43rd World Hit Festival | Draft Thread | CLOSED

by **Britonisea** » Mon Dec 10, 2018 3:50 pm

WELCOME TO THE 43RD WORLD HIT FESTIVAL DRAFT THREAD
Burgendore, Britonisea

The Official Draft Thread Opens - 10th December 2018, 23:00 GMT
Sign Ups for the 43rd World Hit Festival Close - 20th December 2018, 23:00 GMT
Draft Thread Closes, 25 hours to make last changes - 27th December 2018, 22:00 GMT
LIVE Draws and Running Order - 27th December 2018, 23:00 GMT
Voting lines Opens, the IC Thread is Available - 28th December 2018, 23:00 GMT
Voting lines Closes - 5th January 2019, 23:00 GMT
Results Day 1 - 6th January 2019, 21:00 GMT (Phase 1)
Results Day 2 - 8th January 2019, 21:00 GMT (Phase 1)
Results Day 3 - 9th January 2019, 21:00 GMT (Phase 2)
Results Day 4 - 10th January 2019, 21:00 GMT (Phase 2)
Results Day 5 - 11th January 2019, 22:00 GMT (Subject to change)

Entries

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

Helping Your Host: I am most probably going to use my own formatting for everybody's entry, to make it look uniform, which has been done in other editions, my previous edition of hosting included. I would appreciate if you could keep your formatting of your entry very simple (just text and the 'BOX' tag would be fantastic, no need for colours, bold, italics and underlining - unless they are keys or backing singers etc). You can align everything to the centre if you want to keep in neat, but it would help me very much to keep it quite minimalist. If you don't though, it doesn't matter.

WIP Entries: It would also help a lot if you put a "WIP" or Work In Progress sign somewhere obvious, preferably in the subject or at the top of your post if you don't want me to notice that as finished (but this will not come in to play by 27 December 2018)...

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

Headers: Well, below you will be able to find a format of a very, very simple header that will help me in the long run.

Reminding You and Miscellany

Nations who have expressed interest to participate will receive a telegram 24-48 hours before the Draft Thread closes. Also, nations that are yet to vote will receive a telegram 24-48 hours before the Voting Lines close.

The IC information is below...

by **Britonisea** » Mon Dec 10, 2018 3:51 pm

The stage this year is smaller than the editions that Britonisea has hosted in previous World Hit Festivals, however, this doesn't mean that the stage isn't large or magnificent! Below, I am showing you to of the main pictures of the stage without giving away the whole thing which you will see in the postcards.

In the first image, you can see somebody who is standing on the stage. The height of this person is 1.35m - and so from this you can try and make out how tall the stage is. In case you didn't know, the stage wall is a total of 9m tall, with 0.66m of it being hidden at the bottom because of the raised stage which makes it easier for camera shots. The stage is an OLED Screen which makes it easier for us to make clear, crisp pictures for you all to enjoy. Looking at the stage, from the back of the stage to the front (the person is standing right in the middle of that) is 12.15m so there is enough space to have a proper performance. Since the VEFEKOM Arena isn't one of the largest arenas, we had to be conscious on how much space we gave the stage. We wanted a huge audience which would rival recent editions, and a stage that wasn't too big. If the 12.15m isn't enough space for you, the two catwalks that come out are a further 8m out - getting right into that audience action. The total width of the stage is just over 23m - but there are two gap on the stage which you can see above. From these gaps are some of our strongest lights - with an arsenal of laser lights and strobe lights which can totally curtain the OLED screen from the audience if that's the effect you're going for and also pyros... Furthermore, from here we can have waterfalls of (of course) water and pyrotechnics.

Around 2-3m above the stage is an LED strip which is about 2m in front of OLED's bend. The LED strip is 0.5m long, but it will be used to display what song # it currently is and it can also be used for the current performance. The LED strip goes all around the arena, instead of the back. On the ceiling, under the light rigs are two LED panels (3.0m across) which go directly across the audience. This, we feel, will add to the performance as each delegation can take you further in to the staging of their performance. That little circle at the top is also LED too - we thought that you could use that too. The circle are more lasers and a hologram projection if you aren't happy with the current lasers or if you need a hologram.

All the basic lighting is possible on this stage.

by **Polkopia** » Mon Dec 10, 2018 4:35 pm

Polkopia
"Mr. Hypocritical" by MJM

Trigramme: PLK
Language: English/Polkopian
Music: MJM, Ryan Baker
Lyrics: MJM
Tune: LINK HERE

Prior to their performance at the 67th Worldvision Song Contest, MJM was considered an up-and-coming group according to several music experts and enjoyed mild success within Polkopia. Their debut single, Give It 2 Me Boy drew over 400,000 views on Polkopia's top video streaming website and they had just finished their first nation-wide tour. Shortly after the conclusion of their tour, the group released the single Like Me, which almost immediately climbed to #13 in the charts and became Polkopia's official entry into the 67th Worldvision Song Contest in Darkmania. Although the hype behind their entry was high, MJM finished in a rather disappointing 15th place and was later regarded as one of Polkopia's most unsuccessful Worldvision participations to-date. Be that as it may, the group strived to redeem themselves in the eyes of the international community and entered the song, Mr. Hypocritical into the Landa vy Polkopiya. Though the song made it to the Grand Final, the group placed fifth out of six acts and failed to represent the nation the following year. Despite this, various social media platforms showed overwhelming support to send this group to Worldvision, despite these results. Prior to Worldvision 69, the PNB announced that they were doing away with the Landa vy Polkopiya for that year and hand-selecting Polkopia's participant instead. Many suspected that the PNB had chosen MJM to be Polkopia's representative, but instead, Yulia Vegovna was announced. Many were left disappointed and outraged that MJM wasn't returning to Worldvision, however a few days after Polkopia's Worldvision representative was announced, it was revealed that the group would be representing the nation at the World Hit Festival with their song, Mr. Hypocritical.

The song, Mr. Hypocritical, is a new sound for MJM. While their typical style revolves around fast-paced dance songs, Mr. Hypocritical is characterized by a nostalgic, vintage feel mixed with modern midtempo sounds. Many fans were quick to criticize MJM for veering away from what made them famous, however one of MJM's members, Natalia Gregolievna, spoke out against several of the group's haters. "Artists should never feel weighted down by one specific style." She wrote on one of her social media platforms, "One of the greatest thing about being an artist is experimenting and trying things outside of your comfort zone. For everyone who won't support our journey through this - there's the door. Otherwise, we'd love to grow and develop our style alongside our fans." Many felt Gregolievna's social media post was a bit too harsh, however many others admired how she defended herself so bluntly. Not long after losing the opportunity to represent Polkopia at Worldvision 69, the group announced that they had plans to return to the Landa vy Polkopiya for WV70 with another song that slightly differed from the other two styles. The song was later revealed to be titled, Spotlight and is currently competing in the Landa vy Polkopiya. Should they win, the group would fly directly out of Britonisea and into the nation hosting Worldvision, where'd they be scheduled for rehearsals and the final performance. To many, this would be seen as overwhelming for a group to be performing under such circumstances, however the group seems eager to step onto the world stage once again and do their nation - and fans, proud.

Moments before the song began, the stage was completely dark. The four members of the group - Tatiyana, Nataliya, Katya, and Mariana, stood on the stage in a horizontal line. Each of them stood behind an older-looking microphone. All four of them were wearing different variations of a black and white striped dress (Similar to this: dress in terms of style, but all four of them wore dresses whose stripes were arranged in different patterns) however each of them wore a large floppy hat corresponding to that member's 'color' in the group (Tatiyana - Orange ; Nataliya - Green ; Katya - Blue ; Mariana - Purple) and all four of them had their hair dyed black for this performance, though their hair styles differed. Tatiyana, for instance, wore black extentions and her hair fell midway down her chest. Nataliya's hair was hardly visible under the hat, however she had her hair styled in a bun, with a few strands hanging in front of her left eye and curled. Katya's hair was tied in a ponytail that fell along her chest, and Mariana's hair fell straight down. The opening notes of the instrumental began to play and the audience cheered. The background screen showed a black and white wave pattern, which moved across the screen in intervals (The pattern would shift to the left every 2 seconds). A spotlight appeared on each of them for the first four notes of the opening and the lights along the perimeter and the back of the sage would illuminate and grow brighter as they sang the last note. While they sang the last note, the members of the group looked toward the ground, stuck their hands out in front of them with their wrists pointed downwards, and lifted their arms upwards throughout the duration of the note.

Orange: Tatiyana singing
Green: Nataliya singing
Blue: Katya singing
Purple: Marianna singing
Black/Bold: All four singing

Nana nana whooo....

Marianna was the first of the group with a solo. The other lights had completely dimmed except for the light illuminating Mariana. The camera zoomed in and focused exclusively on Marianna's face while she sang. She looked up into the camera, then looked to the side and allowed herself to smirk as she sang. She held the back of the microphone that she sang into and her neck moved side-to-side a couple of times during her solo, indicating to the audience that this was going to be a song with a sassy performance.

Ya ho pužel'esla - chto yo vrano iz mene?
(I am confused - what do you want from me?)

Ya ne drug yosha ili kalityera-lavta
(I'm not your friend, but I'm not your one true love either)

A faint spotlight was shown on each of the other three members, who've all retreated backward a few steps. Their hats, arms, and the white stripes on their dresses were the only thing completely visible. As they sang the backups, the camera showed their choreography, where they swung one arm out in front of them, wrist pointed downward. From there, they did the same with their other hand, but at the same time, moving their original hand downward. They did this with their heads trained toward the ground. After they did this motion, they moved their arms inward, with their hands inches away from their hips. From there, they shook their hips three times, all while holding their palms outward. As they shook their hips, they moved their arms accordingly. While they did this, they looked up at the camera. All three members' bright red lipstick stuck out in the camera. Two of the members had their lips closed, but Nataliya had her mouth open with her tongue hanging out in a sultry expression.

(There he goes, there he goes)
(Mr. Hypocritical)

The camera returned to Marianna, who looked at the camera, narrowed her eyes, and smirked. While doing so, she delicately ran her fingers along the trim of her hat, while her other hand held the microphone from the back. Her eyes were shut and she had her head turned toward the side. As she sang the last line of her verse, she opened her eyes and looked toward the camera while her head was still turned sideways. By this time, her fingers had finished running along her hat and she held her hand out in front of her, slowly curling her fingers into a loose fist.

Ne prosto stait tam
(Don't just stand there)

Privepedte i govordte s mnoy
(Come and talk with me)

The camera rapidly zoomed on Tatiyana's face. The lower-half of her face was visible, but she had pulled her hat down earlier to that the brim of the hat covered her eyes. She held her index finger up to her lips as she shushed the audience. Afterward, she smirked and brought down her index finger to sensually tug at her lower lip as she sang her line.

Shh! Ne govordte živskom, mladčik.
(Shh! Don't talk too much, boy)

After this, the lighting had increased to reveal the other members of the group completely, resulting in an audible cheer from the audience. Nataliya stood up to her microphone and sang, while the other members of the group swayed their hips from side-to-side, while extending the corresponding arm outward. This pattern would continue until all four members of the group sang the word, "critical", at which point every woman opened their eyes completely and stuck out their hand in front of them, palms facing outward. After they sang this, they resumed their previous hip-swaying motion.

There is a boy, Mr. Hypocritical (critical)
On ne močet videt, čtob' ona plačaet
(He can't see her crying)

The three women in the back performed the same pattern as when the following lines were previously sung. They swung one arm out in front of them, wrist pointed downward and did the same with their other hand, but at the same time, moving their original hand downward. They did this with their heads trained toward the ground. After they did this motion, they moved their arms inward, with their hands inches away from their hips. From there, they shook their hips three times, all while holding their palms outward. As they shook their hips, they moved their arms accordingly. While they did this, they looked up at the camera.

(There he goes, there he goes)
(Mr. Hypocritical)

Nataliya swayed her body side-to-side, snapping, while her other hand firmly grasped the back of the microphone. She furrowed her brows and kept her eyes closed for the entirety of her line.

On sama spraktit za kurtin vreznaemenstvim
(He hides behind a curtain of ignorance)

The camera zoomed in and showed Katya, whose profile was facing the camera. As she sung "now" she scrunched up her face and squeezed her eyes shut. She slowly opened her eyes and turned her face toward the camera. Her gaze was piercing and she looked the camera up and down as she sang her lines. Behind her, a golden circle showed on the LED screen, just small enough to fit in the background of the camera shot. The lighting was altered so that the lighting on Katya's face was very split, with one half receiving much more lighting than her other half.

Now! Girl, the more you know.
Let's get on with the show.
show, show, show, show, show

The lighting returned to normal and the background LED screen showed pastel yellow and pink zigzag colors that moved across the screen. The four girls were seen swaying their hips in-sync. During the second line, Nataliya grabbed the microphone and squatted slightly, running one of her hands along the pole of the microphone. The camera zoomed in on her as she did, but returned to a view of the stage during the third line. For the third line, the girls, hold their right hand to the right corner of their mouths and rolling their eyes. They continued their original swaying movement during the fourth line.

I've gotta tell you, you, ooh
Yam nadali vsi igri, čito yo igratil
(I'm sick of all these games you've been playing)

Say something and you go
And contradict yourself again.

Ooh ooh ooh ooh ooh ooh ooh.

During the first line, the three girls who weren't singing continued the swaying motion while the camera focused in on Katya. For the first line, she moved right hand slightly in front of her and flicked her wrist in a dismissive motion. She smiled and winked toward the direction she moved her hand, meanwhile. The camera zoomed out during the second line and all the girls turned toward their left, bringing their microphones around with them. For the third line, they swung their free hand = the one closest to the camera, down to their sides, and during the fourth line they brought their hand back up to their hip and flicked their fingers forward a few times in yet another dismissive motion.

The door is for you, you, ooh
Nam vrakaem nashe spiny iz tebe
(We are turning our backs on you)

Mr Hypocritical
Has no one to run to now.

Ooh ooh ooh ooh ooh ooh ooh

The camera zoomed in on Tatiyana who shut one eye and put her fingers in a gun formation, pretending to shoot at the camera. Then it focused in on Nataliya who slightly turned her back to the camera and looked back over her shoulder as she sang.

Hey Mister
Go, go, go and never come back to me again

Four spotlights turned on in tune with the beat, each of them centered on one member of MJM. Prior to being illuminated, they were standing up with their faces turned toward the ground. When they were illuminated, they swung their heads up, smirking at the camera. They all extended their hands upwards, slowly, throughout the duration of the final note, and immediately stopped once the note was over. Katya, who was standing in the toward the middle, grabbed the microphone out of its stand and walked forward with it, toward the outside of the group. The other three members lined up diagonal behind her, dragging their microphone stands with her.

Yo biy stocit sredči i stavit kasultatom.
(You'd break a hundred hearts and play the victim)

Yo biy zastavit, čito ya credila tebe.
(You'd force me to believe you
)

All four girls repeated the same motion they had done before during this verse.

(There he goes, there he goes)
(Mr. Hypocritical)

The camera centered on Katya, who shut her eyes and wagged her index finger around as she sang the first part of the following line. During the second part, she opened her eyes and sang while looking directly into the camera. When her line was finished, she smirked and winked at the camera.

Ya ne kučka - Ya aprendu iz sleda
(I'm not a bitch - I learn from the past

A single spotlight illuminated Nataliya while the others bend their knees and arched their backs away from the camera, looking at Nataliya, though they were hardly visible. After she sang the next two lines, the other girls had managed to walk to different parts of the stage, and they were all illuminated with four spotlights that coincided with the beat. All four girls were shown to be lined up horizontally by the last line.

Now! Girl, the more you know.
Let's get on with the show.
show, show, show, show, show

All four girls repeated the same swaying motion as before, but the three girls who weren't singing had their hands out toward their sides, elbows bent, and snapping along with the beat. Tatiyana and Katya exchanged glances at one point and Katya laughed. Marianna, who was singing meanwhile, maintained the same composure as the other girls, but did not snap. She held the back of the microphone and widened her eyes slightly as she sang into the camera.

I've gotta tell you, you, ooh
Yam nadali vsi igri, čito yo igratil
(I'm sick of all these games you've been playing)

Say something and you go
And contradict yourself again.

The lights over them slightly dimmed, and all four of the girls were now swaying and snapping in-sync with the melody.

Ooh ooh ooh ooh ooh ooh ooh

Nataliya extended her right hand, then her left hand to either side as she sang the 'you's, looking at them extend outward. Then, she extended one of her hands outward and flicked her wrist in a dismissive motion. She, along with the others, bend their elbows and stuck their hands out in front of their bodies with their palms facing outward during the third line, but continued the earlier snapping and swaying motion from before.

The door is for you, you, ooh
Nam vrakaem nashe spiny iz tebe
(We are turning our backs on you)

Mr Hypocritical
Has no one to run to now.

Ooh ooh ooh ooh ooh ooh ooh

The camera rapidly zoomed in on Tatiyana who sang the next line. The other giels, meanwhile, were out of the camera shot, but held their microphone stands close to Tatiyana. These three camera stands were all included in the camera shot. Marianna quickly pulled the microphone stand back, as the camera then trained on her as she sang the last bit.

Hey Mister
Go, go, go and never come back to me again

Several spotlights shone from the top part of the LED screen facing outward, and then suddenly moved to center on Tatiyana. Everything else on stage was pitch black so only Tatiyana was visible to the audience. She ripped the microphone from the stand and pointed at the camera. The camera, meanwhile, moved to circle around her, starting at the second verse. As it moved around her, she continued to sing while looking into the camera.

Skažemi poka, Mr. Hypocritical
(Say bye-bye to me, Mr. Hypocritical)

Ne vroču, čitoby yo privipedil ko domu mayu mai
(I don't want you to come to my house ever again)

Davai, gromčik vipedite an altrogu straniku vy krai
Go on, gentleman, go to the other side of the border

I ya budu ti razpraždit iz moegu straniku "bye".
(And I'll wave "bye" to you from my side)

A dim spotlight showed the other three girls who repeated that same movement as before. The three were lined up horizontally toward the back of the stage.

(There he goes, there he goes)
(Mr. Hypocritical)

The camera showed Tatiyana, who was a little slow to turn back to face the camera, and the camera caught sight of her head coming back around. She carried on though, looking at the ground, then back at the camera, all whilst moving her free hand up and down.

