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World Hit Festival 30 - Vodiznad, Izmedu | IC Thread

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World Hit Festival 30 - Vodiznad, Izmedu | IC Thread

Postby Izmedu » Mon Jan 30, 2017 2:46 am

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OOC Thread - Draft Thread

20:00 IZMEDUAN TIME

To have hosted one World Hit Festival was no easy feat for the country, requiring a budget that RTI couldn't have imagined working with, as well as audience beyond their wildest dreams. Now, with Anamarija's victory behind them, the prospect of hosting the 30th World Hit Festival did not seem so daunting until the moment before the show would begin. The channel was just a little bit more efficient in handling things, greeting every returning and new delegation with open arms, but the anxiety always increased when it was the fans that began to trickle in. For everyone in the channel working, no one knew better than those on-site that this show was meant for the fans in the audience and watching on TV, beyond anything else. As the producers behind the scenes began to call showtime, the Dragulj Arena's interior began to darken.

It was showtime...

OPENING SEQUENCE: A RECAP

Welcome... to the 29th World Hit Festival!

The ghostly voice of Apolonija Dukic started off as a bit of a shock in broadcast, invoking the 29th contest immediately as a glowing shot of the old stage appeared, as well as the old hostess walking down. It then cut to a brief montage of every entry that performed, before fading into results time, with each edited voice rattling off who got the 5 points in the Phase II of the WHF29 voting. However, the montage ended on the last two votes of the evening. First off was a slightly long cut of Shyna Kumbles announcing Estogium's 5 points, those to the host Izmedu. Then, we had Etela giving Izmedu's 5 points to Polkopia...

I can now confirm that we indeed do have a tie on our hands!

The montage then went through the Phase III votes, contracting the moment in which the nations who voted for the top 2 into a few seconds, before the voiceover of Apolonija shouting Izmedu's name as the victor of the World Hit Festival occurred.

The tie has been broken! The winner of the 29th World Hit Festival is... IZMEDU!!!

This then led into brief flashes of Anamarija accepting the trophy and belting out 'remedy' for a few seconds before the shot faded into yellow CGI vines that resembled a middle ground between the WHF29 and WHF30 logos, pulsing with a rather heavy sound effect that had a slow rhythm...

OPENING THEME
RTI Music Workshop – Boundless Energy

0:00-0:30
At the theme song's rousing beginning, the vines began to break off to become thinner, turning into energy lines that resonated in multiple colors that moved to the theme song's beat. As the main melody made itself known, the scene seemed to be a river of CGI streaks of the WHF30 logo that were 'created' at each beat, which undergirding the river was a flat plane that looked t have flowed up and down with the beat. Multiple, more stronger, lines began to run through and form the lines that already existed and began to 'connect,' as one could see pictures of Vodiznad, Fauligekaikobu, Telgrad, Kyvivre, and Monterra from the excess energy that was 'generated.'

0:31-1:00
The song began to soften around here as flashes of past host cities from the earlier 20s were now displayed, with the 'camera' moving forward the CGI energy world. Images generated from energy, displayed pictures of Gorgona, New Sarum, Cherbourg, Senmeri, Monterra, Frigidekasai, Picard all the way down to Rowland at the 50 second mark at a rather fast interval, which is where the music began to consistently focus mostly on beats. Now that half of WHF's history was displayed, the CGI world 'changed' perspective in a flash near the one minute mark.

1:01-1:30
At this mark, the CGI camera perspective was now moving backwards as for the next 20 seconds, the boundless energy began to show the earlier history of the contest through showing iconic images of each city and contest moment. It first started off at Ovanshire, going through each host city in a one and a half seconds before ending at the very first WHF at Nerobrachlesh, in Saintrabina. It was at the 1:20 mark, and such a presentation of the past ended with a look into the present. At the last two seconds of the song, the camera pulled back to see the energy 'coming together,' arching up and down to form the logo as the logo text began to appear, and this is where the crowd cheer could be heard as the theme song made its triumphant end.

With a yellow flash, the camera was now situated at the Dragulj Arena, the view floating above the audience and casting a rather wide view of the stage, which was pulsing with the same energy lines that appeared on the CGI presentation. These lines were streaming away from the stage, lighting up all areas of the floor and the back screens and even revealing the orchestra at the process, which was then lit up with a special backlit light in preparation for the opening act... The lights began to dim, causing a crowd frenzy to those familiar with Izmeduan show procedure, the show was about to begin proper, and it would start with the opening act... The energy lines disappeared, with one spotlight beginning to shine.

OPENING ACT
Antonio Vranjic – Never Give Up

A single spotlight appeared on the runway that wrapped around the lit up Orchestra Pit, revealing a male (Antonio) standing alone on the stage wearing casual clothing. The Dragulj Arena began to light in yellow colors similar to the template provided by the theme, as the first strains of the opening act could be heard, which was drowned by the cheers of the crowd. The camera did an initial rotation through the crowd at the guitar-like instrumental that seemed to have resonated from the orchestra pit, with each pluck of the string causing the lights to flash one before illuminating the entire stage as a soft rumbling came through, the camera dynamically fading to reveal Antonio in full, a microphone in hand.

With the camera now on him, Antonio began to sing the first verse to the opening act...

Life's beaten you down to self-doubt, you once told me
I could see that pain in your eyes, that sadness
That carefree and confident self you used to have
Vanished before me, vanished before me
You receded back into your cold shell again
But I know that deep inside, you were hurting and giving up
These walls around you, I fear I'm losing you
I wanna see you smile again
So just listen to me...


Antonio remained stationary for much of the verse, though small energy lines radiated from his position on the floor screens, creating a ribbon of energy that kept growing larger as he sang more lines. His voice, introspective and soft, wrapped around each line carefully, and his body language, clasping the microphone with bot hands and shoulders slightly hunched, made him gesture towards the camera as he sang, reaching one hand forward. The first half of the verse, up to 'vanished before me,' had the camera focus exclusively on him as the instrumentation was soft, the ribbon of energy on the floor screen emanating a bright light that melded onto the light of the orchestra pit.

At the second half of the verse, the camera began to flash from the screen, playing moments from past World Hit Festival contests, playing scenes of victory to VT packages from past WHFs, showing familiar and foreign sites to the audience, interspersed with close up shots of Antonio singing to the camera. At the end of the verse, he closed his eyes to a smile, offering a hand to the viewer as one could hear the live orchestra beginning to play its subtle parts to the song.

You're much stronger than you know
Capable of things I could only dream about
My words may sound unbelievable now, but just take my hand
I'll say only a few words, and I'll whisper
'Please, never give up...'


The camera began to take wider views of the stage at the advent of the soft chorus, moving slowly throughout the stage and fading to sideways views of Antonio. However, for this part, the camera focused mostly on the orchestra pit, which provided a soft, orchestral backdrop to the music. Shots of violinists slowly playing their bows were seen, as well as a brief view of the composer's hands directing the orchestra with slow movements. At the last line, we were back to Antonio, with the lights off as he sung it a capella...

At the drop, the arena shone a bright gold as Antonio held his hands out and motioned them up, directing the lights to shine brighter as the camera screens behind showed a flash mob of people performing choreography to the song, with many of the shots being sourced from Vodiznad. The drop itself heralded a triumphant instrumental, with the orchestra playing to the melody of the song. The camera made fast movements around the arena, opportune shots showing flags waving around. The screens, as the drop continued, cut to further scenes of the dance being performed internationally, before fading off into energy lines.

Never give up hope


This line, similar to the darkening effect from the end of the first verse, saw the camera close up on Antonio. He turned around to walk towards the stage as he sang this line.

Life's worn you down to the point where you want to cry
I saw you become colder, harsher than I knew before
I know why, but it hurts still
Seeing this pain
I want to see that warmth back
So just listen to me...


The camera followed him as Antonio walked to the main stage, with the instrumentation becoming softer and focused on a beat as he stepped onto the main stage at the third line. With the lyrics becoming a bit more personal, Antonio's smile from earlier had transformed into a latent sadness, with him looking downwards despite the golden light configuration. Once he reached the center, Antonio remained stationary.

You're much stronger than you know
Capable of things I could only dream about
My words may sound unbelievable now, but just take my hand
I'll say only a few words, and I'll whisper
'Please, never give up hope'


At this chorus, scenes from later World Hit Festivals began to play after post-WHF15 on the large background screen, after the host country debuted; with the scenes looking far more familiar. Shots of Kasin's hosting began to appear on the screen, as well as Senmeri WHF20 up to Monterra WHF26. It was a trip through the recent WHF past. At the third line, the camera cut back to a close up of Antonio, singing it directly to the viewer, offering a hand... At the end of the chorus, the lights turned off, with the scene on the back screen ending on Rigas Jengiz winning WHF26, timed to the music drop.

The Dragulj Arena lit up in an even greater gold as the camera focused on the audience, with a dynamic view positioned from the stage as the music began its triumphant paces. Scenes after WHF26 began to play, focusing closely on World Hit Festival 27 during the instrumentation. Antonio stepped back, soaking the music in. At the instrumentation's softening, the scenes began to bleed over from Arioslavia's win over to the contest in Telgrad itself.

Please never give up hope
Never give up hope
These walls around you, I fear I'm losing you
I wanna see you smile again
So just listen to me...


At the bridge, the lights flashed before softening to a gold, with a ray reflecting back onto the camera as the camera focused more on a close up on Antonio, with him clasping the microphone again. The lights continued to brighten, peaking and then darkening at the last line...

You're much stronger than you know
Capable of things I could only dream about
My words may sound unbelievable now, but just take my hand
I'll say only a few words, and I'll whisper
'Please, never give up hope'


At the final reprise, Antonio sang this chorus during the song's drop, moving towards the runway that wrapped around the orchestra, running through that runway with one hand to the audience as the camera made a pan that moved away from Antonio. Through this chorus, the screen began to show images of the previous World Hit Festival, with the song ending with the smiling face of Anamarija as the freeze frame of the last line. At that, Antonio was back on the main stage, smiling towards the camera as the stage darkened and the music faded out...

Following the opening act, the crowd cheered rather heavily at the introduction to the show, and the lights returned back to a white and gold configuration, and a man in a suit could be seen walking from the center towards as Antonio walked away. That man was Martin Carevic, the host of the 30th World Hit Festival and of Izmedu's most venerated and celebrated hosts in Izmedu's television industry. As Martin Carevic was illuminated, the voice announcer made the official starting point of the contest...

Welcome to the 30th World Hit Festival! Please welcome your host, Martin Carevic!

Martin waved to the crowd as a small podium was set up on the main stage behind the orchestra pit, in which that podium was made up of the same energy lines that dotted the branding of the current festival. He smiled to the still-cheering crowd.

Martin: Welcome one and all to the 30th World Hit Festival! Hosted by the same city and country that hosted last year's edition, not bad. What you have just seen is Antonio Vranjic's song he wrote for the contest, “Never Give Up.”Give him a round of applause!

Martin's delivery was a bit slower and more precise, but this is where the crowd finally began to calm down after cheering for Antonio.

Martin: As you can also see, we even brought an orchestra to play here for us. These are a supergroup of 72 orchestra members comprising philharmonic orchestras that play in Vodiznad, led by the Izmeduan conductor, Adam Katavic.

Martin: Tonight, we welcome 16 nations to the fold to compete for the title of World Hit Festival winner, which is a title that we ourselves hold at the moment, which is why we're here. Anyway, while this is indeed a competition, the World Hit Festival is not about who won at the end.

Martin took a pause here. (paragraph breaks from here on out will indicate brief pauses)

Martin: This is a night of celebrating the 16 different cultures that come here to showcase their nation tonight. We celebrate the sounds of music unfamiliar to our ears and appreciate what other cultures do. In essence, we celebrate a unity in diversity, and all acts have done well to make it here.

Martin: Also, this is the 30th edition of the World Hit Festival, a milestone celebration as the era of the last 10 editions ends and a new one begins. Tonight, we also celebrate the legacy of the World Hit Festival. We've made it to 30, let's see if we can hit 30 more!

At this, the crowd cheered, with the camera switching to a brief view of audience members waving their flags. The camera was back to Martin he smiled, there was no need to delay the songs any further.

Martin: Without further ado, let's begin! The first entry of the night is Natanya's Ich Bleibe Unversehrt by Tsetseg þellendaag. Take it away!

At that, the broadcast began to show Natanya's header...
Last edited by Izmedu on Sun Feb 05, 2017 4:52 pm, edited 5 times in total.

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Postby Izmedu » Mon Jan 30, 2017 2:53 am

THE ENTRIES

01. NATANYA
Entry | Voting (Phase 1/Phase 2)


02. COSNEOLTA
Entry | Voting (Phase 1/Phase 2)


03. ZEGANAS
Entry | Voting (Phase 1/Phase 2)


04. MERCEDINI
Entry | Voting (Phase 1/Phase 2)


05. BRITONISEA
Entry | Voting (Phase 1/Phase 2)


06. IZMEDU
Entry | Voting (Phase 1/Phase 2)


07. FROMULYA
Entry | Voting (Phase 1/Phase 2)


08. CHAMELIYA
Entry | Voting (Phase 1/Phase 2)


09. NORMANDY & PICARDY
Entry | Voting (Phase 1/Phase 2)


10. ANOLLASIA
Entry | Voting (Phase 1/Phase 2)


11. SKANDEN
Entry | Voting (Phase 1/Phase 2)


12. ETHANE
Entry | Voting (Phase 1/Phase 2)


13. TODLICHEBUJOKU
Entry | Voting (Phase 1/Phase 2)


14. KALOSIA
Entry | Voting (Phase 1/Phase 2)


15. BESINI
Entry | Voting (Phase 1/Phase 2)


16. KANNAP
Entry | Voting (Phase 1/Phase 2)



Compendium of Other Links

The Official Playlist for World Hit Festival 30


Interal Act // Phase I (Half-time Result) // Phase 2 (Final Result) and Winner's Announcement // Winner's Reprise


Commentary
Chameliya Radio Televijan (Chameliya) // Live From WHF30 (Kannap) // Explosive News (Ethane)
Last edited by Izmedu on Fri Feb 10, 2017 10:29 pm, edited 14 times in total.

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Postby Izmedu » Mon Jan 30, 2017 2:58 am

Image
Tune: Elhaida Dani - I'm Alive

Tsetseg steps out onto the stage, her bright red her hair flowing in the artificial wind, her blue tribal cheek marks matching her deep eye-shadow. Her shoulder-less deep red dress slightly trails behind her. She takes centre stage, a few meters from the edge, as her backing singers, 2 men and 2 women, take up position at either side of the stage, not out of sight but not in direct view. The stage was covered in a thin layer of mist, hiding the stage floor from sight. The lights dim and screen in the background turns to a window with rain trickling down it and and two spot lights from above meet, focusing on Tsetseg. The music starts.
( '-' at the beginnig of a sentence denotes that the main and backing lines are sung simultaneously)
Tsetseg - Tsetseg + Backing Singers - Backing Singers

Aye, Aye-ya yeah,
Aye, Aye-ya Yeah, yeah.


I walk through the fire and the smoke,
Staying steady, I will not choke,
You really tried tearing me apart,
Did you even love from the start?


I won't let you,
Hit me down, no, I'm here to stay.
Like brand new,
Trust me, I'll find a way.

More roof spotlights focus on Tsetseg as the image in the background slowly fades to black. The spot lights flash every time the repeated percussion hits.

I cannot stop,
I'm gonna rise,
You're nothing,
Nah, I'm not bluffing,
Uncensored, won't stay unspoken,
I'm gonna smile cause I am unbroken,
I am unbroken, never heartbroken,
You'll never hurt me,
Boy, I am unbroken, never heartbroken.


Aye, Aye-ya yeah,
Aye, Aye-ya Yeah, yeah.


Cracks slowly start to run up the black background, with the cracks protruding more every time the percussion hits, similarly to the light which have now stopped flashing but have stayed in place.

Dein Name wird nicht gespuken mir, (Your name will not haunt me)
Ich ausschlämme mich von ihre Duft, (I cleanse myself of your scent)
Es ist mir egal, (I don't care)
Sie können jede Taktik in dem Buch versuchen, (You can try every tactic in the Book)
Aber, Ich werde nicht weinen, (But I won't cry)
Baby, Gehen Sie von mein Leben, (Go from/Leave my life)


-Baby, Gehen Sie, (Leave)
Baby, Gehen Sie,
Baby, Gehen Sie,

-Aye, Aye-ya yeah,
Aye, Aye-ya Yeah, yeah.


The cracks now fill the screen as stage level lights shine behind Tsetseg. The roof level lights slowly start to diverge into the audience as the songs tempo lifts again.

Ich kann nicht aufhören, (I cannot stop)
Ich werde aufsteigen, (I will rise)
Du bist nichts, (You're nothing)
Nein Tränen zu berichts, (No tears to report)
Ich nicht vom Hass verzehrt, (I'm not consumed by hatred)
Nein, Ich bleibe unversehrt (No, I stay unscathed)
Du können mir nichts anhaben! (You can't touch me!)
Mich nicht kränken, (Won't hurt me)
Ja, Ich Bleibe unversehrt (Yes, I'll stay unscathed)

-Aayyee! Yeah!


The lights in the audience flash rapidly as Tsetseg hits the power note, punching her arm into the air, simultaneously the screen in the background 'breaks' into a golden pattern of shattered glass and the edges of the stage are surrounded by pyrotechnics. After the power note the roof lights move and shines into the crowd.

-I cannot stop,
I'm gonna rise,

You're nothing,
Nah, I'm not bluffing,
Uncensored, won't stay unspoken,
I'm gonna smile cause I am unbroken,
I am unbroken, never heartbroken,
You'll never hurt me,
Boy, I am unbroken, never heartbroken.


The screen fades to black and the majority of the light as fade, with the few remaining roof light once again focusing on Tsetseg.

Aye, Aye-ya yeah,
Aye, Aye-ya Yeah, yeah.
I am unbroken.


Tsetseg closes her eyes as the the remaining lights fade, leaving the room in darkness. As the light come back on Tsetseg thanks the audience for cheering, then waves and blows a kiss at the camera before running off.
Last edited by Izmedu on Mon Jan 30, 2017 3:08 am, edited 1 time in total.

