World Hit Festival 58 | Le Havre, N&P | IC Thread

by **Normandy and Picardy** » Mon Apr 19, 2021 8:20 pm

Prelude

What a year it had been for Carrelie. From the election of Empress Edith-Marie to the situation in Achanor, there had been highs and lows and CarrelieOne was ready to enter WHF again. This time they again held an internal selection among the nations of Carrelie...

April 15th, 2021 - Densmouth Hall, Densmouth, Dentricia

V: "Fiona é ve Barrows, dieze!"
"Fiona é ve Barrows, dieze!"
"Sophie, dieze!"
"Fiona é ve Barrows, dieze!"
"Fiona é ve Barrows, dieze!"
"Dolce Vita, dieze!"
"And finally, the winner of the Sondienne oú Canerila, Fiona é ve Barrows, dieze! Congratulations!"

And that's how it went. Unlike Eurosong 1983, there was very little booing this time, in fact, there was a resounding cheer! The heartfelt lyrics and soulful vocals really went down well with the audience and Carrelie as a whole, and everyone was proud to be represented by such a lovely group!

Fiona & the Barrows

Barrow siblings Fiona (31), Liabhrann (26), Lùisadhe (30) and Sìoltach (28), shown in the above image anti-clockwise from the top, migrated from Scotland to Arianos when they were only children, after their father left them for New Douria and never returned. Their mother made barely enough to support them, and thus they spent a lot of time outside. It was on one of these days when the four would stumble upon something that would change their lives forever.

A normal day had came and went, when at 7pm, Fiona and her siblings were walking home from the park. Their trek had been long and unforgiving, but Sìoltach was still rather alert. The sun was just setting when out of the corner of his eye he saw a strange contraption lying in a bush, nearly untouched. It had strings that twanged like no other, an acoustic sound - it was a guitar!

Sìoltach took to the guitar quickly, learning everything with haste under the watchful eye of his mother. Fiona and Lùisadhe began singing, and Liabhrann fashioned drums out of pots and pans - everything was coming together! The four played and played into the night, and attracted local crowds playing covers of popular folk songs, soon catching the eye of a few big names in the music industry. They soon became Arianosien child stars and a display of perseverance against unfavourable circumstances.

They began releasing tracks of their own, each telling its own story. From "Days Now and Forever", a song about their time outside, to "Scraping By", about their mother's financial situation, songs were recieved well by the community, and thus winning a ticket to compete in Songs of Carrelie, the chance to represent Carrelie at the World Hit Festival.

Performance

Fiona walks up to the stage alone, looking across the audience with a smile. Her dress glides across the floor as she traverses to the centre, up to the microphone. Her smile fades as the stage darkens, except for one light shining directly on her.

While you’re gone all that way can you tell us you wanna come back,
Then we’ll know that you love us, even if you’re in New Douria.

Another light turns on, revealing Lùisadhe on the platform, wearing this to contrast with Fiona, whose light quickly turns off, leaving only Lùisadhe in focus. A guitar and drums seem to appear from the stage.

Just send us a letter, a call and hey,
You could always tell us ‘bout that thousand miles away.
You sailed Caerwskwr, to Reconnaitras,
We’re all still thinkin’ ‘bout you, so please can you come back?

Lùisadhe's light cuts out, and a light turns on in the same position Fiona was in, now revealing Sìoltach, who is strumming a guitar. He's dressed in a suit and is sitting on a stool with the microphone in front of him.

While you’re gone all that way can you tell us you wanna come back,
Then we’ll know that you love us, even if you’re in New Douria.

Sìoltach's light stays on, and Lùisadhe's is also turned on, revealing Fiona too. The LED screens illuminate to show scenes of the ocean and islands.

I’ve tried to picture, how your life’s goin’,
Big business trips and livin’ high and trav’lin’ over Nove an’ Donwin
We should’ve told ya, never let us go,
But we always come last place, we’re always just too slow.

While you’re gone all that way can you tell us you wanna come back,
Then we’ll know that you love us, even if you’re in New Douria.

Sìoltach continues playing the guitar as the lights die down, the stage now only illuminated by spotlights.

What’d you love more, St William’s or home?
Gafrey or home?
There or home?
What’d you love more, St William’s or us?
Gafrey or us?
There or us?
What’d you love more, St William’s or home?
Gafrey or home?
There or home?

All the lights cut out, and a light on the stage's east fades in, revealing Liabhrann on the drums. His thick accent definitely adds some flair to his verse.

We don’t know why, you haven’t returned,
Even when you’re longin’, to leave the promised land.
Do you even want to? Will you soon return?
We can only speculate, and tell, oh, how it hurts.

All lights now illuminate, showing all four siblings on the stage as they all sing in unison

While you’re gone all that way can you tell us you wanna come back,
Then we’ll know that you love us, even if you’re in New Douria.

The lights once again die, now revealing each sibling one by one, starting with Liabhrann, then Fiona, then Sìoltach, then Lùisadhe.

Will you come home, please just come home,
Please just come home,
We want you home.
Will you come home, please just come home,
Please just come home,
We want you home.

Can you come home, please just come home,
Please just come home,
We want you home.
Can you come home, please just come home,
Please just come home,
We want you home.

Only Lùisadhe is illuminated now, sitting on a stool facing the audience. Her tearful conclusion is strong yet so very gentle.

You sailed Caerwskwr, to Reconnaitras,
We’re all still thinkin’ ‘bout you, so please can you come back?

It had been done. The Barrow siblings had achieved one of their great dreams, though there are many yet to go. Who knows what's next for them?

by **Normandy and Picardy** » Mon Apr 19, 2021 8:22 pm

by **Normandy and Picardy** » Mon Apr 19, 2021 8:26 pm

Following the 57th World Hit Festival, a certain amount of backlash occurred amongst Togonistani WHF fanbase. Lucky 7, the Togonistani broadcaster owning rights to World Hit Festival in the nation, has received a lot of criticism from fans for being quite closed about their decisions when it comes to choosing artists representing the nation in WHF. Taking the recent criticism into account, Lucky 7 hosted an online poll after WHF 57, asking the fans who would they love to see representing the nation in the next edition. Over a hundred recommendations came from Togonistani fanbase, with suggestions including the likes of Grace Lekker, Daniel Makala, Tuhinga, Alyn Tuvalu and Tremendous. However, there was one name that really stood out amongst others.

Following the poll results, Togonistani WHF fans gathered around their devices after Lucky 7's announcement about making an artist reveal in an online livestream. What some considered to be a PR trick from Lucky 7 to quite down the recent criticism turned out to be a pleasant surprise for a large amount of fans when Togonistani singer Malinda, along with rapper Claymore, appeared on the screen.

During the 30-minute livestream, Malinda and Claymore spoke about their song and the feeling they've got about getting a chance to represent Togonistan in World Hit Festival, as well as answered some questions from the fans. They both said that they are looking forward to heading to Le Havre and hope to have a lot of fun.

Malinda is representing Togonistan in Le Havre with her song ''Terminated'', a joint project with rapper Claymore.

Malinda is a 28-year old Togonistani singer from Tushlark. Starting her career eight years ago as an EDM artist, Malinda is well known amongst the Togonistani audience. She has represented Togonistan in the 60th WordVision Song Contest in Hajenired as well as performed as an interval act during the 61st WorldVision in Hwoarang. So far, she has released seven solo albums and is amongst the best-selling artists in Togonistan.

Claymore after his arrival in Le Havre

Joining Malinda in Le Havre is Claymore, a 27-year old rap artist. Born in the city of Tashan, Claymore (birthname Jordan Maluna) started off as a member of rap group CLAW5 seven years ago, moving on to have his own solo career as a rapper and music producer after the group's departure three years later. Claymore is both the composer as well as lyrics writer for ''Terminated'' which, according to his words, saw the light following a night out in one of Hwoarang's clubs, where he met Malinda for the first time.

The performance starts with Malinda standing on the main stage, surrounded by four backing dancers. There are two male and two female dancers, all wearing white T-shirts with a golden chain, black sweatpants and white sneakers. All the dancers are standing with their back towards Malinda, few meters away from her and looking at the ground, forming a half circle with the two female dancers next to Malinda and the two male dancers behind her. Malinda puts her microphone to her mouth and starts singing. Stage lighting is minimalistic, with a hint of blue colours.

I've been trying all my life
To become something
Struggling to get you off my mind
I wish to ask you one thing
If you'd give me one more chance
I would take it
Just give me this one last dance

Stage lights up in a mixture of twirling golden lights. Malinda can be seen doing some very suggestive dance moves, moving her body and sliding her left hand all over her body while holding the microphone with other hand and singing. Dancers accompany her moves with some rhythmic shoulder moving and leaning from one side to another. Unlike the dancers, Malinda is wearing a tight black top with tight black leggings and white sneakers (same outfit can also be seen on her promotional picture).

I, I wanna fly
Before goodbye
I really got nothing to hide
I wanna glide
I wanna slide
Wanna take you one one last ride

Malinda and the dancers start walking forward on the stage, doing some fist pumping while singing.

Come on now, come on now
Come on let's get it going
Come on now, come on now
Come on let's get it going

They have reached to the edge of the stage and start doing some more dance moves as the chorus kicks in. Malinda sings the chorus and moves her hips and shoulders in-between the lines, while the dancers are moving their hips, accompanied by some smooth leg and shoulder movement, mixing a few head nods in as well.

Tonight we dominate the dance floor
'Til we're terminated, 'til we're terminated
Until then let's just do what we adore
'Til we're terminated, 'til we're terminated
Tonight we can shine, yeah, we can cross the line, yeah
Tonight we dominate the dance floor
'Til we're terminated, 'til we're terminated

Malinda places her hand on one of the male dancers shoulder and starts walking backwards, gently pulling him to follow her with a suggestive look and body language while singing the first half of the verse. Halfway through the verse, she lets him go and turns to another male dancer. She grabs his necklace and starts slowly pulling him towards her while walking backwards, with the same suggestive look and body language.

Hey, what do you say?
Don't be afraid
Let's go and do it our way
We shouldn't wait or be afraid
Enjoy it til' we're led astray

Malinda lets the dancer go and, turning her back to the audience, starts walking towards the back area of the stage with an elegant hip movement. The dancers follow her with a similar walk. Malinda looks over the shoulder as she sings the last line of the verse, before turning around again.

Come on now, come on now
Come on let's get it going
Come on now, come on now
Come on let's get it going

Malinda and her dancers start doing the same dance moves as before. However, this time, malinda puts her hand on one of the female dancers shoulder and gets close to her as she sings the first line of the chorus. She repeats the same thing with another female dancer during the third line.

