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TAKE FLIGHT! || WHF 48 || St. Christopher, Llalta

Where nations come together and discuss matters of varying degrees of importance. [In character]
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TAKE FLIGHT! || WHF 48 || St. Christopher, Llalta

Postby Llalta » Sun Nov 17, 2019 8:53 am

Image

TAKE FLIGHT!
48th World Hit Festival
St. Christopher, Llalta






19:56 GMT


Llalta, though successful in the World Hit Festival, thought winning was only a far fetched dream. It was small, with only 3,136 people, and had a substantially lower budget than many other nations. The win came as a huge shock to the tiny island nation. All their hard work and dedication had finally paid off. And, they got a chance to host the prestigious contest, thrusting their name out into the spotlight. Winning was hard, however hosting seemed more of a challenge. Less manpower, budget and size, meant that it would be hard for the hosting to be complete. Much of the work came down to the perseverance of the community who helped the LBN's dreams come into reality. Even, the schoolchildren helped out, creating designs for the logo and such. Thus, the end project felt so much more to them, knowing they all had a part to play into creating this stunning contest for you, the audience to enjoy! From Britonisea to the Achaean Republic, they hope every nation watches all their hard work and effort. No time to reminisce now, the show is about to begin!As the time nears to 20:00 GMT, when the show begins, everyone begins snuggling on the sofa attempting to get comfortable, or taking off to the loo before the show begins. This one minute feels like forever. Eventually however, a countdown begins on the screen. Birds, as seen on the logo, fly around each number as they appear. The last toileteers dash down the stairs for the big show...

10...
9...
8...
7...
6...
5...
4...
3...
2...
1...
0...



20:00 GMT
WELCOME TO THE 48TH WORLD HIT FESTIVAL!!




The anthem of the World Hit Festival begins to play, the logo forming on screen. The patriotic anthem of this world renowned contest. Many people from around the world are tuning in this evening to watch this contest, and there is a buzz all around the world. This anthem is a jolly affair, marking though how the contest may change, never forget it's humble roots. The short piece is quickly over, replaced with this...


0:00 - The music starts, and the screen is black. Slow-mo shots of Chiara's win from WHF 47 play on the screen in a sepia tone. Her face when she realised she won, her singing the dramatic operatic symphony, her crying as she holds the trophy high above her head. It's all very dramatic, a little staged, but very emotional. Showing how this contest got to Llalta in the first place. Another shot appears, her with the trophy, confetti falling like snow from the ceiling. The sparkling confetti shimmering like stars into the camera. Audiences screaming out in ecstasy. Llaltese flags waving high into the sky.
0:48 - The focus slowly transitions from shots of her win to the night sky, stars ablaze and the moon looking down on the earth. Kyvivre's highest skyscrapers can be seen from this shot. As the camera moves down, the rest of Kyvivre's night time cityscape can be seen; different coloured lights twinkling from the buildings, and the arena, with spotlights from the roof painting the night sky. The camera moves down a little further and an egg in a nest on the roof of a building can be seen. The egg is cream with brown speckles on it. Though still at first, it shakes a little.
0:53 - The light tinkle can be heard, and a tiny beak cracks open the top of the shell. Though small at first, a couple more attempts of cracking the egg cracks the top half off. A little baby bird head pops from the top of the egg, leaving viewers 'awww'ing. It's hairless and a little pathetic looking as it attempts to free itself from the rest of the egg shell, but cute nonetheless. It struggles a little more, until another bigger bird comes over, the baby birds mum, and takes it out of it's shell 'prison'. It begins squawking cutely, for food and it's mother bird flies off.
1:00 - As the cellos begin to play, the bird waddles off to the edge of the nest, and the camera pans across the sparkling city of Kyvivre. The bird's eyes widen, the reflection of the cityscape seen in his eyes. His beak opens wide in shock. The audience is left 'awww'ing even more.
1:07 - The cute scene at night turns into a montage of the bird growing up, the scene changing with each note changing. The bird's mother feeding it worms, travelling and exploring the streets of Kyvivre, riding on the back of it's mother as she flies across the skies of Kyvivre. We watch the bird's feathers grow out and it's growing into a juvenile. A cluster of birds making shapes in the sky can be seen, the bird looking amazed at the sight. A scene of the day transitioning to night in Kyvivre can be seen, as well as scenes of day to day Kyvivre life can be seen sprinkled amongst scenes of birds. People feeding the birds, feathers falling from the sky as they cluster amongst the sky and other bird scenes are shown.
1:27 - The main bird is seen practising to fly off of roof tops, but often failing. His bird brothers and sisters can be seen acing the act of flying, making the bird a little jealous, but determined. It flaps in the sky but to no avail.
1:44 - Our main birdy friend is seen looking at his friends and family flying together, to which he looks sadly at. He looks down for a moment, contrasting the generally happy atmosphere. However, the camera switches to a shot of The Green Skyscraper, one of the tallest buildings in Kyvivre. The camera pans to the top of the building before switching back to the bird who looks amazed at this marvel, the camera zooming into his eye reflecting the building.
1:50 - The camera changes its focus to the bird's family, too busy with flying to notice their brother trekking to the top of the skyscraper. It waddles up, hopping from rooftop to rooftop, balcony to balcony, window sill to window sill. Britonish people looking confused at the juvenile bird leaping from roof to roof is also shown. It slowly climbs higher and higher. People having meetings all looking out their windows to witness the small bird and its journey. Eventually, the camera shows the small bird who has finally reached the top, surrounded by golden flowers, as he takes a breath. People from all around the tower cheer him on from their windows.
2:00 - The bird takes a big breath and closes its eyes. The camera increasingly zooms into his face and the people cheering him on, furthering the intensity of the scene. The bird takes one step forward as the music increases, and everything goes slow motion. People bring out signs from the window cheering it on through its perils. He takes one last breath.
2:08 - Suddenly the bird leaps from the roof, the camera taking a shot from below as the bird obscures the suns light, as he becomes a silhouette for a short moment. The camera then moves to it falling, as it closes its eyes in concentration as it passes the windows he just climbed on.
2:12 - Then, it spreads its wings and begins to fly through the air. People behind it cheer it on and congratulate it's victory. The bird flies through its brethren with impressive speed, the family gazing in shock before squawking in excitement. One man throws a book from the window telling them to "SHUT UP!" but is ignored by the ecstatic family of birds. The scene changes to the bird, flying freely through the air, zipping through skyscrapers and weaving through crowds of people. A very liberating atmosphere fills the air, as the bird dances and loops through the air. The bird gracefully passes through day to day life of Kyvivre.
2:32 - The camera takes a side view of a skyscraper, in which the bird, too liberated to care, seems to crash into. The music mellows a little. Feathers burst from where the bird crashed into. Its family look devastated, perching on the roof where the nest once was. It begins to rain too, further emphasising the sadness of the moment. The camera zooms out of the family, who fly off to shelter leaving the scene empty with only a barren cityscape filling the scene.
2:43 - The camera focuses on where the sun peeks from the grey rain clouds. It glimmers into the camera, when suddenly, a brown smudge crosses the cameras view. The bird is back much to the surprise and happiness of its family, who have turned around to see it swoop and loop in the skies. It flies past the family, the camera following closely, as they all fly in unison around the city. At this point, the bird has reached the age where it can live by itself.
3:06 - The bird flies into the sunset, its silhouette vanishing into the golden orb of light, its family behind watching and squawking him off, wondering if it'd ever return to them. Its a bittersweet moment as the bird flies off, the audience most likely clutching a tissue just in case.
3:18 - The next shots are of the bird travelling to different places around the world from Musiki to Rosario. Scenes of it playing with other birds in key landmarks of the world. Splashing around in mountain springs to fountains, swooping through cities of old and squawking with orchestras. People feeding it multinational foods as they live their day to day life. Flying along with the Northern lights and sitting on busses as it travels through culture to culture. Dancing with a hidden tribe in the rainforests to flying over street parades. From the mundane to the extraordinary, this bird has seen it all. Watching the wonders of the world and all of earth's gifts.
3:38 - The bird perches on a lamp in a small coastal village, possibly Izmeduan. There is a small ship parked nearby with two burly men carrying loads inside it's small interior. Only the sounds of crickets and the ocean lapping on the mottled pebble beach can be heard. It's a very calm moment. The bird flies over singing and onto the rusted and used ship and tucks itself into some tar pooling before drifting off to sleep, and the screen fades to black.
4:53 - The ship begins to sail off into the calm ocean in the dead of night, and the camera zooms up to the night sky where a dozen stars sparkle, watching over the bird.


0:00 - The music starts, and the screen once again lights up. The ship is now in a small port town; St. Christopher! The sun shines brightly down on the rusted ship, bobbing on the clear blue oceans. The bird steps out from beneath its bed of tar pooling, and looks around him to the pretty town of St. Christopher. Bustling with people and wildlife. The camera pans around the bird, amazed at its new location. The fish around the boat leap in the waters.
0:11 - The bird flies into the air and an aerial view of Llalta can be seen, people like ants from up high. The ship S.S. Trinity can be seen from up here too. The people are busy preparing for World Hit Festival 48 by the looks of it. A couple other birds circle it whilst in the air too. However, the main bird is too in awe of its new home to care.
0:25 - The bird swoops down into the streets, weaving the people and darting down quiet alleyways of old. The bird passes a couple having tea and coffee on a white table outside, before passing an ice cream stand bustling with excited children and bemused parents. Flying past the church, the beautiful stain glass windows shine in the sunlight, where a choir can be heard singing with voices like angels. The bird snatches a sandwich from a Llaltese child, who chases after it excitedly, ignoring the parent behind chasing him. The bird does a loop in the clouds before passing a pub, men watching in awe from the windows. The bird then passes through the streets, a festival being held, people throwing confetti from the windows and dancing to the beat of the drum.
0:47 - The bird the passes the camera screen, and suddenly, it is night. Colourful fireworks coming from the S.S. Trinity light up the moonlit Llaltese skies. The bird looks into the camera mid flight, and two dozens birds begin flying behind it, like a swarm of bees. They dance around each other for a couple moments before the camera looks at the moon. The birds fly into the position of the logo, swirling in the light of the moon and the logo is made, the "Take Flight" slogan appearing in the midst of the moon just like the logo. The violins end, and with a shimmer, the birds all scatter from their position in the logo, guiding the camera into the S.S. Trinity, the venue of the 48th World Hit Festival and where it'll all begin...
Last edited by Llalta on Sun Nov 17, 2019 8:54 am, edited 1 time in total.

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Opening Act

Postby Llalta » Sun Nov 17, 2019 9:13 am

After realising they are on screen the crowd erupt in an explosion of cheering and screaming. Lights dance wildly in the arena to mark the start of the 48th edition of the World Hit Festival. The camera then switches to outside where fireworks light up the sky, painting the night with vibrant colours. Then the camera switches back into the arena, a buzz of excitement in the air. After, this is a very momentous edition of WHF since this is the first (and hopefully not last time) Llalta will host. The 1,000 people crowd, though small in number, certainly aren't the quietest as they jump up down trying to gain the attention of the camera. Even when the music begins to play for the opening act, the crowd don't quiet one bit.


WIP
Last edited by Llalta on Sun Nov 17, 2019 10:02 am, edited 1 time in total.

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Postby Llalta » Sun Nov 17, 2019 9:33 am

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Please welcome our host for tonight's show, ERIK MCGARRISSON!!


At the mention of this famous Llaltese actor and presenter the crowd go into a frenzy. His regular appearances for WorldVision and World Hit Festival commentator and spokesperson and has made quite the name for himself in the community. He's one of Llalta's most iconic people, alongside Esther Winterbourne, Pingu and Chiara Albanthia. As his name is called out, he steps down from the his position whilst the dancers that were previously onstage scatter offstage. Erik McGarrisson steps forward and soaks in the limelight and attention, mock bowing and waving as he moves to the front of the stage. He grabs a white lace hankie from his front pocket and pretends to wipe crocodile tears off of his face. The audience laugh at his mockery of the audience. At last, he speaks.

Erik McGarrisson: Thank you, thank you! Oooh, thank you so much! I know I'm fabulous don't need to tell me... Good evening world! I'm your host, Erik McGarrisson, and this is the 48th World Hit Festival in, my home, Llalta!!

The audience cheer loudly and the camera pans all the excited audience members.

Erik McGarrisson: If you've never watched before, this is a song contest where each nation sends in a song in order to try and win the contest. 'How do you win?' I hear you ask. Well, if your song is good enough, people from all participating countries will vote for you and the nation that gets the most points from all the nations, wins the contest! Which is why we're here in Llalta! Yes! I know! I'm surprised too how we won... Pity maybe. Can't be bribery though since the LBN certainly don't have the money. Especially not after tonight oooh let me tell you! Anyway, I'm rambling, just like an old man... So to conclude: Llalta won, we host. If you knew all of that before, well... Not my problem. Throughout tonight, 15 wonderful nations will perform their song in hopes to 'wow' you all over. From sad ballads to fiery dance tracks, the World Hit Festival has it all. We hope there'll be a song for everyone. Which are those nations competing? Well...


