JWHF 10 | IC Thread | Coal Coast, StrayaRoos

by **StrayaRoos** » Mon Mar 18, 2024 3:24 pm

OOC Thread - Draft Thread - PLAYLIST - RESERVED RL TUNES
DISCORD SERVER

17:29 ERDT (UTC+11): The stage is set, and there are moments until the multiverse's eyes come onto the Coal Coast.
The hosts are backstage when the IBA ident's tune comes through their earpieces, signaling them to step out.

An intro plays, before slowly fading out so the stage (and hosts) are now visible, and then a voice overlaid over the feed shouts:

Welcome to the 10th Junior World Hit Festival, live from Coal Coast, StrayaRoos!

Now the hosts (Sajuna and LAURA, both ex-WV representatives for StrayaRoos), start the show.
Sajuna: Hello Multiverse! And as has been just said, welcome to the Coal Coast for the 10th Junior World Hit Festival!
LAURA: Tonight, we'll see 11 of the most talented kids in the multiverse sing their hearts out for the trophy, so, let's get this show on the road with the opening act and flag parade!

by **StrayaRoos** » Mon Mar 18, 2024 3:35 pm

Opening Act
LAURA - Go Insane
Freya Skye - Lose My Head

yeah-yeah-eah
I'm a ticking time bomb, ready to explode
A little too much and I'll hit overload
I'm on the edge, just holding on
And I try to breathe, but the air is gone
ye-ye-ye

I go insane when you come around
Lost in the chaos, can't be found
You're like a fire, burning up my brain
I go insane, insane, insane

I try to resist, but you're like a drug
And I'm addicted, can't get enough
You're a heart attack, a hurricane
And I'm caught up in the eye of the flame

I go insane when you come around
Lost in the chaos, can't be found
You're like a fire, burning up my brain
I go insane, insane, insane

You're dangerous, I know it's true
But I keep coming back to you
It's like a fever, I can't shake
I'm on the edge, I'm about to break

You, you, you, you, you drive me wild
I go insane, insane, insane, every time you smile

by **StrayaRoos** » Mon Mar 18, 2024 3:36 pm

01 - Amoreiya
CY+ARAN - "時代嘅恭喜 (Toasts of Our Times)"
[url]Entry[/url]

02 - Llalta
Class of Dreams - "Love Again"
[url]Entry[/url]

03 - Malta Comino Gozo
Yasmeen Calleja - "My Heart is Calling"
[url]Entry[/url]

04 - Achaean Republic
Leidy Lago - "Encadená"
[url]Entry[/url]

05 - Hakushiya
Nabillera - "加油啦 (Keep On Movin’)"
[url]Entry[/url]

06 - Saint Monkey
Carla & The Trees - "Ranorangu San Monk" (Rainforest Saint Monkey)
[url]Entry[/url]

07 - Todlichebujoku
Zuaixna Vidos - "Mammí Mammí Máte Máte"
[url]Entry[/url]

08 - StrayaRoos
Hannah Pureya - "Dreams"
[url]Entry[/url]

09 - Teesdexxia
Jessica Hutch & the Colts - "Calm Before The Storm"
[url]Entry[/url]

10 - Kalosia
Maria Ǧovanes - "Now or Never"
[url]Entry[/url]

11 - Beepee
Manfred - "Fight for my Life"
[url]Entry[/url]

by **StrayaRoos** » Mon Mar 18, 2024 10:15 pm

Tune: Kylie Minogue - "Cosmic"
Lyricists: Chunying "CY" Geffen, Aran al-Fattah • Composers: Chunying "CY" Geffen, Aran al-Fattah, Lami Nakanishi (Unique Verse), Wafah Lardon (VODA)
Language(s): Cantonese, Arabic, English

(note: CY’s the one to the left, Aran’s to the right)

Prologue Dialogue (includes background info about the entry)

Both: Hey there!
CY: My full name’s Chunying Geffen, but you can call me CY.
Aran: And my full name’s Aran Hilbert binti Sarah Alisha al-Fattah.
CY: I was born on the 8th of January, 2009, making me 15 right now, and Aran’s at the same age as well, being born on the 11th of October, 2008.
Aran: That’s right, guys! But that’s not all… We were also both born in the same city - Talla in the Marusian Bishopric - and are currently also going to the El-Shennawi Academy in Almerifar. And yeah - both of us are pretty introverted.
CY: Yeah, but I’m an INFP and you’re an ISFJ, right?
Aran: Gotcha - and we both came together in the first place because we were fans of indie alternative rock and lo-fi music.
CY: And we wrote our JWHF10 entry as an encouragement for others our age to stay strong amidst the storm, with a calm jazz-inspired instrumental arranged with the aid of the Madagat-based Wafah Lardon (23yo) - as well as Lami Nakanishi (21yo) of Hakushiya - to boot!
Aran: CY helped with the Cantonese lyrics, and I wrote the Arabic ones while both of us chose the English lyrics leading into the choruses!
Both: Hope you’ll enjoy our debut!

The Main Act (includes RP + lyrics for the entry itself)
(with the Cantonese parts color coded in red + the Arabic parts in green + the English parts in brown + transliterations in bold)

With the transition away from the Amoreiyan postcard, all eyes were on CY and Aran as they were both about to make their international onstage debuts through a calm ballad about encouragement and perseverance combined with some minimalism that might as well place more focus on the musical qualities themselves (a somewhat further cry from the more energetic performance to be delivered by the delegation from Amoreiya’s sibling world Hakushiya), while the chants for Amoreiya were being shouted across Hall 1 of the Coal Coast Convention Centre in multiple languages. In the middle of the stage was a set of drums and an electric piano arranged a bit like this, with CY seated at the drums and Aran at the electric piano.

0:00-0:34
CY started playing the instrumental first with her live drumming, followed three minutes in by Aran's calm live vocals in a mix of Cantonese and English combined with her magical-sounding electronic piano playing for the first verse.

呢個就係現時代嘅恭喜
ne1 go3 zau6 hai6 jin6 si4 doi6 ge3 gung1 hei2
呢個就係世界嘅夢想
ne1 go3 zau6 hai6 sai3 gaai3 ge3 mung6 soeng2
人生就係酸甜蜜嘅機味
jan4 saang1 zau6 hai6 syun1 tim4 mat6 ge3 gei1 mei6
嗰個就唔係無聊嘅遊戲迷宮
go2 go3 zau6 m4 hai6 mou4 liu4 ge3 jau4 hei3 mai4 gung1
When all the skies above seem so dark
Just listen to these words
These are the toasts of our times
These are the dreams of our worlds
Life is like a stew of various tastes
It never becomes a boring maze
When all the skies above seem so dark
Just listen to these words

0:34-1:00
As CY drummed her way into the first chorus, Aran began singing her heart out in Arabic to the tune of some messages of encouragement, with some prerecorded instrumental accompaniment covering the other instruments (including the bowed strings) playing in the background.

أنت نبي مستقبلك
'ant nabiun mustaqbalak
أنت أشعة الشمس في عالمنا
'ant 'ashieat alshams fi ealamina
يمكنك صنع طعامك الخاص
yumkinuk sune taeamik alkhasi
آمين
amyn
آمين
amyn
You’re the prophet of your future
You’re the sunshine of our world
You can be special in your own way
Surely
Surely

1:00-1:31
The verse protocol would then be followed by the two again as they put their heads and hearts into delivering a musical talk about the world surrounding everyone - both in the audiences and onstage - albeit with the pre-recorded string accompaniment playing in the background at times. For the last seven minutes of the second verse, though, CY would pause her live drumming as Aran's electric piano and vocals temporarily took the center stage.

呢個世界就係一個stage
ne1 go3 sai3 gaai3 zau6 hai6 jat1 go3 stage
你可以跟隨原神你可以創造自神
nei5 ho2 ji5 gan1 ceoi4 jyun4 san4 nei5 ho2 ji5 cong3 zou6 zi6 san4
北南東西中it’s there
bak1 naam4 dung1 sai1 zung1 it’s there
你我佢可以旅行一百萬個裡
nei5 ngo5 keoi5 ho2 ji5 leoi5 hang4 jat1 baak3 maan6 go3 leoi5
For all this time, I’ll be wanting you
To listen to these words
This world is a big stage
You can either follow a leader or make yourself one
The essence’s here and there, everywhere
All of us can travel millions of miles to our dreams

1:31-1:54
The second chorus would be somewhat heartier than the first (if not a lot more), given the prerecorded accompaniments were still mixed with some live vocals, drumming, and piano-playing from both CY and Aran.

أنت نبي مستقبلك
'ant nabiun mustaqbalak
أنت أشعة الشمس في عالمنا
'ant 'ashieat alshams fi ealamina
يمكنك صنع طعامك الخاص
yumkinuk sune taeamik alkhasi
آمين
amyn
آمين
amyn
You’re the prophet of your future
You’re the sunshine of our world
You can be special in your own way
Surely
Surely

1:54-2:18
CY’s drumming then became calmer for the bridge as Aran played more notes on the electric piano while also keeping up with her singing - around the same time, fake snow began to be emitted in small amounts from the rigs in the ceiling.

多豆母同多弟姐佢哋就係呢個supporters
do1 dau6 mou5 tung4 do1 dai6 ze2 keoi5 dei2 zau6 hai6 ne1 go3 supporters
每一個成星厚多士囉
mui5 jat1 go3 sing4 sing1 hau5 do1 si6 lo1
喺呢度同喺嗰度佢哋可以閃閃like煙花賽場
hai2 ne1 dou6 tung4 hai2 go2 dou6 keoi5 dei2 ho2 ji5 sim2 sim2 like jin1 faa1 coi3 coeng4
Or佢哋可以崩壞like老銹
Or keoi5 dei2 ho2 ji5 bang1 waai6 like lou5 sau3
All your elders and juniors will be your supporters
All the stars and abodes will be interested in our toasts
Everything around you could be sparkling like a sea of fireworks
Or collapse in your eyes like old rust

2:18-2:25
As the bridge transitioned into a final chorus, CY and Aran were both calmer in their instrumentation and vocalizations as the fake snow effects continued.

Next time you feel empty, just think back
And listen to these words

2:25-2:54
The final chorus was literally a culmination of the efforts made in performing the previous two choruses, all helped by the fake snow continuing to land on all the stage floors (and everyone and everything on it, for that matter) to literally show some form of perseverance amidst a storm that fit with the song’s intended message.

أنت نبي مستقبلك
'ant nabiun mustaqbalak
أنت أشعة الشمس في عالمنا
'ant 'ashieat alshams fi ealamina
يمكنك صنع طعامك الخاص
yumkinuk sune taeamik alkhasi
آمين
amyn
آمين
amyn
آمين
amyn
You’re the prophet of your future
You’re the sunshine of our world
You can be special in your own way
Surely
Surely
Surely

2:54-end
Into the instrumental outro, and CY was coming to the end of her drumming as Aran continued to play the electric piano without her voice added until the very end (not to mention the continuing prerecorded string instrumentation in the backing track and the fake snowfall not affecting CY and Aran’s performance).

By the time all the instrumentation (both live and prerecorded) stopped being played from the stage, CY and Aran may have both been covered in fake snow from head to toe with their instruments, yet still managed to shout out a “Thank you! Doh-cheh! Shakeron lak! Toda! Come vote for Amoreiya!” as they faced a cheering audience surrounding them.

by **StrayaRoos** » Mon Mar 18, 2024 10:17 pm

Tune: Miranda Cosgrove - About You Now
Lyricists: Esther Winterbourne, Kiera Arden, Thomas Brookes, Rosie-May George, Cody Nakamura, Oskar Tilde • Composers: Esther Winterbourne, Josh Marshall, Kiera Arden, Thomas Brookes
Language(s): English

Cover art of Class of Dreams' single, "Love Again". The single is also Llalta's entry for the 10th Junior World Hit Festival.
The cover also features the members of Class of Dreams (from top to bottom, left to right): Oskar Tilde (12), Rosie-May George (12), Thomas Brookes (12), Kiera Arden (11), Cody Nakamura (11).

BACKGROUND

The announcement of the Junior World Hit Festival's return came as a shock to many, after being shelved away during the previous Overseer. However, as surreal as it seemed, the contest was to return. For the LBN, this stoked memories of their last participation in the contest, in Nightton, Natanya. In the 8th edition of the contest, returnee Nancy Grace represented Llalta with her emotional ode to her mum, "Always". Written with Esther Winterbourne, the ballad showcased Llalta's return to form following an average 9th placing the edition prior. Much to the surprise of many, the entry mirrored Llalta's debut placement, coming 2nd in the jury vote. However, the televote swung the tide, giving Nancy Grace the victory in the end, with 59 points. Despite such a success, the LBN seemed distant in regards to future editions, citing monetary issues as the main reason for Llalta's non-participation. However, as JWHF became a relic of the past, announced to never return in the near future, the Llaltese realised what they had taken for granted. As a result, when the contest was announced to return, it was as if the Gods had been hearing their pleas. The LBN reacted accordingly, announcing their interest to return to the contest early on in the edition cycle. But how could they follow a victory?

