World Hit Festival 63 | Eritús, Scotatrova | Draft Thread

by **Scotatrova** » Sun Feb 06, 2022 5:00 pm

Host Information

OOC Thread||IC Thread||Previous Contest||Discord Server

Schedule for World Hit Festival 63
(Subject to Change)

Closure of Draft Thread: 20th February 23:59 GMT (with the Live Draw following soon after, subject to change based on numbers)
+ 24 hour grace period
Voting Open: 22nd February 23:59 GMT or earlier
Voting Closed: 27th February 23:59 GMT
Winner Known by: 6th March

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

Helping Your Host: I will use a uniform formatting for everybody's entry just like it has been done in previous edition. I would appreciate if you could keep your formatting of your entry very simple (just text and the 'BOX' tag would be fantastic, no need for colours, bold, italics and underlining - unless they are keys or backing singers etc).You can align everything to the center if you want to keep in neat, but I would be very appreciate if you keep it in a minimalist way.

PLEASE LEAVE TRANSLATIONS AT THE END OF YOUR POST UNDER A SINGLE SPOILER. Not doing so incredibly slows down the process of making all entries uniform. It really does.

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

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

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

OFFICIAL HEADER...

Code: Select all: [align=center][blocktext][box][size=250][b]XX[/b][/size] [size=200][color=#4863a0][b]NATION_NAME[/b][/color] [color=#2e8b57][b]ARTIST_NAME - "SONG_TITLE"[/b][/color][/size] [b]Language(s):[/b] LANGUAGE_HERE [b]Title Transcription:[/b] TRANSCRIPTION_HERE [b]Title Translation:[/b] TITLE_IN_ENGLISH_HERE [b]Tune:[/b] [url=YOUTUBE_LINK]RL_ARTIST - RL_TUNE[/url][hr][/hr][color=#e14d1e][b][u]Additional Information[/u][/b][/color] [b]Lyrics:[/b] LYRICISTS_HERE [b]Music:[/b] MUSICIANS_HERE [b]Trigramme:[/b] YOUR_3_LETTER_TRIGRAMME_HERE[/box][/blocktext][/align]

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

FINAL NOTES

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

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

by **Malta Comino Gozo** » Sun Feb 06, 2022 5:05 pm

XX
Malta Comino Gozo
Angla - "Love or Lust"
Language(s): English
Tune: Grace Davies - Just A Girl
Additional Information
Lyrics: Angla & Cika Mizzi
Music: Cika Mizzi
Trigramme: MCG

MCG1 was meant to compete in WHF 60 back in Aronyk, Britonisea but sadly withdrew. Malta Comino Gozo would eventually return in WHF 63 citing funding had been directed mostly at the Worldvision Song Contest and due to them hosting Worldvision 96. MCG had mixed results in WHF ranging from second to second last but this did little to shake the audience figures, which remained high despite MCG withdrawing from the competition. Having won the previous Worldvision, WHF was back on MCG1's cards and interest in winning it was at an all-time high. Their previous five acts had landed them in the top ten. MCG 1 would select their entrant internally as was the norm.

From local festivals to being part of a girl band to media related projects to hit the top radio charts following prestigious nominations, Angla Pace is no stranger to the music scene, being described as a ‘producer’s dream’. The young driven, hard-working and charismatic 32-year-old singer/songwriter/performer and recording artist was born on the 12th March 1990 hailing from Comino. Angla always had an ultimate passion for music and had always been evident from a relatively young age carrying her natural presence and self-confident abilities through each of her stage performances. She differs from the other acts in the local music industry by bringing about a certain aura, a professional one that incorporates stamina, excitement, attitude and pure energy.

Love or Lust is an energised defiant anthem of empowerment packed with sarcastic lyrics and a girl power attitude. Co-written by Cika Mizi the MCG entrant to WV#92, this amazing anthem is going to leave you stuck on repeat for a long time! The chorus will hook you on! You will fall in love immediately with Angla’s vocals. Angla’s catchy and powerful voice is amazing and her professional performance is incredible. The energy of this track is good and so enjoyable and the message behind the lyrics is great. The melodies are wonderful and the production work is good and polished. “I’d come up with bits of the song at home, pitched it to MCG1 and was blown away by their support,” says Angla. “They loved the sentiment as much as me. That session is a special memory; that two men helped me make such a female-empowering song is so cool.”

The modern Eritús around the historic centre is hotels, homes and long roads of grey tarmac much as any other urban conurbation. Angla thanked her driver and took her bag into her 5-star hotel that was so large that the airplane that brought her could have been hidden within. The old city itself, was a beautiful and charming Mediterranean city of stone and whitewashed walls. And it was indeed surrounded by the system of trenches and bridges which prevented the old town from expanding so each building was packed tightly together making the streets narrow and overshadowed. Because of this, there were street lamps scattered in the streets making vehicle travel impossible. However, in the middle of this beautiful town, the hotel lay. The building was metal and glass and the architecture seemed out of place. It stood out like a sore thumb and the group had a sneaking suspicion the locals felt the same way.

The stage was now ready. Angla had just enough time for one more deep breath and a hug from her team before she was whisked away to the stage. She knew she had a very important task to do now, and she knew she could do it. Angla arrived at her spot at the centre of the stage, as the postcard came to an end, her heart pounded and she calmed herself.

She stood with a confident diva pose, her hand on her hip centre stage before the long walkway. Her beautiful figure silhouetted against the stunning rising sun rising on the background behind her, bathing the stage in deep orange and warm golden colour. As the music begins, the stage lights shine bright warm white light down onto the stage around Angla. A loud "Ohh" rings out from the 3 women backing singers off stage. Their clear voices resonated throughout the arena.

The camera zooms in quickly towards Angla while the backing singers sing as the drum kicks in. Angla would be wearing the same outfit as her Album cover. A light veil of golden fabric caressed her upper body and flowed down just past her hips. Her hair was mercury-brown and it tumbled over her shoulders. She had a sculpted figure which was twine-thin. Her waist was tapered and she had a burnished complexion. A pair of arched eyebrows looked down on sweeping eyelashes. Her delicate ears framed a button nose. A set of dazzling, angel-white teeth gleamed as she blew gently on her carmine-red fingernails. Her enticing, green eyes gazed at the camera over her puffy, heart-shaped lips. The excited cheers from the crowd in the beautiful Eritus Exhibition Center fade as Angla begins to sing. The background changes into a bright blue sky scattered with clouds as Angla waves a hand and drums her fingers in the air just above her head representing a dreamscape. Her voice is angelic. As she sings "Both of lust and of love" she dramatically turns to the camera on her left for "Lust" before it cuts and she turns again to her right for "Love." Her delicate fingertips trickle down her face gently as she looks at the camera head-on, a pleading expression on her face as she sings "Take the pain away, please". This time her voice is somewhat alluring almost asking the viewers for some help. As the first verse ends we can hear a rushing noise building up to the chorus. The lights accompany this by decreasing in strength before leaving Angla in the dark.

I am here in your dreamscape
I have come to seal your fate
You are yearning for my touch
Both of lust and of love
Take the pain away, please
This is fate and fortune
Ascending on the astral plane
To heaven, hell and back again

The camera pans across the front of the centre stage as the lights burst forth illuminating the entire arena in a mix of sunset reds and oranges as the chorus explodes into life. Angla is supported splendidly by her backing singers, all their voices resonating magnificently around the arena. A wind machine blows her mercury brown hair behind her. As she sings the first "Is it love or lust? the camera cuts to a body shot of her singing like this her hands outstretched towards the camera before panning out from her left side for the next line, she grips the mic tightly in her right. It is a synergy of several elements – exquisite pitch, perfect harmonies, precise timing and rhythm, a mix of innovation and familiarity that both surprises and delights. The camera pans from left to right on stage in front of her and she outstretches her left hand out towards the camera. The lights flash brightly again around the arena as she sings "Heartbroken, confused" as we have a frontal stage shot showing off the impressive colours. Angla carries on singing with passion supported by her backing singers.

It's love or it's lust,
We just need to be clear
Cause
Is it love or lust?
Is it love or lust?
Heartbroken, confused
I just can't decide if,
It's love or lust
It's love or lust!

Angla has an expression of sad confusion on her face. She waggles her left finger at the camera in an almost sassy fashion. She was holding her eyes in such a way that kept the tears inside the lids. Her eyes sone bright as she asked the question again "Is it love or lust?" followed by a shoulder shrug. The lights dramatically fade as the camera pans back leaving us again with a silhouette against a bright sunset coloured screen. Angla lowers her microphone down to her side so we are left with a shadowy outline of her standing with a triumphant pose her head tilted over her left shoulder.

If you're in love,
Then I shouldn't be here
Said you'd keep your cool, we could take it slow
It's love or it's lust,
We just need to be clear
Cause
Is it love or lust?
Is it love or lust?

The lights turn into a dull white and the lights around the arena turn off. The LED screen changes to a solid baby pink background to signify love nd romance. We have an onstage camera shot that backs out as Angla, having been in one place for the first part of the song begins to walks out slightly a few steps at a time towards the start of the magnificent catwalk. She looks deeply into the camera. The wind machine continues to ruffle her hair and clothes. We then have an epic shot looking upwards of her singing passionately from the seats at the very front of the stage looking upwards. On either side of the view, we can see excited fans, arms raised and a quick glance of a Malta Comino Gozo flag being waved by an avid fan. Her smooth brow puckered in a frown as she questioned why her lover had let her down. She walks towards the microphone stand at the edge of the stage at the edge of the catwalk and gently puts her microphone in. As the verse ends we can hear a rushing noise building up to the chorus. The lights accompany this by decreasing in strength before leaving Angla completely in the dark.

Well you had your chance
For love and romance
But you let it pass you by
Time and time again
One morning does it all add up?
Or am I just standing on the edge of crazy?
You're getting close to giving up
The everglades of my love

We have a brilliant central shot of the stage and Angla as she spreads her arms out wide as the LED's burst out in an explosion of red and yellow hues like flames again, behind her. The wind gently rushed through her hair. Angla showed renewed confidence, impatience and dominance as she stood there chin up, chest out, nodding and shoulders back. The backings can be heard again. Her smooth, silky vocals took people's breath away.

It's love or it's lust,
We just need to be clear
Cause
Is it love or lust?
Is it love or lust?
Heartbroken, confused
I just can't decide if,
It's love or lust
It's love or lust
It's love or lust
It's love or lust

Angla has an expression of sad confusion on her face again and she waggles her left finger aggressively at the camera in an almost sassy fashion. Her eyes sone bright as she asked the question again "Is it love or lust?" followed by a shoulder shrug. The words Love and Lust appears on either side of her on the LED behind her and fade away as she sings those words. The lights dramatically fade as the camera pans back leaving us again with a silhouette against a bright sunset coloured screen. Angla lowers her microphone down to her side so we are left with a shadowy outline of her standing with a triumphant pose her head tilted over her left shoulder.

If you're in love,
Then I shouldn't be here
Said you'd keep your cool, we could take it slow
It's love or it's lust,
We just need to be clear
Cause
Is it love or lust?
Is it love or lust?

Now centre catwalk, the catwalk illuminates in a fantastic warm white and the lights above it glow red while, the rest of the hall goes dark. The backing singers sing Oh-Oh-Oh-Oh-Oh with power. With the camera now turning left to be parallel to her just above the audience we can now see what is on the catwalk. Lined up left to right all the way along spectacularly is a 30 strong mixed marching band standing there beating their drums in unison, their rhythm impeccable and simultaneous. Each drummer is dressed in red from head to toe. The backing vocals and the sound of powerful drums echo out into the hall.

Mhmm
Oh ohhhh
Oh-Oh-Oh-Oh-Oh

The lights start to strobe to the beat adding an amazing atmosphere. Each drummer has access to their partner's drum next to them as they beat their own drum as well as their partners in a spectacular display. They stand there no mention and motionless like infantry apart from the beating of the drums. This is accompanied by Angla's fantastic backing singers. The camera focuses on them before cutting back to Angla as she sings "You always said I could trust you, Now I feel that something's wrong ". The entire stadium strobes with light. We cut back to the drummers again, cheers can be heard faintly. The atmosphere builds, like electricity. Even the audience watching it from a TV perspective were still feeling the atmosphere, vibe, tension that rose to an epic crescendo with the arrival of the drummers.

You always said I could trust you
Now I feel that something's wrong
Oh-Oh-Oh-Oh-Oh..
I thought we had a bond so strong
I can't deny you satisfy

We have a camera shot from the back as the arena falls almost silent as dazzling bright lights shine out from above the stage into the audience and the stage turns white like cotton. Angla stands there clasping her microphone in two hands, she stands there like a warrior defiant. The camera then fades to a body shot of Angla as she sings "Is it love or lust?" The drummer's beat kicks back in as the backing singers sing "heartbroken, confused" and Angla holds her note. She nails the note perfectly in pitch as the stage turns into a firey colour and a fire curtain rains down behind her. Her voice rose high, following the sweet, piping notes of a musician's flute. A soft silence fell over the audience; they were enthralled by the intoxicating melody produced by such a slender throat. The music swelled. The crescendo of tones hit her, causing a cascade of memories and regret. At that moment, a single tone began to emerge from the beat that seemed a voice of some kind. The melody told her everything she had gone through, everything she had experienced, was worth the price she had paid in the relationship.