WIP

Erik McGarrisson: I'm sure all of this has got you pumped for the show!

The audience reply with a huge 'YES!'

Erik McGarrisson: Then let's get on with the show!
LET THE WORLD HIT FESTIVAL BEGIN!!


And with that, the crowd whip into a frenzy, chanting their favourite to win and such. The lights in the arena go wild as they light the theatre in white and gold. Onscreen, the first nation name appears surrounded by a flock of birds. Antenovaria, take it away!
Last edited by Llalta on Sun Nov 17, 2019 10:02 am, edited 2 times in total.

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List of Competing Nations

Postby Llalta » Sun Nov 17, 2019 9:41 am

WIP
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Postby Llalta » Sun Nov 17, 2019 10:01 am

ANTENOVARIA | 01
Theresa Peri & Johnathan Amelda - "Live This Moment Forever"

Language: English
Music: Theresa Peri & Johnathan Amelda
Lyrics: Theresa Peri & Johnathan Amelda






Theresa Peri
Johnathan Amelda
Both


Johnathan stands on the stage and proceeds to sing his part of the song.

Stare into your soul
Give me the time of day
You give good love and I cant deny
Your soul keeps me alive
Dont you hide from me
I need to love you
Don’t know what I’d do without you
Give me your all forever


Theresa walks on stage over to Johnathan and Johnathan holds her.

Your love gives me everything I needed
I cant let go


They separate moving away from eachother

When I stare into your bright eyes
I see my love and I
I just want to share this love with you forever?
You’re the only one that I need
I just want you to be all mine
I just wanna live this moment forever..
I just, wanna live this moment forever...
(Forever, ooh)


I just want you to be here all day and night
And feel your heartbeat next to mine
And let your love capture me (capture me)
Just get to know me (know me)
And I’ll get to know you (know you)
I want this love to be endless baby
I just want you to be with me
(I just)


When I stare into your bright eyes
I see my love and I
I just want to share this love with you forever
You’re the only one that I need
I just want you to be all mine
I just wanna live this moment forever..
I just, wanna live this moment forever...
(Forever, ooh))
Forever (Forever?)
Oh!


Lets just let all the time fly by
You and me, just side by side
Just give me the time of day
I cant imagine not being next to you
Wont seperate from you
Please baby, I want you to stay


As she hits the note she lets go off.

When I stare into your bright eyes?
I see my love and I?
I just want to share this love with you forever?
You’re the only one that I need?
I just want you to be all mine?
I just wanna live this moment forever..
I just, wanna live this moment forever...
Forever, ooh, Forever!
Solo, solo un beso
Un beso para siempre (Para siempre)
(Wanna live this moment forever)
Dame un beso para siempre
(Wanna live this moment forever)
Para siempre


I wanna live this moment forever?
I want, to live this moment forever?


Despite the simple staging, the crowd go wild for the Antenovarian duo, being known lovers of ballads. Onto Mercedini!
Last edited by Llalta on Sun Nov 17, 2019 10:02 am, edited 1 time in total.

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Postby Llalta » Sun Nov 17, 2019 10:13 am

MERCEDINI | 02
Vitra & Stephanie Kalinovsky - "MELODY"

Language: English
Music: Andrej Vida, Maxim Trujhkin
Lyrics: Andrej Vida, Maxim Trujhkin, Stephanie Kalinovsky






Image


Mercedini make a hopeful return in what would be ENM's final outing as host broadcaster for the World Hit Festival, following leaked plans of a successful bid by rival broadcaster TeleDini to take over the operations of the contest from the 49th contest, subject to the final result in the 48th which would postpone the handing over of the contest should Mercedini win and host the following contest. Mercedini have won two contests until the watchful eye of the ENM deleation, with a further series of podium finishes across the thens of editions that Mercedini have been a part of. Daniel Alishkaerni is favourite to become head of delegation for the new look Mercedinian team, however contracts have not been finalised. It is a turbulent time to be a Mercedinian WHF fan over the past couple of editions, with several non-participants and a lack of decent finishes in recent editions.

So, it is up to someone to fly the ENM flag one final time as they send off the host broadcaster who has nurtured the nation from a fledgling in Monterra to a title winning nation with Daniel Alishkarni with 'Don't Tempt Me' and M'folo Asante with 'Someone'. That role falls to a collaboration of three artists, the DJ-duo of Vitra and the powerful vocals of Stephanie Kalinovsky. An open application was sent out to all major production companies, with an emphasis on the quality of the music and the vocals present in the song, with the named artists able to sing live and give a solid performance when it mattered. After a two-week consultation period, the three artists were named as the successful applicants with their song "Melody" which was originally demo'd by Kalinovsky, before it's intended vocalist pulled out of a commercial release which shelved the song for months. The vocals, written by Kalinovsky, will be performed in St. Christopher, Llalta, with ENM hoping to give themselves a last hoorah at the contest, with a potential 3rd victory on the line.


The opening piano chords ring out to start the Mercedinian entry for the 48th World Hit Festival in St. Christopher, Llalta, with Staphanie standing at the centre-rear of the stage with a black catsuit with diamonds covering all the front. The design of Stephanie's outfit she glitters and stands out from the rest of the stage, while faint beams of light of many different colours line the edge of the stage and the screen which sits behind everything. The Mercedinian entrant taps delicately against her hip in time with the song's drum snares, as she prepares herself for performance she is about to give.

Oh-oh-oh-oh-oh-oh


The faint colours which originally lined the stage fade away into the darkness as Kalinovsky takes a step forward towards the audience and towards the centre of the stage. She looks out into the vast audience area with tentativeness with the stage illuminated by a single spotlight and the flickering on lights on the stage floor which reflect the underbeat of the song accompanying her vocals. A series of sweeping camera shots from the stage floor take in the design of the stage, setting the stage for an interactive performance that everyone can get involved in.

There's silence in this old town
The music's faded away
Our world is flipped upside down
When the words can't function


Backing vocalists can be heard as the pre-chorus begins to build up the beat and the spectacle of the song. Stephanie walks to her right-hand side and sings to a camera placed within the audience beneath her, with waving flags and bouncing hands being seen as the performer cracks a small smile as she sees fans a supporters bouncing and dancing to her song. She walks back to the middle of the stage and lifts one hand in the air, belting out the 'our song' notes as the lights retreat to a single point behind her, a round white ball of energy the only other thing aside from the performer herself.

We've found our place
We've found our world
And we've found our place, our place to write our song
Our song, our song


The white ball of energy explodes into life, shooting colourful beams around the screen behind Stephanie, in time with the piano chords. These fill up the screen and combines with the lights around the stadium to build a crescendo of sound of colour around the arena, for the audience that is present to see, plus the viewers at home who currently see an angle that is elevated and retreating from centre stage, taking in more and more of the audience as it moves back. The Cymbal claps provide a brief flash of light before the main melody of the song returns.

Melody
You've got the notes to make my song
Melody
Give me the words to sing along


A series of sweeping shots from the camera is met with a number of mobile stage lights wandering back and forward across the audience with different colours providing an energetic side to the song which is combined with Stephanie strutting to the front of the stage and singing to the plethora of cameras as they fly past. Quick shots of bouncy audience members reveal the party atmosphere that has formed within the arena in St Christopher. Flags flying like crazy, Stephanie makes a quick spin to turn her back to the audience, in time for the second verse.

And we'll scream through the walls, through the walls
Creating our crescendo till the break of dawn, break of dawn
Gonna make it through it all
And we'll scream through the walls, through the walls
Creating our crescendo till the break of dawn, break of dawn
Gonna make it through it all, oh yeah


A camera enters the stage floor from the back of the stage as Stephanie walks towards it, with phone lights and illuminated flags all waving behind her, with thousands of fans getting involved with the performance, uniting people of different nations as one, and it had to be a banger that did it. The camera performs one rotation of the performer before tailing off and being replaced by the main central camera in the arena.

Oh, the rhythm revives out minds
Evolving until the end
If living is like a crime
Oh, then baby I'm guilty


Steph walks to her left hand side this time to greet those audience members there, making gestures that she belongs where she is standing at that moment, potentially giving a message to her doubters and proving to herself that she has earned the privilege to be singing for her nation. The second pre-chrous is doubled up, giving the performer plenty of time to make her way back in front of the screen as the colours begin to fade out before the main chorus kicks in once again. A series of drum snares provide a brief flash of light before the colours fade away and the main feed on television fades out to darkness.

We've found our place
We've found our world
And we've found our place, our place to write our song
We've found our place
We've found our world
And we've found our place, our place to write our song
Our song, our song


We return to the normal viewing less than second later and return to a barrage of colour as the LED screen and lights around the stage blast the audience with colour as the piano chords sound out across the multiverse. Steph opens up her body language to the audience as she looks distinctively more relaxed now compared to the start of the song. The main beat of the song returns with some heavy bass and more complexity within the tune, as the added layers provide more progressiveness to the song as it goes from verse to verse.

Melody
You've got the notes to make my song
Melody
Give me the words to sing along

And we'll scream through the walls, through the walls
Creating our crescendo till the break of dawn, break of dawn
Gonna make it through it all
And we'll scream through the walls, through the walls
Creating our crescendo till the break of dawn, break of dawn
Gonna make it through it all, oh yeah



The first refrain of the song rings around the arena with a series of reverse angles from the stage playing out, before those angles switch to wide shots of the very rear of the arena, with the darkness of the stands being contrasted by the light and colour emanating from the stage and it's surroundings. While the backing vocalist isn't visible on stage, they can definitely be heard as Stephanie adds her own emphasis on some of the lines to urge the song along. She gets back into the swing of the song, with a series of confetti cannons firing prematurely to ensure it is falling for when the main vocals return to the song.

(Gonna get through it, gonna get through it
gonna get through it, gonna get through it all
gonna get through it, gonna get through it
gonna get through it, gonna get through it
gonna get through it, gonna get through it
gonna get through it, gonna get through it all
gonna get through it, gonna get through it
gonna get through it, gonna get through it)


The confetti rains down onto the stage and onto the audience as Stephanie walks down the centre of the stage like a catwalk as a camera swoops in towards her. She offers her hand to the camera as it flies off to the side before returning her attention to the main camera in the arena and the the audience who was bouncing and waving their flags like crazed maniacs. The song has reached a climax with it's infectious melody giving everyone in the room a feel good attitude, with even some glimpses of the green room are seen, where performers are bouncing around and enjoying the performance of one of their competitors. She controls her final notes well as she moves the microphone away from her lips, knowing her job is done in terms of singing and performing, but we're not done yet, with the final sparkles of the song still yet to play out.

Melody
You've got the notes to make my song
Melody
Give me the words to sing along

And we'll scream through the walls, through the walls
Creating our crescendo till the break of dawn, break of dawn
Gonna make it through it all
And we'll scream through the walls, through the walls
Creating our crescendo till the break of dawn, break of dawn
Gonna make it through it all, oh yeah


With confetti still raining down, the second refrain of the song comes into play with a sense of calm and reassurance after a minute or so of no-stop action, coming from the music and the stage choreography. Stephanie is smiling widely as she walks forward to sing to the audience in front of her and to the camera placed in within the audience members, which we caught a glimpse of earlier in the song. The colours are much more faded compared to previous verses, meaning we can now begin to come down from the climax and crescendo of the previous chorus.

(Gonna get through it, gonna get through it
gonna get through it, gonna get through it all
gonna get through it, gonna get through it
gonna get through it, gonna get through it
gonna get through it, gonna get through it
gonna get through it, gonna get through it all
gonna get through it, gonna get through it
gonna get through it, gonna get through it)



The crowd are already beginning to cheer as the final refrain plays out without any involvement from Stephanie as she dances her own dance on stage to end the performance. They all know the song is nearly finishes, but the party isn't over until the lights come on, and they're still flying around the arena. Steph returns to the centre of the stage to finish what has been an energetic performance.

Mmm, yeah


The crowd erupts with franti cheers and whistles as a wide smile forms on the fans of Staphanie, she knew what it meant to herself, her delegation and her nation to finally return to the contest. She covers her mouth with shyness and takes a bow, with a glisten in her eye as she stands back upright. "Grazij Llaltei. Thank You Everybody, it's great to be back!" She blows a kiss to the crowd before a brief transition is made to the postcard of the next song, from the Achaean Republic!
Last edited by Llalta on Sun Nov 17, 2019 10:15 am, edited 2 times in total.