Whilst that question would remain unanswered, even now, the LBN could only try their best. Previous participations were also restrained by a lack of children interested in singing, with the only two, Olyvia Kingsington and Nancy Grace, having had their time in the sun. However, with over 3 years between the 8th edition and the 10th, Llalta was overflowing with new talents to choose from. And so, the LBN returned to their original process of selecting their JWHF act: a school talent show! So, as it had been many years prior, the best of the best at St. Christopher's Academy performed to a panel of LBN delegates, watching to see what star would glimmer from the cracks. They were also looking to display something different. They had seemingly found a formula in girls with big voices singing emotional things, but they wanted to prove Llalta was more than what the Izmeduans had to offer. Then, they had found it. A band of 5 kids who performed Llalta's debut World Hit Festival entry: Esther Winterbourne's "Free". As part of the panel, the Llaltese starlet was touched by the band's energetic rendition of the originally retrospective song. The band called themselves 'Class of Dreams', having formed a few months before St. Christopher Academy's talent show as the only students in the Academy's band club. Named after their own dreams, and also being in the same class, the band had practised far more on their performance than their name, showcased in their show-stopping performance. And, though the vote was close, the panel eventually decided upon taking Class of Dreams to the 10th World Hit Festival.

Preparations for the contest were hard however. The music classes offered by the LBN were far harder than those in the afterschool band practise. Furthermore, whilst the LBN initially gave them a song to record, with Esther Winterbourne's help, they were able to convince the broadcaster to give them a chance. Thus, the band now had to juggle song-writing alongside their already packed schedules filled with practise. Thanks to one another, they were able to push through. In writing sessions with Esther Winterbourne, who now seemed tied to writing each and every Llaltese Junior World Festival entry, they crafted three different songs to put forward to the LBN. The LBN then selected "The Love We Made" from the three demos, and off they went, to perfect and produce the newest hit for children. To record their song properly, the band were shipped to Deportedas, Britonisea. Now, suddenly surrounded by fancy, high-tech recording equipment and the hustle and bustle of city life, the kids were thrust into an entirely new world, one they embraced with open arms. The weeks running up to the release of their song was the most exciting, each day meeting a different face, whether that be a singer brought about by Esther's connections or an industry professional teaching them the ins and outs about the industry, an industry far larger than Llalta itself. It was in Britonisea that the song was finalised as "Love Again", the cover art also being shot in LBN's Britonish studios. And, after being able to record their own instruments into the song, it was released on the 2nd of March 2024, ending the riveting experience of Class of Dreams run-up to the World Hit Festival. Though it was only just the beginning.

ARTIST

Class of Dreams is a Llaltese pop-rock band composed of lead vocalist and guitarist Kiera Arden, drummer Thomas Brookes, bassist and backing vocalist Rosie-May George, lead guitarist and backing vocalist Cody Nakamura and keyboardist Oskar Tilde. The age of the group ranges from 10 to 11, Class of Dreams formed via St. Christopher Academy's afterschool band club. Formed in November 2023 near the beginning of the school's academic year, the band has mainly performed covers of famous Llaltese and Britonish pop hits, adding their own rock elements to their performances. Of which, though St. Christopher Academy's talent show was the band's biggest, smaller performances in pubs and festivals prove Class of Dreams is no stranger to the stage, at least on a Llaltese scale.

Kiera Arden, age 12, is the group's lead vocalist and guitarist. Born and raised in St. Christopher, the singer is known for her punchy vocals inspired by Esther Winterbourne, her idol. Despite being the second youngest of the group, she often takes charge, with a feisty yet caring personality that means she is always looking out for her bandmates. Thomas Brookes, age 12, is the oldest member of the group, though only by a few months. Seen as a drumming prodigy in Llalta, Thomas was trained personally by Evergreen's drummer Aaron Skyre, seen as the best drummer on the island. Chilled and laid back, he can appear rather lax, though that all changes when hitting the skins. Rosie-May George, age 12, is Kiera's best friend and bassist. Daughter of Evergreen's bassist Kristian George, you could say that bass was in her blood. Also born in St. Christopher, as a child, she often travelled alongside her father as he toured, becoming someone interested in the world and culture. Cody Nakamura, age 11, is the youngest member and the lead guitarist. Born in Haruhata following a one-night stand between Jude Avondon, lead singer of Llaltese band FRiDGiD and an unnamed Haruhati woman during FRiDGiD's 2014 tour '!CE AGE', his birth was the catalyst for the Jude, and thus the band's downfall. The conception of his birth was regarded as sexual assault, though his mother never reported it to the police. It was only when other allegations arose surrounding Jude in 2016 did Cody Nakamura come to light. Living in Haruhata until 2021, Cody moved to Llalta following the drowning of his father, intoxicated with alcohol. The father that never cared about him, abusing lax Haruhati laws to avoid paying childcare. However, he pursued music in his father's footsteps despite his 10-year old contempt for him. Despite this, he is a spritely soul, one who sings to rewrite the image of rock for his mother. Finally, Oskar Tilde, age 12, is the band's keyboardist. Academically smart, he was forced into the piano, before discovering the far more funky keyboard. A prankster and a know-it-all, he is known as the jester of the band.

SONG

"Love Again", released on the 2nd of March 2024 is the band's first single, as well as their first original song written and composed by the band. At 3m10s, the song is written and composed by Esther Winterbourne and Class of Dreams. The song is a pop-rock song about overcoming a breakup and learning to love and depend upon yourself once again. Using a semantic field of colours, the song is more than just love however, applying to the departure of a person of any relationship, friend, lover or family. Overall, the song is about coming of age, becoming independent and reintroducing colour into one's own life. The lyrics of the song were not inspired by any particular story of the band; rather the collective experience of growing up and finding oneself, rewritten as a commercial breakup song. The song was premiered on LBN1's 'Evening Star', Class of Dreams performing a live performance of the song. The next morning, the official music video of the song was released, showcasing the band singing and performing in an ever increasingly chaotic classroom, various Llaltese students painting the walls and furniture, the video concluding with everyone running out the school, spreading colour all around the fields and racing track. The music video garnered over 100,000 views within the first week of release. The song was then released on all streaming platforms, becoming Class of Dreams' debut single. The song was released to positive responses, with many complimenting the catchy melody and child appropriate sound and lyrics, particularly compared to Llalta's previous Junior World Hit Festival entries.

PERFORMANCE

The postcard ends, the final modest cheers of the crowd dying down, ready for Llalta's return to the contest. In the cloak of darkness upon the stage, Class of Dreams shared their last glances of encouragement to one another, ready for the performance of their lifetimes. As Esther had told them, as soon as the lights begin to shine and the music plays, it was your one chance to lose yourself in the lights, letting your worries go. One final deep breath in, and out. And like that, the intro of the song began to play in their in-ears, signalling the start of the song.

As the heavily distorted begins to play, the camera begins facing the back LED screen at a downward angle. It then reverses, revealing the mainstage and thus the members of Class of Dreams, one by one. The LED screens begin by displaying pixelated hearts breaking and mending, playing in a loop upon a black background. A few red and white lights also pulse left and right to the rhythm. Initially, Class and Dreams are only lit up by a row of spotlights from behind, casting shadows across their faces, leaving only a ring of light marking their form. However, one can see the band placed in a pentagonal formation, with Kiera at the front, flanked by Rosie-May and Cody, with Oskar and Thomas placed at the back with their keyboard and drums respectively. Upon the skin of the kick, the crudely drawn logo for Class of Dreams appears. In between them, school desks and cheers are scattered about the stage, as if it were a messy classroom. The desks and chairs have various spray painted drawings upon them, though they can not yet be seen clearly.

As the verse begins, Class of Dreams are illuminated by spotlights, displaying them entirely as they smile to the camera, now panning the band. They are dressed in stylized school uniform, the boys wearing yellow, dark blue and white plaid blazers with matching ties. Oskar wears dark grey school shorts whilst Thomas and Cody wear dark grey trousers, Cody's rolled up. Cody is also wears the blazer tied around his waist. The girls have a similar ensemble, with the same blazers and shirts, though with matching bows around their collars instead. They also wear pleated skirts of the same colour plaid, Kiera wearing knee-high white socks and Rosie-May wearing fluffy white socks crumpled around her ankles. Kiera also has a yellow, dark blue and white American-style letterman jacket, with Class of Dreams written on the back in a gothic font, surrounded by a stars. Visually, the colours are reminiscent of the Llaltese flag. The camera initially begins in black and white, zooming into Kiera as she sings wistfully into the camera, strumming her electric guitar. The microphones are placed on stands, allowing everyone to play their chosen instrument. Whilst the lights pulse softly to the beat, the LED screen shows multicoloured Tetris blocks filling a pixilated heart, all in a row, though due to the monochromatic filter upon the camera shot. The hearts slowly fill up with blocks throughout the first verse, never quite filling up. Meanwhile, the members of Class of Dreams play their instruments enthusiastically, looking at one another and grinning as if playing along with one another. At the end of the verse, she points to the camera, winking.

The day you left me I cried
Everything turned black and white
I wanted to turn back time

Didn’t know how to move on
You were the one I leaned on
‘Cause nobody knows me like you

As the pre-chorus develops, the pixilated hearts upon the LED screen fill up, bursting into coloured smoke, entering a rapid cycle of filling up and exploding as the song nears its first chorus. The filter on the camera also begins to display colour, the bright colours of the staging, costume and lighting now coming into a view, a candy shop of different colours, though all complimentary in some way or another. Kiera begins to sway to the music, beginning to lose herself in the rhythm as she continues to sing, her voice bittersweet as she pretends to reminisce, playing around as she smirks, rolling her eyes as if to sass the audience. Throughout the segment, the camera shots alternate between Class of Dreams, never neglecting the important role of each member, even the two at the back. Oskar in particular, winking into the camera as he rocks side to side, his surprisingly nimble fingers tinkling away, playing whatever melody he is pretending to play.

On the final line, Kiera holds her free hand to her heart, looking directly in the camera that zooms in to her face before raising her fist up to the sky, the camera zooming out to capture the whole stage, each member slowing as the instrumental quietens. During the brief interlude before the chorus, the lights darken again, spotlights outlining the members in light as a few lights around the stage pulse sporadically. Upon the LED screen, the hearts then fill up entirely without exploding, pulsing to and from opacity.

If only I could have realised
How you showed me the colours
How to love, how to shine, without you

For the first chorus, the lights burst into a flurry of multicoloured spotlights, Tetris pieces now filling out the black void around the hearts upon the LED screen. However, gaps are left between pieces, with completed lines exploding into rainbow smoke, creating a bright, colourful and dynamic background. To capture the energy of the stage lighting, the camera shots make sure to include many a zoom out, panning the entire stage as Class of Dreams play their instruments with increased enthusiasm. Most notable of all is Cody, who appears a little too into the music, especially the first chorus. Kiera's voice becomes breathy as she plays her guitar with increased intensity. Matching the resolved nature of the lyrics, their faces beam as they confidently sing each word, making sure to enunciate, as guided by Esther Winterbourne. The camera shots shift to the beat of the song, once again focusing on each member individually, as well as together to showcase their chemistry and energy. As the chorus draws to a close, the Tetris upon the LED screen fills up entirely with no gaps, before exploding in canon, leaving a black LED screen, matching the cutting out of the song. The lights face downwards, fading to black as they do so. The camera also fades to black.

From now on, I will love, love again
Try and paint my story a different shade
Another time, another place, I’ll rewind
‘Cause I can’t paint over the love we made

When the camera shot can next be seen, the camera can be seen zooming into Kiera, who motions the steadicam to follow her. The LED screens return to the same visuals seen in the first verse, the Tetris blocks filling up the row of pixilated hearts. Grabbing the microphone off the stand, she slings the guitar to her side, not playing it for the next few sections. She walks to the left of the stage with a hop in her step, almost skipping to the beat, where Rosie-May can be seen jamming. As she reaches Rosie-May's side, the lean into each other as they sing into the same microphone, Kiera now playing her guitar alongside Rosie-May, laughing together as they strum. As she sings "but I can’t live my life chasing you", she turns around to face a second steadicam, a worried look now plastered upon her face as she tries to embody the lyrics. Behind her, Rosie-May slides out, the two going back to back, Rosie-May playing the bass and Kiera singing. Rosie-May then reaches forward and spins the camera, transitioning to the next shot.

Looking at you still hurts me
A masterpiece that I set free
But I can’t live my life chasing you

A camera on a crane pans the stage as Kiera now moves to the right of the stage, where Cody is energetically playing the guitar. Once again, the LED screens display the same visuals as the previous pre-chorus, as do the lighting. When she reaches Cody, she casually hops onto a nearby desk and sits upon it, swinging her legs. Her back turned to Cody, she faces the front, Cody of which, rocking out beside her as his comically over the top facial expressions making Kiera laugh in the process. A steadicam catches their chemistry as they make each laugh, their bodies rocking in sync to the beat. As she sings the final lines of the pre-chorus, she sings "so I'll love", creating one side of a heart with her hands. Cody completes the second half on the line "so I'll shine", and the two end up pointing to the camera together by the final segment. The steadicam is shaky, adding an earnest sentiment to the sequence. As the music quietens once again, the lighting dims, only spotlights from the back of the stage once again lighting their forms. The pixelated filled up hearts begin to pulse once more, and a zoomed out of pan of the stage in near darkness conceals Kiera enough for her to quickly run to the centre of the stage, ready for the chorus.

