BVC | 60th World Hit Festival | Aronyk, Britonisea [IC]

by **Britonisea** » Mon Aug 02, 2021 8:18 am

11
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 performance.

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

Anders and Priya walk back onto the stage, with their arms linked around one another. They both stood on a side stage with the stage personnel appearing behind them on the main stage.

Anders Duran: Thank you to Northern Beepee for that journey to Aronyk! What a wonderful song!

Priya Thompson: Up next is Carrelie!

Anders Duran: AKARi will be singing the song, "Hermes" - a song written by Déâne Oúdèlle and AKARi themselves.

Priya Thompson: Let's take a look at their postcard...

Priya winked at the camera as we moved into the postcard for Northern Beepee...

by **Britonisea** » Mon Aug 02, 2021 8:18 am

by **Britonisea** » Mon Aug 02, 2021 8:19 am

12
Carrelie
AKARi - Hermes
Language(s): English
Tune: yozaquar feat.むた - Brightness
Additional Information
Lyrics: AKARi
Music: AKARi, Déâne Oúdèlle
Trigramme: CLE

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!"

At the end of Carrelie's performance, the audience went mad as the hosts came back onto the stage once again - they were clapping and had a wide smile on their faces.

Anders Duran: Yay, what a brilliant performance AKARi! That's for gracing the stage with your talent!

Priya Thompson: Marvellous, I must say! Good luck to the Carrelie delegation. Up next is the home nation!

There was huge applause in the audience as this was mentioned, it was time for Britonisea's time on the stage.

Anders Duran: Yes, it's time for Britonisea to perform. Dupontii will represent the country with their song, "You Took All I Have" - will they take all your points?

Priya Thompson: Let's take a look at what they got up to in Aronyk...

There was a loud cheer as we went to the Britonish postcard.

by **Britonisea** » Mon Aug 02, 2021 8:20 am

by **Britonisea** » Mon Aug 02, 2021 8:21 am

13
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 Singers: Zoey Stratis, Zoe Wilkinson

World Hit Festival 60: Aronyk-based duo, Dupontii will represent Britonisea in their hometown at the 60th World Hit Festival with their song, "You Took All I Have"

Britonisea returns to the World Hit Festival for the nation's 40th entry at the Festival. There is a lot of excitement as Aronyk hosts Britonisea's 8th World Hit Festival in the legendary Arena Aronyk...

BVC ORIGINAL POST;

As Britonisea nears 40 entries at the World Hit Festival, the nation has the pleasure of hosting the festival for the eighth time. It was decided that Aronyk would be hosting the competition as they were a booming city that had been overshadowed by the likes of Quickenden and Junterapten - with both of these cities being relatively close to Aronyk. As more and more people choose Aronyk, along with the recent matches at the Arena Aronyk, the Britonish Government are hoping to make Aronyk a choice for people who want to move cities as Britonish cities start to be pushed to their limits in terms of housing. As Josh Morris is from the Britonish southern coast, despite the many bids from all over the country, they wanted to host the competition on the south coast - Aronyk was a perfect choice. Today marks the last day Arena Aronyk will be used for an IBACL match, with the builders moving in tonight straight after the match to construct the stage. Britons have hosted no less than 12 international song competitions (WorldVision and World Hit Festival) - one of the most of any nation in the multiverse and so not much time will be needed to build the stage up, with Britons expecting to have it erected by the 25th of July along with the tent, with rehearsals starting after the Bank Holiday on the 26th and 27th of July. Delegations will start to arrive after the 1st of August as they no longer need to quarantine.

For the Britonish team, they decided to look local for the 60th World Hit Festival. Instead of focusing on finding an act from all over the country, they decided to give those from Aronyk a chance to show themselves. Dupontii was an act that stood out to them as it would take Britonisea down a route that it hasn't gone down before - sending an indie-pop song probably most similar to ELIANA's "Tongue-Tied". Britonish Officials showed international executives the song in the earlier stages of the process and were pleased with the opinions of the track. With Britonisea having the freedom to do whatever at this home competition, now would be the time to try something different and see where it lands us. Dupontii consists of Aria and Aled, with Aled being the one who made the track, Aria making the lyrics and singing along to it. Both will be present on the stage.