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Postby Llalta » Sun Nov 17, 2019 10:29 am

ACHAEAN REPUBLIC | 03
Nadine Tanóus - "Almalayika"

Translation of Title: Angels
Language: Spanish, Arabic
Music: Elías Becharra, Carlos Rodríguez
Lyrics: Elías Becharra, Ramses Hatem






So the story goes that a Jordanian Alawite named Ahmed and a French-speaking Maronite from Jounieh called Juliette met each other on a café somewhere in Achrafieh and, having no other thing to do but stand in line and wait for their espressos, struck up a conversation about what they were doing in the city. Ahmed was studying engineering at the American University of Beirut, while Juliette, against the wishes of his father who wanted her to become a doctor or an engineer in a French Polytechnique, decided to study Architecture at the Lebanese Academy of Fine Arts. For a few minutes, they talked about life, art, Proux, Sartre, De Gaulle, Sadat, and they sort-of tiptoed on the idea of Israel’s sovereignty, something that would not only cause several eyes to look at you––it could be a deadly idea to consider at the time. But they talked and they felt a fondness for each other, a unique warmth that promised them they’d keep in touch. But after they had their espressos, they wished themselves well as any young student would do, and bid farewell.

Until a few weeks later, when everything in Beirut went to hell. In a span of few weeks, the whole of Lebanon was inflamed in a brutal civil war, where brother fought against brother, son and daughter shot their father and mother, and nobody in their right mind could remember why everybody was so involved in something so trivial and mundane like faith. Juliette fondly remembers, to the point of tears, the moment when the lights in her upscale Achrafieh apartment flickered on and off as a rocket collided against the upper floor and almost made the whole building collapse. Ahmed remembers that he lost all contact with his father, a wealthy traveling businessman that almost always had some business deal in Latin America, including a sun-soaked country called the Achaean Republic. But there was a problem: There was no way to leave Lebanon, and a Muslim joined with a Catholic and a child out of wedlock (they did meet privately a couple of times before the war broke out) would meet a fate worse than death.

This was the story Nadine Tanóus listened to again and again on her parents’ restaurant in Larnaca, a small city in Achaea’s southwestern coast. She was regaled with stories of children playing in rubble-filled streets, of belly dancers and French-style baguettes with coffee and late-night parties. For Nadine, Larnaca didn’t feel like the Achaea she grew up with. She thought of the excitement of fast-paced Corola, or tropical Rosario, or mountainous Candelaria. But Larnaca, in Nadine’s young mind, was a slice of Lebanon she knew she never wanted. With all the numerous belly dancing classes she took when she was little, or the many ways she learned how to make raw kibbeh from her grandmother whenever she visited them from Beitu, she always felt herself distant from the rest of the land, isolated from the fast-paced, pork-eating, sensual, modern world. Her local Maronite church refused to worship in Spanish, even when several generations of parishioners never spoke a word of Arabic. The local AM radio played Fairouz and Umm Kulthum in between Spanish commercials as if they were broadcasting from the Cairo bazaars. Larnaca was a special place, one that Nadine Tanóus never wanted to be in––but for some reason, she had to deal with.

As she grew older, Nadine began to appreciate the uniqueness of her heritage. Whenever her classmates would gloat about going to the mountains or visiting Disney, she would regale them with stories of war and peace when she visited her grandma in Beirut. She impressed boys with her impeccable Arabic skills erstwhile switching to Spanish and French and somewhat rudimentary English she picked up from watching cartoons. And, of course, she would sing those songs her parents used to sing to each other when they were cooking at the restaurant. She sang them over and over and over again.

Those were the same songs that moved her, now a fully-trained singer living in Corola, to create her newest Arabic album, Habibi. While she was known in the Achaean independent and world music circuit, her music never received much airplay because her vocal range was so foreign and distorted (for untrained ears) that radio stations couldn’t do much with her. But Habibi was her pride and joy, a collection of songs that honor her distant heritage, crafted by her creative husband, Elías Becharra. Almalayika was one of them––a beautiful metaphor, a natural history, a tangent that could not be left in another language.


As the postcard ends, the lights in the arch twinkle with the national red-white-green colors of the Achaean Republic with golden twinkles every so often. The stage suddenly goes dark, and the LED screen shows a night scene of Jerusalem’s Old City. In the images, a stylized Dome of the Rock, the Western Wall, and the dizzying alleyways that dot the city are shown. The full moon is brighter, slightly covered by clouds on a clear and mysterious s evening.

As the song begins, the camera focuses on two shirtless men wearing nude-colored pants and walking barefoot on the left side of the stage. Their chests are hairy, one taller and hairier than the other. They are walking barefoot across the stage to the public, the taller one carrying a riq, a tambourine made out of mahogany and goat skin. The shorter one carries the darbuka, a single-membrane drum decorated with intricate, colorful patterns. The camera scurries over to Nadine in the bed wearing a long satin negligee that could barely cover her breasts. She is barefoot and wearing a small golden ring on her toe and a beautiful pearl necklace she donned from her mother. She is dancing atop a metal frame bed covered in white and green fern linens, shimmying her body in the cadenced rhythm of the riq and darbuka. As she kneels in the bed, she plays with her hair and caresses her neck with her hands, just as she used to do in her belly dancing days back in her parents’ restaurant. The two men drop their instruments and join both sides of the bed, the taller one on the left and the shorter one on the right, looking longingly at Nadine. They jump on the bed in unison, and Nadine begins to sing when she is held by their arms.

Nadine slowly lays her head on the short dancer’s head who is still carrying her by one of her arms. As she sings, she loonily looks at the camera as if nothing else would matter in this world. The taller dancer, on the other hand, approaches her body and caresses her, playing with Nadine’s bare legs and looking longingly to her as well. He desires her, or at least he interprets his movements say so; while the shorter dancer only holds her, the taller dancer cradles her body and moves her feet. All the while, Nadine cradles her body in the bed, her free arm touching her neck and body over the negligee.

Ángeles presentí
En sus brazos morí
Dejé de respirar
Y en soledad me ví

Me enseñaron poder
Las magias de vencer
No dejaré entregar
Cuanto guardo en mi ser


I felt angels in me
In their arms I was deceased
I stopped breathing
And in loneliness, I saw myself

They showed me power
The magic to overcome
I will not surrender
How much I keep in my heart


As the chorus begins, both Nadine and the dancers jump off the bed in a burst of energy and begin dancing––Nadine in the center, shaking her body once again to the rhythm of the i]riq[/i] and darbuka, the dancers circling around her and seductively guiding her protection––what angels would do circling around humans. She sings and shakes her hips with the same flow of a belly dancer, even if she isn’t showing her belly as typical Lebanese belly dancers would do. Instead, she carries the flow of her arms within a controlled circle, gliding her hands to her face and bracing her breasts. It is hard to show desire and longing when the camera around her is running in circles. She desires to be held tightly, comforted but also wants to be left alone. Her belly dance is also a dance of instinct––as much as she wants to call on the dancers to come to her, she wants to push them away as a forbidden fruit.

¿Y cuándo ellos volverán
Y mis puertas derrubarán?
Ellos regaron su olor
Donde las flores crecerán.

Niebla bebí de su espada
De los ángeles atrapada
Nunca más los encontraré
Tanta ternura arropada


And when they will come back
And my doors will they overthrow?
They spread all of their scent
Where the flowers will grow

I drank mist from their swords
Between the angels I was trapped
I will never find them again
So much tenderness unwrapped


The next portion of the song is in Arabic, a language Nadine, her dancers, and her songwriters know well. Of course she knew Arabic like the palm of her hand, since the language was thrust on her by her refugee grandparents and her mother (who, despite being Arab, preferred to speak more French than Arabic in her native Lebanon). It was the first time a Semitic language would be performed, albeit partially, for the Achaean Republic––and of course the Achaean Academy of the Spanish Language was not a bit happy with it, just as they were upset with Narinho’s Portuguese-langugage entry a festival ago. But it was her heritage she was showing to the world, and why not?

The cameras on the small stage focused on Nadine’s shimmying waist. The shirtless dancers were holding her waist and gazing at her eyes. She was as seductive as before, only now instead of swinging her wrists to the beat of the music, she was touching her dancers’ faces and rubbing their chests. After a bit, Nadine was closely placed in between the dancers, the taller one in her back and the shorter one in front of her, as the taller one attempted to closely bend her back and stretching her. Her long hair was covering her arms and touching her breasts. The shorter dancer swiftly raised her up by her feet and thrown forcefully into the bed, bouncing her body without hurting herself.

W’hala’ weynhom?وهلأ وينهم؟
Raa’iḥthom fee kanabaayetiرائحتهم في كنبايتي
Ay minhom harbouأي منهم هربوا
Min timmi al-maaliḥمن تمي المالح

Dawwarit fee al-haykalدوّرت في الهيكل
Ribiḥt beyn jildiربحت بين جلدي
Ana agall minhumأنا أقل منهم
Bist rukbateyhomبست ركبتيهم


And now, where are they
Their scent in my couch
Which of them escaped
From my salty mouth?

In the temple I searched
Between my skin I gained
I am an inferior man
Their knees I kissed



In the bed once again, Nadine clung to the metal bars surrounding her, shaking and almost writhing to the music while kneeling. The right-side camera focused on one of the dancers placing his head on Nadine’s arms, while the other dancer had his arms clung tightly to the metal bed rungs, with his face closely tight to Nadine’s face as if he were to kiss her. Almost seductive, his arms began bulging and his body was defined. The idea was for the “angels” to appear impossibly human, yet dangerously divine. These weren't just angels––they were lovers, friends, partners, agents, if only for one night they came down to Earth and blessed her immensely.

Oulama raḥ yarj-ayinouولما رح يرجعوا
Raḥ yusqutou bawaabi?رح يسقطوا أبوابي؟
Nashru raa’iḥthomنشروا رائحتهم
Makaan ma fee wardمكان ما فيه ورد

Shiribt sbuurah min syoufhomشربت شبورة من سيوفهم
Ayin-alagt b’beyn al-malaa’ikعلقت ببين الملائك
Ma ayin-aad alageyhom kamaanما عاد ألقيهم كمان
Kteer ḥnaan infataḥكتير حنان انفتح


And when they will come back
And my doors will they overthrow?
They spread all of their scent
Where the flowers will grow

I drank mist from their swords
Between the angels I was trapped
I will never find them again
So much tenderness unwrapped


As the camera retreats and gives a full pan of the stage with Nadine in the center and the shirtless dancers circling around her, sweat pouring off their brows, the lights begin to flicker with white and yellow-stained colors. This made the stage appear worn and dated, the bed look broken and unpainted, and highlighted both the poverty and the desperation of the poetic speaker. Will the angels come back to bless her? Will she be forever kept away from the rhythm of the riq and darbuka she always used to hear when the angels came? The emotions she felt––anger, pain, confusion, desperation––were the ones cycling through the last pieces of the chorus in both Arabic and Spanish. The Arabic portion felt forceful, angry, and frustrating. The Spanish portion felt sensual, romantic, and daring. Nadine once again jumped off the bed, prompted by one of her dancers grabbing her by the right arm and leading her off the bed.

¿Y cuándo ellos volverán
Y mis puertas derrubarán?
Ellos regaron su olor
Donde las flores crecerán.


And when they will come back
And my doors will they overthrow?
They spread all of their scent
Where the flowers will grow


Suddenly, Nadine’s delicate white negligee is torn apart by the force of the dancers and her own hands. The cameras on TV showed a wide pan of the event at the small arena, and a flickering of the twinkling lights crowning the stage. As the sounds of the violin, the riq, the darbuka and the rugged rips of the bedsheets begin to grow, Nadine arched her back and shook her head so the flowing hair would hang against her pillows. Her dancers slowly rubbed her body at the same time she waved her hands, gracefully serpent-like, to the air. Even in this position, she still kept the seductive yet graceful glow of a body dancer even without the castanets, the jingles on her belly, or the flowing dresses.

Shiribt sbuurah min syoufhomشربت شبورة من سيوفهم
Ayin-alagt b’beyn al-malaa’ikعلقت ببين الملائك
Ma ayin-aad alageyhom kamaanما عاد ألقيهم كمان
Kteer ḥnaan infataḥكتير حنان انفتح


I drank mist from their swords
Between the angels I was trapped
I will never find them again
So much tenderness unwrapped


The song was ending. The taller dancer kissed Nadine’s forehead. The smaller dancer kissed Nadine’s belly, a bit below the chest. The LED screen behind them, static with nightly pictures of the bustling souks and bazaars of the Old City, was now shining brightly by day. (This would definitely cause quite a bit of a problem for Nadine’s Lebanese fans, for which AS1’s delegation knew perfectly well.) Nadine crawled out of the bed with her torn negligee and slightly damp feet to the ground. She sat on a long chest in front of her bed as the two shirtless men crowded over her in her bed. In the last beat of the song, they all slumped and laid faint, droopily laying their heads on the side: the shorter dancer on the left, the taller dancer on the right, and Nadine in the middle.

The audience clapped and cheered, more so the very small contingent who braved the trip to St. Christopher to support Achaea’s second World Hit Festival entry, and also the first one with such a complex Semitic language like Arabic. Will the mixture of Spanish and Arabic, and thus of two completely distinct yet somewhat related cultures, please the public? For now, that didn’t matter to Nadine––she was happy to perform. And get the free trip sponsored by AS1.

Nadine stood up from the chest and began waving to the crowd. “Thank you. ¡Gracias! Shukran!,” Nadine said in three languages as she inconspicuously attempted to wipe the sweat off her brow. She could hear the very faint screams of “¡E-res la mejor!,” or perhaps "'Ant al’afdalu" intercalated in both Spanish and Arabic. She was proud. She was happy. And maybe the whole of Larnaca also thought she did pretty well.