I want more
Let's try
We just need to be clear
Cause
Is it love or lust?
Is it love or lust?
Heartbroken, confused
I just can't decide if,
It's love or lust
It's love or lust

The fire curtain continues. As we have a spectacular view of the dark arena from the back and we can see the spotlights zooming around the audience this then cuts to a boom camera that swings from left to right above the audience before we cut to a full stage shot showing Angla singing and gesturing along to the words. Her face is frustrated as she feels the words of her song. The LED's shining orange and white, warming up the stage in its glow. The camera cuts back to Angla as she sings the last line and the backing singers vocals fade away and the stage turns black.

If you're in love,
Then I shouldn't be here
Said you'd keep your cool, we could take it slow
It's love or it's lust,
We just need to be clear
Cause
Is it love or lust?
Is it love or lust?

The stage lines turn back on as the Malta Comino Gozo entry comes to an end. Angla stands there, soaking in the applause, the emotion, the happiness, a huge smile creeps up on her face and her eyes fill look tear-filled. "Grazzi Eritús!" She exclaims inciting even more cheers. She had pulled off a once in a lifetime performance. She walked off stage happy and fulfilled. Lets hope this translates to votes she thought.

by **Aenglide** » Sun Feb 06, 2022 5:54 pm

XX
Aenglide
Kinokjð - "Valkið Véjen"
Language(s): Aenglic
Title Translation: Walked Paths
Tune: stellar* - Taken
Additional Information
Lyrics: Elsa Képra
Music: Kían Marksson, Bjórnu Sjavan
Trigramme: AED

Kinokjð is a folk band from a small village by the name of Ádbæj, in the Nárde Emeigland province. Their name roughly translates to "People from the Hill Lands" and it is made up of three members; Elsa Képra, Kían Marksson and Bjórnu Sjavan. Elsa is the lead singer of the band, Kían is the acoustic guitar player, and Bjórnu is behind everybody else, playing the drums. They were a band formed in their rural high school, when Kían was learning how to play the guitar at that time, and the three friends agreed to play short musical pieces, and form a small band.

This was a long time ago, however. Since then, they have released two albums consisting a fair mix of folk and rock music in both Aenglic and English, and they have previously been invited to a few song festivals in Kéterig. They have also made a minor name for themselves in the country, and even has following outside of Aenglide. Despite the least of large fame, they still maintain strong roots to their home municipality and like to think themselves as "naive" and "no different to high school bands".

The song "Valkið Véjen", which means "Walked Paths" in Aenglic, is, as told by the singer/songwriter of the band Elsa Képra, about taking journeys to places that people may have never been to, and at the best of times, having connections with another person and being their company; staying to their side at all costs. The song is in Aenglic, because "why not", as said by Elsa, and also that the band collectively agrees that the language of which they call home represents them best, and that they're happy to be able to showcase their native tongue to the rest of the world in the form of music.

Ték on réjrs med méj
La ós séjve arkál rá vat væið
Gaúðin komen á séj őr
Méj sklúþa yt höden méj hanri
Kun tidsé vil sý
Væ her, ále tidsé

Dǽþ valkið véjen
És on lukýr ő liþning
Néde rá keðjalisen
Dvér de legenden en sto
Ménen gesprök omse féjktiva bespélen
Dǽþ valkið véjen, mmm

De lisen skyne ovjnúr méj
Kójmdet én töku ját jé kǽn séj
Ótsjnen ő mökbluj himi
Jé hagn fínsið véj rúndým de stéden
Yt soge sul býrujen á fálm en framá
De síkjgen vil kǽl þes nábþa

Dǽþ valkið véjen
És on lukýr ő liþning
Néde rá keðjalisen
Dvér de legenden en sto
Ménen gesprök omse féjktiva bespélen
Dǽþ valkið véjen, mmm

Jé synki dár for jé spre
Hve þe vil fölgi med méj, bordá
Á de gelmerék stjére
Vét es níeþoíða þe vil beádajk
De kinoken es dvér jé vek vrám

Dǽþ valkið véjen
És on lukýr ő liþning
Néde rá keðjalisen
Dvér de legenden en sto
Ménen gesprök omse féjktiva bespélen
Dǽþ valkið véjen, mmm

by **Achaean Republic** » Sun Feb 06, 2022 6:26 pm

XX
Achaeean Republic
Natacha Diez- "Easygoing"
Language(s): Spanish
Tune: Nathy Peluso-BUSINESS WOMAN
Additional Information
Lyrics: Natacha Díaz, Ernesto Sandoval
Music: Natacha Díaz, Ernesto Sandoval
Trigramme: ACH

Natacha Díaz knew she was ready to surrender herself to music once her parents gave her a small drum set for Christmas when she was six years old. It was small, rickety, and noisy—but she loved it! Forget the Barbie dolls or the Easy Bake ovens or the small pony sets her aunt from Florida shipped to the island for her. It was enough to drown out the rainy sounds of her brothers playing with their Tonkas and Hot Wheels, and she spent hours and hours banging on the small drums and clanging on the cymbals. Maybe she would be the drummer in church, her parents thought—maybe God has a place for everything. When she grew older, though, she lost that drum set. It’s hard to tell if she or her mother threw it away in a fit of spring cleaning, or if some water damage coming from the roof after a bad storm made it unworkable. Regardless, she was able to buy herself a new miniature drum set as a reminder of her roots…after she bought herself an actual drum set.

The drum set was only the beginning of Natacha’s dreams, though. She then signed up for music classes at her local Larnaca community center, sponsored by the Islamic Society of Larnaca. (No, she wasn’t Muslim, but the Islamic Society provided free-of-charge music classes to local students, and besides the center was only a few minutes’ walk from her house.) Besides learning some mandatory ghazals and some music styles with her sweet flute, she also explored other instruments like the piano and had a cursory glance to classical Arab divas like Umm Kulthum and Fairouz, whose melisma and emotional delivery impacted young Natacha’s clash with the broader Achaean popular music.

When she was a teenager, she moved with her family to Pascual, a suburb of Santa Ana in Zacatecas. Leaving Larnaca, a city with splendorous mosques, exquisite churches and vineyards growing in the semi-arid coastal valleys, to a city with towering skyscrapers, a fast-paced coastal city in Western Achaea where she knew nothing and had a very hard time making friends. Then, she became acquainted with a group of outcasts who laughed at her bougie talents and surrounded themselves with the underground hip-hop movement coming from American shores. Biggie, Tupac, Fat Joe, Eminem. They were already in the gringo mainstream but they were washing up ashore and colliding with the rap en español coming from Panama, the dancehall from Jamaica and the reggaeton imported from Puerto Rico. The spit-fire, rapid pacing of the lyrics called to her attention, and she began to use that flow in her music, all the while never ignoring her classical, eclectic nature as a flutist and a drummer.

This transformed Natacha Díaz into Natacha Diez, a crummy pun for the number “ten” (because she liked the number ten) and then carried over into her album, Descontento (“Discontent”), to which her song, Easygoing became a hit on Achaea’s alternative music charts. This is what led her to compete in WorldVision: La Final, AS1’s national selection for the WorldVision Song Contest, and was selected by the World Hit Festival delegation to represent the country in a future contest.

Well, now is the time.

Learning Scotatrovan was quite a pain. She managed to mess up the eñes, the awkward x’s that suddenly banged up in the middle of a word, the cedilla, the umlaut, the impossibly non-phonemic correspondences that aren’t. She enjoyed traveling and learning new languages, sitting already bored in her Santa Ana apartment when she went through a back-and-forth with the Achaean World Hit Festival delegation over participating in the contest. She faced a sudden contact with omicron despite doing everything in her human power not to get infected, to the point it almost cost her that trip to Scotatrova (Yes, she was fully vaccinated—and was about to get boosted.) Luckily, she was able to recover and fill out the necessary paperwork to make it to Eritús in time. She might practice her horrible Scotatrovan after all.

Eritús had a charming old-world vibe that she enjoyed whenever she had the chance to visit Europe. By which Europe, she meant those two weeks she spent drinking and carousing around France, Spain and Portugal—but she never heard Scotatrova being mentioned at all. For her, the country was just one of those old-word stalwarts that vicariously lived through its past. But she might have some time to explore the city later—right now, it was business.

The stage was ready for the Achaean entry. There was much expectation on the crowds in Eritús to what the Achaeans were to serve on the table—or rather, the stage. Last time in Pemecutan, the fabulous trio with the entangled love triangle which led them to the right-hand side of the scoreboard for the first time in a while. Now, it was time to step the game up—the country was itching for another victory in this most unpredictable of contests! But it was Natacha’s responsibility to cut through the charrería and win, and maybe have some fun while at it!

She was surrounded by five dancers in a star formation, while her body was posted to the center. But her mind was floating, floating across the stage, closely watching the cheering throngs of people cheering on her, booing on her, glancing the few Spanish words they knew at her, hitting on her, all at the same time. Her spirit was floating—she’s been through that before—but she held deep, deep breaths to control her mind and keep it present on the Eritús stage. She wore a black leotard with her hair bundled on a ponytail, slowly whipping her hair back and forth. She breathed harder, praying to the gods of the festival not to run out of breath in such a short amount of time.

Then the dancers were squatting, and the lights were affixed to her. Now was the time to shine. Portray confidence, disdain, contempt, discontent all at once.

Ay muchacho, escúchame
Don’t mess with my sass
Cause if you mess with my sass
¡Estás clava’o!

Déjame decirte que soy easygoing
Mis chavos son míos y así estoy Rolling
Cargo el mundo, mi vientre es feliz-sabrosa
Déjame decirte que soy easygoing

Energy, energy, energy. The performance was dripping with energy. Natacha had a sleazy black sleeveless jumpsuit/costume that showed her best attributes and lunged at the camera with vigor. She was always about embracing her sexuality—a very Achaean stereotype, indeed. But she was also about subverting, destroying, erasing, and deconstructing those impossibilities between sex, gender and expectations. Other times, it was all about fun. Or maybe she embraced a mixture of all three.

There she was, dancing, playing to the cameras, showing her middle fingers, being shamelessly irreverent. That was the whole point of the song: to make her enemies cower in the power of her indifference. She touched her body while the dancers fanned her around and the cameras whiplashed between her right side (that was her good angle) and the front, all the while strutting the catwalk, flicking and handwaving. It was a dangerous game to play, that of portraying unbridled confidence without looking misguided or unnecessarily boastful. But she needed to be that way if she wanted to survive in the game. Then there was also the fact that her breasts almost popped out of her chest. But there she was, looking sexy and aggressive.

Muy buenos días, soy Natacha
Soy una acayana brava
De las que come pique
Con una navaja
¿Y qué tú crees que soy
Tetas y malvaviscos?
El sabor que tengo
Te deja chiquito
Me gusta las perdidas
Bombones de saliva
Sé que yo estoy muy buena
Me ligaste en la esquina
No dije nada porque no quiero molestarte
Vamos a jugar a bola y hoyo
¡Testarudo!
¿Quieres un poquito?
Siente el fuego de mis letras
Te mojaste asimismo
What the fuck is wrong with you?
Vete a tirar al precipicio
A menos que te guste
Pisarte en el piso—bitch!

At last, the chorus! This was, oddly enough, the smoothest part. Natacha took a deep breath and gyrated her arms, first left and then right (thanks to the choreographer who suggested she not use a handheld microphone and taught her natural breathing exercises!), then swung her curves on a gyrating motion while singing and looking intently at the camera. At the same beat, the dancers beside her stomped the ground until the LED floor below them converted into an unholy mixture of red with green dollar signs. Suddenly, they all began lifting the OK signs to the left and the right, placing their right hands on the salute position and standing up straight like the military while quickly showing a middle finger with the left, then a peace sign.

The crowd was buzzing! The crowd was living! The people in Eritús were vibing with the Achaean entry…or were they? It was hard to tell from the vastly-masked crowd, even the camera crew and the sound engineers, trying their best to contain a spread in precipitous decline (or so they hoped). It was awkward to try to make out what they were singing or even humming with the masks, so they had to rely on their eyes, their hands, their fingers laced with sweat and some burns from pulling the masks forward and backward for too long. But it wasn’t hard to see many of them enjoyed the performance, if only they were taken aback with some salacious and profane lyricism. That means the plan was working.

Déjame decirte que soy easygoing
Mis chavos son míos y así estoy Rolling
Cargo el mundo, mi vientre es feliz-sabrosa
Déjame decirte que soy easygoing

For this next part, the dancers surrounded Natacha and quickly converted her sultry black dress into a sultry two-piece red business suit that was sexy and at the same time served business. Fashion was important for a performance like Easygoing, something she personally was quite uncomfortable with. She would go out day in and day out with a T-shirt, a hoodie, ripped jeans and a snapback and call it a day, even during the sweltering tropical heat. But this time, the delegation’s fashion adviser convinced her (read: forced her) to consider the visual impact of her dresswear. Black portrayed sexiness and sultriness. Red focused on power and caution—you didn’t want to mess with a woman wearing red, God help you if you tried!

Bellacona dulce, un poquito sucia
Te gusta mi boca como mi astucia
Tengo mil tabletas y una pedicura
Muevo toto y bola y todo el mundo entremedio, jura
Traga una quenepa, la acerola es dura
Una tumba coco con sabor a fruta
Así es—te da más gusto vivir con mi locura
Pa’ dónde vas, mi ciela, no termino contigo, ¡Hey!
¿Y porqué te escondes? Nada te haré
Gustas sentir mi cuerpo al revés
Qué sabroso un abrazo que no sea el tuyo
Ay, Dios bendito, ¡ay!
No te vayas lejos que yo sé que tienes hambre
Arroz con habichuelas y pollito hice antes
Te salió el arroz con mi santa baba
Ven come que te come y tú no haces nada—bitch!

