World Hit Festival 50 - Vodiznad, Izmedu | IC Thread

by **Izmedu** » Wed Mar 11, 2020 9:00 pm

20:00 IZMEDUAN TIME

Big number fifty.

Who'd have thought things would ever get this far? Or that we would be in this position right now? As organizers, producers, stagehands, and everyone who was involved in the 50th World Hit Festival's production were studiously preparing for the grand final, there was a sense of excited and somber reflection at the legacy that the World Hit Festival had built. In 50 editions, so many things have changed since the first edition in Necrobrachlesh. Every edition was always a chance to contemplate the contest's ever-lengthening history, but it was sitting with the contest's archive footage due to the 50th World Hit Festival was what hit the producers when it came to conceive of the show itself. The differences between the 1st edition up to now were night and day. Hell, even comparing editions only about 10 or 12 editions ago signaled a clear upwards trajectory of the contest's growth. There was a lot that RTI learned under the Britonish overseership, a lot that RTI continued to learn as they kept getting multiple chances to host the contest. Even as the routines began to become well-worn, there were always surprises that mattered in their own way.

Semi-finals were a challenge for the RTI production team. They expected it to happen due to the ambitions from the Britonish overseership and the BVC team, but to see it come to fruition served to be a logistical challenge that was different from WHF40 in ways that invigorated, scared, and surprised RTI all at once. Vodiznad had no problem handling the increased presence; the city itself had been planning to account for semis ever since their southern counterpart, Mousiki, did the job ten editions ago. However, the faces and teams behind RTI had changed since then. People were older. Energy was running out. New faces weren't so familiar with the legacy that their predecessors left behind. Would things turn out fine in the end?

Things always had a way of working out, even when a storm seems to be brewing in the distance. A legacy may find its meaning lost to time, but that doesn't mean its significance ever faded away. For the people that were so intimately involved in the show's day-to-day production that were seeing the final pieces come together and the final callsigns about to be queued into the broadcast. Maybe that was the significance behind the slogan that RTI pulled together when planning for this festival. It was true that a lot was changing in the world around them. It would be too solipsistic to say it was just the channel, but the wider world was facing times of struggle, times of fear, and the inevitability that things don't last forever had turned from an abstract cliché to a concretized reality. But again, that doesn't mean that a legacy is wiped away forever. It seemed such a hopeless, almost cruel fate for it to happen for something that was once so significant, but there is a truth to saying that the fact that its legacy remains is the significant part. Even if it may never be understood, it's occurrence means that it still has a toehold in our reality. A toehold in the ever-changing fabric of life.

That is the World Hit Festival. A time to celebrate a legacy of what came before us, and a time to signal what may come for the future.

Journeys will begin, will end, and will continue to be so.

Dora Vidakovic (General-Director of RTI), in the production room, took a deep breath as she watched RTI and WHF's call-signs play on the broadcast. The show was starting and it was time for the grand final to begin...

Tune: Thomas Bergersen - Big Life

0:00-0:56
The introductory package to the 50th World Hit Festival's grand final began with a triumphant flourish. Wisps of gold timed to the music would begin to flow about the screen, represented as ethereal golden dust that would begin to almost form the prismatic golden shapes that formed the basis of the current edition's aesthetic. As the music began to settle at around the 10 second mark, we would begin to see ghostly recaps of the first second and semis. The show would move through the newly archived footage of the first semi, surveying acts that both qualified and didn't qualify. As the music once more returned to its triumphant gait, scenes from the qualification announcement were shown, with the colors hues changing to those of various' nations as their names were called out. Once that part was done, the music would calm down, a xylphone then beginning to 'back' the song.

0:56-2:00
Once the next section of the song began, remaining steadfastly ethereal and soft, the national colors of Ertzei Kishim would begin to manifest on the screens. Images of SAMBUCCA performing their song would appear on the screen. The whole scene would linger on them for at least 15 seconds, before the scene would then transition into Besmenien's colors. The music would remain calm as their entrant, Die Biefanters would appear on the screen, using footage from their semi-final 2. However, a little twist was added as Besmenien had appeared in a previous WHF. As the orchestration began to swell slightly, STEVIAN92 would appear alongside Die Biefanters with footage from WHF49. After Besmenien's moment would then be Estogium. Scenes from Elias Nordin performing his song would appear alongside Estogium's best-placing entrant, Zala Marelli. For at least 20 seconds, Elias and Zala looked as if they were singing 'together,' akin to the same effect that was done for Die Biefanters and STEVIAN92. As soon as this bit was finished, the music would began to intensify.

2:00-2:49
The whole procedure for this opening theme now seemed pretty well-established, as it was now strongly apparent that it would be done via the grand final's running order. At the 2 minute work, it would be Normandy and Picardy's turn onto the proceedings. Their entrants, Marie Traveur and Orchestron, would appear on the screens singing 'Maria.' Halfway during the 17 seconds they had, five other winners would appear as ghostly images alongside the current Normand entrants, appearing in chronological order as Sjuzé, Small Lords, Sophie Béatois, Jon Kallsen, and Anna. The music's intensity did not relent as it was now time for Britonisea to make their appearance, with Meghan Jorgensen appearing on the screens with her song. During their section, Britonish winners would appear alongside Meghan's broadcast footage, with Rigas Jengiz, Dean Boyst, Evangeline Hope, Vhe Qí, and Gigi Vadeboncoeur all appearing alongside Meghan. The music then took a turn, sounding even more triumphant as it was Malta Comino Gozo next. Seeing as they were debutantes to the World Hit Festival, extended footage of Connexion, from both their performance and their rehearsal were shown in this video package.

2:49-4:01
After Malta Comino Gozo's section was complete, Polkopia would appear after the music made its turn toward a new direction. Scenes from Vanessa Aminisova's performance in the semi-final were now shown to the audience in this video package, with her footage interspersed with the best performing Polkopian entrant in the festival, WHF29's Nikolai Bartrov. The music would only begin to go higher and higher as Llalta was up next. The same pattern would repeat once again, with footage of Esther Winterbourne performing her WHF50 song now broadcast alongside footage of Llalta's winner from WHF48, Chiara Albanthia. The broadcast would linger on the dual image of Esther and Chiara before transitioning over to Nightom, with Esther and Chiara fading into the darkness. Once Nightom was in, Alex Xavier would then have his time in the spotlight, with WHF31 entrant and WV55 winner Matinee Schylestreake appearing alongside Alex during the broadcast. It was 10 seconds into Nightom's section, when the music would begin to take a more dramatic turn, was when Matinee's appearance was made. The music would maintain this intensity as Kalosia's section was up. Le Kaminu could then be seen performing their song in both rehearsal and semi-final, before images of the two Kalosian winners, Paola Amadin and Corpus Calosum, would appear alongside the current entrant representing the island nation. At the 4 minute mark, the music would soften...

4:00-5:04
The music's softening didn't stop the sequence. Togonistan would appear right after Kalosia. Images of Stacey Lekker singing Graceful Widow would appear on the broadcast by her lonesome, before WHF45 3rd placer Mareta Ioane would appear alongside Stacey. These performance shots would be played as the music still remained calm and ethereal, without a sense of dramatic urgency waiting in the wings. This same mood would remain as it was Natanya's turn on the spotlight, with Annija Lendberkyev appearing first, and then Natanya's best performing WHF entrant, WHF45's Elva Kohln. Up next would be Wazekia. As Wazekia were debutantes akin to Malta Comino Gozo, extended footage from Nadeza's semi-final performance and rehearsal were shown. Wazekia's appearance then transitioning into Todlichebujoku saw the music beginning to build toward a climax. Scenes from Veluna's performance would appear on the broadcast, which then began to be interspersed with Henrik & Gabiya's winning song from WHF22 halfway through Todlichebujoku's bit.

5:04-6:11
This section would build to a larger climax, befitting that it would then begin to present the last three nations remaining in the queue. After Todlichebujoku came Besen, with Amelie Rose being shown proudly onto the broadcast. During her footage from the semi-final, footage from WHF44's 4th place and Besen's best-performing entrant, Leonardo Nesita, would appear. After 20 seconds lingering with Besen and the music beginning to build further into a climax, the second-to-last nation to perform would appear. Teesdexxia were up next, with Eshia's performance from the semi-final now shown. As Eshia was performing, images of WHF45's runner-up, Joseph Alexandesso, would appear alongside Eshia. At the music's most triumphant moment, the hosts, Izmedu, would then appear. Poslie Postojanje's semi-final performance as the interval was now shown on broadcast, which would then 'freeze' at a specific point as images of all eight former Izmeduan winners would appear alongside the band currently representing the host nation. The images of these Izmeduan entrants would then fade into a CGI representation of the venue, El stadion skoljke.

6:11-6:45
It would now be a calm end to a triumphant yet quick recap of every contestant's brief history. Yet, it was only a perfunctory look at each nation's journey and legacy to the World Hit Festival. It was not the complete picture. The broadcast would then show a first-person perspective of someone walking into the stadium, looking towards the sky first before being greeted with the 44,000-strong crowd awaiting them. This was where the line between CGI and reality began to blur. As the song ended, the view would begin to slowly shift into one that was looking clearer that it was the stadium itself, and not just merely an illusion created by artists and computers...

Translation: Tomorrow I Rise and Say
Tune: Dolcenera - Un altro giorno sulla terra

The stage hung in pitch black and silence, but the crowd were certainly not staying silent. The crowd cheered heavily as the camera surveyed the packed stadium, many in the crowd experiencing semi-finals after 10 editions. The grand final had an electricity to it that made this shared feeling almost too surreal. The cheering took a while to subside, but as it did, it was time for the opening act to make its appearance...

The stadium still was enveloped in silence, until a set of green lights began to flesh. These dark green lights only barely illuminated the stage, revealing there to be outlines of multiple figures standing there. However, these flashes were brief, and only someone who would be watching that closely could notice the amount of people on the stage. These drums, the ones that constituted the beginning of the song, would be extended for the next 10 to 15 seconds to get the crowd hyped out. The crowd were certainly biting, cheering loudly as the very advent of the opening act itself. It wasn’t long until the song proper would start, with additional strains of production being added as the camera would zoom in closer to the stage, spotlights beginning to shine on the performers on the stage. One of the spotlights would shine on Jadranka herself, the performer responsible for the grand final’s opening act. The camera would zoom in close to her as she gave the camera a slight wink, microphone in hand.

Hey you
Lying awake still tired
Still up in this long, damn cold night
It seems like it won't ever end
No more, no more, no more
You want to get away
Escape to the big city
And actually live your life

The whole mood of the performance remained shrouded in mystery, but Jadranka sang this verse with a slight smile. She was playing and singing to the camera, knowing exactly where even its slightest movements would be throughout the first verse. Her voice was low, slightly husky, but there was a sense it was ready to burst into life at any moment. She kept her delivery smooth and steady, beckoning directly to the camera and audience. Around her, the stage was kept relatively dark, with only the faint green hues providing any sort of decent area illumination. The lights would begin to brighten only slightly, and Jadranka would begin moving, just as the first verse would end.

Ne oklijevajte, ne sturte tvaja šansa
Ovo je tvaj život, Ovo je vaš trenutak
El saunce diže se-i vrije je pustiti
Ne staj tvaja jamna od osjećaj

For the hook, the lights would begin to intensify as the production was building towards a peak. Jadranka swayed her body to the rhythm of the song, moving around with more heft and glancing at what still couldn’t be seen by the audience. At each line, the camera would begin to make wider shots of both Jadranka and audience, showing more and more until it was time for the final line itself. Jadranka would hold out that final, but brief note of the hook as the lights began to intensify in time for the chorus…

We are solid gold, solidano
Stars that flash and burn with endless brilliance
Luminiva sčora ulgovima
Dezmun destrum deku: maja loica ostaje

The chorus was the centerpiece of the song, and its first iteration introduced itself with quite the impact. The lights intermixed with gold and green, reflecting both the theme of the song and the World Hit Festival itself. It would then be revealed that there were a group of dancers lying in wait for this moment, as each would perform a somewhat coordinated but mostly freestyle choreography with Jadranka. For Izmeduans, they would instantly know what kind of event that this performance was riffing up from. It was the El ponoconi ponos, aptly described as an all-night event filled with dance, music, and a night of letting go from the daily pressures of life in Izmedu. It didn't matter what one was, whether you were a superstar in the Izmeduan music industry or someone who had no fame at all, all were welcome to shine, dance, and sing throughout the event. The whole performance set-up, with the dancers freestyling to their hearts content, reflected the ethos related to the Izmeduan cultural event this was emulating. The camera was suitably frenetic, as if it were a hand-held closely surveying the environment instead of being afar. However, the chorus was short, and there wasn't much time in the brief pause between the chorus and the second verse.

Hey you
Standing and wandering alone
This is your chance too
We can't celebrate without you
You're free, you're still here
We all get a chance to shine
This is your chance too
We can't celebrate without you

For this verse, she would closely interact with a group of dancers that broke off from the larger formation from earlier. She would slink her body around each one, especially making sure to catch the attention of dancers that would wander off. Jadranka's intent was clear in her tone and expression, she wanted everyone in on this celebration. The lights, throughout this verse, would focus on alternating between gold and green. The camera remained mostly close to Jadranka, preferring to make sure that the action was up close instead of showing wider shots of the stadium. As soon as this verse was done, Jadranka would turn to the audience once more, ready to carry the song to its chorus.

Ne oklijevajte, ne sturte tvaja šansa
Ovo je tvaj život, Ovo je vaš trenutak
El saunce diže se-i vrije je pustiti
Ne staj tvaja jamna od osjećaj

With this hook, the dancers returned to formation once more. There was an almost an entire cadre of them covering the stage, looking as if Jadranka didn't have a lot of room to perform. For the Izmeduans that have been to the event that the performance evoked, this would evoke memories of an openair nightclub. These were people preparing to bump, grind, and dance the night away. The hook would end with a wide shot surveying this entire stadium, with the music going straight into the chorus.

We are solid gold, solidano
Stars that flash and burn with endless brilliance
Luminiva sčora ulgovima
Dezmun destrum deku: maja loica ostaje
Keep the music up and running
We won't stop the fire burning in us
Luminiva sčora ulgovima
Dezmun destrum deku: maja loica ostaje

It truly was a party on this stage. This time around, Jadranka would sing two variations of the chorus that, with one altered slightly from each other. The music's horns intensified and the party atmosphered increased as Jadranka and the dancers were having the time of their lives on stage. Seeing as there were more people on stage, the camera views needed to be wider. Jadranka put as much energy into her vocals as she could, given that she too was also grooving and dancing alongside everyone else on stage. They would groove to the rhythm of the music, slinking their bodies, dancing, sometimes even breakdancing, whatever was appropriate to the mood of the music. At the end of the second chorus, the camera would engage in a close up of Jadranka, with her crouching down towards the camera as the music's horns blared the end of the chorus itself. Now, it was time for the bridge.

Let's go!
No more fear!
Let's run!
We will run free!
Let's go!
No more fear!
Let's run!
We will run free!
We are solid gold!

The music would pull back, a series of drums played at each line. The camera would change angles at each, displaying a different set of dancers performing a move that was unique to their style. These dancers came almost out of context, but they were fast, quick, and done in a flash. The music intensified just that slight bit at each line, with more and more dancers being shone as this bridge quickly progressed through each line. The final line would end with Jadranka singing the first line of the refrain, ending the bridge with an instrumental interlude that saw the stage looking almost quite like a packed nightclub. The gold and green lights flashed at a frenetic pace, the dancers were close to each other jumping and dancing passionately, and most everyone had lost themselves to the music. Now was the time to reprise the chorus one last time.

We are solid gold, solidano
Stars that flash and burn with endless brilliance
Luminiva sčora ulgovima
Dezmun destrum deku: maja loica ostaje
Keep the music up and running
We won't stop the fire burning in us
Luminiva sčora ulgovima
Dezmun destrum deku: maja loica ostaje

Jadranka was now fully at the frontal tip of the stage, taking care to make sure that she wasn't too risk at falling over by accident. For this chorus, Jadranka and the dancers that were nearby her would do a loose, but still somewhat coordinated choreography, swaying their bodies left and right to the rhythm and phrasing of the music. The dancers at the outskirts of the large group would keep on dancing as they please. Eventually, at the end of the final reprise of the chorus, the music would have to quiet down. The horns would flash one more time before calming down to a thudding drum and some piano. Most of what was going on in the stage would cease as the music calmed.

The song would end and everyone on stage would have to quickly disperse to make sure that the show's production wouldn't be delayed. The crowd, however, cheered heavily for Jadranka. The song was a fan favorite in its Izmepisma, and the opportunity to open to grand final was one that Jadranka happily accepted.

The grand final, even if it had the same amount of people as the two semi-finals, felt so much larger in scope and size as the crowd cheer for Jadranka's opening was almost deafeaning. The production team hung back a little bit in introducing Katarina and Gabrijel to the crowd as they let the crowd cheer simmer into a calm.

The stadium would begin to flash in an array of lights, a brief instrumental playing that would herald the introductions of the two hosts. An announcer's voice would begin to play over the instrumental, the lights still flashing throughout the stadium, being both a mixture of gold and white.

WORLD, PLEASE WELCOME YOUR HOSTS

KATARINA ZUNIC AND GABRIJEL CELINA

For the first time across any of Izmedu's hostings of the World Hit Festival, two former contestants would be wheeled out to help the contest's proceedings. Katarina was met with loud cheers from fans who recognized her from two editions ago, having been the winner of the 30th World Hit Festival. She remained a visible figure amongst the Izmeduan fandom, with a not insignificant amount of people that would want her back as a contestant. Gabrijel Celina, however, was a curious choice. Though he was able to attain 3rd in the 31st World Hit Fesitval, his 11th place in the 42nd World Hit Festival didn't exactly endear him again to a lot of fans that hoped he'd do better. Yet, as it turned out, he did have the chops to become a co-host during the search to find hosts for the World Hit Festival. And, after all, it was their way of returning to the World Hit Festival without the nervewracking pressure of representing their country.

Katarina was energetic, walking out into the stadium stage and enjoying the crowd's energy. Gabrijel was her counterpoint, looking more reserved and ready to help calm the crowd.

Katarina: World! Welcome to the 50th World Hit Festival!!!

The crowd cheered once again. However, knowing the show needed to proceed, quieted down much quicker this time.

Gabrijel: Yes, indeed. We'd like to welcome everyone to the grand final of the 50th World Hit Festival.

Katarina: Kind of surreal, isn't it? To think, 50 editions... If you think about it, it's not too long ago that our country were overseers of this festival, or thinking about it, Kalosia too.

Gabrijel: As you can see... We've had a long history, but it's not over just yet.

Katarina: Absolutely! So, let's get onto what this contest is about, shall we? For anyone tuning in, you're coming in at just the right time. Gabrijel, do the honors?

Gabrijel: The World Hit Festival is a multiversal song contest. Each nation sends in one song to perform for their country and we, through a vote, decide which is the best song in this contest.

Katarina: A lot of nations come from all walks of life, reality, and what have you. We have nations with dragons to nations that would have what you'd expect. All of these nations perform their songs and we hold that vote that Gabrijel mentioned.

Gabrijel: On the road to the grand final, we had semi-final stages. We started off WHF50 with 31 nations sending entries. Now, we have 17 left in the running. One of these nations will win tonight, and who shall win is entirely up to you.

Katarina: I think that's enough information overload and some seriousness. Let's have some fun and get on with the show! On my cue card I believe we have... oh wow! Ertzei Kishim starting again!

Katarina: Hope those notaries don't spark a lawsuit... Anyway, Ertzei Kishim is going to start off things with a bang with girl band SambuCCa. They qualified from semi 2 and they have a banger of a song to get the show started.

The broadcast shifted to Ertzei Kishim's postcard as their postcard began to play...

by **Izmedu** » Wed Mar 11, 2020 9:15 pm

The Official Playlist for the Grand Final of the 50th World Hit Festival

by **Izmedu** » Wed Mar 11, 2020 9:18 pm

Tune: The Saturdays - All Fired Up

Popular girl group SambuCCa are no strangers to WorldVision fans. Having represented Ertzei Kishim twice in WorldVision, finishing in 8th place both times, the girls have a small cult following within the community, and HARESHET clearly see them as a safe option for participation. Ertzei Kishim's participation in WHF has never been assured, historically the results had always been strong, recently with Tatyana Shapsugh particularly, and historically finishing 2nd. SambuCCa were originally supposed to make their international debut for WHF many years ago, when they were shifted to WV, but now they can finally claim their stage. EK were not intending to participate in WHF, but a decision was made to honour the 50th anniversary with a Kishi entry out of respect for the institution, and an appreciation of the Kishi contribution to the contest. SambuCCa had never really made it big internationally - their performances in WorldVision had always been well received, but outside of Ertzei Kishim, particularly with some hits in Izmedu, their career was primarily domestic. Having recently announced a hiatus, which transpired to be more like a permanent split for the band, it seemed appropriate that the band's last international appearance was in a country where they found some appreciation, and of course, at the spectacle of a World Hit Festival.

The nature of being in a manufactured band had clearly worn the girls out, and despite their smiling faces and politeness, there was an air about them that suggested that this performance was really the last one, even in interviews with one of the girls saying: "This is a great way to go out, we did want to finish a bit earlier but the label decided we would come here. Of course we are going to give it our all for the fans, but afterwards I'm excited for our well-deserved break". The song was a fast-paced dance song, praised in Kishrael for its non-stop beat. SambuCCa were experts in capturing that old-school Kishraeli style which was no longer popular outside of Ertzei Kishim, but such an energetic song had propelled them to the top of the charts, with it becoming the fastest selling song of the year. Originally coming 5th in Kdam-WorldVision, when the votes of the countries not participating in WHF were removed, they actually finished 3rd, and thus HARESHET thought it prudent to select them.

The stage in Vodiznad was actually perfect for the Kishi delegation. With the stage divided into a diamond, the two side diamonds had two metal pools in, with a small shallow pool of water in each. In each of these pools was a dance, dressed head to toe in latex and with black eye makeup to disguise their features. Each dancer wore a strong slick-back ponytail which was to move when dancing. The girls of SambuCCa were also wearing darker outfits, although not as dark as the ones of the back up dancers. Their outfits were accessorised with powerful statement jewellery, mainly necklaces and shoulder pads, which were either silver or gold. They were arranged in a wedge formation, and behind them were lights arranged in squares like so, creating a hint of a silhouette, but not obscuring them, and further inspiring an out-of-this-world image, as it was thus difficult to place them as being on stage because of the trick of light that the squares provided. The girls were ready, and as the audience cheers died down after the Kishraeli postcard, they readied themselves. The first beats of the song rang out, and weak flashlights from below the stage began flashing with the beat of the song until Aria Ktana began to sing, her voice calming the flashlights as the girls all started moving slowly forward in a wedge formation.