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Postby WHFMODERATOR » Sat Nov 23, 2019 8:57 am

Normandy and Picardy | 04
Tonnerre et Éclair - "Silent Screaming"

Language: English
Music: Maurice Bataille, Antoine Pompes
Lyrics: Maurice Bataille
Tune: Lola Marsh - Sirens

Broadcaster: SRNP
Trigramme: NPR




Image

The Beauvais-based band "Tonnerre et Éclair" (Thunder and Lightning), best known for finishing 3rd in WorldVision 75, who will represent Normandy and Picardy in St. Christopher. Antoine Pompes (drums) on the left, (who will not be on stage in this performance, awwww) Marie Bataille (vocals) in the middle, Maurice Bataille (guitar) to the right



The arena was in darkness as the postcard finished, and Marie, nervous even despite her previous experiences on even bigger stages, stood and waited for her moment to begin. And then, it started. The first shot, shown around the multiverse, was of some of lights hanging down from above the stage (the lights both at the top and the bottom had been kept for the performance) slowly coming to life, and only shining quite faintly, with a slight haze effect over the shot. As the verse began, the feed cut to a close shot of Marie, focusing on her head and the lights around her, whilst the background showed what appeared to be a twinkling starscape, nothing big and brash with galaxies or anything but just little stars twinkling away. All was nice and simple, and the focus was on Marie, wearing a costume rather like the one in the image above (fringe and all). She stood behind a microphone stand, her hands delicately hovering above the microphone as she sung into the camera, which was positioned at an even so-slight angle below her. As an extra, cheesy and probably unnecessary effect but one thrown in because the staging directors were like 'this is a cool idea I guess, and everything's already a bit moody and whatnot, so sure!', the feed kept changing between black and white, and colour (albeit not abruptly), with it finally settling on colour at the end of the verse.

Give me a reason to stay
Even for just one night
I don't think you know
Or maybe I'm too slow
Hiding somewhere out beyond the horizon
I find my heart calling
You keep stalling


As the 'chorus' began, the camera shot changed to one slowly panning across the front of the stage, still however quite close to the stage in order to keep the initimate feeling, which could now be seen to be covered in a thin layer of smoke. The lights in the background slightly intensified in general, whilst as this occurred there seemed to be waves of varying brightness that ranged across. Simplicity was key.

Silent screaming, falling
Yes I can hope
That you'll hold out your hand
Or even just a glance will do
Just to let me know
Just to let me go, dear
Just to let me go, dear


As the second verse began, a series of patterns slowly emerged onto the floor against a purple background, something kind of like this but with variation in the different patterns and with them slowly rotating or otherwise moving, and with smaller gaps between. Due to the camera angles at play, as this general theme spread onto the main background, one of these circular patterns seemed to almost form a halo around her head, which is neat I guess. Alongside this, as the verse progressed we got one of those shots in which the camera moves round 360 degrees with the singer following the camera view and singing to us, whilst we get different shots of the arena. The lights were also slightly dimmer than in the verse, not that that is a major, game-changing detail.

Desperate
Yes I know I seem desperate
But this is a call for help
I don't know who else to tell
I've plucked up the courage to stand here
Yes,I try in vain
But this is how I stay sane


In this weird prechorusy bit, the camera again focuses on Maria, arms outstretched and singing towards the camera, but it moves aside slightly to show, over her shoulder, Maurice with his guitar, reaching out, so close and yet so far. Sweet or saccharine, take your pick.

And now I'm reaching out
Across the gap between
My soul and reality
My soul and what must be
But still I am


As the 'chorus' began, the focus again returned to show Marie, exuding emotion; she was both hopeful and hopeless, with an air of vulnerability but not so much that you worried that she actually was just extremely nervous, no, she was conveying a whole host of complex emotions. Yes, I know that is easy to state but I get to state it so trust me, she is. The camera slowly panned out to show the stage more widely again, but what's this? Maurice began to slowly walk towards her, playing on his guitar as he went. Would he reach? Would she notice?

Silent screaming, falling
Yes I can hope
That you'll see what I see
Or even just a glance will do
Just to let me know
Just to let me go, dear


Painfully for the audience, if this sort of thing affects you, no. He got quite close, very close in fact, but at the last moment turned away; the gap between them was too wide, even if the distance was close. Meanwhile, Marie kept singing out into the void, into the multiverse, unaware that he had been so close. It was all quite desperate.

Silent screaming, falling
Yes I can hope
That you'll hold out your hand
Or even just a glance will do
Just to let me know
Just to let me go, dear
Just to let me go, dear


During the soft section immediately after the chorus, the lights dimmed but twinkled, with the star scape from earlier returning. More smoke appeared on the stage, and Marie, now shrouded in darkness but not so much that she couldn't be seen, slowly moved around, almost wraithlike, to the music. Then, as the large, brash part of the instrumental began a single wide shot of the stage was shown as there was what appeared to be an explosion of gold, becoming rather like the example picture given kindly by the Llaltan delegation in showing the capacities of the stage (see here), but accompanied by a pyro curtain thingymabob because it's a big dramatic moment and all big dramatic moments need those, right? Not much more needs to be said I think, you get the general gist. There were a few slightly panning shots etc., in general just showing off the grandness of the moment. As the song slowly came to a close, the cameras slowly zoomed in on Marie. She was still alone at the end, bless her. What's this? She turned around just at the song ended to see Maurice, with his guitar, off to the side, so close and yet so far away. As the lights dimmed, it was clear even this glimpse was doomed, and on what was a bittersweet note the song drew to a final close, and everything faded back to black.

Mmmmmmmmm
Mmmmmmmmm

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Postby WHFMODERATOR » Sat Nov 23, 2019 8:58 am

Pan-Asiatic States | 05
The Mellow Dragon - Black Banners Never Fall!

Language: English
Music: Fu Wuhan, Komar Shan, Nekoda Keliat
Lyrics: Fu Wuhan
Tune: https://youtu.be/ujv3fENn5d8

Broadcaster: CCTV (China Central Television)
Trigramme: Pan-Asiatic States, PAS




This song is based on an actual RP I had wherein several radical Catholic nations attempted to seize the nation of Skyhooked in a 21st Century crusade.

Humiliating defeats. Monumental victories. Depths of fear. Summits of courage.

After many months of anti-imperialist guerilla warfare, the Pan-Asiatic States and Skyhooked triumphed over the forces of evil.

The following song is dedicated to the many heroes of that war.

Enjoy.


Image
Ho, my comrades, heed the bugle, sounding through the night!
Crusader hordes now approaching, defeat is in our sight.

"Hold Skyhookedians, we are coming," the Asian people call;
Comrades-in-arms stand side-by-side - black banners never fall!

In June 5th, they dropped the bombs, zealots leading on;
On the beaches, imposed their God, the foe had done and gone!

"Hold Skyhookedians, we are coming," the Asian people call;
Comrades-in-arms stand side-by-side - black banners never fall!

See the hull of Asian steel, emerging from the mist;
With righteous eyes we liberated them with grit!

"Hold Skyhookedians, we are coming," the Asian people call;
Comrades-in-arms stand side-by-side - black banners never fall!

Hard the tyrant's will has been, hard it shall always be;
But evermore we'll be victorious, cheer, comrades, cheer!

"Hold Skyhookedians, we are coming," the Asian people call;
Comrades-in-arms stand side-by-side - black banners never fall!

"Hold Skyhookedians, we are coming," the Asian people call;
Comrades-in-arms stand side-by-side - black banners never fall!

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Postby WHFMODERATOR » Sat Nov 23, 2019 8:58 am

Scotatrova | 06
Violeta Fuentes - "Gone"

Language: English, Scotatrovian, Cadecian
Music: Violeta Fuentes, Juan Diego Garcia, Juliana Tenorio
Lyrics: Violeta Fuentes, Meike Krause
Tune: Catie Turner - Home

Broadcaster: SSTR (Sercate Scotatrofina ea Telefise ía Redio)
Trigramme: SCT




Violeta didn't quite grow up like your average person, at least she wouldn't think so. Her and her parents lived in a relatively small neighborhood just 4 miles from Downtown Agon. Violeta had a relatively normal childhood, but there was one thing that seperated her from a majority of others. Unlike her younger sister, Violeta was born with a genetic skin disorder, which she inherited from her father. This disorder resulted in her having softer, more delicate skin that was easily prone to bruises and tears. It had also affected her joints. Because of this, she wound up in the hospital for what seemed like every few months due to injuries sustained from playing. By the time she was 15, she had gone through 2 broken arms, hundreds upon hundreds of stitches from many cuts and even having her appendix removed. She often felt angry at the world for ending up the way she did. She could not do many of the normal, everyday activities other kids and teenagers do without fear of getting seriously hurt. She was unable to play all contact sports, was excused from participating in PE in school outside of running, from which she had to make extra sure she didn't trip and hurt herself. Her life to that point was not easy by any means, but it got even complicated when she became pregnant. She gave birth to a healthy baby girl when she was only 15 years old, however this did not stop her from pursuing her education.

When she was studying at Muse-Soliure University, she became very interested in music. She could play the guitar and the keyboard, and wanted to pursue some sort of opportunity in the music business. However, all that was cut short when she gave birth to yet another baby girl at age 20. Her studies finally came to an end after she gave birth to another son just a year after the birth of her second daughter. From then on, she would go on to be a mother to her kids, but even that became complicated. Her children's father was being difficult, and had them taken away from her at an early age. Violeta had tried many times, but was unable to gain the custody of her kids. Seeming lost, she decided to pursue her music yet again. At the age of 29, she appeared on the musical competition, La Prósima Estrela and went on to win. This landed her in the public eye for the first time, and withinn a year she had released her debut single. When she wasn't out promoting her new career, she was still fighting a years long custody battle for her children. Eventually, after years of fighting for them, she got them back when her oldest was 12 after their father didn't wish to take care of them anymore. Her daughters would occasionally hold this against her, either unable or unwilling to remember how hard she fought to get them back. Her son however didn't blame his mother for what had happened and was often her closest child. Over the years, her career grew, and she became a national icon. She had released 5 albums by the time she was 45, performed in sold out venues almost every show and held many national and international tours. All of Violeta's success would come to a quick and sudden halt when her son was tragically killed in a shooting at the age of 29.

It was the hardest thing she had ever had to deal with in her life. That same week, she had cancelled all upcoming shows and performances indefinitely. Massive support poured in from fans, but it took Violeta over 8 months before she held another show. Now, just over 2 years since the tragedy, Violeta now will represent Scotatrova at its first showing in the World Hit Festival in St. Christopher. Her song, titled "Gone", is dedicated to her late son and is considered her one last final send off to her child.


As the song begins, Violeta stands in the center with the stage behind displaying dim, dark blue light. Her outline is barely visible, but the light increases as she begins the song, revealing a very nice, toned down black dress. Her voice is like a carefully crafted whisper, not too aggressive. The camera displays a good angle of her face from in front of her, and she looks to it. Afterward, she keeps her gaze down.

The pain that I feel is just too much
One day you’re here and the next you’re not
I just wish I could see you one last time
The pain that I feel is just too much


With the next verse, her voice becomes a little hoarse, and it becomes apparent that she is becoming more emotional. She doesn't make eye contact with the camera, concentrating on expressing her feeling and emotion. The camera angles are perfectly picking up the sadness that her face expresses and radiates as she continues to sing.

It hurts now that you are gone
Gone
Hurts now that you are gone
Gone


Dreaming you're back now, and it feels far too real
Memories dancing where moonlight now treads
With every moment I feel your spirit so clearly
I keep reliving that nightmare all over in my head


A tear drop glistens in the light as it trickles down her cheek. Violeta carefully wipes it away as she acts as if it didn't happen. She closes her eyes and keeps up with the tune. She looks around the stage, as if she's lost and then gives the camera a look. A look that is one of realization. The sadness in her eyes becomes more apparent, and more tears well up in her eyes, but don't fall down her cheek.

It’s different now that you’re gone
Gone
Different now that you’re gone
Gone


And now I long for the sweet embrace of you again
Ask what is left in this world for me to live, but suffering?
Oh, nel poix fire axo zen thé (*s)
E enya meh nine
Enya meh nine (*c)


(*s) - Scotatrovian: Oh, I can't do this without you
(*c) - Cadecian: And I miss my boy
I miss my boy


And I can’t think now that you’re gone
Gone
I can’t think now that you’re gone
Gone


As she's done with the verse, she slowly falls to her knees. There, she slightly leans forward, overcome with such emotion. Her voice is full of cracks and breaks, but she still pushes on. She manages to get back on her feet, and her singing is full of many breaths, and the tears now fully running down her cheeks. The look of sadness in her eyes change, to that of determination. She manages to pull herself together the best that she can so that she can continue her performance.

