World Hit Festival 37 - Palmañë, Kalosia | DRAFT THREAD

[Kalosia]

OOC Thread - IC Thread

Statement, Edit Policy, and Deadlines

Welcome to the Draft Thread of the 37th World Hit Festival! This will be the place where nations will work and post on their entry that I (the host) will then eventually transfer to the IC thread once it opens. The final deadline for posting entries will be January 20 (at some point of the day - try to get your entries in by then!) with the IC thread hopefully up within a few hours after. However, nations are free to make minor edits to their entries as I transfer them to the IC thread. There will be a 24 hour grace period after the entry posting deadline for nations to ask for edits as I post/finish up the IC thread. After January 22, all entries are considered final.

For this thread, you can use any format that you wish when posting your entry. The only things that will change as it is transferred to the IC thread will be the header (which will act as a link to your postcard and will be located at the top of your entry) as well as the text being aligned to the center for uniformity's sake. Otherwise, the host nation will not alter the RP aspect in any major form, but minor additions are liable to be made that will only come at the very end of your entries.

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

Remaining Deadlines

Sign-ups Close: January 10
Draft Thread Closes, IC Thread and Voting Opens: January 21
Voting Closes: January 27
Winner Revealed: January 31

The Running Order

THE OFFICIAL RUNNING ORDER FOR WORLD HIT FESTIVAL 37

01
Izmedu

02
Vartugia

03
Hiklarmangia

04
Mercedini

05
Todaskakys

06
Ethane

07
Togonistan

08
New Doltania

09
Darkmania

10
Kalosia

11
Alinghi Federal-Democratic Republic

12
Cleaca

13
Norjihan

14
Britonisea

Additional Information/Miscellany

RP and Stage Info: When determining your performance, you are more than free to use the show + host city details post as you write your RP. If you have any questions about specific stage effects or trying to see what is/isn't possible on the stage, don't be afraid to ask me questions through the WHF37 OOC thread or through telegram.

What is a Complete Entry?: A complete entry, by technical definition, is an entry on the draft thread with a usable tune and a complete set of lyrics (all stanzas, verses, and etc. covered). Which means, I can transfer a post with just pure lyrics onto the IC thread and mark it as a complete entry. However, I encourage all nations to put in RP to your entries. It makes the entry look far more complete than just lyrics on the page, and while it won't guarantee higher points, it will signal to the WHF community that you are putting in effort than just beyond lyrics. However, I understand that time is a crunch (I once was in that same position myself). What will not be transferred is an entry with incomplete lyrics or just a header.

Additional Information on Headers: You are highly encouraged for this edition to include the names of your song's IC producers and IC lyric writers! Please do so! This information will go on your header. I will supply the header template used by Euskirribakondara and Normandy and Picardy (which will be replaced by a graphical header on the IC thread). However, you are not required to use this particular header for this draft thread, as you are free to use whatever format you use.

Code: Select all

[box][b][size=200][color=#000080]XX. Country[/color]
[color=#0080FF]"Song Title" - Artist[/color][/size][/b]
[b]Title Transcription:[/b] (If any, eliminate this line otherwise)
[b]Title Translation:[/b] (If any, eliminate this line otherwise)
[b]Language(s):[/b] Language(s) of the lyrics of the song
[color=#404040][b]Lyrics:[/b] IC song writers
[b]Music:[/b] IC song composers
[b]Conductor:[/b] IC conductor if you are using the orchestra
[b]Tune:[/b] Your tune if you have one[/color][/box]

WORLD! START POSTING NOW!

Note: This post may be regularly updated without announcement, please do check from time to time especially during/near deadlines.

[Hiklarmangia]

03. TIDS Hiklarmangia
"Ass, Ass, Ass" - Slavie

Language(s): English?
Lyrics and music: Slavie

---

*Sigh*. Slavie is here. Again. Lets just shut up and w.....
Oh God, there is a new-beginner here. Well, since there is a new-beginner here, ill be explaining who he is. Slavie (Real name Sëan "Slavie" Skölder) is an darkmanian comedian with "hits" such as ""Give Us All Your Points!" and "Send Nudes!(The ultimate song that is so good, we are already the winner of this contest has began, so you don’t need to waste money for a World Hit Festival that next year goes to a poor country that uses effort for their song and is more serious than our little song that has a title that is long as f*ck because we are more special than the rest, because it's motherfucking Slavie who is here bragging about him being freaking sexy . We f*cking won this sh*t!)" (Yes, that the acual title of that song). Its now time for him to make a comeback, with his “hit “Ass, Ass, Ass.”

He has served his jail-sentence in Britonisea for atemmetd mass-murder.

---

Slavie had this time covered the stage with cocaine.He is badly dressed and he sings like this, out of tune. He mainly roll arond in the white powder.

My Ass, Ass, Ass, Ass
Ass, Ass, Ass, Ass
Let the ass become an ass tonight
Let the ass become an ass tonight
Ass, A-Ass, Ass, My Ass
My, My-My Ass, A-Ass, Ass
Let the ass become an ass tonight
Let the ass become an ass tonight

Slavie stops rolling in "white powder" and he, to destroy his low changes to win, twerk infront of the camera with his butt is a a bit too close too the camera. Truly quality right there.

Ass, Ass, Ass, Ass
Ass, Ass, Ass
Let the ass become an ass tonight
Let the ass become an ass tonight
Ass, A-Ass, Ass, A-Ass
Ass, A-Ass, Ass
Let the ass become an ass tonight, ass
Let the ass become an ass tonight

Nothing interesting happens, lets instead look at the audience, who are confused of this..... "masterpiece".

Let the ass drop today, fucker have no ass
Good ass, tossing salads daily
Holy shit, this song is just ass
I change my phone two times today to some ass
Bro, get your ass ready! Ass is getting ass tonight
The ass is an ass, so let the ass become a ass. This is a meme
Not sure if some ass has said N(-Word)
No one expetec me bitches, so get your ass ready
Y`all have asses. Now its time for say ass 273 times.
Let the ass ass themselv, like an ass having a ass
Oh my God. I just murderd the english languase with asses
Make, make ass great again with asses

He dabs. His eyes are now beginning to get the effect after sniffing the white powder.

Bounce with your ass and free your ass from your ass
Your ass always wanted to become an ass.
Just let the ass become an ass tonight
Let the ass become an ass tonight
Bounce with your ass and free your ass from your ass
Your ass always wanted to become an ass.
Just let the ass become an ass tonight
Let the ass become an ass tonight

Ass, Ass, Ass, Ass
Ass, Ass, Ass (thats a lot of asses)
Ass, Ass, Ass, Ass
Ass, Ass, Ass (this a trainwreck)
Ass, A-Ass, Ass, A-Ass
Ass, A-Ass, Ass (Press F to repect WHF)
A-Ass, Ass, A-Ass (God is dead)
Ass (Poland for no reason)

Slavie`s short booty shaking™.

