World Hit Festival 31 - Mousiki, Izmedu | IC Thread

by **Izmedu** » Sun Mar 12, 2017 11:00 pm

OOC Thread - Draft Thread

20:00 IZMEDUAN TIME

For the third time running, the contest was back in Izmedu after Katarina Zunic's stunning win back in the capital of Vodiznad. RTI's move to host the contest yet again seemed like a move born from insanity; the channel had just staged two consecutive World Hit Festivals, which a country hadn't done since Euskirribakondara's two consecutive hostings in Harrikes in World Hit Festivals 7 and 8. To do it a third time? As the crowds piled in on the current host city (Mousiki) and its venue, the Majcena Foruma, it caused the host broadcast to reflect back on an unbelievable World Hit Festival trajectory. Despite being in the same country for three editions in a row now, the fans were the one constant that kept things dynamic.

Despite the smaller scale of the Majcena Foruma, one could hear the shouts of the crowds resonating within. World Hit Festival 31 was about to start and the lights dimmed...

OPENING SEQUENCE: A NEW BEGINNING
Alajbeg Productions – Towards the Sun

0:00-0:41
The first 40 seconds of the sequence would be a brief recap. The haunting sounds of the theme song saw a projection of ghostly brief cuts to the 30th World Hit Festival. We start off with an image of the Dragulj Arena in the opening sequence of the 30th World Hit Festival, with a grain filter applied. A few piano notes played, with shots of various performances being flashed to screen at every note. However, at the last two notes, a freeze frame of Mercedini's phase II vote was played, and at the final note, a black and white photo of Katarina appeared on the screen, smiling to the viewer before fading gracefully into a CGI rendering of the Dragulj Arena itself...

0:41-1:23
A swooning orchestra sound took over the instrumentation of the song, sounding 'live' as the image was met with a slow moving time lapse of the Dragulj Arena from the night of the contest to the second day. At the 50 second mark, the camera turned around to then move towards the iconic Velikstav walkway in Vodiznad, showing not the capital itself, but the waters that stretched into the deep horizon... There were people out there looking, finding that the water was beginning to rumble, especially at the minute and 20 mark with the drums added in.

1:23-2:04
The song began to develop further as the camera shot moved out of Vodiznad through interspersed shots of the camera's rolling mountains and its seas. Blue streaks of light that shimmered with sparks began to race through the country, passing through small municipalities as it now became a brief tour of southern Izmedu itself. At the two minute mark, the streaks finally reached the host city of the 31st World Hit Festival, in which they pierced through the clouds to reveal the culturally rich seaside city. There was Mousiki in all its glory, presented in a wide shot before quickly zooming into its marina.

2:04-2:50
The instrumentation entered its peak, with orchestral flourishes that were gracefully timed to a quick survey of the city of Mousiki. The camera zoomed through the busy streets rather dynamically, zooming in on moments such as a couple walking down the marina, to a klapa group singing in the city center, and finally, a final shot of a flash mob dance at the host venue, the Majcena Foruma itself. As the wordless vocals built up to their peak during the flash mob sequence, the camera zoomed out to reveal the bustling city of Mousiki once more, with a quick transition to a CGI rendering at night that coincided with the vocalist hitting the highest note. At the music's silence, the shot turned into a blinding white.

2:50-3:18
At the last 28 seconds of the song (which also serves as the leitmotif of the contest itself), the logo of the 31st World Hit Festival appeared very slowly. It started off with the blue World Hit Festival text, the 31 wrapping around itself soon followed by the wave logo that was being 'drawn in.' At the final 15 seconds, the slogan began to be 'written,' painted on the canvas that was the screen. At the end of the song, there stood the logo of the 31st World Hit Festival. Once the parting note of the song hit, the camera began to zoom into the 'O' in World, the canvas of the screen dissolving into a live shot of inside the Majcena Foruma...

The Majcena Foruma itself was encased in complete darkness as the sounds of huge crowd cheers now dominated the broadcast noise. Knowing Izmeduan procedure, the opening video package heralded only one thing, the show was due to start with the opening act. Despite the darkness, one could see the lights of cellphones, etc dotting around the flag, illuminating brief instances of flag-waving. The camera faded away from these shots and focused on the stage, where a single spotlight began to illuminate on someone standing on the central platform of the stage.

OPENING ACT
Samir Galovic – Memento (Inamiam me)
Translation: Memento (Remember Me)

The single spotlight revealed the singer of the opening act, Samir Galovic. The audience did not have long to take in his presence before the song as the opening act started off with a soft piano, with the Majcena Foruma being engulfed in a white light at the inspirational sounding intro. The orchestra itself played a part, with the conductor, Adam Katavic, once again skillfully taking the reigns as he led the song through its brief intro. A white background canvas appeared on the back screens. The camera faded to a closer shot of Samir, just in time for the song to start...

Who knew that one day could last forever
That moment of pure happiness
Etched in my mind like a carving
But it was also the day we said goodbye
Your bags packed and ready to leave
I know you've been waiting

The camera panned around Samir slightly, with him looking into at as he started off the song with a wistful look, backed with a guitar instrumental that befit the nostalgic tone the performance took. The camera circled around Samir as he walked forward. However, as Samir got out of shot, the camera lingered to the background screens, which began to show a drawing of the water surrounding Mousiki, gently lapping around before fading into a shot of Samir quite close to the audience, holding out a hand to them as the song transitioned to the hook.

Jednog dana, ju ću dementi suviše
Ali, ovo nije kraj iz i trenuci
El prijateljstvo smo dijelili

At the switch to the Izmeduan language, Samir elicited quite the reaction from the Izmeduan crowd, with this being the first instance of the Izmeduan language that has been used in the country's opening acts. Samir had retreated back to the center of stage after some intimate moments wit lucky audience members, as he prepared himself for the chorus...

Inamiam me
Molim, aninč te odlaziš
Ju imam o...
Memento, iz mi ljubauri
To nije mnogo
Ali, to je svi ju imam
Da inamiam me
Dok naš život napredova

For the chorus' start, the lights began to shine in various hues of white and blue as the camera panned to a wide view of the stage, with Samir belting out the first few lines of the chorus and arching his back slightly at every large note. With the instrumentation hitting its emotional stride, this coincided with the background screens showing pictures of people from the nations that have signed up for the contest, including all 27 nations that declared interest. At the end of the chorus, the camera faded back to Samir, smiling rather innocently at the camera before it faded to a wide view of the stage, with Samir having disappeared...

We spent that last, fateful day together
In euphoria and pure bliss
Making memories...
I watched the setting sun at the day's end
I saw your eyes so wistful
Knowing what's coming

For the second verse, Samir descended down to the floor to interact with the audience in the front rows. Shaking hands quite briefly keeping in mind that the people in the front would be quite starstruck. The camera maintained close-ups of him as he interacted with the front row on the right-hand side of the stage, with him singing some lines directly to an audience member's eyes, and the camera made no secret of some of the excited reactions that the fans were having. At the last line, he turned his back to the audience, pointing one arm to the background screens, which for much of the verse, was showing pictures from nations such as Natanya, Euskirribakondara, the Blueberry Islands and many other nations.

Pa jednog dana, ju ću dementi suviše
Ali, ovo nije kraj iz i trenuci
El prijateljstvo smo dijelili

At the hook, Samir waved to the audience as he began to walk back, as the background screen continued its slide show like show which the camera focused on for much of the hook. The nations on the screen looked to be randomly selected, now with sights from Estogium, Ethane, and Todlichebujoku being displayed on the screens. At the end of the hook, Samir was back on stage.

Inamiam me
Molim, aninč te odlaziš
Ju imam o...
Memento, iz mi ljubauri
To nije mnogo
Ali, to je svi ju imam
Da inamiam me
Dok naš život napredova
Dok naš život napredova

For the refrain, the configurations of bright blue and white lights returned to shine down upon the stage as the instrumentation peaked once more, with Samir passionately belting out the lyrics while reaching his hand out to the camera whenever it focused on him. The camera shot had an even focus between Samir's emoting and the work of the orchestra, with opportune angles showing one of the violinists playing to the melody of the song, with Adam Katavic conducting to the flourishes of the opening act. At the end of the chorus, the camera cut back to Samir, showing him with a determined look towards the audience, as the guitar solo began to play,

Dok naš život napredova

Samir kneeled down as he belted out this one lyric, putting so much power into his voice to the point that he made it deliberately crackle at the high note. He stood up after this belting this line, the camera circling around him one last time.

Inamiam me
Molim, aninč te odlaziš
Ju imam o...
Memento, iz mi ljubauri
To nije mnogo
Ali, to je svi ju imam
Da inamiam ne
Dok naš život napredova
Dok naš život napredova

The background screens reverted back to the images of the seas, with Samir belting out the lyrics as passionately as he could for the final refrain. The Majcena Foruma was imbued a bluer hue befitting the thematic color scheme of the contest. At the end of the song, the lights began to gently turn off one by one, timed to the parting piano notes as the camera panned to a close up of Samir, zooming in on him as the spotlight on him faded at the last note.

Following the opening act, the crowd cheered rather intensely for Samir. The lights had returned back to a normal state as the camera panned to a wider shot of the stage, with waves coursing through the screens that were artistic variations of the logo as a light blue filter was applied to the lights once more. At the right of the stage was where one particularly bright spotlight shone, and the camera immediate zoomed and faded into that particular part... The spotlight was blinding to the camera to the point where one could not see the person walking towards the stage, but after a few seconds, the hostess of the 31st World Hit Festival was revealed. It was Stela Kiric, Izmeduan comedienne, actress, and now a TV presenter. She was wearing this clothing ensemble, and with a jovial attitude, quite literally jumped onto the central platform and waited to speak until the crowd cheer quieted.

Welcome to the 31st World Hit Festival. Please warmly welcome your hostess, Stela Kiric!

Stela: Wow! Can't believe I'm up here, with almost 10,000 World Hit Festival fans from... literally everywhere. Alright, let's get started.

Holding her card professionally despite the comical tone, Stela smiled into the camera, now going to introduce the show in earnest.

Stela: Welcome to the 31st World Hit Festival! ...as our announcer just said earlier. Of course, before I even introduce what this contest is about, give a hand of applause to the man that performed a few minutes ago. He's an up and coming pop star, give Samir Galovic a cheer!

The camera panned back to the crowd, with the hostess prompted cheer occurring that was met with an especially loud cheer from the Samir Galovic contingent in the audience.

Stela: Alright, let's get down to business. First off, the World Hit Festival is one of the few multiversal song contests in existence today, and the World Hit Festival itself is rather old. We just wrapped up the its 30th edition all the way back in that city of Vodiznad. Well, we ended up winning it, and so we're back here again. Welcome back again, World! This time, we're hosting it in lovely Mousiki. So hopefully, were going to bring some lovely mousik for you all.

A couple of laughs were shared by the pun that the hostess just did, though it barely registered with some of the Izmeduans in the audience.

Stela: It's a celebration of music, culture, and art. The World Hit Festival brings together a lot, and I mean, a lot of countries to celebrate one night of sharing our music together. In total, 17 nations are waiting to show you what they're made of. Audience here and at home, are you ready?

Stela held a hand out as the the camera panned back to the wildly cheering crowd, who were more than happy to answer Stela's question with unbridled enthusiasm.

Stela: Alright! With our little ceremony out of the way, why don't we welcome our first nation up to the stage! Normandy and Picardy, you're up! Good luck Yves!

The camera faded to the audience as a water animation swept over the broadcast, heralding the beginning of the Normand postcard...

by **Izmedu** » Sun Mar 12, 2017 11:02 pm

THE ENTRIES

01. NORMANDY AND PICARDY
Entry | Voting (Phase 1/Phase 2)

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

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

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

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

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

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

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

09. MONAEROGLISSEUREST PLEINDANGUILLES
Entry | Voting (Phase 1/Phase 2)

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

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

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

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

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

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

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

17. NIGHTOM
Entry | Voting (Phase 1/Phase 2)

Compendium of other links

The Official Playlist for World Hit Festival 31

Interval Act // Phase I Result // Phase 2 Result and Winner's Announcement // Winner's Reprise

Commentary
Live From WHF31 (Kannap) // WVFans Shard (Todlichebujoku)

by **Izmedu** » Sun Mar 12, 2017 11:04 pm

Tune: Roosevelt - Belong

After a reasonably dissapointing 7th place finish in Vodiznad last edition, NNN decided that a change in direction was required, both music wise and in general in NNN, and so former head of WHF Delegation Jules Namas was swiftly replaced in a period of less than a week after the contest with new head of delegation Gerard Montpellier. Despite budget cuts at NNN due to the current economic situation in Normandy and Picrdy, Gerard was given full dispensation to do whatever he wanted in order to search for a new WHF entry and hopefully finish, as is the target for this edition, in the Top 5. However, that was easier in practice than in reality, especially with the aforementioned budget cuts. Public support for the contest has rapidly fallen in Normandy and Picardy, with calls for the country to pull out (which were rapidly rejected by Mr Montpellier, who said 'The WHF is an integral part of our broadcasting schedule and has been, and remains, massively popular, and we will carry on broadcasting it for as long as possible'). What Gerard was hiding was the fact that the axe was hanging above the head of the NNN WHF office, and so he had lots of work to do and little time to do it in. Where once there had been plenty of support from the record labels there might as well been a clip of tumbleweed blowing across a road, and so Gerard opened a public submission allowing anyone to enter. One of those people was Yves (full name Yves Devereux), with his contemporary (for Normandy and Picardy) synthpop song 'Never-ending doors', which is about trying to discover who you are and how building your own identity can be difficult. Compared to the rest of the songs sents in, Yves song was a total masterpiece, so Gerard shut the public submission and within days had revealed that Yves was the act who would be going to Mousiki. Would they do well? Who knows...

The stage was pitch black as the final preparations were put into place and everything was prepared for the performance. A few switches were flicked as you might imagine, and as far as the senior technician could tell the smoke machine was still working, although after 3 contests in Izmedu it was beginning to lose the will to live. As the music began with the opening synth line, the stage remained dark, but as soon as the guitar kicked in a purple spotlight shined in the centre of the stage, and the camera showed a front view of the stage. The purple light had revealed, of all things, a white shop mannequin, completely devoid of clothing, standing in the way that mannequins do. The camera then showed a pair of feet, belonging to Yves, as he walked cross the stage, the LED floor bursting into purple-blue colour below the thin layer of smoke behind him as he walked, before he reached the mannequin (the wave of colour on the floor carried on to the edge of the stage, and as it reached the end of the stage there was a flash of lights, and he began singing the verse, standing behind the mannequin.

The sky is watching you
Lying naked on the floor
A feeling quite undone
And something untoward

You grasp for something new
A glimour from your soul
Don't go breaking mirrors
Or you might find your heart

Just before the chorus began, a series of purple-blue spotlights appeared and shined on Yves, before a flash of blue lights filled the stage and the camera screen. When the camera view switched to one panning across the stage, the mannequin could be seen lying on the floor in a series of pieces, and the background showed a expanding darkness slowly filling the screen. Mor smoke poured onto the stage, a series of lights giving it a blue hue.

I'm running again
Through never-ending doors, and again
Follow me now
Step into the unknown

The smoke machine stopped belching out smoke towards the end of the chorus, allowing the layer to thin again, revealing the road on the LED floor as Yves walked towards the back of the stage, following the camera as it moved back. He sang into the camera, by which I mean he did that both annoying and charming 'look up to the camera and down again to look shy yet stare into my soul' type thing that everyone seems to love. He reached out to the camera as the verse ended, but it 'flew' away from him, the image of the road below him 'dissolving'.

You know that you are lost
But this road carries on
So you can stay and walk
But I can't help you there

When the camera finished in pan-out, showing the audience in the process, it showed Yves in the centre of the stage, standing on the top of an LED image of a clock face, with the hand ticking towards midnight. The background, meanwhile, showed the inner workings of the clock ticking away as the time on the clock passed. Yves himself did the whole 'singing to the camera as if its his partner' and he pulled it off rather well; his flinches rather than giving the game away rather helped to the character, and nothing looked choreographed although obviously it had been.

The clock is ticking down
As the sky begins to fade
Its eyes laugh and your heart
Begins to break again

Just before the chorus, the clock face shattered and the gears in the back fell apart. The camera view was made to look something like this image (ie. a blue background with purple/blue lights shining on him. The camera pans around him as waves of the blue cross the LED floor, the smoke building up again as he sings.

I'm running again
Through never-ending doors, and again
Follow me now
Step into the unknown

I'm running again
Through never-ending doors, and again
I feel alone
Even though you're close

At the beginning of the instrumental section, the camera pans around, before we see Yves in the centre of the stage, playing away on the synthesizer. The camera pans around him, the stage and the audience, in the usual way things do at this point. There had originally been plans for a section of the stage to lift and smoke and the like, but NNN had decided against this, so a quick manouver with a synthesizer it was to be; obviously he wasn't actually playing it. This carries on into the last chorus; NNN have had to deal with budget cuts, and so they've returned to the 'less is more' attitude of a few contests ago. As the song ends, all the lights cut at once, plunging the stadium into darkness.

I'm running again
Through never-ending doors, and again
Follow me now
Step into the unknown

After the song is over, Yves can be heard shouting 'Merci beaucoup WHF, merci!', before he leaves the stage so preparations for the next song can begin.

by **Izmedu** » Sun Mar 12, 2017 11:07 pm

Tune: BQL - Heart Of Gold
Languages: English

Originally, it was revealed that Estogium's representative for the 31st World Hit Festival was to be Halise Baku. However, Halise had recently dropped out from being representative due to her feeling as though the song is not yet suited for the contest - as well as her personal life catching up on her. This meant that while she should've time dedicated for the World Hit Festival, she had no time to rehearse. She then got in contact with Miles Convendale, who is an uprising Estogian singer/guitarist to replace her in the contest. Miles Convendale accepted under the condition that he was to do a duet with someone. He didn't make it specific who that duet would be with, but he announced that his friend, Markus Andréasson would help him on stage.

Miles Convendale; Look at him. He is utterly irresistible, and you are yet to listen to sing - we are sure you will melt! Miles Convendale is an Estogian male who was born in Estogium City and grew up in the city. He admits that he is quite the city child and loves to travel to other cities around Estogium, Aurevbush and Britonisea. He also admits that he loves architecture, especially Sports Stadiums and Arenas, and if he wasn't a singer, he would still contribute to the music industry / entertainment industry. Miles knew he could sing when he signed up to participate in a School Musical back in Estogium. Initially he was reluctant to do it, but his friend (who was already in the arts) pushed him on to do it. After a stellar performance, he was given one of the main roles in the musical. He was congratulated after his performance which made him want to sing even more. Miles then decided to take to YouTube, to see if he can find fame that way. Although he had received thousands of views, he wasn't going anywhere. He then decided to release music of his own, instead of covers, and he would paste flyers around the town he lived in for his performances in pubs and bars. Later on, he was discovered and he was signed to a record label. Miles Convendale has since reached on the top 20 in an accumulation of 12 weeks with three different songs - as well as appear on many talent shows as the guest.

Markus Andréasson; Do you recognise this name? I am sure you do! His brother Liam Andréasson previously represented Estogium at both the WorldVision and the World Hit Festival. Markus served as the main guitarist and the backing singers. Similarly to his brother, he was born in Loueske, Britonisea before moving to Estogium and entering their education system. Moving back and forth from Britonisea and Estogium meant that he had a feel for both of the cultures, of which he loved. He has had some experience on stage. He participated in Mehlodhifehstivalhen with his brother Liam, but they didn't win. The two moved back to Estogium after Mehlodhifehstivalhen and rather decided to create music which would appeal to the Estogian market.