Tonight we dominate the dance floor
'Til we're terminated, 'til we're terminated
Until then let's just do what we adore
'Til we're terminated, 'til we're terminated
Tonight we can shine, yeah, we can cross the line, yeah
Tonight we dominate the dance floor
'Til we're terminated, 'til we're terminated

Stage lighting turns into more of an orange tone as Claymore appears from the left edge of the stage. The big background screen starts showing a comic strip style of storytelling with artistic versions of Claymore and Malinda in it, as Claymore starts rapping his verse. Claymore wears an outfit similar to the dancers, with an exception of his t-shirt being black and also wearing a black cap with Claymore written on it, in white gothic font. Claymore walks around on the stage, doing some hand movements to accompany his rapping.

It's Claymore on the floor
Came to knock down the door
Lyrical acrobat
Elegant like coon cat

When we get on the stage we dominate the nightclub
You can be my pussycat and I will be your mancub
When we show up everyone can feel the adrenaline
Hah!
Now chop chop let us in.
Skya!
Everyone throw their hands up
With us on the floor it all adds up

Claymore makes his way to Malinda and approaches her. The two face each other as Claymore raps his lyrics, while Malinda looks at her and moves her body.

I'm the OG,
Music in my genes
Come on, let's make a run
I'm just here for some fun

Get down low
It's our playground
Get your feet off the ground
Just move with the sound

Stage lighting goes back to the previous golden tint, as Malinda starts walking forward. She is being followed by Claymore and the dancers, all moving their hips while walking.

Tonight we dominate the dance floor
'Til we're terminated, 'til we're terminated
Until then let's just do what we adore
'Til we're terminated, 'til we're terminated
Tonight we can shine, yeah, we can cross the line, yeah
Tonight we dominate the dance floor
'Til we're terminated, 'til we're terminated

By the time the chorus ends, the group has made their way to the small platform. They line up with Malinda and Claymore in the middle, them surrounded by the two female dancers with male dancers on either end. They do some more dance moves as Malinda sings the final part of the song.

Come on now, come on now
Get your feet off the ground now
Come on now, come on now
Get your feet off the ground now
We can dance now
We can dance now
D-d-dance now
'Til we're terminated

Malinda puts her arm around Claymore's neck and ends the final line with a head nod. The song stops with a close-up of the two. They stand there for a few seconds, until the audience starts cheering for them. Malinda and the backing dancers stand there for a few more moments with smiles on their faces, as Malinda thanks the audience: ''Thank you Le Havre! Merci!''

by **Normandy and Picardy** » Mon Apr 19, 2021 8:32 pm

by **Normandy and Picardy** » Mon Apr 19, 2021 8:40 pm

_{Benajmin Washington}

Background

Benjamin Washington (born 14 May 1998) is a Malta Comino Gozoan singer, baker and personal trainer.

Benjamin Washington debuted in the main Malta Comino Gozoan music scene in selections for the World Hit Festival 56 with the song "Appreciate", to which he came third. Benjamin started his singing career at the age of 13. He studied both practical and theory in voice and piano. He is certificated in voice coaching from the Briarwood Music and Arts College of Valletta.

Benjamin was nominated twice for the Best Male Artist in the Malta Comino Gozo Music Awards.

Benjamin became popular thanks to his participation as a residential singer on various television shows on the island including `Kalamita`, `Showtime`, `Sas-6`and ‘Sibtijiet Flimkien’. His voice could also be heard on several radio and television signature tunes and jingles.

In his spare time, he bakes loads of delicious Malta Comino Gozoan delicacies such as Kwarezimal. He is also a personal trainer and trains often at the gyms near where he lives near Balluha. Ħares Madwarek is the countries second entry in Maltese.

Ħares Madwarek "Look Around" is a song all about a breakup. Ben watched as one of his best friends relationships broke down. The two had been together for 2 years when the partner decided to go his separate ways after meeting somebody else. "I want Michael to miss me, miss me like there is a part of him dying. I want to take him to a place of utter devotion and need, then crush him as he crushed me. He likes sexy, I can be the best looking boy in town when I put in some effort. He likes soft and vulnerable, not hard to pull off since that used to be me. He likes boys that don't challenge his intellectual superiority, that's tougher since he could be outwitted by a brick. I'm ashamed to call him an ex-boyfriend, but since he's saddled me with being one of the "notches" he brags about, revenge isn't so much an option than an obligation. This is one guy he's gonna wish he'd treated better."

Performance

The stage in Le Havre was ready for the MCG entry. The postcard ended to huge applause as Benjamin took to the stage. He stood centre stage, alone dressed in a smart, formal blue suit. The view is of the whole stage from about halfway out The whole stage was dark and as the music started the LED floor turned to a whirling deep sea blue and the LED's at the back turned on as the clarinet played fading to black as the clarinet stopped and back on as it started again( no idea what instrument it is OOC sorry). The camera fades and smoothly fades into Ben standing in front of his microphone stand as he is lit in natural glowing light. The rest of the stage remains black. His raspy voice cuts through the arena. He looks downtrodden and concerned. His hand's slowly gesture in front of him as he sings the opening verse. The camera zooms out for the last two lines.

Ma nafx, dak li qed tħoss
Ma jimpurtanix, min qed tkun
Kull ma naf hu li tidher imdejqa
Nipprova, nipprova ngħinek

He turns around as he sings "Ħares Madwarek" (look around). The camera zooms in to him before we cut to a stage shot. He sings outwards gesturing towards the camera.

Ħares madwarek
Ma kienx hawn għal żmien twil
U taf li jien inħobbok
Imma huwa mar
U jien hawn għalik

The "Twirl" above the stage glows a natural yellow as the chorus continues. This lights up the stage and the crowd applauses. The boom camera pans over the audience towards Ben as spotlights penetrate through the dark reflecting off the camera lens as he sings about the breakup.

"You think you should matter to me still, yet you hurt me when I needed healing, you flung everything at me that could cause me to feel shame or guilt. Then you acted as if you were the victim and a martyr to boot. How can you matter to me when you became the antimatter of my psychology when you single-handedly created a black hole in my brain that threatened to destroy all that I was or ever could be? Your gas-lighting was aimed at reducing how well my logical brain functioned, to cause an imbalance between that and my creative brain, thus inducing a temporary psychosis that you then exploited for your own gain and... yes... used to pile on more guilt and shame. Since you've been gone I've been healthy and well... You sent me crazy on purpose. You are a monster and our breakup was long, long, long overdue."

The view is now a upper body shot, Ben grips the microphone firmly and sings intensely towards the camera. As the chorus ends the camera fades to a view from the back of the hall.

Ma nafx, għaliex telaq
Għamel żball, hu qatt ma nesa
Naf, li int imdejjaq
Imma int aħjar mill-bqija

Ben takes the microphone out of the stand. The LED background is now white and purple. And slowly takes a few steps forward. His eyebrows pulled closer together and the corners of his mouth were drawn downwards. He looks desolate and concerned.

Naf li int pjuttost
Naf li int tal-għaġeb
Imma nista 'ngħidlek li għandek bżonn ftit għajnuna ..

The onstage camera runs towards him from the back and semicircles him as Ben sings emotionally to the camera. The shot fades to a shot from just above the crowds.

Nista 'nkun hemm ukoll
Dejjem hemm għall-yo-o-oh
U jista 'jkollok triqtek
Mingħajr xejn xi ngħidu

A firework explosion on the LED screen lights up the entire stage triggering and igniting the "twirl" in natural light again. Pure snow white spotlights shoot out of the stage as the camera above the crowd slowly moves towards the stage before we reach Ben. We then have a closeup as he sings "Imma huwa mar" Ben stretches his left hand agonisingly out towards the camera. We can hear a choir supporting him now.

Ħares madwarek
Ma kienx hawn għal żmien twil
U taf li jien inħobbok
Imma huwa mar
U jien hawn għalik

The LED background behind him now a mix of purple and neon pink lights. A Northern lights effect is portrayed on the outer edges. A mixture of dark blues and lights blue with a hint of green. We then have various close-ups and stage shots. In each close-up Ben stares into the camera. As he holds the last note the LED's and spotlights turn a brilliant white as the camera pulls away slowly upwards from the stage outwards at an angle. The choir which was hidden, 3 men and 3 ladies steps towards out of the darkness behind him on his right. The men are dressed in dark blue and black suits and the women in black dresses.

Ma nafx, għaliex telaq
Għamel żball, hu qatt ma nesa
Naf, li int imdejjaq
Imma int aħjar mill-bqija
Int aħjar mill-bqija ...

He turns around as he sings "Ħares Madwarek" (look around) and turns back. We have a fabulous shot of the stage and twirl as it shines brightly as the camera pans around the edge of the front of the main stage. Ben takes a few more steps forward towards the steps. A camera on wheels rolls towards him as Ben looks towards it with his right hand out as it gets closer to the stage. We then have a dark blue liquidy background behind Ben as the spotlights roam around the arena. We then have a body shot as Ben that zooms in slowly as he rounds up the song. The mood of the song changes now and Ben has a subtle smile on his face now as the message of his song gets through as he sang about being there for him "And I am here for you..."

Ħares madwarek
Ħares madwarek
Ma kienx hawn għal żmien twil
U taf li jien inħobbok
Imma huwa mar
U jien hawn għalik

The crowd cheers loudly and applauds enthusiastically! Some MCG flags are waved in front of the camera as it shows the stage and Ben. He has a massive smile! "Grazzi! Grazzi Hafna Le Havre!" He speaks overcome with elation into the microphone. He leaves the stage.

by **Normandy and Picardy** » Mon Apr 19, 2021 8:42 pm

by **Normandy and Picardy** » Mon Apr 19, 2021 8:48 pm

White lights in the background appeared as the band began to play the music and Ophelia walks through the light, holding the microphone and beginning to sing.

Lately you haven’t been around
And something tells me you’ve left rhe town, mmm
And if you come back I’ll show you how you’ve missed out
And you’re making me have to hold you down, down…
Hey!

Before the beat rings in, she leans back, extending her note to its full glory and ends the note as the beat rings in, popping her body and moving to the beat as she began to sing the pre chorus and extra lights on the stage flashed to the beat. She moves her body enticingly, spinning and swiftly dancing to the beat. As she reached the middle of the pre chorus and the beat rings in again, this time with drums and two dancers would come on the stage behind her, and they popped to the beat, hitting the marks from left to right.

내가 뭘 받았는지 봐 (look at what I got)
Boy look at what I got, got, got
Just let me hold you down,
Down down down
내가 뭘 받았는지 봐
I gotta hold you down
So baby let’s just keep this shit rolling
내가 뭘 받았는지 봐 (look at what I got)
Boy look at what I got, got, got
Just let me hold you down,
Down down down
내가 뭘 받았는지 봐 (look at what I got)
Boy look at what I got, got, got
Just let me hold you down,
So baby let’s just keep this shit rolling
Come on!

Two extra dancers would appear from the dark sides of the stage into the light, doing the same choreography as everyone else, popping to the beat and swaying their hips as the pre chorus continued on.

