World Hit Festival 40 - Mousiki, Izmedu | IC Thread

by **Izmedu** » Thu Jul 26, 2018 10:32 pm

20:00 IZMEDUAN TIME

World Hit Festival history was made not too long ago and RTI were beginning to get a handle on this whole process of how semi-finals worked. With seven qualifiers at hand, the guest list for the WHF40 grand final was almost looking complete. There was one more semi needed to determine the complete lineup of 15 nations that could well win the 40th World Hit Festival. Before that was possible, seven more qualifiers needed to be discovered.

14 semi-finalists now await their fate tonight. Only seven can make it through to the grand final of the 40th World Hit Festival. Who will they be? Let's find out...

OPENING THEME
Alajbeg Productions – Discovery
Tune: Nick Murray ft. Juliet Lyons - Existence

0:00-1:05
An image of a spatial-esque background appeared as the foreboding instrumentation began to play. As the camera zoomed in towards a galaxy, images of significant events from past World Hit Festivals up to the present began to play as the music built from its rumbling tone. The piano provided the backdrop for black and white images of past World Hit Festivals that began playing on the screens, acting as an almost 'epic' yet out-of-context recap of the World Hit Festival's history.

1:05-2:27
Those images were almost played in random order, 'decades' of the World Hit Festival grouped together in modified images in black and white. As an ethereal female vocal began to overlay itself on the instrumentation, causing the images to begin to burst to life in color. The later World Hit Festivals were emphasized, with images from Palmane, Harrikes, and Doportedas beginning to appear on the screen. When the song climaxed and hit its peak, the screen went dark... With a slow fade to the WHF40 logo at the piano outro.

The camera faded to a wide view of the stage. On the main stage was the hostess, standing behind a podium designed like a music note. Her name was Petra Krznar.

Petra: WELCOME TO THE SECOND SEMI-FINAL OF THE 40TH WORLD HIT FESTIVAL!

There was a large crowd cheer here, the camera cutting to views of the 11,000 person audience waving their flags for an occurrence that hadn't been seen since the 3rd World Hit Festival.

Petra: Amazing, huh? Just a while ago we were here finding out the first set of qualifiers from the 40th World Hit Festival. Well, it's not over just yet. We still have tonight to go through so we can find out who will be competing for the chance to take home the World Hit Festival trophy. 8 nations currently sit with tickets to the grand final. There are seven spots available to help bring that number up to 15.

Petra: Tonight, 14 delegations and countries are represented here waiting for their chance to qualify from the semi-final. Starting tonight off is a nation who has been around the World Hit Festival block for quite a while. Representing a wide array of languages, it is Skanden. Hoping to bring their country to the final are Maria Lundberg and Aleks Soderburg with the song "Kung," meaning King. Skanden, take it away!

The camera view faded to the initial frame for Skanden's postcard.

by **Izmedu** » Thu Jul 26, 2018 10:50 pm

The Official Playlist for Semi-Final 2 of the 40th World Hit Festival

by **Izmedu** » Thu Jul 26, 2018 11:02 pm

Translation: King
Tune: Uncle — IU

Maria Lundberg and her boyfriend Aleks Södergård wrote the lyrics to this song together. It was inspired by a depressive episode Aleks had several months ago, in which Maria stayed faithful by her side and was there through all the hardships he went through. Eventually, Aleks overcame it. Maria specifically wanted the song to be cheerful, to provide for a sharp contrast between the depressive episodes that Aleks underwent and the kind of positive outlook on life that Maria hoped he would achieve eventually.

Maria was joined by 4 masked male dancers on stage, and their choreography was super cute (use this for reference).

Varför känner du så trist?
Jag vill ej se du som det här, javisst
Du var så lycklig igår
Känns jag finns det något som du inte får

Kanske känner du så maktlös?
Du har förlorat kungariket ditt
Här står jag som drottning din
Bortom väggarna av ditt slott, ja, det finns mer

Fast du tycker du är ingenting
Du vet att jag tror på dig
För jag tycker att du är den bästa mannen i den värld
Du är den bästa kung
Du, min sötaste kung
Du~

Kära, du är jättestark
Jag vet det för du har din egen mark
Du är ledsen ikväll, men
Solen kommer ut imorgon, aldrig sen

Du behöver en bra kvinna
En kvinna som kan leda dig på väg
Allt det som du inte ser
Bortom alla dina tankar, det finns mer

Fast du tycker du är ingenting
Du vet som jag tror på dig
För jag tycker att du är den bästa mannen i den värld
Du är den bästa kung
Du, min sötaste kung
Du~

The dancers took off their masks and as it turns out, one of them was Aleks himself! Another dancer handed him a mic, and he sings the parts below marked in italics.

Hello hej
Tack för alla dina önskar
Tack för alla dina hoppar
På din kärlek
Min ensamhet
Jag vill inte säg på dig bye bye bye bye~

Aleks and Maria are now facing each other, as if having a conversation that's... rather conflicting.

Kommer du förstår det är sant?!?!?!
Jag har försökte min bästa för att blir lycklig!!!
Ja men du kan inte bara tanka om det på varje dag!!!
Ah… du är rätt

Maria holds Aleks' hand for the first two lines of the next part, and then lets go as Aleks does his own choreographic style while the other dancers dance in the background in a way that doesn't distract from the couple.

Fast du tycker du är ingenting
Du vet som jag tror på dig
För jag tycker att du är den bästa mannen i den värld
Du är den bästa kung
Du, min sötaste kung
Du~

Finally, Maria walks over to Aleks, puts her elbow on his shoulder (see video again for reference), and finishes the song.

You’re my king!

The audience were joyed by this explosion of cuteness and cheered. "Tusen tack Mousiki!", Maria yells. Then they get off the stage as it is being prepared for the next entrant.

by **Izmedu** » Thu Jul 26, 2018 11:05 pm

Tune: Exit Eden - ''Incomplete''

Divina Angeli, from left to right: Amanda Airotua, Sissi Tefeau, Alyona Lofeti and Alayna Taufatofua

Lucky 7 has internally chosen Divina Angeli, a female vocal supergroup to represent Togonistan in the 40th World Hit Festival. Divina Angeli consists of Amanda Airotua, Sissi Tefeau, Alyona Lofeti and Alayna Taufatofua. All of the members are former lead singers of various Togonistani symphonic metal bands, with an exception of Sissi Tefeau, who is an professional opera singer.

For WHF, they are performing their song ''Decompiled'' composed by Togonistani composer Ino Metua. Lyrics were written by the band members themselves.

Performance:

The four women are standing on the stage all lined up, wearing evening gowns with gray color scheme. Stage is really minimalistic, with no flashy LED screens. Instead, on the stage, there are small candles here and there, with a female violin player sitting on a chair few meters away from the singers. She starts playing her instrument, while singers have lowered their heads. Eventually, Alyona raises her head and starts singing.

Feeling empty when you're not around
All my attempts, they just go rebound
Without you alone I can't find no rest
While I wander, trying to do my best

Eventually, Sissi steps in and starts singing.

I tried to go on like I never knew you
But the pain, unbearable while you're not around
I try to convince myself that it was lie
But without you all the time I feel decompiled
Decompiled

Violinist nods her head to the rhythm of the music as the camera rotates around her.

Decompiled

Women start walking around on the stage, with cameraman focusing on Amanda who is singing. In the middle of the verse, Alyona joins her singing.

Voices tell me I should carry on
But I am feeling that I am so done
Crying, and trying to go on at my own pace
I still wonder why you left me with no trace

Sissi steps in again, singing the chorus as the camera focuses on her.

I tried to go on like I never knew you
But the pain, unbearable while you're not around
I try to convince myself that it was lie
But without you all the time I feel decompiled

Women get closer to each other, standing in a square facing each other.

I don't want to lose it all, I didn't want to let you down
But now I have to go my way and let you go
like I never knew you

Singers all turn to face the audience, as the LED floor starts displaying color white taking over the floor, originating from the very spot the singers are standing.

I tried to go on like I never knew you
But the pain, unbearable while you're not around
I try to convince myself that it was lie
But without you all the time I feel decompiled
Decompiled

By the end of the verse, floor has been colored white, but it starts to fade out into black again. Camera focuses on Sissi as she sings the final line.

Decompiled

Lights fade out, leaving Divina Angeli in darkness just to be greeted by an applause from the audience.

by **Izmedu** » Thu Jul 26, 2018 11:07 pm

Tune: Jaira Burns - Sugarcoat

Having last participated in the 34th edition of the World Hit Festival hosted in Vodiznad, Izmedu, the Polkopian National Broadcaster (PNB) opted out for the following edition, citing low viewer participation as their justification for their withdrawal. Within months of their withdrawal, viewing figures were made public knowledge as per request by Gregori Životsev, who had only just been hired as the head of the Worldvision Committee within the PNB, and these viewing figures showed that the 34th World Hit Festival generated 900 thousand viewers, the highest ever recorded number of viewers for the World Hit Festival. Several allegations of corruption ensued, and Anton Markasev, head of a number of projects within the PNB, including the World Hit Festival, was subsequently arrested with charges including money laundering, corruption, and embezzlement. During Polkopia's absence in the World Hit Festival, the PNB has worked to restructure that particular sector of its company, and Yuri Petravonovich, son of famed Polkopian singer-songwriter, Anna Petravona, was appointed as head of the World Hit Festival among other projects. Since his appointment, he has worked alongside Životsev in order to ensure that the World Hit Festival and Worldvision song contests did not steer viewers from each other, but rather complement each other during their respective showings. Therefore, a joint meeting with Životsev, Petravonovich, and Viktor Vyonshchik, who leads the team responsible for the Landa vy Polkopiya, decided that once again, the winner of the Landa vy Polkopiya would be sent to represent Polkopia at Worldvision, while the runner-up would be given the chance to represent Polkopia at the World Hit Festival. This tactic proved successful during Polkopia's last participation at the World Hit Festival, where Ada Filipović was sent to Vodiznad and placed fourth out of 20 nations. The 40th World Hit Festival would once again act as a test in order to determine if this method of selection works best in order to ensure a perfect balance between viewing figures, costs associated with participation in both of these song contests, and results.

Mariya Iyunovna, or more commonly known throughout Polkopia by her stage name, Molly June, was only 21 years old at the time of her debut at the Landa vy Polkopiya. Prior to her participation at Polkopia's most popular internal music competition, June grew up as a child actress, starring in several musicals including Growing Up Broke and Broken, and Retrospective. June's role in both of these musicals caught the attention of several Polkopian musical directors, who wasted no time attempting to make Molly June one of the more recognized names among Polkopia's most popular artists. Unfortunately, her career came to a halt following a sickness within her immediate family, and she took a three-year hiatus from the music industry, where she helped raise her younger siblings alongside her mother. When her siblings grew old enough to take care of themselves, June returned to the music industry and released her song, Overload, which was subsequently entered into the Landa vy Polkopiya in hopes that she would make it to the Worldvision stage. Although she came up short of achieving her dream, Polkopia's return to the World Hit Festival opened up a new opportunity for June, and she accepted the invitation to represent her nation in the contest. Her song broke into the Top 10 in Polkopian charts, peaking at #9 within a week of the song's official release, and has fluctuated in and out of the Top 10 in the following weeks. Currently, her song sits at #18 in the charts, but hopes still remain high that Molly June will bring Polkopia it's first ever victory at the World Hit Festival.

At this moment, the stage was completely dark. The cheering had just begun to subside after her nation's postcard was shown, and Molly June stood in the middle of the stage, looking down at the ground, counting the seconds in her head before the opening notes to her song were to play. She wore a navy jumpsuit with a necklace that was decorated in a half-gold and half-ruby sequence, and wrapped tightly around her neck. Her large, hooped earrings matched her necklace in the sense that one was colored gold, and the other, a deep red, and they corresponded with the sides of her necklace. Her eyeshadow was colored in a similar pattern, and her lips were a deep, sensual red, with a thin gold line painted in the middle of her lower lip. Her dark, black hair was parted perfectly down the middle and reached the middle of her back. She carried her microphone in her right hand, and it was decorated in a golden color, complete with rubies which were dotted alongside the housing compartment of the device. "Three, two, one." She counted down in her head, and began to walk forward from the back end of the stage, out from between the two large LED screens. The spotlight showed her, and she looked calmly ahead into the distance, seeming to ignore the camera focusing in on her from the front of the stage. The LED screens showed a light pattern and continued for the opening notes of the instrumentation and the first few lines of her song.