There he goes, there he goes
He doesn't deserve me anyway, err

Katya was illuminated and she looked up and around while smiling, holding her hand up near her face and waving her fingers in unison. Lights illuminated the rest of the stage in the same fashion as before and the four women moved accordingly.

Now! Girl, the more you know.
Let's get on with the show.
show, show, show, show, show

The four women moved in different directions, all toward different edges of the stage with their microphones. They pointed at the audience and sang. The camera moved around, showing different members of the group singing. It seemed to be at random times throughout the verse, but Marianna was always shown when she had her solo backup notes.

I've gotta tell you, you, ooh (you yeah wo!)
Yam nadali vsi igri, čito yo igratil
(I'm sick of all these games you've been playing)

Say something and you go (You go!)
And contradict yourself again.(Yeah yeah!)

Ooh ooh ooh ooh ooh ooh ooh
Yeaaahh!

The door is for you, you, ooh (Only for you)
Nam vrakaem nashe spiny iz tebe
(We are turning our backs on you)

Mr Hypocritical
Has no one to run to now.(Yeah, yeah, oh)

Ooh ooh ooh ooh ooh ooh ooh

Throughout the last chorus, they had all moved closer to one another, and by the time Katya sang the next line, they were all next to one another. A few members had their arms on another member's shoulder as they finished the song. Marianna bend over slightly as she sang the last high note.

Mister I never want to see you face again

(Yeah~ oh~)
Hey Mister
Err!

"Thank you Britonisea! Vas lavim!" Katya yelled into the microphone and all girls hugged one another. They left the stage waving and happily talking to one another.

by **Vdara** » Mon Dec 10, 2018 4:56 pm

[ENTRY RESCINDED]

by **Indo States** » Tue Dec 11, 2018 2:59 am

FATIMAN FEDERATION (INDO STATES)
War and Peace by Melissa Alicja Torres-Meroudoux

Trigramme: FSI
Language: English
Music: OLFU Peace Alliance
Lyrics: Natasha Trisha Canes
Tune: Virna Lisa - Magkaisa (EDSA I Revolution Song)

Information

After Polkopian-Fatiman War Ends, Britonisea Refused to Leave in Polkopian-Fatiman War, Kalosia Lifted Sanctions to Fatiman Federation, Hate Comments from Yulia Vegovna and Protests held in Our Lady of Fatima University Main Campus Complex, Fatima City.

Natasha Trisha Canes, is an Nurse Student from OLFU had Serving as Fatiman Army's Medic which She's Serving 1 War. Her Mother was Nurse and Medic in World War II and Eventually Vietnam War on United States' Side. Her Mother was Member of March of the Medic Nurses during the Robloxian Invasion and Complete Annexation of Robloxia by Communist Fatimans. Natasha Approached Melissa which Melissa Meroudoux was Learning in OLFU as Tourism Course. After her Class in Tourism, They talk about the Polkopian-Fatiman War which Lasts from October 5 2018. And She was having an Idea that will be Make Polkopia Had Friends with Fatiman Federation and Stop Sending hate to Fatiman Federation. That will be Based on EDSA 1986 Revolution Song by Virna Lisa - "Magkaisa". It Would be Changes to Lyrics and The Song was About the Polkopian-Fatiman War and Peace Process to Polkopia from Fatiman Federation.

Melissa had been Practiced The Song and The Performance in 27 Days before the WHF43 Opens. Melissa said that Indo States was Banned from an 1 Contest during the Disqualification. And WV71 had Already an Entry for an Song before the Sign Up Opens. (Harmony in University - Melissa Meroudoux)

The Performance

Melissa was Wearing Ruined Drindl, She was Sad and Until she Talks.

Why we can Have an Peace for that?
Is that Instead of Anti-Feminism in Fatiman Federation and Anti-Fatiman Sentiment in Polkopia? Why they not Stop?
We can Stop Wars with you right now!
We Can Stop You Now!

Then the Tune Starts

Today, Full of Destruction and Hunger
The People is Died due to Wars they started
I've Seen.
One Only, The Peace is not Started then Nothing is Changed.
Soldiers is still Attacking Enemies and No Peace Treaties.
We Can Stop This and Surrender.

Then the LED Screen Changed into Scenes of Polkopian-Fatiman War

It's time to Reunite!
The Peaceful World is Rising!
The Peace is Changing.
There is no Wars for that.
Reunite!
And Start Having Friends with Others. (Choir)
And Peace!
The Peace is on! (Choir)
Hold Hands for an Peace!
For the Polkopians and Fatimans! (Choir)
For the New Peace for Nations.

Then Melissa is Changing life for an Aftermath of the Wars

Today, We're in the Peace on the World.
It's the Best for us. No to fight in the Modern World.
There is an New Place for us.
There is the Clean and Peaceful World.
There is no Fighting.
Only One is Changes.
The World is for Love.

It's time to Reunite!
The Peaceful World is Rising!
The Peace is Changing.
There is no Wars for that.
Reunite!
And Start Having Friends with Others. (Choir)
And Peace!
The Peace is on! (Choir)
Hold Hands for an Peace!
For the Polkopians and Fatimans! (Choir)
For the New Peace for Nations.
It's time to Reunite!
The Peaceful World is Rising!
The Peace is Changing.
There is no Wars for that.
Reunite!
And Start Having Friends with Others. (Choir)
And Peace!
The Peace is on! (Choir)
Hold Hands for an Peace!
For the Polkopians and Fatimans! (Choir)
For the New Peace for Nations.

Then Melissa is Waving.

It's time to Peace!
For Polkopia and Fatimania!
Reunite!
And No More Fighting!
It's time to love!
And Peace for the Modern World!
Reunite!

The Song Ending was Including the Scenes of Polkopian-Fatiman War. And Melissa Says:

THIS IS MESSAGE FOR POLKOPIA, DO PEACE FOR FATIMANS AND DO NOT HATE THEM! LOVE THEM! AND MAKE PEACEFUL RELATIONS!

by **Britonisea** » Tue Dec 11, 2018 7:28 am

BRITONISEA
"The Inevitable" by Marie Agent
Trigramme: BRI
Music: Marie Agent, Veronica Campbell
Lyrics: Marie Agent, Holly Smithers, Jessie Anon
Tune: Hoshi - Comment Je Vais Faire

Marie Agent at the World Hit Festival Red Carpet: Marie Agent is set to represent Britonisea at the Festival, hoping to repeat the success of the edition before...

Britonisea returns to the World Hit Festival with yet another song penned by Marie Agent - but this time, it's the songwriter herself who is singing her own song, "The Inevitable". Now hosting the competition, Britonisea and the team at BVC feel less pressured than before, but expectations still run high.

After a shocking near mid-table placing at the 41st World HIt Festival with an entry that was quite expensive to make, BVC had to change their plan on what they wanted to send in the edition afterwards. Initially, the song "The Inevitable" (which inevitably would end up being Britonisea's song) was Britonisea's World Hit Festival 42 song which was given to Evangeline Hope - an experience professional who BVC thought could deliver the song well. However, Evangeline Hope argued that the song just didn't fit her and rather fit the songwriter of the song, Marie. Evangeline asked for a change of song, one that was still written by Marie Agent. She didn't take it personally. Marie was happy to change the song for another one that she wrote that she personally thought would be better suited for Evangeline Hope. Both Evangeline and her were right at the 42nd World HIt Festival in Altan, Kalosia as the nation stormed to victory with 34 points - three points clear from Llalta - who has been on top form at the World Hit Festival. Due to the presence of Evangeline Hope among the fact that Kalosia hosting was good luck for the nation, an average of 13.11 million tuned in to watch the Grand Final, peaking to 15.66 million - making it the 2nd most watched World Hit Festival on average (2nd only to the 38th World Hit Festival where 13.74 million watched) and the most watched to date at peak viewership. Now being millions upon WorldVision Song Contest and BITC, BVC are content with their World Hit Festival package. Similar viewership is expected for the 43rd World Hit Festival despite the television clash with BITC.

For this edition, Marie has been asked to sing her song - even though she did not initially want to sing it herself. BVC argued that Marie was the perfect voice for the song - and based on the fact that the song is about her own life, it makes total sense for Marie to sing for Britonisea at the 43rd World Hit Festival. Marie wasn't sure about what success singing as the home girl could give to her. When the singer Mehkl Maddox Ajax first hit on to the scene at the 27th World Hit Festival - he placed 9th place, which is one of the nation's bad placings. By the time we hosted the 35th World Hit Festival with Adonis Amedee and (Evangeline Hope), the nation placed 5th. At the 38th World Hit Festival, the nation placed 2nd with the boy band The Retribution. All that the broadcaster could tell Marie was that ehr success was dependent on how soon they start all the work and how they can amaze on the stage in Burgendore. Marie did express concern about failing in Burgendore - she was terrified at the thought. But off of the success of the 42nd World Hit Festival, BVC assured her that a failure wouldn't end her career, and if she ever needed the help in the future, BVC would be there to pick her up.

She went ahead with it. Marie Agent is from the north of Britonisea - where most of the songwriters from our nation seem to come from. Coming from the city of Arconne, Marie going to Burgendore wouldn't bother her that much since Burgendore and Arconne are quite similar cities -it's just that one is on an island and the other one is on the mainland. Marie always knew that she wanted to go in to music, but felt as though performing on the stage wasn't meant for her - she thought that she wanted to stay in the background. As time went on, people started to realise that apart from the talent she had writing, she also had a strong voice which she could use on the stage. She was initially pushed to perform in a concert with a couple thousand people. Though, during that performance, she messed up the lyrics and ran off the stage in fear. She said that that experience had "scarred her", but regardless, she knew that the show had to go on. She ended up having a second chance at performing at the event again the next year - which she did - and sang the same song perfectly. Since then, she's been working her way up but perhaps performing at the Burgen VEFEKOM Arena is a huge jump since her last gig.

She was perfectly ready for the World Hit Festival though. She travelled from Arconne to Junterapten before travelling from there to Burgendore. Burgendore, snowy as per usual, was waiting for Marie and the rest of the Britonish Delegation. The delegation is a lot smaller than it was before - she wasn't going to be on stage with anybody. It is just going to be her and her music on the stage...

Marie heard that it was her time to perform her song. The camera quickly cut to Marie waving towards it (a la Eurovision 2015) before the postcard started to play. During the postcard, she quickly jumped up on to the stage using the steps that located at the back of the arena. She took a deep breath as BVC officials were fixing her clothing, microphone and someone sweeping the floor around her. The performance would use the hologram package which BVC had promised would be available for all the participating delegations. Marie was wearing this outfit which fit well with the black and white striped theme the nation was going for this edition. Finally, the postcard for Britonisea had stopped playing - the audience finally could be heard as Britonisea's name flashed up on the screen. It was time for the performance by Marie Agent - it was time for her to shine on the World Hit Festival stage. The lights dimmed away and the audience started to silence themselves. There was a moment of silence as what sounded like a boomerang sound grew louder and louder in the arena. A light which was focused on the ceiling of the arena was the first shot that everybody saw. On those LED's, it was white strips which were appearing and disappearing, growing in intensity as Marie started to sing the first sentence of her song.

We’ll take it back right to the start,
I’ll start all over.
As my mind is running circles,
I remember neither the past-
Nor the time when your life had stopped.

During that first verse, the camera slowly panned its way downwards, with the white stripes among the darkness of the off stage seeping on to the main stage. There was one large white stripe going around the arena too. She stood in the middle of the stage as the camera greeted her during the break between the first part of the first verse and the second part. The microphone that she was holding - diamond encrusted - glistened among the lights that was shining towards her. She wasn't looking directly at the camera - rather looking in to the distance behind the camera as if she was intently focusing on somebody who was distracting her. She continued to sing...

What have I been missing? - tell me,
I’ll learn from mistakes.
With me, why don't you turn back time?
There’s so many questions, answers
Which are just waiting to be found.

As she sang "There's so many questions", she looked from away the camera to directly to the camera - focusing down the lens. As she continued to sing that very wordy line, the camera started to zoom outwards ever so slightly to expose more of the staging behind her. The black and white stripes on the LED were strong and powerful but not too overbearing for the cameras to take. On the floors beneath her, it was only showing one solid colour - but as the song went in to the first pre-chorus of the song, the solid white colour started to have speckles of blacks across it.

I see it in your eyes, I see the web of lies.
I can be left in the dark no longer.

As the lights started to circle around the arena, the LED floor started to change from that solid white in to white with dark black splodges all over it - with the speckles soon disappearing for those splodges. It seems as though while the splodges were located everywhere around the stage, Around 2 metres from where Marie was standing, the LED kept on being pure white. As she finally got to the last line of the pre-chorus, she looked up towards the camera which had made improvements in it's position - coming closer and closer to her. As the pre-chorus finished and the piano ground to a halt, the stage turned pitch black. For the audience at home, there was a wide angle shot of the whole arena as the stage's LED switched back on to what seemed like a dark grey background with black and white cracks forming throughout the stage. The LED floor too. Marie swayed along to the song, not getting too much into it and therefore ruining the feel of the song. As she got to "I've been hurt once before", she held her hand out towards the audience with the camera switching to one which zoomed out from her hand, showing her face and a small smile she had on her face.

What are you hiding from me, boy?
Your eyes scream the answers but I
Cannot hear your voice - silenced.
It might hurt, might leave a wound,
After all I've been hurt once before.
What are you hiding from me, boy?
I see the fear pump through your veins…
I've known you right from the start.
Promise me that you will not...
Deny the inevitable.

She swayed from left to right as the camera then zoomed out from her. She quickly looked to the right, where the next camera was watching her. She then started to walk out on the catwalk, going in to the audience. A spotlight followed her as reached the end of the chorus of the song. As she sang "Deny the inevitable", a camera which was rather close to her zoomed far outwards to the other end of the arena, with Marie holding her hand out. The jam packed audience was ready for the next part of the song. A steadicam was waiting for her behind her. As the next verse started, she quickly turned around and looked at the camera. The lights in the arena also died down, making the spotlights more pronounced on her.

Not once, you have lied to my face,
I feel so betrayed
I know your darkest of secrets,
Yet that’s not enough to trust me-
As there’s something you’re hiding.

She didn't move that much since the start of the second verse. The steadicam did slightly move around Marie, and with her eyes she followed the movements of the camera. From this angle, you could see the audience watching the happenings on the stage intently. As the camera moved around more, you could see the Greenroom at the back of the arena - the Greenroom was on a raised platform you see. She tilted her head as she sang the words "Or how it's perceived" before turning back around to the audience, covering her face and looking downwards towards the floor of the arena. The next shot was looking down at her from an entirely different angle so that the steadicam could quickly get off the stage...

Maybe you’re scared how I’ll react,
Or how it’s perceived.
One thing that you must remember,
No matter how and when you say it,
Know that the truth will out.

Another shot coming from the tracks around the stage met with Marie's eyes as she looked down. It looked as though she had enough, starting to slowly walk back towards the stage. A camera followed her as she walked back towards the main stage as though she was going for a stroll in the park. The white and black strips started to become more pronounced on the LED walls and floor as she made her way back to the centre. There was a very quick shot of her from far away going back to the stage with the spotlight following her. As she sang the words "I see the web of lies", she twirled before continuing to walk to the centre of the stage.

I see it in your eyes, I see the web of lies.
I can be left in the dark no longer.

By the time she was at the line "the dark no longer", one of the black strips had grown out of control and engulfed the whole of the stage - both the wall and the floor turning the whole stage dark in a similar fashion to how it was dark during the break between the first pre-chorus and chorus. However, the chorus came in loud and strong, with the walls turning in to a dark blue - as though you were hundreds of metres deep in the ocean. She slightly tilted her body forward, rolling her shoulders backwards as she asked the boy what he was hiding from her. "After all I've been hurt once before", she turned her head to the left of the arena as a camera quickly zoomed out from her face to show the whole arena.

What are you hiding from me, boy?
Your eyes scream the answers but I
Cannot hear your voice - silenced.
It might hurt, might leave a wound,
After all I've been hurt once before.
What are you hiding from me, boy?
I see the fear pump through your veins…
I've known you right from the start.
Promise me that you will not...
Deny the inevitable.

So far, the Britonish Delegation hadn't used techniques that were unique to the stage for Burgendore. However, that was to change. In the little gaps between the stage were the powerful lights - both laser and strobe lights. As we delved into the bridge of the song, she stood in the middle of the stage waiting for what was to happen. The lasers were quickly turned on as the stage behind turned pitch black except for a white drawing of a door in the middle of the stage. The floor also was "switched off". The door opened on the screen behind her. She looked up to the sky as a hologram of a man came from behind her as though this man had walked through the door that was on the stage. The door slammed shut as for the people at home, they cut to a closer shot. The man kept on walking towards Marie before stopping by "You're here in the flesh, not in the mind".

And I don’t know what is going on,
I don’t know what is in your mind.
Oh But I worry, oh I worry.
Without you I feel incomplete,
You’re here in the flesh, not the mind.
And oh I need you, oh I need you...

As soon as Marie sang "And oh I need you, oh I need you", the hologram of the man disappeared as she bent her knees, forcing the words out of her mouth. Another camera quickly zoomed out on her as she finished singing the bridge section. The white door that was on the stage went away, with each of the lines on the door slowly forming stripes like how they during the start of the song.

What are you hiding from me, boy?
Your eyes scream the answers but I
Cannot hear your voice - silenced - boy!
Why deny the truth that is right!?
I've known you right from the start.
So promise me that you will not...
Deny the inevitable.

What are you hiding from me, boy?
Promise me that you will not...
Deny the inevitable…
What are you hiding from me?

The last shot was of Marie standing on the middle of the stage, as the camera panned upwards looking at the LED lights on top of the audience. Similarly to how it was done at the start of the performance but the opposite way round. The audience cheered for their performance as Marie smiled to everybody watching. "Thank you, Burgen! Thank you all!" she screamed in to the microphone happy with her performance. She walked off the stage, with the next happenings ready to take place.

by **Darkmania** » Tue Dec 11, 2018 10:01 am

Darkmania
"Blomster" by Änna Kisdeminn

Trigramme: (DMN)
Translation of Title: Flowers
Language: Norwegian Bokmål
Music: Trëvor Gërman
Lyrics: Änna Kisdeminn, Trëvor Gërman
Tune: Manw- Perta

With Britonisea being the host for World Hit Festival again, the odds are high for a new darkmanian victory considering last time Britonisea hosted the show, it ended in a darkmanian victory. So the odds are high and DaTV sends a winner to Britonisea. Literally.