The pain that I feel is just too much
One day you’re here and the next you’re not
I just wish I could see you one last time


It hurts now that you’re gone
Gone
Hurts now that you’re gone, gone
Gone


As the song concludes, she looks down yet again and gives a slight smile. When she looks up, she blows the audience a kiss with her hands before looking up in sadness with a hand on her heart. She takes a deep breath before telling the audience "Thank you all so much" as she walks off stage. As she does, the stage displays a picture of her and her son in black and white, surrounded by black. It stays there for a few seconds before fading all to black.

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Postby WHFMODERATOR » Sat Nov 23, 2019 8:59 am

Tödlichebujoku| 07
Sasechaya. - "Álá Varuillasi"

Translation of Title: Don't Be Sorry
Language: English, Taploukki
Music: Sasechaya.
Lyrics: Sasechaya.
Tune: Dusty Bottle - "You Don't Know Me"

Broadcaster: Estegoa100
Trigramme: TBJ


The band Sasechaya. is a rather secretive group from Kaltenkasai, keeping away from the limelight with only the first names of each member publicly released, and only the lead vocalist Vanamo relatively recognized. Despite their secretiveness, they have gained a devoted following in the cities of Tödlichebujoku.

At first, the stage is dark, only the band members standing in a line across the stage, lit from behind by a pale blue light. With the first flourish of the instrumentals, golden light sweeps out from behind them and they are bathed in soft light, the camera veering close by to capture the band playing as Vanamo begins to sing, with a bit of a derpy demeanor as she moves to the music lightheartedly
Sanot yatkuvasti, ettá olet vapaa
You keep telling me that you're free

Mutta et koskaan tunnu náütá ollenkaan
But you never seem that way at all

Yoten mennáán ya unohdamme huolemme
So let's go and forget about our worries

Yos láhden, oi, voitko seurata?
If I leave, oh, will you follow me?

Spotlights arcing out from behind blink off and on in a sequence
Hengitkö váhán kanssani?
Will you breathe a bit with me?

Asutko váhán kanssani?
Will you live a bit with me?


Mennáán šepertamaan hieman
We'll go dancing just a bit

Mennáán rakastamaan hieman
We'll go loving just a bit


Türimme ya yatkamme
We screw up and we go on

Itkemme ya nousemme
We cry and we get up

The band members coordinate shoulder twists as the spotlights flanking them begin to blink in synchrony to the beat
Baby, don't you run away and hide now

The flanking spotlights stop blinking and sweep over the audience from behind the band as various gold and white spotlights flash onto the stage
It's not always your fault, so let's stop and take a breath
I know you hear me, we're in reality
Don't get too worked up, no matter what we're fine baby
Let's get you truly, relaxed and feeling free

The onstage spotlights tone down as an array of spotlights lining the stage edge light up vertically to the ceiling and create a marquee pattern, the band being lit by a flush of golden lights
Álá varuillasi
Don't be sorry

Seei ole niin varui
It ain't that bad

Álá varuillasi
Don't be sorry

Seei ole niin varui
It ain't that bad

Álá varuillasi
Don't be sorry

Seei ole niin varui
It ain't that bad

Álá varuillasi
Don't be sorry

Seei ole niin varui
It ain't that bad

The effects return to a soft golden washed pallette of lights as the camera zooms close in once again, focusing on Vanamo as she continues performing with quirky movements and an awkward smile, but one that is noticeably genuine. She glances toward the camera, swiftly but warmly, quickly returning her attention to the audience
Aika tauko elámástá
Time to take a break from life

Aika tauko paineesta
Time to take a break from stress


Astu kesán aurinkoon
Step into the summer sun

Katso talven kuutamoon,
Look upon the winter moonlight


Ayattele kaikkea hüváá
Think of all that's good

Muista kaikki miká on oikein
Remember all that's right


Baby, don't you run away and hide now

Once again, the spotlights rise up with dramatic effect
It's not always your fault, so let's stop and take a breath
I know you hear me, we're in reality
Don't get too worked up, no matter what we're fine baby
Let's get you truly, relaxed and feeling free

The stage rim spotlights splay outward while performing their marquee pattern
Álá varuillasi
Don't be sorry

Seei ole niin varui
It ain't that bad

Álá varuillasi
Don't be sorry

Seei ole niin varui
It ain't that bad

Álá varuillasi
Don't be sorry

Seei ole niin varui
It ain't that bad

Álá varuillasi
Don't be sorry

Seei ole niin varui
It ain't that bad

The stage goes dark, except for a single spotlight on Vanamo, who is starkly illuminated in white light
Álá itke, álá huoli, anna sen kulkea
Don't cry, don't fret, let it pass

Vielá kerran, taas kerran, pidettiin láhellá
One more time, once again, held close

Koska kaikki, on ásoo, se on totta, küá
Because it's all okay, that's right, yeah

The lighting begins to amp up in throbs, before returning to its previous illumination
It's not always your fault, so let's stop and take a breath
I know you hear me, we're in reality
Don't get too worked up, no matter what we're fine baby
Let's get you truly, relaxed and feeling free

The camera swoops around the band once again, all the members are jamming out and having a good time
Álá varuillasi
Don't be sorry

Álá varuillasi
Don't be sorry

Álá varuillasi
Don't be sorry

Álá varuillasi
Don't be sorry

Sparks fire sequentially along the stage from one side to the other. Vanamo shows off her most daring expression to date, as she yanks the microphone off from the stand, ignoring the stand's falling to the floor as she starts dancing around while singing
Seei ole niin varui
It ain't that bad

Seei ole niin varui
It ain't that bad

Seei ole niin varui
It ain't that bad

Seei ole niin varui
It ain't that bad

With a final shot of the drummer hitting the last beats, the lights stay in place for a second as the band freezes, then fades into darkness

"Thank you St. Christopher," Vanamo mutters into the microphone before bowing with the rest of Sasechaya. and exiting the stage.

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Postby WHFMODERATOR » Sat Nov 23, 2019 9:00 am

Britonisea | 08
Gigi Vadeboncoeur - "Let Yourself Free"

Language: English
Music: Guy Autriche, Gigi Vadebonceour, Jayden Christopher
Lyrics: Gigi Vadebonceour, Jayden Christopher
Tune: Dami Im - Gladiator

Broadcaster: BVC
Trigramme: BRI



Image
Gigi at WHF48: Gigi Vadeboncoeur will represent Britonisea at the 48th World Hit Festival in Llalta after Britonisea withdrew from WV77.


Even though some time has gone past since Britonisea hosted the World Hit Festival, fans of the contest will not forget that we were Britonisea only last edition, when Kyvivre hosted the nation's fifth ever World Hit Festival where the joint largest World Hit Festival Grand Final was held. BVC managed to get 24 broadcasters, including its own, to participate in the Grand Final and while it didn't hit that 29 broadcasters quota to get a Semi-Finals process triggered, BVC were very happy with the amount of nations that participated. Britonisea would also go on to compete at the World Hit Festival for the 27th time, with the number being seen as very lucky. Britonisea placed 7th in the end which placed the nation solidly on the left hand side of the scoreboard but in comparison to Britonisea's wider results, was the worst result since the 43rd World Hit Festival when the contest was held in Burgendore. With the excitement of what BVC is hoping will be a large 50th World Hit Festival coming, the national broadcaster has decided to drum up some interest into the World Hit Festival by sending entries they think is quality and would get good competitive positions at the Festival.

Gigi Vadeboncoeur was chosen to represent Britonisea at the 48th World Hit Festival. Initially, BVC were supposed to send Gigi to the WorldVision Song Contest 77 that was held in Mister X, however plans never materialised to participate in the Contest in the end with it resulting in BVC withdrawing their interest in participating at the 77th WorldVision Song Contest which BVC called "a shame." While BVC broadcast the WorldVision, they were more focused on the fact that Gigi would go onto represent Britonisea at the upcoming World Hit Festival which has a larger platform in Britonisea. Gigi was fine with the decision, handing her song down to the Estogian delegation who used the song for their World Hit Festival entry. She will be fighting against herself in the Grand Final along with the other participating nations.

The song will be sung by 38 year old Gigi Vadeboncoeur who is from the capital city of the country, Doportedas.

At the start of the song, Gigi Vadeboncoeur stood on the stage by herself in the middle of the stage. She was wearing a simple dress, nothing too spectacular. She was alone on the stage with BVC going for a more simplistic approach to staging this year. Britonisea was rather known for its elaborate staging year on year and so they wanted to see whether simplicity was key this edition. That and the fact that they just came off the back of hosting the World Hit Festival and focusing in the Junior World Hit Festival where Britonisea placed 2nd place again. The nation was ready for begin with the postcard finishing and the audience cheering. The first shot was of Gigi standing in the middle of the stage. The lights came onto her and she started to sing...

When I look in your eyes,
So innocent, you're so shy
But that is something that draws me to you,
Yes, you do
Something to me.

Your eyes; blue, they're ocean-like
You stare straight into my soul
I wanna know what you think of me boy,
You're hard to read


In the back, as she started to sing, the LED was of a large eye which - as said in the lyrics of the "Let Yourself Free" - was blue and almost ocean-like, with her standing in the centre of it all. Capturing all of it, the camera slowly moved outwards as Gigi smiled towards the camera and raised her hand out towards the hand. She swayed along to the music, feeling it reach every corner of her body.

Took me to heaven with your touch,
Floating high on cloud nine

You are so modest you don't
Realise how good you are
Let go of insecurities
To me, you are perfect

Boy open your eyes to a life
Where we can be together


She then looked to the left where a camera met with her eye line. She sang a bit of the pre-chorus looking that way before she turned around to the camera on the other side before smiling before pacing herself towards the other camera and looking deep into that. She then turned to the front at the end of verse before she tilted her head up slightly as she belted the first chorus.

Just let go and be free
I can see worry in your eyes
You're perfect; beautiful
Embrace it with your heart
Don't worry 'bout haters
They will come and, yes, they will go
You'll still be standing strong
So, just let yourself free

So, just let yourself free


As she sang the last bit of the first chorus, she looked to the front once again before giving a slight smile towards the audience. As the music slightly went down, you could hear the audience cheering for the Briton who was gracing the stage on her lonesome. She held the microphone down by her side before taking a breath. The camera faded to black before it came back up - but this time the camera came from behind her. She turned around. The lights went down and back up as well. When the next camera shot joined her, you could see the audience in the theatre behind her.

The way you speak; gentle
And I can't help but just swoon
And I don't think you realise
The effect that you have on me,
You don't.

Took me to heaven with your touch,
Floating high on cloud nine[/i]
You are so modest you don't
Realise how good you are
Let go of insecurities
To me, you are perfect

Boy open your eyes to a life
Where we can be together


It was a steadicam that had joined her on the stage. The steadicam swirled around her with her pivoting, looking deep into the camera, singing into it. The camera didn't move how far or close it was from her, and the light was bright and lighting Gigi in a golden hue which made her look heavenly as she sang into the microphone and into the hearts of those watching her at home...

Just let go and be free
I can see worry in your eyes
You're perfect; beautiful
Embrace it with your heart
Don't worry 'bout haters
They will come and, yes, they will go
You'll still be standing strong
So, just let yourself free

So, just let yourself free


At the change of the chorus to the pre-chorus, the light around Gigi all went dark with her being the only lit amongst the darkness. The camera slowly zoomed in as she went on to sing about how she is "ready". As the camera slowly zoomed in, the LED behind her starting showing graphics of sparkling which crackled with intensity as the camera came closer and closer to Gigi.

Don't look to the ground; no more
Got something you can explore
And I am ready
Whenever you are babe, I'll be
And you will be screaming my name
We'll be the perfect couple
Boy, just close your eyes and breathe
Just come and let yourself free


The camera here quickly moved outwards, moving itself over the audience to show the whole stage. As it did that, there was a golden shower effect in the back, with the pyros coming in full force - it was one of those songs BVC thought. In order to add to the effect, the LED were also golden sparkles as well; which made the scene look pretty good from further back in the arena. The artists swayed left and right along to the song as she went for the final section of the song.

Just let go and be free
I can see worry in your eyes
You're perfect; beautiful
Embrace it with your heart
Don't worry 'bout haters
They will come and, yes, they will go
You'll still be standing strong
So, just let yourself free

Just let go and be free
I can see worry in your eyes
You're perfect; beautiful
Embrace it with your heart
Don't worry 'bout haters
They will come and, yes, they will go
You'll still be standing strong
So, just let yourself free

So, just let yourself free


At the end of the song, the sparklers shot into the air one last time before the audience came in with quite a large cheer. The Llaltese has always been fans of the Britonish and visa versa, so the audience reacted pretty well to the song - we believe whether that was in their taste or not. Gigi smiled and took a bow, "Thank you everyone." She then blew a kiss to the audience before waving. The camera then moved onto the next proceedings.