Ass and ass, Ass and ass, yeah, Ass it
The ass is an ass. No fucking shit, sherlock
Fuck tha cops, the ass must ass into the ass tonight
Ass off, ass, ass, ass, ass, ass, ass ,ass ,ass
*That’s not how English works.*… ass
Ass, ass, ass, ass, ass, ass, ass
Why are you listening to my ass song?
This was a mistake letting me using english and assess
Ass off, ass, ass, ass, ass, ass, ass ,ass ,ass
Ass off, ass, ass, ass, ass, ass, ass ,ass ,ass
Ass off, ass, ass, ass, ass, ass, ass ,ass ,ass
Ass!
Make, make ass great again with asses

Bounce with your ass and free your ass from your ass
Your ass always wanted to become an ass.
Just let the ass become an ass tonight
Let the ass become an ass tonight
Bounce with your ass and free your ass from your ass
Your ass always wanted to become an ass.
Just let the ass become an ass tonight
Let the ass become an ass tonight

Ass, Ass, Ass, Ass
Ass, Ass, Ass (thats a lot of asses)
Ass, Ass, Ass, Ass
Ass, Ass, Ass (this a trainwreck)
Ass, A-Ass, Ass, A-Ass
Ass, A-Ass, Ass (Press F to repect WHF)
Ass, A-Ass, Ass, A-Ass (God is dead)
Ass (Poland for no reason)

My, m-m-My Ass, getting high
Shit up, A-a-a-a-a-a-a-asssss!
RIP in peace World Hit Festival after ass-overdose
My, m-m-m-My Ass
Ass, Ass, Ass, Ass, is getting of greatness
RIP in peace World Hit Festival after ass-overdose

Bounce with your ass and free your ass from your ass
Your ass always wanted to become an ass.
Just let the ass become an ass tonight
Let the ass become an ass tonight
Bounce with your ass and free your ass from your ass
Your ass always wanted to become an ass.
Just let the ass become an ass tonight
Let the ass become an ass tonight

Ass, Ass, Ass, Ass
Ass, Ass, Ass (thats a lot of asses)
Ass, Ass, Ass, Ass
Ass, Ass, Ass (make your headlight)
Ass, A-Ass, Ass, A-Ass
Ass, A-Ass, Ass (Press F to repect WHF)
A-Ass, Ass, A-Ass (God is dead)
Ass

The audience confusedly claps and wait for the next to perform.

Its take a while because filling the stage with cocaine was a good idea.

[New Doltania]

Chorus (Music loud in background):
Never Give In!
You need face your fate!,
It's your destiny!
Never Give In!
Cause this World's a great place,
So Never Give In!
Never Give In!
Never Give In cause
This World's such a great place,
Ya gonna love it right until your old!

Verse1:
I seek my destiny up around the stars,
In the deep ocean,
In mountain ra-a-ange,
Cause I need to find it,
Never Give In,
Never Give In cause
The World's such a great place
Ya gonna love it right until your old!

Chorus

Verse2:
Your all t-t-t-to scared to search for your destiny,
But you must other wise you'll d-d-die,
And would not be great,
So search for your destiny,
Look for your fate,
Cause otherwise you'd sad-sadly die!

Chorus

Verse3:
C'mon Palañe, show us what you got!

Crowd sing chorus acapella

[Darkmania]

XX. DARKMANIA
"Jeg Blir Med Deg" - Chärlöttä Fëdëränserngarmigërölÿrmär
Language(s): Norwegian Bokmål
Lyrics and Music:Chärlöttä Fëdëränserngarmigërölÿrmär

---

Chärlöttä stands alone on the stage-island, whit her mic on a mic-stand. The back upsinger are all placed on the main-stage. The backround are mostly cloudy and grey. Also, there are smoke covering the stage.

Når alt går i knass

(When everthing goes to shit)

Og skygger er over deg

(and shadows are over you)

Men, noen er etter deg

(But, someone is after you)

Når alt går i luft

(When everthing goes to air)

Og skyer er over deg

(and clouds are over you)

Når verden er mot deg

(When the world is against you.)

I mørke eller lyse tanke

(In dark or light thougt)

Vil det altid være en for deg

(Wil their always be there for you)

The transision slowly fades indo the next shot, a long sweeping camerashot from theestra to Chärlöttä.

Pinner og stein brekker bein

(Sticks and stones (may) break bones.)

Og når alt går i knass

(And when all goes in gravel.)

Når verden er mot deg

(When the world is against you.

I mørke eller lyse tanke

(In dark or light thougt)

Jeg blir med deg

(I`ll join you)

The transmission cuts to the next shot slowly. Again. The smoke begins to clear.

Vi går sammen. Du og jeg

(We go togtehter. You and i)

Vi glemmer de andre sammen

(We forget the other)

Ingen mur kan knuse oss

(No wall can destroy us)

Du og meg, uskillbart

(You and me, undividable)

The transition cuts to the next shot slowly. Again. The smoke begins to clear.

Pinner og stein brekker bein

(Sticks and stones (may) break bones.)

Og når alt går i knass

(And when all goes in gravel.)

Når verden er mot deg

(When the world is against you.

I mørke eller lyse tanke

(In dark or light thougt)

Jeg blir med deg

(I`ll join you)

Pinner og stein brekker bein

(Sticks and stones (may) break bones.)

Og når alt går i knass

(And when all goes in gravel.)

Når verden er mot deg

(When the world is against you.

I mørke eller lyse tanke

(In dark or light thougt)

Jeg blir med deg

(I`ll join you)

The background clears up and the smoke disappears. She takes her mic of her stand and she slowly walks to the main stage.

Når verden er mot deg

(When the world is against you.

I mørke eller lyse tanke

(In dark or light thougt)

Jeg blir med deg

(I`ll join you)

After her long note, the audience goes into full clapping modus. We see shots of darkmanian flags and a lot of darkmanians who has come to Kalosia to see Darkmania tries to get their maiden win.

The transmission cuts to the next postcard which is...

[Norjihan]

XX. Norjihan
"The Young Lads" - Mura Naserean
Language(s): English
Lyrics: Marse Alrest, Hugha Noredda
Music: Marse Alrest, Hugha Noredda
Conductor: Ura Laresuttar
Tune: They Might Be Giants - "Birdhouse In Your Soul

---

After seemingly forgetting about last contest despite actually going through all of the paperwork to take part, NF decided that they would return to the contest; they claimed their absence last contest was due to 'budgeting concerns' following their hosting of the WorldVision Song Contest, although everyone knows they were just lazy and forgetful. Others referenced the strange time loop they believe Norjihan was previously stuck in, but this has been dismissed as "the conspiracy theory of a bunch of loonies" by the Norjihani Government. The cobwebs were blown of the desks of the WHF department (adjacent to the WorldVision one, which had a water machine and all the other modern amenities whereas the WHF office had nothing of the sort) and people actually forced to come into work for once, and come to work they did. A new Head of Delegation, Jac Erakkur, led a newly rejuvenated department, and eagerly set to work helping Norjihan return to the contest.

The most immediate question was, as you might expect, who the hell was going to represent Norjihan at the 37th World Hit Festival? Thankfully, the WHF department had a flood of artists who wanted to put their names down to compete at the contest. The only problem was this was that most of the artists couldn't sing, couldn't perform, both or simply were just bad full stop. However, inbetween headaches and near constant frustration a few gems did sparkle amongst the dross. Amongst those were an alternative group from the Hajenired music scene called Mura Naserean, made up of Masre Alrest (Left) and Hugha Noredda (Right). Known amongst the scene for their eccentric stylings, deep lyrics and a sound that is unique within the Norjihani music scene, Mura Naserean is named after a famous character in Norjihani literature who kills himself rather than deal with the agony of loving someone who he thought was already married, just before she was about to confess her love for him (make of this what you will).

The annoucement that they were to represent Norjihan was met mostly with surprise, with many people just discovering the group for the first time. This was compounded when their song was released a few weeks later; they had been given total creative freedom by Erakkur, who wanted them to produce 'something authentic, something true to their sound', and that they certainly did. Their song, "The Young Lads", has certainly divided opinion within Norjihan, with some expecting Norjihan to do really well and others expecting an utter castrophe akin to Norjihan's debut. However, Jac Erakkur was beaming, his smile stretching across his face, as he released his song, as he had fulfilled what he had set out to do; he wanted WHF to become a way for lesser known Norjihani artists to gain more recognition, both in Norjihan and across the multiverse, and this had certainly happened with Mura Naserean.