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Postby Izmedu » Mon Jan 30, 2017 3:00 am

Image
Tune: Lindita Halimi - Botë

Janet stands in a black sequined flowing dress in the centre of the stage, surrounded by many members of an orchestra behind her and to the side of her. One spotlight is focused on Janet while the orchestra is illuminated by the stage floor and the LED screen which displays a red flowing curtain (similar to a theatre curtain). The camera focuses on the entire stage from an elevated position with Janet in the centre with the orchestra surrounding her. She sings in the same position throughout the entire song with the camera changing angles every so often. The orchestra continues to play their instruments throughout the entirety of the song.

koht koduks, selles maad
palju armas asjad
veel üks kord, ma palun teid
teha muutusi siinsamas kohe

Ahhhh, kell tiksub teile kõigile
Ahhhh, loodame, et ei tabanud null

See'on reaalsus, ärge unustage seda
see on meie meistriteos ei rikkuda (hey yeah)

minu hapnik, minu kõik, minu elu
võtab lehed elu
Ohhhh

Maa, mej naam
Minu armastus on lõputa
Hoolitseda selle maailma
Me elame siin igavestaa

iseenesestmõistetavaks
Ohhhh
iseenesestmõistetavaks
Ohhhh, ohhhh, ohhh

Maaaaaaaaaaa (Maa, mej naam, Minu armastus on lõputa)
Oooooooo (Hoolitseda selle maailma, Me elame siin igavestaa)

Maa, mej naam
Minu armastus on lõputa
Hoolitseda selle maailma
Me elame siin igavestaa


At the end of the song, the red curtain opens to reveal an image of Earth in space with the sun in the background causing the lens flare on the LED screen. Janet steps to the side of the microphone and takes a bow and thanks the crowd who are applauding and waving their flags. "Aitah Izmedu. Thanks to the multiverse!". One of the members helps her off her pedestal before walking off stage and transitioning to the postcard of the next song.
Last edited by Izmedu on Tue Jan 31, 2017 12:21 am, edited 2 times in total.

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Postby Izmedu » Mon Jan 30, 2017 3:07 am

Image
Tune: Green Day - Outlaws

Keegan Fay, having won the first edition of the Zeganas Hits Festival, has been happy to make his way to Izmedu. Unlike in Zeganas, he will be wearing slightly less formal clothes when performing in the World Hits Festival, wearing a studded belt and having his hair worn down instead of up.
Image


A short intro that's a burst of intense guitar and drum playing kicks off the song with stage lights flashing, but when singing starts, there is a spotlight on Keegan, in front of black screens with nothing but white stars and some other spotlights shining outward. Keegan kept a bit of distance from the microphone and stood front and center of the stage. Instrument players were lit up too by slightly dimmer spotlights when they started playing their parts.

We...
Without choice...
Born onto this earth
I knew we were different from birth


I asked...
for forgiveness...
We didn't do wrong
we are outcasts it's been so long


When the chorus comes on and throughout the chorus, the background screen shows many different images, like for example different colored puzzle pieces, a silhouetted figure with ears and a tail, and various historic and current civil rights symbols. Keegan sang much closer to the microphone now to have a more immediate and less distant sounding voice.

Weirdos
We're called that but they don't know
they say we're weirdos
real weirdos exclude others baby
Different
We destroyed the social norm
they say we're weirdos


And then Keegan grabs the microphone off the stand and sits down towards the side of the stage on a chair on its own. The dark, starry background returning but with some features this time.
In the first half of the verse, in addition to the stars, the bottom of the screen shows a realistic fire.

we will never conform
Fire
Get me higher..
We didn't start it..
It is now burning us and it hurts...


In the second half of the verse the fire goes away, but now there are white outlines of spiky looking speech bubbles going left and right, they are blank.

Trauma..
Causing drama...
Spit by a llama...
I am still waiting for karma


Just like in the first chorus, the stage lights up with the same routine symbols as before, with keegan standing up and walking across the stage and getting close to the crowd.

Weirdos
We're called that but they don't know
they say we're weirdos
real weirdos exclude others baby
Different
We destroyed the social norm
they say we're weirdos
we will never conform baby


In the middle of the chorus, Keegan sets the microphone in the mic stand as he is handed his guitar and right on time he rocks out on a guitar solo. While the solo goes on, sparks fall from the ceiling and when the solo changes to a different tune, an explosion of pyrotechnics lights the stage and the sparks stop, the background is now white with black dots, the inverse of the dark starry background.

Then when the bridge is sang, the white background has the same symbolism as on the chorus, but now it's on top of a white background. Keegan now holding a guitar

Society lacks pity
Observe the nitty gritty
Run away
Withering my defense
I lost my innocence
Exclusion makes no sense
when you just want friends


The background now shows nothing but a big screen of fire, fire on top of a black background.

Weirdos
We're called that but they don't know
they say we're weirdos
real weirdos exclude others baby
Different
We destroyed the social norm
they say we're weirdos
we will never conform


The background is now black again, but instead of white stars, the screen shows from dark orange to bright yellow embers. The spotlights focused on just Keegan himself at the very last line.

With damage done now are you fulfilled?
Bulied at school, childhood is killed.
It's always dead
It's always dead, I'm weird.


The regular stage lights turn back on with the crowd cheering like after any performance, and Keegan grabs the mic and says "thank you everyone!"
Last edited by Izmedu on Mon Jan 30, 2017 3:19 am, edited 1 time in total.

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Postby Izmedu » Mon Jan 30, 2017 3:10 am

Image
Tune: Ed Sheeran - Castle On The Hill

The song starts with Daniel strumming on his guitar with a band behind him, two other men are behind him playing electric guitars with another guy playing drums. Two more people are also on stage providing background vocals. The background consists of the LED screen switching between black and blue with a series of transitions. The lights at focused on the people of stage while Daniel approaches the microphone.
It's the morning after, you're in my bed
And I can't stop these feelings spinning in my head
The sight of your sweet face glowing in the sunlight. Yeah, I feel that
Listen close, my friend. Don't want it to end, now.


White lights begin to flash around the arena in time with the drum. The camera moves along the bottom of the stage focusing on the people on the stage. Daniel sings into the microphone while strumming his guitar while the rest of the people play their respective instruments. The lights recede save for a couple on the stage. The LED screen fades to black before the chorus kicks in.

Time flies fast when we lie here
I want to love you without fear
But I'm afraid to see the sun set on us. Crazy, I know
These three words will fly home.


The stage explodes with light and colour as the chorus kicks in for the first time. The camera does a series of fast sweeping shots, first near the stage before moving to the back of the arena encompassing the stage and the audience. The LED screen flashes and streaks of light fly across the screen behind the performers, who are all intensely playing their instrument as Daniel sings into the microphone.

I'm here to stay
I think I'm flying to your shining vail
Questions were wholly answered
They can't take away all these, feelings. They scream
And I can't describe it. It's just the way you make me feel


The flashing subsides to start the second verse of the song. The central camera is zoomed on Daniel's face as looks into the camera and sings his lyrics. The camera move onto the stage and sweeps along the front moving past off of the performers before sweeping around the back and moving off the stage to revert back to the central camera.

Sitting here alone. Watching our homemade cassettes
Remembering all of your cliché jokes. I wanna hear them again
Cosy nights in with The Price Is Right, all my fears fading out of sight
Listen close, my friend. Don't want it to end, that's why...


Daniel take his microphone off the stand and advances towards the camera waiting at the front of the stage, he clutches his heart with his hand while his guitar still around his body. He offered his hand to the camera as he approached the start of the second chorus. The lights receded once again as Daniel returned to his microphone stand.

When we got lost, I couldn't wait
To see you in my arms again
It all makes sense when I heard your voice on the phone. Crazy, I know.
I couldn't wait to get home


The stage exploded back into life once again as the lights started strobing around the arena, more sweeping shots around the arena. Blue fireworks explode from the stage, bathing the stage and the audience in a blue hue. Daniel sings into the centre camera as the lights recede once again for the slower part of the song.

I'm here to stay
I think I'm flying to your shining vail
Questions were wholly answered
They can't take away all these, feelings. They scream
And I can't describe it. It's just the way you make me feel

It's just the way you make me feel
It's just the way you make me feel


Daniel takes his microphone off the stand once again and walks along the catwalk to the connected island. The stage is now dark with only a single spotlight tracing Daniel's movements. Once he gets to a connected island, he places his microphone on the awaiting stand and starts to strum on his guitar with the band far in the background. He looks longingly into the camera as he sings the lyrics with meaning and passion. He looks to the sky as he sings the final line of the bridge

I said 'I've got some news'
She said 'Babe, I'm bemused'
Then I said 'Babe, just listen close'
She's pretty as a rose
I said 'Babe, can you be my wife?
I've been waiting all my life'
She smiled and hugged me (and oh)
These four words will fly home


He closes his eyes and sings the first two lines of the final chorus in darkness before he opens them and sing the following lyrics with power. The stage lights up one more time with colour, fireworks and lights flashing and circling the arena. Daniel taps his foot and slaps his guitar in time with the music as he has fun with the song. The camera circled the stage as the audience waved their flags while dancing to the music.

I'm here to stay
I will remember your white, shining vail
These questions were wholly answered
They can't take away all these, feelings. They scream
And I can't describe it. It's just the way you make me feel

It's just the way you make me feel
It's just the way you make me feel


The audience applauds as the song finishes. Daniel takes off his guitar and waves at the crowd to thank the crowd, "Thank You Izmedu. Thank you very much, I love you. Mwah!". The camera switches to a group of Mercedinian fans waving their flags before transitioning to a postcard for the next song.
Last edited by Izmedu on Tue Jan 31, 2017 12:22 am, edited 2 times in total.

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Left-wing Utopia

Postby Izmedu » Mon Jan 30, 2017 3:13 am




Writers: Tyreece Ryage
Music: Benedict Nyron, Christopher Gyçon

Britonisea will be represented in the 30th World Hit Festival by Tyreece Ryage, a Britonish national of 24 years old. Tyreece will be singing "Na py fyloa" in Old Britonish Latin, which will mark the first time ever that Britonisea has sent a song in said language in international competition.


Tyreece is from Caesium in Britonisea, with is a town which borders the infamous Estogian city, Xenon. Tyreece is a 23 year old male, who attended secondary school and college in Caesium West High School where he left with qualifications at hand.

Image
Tyreece Ryage - serving up tropical realness in his performance.


When asked whether he was nervous or not, he replied, "No, I am not nervous but I am excited! I can only just go on stage, enjoy the song, and not really care about what place I get. It's already been a pleasure performing here in Izmedu!"




NEXT ON STAGE...BRITONISEA


The song started and he was bobbing on the spot, looking to the floor and holding his hat. He was sideways from the audience. 5 other men, all different races, were copying his stance. As he began to sing, he turned to the camera and winked.
Om fyloé du legume, œ maubu om bia kyet (I've been waiting for long, and maybe I'm wrong)
Maube ny follré, vha proté (Maybe I should've followed protocol)
Per est nest vhe enzir, Om readu d'iñe ydohat, (But that is not the end, I am ready for a fight)
Om readu shue vha mondii meself (I am ready to show myself to the world)

He then bopped to the right of the stage while the men behind him were high-fiving each other. He was following the cameraman who was walking backwards. The lights in the arena were full of green, red, orange and blue.
Om neu thii, om n'est expertise (I'm new to this, I'm no expert)
Ne'ia voat kyet, per om leerario (Don't get me wrong, I'm just learning)

The lights in the arena then changed to just green and with the beat of the instrument in the back, it shone blue and off
Ne'ia knowledgre, kweh om hro, per sumroh (I don't know where I'm heading, but something...)
Tellua-mi om yket, on follre futur sueño. (Tells me that I am right, following my dream future)
(oe) ov woff bia iñe supris de mi, (And it will be a surprise for me)
Na py fyloa, sitte choisarió (I wouldn't wait, Had I had the choice1)

Ne'ia knowledgre, kweh om hro, per sumroh (I don't know where I'm heading, but something...)
Tellua-mi om yket, on follre futur sueño. (Tells me that I am right, following my dream future)
(oe) ov woff bia iñe supris de mi, (And it will be a surprise for me)
Na py fyloa, sitte choisarió (I wouldn't wait, Had I had the choice1)

After singing the chorus, he then winked again at the camera before moving backwards back to the centre of the stage. Here, he was to sing in English instead of Old Britonish which was the official version of the song.
I know you won't understand, my message in this song.
Sometimes I feel as though, I am not well understood.
But I just wanna have some fun, that's all I'm begging for.
Jump and scream and shout, and sing the chorus!

As he told the audience to sing along, people started to "Daa daa doo" along with the song. The camera quickly spanned outwards and the stage exploded in to multiple colours.
Om neu thii, om n'est expertise (I'm new to this, I'm no expert)
Ne'ia voat kyet, per om leerario! (Don't get me wrong, I'm just learning)

The camera had spun around him, with the rotations around him increasing throughout the pre-chorus. Then, the camera moved in to the air.
Ne'ia knowledgre, kweh om hro, per sumroh (I don't know where I'm heading, but something...)
Tellua-mi om yket, on follre futur sueño. (Tells me that I am right, following my dream future)
(oe) ov woff bia iñe supris de mi, (And it will be a surprise for me)
Na py fyloa, sitte choisarió (I wouldn't wait, Had I had the choice1)

This was the second chorus of the song, and it wasn't too different from the first part of the song. On the screens behind him there was a picture of a tropical beach in Aurevbush with people playing instruments associated with the summer. The next part of the song was about to start and so the image was sucked in to the middle as if it was sucked in to a black hole. The stage was then of triangle patterns in multiple colours across the stage.
Na py fyloa (I wouldn't wait)
Sitte Choisarió (Had I had the choice)
Na py fyloa (I wouldn't wait)
Sitte Choisarió (Had I had the choice)
Ov woff bia iñe supris, (It would be a surprise)
Na py fyloa, sitte choisarió. (I wouldn't wait, had I had the choice)

He then walked over to the left of the stage and kissed two of the fans in the audience (in the Britonish section of the audience) on the cheek, one male and one female - both of whom fainted slightly. The stage was turned in to the middle of the Atlantic Ocean on a beautiful day.
Py'uiy helpear, helpear de neneta (Would you help me, help me decide?)
Om quintare in'uiy! (I am counting on you!)
Py'uiy helpear, helpear de neneta (Would you help me, help me decide?)
Om quintare in'uiy! (I am counting on you!)

During this part, he did a break dance by himself with the camera spinning around him. Then lights in the arena quickly flashing red and orange.
Ne'ia knowledgre, kweh om hro, per sumroh (I don't know where I'm heading, but something...)
Tellua-mi om yket, on follre futur sueño. (Tells me that I am right, following my dream future)
(oe) ov woff bia iñe supris de mi, (And it will be a surprise for me)
Na py fyloa, sitte choisarió (I wouldn't wait, Had I had the choice1)

Multiple fireworks had set off in the arena as the last part of the song was about to be sung. The audience clapped quietly as they saw the usual happening during the performance. He then walked back to the centre of the stage where the camera followed him.
Na py fyloa (I wouldn't wait)
Sitte Choisarió (Had I had the choice)
Na py fyloa (I wouldn't wait)
Sitte Choisarió (Had I had the choice)
Ov woff bia iñe supris, (It would be a surprise)
Na py fyloa, sitte choisarió. (I wouldn't wait, had I had the choice)

Here, at the final part of the song, he stood in the middle and was greeted by the other males on stage, all dressed as if they were going to the beach, and a picture was taken of them. This was the final shot seen as the crowd erupted with applause. "Thanks!" the boy shouted. It was the participation that counted anyway...

EXEUNT


1: The literal translation is, "I wouldn't wait, if I chose" but to make it have more sense, it was changed to "I wouldn't wait, If I had the choice"
Last edited by Izmedu on Tue Jan 31, 2017 12:23 am, edited 4 times in total.

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Left-wing Utopia

Postby Izmedu » Mon Jan 30, 2017 3:17 am

Image
Tune: Kelly Clarkson - Piece By Piece (Idol Version)

You live your life, feel like you pay your dues, only to find out that sometimes, it never goes your way even if you did everything right. Sometimes, you have no choice but to be broken, but you can recover. That's how I still survive today... You need to find purpose where they take it away from you.” - Katarina Zunic

Promise yourself you won't cry after you perform... Katarina thought as she watched the entries go through one by one, cheering as every nation went on the stage. The whole process was a whirlwind, physically and emotionally, and as her performance slot drew closer, the singer felt the familiar stage fright she experienced when performing live. However, these feelings were far more intense than she expected, and part of her subconsciously knew why. There was pressure of representing Izmedu both as the home soil entrant and as the nation with the current World Hit Festival trophy, but for her... Katarina thought for a split-second that she wasn't ready to lay her soul bare on the WHF stage, she looked towards her delegation, trying to take deep breaths.

Katarina Zunic is one of the most established and proven pop voices in Izmedu, having been active in the pop scene 10 years ago as the codifier of the English-language pop sound that many of current Izmeduan pop artists (Cajka, Eva Tutic, etc.) that follow and emulate faithfully. Like her Junior WHF counterpart, Melanija, Katarina hails from the city of Vodiznad, but her background in music came from chance versus an inculcated interest in music at a young age. Katarina spent much of her youth avoiding music, being raised in a more fiscally conscious family whose focus was for every person in the house to become productive in a young age, Katarina was instilled with practicality and hard work in her upbringing. As her youth was steeped in Izmedu's economic dark days, this served Katarina well through her teenage years, though it caused her to be slightly socially isolated.

She entered University as a business student, making it more unlikely that she would be the pop star she would be today. However, one karaoke night with a school club sparked the necessary push for Katarina to consider singing as a viable career path, as her voice was found to have found to have fit the convention of pop. While it didn't resonate as strong or was as technically perfect as performers in her school's theater and art departments, Katarina could emote in ways that caused even the most steel-hearted in a room with her to be emotionally moved.

While it was on a limb, Katarina was goaded on by friends to go through the elusive Izmeduan music demo circuit to send tapes of herself singing to music execs, or to even participate in shows like the X Factor Izmedu or Istraziti zvizdu, but Katarina found her break as she was lucky enough to have been noticed by a medium-sized label outfit in Vodiznad, but the revelation of this to her family caused a wedge to have been driven between Katarina and them. Since then, Katarina has been estranged from her family since she decided to take the plunge on a pop star career.

