BVC | 27th World Hit Festival | Kyvivre, Britonisea

by **Britonisea** » Mon Sep 19, 2016 12:37 pm

OOC Thread / Draft Thread

A BVC Production: The 27th World Hit Festival

As the audience cheered, the TV Viewers quickly switched from an interactive version of the logo, to reminders of 26th World Hit Festival in Kalosia. The video featured the Kalosian audience cheering for their acts, before going through all of the songs that had participated. But, the seemed to have missed out two performances, one from Izmedu and one from Britonisea. As they showed the interval act in the previous contest, the camera then showed a moving picture of Izmedu's artist on stage and Britonisea's artist on stage - and in front appeared the words, "BUT WHO HAD THE LUCKY FATE?" The next few minutes of the video showed the long drawn out voting period. A song started further increasing the tension of the watcher. In both arenakyvivre and the video, you could see people gasping at the result, as the end came clearer. At 2:07 of the sound, the winner was announced..."BRITONISEA!" You then saw Rigas Jengiz holding the World Hit trophy in the air before the picture turned black and grey. Times are changing. As the song continued to play, the next few videos saw the mounting of the World Hit stage, one of the most grand stages of the World Hit ever made. Also featured was the putting up of the WHF 27 bunting and the street parties, for each nation, being set up. At 3:04, the cameras zoomed in on the gates of arenakyvivre. When Arenakyvivre's door opened, the music started again, and with the mass of people entering, two people were leading the group. Mini Surrey North and Rigas Jengiz, holding the World Hit trophy. As they walked in, the video showed all the logos of all the previous World Hit Festival, similar to the arrangements shown here. The camera then went in to the arena, where people began to cheer. They started to count down from ten, as the numbers appeared on the screen. "TEN. NINE. EIGHT. SEVEN. SIX. FIVE. FOUR. THREE. TWO.....ONE!" The stage lit up with sparklers reaching the sky as the camera swirled around to see the faces of the audience, before swirling back around to see two sihlouettes. "Ladies and Gentlemen! Welcome to the 27th World Hit Festival, in Kyvivre. Welcome, to the stage, your hosts! RIGAS JENGIZ and MINI SURREY NORTH!" The women came out in their dresses, looking amazing. As they came out the audience cheered and finally died out.

Rigas: Welcome to Kyvivre!
Mini: I am your co-host, Mini.
Rigas: And I am Rigas!

*Audience cheers*

Mini: After an exciting time in World Hit Festival 26, we are finally in Britonisea! We've waited so long for this contest to arrive here, and we have finally received the rights to host!
Rigas: Very exciting, I must admit.
Mini: Okay, so, Rigas. I've got to ask you something.
Rigas: What is it?
Mini: Well, last edition of the World Hit, I was contacted by the Izmeduan broadcaster...*Looks at the camera menacingly*
Rigas: Right...
Mini: And they weren't happy. They asked for a...ummm, rematch?
Rigas: A what? A what!? I wasn't planning to perform today!
Mini: Well, here's the mic, and um, good luck!
Rigas: *Receives microphone* Hey, Mini! MINI!

Zoran Saldo walks on to the stage, you could see the shock horror on Rigas' face. She looks ready to go against Zoran, once again.

Credit to Izmedu for the stage directions from WHF26!

Tune: 0.00s

I'm caught up in pain, your helpless form lying down
Breathing slow as I could feel your fragile mortality
My hands gripped to yours, a hopeless anchor uncaught
Your existence is gone, all in a single moment (don't fade away...)

Zoran would begin the song with the first few songs as a lonely-sounding piano would provide the backdrop to the song shortly after. He enunciated each line slowly, pausing to take a step forward . The spotlight on him gradually became stronger as he walked forward, with the camera making a slow revolution around him as the rest of the stage remained dark during the verse. He reached out to the camera at certain parts, with the view right in front of him during the third line.

At the fourth line, the camera turned sideways as a holographic projection of a ghostly human figure appeared. When the song reached the end of the verse, the camera cut to a sideways shot of Zoran's free hand reaching out to that projection, with it suddenly 'fading' as Zoran made 'contact' with the transient figure. In the lead-up to the chorus, the camera turned around to focus on Zoran's forlorn expression at what just occurred.

This unending despair
Whose chains shackle me
That I try to break away
And hide in the darkness
But I couldn't escape them
Caught up in its tragic web
I reach for my penitence
As a last salve

The LED screen had turned off and a lone light was on Rigas who stood behind Zoran. He turned around and gave her a smile.

Tune 0.58s

A million tries,
Knocked down, I've run out of time.
My destiny ahead of me,
Looks bleak, blurry, unkind.

No armor on, muscle exposed.
A fight I, must (pull off)
(On my own) Carrying my name,
No disappointment

The violins and the doublebass instruments came in at the end of this section of the song, creating a feel of the song coming together and feeling whole. The camera panned out of the arena, and the people swaying in a gospel manner before zooming in on the doublebass players - who were located behind a kneeling Rigas on the floor.

"No rules,
Improvise" - They tell me on repeat.
Though no-one feels this pain I have inside.
The knowledge, I know, has died and gone away.
My mind's cold, my minds weak
As my soul weeps

The camera was close up on her face. She was kneeling on the floor, and the surrounding stage behind her was dark. You couldn't see anything.

The disappointment,
A word so strong, it's taboo
A word a child is scared of
A word worth of avoiding
A word that destroys you and your home
A word that spreads like wildfire,
In your mind - fast.

Tune 1.11s

This unending despair
Whose chains shackle me
That I try to break away
And hide in the darkness
But I couldn't escape them
Caught up in its tragic web
I reach for my penitence
As a last salve

An empty chamber appeared onto the screens, with Zoran 'standing' on its ornate designed floor as a coffin could be seen on the background screens. This next-to-last refrain saw Zoran unleash his most passionate vocals, almost kneeling down to the floor at parts as the camera maintained a semi-wide view, with the one ghost that Zoran 'touched' earlier appearing once again, looking down at him as he sang the refrain with an emotional intensity that almost caused him to go down to the floor, holding his chest as he did so. The wide chamber on the screens only accentuated the isolation entrenching the song, the 'ghosts' on the stage slowly fading away one by one after each line of the refrain.

But I couldn't escape them
Caught up in its tragic web
I reach for my penitence
As a last salve

There was only one more refrain to go as Zoran repeated one half of the chorus, the one ghost that haunted him perpetually remaining on the stage with him as all semblances of stable emotion were lost. The orchestra had reached their instrumental peak as Zoran could only look forward, the camera remaining somewhat static as the song reached its near-end.

I reach for my penitence
As a last salve

Tune 2.57s

(Hide, you face) Aye
(No disgrace) Aye
(A believe in yourself) Aye
(Hide your emotion) Aye
(Believable, unknown) Aye
(A word, that, destroys you!) Woo! Woo! Woo!

I'm scared too,
I feel alone,
One step more, there I fall

The whirlwind of the leaves stopped when she raised her hands in the air. The camera quickly zoomed out on to the audience. The song then got louder and the stage lit up brightly.

The disappointment,
A word so strong, it's taboo
A word a child is scared of
A word worth of avoiding
A word that destroys you and your home
A word that spreads like wildfire,
In your mind - fast.

The camera then twirled around her, as she looked out in to the audience. Slowly, she was moving backwards near the orchestra, who still played with a high level of commitment and interest.

It takes you, and your mind, You're sanity.
The disappointment.

As the song finished, Rigas and Zoran hugged each other. The camera then panned to the other side of the arena, where the national parade was about to start.

by **Britonisea** » Mon Sep 19, 2016 12:39 pm

OFFICIAL RUNNING ORDER WHF27

"Sour Grapes" by Jon and his sister Kelly Timrenman started to play throughout the arena as the delegations came out. On the screen behind, a large number came on screen followed by the nation name below it. The audience started to scream as the first nation came out.

01
ETHANE

02
IZMEDU

03
TODLICHEBUJOKU

04
WEST PHOENICIA

05
ANOLLASIA

06
BRITONISEA

07
DIARCESIA

08
DARKMANIA

09
MERCEDINI

10
KALOSIA

11
ESTOGIUM

12
ARIOSLAVIA

13
CHEONGJI

14
NORMANDY AND PICARDY

At the end, everyone cheered as sparklers flew in to the sky. The arena started to quieten as the first postcard started on the screens below, the postcard of Ethane.

BREAK: An interview with Diarcesia's MINA

BREAK: An interview with Gloria of Mercedini

BREAK: An interview with Maxi of Anollasia

Voting Instructions

Interval

Results

by **Britonisea** » Mon Sep 19, 2016 12:48 pm

Tune here

Jeremy Granger is back. After his strong performance in Worldvision 46, which was in Oreo City, Jeremy has decided to continue to perform for Ethane in international competitions, this time chosen for the 27th edition of the World Hit Festival, held in Britonisea. Having achieved a record placing for Ethane at the time, Jeremy will be looking to achieve a record for Ethane here, with a win in Britonisea.

He hasn't been quiet during the gap in between the competitions though. After his success in Worldvision, he launched his solo career, releasing an album on to the Ethanese market, which charted at 12, with the single, 'Home', charting seventh in the singles charts. After releasing this album, he formed a duo with Adam, who he has been working with to produce an album, which is set for release come the new year.

Adam Sheefar is a guy who's finished school at the same time as Jeremy, and in the same school. They used to be great friends, but went off to do their own musical things, of which Jeremy had more success. However, both have decided to group up and create some music of their own, starting with this song at the World Hit Festival, which will be one of the songs on their first album.

Jeremy and Adam are stood centre stage, with their respective instruments in their hands. Both are stood in front of a microphone. Yellow lights are shining down on them, and butterfly and flower holograms are all around the stage, creating a natural scene like the great outdoors. The crowd cheers as the music starts, and they begin to sing, the camera focused on their face. A small amount of bird song can be heard behind the song.

Sunlight, happiness glows,
stay bright, summer full of green but it never lasts.

The lights dim down until there is only a solitary spotlight on either of the singers on stage. The nature scene fades away, and the birdsong that could be heard behind the song dies away. As 'winter nights' is sung, fake snow begins to fall down, originating from snow machines at the top of the stage.

The days turn to grey,
the green fades away,
goodbye to the melody,
that the birds sing,
in come winter nights,
and a lack of life,
buts thats not to say,
that you should run away.

The snow continues to fall, but the green nature scene also fades back into view. The two singers stay in front of the microphone, with the camera panning around the stage and the audience. Just a solitary spotlight remains on either of them, which makes the snow and nature stand out further, with the glowing lights of the snow and the nature providing light.

Its the seeds that you sow,
That help you to grow,
Green in amongst the snow.

Its the seeds that you sow,
That help you to grow,
Green in amongst the snow,
Green in amongst the snow.

Passion can be heard in their voices, but also dread at the fact there is no light. The camera starts off close to the face, before panning around to the audience, and then switching to a zoomed out overview of the whole stage. The nature once again fades out, leaving just the singers with solitary spotlights on them, and the snow falling.

No light, dull nowhere to go, can't see no,
Endless night, there's no light of day, again,
at least until the summer sun comes again.

The days are endless grey
the green faded away,
there is no melody,
that the birds used to sing,
here are the winter nights,
always a lack of life,
buts thats not to say,
that you should run away.

The nature once again fades back into view, the greenery getting denser and denser and brighter and brighter as the end of the song gets closer, reflecting the growth of the nature that is provided. This is a metaphor for the growth of yourself, and your beliefs, values, morals and life, with you developing from a small seed to this massive tree, as long as you sow the seeds.

Its the seeds that you sow,
That help you to grow,
Green in amongst the snow.

Its the seeds that you sow,
That help you to grow.

Its the seeds that you sow,
That help you to grow,
Green in amongst the snow.

Its the seeds that you sow,
That help you to grow,
Green in amongst the snow,
Green in amongst the snow.

Green in amongst the snow.
Green in amongst the snow.

The solitary spotlights fade away, leaving only the green nature, which is now mostly hologram trees, lighting up the arena. The snow continues to fall on the greenery, but as reflected in the metaphor of you continuing to grow as long as you sow the seeds for change, even in the difficult, dark times, then you continue to grow in yourself.