It was hard for Natacha to gain the confidence to perform such a vulgar and visceral song. She had to get the lyrics right. She had to lunge at the flow right. She had to be sexy, crazy, cool, a mixture of a stereotypical Achaean sex symbol (to which, upon rough calculations, any woman was thought to be one) while not looking cheap and exploitable at the same time. She had to portray excess while expressing restraint. There were many contradictions inherent in her performance, many that she was bound to exploit. More so that not many rappers in the game took her seriously as a rapper and singer. Even the channel tried to block and cancel her before she even had the chance to begin work with the delegation—that with many top excecs and the powers that be questioning the Head of Delegation’s competence by choosing a female rapper to a “serious” musical competition (never mind that she already brought two victories to the nation and a windfall in interest for future competitions). It brought Natacha an enormous emotional quandary: how much did she need to prove to others?

Once again, Natacha stood at the center of the elongated stage and began dancing alongside her crew. The same left-right gyrations were involved, the same gyrating curves, the same intent look at the camera, the same stomping and the same LED floor below them converting from red and green into a mixture of red, green and yellow, the same sacrilegious salute, the same middle finger buried alongside a peace sign. She breathed off the energy given off by the audience at Eritús, the confirmation of her welcome presence on stage and off. There were so many expectations that crowded and clouded her mind. But it was time to push all those worries aside.

Déjame decirte que soy easygoing
Mis chavos son míos y así estoy Rolling
Cargo el mundo, mi vientre es feliz-sabrosa
Déjame decirte que soy easygoing

The cameras focused on Natacha’s strong gaze once more. The dancers circled around her, and the cameras too, embracing the rhythm through their bodies. The cameras grabbed the ecstatic reactions of the Eritús crowd, catching glimpses of several flag-waving, flag-masked Achaeans that stumbled in the gaze. Then the camera posed on the front near the center of the stage, where Natacha and the troupe were standing. Then, she looked and lightly flailed her arms left and right, swinging her body from the back to the front and swinging her tightly braided ponytail to the sides, the head from left to right, her postures moving to the side like a crab, first to the left, then to the right, singing and not losing her beat. This was her greatest feat—singing without losing her breath, singing without panting like a dog with her tongue outside. It involved so many breathing exercises and crunches, enough cardio to make a Navy SEAL cry, and a lot of gumption to bring the trophy home. She moved her hands as if she carried a heavy steering wheel in a boxed motion, with her head titled to the viewer’s right-hand side. Then Natacha and the crew put their right hands in their forehead as if they were to salute the flag, lightly crouching and taking two steps back, confronting the camera with their steely-eyed gaze. They had to mean business.

I’m so easygoing and you think it though
Tú quieres coger tu canto
No te dejes, no
I’m so easygoing and you think it though
¿Cómo se siente que yo tenga
El talento y tú no?

I’m so easygoing and you think it though
Tú quieres coger tu canto
No te dejes, no
I’m so easygoing and you think it though
¿Cómo se siente que yo tenga
El talento y tú no?

Suddenly, the cameras showed how Natacha and the crew walked and pranced and danced towards the end of the stage to surround a mechanical bull that was rigged by few electrical devices (unseen to the public and the viewer’s cameras) and minimal padding for safety. What was the point of the bull? Many in the arena, both the juries and the viewers at home ask. Achaeans were known for all-or-nothing props and copious amounts of drama, but having a mechanical bull on stage was a bit…off. It appeared as a passing glance in the music video commissioned for the performance, where she was riding it and rapping and holding a vaquero hat. Maybe the Achaeans wanted to replicate that peculiar part of the music video on stage.

The dancers would strike a pose as Natacha, still glammed up, would climb up the mechanical bull. Off-stage crew would turn the nob to the right and turn up the mechanical bull’s increasingly violent jerks and twists and turns. Natacha would only be mounted in the bull for a minute or two, a minute longer and she would puke in someone’s head or lose a chunk of her $500 extensions—not the best way to display confidence. But she pulled the cowboy hat from a hammer-space of sorts, mounted on the bull, and began singing once more. It was a miracle she could sustain her voice within so much movement encapsulated within her performance—not an easy feat to do, especially for a rapper without much dance experience. But there she was, being a trooper, trying to impose herself on stage. Each swerve of the mechanical bull shook her body from head to toe, disorienting her a bit. But she kept going strong, with her flow never skipping a beat.

Pitonisa del campo, vamos a trabajar
Soy virgen, delicada, antipática y fatal
Tú no espera que de mi boca salga un manantial
Eso es pa’ que me juzgues mi talento natural
Soy activa, pasiva, versátil e indigente
Las letras que yo canto han invadido tu frente
Qué quieres tú—qué me engañas, que me amas
A cortar cabezas dizque yo soy tu ama
Lambe donde piso porque lo dejo seco
De mí no pidas ni pensar—así te quiero
Esa es mi realidad
Dejo un poquito de vino, yo quiero romper
La cabeza con ello
La sangre con sabor
I said I’m easygoing
Quizás te haga un seguidor…

After the music died down, Natacha was able to jump out of the mechanical bull, with her feet firmly planted in the ground. She stood up for a minute, trying to regain her balance, her composure, her flow. Then, the music stopped and the cheers of the Eritús crowd could be heard, glancing shots of different points in the area with flag-waving fans—especially those of the Achaeans that braved the trip to Scotatrova or those that already lived here, coming from the different corners of the vast country. “¡Gracias, Eritús! ¡Muchas gracias!” she waved to the crowd and bowed at the same time, waving her arm and basking in the adrenaline of the moment. For a moment, she remembered the Scotatrovan word for thank you: “Greixas! Greixas!”

Hey, boy, listen to me!
Don’t mess with my sass
‘Cause if you mess with my sass
You are so screwed!

Let me tell you that I easygoing
My money’s mine and I’m rolling
I carry the world, my womb is happy-and tasty
Let met tell you that I’m easygoing

Very good morning, I’m Natacha
I’m a pissed-off Achaean
The ones that eat hot sauce
With a knife
And what do you think I am:
Tits and marshmallows?
The flavor I love
Leaves you small
I love the lost things
Candies made of saliva
I know I’m very delicious
You peeped at me in the corner
I said nothing because I didn’t want to bother you
Let’s play ball and hole
So stubborn!
Want a little bit?
Feel the fire in my words
You got wet anyway
What the fuck is wrong with you?
Go throw yourself off a cliff
Unless you like
Staying stomped on the floor—bitch!

Let me tell you that I’m easygoing
My money’s mine and I’m rolling
I carry the world, my womb is happy-and tasty
Let met tell you that I’m easygoing

I’m a horny lady, a little bit dirty
You like my mouth as you like my wit
I have a thousand tablets and a pedicure
I move pussy and ball and everything in between, I swear
Swallow a guinip, the [Caribbean] cherry is hard
The speakers with flavors of fruit
That’s it—it feels good to live with my madness
Where are you going, honey? I’m not done with you! Hey!
And why are you hiding? I’m not doing anything to you
I want to feel my body backwards
How good it feels to have a hug that’s not yours
Oh, blessed God, oh!
Don’t go so far that I know you’re not hungry
Rice and beans and chicken I made before
The rice fell out with my holy spittle
Come and eat and eat and you don’t do anything—bitch!

Let me tell you that I’m easygoing
My money’s mine and I’m rolling
I carry the world, my womb is happy-and tasty
Let met tell you that I’m easygoing

I’m so easygoing and you think it though
You want to get a piece (of my ass)
I won’t let you, no
I’m so easygoing and you think it though
How does it feel that I’m talented
And you’re not?

I’m so easygoing and you think it though
You want to get a piece (of my ass)
I won’t let you, no
I’m so easygoing and you think it though
How does it feel that I’m talented
And you’re not?

I’m the soothsayer of the country, let’s go to work
I’m a virgin, delicate, unpleasant and lethal
You don’t expect that my mouth comes flowing like a spring
This is so you can judge my natural talent
I’m a top, a bottom, versatile and poor
The lyrics that I sing have invaded your forehead
What do you want—that you lie to me, that you love me
I’m cutting off some heads because I am your owner
Lick the floor because I leave it dry
That is my reality
Leave a little bit of wine, I want to break
Some heads with it
The blood with flavor
I said I’m easygoing
Maybe I’ll make you a follower…

by **Acastanha** » Sun Feb 06, 2022 7:53 pm

XX
Acastanha
Ariadna Gardushan & Luis Elkanar - "Como Podemos Sentir o Amor?"
Language(s): Portuguese
Title Translation: How Can We Feel the Love?
Tune: Ednita Nazario ft. Luis Fonsi - Se Nos Fue la Mano
Additional Information
Lyrics: Ariadna Gardushan, Edo Daro
Music: Davi Taboran
Trigramme: ACS

After seeing a few of its neighbors joining the singing competition, Acastanha wants to test the water. But there is a little problem, who will be the official broadcaster? The country then seeing an example from its neighbors. As Acastanha is a highly federal country, both of its state must be given opportunity to represent the country. The country then pointing out Pemecutan who give a different broadcaster to a different competition (UBC for WHF and GBC for WV). But the country only intended to enter World Hit Festival. Then 2 main broadcasting company in Acastanha (RTP and ARTS) decided to represent the country together but the authority will be change each time they entered. RTP (Rádio e Televisão de Palidas) will represent the country for the odd entry. While ARTS (Arra Radio e Televiso Serviso) will represent the country for the even entry. And as the decision, for the first entry, RTP will take in charge.

To cut the nominating process, RTP use an internal advisor to select the best artists to represent the country. After much consideration, the selection went to Ariadna Gardushan and Luis Elkanar. The selection is deemed smart as the artists are from the two states. Ariadna Gardushan was born in Bahia, Palidas and Luis Elkanar born in Samaul, Arra. The music critics are also pleased with the selection.


Ariadna Gardushan

Born in beach town, Bahia, Ariadna Gardushan is a 42 years old Acastanhada singer and songwriter. Known as Acastanhada diva. She is one of the most successful singer in the country. Started singing in a young age. She placed herself as the highest selling album in the country for female singer.

Elkanar born in Samaul a town near the capital of Arra State, Arrachai. Born 38 years ago, Elkanar start his career as cafe singer. He was then caught the attention of Maghda Records talent agent and begin his career professionally. Elkanar rise as a new rising singer at the time and placed himself as one of the most successful singer in the country.


Luis Elkanar

Their collaboration is dubbed as a surprise and spectacular. For the 63 World Hit Festival the duo decide to create a new song. Gardushan with the help of renowned Arrakan songwriter, Edo Daro, start to write the lyrics. While the music composition is arrange by Davi Taboran which use to collaborated with Elkanar. The collaboration resulted in the song, "Como Podemos Sentir o Amor?". Although receive a positive review during its introduction, the song is criticize for the use of Portuguese exclusively. The song is telling a story of a couple who has losing their feeling and trying their best to reconnect their relationship.

The host announce Acastanha to perform next which makes Gardushan and Elkanar prepare themselves. The lights on the stage are turn off making it completely dark. As the intro of the is played, a single light shine Gardushan from above. She is standing stunningly wearing a revealing long sleeves black mini dress. Her hair is kept flowing and getting more curls. She is standing at the center of the walkway, nearer to the main stage. The lyric now turn to Elkanar. The headlights shine through him who is wearing a black leather jacket with black turtleneck sweater and grey fabric pants. He is standing further to the front of Gardushan. He caress hiss chest as he sing the "Você pode sentir o amor em nós?" part while looking at Gardushan longingly. The camera success to capture this expression.

They harmonizing their voice as they are singing the bridge. Both of them walk approaching. The camera encircling their movement from the side to the top and viewing from above as they are embrace.

Você pode sentir o fogo em nós?
Ainda está lá ou o quê?
Você pode sentir o amor em nós?
Ainda está lá ou o quê?

Estamos continuando desmoronando
O que temos feito para nós?

Elkanar let go the embrace and walk pass Gardushan as he sing the first stanza of the chorus. Gardushan turn and seeing how Elkanar walk away. Their voice make a perfect duet as they sing the second stanza of the chorus. Elkanar look down then turn to face Gardushan as they sing "Para trazê-lo de volta" part. Both are face to face again as they sing the rest of the chorus. While the LED walkway showing a blooming flowers that goes weary and fall over and over again throughout the chorus. The show however only limited to the center of the walkway where they are both standing.

Não podemos voltar
Para o tempo passado
Quando estamos juntos
E com todo o amor que temos

É tarde demais para nós
Para trazê-lo de volta
Todo o amor que se foi
E acenda de volta o fogo em nós

The walkway turn into a plain white as Gardushan sing the second part. She turn back on Elkanar as she continue to sing. Elkanar take his part as he see the back of Gardushan. He then walk approaching her as they sing the bridge. But Elkanar stop midway as Gardushan turn to face him.

Como podemos sentir o fogo?
Através das muitas lutas
Como podemos sentir o amor?
Através de muitas feridas

Nós podemos torná-lo melhor para nós
O que podemos fazer por nós?