내가 뭘 받았는지 봐 (look at what I got)
Boy look at what I got, got, got
I gotta hold you down
Down down down
내가 뭘 받았는지 봐 (look at what I got)
Just let me hold you down,
Down down down
So baby let’s just keep this shit rolling

They would swiftly move into a pause, as purple lights would ring on stage and she would start the next verse , posing as she sang it then turning around on beat and swinging her body to the right. As she continued swiftly dancing with the backup dancers. As she reached the middle of the verse, her and the dancers would walk, starting into a short dance break, popping and switching and turning around on the beat as the lights flashed and slowly stopping as the beat dropped.

Let’s keep it real, you’ve been feeling needy
But here’s one thing, I won’t have no pity
Drop the attitude, let me show you how it’s done
Show you how it’s done
Let me put you in a trance, we both feeling weak
We both feeling weak

She walked swinging her hair and went up to a camera as it approached her, putting her fist near the lens. As the beat slowed down the camera backed up , switching to another view and all the dancers would drop to the ground, and the lighting on stage would switch to orange as all the dancers were on the ground, moving their legs snd flipping over as Ophelia continued

Drop the attitude, Let me show you how it’s done, ohh
But lately you haven’t been around (Lately you ain’t been around
And something tells me you’ve left the town (Woahhhh)
And if you come back I’ll show you how you’ve missed out (Ooooh)
And you’re making me have to hold you down, down (You’re making me have to hold you, down!)

She slowly moves her body, bending and elevating off the ground as well as the other dancers did, while singing with a microphone in her hand, rolling over on her back and lifting her body sternly off the ground. After this she bounced to the beat with the dancers and the backing track would keep going as she danced to the song with full force, swinging her body as the backup dancers supported her with the same aligning moves.

내가 뭘 받았는지 봐 (look at what I got)
Boy look at what I got, got, got (Boy look at what I got)
Just let me hold you down, (Just let me hold you down)
Down down down
내가 뭘 받았는지 봐 (Oh yeahhh)
I gotta hold you down
So baby let’s just keep this shit rolling
내가 뭘 받았는지 봐 (look at what I got)
Boy look at what I got, got, got
I gotta hold you down
Down down down
내가 뭘 받았는지 봐 (look at what I got)
Gotta hold you down
So baby let’s just keep this shit rolling
Come on!

Her and the dancers continued pushing the coreography delivered in the last verse and then Ophelia walks away from the dancers, delivering the song in her own style, and as they near the end of this verse, she ends up back near the dancers, spinning around with them facing the lights and spinning back around to the audience, then popping her body with full force

Let’s just, let’s just, let’s just, oh
Let’s just, let’s just, let’s just, oh
Let’s just, let’s just, let’s just, oh
Let’s just, let’s just, let’s just, oh

And as the song was ending, the dancers swerved their way to the ground and so did Ophelia, enticingly, going into a short split then lifting herself off the ground then ending the song as she stood back up, pumping her fist in the air while all the other dancers would be surrounding her, on the ground.

내가 뭘 받았는지 봐 (look at what I got)
Gotta hold you down
Down down
So baby let’s just keep this shit rolling

by **Normandy and Picardy** » Mon Apr 19, 2021 8:50 pm

by **Normandy and Picardy** » Mon Apr 19, 2021 8:54 pm

Marcel Dumoulin, who is representing the host nation at the 58th World Hit Festival in Le Havre

Marie de l'Abre: Why World Hit Festival? Why now? And how do you think you you will cope with the obvious pressure that will be on your shoulders?
Marcel Dumoulin: Why World Hit Festival? Because I felt it was the right time for me and for the song, with perhaps the encouragement of Mme. Derrida here at SRNP. Obviously she has done a stellar job over the last few contests, and she really has pushed me on. I know it will be tough, but really I'm just here to go out there, to perform a song that I've written, and hopefully someone out there enjoys it.
Marie: Not bad for the young nervous pianist from Bayeux
Marcel: Ha ha, indeed, it is very cliche but I could never have pictured myself being in this position but here we are, and I'm just going to try and enjoy every minute of it
Marie: Well, thank you for joining us this evening Marcel, I look forward to seeing you in the Stade Oceane very soon...

So ended the final press interview that Marcel Dumoulin, the Normand representative at the 58th World Hit Festival, gave, on the official Normand World Hit Festival preview programme. The host of the contest, long time spokesperson and famous presenter Marie de l'Abre, was in charge of introducing all 23 competing entries to the audiences at home. The preview programme had long become an event in and of itself, with various life performances, sketches and interviews in typical Normand style, dragging everything out. And, of course, pride of prace had been given to the Normand entrant, Marcel Dumoulin, who, as was made very clear in his interview - as if he needed any more reminding of the fact - had rather the burden on his back, having to follow on not just from a winner, but two winners in a row. That would certainly be no mean feat, and it was something that did occupy Marcel in the last couple of days before the contest itself. He told himself there was little chance of a third win, and hoped that people would realise he wasn't a miracle worker. He was a classically trained pianist turned vocalist, that was all. He'd simply give it his best shot and try to have some fun whilst he was at it. That only partly worked though as he walked through the streets of Le Havre. SRNP had kindly put him up in the hotel complex with the rest of the delegations, so he could imagine it as a bit of a holiday. The only difference being he would be performing in front of millions. Yep, definitely a holiday.

Behind the scenes, all the final touches on the contest were being placed. Rehearsals were fully in swing but things of course were naturally a bit chaotic; it was a SRNP production of course, ever teetering between the threat of strike and not having the best of equipment. No one was quite sure of why they had agreed to take up the task again, although they had hoped the experience from hosting in Amiens might help matters a little, and in many ways it had. They roughly knew what they were doing now, whereas last contest they really had gone in blind. There were additional complications now though. For a start, the venue itself. The Stade Oceane was normally home to football matches, not music festivals, and it had a rather large hole in the roof which had to temporarily be closed. That had been a nightmare for the Normand team to figure out, but here they were. They had agreed to the plans drawn up by Le Havre, who had beaten Avranches, Caen and Beauvais for the right to host the contest, but now they realised that the logistics were surprisingly such a nightmare for what was a major hub, one of the largest ports in Europe. Ah, that classic SRNP competence! One person who could not be blamed in all this was the head of the Normand delegation, Simone Derrida, who had overseen Normandy and Picardy's "revival" in the contest and the final breaking of the so-called "curse" that had afflicted the country since the bodged hosting of the 24th festival. That experience very much still loomed large, of course, and fuelled the decisions being made in Le Havre so many years later. Simone herself did not have a great role in overseeing the construction efforts or anything like that, and instead devoted her time to hospitality for the competing delegations who had travelled to Normandy and Picardy from across the multiverse, even Marcel who had only had to come up the road from Bayeux.

It had, as always, been Simone who had decided that Marcel was the perfect fit to represent Normandy and Picardy at the World Hit Festival, via the technique that she had honed over the years of essentially waiting, via her contacts around the music industry and frequenting of gigs and musical bars, for the act to present themselves. In this case, the link had come from Jean-Pierre Gaulfier, who the eagle-eyed amongst you will have noticed is credited as one of the songwriters behind the Normand entry this contest. Jean-Pierre definitely had history in the contest; he had represented Normandy and Picardy, coming 4th - at the time the countries best result in many contests - in the 51st World Hit Festival alongside Sacha Deschamps with their song "Comme Une Enfant", and had later essentially been coerced by Simone into helping write the Normand entry for the 53rd World Hit Festival, "Ej syis lâquin ou mitaun des reflets", performed by Gerard Arduane and which had come 2nd, the result requiring a tie break. It had been Simone who had first spoted Jean-Pierre in a bar in Amiens, well before people had even dreamed of it playing host to the very contest itself. The two had since become close friends and still regularly met, and they happened to do so when the two of them happened to be in Rouen a couple of months after the momentous contest in Amiens (Jean-Pierre had actually been in the crowd in the Zenith). Over the course of a meal of typically French/Normand length, many things were discussed, but we only care about one contest.

Jean-Pierre mentioned he had been working with a young pianist, Marcel Dumoulin, alongside another friend, Henri Tallier, and thought the song was very promising. Indeed, the three of them had discussed entering the song into the Festival de la College de Cherbourg. This would have to be into the junior contest, as Marcel was hardly an established name in the Normand music industry, but Jean-Pierre genuinely believed this would be the song that might help him break in. Simone naturally was intrigued by this; this was very much her territory. She convinced Jean-Pierre to send a recording over to her and allow her to have a listen; if nothing else, she knew people at the College who might help the song's chances of getting put into the contest. There was going to be no question at that, not at all. This was perfect, this was her World Hit Festival entry to represent the country in Le Havre. Many phone calls ensued. Simone met Marcel, and this provides us as good a reason as any to finally talk about Marcel himself, given he is actually the act taking part this contest. Marcel Dumoulin, 25, is a classically trained pianist from the town of Bayeux, deep in the heart of Normandy and Picardy. It is a historical city, home to the famous tapestry no less, but in the present day it was hardly the centre of Normand life, cultural or otherwise. Yet, it was where a young Marcel had taken up the poem as he entered into his teenage years to help deal with his stress and anxiety issues. Well, he had actually played about on his father's old piano for years, but he only started having lessons later on. Soon, he found himself at the College of Cherbourg itself. Of course, this was a daunting experience at first for him, but he was able to flourish through his music. He has since given performances at various different events. Jean-Pierre indeed had met Marcel at a concert in Cherbourg, and soon they both considered working together. At first, Jean-Pierre had been intending to provide vocals, but he learnt from of all sources Marcel's mother than he "wasn't a bad singer either". And from that, and Marcel's experiences during his teenage years and into his early adulthood, trying to make sense of the world, "La Poème" was born.

As you may well be able to guess, SImone, as always, eventually got her way. Marcel had definitely been unsure at first, but Jean-Pierre especially, and SImone too, did their best to encourage him, and indeed continued to do so up until the very contest itself, sitting alongside him in the studio in the Stade Oceane. But that is to be a bit eager now. Things were put on the back burner for a while as the focus in SRNP definitely shifted to the hosting of the contest itself. Months passed. Some began to think that the Normands might have either had trouble finding an entry - which made little sense given the circumstances - or had just forgotten. Neither suggestion was that outlandish. Indeed, SRNP had built up a fair reputation for releasing details about the entries rather late. This nearly never, however, reflected any internal chaos within SRNP, and that was no different this time; the chaos was to be found elsewhere within the broadcaster. With around two months until the contest itself, La Poème was revealed as the Normand entry. The response was mad. The Normands had always been fond of their WHF entries, even during the rough periods of participation, and the songs nearly always charted. Indeed, every song since WHF54 had debuted at number one. This, unsurprisingly, was to be no different for Marcel, but the response was well beyond that. Marcel himself went overnight from not all that well known outside of the right circles to a major name, appearing on various television programmes and the like. His schedule was packed as never before as he made the final preparations, as he prepared for Le Havre. And this all culminated in, well, the actual contest itself, but of course also the preview show...