Miles Convendale
Markus Andréasson
Both

The song started with the piano, which was played dolce and on the stage, two darkened figures stood. There was once sitting down at the piano (which was Markus) while Miles was standing at the front of the stage with nothing but his microphone. The arena floor was covered in smoke and a red and green aura was felt throughout the arena. The music then started and a camera came to Miles' face, below it. He looked down as he began singing.

Once again I'm let down,
By you toying me about.
I'll ease the pain, it'll go away
But you're still here.
I can't see you physically,
But you're encrypted in my mind
I'll ease the pain,it'll go away
Your aftermath.

During that verse, as the drum beat came in, the backlights in the arena starting flashing on and off at every strong beat. The staging was more focused on Miles at the start of the performance and the camera would focus on Miles as well, but when Markus did sing, the camera would slightly jolt to the left where the still dark figure of Miles was sitting at the piano.

Once again I'm let down,
By you toying me about.
I'll ease the pain, it'll go away
But you're still here, your aura is...
I can't see you physically,
But you're encrypted in my mind
I'll ease the pain, it'll go away
Your aftermath, your aftermath

During this part of the song, the backing behind them turned from green and red to blue and orange, which triangle and off-putting shapes. Continuously, Miles was the centre of attraction here in this performance so far, and when Markus would sing, Miles lowered his head as the camera moved left. Over Markus, a red light showed.

The camera zoomed out a little bit as Miles was about to sing the next part of the song. He pointed to the camera as he started to sing the next part of the song.

You promised everything I've wanted,
You have given me everything I've needed.
I didn't want much, no, I'm not spoilt at all.
But connection between us two was cut short.

Did we connect at all?

After this, it was the lead up to the second chorus, which like the previous choruses, were not at full strength. This chorus was also quite stripped back and didn't really make an impact.

After he sang this part. The camera started to notice the boy in the back a bit more. As he was about to sing, the light faded on Miles, and instead of a red light, a white light was shone on Markus who was still playing the piano. You would now notice that the piano was louder.

Now I am by myself,
Not a person, I've got no friends
I'll ease the pain, it'll go away
But it's still here.
I can feel guilt in my mind,
And I think of it all the time.
I'll ease the pain, it'll go away
Your aftermath.

Here, Markus got up from his piano. The camera quickly caught up with him and circled around the piano before following his back to the audience. Markus then picked up a guitar, which was laying on the floor of the stage. He then strapped it around his back as he was singing in to the mic around his face. Markus smiled at the camera as it slowly turned around to now face him and Miles at the front. Miles began singing solo;

Once again I'm let down,
By you toying me about.
I'll ease the pain, it'll go away
But you're still here.
I can't see you physically,
But you're encrypted in my mind
I'll ease the pain, it'll go away
Your aftermath.

The camera would move away from Miles and with this, Miles turned to the direction of where the camera was going. He would look at it with hope and despiration. He didn't want the camera to go to Markus (who moved to the left of the stage with his guitar on him). The lights on Miles would slowly fade away, making him more insignificant as Markus would get more attention. In the last attempt to recapture some of the audience's hearts, he further extended his arms out before lowering it. The camera fully turned to Markus, eventhough Miles continued singing.

II can't be wrong, went went wrong?
'Cuz the fault ain't on me,
I'm not the one which the bloodied hands, no,
I'm looking at you.

And the pressure? It's rising,
Courage? Nose-diving.
I've washed my hands with you,
My stains are washed,
I've gone through enough.

I've gone through enough!!

During this bridge section, it was the huge climax to the song that everyone was waiting for. The camera came in from the far left of the stage and zoomed in to the boys, who were facing each other as Miles belted out "I've gone through enough!!"

Suddenly, like thunder, 4 big bangs hit the arena. Every single light in the arena flickered on and off, and during this, there was a single shot of the whole arena being lighted up. The audience cheered loudly at this shock, but they were fine when they started to sing again - nothing had happened. A gold shower started in the background.

Once again I'm let down,
By you toying me about.
I'll ease the pain, it'll go away
But you're still here.

I can feel guilt in my mind,
And I think of it all the time.
I'll ease the pain, it'll go away
Your aftermath.

At the end of the song, the pair held hands and bowed together. Then then let go and bowed after each other, clapping for each other. "Thank you Izmedu!" They shouted simultaneously as they walked off the stage ready for the next performance or whatever was happening next.

by **Izmedu** » Sun Mar 12, 2017 11:11 pm

Tune: Подиум - Амстердам
(image)

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

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

The stage is unlit. The top of the stage lights up with a row of blue spotlights roaming the stage in a pattern, before coming to rest on Liana. She is standing in a feminine pose, her hand on her hip, with a confident, slight smirk on her face. She begins her half of the stanza.

9 PM - Zabaclattoca losta.
Nine o’clock - Slipping on the party dress.
9 PM - Tecërca atreg sosa.
Nine o’clock - Checking the mirror once more.
Tanon tutannu natlu, cël naita naid tomoccu!
Because tonight I will dance; I must look good for the boys!

Another spotlight activates, this time in green, shining down on Clarissa. She begins to walk towards the edge of the stage as she sings, the spotlight tracking her. She raises her arms into the air in a U-shape upon the second verse. On the third verse, she lowers her left arm all the way to her side, and lowers the other quickly, starting to slowly raise it in the general direction of the audience.

Vetre nat - E istinno ne nuta.
Friday night - Work is no longer in session.
Vetre nat - E arrinte lepreria!
Friday night - Freedom has arrived!
Tom ravna pãgavdã cioda - tom ravna pãgavdã gena!
It’s when the city livens up - it’s when the people liven up!

The stage's spotlights start flashing in a light blue and green, lighting up the entire arena in a spectacular lightshow, and revealing a large group of dancers behind the girls wearing various wacky outfits. The performers start dancing in a fashion evocative of disco themes.

Da-da-da, da-da - Natlu pãpedã Musicï!
Da-da-da, da-da - Tonight, Musicï dances!
Da-da-da, da-da - Movalden maica silutti!
Da-da-da, da-da - The skyline begs you!
Da-da-da, da-da - Caito_i tomoc aro nelli!
Da-da-da, da-da - Girls and boys alike await!
Da-da-da, da-da - Catopedmõ mazagro qui?
Da-da-da, da-da - Will you move your feet?

The male and female dancers, each comprising an equal proportion of the crowd, segregate themselves to each half of the stage. The men stop dancing for the first line of the second half- they resume dancing and the girls stop during the second line. The girls resume from the third line onwards.

Da-da-da, da-da - Arlazza tanna damato!
Da-da-da, da-da - The ladies dance like crazy!
Da-da-da, da-da - Arlazza tanna asalto!
Da-da-da, da-da - The gentlemen dance like crazy!
Da-da-da, da-da - Arlazza stogom pãpero!
Da-da-da, da-da - Dance like crazy everyone!
Da-da-da, da-da - Natlu Musicï pãpedã!
Da-da-da, da-da - Tonight, Musici dances!

The crowd continues dancing, but the lights of the stage cut off- two spotlights shine on the singers, and another two roam the stage, occasionally illuminating some of the dancers in the background One of them lingers forward- Clarissa grabs his hand and pulls him to the front of the stage, facing him as she sings the second stanza

Dãmella, ei zan, iosesõ clubba.
You love the allure of the club, I know.
Dãmella, cännaria nat, e zanza.
You love the pull of the night, it’s obvious.
Di vela mai beserta ei taccanõ, seriozza?!
And yet you deny the offer, are you serious?!

Clarissa spins him around and pushes him towards Liana, who catchs him and leads him around the stage by the hand as she sings the rest of the second stanza.

Commaro cëridutonõ maica.
Take me by the hand
Commaro - eito dorec tutanna.
Take it - and we will dance until the morning.
Eitoria ne tussoria, cá tannaro amaigezza!
We do not have forever, so dance unceasingly!

As the refrain begins, the stage returns to its refrain setup, now with the extra male dancer at the front with the two girls, all three dancing in unison.

Da-da-da, da-da - Natlu pãpedã Musicï!
Da-da-da, da-da - Tonight, Musicï dances!
Da-da-da, da-da - Movalden maica silutti!
Da-da-da, da-da - The skyline begs you!
Da-da-da, da-da - Caito_i tomoc aro nelli!
Da-da-da, da-da - Girls and boys alike await!
Da-da-da, da-da - Catopedmõ mazagro qui?
Da-da-da, da-da - Will you move your feet?
Da-da-da, da-da - Arlazza tanna damato!
Da-da-da, da-da - The ladies dance like crazy!
Da-da-da, da-da - Arlazza tanna asalto!
Da-da-da, da-da - The gentlemen dance like crazy!
Da-da-da, da-da - Arlazza stogom pãpero!
Da-da-da, da-da - Dance like crazy everyone!
Da-da-da, da-da - Natlu Musicï pãpedã!
Da-da-da, da-da - Tonight, Musici dances!

As the refrain repeats, the crowd moves to the front of the stage, just behind Liana and Clarissa, and the two girls interact and dance with various dancers as they sing the remainder of the song.

Da-da-da, da-da - Natlu pãpedã Musicï!
Da-da-da, da-da - Tonight, Musicï dances!
Da-da-da, da-da - Movalden maica silutti!
Da-da-da, da-da - The skyline begs you!
Da-da-da, da-da - Caito_i tomoc aro nelli!
Da-da-da, da-da - Girls and boys alike await!
Da-da-da, da-da - Catopedmõ mazagro qui?
Da-da-da, da-da - Will you move your feet?
Da-da-da, da-da - Arlazza tanna damato!
Da-da-da, da-da - The ladies dance like crazy!
Da-da-da, da-da - Arlazza tanna asalto!
Da-da-da, da-da - The gentlemen dance like crazy!
Da-da-da, da-da - Arlazza stogom pãpero!
Da-da-da, da-da - Dance like crazy everyone!
Da-da-da, da-da - Natlu Musicï pãpedã!
Da-da-da, da-da - Tonight, Musici dances!

The dancers and singers freeze in their final pose, their legs planted firmly in the ground with a pointer finger raised in the air. As the track ends, the dancers bow and the singers wave and blow kisses to the audience. "Thank you, Mousiki!" the girls yell.

by **Izmedu** » Sun Mar 12, 2017 11:17 pm

Tune: Zayde Wolf ft. Ruelle - Walk Through The Fire

“There is no such thing as a lowest point, nor is there such a thing as an end to misery. I know all too well what it feels to be choked by yourself, and to feel isolated... You have to fight to break free, all the time. It's a never-ending process.” - Gabrijel Celina

“No matter the sorrow, no matter how much pain I go through... I'll always remember one thing, hope. It is what gives me purpose in my daily life, what gives me a reason to live.” - Anita Valcic

Gabrijel and Anita held hands at the advent of the Izmeduan entry, sharing a quiet moment with each other despite the chaos of the Majcena Foruma causing the delegation to enter in a state of perpetual panic. Anita herself began to suffer from a bit of a stage fright, almost postively gasping in a slight panic as it came time for the host nation to perform. With a hug from Gabrijel, who himself was on the verge of a panic himself, the duo managed to calm themselves down. It wasn't the fact that the country were the reigning champions again that caused Gabrijel and Anita to panic before their performance. There was always that as stake as the Izmeduan entry, but what was at stake even larger than the performance was who they were dedicating this song towards... As Gabrijel and Anita began to walk, the head of delegation, Pavao Sintic, stopped them, and this is what he had to say.

“No matter what happens tonight, I'm proud of you, we're proud of you. This is not about winning for us, you both know why we chose you, and why you're here...”

The story of how the duo came to be stakes its beginning on a chance meeting only just a year ago. Prior to their consideration of even a World Hit Festival entry or being a duo, Gabrijel and Anita were two amateur singers trying to catch their break in some form. Starting off with Gabrijel, he was a 24 year old hailing from Kaspari who had only recently brushed ways with the Izmeduan industry in the age of 21. He started off as a background act for singers such as Benjamin Stimac and Samir Galovic, providing reliable vocals. However, the chance for Gabrijel to be able to pursue his own music career always eluded him. His sound, which was more rooted in a more dramatic, cinema-like spectacle seen in soundtrack songs was not profitable in the age where catchy pop from male singers was the 'in' sound.

His partner, Anita Valcic was a little bit luckier in this regard. She was a 26 year old singer who had been at the industry since she was 17 years old, dabbling in the same genre waters as her partner. Anita, through her 9 year career, had been a key voice in theme songs for a few Izmeduan genre shows, as well as providing emotional and dramatic vocals to key songs for those same shows as well. However, like her partner, Anita was at the fringes of piercing the elusive Izmeduan music industry. Anita's songs, while well-regarded, never quite caught the imagination of the larger industry at hand... Her stagnant career was also not short of harrowing dramas. At the age of 24, Anita lost a close friend to suicide, staying with that friend on the phone up to that friend's last breath. Anita remembers that moment with a phone call late at night, with her hanging out with acquaintances as she heard the pleading voice of her friend... She excused herself and had stayed on the line for as long as she could, until the line had cut out...

That experience caused Anita to put herself in a permanent hiatus, but it wouldn't last long per the chances of fate that would start her on the process of going into the World Hit Festival, and consequently, meeting Gabrijel. The mutual connection between both singers started off with one entry from the 30th World Hit Festival that inspired both singers at different times and for different reasons... For Anita, as she watched the performance live for the first time, what she saw in Jeremy Granger had reminded her of her friend. She felt that the Ethanian singer had given words, a voice, to a fallen friend that no longer had the chance to experience the rest of their life. She saw the cry for help she should've been more aware of, she realized just how caught up she was in her own life... Anita, despite her small presence in the Izmeduan industry, wanted nothing more than to contact Jeremy in the wake of her heightened emotional reaction. For Gabrijel, he related to Jeremy in a way that he felt with no other singer. The song had put into words his own mental agonies in pursuing a non-existent music career, it put into perspective just how isolating it was to remain on the fringes of almost making it... While he discovered the song after the festivities left Vodiznad, he became entranced with the Ethanian entry, swearing to meet Jeremy Granger in person and thanking him for sharing his emotions.

It was through that entry that both singers met in a recording session that was organized by, in a further confluence of fate, Izmedu's closest analogue to Jeremy Granger and World Hit Festival 26 runner-up,Zoran Saldo. Gabrijel was scheduled to record a backing track for an introspective ballad that Zoran wrote, while Anita was simply around the studio hanging about. As Zoran was on break, Gabrijel and Anita met with each other and first began to discuss Zoran's music, then Jeremy's. With the two alone, they began to discuss “This Lonely Place,” and found that instant mutual connection.

Over the following months, they began to meet regularly and shared with each other their personal stories. Before they knew it, they saw in each other a mutual pain and sympathy that spurred on the creative process. A song, partly inspired by Anita's helplessness at her friend's death and Gabrijel's isolation in the music industry, began to come into fruition. They saw in each other a potential that higher-ups in the music industry never found any value in. Anita found Gabrijel's cinematic-style of production fitting for the song they were envisioning, while Gabrijel was entranced with Anita's voice and could not be anymore perfect for what they had envisioned together.

The timing of Darkest Hour's creation had coincided beautifully with the opening of World Hit Festival 31 submissions. The duo had initially thought that their names were far too small to even be considered, and that it was a fantasy to have competed in the same contest as their primary inspiration and to even consider being the Izmeduan entrants. It was only through a last minute strike of fate, with Anita being the one to push the project forward to RTI, and here they were now...

Two friends stood backstage in the Majcena Foruma, mere seconds before their entry was due to start. Gabrijel and Anita gave each one long hug.

“No matter what happens...” they both said to each other, somewhat in unison but the pressure made it slightly mistimed. Regardless, the gesture caused them both to smile.

This is for you, Michael... Anita thought, brave enough now to mention the name of her lost friend in her thoughts.

Jeremy, I hope you're hearing what we have to say, was Gabrijel's final thought.

LEGEND
Gabrijel
Anita
Both

The crowd in the Majcena Foruma roared at the advent of the Izmeduan entry. For the third edition running, the crowd had cheered for their home nation, causing the broadcast yet again to feedback slightly as the lights billowed down to the center of the stage, causing a flash that revealed the outlines of the orchestra (which would be playing the instrumentation live) and consequently, where Gabrijel and Anita were for only a half a second. The stage was then coated in pure darkness as the crowd cheer quieted...

I saw you on the verge
Staring directly at death
Barely holding onto life
Here I stood, helpless, silenced
So close to life's end...
Your eyes fading out...
You stood on the precipice
Of an unknown, empty fate

For the first verse, Gabrijel's voice could be heard resonating through the Majcena Foruma a ca pella for the first line, timed to the sounds of air floating through the arena and the camera fading to a shot of Gabrijel holding the microphone at an unclear part of the stage with a faint spotlight shone on him revealing to be wearing this outfit. A dramatic piano chord after the first line befitting the solemn, nigh-apocalyptic tone to the proceedings. The camera itself had taken on a gray-green gradient hue, making the lights resonate as wisps of cloying rays that lingered around the Majcena Foruma, creating a 'mist' like effect. Gabrijel had his eyes closed as he performed a majority of the first verse alone, opening them to reveal a brokenness that the camera slightly zoomed in on. At the second to last line, Anita's voice could be heard melding with Gabrijel's, as the camera slowly faded to a shot of Anita coming from the right side of the stage wearing this outfit and a faint spotlight shining on her, looking at Gabrijel. This caused the camera to fade to a wider shot of the stage, with both of them walking towards each other; two lost souls trying to find one another...

I know in this one moment
You want nothing more than escape
From this burgeoning darkness
From the pain of loneliness

At the initial part of the hook, Gabrijel allowed Anita to take the lead harmony as Gabrijel provided the melody. Both of them, by the hook's start, had reached each other and began to link one arm together as they sang these lyrics directly to each other. A backlight began to shine in the development of a building instrumentation, causing the tiered screens to radiate black and white timed to the heavy piano chards. At the fourth line, the camera faded to a singular view of their hands, interlocked and woven with each other.

I know in your plight of sorrow
You feel confined within yourself
With mercy being the end
I can only say to you...

The camera switched to both singer's faces, making a slight revolution around the duo as they continued to sing the hook to each other directly. Midway through the hook, they separated hands, with Anita reaching out a free hand to Gabrijel as he began to recede, a sudden sadness hitting him represented with an uncertain look towards Anita that caused him to isolate himself from his partner. This was accentuated with the final line of the hook, with every light on the stage going dark except for the lone spotlight on Gabrijel... The camera cut to a view of Gabrijel's face as he brokenly sang the one line solo, opening his eyes at the very last word and looking straight to the camera.

In our darkest hours
Know it's not too late
It's never too late
In our darkest hours
Know it's not too late
It's never too late

The lights in the Majcena Foruma flashed a blinding white tuned to the sudden 'bang' of the chrous for a single moment as the camera cut to a brief and wide view of the stage, before closing in on Anita trying to reach out for the broken Gabrijel. In this refrain, Anita's voice resonated strongly, exuding her cry for help as she sang these lines to Gabrijel, even though both were singing them at the same time. Gabrijel remained turned away, regardless of how much Anita tried to call for him during the song. The screens of the stage displayed their facial expressions in brief flickers as the backlight shined a haunting white, causing the mist-like effect to further develop into a choking fog that trapped both singers onto the stage. That effect gave enough light to reveal where both singers had stood all this time, which was the central platform and highest elevated area of the Majcena Foruma's stage. At the end of chorus, Gabrijel could be seen walking further left away from Anita, kneeling down in agony as the spotlight on him darkened. At the last line, the camera caught a shot of Anita's hand holding out for him, before retracting it at the end...