Gardushan walk to Elkanar as he sing the chorus. The flowers video is shown again. They are then standing face to face until Gardushan belt out the last phrase of the chorus.

Não podemos voltar
Para o tempo passado
Quando estamos juntos
E com todo o amor que temos

É tarde demais para nós
Para trazê-lo de volta
Todo o amor que se foi
E acenda de volta o fogo em nós

Elkanar step in as he sing the coda. They slightly embrace before standing back to back as they sing part of the chorus.

Coloque todo o ego de lado
E lembre-se do amor que temos
Nunca é tarde para nós
Para trazê-lo de volta
Todo o amor que se foi
E acenda de volta o fogo em nós

The lights are dim again and only two interwine headlights that shine both of them singing the end of the song. The lights slowly dim until everything is dark at the end of the outro.

Como podemos nós?
Como podemos sentir o amor em nós?

The clapping sound can be heard surrounding the hall. The stage is lighten up and both Gardushan and Elkanar are standing hand in hand at the center of the walkway. "Obrigado, Eritús!!!" They shouts as they walk back to the back stage.

by **Beepee** » Sun Feb 06, 2022 9:31 pm

XX
Beepee
Norma Deen - "Breakout"
Language: English
Tune: "Null auf 100" by Helene Fischer
Additional Information
Lyrics: Georgia Tasda & Tess Koh
Music: Georgia Tasda & Tess Koh
Trigramme: BPE

OVERVIEW

Ever present since their first entry at WHF50, the delightfully enthusiastic nation of Beepee is back once again at World Hit Festival. Songwriters from the little nation that can, are on a high following World Hit Festival 62 held in the glorious surrounds of Satria, Pemecutan. Where the small but perfectly formed World Hit Festival saw Poppy Cox represent Beepee and came in a charming 5th place with her song "When I Dream".    Ms Cox's fifth place was the understated nation of Beepee's second 5th place in a row.

At World Hit Festival 61, Norma Deen sang the song "Impatient", and Ms Deen is back representing Beepee at this WHF with her new smash single "Breakout". Ms Deen is keen to improve on her position last time.

SONGWRITER BACKGROUND

Georgia Tasda and Tess Koh

The song is written by Beepeean songwriting powerhouse duo of Georgia Tasda and Tess Koh, who also wrote Norma Deen's previous entry. In addition, Georgia Tasda also penned "'Til Now", Hugo First's WHF55 entry.

Georgia and Tess met at the Conservatorium of Music in Beepee. The pair had an instant connection and a lifelong friendship has started to develop.

Indeed, it was at the first day of the first term that they met. As the other students milled around in groups, wallflower Tess stood awkwardly clutching her ring binder to her chest. She scanned the room looking for the opportunity to join and speak with another student, but her shyness held her back.

Entering the room, Georgia effortlessly flitted from group to group, smiling and joking. Instantly warm and personable, with such ease.

Tess watched her from the sidelines.

As the class began, the students prepared for the first class they filtered into the auditorium, walking through the double doors together Georgia introduced herself and insisted Tess sit with her. It was the beginning of their friendship, which only grew through their course.

The flat-shared together in the city throughout their time at the Conservatorium.

Upon leaving the Conservatorium, Tess with her degree in songwriting and Georgia with her degree in contemporary performance, determined to work collaboratively and the pair briefly toured small bars and clubs, performing upbeat Beepeean Schlager.

With their act stalling and failing to attract a record deal, the pair were instead spotted as songwriters where they found more success.

SINGER BACKGROUND

Norma Deen was born in Stonebridge in the forgotten lands of North Prarie. Her parents worked as school teachers, teaching science and mathematics.   Following the collapse of North Prarie, Norma officially changed her nationality to Beepeean. She lives in Hercules in the Cootamundra Islands.

Norma struggled, as many immigrants do, to settle in and adapt to her new live. But her parents were good, kind people and they allowed Norma to progress at her own pace.

After several months, Norma Deen settled into her new life in Hercules. Once settled, she found making friends easy and quickly gained popularity and a large circle of friends.

She began singing as par to a choir, before striking out on her own. She was quickly signed to a small schlager label in Hercules. Her eponymous debut album in 2015 performed well but failed to break into the schlager charts. Both her following albums failed to reach the same level of sales.   As a result she was dropped in 2018. Despite this a small but enthusiatic following of schlager fans meant Norma was able to contiune touring and working on her craft.

When an early song was chosen for an advert for a popular soft drink in late 2020 she was thrust back into the limelight and was chosen to represent the little nation that could at World Hit Festival 61.

Her performance of the song "Impatient" at WHF61 was widely lauded by Beepeean critics and the song topped the Beepeean Topplist Charts for 3 weeks.

As a result of her excellent showing, Norma gained a legion of new fans and was signed to BONY records. "Breakout" will be the first single from her forthcoming album of the same name.

It was with a little trepidation that Norma and the Beepeean Delegation visited Eritus. The Scotrovian organisers had informed all the delegations of the COVID-19 rules relating to performing and whilst all Beepeeans are dutifully fully vaccinated, there is always concern whenever a realm faces a surge.

Despite this, Norma was happy to protect both herself and the wider community by doing her bit.

Eritus is indeed a city of stunning architecture and design. A glorious mix of modern and vernacular with plazas and public domains which, even despite the CoVID surge, are interesting and beautiful. The stunningly domed Eritus Exhibition Center is no exception and the main building is decked in its finest livery.

Even now, waiting backstage for her call, Norma can sense the pride Scotrovian's have in this fine space.

Norma will be joined in her performance by a troupe of backing dancers. Norma is dressed in a shimmering silver leotard adorned and dripping in swarovski crystals. The leotard will glisten and glitter under the stage lights throughout the performance. The backing dancers are decked in white cotton, which will retain most of the focus on Norma.

Finally, after what appears to be forever to Norma, the call is made and she makes her way alone onto stage. In the dark, as the presenter introduces the song, she lies down at centre on the main stage. Above her she can see the camera pointing down to her in amongst the lighting rigging.

There is a brief moment of silence as before the music begins. Norma can hear her heart pounding as she lies on the ground... a single spotlight lights Norma. She takes a deep breath and begins.

I've found it only takes a moment to believe
Only one heartbeat is all you need to hear
And the distance that lies between you and me
Will all be gone when you push away that fear

During the preceding, Norma slowly sits up as she sings the stanza. The quiet silence of the beginning of the song has an easy, gentle flow. For those fans who haven't been following the pre-Festival Bopify playlists, they may believe that this will be a standard ballad fayre. Midway through, the director cuts from the view from above to a sweeping panoramic across the auditorium before a close up of Norma.

In the following stanza, as the music builds, Norma makes her way onto her feet. A smile spreads over her face as she begins to feel the music within her.

The director cuts to a wider shot and dotted along the walkway of stage Norma's dance troup begin to bounce up and down in time to the music. There is a sense within the production direction, and the staging that the music is about to kick off.

And we can be the light through the dark
We can be the beating of your broken heart
We can bring both the fire and the spark
We're electric
All it takes is...

Norma's warmth and personality begins to shine through, her many years of touring and performing paying dividends as she connects with the audience and the camera. Her voice and presence is like an old friend come to visit who puts the viewer and listener at ease with a simple look or smile.

The music builds further during the following stanza. The simple lighting which had been utilised until thus point, gives way to a streaming kaleidoscope of colours splaying out over the stage. The concept again is slowly cranking up the excitement of the song as it heads towards the chorus.

The backing dancers, who are set along the side of the catwalk part of the stage, dance fluidly in a contemporary styling, forming something similar to a guard of honour as Norma begins to make her way down the walkway.

We can be the thunder and the rain
Be the water, let it wash away your pain
And when you see that we are both the same
We're electric
All it takes is...

By the end of the proceeding stanza, Norma has reached the separate platform stage, about half way down the impressive stage. There a steadied operator is waiting for and as she begin the chorus with the break of "One Second For You To Breathe", the lights throughout the auditorium dim, and a brief hush settles. The steadied operator and Norma spin together, waltzing around the platform stage so that televisual viewers get a dizzying effect.

As she sings the first "Breakout", Norma throws her hands out to the side in a bold, exaggerated movement, to tie in with the lyrics and music of the song. She begins to bounce up and down to the beat of the music. Settling herself just in time to sing the second verse.

One second for you to breathe
Just breathe in and breakout
Just breathe in and breakout

The short first chorus, quickly transitions into the second and, as the second chorus begins, the backing troupe encircle Norma around the edge of the circular platform stage. Hidden from within their white cotton outfits they, in unison, flick a small battery pack on and bright white light shines from their chests directed towards Norma.

The uplifting lyrics of the second chorus ties together with the stage performance and the programme director cuts to a head shot as Norma cools down the performance and sings "And Turn Your Heart Around".

The musicality of the song with its intense quiet and thumping beat, adds interest and dynamicism.

And the walls that you hold you down
Will finally fall into the ground
And the love I give will make you see
And turn your heart around

With the next stanza, Norma heads back to the catwalk element of the stage heading to the very end of the catwalk and as close to the audience and the edge of the stage as she dares. Her dancers follow behind her. To add interest to her moves, as she sings 'snow' she flutters her fingers aside her head, in an imitation of snow falling. As she reaches the end of the catwalk towards the end of the stanza, she acknowledges the audience assembled around her reaching a hand out to them.

Even if in winter, it refused to snow
And one day the sun, it refused to glow
I'll still be strong, I want you to know
We can fly so high if only you believe

With the bridge now in effect, the beat of the music track begins to pound through Norma. She feels the bass echo through her bones, shaking her to her core. She cannot help, for a moment, be taken over by the beat and begins stamping her feet in time to the rhythm. She begins to pound her fist in the air as the beat continues.

Some members of the backing troupe notice the aura of joy exuding from Norma as she let's the rhythm move her.

The auditorium audience can also feel the pleasure Norma is having performing. Her comfort at knowing she is a strong, powerful, sensual woman at the top of her game. The audience around her begin to wave their hands in the air to the beat of the music. Norma feeds of their energy, and it pushes her onwards.

And we can be the light through the dark
We can be the beating of your broken heart
We can bring both the fire and the spark
We're electric
All it takes is...

The programme director chooses a sweeping panoramic view again as the bridge continues. Cutting between Norma, the audience and the backing dancers, to provide visual interest for the televisual viewers.

Norma contiunes. Backstage Georgia Tasda and Tess Koh are sitting in the green room, at a table bedecked in the Beepeean flag. Around them at other booths are the other competing nations. Tess looks around and sees that some of the competing acts are nodding their heads along with the beat. She smiles to herself, pleased that her positive uplifting music seem to be going over well within the green room at least.

We can be the thunder and the rain
Be the water, let it wash away your pain
And when you see that we are both the same
We're electric
All it takes is...

With the short chorus punctuated by the throbbing beat, Norma takes a few steps back from the edge of the catwalk. She plants her feet and bends at the knees as she digs deep for notes. The lights in the exhibition hall flash and strobe around her, filing the hall with energy.

Just breathe in and breakout
Just breathe in and breakout

Once again, for the second chorus, the backing troupe circle around Norma. Their shirts still glowing brightly. As Norma sings "Will finally fall into the ground", the dance troupe falls to the ground around Norma's feet, daisy chaining around her. Their light up cotton tops glowing brightly. The programme director cuts once again to a shot from above as Norma sings "And turn your heart around". It's a nice perspective and echoes back to the opening shot of Norma.

And the walls that you hold you down
Will finally fall into the ground
And the love I give will make you see
And turn your heart around

The director cuts to long shots of this incredible stage and auditorium. The inside of the main hall in the Eritus Exhibition Center is awash with light and colour as the dance beat echoes through the large auditorium. The direction allows the backing dancers to return to their feet and a steadicam operator together on stage. For the break in singing, Norma heads back down the catwalk to the main stage. Those in the auditorium, will see the steadicam operator and a helper shuffle backwards as Norma looks directly down the camera.

Oh yeah

As she continues back along the catwalk, the backing dancers hop, clap and dance, encouraging the audience to feel the music and get involved.

Norma reaches the main stage, just in time to turn and continue.

Oh yeah

With the final bridge, Norma and her troupe contiune to exude the positivity the song hopes to portray. Norma can feel the exhaustion of performing at an elevated level for all of the three minutes forty seconds so far. Her chest is burning and she is running now almost solely on adrenaline. She and the dancers are breathing heavy as they bounce their way through the final bridge.

As the bridge begins to come to an end the dancers again fall to the floor around Norma's feet. Some holding onto her legs as if edifying her position as a star. As Norma sings "All it takes is", the troupe switch of their battery powered shirts. To imitate the turning off of the shirts, the lighting also dims noticeably.

We can be the thunder and the rain
Be the water, let it wash away your pain
And when you see that we are both the same
We're electric
All it takes is...

The lights have faded now with the exception of one solo spotlight shining directly down on Norma, who once again is looking to the heavens. Again, the director cuts to the overhead camera. The same one as from the start of the song, as Norma sings the final line.

One second for you to breathe

The solo spotlight goes out.

It's the end of the performance.

Norma is breathing heavily, almost panting, trying to gain as much oxygen back in her lungs as the lights turn on once again. The dance troup get up off the floor and head of stage. Leaving Norma along to wave to the audience and thank them.