(If you can, catch me if you can…)
(If you can, catch me if you can…)
In your heart, the party is rising
Catch me if you can, catch me if you can
In your heart, the beat is rising
This ain’t gonna’ end, no we won’t reach the end

Aria continued leading the vocals into the main chorus, but as it started the girls splayed out from the wedge position and each occupied a dominant section of the stage, evenly spaced from left to right. The dancers in the water pit began to move, first very robotically in touching their bodies, and slowly extending their arms out - all of them moving in time to the music, they would play a larger role later. The camera began showing dynamic shots, throwing it over the girls from above and then whirling back from behind them to show the stage. All the girls began dancing to the music, bending at the hip and leaning forward while clutching their arms closer to their chest and moving.

Body on mine, on overdrive
Locked - loaded, on overdrive
Deep in your heart, on overdrive
Just you and me, on overdrive
Nines to the tens, on overdrive
We dance on, on overdrive
Russian roulette – on overdrive
One v one, maximum overdrive

Yona Begrou began singing the start of the first verse, taking the lead as the girls switched formation with a seamless choreographic transition, now with Yona in the middle. This part's choreography focused on the girls giving it from the side, turning to left as they stomped forward, turned and then back, dropped it low, whipped their hair and forward again. In the water pits, the dancers had gotten into full swing, and had adopted almost an aggressive stance, punching side to side in time with the music then bending to the side and whipping their hair back in time with the girls.

We turn the party, to a hundred
Moving on me slow, when the lights are low
We turn the party, get it started
When the lights go low, show me what you’ll do

As the next part of the verse started, Rina Hausdorff stepped forward to take charge of the verse. The girls realigned themselves into a line, with Rina being the farthest left out of them. The girls were giving hand movements, not far from fast style voguing, in sync with each other, two splaying left and two splaying right and then switching, as Rina played to the camera, making herself look sexy and delivering with her vocals. A camera came from behind the stage, through the dancers in the water and onto the girls, the dancers in the water crawling and whipping their hair as the girls then redispersed for the next part of the song.

Smashed shards broken glass
Fall on me like rain, drop crazy, make me wet, wet, wet, wet, wet
Smashed shards broken glass
Fall on me like rain
So baby think fast, don’t let this moment pass

The girls realigned as they did for the first chorus, with Aria taking lead vocals and the girls supporting her. This time their dance involved a rhythmic almost wormy motion as they moved backward, widened their gate, moved forward and then turned to the front to march towards the camera at the front of the stage with a light hint of wind machine. An increasing number of camera shots dealt with the dancers in the water pits, who were once again on their knees, throwing their massive pony-tails back and then bursting up and punching to either side before dipping forward and then whipping back again.

Body on mine, on overdrive
Locked - loaded, on overdrive
Deep in your heart, on overdrive
Just you and me, on overdrive
Nines to the tens, on overdrive
We dance on, on overdrive
Russian roulette – on overdrive
One v one, maximum overdrive

All the girls spring up with a strong triangular gate, hands on their hips, and then the lights go dark on the stage apart from the squares behind them, apart from a spotlight shining on Taliya Chityat, who was to take the next part of the song. She was to sing the talking part, where the beat slows for the first and only time in the song. As she sings the clapping in the background can be heard as shots of the dancers in the background clapping in time to the music are shown, they are barely visible due to the low lighting but this is what makes their appearance all the more striking.

Get up in my face, we're breaking it down
Nine times the limit, I found myself
Get up in my face, we're breaking it down
Nine times the limit, I found myself
Get up in my face, we're breaking it down
Nine times the limit, I found myself
Nine times the limit I found myself…

With the beat coming, flashing strobe lights appear from the bottom of the stage. The stage becomes a lot lighter, almost silvery to match the girl's jewellery. The girls of SambuCCa look almost heavenly as the lights come. They once again rearrange their formation, with Aria in the centre and extending her arm to the frontal camera. The girls all move their hips in time to the music as they sing 'catch me if you can', and continue to form splayed out at the front of the stage, just as they were at the start of the song. The powerful chorus, and the final one of the sing is about to kick in and they all take a deep breath as they want to finish strong.

(Catch me if you can, catch me if you can…)
(Catch me if you can, catch me if you can…)

In your heart, the party is rising
Catch me if you can, catch me if you can
In your heart, the beat is rising
This ain’t gonna’ end, no we won’t reach the end

The stage returns to the typical set-up, with it being relatively darker than just before, and aggressive strobe lights as the chorus becomes its most powerful. This time, along with shots of the girls dancing, and the dancers in the water pit who are now doing a dance where they kick the water while stepping forward, there are also shots of the audience in the standing area, some holding Kishi flags and others not. Whether one liked the song or not, there was no doubting that this was the danciest and most party friendly anthem in the contest, and thus when panning to the audience, there was a mass of joyful movement, people dancing, waving flags, singing along and smiling. The hope was that the party atmosphere could be portrayed to the people at home, as it was being felt in the arena.

Body on mine, on overdrive
Locked - loaded, on overdrive
Deep in your heart, on overdrive
Just you and me, on overdrive
Nines to the tens, on overdrive
We dance on, on overdrive
Russian roulette – on overdrive
One v one, maximum overdrive

Gal Dahan was the final girl to get a solo, and she was to round the girls out. The stage once again went to a more silvery colour, as the girls formed up in a circle all facing outwards with their backs to the centre. Gal was central, singing to both the camera and audience, using her arms to emphasise her words. The other girls began striking poses, the wind machines surrounding them on the side made them look like they were moving in slow motion, in fact they were thanks to a trick of the camera. The cameras panned around them in slow motion, with the video slowed down for viewers at home. Further glitter dropped from above, in front of their faces so as to not disturb their makeup, which had a beautiful shimmering effect on the lense of the camera.

And in my dreams we can't fall, turn me over move it slowly and we won't fall
We alive and untouchable, so you can keep me on your ray-ay-ay-ayder (radar)
And in my dreams we can't fall, turn me over move it slowly and we won't fall
We alive and untouchable, so you can keep me on your ray-ay-ay-ayder (radar)

With the performance done, the crowd roared in appreciation. If it was anything, at least it was gonna be different. The girls formed back in a line and all bowed, with huge smiles on their faces. If that was going to be their last performance, then that was an amazing high to go out on. In a disjointed thank you, they waved as they walked off stage, to the greenroom to await the results.

by **Izmedu** » Wed Mar 11, 2020 9:19 pm

Translation: "Here comes Tom"
Tune: https://youtu.be/hTWKbfoikeg

Immer wieder passieren Dinge
Dinge von denen man wenig weiß
Dinge wie Diebstahl oder Mord
Einer versucht sowas

Er lebt unter uns
Er hat einen Zylinderhut
Seine Haut ist rot
Und um die Augen ist es gelb

Hier kommt Tom
Er kommt aus der Hölle
Hier kommt Tom
Er kommt mit seinen Pick-up

Den ganzen Tag Zigarren rauchen
Einbrüche verübt er
Ebenso Mord, Vergewaltigung und Missbrauch an Skeletten
Das ist der Teufel

Vom korrupten Bürgermeister
Bis zum dämlichen Polizisten
In Momdorf gibt nicht tolles
Außer Toms Hölle

Hier kommt Tom
Er kommt aus der Hölle
Hier kommt Tom
Er kommt mit seinem Pick-up

Wenn es nachts ist kommt aus der Hölle
Flüchtet vor der Polizei und der Mafia
Sucht nach neuen Opfern
Das ist der Teufel

by **Izmedu** » Wed Mar 11, 2020 9:20 pm

Tune: Tom Grennan - Found What I've Been Looking For

After co-hosting the last edition of the World Hit Festival, Estogium returns to the World Hit Festival - participating for the 9th time in a row. Elias Nordin returns to Vodiznad to try and win the title here on Izmeduan soil.

Ever since his appearance at the World Hit Festival at the 45th World Hit Festival with his hit song, "Tired of Lying", appearances at the WorldVision Song Contest as the Opening Act and also rumoured participating at an upcoming WorldVision Song Contest, Jorsvikian singer (Elias Nordin) gained a lot of hype in his home country of Estogium. Interestingly, when he was being interviewed in the running to the 45th World Hit Festival, he said the quote, "he is not too famous, he’s able to go to the shops without being dragged out by screaming fans.” which is not something that he can say now. Elias Nordin, at the 45th World Hit Festival, sent the song "Tired of Lying" which was a male ballad which was something that was expected of the nation's Eastern neighbour, Britonisea rather than Estogium. Though, it seemed as though the song paid off as, in the end, Estogium placed 5th place with a total of 18 points. The placement marked the best result Estogium had received in 17 editions when Estogium placed 4th place with 19 points in Telgrad, Arioslavia which remained to be Estogium's best placement at the time. The song managed to clinch the #1 spot in the official charts for Estogium, before going platinum within weeks. Elias Nordin, after his performance, is now one of Estogium's most recognisable faces, with the man also gaining more gigs to host shows in the Brityunikosphere.

Ever since his appearance at the 45th World Hit Festival, Estogium has had quite the journey. At the 46th World Hit Festival, which was won by Britonisea, Estogium sent Hunter Malden - who had been rumoured to represent Estogium for a very long time. At what was an orchestral special of the World Hit Festival, Estogium placed 7th place which for the nation saw Estogium return to the realm of average results which suggested that Elias' performance was just a one-off. RVC thought that they had a formula however and sent their third solo male act in a row through Tony Alanis, who opened the show in Kyvivre. The show finished a lowly 15th place making it Estogium's third-worst result at the World Hit Festival showing everyone how quickly a nation can go from the greatest heights to flops. Estogium's RVC and the Estogian public were furious with the result which people not understanding what Estogium's place in the World Hit Festival was. After doing some evaluation, the nation returned to the World Hit Festival with Zala Marelli at the smaller 48th World Hit Festival which was being held in Llalta. Despite the show not being as grander as previous editions and not as many Estogians being invested in the show, Estogium scored 29 points, coming 2nd place - the first time Estogium was in a podium position - only pipped by it's neighbour, Britonisea. For the first time, ABEN had done a 1-2, with Estogium's best result giving the nation a flavour of what it would feel like to host the World Hit Festival.

The 49th World Hit Festival was held jointly by Estogium and Britonisea in Alshkan, the city which lies on the Brito-Estogian border. RVC and BVC both joined forces to host a good edition of the World Hit Festival, but while their neighbours managed to stay in the top 2, Estogium fell to 10th place with a total of 13 points. Knowing that the nation might have to qualify from the Semi-Finals, Estogium decided to opt to send Elias Nordin - a similar tactic to what was done at the 40th World Hit Festival when RVC sent Viv Rumie as they had faith that she'd qualify, which she ended up doing. With this song, RVC are sure that with whatever happens at the Golden edition of the World Hit Festival, Estogium would hopefully qualify and keep up their 100% qualify record.

The song, "Do Not Look Back" is similar to that of his other World Hit Festival, but this one seems to be a lot more positive and upbeat than his previous contribution. "Don't Look Back" is about someone wanting to be back with Elias Nordin after they wronged him (you can assume that he was cheated on). Elias explains in the song that it's time to just move on and not look back, asking who is he singing to to remember to times when they were together; focusing on the bad parts of the relationship as a reason why they shouldn't be together. The song has done well in the Estogian market already, entering the Top 10 of the Estogian charts since it's release. It's expected that the song will only rise higher and higher in the charts until he performs it in Vodiznad, Izmedu. Estogium is hoping that this song could give them the glory they've waited ages for...

It is now time for Estogium to grace the World Hit Festival stage. Elias Nordin entered the stage and readied himself for Estogium's seventh participation at an Izmeduan World Hit Festival. For Elias, his mention was to better the score that he received at the 45th World Hit Festival - placing 5th place or higher. It was also the mission that the broadcaster had set itself, with RVC desperate to make an impression at the turn of the decade. Elias was nervous as he knew that this World Hit Festival was much larger than the 45th World Hit Festival and therefore the chances of him receiving the result that he wanted would be harder. He walked into the middle of the stage wearing a white t-shirt and black jean trousers and shoes - nothing too fancy but would fit the song pretty well. He wore two large chains around his neck too which complimented his look. The colours that he wanted to use throughout the song would change throughout and so he thought that going for the neutral white and black would suit well.

Low-lying fog filled the bottom of the stage as the stage personnel bought a diamond shape on the stage with two light beams on either side of the shape coloured in neon red. Similarly to the picture shown in the link, the LED screens were a gradient of blue to black in the background. He stood in the middle of the scenery with his face and shirt lit in the red colour. He waited for his postcard to finish before he the music started.

The camera slowly moved in closer and closer to him as the music began. He faced the audience, swaying gently to each side. He raised the microphone to his face before starting the song;

Don't get your hopes up too much
Keep it PG between us
Don't say that you still love me - I don't care
Our time is over, I had to cut it short
I...thought that you wanted time apart?

At the end of the verse, the lights turned from the blue in the LED behind, it moved to a grey-ish colour with the red diamond still keeping its colour. As he finished the verse, there was a camera shot, a close-up, of his face with him smirking right down the lens after asking the question. There was a wide shot of the stage as Elias turned to meet another camera to the left side of him. He looked at the crane camera which zoomed passed him, slow down as it went over the stage. During this bit, lights from above the stage were flashing golden lights rather furiously with the crane camera pointing upwards once Elias was out of shot. Elias began singing the chorus of the song;

I was hurting, and I know you were too
Remember all the millions of fights
That we had, we weren't
Happy, don't kid yourself.
Honey, move on and do not look back
Move on and do not look back, yeah!
(Ooo-ooo-oooh) Move on and do not look back, yeah!
(Ooo-ooo-oooh) Move on and do not look back, yeah!

The chorus was only just a taster of what was to come as this chorus wasn't as long as the other ones and so Elias didn't stress out his vocals too much. The camera had a mixture of further away shots and close shots of Elias Nordin. Elias walked around the diamond shape and sat in the middle of it with his back to the audience. There was a camera shot of him sitting down in the middle of the diamond with the audience behind him, swaying their hands and waving their flags. He started singing the verse, with a male vocalist singing the end of each of the lines with him making it seem fuller. As he was sitting, Elias was moving from side to side more animatedly, getting more and more into the song.

Don't say please, don't hurt me (dry those tears)
I won't go back, no (so leave me)
Let's go our separate ways (pack your bags!)
Our time is over, I had to cut it short
I...thought that you wanted time apart?

Before he went back into pre-chorus once again, Elias stood up and walked around the diamond to face the audience once again. There was an aerial shot from the rigs of Elias walking further into the audience of the diamond-shaped stage. The lights started flickering gold once again like we saw just a few lines ago. Elias became much jumpier as he moved closer and closer to the chorus. He felt as though he could enjoy this song a lot more than the song than his previous effort of a ballad and so he was really going for it. There was a low angle shot, looking up at Elias as he waved his hands up and down before interacting with the camera as it switched to the next shot.

I was hurting, and I know you were too
Remember all the millions of fights
That we had. We weren't
Happy, don't kid yourself.
Honey, move on and do not look back,
Move on and do not look back, yeah!
(Ooo-ooo-oooh) Move on and do not look back, yeah!
(Ooo-ooo-oooh) Move on and do not look back, yeah!

After singing the chorus for the second time, there was another aerial shot of him running back to the diamond shape. As usual with performances from ABEN, a man with the cam came running onto the stage for the bridge section of the performance. He waited for the man to come with the audience watching as we crept closer and closer to Elias. As Elias began singing "I gave you a chance," the Steadicam was in front of Elias Nordin, with him following the camera with his eyes but not moving that much. The camera quickly went around the back of him before doing the same thing for a few times. During this bit, the golden lights at the top of the stage were still flickering and so every time the camera passed that, you could see that on the top of his head.

(Ooo-ooo-oooh) I gave you a chance, me a chance, us a chance
(Ooo-ooo-oooh) And I tried so hard, oh I tried, yes, I tried
(Ooo-ooo-oooh) But sometimes things aren't meant to be!

By the time he belted the last line, the Steadicam was away from the stage with a camera zooming out from his mouth out over the jam-packed stadium in Vodiznad making that the moment of the performance. As the camera moved out, not only the lights at the top of the stage but the LED was almost split into 10,000 tinier squares which flashed golden along with other lights that were behind Elias. The diamond that was behind him, too, was flashing making it a very dramatic moment for the Estogian performance.

Though, as we moved onto the first bit of the last chorus, everything was calm as the flashing stopped. A camera zoomed in on him similarly to the start of the performance with a similar setting as the first time. He looked into the lens and the camera came closer and closer to him. His face was blank at this point; he was just singing but that would change by the end of the chorus.

I was hurting, and I know you were too
Remember all the millions of fights
That we had. We weren't
Happy, don't kid yourself.
(ooo-oooh) Honey, move on and do not look back
Move on and do not look back

As he went into the final half of the last chorus of the song, he jumped out from the still position that he was in, almost hopping and skipping to the edge of the stage where the audience was - picking certain members of the Izmeduan audience to sing towards. The cameras were following him, changing every four beats but all zooming in or out from him making the performance rather dynamic. As with Elias' last performance, the golden shower pyrotechnics fell at the back of him as he danced and sang with the song - living his best life.

I was hurting, and I know you were too
Remember all the millions of fights
That we had. We weren't
Happy, don't kid yourself.
Honey, move on and do not look back!
Move on and do not look back, yeah! (Yeaaaaaaaah)
(Ooo-ooo-oooh) Move on and do not look back, yeah!
(Ooo-ooo-oooh) Move on and do not look back, yeah!
(Ooo-ooo-oooh) Move on and do not look back, yeah!
(Ooo-ooo-oooh) Move on and do not look back, yeah!

At the end of the song, Elias Nordin extended out his arms and looked up to the sky as the lights shone in him from the back, with none in front of him (creating the silhouette effect). The audience came in cheering as Elias kept that position for quite some time. As Elias noticed the heat of the light shining him on going away, he looked out to the audience where a camera was waiting for his expression, he jumped in the air and thanked the audience; "Thank you, everybody! Vote Estogium!" before running off the stage. Could Estogium return to the top 3? We'd find out by the end of the broadcast.

by **Izmedu** » Wed Mar 11, 2020 9:21 pm

Translation: The Seas
Tune: ONUKA - Zenit

Everything was set. Marie was ready to deliver the performance of a life time. All the usual clichés, really, but naturally they are clichés for a reason, and Marie was certainly feeling those very emotions at that point. The postcard came to an end, and the feed being sent across the multiverse showed the arena, dark as always for the beginning of a Normand performance; why change it now when we've been doing it for so long? And then, all of a sudden, it began, with a sudden close up view of Marie, dressed in a long, slightly matted, almost bedraggled dress, yet still ultimately looking classy, and less like she has just been in a car crash. It was Marie who would 'play' the opening flute sequence. The camera view zoomed out slightly through the very opening flute section, and moved with a hard cut between different perspectives, all from the front. This revealed that Marie was on some sort of platform made to look vaguely like a rock in shape, quite jagged and what not, but create definitely modern and not attempting to look too much like an actual rock, and it was also white, standing out from the very dark, subtly blue, lighting, and surrounded on all sides by a thick layer of smoke. Then, there were a series of flashes of a deep blue light, both in actual lighting and the background LED screen such that is almost seemed to ripple. Following this, a series of searchlight-esque lights started moving rapidly around the arena. This was mostly shown via a large panaromic shot, with occassional changes of perspective.

As the opening ended, all the searchlights converged on Marie and nearly seemed to fade away, although a gentle spotlight remained, which would remain fixed onto her throughout the verse which was now beginning. Marie gracefully held hold of her flute with one hand and brought it down to one side, and with the other grabbed onto the microphone on the stand before her, and began to sing quite softly. The cameras focused on her during this first verse as the song calmed down from its beginning intensity, which certainly will have woken up people across the multiverse (whether they enjoyed it or not of course being a different matter we will discover more about later, although naturally none of this happened to Maria, who was busy getting the job done whilst feeling both intensely nervous and euphoric about this opportunity, such that what anyone else cared was very much less than even a secondary concern). The lighting was less intensely dark, as the large background LED, a large screen of a nearly navy blue, but with ever so subtle fluctations, seemed to slowly pulsate along with the music. Naturally, even though there was not much going in the background, not too much of this could be seen as the focus was very much on Marie, with the background simply serving as a backdrop.

Là
Au bord du grand inconnu
J'y suis debout
'ci
Les vagues courent à travers mes pieds
J'me jete de l'eau

A series of panning shots from multiple perspectives, zoomed ever so slightly out, showed Maria who, having seemingly hidden her flute away in some pocket in her dress or otherwise (this is exactly what had happened, but naturally those of the audience wouldn't know this, although how many would have noticed? And would those who had noticed been able to figure it out? Probably, but that is not a pressing issue, back to the entry at hand) now began to move her hands around in that fancy arty type of way, moving them as the lighting slow intensified. The LED floor was used to provide a sort of underlight to the smoke, adding again a blue tone, but with the ocassional hint of red coming through (not, like, a gaudy bright red of course, the same being true for the blue, but think of something a bit more moody) whilst the background finally did more than pulsate now it was in greater view. A series of what appeared to be the outlines of medieval manuscript type drawings appeared to scrawl across in a slightly lighter shade of blue, showing various scenes from Normand legend about the sea.

Maria levia
Nunc semper curatis
Et nunc nos deletis
Maria

And then the chorus hit. The outlines of these drawings, which had started to glow from behind (as if the light was trying to escape from the behind the lines themselves) in an ethereal white seemed to be engulfed in one great flash, and the background was now replaced with a geometric-style representation of a stormy sea, 'waves' moving about and crashing. A series of rapid camera shots, followed by a panning shot over the audience and turning up to show the stage. Marie danced around on the top of her 'rock' in the centre of this great swirling storm, moving her body and her arms around and feeling the rhythm of the song. She felt somehow free in this situation, and let herself go within this tempestuous atmosphere. However, the instrumental break here was only brief, and it was time to return to safer shores once more as the next verse began. The storm subsided, but the waves in the background stayed, now once again less intensely dark and only slowly moving about, as once again the focus returned to Marie, starting with a slightly hazy shot which slowly came into focus. Again, the important thing here was calm after the outburst of madness.

Là
Au bord du grand inconnu
J'y suis debout
Je pars à la voile vers l'horizon
Vers mon destin ou rien

There followed a brief instrumental break, with the sounds of birds (likely to be seagulls in this case, bloody pests, although no need to worry about that really, because barring some terrible act of God, a flock of seagulls isn't going to descend on Vodiznad right now. Neither the animals or the band, for those who know their early 80s music, but I digress once again!) in the bats ckground. A series of long shots of the arena, with lights slowly twinkling and a gentle pulsing glow from the LED floor beneath the smoke adding to what was a wonderfully ethereal feel designed to take the listener to another world entirely. The sailing here would seem to be clear, a peaceful yet captivating sonorous voyage. The camera shots seemed to melt into one another, until finally Marie faded fully into shot once more, a series of faint lights focusing on her as the lights got ever so slightly darker. Marie reached out towards the camera and kept on the ethereal feeling whilst she sung.