Always in my head
I can't look ahead
I can't stand it anymore.

I should take a break
But I'm about to break
And I can't stand it anymore.

After she sang the first lines of her song, the pattern in the two back LED screens morphed into one large circle on each screen, and they seemed to fluctuate in color. The rest of the back LED screens were completely black, however, the LED screen on the floor showed a pattern which resembled glass. As soon as the camera angled itself so that the pattern on the floor was visible, Molly June stopped, winced, and began to fall into a crouching position onto the ground. She sang the next verse, clutching her heart with her free hand and squeezing her eyes shut. After the first two lines, she looks directly into the cameras to sing the next two lines of the bridge, where the camera's special effects made it appear as if though her pupils have dilated and her irises have turned a bright shade of gold

I'm not gonna overload it, babe
Ima take it real slow, so I don't go below.

I will watch my pupils dilate
When I'm taking this hit, and it's so hard to admit that...

As the beat drops, all of the background LED screens show a pattern that resembles a black and white static screen. When she sings the first line, the two LED screens closest to the center of the stage show a video of Molly June's profile, as she holds her head. In this video, her hair is tied up in a high blue ponytail and she is wearing a black and white top. Behind her, circles colored in gold and pink rapidly zoom out in the background. The other background LED screens only show the circle pattern, as does the LED screen on the floor. All of these background screens are in sync with the other two screens, however they omit the video of Molly June. Molly June stands up, points to the audience with her free hand, and slightly swings her outstretched arm to the tune of the beat while she sings.

That I love it so much, and it's so hard for me to let go
And I hate it at night, 'cause that's when I need it the most
But I love when I'm on it, and maybe you'll call me a hypocrite
But I can't overload it... load it... load it...

With each time she sings "I", the other LED screens in the background flash gold, then pink, then gold again, until she sings the word "can't". At that point, a gold and pink version of this spiral animation plays. This pattern repeats itself for the second line. For the third and fourth lines, the same spiral pattern remains on the screen. After the fourth line, however, they fade back to black.

No I-I-I-I-I-I can't...
No I-I-I-I-I-I can't...
And I can't overload it...load it... load it...
And I can't overload it...load it... load it...

As the other LED screens fade to black, the main two LED screens (the same two that displayed the video of her) show a pattern similar to this, but the colors begin to morph in tune with the beat, and more of the glitter is produced each time the colors collide. Molly June walks about the perimeter of the stage, waving to some of the members of the audience who are in the front two or three rows, smiling some.

When I'm coming down
My feet touch the ground
And I can't stand it anymore.

She meanders her way back to center-stage, and she grips her hair and returns to the crouching position she maintained earlier in the performance, squeezing her eyes closed, and maintaining a pained expression all the same. Meanwhile, the LED screens and lighting all began to fade into a dimmer version of their previous coloring

All the colors fade
And I'm about to break
And my heart aches for love

She returns to a standing position, opens her eyes, and shakes her head, however the pained expression she had before is still present on her face while she sings. She doesn't seem to be singing to anyone in particular, and looks as if though she is zoning out toward the end of the bridge, but still sings regardless. At the very last note, the camera rapidly zooms into her right eye, and another video effect made it so that it looks as if there's a flame in her pupil.

I'm not gonna overload it, babe
Ima take it real slow, so I don't go below.

You can watch my pupils dilate
When I'm taking this hit, and it's so hard to admit that...

The camera then shows an arial view of the stage, while the background LED screens show the same animation as the previous chorus, with the video of her and the circles in the background. Molly June is positioned so that she is in the middle of the circles that are zooming in on the LED floor, creating a surreal atmosphere on-stage.

That I love it so much, and it's so hard for me to let go
And I hate it at night, 'cause that's when I need it the most
But I love when I'm on it, and maybe you'll call me a hypocrite
But I can't overload it... load it... load it...

No I-I-I-I-I-I can't...
No I-I-I-I-I-I can't...
And I can't overload it...load it... load it...
And I can't overload it...load it... load it...

The breakdown begins, and she returns to the crouching position from before, though this time, her eyes are open. The animations in the background all fade to black, and the lights dim. The LED floor still continues to project the circle-animation, however, the circles are now colored in different hues of gray. As she sings the last line of this breakdown, she slowly rises, and by the last note, she's standing straight up again.

I can't even sleep at night
I don't even have an appetite
But take one look into my eyes
You'll see that I've reached another high

Midway through the first line, the colors all return to normal in an instant, and smoke shoots out from various spots along the perimeter of the stage. The two LED screens closest to center-stage show the same pattern as before, however, the other two LED screens show a pattern similar to this, but in red.

I'm not gonna overload it, babe
Ima take it real slow, so I don't go below.

You'll all watch my pupils dilate
When I'm taking this hit, and it's so hard to admit that...

That I love it so much, and it's so hard for me to let go
And I hate it at night, 'cause that's when I need it the most
But I love when I'm on it, and maybe you'll call me a hypocrite
But I can't overload it... load it... load it...

No I-I-I-I-I-I can't...
No I-I-I-I-I-I can't...
And I can't overload it...load it... load it...
And I can't overload it...load it... load it...

After the last note, all the lights immediately turned off except for a singular red light behind Molly June, illuminating her silhouette in the bright red lighting that showed. When the song was over, the lights all returned to normal. Molly covered her face, smilled, and bowed. "Thank you!" She managed to say into the microphone, before exiting the stage.

by **Izmedu** » Thu Jul 26, 2018 11:09 pm

Tune: Original: you can't find it on any platform

The audience sees smoke covering the podium. When the smoke fades, Roniiu Kelez, the guitar player of 3Kiss and Daram Suzuui, the piano player of 3Kiss start playing.
Katy K starts singing:

You call and say I'm happy
Happy happy
DJ Strappy will rock your mouse
But I got more proud

After a short pause of the music the music starts getting very loud and she sings very loudly:

Silent silent boy,
I am in the house,
I know you think i'm inhouse,
you ain't ever gonna be Mickey Mouse

But I got more acoustic
You must think I'm pianistic
Nanananana Music
Music Music

DJ Strappy (Derek Strapper), the singer of the group comes in and starts to rap

Brave, brave boy
Baby's got no songs
Ayy, ayy, switch my soundtrack
Stack, stack
Tick, tack
My clock is comin' back
Ticky tocky ticky tocky
Tick tock tack

DJ Strappy does a somersault on stage. The music pauses, only to begin again.

Silent silent boy,
I am in the house,
I know you think i'm inhouse,
you ain't ever gonna be Mickey Mouse

But I got more acoustic
You must think I'm pianistic
Nanananana Music
Music Music

The music stops, they all start clapping to the beat and shout, as their voices get quieter:

Music
Na na na na music
Music music
Music

Music
Na na na na music
Music music
Music

Music
Na na na na music
Music music
Music

Music
Na na na na music
Music music
Music

Katiia (Katy K) shouts 'Asme! Gracci! Thank you!' and then is seen jumpingin the air while walking off stage.

by **Izmedu** » Thu Jul 26, 2018 11:11 pm

Tune: Dami Im - ''Super Love''

Following their rather experimental choice for the 39th World Hit Festvial which earnt the nation a solid thirty points and fourth place, ENM have decided to go back to basics with their selection for the 40th edition of the contest held once again in Mousiki, Izmedu. The song chosen has reflected a shift in the of tunes of Mercedini's sporting history, with the song coming from a successful re-release of a WorldVision banger. The selection comes after a second iteration of Nollov's 'Unbreakable', classified 'The Champions Edit' was released following the nation's first ever World Cup Cycle victory in the Cup of Harmony, reaching the top spot on the Mercedinian Hot 100 mere days after it's release.

The song has come of age since the original trck was released after WorldVision 51, where the song placed 9th in Kyvivre, which was the best placing at the contest that the nation had at the time. The song was chosen by executives for it's lyrics and feel good attitude, jumping on the back of sporting hype which transfixed the nation in the following weeks after the team's victory. With lyrics modified, the tune revamped and all new staging for the song to compete in Mousiki, it could be time for Nollov to take home a second World Hit Festival title.

The Mercedinian made waves when she became the first from her nation to win an international song contest, when she was featured on the Convikt dance track 'Flying Above', which won the 33rd World Hit Festival for Cosneolta, one edition before Daniel Alishkaerni did the same thing, this time for his home nation. Nollov has been active within the Mercedinian music scene since her victory, focusing on new projects and writing a series of competing WorldVision songs, with Rapidly Descending Barrier's 'Loved Ones' currently competing in Telm City, which was co-wrote by Nollov and a series of other writers. Now she takes to the stage for Mercedini once again, hoping to bring home a third victory for her nation, which would be the first in four editions. She will sing 21st in the final of the World Hit Festival.

The performance begins with the stage covered in a matte white, bright enough to illuminate the rest of the arena but calm enough to keep everything in view of the camera which was elevated above the circular stage. Grey vertical strings on the LED screen at the back of the stage were vibrating as the beginning piano chords ran out around the arena and from television sets of the viewers at home. The camera flew in to a female figure walking forward on the main portion of the stage. The spotlight above her grew in brightness to slowly reveal the Mercedinian representative, who was dressed in all white with loose white trousers and a white crop top, revealing her rams and lower stomach to serve some looks to the crowd. She put her white microphone to her lips to sing the opening lines of her return to international song contests

Lately I’ve been looking up to greatness
We live in a place where victory’s just meant to be
Because we are, are looking nowhere but up
And that’s why I’ll be there when times get tough

Rachel then wals to the side of the stage but doesn't walk onto the island, instead a camera located as the side of the stage swoops in from above, as Rachel sings towards the camera before turning her back and walking back towards the centre of the stage, geeing up the crowd as she does so. The vibrating strings on screen slow to the point where they become simply grey lines at the back, before fading away into the white screen, leaving the LED screen as one colour after the first verse of the song comes to an end.

Just say that you’ll be there when we all take a bow
There’s no doubt as time flies, there will be ups and downs
Because we are, are looking nowhere but up
And that’s why I’ll be there when times get tough

The matte white screens now increase in intensity as Rachel cuts a lovely figure at the centre of the stage, the lights around the arena now all point their beams of light towards the singer as the camera in the centre cuts a long stationary shot at it moves forward, moving past many heads of the audience who are simply watching in admiration rather that waving their flags like previous performances. The angle then cuts to the shot zoomed in on the face of Nollov as she clenches her fist and sings into the final line into the main camera in the central of the stadium. The music continues as the lights and screens fade out before the lead up to the chorus begins.

We’re taking on them all
Their walls, we’ll blow them up
We're gonna run this town, town, town
World, we're unbreakable

During the instrumental portion of the song before the chorus, Rachel waves to the crowd which returns a small cheer from the crowd as the flags are waved high, Rachel spins elegantly before steadying herself and putting her microphone up to her lips once again. An explosion as light and colour occurs as the first chorus explodes into light. Five dancers who are all in white run from the side of the stage all holding chalks of different colours of their hand, they all run of enthusiastically into the centre of the stage and throw their chalk into the air, creating clouds of orange, purple, green, blue and red before dancing around Rachel which is captured by the overhead camera. The white screen has been wholly replaced by a multi-coloured vortex spinning around in the LED screen behind the action. Small fireworks of many different colours fly from the stage floor as the chorus kicks the audience into life.

World, we're unbreakable
Yeah, we're unbreakable
We're gonna run this town, town, town
Hey, we're unbreakable

The second verse begins with the vortex slowing down until it stops to form a simple wall behind the performers on stage. The six of them line up behind each other with Nollov at the front, the five dancers spread their arms out to give the illusion that they are coming from the singer's body, with each of the dancers having noticeably different coloured hands from the chalk that they threw previously. The arms and hands then reach forward to grab the clothing of Nollov who keeps singing into the central camera, the chalked hands leave their mark on the clothing, adding colour stains to her clothing as the performance continues.