Over 20,000 fans were jam-packed in the arena and were all waiting for the Britonish performance to start. They were performing after the Carrelians, who had the honour of performing right before the hosts of the competition. A lot of people were cheering at the end of the entry from Carrelie and straight into the Britonish postcard. The Britonish postcard took place in Aronyk for the whole duration of it - touring the city's many buildings yet to be built. They remembered the memories from that rather hectic filming of the postcard as they stepped onto the stage. For this World Hit Festival, the BVC delegation was quite chill with what went on in regards to the staging. Dupontii were joined on the stage with other members of the band (that aren't pictured, their friends), with Aria wearing a large ball gown yellow dress which was encrusted with diamonds, obviously nodding to the hosting of the 60th World Hit Festival. Aled was wearing a brown suit, colours which were matched by the other members of the band. On the stage, Aria was standing centre downstage while the Aled stood next to her with a guitar on hand. The other members of the band were standing behind their instruments on different platforms. The platforms had LEDs on them and would be especially useful later on in the performance. The music began with the voice of Aria was heard along with the backing singers, Zoey and Zoe.

(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

As Aria was singing, it seemed as though she was almost whispering the words that she was saying. She was so ever close to the microphone, giving her audience a real aural experience. Her gaze was fixed on the camera (3) that was slowly beckoning towards her. She had a curious expression on her face which had only increased as she moved on to the next part of the song.

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...

Using camera six, the crane cameras moved out from Dupontii, showing the right side of the stage to the audience with all of them standing on different platforms. Aria raised her hands in the air and started to sway, with her large dress following the motion of her body a second after her. There were some camera cuts to the other members of the group as they did their "ooo" and "aaah" sounds to their microphone, with the camera cuts happening to the snaps of the fingers that you could hear on the sound track.

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)

As she sang "No, I won't forget" along with the women in the group, the stage turned darker with Aria taking the microphone off of the stand that it was on. With her huge dress, she walked a couple of steps down the catwalk with a steadicam following her, going backwards. She started to sing the next part like she was telling a tale. The steadicam slightly positioned Aria to the side as she turned around to face the main stage. You could see what she was singing about being played out on the LEDs on the stage.

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 could see the shadows prancing and dancing around the stage which made for good viewing. As the music got a tad more dramatic, Aria started to make her way back to the main stage, with the lights slightly flickering - though definitely not as intense as Josh Morris' "Mine" performance last edition; this was just a tiny bit as we reached the climax of the performance. She belted out a large note with the spider camera moving away from the stage and the stage turned into a cityscape, with each of the podiums representing a building. The cityscape was very typical New-York style...

(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)

As we reached the bridge of the song, the lights went dark for this section. There was then a spotlight on each member of the band and their respective podium that they were standing on. As the camera and lights turned on them, you could see their building light up amongst the darkness. The Britonish audience cheered everytime someone new appeared, with each of them pulling a face or doing an action which was rather suggestive - obviously owing to the theme of the song.

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)

At the end of the song, Aria raised her hands in the air before Aled ran towards her and gave her a huge hug. The pair of them brought out a Britonish flag that they had stored God knows where before shouting "Remercio Teis everyone! Thank you!". They all then ran off...

As the audience started cheering, the hosts appeared on the stage once again, clapping.

Anders Duran: Yes, fantastic performance from Britonisea! Congratulations to us and good luck to Dupontii!

Priya Thompson: Absolutely, wasn't that just fantastic? I loved every moment of that. Right, it's time for more music!

Anders Duran: Yes, it's song number 14 from Natanya. The artists are Great Tragedy ft. Juno Karyev...