For every conflict she had, Katarina was still graced with luck in the music front. Much of her material was emotionally charged, both intense ballads and empowerment anthems that codified the English-language sector of the Izmeduan music industry. While she's since lowered her productivity levels after five to six years in the spotlight, not entirely used to being in the spotlight, the emotional wounds of having been forcefully cut from her family always lingered. While Katarina never wrote her songs in the earlier phase of her career, her on and off dormancies saw experiments in songwriting.

In this case, “Standing Tall” represents Katarina's longest and most torturous experiment. A song that has been in the works for over a decade, Katarina never intended for it to be released outside of her private music sessions, as she had meant for it to be a catharsis to release her pent up emotions over her family. However, the song had transformed only to an expression of a deeper pain than she would allow in her regular catalogue, and “Standing Tall” represented her most personal work yet. Yet again, fortune was what played her hand, as a friend she knew had overheard the piano lines and lyrics she had written. As Katarina was entering yet another dormancy, she could see the logic behind her friend's thinking, but she was unsure as to whether or not it was a wise decision to release the song commercially, much less make the decision to send it to the World Hit Festival at that same friend's insistence.

10 years for one song... Katarina thought as she remembered the offer from RTI. Katarina spent much of her life trying not fight the throes of life and fate, but she knew that she had fought everything to be in this position. The ghosts of her family still haunt her through the song, but she knew that it was time. After a long hug from the RTI's head of delegation, Katarina walked out to the stage...


The crowd cheer was a defeaning roar at the advent of the host entry, with the lights billowing down to the center of the stage with the stage going into pure darkness right after. The cheer maintained its strong, almost broadcasting-error level even as a single light shined from the back, causing Katarina to be lit up in shadow as the camera began to pan across the stage, letting a single reflection occur on broadcast. A firm piano chord played, sounding 'live,' heralding the beginning of the entry, in which the camera faded to a closer view of Katarina...

It only takes one word to fall down
To see that everything I've worked for is simply gone
Like fallen fantasies crumbling to ashes
They just faded out, killed by reality


Katarina, now fully lit up by a spotlight, was revealed to be wearing this simple black dress and was standing behind a microphone stand, where she'll remain stationary. Her eyes were closed, cheeks slightly wrinkled as she sang the first line, the pain coursing through her voice from the high key. She opened them after the first line, singing each word carefully as the camera stayed fixed to her, changing angles only once per line to alter from a sideways view to one in front. At the end of the verse, the camera caught a sideways profile of her looking down, with her visibly breathing as she sung 'killed by reality.'

I'm standing tall despite the pain
Even as you say my dreams are worthless
Standing tall against your hate
You've called me delusional, hopeless
A failure


The transition to the chorus was quick, but Katarina maintained the intense emotionality of her vocals. At this, the camera began to display slow wide views of the stage, a rotating pan that saw the appearance of holograms on stage. These holograms were stationary, seeming to resemble Katarina, one to the far left hugging her knees, and another to the right standing forlorn. Katarina, during this chorus, closed her eyes at some parts as she raised her arm up to be able to gnaw and belt out a few notes. At the fourth and fifth line, the hologram of the girl hugging her knees faded, absorbed into the darkness.

I'll find my own way out
Live the dreams you denied me
I know it's foolish
All these hopes
I stand tall, knowing I'm broken
I'll create my own fate, and I'm saying goodbye


Katarina's vocals were at their most intense as she belted out these lines, with a few more white lights coming to reflect the more hopeful, though intensely melancholic tone. Katarina looked to have gripped the microphone in a vice grip, looking fragile at the last line, and with her fittingly staring into the direction of the faded hologram at the end of the chorus. She closed her eyes again, seeming to look up for a moment to clear her eyes.

You say it's done out of love
That you were protecting me from such a 'dangerous' world
Why did you hurt me like that? Why did you break me?
There was only one answer you gave me... 'you are worthless.'


There was not much breathing room for a pause as Katarina started on the second verse only after a few seconds of the chorus. At the advent of the verse, the camera focused on more close ups as the screen behind her began to gradually turn white, with a black outline of Katarina acting as a shadow, static on the screen like the solitary hologram on the left. Her vocals were more resonant, each word and line seeing her pull forward and looking into the camera at ample opportunities. At the third line, especially, was where Katarina unleashed a powerful belt at 'why did you hurt me like that,' before taking on a more reflective tone for the rest of the verse. At the last line, with the camera rather close to her, her hand could be seen shaking at the end of the verse, and the screen image itself also faded.

I'm standing tall despite the pain
Even as you say my dreams are worthless
Standing tall against your hate
You've called me delusional, hopeless
A failure
I'll find my own way out
Live the dreams you denied me
I know it's foolish
All these hopes
I stand tall, knowing I'm broken
I'll create my own fate, and I'm saying goodbye


At the second chorus, the Dragulj Arena lit up in a gentle white configuration as the camera began to pan across the stage in a wide view. More holograms on the stage began to fade in and out, which turned into a timelapse of the girl from earlier moving through life, with images of triumph (with her happy the nearer the hologram was to Katarina) from heartbreak (the more sadder, the farther away) appearing in intervals as Katarina sang the chorus. At the last lines, the lights around the Dragulj as the camera focused on Katarina once more, with her ending the chorus in a slightly prolonged note.

Standing tall...


That brief refrain of the title served as Katarina's chance to breathe before going through the final chorus of the song, as the few stage effects that were there began to fade.

Standing tall despite my suffering
One day maybe you'll be right all along
You can destroy my hopes, but here's where I fight
You will never destroy a person again
I'll stop you


More holograms began to appear on the stage as the camera took on a slowly descending bird's eye view for this chorus, with the piano instrumental far more resonant for these parts as Katarina's voice took on a slightly lower, more determined tone at these four lines. The holograms, though looking more like visible shadows, began to show frozen scenes that reflected image, including one of someone older shouting at her child situated next to Katarina. At the last two lines, her vocals became passionately tinged to the point of a near growl with one of them. This was then followed up by a hand motion towards the hologram next to her, causing it to react with a white flash before disappearing from the stage.

I found my own way out
I found my own purpose
For once, I can say...
I'm happy


This part, with the piano instrumentation and vocals at their peak, would serve as the climax to the song. The camera, during this, remained much closer to Katarina as the holograms farther from her disappeared line by line, with the lights shining brighter with one particularly bright spotlight illuminating her from the back. It was during this part where her eyes were closed from the pouring of raw emotion, her belts during the 'I found' lines causing a slight echo in the live arena as she went for a powerful belt. At the end of these lines, her voice went higher and softer, fading into a near but absorbed sob at 'I'm happy,' where the lights would then fade sans that bright spotlight.

I stand tall, away from the past
When all is said and done, I look towards the future


For these last two lines, the tone was far more reflective, the piano becoming softer as Katarina was angled slightly downward, her body a bit more relaxed as she looked at the camera with open eyes. The camera, with the stage now fading into darkness, closed up on her as the song began to end, with the spotlight being reflected back visibly to her eyes. At the end, she looked down for a moment as the piano played a few notes.

Standing tall... Standing tall...


Her vocals, though losing the intensity from earlier, ended on a soft, but emotional note as the song closed out with a lower chord. At this, Katarina could be seen visibly turning away for a breather as the spotlight on her faded, with the Izmeduan home crowd cheering for her very heavily, at a volume similar if not slightly louder from earlier. As the Dragulj Arena came back on, Katarina could be seen looking a bit fragile, awestruck at the crowd cheer, with her trying to say something to the microphone but failing to find the words.

“Thank you...” Katarina said after a few seconds, if a bit weakly. She then blew a kiss to the crowd, walking backstage.

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Left-wing Utopia

Postby Izmedu » Mon Jan 30, 2017 3:23 am

Image
translation: Local Wisdom | tune: S'jam tribu — Aurela Gaçe
language: Standard Indonesian
(note: regular e is a schwa, é is any other pronunciation of e in this link)


After a 10-edition break, Fromulya was back. TVRF had chosen Sri Ayu Mahanegara with a very patriotic song; something one would expect to be played on repeat during every independence day celebration. The Garuda Singers, a big and famous choir in the country, were asked to accompany her and provide backing vocals.

Sri Ayu was wearing a very grand, elaborate dress made only by the nation's best designers. She stood on the front platform in front of the orchestra, which was used for the entry. The song began.
Di pagi hari petani jalan menuju padi
Dan api perjuangan menyala kembali
Para pemuda bergerak menggelorakannya
Matahari pun melihat dan ikut merestui

As Sri Ayu held a note, the Garuda Singers came onto the stage, each wearing a variety of traditional outfits from all over Fromulya. The parts in brackets are sung by them and them only.
Meréka mulai bekerja ‘tuk seharian penuh
(Tanpa pamrih, tanpa lelah, demi negara utuh)
Tak peduli tinggal di kota atau di désa
(Aku dengan kamu sama-sama orang Fromulya)

Di senja hari rakyat berpesta bersama-sama
(Kami makan dan menari, bersyukur dan bahagia)
Inilah hasil dari kerja bergotong-royong
(Sang révolusi bergerak dengan bekerjasama)

Tanahku, airku, ya inilah negeriku
Demimu ku réla mengorbankan jiwaku
Tanahku, airku, ya inilah negeriku
Demimu ku réla mengorbankan ragaku

Tanahku, airku, ya inilah negeriku
Demimu ku réla mengorbankan jiwaku
Tanahku, airku, ya inilah negeriku
Demimu ku réla mengorbankan ragaku

Sri Ayu briefly strikes a pose during the instrumental break. In the next part, the choir make vocals that sound like "pum pum pum pum pum".
Darah Fromulya mérah dan tulang kita pun putih
Dalam ‘tiap kesusahan kita kembali pulih
Kita satu idéntitas dan kita satu bangsa
Dengan usaha kita Fromulya akan berjaya

In this next part, the choir provide backing vocals to Sri Ayu.
Tanahku, airku, ya inilah negeriku
Demimu ku réla mengorbankan jiwaku
Tanahku, airku, ya inilah negeriku
Demimu ku réla mengorbankan ragaku

Tanahku, airku, ya inilah negeriku
Demimu ku réla mengorbankan jiwaku
Tanahku, airku, ya inilah negeriku
Demimu ku réla mengorbankan ragaku

In the short instrumental break, members of the choir hold hands and then move/sway from side to side.
Tanahku, airku, ya inilah negeriku
Demimu ku réla mengorbankan jiwaku
Tanahku, airku, ya inilah negeriku
Demimu ku réla mengorbankan ragaku

The choir singers start to kneel except those in the back, it is done in a way so that everyone is visible (see tune video for reference).
Tanahku, airku, ya inilah negeriku
Demimu ku réla mengorbankan jiwaku
Tanahku, airku, ya inilah negeriku
Demimu ku réla mengorbankan ragaku

After the final word in the song is sung, Sri Ayu extends her hands as if imitating a the wings of a bird, while choir members extend a hand in the same direction as Sri Ayu's, depending on their position on stage (again see tune video for reference).
Negeriku!

The song ends, the crowd cheers, and Sri Ayu thanks the crowd, then leaving it for the Chameliyan entrant to set up.
In the morning farmers walk toward the rice fields
And the flame of struggle is enlightened again
The youth move to fan the flames
The sun watches and gives its blessing

They begin to work for the whole day
(Selflessly, tirelessly, for national integrity)
Regardless of living in the city or in the countrside
(You and I are both Fromulyans)

In the evening the people feast together
(We eat and we dance, show gratitude, and are happy)
This is the result of a group effort
(The revolution moves forth with cooperation)

My land, my water, yes this is my country
For you I would sacrifice my soul
My land, my water, yes this is my country
For you I would sacrifice my body

My land, my water, yes this is my country
For you I would sacrifice my soul
My land, my water, yes this is my country
For you I would sacrifice my body

Fromulyan blood is red, and our bones are white
In each hardship we heal again
We are one identity and one nation
With our efforts, Fromulya will prevail

My land, my water, yes this is my country
For you I would sacrifice my soul
My land, my water, yes this is my country
For you I would sacrifice my body

My land, my water, yes this is my country
For you I would sacrifice my soul
My land, my water, yes this is my country
For you I would sacrifice my body


My land, my water, yes this is my country
For you I would sacrifice my soul
My land, my water, yes this is my country
For you I would sacrifice my body

My land, my water, yes this is my country
For you I would sacrifice my soul
My land, my water, yes this is my country
For you I would sacrifice my body

My country!

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Left-wing Utopia

Postby Izmedu » Mon Jan 30, 2017 3:26 am

Image
Tune: Santigold - Can't Get Enough Of Myself

The cat was out of the bag. After the announcemennt of Chámelíyá's participation in the third Junior World Hit Festival, the nation's thousands of WHF-enthusiasts knew that it could mean only one thing - Chámelíyá was coming back to the World Hit Festival. The only thing that remained in question was who and what would represent one of the festival's most successful particpants at their return. For Chámelíyá Rediyo Televijan, the Chámelíyálí state broadcaster, the selection of a song and artist was a daunting responsibility. The CháReTe WHF committee were all too aware of how greatly anticipated Chámelíyá's return to the festival would be, both domestically and multiversally. Not only would they have to defend their practically unprecedented record of sucess but would also have to find an entry that would be strong enough to demonstrate that they still meant business. Luckily for them, their choice would suddenly become a great deal easier.

Cháñdísun (Silver & Gold) is the moniker of Sajína Saráda, one of Chámelíyá's most influential and innovative rappers whose work spans genres as varied as classical and reggae. Having chosen to take a sabbatical after the release of her critically acclaimed fourth album, Chandra Mámá (Uncle Moon), and accompanying sell-out marathon world tour, her year-long social media blackout was broken with the suprise release of Never Stop, a feel-good experimental R'n'B anthem she described herself as 'a gift to my fans to help get through the long winter months'. The song was an overnight success and stormed to the top of the Chámelíyálí music charts were it remained number one for six consecutive weeks and has stayed in the top three since. In recognition of her contribution to contemporary Chámelíyálí music and culture, CháReTe have collaborated with Cháñdísun to bring her dazzling pop sensation to the world stage and represent Chámelíyá as it returns to the multiverse's premier cultural event. Cháñdísun's WHF rendition of Never Stop will be its first public performance and it is widely expected that its broadcast will draw in both WHF-fans and music-lovers in droves.

The arena is almost pitch black, the only luminescence being the dim glow of the white lettering on the black backdrop of the stage, 'Chámelíyá calling.' Without warning, a warm round voice echoes around the auditorium causing hairs to stand on the necks of the spectators.

Oooh woah oh oooh, oooh
I just live each day for myself

A sudden flurry of light and strobes shocks the arena into dazzling light as the backdrop warms up to a pink and yellow tiger stripe pattern. As the intro plays, the camera pans from the middle of the arena slowly towards Cháñdísun who is wearing a turqouise trenchcoat and a child-like fringe and is nonchalantly sat cross-legged on the bonnet of a vintage white convertible posititoned at the centre-rear of the stage. As the camera closes up on her face she looks up and begins to sing into her handheld microphone. Sat behind her inside the car are four backup singers dressed in bright retro dresses.

Who is that lady who’s living life so fearlessly?
Don’t wanna brag but I’ve a secret to tell
Worry not it’s not conspiracy
If you want to live life happily
Go ahead, just lend us an ear

Cháñdísun looks warmly into the camera flashing warm smiles and cheery eyes. The backup singers can be seen swaying side to side in their seats in time to the music.

Babe, it’s real easy, it’s just my small philosophy
Just giving a little love back to myself
Living so well that it comes for free
Living your life with some honesty
Soon everything will become clear

The backup singers jump out of the car and lift Cháñdísun off its bonnet and onto the stage. The ensemble confidently step in synchrony down the steps to the edge of the orchestra pit, allowing their bodies to move slightly in time to the beat betraying the infectiousness of the tune. Each one looks forward into the audience with determination as Cháñdísun begins the bridge.

Everything I do, I’m gonna do well
Won’t say sorry for living each every day for myself
Hold my head up high, hold yours up as well
If you’re searching for beauty then take a look at yourself

Another flash of lights heralds the chorus. The camera pans from side to side, capturing the five figures of the backup singers and Cháñdísun in the centre of them. They all move in time, stepping side to side and waving their hands in a joyous routine reminiscent of that of a cheerleading troupe or a viral dance craze.

Woah oooh oooh
I can’t never stop
Nothing else you can do
When the sun is smiling at you
Woah oooh oooh
It just never stops
No one else to look to when
No one else is shining like you

Cháñdísun continues to sing as the backup singers transition through frozen poses of themselves applying their makeup, doing their hair and checking their appearance in hand mirrors. Cháñdísun steps in and out of them, leading the camera and looking into it with a mischievous grin.

Ha-ha- I’m happy, I’m living life effortlessly
Never take notice of what others may say
Living so well it’s a fantasy
Can’t even notice their jealousy
The whole world’s all about you now

Suddenly the backup singers come back to life and turn to face Cháñdísun who is now standing on the right. She addresses them, waving graciously in their direction as the backup singers lift their hands to their ears to hear her words.

Listen carefully, follow this rule exactly;
You’ve got to live life in your very own way
Living for others is misery
Living for you is the way to be
Yes, babe, you’re the talk of the town

All five turn and begin to stride with purpose to the right of the stage, their bodies moving left to right as they step. The camera leads them capturing them walking in what appears to be marching formation.

Everything I do, I’m gonna do well
Won’t say sorry for living each every day for myself
Hold my head up high, hold yours up as well
If you’re searching for beauty then take a look at yourself

Now at the right of the stage, the backup singers stand in a circle around Cháñdísun and resume their coordinated dance routine. Cháñdísun looks into the camera as it circles her, momentarily revealing the arena around her illuminated by the bright stage and lighting dancing enthusiastically to the music.

Woah oooh oooh
I can’t never stop
Nothing else you can do
When the sun is smiling at you
Woah oooh oooh
It just never stops
No one else to look to when
No one else is shining like you

Cháñdísun and the backup singers begin to move again, strutting proudly down the catwalk to the front of the stage, dancing as they go. The camera switches between Cháñdísun smiling radiantly into the camera and images of the crowd reaching their arms upwards to reach the stage and Cháñdísun.

Woah oooh oooh
I can’t get enough
No one else can outdo
I’m great and I’m gold and I’m new
Woah oooh oooh
We can’t get enough
All that I say is true, yes
The whole world is looking at you

As they reach the front of the stage, the backup singers make a striking pose around Cháñdísun. The backdrop blacks out and a single spotlight silhouettes Cháñdísun and her singers as strobe lights flash in time to the claps of the backups.