If they say that our strengths will never do them harm
Then we’ll run to them and show them all what we’re made of
Because we are, are looking nowhere but up
And that’s why I’ll be there when times get tough

The dancers split from their line and move with Rachel as she walks forward towards the front of the stage, a manned camera moves onto the stage and circles the group before the camera shows a reverse angle of the stage with the performers turning their backs to the audience as Nollov sings to the audience at home rather than the ones in Mousiki. Rachel places her hand on her heart before turning quickly to greet the audience with the beginning of the lead up of the second chorus.

We’re not gonna stop till we’ve earnt that number one
Creations and evolution take us where we’re dreaming of
Because we are, are looking nowhere but up
And that’s why I’ll be there when times get tough

Rachel looks up to the overhead camera before returning to the central camera in the arena. The stationary vortex begins to start up once again as the mix of colours rotates on the LED screen at the back of the stage. The colours spill onto the LED floor to illuminate the performers with many different colours instead of just white which was present before. The bridge is slowly being filled in with the walkway slowly transforming as the rainbow effect seeps it's way along the walkway, which is captured by the camera as it flies back to take in the scale of the arena.

We’re taking on them all
Their walls, we’ll blow them up
We're gonna run this town, town, town
World, we're unbreakable

There's no break for the singer as they song goes straight into the second chorus which brings it's own set of effects to keep the viewers engaged in the song. The lights and the spectacle return with cannons at either side of the stage firing light chalk at the performers on the stage, which floats down and coats the white clothing of the six people, creating individual designs for the six of them to sport for the rest of the performance. Rachel now has a small sprinkling of coloured powder on her hair and on her face, but her make-up has deflected much the mess, keeping her face still visible to the crowds watching wherever they are.

World, we're unbreakable
Yeah, we're unbreakable
We're gonna run this town, town, town
Hey, we're unbreakable

(Yeah, we're unbreakable)
(Yeah, we're unbreakable)

Rachel now moves away from centre stage for the first time in the song as she steps onto the walk way which encompasses a small section of the audience who have a special view of all the artists performing on the night. She walks along the walkway to the camera's left as the other five performers are briefly seen on the walkway on the right. The Mercedinian moves her fingers through her hair as she put plenty of effort into her tone to give off a heartfelt message to the audience. She looks and sings to the audience in the stadium to get them hyped for another chorus which the song was building towards.

And even if we're mountains apart, I will climb (ah, ah, ah)
'cause our hearts and souls are glowing inside, can't deny (ah, ah, ah)
(World, we're unbreakable)
(World, we're unbreakable)

The six performers meet up together in the centre of the island which was connected to both walkways as the instrumental portion of the song returns. The colours begin to swirl and swoosh around as the song builds up to a crescendo once. The five dancers form a ring around Nollov as she gives the notes her all in her big return to representing her nation. To her, it felt good to be back where she first made a significant name for herself, winning the contest with Cosneolta. Steam jets fly from the stage this time, as coloured light shines through the team to create coloured columns rising from the stage floor. The crowd are beginning to get into the song as they are waving their flags now, with the light reflecting off the heads of the audience which the camera sees around the main action.

World, we're unbreakable
Yeah, we're unbreakable
We're gonna run this town, town, town
Hey, we're unbreakable

Steam jets fly from the stage once again as Nollov releases the notes of her life at the contest, reliving the spectacle of singing her song in Kyvivre for the 51st edition of the WorldVision Song Contest. The dancers arrange themselves behind Nollov as she sings the final lines of the songs. They smile with some resting their hand on the shoulder of the main vocalist giving the impression of togetherness on stage, something which the song is keen to mention as its theme, given the context of the revamp and the purpose of it's re-release. The final piano notes sound out, bringing the song to an end.

World, we're unbreakable!
(World, we're) unbreakable
You're gonna run this town, town, town
Yeah, you’re unbreakable

The six of them bow simultaneously with Nollov thanking the audience verbally while her dancers simply smile and wave to the adoring audience. "Thank You Mousiki! Let's make some music!". She smiles and hugs her dancers as the camera cuts to a group of Mercedinian fans blow a kiss into the camera before a transition is made to a postcard of the next performing nation.

by **Izmedu** » Thu Jul 26, 2018 11:14 pm

Translation: Madness of Two
Tune: Dan Owen - Hideaway

The country is represented by 24-year-old Lem Olaph, the winner of La Voix de Christarnée. The song is his debut brand new single called "Folie à Deux". A lot of his growing amount of fans in Folkand was elated after the announcement. However, his final version of the song has been kept in secret till the final night in June. The album version sang full in French has appeared in many Folkandish radio station and reached really good placing in local tops. All the experts are convinced that Christarnea will really matter in this game.

The stage is fully black. The three streams of lights fall on the floor at the beginning of the instrumental. We can hear Lem humming in the background but he isn't present in the light. Instead of him there is a female ballet dancer in a white costume sitting on the floor. She stands up and takes a walk around the stage. The Lem's voice in the background sings the first verses.

Je suis allongé
Sur le sol dans un bourbier de sang
Cette scène est-elle réelle
Tu me supplies de mourir plus vite

The silhouette of Lem Olaph appears at the back of the stage. His face is hidden in the dark. He walks towards the front of the stage. The ballet dancer is dancing by his side. We can see that he wears long black mantle, black jeans and black military boots.

And I can't tell I'm fine
It was a blow to my mind and our love
But please don't try to hide
Tell the police to blame it on me

He comes to the light and stops in this place. The dancer sits down by him. She seems to be sad and terrified. He sings the pre-chorus.

My scars are open
Blood is colder
Lips in blue need a kiss for goodbye
Eyes are frightened
But I am doubtless
It's me who make you mad

He bends over the floor and starts the chorus with a powerful scream. The girl stands up and starts to perform her energetic dancing routine having run quite far from Lem. The stage is bursting with a flash of light.

La folie à deux
L'amour est un crime
C'est ma faute si tu es un monstre
J'ai tué un homme
Tué avec tes mains
Il y a une mort entre nous

The bright light disappear at the time, the dancer suddenly falls down on the floor. Lem Olaph comes towards the girl giving his left hand to her and helping her stand up. He sings to her.

To jest tylko śmierć
To nie ciało kochało a duch
Miłość klatwą jest
Którą dzielę się z Tobą na pół

Lem is coming back to his previous position, while the female dancer is slowly taking her white ballet costume off. She wears a short red dress underneath. It symbolizes the murder and blood he sings about.

My scars are open
Blood is colder
Lips in blue need a kiss for goodbye
Eyes are frightened
But I am doubtless
It's me who make you mad

The stage illuminates with the wide ray of bright, white light. Lem sings the chorus while the girls performs her routine around him as if she is tempting him. He looks ate her from time to time.

La folie à deux
L'amour est un crime
C'est ma faute si tu es un monstre
J'ai tué un homme
Tué avec tes mains
Il y a une mort entre nous

La folie à deux
L'amour est un crime
Ma mort ne tu sauvera pas
Ne sauvera pas

Lem repels the importunate dancer and she falls down on the floor next to him turning her face away. The light goes off just for the time when the bridge comes.

Nie umarłem
W Tobie żyję
Jak smak w ustach i w uszach szum
Nie wiedziałem
Że zabijesz
Gdy wpadniesz w szaleństwo za dwóch

The flash of more powerful light is bursting again. Its color changes into red and white. The dancer stands up and seems like attacking Lem. She is dancing around him and touching his face and clothes. She looks like crazy, tugging her hair that was bunched up in a bun - now it is long and messy.

La folie à deux
L'amour est un crime
C'est ma faute si tu es un monstre
J'ai tué un homme
Tué avec tes mains
Il y a une mort entre nous

La folie à deux
L'amour est un crime
C'est ma faute si tu es un monstre
J'ai tué un homme
Tué avec tes mains
Ma mort ne tu sauvera pas

The dancer makes Lem to fall on his knees. He kneels and sings the final verses while the dancer is hugging him sitting by. The stage turns completely red.

Je suis allongé
Sur le sol dans une bourbier de sang
Cette scène est-elle réelle
Tu me supplies de mourir plus vite

The whole light goes off at one time. After a few seconds the applause comes, Lem takes the dancer's hand and they bow together towards the audience saying "Merci" to the microphone.

by **Izmedu** » Thu Jul 26, 2018 11:21 pm

Tune: Breathe by Fleurie

Britonisea is returning to the World Hit Festival for fourth time in a row, hoping to do very well in Izmedu.

The past few editions have been pretty successful for Britonisea in the World Hit Festival. Upon returning to the contest, Britonisea managed to come first place in Kalosia, and then when hosting the competition, came 2nd place – an unexpected 2nd too. Last edition was very interesting. The playing field suddenly increased from 11 nations to 24, which BVC found very interesting. Sending whoever came second in their hit show, Vha Mehlodhivestoile, was KAYLEY with her Britonish song, Junterapten, tipped to do very well owing to the successes of the national final songs in the World Hit Festival. She placed 6th place with 24 points. 24 points is the third highest amount of points Britonisea had received, but BVC was unsure whether 6th place was good enough for them. In a field of 24, 6th place was fantastic, but the company did scratch their heads slightly.

KAYLEY and Britonisea were very happy with the result, with her receiving praise since she returned to the country. Darkmania also received a lot of praise for hosting their first competition, a large one and also taking a liking to “Junterapten”. Overall, Britonisea had another World Hit Festival to put in to their good books. With BVC’s application to oversee the World Hit Festival, the Brityunik Vefecosoin Cairkovoin is starting to feel really comfortable participating at the World Hit Festival, but they have been warned not to be too complacent.

Since BVC has won, hosted and hosted again…the broadcaster wants to try something different to what it has done in previous editions. The BVC wanted to send something , a genre, an artist, something, that was different to the type of things that they had sent in the past. Looking through their catalogue of artists, they stumbled upon the artist, Axis, who had a very…emotional story to tell.

Axis is a 24 year old singer from Ghiez, the island of over 1 million people which is quite disconnected from the rest of Britonisea. There is a sense of “they don’t care about us over in the mainland” attitude towards the Britons, which is one of the themes behind the song being performed in the contest today. Axis’ “Stop” is about trying to play up to something or somebody who obviously has shown that they don’t care about you. It’s about self-encouragement, really. Axis has also had problems in her own life with people not taking her seriously. Her ideas were always shot down, her talent was also undermined and she had enough of it. She had even considered leaving Ghiez, leaving Britonisea all together. She thought that she would be more appreciated in another country.

She wrote this song in response to everybody who had put her down. It was a form of catharsis for her and by the end of 2016, she had wrote a few songs expressing the problem she had. Feeling small in what already seemed was a small world (Ghiez). After showing friends her song, they thought that she should really get her music out there. One of her friends suggested the World Hit Festival, a stage where you can be alternative, different and still be just as important as the rest. She pondered on it, but ending up sending her USB to BVC. She hadn’t heard anything from BVC for more than a year, until now.

“Nobody should have the right to put you down for what you do.”

-Axis

She was called by BVC to come down to their headquarters for a meeting regarding the 40th World Hit Festival. Guiltily, BVC had been considering other acts for the contest, including Kelsey Banques, who went to the WorldVision Song Contest instead. BVC thought it would be a great idea to send Axis instead of her. BVC offered to help her polish the entry with the help of Guy Autriche, a World Hit Festival winner. She accepted.

Fast forward weeks, she had landed in the land of the World Hit Festival – Izmedu. In Mousiki, she found out that she will be performing near the end of the evening, which sat quite well with her. Guy Autriche along with the rest of the Britonish Delegation went many press conferences, where she was asked about what was behind her song. One of the things that she said was “Nobody should have the right to put you down for what you do, even if they don’t like it. If you’ve put a lot of effort in to something they shouldn’t put you down. I agree that sometimes that effort can go in to the wrong this, but that doesn’t warrant somebody to totally make you feel bad about it. I love the saying ‘if you’ve got nothing good to say, don’t say anything’, because sometimes words can be hurtful. We all try.”

She knew then that she was ready for her World Hit Festival performance.

Axis walked on to the stage during the postcard of Britonisea of this World Hit Festival. While people were watching everything that was happening on the screens, she quickly took position and took a deep breath. The performance was quite intricate, in the fact that there needed to be shadow on her face at all times and then at the end of the performance, when she is lifted in to the air, she has to walk over the audience pit and will end her performance in the air, on top of the satellite stage. She wasn’t wearing anything too fancy. She had her arms bear, but was wearing a silver(ish) vest and professional looking silver)ish trousers. She had a big silver bow where her vest met her trouser which made her look cute even though her face was blackened out by a shadow. She audience applauded as Britonisea’s postcard finished – all of the crew ran off the stage in the hope of not being captured during the performance.