Under these dark shadows
I saw your life flash
Vanishing before my eyes
You lay there so still, lifeless
But I'll fight for you (I'll fight for you)
And I will not rest (I remain here)
Knowing that I can't save you
But hope is still alive...

The instrumentation was stronger for the second verse as a permanent white light remained on stage, illuminating the relative darkness of the environment. The camera focused on primarily Anita, with her being the lead vocal for this verse with Gabrijel providing faint melodical support. Anita sang these lines to Gabrijel, similarly to the chorus for much of the first half of it. At the latter half of the chorus, the camera switch to views between Anita and Gabrijel at their brief call-and-response, with Gabrijel's eyes closed and his hands locking the microphone as if in prayer, with his body looking almost completely still. At the last two lines, Anita herself turned away, looking up to the spotlight shining on her as the camera panned to a wide view of the stage at the last line, with the verse ending an imposed close up of Gabrijel and Anita, side to side, on the broadcast image.

I know in this one moment
You want nothing more than escape
From this burgeoning darkness
From the pain of loneliness
I know in your plight of sorrow
You feel confined within yourself
With mercy being the end
I can only say to you...

For the second iteration of the hook, the orchestra played with a greater intensity from earlier, with the multitude of strings being audible and ramping up to the next chorus. Anita tried one last time during this chorus to reach out to Gabrijel, who kept still in his same spot, still emotionally and physically derelict and keeping his vocals squarely in the background. Anita, despite being the most resonant vocal in this hook, herself was beginning to recede into her own pain like Gabrijel did. At the last few lines, both seemed to be on opposite ends of each other, with Gabrijel sitting down and Anita looking up into the light. Throughout the hook, the camera had faded to shots that interspersed both singers equally, catching them at pivotal emotional moments as they sang the lyrics in unison. At the last line, every light except the spotlights on Gabrijel and Anita faded, with them singing 'I can only say to you' in a ca pella.

In our darkest hours
Know it's not too late
It's never too late
In our darkest hours
Know it's not too late
It's never too late to break free

An even greater light shined on stage at the advent of the second refrain, revealing the shadows of the orchestra in greater detail that, up to this point and towards the end of the song, were providing the instrumentation. The music had gained a greater resonance with every player intensely playing their instruments, and Gabrijel and Anita met that intensity with their vocals even stronger than before. Anita, like last time, led the chrous' harmonies as she remained facing away from Gabrijel, singing these lines as a mantra as she began to go down to the floor, on her knees. Gabrijel himself rose up from the floor, seeing Anita and becoming alarmed. He began to walk towards her as both were respectively belting out the chorus, and at this point it was the second 'in our darkest hours.' Gabrijel had almost limped to the stage, and a brief holographic effect of a visible shadow appeared at the end of the chorus, causing Gabrijel to stop in his tracks as Anita sat alone, looking forlorn.

The instrumentation softened, but remained at an urgent sounding key as the camera focused on Gabrijel's struggles, with him frozen in place as he began to slowly get on his knees at the nigh-apocalyptic instrumentation. By this point, the mist-like effect had largely disappeared, being replaced by direct lights on Gabrijel and Anita. At the end of this brief interlude, Gabrijel reached out for one hand...

I know uncertainty remains
I know this crossing

As Gabrijel sang these lines, belting them out strongly despite the orchestra beginning to overpower him in volume, he kept reaching out for Anita. However, his partner was far too lost in her sadness, the spotlight dimming and flickering into a brief darkness causing her to almost disappear. This caused Gabrijel to almost 'panic' on stage, with Anita's light coinciding with the instrumentation growing into its climactic peak. One could hear the orchestra hitting its true stride, but this was not the end of the bridge...

Oh, you must persevere
You have to fight on

Gabrijel's vocals were at this peak at these last two lines, with him shouting 'you have to fight on' as his last breath, with him truly falling to his knees. The orchestra did not let up during this part, continuing to peak and climax, building to its highest point just after Gabrijel had stopped singing and the spotlight faded on him, causing total darkness for a few seconds until a sudden spotlight shone on Anita, with her having moved to the spot where Gabrijel used to be...

In our darkest hours
Know it's not too late
It's never too late

Anita was kneeling for this parting refrain, with the instrumentation soft; its only remnants being a lonely piano. She led the song to its conclusion, a lone tear streaming down her eyes as she looked on forlornly to where Gabrijel last stood. With one hand to her chest, Anita sang the last line with eyes closed, the camera closing up on her face and her looking away... After that last note, the Izmeduan entry ended, and the lights faded into total darkness...

Gabrijel and Anita were met with a large cheer from the home crowd. The lights began to turn back onto normal as the broadcast returned to color, and Gabrijel and Anita could be seen hugging each othe intensely in the midst of the crowd cheer. Holding onto each for one minute, and each singer turned around to the crowd to thank them.

“Thank you so much!” Anita shouted.

“We love you! Thank you!” Gabrijel said shortly after.

Both of them walked backstage, allowing stagehands to help prepare for the next act...

by **Izmedu** » Sun Mar 12, 2017 11:22 pm

Tune: Loreen - Statements

The piercing and chilling opening of the song echoed around the stage as Kwadai's virgin WHF performance began. The stage was shrouded in an every smoky fog with the producers having opted not to have an orchestra and use the area as more space. As the smoke cleared it was clear that the images on the stage were of a smouldering city with buildings crumbling and emitting thick grey smoke. Aïsha lay in her back on the ash grey floor, but as the she sang, she pulled herself up to a sitting position with her knees pulled tight to her chest. She wore a loose black gown that seemed very fitting of the presentation. When the pace stepped up with beating or drums she bounced up holding her arms outward making her into a new cross-like position, then pointing out to the crowds of flags below.

Darling, darling don't you cry for me
Close your eyes and fly far from here
we're nearing the beginning of the end
Nothing we do will save us from ourselves

you must find a way out
you must find a way out
you must find a way out

Suddenly the melody became sharper and the ash grey floor was suddenly burning with throbbing blood red and orange cracks. As Aïsha sang the floor crumbled away to reveal a pit of what looked like the interior of a volcano. Smoke affects returned with thick black coloured plumes creeping around her bare feet. As she said the words escape, she ran quickly over a stone bridge that had appeared through the flames.

See them fall and illuminate the night
Bound by no law
Can you hear the empty words?
You must find your
You must find your

Escape
Escape

Now at the other side of the stage for the second verse, it had reverted to the smouldering city, but this time with a difference. The buildings had fast bolts of golden light darting over them and melting into the floor, sending shaking ripples of light through the gold before causing explosions of flame at the edges. To anyone not paying attention, these could have just been simple effects. They were however, far more significant than that.

Lights are falling, feel them closing in
Can't keep the pace, but run and hope to feel
They think they know, but we say otherwise
It's time to escape for our new paradise

you must find a way out
you must find a way out
you must find a way out

Aïsha was joined on stage by four dancers who cowered behind and around her as the explosions lit up the entire stage bathing it in molten red and orange light. The rubble and buildings on screen burned as they darted around the stage to "safe spots" of grey in a scene of evident danger.

See them fall and illuminate the night
Bound by no law
Can you hear the empty words?
You must find your
You must find your

Escape
Escape

As the final part of the song came into play, Aïsha crept up from a crouching position to standing upright at the font of the stage facing the audience. The ruined city broke to pieces behind her and the dancers, but they, bruised and torn stood up in a triangle formation on either side of Aïsha, appearing defiant and now brandishing tall staffs.

See them fall and illuminate the night
Bound by no law
Can you hear the empty words?
You must find your
You must find your

Escape
Escape
Escape (You must find your)
You must find your
Escape (You must find your)
Escape

Now over, the performers remained in formation as Aïsha touched her heart and then reached out to the crowd, uttering thank you's in Arabic, English and Izmeduan.

by **Izmedu** » Sun Mar 12, 2017 11:24 pm

"Remember me", performed in Kalosian to the tune of I'm In Love With You — The Ludvig
Kalosian pronunciation guide

Rafael Tunisi only celebrated his 18th birthday in December last year. But despite the high school senior's lack of experience in the music industry, he has big ambitions. He wrote this song himself and submitted it to RTVK to be considered for the the national final for the World Hit Festival. He found it a miracle that it was accepted, as this made him one of the youngest ever competitors in FMK, both as singer and songwriter (but especially the latter). But little did anyone know that he was soon to become Kalosia's youngest WHF entrant. He went on stage and performed at the 25th Festival di Melodi Kalosiana, and at the end of the night his entry was announced as the winner, earning him the right to represent the country at the international stage in Mousiki. To get that far with little prior experience, no record deals signed, nada? He must be really talented. Or maybe peopled just liked his song. Or both.

Wait, if he's a newcomer, then what has he been doing all along? Well, in his free time, Rafael likes to take mirror selfies, hang out with his friends, workout at the gym, and seek out his personal fashion style, like most teens his age do.
But it's not to say he has no experience whatsoever in music. As well as the things listed above, he also likes to attend concerts, perform in a band with his friends, and sometimes hire a studio to record songs with said band. He plays the piano too.
So it was no surprise that his talent would bring him places, though perhaps not that far and not that fast. But regardless, he went on to perform his self-written song at an international song contest, something that most people his age haven't done, and perhaps more than some can ever achieve in a lifetime.

The song, Rikordal me, was inspired by his real life. Specifically, Rafael is due to graduate next month and he wrote that to emotionally prepare himself for the aftermath. The song appears to be addressed to a person — perhaps a high school lover who will move away to pursue higher education. The lyrics can be interpreted more generally to be about a breakup, both spontaneous or planned, but particularly one that is foreseen.
Synths dominate the song, and so it is difficult to adapt it to an orchestra while keeping the original sound. As the Kalosian delegation tends to be a strong proponent of the orchestra (having won both WV and the WHF with orchestrally-instrumentated songs), it was with a heavy heart that they decided not to make full use of the live musicians provided by RTI. But to avoid troubling them by asking for the stage to be evacuated during the performance, the orchestra will remain intact on stage during the entry although only the pianist will be playing live (and even then it is only during the bridge), while the rest of the sound is provided through a backing track. Thus, some sheet music specifically for the pianist was sent along with the delegation, instead of a conductor.

After weeks of preparation, here Rafael was in the Majcena Foruma in Izmedu. He was wearing a rather stylish outfit (pictured here at the dress rehearsal) that was mostly all-black (this picture, taken with presumably a fan or member of delegation, has a more detailed view of his outfit). It was now time to go up there and impress the world.
The stage was mostly dark, but a spotlight shone on Rafael and the stage floor was glowing red. He sat in front of a piano on the left side of the stage, which he started to play as the song began.

I ežat un buna anno
Ma puvo vedre lë fin
Želesit ten kamin
Ma në sti komë lë men

Alorëm, sa laši
Rikordinëz me?
Si, rikordal me

Alorëm, sa laši
Rikordinëz me?
Si, rikordal me

Rafael gets up and moves toward the front of the stage, then moves along to the beat (see tune video for reference). The stage floor stops glowing, and in the background screen vertical glowing red lines appear. Some red lasers also shoot from the corners of the centre stage, creating an exquisite light show that seem to fit in well with the song.

Gretsi per memori
Per ten fortuna
Si, ežom ǧiuna
Ma tu sej men kara

Alorëm, sa laši
Rikordinëz me?
Si, rikordal me

Alorëm, sa laši
Rikordinëz me?
Si, rikordal me

Rafael approaches an empty mic stand that had been hiding in the shadows (i.e. it wasn't visible because of the lighting) at the right side of the stage and stuck his mic there. The background screen, stage lights, and lasers dim, while the stage glows red again.

Venurin lë ǧor per dirë adiu
Kadë sej allit, ja te mankon

Alorëm, sa laši
Rikordinëz me?
Si, rikordal me

Rafael takes off the mic and moves back to the center stage, and all the background graphics, lights, and lasers, come back on again.

Alorëm, sa laši
Rikordinëz me?
Si, rikordal me

Alorëm, dirël me
Kë rikordin me

The song ends, the crowd cheers, and Rafael says "Thank you Mousiki! Love you all, bless you!", airkisses the audience, and then leaves the stage for the next act.

by **Izmedu** » Sun Mar 12, 2017 11:26 pm

Tune: Dua Lipa - Last Dance

The crowd begin to cheer for their home girl featuring on Cosneolta's track, it may not be Izmedu, but the song is part Izemeduan and that's good enough for them. Eva is wearing a flowing flowery dress and is standing at the front of the stage on her own while Convikt is enjoying a beer in the green room somewhere. She sings the song

Waiting for your moment, yeah, you're standing in the open
Looking into the abyss of my eyes
Everyone's just waiting for your one big revelation
To reveal your personal gift in disguise

She's still singing

When love's the only thing I own
And I'm standing here all alone
I want my wounds to heal, heal into the day
Can't wait for you to come home

Sing sing sing

Just forget the past
Make mistakes your last
The power's in your hands
'cause you've got one chance
Run the whole damn town
Tell them you're around
The power's in your hands
'cause you've got one chance

She dances a bit and then sings

'cause you've for one chance
'cause you've got one chance

She sings

Lighting up the darkness, wondering if they'll ever want us
Thinking 'bout the time I gave my body hell
Taking all the bounty, I wonder why they 'vestigating
Doing time for all the crimes I don't commit

She still singing? Should've said before!

When love's the only thing I own
And I'm standing here all alone
I want my wounds to heal, heal into the day
Can't wait for you to come home

Singing still

Just forget the past
Make mistakes your last
The power's in your hands
'cause you've got one chance
Run the whole damn town
Tell them you're around
The power's in your hands
'cause you've got one chance

God, how many RPs do I have to write for this song?

'cause you've for one chance
'cause you've got one chance
'cause you've for one chance
'cause you've got one chance

Its coming to a end soon, give points plz

Falling down to get so high
Dreams one day to touch the sky
Salvation
My tempation
Falling down to get so high
Dreams one day to touch the sky
Salvation
My temptation!

A couple more lines till it's over, she still singing believe it or not.

'cause you've for one chance
'cause you've got one chance
'cause you've for one chance

"Hvala, Izmedu." Eva blows kisses to the crowd as they give a rapturous applause for the girl from Izmedu. She rushes off stage so I can post this in time for the deadline.

by **Izmedu** » Sun Mar 12, 2017 11:29 pm

Tune: Elaine Martins - Santificação

The performance starts off with a dark stage with the performers standing in the centre of the stage, surrounded on both sides by the orchestra who are situated in the pits below them, only spotlights behind them illuminate to show their silhouettes but not yet showing their faces. Leanne is wearing a colourful top, black leggings and a pair of white stilettos. She is standing in front of a large choir who are tiered in three rows on an extra stand at the black of the stage. They are all wearing their black religious gowns with the conductor with his back to the audience with the same gown but with a white vicar's dog collar. The LED screen behind them displays a starry night with streaks of rain flying past the screen. The intro begins and flashes of lightning lights up the stage when in time with the intense parts of the music before the music comes back into life, and at that point the stage lights up in a baby blue before Leanna lifts the microphone up to her mouth to sing the opening of the song.

(Can you hear my call?)
Can you hear my call?
(Can you hear my call?)
Can you hear my call?!

Leanne planted her feet firmly on the ground to sing the first verse of the song. She looked into the central camera and sung with passion and power as she forces out the big notes from within her. The thunder begins to light up the screen behind her, the strobing also gives the impression that the thunder is effecting the arena aswell. The camera moves to the drummers and guitarists in the orchestras who are frantically banging their drums and rocking on their guitars in time with the music. The choir are swinging their arms and clicking their fingers in time with the music. The camera zooms out before moving onto the next verse.

At the start of my life, I was like everyone else
Slowly working on my own space
But then, I took all control
The only way is up

The LED floor which used to display a concrete floor then cracks and falls apart save for one piece that Leanne is standing on while the other parts fall away and is replaced by shooting stars flying past where she is standing (which gives the impression that she is flying forward towards something), which the camera gets a full glimpse of. The wind machine is turned on and blows the clothing of Leanne and the rest of the choir behind her. The thunder on the screen and the strobing on the stage begins to get more intense as the song gets more intense. Leanne give pained looks as she continues to sing notes of her song.

And then the ground tremored at my feet
You could hear a million miles away from here
The greatest prophecy that you've ever known
Will I come down again? Baby, no one knows

Both the choir and Leanne both begin to sway and click their fingers in sync with the music as the camera flies forward from an elevated position towards the stage. Leanne points to the sky before looking back into the sky and singing her meaningful words towards into the camera and at the people at home. The orchestra continues to play their instruments, which the camera catches a few glimpses of before switching back to the central camera in the arena.

Soaring through the clouds, through the thunder, and the lightning
Soaring at the speed, the speed even light can't do
I'm free from all worries. Baby, that's for certain
You can try but there's no way that I will stop

The sun rises on the LED screen which replaces the starry night with a cloudy day with clouds flying past intermittently, the LED floor that the performers are standing on also changes to a cloudy day which matches the screen and the floor together. Leanne continues to sing as the song continues to build up. Just before the chorus, the lights flash in time with the chimes of the song before entering the chourus

And even when the ground seems so far
Even when my body seems to reach the highest star
You cannot deny that like the birds in the sky
They fly free. Igniting a fire that no one can comprehend

Even when my body flies up to the highest high
Even when I see the whole wide world from my two eyes
I stay grounded as we're all one from the same creed
I don't think there's anything in the world that can stop me.

The choir continues to sway but both the choir and Leanne spread their arms out wide for the chorus, signifying themselves fly through the air (matching the title of the song). The lights on the stage light up and wander rather aimlessly around the arena, emitting from the stage and lighting up the audience. The wind machine gets turned up a notch which blows the hair of Leanne more than before. She has a determined look on her face and offers her hand to the camera as the chorus progresses.

Soaring through the sky
Seeing the whole world from here
Can you here my call?
Calling from the clouds above

Soaring through the sky
Can you see me down there?
We're going up, don't look down
We're flying through the air

After the chorus has finished, Leanne walks forward to the very edge of the stage and speaks to the crowd directly (and the viewers at home in the process) before reverting back to the song she is singing. The lights subside so only the light from the LED screen and the spotlight above her are illuminating the stage and the artists on it. She looks to the sky a couple more times before reverting back to the cameras in the arena. The people at home can see the entire arena from the back as the camera moves along the back of the arena, showing the waving flags and the stage in a wide shot.

I say to call of you. Can you here my call?
And maybe we can make this world better for all!

We will always try our best
No matter how hard it gets
Fight to provide for your needs, and they will hear you call

She does the same thing again, but this time the camera is split between the central camera and a close up of her face faded in as she sings the song. As she sings the final verse before another chorus, the lights begin to flash once again as the song build up to a crescendo. For the final line, the strobe lights flicker on and off before the song bursts into life for the chorus

Just fight for what you need, and injustice will be rid
You'll find your elevation, that drives too many insane

You can fight to be the greatest, have the whole world in your palm.
Will you work to get it? The conundrum of our time.

When you call, we will be listening.
Just remember you're not alone!
This feeling's so real
For we will rise!!

The wind machine is turned on full blast as the song bursts into life, blowing the hair and the clothes and anything that isn't tied down to the stage. The LED screen behind everyone shows clouds flying towards and then past the camera, which corresponds to the floor pattern aswell. The camera flies forward to the front of the stage where Leanne and the choir are waiting. The orchestra, the people on guitar and drums are all rocking out more than ever. Leanne sings with passion as she belts out the notes while trying to keep her balance while the wind machine is trying to blow her over.

