World Hit Festival 46 - Polumisec, Izmedu | DRAFT THREAD

by **Izmedu** » Mon May 27, 2019 7:00 pm

Welcome to the Draft Thread of the 46th World Hit Festival! This will be the place where nations will work and post on their entry that I (the host) will then eventually transfer to the IC thread once it opens. The final deadline for posting entries will be June 14, 0759 GMT (represented on the time table as June 13, 11:59PM PDT) with the IC thread hopefully up within a few hours after. However, nations are free to make minor edits to their entries as I transfer them to the IC thread. There will be a 24 hour grace period after the entry posting deadline for nations to ask for edits as I post/finish up the IC thread. After June 14, all entries are considered final.

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

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

Remaining Deadlines

~~Draft Thread Opens: 27th May 2019~~
~~Sign-Ups Close: 3rd June 2019~~
~~Draft Thread Closes, IC Thread Up: 13th June 2019 (countdown clock)~~
Voting Deadline: 23rd June 2019
Grand Final Winner Known By: 30th June 2019

The Running Order

Official Running Order of the 46th World Hit Festival

1. Normandy and Picardy
2. Fatiman Federation
3. Todlichebujoku
4. Elam
5. Estogium
6. Izmedu
7. Antahbrantahstan
8. Britonisea
9. New Juan Carlos Land
10. Axuva
11. Besen
12. Llalta
13. Kalosia

Additional Information/Miscellany

RP and Stage Info: When determining your performance, you are more than free to use the show + host city details post as you write your RP. If you have any questions about specific stage effects or trying to see what is/isn't possible on the stage, don't be afraid to ask me questions through the WHF45 OOC thread or through telegram.

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

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

An Addition for WHF46: For the Orchestra Special Edition, a section where you can add your Conductor (should your entry need one) is included in the header. This section is entirely optional and the host will not mandate that all entries will require one. This serves mostly as a callback to past Eurovisions with live orchestras (and currently, also the Sanremo Music Festival) where the identity of the competing entry's conductor was revealed with the entry.

WORLD! START POSTING NOW!

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

by **Darkmania** » Mon May 27, 2019 11:37 pm

XX. Darkmania
"Sagaen" - Erÿka Rëmbers
Title Transcription: (If any, eliminate this line otherwise)
Title Translation: The Saga
Language(s): Norwegian Bokmål
Lyrics and Music: Erÿka Rëmbers, Trëvor Råembers, Rëubens Gärg
Conductor:Trëvor Rëmbers
Tune: [url=https://www.youtube.com/watch?v=WXs2MxS1En0]Åse Kleveland - Intet er nytt under solen

by **-Astoria** » Tue May 28, 2019 3:13 am

WIP: for more information see here.

by **Llalta** » Tue May 28, 2019 3:30 am

XX. Llalta
"Don't Say Goodbye" - Il Stella
Language(s): English
Lyrics: Marco Sybellia, Daniel Callaghan, Iman Asbartan, Giovanni Monchetti, Esther Winterborne
Music: Marco Sybellia, Daniel Callaghan, Iman Asbartan, Giovanni Monchetti, Esther Winterborne, John Marshall
Conductor: John Marshall
Tune: Mama - Il Divo

All four members of Il Stella, from left to right: Marco Sybellia, Llalta's very own Daniel Callaghan, Iman Asbartan, and Giovanni Monchetti. They will represent Llalta at World Hit Festival 46.

Il Stella are an opera group founded in Telm City back in 1997. The group consists of four members: Marco Sybellia, Daniel Callaghan, Iman Asbartan and Giovanni Monchetti. Two of the four originated in Llalta, being Marco Sybellia and Daniel Callaghan, Daniel competing for Llalta merely one edition ago and has strong ties with Llalta, living there a majority of his life. Marco on the other hand moved from the tiny island at the age of three to Britonisea. Iman Asbartan on the other hand, is the oldest member of the group at 48, and originates from Izmedu. Marco Sybellia is Kalosian by blood but has lived in Britonisea for much of his life. Formed in a music university within Telm City, their first album was "Goodnight and Au Revoir" in 1997 which, despite getting very few sales was critically acclaimed and was one of the highest rated by those that did listen to it's powerful and emotional tunes. The next album, released in 1999, "To See Once Again" also shared the same fate being highly rated but rarely bought. However, in 2005 their breakthrough album, "Wings of Icarus" was released topping the opera charts in many nations around the world, including Llalta. From there they continued to produce hit after hit and was renowned by opera enthusiasts and critics.
The song that they will sing is called "Don't Say Goodbye", an emotional and orchestral opera ballad which is about the loss of someone in which they feel regret for as they didn't do enough to save them. Already taking Llaltese charts by storm, the song will hopefully continue Llalta's streak of podium places. Il Stella hope that their song can capture the hearts of the audience and make them cry a little, even if only on the inside.

Key
Giovanni Monchetti
Iman Asbartan
Daniel Callaghan
Marco Sybellia
Giovanni Monchetti & Iman Asbartan
Everyone

And as I watched your shadow fade
Like watching fireflies ablaze
Once so beautiful and vital
Yet so fragile
As souls

If only I could turn back time
To show you light when shadows reigned
Too cooped up in hopeless dreams
I never came
Left astray
Left astray

What if I could have changed
What if I could have saved
What if I could have lead you into my heart
And yet I remember that I will meet you once more
Another place
Another time

To think I'd never see those eyes
Sapphire abyss streaked with tales alive
Burdened with never said goodbyes
My soul strained too
For leaving you
Leaving you

What if I could have changed
What if I could have saved
What if I could have lead you into my heart
And yet I remember that I will meet you once more
Another place
Another time

Je ne dis pas au revoir

Don't say goodbye to me my love
We'll meet again in another time
Where we can dance among the stars
Without cares
Where we could fly
On endless skies

But for now let this be my symphony
As you wait for me up there
Goodbye...

The screen slowly fades out into black as they sing the final note, raising their hands up to the ceiling in sync with each other., and the audience begins to cheer loudly, especially the Llaltese, proud of their polished and emotional entry. People can be seen crying. The lights return to normal and Il Stella hold hands in a line and bow, smiles all round. They pat each other on the back and do "man" things as they move off the stage with pride, knowing they did Llalta proud.

here · by **Elymai** » Tue May 28, 2019 1:00 pm

(double post deleted, I thought my first post didn't go through. The actual post is here)

by **Britonisea** » Tue May 28, 2019 2:55 pm

XX. Britonisea
"Dangerously in Love" - Vhe Qí
Language(s): English
Lyrics: Vhe Qí, Kaela Thompson
Music: Vhe Qí, Daley Orion, Tom Stardust
Conductor: Elizabeth Norwood
Tune: YOHIO - My Nocturnal Serenade

After Britonisea's fourth place at the 45th World Hit Festival, the best placing at the World Hit Festival for the nation since it's win in WHF42, Britonisea returns to the contest with Vhe Qí who is hoping for glory with "Dangerously in Love"

In what will be Britonisea's 10th consecutive participation at the World Hit Festival, this edition we are celebrating five years since Briton Fabio McAlpine took over from Ivan Sandic as the World Hit Festival, cementing Britonish history further into the World Hit Festival. Over the past five editions, since Fabio took over, we have seen mixed success for the Britonish team. The first edition that Fabio stepped down as the Britonish Head of Delegation for Guy Autriche was when the nation fell to 7th place and while that might be considered a good position for other nations, it was the lowest position Britonisea had placed in since the shock right-hand side finish at the 33rd World Hit Festival in Normandy and Picardy eight editions prior. Questions were being asked as to whether Guy Autriche was capable of holding something as prestige as Head of Delegation for Britonisea. However, BVC and other broadcasters for the WHF in Britonisea have offered reasonably long contracts to former Britonish World Hit Festival with the shortest contract being 5 editions (Jesse Martinique-Smith) despite bad results which meant that Guy was here to stay. Good thing Guy did because The World Hit Festival saw Britonisea win for the third time in Kalosia with Britonisea's best ever result becoming the quickest Britonish Head of Delegation to score the nation a win. Moving to the 43rd World Hit Festival, Fabio McAlpine promised a "truly Britonish production" of the World Hit Festival, with no team from other nations being involved in the making of the World Hit Festival but inevitably, Britonisea ended up in 7th place once again. Lucie Dagenham, who had represented Britonisea in WorldVision Song Contest 68 and came 4th, represented Britonisea with the same song coming 5th place. Perhaps a lazy decision by BVC, but the nation was rewarded for what was a good song. AUTUMN from Vha Mehlodhivestoile represented Britonisea at the 45th edition of the World Hit Festival coming 4th with 27 points sparking mixed results due to the public's assuredness that the song would place in the top 2 - the Britonish are a picky lot. There was much to celebrate this edition, and Fabio's hard work to keep the World Hit Festival afloat has certainly paid off with sizeable editions all round. While he needs to work harder to see the return of the World Hit Festival Semi-Final, he is sure that he will be able to see that happen under his Overseership one day.

ORIGINAL BVC POST;

In what has been billed to be Britonisea's most explorative and out-there move at the World Hit Festival, Vhe Qí reassures everyone that he will make the nation proud.

For what will be the anniversary since Britonish TV Producer took the reigns of the World Hit Festival, his country are sending an entry which "doesn't align with the ordinary vision of the nation". Britonisea is sending Vhe Qí, a relatively unknown artist, to the contest with a big song which is bound to gain some attention across borders. Coming off of the rock-pop sent at the 45th World Hit Festival - where Britonisea placed 4th with 27 points - it seems as though some elements have persisted in this entry - Britonisea's 26th.

Britonisea's 26th participant is known as Vhe Qí, a 22 year old from the capital of the country and former host of the World Hit Festival, Doportedas. He submitted his song into BVC before the broadcaster was looking for an orchestral-themed song and they thought that this song (despite its rocky elements) was acceptable for the competition and a bit of a stab in the dark - it would be interesting to see how the song does.

In what has been internally known as the twilight zone for Britonisea at the World Hit Festival, where results have otherwise become stagnant and nothing out of the ordinary, BVC thought that it would be a good idea to send something totally different ahead of the 47th World Hit Festival - with insiders from BVC stating that a storm is certainly on the way. BVC, while they hope that the nation and Vhe Qí will do well in Polumisec, Izmedu, there is not huge pressure from the BVC side to do well. As always, though, the goal for BVC is to win and this entry will not be any different to any of the 25 Britonish previous entries of the World Hit Festival.

Britonisea heads to the World Hit Festival for the seventh time to see what will come of this participation...

It was time for his performance. Vhe Qí walked on to the stage as the audience watched the postcard for Britonisea. He was unsure how the Izmeduan audience were going to react to this song, with the song being rather out there for a country such as Britonisea. It had been predicted that Britonisea would go down for a song down the Axis - Stop route which saw Britonisea gain 2nd place with 45 points (which was World Hit Festival's previous top score before the 40th World Hit Festival). The song, in the eyes of Vhe Qí, was amazing and a good change for Britonisea. Vhe Qí thought that the entry that was sent to last edition's World Hit Festival was out there for the nation and ultimately paid off. Vhe Qí was wearing something similar to this with his make up similar to the man on the right. The audience cheered Vhe Qí as the lights went down for him in the audience. He was hooked onto this large frame that had two other people hooked up on it, it looked as though they were all puppets on a string. Vhe Qí looked forward as the camera slowly moved forward passed the orchestral pit and towards him...