She exits the stage, happy with her performance. For her, fate lies in the hands of the juries. But there's still a long nervous wait before the final results are revealed.

by **StrayaRoos** » Sun Feb 06, 2022 10:06 pm

XX
StrayaRoos
Altos - "Unite"
Language(s): English,Spanish,French,Italian,Chinese,Japanese and Ukranian
Tune: Montaigne-Now (in space)
Additional Information
Lyrics: Altos
Music: Altos
Trigramme:STR

as Altos Comes out onto the stage she starts singing in italian

Mentre mi muovo oggi ho trovato un'ispirazione
Mi ha appena trovato e Oh, è stato bello
ed è andato come

after the verse starts the Stage screens turn into a portal and a small group of dancers circle her in an Scrum-type formation

Just Unite, ça nous rendra plus forts
pourquoi est-ce moi qui l'ai trouvé?
je ne sais pas mais je vais juste suivre le panneau

as She switches to Japanese the dancers and Her go Back to back and the Spotlight Appears on them

だから私たちはただ団結することができます（Oh Oh Oh)
今まで！
団結するだけで、私たちは強くなります!

Then she Runs over to the catwalk's end and sings in chinese

我只是觉得这是我的时间，所以我走了，让我们团结起来
它帮助我们度过了夜晚
它帮助我们走过了我们走过的孤独之路

Ese Camino Era Nuestro (Oh-Oh,Yeah)
Nuestra Ro-o-oad! (Oh-Oh-Oh-Oh-Oh)
¡Ya que este es nuestro momento de unirnos!

Now We could Just Wing it
Or Live with it
What could we do-o-o
we could just

Просто об’єднайтеся, це зробить нас сильнішими
Чому це знайшов тільки я?

by **Pemecutan** » Sun Feb 06, 2022 10:43 pm

XX
Pemecutan
Rishi Kumar - "Rasa ini Benar"
Language(s): Pemecutan Malay
Title Translation: This feeling is true
Tune: Armaan Malik, Eric Nam with KSHMR - Echo
Additional Information
Lyrics: Rishi Kumar, Bagus Arya
Music: Gus Teja, Karan Kumar
Trigramme: PCU

As organizer, UBC was pleased with their first time as host for World Hit Festival although with some error. But then again, they claim the success as the show has attracted more viewers than expected. And the edition even win by a new winner after a few editions of Normandy and Picardy dominance. But now, it is time to face the next edition.

The last edition give the second time Pemecutan placed seventh after the duet of Iktamila Kamnajada and Gading Mahesa placed the same in 59th edition. But point wise, it is the lowest point received by the country after the 57th edition where Putu Sutha received 13 points. And for the next edition in Scotatrova, the organizer make a change with selecting an up tempo song. The song title is Rasa ini Benar which will be perform by Rishi Kumar.


Rishi Kumar

Born 26 years ago in the town of Mertasari, Rishi Kumar has started singing from the age of 4. His father, Annand Kumar is a traditional music player while his mother, Ayu Kartika is a restaurant owner in the beach town of Sanur. The Kumar family was migrated from Southern Palm Islands and Rishi is the fifth generation of the migrated family.

Rishi continue his education in arts by attending Ubung Institute of Arts majoring in music and vocalizing. He can play music instruments such as guitar and rebab. His career started at the age of 18 when he was lending his voice for a short animation film entitle, Gula Gula where he is also singing the soundtrack of the film. He was continue to get a soundtrack project both domestic and abroad especially in Southern Palm Islands. This due to his fluency in Palmyrian language. He is more popular in Southern Palm Islands than in Pemecutan.

In 2020, he release his first Pemecutan Malay song entitle "Kontrol" to a positive review. He release another song in 2021 entitle "Seberapa Banyak" to a mixed review. From the start of his career, Rishi have never been joined any recording company. His releases were all produce independently with the help of his father Annand and his older brother, Karan, both are a composer. His songs are release via online media like YouTube.

His unique songs that attracted UBC to select him as the representative of Pemecutan in the next edition of WHF. The organizer ask to create a new and fresh song for the competition. Rishi is collaborated with Bagus Arya to make the lyric. While his brother, Karan Kumar together with renown Pemecutan composer, Gus Teja are making the music. The song that they produce entitle "Rasa ini Benar" (English : This feeling is true). It is telling a story about a man infatuation to one woman and how he is trying to convince the woman about his true feeling. The song is gaining a positive review in its initial release.

Rishi feel nervous. Even though it is not the first time that he singing on stage, but it is his first experience to represent his country in an international competition. The pressure is there and he can feel it. He try to breathe several times to erase his nervousness. But when the host call his name, he feels chill on his spine. He exhale deeply as he walk in on the stage.

The stage is dark but he can see some audience use a light sticks. He positioned himself at the center of the stage. As the intro of the song is played, the screen behind him show an animated ripple which is moving in coincidence with the song's tempo. Rishi start to sing the verses of the song. He is wearing a brown jacket with black longsleeve shirt and black pants. A scream can be heard from a far. They might be the supporters from Pemecutan. The camera keep showing his close up view.

Ku terpana dengan sosokmu penuh pesona
Ku terdiam dengar suaramu terasa hangat

Siapa kau juwita?
Dapatkah ku bertanya?
Bolehkah aku mengenalmu lebih dalam?

The ripple's is getting faster and faster as the song's increase its tempo with Rishi sing the chorus. The camera give the front view as Rishi walk forward. While the ripple on the screen gets intensify until it blasted out at the end of the chorus. At the same time Rishi jump accompanied with a blowing of fire from the side of the stage. The lights are dancing with the music while 6 women comes out to the stage and dance their way as if they are seducing Rishi but still keep their distance away. The walkway also lights its light in an arrow symbol running forward until the end.

Jangan engkau sangsikan
Ini bukan sebuah rayuan
Pastikan ku buktikan
Rasa ini benar, benar, benar

Dulu ku pernah mencinta
Tapi kali ini beda
Pastikan ku buktikan
Rasa ini benar, benar, benar

Rasa ini benar, benar, benar
Benar, benar, benar, benar

The music become calmer as Rishi start to sing another verses of the second stanza. The dancers keeps dancing. They are dance on the edge of the walkway guarding Rishi on his both sides. The arrow-like lights continue to running on the walkway while the ripple comes back again on the screen. But now, there's more of it. Rishi is interact with the dancer as he sing the bridge. Both of them are waltzing before he let her go.

Kau tertawa, hatiku pun menjadi sempurna
Dan kau muram, tekad ku hapuskan semua duka

Ku dapat menjanjikan
Bahagia selamanya
Dan juwita, bukalah hatimu tuk sejenak

The dancers are approaching him as Rishi sing the chorus. They are surrounded him as the tempo of the song steadily increase. Rishi looks like he is suffocating as the dancers doesn't want to let him go. As he sing the last verse of the chorus, he make a gesture as he is pushing the dancers away which makes all of them falling to the walkway ground.

Jangan engkau sangsikan
Ini bukan sebuah rayuan
Pastikan ku buktikan
Rasa ini benar, benar, benar

Dulu ku pernah mencinta
Tapi kali ini beda
Pastikan ku buktikan
Rasa ini benar, benar, benar

Rasa ini benar, benar, benar
(Pastikan ku buktikan)
Rasa ini benar, benar, benar

Rishi start to dance while the dancers dancing while laying down on the ground. Rishi approached them one by one as if he is seducing them. He back to his central position and the dancers are crawling back to him as he repeat the chorus. The dancers hold him close and caresses his body as he sing the last part of the song. It ended with all the dancers are wrap around him and hug him tightly with the lights only centered on them.

Jangan engkau sangsikan
Ini bukan sebuah rayuan
Pastikan ku buktikan
Rasa ini benar, benar, benar

Dulu ku pernah mencinta
Tapi kali ini beda
Pastikan ku buktikan
Rasa ini benar, benar, benar

Ah...ah...ah...
Pastikan aku buktikan
Ah...ah...ah...
(Rasa ini benar, benar, benar)
Ah...ah...ah...
Pastikan aku buktikan
Ah...ah...ah...
(Rasa ini benar, benar, benar)

Boisterous voices are heard throughout the venue as Rishi finished his performance. A dramatic scream are heard from the Pemecutanian supporters. The lights on the stage are back on. Rishi is release by the dancers and they are running to the back stage. Rishi wave his hands upward as he composed his breathe. With one big breath he shouts, "Namaste, Eritús! Thank you!"

by **Scotatrova** » Tue Feb 08, 2022 9:04 am

XX
Scotatrova
Gian Secada - "Un Asperana Ai U Xergare"
Language(s): Scotatrovian
Title Translation: A Hope In A Nightmare
Tune: Gjon's Tears - Silhouette
Additional Information
Lyrics: Gian Secada
Music: Alana Aldea, Ruben Davalos
Trigramme: SCT

Many didn't expect a Scotatrovian return to the World Hit Festival, but even fewer expected a win. Not long after Lia Martense's win in Satria, she went viral on social media platforms. Suddenly, everyone was talking about the World Hit Festival, and it was just under the WorldVision Song Contest in total number of mentions the week Lia won. The people at TAS were even more shocked at their win, especially as it was very marginal. It wasn't long before they had agreed to host the next contest in Scotatrova, even with the looming threat of COVID-19 and the Omicron variant. All throughout the planning process, the country was surging. The organizers made sure to create a contest that would be safe for everyone, and their effort didn't go without reward. During this process, the search for the country's representative went underway. After Lia's win, many wanted to go that same route and resend the same genre but it was decided that something different should follow her up. It wasn't long before they settled on Gian Secada, a 25 year old songwriter from Vulra. Gian quickly accepted the offer once it was on the table, and then the songwriting process commenced. The entry was revealed to be "Un Asperana Ai U Xergare" and was released a week before the show on all streaming platforms. Receiving positive reviews, Gian is hoping to recreate that success on the World Hit Festival stage in Eritus.

The piano keys indicate the beginning of the song, and the stage becomes visible as a high angle camera view from above pans down slightly. The stage is rather empty, with nothing aside from Gian on it at all. The long walkway extending out is also in complete darkness, and looks practically as if it's not there during this intial part of the performance. Gian stands at the back of the stage near the LED screen, a single spotlight on him. As he begins to sing the camera cuts to a shot of his face, starting at his left and then slowly panning to the right.

Ie nel veth
Ai le nevie
Toth se oscure
Ie comiçá ai me perthre
Nel toque
Ía ie nel oth
Resu sol axte
Nelune ai aguet xergare

Feth mulde fréiu
Senze comon me murti
Gemad par thé, gemad par thé
Mur ondue resu?
Ie sioph que me troveri
Gemad par thé, garthad par thé
Saetme athór

The microphone in his right hand, he covers his left eye as he sings the opening line of the song. The camera then transitions to ground view angle, as if looking up from where the audience is. Gian contains a stiff, strong posture while he continues along with the song, not really giving any exuberant movement. Singing the line "Ía ie nel oth" he covers his ear with his free hand, and then wraps it around himself, as if giving himself a hug as he sings the final line. Once the second verse commences, the music begins to pick up pace. He sings the line "Feth mulde fréiu" as little particles of what appears to be snow start falling down around him. Instead of falling straight down, wind machines placed around the stage blow them in what appears to be a small flurry. He sings "Gemad par thé" with more force than the rest of the verse, emphazing how he would be calling out to someone, in an effort to be heard and found. He begins to gyrate his upper body around as the "snow" continues to fall, as if being blown around with it. He looks up as he sings the final line of the verse and the camera transitions to another close up shot. Gian looks out towards the audience, with a lost look in his eye while the snow continues to fall around him.

Toth zen fin
Poix que gemaix volth
Mur tue sura ei
Un asperana ai u xergare

Feth mulde fréiu
Senze comon me murti
Gemad par thé, gemad par thé
Mur ondue resu?
Ie sioph que me troveri
Gemad par thé, garthad par thé
Saetme athór

As the song progresses, he begins to start walking forward. When he does so, another spotlight shines down all the way at the very end of the walkway. In between is just one long sea of darkness. Gian makes his way forward, making his way through the falling snow particles that seem to proliferating more and more as the song continues. While he walks, the spotlight from above follows him as he makes his way towards the other. Gian holds the microphone up close to his face, but makes sure to sing with just the right volume as not to have his voice be overbearing. While on his way, he stops in the middle of the walkway and looks around while singing. He looks like a deer in headlights, just lost and confused. Looking around him in the darkness, he sings "Mur ondue resu?". An overhead view shows Gian not that far away from the spotlight at the end of the walkway, and Gian looks to it as he continues on. He holds his arm up in front of his face as he continues on through the "storm".