Soaring through the sky
Seeing the whole world from here
Can you here my call?
Calling from the clouds above

Soaring through the sky
Can you see me down there?
We're going up, don't look down!
We're flying through the air!

The camera now focuses on the choir who have their moment to shine, with Leanne supporting them as they all sing their part of the song before they combine for the final part of the song. Various parts of the stage light up with each chime of the song before the whole stage is lit up as the last chime sounds before the lights circle the stage once again. Leanne plants her feet on the ground once again as she sings the signature line of her song.

Baby (Soaring through the sky
seeing the whole world from here) from up here
Can you here my call?
Calling from the clouds above

Soaring through the sky
Can you see me down there?
We're going up, don't look down!
We're flying through the air!

The choir then takes over once again as the hold their arms out high and wide as they continue to sway to the rhythm of the song. Leanne sings the final line of the song before the orchestra plays the final notes of the song independently. As they play, the stage goes dark and the strobe light flash brighter then ever to finish the song with a flurry of light and sound and the cheers of the audience.

(Can you hear my call?)
(Can you hear my call?)
Can you hear my call? Oh!

"Hvala, Izmedu. We can be the greatest!" Leanne waves to the crowd and walks of stage with the choir who are quickly filing off stage to make way for the next performer. There is a shot of Mercedinian flags fliying high as the transition is made for the postcard of the next artist.

by **Izmedu** » Sun Mar 12, 2017 11:34 pm

Tune: The Living Tombestone - We Are Number One Remix)

Circule Parrot are a 'serious musical group' from Kirkany, Monaeroglisseurest Pleindanguilles, who have had a long career in totally serious songs that aren't at all atrocious, rubbish or sometimes downright bizarre. They totally didn't disrupt the Normand Music Awards in order to promote their new album, 'CORN ALBATROSS KEYRINGS, EXCITING!' which was rated 1/10 by Muse, the Normand music magazine. Circule totally didn't somehow enter a submission to MonaeroTV to compete at WHF which the head of MonaeroTV didn't read and simply signed through, before sending it to NNN who didn't read it and signed it off, before realising they'd given over half their WHF budget to a bunch of buffoons. None of this happened. At all. Don't believe the naysayers, Circule Parrot will win this contest. Tey have the best song, and if you don't agree you're part of the evil elite who want to keep us all enchained. DON'T BELIEVE THEM...

As the opening instrumental plays, the arena bursts onto life, with vivid oranges and purples (too vivid for some) filling the led floor and screens in a sort of striped pattern. Three backing singers, all dressed conventionally as you'd expect backing singers to be dressed are standing at the back, and clap in time to the music. As soon as the first hey is shouted there is a burst of purple pyrotechinics and a band of men, looking as if they have just escaped from a mental asylum and formed a marching band, run onto the stage; the three backing singers run of stage in a very camp manner, but not before one the singers grabs hold of one of them and gives him a very over-the-top kiss, before winking at the cameras, which can't seem to decide where to look.

Hey!
Please don't stop us now
Hey
Please don't stop us now

The camera zooms in rapidly to show the lead singer, Zurgle, staring rather soberly - especially compared to his surroundings - at the camera, as lights flash on and off. He points his finger, and begins walling to the left side of the stage in a particularly evil looking fashion. The rest of the band have 'set up' behind him, looking as if they'd just emptied an attic.

Gather 'round children

Zurgle walks up to two women, identified later on as the two female backing singers from the beginning, much to their shock and horror, as they commit some act or another which i can't be bothered detailing; you can probably fill in the gaps. He taps one of the on the shoulder and they both stare at him blankly before running off, to which he shrugs; it might have been because he was holding what appears to be a gun.

When you're trying to party what do you do,
When something turns and tries to stop you?
You obviously take your shotgun out
And pump their head full of delicious lead

He runs to the centre of the stage, and poses in a position somewhere in between 'loveable children's character' and 'I want to punch him' on the scale of poses. The camera whizzes around hom, and as the chorus begins he fires his gun, from which erupts the typical sort of party guff.

Just grab your gun
And take a stand
And prepare to shout
(If you know what I mean)

General buffoonery happens in the chorus, with Zurgle dancing around and almost confirming the idea he has escaped from a mental asylum and the lights and background going absolutely crazy; this really should have had a warning; I hope it did...

'Hey
Please don't stop us now
Please don't stop us now
Please don't stop us now
Please don't stop us now'

Oh oh yes

The group suddenly appear to 'pop' into place and look like a normal pop group other than their ridiculous costumes; Zurgle is wearing a Georgian-esque costume, wig and all, and the rest are dressed in bright hot pink suits with clown hair and noses (the typical garments of the group).

I find the best place to do the deed
Is a bedroom, or just behind the scenes
And go!
You're really not good at this aren't you?
Let's try again

Zurgle turns around and begins to chastise one of the members of the group in a thoroughly melodramatic manner; those who were beginning to wonder if normality had somewhat returned were given a resounding no for an answer. Then, one of the group walks to the side of the stage, picking up Zurgle's 'gun' and firing it; the bits of paper end up hitting Zurgle as he rubs towards the man with the gun, trying to stop him; obviously he failed.

Try not to get caught and if you do
The more the merrier, this shot's on you
Oh oh oh
How many people are you shooting?

As the chorus repeats over and over again the scenes get weirder and weirder. A group looking much like their own walks on stage and appears to begin performing in the background, and a pair of unicyclists walk on stage blowing at each other with trumpets and wearing some dashingly tall hats. All the while the actual groups look like lunatics, despite the general chaos surrounding them. They are joined by a man in an ordinary suit who begins walking across the stage before being rugby tackled and having his suit ripped off to reveal a shirt reading 'CIRCULE NEVER STOP' and he runs off in shame. The song ends with an overwhelming flash of lights and pyro leaving most of the audience temporarily blind. Too late, I imagine...

Hey
Please don't stop us now
Please don't stop us now
Please don't stop us now

Please don't stop us now
Please don't stop us now
Please don't stop us now
Please don't stop us now

Please don't stop us now
Please don't stop us now
Please don't stop us now
OH YES!

There's nothing left to say.

by **Izmedu** » Sun Mar 12, 2017 11:42 pm

Tune: Yvee - Falling For You

A bunch of lights hang from the ceiling, flashing slowly as Catherine steps out of the fog in the back of the stage.

Love, what have you done?
I'm ready to run.
I wanna start now but I think that I'm done.

I may be crazy
Vision is hazy.
But I don't care now so let's just get lazy.

Are we having fun?
I think of the sun.
Philosophy or am I just very dumb?

Believe it or not.
I think you are hot.
Fantasies explode through space and tiiiiime.
Outta my miiiiiiind.
space and tiiiiime
Outta my miiiiiiind

Lights are bright and flashing as it's still just Catherine onstage, singing in front of a cloud of smoke that engulf most of the stage.

You call me crazy I just think that I am lovestruck.
Generic song maybe but I'm feeling undone
You call me crazy I just think that I am lovestruck.
I got you in my arms now I will take you and run.

And at the last line of the preceding chorus, a person walks out of the cloud and Catherine carries the person in her arms off into the cloud while 4 backup dancers dance in a synchronized by symmetrical routine. The stage is only backlit with theri silhouette visible.

(call me crazy)
(call me crazy)
(call me crazy)
(call me crazy)

The couple emerges from the shadowy cloud and dances together

and I am lovestruck...
You call me crazy I just think that I am lovestruck.
and I am lovestruck...
go through space
go through space
go through space

Then the lights seem to pause

go through space and tiiiiime
Outta my miiiiiiind
space and tiiiiime
Outta my miiiiiiind

You call me crazy I just think that I am lovestruck.
Generic song maybe but I'm feeling undone
You call me crazy I just think that I am lovestruck.
I got you in my arms now I will take you and run.

And then dancers dance around the couple in a circular symmetrical fashion.

You call me crazy I just think..
I think, I just think you're calling me crazy, I'm just lovestruck
Generic song maybe but, but but but
Generic song maybe but I'm feeling undone
(You call me crazy I just think..)
(I think, I just think you're calling me crazy, I'm just lovestruck)
(You call me crazy I just think..)
(I think, I just think you're calling me crazy, I'm just lovestruck)

And the song ends off on a launch of sparks with the stage lights going to normal and Catherine thanks everyone

by **Izmedu** » Sun Mar 12, 2017 11:46 pm

Tune: London Grammar - Metal & Dust

Kirsty stands centre-stage, both of her hands by her sides, the microphone tight in her left hand. The cameras are all focused on her as she is welcomed and the opening sequence before her song plays, showing the postcard for Ethane. As the music starts, the stage is illuminated in a light yellow glow, provided by the general ambient background lighting on the stage as well as the spotlights and specialist stage lighting. On the LED screens at the back of the stage, the screen is shown to flicker, but what is being shown at this stage is unclear as it is too fuzzy to make out clearly.

Just before she began singing, she lifted her right hand up close to her mouth, bringing the microphone close which she was holding in that hand. As she started singing, she appeared to take a step forward, moving slowly towards the front of the stage. The cameras initially were focused on a close-up of her face as she began singing, but quite quickly panned out to show the rest of the stage and then the audience.

The video which was playing on the LED screens became slightly clearer and more visible, with the video reflecting the lyrics of the verse during the verse. It started off on the first line showing a younger version of the artist playing around in the park. The second line switched to more definite places, showing this house and this school in a grainy, old-reel style fashion. The third line changed to this image followed by this image, but reflected in video format as part of a sequence of events resembling her memory. For the last line, the cameras switch back to a close-up shot of just the artist, who goes to kneel down and bows her head. The LED screen also shows what the cameras see, but in a grainy fashion to make it look like a memory.

Your life, is full, of mem-ories.
Home, to school, that mor-ning breeze,
That ye-llow beach, the ra-ging seas,
Face, in hands, down on your knees.

The yellow ambient glow remains, although it does intensify a little. She stands up again as she sings the chorus, reaching out her hand as the lyrics state, stretching out and trying to touch the past. In this instance, Kirsty is actually reaching out to the audience. The LED screen reflects on nostalgia and looking back to the past as something everyone does, showing a load of people, who were asked to send in a short clip of them reaching out while kneeling down in a memorable place for them, kneeling down and reaching out to the past. The video is still slightly grainy and brown-ish tinted in colour to reflect the theme of memory. The cameras are focused in on Kirsty to begin the chorus, but pan out to reveal the wider stage and LED screen after only a few seconds.

Reach out and touch the past,
Reach out and touch the past.

The lights dim slightly again, although the stage still retains a fairly bright ambient yellow glow, creating a reminiscent atmosphere. The singer is still standing, stepping forward towards the front of the stage but stopping about half a metre short of it for safety. The LED screens stop showing the various entries and returns back to the childhood memories of the singer, reflecting the personalised nature of the song - the video clips of people’s entry reflects the depersonalised nature of the concept of memory. The first line, in which it refers to a place the singer used to like to sit, shows this image in the grainy, brown-ish format of the video. The second line shows her kneeling down again through the cameras, which are filming her on the stage kneeling down at the front of the stage. The rest of the verse also retains the same image on stage and on screen, with bright flashing red lights at sudden intervals which appear and disappear very quickly, reflecting the memory flashing past.

That place, remember, where, you sat,
Now, head in, hands, you’re looking back,
Flashing, past you, your memories,
Face, in hands, down on your knees.

For the chorus, the singer stands up once again and reaches out with her left hand, presenting her as reaching out for her past. The LED screen also reverts back to the format of the previous chorus, with the screen showing clips of people who have sent in their memories and them reaching out to get them, along with some people just laughing, although there is naturally no sound with it.

Reach out and touch the past,
Stop and look, take a break from the fast
Pace of life, remember, have a laugh,
Reach out and touch the past,
Stop and look, take a break from the fast
Pace of life, remember, have a laugh,
Reach out and touch the past,
Stop and look, take a break from the fast
Pace of life, remember, have a laugh,
Reach out and touch the past,
Stop and look, take a break from the fast
Pace of life, remember, have a laugh,
touch the past,
touch the past,
touch the past.

As the verse ends and just the music is left, random childhood memories from the singer and the general Ethanian public are shown in a grainy fashion to present memory and the sense of nostalgia for the singer and the general public. The yellow lights slowly dim to the point where only the clips on the LED screen are played with the rest of the stage shrouded in darkness.

‘’Thank you everyone! That was amazing!!!’’

by **Izmedu** » Sun Mar 12, 2017 11:49 pm

Tune: Murat Kemaloğlu - Kaplumbağaların Uykusuna Dek

The Volkan Bozson Group consists of Volkan Bozson (vocals), Fernand Klein (guitar), and Herman Artin (drums). They were formed in 1999 when Volkan posted a note on a bulletin at the Faculty of Music at the University of Jefferton. Eventually, the current lineup was formed. They have played at their university and in modest bars and cafés for most of their career. Then, they the group released an album in 2009, titled Excerpts. Though they did have live recordings released before, this was their first studio album. Their second album followed in 2016, Tales from Our Home, which was their interpretation of Anollasian literature and art set to music. NATV admired the group's interpretation of Anollasian cultural works, as well as their modest status and decided to support them by picking them for the 31st World Hit Festival. They believed the group could present some Anollasian culture to the world and thought their artistic style would set them apart from the pop acts of the festival.

The Jefferton Symphony Orchestra (Turkish: Jefferton Senfoni Orkestrası, Anollasian: Ohe Jefferton Senphony Orkestra) was founded in 1878 and is the second oldest orchestra still around in Anollasia (after the National Orchestra of Anollasia, which was founded in 1844). They were chosen by NATV because The Volkan Bozson Group required orchestration and the JSO is among the best of the Anollasian orchestras. Its current conductor is Johann Friedman and in this performance, it consists of a string section, a brass section, a woodwind section, a piano, and a harpsichord.

The performance is as much of a theatrical/chorographical act as it is a musical act. The actors/actresses are Sarp Kutluman (as Alp), Gwen Hilford (as Sara), Mark Barlas (as Malus), Ferdi Okay (as goon), George Drummond (as goon), Alex Nikolic (as goon), Drew Sampson (as goon/guard), Hamit Kazançoğlu (as goon/guard), Timothy Varns (as goon/guard), and Mehmet Karasoy (as Aksakal). There are also dancers from the National Ballet of Anollasia, which is the oldest and largest ballet company in Anollasia, founded in 1906. The dancers featured include Emily Schwartz, Lily Hopkins, Juniper Varan, Hüseyin Kara, James Lanson, Yuri Boychev, Anita Romanova, and Gabrielle Villanova.

The animated segments were created by Animeister Productions, a small but fairly well-known studio which creates animated short films. The segments were produced by John Haske and animated by Gordon Schlitz, Laura Papandreou, Kerem Hansen, and Keli Mabelle among others.

The entry is based on the epic poem Alp and Sara written by Anollasian writer and poet Edgar Julius in 1711. The poem follows the love story of Alp, an Anollasian man of Turkish descent and Sara, an Anollasian girl of British descent. An evil being by the name of Malus is disgusted by their interethnic relationship and hires goons to separate them. Alp is sent to a dungeon, while Sara is locked up in a castle. Alp eventually escapes from the dungeon, thanks to a bearded old wizard. He rides a winged horse to the foot of the castle, which he must climb. He climbs and enters through the window of the tower. He sees Sara and they rejoice, before leaving the castle. However, Malus knows of their escape and proceeds to create an earthquake, splitting the ground beneath them. Alp and Sara are in despair as they are separated again. Malus also zaps Sara and curses her with a "hideous face". Alp kills Malus with his sword as Malus is preoccupied with enjoying their suffering and laughing maniacally. Alp and Sara reunite once again. The poem is significant because it addresses some issues of the day, which were interethnic marriage and ethnic diversity, as well as the universal themes of love, chivalry, and the spiritual. It is also unique in the fact that it is set in the Colony of Anollasia (mid/late 1600s to early 1700s) but features mythology and magic. The poem today is an important part of Anollasian literature and was Julius' last work as he died a month after writing it.

"The beauty of a woman must be seen from in her eyes, because that is the doorway to her heart, the place where love resides."

- Audrey Hepburn

The stage is pitch black except for the dimly lit lights at the back of the stage where the orchestra is. Dim lights shine on the left side of the stage, where the pianist and harpsichordist are gently playing a mystical sounding pattern. The conductor Johann Friedman waves his baton gently, signaling the strings to come in. Lights shine on the strings, who come in with light background music that sets the mood of the piece. Suddenly, as they play a loud, jarring note, smoke shoots up from the front of the stage, creating a quasi-curtain. The Volkan Bozson Group also appears to the right of the stage, as the rhythm guitar creeps in and the piano and harpsichord stop. Another curtain of smoke shoots up during the second loud note. Then, as the smoke slowly fades away and the string section gradually gets quieter, a stage set of rocky terrain comes from beneath the stage. On it are Alp and Sara as they sit with their backs facing the audience with her head on his shoulder, him stroking her hair, and both of them looking up at the screen which is a very slowly rotating night sky. Alp is dressed in this, while Sara is dressed in this. All members of the Volkan Bozson Group are sitting on stools, except for the drummer. Volkan and Fernand are at the front, while Herman is behind them. Volkan starts singing in Anollasian in a nonchalant manner, with the piano interjecting sweetly.

Kaplovered için aşoooove
Sarapped ilewith samimacy
Otitting altunder ohe yıltars
Gibike sütilk

The couple then lie down, looking into each other's eyes and caressing each other's hair. A corner of the screen shows a bird's eye view of them doing this.

Mekto takack vakime
Dis imkansiblllllllllle
Kayost, kayost
İçin hereach birther

The orchestra is illuminated dimly as they gently provide some background music. The corner of the screen then shows the flashback that Volkan is singing about. It shows Malus appearing after a puff of smoke with a sinister look. An animated Sara then mouths "aah imelp" (aah help) and has a look of terror on her face. Malus zaps a ring of fire around them and starts an earthquake. Malus is laughing evilly.

Onlheir haylife
Saraken
Oshe bağelled "aah imelp"
Newhen bian kötevil canasterrrrr
Adnamed Malus gözeared, aaaaaa

On the screen, an animated Alp holds animated Sara's hands and they look into each other's eyes with their foreheads touching. Malus is continuing the earthquake, fire, and is about to crush the couple. However, Alp and Sara become very shiny and create some sort of bubble around them. Malus is unable to crush them and appears to shout in pain. Volkan is less nonchalant now and sings some lines louder and with more passion.

Amut onlhey dwere dein
Onlheir mutpyyyyyy yerace
Onlheir aşove kortected onlheeeeem
Malus dwas yenquished

Malus disintegrates in agony. Animated Alp and Sara, no longer shiny, hug and kiss in order to celebrate the defeat of Malus.

Onlheir aşooooooooove
Bulound bia geleture
Ohe sonast zamiiiiiiiime
İlewith üzünguish

Malus disappears. The flashback is over and the screen cuts back to live action Alp and Sara lying on the ground, who are now smiling and kissing each other tenderly.

Malus dwas silased tenfrom ohe geleture aah
Yaor onlheyyy düşought

The strings with some brass in the background play descending notes, an omen of bad things to come. Goons come from left and right, tearing apart the couple. The ones from the left are dressed like this and the ones from the right are dressed like this. The woodwind section, specifically clarinets and oboes, play for a bit before the rest of the orchestra comes back in. The goons from the right drag Sara away, so Alp attempts to save her but the other goons pull him back. He punches a goon, who falls over, but then another goon knocks him out with a wooden club. The centre of the stage is then darkened. The orchestra is silenced and their light goes out as the group takes lead once again, with the rhythm guitar a bit faster and bouncier and the drums coming in. The orchestra is once again dimly lit, as woodwind and brass play in the background, with strings then coming back in. Light comes back to the centre of the stage, revealing that Alp is now in a dungeon. He is looking out the window with his arms holding onto the bars. He mouths the next 8 verses in sync with Volkan's vocals.