I've sacrificed it all for you, my friends and family.
Now I'm lead to think you didn't care for me.
(You're dangerously in love)
Oh I am so naive…in love...
Oh yes, with you I have lost my sense of identity,
Made to fit your vision

The colours that were appearing for the lights was a mixture of red and yellow, which the BVC delegation thought would be suitable colours to fit with the theme of puppets and all. Before the chorus started, they had not used the backing LED, however that was going to change with the start of the explosive chorus. Just before, however, he was on stage in the same position for the first verse with the Steadicam moving around him, the two other puppets. As the orchestra stopped playing with the xylophone/glockenspiel instrument being the only instrument playing, the lights were substitute for a lone spotlight lights coming from the audience making it look as though they were in an galactic world.

However as the chorus hit, the Steadicam and cameraman ran out the way that it came, with a wide shot of the stage being shown at this point as the stage exploded into red and yellow once again. This time, the stage followed suit with red and yellow squares being shown on the stage screens with a large pulsating skull right in the middle of the wall. The camera panned out from the skull, slowly losing height before moving last Vhe Qí who was still chained up. During the chorus, the top of the contraption moved up and down, with his hands having to move along with it...

I'm your puppet on a string,
Use me 'till my strings snap-ap-ap-ap-ap
Then you'll think of me and - snap! - you'll realise
You can't live without me.

So take advantage of me,
I know I'll have the last la-la-la-la-laugh.
I enjoy the pain, it makes your eyes glow gold.
I'm dangerously in...oh I'm in love.

The camera zoomed in very quickly as Vhe Qí screamed the last line into the microphone attached to his face. It seemed as though along with the orchestra, everything stopped. The strings kept on playing, acting as a bridge between the chorus and the next verse. The picture faded out, fading to black before another camera from behind Vhe Qí in a similar fashion to how it was done before. The camera started to circle around them, with him eyeing the camera up everytime it passed his face. This time, it seemed as though he was becoming a bit more resistant to the contraption moving his limbs up and down. His face, you could see, really was into the song as he expressed the hurt and desperation in his heart.

What is happening? You make my heart beat out of my chest
Because you treat your enemies better than you treat me.
(You're dangerously in love)
I'm the weak one, I know...in love.

The toxicity is suffocating, I am dying
And you are loving it

During the section right before the chorus (well, the pre-chorus), the little xylophone/glockenspiel interlude happened again. As he started singing about the toxicity, smoke machines from the floor stage started to fill up the stage as the wind machines made the smoke travel upwards towards Vhe Qí who started to smile right before the end of the pre-chorus. As Vhe Qí emphasised the word "it" he quickly shot a death glare towards the audience and camera which quickly moved away from him. The spotlight returned for this section.

Colours burst back on to the stage as the chorus came in once again. As he sang "puppet", he strongly ripped himself away from the contraption with the strings falling to his knees. The other puppets looked at Vhe Qí at the same time before they looked each other before they ran off the stage, with that being shown in a midshot of all of them. As they ran off the stage, the same camera quickly zoomed into the face of Vhe Qí who winked in to the camera. He moved to the edge of the stage where the orchestra pit was, singing over the talented musicians.

I'm your puppet on a string,
Use me 'till my strings snap-ap-ap-ap-ap
Then you'll think of me and - snap! - you'll realise
You can't live without me.

So take advantage of me,
I know I'll have the last la-la-la-la-laugh.
I enjoy the pain, it makes your eyes glow gold.
Dangerously in love
Oh I am in love!

As the sang the last section of the chorus, he turned his position as to show his body to the whole of the audience after making them face the audience. He screamed the last line into the microphone with the camera zooming out at this point with the moving LED image stopping. The skull combusted on the LED, with it being shattered to pieces.

As the medieval sounds acted as a filler between chorus and bridge, he marched himself back to centre stage before what was the bridge. He looked forward as he sang. The lights were different to how they were at the start, with the scene acting looking rather pretty in comparison to the general theme of the song.

Oh I love your Judas kiss
So dirty, so luring
I think I'm in love
You play to my weakness…

The lights circled around the arena before all meeting up at one point with Vhe Qí holding his hand out as he with bathed in white light. There was a pause in the song. The conductor could be seen holding their hand out as she stopped the orchestra from playing. Here, the two pictures between Vhe Qí and the conductor blended in before the camera quickly zoomed into Vhe Qí from afar as he started singing once again. He came in with a tiny bit more gusto than before, walking forward by the orchestra pits and towards the audience. The audience cheered audibly as he started to interact with them. There was a shot which panned over the orchestra pits and him standing in the middle of them. As he started on the second part of the final chorus, there was a shot that zoomed out from his microphone and mouth, similar to John Lundvik here.

I'm your puppet on a string,
Use me 'till my strings, they snap-ap-ap-ap-ap
Then you'll think of me and - snap! - you'll realise
You can't live without me.
Dangerously!

So take advantage of me,
I will have the last la-la-la-la-laugh.
I enjoy the pain, call me masochistic!
Dangerously in love

The camera zoomed out to witness everything that was going on the stage, panning across the orchestra pit - with some members of the Izmeduan World Hit Festival orchestra dramatically strumming to what was open of the craziest and probably one of the most difficult songs of this edition. During this section, Vhe Qí moved back to the contraption that he was hooked up on to at the start, with the camera focusing on the orchestra during this bit as someone tied him on to the board. As he came back singing, the camera advanced on him in a similar fashion to how it did it at the start of the song. He looked at the camera, tilting his head with a saddened expression on his face...the lights dimmed and focused on him as he finished the song...

I enjoy the pain, it makes your eyes glow gold.
I'm dangerously in love

The camera then zoomed out, with the stage turning to black and the orchestra pits being lit up in sparkling blue - in particular, the instrument which carried the song out. Right at the end of the song, the stage was empty with him standing in the middle of the stage by himself. He smiled and bowed to the audience before thanking the audience, "Thank you, everyone! Please vote for us! - with the audience cheering for him as he ran off stage to join the rest of his delegation. How will he do? Only time will tell!

by **Normandy and Picardy** » Tue May 28, 2019 3:20 pm

XX. Normandy and Picardy
"La Voix" - Martin Jeanais
Title Translation: The Voice
Language(s): Normand French
Lyrics: Antoine Feuvrault
Music: Antoine Feuvrault
Conductor: Jean-Jacques Marlan
Tune: Sognu - Amaury Vassili

As the postcard ended, the lights in the Naida Arena were dimmed. It was time for Martin's big moment to begin, and in the spirit of practically every Normand entry to anything ever the stadium was to start dark, very dark indeed. During the postcard, a special platform was brought on by the wondeful technical staff, bless their souls, and positioned in the circular part of the stage just in front of the orchestra pit. Martin was, naturally, stood on this platform. The smoke machine was also getting a run out, a thin layer covering the majority of the stage, and wisping over slightly into the edges of the orchestra pit. It was time for Martin to begin, and the orchestra to begin playing. There was a brief pause, and then the first strings began to be played. A dim light, from an LED strip around the special platform, shone in a faint red colour, illuminating Martin in a sea of darkness, and caught the smoke slowly curling its way around. The first camera shot shown was a relatively close one, with Martin in a proper dead fancy jacket, shirt and trouser combination (as shown here). The light intensified as the song begun, slowly joined by some lights as the back of the arena, so that Jean became clearer. And then, he began to sing. There was a slow panning shot around him from left to right as he sung, looking straight forward to begin with. The lights continued to build as the first verse continued, then just at the end of the first verse what looked like a few embers floated across the screen courtesy of the wonderful Izmeduan hologram technology we were promised. This was accompanied by the warm purple-orange-red colour that began to flicker on the background screen, rising up from the smoke on the stage.

La voix de l'histoire
The voice of history

Dans les ruines et les flammes
In the ruins and the flames

Les murs ne peut pas nous dire rien
The walls cannot speak

Mais s'ils pourraient, ils crieraient
But if they could, they would scream

A wider shot, further out, showed that behind Jean, standing amongst the smoke, was a piller overgrown with vines, and various blocks and other bits and bobs, symbolising the ruins he spoke of in the first verse. They stood strong, seeming a testament to the human desire to last throughout history, and yet their isolated and dishevelled form betraying the inner insecutities that lay within us. Or, you know, they look pretty. Your choice. The background now was in full glow, with embers floating around. The smoke partly took on the hues as it danced around the stage. Martin began to sing towards the camera, although he ultimately stayed where he was, his legs shoulder width apart and arms, for the most part, by his sides, although he lifted them up and held them out towards the camera as it gave a glancing shot above the orchestra and to the viewer's right hand side of the stage.

La voix de l'histoire
The voice of history

Dans les rivieres et les montagnes
In the rivers and the mountains

Dans les vents et dans la pluie battant
In the winds and the beating rain

Ce déluge, ce déluge de la vie
Oh this deluge, the deluge of life

The red-purple-orange colours were suddenly washed away and replaced by a deep sky blue, kind of something like the blue in this. The camera shot returned to a close shot of Martin, framed by one the pillars on the stage to the left, and one of the background screen tilted to the right and resting on a statue that had lost its head. The lights also mellowed and became a lot less intense and the smoke died down, the machines having been turned off. As this section carried on we got a 360 shot around the platform, with Martin following around, which for a time showed both the orchestra and the crowed in the arena. However, as the drama began to flow back into the song, at first the pillar in the background collapsed, followed by the pillar on stage, falling into the now increasing levels of smoke, steadily rising, as shown by its progression above Martin's leg which became more clear as the camera shots pulled outwards.

Croyez-vous au destin?
Do you believe in fate?

Qui sait que demain sera?
Who knows what tomorrow will be?

L'heure tourne inexorablement
Time moves forward inexorably

Alors, nous poursuivons
So we will pursue

Quoi qui'il arrive
Come what may

La voix, la voix qui nous appelle tous
The voice, the voice that calls us all

As if claws had been dragged through the background, or perhaps it had been slashed by a knife, the tranquil blue of the background was torn asunder, with flames coming through the gaps and beginning to burn it down, burning pieces burning off and beginning to fall, showing it for the thin facade the calm was. The lighting again changed, regaining its red-orange tones and slowly growing more intense. This was joined by the same ember-like holograms from earlier, except these now were more intense in their brightness. The smoke billowed onto the stage, and over into the orchestra pit, where the orchestra were shown to be playing with both grace and a great intensity, a situation also to be noted in Martin's operatic vocals.

L'heure tourne inexorablement
Time moves forward inexorably

Et les voix chantent leurs histoires
And the voices sing their tales

The magic of the platform then showed itself, as it slowly began to raise Jean up, out of the clouds of smoke that formed below, and yet with the mechanics of it hidden by the smoke. The camera was positioned such that, as Jean rose upwards, he was in sync with the background, which rose out of the flaming inferno, albeit the sense of intense heat and the light from the flames still made themselves known, as he seemed to rise up towards the heavens, which looked a little like this, but with more red, orange and yellow tones. Martin looked dead into the camera, clearly conveying the emotion of the song and adding to the whole drama of the spectacle. As he sang "devons", he suddenly spread his arms out to the sides, as a ring of pyro-firework sprinkler thingies burst into life around him.