Similarly to the picture above, at the start of the performance Axis was standing in the middle of the stage with her face over like such. The back wall was currently off, all that was lit up with Axis. The camera held it’s position on her face and she held her position on the stage. She raised the microphone to her face slowly and started singing the first verse of the song. She started tilting her head along with the music as she begun to sing.

You put me down,
Made me so weak
I don’t understand why.

After singing that first part, the fog machines were turned on. It took some time for the people at home to notice that the fog machines had turned on, but during the next part of the first chorus, you could see that the smoke was lingering in to the screen – coming in front and behind her. She didn’t move position though and her head was still swaying from the left to the right; still singing the song that she was there to sing.

I spent so long trying
To make myself perfect,
To make myself worth it

After singing “worth it”, the texture of the song slowly grew, with the sounds of the string instrument coming in. The backing wall quickly flashed white before fading back to black at the loud “boom” sound right before she starting singing the pre-chorus of the song. She didn’t walk anywhere, though and her face was still blackened for anybody to see. The wind machines were also gently on her and anybody could notice this through her hair slowly being blown over her shoulders. The LED flashed white again at the second “boom” sound at the end of this part of the pre-chorus.

For too long you’ve shot me down.
And now I have a gaping hole,
Inside my heart – I’m still bleeding.

For too long I have played,
Your game and I have lost.
I’m hurting, I’ve got to…

Axis raised the hand that had been out of shot from the start of the song upwards, facing her palm to the camera at “I’m hurting”. Axis tilted her head to the right, but keeping in that position for the rest of the pre-chorus. The audience around her was swaying along to the song, wondering what would come of the chorus. Though, the first chorus was merely just a warm up for the rest of the song and wasn’t going to promise anything too extravagant.

The camera moved outwards slowly, revealing her whole body to those who are watching the television. Still, her face was hidden by the shadow covering her face. The audience at home could see how she blended very well in to the staging, with the fog now covering the main part of the stage. She still hadn’t moved just yet, but she was about to. There were certain parts of the stage that was flickering, similar to camera lights going off in the arena. People were unsure whether it was a part of the stage act or not. It fit in well.

Stop… Stop… Stop…
Stop… Stop… Stop…

Stop.

At the end of the first chorus, the audience at home were treated to a full body image. The audience in the stadium could be heard cheering a tiny bit when Axis started walking forwards right to the end of the main stage. The audience who were located in the pit could be seen swaying their mobile phones amongst the darkness of the arena.

There was a clever shot done on the satellite stage, where a man riding a hover board had a steadicam on his back. He hovered from one side of the satellite stage to the other, facing Axis as she walked forward in to the sea of stars. She started to touch the side of her face with the hand that wasn’t holding the microphone. Somebody who was behind the scenes was quietly whispering the words “Stop” into the microphone as Axis walked forwards.

(Stop. Stop)
You’ll hate the outcome of this,
I hope you will burn with anger.
Like I have been,
Burn like I have been.

There was a mid shot of her singing during the verse that had just gone. The camera was coming from many different angles, but they were always mid shots and none of them were moving shots either. She stood in one place, doing simple gestures as she sang on and on. When singing “I have been” at the end of that verse, she raised her hand in to the air as she sang “been” at a higher pitch than she should have.

Bruises you’ve left me with,
Have been left untreated,
I’m hurting, I’ve got to…

Similarly to the first time we went from the pre-chorus to the main chorus, the mid-shot then zoomed outwards for all of the people at home to see what was happening on the stage. The light panels along each of the triangular bits of the stage all lit up like a wave before going back to darkness. Axis’ right had lit up first before it flew its way to the left. The lights around the stage were also doing something similar too – a domino effect of lights.

Stop… Stop… Stop…
Stop… Stop… Stop…

Stop.

The whole of The Majcena Foruma plunged in to darkness for a split second when there wasn’t any of the instrumentation. However, as soon as the drums rolled in and the rest of the instruments did, Axis was thrust around seven metres in to the air and as she was, she looked upwards towards the rigs at the top of the arena. As she was thrust up in to the air, the only shades that remained on the stage was hues of grey, white and black and the lights in the arena flickered on and off in an almost psychedelic manner – like there was massive thunderstorm happening outside.

The cameras were showing what was happening from afar, making the audience at home able to capture everything that was happening. The lights in the arena that was flickering on and off came from every corner of the arena – a real feast for the eyes as Axis’ silver jumpsuit reflected all of the light that was coming her way. A few times, the camera flickered to a close up of her and as she rose 7 metres in to the air, the camera showed her face – full of tears and hurt she had faced in her past life. She felt as though she is getting her moment of catharsis – her moment to rid all the pain she had on the stage in Izmedu.

Stop. Stop.
Stop…

Stop. Stop.
Stop…

She then started to move herself away from the stage. The audience watched Axis seamlessly flying over The Majcena Foruma, not caring about anybody who was under her. The camera shots caught her trailing her way through the arena by air from many different angles; changing which angle at least every two beats of the song. The shots, however, were quite wobbly in order to add to the performance even more to try and create a dysfunctional aura surrounding the performance.

As she made her way across the arena, she was tearful, but she had to keep going as this was her moment to shine. The lights were following her around the stage and as we had gotten further and further from the stage, the intensity of the lights following her only grew.

Stop

At the last roll of the drum, everything flashed white and then went suddenly dark. However, right in the middle of the arena, where Axis was located, all of the spotlights in the arenas were focused on her. She was still looking upwards – she hadn’t really moved an inch since she was flung that high up in to the air. Over the audience she was – a beacon inside the darkness of the arena. There was a sudden moment of silence as the Izmeduan audience what was to happen next. But nothing did. Cautiously, the audience started to applaud before everyone joined in. She didn’t thank the audience, she remained silent…her face full of tears, her heart full of hurt.

by **Izmedu** » Thu Jul 26, 2018 11:24 pm

Tune: Злата Огнэвiч - За лiтом, за весною

VUOKKO is a music project by lead singer & writer Makta Mata and composer/instrumentalist/producer Yördis Fukui, focusing on ethno-experimental pop and dance. Formed in Blutigenteikei, the group eventually shifted to Sterblichengokai in order to capitalize on the more intense musical experience and cultural diversity found in the city. Via an accidental connection in a small bar, VUOKKO became SterGo100's latest entry in the World Hit Festival.

The faintest blue sheen appears, then disappears. Makta stands upon a sleek simple pedestal on the outer center stage, in a shimmering silvery iridescent dress that ripples with the faintest breeze, and is surrounded by red, orange, and white petals. On the background screens, fields of colorful flowers appear

I've got dreams of horror, I've got dreams of glory
Let's dream
Tonight

Dark clouds, lightning, and thunder appear in the distance of the flower fields, but Makta looks carefree even as she tilts her head toward them, and then turns back to the audience and reaches up

Can't forget my homeland, won't regret my choices
Let's climb
Up and over

The stage spotlights make a rotary motion, focusing in on Makta, before reversing and spiraling out and over the audience. This pattern continues throughout the chorus, repeating with a second group of spotlights. Colorful petals rain down from the ceiling, and butterflies flit over the stage and audience

Sweetness and danger,
Worlds that I'll show you
Beautiful in such madness
Ever ceaseless
Whirl til the break of dawn
Won't forget this
I can't soar on falcon wings
When my heart sings of sadness

100 dalmatian dogs mob the main stage as a glitter-encrusted tractor drives across it slowly, driven by Yördis, who is dressed in a rainbow sequined parody of Makta's dress and waves to the audience. The background screens show a view that dives into and among the flowers of the field, following the path of a bee at times and just doing whatever at others. The stage lights blink diagonally from side to side, with a set shining down from the ceiling and another shining from the stage floor's edge. Makta dances in a smooth, flowing manner, slowly waving her arms above and around to the melody and the beat

[dance break]

The menagerie of butterflies, dalmatians, and the glittery tractor removes itself from the spotlight, though many butterflies continue to alight upon the audience. The lights also turn down, with the background screens depicting a distant mountain. Makta beckons the camera to her

When your eyes feel heavy
I will whisper to you,
"Tule,
Come,

Eláá"
live

She does not appear to be on LSD, but nonetheless looks up into the high distance while making a motion of reaching out and then back in upon her heart. The background screens now collectively show the view from the mountain

"Sá ya má olemme,
You and I are

Üksi henki tassa
One spirit

Maail... massa"
In this world

The lights spiral in and out once more as an elephant splashed in large amounts of vivid nontoxic body paint and chalk lumbers onto the main stage, while dancers(??) fly in on neon sport brooms (think motorcycles but built around the form of a broom), roving over the stage and audience, and a small army of dancing robotic teddy bears makes its way down both catwalks toward Makta's platform

Sweetness and danger,
Worlds that I'll show you
Beautiful in such madness
Ever ceaseless
Whirl til the break of dawn
Won't forget this
I can't soar on falcon wings
When my heart sings of sadness

The lights do their alternating diagonal blinking effect once more, but now colorful smoke issues forth from the stage and a selection of strobes flash upon Makta's iridescent dress, turning her into what is essentially a human disco ball. Makta herself dances like a dervish, surrounded by marching teddy bears and the screaming audience. The background screens continue to show the mountain vista, but now the colors are inverted and there are black and neon lightning bolts periodically

[dance break]

The lights do not change back, but continue their alternating diagonal blinking. The background screens depict a hummingbird's eye view, darting between magenta raindrops among green flowers and red leaves, avoiding deep violet lightning among a black sun. The elephant stands still, holding a microphone up to Yördis so she can help out with the backing vocals, while the broomriders array themselves in various formations, colored smoke respective of their broom colors issuing forth behind them. Makta's dress continues to act as a disco ball surface, while the robotic teddy bears now put on sunglasses and dance

Sweetness and danger,
Worlds that I'll show you
Beautiful in such madness
Ever ceaseless
Whirl til the break of dawn
Won't forget this
I can't soar on falcon wings
When my heart sings of sadness

The whole thing continues on for a bit until the lights fade with the music

"Kiitos ya hvala, Mousiki!" shout Yördis and Makta from their respective positions on the stage, before Yördis's elephant rumbles off the stage and Makta sets off by foot.

by **Izmedu** » Thu Jul 26, 2018 11:28 pm

Tune: Billie Eilish - Bellyache

The arena was all ready for Ethane's WHF performance. The stage was dark, bar white rim lighting that lined the sides of the stage on the floor. Before the song started, footsteps could be heard on the stage - the notable clicking of high heels on the floor of the stage as Fola took her place centre-stage. 2 spotlights - 1 from her left and 1 from her right, beamed down on to her, hitting her just before they would have crossed over each other. The artist seems to be wearing an odd match of clothes, and in multiple layers as well (which has its use further into the song, but isn't really visible at this point to the regular viewer). Her clothing includes a flat-cap with 'I <3 New Sarum' on it, an eloquent white dress with ribbons and flowery patterns, and some rather large, red coloured shoes that seemed too big for her, and had rather large heels. Fola steps forward 1 step towards a microphone stand, the spotlights following her and illuminating her flowing hair and the stand, which her hands now both gripped to. She closed her eyes, as if to take a breath and relax, just before the song started, then broke out into the opening lines of this song. The camera, initially focused on the audience before the song started, switched to a close-up of Fola's face and shoulders from just before she stepped forward towards the microphone stand.

Life, life

As the music kicked off a little more after the opening line, Fola started visibly moving, tapping her foot but moving her whole body with the motion. The atmosphere on the stage also shifted, with the idea of the staging not about an individual - although a part of the message of this song is about the individual level, but is also about solidarity and commonality. Because of this idea, the staging included 4 other people on the stage, 2 guys and 2 gals, separate from each other but looking at each other across the stage. They seemed to be frozen in time, waiting almost. They were only illuminated by the addition of a wide variety of different coloured lights which illuminated different parts of the stage, creating this mis-matched jumble in the staging that seemed to contain a bit of everything almost in terms of lighting. Fola kept her eyes focused straight ahead at the audience, ignoring what was going on behind her. The camera shifted from a close-up of Fola to a more zoomed-out shot which revealed more of the stage, including the 2 males and females who were staring at each other, and the mis-matched colourful medley of lighting on the stage which wouldn't look out of place in a circus or something along those lines. It then shifted - near the end of this section - to a close-up of Fola once again, who blew a kiss out towards the audience as she sang 'a video kiss'. It felt personal, but it also felt distant.