The song itself is true to Mura Naserean's style. Norjihani literature students and music critics have had fun pouring over the lyrics, which the group themselves playfully say, "Are open to whatever interpretation you want, as long as it makes sense given the lyrics." Many people have viewed the song as an anti-war anthem, and this aspect will definitely be reflected in the staging if the clips that NF have been teasing for weeks are anything to go by. Others say it goes against religion, capitalism or all of them, and thus have achieved exactly what Mura Naserean wanted.

The time had arrived. After weeks of practice and training, of perfecting the stage show, working on every last little details and intricacy, they were going on the plane to Kalosia, to represent their nation at the World Hit Festival. Now, all they could do is wait...

---

As the postcard ended and Ura Laresuttar, the Norjihani composer brought in to help bring a more 'real and... visceral' sound to the entry, was welcomed, the final preparations were made. The stage went dark, when the song began, the orchestra playing in the darkness of the exhibition hall (of course they could see what they were doing, but they were hidden by the camera view), as a single light shined on Masre's face from below, ominously highlighting certain parts of his whilst the rest fell into shadow. The light, whilst mostly white, had a slight red hue to it, adding to the menace. He sang, his face looking straight towards the camera as it zoomed in, getting closer and closer.

Tell them what they want to hear
And what you want them to want to hear
And really what I want to hear
Is what I want to know and I...

As the drums that would usher in the chorus played, the view at home swithed suddenly to one of the drummers in the orchestra, unmoving and hitting the timpani (used for this live performance only) with an incredible power, with jump cuts moving closer to the mallets before showing a view whereby it looked as if the mallet was about to hit the camera and come out of the screens of the viewing public at home. Then suddenly, the stage burst into light and it was revealed that Masre was on the sort of platform you'd expect to see for a politician, wearing a general's hat and medals but a priest's robes, his hands tightly gripping the edges of platform. He sang whilst he made the gestures, arm movements etc. of a politician, as if addressing an audience at a rally of some sort, whilst behind him on the catwalk there were 3 men dressed as soldiers, passing on a giant coin one to the other, whilst a man dressed up as the stereotypical businessman waited impatiently, cracking a whip that he held by his side. The scene in the background, in a complete juxtaposition, showed a typical 50s housewife waving goodbye to her husband and children as they went off to work and school respectively.

The young lads playing toy soldiers
The toys long abandoned
Tell their mothers they'll be back sometime soon

Marching forwards to the same tune
The same tune that their fathers marched to
How great their ancestors seem to them

The cameras returned from panning around the stage, showing the performers on the catwalk and glimpses of the view in the background, to show Masre who continued to perform his general/politican/priest act. He pointed to the screen were now there was an image of a choir in a church of young boys singing a funereal song as a group of boys carried a grave. Those boys then appearing to become men and carry a physical grave onto the stage behind him. They laid the grave down on the floor, with the LED floor made to look like the floor of the church, in which there is an old style TV with the screen smashed.

Those drums are sounding again
Hear the joy and the death
But only the joyful can tell
And the song they scream is sweet as well

In the room where we watch TV
The suburban factories
We sit silent whilst our boys play outside in the sun and with fire

The 'choirmen' ripped off their choir clothing to reveal military clothing, and marched to each corner of the stage, as on the LED floor a chain appearead which was 'attached' to each of their feet, each of the chains meeting at the grave. The camera looked up towards the background, where the same broken TV screen is shown but with an image faintly showing of an army marching off to war.

Their story on our screen
Oh what a wonderful scene
Another go!

The four men, now soldiers, turned and pointed at Hugha who now stood in the middle of the stage, dressed in military style with a guitar made to look like a gun, whilst below his feet the church floor slowly changes to mud, seeping through the tiles, as if it is desperately reaching out and trying to escape. In the background, there is more 50s-esque stock footage of children playing with toys, but at one point the camera view appears to zoom in on one of the children's eyes and shows a scene of utter devestation. Hugha meanwhile marched towards Masre on the platform at the end of the catwalk, walking towards the businessman who, now possessing the coin that the soldiers gave him, had turned his back. The soldiers were reaching for him, almost begging, but they stood to attention when Hugha arrives, patting the businessman on the shoulder.

The young lads playing toy soldiers
The toys long abandoned
Tell their mothers they'll be back sometime soon

Marching forwards to the same tune
The same tune that their fathers marched to
How great their ancestors seem to them

The exhibition centre descended into the same darkness as before, and again a single light shone on Masre, this time a deep, vivid shape of red. Flashes of red lights in the background and throughout the expedition centre vaguely showed the scene in the background, with the soldiers following Hugha back to the main stage whilst the businessman laughed.

I am your father
But I am not your father
But I am the man who will guide you and will shape you
And mould you like a father does and I

The four choirboys-turned-soldiers and those who were already on the catwalk had now formed a sort of formation with Hugha at the front, all performing the same moves in a zombie-like manner. They lifted their hands limply above their heads, before sharply turn to the right, lifting their legs up and pivoting back towards the front, followed by doing a sort of almost robot like dance, keeping tight in formation the entire time. The background shows more marching soldier, whilst Masre has turned around to look at them dancing, and the camera shows him singing towards them, beaming and trying to show them off like a father probably would.

I'm as proud as a father can be
My smile is all that they'll see
As they go to their next playdate and play with the bigger kids

And though the battles inside
Can keep me up at night
I can sleep a little better knowing that they've grown up brilliantly

Masre sharply turned around back towards the audience, and on his podium the was a small, metal cage with a white bird hanging upside down on the perch (don't worry, it wasn't actually a real bird), which he almost leans down to and sings towards, before knocking it off the podium entirely, something the camera focuses on.

The dove's asleep again
I'm pretty sure it's dead
Did it live?

The soldiers began marching around the stage, forming a circle around Hugha as they do so, marching in perfect time to the song and punching their fists into the air. In the background, the same image of the mother appeared once more but she begins to slowly cry, and for a second the camera focused on the tear and there was a faint reflection of a gravestone with what is presumably either her son's or her husband's name on it.

The young lads playing toy soldiers
The toys long abandoned
Tell their mothers they'll be back sometime soon

Marching forwards to the same tune
The same tune that their fathers marched to
How great their ancestors seem to them

The background this time showed the children playing a board game in which all of the pieces were military pieces of equipment, with the tank piece being lifted up so that the muzzle filled the main background screen, whilst on the side screens images of recruitment posters appeared, but with toy planes and soldiers in place of the actual equipment.

And they will play on
Staying young forever, playing the game since they were born

The soldiers kept on marching in the centre of the stage as the lights began to go crazy, like searchlights during the Blitz searching for enemy planes in the sky. The background images began to show graves, gravestones and general scenes of death. The camera shots became erratic, showing the soldiers now began to break down whilst Hugha tried to keep control, and Masre kept singing at his podium as if trying to pretend nothing was happening. The orchestra remained, as they were expected to, calm and collected throughout all of this, providing a perfect contrast to what was happening on stage.