Marie de l'Abre: Good Evening Marcel, we're really happy to have you here with us. Now, just to get us started, tell us a little about yourself... No, I didn't really want to ask that either, everyone knows who you are now but it's on the card so I'm afraid you have to answer it
Marcel: Haha, right then. Good Evening, I am Marcel Dumoulin, originally from Bayeux, and I will be representing all of Normandy and Picardy in Le Havre with my song, La Poème...

It was time, at last, for the Normand entry, the home entry once again. A few people still hadn't quite processed that fact, some of them indeed in the audience in Le Havre. In any case, the crowd in the arena had made themselves known, as much applauding the Normand entry coming next as much as, if not more than, the Axuvan entry beforehand. On the one hand, this definitely gave M. Dumoulin a bit of a boost. He had the crowd on side, and he could very easily draw on that. His hands stopped shaking as much as they had been, which would have been no use. Then he remembered, however, just how much pressure was on his shoulders. The same thought was shared by the entire Normand team, from the SRNP production crew who had put on the entire show, but especially didn't want to screw up their own entry, to the official delegation sat in the greenroom attached to the stage, where an extremely nervous Simone Derrida, who had never, ever dreamed she would end up this position when she was drafted in to fill the spot of Head of Delegation what felt a lifetime ago. Somewhere in Avranches, at SRNP headquarters, certain people were really hoping they would not win again; they had nearly bankrupted SRNP with this second hosting; they would find it hard to afford a third. Someone had told them that they didn't necessarily have to host the next contest, but that message clearly hadn't sunk in.

In any case, there was hope they could manage it again. A hope found in the crowd in the Stade Oceane. A hope that at once buoyed and worried Marcel, who hoped he was sweating too much already in his all blue suit, and that his hair hadn't started to collapse on him, or anything silly that, as he walked onto the stage following his large, old piano; indeed, it was his, the actual piano that he had played whilst practising when he was younger, and still had at his house. It was certainly not in the best shape and Marcel and his father before him had certainly given it a beating, which made it absolutely perfect for the job No one else would know this, of course, but it made him feel better. He might even try to pretend he was at home, and didn't have the eyes of millions of people peering at him down the other end of a satellite link (or whatever technology the Todlichebujoki's were using this time around and had helped the Normand broadcaster with). Plus, the aesthetic was the real draw for this, the visual those millions of eyes would be watching as their millions of ears listened. Deep breaths. Deep breaths, that's what they'd said as he left the dressing room, as the last technician left the upper stage, where the piano was sat. The postcard music came to an end. The crowd were actually quieter than usual. Then again, for a majority Normand crowd that knew the song very well indeed already, there was a reason why...

That reason was the rather sudden start of the song, Marcel's songs softly but rapidly finding their way onto the piano keys, pressing down. He wasn't playing live, of course, or at least it certainly wasn't being recorded, but he made sure he could feel the keys properly. This mattered for more than him though, as the first camera shot, an instant cut from a fade to black which had provided the transition out of the pre-performance, was focused squarely on his hands from a shot by steadicam (highly zoomed in) from behind the piano (i.e. looking out to the audience, as much as they could be seen, given just a single, faint light shone down, at a slight angle down from the x-y plane. A fade to black. This provided a transition to the next shot, close in again but now from the front of the stage, and actually showing all of Marcel as he played the piano, head slightly bent down both for microphone purposes and for 'acting' purposes. In the faint, white glow, which almost seemed to flow down rippling onto the stage, and as the camera slowly zoomed out over the course of the verse, the top of the piano could be seen, strewn with various papers, looking rather old indeed, and old books, and just generally looking like a mess. Of course, this was meant to accord with the lyrics of the song, the idea being something along the lines of "here are all the attempts to write something etc. that have failed", lying on top of the piano representing the worn figure of whom Marcel sings, in many ways himself.

Quelques temps je sens comme une poème sans sa fin
Les vers incomplètes, ils piquent comme une blessure
Je suis dévoilé et ma douleur est en exposition
Et je n'ai que les mots, aucun des significations
Pour écrire une histoire neuve et etre moi

Another thing that could be seen more clearly at that point, and which would be seen even moreso as the chorus progressed, was the layer of smoke over the top of the main, back stage, that slowly twisted and turned its way around the legs of the piano, Marcel's stool, and his own legs too; which occassionaly rose up in little plumes, even catching what little light it could in the scene which almost looked black and white, although no filter or effect was being used, or at least, it shouldn't've been; that billowed over the edge of the stairs around the high stage area, like the gentlest waterfall you have ever laid eyes on, as silly a metaphor as that is of course. The fact that any of these latter aspects could be seen was thanks to the camerawork over the chorus, which began with a quick fade out of the shot from the verse into a shot looking over the top of the piano, over all the notes, all the pages, lying spread across the surface, and looking across to Marcel, who, for the first time in the song, looked up himself for a moment towards the camera, moving his head up exactly on the beat, his eyes, his gaze reaching out, and hopefully drawing the audiences in. From this initial position, there was a slow pan upwards and clockwise around the piano/centre of the main stage as its pivot, slowly turning down to keep focus on the stage as it 'corkscrewed' its way up and around, so that the scene described, or at least the smoke described here, could be seen. Further, the LED strips around the edge of the stage ornamentation could be seen slightly flickering, like old neon street signs but again in white, and thus adding a little bit of light, inconstant as it is, to push out into the darkness of the surroundings within the Stade Oceane as the chorus progressed.

Marcel sat almost stuck to his piano stool - although he knew he would have to move at some point - as his fingers glided across the keys, suggesting a level of composure that he certainly did not feel inside. The brief look to the camera especially had reminded him of the stakes. He knew he would have to get a grip. He would let himself focus on his singing and playing, try and forget everything else, and just let his musical voice and that of the piano, and of course the other instrumentation, do the talking. As he played, he had to counter with a fact that had become somewhat apparent when the focus was on him and the piano in the verse, namely the state of the piano and its keys. As noted, it was an old piano, and slightly worse for wear. This general state manifested itself on the keyboard, with the old ivories chipped here and there, and the odd key missing entirely. Whilst the camera had not been directly focused on the piano, the fact that one of the main notes in the song was actually missing on the piano was not as much a problem, but a lot of focus was brought to that very fact towards the end of the chorus where, just before the transition to the second 'verse' (as close as the structure of the song will allow), the camera feed, which once the top of the corkscrew had been reached had proceed to give a series of increasingly close pans, focusing once more on the piano as he finger shifted to press the key and... it was missing.

Un milier des voix, un milier des mots vide de sens
Un milier des silences
Pendant que j'essaye assmebler quelque chose des fragments
Les mots ne viennent pas ensemble facilement
J'peux pas faire l'encre couler
Et je suis chiffonné, déchiré
Ils sont juste les lettres stupides qui crient vers la vide
Parmi des plis et déchirures
Jusqu'au c'que j'sois abandonné enfin
Juste une autre poème sans fin

This precipitated the sudden shift to the next section of the song, which was accompanied by a cut to what at first seemed a rather bizarre shot rather close to the floor of the main stage. Not so close to literally just be smoke, not even filling half of the screen, but certainly more so than usual. This is as the shift in the song was to be heralded by a series of lights across the main stage floor slowly coming to life, almost as though they were flickering beacons or searchlights trying to break out into the ocean, or rather oceans in this case (the smoke and the wider stadium), little drops of hope amongst the wider, rather forlorn scene that was playing out. The effect became more obvious as the camera moved slowly up and out and showed the lights dotted around the stage, their foundations handily hidden by the smoke such that they seemed to arise from within it, and now actually providing the majority of the lighting, especially now the flicker LED strips had ceased their work. And this also precipated a slight shift in tone, from the whites before to a warmer light, as though from old light bulbs.

Marcel, for his part, mostly carried on and did his job. Well, that makes it sound rather robotic, which would certainly unfair to Marcel and the definite emotion he was feeling as he performed a song that was for him very personal, based on his own internal battles and his struggle to try and find a version of himself he could be happy with and the intense feelings of isolation he had felt - as if cast at sea much as he and his piano were within the sea of smoke - and had thus fuelled the writing of the song. It was in the little things. The posture. The glances to the camera, momentary, fleeting, yet packed full of emotion. The shift from just glances to singing towards the camera, out towards the multiverse as it moved ever closer to him (a few different shots here and there notwithstanding). Partly, it was confidence. Or, well, something approaching confidence, perhaps foolhardyness, but whatever it was it was doing its job, driving Marcel. Partly, it was conversely, almost pervesely, so that his fragility could be ever more clear.

J'ai connu chaque strophe
Et j'ai connu chaque moment
Chaque chagrin et chaque sourire
Pas juste des lettres, sentiments
Mais maintenant j'ai pas les mots pour écrire
Une poème neuve
Pour réussir l'épreuve

Je m'apitoye sur moi-même comme j'étais
Je fixais l'horizon lointain du regard, et
En essayant trouver un étincelle
Encore, j'ai été abandonné
Une autre poème sans fin

As the mellowed down a little, this was precisely the moment where Marcel would provide a bit of movement by, well, physically moving. Funny how that works. But no, let's be serious. At first continuing to be seated and singing, he slowly brought his hands up and, almost seeming to collect up all the energy of a sight without actually, you know, sighing, he brought down the case over the keyboard, and slowly slid one of his hands down along the edge. A quick change of shot and a fade in with a pan allowed for Marcel to stand up from the stool without it looking too awkward and, removing the microphone from the stand by which it had been held to the piano, he came around the far side of the piano from the audience, with a certain air of melancholy about him. Keeping close, he began to search through the papers, the notes, the books on the lid. 'Search' is perhaps the wrong word as it was not as if he was actively trying to find anything, nor was there anything to find, which only seemed to add to the general ambience. What he was doing looked as if he would find some clue amongst these things but there was to be none, no clever trick with the paper or one of the books or anything like that. This was just Marcel and some old papers, stories never told, poems never finished, at once put aside and yet here centre stage. As the strings came in slightly towards the end of this section, a series of lights around the back of the stage slowly brightened up before fading out again, just to provide a bit of an action, and indeed as the music fizzled away, there was another fade out, or rather the image being broadcast went more hazy; don't worry, there is no need to adjust your sets.