Iam liberabor
Iam omnia videro
Nihilque quoque
Beata et mala
Anima mea ipsa

The, she brought her hands up to her face, palms facing the camera and interlocking. On her palms were a series of small screens which the camera focused on greatly, showing a series of different monsters trying to reach out as they appeared to sing in unison. Then, suddenly, using the wonders of post-production effects and the technology kindly provided by the team at RTI, who SRNP seemed to be determined to bankrupt once more, everything seemed to quickly disintegrate away. Again, there was a sudden cut, and now the entire arena could be seen in full. The searchlights from the very introduction were back once more, darting around the venue as if desperately searching for something, but for what? Or who? Marie? The waves in the background were in full movement once more too (everything here feels very cyclical; there's an analysis essay here for someone), now accompanied by flashed of what appeared to be lightning, whilst the camera shots went absolutely crazy. But this was not all. A series of dancers, all members of Orchestron (who also provided the music for this entry), who looked much like the figures that had been shown just before, a sign of what was to come. They appeared to dance around haphazardly, moving with the music, much as Marie perched on her rock did, and moved around the stage. Among the varying different camera shots, including barrel-roll type deals etc. (and indeed the camermen here have a very difficult job, sorry about that), the various figures were shown, including one who wore a mask which opened up like this. The monsters, dancing about in the smoke, moved closer and closer towards the rock until eventually, by the end of the song, they were close enough to pull her from the top (nothing too aggressive, I mean this was all choreographed so she was fine), and she disappeared into the smoke, a fact that was also met with bursts of water and smoke as the final, long note of the song sounded. Then, that was it, it was over.

Vos quae vitam datis eam cito reposcitis
Quae vitam datis
Quae vitam datis eam crudele reposcitis
Quae vitam datis
Quae vitam datis
Quae vitam datis
Quae vitam datis eam crudele reposcitis

by **Izmedu** » Wed Mar 11, 2020 9:24 pm

Tune: Dua Lipa - Physical (Official Video)

Britonisea participates in the World Hit Festival for the 14th consecutive participation at the semi-centennial edition of the World Hit Festival, where the stakes are very high.

At the 49th World Hit Festival, it was Britonisea's sixth hosting and so the broadcaster had decided to host alongside Estogium who at the time was yet to host a competition. It was an interesting feel to the last World Hit Festival that was different from the ones that Britonisea had hosted before. On the side of BVC, the fact that they didn't expect the World Hit Festival to return to Britonisea this quickly was a real shock for them and so the organisers of the contest were hauled in very last minute. There hadn't been a case of the previous winning rejecting the hosting of the next competition during Fabio McAlpine's Overseership and the Britonish broadcaster did not want to embarrass itself by being the first one right at the end of his Overseership. Having Estogium on the team helped BVC add that more international appeal, but many fans of the World Hit Festival thought that BVC did a much more relaxed, less fancy job that the broadcaster usually goes for, going for the bare minimum expected in a modern-day World Hit Festival. BVC doesn't deny this theory whatsoever, explaining that winning the 48th World Hit Festival was a shock, even if a pleasant one. The show must go on and Britonisea, alongside the help of Estogium, did put on a good showing of the World Hit Festival in Alshkan.

As one half of the World Hit Festival delegation focused on the hosting of the 49th edition, the other side focused on the entry. It was announced rather early that Michael Turner was to represent Britonisea at the upcoming World Hit Festival 49. Fabio McAlpine wanted there to be an even more competitive edition for the 49th edition by announcing that the top 5 nations would automatically qualify to the Grand Final if there were Semi-Finals and we reached a target. The news of this did put the delegation on edge. For a show that receives 13 million viewers per Grand Final, the repeated participation in the Grand Final most certainly kept the viewers coming - especially after the 40th World Hit Festival. Initially, the delegation could feel the pressure not only from national fans and international fans, but also from other broadcasters as well. Britonisea might have qualified in 1st at the 40th World Hit Festival, but the increase of nations participating at the 49th World Hit Festival, compared to that of the 48th, and the rising tension ahead of the 50th edition made BVC want to try harder. BVC were unsure whether they could host another edition of the World Hit Festival and so while BVC's motto is to go for the win, the main target was to get in the top 5 in order to qualify if we so need that extra leverage come the 50th World Hit Festival.

It could've gone wrong. Fans might think that Britonisea has formed a somewhat imperishable reputation at the World Hit Festival, but the nation does have its slips. The 47th World Hit Festival was BVC's attempt to win the World Hit Festival, but when the nation finished 7th - which while its not a bad result, was low compared to it's results in the 40s - BVC received a lot of criticism, especially because of the song's themes. Ahead of the 49th World Hit Festival, however, BVC were confident in Michael Turner's chances of placing in the top 5. The song received good response from the international press which was a positive in the eyes of BVC. At the World Hit Festival 49, Britonisea performed in 11th position, right after the host intervention. The boisterous, topless Michael Turner graced the stage with his rock ballad which marked the 3rd time in 5 editions that the nation sent a rock song to World Hit Festival. Britonisea was 3rd place by the time Phase 1 had finished. Britonisea hasn't finished 3rd place in its 63 participations at the WorldVision Song Contest and World Hit Festival and so this was an odd citing. Though, by the time we had reached the last point being given out by Estogium in Phase 2, Britonisea was leading with 26 points. Britonisea looked as though the nation was on course for its sixth win at the World Hit Festival, moving it one behind the record of seven. However, Izmedu received the 5 points from Estogium, with the nation overtaking Britonisea from 7th place to 1st. Interestingly, had Izmedu received a point less, there would've been a WHF26 situation for the first time in 23 editions. Nevertheless, Britonisea ended up in 2nd place - avoiding 1st and hosting (unless Izmedu rejected hosting) but still being runner-up.

For the 50th World Hit Festival, many different songs were considered but a split last-minute decision was made to select Meghan Jorgensen with the song "Waiting For You" because those deciding the music "Felt like it was right". The song is a different number to the songs that Britonisea have sent ever at the World Hit Festival. This song is a pop number with disco and orchestral elements in it. Britonisea hadn't tried disco in the past as broadcasters thought that it would be a genre that would put people off. With this song, they argue that the right balance has been found, making the song current and relevant and good enough to grace the prestige World Hit Festival 50 stage. BVC also believe in this song and its capability to withstand the pressure of being a Semi-Final too. But only time will tell.

It was now time for the Britonish performance on the stage. The audience cheered as the Britonish postcard begun, as the stage personnel rushed onto the stage. The staging was rather simple for the Britonish performance this edition. There was a large circular platform that was placed in the middle of the stage which had lights all around it. Above the circle, platform was a few spotlights in different colours as well. There were also disco balls that were placed in different places around the whole of the stage which would shine at certain moments. Meghan ran onto the stage wearing a shiny crop-top and thigh-high shorts. She glistened in the light as speckles of glitter that was over her body lightly shone in the light which bathed her. She had a microphone attached to her face instead of the conventional microphone. Joining her on the stage was a male dancer who wore a mono-colour see-through t-shirt and trousers. He stood on one side of the circular platform while she on the other; they both faced each other as we reached the end of the postcard.

The audience cheered once again as Britonisea's national colours showed up on the screens. Britonisea has, in recent editions, been a household name and so Meghan felt the pressure of representing Britonisea at the World Hit Festival but as soon as the lights came down, she was ready to get her groove on and get into the song to make her country proud. (Following the Official Video on Dua Lipa's YouTube Channel) An introduction to the music begun, with the song's main theme being played in the background to strong heartbeats. Red light bathed the circular platform where Meghan and the dancer was. The lights behind them started flashing on and off to the beat of the heart in the back. The pair began to walk closer and closer together with the camera shakily switching between the pair; tracing its way up both of their athletic bodies. The fog started to fill up the stage floor as there was a shot of them walking closer to each other side on (what the audience could see).

At around 26 seconds when you could hear the sound of glass (or sparkles), the red light they were bathed in turned golden representing the 50th World Hit Festival and a little ode to that. The camera was a lot more focused during this section and we slowly zoomed in towards the action. At 34 seconds in, the lights quick went to black before coming back on. In this time, the male dancer had disappeared with the camera now in a medium-close-up of her looking into the camera. Her face was left of screen, with the camera showing the LED screens and light flashing to the right of her alongside the fog which was slowly making its way up her body.

Our eyes met on the dancefloor
From your gaze, I could tell you wanted more
Yeah, I could feel
Sexual appeal

For you, I'm there for the taking
But you're gonna have to work hard for it
So come meet me...
Come and take me

If you really want me, you'll find your way to me

During that last section, the camera did mixtures of close-ups and further away shot of Meghan singing towards the camera under the mood lighting. She moved closer and closer to the middle of the circular platform with the camera following her as she did. As she got to the line, "So come meet me", the camera slowly moved outwards to the point where you could see standing on the circular platform on her lonesome in the middle. You could see the man that we saw earlier and three other men moving around the circular platform as though they were ballroom dancing by themselves - holding someone that just wasn't there. As the camera moved out, you could see that Meghan's focus wasn't on any of the men that were dancing around her but the camera.

As we came closer to the chorus, there was an extreme close up of her mouth as she said the line, "If you really want me, you'll find your way to me" before there was an establishing shot of the whole arena as the disco balls turned on and golden and red shone through the arena. As she started singing the chorus begun, the four men stopped at each corner of the circle and jumped onto the stage with her, bobbing strongly to the side of the song along with Meghan who sexily trailed her finger on the side of her body. The men were all facing inwards, looking at Meghan only. While they were all bathed in light, the light that was on Meghan was much stronger. There was a shot zooming into Meghan with the lens flare of her dress and the disco ball filling up most of the screen...

Come here - I will dance with you,
The music's a-blaring,
Get's me into the groove.
I won't bite, boy, come!
Show me...
Your best disco move!

Red, green, yellow and blue
Dancing under disco lights,
It's time to get close.
I won't bite, boy, come!
Get me...
I'm waiting for you

At the end of the chorus, there was on a track which moved from one side of the arena to the other side of the arena as the men stepped down from the platform and started moving circularly around it. During this, Meghan slowly moved forward, taking a breath before going straight into the next verse. Capturing her before she started was a camera shot which focused mainly on her face. The fog was now dying down and the LED's behind her were now being used in full force, shifting from red, green, yellow and blue - the four colours that were mentioned in the song. The audience cheered as Meghan started singing once again. She smiled cheekily into the camera as she sings about how she "can see you advancing"...

Now I can see you advancing
Look at that smile, it's naughty but beaming
The mystery
Too much for me

Oh, It feels so good to feel wanted
I've waited a long time
Taking advantage...

You have something for me, so come find your way to me

During the verse that had just gone, Meghan was doing pretty much the same things that she was doing before - singing to the cameras and audience with the lights around her flashing on and off in a disco-theme. Meghan was bobbing along to the song, looking happy and in her element as she got closer and closer to the end. As she sang the last part of the verse, "Taking advantage...", the lights in the arena muted, with a single bright, white light beaming behind her as that last line was said. Suddenly, as we went into the chorus, the colours came back as though it was an explosion.

Come here - I will dance with you,
The music's a-blaring,
Get's me into the groove.
I won't bite, boy, come!
Show me...
Your best disco move!

Red, green, yellow and blue
Dancing under disco lights,
It's time to get close.
I won't bite, boy, come!
Get me...
I'm waiting for you

As we came to the bridge of the song, the more emotional part of the song, the male dancers were back on the stage, still circling the podium that Meghan was in. A steadicam then joined, running around Meghan as she sang the bridge section. As the steadicam moved around, Meghan moved along with it, looking directly into the lens and she sang. Every few seconds, one of the male dancers would pass in front of her, making it look as though Meghan was turning in circles in a busy club like what is described in the lyrics of the song.

Boy, come!
Pull me in by the waist…
Hold me, come on!
Hold me like this is the last time -
That you'll ever see me.
I'm waiting for you

I'm scared
That I will fall for you
But now...I feel...
Stronger than I've felt for so long
And it's all thanks to you
I'm waiting for you

After the bridge section, she belted out the last line with the camera zooming out from her mouth over the audience before losing focus so all you could see on the screen was lights beaming. During this bit though, four female dancers had entered the stage on the platform all wearing short, shiny black dresses. Meghan stepped forward as the four women flanked Meghan - two on either side. All of the four women had microphones strapped to them similar to the one that Meghan had, and all of them would begin singing during the pre-chorus section. She gave them all a little look before they started to sing together in unison.

The wind machines started blowing wind as the lights started flashing white lights from in front of the five women on the circular podium (like the paparazzi) along with the beat of the tune. The women did multiple different actions such as bopping to the side, flicking their hair from side to side, pointing out the audience, twirling before slapping their behinds (Beyonce-style). As they started singing "Boy, come! Show me...!" they turned to the front once again and started pulling as though they had ropes on them. The camera pull focused and zoomed out with the four men appeared on the stage floor in front of the platform. The four women then walked off the platform before circling Meghan who still stood in the middle on the circular platform. The women started dancing/jogging anti-clockwise closer to the platform while the men went clockwise. As a male and woman crossed each other, they would hold each other and do a twirl before moving on.

At this point, the disco ball was still turning and the music was still a-blaring.

Come here - I will dance with you,
The music's a-blaring,
Get's me into the groove.
I won't bite
Boy, come!
Show me...!
Your best disco move!

Red, green, yellow and blue
Dancing under disco lights,
It's time to get close.
I won't bite, boy, come!
Get me...
I'm waiting for you
I'm waiting for you
Yes, I'll wait
I'm waiting for you
Come on, yes, yes, yes, I will wait.

At the end of the song, Meghan started to do some poses as the camera slowly moved in on her as the dancers sang the song out. At the end of the song, the camera stopped moving in and the dancers stood in a line in front of the podium. Meghan smiled widely as she stood in the middle of the row of dancers on the circular podium behind. The audience came in with an almighty roar, "Thank you everyone, thank you Izmedu!" she screamed into the microphone. That was Britonisea's 30th performance at the World Hit Festival - let's see how far this would take them at the 50th World Hit Festival!

by **Izmedu** » Wed Mar 11, 2020 9:26 pm

Tune: https://www.youtube.com/watch?v=FHzu69V8Z14

The stage is bathed in red two yellow spotlights light the duo up

You find so many people confusing
But you, you are so amusing
I like the way you walk.
I like the way you love you love

The camera pans out

I like the way you charm.
You do it, it strikes a chord
You find so many people are manageable
But you, you are lovable lovable

They march in unison to the left a few steps, pause and look sensually into the camera

I love the way you wear your hair,
Spreading your style everywhere.
You're like a style fountain.
Enough zazz for a whole high mountain.

They march in unison to the centre, pause, camera that pans into them and they look sensually into lense.

Stage stays red but hearts are projected on the LED screens

Come get me
Come get me

The girls perform some arm moves to the beat covering their eyes with there fingers and revealing them again

You find so many people are love blind

But you, you are so so kind
You're the perfect man.
No one brings me joy like you can.

Amusing, hot and potent,
Lovable and kind too,
Are the great qualities of you
Stay with me Stay with me

The girls move around the stage camera follows

I love the way you wear your hair,
Spreading your style everywhere.
You're like a style fountain.
Enough zazz for a whole high mountain.

Camera pans out showing whole stage and some of the excited crowds with MCG flags
They point at crowd

Come get me
Come get me

I'm just here
Here waiting for you

Fire sparklers shoot out from around the stage

You find so many people are manageable
But you, you are so lovable
Lets give us a try
So come on now

Come get me
Come get me
Come get me
Come get me
Come get me
Come get me

Huge applause for MCG's debut, Girls hug and Thank audience

by **Izmedu** » Wed Mar 11, 2020 9:26 pm

Tune: Tori Kelly - Nobody Love

Vanessa Alekzandra Anisimova had a notably tough childhood. Born in Peeto, Polkopia, she and her siblings were put up for adoption when she was 8 years old, as her parents fled the country during the civil war and couldn't afford to take their children with them. Due to the horrid conditions of her adoption house during the course of the war, Vanessa lost her younger sister to typhoid fever, but was adopted three months later by a Polkopian family living along the outskirts of Peeto. Her older brother was later adopted by a family in Restnov. While living with her new family, she enrolled in a private education institution - one of only three private schools in the country, where she received a stellar education in the arts and sciences and realized her musical passion. Throughout her final years at her institution, she posted numerous videos online of her singing covers of popular songs around the multiverse, many of which gained hundreds of thousands of views in a matter of days. She was only seventeen and already had a massive fanbase which would continue to go nowhere but up as the years progressed.

In a decision that could only be described as ambitious, her first project after graduating consisted of writing her own song. This song would be the very one which would be sent to the Landa vy Polkopiya and later, at the World Hit Festival. In an interview given with the PNB2, Vanessa reportedly spent three weeks composing the song and another week writing the lyrics. The finished product was Better Love , an upbeat radio-friendly song which she debuted on her video channel once the final touches were made. The initial reviews were overwhelmingly positive, with many of her closer fans suggesting that she consider taking her success to another level. On a whim, and from the suggestion of a couple of her fans, Anisimova submitted the song to the Landa vy Polkopiya and performed live in the first semi-final months afterward. Fortunately for her, her live performance got the attention of a much broader audience and she was projected as one of the early favorites to win the Grand Final. Unfortunately for her, fate was not on her side, as she just fell short of winning the contest.

Although she hadn't won the contest, she was awarded the next best thing - exposure. Better Love was played on radio stations all around Polkopia and for a while, there had been a popular movement among fans to double-check the results of the LvP, as many believed that Vanessa had been wronged. Even Vanessa herself had taken to social media to express her disappointment with the results. Although she later apologized for the post and congratulated the winner, the results didn't change. Years later, Anisimova continued using her presence online as a medium for posting her new projects, which included makeup tutorials, vlogs, and comedy skits in addition to her musical activities. It was during this time where the PNB2 contacted her privately in order to entertain the idea of her performing at Polkopia's comeback to the World Hit Festival and represent her nation on another international competition. She naturally agreed, and days later, Polkopia's return to the World Hit Festival was made public, as was the announcement of Vanessa representing Polkopia. Fans all across the nation rejoiced at this news and the hype couldn't have been any higher for the competition - everybody was excited to see the internet star finally have her shot at performing at the international level, and expectations were high that she could possibly give her nation its first-ever win at the World Hit Festival.

Soon after Vanessa took the stage, the music started playing. Once it did, the background LED screen illuminated itself in a deep golden color and Vanessa walked toward the center of the stage from the back, a wide grin present on her face. The crowd could be heard cheering on the young Polkopian artist as she was about to perform her song. For this performance, Vanessa was dressed in a simple outfit - dark blue jeans which were ripped at the knees, a white blouse with embroidered flowers on the hem of her neck, and black heels. Her blonde hair had streaks of light purple in it and fell in waves down past her shoulders. She wore several items of jewelry too, including golden earrings, a multitude of gold chains around her neck, and golden bracelets around her wrists. Her makeup was relatively simple, save for the purple eyeshadow she wore which matched the streaks in her hair, so she bore a sort of a natural "glow". At the moment, she was alone on stage, but would eventually be joined by some of her backup dancers as the song progressed. For this verse though, she was to be completely alone on stage. She approached the perimeter of the stage, extended her free hand while her other held the microphone, and sang out to the crowd, still sporting her smile.

Everybody's trying to feel that something.
No one's ever willing to take the time.
You and I, we got that special something.
And I'm so happy that you're mine.

Vanessa retreated toward the center of the stage and continued singing, squeezing her eyes shut in order to concentrate as she hit the higher notes. Some of her background singers could be heard during this verse though they weren't visible at the moment. In the background, five horns were visible, all fixated in an arch, pumping out notes in-sync with the instrumentation. Other than this, the background was to be completely dark. There were golden patterns and lights on the LED stage floor, but other than that there was none.

Feeling fresh as hell when all is well and you are by my side.
When I'm with you, when I'm with you
Feelin' how I'm screaming when we're fighting but I'll always say.
Woah, woah, woah there's...

For the choreography during the chorus, Vanessa bent over and faced the camera and positioned her arms as if she was leaning on something. She alternated between bending one leg and straightening the other one, and vice-versa.

Ain't no better love, ain't no better love than you boy.
Ain't no better love, ain't no better love than you-o-o-o.
Ain't no better love, ain't no better love than you boy.
Ain't no better love, ain't no better love than you-o-o-o.
Wait, hold on!

The background dancers began to come onto the stage one by one until there were five of them on stage. Each of them wore all white - white pants, white shirts, white shoes, and some wore white hats too. As they came on stage they high-fived Vanessa, danced on their own for a few seconds, before standing next to Vanessa. As Vanessa sang the next verse, the group of six walked around the perimeter of the stage, maintaining the same formation.

Everywhere we go there's no denying.
How this love, it just won't end.
But everyone's got peaks and valleys.
And through it all, you're my best friend

For every other syllable that Vanessa sang here, one dancer would slide away from her to the right, then another to the left, on and on again until Vanessa had space around her. For the third line, she slightly crouched, squeezed her eyes closed, and sang. During the fourth line, the dancers returned, standing in a horizontal line with Vanessa in the center.

Feeling fresh as hell when all is well and you are by my side.
When I'm with you, when I'm with you
Feelin' how I'm screaming when we're fighting but I'll always say.
Woah, woah, woah there's...

Now that the chorus was here, Vanessa repeated the same choreography as before, only this time she was leaning on the dancer in front of her, who in turn was leaning on the dancer in front of them. The crowd was heard screaming in delight and Vanessa's face shone brightly, hearing the massive applause she was receiving so far.

Ain't no better love, ain't no better love than you boy.
Ain't no better love, ain't no better love than you-o-o-o.
Ain't no better love, ain't no better love than you boy.
Ain't no better love, ain't no better love than you-o-o-o.

The dancers all ran away from Vanessa and the camera did a 360 circle around her as she sang. When the camera was at her back, the audience at home could see golden lights all around the crowd in the venue.

Boy,
Let's stop all this pretending now, you drive me wild.
The chemistry we have.

The camera showed an aerial view of the stage until Vanessa hit the high note, at which point the camera rapidly zoomed in on her face. When the high note finished, the camera rapidly zoomed out again and the background dancers once again flooded the stage. Behind the dancers, four more people came out from the back, each of them wearing the same outfit as the dancers. These people carried trumpets and played them as they took the stage and stood behind Vanessa - two of them on either side of her. Furthermore, a rain of glitter and fireworks showered the stage from above. All the dancers walked around the perimeter of the stage, motioning to the crowd.

Feeling fresh as hell when all is well and you are by my side.
Hey...
Hey...
Ohhhh oh oh....

Yeah
Alright

Everybody's trying to feel that something.
Oh oh oh...
Oh oh oh...

Ain't no better, no better, no better love

Ain't no better love, ain't no better love than you boy.
Ain't no better love, ain't no better love than you-o-o-o.
Ain't no better love, ain't no better love than you boy.
Ain't no better love, ain't no better love than you-o-o-o.

The dancers slowly stopped dancing and walked over to Vanessa. The lights dimmed and all that was left was a singular spotlight on her by the end of the performance.

Ain't no better love, ain't no better love than you boy.
Ain't no better love, ain't no better love than you-o-o-o.

by **Izmedu** » Wed Mar 11, 2020 9:28 pm

Tune: Teshima Aoi - Toki No Uta

Esther Winterbourne, previous Llaltese entrant for World Hit Festival 40, 41, 42, 49 and now 50. Also entered WorldVision in 69 and 71.