Marching to the grave to the same tune
The same tune that their fathers were buried to
How great their ancestors seemed to them

And they don’t play now

(The young lads playing toy soldiers, The toys long abandoned)

Forever young, having played the game since they were born

(Tell their mothers they'll be back sometime soon)

They’ll no longer march to the tune
Or at least that’s what they’ll tell their mothers
But their fathers once did the exact same

And they don’t play now

(The young lads playing toy soldiers, The toys long abandoned)

Forever young, having played the game since they were born

(Tell their mothers they'll be back sometime soon)

By this point, Hugha had managed to gather the soldiers together and they were all in a line on the stage. Underneath them, the LED floor showed the surface of a grave which came up to the sides of the LED section, with little bits of grass and mud at the edges as if they were being buried. As the song ended, the soldiers fell over one by one like dominoes, before the camera cut to Masra, again illuminated by red light, almost smirking whilst in the main background screen the image of a nuclear bomb test was played.

And the young lad's young lads will do it
Just like how their old lads did it
Forever hearing the drums of war

[Cleaca]

XX. Cleaca
"Hinga" - Toa
Title Translation: ''Failure''
Language(s): Togoni-Maori
Lyrics: Toa
Music: Toa

Tune: Shirubi Ikazuchi - ''St. Cabah''

Backstory:

After their surprisingly solid performance at the 4th Junior World Hit Festival, CBC officials agreed that they could try out the senior WHF. CBC, eager to put their tiny nation on the map, decided to take a chance and approach Toa, a young rising star to represent Cleaca at the 37th World Hit Festival.

Toa (Translation: Warrior. Real name: Alofa Taito) is a 22-year old college student and part-time musician. Although she has born and lived all her life in Togonistan, her roots do reach to Cleaca through her grandfather, who was born there. Toa is currently studying IT at the South Tushlark Institute of Technology, however, that does not stop her from actively working on her music career as well. When it comes to music, Toa is generally known for her unique electronic style mixed with simple, yet meaningful lyrics. She is always working on her songs alone from the scratch, as she thinks it is the best way to express her real self.

For WHF, she has produced a song titled ''Hinga,'' which translates to ''Failure.'' The song is very meaningful to her, as it is taking a very dark and personal approach. When we asked her comment on the lyrics, all she said was: ''I have been through some things. Things I want to forget. This is all I have to say.''

Performance:

Stage is dark, background screens show a moonlight while Toa is standing in the middle of the stage, wearing a short black dress with a pair of boots. There is also a decorative dead tree on the left side of the stage. Camera starts rotating around Toa as the music starts playing and when it's time for her to sing, it closes up on her.

Ka ara ahau i te ata o te a
Tirohia te titiro i mua a, oh
Te maere mehemea he pai ki te tīmata
Tirohia nga mea katoa e ki mai ana au

I wake up in the morning light
Take a look around before, oh
Wondering if it is worth to start a day
See all these faces telling me that I am

Camera starts rotating around Toa as she sings the chorus.

Hinga! Hinga! Hinga ko koe!
Koretake, korenoa, kiriwetiweti!
Hinga! Hinga! Hinga ko koe!
Koretake, korenoa, kiriwetiweti!

Failure! Failure! Failure you are!
Incompetent, useless, disastrous!
Failure! Failure! Failure you are!
Incompetent, useless, disastrous!

Toa kneels down on the stage, looking straight into the camera while singing.

Ko nga rewera i roto to hinengaro
Rere atu ki roto i to roro
Nga raruraru e kore e taea te whakakore
Kaua e mohio he pai ki te whawhai

Demons inside your mind
Sneak inside your brain
Make trouble that cannot be undone
Not sure if it's worth to fight

Toa stands up and starts slowly walking towards the tree, tilting her head a bit while singing.

Hinga! Hinga! Hinga ko koe!
Koretake, korenoa, kiriwetiweti!
Hinga! Hinga! Hinga ko koe!
Koretake, korenoa, kiriwetiweti!

Failure! Failure! Failure you are!
Incompetent, useless, disastrous!
Failure! Failure! Failure you are!
Incompetent, useless, disastrous!

Toa reaches to the tree and starts touching it's branch while looking at it. Meanwhile the camera slowly rotates around her.

Te pouri i runga i ahau
E pai ana kia wahia ahau
Me whakauru ahau ki te reinga
Engari me tatari koe
Kaore ahau e whakaheke

Darkness poured over me
Ready to break me apart
Feeling I must belong to hell
But you must wait
I don't give up yet

When it's time to end the verse, she pushes herself away from the tree as she sings the last word, does a 360 degree rotation around herself and starts walking away, singing the final chorus at the same time.

Hinga! Hinga! Hinga ko koe!
Koretake, korenoa, kiriwetiweti!
Hinga! Hinga! Hinga ko koe!
Koretake, korenoa, kiriwetiweti!

Failure! Failure! Failure you are!
Incompetent, useless, disastrous!
Failure! Failure! Failure you are!
Incompetent, useless, disastrous!

Song ends and the audience starts cheering. Toa waves and shout out: ''Thank you Palmañë, thank you everyone!'' before leaving the stage.

[Togonistan]

XX. Togonistan
"I Wanna Fly" - Apikaila Kuresa
Language(s): English
Lyrics: Apikaila Kuresa
Music: James Hinojosa
Conductor: None (no orchestra)
Tune: The Pretty Reckless - ''Make Me Wanna Die''

Apikaila Kuresa

Backstory:

Apikaila Kuresa is a 26-year old singer born in Tashan, Togonistan. In her native homeland, she is considered to be the ''bad girl of rock,'' as her career so far can be best described as being a rough ride full of ups and downs. Although during her career she has been praised by fans and music critics for her great style, for the past few years, she has been drawing more attention due to her alcohol and drug habits. Apikaila has been an avid drug user for about four years, which resulted in her getting caught and locked up two years ago in July. Not a single hint had been heard about her until November last year, when she came out with a post on social media stating that she had gone through a rehab and will be returning to the scene soon.

Lucky 7 went through an internal selection, which resulted in making an offer to Apikaila Kuresa to represent the nation at the 37th World Hit Festival. For WHF, Apikaila shall sing a song titled ''I Wanna Fly'' which is a joint project between her and James Hinojosa, a Togonistani composer and musician who also represented Togonistan in the 33rd World Hit Festival as a keyboardist of Thunder Brigade. ''I had a really good feeling about working with James on this one. He has been one of my best friends ever and always been there for me,'' Kuresa commented on why he decided to work with Hinojosa.

Performance:

Apikaila is standing on the middle of the stage. Background screen shows a forest fire happening while the stage itself is dark. Only a silhouette of Apikaila can be seen as the song starts building up. Eventually, the stage lights up a bit more, revealing Apikaila's face. Her hair is swinging as the result of a little breeze created by wind machines. Apikaila is wearing a outfit consisting of black leather jacket, white shirt, black thorn jeans and black boots. She has her hands placed in pockets and her body and facial expressions are rather lazy and tired.

Make me fly away
Givin' me relief for my wicked mind
And everything looks better when my mind is blown

Give me everything
Your comatose could be my wings
And my hunger could only grow

Camera takes a close-up shot of Apikaila, who is turning her head to make the hair cover her face.

Praise
Your lies
I can't see through the lies
Your lies

Wind machine starts working again and maker her hair wave in the air. Meanwhile, camera takes a few quick shots of her band members, who are at the far back of the stage, before closing up on Apikaila again.

You make me wanna fly
I never could shoot the moon
You make me wanna fly
I feel a little fool
Will need another hit
And every time I do I feel so lit
You make me wanna fly

Apikaila takes her right hand out of the pocket and clings to the microphone.

