a whole, modern track.

For the big night, she wears a simple black sweater and black pants. With her hair let down, she sits down in front of a grand piano situated in the middle of the main stage. There is a backing singer, Laila Kirana Putri, who stands in the background. She is wearing a batik dress, but in any case is in the back corner of the stage, so she isn't too prominent.

The song begins as Nur Syamsiah plays the piano. As she sings, the stage is pitch black except for a spotlight on her. Everything is slow, but this brings the focus towards her, creating an intimate atmosphere.

Dipa surya
Cahaya candra buana
Asmara dwi dirgantara
Citra jagat raya

Dewa Aditya
Adiraja purbakala
Anugerah antariksa
Wijaya kuasa

Kaukah jelmaannya?
Buatku merona

Kaukah jelmaanya?
Buatku merona
Penuh dahaga

During a short piano break, the background screen starts to turn into a dark red-orange gradient, reflecting an early dawn. The instruments kick in, and Nur Syamsiah continues to play as she sings. The camera angles are still slow, but a little dynamic (sometimes showing close ups, sometimes panning around the stage, etc), helping set the stage for this particularly intense intimate atmosphere.

Kasih sayang
Berkobar luar biasa
Cinta yang amat mendalam
Kau beri padaku

Terik panas
Kehangatan tanpa batas
Turut membuatku bebas
Dibawah sinarmu

At this point the backing vocalist comes in. She is visible in the background as a silhouette, but only if you look hard enough. Even then, her voice is filtered for this part to sound lower than she actually is.

Kaukah jelmaannya?
Buatku merona

Kaukah jelmaanya?
Buatku merona
Penuh dahaga

Matahari!

This second verse and pre-chorus ended, finally, with the release of the chorus. The chorus being only one word: Matahari. However you can hear how passionately Nur Syamsiah sings this chorus, reflecting someone whose lover means the world to them.

Matahari!
Matahari!
Matahari!

After the backing singer previously had to sing with an artificially lowered voice, this time the filter was lifted, and she sings the parts in the brackets below.

(Cahayamu, cahayamu, cahayamu, cahayamu)
(Cahayamu, cahayamu...)
Matahari!

By the way, at this point the gradient in the background screen turns into a yellow-orange with only slight traces as red, brightening up a bit. A brighter circle appears on the screen as well, of course we all know what this is meant to symbolize.

(Cahayamu, cahayamu, cahayamu, cahayamu)
(Cahayamu, cahayamu...)
Matahari!

I guess it should be noted that this imagery is simply magnificent. The deep yellow that dimly illuminates the stage makes the sun particularly stand out, but still Nur Syamsiah is given enough lighting that she doesn't drown out in the darkness. As has been mentioned a few times, these visuals help set for a particularly passionate, intimate, and deep atmosphere that is as fiery and sensual as the heat of the sun.

(Cahayamu, cahayamu, cahayamu, cahayamu)
(Cahayamu, cahayamu...)
Matahari!

As the song comes to an end, Nur Syamsiah sings the final ''Matahari' as emotionally as ever.

(Cahayamu, cahayamu, cahayamu, cahayamu)
(Cahayamu, cahayamu...)
Matahari!

And just like that, after a few breathless beats, the music has run its course. The audience cheers as the stage lights are set back to its default setting. Nur Syamsiah gets up, smiling, and bows to the audience.

by **Axuva** » Wed Jul 28, 2021 1:40 pm

XX
AXUVA
APERIX - "사랑 노래"
Language(s): English, Korean
Title Transcription: Salang Nolae
Title Translation: Love Song
Tune: TVXQ! - 수리수리 Spellbound
Additional Information
Lyrics: APERIX
Music: MUSICIANS_HERE
Trigramme: AXU
Backing Dancers: DANCERS_HERE (Feel free to use the ones provided on the OP for no extra cost!)
Backing Singers: SINGERS_HERE (Feel free to use the ones provided on the OP for no extra cost!)

As the song started, the group members would be at a black and white poker table, sitting on it and one member would have cards in his hand the visuals would display black and white shapes on stage and in the screens, there would be female dancers surrounding the table. As the beat started, the two members looked at each other, posing then Minzo would throw the cards in the air. As the cards flew down, they sat across from each other, pretending to play poker, examining their cards and sliding them across the table as women danced alongside them, and also looked at the prop poker game.