As of World Hit Festival 49, Llalta has claimed five podium positions out of nine participations, which while good on paper, the podium positions appear to be spread out, only once having two podium positions in a row. However, with a win under its belt and most recently a third place, the LBN believes it is possible to reach podium position once again and hopefully gain a consistent track record. Following a successful edition in Estogium, Esther WInterbourne once again placing in the top three, the LBN made the internal decision to send the successful starlet to World Hit Festival once again. Though one would have thought the participation of Esther WInterbourne for the fifth time in the prestigious contest would cause Llaltese to become sick of her, the people of Llalta have never been more excited. Furthermore, the idea of the reintroduction of semi-finals, though a far off, distant thought, has people even more driven to send an excellent entry. In WHF 40, and the edition in which Llalta debuted in, Esther Winterbourne participated with her soft rock song "Free". Failing to reach the finals, however, the song placed 8th, one away from qualifying. And overall placed 17th out of 30th. This previous failure has given Llalta a competitive streak, causing the tiny island nation to get ecstatic over the idea of semis, and to qualify.

Esther Winterbourne, 19-year old Llaltese singer-songwriter, was born in the tiny village of Lilliannes. She is very well known throughout Llalta, being one of the biggest artists behind Evergreen. From the age of three, one of her favourite pastimes was singing, where she would sing songs 24/7. At four, she started school at St. Christopher’s Academy, where she stayed at the school until she was 18, the school teaching almost every Llaltese child. From four to eighteen, she participated in many school talent shows and open mic nights at pubs, where she became ubiquitous for her singing and piano playing. The piano she learnt from 6, from the renowned John Marshall of the Evergreens, and reached up to grade 8.

Now 19, Esther Winterbourne is currently taking a gap year to focus on her music career and travel the world before going to Britonisea to study at the University of Telm, where she will study Healthcare and medicine. She says, “While I love making music and singing and so on, I want to do something more with my life, helping people and others in need.” She plans to get her degree and become a doctor back in Llalta to help those less fortunate than her. “I want to make people happy; save lives; make Llalta stand out for its amazing healthcare.” She said in an interview. However, now her music career has really set off, boasting two-second places and most recently a third place at the World Hit Festival. Despite this and being a commercial success abroad, she still believes that being a doctor is her dream, and to help people. However, she couldn’t be more thankful for what World Hit Festival has done for her. She said, “The World Hit Festival Really has changed my life. Like, people know who I am and you know. I just can’t put it into words how... thankful and glad I am for the opportunities and having the chance to meet amazing people I wouldn’t have met before. It really is surreal.” The starlet now has three podium positions out of her four participations as well as WorldVision 69 and 71, gaining 5th and 9th respectively.

As said, Esther Winterbourne was picked internally to enter this competition, given that she'd avenge her non-qualification of WHF 40. The song, "Yours Truly", is a tranquil piano ballad which serves as a letter to her former self, especially her early teenage years, where she suffered the most. As said in an interview, "Well, yeah. I wish this letter would have been given to me when I was... you know... living in my personal hell! It raises questions that I wish would have been asked to me... Well, though I've written, like, meaningful songs in the past.. this one seems extra special. Not sure why." The song is both written and composed by Esther Winterbourne herself and is intended as not only a letter for her past self but to anyone watching who needs a letter such as this.

The postcard ends, and there is a loud cheer as the Llaltese entry is announced. Darkness descends on the arena, and the cheering soon turned to hushed whispers. There is a short silence, before the piano begins to play. The camera is zoomed into Esther's elegant fingers dancing upon the piano, a subtle diamond ring shining in a soft wash of gold. The piano pauses for a moment and the camera defocusses and turns to black before zooming in on her fingers, this time from another angle. As Esther begins to sing the soft, personal lyrics, the camera slowly begins to pan around Esther. Simple and angelic, Esther wears a flowy white toga-style dress which drapes to the floor, with her hair let down. She wears subtle make-up, with gold eyeshadow complimenting her dark, silver eyes. Soft, golden lights shine in a ring around the stage facing the ceiling, creating a warm, nostalgic atmosphere. However, other than that the stage is black and simple, with the black piano in the centre of the ring of golden lights. Esther is perched gracefully on the seat, playing the soft and humble melody as she sings the first lyrics of the song. Her eyes are closed, showcasing her golden eyeshadow which gleams in the golden light. The camera work is close up and intimate, her poetic lyrics echoing across the arena carried by her warm, soulful voice. Every so often, she opens her argent eyes and stares into the distance, as if beginning to reminisce and journey through her own experiences. Her eyes glimmer in the dim golden hue that washes over the stage, her mouth pursed as if telling a secret or something she holds dear to her heart.

Dear Esther,
Tell me how well have you been?
Is life well,
Are you painting with the winds?
Waltzing with the flowers
As winter turns to spring
Are you taking each day
As if your last

The next verse begins, Esther continuing to play the piano as she sings the words that mean so much to her. The staging remains simple yet so full of nostalgic warmth throughout the whole song. She closes her eyes again, getting lost in the music, and she almost drifts away into her own personal dream. The camera takes the first wider shot of the stage, showing Esther like a small star in the night sky, creating an atmosphere of space. On the fifth line, she looks up to the ceiling as if yearning for the childhood she lost, or maybe it's a pained memory as such. No matter, she turns from the ceiling and back to the piano keys, where her fingers waltz upon the pearly keys, dashed with golden lights. On the last line, she subtly shakes her head, her hair shimmering.

Dear Esther,
Have your hopes and dreams remained?
Do your eyes,
Still shimmer like stars o' grey?
Do moonlit skies tell stories
Like odysseys of brave
Or do they shine silent
Is it mere child's play
I once believed

The lights harshen as Esther begins to sing with a little more power, matching the desperation sung in the lyrics. There's a sparkle in her eyes as she sings too, like a blazing fire. She almost begins to rock back and forth as she sings, putting power into her piano playing. Her words are almost spiteful yet full of sorrow, contrasting the former warmth and hope that was presented in the previous verses. As she sings, a shot of the audience shows the Izmeduan crowd truly encaptured in Esther's singing. A few Llaltese flags could be seen, waving like waves in the sea. On the last line, Esther raises her hand, the camera following before fading to a wider pan of the stage. As the verse draws to a close, she begins to slow her energy back down, as if she were once at peace with herself.

Those rosy cheeks
Those argent eyes
Smile of a thousand suns
When did they fade
Like all those days
Dreaming of years to come
Don't let each hour ebb by
By
Imminent volant

After the previous verse, she returns to her calmer, more warm voice. The camera shots once again become more intimate and close in, many of just her playing the piano as she sings. During the fifth line, she glances slowly around her, as if looking and accepting where she is now, a sign of reassurance to her younger self. However, her expression changes as the verse continues, creases of melancholic pain etched across her face, spreading shadows. The camera seems to capture every emotion, no matter how subtle, especially the solemn vibe Esther exudes as she sings the lyrics of longing and regret. No matter, the staging creates a level of intimacy, of childhood worries and anxieties we experienced. The camera faces towards Esther on the final line, and she tilts her head back, lost in the memories that flood her.

Dear Esther,
Do you face the rising sun?
Or are you,
Lost amongst the fading souls?
Do shadows dance around you
As starlight turns to flame
Your tainted heaven
A star-crossed prophecy
You once dreamed

As she sings with more power once again, the lights yet again harshen to match the rise in energy. A burst of motivation, a will to succeed. Shimmering, her eyes ablaze with passion for the future. As the camera circles her, she looks deeply into it, not just into the camera but into the viewer at home, hopefully setting a spark within others, a spark to succeed through thick and thin. As Esther sings the fourth line up to the sixth line, the camera pans the stage before changing to a rather dynamic shot from below Esther like an audience view. The light glimmers in the camera view, allowing Esther to look ethereal, bathed in gold. As she asks her past self whether she'd believe her, there's a sense of hope, Esther closing her eyes as if she were praying for the best.

Could you believe
Your odyssey
The end upon your stage
Lights of gold
Your miracle
In a garment of painted dreams
Would you believe me?
Soon
Soon you'd see

The lights that once rung around Esther and the stage, slowly billow outwards to match the climax of the song. The golden lights glimmer as they one by one glare into the camera, giving Esther the look of an almost silhouette. Despite the initial grandeur of the light-show, it creates a sequence similar to the of the morning sun breaking from the horizon. There is a small cheer from the audience, however, and there is a shot of them for a brief moment enjoying the quiet nostalgia that the song presents. As she begins to sing "Maybe", the gobos with a twinkling dots pattern like stars billow outwards too, following in the footsteps of the spotlights before. On the final line, the gobos dim and the spotlights slowly return to how they were positioned before, in ring around Esther.

Imagine
The world within your palms
Your universe
A dazzling blaze you carved
Maybe
Shadows reign your dreams
And maybe
Your nightmares run awry
Hold on 'till the sun's birthed anew...

As the final verse approaches, the instrumental begins to play, Esther's fingers twirling and pirouetting along the keys. The camera zooms into this fragile sequence as if it were a dance itself. Throughout this segment, the camera follows her fingers, only very little looking at Esther's face, glancing down at the instrument that so long inspired her and lead the way throughout much of her life. Though showing concentration at first, it is a mere mask for the feeling of reassurance. Something that she has full confidence in and can lean on; an anchor in music. There is almost a haunting vibe due to the lack of light, Esther a silhouette to the backdrop of the golden lights. Only her ring and a couple small tears glimmering from argent to gold. And yet, it's a touching moment of the song, even with no words. A perfect duet between woman and music. As the instrumental nears to a close, the camera moves the focus from her fingers to her as she sings the final verse. Unlike the other verses before however, it's not one of sorrow or loss, but rather one of hope. Her eyes glimmer in gold, a hopeful atmosphere in the arena. Her voice is softer, more motherly as if tending to the struggles of her younger self. Her piano playing, too, becomes not of dance but of a lullaby, soft and soulful. For once in this song, the ends of her mouth slowly grow into a small smile, proud of who she was and what she's become. And proud of what she'll become in years to come.

Dear Esther,
Has dawn painted the skies?
Do your eyes,
Shimmer like before?
It's goodbye,
Until you sing this song once more
Yours truly

With shimmering golden tears rolling down her cheek, she holds the final note, the camera taking a close up of her face before fading to black. The song ends with the LED screen being used for the first time this entry, to show a golden sunrise upon the black abyss slowly rising so that Esther becomes a silhouette, a mere figure upon the great light of dawn. The entry is met with applause as the Llaltese starlet performs once again in Izmedu. Tears streaming like waterfalls upon her face she bows, and says, "Thank you Vodiznad! And *sniff* thank you world! Yours truly!" before slamming her head into her hands with tears, and shuffling offstage as the crowd applauses loudly.

by **Izmedu** » Wed Mar 11, 2020 9:31 pm

Tune: OneRepublic - Wanted (Strings Mix)

Happy Chappy!: Alex Xavier is Nightom's 10th entrant since their debut at the 24th World Hit Festival - hopes are high that he will qualify.

Nightom returns to the World Hit Festival for the 10th time ever, celebrating the occasion by sending Alex Xavier with the song "Falling". The nation along with Alex is hoping to make it out of Semi-Final 2.

Unlike Nightom's three other ABEN companions, song competitions haven't been Nightom's thing in the past. Out of the entries that Nightom have sent in the past to the World Hit Festival and the WorldVision Song Contest, only three of them have reached the top 10, with only two of the entries placing in the top 5 (and both entries are the same song and artist). It has been 19 editions since Nightom placed 4th place at the World Hit Festival with a total of 19 points with "I Will Not Concede" by Matinée Schylestreake which was Nightom's second effort at the World Hit Festival. Since then, the journey for Nightom at the World Hit Festival has been the worst amongst the ABEN nations. KVC decided to participate at the 32nd World Hit Festival off the back of Nightom's 4th place in Mousiki for the 31st World Hit Festival. Euskirribakondara was hosting the 32nd World Hit Festival as well, with many nations eager to participate in a nation that has been known as the Kings and Queens of the World Hit Festival and high on success, the broadcaster sent Aaliyah Banques with the song "Poisonous" to Harrikes. The song did originally receive good reception and it was thought that Nightom would place rather high on the scoreboard especially due to Banques' national success. However, by the time the results came through for Nightom, it was becoming clearer that the nation would sink back to the lower end of the scoreboard. After the results came through, 11th place - which was right-hand side, RVC announced that it was withdrawing from the World Hit Festival indefinitely.

There were no plans to join the World Hit Festival until the 38th World Hit Festival when Britonisea hosted the competition for the 3rd time. While Britonisea hosting wasn't once a draw for KVC to join the World Hit Festival in the past, due to the number of nations participating in Doportedas - which did not reach BVC's quota whatsoever - Nightom decided to throw in an entry which many wrote off as a "joke entry" due to its explicit nature. Out of 11 nations that had participated at the 38th World Hit Festival, Nightom came 9th scoring 11 points. While it was a very bad score for Nightom due to where it was on the scoreboard compared to the other nations that were participating in that edition of the World Hit Festival, it remains as one of Nightom's best-placing entries - it's second-best at the World Hit Festival. It is hoped by KVC that this will change come the results of the 50th World Hit Festival. Nightom surprisingly made a comeback at the World Hit Festival for the 39th edition which was being held by Darkmania. Darkmania's World Hit Festival saw a huge jump from the number of nations participating in the edition before in Doportedas as 24 nations competed making it the joint largest World Hit Festival Grand Final to date. Nightom placed a very lowly 22nd scoring 3 points - to date Nightom's worst result at the Festival. The score was seen as a national disgrace with many calls to withdraw Nightom from the World Hit Festival. During this time, there was a heavy dislike for the World Hit Festival, especially after Nightom's win at the WorldVision Song Contest. Following a similar pattern to Estogium's view of the World Hit Festival after the 24th World Hit Festival when Estogium "flopped" with a WorldVision Song Contest entry that went on to come 2nd, Nightom once again withdrew citing World Hit Festival being unfair. This might have also been aimed at Izmedu's success at the World Hit Festival.

As ABEN became the World Hit Festival Overseer come to the 40th edition of the World Hit Festival, Fabio McAlpine began talks with the Nightomese broadcaster to try and get the nation back into the World Hit Festival. Throughout the 40s, Nightom participated a total of four times which matches its record during the 30s. Though, Nightom only seemed to participate during the Britonish/Estogian hostings of the World Hit Festival, participating at the 43rd, 47th and 49th editions of the World Hit Festival while also participating at the 44th World Hit Festival held in Anollasia - a long-standing member of the World Hit Festival community. Since the 44th World Hit Festival, Nightom's results have stabilised, coming 14th, 13th and 12th - not bothering anyone on the scoreboard. Though, as the participation of Nightom becomes less of a rear occurrence, people are hoping that Nightom's results will only improve going into the World Hit Festival 50.

Nightom was invited to participate at the 50th World Hit Festival with it being a celebration of Fabio McAlpine's abdication of World Hit Festival Overseership. It was expected that the World Hit Festival Headquarters were to move from ABEN to either Darkmania or Natanya, but in the end World Hit Festival delegations voted to keep it in Britonisea. Nightom decided to participate in the World Hit Festival 50 anyway as they had already sorted out their entrant for the Festival. Returning to Izmedu for the first time since the 31st World Hit Festival, maybe a sign of good luck for Nightom as its the place where Nightom reached their only top 5 at the Festival and perhaps they could reach the heights they once reached back then. They're hoping to do that with Alex Xavier with his song, "Falling".

Alex Xavier is a 26-year-old man from the capital of the country, Knightinghamshire. Alex Xavier was scouted to represent Nightom at the World Hit Festival after the broadcaster wanted to pick someone different from a change. After having received feedback from the public, KVC was told that they keep on going with the same kind of acts which ultimately place in the same placings. Going for Alex was a change for KVC for multiple different reasons. Firstly, image. In the past, KVC were accused of sending the same sort of people to the World Hit Festival, totally ignoring what others in Nightom look like. Alex, in the opinion of those online, looks a bit more real and in an honest way, less made for TV yet still photogenic and likeable. Alex Xavier is no stranger to performing, either. Alex Xavier has been on Nightom's version of X-Factor in the past, where he managed to make it through to the Live Shows where he made the Grand Final, ultimately finishing 3rd place. Alex, therefore, is a well-known face in Nightom, but not too well known. Secondly, KVC went for a different type of song. Nightom's last two entries to the World Hit Festival were rather electronic, with some people thought created a disconnect with the audience which did not do any favours for Nightom during the voting despite the results being relatively better than the past. KVC thought that Alex Xavier's entry to the World Hit Festival, through both the lyrics and the song is a lot more likeable and relatable. Thirdly, KVC needs to improve on the presentation of their entries at World Hit Festival. In the past, KVC's efforts have been called lazy, except for the 49th World Hit Festival when the entry was praised for having good staging. Keeping it up, KVC were more focused on getting the right artist and song before thinking about presentation.

"I'm honoured to fly the Nightomese colours at the 50th World Hit Festival in Vodiznad - it's an absolute dream! I cannot wait to get stuck in!"

-Alex Xavier

Focusing on the Nightomese song, the song "Falling" is, well, about falling in love with somebody which is a feeling that many people can relate to. In the song, he sings about how he should act around the person that he is falling for. He explains that he doesn't know (her) feelings for him either and would like to know whether he is upsetting her or not. The song is a rather sincere story about a man wanting to understand where his boundaries are. The song itself is mainly orchestral string instrumental which adds a peppy sound to the track which KVC believes will stick in the minds of those voting in the Semi-Final and hopefully in the Grand Final if Nightom makes it through. Nationally, the song has done quite well, entering the Top 40 charts since it was revealed a few weeks ago. The song has stabilised but it is expected that the song will peak in the charts after the Semi-Finals and the Grand Final, if Nightom qualifies.

Speaking of the Semi-Finals, KVC was unsure as to whether the Semi-Finals were taking place like many broadcasters. Nightom was also compelled to participate at the World Hit Festival during the 49th edition due to the rule that if 34 or more nations were to participate, then the top 5 nations would automatically qualify to the Grand Final. While Nightom didn't reach that quota in the end, Nightom were feeling good about their chances if Semi-Finals were triggered at the 50th World Hit Festival. It was expected that due to this being the 50th edition of the World Hit Festival and due to the Overseer Elections that more nations would participate anyway. In the end, RTI (the Izmeduan Broadcaster and host of the 50th World Hit Festival) announced that there will indeed be Semi-Finals due to 31 nations participating. Soon after this announcement, RTI had a live draw which saw Nightom being drawn into the 2nd Semi-Final, performing in the 1st Half of the night on Thursday the 5th March 2020. Alex has responded since this news, tweeting, "Oh my gosh! I have to wait longer to know my fate! I cannot wait until Semi-Final Two! I'm hoping my friends will pick up their phones for that Semi-Final!" Nightom will be hoping to appeal to the nature of its Eastern neighbour, Kalmarlund and nations such as Besen, Ertzei Kishim, Todlichebujoku and Axuva as they are split from their ABEN friends who are both in Semi-Final 1... The question is whether Nightom can do it?

It was now time for Nightom to shine on the World Hit Festival stage. This was Nightom's most valiant effort at the World Hit Festival since the 31st World Hit Festival in Izmedu way back when. For Nightom, the nation needed to place highly to restore faith once again. It is unsure of the backlash that KVC would face if Nightom did not reach the World Hit Festival 50 Grand Final but this is something that we may not have to ever find out. For now, KVC's focus was making sure that Alex was comfortable and ready for his World Hit Festival performance. Alex didn't have to be on the stage for long anyway, his song was one of the shortest, if not the shortest, entry of the World Hit Festival 50. He walked onto the stage as the arena went dark and those around him made sure that he was ready to perform. The stage designer for this was the one who designed the stage for Nightom's entry at the 31st World Hit Festival. Alex was going to perform by himself on the stage but he wasn't going to be on the stage without the use of any props by any means. On the stage with him were these lighting blocks, similar to this design here but imagine if they were a single line (instead of half of an oblong) and were six feet tall. There would also be a use of holograms too and we will get to that bit of the entry later oon. Alex didn't wear anything too flashy on the stage, simply wearing something similar to what he was wearing in the picture at the top of this entry. He stood in front of one of the main blocks as the audience applauded the beginning of the Nightomese entry. It was time for Alex to wow the World in just two and a half minutes...

She said she loved me but sometimes I come across too overbearing (I'm too much)
She said she wanted me but told me that I wanted her too much (I wanted her)
I know you're communicating, but I don't understand (understand)
So I ask for clarification, what do you want from me? (want from me?)

At the start of the song, there wasn't much lighting apart from what was coming from the lighting panels that were being used. At each of the times the strings in the instrumentals were picked, each of the light panels changed colours. Along with the pizzicato of the strings instruments, the camera shots changed at each picking too. Each of the shots that were being used had very slow movement in each of them, slowly zooming in on his face or moving to the left or the right. He looked straightforward, with the camera returning back to the camera that he didn't lose focus on. Due to the lack of light, you couldn't see Alex's face very well but that was only part of the performance. He felt comfortable performing on the stage, with the darkness of the stage currently giving him that time to get used to performing in front of a crowd once again.

As he moved into the next verse, a blue light shone on the front of him, revealing his face to those watching the World Hit Festival. He smiled as his face was revealed before he continued on, singing the next section of the song. He took a breath before singing;

'Cuz I don't know what you mean oh-oh
Oh, I would like some reassurance
Should we slow down, should we stop?
Should I stay away from you tonight?
Girl, I just wanna know what you mean, I dunno
Please can you not mess with my heart 'cuz it's falling
It's falling in love...

As Alex belted the note on "know", the camera moving outwards from where he was standing, revealing the whole of the stage and the audience in front of it. Now that the lights were being used (showing his face), the lights changed with each pick of the strings in the instrumentals with the colour which was being used on the panels seemingly being coordinated with that of the actual lights. If the panel was pink, the light that was being shone on the panel would be blue and visa versa, with other colour combinations being used on the stage as well.

As he finished singing the chorus of the song, there was a quick shot of his face as he turned around to his left side. Using a hologram of a woman's hand reaching out to him, it looked as though he had turned his face to someone, singing to us but also singing to this person in front of him. He was looking at this hologram lovingly and inquisitive as he tries to find out more information. He also looks smitten too since this is the person he's falling in love with.

She said you spent too much money but she wants you to buy you her more gifts
She said she wants me to be closer, but when I'm closer, I offend her
I know you're communicating, but I don't understand
So tell me exactly what you want,
So I know what to do...

Though, by the end of the verse, he reached his hand out to touch her with her disappearing before his eyes. The camera slightly zoomed out as he looked down at his open palms as he realised that he didn't have the woman in front of him, but it was just a figment of his imagination. As he sang the last line, "So I know what to do", he looked up at the audience almost pleading to those watching him on TV to help give him the answers that he wants.

As we move into the next chorus of the song, a different effect was being used on the TV where it was split in four. The first section showed up on the screen first in the top left-hand corner while the rest of the screen remained black. This camera shot at the top-left was focused on his eyes and so after the second section showed up (tp right hand corner) which was focused on the microphone that he was holding to his mouth. The next camera shot was then of his spare hand which came on the screen in the bottom left-hand corner before the final shot came in which was his whole body. This all happened over the course of the chorus up until he sang the note at "know"...