''Thank you Britonisea'' they both shout in unison, before walking off the stage, 'avoiding' the holographic greenery on the stage, allowing it to flourish.

by **Britonisea** » Mon Sep 19, 2016 12:52 pm

Tune here

“I'm by no means wise, but what I realized from living out these past few years... Is that we are all destined and fated to be alone, regardless of who we become close to. It hurt so much to lose... But I remind myself, if I just remind how much they made me feel free... All the strength they demonstrated and what was once there. I can take from that strength, and remind myself that it'll be okay...” - Etela Tomac

Loss was one of those demons that Etela Tomac could never quite escape, even despite years of positive energy, reinforcement, and surrounding herself with as many people that she could trust. Every time she thought her life would fall into place, there was always one piece of the puzzle that would falter, that she didn't know was a crack in the seams, which would unwind the hidden fragility that she had long tried to hide. It was this frustration and fear that she took with her as she was in Kyvivre, Britonisea, preparing herself to perform on that Britonish stage. With part being the unfettered follow-up to Izmedu's most successful World Hit Festival entry to date, there was expectation on her, on top of the emotional baggage she carried.

Not too dissimilar to Zoran Saldo in terms of past, Etela Tomac is a young singer at the tender age of 19. A bit socially isolated and recluse during her school years, she was raised with music around her as a way to allow Etela to become comfortable in her own skin. However, Etela's early escapades with music weren't quite as successful as her later endeavors in music. She was initially trying to aspire to be a muti-instrumentalist from a young age, but distant parents forced her to pursue her passion through a disinterested and faraway lens of having to source her own material to keep that flame of performing music alive.

Yet, not even the passion of being surrounded with music could escape her from her clutches in complete isolation at a young age. Despite her adolescence marked with a greater national stability, Etela's years through school were marked with her staying isolated, finding few friends as she descended into a bizarre pre-adulthood depression that caused her to almost falter in her schoolwork. Despite occupying such a bizarre place, neither being hated yet nor excessively loved. She was this aimless entity that had a love of music. It was around this time that Etela had dropped her calling of being a multi-instrumentalist, and instead discovered the avenue of singing and writing songs... In fact, she continued this dream obsessively, eschewing academics to pursue her dream of singing to the fullest...

Despite being marred with low self-confidence and the support of only a few, Etela Tomac didn't really become the singer she was today until she auditioned in Istraziti Zvizdu, one of Izmedu's biggest annual televised talent shows and arguably, the one that is most poised to craft its contestants into significant music stars. Etela, auditioning for what is to be the show's eleventh series, became a viral sensation after bravely covering Henrik Lang & Gabija Yamaguchi's 'Set Us Free.' That song itself had occupied a rather special place in the Izmeduan music landscape, being heralded as perhaps the best entry to grace both the WorldVision and World Hit Festival stages within Izmeduan circles. Etela's cover of it, imbued with her own personal significance and touches (she had claimed the song to be the girdle of her artistry, the one thing that made her 'feel okay to sing, that I can do it...'), re-popularized the already immensely popular song and led Etela to become the 11th winner of the show off the back of such a successful audition.

Despite a nightmare run on the show, with her being unable to escape the shadow of 'Set Us Free' as well as her self-doubts being ruthlessly exploited by the show as she occasionally was at the verge of being eliminated for a few weeks, but Etela emerged from the other side looking like a viable pop star. During the process, the association with 'Set Us Free,' as well as reminiscing on her high school years, allowed her to craft a song that, while not necessarily in the same vein as the hopeful entry she was so inspired upon, at least touched upon the same narrative line... What she found was a song so far removed, yet intensely emotional for her...

A submission to the World Hit Festival and much agonizing later, RTI found itself in a conundrum with Etela... Many were cogent to note that the cycle of inspiration would only continue, but the compelling nature of Etela's song to the WHF team couldn't be resisted. For Etela, it was a chance of a lifetime to be in Kyvivre... Representing her country after whirlwind success, to be able to have the space to perform an intimate song and sharing her message...

Stage lights billowed down to the center as Etela Tomac was situated in the dead center of the stage. She was gripping her with two hands microphone as she looked down, the camera maintaining a wide-view of the stage as the audience cheer died down. A soft, gentle piano instrumental began to ring through as a soft spotlight began to shine on Etela, with the camera beginning to fade into a view closer to her, that would pan sideways for a bit before ceasing to the front of Etela's face. Her eyes were initially closed during the instrumental intro...

A cue in her ear would beep, and her eyes opened. Her eyes, gleaming with fragility, stared into the camera as she put the microphone in her mouth, her face curled into an innocent expression, as if she were about to both cry and laugh in happiness...

Another hour fades by
My hollow and fading heart weeps
You're gone... I whisper softly. Never to return here again.
The words you once said still linger
Temporary repairs to this pain
And I think to you, only to be drowned in grief

With a close-up view, Etela sang this entire verse directly to the camera, a fragility in her voice that was only emphasized by the rather gentle instrumentation. During this first verse, the camera panned out slightly to various different angles, revealing her to be wearing this dress. During this, the stage would remain largely dark save for one spotlight on Etela. At the end of the first verse, she seemed to be looking up to the camera, with her holding one free arm to it...

With you, I felt whole again
The world was open and pure
The immense love you granted
Was my remedy
From this cruel isolation
For you were the one reason
I stand and remain alive
And why I am still breathing

Soft spotlights began to suddenly radiate through the stage as the camera began to make an overhead pan on Etela at the chorus' start, displaying to the audience back at home that the back screens began to develop an image of a messy, strewn bedroom that was covered in black and white grain. Approximate to Etela's position, a shadow was projected onto that image, that mirrored Etela's movements, standing alone in that room... Etela's vocal delivery of the chorus was suitably soft as the instrumentation made light orchestral flourishes, with one free hand holding her chest at opportune times as she walked closer to the audience... From the third-to-last line on, the camera faded back to a close up view of Etela that made a slow revolution around her, as she sang those final with a contemplative tone that befit the lyrics...

Another hour fades by
Where my mind drifts to happiest of times
The moments of joy
How I long for that freedom
That I felt with your strength and will
Your resilience and mighty spirit
But now it is lost
You'll never come back...
I know I am the root of breaking what we once shared
The guilt won't fade...
I'm sorry for every wound I struck
But I know sorry, is never enough

For the first half of the long second verse, the instrumentation returned back to its gentle sounds as the lights faded, making the screen image appear far more resonant as Etela's shadow disappeared. The room began to fade into an image of one that was perhaps far more unkempt, such as a bed losing its sheets, a drawer becoming more scratched... The camera maintained a slightly wider view of the stage, showing Etela walking around in a semi-circle, while making sure that her eyes were kept on the audience at all times. At the halfway mark of the verse, the camera caught one defining shot of her looking forlorn, with her staring to the side of it timed to the moment when the instrumentation began to increase its orchestral intensity...

White and yellow spotlights began to illuminate the arenakyvivre at this verse's second half, with the camera taking a wide view as the instrumentation began to build to a soft, yet dramatic climax. The image of Etela's more passionate singing, her vocals becoming more 'fuller' was caught with that wide view, with her reaching towards the audience as the verse ended. The camera then faded to an overhead view, showing the screen collapsing downwards as the song transitioned into the chorus, Etela singing 'But I know sorry, is never enough' almost to the point of breakdown...

With you, I felt whole again
The world was open and pure
The immense love you granted
Was my remedy
From this cruel isolation
And you became my one solace
My relief from this despair
Now, I have to stand alone

The lights around the arenakyvivre shone once again an intense white as the 'collapse' effect of the image going through the downwards 'fall' was fully realized in this chorus. With the image in blurs, Etela could be seen holding her chest as she delivered this chorus in a much more passionate and more resonant form than the previous reprise. The orchestration was also far more dramatic, the strings adding an intensely emotional backdrop to the soft piano. Eventually, the image on the screen faded into an abstract pattern during the chorus.

Etela's more emotional expressions were caught with various cuts to her through this chorus, showing her at the verge of almost crying at some point, but as the chorus changed tune to a silent determination at the end, the music beginning to build... The camera initially focused on a close-up of her as Etela's loneliness was emphasized in a shot of her being trapped by the abstract pattern, her head strategically imposed on the back screens before executing a slight zoom out...

This was something I could not stop
We all fade and leave, it is life
It was so sudden, so fast...
But that's also fate
A fate we can't control, we move on...

The lights then changed from a white to a yellow for the bridge, the image on the screens fading into a darkened version of the room from earlier. Compared to the fuller, despite messier room from earlier, this new image, to astute eyes, looked as if the bedroom had been completely emptied out. Etela's acceptance of her loss was also emphasized further with wider camera angles that made Etela look quite small on stage, with her looking at the camera with an exhausted acceptance that befit the lyrics... Even though she now stands alone, she continued to stand on the stage.

The bridge ended gently, a piano line carrying her vocalizations to a graceful two-note aria she continued for a few seconds. The camera, at this opportune moment of reflection, focused on her as the spotlight on her turned yellow. The camera remained close to her head, performing one slow revolution around her, with her head bowed down before returning as the instrumentation quickly accommodated the final refrain.

With you, I felt whole again
The world's now closed and darker
Gone was the love once gleaming
Faded to nothing
A new dawn breaks, our lives move
I will never forget you
Even as I stand forlorn

The final chorus was delivered in a more downbeat, but still passionate style as white lights bathed the arenakyvivre once again. The image of the bedroom of the screen, despite being empty as if its occupant moved out, had now began to show a quick time lapse of rays of sunlight hitting the walls fading into night... Despite the exhaustion, Etela reached out to the camera constantly at every line, her eyes looking up to it as the camera focused on more aerial views. At the near-end of this chorus, the instrumentation began to soften, with a deliberate vocal pause at 'Even as I stand forlorn.'

Despite fate, my words remain...
You are the reason I live

At the second to last line's commencement, Etela began to sang these one by one, with the lights around the arenakyvivre beginning to fade except for the one spotlight on Etela. The camera, fading into a close shot of Etela's face before the end, made a static zoom into her face as the last line started... She looked directly into it, seeming to sing the last line with an immense conviction behind her words, her eyes gleaming and expression open at the song's end. As Etela sang, 'I live,' the lights and the stage effects on the arenakyvivre faded into a black...

The crowd cheer was loud as Etela could only process the fact that a performance had just happened, and that the song opened up many emotional wounds that she thought rehearsals would've stopped. To prevent herself from crying, she began to wave to the audience.

“Th-thank you so much! I love you all! Thank you Kyvivre!” Etela shouted, before rushing off backstage...

by **Britonisea** » Mon Sep 19, 2016 1:01 pm

Tune: Tune here

The stage flickers blue for a split second, then returns to darkness. As the music begins, soft lights at the back of the stage illuminate Yaranu, in a simple white dress wreathed in a sky-blue gossamer shroud, playing a white grand piano

You were the beauty in my life
I could feel it
But then we fought
You turned away

Yaranu's expression pleads to the audience, a tear glimmers on her cheek

Regret is burning in my heart
How I need you
It's dark

She closes her eyes and faces upwards

How can I live?
How can I live?
How can I live?
Are you gone for eternity?
How can I live?
Am I doomed to be always lonely?

She opens her eyes and turns toward the audience, but seems to be staring into space. Fog billows onto the stage, and strobe lights flicker through across the stage. The fog bank envelops Yaranu so that she is reduced to a silhouette in the softly backlit fog

How can I live?
My heartache
I'm crossing
I'm crossing
How can I live?
If I could sleep
The numbness washes over me
I'm wasted
I'm wasted
Just gone, I'm wasted
I'm wasted
Just gone, I'm wasted

The strobe lights cease, and she reappears as the fog bank dissipates.

My only love's forever lost in the distance
And here I am, alone and lost
Could someone save me from this life, I'm drowning alive

She has her emotions under control now, but is still not totally stable. The background screens show mostly-empty glass bottles in a dark, smoky room

How can I live?
How can I live?
The bottles gleam in murky light
The smoke blooms up and out
How can I live?
How can I live?

The fog completely consumes the stage, the strobe lights flickering through as they did before. This time, Yaranu and the piano are elevated in the middle of the stage, kept free of fog by a wind machine vortex

How can I live?
My heartache
I'm crossing
I'm crossing
How can I live?
If I could sleep
The numbness washes over me
I'm wasted
I'm wasted
Just gone, I'm wasted
I'm wasted
Just gone, I'm wasted

The wind machine and strobe lights stop, with the soft backlight and slowly dissipating fog bank left until the arena returns to darkness

"Thank you, kiitos all," she breathes into the microphone, and exits the stage.

by **Britonisea** » Mon Sep 19, 2016 1:02 pm

Mina is 22 years old, and looks like a cross between Hayley Williams and Lindsey Stirling. Her overall feeling is combination of excitement, nervousness, and sadness, the reasons of which will be mentioned in her IC answer. Note that she's not wearing her performance attire yet.

