BVC | 38th World Hit Festival | Doportedas, Britonisea

by **Britonisea** » Sun Apr 01, 2018 12:00 pm

THE OFFICIAL THREAD OF THE 38TH WORLD HIT FESTIVAL

OOC THREAD - DRAFT THREAD

20:00 (GBK+0)

How did Britonisea manage to bag another hosting of the World Hit Festival so quickly was beyond the minds of the Britons. It wasn't too long ago since Britonisea were threatening to withdraw from World Hit - quickly saved by IGBK, leading the nation to the first victory. Within the 11 editions proceeding it, we would have hosted three World Hit Festivals, won twice and come second a thrice - if we are counting Junior World Hit Festival. Perhaps Britonisea is at the peak of it's time in World Hit Festival - but Britonish fans hope not, they hope it can get better from here. Though, BVC is not sure whether it's in their budget for this not to be the peak time for Britonisea at World Hit Festival.

The show was about to start, and around twenty seconds before 20:00 Britonish time, the emission begun. A new (well not so new now that it was introduced in World Hit Festival 32, but we will call it new) 16-second World Hit Festival intro began the broadcast (similar to the 2011 Eurovision intro, culminating in the base WHF logo with the Britonish flag inside). The logo was frozen on the screen for around 4 seconds until it hit 20:00. The camera then zoomed inside of the WHF logo as flashbacks of World Hit Festival 37 showed up on the screen. Going through all of the entrants, and their songs before going to the last performance of the night...Dean Boyst. They then went through the voting, including the infamous power cut at the end of the voting stage leaving the winner in the balance. We re-watched that tense moment before Britonisea was announced winner. The screen faded to black before we were greeted by a huge man throwing Dean Boyst on the floor. Dean had his trophy in his hand, which you could see as he got up and dusted himself off. An establishing shot of Grand Palmañë Multi-Purpose Hall & Exhibition Centre - where Dean had picked up his win. Dean turned around before saying, "F*CKING ARS*HOLES", bleeped out to keep the show family friendly - of course. He then checked his mobile phone and saw a message...

Dean checked his phone's bank account before sighing, "Ah, this better be enough. Right...the airport...the airport...what the hell is the airport here even called?" Dean started to run towards some Kalosians walking before asking them where 'the airport' was. Some Kalosians were too busy wanting to take pictures with him, but finally, he got an answer. "Oh, right. It's just the Palmañë International Airport..." The fans nodded their heads and pointed in a certain direction. As he started running, the tune started to play...

Tune: Andrew Lloyd Webber - Paganini Caprice in A Minor No.24 & Variations 1-4

00:00 - He was running through the streets of Palmañë, before opening his wallet and taking out a crown - boarding the bus with the money he got out. He then sat down on the bus as it drove closer to the airport. A stop before the airport, a group of girls (and a few boys because why not) saw that Dean was sitting on the back of the bus. There was a loud scream and a sudden bombardment of children his way. Dean widened his eyes before getting up and dashing out of the bus - with added slow mo to show how close he was to making contact with the lot of them (like in the matrix).

00:29 - There was a time cut between when he got off the bus and arrived in the airport. He started to run up and down the airport hoping to find where the next Britonish Airways flight was leaving. He looked up at the boards and saw that it was leaving for the last time today in around 15 minutes. He jumped the queues and threw his wallet at the Britonish Airways staff before jumping over the barriers - all doing this with his trophy in hand - the metal detectors went wild.

00:47 - There was a shot of Dean running towards the plain with two guards running after him. "Hey you!" they shouted, but Dean needed to get on that plane. In front of him, there was a caution: slippery surface sign up. When he reached that point, he lunged in front of him and skid across the slope. The two guards grind to halt as Dean flew down the terminal and by the entrance to the plain. The captain was about to board the flight, but Dean pushed right passed him. The captain, who actually was Luan Abreu - one of the hosts for tonight, turned around before cursing in Britonish. Dean sat at one of the empty seats at the back of the aeroplane - hoping he would be undetected.

01:17 - As the plane started to move, he noticed that the two guards were standing in the terminal watching him. He quickly closed his blinds before sinking in the seat. He sighed, thinking that he was fine. Aharon Reuven then came around as a flight attendant selling his peanuts. The two then stared at each other before Dean shook his head no. There was then a bit of time when we focused on Dean Boyst on the aeroplane acting all cautious.

01:55 - We then time skipped to Dean Boyst coming out of the aeroplane on the Britonish side, near the Olympic Airport - which is near his destination. As he got off the plane, he noticed that there was a huge crowd of people waiting for him - including the two guards from Palmañë International Airport. He dashed out of the airport, pushing past people - even riding the sea of people "Wooo-hooo!" he screamed before being dashed on the floor on the other side. There was then a limousine parked outside of the terminal so he decided to take the opportunity and jumped inside of it.

02:28 - We then kept on cutting to Dean Boyst's journey in the limo, as he had sips of white wine - changing his now dirty attire in to a formal suit and tie. It had turned to late evening and Dean was dropped off outside the Olympic Stadium. The establishing shot of the Olympic Stadium was beautiful, with the Britonish colours shining from it - Dean's face plastered all around it. Dean ran in to the grounds and in to the Stadium

02:58 - He had arrived behind the stage, fixing his tie before the wide doors opened...

Dean Boyst came walking in to the Olympic Stadium, hit by the raw of 40,000 people. He was overwhelmed. The winning started to play...

Tune: Austin and Kurt - Human

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

He then received the roar of the audience, but before he was about to say something...the guards came from behind him, picked him up and threw the man over their shoulders... The audience laughed as the tune for the contest begun...An epilepsy warning showed up at the bottom of the screen.

TBA- will be completed when all acts are confirmed.

Tune: Big Brother Theme Tune

The theme tune started, and the stage quickly went dark. This was a time to show off the stage to the world. As the song grew in dynamics, and texture, the stage got more and more colourful. As 44 seconds came through, there was a voice over of a man....

"WELCOME, WORLD, TO THE 38TH WORLD HIT FESTIVAL IN DOPORTEDAS' OLYMPIC STADIUM, BRITONISEA"

A line of men and women half-naked started to strut on the stage's long passage; they looked as though they were all models of some sort. The stage was going crazy here. Suddenly the men and women that started to strut down the stage's long passage held these huge flags as though it was the Parade of Nations at the Olympics...well, it was the Parade of Nations at the 38th World Hit Festival!

At 02:07, the voice over came back....

"WELCOME, WORLD, YOUR HOSTS...LUAN ABREU AND AHARON REUVEN!"

The two men came out from the stage and started to walk down the centre like the models. The models walked the other way, going behind stage. The song faded out as they got closer to the end of the catwalk. The stage finally calmed down at the contest was about to begin...

by **Britonisea** » Mon Apr 02, 2018 6:12 am

The Hosts of World Hit Festival 38: The two men are getting their share of the recent airtime that the Vha Mehlodhivestoile 2018, World Hit Festival and WorldVision are getting. More Britons who the International community didn't previously know are now making their debut to this fandom.

The two walked down the catwalk to the cheers of the audience of 40,000 people. They were so happy that the contest came back to Britonisea, and were beyond grateful to Dean Boyst that he won the recent contest. Since WorldVision and World Hit Festival always missed out Doportedas (Kyvivre, 2 - Machievelihe -1, Junterapten -1, Quickenden -1), Britonisea had promised that the contest would come to the capital and the audience were thankful that BVC had finally lived up to their promise. It also had to be held in the Olympic Stadium, since Doportedas didn't have any arenas that were bigger than the capacity of the First Direct Arena in Junterapten (29,000) but they wanted this show to be their biggest in terms of audience size. The two men finished walking down the long catwalk before spotlights focused on them.

Aharon Reuven: Welcome, everybody, to the 38th World Hit Festival taking place in the Doportedas Olympic Stadium - with a huge 40,000 people!

Luan Abreu: So amazing, so amazing. I am Luan Abre-

The audience roared as he introduced his name which took him back a tiny bit. He paused saying his name and smiled cheekily. He then looked over at Aharon, slightly jolting him. Aharon looked back at Luan with a gob-smacked expression on his face at the praise he was getting from the audience.

Luan Abreu: Well, what can I say, Aharon...? The audience here absolutely love me.

Luan then proceeds to give the microphone to Aharon before slightly licking his hand and slicking back his hair, slowly looking up - in to the camera - as though he was a model. Aharon stops him by shoving Luan's microphone back towards him and rolling his eyes. Aharon then turns back to the camera before he introduced himself.

Aharon Reuven: Well, enough of him. I am Aharon Reuven!! YEA-no?

The audience was silent apart from the one person standing at the front row who, when the camera panned to him, quickly put his hands over his face and slowly disappeared under the crowd of people. Laughing, Luan tries to console Aharon - unsuccessfully;

Luan Abreu: Don't worry, Aharon. You know, sometimes in life, you don't get what you want - and it's not your fault, it's really not. Me on the otherhand, I always get what I want...

Aharon Reuven: Thanks for that little pep-talk, Luan...

The audience see Aharon's experience before "aawwing" him which slowly turns in to cheers and claps. The audience then starts to chant his name - "AHARON. AHARON." to the surprise of the male. He looks up, smiles, before mimicking Luan, slicking back his hair. Luan steps in front of Aharon, trying to calm the audience down.

Luan Abreu: Alright, okay, okay. I think we're wasting a bit too much time deciding who's better? I mean, we have the whole festival to decide what song is better...so let's get on with the show, shall we?