Take me to the moon
Give me little pleasure I shouldn't to
While I'm losing all of my mind

Give me everything
Your comatose could be my wings
And my hunger could only grow

Camera takes a close-up shot of Apikaila, who is lowering her head and looks at the floor.

Praise
Your lies
I can't see through the lies
Your lies
Everything is your lies
Your lies

Apikaila raises her head and looks into camera.

You make me wanna fly
I never could shoot the moon
You make me wanna fly
I feel a little fool
Will need another hit
And every time I do I feel so lit
You make me wanna fly

Background screens show a meteor rain moving towards the earth, while Apikaila is slowly tilting her head from one side to another.

I could never have enough
Enough
I could never have enough
Enough (You make me wanna fly)
I would steal for another huff
For huff (You make me wanna fly)
And I would never have enough, enough

Meteor rain hits the burning forest at the background, resulting in a blast that wipes everything out entirely. Apikaila is closing her eyes as she screams out the last lines of her song.

Will need another hit
And every time I do I feel so lit
Will need another hit, make me feel so lit
Will need another hit, make me feel so lit
You make me wanna fly

Background screens slowly fade in black, as does the stage lighting. While the music slowly fades out, the stage is covered in darkness and Apikaila with the band quietly leaves without saying anything.

[Alinghi Federal-Democratic Republic]

11. Alinghi Federal-Democratic Republic
"Wachen Sie / Ti Svegli" - by "BitBit 96"
Title Transcription:
Title Translation: You wake up
Language(s): German (or most precisely the Alingan dialect of German) and Italian
Lyrics: Heimat Zebb Angus / Antoni Lincio Giovanni
Music: DJ Popòr (Lesties Capuen Jouanne)
Tune: Eiffel 65 - Quelli che non hanno età

Background:

The Bit Bit 96 is a group that do a italodance or dance music, they became famous doing the songs in the genres, most popular in Alinghi.They partecipated in the las ALinghi SongFestval for WHF, reaching the first place on the competition, and gaining the rigt to represent the nation at this competition.

Heimat is also actually the landmeinster (the mayor) of lander (municipality) of Azkaban in canton Franke.

Wachen Sie
Wachen Sie... und du herausfindest, da-a-ass
dass heute ist eine tage als gestern
da kann noch viel passieren, Wir wissen es da noch nicht

You wake up...
You wake up... and you discover that...
today is a day different from yesterday
who know what will happen you don't know yet

Wachen Sie
Wachen Sie... und du herausfindest, da-a-ass
dass heute ist eine tage als gestern
da kann was mit dir passiert, Sie ganze alle eine uberraschtung

You wake up...
You wake up... and you discover that...
today is a day different from yesterday
who know that thing will happen to you, it will all a surprise

Oggi come tutti i giorni
è imprevedibile e tu lo sai
non saprai mai cosa potrà mai accadere
potresti vincere... o perdere
il dado deve essere ancora tratto
è questo è il bello di non sapere il futuro
ogni giorno è una piccola avventura, e vai

Today, as all the days
is imprevedible and you know it
you'll don't know what it will happen
you can win... or lose
the dice must be sill launched
that is the fun to don't know the future
every day is a little adverture, and go...

Wachen Sie
Wachen Sie... und du herausfindest, da-a-ass
dass heute ist eine tage als gestern
da kann noch viel passieren, Wir wissen es da noch nicht

You wake up...
You wake up... and you discover that...
today is a day different from yesterday
who know what will happen you don't know yet

Wachen Sie
Wachen Sie... und du herausfindest, da-a-ass
dass heute ist eine tage als gestern
da kann was mit dir passiert, Sie ganze alle eine uberraschtung

You wake up...
You wake up... and you discover that...
today is a day different from yesterday
who know that thing will happen to you, it will all a surprise

Il futuro ancora non è scritto
ma il passato ci fa sempre visita
influenzando il nostro futuro
nei modi che, non pensi mai
perchè dalle scelte che fai in passato
determinerà quel che sarai.
Ma quel che sarai non lo sai ancora. Ancora

The future is not yet written
but the past dong always visit
influencing the our future
in the modes that you don't thinks
because thankt to the choose that we do in the past
will detetermine that's what you'll be.
But that's what you'll be yod nont know yet. Yet

Wachen Sie
Wachen Sie... und du herausfindest, da-a-ass
dass heute ist eine tage als gestern
da kann noch viel passieren, Wir wissen es da noch nicht

You wake up...
You wake up... and you discover that...
today is a day different from yesterday
who know what will happen you don't know yet

Wachen Sie
Wachen Sie... und du herausfindest, da-a-ass
dass heute ist eine tage als gestern
da kann was mit dir passiert, Sie ganze alle eine uberraschtung

You wake up...
You wake up... and you discover that...
today is a day different from yesterday
who know that thing will happen to you, it will all a surprise

Il tempo passa
inesorabilmente
come un treno in corsa-aaa

The time passes
inesorably
as a train in course

Wachen Sie
Wachen Sie... und du herausfindest, da-a-ass
dass heute ist eine tage als gestern
da kann noch viel passieren, Wir wissen es da noch nicht

You wake up...
You wake up... and you discover that...
today is a day different from yesterday
who know what will happen you don't know yet

Wachen Sie
Wachen Sie... und du herausfindest, da-a-ass
dass heute ist eine tage als gestern
da kann was mit dir passiert, Sie ganze alle eine uberraschtung

You wake up...
You wake up... and you discover that...
today is a day different from yesterday
who know that thing will happen to you, it will all a surprise

[Britonisea]

14. Britonisea
"I'm Hurting Too" - Dean Boyst
Language(s): English
Lyrics: D. Boyst, J. Embankment, N. Negoist
Music: R. Whitherspoon, Z. Newman, T:Rodden
Conductor: Gordon Barco
Tune: Human - Austin Schneider cover

Britonisea is returning to the competition after a one-edition hiatus, and will be back as strong as it has been before the nation took a break.

Dean Boyst is representing his country, Britonisea, at the 37th World Hit Festival, following the footsteps of Etela Tomac - who represented Britonisea in World Hit Festival 34 and Mehkl Maddox Ajax, who represented Britonisea at WorldVision Song Contest 54 to be the third artist who participated in the 2017 edition of Vha Mehlodhivestoile to go to one of the main music competitions. In Vha Mehlodhivestoile 2017, Dean Boyst was one of the favourites to win, and he was also the international juries' favourite song - placing him first in Phase 1. He is hoping that success that he had during the national final will carry him through to the World Hit Festival in Kalosia. Moreover, Dean Boyst will be returning to the national final in 2018 due to him placing 3rd and being given an automatic pass in to the Grand Final of Vha Mehlodhivestoile 2018 - which reportedly, he took.

The last time that Kalosia hosted the competition, which was during the 26th World Hit Festival, Britonisea came out as the nation on top, with 20 points. The win was so close, due to the draw with Izmedu and having to see who won by the amount of voters. In the end, Britonisea had their first victory with Rigas Jengiz and went on to host the World Hit Festival 27 - ten editions ago. Since then, Britonisea has come third three times (including Junior World HIt Festival) and has hosted the competition during the 35th edition - seeing the best few editions from this nation at World Hit. Unfortunately, the nation took an unintended break during the World Hit Festival 36 as most of the attention had turned to the Junior World Hit Festival which drew in large numbers for BVC 2, but assured it's people that it will be back In World Hit Festival 37, there are large hopes on the Britonish delegation will do as well as it did when Kalosia last hosted.

The nation was told that it will be performing in last place, which is the first time Britonisea is doing so since World Hit Festival 29 in Izmedu.