Seslence dolills ohe odooom
Bei bilknow Malus gönent siou
Kurtet benme özgee, nöbuards vand kundoonsssss
Amut bei delso istant mekto göree benmy aşooooove

Several ballet dancers, male and female, dressed as fairies (the male dancers wearing white tights with green by the tips and white tank tops and wings) come in. They spin around and catch each other in a synchronized manner, typical ballet routine. The screens are currently dark, emphasizing that it's night, however there are no stars, symbolizing despair.

Bei bilknow buthiiiiis dis Malus
Üzadness vand kızger malust denot tükume benme
Bei bilknow buthiiiiis dis Malus
Üzadness vand kızger malust denot tükume benme

Fernand plays a series of guitar chords which will repeat a few times throughout the song. The orchestra follows suit. During this short instrumental break, a puff of smoke shoots up from next to the dungeon, as Alp looks with surprise. A bearded old man appears from the smoke, supporting himself with a cane. He mouths the words "Benmy adname dis Aksakal" (My name is Aksakal**) and Alp responds by mouthing "Amut newhat abcan seou yapdo içfor benme" (But what can you do for me). The dancers continue dancing on the left and right sides of the stage. The screen starts to slowly turn a mixture of orange, yellow, and pink - sunrise.

Sonthen bia sakearded yaşold adman gözeared
"Benmy adname dis Aksakal" oe desaid
"Amut newhat abcan seou yapdo içfor benmeeeeee?"

The orchestra plays ascending notes, gradually slowing down then stopping. In response to Alp's question, Aksakal proceeds to lift his arms, and with it, his cane. He points his fingers at the dungeon, and wiggles them, prepared for some magic. Alp takes cover, afraid that this stranger could potentially kill him. At the moment the orchestra goes silent, a puff of smoke shoots out from under the dungeon, engulfing it. The dancers continue dancing but gradually slow down and completely stop during the smoke. Then, as Volkan starts singing again, it's revealed that the dungeon is now gone, meaning Alp is free. Alp, still taking cover and astonished by what just happened, quickly puts on a face of courage as he is now ready to save Sara. The screen is now light blue at the top, but the bottom still contains warm colours. The sun is also visible now, as it continues rising and symbolizes a new beginning.

Bei dwas özgeeee
Amut oit dwas zamime ato kurave benmy aşoooooove

Aksakal then tells (mouths) the following to Alp. A winged horse descends from above and lands next to Alp. Alp then rides on it and waves goodbye at Aksakal, who waves back.

"Seour kızirl dis deat ohe Faaaaaatum Kastle*,
Tutapped" desaid Aksakaaaaaal
Bia kaninged atorse gelcame
Vand bei binode ohe yareeeeeatuuuuure oso beyite

The horse starts flying - though more like running in the air, since it looks like it's running but its wings are also flapping - and before the majority of the stage goes dark, the dancers can be seen waving goodbye. After the stage goes dark, save for the orchestra and group, a spotlight shines on Alp and the horse. The screen is blue with the sun in the sky. It shows clouds at the top of the screen moving to the bottom, giving the sense that they are ascending above the clouds. There is also wind to make the scene more realistic (as if a winged horse is realistic...). Alps hair, although short, blows around in the air. So does his clothing.

Oit's zamime makto uçlyyyyyy
Bia yolage üstove ohe bulouds

Another instrumental break. On the screen, the clouds now go back to the top, implying that they are descending. The horse gradually descends and slows down, and lands on the stage, which is now rocky. The screen now has dark storm clouds whirling around and there is now a tall, dilapidated castle as a stage set, supposedly where Sara is being held. Alp gets off the horse, which then flies away, eventually becoming out of view.

Sonally bei olhad varrived
Deat ohe ayoot ıof ohe kastle
Oit dwas bia manight ıof dehror
Delso dolilled ilewith nefrate

Alp starts to climb the stage set castle. He has a look of determination on his face. The part of the castle wall facing the audience opens up, revealing the interior. Alp goes into a window and coincidentally, Sara happens to be right there. They look at each other with disbelief for a brief second, then run up to each other and hug each other. They look into each other's eyes for a short amount of time, then go downstairs to ground level. Some guards notice them and try to stop the couple, but Alp beats them up.

Vand işso bei tırimbed oit
Ohe uçends dwere bağnected
Vand işso bei tırimbed oit
Ohe uçends dwere bağnected

The orchestra plays a short passage as the two leave the castle door, look back, and then look into their eyes.

Ohe uçends dwere bağnected

Next, they hold hands and spin each other, gradually getting faster. Volkan's voice is soaked in reverb, giving it an echo. His voice and the orchestra create a dreamy atmosphere.

Oit dwas hepall içfor aşove
Oit dwas hepall içfor aşove
Oit dwas hepall içfor aşove

The instrumental break is repeated for one last time, gradually speeding up. Smoke shoots up from the stage, covering the screens. As the smoke dissipates, Malus appears on the screen, with a face of evil intentions. The dream is over. Most of the stage goes dark, as the following animated segment is shown. Malus is shown to zap spinning animated Alp and Sara's hands, causing them to let go and fly off into different directions. Malus maniacally laughs, which is actually a live voiceover from Volkan. Afterward, he creates an earthquake, splitting the ground beneath them, creating a massive ravine between the lovers. Malus then zaps Sara, cursing her with a "hideous face" as she lay unconscious on the hard, rocky ground. The orchestra's string section plays choppy triplets, creating tension. Then they play fluidly but faster, creating alarm as Malus is pleasuring the couple's pain. As Malus is too busy laughing and enjoying the moment, Alp grabs a sword, runs up to him, jumps, and jams it straight into the eyes, which is supposedly where Malus' spirit truly resides. As he does so, the musicians go silent and the screen goes black. Weeping can be heard.

After the short pause, it's back to the beginning as the group starts playing gently again, with Volkan's voice once again clear and soft and the piano interjecting sweetly. The stage is lit up again, revealing the rocky terrain from the beginning. Alp and Sara look up at the screen, which is the night sky full of stars, slowly rotating. Sara has her head on Alp's shoulder, as he caresses her hair.

Kaplovered için zoriculty
Ohe yolage dis denot bitver
Aiiie, buthis sahene dis oso yumuşoft
Sara vand Alp altunder ohe yıltars uzar uzay

The orchestra lights come back on as they gently sneak in with a gentle instrumental break. A meteor shower can be seen on the screen, at which Sara points her finger.

Onlheir haylife, şimow güvaaaafe
Kuraved denfrooom ohe güches üof kötevil
Denfrom othat günay üzonnnnnn
Yokno artgerrrr rahturbed

Volkan proceeds to sing a line that was actually originally the final line of the poem. Alp and Sara lay down, looking into each other's eyes and caressing each other's hair once again. This is shown from above on a portion of the screen, revealing that Sara still has the "hideous face" that Malus cursed upon her: warts, pimples, crooked nose, dry skin, chapped lips, bags under her eyes, unibrow and all.

Onlhey yapeated onlheir kendown kadaaaaate
Sevoving, olbeing sevoved dis hervone's hakight

Despite Sara's ugliness, Alp continues to caress her. This indicates that Alp's love for Sara is much beyond physical appearance, but instead, about her personality, her character, her soul. An ugly face can't stop their love because their love is deeper than that. They are spiritually bonded and their hearts beat together. No earthquakes, fire, curses, goons, dungeons, castles, or evil can stop that kind of love. Where's there's a will, there's a way.

Onlhey yapeated onlheir kendooown kadaaaaaate
Sevoving, olbeing sevoved dis hervone's hakight

Once again, the orchestra plays descending notes, indicating an omen of bad things to come. However, this time things are different. The rocky ground beneath them shakes, so they hold onto to each other with terror. The ground becomes misty and stops shaking. The Volkan Bozson Group is now shrouded in darkness as they are now silent, allowing the piano and harpsichordist to play a beautiful outro. Alp and Sara are now standing in astonishment as they watch the fairy ballet dancers gracefully dance and fly around them. On the screen is the beautiful night sky filled with stars. From the darker area of the stage emerges Aksakal, who looks upon the couple and has a warm, genuine smile on his face. The orchestra finishes off the song with a gentle outro, tying up the performance in one neat knot. The lights and screen slowly fade out. The ends are now connected.

Knowing that this long and winding performance has now come to an end, the audience cheers and applauds. The lights come back on, as everyone onstage bows. The Volkan Bozson Group, the orchestra, the conductor, the pianist, the harpsichordist, the actors and actresses, the dancers; they all bow. Even animated Alp and Sara, even Malus bow onscreen. Everyone acknowledges the audience's patience and appreciation, so they thank them for it with a simple bow. They say nothing, but the bow speaks more than words ever can.

by **Izmedu** » Sun Mar 12, 2017 11:55 pm

Tune: Kelly Clarkson - Because of You

Eva Lynn walks onto the stage wearing a stunning red dress. She smiles at the audience as a single white spotlight focuses attention onto her. In the darkness, a background band is set up on stage - two guitarists and a drummer. She is the only singer during the performance and her name is the only name accredited to the song and the performance.

She takes a quick glance around the audience in front of her as the music starts to play. She quickly enters into singing the words.

When I’m with you, I feel enamored with your love
I want to know if you
Also feel that emotion too
I want to hear the way you feel,
The way you feel
I know I love you
and the way you touch my face

As Eva Lynn enters into singing the chorus, she moves forward to the front-most center of the stage, facing the audience and singing outward with confidence. She smiles as two red spotlights join the white spotlight that is focusing on her.

When I’m with you
I know that I’m safe in your embrace
When I’m with you
I never want to think about someone else in the world
When I’m with you
I know I can trust every word, every word you say to me
When I’m with you
I know I’m loved

She walks backward on the stage a bit before continuing to sing out from the chorus. She looks towards her backup band and smiles before jumping back to look towards the audience.

I want to go
Anywhere that you wish to take me out to
I will not fear
The jealousy that other women feel
I will not dare
Flirt with, flirt with any other man in life
My heart beats only for you,
Until the day that it stops beating at all

As the band energizes back into the chorus, Eva Lynn energizes in her singing. She smiles and jumps happily towards the front of the stage as she sings the chorus for the second time. She appears outwardly happy to be performing at the World Hit Festival and her happiness is present in her performance.

When I’m with you
I know that I’m safe in your embrace
When I’m with you
I never want to think about someone else in the world
When I’m with you
I know I can trust every word, every word you say to me
When I’m with you
I know I’m loved

She appears to be overwhelmed with happiness as she continues singing past the chorus for a second time. Nobody in the audience or watching back home is the wiser in knowing that Eva Lynn had never been in a relationship. The song was written by her sister, rather than herself, and the song is written about her sister's marriage. She smiles as she thinks about this and continues singing.

Until we die
We will be married and in love lifelong
Right now we’re young
Possibly even foolish and very dumb
But I believe in destiny
Our flame with not die
Regardless of how much it may ever rain
No matter the storm

All the emotion that Eva Lynn had been saving up is now pouring out of her energetically into the last singing of the chorus.

When I’m with you
I know that I’m safe in your embrace
When I’m with you
I never want to think about someone else in the world
When I’m with you
I know I can trust every word, every word you say to me
When I’m with you
I never want to love anybody else
When I’m with you
I’m adored and my love is unending now
When I’m with you
I know I’m loved

When I’m with you
When I’m with you

By the time she finishes singing, she is nearly in tears but manages to hold them back as she bows before leaving the stage.

by **Izmedu** » Sun Mar 12, 2017 11:59 pm

Tune: Arash - Arash

Background info

Satu Sorge and Jiro are back in Izmedu for the second part to their act "One Chance". In this act, the two characters played by the artists attempt to secure a stable and peaceful future for their reborn world, but there is a price for their vision of a world safe and secure from the fate that befell their original one.

Satu is encased in a tank full of roiling water, her dress flowing in the currents. The front panel then collapses, the water gushing out over the stage. Satu, having held on to some handles in the tank, steps out, dripping with water. She begins fluidly dancing, carefully, so as not to slip catastrophically on the stage. Satu has a dreamy look, revelling in this world still free of darkness and death. Reflecting this, the background screen and stage depict a world of lush plant life and attractive architecture (like that of Kings Landing from Game of Thrones, which coincidentally is basically Mousiki itself), with golden accent lighting around

I can see the longing in your old eyes

She looks up, around, as if taking in this brand new world of beauty

Back in time to this world that's still live
I know, it's all so beautiful
The sky is blue, the air is sweet, our futures full

Jiro steps onto the stage in flowing, shimmering, embroidered robes, as if a member of nobility, a leader of some sort, or a master mage. In contrast to the boundless wonder experienced by Satu, his joy is clearly held down by an omnipresent weight on his shoulders

It's the second time I'm torn apart
The sunlight's warmth is somehow real, yet fading memory
Back to back, these worlds collapse, my tears run free
These faces pass at every turn, familiar all the same

Satu breezes back onto the center stage, now a bit drier and clothed with a sea-green shimmering robe similar to that of Jiro's, but less ornate and more form-fitting to her contours. Her wet hair is also now fixed up a bit

Awake, awake, my heartache
Preempt my wish to forsake
This is our final foray
It's all so real

A slight breeze blows against her, her slowly drying hair starting to play in the wind. Satu reaches out

Awake, awake, my heartache
I dance with death for your sake
You beat forth to destiny
One chance to feel

The lights and attention turns to Jiro, who paces along the stage. He seems despondent, loving this reborn world but knowing it will not last without a final sacrifice on his part. As he sings, the edges of the screen seem to waver and flicker, as if the world was on the verge of descending into chaos

All I ever wanted was to bring it back
Yet I hold this responsibility, to save it from collapse
Ash to ash, is this real or just a dream
Back to breathe just to die again, all that I have left

Satu appears behind him, attempting to comfort him as they both have a part to play to prevent the collapse. The screens and stage tint orange and red, as if it is sunset

Awake, awake, my heartache
Preempt my wish to forsake
This is our final foray
It's all so real

Awake, awake, my heartache
I dance with death for your sake
This life you gave for your mistake
Your chance to seal

A massive white curtain descends upon the stage, as Satu gestures rhythmically and ritualistically to it. Narrow beams of light play upon the fabric in accordance to her movements, and a large shape can be faintly seen moving in behind it. Jiro stands beside her, as if trying to meditate, calm himself, remember life as it used to be. Satu then grabs him, as if extracting some sort of energy or memory in a painful manner

Oh...
Oh...
Oh...
Ohhh...

The curtain then begins smoldering away and disintegrating, as a flash of light and and a thunderclap echo through the Foruma. The two collapse onto the floor, but Jiro, now determined to carry out his fate, quickly stands back up and heads to the object, which is a very ornately carved, very grotesque artifact the approximately the size of two large refrigerators and constructed out of black iron. At this point the stage lighting is almost pitch black, with light shining only through the fog that is beginning to envelop the stage, and faint flickers of light combining with the sound of rain from every side creating the atmosphere of a storm. A light mist of water cascades upon the stage. Jiro turns to look back at Satu, who is still trying to lift herself off the ground, as he places his palm on the artifact. Dark shadows of monstrous creatures play along the sides of the stage

"Thank you,"

They stare at each other for some time, with the area of the artifact on which Jiro has his hand on beginning to flicker and glow. Both of them seem to be tearing up, with Satu struggling for words, only now becoming overwhelmed with the implications

"I'm glad we had each other."

Finally, Satu catches her breath and collects her feelings, and is able to respond

"I'll never forget you. This you."

She nods toward him with her last sentence, as Jiro takes a second before nodding back. The area of the artifact on which Jiro is pressing lights up brilliantly with an eerily wavering green-yellow light, and he enters. The lights strobe and flash on the artifact-machine as it glows red with a great rumble and all the monstrous shadows are sucked into it, with a massive fogbank rolling in an obscuring its fate. The attention turns toward Satu, who is effectively lying in a puddle and trying to sit up. Soft golden lights suffuse the stage and then slant across the stage like lazy afternoon sunbeams. The backing singers begin, their voices emanating from throughout the Foruma

Ooh...
Oh la la la la la la
Oh la la la la la la

Ooh...
Oh la la la la la la
Oh la la la la la la

Satu, now a grieving, disheveled mess, rises and faces the audience as the golden lights intensify and the animation of a golden sun rises above the fogbank

Awake, awake, my heartache
Preempt my wish to forsake
This is my final foray
It's all too real

Awake, awake, my heartache
I dance with death for your sake
This life you gave for your mistake
Your chance to heal

Awake, awake, my heartache
This sacrifice, a soulmate
We beat forth to destiny
It's all too real

Petals begin falling from the ceiling. She falls to her knees, hands over her face as if weeping, as the lights fade upon her, only a single white light directly above her lingering on and illuminating the slow cascade of petals in the wavering light

As the lights return to normal, Satu rises to help Jiro out of the artifact. They head to the front of the stage, bow, and shout, "Kiitos kaikille niin paljon táállá! Hvala, Mousiki! Thank you all!" before exiting the stage.

by **Izmedu** » Mon Mar 13, 2017 12:06 am

Tune: Á Ný - Elísabet Ormslev
Language(s): Armenian, English
Written by: Anushik Ter-Hovsepyan
Composed by: Samira Kareli
Title Translation: More Than Me
Title Transcription: Aveli K'an Indz Hamar

Anushik Ter-Hovsepyan was anxious. For the first time since WHF13, Artsakhestan would come back to the beloved World Hit Festival. Sure, a lot of things had changed, such as the way of presenting the results or the list of usual participants; but the Artsakhiani passion was still alive. Tasked with such an important task, the Queen of Euskal Music, Samira Kareli, composed a powerful ballad whose lyrics (in Armenian, the national language of Artsakhestan; and English, in order to reach the international audience) were written by Anushik herself. The orchestra pit was going to be used, of course, for a completely live performance of the song (OOC: therefore, imagine a more powerful, orchestral, sound of the track). Just like their Euskirribakondaran counterparts, AHH sent a translation of the Armenian lyrics to all the other broadcasters, so that they could subtitle the performance in their respective local languages.

Anushik stood in the square that formed the frontal part of the stage, wearing THIS dress (but with a darker blue, almost black); and her six backing singers would be in the lateral squares of the stage (three on each), wearing THIS type of dress (in that color and all). From the roof, and right in front of Anushik, a giant chandelier was hanging. The screens were turned off for the song to begin, and the main spotlights (the blue ones in this picture) were directed at Anushik and the chandelier, creating an interesting (half-gloomy, half-sparkly) visual effect due to the refraction and reflection of red light on the crystals of the chandelier.

The song began, and the spotlights shifted from a very dim red light to a stronger one as the first piano chords were played. The cameras were focused on the orchestra's pianist as he played, but they soon began to move away and zoom out so as to catch Anushik singing the first words of the song. The chandelier began to be raised. The camera continued to move away and revealed physical shatters of glass around her, to which she pointed as she sang the second line. Then, the camera rotated to show one of the lateral stages with the backing singers, who were illuminated with a flashing white light (that highlighted their red outfits) as they sang the fourth line with one hand on a microphone, and the other one covering their eyes.