Taking a bow but it won’t be enough
Living so fine, I keep turning it up
It don’t get old, it don’t, oh no
I’m telling you, babe, we just never stop, oooh
The world’s my oyster, the world is my cup
I’m living it large and I’m filling it up
Oooh oooh oooh oooh
Tell me again, we can’t never stop
We just

The strobe lights end and the stage is illuminated once again revealing Cháñdísun and the backup singers now joined on the catwalks by dancers in all manner of costumes from businessmen to plumbers, doctors, shopkeepers, chefs, schoolchildren and old ladies. They all join in on the signature dance routine, placing their hands onto their shaking hips and pointing their hands jazzily into the audience. On the screen, a video of plays of a flashmob in a central Senmerí square dancing in time to the music to the same routine.

Woah oooh oooh
I can’t never stop
Nothing else you can do
When the sun is smiling at you
Woah oooh oooh
It just never stops
No one else to look to when
No one else is shining like you

The camera pans along the lines of joyful smiling dancers moving in time with eachother on the stage's catwalks. Occasionally, the shot changes to images of fans dancing freely in the audience. In the centre of it all, Cháñdísun allows herself a quick giggle into the microphone as she blasts into the final chorus. Brightly coloured confetti begins to fall.

Woah oooh oooh
I can’t get enough
No one else can outdo
I’m great and I’m gold and I’m new
Woah oooh oooh
We can’t get enough
All that I say is true, yes
The whole world is looking at you

The camera closes in on Cháñdísun's grinning face, her hair tangled with fallen confetti as she gently sings the final notes of her song.

Woah oooh oooh

"Thank you Izmedu. This is for Chámelíyá!" she laughs and waves to the audience one last time.
Last edited by Izmedu on Tue Jan 31, 2017 12:23 am, edited 2 times in total.

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Postby Izmedu » Mon Jan 30, 2017 3:29 am

Image
Tune: Kerli - Diamond Hard


After the improvement in their result last contest (Normandy and Picardy finished 4th), NNN was emboldened and so began looking for the next song with a much improved spirit than last contest. Still, it wasn't going to be easy to carry on the upwards progress of the nation in WHF as well as hosting the 53rd WorldVision Song Contest, especially as money had been diverted from the WHF budget to pay for WorldVision and other, domestic shows. Despite this, in the offices of the NNN building, looking over the Parque da Centrale and a constant and ever familiar sight in the Caen skyline, there was a buzz in the director of WHF's office; yes, it was much smaller than the WorldVision section, which took up most of the 2nd floor, but it just as busy. The staff themselves were as per usual tight-lipped as the attentive super fans looked for any way to get a leak, from an incorrectly sent email to a tip of whilst a janitor was having a lunch break. It turns out the threat of being sacked is enough to ensure everyone stays quiet. However, as the contest began to approach and the TV schedule was announced (the Normand WHF fans were happy to see the show remain on NNN 1, as it had been rumoured to be going to NNN Music), there were still no concrete plans regardons the singer, the song or any other pertinent aspect of the act had even begun to be decided, and the signs of worry were beginning to show.

However, help came in the form of alternative act 'Hautes', a little known name outside of her fanbase in Normandy and Picardy (which for an artist in the country is rather small). Within the community surrounding her, Hautes (whose real name is Anaïs Urveir) she is known for her unique take on pop, calling on many traditional pagan images and inspirations, and for a darker outlook than most musicians. Hautes herself was born in Bayeux, a town in the northwest of Normandy and Picardy, were she grew up before moving to Caen 2 years ago. Now 24 years old, she has been working in music for the last 4 years, having moved to Caen to work with producer and close childhood friend Marco Louton (who has produced for a number of alternative artists and made a name for himself in the alternative scene), which led to the release of her first album 'Surtout Toi' (Especially You) which was met with some critical acclaim and was number one album for two weeks, fuelled by her fans. She had been linked to both WorldVision and WHF recently, and her work in the studio with Louton had fired up the rumours again.

When Hautes submitted her song, 'Chauntheze da Nothez' (Songs of the Night), to NNN - who had started a public submission period as was the custom for WHF and WorldVision - they instantly knew this would be the song they would be sending. It would, however, be a bit of a gamble. It is a bilingual song, with lyrics in Nourmesh and English, and this isn't the problem. The song, however, is mostly instrumental, and thus the staging could either make or break the song. Especially going up against giants such as Izmedu on the staging front was going to be a challenge, but it was one that NNN WHF director Jules Marcellan was willing to go through with. The song itself carries on in the vein of most of Hautes' music, with its dark lyrics and alternative pop sound. The lyrics have been interpreted in many ways, from talking about going through an abusive relationship to suicide, and Hautes' has refused to tell us what her inspiration is; she says 'Art is about how you interpret it, not how I or anyone else tells you to. It is alive independent of the artist, so find your own meaning in the song'. No matter what, the song has thrust Hautes to the top of the Normand Singles chart and the Normand public have faith in her. As she left for Vodiznad, she had the cheers of a nation behind her back. Could she deliver..?



The stage is empty and coated in darkness as the echoes of blowing wind can be heard. The smoke machines have helped cover the stage with a blanket of smoke, billowing over the edge of the stage. As the music began, a series of spotlights rapidly flashed on and off, and the cameras looked down into the stage, where Haute lay surrounded by the smoke, arms outstretched as if on a cross. Wishing around her and threatening at times to conceal her. The change of the lights to the beat of the music and the smoke worked together to hide her movement from her initial position. She got up as the lights were darks, before being directly illuminated by one of the lights. She wore a long, wispy dress, which was a dark, blood red colour that contrasted the monochrome of the staging so far. She walked towards the front of the stage, the flashing lights making it look like she was jumping forwards, and combined with the various choreographed movements of her arms made her appear to be holding a series of vogue-esque (as in the Madonna song's music video) positions.

Je wèrque e l’ochuretez (I look into the darkness)
L’ochurtaz wèrcha e mie (The darkness looks in me)
Mie èmez cracha e pirzè (My soul falls apart)
Mau mayechez apècha mie (My master calls me)

Aunètre apech, aune cride (Another call, a shout)
Lavocha mie chadnezes (Pulls on my chains)
L’orchurtaz mie impeyai (The darkness fills me)
Li fochuz oscha mau dosau (The fire burns my back)


As the prechorus began, a red light emerged from the orchestra box, fighting against the white and black of the stage, seeming to reach out through the smoke towards Hautes. It turned out that NNN had decided to employ the orchestra to bring the strings alive, and the atmosphere in the stadium was electric as the orchestra, conducyer by Normand conductor Maximilian Rosan, played. The cameras briefly panned over the orchestra before returning to the stage, where Hautes stands with the smoke surrounding her legs and a white spotlight surrounding her, the rest of the stage being in darkness.

I need to know that I'm here
I need to feel a spark
A flame to bring the darkness
And hear the warning call


As the prechorus carried on, the background, up until the point, seemed to be showing red cracks, as if something was trying to break out through the background. The spotlights begin flashing again, much more slowly and turning from white to red as Hautes walk up along the left hand cat walk towards the front most part of the stage in front of the orchestra, who it was revealed were wearing long black robes (someone had convinced them to wear them) with pale white hands; you don't need to be a genius to figure out the connotations here.

The songs of the night, they play
Fill up my empty soul
I stare into the abyss
And back into my heart


The lights became more and more intense and more and more red as the build up continued, with Hautes singing into the camera which panned in front of her.

Into my heart x6
Chauntheze da Nothez (Songs of the night)

Into my heart x6
Chauntheze da Nothez (Songs of the night)


As the beat dropped, the stage was plunged into darkness for a brief second, and when the lights returned, bright red and with with spotlights shining and moving across the stage and the audience, Hautes appeared to have disappeared; indeed, the LEDs seemed to show a hole in the floor. After some rapid camera movement, the main focus came back to the stage, where Hautes now sat in a cage like box, trying to escape and two cloaked figures danced around it, both trying to catch one another yet also keep Hautes inside.

Chauntheze da Nothez (Songs of the night)


The cloaked figures disappeared and the walls of the cage fell apart, Hautes now standing free. The lights became less intense and the spotlights stopped flashing, and the camera focused on Hautes as she began singing, again moving her hands about and singing into the camera. For a split second one of the cloaked figures can be seen in the background before the camera moves.

Je wèrque e l’ochuretez (I look into the darkness)
Je vaidu t’ec pedar (I see you standing there)
Atenyer pur mie e (Waiting for me and)
Afilar te thade (Sharpening your sword)


The lights slowly flash in the back, and the background (which hadn't yet burst and had actually calmed down, the cracks become less visible) began to appear to be under strain again. The cameras panned around the stage and the audience, before looking up across the orchestra box to Hautes.

Aunètre apech, aune cride (Another call, a shout)
Lavocha mie chadnezes (Pulls on my chains)
L’orchurtaz mie impeyai (The darkness fills me)
Li fochuz oscha mau dosau (The fire burns my back)


The violins picks up again and the lights begin to intensify, and the background gets closer and closer to seemingly reaching its breaking point, as the red cracks stretch the black. Hautes continues singing in the same spot, smoke wishing around her and the light shining, more faintly on her.

I want to break free from this
But I can't escape my cage
I need to break down the walls
But I can't see them

The songs of the night, they play
Fill up my empty soul
I stare into the abyss
And back into my heart

Into my heart x6
Chauntheze da Nothez (Songs of the night)

Into my heart x6


The beat drops again, and the background graphics seems to explode into a fireball, vivid red in colour, which also spread across the floor LEDs, and Hautes 'fell' to the floor, before the two cloaked figures returned, and picked her up and turned her around. The two seem to dance with her in a contemporary sort of style, before the cameras begin panning the rest of the stage. At this point, the background is showing a kaleidoscope of silhouettes ands colours, with people in pain and oranges, reds and blacks making up the majority of this. The LED floor turns darker and darker into a deep red colour, like blood drying on the floor.

Chauntheze da Nothez (Songs of the night)


During a series of panning camera shots, a platform on the stage rises, so that when the camera returns to the stage Hautes is above the cloaked figures, who have been joined by 4 more and begin dancing around the platform in some sort of pagan-like ritual.

Chauntheze da Nothez (Songs of the night)


As the song end the stage suddenly descends into darkness, and the platform lowers. Hautes, struggling to breathe, shouts 'Marci WHF, I love you all'. Now, all they could do was wait...
Last edited by Izmedu on Mon Jan 30, 2017 9:13 am, edited 2 times in total.

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Left-wing Utopia

Postby Izmedu » Mon Jan 30, 2017 3:32 am

Image
Tune: HAIM - If I Could Change Your Mind

Image
Left to right: Nana Massey, Valerie Tekinson, Müge Polat

NVM is an Anollasian all-female group which consists of Valerie Tekinson (leading vocals), Nana Massey (backing vocals), and Müge Polat (backing vocals). They formed in 2013 in Anollton, Anollasia. The group's name is Internet slang for ''never mind'' but also from the first initials of each member's name (Nana Valerie Müge). Prior to the group, they were all childhood friends, lived in the Murat Tepe neighbourhood of Anollton, and went to the same school. They formed the group because they wanted to do something fun together and not drift off into separate post-secondary institutions, different careers. They sing and dance but a backing band plays the instruments. They were signed to the Fresh Music record label in 2013, since they heard of their breathtaking performance at a school concert and saw potential in them. All of the members, born in 1995, graduated from high school in 2013 and then dove into the music industry. They have released one two albums, NVM (2014), and Replay (2016) as well as several singles. They have been proven fairly successful and were chosen by NATV (National Anollasian Television) to represent Anollasia in the 30th World Hit Festival.

() brackets/parentheses indicate backing vocals
*Marriage is considered a secular institution in Anollasia, and as such, neither churches nor other places of worship host weddings. Nevertheless, "walking down the aisle" is still used as a saying for marriage.


The stage is dark as the beat starts to play. Suddenly, a spotlight focuses on NVM, in the centre of the stage as Valerie starts singing and the two other girls each stand on one end, slightly behind, shaking their hips and tapping their feet. They're all wearing black short shorts and white shirts.

Know that I lied
I wasn't prepared for
Walking down the aisle*


Valerie looks straight into the camera and sings.

'Bad'
A word to describe
Our 2 month gung-ho
Relationship full of fights


She shrugs to her question and then does some hand gestures.

When's the time to say, "I regret it"?
Could it be today?
'Cause every time I sleep (I sleep)
Sleep around, then
Entering a state of happy, happiest, happiest thoughts


Then the girls dance like in the video and Nana and Müge harmonize with Valerie to provide backing vocals. The LED screen, which was previously black, features waves of colours, mostly pink, orange, purple, and red.

I want to make it right
I don't want to be cunning
I want to look in your green eyes
And I want to be your honey
I'll fix your broken heart
And I'll give you a little something
I want to make it right
Want to be your life
Be your life


The LED screen goes black and theystop dancing and return to their position at the start of the performance. Valerie looks straight into the camera and sings, while looking around and putting her hand by by her eyebrow, gesturing that she's searching around.

Now, I left home
I'll search for your love all night
Find a new home


Valerie does the shrug and gestures again, while the other girls move back and forth, slowly moving up.

But when's the time to say, "I regret it"?
Could it be today?
'Cause every time I sleep (I sleep)
Sleep around, then
Entering a state of happy, happiest, happiest thoughts


The colours are back on the LED screen and the girls dance like in the video again and they all harmonize.

I want to make it right
I don't want to be cunning
I want to look in your green eyes
And I want to be your honey
I'll fix your broken heart
And I'll give you a little something
I want to make it right
Want to be your life
Be your life


They huddle into a circle and move around like in the video for this segment, with only Nana and Müge singing. They are clapping too. The LED screen has several hollow circles with each circle being a certain colour (pink, orange, purple, or red).

(Patience, oh my love, won't it find me
Your eyes are enough to divide me
Patience, oh my love, won't it find me
Your eyes are enough to divide me)


They form a straight line and do the chorus dance again, while the LED screen stops with the circles and returns to the waves of colours. Valerie interjects with the next verse and they sing the chorus altogether again, and Nana sings something unintelligible in the background whenever there aren't backing vocals.

Patience, oh my love, will find me
I want to make it right
I don't want to be cunning
I want to look in your green eyes
And I want to be your honey
I'll fix your broken heart
And I'll give you a little something
I want to make it right
Want to be your life
Be your life


The ending is intertwined with Valerie singing the bridge segment, Nana and Müge singing a variation of the chorus, and Nana sneaking in something unintelligible whenever she can. The backstage crew gradually reduce the volume of their microphones, creating a fade out effect. The LED screen also slowly fades out to darkness.

Patience, oh my love, will find me (make it right, make it right, make it right, make it right)
Patience, oh my love, will find me (make it right, make it right, make it right, make it right)
Patience, oh my love, will find me (make it right, make it right, make it right, make it right)
Patience, oh my love, will find me (I want to make it right, want to be your life)


The girls stop dancing and singing and bow together. The audience cheers and applauds. Valerie blows a kiss with her hand to the audience and they all wave before leaving the stage.
Last edited by Izmedu on Tue Jan 31, 2017 12:24 am, edited 1 time in total.

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Left-wing Utopia

Postby Izmedu » Mon Jan 30, 2017 3:53 am

Image
Tune: Kalomira - Secret Combinations

Skanden returns after having last participated in the 19th World Hit Festival, skipping 11 editions. It truly is a multicultural place — several (perhaps up to a hundred or more) languages are spoken in the country, although only certain regions have showed interest in the World Hit Festival, which is reflected by the language the songs are in. In this case, the participation was sponsored by the Swedish and Italian speaking regions of Skanden, although one of the songwriters was from the Albanian-speaking region. The song's title means "A Winning Song" and contains four languages — Albanian, English, Italian, and Swedish (although the lyrics are predominantly in the latter two).

Melissa is joined on stage with two dancers, and for the whole performance they perform moves that best suit the corresponding part of the song.

Kan du sjunger?
Vill du alla i den världen känner dig?
Sku’ du vilja bli en stjärna?
Då har jag något för dig, oh

Öva på en dans
Har en klänning på dig och lära dig en låt
Är din bidrag den bästa?
Jag tror att du kan vinna, oh

Një këngë fituesi riceve il trofeo
Tu puoi cantare oggi i testi che io creo
Një këngë fituesi, esso sarà il campione
La musica conosci, ora canta la canzone

Një këngë fituesi riceve il trofeo
Tu puoi cantare oggi i testi che io creo
Një këngë fituesi, esso sarà il campione
La musica conosci, ora canta la canzone

Step number one
Du inte kan misslyckas om du är självsäker
Man kan inte bara önskar
Om man inte också jobbar, oh

Një këngë fituesi riceve il trofeo
Tu puoi cantare oggi i testi che io creo
Një këngë fituesi, esso sarà il campione
La musica conosci, ora canta la canzone

Një këngë fituesi riceve il trofeo
Tu puoi cantare oggi i testi che io creo
Një këngë fituesi, esso sarà il campione
La musica conosci, ora canta la canzone

In this instrumental break, Melissa and her dancers perform some quite sensual dance moves.
Një këngë fituesi riceve il trofeo
Tu puoi cantare oggi i testi che io creo
Një këngë fituesi, esso sarà il campione
La musica conosci, ora canta la canzone

La musica conosci, ora canta la canzone

The song ends, the crowd cheers, and Melissa thanks the audience before leaving the stage for the Ethanian act to set up.
Can you sing?
Do you want everyone in the world to know you?
Would you like to be a star?
Then I have something for you, oh

Practice a dance
Put on a dress and learn a song
Is your entry the best?
I believe you can win, oh

A winning song receives the trophy
Today you can sing the lyrics I create
A winning song, it will be the champion
You know the music, now sing the song

A winning song receives the trophy
Today you can sing the lyrics I create
A winning song, it will be the champion
You know the music, now sing the song

Step number one
You can’t fail if you are confident
You can’t just dream
If you don’t also work, oh

A winning song receives the trophy
Today you can sing the lyrics I create
A winning song, it will be the champion
You know the music, now sing the song

A winning song receives the trophy
Today you can sing the lyrics I create
A winning song, it will be the champion
You know the music, now sing the song

A winning song receives the trophy
Today you can sing the lyrics I create
A winning song, it will be the champion
You know the music, now sing the song

You know the music, now sing the song

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Left-wing Utopia

Postby Izmedu » Mon Jan 30, 2017 3:54 am

Image
Tune: Aquilo - I Don't Want To See It

Image

Jeremy Granger had a difficult childhood. His dad abused him throughout his youth, and anyone who he told outside of his home never seemed to listen or care about his problems - something which has become one of the biggest scandals the Ethanese social care industry has ever encountered. His mother left when he was 6 years old. He had two brothers; one committed suicide at the age of 13 when Jeremy was 7, and one ran away and was found dead in a park 70 miles away. He struggled at school because of his situation at home, and was a victim of daily systematic bullying because of how shy he was. He had a few close friends, but he was never really good with social situations because he had never developed those skills due to his situation at home He ended up falling into depression at the age of 14, and ended up attempting to commit suicide seven times, each one thwarted by his closest friend, to whom he is now married.