---

Dean Boyst was standing in the middle of the stage. There was a large applause for the final act of the night, but with that title came great responsibility. As the arena got ready for Dean Boyst, the starting camera shot was from the top, showing a picture of the eye-shaped stage. On the floor there was a white line which went from one side of the screen to the other side. The introduction begun to play, thanks to the conductor. The camera slowly made it's way down to Dean's face before he started to sing;

Your smile lights the world,
Your dreams lights my world.
I have dreamt so much 'bout you,
You're all inside my head.
You're my everything.

Nineteen ninety-nine.
When we first crossed paths,
We were only young, we were so innocent.
Where has all that gone?

As the pre-chorus and finally the chorus came up, Dean walked to the right side of the stage where he met with a camera. He spoke in to it before turning around to be greeted with a sea of LED torches from people in the audience.

Don’t run from me, don’t you leave me - abandon me!
You know, I'm hurting too. I don't think you understand.

I am hurting too, and though I’m not showing sadness,
I feel so trapped in a large glass box,
I can see you, but I can't come closer.
See, I am hurting too...ooh

He sang this last bit before the lights in the arena all turned off as if all of it's energy just seeped out. On people's TV the screen turned faded to nothingness, to darkness, before Dean's face reappeared. He continued singing;

I’ve done this to us,
The guilt runs off me,
I am left speechless when you walk in a room...
Why would I ruin that?

He put his hand to his forehead as he sung that last part, and the camera zoomed out as he begun walking again. The spotlight followed him around as he walked, while the scenery below him was now white;

Don’t run from me, don’t you leave me - abandon me!
You know, I'm hurting too. I don't think you understand.

I am hurting too, and though I’m not showing sadness,
I feel so trapped in a large glass box,
I can see you, but I can't come closer.
See, I am hurting too...ooh

I am hurting too...
I am hurting too...
I am in pain too!

He walked right to the edge of the stage and sang straight in to the microphone with power, and as he did this, there was a camera then was right at the other end of the stage, which picked up everything that was happening on the stage - the lights circling around the arena, making sure to pick up everybody at least once.

Don't run away from me...don't abandon me...

You know, I'm hurting too. I don't think you understand.
I am hurting too, and though I’m not showing sadness,
I feel so trapped in a large glass box,
I can see you, but I can't come closer.
See, I am hurting too...ooh

The crowd applauded loudly for the male as he bowed towards the audience and thanked Mr Barco. "Thank you very much!" he shouted before walking off the stage ready for the hosts to come back on the stage to announce that the lines are open.

[Mercedini]

05. Mercedini
"Waiting" - Niklas Vostina
Language(s): English
Lyrics: Niklas Vostina, Dominica Monza
Music: Niklas Vostina
Conductor: Anders Crevatoni
Tune: James Arthur - Naked

For the second time in three editions, Mercedini go into the World Hit Festival as defending champions following their rather unexpected resounding victory in Izmedu last time round. As is quickly becoming tradition around these parts, Mercedini rejected the rights to host the subsequent Festival, citing other projects including the Junior World Hit Festival by the Mercedinian host broadcaster, ENM. Alas, here we are in Palmane, Kalosia for the 37th edition of the contest.

After much deliberation and expectation, ENM finally settled on Niklas Vostina to carry the Mercedinian torch into the latest edition, with his song 'Waiting' reaching the top of the charts following his final appearance on The Voice of Mercedini. Niklas was originally a contestant on the national TV show where he was eliminated in the semi-finals of the competition, before writing his own debut album and releasing it to critical acclaim. Whether he can continue his nation's fine run of form remains to be seen, with many Mercedinians hoping that a new nation wins or that Mercedini hosts the contest in the near future. Niklas will perform in Palmane with his delegation as de facto defending champion, hoping he can make it a hat trick of wins for the blue and black nation.

The opening chords of the piano plays out as the Mercedinian entry beings for the 37th World Hit Festival. Plenty of pressure has been put on Vostina's shoulders given the recent success in both the junior and senior editions of the competitions, with many at home hoping he can continue the good run of results the nation has been receiving. He sits poised at the piano playing the keys in a methodical way, with the rest of the stage bathed in black and gold with the orchestra playing behind him. He sits at the piano wearing a dark suit before looking up to the camera and singing into the microphone hooked to it's stand.

Its not fair
When you left me at the door
It was more than I could bare
The words you share
They cut me to the bone
Making earthquakes in my head

Niklas has a determined look on his face as he looks down at the keys to sing his song. The stage remains dark with members of the audience barely visible with the stage the only thing that is illuminated in the arena. The orchestra comes in with the men and women in the pit playing their instruments with purpose but without intensity as they match the slow pace of the song.

I need one chance
If this is our last dance
But don’t you ever say it wasn’t love
But to have you near
This perfect atmosphere
It can postpone the sorrow in my blood

The first chorus comes in without any real beat, matching the mellow staging as the LED screens display an aesthetic of liquid metallic golds flowing around the screen and the floor where the performer and the orchestra are situated. The camera circles the piano as Niklas remains sombre and focused on his vocals while the audience simply watches the performance without waving their flags or cheering to disturb the performance.

Your verbal grenade will blow us up
My effort can never be enough
I’ll always be waiting
(waiting, waiting)
I’ll always be waiting
(waiting, waiting)
The alarms sound as we run out of time
Trying to find all our reasons why
I’ll always be waiting
(waiting, waiting)
I’ll always be waiting
(waiting, waiting)

The second verse comes in with the beat finally kicking the song to life. Niklas takes the microphone off its stands and stand to make his way to the front of the table. The orchestra comes into its own this time with violins and cellos now being audibly heard in the song as the camera tracks the main performer as he makes his way to the front of the stage, getting the audience more excited. Niklas adds more soul into his performance with flags beginning to be waved as the song picks up the pace.

Girl, don’t shout
All I can hear is noise
As we drown the silence out
Hear me out
If we never disappear
Then we’ll never do without

The second lead up to the chorus comes in as the camera makes a series of sweeping shots at the bottom of the stage with Niklas singing into the camera before returning to the central camera with the flowing liquid gold remaining in the background. The camera switches between footage of the orchestra and the performer on stage as the camera flies overhead, capturing the entire stage and all of it's intricate parts.

I need one chance
If this is our last dance
But don’t you ever say it wasn’t love
But to have you near
This perfect atmosphere
It can postpone the sorrow in my blood

Niklas stands strong in the centre of the stage as the chorus kicks in, golden lights faintly appear around the arena illumanting the rear portion of the stage. The elevated central camera slowly moves backward to slowly reveal parts of the audience which are now bathed in a golden hue so can now be seen. He moves from the centre to the right hand side of the stage to sing into the camera flying to the front of the stage before takin a right turn before flying past the stage and away from the performer. He moves back to the centre as the chorus draws to a close.

Your verbal grenade will blow us up
My effort can never be enough
I’ll always be waiting
(waiting, waiting)
I’ll always be waiting
(waiting, waiting)
The alarms sound as we run out of time
Trying to find all our reasons why
I’ll always be waiting
(waiting, waiting)
I’ll always be waiting
(waiting, waiting)

The second chorus ends leading to a switch-up, with golden lights moving around the arena with the audience getting more excited as they wave their flags. Backing singers not yet seen can now be heard as they jump in to provide an elaborate series of vocals in the song. The central camera moves forward as Niklas stands in the centre as the lights recede into the darkness.