Mini: Okay, so before we get started, *Sits next to the Diarcesian delegation* should I call you Williamine or should I just call you MINA?

MINA: "Good evening! They usually call me Mina. Said that it keeps conversations more to the point... And I just realized that..." *chuckles* "...there's Maxi with us."

Mini: Hmmm, okay. How has your journey been coming here? How did you even get yourself to Kyvivre? What inspired you?

MINA: *Becomes somewhat sad* "My mom worked as a theatre thespian, and my dad in a band. Growing up traveling with them nurtured my interest in both music and storytelling. Things went bad a few years ago when they were gone after a tragic accident on the mountains. Then I kept to myself for sometime, ending up with me skipping school and the like. Thankfully, my grandperents are a significant help in me coping with this. They supported me and... the next thing I know I'm in Kyvivre, something I never thought would happen."

Mini: Awwe, well...Finally, before we go to the next act, do you think your return to World Hit is possible?

MINA: "I'm looking forward to it, to show my mom and dad's legacy for everyone to experience."

Mini: Thanks! Right, we are now going to our next out - you're in for a treat.

by **Britonisea** » Mon Sep 19, 2016 1:05 pm

Lady Gaia is a folk singer and environmentalist hailing from Polytheisa Heaven, West Phoenicia.
She declares she is as old as the first wind but younger than the stars.

The sound of gushing waterfalls can be heard over the sound system as the stage is dark.

Suddenly one by one large giant candles begin to flicker awake around the stage giving an illuminating effect.

The background is made up of large man make trees and a real deer frolics at the back of the stage.

Lady Gaia sits on a stool with her guitar in the centre of the stage. Dressed in indigenous West Phoenician attire.

There are precious lives at stake
so get ready babe i have plans for me and you
ignite your will - let emotions spark
respect for this land is something we need to do
just about kissed the world good-bye today
it's a rough diamond world and our love can bring the change

Darkness turns into light as the stage, turns bright, three overhead video screens show close up images of the sun.

"But your breath is all i need
just keep that in your heart
mankind don't help, it don't care
I trust you Mother Earth, you and me
now i don't wanna beg you
but i have mixed up feelings, that only you can unravel."

The sun slowly fades on the panel and the moon and the stars rise.

Lady Gaia steps off her stool and walks to the edge of the stage staring directly into the camera. Speaking to each viewer.

First kiss, first touch, first hug
we had a falling-out like lovers often will
embrace the change from what you used to be
for sure, i'll be loving you more and more
from the rising tides to the floating clouds in the sky
sweetness came on down from above to kiss me

The dark fades and the Sun reappears on the video screens behind her.

"But your breath is all i need
just keep that in your heart
mankind don't help, it don't care
I trust you Mother Earth you and me
now i don't wanna beg you
but i have mixed up feelings, that only you can unravel."

The Sun suddenly is engulfed by an eclipse on the video screens, the camera pans out to get a full body shot of Lady Gaia.

Let me feel the slap of your sun's rays on my face
Let me taste your waters with my parched lips
Your body is screaming to be released from evil men's clutches
break your chains and burst forth your goodness on this land
Mother Earth i will set you free in the dead of night
So we can run off like star crossed lovers

The Sun appears back on the video screens, and images of lush rainforests, oceans and sandy deserts appear.

"But your breath is all i need
just keep that in your heart
mankind don't help, it don't care
I trust you Mother Earth you and me
now i don't wanna beg you
but i have mixed up feelings, that only you can unravel."

As Lady Gaia sings her last note a rainbow appears in the background with the use of a light show.

by **Britonisea** » Mon Sep 19, 2016 1:07 pm

Tune here

The lights flicker according to the pulsing beat. Maxi is wearing business attire and carrying a black purse while in the centre of the stage. She is alone as she distantly shouts hey a few times while the main synths come in.

Hey!
Hey!
Hey!

A handsome man emerges and approaches Maxi, who looks serious and carries a distressed atmosphere as she sings into her lavalier microphone (the kind you can clip on). Maxi looks at him while singing (up to the first "oh oh oh") and then dismissively turns away from him and puts her hands in her hair, as if she's pulling out her hair from distress.

I get sick of all the times with you, fellow
Oh oh oh
A dozen million things that I have to do, fellow
Oh oh oh

The man goes to the back of the stage and fades away as Maxi sings the following. She scratches her head (thinking) and puts her finger just below her mouth (thinking) and then grabs a tiny pillow out of her purse and throws the purse to the side. She hugs and puts her head on the pillow (held by her hands) as she spins around.

Been here all night thinking about what you had then told me
"No need to stress yourself out 'cause it's all insanity"
Hey!
Yeah, I followed suit and guess what I did, oh!
It all ended with pillow

Feathers come out like confetti as she spins around, waving the pillow. The lights flash according to the pulsing beat.

Pillow
Pillow
Pillow
Oh oh oh

Maxi lets go of the pillow and it flings to the side of the stage, opposite from the purse. Maxi approaches the handsome man who had re-emerged and grabs him by the collar suggestively. The man is wearing a red plaid shirt with the buttons undone and Maxi unbuttons her shirt buttons enough to expose some cleavage.

Not the best way to start with you, fellow
Oh oh oh
I will let you try me and you, fellow
Oh oh oh

Every time she sings "oh oh oh", Maxi does a gesture in which she moves her hands up and down. The man then comes from behind and embraces her, slipping off her skirt only to reveal a mini skirt underneath. She sings as he does that and lets go of his grip and sings "hey" while pumping her fist in the air. She then runs around the stage like a little kid, arms stretched out imitating an airplane. She then stops as she stares into the man's eyes and they almost kiss, only to be prevented by her placing a pillow between them that she grabbed from the side of the stage while imitating a plane. The man has a surprised look on his face.

Now you're starting to creep up now you're even part o' me
You don't have to do much just to make me stay
Hey!
Flying in a plane looking at the world below
Making love between pillows

She then dances to the synths and a group of 5 female dancers who emerged wearing tight blue short shorts and blue tank tops do the same. There are feathers coming out like confetti again.

Hey!
Hey!

The feathers are replaced by mist and the stage dims down. Maxi switches to Turkish while still calling the man "fellow".

Hastalanıyordum seninle, fellow
Oh oh oh
Bir düzine yapacağım vardı, fellow
Oh oh oh

Then Maxi starts to sing the same thing over and over, building up as the dancers crowd around her and lift her up.

O olay da çok dert verdi
Çok dert verdi, verdi (repeated several times)

The mist is gone and the lights flash again as Maxi jumps away from the dancers and lands in the handsome man's arms. The dancers spread out and do some synchronized dancing which would require lots of flexibility, since it involves moves such as the split. Maxi gets down from the man's arms and jumps up and down with her fist in the air.

But now I'm free, fellow
Fellow
Fellow
Fellow
Oh oh oh

She turns to the man, who is also jumping and down with his fist in the air, and she points at herself and then him gesturing "me and you".

My worries are now gone thanks to you, fellow
Oh oh oh
I am yours tonight, you irresistible fellow
Oh oh oh

Next, flames come out for a moment and everyone on the stage continues dancing and moving around only to stop for "hey" and then continue.

I'm being set alight, there are flames right in my heart
Bu ne rahatlık, ne inanılmaz bir şey
Hey!
I'm a girl whose love will always grow
It all started with pillow

Following that, pillows are tossed from backstage and the dancers quit dancing and start a pillow fight, in which the man and Maxi join in.

Hey!
Hey!

And with the final "hey", the song comes to an end. The people on stage realize the song's over and so they stop the pillow fight as the audience cheers. "Thank you! Kisses to Kyvivre!" shouts Maxi and blows a kiss to the audience. By the end of the performance, the stage is a beautiful mess of pillows, feathers, and a black purse.

by **Britonisea** » Mon Sep 19, 2016 1:11 pm

Tune here

I'd recommend listening to the whole song, to feel the journey.

After his Mehlodhifehstivalhen win Doportedas, he now travels a few tens of kilometres down the road to Doportedas' nearest city, Kyvivre, to participate in the 27th World Hit Festival. Here was the report made about him.

The Broken Fortune - Mehkl Maddox Ajax
After the return of the Mehlodhifehstivalhen, the Britonish nation selection show, there has been good results from the contest. Receiving 66% of the viewership at the time, The Mehlodhifehstivalhen Finals was the most watched show of the Summer months so far. Recently, Britonisea's roller coaster results has been perceived badly throughout Britonish media and there has been major changes, announced a few weeks back, to the selection of Britonish acts, to ensure that the roller coaster results are avoided in near future.

After an intense night, it has come to the World's attention that the song which will represent Britonisea at the 51st WorldVision Song Contest and the 27th World Hit Festival - luckily in Britonisea - will be "The Broken Fortune" by an unknown singer Mehkl Maddox Ajax.

Mehkl Maddox Ajax is a 26 year old male, who made successful on the Britonish show, "Mehlodhifehstivalhen" as he won the both the televotes and the public votes ahead of acts like Deacon O'Foier and Braden Hillen, who participated in Vha Mehlodhivestoile - one of the biggest WorldVision selection processes for Britonisea, to claim victory. Though Mehkl wasn't initially a favourite, his simple staging was "different" and refreshing, while his song was quite "ballad-like." There has been many comparisons to Rigas Jengiz's "Disappointment" which won the 26th World Hit Festival in Kalosia.

In Rigas' song, it spoke about disappointment and how disappointment can be a word which everyone wants to avoid because of it's hurtful connotations. The comparison comes in to effect in Mehkl's song "The Broken Fortune" as the listener could relate this back to whatever Rigas was speaking of. But what was Rigas speaking of? Well, in the World Hit Festival, Britonisea was set to withdraw, and admittedly, Rigas wrote about the alternating success of the nation between the WHF and the WV. This makes us believe that the depth of Mehkl's song could relate back to WorldVision...but, in what way?

Mehkl had taken his place on stage. The stage was, described by BVC, derelict. The stage was quite dark also, and the camera was far away from the stage. As the audience died down from cheering the Britonish entrant on stage, the audience had wondered why nothing was happening on stage. A dark, murky, brown colour appeared on stage and around the stage too. The colour was white and looked down on Mehkl, who was standing right in the middle of the stage. Looking at the floor of the stage, you could see that the colour was more burgundy than brown - though for the television viewers, this wasn't as noticeable. The music began to play, and it sounded very airy and weary. The camera started to move closer as he began to sing.

A secret chance,
A strong façade.
A hypnotising gift,
An overpowering trance.

For the television viewers, the only thing that you could see is the camera coming towards Mehkl, and as the camera came closer and closer, the lights moved in a pirouette to make it seem as if the camera was moving at a faster paste towards the camera, but in fact, it did not speed up. Nothing much had changed from the start of the song, and it seemed as if he was whispering in to the microphone, though loud enough for you to hear him - quiet enough to make you wonder and anticipate. Suddenly, as he was about to sing the next part, the stage behind showed dark pictures of Britonisea and people being locked up - modern day slavery. It was written as a cartoon, a black and white cartoon - but it wasn't comical, it was very serious.

A secret chance,
By no happenstance.
Somehow you see through the mist,
Stronger as you advance.

As he sang the words "Stronger as you advance" he got louder, and you could hear his roar, thick voice come out of him showing his pure anger. By now, the camera (around "By no happenstance") had came face on with him. He looked at the camera with no expression at all, though, one could argue that he had a look of distaste and disgust on his face - as if he was judging you. The camera coming towards Mehkl made it so that it seemed as if the audience was being approached at personally. Then, as he finished singing the next part, the camera zoomed out fast past, and the stage turned black and white from the deepest point of the stage - as if you saw a tree growing at a fast pace. He then held out one of his hands and as he sings, he tilts his head to the right - feeling the music through his whole body.

Why don't we have a chance? Why can't we be on top of the world too?
The precious talent you have, the talent we all lust after.
We admit the jealousy, of your legacy, of the enemy...
The broken fortune.

During the chorus, the camera panned from the left side of the arena, to the right of the arena. The accordion could be heard in the background, and the instruments seemed to get louder. Also, the screen had died down back to the murky brown colour and the camera turned back to his face. Similar to this showing, he continued to look at the camera. The camera would occasion tilt to the sides, too. The audience watched in awe.