Music was his escape from reality. At first he only listened to it, avidly following Worldvision right from the start, but his love for music developed further as he learnt how to play music on a variety of instruments. It was him finding music that helped cure him from depression, and helped him to find love. He stumbled by accident into the music room one day at school at lunch to find somewhere to spend his lunch, where he fell in love. He ended up spending every lunchtime from there on in playing music with the music teacher, and then made his first friend, who he is now married to. His music soon developed into a love for creating music, and his love for creating music gave him a purpose to live, ending his streak of suicide attempts. It took a few more years to overcome depression, especially considering the situation at home, but once he turned 16 he moved out of his father's house and in with his friend, and soon overcame the deep state of depression.

His love for music developed into what he is today. He performed at a talent show one evening at the school, and to his luck on of the parents was also a major person in a recording company, to which he was rapidly signed. He went on to develop his own music, before entering into Worldvision - a show he had avidly followed all his childhood. He had decided that now was the time to tell his story though, and here he is today, to show his experiences, to tell everyone that depression is a serious matter, but to also show that falling into depression isn't the end - there is still hope, evidenced by the position he is in himself today. Jeremy would be pleased if even 1 person was helped through this song, because that is all this song is about. The negative tonality of the song may seem to suggest that there is no hope, and that is how you feel during depression, but him standing here today is evidence to show that there is hope; that is the message Jeremy wants everyone to take home today. Never give up. There is still hope.


The stage is lit up with a wide spectrum of white lights. Ethane is announced as the next act, the postcard flashing up on the screen. Silence falls across the arena as the lights switch off, shrouding the stage in darkness. Jeremy moves into his starting position on stage. He is sat at the front of the stage left-of-centre, with his feet dangling off the edge. The microphone is in his right hand, and he is holding it up close to his mouth ready to vocalise the first words of his song. He appears to be down, like something is bothering him, and he expresses this through a large frown plastered on his face. As the music builds up towards when Jeremy starts singing, a spotlight, which is pointed down onto Jeremy, gradually increases in brightness until it is at full brightness when he starts singing. The light reveals Jeremy wearing an all black suit. His shoes are a dark black colour, shined to perfection so the light reflects off it like a mirror. His trousers are also a deep black, reflecting the state of his soul. The trousers appear to be a little baggy on him. He is wearing a grey-ish black shirt which is slightly lighter than the rest of his clothes. He has a jacket over the top of the grey shirt, which is also a deep black. His hair is messy and appears like he hasn’t brushed it before the performance - it is all over the place. He breathes deeply, his breath shaky with nervous energy, expressing the deep-felt emotions in the performance. He moves the microphone closer to his mouth and looks down towards the floor at the front of the stage between the stage and the audience where there is a gap, and begins to sing. This song runs deep for him, and this is expressed through the pent up emotions he is releasing in this performance; 10 years of experience, and he wanted to express this through his love of music. He still struggled, and this song was meant to express that. Towards the end of the chorus two dancers - a male and a female - crawl on to the stage and position themselves about two metres diagonally behind Jeremy to either side of him - the male on the left and the female on the right from the audience’s perspective. The male is wearing a similar outfit to Jeremy, and appears to have one of those headset microphones on that you don’t need to hold, while the female is wearing a black dress with black flat-bottomed shoes and black hair accessories. As they crawl on to the stage, a spotlight shines on each of them but a little dimmer than the one on Jeremy as to not distract from Jeremy. The male appears to be doing the backing singing and the humming to Jeremy’s singing, although he does this subtly.


I don’t want to be trapped here forever,
This lonely place, I want to leave for heaven,
There’s no one here, it’s just me and my thoughts,
Emptiness, I feel everyday.



Jeremy stands up just before he begins to sing the chorus in a slick motion. His legs are slightly wobbly, partly in disbelief that he is actually doing this. He is taking deep breaths to remain calm, and make sure he is ready to sing the chorus, which is possibly the most poignant part of the song. He takes a few steps back from the front of the stage and stands still in position about 2 metres back. The two dances mirror his moves - taking steps back as Jeremy does. As the chorus begins and throughout the chorus, as well as the spotlights on the three people on stage, a white ambient light appears to shine on the whole stage, brightening it up and revealing… nothing. The stage has nothing on it except the three people; everything is black, with the only shade other than black on the stage being that provided by the white spotlights and ambient light. At the end of the second line in the chorus, Jeremy falls to his knees into a prayer-like position with all but the hands. The other dancers mirror this move, but once they are on the floor in the prayer position, they curl themselves up into a ball with their head in their hands.



Please, Are you going to set me free yet?
To see who I want to see.
Please, Are you going to set me free yet?
To be who I want to be.



Jeremy picks himself up off the floor slowly, as if it pains him to have to put effort into moving. The dancers don’t follow this action, instead remaining curled up in balls on the floor with their heads in their hands, but they move side to side a little as if they are trying to comfort themselves. The male still does any required backing singing through his headset microphone, which is specially designed as to only work when needed in the song to prevent extra disturbance to the performance from the singer’s head being in his hands. As the more intense music of the chorus drops out, the ambient white light that was brightening up the stage also switches off, enveloping the stage in darkness except for the three white spotlights that shine on the three performers on stage. Jeremy looks up at the audience, who remain in a stunned silence. He takes a deep breath, wiping a solitary tear from his right cheek, before singing the second verse. As he sings the verse, he walks around the stage to the far right, before returning back to the centre-left for the end of the chorus, but behind the two dancers who remain on the floor with their heads in their hands throughout the whole chorus.



Everyday, my life keeps getting harder,
I sometimes hope for my final departure,
Oh why oh why oh why does it have to be this way?
I just want to escape this place where I feel like nothing. (oh please, let me be free)



Instead of being on his knees with his head down in a prayer position for the start of the chorus, Jeremy finds himself standing behind the two dancers who are on the floor with their heads in the hands. However, they begin to roll about and shake, like they have gone crazy, which they continue throughout the chorus. Jeremy is looking across at the audience for only the second time in his performance, but this time he maintains his gaze at the audience for most of the chorus, trying to make sure they understand the message behind the song, and that they understand how deep and emotional this song was for himself. The ambient white light once again was shining on the stage, revealing the empty black stage. He pulls on his jacket as he sings the end of the first line, emphasising the ‘yet’ a little too much. A few more tears descend his cheeks through the chorus, but he manages to keep his voice and posture in check as to continue singing the song. As he is singing the chorus, he slowly steps forward until he finds himself at the front of the stage again, standing up with his feet up to the edge of the stage, looking across at the audience.



Please, Are you going to set me free yet?
To see who I want to see.
Please, Are you going to set me free yet?
To be who I want to be.



At the end of the chorus, Jeremy takes a deep breath ensuring that his emotions are in check. He then sits down once again in the same position he was to start the performance - his feet dangling over the edge of the stage and looking down at the floor. The ambient lights switch off, once again shrouding the stage in darkness, but the two spotlights on the dancers - who remain on the floor rolling around erratically with their heads in their hands - also turn off, leaving only the one spotlight left shining on Jeremy. He takes another deep breath just before it is time for him to continue singing, and dabs his wet cheeks. Jeremy sings this section with deep passion, heavily emphasising ‘out’, as if each one is a jab against the darkness which shrouds the stage. As it builds up, the ambient white light fades in gradually until it is at full intensity for the end of the section. Before the last two lines, the two dancers slot in either side of Jeremy at the front of the stage with their legs dangling off the edge of the stage, but are only visible to the front few rows in the audience as they purposefully stay out of the spotlight, and the ambient light is behind them, also staying difficult to see because they are staying low on purpose as to not get seen as much as possible until the final chorus.



Am I trapped here, my reflection?
Or is there a way out out out out?
Am I trapped here, my reflection?
Or is there a way out out out out?
Am I trapped here, my reflection?
Or is there a way out out out out?
Am I trapped here, my reflection?
Or is there a way out out out out?



As the intense music of the previous section drops out, so do the ambient lights and the spotlight on Jeremy, leaving the stage shrouded in darkness for a split second. The dancers position themselves closer to Jeremy, looking across the audience, not dissimilar to the position Jeremy is in, who is now also looking out across the audience. All three of them take a collective deep breath. Jeremy swipes a little sweat off his forehead with the back of his suit jacket, before continuing. As the intense music - and the singing - returns after a split-second of complete darkness, the ambient white light and the three spotlights all turn back on to full intensity, leaving the darkness as only a split second moment. A few small fireworks also go off from the left and the right of the front of the stage at this moment, marking a dramatic final chorus of the song. Jeremy sings the final chorus with passion, heavily emotional but still holding it together, a few tears running down his cheeks.



Please, Are you going to set me free yet?
To see who I want to see.
Please, Are you going to set me free yet?
To be who I want to be.



At the end of the chorus, the music rather quickly fades out. During this moment, the lights also fade out gradually, with Jeremy’s spotlight lagging slightly behind the others so it remains the final light on. While this is happening, the two dancers either side of Jeremy are lowering their heads and move their hands, their heads in their hands by the time their spotlights - and the ambient white light - are off. This leaves only Jeremy, who’s spotlight is dimmed but still on while he is looking across the audience, a few tears running down his cheeks. Just before the music completely fades out, he drops his head. Immediately after he has dropped his head, the spotlight turns off, leaving the stage enveloped in darkness.

‘’Thankyou. Thankyou all.’’ Jeremy shouts out as him and the two dancers stand up to a rapturous applause from the crowd, who remained in a stunned silence except for a few cheers throughout the whole performance. Jeremy looks across the audience and smiles, wiping a few tears away from his eyes. ‘Well done guys.’ he said to the three dancers, as they embraced each other in a large hug, before walking off the stage with their hands in each others hands.
Last edited by Izmedu on Sat Feb 04, 2017 2:14 am, edited 2 times in total.

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Postby Izmedu » Mon Jan 30, 2017 4:00 am


Trapped in the nether realms following the destruction of all they ever knew and loved, two souls at fault struggle with each other and with themselves...

With the ability to turn back the clock and save their world from oblivion, how will they reconcile?


SterGo100 was looking for a change- something different from the usual song and dance routines, perhaps something reminiscent of "Erááná Páiváná" or "Far Away". The broadcaster's change manifested itself in the discovery of Satu Sorge, a performance artist, and Jiro, a singer/songwriter who had worked with Satu on various occasions. The duo presented SterGo100 with a piece that would become "One Chance", a piece split into two different parts with a common storyline. Providing few more details than the statement above and the actual performance, SterGo100 hopes that this will pique further interest in the contest.

Jiro and Satu are suspended over the stage, clothed in tattered robes and wreathed in mist. Ethereal star effect lights light the scene, as Jiro begins. As the view zooms in, he is in a fetal position, eyes closed. He opens up to face Satu, trying to reach across
Did you always have to blame it on me?
Do you do it just so you can breathe?
Because I'm not just gonna sit here and take this eternally
Was it all my last known action? A stupid overreaction?
You didn't deserve it, I never did mean it, all that I got was dissatisfaction

Satu looks away, then back at Jiro in a disappointed manner, drifting away from him. The background screens show scenes where a veritable tidal wave of black, amorphous monsters overrun various cities, forests, farms, and villages with crowds of people fleeing from their clutches
I told you then, I tell you now
You never disciplined your temper's reach
You never truly proved me wrong
And then you let the death world breach
When we go back, this is all I say
Take your ego down and let it be

Jiro, having glanced away, focuses his gaze back on Satu. Vistas of a dead, disintegrating world pan on the stage screens
But that's all that I have left

With a shrug, Satu turns away and crosses her arms
Forget it for tomorrow

The two drift into contact with each other, back to back as they sing the chorus. The lights brighten, and over the course of the overall chorus, the view circles around the two, alternating with close-up shots
We've got one chance, one chance to fix it
One chance, one chance to fix it

Jiro mutters despondently, with Satu responding with a verbal jab
I don't know if life is quite worth it
Don't you even care about what matters?

With Jiro despondent and Satu unapologetic, the two continue with the chorus
We've got one chance, one chance to fix it
One chance, one chance to fix it

The lights fade back but the dynamic continues; this time, Jiro falls in elevation, with Satu turning to face him
I know there's no room to fail now
Wasn't it the same the first time?

Satu executes a slow flip and whirl as Jiro wafts about aimlessly around her
I told myself that beauty always was a lie but then, you had to come and walk into my life unbidden
So I locked myself into a endless maze of doubting, simply couldn't take my mind off this question

Satu stops rolling about and begins to circle Jiro, facing him all the while
Could you possibly have found a different way to try and justify this, this conflict over beauty is as pointless as the violence
So you couldn't decide, eyes locked on mine, thought that our world was worth your preconceptions?

I didn't have the time to nullify your ego
Your pride and lust were the rooting points of evil

Jiro cuts in- less despondent and aimless, more aggressive. Depictions of a horde of black spiny creatures overrunning a fortress on a hilly island show on the screens
You didn't even try to help at all, not a friend to me, didn't stem the demons' siege!

Satu looks at him ambivalently
So?

She turns and almost dives in orbit around Jiro. She does a quick whirl, her expression saddened
I could have helped, I could have died then
While resisting those deathless hordes
But I knew that our fates were sealed
There wasn't hope in that finality

When we go back, this is all I say
Let us not forget ourselves

Still intently staring at her, Jiro responds. Now it is Satu who verges on despondence, having lost all she knows
What else could you have done
I'm no longer touched by sorrow

They face each other while orbiting, and lights strobe in a circular fashion (so that it looks almost like a light is circling around them while shining at them). The screens show a planet and its vistas on the ground, alternating between death and life
We've got one chance, one chance to fix it
One chance, one chance to fix it

Can I trust you to guide me
Only if you keep your head straight

We've got one chance, one chance to fix it
One chance, one chance to fix it

Are you ready to change things?
Trust me, if I can trust you

With their backs to each other, the two continue to orbit each other as if in zero gravity. The strobe lights coordinate, shining from the singers outward toward the venue's ceiling and walls
Oh oh oh oh, trust you
Oh oh oh oh, trust you
Oh oh oh oh, trust you


Create a new tomorrow

They circle more tightly, facing each other, and hold each other by the shoulders. They sing the chorus to each other, maintaining eye contact. The stage lighting warms to a faint gold, with the expanse of spaaace, populated by numerous supernovae, depicted on the stage screens
We've got one chance, one chance to fix it
One chance, one chance to fix it

Can I trust you to guide me
Only if you keep your head straight

We've got one chance, one chance to fix it
One chance, one chance to fix it

Are you ready to change things?
Save us, if we can save them

Oh oh oh oh, save them
Oh oh oh oh, save them
Oh oh oh oh, save them

The lights dim, with Satu and Jiro only faintly lit
I can see the world now, can't lose it
Forever


Not alone

We won't be alone now

Returning

The view zooms in on Satu, her eyes glimmering, almost tearing up
Beautiful

Some members of the audience begin to clap as the music fades out, but then the orchestra begins to play and what appears to be the side view of a galaxy appears on the background screen
- INSTRUMENTAL -

Strobe lights flicker about Satu and Jiro as a thick cloud of mist wraps around them, driven by a strong array of wind machines that toss the pair's hair and clothing wildly. A candlelit choir begins to chant, with Satu and Jiro writhing about in a concerted manner as the stage's horizontal and vertical edges light up with flame and sputtering blasts of sparks that begin to coordinate throughout the stage. Satu and Jiro begin to grapple and whirl in an aerial ballet, as the galaxy animates and transitions into something like an old model of the atom, spinning faster and faster, until it compresses and explodes into white light as the music ends. The explosion of light blows out all the flames and sparks, and dissipates the cloud of mist, leaving Satu and Jiro whirling together at the center of the light

The lights and stage screens fade to black before returning to normal, and the two singers are lowered back onto the ground. A bit breathlessly, Satu and Jiro shout, "Thank you, Vodiznad!!" before exiting the stage.
Last edited by Izmedu on Tue Jan 31, 2017 12:24 am, edited 4 times in total.

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Postby Izmedu » Mon Jan 30, 2017 4:01 am


Meliora Napoleti had previously took part in the 15th Festival di Melodi Kalosiana with a fan favourite Ǧame (Always), coming second to the band OLSUN who eventually went to Picard, Normandy & Picardy, to represent Kalosia at WHF21. Like her previous participation, her current song was also a favourite to win the 24th Festival di Melodi Kalosiana, and the odds were in her favour that evening.

She decided to put on a dress that reflected the song she was singing (pictured here on the left) on the big night. As for the performance, she decided to keep it simple — not too many movements on stage, perhaps leaving it to the background and any other effects to dazzle it up. The conductor was Eldin Sakranova, one of the nation's revered musicians and a WHF veteran, having conducted various Kalosian entries as well as being host conductor whenever WorldVision or the World Hit Festival is held on Kalosian soil.

By now, Meliora was ready to perform. She stood there on the main stage, behind a mic stand, and Eldin was at the conductor's podium. As the opening notes play, the background show a silhouette of what is presumably a park during the winter, having trees without leaves. As the verse carries on, the silhouette fades into the actual picture, with leaves appearing to sprout.

Lentëmën lë neva fond e vedro lë sol u lë celo
Lë fliorë florë e lë folji krešrë komë lë nueva
Un ǧor nueva nasat
E lë vitë komensa enkor

It starts "raining" in the background.

Lë fili venuram huori, ur puvam ǧore enkor
Lë permi lakrimi dë’l celo e’l plorë di rinasantë
Ëtra lë muri di vetër
Ši šuo ja penšo di te

Ežanëz sëtë nušen sažon?
O ežonomëz flesir komë lë folji kadë ežom frida?
Alorëm sa nuša në prov
Sanin nuša në puvom restë kon l’altro

The rain slowly stops, and a silhouette of a straight couple pass by, holding each other's hands as they walk from the left to the right of the screen. The trees also sway, so it seemingly seems windy.