'Cuz I don't know what you mean oh-oh
Oh, I would like some reassurance
Should we slow down, should we stop?
Should I stay away from you tonight?
Girl, I just wanna know what you mean, I dunno
Please can you not mess with my heart 'cuz it's falling
Oh I am falling in love...
Oh I am falling in love...

After he sang the note at "want", the final shot zoomed in and pushed away all the others, with Alex being stood in the middle of the frame. Alex was bouncing from left to right in position as he got into the song. Another shot showed Alex from the side as he sang the lyrics "Oh I am falling in love" with a genuinely happy expression on his face. He looked relieved and happy to admit that to himself.

'Cuz I don't know what you mean oh-oh
Oh, I would like some reassurance
Should we slow down, should we stop?
Should I stay away from you tonight?

At the end of the song, the LED blocks behind him all turned red as the camera slowly zoomed out on him with his dark silhouette in front of the screens. The audience came in with a cheer and he took a bow and the stage personnel got ready for the next happenings...

by **Izmedu** » Wed Mar 11, 2020 9:32 pm

Translation: The Way
Tune: Sleep — The Brahms

Lesusetë is a band from Monterra. Their name was inspired by the 60s French hit song "Les sucettes" (in fact both the band's name and that song title are pronounced exactly the same). They won the 44th Festival dële Melodie Kalosiane (FMK) which granted them the right to represent Kalosia at the 50th World Hit Festival in Vodiznad, Izmedu.

The song, Lë kaminu, talks about a person who finds themselves without a sense of direction. For the World Hit Festival, the band have decided to translate the bridge of the song into English, something that they received permission for from RTVK. The policy has always been that the Kalosian entry to WHF has to be entirely in Kalosian or another language native to the country.

Some fans have jokingly compared the lyrics of the song with the experience of playing Geoguessr, a game in which the player finds itself in the street view of a random location on earth and must try to name where they have been dropped.

For the big night, they are wearing all-black outfits. The stage, which was dark, has the typical band setup. As the song begins with the riffs of a guitar, the lights gradually come on, but only the spotlights that shine on each of the respective members.

Ja san apena seľuto
E ǧa sta oskuro fori
Sto standu, e ja oľavu
Ke kosë ja san

An on-stage camera comes and hovers in front of the lead singer, before quickly pulling away.

Le stele škompronu
Ja në pošu navigarë
Ovez es kartë mia?
Lë tempu, lo në speta

Movements on the stage briefly stop during the first line of the next part, before returning energetic than ever.

Sto senzë direžio
Senzë amurë, ki sto ja
Komë un përsu ragažu

Ombrašal mi
Segiru ti
Mošal mi tiu kaminu

The rest of the band chimes in with backing vocals.

(Sej… miu kaminu)

Now the focus of the camera is back on the lead singer.

Komenšu viderë la nevë
E ja mi sentu fridu
E në pošu korerë lontanu
U kestë vitë brevë

The camera also shows the other individual members of the band.

Kestë es la rialta
Ja dovu lo frontarë
Ja në pošu navigarë
Ma lë tempu në speta

The lead singer sings, energetic as ever.

Senzë direžio
Senzë amurë, ki sto ja
Komë un përsu ragažu

Ombrašal mi
Segiru ti
Mošal mi tiu kaminu

Again, the band chimes in.

(Sej… miu kaminu)
(Sej… miu kaminu)

In the next part, which is in English, the camera turns black-and-white and mainly focuses on the singer. For some reason it seems as if there's a slow-motion effect, but there isn't really any.

If there’s one thing I know
I can’t let you go
You’re the path I follow
Never let me go

Now the camera closes in on the lead singer, who sings towards the camera.

Ja san apena seľuto
E ǧa sta oskuro fori

The camera gradually zooms out as the colour returns. In the second line of the next part, a quick burst of pyrotechnics come out of the stage. Simultaneously, the previously black and dark blue colours of the stage gradually turn a warm red and slightly orange.

Sto senzë direžio
Senzë amurë, ki sto ja
Komë un përsu ragažu

Ombrašal mi
Segiru ti
Mošal mi tiu kaminu

The camera hovers around the stage highlighting the individual members of the band before showing an up-front angle as the band members finish the final notes of the song.

(Sej… miu kaminu)
(Sej… miu kaminu)

The song has ended. The crowd cheers. "Gražia Izmedu!" the lead singer shouts. "Thank you everyone, we love you!" and as the crowd continues to cheer, they leave the stage as it is being prepared for the next act.

by **Izmedu** » Wed Mar 11, 2020 9:34 pm

Tune: Within Temptation - ''Mercy Mirror''

Stacy Lekker represents Togonistan in the 50th edition of World Hit Festival

Togonistani broadcaster Lucky 7 announced the intentions of returning to WHF for the show's 50th edition, following a period of haitus due to budget issues and a lack of viewer numbers during the latest editions. In light of recent hype regarding the 50-edition anniversary amongst the fans of WHF, the broadcaster made a decision to bring the nation back into competition and announced an internal selection to find a participant.

Stacy Lekker, a 32-year old singer, actress, model, TV host and reality star from Tushlark, Togonistan is representing the nation during the 50th edition of World Hit Festival in Vodiznad, Izmedu. Born as the first child of an immigrant family, Stacy started her singing career at the age of 20, although didn't gain any wider recognition until participating in and winning the maiden season of Togonistan's Next Elite Model, a local reality TV competition at the age of 25. Despite that, Stacy never decided to become a full-time model and instead used her newly-gained fame to start a successful career as a TV host and reality star, hosting various TV shows as well as providing commentary to WorldVision Song Contest TV broadcasts.

She became more widely known to the international audience during her participation in the 61st edition of WorldVision Song Contest, where she, accompanied by a Togonistani rap artist Troublesome, brought a solid 4th place for the nation. Following her successful performance in the show, Stacy was picked up by a local composer Tahafa Talagi and his Amarillo Music label, starting what turned out to be a successful partnership to date. Together, they participated in the 2019 VHA Mehlodivestoile, a widely popular Britonish televised musical event. Stacy made her way through the show to the grand final, where she eventually made it to the 8th place.

For Stacy, this is going to be the first time participating in World Hit Festival. Here in Vodiznad, she's going to sing her new single titled ''Graceful Widow'' which is a ballad about a touchy subject of letting go of an abusive relationship. For this, Stacy partnered up with a composer Michael Funafuti, with whom she has had multiple cooperative projects before. ''It has been such a pleasure to work with Michael on this project about a topic which is of great importance to me. It is something I've had in my mind for quite a while now, and I can't thank Michael enough for helping me make it a reality.''

A round of applause can be heard on El Stadion Skolkje as Stacy's performance is being announced, mixed with some cheering coming largely from Togonistani, but also various ABEN and other Novapax nations fan sectors. The performance starts with the arena being rather dark. The only sources of light are the spotlights behind the main stage as well as around the audience pits, all providing warm light to the stage accompanied by a thin goldish line surrounding the stage borders. Stacy is standing in the middle of the front stage, wearing a semi-long grey dress without any sort of footwear. She puts his hands on the microphone attached to a stand in front of her and looks into the camera as it approaches her from the left and starts slowly rotating around her.

We were united as one since you said my name
Playing the game until fate led us astray
Feeling empty for the time I gave you
Back to back through the storm we carried on
Now it's the time, I'll move on

The camera zooms out on the stage as it lights up more, with background screen displaying graphics of some golden lines forming up. The lines start from the bottom and start to branch out through the chorus, eventually forming an image of a golden heart. Throughout the chorus, Stacy is doing some hand movements as she sings. Camera angles show both the stage from afar, followed up by some closer shots of Stacy singing on the stage. Halfway through the chorus, the golden heart on the background starts beating.

So I will be a graceful widow
It is time for the final show
So I will be a graceful widow
Now I'm ready to let you go
No more games, no more games
I am ready to let you go
No more games, no more games
I am ready to let you go
I am ready to let you go

As the chorus ends, the heart on the background can be seen shattering into pieces before the stage lighting tones down again. People in the audience pit start slowly waving golden light sticks above their heads as Stacy clings to the microphone. Camera angles take a close-up shot of Stacy as she is singing the verse, along with an effect of one camera angle fading into another. Halfway through the verse, people in the audience pit will be shown with the camera moving up on them, before raiding above their heads and showing a sea of golden light sticks from the above.

My heart will recuperate from the scars
Your deeds all gone under the radar
No more words, the silence reaches
The storm you started evaporates
The calmness reaches my soul

The broadcast fades into another view on the stage from afar, as the stage lights up and background graphics start forming the heart again. This time, the image starts forming from the either side of the screen and it happens much faster. Halfway through the chorus, the heart gets formed up once again. Stacy is singing and does various hand gestures at the same time.

So I will be a graceful widow
It is time for the final show
So I will be a graceful widow
Now I'm ready to let you go
No more games, no more games
I am ready to let you go
No more games, no more games
I am ready to let you go

As the song reaches to the bridge, a wind machine starts blowing from the front, making Stacy's hair and her dress wave in the wind. The camera takes a close-up shot of her face, moving from left to right.

It took time to realise
Let the memories fade away
No turning around, I wear my gown
What we had was nothing but a compromise
It felt so out of place, out of space

Reaching to the final chorus, Stacy puts her arms wide open as the stage graphics show a bunch of golden aurora-like graphics reflecting on the stage floor, rapidly moving towards the beating heart on the background. As the chorus progresses, the heart on the background grows bigger as it consumes the golden light sliding across the screens into itself. The whole thing looks like Stacy is standing in the middle of this light storm, with the wind blowing in the same direction as the lights go.

So I will be a graceful widow
It is time for the final show
So I will be a graceful widow
Now I'm ready to let you go
No more games, no more games
I am ready to let you go
No more games, no more games
I am ready to let you go

I am ready to let you go

Eventually, the lights fade out and the stage goes black, except for the golden heart that can still be seen on the background screen, this time without any lights surrounding it. The heart starts beating once again and does it three times with an audible sound accompanied, before eventually fading out and ending the performance. A round of applause can be heard on the arena as Stacy puts both of her hands in front of her mouth and send a huge blow kiss to the audience.

''Thank you Vodiznad! Thank you everyone! Afetai!

by **Izmedu** » Wed Mar 11, 2020 9:38 pm

Tune: Song Of Mana - Annika Ljungberg

Promotional image of Annija Lendberkyev

Annija Lendberkyev is a 35-year-old Natanyan singer and voice actress. She has a versatile career as a recording artist, having recorded music in many different genres, however she is best known for her soundtrack work, appearing on the soundtracks of many television programs, movies and games both domestically and abroad. She had kept her participation in WHF a complete secret up until the official broadcaster reveal, however has stated in many interviews that she is thrilled to be the Natanyan act for such a special edition and can’t wait to give it her all on the stage.

“I Shall Wait” is an orchestral folk song that takes clear inspiration to Annija’s knowledge and experience in the field of soundtrack music, with the song carrying a whimsical fantasy feeling through its 6-minute runtime. Annija wrote the lyrics herself before the song’s composition, the lyrics tell of the longing one does for a distant loved one, though keeps the specifics of why said loved one is distant or even the type of relationship that the song tells about as to keep the lyrics somewhat open ended, though Annija herself did say that her inspiration for it was indeed romantic love. For the music, she teamed up with Natanyan composer Yohann Craig, who directed the orchestral element to the song and helped Annija bring the concept of the song truly to life. Yohann is also well known for his contribution to soundtracks, so the partnership for this song comes as little of a surprise.

In the week run up to the competition, other than rehearsing, Annija has reportedly been enjoying her time sightseeing around Vodiznad and its surrounding areas and has especially been noted for trying out many different restaurants in the city. Annija herself said of the city; “I’m really enjoying my time here, the place is absolutely beautiful and it has played a big role in WHF history, as it will again this oncoming week, so I thrilled to be here!”. After the semi-final draw, Annija address questions about Natanya being drawn into Semi Final One, which tabloids and fans have been calling the bloodbath semi. “I agree that it’s a tough semi, very tough as there is a lot of strong competition, but I’m still gonna keep my head up high, keep confidence in my song and just try and do Natanya, my song, and myself justice up there. Qualification would be a bonus!”

The song starts with the stage shrouded in complete darkness, with only very small and scattered simulated snowfall appearing on the backwall, as the lyrics start, the camera pans over to Annija, who is stood in a spotlight, centre stage, draped in a long cloak. For the first 2 verses, the camera stays focused and head and body shots of Annija.

Walk softly,
Through the snowy trail,
Leading to the start.

The trail is winding and grinding,
But still I walk,
And never once do I hesitate.

In the third verse, the camera stays focused on a more far shot of the stage, with Annija dead centre, as she sings and feels the music through her expressions and arm movements, thin white lines on the snowy LEDs flow and spiral around as if they were dancing in the wind.

Heart and mind are true,
And I sing out for you,
Use my song, guide you home through the storm.
If your vision does blur,
Just hold on to me.

After the last word of the third verse, the pace of the song picks up considerable, as does the staging, the arena fills with light, dancers and musicians rush onto the stage and the back LEDs now display an autumnal woodland scene. During the brief musical interlude, the camera shows both a young flute player performing the song’s iconic flute melody and also shows Annija turning and removing her cloak, throwing back to one of the dancers and revealing her outfit for the rest of the performance. As she sings onwards, Annija interacts with the dancers, who are not following a strict routine, but are instead emulating the type of natural community dancing found at town and village festivals.

Searching through the mist, I know it’s so close now,
More and more do I wish to be held by you,
Running straight through the mist, feel it so close now,
More and more do I wish to be held by you.

My love doesn’t burn like the sun,
(But still gives warmth like a flame),
Carry this warmth with you,
Use its light to guide you,
And with time, it shall grow strong.

For the chorus, Annija runs to the front as the stage, where she is met by a wind machine and a row of spotlights along the edge of the stage. These lights flow out into the audience as she too sings out into the audience.

Time may wither us both down,
But still I wait patiently,
Waiting for your loving,
Waiting for you to see.
Waiting for your embrace,
For in your arms I wanna be,
No matter what comes, still I shall wait.

During the post-chorus instrumental, the camera pans around the audience. For the next two verses, the camera follows Annija as she traverses through the dancers and around the musicians as she seemingly is searching for someone, with her singing the last line straight at the camera.

Just a little further now,
We are almost there,
Like the sea and earth, we’re destined to collide.

Through any storm (through the snowy trail),
Keep on moving forward and never forget me,
I promise we’ll meet one day.

For the next verse, Annija runs through the middle of the dancers, with them moving out of her way and looking back at her, she runs to the front corner the stage which, opposed to the autumn/winter scene further back, is display a flowery spring meadow on it’s floor LEDs instead, Annija sits down on the stage and continues to sing the chorus with her back to the audience as the camera angle obscures the autumn scene to create the effect of her being in a meadow alone.

Eventually spring will bloom and melt the snow away,
Flowers will grow in time,
Life once again will shine,
And in meadows so peaceful,
We fathom the sign,
Take me there, take me there, I shall wait.
The route we take does not matter,
Love bound by fate.

At the end of the last verse she gets up again and slow starts to walk more centre stage, as she passionately sings the first line of the final chorus, she turns to the audience with the camera focused on her, and then zooming back to a far shot as spark pyrotechnics spray up from the sides of the stage. For the rest of the chorus she sings outwards, looking slightly upwards, again as if she was searching for someone, with the moving camera’s focus alternating between her, the autumn scene and the audience.

Time may wither us down,
But I still wait patiently,
Flowers will grow in time,
Life once again will shine,
And in meadows so peaceful,
We fathom the sign,
Take me there, take me there,
I wait.

For the musical outro of the song Annija smiles into the distance contently, and then turns to go join the dancers, who continue to dance and celebrate for the remainder of the song. As the song closes, Annija step forth from the dancers again, and then thanks the audience for watching, wishing them a great night. “Thank you for being here and being so kind, have I great night, I love you Vodiznad!”

by **Izmedu** » Wed Mar 11, 2020 9:39 pm

Tune: https://www.youtube.com/watch?v=MBG3Gdt5OGs IC3PEAK - Смерти Больше Нет /Death No More

The stage is dimly lit while the stage is covered with a white fog. Nadeza stands in the middle and begins to sing. She is wearing a black leather outfit that is covered with belt like fasteners. She moves from the back of the stage and approaches the audience, going to the edge of the stage.

[Chorus]
Sacrifice me upon the altar
Then drag me away, drag me away
Hold up your knife and do not falter
Then drag me away, drag me away
Sacrifice me upon the altar
Then drag me away, drag me away
Hold up your knife and do not falter
Then drag me away, drag me away

The fog begins to fade away revealing the background dancers who lie prostrate on the stage covered in a light brown wrap that resembles gauze. Their faces are obscured and they wear tight short pants that are the same color as the gauze. They move side to side on the stage and surround Nadeza as if they are worshipping her.

[Verse]
You treat me like a lamb to slaughter,
Anything I want until it's all said and done.
You gleefully act like everything is normal,
Aren't we just having so much fun?
I have no idea of this at all,
Blissfully unaware of what's going on.
At the last minute the pieces start to fall,
My final day begins to dawn.

She falls to her knees and sings to the audience from the edge of the stage.

[Bridge]
You feel so sad until you find another just like me
Before I'm taken away you see the next victim,
With honey laced words and money flowing free,
Another sacrifice to your system.

[Chorus]
Sacrifice me upon the altar
Then drag me away, drag me away
Hold up your knife and do not falter
Then drag me away, drag me away
Sacrifice me upon the altar
Then drag me away, drag me away
Hold up your knife and do not falter
Then drag me away, drag me away

[Verse]
You treat me like a lamb to slaughter,
Anything I want until it's all said and done.
You gleefully act like everything is normal,
Aren't we just having so much fun?
I have no idea of this at all,
Blissfully unaware of what's going on.
At the last minute the pieces start to fall,
My final day begins to dawn.

[Bridge]
You feel so sad until you find another just like me
Before I'm taken away you see the next victim,
With honey laced words and money flowing free,
Another sacrifice to your system.

Two of the dancers gently grab Nadeza by the arms and she falls back. Another approaches her with a prop ornate knife. They act out the sacrifice that Nadeza has been describing in her song. She falls back limp in the arms of the two dancers. They hold her and she continues to sing gently.

[Outro]
Sacrifice me
Sacrifice me
Sacrifice me
Sacrifice me

She bites a fake blood capsule and allows it to dribble down her lips and mouth. She has a thousand year stare look on her face. The dancers drag her off the stage.

by **Izmedu** » Wed Mar 11, 2020 9:40 pm

Tune: Faouzia - Tears of Gold

Vodiznad, Izmedu

The intense sun heated Tiitalinte's back and temporarily blinded her vision as she stepped out into the Mediterranean air. The sun and waves, the pines and olives, reminded her a bit of Nevetayas, where she occasionally vacationed. But a quick look down the road at the mix of architecture and the gleams of automobiles confirmed that yes, this was indeed someplace else. Someplace magical in its own special way. The atmosphere of Izmedu, adopted homeland of the World Hit Festival, had a little something special that kept the Festival coming right back, edition after edition, and Tiitalinte could sense it. The faintest spice in the air was tangible as she opened the window in her vehicle, just enough to enjoy the warm breeze without destroying her hair. It was also a place where Tödlichebujoki artists generally had trouble in, but she ignored that for the time being. It was odd riding through Vodiznad. Somehow she had expected... something different. She wasn't sure what- it wasn't exactly the apocalyptic hole of grief that was ever present in satire, but it didn't quite seem like a trashy tourist trap, nor a "regular" functioning city. There must be some kind of glamour or other assistance involved, the singer concluded. There were a few hovels barely visible from the roadway, but by and large it seemed like a very nice place to spend a week. Or a month. Or more. Perhaps that's why the WHF kept coming back. Would it ever come back to Tödlichebujoku? She could only hope so. The hotel drew near, suspiciously well placed at a prominent plaza. Tiitalinte did enjoy a good ocean view, but people-watching was always a good pastime too. Well, we'll be back next year, she idly thought as she looked about the area before stepping into the lobby. A stand of brochures just inside the entrance beckoned. Might as well learn about what else the Izmeduan people did in their free time beyond music and lacrimation.

Tiitalinte Katoo, better known as VELUNA, had built her career on writing songs for others. Though she once dreamed of being a star singer, reality found her in a very behind-the-scenes position, with little time to pursue an independent career. Only when she was injured in an accident and had to spend a month in recuperation did she realize how she was not living up to her full potential.With a slow but torturous rise out of her backstage work to performing small gigs to progressively larger audiences, Tiitalinte's fame initially was nowhere near meteoric, at least not until footage of her performing at a local show made its way to Taploukkulevüt, one of the national record companies. Only after that deal was signed did her music begin to be played on crystal stations throughout Tödlichebujoku. For some years she worked on a pair of albums and sporadically toured through some of the major cities, but largely flew under the international radar (aside from some fan song contests) before Estegoa100 invited her to represent Tödlichebujoku in the next World Hit Festival. Having watched a few herself, Tiitalinte was honored to have the opportunity to perform as VELUNA in front of the world's audience.

A faint blue glow precedes the beginning of the song, whereupon an array of lights strobe upon VELUNA from a number of different directions. She stands in the middle of the stage, light gleaming off her trailing silvery dress with every flash of light. As she begins to sing, a softer spotlight illuminates her face, the camera view close in, capturing her direct and steady gaze, the strobing now flashing to the beat. Her voice is steady and clear, practiced, and she carries herself assertively, confronting a long-suppressed bitterness

You told me you were hurting
Told me you were starving
Desperate for a new beginning

She takes a breath, as her gaze shifts to be more distant, pained, before turning back to the camera view with a slightly forced smile. There seems to be some sort of iridescent glitter on her face, as in the changing angle, specks of shimmering red appear on her face where there were once flecks of silver, shifting like the facets of those with malicious intentions, growing increasingly noticeable with every beat and flash of light

Saved you from descending
To a bitter ending
What kind of angel was I seeing?