Änna Kisdeminn (17) are the darkmanian representative this time. And if the name is familiar to you, that's is because she is already the winner for the "junior" version of WHF and now are aiming to win the "adult" version of this and is now in legal age of doing it. The anti-war activist has since her victory performed at countless venues across Darkmania and is still popular among the darkmanian children. She has released 2 albums where one became a best seller and got platinum in Darkmania, got a boyfriend as a drummer who helped her writing the song and Now she is going on the big stage again.... but something did influence her song.

After a performance of her winning song at a concert in Darkmania in respect of the Fatima-Polkopian war, she was "Awarded by the Princess Melissa (of Fatiman) 1 for Great Song". As well as suggesting she joins the darkmanian army at the age of 21. This was something that angers her. While 21 is the year where you can serve in the army, and both genders can serve, she has declared that "she is not gonna being used by war-propaganda crap". And while this might cause some issues as she doesn't have the most positive view of Indo States (a competitor), she will be neutral and not say something negative about the nation.

The postcard has played, and Änna are with four female dancers dressed in the same dress as her, but in a different colour than her (Yellow, Red, Blue, Green). Änna has a dress in all those colours but the dominant colour of her dress is purple. The floor and the wall show an beautiful countryside in the sunset with a river.

The entry begins as a steady camera slowly zooms out from the face of Änna as the camera slowly goes toward the right side of her

En verden med fred
(A world with peace)

Du kan puste den rene luften
(You can breathe the clean air)

Grønne enger
(Green fields)

Barna har trygghet hjemme
(Children har saftey at home)

Verden er et paradis
(The world is a paradise)

Vi har ingen våpen
(We have no wepons)

The refrain plays and the dancers decide to incircle Änna while she sings .

Bli med å plukke blomster
(Come and pick flowers)

Bli med å plukke blomster
(Come and pick flowers)

Mitt land er vakker
(My land is beutifull)

Bli med å plukke blomster
(Come and pick flowers)

The dancers dances.

Vi plukker friske bær i skogen
(We pick up fresh berries in the forest)

Her er det rom for masse smil
(Here are the room for lots of smiles)

Mitt barndom er trygg
(My childhood is save.)

Ingen døde foreldre
(No dead parents)

Og ingen døde venner i gaten
(And no dead friends on the street)

La oss leke i skogen
(Let us play in the forest.)

The dancers ring around Änna while she sings with poorly added flower-pedal effect added.

Bli med å plukke blomster
(Come and pick flowers)

Bli med å plukke blomster
(Come and pick flowers)

Mitt land er vakker
(My land is beutifull)

Bli med å plukke blomster
(Come and pick flowers)

The cameras focus on Änna as she pulls her right hand toward the audience as a singe shot focues on Änna while she sings.

Bli med meg og spre budskapet
(Come and spread the message)

La alle høre disse ord
(Let everyone hear these words)

Make love not war

Änna and her dancers holds hands to form a ring and begin to dance. For the last refrain of the song, flower-petals begin to rain like confetti. While they are fake, they look real. Änna smiles as she with her dancers keep holding hands but now in a straight line, with Änna at the centre of the line.

Bli med å plukke blomster
(Come and pick flowers)

Bli med å plukke blomster
(Come and pick flowers)

Mitt land er vakker
(My land is beutifull)

Bli med å plukke blomster
(Come and pick flowers)

"Thank you!" Änna screams to the audience as the song is over as giant peace symbol is displayed on the walls. "We love you".

by **Vartugia** » Tue Dec 11, 2018 10:09 am

VARTUGIA
"A trainwreck of a song" by Kevin and The Shitposters

Trigramme: (VAR)
Language: Yes
Music: Kevin.
Lyrics: The Shitposters.
Tune: Piero & The Music Stars- Celebrate!

Kevin and The Shitposters are a bunch of skeletons. Nuff said.

Wait, you want me to write more? What do you think i am? Izmedu?

The music begins to play and the Kevin (the only singer for this entry) is singing while the skeletons are dancing like they are lost on stage. Kevin sings so poorly, you can hear the sound of glass breaking in the background.

KEEEEEEEEEEVVVVVVVVIIIIIIIIIIIIIIIIINNNNNNNNNNNNNN, Yeet! Yeet!
We are shitposting

The audience slowly take down their flags after they realise this is shit.

Give us points. Give us points
Just shut and give us points.
Give us points. Give us points
Because the winner is peforming now

The dancers forget to dance and some piece of glass is broken somewhere.

We are Kevin and the shitposter and today
Y`all wil see that Vartugia wins their first ever WHF
We peform our sung right now fine
Everything is gonna be alright

The music-player who plays the music for all songs begin to malfuncion over the sheer shittyness of Kevin`s singing voice.

We are Kevin and the shitposter and today
Y`all wil see that Vartugia wins their first ever WHF
We peform our sung right now fine
Everything is gonna be alright

A memeable dab by a skeleton.

Give us points. Give us points
Just shut and give us points.
Give us points. Give us points
Because the winner is peforming now

Tomatoes begin to be thrown on the stage and a loud booing is heared from the audience. Somehow, a tomato dosent hit Kevin.

Give us points. Give us points
Just shut and give us points.
Give us points. Give us points
Because the winner is peforming now

Tomatoes now litters the stage, causing it to become a form of socialism. Or red, if you didnt understand that joke.

We are Kevin and the shitposter and today
Y`all wil see that Vartugia wins their first ever WHF
We peform our sung right now fine
Everything is gonna be alright

No one expected a 4th wall break in a RP. I dont what to write since Kevin sings worse than i do.

Give us points. Give us points
Just shut and give us points.
Give us points. Give us points
Because the winner is peforming now

Kevin dabs.

Give us points. Give us points
Just shut and give us points.
Give us points. Give us points
Because the winner is peforming now

And now, time for some cursing as the songwriters had writers block.

Fuck this shit (Fuck this shit)
Send your votes (we got news)
We are gonna go to Sërna
*The Sound of Torture*
Fuck this shit (Fuck this shit)

The stage gets more red from the tomatoes

(Give us points. Give us points) Ah… clap your hands
(Just shut and give us points.)
(Give us points. Give us points)
(Because the winner is peforming now) Your ass is an ass

More glass is broken

(Give us points. Give us points) Ooh… yeet!
(Just shut and give us points.)
(Give us points. Give us points) Oh yeah…
(Because the winner is peforming now)

A literal part of the roof collapses.

Give us points. Give us points
Just shut and give us points.
Give us points. Give us points
Because the winner is peforming now

The venue begin to colapse

We are Kevin and the shitposter and today
Y`all wil see that Vartugia wins their first ever WHF
We peform our sung right now fine
Everything is gonna be alright

The stage begins to fall apart.

We are Kevin and the shitposter and today
Y`all wil see that Vartugia wins their first ever WHF
We peform our sung right now fine
Everything is gonna be alright

A camera colapes out of the sheer awfullness.

(Give us points. Give us points)
(Just shut and give us points.)
(Give us points. Give us points)
(Because the winner is peforming now) Yeet!

The audience begins to leave the arena as Kevin sings so poorly, it kills their ears.

We are Kevin and the shitposter and today
Y`all wil see that Vartugia wins their first ever WHF
We peform our sung right now fine
Everything is gonna be alright

The last audience member leaves the arena.

Because the winner is peforming now
Because the winner is peforming now
Yeee!

The audicence have left the venue and there is only Kevin and the shitposters left.

by **Anollasia** » Tue Dec 11, 2018 12:52 pm

ANOLLASIA
"My Heart's Still Beating" by Anima

Trigramme: ANL
Language: English
Music: Cael Atterman, Bon Penn, Filip Madan, Wesley Staunberg
Lyrics: Cael Atterman
Tune: Kaleo - Vor í Vaglaskógi

Left to right: Bon Penn, Cael Atterman, Filip Madan, Wesley Staunberg

Anima is a band formed in 2005 in Jefferton, Anollasia. It consists of Cael Atterman on vocals and guitar, Bon Penn on guitar, Filip Madan on backing vocals and bass guitar, and Wesley Staunberg on drums. They were high school buddies who formed the band at the ripe age of 16. Despite such a young age, they have been known to tackle serious and complex topics in their songs from the very beginning, such as human nature and mental health. The name Anima is a term from Jungian psychology, referring to the feminine aspect of a male's personality. The name was suggested by Cael, who vaguely remembered it being mentioned in his introductory psychology class but didn't know what it meant at the time. Upon finding out, he liked the name even more, saying "we shouldn't hide the woman in us." This reflects his character, as he is not afraid of crying during a performance or sharing his thoughts and emotions through song.

Though performed by the whole band, this is really Cael's song.

Cael Atterman, before treatment

Cael Atterman was born on September 3, 1989 in the city of Koy, in the former Anollasian colony of Absonthorpe as an only child. His father was an accountant and his mother was a nurse. He and his family moved to Jefferton, Anollasia when he was 3 years old because of his father landing a job as an accountant at Antech, a major technological company at the time. He had no trouble adjusting to the new environment, since he was still a little kid. He had no memories of his time in Absonthorpe. However, he and his family had to move across the river to Bridgeley when he was 10 years old, due to his father finding new employment there after he was fired from Antech. This time Cael had trouble adjusting to his new surroundings. He was not comfortable making new friends because he had been so accustomed to his old ones; he did not feel welcome at his new school. Granted, Cael did see his old friends once in a while but over time, it became much harder to stay in touch, so eventually his friendships faded away. He would eat lunch by himself and play in the sandpit by himself during recess. Eventually, Cael got used to being alone at school. At home, his father would often be too busy dealing with his company's finances and his mother would be slaving away at the hospital. Cael became very shy and reserved, to the point where he would even be uncomfortable talking to his parents. His parents sent Cael to a child psychologist who basically taught Cael to be more open and not to bottle up his thoughts and feelings through cognitive behavioural therapy. Cael adopted the psychologist's advice, as it made him feel better than he ever felt before. This reflected in his high school experience, where he was much more friendly and outgoing. That's where he met his current bandmates and created the band Anima.

This song goes beyond those times, however, and is more about when he has been through recently. He was diagnosed with cancer last year and though he underwent treatment, it did not help as the cancer had already been too advanced. The doctors said there was no more they could do, so Cael stopped treatment and is now preparing to die. He was visibly and audibly heartbroken that his days on Earth were now more limited than ever. As a result, Cael went into a spiral of despair and agony. As the disease ate away at his body, he would ask questions like "How did this happen?" and "Why me?" though no answer was given. After months of this, he finally started to adopt a new philosophy. He simply let go of those worrying questions, live every day to its fullest, and be thankful for every extra second he gets to spend on Earth. He also became more spiritual in the past few months in the hopes that there is something beyond this life and so he can meet his creator. Though his bandmates, family, and friends have been there to support him and despite his new philosophy, Cael still finds it difficult at times to cope with the truth.

As to why the band is here in Burgendore, Britonisea as part of the 43rd World Hit Festival? Cael is a lover of music and wants to share it as much as he can with the world. As such, one of his dreams was to perform at the World Hit Festival. He expressed this sentiment in a recent interview which was aired on NATV Music. One of the executives in charge of coordinating the Anollasian delegation to the World Hit Festival came upon this interview and thought Cael should have his dream come true before he passes away. Cael was ecstatic upon hearing the news that he would be set to perform at the 43rd World Hit Festival.

"Thank you so much for giving me the opportunity to do something I've always wanted to do! Thank you NATV Music, thank you Anollasia, and thank you God for helping me!"

Fast forward to the day of the performance. Upon waking up, Cael has thoughts racing though his head and emotions all over the place. At first he was nervous, asking questions like "Will they understand how much this song means to me? Will the message cross to the audience?" Once the band met up, his bandmate Filip told him not to worry about such things: "If they don't get it, it's their loss."

His other bandmate Bon added, "Wasn't this your dream?"

Cael responded, much less nervous and more grateful upon the comforting of his friends. "Yes, and it still is."

Backstage, Cael has thoughts running through his head. This time, however, they aren't thoughts of worry but memories of his life. Despite it being not even half of an expected lifetime, Cael has been through many hardships but also times of joy, neither of which he would switch out. As the band is ready to go on stage, Cael thinks to himself, "I've been through pain, I've been through euphoria; I've climbed mountains and fell down ravines. Through thick and thin, I've survived and I'll continue to survive. And I'd never take any of it back, because this is my life."

After the postcard, Anima is seen in the middle of the stage, surrounded by vast darkness. In reality this is how Cael sometimes feels; lonely and insignificant. Cael is positioned at the front, sitting on a chair, looking out into the audience but all he can see is darkness. The first thing many people may notice is his bald head, which happened as a result of chemotherapy. Cael could have chosen to wear a hat or bandana to cover it up, but he chose not to, instead accepting his fate and not caring what others think. The rest of the band are behind him; Bon Penn is (from the point of view of the audience) on the left and Filip Madan is on the right. Wesley Staunberg is at the very back, hiding behind his drumkit. There is also a female violinist to the left of the band, at a certain distance, indicating that she is not actually part of the band.

The song starts with Cael playing a slow and gentle intro on his electric guitar. The band and violinist behind him look at him with a certain sadness in their eyes. His guitar part ends and Bon takes over with a repeating fingerpicked arpeggio. Cael's head is pointing downward and his eyes are closed. Then he opens his eyes, looks up and gets off his chair. He walks to the microphone stand with his guitar and starts singing.

Oh, leave it all cut
On the floor, the glass cold
Watching the time pass
No time for crying
Got to be strong

Cael's face is visibly full of despair and the rest of the band look the same way.

Lately I've been thinking
Not much time till I meet God
Lately I've been feeling a lot of
This old wistful dread

Cael turns this depressive mood around for a moment and the screen behind him also starts to show colour. Filip joins in singing, creating a lush vocal harmony with Cael. The LED screen shows an illustration of an anatomically-correct beating heart. Cael has a slight smile on his face and the band doesn't seem so sad anymore. However, this does not last long as the screen turns black again during the last verse and the despair is back.

Hey, my heart's still beating
Look, I'm still here and I'm breathing
Hey, my heart's still beating (hey, my heart's still breathing)
But I'm alone, counting time

Cael starts to play a mellow and introspective guitar interlude, which he plays with his eyes closed. He is deeply reflecting on his life, his recent experiences and what will happen to him. The LED screen is still black but an orange dot appears on it, which grows to reveal an autumn leaf falling and being blown by the wind. The leaf's journey leads it to a clock. The screen zooms in on the clock's minute hand, which eventually engulfs the screen, making it turn black.

Once the interlude is over, Cael is back to singing. This time there is no despair in his voice but passion. The bass, drums, and violin kick in as well. During the last verse, a pair of lips appear on the LED screen, mouthing the words "I must go".

I could leave town
I'd tell them "It's fine to go"
But is there a right time
To whisper to them "I must go"?

Cael is pouring his emotions on the table and his voice reflects this. There is once again despair in his voice but the passion is still there. Meanwhile, the LED screen is splashed with a dark blue, representing water. This is promptly followed by a person dropping into the water and slowly sinking to the bottom. The LED screen zooms out and the water is revealed to be a woman's teardrop. The LED screen follows the teardrop, which lands on a clock.

Oh, I'm in this so deep
Don't cry for me my love
Do you think your feelings can
Turn back the clock of life?

The veil of despair is lifted as the chorus is sung again between Cael and Filip. Cael's face has a sense of relief, as if he has returned home. The clock on the LED screen turns into a beating heart and then once again, the LED screen turns black during the last verse.

Oh hey, my heart's still beating
Look, I'm still here and I'm breathing
Hey, my heart's still beating
But I'm alone, counting time

Cael steps back and plays another guitar interlude. The LED screen shows the same leaf from before, which appears from the top of the screen and is gently falling. Cael and Filip bellow a passionate scream, which is only heard faintly because Cael is far away from the microphone and Filip isn't screaming loudly. The LED screen shows the clock in the distance but a hand catches the leaf before it falls toward the clock. The interlude ends with the violinist playing.

Cael is singing the chorus again, eyes closed and letting out the fiery passion inside him. The LED screen shows a beating heart again. The band goes silent during the third verse, as Cael lets out a beautifully haunting falsetto.

Hey, my heart's still beating
Look, I'm still here and I'm breathing
Hey, my heart's still beating
I'm not alone, you're by my side

The band goes silent for a brief moment but come back again for the final verse. By this point, you can see Cael has tears in his eyes, which are falling down his face. Cael looks up and shouts, as if to God himself.

Oh Lord, I'll be there in no time

The band stop playing and are looking at Cael with a look of pride. The song ends with Cael playing a slow and gentle outro on his electric guitar. The LED screen shows the leaf falling and being blown around again, but this time it heads straight for the audience, meaning the screen is fully orange at the end of the performance. Cael looks down for a moment after letting the last note ring, savouring the moment that was once his dream but is now reality.