Piégé sur la page, devant les yeux
Des tous les témoins qui ne regardent rien
J'suis debout ici nu, mais dénudé, sans être vu
Exposé et faible, mais aussi seul et perdu
J'ai nulle part où aller, nulle part où me réfugier de moi
Pendant tout ce temps, je cherche une sortie d'entre les lignes

Marcel had come around to the front of the top area of the stage, albeit leaving some room before the stairs down for the steadicam operator who was going to have a bit of a difficult life here, trying first not to crash into the light beacons dotted around the stage, nor indeed trip over himself as he turned around Marcel as he sang, and finally, walking backgrounds down the stairs, but that was only to come after the 'chorus' proper. In any case, as you'll have noted from this, this second chorus was quite well focused on Marcel and his singing, and he turned and followed the camera as it moved around in a circle; indeed, there was a moment where over his shoulders you could see all the phone flashlights turned on in the crowd; the Normand delegation had requested as such, and unsurprisingly, the crowd had been happy to oblige. It was just a nice little touch, but the real focus was on Marcel himself, pouring his heart into the performance whilst himself trying to keep his composure and not get too dizzy. He had actually put his microphone on top of a stand and slowly twirled this around and walked around it as a central pivot as he walked around. A series of new 'spotlights', not at all that strong nor again, much like Marcel earlier, particularly looking for anything, but simply to add a little something extra to the whole lighting situation. Indeed, they occassionaly found their way on their paths over Marcel himself, and otherwise just provided a nice little highlight. Still, really, the focus was on Marcel, his face contorting, almost slightly bent over the stand, and his almost deferential look up towards the camera.

Un milier des voix, un milier des mots vide de sens
Un milier des silences
Pendant que j'essaye assmebler quelque chose des fragments
Les mots ne viennent pas ensemble facilement
J'peux pas faire l'encre couler
Et je suis chiffonné, déchiré
Ils sont juste les lettres stupides qui crient vers la vide
Parmi des plis et déchirures
Jusqu'au c'que j'sois abandonné enfin
Juste une autre poème sans sa fin

And so the song itself moved ever onwards, ever higher, not going into a big final soaring moment but certainly creating a moment as it worked slowly towards its conclusion. Yet, in contrast to this, in a way, Marcel moved lower, or specifically, he was going to walk down the stairs down towards the forward stage platform. Here, then, is the difficulty that the steadicam operator faced, as SRNP and the Normand delegation had given him the awful task of trying to walk background and keep filming, looking up towards Marcel as he walked down closer to the front, closer to the crowd too, some of whom actually gave a little cheer as he began to descend. As Marcel descended the staircase, microphone in hand (and sans stand), and with a fair amount of space between him and the camera operator (like, a good number of steps) the moving light beams could be seen much more easily as could in general the whole of the backdrop. The smoke that covered the top layer and which poured over the edges and down the stairs almost seemed to be trying to reach out to Marcel, to pull him back in.

As Marcel reached the bottom of the staircase, more lights slowly beginning to fade in and out and twinkle, slowly building up the effect and perhaps providing the little bit of oomph the song needed at this point, the camera moved around again as Marcel just seemed almost to be soaking up the general atmosphere filling the Stade Oceane. He had never quite felt anything like this, and he knew it would all be over soon, but he had to keep going. His arms almost seemed to gain a mind of their own as they followed the music and the lyricism, adding that extra element of expression, eeking out every last drop of emotion. Marcel genuinely felt quite exhausted at this point, which in its own way actually helped add to the general vibe. In any case, he left the steadicam behind as he walked out onto the forward stage platform, where a shot begin looking down over the 15,000 strong audience in the stadium provided cover the operator to make his exit. From this position looking at the crowd, it turned anticlockwise to show the whole stage set up as described, having cumulatively built up over the course of the song. Then, time for some more panning shots, intersperesed with overlaid shots, fading in and out, of Marcel singing.

J'ai connu chaque strophe
Et j'ai connu chaque moment
Chaque chagrin et chaque sourire
Pas juste des lettres, sentiments
Mais maintenant j'ai pas les mots pour écrire
Une poème neuve
Pour réussir l'épreuve

Je m'apitoye sur moi-même comme j'étais
Je fixais l'horizon lointain du regard, et
En essayant trouver un étincelle
Encore, j'ai été abandonné
Une autre poème sans sa fin

As the violins in the instrumentation soared, so did a camera again beginning towards the back of the stadium and quickly (albeit not horrendously so) moving forwards and zooming in, with the shot almost seeming to pass over Marcel's shoulder to show the LED screen, which had been built by Normand technicians and payed for by Normand money and yet had barely been used by the delegation for its own performance (of course it was hardly a waste for SRNP given the fact they were hosting the contest). In fairness, it had in a way been used throughout the song, but barely; it had remained pretty much a deep dark blue, with a few patterns of an ever so slightly less dark blue moving across to break it up a little and stop it just being a big block of blue, serving as a backdrop for the performance. Now, instead, various words and phrases in the languages of the competing countries faded in at across the board, some larger, some smaller; think of something like the staging for Non Mi Avete Fatto Niente at Eurovision, albeit the words here are only on the screen. There was to be no pyro curtain, no, nothing of the sort for this final closing section. Instead, it would be the power of the words, the potential for which is of course one of the key themes of the song, and Marcel, standing on the forward platform, and reaching out, calling out for help - metaphorically speaking; in reality, he was fine and, although the nerves had never truly subsided, the job was nearly done at least - that would be emphasised as the song reached its final moments. And yet, as the end approached, the lights slowly began to fade. From a large wide shot of the stage, Marcel singing the final set of notes, the final calls, was overlaid, slowly fading in. The final shot was of Marcel stood, his whole body and outfit shown, opening up his eyes and looking straight into the camera and a single spotlight flickered away.

Peut-être un jour, quelqu'un d'autre ecrira ma histoire
Peut-être quelque personne me donnera les mots qui j'ai besoin
Mais ici et maintenant, je dois prendre un stylo
Et les chercher à nouveau
Finalement écrire cette fin

Deep breaths. He certainly needed them now, as the crowd in the Stade Ocean went absolutely mad, applauding much more loudly than they had for any of the other acts really, even those which were evidently the crowd favourites. This of course was no surprise, but in any case, Marcel was more than grateful. "Merci!", he shouted, not really being able to say anything else. He needed a stiff drink. And, at least now, he could enjoy the rest of the contest, he thought to himself as he made his way off the stage and the preparations for the act from Rhim Flavezztowland were made. But the most difficult part of the night was yet to come...

by **Normandy and Picardy** » Mon Apr 19, 2021 8:56 pm

Alain and Vincent Lafaille, the father-son duo performing the final interval act for WHF58

"Like father, like son" is an expression that is certainly true in this case. Alain Lafaille had been a big star in the 1970s and 80s; Vincent's career is just beginning. Vincent had certainly felt a certain amount of pressure to follow in his father's footsteps, which in many ways were still laying out the path before him and Alain certainly had not stopped, nor did he have any plans to do so, when Vincent asked him about a job that SRNP had offered him; this job was, of course, serving as an interval act for WHF. SRNP had suggested that Vicent come on and perform a "modern reimagining" of one of his father's popular songs from back in the day. In part, this did annoy Vincent; why could he not perform his own music? Why did people simply expect him to be his father? Yet, on the other hand, it was certainly a good idea on the part of SRNP, showing the link between tradition and the present, and a Normandy and Picardy building on its rich heritage but reimagining it, rethinking it, and constantly reinventing itself. Plus, Vincent didn't mind the exposure. He did, however, have to get his father to agree to the plans. Simone Derrida, the Normand Head of Delegation and a key official in the planning of the contest, did know the family rather well (naturally), but thought it best to go through the son. Alain, when he heard the idea, had but one thing he wanted; he wanted to perform with his son on the stage, for them to do it as a duet. SRNP could not believe their luck when Vincent told them the fact. It would really bolster the theme they were already pushing here, whilst of course providing something for the members of the Normand audience less inclined to someone like Cher Patrocle who had performed earlier (although really, of course, there was something here for everyone).

The two of them performed a modern take on Alain's song "Notre Dernier Été" (Our Last Summer), which you can here here

by **Normandy and Picardy** » Mon Apr 19, 2021 9:04 pm

by **Normandy and Picardy** » Mon Apr 19, 2021 9:05 pm

Sidney Ford (the singer performing for Rhim Flavezztowland at WHF58)

Born on July 3, 1998 in Skipinton, Coleshire County, Rhim Flavezztowland, Sidney Ford is a Flavezztowlander singer whose journey to stardom began back in 2013, which was when she participated in the first season of the M1 survival show Who's Next? - upon winning that show, she debuted under Nextkies Entertainment with the full album Step One and the title track of "Lotus".

By the time the Flavezztowlander WHF58 postcard had ended, everything from the previous performance had been removed from the stage, and Sidney Ford had walked onto its LED floor sporting a white dress and black stilettos. The twirl was lit up in a white color; all the other lights had been dimmed.

As soon as the tune had begun, white horizontal strips began appearing on the LED screens and the LED floor was swiftly brightened - a few moments later, Sidney began singing her lyrics.

My sense of love is subconscious
I've never felt super thoughtless
'Cause of you, I've now turned into something new
I'm no longer somebody blue

The camera then rapidly zoomed onto Sidney's face as soon as she began singing her song's second verse.

I've gotten in love
With only you, my love thereof
The reflections of you come to me, babe
And they can't stop takin' their shape
(Oh, oh, oh, oh, oh)

Upon the time Sidney sang the "oh, oh, oh, oh, oh" lines of her song, the horizontal strips on the LED screens filled them up in sync to the tune; after she sang the word "become" in the chorus's first line, the screens filled up with all sorts of gradients, and a black-and-white stripe pattern started to be shown on the twirl.

'Cause now you've become all mine
So don't you keep killin' time
I'll never let go of you until it's over
Stayin' 'til we're older
'Cause now you've become all mine
So don't you keep killin' time
I'll never let go of you until it's over
Stayin' 'til we're older
(Yeah, yeah, yeah)

Colorful moving lasers then started to be emitted from the stage's perimeter, and Sidney walked onto the smaller stage platform as she sang the song's third verse.

Baby, baby, 'cause of you, I'm no longer so lone
Maybe, maybe we could get a big house of our own
Just so you know-oh-oh-oh-oh...
Don't let me go-oh-oh-oh-oh...
Slowly, slowly, I can feel the beating of our hearts
Don't you, don't you feel like Cupid shot us with 'em darts
Just so you know-oh-oh-oh-oh...
Don't let me go-oh-oh-oh-oh...

The LED screens then went black for a few moments, then returned to showing various gradients upon when Sidney sang the word "all" in the chorus - with that, the lasers stopped being emitted.

'Cause now you've become all mine
So don't you keep killin' time
I'll never let go of you until it's over
Stayin' 'til we're older
'Cause now you've become all mine
So don't you keep killin' time
I'll never let go of you until it's over
Stayin' 'til we're older

All of the stage lights (except for the LED floor, that is) were then dimmed, with the LED screens changing from displaying various gradients to alternating between black and white every second as Sidney sang her song's bridge.