La voix de l'histoire
The voice of history

Dans les merveilles et les couchemars
In the miracles and the nightmares

Et quelquefois nous ne voulons pas
And sometimes, we don't want to

Ecouter mais nous devons
listen, and yet we must

The cameras gave a wide panning shot to show the whole majesty of the spectacle, and the orchestra playing away under the passionate conducting of the head of the Picard Symphony Orchestra back in Normandy and Picardy, M. Antoine Feuvrault. The shots remained wide as Martin sang his last line. In the background the clouds seem to slowly swirl around whilst the smoke, now receeding again, continue to dance about. As he sang and held "tous", the camera zoomed in one last time. This was accompanied by a rise in intensity, before the light seemed to fade away and come to a point. Then, by the wonders of the aforementioned hologram technology, this point seemed to come out from the background and into Martin's hand, a small flickering flame. As the instrumentation ended, he blew it out, casting the arena back into darkness once more.

La voix nous appelle tous
The voice calls to us all

by **Besen** » Tue May 28, 2019 4:44 pm

XX. Besen
"Survive" - Bella Berelie
Language(s): English
Lyrics: Bella Berelie, Alessandro Royele, Elle Alovian + Rowen Valpe
Music: Alessandro Royele
Conductor: Xavier Isan
Tune: Katy Perry - Rise (Orchestral Version)

Hailing from the Berelie musical tree, in which stands her sister Hannah that represented Besen at the World Hit Festival 38, she has gained a lifetime of knowledge from her family. Bella herself attended the most prestigious musical university in the country, graduating in 2015. Afterwards, she ventured into the world of songwriting and gained critical acclaim for her soul album "An Immaculate Demonstration of Fear", which she released in July of 2017 before taking a break to creatively take a breath.
In August of the same year, she wrote biggest song of her career, considered her official crossover into the pop landscape. "Why I Love You" topped the charts in Besen for two weeks and gained the attention of the general public. She left again to work on her followup album, to the waiting ears of her now widespread following. She promoted it as "a new beginning for pop with pain", calling it "Dedicated" and eventually releasing it on Valentines Day of 2018- where it spent three weeks at the number one spot. The promotion of the album brought her to Morlake Hall where she performed a setlist in front of the King for which she says is "the highlight of her career so far".
In case of World Hit Festival, she has claimed since she was young that she would love to represent her country, but that she wasn't yet ready. After Besen took a break from the 45th edition of the contest, she personally requested to be the artist to return and make an impact. The song had to make use of orchestral elements to participate, so she decided to recruit her friend Xavier Isan to front as a conductor for her performance where she sings "Survive", a song about picking up the planet from darkness.

The camera begins from a low angle and lifts up to reveal Bella in a silver dress, covered in bright green sequins. Behind her, two female backing vocalists stand with their own microphone stands and they wear similar dresses, but they are much longer. The second shot is coverage of the large orchestra which is equally spread to the left and to the right of her. Behind, a beautiful image of an oak tree is displayed on the screens, which supplies a green undertone to the whole stage. Her voice gives off a sense of her nerves, and is very soft and comfortable at the beginning which is a nice contrast to the strength of the instrumentation. For the build of the song, the camera swings from the top of the ceiling to then centre onto Bella herself, right before the prechorus.

I can't just sit back
While all thats good, it dies
We can't say sorry
It's beyond the reach of time
I do believe in life
The world lives, it breathes, it cries
It's roots are screaming, so

The first introduction to the backing vocals are evident from their power, almost stronger than Bella's own vocal. The closest shot yet reveals a small font written on the neckline of her dress, reading "SAVE OUR PLANET". This compliments the shift in image from the screens, which shows the tree begin to fall and the fade of the green.

(Oh, I can feel my love die) Believe it, believe it
(Oh, my heart breaks everyday) You feel it, you feel it
(It's time to make a change) I'm crying, I'm crying
I won't let go

A massive flood of fiery red engulfs the space, as Bella lets loose, raising her fist up, emoting much more. The camera shows a close up of a member of the orchestra playing the violin. And then, it shifts to a centred shot including all of the people on stage which conveniently at an angle appears to form a heart shape.

Where, is the hope that I once believed in
This vicious wind, it's howling, it's longing
We're out of time, we have to survive
This hope can make us dream again
We are almost there, we're at the end
Listen here
Make up your mind, you can survive

Although the red has now effectively disappeared, the appearance of a spotlight shining directly behind her makes up for it. The camera swings around in this direction and shoots the stage from opposite, displaying the audience, with their flags high. There now begins a trail of low mist which sits below the feet of the three women.

I will be cautious
For it means a sad, sad end for us
I call all my friends, I say

The illusion of rain begins, and removes focus from the lights, which now have become a more neutral white. There is a sense of drama from the tight switches of the camera, from which every aspect of the arena is showcased for a time. Bella has become much more confident in her movement, breaking from her spot, taking the microphone and walking up to the front. She takes a moment to sing back and forth with her backing.

(Oh, I can feel my love die) Believe it, believe it
(Oh, my heart breaks everyday) You feel it, you feel it
(It's time to make that change) I'm crying, I'm crying
We can't let go-oh

An illumination of fire lights up the space, and she steps boldly out as she belts. She makes her way down just next to the orchestra pit, where she picks up what looks to be a flare, lighting it and strolling back up to her previous position. It makes a distinct comparison to the blinding blankness of the scene.

Where, is the hope that I once believed in
This vicious wind, it's howling, it's longing
We're out of time, we need to survive
This hope can make us think again
We are almost there, we're at the end
Listen here
Make up your mind, we can survive

In the final stretch of the track, out of nowhere two blue, fabric sheets blow in the hands of a man that enters the stage for the first time. The camera comes to settle for close up of Bella's expression, as she focuses on this, as if she is singing to the audience at home. Her notes are sharp and emotive for the final part, fitting for the dramatic scene on stage. She ends slowly bringing the microphone down from her lips and placing it to her chest, closing her eyes.

Believe it, believe it (Survive, no!)
You feel it, you feel it (I will survive!)
I'm crying, I'm crying
Made up our minds, we will survive

"Thank you so much." She exits the stage.

by **Fatiman Federation** » Thu May 30, 2019 6:55 am

XX. Fatiman Federation (Indo States)
"Je hebt een speeltje in mij!" - Lenoid Crimieliyev
Title Transcription:
Title Translation: You got a Toy in me!
Language(s): Indoesh
Lyrics: Natalia Crimieliyev, Nataniel Crimieliyev
Music: IC song composers
Conductor: Hannah Crimieliyev
Tune: Original Song

The Song was Based to Toy Story (1995 Film), But the Language is Indoesh (an Language that was Based to Dutch) and Lyrics had being Changed in order to Not Plagiarize the Song that Causes Copyright Infridgement with Disney and Pixar.

The Song was Released back in 1996 Shortly after the Release of Toy Story with an Permission to Disney by Sending an Letter. Later, Disney has Accepted Lenoid's Permission to Use the Song with Changes and the Letter was Passed to Pixar to Agree Lenoid's Permission to use their Soundtrack of Toy Story.

The Stage has Props of Little Green Men and a background of Clouds and the Sunnyside Daycare, an Daycare Located in Rozlyn and Managed by Our Lady of Fatima University.

Indoesh Lyrics:

Je hebt een speeltje in mij!
Je hebt een speeltje in mij!

Als je speelgoed van me hebt gekregen, is het leuk om nieuw speelgoed te hebben. Je herinnert je je eerste speeltje Dus, je hebt een speeltje in mij!

Ja, je hebt een speeltje in mij!

Je hebt een speeltje in mij!
Je hebt een speeltje in mij!

Je krijgt een auto, je krijgt een pop! Ja, het is leuk om speelgoed te hebben terwijl je in de kindertijd bent. Zie het, omdat je een speeltje in mij hebt!

Je hebt een speeltje in mij!

Sommige van je vrienden hebben je speelgoed gedeeld en het is misschien in het verleden met je vrienden gespeeld zoals ik. Maar u kunt meer speelgoed hebben tot uw tiener.

Zoveel jaar dat speelgoed te veel is uitgevonden, is de relatie met je speelgoed lang en laat je het zien wanneer je volwassen bent geworden. Je hebt een zaak van Toy Store, het is leuk vanaf Chilhood tot vandaag omdat je een baan had en de Store Good hebt gehouden.

Je hebt een speeltje in mij!
Je hebt een speeltje in mij!
Je hebt een speeltje in mij!

English Lyrics:

You got a toy in me!
You got a toy in me!

When you got a toy from me, It is Fun to have new Toys. You Remember your First Toy So, You got a toy in me!

Yeah you got a toy in me!

You got a toy in me!
You got a toy in me!

You get a Car, You get a Doll! Yeah, It is Fun to Have Toys while you're in Childhood. See it, Because you got a toy in me!

You got a toy in me!

Some of your Friends Shared your Toys, and It is Play with your Friends like me in the past, Maybe. But, You can have more toys until your Teenage.

So Many Years that Toys are Too Much Invented, Relationship with your Toys is Lasting Long and Display it when you became an Adult. You have an Business of Toy Store, It is Fun from Chilhood until today because you had a job and keeping the Store Good.

You got a toy in me!
You got a toy in me!
You got a toy in me!

by **Axuva** » Thu May 30, 2019 4:51 pm

XX. Axuva
"Thankful" - Mya Kuznetzov
Language(s): English
Lyrics: Mya Kuznetzov, Starr
Music: Ty Ivavov
Conductor: Aaron Park
Tune: https://www.youtube.com/watch?v=rp4UwPZfRis

Maya walks on stage holding a microphone as the music begins to start from the orchestra, she walks her way up the stairs to the main stage, The lighting in the arena went down and the stage was lit to where you could see the main stage only and some of the orchestra.

The day you caught my sight
You showed me what I like
You keep me in good company
Tomorrow is the goal
I need you to be strong
I want you to stand with me

I will take your hand
We could turn to one
You make me feel alright with you
I think the storm is clear
And I will never fear
You make me see everything new

I cant be more than just thankful
You give me more life
I cannot live without your love, you and I
I feel like flying

You give me the reason to be more
You just keep giving me the sight
When you show me your love
There is a new world for me to find
You give me the strength to be more
You give me all the love inside
You give me
Somethin' more

Maya begins to walk down the first flight of stairs as a spotlight followed her down as one light also lit the main stage, continuing to sing standing on the platform and water begins to fall on the main stage as two dancers made their way to the main stage, dancing in the rain with passion dancing to the sounds from the orchestra.