Surisurimasuri susuri saba
Oh
Da-da-da-da-da-dow
Surisurimasuri susuri saba
Yeah… yeah (Surisurimasuri susuri saba)
Surisurimasuri susuri saba

As Minzo got up, he would start singing the first verse as the other member, Jiwon, sat in his seat, and the women dancers on stage would still be surrounding the poker table and be beside Jiwon. Then Minzo would be accompanied by one female dancers and she tugged him back and they reversed near the poker table.

Something about your deep energy, just sits deep down in me
Well baby I’ve got something just like magic
geugeos-eun jinjeong-eulo move your soul
So let me work on you my baby
To show you how I really, really like to get down, woah, oh
surisurimasuri susuri

As they reversed to the poker table, a female dancer would sit on it and she extended her arm fat enough and Minzo poked his head through her arm, looking at her and walking off, then Jiwon would take over to the next verse, sliding up on the table as the female dancer got off and all the female dancers would surround the table, showing off the strong emotion of seduction and as he dancers, the dancers would all run on his legs after circling the pool table and they’d continue dancing.

Pick a side because baby you know I’m the one
Cause I’m a lover daleun salamcheoleom
I won’t stop until I get to prove my love so let’s just get down to this beat..
Baby you compare to no one
And I just want you to give me
All of your time.. your, your time, woo!

As he was ending his verse, he would be sliding down off the table, moving up more out of center stage and over to Minzo, as they both started dancing and singing the chorus together and the female dancers would also be accompanying them, spinning and sliding and doing the best live vocals and amazing choreography. The visuals would change to certain card symbols like ace, spade, etc but in black and white.

No I won’t be something cruel
And when you need me I’ll always be here
Somethin bout the way
you move baby you just make me lose control.
I got you baby
geogjeonghajima, no one but you
Makes me feel the way when I’m around
You so baby come and
Move on down my way

As they both stopped singing, Jiwon would slide to the side, along with female dancers at the first half of the first verse and there would be a light up card prop near him. As the second half came on the camera would switch to the other side as Jiwon slid out of frame, Minzo would be accompanied with female dancers and hed sing his part with a card in his hand, and the female dancers would have cards too, rubbing down his body

I’ll never hide or tell lies
To you my honey, yeah my honey
Heart be pounding when I
saljjag yeosboda oh my honey, oh my
Honey (yeah yeah)

As the cameras switched, Jiwon would be shown with female dancers surrounding him and they’d rub seductively on his body, moving around him s and dancing and a female dancer was kneeled, dancing in front of him facing the audience.

Baby you are really the only one
naleul neukkige hal su issneun salam there’s no other
You fit my type baby you’re just the one
You’re just the perfect thing for me
And no I won’t ever let you go
Cause I’ll be loyal and akkida your heart, yeah, yeah yeah...
surisurimasuri susuri

As the end of this verse came, Jiwon extended his legs, and the girl would flip over, sliding under his legs, and going behind him, rubbing her hands on him and they danced in motion together, the camera would slide away to Minzo as he held a card up, then dancing with it in his hand as the women were distanced from him, and he would throw the card as he got into hardcore choreography.

Baby you shine bright like a full moon
The brightest light nae nun-e natananeun
It seems as if you go wherever I go
So igeosdo machangajiya destiny yeah?
Baby I’ll reach you wherever you are
no matter how far you are
Cause baby it seems as if you’re the only one, yeah, yeah, yeah
surisuri surisuri

He’d slightly jump into the air while doing choreography, sliding across the ground while flawlessly singing and busting out his lyrics and keeping perfect breath control and the dancers would come closer to him as he was about to end the verse and as he ended the verse, he backed away, hitting a flawless note and leveling it. They would then start doi the choreo together as Jiwon and Minzo would provide adlibs for certain parts of the chorus.