Priya Thomspon: Now for their postcard, they're having a little trip around one of the pretty gardens in Aronyk. Let's have a look!

As Priya said this, the camera focused on the Natanyans getting ready backstage before we moved to the postcard for Natanya...

by **Britonisea** » Mon Aug 02, 2021 8:22 am

by **Britonisea** » Mon Aug 02, 2021 8:25 am

14
Natanya
Great Tragedy ft. Juno Karyev - "Weathering With You"
Language(s): English
Tune: RADWIMPS (feat. Toko Miura) - Grand Escape
Additional Information
Trigramme: NTY

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.

by **Britonisea** » Mon Aug 02, 2021 8:28 am

by **Britonisea** » Mon Aug 02, 2021 8:30 am

Postcard - coming 4th August 2021

by **Britonisea** » Mon Aug 02, 2021 8:30 am

15
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 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.

At the end of this performance, the hosts came back onto the stage, ready to announce the next act.

Anders Duran: Thank you to the wonderful Fromulya! They won the World Hit Festival like six editions ago now...

Priya Thompson: Will they win again? We'll have to find out, won't we?

Anders Duran: We will! Up next, however, is song sixteen. It's Adab! Nergalsarusur Kas will be singing "The Cross" next on the stage.

Priya Thompson: What is he cross about?

Anders Duran: Is he speaking about a road crossing?

Priya Thompson: I guess we will find out right now!

Priya pointed towards the camera as it zoomed out and we saw Nergalsarusur getting ready on the stage. We then went to the postcard of Adab...

by **Britonisea** » Mon Aug 02, 2021 8:31 am

by **Britonisea** » Mon Aug 02, 2021 8:33 am

16
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.

As Nergalsarusur Kas finished his song, the hosts of the show appeared once again with bright smiles on their faces, ready to announce the next act.

Anders Duran: That was quite a funky song there from Adab - well done to Nergalsarusur Kas and his song, "The Cross"

Priya Thompson: And well done to the in-house dancers too! I love seeing them!

Anders Duran: Next up is "Enough Is Enough" from Beepee!

Priya Thompson: Have they had enough of the World Hit Festival?

Anders Duran: Well, considering that they are about to host the 9th Junior World Hit Festival - I wouldn't say so, no!

We then went into the postcard for Beepee...

by **Britonisea** » Mon Aug 02, 2021 8:36 am

by **Britonisea** » Mon Aug 02, 2021 8:37 am

17
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 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.

The hosts came back onto the stage looking back towards the audience, wondering who it was who yells something to Moira.

Priya Thompson: Now, we all know that Moira is undeniably attractive but calm yourselves down - you'll send yourselves to the A&E!

Anders Duran: Literally! Right, not long to go until the final performance. We now have song 18 by Kalosia. Representing their country is Meliora Napoleti. Let's see how they do!

We then went to the postcard of Kalosia.

by **Britonisea** » Mon Aug 02, 2021 8:40 am

by **Britonisea** » Mon Aug 02, 2021 8:41 am

18
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

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.

The hosts reappeared onto the stage, we were flying through the final sections of the song - it's already song 19 of 21!

Anders Duran: That was some impressive vocals, Meliora! Well done and we wish you luck for the voting stage.

Priya Thompson: They were fantastic! On to song 19 - it's the final ABEN nation participating tonight - it's Estogium.

Anders Duran: How exciting, Asher Rozen will be representing Estogium with "Do You Want Me Too?"

Priya Thompson: And after this performance, you sure will! Take a look!

We then saw a glimpse of Asher Rozen and his delegation getting ready before we went to the postcard...

by **Britonisea** » Mon Aug 02, 2021 8:41 am

by **Britonisea** » Mon Aug 02, 2021 8:42 am

19
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: Phillip Kurin-Tomlinson
Backing Singers: Kai Lane, Matthew Anderson, Teo Langley, Jordan Younes-Smith

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...