I know I can't keep waiting
Gotta reach out and take it
So I’ll love, so I’ll shine, without you

Once again the lights burst into a flourish of multicoloured lights. Upon the LED screen, pixelated shapes such as hearts, stars and letters drop down onto the screen to create a game of Tetris. And again, black gaps are left between the shapes were the blocks do not fit. However, when a line is made, it explodes into colourful smoke. This happens periodically throughout the chorus, though always to the rhythm. As the camera pans the stage and flicks from band member to band member, Cody and Rosie-May get up onto the tables and play their instruments, adding height variation to the staging. Kiera empties her heart out as she sings, her voice almost straining with determination, smiling brightly despite her furrowed brows indicating intense concentration. Despite the moment of tenseness, when Cody and Rosie-May join her centre stage, she suddenly appears more loose, more calm, as heard in her voice, now laced with a genuine brightness.

The camera also pans the audience, jumping up and down in the mosh pit in front of the stage as brightly coloured spotlights wash the arena in hues of pink, red, blue and yellow. The camera also zooms into a Llaltese flag, waving in a far corner of the arena. The camera the begins to circle Kiera, who turns to follow the camera's view. Eventually, the camera pulls out so that Kiera is singing with her back to the audience, a sea of leaping lights behind her. Behind the camera's lens and obscured to the audience at home, Rosie-May and Cody have pushed the desks to form a line in the middle of the stage, just under the circular LED screen at the heart of the stage. As the chorus draws to a close, Kiera wipes the camera screen with her hand, a filter applying different colours of paint upon the screen to obscure the shot.

From now on, I will love, love again
Try and paint my story a different shade
Another time, another place, I’ll rewind
‘Cause I can’t paint over the love we made

For the bridge, Kiera quickly grabs the microphone off the stand and hops onto the line of desks, quickly jogging to the back off the stage, finally ready for the penultimate sequence. The camera unblurs, the shot pulled upwards so that the circular LED screen is in the middle. The stage becomes washed in a dark blue hue as blue and gold lights fixed to the LED screens shine from side to side, flaring in the lens of the camera. The LED screen showcases a gold pixelated star, Kiera's silhouette framed by the graphic. She turns around to begin singing, a spotlight finally lighting her up as she looks nostalgically into the camera, gripping her heart with her free hand, her electric blue guitar sat at her side, out of the way. Around the stage, lights pulse sporadically to the distorted beat, she begins to walk forward on the catwalk of desks. Though the mood is calmer, there is still an energetic bounce to the music, Kiera's vocals calm and light as she sings the vulnerable lyrics, her voice a little breathy from fatigue.

As she sings "and though I'm moving on", the sudden flashes of light and the lights moving side to side fade to nothing, replaced by a spread of bright blue lasers billowing out from above Kiera. A wide pan of the stage allows the grandeur of the lasers to be seen, flaring in the lens of the camera. Kiera's vocals are even more restrained at this point, matching the empty soundscape. The stage almost seems magical with the shimmers of light that effervesce upon the stage. As she sings the final line, the camera zooms into her, reaching out towards the front. Her voice begins to distort and the her spotlight fades, leaving only a silhouette upon the pixelated star. Before the camera blurs to black, a kaleidoscope of lights of blue and yellow pulse behind her, like the rippling of water, creating an amorphous ebb and flow of light as the shot is blurred.

In my heart I can’t lie
From the earth, to the moon
I think I’ll always love you
And though I’m moving on
I’ve only just begun
I will never forget you

As her voice echoes throughout the arena, the camera opens with a wide pan of the stage, the sea of lasers now beginning to effervesce and twinkle as if weakening. The chorus begins however, the song kicking into overdrive as the final chorus is met with a flourish of colourful spotlights billowing outwards. A wall of multicoloured smoke erupts from the edges of the stage, Kiera jumping off the front desk with glee as she leaps into the final chorus. When the turrets of smoke fall, the stage is revealed to a similar configuration to how it was before, the smoke hiding the movement of the desks. Upon the LED screen, colourful smoke like Holi festival erupt from all angles to the rhythm of the song. Class of Dreams give it one final push as they put their last drops of energy into the performance, verging on overenthusiasm, particularly Cody. There is a sense of jubilation as Kiera sings to the audience, her hands flicking with energy as she strums her guitar. Even the shyest of the band, Thomas, can't help but thrash his drum, lost in the clanging as the camera showcases his talent.

As the chorus repeats itself, Rosie-May joins Kiera centre stage, her backing vocals far more prominent before as they riff together, singing in unison as they smile uncontrollably. Around the edges of the stage, geysers of coloured smoke begins to erupt once again, though not in unison. A multitude of shots from different angles of the stage capture the chaotic celebration of the staging, alongside the band members themselves, the most important part. As the chorus draws to a close, their eyes glint in the spotlights, like a glimmer of determination, pushing to the end.

From now on, I will love, love again
Try and paint my story a different shade
Another time, another place, I’ll rewind
‘Cause I can’t paint over the love we made

From now on, I will love everyday
Try and paint my future until I’m there
I won’t run, I won’t hide, from the past
‘Cause I will remember the love we made

But I know I will learn to love again
Yeah, I know I will learn to love again

As they sing the final few lines, Cody joins them centre stage. In the last moments of music, the plumes of smoke erupt even more frequently, building up to the end of the song. On the final line, only a distorted version of the song can be heard, Class of Dreams no longer playing their instruments as they look to the camera, singing in unison. Even Oskar, without a microphone. The stage goes completely black aside from spotlights to allow Class of Dreams to be visible, and a couple gold and blue lasers illuminating over the heads of the band as they flicker and flourish to the remaining beats of the song. Then, the song is drawn to a close, the lighting fading to black in a similar manner to the song, signalling the end of the performance.

Class of Dreams had truly reached their dreams, raising their hands all at once to the end of the song. Once the lights returned to the arena, and swamped in a swarm of cheers the band hugged each other excitedly squealing as they managed to get through the biggest performance of their life (thus far). Oskar thought to say something to the crowd, but much to his dismay was unable to prize the microphone from his distracted band members.

by **StrayaRoos** » Mon Mar 18, 2024 10:28 pm

Tune: Giorgia Borg - 10
Lyricists: Yasmeen Calleja • Composers: Yasmeen Calleja and Margarite Camille
Language(s): English

Yasmeen Calleja, is a small yet spirited 11-year-old singer. Yasmeen was born and raised in Swatar Bay in Malta Comino Gozo. Her love affair with music began at an early age, fuelled by the melodies her grandparents introduced her to. Their quaint home was always filled with the timeless tunes that shaped the musical landscape of MCG.

Yasmeen's grandparents were her mentors in the world of music, and both her parents were always away with work, as they both worked in the government. Her grandmother, a skilled pianist, would spend hours teaching Yasmeen the intricacies of notes and scales while her grandfather, a former singer, amusedher with tales of the joy that music could bring to one's soul. It was during these cherished moments that Yasmeen's love for singing blossomed into a passion that would later become her refuge.

Then, in April 2020, the worst natural disaster in Malta Comino Gozo's history hit, a storm surge with waves more than 2m high. As the storm gathered strength, the sea, once calm and serene, transformed into a turbulent force. The waves, reaching staggering heights, crashed against the shores, eroding cliffs, washing away the shore and flooding inundating low-lying areas, including her home town. The seawater breached coastal defences and flooded streets, transforming familiar landscapes into scenes of turmoil. The relentless assault of wind and water spared no structure in its path, leaving destruction in its wake.

In the aftermath of the storm surge that claimed the lives of her grandparents, Yasmeen found herself grappling with a void. However, she discovered a way to channel her grief through the very thing that had bound her with her grandparents – music.

Her grandparents, avid music enthusiasts, had always encouraged her to pursue her passion for singing. In their memory, Yasmeen poured her heart into composing a poignant melody titled "My Heart is Calling." This song, rich with symbolism and emotion, became Yasmeen's tribute to the enduring love and courage her grandparents instilled in her.

In addition to her love for singing, Yasmeen developed a love for songwriting to express her deepest emotions. The lyrics of "My Heart is Calling" became a therapeutic platform for her pain, allowing her to transform the rawness of loss into a song that resonated with themes of longing and courage. The lyrics resonate with the pain of loss and the yearning for freedom from grief. The metaphor of a bird trapped in a cage, a flame that never dies, and a ship lost at sea beautifully captures Yasmeen's journey of navigating through the storm of emotions that life has thrown at her.

Beyond music, Yasmeen finds joy in animals and reading and writing poetry. Her notebooks are filled with verses that echo her emotions, and she can explore the depths of her feelings. Despite the profound loss she experienced, Yasmeen remains a bright and resilient soul. She takes solace in the natural beauty that surrounds her islands, often spending afternoons with her school friends by the azure waters, seeking inspiration from the waves that mirror the highs and lows of her own life.

The 10th Junior World Hit Festival was Malta Comino Gozo's third, and the country had average results, placing 10th and 11th, respectively. Having been put forward by her local community, Yasmeen was selected internally by MCGBC. MCGBC was deeply moved and impressed by Yasmeen's song, recognizing the emotional depth and symbolism behind it. Yasmeen then teamed up with Margarite Camille, who had represented MCG at WHF56 coming in fourth place. The pair would spend a few months enhancing the song and making it ready for the big stage.

Then, the Junior World Hit Festival arrived, and the team headed off to Coal Coast in StrayaRoos. Yasmeen was beyond excited.

As the postcard ends, the audience cheers. The stage remains dark before it sparks into life. The gentle strumming of an acoustic guitar like a clock ticking fills the Coal Coast Convention Centre. The ceiling spotlights bathe the stage in a soft, ethereal glow. The audience hushes. We have a shot of the round LED screen at the back of the stage. The LED screens in the background flicker to life, displaying images of the serene town of Swatar Bay, capturing the essence of Yasmeen's idyllic hometown in Malta Comino Gozo. The light colours shift seamlessly between hues of calming blue and warm gold, reflecting the emotional journey Yasmeen is about to embark on. The camera pulls out and fades to black before fading into Yasmeen standing centre stage, her head lowered with her microphone in her right hand. She is bathed in a soft gold spotlight, which glimmers of the slight fog floating around her.

Yasmeen is wearing a traditional Malta Comino Gozoan outfit reflecting the vibrant colours of MCG's landscape. The base of her dress is a rich shade of azure blue, reminiscent of the sea that surrounds the islands. Intricate patterns of MCGoan lace decorate the hem and sleeves, adding an elegant touch that mirrors the island's culture. Small, sparkling sequins sewn into the white of the rest of the dress catch the stage lights, creating a subtle yet enchanting shimmer in the spotlight. The dress gently cascades into a light brown flowing skirt, allowing Yasmeen to move gracefully as she performs. Complementing her traditional dress is a pair of comfortable yet stylish sandals.

Her long, chestnut-brown hair is styled in loose waves that cascade down her shoulders, framing her young face with a soft and natural elegance. A few strands are pulled back to reveal her expressive brown eyes, which gleam with determination and emotion. To complete her look, Yasmeen is wearing subtle yet culturally inspired jewellery. A delicate necklace featuring a Maltese cross hangs gracefully around her neck, symbolizing her connection to her roots. Her small earrings, adorned with local symbols, twinkle as they catch the stage lights. She had gone all out to embrace her culture.

The camera zooms in, capturing Yasmeen standing at the centre of the stage. She slowly raises her head and begins to sing. Her deep, soulful vocals immediately catch the audience's attention. We are drawn to her face. Her eyes reflect both vulnerability and strength. The first drum beats echo through the arena, and the LED screens accompany her transition into visuals of a bird in a cage, a flame flickering, and a ship navigating stormy seas. The camera remains on Yasmeen to capture the delicate details of her facial expressions, which mirror the emotions embedded in the lyrics.

My heart, is calling can you hear its cry?
It's like a bird trapped in a cage, longing to fly
It beats with passion, it also sings with pain
A symphony of emotions, a tale of love in vain

Her vocals become more determined now. The camera cuts to a full-body shot now as Yasmeen gestures her left hand out in the audience. A flash of light illuminates the stage every few seconds. Yasmeen closes her eyes and holds the last note perfectly as it builds to the chorus, gently pulling outwards. We can hear some cheering as she holds the last note.

My heart is calling, can you hear its plea?
It's like a flame that never dies, a fire so deep...

The chorus approaches, and the LED screens explode with blue and white colours, creating a visual spectacle that mirrors the crescendo of Yasmeen's vocals. White spotlights from the ceiling slowly extend into the audience and rise upwards. The camera pulls from Yasmeen at an angle from her left towards the ceiling so a large portion of the audience is visible before cutting to a whole stage shot. The camera cuts back to a body shot of Yasmeen as she sings "It echoes through the night " capturing the intensity in Yasmeen's eyes as she belts out the emotional plea of her heart. The rhythm intensifies, and the lights follow suit, pulsating with the beat of the drum in the background. The LED lights continue to flash with blue and white. The camera then switches to an overhead shot, giving the viewers a bird's-eye view of the stage and the audience as a wave of water washes under Ysmeens feet.