The only thing that I can bring
Is the air to spread your wings
The only thing that I can bring
Is the air to spread your wings

The flowing gold has now been replaced with solid gold as the song reaches its climax. Golden lights shine as the camera flies backward to take in the scope of the entire arena. He mellows for the first two like before putting all his effort into his vocals to give an emotional yet professional performance for himself and his nation. The crowd give a cheer as the stage illuminates, obviously it his very difficult to perform for the nation who are the current defending champions, however he has tried his best given the circumstances.

Your verbal grenade will blow us up
My effort can never be enough
All my life I’ve been waiting
(waiting, waiting)
I have been waiting, yeah
The alarms sound as we run out of time
Trying to find all our reasons why
I’ll always be waiting
(waiting, waiting)
I’ll always be waiting
(waiting, waiting)

For the final couple of lines in the song, the LED screens fade to black with only the golden lights twinkling which is lighting up the stage and it's performers. The orchestra play out the final series of notes as Niklas finishes his performance by offering his hand to the camera which is on the stage in front of him. He finishes the performance with a wry smile to the audience.

I'm waiting
I'm waiting here

The audience applaud him with the Mercedinian contigency waving their flags in admiration of their representative. Niklas takes a quick bow before giving a quick thanks to the audience. "Grazij Kalosia, I love you!", a transition is made for the postcard for the next nation.

[To-Das Kavysyan Kystareyu Syyeryn Joraya]

XX. Todaskakys
"Here For You" - Texyra Sylakata
Language(s): English
Lyrics: Texyra Sylakata, Henrik Lang
Music: Eino Geisler, Vysare Zhetanero
Conductor: CuSil (copper-silver) lightning rod
Tune: R3hab & Felix Snow ft. Madi - Care

An iridescent glimmer flashes across the stage. Texyra Sylakata steps into view, softly lit, her bodysuit pearl white against the darkness of the stage. Slowly, the screens light up in oceanic colors, with the spotlight on Texyra being warmer. Green 3-dimensional holographic Algo characters appear and disappear in the air with every note: "ko vo ryn ye ko vo ryn 'o ko vo ry nar ty ko" (I don't love I have no soul I am having no emotion). She begins softly, a bit nervously, but earnestly

You've got fire in your eyes
In that frozen shell
Midnight dark within, imagined sin
Civil wars you have fought

She turns her head just slightly, as if flinching, or perhaps just respectfully looking away. The visual landscape is relatively spartan, just an occasional bar of light appearing in the air with each note. The spotlights gain a marine, sea-colored aspect

As you drowned in waters of self doubt
I wade in the waves
I give my hand, you turn around, lift you up to sweeter air

She turns back toward the audience and reaches out, as if to take someone's hand. Her expression shifts from one of distanced concern to direct address, gazing straight into the audience and the camera with urgency

Now don't you run away from darkness
Face it or you'll never flee
Take a breath and stare in silence
Open floodgates, let it free
Feel the pain, it burns, into old wounds, let the pain knife through, let the pain knife through
'Cause you'll rise anew, know I'm here for you, know I'm here for you

The stage flashes green from the inside outwards, and the lights and holograms display a spectrum from blue to green, according to the pitch of the notes in the music. The spotlights on Texyra cut out, leaving her to be only illuminated by the lasers, holograms, and stage graphics that flash through the darkness. She strides down toward the projecting platform

Know I'm here for you
Know I'm here for you
I'll be here for you

A single warm spotlight returns to her as she falls to her knees on the platform, almost as if melting into the music

Yeah, yeah, yeah, yeah oh yeah
Yeah, yeah, yeah, yeah oh yeah
Yeah, yeah, yeah, yeah oh yeah
I'll be here

The spotlights return to Texyra as she rises back up. The background screens shift to emulate a sturdy fortess wall

I saw you build a wall outside
Granite walls towering against the light
To trap it in, hidden in, the stonework so fine

She surveys the crowd, beckoning to all

To build a castle to fool the world
Fleeing pain by built control
To shield yourself, year after year, from your own scarred soul

The floor screen depicts a swirling fusion of yellow, green and blue as the background walls begin to crack. Texyra grows more animated, more passionate, more driven

So break down the walls to your darkest corners
Let the pain suffer in light
I have a match, let's strike this pyre

The lights brighten and warm as Texyra holds up a burning match and the colored light affects quicken

Immolation brings great catharsis, memories burn through, memories burn through
But you'll rise anew, know I'm here for you, know I'm here for you

A backing dancer almost seems to emerge from her backside, and Texyra passes the match to her. The dancer runs to the orc pit, which enters the light filled with skulls and broken bones and papers and old dry belongings, and drops the match in. The pit violently bursts into flame just as the beat drops and the ambient lighting cuts out, leaving only the flame to compete with the blinking holograms and lasers in the darkness

Know I'm here for you
Know I'm here for you

The lights fade subtly, then cut out with the music, with only Texyra lit by a golden spotlight on her knees and reaching up

Know I'm here for you

Texyra quickly disappears into the darkness

[Izmedu]

XX. Izmedu
"Am I Alone" - Arijana Kovac & Mirjam Volic
Language(s): English
Lyrics: Mirjam Volic
Music: Arijana Kovac
Conductor: No Conductor
Tune: Lindsey Stirling ft. Carah Faye - Where Do We Go

“Do you know that feeling when, you feel like things get better? And they don't? Instead, they just get worse because you watch yourself fall apart and nobody's there that can help you. I know that feeling too well now... To the point where I nearly wanted to give up music for my sanity. Sometimes, there really isn't friendship to be found. But to also tell you the truth, I don't know if I found a way to be comfortably alone...” - Mirjam Volic

Mirjam Volic buried her head in Arijana Kovac's shoulders as the Kalosian opening act played. The past couple of months have been the hardest one she's personally faced ever since the WorldVision performance in Hajenired. Having to deal with the official mark of being a 'mediocre' WorldVision entry was already a thorn in Mirjam's side, but Mirjam actually found herself ostracized in the Izmeduan music community after participating in the WorldVision Song Contest. Her fans accused of her 'selling out' in order to rig Izmepisma to benefit her career (which many thought L'Agaun should've gotten the ticket instead of her and Arijana). Now that RTI has tapped them to do the unthinkable, a re-treading between the two major song contests in the multiverse, Mirjam felt an even greater sense of guilt of having to corral back Arijana back to the proceedings of song contests, knowing that the latter artist does have a reputation at stake and with the contest in Kalosia now being her fourth outing, was definitely overworked more than any other Izmeduan artist.

Despite the drama that erupted from RTI having to re-use a song to fulfill their participation for the contest they were overseeing, it was Arijana that managed to keep things possible as the channel itself was rupturing from the inside. Arijana had taken on Mirjam as a mentee after the WorldVision in Norjihan, seeing how the young singer was being affected by the popular press after being an official Izmeduan entrant for WorldVision. Since Norjihan, Mirjam decided to take a brief pause from her music career instead mostly worked as a songwriter for hire. This was in stark contrast to Arijana, who kept touring extensively around Izmedu to make sure that her name was kept within the general consciousness.

To have to sing the same song again, albeit for a different contest, country, and context, represented something of a challenge to both Mirjam and Arijana. Arijana doubted she could make the same magic happen, and for Mirjam... It only confirmed further her anxieties about her music career. She was simply an automaton, a 'bitch' to be played around with for the Izmeduan lapdogs. The way the whole affair was handled when sending the entry to Palmane was unprecedented in terms of protocol. Not much funding or time was given in support to both of the artists, and the RTI WHF team made it very clear that this was a 'throw in the towel' contest for both women. Indeed, it was Arijana that financed the entry with most of her personal savings towards the re-production of “Am I Alone.”