E sa në kañom nuša sti
Puvomëz nuš’ prosperërom?
Rikomensol nušën konezio
Sa në vuli alorëm tombonom e rontonom perteži

Ambražal lë venti nueva
Portën nuša a un postë meli
Kiz šu këlo rendëri i’l pora?
Preparël tenër men mano e allonom a lë vitë nueva

A silhouette of a man is seen under the trees playing the violin.

Kadë ja promeno, eškolto lë musika di un kandruk
Il kanta un kanzonë pju bella di melankolia
E u sëtë ambiens trištë
Ši enkor ja penšo di te

Ežanëz sëtë nušen sažon?
O ežonomëz flesir komë lë folji kadë ežom frida?
Alorëm sa nuša n’alla
Sanin nuša në puvom restë kon l’altro

That silhouette fades away.
E sa në kañom nuša sti
Puvomëz nuš’ prosperërom?
Rikomensol nušën konezio
Sa në vuli alorëm tombonom e rontonom

Halfway through the next part, the couple from earlier appear again, but they stop under the trees and embrace each other.

Ambražal lë venti nueva
Portën nuša a un postë meli
Kiz šu këlo rendëri i’l pora?
Preparël tenër men mano e allonom a lë vitë nueva

Lë vitë nueva

Lë vitë nueva

Lë vitë nueva

The song ends and the crowd erupts into a thunderous applause, despite for such a simple song. Meliora is overwhelmed, and manages to say "Thank you! Hvala! Gretsi tuta!" before she leaves the stage for the Besinian entrants to set up.

The snow melts slowly and I see the sun in the sky
Flowers bloom and leaves grow like new
A new day is born
And life begins again

Children come outside, now they can play again
The first tears of the sky are the rain of rebirth
Between the glass walls
Here am I thinking of you

Will this be our season?
Or will we wilt like leaves when we are cold?
So if we don’t try
You’ll know we can’t stay together

And if we don’t change who we are
Can we prosper?
Let’s reset our connection
If you don’t want to then we’ll fall and we’ll break forever

Embrace the new winds
It will bring us to a better place
What is there to fear?
Prepare to take my hand and we’ll go toward the new life

As I walk, I hear the music of a street musician
He sings a very beautiful song of melancholy
And in this sad atmosphere
Here I think of you again

Will this be our season?
Or will we wilt like leaves when we are cold?
So if we don’t go
You’ll know we can’t stay together

And if we don’t change who we are
Can we prosper?
Let’s reset our connection
If you don’t want to then we’ll fall and we’ll break

Embrace the new winds
It will bring us to a better place
What is there to fear?
Prepare to take my hand and we’ll go toward the new life

The new life

The new life

The new life
Last edited by Izmedu on Tue Jan 31, 2017 12:25 am, edited 2 times in total.

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Postby Izmedu » Mon Jan 30, 2017 4:05 am


Readers are encouraged to read this dispatch to understand the pronunciation of the Besinian language and how the script translates to audible words.

For the reader's convenience, underscores linking words denote where the syllables of two separate words run together to form a single syllable, a somewhat common occurrence in Besinian, and seemingly in Italian and Spanish among others.

The white (or black) text is what is actually sung; the blue text is the translation.

The stage and orchestra pit are unlit. A lone, soft blue spotlight shines down on a piano with a woman in a white dress sitting in front of it. She begins playing the piano in line with the music track. Her lips move as she sings but they do not perfectly align with the words spoken; this creates reason for the audience to doubt whether the singer is lip-syncing.

Halfway through the end of the first stanza, the rear screen begins to light up a blinding white, starting from the top down and illuminating in chunks, to create the effect of a wall crumbling gradually, the process completed by the end of the first stanza.

Gavnõ pelsãden tornado, attimamo ravna serresã mai,
My life was uprooted by a tornado the very moment you entered,
Runganmõ namezzevo eida leisã geimunaëza,
Your whirlwind of passion at me directed,
Murto crulsã, fensto sarcsã, agon neloderiaza sã mai,
Walls crumbled, windows shattered, how unstoppable you were,
Telpelcä_eica friatesã sõzai sella.
Whose power has forced me on my knees.


At the end, a silhouette is kneeled at the front of the stage and slightly to the audience's right, now able to be seen against the light. A series of spotlights shine on her, illuminating her front- it is now clear to the audience that this is the actual singer. She is wearing the same white dress as the pianist, and has a headworn mic rather than one on a stand. A series of fans activate and begin blowing her hair to the audience's left. As she powers through the loud chorus, she motions her arms in various negatory fashions upon the words 'nede' and 'neitianatu', clutches her bosom upon the word 'turvleza', and stretches her right arm forward and slowly upward on the final line. On the first and fourth lines, she looks upwards, halfway between audience level and the spotlights which shine on her; on the second line, she looks downwards and to her right, and on the third, she points her head at the audience but holds her eyes closed.

In the background, the blinding white light gives way to the completely worn-away ruins of an ancient castle, surrounded by trees being bent on an otherwise invisible gale-force wind. In the background is a hydroelectric dam, which the trained observer will recognize as the Besinian national dam.

Oo, ei netianatu elade piu, staelte maica cuarnõmo,
Oh, I won’t resist any longer, I’ll let you in my heart,
Nede sastavto, nede tiscato maica iartel nemo.
No more barriers, no more roadblocks to keep you out.
Luscätto eivo denteserzo- ravnalu ei turvleza;
Oh, this fortress of mine has been destroyed- now I feel secure;
Ei cã seg maimo tevetam cïame geispanto taneza.
Thus I have devoted myself to you without any second thoughts.


The singer looks up at the spotlights and raises her forearms, as if in frustration. Halfway through the second line, she points directly ahead with her right arm, as the dam breaks and begins spilling water in the background of the stage image. Amid the second half of the stanza, she begins to stand up from her kneel, planting one foot on the ground first and then standing onto the other.

Gavnõ agon sãtobre cã spizza nomei ravna serresã mai?
How did my life come apart so quickly when you entered?
Sellamo daisaza mai durratiscamõ riccasãva.
In torrential force you broke through my dam.
Ei cotane telamargë aton lu eida aïnisa,
I cannot hope to understand why this is happening to me,
O cotaza i moslenezza, ei triagnetu.
But maybe, hopefully, I won’t have to.


The singer meanders towards the center-front of the stage while repeating her routine from the first chorus.

Oo, ei netianatu elade piu, staelte maica cuarnõmo,
Oh, I won’t resist any longer, I’ll let you in my heart,
Nede sastavto, nede tiscato maica iartel nemo.
No more barriers, no more roadblocks to keep you out.
Luscätto eivo denteserzo- ravnalu ei turvleza;
Oh, this fortress of mine has been destroyed- now I feel secure;
Ei cã seg maimo tevetam cïame geispanto taneza.
Thus I have devoted myself to you without any second thoughts.


The singer raises her arm, in preparation for the long note. Behind the screen, the trees are being blown even more violently.

Oo, ei netianatu...
Oh, I won’t resist...


As the singer releases the long, climactic note of the song, the trees begin to be uprooted. The fans blow wind even harder, but gradually die down as the tune begins to de-intensify. This is also reflected with the blowing of the grass on-screen.

Oo, ei netianatu elade piu, staelte maica cuarnõmo,
Oh, I won’t resist any longer, I’ll let you in my heart,
Nede sastavto, nede tiscato maica iartel nemo.
No more barriers, no more roadblocks to keep you out.
Luscätto eivo denteserzo- ravnalu ei turvleza;
Oh, this fortress of mine has been destroyed- now I feel secure;
Ei cã seg maimo tevetam cïame geispanto taneza.
Thus I have devoted myself to you without any second thoughts.


The singer bows for the crowd as the music. "Bascädã maicato!" she yells to thank the crowd.
Last edited by Izmedu on Tue Jan 31, 2017 8:48 pm, edited 3 times in total.

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Postby Izmedu » Mon Jan 30, 2017 4:09 am


Both Brett and Jackson walk onto the stage in total darkness. Jackson takes a position near the center of the stage, but Brett remains in a place that will stay in darkness as a single purple spotlight begins to cast down upon Jackson. Jackson looked up at the spotlight for a few seconds before starting to sing his first few lines.


Love, love me, love me please
While I still want your love
Still want your love
Love, love me, love me please
While I still want your love
Still want your love


Pink lights dazzle the stage around him, though just the part of the stage closest to him - perhaps within five feet of him. Brett was not shown on stage by the lights. Every time Jackson sang the word, "love," the lights would flash in the midst of their dancing around him.


Darling, come near
Come close, be here
Sweetie, I’m willing
I’m willing to show you love


Jackson begins to walk towards his left, down the stairs and around the pit in the middle of the stage. He stopped at the bottom of the stairs and sang the next two lines, "darling, come near. Come close, be here." He smiled at the audience nearest him and looked towards his right as Brett Valdrell appeared in a spotlight of his own, walking down the opposite stairs and stopping at the bottom. Brett sang the next two lines.


If you want me, let it show
I want you, doesn’t it show?


The two singers started to walk forwards on their respective walkways from the bottom of their stairs. Jackson sings, "If you want me, let it show." Brett sings back, "I want you, doesn't it show?" The two continue walking forwards on their walkways until meeting at the front, where they stand together and sing the chorus together.


Love, love me, love me please
While I still want your love
still want your love
Love, love me, love me please
While I still want your love
Still want your love


As they sing the chorus, they switch sides. Brett walking in an arc behind Jackson as Jackson himself walks straight to where Brett was standing. They continue singing as if the change in position never happened - never interrupted their performance.


Sweetheart, I know
That you’re finished feeling disregard
Honey, I know you love me
Even when you find it hard to show


Brett starts to walk back towards the stairs - the stairs that Jackson had walked down - and sings "sweetheart, I know; That you're finished feeling disregard." Jackson then turns and starts to walk back towards the stairs that Brett had walked down on. He sings the next two lines, "Honey, I know you love me; Even when you find it hard to show."


If you want me, let it show
I want you, see it show!


They both turn back towards facing the audience when they each reach the foot of the stairs. Brett sings, "If you want me, let it show," before running up the stairs. Jackson responds almost immediately, "I want you, see it show!" before jogging up his stairs.


Love, love me, love me please
While I still want your love
still want your love
Love, love me, love me please
While I still want your love
Still want your love

Love, love me, love me please
While I still want your love
still want your love


They both stop at the top of their stairs and turn to face each other, rather than the audience. As they begin to sing the chorus again, they start walking towards each other. They appear to be walking in perfect unison, neither one seemingly moving faster towards the center of the stage than the other one. They both meet at the center of the stage as they both start singing the words of the chorus one last time. They grab each other's hands as they sing "love, love me, love me please" for the final time. When they finally finish singing, they release one of their hands from the other's and then turn to the stage - their other hands still clasped together. They raise their hands in the air together and smile before bowing for the audience.

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Left-wing Utopia

Postby Izmedu » Mon Jan 30, 2017 4:13 am

After Kannap's performance, the entire stadium was in one long frenzy. They had just finished 16 entries, and it was the beginning of the part of the show where hearts would be tested and anxieties would be raised, it was almost time for voting. The camera here focused on wide panning shots, before we would see Martin Carevic walking back onto the stage after the stage was set up for the interval a few minutes after Kannap's entry.

Martin: That was Brent Valdrell & Jackson Cullowee with “Still Want Your Love.” Thank you to Kannap for a fantastic entry! Now, we've just gone through 16 nations entries. 16 countries have given us 16 songs that are, in each of their own ways, a memento and gem to the World Hit Festival. Each nation has marked their stamp on World Hit Festival entry, give the contestants a round of applause!

Martin smiled at the crowd as they cheered once more.

Martin: Alright, here's where the show becomes just a bit more tense. As you know, the World Hit Festival crowns a winner after each edition, and this edition is by no means an exception. So, I'm proud to announce that...

The camera widened to a stage wide view, before fireworks came out, announcing this one message with Martin announcing it soon after it was plastered on the screens.

WORLD. START VOTING NOW

Martin began to describe to the viewers how to vote as commentators from around the multiverse did so in their own languages.

Martin: Alright, with that in mind. Let's get onto our interval act. The WHF30 interval actually comes in two parts. However, for of those that weren't fond of us using Izmepisma acts last time around... I don't think RTI heard your message. So, without further ado, I'll let the interval acts reveal themselves.

The Dragulj Arena immediately went dark in a flurry of crowd cheer

INTERVAL ACT – PART I
Zucirjak ft. Jagoda – Isolation (The O-Brad Remix)

The stage was dark for the proceedings as for as soon as Martin got off the stage, the sounds of DJ equipment being set up could be heard as the arena entered a moment of silence for 15 seconds, leaving the crowd wondering what was going to happen.

This is Isolation...


A spotlight shined on a lone figure standing on the runway that wrapped around the orchestra pit, Jagoda, singing the first line of the song with an echo effect through the arena. At this moment, the Dragulj Arena lit up in a purple and white configuration, revealing a DJ table with O-Brad standing behind it, causing a massive crowd cheer as the producer was a familiar face in the WorldVision circuit. The first strains of the song were familiar to its regular version, albeit slower.

Forlorn, emptied out
These walls, they're closing in on me
They won't stop, they're suffocating me
Mournful, torn apart
I hear your voice within this darkness
But my silent voice can't reach to you


The lights darkened as the camera mostly focused on Jagoda, sang each line carefully as she began the walk back to the mainstage, stopping after every line as wall like graphics appeared on the floor screens, preventing her from moving forward at times as she looked to have randomly paused at the end of each lines, before taking a few more steps until she reached the main stage at the end of the verse.

Let me out, let me out, from this loneliness
This pain's too much to bear
Hearts fall to the void of isolation
I've lost my grip on sanity
My body aches, my mind astray
Melancholy, how it traps me inside
My heart falls to the void of isolation
Isolation


The lights at the dawn of the chorus began to revert back to a threatening purple hue, lit up to as the rays of light were wider to create a warehouse-like atmosphere. It was here that the instrumentation began to differ from the chorus, with a beat being added causing the purple stage lights to flash. At the end of the chorus, the camera caught a close shot of Jagoda as she belted out 'Isolation,' with the electronic music flourishing causing white lights to shine.

At the brief instrumental interlude, O-BRAD could be seen with one arm raised up, 'playing' the interlude live against a loud crowd cheer. The camera motioned for a wide panning away, before switching back to Jagoda.

My body aches, my mind's astray
Melancholy, how it traps me inside
My heart falls to the void of isolation
Isolation


Jagoda reprised these lines again, passionately belting them and crouching down as the song developed to its drop. At 'isolation,' she confidently pointed to O-BRAD as the camera focused on surveying shots of the Dragulj Arena at the moment of the drop, with the lights flashing to the strong beat as O-BRAD punched his arm, timed to the beat itself. Some in the audience could be seen waving their flags around to the beat. At the end of the drop, the lights darkened one last time to Jagoda.

Isolation... Isolation... Isolation... Isolation


She was kneeling during these last few lines, reprising the song's title over and over again before she would repeat these at the drop's reprise once again. She jumped up as the beats came on, the camera angles becoming chaotic as the Dragulj Arena truly became a nightclub. This would continue on until O-BRAD played one last parting beat, with the lights going completely dark, heralding the end of the first part of the interval act.

Wisps of smoke began to be released from the stage as the lights shined a dark emerald hue. A lone violin from the orchestra can be heard playing the chorus to “Remedy,” causing a massive crowd cheer before the violin playing stopped at the end of Remedy's chorus, causing the green light to shine in the shade used by the previous World Hit Festival. That spotlight flickered off, before shining a second later to a familiar figure, a familiar silhouette to Izmeduan WHF fans...

INTERVAL ACT - PART II
Anamarija Lubina - Forgive Me

A forlorn piano melody, more melancholy than 'Remedy,' began to emanate from the orchestra as the camera faded to the silhouette on the stage, bathed in a green light that turned white. A fuller spotlight shone on the figure, finally revealing it to be the WHF29 winner herself standing at the main part of the stage, Anamarija Lubina. Her face was stoic, a sadness lingering in her eyes at the piano instrumental. The camera zoomed in on her face as it made a slow rotation around her before freezing at the vocal cue, and this was where Anamarija began to sing...

Breathe again
Say a word to me
Even though your hatred pierces me
Look at me
Let me hear your voice
I know I have broken my promises to you


The camera faded to a sideways view, a ghostly spotlight on the left side of the stage shining on Anamarija's face as she sang the first lines of the verse. Lit up by that ghostly light was a hologram of Anamarija herself, standing there as she sung the verse with eyes closed. The camera, at the third line, began to zoom out, revealing that the background screens began to show a modified version of the ballroom scenery from Izmedu's winning entry. Instead of its grandiose nature last edition, Anamarija was singing in a damaged ballroom coated in a blue hue. At the last line, the camera cut back to a front view of Anamarija, with her looking up at the end of the verse.

I only have one plea to give
I don't know if it's enough...


At the hook, there was a brief cut to a wider view of the stage, with the destroyed ballroom scene beginning to be illuminated from its earlier darkness. She belted out the last line of the hook, the camera catching her passionate expression as she began to nearly kneel down, before rising up to finish the note.

Forgive me, for every empty promise I made
For everything I couldn't do
Most of all, for failing you
Forgive me, if I can get these feeble words to you
Maybe there is a chance for me
To earn back your forgiveness


She belted out 'Forgive me,' causing the lights to shine brightly around the stage before they began to pulse to the soft beat. At this, this is where the orchestra pit began to light up, revealing the cadre of instrumentalists providing a soft orchestral backdrop. The camera cut to the Izmeduan conductor, Adam Katavic, slowly leading the orchestra for one line before switching to Anamarija for the rest of the chorus, with her belting out the lyrics as she reached to the camera at any moment it closed up on her. During this chorus, a hologram of Anamarija herself appeared behind her, looking to have turned around in sorrow as a scripted spotlight began to train itself to Anamarija at the end of these lines, causing the hologram to fade.

I know, that your trust is not easily regained or repaired
But there is too much at stake for us to give up our love
Forgive...


The Dragulj Arena was now lit in a white light, the ballroom fading away for a moment as Anamarija looked to be standing alone on stage as she sang these lines. The camera made a slow revolution through the stage, hologram flashes appearing and disappearing as the camera closed up on them, as the lights dimmed down at the end of the chorus. At 'Forgive,' Anamarija had her eyes closed as the camera made a close up of her. During the instrumental interlude, the camera faded to a shot of the pianist in the orchestra pit, as Anamarija began to walk towards the runway that encircled the orchestra pit.