A secret chance,
Maddening circumstance.
There's no risk-taking,
Leaping into the vast.

The bass instrument came in, and at every stop the camera would flick to a different view of the stage - which was of a church, an abandoned church. The colour was still distorted, and you could not tell what the actual colour of the decor in the church was. The camera, nor the staging revealed anything, and it didn't want to reveal anything yet. The audience were still wondering what was going on, as the staging intensified. The lighting in the arena still moved in a pirouette movement.

Far from our past,
Our lights glistened, at last.
Though it seems like weren't good enough,
We're the joker's dance.

After he had sung this section of the song, he was about to sing the next chorus. In previous years, Britonisea has used the 'whirlwind' technique which isn't used in other performances, usually. This year, the whirlwind wasn't of wind or leaves, but small cristalised particles in the air. As they started to fall from the ceiling of the arena - creating a winter, cold feeling of euphoria and nostalgia - they started to fall in a spiral way around Mehkl, who was standing right in the middle of them. The camera, a mobile camera, quickly moved around Mehkl watching the snow particles fall from the air. The audience in the stage cheered very loudly. They really liked this, especially as this was a Britonish act on stage.

Why don't we have a chance? Why can't we be on top of the world too?
The precious talent you have, the talent we all lust after.
We admit the jealousy, of your legacy, of the enemy...
The broken fortune.

The snow started to fade away before coming to a halt. The staging slowly impulsed the colour black and white as the next section came in to effect. As the next section came in, the camera looked at some people who looked as if they were dressed as monks in the dark. They were singing the next part of the song - making it ever more mystical and mysterious than it was already. This was the first time that Mehkl was fully out of the shot.

Hold us in your arms,
Nourish us in your glory.
We are in need of your saving,
Keep your enemies close.

His face, angry and stern - described by many as attractive, was the only thing you could see in the camera shot. He looked at the camera with his eyes beaming red, with tears of pain streaming slowly down. As the song progressed, the camera slowly moved out and you could see his brown shirt on, and his muscle on his arm as he held his large arms out. Before the camera got too far, he stretch out to the camera and bought his arm towards his chest; and the camera came loser to him. The audience swooned at his mastery on stage.

Nothing can hold us back,
From rising to the top.
Nothing can hold us back,
We heed the subtle chants.
We admit the jealousy,
Of your legacy,
A misfortune.

In the last section, big powered sprinklers shot in to the air, and the brown colour in the staging faded in to the colour - REMEMBER - in six different languages; Britonish, English, French, Kalosian, Korean and Turkish. As he finished the song, the stern look on his face was still there for a second, before it slowly faded in to a smile. He bowed for his home audience and shouted, in to the microphone, "Thank-you, Britonisea! Thank-you, home!" before running off stage - while the cleaners got ready for the next act on the stage. Quite a mess has been made on the stage, and they needed to dry it for health and safety issues.

by **Britonisea** » Mon Sep 19, 2016 1:14 pm

Tune

Williamine 'MINA' Megalus (Diarcesian: Gulielmina Megalus) is one of the most ubiquitous singers in the Monarchy Diarcesian these past few years, bringing out hits like the local favorite ballad Alexander Homegas, a lyricized dramatization of the life of the eponymous king that managed to conquer much of the known world of his time. The World Hit Festival now has the opportunity to experience her take on music that transports the listener to a flowing three-minute plot. In this fusion of melody and storytelling, Diarcesian style, one could say this is the closest thing to a movie, in musical form.

As the introduction to the Diarcesian entry is finished, the stage fades to black. At the same time, the introductory violin sequence twice as long as in the original version starts to to play. Red and white spotlights intermittently shine on the stage, roughly coinciding with the violins and intended to simulate lighting flashes. On the screen is a comic strip-styled (this would be the case for all images) montage of a silhouette of someone's feet, walking amidst a ruined town in fire. Towards the end of the introduction, in front of the unseen person is another silhouette, this time of a tiny child seated on the floor, apparently afraid and crying. Purple light now slightly illuminates almost the entire stage but the center, where a pale white light shows only Mina's head, who is looking down, and where the camera is now focused. No one can still see what she's wearing.

Stones that crumbled, cries of horror
I was but a babe found in the rubble and
I lost it all, I knew not I’m alone

The red and white flashing lights stop. As the camera zooms away a little, the light at the center begins to brighten and expand at the start of "Now grown up...", revealing that Mina is wearing a bronze Greek hoplite costume with a crimson cape (minus the helmet). She tilts her head at the direction the audience, the inner portion of her eyebrows raised. Now, it's if she's looking at nothing. She then sang the second and third lines like she's speaking to herself. She lets herself be carried away by her emotions as she channels the meaning of this part of the song to slight and smooth upper body movements.

Now grown up, and have learned my past
I’m determined to finish what others failed in try
Forsaken track, that I chose to embark

Now the yellowish-white lights at the floor of the outermost rearward semicircle are brightly lit, forming a colonnade around the stage. The screen now shows a mural depicting two scenes: To the left, the kid, now a grown lady, training hard in the arts of war. On the right, the same lady, in a spacious room that looks like one of the ancient Greek temples, looking at a large mirror. She is always depicted in a silhouette, although it can seen that she's wearing hoplite armor and has shoulder-length hair based on the outline. Mina starts to move forward, with both camera and spotlight following her.

She progressively moves forward as she reaches the points of "battered", "bruised", "pushed", and "shoved", with the fourth one leaving her in a genuflected pose and looking at the floor. She shakes her head left and right on the second line. With the one-second pause at the end of this part, she stands up in time to make four steps at "went', "mirror", "inside", and "room" such that her body is facing on one left. With the camera zooming out so that the entire width of the stage fits a 16:9 screen, she stretched her free left arm, with her palm just below eye level mimicking a mirror at the fourth line.

So I was battered and bruised and then pushed and shoved
No matter what, overcame it all
And then I went to the mirror inside my room
This reflection in front of me

When Mina sings "I" in the first line, the floor suddenly changes color to grey stone and gold, the lights under it slowly rotating around, with the entire stage fully illuminated with clear light. She faces the audience again at the third line, and lowered her arm somewhat at the fourth. She faced the audience again at the third line, and lowered her arm quickly as the tempo picked up its pace at the end of fourth.

I stared down on this face of mine with the
Rage flaming inside my eyes that
Had witnessed all the pain and fear
Ones that are to be in history, and oh

The screen now depicts a still of well-wishers looking behind the protagonist, who is moving with shield held in one hand out of the gates of a rich city, apparently the area's capital. The lights that form the colonnade are now tilted away from the stage, giving it the appearance of a semicircular amphitheater. Mina is now singing louder and yet with a mellow tone, bringing out the warmest smile she can muster. The camera moves around her and then behind, giving television viewers the impression that she's making an oration in front of the live audience.

Walking on these gilded streets I am
Greeted by people great and small oh
They place their precious hopes in me
To end an era of misery and

She walks nearer to the audience at the first half as the ray lights behind her are turned off, with smoke appearing from where they are located. She moves toward the center of the stage again at the second half. Throughout the "oh"s, the overhead lights change color from clear to orange, and then to dark blue, simulating the passage of the day from noon to midnight. The camera changes view to follow Mina.

Oh oh, oh-oh ah
Oh oh, oh-oh ah

Smoke now envelops much of the stage around Mina. The floor changes color to dark blue on "midst". With the camera still focused at her, she is suddenly alert, making slow and deliberate movements, in a sneaking fashion, and makes a "shhh" motion with her free hand, asking the audience to be quiet with her as they go through a perilous place full of danger. The camera does a fading transition to show the entire smoky stage.

In the midst of cold night, the servitors abound
In the shadows they lie behind and they’re out of sight
Prowling around, I have to use my vigilance

Since the smoke would have obscured the screen, a hologram of a goblin-like creature appears to the right of Mina and does a pouncing motion at her on "pounce", where she turned her head in that direction. A lightly-armored person shows up to her left and moves to attack at her on "strike", as she looks on this direction too. On "gnash" two things happen simultaneously: Mina turns her head towards the front, eyebrows visibly furrowed and looking angry, and on the top of her head is a tiger's head doing a menacing biting attack towards the audience's direction.

As she reaches "No matter what, overcame...", she removes her cape and throws it aside. The holographic servitors vanish as whiffs of smoke at the pause after "all". On the third line, the floor transforms from dark blue to obsidian. Mina moves away from the stage to one corner, giving room to a larger hologram of a large shadowy gargoyle-like being that appears on the free space during the fourth line.

And then they pounce and they strike and they gnash their teeth
No matter what, overcame them all
And then I went to the lair of the grim being
That was towering over me

With the camera angled such that Mina is in the sidelines in which she acts as a narrator, the hologram of the protagonist shows up behind her. Unlike in the screen, this is no longer a silhouette as she's fully clad in bronze armor. Her face can't be seen though because of the helm. She moves away and goes to the space between Mina and the monster, and looks up her foe's head. The blue light at the stage transforms to maroon. And her voice now is more forceful has a tinge of venom and disgust in it as she sang this part.

I stared at this disgrace of time and I
Can’t fathom it inside my mind, it’s
A figure that is straight from myth
A twisted demon of history, but I

The hologram protagonist brings out her xiphos (sword) and the scene fades into a series of stills at each beat, depicting the fight that she and the monster waged. At the fourth she's beaten back by the monster, but on the fifth, sixth and seventh stills, she recovers and manages to land a killing blow at the monster's chest. Two red spots now flow on the floor, a larger one where the monster stood, and the smaller on the protagonist's place. The monster's hologram fades to smoke shortly after.

Took heart and unsheathed my blade and the
Battle vicious sprung to life but
In the end the beast was killed
My six wounds are proof of victory and

The lights transition to clear again. The hologram and Mina both move slowly, closer to each other, until they are a half-meter apart. At the end of this segment, Mina turns to the hologram's direction.

Oh oh, oh-oh ah
Oh oh, oh-oh ah

On the first half, the camera is focused on the two of them, who are now looking at each other. On the second half, Mina makes a build up to the next part by looking at the audience and progressively singing more powerfully, with each instance of "history" more prominent than the previous.

I stared down on this face of mine with the
Rage flaming inside my eyes that
Had seen all the pain and fear
Ones immortalized in history, history, history

The protagonist's hologram disappears, and the camera quickly zooms out to let television viewers see an aerial vantage of the whole stage again, on which the floor switches back to grey stone and gold. Pyrotechnics simultaneously shoot up throughout the edge. With the smoke cleared enough, the screen now has a mural again, on one side is the town mentioned in the lyrics celebrating, with the protagonist being thrown up the air by the townsfolk. The other is her standing by two gravestones, alone and in a solemn and sacrosanct setting.

I stand now in this ancient town with the
Kings, commoners, in sight, in line, oh
They showered all their smiles to me
At this glorious day in history and I

Mina is now singing very vigorously, with the "oh" on the second line cut short to take a big breath. As the third and fourth lines are sung, her voice is now at the most powerful at the entire song. She lengthened the "best to me" part, leaving the normal-pitched "An indescribable mystery" line to the background vocals as she sings its higher-pitched track instead. Pyrotechnics shoot up again, this time in a sequential manner on the circumference of the stage. She draws out "mystery" long enough so that it's only the background vocals that sang the first line of the "oh"s, her eyes closed, head tilted up and the mic over her.

I visit the nearby graves of my
Parents who I miss the most oh
Their love they showed their best to me~
An indescribable mystery~!

The stage lights rotate around in different colors, more spotlights show up and do the same.

Background vocals only: Oh oh, oh-oh ah
Background and Mina: Oh oh, oh-oh

Mina goes back to singing smoothly, and sang her last line in a mellow and flowing voice. She's smiling towards the audience once again

This is my history

After the audience reaction, Mina acknowledges them. She said enthusiastically, "Eucharisto! Thank you, thank you very much! This is for all of you!" She bows and slowly walks out of the stage.

by **Britonisea** » Mon Sep 19, 2016 1:14 pm

Rigas: Thanks to Diarcesia! Right, we are going to take a break from all that action. We are now going to speak to Gloria Anglidu from Mercedini. They are singing a very interesting song about the "Final Tear." I am not too sure about what this song is all about, so, why don't I budge myself next to Gloria *Sits down in the greenroom next to Gloria and smiles* Hey, darling Gloria. Tell me about your song "Final Tear," what's it about?