Aharon Reuven: I think we shall! Anyway, again, welcome to the 38th World Hit Festival. Acts from across the multiverse will perform their songs to find out whose song is the best, and what nation will have the honour of hosting this fantastic contest.

Luan Abreu: Yes. The running order for tonight has been decided by BVC after an allocation draw earlier this week to ensure that there isn't a clash of genres or any of that stuff. Enjoy yourself, the show tonight won't be that long to be honest.

Aharon Reuven: At the end of all performances, you will be able to vote for your favourite song. Right, I think that we should go to nation number one, don't you think?

Luan Reuven I agree. Let's go to [NATION] for the first song. Let the contest begin!

by **Britonisea** » Mon Apr 02, 2018 7:12 am

OFFICIAL PLAYLIST

Will be updated as points come through...

by **Britonisea** » Tue Apr 03, 2018 12:03 pm

01
Kalmarlund
"Perpetual" by Lynda

Trigramme: KML
Translation of Title:
Language: English
Music: Tobias Lundgren, Christopher Jenssen
Lyrics: Maria Finnbogasson
Tune: Darude & Ashley Wallbridge - ''Surrender''

by **Britonisea** » Tue Apr 03, 2018 12:06 pm

Lynda (real name Linda Forsberg) is a 38-year old Kalmarlundian singer internally chosen by K×T to represent Kalmarlund at the 38th World Hit Festival. The nation made their first international song contest debut at the 4th Junior World Hit Festival in Zoloroni, Mercedini. Big was their surprise when viewing figures for JWHF4 turned out to be way bigger than they had thought with approximately 740 000 households watching the show on K×T.

After receiving a lot of fan mail asking if K×T is going to participate in the 38th WHF, they decided to approach Lynda to represent the nation. Having just released her 7th studio album, Lynda decided to accept the offer. Her song ''Perpetual'' is from her latest album. The song was composed by local Kalmarlundian DJ's Tobias Lundgren and Christopher Jenssen, lyrics were written by poemist Maria Finnbogasson.

Performance:

The music starts playing. Light rods at the arena start showing red and white with motion effect. Lynda can be seen standing on the main stage (also known as Stage B), wearing a short leather dress with high heeled shoes. She is standing with her left hand placed on her waist while holding a microphone with her right hand.

I think of you full-time
You have cracked all my schemes
If love was a crime
Then I'd be so condemned

With lights at the arena flashing in red and white, Lynda starts doing some hand gestures and moving her hips to the rhythm of the music.

I've given all that I have
To keep on loving you
Fights that always have passed
Won't stop my feelings

For a moment, rods stop flashing and camera moves up on Lynda from the behind. It does a 180 degree rotation around her with Lynda looking into the camera. There's a light smile on her face as she sings her lyrics.

When the times go rough
I know that this will not affect us
I never had enough
You know that our love can be perpetual

Light rods start flashing again as the instrumental part starts. Lights above Lynda go off for a moment and instead, people can now see that there's a DJ booth at the backstage with Tobias Lundgren and Christopher Jenssen spinning the records. They throw a few hand signs up in the air while doing it, before stage lighting reveals Lynda again, who sings her lyrics.

When the times go rough
I know that this will not affect us
I never had enough
You know that our love can be perpetual

Lights start flashing even more with Tobias and Chris jumping up and down behind their DJ booth. Camera takes a shot into crowd, focusing on a bunch of people raving. Meanwhile, Lynda is casually moving her body to the rhythm of the music. With the flashing light rods, she is somewhat hard to see as she sings the next few lines.

When the times go rough
I know that this will not affect us
I never had enough
You know that our love can be perpetual

Eventually, stage lighting along with all the light rods and background screens turns all white. Lynda is standing on the stage and looks into the camera while singing.

When the times go rough
I know that this will not affect us
I never had enough
You know that our love can be perpetual

Lights at the arena start to fade out, one at a time along with the music. Eventually, all the special effects stop and Lynda is left in a single spotlight. Audience starts cheering as Lynda sends some blow kisses into the audience. ''Thank you Doportedas!'' she shouts out before leaving the stage.

by **Britonisea** » Tue Apr 03, 2018 12:18 pm

02
Norjihan
"Let Me Go" - Fnir

Language: English
Music: Nerdda Marsuc, Mardu Serem
Lyrics: Mardu Serem
Tune: The Winners - Freedom, ends at 4:29, (Alternative Link, ends at 4:30)

by **Britonisea** » Tue Apr 03, 2018 12:20 pm

As the song begins, the large background screen shows the sun rising over a busy industrial town, chimneys rising and smoke billowing into already choked skies, the rays of the sun struggling to pierce the ever-thickening smog. This is interspersed with clips of people at work in heavy industrial jobs, such as glass manufacturing, images of metal crucibles etc (especially during the sections of hammering). After 0:26, the cameras reveal the entire stadium, where on the first stage people can be seen to be toiling away like on the images that were on the screens, and two chimneys bellowing smoke are lifted up on either end. On the front stage Fnir can be seen, with the lead singer Nerdda standing on what seems to be an overturned crucible with a platform hastily attached on top, and the other members also stand on pedestals made of sheet metal, which form a sort of spiral around Nerdda; Mardu is on the left lower down than Fera on the right, and inbetween them and from Mardu to the floor are the same pedestals which get smaller in size going down, which is what creates the spiral effect. Wires from the synthesizers that Mardu and Fera play are wrapped around the pedestals, adding even further from the industrial feel of the song. As the introduction ends, the cameras stop panning around the stadium and especially the back stage and focus on Nerdda, who begins to sing, staring towards the crowd and seeming to ignore the camera.

Trapped from 9 to 5, and 5 to 9
No fun and joy to break the toil, to make me smile
Oh I dream of another life far away from this town, from this town
Oh to be free of these chains, I'd give it all up, everything
I just can't go on

As the chorus begins the camera suddenly switches into a flying shot over the back stage, where the workers (of course topless rather handsome men, we know the target audience after all) can be seen to be singing along to the chorus as they continue to work. The lights do their job well, moving around the stage with their orange glow, whilst in the background we are treated to more scenes of the difficult work that Fnir and friends are trapped in.

I'd go anywhere but here
I want to escape
Let me go
I'd do anything but this
I want to escape
Let me go

As the next verse begins, the focus switches again to the front stage, where a collection of people who are presumably office workers can now be seen to one side of Fnir's pedestal spiral. One of them is trying to make sense of some sort of financial statement being printed out and getting ever larger, while the rest seem to be walking around and getting on with mundane tasks, being stuck in an endless cycle between two points. They all turn up towards Merdda at the end of the verse, and seem to go into some sort of panic.

I just want to be myself, not a nameless face
Free to do what I want to do, to be who I will
All these rules and obligations weigh me down, me down
I can't carry this burden anymore, I just want, need to be free
I need to be me

As the chorus begins again, the camera pans across the audience to allow the office workers to leave the stage, and when the view returns to the stages we can see it is much as it worse in the first chorus, except that the workers in the background have put down their hammers and have begun to dance in various ways, and the sunlight is starting to break the smog apart in the background, slowly but surely reaching out towards the stage.

I'd go anywhere but here
I want to escape
Let me go
I'd do anything but this
I want to escape
Let me go

Tell me that there's more to life
More than this, let me go
From this insanity
Let me go
I'd do anything

I'd do anything
Sell my soul, sell myself
Just let me go, me go, let me, me go

The camera focuses on Nerdda and the lights in the stadium seem to darken slightly, so that the centre of the focus on the entire stadium falls directly on him. The view at home is subjected to a series of wonderful effects to accompany the changed pace of the song, including the appearance of multiple Nerdda's in an effect kind of like this, and also a brief second where a kaleidoscope appears with images of the entirity of Fnir.

Then, the guitar solo, played by Mardu, begins. Mardu jumps down from the pedestal, and the LED floor beneath him bursts into life, a flash of bright hot pink spreading out across the floor as in the background the image totally appears to shatter, setting the workers free. It is replaced by a pattern of hot pink and white geometric shapes, as the workers celebrate their new found freedom and begin to walk, or rather dance, across the platform towards Stage B. And, of course, fireworks come out of the end of the guitar. Because of course they do.

Oooooh, anything
Oooooh, anywhere

The workers stream onto Stage B, dancing away, as the final chorus begins. There appears to be no organisation to their movements, although of course it is all choreographed. Mardu dissapears in the chaos, whilst Nerdda begins to walk down the spiral of pedestals, walking past Fera who is dancing away as you might expect, eventually descending into the crowd and dissapearing amongst them too as all of the lights cut off in the stadium and the song ends.

I'd go anywhere but here
I want to escape
Let me go
I'd do anything
Sell my soul, sell myself
Just let me go, me go, let me, me go

by **Britonisea** » Tue Apr 03, 2018 12:41 pm

03
Cleaca
"For Cleaca!" by Represent Cleaca

Trigramme: CLE
Language: English
Music: Keven Fepuleai
Lyrics: Alepati Fepuleai
Tune: Genka - ''Terassüdamega Mees''

by **Britonisea** » Tue Apr 03, 2018 12:45 pm

After spending many months thinking of a possible representative at the 38th World Hit Festival, CBC decided to chill and send an entry that would be ''simple yet fun.'' Represent Cleaca is a family band run by 54-year old Alepati Fepuleai, a local Cleacan radio host. Rumors say that Alepati kicked down Aryan Menoetua's (Executive of CBC) office door and walked in with his arms open, saying: ''Heard you were looking for a representative? Well here I am.''