[0:14 - 0:25]
Aystegh es, kangnel (Here I stand)
Ver ktor p’shrvats (Over pieces of the shattered)
Apake... Gini apake... (Glass... Wine glass...)
Huh, huh

The image now switched to another camera that was on a corner of the square stage: on the right side of the screen we had Anushik, and on the left, one of the screens, that showed wine being poured on a glass (the chandelier was already gone). A medium shot prevented the floor from being seen, and focused the attention of Anushik's hand movements and facial expressions as she sang. Her voice, one of the most beautiful that night, was a perfect combination with her meaningful gazes and thoroughly thought actions. For the third line, the image switched to a camera located in front of one of the lateral stages, to reveal the backing singers uncovering their eyes (the working screen was rapidly turned off at the same time).

[0:25 - 0:35]
Vor gravich’ ginin eink' khmel (huh) (That inebriating wine we used to drink)
Indz kuyr e yerkar zhamanak (huh) (Made me blind for a long time)
Ach’k'erë, yes petk' e bats’el... (The eyes, I must open...)

The chorus kicked in and the spotlights switched to a bright white light that moved outwards from Anushik onto the whole Majcena Foruma as she kept the long note of the 'i' of the first "aveli". This, of course, was captured by the general cameras (the ones that showed the whole stage). The images of the whole stage were interspersed with close-ups of Anushik and her delivery of the song: her eyes showing a soul full of feelings. The screens began blinking with every pounding of the chorus, showing something like this.

[0:36 - 0:58]
Aveliiii.... (More...)
K'an indz hamar, du es, aveliii.... (Than me, you are more...)
K'an ayn iiiiinch', karogh em dimanaaal, ave-liii... (Than what I can withstand...)

The camera closed up on Anushik's face for the last line, which she delivered passionately with an angry but also resolving grimace...

[0:59 - 1:03]
K'ich' es, k'an ayn, inch' yes arzhaniii... ([You are] much less than what I deserve...)

The focus went back to the orchestra's pianist, as the song continued (with a camera revolving around him, focusing on his hands that were playing the instrument). Some cheering could be heard from the Artsakhiani and Euskirribakondaran fanbase, who were, of course, a sizable part of the foreign audience in Mousiki.

[1:04 - 1:12]
Arzhaniii... ([-I-] deserve...)
Aveliiiiiiiii... (More...)

The spotlights switched to a blue-ish light as one of the screens began showing a full moon. On camera, the image was similar to that of the second stanza: half of the screen showed Anushik, and the other half was filled by the image of the working screen. Smoke began to invade the stage from several directions, creating the effect of a foggy night. As the verses continued, the image would zoom out from Anushik, and would change angles (thanks to the several cameras on stage); but when the shot changed, the image, rather than changing instantaneously, would fade into the next one (creating thus a fluid motion). When the backing singers sang (their lines are marked throughout this post in a golden-ish color), a red spotlight would illuminate them very quickly and brightly, contrasting with the rest of the scene.

[1:14 - 1:25]
Gisher gnats', nayelov (Nights went on, looking)
Hayelu yev im (At the mirror, and at my)
Mtorum-neru... K'andelov... (Reflections... Destroying...)
Aaah, aaah

The image switched to a camera placed above and in front of Anushik, so that it could show her and the shatters of glass on the floor. As she sang, the crystals changed from their translucid appearance to a blood-red color. It was a visual allusion to drops of blood around her (but in an artistic way, not a gore-like one). As she sang the last line of this stanza, the camera made an american (3/4) shot of Anushik, which let us see how she moved her hands as she sang. In the last word, red invaded the whole stage and image; thanks to bright red light coming from the screens, the floor and the spotlights.

[1:25 - 1:35]
Miayn mnum im herravor (huh, huh) (The only remains of my long-gone and distant)
Yerjankut'yun yev zhpitov (huh, huh) (Happiness and smile)
Sirtë, yes petk' e p'akel... (The heart, I must close...)

The music of the second chorus was much more powerful than in any part of the song before: the Izmeduan director was doing a perfect job in capturing what Samira had hoped for when writing the entry. For the viewers at home, the image was quite interesting: it was the face of Anushik partially faded into a red background. A steadicam was doing a fast circular motion around Anushik that boosted up the dramatic effect and went hand in hand with the rise of volume and power from the music (the steadicam spun around Anushik twice). The backing singers started to walk to the center of the stage from the lateral stages. For the third line, the image switched to a camera that came from the back of the arena to the stage at medium velocity, showing how the backing singers were joining Anushik (by then, the screen and the floor were black again; with only the red spotlights illuminating the stage and the fog already dissipating). All of them performed the same hands and arm movements as they sang, in perfect synchrony.

[1:36 - 1:58]
Aveliiii.... (More...)
K'an indz hamar, du es, aveliii.... (Than me, you are more...)
K'an ayn iiiiinch', karogh em dimanaaal, aveli k'iiich'... (Than what I can withstand and much less...)

For the climax of the song, the backing singers and Anushik would sing in unison (marked with a green font color in this post). For the first time in the song, all the screens of the back were turned on. Together, they showed the timelapse of a dark storm forming. The spotlights, in turn, were turned off, and would only blink (with a bright white light, as if simulating lightnings) very quickly to the beat of the backing drums, as would the shatters of glass (that now were otherwise just translucid again). The cameras would go rapidly from the left to the right of the stage, showing the seven singers (Anushik and her backing singers), all of them with a lot of determination in their faces, and perfectly synchronous in delivering facial cues and hand/arm movements. The camera movements were faster than before, owing to the rhythm change.

[1:59 - 2:11]
Oh yeah
I see, that you're not the one meant - for me
And that I need to run
Be free, be me, oh-oh-oooh-ooh-oh-oh

Now it's back to a frontal camera, that stood still as the image of the screens was evolving even faster. A glass wall began to appear in front of the singers thanks to a 3D hologram effect, taking shape from bottom to top, and piece by piece as if it was a mosaic. The shatters of glass were off now and the spotlights would blink without directing a beam of light (so that they didn't interfere with the hologram). The Artsakhiani singers were really giving their whole to the song (and that was easily heard in the way they sang), they wanted to mark an impression with the comeback of their country to the contest. For the last line, a camera made a close-up on Anushik, who made the vocal riff with all her passion (the "glass wall" still in front of the singers), lit by a single spotlight above her.

[2:11 - 2:24]
And at least
I got to look back, it - was clear
You smashed me and I could not - believe
In me any-mo-oh-oh-oh-oooore

For the final chorus to kick in, the "glass wall" exploded on camera; and on stage, very small silver pieces of paper began to fall from the roof like rain, to emulate the pieces of glass falling everywhere. The camera movements were faster than before (but not so much, to prevent the audience from feeling dizzy); the performance was aiming for a dramatic, end-of-the-world like image. The screens were off again, but the spotlights (some red, some white) were moving around the stage, contributing to the fast-paced, catastrophic, ambience. Anushik had been preparing for months to be able to vocally deliver the final part of the song in a majestic way: she was nailing it (as were her backing singers).

[2:24 - 2:35]
I'm here...
(The pain cannot last, it's in-)
Trying to understand what I just liiiiived...
([In]humane, my veins are flooded with disdain, this day)
(I say no-oh-oooh-ooh-oh-oh-oh)

It was definitely the performance of a lifetime for them (a tear descended on Anushik's cheek as she poured her heart out singing). It was the exact amount of energy and emotion they needed, and it was being conveyed to the audience in the Majcena Foruma and at home. The small pieces of paper kept falling, and the camera kept moving frantically among the backing singers, revolving around Anushik and then moving among the rest of the backing singers again. The spotlights (all of them white now) had already stopped moving around, and went back to the lightning effect of before, with every beat of the drums and violins of the music.

[2:35 - 2:49]
And I at least...
(The pain cannot last, it's in-)
Can take a stand now, and say that I break free...
([In]humane, my veins are flooded with disdain, this day)
(I say no-oh-oooh-ooh-oh-oh-oh)

The spotlights (white, but brighter than before) focused on Anushik (illuminating her from her back). The screens went black and the pieces of paper stopped falling. Her backing singers gathered around her and each one put one of their hands on her shoulders, with a very neutral look on their faces that didn't distract us from watching Anushik finish the song, in front of her microphone and moving her hands around (like Elísabet does in the video). As she sang, the light behind her would grow in intensity and brightness, to completely flood the stage (and the image on TV)

right at the final note of the song.

[2:50 - 3:00]
Noooooo-ooooh-oooooh
Nooooo-oooooooh-ooh-oh-oooooooh!

For a fraction of a second the stage turned black and the song finished. Cheers and applause came from everywhere around the arena; the performance had been effective, at least with them (only the results would tell if the same emotion had reached the audience at home). A camera showed a group of Artsakhiani fans euphorically waving their flags, as off-screen Anushik said...

Shnorhakalut'yun! Thank you Mousiki! Thank you world!

by **Izmedu** » Mon Mar 13, 2017 12:17 am

Tune: Poli Genova - If Love Was a Crime
Title Transcription: "Po, Daj Mi Ljubavte"
Title Translation: Come On, Give Me Your Love
Language(s): Sirbadian, Euskal, Hinga, Portuguese
Lyrics by: Nadija Djokanović, Dago Txabes
Music by: Nadija Djokanović, Borislav Milanov, Poli Genova

It was finally time. Ten months after WHF24, Euskirribakondara was coming back to its favorite song contest in the multiverse. Nadija Djokanović was about to fly the contest in the 31st edition of the contest, hosted in Mousiki, Izmedu. She, an emerging artist from the Vil D'Oski province, managed to come third with 116 points in Euskal-Doinua1, after receiving mild support from the national televote and an impressive support from the international jury (who placed her first). Her entry, written and composed by herself (with the help of Borislav Milanov, Poli Genova and Dago Txabes), was slightly changed and remastered for the international audience, and this is the version that will remain in the history books as the twelfth ever WHF entry from the country.

Song Intro by Nadija: "This song is about those moments in life when we are afraid of taking a step forward and doing what we want to do. And I believe that the answer to that fear is love. It's not only the romantic love of a couple, but also the love for others, the family love, the love for one self. I invite everyone in my song to gather up enough courage to take action and fight for what they want for. We are always stopping ourselves from moving on, and I want to tell people out there that we can be brave and strong."

Nadija was wearing a hat and dress like THIS (but with orange and blue flowers instead of the yellowish ones, with the same jewelry accessories, and with the same fringed hem of this dress), boots like THIS (but without the spikes), these bracelets, as well as her signature hair style and black makeup (like in the video). She would be joined on stage by four men (dancers) and two women (backing singers and dancers), wearing THIS (with the men wearing this tank top). These six lucky people were the winners of auditions held throughout the country... They were die-hard WHF fans! To bring up the number of people on stage to eight (a lucky number in Euskirribakondara), and to complement the performance, the shadow artist Irina Gabegorria would join her too.

(Translation between brackets; that translation is given to the participating broadcasters to subtitle this performance when broadcasting.)

The stage was pitch black and ready after the Artsakhiani performance. Unlike the latter, though, the orchestra pit was empty. The spotlights from the roof were projecting beams of bright white light that formed a cylinder around the frontal square of the stage. A few additional screens (seven, actually) dropped from the ceiling in several parts of the Majcena Foruma, in seemingly random positions (but such that with the right camera angle, they formed a rectangular mosaic). Nadija was in the center of the square, with the rest of the people backstage. The Euskal flags, meanwhile, were waving in the small Euskirribakondaran colonies formed around the arena (it seemed as if the largest amount of foreign attendants came from the Harrikia). The song began as the audience cheered.

The mosaic of screens showed Nadija's face. One screen showed her left eye, one screen showed her lips, another her nose, and so on. Each screen had a different color filter, building a pop-art image effect. The cameras showed this mosaic of colored screens as the song started. Nadija had her eyes closed and smiled before delivering the first lines of her song, in Euskal language, the nation-wide official language of her country. As she sang, the screen images were beating to the rhythm of the song and exchanging colors.

[0:18 - 0:25]
Unea izan, exnaraki. (It's time to wake up.)
Axatzeapu, zu ikartuta... (When you are getting up, are you...)
Izanári zerbaki? (Afraid of anything?)

The camera zoomed out and changed its angle, breaking the mosaic illusion. All these screens changed to an orange filter (before disappearing after the last line of this verse), and all of the spotlights and stage outlines also changed their color to a yellow-orange-red hue palette (the stage floor was still black). The dancers appeared and began performing their choreography (two men and one woman on each side of Nadija). For this next verse, the camera began horizontally panning from left to right showing the backing dancers/singers and Nadija.

[0:27 - 0:34]
Orduan kilak, zu jansa... (Why then, do you put on..)
Egunero sopalak goian... (Daily over your shoulders...)
Hurk' irribixea karsa? (That load that drags down your smile?)

Attention shifted over to back of the stage, where Irina had appeared with a white canvas screen behind her (she had been hidden so far from the cameras and the audience with lighting tricks). A large portable spotlight was placed in front of her. With her body and some props, she was creating shadows in that canvas, that were being captured by the camera (conveniently located between her and the canvas, but angled so that it wouldn't cast any shadow over any of the two). These shadows were the graphic description of the lines of the following verse, sang by Nadija in her native language (Sirbadian).

[0:35 - 0:43]
Stavljate seb (Imagine)
Siluetu nožnici (The silhouette of scissors)
Za dlja razbite (To break)
Lance tih steni (The chains of those shadows)

Now the camera was taking a panoramic shot of the stage (circling around) and the bits of the stage floor that could be colored were beating with white light. As Nadija sang, the camera was zooming in. The backing dancers kept on dancing, their choreography being minimalist and urban-hip-hoppy in style. On the background screens, white arcs appeared, one behind the other, synchronized with the song's tempo.

[0:44 - 0:50]
Ustvaranje črno (Creating black)
Je teže naći svitlo (Is harder than creating light)
No je vsegno najtemnje... (But it's always darkest...)

With the last note, the stage went pitch black; and with the sound effect of 0:52 (and like in the OOC video), yellowish spotlights from all over the arena were turned on and rapidly focused on Nadija, who shouted with her two backing singers...

[0:53 - 0:55]
... pred zore; uvzit skok vjere! (... before the dawn; take the leap of faith!)

A fast flash of pyrotechnics illuminated the arena from the stage, and the stage came back to life with sky blue colored light on every screen, spotlight and stage outline. Nadija now joined her people dancing (she had been only singing and gesturing until now), the camera work being very similar to that in the OOC video (horizontal pans in circular motions, zooms both out and in) and a lot of light and energy overall. The charisma of Nadija and her crew was impressive, and it was easily and readily transmitted to the audience. The choreography was very gritty, with strong moves and directing a second person message to the viewer (for the fourth line, the moves were of breaking imaginary chains; and for the eighth line all the crew pointed at the camera).

[0:55 - 1:12]
Po, daj ti silate (Come on, give yourself your own strength)
Ti si silate (You are your own strength)
Po, daj mju silate (Come on, give out your strength)
Samo tvoje, lancuhi i ključi! (Only yours are the chains and the keys)

Po, daj ti silate (Come on, give yourself your own strength)
Ti si silate (You are your own strength)
Po, daj mju silate (Come on, give out your strength)
Samo tej kto, mevažaje tovo! (You're the only one hindering this!)

Everyone froze as the chorus ended with an audible loud cheer from the audience (which the sound engineer was attempting to tune down for the broadcast). The cameras were on Irina and her canvas again, who again, with her body and props, was casting shadows over the canvas that echoed the lyrics of the song (the language had changed back to Euskal). Nadija sounded a bit breathy after her dance, but she was keeping in tune.

[1:17 - 1:23]
Unea izan, nouro kosteaki (It's time to start over)
Krozeapu, gure'baguneak... (Growing up, will we...)
Alfirrarípari? (Waste our opportunities?)

Irina left to the backstage. The stage was less lit than during the chorus, but it still was colorful. The camera now focused on Nadija, who made a 360° turn (her dress gracefully flowing with her) and began walking forward as she sang, looking directly into the camera and using her arms to convey the message of her lyrics. She was definitely winning her audience: her performance felt honest and she was really enjoying herself (spreading her good mood to everyone watching). During the time in which the back of the stage was not visible, the stage crew took away the canvas and the spotlight of Irina.

[1:26 - 1:32]
Orduan kilak, zu ez... (Why then, don't you...)
Egunero aitortzen zuhá... (Everyday acknowledge yourself...)
Kisa benkogizanez*? (As a benkogizana*?)

*A 'benkogizana' is a concept in Euskal philosophy which represents the true nature of mankind: a human being with both virtues and flaws that can fail and succeed throughout his life in a duality universe where balance is achieved acknowledging both sides.

Now a panoramic view of the stage allowed us to watch the backing dancers again, who began the corresponding part of the choreography (without Nadija). The screens now showed water patterns (like a window in the rain, with a lot of drops and some lines of flowing water), and the floor looked like rippling water. Nadija changed back into Sirbadian, as the cameras were dynamically moving around the stage to show both her and her dancers.

[1:34 - 1:42]
Mi vsi majemo (We all have)
Naše otvoreni rani (Our open wounds)
Vsi majemo (All of us have)
Naše istoriji (Our own history)

Suddenly, all the crew fell down and gradually got back up again, Nadija struggling to keep in tune whilst falling and getting back up (but she somehow managed). The camera "fell down" with them as well, creating a nice visual effect for the broadcast. Blue fire flames were surrounding the main stage, growing in size as the song continued. For the last line (the first one in Portuguese, by the way), which Nadija and her backing singers sang passionately, the fire flames "exploded" and changed into orange/red.

[1:43 - 1:51]
I ako padajemo (And if we fall down)
Mi vraćamo znovu, jem (We get back up again, ASAP)
Što se bojitem?... (What are you afraid of?)
Não tenha medo de tentar! (Do not be afraid to try!)

The stage was now entirely lit, the spotlights stage contours in orange, and the floor showing a red beating heart. Nadija joined her crew again dancing, visibly joyful about her performance. The seven additional screens hanging from the ceiling and scattered throughout the arena appeared again. One for each dancer, plus Nadija; showing them in filters of varied orange hues. A camera was traveling from the back of the arena to the stage, showing the different screens in a brisk manner, flying over the audience (who was dancing to the song and singing along).

[1:52 - 2:10]
Po, daj mi ljubavte (Come on, give me your love)
Daj mi ljubavte (Give me your love)
Po, daj mi ljubavte (Come on, give me your love)
Dnes je to, a ništo drugo! (Today is today, and that's it, there's nothing else!)

Po, daj mi ljubavte (Come on, give me your love)
Daj mi ljubavte (Give me your love)
Po, daj mi ljubavte (Come on, give me your love)
Dnes je to, a ništo drugo!... Oh-oh-oh! (Today is today, and that's it, there's nothing else! Oh-oh-oh!)

For the next few lyricless seconds, different cameras among the stage audience showed people from different countries and backgrounds dancing to the song, enjoying themselves with the Euskal entry; with orange and yellow spotlights illuminating everything and everyone (the seven additional hanging screens were moved around and turned off). The stage was turned off entirely except for the floor of the main frontal square, which shone brightly focusing on the crew, who was standing and smiling behind Nadija in a triangular layout (the four men on the back; in front of them the two women; and in front of them, Nadija).

[2:18 - 2:26]
Os dois podemos caprichar... (Both of us can work it out...)
Não pense que não vai dar... (Do not think that we're not going to succeed...)
Deixa acontecer o amor... (Let the love happen freely...)
Mi je vso - ništo ničnoho! (We are all we have, and that's enough!)