For the last line, we cut to a facial close-up shot. Yasmeen sings directly into the camera lens before turning slightly to her left. She raises her microphone up and away from her mouth and closes her eyes, holding the last note perfectly. The camera pulls away slowly and upwards. The back LED screen to display images of the sea during the storm surge, a powerful visual representation of the tempest Yasmeen faced. The camera continues to pan outwards, capturing Yasmeen's silhouette against the dynamic backdrop. She drops her head as the camera and stage fade to black.

My heart is calling...
Can you feel its beat?
It's like a drum that never stops,
A rhythm so sweet
It echoes right through the night,
It whispers in the day
A melody of longing,
A song that never that never fades away...

The LED's now show a ship lost at sea. The ship is in a turbulent ocean, with waves crashing against it. The lighting in the arena mimics the ebb and flow of the sea as the whole stage is bathed in dark blue that casts shadows that dance like the reflections of moonlight on water. We have an upper body shot of Yasmeen as her expressions shift to a mix of determination and vulnerability as she delves into the lyrics and takes a few steps forward. The camera captures the intensity in her eyes, mirroring the stormy seas we can see on the LED screens. We then have a spider cam that captures Yasmeen with sweeping shots, conveying the vastness of the imaginary sea surrounding her. The LED screens respond with images of the ship persevering through stormy weather.

My heart... calls like a ship that's lost at sea
Searching for its safekeeping harbour it's yearning to be free

As Yasmeen sings about braving the unknown, the stage lighting intensifies, casting dramatic shadows that echo the journey's unpredictability. The LED screens display images of the ship navigating through tempestuous waters, providing a visual narrative that complements Yasmeen's amazing vocals.

As Yasmeen sings "Sails through storms" Yasmeen's expressions transition to a mix of sadness and her vocals are also shrouded with sorrow. Her left hand has curled into a ball, and she raises her newly formed fist and shakes it with determination. The camera captures her in profile against the backdrop of the turbulent sea, emphasizing the personal and emotional nature of this voyage. The LED screens subtly shift to depict moments of calm within the storm, reflecting the inner strength Yasmeen was channelling into the song.

As she belted "It's own..!" Yasmeen's expression changed into a triumphant resolve as she kept going up a key with her last note. The lighting bathes the stage in a warm, golden glow. The camera cuts to her left and pulls outwards and captures Yasmeen in a triumphant stance, her eyes shining with a newfound sense of happiness. The LED screens seamlessly transition to images of the ship mooring.

Sails through storms
Braves the unknown
A journey of the soul,
A quest to find its own
It's own..!

We have a head on view of the stage as the LED screens explode with blue and white colours, creating a visual spectacle that mirrors the crescendo of Yasmeen's vocals. White spotlights from the ceiling slowly extend into the audience and rise upwards. Yasmeen walks forward a few steps, and this time, we have a hint of a wind machine. As she performs, her hair moves gracefully, adding an extra layer of enticement to her stage presence. The camera cuts back to a body shot of Yasmeen as she sings "It echoes through the night " capturing the intensity in Yasmeen's eyes as she belts out the emotional plea of her heart. The rhythm intensifies, and the lights follow suit, pulsating with the beat of the drum in the background. The LED lights continue to flash with blue and white. The camera then switches to an overhead shot, giving the viewers a bird's-eye view of the stage and the audience as a wave of water washes under Ysmeens feet.

For the last line, we cut to a facial close-up shot. Yasmeen sings directly into the camera lens before turning slightly to her left. She raises her head and microphone up and away from her mouth and closes her eyes, holding the last note flawlessly. This time, the note is not as long. She drops her head again as the camera cuts to black.

My heart is calling..!
Can you feel its beat?
It's like a drum that never stops, a rhythm so sweet
It whispers in the day
And it echoes through the night,
A melody of longing, a song that never fades away
My heart is calling!
Can you feel its beat?

All the lights in the arena subdue as Yasmeen now crouches down and hutches up. We have an overhead shot now, looking down as raindrops ripple on the LED floor around her, lit by the golden spotlight surrounding her.

Away, Woah

We then cut to an onstage close-up of her face now. The whole stage is dark apart from the golden spotlight on her. Yasmeen's eyes are watery as she sings directly into the camera. The gentle guitar echoes out into the arena. Yasmeen's vocals during the bridge become a haunting wail, echoing the pain and longing expressed in her lyrics. We can hear the song building to its climax now, and viewers and listeners alike get goosebumps as they can feel Yasmeen's pain and resilience. Yasmeen gradually begins to stand tall, the camera still fixed right upon her. Her body language had changed now as she got ready to channel all her energy into the last part of the song. There was a moment of stillness which added to the anticipation and intensified the emotional weight of the impending chorus. Yasmeen held her head high and sang the last note as the camera epically pulled out from her into the audience.

My heart is calling,
Can you hear it its calling?
It speaks of love and courage
A voice that perseveres.... eres..!

The stage is a breathtaking sight as the camera pulls out right on the beat of the opening of the chorus. Yasmeen stood there, giving it her all as she belted out the note. The wind machine was on almost full power now, and her hair blew around her. The LED screens transition to depict images of the sea The stage is bathed in golden hues, symbolising the dawn of a new beginning for her. We cut to Yasmeen as she closes the note, her body hunched over as she gave it her all, her eyes are closed and the reopen. She points commandingly towards the camera. The camera then alternates between close-ups of Yasmeen's emotive facial expressions and sweeping shots from above the audience's heads that encompass the entirety of the stage, creating a cinematic experience for the viewers at home. Yasmeen sang with passion and determination, her whole body animated. With each second, Yasmeen's vocals soar higher, resonating with power and passion.

The final moments of the performance are met with a gradual fade of lights, returning to the serene ambience of the beginning. Yasmeen takes a deep breath, her chest rising with a mixture of exhaustion and triumphant exhilaration. The camera captures Yasmeen in a final close-up, her tear-filled eyes now reflecting a mix of sorrow and triumph. Then, there is a moment no one expected. Yasmeen turns to her right for the last lines, and we have a side profile stage shot of her and the entire stage.

In a moment of sheer vulnerability and connection, Yasmeen stretches her arms out into the air, her fingers extending towards an invisible force. The LED screens reflect a gentle mist surrounding her, casting a dreamlike ambience. A mist begins to swirl gently around her fingertips, creating an otherworldly atmosphere. The audience, captivated by the visual spectacle, holds its collective breath, sensing something extraordinary unfolding.

Suddenly, a faint silhouette materialises within the mist, taking shape against the dark blue background. The figures become more defined, revealing the unmistakable forms of Yasmeen's grandparents. Yasmeen's eyes widen in both surprise and profound joy as she gazes upon the spectral figures of her grandparents. Their expressions are a blend of love and encouragement, mirroring the warmth they had always bestowed upon her.

With a radiant smile, Yasmeen's hands delicately meet the apparitions of her grandparents, fingers intertwining in a connection that transcends the boundaries of the present and the past. The mist, now gently embracing them, symbolizes the bridge between realms, the short yet tangible link between Yasmeen and her beloved grandparents. As the apparitions and Yasmeen share a fleeting but tender moment, the mist slowly dissipates, leaving only the soft dark blue backdrop. Yasmeen, still cradling the memory of her grandparents in her hands, lowers her arms, her heart brimming with a profound sense of closure and love, and turns to face the crowd. The camera zooms in on her tear-filled eyes, which now reflect not just sorrow but also a newfound sense of strength and hope.

Oh! My heart is calling, can you feel its beat?
It echoes through the night, it whispers in the day
A melody of longing, a song that never fades away...

The audience, emotionally stirred by the enchanting scene, erupts into an ovation that reverberates through the arena. The stage lights turn back on. Yasmeen, with tears of joy glistening in her eyes, takes a bow, acknowledging not only the applause but also the connection she shared with her grandparents on this magical stage. "Thank you, Coal Coast." She utters gently with a smile on her face before making a heart shape with her fingers and leaving the stage.

by **StrayaRoos** » Mon Mar 18, 2024 10:30 pm

Tune: Denise Rosenthal - Encadená
Lyricists: Leidy Lago • Composers: Mario Benítez; Andrea Serrano
Language(s): Spanish

“Always focus on the runner-ups!” producers used to say. “It’s always better to focus on the runner-ups.”

The Voice Acaya: Kids, a spin-off of the popular singing competition franchise, was again poised to be the de facto selection for the Achaean Republic’s entry to defend the Junior World Hit Festival title—and, maybe, become the first country to win it twice in a row. After the strings pulled for what was the country’s most successful entry, the Achaean World Hit Festival delegation once again zeroed in on the competition to choose their next entrant. It was easy: these kids have already trained, rehearsed, and performed first to the judges and then to a live studio audience. They already knew the sacrifice and hard work it takes to succeed in this cutthroat industry, so the discipline mattered.

But this year’s spin-off was different and controversial: instead of choosing Achaean residents, they would focus on the diaspora.

More than five to six million strong, the Achaean diaspora flourished in the fifties and sixties as the country began industrializing and receiving foreign investments from shipbuilders, factories, farming giants, and tourists from around the world looking for their next cheap vacation in the Caribbean. At the same time, the government began funding its top students to study in the United States and Europe and, eventually, return home to serve their country with the knowledge acquired from their trips to the exterior. However, many of them went native and got poached into working the land of their adopted home countries. Others arrived through legal and illegal means, making their adopted country their own. The story of the Achaean diaspora is as varied and diverse as of the people making waves in their adopted lands.

Leidy Lago was one of them. Birth name Leidy Marie López, she was born in the Britonish city of Chickenville right after her father, a second-generation Britonish-Achaean, managed to snag a job as a manager in one of the city’s many poultry conglomerates. Married to a Afro-Britonish woman who may or may have not been disowned by her family for committing the crime of marrying an Achaean, Leidy’s father always made sure to instill in her the pride and passion of being a fueguera even if it were learning a few words in passing. Though not as common today, there have been moments where the increased presence of migrants caused concern in Britonish society. Even though Achaeans were not as numerous, they were oftentimes singled out towards cultural traits that were perceived as contrary and undesirable to polite society: their boldness, their “libertine” sexuality, their passion displayed through hard work and the loudness of their rackety music, oftentimes treating those of Achaean descent with contempt at best and derision at worst—even though some secretly desired them. And despite the years of happiness and numerous trips to the Caribbean, the unspoken racial tensions between the Britonish residents and Achaean migrants, along with her family’s iffy treatment of her husband and daughter, it proved a bit too much to handle. So they divorced and her mother returned to Junterapten, with her father visiting them every so often from Chickenville.

Complicating matters is that Leidy always felt like she never fit the “typical” Achaean bill: big boobs, slim waist, hourglass figure, brunette hair, a cute accent, a bubbly personality that turned into violent when threatened. She was none of that—she looked flat-chested, fat with nappy, untextured hair, a pretty heavy Chickenville accent with arguably minimal Spanish learning (her mother was not too keen on learning Spanish, either), and withdrawn and complacent instead of that Achaean tsundere she was used to in the telenovelas (which she couldn’t understand well either). However, she compensated for what she thought she lacked through singing.

That’s what motivated her to sign up to The Voice Acaya: Kids and its special diaspora edition, even though her mother was initially iffy at the thought of her daughter participating in a kids’ talent show in a foreign country. Well, it wasn’t really foreign since she went to Achaea every odd summer or so, but it was foreign nonetheless.

Unlike previous contestants who passed through the show, she was not initially a popular contestant for the same reasons outlined above. Unfortunately, even a supposed “racial paradise” like the Achaean Republic still struggles with a subtle form of racism that elevates European-like facial features, skin, and even tone of voice. It was hard to hear all the negative comments, TikToks related to her typical “un-Achaean” appearance (a laughably xenophobic statement, considering the vast majority of Achaeans are mestizo or mulato of some sort—and yes, the latter name is not considered a slur in the country), the death threats, the toxicity of social media… It began to take a toll.

And yet, she reached second place. That became freedom for her. No more worries about having to deal with the haters in her second home, and back to the relative boredom and normality of Britonish—oh, wait. Someone from AS1 called her mom, asking if she would represent the Achaean Republic in the Junior World Hit Festival…

The song began, and there were many cheers for the Achaean contingent. Of course, it was time to present their song and do their best attempt at defending their title. It was mentioned that it was not just a competition but rather a fellowship, that all of them were winners and yadda yadda—make no mistake, dear reader, Leidy felt the heat of the competition. It was not enough to almost get close to victory at La Voz Acaya: Kids. She wanted to lift a trophy for herself at once, taste the gold, show the haters wrong. But wouldn’t that contradict what she was singing? Wouldn’t that mean she would keep herself chained to the comments of the past like before?

Leidy was in the center of the circular stage, surrounded by five dancers in a girl-boy-girl-boy-girl format from left to right. They encircled her and held their hands tight, with linked chains coming out of their arms. (The chains were made of a mixture of foam and magnets, not the typical heavy metals, which would let the members chain and unchain themselves at will). They all wore tattered and ragged clothes, looking dirty, much like stragglers on the street instead of decent-looking tweens that had school and dreams and ambitions to go to. Leidy in the center, though, she was the tallest of them and had a pensive countenance. As the camera focused on her face, she began twisting her head into a circle, letting her hair loosen up.