Feeling all alone,
Ads on my phone,
A therapist.
Hugging my friends,
But only through a lens,
A video kiss.

The 4 people behind her slowly moved towards each other. They were all wearing smart clothes - of different styles and colours - but not mis-matched like Fola. They were moving forward across the stage to each other slowly and almost in robot-like movements, moving towards 2 separate intersecting points in the middle of the stage just to the left and right of Fola so they are in view of the whole audience. The camera quickly switches from a close-up of Fola to a depiction of the movements of the people behind her and their robotic movements. Alongside this, there seems to be a slightly increased and rising intensity in the coloured lighting, as well as the removal of a few colours, fading out slowly so it isn't that noticeable to the non-observant eye, but the colour count in the lighting is slowly dwindling.

Join the line,
Said I'm fine.

Moving into this section of the song, Fola loosens the microphone in the stand so that it is easier to remove when the time comes. The camera pans out from the people moving like robots to the audience via Fola, before switching to a view of the stage from the left-side of the stage. As she sings 'these shirts look funky', she rips off her dress revealing a funky coloured shirt; the kind you'd see stereotypical tourists wearing in south-east Asia to show they're 'cultured', and some slightly funky but dialled down trousers as well. She also flicks off the flat-cap, revealing a sun/baseball-style hat, worn slightly off-centre to look 'cool' and 'hip'.

A billboard by the road,
Desinged just to goad,
Give me money.
Flocking to the shop,
I'm so giddy I can't stop,
Those shirts look funky.

Fola removes the microphone phone from the stand and walks forward to the front of the stage. She stands there and looks out for a second - the camera focusing on her in a close-up shot, her hair flowing freely - before heading towards the catwalk at the left-side of the stage. The catwalk, at this point, is still completely dark as unlike the rest of the stage, the white rim lighting was not active at the start of the performance. The camera follows Fola across the stage for a short amount of time before panning back to the people on the stage walking towards each other. The gap is about half what it was before now. At this point, the lighting and Fola's clothing are no longer a complete match with more uniformity in colour; the lights mostly now restricted to primary colours and shades thereof.

Join the line,
Said I'm fine,
Have to find,
What is mine.

Fola steps out on to the catwalk and starts walking at a medium pace, while singing, towards the second stage in the centre of the two catwalks. As she surges forward, the rim lighting on each of the catwalk compartments lights up a different primary colour, leaving a pattern of colour behind Fola. As the end of the chorus nears, she reaches the central catwalk stage. She steps on to it then moves her feet, hitting each of the corners of the stage, which then light up different primary colours, with the fourth light a bright white. The camera switched back to a shot of Fola, but from the catwalk stage as she walked towards the camera. As she stepped on to the catwalk stage, the camera switched to an overhead viewpoint, showing the lighting up of the catwalk stage from above. With the more bassy music of the chorus, some of the lights are flashing on the stage as well as the rim lights.

I thought they said we were free,
But what's been left for me,
It's an expensive day.
Got bills piled on the table,
Still fighting that label,
I wanna make everyone pay.

Fola stays on the catwalk stage for this section, slowly rotating so she is singing to the whole audience. As she sings about shoes, she kicks off her shoes and they fly out into the audience, where 2 different fans clasp hold of them, cheering her on. Underneath are 2 smallish black shoes. It is obvious there are no other shoes under them. The lights have stopped flashing again. The camera is zoomed into a close-up before taking a view of the whole arena from the back.

Happy, sad, or glue?
Or get the latest shoe?
Its all for you.
Want to love, or to hate?
I can help you find a mate,
It takes 1 click.

The lighting mostly cuts out for this section of the song. Fola is absolutely still, as are the people on the stage who have now almost reached each other. Fola is staring out at the audience, her right hand holding the microphone and her left hand in the air while singing this.

Join the line,
Then just sign,
And you're fine,
It's all mine.

Fola starts bounding back to the main stage along the other side of the catwalk, with the compartments of that side also lighting up in different colours as she steps on them. The people on the stage start moving again and the lights come back on in full intensity for the chorus. A few small pyrotechnics are also launched along the sides of the catwalk and the stage. The camera switches to a view of Fola bounding along the catwalk while singing. At this point she is wearing funky trousers and shirt, and black shoes, but the cap has been removed.

I thought they said we were free,
But what's been left for me,
It's an expensive day.
Got bills piled on the table,
Still fighting that label,
I wanna make everyone pay.

Fola reaches the stage again and starts dancing amongst the other people on the stage, who seem to stop, frozen almost, while singing. The camera had kept following Fola but now zoomed out to take in the whole scene.

I thought they said we were free,
But what's been left for me,
It's an expensive day.
My life's piled on the table,
Each emotion labelled,
I wonder what's the going rate?

As soon as Fola stopped singing, her and the other people on the stage collapsed to the floor, and everything went dark apart from the coloured lights lining the catwalk. A burst of pyrotechnics ended the song, with an abrupt ending.

''Thank you World Hit Festival!!!'' Fola shouted as she and the other people on the stage stood up before exiting.

by **Izmedu** » Thu Jul 26, 2018 11:38 pm

Transcription: "Akh! Im Sireli"
Translation: "Oh My Sweetheart!"
Tune: HERE ("Anhasaneli" by Erik)

The stage was pitch black after the performance from Ethane. Rapidly, the Artskahiani delegation got on stage: Razmik Bagratuni would be joined only by two male dancers on roller skates, a female dancer and DJ Lazzaryan (who would appear later on during the performance). Razmik and the male dancers would begin the song on the main stage; whilst the female dancer would begin from the satellite stage. The male dancers were wearing the same outfits as in the RL video @0:53; whilst the female dancer was wearing the same outfit as in the RL video @1:10 (except in both cases, the outfits used the Artsakhiani blue rather than yellow). Razmik was wearing a simple yet formal tuxedo, with an Artsakhiani blue bowtie, a platinum brooch and platinum cufflinks. DJ Lazzaryan was wearing black jeans, a black t-shirt and a backwards cap (your typical club DJ outfit).

The stage was almost completely open configuration-wise; the spaces on each side of the main stage were closed and covered with the nest-like screen structures. The song began, and there was a single spotlight shining on Razmik. He started to walk towards the front of the main stage as a camera was following him from the back (in a similar fashion to the RL video). On the main screen of the main stage, the image was that of Razmik from the camera but with a special effect filter (the one used on the iguana shot of the RL video in the first seconds). The general lighting system of the arena (blue for this part of the act) was pulsing with the song, increasing in intensity until Razmik began singing (which made the pulsing stop).

The first notes were rather shaky, it was Razmik's first performance outside Flegavia. He was pushing through, though; following his choreography: dramatic leaning to the right with the mic (and the stand) for the first two lines; dramatic leaning to the left with the mic (and the stand) for the other two, whilst putting his hand on his heart. The camera shots were close and quick; the audience can't yet see Razmik's face... it's all about the expressions of his "shadow" amidst the sole spotlight shining on stage.

[0:08 - 0:22]
Yes shat p'ordzel em (I have always tried)
Qez pashtpanel muuut'iiiiiits' (To shield you from the dark)

Du shat p'ordzel es (You have always tried)
Indz pashtpanel siiiruuuuuts' (To shield me from the love)

For the next verse the cameras now shoot from the audience, showing how the stage comes alive as every edge of every screen (or piece of screen) starts to shine in a white light (with the rest of the screen areas in a metallic grey). His singing is getting better, but in comparison to many other in the night, he sounds still a bit unprofessional (he's not out of tune, but he feels robotic and he's definitely not comfortable). He kicks off the chorus as the whole stage (i.e., the floor and the catwalks and satellite stage included) transforms into the same visuals of the screens: pure metal with the edges outlined in a bright white light. The male dancers come out from the back of the stage and start doing a routine very similar to the one seen in the RL video @0:40.

[0:23 - 0:40]
Myusneri hamar (For the others)
Shat dzhvar e haskanaaaaaal..... aakh (It is very difficult to understand, oh)

Vor yes aystegh vatë ch'em (That I'm not the bad one here)
Yev du, du surb ch'eiiiiir... (And [that] you, you are not a saint)
Akh - im sireliiiiii!!!! (Oh - my sweetheart!!!)

The whole arena starts pulsing again in a futuristic-ish blue light to the beat of the song. The cameras perform circular continuous movements which flow with the song and the rhythmic dynamics of it. Razmik is slowly gaining back his confidence on himself and the entry is definitely making an impact. On the main screen behind him, the four lines of this chorus are shown (one by one) but translated into: Izmeduan, Cosneoltan, Polish and Spanish, respectively. Just like in the RL video, at some points the attention is directed towards the female dancer on the satellite stage.

[0:41 - 0:53]
Anhaskanaliiii!!!! (Inexplicable!!!)

Akh - im sireliiiiii!!!! (Oh - my sweetheart!!!)

U anhaskanaliiii!!!! (My inexplicable!!!)

Akh - im sireli.... (Oh - my sweetheart....)
Fades into electronic vocal "ee" effect

After Razmik's live vocals ended, the whole stage turned off and the light was on the male dancers. The light, though, was the stage floor (only on the main stage and the satellite stage, not in the catwalks) shining in the same blue light we've seen throughout the act; and the cameras are shooting the dancers from the floor, watching how they roll around doing tricks (similar to what they do in the RL video @0:52). Then, the focus goes to the female dancer, whose sharp moves match the beat perfectly. Meanwhile, Razmik has been breathing trying to get enough strength to finish the song.

The female dancer does a move with her arm and directs the attention towards Razmik, to which a "flying" camera brings us to. Ahhh, the joys of "flying" cameras. The whole stage is turned off again, except for a single spotlight illuminating the singer. He was supposed to do some choreography as well this time... but he's forgotten it. He'd rather focus on his singing: sure, the song is lyrically easy... but it is melodically challenging for him.

[1:11 - 1:24]
Yes mardë em, da gitem (I am the man, I know that)
Ch'i nshanakum, ts'av sirum em (It doesn't mean I like pain)

Im mkannerë ch’en (My muscles don't)
Hakadrvum dzer hit’erë (Withstand your hits)

The light widens up and reveals the two male dancers without their roller blades and after an outfit change. The exact moves that they do, the outfit they are wearing and the way it looks on screen can be appreciated in the RL video @1:26 (albeit always with Razmik rather than with the female dancer; and remember, always Artsakhiani blue instead of yellow). For this chorus' beginning, Razmik actually finally finds his comfort zone and begins enjoying himself. This comes through not only in his gestures but also in the way he sounds.

[1:26 - 1:43]
Barrerd aveli arag en (Your words are faster)
K'an surë, ayd indz stipum eeeeen.... en (Than swords, they make me)

Aryun hosel, lats' linel (Bleed, cry)
Yes ch'em karogh uzhegh lineeeel... (I cannot be stronger)
Akh - im sireliiiiii!!!! (Oh - my sweetheart!!!)

The stage (and the arena) light up just like in the first chorus. The main screen shows the translation of the eight lines of this chorus in: Izmeduan, Kalosian, Tödlichebujoki Suomi, Hebrew, French, Norwegian Bokmål, Indonesian and Swedish; respectively. The choreography (for all dancers) now looks like the one in the RL video with the discs (again, blue rather than yellow).

[1:44 - 2:12]
Anspaseliiii!!!! (Unexpected!!!)

Akh - im sireliiiiii!!!! (Oh - my sweetheart!!!)

U anhaskanaliiii!!!! (My inexplicable!!!)

Akh - im sireliiiiii!!!! (Oh - my sweetheart!!!)

Anspaseliiii!!!! (Unexpected!!!)

Akh - im sireliiiiii!!!! (Oh - my sweetheart!!!)

U anhaskanaliiii!!!! (My inexplicable!!!)