Torn apart
From all this guilt inside
The cruel silence between us ever-widening


The ballroom scene appeared again, looking much more in tatters than before. Perhaps timed to when Anamarija would walk onto the runway, successive freeze frames of her walking to the center of the ballroom played on the screen, before freezing when she was at the center. As the real Anamarija walked towards the center of the runway, hologram trails of the singer began to appear after every few steps. At the end of this brief verse, the camera faded to a closer view of Anamarija.

I only have one plea to give
I don't know if it's enough...


The orchestra began to light up further as its instrumentation became more prominent, with the camera finding itself within the pit, spotting the orchestra slowly playing the instrumental backing.

Forgive me, for every empty promise I made
For everything I couldn't do
Most of all, for failing you
Forgive me, if I can get these feeble words to you
Maybe there is a chance for me
To earn back your forgiveness
I know, that your trust is not easily regained or repaired
But there is too much at stake for us to give up our love


Similar to the previous chorus, the ballroom on the screen disappeared to an array of white lights that descended upon the stage, with the Dragulj Arena lit up in a spectacular lights that bounced away from each other, creating deliberate and momentary glares as they flashed to the direction of the camera. The camera here mostly focused on wider shots, with Anamarija remaining stoic as she passionately belted out the song but was careful not to overpower it. At lines where there was a definite 'you,' she reached out for a hand. At the second half of the chorus, the floor screens around Anamarija began to develop dark brown ribbons, resembling the color of a worn ballroom floor.

The orchestra played a much bigger part for this chorus, with some camera shots cutting to Adam Katavic at times where one could see him conduct the orchestra under the shadow of the orchestra pit lights. At the last three lines, the camera returned back to Anamarija with a side profile view that slowly panned down during the last line of the chorus, creating a slight echo effect that reverberated through the Dragulj Arena.

Forgive me... My mistakes, shortcomings.
Every mess, every fault, every slip
Forgive me... For my imperfections...
Every mess, every fault, every crack
Forgive...


The ballroom scene appeared once again on the screen, with small cracks appearing on the bottom left to every swish of the orchestra, with the music becoming more intense as Anamarija passionately sang each phrase. After each phrase, the cracks began to increase, causing the screen image to become cracked to the point where the image looked unrecognizable, almost like a broken mirror... At the end of the bridge, the image crystallized into just outlines of abstract cracks, the camera fading to Anamarija with her face looking down, the lights darkening...

Forgive me, for every empty promise I made
For everything I couldn't do
Most of all, for failing you


The camera mostly focused on Anamarija at this half of the verse, with only the piano accompanying her as a hologram of a emotionally distraught Anamarija appeared next to each other, falling to her knees in front of the singer, At 'for failing you,' the camera cut to a wider view after that...

Forgive me, if I can get these feeble words to you
Maybe there is a chance for me
To earn back your forgiveness
I know, that your trust is not easily regained or repaired
But there is too much at stake for us to give up our love
Forgive...


The Dragulj Arena lit up in an array of white lights as the cracks on the background screen turned into the dark red ribbons that floated around the screen, clouding the broken ballroom scene on the back. Anamarija passionately belted out the final reprise of the song, crouching down slightly with the increased power of the song. Behind her, one could see the orchestra work at its peak, with Adam Katavic conducting slight sweeps as Anamarija stepped forward, the final three lines constituting darkening lights with the camera up close to her... At 'Forgive,' there was only one last light on her before it faded, the ribbons remaining on the screen.

The crowd cheer for the current champion was immense as Anamarija had her eyes closed through all of the crowd commotion after she finished her song.

“Hvala!” Anamarija shouted, walking off backstage...
Last edited by Izmedu on Wed Feb 15, 2017 7:36 pm, edited 5 times in total.

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Chameliya
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Postby Chameliya » Tue Jan 31, 2017 2:31 pm

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World Hit Festival
live with Seutí Shárma

Good evening, multiverse - this is Chámelíyá calling. That's right folks, we're back! And even better, so am I! Tonight represents a momentous occasion - one that most certainly should've been on all you viewers' calendars at home for months and one that will quite possibly go down as one of the defining moments of our age. This is of course, the much-anticipated Chámelíyálí return to the World Hit Festival - the multiverse's favourite cultural event - or as I like to call it, Churn. As always we at CháReTe would love to hear your opinions on tonight's competition so get in touch on your social media platform of choice and don't forget to use our official CháReTe WHF hashtag for this evening - #CHURN.

Shameless self-promotion out of the way, may I draw your attention to the now imminent event taking place for a second time in the beautiful city of Vodiznad, Izmedu - a remarkable capital city of roughly 600,000. It transpires that during our brief hiatus a number of countries had the gall to try and topple Chámelíyá's outstanding record at the World Hit Festival, Izmedu being one of them. As a result we are in Izmedu once again and please pardon my bitterness when I say I hope the Izmeduan national broadcaster bankrupt themselves over their impertinent, although ultimately unsuccessful (I presume) attempt to usurp Chámelíyá from its rightful position on the WHF throne. Certainly, RTI appear to have such a goal in mind having completely renovated the 15,000 capacity arena which is our venue tonight - the Dragulj Arena. I wish the treasurer of the Izmeduan broadcaster sweet dreams.

Now regarding #CHURN, I have to say that the fan response has been amazing. I've been meeting spectators all week who haven't had anything but high praise to pour on the high calibre of entry we're renowned for and who can't wait to see us perform on the multiverse's most prestigious stage again. The reception from some of our fellow broadcasters, however, has been a little less enthuasiastic. Of course, it was to be expected from the Normands but I've had Britonish and Kalosians break down, cry and run away from me as I enter the media lounge. In fairness though, I do empathise - it must be rotten to have to compete against us. Bless.

Nonetheless, tonight promises to be one of the most exciting World Hit Festivals in recent times. As part of my commentator's care package I received a thoughtful if, in all honesty, unwanted CD of all the 16 entries competing tonight and I can confirm we have some bangers (as well as some more questionable choices) lined up for your delectation this evening. Furthermore, a much more warmly accepted present was this bottle of rakia, Izmedu's signature fruit brandy which I shall be enjoying tonight in the name of cultural exploration. I raise my glass to you at home as well as the Izmeduan team who've admirably put this show together which sees the return of a live orchestra and with countdown clock ticking down it leaves me with nothing to say except welcome to the 30th World Hit Festival - live from Izmedu!
Opening Act

That was perhaps one of the most impressive demonstrations of the power of branding that I've ever seen. Isn't it a wonder what computer generated images can do these days? Anyhow, I can't help feel that our opening act, Never Give Up was written with the other competitors in mind. Against the sheer might of Chámelíyá and from time to time Izmedu, it must be a very demoralising experience. How magnanimous of the host to dedicate a song to them. Now this man is Martin Carevic who I am reliably informed is one of Izmedu's most beloved broadcasters. I am also reliably informed that several bookmakers are taking bets on whether he will survive the night so if you're hoping to upgrade tonight's programming to an interactive experience, that option is also open. And so we begin, and kicking it all off is Natanya!

01 Natanya

I'm no astronomer but Natanya's postcard seemed to depict the formation of a galaxy. Clearly, Natanya must be a very dynamic place. As for the performance, excellent. Just what the doctor ordered to start the show - exciting, shiny, explosive. In many ways, very similar to their postcard. Now we move onto Cosneolta.

02 Cosneolta

Stunning. No idea what it was about but it was certainly stunning. My producer here is frantically leafing through his Cosneoltan dictionary trying to work out the gist of it but sadly he's forgotten most of what he learnt at school. Personally, I don't know why he bothers - I'm waiting for it to be added to Choogle Translate. Now it's the turn of Zeganas.

03 Zeganas

Now if the World Hit Festival isn't the perfect setting for a social justice punk rock anthem then where is? And really, where else can you listen to such poetry. I mean, rhying trauma, llama and karma is nothing less than pure genius. We're only three songs in but you can quote me when I say that we're experiencing the highest standard of entry for a long time. Next up is Mercedini.

04 Mercedini

Now normally I would make snarky comments about the embarrasing quality of the entries to entertain you all with but I haven't really had any material to work with so far. The audience are clearly loving every act so far and I can't find any reason to disagree with them. The only possible solution I can think of is to go harder on my rakia but my producer keeps giving me disapproving looks. Perhaps Britonisea will give us something to laugh about.

05 Britonisea

I've never thought of Britonisea as especially tropical and I can't say my opinion's changed. In fact, when the music started I thought it was my producer's mobile phone. Oh well, there's no accounting for some people's taste, especially if they're Britonish. The audience is getting quite agitated now and no wonder, the next act is no less than Izmedu, brace yourselves.

06 Izmedu

Okay, I'll admit it, that was a fairly good performance. Maybe Izmedu do know what they're doing after all - certainly if they're aiming for an overextended budget and a bankruptcy. We're very close to #CHURN now but before we get there we have Fromulya to sit through, uh, I mean enjoy.

07 Fromulya

So apparently Sri Ayu's dress took the feathers of 13 Fromulyan macaws to make it. I have the assurances of the Fromulyan delegation that they are not an endangered species. I suspect this won't be the victor but I guess it was worth a shot - better luck next time? Okay, now we have the moment I know you've all been waiting for. That's right, #CHURN is right upon us. Best of luck to Cháñdísun, not that she needs it, we all know she's gonna do us proud.

08 Chámelíyá

Now that is what I call 100% authentic, show-stopping #CHURN. It's such a feel-good number that you can't help but dance along. And quite frankly, that was a 10/10 performance; staging, coreography, crowd raport - it had everything. The audience seemed to respond really well to it and I'm sure viewers all over the multiverse will be picking up their telephones and voting for it as well. I think we have a very good chance. Well done Cháñdísun, that was an exceptional #CHURN. Next up it's our favourite upstarts and friendliest rivals, Normandy & Picardy.

09 Normandy & Picardy

There are no words to describe what the multiverse has just witnessed. Rumour has it that with the assistance of several hard drugs, Normandy's entry is in fact tolerable. Sadly my producer wouldn't permit me to try any to confirm this but I can tell you that I got through a significant quantity of rakia instead. Now we move on to Anollasia.

10 Anollasia

That's more like it. I have to admit, I do have a soft spot for Anollasia. They've always sent very competent artists with song that I just think would not be out of place on the CháReTe Rediyo 1 chart show. They don't bother with gimmicks or theatrics - their list of acts is just a steady steam of down-to-earth artists with credible songs. I really hope they do well tonight, they deserve to. Moving on, we have Skanden performing next.

11 Skanden

I think won of the best things about the World Hit Festival, especially in comparison to the WorldVision Song Contest is the variety of cultures and languages on show and I think Skanden's performance was a perfect example of that. Not too mention that it's been one of the spiciest numbers presented tonight. Honestly, I think that if it hadn't been so minimalistically coreographed it could've been a contender.

12 Ethane

Looking through my notes here, and as you lot at home could also probably tell by that performance, young Jeremy Granger there has been through a lot in his life already so I'd feel a little uncomfortable making fun of him. But if you wanted a point on substance then in my humble opinion that was quite boring. Fret not however as Tödlichebujoku are next and they have, what I'd say is, a rousing performance.

13 Tödlichebujoku

Yes viewers, that indeed just happen. I'm not sure what exactly it's about either but my producer tells me that he's put पै5.00 on it being an intergalatic domestic. To find out what happens next you'll have to tune in next edition, same WHF-time, same WHF-channel. Next we move onto that stalwart of the World Hit Festival - Kalosia.

14 Kalosia

A little known fact that only the most hardcore WHF enthusiasts are aware of is that the World Hit Festival is not under the control of an independent committee like the WorldVision Song Contest but is in fact overseen by a national broadcaster elected by the other participating broadcasters. RTK, the Kalosian broadcaster, is actually coming to the end of its term as the WHF overseer and honestly, after having seen their performance, it might be good thing - they're running out of ideas and that performance seemed tired. Okay we're almost at the end of the lineup of performances and I'm even closer to the bottom of my bottle of rakia. Peforming tonight's pernultimate song is Besini.

15 Besini

I've been asked to inform all our viewers at home that Fustina Neri was not lip syncing and that it was in fact part of the performance in case any of you were moved to register a complaint with the Sañchár Sábha (Communications Council). My producer would also like to make clear that that performance was not sponsored by the Besinian National Electricity Board. We're moving onto the final song now which comes courtesy of Kannap.

16 Kannap

I think that may have been the most unfortunate sequence of events I've had to endure this entire edition. Two grown men squealing into microphones in unison? I'll pass. I mean, you're adults for crying out loud - get over yourselves! Mercifully, that was the last song of a fairly long WHF lineup, which for all of its strengths, deteriorated in quality rapdily in the last quarter. Soon it will be time to vote and your turn at home to get involved but first we have an interval act to get through.


Interval Act

Izmedu demonstrating once again how its pop consistently managed to captivate the mutliverse's attention during Chámelíyá's absence. This is also the part of the show where I'm contractually obliged to tell you that you can by a CD of all of tonight's acts (yes, the very same one I also received) as well as sundry other branded bits and bobs from WHF30. If you want to grab your chance to get a hold of some of these goodies then just log onto the official WHF-partner CháReTe online shop at www.charete.tv.ce/whf/shop.
Last edited by Chameliya on Wed Feb 01, 2017 8:50 am, edited 3 times in total.
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Om Mani Padme Húñ | Hail to the Jewel in the Lotus

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Commentary

Postby Kannap » Fri Feb 03, 2017 8:59 pm

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Connor: Hello Kannap, we're here in Vodiznad, Izmedu, for World Hit Festival 30. I'm Connor Caldwell

Jason: And I am Jason Pembleton, and we're your hosts for Live From World Hit Festival 30!

Connor: This is the first time that Kannap has taken place in a World Hit Festival, normally we are sending competitors to WorldVision, though it is nice to see our culture expanding its boundaries to new horizons. The show is just beginning. Welcome to Vodiznad!

Jason: Folks, the voice you are hearing is that of Apolonija Dukic, and you are not mistaken when he says "Welcome to the 29th World Hit Festival!" The approach that is being taken here is a quick recap of the last festival, since it was also hosted by Izmedu. The last edition ended in a tie before determining that Izmedu was the victor of the competition, therefore hosting again this edition.

Connor: You are now seeing the logo from World Hit Festival 29 transition into the logo for World Hit Festival 30. Isn't it spectacular? Now we begin.

Connor: An excellent beginning to what I hope will truly be an excellent night. I know that this song will not be up for voting since it's just the opening act, but this was definitely a beautiful song and an excellent beginning to the competition.

Jason: Absolutely, Connor, everything about this song was beautiful. I hope that the songs that will actually be up for vote will be just as good as this opener.
Connor: This song spoke to me. I loved it so much. Heartbreak is something that everybody feels but this song made me feel like I am strong, and forever unbroken. Nobody can break me to the point of not functioning. This song had a beautiful and well defined meaning.

Jason: I liked the beat, the tempo, the music, the lyrics. I enjoyed all of it, liked everything in this song. It was absolutely a masterpiece. They'll do well in the Kannapian voting. I'd say top five.
Connor: I don't have an understanding of the language of Cosneolta, so I have no idea about the lyrics. Though judging entirely on the music and the sound of the performance, it was quite a beautiful performance. I loved it so much.

Jason: I have to agree with you again Connor, and I hope that the good performances continue throughout the night like they have been so far. If the next 14 songs are just as good as the last two, it will be an amazing night indeed.
Connor: An interesting entry, to say the least. It is definitely different from the last two. I still like it though, despite not as much as the entries made by Cosneolta and Natanya.

Jason: I think this song had a beauty of its own, but to those that prefer this type of music. I don't think this type of music is popular in Kannap so I doubt this song will place well in Kannapian voting.
Connor: I love it! I love it so much. As soon as the music started to play, I knew I was going to love this song and the lyrics and performance only went forward to proving it. This song will definitely be making Kannapian voting, I am so sure of it. There is no way it cannot.

Jason: You're good at being energetic, keep it up the rest of the night Connor. As for the song, it was beautifully performed. I believe that it will make it in the top five in Kannapian voting, though I won't swear that there is no way it will fall short.
Connor: I didn't like this entry in the slightest, which is odd since I thought that Britonisea would put forth a good entry, based on their performances in WorldVision. However, this was entirely different in my opinion and I didn't like it one bit.

Jason: I admit that they could have done better with their entry, but I don't think different generally means bad. I just know Britonisea won't be doing too well in Kannapian voting.
Connor: *sniffs* No, I'm not crying. Well, maybe I am. This song was beautiful, I fell in love immediately. An amazing entry.

Jason: I can't say anything bad about this one, it was very touching and I absolutely adored it. I think Izmedu has a strong chance at winning again and we could be back here for World Hit Festival 31.
Connor: I wasn't quite a fan of this one. I want to hear Izmedu's performance again.

Jason: This was definitely an interesting song, but I have to agree that I don't think it was as good as an entry can be.
Connor: I loved this one, it was amazing. Can we get this performance to take a tour around Kannap soon?

Jason: You'd have to speak to the Ministry of Foreign Affairs, but I support the idea. This song was amazing.
Connor: This entry was a good one. Different from the previous entries we've seen, but good nonetheless. I liked it.

Jason: It was okay, it could have been better but it was still a pretty good song.
Connor: This performance was absolutely beautiful, I quite enjoyed it like previous entries. It was different, but in a good way.

Jason: I agree, I think Anollasia did a wonderful job by sending this entry.
Connor: I wasn't a fan of this one, it just didn't have a sound I liked.

Jason: I don't think this was a sound that any Kannapian would like. Quite unfortunate really, I think it means we're biased against understanding it.
Connor: This song was absolutely beautiful, and the singer is handsome as well. I liked everything about this performance and think that it could make it to the top five in Kannapian voting.

Jason: This. This is the type of music Kannapians love and enjoy, unlike the last song.
Connor: I wasn't a fan of this one, moving on.

Jason: Neither was I, honestly the first song of the night that I actually hated. Shame, really, we were so close to the end of the evening.
Connor: This song just confused me, I am already tired, I didn't need this.

Jason: Fully agreed, I'm hungry too and this oddly made my hunger worse.
Connor: Where even is Besini? I've never heard of them, but their music is far too exotic sounding for my ears.