Other members of the band include Alepati's wife Hana, their daughter Elena and their son Keven. ''We are here just to represent our tiny lovely homeland. I just hope people don't take us too seriously,'' Alepati laughed during an interview given earlier before the show.

Performance:

All the members of Represent Cleaca are standing on the main stage. Right in front is Alepati, to his right (from his perspective of view) there are Hana and Elena, and to the left there is Keven behind a small DJ booth. They're all wearing black T-shirts with ''Cleaca 4 Life'' written on them. Music starts playing and Alepati puts his arms wide open, doing a ''gangsta pose''. She looks around with a ''you people have no idea what's gonna happen'' type of grin on his face. Eventually, he starts rapping while throwing up some hand signs every once in a while. At the same time, Keven is holding one headphone to his hear and pretends as if he actually knew how to use the DJ booth he had been assigned to.

Yeah, I am a rapper, an outlawish trapper
Robbin y'all with my NES zapper
Song of the century,
I'll have no mercy, I'm a dictator like Lord Almighty Gregory
From Ekoz to New Doltania,
Making bigger flop than Slavie from TIDS Hiklarmangia.
I'm a Bad-Ass Transformer. Megatron!
Delivery even doper than that of Luka Brekalo!
Fighter, fighter, can you feel?
I'm a different kind of rapper than Gimme D!
Cleaca is my city, yo check in!
My only goal is to show you how to win!
Just like Tremendous! Apex!
Making others mediocre like Mehkl Maddox Ajax
Hear this is Represent Cleaca!
Hear this is Represent Cleaca! Yeah!

Hana and Elena start singing the chorus and swinging their body from one side to another. Alepati steps away from the microphone and starts swinging his arms up and down, trying to get people cheer for them.

It's time to end this trial,
now is the time to shine for Cleaca, for Cleaca.
Time to give us your fiver,
now is the time to shine for Cleaca, for Cleaca!

Alepati walks back behind his mic and starts rapping again.

Yo, who needs poptard or hardcore heavy metal
It is clear that this WHF will be settled
Two guys, two girls - problem for Britos
Lean back and eat some Cheetos
Don't worry, step back: tomorrow might be brighter
This beat dropped harder than the government of Nightom
Words like katana. Whatana! Cutting through you! Cutting through you! Yeah! Yeah!
Tödlichebujoki. Everyone knows their entries are just incredibly low-key.
Obloquy. My perfect rhyme schemes will bring them down.
It can be heard from every adjective and noun.
Klick-Klack! My wolf pack! Yeah we are here
It's clear that this festival's a truly brutal murder scene! My rhymes have no vaccine! Yeah!
Hear this is Represent Cleaca!
Hear this is Represent Cleaca! Yeah!

All together now!

Alepati starts walking around on the stage and makes his way to the edge. He waves his arms up and down, desperately trying to get the audience more lively. For some reason, they do not seem very motivated though.

It's time to end this trial,
now is the time to shine for Cleaca, for Cleaca.
Time to give us your fiver,
now is the time to shine for Cleaca, for Cleaca!
(Yeah! yeah! yeah!)
It's time to end this trial,
now is the time to shine for Cleaca, for Cleaca.
Time to give us your fiver,
now is the time to shine for Cleaca, for Cleaca!
(Yeah! Yeah! Yeah! Cleaca! Cleaca! Ugh!)

Alepati steps behind his mic to say the final 2 lines.

Can you feel?
Cleaca is here!

He removes the mic from the stand and puts his arms wide open. Standing like this for a few seconds, he drops the mic on the floor. Represent Cleaca are getting some really diverse feedback from the audience, with a lot of cheering and laughing mixed with a lot of booing. Alepati puts his hand to his forehead and salutes at the audience, before leaving the stage with rest of his band members.

by **Britonisea** » Tue Apr 03, 2018 12:48 pm

04
Estogium
"Top" - Viv Rumie

Trigramme: RWH
Language: English
Music: Viv Rumie, Sarah Arlto, Sam Smith-Bailey
Lyrics: Viv Rumie, William Kingsbury
Tune: Saara Aalto - Queens

by **Britonisea** » Tue Apr 03, 2018 12:50 pm

Estogium apparently doesn't take World Hit Festival as seriously as it used to take it, because of Estogium's recent results. Convinced it's a sham contest, Estogium finally withdrew after World Hit Festival 36. However, since neighbouring country Britonisea won the contest in World Hit Festival - which did anger some Estogians due to their jealousy - Estogium will return to WHF, because it's cheap entertainment (it's only next door) and Estogium doesn't really have anything better to do.

This time, Estogium will be represented by Viv Rumie, an artist who recently represented Estogium at WorldVision Song Contest 63, and despite Estogian expectations of the song to come in the top 5; it didn't - it didn't even come top 10. After having received 9th, 3rd and 5th - it was thought that Viv Rumie would follow the chain of top 10 results. But she didn't. Anyway, she is here to represent Estogium in the World Hit Festival 38.

RVC confirmed that they won't be participating in the 39th World Hit Festival unless it's held in the region.

The music came in straight away. Viv stood in the middle of the stage with a huge monk looking outfit, with her head covered by the large hood. When it was time for her to sing, she raised the microphone to her face but didn't raise it towards the audience. There were some huge topless body guards that stood around her. She was standing on Stage A at the moment.

Did you know, I am coming for you?
And I don't care how long that it takes.
Did you know, your reign is now over?
So stand up, so that I can sit down.

She then suddenly started walking down all of the steps of Stage A, as she sang the next part of the song. The spot light that she had on her followed her as she walked closer and closer to Stage B. The camera also followed her from afar too. The bodyguards were definitely right behind her.

Hours pass by; I'm still hungry for it,
And I will keep on going, never will I be stopping.
My run for the crown is now my mission,
No one will ever stop me!

She suddenly stopped. Here, her huge monk outfit was whipped off her body by one of the tall bodyguards, revealing a regal, gold and silver costume. When she sang "No one will ever stop me" the lights all flicked in the stadium before she continued to walk.

I don't care, I'll fight my way to the top!
No one can stop me, don't even try it.
I will battle until you and I swap,
Now it's time for me to shake up the world.

Waaaa-ooo-oo-ooo-oooahhh, I'll make the top (I'll fight my way to the top)
I will battle until you and I swap,
Now it's time for me to shake up, shake up the world.

Still walking down the huge catwalk, she then slowed down before squatting down along with the body guards squatting with her. Red and blue were flashed from the screens behind her.

Did you think you were safe from me?
Yet I see you have no bodyguards.
You underestimate me
And that's a mistake you have made.

She then stopped squatting and started to walk further down the catwalk. There were then flicks to a huge regal chair in the middle of Stage B. The camera would flicker from the stage B to her walking towards it.

Hours pass by; I'm still hungry for it,
And I will keep on going, never will I be stopping.
My run for the crown is now my mission,
No on will ever stop me!

The last flicker had a man sitting on the chair. He looked like he was apart of the bodyguards as he didn't have a top on either - and eagerly spread himself out of the chair as though it was his own - but it wasn't because it was Viv's.

I don't care, I'll fight my way to the top!
No one can stop me, don't even try it.
I will battle until you and I swap,
Now it's time for me to shake up the world.

Waaaa-ooo-oo-ooo-oooahhh, I'll make the top (I'll fight my way to the top)
I will battle until you and I swap,
Now it's time for me to shake up, shake up the world.

Viv then reached the Stage B before circling around the chair that this man was sitting on. She then turned to face him before singing the "bridge".

Waaaa-ooo-oo-ooo-oooahhh
Waaaa-ooo-oo-ooo-oooahhh
I will battle until you and I swap,
Because I will be on top! YEAH! YEAH!

She then got the man's arm, and yanked him off of the chair and you only saw his large masculine body being flung off the chair and straight in to the audience. She then danced around the chair as she sung the last chorus.

I don't care, I'll fight my way to the top!
No one can stop me, don't even try it.
I will battle until you and I swap,
Now it's time for me to shake up the world.

Waaaa-ooo-oo-ooo-oooahhh, I'll make the top (I'll fight my way to the top)
I will battle until you and I swap,
Now it's time for me to shake up the world.

She sits down on the chair as the audience all applauds her. "Thanks everyone" Viv Rumie said before running off the stage.

by **Britonisea** » Wed Apr 04, 2018 12:43 am

05
Nightom
"Price" by DoRiTos

Trigramme: NIG
Language: English
Music: The DoRiTos Team
Lyrics: The DoRiTos Team
Tune: DeReDos - My Lucky Day

by **Britonisea** » Wed Apr 04, 2018 12:46 am

Heeeeeeeeeeeeeeeeey!!!
One plus one does equal two,
A story 'bout me and you
And girl you know that I'm right.
See you looking right at me,
I know what you're thinking
And I am thinking it to.

I am waiting for you at the corner,
I'm waiting for you to pass by.
Pull your car up and roll down your window,
"Oh, I'll get in for any price!"

You saw me on the street,
You felt pity for me, but looks can be deceiving.
You put me in your car,
And you took me afar, thinking I'd you make you happy!
Girls like us, we're lethal.
For you the end's dreadful - all you men beware of us!
It is a bit of fun, for me, but not for you.
"I'll get in for any price"

Hey, Hey, Hey, Hey.
Hey, Hey, Hey, Hey.
Hey, Hey, Hey, Hey.
Hey, Hey, Hey, Hey.

Hey, Hey, Hey, Hey.
Hey, Hey, Hey, Hey.
Hey, Hey, Hey, Hey.
Hey, Hey, Hey, Hey.