The audience erupt in applause and Cael is still looking down, though with a grateful smile on his face but he's still in tears after that rush of emotion. He finally looks up to the audience and says "Thank you!" and waves before turning his back and leaving the stage.

by **Mercedini** » Wed Dec 12, 2018 5:39 am

Mercedini
"We Can" by Meia Dobrani

Trigramme: MRC
Language: English* (with one phrase in Mercedinian)
Music: Samuel Borlaviac, Elle Borlaviac, Francisco Gabrinelli
Lyrics: Elle Borlavic, Meia Dobrani, Francisco Gabrinelli
Tune: Ariana Grande - "breathin"

Mercedini has seen it's first major change of the guard when it comes to representation as teenage Meia Dobrani becomes the first artist to make the leap from Junior WHF to the main contest as she flies the Mercedinian flag in the nation which won the previous contest, our good friends Britonisea. She makes her senior debut in the contest with the song "We Can", a song which revolves around hope and inspiration, with analysts finding that the parallels between the lyrics and Mercedini's performances at the WorldVision Song Contest has not gone unnoticed. With two wins under their belt, Mercedini have the chance to complete their hattrick and give the nation it's first female winner, following wins from Alishkaerni and Asante within two editions of each other,

Dobrani already has experience of the podium on an international level with her 3rd place finish at the third Junior World Hit Festival with her song '#ComeTogether', which was coincidentally, Mercedini's debut at the contest. Now, the JWHF debutant artist teams up with the WorldVision debutant artist to form the song which will take Mercedini into the festival's 43rd edition. Can they make it count? We will see as the delegation lands in Burgendore, Britonisea

The performance begins with the stage going dark and a pulsing blue light cube repeats itself on stage. It's quite a large cube, enough to fill most of the open portion of the stage, with a slender figure standing in the middle which has yet to be revealed by the flickering lights which consume the intro of the song. The audience gives a small cheer as the performance begins, with many Junior WHF fans familiar of the name which was about to present itself. As the intro comes to an end, the stage flow and wall remains dark with a single light illuminating Meia Dobrani, the Mercedinian representative. She holds the microphone at an upward angle from her mouth and holds her chest to steady herself for what could be a big return to the stage for the young vocalist.

Love fades, but we don’t care
This world aint it what it’s supposed to be
The people wait for a prayer for singing
A new day brings air they say
Their oxygen means we suffocate, all we can do is congregate

The camera makes a couple of sweeping shots across the arena as the cube of light stands unmoved in the centre of the arena with Meia standing in the centre of it all, she steps forwards with each line of the song edging closer to the cube boundaries. The angle switches to that of the central camera in the arena where Meia treads back to the centre of the stage for the beginning of the first chorus. The lights which were once mellowing around the arena have now subsided, leaving only the clear illumination from the vertices of the cube visible on stage.

If your luck’s stallin’, be the one callin’
We know not everyone’s educated, mmm
Live your life and you can redraw the lines
Sometimes it’s good to cry but everything will work out fine

Once the chorus kicks in, turquoise and pink butterflies begin to emit from the screen behind her, with the camera angle for the front giving the audience the impression that they are being emitted from her body. The fly around the LED screen behind her as she remains rooted to the spot inside the cube which begin to flicker with the accompanying beat of the song. The camera zooms in as she sings to the audience at home, almost as if she were giving her message directly to the people watching at home. The butterflies all converge back into her body with a white flash to end the first chorus.

They say we can’t, no we can’t, no we can’t, no we can’t
Got everything we need, but they say we can’t
I know we can, yeah we can, yeah we can, yeah we can
Progress, that is our creed, and I know we can, mmm

The impression of glass shattering on the LED screens is simulated as Meia steps out of the cube for the first time in the performance and out towards the further expanse of the stage, she is wearing a flowing black dress and black flats and sings in front of the fans which are now beginning to wave flags as the beat picks up in the song. The camera cuts to a shot on stage which tracks Meia as she walks from one side of the stage to the other, with the young performer blowing a quick kiss before the camera before turning back to the audience to continue her performance on stage.

Our lives mean we can’t decide, if we climb or if we fall down
Turn it up, time to grab the crown
I can’t find me in the lights. When you call, make me feel so jaded
One more time for the memory

Meia looks to the sky and sings up towards the light which is illuminating her, she puts her hand up to block the light above her and cause a wriggling shadow to form on her face, she walks back to the centre of the stage as all lights in the stadium fade away. This time, even the cube fades out into black, giving the audience in the arena and the viewers at home a couple of seconds in complete darkness and complete silence in a contest which is all about making the right kind of noise.

If your luck’s stallin’, be the one callin’
We know not everyone’s educated, mmm
Live your life and you can redraw the lines
Sometimes it’s good to cry but everything will work out fine

The base, then the sides, then the top, then the wall behind her all light up sequentially with every 'we can't' that is uttered by the Mercedinian vocalist, giving the stage a sense consistency with what is being displayed and the color schemes which are presently being shown. The butterflies re-emerge from the back drop and begin to fly around on the back wall one again as Meia sways from side to side, feeling the rhythm of the song and allowing herself to enjoy it freely. She sings intently into the camera in the centre of the arena before the second chorus comes to and end, even if the song continues at its current rate.

They say we can’t, no we can’t, no we can’t, no we can’t
Got everything we need, but they say we can’t
I know we can, yeah we can, yeah we can, yeah we can
Progress, that is our creed, and I know we can, mmm

The camera cuts to a wide angle shot at the back of the arena, taking in the amount of people and all the action which is happening around the stands, from the people in the centre waving their flags, to the people at the sides of the arena waving their phones and dancing in their seats. One of the butterflies which was present on the LED screens has now been imposed on the arena, which is now flying around the stadium in Britonisea in a digital VR kind of way. We are sent back to the stage where Meia is back in the cube ready for an encore of the song's chorus.

Libe-liberé
Libe-liberé
Libe-liberé, liberé
Libe-liberé
Libe-liberé
Libe-liberé, yeah

The cube beings to illuminate once again, which builds into a crescendo once again. This time, white lights around the stadium move aimlessly to match the intensity of the song which is being played. Meia now is outshining the backing vocalists at the side of the stage as she looks around to the vast expanse of the arena. Flashing lights accompanies the drum beats at the end of the third chorus and acts as a transition to the final echelons of the song.

They say we can’t, no we can’t, no we can’t, no we can’t
Got everything we need, but they say we can’t
We know we can, yeah we can, yeah we can, yeah we can
Progress, that is our creed, and I know we can, mmm

A shower of sparks begins at the very back of the stage, giving the stage a golden hue as they begin to rain down on the section behind where the cube is situated. Meia steps out from the cube for the second time in the song but remains in the centre of the stage for the remainder of the song. A series of sweeping camera movements across the front of the stage followed by a stationary camera shot in the centre ends the performance for the Mercedinian as all the lights in the arena converge onto where she is standing. She finishes with her brows furrowed as she strains for the final note of the song. She smiles as the audience greet her with cheers and applause.

If your luck’s stallin’(and if your lucks's stalling), be the one callin’
Yeah, we know we can
Live your life and you can redraw the lines
Yeah we know we can, mmm, yeah

She take a long and drawn out bow to the audience and begins to thank the audience on her long awaited return to singing competitions. It was a big omen in her young life after her podium finish at the Junior version of the contest, but here she was, standing on one of the biggest stages an artist can stand on. "Thank you Britonisea!", she waves to the audience before a quick transition is made to the next performing nation.

by **Adab** » Fri Dec 14, 2018 9:32 am

ADAB
"Myself" by Khalid Aziz

Trigramme: ADA
Language: English
Music: Khalid Aziz
Lyrics: Khalid Aziz
Tune: George Michael - Fastlove

Khalid Aziz

Background
World Hit Festival 43 would be the first in which Adab's entry did not involve Kinan al-Salaman as songwriter, the latter having decided to retire from songwriting duties for WorldVision and the WHF following the 70th and 42nd contests, respectively. Following the chaos and farce that was Adab's preparation for WorldVision 69 - where, after reluctantly turning to public voting, the country ended up with a half-serious, half-joke entry which was equally praised and condemned - the Adab Broadcasting Corporation (ABC) took steps to ensure that the country was better prepared for World Hit Festival 43. The ABC's WorldVision-WHF Committee, which had collapsed under the weight of firings and accusations of bribery and murder, was reestablished. Enki Akiya, Director-General of the ABC, reappointed a reluctant al-Salaman to the (largely ceremonial) post of chairman of the committee and selected his nephew Benji as president of the committee; though nominally answerable to al-Salaman, Benji was the true leader of the committee, and al-Salaman gladly delegated whatever duties he had as chairman to him. Naram-Sin Alwalid, president of the original committee, blasted Benji's appointment as "a blatant show of nepotism" and claimed to be the rightful president, even as he finally stood trial for the death of Samia Rabani. (Some believe Alwalid was actually framed by Akiya, who had never liked him and was looking for any excuse to remove him. In any case, the trial went on for eleven months and ended with Alwalid's acquittal, which was greeted by mass protests throughout the country.)

Al-Salaman had made it clear that he wanted nothing to do with WorldVision and the WHF for the time being, leaving it entirely to Benji to prepare Adab's next WHF entry. Benji soon found a rising star in 19-year-old Khalid Aziz. Hailing from Uruk, Khalid shot to fame through videos he posted to MyTube starting from the age of 15, in which he covered songs by a range of national and international artists including Kinan al-Salaman himself. By the age of 17 he was signed to Baghdad-based Diamond Records and writing his own material. His debut album, Splash, made a splash on the Adabian charts, shooting to number 1 within two weeks of its release and remaining there for another three weeks. Listeners found themselves captivated by his music, described by one critic as "a wonderful, classy mixture of pop and R&B."

Khalid was working on his sophomore album, tentatively titled Album Number Two, when he received a call from Benji, offering him a spot on the World Hit Festival and the promise that he would be able to perform a song that he had written himself on the WHF stage. "It's quite a shock to me, actually," Khalid would later say. "I was already finding an audience in my own country, but I wasn't, you know, quite ready for the next step, taking my music to an international audience. And then Benji Akiya called me and said I could represent the country at the WHF. I told him, 'Give me a night to think.' I asked my manager, my friends, my parents, and they all basically said, 'I know you can do it.' So I called Benji back and said, 'Alright, I'll take it.'"

Khalid and the ABC strove to keep every detail surrounding the song a secret until after it was completed, ostensibly to avoid attempts at "sabotage". The singer refused to reveal even the title until he held a press conference at the ABC headquarters in Adab City less than twelve hours before departing for Burgendore, Britonisea, where the contest would be held. "This song is basically about believing in yourself and getting over whatever is supposed to bring you down, getting over a breakup, rejection," Khalid explained. "It doesn't necessarily have to be romantic rejection. It could have been rejection anywhere, in your social circle, at the workplace, anywhere. The point is that here, with this song, I'm basically saying, 'Nothing can bring me down. Nothing can break me down.' When something happens to you, you just try to make the best out of the situation and emerge from it stronger and tougher, and I think that's a sentiment which all of us can relate with."

The performance
The audience cheered as Khalid Aziz strolled onto the stage in solid black clothes and sunglasses, his jacket dotted with prominent gold dots. One hand held on tightly to the mic, the other swaying around his hips. The Adabians were particularly loud in their appreciation, cheering and clapping even as Khalid, now at the front of the stage, asked that they quiet down a bit so they could hear him speak. Above him the LED strip displayed his name and that of the song that he was about to perform on this stage; as promised, he was allowed to perform a song which he had written himself. Those closest to the stage could hear the backing track starting, a seemingly endless repetition - which would reoccur later in the song - of:

(Italics) are the backing vocals

(Gotta know what's coming to ya)
(Gotta know what's coming to ya)
(Yeah, yeah, myself and I)

"Thank you very much for allowing me to be here!" Khalid said, shaking his hips slightly and waving his free arm at the general direction of the audience. The big LED screen behind him was now showing various scenes of people at cafes and nightclubs across his native country, dancing, singing, and just generally having a good time. From the gaps on the stage, the strobe lights shot up to the ceiling, illuminating the venue in sharp, swaying lines of blue, green, yellow, and red. A solitary white light shone from somewhere around the LED circle on the ceiling, pointing at Khalid and following him wherever he went. "Tonight we're gonna have a good time. Tonight we're all gonna have some fun!"

Seeking something to hold on to
Made my way wherever I wanted
Turned 'round, turned down, and turned away
Even luck frowns at me

At this point, to the cheers of the audience, fireworks shot up from the gaps on the stage in one single bang!, rising to the ceiling amid the dancing, flashing strobe lights. Khalid was now making his way around the stage, swaying his hips even more wildly, scanning the entire audience for their reaction. The LED screen in the background turned to show a man making his way out of downtown Adab City and down the darkened alleys at night; the camera followed him from behind and we never actually saw his face. Suddenly Khalid fell to his knees at the edge of the stage, throwing his head back and lowering the mic to his mouth while maintaining eye contact with the audience.

I know I can't go on livin' like this
Livin' and dreamin' every day for something else
But I can't just fade away now
It's high time that I change my course
Baby, I'm done livin' for you

Khalid rose to his feet and once again strolled around the stage, waving and smiling to the audience along the way, as behind him a second wave of fireworks, slightly smaller than the first wave, boomed up to the ceiling, the sound of the bang echoing across the venue. Meanwhile, the Adabians in the audience held up small placards showing their support for their singer. Khalid acknowledged them with a shout of, "Thank you! I love you all!"

Time I start livin' for myself
It's time I live for myself
The one that matters the most
It won't be so easy
But my life now I'll decide

(Yeah, yeah, myself and I)
Ooh, yes myself
(Yeah, yeah, myself and I)
Time I take control of my life
(Yeah, yeah, myself and I)
Ooh, yes myself
(Yeah, yeah, myself and I)

Khalid knelt before the gap between the catwalks, shaking hands with audience members who were close enough to him and waving at the others. The LED screen showed the mysterious man disappearing into yet another one of Adab City's alleys before alternating between scenes featuring the city's cafes and nightclubs and those featuring the city's nighttime traffic. That bright white light, of course, followed him wherever he went, emanating from the ceiling, a comfortingly peaceful spot of purity amid the multicolored spectacle.

Wanting, seeking anyone's favor
That's the way I lived 'til now
You'd only get yourself lost
If you keep livin' like that
And we all deserve much better

Khalid now made his way onto one of the catwalks, raising his free arm and continually waving at the audience as he sashayed to the end of the catwalk. Far behind him the smoke from the fireworks gradually dissipated, disappearing into the lights as they kept on dancing, swaying to the ceiling and across the venue, touching all corners of the place. "You're the best Burgendore, I love you guys!" the singer bellowed, to cheers and shouts and claps of approval.

I know I gotta turn around somewhere
Can't keep goin' down the same path
We improve if we're open to change
And I know I got to change quickly
Baby, I'm leavin' you behind

The singer went over to the other catwalk, clearly basking in the music and the love of the audience. It was no secret that he had initially been apprehensive about appearing on the WHF stage, having never performed at an international event before, but this was turning out much better than he expected.

Time I start livin' for myself
It's time I live for myself
The one that matters the most
It won't be so easy
But my life now I'll decide

(Yeah, yeah, myself and I)
Ooh, yes myself
(Yeah, yeah, myself and I)
Time I take control of my life
What's there to worry about?
(Yeah, yeah, myself and I)
Ooh, yes myself
(Yeah, yeah, myself and I)

And now
I can see it all, baby
Now, now

By now, Khalid had returned to the main stage. Standing at the center of the stage, he maintained his place as black, red, and blue smoke rose rapidly in magnificent columns from the gaps between him. The LED screen behind him was, once again, showing the mysterious man, reappearing from the alleys of the city at the break of morning and making his way to what appeared to be a cliff. He stood there, towering over the clouds - and the few ridges that shot above them - in a scene which recalled the Romantic painting Wanderer above the Sea of Fog.

I know I can't live on like this
I know I won't be a pushover
It's time that I pave my own way
And be my own master
I know the way now, oh yeah
I know the way now, baby
If we're supposed to learn from mistakes
Then I hope I've learned my share
Now it's time that I break free
Hey, the time is right now
Been searching for something to hold on to when it's just myself

Oh, I know what's coming to me now
That's right
Oh, I know what's coming to me
(Yeah, yeah, myself and I)
Yeah, yeah
Looking, searching for something now

The backing track faded away, the echoes of the voices gradually disappearing from the venue. Whatever remained of the smoke and flames had disappeared, and even the strobe lights died down with the track. The LED screen was the last to go; the man was still there on the cliff, gazing at the glory of Mother Nature, as the camera cut to black. When it all had come to an end, the audience cheered one last time for Khalid, who could be seen shedding away a few tears. "I don't know what else to say. Thank you, thank you very much," he said, bowing to the audience to the sound of another chorus of applause. "Thank you very much, Burgendore. To be given the opportunity to perform here, at the World Hit Festival... it's just something else. And of course, thank you to all my countrymen who've come all the way here to support me. I wouldn't be here without your support. Thank you, all of you, and good night."

by **Kishrael** » Fri Dec 14, 2018 5:32 pm

. : ?? - Kishrael - כשראל : .
Tatyana Shapsugh - Irgaṣ Ilee (Dance For Me)
تتيانا شبسوغ - ارقص إلي
Language: Kishraeli Arabic
To the Tune Of - Dua Lipa - Want To

Tatyana Shapsugh is a young singer from the Circassian community in Kishrael - internally selected by RESHET to represent Kishrael as it returned to the World Hit Festival after a long absence. Born in Rakaphy to a wealthy family, Tatyana is currently pursuing an undergraduate degree at the National Conservatoire of Kishrael. Due to the lower levels of interest in WHF in Kishrael, RESHET wanted to use the festival as an opportunity firstly to get a cheap act for valuable broadcasting time, but also to use it as exposure for future acts who could potentially sign to the record label of RESHET (under the same media umbrella). Tatyana jumped at the opportunity; at 20 in the fledgling steps of her career, critical opportunities like this are not to be missed. Even if the contest was small in Kishrael, the wide reach of the contest on an international scale could help launch her career in a direction outside of Kishrael, or so she hoped. This would all depend on achieving a good result in the contest. Tatyana was giving a lot of creative freedom, and this included the language she would sing in. Traditionally, Circassian Kishraelis were fluent in Adyghe, but also spoke Arabic as Circassians and Arabs traditionally lived in the same neighbourhoods throughout history. Tatyana was proficient in both, and Hebrew, but it made sense to have a language bigger than Adyghe to appeal to the mass markets - even if not many of the countries competing spoke Arabic, or knew the Kishrael dialect of Arabic for that matter. This choice may also have been informed by the old take that Kishrael approached the WHF with - in the past it was a lot rarer to see songs sent in English, whereas now the contest sees a variety of English, Bilingual and Native Language songs; RESHET were trying to capture a romantic notion of a national language winning. Tatyana's song had peaked at 27# in the Kishraeli charts prior to the contest, and had remained relatively stable, fluctuating between 27# and 30#, but interested had been peaking a few days before the contest and the midweek charts had suggested it may rise to as high as 20#, perhaps even better if the result at the contest was positive.