Oh, ma boy
You're just like a sweet person with joy
Now my heart just screams love ahoy whenever I see you
You're the reason why, you're the reason why
Is this real or just a whole lie?
Will our own love reach new heights?
Baby, I wanna know...
(Just tell me)

As soon as Sidney sang the "Just tell me" line of her song, the stage went dark for a moment; the twirl then lit up again, and the LED screens then went back to showing horizontal white strips against a black background when Sidney sang the first verse again.

My sense of love is subconscious
I've never felt super thoughtless
'Cause of you, I've now turned into something new
I'm no longer somebody blue

The LED screens then began showing various gradients once again as Sidney sang the chorus of her song one last time.

'Cause now you've become all mine
So don't you keep killin' time
I'll never let go of you until it's over
Stayin' 'til we're older
'Cause now you've become all mine
So don't you keep killin' time
I'll never let go of you until it's over
Stayin' 'til we're older

As soon as the chorus had been sung one last time, tall aqua jets were let off from the stage's perimeter, the rest of the stage went dark, and Sidney spoke-sang the last line of her song.

(I love you)

Now that the Flavezztowlander entry was finished, Sidney yelled, "Thank you and merci, everyone!" to the entire crowd in the Stade Oceane before she walked off the stage to give way for the next performance...

by **Normandy and Picardy** » Mon Apr 19, 2021 9:07 pm

by **Normandy and Picardy** » Mon Apr 19, 2021 9:11 pm

DISCLAIMER: Most Admincohnians only speak Admincohnian, so most of the time, if you don't understand Admincohnian already, you will need a translator to understand them.

Домоне оме дое э э, омаи
Доэ, но э, моё, ноже зекаи,
Дономе гаце копгеднаре
Дочэ юйе тамае хадеренемекфе

Щяюхэ чицё гоме э э, омаи,
Корон шабять копе нене, дуяи,
Жчменте коланеа аиаи морю,
Яме комйе доре кососамделю

Косе доме ломе доре лоре морекомдесреанераи
Копене моэ дё гоме трегалан,
Томе корэ нори торпемодраи,
Торе Мопе Люно Зуха Моакелеклгдан

Коре Доре
Матеренеме Комаренеремане
Томре Саре
Самре Бакаокаканагэ,
Калин дористеч
Матерpяж патеране
Дург гйор морвор
дебрсаля мераигэ

Томоно Копоне
Дбров кран
Чнес щцер
Дро лоне
Члда ман
Стре мапер
Косемо дорэнё
Стомере Комераденё

Коре Доре
Матеренеме Комаренеремане
Томре Саре
Самре Бакаокаканагэ,
Калин дористеч
Матерpяж патеране
Дург гйор морвор
дебрсаля мераигэ

Коре Доре
Матеренеме Комаренеремане
Томре Саре
Самре Бакаокаканагэ,
Калин дористеч
Матерpяж патеране
Дург гйор морвор
дебрсаля мераиге

Дюи
Зерма

Коре Доре
Матеренеме Комаренеремане
Томре Саре
Самре Бакаокаканагэ,
Калин дористеч
Матерpяж патеране
Дург гйор морвор
дебрсаля мераигэ

Достон Мондон Домаон
Барлан даран бармаон
Цлемтен гоандем мадаон
Мажда манла домандарарараон

Щяюхэ чицё гоме э э, омаи,
Корон шабять копе нене, дуяи,
Жчменте коланеа аиаи морю,
Яме комйе доре кососамделю

Домоне оме дое э э, омаи
Доэ, но э, моё, ноже зекаи,
Дономе гаце копгеднаре
Дочэ юйе тамае хадеренемекфе

Дем мором домон моропаигэ

by **Normandy and Picardy** » Mon Apr 19, 2021 9:13 pm

by **Normandy and Picardy** » Mon Apr 19, 2021 9:19 pm

For background, Leciro (pronounced "lé-seer-row", Kalosian: Ležero, Lecirian: Leciaro) is a region in western Kalosia. The capital of Leciro province is Palmañë, which hosted the 37th World Hit Festival. The region is the homeland of the Lecirian people, an ethnic group native to Kalosia. They have a mother tongue: Lecirian (Kalosian: Ležeresë, Lecirian: Leciares), which is considered a recognized minority language by the national government and has official status in Leciro. Unlike Kalosian, which is descended from the Italic branch of the Romance language family, Lecirian is descended from the Iberian branch. This means that it is much closer to Spanish than it is to Kalosian, and you may notice this in the lyrics below.

The Lecirian language will make its debut at the World Hit Festival after the duo Los Medici Sin Fronciaras (Lecirian: Medici without borders) won the Kalosian national final for the international competition. They are a brother and sister duo, consisting of members Alehandro and Franciaska Marcines. They named the band in honour of their late mother, who was a nurse for Medicins Sans Frontieres. When the two were little, she told them that, if they believe in themselves, the two will one day grow up to become as rich and powerful as the Medici dynasty that once flourished in Italy. Although the two of them — who also go by their nicknames Ale and Francia — no longer desire riches and power, the words have still stuck to this day.

The song they are going to sing, "Travias los ehtasiones", deals with loss as well. Although Ale & Francia have said that it isn't specifically about anyone, let alone about their mother who passed many many years ago, the song invokes the four seasons from the perspective of someone in grief. It is not explicitly clear whether the person has lost someone to death or if they had simply parted ways, although the final lines of the song seem to suggest the former. The person who mourns ends with a conclusion: that the lost will live on through the flowers they grow.

The song, due to its rather minimalist arrangement and melancholic vibe, drew comparisons with Anollasia's WHF winning song several editions ago. The band, especially for their style, has drawn comparisons to Kalosian WHF winner Corpus Calosum as well. However, the duo have defended themselves saying that they are simply being themselves. As Ale said, "Your feelings are only authentic when they come from you, not when they come from someone else. We put our heart into everything we do, and we believe the authenticity will show."

Kalosia was drawn to perform after debuting nation Admincohns Namerryaz. After their entrant Yemiti Lagrenov stepped off the stage, it was Ale & Francia's turn to shine. Well, "shine". The staging was not to be very flashy considering the somber nature of the song.

The two were wearing what looked more like an autumn look — coats, scarves, and an overall greyscale outfit. Both of them brought guitars to stage, and these made the basis of the entire song (there was a backing track, but the sounds are very subtle in comparison). Once the cue came, the two started playing their guitars.

Instantly, the stage became bathed in an intense red. Not plain red, as the background graphics showed a red-tinted sunset. But it was very, very, saturated in red. Without a lot of other illumination, what wasn't red was dark, except for maybe Ale and Francia who were illuminated just enough to be visible. They start singing.

Non siantas piana por mi
Viaro, no es kualpa cia
Ke mio cialo es ruaso
Es kuasi da esa nuace

Ah, si pogiara un arbor
Fuarce in kada ehtasio
Jo puadria pruacehiar-ce
In il verano kaluruaso

Now the giant stage ornament (y'know, the thing that looks like gourmet cake decoration) turned blue, while everything else remained as is. In fact, the blue "bled" onto it. This created a stunning, deep duotone effect. The cameras this whole time are mainly focused on the singers and what's going on on stage, not showing the audience all that much.

Si il cialo givianta blu
Es por nuahtras lakrimas
Lasan fluir la trihciaza
In los rios d’eciarnida

Ah, si pogiara un arbor
Fuarce in kada ehtasio
Jo puadria pruacehiar-ce
In il otuagno mah suambrio

Slowly, the blue bleeds to the rest of the set. The background, although it has turned blue from red, is otherwise showing the same mountain forest view scenery. But what a difference a single colour change can make, as now it looks less like a sunset and more like the early hours of a winter dawn.

I las nuaces son frios
Sin la fuako de cia alma
Ma el pensiaro de cio kuare
Da me kalor, da me paz

Ah, si pogiara un arbor
Fuarce in kada ehtasio
Jo puadria pruacehiar-ce
In il inviarno mah duro

Now came the instrumental break. It feels absolutely miserable to people who don't like dirges, but to those who enjoy folk ballads, it is a moment of ardour. Gradually, the deep blue of the background lightens up as if it really were a winter dawn. The colour of the ornament and the overall lighting of the stage reflect this as well. But the whole time, the camera focuses on Ale & Francia, closing up on them as they both play the guitar in this incredibly intimate moment.

Finally, the time has come to sing the last lines of the song. The camera offers less intimate shots, not exactly wide shots but they're not close ups. Of course they've been looking out towards the audience and the camera when convenient, but for the final line of the next song, the camera angle switches to one in front of them. As they sing the last word of the song, they look up towards the camera, with emotion in their eyes.

Primaviara ehta ki
Es la primera sin ci
Cio rikuardo viviara
En ehtas fluares ke riago

As the song comes to an end, the stage lights go back on to its default setting. The song is over, and the crowd cheers. "Grases!" Ale shouts, thanking the audience in Lecirian, followed by Francia doing the same in English, "Thank you!".

After a few moments, the two promptly leave the stage as it gets prepared for the next entrant, The Goolies from Beepee.

by **Normandy and Picardy** » Mon Apr 19, 2021 9:25 pm

by **Normandy and Picardy** » Mon Apr 19, 2021 9:30 pm

ARTIST BACKGROUND - THE GOOLIES

Early Life

The Goolies are a band made up of Xavier Breth (23), Frank Chaat (24), and Hodja Wiest (24). The trio grew up together on the same street, and were best friends at school.

At an early age they each showed an aptitude for music with Xavier taking up trombone and Frank, the accordion and Hodja focused on vocals and songwriting.

For a brief time Xavier and Hodja dated, but the two are now just friends.

In their mid-teens they formed their first polka band playing traditional polka waltzes. Before moving into more contemporary schlager as they reached their late teens.

Music

Prior to Worldvision 87, The Goolies had some minor hits on the specialist music charts within Beepee. But had never had in hit on the Topplist Top 10 (Beepee's official charts).

But the band received their breakthrough when they were chosen to represent Beepee at Worldvision Song Contest 87, held in Peeto, Polkopia.

The Goolies sang "Marry Me". The song finished 23 of 36 nations with a total of 106 points.

Despite its relatively low finishing position, the song "Marry Me" peaked at number 1 on the Beepeean Topplist Charts and remained in the Beepeean charts for a total of 16 weeks. The music video scored almost 4.5million views on WhoTube.

Their follow up single "Take That!" has already spent 2 weeks in the Beepeean Topplist Top 10, following the announcement of the song as the Beepeean entrant for World Hit Festival 58 and spurred on by negative reviews in the Beepeean press, who call the song "loutish", "demeaning" and "promoting drinking culture".

The Goolies will be hoping to score well in World Hit Festival, and emulate the performance of WHF57 entrant Poppy Cox with her song "Parole D'Amore" who finished 12th of 21 entrants with 11 points in Amiens.

LE HAVRE

The Goolies arrived early in Le Havre, as is customary in Beepeean tradition to be early rather than late to any event, and the trio spent a few days exploring the city.