Feth mulde fréiu
Senze comon me murti
Gemad par thé, gemad par thé
Mur ondue resu?
Ie sioph que me troveri
Gemad par thé, garthad par thé
Saetme athór

Toth zen fin
Poix que gemaix volth
Mur tue sura ei
Un asperana ai u xergare

Once he finally arrives to the other spotlight at the end, the one that was following him goes out. Gian then stands at the end, and looks back at the way he took to get where he is. The flurry of snow seems to start calming down, before it eventually dissipates altogether. Finishing the last verse of the song, Gian once again looks up toward the spotlight. He holds his hand out as he sings the final two lines of the song. The spotlight then goes out as the song commences for a short minute before the stage is lit up again. The audience breaks out in applause and Gian waves out at them. "Greixas Eritús! Greixas ai tude!" He walks off stage with a big grin on his face, feeling accomplished and proud in what he's done.

by **Ertzei Kishim** » Wed Feb 09, 2022 12:22 pm

XX
Ertzei Kishim
Kiraly - "אוקינוסים"
Language(s): Hebrew
Title Transcription: Okyanusim
Title Translation: Oceans
Tune: Redfield - Rectify
Additional Information
Lyrics: Mattiyahu Kiraly
Music: Mattiyahu Kiraly
Trigramme: KSH

Ha'tzel shelakh hayyiti
הצל שלך הייתי

Eifo she'amart atzarti
איפה שאמרת עצרתי

Ka'asir nikhbalti
כאסיר נכבלתי

Ke'nimlat et kheiruti matzati
כנמלט את חירותי מצאתי

Mah she'ba lo yadat
מה שבא את לא ידעת

Khoshekh al ha'khof, at hista'art
חושך על החוף, את הסתערת

Meha'shamayyim nafalti
מהשמיים נפלתי

Mitakhat le'maim hitba'at oti
מתחת למים הטבעת אותי

Az shayyat hefakhti
אז שייט הפכתי-תי

Ta'olam heflagti
את העולם הפלגתי-תי

Az shayyat hefakhti
אז שייט הפכתי-תי

Ta'okyanusim avarti
את האוקיינוסים עבריתי

Az shayyat hefakhti
אז שייט הפכתי-תי

Ta'olam heflagti
את העולם הפלגתי-תי

U'vetor shayyat
ובתור שייט

Et etzmi matzati
את עצמי מצאתי

Beokyanus hakakhol
באוקיינוס הכחול

Shamayyim Patukhot
שמיימים פתוחות

Beokyanus hakakhol
באוקיינוס הכחול

Shamayyim Patukhot
שמיימים פתוחות

by **Normandy and Picardy** » Sun Feb 13, 2022 7:38 pm

XX
Normandy and Picardy
Les Chiffres - "Paradis Paradisco"
Language(s): Normand French
Title Translation: Paradise Paradisco
Tune: The Kolors - "Cabriolet Panorama"
Additional Information
Lyrics: Philippe Montgolfier, Jean-Luc Normand
Music: Philippe Montgolfier, Jean-Luc Normand, Alex Maréchal, T3n
Trigramme: NPR

Les Chiffres, the St-Lo based band chosen to represent Normandy and Picardy in Eritus
From Lef to Right: Jean-Luc (drums), Philippe (singer, guitar), Alex (keyboard)

"Alright guys, let's go and show the world what we've got". That, or words to that effect and maybe a tad more expletive laden, marked the end of a final huddle backstage, as the Scotatrovan producers tried to drag them to the stage where they were needed any moment now; there was little time for group hugs. Yet it was the final boost the group needed before they stepped out into the arena, in front of the crowd, in front of the thousands watching there, and the millions watching through screens of all sorts. They were desperately trying not to think about that. It was just a bigger gig than usual, like appearing at Cherbourg on steroids. That didn't help much either. Nevertheless, they finally walked on as the postcard played and the transition was managed. The Normand team had struggled with the dimensions of the stage, but in some ways the design had worked in their favour, fitting nicely with the aesthetic of the band and the song. But we'll get to that shortly. The three took up their positions along the long walkway, Jean-Luc on drums closest to the screen, Alex and his synth set up further down, and Philippe towards the end, though not isolated from the others. They all looked to each other. A nod. A knowing glance. It was showtime.

And so came the opening count in, which meant no standard Normand starting from darkness, but rather ab opening shot focusing on Jean-Luc, wearing an almost garish and rather loose purple and yellow shirt; you could instantly tell the look the group were going for, that's for sure. This was accompanied by an overlay, a series of white lines and in pink, cursive writing with a strong neon glow, "Paradis Paradisco", and beneath "A Les Chiffres Production". From there, the three members of the band were shown split-screen, with at first just Jean-Luc, then Alex, then finally Philippe playing his trademark red and white electric guitar (rules on live instruments notwithstanding), with the cuts slightly slanted rather than splitting the screen straight into three rectangles (basically doing it as trapezii instead).

Then, just as the verse began, Philippe 'pushed' on the side of his portion, looking like he was shoving the other two sections away so that we were left with just Philippe, still to one slight edge of the screen. Behind him, the LED strip grid was a nice deep pink-purple colour, whilst the large LED screen floor was at this point almost like a giant lava lamp (wrong era but nvm), with blues and purples combining. Bisexual lighting for days, hun. Anyway. With the second line, there were a series of sudden cuts to reflect the lyrics, first to Philippe's face, which he had quickly swung around (his body and the mic stand not fully following, as he balanced pivoted on one leg), then focusing on his eye nice and cinematically, then to a cheeky hand rolling down his body and stopping just before it reached somewhere interesting, the camera shot here, being done by an operator on stage then turning up to show Philippe's, with a bit of a grin across his face, looking down to the camera. Then, a cut back to essentially the same first shot as had opened the verse (this time allowing for the camera operator to make his way off the stage), and now with the funky lighting grid, paralleling the famous 80s synthwavs grid designs rather nicely, behind him.

Un, deux, trois...

Sur la piste où nous les deux somme rencontrés pour la première fois
Un regard, un coup d'œil, un sentiment, et quelque chose de plus
Tout a été laisée derrière une brume ivre
Alors, peut-être juste pour toi

Much of the focus was focused on Philippe as he continued singing the verse, as the melancholy of the lyrics became increasingly hidden behind the music (in part intentionally), and yet in the way that he danced about, the way that he moved, even as he confidently worked the camera and moved about, he let some of that feeling slowly leach through. He was wearing a loose, summery blue shirt, and some rather form fitting trousers which the camerman had decided you wanted to see in some detail, not that there was much to complain about to be fair. *cough cough* Anyway, there weren't any major changes of substance here, beyond the addition of some extra mood lighting, though in general the colours were rather dark, as if one were in a club almost, a feeling added to by the slightly grainy overlay over the feed, meant to give it that slightly older, videotape feeling, as though you were watching the recording of a live concert almost, or a recording of the music video. Philippe, the lights, the music, it was all nice and vibey. With the slight mellowing towards the end of the verse the lighting and the colour faded about, the camera shot lingered on Philippe a bit longer as he walked slowly forwards, almost leaning forwards slightly, before the sliding transition into the chorus.

Je me souviens de la promesse tu m'as donné
C'étais juste le monde, une petite chose que tu m'avais promis
J'ai été idiot de penser que tu le pensais, mais je le voulais
Et cette nuit, sur la piste je me sentais comme d'être au

With the start of the chorus, the large background LED finally came into its own, or well, it wasn't just a block of colour that was boring for the audience in the venue and not seen at all elsewhere. Instead, the viewers were treated to a view of a car driving off into the orange-yellow sunset, the sun stylised of course, across thr sort of grid pattern already discussed. The 80s was being cranked up to the max, and it was only going to get even more so. Various shots of the different band members, mostly of their heads but the occasional broader shots, were overlaid and slowly faded in and out, slowly filling more and more of the screen, fading in and out each other, all done in a manner so as to mimic the styles available in the period. This entry really would be a nightmare for anyone who has ever read Mark Fisher. But no philosophy here, only tunes, and the tunes were being provided. The final few transitions were full shots of the three band members, shown within expanding diamond/lozenge shapes expanding out from the middle.

Paradis, paradisco
S'entompant dans la nuit
Oui, je suis tombé amoureux de toi
Paradis, paradisco
S'entompant dans la brume
J'espérais que tes bras m'attraperaient
Paradis, paradisco
Paradis, paradisco

As the verse came to an end, the transitions came to an end and framed Philippe in the centre of the shot, the led strip grid behind him once again; for this verse, it was the grid that would transfer between the blues and purples, joined by more lights around the stage, and the floor darkened over, almost as if to look like the floor of a discotheque, or "disco" as I am told the kids call them. During this verse, Philippe actually did a bit more moving around, much more moving around in fact, as he walked down towards the back of the stage (that is, towards the end with the large LED screen). The shot remained rather tight, framing him on the stage, the curved lighting grid serving as the boundary, the camera back a bit of a distance but not too much, looking up at a slight angle. As Philippe walked along, he bumped first into Alex then into Jean-Luc, taking the time to dance a bit, have a bit of fun, generally vibe, but also through that to allow for the mutual assurance that they were getting through this, that it was really going well, and for a moment to feel almost carefree, like they were back doing one of their student gigs again, not something of this scale. Those moments were fleeting but great fun, the comraderie that helped them on stage also caught on camera.

Alors le monde était plus petit que je ne l'avais imaginé
Et alors ça semblait, sans aucun doute, autour de toi tourner
Bien qu'au début je pensais que j'étais dans un Eden personnel
Je n'ai pas eu cette chance

In any case, Philippe finally reached the 'back' of the stage, not that he was standing directly in front of the massive LED screen behind him, not really at all, there was a fair amount of space, though certainly enough that the screen filled the background of the shot (Jean-Luc and Alex finding themselves vibing along behind the camera). As Philippe in a sense ran into the shot like many a Eurovision artist starting with a running shot onto the stage (I'm especially thinking of Plastic Bertrand here for some reason), behind him the LED screen came into life a bit more once again, with the return of the "Paradis Paradisco" neon sign, this time accompanied by a series of highly kitsch palm trees. It was no Club Tropicana, but at least the drinks later would be free (or so the group hoped). These were faded out and replaced by a series of expanding silhouette outlines in pink neon, moving about and following Philippe as he moved about and swayed to the music, his small movements beccoming greatly amplified behind him.

Je me sentais si seule
Même quand tu étais proche
Et j'avais trop de peur
Mais ce soir je vais sortir, je vais me sentir vivant
Et je vais ressentir quelque chose, je vais sentir quelqu'un encore une fois
Dans la chaleur de la nuit, dans la fumée, je vais le retrouver

There is not actually much to report insofar as this chorus goes once it was fade transitioned into, where really the focus was on the neon silhouettes on the LED screen, interspersed with shots of the band members, throw in the odd smouldering look that Philippe could be relied upon to provide, or Alex boogieing along in a rather adorable fashion. There were more lights being used to add an extra bit of oomph. The final series of shots of the chorus especially focused on the other band members, in such a way as to allow for Philippe to get between them. There had been some head scratching from the musical directors about how to deal with the fact that Philippe had ended up on the far side of the stage, given how the plan for the rest of the staging went, but they realised they didn't really need to bother with him going all the way, but rather he could nicely slot between the two of them. So, that was that sorted at least.

Paradis, paradisco
S'entompant dans la nuit
Oui, je tomberai amoureux de lui
Paradis, paradisco
S'entompant dans la brume
J'espère que ses bras m'attraperont
Paradis, paradisco
Paradis, paradisco

With the transition into the bridge, the lights shifted from the blues and purples that they had been pretty much the entirity of the performance, which may certainly have been a relief to some, swithing to a deep, dark, orange shade, as if almost from an old, dying pre-LED light source. It felt almost at this point as if Philippe had walked out of the club for a moment, to get some air, to air his grievances, and to ready himself to go back onto the dancefloor once again and to make it his home, to make it the paradise he thought he had found before (notwithstanding the underlying irony within the entire song, of course). The shots unsurprisingly were close in this section, very close, trying to keep everything nice and intimate, with Philippe singing into the camera as if he were singing to his lover, pouring a fair amount of emotion, tapping on his previous relationships even, making it clear that the bridges were burnt and he starting once again (as, of course, the chorus would eventually for one final time).

Ça te fait mal, j'le sais
Mais tu sais que tu peux pas
Pas te plaindre
Alors, j'entre sur le piste
Pour trouver un autre paradis
Mon paradis, ouais

Sudden cut to Jean-Luc, arms above his head, clapping along with the thumping beat of the song at this point. He was lit by a large, yet solitary spotlight, deep purple in colour. Sudden cut then to Alex, who then took up the clapping duties. The hope of the Normand directing team was that they'd manage to get the crowd in the venue to clap along, indeed it was hoped it would be a bit of a moment, and thus there was a cut to a shot of the audience, perhaps wisely focusing on the small Normand contingent who were happy to do their part (and throw in some cheering as they did so). Then back to the stage and back to Philippe, who, as the song burst full throttle into the final chorus, casually spun his guitar (which he had left at the front of the stage earlier, and had been kindly moved by a stage hand to the middle of the stage where Philippe could pick it up during the audience shot) around 360 (see Sanremo 2021 for how this might be done slightly more extremely; the wonders of a nifty bit of kit), and then proceeded to join in playing with the band for the final chorus. The shots for this final chorus were much wider than had generally been used for the rest of the performance, to show all the band performing, to show the crowd, and to show the LED screen, which had various shots bleeding in and out, fading in and out, including the odd smoldering look from Philippe, zoomed in on and used as an excuse to fade to Philippe providing exactly the same look, then a zoom out to show the band again. The easy pyro option was avoided; it wasn't that kind of song they felt. Then, as the song slowly came to an end, as the club finally had to shut, the lights, the colours, all seemed to come in and converge on Philippe and slowly fade. The Normand directors had not been able to start in darkness but they got as close as they could to doing so at the end. The final shot was of Philippe, fist raised in the air, lit by a spotlight.