Akh - im sireliiiiii!!!! (Oh - my sweetheart!!!)
Fades into electronic vocal "ee" effect

The stage's edges are still bright white, but the background, which was metallic grey up until now, has turned completely black: it looks like we're just witnessing the skeleton of the stage. Thanks to a special visual effect it will look both on camera and in the arena itself, like the whole stage is shaking (light-wise, it's more on the strobe light side). Instead of showing the Artsakhiani performers, the cameras show different people in the audience dancing along to the song. Right @2:25, the cameras focus on the satellite stage, where Razmik has appeared (with a new outfit!) with his male dancers to perform the same choreography as in the RL video @2:25 (and with the same camera angles). In the arena, the three screens of the main stage (the main one and the two on each side) replicate the movement of each guy in the satellite stage.

Time for the final chorus, and the dancers "disappear" from the satellite stage. Razmik is left alone: he's breathy (he's moved a lot in the past two minutes), but he's finally realized that it's now or never that he can make an impact for his country. For the land that hadn't stepped on the World Hit Festival since its 31st edition (back in 2017). The first line is acceptable, the second one good, the third one remarkable, but the fourth last one, with the long not-so-high-yet-high note: that one was the icing on the cake. On screen, the translation to each of the four lines appear (just like in the other choruses); this time in Izmeduan, Euskal, Armenian and English, respectively.

[2:39 - 2:58]
Akh - im sireliiiiii!!!! (Oh - my sweetheart!!!)

Anhasaneliiii!!!! (Unattainable!!!)

Akh - im sireliiiiii!!!! (Oh - my sweetheart!!!)

Anmorranaliiii!!!! (Unforgettable!!!)

The long note by Razmik ends just in time for DJ Lazzaryan to emerge from the right side of the stage in his DJ booth (in the past twenty seconds the shell had opened to reveal him now). He simply shouts:

[2:58 - 2:58]
Lazzaryan!

And the final 15 seconds of the song begin. The stage turns off and now blue laser lights are coming out of DJ Lazzaryan's booth. Again, the cameras focus on the audience rather than the performers (but DJ Lazzaryan appears every now and then "leading" the party). Foam is falling off the roof onto the most frontal audience pit and most people are reeeeeally enjoying themselves. When the song finishes, a lot of blue pyro comes out the stage (and also, out of the arena). A helicopter from the outside captures the external pyros as Razmik's voice joins DJ Lazzaryan's to say:

Shnorhakalut'yun Musiki! Artsakhestaaaaaaaaan!

by **Izmedu** » Thu Jul 26, 2018 11:42 pm

Tune: Destiny's Child-Survivor (2WEI Cover)

Evelina is a singer and former beauty queen who currently resides in Oreo City, while her mother is of Javanese descent, her father is of Estonian descent, she participated in this WHF after RR held a private selection, choosing Evelina alongside The Beauty Queens (Her college friends, numbering 4 people) to represent Antahbrantahstan in WHF.

OOC:
Normal text: Just Evelina
Bold text: Evelina and The Beauty Queens

We see Evelina, on stage, wearing a torn evening gown, her dress was full of cuts and dirt, and Evelina herself has a rather dirty-looking face. The lights also shined on Evelina while the LED screen remained pitch-black, Evelina did some simple hand movements while she was singing. The Beauty Queens would then appear one by one on stage.

I don't wanna cry forever, gotta be strong
I don't wanna hurt forever, let my heart heal
I don't wanna hurt everyone, admit my wrong
I don't wanna fake forever, gotta be real
I don't need your happiness, i'm strong enough
I don't need your own sadness, it's fake enough
I can prove myself i'm alive, and i'm happy
Even without you beside, i will soon be free

The lights then shone on Evelina and The Beauty Queens and the stage is now brightly-lit, however, the screen remained pitch black. The Beauty Queens, wearing sporty black tanktops and ripped jeans of different kinds, would then sing alongside Evelina. The lights would then go on and off according to the song's rhythm.

Like a thunderkiss
Electrifying
Make my whole body
Feel so pulsating

As the instrumental become epic as the music progresses,
The Beauty Queens took off Evelina's dress, revealing that she also wore a black tanktop, however she wore light brown skinny trousers, Evelina and the Beauty Queens then started to dance wildly, meanwhile, the LED screen now shows a post-apocalyptic wasteland.

They then began to sing while dancing.

Ooh..
Ooh...
Ooh...
Ooh...

They then stopped dancing and put their right arms up in the air, while pointing their index finger up.

Like a thunderkiss
Electrifying
Make my whole body
Feel so pulsating

They then started to dance again while singing, while pyrotechnics would be lit based on the song' rhythm.

Like a thunderkiss
You'll desire me
Like a switch that
You need to turn on

They stopped dancing, and let the music finish, after that, they said "Thank you, Izmedu!" and rushed backstage.

by **Izmedu** » Thu Jul 26, 2018 11:45 pm

Translation: (For) Anything/You're Welcome
Tune: HERE ("X" by Nicky Jam & J. Balvin)

(OOC: Although the RL tune is a duet between two men; this entry is a duet between a woman and a man. The woman is Karina, modeled after RL Karol G; so please imagine her voice instead of Nicky Jam's. Her outfit in this performance will be the same one from that video @0:58. On the other hand, the man is Jota, modeled after RL J Balvin. His outfit in this performance will be the yellow-jacket-one sported by Nicky Jam in this video @1:26).

During the whole performance the stage switches dynamically between vivid colors (like in the original videos), and the duet is “split”: Karina (in the right side of the stage) has a female dance crew surrounding her, and Jota (in the left side of the stage) has a male dance crew with him. The movements are basically those from the original video's female and male dancers, respectively (with Karina strutting rather than full-on dancing, so that the she can appropriately sing). This also includes the signature movement of the song (as seen in this video @0:43). After the second chorus, both crews (and both singers) start interacting with each other (the runways and satellite stage are not used; whereas the two "open" sides of the stage are closed by the shell-like screens). It's all in all a very minimalist composition relying on the rhythm and its beat.

In the first camera shot, you can see Karina’s excitement for marking the début of her nation in the World Hit Festival.

(Pink for Karina, blue for Jota, purple for both)

Vienej por aquí (You come around this way)
Te hace' el rey, 'so nu'é pa' mí (You pretend to be the king, and that's not really a thing for me)
Deja el cuento, no me voy a derretí (Leave the tricks behind, I'm not going to melt for you)

Piensaj que yo débil soy (You think that I am weak)
Vengo a demojtral•lo hoy (I came to demonstrate today that)
Falta mucha fuelza en ese tu camboy (You lack a lot of strength in that camboy* of yours)
Ya no te silve de ná' (It is no longer useful for you for anything)

And now you just can't deny...

Aclaremoj el chuchá... (Let's make this issue clear...)

*Camboy is a Candelarian fruit, similar to a banana. It is a slang term for the male sexual organ, and in a figurative sense, for the masculinity and/or "macho" of a guy.

(Yo te lo voy a negá) (I am going to deny what you're saying)

Ven, pruébame y lo veráj (Come, taste me and check it out)

(Dejémoj claro) (Let's clear this up)
(Dejémoj claro) (Let's clear this up)

So, deja que yo te agarre, baby (So, let me grab you, baby)
Déjame enseñalte cómo ej que ej (Let me teach you how it goes)
Cuánto me subejtimaj, ‘ura vaj a vé’ (How much you’re underestimating me, now you’re going to see)
No me vaj a olvidal, ya nunca mamá (You will not forget me, not anymore, not ever, sweetie)

Pa-pa-pa-pa-paila (It’s over)
Can’t go back, can’t go back
Si te atrevej, pieldej (If you dare, you lose)
You can run, you can’t hide

Hoy quiero devoralte (I want to devour you today)
Hajta que tú te canse’ (All the way until you get tired)
Cuando me miraj (When you look at me)
Se te nota que te va (It’s evident that you want it/this)

Lardeá, n’ te silve de ná! (Bragging is no good for you!)

Tú no me silve de ná... (You’re not useful for anything for me)

¿Pa’ qué te hago caso ya? (Why am I even paying attention to you anymore?)

Lo que dicej nene, ej de mente ‘e subnolmal (What you’re saying, babe, is what an idiot mind’s would)
Pa’ mí el hombre que vale, no ej el semental (For me the man who’s worth it, is not the “stallion”)
¿Tú creej que me llena’ así lo sentimental? (Do you think you can fulfill me emotionally like that?)

¡Hey!..... Tú, ven, ejcúchame (Hey!..... You, come over here and listen to me)
Da-te un chance (Give yourself a chance)
De no sobelbio sé (Of not being arrogant and proud)
De prepotente less (Of being less cocky and high-handed)
Aprende again (Learn again)
What it takes to be a man

Si no, com•migo no hay ná (Otherwise, you can’t have anything with me)

Será que no valej ná (Maybe you’re not worth it at all)

Lo tengo claro, te vaj (I know it for sure, you’re leaving)

De-de-desechable (Disposable, one-use)
Erej tú para mí (That’s what you’re for me)
Pa’ una noche valej (You’re only good for one night)
Po’que ya me aburrí (Only because I -just- got bored)

Laj ganaj de tenelte (This desire of having you)
Ahora son máj fuelte' (Is even stronger now)
Pasó la noche (-The- night has happened/passed)
Y ahora te digo, "de ná" (And now I say to you, "you're welcome")

Ka Erre Ene A (Kay Ar En A, KRNA)
El Jota Man (The "Jota" Man)

Kari, Kari, Kari, Karina (Dear, Dear, Dear, Karina)

Candelarioj Inc (Candelarios Inc)

Con el Jota (With Jota)

Noj falta mucho... (We still need a lot...)
Deja que así... (Let it be this way)
Noj vayamo' conociendo... (For us to go getting to know each other)

Yeah...

Woo...

by **Izmedu** » Thu Jul 26, 2018 11:47 pm

Translation: Rock-Paper-Scissors
Tune: Josef Salvat - Open Season

The internal Saintrabinian selection revealed that the country will be represented by 32-year-old Zenobjan Grümech called Zenobye, one of the best-selling artists in the country. The song is the title single from his new album "Schere, Stein, Papier" that has been promoted widely in Folkand and abroad during "Schere, Stein, Papier und Musik" Tour. Preparations have started a long before June and include a lot of auditions and rehearsals. And finally today is the day when Saintrabina comes back with their well-prepared entry and the whole nation expects really good placing but time will tell.

Zenobye is sitting at the high chair that is situated in the centre of the main stage. We can see his profile. His right leg is hanging flippantly. His hand He wears short fair chinos and flowery shirt. Saintrabinian fans are shocked while he presents his new look with shaved head. This is the word of solidarity towards children suffering from cancer who he dedicates this song to. During the first verses the black LED screen behind him shows some golden and indigo zigzags that surround artist's silhouettes.

Ich wollte nicht, Steine werfen
Ich wollte dir dein Haar nicht schneiden
Ich wollte nicht ein Buch schreiben
Aber standen wir auf dem Brett
Und wir hatten die Würfel zu rollen
Wir mussten vorwärts gehen und spielen

Dziś muszę rzucać swe kamienie,
Tnąc twe długie włosy, rzucając na ziemię
Nie chciałem tak grać
Nie chcieliśmy tak grać
Dziś piszę książkę, trwoniąc atrament
Tworząc ze słów niewartą nic łamigłówkę
Gra nadal trwa,
Choć nie powinna już trwać

Zenobye stands up and the two choir girls and two choir boys join him having appeared out of the darkness. The girls wear loose white T-shirts, blue jeans and red high heels. The boys wears the male variant - white T-shirts, blue jeans and red trainers. The singer is going towards the audience while the choirists follow him.

Die Hände transformiere
Wie in Schere, Stein, Papier
Sie sind zart, sie können schmusen und weh tun
Ich bin bereit für deines Spiel
Obwohl du lügst, manipulierst
Kennst meine Gedanken, ich weiss nicht
Deine Methode funktioniert für mich

The choirists stand in two male-female pairs on different sides of the stage performing their dance that includes rock-scissor-paper game between them. Zenobye is at the front and sings the chorus walking close to the edge of the stage. The LED screen shows zigzags forming words "rock", "scissors" and "paper" appearing and disappearing. There are also some gifs presenting these items.