No I won’t be something cruel
And when you need me I’ll always be here
Somethin bout the way
you move baby you just make me lose control.
I got you baby
geogjeonghajima, no one but you
Makes me feel the way when I’m around
You so baby come and
Move on down my way

As they finished the chorus, they’d continue dancing and they’d slide over to the left together, patting their legs and clapping their hands in unison with the female dancers as they sang the first part of this bridge,

I’ll never hide or tell lies
To you my honey, yeah my honey
Heart be pounding when I
saljjag yeosboda oh my honey, oh my
Honey

And then as they approached the second half Jiwon would appear in frame, singing the part while dancing. As the bridge end, Minzo would appear back in frame with one singular female dancer, dancing along with her and they’d seductively dance.

I could go to all the planets and the stars
But you’d be the only one on my radar
No I can’t wait to finally find you
eonje hamkkeyeossgi ttaemun-e we shine
Yeah baby it’s only you,
Baby it’s only you who makes me feel
like I’m losing all my control
Nothing will stop me at all
Baby, it’s destiny!

As Minzo ended the first part of the bridge, Jiwon came in as Minzo pulled the female dancer away, and Jiwon would be accompanied by one female dancer as well and they would step style dance and as they came to the end of the bridge, the two group members collectively got center stage alone, and they would start dancing for the dance break and they would do dance styles that are similar to tap dancing and they would be as well singing in scat-jazz style and the female dancers would sit on the table. As they began the last verse, they would be on separate parts of the stage, dancing as their parts switched back and forward on the last bridge.

No I wont be something cruel
It’s something about the elements of who you are
surisurimasuri susuri saba
Baby it feels so good to even look in your eyes.
surisurimasuri susuri saba
You do something michin deus-i gip-eun to my soul
surisurimasuri susuri saba
Whenever I get to see you take away the heartache.. yeah yeah!
surisurimasuri susuri

As they ended the bridge and got to the final chorus, they would finally get together center stage along with the female dancers and Minzo would provide ad-libs as Jiwon sang most of the chorus and they would sing and dance flawlessly, and the camera would pan the stage from a further view, examining the whole stage as sparks flew in the air from the pyrotechnics.

No I won’t be something cruel
And when you need me I’ll always be here (You drive me crazy)
Somethin bout the way
you move baby you just make me lose control.
I got you baby (baby)
geogjeonghajima, no one but you
Makes me feel the way when I’m around
You so baby come and
Move on down my way
surisurimasuri susuri saba

As Minzo would be busting out a note while singing ad-libs they would still be dancing and once they approached the end of the chorus they would walk to the end of the stage, where the entrance is at the front, and they would have their backs facing the audience, and the cameras would be facing the audience and the singers. As they ended the song, they did a hand motion and posed.

by **Yaakovistan** » Sat Jul 31, 2021 3:30 pm

XX
YAAKOVISTAN
ELIAS SAILE - "DOO WOP"
Language(s): English
Tune: Ofenbach vs. Nick Waterhouse - Katchi
Additional Information
Lyrics: Anonymous local hobo
Music: E. Saile
Trigramme: YAA

Elias is a 23 year old male from a highly impoverished area of a miscellaneous second rate city in Yaakovistan's. After starting in his mid teens performing in bars to the success of his latest album and now to be facing the full crowd at a World Hit Festival performance was beyond his wildest dreams. After his confirmation as Yaakovistan's representative the journey to the airport and then to the hotel passed in a blur of excitement and now facing the WHF venue in all its glory finally put everything into perspective.

Elias walks onto stage as its covered in darkness, upon reaching the centre of the stage white spot lights flanking the stage begin to raise from covering the floor ahead of Elias to highlighting his position on stage. The camera dropping as the lights rise, Elias basked in light striking an angelic look upon the viewer. As the first bars are played the lights begin to strobe, large lighting behind Elias on the back wall of the stage begin flashing washing out the small lights on the side when is strikes.

Doo wop a doo wop, shoopi doobi doo wop
Doo wop a doo wop, shoopi doobi doo wop
Doo wop a doo wop, shoopi doobi doo wop
Doo wop a doo wop, shoopi doobi doo wop

The backing light reminiscent of a camera flash fully in sync with the beat of the music builds up in intensity as the next lines are about to be sung. The neutral white remains the main colour but as "She" is sung a green tint beings to rise from behind and among the flanking lights. The camera changing angle every other line slowly zooming in onto the centre stage, changing and zooming out to show the full performance.