On the first day they walked from their hotel in the downtown along the promenade and the pebbly beach known as plage du havre to the St Adresse suburb. Along their route they stared out at bleak views over the Channel, as well as the ships coming into and leaving the harbour. A cool northerly wind sweeping down from the north.

They saw the brightly coloured beach huts, and Frank skimmed some stones in the water. On the promenade they stopped and had lunch at one of the beachfront eateries. It was delightful.

They then headed up to Les Jardins Suspendus, an old Fort which had been converted into public gardens with all manners of flowers and plants. They spent a thrilling afternoon wandering the walled gardens, before heading back to their hotel.

PERFORMANCE

Note:
For the purposes of this performance
Words sung by Xavier will be colour coded blue
words sung by Frank will be colour coded green
Words sung by Hodja will be colour coded red
Words sung by all members of the band will be colour coded yellow

Before Before performance begins, the stage is set. A deep mahogany bar is centrally located in the middle of the stage at either end a bar stool.

At the beginning of the performance, Hodja is off stage, Frank behind the bar and Xavier perched on one of the stools.

As the postcard ends, the stage is in darkness. The lights are set to black as the first beat of the drum kicks in, the stage explodes in light, allowing the audience the full view of the design.

Xavier lifts his microphone and begins. As he does, in anticipation, Frank who has a melodeon stapped around his chest, cans and stands proud on the bar.

Once upon a time, and not so long ago,
I found myself at a bar,
Ooh ooh
As I sat there, I noticed her walking in,
I thought she looked quite fine.
Ooh oh

With each 'ooh', Frank thrusts his hand in the air, egging on the audience to follow his lead. The audience obliges with deep guttural ooh oohs ringing throughout the stade oceane. It's a sound akin to the visceral cheers of a football crowd.

During the preceding stanza, Hodja enters from the stage left crossing in front of Xavier, who looks at her like a man who hasn't eaten in a week. She continues past him and sits down on the other bar stool.

As she sings the following stanza, Xavier walks towards Hodja, flicking up the colour of his shirt as he does, in dramatic 'grease trying to be cool way. Hodja however rebuts him, pushing him back as he approaches.

As I sat, he walked up to me,
Ready to give me a line,
So I turned, looked him in the eye
And told him where to go

The chorus begins, and Frank yells "Take That!" With gusto again thrusting his fist in the air with each line he sings. The audience clearly get the picture and start copying Frank. The director pans out over the crowd as this happens and the televisual audience would delight in what looks like waves of hands across the arena.

As Xavier sings his lines, he clutches his chest, looking wounded, and pleading with his eyes as he looks down the camera at the audience for someone to put him out of his misery.

Take That!
Like a shot through the heart
Take That!
My world fell apart
Take That!
She cut me right down
]Take That!
And I felt like a clown

It hurt
So I ran away
So deep
Hiding my pain
I went and I sat by myself

As the next stanza begins, Xavier has returned to his chair. Frank slides a large tankard of ale over to him and Xavier lifts the tankard In thanks.

Sitting by myself, all alone now in a booth,
Smarting with my wounded pride,
ohh ohh
Wondering what in the world did I do wrong,
All I wanted was to ask her the time
Hey hey

The acting level is of The Goolies in this performance is truly hammy and quite worthy of DoReDos, and now its Hodja's turn to ham it up. As she sings the following verse, she walks over to Xavier, bit he rebuts her and sends her back to her side of the bar.

He looked so sad, sitting all by himself
I started to feel bad,
So I bought a drink, heading over to him,
He told me what he thought

At the end of the last stanza, Frank shoves a tankard of ale over to Hodja, who again raises it in salute of the accordion plating moron.

The chorus begins with Frank, rallying the crowd once more. During this chorus, both Hodja and Xavier move to tbe middle of the bar, below where Frank is whipping the crowd into mass hysteria.

Take That!
Like a shot through the heart
Take That!
My world fell apart
Take That!
He cut me right down
Take That!
And I felt like a clown

It hurt
So I ran away
So deep
Hiding my pain
I went and I sat by myself

As the lalala's begin the three performers sway side to side. And the audience follows... before being egged on to oooh oh ohh with Frank.

La la la lala la la la
La la la lala la
(Ooh ooh oh)
La la la lala la la la
La la la lala la
(Ooh ooh)

As the bridge ends, Hodja and Frank notice they are close to each other, shake their heads and then begin heading back to their own side of the bar, looking dejected.

Take That!
Like a shot through the heart
Take That!
My world fell apart
Take That!
We both got cut down
Take That!
And we both felt like a clowns

It hurt
we ran away
So deep
Both hiding our pain
We went and we sat by ourselves.

As the final lines are sung, Hodja and Xavier have made their way back to their barstools. They both heavily lump themselves into the chairs. As the last line is sung, they take a swig from their tankards and before slamming it down on the bar and then resting their foreheads on the bar.

With that the music ends and the lights go out on the performance.

After a couple of seconds, the lights come back on and the trio head to front of stage to bow politely and wave wave thanks to the audience, who have clearly helped the atmosphere of the song.

by **Normandy and Picardy** » Mon Apr 19, 2021 9:32 pm

by **Normandy and Picardy** » Mon Apr 19, 2021 9:39 pm

Born in Alangkajeng 26 years ago, Putu Ayu Arini Dewi or popularly known as Arini is Pemecutan actress, singer and songwriter. Entering entertainment industry in 2005, she begin her career in acting in the film, Rumahku Istanaku, where she was playing as the main actor's child. Her music career begin in 2009 after she sing a soundtrack in her film. Her next two film project also feature her as the film soundtrack singer. It was in 2011 that she released her first and self title album at the age of 17. The album was not well received. Feeling rejected as a singer, she back again to film. In 2012, she again sing a soundtrack for her own film. She continue her acting career until in 2015, she release her second album entitled "Kenangan". The album gained a mild success. Her latest album was released in 2018 with the title "Nafas Kehidupan". This album is well received even gained platinum certificate. She gained 3 nominations at Chakra Music Award because of the album. She then become busy with concert and film project. Her released in 2020 is a movie soundtrack for the film "Sang Ratu" which being nominated for 37th PAMPAS Academy Award

The song "Ku Disini" (I'm Here) which is selected as the entry for the 58th World Hit Festival is a new standalone single that was released by Arini in early 2021. She is collaborated with Gading Mahesa to create the lyric which is inspire by loneliness and sorrow that have been felt by Gading Mahesa during his cancer treatment. To balance things out, Arini insert an encouragement lyrics to the song to ease the sorrow and longing that being felt. The process of music arrangement is quite a journey. At first Mahesa tried to make the music for the lyric but he always feels that the music he created is not match with the lyric. He then approached several arranger to create the music for the lyric. Dian Permana Putra then accepted the offer and create the music for the lyric. It's not long for him to create the soothing music. When they test the song with Arini sing it, they clearly loved the combination of the lyric and the music. They only make a few changes before recording the song. Arini decided to released the song digitally at first before release it formally as a standalone single. The song is received positively and it reached number 1 Pemecutan Music Chart just a few days after it was released. It retain in the top spots for 5 weeks.

For the performance, Arini is wearing an off pink laced mermaid-style dress. Her hair is left flowing. The lights on the stage are keep at a minimum. Arini is seen standing there at the main platform. There only one spotlight that shine through her. A soothing intro of a piano voice open the song. She begin to sing the verse of the song which can be clearly heard. The camera show a close up of her face which seen a sorrow and sad expression.

Saat hati terbelenggu sepi
Hening terasa di tengah bising

Akankah ada dia yang hapuskan sepimu....
Akankah ada dia yang cerahkan hatimu....

The camera roll out to give a wider view of her. She looks glowing as the light are spotting from behind as she sing the chorus. Her hands makes a gesture as she is reaching out of something that out of her reach.

Tak perlu engkau ragu
Ku ada disini tuk temanimu....
Raih tanganku...
Hapus sepimu

The camera gives a side view of her. Rolling around from left to right and the other way around. The lights are keep as minimal as possible with only her as the main and only object. She is standing there grasping the standing microphone. Singing verse by verse of the lyrics with a longing expression. The sound of piano and violin can be heard dominating the music.

Sunyi terasa di keramaian
Sepi pun menarik lebih dalam

Akankah ada dia yang temani langkahmu....
Akankah ada dia yang terangkan jalanmu....

In the second chorus, the camera give a view of the audience reaction of Arini's performance. Most of them are captivated with her. She again making the reaching out gesture but then open wide her hands as if she is expecting something to come. The camera looking the close up of her face where she sometimes closing her eyes as if she is swimming in the lyrics of the song. Grasping the essence of the song itself.

Tak perlu engkau ragu
Ku ada disini tuk temanimu....
Raih tanganku....
Bagi denganku

As the intermission music plays, Arini take her microphone and walked elegantly to the smaller platform. The spotlight is following her movement. She is standing there at the center of the small platform and begin to sing the lyrics with only a piano accompanied her. Then the lights suddenly shine upon her, immensely. The music come back stronger with a string of violins dominate it as Arini sing the last part of the song. The camera capture Arini's expression which deeply succumb in the feeling that the song has affected her.

Tak perlu engkau ragu
Ku ada disini....

Tak perlu engkau ragu (tak ragu)
Ku ada disini tuk temanimu....
Raih tanganku....
Bagi denganku (Akankah ada dia)
Raih tanganku
Raih tanganku (Akankah ada dia)

[align=justify]The lights come back down with only one spotlight that shine on her. The music is also silently voicing the piano soothing vibe as Arini sing the one last verse of the song. And the lights completely shut down which makes the stage become dark.

Saat hati terbelenggu sepi

The audiences give a round of applause for the breathtaking performance of Arini. The lights in the stage come back on. Arini is seen still standing in the small platform giving a nice smile to the audiences. She is bowing and giving a namaste pose as a thanking for the positive feedback that she get from the audiences.

by **Normandy and Picardy** » Mon Apr 19, 2021 9:42 pm

by **Normandy and Picardy** » Mon Apr 19, 2021 9:49 pm

ARTIST BACKGROUND

Lilla is a proud Larrakin woman from near Melaleuca, Northern Beepee.

Aged 21, she has been creating a name for herself in the local music scene, playing and writing her own songs.

WHF represent her major breakthrough and she will be the third representative at World Hit Festival for Northern Beepee. She will be hoping to do as well as her predecessor Gunner Boscher who finished 9th in the 56th Edition.

Gatherings

The most well documented parts of Northern Beepeean culture come from corroboree. Which is an anglicanisation of the Beepish word for a traditional dance ritual, often involving costumes and music and refers to any large gathering of people. Corroboree contiune to this day.

Corroboree are used for many purposes including celebrations, mourning or prayer. During these gatherings, people will pass down their clans cultural knowledge, by reciting stories and songs and playing music. Many of these stories and songs have been passed down through generations within individual clans and sometimes ad the songs are passed down they are added to and embellished upon.