Ich habe nie gespielt
Weil die Regeln für mich schwierig sind
Aber ich zähle bis drei
Ich gebe dir meine Zeit
Ich habe nie gespielt
Weil die Regeln für mich schwierig sind
Heute will ich gewinnen
Oh, Schere, Stein, Papier

Zenobye comes back to the choirists who pretends to whispering to each others. He seems to not listen to them, makes a slalom between them while singing the second versus.

All the scissors getting blunter
All the stones turned into clay
All the papers are full written
But all their fragments blow my head
This game's not to be won
This game is to make me play
I'm in it with you but still on my own

They pose behind him putting their right hands on his thorax and showing rock, scissors and paper with their left hands to the rhythm of the pre-chorus.

Die Hände transformiere
Wie in Schere, Stein, Papier
Sie sind zart, sie können schmusen und weh tun
Ich bin bereit für deines Spiel
Obwohl du lügst, manipulierst
Kennst meine Gedanken, ich weiss nicht
Deine Methode funktioniert für mich

The choirists take the Zenobye's shirt off. He wears white T-shirt underneath. Then all of them are jumping towards the public dancing and singing the chorus.

Ich habe nie gespielt
Weil die Regeln für mich schwierig sind
Aber ich zähle bis drei
Ich gebe dir meine Zeit
Ich habe nie gespielt
Weil die Regeln für mich schwierig sind
Heute will ich gewinnen
Oh, Schere, Stein, Papier
Oh, Schere, Stein, Papier

The choirists freeze in the background for a moment. Zenobye sings the following verse with his eyes closed and passion in his strong voice. The stage starts to be filled with bright white light.

Let's play another game

Then the light is bursting and the LED screen shows the colourful zigzags again. The choirists jump and join the energetic dance behind Zenobye. It looks like a great fun to all of them. The final choruses come.

Ich habe nie gespielt
Weil die Regeln für mich schwierig sind
Aber ich zähle bis drei
Ich gebe dir meine Zeit
Ich habe nie gespielt
Weil die Regeln für mich schwierig sind
Heute will ich gewinnen
Oh, Schere, Stein, Papier

Ich habe nie gespielt
Weil die Regeln für mich schwierig sind
Aber ich zähle bis drei
Ich gebe dir meine Zeit
Ich habe nie gespielt
Weil die Regeln für mich schwierig sind
Heute will ich gewinnen
Oh, Schere, Stein, Papier
Oh, Schere, Stein, Papier

At the last verse the choirists leave the stage and the stage turns completely dark. Zenobye stands at the front showing rock-scissor-paper with his hands and then bowing to the audience being grateful for their attention.

by **Izmedu** » Thu Jul 26, 2018 11:49 pm

Transcription: L'Nashek et Etzmi
Translation: Kiss Myself
Tune: Katya Volkova - Ya Khochu Tolka Tebya

Sasha Dina is the 27 year old singer from Karkekirim who was chosen to represent Raffiah in the World Hit Festival. Hailing from the capital, Sasha attended the Raffian Music Academy, before pursuing a bachelor's degree in neighbouring Hipasia. There she joined the girl group 'אהבתך' (Ahavtkha'), finding moderate success in both Hipasia and Raffiah. This, however was not enough to sustain her career, and she currently finds herself working as a secretary and part-time music teacher in Karkekirim. Entering Kdam was an excellent opportunity to reignite her career in music, because this was her dream and she was a firm believer of not giving up on your dreams. In Kdam she finished in second place, meaning she missed out on WorldVision, however she was upbeat; she had received top points from the Raffian televote and would still be able to perform her song to a large audience, and hopefully they would like it. Linking up with produce Manny Wistenberg from her days in Ahavtkha, she recorded and co-wrote the song 'Kiss Myself', which was translated into Hebrew for the contest. The song is a dance pop number with a heavy pulsing beat and powerful vocals. The Raffian government and broadcaster had kindly provided the team with a large enough budget to make it a big show, and when finding out they were performing in the dreaded second spot, this was all the more reason to be thankful for the large budget which would allow them to stand out. With her song currently having sold 2,000 units in Raffiah, and being certified Silver, hopes are high that this can translate into a successful result for Raffiah.

The stage was dark as cheers rose after the postcard from Raffiah. Some 150 Raffians had made the journey to Mousiki to watch the performance live. As the song begun, the stage remained balck, with a sharp white light pulsing around the two outer widths of the stage and then meeting at the satellite stage away from the main stage. On the satellite stage was a fountain that was squirting out what looked to be black ink. Then, Sasha was revealed. She was inside a large black flower contraption, with only her upper body and face visible. Her makeup was like this, and she was wearing a top (no mermaid tail) which covered her breasts and shoulders and swung with a gooey consistency, like an oil slick. She held the microphone above her tilted head and began singing, not looking at the camera. The background was black with small grey, silver and white shimmers. Around the black flower encasing is a pool of 'oil' (not actually oil, just sticky black stuff), inside which are dancers, laying down and moving slowly.

רק תן לי דקה לנשום
כי השמש לא זרחה לי מאמש
והיום לא תבוא הזריחה, אך אני רגילה לזה
אתה מחזיק אותי יומיים ארוכות ערה
אני מחזיקה אותך אפילו עוד יותר ערה

As the song gets faster, Sasha now turns to face the crowd and cameras, with a zoomed in shot of her face. It looks evil, emphasised with the makeup. The background begins to pulse and the specks of white and grey on the screen beat in time with the music. From the oil pit rise four dancers, with camera shots of them climbing out.

יא מאמי כשאתה מוכן, אני יודעת שתיתן לי סימן
ואני יודעת כשאתה מוכן, תגיע לכאן בזמן
יא מאמי כשאתה מוכן, אני יודעת שתיתן לי סימן
הס עכשיו, העורבים השחורים שירים

At the chorus, Sasha once again faces the front. She sings the chorus with a look of pain etched across her face, she closes her eyes as she strains on the word אותך (you). Despite the crowd in the arena and at home not understanding a word of the song, most are able to feel the emotion of what she's trying to convey. During the chorus wild strobes affects occur on the backing screen, allowing for haunting close up shots of Sasha.

אם אין לי אותך, אנשק עצמי
אאהוב עצמי לבד
אם אין לי אותך, אנשק עצמי
הינה הסוף, הס עכשיו

As the music slows, Sasha steps out of the flower. Her bottom half is fully covered in a similar black sludge which clings to her body, yes, she is giving you body for days and you need to eat it up. She walks in front of the oil pit, where her four dancers are still dancing. They stand up and dance with her, it's so sexy you couldn't even imagine.

לא תיקח האמונה שלי
לא תעצור אותי מנשימה
תשמע שהם מתקשרים, תפחד שוב
ולא תשבור אותי
על אף הכול שקרה
אני חושבת שהכול יהיה בסדר

As it speeds up again, Sasha and her backing dancers march in a line to the frontal satellite stage. Their regimented movements are nice to look at.

יא מאמי כשאתה מוכן, אני יודעת שתיתן לי סימן
ואני יודעת כשאתה מוכן, תגיע לכאן בזמן
יא מאמי כשאתה מוכן, אני יודעת שתיתן לי סימן
הס עכשיו, העורבים השחורים שירים

As she gets to the middle of the satellite stage by the fountain, the backing dancers get into the fountain and start dancing in all the sludge. Sasha is alone in front of them singing the chorus, once again giving face and emotion to the camera in order to best show her emotions regarding this song.

אם אין לי אותך, אנשק עצמי
אאהוב עצמי לבד
אם אין לי אותך, אנשק עצמי
הינה הסוף, הס עכשיו
בלדייך!
בלדייך!

As the music remains fast, so does the wild strobes. The backing dancers perform a vigorous dance in the oil fountain. Sasha then also gets in the fountain and lies down to sink in. As the music gets faster for the final part of the song there is a close up of her face rising from the fountain. She is completely covered, and then suddenly she opens her eyes with the striking blue contacts, providing a mesmerising effect. As she sings the first 'Biladeykha' the camera pans out and on screen effects shoot oil and sludge at the viewers camera's at home.

בלדייך!
בלדייך!

Finishing the song, she smiles, with the oil dripping off of her. She and her dancers look a mess, but they're happy with their performance, and they jog off to get a shower and then onto the green room to enjoy the other songs and to await the results.

by **Izmedu** » Thu Jul 26, 2018 11:59 pm

After Raffiah's performance was over and a few minutes elapsed to allow for the stage to be set up for the hosting intervention, the hostess re-appeared once more behind the music note podium.

Petra: Thank you Sasha Dina for ending the second semi-final performances with a bang! Alright, we know the drill by now. It's time for us to quickly get into the process of determining who our qualifiers are.

Petra: Alright, so here's how it works. You'll have the usual World Hit Festival voting procedure, you'll dial the number on your screen to vote. Only the nations that have participated here tonight will have their votes count though. So if your nation was not in this semi tonight, your vote won't be counted. Additionally, for those of you watching at home or at the audience, izmedu, your votes now count in this semi.

Petra: As I said before, only seven qualifiers will advance to the grand final. Your votes will determine precisely who will advance and complete the grand final. I'll detail them right now.

Petra recited the voting instructions in both Izmeduan and English, while commentators from various other countries would largely be doing the same in their own national languages.

Petra: Alright, here we go...

WORLD! START! VOTING! NOW!!!

The crowd cheer was wild, with a countdown clock that started at 15 minutes and counting now having appeared in the background screens and on the broadcast. Some sparks were released from the stage as the producers let the crowd cheer for a bit. However, the production did not want to take a risk with the show running behind on schedule. Stage hands again put up the signs for the crowd to quiet, and the crowd seemed to follow the instructions without the hostess intervening.

Petra: Alright, all of you have 15 minutes to vote. Put your votes in now, each and every single one of them does count.

Petra: Well, what better way to pass the time than an interval act? The interval act we have planned for you is actually none other than a singer who placed 2nd in Izmepisma a while ago. Some of you may be wondering, 'wait, is this the Izmeduan entry?' You're correct! While Izmedu has automatically qualified to the grand final, we here at RTI did not want to leave Zoran Milos with just one performance, can't we?

Petra: Performing as the interval act, please welcome the Izmeduan entrant for the 40th World Hit Festival, Zoran Milos and "Hladna pluaya!"

INTERVAL ACT

Translation: Cold Rain
Tune: Pravila Igre - Muška suza

Stage lights billowed down to the center at the advent of the host entry, flashing in the Izmeduan colors before darkening. Izmeduans were cheering like no tomorrow for their home act. The two shells would be exposed, with Izmedu bringing in both a live band and orchestra to play the song live. The band would be backstage, while a 20-person orchestra would dot the two sides of the stage that the shells would normally be hiding. Zoran would be standing at the center of the main stage, looking down and clutching the microphone tightly for dear life. At the start of the entry, a single spotlight shone on Zoran as the camera was affixed to a side profile view of his face shrouded in the darkness. A lonely piano filled the Majcena Foruma, initially being muffled by the crowd cheer before the Izmeduan crowd quieted down. This piano would continue only for a few more seconds, before the spotlight intensified on Zoran. His expression was visibly blank, a latent sadness in his eyes as he was prepared to put the microphone near his mouth. He began to sing...

Mi cre je-sti amar, izgubio sam amaik
Amaikstvo mislila sam da je neraskidiva
Mi se cre razbija, ju ne mogu prestati
Maje emocije i maje mrake misle

He sang directly to the camera for the first verse. The first two lines were bare, with only the piano accompanying his emotional vocal as his blank expression contorted to one of emotion. He looked like a man finally able to put his pain into articulation, with the walls he'd built up finally beginning to break down. He reached his hands towards the camera at the second line, before it faded to a slightly wider view of the stage for the latter half of the verse. In there, a dark blue light hue began to coat the Majecna Foruma's stage, with the screens beginning to show an image of a window going through a rainy storm. It was only rain droplets at first, their appearance being timed to the band that began to play along to the piano. Zoran began to step forward a little bit as the chorus progressed to its end, beginning to put a hand to his head and frantically looking down in reflection of the lyrics.

Gdje je pogrešno?
Što sam učinio?

The camera faded to a close up view of Zoran for the brief hook into the chorus. He held a hand to his chest as the orchestra and band were hard at work to set the mood of the song. By the end of the hook, the lights in the Majcena Foruma would darken instantly sans the effects on the screen. Zoran had his face and expression downwards for the microsecond pause.