Looking through your stare
Please just take me there
This is a new day
You lay me down to sleep
Boy you make me weak
You make it like a fairytale
Do you really wanna know
The way you make me feel
You really know what’s the deal
So baby lets go
And put on a show
It’s all like a fairytale

I cant be more than just thankful
You give me more life
I cannot live without your love, you and I
I feel like flying

You give me the reason to be more
You just keep giving me the sight
When you show me your love
There is a new world for me to find
You give me the strength to be more
You give me all the love inside
You give me
Somethin' more

You know I can’t
Keep on without you and if you ever slept away
It’d be the worst day
You give me
The reason to be more
Oh no
To be more…

The lighting in the room changed to the lights going only on the main stage, making Maya disappear and the dancers would stop dancing and slowly got to the floor and they continued to stare at eachother, then laying on the ground, holding each other. The water stopped flowing down on them. As the music started again, the spotlight flashed back on Maya and the main stage went dark. She was the only thing lit in the room

You give me the reason to be more
You just keep giving me the sight
When you show me your love
There is a new world for me to find
You give me the strength to be more
You give me all the love inside
You give me
Somethin' more

No, no, no

Hey………………….

Maya bows to the audience. After, the room goes dark and a curtain drops down slowly, covering up the entire stage.

here · by **Elymai** » Sun Jun 02, 2019 12:24 pm

XX. Elam
"Zumurrud" - Manzat Hutrani and the Sousiane Ensemble
Title Translation: "Emerald"
Language(s): Elamite
Lyrics: traditional
Music: Manzat Hutrani and Da'ud Inshushin
Tune: "King David"

The guitar begins to hum warmly as the fingers of Ishma'il Durud begin to strum lightly across them. The stage begins to light, and Manzat begins to sing the opening lines:

Surud belha ume ina,
(A hymn to my country)

Nusan takme in dunaš una,
(Who gives life to me)

Zul nusanipe sehejaheš,
(Whose waters glimmer)

Kam nusanipe dabantina šaheš...
(Whose seas are vivid blue)

Tirutir Da'udi waves his hands gently at the hanging bells, and the sound of the guitar grows in a strumming pattern. Tirutir Da'udi and Da'ud Inshushin begin to play on the drums in their laps, joining in with the beat of the guitar. Manzat begins to sing:

Zumurrud-belha nukume,
(Our beloved emerald country)

Ta'rix nime mellik šaš;
(Your history is millennia)

Zumurrud-belha nukume,
(Our beloved emerald country)

Ta'rix nime mellik šaš.
(Your history is millennia)

Iršekki betir nupe,
(Your enemies many)

Meten marikeš inne;
(But they have never had victory)

Belha, mellik antakmentu!
(O land, live for millennia!)

Iršekki betir nupe,
(Your enemies many)

Meten marikeš inne;
(But they have never had victory)

Belha, mellik antakmentu!
(O land, live for millennia!)

As the first verse closes, the clarinet of Ahmad Ishay takes the centre of the sound. Two barres of the same irregular rhythm play out, and the singing resumes, repeating the first verse once more but with the addition of the voices of Tirutir Da'udi and Da'ud Inshushin chanting in the background. The drums and the vocals are louder:

-second verse, same as the first-

Once more, the clarinet picks up where the vocals left off. Two barres, and the drums take the centre of the stage, accentuated by clapping from Manzat and Ahmad Ishay.

Suddenly, the drums stop, and Ishay, Durud, and Da'udi begin to chant:

Zumurrud-belha nukume,
(Our beloved emerald country)

Ta'rix nime mellik šaš;
(Your history is millennia)

Zumurrud-belha nukume,
(Our beloved emerald country)

Ta'rix nime mellik šaš...
(Your history is millennia)

Manzat sings a partial third verse over the chanting as Da'ud Inshushin and Ahmad Ishay switch instruments, trading drum and clarinet for contrabass and end-blown flute respectively. A flute solo fills the space as the other instruments play a lively bridge.

Manzat begins to sing one last verse, identical again to the first. As the verse comes to a close, the instruments cease, and Manzat sings the final line of the song once more:

Belha, mellik antakmentu!
(O land, live for millennia!)

by **Estogium** » Tue Jun 04, 2019 11:46 am

XX. Estogium
"Remercio Teis" - Hunter Malden
Title Translation: Thank You
Language(s): English, Britonish
Lyrics: Hunter Malden, Tiami Bright
Music: Jared Bloke, Martin Sammuels
Conductor: Elizabeth Norwood
Tune: Linus Svenning - Bröder

After Estogium and RVC's 3rd best result at the World Hit Festival last edition with Elias Nordin, the broadcaster has enlisted the help of Hunter Malden was a track that is on the same track of last edition's "Tired of Lying", hoping Estogium can replicate or better its result.

Hunter Malden, a 25-year-old from Darlington (the capital of Estogium) was initially supposed to represent Estogium at the 72nd WorldVision Song Contest with his song being revealed during the Estogian WorldVision-World Hit Festival reveal show, "THE BIG REVEAL". However, Estogium failed to participate at the 73rd WorldVision Song Contest for reasons that were unclear though it might have been done as a cost-saving method as Estogium returned the edition after and hosted the contest without any technical hitches. Hunter was then confirmed for the 45th World Hit Festival, however due to the nature of the song, it was decided that Hunter Malden would not go on to represent Estogium at the 45th World Hit Festival, instead opting for the person who was supposed to represent Estogium at the 40th World Hit Festival, Elias Nordin. Success came of Estogium's last-minute replacements as Estogium came replacement with them placing 5th with 18 points which was their first top ten placing since 36th World Hit Festival in Gralicna, Izmedu. With their best result in nine editions under their belts, they finally gave a chance to Hunter Malden who was selected to represent Estogium at the orchestral edition of the festival with the hope that Estogium will do well.

There was a small friendly rivalry between Estogium and its neighbour, Britonisea, after the pair finished next to each other on the official scoreboard (with Britonisea coming 4th place) with RVC and Estogians wanting to beat their Eastern brothers at this edition of the World Hit Festival. A spokesperson from RVC stated that "A friendly rivalry with our neighbour is a great thing to have. Britonisea have done well at the World Hit Festival - having won three times already when we haven't won once. If we can do better than them, we know that we are on the right track to beat other nations that participate at the World Hit Festival. I am so excited for the upcoming World Hit Festival!"

Estogium reached their highest rating for the World Hit Festival in some time, with 2.81 million (21% approximately) people tuning in to see Estogium finish in the top 5. RVC are hoping for much better figures at the 46th World Hit Festival.

At the start of the song, the camera was focusing on the face of Hunter Malden standing alone on the stage. He was wearing his little jean jacket which made him look so fashionable. The camera faded into his face, with him looking deep into the camera. As he started to sing, he kept his eyes down the lens of the camera, blinking ever so often to not make it seem as though he was some sort of robot. As he continued singing through the verse, the camera slowly backed away and more of the stage could be seen. There was hardly anything interesting with the staging - with Estogium opting for a more naturalistic take on the staging this edition. There was a spotlight on him with the rest of the stage in pitch darkness.

I have something to say,
It's been on my chest for long.
It's been holding me down,
There was nothing I could

But say these two words to you,
Words I haven't said before.
Don't know what they mean to you,
To me, it means a lot...

As the song changed a bit (the second part of the verse), he started to spin around in the position that he was in with the camera orbiting him in the opposite direction. As the camera showed the audience, you could see many people in the audience with their phone torches waving them about - similarly to Estogium's former World Hit Festival song, this was also a phone-torch kind of song. Hunter Malden stopped swirling around as he sung the word "it means", with the camera zooming away from him when he said "a lot" with him holding his hand out. It was now time for the first chorus. Another greeted him as a low angle shot, showing LED lights which came from the upstage end of the stage from the stage floor into the air and over him. He looked down at the camera as he sang "Remercio teis". The stage turned into a lighter brownish-orange colour with RVC being big on using colours which representing its nation.

Remercio teis, remercio
Eistam reconnaise par tudas de que diate
Remercio teis, remercio
Yes, ficei teis chouse vhe finner de heur
Oh, Joxtatos. Bildundsrumanos
Oh Eistam neue.
Remercio teis, remercio
Eistam reconnaise par tudas de que diate

The previous camera shot remained with Hunter for the first two lines of the chorus, with him looking down during this time. As he sang "Remercio Teis" for the second time, he looked up out towards the audience with his eye coincidentally meeting the next camera which was waiting for him. In this shot, more of the stage was shown to the audience, with the orchestra pit being slightly lit up. You could see members of the pit bowing con arco while other members simply swayed along with their song due to how thin the texture of the song was for this chorus. You could see visibly that an odd murky dark orange colour was being shown on the screens behind him. You could also hear another male voice which took him through the chorus as well, with this male voice being stood in the orchestra pit in the back (though unnoticeable for those watching on television).

The next section of the song was the next verse - he turned around, facing the LED wall and started walking towards it. An aerial shot followed him as he walked upstage. He reached the wall by the time that he got to the line "I took it for granted, I" before holding his hand out and looking deep into the LED wall.

I have been so selfish,
I saw past all of your help.
I took it for granted, I
Didn't see how far you went

But now I understand
I would like to say to you

Another camera showed what Hunter was doing over the shoulder. On the LED wall there was a figure which appeared to be doing the same thing as him. With the dark orange colours still persistent on the stage, the figure which looked to be mimicking the actions of Hunter was much darker - a very dark brown which made the figure noticeable amongst the other colours. As Hunter was about to finish the verse, he stopped holding his hand out, looking down to the floor with the figure looking as though a word was being stitched onto its body. As Hunter finished singing the pre-chorus, the words "Thank You" appeared onto the figure. He dramatically turned around as he started singing "Remercio Teis" again.

Remercio teis, remercio
Eistam reconnaise par tudas de que diate
Remercio teis, remercio
Yes, ficei teis chouse vhe finner de heur
Oh, Joxtatos! Bildundsrumanos!
Eistam neue.
Remercio! Remercio teis.

During the chorus, Hunter started to walk with a similar aerial shot seeing him walk in the opposite direction. This time, he walked from the main stage and passed those who were in the pit. He then stood right at the end of the stage at the front - with cameras zooming in to his left to his right (similarly to how it is being down here in Italy 2019). As he stood in the middle the camera which was zooming on to him face-on top as soon as he stopped as well. As there was a loud bang before the last chorus, the LED wall flashed white with the lights in the arena following suit.