For the performance in Aronyk, Asher Rozen wanted to create a good performance on the stage. Asher knew what it took to make a memorable stage show and the man was willing to do all that it took to make sure his entry was at least memorable - even if it didn't do very well in the end but that wasn't his intention. He was wearing a black outfit, which was slightly see-through showing off the body that he had worked hard to achieve especially for the World Hit Festival. He knew that appearance was an important part of the show. Asher Rozen would be joined on the stage by four other men who would flank Asher on each side and dance alongside him. He was ready for the stage show. As the music came in, the camera was out of focus, slowly panning from the rigs at the top of the stage, before focusing on Asher's handsome face, with his pearly whites being shown and on display for everyone to swoon over.

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

As Asher sings, "Got me where you want me," he slowly moves back as two of the dancers, Kai Lane and Matthew Anderson, appear within the shot, with the three of them dancing in front of a pretty dark background. The audience were being encouraged to focus on the men on the stage for now, with everything coming into plan later on in the performance. Before we moved onto the next part of the song, Asher jumped and disappeared with the other men holding a large rectangular (16:9) board which was a green screen. For the audience at home, they could see Asher dancing with the two other dancers, Teo Langley and Jordan Younes-Smith. With the three of them dancing in a pre-recorded that was added into the performance.

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)

There was a part when the camera tilted to the side into darkness, with Asher bringing the camera back to them which is the point we went back to the performance being live. The three of them were now joined by the first two dancers so that now five of them were on the stage all dancing together for the chorus of the song. The staging behind them exploded into grey and red lines which went in and out of each other. Asher cheekily winked at the camera as he sang the words, "Do you want me too?" with his hands slipping down his chest to his hips and beyond with the camera following his hands as they went down - stopping at they got to his waist in favour for camera 14 - a much more family-friendly angle.

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?

As we went into a calmer section of the song, Asher turned around to face his back towards the audience. The five boys stood in a line with one another with the lights in front of them acting as though they were paparazzi (similar to Sweden 2017) - which is another thing ABEN performances seem to like having in their song. The five guys were all then doing poses in every section with Asher following suit too before coming closer to the camera as he sang, "I need you, I want you", with the camera getting lower as the tall figure came closer and closer towards it"...

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)

A cheeky little crotch should never hurt anyone as Asher Rozen stood adjacent to the camera before turning around, only to be caught by camera 3 zooming in on him very quickly. The boys all dived out of the way, making a ripple effect, which only added to the ripple effect and added depth to it. Asher goes in for one last chorus...

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?

Pyrotechnics shot into the air for the final chorus of the song as Asher starts ad-libbing, with Phillip Kurin-Tomlinson provided a lot of the vocals in the background here, giving Asher the chance to become a little showman on the stage. A lot of dancing happened here, with a couple of the dancers also doing tricks on the side. Asher's movements were fluid and flirtatious, with the powerful red and grey background pulsating throughout the arena, captured on shot 14 which zoomed from one side of the arena to the next at record speed.

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?

For the final part of the last chorus, Asher Rozen started walking down the main catwalk with the boys following him in a line, with camera 4 following him and the boys as they walked down. The audience shrieked in excitement as the boys goaded them by unbuttoning their shirts and showing their chests and whatnot. Asher lowered himself for the final shot as the boys crowded around him and they all winked/put their hands through their hair etc. At the end of the song, there was one more huge bang of pyros before the audience came in with giant applause. "Thank you guys so much! AAAAAH!" he said into the microphone!

Asher Rozen's performance left a lot of people happy in the arena with the Estogian contingent in the arena making a lot of noise. The hosts came back on the stage with them both fanning themselves...

Priya Thompson: Gosh! That was a hot performance, wasn't it?

Anders Duran: It certainly was, it even had me going - sorry to my wife and kids at home!

Priya Thompson: Wow! Thank you to Estogium! Only two more performances are left - it's time for song number 20!

Anders Duran: It's Axuva and the band APERIX. Should we have a look at what they got up to in their postcard?