She breaks my heart
All night long
She breaks my heart
All night long

The green again rising slowly taking up more of the light as the main camera slowly zooms down the centre of the venue, abruptly changing to Elias's left where he stares directly to the camera as he sings the final line of the verse.

Hey, hey, hey
You took such a long time
I got sick, take your fucking love away
Your eyes are fire, but your words're cold
Get lost, honey, i can stand any more

The green lighting dims slightly back to the secondary colour of the stage as the strobe on the back regains dominance over the performance.

She breaks my heart
All night long
She breaks my heart
All night long

The coloured lighting stops returning to the original strobe spotlights as the following lines are sung by Elias. Alternating from either side of the stage as each "Doo wop" is sung.

D-D-D-D-D-D-D
Doo wop a doo wop, shoopi doobi doo wop
Doo wop a doo wop, shoopi doobi doo wop
Doo wop a doo wop, shoopi doobi doo wop
Doo wop a doo wop, shoopi doobi doo wop

The green strobe lighting now taking over the stage as the song continues.

I swung on down to Leon's place
He had her love in his eyes
I said, "Hey man, where, where'd you get those eyes?"
He'd met my girl and she mesmerised

For the final time the green lighting returns to the back ground of the performance and slowly fades away. The camera speradically changing from view to view in a desperate attempt to grasp the full view.

She breaks my heart
All night long
She breaks my heart
All night long

Alright!
She breaks my heart
She breaks my heart
(Well, well)
She breaks my heart

The volume of the music and intensity of the lights having began to slow as the previous verse passed kick back up as the the next verse is sung.

Doo wop a doo wop, shoopi doobi doo wop
Doo wop a doo wop, shoopi doobi doo wop
Doo wop a doo wop, shoopi doobi doo wop
Doo wop a doo wop, shoopi doobi doo wop

The spot lights having fallen during the final lines of the song cut out as the last words fall upon the audience, the stage being left in darkness as at the beginning.

by **Todlichebujoku** » Sun Aug 01, 2021 12:25 am

XX
Tödlichebujoku
Váinö & Fîz S. Magro - "Alone"
Language(s): English
Tune: SLANDER ft. Dylan Matthew (Greenice Orchestral Version) - Love Is Gone
Additional Information
Lyrics: Mottekano Fujisava, Zita Seppá
Music: Mottekano Fujisava, Fîz S. Magro
Trigramme: TBJ

Mottekano Fujisava stared once again at himself in the mirror. The glass never seemed to be clear for him, even though by all rights it should have been. He supposed that it was just like all else he'd experienced thus far. He sighed as he broke eye contact with himself, and glanced down blankly at the table, shoulders slumped. He needed to breathe, center himself, and pray that he might just make it through one more night without collapsing into a whirlwind of overthinking and stressful half-sleep. He couldn't torture himself more over things that could have been, nor things that might soon be. Everything would be okay. He would live, and the gods would guide him where he needed to go.

Everything felt like it had gone right for Motti. He was born into a loving family, grew up in a great neighborhood, had good friends, and a higher education experience that went smoothly. But still, he felt isolated. A borderline introvert, he felt attracted to social interaction yet also anxious and distant once involved, as if he was uninvited, only being tolerated, just an accessory to the group dynamic. Sometimes it was a feedback cycle. He'd let everyone do their thing together without him, and before long it seemed that they had forgotten him altogether. Feeding into his vicious cycle of self-doubt and isolation was his realization that his field of study... wasn't exactly what he thought it would be. Motti had gotten so caught up in the day-to-day assignments while in school that he didn't stop to think what exactly he was there for, what exactly he wanted to do. Once graduated, he found himself floating adrift, with no employers finding him to be their ideal candidate, and his self esteem began to plummet after months of fruitless labor. Throughout his ordeal, Motti turned to his music production hobby under the name "Váinö" as a way distill his frustration and untapped energy into something at least somewhat tangible. With each upload to the matrix, he hoped that at least someone out there could sympathize with the sound, the emotion he poured into his work. And someone did.