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Ex-Nation

Postby WHFMODERATOR » Sat Nov 23, 2019 9:00 am

Break Right Here

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Postby WHFMODERATOR » Sat Nov 23, 2019 9:01 am

Darkmania | 09
2425 - "With Love (You Make Me Happy)"

Language: Norwegian, with phrases in English
Music and Lyrics: Frÿdrick Wämlam, Gëorg Önstal & Dänÿel Sälom
Tune: Arvingarna – I Do

Broadcaster: DaTV
Trigramme: DMN



2425 (pronounced as «TwentyFour - TwentyFive») are a popular trio from Darkmania who has performed ever since the 1980`s. While they are today in their 50`s, they still haven't planned to retire from music as even when they are 157 years old combined, "age is just a number". Now they are set to peform at World Hit Festival, with the return of Darkmania to the festival.




The stage are dark with the trio being in all presented in the broadcast in a grey colour while everything are dark. Only the main singer, Gëorg, sings the first verse.

I natten`s mørke tomrom
(In the night`s dark space)

Fremdeles leter etter en
(Still looking after one)

Jeg har gått i en evighet
(I`ve been searching for an eternity)

En evighet
(An eternity)


The other singers of the group join Gëorg and sing and they sing synchronized.

Jeg traff deg en vakker sommerdag
(I meet you a beutifull summerday)

En så var så vakker som deg
(One who was beutifull as you)

Er du den jeg som er rett for meg?
(Are you the right one for me?)

For meg?
(For me?)


Vi to har så masse ting til felles
(We two has so much in common)

Skal du og jeg dele liv sammen?
(Shall you and i share lives together?)


The colours are finally turned on as they wear suits that cleverly displays the tri-coloured flag of Darkmania (Green, Blue and Red). Every time they sing "With Love", one of them puts his microphone on a mic-stand. All of their moves are so synchronized, it ends up oddly satisfying to watch.

With love, with love, with love
I hele mitt liv har jeg vært på jakt
(I whole my life i`ve been hunting)

Har jeg funnet den rette for meg?
(Have i found the right one for me?)


The LCD wall gets very colourfull, as it is like an explosion of colours. The lighing are also colourfull as well.

With love, with love
You make me happy
Happy


With love, with love, with love
Du gir meg andre følelser enn de jeg kan føle meg
(You gives me other feelings than i can feel myself)

Værsåsnill og kom inn i mitt liv
(Please come in to my life)


With love, with love
You make me happy
Happy


The trio all unplugs the mic stand and walks toward the left edge of the stage.

Jeg har ikke lyst til å være alene nå
(I dont want to be alone now)

Det jeg ønsker meg nå er en
(The one i wish for is one)

En som er min for resten av mitt liv
(One who are mine for the rest of my life)

Mitt liv
(My life)


Vi to har så masse ting til felles
(We two has so much in common)

Skal du og jeg dele liv sammen?
(Shall you and i share lives together?)


They all walk to their stands again and moves very synchronized.

With love, with love, with love
I hele mitt liv har jeg vært på jakt
(I whole my life i`ve been hunting)

Har jeg funnet den rette for meg?
(Have i found the right one for me?)


With love, with love
You make me happy
Happy


With love, with love, with love
Du gir meg andre følelser enn de jeg kan føle meg
(You gives me other feelings than i can feel myself)

Værsåsnill og kom inn i mitt liv
(Please come in to my life)


With love, with love
You make me happy
Happy


Every light, minus the spotlights that ligthen up the singers lighten up the stage as Gëorg sings while on his knees.

Jeg falt kun for deg
(I `ve fallen only for you)

Kun for deg
(Only for you)

Vi to har så masse ting til felles
(We two has so much in common)

Skal du og jeg dele liv sammen?
(Shall you and i share lives together?)


Confetti begins to rain over the arena as Darkmania abuses her budget for pyro.

With love, with love, with love
I hele mitt liv har jeg vært på jakt
(I whole my life i`ve been hunting)

Har jeg funnet den rette for meg?
(Have i found the right one for me?)


With love, with love
You make me happy
Happy


With love, with love, with love
Du gir meg andre følelser enn de jeg kan føle meg
(You gives me other feelings than i can feel myself)

Værsåsnill og kom inn i mitt liv
(Please come in to my life)


With love, with love
You make me happy
Happy


With love, with love, with love
I hele mitt liv har jeg vært på jakt
(I whole my life i`ve been hunting)

Har jeg funnet den rette for meg?
(Have i found the right one for me?)


With love, with love
You make me happy
Happy


With love


In typical fashion, the audience applause the group as the last ton of confetti falls slowly down. "Thank you, St. Christopher." As the transition cuts to the next country`s postcards.

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Postby WHFMODERATOR » Sat Nov 23, 2019 9:02 am

Kalosia | 10
Akwilë Blankë - "Omnia Vincit Amor"

Translation of Title: Love conquers all
Language: Kalosian
Music: Felišo Gwardañu, Petru Ǧovanoti, Nikolu Kosta, Renatu Makiéli, Alešandru Marteli
Lyrics: Felišo Gwardañu, Sebastianu Kruž
Tune: La vita com'è — Max Gazzè

Broadcaster: Radiu-Televižio Kalosia
Trigramme: KLS




Akwilë Blankë is a Kalosian band. They consist of lead vocalist and guitarist Felišo Gwardañu, accordionist Petru Ǧovanoti, trumpet player Nikolu Kosta, bassist Renatu Makiéli, second guitarist Alešandru Marteli, and drummer Sebastianu Kruž. They were formed in 2015 in the artisanal city of Kasin, where Felišo and Sebastianu had gone to the Kasin Institute of the Arts (Kasia), and where the remaining members happened to live.

They describe themselves as a rock-pop band with folk and ska influences. Following the launch of their first EP in 2016, they teamed up with folk musician Fabrižio Marianu in a musical project that "explored the relationship between the past and the present, and how traditional wisdom can advise the issues of modernity". This culminated in the release of a second EP in 2017, and is the reason why a lot of their circulating photos have Fabrižio in it. In 2018, Alešandru Marteli joined the band as a second guitarist.

For most of 2018 and early 2019, the band continued to do gigs and perform in venues throughout the country, and at festivals. However one of their goals is to have one big project each year, and for 2019 they decided it was worth a shot to take part in Festival dële Melodie Kalosiane (FMK) — more of a televised music competition than a festival. They spent the summer working on different songs, all of which will feature in their upcoming album. Eventually, the members of Akwilë Blankë agreed to submit Omnia Vincit Amor, which they performed at the 42nd FMK and which subsequently won the national final.

As Akwilë Blankë by then had exceeded their goal, they had little choice but to push back the release of their album, which was planned for shortly after FMK. Eventually the band officially released their first album on the Wednesday before the World Hit Festival final, with the delegation hosting a small launch party in St Christopher that was livestreamed both online and to an event space in Kasin, where they are based. Special edition copies of the album have also been distributed as promotional material at event spaces related to the World Hit Festival throughout the week.

As a note, the song's title is pronounced [ɔmˈnija ˈwɪŋkit aˈmoːr], or "om-NI-ya WING-kit a-MOR".




For the big night, the guys were wearing an slick, minimalistic all-black look: polo shirts and jeans. As the song began, the camera moved towards the stage, where it was all dark except for some blue backlights. Only a silhouette of a drum kit was visible and Sebastianu in it.

Then the intro proper began with a burst of pyrotechnics, the stage lights coming onto full blast (turning into warm golden hues of yellow), and the rest of the band appeared, in single file, from behind Sebastianu, looking much like this. "Hey! Hey! Hey! Hey!" they shouted, they walked a bit into the rhythm again, following a repetition of the previous heys, before they finally run into their positions (not that it mattered that much on a technical level since their mics were headpieces).

As the rest of a band deliver a final set of heys, Felišo grabs all attention (the camera also closes up on him) as he brings on the opening verses.

Kredu ule keste kose
K’ai veduto kon moji oki
Sta al’ilušioni un po dëla veritë

E al matrimoniu
Ja vedevu l’amurë u soji oki
Ma il n’erë lë sposu o siu padër
Erë tu

In each line of the next part, the camera starts switching around to show different band members.
Dirël mi
Veramentë sentiviz tu mal?
O sentiviz kalkëkosë pju mažikë
Kë sta u tiu koru?

The camera showed dynamic wider shots of the stage, with the last line of the next part being a quick close up on Felišo.
Amiku, segil tiu soñu
E tornal kon tia novë storia
Školteremu

The band now sang "Ooh-ooh-ooh-ooh", almost like howling. The camera showed various band members as they vocalized. In the next part, the camera showed Felišo from a medium-length angle before switching to another angle centered on Felišo.
Sapi kë lë tempu në speta
E tiu l’amurë, el stera
Se tu provi, se provi, se provi

Now the lights turned blue, almost ultraviolet, as the standing members of band twirled around to their right once, yelled some heys, twirled back to their left, more heys, and then did an elaborate set of synchronized movements with their leg ending with a twirl, after which then the lights go back to that warm golden yellow hue and the camera focuses back on Felišo.
Kalkëvoltë la vië sta
Komë un kaminu di petrë
O forse la vië es unë montañë

Ma omnia vincit amor
E staj l’amurë kë tu senti
Kë poše vinšerë siu koru
Së tu

The camera switches to showing other band members again, one angle each line.
Gardal mi
La speranzë sta u toji oki
E ja kredu kë poši usarë la mažia
Kë sta u tiu koru

As the camera overlooked the stage from a bird's eye view, the standing band members swayed to the right four times to the beat, stomped their right legs once, and then swayed to the left four times to the beat, and them stomped.
Amiku, segil tiu soñu
E tornal kon tia novë storia
Školteremu

As the members "woo"d the audience, they swayed to the left four more times, stomped their left legs once, and then swayed to the right four times. In the next part, the camera focused mainly on Felišo.
Sapi kë lë tempu në speta
E tiu l’amurë, el stera
Se tu provi, se provi, se provi

The standing band members repeated their moves, swaying to the right four times, stomping, and doing the same in reverse. The camera looked at this from an audience perspective, while occasionally taking side angles that focused on individual members.
Në lašal toji rëmorsi
Ti segonu a oñu konfinë di
Kestu mondu

As the members continued to play on the spot, the camera focused on individual members again.
Sapu kë staj prëókupatu
Ma un kolpu ti dara
Lë koražu kë tu aj besoñu

Felišo shouted "Hey!" and it seemed like everyone was going freestyle on stage, expressing themselves freely through their body movements. More oohs. In the next part, the camera continues to focus on the different members of the band as they play, but they all seem to be walking towards Felišo.
Sapi kë lë tempu në speta
E tiu l’amurë, el stera
Se tu provi, se provi, se provi

Now the stage lights dim a bit as a camera runs on stage and closes up on Felišo, while his fellow band members (except Sebastianu who is on the drums) are behind him. The camera slowly moves surrounding them counterclockwise, and then quickly whisks away as the next part is over.
Gardal mi
La speranzë sta u toji oki
E ja kredu kë poši usarë la mažia
Kë sta u tiu koru

As the stage lights go back into full swing, a medium-distance shot from in front of the stage follows them as they sway to the right four times and stomp, repeating the full set of movements they did earlier in previous choruses. It just was interesting because they were all close together, and members of the audience clapped as well.
Amiku, segil tiu soñu
E tornal kon tia novë storia
Školteremu

After the "oohs", the band members scatter throughout the stage.
Sapi kë lë tempu në speta
E tiu l’amurë, el stera
Se tu provi, se provi, se provi

The swaying is repeated.
Në lašal toji rëmorsi
Ti segonu a oñu konfinë di
Kestu mondu

After the oohs, they slowly take a step towards the center, where Felišo is. And another. They end up not being too close to him but also not far.
Sapu kë staj prëókupatu
Ma un kolpu ti dara
Lë koražu kë tu aj besoñu

Sapi kë lë tempu në speta
E tiu l’amurë, el stera
Se tu provi, se provi, se provi

"Ajde!" Felišo shouts, and as the stage lights become red, the band members form a line and run seemingly frantically but orderly around the stage, in single file, back to behind Sebastianu, who has been sitting in the drum kit this whole time. They shout "hey-hey-hey-hey"s the whole time, and as the song ends they pop out from behind Sebastianu as to get a final pose.

The crowd cheers. The band members walk out to the front of the stage, including Sebastianu who finally gets up. They all bow, and Felišo says, "Gražia Ëľaltë! Thank you!"
I believe in these things
That I’ve seen with my eyes
There is a bit of truth to illusions

And at the wedding
I saw love in his eyes
But he wasn’t the groom or his father
He was you

Tell me
Did you really feel sick?
Or did you feel something very magical
That’s in your heart?