The stage went again pitch black as Nadija breath heavily to the beat and the dancers distributed themselves along the stage. When the music started over, almost magically, the lips, eye lids, shin bones and hands of the whole crew and Nadija were the only thing that could be seen (thanks to glow-in-the-dark make-up). They began dancing, with the stage still dark, and the effect on camera was beautiful. The light was gradually increasing, revealing them and the stage. Nadija was so over the moon that she missed a few notes, but the smile on her face (and the faces of her backing dancers/singers, who after all, were WHF fans) was priceless. The cameras were moving dynamically through and around them, and by the end of the chorus, the whole arena was bright again.

[2:29 - 2:46]
Po, daj mju ljubavte (Come on, give your love to 'us'*)
Daj mju ljubavte (Give out your love to 'us'*)
Po, daj mju ljubavte (Come on, give out your love)
Mi je vso - ništo ničnoho! (We are all we have, and that's enough!)

Po, daj mju ljubavte (Come on, give your love to 'us'*)
Daj mju ljubavte (Give out your love to 'us'*)
Po, daj mju ljubavte (Come on, give out your love)
Mi je vso - ništo ničnoho! (We are all we have, and that's enough!)

*As in 'you and me', the 'us' project of a couple.

Nadija descended from the stage and started walking into the audience. As she did so, she asked people (with her gestures) to cheer up and dance with her (and we see that with a full shot for the first two lines). Meanwhile, her crew stayed on stage (which was in bright shades of orange, yellow and red). The seven hanging screens were turned on again (not visible on camera) instructing the audience to sing along to the song and showing the Hinga lyrics (in Latin transcription, of course). For the broadcast, in this part of the song the volume of the backing singers and the peripheral microphones (which captured sound from the audience) was increased, giving the lines a 'choir' effect (marked in blue) and hiding Nadija's voice (which would be anyway given all the focus in the last line). What we saw on camera was the crew and holograms of themselves dancing altogether (thus showing faaar more people than there really was on stage).

[2:47 - 2:55]
Amē ajēyā kacōhō (We are invincible)
Yā tūphān bēm tharābam (And we will survive this storm)
Mērā hāth pakadhō (Grab my hand)
Po, daj mi ljubavam! (Come on, give me true love!)

A quick explosion of pyrotechnics both inside and outside the arena (on camera we were able to see the arena from the outside thanks to a EUSK1 helicopter) was followed by a lot of white paper confetti falling from the ceiling. Just like in the above verse, the hanging screens helped the people sing along, and the dancers were accompanied by holograms.

[2:55 - 3:02]
Mām̐ hāmān hai kī ēkatrā (I believe that together)
Saphalā rāyā hānā (We are both prosperous and victorious)
Adhik pūch kadhōṁ? (Why do we ask for more?)

The paper confetti stopped and Nadija and Irina appeared in the center of the stage with the crew of the former (two men and one woman on each side), and the holograms disappeared. The eight of them danced together and sang with all the energy the last line (even though the men had no microphones, they were still heard, as they shouted), which ended with them rising their left hand into the air.

[3:02 - 3:04]
Mi je vso - ništo ničnoho! (We are all we have, and that's enough!)

Pyros were shot from everywhere and the audience loudly cheered and applauded the act. The comeback had definitely been a success for the Euskal fans, the WHF audience, and the performing artists... who hugged each other in ecstasy as they shouted...

Géskerri Rasko Euskirribakondara! Thank You World! Hvala, Mousiki!

The camera showed a happy-crying Nadija before the stage went black again. In a matter of seconds the performers went backstage, so that Nightom could perform.

by **Izmedu** » Mon Mar 13, 2017 12:22 am

Tune: Simone - Heart Shaped Hole
Writers Silver Kjornborn, Vincenti Xaveborn
Music Enwritin Smegborn, Nirentina Chubyorn, Naqeemi Salhelm

Matinée Schylestreake will represent Nightom in the 31st World Hit Festival. Nightom last participated in the World Hit Festival in Caen, Normandy and Picardy in the 24th WorldVision song Contest. Despite the contemporary track, the song only received 5 points - which was in tiebreak with the hosts of this contest. Ultimately, Nightom had only received one vote from one nation, and therefore, it was given last place. This is the first, and only, time that a former ABEN nation had placed last at any competitive Song Festival. On returning to the World Hit Festival, Nightom wanted to pick a song which meant something to them and their people - while not being cheesy. They wanted the song to be contemporary and appeal to the mass market of World Hit listeners.

They decided that Matinée (Mah-tin-eh) was the perfect candidate to represent Nightom in the World Hit Festival. They thought this because she had some previous singing talent from performing on stage in musicals across Nightom and other regional countries. Matinée also is quite confident singing to people who she may not know, but regardless, she aims to make an impact on the World Hit Festival stage in Izmedu.

She found out that she was to perform last during the contest. When finding this out, she didn't know how to take this. She thought that it would be good performing last because people would remember her, or even, make their minds up by the end and she could snatch them last minute. However, she also thought that this would be a bad idea. This is because she would have to go through all of the songs being on edge before she got to perform. This meant that she wouldn't be able to enjoy the music from the other countries as much as she would've. Nevertheless, she went on to perform her songs at the dress rehearsals, and she thought that they went quite well.

As the Song started, her figure was already on stage. She was standing with her back towards the audience, looking at the backboard of the arena's stage. The stage was a fiery red and orange - infused together to make a dangerous display. The camera came from the back screen of the stage to meet her face to face. As the camera came closer to her face, she smiled ever so slightly. She then looked to the right, where another camera had greeted her. She then began to sing the song.

I am here again,
I was lost but now,
Constellations showed me to you.
You tried to get away,
But, I was on to you.
And now you are obliged to pay.

She then turned around, now facing 90° clockwise from where she was previously. The staging was still quite fiery and it showed now signs of slowing down - the fire raged on. She held out her hand, singing the song with passion. She felt used, she felt abused. She wanted to convey this message with her audience - both in the arena and at home.

Do you think my truths will be in your favour?
You better think again;
I've been down low,
But you were sky high!
Oh, you'll deserve what's coming...

She then slowly started to turn around more. The camera, however, spinning around her in the opposite direction. At every four bars, the camera would meet her face and out, would she hold her hand. When she started to sing about how she had been "down low," she kneeled down on the floor, and a camera from above her came closer to her. She then looked up and pointed as she sang about what will be coming.

As she did that, a 3-D spectacle happened, where it looked as though she was trying to reach for the camera, but she was sinking under. The floor of the stage was compensating to this illusion and of course, the movement of the camera.

On a fight, a conquest!
I will tear you down.
You'll defend, I'll shelter!
But, I will not concede!

As she started to sing the chorus, she had totally turned around all the way and the camera came from the far end of the arena, zooming in on her face at 40mph and the stage behind her crumbling from hellish red and orange to turquoise green. A wave was created with the staging behind her, which was complimented with 3-D effects which made it seem as if the wave was coming out of the stage - thanks to the camera work.

As she sang about how she will "shelter," she walked to the left of the stage, with the camera behind her. The spotlight were infront of her, so as she walked, each spotlight would turn on, paving the way for her to walk. She then stopped and raised her hand in the air as she sang "I will not concede!" The camera then faded in to darkness, and so did the arena.

Another camera came from in front of her and greeted her in the face, similar to how it was done earlier in the song, near the start of the song. However, her facial expressions were somewhat different. She looked angry and slightly flustered. She raised her hand to her ear and roughed up her hair to show her frustration.

I was left to think,
It was all on me.
You've put me in great doubt.

She then started to walk backwards back to the main bulk of the stage. She still looked confused as she walked back, with her head lowered - ashamed to show the audience her true emotion. How could someone have done this to her? A strong woman she thought she was. She started to doubt herself.

But I knew this day of truths would come around.
Now let's rejoice! Justice sounds good,
And so does my voice!
Once was silent, but I'm now heard!

When she sung about how "Justice sounds good," the camera zoomed passed her and confronted a violinist on the side of the arena. The light then focused on the violinist and so did the camera, so that the people in the arena and those watching on television could see. The violinist stressed the next section as this was her bit to shine. The light, which had previously been yellow turned back to hellish red.

After "heard!" was sung, a splash of pink and yellow blew up on the stage with petals on the screens. However, there were some petals which were blown on to the stage to make the staging look more realistic.

On a fight, a conquest!
I will strike you down.
You'll defend, I'll rise!
I will not concede!

The song was about to increase in texture before dropping dramatically. She had to make sure that this would good, and so this was complemented but quick and fast camera shots. She just stood there on the stage as the fan machines were turned on and the rest did the job.

I won't surrender
I'm your contender
I will not, I will not concede.
I'll linger in your mind,
Have regret for your life
I will not, I will not concede.

Her head was so up that she was looking at the ceiling of the arena. She was turning around on the spot, and she turned on the spot, the floor LED made spirals which would ripple throughout the whole floor of the stage. She raised up her hand to the sky and lowered her head down to the floor.

Never surrender. I'll never render,
The love we once shared together!
On a fight, a conquest!
I will break you down.
You'll defend, I'll rise!
I will not concede!

After the drums kicked in for the last time, the stage then fell in everything. A single white spotlight was on her, and lifting her face from looking down on the floor, with a line of mascara dripping down her face, she then commenced to sing the next part of the song;

I will not, I will not,
Concede.

Matinée then lowered her head as the lights faded away slowly, and so did the camera. The audience started to applaud Matinée as she raised her head back up to look at the audience, "Thank-you, Izmedu!" She exclaimed, "Thank-you." She then bowed before walking off the stage. She was the last performer anyway and so, there was no rush to get off the stage and therefore she did not feel the pressure at all.

by **Izmedu** » Mon Mar 13, 2017 12:29 am

After Nightom's entry, the camera panned back to Stela walking back to the stage as it was cleared for the mid-show intervention. All 17 entries have performed, and as always, Stela had a bit of trouble getting onto the central platform, but her little error was not quite as obvious to the audience as it was back at the beginning of the show. Holding her cue card, she smiled to the camera as it stabilized near her, with her waving to the audience.

Stela: Thank you to Nightom's fabulous Matinée Schylestreake and her song, “I Will Not Concede” for bringing us a great closer to the show! Well done. With that, we have 17 entries done and dusted, and thus, the performance part of the 31st World Hit Festival ends. But, this is not end of the contest, oh goodness no. There's still a lot for us to go to, and let me explain that part.

Stela takes a brief pause here to give herself a break. The next few parts were going to be her talking, until lines for voting were opened.

Stela: Alright, this is part of the show where we begin the process of determining the winner of the World Hit Festival. Thus, we enter that half-time part where we're going to open up the voting lines up rather soon. But, before we do that, let's give you a recap of the songs that have just been performed.

A recap of the X songs played on the broadcast, emphasizing the most integral parts of each entry. After each entry played, the animation graphic of waves re-appeared once more to transition to a shot of Stela on the stage once again.

Stela: You've just heard the entries once again, and now I'm proud to announce, and say it with me as I shout it...

WORLD. START. VOTING. NOW!

A shower of sparks appeared from the conduits in the ceiling as the words appeared on the screen at the moment Stela shouted that phrase, causing smoke to linger on the stage somewhat after the sparks died out. In consequence, this caused the audience to shout back rather heavily, cheering for the fact that it was voting time. After the commotion, Stela calmed down the commotion after having to let her energy out by moving around the stage for a bit.

Stela: Incredible! Well... We can't quite get a result without a way to vote, can we? Alright, here's how it works...

It was at this part where Stela began to describe the voting process for the World Hit Fesitval, in which votes can be made by text or through calling the voting number listed on the screens. She described it first in English as national commentators began to to describe the voting process in their respective national languages. After describing it in English, Stela then repeated her explanation in the Izmeduan language.

Stela: Alright. Get your votes in! Now begins the part of the show where we need a bit of entertainment to be able to pass the time. What we have for you is someone who has been changing her image quite lately, and has actually been trying to participate in the World Hit Festival. She's a living legend, so to speak, and she's here with not one, but two songs tonight. Allow me to welcone Natallija Tomcic, who'll be singing two songs for us tonight! Alright, take it away.

The camera faded to a wider shot of the stage that immediately went dark in the atmosphere of a large arena cheer, with Stela quickly walking away...

INTERVAL ACT
Natallija Tomcic – Priča o svitla i tama
Translation: A tale of Light and Darkness

No music seemed to be emanating as the stage was dark for an uncomfortably long amount of time as the cheer died down, lingering in this state to the point where some started to wonder if the producers behind the show had hit a technical error or if the lights in the arena were still even functional. However, as if timed correctly, a single spotlight began to shine on the right side of the stage, with the camera fading to that spotlight with a rather cinematic view. That spotlight revealed the interval act singer, the living legend, Natallija Tomcic. Natallija seemed to be sort of cluelessly walking on the void that was currently the stage, wrapped in a darkness that didn't betray a hint of the orchestra or the stage parts. She kept walking forward, her footsteps amplified as she seemed to look around in a panic.

Suddenly, a ball of light suddenly appeared on the stage's central stage platform (in reality, it was an incredibly strong projected hologram), with wisps of energy radiating around it that lit up the central platform. The camera focused on the radiating ball of light, with the camera casting a rather long gaze at it. Natallija reached towards the light rather quickly, jerking forward before slowly walking towards the central platform, curiosity etched in her face that the camera emphasized as she walked towards the light. At the moment Natallija stepped on the platform, the light ball quickly threw itself to the screens in the form of an energy line that appeared only for a split-second.

A blinding white light, turned to a dark yellow, radiated throughout the Majcena Foruma as the screens had quickly 'unveiled' to show a steampunk, almost dystopic image of a city. The buildings themselves were encased in shadow, with the yellow sky being the only visible source of light. The ball of light that appeared earlier seemed to have entirely disappeared. Through the new commotion, the floor screens now simulated the busy streets of this newfound city, with holograms of people disappearing and appearing around the clearly frightened Natallija.

A stronger projection of a young girl appeared as spotlights shone on Natallija and that girl, with the camera moving away from the commotion of the screens and to a close view of them.

Natallija: Who are you? And why am I here?

Part 1: Svitla
Tune: Severina - Hurem

The projection of the girl only wordlessly stared back at the singer's question, as she held out one hand. On her hand stood an almost exact copy of the ball of light from earlier, now far smaller in scope and size. This caused Natallija's eyes to widen as the music began to start, a violin sound resonating through the Majcena Foruma as the camera faded between Natallija and the expressionless girl as yellow lights began to emanate through the Majcena Foruma.

Maja svitla, samo ako nije bijaše
Izgubjaše u velika grada
Gdie mogu ići tražiti za to?
La grad čeka, prioričanje

Starting off with a refrain, Natallija began to sing these lines directly to the light ball that the girl was holding, with the projection keeping her posture eerily steady as if she was a mannequin. The camera focused on Natallija ever getting to so closer at each and every line, her voice hushed with the internal and initial anxiety of the song. At the last line, the camera faded to a view of her hand, reaching for the light but with the girl 'fading' at the moment the singer got close to the light. This caused the camera to fade back to a close up of Natallija's face, anguished and anxious.

I neonski duhovi dosađivaju
Ovi usamljenim cale od mi strahi

For this brief pre-verse hook, the camera panned out to a semi-wide view of the stage, showing neon signs beginning to appear on the shadowed buildings as holograms of people walking around appeared around Natallija rather constantly. To confuse the situation, dancers dressed similarly to the holograms began to appear on the stage as if they had just suddenly apparated on there, which was disguised by the pulsing lights that were timed to the song's beat. These dancers began to crowd around Natallija...

'Čala sois, naše vrime alzurseti!'
Dovikivaju s velseljem
Kao glasnica smrti
Tamo je nema pravia liberia
Od ante el hladno labrint
Junkaura pitam zašto luc

The hologram effects of the people appearing and disappearing had faded as the cameras began to perform a routine to the song, a routine that had evoked the surreal feeling of the background screen that consisted of making direct arm motions towards Natallija. In response, Natallija tried to join them, but the choreography wound up being a sort of informal dance-off inbetween the denizens of the imaginary town and Natallija herself, with her losing not one breath during the small dances. The camera switched views often between Natallija herself and the other people on stage, emphasizing how Natallija remained turned away from the dancers during most of this verse.

Maja svitla, to je mi destin biti nestao
Luc izdrža, još tražim ona
Ali el grad nikada ne spava
A možda la svitla nije bio tamo

The dancers turned away from her as multiple spotlights trained themselves down on Natallija, with her moving towards the center of the stage and standing still at the first line, the camera zooming in on her at 'maja svitla.' However, the instrumentation returned in full force for the rest of the first half of the chorus, with her leading the dancers in the same frenetic dance from earlier, turning the atmosphere into a more pop-styled performance as the camera switched views between Natallija herself, the dancers, and the orchestra that were providing a considerable live backing,

Samo ako nije bijaše
Izgubjaše u velika grada
Gdie mogu ići tražiti za to?
La grad čeka, prioričanje

At the second half of the chorus, the dancers began to go 'rogue' as they surrounded Natallija against the routine she was trying to continue. She tried to cast them off with rhythmically timed arm waves, but to no avail the dancers refused to disappear as the spotlights on Natallija quickly switched onto them. At the end, Natallija could only turn back, looking towards the screen as she sang 'prioričanje,' the screens pulsing in red colors and making the city look more foreboding.

During the brief instrumental break, the ball of light that the girl held suddenly started shining on one dancer's hand as all of them, collectively, chanted 'Svitla.' The camera tracked Natallija's search and fight for that light. However, each attempt at catching that light continuously failed, for as soon as Natallija reached a dancer, the light would only 'teleport' to another one. This continued on until the break was over, with the spotlights refocusing on Natallija as the camera closed up on her.

I neonski duhovi dosađivaju
Ovi usamljenim cale od mi strahi

One could see the dancers retreat to the orchestra as the city behind Natallija almost shone brighter to the newfound relative darkness of one spotlight shining on her. More neon signs began to appear on the screens on the refrain of this particular verse of various colors, ranging from pink, to green, etc.

'Čala dri, abrasuraš el ludilo'
Su plesali el noća van
Cio bez briga na svitu
'Molim dai,' sam vrištala u el gradi
U el larodu, u la svitu
Ju ne znam tko ju sam više

Multiple holograms of people appeared alongside the dancers as the Majcena Foruma was lit up in a white and yellow combination of color, with those dancers dancing a routine right behind Natallija as she was singing this hook. The camera focused equally on frenetic shots of Natallija and the dancers, with the views making clear that Natallija was on the verge of losing her mind through the progression of the hook, with her face looking far more estranged and derelict with a downwards expression. The dancers, both real and fake, performed a rather intricate dance outine in which each dancer danced individually, creating the illusion that it was in sync, that Natallija tried to 'stop' by swiping at a hologram, but this only caused her to look in anguish at the end of the hook.

Maja svitla, to je mi destin biti nestao
Luc izdrža, još tražim ona
Ali el grad nikada ne spava
A možda la svitla nije bio tamo
Samo ako nije bijaše
Izgubjaše u velika grada
Gdie mogu ići tražiti za to?
La grad čeka, prioričanje

At the chorus, she turned around for the first half, staring back at the ever-continuing dancers as if prepared to fight them directly. Natallija began to dance with them as the Majcena Foruma pulsed in various colors of white and yellow, with her looking like she was beginning to fit in with the crowd that didn't seem to acknowledge her presence. However, her routine painfully stuck out as the dancers began to devolve into just random movements that made no sense against Natallija's practiced routine.

At the end of the chorus, the lights went dark as the camera panned to a wide view of the stage, allowing the viewers at home a rather direct view of the city on the screens becoming more seedy, with smoke and steam emanating from the buildings, and the dancers' movements only becoming more frenetic.