Motti had never imagined music to be his career. But step by step, with positive messages left by his circle of fans, and his openness about his emotional landscape and struggles, he found acceptance and support that he could never give himself, and found the drive to continue on to create. To be honest, he never really had a solid direction that he drove for, but unlike in his earlier field of study, music provided greater allowance for experimentation and exploration. One by one, requests and collaborations began to trickle in, and before long he realized that music would constitute so much more of his life than ever before. The next year proved to be a whirlwind of new experiences, it was a miracle he could keep track of anything. Touring. Working with an agent. Voice training. Negotiating with labels. Being interviewed by media. Interactions he never thought possible for himself. But still, this newfound fame and success could never heal some of the holes in his self. Alienation. The feeling of being an outsider. Even when TÖBUK asked him to represent the nation in WorldVision, he was excited, but still felt like he was off on his own. The concepts and emotions he had written into "Alone", the isolation and hints at self-destruction, still felt as relevant to him as ever; the raw experiences of asking friends for help and guidance in his moments of dark desperation only being not too long past.

His WorldVision experience.. well there were two parts to that. The thrill of performing in itself, while emotionally taxing, eventually ended up being something he realized was enjoyable, and certainly something he had never really felt previously. However, the actual end result of the competition... was a more than a bit embarrassing for the beleaguered artist, and so he turned his attention to other horizons for the next year, not releasing anything, and doing the bare minimum on social media. In a way, it was refreshing for him, but at the same time, he didn't know how he could shake this aura of failure and self-hatred, and could only throw himself into his other pursuits with greater fire and fury to bury it all. His era of silence, however, came to an end as a central composer and producer of the WHF56 Orchestral Edition, Fîz S. Magro, approached him with a rendition of his WorldVision song, one that moved Motti enough to reconsider his choices. The much more organic beginning and climax brought a new life into the piece, one that would perhaps find better success on the international stage. Motti was tempted to see this as a potential redemption, but knew deep down that this would be a last hurrah no matter what the result came to be. The farseers had not been kindly as Estegoa100 announced him as its next World Hit Festival representative, and the broadcaster itself had made clear that it did not plan to dominate the scoreboard or any such thing. Despite this incredibly ambivalent environment, Estegoa100 still gave a high degree of creative freedom and resources for this rendition of "Alone", and Motti was grateful for that opportunity.

His breath fogged up the mirror. He'll give it one last shot. If it all repeats once again, then he'll just fade back into obscurity, live a simple life in the woods with his dog and his husband, inaccessible to all but his closest friends and family. If it all goes beyond expectations, well... there might be a wild future for him yet. And so we shall see.

A single point of ice blue light appears on the background screen before giving way to a soft golden glow that washes around the stage perimeter. A single soft, cool spotlight illuminates Motti sitting down at a piano on the projecting platform, wearing a simply cut black tunic and silvery pants. Looking down, breathing slowed, he begins to play the opening notes. The camera executes a slow pass by him as he plays, with the muted light in the background out of focus. The main melody of the song comes into being as he continues amidst the silent crowd. Behind him, an animation plays of lightning arcing through a dark thundercloud, with the golden glow around the stage flicking as if it were candlelight or a hearth. With utmost concentration, Motti continues to play, occasionally wincing as the emotions hit him - the memories of fear, doubt, and self-hatred coming back to him like a cursed sense of nostalgia. But he forges onward, blinking back the tears. Pacing himself despite his racing heart, he plays it all out upon the ivory keys that glow in the spotlight, growing more animated and intense alongside the melody. Beyond him, the background screen transitions to a time-lapse of storm clouds clearing to reveal a night sky, glimmering with millions of stars and galaxies, such that it almost seems like 3D. It's now clear that the spotlight mimics the light of the moon, shining down on Motti as he plays amidst the darkness of the audience, broken only by some glow bands and sticks that are being waved around to the music.