Paradis, paradisco
S'entompant dans la nuit
Oui, je tomberai amoureux de lui
Paradis, paradisco
S'entompant dans la brume
J'espère que ses bras m'attraperont
Paradis, paradisco
Paradis, paradisco
Paradis, paradisco
Paradis, paradisco

As the lights in the venue came back to life once again, Alex and Jean-Luc ran up and grabbed Philippe, and the three formed a huddle once more, this time on the stage as the crowd cheered. They had done it. "MERCI!" Philippe shouted, "MERCI SCOTATROVE! MERCI FIC!", or at least he tried to, amongst the general giddiness of the group. They were not really being the producers friends again, as they were hurried off so the next act could perform. They'd definitely be making use of the complementary drinks, at first to celebrate, and then to help them get through the long night to come...

by **Yu-Gi-Oh SEVENS** » Tue Feb 15, 2022 1:47 pm

XX
The Sevens Federation
7Go - "77"
Language(s):English,Japanese,Seven
Title Transcription:
Title Translation:
Tune: [url=YOUTUBE_LINK]https://www.youtube.com/watch?v=Ai9qSRXkoyQ[/url]
Additional Information
Lyrics:7Go
Music:7Go
Trigramme: SEF

by **Antahbrantahstan** » Wed Feb 16, 2022 9:12 am

XX
Antahbrantahstan
Mika Aiman - "Berlabuh"
Language(s): Indonesian, English
Title Translation: Sailing
Tune: Omar Rudberg - Dum
Additional Information
Lyrics: Mika Aiman
Music: Mika Aiman
Trigramme: ANT

The stage is dim, a contrast from whichever nation Antahbrantahstan performs in. The camera captures Mika, all being done in black-and-white, with visible black bars covering the top and bottom half of the screen for the television audience. Mika sits on a simple wooden stool, with no embellishments and effects whatsoever, making sure the attention is solely on Mika only. Although sitting on the back near the LED screen, Mika sits so that what the camera audience sees is simply Mika with the thin LED strips behind.

Mika's voice is raw, without any some sort of effects or lavish vocal techniques this song contest has seen. His voice, while not present in the studio version, slightly shakes in the beginning. Presumably, this love is just too painful for him to push through, to prevent the audience from suffering a (or another, depending on their romantic experiences) heartbreak that he had. He does not harbor any grudges whatsoever, for his intention is solely to perform, and be some sort of storyteller for the World Hit telespectators. Minimal lights accompany the performance, making sure the performance has a degree of intimacy, almost like a lounge or a small club.

Mika closed his eyes before the "It hurts.." verse, afterwards singing quite fastly, a contrast to the more subdued and intimate style of singing we have seen before, and soon after, the lights (and the camera) dimmed. With the intention of setting up the audience for some sort of "crescendo", as per Mika's terms, even if it's inaccurate to describe it.

I know i’m just not good, to have someone like you
The truth is just so bitter, but i’ll handle it all

It hurts to see your face that begs for somebody to set them free
Pelampiasan?
‘Cause your emotion’s clinging to someone old, and not one’s holding your hand

The camera then shot the stage from the front, revealing the LED screen (With the cameras still in black and white) portraying an image of cumulonimbus clouds, with five backing singers, all members of the Santa Maria Immaculata Church Choir, accompanying Mika, providing beautiful choral harmonies on top of Mika's raw, hurtful vocals. Almost gospel-like, the harmonies elevate the performance into a very heaven-like level, balancing the contrast between the soulful choral voices and the raw vocalizations Mika does.

Sejak ku lahir
Ku tak pernah jadi pelabuhan akhir
Kau berlabuh
Kau berlabuh

Mika now faces the entire audience directly, instead of facing towards one side of the venue. As per before, Mika continues to perform raw vocals atop his stool, although later he would stand up slowly, now taking the centerpiece, the spotlight, for himself to be the storyteller of his heartbreak.

Though you never told me, i know you still
Wish that you are holding his hands
And not towards my own

It hurts to see your face that begs for somebody to set them free
Pelampiasan?
‘Cause your emotion’s clinging to someone old, and not one’s holding your hand

The chorus now begins (again), as per usual, Mika and the chorus continue to sing with outmost raw, melodious harmonies the audience sees in the beginning.

Sejak ku lahir
Ku tak pernah jadi pelabuhan akhir
Kau berlabuh
Kau berlabuh

Slowly, the black bars disappeared, allowing the TV audience to view Mika's performance in fullscreen, accompanied by the black and white filter slowly changing to colour. The stage immediately darkens, save for a spotlight and Mika singing, standing in the center. Mika, tortured by the heartbreak and suffering he went after knowing his lover's love was fake after all, seemingly lost his voice a little, visibly shaking. Mika, in a last ditch effort, reaches his arms into the crowd, trying to grab the lover that never was.

Benteng pertahanan yang kumiliki runtuh
Tapi sia-sia aku mengeluh
Sampai kapankah
Kamu memendam
Senyummu palsu, Dan juga cintamu?

In the final spectacle, the LED screen lights up again, revealing the same, dimmed lake image as in the album cover, with several mist effects engulfing the stage floor. Mika, his voice more soulful than ever, continues to sing with such emotion and bravura alongside the choral harmonies accompanying him. Melodramatic, MIka finally ends this chorus with some falsettos and vocal embellishments, which becomes an outlet for him to vent his frustrations towards his lover. And soon after, the stage darkens, and MIka, one of his arms reaching to the crowd, becomes the final sight the audience sees from this performance.

Sejak ku lahir
Ku tak pernah jadi pelabuhan akhir
Kau berlabuh
Kau berlabuh

Mika immediately bowed, and with his backing singers accompanying him, shouted "Thank you Scotatrova!" to the crowd, before exiting the stage.

by **Britonisea** » Sat Feb 26, 2022 6:02 pm

XX
Britonisea
TR3SANGULIS - "Ethereal"
Language(s): English
Tune: KEiiNO- MONUMENT
Additional Information
Lyrics: Karjohan Allard, Reis Allard, Georgina Allard
Music: Karjohan Allard, Reis Allard, Georgina Allard
Trigramme: BRI

Revealed on the 27 February 2021: TR3SANGULIS sent their song, "Ethereal" to Vha Mehlodhivestoile 2022, where they placed 2nd overall...

Britonisea returns once again to the World Hit Festival with Vha Mehlodhivestoile 2021 runner-ups, TR3SANGULIS who are trying their luck in Scotatrova for the 63rd World Hit Festival...

Similarly to last edition, Brityunik Vefecosoin Ciarkovoin - while quite a rich broadcaster - has still faced a lot of cuts to the budget of their Music & Entertainment budget ever since the World Hit Festival headquarters left Britonish shores. This meant that while Britonisea managed to participate at every single World Hit Festival during its overseership, the nation is likely now to fall back to its old pattern of participation before the 40th World Hit Festival, taking the odd break here and there. World Hit Festival happens rather regularly and since BVC does have shows of its own, the broadcaster has opted to focus on those but especially around this time of year with Vha Mehlodhivestoile starting in only a couple of weeks. World Hit Festival is due to go live on the 12th March, the same night as the WorldVision Song Contest over on BITC and the reason why BVC decided to participate was to try and keep some of the televiewers on BVC ahead of Vha Mehlodhivestoile which launches a week afterwards. It was announced pretty early on that DRAKOS would represent Britonisea at the upcoming contest and that he would perform live on an episode of BVC: A Hit For The World. However, DRAKOS' management and BVC had a disagreement about the direction of the song, and his management thought that they needed more time to heed BVC's demands. While it is expected that DRAKOS will represent Britonisea at an upcoming World Hit Festival, BVC and DRAKOS' management knew that it wouldn't be this edition. BVC were left to think about who they could send to the World Hit Festival and initially missed the first deadline to get involved in the contest. Similarly to the edition before, the contest experienced low numbers and after the deadline was extended, Britonisea sought to return to the WorldVision Song Contest with familiar faces.

TR3SANGULIS is a three-person group made up of siblings. Their name is rather unique, with it owing to being similar to "triangle" to represent the three of them, but also including the word "sang" which is the word for blood in French, owing to their relationship as siblings - you could even interpret "sang" as their profession too! The group consists of Karjohan, Reis and Georgina, all of whom were born in Swithique - in the south of Britonisea. Georgina and Karjohan are twins, both 26 while Reis is slightly older than them - 28 years old. At Vha Mehlodhivestoile, the group were debutantes, who usually do pretty well at Vha Mehlodhivestoile. Last year, the top five were debuting acts and TR3SANGULIS was amongst them - finishing 2nd, only two points away from the eventual winner Aaliyah Banques who went on to represent Britonisea at the WorldVision Song Contest - and came 2nd. Josh Morris, who finished third overall, went to World Hit Festival 59 - and ended up winning in Achaean Republic meaning that Britonisea hosted the proceeding edition. You would hope that since TR3SANGULIS did better than Josh Morris, they will come first in Scotatrova? TR3SANGULIS rejected going to the 91st WorldVision Song Contest as they wanted to see if they could return to Vha Mehlodhivestoile the following year. Whilst they were rumoured to be participating, their participation at the 63rd World Hit Festival suggests that this is highly unlikely.

Alas, it was confirmed on the 27 February that they would be going to they would be going to Vha Mehlodhivestoile for the 7th edition.

At the start of the song they wore light clothing in front of a mountainous background which appeared in front of smoke and lasers which beamed from behind them. The three of them stood fiercely with their faces not yet being lit up. As the song started, the light slowly turned on...

The war in our hearts is building,
The pain grows as we are apart.
I yearn daily for your return, I want you in my arms.
Crying as I'm fighting the demons in my mind, they're in my mind.

Our love is long-lasting, it can withstand all
Stronger than the most ruthless of oceans yet our bond is ethereal.

As some inaudible sounds in Britonish could be heard in the background, the three members of TR3SANGULIS stood with their back against one another's. The camera circled around them as they looked deeply into each one. The lasers were coming from all corners.

Can you feel the passion rising?
A force, a feeling that transcends.
Can you feel that I'm waiting for you?
With open arms, I'm here.

Quand vwi wirlyds collidevie
Quand i neue lien beguiè
I enlier enlitter on vhe corghv
Uiest nawes farar.

When two worlds collide
When a new bond has begun
A spark sets off in the heart
It won't be forgotten

Our love is long-lasting, it can withstand all,
It’s greater than our largest mountains.
Stronger than the most ruthless of oceans yet our bond is ethereal.
Woah-oh-oh ethereal
Stronger than the most ruthless of oceans yet our bond is ethereal.

At this point of the song a huge wave crashes from the screen behind them and fills the entire stage, turning it into blue. There were then some very slow cinematic shots...

Quand vwi wirlyds collidevie
Quand i neue lien beguiè
I enlier enlitter on vhe corghv
Uiest nawes farar.

When two worlds collide
When a new bond has begun
A spark sets off in the heart
It won't be forgotten

As the Britonish lines were sung, we focused mainly on Reis. We saw glimpses of the twins as they looked around the stage hopelessly. The laser returned with the picture on the back showing the dramatic collision between two planets.

Woah-oh-oh ethereal
Heaven, when I'm with you
Ethereal,
Our bond is ethereal!

As Georgina belts that final word of the pre chorus there was a quick zoom out over the audience who cheered in amazement. Wow! Pyrotechnics shot into the air as they all strutted down the very long stage.

It is so heavenly,
It’s greater than our largest mountains.
Stronger than the most ruthless of oceans yet our bond is ethereal.
Woah-oh-oh ethereal
It’s greater than our largest mountains.
Stronger than the most ruthless of oceans yet our bond is ethereal.

At the end of the song, the Scotatrovans in the audience cheered for their Britonish counterparts, "Thank you all so much" Reis shouts to everyone, "Thanks!" the twins shouted.

by **Kalosia** » Sun Feb 27, 2022 10:17 am

XX
Kalosia
Daniéla Marcines - "Se tu voľi"
Language(s): Kalosian
Title Translation: If you want
Tune: Malú - A prueba de ti
Additional Information
Lyrics: Daniéla Marcines
Music: Daniéla Marcines
Trigramme: KLS

Following the final Festival dele Melodie Kalosiane held as the national final for the 60th World Hit Festival, Radiu-Televižio Kalosia had announced changes to the selection process for the Kalosian entry to the festival. The format had been unclear, however it was known that the idea was to promote up-and-coming artists, while big names could be sent to the WorldVision Song Contest instead.

3 editions later, these intentions have become cast in doubt, as there was still a lack of clarity surrounding it. Addressing assumptions that the new format was simply the internal selections of newcoming artists, the Kalosian head of delegation to the contest confirmed that a public national final format was planned for the future of the nation's participation in the contest, however there have been certain challenges on getting the show running that have led to a delay in its launch. He reassured however that he was committed to making it happen.

For the time being, RTVK scouted Daniéla Marcines, a 32-year old singer from Pekeñë Maľorka (also known as Pekegna Magliorka), a town on the Lecirian coast. While she isn't exactly new to the music scene, she isn't a household name at all. During the day, she works as a music teacher for schoolchildren, but in her free time she extends her love of music to performances at her community church as well as local events. She also writes her own songs and even has self-published them on music streaming platforms. That said, she never really had any ambitions for a bigger music career.

She submitted to the broadcaster a song she wrote herself. A lot of her past music took up religious themes or otherwise talked about lighter topics such as nature, and they were slower in nature. Many WHF fans had speculated the entry was going to be not unlike the songs we often hear representing Caryton in the IBA song contests. However, it turned out to be a midtempo rock ballad discussing a past relationship, marking a departure from her known repertoire. Not that it was unusual for artists to perform something a little different than their usual fare for an international song contest.