Gloria: Good Evening! Well, the song was written to spread awareness about the very serious problem of domestic violence. I wrote the song to prove that you can stay strong and rise up then you can overcome the hard times and cry your final tear. I hope that anyone who is currently going through tough times can take solice in my song and my music and together we can ensure that everyone has cried their final tears

Rigas: Very deep indeed. During your performance today, what are you aiming for? How many hurdles did you face before you came here, in the great city of Kyvivre *Audience Cheers* to perform for the global stage; the World Hit Festival, which is slowly, hopefully becoming more popular amongst the younger audience? Tell us everything!

Gloria: Well I have been singing for the past 40 years or so back in Mercedini but this is really the first time that I have performed my music in front of an international audience. This song was supposed to be my last song before I retired but I couldn't miss the chance to sing here in Britonisea. WorldVision & the World Hit Festival are big things back in Mercedini, even before we started to participate ourselves. So I saw and heard a lot of great things. Anyway, I hope people of all ages and nationalities can come together tonight for this festival of music!

Rigas: Slay, I like you a lot! Finally, how has your time and trip in Kyvivre been?

Gloria: Oh my, it's been wonderful! Everyone has been so welcoming. From the delegations, the organisers and your average person on the street! The World Hit Festival is all anyone is talking about. People have been saying nice things and asking for photos all week and I'm very thankful that the people of Kyvivre have made this one of the best experiences of my life!

Rigas: Okay, thanks Gloria. We are now heading back to the action on stage, it's song number 08, it's Darkmania. While Gloria will perform 9th, not too long now!

by **Britonisea** » Mon Sep 19, 2016 1:23 pm

Tune here

Dark clouds in the sky
Raining like waterfalls
Outside in a thunderstorm
The rain comes from me too
Dark clouds in the sky
I`m in the rain
I`m in the rain

And though the road is long
I look up to the sky
And in the dark I found, lost hope that I won't fly
And i`m findning me, finding me, and i finding me

I got all I need when I got you and I
I look around me, and see a sweet life
I’m stuck and ask you «Are you finding me»
You`re findig me, finging me in the storm
Kick start my heart when you shine it in my eyes
Cant lie, im in love with you
Stuck in the dark but Are you finding me?
You`re findig me, finging me in the storm
'Cause Are you finding me? (find me)
Are you finding me? (find me), Are you finding me?

Ooh

I see the shadows long beneath the mountain top
I'm not afraid when the rain won't stop
'Cause You find me gone
You find me gone,
You find me gone

I got all I need when I got you and I
I look around me, and see a sweet life
I’m stuck and ask you «Are you finding me»
You're getting me, getting me, through the night
Kick start my heart when you shine it in my eyes
Cant lie, im in love with you
Stuck in the dark but are you finding me?
You`re findig me, finging me in the storm
(Gone, gone, gone, Are you finding me?)
Gone, gone, Are you finding me?
Gone, gone, gone, gone, gone, oh
(Gone gone gone Are you finding me?)
Are you finding me, oh

I got all I need when I got you and I
I look around me, and see a sweet life
I’m stuck and ask you «Are you finding me»
You`re findig me, finging me in the storm
Kick start my heart when you shine it in my eyes
Cant lie, im in love with you
Stuck in the dark but Are you finding me?
(Are you finding me?)
You`re findig me, finging me in the storm
'Cause Are you finding me?
'Cause Are you finding me?
Are you finding me?

Ooh ooh
Ooh ooh
Ooh ooh ooh ooh ooh
Ooh oh oh

Are you finding me?
Gone, gone
Are you finding me?
Gone gone ye-yeah

(Gone gone gone
Are you finding me?
Gone gone)

Are you finding me?

by **Britonisea** » Mon Sep 19, 2016 1:24 pm

Tune here

The song begins with Gloria standing on a small elevated platform in the centre of the stage wearing a flowing white dress. There are three younger backing singers towards the back of the stage to the left (they are all wearing similar white dresses) and there is a cellist and a violinist on her right. She is stood in front of a large LED screen which shows an image of a starry night, with the glistening stars contrasting the blackness of the night. There is a blanket of smoke on the stage floor which pours off the stage like a waterfall, the stadium is completely dark except for a couple of spotlights illuminating Gloria and the other performers on the stage.

The song begins with the camera only showing the image of Gloria's face with her eyes closed. The camera does this an retreats backwards as the verse progresses, as the camera does this Gloria has her eyes closed for the entire first verse. By the time the verse finishes the entire stage is in view and the carpet of smoke has gotten thicker.

I'm sitting here, naked, on the frozen ground
What you did to me, you took from me, couldn't make a sound.
If you see me cry. It won't be for love
'cause I have this feeling, that's sent from above

Gloria opens her eyes for the start of the first chorus and the stage lights up in white while the rest of the arena stays in darkness. A large Earth spirals into view on the LED screen which spins to show all of the world's landmasses. The lights around the stadium light up to focus on Gloria, her white dress reflecting the light to portray herself as a beacon of light. The camera sweeps around the stadium as the chorus finishes.

Final Tear
I loved, I've lost
Final Tear
I'm weak. No more.
When you think I am broken. When I'm down, I will rise to my feet
You will know my name because this is my
Final Tear

For the second verse, the lights flash in time with the drumbeats while the camera shows the shots of the mini-orchestra and backing singers. Gloria opens her body up to the audience and stretches her arms out (as if she were a bird taking flight). The LED screen switches to a series of faces in black and white all mouthing the words to her song (all had been domestic violence victims at one point in time, to make the effect more visceral). The second verse end with Gloria clutching her heart and singing into the crowd.

I'm stronger now, finally found, my soul within.
You wouldn't know, how it would feel, under the skin.
The souls you have took, I won't let it sit.
'cause we will take vengeance, and we'll never quit

The LED screen splits into two, then four, then eight and keeps dividing so there are many faces singing on the screen all at once. The lights continue to flash in time with the drumbeats. Gloria gets of her platform and onto the stage floor, she takes the microphone off the stand and walks to the front of the stage singing into the crowd who all have their lighters out and are waving them. The smoke is thickened once again before the change in key.

Final Tear
I loved, I've lost
Final Tear
I'm weak. No more.
When you think I am broken. When I'm down, I will rise to my feet
You will know my name because this is my

When the key changes, the image of the planet returns with flags of participating nation. Beams of light link all of the countries together. Gloria belts out the notes while the mini-orchestra plays in the background. The camera then shows a series of quickly sweeping shots around the arena. Lights around the arena take turns in lighting up portions of the audience, lighters and phones are out in full force as the chorus finishes.

Final Tear
I loved, I've lost
Final Tear
I'm weak. No more.
When you think I am broken. When I'm down, I will rise to my feet
You will know my name because this is my
Final Tear

The camera moves up to the stage and circles Gloria as she sings the bridge to the song. The smoke gets thicker and thicker and thicker until there is a visible wall at the back of the stage. Gloria gets back onto her platform she spreads her arms wide and closes her eyes as she finishes the bridge. The camera gets close up with her face, mirroring the start of the performance.

I just want you to know
That you can survive, you can thrive
You can make it out alive
Let's all make a difference, make it your...

She opens her eyes and sings the title-line of her song. Someone turn on the wind machine which causes her hair and dress to flow in the wind. The lights retract so it's only her being illuminated in the whole arena.

Final Tear

She belts out the final chorus with more intensity and white light explodes from the stage and across the arena. The lighters and phones used have been replaced by bracelets handed out to each seats the start of the night. The image of the Earth shows all of the nations participating in the contest, their flags and their citizens. The camera sweeps across the back of the arena showing all the audience members swaying their hands in time with the music. Gloria, with tears in her eyes, clutches the microphone as she sings the lyrics with passion.

Final Tear
I loved, I've lost!
Final Tear
I'm weak. No more!
When you think I am broken. When I'm down, I will rise to my feet!
You will know my name because this is my
Final Tear!

The camera focuses on the backing singers as they and Gloria take turns to sing the final part of the song. She puts massive emphasis into her final notes as she finishes off her performance and possibly her career. As we approach the end of the song, the LED screen with the picture of the Earth fades to black and the lights only focus on the stage.

(I loved) I loved! (I've lost)
Final Tear!
(I'm weak) I'm weak (No more)
Final Tear!
(I loved) I loved (I've lost) I've lost
Final Tear!
I'm weak, No more
Final Tear.

As Gloria finishes singing her lyrics, the music continues to play. Gloria gets off her podium, the backing singers and the mini-orchestra move away from their mics and instruments and move toward the centre of the stage. Six victims of domestic violence emerge from the smoke. The twelve of them all link hands and walk together to the front of the stage, they raise their hands high to finish the song.

The a huge roar is heard from the crowd as they applaud Gloria and the rest of the performers on stage. She takes the microphone to thank the audience Merci, Brityunik!! Thank You So Much!!. Gloria gives one final wave to the crowd as she and her performers leave the stage.

by **Britonisea** » Mon Sep 19, 2016 1:24 pm

Tune here
Kalosian pronunciation guide

Luisa Kenafsi won the 21st Festival di Melodi Kalosiana with her powerful ballad, Kaluri. It was given a major revamp which was so different from the original that it almost polarized the WHF fandom — fans either loved it or hated it. And because of that, Luisa and her team could not emulate the fiery atmosphere they created at FMK. They had to design a completely new performance.

Luisa wore this dress and stood at the center of the stage. Off the circular platform, 4 backing singers made a semi-circle around Luisa. The stage was dark, and as the song began, the backing singers sang "oh oh ohs". And then bright cyan blue lights illuminated the stage.

For most of the song, Luisa sings enthusiastically, making body movements and hand gestures that show how deeply focused she is on the song.

Kadë aprenim
Kome amirar
Këlkunë këlo se sul
Korën lë musika di’l vivë

E kadë sañim
Di trova feližitë eternë
Ovlinim
Puvim së trova šuaki ǧor

The blue lights slightly dimmed, but as this next part went on, they became strobe lights that flashed.

Kadë ja penšo di te
Soriro
E kadë sento debil
Sano tu farin me fortë

The stage blacked out for a quick moment, and then reddish-purple lights shone on the stage.

Dari me kaluri
Men kaluri
Pirže rempi me
Tu kompleti me
Men vivë

In the short break, the lights flashed again as they slowly turned the same shade of blue that was used earlier.

Sano në puvi teži restë
Solo memori rimanën
Ivo pora sa pedëros te
Ënkor, në dirël adiu
Vulo paš u men korë perteži

The backing singers sang some "oh oh ohs" again while Luisa herself did some vocalization, and again the cyan lights strobed which, then suddenly, turn reddish purple.

Dari me kaluri
Men kaluri
Pirže rempi me
Tu kompleti me
Men vivë

Dari me kaluri
Men kaluri
Pirže rempi me
Tu kompleti me
Men vivë

As the song was coming to an end, the backing singers stepped on the stage platform and joined Luisa. As the song ended, they were all together, and after Luisa said "Thank you Britonisea!", they took a bow and then left the stage as it was cleared for the next act to perform.

by **Britonisea** » Mon Sep 19, 2016 1:26 pm

Tune Here

Na-Na-Na-Nu-Na, Na Na Na! Midsomer, Midsomer, Midsomer!!

There were two loud bangs, and with those bangs, two steam puffed from the floor of the stage. The LED floor behind flashed from red to blue at every bang quickly and snappy. With that, the lights also changed colour in the opposite colours. For example, when the red flashed on the screen, the lights would be blue and visa versa. The lights then faded in to orange, and Karjohan came out wearing something new, and young. He was smiling when he came out and he looked like he was enjoying his time, eventhough he had just got on the stage. He came from the back - almost out of no where - and he came forward. He put the microphone to his face, and looked forward towards the audience - where the first of his many camera angles were located in the arena.

Eccentric feeling,
The fireworks in the air (ai-ai-air)
Emotion's reeling,
From the shock of this affair!
Our time has come now,
Though this doesn't last too long (no-no-no)
Enjoy, sway your hands.
Every good thing comes to an end.

When he sang "from this affair", the camera went to this man - who looked as young as Karjohan looked. He was on these drums, and as the next part of the song continued, he banged the drum - and with that, you could hear the bass guitar roll in. The song now sounded fuller and made some people in the audience have the chills, and made their hair stand on end. The staging still stayed the same, but, two lights at the top flashed white at the top of the stage. Then after, the camera went back to look at Karjohan front on. Karjohan looked at the camera with the same cheeky smirk he is renowned for in Estogium. Here though, you could see some people lingering at the back of stage and the audience started to wonder why they were there.