For those who just want to dance and sing along to lyrics, this has been awfully dreary. But for others, and for Motti, there is no rush. He has pushed himself far too hard in the past, given in to a wild vortex of success and expectations, and now he is taking his time to craft and perform something he is fully proud of, something he fully enjoys as a process. As his pace slows down and quiets, almost to a silence, Motti lifts his head up to face the camera view. With a wavering voice, he finally begins to sing. As he does so, his voice strengthens, even as he turns away from the camera view to gaze off into the distance

I make mistakes
I push them all away
And fear what's left to come, oh

So I stand apart
Stay unknown
Don't step out, to
Let me go

Once upon a time, his gaze was intense, desperate, darting around, searching for help. He was tensed up, with fists clenched, choking up as he flashed back to a dark time, when his will to continue was at his lowest. But now, he is at some semblance of peace, some appearance of serenity. A calm ocean, albeit with raging currents not too far below the surface. Motti once again makes eye contact with the camera view, a look of yearning and hope that has been absent thus far. As the next stanza ends, he turns away and gazes downwards in an introspective fashion, before catching the camera view once again

I don't know how
Just to say it right
Don't walk away
Just for tonight

I'm sinking
Too far in
Keep me from overthinking

You're here now, the only one

It almost seems as if the stars of the background screen have drifted onto the stage, as faint points of light begin to glimmer around Motti. He continues to sing and play at a serene pace, staring off into the distance before turning slightly acknowledge the audience near him, a melancholy look in his eyes. At this point, the first strings of the unseen orchestra begin to play

Freefalling
Yet stalling
I'm overwhelmed with feeling

Don't let me live to die alone
Live to die alone

He locks eyes with the camera view, his voice strong and clear, as he builds toward the climax of the song. A golden glow seeps in from the edges of the camera view, but beyond that, not much is visible

Don't let me live to die alone
Live to die alone

The camera view now takes in the entire stage, as the orchestra itself is now illuminated on center stage, the night sky animation now replaced by one of a brilliant sun, with golden lights sweeping over the stage with each drumbeat. Motti pours his soul into his performance, playing and singing with a previously unseen passion and energy, falling upon the keys and belting out the lyrics amidst the sweeping lights behind and around him

I'm so weak
I can't speak
I don't know if you see me

The lights fade to darkness, with the sun animation shrinking until it becomes a point of wavering light, a distant star in the vastness of space. Motti is back to being lit in a single ray of soft light, but this time, soft golden spotlights are highlighting a violinist, to whom the camera view soon pans and zooms toward as it heads away from Motti. Suddenly, a radiant flow suffuses the entire view, fading to reveal a dramatic view of the orchestra as it begins to play the melody, with a background screen shifting to show a view from the ground toward the sky, of multitudes of shooting stars falling against the red-orange glow of dawn, ringed by the dark silhouettes of trees waving in the breeze.

Just as the audience takes this all in, the music pauses, as if to breathe for a second, and returns with a storm of drumbeats with sparks firing up from along the stage edge. The orchestra resumes, now with white-gold pyrotechnics firing from the ceiling ahead of them, echoing the shooting stars on the background screen. The camera view sweeps across the many instrumentalists, with gratuitous shots of the drummer striking a massive drum.

But soon, the orchestral climax begins to fade, and now a more electronic element begins to enter. Thin beams of intense light begin to cut across the suffuse gold glow of the stage, which fades away as the thin beams multiply and strobe with the buildup. The camera view arcs back to Motti, who with his piano begin to rise up into the air amidst the darkness and strobing beams of light. He sings once more

Don't let me live to die alone
Live to die alone

Suddenly, he and his piano separate in midair, almost like a freeze frame. In time with the music, spotlights and strobe lights blitz through the air in cycles, leaving moments of peace where Motti, his bench, and the piano are seen in completely different positions and locations. There is also some clever camera cutting, capturing different angles amidst the visual chaos in between each "freeze frame" and moment of relative silence

Don't let me live to die alone
Live to die alone

Motti is reunited with the piano in midair, as him, the piano, and the bench slowly coalesce once more and sink back down to the stage floor, illuminated by soft spotlights amidst utter darkness. He continues playing, softly lit and back on the stage floor, until the song ends, the light slowly fading out.