Quiero ser libre y real
Ya no estoy encadená
Las cadenas pesadas
Se rompieron ya hora puedo escapar
Deja tanto de llorar
A secar tus lágrimas
Hoy, ahora y mañana
Tú eres el mundo que el mañana cambiará

She tried to unfasten herself from her chains, but was “unable” to let go by the two boys on each of her left and right sides. Leidy even tried to whip her hair back and forth in slight motions, but it proved to be of no use. Eagle-eyed viewers could also notice there were many insults written in different languages around her costume: “GORDA,” “FEA,” “RIDÍCULA,” “HIPÓCRITA,” and other nasty words in Spanish. In another wide pan of the stage, these words could also be read in different languages. In a sense, Leidy felt “chained” to these negative comments through school, social media, the Internet, the people on the street. Everybody had an opinion of her, a young teenager becoming a young woman, who tried to and was expected to play cool with the insults and hatred because she became an overnight celebrity. But enough was enough, and that struggle with the self-imposed expectations by society were weighing her freedom down.

Ya me dijeron de fea
Gorda y peluda; bueno, ¿qué va?
Aguanté el resentimiento
El pensamiento, envidia
Y las redes sociales
Que me confunden más y más y más
No hay sinceridad, ni menos futuro
Si seguimos mal

There were many incentives around her that were meant to keep her down: Her skin color, her affected accent, her weight, her voice. It was too much for a young teenager to bear, more so in the Multiversal eye. People wouldn’t quit trying to bully her into silence because they could! However, it gave her a deeper determination to embrace herself, warts and all, and shut people up—not because she needed to, but because she can.

Pero decidí quebrar el silencio
Porque yo soy…¡yo!

As the beat began, Leidy ripped the chains off the extremities—of course, the same ones held on by a pretty strong magnet—and began dancing, with the five teenagers surrounding her. The camera surrounding the dangers ran around a clockwise circle showing Leidy dancing in the center, with the teenagers circling around as well. In another glance of the stage, it was possible to see raised hands of diverse colors, unfastened from chains and self-imposed words that appeared to be dripping away, melting from the consciousness. Fat who? Dumb who? That didn’t matter to Leidy now. All that matters is that she is free to enjoy herself, enjoy her life, and enjoy the moment in the contest.

Quiero ser libre y real
Ya no estoy encadená
Las cadenas pesadas
Se rompieron ya hora puedo escapar
Deja tanto de llorar
A secar tus lágrimas
Hoy, ahora y mañana
Tú eres el mundo que el mañana cambiará

For this second verse, it was important to portray a newfound sense of confidence—not too cocky, but not too meek. It was quite hard for Leidy to portray confidence back in Britonisea with all the fear and loathing that she had to deal with due to her Achaean heritage. They dealt with the “tall poppy syndrome,” where even her own peers would cut someone off if they got too successful on something. It was important to be successful, but not too much that would cause some derision from her peers—not that she needed any more, since she was Achaean. In Achaea, though, the mere appearance of success was enough to trigger violence, and their hair-trigger tempers (she got some from her dad) were enough due incentive to engage in her natural-born stubbornness. Now that she was unchained from all those commentaries, she was free to do what she wanted—within reason, of course. Up until this point, it was hard for her to enjoy and have fun, what with all the pressure of defending the title on her shoulders. But why let that dampen her mood, if winning can be a nice bonus?

Ahora no hacen apuestas
Con mi belleza natural
Ni de muchas ocasiones
Donde el corazón romperá
Vamos todos a unirmos
Que con el tiempo el movimentar
Sonreírnos más, y otras cadenas
De pronto se romperán

Pero decidí quebrar el silencio
Porque yo soy…¡yo!

Once again, Leidy kept ripping her chains apart and kept dancing in the center of the circle made her dancers. The camera kept spinning in circles around the first part of the chorus, with the second part panning into the flag-waving audience of juveniles, particularly those showing the Achaean flag. Achaea had a lot of support in StrayaRoos, even though the island country was on the other side of the world—the fact that a devastating earthquake ravaged a portion of the country’s northwest notwithstanding, it might have helped a bit. But that was not on Leidy’s mind; rather, she needed to have fun, yet keep things professional. There was no time to waste on the negative stuff. It was time to become unchained.

Quiero ser libre y real
Ya no estoy encadená
Las cadenas pesadas
Se rompieron ya hora puedo escapar
Deja tanto de llorar
A secar tus lágrimas
Hoy, ahora y mañana
Tú eres el mundo que el mañana cambiará

This part of the refrain is a call to action. She needed to let children and teenagers know that they have the power to change things. They can be unchained and unhook from all the stupid fears and prejudices that have tied them to misery for so long. Because children’s lives can be miserable even if they’re clothed, fed, and loved. This is a call to let the youth know that they can ignore the negativity in their lives, forget those infamous “haters” and rise above the rest.

Es hora de soltar tus dones
Tiempo de romper corazones
No necesitas de razones
¡el tiempo es ya!
Libérate de opiniones
Resta imaginar cuanto corres
El cielo es el límite entonces
Puedes aún más

There goes the final sounds of the chorus. She needed to convince the Multiverse’s youth to root for her, to encourage her to move on. But at the same time, she needed to convince herself that she was ready to perform, ready to win, ready to move on. That they can be unchained from all those negative comments, all the turmoil of teenage life, all the lies from social media, and be their best selves. The music was very Achaean. The dances were so Achaean either. It also meant she can unchain herself from the duality of her identities—the stuffy Britonish one, the irredeemably vivacious Achaean one. Until then, it was impossible to separate the two in her life. Now, she had no need to do so—she was Leidy first, and the other options came as a special feature of her identity.

Quiero ser libre y real
Ya no estoy encadená
Las cadenas pesadas
Se rompieron ya hora puedo escapar
Deja tanto de llorar
A secar tus lágrimas
Hoy, ahora y mañana
Tú eres el mundo que el mañana cambiará

"Thank you! ¡Gracias!" Leidy said after she vigorously waved the audience around her. It was her moment, though she had to leave quickly for the next act. She could finally live her life unchained.

by **StrayaRoos** » Mon Mar 18, 2024 10:32 pm

Tune: The Ting Tings - “Do It Again”
Lyricists: Masayoshi Saetang, Kelly Haga, Sammi Noh, Elva Laine • Composers: Masayoshi Saetang, Aisa Minatozaki (≠HAVE), Yves Béltønd* (≠HAVE)
Language(s): Cantonese, English, Japanese

Masayoshi Saetang's portrait from a Lunar New Year 2024 photoshoot

The Prologue (includes background info about the entry)

(written from the entrant’s perspective)

┌・・・・・・・・・・・・・┐
┊MASAYOSHI aka NABILLERA (鄧正芳) - 15yo┊
┊any pronouns including she/her/hers┊
┊big fan of ≠HAVE + Blue Lynx ☆┊
┊ace/biro + genderfluid┊
┊personality: protagonist (ENFJ-T)┊
└・・・・・・・・・・・・・┘

Aight - with that profile outta the way, lemme write some loooooong accompaniment to it.

I was born in the year 2008, on the 30th of December, in the southern Hwasaian city of Namtin. Y'know... it's one of the big two in my home state besides the capital of Siuhong, right?

I was named Ms. Masayoshi Saetang, also written as Tang Cheng-Fong (because that's what the characters in my name are pronounced in Symonian), because my parents hoped I'd be a keeper of justice someday... and guess what? I'm still in the highway leading to that pit stop to some extent.

I crossed one whole ocean to the Tayonese urban village of Cherrytree during the summer of double-twenty (also the year when I began my middle schooler's journey), apparently so I could get more IRL exposure to the cultures that lay west of my immediate heritage's headquarters... and managed to get through all the stars and black holes that were on my track for three years straight, still remaining there into the present for all my high school trips at the Sunyoh Lyceum a bit further away from my second home.

I'm currently on a full N-Level course of Tayonese AL**, R&E Studies, Art and Design, and Comp Sci + a Tier-AA Project involving a field investigation... besides, of course, the obvious mandatory subjects of EFL, Eng Lit, Maths, Nat Sci (the triple edition, that is), Life Ed, and Core PE.

I'm also pretty active beyond academics at school, tho... with my efforts to write poetry and short stories as part of the Tortured Poets Club, with my knowledge of computer theory getting applied as part of the Mechanics' Mart, with my interest in the fluctuating quantum foams beyond my world not going to waste as part of Jinni's Adventure Team... and so on, and so on.

I've made three friends at my current school, all of whom also have their fair shares in the Tortured Poets Club and helped me a lot with the lyrical content of my onstage debut through their wisdom in Harimonese***: there's Kelly Haga (14yo, he/him), a Kuusaarian bard who likes to err a bit on drinking his Virgin Coco Loco and is apparently also singing for a certain cover group. There's also Sammi Noh (14yo, he/him), the snarky twin bro of Jinni who never seems to catch a break when he's dancing with his own sis. And last but not least, there's Elva Laine (15yo, she/her), the Mustakivian winner of a certain inter-school mathletes' tournament (running over all her naysayers' burn books with a bus of twin primes) who usually goes to calculate her koto-based polyphonies whenever she's free of her desires to solve anything else.

The Main Act (includes RP + lyrics for the entry itself)
(with the Cantonese parts color coded in red + the Japanese parts in blue + prerecorded backing track-only lines in italics + transliterations in bold + lines sung in both the prerecorded backing track and live onstage underlined)

After the previous entrant’s performance had finished, the Hakushiyan postcard would show up before transitioning back to the cheering in Hall 1 of the Coal Coast Convention Centre, with hoards of live audience members shouting Hakushiya’s name in multiple languages as they anticipated Masayoshi’s onstage debut.

0:00-0:03
Now that Masayoshi - dressed up in something reminiscent of a winning performance at some other song contest from 12 years ago - was standing on the highest floor of the circular JWHF10 stage ready to show off her potential to make audiences across the multiverse jive, the main stage area and ceiling had been dimmed out of their lights and the LED screens tuned to some test patterns with a butterfly hologram in the middle (like below):

0:03-0:07
As Masayoshi started strumming an air guitar in line with her entry’s intro, the rest of the stage began looking more like a multicolored light show illuminating around its perimeter (a bit like the one in this music video) - with all the LED screens fading to pitch black and the ceiling lights gleaming a pure white - to complement the retro styling of the music.

0:07-0:12
The onstage multicolored light show became synchronized to the loud clicking sounds every 2 beats, surrounding Masayoshi like a blanket as she walked down the steps to the floor directly in front of her.

0:12-0:22
Masayoshi's feet then landed on that wave-like circular floor, the light show continuing to follow her like a long-deceased friend's ghost as she sang the first chorus.

你好呀？加油啦
nei5 hou2 aa1? gaa1 jau4 laa1
你有夢想？加油啦
nei5 jau5 mung6 soeng2? gaa1 jau4 laa1
關佢咩事？加油啦
gwaan1 keoi5 me1 si6? gaa1 jau4 laa1
君を許しだよ
kimi wo yurushi da yo
Feeling good? Keep on movin’
Daring to dream? Keep on movin’
Why should they care? Keep on movin’
I’ll allow you to keep on movin’

0:22-0:29
Masayoshi’s vocals flowing like the calm Denisian Ocean as she drew out the “yo” syllable, some Pepper’s ghosts of tiny butterflies began flying out of the LED screens, hovering over the main stage’s floors like parachutes before merging amorphously into a single giant moth on the last line of her first chorus.

加油啦你，加油啦你
gaa1 jau4 laa1 nei5, gaa1 jau4 laa1 nei5
That’s right 加油啦你
That’s right, gaa1 jau4 laa1 nei5
加油啦你，加油啦你
gaa1 jau4 laa1 nei5, gaa1 jau4 laa1 nei5
Keep on movin’, keep on movin’
That’s right, keep on movin’
Keep on movin’, keep on movin’

0:29-0:42
Masayoshi then proceeded to sing the first verse in Japanese as the illusory giant moth hovered above her head and some theatrical fog started spreading across the whole circular area encompassing the stage - meanwhile, the light show was shooting upwards to the ceiling as if the beams in it were pointy fingers.

春中の夢
harunaka no yume
パピヨンは探偵
PAPILLON wa tantei
名前を呼んで
namae wo yonde
太陽を見て
taiyou wo mite
桜の流れに
sakura no nagare ni
楽しめるだね
tanoshimeru da ne

In my midspring dream
There’s a secret butterfly
Calling my name
And looking at the sun
As it relaxes itself
In the cherry blossoms’ flow

0:42-0:46
Four 3D holographs of lips synched to this song’s first two Cantonese lines then popped up from the LED screens above the seating area once they got repeated at the end of the first verse before popping back out of view in time for the second verse’s start.