The camera angle sweeps to a profile view of her face; the strobing from the camera's side ceases so that VELUNA is lit in silhouette. She stares straight ahead, into the far distance, tilting her head jerkily as if to avoid bullets and strikes at her head, as "shots" of light fire at her from various directions. A slight breeze blows, tossing her hair lightly into the erratic light

One test
Two, more deaths
Every bullet, every blade, you ask me to defend

The view is now head on, but slightly above her tilted downward, as strobes flash on different sides of her face, alternating between each side, her gaze unwavering as if in a trance borne of bloodlust. The glitter on her face is now undeniably red, and it almost seems like her irises in her eyes have gone red as well, but in the moment it is difficult to tell for sure

Bones, red
Ten, more dead

The camera view sinks to VELUNA's eye level, then zooms outward as she sings the chorus, an array of spotlights behind her shining out in a radial arrangement against the dark background, and the spotlights along the stage edge swinging outwards from a vertical starting direction. VELUNA herself is leaning forward, arms crossed over her chest, as laserlike pinpoints of light flicker and reflect off of her shining dress, face in anguish and a hint of betrayal as she looks up toward the camera view

Now you ask me to be bulletproof
I tear down walls, it's true
Watch you dream up your designs
All while you cower from behind

Hateful spells I use
How could they comfort you?
Animosity shields frailty
And we claw ourselves apart to murder peace

The stage plunges into darkness, leaving only one light harshly shining down upon her with another light softly illuminating her face, allowing for a more intimate atmosphere, the rest of the stage and arena faded into black. Confiding into the nearby camera, VELUNA lifts her head with a tightly repressed raging grief. Turning to the audience ahead of her, she gestures outward suddenly and dramatically, worked up and emotional, driving her point across, her motion caught and emphasized by the brightness of the light reflecting off her body

All of my compassion
Bled out, now I'm ashen
Poisoned by your false assurance

Tell me one more time
It's not suicide
Tell me lies while I attack
Every enemy that wants your head

The harsh light from above shuts off as the soft light on her face turns into a deep red, which spreads along the edge of the stage as well, a slight mist overhanging the edge creating a subtly fiery effect. She now gazes outward rigidly, determination on her red-bathed features, as if powering through a battlefield with a single overpowering goal. She does not shift her gaze to favor the camera, nor flinch or dodge as she did earlier. She steels herself rigidly, eyes focused and sharp straight into the opposing wall of the arena. If looks had physical power, she'd be burning a hole straight through that wall

One test
Two, more deaths
Every bullet, every blade, you ask me to defend

Bones, red
Ten, more dead

VELUNA finally breaks her gaze before the chorus to stare daggers into the camera. Around her, the red light pulsates in increasing intensity before washing her in white light, deep red billows permeating the rest of the stage, a dazzle of pinpoint strobes reflecting off her dress in every direction, and a stiff breeze tossing her hair and dress. She strides forward and gestures into the audience in one fluid motion, uncompromising and assertive

Now you ask me to be bulletproof
I tear down walls, it's true
Watch you dream up your designs
All while you cower from behind

Laid down my life for you
All that you wanted to
Animosity shields frailty
And you claw my soul apart for fantasy

VELUNA turns slightly as the lights dim down to a soft netherworld of faint starry lighting, specks of snow or ash just barely visible as they fall around her. She looks around, analyzing her situation, as if making a decision and committing to it

You tell me not to fear how it will end
But what justification could I now invent?
I'm ending my attack and I'm turning back
I'm ending my attack and

Oh, ohhh

You tell me tales of how I should behave
You tell me lies of how we came this way
I'm ending my attack and I'm turning back

As the chorus amps up once more, silvery sparks erupt along the edge of the stage while a rain of white sparks falls behind. A blast of wind bursts upon VELUNA, who leans into it, her voice tapping a reservoir of righteous indignation. She cuts a statuesque figure, the wind at her hair and dress as she steps forward near the edge of the stage, onto a small pedestal, her arm sweeping out over the edge of the stage and the flying sparks. Spotlights sweep outwards over the audience as the camera view arcs down from above to meet VELUNA at the stage's edge, before zooming out over the audience to capture the entire scene

You know that I'm not bulletproof
I tear down walls, it's true
Tendrils burrowed in my mind
That's how you controlled me from inside

Laid down my life for you
All that you wanted to
Lost my heart to your own cruelty
And I claw my self apart to rescue peace

The sparks and lights fade into darkness, aside from one lighting VELUNA from behind, her hair almost reminiscent of a halo as the wind dies down to stillness

"Kiitos Izmedu, thank you so much," exhaled Tiitalinte as she quickly bowed before gingerly stepping off the stage. Another hat thrown into the WHF fray, another coin in the Vodiznad fountain. What wish will come to fruition? Tiitalinte was going to get one of her wishes and that was a cocktail.

by **Izmedu** » Wed Mar 11, 2020 9:42 pm

Tune: Lessons of Love - Vanessa Amorosi

Amelie Roze is a relatively big name in Besen, having been a television presenter in the 2000's on a morning entertainment show. She branched out into the music industry in 2011, while appearing on 'Celebrity X Factor', where many different types of famous people (mainly whose careers had dried up) would come together to fight for a record deal under a massive company 'StarShine', who has constructed the careers of some massive names. She did not win this, instead coming second. Amelie still was remembered for her huge voice on the show though, and nowadays is known more for her music career than her career in television.

To date, she has released one album, in 2015, called "Karé" meaning "Spice", which performed relatively well. She embarked for two years on a huge festival tour, where she appeared on stage for many occasions, becoming one of the top acts in some of them. She was scouted for the 76th Worldvision Song Contest, but thought that it was not the time to represent Besen. That was until she and a few other writers penned "True Love" for her upcoming studio album:

"I knew as soon as I heard the first cut of this song... This is the one. I said to my manager, we have to get this on the world stage, I need to get this out there. I contacted some of the Worldvision team at BSB but they had already chosen OLA for the 80th contest. I thought that it was over but I had recieved a phone call from the same team that they wanted me to perform at the World Hit Festival for Besen at the upcoming contest. I immediately sent over the song and they quickly approved so we went from there. I'm so glad to be representing my country, this is a dream come true for me."

Standing under a single spotlight, wearing a black, ridge-top hat, Amelie begins her song in the very centre of the stage. To every beat, a bright white light flashes between the cracks in the back of the stage. Vocally, there is a soft, delicate tone to Amelie's delivery, displaying her beautifully developed low register, which she exercises with little effort. She emotes a sense of pride and happiness, filling up the large amounts of darkness.

In this warm light
My skin glistens, soft glow
I feel good
I have learned to just let go

Picking up the tension with a little bit of grit and aggression in her voice, the pre-chorus leaves the stage without the darkness and instead replaced with a huge shine of glistening emerald. An LED image of a rather spooky forest fades into the picture behind her and paints the narrative scene, a woman trapped in a dangerous place, with only the shining lights of hope leading the way to safety and freedom.

You'd played around with my mind
I decided that I was gonna put up a fight
Finding a life that's mine
I walked out the door, so that I could run

In a rappy style, Amelie delivers a smooth rendition of the pre-chorus with ease. The background begins to flash in a beautiful golden shimmer, only in pieces - more like a small glimpse than a complete take-over of the lights. Behind her, the camera angles itself so that an LED pair of wings lines up nicely behind her, showing her as an angelic figure, aided by the dramatics of a fan blowing her hair around. The scene is very theatrical but comes across more as a modern production on the screens.

I am a maverick
Your words are tragic
You'll go down with them
In flames, yeah
On fire, on fire, on fire, on fire

Amelie takes a deep breath before delivering the huge notes in the chorus, distracting from whatever is happening behind her. The background, however, increases in its golden shine, not completely covering the LED but just enough to help make the chorus more impactful aesthetically. On each bounce of the 'love', on screen flashes appear and Amelie focuses her attention on the three cameras on each side of the stage.

I stand, stronger now without your love
So I am, so glad that I jumped the gun
Baby it was never true love, love, love, love, love
Baby it was never true love, love, love, love, love
One day I'll find my true love, love, love

The gold in the background collapses back into obscurity, and returns to the musky green and grey colour of the previous LED image displayed. Amelie turns wholly to the camera, where she begins to remove a silver ring on her hand - the move is odd as it looks clunky while she's holding the microphone, but it proves the point in the narrative and increases the drama either ways so it works.

I'll admit
I was just as bad, if not the same
But queen of hearts, king of passing me the blame

You'd played around with my mind
I decided that I was gonna put up a fight
Finding a life that's mine
I walked out the door, so that I could run

Behind her, two male dancers (topless) creep into the frame, swirling around Amelie, as if they are taunting her almost. She doesn't look directly at either of them and instead keeps her tight embrace with the camera, singing the pre-chorus straight to the viewers at home. A small glimmer of the familiar golden begins to take shape again behind her but this time pulsating across the LED and distorting the lighting, between a warm gold and a bright white glow.

I am a maverick
Your words are tragic
You'll go down with them
In flames, yeah
On fire, on fire, on fire, on fire

More of an explosion than before, the gold has completely captured the whole of the lighting and LED backing, shaping a very bright scene where it seems drastically more positive than the beginning of the song. Amelie's vocals remain assured and powerful as ever, and she hits every cue, keeping a tight watch on her difficult camera angles, which try to showcase her and the dancers swinging around her from almost every angle.

I stand, stronger now without your love
So I am, so glad that I jumped the gun
Baby it was never true love, love, love, love, love
Baby it was never true love, love, love, love, love

She approaches one of the dancers, shoving them down with a nice push, before turning to the second, and pointing directly at them, and nearly singing in their face. The golden tint behind is maintained, less pulsating though and stabilising so that the focus can be on Amelie before the big final chorus. The two dancers back away from her, looking distraught and having a sad look on their face. She braces for the final leg.

Leave you stranded, you tried to steal my crown
Mourn your loss babe, but I will still keep my crown
What a damn shame, you tried to steal my crown
Left you shaken, look at me wear my crown

Quiet and dark, all the lighting is stripped back and its just Amelie in her translucent purple bodysuit, she looks towards the camera directly in the centre in front of her. As difficult as the note is, she brings herself up slowly and hits an A5 nearly flawlessly, causing the audience to cheer loud enough to make a goosebump moment on the screens. An eruption of the same golden pulsating light showers the stage and Amelie appears to have much more fun as she completes her song, fulfilled and proud that she was able to put on a good performance. On the last 'love', she gives a smouldering glance into the back of the stage, where a camera catches her, leaving the final frame being Amelie with a wild audience behind her. She blows a kiss out at them and then gracefully exits the stage.

I stand, stronger now without your love
So I'm, so glad that I jumped the gun
(Yeah, I'll stand... oh!) I'm so glad that I jumped the gun
Baby it was never true love, love, love, love, love
Baby it was never true love, love, love, love, love
One day I'll find my true love, love, love...

by **Izmedu** » Wed Mar 11, 2020 9:43 pm

Tune: Aimer - Falling Alone

Promotional image of Eshia wearing her WHF performance outfit.

As the song begins, the stage is very dimly lit, with only a handful spotlight cutting through the grey haze to give spots of complete light. There is a thin layer of artificial mist across the stage floor. As the song begins, the stage is very blurred, and slowly comes into focus, as the instruments begin, the camera pans slowly from this misty floor, displaying the dark set up from the stage. As Eshia’s lyrics begin, she steps into one of the criss-crosssing spotlights, but only partially, with part of face and body still obscured. As she sings, she is expressive with her hands.

Slowly, slowly, images of you,
Filter through my mind and I can’t choose,
Do I delete or do I keep holding on?

While the camera stayed fixed on Eshia for the first verse, it switches a side view for the second, with a side view from the left for the first line and from the right the second, each camera change is a soft but still fairly swift pan, opposed to a sudden cut.

How many times do I have to say that I don’t love you anymore?
Maybe if I say it once again, I’ll believe myself this time.

At the end of the verse, the camera zooms out somewhat, and the spotlight briefly flash before the chorus kicks in, and the number of spotlights multiples, however instead of being stationary, for the punchy chorus they move position with each drum beat, with many of them now over the crowd too, lights zig-zagging all around the arena. In the chorus Eshia also becomes much more mobile, taking her mic from the mic stand and singing passionately towards the crowd as a wind machine starts up, blowing her hair and flowing dress back. With the now added visibility, it is revealed that Eshia has a backing band, who are spread out across the far side of the stage, just in front of the LED screen. During the chorus, the camera alternates between shots of Eshia, far shots of the audience and shots of the band playing their parts.

Every time I try to move on from you, you’re still here,
My mind spins round and I can hardly breathe, what you doing to me,
I switch on and off,
I turn hot and cold,
But still there’s no way to get out of here,
Show me a light and help me see.

For the next verse, the camera does a slow tilted pan in front of Eshia, however with every drum beat it briefly changes to another shot of her, generally coming a low upper angle, and diagonal from her front. The stage is now much better lit, with the LED backwall now displaying a desolate desert landscape, and the floor emulating this with the appearance of hard, dry ground. The wind machine is still in use but is lessened as to give the effect if Eshia’s hair flowing in a light breeze.

Crawling up inside,
My mind feels so petrified,
Think of why you lied,
But there’s no way.

Within the 4th verse, the drumbeat flashing stops, with the camera zooming on Eshia’s face for the first 2 lines and her singing directly into the camera. For the second two lines, the camera is a high shot of Eshia that fairly quickly pans outwards to show the whole stage. As the drums build towards the chorus, this is mirrored by the spotlights the return right at the back of the stage and flash in time with the drums, gradually coming outwards towards the audience as the verse comes to an end.

Rationalise my theory,
I just wanna be free,
I try to escape this,
But I can’t yet heal.

This chorus’s staging is basically identical to the first with the only major difference being that instead of switching back to black, the LEDs instead glitch the image of the landscape somewhat, and also display a flash effect. At the end of the chorus the camera focuses on Eshia for her short bridge and then focuses on the guitarist briefly before swinging into the last chorus.

Every time I try to move on from you, you’re still here,
My mind spins round and I can hardly breathe, what you doing to me,
I switch on and off,
I turn hot and cold,
But still there’s no way to get out of here,
Show me a light and help me see.

Once again, this chorus much emulates the others, with flashing lights and shared focus between Eshia, the band and the audience. This time the LEDs look even more broken and glitched. For the isolated “Because of you” line, the camera focuses solely on a zoomed shot of Eshia’s well lit face, as she sings directly at the viewer.

Whenever I try to move on from you, you’re still here,
My heart beats faster and I can hardly breathe, what you doing to me,
My eyes still cry,
My hands still shake,
Because of you,
Now I don’t even know!
Show me a light and help me see.

For the outro of the song, the camera pans outwards, and the image on the LEDs start to fade and the light around the arena in general starts to dim and become more focus solely on the front of the stage. After the camera gradually goes out focus during the pan outwards, the shot changes to one focused on a now seemingly alone Eshia, without her microphone, who walks towards the edge of the stage. Once she gets to the front corner, she kneels down and reveals an origami swan in her hands, she then places this swan into a bowl of water right on the edge, and as the last piano keys play, the camera is focused on this one, sole swan, bobbing in the water and gradually turning on the waves Eshia’s hands made when placing it, with the screen fading to black at the very end of the song. After the song is up, Eshia runs back to her mic to shout a quick “Thank you everyone, I love you!” before waving as the camera changed to the next act.

by **Izmedu** » Wed Mar 11, 2020 9:46 pm

Tune: Florence + the Machine - Breath of Life

“It took a village to get this song from then to Vodiznad. ‘Then’ feels so vague, but it’s the only way I can put the beginning of this all into one word. This song saw through the very first time we came together as a band, our first entry into WorldVision, our future music projects, our band changing, the highs and the lows… It stood in the backburner when death struck not just our friends, but even our band. It’s just myself and Metod now. So, in a way, this song represents the old days. It’s one of the last few songs we can release with us five all together. We may not be the band we used to be, but… we’ll keep on fighting, even if we’ve lost what we can’t get back.” – Vlatka Pogacic

In a strange and roundabout way, ‘Battle Cry’ was so much older than what its original release date in its Izmepisma indicated. The song was ‘recent,’ an iconoclast in Poslie Postojanje’s discography and so unlike the more experimental, quieter direction that the band has recently taken. Yet, the frontwoman and lead singer, Vlatka, knew better than anyone (sans the band) that the song they were taking to the World Hit Festival was with the band since the beginning of their formation in Crveneja.

‘Battle Cry’ was one of the first songs conceived of by Vlatka and Bozidar Nimac when the band was a musical project for a college class. Though the band desired to enter Izmedu’s indie rock and chamber pop scenes, the song that was ‘Battle Cry’ indicated the orchestral and epic leanings that the Poslie Postojanje project was once infused with. The whole song came out of a minor thinking game that Vlatka and Bozidar were having when they were trying to determine what kinds of songs the Poslie Postojanje project would have. Songs for movies was one topic that was broached early on between them. If they were going to have a song, a ballad was out of the question, nor could it have been anything happy. In their minds, the song was likely going to be shopped to one of the small Izmeduan arthouse studios that helped Izmeduan film students create their first films for the larger film market in the country. It would make good use of Vlatka’s striking and high-soaring vocals, but other than that… Vlatka and Bozidar were left at the dead end of their thought game. For them, they couldn’t conceive of a proper idea without having much material to work from outside of a hypothetical ‘what if’ scenario. Thus, the film idea was left in the backburner to simmer.

As Vlatka and Bozidar went through their college years and prepared for post-university life, the former couldn’t help herself in exploring the concept on her own. The song morphed into an amorphous idea to a brief lyric poem titled ‘To Battle,’ inspired by the direction that the Izmeduan film industry was taking at the time. In those years, the Izmeduan film (especially big-budget ones) was leaning towards a mixture of arthouse sensibilities with the high-octane aspects of an action film. Thus, the kind of box office fare that would dominate the Izmeduan watercooler was films that could be described as both ‘abstract and action-packed,’ often coming in with high fantasy concepts with intricate, but hard-to-connect lore filled with (as par for the course with anything Izmeduan) stories beset with tragedy. They began with a hopeless direction and ended in destruction. For Vlatka, that was creative catnip for the concept that her and Bozidar shared, and the short lyric poem she wrote for her creative writing class was beginning to look like a plausible foundation for a song. She also began to realize the theme she was unconsciously working towards.

It was war.

The whole Poslie Postojanje was built to explore the boundaries of what music could be in Izmeduan pop and rock, taking elements from both genres and staking out their own identity in the music industry. However, Vlatka didn’t imagine provoking thematics that were too taboo to utter in the Izmeduan cultural moment. Having been formed not too long after the bloody Izmeduan Revolution, the topic of war was still an understandably sensitive subject to broach across most, if not all, corners of Izmeduan social life. Of course, the kind of war that she was writing on wasn’t the kind that was described in daily and political discourse. This was war in the abstract and fantastical sense, spoken of in legend, sometimes etched in history books, but far too temporally removed from what the present moment. She also noticed this disconnect too when she evaluated the discussions surrounding the films that she loved. These high-concept action films all fought in battles that only loosely resembled the kind of modern warfare of the Izmeduan revolution, but the weapons that were used were swords, fictional weapons, magic, to sometimes things that we have no language to describe. Either way, the common theme was a war that wasn’t recognized as the modern or traumatic conception of war as Izmeduans knew it. It was hidden under the veil of a detached, fantastic, and abstract world.

That was where Vlatka felt safe to begin probing the theme, but not every piece of media was immune to the shield of an abstract concept. She vividly remembered seeing a band get excoriated for provoking (unintentionally as well) memories of the bloody Izmeduan Revolution. Vlatka took that as a sign that the song she would write could not evoke any memory of the contemporary moment. It needed to be about a battle that made it clear that it was eons past. The setting needed to be fantastical, but bloody and solemn. Vlatka began to tinker with the musical tools and knowledge that she had when the theme began to congeal into a possible song. Draft lyrics for ‘To Battle’ were written and a vision for the song began to crystallize. It needed to be orchestral-led, epic, and operatic. The song was going to be beyond the scope of the kind of chamber pop that they were pioneering back in their university years. The song was careening towards the necessity of a big-budget project.

At the interim of graduating from their college and fielding the attention they were courting from local labels in Polumisec, Vlatka once more broached the topic with Bozidar. The latter was familiar with some of Vlatka’s discussions with the possible song project, but the prospect of being signed by one of the local subsidiaries meant that all aspects of their portfolio thus far needed to be shopped or at the very least, addressed. By this point, Bozidar was fully willing to go along with what Vlatka had in mind provisionally, but as he was talking over the logistics, the production, and what needed to happen for the song to come to life… It required more money and resources than what Poslie Postojanje could manage. As still a 2-person project, the project was shelved for the time being, with Vlatka and Bozidar hoping to revisit at a later time.

The project sat in the ever-largening reserves as Poslie Postojanje grew from a college-led project to its own musical tour de force in its own right. The addition of Metod, Dositej, and Branislav (especially with their past experience with the Izmeduan music industry) helped turned the band into the musical powerhouse it is today. Yet despite the acclaim they achieved that led them to be selected for the 43rd WorldVision Song Contest, ‘Battle Cry’ became one of the few projects that would continually haunt them. As the band matured, the song was once more revisited in the period where they were building their reputation in the music industry. The song, or at least its demo, was able to be successfully shopped to a film. That film, an ambitious action-fantasy project, was called ‘Terminus.’ ‘To Battle,’ as the song was originally known, was shopped to be the project’s main theme. The song itself was originally released as the counterpoint to Poslie Postojanje’s body of work, providing their first entrance into movie music and the epic music scene writ large. However, despite the song finding some domestic success abroad, the Terminus project was sank due to production troubles that rattled it at its very core. All material related to the film was pulled from public view, including the song itself.

Though Poslie Postojanje would go on to wild success (especially due to coming 2nd in Monterra and fully cementing Izmedu’s full investment in the WorldVision Song Contest), seeing the Terminus film collapse left the band at a loss of what to do with the song. There was talk of trying to re-arrange the song and shop it to another film, but with the way the Izmeduan music industry was heading, and the constant pressure put on Poslie Postojanje to maintain a steady stream of releases within the indie rock and chamber pop genres, the song was left once more to sit in the archives. Their WV43 entry was enough foundation to ensure that the band reached the kind of superstar highs that ensured that their star would last throughout the next couple of years. Following that entry, the band’s quieter and more avant-garde moments started to become more apparent. Nothing quite like Reckoning or To Battle proved to appear in Poslie Postojanje’s new singles and albums following their WV entry.

Though the band did flirt with dramatic moments, they were always flourished with a sense of intimacy and closeness. In an album entitled Bandaged Moments, that was where critics and fans began to see the full product of Poslie Postojanje’s more ethereal, earthy, and generally mellower sound take root. Their entries to future editions of Izmepisma reflected this ethos, sending songs such as Haunted Ground and Lose Control without announcing a clear intent or even desire to represent Izmedu in either WorldVision or the World Hit Festival. Instead, venues like Izmepisma were showcases for Poslie Postojanje to take their creative ventures into the public view. They sought to explore just how far they could take both the staging and the music, giving audiences artistic stage performances akin to Reckoning. Though these more ‘out-there’ approaches to their music led to critical acclaim, there was a contingent of fans that yearned for the more dramatic, bombastic, and larger-than-life sound that Poslie Postojanje pushed but never did quite fulfill.

Vlatka and Bozidar shared a similar sentiment, especially the former. Seeing this from the fanbase, Vlatka once more turned back to the song that haunted their archives, ‘To Battle.’ Though the song was left to figuratively build dust, Vlatka was haunted by the prospect of what the song could’ve been. During times where the band was on brief hiatuses, she would occasionally revisit the song’s production, composition, and lyrics. The lessons that the band have learned since then made it clear to Vlatka and later on, to Bozidar and the rest of the band, that a lot can be done to update and refit the song into something new entirely. What was originally attached to Terminus appeared as a first draft that was begging to be revised and fixed. Following the release of their latest album and a creative lull, re-arranging ‘To Battle’ into ‘Battle Cry’ was the next project.