Is this what it all is... an afterthought? Mirjam thought as Izmedu's performance slot came up. Due to the celebrations of the 37th World Hit Festival, it was the perfect time for Mirjam to have the time to be able to let loose the renewed stage fright that she was carrying as the eyes would all be on Kalosia. However, there was the added minus of being the first nation up to perform their song. As the Kalosian opening act played, Mirjam had her head buried in Arijana's shoulders... She was trying to stop the tears welling in her eyes from what the song now meant to her versus just the set of lyrics she had sang in Hajenired. “Am I Alone” turned from an abstract song about being alone to being the reality that Mirjam lived in...

When it was time to perform, Mirjam and Arijana kept each other close and gazed at each other with differing, but equally sympathetic looks.

“You will be ok...” Arijana whispered.

---

Stage lights billowed down to the center as the interior of the Grand Palmañë Multi-Purpose Hall & Exhibition Centre became darkened. Arijana and Mirjam were situated on opposite sides of the stage, with Arijana on the left, and Mirjam on the right. A sound of air began to whoosh through the stage, as the outlines of the stage began to be outlined in white, revealing the silhouettes of both entrants. Then, a piano chord being played caused a spotlight to shine on Mirjam, wearing these clothes, and the camera immediately faded to a view of Mirjam, her eyes downcast and her hands clasped.

“It's okay,
It will be alright.”
I was told when I saw my heart break down
Sometimes I
Wish I was stronger
Because I know it doesn't get easier

Mirjam sang these lines with a reflective tone, gazing at the camera with a wistful gaze as she held one up to reach towards it, before receding it back at the third line and looking down. At each piano chord, the stage 'lines' flashed white as the images on the screens showed abstract looking polygonal lines that looked as if they were trying to reconnect, and were contorting to Mirjam's vocals. At the end of the third line, one could hear Arijana's trademark violin mixing into the vocal, with the camera fading to a close-up silhouette of her playing the violin. At the second half of the verse, the camera alternated between Arijana and Mirjam, with the singer looking fragile as she held her chest. When the verse ended, Mirjam looked towards the center of the stage...

No one to talk to, no one to reach for
Why, is it so empty?
Trapped in this cage of pure solitude
I gave my heart away, and I ask myself

At the hook, drum beats began to be added as the lines almost began to succeed at connecting with each other background screens. Despite the beat, Mirjam looked forlorn as she walked to the center of the stage, ascending up the stairs as the camera began to pan back slightly, with the lone spotlight on her and the camera view accentuating the loneliness on her stage despite Arijana's presence. By the hook's end, the stage went dark sans the spotlight on Mirjam, and the camera quickly cut to a view of her looking up as if in prayer.

Am I Alone? Gone?
Or is there someone out there?
Am I Alone? Gone?
I prayed for friendship but I found only loneliness

When the chorus hit, causing the Mahiraz Arena to light up and the stage lights to flash a bright white, the camera initially focused on Arijana making her proper entrance, revealing her to be wearing this dress as she went up to the center of the stage. However, the two performers maintained their distance, with the camera cuts being timed to each moment Mirjam sang 'Alone,' as it focused mostly on close-ups of their expression. Each time Mirjam sang 'Am I Alone,' she sang it directly to the camera, holding her arm towards it and gripping air as she sang the song's title as a question. Then, at the final line, Mirjam unleashed an emotional vocal line, taking the last syllable of loneliness on a downwards note as she then bowed her head. Arijana matched that vocal line with her violin, and a camera effect was achieved at the end of the last line where editors expertly spliced both Arijana and Mirja together in one frame.

At the brief instrumental line, Arijana swooned her body forward at each note, performing with more agility than her previous appearances in WorldVision and the World Hit Festival. At the end of her brief solo, she turned to Mirjam, who was standing in alone as the spotlight on her faded temporarily.

Don't know where to turn to
Don't know if I belong
Am I Alone?

For this section of the chorus, Mirjam stepped forward as close to the stage as she could, holding her heart as she sang these lines behind her with closed eyes. The screen effects returned, showing the abstract patterns trying to connect being broken apart and the connections being snapped. At the final line, beats played that caused the lights to flash in time. Arijana closed off the chorus with a contemplative violin line, gracefully spinning around once away from Arijana as she walked towards the back of the stage.

I miss you
I miss the old days
Where we used to share laughter and secrets
But today
You're no longer here
All that's left of you is a faded smile

At the second verse, the Grand Palmañë Multi-Purpose Hall & Exhibition Centre darkened slightly to let Arijana return as a moving silhouette, as the camera returned to a mid-audience view of Mirjam as she sat down on the stage. On the screens saw the return of the abstract patterns attempting to reconnect through maze-like lines, becoming much slower owing to the calmer pace of the verse. The camera then made movement towards Mirjam, with her staring off into the distance throughout the verse as Arijana provided complementary accompaniment. At the end, she looked up.

No one to talk to, no one to reach for
Why, is it so empty?
Trapped in this cage of pure solitude
I gave my heart away, and I ask myself

Mirjam stood up as a spotlight returned to Arijana, with the camera going into an overheard pan of the stage as the screen lines began to pulse to the beats, repeating the process of disconnections. Arijana began to move closer to Mirjam during the hook, with the camera view exclusively on the stage just right behind Mirjam and facing the audience. At the end, the stage went dark

Am I Alone? Gone?
Or is there someone out there?
Am I Alone? Gone?
I prayed for friendship but I found only loneliness

For the chorus' second appearance, the camera focused on Arijana's violin playing as it made brief flashes to Mirjam's passionate vocals. The instrumentation began to ramp up as the screen showed the lines beginning to disconnect into polygons once again, with Arijana motioning backwards as Mirjam was going forwards. Both complemented and augmented each other, with the ending of the fourth line seeing Arijana match Mirjam's vocal trajectory, ending with Mirjam staring sideways clasping her chest.

Don't know where to turn to
Don't know if I belong
Am I Alone?

At the last half of the chorus, Mirjam could be seen looking up to the camera, a bird's eye view as the spotlight shone most intensely for her at that moment. She sang these lines like pleas, with the camera at the third line, fading into a view of her shaking free hand that was reaching for someone to hold her. When the chorus ended, the view faded to Arijana's hands ending the chorus with her violin line.

The bridge of the song then commenced, which would involve Arijana first motioning towards the audience, tapping her feet to every other note she played before unleashing an intricate set where the camera rotated with her as she was going in a stationary circle, ending with her directly looking at Mirjam at the end of the bridge.

Am I Alone? Gone?
Or is there someone out there?
Am I Alone? Gone?
I prayed for friendship but I found only loneliness
Don't know where to turn to
Don't know if I belong
Am I Alone?

For the last chorus, the first half was a softer iteration than earlier, with the instrumentation being only a soft piano and Arijana's violin. Despite that, Mirjam didn't let up as she walked up to the central stage, gazing at Arijana to give her an answer to the questions, her eyes almost watery and her eyes radiating with a entreating look behind them. Arijana could only offer an uncertain response with her violin. At the end of the fourth line, the instrumentation returned in full force, with Mirjam unleashing an even more passionate verse. Arijana and Mirjam faced each other for the final half of the chorus, the camera alternating between both before settling to a center view.

At the end of the chorus, the lights sans the spotlight on Arijana faded, with her playing the last few notes to the song. When the final note struck, the Grand Palmañë Multi-Purpose Hall & Exhibition Centre went dark, and after a few seconds of cheering, the Kalosian crowd cheered for both entrants.