你好呀？加油啦
nei5 hou2 aa1? gaa1 jau4 laa1
你有夢想？加油啦
nei5 jau5 mung6 soeng2? gaa1 jau4 laa1
Feeling good? Keep on movin’
Daring to dream? Keep on movin’

0:46-1:00
The illusory giant moth from the first verse then flew towards the audience as Masayoshi sang the second verse of her song with a somewhat-aerodynamic dance routine and the light show’s beams had fully returned to surrounding her.

置かせるメローディ
okaseru MELODY
聞かせるエントロピー
kikaseru ENTROPY
輝くシンポニー
kagayaku SYMPHONY
求めるヒストリー
motomeru HISTORY
向日葵のタイプに
himawari no TYPE ni
楽しめるだね
tanoshimeru da ne

The positioning melodies
The enchanting entropies
The glittering melodies
And the pursuing histories
All enjoying themselves
In the sunflowers’ type

1:00-1:13
Once Masayoshi finished singing her second verse, the synched-lip 3D holographs popped out again from the LED screens above the seating, the illusory giant moth flew upwards to the ceiling, and some beams in the light show slowly bathed directly at parts of the live audience.

你好呀？加油啦
nei5 hou2 aa1? gaa1 jau4 laa1
你有夢想？加油啦
nei5 jau5 mung6 soeng2? gaa1 jau4 laa1
關佢咩事？加油啦
gwaan1 keoi5 me1 si6? gaa1 jau4 laa1
君を許しだよ
kimi wo yurushi da yo
Just give your all
Feeling good? Keep on movin’
Daring to dream? Keep on movin’
Why should they care? Keep on movin’
I’ll allow you to keep on movin’
(Just give your all)

1:13-1:26
While Masayoshi continued singing out to the second chorus, two 14-year-old backup dancers - Sammi Noh (one of the colyricists for this song) and his twin sister Jinni - both walked onto the stage in red bodysuit-and-trouser combos from behind the circular LED screen in the middle, appearing as shadows at first amidst the constantly-chasing light show and continuously-moving 3D synched-lip holographs.

你好呀？加油啦
nei5 hou2 aa1? gaa1 jau4 laa1
你有夢想？加油啦
nei5 jau5 mung6 soeng2? gaa1 jau4 laa1
關佢咩事？加油啦
gwaan1 keoi5 me1 si6? gaa1 jau4 laa1
君を許しだよ
kimi wo yurushi da yo
Let me help your world
Feeling good? Keep on movin’
Daring to dream? Keep on movin’
Why should they care? Keep on movin’
I’ll allow you to keep on movin’
Let me help your world

1:26-1:29
Sammi and Jinni then held each of Masayoshi's hands as she stood still with her hands raised towards the sky and her fingers performing some air guitar-like rhythmic movements at the end of the second chorus, the light show's beams aiming at their bodies.

1:29-1:47
While Masayoshi proceeded to sing the third verse with some elegant aerodynamic movements, Sammi and Jinni complemented her choreo by performing a 70s disco-style dance routine circling her, with the light show surrounding all three people on stage in all its multicolored glory.

オカリナも携帯
OCARINA mo keitai
ギラギラも崩壊
GIRAGIRA mo houkai
フワフワも未来
FUWAFUWA mo mirai
ピカピカも製剤
PIKAPIKA mo seizai
ねえ　春夏秋冬
nee, haru natsu aki fuyu
加油啦
gaa1 jau4 laa1

Even ocarinas can be modern like phones
Even glamor can eventually collapse
Even the bounciest have their own future
Even glitter has its own formulations
Hey, it's like that for all four seasons
(Keep on movin')

1:47-2:01
Masayoshi then took some steps closer to the audience while singing a repeat of her song’s first verse, with Sammi and Jinni complimenting the steps by moving to stand besides her while clapping to the beat and the light show’s beams stabilizing at the pointing-to-the-ceiling position. To further boot all of this, eight 3D holographs of faces appeared and disappeared within the blink of an eye every four minutes from the LED screens above the seating, lip-synched to the pre-recorded “keep on movin’” vocals in the backing track that could be heard every two lines until this verse’s last (where they lip-synched to the exact same line as Masayoshi).

春中の夢
harunaka no yume
パピヨンは探偵
PAPILLON wa tantei
名前を呼んで
namae wo yonde
太陽を見て
taiyou wo mite
桜の流れに
sakura no nagare ni
楽しめるだね
tanoshimeru da ne
In my midspring dream
There’s a secret butterfly (keep on movin')
Calling my name
And looking at the sun (keep on movin')
As it relaxes itself
In the cherry blossoms’ flow

2:01-2:03
The entire stage area would go dark for close to two minutes after the end of the first verse’s repeat while everyone within it (Masayoshi herself included) was arranged in a linear formation doing static star poses, then light up again upon a clicking sound to reveal that the illusory giant moth had disappeared from the ceiling through a single beam of green light that looked like a laser scanning the stage floors.

2:03-2:34
The onstage light show then restarted with three more beams of varying colors that slowly wiped in towards the bodies of Masayoshi, Sammi, and Jinni before moving randomly around them like they’d done before the bridge. Around the same time, some more Pepper’s ghosts of butterflies began flying out of all three LED screens towards the live audience while six 3D holographs of lips synched to the pre-recorded “It’s all in, keep on movin’” backing vocals in this bridge appeared from the two screens above the seating.

As for the people onstage themselves, Masayoshi went back to her water-like vocal flow and aerodynamic choreography for the bridge while Sammi and Jinni proceeded to bust some couple-dancing moves on the stage floor closest to the seating areas.

It's all in, keep on movin'
君を許しだよ
kimi wo yurushi da yo
It's all in, keep on movin'
你好呀？加油啦
nei5 hou2 aa1? gaa1 jau4 laa1
你有夢想？加油啦
nei5 jau5 mung6 soeng2? gaa1 jau4 laa1
It's all in, keep on movin'
君を許しだよ
kimi wo yurushi da yo
It's all in, keep on movin'
(It's all in, keep on movin')
I'll allow you to keep on movin'
It's all in, keep on movin'
Feeling good? Keep on movin’
Daring to dream? Keep on movin’
(It's all in, keep on movin')
I'll allow you to keep on movin'
(It's all in, keep on movin')

2:34-2:47
The bridge then transitioned into another chorus (this time shorter than before) where almost all of the moves from the song’s previous part continued, only with the 3D synched-lip holographs being invisible until near this chorus’s end.

你好呀？加油啦
nei5 hou2 aa1? gaa1 jau4 laa1
你有夢想？加油啦
nei5 jau5 mung6 soeng2? gaa1 jau4 laa1
關佢咩事？加油啦
gwaan1 keoi5 me1 si6? gaa1 jau4 laa1
君を許しだよ
kimi wo yurushi da yo
I'll take you
Feeling good? Keep on movin’
Daring to dream? Keep on movin’
Why should they care? Keep on movin’
I’ll allow you to keep on movin’
(I'll take you)

2:47-2:51
Once the 3D synched-lip holographs had popped out of the LED screens above the seating for one last time to follow the “I’ll take you” line pre-recorded into the backing track, the entire arena then started dimming into a near-pitch-black void that ended the onstage light show as the illusory butterflies had all shown themselves in front of the live audience’s eyes - this left Masayoshi, Sammi, and Jinni only having their eyes and mouths stand out of the darkness surrounding them after 4 minutes as they seemed to float above the stage floors throughout this short interlude.

2:51-3:26
Throughout most of the outro, all three people onstage (Masayoshi, Sammi, and Jinni) were busting some wild dance moves along the stage floor closest to the live audience in spite of only their eyes and mouths being the most clearly distinguishable from the near-pitch-black void in the stage area.

It's all in, keep on movin'
君を許しだよ
kimi wo yurushi da yo
It's all in, keep on movin'
你好呀？加油啦
nei5 hou2 aa1? gaa1 jau4 laa1
你有夢想？加油啦
nei5 jau5 mung6 soeng2? gaa1 jau4 laa1
It's all in, keep on movin'
君を許しだよ
kimi wo yurushi da yo
(It's all in, keep on movin')
I'll allow you to keep on movin'
It's all in, keep on movin'
Feeling good? Keep on movin’
Daring to dream? Keep on movin’
(It's all in, keep on movin')
I'll allow you to keep on movin'
(It's all in, keep on movin')
Feeling good? Keep on movin’
Daring to dream? Keep on movin’

3:26-end
The brightness then shone on the stage area again as Masayoshi, Sammi, and Jinni settled for an ending pose where all three of them sat on the highest-raised stage floor in the center (with Masayoshi sandwiched between Sammi and Jinni as she did one last air guitar-strumming act for eight minutes before the song was finished) - this would be accompanied by eight beams of lights in different colors lighting up from below the middle circular LED screen like sun rays to symbolize the performance’s ending.

A few seconds after the backing track stopped playing, Masayoshi shouted an “I love you, Coal Coast~” to the crowds of fans watching JWHF10 from their screens, as part of the live audience, and so on with the broadcast cameras focused on her facial expressions of glee before they’d cut to the next entrant nation’s postcard (and no, not that of Hakushiya’s sibling world called Amoreiya).

*if you still remember she was representing Hakushiya’s predecessor - Rhim Flavezztowland - in JWHF8 and survived the Lioxutopian cataclysm together with half-Britonish singer-songwriter Lynette Jung (who was in the VM2021 international selection and has more recently been credited for her involvement in the composition and arrangement for the Hakushiyan WV112 entry).
**OOC note: it's basically a Korean-as-an-additional-language course as it's known in Hakushiya
***another OOC note: basically what the Japanese language's called in Hakushiya

by **StrayaRoos** » Mon Mar 18, 2024 10:34 pm

Tune: MonaLisa Twins - Hotel California (Cover)
Lyricists: Carla Perez, John Hope (The Charge), Bea Chimpina (Yellow Skies!), Gary Champ (SMBS Music Label) • Composers: John Hope (The Charge), Cal Cappa (Immortal), Alejandra Francis (The Music for Saint Monkey Music Specialist)
Language(s): Old Monkeyian, English

SMBS wanted to grow their ambitions in Music Competitions, and obviously the outlying one was WorldVision. SMBS has had a recent will to grow the Saint Monkey music scene, further outwards, and that also begins with making a future generation of stars. That means JWHF is a move that SMBS decided to make, with the help of SMBS Music and prominent Bands in Saint Monkey. So SMBS set up a national selection event for JWHF, and WV. They confirmed that they do not have enough funds to compete in World Hit Festival, however JWHF was in their price range when including the much more expensive WorldVision. They then had set up live auditions across the nation for young artists, but also online ones, in case many couldn't make it to the live arenas, and then mark it down to 10 entries for the Music For Saint Monkey Junior. After a small campaign of searching, over 3,000 signups, and a great amount of work was done by the team, there were 10 entries left. Carla & The Trees were a mix of other artists that were going to get denied, but then were accepted in the last second, to join on with Carla Perez. Then John Hope, Bea Chimpina and Gary Champ were given the task of songwriting with the artist singing the song. Cal Cappa and Alejandra Francis were brought in to help compose the songs. And then, the night, amazing performances from these talented young artists, and my, were they amazing! And Carla & The Trees won! So, a gamble to keep Giorgio Orango, Jeanne Gorgo, Keely Darul, Jack Forman and pair them up with Carla worked.

Then, enter in. The Song was niche, and there was doubts it would be accepted. However, it kept the themes that Carla set out: Finding a Home, making amazing friends, and most of all, having fun. So it had the themes necessary for JWHF, and then we learned we would be heading to the Coal Coast, Down Under in StrayaRoos. Carla & The Trees were extremely exited, especially Keely, who dreamed of going to StrayaRoos and seeing Kangaroos, Wombats and Platypuses ever since she was 8. SMBS hoped this first participating in JWHF would pave the way for future young artists to become big in the future.

Carla (Aged 12)

Home is a strange thing! It has always felt weird in Saint Monkey! But I don't even remember living in Castille (Kingdom Of Castille) but apparently I was born in Alcalá, which is a city in Castille. My first word was in Alcalense, which is the Alcalán language other than Castillian/Spanish. My Mum and Dad were both from Castille, but then we moved to Fortregate, which was right beside the Sanada Rainforest and the Tribe Fortre. I made friends with some of the Tribes kids and play there most of the time. People in school would make fun of me. It was a 15 minute trip to 1st School (Elementary/Primary), and a 30 min trip to 2nd School (Middle School + High School/ Secondary), which I joined just last summer. Just shows how really deep in the Ranorangu we were. 200 people live in my village, and 3 kids. Me, and 2 other 3 year olds. So Fortre Tribe was the place I hang out most of the time. I feel weird hanging out with the Tribal kids, as I feel different. But, A couple months ago, they invited me to a wedding in the tribe, and it was so beautiful. I finally felt as if I was at home. I may be a different skin color than them, but they treated me as one of them.