The song, Se tu voľi, is sung from the perspective of a woman lamenting on a past relationship. The lyrics imply that he has moved on (some interpretations suggest that he was the one to end the relationship), but evidently the singer has held on. As a resolve, she offers to get back with him, for old times' sake.

For the big night, our strawberry blonde singer wore a white dress with notoriously wide sleeves, and brought with her an electric guitar. Basically she looked like this but with the dress being floor-length.

Now, as the song began, Daniéla stepped on the stage, where she was accompanied by a band. She stood behind a mic stand, playing her guitar, and started singing.

Kadë ja portu Ťesar a pašu
Sentu tia risatë u soji baji
Tu rëkordiz? Hm
Ti plaševu kelu kanu

In the background screens, imagery of a field or park with trees could be seen, but it was warm (in terms of colour temperature) and desaturated. White and gold lights dominate the illumination.

E kadë ja vaú ale strade
Oñë visu kë ja vidu portami
A ti
Komë se tu stesë ki kon mi

Now as we move on to the pre-chorus, the cameras switch from close-ups to mid shots.

Kadë li steli
Kadonu da lë ťelu
Ja voľu dirë ti: mi manki tantu tu

And finally as we enter the chorus we get wide shots, with the audience in view, enjoying Daniéla's rather innocuous performance.

Ridu ja, planǧu ja
Ja penšavu kë la vitë sarebë
Andatë
Ma uvež penšu a ti

Sej feliž, ma es tristë
Kë lë tempu a noš separatë kosi
Venël or
Pošamu rëviverë lo se tu voľi

As the chorus comes to an end, the cameras show a close up of Daniéla as she sings this next bit.

Se tu voľi

And then the cameras switch to the backing band as she takes off the guitar off-camera. As we reenter the verse, Daniéla is seen taking off the mic from the stand and she takes a few steps down the catwalk.

Forse per ti es un žornu novu
Ma sej diventatu miu eternu sol
Kapiz tu? Hm
Mi plaševu tiu toku

The catwalk is certainly massive, Daniéla would be lying if she said she didn't find it intimidating. The LED floor was turned off for this performance, as having it in light colours would clash with her outfit.

Kadë la nevë
Žela tiu koru fridu
Voľu prometerë: ti daru kalor

Now as we return to the chorus, Daniéla is singing powerful than ever. She is definitely having a fun time on stage, in a moment that will likely become the height of her music career.

Ridu ja, planǧu ja
Ja penšavu kë la vitë sarebë
Andatë
Ma uvež penšu a ti

Sej feliž, ma es tristë
Kë lë tempu a noš separatë kosi
Venël or
Pošamu rëviverë lo

As she repeats the chorus, she reaches her hand out into the crowd, interacting with them.

Ridu ja, planǧu ja
Ja penšavu kë la vitë sarebë
Andatë
Ma uvež penšu a ti

Sej feliž, ma es tristë
Kë lë tempu a noš separatë kosi
Venël or
Pošamu rëviverë lo se tu voľi

Eventually, she reaches the end of the catwalk, where another mic stand was waiting for her. She sings this bridge as she attaches the mic to the stand

Staj u tuti soñi moji
Vamu tornarë a l’amurë kë konoševamu

As she lets out a powerful long note, the camera closes in on her before an instrumental break then begins. She extends her arms as the wind machine blows, making her gigantic sleeves fly in the wind. The camera also focuses on the guitar-playing band member here. The crowd cheers.

Eventually, as Daniéla sings this next drum-dominated part, she raises her hands and claps, encouraging the audience to do so. The lights also flash to the rhythm of the clapping.

Ridu ja, planǧu ja
Ja penšavu kë la vitë sarebë
Andatë
Ma uvež penšu a ti

Now, she takes the mic and makes it back to the main stage, again extending her hand towards the audience as if to high-five them in the air (but without actually interacting with them like earlier).

Sej feliž, ma es tristë
Kë lë tempu a noš separatë kosi
Venël or
Pošamu rëviverë lo se tu voľi

Having returned to the base of the stage, she quickly attaches the mic to the stand that she left behind earlier, and sings the final two lines of the song.

Se tu voľi
Solo se voľi

As the song came to an end, the audience clapped rather politely. Indeed, the performance was rather humble, but Daniéla was pleased. "Gražia, greixas!" she shouted. After taking a bow, she and her band left the stage to allow the next act to set up.

by **Todlichebujoku** » Sun Feb 27, 2022 4:48 pm

Let You Go

Kenstas Kaivaano
Tune: Gryffin & SLANDER ft. Calle Lehmann - "All You Need To Know (Acoustic)"

It was growing brighter outside as he finally began to write. He wiped away the tears of the night, and turned his attention to the blank sheet in front of him. It only seemed like a moment since the sun last set, yet it also seemed like an eternal night of collapse and destruction. Breathe in. Breathe out. The birds sing out, the city awakens, life must go on, even though it ends.

Maybe I'm blind. Maybe I'm deaf. Maybe I'm oblivious, or quite simply stupid. I always thought things were going alright, going fine, that we would go on to have a family, make all the arrangements, and live our lives til the end. I never saw the signs you showed. I never understood the hints you sent. Maybe I was too caught up in assuming the best, that everything had a perfectly innocuous cause, giving you the benefit of the doubt when I really shouldn't have. We made it through three anniversaries since our first date, and in not one of those, nor at the engagement, did I ever think that anything was awry. You were... are the world to me, and I don't know how I'm going to release myself from your orbit, now that all I'm clinging to are memories. I thought we were as one, and could never fathom how much darkness you were keeping hidden, shielded, behind that façade. I know you must have felt joy and felt alive inside with me at some point.. right? At this point, I don't even know, I could only hope, looking back. And I always thought I did.

Tell me, what could I have done to fix it all? I know, I'm no archmage or priest, but I know that there must have been something I could have done to ease the suffering that was eating you inside. I brought you treats, cooked you good food, gave you my all.. but I guess it must have been that bravado that I loved so much about you, that tricked me into believing that you were just tired, just sore, falling victim to the unrelenting pace of age as I was. It just kills me, though, to think about what I could have done. I'd have moved the heavens if only you'd told me upfront, but you never would, because... well, because you must have tried to shield me from all that was inside you. Well, look where we are now. I'm sorry, I'm just... I'm getting worked up, getting aggressive, because I love you so damn much I can't stand to be sitting here, knowing that you tried to save me but in doing so, didn't save yourself. I have to respect that, I do, but the sheer hubris- I could have helped you, and it destroys me to think that all this happened and I could have done something, anything, if only I had known. We could have worked through this together, like we did for everything else, but no. You had to walk that path alone. And I hate you for it, but even so, I can't bring myself to let that hate bleed into the rest of my love for you, for all that you were to me and all that we had done and lived together.

I suppose I can only hope that our time together, it gave you joy, some measure of hope, to stave off this horrible ending. I can only hope that my love and my actions gave you the strength to live out these last years, that you wish in all your soul and being that you could have stayed with me, if not for the unbreakable pull and dissociation that wreaked havoc upon you at a fever pitch. I don't know if I'll ever be blessed, or cursed, to love someone as much as I loved you. For what it's worth.. one day, we will meet once again in the afterlife, and truly embrace and commune once more. Even if you answer my pleading on some full moon, I'll always be dreaming of finally joining with you again, in that final eternity that awaits. And.. I don't know how to end this letter. As if I knew how to end anything, anyway. I guess I should say.. thank you for bringing light into my life, and I hope I brought light into yours as well.

Til we meet again.

Fresh tears welled forth within his eyes as he fought to keep awake. He delicately folded the letter into the form of a falcon, and quietly gazed up on it for a few moments. Then, with a baleful hiccup as he tried to keep from outright weeping, he cast it into the dying embers of the incense burner, and watched it shrivel into ashes, the smoke ascending into the air, into the realm of spirits.

Kenstas hadn't expected such a show of support in Darkmania when he had first performed the song in WorldVision 92. The cheering crowds that night, the joyous reception that greeted him on his arrival back home... He never thought he'd come back with one of the best scores for the nation in ages, and and it all simply felt surreal, unbelievable. But even so, he could never forget where it all started. Kneeling at Riki's grave, he wept into the offerings he brought, the emotions roiling once more within him as he felt a resurgence of despair and longing mixing with a sense of guilt at exploiting it all for success. Even after leaving the cemetery, it continued to eat him up inside, driving him into a downward spiral. At an event not long after, Váinö picked up on the changes, taking him aside for an emergency one-on-one intervention. Thanks to this, Kenstas found himself in therapy, working through his tangle of belief, self-blame, and justifications. Though he tried to contact Riku at his temple, his efforts came to naught as it seemed the time was not quite right for such an occurrence. Even so, Kenstas found himself increasingly able to carry on with everyday life, and career without feeling the cloud of misery and guilt that had hung over him for what seemed like ages. It all came to a head when Estegoa100 contacted him to appear in the World Hit Festival. Earlier, he would have categorically declined, feeling terrible for exploiting his memory of his love. But now, he realized. Riku would have wished him to be successful, and this was they way he was helping Kenstas on his journey. With a deep breath, and of course with support from Váinö, Kenstas accepted the offer and soon landed in Eritús.

Ice blue. Pure black. And then, a spotlight, soft but steady, casting a golden glow upon Kenstas. He is in an all black, slim fitting suit, seated at a black piano on the projecting platform, lit just so it seems like he is adrift within the audience. Face placid, gazing off into the distance, he begins, as if mentally in another world. On the other side of the piano sits Váinö, who had co-written the song with him, also clad in all-black, cradling a guitar with his head cast downward

Lay your hands on me
Walk with me one more time
We can trek across a thousand seas
Tell me what's on your mind

Kenstas breaks off his thousand yard stare, and gazes downward, before acknowledging the camera view on him. A mixture of grief and hope is visible on his face, perhaps a hint of desperation, as he soon stares off beyond the camera view over the audience, with Váinö calmly strumming his guitar in the distance

Though it can't be real, it's still real to me
Cast all of my fears from reality
Let me hold your hand, as the stars align
Tell me what you see
Tell me what you see

Pursing his lips, trying to suppress the wellspring of emotions surging forth within him, he continues into the chorus, voice quavering but ultimately holding steady. The light upon him shifts from a soft gold to a cold shade of moonlight, reflecting off the piano keys as the camera view slowly swings around in a close shot

Don't hide away your twisted pain
Don't shield me from the freezing rain
'Cause now that I'm left on my own
I can't stand to let you go

The sun sets with a burning red
That night, I would take mine instead
I'm left to live all on my own
And it hurts to let you go
Oh...

And it hurts to let you go

Kenstas's visage comes back into the present, as he turns back to follow the camera view with a weary but determined expression. The light, back to a soft gold, washes the scene in a nearly dreamy cast, as he forces a slight smile at the end of the stanza

Show me what you need
Know I won't let you down
Even in our last eternity
Our souls are forever bound

Additional spotlights come into play around the stage, illuminating it further as Kenstas's voice strengthens, his conviction becoming noticeable as he pleads to the camera view, a sort of desperate hope visible in his eyes

In the darkest night, come and bare your heart
Don't turn away until it falls apart
Let me hold your hand, heed the stars no mind
Tell me what you see
Tell me what you see

And now, his voice magnifies and fills the arena, raw with passion, blinking back tears, as spotlights sweep out from the edge of the stage floor, over the audience in a radial fashion, the camera view coasting over the beams as it captures a 360 degree view of the two, periodically interspersed with closer shots of Kenstas giving his all

Don't hide away your twisted pain
Don't shield me from the freezing rain
'Cause now that I'm left on my own
I can't stand to let you go

The sun sets with a burning red
That night, I would take mine instead
I'm left to live all on my own
And it hurts to let you go
Oh...

And it hurts to let you go

The lights pare back down to the two on Kenstas and Váinö, though a bit harsher now, as the camera view comes in for a close shot, capturing the shadows and highlights of Kensta's downcast face

Ooh, how it hurts
How it hurts to let you go
It hurts, yeah

And now, the lights sweep out over the audience once again, along with a circle of lights centered on the two performers on stage. After a number of wider shots, the camera view cuts in closer to capture Kenstas at probably the most animated he's been the whole performance, letting his emotions out and mildly forgetting about the camera's existence, as he is caught up in the moment

And it hurts to let you go
Oh...
Hurts so much to let you go
Oh...
It hurts, yeah
Hurts to let you go
Oh...
And it hurts to let you go
Oh...

Slowly, the extraneous spotlights begin to fade away, as the camera view slowly comes forward to rest on a close shot of Kensta's face as he gradually fades into darkness

And I'm so scared to let you go

With that, he closes his eyes and disappears into the black of darkness

"Kiitos, thank you," says Kenstas as he nods to the audience. He and Váinö share a hug before exiting the stage.

He needed a moment to compose himself. Shutting himself into a backstage room, he patted his eyes dry and took his time to breathe, and whisper a prayer once again. He looked up into a mirror, and for a moment Riku was there, nodding, a hand on Kenstas's shoulder. And just as swiftly he was gone, the warmth still lingering on his shoulder as he turned around in shock to empty air and an open door.

World Hit Festival 63 | Eritús, Scotatrova | Draft Thread

World Hit Festival 63 | Eritús, Scotatrova | Draft Thread

StrayaRoos (WIP)

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XX | Britonisea | TR3SANGULIS - Ethereal

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