I saw her dark rouge lipstick,
And her teeth shone, so mystic.
And WOW I was hypnotised.
Her dress was so shiny gold,
Oh, the warmth amongst the cold.
And then I went up closer.

I am waiting for you at the corner,
I'm waiting for you to pass by.
Pull your car up and roll down your window,
"Oh, I'll get in for any price!"

You saw me on the street,
You felt pity for me, but looks can be deceiving.
You put me in your car,
And you took me afar, thinking I'd you make you happy!
Girls like us, we're lethal.
For you the end's dreadful - all you men beware of us!
It is a bit of fun, for me, but not for you.
"I'll get in for any price!"

Hey, Hey, Hey, Hey.
Hey, Hey, Hey, Hey.
Hey, Hey, Hey, Hey.
Hey, Hey, Hey, Hey.

Hey, Hey, Hey, Hey.
Hey, Hey, Hey, Hey.
Hey, Hey, Hey, Hey.
Hey, Hey, Hey, Hey.

P-P-P-P-Price, P-P-P-P-Price
P-P-P-P-Price, P-P-Price, P-Price

by **Britonisea** » Wed Apr 04, 2018 7:58 am

06
IZMEDU
"Who I Am" by Irma Cigir

Trigramme: IZM
Language: English
Music: Lana Malnar
Lyrics: Anja Krajacic
Tune: Keala Settle - This Is Me

by **Britonisea** » Wed Apr 04, 2018 8:27 am

“Hating yourself... If there's two words I'm too familiar with, it's those two in that same exact combination, always in the same sequence, and always practiced in my own head. I hate myself, hated myself back then to such an intense degree sometimes I wonder how I was able to make it through those years. My brain never accepted any part of me. I was even ashamed of my body, but I never did anything to change my condition, you know? There I went... Looking myself in the mirror, losing myself in the process, changing myself for so many people to the point where I might as well have been anyone but Irma. Just got to the point where... I just snapped. I'm still trying to find myself, I'm still looking for who I truly am. However, I think I've come closer. Just that sometimes... it's hard to fight yourself to prevent all those damned walls from coming out. I'm old now, I'm supposed to have it figured out. I'm finding my own path, day by day, and I hope... I hope that's what matters in the end." - Irma Cigir

'Don't cry, don't cry, shed out a tear before you're even performing I'm not letting you forgive yourself'

“Irma, are you ok? Irma, you're spacing out. Irma!”

'Can I even handle this right now? It's not even that long until I'm performing... I feel sick to my stomach, I don't know if I can...'

Irma Cigir was currently being held by the head of delegation, literally hidden from every other participating delegation as she was having a moment of panic at the revelation that her performance spot was due. She was on the verge of vomiting and the thought of forfeiting Izmedu's spot in the contest was floating through her head as she held her stomach, trying to stop herself from vomiting the nerves out. For Irma, having this sensation was weird. She was a seasoned musical singer, years of stage experience behind her belt, and countless amounts of rehearsals following both the 37th and 38th World Hit Festivals. She reasoned that there was no logical reason for her to be feeling this way. However, Irma knew her own mind well; reason rarely, if ever, worked against her unless someone pointed out the flaws in her logic. Even then, Irma would need a few more moments to be able to accept it. With the current situation, things were looking bleak for the Izmeduan delegation in Doportedas' Olympic Stadium. There was pressure on them to deliver considering just how internally hyped the entry was and how much RTI were investing; these circumstances and more did nothing to salve Irma's anxiety, who now had the anxiety of a channel thirsting to re-create magic.

“Give yourself a couple of minutes, Irma. Take a deep breath. Follow me, one, two, three.”

Irma was a veteran singer of 34 years, having been in the business only since she was 22 years old. For most of her life, Irma spent it knowing that she had no clue what she wanted to do. She was born to a controlling yet comfortably middle-class family in the seaside municipality of Krigeria; being raised under a strict grandmother and not knowing who her mother was. Her father was just as controlling, pressuring Irma from a young age to pursue a career as a pilot despite a documented fear of heights. While her relationship with him started innocently, Irma's relationship with her father soured to an intense degree as she turned from young child to adolescent. In combination with a grandmother who often curated much of Irma's young life (encouraging her to take on a sedate lifestyle, which Irma dutifully followed), her father often lashed out on Irma over minor trivialities and misunderstandings. With Irma being somewhat of a rebellious teenager despite her controlling family, this did not help the shouting matches between her and her family. She was often called ungrateful, a liar, and was castigated for not being a supremely perfect child.

While Irma knew she had a comfortable upbringing financially, these constant conflicts in her household proved to profoundly affect how she approached adulthood. Irma became a perfectionist due to a constant high-pressure environment to not only succeed academically, but also to please both her father and her grandmother, two figures which held her to an ever-increasing standard as she got older. She was expected to agree and follow everything that both of them said, almost to the point where onlookers were concerned for Irma during random moments where fellow classmates at school spotted her being forcefully held by her hand during school, especially prevalent when it was her dad with her. When it came to her grandmother, Irma found that she didn't even have a chance to speak her mind about anything. Words would be put in her mouth, her grandmother would arrange agreements that she would never agree to, and before Irma could even have a chance to speak on the matter, she would often be shushed and forced to agree with everything her grandmother would say. If she dared to resist, there would be emotional blackmail and guilt-tripping involved.

On the outside, Irma knew that she had to be happy. She thought that having such a controlling family was part of the bargain of having a comfortable lifestyle where she could afford some modicum of privacy at home as well as relative freedom of thought. However, at what cost did it afford to her? Irma wasn't aware of it until she chose her own path of doing musicals, but this upbringing caused Irma to be intensely sheltered and unable to develop her own identity. Much of her high school and early university years were marked with tendencies of acute social anxiety; to which Irma knew only how to make friends by creating these false personas of herself through taking advantage of her immediate qualities of her shyness. She knew she wasn't at least morally deplorable or was capable of immortality, but at the same time, Irma had no idea who she was at her very core. Every time she tried to figure it out, Irma was faced with only a hollow sense of what kind of traits that she exhibited elicited the most positive responses.

This kind of social cache would tide Irma over until her young adult years in university. Afforded an agency she wasn't used to, Irma made the unusual choice of becoming a Music major in the University of Vodiznad. Such a choice initially perplexed her family, with concerns that she wouldn't make enough steady income to support herself. The initially valid points had a stinging undercurrent that became more apparent as Irma progressed through her college career. Irma knew that deciding to focus on the fine arts was a financial risk in Izmedu, but what she did not expect was for her father and grandmother to imply that she destined herself for failure. In the first few instances where she felt safe to build her own identity and core, there was already a major bump in the road in doing so.

Despite a rough beginning to her adulthood, things seemed to be picking up for Irma away from her complicated home life. She carried social anxiety still, but one thing kept her brain and body sane from the familial chaos. She found a calling in being two things, an actress and a singer. Marry them together, Irma found herself quickly auditioning for university-produced musical productions. The initial process for Irma was tough, having failed many auditions her first year as her raw talent could only get her so far. Without refinement and training, Irma failed to get the necessary support to be able to attain her first real dreams.

Finding an inner determination with herself, she succeeded and more, her final year in university laying the foundation for her career. Even so, the ghosts of the past still continued to haunt Irma, dogging her even further as she matured over early to mid 20s. University proved to be the breeding ground in which Irma inculcated her talents in a relatively safe bubble despite her initial rejection. When it came time for Irma to make a stable living as a musical actress in the Vodiznad theaters, Irma struggled immensely in this regard. Her largely sheltered personality, which lacked the necessary grit for anyone to survive in the Izmeduan music business, was what led to Irma's constant battle for survival in Vodiznad as she tried to get gigs. Lead roles were few and far between for her, and any instance of her in a lead role would lead to mixed reactions from the audience. These only further exacerbated the anxietes she carried with her as a teen.

'If I can't even do what I love well... Then who the hell am I?'

A defining incident in Irma's life at 26 would prove to be the jumpstart to the answer. Irma got into writing one-woman plays as a hobby to sate 'dead times' where she couldn't do anything to incentivize or gain parts in roles. For Irma, it was always her dream to be able to star in lead roles and be the leading lady that is remembered as the starlet of the show. This was where Irma's identity fragmentation would come to play and be taken advantage of; of which Irma fell prey to a scheme in the entertainment industry. She would be wooed by an Izmeduan entrepreneur who would promise large sums of money for Irma to produce and promote her play with no strings attached. Cash-strapped and perhaps too agreeable, not listening to her instincts that the man was not to be trusted, Irma agreed to his sponsorship. Ultimately, the one-woman play was a disaster. Irma was consistently wanted by many others aside from the sponsor that the play was a questionable prospect; but the man kept convincing Irma otherwise.

The play, when it came time for the performance night, flopped. It resulted in Irma having to declare bankruptcy not long after and for Irma being effectively disenfranchised in Izmedu for the next few years. She gave up her dreams, at one point thinking they were permanently gone, to be able to help herself survive the years where she would be effectively homeless. These dark few years; moments that she refused to recount even to her most trusted friends, proved to be the genesis of the entry she would bring about. For as much mistfortune as she suffered, she also had a masterstroke of luck in the process four years after declaring bankruptcy and having to move back in with her family to maintain a steady life.