Remercio teis, remercio
Eistam reconnaise par tudas de que diate
Remercio teis, remercio
Yes, ficei teis chouse vhe finner de heur
Oh, Joxtatos! Bildundsrumanos!
Eistam neue.
Remercio teis, remercio
Eistam reconnaise par tudas de que diate

At the end of the song, Hunter held out his hands and smiled to the camera that slowly zoomed in on his face. The audience came in with a mighty roar after that Estogian ballad. "Remercio Teis, Izmedu!" he shouted out at the audience and those watching at home. He quickly moved off the stage for the next proceedings.

by **Anollasia** » Wed Jun 05, 2019 11:24 am

XX. Anollasia
"Life in C-sharp Minor" - Jon Atman
Language(s): English, Turkish, Anollasian
Lyrics: Jon Atman
Music: Jon Atman, Leyla Yolcu
Tune: Thom Yorke - Suspirium

by **Izmedu** » Tue Jun 11, 2019 10:40 pm

XX. Izmedu
"Oprosti mi" - Matej Soric
Title Translation: Forgive Me
Language(s): Izmeduan
Lyrics: Matej Soric
Music: Matej Soric
Conductor: Adam Katavic
Tune: Tony Cetinski - Kao u snu

“It's strange, doing this kind of thing... For many years of my career I was seen as nothing more than someone only famous due at the coat-tails of the music around me. I wasn't... anyone quite original. Just another name. I've seen the kind of song I wrote even all the way back then, but it hits you when it happens to you... I forget about the pressure, I forget about the legacy weighing down on me when I'm reminded that I will return home to these feelings. These feelings of well... returning home lonely, to no one. And then it hits me then and there, why I do this.” - Matej Soric

Matej Soric was feeling a million different emotions all at once at the advent of performing the Izmeduan entry for the 46th World Hit Festival, very much not unlike his domestic reputation within Izmedu. Matej felt right at home (Polumisec was only a road trip away from his hometown) but felt so incredibly alien being the Izmeduan representative. It felt like a long dream that he felt was due to wake up from, yet the reality of being the torchbearer for the Izmeduan flag in the World Hit Festival was one that he wanted to escape from in his moments of weakness and reckoning. All of this was compounded by the external pressures faced on him. He couldn't contemplate the thought of being the follow-up to the last two Izmeduan entries, no less having won VodiFest for the first time in his long, 35-year career. There was then the fact that he had sat right next to the shoulders of the person that won for his country just last edition, right within his career peak.

Truth be told, he wasn't sure if it was the right choice for him to be doing this festival. Not when he had so many reservations about how deserving he was, or if he was the right person for the job.

These reservations refused to stop even right at the very moment he was about to be ordered to wait at the wings and prepare for the performance. This was due in part to a career that had largely been born due to his kind of music becoming popular at the right time; as well as a fatal mistake committed 10 years ago that resulted in said career flaming out in an almost spectacular fashion. Matej Soric was largely known to Izmeduan music fans as one of the few bonafide artists to have hailed from Izmedu's northern reaches and is arguably its most famous, home-born singer. Born right at the border at the districts of Palatocka and Morska-Obala (in a small municipality called “El kamen”), Matej had began signing at the age of 15 and formally started his career at the age of 22, landing a record deal in Vodiznad. The reasons for such a record deal read almost as if Matej was an unwitting pawn in a game between music labels.

For Matej, he wasn't even aware that he was signed on due to his desired brand of music being popular at the right time. To him, the music that came out of Vodiznad and Mousiki was a style that he'd always desire to emulate, especially from the latter city. He'd listen to an inordinate amount of Klapa, both upbeat and of the ballad variety. He would often try to study the styles of singers like Josipa Milas or Dorotea Viskovic. He identified Adam Bralic as the kind of musician who sang the subjects that mattered to him. Love and romance, both its highs and lows, the stereotypical formulations often accorded in the media and from the realities of being in love. His style would then careen towards that of a singer that record labels were competing against, that being Dejan Mlakar. (who Matej had considered both a peer and as someone who he looked up to). Thus, right from the start, Matej's image had turned from an innocent singer to one who was often pushed and pulled by his management to become another singer that would flood the Izmeduan market with a style that married Izmeduan tradition and pop.

As a younger singer with not much of a sense of identity quite just yet, he was more than happy to continue on singing and make a name for himself. Matej's distinctive and almost husky voice led him to become an almost overnight sensation, being picked up rather quickly by Izmeduan listeners. At his peak, Matej was one of the singers that helped the Izmeduan traditional ballad to its heights, being considered as a safe second or third to names such as Dejan or alternatively, Zoran Lovric and Dominik Jelavic. However, Matej was perhaps the most vulnerable to falling into obscurity within the scene of older Izmeduan veterans, and it showed when the format that he and many others relied upon so heavily would eventually fall into the wayside. The more safer qualities of his music and his brand coasting off the popularity of one genre meant that Matej's popularity and relevance was fragile. Outside of that... There were genuine questions as to what Matej was as a singer and artist, questions that he himself still reckon with to this day. Was his music worthy of the intense popularity that it garnered? Or did he become famous by playing to the genres that was having its heyday?

That infamous event that almost killed his career permanently?... 10 years ago, Matej had grown privately frustrated with the way he was being pushed around by his record label and management to keep pushing and maintaining his sales numbers. Being a more introverted singer, he had no idea how to properly address or even push back against the label, or even translate this into his music (seeing as Matej had been mostly given his music, not written it, outside of the occasional track here or there). A brief but unfortunate flash with drinking was the trigger for the event. His brief but heavy spell with alcoholism occurred during the lead-up to the Zvucni dodjela (Izmedu's major music awards show), where he had drunk almost excessively before the show and was being honored with an achievement award. Matej, being mostly silent, had been able to hide the fact that he had drunk an excessive amount from his team until the very show itself.

He collapsed when accepting his award, falling onto the stage in front of a live national audience.

The event had nearly sunk his career and his reputation. The years, including the brief stint in rehab, the animosity, and the way his image was tattered, was something he didn't want to acknowledge. His name had become toxic amongst Izmeduan fans; and this event coincided with the already fast-decline of his popularity due to traditional style pop falling out of favor with the Izmeduan public. Matej didn't have any options except to undertake a permanent (for the time) hiatus and exile himself from the Izmeduan fame machine. He knew he flamed out in an almost literal fashion, having become estranged not just from his support system, but from his close friends, but also the remnants of what family he had (his father and his husband). Matej, for almost a decade, existed in a state of isolation.

The journey to the World Hit Festival was both a literal and symbolic breaking away from said isolation. The only way for Matej to maintain his sanity was to embrace the process of writing music once more, a thing he hadn't consistently and regularly done since his teen years. He again looked at the traditional pop styles that influenced him, finding a safety, comfort, and melancholy in them. It was in these long and lonely writing sessions was where songs like “Oprosti mi” began to take shape. Inadvertently, Matej had written an album or two's worth of songs. It wasn't until very late into the process, at least two years out of submitting a song to VodiFest, that he had practically become the kind of singer that he sought to emulate. That of a singer-songwriter taking control of their own material.

“Oprosti mi” was a plea of forgiveness. Part to his husband, part to his fans, and perhaps even to himself. Matej had long existed in a state of self-hatred and melancholy in his 10 years away from the spotlight, being buoyed by the savings he accumulated from his long career. However... he felt a massive regret from the way he his music career was ran. From clinging onto the greats he emulated, to his label, and often being at the teetering edge of being critically respected or derided. He regretted falling so easily for the comforts of his career without taking it in his own terms. It was in these desperate moments of frustration, starting out alone into a window at the Izmeduan sunset with his mind swirling with panic, is where he realized it's because of all of this is where he all went wrong.

Being selected for VodiFest was a miracle. Matej thought he'd be written off, considering the man participated a few times during his career peak and was nowhere near placing within its top 3. Then came the slow build and the hype, and winning against two incredibly respected artists in the final top 3. That itself was an outcome he never even conceived of in his wildest dreams. This time, Matej knew better not to try and get too involved in the ink written around his song and his participation. Living in Izmedu long enough, he knew that he had tall shoes to fill after not only displacing two domestic darlings, this was a comeback and a follow-up with more pressure than he could imagine. The victory itself was the path to the contest and Matej knew that being here was almost a divine intervention, considering he was now in the spotlight after a decade of hiding away.

Coming home was complicated. Performing at home, even moreso. He took a deep breath, hoping it would all be okay in the end.

There was a heavy crowd cheer, louder than what the singer himself expected, from the home crowd. It was impossible to determine if this was cheering for the home act or if he himself had earned some modicum of respect back after a complex exit from the industry. Despite the complex circumstances, seeing a singer like Matej Soric on the international stage was almost once-in-a-lifetime. Regardless, those in the RTI production could only smile fondly in reaction to this as the white stage lights flashed a glorious white, before flashing into a pitch black darkness (hiding even the orchestra pit). The home crowd conductor, Adam Katavic, was at the ready to start the song. Matej was positioned right at the center of the main stage, clasping the microphone stand for dear life. With the installation of a live orchestra, RTI would elect to play the entire song live. Adam, the conductor, would tilt the baton slightly to indicate the start of the entry.

It started with a rumbling of strings, causing the lights to flash a dim white as the cameras would then situate their initial views to the orchestra. There would be choice layers of shots at specific instruments, focusing primarily on the violins. These shots would display their respective player's hands playing their instrument along to the melody, some players' eyes closed while some could be seen concentrating intensely onto the sheet music they had on hand. These overlaid shots of the orchestra pit would then slowly fade as the song approached the start of its lyrics, fading to a shot of a weary-looking Matej. His expression was almost blank, with his eyes brimming with exhaustion and regret. He stared into the camera, stopping it in his tracks at the moment he began to sing. He would let go of the microphone stand...

Stojim, čekam te kauk samljen
El noć postaje hladna i amar
Izgubin sam, bojim se
Stojim, con ove žaljenje
Shvaćam maje greške i polne cre
Ah ljubaur, gdi se?...

At the advent of the first verse, Matej's voice was laced with an almost dulled undercurrent of pain, as if he was deliberately holding back from the full extent of his emotions. He reached slightly forward for the first verse of the song, starting off the lines with an almost exhausted tone. In reflection of the lyrics, he would embrace his arms, shivering and trembling only slightly. The camera, throughout this verse, would occasionally fade to wider views of the stage, revealing a stage bereft of any visible effects thus far and only a strong spotlight on Matej. These wide shots emphasized his relative isolation, with the shots being framed as carefully as possible to ensure that the orchestra pits did not dominate. His expression became lost and he would gently clutch his chest at the second half of the verse, an exhaustion mired with an innocent-looking expression of being lost now in his demeanor as he would close out the verse. Throughout his singing, the orchestra were at work providing the instrumental backdrop of the song, hanging back at the first half of the verse, before laying out the foundations of the build-up at the second half. At the end of the verse, the camera would return back to a closer view of Matej.

Racuadam što smo imali
Svaka la memorija
Izblide tako brze
Maj jamno plače

For this hook, the melancholic exhaustion would then turn into a mood of a slight desperation. Matej's face and eyes almost became hurried and panicked, befitting the slight turn of the song and the relative urgency of the string playing. The camera would occasionally fade to shots of Matej's singing and to shots of the orchestra, the appearance of drums and even a brief guitar note making themselves known. As this hook progressed and as Matej's urgency grew, the camera would begin to focus just on him for the last two lines. His vocals would begin to grow in power bit by bit, coinciding with the increase in the intensity of his emotions from his haggard and almost tried state from earlier. For the final line, Matej gave it his all in belting that last line, overpowering the orchestra for that brief moment even as they too would also increase in the intensity of their playing. Matej's face was clenched in that desperation, his face closed, and his body leaning back as the lights would flash bright for that moment, heralding the song's dramatic chorus.

Molim oprosti mi
Znam di nisam savršenstvo
Con-maja palaura budal
Maje cre tako naivan

Matej gave it his all for the chorus. He gripped the microphone stand with both hands, gazing into the camera and singing directly to the viewers at home. His eyes and expression remained clear and open, begging for the viewer to listen to his desperate tale. His vocals resonated with strength and pain, his mouth, hands, and face nearly trembling at certain parts and his fists clenched at some lines. He would shake his head occasionally, holding the microphone stand as close to him as possible as his vocals swooned and sweltered. Throughout the first half of this chorus, the orchestra would swell to its richest and loudest instrumentation, a symphony of guitars, drums, and strings that would help drive the song home. This was also buttressed with an array of background singers hidden within the darkness, the gentle light show being played never revealing them for a single second. The chorus did not relent as it entered its second half, seeing Matej lean away from the microphone.