After some moments of darkness, the lights fade back on, and all on stage take a bow. "Thank you Aronyk, thank you Britonisea," Motti mutters into the microphone. "Hüváá üötá." He then exits the stage.

by **Natanya** » Sun Aug 01, 2021 12:36 pm

XX
NATANYA
Great Tragedy ft. Juno Karyev - "Weathering With You"
Language(s): English
Tune: RADWIMPS (feat. Toko Miura) - Grand Escape
Additional Information
Lyrics: Juno Karyev
Music: Great Tragedy
Trigramme: NTY
Backing Dancers:
Backing Singers: A lot of them

Great Tragedy is a Natanyan band formed in 2009 after the members of the band met at college. From a commuter town on the outskirts of the Nightton metropolitan area, the band consists of 6 members, each of which usually take on more than one role in the band. Their name, “Great Tragedy”, is a deliberate oxymoron, which the band said they chose so that “no matter what your opinion of our music is, we’ll still have a fitting name. We’re either great, or we’re a tragedy”. Releasing multiple low-key EPs in their formative years, with a few member changes as they left college and the band then became a more serious endeavour, the band gained some commercial success with their 4th EP after it became their first release to surpass 10,000 copies sold. The band is now entering the cycle of their 3rd full length album when they got approached with the chance to represent Natanya at the 60th edition of World Hit Festival in Aronyk, Britonisea. After some deliberation, the band accepted the offer, and decided that they would make a new song from scratch to be their WHF entry, and that this song would go on the deluxe version of their yet to be named upcoming album.

In the creative periods of the song’s inception, the music came to the band easily, but they weren’t pleased with the vocals or lyrics, thinking that something often just sounded slightly off. Eventually the band agreed that they preferred the concept of the song having a female vocalist and set out on the search for one. Which is when they got in touch with singer Juno Karyev. Juno is an actress and session singer from a small northern town, whom thus far has only performed for soundtracks and as a backing singer, never before being the main vocalist on a major release. This fact caused Juno to be weary of accepting the bands offer at first, not being used to being in the spotlight alone, however she eventually came round and lent her vocals to the song, saying that the chance to represent her country at an international competition was too much of a lucrative change to miss out on. Juno also lent her writing skills to the song’s lyrics, editing the original draft slightly along with the band members in order to craft a song that she was not only singer, but was equally hers as well.

And so, eventually the band presented NTV with their song, titled “Weathering With You”. The song received the NTV stamp of approval and was officially released on their website a few days afterwards. A week later it was released commercially, and Juno and the band were jetting off to Britonisea in preparation for the performance. Once in Aronyk, Juno toured the city while the boys of the band practiced in the arena. The band and Juno split most interviews between them in order to give each other equal amounts of airtime and exposure. As the day of the contest approached, the band amped up their practising, promising that despite the song being a slow burner, the performance itself will indeed have quite the climax, with Juno joking that “if anyone falls asleep early on, the ending of the performance will surely wake them up!”

In the final hours before going on stage, Juno was composing herself for what was to be by far the biggest performance of her life this far. Before leaving their area backstage, everyone huddled together for a final prep talk. Promising each other to give it their best, they made their ways out onto the stage. There was no doubt a lot of, well, doubt in Juno’s mind, but now it was too late for that, with seconds until the song would begin, she looks back at the other band members, takes a deep breath and prepares herself. No going back now, it was her time to be centre stage, both figuratively, and literally.

As the song begins, the screens on the centre satellite above the main stage light up with fluttering stars, twinkling in time with the piano notes. The screens at the top-back of the stage also display stars, with blurred images of what seem to be purple and pink nebulas in the background. After getting lost in the stars for the 30 seconds of introductory instrumental, a single spotlight shines down to the centre of the far-back stage revealing Juno to be stood there, as she looks up to the camera and begins to sing. As the verses continue, the stars in the background gradually descend and fill up the entirety of the backing LEDs.

Thinking of the future, the things we’re yet to face,
Uncertainty fills my head up with poisoned thoughts.
Frightened to take even one more step forward,
Silenced, blinded, voiceless, my mind is fraught.

Water fills my vision as the rain starts to pour,
The icy wind blows, it takes my breath away,
Do you really think we can make it through this storm?
Can we make it to see another clear sky?