With all of the band putting their full energy into the now titled ‘Battle Cry,’ an internal hype began to course through the sector of the music industry that Poslie Postjanje was most embedded with. The return to a more epic sound was genuinely in the cards for the band. The production was going smoothly, a feasible timetable for the song was being followed. The rough edges that once marked the song were being refined, and the song’s orchestral production and its lyrics were being transformed to a much more fantastical bent. There was a real freedom to the song’s production, no longer being bogged down by cultural concerns that were more pertinent in the band’s earlier days. It was the perfect background to return back to a side of the band that has not been seen in such a long time.

However, tragedy struck the band as the song was taken seriously for release.

During discussions with their label for a possible campaign, they were doing radio tours throughout Izmedu during a period where they were celebrating their achievements and teasing the appearance of ‘Battle Cry.’ In a drive towards Crveneja, their vehicle was hit by a drunk driver. The accident cost Bozidar and Dositej their lives, while Vlatka, Metod, Branislav, their travelling crew, and their driver all sustained injuries of varying severities. Needless to say, Poslie Postojanje were fighting for their lives, and many feared that this might be the end of a band with a discography that could’ve only gotten richer and deeper through the passage of time. Ultimately, Poslie Postojanje were no longer the same since the fateful accident. The promotional tour throughout Izmedu was cancelled, ‘Battle Cry’s potential promotional campaign was shelved, and fans waited with bated breath as the band as a whole was not out of the woods.

In the interim, all fans could hope for was that the members not instantly killed in the accident could pull through the required myriad of surgeries and treatments in the immediate aftermath of the crash. The waiting period was filled with radio silence, with news only being released through hushed networks and families understandably opting to keep the situation as quiet and private as possible. In the end, Vlatka, Metod, and Branislav were the band members that survived the accident. Yet, all three were irreparably and strongly affected. To say that Vlatka mourned the passing of Bozidar was to understate the harrowing period that was her recovery period. She was inconsolable for at least a period of a few months, not desiring any contact from anyone. Branislav, though he survived, found that the nature of his injuries meant that his career and time with Poslie Postojanje were to be cut short. Of the three, Metod was the luckiest, taking it upon himself (once he recovered) to help ease the fans and work with the media to explain the band’s uncertain future.

The band hung in total silence; being de facto disbanded. Time to mourn, regroup, and heal was sorely needed. It wasn’t until the period around the 42nd and 43rd World Hit Festivals that whispers of the band’s reunification would surface throughout the music industry. Though the band’s silence stretched on for edition after edition, the frontwoman, Vlatka, found that she missed the experience of making music. Throughout the long process of grieving for Bozidar and Dositej, the tail-end of her self-imposed exile began with her writing songs for the first time. This then would result in her contacting Metod after a period of silence and both candidly talking with each other about what had happened since that faithful accident and in turn, the years they shared together as a band. The highs, the lows, the ugly. All in all, they missed making music, putting their thoughts, feelings, and impulses into paper and music, in the hopes that someone, anyone would find sympathy with what they had to say. There was no question about it, they wanted to re-enter the music industry, and release the music they’ve been keeping in the archives for what seemed to be an eternity.

A decision was reached.

Though it would just be Vlatka and Metod, the songs they wanted to put out there were recorded as the full band. Thus, the Poslie Postojanje project was reborn once more, returning as a two-piece for promo, but the recorded material that they would finesse and release had everyone involved. They would stagger their return to music through attempting to participate in the very contest that helped cement that they were a force to be reckoned with, WorldVision. First was “Lose Control,” an entry they sent to Izmepisma in WV72 that would result in a respectable 5th place. That was merely the first step in what Vlatka and Metod had in mind, recalling the protocol they had when participating in Izmepisma’s 2nd edition. The song was not a deliberate push for the win. It was a message to the Izmeduan public that a return was in the cards, and that this was a direction they were attempting to head towards.

There next phase of the return would mean that a song that has been with the band since the very beginning would finally get its light of day. ‘Battle Cry,’ from potential soundtrack song, a potential single, a hark back to the band’s epic sound, was now in contention to represent Izmedu in the 76th WorldVision Song Contest. The competition was fierce, but there was a real chance that Poslie Postojanje could do it. Vlatka and Metod put their all into the song’s presentation and performance. However, they were pipped to the post by the hype and energy that was Lea Sabolic. Yet, that in itself came with a silver, or perhaps golden, lining.

Placing 2nd meant representing Izmedu in the World Hit Festival, a contest that many domestic fans have desired to see the band compete in. The offer for this particular Izmepisma meant representing Izmedu in the 50th World Hit Festival. In no uncertain terms, Vlatka and Metod immediately agreed to do so.

It was fitting then that they would be performing the song in the country they called home. This was beyond trying to live up to what came before them in the World Hit Festival. The pressure was always there and there were always expectations to try and hopefully meet. Yet, the song’s long and protracted journey was finally nearing its destination. After trials and tribulations that could arguably be its own movie, Poslie Postojanje were ready to return with a song that they have been holding onto for years.

This was for Bozidar. This was for Dositej. This was for Branislav. This was for the lives lost in that accident, for friends and family they’ve lost among the way.

The El stadion skolkje was roaring in anticipation for the Izmeduan entry… Vlatka and Metod glanced at each other one last time right before the performance, sharing a tight hug, and wordlessly exchanging what they’ve already said to each other during their respective healing periods.

Performing at home was another experience entirely than doing so internationally. Vlatka knew that the crowd here was made of people from all over the multiverse and beyond. Yet, there was a different tenor to the nerves standing in front of the stage after a long battery of rehearsals, interviews, and no less the long tale that this song carried prior to even being selected for the World Hit Festival. There was performing to an arena, but a stadium was another kind of electrifying experience.

The stage lights billowed down to the center of the El stadion skolkje’s stage, flashing a brilliant white before pluging the stadium into total darkness. The crowd cheer was loud for the home entry, with fans of the band, Izmeduan WHF fans, and the multiversal audience screaming their hearts out before gradually quieting down for the entry. The audience didn’t have a lot of time to rest as the entry immediately started. The entry’s dark and epic mood was set right from the first note, a foreboding drum banged through the stadium with low horns on the background track. Before long, Vlatka would vocalize the beginning of the song; her distinct, power-filled vocals resonating through the stadium. The lights would flash to the strong, foreboding beats that crafted an almost chokingly intimidating atmosphere. On the screens both on the back end and on the floor, the very scene that the song would be set began to appear. Vlatka was vocalizing against a darkened and empty field, set against cloudy skies and looking almost idyllic were it not for the blue hue that it was coasted in. Once Vlatka’s vocalizations ended, the instrumentation would pare back and the lights would flash into a darkness. The camera would switch from its wide, sweeping views of the stage to a closer view of Vlatka. That switch in view was timed with the instrumentation becoming softer. The dramatic beginning of the song gave way to Vlatka to finally take center stage. She stared into the camera, the background screens around her darkening, and was only illuminated by a faint spotlight that displayed her face to the audience at home.

I hear nothing but the sound of death
Cold air set against the empty, dark plane
I breathe in and shout my battle cry
I break the silence with my voice
No friend or foe seemed to hear Valhalla’s call
I breathe in and shout my battle cry

The song would start off with its chorus, starting with a vague preview of things to come later on in the song. The lights remained sparse, the faint spotlight intensifying on Vlatka as she sang the chorus with an almost hushed tone. The cameras stayed close to her, befitting the more ‘intimate’ style the song’s beginning was reaching for. Vlatka raised uncertain hands towards the camera, with a close observer being able to spot that they were visibly trembling. The very look of fear was in her eyes, reflecting the uncertain tone in her voice as she sang these lines. She would visibly breathe for some parts of this chorus; the camera would cut between close and slightly wider views of the stage, all of which were showing Vlatka singing against the backdrop of that empty field that was teased in the song’s dramatic intro. Throughout this chorus, faint hints of the choir could be sang when Vlatka sang the song’s title. Otherwise, only a pounding set of piano chords complemented her singing. As she sang the title of the song, the camera would ‘pull back’ and the arena lights would gradually flash alongside that choir’s brief appearance. As the chorus ended, Vlatka would begin to step forward, being gradually revealed to the audience that it looked like she was wearing a facsimile of chainmail armor; appearing as a warrior about to embark on her battle.

The cruel rush of war runs free
The tempestuous blaze of valor
I desire it, I will kill for it
The cruel rush of war remains
The temptation for endless glory
I desire it, I will kill for it

Now, the first verse of the song proper could begin. Even so, a tone of uncertainty and dread hung around the stadium as Vlatka began to move forward. Though her movements remained limited, it was clear that she was standing stock still in attention. Her frame was poised and frozen, looking convincingly like a soldier that was waiting for their commander’s orders. However, the uncertainty that was resonant in her eyes and body language began to give way to a complicated and just as uncertain bloodlust. A mixture of fear and hungering of fear began to appear in her eyes, as if Vlatka was afraid of the very words she was singing. Throughout this verse, the camera would maintain close views of her. At some parts, especially when she sang ‘I desire it, I will kill for it,’ the camera would catch the conflicted emotions within Vlatka’s eyes. Her hands were balled up to a curled-up fist, shaking with both fear and a desire for violence. She would end this verse with a vocalization, her eyes closed, face slightly contorting, before her eyes opened with a resigned determination. This bloodlust was a part of her, and soon, it was going to be time for battle. She would step forward as if in a march.

Who do I fight for? Why do I fight?
Who do I fight for? Why do I fight?

This hook was a brief intermediary that linked the first verse to the pre-chorus. They were a barrage of two existential questions, delivered twice. It was here that Vlatka’s stoic persona began to break down slightly. The camera angle that was used was close and yet almost unsettling, as if the changes were frenetic and disorienting to the viewer. The uncertainty here reached its flashpoint, even though this was by no means the song’s climax. The camera would take a sideways view of her as she looked up into the ceiling; Vlatka could then be seen raising a hand in front of her face, balling it into a fist and her eyes closing in a display of hesitance and pain. Throughout this brief hook, the stage effects were at work to set up the next stages of the song. Holograms of life-like soldiers began to manifest around her subtly, with them being well-placed to ensure that the streaks of light around the stadium wouldn’t prematurely spoil the illusion. The empty field background would also begin to brighten, to the point where the relative darkness of the rest of the stadium now created a convincing image of Vlatka singing against that background.

The enemy marches onwards
My army's blood in their sight
I stand ready to wage war
The war horns bleat their twisted melodies
This is the sound and sight of hell
I stand ready to wage war

This pre-chorus took the song from its uncertain, dread-filled beginning and set ‘Battle Cry’ to the direction of building towards an epic climax. There was a marked shift in mood as Vlatka sang the first line of this pre-chorus. Now, there was a sense of triumph being made, an army being encouraged to fight for honor and glory. The instrumentation began to inch towards a more triumphant bent as a vaster soundscape was used, with an orchestra especially being dominant throughout. Vlatka would look up into the light and towards the camera, when it was nearby her, when she sang this pre-chorus. Surrounding Vlatka was now a hologram army, appearing almost like apparitions surrounding her. However, the hologram package with her saw this virtual army move alongside her. They would be in formation, taking similar stances to Vlatka. A look of determination was evident in Vlatka’s face as she sang these lines, especially evident when she would end the third line with vocalizations on ‘war.’ At the second half of this pre-chorus, the orchestration would then swell with a few notes from the horns. She would take one step forward, place a hand over her heart, and look onwards the audience’s direction with a resolute gait. As she did so, the hologram army would follow suit; as if it was the song itself is what was leading Vlatka and her fellow soldiers. The cameras would remain close to Vlatka while she was singing this, making sure that her expression was evident while also taking care not to break the illusion in too obvious of a way. As the pre-chorus was approaching its ‘end,’ the lights began to intensify to a mixture of reds and whites. The background began to resonate, the hologram army stood ready to fight and march, and then…

Maj rat! (My war)
I hear nothing but the sound of death
Cold air set against the bloody fields
I breathe in and shout my battle cry
Maj rat! (My war)
I break my silence with my voice
No friend or foe seemed to hear Valhalla’s call
I breathe in and shout my battle cry

The transition from pre-chorus was marked with the song’s climactic moment. The build up from the pre-chorus now found its payoff with Vlatka shouting ‘Maj rat’ into the heavens, her vocals soaring and resonating with the power she was renowned for. Her note was strong enough to the point where she would hold ‘Maj rat’ up to the end of the first line of the chorus, with her joining the backup singers and the choir for the next two lines. As Vlatka belted out ‘Maj rat,’ the narrative crested with the battle it was leading up towards. The stage was in pandemonium, the camera focusing on closer views of the stage, and the holograms were acting out the narrative. There was now a war between two hologram armies on the stage, with the background sounds of fighting, agony, swords clashing, and shouting augmenting the background track. While Vlatka sang, it was clear that she was disoriented, the holograms surrounding her, and her unable to tell who was friend or foe. As befitting the lyrics, the background battlefield began to be laced with tinges of red, signifying that blood was being spilled. The holograms surrounding her would fight and fall, sometimes getting too close for comfort. Even so, she would continue singing, with the second ‘Maj rat’ even stronger than the first. She sang that with one hand held up, in the vain hope that her vocalizations would end up being some sort of battle cry to turn the tides of fortune towards the army she served. Yet, even so, it was not enough. Around her, soldiers would continue to fall and fall one by one, and Vlatka couldn’t escape. The way she sang was nearly hushed, her voice dominated by the backup singers and the choir when she was no longer belting the dramatic ‘Maj rat.’ The camera, fittingly, would provide a mixture of stable and frenetic views during this chorus, sometimes appearing as if it was ‘found’ footage. The cameras remained close, especially when the chorus reached its end. Vlatka’s inability to escape soon meant that she would be a casualty, with her being ‘struck’ by an enemy hologram through impalement. At the chorus’ end, she would fall to her knees, the camera instantly switching to a view of her, and a spotlight would shine on her as the rest of the stage darkened. The last remnant of the chorus was her belting of ‘battle cry,’ the last set of notes resonating throughout the stadium…

The El Stadion Skoljke would hang in silence for just a few seconds. Vlatka was on her knees, the sight of death all over her face as she looked up helplessly towards the ceiling during that brief interval. The field around her was now coated in a black and white hue, bloodstains disappearing into a natural decay. Now began the instrumental interval that would act as the bridge to the song’s outro. The camera would fade to a wider view of the stage, with three grim reaper-esque figures walking out to the stage. The music returned with a flurry of notes from the orchestra, one that acted as the musical backdrop to these hooded figures surveying the destruction. As the music progressed from its initial instrumental to a choir singing in the background, these grim reapers would occasionally kneel down and solemnly gaze at the holograms of the fallen soldiers. The camera would stick close and move with these reapers. At the tail-end of the choir’s singing, the camera would return to Vlatka. She was still situated at the center of the stage, but her head was down. Once the camera reached her, one of the grim reapers could be seen standing right before her. Once the section for Vlatka’s vocalizations came in, the grim reaper behind her would take off their hood. The grim reaper behind Vlatka was revealed to have Vlatka’s face, and she would be ‘singing’ alongside the Vlatka that was situated on the floor. The timing between both was almost perfect, suspiciously so. The grim reaper version of Vlatka would kneel down, beckoning her other self to look at her as the second verse of the song would begin.

Her army falls, and the battle seems lost
We seek honor, a glory for our home
Yet it was fought in vain, and death is the price that's paid
She falls to her knees, and she dies unknown (unknown, unknown, unknown)

The camera fixated on this surreal, intimate moment, almost as if it were a movie being shot rather than a performance for a song contest. This grim reaper would coerce the ‘real’ Vlatka to lie down on her back, facing upwards. Both would once more sing together, even though only one of Vlatka’s voice would resonate through the stadium. However, the camera would focus only on the grim reaper version of Vlatka; with the lights strategically placed away from her, and the battlefield distorting into a twisted, slowly decaying and deadening reality as she sang. The grim reaper’s face was cold and empty, with only a detached lament coming from her as she ‘sang’ these lines. The music maintained its urgency, with backup singers continuing the vocalizations that Vlatka would be unable to do at this point in the song. At the second half of this verse, the camera would also cut to close views of Vlatka on the floor; at first she looked as if the life in her eyes was slowly draining. She glanced at the stadium lights as the call to the afterlife, her duty to the world done. She too was also singing the lines much like the grim reaper, but by the final line of this verse, Vlatka realized that she was looking at an illusion. A sudden look of fear, fear of death and fear of herself, gripped her eyes as she swatted away the grim reaper that lay her down on the floor. The grim reaper with Vlatka’s phase was nothing more than a mere hologram, with that illusory Vlatka fading away as she sang ‘unknown’ and aggressively made a motion to sway her away. This time, the ‘real’ Vlatka was now standing up, but there was no time to rest as the next section of the verse was approaching quickly.

Darkness and agony cloud my eyes
My blood's spilled and my life flashes
Valhalla calls for our souls
Soldiers die in countless numbers
Stolen lives that we'll never know
Valhalla calls for our souls

For this third, Vlatka looked desperately around the stage for any sign of life for her allies. Around her were soldiers falling one by one, an ongoing fighting still occurring that marked an endless war. It was now revealed that the grim reapers’ presences had ‘stopped time’ during the instrumental interlude and second verse. As soon as this part of the song began, time had once more ‘resumed.’ The bloody fields regained back their original color and the hologram soldiers appearance once more. The soldiers, both friend or foe, were writhing and shouting in agony, Vlatka’s pained and desperate vocals their backdrop. The camera would focus between those holograms and Vlatka’s singing, her eyes widened and unhinged. She was horrified at the sight she saw, not sure of how to process both armies falling to each other’s knees. Though the lyrics were solemn, she was nearly shouting them as if she were losing sanity. She did not settle at all into a regular register or even let the way she delivered settle, maintaining a high intensity as she wandered around the stage, hoping in vain that the battle could still be saved. By the end of this verse, she realized that there was nothing she could do rescue these fallen soldiers. She was now once more on the center of the stage, slowly falling to her knees in both death and defeat, slowly putting her hands up to her face as a show of slow frustration and insanity. The camera closed up on her for this moment, her eyes catching the camera and freezing it to place in preparation for the song’s final moments.

I hear nothing but the sound of death
Cold air set against the empty, dark plane
I breathe out my final battle cry

The song, just as it began, would end with a note of uncertainty. These final three lines were a haunting bookend to the song’s introduction. Vlatka would sing this half of the chorus straight to the camera, the instrumentation finally paring back. This was timed with the stage effects darkening and going off one by one, each note in the instrumentation seeing the holographic fallen soldiers disappearing one by one. As Vlatka sang, the bloody fields would return back to their decayed, ‘timeless’ state. The camera would gradually close in on Vlatka as the song approached its uncertain and fraught conclusion. There was no sense of triumph, no hurrah, or even a victory salvaged out of hopelessness as Vlatka sang the final line. The trademark power in her voice resonated throughout the arena as she closed the song with the song’s title, her vocalizations echoing for just that brief second. The instrumentation didn’t even have the time to calm down and quiet as the home crowd cheered loudly for the entry.

Vlatka felt as if she was about to faint when the performance ended. She was too wrapped in trying to play the character, the hopeless soldier girl as the nameless face in an army, that she nearly forgot there was an audience not to far from her at all. She looked completely out of it as it dawned upon her that the entry was complete. There were people cheering for her even the pits they had next to the diamond-shaped stage. She held her chest and tried to maintain her composure, but the excitement and emotions got to her.

“Thank you!” she shouted, her voice trembling and her vision blurred. But that was message enough for the incredibly loud home crowd, amplified by the much larger stadium instead of the arenas that RTI was fond of hosting in.

She walked backstage, still trembling, and still nervous. She had no idea how she did. For all she knew, she may have just given Izmedu a dud of a performance, was offkey, and certainly sending Poslie Postojanje home with a terrifying result.

When Vlatka reached the green room, she was greeted with a long, tight hug from her fellow and only living bandmate, Metod.

Things were going to be okay. Vlatka and Metod didn’t know how. It was a mantra that both shared together after the band’s tragic losses. Things seem uncertain now, with any outcome possible, and high stakes involved.

But in the end, things were going to be okay.

by **Izmedu** » Wed Mar 11, 2020 10:06 pm

After Izmedu closed off the show, the arena were still cheering loudly for their home act. It was no doubt quite the choice for organizers to close off the show with the host, but at the very least, the Izmeduan fans were screaming their hearts out for Poslie Postojanje. The production team quickly made sure to get Katarina and Gabrijel out onto the stage to make sure that no further ruckus would continue and that the show would continue as planned. After stage cleanup and prep, Katarina and Gabrijel were back onto the stage behind their podium.

Katarina: And that was quite the ending to the show! That was Izmedu with Poslie Postojanje's “Battle Cry,” and I have to say, you never know what to expect from a band like them. I'm sure the locals could attest to that.

Gabrijel: That, indeed. Anyway, we have to get moving, because we can't delay the fun part of the show.

Katarina: I think I know what you're talking about...

Gabrijel: It's time for the voting to begin. This is the part of the show where all of you at home, alongside your national jurors, are going to decide who will be the winner of the 50th World Hit Festival and will earn the right to host the 51st World Hit Festival. Okay, here's how it'll work...

Katarina and Gabrijel would engage then in a description of how the voting process would work. They would say the instructions two times, once in the English language and another in the Izmeduan language. During this, international broadcasters were allowed to dub over the hosts with their own instructions on how to vote. Once this process was done, it was time for the announcement... Katarina prepared her best booming voice...

WORLD! START! VOTING! NOW!!!

Streamers were released from the stage as a countdown clock started. Viewers at home, whether their nation qualified for the grand final or not, now had the power to decide who would win the World Hit Festival. The crowd was at a frenzy as people were processing the fact that votes were now streaming in. Dora Vidakovic, watching the developments from the production room, took a deep breath as she watched the first batch of televotes come in. As far as she could tell, this was going to be an incredibly interesting night, and she knew that things were far from over.

To fill up the time, it was now time for the interval act, and RTI was contacted by AS1 for an interval act about the 7th Junior World Hit Festival...

Katarina: One of the interval acts we have prepared for you is about the 7th Junior World Hit Festival happening in Juana Díaz and Urbania! Courtesy of Achaean Republic.

Gabrijel: Their broadcaster, AS1, contacted us about making an interval act during the grand final. Well, as you can see, we agreed. Let's find out what they have in store for us.

(OOC: Thank you for Achaean Republic for the following interval act!)

Tune: https://www.youtube.com/watch?v=GKBXczwoj3o

The camera transitions to a beautiful park in the Achaean Republic. A boy dressed as a jibarito, a typical farmer of yesteryear, walks and waves to the camera, wearing a wide-trimmed hat made of straw locally called a pava. He is barefoot and carefully waving a wooden machete with a small red flame brandished over it.

Alex: ¡Hola! My name is Alex, and I’m from Juana Diaz—

Another rapid transition has a small girl dressed as a jibarita and standing in the middle of a small plaza. She is wearing a long, flowery skirt with embroidered edges, has loose hair, and a flowery dress with an amapola on her head. She is also waving

Mariana: And my name is Mariana, and I’m from Urbania.

Alex: Juana Díaz is a very beautiful city with amazing people, delicious food, and above all, we love our Three Kings!

Mariana: Urbania is a very big city with lots of trees, parks, museums, and beautiful sunrises!

Both: And we would like to welcome you all to celebrate with us!

Alex: I love my city!

Mariana: And I love mine, too!