Molim te slušaj me
Na-ove slabe molbe maji
Ne pitam za-el blagnost ili dai
Jedna blaž
Još jedna noć

For the chorus' second half, the camera would focus more on Matej. His eyes would be closed at he belted out the first line, weakly clasping but never holding his chest. His voice sounded as if it was teetering at the edge of his range at some parts, making it almost difficult to determine if it was a genuine error or part of the song's affect. At the second line, he would weakly reach out towards the camera, reaching for something that was never quite there. His hands would reach only for an emptiness, coinciding with his eyes opening once more for this chorus. He, once again, only wanted for the viewers at home only to listen to his tale. His eyes had grown from desperation to an almost intense resignation, matched as he would begin to tone down his vocals by the third line. His eyes began to cast down, with the camera using this as a very brief opportunity to occasionally cut to the orchestra. For the last two lines, the camera would return back to him, one hands gripping the stand but only weakly. He raised one hand up as he ended the chorus on a melancholy note, raising his other hand up to help him keep balance. He would step back, visibly breathing as the song would quiet down, the chorus only being sent off by a brief, but forlorn set of choruses from the piano.

Stojim, vidim samo tama
Oko nenčoin na tim cestama
Ovi posnoi čudan
Stojim, tako rub gubim razum
Pitam se
Prima uže maje cre, slomjen i usamljen

For this second verse, the orchestra had a bigger role to play in their backing of the song. The camera would equally balance its focus throughout this verse between both. For Matej himself, the camera would continue to emphasize his isolation on the stage. Instead of progressing towards a lightness, the dramatic lights on the stage seemed to fade one by one per each line, remaining until there was only a singular spotlight on him. The camera would slowly rorate around him for a certain set of lines, displaying an audience coated in a relative darkness, with the orchestra pit being the only source of relatively strong light throughout this verse. Matej's movements throughout this verse also began to be more free, his hands occasionally moving up to his face to cover it away from the cameras. His already high vulnerability only began to intensify even further, as one could see the emotion seeping through the brief cracks in his voice on some certain lines (especially for the second half of this verse). His face was downcast once more, especially in choice side-shots that were highly concentrated around that latter half. These were interspersed with overlays of the orchestra, shots that would cease as the verse ended.

Koliko mogu-uzeti
Ah, ova težina
Imam maja lainda
Do la kortial pada

The heaviness of second verse's melancholy paved way once more for a desperation in Matej's eyes. However, the resignation and pleading in this second verse was even more intense than the one sung earlier. Matej gripped the microphone with both hands at the start of this hook, the lights finally beginning to intensify when the strings and the drums worked together to provide the instrumental banking. This time, it was the resignation that played center stage, befitting the very nature of the lyrics. The camera would focus on him at the last two lines of this hook, with eagle-eyed viewers noticing that his eyes were briefly glimmering. He was on the verge of a breakdown, but had just enough within him to keep it together even as his vocals became passionate once more, his eyes closing at that last line as he tilted the stand forward and raising one hand up.

Molim oprosti mi
Znam di nisam savršenstvo
Con-maja palaura budal
Maje cre tako naivan
Molim te slušaj me
Na-ove slabe molbe maji
Ne pitam za-el blagnost ili dai
Jedna blaž
Još jedna noć

For the reprise of this chorus, the camera took on a wide view as it coincided with a brillaint flashing of the stage lights. Matej held his arms out in that wide camera shot, him belting out the first line of the chorus with as much strength and passion as he could muster in that moment. This overhead shot was brief (only being used for the first line), fading into primarily shots of Matej with the occasional overlays of the orchestra. Both were giving it their all, every single string on that orchestra combining together with the drums, piano, background singers, and guitar to add to the emotional landscape of the song. The audience in the arena could spot Adam Katavic, the conductor, lead the orchestra through the dramatic chorus and Matej's singing. For Matej himself, his eyes were closed and his singing had become even more emotional and resonant, hanging back from the microphone slightly as he let his arms free as he sang. For each belt he did (especially at the fourth line), he would cup his hands into a fist to steady his vocals. The second half of the chorus saw a maintaining of that intensity, until the very last lines. Instead of ending the chorus downwards, he would do so with a moment of vocal acrobatics. The last two lines he delivered with an intensity that wasn't there for the first chorus, the camera focusing on him as he let his belts go higher and even stronger, to the point where he visibly stepped back after singing the last line.

That passionate note was met with a cheer from the Izmeduan crowd, quickly drowned out when the song transitioned to its instrumental bridge. Matej was quickly drowned in relative darkness as a static shot of him staring forlornly to the side would occasionally overlay and fade into a shot of the orchestra pit. The orchestra were giving it their all, the string players hard at work in expressing and emoting the even further urgency of the song through their instruments. Midway through the bridge, the cameras would begin focusing on the song's principal guitarist. The guitarist would play an emotional, but simple guitar solo, letting in a few moments of slight intricacy. As the bridge would meet its end, the lights would darken and the orchestra would soften...

Molim oprosti mi
Znam di nisam savršenstvo
Con-maja palaura budal
Maje cre tako naivan
Molim te slušaj me
Na-ove slabe molbe maji
Ne pitam za-el blagnost ili dai
Jedna blaž
Još jedna noć

The final chorus would return back to a view of Matej, fading from the guitar player to him standing alone on the central platform in a close-up view from the cameras. The lights were darkened and the camera faded to a view of him without the microphone stand, with him gripping the lone microphone tightly. His gaze had transformed into a final acceptance of the lyrics he was singing, a fraught desperation now reaching its conclusion. The way he delivered the first half of the chorus was at first soft and intimate. He was backed by only a lone piano, marking an almost fragile dynamic after the climactic guitar solo. As the first half of the chorus met its end at the fourth line, the stage would begin to light up in preparation for one last glory note. He passionately belted out 'tako naivan,' his body arching, his eyes closed, and his face clenched in a passionate expression. He held onto that glory note for as long as he feasibly could, a background singer having to be substituted to sing the next two lines. He would return back to 'ne pitam,' closing out the rest of the song with his trademark and passionate delivery. His voice would arch downwards into a fragile tone; with the orchestra also paring back their instrumentation line by line as the song reached its conclusion. With a rumble from the orchestra and an almost melismatic delivery of 'jedna blaž,' he was now home free for that final line... Matej crooned the final lyric of the song softly, holding the microphone close to his mouth, his face nearly grimacing as the lights and instrumentation both softened to their conclusion.

A sudden overpour of emotion came through him. Matej was visibly covering his mouth as he saw the home crowd cheer within the Naida Arena. While his long and conflicted career would always remain something that would bear in his mind, for this moment... He could forget about the past and revel in what had just happened. This was the first time, in a long while, where he felt right at home as a singer. He couldn't predict or even bear to think about what would happen next with the results. However... for him, just seeing the support from the crowd was a victory enough.

He nodded to the orchestra and to the conductor before leaving the stage, blowing a kiss to the crowd.

For once in his long career... Matej finally felt that he was on the right track.

by **Kalosia** » Wed Jun 12, 2019 8:30 am

XX. Kalosia
"La Konfešio" - Maria Paskal
Title Translation: The Confession
Language(s): Kalosian
Lyrics: Luiž Botelo, Armandu Valentini
Music: Edwardu Dunor, Leonardu Kosta, Sebastianu Zanardi
Conductor: Leonardu Kosta
Tune: Good Day — IU

Maria Paskal is one of Kalosia's most popular singers. Dubbed by some to be "the Nation's Sweetheart", she first rose to fame after winning the 2010 Festival dëla Kanžun Kalosianë (FdK for short). FdK is the country's most prestigious music festival, and viewership figures indicate that this annual show is consistently more popular than WorldVision or the World Hit Festival. Despite also being broadcasted by RTVK, it has never been used to select the Kalosian entry for either international competition, although Kalosia's most recent WHF entry before this one was almost a contender for FKK before it was eventually disqualified from competing.

Back to Maria — her 2010 victory lead her into stardom, but then she won the most prestigious award in the Kalosian music industry again in 2014. If that doesn't prove how popular she is, I don't know what does. She holds more #1 singles than any Kalosian singer this century (the all-time record is still held by Maria Gallas, who represented Kalosia in WorldVision 64) and is on track to go down in history as one of the most prominent Kalosian singers of all time.

Praise aside, she has consistently appeared as a favourite to represent the island nation in international song contests, appearing in fan videos and blog posts since the country's international debut in 2012. This only intensified after her FdK 2014 victory. Finally, the prayers of song contest fans were answered when Maria won the 40th Festival dele Melodie Kalosiane with Mia Konfešio. The song comes from the perspective of a woman who wishes to tell her love interest (it's not clear whether the person is her lover or merely an figure of infatuation) how she feels. It is argued by fans that Maria Paskal has been so successful because her songs resonate with the Kalosian populace and she sings about things that most people can relate to.

Well, once she was in Izmedu, it was showtime. The conductor, Leonardu Kosta, was also credited as a songwriter as he was in charge of the arrangement to be performed in Polumisec — otherwise, the RTVK conductor had a minimal role in the production of the track. This arrangement involved a rather large delegation; at least 9 performers were expected to be on stage including Maria, but it wasn't until rehearsals that it was clear what was happening.

On the big night, the moment came. Leonardu Kosta came up to the podium, shaking hands with the violinist as he made his way. He then took a bow and turned towards the orchestra. Waving his hands to signal the start of the song, the orchestra kicked in and the camera eventually switched to showing what was going on onstage. The main focus was clearly on Maria, who was standing in the center of the stage, although she was joined by 6 backing dancers. Noticeably, the part of the stage behind the circle was covered by huge curtains, meaning the LED screens were mostly unused.

As the intro was finished and the song started to pick up rhythm, the dancers came into action. At the end of each line in this next part, the camera briefly cut to different parts of the orchestra.

Kalkëkosë sta difrentë kon l’arë hoj
Alorë fatšu un respiro profondu, e poj

Maria sang passionately, and it showed that she was really feeling the song, that she meant what she was singing. Her body language and hand gestures reflected on that. The backing dancers did choreography to the rhythm, and together with often fast-paced camera angles, this gave the song the dynamism it needed.

Školtu animë tia
E ula mentë mia
Mili penšeri volanu komë utšeli
Ma ja respiru
A ti parlu:

Although Maria's movements had mostly seemed to be organic up until this point, she in this next part appears to be more choreographed. It fits in well with the backing dancers (although she's not doing the same moves — kinda like in the tune video linked above).

Komë una alba, ja vidu la luž
Sentu ja rënašentë ankorë kon te
Voľu soñarë kosi
E voľu viverë kosi
E kredu u l’amurë perše ja t’amu

Se la matinë venise
Se përdesimu niu kasu oltimu
Voľu ja dirë ti, karu miu

That last syllable was held for 6 seconds.