She was noticed in that one-woman play, by an Izmeduan label head that deeply admired her singing and wanted to offer her an initial offer as at least a session singer. However, the events following the one-woman play led Irma to essentially have to drop off the grid due to not only facing the second embarrassment that she faced by being burned, but also, she refused to return to the music industry. The secrecy regarding Irma Cigir's identity led her voice (her acting was still hotly debated by then) to take center-stage within the Izmeduan music industry. It came to the point where the label head, initially only offering a session singer deal for the sake of fairness, was ready to propose a single.

The icing on the cake? Anja Krajacic herself was also on the case with that same label head, participating in the search for Irma Cigir purely out of wanting to help the unknown singer. Despite being barred from performing in Izmedu still even with her status as a World Hit Festival winner, Anja still wanted to take a part in rescuing an unknown Izmeduan talent from the same harrowing experiences that she went through. It had even gotten to the point where Anja penned Irma a song, writing it under a pseudony; to which that Izmeduan label head trying to find Irma agreed with the song. It was a big gample; they had a song and a promotional package for a singer they didn't even know personally, a singer whose last traces of any material were traced in just questionable YouTube videos.

Fast forward to the age of 33 years old, Irma Cigir struck lucky. The very song that Anja wrote for her ended up being a song that she deeply admired and connected to, even though she didn't know that there was a World Hit Festival pedigree behind her song. She connected with the words, expressed intense gratitude for the label head that allowed Irma another second chance at a career. It wasn't the kind of career in singing that she expected. However, Irma was not getting any younger, and she thought to just take a chance. Now, that chance was about to be taken.

“Irma, it's time.”

With that, Irma took a deep breath... A lot was riding on this entry. RTI banked an entire fortune in securing the song. Irma staked her entire psyche, her entire life in the hopes that she can prove herself once more. Not just as a singer, but as a human being.

I've come a long way... Haven't I? But it's still not over... This is the next step. No matter where I'll be, I'll know that I've made progress.'

At the advent of the Izmeduan entry, stage lights billowed down to the center of Doportedas' Olympic Stadium, darkening in tune to the immense cheer that would quiet down after a few seconds of silence. An array of lights shone white on the stage when the Izmeduan entry started, represented with a singular piano chord of resignation and yet strength all at once. The camera cut to a view midway from the stage, surveying it as a shadow of Irma looking down, clutching the microphone, as the soft introduction to the song played, setting the atmosphere to the song. The array of white lights would flash in tune to the song, before fading as the leitmotif of the song's melody played through the high notes. The view then faded to a close-up view of Irma. Behind her, the screen floor and and the background screen shifted to a black and white picture of a musical stage; the screen floor now a virtual wooden floor and the screen an empty stage. With a soft bang, a spotlight then shone on Irma; a solemn look on her face as she then raised the microphone to her mouth and began to sing...

I've spent all my life wondering why
“Am I weak?” I ask
“All you do is just fall apart”
Now I know I can't trust them with my heart
“So naive,” they shout
“This girl deserves to be unloved”

For the first half of this contemplative verse, Irma spent all of it staring into the audience with a broken look in her eye. Her voice remained soft yet stable, articulating the complicated emotions inside her as her eyes bared into the camera that pain she was expressing through the lyrics. For the first three lines, the camera view was mostly fixated on Irma, with her reaching out with one hand at the second line and looking down clutching her chest at the third line. The camera then began to take a small revolution around her for the second half of the verse, with her stepping forward slightly as her voiced arched to a slightly greater dynamics owing to the increasing intensity of emotions. During this verse, the background screen would then begin to display a shadow of her on the virtual stage that would mimic each motion that she made. At the verse's end, her voice would falter slightly, the damning final line getting to her and blurring slightly the performance mode of her the real emotions bubbling from within.

I only have one voice I can fight with
I can't let this heart be silenced
Maybe it's time I say...

The hook saw the emotions change from the rumination of Irma's self-hatred to one of a nascent determination. The lights changed accordingly from white to a gradual gold as the shadow behind Irma faded, with the background screen image of the old-style gradually changing from black and white to a color picture. The camera would again swoop around her, taking on a cinematic bent as the look of sorrow changed to one of a small smile, a hope in her eyes. At the last line, Irma crooned the line carefully, holding out a hand to the audience, the instrumental lingering to a near-crescendo.

You can break and shatter me to pieces
But I am a fighter, unbroken, unchained
Don't tell me, that I'll fall
I'll show you my true colors; who I am

The first half of the chorus developed that tone of hope, building and hyping to a crescendo as the camera slowly rotated around Irma in a half-circle. The stage floor turned from wood into a one that would sparkle in a golden pattern, as the stage background behind her would pulse as a virtual version of her could then be seen standing on the stage, looking up as a spotlight on her would begin to shine. On the actual stage itself, Irma would have a hand clutched to her heart for the two lines, singing them with a determination that reflected a change in demeanor in her eyes, a fire burning within her. For the third and fourth lines, Irma pointed directly towards the camera, her posture now reflecting a growing self-confidence in herself as she stepped forward a few steps.

You can spit on my name
And say that I'm only a vagabond
But I'm proud, to be me
You'll never take that away; who I am

The remaining half of the chorus would then be an ever further rousing build-up, a drumline beat added that caused the Doportedas Olympic Arena to be further bathed in golden light. Behind, a procession of six background singers and dancers (which would act as her cohort for the rest of the entry) would begin to appear, still bathed in darkness as Irma continued to the sing the chorus out, standing in an even further defiance as one could see free hand balled into a fist. The camera would remain focused on her for this part of the chorus, as if she was holding the camera at her mercy as she made it clear to the audience at home and in Britonisea that she was here to stay and that she was proud. At the last two line, one could see her head nod along at each line she sang. The final line she delivered with a ferocity, a smile of confidence truly in her face as the Dorportedas Olympic Stadium was now truly bathed in golden light.

At the interlude between chorus and second verse, Irma stepped back as the cohort around her took center-stage and began a foot-step like routine, marching in tune to the drumline beat as they expertly hymmed the song's melody and yet were able to step forward and dance with grace. The camera would alternate between close and far views as the camera persons on stage expertly navigated around the six of them. These dancers were dressed and presented as 'misfits' like Irma, each wearing a different costume that subtly referenced a different part of Izmeduan culture that was discriminated against either in the past or even in the present moment. At the last few seconds of the instrumental interval, Irma can be seen taking center-stage forward once more, being the leading lady that she wanted to be, supporting by a group of people that knew her struggle.

I put on this armor to hide myself
But I can't lie, can't deny, the heart that wants to be free
Maybe it's time I say I'm worthy
To be in my own skin
(Never be afraid)
There will be no more fear
(There will be no more fear)

The intensity of the golden lights from earlier would soften at the start of the second chorus. For this section of the song, Irma would be singing this song more towards the background cohort she was with. She sang these lines towards them, her looks of contemplative sorrow reflected back with looks of understanding, buttressed by the light choreography that they all did owing to the more prominent presence of the drumline beat in the song. She would be surrounded by two of the men from the cohort, looking at one of them at a time during the second line as they nodded at her for encouragement. At the third line, one of the female dancers would begin to dance a brief routine in expression of breaking free, and Irma would join in with a less strenuous version as her vocal became more defiant and resonant. This syncopation would grow even stronger at the fourth and fifth lines, with Irma belting 'to be in my own skin' and a brief moment where the background cohort, with hands raised, belted out 'never be afraid' as a moving chorus as they were all situated right around her. This instilled greater confidence in Irma; and she truly began to look more like the leading lady she wanted to destine herself to be.

Only have one voice we can fight with
We can't let this heart be silenced
Maybe it's time we say...

For this hook, Irma and her background cohort sang this as one unison, as the camera made a cinematic view through a slow survey of the stage. The drumline beat was even more intense as Irma and her cohort engaged in intense choreography especially for the first two lines. From the audience, they were tightly in-sync, performing a choreography of intense marches to the beat as Irma looked to be leading her cadre through the thicket of chaos. The lights would be flashing a chaotic sheen of white and gold to the beat. At the final line, Irma ended the hook with a strong belt that would involve the lights flashing in intense white, with every single person on the stage raising one hand up once more as the camera view was engulfed in a blinding white light, suddenly moving upwards toward the ceiling.

You can break and shatter me to pieces
But I am a fighter, unbroken, unchained
Don't tell me, that I'll fall
I'll show you my true colors; who I am
You can spit on my name
And say that I'm only a vagabond
But I'm proud, to be me
You'll never take that away; who I am

The reprise of the chorus roared to life with the added drumline beat of the song, with the camera view a wide pan and cinematic survey of the stage as there was a sudden change to the background screen. Instead of the dingy school-like stage that stood there from the first verse to the second hook, it was replaced with a grand stage that teemed with life, glowing with a elegance that befit the triumphant mood of chorus' reprise. It served as a fitting backdrop to the intense choreography that Irma and her cohort were performing on the stage. The first half of the chorus involved movements filled with salutes and fighting motions, symbolizing a defiance that now had a greater and more collective backbone. At the end of the first half, the camera would close up on Irma, as she then led a group into a collective stomp and clap that would then make the view cut to an even wider view, where the second half of the chorus would then involve Irma and her cohort performing even more intense choreography. From the frontal views, their rhythmic stomps could be heard as they would be marching in place to the beat, their vocals remaining resonant and strong despite the added physical activity. By the end of the chorus, Irma and her dancers stood as one line with her at the very center, as they all chanted 'who I am'

For the instrumental interlude, they would all remain in one line as they would be performing a stomp and clap in sync, kneeling one knee forward to the beat. During the interlude, they would eventually break apart as they began to assemble in a pyramid formation, performing that same kind of routine as Irma would begin to be front and center once more. As Irma returned to a position of standing defiant, the chorus would once more sing the song's title in harmony, marking the brief bridge.