What will be will be, I guess that’ll have to do,
Better than thinking, thinking, thinking over everything again.
Did you say, did you tell me to remember something?

As the song builds, more spotlights appear either side of Juno initial spotlight, symmetrical pair-by-pair, eventually shining upon the entire back stage and revealing the band members, who are position across the stage. These spotlights gently flash and move slowly forwards at different angles and rates as the song moves onto the refrain of “I’ll go”. During this section Juno slowly starts to walk down the steps towards the centre stage, which an overhead camera displays to also be an swirling, living LED of stars and nebulas, pulsating and bursting along with different aspects of the music.

You call out to me, your voice echoes all throughout my heart,
Soothing the doubts and unease, I trust in you and me, I trust in us.

Opening my eyes and mouth and soul, I call back through the fog for you,
And a reply to follow the sounds rebounds to me and so,

I’ll go

I’ll go

I’ll go

The stage gradually darkens again, with most of the spotlights dispersing for the second part of the song. The fall of the stage gradually fills up with artificial fog while the mostly black LEDs have a slight ice effect on their borders to emulate the description in the lyrics. Some lights up on the roof of the arena still lit and twinkled as if they were stars throughout this section of the song. Further throughout this section as the song started to build again, some colour returned to the backing LED through the ice effect on it.

The cold outside pierces my skin and chills my bones,
The cold outside burns my lungs with every breath,
But I knew this wasn’t going to be a painless journey,
And for that now I am prepared.

My hands are shaking slightly from the chill,
Maybe it’s some last hesitation in my soul.

I’ve got to shake it off my mind somehow,
And so, I closed my eyes and ran, and I shout.

You call out to me, your voice echoes all throughout my heart,
Light the way forwards if there is one, I trust in you and me, I trust in us.

Opening my eyes and mouth and soul, I call back through the fog for you,
And a reply to follow the sounds rebounds to me and so,

As the song quiets for a split-second Juno breathes into the microphone and closes her eyes as the camera focuses on just her. Into the second repeatedly refrain the camera pans outwards and the fog is quickly all dispersed from around Juno and the earlier spotlights return. The backing LED thaws and become covered in dark clouds, and the satellite screens follow suit.

I’ll go
(Just follow the sound of my voice, just follow the sound of my heart)
I’ll go
(Just follow the sound of my voice)

I’ll go
(Just follow the sound of my voice, just follow the sound of my heart)
I’ll go
(Just follow the sound of my voice)

As the song reaches the climax of its build, Juno pushes back at the camera and the camera continues going backwards to reveal two rows of backing singers in a choir, who all join in the climax of the song. The camera pans to show that the choir are lined along the catwalk platform and the platform in front of the green room, all the choir members are also clapping in tune to the song. From the beginning of this section there is also spotlights shining from the bottom of the back of the stage behind the band through Juno and the choir members creating a blinding effect from the initial camera angle. As the climax continues and the song’s instrumental introduces the big crashing percussion, the clouds on the background LED emulate discretion visually with strikes and statics of lightning flashing within the clouds, with the camera also suddenly changing angle in time with the lightning. As the lightning and angle switching reaches its peak, the camera suddenly cuts back to Juno, who passionately delivers the final line of the song. After she does, artificial rain falls down on the stages and Juno and her choirs break formation and all dance in this rain, simultaneously, the clouds part on the backing LEDs to now flash through the colourful nebulas in full view while the spotlights dance throughout the crowd.

Let the rain come rust our skin and bone,
As long as I’m with you I still feel whole,
The freezing wind can cut my lungs,
But it’ll still feel like I’m now breathing the freshest air.

Let the storm rage,
I’m not hiding inside anymore,
I don’t care about where the future will take us anymore,
Through thick and thin,
In any condition,
I’d rather be….
Weathering with you!

The song finishes with a shoot of spark pyrotechnics around the corners of the stage, before returning to a final shot of Juno, smiling at the camera. She starts to giggle and thanks the audience, as in the distance behind her the band members also bow and shout their thanks. The band, Juno and their many, many backing singers make their way off the stage.

Draft Thread of the 60th World Hit Festival [Closed]

Draft Thread of the 60th World Hit Festival [Closed]

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