And then there is my music story, started singing in a local choir at age 6, and been to Rainchimp (Capital of the Region Carla lives in) a few times, and it is a truly amazing city. Awesome. So when I heard about auditions for Junior World Hit Festival, I was interested, and decided to enter a demo of me singing a song I was working on. My first single. And they decided to accept me! I was told I'd be pairing up with people who were called Giorgio, Jeanne, Keely and Jack. The Fortre Tribe said bye before heading on my long trip to Chimpangutan, the capital of Saint Monkey. So, when I arrived, I met the boys and girls, and they seemed cool, but then we walked into SMBS music, and there was Bea from Yellow Skies! No way!!! I couldn't believe it, I love her! I, and my new friends suddenly became very exited and we working with Bea! John Hope from The Charge, was there also and made the song into an insane country bop! He did a fantastic job! Then Cal Cappa from Immortal came to help us after going to WorldVision! My world had just been turned around!

We had done weeks of work, and then we had to perform in front of millions. We met our contestants, and I befriended Eva Rainchimp, who lived in Rainchimp. I' told myself I'd have to visit her after she goes to JWHF! She was a star, and had an amazing pop song! Then we won. We Won! WOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO! GOING TO THE COAL COAST!!!!!!!!!!!!!!!!!!!!!!!!

Giorgio (Aged 13)

Dude, taking up the Acoustic Guitar. Best Decision of my life. Going to Centalan (Capital of Region Giorgio lives in) and performing my heart away, and after getting denied then accepted to work with Carla & The rest of the trees. It got on my nerves, I was scared, but managed to do It! After knowing what the song is about, it may be mainly about Carla, but I think this song has a part in my heart. Obviously, it is absolutely amazing that I worked with such fantastic artists, but obviously now that we're here, I would like to dedicate my part to my Grandma. She was sure amazing. Best Grandma you could ever have. She fought in the 2nd Teriiblean War, as a 61 year old. Madness. I could just imagine her. Unfortunately last year she died aged 90. She loved Banutang, and this certainly has a Banutang feel. I did too, 80s and 90s are the best. She was just an awesome grandma, so here's to you Grandma!

Jeanne (Aged 13)

Dude, this song goes hard. It's insane. Just like my hair, Carla says. She's awesome, and I have to say, drums was a hobby I took up in 2020, and I'm not sure about how I got here. I live in Chimpangutan, and to be totally honest, that were most people will go unnoticed, unless you're super well known. Like totally celebrity fame. The big city is like awesome, but you don't like get noticed as much as you would in like a village. My 1st school had nearly 1,000 students and my 2nd school has 4,500 students, so it's like super massive. But when I entered into a talent show and won, a small scale label in Chimpangutan noticed me, and I had a couple colabs with other small scale artists. So, when JWHF came about I decided to enter, and I was denied. Damn. Then the next day, I had been told I was in fact accepted and would be working with Carla Perez, Giorgio Orango, Keely Darul and Jack Forman! Then after weeks of work, we went to the Music for Saint Monkey Jr. And guess what, we won!!!! I can't wait to see what's next in store. Plus, I don't have to go to school at the moment.

Keely (Aged 12)

Dude, finally free from responsibility.

I am Keely, if you didn't know. I am finally what I want to be. You may ask why? Well I had a Childhood once, and it was cut short by my parents, who signed me up to be a Child Model in Monkeyhoarders, a country west of Saint Monkey. I had to do tours across the country, make-up, make-up urghhhhhh. I hated it, so much things to do. She's so beautiful, gorgeous they said. I ain't that type of girl. I wanna be a rock star. Not a model. It's boring and bad. Also, I can't believe that I have to do it in Monkeyhoarders since it is ILLEGAL in Saint Monkey. My parents were only interested in the money. I had no friends, nowhere to call home. One night, I was scrolling through my phone, and found a audition for JWHF. That's me. So I needed a Bass Guitar. I've secretly trained with one of my make-up artists for the last 3 years. Yes, such a secret to keep but my parents hate music for whatever stupid reason. So the next day, the last for auditions, I recorded a little piece I've been working on.

A couple days later, my parents complained to why I did this, and they said I wasn't accepted anyways. But the next day, I came onto my email (My mum checks my email so that's why she found out), and I was accepted to work with Carla & The Trees! Even If I'm a Tree, It beats this life. So I replied, and told the truth about my parents, and before I knew it, a delegate from SMBS was there to pick me up. My parents wouldn't let me go of course, until I said there was a lot of money involved. They accepted, I go. I didn't tell them the money would be for SMBS, not them, but that's a problem to worry about later. They chilling in their mansion right now, imagining all the new things they could buy with the money, they wouldn't get Ha. Then we worked on, and by the time the Music for Saint Monkey came about I did my all, otherwise I would be back to my old life. And, I wouldn't be going back. I had won! New opportunity, here we come.

Jack (Aged 13)

Growing up in the Gold Shores, and in a tourist hotspot is pretty cool, I started electric guitar 3 years ago, and I do many street performances here in Gold City. I love Gold City. It's such a beautiful city, but very hectic, and that's what keeps me going with rock music. Rock is hectic, so Is the place where I live. So, when I saw the live auditions for JWHF here in Gold City, I would of course sign up. I know many are nervous to sign up to things like this, but you have to do it, don't let those nerves overcome you, and there was 51 entries from across the Gold Shores. I was the only one to be accepted, even after a sad day of thinking I had been denied, and sang sad songs on the street, but then they changed their mind and accepted me, and I went to super happy songs, it again, just part of my hectic life, hahaha! I was working with the amazing Rainforest Gang, I called them, and I was so happy when I found out I had a Guitar solo at the end! It was so hard though! When the Music for Saint Monkey Junior happened, the gang had done the impossible. On that stage, after the end of my solo, Carla ran up and picked me up and threw me up into the air, with the help of Keely! She was a lot stronger than she looked. Nearly broke my guitar!

And the best thing of all was that we would be heading to the Coal Coast! Respect to my parents, they have supported me 100% throughout this. Peace, and see you in Straya!

Carla

Wow, StrayaRoos is awesome! A lot different than Castille or Saint Monkey! The thing all of these countries have in common is the beaches, and wow, these are busy beaches, I can see why, there awesome! We decided to head out of the city, into a more isolated region, somewhere I feel more at home at I guess. Our Delegate and staff members came along of course, and we found a nice empty beach! Keely loves it here, you can see as she hasn't stopped smiling.

We headed into the desert, and phew! It was hot, nothing I've been in before. But Keely was loving the Kangaroos, and obviously enjoying her time here. We also saw some Emus and other animals on the trip, but after a few days the fun was over. We had to get to business and that meant a lot of rehearsals. I have to say Jack is killing it on the guitar. If I make una grande mistake, then Jack will be able to recover with the guitar solo at the end. I've also made friends too, like Lillith from Llalta, and Leidy Lago, or just Leidy, she's awesome!

Giorgio

Ok, there's absolutely no way I'm here right now! Performing for my Nation, my grandma, and just travelling. First, shoutout the the Roosian people, absolutely awesome, and they have a great sense of humor as well! I had to stay at the beach for a day, and I got some swimming lessons from Carla, who was absolutely shocked I couldn't swim, because in Saint Monkey, they teach you year after year. I'm in that 3.5% of people who cannot swim in Saint Monkey. We also got to see some awesome Kangaroos, and met some of the contestants.

Then, we had to go full in for the rehearsals. Work, work, work. I have to say, It's as bad as school sometimes. Cal can be seriously bossy! But overall, working with Carla, she has an amazing voice, and she does really have some constructive feedback. We make the mistakes now, so in the actual performance we won't. Thanks Carla. Jack is also killing it. He's been putting hours of practice into it. One day he even woke up at 2 in the morning. If there's anyone that can do it, it's Jack.

Jeanne

Well, isn't this different from Chimpangutan. Orange everywhere. The Roosian Outback, Kangaroos, Dingos, there's so cute! And even an occasional Camel or two. Can't belive I signed up to see a Croc. I swear for a moment I though we would fall into the water, and be lunch. We also checked out a Adventure Park on the Coal Coast, and I did some Bungee Jumping. I loved it, but Carla screamed all the way down. We will work on Carla's fear of heights soon!

Yep, then it was rehearsals. The most exiting part was when we got to see our set. And Carla's favorite Car, the Anchang Revolt. You gotta love that Car. Old, but you have that amazing Retro 50s Dragon Logo, and it looked as good as new. They borrowed it from a museum, and they said if we even get a scratch on it, we'd be in big trouble. I nearly scratched it with my Drum Stick. It wouldn't just be the museum, it would be Carla, she would kill me. I wouldn't be seen again haha. I didn't tell her either, otherwise she wouldn't ever let me touch it again.

Keely

Buh, Buh, Buh, Buh, Buh, Buh, Buh, Wooooooooooosh. The waves, and my Bass Guitar. Perfect. Should really record a song like this, a new experimental style never heard of. Oh, coming Carla! Game of water polo. Isn't StaryaRoos the best nation ever. One day, I'll get a house, with a Pool, small water slide, and a view of the Great big Ocean. Dreams... It is coming true though. I've always wanted to go here, and I thought with my Parents and all, they would never. But here we are, seeing Platypuses, Wombats, and most of all Kagga's! That's what I call Kangaroos. Awesome.

The bad thing is it will end. And we still have work to do. So let's work, work, work. I was able to get a few lessons from the MCG delegation. I met a fellow Bass Guitar, and after that amazing training session, I came back and Carla said I had suddenly become a Bass God. She knows how to motivate people. And it works for me! Thanks Mr. Bass Guitar Player from MCG! I know Carla and Giorgio have already said but Jack was on absolute fire. He's been playing as well as Cal. We are going to do well, I hope.

Jack

Dude, this is my type of city. Bustling, fun, and just plain great. This is my territory and having fun with my new friends, and kids across the world, makes it all better. We had a couple days to discover StrayaRoos, and I made sure to jump into everything, even Cliff diving, man, that gives you adrenaline. That's the only thing Carla didn't jump into. She obviously is scared of heights. We also said hello to Kangaroos, or as Keely says Kagga's! I wanted to swim with sharks, but we ran out of time. Shame.

Anyways, after that, practice was all it takes to get through this. The last minute of the song would just be me, and it has to be good. So even if that takes getting up at 2, I would do it. Helping others will be something I would continue to do though, and I helped Carla get through the hard bits, as well as Keely, Giorgio and Jeanne. I think we will be ready when the time comes. I'm sure of it.

ETA 30 seconds. The set was ready. Carla sitting on her favourite car, the Anchang Revolt, from the 1950s. Trees just hiding backstage, and they would be brought on stage after the second verse, and be shown during the Pre-Chorus section. For now, a setting of the outskirts of Alcalá, shown on the, what we like to call Jumotrons, but we will refer them to LED video walls, or just LEDs for short. Giorgio is sitting in the backseat of the car, giving Carla a little fistbump. Jeanne is taking deep breaths, and Keely too. Jeanne is position left of Carla, whilst Keely right. Jack is in front of the Car, sitting down on his knees. Carla is wearing a dress from the Forte Tribe, whilst Giorgio is wearing a cowboy suit, finished off with a Cowboy hat. Keely is wearing just a casual blue blouse and ripped jeans. Joanne is wearing a black leather jacket, a blue T-Shirt underneath and purple leggings and a purple skirt. Jack is wearing a red and black squared shirt, and black leather trousers. (Quick note on the leather; it is not actually leather but rather lab made leather as that's what you get in Saint Monkey) The Stage Director shows his hands, indicating five seconds left and we're off...

A spewing of fire from the pyrotechnics indicates the start of the performance. Giorgio stands up on the seat of the Revolt, and Carla is sat down, driving. As Jack begins to play the electric guitar, he slowly begins to stand up. Then, Jeanne gets the first drum section in, and Carla begins to sing. As she sings the first line, she stands up, on the left of the car, whilst Giorgio remains on the right, meaning you can see them both. Keely looking very focused trying to perfect every note. The first Old Monkeyian section comes in and Carla hops out of the car, and lays down. Her voice is slightly shaky, but once she gets back up after the Old Monkeyian section, and stands on the white lines on the road projected by the LEDs, and then as she says "But had I found a real home?" the LEDs show a white light, moving up from the dotted road lines, and in the back LED lights, a house forms from it. As we head to the second verse, Carla returns to the car, and darkness engulfs the arena, except her, who has a beam of light on her.

On a Castillian highway, headin' for the hospital
Kika tuta pipala, ana sichal canata
Dandana ti tutun chinka, u kafa kifi
But had I found a real home?
I never found out

As the light beams down on her, the stage crew begins moving the trees onto stage, with Giorgio, Jack, Keely, moving behind the trees. Joanne is on the drums, so a tree is put in front of her, and attached to strings, so as the chorus begins, the tree can be pulled out the way to the side of the stage, but not quite backstage so that the crowd can see. The camera in this verse is close up to Carla, with some emotion of fear can be seen, she looks to the side, as the camera cut the a long shot, with the whole arena being seen, as Jack smiles at her. When she says "Ana ti" it cuts back to her face and this time she's smiling.

As the light beams down on Carla, she moves around the car, and the LED on the floor can be seen changing to a rainforest. She gets up close to Jack to see him smile, but not close enough so that the crowd or camera can make out the crew and trees. At the end of the verse, she walks up to the front of the stage, right up next to the crowd, as the trees get uncovered.

One day we moved house
To the town of Fortregate
Ana ti tutun sarta randa:
“Tikpa dinda sandi santo anaka mona?”