Life will never fail to hold us down
I can fall but I won't give in

The camera swooped down from a slight bird's eye view angle at the start of the bridge with the cohort behind her performing a still-intense choreography that mirrored somewhat the previous chorus. Irma, as the leading lady, would only be standing in front as she belted out these lyrics. She especially let her vocals loose in the second line, unleashing a belt that would echo slightly as she had to kneel down to allow for an easier delivery of the line. At the end of the brief bridge, there would be a few seconds of a couple of more stomps to the beat before the arena darkened to a total darkness, sans a spotlight on Irma. The dancers would cease their choreography, as the song softened once more...

You can break and shatter me to pieces
But I am a fighter, unbroken, unchained
Don't tell me, that I'll fall
I'll show you my true colors; who I am

This reprise of the chorus was gentler, a callback to the more contemplative tone that dominated the earlier half of the song. The background screen itself was completely dark, only showing a transcription of the lyrics that Irma sang as she did so in real-time. However, the focus was completely on Irma. At the start of the chorus, she would begin to walk down the long catwalk to the stage island, doing so slowly but increasing the pace with the knowledge there wasn't much time. Despite that, her vocals remained centered and emotional, with the camera and spotlight following her every moment as she inched closer to the island. At the very end of the fourth line, she reached the island, her voice almost giving out from the raw emotion, the 'who I am' being laced with a slight sob. Irma took a deep breath that was caught by the microphone, this was it...

(You can spit on my name)
You can spit on my name
(And say that I'm only a vagabond)
I am more, I am a fighter
But I'm proud, to be me
You'll never take that away; who I am

The final reprise of the chorus was at hand and it overcame the Doportedas Olympic Stadium with a bang. The grand stage image background returned, looking even more laced with grandeur and splendor as the arena lit up with a swirling golden light. Behind Irma was an even greater amount of people in her cohort. There was the main six behind her on the runway, performing a choreography that mirrored the earlier choruses, with Irma following in tow with a less intense version to keep her vocals in check. She was now right at the center of the stage island, her vocals soaring higher than ever before, her belts ever more resonant. She was unleashing and putting every single glory note in this chorus, almost overpowering the background singers and losing parity. The main stage during this was not empty, was eight other dancers on stage also performing the same choreography as the dancers behind Irma. It truly was an extravaganza for the ages, the camera catching and every single part their moment to shine on the stage.

(You can break and shatter me to pieces)
(But I am a fighter, unbroken, unchained)
But I am a fighter, unbroken, unchained
Who I am!

At the very end, glitter and confetti were being rained down upon the stage, as the camera was making a survey of the entire stage. The song's close was a triumph after a triumph, with Irma losing herself in the intense emotions of it all as she let out her most passionately vocals yet. She truly was a fighter, unbroken and unchained at this very moment. For the very final line, the camera would return back to Irma as she sang the song's title, a flash of sparks then were unleashed from conduits around the stage as the lights darkened.

Irma could not believe what just transpired... She had no idea how she pulled it off, or if things would even go well later on. However, it didn't matter. She could only stand there, transfixed and amazed at the crowd cheer around her. She blew a kiss after a few seconds of looking too stunned.

“Thank you...” She whispered to the Britonish crowd, as clean-up had to start being done.

'I did it... I.. Wow...'

'Guess even the most hopeless in this world do have a chance...'

by **Britonisea** » Wed Apr 04, 2018 8:34 am

Luan Abreu: Thank you for that fantastic performance from Izmedu. Right, I am not sure you at home are aware, but we are actually broadcasting from the Doportedas Olympic Stadium.

Aharon Reuven: Yes, we are, and of course, years ago, there was a huge tragedy where many people lost their lives because of a break out between a football match.

Luan Abreu: And for years after, this stadium had to pass more safety regulations and rebuild the top of the stadium that was torn down by fire.

Aharon Reuven: We most certainly would like to show you a clip of the rebuilding of the stadium, and show you at home the impact of what was caused between the World Cup qualifiers match between Britonisea and Dreamplanet. Take a look...

*VIDEO SHOWN - 3 mins*

Luan Abreu: I get shivers every time I watch that. Let's give a huge round of applause to all of the people who helped rebuild this arena for World Hit Festival, and also for those who lost their lives here during the qualifiers match....

The audience showed their solidarity by clapping together...

Luan Abreu: More music now...It's time for Kalosia!

by **Britonisea** » Wed Apr 04, 2018 9:05 am

07
Kalosia
"L'amurë dëli sažoni" by Mateo diRenzu

Trigramme: KLS
Translation of Title: Love of the seasons
Language: Kalosian
Music: Mateo diRenzu
Lyrics: Mateo diRenzu
Tune: Barbie Girl — Aqua (cover by Ben l'Oncle Soul)

by **Britonisea** » Wed Apr 04, 2018 9:07 am

Mateo diRenzu, a indie jazz singer-songwriter, penned this song as the title track for his upcoming album of the same name. The song itself talks about his romance with an unnamed lover and how he changes throughout the seasons, although none of the four seasons are actually mentioned by name in the song. In efforts to promote his album, he entered the song into the 31st Festival dele Melodie Kalosiane (FMK) and subsequently won, earning him the right to represent Kalosia at the 38th World Hit Festival in Doportedas, Britonisea. He is the first male artist to win the national final in a long time, but regardless of his gender he is expected to earn yet another respectable placing at the contest.

During rehearsals, it was revealed that the staging wasn't to be very much different from Mateo's performance at FMK, in that there will be a backing band consisting of his personal colleagues. "If we don't win," he said, "me and the boys will go for a night out in downtown Doportedas, to make the most of our time here. And if we do, we'll celebrate by also going for a night out."

For the performance, Mateo was wearing a white dress shirt and a black vest (see picture linked above), standing behind a mic stand, and his fellow performers were dressed similarly. As the Kalosian postcard ended, the song began as the warm introductory notes were being played. Despite all the features that came with the stage, Mateo decided to keep it simple to reflect on the simplicity of the song, and to not distract the audience with unnecessary effects. So he is not using the LED screens, relying instead on the stage lights to create a warm vibe, showering the stage in golden light. The camera angles used were also carefully planned, that they would not be too far to create the impression that the stage was empty.

Kadë li foľi kadevanu
Ja ti enkontravu
El kafe ši tiravë
Insemë

Kadë sta nevëkandu
Rëstamu ulë kazë
Kon ti, animë mia
Në želavë

Në konošo tiu koru
Ma lë miu diše si

Komë unë stelë
Gidi mia mentë
E tu briľi
U moji oki

Toji kapeľi
Floskonu kolë ventu
E toji parole
Mi illuminanu

The part in brackets below is sung by the Mateo's backing performers, while he himself vocalizes.

(Venël kon me, baľal kon me)
(Venël kon me, baľal kon me)
(Venël kon me, baľal kon me)
Baľal kon me

As the next verse kicks in, Mateo's soothing voice continues to add to the coziness of the song.

Kadë lë sol es tornatu
E li flori florivë
Tu portavë un vestitu
Erë rosu e belu

Kadë lë tšelu erë blu
E lë žornatë es lunga
Ši bašamu su tia sofa
Finu al matinë

Në konošo tiu koru
Ma lë miu diše si

(Venël kon me, baľal kon me)
(Venël kon me, baľal kon me)
(Venël kon me, baľal kon me)
Baľal kon me

Komë unë stelë
Gidi mia mentë
E tu briľi
U moji oki

Toji kapeľi
Floskonu kon lë ventu
E toji parole
Mi illuminanu

(Venël kon me, baľal kon me)
(Venël kon me, baľal kon me)
(Venël kon me, baľal kon me)
Baľal kon me

Komë unë stelë
Gidi mia mentë
E tu briľi
U moji oki

The lights begin to dim as the song begins to end, but Mateo remains illuminated.

Toji kapeľi
Floskonu kon lë ventu
E toji parole
Mi illuminanu

Baľal kon me

And just like that, the song ends. The crowd cheers, to which Mateo shouts, "Thank you Doportedas!" and then leaves the stage for the next performer.

by **Britonisea** » Wed Apr 04, 2018 9:09 am

08
Togonistan
"Freefall" by Alysson Lumela

Trigramme: TGN
Language: English
Music: Eliah Hamous
Lyrics: Alysson Lumela
Tune: Elysa - ''Green Light''

by **Britonisea** » Wed Apr 04, 2018 9:12 am

Alysson Lumela is a 21-year old Togonistani singer and TV host chosen by Lucky 7 to represent Togonistan at the 38th World Hit Festival. Despite her young age, Alysson has gained a decent fanbase during her career. Although Lumela gained her fame mainly as a host of Celebrity Glam TV show for 2 seasons, she has also managed to set her foot in music industry. Being rather unknown outside of the nation, Alysson gained some international media attention after being Togonistan's spokesperson in WHF 34, which resulted in her attracting somewhat unexpected interest worldwide (and eventually escalated with a well-known Britonish artist writing a love song dedicated to her).

For WHF 38, Alysson will be singing a song titled ''Freefall,'' which is a collaboration between Eliah Hamous and herself. ''Eliah called me one morning and said that he wrote a song, but is looking for a female vocalist. Well, that's basically where the snowball went off,'' Alysson commented on the backstory of their song. When asked about the inspiration for the lyrics though, Allyson blushed refused to give any additional commentary.