The stage performance was intended to be somewhat avant garde, but not too conceptual so that the meaning of the song could not be conveyed. The difficulty in singing in a national language is always to convey the message as well as they could in English. Tatyana was wearing a headdress similar to this, but with specks of blacks in the feathers. Her backing dancers, all six of them had a single long feather protruding from the back of their head. Tatyana was wearing something like this, whereas her backing dancers wore something more simple, but in black. As the song began, the stage dark stage began pulsing with white lights, in the rhythm of a heart beat. The spotlight hits Tatyana and she takes a deep breath and begins singing, composed and ready she stares right down the camera lens with a fierce stare.

رقّاص مرجله شو هالضمير برّي هاد - Raggaaṣ marjileh shu haldameer baree haad
خد راحتك، اتبع صوتي في العجقة - Khud raaḥatak, itba' ṣouti fi 'ajgah
غرب من أفقنا، ضل تنبؤاتك - Gharb min afagnaa, ḍall tanabu'atak
حسه، هلأ - Ḥassu, hala'

As the prechorus began, she moved forward stopping each time she sang "ay la ay la" in order to move her hips in a sultry manner. By the time the chorus started and the beat dropped, she was at the front of the stage. In the meantime, her backing dancers had a gathered in a line behind her. During the chorus they moved their arms behind her, giving the impression she had multiple moving arms. While the prechorus was on, the stage lightened, with a stormy grey background and a bright blue and pink pulsing. As the beat dropped it went dark again, but the backing LED screen showed a pink and blue vortex moving image.

احترق، برقّة في هاد اللهيب - Iḥtarag, biraggah fee al-laheeb
أي لا أي لا، ارقص إلي - Ay la ay la irgaṣ ilee
قف، خد راحتك - Gif, khud raaḥatak
أي لا أي لا، ارقص إلي - Ay la ay la irgaṣ ilee
تعالّي يا ناري - Ta'aalee ya naaree
أي لا أي لا، ارقص إلي - Ay la ay la irgaṣ ilee
أي لا أي لا، ارقص إلي - Ay la ay la irgaṣ ilee

As the next verse started, she marches to the side of the stage as the camera follows her. She doesn't taker her eyes of the camera until she turns forward again and looks down the frontal camera. Her backing dancers march in a line beside her so they fan out around the stage. They all move in time to the music, in a pulsing motion, like the images running through the stage.

ادهن معي في اكتر ألوان معتمة، اوكي - Idhan ma'ee fee aktar alwaan m'tameh, okay
لان في اغمق محيطات وعلى سموات، اوكي - Li'ann fee aghmag mḥayṭaat w'alaa samawaat, okay
الظلم بسود، فوين نحط الألوان، اوكي - Aẓ-ẓulm basuud, faweyn naḥuṭṭ alalwaan - okay
يه - Yeah

She walks through back to the centre of the stage, her backing dancers flowing around her seamlessly as she walks in a straight line. One backing dancer holds her microphone as she sings the prechorus. At which point, Tatyana lifts both of her hands up and raises them slowly, palms facing the ceiling. The stage slowly begins to turn into a video image of burning flames, in warms hues of red and orange. As the chorus begins again, she drops her hands as the stage goes dark again.

احترق، برقّة في هاد اللهيب - Iḥtarag, biraggah fee al-laheeb
أي لا أي لا، ارقص إلي - Ay la ay la irgaṣ ilee
قف، خد راحتك - Gif, khud raaḥatak
أي لا أي لا، ارقص إلي - Ay la ay la irgaṣ ilee
تعالّي يا ناري - Ta'aalee ya naaree
أي لا أي لا، ارقص إلي - Ay la ay la irgaṣ ilee
أي لا أي لا، ارقص إلي - Ay la ay la irgaṣ ilee

For the final verse, the stage is completely black, save for a spotlight on Tatyana in the middle, however the costumes of the backing dancers have lights on, thus as they dance, you can see beautiful lights moving gracefully in the background. The camera pans slowly around Tatyana as she sings the bridge.

ازا انا بالبلكونة، انا مش جوا بالنادي - Iza ana bilbalkouneh, ana mish jawaa bilnaadee
وشعري بهب بالهوا، بالهوا البرد - W'sha'ree bahub bilhawaa, bilhawaa albard
الباب يلي بجيك منه الرّيح - Albaab yilli bjeek minno ar-reeḥ
سِدّيه وارتاحي، وارتاحي - Seeddeyeh, wirtaaḥee, wirtaaḥee

As she sings "Ta'aalee ya naaree" the camera has a close up of her lips singing these words, then it shoots outwards, revealing the whole stage and audience as it shoots out. The pulsing beats return onto the stage and slow strobe lights fan out across the stage. The wind machine starts blowing Tatyana's hair to give a strong impactful end.

تعالّي يا ناري - Ta'aalee ya naaree
أي لا أي لا، ارقص إلي - Ay la ay la irgaṣ ilee
أي لا أي لا، ارقص إلي - Ay la ay la irgaṣ ilee
أي لا أي لا، ارقص إلي - Ay la ay la irgaṣ ilee
أي لا أي لا، ارقص إلي - Ay la ay la irgaṣ ilee

Finishing the song, she bows. "Thank you World! Тхьашъуегъэпсэу!" before jogging off the stage with her dancers, who moved nimbly like ballerinas. With that good performance, Tatyana was hoping that maybe, just maybe she could bring glory to Kishrael and secure its first win in World Hit Festival.

by **Kroraine** » Sat Dec 15, 2018 5:56 pm

withdrawn

by **Normandy and Picardy** » Thu Dec 20, 2018 1:59 pm

XX. Normandy and Picardy
"There's Nothing You Can't Do" - Les Pompiers
Language(s): English
Lyrics: François de Rouen, Jules Volsonne
Music: François de Rouen, Anaïs Alaphillipe, Alain Mortain
Tune: Sheppard - Coming Home

The entry started with the arena pitch black, as I've realised the majority of Normand entries do. Well, anyway, the arena was pitch black. Well, maybe one annoying person had their phone on and the brightness on full, but never mind. As the music began, a wave of blue suddenly washed over the background screen and over onto the overhead LED strips, seeming to emanate from some point beyond the stage itself, whilst the lights maintained a purple-ish hue to them. The band could be seen at the centre of the stage as the camera, beginning from the back of the stage, rapidly approached the stage. The band were on a pedestalmajigthingy on the semi-circular part directly in front of the LED screen just large enough to accommodate them all, with a bit of room. Brought in especially by the delegation, the edge of the pedestal had LED strips, which for the moment matched the main colour scheme. At the 6/7 second mark (the bit with the drums) there was a sudden increase in the intensity of the lights before, at 9 seconds, there was another wash of a warm orange (nothing bright and tacky), before, as the verse began, it settled to a blueish colour. The camera focused on François, the main singer of the band, as he sung the verse, looking into the camera with a look somewhere between melancholy and hopeful; he feels your hopelessness, but is here to help.

Life can leave you feeling broken and lost
And you just hold your head down, no matter the cost

Audiences across the multiverse were then shown a series of wider shots of the stage. In the background, a rustic cardboard-cutout style image slowly built itself up, different bits seeming to flip up like in a picture book, showing a bright, happy world, with a wide blue sky with only a few skies, and green rolling hills, and generally things which seem nice and good, and liberating compared to the monotony of the modern urban world.

Beyond the endless red tape and guidlines
There's a place that you can find
Where you can feel alive

As the chorus began, the band all in unison proceeded to hold up their left hand up in the air, moving it up and down slightly to the beat and trying to encourage the audience to do the same, the effect of which was shown by another, albeit much slower, zooming shot over the audience. As the drumbeat was added in the second half of the chorus, some of the lights began to pulsate, and the lyrics were shown on the pedestal's LED strips as well as the LED rig above the stage. Before the first "doooooo", François jumped off the stage which was accompanied by a burst of bright golden fireworks, before he proceeded to run towards the front of the stage.

So hold your hands up high
If you believe that you can reach the sky
And beyond your fears
As if there's no limits holding you back (holding you back)

So hold your hands up high
And believe your love could make you fly
Never settle for a quiet life
Cause there's nothing you can't do
There's nothing you can't do (dooooooo)
There's nothing you can't do (dooooooo)

As the second verse began, the camera feed showed the end of the left hand catwalk (from the perspective of the audience), where a child - who looked rather like a young François and who indeed was meant to represent that very fact - could be seen looking rather sad, sitting and generally looking rather forlorn. He turned around and a line of people on the catwalk, representing people from all walks of life, could be seen standing still. None of them turned around to the child, which he responded to by harrumphing and turning back around, appearing to sulk.

Life can seem so unfair
And get you down
It can feel like nobody-body cares
And you wear a frown

However, a woman holding an old, yellow toy plane, who had been standing amongst those on the catwalk, walked up to the child and knelt down next to him. She took him into her arms - she was presumably meant to be the child's mother - and handed the plane to him, which of course caused a wide smile to appear right across his face. He stood up and began to run around with the plane before he turned and began to run down the catwalk, slaloming between the rest who had ignored him. As he ran, the camera feed zoomed out and moved upwards, showing more and more of the wider stadium.

But no matter how cold your winter
Summer must always return
And you will feel alive

The kid eventually reached the front of the stage where François was waiting for him. It seemed the boy's plane had had the effect of 'waking up' the other people on the catwalk, who slowly came to life as shown by a quick camera pass. The kid and François, and the band in the background, again raised their arms and tried to encourage the audience to join in. The two were slowly joined by people from the catwalk who formed a group behind François and the boy. The lights did their thing, pulsating to the beat and building up in intensity as the song approached the semi-instrumental breaky bit. Once again, the lyrics were plastered all over the screen and the LED strip, and every effort was made to encourage the audience to join in. The crowd began to dance around as the instrumental-bit began, with a young lad and lass dancing off into a corner, whilst an old man had a little dance too, not allowing age to get in the way. The boy ran off onto the right-hand catwalk.

So hold your hands up high
If you believe that you can reach the sky
And beyond your fears
As if there's no limits holding you back (holding you back)

So hold your hands up high
And believe your love could make you fly
Never settle for a quiet life
Cause there's nothing you can't do
There's nothing you can't do (dooooooo)
There's nothing you can't do (dooooooo)

The lights dimmed slightly and the lyrics were washed away as the screens returned to show the bluey-purple from the beginning of the song. The camera followed François as he walked up the right-hand catwalk, following the footsteps of the boy. He reached out to the camera as it passed him, before the camera quickly changed to show a shot of the audience after the whole "yeaaaaah" bit.

And I know it feels hard to hope you can make it
But just open your heart, and your spark will be lit, yeaaaaah

As the final chorus began, with no backing music for this first section, the camera shot changed to show François and the young boy at the end of the second catwalk, back to back. All of the stadium was back to pitch-black except the point where they were standing, which was lit by a single spotlight. A cameraman and the end of the catwalk walked around them, such that the camera feed at home went in a circle around them, showing both François and the boy clapping and singing.

So hold your hands up high
If you believe that you can reach the sky
And beyond your fears
As if there's no limits holding you back (holding you back)

As background music returned to the song to accompany the singing, the lights in the stadium faded in once more. The people from before were now all spread out across the stage, clapping and singing along to the music. François and the boy ran along back down the catwalk to the main stage and began to move amongst the people, whilst across the background screen "There's Nothing You Can't Do' was up in massive letters, in the same cardboardy style as the scene from earlier. For the final funky line, as a bit of a joke the camera focused on the old man mentioned earlier who pretended to sing it (really there was a backing singer).

So hold your hands up high
And believe your love could make you fly
Never settle for a quiet life
Cause there's nothing you can't do
Dooooo

A burst of bright colour spread out across the LED screens and the LED strip as the final part of the song began, and this was accompanied by a firework curtain. The rest of Les Pompiers had walked up to the front of the main stage and were now getting involved in the general fun that was on show, as people danced and moved to the beat and sung. The cameras gave several sweeping shots of the stage, and a few which began over the audience who were also dancing along. At the end of the song, everything fell down to the floor as if exhausted. Everyone, that is, except the boy who remained stood amongst all of them, his hand raised into the air.

(Dooooooo)
There's nothing you can't do (dooooooo)
Yeeeeah, yeaaaaah, yeaaaah
Yeaaaah, yeaaaah, yeaaaaah

by **Llalta** » Sat Dec 22, 2018 5:21 am

Llalta
"Make History" by Patricia

Trigramme: LLA
Language: English
Music: Esther Winterbourne, Patricia
Lyrics: Patricia
Tune: That's What I Am - Conchita Wurst

Patricia, Llaltese drag queen, bitch and ‘singer’. She represented Llalta in WorldVision 65 with, “Just Be You”.

Honestly, I'm not sure why, but Llalta has been doing well in World Hit Festival lately, with two seconds in a row and a second in the junior edition of the prestigious contest. Like :0 a small island doing well in a worldwide song contest, crazy right? ~~Yeah but Malta and Cyprus have both come second before-~~ So the pressure is on for the LBN to produce and send a masterpiece of an entry and swoop in and win to make "The competition shook" (quote by Tessa Brookes that irrelevant gurl). However, by the looks of it, this isn't a winning entry but whatever the LBN maybe doesn't want to win as they'll become like Izmedu, with more debt than tears. So because she did well in WorldVision 65 for some reason the thirsty LBN were like, "Hey bish wanna represent Llalta in the other contest?" and Patricia's all like :0 woah shit you know. So Patricia waddled her fat ass to Esther Winterbourne's house and was all like, "Hey girlie write me a song." Esther popped off to do a number 2 and returned with "Make History", an abysmal song that the LBN thinks will reach top ten. The song is as generic as it gets, about the taboo topic of "Ooh be who wanna be and make history ooh". However, it presents itself with a crappy europop beat and some other irrelevant instruments that don't need to be there. Another issue with the song is that, anyone who watched WorldVision 65 will remember, Patricia has an abysmal voice. So Britonisea will be supplying ear muffs and cotton to those who want it.

Patricia is also about as generic as the song, with a sob story :'( to go along with it. So basically, Patricia was as Milo Nakamura, born in Indo States in 1966, specifically in the island of Honasan. He was raised in a very traditional family, which was an issue later in life. He attended the Christian Academy of Honasan, where he had issues learning and grasping the views and opinions of the school and was later expelled for questioning the ethics and opinions the school pushed. His father would often beat her and spank him for his cheeky behaviour whilst his mother was often abused by him too. However, because of the traditional views in Indo States, these were ignored by police and law. When he found out he was gay, all the problems and issues started to fill his mind. ARe you crying yet? When he was 14, he found this hot twink boy named Lao, and was like oooohhh and asked him out. For some reason Lao said yes and Milo began plotting his escape, fed up of the oppressive laws and society's expectations of men. One night, he told his mother about everything he'd ever hidden from her, and at first, his mother grew angry that he was gay and almost hit him. But grew supportive of his cause and who he was. And then, he and Lao ran away. On the 8th of December 1981, he was gone. He ran over to a small boat Lao and him had made especially for the run away, and began to paddle away to nowhere, on his boat.

Then, a naval ship from Indo States spotted them, and began shooting at them. They paddled as fast as they could, but... In any moment the ship would be ploughed over or shot and sink, and they were too far out to swim back to shore. But then Lao embraced him tightly, and kissed him on the forehead. He handed over a ring Milo had always loved, one with a small shard of the stars, or so they said. Lao leaped off the boat and swam, flailing around as a distraction. Milo tried to stop him but, it was too late. Smears of red began dancing in the moonlit waters, calm gentle waves waltzing, the briny breeze weeping. The ship left, leaving Milo alone, in the middle of the Pacific. He and the stars, watching him cry. He fell asleep later that quiet night. It was like watching someone watch Grave of the Fireflies. He awoke on a pebble beach, the sun above in his eyes. Clouds drifting aimlessly across the heavens. And poof, he was on Llalta. Because Indo States education is kind of awful, he'd never heard of Llalta. "Am I dead?" he cried out, people staring his way confused. Anyways, the rest is history. He became a drag queen, got popular, went on WorldVision 65 now here. What fun!

Darkness descends on the arena, the last cheers of the audience dying down. There is silence for a second or two before a large bright white spotlight shine onto the expansive stage. The camera looks at the light before fading into the face of Patricia who has long black hair along with classy hot pink make up on her face. A single beauty spot on her left cheek. The audience cheers quietly. As the camera zooms slowly outwards, eventually it shows that Patricia is wearing a long sleek black dress, highlighting her curves as she lies sexily on a white piano, as if she were on a chaise lounge. She also wears long silver boots. Playing the piano as Patricia sings the first section, smiling calmly into the camera, is Esther Winterbourne, Llaltese representative for Llalta in WorldVision 69 and World Hit Festival 40, 41 and 42. She smiles proudly as she plays the simple piano notes. As the section nears to a close, the beat begins to fade in, soft navy lights begin flashing to the beat, progressively growing harsher as the beat gets louder.

Just hold my hand
Together we’ll brave the dark
And if you step into the spotlight
Someday you can make your mark

As the two loud beats come in, the lights flash white brightly, so that Patricia and the piano are hidden in a veil of light. When the lights dim, Patricia is shown strutting towards the front of the stage singing the lines powerfully. The lights flash white with each beat, dimmer than the previous ones however. As the next two beats are played at the beginning of the second line, the lights again flash white, only this time Patricia's silhouette can be made out, posing dramatically and sexily. The camera also changes angle with each beat, adding a dramatic touch. On the word "knees", a white butterfly flashes on the LED screen with a glitchy effect, disappearing as quick as it appeared. Yet again as the beats are played, the lights flash white as Patricia strikes a pose, this time slut dropping before kicking her leg up high, camera switching with each beat.

When you feel the shadow oh-oh-oh-ohs consume you
The weights of life drag you to your knees
And your feelings lo-oh-oh-oh-cked away
Trapped and lightless you suffer

She raises her right arm forward, and 4 women, two on each side, strut forward wearing skin tight latex suits. They wear red, blue, yellow and green each with a feather fan of the same colour. They smile infectiously as they circle Patricia, raising their fans in an arc before moving to her side. The LED screen at the back show butterflies of various bright colours flapping and flying outwards and up, including travelling up through the overhead LED panels and onto the stage floor. Various stage lights raise upwards and roam around the audience, painting the arena in white and pink. As the bridge nears it's end, navy lights flash dimly, slowly getting stronger as the beat gets stronger.