Gatherings often begin with a traditional smoking ceremony. Where native plants are burned. The smoke is belived to ward off evil spirits who may be near the gathering, and cleanse the place and heal the participants.

Often, body paint is used by participants of a corroboree. The painting styles are often unique to certain clans and are individual to that person. Some clans paintwork has been handed down over millennia to create individual styles and stories for each mark.

To be invited to or be part of a Northern Beepeean corroboree is a great honour.

WORLD HIT FESTIVAL 58

Lilla is wearing a black beautiful couture gown with feathered skirt.

PERFORMANCE

As the postcard ends the stage is in darkness. The crowd builds with anticipation. As the music begins a spotlight beams down from above on Lilla. The at home audience can see a picture, almost from the ceiling of the stade oceane looking down upon Lilla.

If you knew,
How I feel,
You'd understand me,
You would make it more than real,
I would travel,
Ten thousand miles,
Over oceans,
I would fly to reveal my love to you

As she begins to sing the camera swoops down, before midway through the first stanza (at 'I would travel'), switching to a front facing head and torso shot. Lilla reaches out as she sings 10,000 miles to the audience.

As she sings the bridge, below, the camera cuts to a off portrait view, and the at home audience can now see, Lilla is standing on a small circular platform on the stage. A whisp of smoke, from a hidden smoke machine, billows around the base of the platform.

The camera begins to pan in on Lilla, but when she sings 'you reach for me the camera pulls out once again.

And In the darkness
I reach for you, you reach for me
A thousand heartbeats... to home

As the chorus begins, the LED screens behind the mains stage begin to spot in shades of deep cobalt blue. The camera then cuts, violently back to the head and torso view of Lilla

I'll see you in my dreams
Baby, I'll wait for you here
If you see me in your dreams
Know my love is always there
And instead if we have to meet somewhere else
We can meet together, together...
Together in our dreams

As she sings "we can meet together, together", the camera cuts back to the ceiling camera, looking down on lilla and blue stage lights lift up.

The deep blue cobalt spots onbacking LED screens, now seems to slowly drop like little stars falling behind Lilla as the camera cuts to a full on front view as the second stanza begins.

As she sings 'everytime I close my eyes' the camera cuts to to a close zoom in profile, before the director cuts to a panning full length shot as Lilla sings 'I think about us'.

Think about me,
Every night,
I'll do the same,
Every time I close my eyes,
You know the seasons,
Can't keep us apart,
I think about us,
From the bottom of my heart.

As the bridge begins, the blue stage lights are gained by red and green giving a warm purple glow across the stage a lightening the performance. Before the panning camera pulls out from the stage backwards over the stadium audience, flags of many nations waving.

And In the darkness,
I reach for you, you reach for me,
A thousand heartbeats... to home.

As the chorus begins, the camera cuts back to a head and torso view of Lilla. Who sings warmly down the camera to the at home audience.

As she signs 'and if we have to meet somewhere else instead', The camera briefly cuts to a small group of audience members waving their flags. Before cutting to a zooming shot towards lilla over the audience.

I'll see you in my dreams,
Baby, I'll wait for you here
If you see me in your dreams
Know my love is always there
And If we have to meet somewhere else instead
We can meet together, together...
Together in our dreams

As the third stanza begins, the director cuts to an onstage Steadicam which runs, spinning, round Lilla, who soars as she sings 'watching the dark clouds disappear.

We're flying,
Watch the dark clouds disappear,
And let the moon shine,
down on us

As the final chorus begins, the rear LED screens continue to rain tiny blue sparkling stars. The director cuts between profile, full shot and panning shorts across the stage throughout the final chorus in an attempt to add interest on what is a ballad.

I'll see you in my dreams,
Baby, I'll wait for you here,
If you see me in your dreams,
Know my love is always there,
And If we have to meet somewhere else instead,
We can meet together, together...
Together in our dreams.

As the chorus ends, the lights begin to dim, fading back from.purples to blue. The LED screens begin to darken and the falling stars begin to fade. Lilla is once again alone in the solo spotlight, the camera focused on her face as she sings her final line.

Together in our dreams.

As the song ends, all the remaining lights darken.

Lilla bows politely thanking the assembled audience and leaves the stage.

by **Normandy and Picardy** » Mon Apr 19, 2021 10:01 pm

by **Normandy and Picardy** » Mon Apr 19, 2021 10:13 pm

The stage area is set for Darkmania, and Kären Chärlotte Mälmström and her song "Mitt Liv", a song about how it is living with a mental disorder. She only has a bass guitar and a microphone stand and the floor has lots of junk around. No fancy backgrounds nor fancy lights. No gimmicks. It's just a girl in a pink dress and her bass guitar. Most of the shots are closeups of her to hide the fact that there are backstage crew on stage that cleans up but are not to be seen on the broadcast.

Mitt liv er et helvete iblant for meg
En som sliter med roen sin
Veier blir langt å gå
Kommer jeg noen gang frem?
Det er ikke lett med livet mitt, tro meg
Mer detaljer i det jeg ser der ute
Er en firkant i en verden av sirkler
Så er jeg en normal menneske?
Er jeg en normal menneske?

Her voice gets all emotional when she sings the bridge. Some of the junk on the floor has been cleared but there is still a massive amount of junk laying around. She plays the bass guitar (well pretends to play it anyway).

Og jeg
Gjør andre ting enn folk
Har vist noen skruer løs
Vanskelig med ord som jeg forstår
Så er jeg en normal menneske?
Jeg vil ikke være med andre
Trives best når ingen plager meg
Jeg er ikke som alle andre
Så er jeg en normal menneske?

More junk has been cleared but there is still stuff on the floor, but the music calms down.

Alle andre ser meg med stygge øyner
Det er ikke lett å være offeret på skolen
"Slutt å være fargefull i den grå verden"
Så er jeg en normal menneske?
Er jeg en normal menneske?

Even more, junk has been cleared, leaving few pieces on the stage.

Og jeg
Gjør andre ting enn folk
Har vist noen skruer løs
Vanskelig med ord som jeg forstår
Så er jeg en normal menneske?
Jeg vil ikke være med andre
Trives best når ingen plager meg
Jeg er ikke som alle andre
Så er jeg en normal menneske?

Kären does a bass guitar solo while a steady-cam goes around her. She is focused 100% and only moves her head just to sing this line after a while. No junk is left on stage.

Er jeg en normal menneske?

Kären continues her solo as a steady cam goes around and around her. After a while, she goes back and sings the last part of the song while (acting as) she plays her bass guitar.

Og jeg
Gjør andre ting enn folk
Har vist noen skruer løs
Vanskelig med ord som jeg forstår
Så er jeg en normal menneske?
Jeg vil ikke være med andre
Trives best når ingen plager meg
Jeg er ikke som alle andre
Så er jeg en normal menneske?
Gjør andre ting enn folk
Har vist noen skruer løs
Vanskelig med ord som jeg forstår
Så er jeg en normal menneske?

A wave of applause is given as Kären gives a humble "thank you". She blows kisses to everyone and says "thank you" a lot as we slowly move to the host.

by **Normandy and Picardy** » Tue Apr 20, 2021 8:47 am

That was it, the final song had been performed, all twenty three entrants had had their moment on the stage. As the Darkmanian entrant, Kären Chärlotte Mälmström, left the stage and the crowd quietened down, Marie de l'Abre showed her faith once more, walking onto the lower front platform of the stage; this led to a new wave of applause breaking out from the crowd in the Stade Oceane...

"Alors, alors, ce n'est que moi, s'il vous plait. Alors. Madames et Messieurs, chaque concurrent ont joué et donc il est temps de commencer la télévote. La télévote, qu'est-ce que c'est? La télévote, c'est l'un des deux systèmes qui peut être utilisé pour obtenir un résultat du vote de chaque pays, à côté des panels composés de musiciens professionnels, ou "juries". Certains pays utilisent l'un ou l'autre, alors que d'autres utilisent les deux. Dans les pays qui utilisent la télévote, c'est vous qui avez le pouvoir de determiner le résultat, et qui aiderez à décider qui va gagner le 58ème Festival International de la Chanson"
Now, now, it's only me, please. So, ladies and gentlemen, every act has performed and so it is time for the televoting to begin. What is the "televote"? Televoting is one of the two different systems that can be used to deliver a voting result from each country, alongside panels of professional musicians, or "juries". Some countries use one or the other, some countries both. In those countries with a televote, you have the power to determine the result and to help decide who will win the 58th World Hit Festival

As Marie's long opening spiel came to an end, which even she seemingly was only half heartedly invested in (albeit she knew that it was necessary to provide this information for new viewers, and there was always a hope that there would be new viewers), the audience clapped and cheered as always, perhaps hoping that it might help move proceedings along more quickly...

"Mais, la plupart d'entre vous savez déjà tout cela. Alors, sur vos écrans, c'est l'ordre des performances, et plus, les nombres dont vous avez besoin pour voter. Alors, par example, afin de voter pour Todlichebujoku, c'est le nombre au bas de votre écran plus "01", pour Pas Auphélie, "02", et ainsi de suite. Vous ne pouvez pas voter pour votre propre pays, bien sûr."
But, most of you already know that. So, the running order is now on your screens, and alongside this the numbers you need in order to vote. So, for example, in order to vote for Todlichebujoku, it is the number at the bottom of your screen with "01! at the end, for Not Auphelie, put "02", and so on. Of course, you cannot vote for your own country.

"Tout ce qui reste à dire, c'est...
All that is left to say is...

vous pouvez voter maintenant | voting is now open!

OOC: Voting is now open, and will close on Sunday, 25th April, 23:59 PM GMT (i.e. midnight GMT). Please send you votes either via telegram (Normandy and Picardy) or through Discord DMs. When voting, please give a full ranking of all performing entries, from 1st to 21st (you can't vote for yourself). I would also appreciate it if you could send along with it a picture of your spokesperson alongside their name and where they are being beamed in live from, and further, any RP/speech.

World Hit Festival 58 | Le Havre, N&P | IC Thread

11ème chanson | carrelie

12ème chanson | togonistan

12ème chanson | togonistan

13ème chanson | malte comine gozo

13ème chanson | malte comine gozo

14ème chanson | axuve

14ème chanson | axuve

15ème chanson | normandie et picardie

15ème chanson | normandie et picardie

le troisième entracte

16ème chanson | rhime flavezztowland

16ème chanson | rhime flavezztowland

17ème chanson | admincohns namerryaz

17ème chanson | admincohns namerryaz

18ème chanson | calosie

18ème chanson | calosie

19ème chanson | beepee

19ème chanson | beepee

20ème chanson | pemecutan

20ème chanson | pemecutan

21ème chanson | beepee du nord

21ème chanson | beepee du nord

22ème chanson | darquemanie

22ème chanson | darquemanie

Who is online