My friend, follow your dream
And return with your new story
We will listen

You know that time doesn’t wait
And your love will be there
If you try, if you try, if you try

Sometimes the road is
Like a stone path
Or maybe it is a mountain

But love conquers all
And you are the love that you feel
Which can win her heart
It’s you

Look at me
There is hope in your eyes
And I believe that you can use the magic
That’s in your heart

My friend, follow your dream
And return with your new story
We will listen

You know that time doesn’t wait
And your love will be there
If you try, if you try, if you try

Don’t let your regrets
Follow you to every corner of
This world

I know you are worried
But a shot will give you
The courage you need

You know that time doesn’t wait
And your love will be there
If you try, if you try, if you try

Look at me
There is hope in your eyes
And I believe that you can use the magic
That’s in your heart

My friend, follow your dream
And return with your new story
We will listen

You know that time doesn’t wait
And your love will be there
If you try, if you try, if you try

Don’t let your regrets
Follow you to every corner of
This world

I know you are worried
But a shot will give you
The courage you need

You know that time doesn’t wait
And your love will be there
If you try, if you try, if you try

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Postby WHFMODERATOR » Sat Nov 23, 2019 9:02 am

Llalta | 11
June Summerfields - "Lullaby of the Lost"

Language: English
Music: June Summerfields
Lyrics: June Summerfields
Tune: Lullaby of Takeda - Akai Tori

Trigramme: LLA
Broadcaster: LBN




Image
June Summerfields, Llaltese folk singer and Llaltese representative for WHF 48.


WHF47 was like a dream for Llalta. With the powerful operatic symphony, 'Timeless' sung by Chiara Albanthia, they managed to take the WHF crown after 7 editions of trying. The song managed to blow the world away, garnering two 5 points ending up with 30 points, especially impressive considering Llalta's size. This gave the LBN and the small island nation a sense of accomplishment, and that they can win with enough effort. Morale increased drastically and Llalta solidified itself as a force in WHF. Upon winning, Llalta won the rights to host too. This was a first for Llalta; never had they hosted a contest as big and as prestigious as this! After a rocky start however, the community managed to pull through, refurbishing the S.S. Trinity, now past her former glory, into a theatre and campsites were set up for the bountiful amount of tourists that were set to come to watch WHF. However, they were on a tight budget, but no matter people were down to help out for LBN's hosting of the competition.

The song was internally picked by the LBN and was written by June Summerfields (53). June is the manager of the Albanthia Inn, one of the biggest inns in St. Christopher but a former singer in Britonisea. However, she does folk singing on the side of owning the inn. Her biggest 'concerts' have been pub karaokes mostly, with a few festival singing. She is renowned for her folk singing however during many of Llalta's traditional festivals. She'd never had an audience bigger than 500. The song, 'Lullaby of the Lost' is sweet yet sombre lullaby describing a man she once fell in love with, who had to travel to distant lands for he was part of the army, stopping over in Llalta for a while. It is nostalgic and regretful, pure yet so dark.




The postcard ends, as the majority Llaltese crowd cheers in excitement and anticipation for their Llaltese representative. Llaltese flags fly high from side to side in the crowd, alongside the crowd's constant chatter, making for an ecstatic atmosphere in the arena. Eventually the crowd silence, as the Llaltese colours of yellow, white and navy blue sparkle on the arch that frames the stage. The stage is set for the Llaltese entry, the arena pitch black. As the guitar begins to play, a single nostalgic golden spotlight slowly shines from the ceiling of the stage. The camera is focused on the source of the light, following the light downwards. eventually revealing June Summerfields who is knelt front and centre, wearing this, plucking the strings of a lute, bathing in golden lights. She looks down at her lute, as if concentrating on the careful plucking of its strings. There is a microphone on a small stand so she is able to sing and play the lute. As the introduction is played, the camera slowly circles her, the audience's glowing wristbands lighting up the void of the arena like fireflies in the darkest of night. However, as the camera resumes it's circle of June, the hanging lights from the back of the stage glowing gold like stars in the night sky, twinkling ever so slightly. Apart from the spotlight and hanging lights however, the stage is dark. As the guitar gets louder, a couple stage lights placed at the back of the stage floor, shine a golden light into the theatre, glimmering as they shine on the camera that slowly pans the stage. And yet, as June begins to sing they fade away.

She begins to sing, soulfully yet filled with lament. The camera takes closer up shots, not to ruin the intimacy of this sweet Llaltese ballad. Her eyes glimmer in the golden light, creating a surreal, almost dream like atmosphere. Her eyes, though at first set on the camera, look distant into the reaches of the audience, as if looking past the boundaries of the ship itself and into the starlight. The once wild audience fall to complete silence, captivated by the lyrics and the soft soulful melodies that June sings. On the third line, the guitar playing slows to a stop, the camera fading to black before resuming on the fourth line of the verse. She remains knelt for the entirety of the verse, and though rather still, the performance relies on the talents of June and the song itself to be effective.

Those sapphire eyes of ocean
The vast infinite of blue
Reminds me of the one once loved
The one I seek among the stars


As the next stanza is sung, two silhouettes are revealed on either side of June, revealed to be both men lit up by singular golden spotlights. The two backing singers, both knelt beside June, wear similar traditional garments such as June's. Liker her, they look outwards into the arena as they sing, eyes lost in the starlight. As the stanza progresses, a women is also revealed lit up by a golden spotlight as well. She is knelt next to June, wearing similar traditional attire, the four of them kneeling in a small group at the front of the stage facing outwards. Their eyes glimmer as the golden spotlights shine on them, sparkling like stars. The camera, though mainly focussed upon June, pans the stage slowly, showing off each singer as they lament the lyrics of the song.

Remembering the days of old
Running through fields of thousand suns
Waltzing with the breeze of cold, lost souls
A distant dream, a mere fable


The staging remains the same, unchanged from the start, except from the LED screen at the back which displays a couple shimmering stars, blending in with the hanging lights, creating a nostalgic atmosphere, an ode to the time without technology. As they kneel, the camera pans across the stage slowly. The lighting is still intimate and warm as the camera focusses on June for a while before showing a side view, a couple audience members being in view. The bracelets are alight with gold, the theatre bathed in gold. One may notice a single tear, sparkling in the golden light, rolling down June's somewhat aged face. It looks almost as if she were crying stars, the way it twinkled and shimmered. Her voice almost quietens to a whisper on the last line, as if it was too painful to remember.

Heavens alight with fireworks
The touch of your lips upon mine
Delicate as feathers, warm as the hearth
Hidden encrusted eyes of jewels


As the last stanza begins, the spotlights placed at the back begin to glow golden, shimmering as they shine on the camera. The four singers onstage are almost like silhouettes as the lights shine. The short guitar section plays, and June takes a moment to simultaneously strum and wipe a tear away subtly, not to be unprofessional. As they begin singing again, the camera zooms into June, moving past the multiple flags waving and sings of encouragement of June, another tear rolling down her cheek. On the second line, though knelt, she reaches one hand forward as if trying to grasp onto memories of her love, the side angle further emphasising her pain. Her voice stresses in almost panic, as if reliving the moment. She leans forward a little too, shuffling on her knees subtly to accommodate the sudden burst of energy. Her hand however falls by the third line, her eyes watching as it fell, snapping from her little world of remembrance. As the penultimate sections is sang, the staging builds up to match their ever loudening voices. The camera angles are somehow more dramatic and dynamic rather than the more still shots from earlier. On the final line, the energy the song slows once again, and the spotlights at the back dimming to match. June is almost shaking by this point.

Ship on vast infinite of blue.
To unknown worlds beyond horizons grasp
Have you forgotten the love we once had?
Will you ever return to me and


On the final section, the spotlights at the back light up again. As the long note is sung by the four singers and the music stops for a moment, the lights rise up from the back up to the ceiling slowly before fading away as they begin singing again. The stars still twinkle from the hanging lights however, so that the stage isn't pitch black but relatively dark. Furthermore the spotlights lit up on the backing singers and June harshen a little, emphasising the almost silence of the song. They all sing softly, like they've accepted the lyrics of the song and thus their fate. As the music silences before the last word, the camera fades to black, only to light up again showing the four singers kneeling in a small group. On the last note, they all reach forward slowly in unison; June tearful yet happy almost, reaches forward.

Those ocean eyes I once fell into
As sun and earth embrace


The last couple notes are played and the tearful June plucks the strings of her lute, the camera focussed on her and only her. The song ends and the Llaltese audience scream and cheer in excitement for what must feel like forever. June attempts a thank you, but is too much of a wreck for any words to leave her lips. Her backing singers surround her ecstatic but slightly worried for poor June.

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Founded: Nov 23, 2019
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Postby WHFMODERATOR » Sat Nov 23, 2019 9:03 am

Bayilan | 12
Akilah Maghdam - "Even Me"

Language: English
Music: Akilah Maghdam, Amdul
Lyrics: Akilah Maghdam
Tune: https://www.youtube.com/watch?v=WIzu_eoCgzU

Broadcaster: B7
Trigramme: BAN





Akilah stood with her guitar wrapped around her shoulder and adjusted her microphone, and she starts to strum on her guitar as she also starts to sing.

[Verse 1]
Woooah… Yeah..
Why is it that you even care
I’m just waiting for the time to pass
I always want you near to me
Because I never want to be apart
Alive because the things you do
It’s crazy that you gave me a chance
Can’t believe that i’m with you


[Chorus]
All your love makes me feel new
I dont know what it is you do
I’m not always the best girl I can be
So it’s crazy that you would chose even me



[Verse 2]
Do you know who you’re working with
I’m not perfect yet you seem to care
You always give me all your love
Just me and you, in the clouds above
I never thought that it could be this way
I dont know what I do to make you stay
I will love you anyday


[Chorus]
All your love makes me feel new
I dont know what it is you do
I’m not always the best girl I can be
So it’s crazy that you would chose even me


[Bridge]
I dont know why why a girl like me deserves your love baby
I dont know what it is I do
You make me feel amazing everyday I stand
Not always the best me, I dont know what you see
I dont know why you’d
Choose even me




[Chorus]
Through my eyes I vision you
All your love makes me feel new
I dont know what it is you do
I’m not always the best girl I can be
So it’s crazy that you would chose even me


[Chorus]
All your love makes me feel new
I dont know what it is you do
I’m not always the best girl I can be
So it’s crazy that you would chose even me


[Outro]
All your love makes me feel new
I dont know what it is you do
I’m not always the best girl I can be
So it’s crazy that you would chose even me
Even me, ooooh..

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Postby WHFMODERATOR » Sat Nov 23, 2019 9:04 am

Estogium | 13
Zala Marelli - "Not in Love"

Language: English
Music: Jacob Fisher, Dan Whitherspoons, Gigi Vadebonceour
Lyrics: Gigi Vadebonceour, Zala Marelli
Tune: Tatianna - Hurt My Feelings

Broadcaster: RVC
Trigramme: RWH


Estogium and RVC are officially returning to the World Hit Festival after the nation's 15th place which was the nation's fourth worst result. With Zala, they're hoping to better their performance record.

The 47th World Hit Festival was a large edition which was held in the neighbouring country of Britonisea. Estogium was looking for a good result, high off the success of coming 5th and 7th in the editions before the last one where the nation participated. Though, things did not turn out the way that RVC and Estogium expected them to go with Estogium struggling to make moves up the scoreboard and by the end of it coming 15th place. Although a further nine nations finished under Estogium, it was one of the nation's worst placements which left RVC and Estogium unsure how to approach the World Hit Festival. As the nation heads towards the 30th anniversary since Estogium debuted at the World Hit Festival, the nation is confident with its entry this time and would like to do well this edition in order to, hopefully, host the edition after.

The song that is being sung was not originally meant for Zala to sing at this upcoming World Hit Festival, but was actually meant for Britonish singer, Gigi Vadeboncoeur, who was going to send this song to the WorldVision Song Contest - but plans between BVC and the WorldVision organisers never materialised. Gigi decided to pass on this song for good use and send it into Estogium's RVC HQ as a songwriter only. Zala was paired with this song since she could relate to the lyrics, she says.


At the start of the song, Zala was standing by herself on the stage with a large white light coming from the back of the stage but none coming from the front making it, for the audience, a sole silhouette of a woman standing strongly. There was smoke coming from the floor of the stage too. As the song began, the camera slowly moved in toward the Estogian before she raised the microphone to her lips and started to sing the song;

I drank too much last night
Should've stopped but downed more
Don't know what I drank,
Drank it all, didn't stop
You were with me that night
But you were not with me
And that's how it should be
You and me, I agree


Suddenly, a few men who all looked as though they work out ran onto the stage. They all had their shirts unbuttoned but were all wearing different colours and designs with different trousers. The strobes were bright at the end of the verse and we changed into a club setting. The LED screen in the back also aided this, with the picture changing to a club in the back. The camera Dutch tilted and shook as the men ran onto the stage with Zala standing in the middle waiting for them to circle her.

Last night was just a blur,
I didn't know where me and my head were
Said things perhaps I shouldn't have
You gotta know,
Baby I am not in love
Baby I am not in love
Baby I am not, not in love,
Not in love with you, no.

And I'm sorry I said those things, I am.
Wasn't thinking straight, no -
Baby I am not in love
Baby I am not in love, no
Listen to me now that I'm sober
I'm not in love, no sir
Baby I am not in love
Baby I am not in love, no.


The camera then zoomed into Zala looking directly at one of the 6ft2 men who she bumped into during the club scene. Everyone else froze into a tableau and Zala started singing to the tall, handsome man. As she started to sing the verse, she circled around him with her finger out - with the man acting very infatuated by her and following her finger. The camera focused on the action as the scene mellowed.