Stars seem far away, but spread your wings and fly
And I know you can take it within your stride

Bright multicoloured lights billow outwards as the LED screen shows disco like tiles, changing colours constantly to the beat of the song, the camera taking a wider shot of the stage as it moves from left to right. It then takes a shot of Patricia who rips off her sleek black dress, revealing a sleeveless dress decorated with silver sequins on each surface, which then cuts off at the knee. It hugs her large body as it reflects each light creating a dazzling light show on a dress. Her black dress flies away majestically. Not only that but a dancer from the side sassily snatches off her black wig and throws it upwards, forever spiralling off out into the universe and into another dimension. However, a huge silver afro is revealed, stray hairs dangling. Patricia's smiles with her pearly white teeth as she joyously sings the chorus, along with the dancers alongside her, waving their fans manically yet all coordinating with each other. The camera pans across the stage before focusing in on Patricia as she sings the final lines.

Just hold my hand
Together we’ll brave the dark
And if you follow the spotlight
Someday you can make your mark
Go change the world
Go change our tomorrow
I’ll be right beside you
And you can make history

Yet again the lights flash white brightly as the to strong beats are played, dimmer and smaller white lights flashing to the beat. Patricia and her group of latex clad girls strut uniformly to the right of the stage, stopping as they click their fingers to the beat, the girls doing a hip shimmy. The lights flash again and they strut proudly and sexily to the left of the stage, leaning to the left and reaching out to the side before moving their hands across and raising their hands to do a sassy click. Patricia winks into the camera as it follows her with each step. They then strut back to the centre, the dancers twirling before arcing their fans over their heads as Patricia walks to the front. She then puts her hand on her head and squats as if she were a 'damsel in distress'. The lights flash white to the beat as it builds up for the bridge.

Watching others suffer all around you
Suffering the same fate as you
Too scared to ma-a-a-ke any kind of movement
Helpless as can be

Again white lights billow outwards along with multicoloured butterflies that fly outwards onto the stage floor and the LED panel above. Patricia and her dancers turn sideways with their heads facing forwards and raise their arms up towards the sky slowly before quickly pulling it into a fist and putting it on their hearts. The camera takes a close up of Patricia before panning across the stage. The dancers beside her performing a fancy fan dance as they twirl and leap before circling and swapping positions. Patricia looks into the camera excitedly before twirling arms spread out freely. White lights flash building up the chorus. Flags can be seen waving as the camera pans across the stage.

Stars seem far away, but spread your wings and fly
And I know you can take it within your stride

Their is a flash of bright lights and the dancers jump as if it were High School Musical, flinging their fans into the air along with their body hugging latex suits, now wearing silver sequined dress that cut off at the knee like Patricia's. Patricia tries to jump and bends her knees but doesn't actually jump. Pain flashes across her face but she hides it with a smile. There's so much this queen can do. Yet again the LED wall at the back shows the multicoloured disco like tiles constantly switching between colours to the beat from reds to blues. Green lasers can also be seen flashing and moving in chaos. Patricia and her girlies strut forwards, Patricia at the front with the dancers in a pyramid formation. They then open their arms out invitingly. As the chorus draws to a close, the arena shifts to gold, lights flash manically.

Just hold my hand
Together we’ll brave the dark
And if you follow the spotlight
Someday you can make your mark
Go change the world
Go change our tomorrow
I’ll be right beside you
And you can make history

The lights rise before fading off slowly for the final chorus. The LED wall at the back turns black. There is now just two spotlights, one on Patricia and the other on Esther as she plays the piano. Patricia sits down on the front of the outer ring, her legs dangling freely off the edge as she softly sings the song, eyes shut tightly. Golden sparkles begin appearing on the back LED wall, glimmering. The audience cheer a little as they wave their flags, the camera panning across the stage, flags of all different nations waving. She brings her wrinkly hand and places it on her hand, a tear falling down her cheek as she smiles subtly. The sparkles that cover the LED wall at the back slowly form into a golden butterfly that is still for a moment before flapping it's wings and exploding in a burst of gold as the spotlights flash gold as well.

A flurry of gold lights fill the arena, roaming the audience and billowing outwards. Patricia's dress turns gold from all the lights as she stands up energetically and leaps over to the outer ring. Golden butterflies fly across the stage floor and ceiling and wall, leaving trails of golden sparkles. Golden sparks fall from the ceiling and fly up from the stage as Patricia smiles proudly, powerfully belting out the lyrics. Her dances run and leap towards her from their positions at the side, before holding each others hands like a chain, beaming. Patricia then snatches her weave and lifts it up, gold dust falling from it onto her bald egg like head. The audience roars with excitement as they sing along happily to the song, a choir for Patricia. After all the dust has fallen from the wig, Patricia yeets it into the audience and hugs the girls around her. As the song ends bright white lights flash manically, the LED screens turning black. Patricia is lifted up like a cheerleader, standing on two of the girls shoulders that stand on another two dancers. They end with their fists raised up, All lights focused on them.

Just hold my hand
Together we’ll brave the dark
And if we follow the spotlight
Someday we can make our mark
Go change the world
Go change our tomorrow
We’ll be right beside you
And we can make history

There is a roar from the audience as Patricia is dropped by the dancers. The cheering stops and gasps can be heard as her body bounces off and out of the roof and into some dimension where Indo rules the world. Poor Patricia. There is a polite clap anyways, the dancers looking at the hole in the roof Patricia created, confused beyond belief. Ummmm next performance vote Llalta thx <3

by **Estogium** » Sun Dec 23, 2018 1:44 pm

#XX ESTOGIUM
Kiain Jermaine-George - "No Closer To You"
Tune : Chris Kläfford - "What Happened To Us?"
Music: K. Jermaine-George, G. Williamson, J. Finsbury-Knight Lyrics: D. Riccardo, P. Christopher, L. Forest-Hill

Estogium is returning to the World Hit Festival for the second time in a row after taking a break from the the 41st World Hit Festival in Izmedu and returning to the contest for the World Hit Festival 42 in Kalosia. This edition, Estogium is sending Kiain Jermaine George with "No Closer To You".

Estogium's results at the World Hit Festival have ranged from bad to good, but recently, the nation's results at the contest have stabilised, not really causing any upsets or near-wins. At the WHF38, 40 and JWHF5, Estogium managed to score a 7th, 8th and 8th place. In Altan, Estogium dropped to 15th place which was the nation's worst result since the 31st edition - and the second worst result ever. Estogium doesn't seem to be a real contender on the World Hit Festival stage any more - very different to the placings that Estogium used to receive, in the 20's, when Estogium reached the top 5 three times within 5 editions.

In hope to change the record, Estogium is sending a solo male to the competition in the form of Kiain Jermaine-George and his song, "No Closer To You". The man is ready to take Estogium back in to the top half after that disappointing result at the most recent World Hit Festival. RVC seems to think that he is the right man for the job. Estogium will be taking the flight over Britonisea from Darlington to Burgendore to participate in the contest in their neighbours, Britonisea.

I know that I have tried before,
But I know that there's a door open.
You told me to always believe
I'm wondering what can I do?

I know you do want me back,
Trust me this time I won't disappoint you but I'm...

No closer to you,
Usually I'm hopeful,
My hopes have now run all dry.
Is it not meant to be?
That thought has never left me
So why do I keep trying?
No closer to you,
I'm no closer to you.

Let me enter your mind and soul,
With me it's safe, don't you worry.
You might not think I'm trustworthy,
I've learnt from my mistakes - I promise

I know you do want me back,
Trust me this time I won't disappoint you but I'm...

No closer to you,
Usually I'm hopeful,
My hopes have now run all out.
Is it not meant to be?
That thought has never left me
So why do I keep trying?
No closer to you,
I'm no closer to you.

I'm no closer to you
I'm no closer to you.
And I know that I'm not closer to you
I'm no closer to you.

At the end of the song, the Estogian bowed and thanked the audience. "Thank you all very much for your hospitality! Thank you all so much!" He then walked off the stage for the next proceedings to happen on the stage.

by **Nightom** » Sun Dec 23, 2018 1:54 pm

#XX NIGHTOM
Louka Elliot- "Turn Back Time"
Tune : Nathan Sykes- "Over And Over Again (Official Video)"
Music: Louka Elliot Lyrics: Louka Elliot

Louka Elliot: Represented Nightom at the WorldVision Song Contest 66 in Britonisea, and is back in the nation for World Hit Festival 43.

Nightom is returning to the World Hit Festival again...

Backstory information will come soon.

At the start of the song, the whole stage was dark apart from Louka Elliot who stood in the middle of the stage alone. He had his hands over the microphone and the microphone stand, slowly coming in along with the backing of the song. He wore a black leather jacket - though nothing too fancy. He wore a white t-shirt underneath it and black jeans which well suited his jacket. As the music started, a steadicam swirled around Louka, though he pretended that it wasn't there - he was too invested in the song he was singing;

Ahhheee, Aheeee
Ahhheee, Aheeee
Ahhheee, Aheeee

Always thought 'bout you, every night and day
I regret not holding you for longer.
You were number one, the one I loved.
I couldn't wait for what lied ahead.

The lighting during the verse and the pre-chorus remained the same. With a single spotlight on Louka as he sang. He didn't really move around that much either - just singing out in to the big audience he had out there. He looked sad when he sang, which tore a few heartstrings in the audience. The steadicam slowly made it's way off the stage before a mid shot carried on being focused on Louka. The camera was slowly zooming in to his face, analysing his facial expressions as he continued with the pre-chorus;

And what came to be, wasn't ideal.
Oh you hurt me, oh I- I wish I could turn back time.

Louka closed his eyes as soon as the pre-chorus finished, taking in a large breath visible by those who were watching the television. He then belted out the first line of the chorus The camera slowly moved outwards as the chorus came up. At the back, other spot lights slowly filled the stage making it look as though more was happening on the stage - though, it was still him. Half way through the chorus, there was a shot off all of the lights in the arena, with some Nightom fans happily flying their flag. The camera faded out on that shot and focused on Louka again.

My heart is now weakening,
Without you, I just can’t breathe.
Just forget ‘bout you? Well, I have tried to.
I wish I could turn back time.
There’s many things that I would do,
To make sure that I won’t hurt you,
But I’ve had my chance, I do get that-
I wish I could turn back time.

Ahhheee, Aheeee
Ahhheee, Aheeee

I wish I could turn back time.

Louka Elliot took the microphone off of the stand and proceeded to walk over to another spotlight on the stage. The camera had reached the spotlight before Louka did, and for a split second it seemed as though that was a random shot. As soon as Louka started singing, however, he appeared with a sad sorrowful face. His head was faced downwards, making you feel really sorry for the boy.

I saw you with him,
And it broke my heart.
I understand what I did was bad but-
But I don't deserve all of this pain
I know that this is only revenge...

And what came to be, wasn't ideal.
Oh you hurt me, oh I- I wish I could turn back time.

Louka carried on singing as the spotlight that was once on him slowly lost it's intensity, plunging him in to darkness. The camera then cut to the next shot, a wide shot of the whole arena. Louka moved towards the edge of the stage and stood there. Another spotlight turned on, shining down on him.

My heart is now weakening, (my heart)
Without you, I just can’t breathe. (Can't breathe)
Just forget ‘bout you? Well, I have tried to.
I wish I could turn back time.
There’s many things that I would do,
To make sure that I won’t hurt you,
But I’ve had my chance, I do get that-
I wish I could turn back time.

The boy put his hand to heart when singing about it. He looked in to a microphone that was zooming in from his full body to just his face.

Ahhheee, Ahhheee
I wish I could turn back
Ahhheee, Aheeee

I know what I did might have broke your trust,
But I only had good intentions - oh!
Don't leave me, don't leave, do not break my heart!
I want you...
I wish I could turn back time!

He sang beautifully the last sentence of the bridge section as the camera quickly zoomed out to notice snow falling from the top of the arena. The audience screeched with glee, and the audience at home could understand why as the camera zoomed in again. He had taken the microphone off the stand, standing on the edge of the stage - singing with power and passion.

My heart is now weakening,
Without you, I just can’t breathe.
Just forget ‘bout you? Well, I have tried to.
I wish I could turn back time.
There’s many things that I would do,
To make sure that I won’t hurt you,
But I’ve had my chance, I do get that-
I wish I could turn back time.

At the end of the performance, the audience all the stood up for Louka Elliot and his very sweet song. He waved out in to the Britonish audience before speaking in to his microphone. "Thank you, Britonisea", the audience cheered loudly for the Nightomiton...

by **Kalosia** » Wed Dec 26, 2018 12:05 am

Kalosia
"Donë" by Domeniko Gaľanu

Trigramme: KLS
Translation of Title: Woman
Language: Kalosian
Music: Antoniu Garsia, Domeniko Gaľanu, Tomas Kruž
Lyrics: Domeniko Gaľanu, Tomas Kruž
Tune: Killer — Nathan Trent

Domeniko Gaľanu is a 23-year old Monterra-based singer. He comes from the coastal town of Sitria and participated in the 2015 edition of La Vož, the Kalosian edition of the Voice, where he came 6th. Following his participation, he was signed onto a small record label and began producing music.

Domeniko had previously participated in the 35th Festival dele Melodie Kalosiane, the national final for the 41st World Hit Festival, with the song Ti au përduto (I have lost you). He came 2nd, losing out to eventual WHF winners Corpus Calosum.

He returned again for the 37th Festival and won with this song. For the performance in Burgendore, Domeniko is wearing a rather casual look, namely a white shirt under a denim jacket. As the entry began, the stage was dark. Suddenly a filtered voice pierced the silence.

Donë!

Some background lights came on, and you could see a silhouette emerging. It's Domeniko.

Donë
Donë

And the lights are fully on and you can see Domeniko fully now. The background screen is displaying a set of parallel neon lights (like this). The intensity of light in each line fluctuates, but in a way that kinda creates motion in the background.

Dopu jerë notë ul bar
Enkontravu unë ragažë
E ja
Diravu tšau a el

He slowly makes his way to the edge area of the stage.

Se potšesë kontrolarë moji soñi
Ja soñere di soji oki
Ma ja
Sto u la rialta

Vivu ki

Some dancers, dressed in all black like this, come out and immediately get into formation and do some choreography.

Kez sentu ja?
Kestë sensažio
Es pju stranu
E mi domandu
Kez fatšo ja?
Në pošu mi jutarë

Now the dancers do a routine that is solid than ever. The colours of the lines in the background are noticeably more intense as well.

Voľu viderë
Kestë donë u miu koru

E školtarë a
Kestë vož u mia mentë

U oño momentu
E u oño postu
U oño penšeru
El sta la, poj

In the first line of the next part, Domeniko and the dancers take a few steps foward and then in the last line, first the front stage lights come off, followed by the background screen, making him seen as a silhoutte.

Komëz konošerë
Kestë donë or?

The lights fade back on and become somewhat vibrant again. Two backing dancers went to each catwalk and did what seemed like freestyle dancing. The others just did some more organized-looking routines behind Domeniko.

Se potšesë kontrolarë moji soñi
Ja soñere di soji oki
Ma ja
Sto u la rialta

Vivu ki

The two backing dancers had returned from the catwalks, and now they all, with Domeniko, slowly march forward with coordinated steps.

Kez sentu ja?
Kestë sensažio
Es pju stranu
E mi domandu
Kez fatšo ja?
Në pošu mi jutarë

The dancers go back to the clean and organized routine they have in the chorus. The lines in the background become more vibrant than ever, almost flashing to the beat.

Voľu viderë
Kestë donë u miu koru

E školtarë a
Kestë vož u mia mentë

U oño momentu
E u oño postu
U oño penšeru
El sta la, poj

In this next part, the performers do take a few steps, but instead of the lights coming off, they intensely flash twice instead to the same beat.

Komëz konošerë
Kestë donë or?

The dancers retreat off-screen while Domeniko slowly walks down one of the catwalks.

Voľu konošerë el
Kestë donë
Voľu školtarë a la vož
U oño momentu
E u oño penšeru el sta la

He stops in his tracks, at the edge of the catwalk. All the lights come off except for one from the back that makes his silhouette figure visible. He belts into the mic.

Donë!

As Domeniko rushes back to the main stage, the dancers are seen on the right side of the stage doing a new set of moves. Domeniko makes it, and belts again.

Donë

Domeniko along with the performers do clean, organized choreography.

U oño momentu
E u oño postu
U oño penšeru
El sta la, poj

In the second line of the next part, Domeniko belts into the mic again.

Voľu viderë
Donë

The performers perform the same moves as the chorus as usual.

U oño momentu
E u oño postu
U oño penšeru
El sta la, poj

Now again they take a final few steps forward, while the lights shut off like previously.

Komëz konošerë
Kestë donë or?

The song ends and the crowd cheers. "Thank you world! Merci!" Domeniko shouts to the crowd before he gets off.

by **Izmedu** » Wed Dec 26, 2018 3:16 pm

IZMEDU
"Closure" by Martin Zganec

Trigramme: IZM
Language: English
Music: Martin Zganec
Lyrics: Martin Zganec
Tune: Sleeping at Last - Sorrow

“I still can't quite place what I'm feeling, it only makes sense when I'm with myself and my music... And even there, I feel lost whenever I broach this topic. It's as if I can only let this grief, whatever this held-in grief was, out through making a song. In every other case, I'd just write about something else... Let this emotion sit in and dwell until it bursts open. That's what it did... and here I am now.” - Martin Zganec

Martin was 22 then, sitting in front of a lonely piano with not much to look forward to except for an uncertain future. He laid his hand on one key, not even daring to touch it as he tried to keep a brave face to everything that happened. He felt only the naked tears streaming from one eye, reminding him of the news he just received at the hands of a family member he hadn't interacted much with. He was a writer's son, to a writer he barely knew and almost spoke of in a familial legend. So close to her via technology yet so distant from her in physicality. Things were heading towards the direction of reunion.

“I'm sorry Martin... She... She...”