Alysson is standing on the main stage with her eyes closed, wearing a long black dress. There is a humble amount of smoke raising around her. Stage lighting is light green with light rods around the arena slowly fading in and halfway out after a specific timed interval. Alysson has the microphone attached to a stand in front of her and her hands are placed on the mic. Eventually, she opens her eyes and looks deeply into the camera as she starts to sing.

If I tell you my secrets
If I know that I'm meant for you
If we won't have no regrets
You get to know the real me

If I'd be ready for a bondage
If I'd be ready to open my cards
If I'd take you to my cottage
You'd get to know the real me

Camera takes another view and approaches her from the side, doing a 180 degree rotation around her. Alysson looks at the camera all the time and starts doing some hand gestures at the same time.

What I ask in return
Is my trust you need to earn
Going down this path with me
With me

Camera zooms out from Alysson and lights around the arena intensify. They switch from lighter to darker shade of green. Some of the lights start rotating around, creating some visual effects. For a moment, Allyson's back vocals get a peek from the camera, before it focuses on Alysson again, who keeps singing and flirting with the camera.

If we'd be on freefall
(On freefall)
Approaching our palace
(Our palace)
We can move on and on and on and on
(on and on and on)

If we'd be on freefall
(On freefall)
Approaching our palace
(Our palace)
We can move on and on and on and on
(on and on and on)

Stage lighting goes even darker. All the visual effects pretty much stop, leaving just Alysson standing there singing.

If I'd lose it and have a breakdown
If I'd be feeling that I can't go on
Would you still be around and
Get to know the real me

If you heard some rumors that were lies
Would you separate the wrong from right
If you had me from the right on
Would you be there for me

What I ask in return
Is my trust you need to earn
Going down this path with me
With me

Lights go brighter again, repeating the same actions they did during the first chorus.

If we'd be on freefall
(On freefall)
Approaching our palace
(Our palace)
We can move on and on and on and on
(on and on and on)

If we'd be on freefall
(On freefall)
Approaching our palace
(Our palace)
We can move on and on and on and on
(on and on and on)

Lights on the arena go white with a slight shade of pink inside them. Alysson detaches her mic from the stand and slowly starts walking forward. She has a light, almost sad smile on her face as she looks into the camera while singing.

Our love is all that matters
Don't let it to scatter
Ooo-oo-ooh
Ooo-oo-ooh

Our love is all that matters
Don't let it to scatter
Ooo-oo-ooh
Ooo-oo-ooh oh

Light go off and Alysson is alone standing in a single spotlight. She slowly lowers herself and ends up crouching on the stage, doing some hand gestures and looking around the audience as if she was looking for someone special there.

Baby baby baby when on a freefall
Baby baby baby when on a freefall
Baby baby baby I hear you calling
Baby baby baby I hear you calling

Baby baby baby when on a freefall
Baby baby baby when on a freefall
Baby baby baby I hear you calling
Baby baby baby

Alysson stands up and stage lighting goes on again, displaying the same white with a tad bit of pink inside. Alysson turns around and starts walking back to where she had been standing for the majority of her performance. Camera is showing her from the front all the time and she keeps looking straight into the camera. By the second part of the chorus, she has made her way to the position and camera zooms out from the stage.

If we'd be on freefall
(On freefall)
Approaching our palace
(Our palace)
We can move on and on and on and on
(on and on and on)

If we'd be on freefall
(On freefall)
Approaching our palace
(Our palace)
We can move on and on and on and on
(on and on and on)

Alysson smiles as both of her arms go wide open as she sends a huge blow kiss to the audience. ''Thank you Doportedas!'' she shouts out before leaving the stage.

by **Britonisea** » Wed Apr 04, 2018 9:15 am

09
Britonisea
"Sorry, Goodbye" by The Retribution

Trigramme: BRI
Language: English
Music: Mark Anthony, Jared Hollywood, Noah Alexander, Ethan Abriel.
Lyrics: Mark Anthony, Jared Hollywood, Noah Alexander, Ethan Abriel.
Tune: Frida (Mai, Mai, Mai) by The Kolors

by **Britonisea** » Wed Apr 04, 2018 9:22 am

ORIGINAL NEWS POST;

We have waited long for this confirmation, around two and a half weeks longer than longer, but finally, we can reveal to you that the boy band, The Retribution will be representing Britonisea at the 38th World Hit Festival, which is due to take place in the Doportedas Olympic Stadium, inside the Olympic Park - Zone 4. For the first time since World Hit Festival 22 in Frigidekasai, Tödlichebujoku - 16 editions ago - Britonisea will be sending a group to represent the country, and for the first time ever, the nation will be sending a rock-esque song. When Xterior was sent to represent Britonisea in World Hit Festival, they came 6th place, which at the time was the highest placing Britonisea had ever received.

From the left of the picture below, you have Mark Anthony, Jared Hollywood, Noah Alexander (Lead Singer) and Ethan Abriel.

The Retribution will also perform during 3rd Semi Final of Vha Mehlodhivestoile 2018 as the Opening Act and so you can catch then performing their song, "Sorry, Goodbye" on Saturday 17th March at 20:00 on BVC!

The Retribution is the music group that will be representing Britonisea at World Hit Festival 38, which is due to take place in Doportedas, Britonisea after the win by Dean Boyst - who is participating in this year's Vha Mehlodhivestoile. The Retribution has the honour to sing in front of a packed audience of 40,000 people in the Olympic Stadium - the first event the stadium is to host after the Doportedas Disaster in 2015. Despite that, there is huge hype for this group, and it has been the first time since the 22nd World Hit Festival that a group has represented Britonisea. The genre of music that is being sent to this World Hit Festival is different to what is sent in the past - in both WorldVision Song Contest and World Hit Festival. BVC is hoping that the change of genre will be respected by the Britonish public, as well as the juries and televoters who will participate in the 38th World Hit Festival.

Full of apologies: Doportedas-based boy group The Retribution will be performing the song, "Sorry, Goodbye" at the 38th World Hit Festival in Doportedas, Britonisea in April.

As the Britonish postcard finished, the crowd started to chant after their home act who was about to perform. The men were scattered around stage B, with the main singer, Noah Alexander, standing right at the front of all of them. The song then came in and a flash of red filled the stage. The camera focused on an image before zooming closer and closer in at each beat of the drum. The camera would go from each of the instrumentalists before coming to Noah.

(Sorry, goodbye) Hey!
(Sorry, goodbye)

Noah smiled at the camera before he started singing. As he started to sing, grey radio waves showed up on the big screens that were right behind him. The rods that dangled from the rigs at the top, all around the arenas, flicked colours of red and grey to fit in with the stage.

You turned and said, "Sorry, goodbye"
Yet you are the one who told the lie.
I am the who is innocent,
You should be the one who is begging for forgiveness -
Beg for forgiveness.

You said, "Sorry, goodbye"
Did you think now that I would cry?
I have not done anything wrong, but
I know the secrets you're keeping will eat you alive,
They'll eat you alive.

After the chorus, while the colours remained, they were not as bright as before, and could be described to be muted and dark. Noah brought his lips right to the standing mic, singing right in to it as the camera went right past him. The audience were lapping this up, too busy cheering for their home song rather than applaud the merit of the song.

Tried to frame me for a crime.
Now you see the situation has backfired,
You are panicking; no one to look to now.
Pretend not to care but you're rotting on the inside,
I see you rotting, it is so easy to see
I haven't seen your raw emotions for so long - oh!
You are trying to make me feel the way you feel,
To get back at me for your failed plan to drag me away with you.

There was a long shot of the stadium, with all the Britonish flags waving throughout. The drummer stood up on his feet as he started to get more in to the song, and Noah started to flick his head back and forth as he too felt the song.

On the screens behind, as he sang "Sorry, Goodbye" the two words showed up in a large font on the screens behind, which caused the audience to sing along with Noah.

You turned and said, "Sorry, goodbye"
Yet you are the one who told the lie.
I am the who is innocent,
You should be the one who is begging for forgiveness -
Beg for forgiveness.

You said, "Sorry, goodbye"
Did you think now that I would cry?
I have not done anything wrong, but
I know the secrets you're keeping will eat you alive,
They'll eat you alive.

Noah snatched the microphone from the stand and started to walk around the stage, walking past his band mates; Mark, Jared and Ethan. First, he went to Mark, really getting up in to his face before moving to Jared. It was almost as though he was speaking to these people, even if the lyrics weren't meant for them. The stage still showed the staging before, the grey signals over a mostly red background.

I am smarter than you think,
I had you sussed out since the first time that I saw you.
Since the very first time that I locked eyes with you.
I noticed that there was something different about you.
But I liked it, so I went along with it.
I kept my thoughts hidden at the back of my mind - oh!
I had to keep myself safe from people like you,
Otherwise one day I will become just like one of you - ah!

The camera quickly zoomed out during the short pause of music between the verse and the chorus, just in good time to show the lyrics behind splattered across the huge LED BVC somehow found in their budget - it explains the lack of LED at Vha Mehlodhivestoile, I guess. Anyway, Noah jumped in the air as soon as the camera quickly zoomed out.

"Sorry, goodbye"
Yet you are the one who told the lie.
I am the who is innocent,
You should be the one who is begging for forgiveness -
Beg for forgiveness.

You said, "Sorry, goodbye"
Did you think now that I would cry?
I have not done anything wrong, but
I know the secrets you're keeping will eat you alive,
They'll eat you alive.