Ja t’amu

Ah, such simple words that everyone wants to say, and everyone wants to equally hear. "I love you" — isn't it beautiful that any person, no matter how ordinary or sophisticated, can relate to it?
Well, in this short instrumental break, the camera pans over the orchestra with the stage in the background. Maria and the dancers can be seen doing a special set of choreography (see video). It helps that the stage lights subtly add to the dynamic aspect of this performance. Eventually though, the tone of the song goes back to being subdued. The camera shows Maria closer up, occasionally switching to specific parts of the orchestra (in the case of this part of the song, it's the electric guitar and the organ/keyboard) just as in the first verse.

Eruz ja sbaľatu per penšarë kosi?
Auz ja ušitu tuti toji flori?

But eventually the song begins to build momentum again. The lights and the choreography reflect this, and Maria's movements seem both organic and choreographed at the same time.

Ma školtu tia vož
E penšu ja: kë kosë?
Mili penšeri volanu komë utšeli
Ma ja respiru
A ti parlu:

And the liveliness all kicks back in again. The tones of the song are so warm that you can really feel the sincerity that both the music and Maria's voice brings.

Komë una alba, ja vidu la luž
Sentu ja rënašentë ankorë kon te
Voľu soñarë kosi
E voľu viverë kosi
E kredu u l’amurë perše ja t’amu

Se la matinë venise
Se përdesimu niu kasu oltimu
Voľu ja dirë ti, karu miu
Ja t’amu

There wasn't as long a note this time, but a surprise was coming. Now, all the backing dancers left the stage, leaving just Maria alone on the stage. Haven't you noticed that there had been backing vocals though? None of the backing dancers held or wore mics. Wonder where they came from...
In this next part, the main focus is on Maria as the stage lights become slightly dimmer.

Speru kë tu školti
Speru kë ašeti mia konfešio

Lo pošu viderë
Uli oki toji
Školtal koru tiu, dišel si!

You can really see the longing in Maria's eyes. That fledgling feeling of sensitive saudade truly created a connection with the crowd. Mostly at this point, the staging relied on fast-paced camera angles and dynamic lighting to keep up with the beat, as Maria mostly sang with limited but still rhythmic movements.

Komë una alba, ja vidu la luž
Sentu ja rënašentë ankorë kon te
Voľu soñarë kosi
E voľu viverë kosi
E kredu u l’amurë perše ja t’amu

Se la matinë venise
Se përdesimu niu kasu oltimu

Do you hear something?

Voľu ja dirë ti, karu miu

An off-screen voice exclaims the next part while Maria gestures "one, two" with her hands.

(Vamu! Uno, dwe:)

And here it comes:

JA TI AMUUUUUUUUUUUUUUUUUUUUUUUUUUUUUU!!!!!!!!!!!!!!!!!

As Maria belts out the line that becomes the centerpiece of this masterpiece, the camera backs off from a close-up, eventually showing the whole stage. The curtains behind open, revealing a choir of 8 — the 6 backing performers from earlier and 2 backing vocalists who had been there the whole time. Well, they were all backing singers now. A "golden shower" of pyrotechnics is unleashed, and the audience cheers. Imagine their reactions when Maria kicks it up a notch... and then two. Doves are released. Okay, not really, but world peace has been achieved, and all is good.

Lo voľevu dirë ti

Maria delivers the last line to the song, the final punch, and the crowd goes wild. She taks a bow and the choir behind her follows. After gesturing to the conductor (who bows as well), Maria, now almost as emotional as many audience members, shouts "Thank you! Hvala Izmedu, Gražia!" She waves to the crowd as she begins to make her way offstage.

by **New Juan Carlos Land** » Wed Jun 12, 2019 10:54 am

Dude Stop
Stromine Watterson
Language(s): English
Lyrics: Marine Mang, Stromine Watterson.
Music: Stromine Watterson, Qi Kang.
Tune:https://www.youtube.com/watch?v=oiKj0Z_Xnjc

Tell me, by his disappearance
Finally I'm going to know that.
my parents is good.
They love each other
not really.

Father mother
But he did not
He knows what it means.

Tell me, a hidden place?
This can definitely one of best places,

Oh my parents.

Tell me, a Dream island?
This can definitely one of best places,

Throw your dance!

Where is my mother?
Where is my father?
Where is my mother?
Where are you?
Where is my mother?
Where is my father?
Where is my mother?
Where are you?
But if you or other time,

Once it is father.
And then a mother.
Are they satisfied?
Do you have kids?
Tell me what you do not have money, rich yet?
Please tell me
Each one haves a child,
We should choose one of the parents, or what?

Throw your dance!

Where is my mother?
Where is my father?
Where is my mother?
Where are you?
Where is my mother?
Where is my father?
Where is my mother?
Where are you?

Father mother

Where do your mother tell me?
But he did not
Tell me, a Dream island?
Someone knows what it means.

Where do your mother tell me?
But he did not
Tell me, a hidden place?
Someone knows what it means.

Where is my mother?
Where is my father?
Where is my mother?
Where is my father?
Where is my mother?
Are they dead?

He smiled to the audience and say "Thank you" She exits the stage.

by **Mercedini** » Wed Jun 12, 2019 2:43 pm

XX. Mercedini
"The Love That We Earned" - Nico Taftai
Language(s): English
Lyrics: Nico Taftai, Elizabeth Renqvist
Music: Nico Taftai
Conductor: Ygritte Samson
Tune: Lewis Capaldi - Someone You Loved

Mercedini return to the international song-contest stage for the first time since their victory in Lipa, Besen. With renewed hope that Mercedini can lift a third World Hit Festival trophy and bring the contest to the shores of the blue and black nation for the first time, completing the hosting triple crown. Following their one edition hiatus from the contest, Mercedini are forced into unfamiliar territory for the 46th edition as the all-instrumental edition prompted many Mercedinian songwriters to strip everything back and step away from their regular world of pop production and club bangers. Izmedu's ninetieth win in the contest takes us back to Polumisec, with Nico Taftai flying the flag for the Mercedinians with his original piece revamped for the contest following it's original release.

Taftai has little experience of the international song-contest circuit, but has been performing on numerous late-night talk shows both within Mercedini and the wider region of Novapax to allow him to find his comfort zone while singing in front of large groups of people. There isn't much that can be done to calm his nerves before his big performance on the night, other than to simply hone in on his performance. With all of Mercedini three previous winners on song contests all male, the omens are looking good for Taftai to deliver a good result, although there could be an interesting result come the end of the contest, given the changing parameters of this edition.

by **Antahbrantahstan** » Thu Jun 13, 2019 1:11 am

XX. Antahbrantahstan
"Crossroads" - Paulina
Language(s): English, Indonesian
Lyrics: Haidar Gibran Suwito, Eliana Karim
Music: Pramono Suwito, Eliana Karim
Conductor: Pramono Suwito
Tune: Anggun-Fly My Eagle

Paulina, real name Briana Kamila Lindira Putri, is a singer and model, who is famed for being a contestant on The Voice Anta season 7, where she was mentored by coach Kevin Wang, although she would later be eliminated in the Knock-out round, aside from her The Voice stint, she was famed for being very tall in comparison to most of the contestants, being 176 cm (5'9 ¹/₂ ft.) tall. and she was also acclaimed for her powerful, yet sometimes "breathy" voice.

After The Voice, Paulina continued her stint as a model, modeling for Oreo City Fashion Week (OCFW) and several products, yet, she continued to sing, often performing in cafes, clubs, and wedding events, after a while, she was spotted by Claudia and Yasmin, the famed singer-songwriter duo and members of the Anturian WorldVision expert committee, who saw her singing during one of their friend's wedding. Claudia then secretly recorded her singing and sent them to the committee, who were both in shock and in awe, she would later be contacted by RR to represent the country in WHF. Paulina originally hesitated because she felt that WHF is inferior compared to WorldVision, however, she later accepted the deal after learning that her former The Voice Anta coach, Kevin Wang is in the WorldVision committee.

Kevin would later pair her with an unused demo written by the composer, Eliana Karim, alongside Pramono and her son, Gibran, at first, she complied, but later, she asked the songwriters to re-write some parts of the song to her liking, and afterwards, after 6 months of tuning, remastering, and rearrangement, "Crossroads" was born.

We see Paulina, sitting on the floor, her hair looks wet, and she is wearing a simple, red resortwear, all while she is just barefoot. The stage is also dark, save for one spotlight shining from behind, the LED screen is also dark, as they only show a full moon on the background, after her calm, somewhat breathy voice has sung for several seconds, she would then stand up.

Here, beneath the clouds, I call your name
I have been waiting so long only for you
Since the plants weaved its own dew
Their silent mouths concealing things they knew
Destiny might hate us, but we will never lose
I’m waiting in this road, waiting for your good news

The full moon on the LED screen would slowly fade, while the lights would slowly light up the stage, in accordance to the song, Paulina then walks slowly into the center of the stage, where a microphone stand is put there, she would then attach the microphone, and continue to sing softly, caressing the audience with her smooth, breathy voice.

In this road I stand
Where everyone keeps on walking
Hoping that their dreams would soon become true
In this road I stand
Silently weeping for you
Will you be here for me?
You said, “I’ll be there for you.”

The orchestra slowly intensified, and the LED screen slowly lits up, showing a dark, black sky, tinted with some faint orange, like the sky before the sun rose up.

Here, beneath the clouds, I realize, you won’t come back anytime soon
I have been waiting for so long only for you
Yet, you’re breaking my heart, one day, out of the blue

The faint orange would then become clearer, as Paulina continues to sing, with the voice caressing the venue and the audience, in the meanwhile, Paulina also tidied her hair, which would return back to it's usual, dry state. The audience watching on TV would then see faint fire surrounding Paulina.

In this road I stand
Where everyone keeps on walking
Hoping that their dreams would soon become true
In this road I stand
Silently weeping for you
This love is torn apart
And all your “sweetheart”
Is gone

The orchestra would then intensify, and as Paulina sings with power and passion, the audience on TV would watch "fires" engulf Paulina.

With you cutting all ties
I’m stronger than ever
The many months we have spent
Is fuel for me to rise

The fire then dissipated, and Paulina is now wearing a red gown, while the LED screen is showing the mighty sun rising from the ground. Paulina then continues to sing with such heartfelt power and passion that could be heard throughout the venue.

In this road I stand
Where everyone keeps on walking
Hoping that their dreams would soon become true
In this road I stand
Silently weeping for you
“I am still here for you”
No need, I bid you adieu

In this road I stand
Where everyone keeps on walking
Hoping that their dreams would soon become true
In this road I stand
Silently weeping for you
This love is torn apart
And all your “sweetheart”
Is gone

As the voice of the elderly woman caresses throughout the arena, the lights and the LED screens slowly dimmed, with the mighty noon sky on the LED screen being replaced by the evening sky (before the sun sets), Paulina would then sing softly, in contrast with her passionate singing earlier.

Diriku, sekarang bebas (I am now free)
Dirimu, t'lah kulepas (And you, i have freed you)
Jangan kembali (Don't come back)

Diriku, sekarang bebas (I am now free)
Dirimu, t'lah kulepas (And you, i have freed you)
Jangan kembali (Don't come back)

Diriku, sekarang bebas (I am now free)
Dirimu, t'lah kulepas (And you, i have freed you)
Jangan kembali (Don't come back)

Paulina then sings the final verse.