What are you scared of?
Enjoying the unique feeling!?
Come out and enjoy the sun (the sun, okay?)
The water splashing in the air,
Please don't care if you get wet,
Stop hiding away from your fears, 'cuz

When he began singing this section, ("What are you scared of?") two male dancers came out. They looked as though they were wearing a simplified version of whatever Karjohan was wearing. At the start, the dancer on the left on the stage came on by pivoting using both of his feet. It looked as though he was on a hoverboard. However, before you could see Karjohan, the image shot to the next dancer who came from the right. He was quite far back, and started to do giant leaps to get further faster. The dancer was looking at the audience, while also concentrating where we was going. They then came in to the shot where Karjohan was standing and as the camera zoomed out at a fast place, and the two dancers faced each other in a mirror movement. After Karjohan moved around the stage, the drums sounded through the arena again, and the colours turned from yellow to blue then green at every beat. The camera zoomed in and swayed to the left before he began singing the next part of the song.

All the kids around the block, block, block
On their skates, on their bikes, bikes, bikes.
Everyone united, Uni - ted.
Strangers come together, in - the - sun.
It's Midsomer!
Na-Na-Na-Nu-Na, Na Na Na! Midsomer, Midsomer, Midsomer!
Na-Na-Na-Nu-Na, Na Na Na! Midsomer, Midsomer, Midsomer!

The dancers were still mirroring each other on the opposite sides of Karjohan - but at this time, they had turned to face the audience. You could see that there were dancing singers in the back, who were young like the rest of them on the stage. It was a woman and a man. They weren't really doing much on the stage apart from swaying themselves to the beat of the music, and smiling, whilst holding a microphone in one hand. They were wearing something similar to Karjohan, but they both had less clothes on but still looked more formal.

Carnivals riving,
Splash of paint, feathers, and dreams.
The Love is thriving,
The locking of lips and teeth.

As Karjohan sung, "Carnivals riving," people came on stage wearing carnival outfits and the stage flashed carnival colours - which were red, orange, green, blue and yellow. The screens behind were further showing the carnival atmosphere, but in contrast to the bright stage, it showed the carnival night life, and how interesting it can get. The dancers were temporarily off the stage as the carnival came through the stage - but as soon as they had left, it was time to sing the next part of the song; and you could see Karjohan once again.

What are you scared of?
Enjoying the unique feeling!?
Please don't care if you get wet,
Stop hiding away from your fears, 'cuz

From the ceiling of the arena, water fell. The water came down at a pace it would if the fire alarms were set off. Avoiding wetting the audience, the water was thrown at the back of the stage - but close enough for you to see what was happening. Everyone, but Karjohan, was in the "rain" area of the stage, and as the rain carried on, Karjohan stepped forward to the front of the stage and started to wave at everyone, and give some people at the front a handshake. He then looked at the camera which was slowly creeping up to him from the position of the audience.

All the kids around the block, block, block
On their skates, on their bikes, having fun!
Everyone united, Uni - ted.
Strangers come together, in - the - sun.
Midsomer!
Na-Na-Na-Nu-Na, Na Na Na! Midsomer, (Ay, Ay) Midsomer, Midsomer!
Na-Na-Na-Nu-Na, Na Na Na! Midsomer, (Ay, Ay) Midsomer, Midsomer!

The camera zoomed through the delegation's and the greenroom who were dancing to the music of Karjohan, and as the camera focused on the delegations, the wet dancers swiftly moved off stage, leaving Karjohan and the drummer left on the stage. As the stage started to die down the colours, the camera then panned round to the stage - from the top of the stage and moved down from the ceiling to Karjohan.

All the kids around the block, block, block
Scream, "We just wanna Rock!"
Everyone united, Uni - ted.
Strangers come together, in - the - sun.
Midsomer!
Na-Na-Na-Nu-Na, (Ooh, dance for me!) Na Na Na! Midsomer, (Ay, Ay) Midsomer, Midsomer!
Na-Na-Na-Nu-Na, Na Na Na! (Oh yeah!) Midsomer, (Midsummer) Midsomer, Midsomer! (Oh, yes!)

Then he finished and the confetti shot in to the air, "Thanks, everyone, Merci Brityunik!! Thanks ever so much!" he said as his neighbours cheered him off the stage. It was now the final break. The break was supposed to be before the act, but was changed last minute.

by **Britonisea** » Mon Sep 19, 2016 1:26 pm

Rigas: We are taking a break now, for the final time after that wonderful performance. We're going over to the greenroom to meet Mini. Mini?

Mini: Thank you, Rigas. The World Hit Festival is a great competition. However, due to strong competition from others over the years, the contest has faced hard times. The contest has faced it's high moments and it's low moments. This brings me back to a nation who is a never-giver-upper, Anollasia. *Walking towards the greenroom* Now, Maxi is performing, well, performed, a song called "Pillow," but for you guys at home who haven't caught on the meaning of the song, Maxi will tell us! *Sits next to Maxi* Hello, there! Let's delve straight in to the questions, Pillow? Tell me about it?

Maxi: Well, it's nothing too deep...just enjoy life and be free, you know? Sometimes we get so caught up in work and commitment that we forget to enjoy life. With some sexual innuendos thrown in. *giggles*

Mini: What actually gave you the idea of coming to Kyvivre, or even the World Hit Festival? For those at home in Anollasia, how can they get involved?

Maxi: Why wouldn't I come? *smiles* I like to travel, meet new people, have fun...I always wanted to perform in a song contest like World Hit Festival and experience other music, other cultures...

Mini: And before we get on to the interval act, which is a show-stopper, tell me about your life. Was it a modest upbringing, better? Or worse?

Maxi: I'd say it was pretty modest. Just an average middle class girl living in a middle class apartment in a middle class neighbourhood in New Istanbul with 2 brothers. But it was enough, I had a loving family, supporting friends, good health, adequate education, the basic necessities of life. To be honest though, I don't think I could live like that today, being a star and all. Once you get used to the high life, it's hard to come down unfortunately. I really enjoyed singing and look where I am now. Despite my modest upbringing, I've always been a diva. *laughs*

Mini: Okay!! Right, it's act number 12!

by **Britonisea** » Mon Sep 19, 2016 1:27 pm

Tune Here

The Raven is a punk/Celtic rock band estabilished in 2011. Its members are: Igor Denikin, Amira Ismailova, Viktor Savyelev and Nikita Kruglov. The band represents a genre which is not very common in Arioslavia, as punk rock for many years was perceived by authorities as "too Western and anti-patriotic". This has changed in last 20 years, but Celtic motives are still rare in Arioslavian music. The band, however, was elected to represent the Socialist Federation of Arioslavia in 45th WorldVision Song Contest in Lavington, The Sarian, where their song was placed second, losing only to the hosts. Now, the song returns, this time as an Arioslavian proposal at the 27th WHF in Britonisea.

The song itself is a personal story of Denikin and Ismailova, who married in 2012. Ismailova was born in Shershenia (one of Arioslavia's autonomous republics) in a traditional muslim family, who opposed to her choice to become a professional violinist as "sinful". After she met Denikin, they opposed to their relationship (one of her brothers was arrested for threating her with death).
Denikin and Ismailova decided to write a song about their oppressed love. The song uses a motive of an old Arioslavian legend from sixteenth century. The legend says that Tsar Ivan IV the Cruel ordered his best knight - Grigori - to marry a noble woman. The knight, however, met Alina, an ordinary peasant girl and fell in love with her. During one of their secret night meetings they were seen by a traitorous Orthodox monk, who happened to be Grigori's friend. He reported everything to Tsar, who had the lovers arrested, tortured and hanged near the southern walls of Telgrad Kremlin. When they were dragged off for execution, the lovers were cursed by their own parents. However, next year the disease came and the Tsar, the monk and the lover's parents were all dead. It's said that ghosts of Grigory and Alina still can be seen at Kremlin's southern walls, united in love after death.
And that is what's the song about - a true love winning with obstacles of traditional society.

***

The stage is dark, only Ismailova is visible, wearing a long, white dress, which is contrasting with her dark, long hair. She is playing a violin part. The snoop of light reveals Denikin standing near her. The backscreens display a beautiful day view of a green forest and with beautiful castle visible in the horizon. Denikin starts singing:

It was dark summer night
When a girl and her knight
Pledged their love to each other.
No one thought it could even be truth,
As the knight was promised to another.
Then, next day, they were taken away
By the thugs brought by a traitor.
Their love was destroyed and by tyrant's decree
Next morning they hung on gallows.

During the intro the day view of the forest full of live slowly turned into a night view of a withered forest and the castle turned dark and sad. Suddenly, as the music gets quick and more aggressive, light green lights are lighted and the rest of band is revealed. The view of the forest is replaced by a view of sky full of stars, creating an atmosphere of incredibility. The stage is dominated by green and blue colours. Denikin sings the first stanza:

Many years have gone away, but their cries still are heard,
They remind of the cruel slaughter.
Of the moments of horror when the tyrant sealed their fate
And when father cursed her own beloved daughter.
But the loving heart never forgets the pain,
As the pain of love is immortal.
The death couldn't win and the revenge soon came,
And the revenge of the cursed soul is eternal.

The stars in the backround start whirling quickly. The snoops of light concentrate on Denikin:

Remember, hate never wins,
Hate never wins, hate never wins.
The love is so much stronger and
It wins forever.

The flames burst from the stage, as the refrain starts:

They rise up in the midnight to show the world their love again,
Now they are shadows, born by suffering and pain.
Nothing can stop them, gone is their sorrow,
Their feeling is endless, as now they are shadows.

The lights get light blue, as second stanza begins:

The years passed by, but the story still repeats,
Hundreds are sent to the gallows,
Martyrs of love, of a forbidden love,
Another suffering souls and dark shadows.
Their story is sad, no one remembers them,
They have no grave, they just vanished.
They see no light and hear no cry,
Have no feelings as their innocence is punished.

The snoops of light concentrate on Denikin again:

Remember, hate never wins,
Hate never wins, hate never wins.
The love is so much stronger and
It wins forever.

The flames burst again:

They rise up in the midnight to show the world their love again,
Now they are shadows, born by suffering and pain.
Nothing can stop them, gone is their sorrow,
Their feeling is endless, as now they are shadows.

The light gets less intensive and concentrates on Ismailova. The stars are slowly whirling as she plays the violin part. Denikin approaches her and kneels before her for a moment. The instrumental part is getting more intensive, emphasized by lights and bursting flames. Everything stops as Denikin sings the refrain again:

They rise up in the midnight to show the world their love again,
Now they are shadows, born by suffering and pain.
Nothing can stop them, gone is their sorrow,
Their feeling is endless, as now they are shadows.

The symphony of green and blue lights erupts as the refrain is repeated for the last time:

They rise up in the midnight to show the world their love again,
Now they are shadows, born by suffering and pain.
Nothing can stop them, gone is their sorrow,
Their feeling is endless, as now they are shadows.

The beautiful green forest is displayed on screens again. All the lights concentrate on group members and the flames burst and the last line is repeated:

Now they are shadows!

As the song ends, Denikin kisses Ismailova while the audience is applausing.

by **Britonisea** » Mon Sep 19, 2016 1:28 pm

Tune here

Stage is dark, but it is soon illuminated, showing a background board of an arrow-struck heart(shown in 0:09 of performance video) and five girls lining themselves horizontally across the stage. Seulgi is at the very left, facing right, and four other girls are lined next to her, all facing left.

La, la, la, la, lalala, lalalalala, la, la, lala, la, la,
La, la, la, la, lalala, lalalalala, la, la, lala, la, la.

The girls remain standing without moving. After a few seconds, (0:16 of performance video) Seulgi moves to the right, while walking behind the girls all facing her, as the girls bend over and stand tall again, as Seulgi walks behind each of the girls. After Seulgi walks past the girls, she moves forward, now being at the very right, and the girls extend their arms to one another. After a few seconds, they bring their arms back to their bodies. Seulgi and Joy start singing. (0:10 - 0:37 of performance video)

I couldn't believe that you'd do,
this to me, although I,
sus-pect-ed this be-fore-hand; now,
I think I should be more sly. (니가 이럴줄 몰랐어, 좀 수상하긴 했지만, 이제부터 난 좀 더 sly 해질께.)
You think I'm too na-ive to fall for your lips,
your lips that speak on nothing but lies. (너는 내가 너무도 순진하다고 생각하지만 니 말 안 믿어.)