'Čala dri, abrasuraš el ludilo'
Su plesali el noća van
Cio bez briga na svitu
'Molim dai,' sam vrištala u el gradi
U el larodu, u la svitu
Ju ne znam tko ju sam više

At the repetition of the earlier hook, the camera focused on a kneeling Natallija, with a hand to her head as the city behind her began to 'darken,' almost looking as if it were due to disappear at any moment. The darkening got progressively more intense during this particular hook, with her vocals softer instead of the rhythmic intensity. She stood up at the last few lines, belting the lyrics out as the camera made a quick survey of the stage, focusing on Natallija again returning back towards the dancers..

Maja svitla, to je mi destin biti nestao
Luc izdrža, još tražim ona
Ali el grad nikada ne spava
A možda la svitla nije bio tamo
Samo ako nije bijaše
Izgubjaše u velika grada
Gdie mogu ići tražiti za to?
La grad čeka, prioričanje
Gdie mogu ići tražiti za to?
La grad čeka, prioričanje

At the key change and last refrain of the chorus, the lights returned in full force as the city looked even more foreboding, with a red sky against newly revealed details, with run down night clubs and out-of-repair skyscrapers. During this chorus, Natallija's vocals were at their most powerful as it looked like she was actively fighting against the dancers, singing directly to them and running at each as line-by-line, they each froze into a random position into a dance, holding impressively steady despite Natallija singing directly at them. The spotlights on the dancers each faded after they froze into position, with the lone spotlight remaining on Natallija at the end of the song, with the Majcena Foruma going dark.

This provoked a massive crowd cheer, but it wasn't the end as the spotlight on Natallija lingered, with the red sky lingering as the details on the corrupt skyline were lost. With the camera close to her, Natallija seemed to fall on her knees, almost closing in on herself as the stage lights flickered from intense light to darkness at each second. There was no sound associated with these parts, causing a few to believe that a malfunction had taken place...

Part 2: Tama
Tune: Severina - Alcatraz

The lights flickered only for a few more seconds more before it concluded with a bright spotlight that shone on Natallija herself, who seemed to be looking upwards to the ceiling as the camera faded to a sideways view of her. Her face was blank, with an edge of madness in it with her eyes searching for a revelation in the metaphorical heaven that took the form of the bright spotlight shining down upon her. Taking almost a cinematic approach, the camera lingered for quite 10 more seconds on her, a beating silence for almost an uncomfortable amount of time until the camera faded to a wider view of the stage, exposing further the dark city skyline against a red sky.

The orchestra began to play the first few seconds of the tune, a string of violins that caused Natallija to bow her head down at the sudden instrumentation. The camera faded to a close up of this, making a half-revolution around her as the orchestration faded. The song then began in earnest, being led by a forlorn violin in which Natallija almost went to her knees, her face encapsulating pure sorrow as the instrumentation marched through its beginning. At the end of the introduction, Natallija had her head up, the camera zooming in and freezing on her as smoke began to wisp around the stage, a subtle red hue beginning to underscore the Majcena Foruma.

Sam iščeznuo među maje pakalu
Izgubim u tami
Mi čovjek i maje cre pretrpe
El nijemi svit je stajalo da mirno
Ništa mogao sam zastati
La destrukcija mog mi jomno

For this long verse, she sang directly to the camera, the spotlight on her remaining rather intense as the stage began to be slightly lit up, revealing the frozen forms of the dancers that dotted the stage, holding impressively still like statues as the camera faded out to a slightly wider view as the second half approached. Regardless, the aim of the camera-work was an intense intimacy with Natallija as her vocals were still resonant despite having performed just earlier. The music progressively became more intense as the first verse progressed, with the camera maintaining a frontal view of her face. At the end of the last line, she put both hands to her head to the point where face was slightly hidden from the camera shot, but the emotionality at work was still at present as she belted out 'mi jomno'

Le duše plungru s mučenjem
Nesposoban za seni ili za misli
Devenurah beživotani
Poput i sablasti da pohađu me
Adias postojim sama
Unutar ovom ludi i hladno svemiru
Nema bijeg od la tami
Mi finalan ufanje je preživjeti tuga

Natallija stood up from her position as the camera took a wide view of the stage, with holograms that dotted around the stage that seemed almost ephemeral to the point where one could almost miss their presence. These holograms were similar to those of the frozen dancers, they were the denizens of the city stuck in a frozen moment in time. Some looked to be smiling at the red skyline, some who looked rather miserable as they were frozen in a walking position, and various other moments of life trapped in a tragic snapshot of an eternally frozen, but ephemeral moment. The ways in which they flashed throughout the chorus were just as ephemeral as they appeared, flashing in and out for only a few seconds. For the first half of the chorus especially, Natallija allowed her vocals to fly to a belt, with her holding her chest as if she was on the verge of collapsing, with her reaching out towards the audience for any sort of help as the camera zoomed out to a gradually widening view; capturing the desolate red sky against the folorn atmosphere.

There was a brief instrumental interlude where the subtle red hue disappeared, leading only to pure darkness except for the spotlight that shone on Natallija. The image screen remained static as the camera circled around the stage, with the emanating light from Natallija's spotlight casting some stark shadows on the still-present dancers, who have stayed still in their positions. However, during this interlude, the dancers that stood near the orchestra, began to leave, as did the rest of them the camera focused on Natallija looking sorrowfully at the camera at the tail-end of the interlude, causing the lights to shine slightly brighter.

Nusam dani od ova čist pranina
Sam potrošio previše vrime
Lutam besciljno, adias cadaram sebe
Čak molitve je sebi furati uzalud

Natallija sang this brief second verse with a particular rhythm, especially in the first line, taking subtle pauses at each line to emphasize some stresses. At this part, this was where Natallija began to survey the central platform of the stage, moving closer to the orchestra. The camera itself took a much more wider approach, taking a wider view of the stage while at the same time, maintaining its closeness. One shot, which lasted for much of the verse, involved setting the camera at the stage-left, slowly zooming out as the scale of the dark city was emphasized with the lonely stage that Natallija had occupied. Despite the orchestra playing, it too was coated in pure darkness. At the last line, Natallija face sideways, head up and eyes closed up, hands to her chest as she belted out 'uzalud.'

Le duše plungru s mučenjem
Nesposoban za seni ili za misli
Devenurah beživotani
Poput i sablasti da pohađu me
Adias postojim sama
Unutar ovom ludi i hladno svemiru
Nema bijeg od la tami
Mi finalan ufanje je preživjeti tuga

Holograms of people frozen in time began to surround Natallija once more as she passionately belted out the sorrowful refrain of the song. This time, the hologrms themselves had devloed into much more depressings scenes of suffering, sadness, and panic. Natallija, now stage-right, could only stand still at her position as the holograms came and went, haunting her. She began to get on her knees at the second half of the refrain, beginning to hug herself at the end of the chorus as the camera switched between wide views and intimate ones.

The lights around the Majcena Foruma darkened once again as the music softened to a soft guitar, with the camera fading to a wider view of the stage, moving sideways and almost quite as low as an audience view...

Devenurah beživotani
Poput i sablasti da pohađu me

For these two lines, the camera again returned to Natallija as she sang them, with her looking towards the camera and standing up, moving towards the front of the stage.

Le duše plungru s mučenjem
Nesposoban za seni ili za misli
Devenurah beživotani
Poput i sablasti da pohađu me
Adias postojim sama
Unutar ovom ludi i hladno svemiru
Nema bijeg od la tami
Mi finalan ufanje je preživjeti tuga

At the dawn of the final refrain, the camera switched to a wide view, showing the image on the screen behind Natallija flickering into a darkness, as if it were a failing broadcast. With Natallija launching herself at her most passionate for this refrain, with her reaching out directly to the camera, especially at the 5th line where she nearly went on her knees at the ferocity of her vocals, before she looked up to the camera as it began to make a bird's eye view, with her on her knees as she looked up singing the final line, the stage in total darkness at this point.

Mi finalan ufanje je preživjeti tuga
živjeti tuga
živjeti tuga

She parted the song with these final three lines as the instrumentation began to calm down at the last 30 seconds of the song. The camera only got into a ever-slightly higher atlitude from her as she reached out both of her arms... She sang 'zivjeti tuga' with a sorrowful tone, the spotlight on her fading as she sang the last note, and the song ended with two forlorn piano notes.

Natallija received a large crowd cheer, with her standing up to greet the crowd as the stage lights returned back to normal, with her looking around in some shock.

"Thank you so much. Hvala Izmedu, Hvala World Hit Festival," she waved to the crowd and walked backstage, not wanting to delay the proceedings...

by **Kannap** » Mon Mar 13, 2017 3:57 pm

Connor: Hello Kannap, we're here again in Izmedu for World Hit Festival 31. I'm Connor Caldwell

Noah: And I am Noah Fiore, and we're your hosts for Live From World Hit Festival 31!

Connor: We all know that this is just the second time that Kannap has participated in World Hit Festival, after debuting in the last occurrence of the competition. The show is just beginning, welcome back to Izmedu! Welcome to Mousiki!

Noah: Let's get started with the opening sequence of tonight's show. The music you can hear is Towards the Sun and is accompanying a video produced by Alajbeg Productions. This video is briefly recapping the previous World Hit Festival, also hosted in Izmedu. There are many of the performances, Izmedu's own Katarina winning the competition, of course.

Connor: And there is an orchestra taking over the instrumentation of the song. It nearly sounds live here, I am unsure how it sounds on television for our viewers back at home. Now there are drums. Those are really booming. You can now see as the video displays shots through the mountains and seas of the nation. There are small towns and villages as this journey through southern Izmedu continues.

Noah: And there she is! There is Mousiki, the city honored with hosting this competition. You can hear the instrumentation of the orchestra peaking now as we enter into a view of the marina before going into a quick survey of images of the city. For our audience back home, don't you wish you were here?

Connor: And there is a good view of the venue tonight is hosted in, the Majcena-Foruma. There is the city again in the daytime. Now it is night and there's the video, closing with a white screen that you at home can see now. Here comes the logo of the competition. For you viewers at home, you're seeing our show's logo alongside the competition's logo.

Noah: Now here is the venue and here you are with us. The audience tonight is outstanding. Of course, you can't see any of it because the venue is enveloped in darkness, but surely you can hear the loud noises from the audience below us. Now the camera is focusing on the stage and there is the spotlight and here is the opening performance. Let us get the night started!

Connor: The audience seems to fully agree with our opinion on the opening act, because they're being super loud with their cheers. Now we can see a person walking onto the stage, I wonder who it is.

Noah: That would be Stela Kiric, Izmeduan comedian, actress, and hostess of tonight's competition. The audience seems to absolutely adore her!

Connor: Yes, that's right folks, 10,000 fans here in the audience tonight. We estimate that there are approximately 500 Kannapians in the audience. We're also estimating that there are at least 20 million Kannapians viewing from home right now.

Noah: For those who are watching and don't know what World Hit Festival is about, Stela is now explaining for you. Izmedu's competitor won the last competition and therefore they are hosting again this competition. Yes, this competition is one that Kannap has find deep meaning in. A competition that celebrates music, culture, and art, as Stela stated. There are seventeen nations competing tonight, let's get started. Normandy and Picardy is first up.

Connor: One last thing to note before the competition begins, for the viewers at home we have created a 5-star ranking system for performances. Noah and I will grant anywhere from one to five stars for each performance. We hope you enjoy the performances ahead of us as much as we will.

Connor: Very well Kannap, our viewers back home, you have seen all of the performances. You have your favorites, you have the ones that you loved and the ones that you hated. Now it is time to vote.

Noah: Cast your votes by either texting 12-80-VOTE-NOW or by visiting wwi.KannapVotes/WHF-31.kan, remember that your vote counts!

Connor I will be delivering the Kannapian vote announcement later, be sure to vote!

by **Todlichebujoku** » Mon Mar 20, 2017 3:40 pm

Highlights of the WHFans Shard

>>mytuticbroke: how tf did RTI not go with "music in Mousiki"
>>roguefire: they deserve bankrupcy at this rate

Opening Sequence - A New Beginning

>>katanahuatl: what this isn't Izmedu enough
>>mytuticbroke: this was a perfect opportunity to craft a tragic history of mousiki
>>roguefire: from the heartbreaking death of the first baby
>>mytuticbroke: to the shattered dreams of a teen whose family was torn apart by fate
>>roguefire: I'm not donating to RTI anytime soon

Opening Act - Memento (Inamiam me)

>>katanahuatl: you know they're desperate when they're begging us to remember them
>>steelmelting: like they haven't hosted the last two festivals or anythign

Normandy and Picardy - Never-Ending Doors

>>roguefire: eeuugghh those mannequins
>>bestcheese: Hey it's pretty good actually I think

Estogium - Your Aftermath

>>starfilter31: aww cute <3
>>Avivo: oh it's nice

Besini - Tanna

>>roguefire: BESINI BESTINI
>>ExpedientMacroeconomics: This is shallow tripe
>>katanahuatl: BUT IT"S SO CATCHY

Izmedu -Darkest Hour

>>mytuticbroke: this was a positive song but then they ruined it
WHY RTI WHYYYYYY
>>roguefire: even when izmeduans try to be happy they fail
>>ExpedientMacroeconomics: It was very emotionally touching and beautifully executed.
I don't see what's wrong with it
>>roguefire: cuz RTI is playing you haaarrd

Kwadai -Escape

>>mytuticbroke: WHO IS THIS WHAT IS THIS WHY IS THIS BEAUTIFUL
>>katanahuatl: 12 POINTS 12 POINTS IDC IF IT'S WHF

Kalosia - Rikordal Me

>>roguefire: record me
>>steelmelting: ahem lassie... record me? Yes, record me
>>katanahuatl: keep recording me
>>mytuticbroke: ahem, dear ol' me
>>bestcheese: Keep recording me

Cosneolta - One Chance

>>asquared: RIPOFF RIPOFF RIPOFF
>>steelmelting: where are the producers when you need em

Mercedini - Flying Through The Air

>>roguefire: what if the conductor were wearing an actual dog collar
>>bestcheese: 2kinky4me

Monaeroglisseurest Pleindanguilles - Please Don't Stop Us Now

>>roguefire: WHAT IS THAT KASANOVA KORATICAN COLOR SCHEME
>>katanahuatl: HELP I CAN"T GET IMAGES OF TEKKLE AND LAHARA OUT OF MY HEAD
>>starfilter31: needs g string and cat

<<WIP>>

by **Izmedu** » Mon Mar 20, 2017 9:44 pm

After the interval act was done, and after a minute of cooldown trying to decipher what exactly happened, this was the moment Stela appeared on the stage with her trademark cue card in show, looking quite amazed at what Natallija put on just a few minutes ago as she walked onto the central platform with a slightly astonished stare. The camera re-centered itself on the hostess, the crowd cheer dying down.

Stela: Incredible! What you've just witnessed is two never-before-released songs from Natallija Tomcic. Vodiznad born and bred, but decided to lend our Mousiki hosting a helping hand. So, after that party, it's not quite over just yet. We have a few minutes left to vote, and we'll repeat our recap from earlier. So, here it is.

A recap of all 17 entries played once more, emphasizing the most climactic, affecting, and memorable parts of each entry. After that recap, the wave graphic resurfaced once again, turning to a shot of Stela.

Stela: With that... I can now announce you only have, one minute left.

In the font of the World Hit Festival logo, a large '60' appeared on the screens and began to slowly tick down, causing the audience to rile up in quite the excitement. The camera panned to errant flags of various nations being waved around, before fading to a shot of Stela herself, smiling despite the tension music being played.

Stela: One minute to make your choice... Who will it be?...

It felt like a protracted 60 seconds, and as soon as the cluck struck 10 seconds, Stela began to lead the crowd into a cheering countdown. At five seconds, the camera focused on the screen showing the number, and as soon as it struck 0...

WORLD. STOP. VOTING. NOW

Stela: Stop voting! Your votes will no longer count!

It was pandemonium in the Majcena Foruma as the results were locked in. RTI producers behind the scenes were working at a furious pace to process the result that had just appeared before their very eyes. The production team were smiling, almost beaming at the numbers that came through their screen. As Stela let the crowd cheer in absolute madness, a producer whispered to Stela through her ear piece, it was time.

Stela: World! Hey! Hey! Calm down will you all haha! Alright, we got a result!

The crowd finally calmed down, knowing there wasn't long left before Stela would reveal the result.

Stela: Alright, just like last edition, I'm gonna call on Mrs. Vidakovic who has just finished processing the result according to my earpiece. Dora, are you there? Do we have a result?

The camera panned to another production room, where Dora could be seen smiling to the camera. As always, she was a little bit camera shy, but she waved.

Dora: Yes, Stela. I'm proud to announce that a result has been tabulated and we are ready to start the process of finding a winner of the 31st World Hit Festival. Stela, take it away for us.

The camera cut to a view of Stela, nodding with quite the smile.

Stela: Quick and snappy! Thanks, Dora! Alright, let's begin the process. The producers have been hard at work tabulating all your televotes, and they will be presented to you in the form of your nation's top 5. The votes will be ordered in the form of the 1 through 5 voting system, in which 1 point goes to your nation's fifth favorite and the legendary 5 is your nation's favorite song. It's the World Hit Festival tradition.

Stela: Alright, we're gonna do things a little bit differently this time around. You'll find we're gonna take it... a little bit slower this time around. For those that remember World Hit Festival 26 and have followed our little teasers, we're gonna be doing a reverse of that system!

Stela: The new Phase I will focus on revealing the 5 points given from each nation to nation, and just that. Only 33% of the result will be given out for this part, so 85 points are on offer. Also, your national spokespersons will be here as well.

Stela: Phase II is going to be the one where fortunes are going to change, and change dramatically they definitely could. This is where we find out how many points were received by each nation, and this will concern the lower 1 through 4 votes. We'll go through each nation again, yes, but this new Phase II will involve just me showing you the votes the received, and this is where things can get tense. 66% of the vote is given out here.

Stela: I just ran out of air... Alright, I'm ok! Let's check if our broadcasts are ok too, spokespersons!

Behind her appeared the spokespersons of the World Hit Festival from each nation, which the camera focused on for a split second before turning back.

Stela: Don't think I'm gonna get much of a break, but hey, the show will go on. In fact, let's begin revealing the results. The first nation up... whoa this might be a doozy. Monaeroglissuerest Pleindanguilles!

by **Izmedu** » Mon Mar 20, 2017 9:50 pm

Stela: Dobra vecer Monaeroglisseurest Pleindanguilles!... Can we have your Phase I vote?

Terry the Fish: Blub blub HELP ME blub blub

Stela: I am... sorry? Well, I have it right here, and it looks like the fish just muttered the nation to me so I can reveal. Their 5 points goes to...

NIGHTOM

Stela: Alright, before we go further into the rabbit hole, Cosneolta's next!

by **Izmedu** » Mon Mar 20, 2017 10:00 pm

Stela: Dobra vecer Cosneolta! Hey Alfa, can we have your nation's Phase I vote?

Alfa Haalmanus: Hello Mousiki, it's great to be back in Izmedu again. Mind you, it does give me time to soak up the Mediterranean sun! It was a terrific show tonight, everyone was superb. Now, I don't know who is going to win but I can definitely make it clearer for you. So... here are our points! Our 5 points go to...

MERCEDINI

Alfa Haalmanus: Thank you and good night!

Stela: Thanks Alfa! Alright, next up is Estogium.

World Hit Festival 31 - Mousiki, Izmedu | IC Thread

World Hit Festival 31 - Mousiki, Izmedu | IC Thread

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