You asked, "Are you okay?"
Shook my head violently
Texted all my friends,
Look at him, he's so hot.
Took your presence for granted,
And I shouldn't have done that no
Could you forgive me?
That would mean the world to me.

I don't know why I push myself oh
I embarrass myself, oh
It's not intentional
Regretting it all, at 3AM baby
I know I was wasted,
You were nothing but kind but babe


The man then got down onto the floor into a crab position as Zala took a seat on his stomach during that verse. The camera quickly went from one side of the auditorium to the next side of the auditorium with the lights getting a bit more excited as we reached the end of that verse and moved on. Zala stood up once again with the man flipping himself to his feet just in time for the chorus again with the camera quickly zooming in on the action with Zala smiling into the camera. Here, everyone unfroze and started dancing again with the guy grinding himself behind Zala.

Last night was just a blur,
I didn't know where me and my head were
Said things perhaps I shouldn't have
You gotta know,
Baby I am not in love
Baby I am not in love
Baby I am not, not in love,
Not in love with you, no.

And I'm sorry I said those things, I am.
Wasn't thinking straight, no -
Baby I am not in love
Baby I am not in love, no
Listen to me now that I'm sober
I'm not in love, no sir
Baby I am not in love
Baby I am not in love, no.


At the end of the chorus, the man comes back and here we are greeted by a Steadicam. There's only so much you can do with a small venue and so a Steadicam addition was necessary for this scene. Zala put her hand up around the tall, hunky male who looked down at her In love. She looked at the Steadicam and put her hand to the camera before she leant in but didn't kiss him.

Baby I…
I am not in love with you (ooh ooh)
Baby I….
I am not in love with you (ooh ooh)


The next shot joined her from the left side of the stage where she was walking. All the men that were in the club were all on the floor doing synchronised movements, very closely together and touching each other up - quite a homoerotic scene. Zala was standing in front of all these men singing towards the camera which was slightly upwards and further away. She looked as though she had regret on her face as she went on to sing the chorus. As she did, she moved centre stage with the men moving away from her as though they're all in love but slightly intimidated by her.

And I'm sorry I said those things, I am.
Wasn't thinking straight, no -
Baby I am not in love
Baby I am not in love, no
Listen to me now that I'm sober
I'm not in love, no sir
Baby I am not in love
Baby I am not in love, no.

And I'm sorry I said those things, I am.
Wasn't thinking straight, no -
Baby I am not in love
Baby I am not in love, no
Listen to me now that I'm sober
I'm not in love, no sir
Baby I am not in love
Baby I am not in love, no.
I'm just not in love.

Last night was just a blur,
I didn't know where me and my head were
Said things perhaps I shouldn't have
You gotta know,
Baby I am not in love
Baby I am not in love
Baby I am not, not in love,
Not in love with you, no.


The lights went dim as she sang the last part of the song before the audience in Llalta cheered for her. "Thank you Llalta. I loved performing" She then walked off the stage ready for the next proceedings.

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Postby WHFMODERATOR » Sat Nov 23, 2019 9:05 am

Fatiman Federation (Indo States) | 14
Mariel Delos Reyes - Clairé

Translation of Title: Air
Language: Fatiman and
Music: Mariel Catalina Delos Reyes
Lyrics: Mariel Catalina Delos Reyes, Cristian Delos Angeles
Tune: Buwan - Juan Karlos

Broadcaster: RTV (Radio Television Fatimania)
Trigramme: Fatiman Federation, FET




Image

Mariel Catalina Delos Reyes (Mama Mariel) (Age 27, June 28 [REDACTED]) is an Barangay LS 97.1 Disco Jock, DZBB Anchor (Talk to Mama Mariel), and Actress-Signer. Which she had Love Relationship with Cristian Delos Angeles.


LYRICS:

Klaime nes Karmenes Deter (Nature and Environment Met,)
Crasimé klysê Parçons (Days and Months,)
Clemé Martannes Cilert (An Unexpected momment)
Mahares du Palet (I'll be there.)

Les Dimmes Clairé (On the Clean Aire)
L'Clamet Marine (Is Never Ends.)
Les Dimmes Clairé (On the Clean Aire)
L'Clamet Marine (Is Never Ends.)


Plumette en Plumette.. (Planet and Planet..)
Clesuire Dalsk Cristek (Since we've met before)
L'Tegrette Leschter Creste Plyekt (It's a Good Time to met you)
Kiturer Plyuetné Caltrestike (Were Forever Together.)

Klyet Partle. (Alone Again.)

Les Dimmes Clairé (On the Clean Aire)
L'Clamet Marine (Is Never Ends.)
Les Dimmes Clairé (On the Clean Aire)
L'Clamet Marine (Is Never Ends.)


Cristyuf Clemé, Sartevenak Luchesita Plestasu (Sometimes, I'll gone down if there's no trees)
Detretaimé Clusette, Cluetté Klesartle Sipestu (For Unknown Reasons, I'll Die.)
Paklestu Klarte (I'll Never Rise.)
Cétte Klechere Chanson (This Song will be Romantic)
Kletu Screta, Cheslu Kristé Crishtena (Your Secrets, Will Be Lost)
Creste Leste Lieche (No People can Follow Me)
Kleye Creste Trech Kreste Pyul Klette (No People can Love Me)
Dekrete Casature.... (Everything...)

Les Dimmes Clairé (On the Clean Aire)
L'Clamet Marine (Is Never Ends.)
Les Dimmes Clairé (On the Clean Aire)
L'Clamet Marine (Is Never Ends.)


Les Dimmes Clairé (On the Clean Aire)
L'Clamet Marine (Is Never Ends.)
Les Dimmes Clairé (On the Clean Aire)
L'Clamet Marine (Is Never Ends.)

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Postby WHFMODERATOR » Sat Nov 23, 2019 9:06 am

Togonistan | 15
Marius Tongia & The South Castovanni Boys - "Estogium"

Translation of Title:
Language: English
Music: Marius Tongia, Michael Fauna, Dominique Bouzaglo
Lyrics: Marius Tongia
Tune: Trevor Horn Orchestra - ''Istanbul''

Broadcaster: Lucky 7 Music
Trigramme: TGN




Image
The South Castovanni Boys. From left to right: Michael Fauna, Ali Naurutia, Steve Wiles, Dominique Bouzaglo, Marius Tongia, Geoffrey Tavatula, Timoteo Faamate (sitting) and Enele Tonumaipe'a


Marius Tongia & The South Castovanni Boys is a jazz band representing Togonistan in the 48th World Hit Festival. Formed in Condor Hall, the famous Tushlark venue at the south of the Castovanni district, the group was founded in 1998 by Marius Tongia. Along with being widely popular amongst the local jazz scene, SCB have also found their way to the hearts of so-called ''ordinary people'' with the cheer and lax attitude of their performances. ''We just like to be on the stage, doing what we love. And what makes it perfect is when the audience loves what we are doing as well,'' Marius Tongia, leader of the group commented on the secret of their success.

For WHF, they are performing a song titled ''Estogium'' which, as Tongia describes, is a ''story about an event which, for some people was marginal. While, for others, it might just seem like a trivial detail. It pretty much follows the usual path of our creation, addressing real life event while adding a fun little jazz twist to it.''

Performance:

Marius Tongia and The South Castovanni Boys are standing on the stage. Marius standing in the very middle of the stage, while his band has formed a half moon shape formation behind his back. They are all wearing white tuxedos with black bow ties. Stage is lit up rather minimalistically at first, as Marius adjusts the microphone on a stand in front of him, coughs a few times and says: ''Good Evening St. Christopher! How are you all?'' The audience makes some noise, after which Marius turns his head to his band and says: ''I think this crowd needs a little jazz twist to end this concerto here, do you agree with me?'' The South Castovanni Boys nod and, with wide smiles on their faces, start playing. At this moment, the whole stage theme changes into a reddish-golden lighting, as Marius and SCB start their performance.

Marius starts by singing the first two verses.

Estogium was North Britonisea
Now it's Estogium, not North Britonisea
It's been long long time, Old North Britonisea
Still has handsome young lads
that will make you mad


Every girl in North Britonisea
Lives in Estogium, not North Britonisea
So if you met up in North Britonisea
She'll be waiting in Estogium


For the next few lines, Ali and Dominique join in with the singing.

Even Togonistan was once Togoniland
Why they changed it no idea
People just liked it better I think


The band starts swinging their hips to the rhythm of the music.

Take me home to North Britonisea
No, you can't go home to North Britonisea
Been a long time gone, Oh North Britonisea
Why did North Britonisea get the works?
That nobody knows but the Britons


Marius starts snapping his finger to the rhythm while humming along.

Estogium

Estogium


Even Togonistan was once Togoniland
Why they changed it no idea
People just liked it better I think


The band members liven up even more, swinging their body to the rhythm of the music they're playing. Luckily, the audience seems to swing as well, which makes the band on the stage smile even more.

Take me home to North Britonisea
No, you can't go home to North Britonisea
Been a long time gone, Oh North Britonisea
Why did North Britonisea get the works?
That nobody knows but the Britons

Estogium


The band ends their performance with three classy bows to the audience, who is cheering vividly. ''Thank you St. Christopher! And remember, during any hardships you go through, sometimes, all you might need is a little jazzy twist!''

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VOTE IN WORLD HIT FESTIVAL 48.

Postby WHFMODERATOR » Sat Nov 23, 2019 9:12 am

HOW TO VOTE IN WORLD HIT FESTIVAL 48:

Please prepare a FULL RANKING of all the nations from best to worst.

The nation who receives FIRST PLACE will receive 5 points, SECOND PLACE will receive 4 points and so on. Nations that place 6th to 14th in your ranking will not receive any points.

If you need a template, please check out below;


5-
4-
3-
2-
1-
6th-
7th-
8th-
9th-
10th-
11th-
12th-
13th-
14th-


SEND YOUR RANKING TO WHFMODERATOR

The Sign-up thread for the 49th World Hit Festival WILL go live next weekend and so a winner MUST be found. If everyone wants a more exciting voting segment, I URGE YOU ALL to vote as soon as possible. Otherwise, the deadline for voting is;

30TH NOVEMBER, 4PM UK TIME - 7 DAYS TIME.

The first set of points will come out on the 30th and the winner will be found out on the 1st - if not before. Again, I urge you all to vote as soon as possible so the next host doesn't have to rush.

I repeat...SEND YOUR RANKING TO WHFMODERATOR!

The host will have access to this account and if they are ready by next week, they'll present the votes. If not, WHFMODERATOR will post the results.

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Posts: 9478
Founded: Oct 29, 2012
Inoffensive Centrist Democracy

Postby Britonisea » Sat Nov 23, 2019 9:28 am


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Rankings after Phase 1

Postby WHFMODERATOR » Sun Dec 01, 2019 1:55 pm

THE RESULTS AFTER PHASE ONE
All fifteen nations have revealed their points between 4-1 points and these are the standings after it.

Image

1st Normandy & Picardy 20
2nd Kalosia 16
3rd Tödlichebujoku 15
4th Togonistan 14
5th Achaean Republic 14

6th Britonisea 14
7th Estogium 14
8th Llalta 11
9th Mercedini 9
10th Scotatrova 8
11th Darkmania 7
12th Antenovaria 5
13th Bayilan 3
14th Indo States 0
15th Pan Asiatic States 0
Standings After Phase 1

Can Normandy & Picardy hold onto their first place or will they crumble to the pressure of all the nations behind them? Every nation can still win... We will found out more in just a second.

Are you ready, World?... The first nation to vote is...

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01 BRITONISEA

Postby WHFMODERATOR » Sun Dec 01, 2019 2:10 pm

01 BRITONISEA

Image

"Hey St Christopher! What a great show. I miss performing on the stage... Anyway, here are the five points...They go to..."

DARKMANIA!


You can find the current standings below;
01  (20)  Normandy & Picardy
02 (16) Kalosia
03 (15) Tödlichebujoku
04 (14) Togonistan
05 (14) Achaean Republic
06 (14) Britonisea
07 (14) Estogium
08 (12) Darkmania
09 (11) Llalta
10 (09) Mercedini
11 (08) Scotatrova
12 (05) Antenovaria
13 (03) Bayilan
14 (00) Pan Asiatic States
15 (00) Indo States

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02 Normandy & Picardy

Postby WHFMODERATOR » Sun Dec 01, 2019 2:20 pm

02 NORMANDY & PICARDY

Image

"Bonsoir tout le monde, bonsoir St. Christophe. On a passé une soirée exceptionnelle, un grand merci. Mais, maintenant, les points cruciaux."

KALOSIA!


You can find the current standings below;
01  (21)  Kalosia
02 (20) Normandy & Picardy
03 (15) Tödlichebujoku
04 (14) Togonistan
05 (14) Achaean Republic
06 (14) Britonisea
07 (14) Estogium
08 (12) Darkmania
09 (11) Llalta
10 (09) Mercedini
11 (08) Scotatrova
12 (05) Antenovaria
13 (03) Bayilan
14 (00) Pan Asiatic States
15 (00) Indo States

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