Then, the girls form an inverted pyramid position, where Yeri is at the center of the stage, while the rest of the girls stand behind her towards left and right. Yeri sings, as she lifts up both of her arms, as if she is about to make a hug. Once Yeri finishes her part, Irene moves to the very middle of the girls towards the center of the stage and sings. (0:38 - 0:52 of performance video)

You think that, 'This is game',
where you can taunt me,
like I'm some rewind-a-ble toy. (넌 항상 'This is game', 장난감같이 놀릴수다 생각하지만,)
But if you want to play an act-ual game,
I will show you how skill-ful I am. (하지만 진짜 game을 하자하면, 날 못 이긴다고 보여줄께.)

With Irene in the center of the stage, the girls bend their body forward by approximately 15 degrees and pat their chests in accordance with the chorus of the song. They also dance left to right and bend forward by 15 degrees. while having their arms upwards, as if they are flexing their muscles. (0:52 - 1:22 of performance video)

Although my heart be-be-beats,
quite ra-pi-d-ly, (내 heart가 beat-beat-beat, 아주 빠르게)
Upon you, my heart be-be-beats,
in-cre-di-b-ly, (너를 보면 heart beat-beat-beat, 아주 강하게)
Until the very final moment,
Coming closer, close, oh crazy,
Time to 'stablish my... dip-lo-ma-tic move. (마지막 남은 순간까지, 점점 다가오지 Crazy, 이제 내가 만들 di-plo-ma-tic move)

Ah, ah, ah, yeah,

La, la, la, la, lalala, lalalalala, la, la, lala, la, la,

Until the very final moment,
Coming closer, close, oh crazy,
Time to 'stablish my... dip-lo-ma-tic move. (마지막 남은 순간까지, 점점 다가오지 Crazy, 이제 내가 만들 di-plo-ma-tic move)

Yeri moves to the center of the stage again and sings the second verse of this song. Four girls surround her shaped as a circle and blow lips towards her, while Yeri sings. After Yeri sings, Wendy moves towards the center of the stage, and sings her part, while the rest of the girls blow lips the opposite direction(towards left and right of the stage). (1:22 - 1:36 of performance video)

You think you are in-vin-ci-ble,
with mul-ti-ple strengths,
but I know all your weak-ness-es,
and I can say them out loud. (넌 니가 많은 장점 가져서 무적이라 생-, -각하지만 약점들 내가 다 알고있어)
In a care-ful-ly, cal-cu-la-ted manner,
I can crum-ble you to the ground. (조심이 계산을 하면 너 따-,-위를 바닥으로 떨어지게)

Irene moves to the center of the stage and sings, and once she finishes her part, Joy moves to the left of the stage, while the rest of the girls move to the right of the stage. Joy starts to sings as the rest of the girls line up vertically on the right of the stage, and, at first, they jump slightly to the right of the stage from the girl in the front to back, and after that, girls jump up and kneel down one by one from front to the back. (1:36 - 1:51 of performance video)

You think that, 'This is game',
where you can taunt me,
like I'm some rewind-a-ble toy. (넌 항상 'This is game', 장난감같이 놀릴수다 생각하지만,)
But if you want to play an act-ual game,
don't whine if you begin to lose. (하지만 진짜 game을 하자하면, 지면 엉엉 울지마.)

With Irene in the center of the stage, the girls bend their body forward by approximately 15 degrees and pat their chests in accordance with the chorus of the song. They also dance left to right and bend forward by 15 degrees. while having their arms upwards, as if they are flexing their muscles. (1:52 - 2:22 of performance video)

Although my heart be-be-beats,
quite ra-pi-d-ly, (내 heart가 beat-beat-beat, 아주 빠르게)
Upon you, my heart be-be-beats,
in-cre-di-b-ly, (너를 보면 heart beat-beat-beat, 아주 강하게)
Until the very final moment,
Coming closer, close, oh crazy,
Time to 'stablish my... dip-lo-ma-tic move. (마지막 남은 순간까지, 점점 다가오지 Crazy, 이제 내가 만들 di-plo-ma-tic move)

Ah, ah, ah, yeah,

La, la, la, la, lalala, lalalalala, la, la, lala, la, la,

Until the very final moment,
Coming closer, close, oh crazy,
Time to 'stablish my... dip-lo-ma-tic move. (마지막 남은 순간까지, 점점 다가오지 Crazy, 이제 내가 만들 di-plo-ma-tic move)

Seulgi moves to the center of the stage and sings, as the girls re-align themselves horizontally. After Seulgi finishes her part, Wendy moves to the front of the stage, while Seulgi moves aside. (2:22 - 2:38 of performance video.)

When you try to go for a re-venge,(혹시 나를 복수 하려면)
I won't be,
there to hear you, (난 거기 없을텐데)
Oh, how sweet this game will be to you. (얼마나 즐거운 game, game, oh sweet.)

The girls are lined diagonally with the right side bulging front, while the left side bulges behind. They move their outstretched arms up and down, dancing in the final chorus of this song. (2:38 - 3:15 of performance video)

Although my heart be-be-beats,
quite ra-pi-d-ly, (내 heart가 beat-beat-beat, 아주 빠르게)
Upon you, my heart be-be-beats,
in-cre-di-b-ly, (너를 보면 heart beat-beat-beat, 아주 강하게)
Until the very final moment,
Coming closer, close, oh crazy,
Time to 'stablish my... dip-lo-ma-tic move. (마지막 남은 순간까지, 점점 다가오지 Crazy, 이제 내가 만들 di-plo-ma-tic move)

Ah, ah, ah, yeah,

La, la, la, la, lalala, lalalalala, la, la, lala, la, la,

Until the very final moment,
Coming closer, close, oh crazy,
Time to 'stablish my... dip-lo-ma-tic move. (마지막 남은 순간까지, 점점 다가오지 Crazy, 이제 내가 만들 di-plo-ma-tic move)

Girls continue to line themselves horizontally and dance, and they eventually move their right arms from their chests to their right, as the song ends. (3:16 - end of performance video)

Although my heart be-be-beats,
quite ra-pi-d-ly, (내 heart가 beat-beat-beat, 아주 빠르게)

La, la, la, la, lalala, lalalalala, la, la, lala, la, la,

Although my heart be-be-beats,
quite ra-pi-d-ly, (내 heart가 beat-beat-beat, 아주 빠르게)

Heart be-be-be-beats.

by **Britonisea** » Mon Sep 19, 2016 1:29 pm

Tune here

NNN have made no secret of their desire to win the WHF at some point in the near future; it would be Normandy and Picardy's fourth win at the contest. So, it should come as no surprise that NNN have conducted their biggest search for an act for NNN yet, leaving barely any stone unturned. After months of looking through submissions, both the great and the laughable, it was down to a few entries; some who had applied to enter for WorldVision had also applies for WHF, and several other entrants as well. It is believed that a different entry was meant to go to WHF - some news outlets have reported this as being former Normand WHF entrants ESUM - but NNN have made no mention of the Normand rock group, and the group themselves are on tour promoting their 5th album during the time the WHF is on; this, however, hasn't stopped speculation to the contrary. Other names, including former WorldVision entrant Julia Estiendre and even Pop-Rock group 'The Old Boys New Club' have been connected to the application process. Whatever happened, however, it is Marco Paravetti with his entry 'Calling For You' that NNN hope will get them back on top once more.

Marco Paravetti is from Le Havre, a port in the east of Normandy and Picardy which has seen a revival in its fortunes due to funding and increased trade in recent years. Paravetti started taking part in music young, having started learning the violin aged 4 and the piano aged 6, and being a Grade 7A (the highest possible grade for a musical instrument according to the Chebourg Music Association, the central authority on Normand classical music), but Marco always fancied himself as a singer. He attended the Cherbourg College of Music, recieving the highest honours possoinble, and since then has had a relatively successful career, having had a series of top 5 hits and a number 1 album. The song, 'Calling For You', is a rather odd song. It is based on a very famous murder in Normandy and Picardy, in which Desamero Allavan sexually assaulted and killed model Francesca Evarmo; Desamero had never committed any crime before, and it is still unknown what drove him to do it. The subject isn't usual for a major contest, but as Marco explained, 'We can't escape the evil in the world, and sometimes we need to confront it in any we can, whatever form it takes'. Will this be the song that brings the trophy back to Caen..?

The stage is pitch black as the final preparations begin, and Marco takes his place. As the song begins, a red light from the side of the page, aimed upwards, appeared, lighting half of Marco, and this was joint by a second light that showed him in his entirity, dressed in a plain black shirt and in tight black trousers, and a red jacket. He looks down until, until the bass joins in, when he looks up and the background seems to explode into life, blood red with fire licking at the edges, whilst the lighting goes into a mixture of reds and whites. He walks up to an oldfashioned microphone that lays strown on the floor, next to a pile of clothes - seemingly a woman's - and picks it up, toying around with it rather cheekily. The cameras pan around Marco as the verse begins, and the staging remains chillingly simple throughout the verse, with random angles showing him from a variety of views, but he still manages to achieve a rather chilling glance to the cameras as he sings, as he also moves his arms about rather expressively - he seems rather engrossed in the whole thing. The camera feed seems to oddly go black and white randomly throughout the verse, which combined with the random camera cuts creates a rather chaotic and unnerving feel.

Tell me,
Tell me you love me, you need me and that I am the only one
Tell me,
Tell me you want me forever, but not in the ways that I want you
Let me,
Let me know if it's alright for me to take you where I want you to go
Your eyes
Betray the truth but three little words and you're mine

The camera firmly places itself in front of Marco as he begins to sing the prechorus, as he sings directly towards it. In the background, a clock appears, ticking closer and closer to midnight, and the lighting gets more and more vividly red.

There's no stopping once you've got on the ride
I may look sweet but prepare for a surprise
And know that I have warned you, but
Now it's too late to turn back the clock, you'll regret it all

There is a sudden flash of light as the chorus begins, and Marco seems to hold himself as two red silhouette holograms seem to come out of him, one on each side, before swiftly being pulled back in. The clock in the background dissapears and inside shows a partially transparent red background with wisps of black smoke.

Your soul and your heart are worth nothing, oh no
They can't save your body, oh no
For dark desires console me, oh yes
And they're calling for you, for you

Black, wisp like shadows seem to float around in the lights during the second verse, obscuring Marco slightly as he reaches out, but also contorts himself, seemingly fighting the silhouette holograms that came out of him during the chorus.

Your screams
Are silence to me and the rest of the world as I introduce myself
Your screams
Only make me go slower, I want it to go on

As the prechorus begins, the viewers at home see a split feed image of Marco (think like Georgia at Eurovision 2016), and the lights darken throughout. The two 'Marcos' seem to move backwards and the split feed image ends as Marco spins around to face the front once more, just before the chorus begins once more.

Let me know if I'm a monster, although I think I know already
Just let me know
As I tear you apart, tear by tear
As the voices inside of me fight, I burn now

A thin layer of smoke begins to appear as the chorus begins with a big flash of light (they end carry on becoming alternately more and less intense throughout the rest of the chorus), with shadows in the shape of the silhouettes from the first chorus dancing around, and projected deep black hands tightening themselves around Marco.

Your soul and your heart are worth nothing, oh no
They can't save your body, oh no
For dark desires console me, oh yes
And they're calling for you, for you

As the chorus ends the lights fade and the camera angle moves around Marco. The lights fade on and off with the beat in the bridge, growing more and more intense as it carries on, showing Marco standing in the middle with hologrammed silhouettes reaching out for him, getting closer and closer; the camera also gets closer and closer to Marco. At the ends, the holograms disintegrate, leaving Marco by himself.

And I try to stop myself
But I know that I'm enjoying it
Didn't I tell you to stop one time?
That you'd regret it all?

With each line in this section, a curtain of pyrotechnics appears, shadowing everything on the stage for a second, and when the pyro calms down we see Marco, almost appearing to be in agony as he sings, clutching himself and twisting. During the final chorus, random bursts of pyrotechnics burst, as Marco seemingly gains control of himself as the cameras pan around the stage, him following them as they go. The background shows a kaleidoscopic image of Marco's face singing, along with a number of random colours - mainly reds, oranges or blacks - and shapes.