We then went to the postcard of Axuva, the penultimate act of the show...

by **Britonisea** » Mon Aug 02, 2021 8:43 am

Coming soon - 7th August 2021

by **Britonisea** » Mon Aug 02, 2021 8:44 am

20
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: APERIX
Trigramme: AXU

]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 **Britonisea** » Mon Aug 02, 2021 8:45 am

by **Britonisea** » Mon Aug 02, 2021 8:47 am

21
Pemecutan
Mang Ayu - "Hempaskan"
Language(s): Bahasa (Indonesian)
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.

At the end of the performance, instead of the hosts appearing on the stage, the official ident of the competition was shown, as all 21 performances had gone by. It was now time for the recap!

by **Britonisea** » Mon Aug 02, 2021 1:39 pm

Lines have opened!

OFFICIAL RECAP

INTERVAL ACT
JOSH MORRIS - WITHOUT YOU
Tune: Irama - Melodia Proibita
Lyrics: Josh Morris • Music: Jayden Christopher, William Cross

Lines have closed!

INTERVAL ACT
PRIYA THOMPSON & ANDERS DURAN - STREETS WE LIVE IN TODAY
Tune: Grand Corps Malade & Louane - Derrière le brouillard
Lyrics: Priya Thompson, Anders Duran • Music: Tyson Gaye, Rory Samuels-Baker

by **Britonisea** » Sat Aug 07, 2021 1:17 pm

The hosts came back on the screen after all of the events and announced the starting of the voting procedure...

Priya Thompson: Those were some fantastic interval acts, I am so ready to get to the voting!

Anders Duran: Me too, but first! Let's go to the Overseer and the Overseer Elect to make sure that all the results are fine.

The camera then panned around to see the current overseer, Guy Autriche, and overseer-elect, Christine Périault from Normandy and Picardy who will take over.

Priya Thompson: Hello there Mr Autriche! Could you please let me know if the results of the 60th World Hit Festival are ready for us.

Guy Autriche: Hello there! Yes, I can tell you that the results that we have are all finalised and I am sending them over to you!

The lights in the arena faded away dramatically along with some music. Guy Atriche continued to speak.

Guy Autriche: Can I just say it's been a fantastic few editions being the Overseer of the competition and I look forward to seeing what the new Overseer, Christine Périault can do with this brilliant festival!

The camera was focused on Christine for a bit as she waved to the camera. While Guy Autriche will be present next edition, Christine will still to take things over.

Priya Thompson: Aw that's lovely! Thank you Guy!

There was huge applause in the arena before we went to the main votes...

Anders Duran: What's going to happen is we are going to announce everyones 5 points before going in order of lowest to highest, giving out the 4-1 points.

Priya Thompson: Are you ready? Let's go!

BVC | 60th World Hit Festival | Aronyk, Britonisea [IC]

11 | Nothern Beepee | The Postcard

11 | Nothern Beepee | Ivana Tucker - Journey to Aronyk

12 | Carrelie | The Postcard

12 | Carrelie | AKARi - Hermes

13 | Britonisea | The Postcard

13 | Britonisea | Dupontii - You Took All I Have

14 | Natanya | The Postcard

14 | Natanya | Great Tragedy ft. Juno Karyev

Break

15 | Fromulya | The Postcard

15 | Fromulya | Nur Syamsiah Effendy - Matahari

16 | Adab | The Postcard

16 | Adab | Nergalsarusur Kas - The Cross

17 | Beepee | The Postcard

17 | Beepee | Moira Rose - Enough Is Enough

18 | Kalosia | The Postcard

18 | Kalosia | Meliora Napoleti - Finu al ťelu n'es blu

19 | Estogium | Postcard

19 | Estogium | Asher Rozen - Do You Want Me Too?

20 | Axuva | The Postcard

20 | Axuva | APERIX - 사랑 노래

21 | Pemecutan | The Postcard

21 | Pemecutan | Mang Ayu - Hempaskan

Getting Ready

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