The hugs he received felt alien, much less the silence he endured when the details of her passing were left deliberately vague. A show of compassion for only one second to return to a business as usual feeling. Amongst the busy work of being a musician and handling the last year of college, Martin could only pocket the emotion into one corner. In cold terms, Martin felt as if the person he'd lost had been a stranger. They only knew each other from sheer instinct and from expressing the possibility of a closer relationship. Yet even with the distance, she was in tune with his emotions in ways that only a family with profound love could be. She represented, to him, a possibility that will never be realized. He knew not how to express the emotions he experienced. He was just a novice musician, still learning the ropes, still figuring out how to master the fundamentals. He could not yet harness the power of music to help heal his hurting soul.

Time is what he needed. Martin knew he was like everyone else in this gauntlet... He was a musician, he had success (as limited as this is), he had a brand of producing melancholy. He experienced the highs and lows of being an artist on his own terms. Tears with fans and their stories, tears for himself when a venture didn't work, and a feeling of shared experience. Yet, for as close as he felt to his fanbase, he felt like an alien in a musician's skin. He found his home in the making and creation of music, honing his skills and losing himself in the sound of cellos, pianos, and violins. Yet he felt not like himself in the skin of a promoter, of someone who needed to make a name for himself in the Izmeduan music industry. In interviews, a different skin was created. One that hid the immense joviality of his creation and the profound pain of loneliness and grief. Joy and Sorrow existed within his core like two counterpoints that could not live without the other; and yet his public image made such counterpoints eat each other alive.

“You're known for creating such sad music, yet you are so happy... Why is that such?”

“My music is my catharsis... It's in writing all of this that I feel happy, and I have a duty to my fans to be a beacon of light, to help them realize that there is a reason for living and breathing.”

How can such honest words feel like a truth and a lie? That was the question that Martin could never answer.

The realization of “Closure,” not even just as an entry for a song contest, but as a life lesson, forced Martin to confront the buried feelings he long trapped in a corner. He was no cultural critic, but he knew the lies that Izmeduans sold to themselves regarding their emotions. Paradoxically thinking they are unflappable due to the daily pain they experience, and yet the first people to break down. Martin could never solve this dilemma, and thus, he could never fully heal from his Mom's death. He was expected to never acknowledge the event in any fashion other than wistful fondness, and for much of a while, Martin thought he bypassed the grieving process. No songs were written, no music was written... He clouded grief with other pertinent problems that needed addressing. His career setting off only a year after resulted in a temporary yet intense denial of grief that he kept tightly locked within himself as he donned the skin of a career musician. The then young Martin thought that his time of bereavement was complete, and that the demons were well and truly gone.

Ultimately, it was a lie he sold to himself. A lie he kept perpetuating in an attempt to maintain the imagery of stability and happiness. The very process of grief itself was one he underestimated. In times where he felt uncertain, gazing at pictures of his long-passed Mother inbetween performances to his mind drifting off into a childhood he once desired was where he found an uncertain center. It was in those moments, privately embedded in his mind and never revealed to close friends or therapists, was where he felt capable of walking through the grieving. Yet, for each revelation he was close to hitting, there was an equal reaction of resistance. A self-chastisement where he disparagingly asks himself, 'how can I still feel this way? How have I not moved on after so many years?'

There was no answering those questions in the midst of a hurrying career and a sudden torrent of success. It was not until his maturity into near middle age that Martin felt the affects of his crystallizing emotions. He saw those deeply held emotions from his adolescence forever eternalized into the peaks and valleys of the pianos and cellos he often recorded. There was nary a song he created that he could not describe as emotionally intense, even those where he would only record a simple set of lyrics and let the ambient parade of strings take center stage. Yet, he felt that intensity grow into a typicality. He knew nothing but to reach for the deep recesses of his emotions when recording each and every song, that he felt as if the narratives he created to justify each and every piece of music was simply a play act. It was certainly acting and sound from an honest place, but in being so used to baring what he needed to expose... The parts that needed to be laid bare were the ones being hidden.

It was not until Martin turned well after 26 that the wells that led to “Closure” finally burst open. The seeds for that were sown in the very same interview where he pointed out the modus operandi of his music, the very thesis statement that began to feel like a lie. The question that the interviewer asked, as well as the impending anniversary of his mother's death, slowly cornered Martin's mind into a situation with which false logics of showmanship and image-making began to fail. The things that made Martin successful, the examinations of intense emotions as both abstract and personal, and the very thought of separating grief and joy became so deeply embedded within his own emotional processes that the line between Martin the musician and Martin Zganec himself had all but been lost. It was only a small moment in the midst of reflection, sitting with a cup of coffee in his apartment in Vodiznad, but it was one that forced him to emotional stasis.

In feeling so much, he became numb.

And in denying the emotions he so desired and longed to feel, and knew he needed to feel, he became enclosed and entrapped within his sorrow.

He faced the piano again. This time, the proverbial curtains on the audience were drawn. The only audience he had to himself in his studio was the very emotional core that he deliberately neglected. The core was shattered, needing shelter and assistance. He wrung out from the grief he needed to feel “Closure,” a song whose own creation process was itself a tormented hell. Each stroke of the piano felt wrong to Martin, each lyric felt as if it was not describing the weight that he wanted the song to express. He felt the grief finally flow through his body, voice, and hand, but in doing so, the tendrils of anger flared in the multitude of drafts that he wrote. Each draft was laced with blame... A self-blame, blaming his distant family, blaming the concept of death itself. It was a process fraught with constant pauses and re-writes, at times even the composition of the song drastically changed.

“Closure” was more of a concept and a process he needed to go through. It was the uncomfortable yet necessary catharsis he knew he needed. It was in those moments alone, witnessing tear-stained music sheets and digital folders develop, that paved the way to the emotional release he needed. The music mattered and it did not matter.

He was one step closer to clarity... A step closer to healing.

Martin was 27 years old now. The process of creating the final version of “Closure,” much less approving it for World Hit Festival submission, was a blur. He could barely recognize the song he initially he created versus the song he would let out for public performance. He was a shy one in Burgendore, feeling as if he didn't belong in a contest with musicians and contestants knowing what they want. He deliberately stayed out of focus as possible, knowing the possible implications of the kind of entry he was bringing. His paranoia grew to a point where he felt as if he awaited the same fate as Anja Krajacic at the end of all of this.

How can I feel so alone when there's so many people around me?...

He took one last deep breath and sauntered off the stage, praying that it'll all go well.

I'll never get used to stage cues, even after all these years.

Martin took a deep breath as the stage lights around him flashed a blinding white, illuminating the VEFEKOM arena before being burrowed in total darkness. He felt the drumming of the crowd cheer in his ears, something almost always buzzed him with energy and anxiety. However, with the piano right in front of him, the crowd cheer was silent in his mind. He grazed at the keys gently, feeling as if he was right back at home making music. He wasn't sure if the cameras were catching this kind of private moment, but just thinking of those intimate moments where he was the only one that faced his own music gave Martin a silent confidence to finally let his emotions bare... Even with all the rehearsals, the thought of performing this song brought him right back to the start of writing this song.

The entry then began in earnest. A simple array of lights flashed across the stage, revealing a set of cellists placed right of center from where Martin was situated at. The camera angle was static when focused on them, befitting the solemn beginning of the song. The sounds of the cello flowed through the arena. The players had their eyes closed as they played the introduction to the song, letting the flow of the music and the memorization of the song guide them. The subtle peaks and valleys of the introduction were heralded by slight changes to the camera angle, fading in and out of various angled shots of the largely bare stage. It was at the last vestiges of the intro itself where the camera focused on Martin himself, a simple light illuminating him in the pitch darkness of the stage. He began to sing to the microphone situated right on top of the piano, taking care not to be too close or too far.

With a quiet sigh, he began to sing.

Breathing in slowly
Hoping for peace
Within the emptiness
These feelings of grief
That I once denied
Repress, reject
Now they lie heavy on my heart
I can't run from this

He performed this verse with a careful balance of vulnerability and technicality. Martin's eyes betrayed the raw emotion through that smoldered and sorrowful look, his angled face piercing into the static camera that looked up at him. His eyes carefully navigated the sparse piano notes as his voice reached ever-higher and maintained his falsetto, his very vocal calling card in the Izmeduan music scene. The first few lines were delivered with an almost serene tone, as if Martin were lilting through clouds. However, laced within the serenity of the song was a burgeoning sorrow that threatened to open, made even more apparent by the fifth line. Martin pitched his vocals higher, the camera angle changing to another side of him at the advent of such a move. He scrunched his shoulders as he sang 'that I once denied,' his body nearly heaving as he sang the latter half of the first verse. His eyes closed in a reluctant acceptance, cast downwards towards the piano keys at the realization that he can no longer run from the emotions he was feeling. At the end of the verse, the lights would flash a bit brighter and Martin angled back, heaving a slight sigh of relief and sorrow.

Just one verse and I'm barely keeping it together...

I am too weak to push
No strength left to deny
I let go of every guard
To let feeling in
Unwinding my soul
Setting me free with hope
Process fraught with anguish
In the end, a light...

This second verse saw a union of piano, vocals, and cello join together to build to the full effect of the song. Martin was all too aware of the song's scaffolding and build, seeing as he almost fondly smiled at the song coming together in a live stage. However, that smile was only a subtle irony to the lyrics he was singing. The camera would fade between him and the cellists, their eyes being the primary expression of the song's constant emotional core. There was nary a stage effect to be seen as the camera focused intimately on movements that looked nigh-static. Yet, for each line that Martin sang, they too moved with the contours of the song. The cellists moved mournfully to each note, swaying slowly to the song's anguished melody. Martin himself felt the persona of being the performer slowly fade as this verse progressed. What started from merely trying to restrain the grief turned into a nigh-impasssioned expression. His vocals ached and bared the pain, his body language was a hunched man trying to keep it together, yet he had just enough in him to maintain his piano playing. His eyes closed with extreme emotion, yet opened with a calmness for the final set of lines. With the way Martin's vocals were moving, it was as if he was reaching towards a moment of epiphany. There was a glint of hope that the camera focused and maintained its shot of as he looked towards the audience at the verse's end.

I weep
To come to terms
To find clarity
And a closure for us

The camera would take a wide view just in time for the song's chorus. Martin let his voice soar for the first line, a simple 'I weep' in which he looked up into the heavens. It was a melodic cry and acknowledgment of the one action he needed to do, his eyes closed as and the light illuminating the fragile expression. For each peak, there must also be a force downward. His vocals would soften in time for the camera to focus on him once more. The second line saw him turn away from the camera with his eyes closed, yet his hands knew the very notes he needed to play. Once more, Martin would let his vocals soar for the third line, finding solace in the very emotional valleys he created. The very ending of the chorus felt tentative, his softening voice cushioned by the audible appearance of violins. He hung back at the end of the chorus, eyes closed as he let himself soak up the respite from singing.

An instrumental interlude would commence, with it being an almost exact replica of the song's introduction. This time, it would be carried only a lone cellist; being lightly supported by a latent background vocal later on in the instrumental. The camera focused on the cellist, their face hidden by the dark light configuration, training the audience to focus only on the deliberate and mournful playing of the song. The cello only added to the heavy atmosphere to the proceedings, causing Martin to stare forlornly towards the instrument's direction. At the end of this interlude, the camera faded back to a wistful Martin. He donned a sad smile, his eyes cast upwards as he visibly prepared himself to sing once more.

Your memory
So faint and fleeting
Only a shadow
Your presence lingers
Feeling eternal
As if you're alive
Maybe you're by my side
Healing me with love

Martin gently rocked back and forth on his seat as he sang this third verse. The camera intently focused on him, maintaining the ever-so intimate feel of the performance. The VEFEKOM Arena felt like a footnote to the close-ups that the camera insisted on, giving it a cinema verite-esque feel of a studio recording. A gentle array of lights would flash and accentuate this kind of atmosphere, being flashed and activated near where Martin and the instrumentalists were. Martin's vocals became progressively haggard and labored. While his falsetto was still maintained and technically executed, the emotions inside him were now center-stage. His mouth lingered close to the microphone for as close as he could without causing unnecessary feedback. His body became a touch more animated as his expressions were more wistful. His eyes were cast upwards and downwards at each line, taking on a reflective and almost hopeful gaze. He deliberately accentuated his delivery of the last two lines with a fond ghost of a smile, the tiniest curl upwards of his lips that would turn into a heavy expression at the end.

Yet, as if defying his expression, the song would initially pare back and become lighter. The song looked towards an atmospheric sound, evoking the complex in-between mood of the undercurrent of grief that threatens to leak, yet refuses expression until a certain moment. This atmospheric sound, once light, would become heavier as the instrumental progressed. The violins dominated and produced such an atmospheric sound, with Martin providing just the right amount of light piano touches. As it built towards a climax, background vocalists were at the ready.

Please remain with me
Please don't fade away
Please remain with me
Please don't fade away
Your memory will live
It will live on

These lines would be another central refrain to the song. The background vocalists, hidden from view, repeated these songs like a mantra. With the camera now maintained on Martin after a brief survey of the stage at the instrumental, he could be seen muttering the same lines himself. He 'sung' such lines with his eyes closed. His expression was laced with a determination to hold on to the meaning of these lines, a determination that grew stronger and more desperate as the song continued building to its climax.

I cannot deny grief, I must live with it

For Martin, he knew this one line he wrote the song around was the beginning of the end. Every rehearsal, every conception of the performance he had in mind always led to this moment. In the creation process of the song, this was where he finally confronted every single buried emotion. He sang this line with a wavering voice, nearly faltering but maintaining enough of his strength to pull it off. As soon as the line was sung, the build was nearly complete... A soft array of drums, deeply embedded within the backing track, would herald the climax of the song. An array of lights would shine down on the wider stage, heralding a brighter configuration of lights. And just in time... There was a catharsis, a payoff.

I weep
To free my pain
In fragility
I can finally heal

There was a harmony between music and singer, emotion and performance, as the climax was at hand. Martin poured everything in the delivery, his vocals resonating with as much power as he could muster. If there were any pretenses left; they were erased from existence for at least this moment. Martin's body and expressions were wracked with emotion, the bright lights and the camera angles accentuating the moment of release. His face and voice were laced with pure agony, traces of relief flooding through. He intensified his delivery for the fourth line, belting out 'I can finally heal' to the heavens. His face was visibly trembling from the emotion and the vocal power; his eyes closed and his gaunt face angled upwards.

Every single wound
Begins to slowly mend
I sit with sorrow
Finding closure and hope

Martin's eyes re-opened once more. It was now a moment between him and the camera at the song's last set of lyrics. The catharsis re-awakened Martin with an emotion he'd visibly been trying to bury throughout the performance. There was a radiance of honesty, grief, despair, and yet relief in his eyes. Yet, most importantly, there was hope. Even with the heavy instrumentation, with the swirling mixture of orchestral strings, violins, and cellos dominating the soundscape, Martin's voice maintained intensity with them. Even as his voice found its own peaks and valleys, intensifying and softening at critical parts; the very seeds of hope began to bloom in his expression. It was hope through grief, a hope that needed time to bloom into the kind of closure he sought. He accentuated such emotions with the soft delivery of the final line. It was a moment of lightness in a torrent of heavy emotions. His eyes were closed, his face strained right til the last note but curled upwards into a real, yet still saddened smile. He remained almost motionless as he ceased singing, the lights going dark sans a simple spotlight on him.

The outro of the song was a simple piano instrumental. With one light, his face was cast downwards on the piano. His hands were visibly playing each note, the very melody of the song played in a higher key, bookending the almost overwhelming beginning with a contemplative yet hopeful end. At that last note, Martin lingered on it as the lights faded.

It was at the crowd cheer where it hit Martin. He was frozen in place, his mind finally acknowledging that the performance was complete. He felt at an odd peace, smiling awkwardly at the audience as he wiped his eyes. He was too in shock to say anything, too overwhelmed and yet too relieved to find the words.

He lingered a little bit more than necessary, having to be reminded by a stage hand to walk back to the green room. He only had one thought in mind.

I miss you... and thank you...

by **Fromulya** » Wed Dec 26, 2018 9:32 pm

Fromulya
"Kuaci" by Arum Dawoh

Trigramme: FRM
Translation of Title: Sunflower seeds
Language: Indonesian
Music: Rahmat Rahadian
Lyrics: Shintya Dawoh
Tune: Flower — IU

Rahmat Rahadian, after visiting Altan as part of the Fromulyan delegation to the 42nd World Hit Festival, was exposed to the Kalosian music scene. He became mesmerised by the song "La vož përduto" (The lost voice), a song released in the late 1940s lamenting the pains of war, although Kalosia themselves were not involved in the 2nd World War.
So Rahmat set out to write a new song inspired by it, using it as a means to experiment not only with his own songwriting abilities but also Arum Dawoh's vocal skills.

Rahmat had known but forgot that Arum had lost a bet with her younger sister, Shintya Dawoh. As the parties agreed, if Arum's younger sister won the bet, then the 11 year old would write the lyrics to her older sister's next song, which in this case was the one Rahmat had presented to Arum.

8 headaches later, the song was presented. Kuaci, as it is called, praises the existence of sunflower seeds as a delicacy enjoyed by the Fromulyan people. Luckily, Shintya was only in charge of the lyrics, which means the staging would be at the hands of someone actually qualified.

On the stage, there was a guitarist who played the guitar. Other than that it was mostly just Arum who stood still. As the song began, the guitarist started passionately strumming his instrument, and the background screen glowed a strong red gradient.

Kuaci baru
Inilah yang ku kunyah
Kuaci baru
Sangat renyah

The staging mostly focused on the elements on stage, which meant to focus on the solemn nature of the song.

Dengan garam dan sedikit cinta
Menghangatkan segala suasana

Kuaci baru
Kuaci baru
Telah membuatku puas

Kuaci ini
Membuat perut kenyang
Kuaci ini
Yang kusayang

Dengan garam dan sedikit cinta
Menghangatkan segala suasana

In this next part, Arum held out her note at the 2nd line to add a bit of tension to the song.

Kuaci ini
Kuaci ini
Telah membuatku puas

Now Arum held out that last note and brought it 1 octave higher, bringing forth a keychange.