Alex: So come to the Achaean Republic for Junior World Hit Festival 7…

Mariana: To let music reign and have lots of fun in the sun!

The camera changes from Mariana’s smile and shows the sun’s rays.

Back to the Vodiznad stage, the LED screens display different scenes of Juana Díaz’s and Urbania’s cultural life through the eyes of children. They sing, they dance, they kiss their parents good mornings and good nights, and they open up the presents the Three Kings just gave them, wrapped up in neat gold, silver, and bronze boxes.

A group of twenty children from the region, ten boys and ten girls, are dressed in jibarito clothes, like the ones shown by Alex and Mariana on screen before. The boys are barefoot, while all the girls are wearing pearly necklaces and frilly dresses with lakefront edges and flowers on their hair. The boys swing their machetes on the left, and the girls lift up their dresses to the rhythm of the music. They dance in pairs throughout the stage, whooping and hollering in Spanish with vigorous stamina: the boys to the left, and the girls to the right. They are jumping and dancing to the beat of the music, dancing the music of their forefathers after a hard day’s work in the mountains picking coffee or cutting down the sugar cane in the valleys.

In the center, a young, thirteen-year-old cuatro player named Daynelis Pagán appears with her guitar, playing the fast rhythm of the seis. Unlike the others, she is wearing more modern clothes: jeans, Sketchers sneakers her parents bought for her just before the trip, a T-shirt with a cuatro and a güiro emblazoned under an Achaean flag, and a blue snapback hat with her hair left loose underneath. Compared to the somewhat pristine and immaculate clothes of the young dancers around her, Daynelis’ dress is somewhat slapdash and put together. But at the same time, it creates a striking contrast between the past and the future, the traditions many Achaeans hold dear and fear losing against the vapidity of modernity.

On another side of the stage, the Three Kings of Juana Díaz arrive with their thoroughbred paso finohorsesin gold, silver, and bronze-painted saddles, the same ones used since 1989 and re-adjusted many times for the increasingly corpulent Kings. Melchor, the King dressed in golden vestments and golden crown, arrives first, carrying a chest with (fake) gold. Gaspar, the King dressed in silver vestments and a sword, carries a chest filled with silver items: forks, spoons, knives, flasks, and manny more. Balthazar, the black King, is dressed in bronze vestments carrying bottles of myrrh extracted from the mountains of Israel (or so the story goes) and brought to Achaea by the Spaniards. They are walking towards the stage, behind Daynelis the cuatrista and the dancing folkloric youth.

Before the song finishes, the Kings start giving hi-fives to the audience and wave to the Vodiznad crowd. As the music ends and the crowd cheers––in particular the remaining Achean crowd that, despite not making it to the finals, were more than excited to host the next festival––, everybody leaves except the Kings and the LED screen shows the official logo of the contest.

Before the Kings leave, one of the horses poops beside the stage, to the annoyance of the cleanup crew and the next interval act.

by **Izmedu** » Fri Mar 13, 2020 1:56 pm

After Achaean Republic's interval act, it was time for the next one to begin that involved celebrating the World Hit Festival as a whole. While the contest was being organized, a fragment of the WHF team in charge of Izmedu's delegations began to think about former winners that were still active in their domestic music scenes. After some deliberation, a considerable amount of changes to the shortlists, and finding that some former winners have gone AWOL or were in countries that Izmeduans couldn't feasibly reached, RTI was able to contact three former winners. The results of this search would bear out now, with a selection of winners that spanned the 20th to the 37th World Hit Festivals.

Gabrijel: That was... quite something?

Katarina: That was fun! Come on Gabrijel, liven up. And we especially have to liven up now knowing the next set of interval acts. You wanna begin the explanation?

Gabrijel: I'll oblige. Alright, so, in the months leading up to the contest, RTI has been contacting former winners to see if they'd like to perform on the WHF stage one more time. Of course, this has the added benefit of there being not a lot of pressure to impress the international stage. And plus, they get to perform one more victory lap and celebrate the music this contest has recognized and brought to us as a whole.

Katarina: How interesting! So how did RTI's search go?

Gabrijel: Well... we can say that we had an interesting time trying to find entrants. We had an idea of who our first choices were, but RTI envisioned something different. Wanna say more, Katarina?

Katarina: Sure! Well, as it turns out, a lot of the entrants we ended up wanting to contact ended up being unreachable. And plus, we weren't about to force them back here against their own will. So, a lot of the entries we turned to here are from nations that are still participating in the World Hit Festival, even to this day.

Gabrijel: Yes indeed. All three former winners about to perform tonight are seeing their nations compete in the grand final right now. Let's roll the tape.

The camera blurred away from Katarina and Gabrijel as a video package composed of past clips from World Hit Festivals began to play. Utilizing archive footage rather aggressively, RTI would play snippets from past winners before situating us in a room with a favorite from the Izmeduan crowd, Henrik Lang & Gabiya Yamaguci. Off-screen, the question of 'what led you to participate in the WHF was asked?' With some editing magic, it would cut between moments of the two entrants performing their rehearsal of the winning entry in the stadium itself and with shots of Henrik & Gabiya in the interview room themselves.

Gabiya: Well, it's been some time ago... wow, wasn't that when we'd gone through Hopean Ááni?

Henrik: That's right, we were just getting started and this just seemed like a cool idea. We had no idea we'd win.

Gabiya: Just two teenagers hoping to make something out of themselves. I guess we did!

After this, the camera would dynamically transition to one of the other winners that RTI had invited to the show. It was Britonisea's Dean Boyst, winner of the 37th World Hit Festival in Palmane, Kalosia.

Dean: Well it wasn't a direct....pathway to the World Hit Festival. At the time I had participated in our national selection, Vha Mehlodhivestoile - don't know if you guys have heard of it haha but anyway, it was the second edition of it, ever, after Mini Surrey North won the last year and they said that the third place act would also get to go to the World Hit Festival alongside the second. So I managed to get to the Grand Final of Vha Mehlodhivestoile back in 2017 and I came third overall! I was supposed to actually represent Britonisea in the 34th edition but it got delayed to the 37th edition and thank god it did! I didn't want to refuse the opportunity either, I was excited to get on the big stage.

As Dean described his experience in his road to the World Hit Festival, images from his edition of Vha Melodhivestoile would sometimes flash alongside what he was saying. However, editing was kept to a minimum between both acts to ensure that the focus remained on them.

Small Lords couldn't make it to the interview phase of the interval act. However, they were still able to make it tonight to perform. Another question was asked to the entrants off-screen. This question concerned what life was like after they won their contests.

Gabiya: Well as we all know, we hosted WorldVision 63 in Beiszendmizu some time afterwards.

Henrik: Beyond that, yeah we've gone on our solo journeys- I've been working more on writing for other artists but I am dropping an EP soon. Gabiya here is snatching up a few awards, isn't she?

Gabiya: Oh shush, yeah I've won an award or two, but really I've been focusing on touring recently and working on a new album, no details on that yet but it'll be great!

Henrik: Without our win at WHF22, I don't think we'd be where we are, that contest really gave us some name recognition.

Gabiya: Definitely, agreed on that. For one, I wouldn't be performing in Izmedu nearly as much if we hadn't done it.

Dean: Well after being known just nationally, being in the World Hit has allowed other fans from different nations to listen to my music. It's given me a chance to explore different countries I had never been to either. I think that now I've done World Hit Festival, I'm in the World Hit bubble, and it's a great community to be in as well. I love making appearances at the Festival.

The camera would flash an intense white after Dean's final words to the interviewer. This marked a transition back to the stadium itself, where the first performer of the medley was lying in wait...

The medley would begin with the latest of the three winners on offer, Dean Boyst. His title card was flashed onto the screens, leading to a huge cheer from the stadium in recognition of the former Britonish winner.

Tune: Human — Austin & Kurt Schneider

Dean Boyst was standing in the middle of the stage. There was a large applause for the returning champion of the 37th World Hit Festival. As the stadium got ready for Dean Boyst, the starting camera shot was from the top, showing a picture of the eye-shaped stage. On the floor there was a white line which went from one side of the screen to the other side. The introduction begun to play, thanks to the conductor. The camera slowly made it's way down to Dean's face before he started to sing;

Your smile lights the world,
Your dreams lights my world.
I have dreamt so much 'bout you,
You're all inside my head.
You're my everything.

Nineteen ninety-nine.
When we first crossed paths,
We were only young, we were so innocent.
Where has all that gone?

As the pre-chorus and finally the chorus came up, Dean walked to the right side of the stage where he met with a camera. He spoke in to it before turning around to be greeted with a sea of LED torches from people in the audience.

Don’t run from me, don’t you leave me - abandon me!
You know, I'm hurting too. I don't think you understand.

I am hurting too, and though I’m not showing sadness,
I feel so trapped in a large glass box,
I can see you, but I can't come closer.
See, I am hurting too...ooh

He sang this last bit before the lights in the arena all turned off as if all of it's energy just seeped out. On people's TV the screen turned faded to nothingness, to darkness, before Dean's face reappeared. He continued singing;

I’ve done this to us,
The guilt runs off me,
I am left speechless when you walk in a room...
Why would I ruin that?

He put his hand to his forehead as he sung that last part, and the camera zoomed out as he begun walking again. The spotlight followed him around as he walked, while the scenery below him was now white;

Don’t run from me, don’t you leave me - abandon me!
You know, I'm hurting too. I don't think you understand.

I am hurting too, and though I’m not showing sadness,
I feel so trapped in a large glass box,
I can see you, but I can't come closer.
See, I am hurting too...ooh

I am hurting too...
I am hurting too...
I am in pain too!

He walked right to the edge of the stage and sang straight in to the microphone with power, and as he did this, there was a camera then was right at the other end of the stage, which picked up everything that was happening on the stage - the lights circling around the arena, making sure to pick up everybody at least once.

Don't run away from me...don't abandon me...

You know, I'm hurting too. I don't think you understand.
I am hurting too, and though I’m not showing sadness,
I feel so trapped in a large glass box,
I can see you, but I can't come closer.
See, I am hurting too...ooh

The crowd in the El stadion skoljke applauded wildly for Dean Boyst, showering with as much excitement and energy as possible. However, not much time could be spent lingering since I'm Hurting Too was only one of three songs planned for the night. After starting from the latest winner on offer, we go back in time to the 22nd World Hit Festival. After a minute of prep time, the next act in this medley was ready.

Tune: Ana Maria & Bogomil - Teb Si Pozhelah

A streak of blue zips across the dark stage. Henrik is slowly illuminated on the left side of the stage, facing the left stadium wall away from the stage and the audience, staring intently forward and surrounded by pools of what seems to be blood. His expression softens as he sings

Oh, oh
Oh, oh
This is the morning where I feel I won't cry
Oh, oh
Oh, oh
When evening comes I know I will not die

He looks up, as if addressing the heavens, seemingly on the verge of tears

Smiling toward the sun
All my fears disappear
The rush of the wind, it comes
To open my eyes and allow me to see

He closes his eyes and looks down for a moment, and a faint smile breaks out as he looks back up and opens his eyes. The bloody liquid starts turning into gold

Today makes me feel, so free
The breath of the cooling breeze
And all of it makes me believe
There's so much that can be

He turns and stares directly into the audience exultantly as the lights intensify on him

This is my new beginning
This is my second chance
This is the second wind that can set my new self free
I can see the beauty
I can see the sunlight
I can see the wonders of this shining world around me

Henrik clutches at his heart as he sings passionately, the pools of gold around him glimmering in the light

The sunlight, the starlight, the moonlight, it pierces, the shell that I've become and almost died in
Till I let the sunlight set me free
Till I let the sunlight set me free

The lights fade somewhat on Henrik as Gabija is illuminated, facing away from the audience, toward the stadium wall and surrounded by ash. Initially she is looking down, but then raises her head

Oh, oh
Oh, oh
Last night I looked up to the dazzling stars in the sky
Oh, oh
Oh, oh
And I bathed in their faint, wavering rays of light

She seems to be singing to someone in front of her

It's been so long without the sun
We've been attracted to the raging fire
All that had grown was long gone, devoured by the flames of the fire

She looks toward the back of the stage for a moment, then extends her arms joyfully before her. The ash around her darkens as if wet

So the morning rays of dawn
So unfamiliar, they're unreal
As the night retreats away
I can see paradise return

She turns to the audience, a rapturous expression on her face as the lights intensify on her and the ash sprouts a multitude of tiny green plants

The beauty of the sunlight
Invigorates the earth
The beauty of the sunlight brings new life to the world
You can feel the power
You can feel the life
You can feel the energy of all becoming right

Gabija gestures to the ash and growth around her, which is slowly becoming a knee-high thicket of lush plant life

All these rocks, all this sand, all this water now becomes something greater than all their parts combined
You can watch the sunlight set us free
You can watch the sunlight set us free

The lights brighten again on Henrik, looking out over the audience in a state of euphoria

I feel connected to the stars
Like nothing else, I've felt so fa-a-ar
I can open up to the sky
And I can have no fear, that I might be left undo-o-one

Henrika and Gabija join together and step forward, the background screen and stage lights simulating rays of sunlight

So we embrace the morning sun
And the warming gusts
Like nothing else so fa-a-ar

They each raise a hand up to the ceiling, and let it drop to their side

Our souls can reach up to the stars
Come back down
In freefa-a-a-all

Back to back, they sing with all their joy and passion

We can run, we can leap, we can fly beyond what we thought we could do before this (before this)
Before the sunlight came to set us free
Before the sunlight came to set us free

The lights dim for a moment, then return with full intensity, with the stage's main structure and background screen appearing like a radiant sun. Beautiful, shimmering crystals emerge from Henrik's pools of gold, and Gabija's lush thicket erupts into a riot of colorful blossoms. The two face the audience again, arms outstretched, as if embracing the world

We can run, we can leap, we can fly beyond what we thought we could do before this
Before the sunlight came to set us free
Before the sunlight came to set us free

They stride down the projecting platform, with a stream of crystalline gold following Henrik and a bountifully flowering vine trailing Gabija. When they reach the end of the platform, they stand back to back again, each with one arm stretched out to the audience

Before the sunlight came to set us free

The lights dim until Henrik and Gabija are lit only from below, and then even that source of light disappears. However, the gold and flowers glow noticeably in the darkness, reminders of the intense light previously and beacons of hope for the light to come

"Kiitos kaikki niin paljon!" the two singers shout. "Thank you so much!" they add, before leaving the stage. The cleanup crew clears away the gold and plants in preparation for the final act in the interval act.

The crowd cheered heavily for Henrik & Gabiya as they left the stage. In the editions following their win, Izmeduans have commonly held "Set Us Free" as an all-time favorite, and the fans were certainly showing the Todlichebujoki their love tonight. Following them both, now it was time for the last act before voting would begin.

It would be Small Lords, winners of the 20th World Hit Festival.

Tune: The Mother We Share - Chvrches

The lights, tinted blue, fade on as the song begins, revealing Elissa standing in the middle of the stage, with Simon and André at either side of her with their synthesizers and other equipment, which have been decorated with green vine like stuff. This could confirm the environmental message but could also represent the decay and breaking down of a relationship. Elissa is wearing this] dress, and stands very close to her microphone stand. The stage is covered by a layer of smoke, which takes on the slightly blue tint of the lights. Throughout the first verse, not much happens, with the cameras panning around Elissa and the other two.

Open your eyes
To a dreary scene
As it all falls down
Everything that we-e-e built
But don't you see?
We brought it on ourselves
No matter what we do
There is no one to turn to

As the chorus begins, on the left and right sides of the stage something begins to come out of a small trapdoor. They appears to be factory chimneys, and smoke comes out of the top of it. The lyrics of the chorus are written randomly across it. This pretty much seemed to confirm the environmental message, but it could also represent how a relationship can turn dark, with this being represented by smoke, although this is a very tenuous link. Elissa takes the microphone from the stand and walks toward the front of the stage, slowly throughout the chorus. By the end, the chimneys are at their full height.

The messages came thick and fast
But we ignored them
No matter how much we try
We'll always damage something
Was what we did wrong or right
It isn't up to me
Never say anything 'cause
This is what we did

The lights begin to change from blue to red, slowly throughout the verse. Not much else happens now, and the camera again pans around, showing Elissa and the chimneys.

Are you happy now?
The battle's lost
The destruction wrought
And no-o-o-o-othing gained
As the water rises
Fuelled by our tears
Just remember that
This was our fault

The lights intensify and finally become red as the chorus begins, but not much else happens until the end of the chorus. Elissa 'finds' a tree stump within the fog and sits down on it, acting as if she is close to death. This again seems to confirm the environmental message, but could show how relationships can be cut short or be destroyed with great force, like the force required to cut down a tree.

The messages came thick and fast
But we ignored them
No matter how much we try
We'll always damage something
Was what we did wrong or right
It isn't up to me
Never say anything 'cause
This is what we did

Elissa sits on her tree stump, and the cameras are zoomed in on her face, showing nothing else. The lights are vey dim, and there is a very ethereal feel.

What was once was green
And full of life
Has been left desolate
By us-u-us-u-us-us-us
You know we did this
No question about it
Now the results are here
And now we know-ow-ow-ow-ow-ow-ow

As the chorus begins for the last time, the background first shows a burst of light which due to the positioning of Elissa and the cameras make it look like a halo around Elissa's head. The lights become blue and intensify once again, but not enough so that the LED screen can be clearly seen. The background then shows pictures who have been affected by what has been cause by human industry, including pollution and climate change, as if the audience didn't guess what the message of the song was already.

The messages came thick and fast
But we ignored them
No matter how much we try
We'll always damage something
Was what we did wrong or right
It isn't up to me
Never say anything 'cause
This is what we did

by **Izmedu** » Fri Mar 13, 2020 3:13 pm

After the three former winners performed their songs to commemorate the 50th edition of the World Hit Festival, enough time had passed for RTI to know that it was soon time to close the voting. The countdown was ticking dangerously close to 0 seconds for RTI to idle by. The production made the choice to quickly send Katarina and Gabrijel back to the stage, seeing as it looked as if it were only late stage stragglers that wanted to get their votes in as quickly as possible. Throughout the voting, dramatic changes kept happening on and on in the in-play scoreboard that the production team had. Dora Vidakovic smiled as the winner kept changing hands over and over. It didn’t really settle even if a majority of votes seemed to have come through. Dora smiled at the name who looked most likely to stay on top.

One message was sent to the hosts: Close the voting. Soon. Preferably now.

Katarina and Gabrijel, as soon as they walked out onto the stage, got the message.

Katarina: That was a nice throwback, huh? Don’t you wish you were there performing too, Gabrijel?

Gabrijel: I’d appreciate the offer but I prefer being host, thanks. Katarina, we have a job to do, don’t we?

Katarina: That we do. We have to give our thanks to Dean Boyst, Henrik & Gabiya, and Small Lords for being here, but we can’t prolong the process anymore. You see the countdown clock on your screens?

On cue, the remainder of the countdown clock would appear on the screens behind the hosts. Counting down in big numbers from 60 seconds and downwards.

Gabrijel: You only have 60 seconds left to make your voices heard. If you want to see your favorite do well, vote, vote, vote. Do what you can.

Katarina: World, we’re down to the last 10 seconds of voting…

10… 9… 8… 7… 6… 5… 4… 3… 2… 1…

WORLD! STOP! VOTING! NOW!!!

The Izmeduan team froze the vote there, with the production breathlessly looking at each other as the signal to release the streamers was done. As the crowd cheered into pandemonium, the team behind crunching the numbers finalized the last set of votes. Whatever those last set of votes were, they made things exciting at even the last possible minute. Katarina and Gabrijel would distract the crowd for a little to help them calm down, but it was just enough time for RTI to cap off the final set of calculations to confirm what they’ve been seeing for the last few set of votes. Everything was confirmed. Everything was set.

It was just now time for Katarina and Gabrijel to deliver the results as planned.

Katarina: I swear to god, all of you cheering never really gets old! Alright, people, alright settle down. We’re getting a message from production.

Gabrijel: World, all of you know what this means, right?

The crowd didn’t even need an answer to Gabrijel’s rhetorical question as the stadium lights flashed a blinding, brilliant white. That was the signal for the production to start the voting process in earnest. In that one minute, they would ready the queue for graphics, begin to make preliminary checks on the signal feeds to make sure the spokespersons would be there later on for the show.

Katarina: Alright, let’s explain how this is gonna work. This is going to look a little bit different for those of you familiar to how we host. In fact, we’re gonna take some cues from the joint Britonish and Estogian hosting from last edition. Wanna explain, Gabrijel?

Gabrijel: Yes. Phase I will act as normal, but with a slight twist. We’ll go through each nation one by one but we won’t reveal who they are. You’ll see the points that they gave, but we won’t give them a specific identity to make sure that we’ll keep the tension all the way up to Phase II. For those that followed last edition, this is the mystery nation format.

Katarina: Phase II is where things haven’t changed at all. We’ll show your spokespersons there and we’ll do the usual meetings and greetings. Phase II, however, is where things can and will change. Any nation between these phases will always be in the game. We’ve seen historically that dramatic can and do happen.

Gabrijel: And we, as past WHF participants, can attest to seeing that in person. Anyway, before we go on for too long… Time to start?

Katarina: No better time than now, Gabrijel. We’ll do this together. Alright world, let's get into contact with Dora to see if we have the votes ready. Dora, Dora, are you there?

The camera flashed to a shot of the production room, with Dora Vidakovic sitting with a slight smile.

Dora Vidakovic: I'm not betelgeuse, but thanks. I can confirm that we have a full and final result. I have to say, I cannot wait for you two to reveal this. Take it away.

Gabrijel: Well, that was quick. Alright, we all heard our channel's general-director.

The scoreboard appeared as it was time for the results to be revealed, one vote at a time…

by **Izmedu** » Fri Mar 13, 2020 3:30 pm

This music began to play, with the first minute looping. The screen graphics would now dominate the proceedings as Katarina and Gabrijel glanced at each other for the first vote of the night.

Katarina: Alright, let's see what the first nation has for us.

Gabrijel: Look at that! Early days so far with Natanya gaining an early lead. Let's see what the next nation has to say.

by **Izmedu** » Fri Mar 13, 2020 3:35 pm

Gabrijel: Nation #2... Here they are!

Katarina: Sign of a later pile up? You'll know this'll begin to excite people that secretly wish for those juicy ties. But let's not tempt fate here.

by **Izmedu** » Fri Mar 13, 2020 3:40 pm

Katarina: Let's see what nation #3 has in store for the results.

Gabrijel: We're getting saucier, aren't we? Ertzei Kishim storming off into a lead, but again, it's still extremely early. Let's not make predictions that are too hasty.

World Hit Festival 50 - Vodiznad, Izmedu | IC Thread

01 Ertzei Kishim

02 Besmenien

03 Estogium

04 Normandy and Picardy

05 Britonisea

06 Malta Comino Gozo

07 Polkopia

08 Llalta

09 Nightom

10 Kalosia

11 Togonistan

12 Natanya

13 Wazekia

14 Todlichebujoku

15 Besen

16 Teesdexxia

17 Izmedu

Phase I: 01/31

Phase I: 02/31

Phase I: 03/31

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