During this bit, the stage turned from the red and grey to an almost intergalactic theme, soaring through space with the twinkles of stars filling the arena including those with their phones out to make the whole Olympic Stadium pretty.

Noah had the camera focus on his features as he sung the quite emotional bridge.

I knew that it was all too good to be true and I,
Should've probably listen to the people around me,
"Don't you go for her, no. Don't you go for her, no"
But I did like thrill of it all, now I must suffer the consequences
I don't regret it at all, I don't regret it, no!

There was then a bit of a break for the singer, and so as the instrumentalists played, Noah played the air guitar. The camera circled around Stage B, slowly zooming outwards as it did each rotation.

You turned and said, "Sorry, goodbye"
Yet you are the one who told the lie.
I am the who is innocent,
You should be the one who is begging for forgiveness -
Beg for forgiveness.

You said, "Sorry, goodbye"
Did you think now that I would cry?
I have not done anything wrong, but
I know the secrets you're keeping will eat you alive,
They'll eat you alive.

He screeched in to the microphone for the last bit of the chorus before looking up and raising his hand (Noah). He then turned to the audience and applauded them as they did him, "Thanks so much, everyone. Thanks."

by **Britonisea** » Wed Apr 04, 2018 9:23 am

10
Besen
"I Don't..." by Hannah

Trigramme: BES
Language: English, Besenian
Music: Michael Zand & Zachary James
Lyrics: Hannah Berelie, Michael Zand, James Dendery & Veronica Machile
Tune: "We Are..." by Noah Cyrus

by **Britonisea** » Wed Apr 04, 2018 9:31 am

Hannah is a young, up-and-coming singer and performer in Besen. She started off as a theatre actor in the earlier years of her career. However, she soon switched to a successful pop life. She is married to Julius Gregorion (model and actor) and has vowed to not have children just for the benefit of her fame. She has released a few singles- not yet recieving critical acclaim or No.1 Status. Her album is due to be released late this year. BSS approached Hannah for the World Hit Festival due to her overwhelming charisma and drive to represent her country; for many years Hannah had argued in favour of signing up for the largely famous competition/event. She already had her song written, produced and promoted and this was a big benefit for BSS. She is rumoured to be in talks to represent Besen in the 64th Worldvision Song Contest.
(Hannah's stage outfit)

Appearing from a misty, smoky darkness, Hannah appears in a navy blue jumpsuit with gloomy-like makeup and styling. Holding a silver microphone- the first lines uttered showcase Hannah's smoky, country-trained vocals. The stage looks mysterious and rather harsh, but subject to change. She is slowly approaching the front of the stage.

If I walk away,
My heart might break,
So I keep on... that love

As Hannah's nervous instinct dies out, the songs apparent fun mood begins to shine and this is demonstrated in the contrast in lighting from a moody blue to light yellow. This shows Hannah's personal journey through the highs of a relationship. The LED had not yet been active but now the reveal of gorgeous roses and sunflowers behind her really elevates the plot.

Feel the intimacy,
Keep on loving 'n kissing me
I make you long for me

Red lights flash all around the stage, as the jumpsuit she is wearing shines through the dark. Overall, the lights are dimmed. Hannah's raspy vocals take a turn for the better, as it softens up for the pre-chorus. A ray of sunlight beams down in the form of a bright yellow spotlight. Backing vocalists can also be heard quite frequently due to the "choir-like" back and forth parts.

(Re tol) Aner beltre en jereo
(I feel) That we won't let go

(Ne ral) Coura menten ina yuro
(The sun) Lights up my skin

(Pun nar) Gresi mutina lebona mura
(Grey minds) Ready for a new start

The instrumentals die out to introduce the final line of the pre-chorus, exposing Hannah's raw voice- which isn't at all bad. The lights are gone too: apart from the spotlight, which remains. Hannah kneels to the floor on her knees.

Ne lio
The life

Dende mer ento vereta makeya netos
Don't ever stop chasing your dreams

The explosion of the chorus rises through Hannah as she jumps from the floor, clapping her hands together (audience participation of course). What follows, is an array of flashing, bright lights spraying across the stage. Her jumpsuit shines and stands out from the other backing vocalist/dancers, whom now are joining her on the stage.

I Don't... want!
Don't wanna feel forever
When forever starts, never
Hold on, I'll see you tomorrow

The repetition- and revamp of the wording- of the chorus comes with much the same as what happened before. Hannah remains jumping around the stage with enthusiasm and charisma, she is selling the song- even if lacks the lyrical expedition that other entries will provide.

I Don't... want!
Don't wanna get addicted
To your poison lips, my baby
Just go and find another...
I Don't... want!

The song is chilled out again, and so is Hannah as she fades back into her focus on vocal performance, rather than visual. The backing vocalists provide support again. However, the gorgeous roses on the LED remain, as well as glistening illumination.

My name, my name
Hear you screaming out my name
But I don't mind, at all

As the lyrics get more lively, Hannah's face exhibits an array of expressions, which shows her deep connection with the song (she wrote it as well). Shimmering, sparkly effects float around the screens. All of the stage parades the romanticism of the song and it is evident.

I'll be, the one
To sing you this song
Just hold on a minute, I think this could work

'Intimacy' is the word that comes to mind when Hannah shifts closer to the cameras for her close-up shot. Her makeup is undoubtedly elegant and charming. She is evidently having a great time on the stage and even when she breaks character, her alluring grins will surely capture imaginations.

(Re tol) Aner beltre en jereo
(I feel) That we won't let go

(Ne ral) Coura menten ina yuro
(The sun) Lights up my skin

(Pun nar) Gresi mutina lebona mura
(Grey minds) Ready for a new start

The execution of the staging is evidently more mature than Erica's Worldvision performance as Besen's debut. Hannah knows her cues and this is clear as she alters from place to place. The screens display a spectacle of galaxy and stars.

Ne lio
The life

Dende mer ento vereta makeya netos
Don't ever stop chasing your dreams

The eruption of the chorus now transforms the stage into a blaze of golden stars. Then, in a stunning move by Hannah in which she presses a button on her dress, small, luminous balls of light flashing, flows up of the sides of it. A few gasps can be heard and Hannah looks pleased with the execution.Though not a massive stunt, BSS wanted to add an extra element that would impress and appease viewing audiences at home.

I Don't... want!
Don't wanna feel forever
When forever starts, never
Hold on, I'll see you tomorrow
I Don't... want!
Don't wanna get addicted
To your poison lips, my baby
Just go and find another...
I Don't... want!

The breakdown of the song arrives and so does the elevation of the visuals. A darker tone is taken abroad as the stars fly away- and are replaced by a cluster of broken glass, manifesting Hannah's inner anguish, agony and struggle. The happy vibe has disappeared, even if Hannah's appearance doesn't agree.

You want to feel my love- then prove it
Enjoy yourself first, but don't get too attached
I might just go and find another one...

Once again, a single spotlight illuminates Hannah when she softly sings the pre-hook, a moment of bare instrumental before the next high. Her shiny dress is switched off right before the chorus starts again.

(Re tol) Aner beltre en jereo
(I feel) That we won't let go

Dende mer ento vereta makeya netos
Don't ever stop chasing your dreams

Boom! An conflagration appears at the front of the stage, along with various blue, yellow and red lights glimmering everywhere. The backing vocals basically carry the last few choruses because of the nature of Hannah's ad-libs. Hannah is dramatizing, dancing and singing to her very limits, embracing her moments on the huge stage. It's a special moment for her and her career.

I Don't... want!
Don't wanna feel forever
When forever starts, never
Hold on, I'll see you tomorrow
I Don't... want!
Don't wanna get addicted
To your poison lips, my baby
Just go and find another...
I Don't... want!

Vocals now throaty, Hannah belts out the song in the last seconds, why not give it your all? The extravagant stage techniques leave and make way for just Hannah. Haltingly, she bends down near the audience.

Enjoy yourself first, but don't get too attached

Amazingly, she still has power and fire in her as her charisma shines through everything.

I might just go and find another one...
I Don't... (want)

"Thank you, Britonisea! I love you all!", Hannah gleefully beams happiness as she leaves the stage- almost running. Besen prays for a good result.

by **Britonisea** » Wed Apr 04, 2018 9:34 am

11
Darkmania
"Tou Ë Yr" by Cärtenne Sërnänä

Trigramme: DMN
Translation of Title: You and Me
Language: Title in Darkmanian (Western), but the rest are in Norwegian Bokmål
Music: J. Ërmis, P. Ëmers, V.Öte P.Ënis
Lyrics: C. Sërnää, J. Ërmis, P. Ëmers
Tune: Elina Nechayeva - “La Forza"

BVC | 38th World Hit Festival | Doportedas, Britonisea

BVC | 38th World Hit Festival | Doportedas, Britonisea

Intermission 1

Official Entries of the 38th World Hit Festival

01 | Kalmarlund | Lynda - "Perpetual"

02 | Norjihan | Fnir - "Let Me Go"

03 | Cleaca | Represent Cleaca - "For Cleaca"

04 | Estogium | Viv Rumie - "Top"

05 | Nightom | DoRiTos - "Price"

06 | Izmedu | Irma Cigir - "Who I Am"

Intermission 2

07 | Kalosia | Mateo diRenzu - "L'amurë dëli sažoni"

08 | Togonistan | Alysson Lumela

09 | Britonisea | The Retribution - "Sorry, Goodbye"

10 | Besen | Hannah - "I Don't"

11 | Darkmania | Cärtenne Sërnänä - "Tou Ë Yr"

Who is online