Jason: I think they're somewhere very far from Kannap, I am unsure where though. I agree about the song.
Connor: Unfortunate that we could not bring forward a new entry for this competition, but had to repeat an old WorldVision entry. However, I think that Brett and Jackson performed it better here than at WorldVision, perhaps since they've had more practice since then?

Jason: It was indeed interesting to see how they changed up their performance since the last time they had done it. I don't think most voters in other countries will like the recycling though and I think being the last performance puts us at a disadvantage of people being tired of the competition by this point, they've had to listen to 16 songs before us.


Connor: Well Kannap, you've seen the performances. Now it is time to vote.

Jason: Cast your votes by either texting 12-80-VOTE-NOW or by visiting wwi.KannapVotes/WHF-30.kan, remember that your vote counts!

Connor I will be delivering the Kannapian votes later, be sure to vote!
Last edited by Kannap on Fri Feb 03, 2017 9:02 pm, edited 1 time in total.
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Postby Ethane » Sat Feb 04, 2017 8:35 am

Explosive News: World Hit Festival 30 Commentary

Opening Act
I love this. Not only is the singing and staging on point and a great way to get everyone energised for the festival, but the nostalgic brush through the past relives some of our best memories of World Hit Festivals from the recent - and not so recent - past. The way those running this show have managed to incorporate the World Hit Festival past with the present and fit it all in these marvellous theme of Boundless Energy, after also hosting last edition, is testament to the dedication and nature of attitude of Izmedu to the WHF. The flashbacks and the opening song certainly managed to achieve its goal, which was to get the audience energised and ready to go, and it seems like everyone is going to be in for an enjoyable night after it.

1 - Natanya
Aye, Aye-ya yeah. Aye, Aye-ya Yeah, yeah. Natanya have started off the night with a performance that will prove a challenge to follow. A catchy song with some favourable lyrics - although at times they didn’t fit perfectly - and a very passionate singer combined for this performance to stun. The staging certainly also emphasises the emotions present in the song, which run deep through the undercurrents of the emotions presented through the passion of the vocalist and the nature of the song, and visibly moved some of the audience - and likely some of those watching at home on television.There have heard stronger songs in my time in World Hit Festival prior to this, but this appears to be a very strong contender for a top five position. Cosneolta will have a lot to live up to with their performance, and are going to have to come out on stage and perform with a bang to avoid being overshadowed.

2 - Cosneolta
This song had so much potential. As the song started, I really felt this song, like it could go places, but after the opening verse it lost its boundless energy and just felt like another ordinary, boring song with not much special to it. The vocalist also has so much talent, but this song didn’t suit her to the full extent; she should have been pushed harder. This song would have still picked up a fair few more points than it will if it were one thing: understandable. People in Ethane are not going to understand what is being sung, and while it had melodical and harmonical excellence, it lets itself down with the lack of translation for the lyrics. This song will be overshadowed by Natanya, and will most likely be forgotten in amongst the other songs in this contest.

3 - Zeganas
I started off hating this song. But as the song progressed, I found it growing on me to the point where it could challenge Natanya for the best entry of the festival so far. The singer’s are favourable to the sort of song I like to see - doesn’t quite fit with the norms of the contest but isn’t a completely radical change - and apart from the tacky ‘drama, llama, karma’ verse which feels just a little forced, the lyrics are of sufficient quality and have a strong message behind them that doesn’t necessarily fit into your stereotypical entry into this tournament.

4 - Mercedini
What. Is. This. World. Hit. Festival. Typically, this is about the limit of good entries in one edition, but we seem set to breach that with every song - bar one - so far being amazing and real competitors that the Ethanese public is going to have a real challenge deciding between them. This is one of the best written songs I have ever come across - let alone entries - so in that itself the song is set to perform well tonight. But combine that with the outstanding tune, and the quality of the staging, and this performance is set to blow minds and possibly win the festival. World Hit Festival 31: Mercedini? Too soon?

5 - Britonisea
This isn’t really my sort of music, and I’m not sure this song is going to go down to well in Ethane. In any other edition of World Hit Festival I would have said that this song may just scrape into our top five, but if the standard of entries across the first four continues for the rest of the tournament, they will be struggling to make Ethane’s top 10. This song, however, does do what it set out to do well with the tropic dimension - a sharp contrast to the songs that have come before it - but this seems to follow that rule which I mentioned after Zeganas’ song: change is good, but radical change doesn’t work in most contexts and scenarios, and this stems too far from the likes of the public of Ethane. We’re not going to let this song think the standard of entry has dropped though; next up is Izmedu - the hosts - and I’m sure every Ethanian is screaming inside just like I am.

6 - Izmedu
There is a reason everyone anticipates and hypes up their entries so much, and that is why. Another song that grew on me as it went on, I found myself gradually more and more enthralled by the staging and the singing and drawn into the mesmerising lyrics. The lyrical imagery stood out to me - especially the ashes - and it just all came together to create this magnificent piece of artwork. If songs could be stored in museums like artefacts and displays could be, this song would be one of the main attractions along with a few other songs of tonight. I’m not sure I’ll call this one as I don’t think this will take the best song of the night, and I don’t think they would be willing to host again, but this song has an outsider shot of winning and should have an almost guaranteed top three placing unless some extremely outstanding song comes along and rips this contest open even further.

7 - Fromulya
It’s yet another song that I have no way of understanding the meaning of the lyrics, making it difficult to judge the song, and a reason why I expect this song will perform poorer in general than the other songs in the contest. However, not being able to understand the lyrics, combined with the tune being rather disappointing and empty and the staging seeming rather basic, this song can expect to be placed near, if not right at, the bottom of the Ethanese televote. This was a rather uninspiring performance, and will be easily forgotten for its rather dull averageness. Next up is Chameliya, who we hope can provide a decent entry to help us overcome this one.

8 - Chameliya
I hated this song. Absolutely hated it. To start with. Then by the end of the song I found myself dancing along to the song. It was really catchy, and marks the third song of this festival that had grown on me and changed my perspective from negative initially to positive finishes. It can’t be said that this was one of the best, but it was good and may make the Ethanese top five if it grows on enough people. One of the main detractors of this song is the backing singer - I found them extremely annoying to listen to, and they didn’t add to the song. However, this song was not too bad, and marks a decent return to the World Hit Festival after a period away.

9 - Normandy and Picardy
First things first, why does it sound like there is an elephant in the song? The positives of this song before I ramble on about the negatives: I can safely say the lyrics are relatively good. They are well written for the song and seem to fit the mood and nature of the performance. It’s just they are definitely not the best lyrics of the night. I’ve actually read Dracula recently - my son studying it for his exams inspired me to do so - and this reminds me of that, and I actually was kinda freaked out by that performance. The staging itself is good, but a little too creepy. After watching and listening to this performance, it feels like the only thing going into my heart is a knife because the song was so painful to listen to. The agony. If this song is supposed to be filling up my soul like the songs of the night are supposed to, then a serious rethink is needed. In all honesty, a serious rethink is needed at NNN anyway if they actually thought people would like this song. If this doesn’t come last - or close to last - the Ethanese televote, then I will be genuinely surprised.

10 - Anollasia
I feel relieved that the memories of Normandy and Picardy can be quickly confined to the past forever after the performance by Anollasia. It got me moving again, excited for the remaining songs in the festival. This entry from Anollasia is one of their best and has a real shot at winning this, although it does face tough competition in general, especially from Mercedini and Izmedu. The singers are strong vocalists and really add to the overall vibe of the song with their actual on stage performance. The song just falls a little short for me as it feels like it is missing something. Not much for it to have a massive impact, but enough to stop it claiming top song in my judgements. However, the Ethanese people may not notice it, in which case watch out at the top of the leaderboard for this song, rather than second or third.

11 - Skanden
This is a good song. There is no doubting that. It will attract televotes. But this isn’t really my style of thing, nor do I think it will gain too much popularity in Ethane. I like the attempts to spice it up a little and delve into other cultures, but this song doesn’t strike the line with this that would be popular in Ethane. This song would have performed better than it will, even with the line it took with the tune, if we were able to understand the lyrics. I don’t mind people who do foreign languages in their songs - in fact, I sometimes encourage it - but I always like an English translation with that, and so far that problem has affected three songs for me. I can’t stress the fact enough though that this isn’t a bad song and is nowhere near the levels of Normandy and Picardy - it will attract some support from the Ethanese people, but it is unlikely this limited support will translate to any votes. That doesn’t matter though, as next up we have the song we’ve all been waiting for at home - Jeremy Granger representing Ethane.

12 - Ethane
Isn’t this just inspirational. I’m sure all you at home all know the backstory of Jeremy, and him coming here to express it through song is amazing. The song itself is so depressing, yet so touching at the same time, so much so it really moves you as you listen to him. The imagery works so well. There is a sort of silky smoothness to the tune that pieces it altogether into this perfect tune. Yet again, the directors have also delivered a masterpiece in staging, and while it is far from rivalling the likes of Izmedu, the basic nature of it represents the song and the emotions behind it perfectly, along with the dancers. To any commentator who says that this song feels like it is missing something, or is boring, it is not the song that is missing something or is boring, it is you that is missing something or is boring. While this song may not win, Jeremy should be looking forward to at least a top five position and a proud nation. It is brave to come out here and perform a song based on your depression to the multiverse, and Jeremy Granger did just that. So no matter where he places in this contest, he deserves a massive congratulations and to be treated like a hero.

13 - Todlichebujoku
This song has very very good elements and disappointing elements which combine to make this an above average song, but not one that - in my view - will win this World Hit Festival with all the strong competition tonight. The lyrics are strong. The male singer expresses himself well for most of the song as well, although his performance does seem to weaken towards the end. However, I very much disliked the use of the electronic over-the-top nature at points in the song which ruined it for me slightly, and the actual tune behind the song remained extremely repetitive and lacking in substance, at some points even annoying.

14 - Kalosia
The lyrics are beautifully written - foreign and the English translation. But I am not feeling this song. It feels hollow when listening to it and watching the performance. The staging itself was just about okay, but I disliked the singer, and I disliked the tune. It just never struck a chord with me, never inspired me, never exacted an emotional reaction from me, or any reaction really, and for that reason, I don’t think this song will pick up many points from the Ethanese peoples, nor do well tonight.

15 - Bensini
The presentation of this song - the staging and lights - were extremely effective and beautiful and clearly well thought out by the producers of this performance. However, I also don’t like this song. I guess you could say I dislike it for a reason not dissimilar to the reason for disliking Britonisea’s; it feels a little out of place, and doesn’t really inspire my musical love. The song feels a little flat compared to others - the singer included - and in this tournament, where there are just so many good songs vying for Ethanese votes, this song will just get overlooked.

16 - Kannap
I’m sorry, but I don’t think, after that song, that I could ever love you. That song - to put it straight - was awful. Not the worst song of the night - that’s a tough choice between Fromulya and Normandy and Picardy, but it feels like a song that’s going to be in the bottom 3 or 4 in the Ethanese vote. I feel like it needs something, like its missing something. I like basic - but I think this song does basic wrong because it doesn’t have the really good singers to support it. On the point of the singers, the lead vocalist in the chorus sounds like a car which is on the way out and the acceleration is a little delayed because of it, or like he is in his teen years again and his voice his breaking (but obviously with a much more mature voice). My final dislike stems from the dislike of nations who reuse the same performance in two competitions. That’s why I don’t think this song will pick up many Ethanese votes today.

Interval Act
That was a rather drastic change in tonality from Kannap’s song. Thank you Izmedu. Despite this being far from my favourite of interval acts (this comes in around the moderate to just below average range), it woke me up after I almost fell asleep during some of the songs.

Conclusion
So this has been some World Hit Festival, eh? The entry quality has been through the roof from previous editions of this, and it has been extremely difficult deciding my favourite - and the songs I believe will do best in the Ethanese vote tonight. I have to say that I did enjoy the performances tonight - some of them much much more than others (cough) Normandy and Picardy (cough) - but in general - and I think this applies to the crowd as well - everyone has been enthralled by what the night has had to offer. Now all that remains to do is vote. So make sure to vote using the numbers on your screens now, or go to the WorldvisionE app, or the ENTV app to vote for free.
Last edited by Ethane on Sat Feb 04, 2017 2:15 pm, edited 2 times in total.
<drawk> If the entirety of the nation of Ethane was covered in a single cubic foot of Ethane on its surface, lighting it all on fire would cause a 5.44 megaton blast
<Savalen> Only on NS Sport can watford or peach slices be a hop skip and a jump away from the EU referendum....

WA Delegate Emeritus of Esportiva

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Postby Izmedu » Sun Feb 05, 2017 2:50 pm

The camera panned back to a wide view of the stage as the lights returned to normal, the cheers for Anamarija rather strong as the WHF29 winner could be seen walking backstage. After the huge cheer, yellow energy lines began to form on the screen as the camera could be seen cutting to a closer view of the stage to Martin Carevic walking back to the stage to the runway that snaked around the Orchestra Pit, holding an envelope in his hand as he nodded to the conductor, Adam Katavic. The crowd cheer was rather huge still, considering that the former winner came back, but the crowd eventually quieted as the camera cut to Martin

Martin: What you've just witnessed was our planned 2-part interval act! The first song is a remix of Isolation by former WorldVision contestant, O-BRAD, sung by Jagoda and originally produced by Zucirjak. Of course, Part II was one we all knew. That was Anamarija Lubina with her new single, “Forgive Me.” A round of applause for both for performing tonight!

The camera cut to a pan of the cheering crowd, a multitude of flags waving around the audience. The camera cut back to a smiling Martin.

Martin: 16 nations have just performed and we have about 4 minutes left on the clock before we close the vote. Before we close the lines though, here's a quick recap of all 16 nations and one last chance for nations to convince you that they deserve your vote.

The broadcast was engulfed with the trademark energy lines from the logo as the recap started, playing a 10 second section of each song starting from Natanya ending to Kannap. Most of these clips emphasized a high point of the song or its climax, either musically or emotionally. After the recap, a section of the theme music played as Martin was now seen standing behind the orchestra pit, on the main stage.

Martin: World, this is it. After that recap, we only have... One minute left.

A '60' to the font of the logo appeared behind the screens, ticking down as the theme music began to play, except this show-produced variation emphasized the beats within to allow the sounds to resonate further through the Dragulj Arena. The cheers were total insanity as the camera cut to Martin and the crowd in the arena.

Martin: This is your chance to make your voice heard. To the crowd, who was your favorite?

All 16 nations' names were shouted back to Martin in a cacophony of sound, to the point where the host was unable to decipher who the crowd supported most. Behind Martin, the clock kept counting down, the font effects only becoming more dramatic as the seconds hit single digits. At 10, Martin began to nearly shout the number, stopping at 9 to allow the crowd to complete the countdown. Once it struck 0, it was official...

WORLD. STOP. VOTING. NOW.

A shower of sparks was released from the ceiling conduits as those words appeared on the screen, causing a near broadcast-error roar from the crowd that Martin stepped back slightly, but being the professional he is, that surprise only caught him for a second before he returned with his trademark joviality.

Martin: World, the lines have closed and the results are now in. World, this is the moment we've been building up to, the voting reveal.

Like last edition, the crowd was in one large of frenzy of cheers as producers behind-the-scenes were immediately tabulating the results to make sure that it was valid. This was the opportunity for Martin to take a 10 second breather, before a producer's cue caused him to make a motion to open his mouth slightly.

Martin: Alright, as the people at work behind-the-scenes are tabulating the results, I'll explain the way the voting will work this edition. For those that watched when we hosted the 29th World Hit Festival, the proceedings will remain much the same.

Martin: Let's go for the basics of the voting, the points of allocation. Each nation will present their top 5 ranked in a 5 to 1 points format, the 5 points going to the favorite, 4 points to the 2nd favorite, and all the way down to 1 points for the 5th favorite. It's World Hit Festival tradition since its second inception in Praetoria, Khanastan. How's that for a throwback factoid?

Martin: Now, the way we'll also reveal them is... Also the same. We reveal the votes in two phases. Phase I is where we reveal the lower 1 through 4 votes, and I, the host, will be the one to reveal them. This phase will go by relatively quick, so there's no active scoreboard to keep the tension up. Phase II is where we reveal the maximum 5 points that each nation gave out. For that phase, we'll have the national spokespersons reveal the votes.

Martin: I think that's a lot of explanations. Of course, enough's time has passed by where I think it's time to start getting ready. I know one person who was definitely keeping track of the results. Let's go to Dora Vidakovic, RTI's General-Director, to see if we have a result. Dora, do we have a result ready for the 30th World Hit Festival?

The camera cut to a part of the Dragulj Arena where it was RTI running behind-the-scenes, with Dora Vidakovic still just as camera awkward as ever, turning to the camera to respond to Martin.

Dora: Yes, yes we indeed have a result and we have just finished processing the results. We turn it over to you so we can find a winner for the World Hit Festival 30. Take it away, Martin!

The camera cut back to Martin, with a pre-scripted moment of a energy line-styled podium rising up from the ground near his position occurring as Martin nodded at Dora's words.

Martin: Thank you Dora! This is it, it's the moment we've all been anticipating. It's time to begin the process of finding a winner for the 30th World Hit Festival, may we have the scoreboard up?

Image

Martin: Let's begin with Skanden's Phase I votes!

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Postby Izmedu » Sun Feb 05, 2017 2:57 pm

Martin: May we please have Skanden's Phase I votes on the screen?

Image

The scoreboard was what dominated the broadcast as these votes appeared on the screens, causing quite the fan reaction to the first set of votes from fans of the listed nations.

Martin: We've seen the first 10 votes of World Hit Festival 30, but things aren't over just yet! Next up is Todlichebujoku's Phase I vote.

4 points: Cosneolta
3 points: Britonisea
2 points: Normandy and Picardy
1 point: Besini
Last edited by Izmedu on Sun Feb 05, 2017 2:59 pm, edited 2 times in total.

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Postby Izmedu » Sun Feb 05, 2017 3:05 pm

Martin: Todlichebujoku's votes are up. Let's see how their 1 through 4 votes are.

Image

It's looking to have been a wide spread of votes so far, though observers are trying to note down names of nations who've appeared more than once. The host's name appearing caused quite the reaction.

Martin: Many nations receiving votes. Let's move onto Fromulya's votes.

4 points: Normandy and Picardy
3 points: Izmedu
2 points: Kannap
1 point: Ethane

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