Your soul and your heart are worth nothing, oh no
For dark desires console me, oh yes

Your soul and your heart are worth nothing, oh no
They can't save your body, oh no
For dark desires console me, oh yes
And they're calling for you, for you

The pyrotechnic flares ends, and the camera zooms into Marco, who sings directly into the camera as the song comes to a close. The camera feeds fades as the song ends.

The voices in my head are calling, calling
And they're calling for you, for you

Marco can be heard shouting "Marci! Marci Kyvivre!" as he leaves the stage and the preparations for the interval act begin. Will this much showier performance than the last Normand entry help change their fortunes. Who knows..?

by **Britonisea** » Mon Sep 19, 2016 2:35 pm

IC;

Rigas: Wow, what an eventful night it has been!
Mini: Indeed!! 14 nations took part in the 27th World Hit in Kyvivre, which is five more than in Kalosia.
Rigas: We should also take the time to thank Kalosia for hosting the previous contest, and thanks for their hard work and dedication for making the contest what it is today!

*Audience cheers, loudly*

Mini: It's the time you have all been waiting for...
Rigas: THE VOTES ARE NOW OPEN!
Mini: Before the commentators speak over us, all you have to do is dial the number on your screen alongside the running order of the act. Your commentator will explain further. You will have a 5 minute re-cap of each song before we go to our, very frightening interval act!
Rigas: Your country's points will be totalled up and given out in numbers. The most liked entry will receive 5 points while the second receives 4 etc down to 1. The voting will be done in two seconds, 4-1 first then 5's later. And we have 14 5's to give out, so this could change the result dramatically!
Mini: Take it away, commentators.

*Audience Cheers / Recap starts*

OOC;

Write your TOP 5 Entries down in a telegram post! In this format below;

5-
4-
3-
2-
1-

You should include A PHOTO and the NAME of your spokesperson! Other additions aren't necessary.

Send your votes to... ESTOGIUM (My account is very full of TGs and I fear some may be lost. Though, accidental TGs for the votes will be accepted. Your first vote counts. Oh and please make the name nice and short, otherwise it'll be abbreviated or ignored (on the scoreboard, it would be mentioned below instead.))

Thanks!

by **Britonisea** » Mon Sep 19, 2016 2:45 pm

Rigas: Time for our spooky Interval Act, here it goes. You may want to close your eyes!

https://www.youtube.com/watch?v=2zIyCw07mAI

0:00 – After 20 seconds of the airy sound, which made everyone quiet, everyone was wondering why it had suddenly stopped. All the attention turned to the stage which had a white light at the top. The white light was shining, increasing and decreasing in power and size as the seconds went by. All the final mutters stopped as a little girl, wearing dirty grey rags came running on the stage with her feet naked to the world. She kept on running around in circles, in the circular shape of the stage. The camera, for the television viewers, didn’t move. It was facing the front of the stage and for the viewers at home, you could see this little running body move closer towards you, then disappear.

0:21 – 21 seconds after the song started, a little boy started to run in the opposite direction, and when the met in the middle, they would cling on to each other, doing a 360 and then letting go and carrying on. Everyone was still wondering what was happening but the facts weren’t yet revealed. You can’t really get much from two children running around a stage. But as the song progressed, you could see low-lying fog filling up the stage as the children started to run at a slower pace – slowing down as the piano gets louder and louder.

0:54 – 54 seconds after the song started, the stage flashed black and white, signifying lightning. Both the boy and the girl had tripped up and disappeared under the thick fog below their feet. Two women and two men, at the top of the stage (in the middle, highest standing section of the stage) rose from the smoke and started to do quite murderous hand gestures in unison. The two women and the two men looked a mess. They had blood dripping down their faces and they were crying. They had no facial expression, though if we had to describe what they looked like, they looked like all the muscle in their face had lost strength and instead was dead muscle surrounding their skulls.

1:30 – A minute and a half in to the song, a group of eight, of mixed gender – multi-racial walked on to the stage holding each other’s back, four from either side of the stage. At the front of the queue was a leader wearing a patriotic hat and clothing. The people walking, holding on to each other, had a bandana rapped around their mouths, opening them, making it hard for them to breath through their mouths while also having blindfolds around their eyes, so they would not know where they were going. The audience watched the catastrophe unfold on stage. Many people in the audience started to tear up, but this is the reality – and we were here to prove the reality. The people in the queue were also shackled by the feet too, and as they took a step forward, you could hear the rattle of the strong medal chocking the blood supply from body to feet.

1:49 – Around 19 seconds after the people with shackles of their feet came on stage, they were placed on the floor, in a row. But it didn’t get worse. They were just kneeling on the ground facing the audience, who were looking at the group with shock. The LED walls behind showed stars twinkling in to the sky. Do you remember the glistening star at the start of the showing? Well, that had grown to full capacity, and it started to turn red. But, it didn’t shrink and gotten smaller, it kept on getting bigger. So as the song progressed, so may have noticed that more lights were switching from white to red. The people kneeling on the stage swayed from left to right, forward to backwards. For the people at home, the camera kept on switching from black and white to colour and reverting back to the dark colours.

2:24 – Now that we are two minutes and a half in to the song, the kneelers started to lay down with their backs to the air, and their stomachs on the floor of the stage. The hairs of each of the shackled people were touching the people in the front row of the crowd. The crowd in the arena were still shocked. What were we trying to convey here? The red star in the back of the arena, of which some had forgotten it was there, still grew in size, but it wasn’t yet big enough to get worried about it yet.

3:00 – At three minutes exactly, the whole stage turned dark before coming back to life with a mass of 64 people on the stage while the people on the front of the row started to kneel up again. The 64 people on stage all looked different, with the same facial expression and the same clothes. In unison, they would reach out to the audience before using their other hand to take the one reaching out away. For about five seconds each time, they would hit their hands, as if they were punishing themselves. Everyone was scared of protecting those who were shackled up.

3:16 – As this part came, it signified a major turning point of the piece on stage. A group of men, all very tall and muscled – compared to a bodybuilder -, came on stage and started to leap on the 64 people who were on the stage prior to the attack. You could hear screaming from those 64 women and crying, as each of the bodybuilders took two victims away with them. The staging went frantic. The red star had burst all of the stage, and the stage flashed so many colours all at once, from red, from yellow, to white and green. Many of the audience had turned away, the lights were so bright. The camera looked at the mad events happening from above down. On stage, sparklers were set off in to the ceiling, creating a very dramatic affair.

3:54 – Only two remained of the 64, a male and a female. The two leaders of each of ‘The queue’ had left the stage and the two remaining of the 64 tried to desperately untangled them. Even though they only managed to untangle 4 of them (out of the eight), it was enough to take on the leaders, who came on the stage and attacked the freed by surprise. Gun shots were sounded in the arena, from all around the arena, as you could see and smell the gunpowder around the arena – from all corners. The stage went frantic again, showing dots and stripes in a large amount of colours. The fight, and the gun shots went on for amount another minute before coming to an abrupt end.

4:30 – The sounds started to die out. We were over half way through the performance and the audience seemed as though they were starting to enjoy it a bit more; now that the end of the madness had finished. Everyone had disappeared. There was no one on the stage. All was quiet. However, the colours that the stage threw at those in the arena were a mix of purple and a dark orange, mixed with a swamp green.

5:09 – At 5 minutes and 9 seconds in to the song, men and women came on to the stage wearing clothes no better than what they wore at 0.00 seconds, they had pans and pots in their hands and beating them along with the song. The camera followed them as they entered the stage from the left and the right – but also from the middle. The people in the middle came from behind, over the middle section and back down the steps before spacing out on all of the lines, all around the arena. There was a person in every meter squared around the stage. They were just all holding pots and pans in their hands. Just standing there, with no expression.

5:31 – The flags of the Ultimaverse nations came on to the stage, and the flag-holders of those flags wore expensive-looking clothes. A woman came on the stage, looking beautiful. She had a long dress on with diamonds all the way down it. She walked through the stage and watched the people banging their drums and acting gloomy. The camera focused on her face as she looked at everyone wondering of a solution to the problem she faced.

6:11 – Six and a quarter minutes in to the production, the people with the pans and pots slowly walked off the stage as the women in the expensive dress walked forward towards the audience. The words “RUINED LANDS” and “BEAUTIFUL WASTELAND” were in capital letters on the screens behind, in multiple languages – with the English version being the brightest and largest. The camera looked at the words rather than what was happening on the stage.

7:00 – At this time, people bought in big tall buildings (out of strong cardboard) on the stage and steam started to flood the stage too. Builders with axes moved forwards to the audience on the platform and started digging in unison, ploughing their axe in to the stage at every four seconds. The camera swayed from the right to the left as the music started to get distorted.

7:20 – A new wave of people came on the stage, people who looked like you and me, wearing normal clothing. They crept on to the stage, looking around at this new land. The women in the long, beautiful dress walked on the island where the builders was and rested there and looked down on the floor – she had died. The builders and the workers walked off the stage, and modern day people came walking on. The camera did a close up on the woman as she died, as her eyes closed and as she fell in to eternal slumber.

7:41 – The modern day people then spread out on to the stage, all 64 of them, and danced frantically, similar to how those danced earlier. The colours of the stage represented the colours of the Britonish flag. The blue, the orange, the red and the white shone through on the stage. The staging wasn’t as bad as how it was earlier.

8:28 – They all walked towards the queen and looked over at her as she rested. They looked and froze. The song had died out, and the audience started to applaud the showing which they saw on stage. A heart appeared on the stage, beating at the same pace as the song.

*Audience cheered, quite loudly. Wasn't sure whether it was over yet*

After this, a short movie was put on about a man travelling to Kyvivre. Some television stations went to a break.

by **Britonisea** » Mon Sep 26, 2016 11:59 am

Mini: Lines have closed, and now we are going around to all the countries!

Rigas: Indeed, we are going to Anollasia first! Let's go!!!

by **Britonisea** » Mon Sep 26, 2016 12:09 pm

01
ANOLLASIA

Enes: Hello, Kyvivre! Hello, Britonisea! Hello, World! Calling from Jefferton, I'm please to present to you the Anollasian votes!

Enes: And there you have it! It's been such a great edition, and I'm hoping we'll see many more in the future!
Mini: Thank-you, Enes. And we apologise for the misspelling of Jefferton, it's definitely Jefferton, and not Jefferson!

by **Britonisea** » Mon Sep 26, 2016 12:13 pm

02
MERCEDINI

Samuel: Bienable Soirez, Lyvivre! Hello, Everyone, it's Zoloroni calling. Thank You for your great show tonight, Britonisea. We really enjoyed everybody rocking the stage and would like to wish good luck to all the participants tonight.
Mini: Let's see how Mercedini voted; from 1 to 4.

Samuel: It's now time for me to reveal who got our five...They go to...!
Mini: No! No! Not now, Samuel! We will announce the fives at the end! Hang in there, darling! We are now going outside to the carpet where Rigas will give us the Britonish votes!

by **Britonisea** » Mon Sep 26, 2016 12:17 pm

03
BRITONISEA

Rigas: Yes, so I have run down to the carpet where I'm being dragged silly by some eager, though unfortunate, fans who didn't get in to the arena tonight! I'm here to present these votes. Thanks!!!

Rigas: Thanks, Britonisea! Merci!
Mini: Grand, we are now going to West Phoenicia, what do they have for us!?

BVC | 27th World Hit Festival | Kyvivre, Britonisea

BVC | 27th World Hit Festival | Kyvivre, Britonisea

01| Ethane | Jeremy & Adam - "Green in amongst the snow"

02 | Izmedu | Elena Tomac - "A Reason"

03 | Tödlichebujoku | Yaranu - "Wasted"

What's it all about, Mina?

04 | West Phoenicia | Lady Gaia - "Beloved Mother Earth"

05 | Anollasia | Maxi - "Pillow"

06 | Britonisea | Mehkl Maddox-Ajax - "The Broken Fortune"

07 | Diarcesia | Williamine 'MINA' Megalus - "History"

A Chat with Gloria from Mercedini!

08 | Darkmania | Clare Isis Lonfrem - "Finding Me"

09 | Mercedini | Gloria Anglidu - "Final Tear"

10 | Kalosia | Luisa Kenafsi - "Kaluri"

11 | Estogium | Karjohan Katejan - "Midsommer"

Pillow? Please define, Maxi!

12 | Arioslavia | The Raven - "Shadows"

13 | Cheongji | F.A.M - "Diplomatic Move"

14 | Normandy & Picardy | Marco Paravetti - "Calling For You

Voting is now OPEN!

Interval Act | World Hit 27

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