In this road i stand

The audience would then applaud her, and Paulina shouts into the microphone, "THANK YOU, IZMEDU!" and she then walks backstage.

by **Todlichebujoku** » Thu Jun 13, 2019 4:26 pm

XX. Tödlichebujoku
"Final Score" - Kai Unruh X DUYVIYÁ
Language(s): English
Lyrics: Miškee Laukkanen, Isamu Liepinši
Music: Kai Unruh, Miškee Laukkanen, Isamu Liepinši
Conductor: Kai Unruh
Tune: Tommee Profitt ft. Fleurie - Sound Of War

SterGo100 had saved up a decent sum of money from all the editions it had refrained from participating in WHF, and especially from having last hosted some 24 editions ago. So the broadcaster had quite the budget for the WHF46 Orchestral Edition, and with it came the ability to book some high-profile names from the Tödlichebujoki music industry. With the less than optimal results from previous editions of the Festival, SterGo100 was not planning to hold back this time and prepared to create and back a performance that would create a lasting impression on the international audience. With this in mind, the broadcaster asked Kai Unruh to perform in Vodiznad. One of the leading composers in the nation, especially after releasing his symphony "Taploukkun Südán" (Taploukku's Heart) which launched to a flurry of accolades and national recognition, Unruh was a reach even for the likes of SterGo100, which hoped he would at least direct them to another talented composer who would be more amenable to such an endeavor. In an unexpected twist, Unruh gladly agreed to represent Tödlichebujoku in Vodiznad, and made a surprising partnership with the underground, but rising, electronic group DUYVIYÁ to create the song. Elated by this turn of events, the SterGo100 WHF team gladly agreed and worked out a contract, resulting in the entry "Final Score".

Kai Unruh is the son of Vislašan immigrants to Tödlichebujoku, born in Schwente-Kastelkaro and raised in Blutigenteikei. Introduced to Popolian musician Durante Sideros while studying music composition and production, Unruh worked for Sideros's studio in Popolia for a number of years as a young adult, before eventually returning to Tödlichebujoku to begin working with film production studios and landing contracts with major productions. His name slowly became a byword for theatrical instrumentals, eclipsing that of SKLO, and eventually entered the international music contest scene via electronic and rap collaborations, notably the opening acts of WorldVision 55 and 63. He entered the uppermost echelons of Tödlichebujoki musicianship with the release of his symphony "Taploukkun Südán", gaining him national recognition and the designation of "National Symphony" for his piece. Still retaining a passion for the theatricality of the international song contests, he gladly agreed to an offer by SterGo100 to sign him on for the Orchestral edition of the World Hit Festival. Of his own volition, he entered the group DUYVIYÁ into the mix, a group he greatly admired and hoped to elevate both domestically and internationally.
The electronica group DUYVIYÁ is composed of Miškee Laukkanen and Isamu Liepinši, and was formed a few years ago as a collaboration in a Sinnlichšukai studio, intended as a short-lived experiment. The two members, however, found themselves gelling together and their music was a surprise hit among their existing fans, and brought new fans into their base. With this encouragement, DUYVIYÁ became a more permanent project, and eventually released its debut album to critical acclaim amongst electronica writers. In a stroke of luck for the duo, their genre overlapped with the listening interests of Kai Unruh, who reached out to discuss a potential collaboration at some point. With the SterGo100 deal, the two artists finally had the substrate on which to create a solid piece of music, one that highlighted both their strengths in electronica and orchestrals. While unexpected, the fruit of their collaboration has found fertile ground among the nation's WHF fans, though those who were hoping for a Hilya Šuster orchestral ballad were left disappointed by the hard-hitting direction of "Final Score". Even so, all parties involved hope for a good result for the top composer and the underground group.

Five stars glimmer in the deepening darkness. A flash of blue pulses from their icy light as the first strummed notes flick through the heavy air. Dim twilight rises from behind, revealing Miškee in a sheer white gown, ethereal, almost like a mist upon her wiry frame. With each drumbeat, a soft but firm glow pulses from points arrayed along each side of the stage. A floral coronet is perched upon her pitch-black hair, but something seems visibly wrong in the rising half light. It seems disfigured somehow, but the audience cannot yet tell how. A soft, eerie light ripples upon her face as she cautiously begins, head tilted forward, a few wisps of hair on either side, her voice soft but unwavering

I hear your silent song
I know it won't be long
Time flows like a waterfall
Now the moment's gone

With the drumbeat, she subtly flicks her head forward into the strengthening light, eyes firm and forward. Pixels fall like a rain of glimmering dust behind her, before the light of a splintered sun appears overlaid with the next drumbeat. Miškee's voice is level, controlled, breathing nigh imperceptibly but deliberately

Hold your heart like a stifled drum
Night blocked by a shattered sun
Counting to three, breathe

The ambient lighting dims away, the camera close in on Miškee. Her eyes shut, she takes an audible breath. The moment ends with a dazzling brightening of the background screen and intense flickering of the newly brightened spotlights, the camera zooming out from the stage. Miškee's coronet is revealed to be made out of charred petals that fall to the ground one by one, especially as the wind blasts by with each electronic blast, and she steps forward with wince of pain.

One more high
One last run
Hold your ground

Behind her, the surrealistic night sky flickers downward, ever closer to the black earth. An occasional white pyro streams down from the ceiling, just a few sparks. Still, Miškee does not shield herself from the wind or the sparks, and continues to inch forward, step by step. Her eyes close, caught up in the vibe of the song, before opening again, staring level and forward into the camera view

Skies will fall
Rise to fight
Eye to eye

Without skipping a beat, she continues onto the next line, her gaze shifting upwards toward the emptiness above before turning to the nearby camera. What appears to be snow drifts down from above

There are no gods left anymore
Play now our final score

A curtain of mist quickly envelops the stage in a dense fog, with Miškee soon disappearing. However, the limelight is snatched away from this process as the lights all cut out to pitch darkness with the next drumbeat, in time with a brilliant blue-white holographic lightning bolt striking above the audience. A new lightning bolt strikes in a different location with each successive major drumbeat, illuminating the falling snow throughout the arena for half second with every strike. Unseen, Miškee's voice is heard from all around

This is our final score

The lightning bolts continue until the final crisp, clear piano note is struck, whereupon starry lights glimmer on and illuminate the snowy air with watery radiance. The occasional stark white pyro falls once more, and the background screen's scene is filled with shooting stars. Stepping out from the mist, Miškee begins again, holding a hand out to catch a falling pyro. It filters through her hand like fiery sand through cold porcelain fingers, and she carries on as if she had simply reached out to hold a snowflake. Behind her, the background screen's bottom edge begins to gain a dull red glow, indicating a far off wildfire, out of control. Miškee's voice gains an almost mournful tone as she beholds the scene around her

The stars now weep with their crystal cores
A melody that's not long worn
Lights of a fire dance
Once delight but now drifting ash

The falling "snow" now seems darker in color, more sinister, more ashen. The background screen's source of its red glow is still rather indiscernible, but tall structures seem to be barely visible. The camera cuts away before any further analysis can be done, turning to a different angle of Miškee against a background of falling flakes and sequentially flickering accent lights. At first she focuses her gaze forwards, but then turns to the camera

Hear that deadened thrum
Echoing off a distant hum
Counting to three, breathe

Turning back to face forward, she closes her eyes and takes a deep breath as the lights momentarily dim. Suddenly, the lights return with a vengeance as they intensify in rapid pulses, and a blast of wind hits Miškee head-on, scattering most of the remaining petals of her coronet, and revealing it to be a twisted tangle of blackened iron thorns striated with silver. The camera arcs around her, stopping right in front of her before panning backwards at hip level, tilted upwards at her face. The backpedaling camera thus captures the instrumentalists on either side of the walkway ahead of Miškee, a taste of the long-awaited instrumentation that is soon to come

One more high
One last run
Hold your ground

Arms reaching out, Miškee slows in her forward advance, as the scattered falling pyros fall harder and faster behind her. She almost seems like she is struggling to continue amidst the intensifying storm, before stopping to stand up fully against the wind, as the ambient lighting periodically cuts out into darkness.

Skies will fall
Rise to fight
Eye to eye

Standing amongst the instrumentalists, she kneels down and gestures to those on both sides of her, hair and dress blown by the breeze. Flashes of light illuminate the darkness behind her, a row of dull flames appearing in the distant "horizon" and some flames along the far edges of the stage.

There are no gods left anymore
Play now our final score

Miškee leans back, arms outstretched, eyes closed, a thick layer of mist around her. The lights cut out for a second, and when the eerie, starry lighting returns, she has disappeared. The camera view focuses on the orchestra, which is primarily lit from below by a diffuse white light. Miškee reappears for a split second, bathed in a vertical pillar of light in a different section of the orchestra with the strike of the gong and every successive strike of the piano note. It is difficult to tell if it really is her appearing every time, or if it is just a holographic apparition of her, as her form seems increasingly ethereal with each appearance.

As the music pauses for a brief moment, the lights turn down as well, leaving only the mist on the stage floor lit from below. With the resumption of the music, twin trails of low fire slowly appear along the edge of the stage on either side, continuing on towards the front of the stage and along the instrumentalists. The stage becomes a deeper orange tint with each piano note, and a structure begins to rise out from the mist, having been laid flat the entire time and now being hoisted up via a cable from the ceiling. Like a 3-dimensional puzzle falling into place, it transforms into an idol of some sort, a sort of 30-foot tall (9 m) totem pole composed of quasi-religious figures that are easily recognizable as such but do not immediately recall any Earthly religion. With the shifting lights of the unstable atmosphere, it is noticeably made out of a dark, wet wood, grim against the glowing mist and falling stars. Light reflects off the eyes of the figures in the totem pole, like fire and starlight. Perhaps it is not light reflecting off of them but light emanating from within. An array of spotlights swings outward from each side of the totem pole, a mysterious liquid oozing down its crevices, running down from its many eyes. The camera, after capturing a number of wider shots, pans down the side of the pole, following the liquid flowing down the wet, dark wood. Once it cuts back to a wide shot again, the stage is revealed to be filled a multitude of desaturated holograms of Miškee with arms outstretched and rising above her head, all rotating as one as if detached from the ground.

[3:36 on the video]

The fire along the edge of the stage triples in height, and twin streams of fire begin inching closer to the totem's base. The fire falls back to its original height, but then rises again with each repetition of the instrumental motif, soon reaching the totem racing right up to the top, where a final angelic hologram of Miškee stands, hands together palm-to-palm above her head and eyes closed. The totem, now wreathed in flame, flares in concert with the rest of the fire with every repetition before disintegrating into a massive sparking cloud of embers that coalesces to form a phoenix which swoops in over the audience through the snowfall of drifting ash and streaming pyros, radiating heat and energy into the air of the arena. With the climax of the instrumental, a flurry of lightning bolts flashes throughout the arena in time to the final drumbeats of the song. The phoenix dissipates in a cloud of silvery, ashen smoke, as the arena falls back into darkness

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World Hit Festival 46 - Polumisec, Izmedu | DRAFT THREAD

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