Kuaci baru
Membuat perut kenyang
Kuaci ini
Yang kusayang

She slowly took a bow, and the crowd cheered politely. "Terima kasih!" she shouted before leaving the stage.

by **Todlichebujoku** » Thu Dec 27, 2018 3:43 am

Tödlichebujoku
"Kaukana" by Lopeta Joká

Trigramme: TBJ
Translation of Title: Far Away
Language: Taploukki, English
Music: Tuiya Nieminen, Iiro Veber, Timo Böš
Lyrics: Gerai Pohyola, Liutavíro Kutermut
Tune: a-ha - Take On Me

For the members of Lopeta Joká, finishing second in Sinun Valintasi was not the end of their world song competition journey. The band had received immense support from various nations, and WHF broadcaster SterGo100 quickly snapped up the opportunity to send the band as a follow up to Kaapo Séélinen's podium-placing "Fighting To Win," and they were more than happy to accept the opportunity of performing at the World Hit Festival. As the first Sinun Valintasi competitor to compete in WHF under Tödlichebujoku, the members of Lopeta Joká hope to make a splash and perhaps make a precedent for future SV silver achievers.

Lopeta Joká, formed by members Iiro Veber, Liutavíro Kutermut, Gerai Pohyola, Timo Böš, and Tuiya Nieminen, is a band formed in Vulgérebijon-o and was in fact heavily inspired by Normand sounds. "It's almost like they speak in synths, and we all really wanted to explore that overarching genre of music and have fun with the possibilities," noted Tuiya in a recent interview. For some time after its conception, the group floundered in Tödlichebujoku's heavily commercialized pop and dancepop environment in the cities while failing to find a foothold in the strong rock and folk scene that was strong in the country. However, with a slowly growing amount of exposure and a growing contingent of fans interested in the synthpop sound, Lopeta Joká began pop up on the radar of mainstream music. The offer from TÖBUK seemingly came out of nowhere after a performance on the late night show Táhdenlento Lohikáármeepáállá, and in turn, the offer from SterGo100 came soon after their second-place finish in the ensuing Sinun Valintasi. In an odd twist of fate, Lopeta Joká has ended up competing on the international stage before the winners of Sinun Valintasi, with Elfriede Matsuoka and NAUYA set to represent Tödlichebujoku in WV71. How will this fascinating turn of events play out? The stage is set and the world is waiting.

The Taploukki Language

Basic pointers/orthographic differences from Finnish:
"j" is pronounced like the "j" in "joke"
"y" is pronounced like the "y" in "yoke"
"á" is pronounced like the "a" in "cat"

The performance kicks off with a blue flash, which gives way to a set of white spotlights flashing to the beat, the band fully illuminated by the flashing. They are all wearing silvery metallic outfits. With the beginning of the melody, a purple equalizer pattern, reminiscent of the WHF42 graphics, plays on the background screen. A steady spotlight shines on Iiro as he sings, while a selection of faint purple spotlights blink across the stage in emulation of the drumbeats

Matkustamme kuin
We travel like

Olsimme apstaašanaa, ümpári maailmaa
We're on parade, around the world

Me jokáámme valyaa
We're playing music

Káteisrahan, koko üön ya yoka ilta
For the cash, all night and every night

The camera zooms in and around the band, as a mist wall forms behind them. The mist wall only forms to about 8 feet high, leaving the rest of the background screen fully visible, and is lit from behind with a projection of the horizon of a spinning world. 5 dancers groove their way in front of the backlit mist, forming dancing silhouettes as the various stage spotlights angle away from them. Iiro looks and reaches toward the camera as it swings back, away from him, as the chorus begins

Kaukaiset, (ballarit)
Faraway, (dances)

Sá ya má, (reksia)
You and I, (kings)

Laulamme
We're singing

Vieraissa maissa
In foreign lands

Following that quick falsetto line in which he bends back a bit, facing the ceiling, to sing, Iiro returns to singing with a bouncy dance to his stage presence. The equalizer pattern on the back screen fades out a bit, now sharing the screen with an animation of abstracted lettered cubes falling and bouncing, and the dancers lie flat on the floor, with all the focus on the band and glimpses of the background screen behind them. Throughout the following verse, Iiro is clearly having fun, jamming like what you would get if Salvador Sobral sang a dance song

We fall out of place
Like playpen blocks
Though still the music replays
Bringing us back together today
Sun's rising soon
I got you dancin' the night away

The backing dancers rise slowly, then execute coordinated moves with the choral echoes. The lights are a bit hazy as the camera pans by the stage, light glinting off of instruments

Kaukaiset, (ballarit)
Faraway, (dances)

Sá ya má, (reksia)
You and I, (kings)

Laulamme
We're singing

Vieraissa maissa
In foreign lands

The spotlights are transformed into a muted dazzle effect across the stage, before cutting out and being replaced by wild neon purple blast, as the band is suddenly only illuminated by the purple equalizer animation from before, and a corresponding set of LED light bars (like a slightly slower version of this, but colored), along with a purple glow from the stage floor.
As Iiro begins the next verse, the ambient lights return, but a couple purple spot lights shine on his metallic suit so that he seems to be glowing purple

He antavat
They give out

Vainaksia, kasiikláyá áánen saavutuksiin
Crowns, metals for feats of sound

Se loppuyen lopuksi váliá?
Does it matter in the end?

Kuten susumet,
Like sparrows,

Rahat hayoavat tuulessa
Money scatters in the wind

Fake money, emblazoned with the visages of the members of Lopeta Joká and their logo, is blown out from the edge of the stage over the audience. The camera view circles behind the group, who are primarily lit from the front

Kaukaiset, (ballarit)
Faraway, (dances)

Sá ya má, (reksia)
You and I, (kings)

Laulamme
We're singing

Kaukana
Far away

Iiro falls to his knees, straddling the microphone stand as he hits the last line of the the stanza above. While he recovers, Liutavíro and Timo take his part of the chorus

Kaukaiset, (ballarit)
Faraway, (dances)

Sá ya má, (reksia)
You and I, (kings)

Laulamme
We're singing

Kaukana
Far away

Iiro once again hits that high note, but softer this time. As the music fades out, the lights too fade into darkness while the members of Lopeta Joká close their eyes and look upward

"Kiitos Burgendore!" shouts the band as the lights return to normal. They do a quick bow and then disperse, collecting their instruments.

by **Cleaca** » Thu Dec 27, 2018 2:50 pm

Cleaca
"My Silent Dream" by Abigail Apikaira

Trigramme: CLE
Translation of Title:
Language: English
Music: Hermes Tulamuta
Lyrics: Abigail Apikaira
Tune: Anna Blue - ''Silent Scream''

Abigail Apikaira is back again representing Cleaca, this time at Senior WHF.

For WHF43, broadcasters from various nations decided to ignore the contest. Togonistan's Lucky 7 decided to temporarily withdraw from the contest due to general low interest and constantly dropping viewer numbers, while Kalmarlund's KT told off their rights for the show completely. Cleaca's CBC was also going to withdraw, if it wasn't for Abigail Apikaira's new single that was released just in time for the 43rd WHF. CBC had insufficient funds to send an artist to the contest, however, a public fundraiser (with a great success) was started by Apikaira's fanbase in order to ensure that Cleaca is going to indeed participate and that Abigail Apikaira is indeed going to represent the small territory in WHF.

Performance:

Abigail is kneeling on the stage, wearing This outfit. The music starts playing with background screen as well as the floor turning into a mixture of bright blue colors. Abigail raises her head and starts singing.

I'm caught up in the expectations
While trying to set me free
The rules being forced by the borders
Even though they have never been written

You're wanting me to follow your mindset
Follow through the flow of time
Being turned down by the stereotypes
Afraid to be too wild

Abigail stands up, and starts walking on the stage.

And the dreams, my way to escape reality
Do you think that I crossed the line?
It's getting harder to hide
It hurts deep inside

Background screen turns into a mixture of gold and yellow colors swirling around. Floor displays a golden vortex underneath Abigail, who does hand gestures while singing.

Just set me free
Let me be
Break the borders of society
The same old record on repeat day by day

Being stuck in our dreams
But we can't break free
So I dream and dream and keep it all inside
My silent dream

Background turns into a mixture of purple and black colors. Abigail lowers her head as she sings.

Tell me why I just cannot be me
Every day until the dawn
Why I have to feel so broken
My soul is covered in scars

Telling me to just be conservative
I want to let out that rebel inside
And now the apple's been bitten
Because I'm on my own

Background turns into darker shade of blue colors swirling around.

And the dreams, my way to escape reality
Do you think that I crossed the line?
It's getting harder to hide
It hurts deep inside

Background screen turns into a mixture of gold and yellow colors swirling around. Abigail does some more hand gestures, as she sings out her lyrics.

Just set me free
Let me be
Break the borders of society
The same old record on repeat day by day

Being stuck in our dreams
But we can't break free
So I dream and dream and keep it all inside
My silent dream

Lights tone down and a purple laser beam-like things appear, visually painting Abigail purple.

Time will pass
But some things will last
I feel like drowning
Down into my dreams

I'll drown in an ocean
Of feels and emotion
If you can't
Just set me free

Once again, background screen turns into a mixture of gold and yellow colors swirling around. Floor displays a golden vortex underneath Abigail, who does hand gestures and expresses strong facial emotions while singing the last part of the song.

Just set me free
Let me be
Break the borders of society
The same old record on repeat day by day

Being stuck in our dreams
But we can't break free
So I dream and dream and keep it all inside
My silent dream

My silent dream

Songs ends with background screen fading into black. Abigail is left standing on the stage, and she shouts out: ''Thank you all! I love you!''

by **Nihilitia** » Thu Dec 27, 2018 2:59 pm

Nihilitia
"Dancing With Fireflies" by Lucia Hanabi

Trigramme: NLT
Language: English
Music: Lucia Hanabi
Lyrics: Lucia Hanabi
Tune: Il E'tait Temps - Virginie Pouchaine

Lucia Hanabi is a Nihilitian singer-songwriter who is famous throughout Nihilitia for her thought provoking and often somber songs. Born in August 16th 1999, she was born in the village of Nakamura & St. Twinleaf. She has always been a huge music lover, often performing in the local pubs and fairs. However, she only really became big in 2017 when she released her debut album, Sex Massacre. It topped charts everywhere, and also caused unrest throughout the nation for the views and ideas presented throughout the album, questioning the societal expectations, religion and governments. She continues to be a hit despite many political figures and oligarchs criticising her songs and the message she puts across. This became so bad that later that year she was arrested for 'treason', causing many uprisings in the isolated island nation. However, she was freed by the Nihilitian revolution and the Marxon Golenmischen, the current more libertarian leader. She is famous for her thought provoking songs and this one is no different. Dancing With Fireflies is about how religious people wait for an afterlife that'll never come, like waiting for a train that'll never arrive.

As darkness consumes the arena, the last of the cheers can be heard. However, the silence only lasts for a moment before the soft violin begins to play. A single golden spotlight shines on Lucia Hanabi, who stands at the centre of the big stage. She wears a white toga style dress with a golden buckle on the left of her stomach. Her dark chestnut hair is tied up in a messy bun, stray hairs dangling like broken cobwebs. She is also barefoot and has a single ring with a golden butterfly on it. She wears minimal make up as she somberly sings the first verse, eyes closed in the moment.

Only yesterday, I was living the life I've always lived
Yesterday, how could I have known that my story would end
Forgotten goodbyes and broken promises
All the things I think about as I wait in today

As the chorus begins, a warm orange light appears on the LED screen behind her like a firefly. It moves around a little before more begin to fade into the LED panels, onstage and up above until they are filled with them. Lucia continues singing, a sad tone in her voice. However, as the chorus ends, the fireflies disappear so that it is only Lucia. The camera slowly circles Lucia throughout, before taking a wider shot.

Dancing with fireflies
Watching them glow like a million pasts
Dancing with fireflies
Waltz with the hopes and dreams of yesterday
Fading away, fading away

As the verse begins, Lucia begins swaying slowly, reliving each moment as she sings. The camera pans across the empty stage, only Lucia being seen. Pain flashes across her face every so often.

Wondering, whether I can meet those I once had known
Someday, we can embrace each other again
Or will I forever stand here alone
All the things I think about as I wait in today

Again, the fireflies steadily and slowly fade into the LED panels that litter the arena, as they wander aimlessly across the blackness. Lucia begins to be lit up by warm orange lights, as if she were surrounded by them. The camera takes a wide far back shot of the stage. More golden spotlights begin to shine towards Lucia as she sings, pain tinging her voice.

Dancing with fireflies
Watching them glow like a million pasts
Dancing with fireflies
Waltz with the hopes and dreams of yesterday
Fading away, fading away

As the bridge begins, the fireflies on the LED screen begin flickering on and off, as if losing power and energy. On the third line, the fireflies begin flickering off, until only darkness remains. A tear glimmers on Lucia's cheek, almost orange from the light.

The tomorrow's nigh
The tomorrow's nigh
When night turns to day, and fireflies die

Lucia continues sadly singing the chorus, and empty blackness behind her. The camera takes a wide shot to show how alone she really is, reflecting the lyrics of the song. The camera turns to view the audience, crying as they wave lights collectively. Like fireflies.

Dancing with fireflies
Watching them fade like my memories
Dancing with fireflies
Losing my grasp of everything I loved

The camera circles Lucia for the final section of the song, and a single firefly can be seen wandering aimlessly on the back LED wall, looking lost. More tears begin to come out of Lucia's glimmering chestnut eyes, lit up with amber. Not only that but amber lights begin to flood the arena, a nostalgic colouring. The audience cheers quietly at the sight. The camera takes a shot of the whole arena along with the stage, showing how empty and somber the atmosphere is.

Dancing with fireflies
Until the shadows reign over the world once more
As I stand here waiting for the tomorrow that'll never come
Losing touch of the person I use to be

As she sings the final line, tears streaming down her cheek whilst the camera circles her, the firefly flies around before flying near Lucia as she holds her hand out next to her head. As the firefly flies into her hand she closes it, the firefly not visible anymore. All the lights in the arena turn off at that moment, and only darkness remains. The audience mutters in confusion.

Faded away...

After she finishes her line, there is a dim light onstage as Lucia can be seen under the soft glow of the firefly, which she just released. Her face has an amber tint as she watches it fly upwards, wonder in her eyes, before the firefly disappears. The audience cheers and Lucia bows, crying. "Noubliez sou vezzon du terre on frarr." Sobs can be heard throughout the arena, specifically from Izmeduans.

by **Axuva** » Thu Dec 27, 2018 3:13 pm

Dance Right Now
https://www.youtube.com/watch?v=seh_fZJqB94
Nayelisa

Nayelisa arises from the lift with a flashy outfit and a head microphone as the music starts and the arena lights are switched to yellow and red and the screen would be live recording the stage, two people did flips infront of Nayelisa, and some people were on roller skates.

If you dance for a living
Just stop, and think about what you’re feelin
Dance on, and if you dance for a living

Just stop
And think about what you’re feelin
Dance on, and if you dance for a living
Go hard, if you dont take life for granted
Dance now, because life has one meaning
Lets go

Nayelisa walks away from her spot and walked to the end of the stage, pointing towards the crowd a a spotlight shined on her.

We cant turn around
Just look forward
We cant turn around
Dance right now
We cant turn around
We cant turn around
Dance right now

As she sang, her and other backup dancers would start dancing to the beat.

We cant turn around

After she stopped dancing she moved to the left side of the stage with other backup dancers and they would start to dance to the beat

If you dance for a living
Just stop, and think about what you’re feelin
Dance on, and if you dance for a living
Just stop

And think about what you’re feelin
Dance on, and if you dance for a living
Go hard, if you dont take life for granted
Dance now, because life has one meaning
Lets go
We cant turn around

Nayelisa would walk to her original spot into a rotary stage piece and she would slowly start rotating

Just look forward
We cant turn around
Dance right now

On the rotary piece she would start to dance alone as other backup dancers stood still,

We cant turn around
We cant turn around
Dance right now
We cant turn around

After she sang those parts, the backup dancers would start to dance aswell as she jumped.

Woo!

We cant turn around
Just look forward
We cant turn around
Dance right now
We cant turn around
We cant turn around
Dance right now
We cant turn around

They started to freely dance after Nayelisas lyrics had gone and the rap from the original song started to play

경기가 끝나면 우리는 집에있다.
밴드에서 '무엇이 당신을 지연 시키는가?
빨리 움직여 라.
빨리 움직여 라.
우리는 그것을 멈추지 않고, 당신은 도망 가지 않습니다.
나는 화산이지만 용암이야.
우리는 가볍고 가벼우 며 따르십시오.
오늘 살고 내일은 끝났어.

Nayelisa stayed on the rotary centerpiece as some of the dancers stood in the stage piece.

Dance now
Just look forward
We cant turn around
Dance right now
We cant turn around
We cant turn around

As the music started again, they jumped down from the piece and then Nayelisa started to dance with one singular dancer as the other backup dancers danced in groups, and confetti would come down into the arena

Dance right now
We cant turn around

We cant turn around
Just look forward
We cant turn around
Dance right now
We cant turn around
We cant turn around
Dance right now
We cant turn around
Lets dance right now

Nayelisa froze, and looked at the audience as she paused in the persons arms she was dancing with and stared at the audience and walked to the edge of the stage and reached her hands out.

We cant turn around
Just look forward
We cant turn around
Dance right now

by **Britonisea** » Thu Dec 27, 2018 5:13 pm

Thank you all!

I will start to transfer over the entries at 10 AM UK time. Between now and 23:00 GMT, you are allowed to make changes to your entry, including finishing the RP for your entry. At around 23:15, I will officially announce the voting open so please make sure to get your completed entry in before then. You have around 23 hours now.

Please do send me a discord DM if there are specific changes such as grammar/spellings or small additions I might've missed out once I start transferring over the entries.

If you don't have any RP, I will add RP at the start and end of your performance but this is something I will add for everybody - you will see why.

If you have any questions, please contact me ASAP.

Running order incoming.

43rd World Hit Festival | Draft Thread | CLOSED

43rd World Hit Festival | Draft Thread | CLOSED

The Stage

Britonisea | Marie Agent - The Inevitable

WIP

-WIP-

XX | Estogium | Kiain Jermaine-George - No Closer To You

XX | Nightom | Louka Elliot - Turn Back Time

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