Plesao sam u la hladnu pluayu
Sakriti maje suze i mi bol od tebe
Jer znam abandonio si me con-ne fiar
Nemam nikoga mui se kriviti za pogreške

The Majcena Foruma was coated in an even more intense dark blue hue as the song roared to life in its ruminating despair and sadness-induced confusion. His vocals were beginning to be pushed to its limits as he put in every ounce of emotion of writing the song into his performance. The camera kept close to Zoran as he was singing to either the ceiling or the audience, depending on where his eyes would land and where his hands would be motioning towards. At the start of the chorus, light but subtle holographic rain effects would begin to appear on the stage, making it look like to a trained eye that there was a shower of rain or aquatechnics that threatened to douse the stage and ruin the electronics. Even if it phased through Zoran, the camerawork kept up the illusion that it was directly hitting Zoran, making it look like he was truly reliving the lyrics on the stage. At the end of the chorus, he was in full-on emotional throttle, his free hand gripped into a tight fist and his eyes almost watering. He ended the chorus with his face staring into the ceiling, the blues and grays accentuating the emotions that Zoran was expressing.

Mui jamo
Ispričam za maje pogreške

With this brief hook into the second chorus, Zoran embedded it with as much emotion as he could muster. Even if he was standing still in place, the camera again took a close view of him that presented the immensity of his emotions right down to the expressions and movements. The rain effects were still on-going, only intensifying up to the point where holograms of rain puddles began to be visible on the stage floor. At the end of the hook, Zoran looked up into the ceiling, the camera staying static as the rain only intensified. This view would last during the instrumental interlude. The band and orchestra swelled to an emotional climax of their own, with the orchestra ending on their own high note before quieting down as a transition to the second chorus.

Mi cre je inviarno, preblizu el-u smrti
Reci ti meni da ju sam glup, slab, i kratast
Ju nisam poznavao, pogrešno sam shvatio te
Prekasno

For the second verse, Zoran was beginning to take a walk around the stage. He'd go on one of the catwalks, keeping his pace steady to make sure that his vocals were not compromised. The camera would continually follow him as he walked on one of the catwalks, keeping a side view as the spotlight on him illuminated the perpetual rain effects. Additionally, the screen effects on the floor also kept displaying the perpetually falling and almost borderline heavy rain. The screens behind the orchestra, were still displaying the rainfall-affected window graphics. By the end of the third line, Zoran reached the smaller stage that was connected by the catwalks. The lights would darken and the rain would stop, as the camera faded to darkness as 'Prekasno' was sang by a background vocalist. Zoran took a step back, taking a brief deep breath in preparation for the chorus...

Plesao sam u la hladnu pluayu
Sakriti maje suze i mi bol od tebe
Jer znam abandonio si me con-ne fiar
Nemam nikoga mui se kriviti za pogreške

At the start of the chorus, the camera took a much wider view as the lights in the Majcena flashed in an array of dark blue hues and whites. This served to strongly illuminate the main stage, but with the smaller satellite being kept darkened. The camera took a much wider view this time, taking on a cinematic swoop as Zoran passionately sang the chorus with an even more intense fervor. The rain effects surrounding Zoran became heavier, almost drowning him in virtual rain as he made movements that let out his emotions. With one hand to his chest, his eyes closed, and almost visibly straining to make sure that he didn't overpower himself with too much passion. At times, he would almost be singing to the audience directly, getting close to the edge of the stage to the point where fans could reach for him.

Mi se cre razbija, ju ne mogu prestati
Maje emocije i maje mrake misle
Gdje je pogrešno, što sam učinio?
Plesao sam u la hladnu pluayu
Prekasno

For the bridge, which was made up of parts of earlier verses, Zoran changed the intensity of his vocals from the pure out belting to a more contemplative tone. He paused his dramatic movements, taking a step back as the camera closed in on him once more. The first two lines saw Zoran still deliver a slight intensity. The lights still swirled around him as Zoran's tone and delivery began to lessen. By the second line, the lights slowed down to a crawl and darkened, leaving only a dark spotlight on Zoran. The camera faded to a close view on him at the third line, as he sang that specific line straight to the camera. The emotional intensity was now far more inward, a more outward tone of rumination and reflection. He closed his eyes at the end of the third line, now going towards the trademark chorus line of the song as a transition to the final chrous. He hummed slightly after the end of the fourth line, closing his eyes as the camera zoomed in on his eyes. During this brief interlude, the camera would simultaneously fade to a few parts of the orchestra, imposing themselves over Zoran's face until fading. At 'Prekasno,' once more sung by a background singer, his eyes would open.

Plesao sam u la hladnu pluayu
Sakriti maje suze i mi bol od tebe
Jer znam abandonio si me con-ne fiar
Nemam nikoga mui se kriviti za pogreške

This was the song's end-game, one minute of Zoran's most passioante vocals. For the chorus, the holographic rain effects strengthened almost to the point where it looked like the stage and some of the audience were being doused in water. Zoran stretched his vocals to the limit, almost looking like as if he was about to keel over when he was belting out the second line. His body slightly writhed and convulsed from the intensity he was placing on his vocals, having to stand in place for a second before launching himself into another set of movements for the latter half of the chorus. Zoran was now standing at the center of the satellite stage, the camera taking a mid distance view that again re-accentuated the falling rain upon him.

Ne mogu stati le suze
Hladna pluaya
Jer znam abandonio si me con-ne fiar
Nemam nikoga mui se kriviti za pogreške

This was the final part of the song, with Zoran belting out the first line before going tender with his vocal tone. The camera was now making cinematic fades between him and the orchestra, who were keeping pace with the live band backstage. At the final line, Zoran belted these lines with the same intensity as before. This time, the camera focused more on close ups. He clutched his chest once more, making sure to control his breathing as the most intense parts of the song were coming to their quick conclusion. When he sung the last line, the lights darkened as only a drizzle of rain was left. The final shot of him was looking up, humming the song to its end. Once the final note between singer, orchestra, and band was performed, the lights darkened and the entry was finished.

Zoran took a deep breath and looked at the crowd with a bit of a smile. "Hvala," he said in a soft tone.

He wasn't sure if what he did would be worth it at the end, but he felt more at peace with his conscience more than ever. Zoran knew there would be a fallout after this catharsis, there always was.

I don't know if you're watching, but now you know how I feel.

by **Izmedu** » Fri Jul 27, 2018 12:00 am

After Zoran and the orchestra exited the stage, the camera cut to a wide view of the Majcena Foruma to let Petra have ample time to get ready. The music note podium was raised and like clockwork, Petra was standing behind it waiting for her cue.

Petra: Zoran just performed the Izmeduan entry to you all! Now, it's time for us to close the voting.

Petra: Just like last time, we will give a brief recap of every song that was performed tonight. These are the songs' last chance to prove why they are worthy of qualification. Here they are.

The camera cut to a wide view of the Majcena as the logo flashed on the screens once more. The recap started off with Skanden's high energy “Kung.” Each song would have 20 seconds to shine on screen, before ending with Sasha Dina's fierce choreography with “L'Nashek et Etzmi.” Once Raffiah's song finished reverberating through the arena's sound systems, there was a large crowd cheer. It was almost even louder than the previous semi-final.

Petra: Like last time, everyone! World, you only have a minute left to vote. 14 nations this time have their fates in the balance and only 7 are going to go through the grand final. Who's it going to be?

The crowd may as well have been cheering every name from every single participant. Once the countdown clock hit 10, Petra began to lead the crowd into the time-honored tradition of an arena-wide countdown. Once it hit 0...

WORLD! STOP! VOTING! NOW!!!

Petra: Alright, that's it! Don't vote! Stop voting! You don't want to get charged, do you? I hear the producers in my ear, they're working lightning fast to make sure all the results are up. Ivan, I hear you in my ear, are you there?

The camera cut to Ivan Sandic and Dora Vidakovic in the production room. Izmeduan and Britonish producers were seen behind them wrapping up the tallying process. It looked a bit chaotic, but most everyone looked very excited and happy to start the process.

Ivan: Yes, Petra, we can confirm that we have a valid result and that the grand final list is now complete. It's now up to you to reveal who those seven are to the world. Take it away!

Petra: Thank you Ivan! You're looking more and more comfortable just as you're about to retire! Alright, it's time to find out who are qualifiers are!

A whoosh came through the Majcena as the lights intensified. Tension-inducing sound effects began to play. The camera flashed to this graphic as this music began to play for the first four qualifiers.

Petra: 14 nations have participated and only 7 nations will qualify. These seven qualifiers represent the seven highest scoring nations in the semi-final and they will be revealed in a totally random order. Let's begin!

by **Izmedu** » Fri Jul 27, 2018 12:01 am

Petra: The first qualifier is...

Petra: Alright, our second qualifier is...

by **Izmedu** » Fri Jul 27, 2018 12:01 am

Petra: 12 nations are still standing but only five more are certain of a place in the grand final. Our third qualifier is...

Petra: The fourth qualifier is...

by **Izmedu** » Fri Jul 27, 2018 12:02 am

The crowd were now in a frenzy as it was down to the last 3 spots. There was a brief pause to allow the cameras to pan out and fade to the delegations whose names have not been called out. Many were looking rightfully nervous. This music would begin to play to heighten the tense atmosphere in the arena.

Petra: Alright. This. is. it. Only three spots remain to the grand final. Our fifth qualifier is...

Petra: Our sixth qualifier is...

by **Izmedu** » Fri Jul 27, 2018 12:04 am

The crowd was now in even more a frenzy. Petra stood there with a perpetual smile on her face, but even she herself was quite a bundle of nerves. She took a deep breath.

Petra: Oh my goodness! Ok, we have one more qualifier left to reveal and we know for sure what our grand final will look like. This is it. Everything is left to play for and any one of you in the green room will be the next name. Alright, here we go... Our final qualifier is...

Petra: World, we have our qualifiers!

That was it, all seven winners of tonight's semi-final have been revealed and consequently, the world now knows the identity of the 15 grand finalists that would be fighting for the title of World Hit Festival champion in the upcoming grand final. As appropriate, the qualified delegations began to make the trek from the green room to the stage, all done as the audience on the arena and at home were being shown a recap of the qualifying nations in their order of being called out. Once it was complete, Petra can be seen standing behind seven very excited delegations.

Petra: World, we've done it! The semi-finals stage of the World Hit Festival are now over and 15 grand finalists are waiting for your votes a few days' time. However, the show is certainly far from over.

Petra: 15 nations are still in with a chance to win the World Hit Festival. However, before we go on and celebrate, let's give a hand to all the countries that did not make it.

The audience cheered in support for the nations that didn't make it to the grand final, with the respective fans of those nations especially cheering loudly.

Petra: Alright, we just have the grand final left. We will now begin our journey of finding out who the winner of the World Hit Festival is. Of course, we have to give these contestants a break. World, thank you so much and congratulations to everyone. Have a safe night in Mousiki. Hvala lipa and see you at the grand final!

The credits began to roll as the famous Izmeduan after-parties began. For the grand finalists, it was time to get ready.

by **Izmedu** » Fri Jul 27, 2018 12:04 am

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by **Izmedu** » Fri Jul 27, 2018 12:05 am

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by **Izmedu** » Fri Jul 27, 2018 12:05 am

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World Hit Festival 40 - Mousiki, Izmedu | IC Thread

01 Skanden: Maria Lundberg ft. Aleks Södergård - Kung

02 Togonistan: Divina Angeli - Decompiled

03 Polkopia: Molly June - Overload

04 South Batoko: Katy K. - "Music ft. 3Kiss"

05 Mercedini: Rachel Nollov - Unbreakable II (Champions' Edi

06 Christarnea: Lem Olaph - Folie à Deux

07 Britonisea: Axis - Stop

08 Tödlichebujoku: VUOKKO - SWEETNESS-SADNESS

09 Ethane: Fola Humphreys - Labelled Emotions

10 Artsakhestan: Razmik Bagratuni - Ա՜խ Իմ Սիրելի

11 Antahbrantahstan: Evelina Alaküla - Thunderkiss

12 Puerto Candelaria: Karina & Jota - De Ná

13 Saintrabina: Zenobye - Schere, Stein, Papier

14 Raffiah: Sasha Dina - לנשק את עצמי

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