As the trees get uncovered the camera moves to a long shot, showing all the crowd and and Carla on her own, the stage slowly uncovers a dense covering of trees. Jack steps out first, and it cuts to a close up of him, smiling. Keely next, however, she is still too focused on her Bass Guitar to look at the camera, so it cuts to Giorgio, as he runs out of the Trees and jump back in the car. Then a medium shot uncovers Joanne, as the trees are pulled back, and by that time, it is the Chorus.

Meanwhile, Carla, sits down cross legged, and looks down sad, as she can't find any friends. As all the other acts run out of the trees, Carla runs in, as she says "Running into the rainforest." The crowd can see this happening, but anyone watching at home cannot, as at the same time, there's a close up of the other entries stepping out of the trees. A shadow of Carla is seen, as she says "I heard something new" and the medium shot of Joanne captures that.

I couldn't find any friends, I didn't know what to do
Running into the rainforest
I heard something new!

The Camera then cuts to Carla, who is running through the trees, with a serious face, she looks tired already, but is pushing through. At the echo of "Liwa Panta Anona" It cuts to Keely who is saying it, and then it cuts to a long shot. The camera cuts to an open space, in which Carla then rushes out and sings "When we go down to the Ranorangu San Monk". The Camera at the end of the chorus cuts to the crowd, who are waving their phones, acting as lights, and then it goes close up to a Saint Monkeyian fna, waving the Saint Monkey flag.

Carla starts the chorus with singing slightly shaky, but takes a quick breath and continues. Jack, is just trying to keep it simple, and not make a mistake before his long solo at the end, and it showing a lot of energy, moving about the stage. Giorgio has moved to sit on the hood of the car, and playing his acoustic guitar to near perfection. Joanne has a little mistake, only barely hears, but a quick reminder that they're just kids. Joanne's hair is moving like crazy, and it accidentally got into Jack face when he walked past her.

Going into the Ranorangu San Monk!
Liwa panta anona (Liwa panta anona)
Liwa banca anona
When we go down to the Ranorangu San Monk!
Any animal here (Any Animal Here), it will always be near!

During most of the Old Monkeyian Verse, the camera stays put on Giorgio and Carla, as the stage darkens and focuses on them. It moves between a medium and close-up, and a panoramic view around them as-well. The LED in the background shows the night and the Forte Tribe dancing, right behind Carla and Giorgio, the lights change from green to red that are focused on Carla and Giorgio, making it feel like they're entering the Tribe.

Carla and Giorgio go to the front of the car, and begin to play and sing side by side. When Carla says "Ana ti kisculka kisaka" She starts to chase Giorgio, the camera following but cuts back and forth between the other members. When Carla then says "ti sacha balaka Fortre" she backs away and stands still, and Giorgio runs over to Jack and plays with him. A shadow forms in the shape of Carla mum, and she hugs it, before the next verse begins.

Ti satala ika u nipka, duta sacha tifola cali
Duta tanoko oka, oka nidapa ana copala tikbi
Duta dipasita capanta
Ana ti kisculka kisakal
Liwa nitohala u tafa, ti sacha balaka Fortre

The Camera shows Carla talking to her mum, but cuts between fans, Joanne and Giorgio and Jack. Keely is also seen running towards Giorgio and Jack, but the Camera cuts away before we can see her. Then when Carla says "pulling me", It cuts back to Keely, who is on the shoulder of Jack and Giorgio, as they begin to walk to Carla. It cuts to Carla, who runs back into the Rainforest.

When Giorgio and Jack put Keely on their shoulders, the cease to play their instruments, and you can hear the background music of their instruments play. When the background music stops, they start playing again. Carla has her best verse in this one, nailing all lines. Joanne seams to be in a trance, super focused on her drums, trying to make up for her earlier mistake. She does a little trick with her drum sticks, which gets a big cheer from the crowd.

So I asked my mum
“Can I go back to the Tribe?”
She said, “We should leave them alone since it is
Their home”
But I heard the rainforest, pulling me
I sneaked out in the middle of the night
And I walked back there, they said

The camera cuts back to Carla walking in the trees, it seems better this time, as she has a lot better vocals. This time, the camera follows Carla, as she sits back down in her car and begins to drive. She gets in smoothly, as Jack opens the door for her to the Revolt. The camera then shows Keely jumping off Jack and Giorgio into the Car, getting in the front with Carla. Then it shows a long shot, and Jack and Giorgio disperse sideways. During the echo parts, it cuts to Keely saying it.

Carla has a smile on her face throughout, and this actually improves her singing skills, but when she stops singing, she has massive breaths, as she is very tired. Jack is still full of energy, and Joanne has brushed herself off, looking less focused, but more relaxed. Keely is trying to tell the crowd to make some noise as she is moving her hands up and down when she is not playing the Bass Guitar. Giorgio looks a bit worried, but when Keely gets off his shoulders, she gives him a half hug, which has improved his confidence.

Going into the Ranorangu San Monk!
Liwa panta anona (Liwa panta anona)
Liwa banca anona
When we go down to the Ranorangu San Monk!
Any animal here (Any animal here), it will always be near!

The camera cuts to Jack and Carla, as Carla sings she has a snake plushie on her head, Jack doesn't play this section, as it is only acoustic, drums and vocals. As Carla sings, she doesn't move a muscle, and jack gets the snake and throws it away. It then cuts to Giorgio, playing peacefully calmly, and then looks up and points to the camera. Towards the end of the verse, the camera cuts to Keely throwing the plushie snake in the air, as Carla walks back.

Joanne smiles during and after this section as she notices how well she has done. Giorgio, still smiling after the hug remains calm. Jack looks calm, but when we saw the close up he looked very scared for his solo. Keely is now pretty calm and focused, and a hint of anger, maybe at her parents. Carla has grew during this performance, and now is yet another great verse, as she seems to get better and better through the performance.

Snake on my head
Frozen in Ice
ana Kiko pana “Gankis salafa u munca
And you'll be fine”
Ana kik gank tikbi miti
He got me back to his tent
And I found some kids to play with
Duta tal oka ana tanok capanta golda!

The camera cuts between Jack and Carla, Carla smiling, and jack getting ready for his solo, which he has practiced for weeks and weeks. It moves between long and close up, but then cuts to a sign that says "Go Jack!" During the verse, the LEDs get darker and darker, as there is a big sunset, and it get darker and darker. The surroundings, Joanne, Keely and Giorgio have gone dark, Now all remains is Jack and Carla, who walk onto the car, and as the verse ends, a massive, massive solo begins.

Keely and Giorgio, step back and back, make sure they finish with no mistakes. They walk towards each other as they disappear into the darkness. They bring their hands around their shoulders. As Joanne finishes her final section, she also runs over to Keely and Giorgio and puts her hand around their shoulders. Carla smiles, happy she finished on a high note. Jack looks terrified, so Carla takes his hand, gives him a big hug, whispers "You can do it" and runs off.

So I found some friends now
Ti tantam fonica
I had to return to my home
Before the sunset arrives
“Cafal”, the tribal man said
He'll talk with my mum
I can go between these places
Ti tanoko kikiki ana u santo!

(Unlike the tune, it is just Jack, not Joanne as well on the drums)

In Jack's Perspective:

Thank you Carla. Play!

I start to play, and I see the camera right in front of me. I run towards it, jumping high off the car, and fall onto my knees. At that time I keep playing. I close my eyes, and remember all the practice. The all-nighters, The street performances, everything. My whole music journey was flashing before my eyes, I am going to literally faint. The camera is following me. I open my eyes, and smile, and just keep going. Remember the notes, the tempo, and just go for it. I look to the side, all of them are watching, the crowd screaming, I know I'm doing it, but am I doing it well.

I scream "MAKE SOME NOISE!", and only the front of the crowd can here me, I mean I have no mic, only on my guitar, which is connected to the speakers. Carla runs over to me and the light opens up for her, the light director noticing, she does air guitars, and then the rest join in. I get pushed by that and I keep going. I hear Keely shouting you doin great, and that it what it is, here we go, last 10 seconds, I just going to go for it, push, push, push, AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA, done.

The lights turn back on, and Carla and the Trees going in for one massive group hug, then separate out and bow, and scream "Thank You StrayaRoos!!!!!!!!!!" Carla even kisses the Anchang Revolt on the way out.

That is the way you do that.

by **StrayaRoos** » Mon Mar 18, 2024 10:36 pm

Tune: Christell - "Dubidubidu"
(Live Version)
Lyricists: Zuaixna Vidos, Daiga Liepa • Composers: Etsuko Rinne, Ensio Ilves, Zuaixna Vidos
Language(s): Nevetayan

Despite being headquartered in a city with a booming Díva Ostan community, Estegoa100 has yet to send an entry in their language, Nevetayan, even as that language has featured in many Tödlichebujoki entries in WorldVision under the auspices of TÖBUK. Until now. An up-and-coming child star, Zuaixna Vidos is 7 years old with a passion for music and singing. She hopes to one day make it big on one of the song contests for grown-ups, but for now she is honing her craft on childrens's competitions and talent shows. Though both her parents are from Suéto Alancaro, the capital city of Díva Osta, she herself was born in the big city of Estegoa, often also known as Sterblichengokai. She's become a shining voice in her temple's childrens choir, and though she is still very young, her current adventures as a child star may pave the way to her future success in adulthood. Or maybe it will horribly break and traumatize her, as happens often as well. But for now, we'll ignore that. Everything is sunny and golden in her life right now, and it will be up to future her to agonize over what could or should have been.

When the Kalosian World Hit Festival fanbase heard the teaser, they were convinced that Zuaixna was going to serve them a quirky, jokey entry. Well they were wrong. Actually, Zuaixna has replied that though she's perfectly serious about her song, she doesn't really mind as long it brings people joy. It's about secretly falling in love with a friend and hoping that your family is okay with it. She's shared that she is planning to marry a friend of hers when they grow up. When asked about this by the press, her parents laughed it off and remarked that though endearing, it was best to revisit that plan in a decade. The beauty and tragedy of young love. So there you go.

Streaks of sea green and sky blue pulse out from the stage as the opening drumbeats ring out. Slowly, lights come on from the back, to reveal silhouettes of dancing pine trees, and the sole shape of Zuaixna herself in center stage. She becomes illuminated as she begins to sing, dressed in green overalls and a floral print top. Behind her, the dancing pine trees can be seen - adults dressed as pine trees and dancing

Cad mã yr escomí
Domáio par tevi
Y mani zem priedã

Múso veçáci mús nerez
Viñem nao yázina
Tápéç varã darít viso, co gribã

She is joined by another girl, and they hug each other. Two parental figures can be seen peeking from behind the trees in the back, before disappearing. Behind them, on the background screen, an animation shows of wedding rings being slipped on hands, amidst flowers and foliage

Més búsĩ draugi oz visiã laiciã, cádo dieno appreçésimies
Mílo tevi

Yútos cá oz mújo piauct, mújígi mújos, y nevaro sagaidít!

She turns away from her friend, and toward the audience as she belts out the addictive chorus

Mammí mammí máte máte
Veçtéu, veçmá, téuço, tante
Çero ca mani mílat cad aiziecho, oh

Mammí mammí máte máte
Veçtéu, veçmá, téuço, tante
Çero ca mani mílat cad aiziecho...

Having named the whole family, she dances around for a bit. A quick cartoonish animation of night turning to day plays on the background screens, alternating through the seasons. She turns back to her friend to holds hands, even as they begin to step away from one another. Then, a childishly drawn map of Lagoa appears on the screen

Nacto y diena
Ziema y vasara
Tevis pietrúx, cad nésã copá

Y runá Lagoés
Gribo máçíties
Visso, co zino, yr "graças"

The word "graças" appears in big handwriting, surrounded by its translation in various languages ("thank you"). Zuaixna and her friend dance together

Més búsĩ draugi oz visiã laiciã, cádo dieno appreçésimies
Mílo tevi

Yútos cá oz mújo piauct, mújígi mújos, y nevaro sagaidít!

Cartoon depictions of all the family members show up on the screen as they are named

Mammí mammí máte máte
Veçtéu, veçmá, téuço, tante
Çero ca mani mílat cad aiziecho, oh

Mammí mammí máte máte
Veçtéu, veçmá, téuço, tante
Çero ca mani mílat cad aiziecho

Mammí mammí máte máte
Veçtéu, veçmá, téuço, tante
Çero ca mani mílat cad aiziecho, oh

Mammí mammí máte máte
Veçtéu, veçmá, téuço, tante
Çero ca mani mílat cad aiziecho...

One of the parents from before steps onto the stage, and Zuaixna runs up to her

Mammí, vai zináyi?
Vai máte yau teiça?
Vai arí abi yau pamaníyát?

Lloti gribo çerét
Smieties, sapñot, mílét
Y aizbéct a tevi, tic tálo

She and her friend run around the stage in circles, as if traveling the world!

Més búsĩ draugi oz visiã laiciã, cádo dieno appreçésimies
Mílo tevi

Yútos cá oz mújo piauct, mújígi mújos, y nevaro sagaidít!

Almost like a sort of chorus, the background returns to the night and day, seasonal animation. This time, the camera view comes down from straight above - the floor is split into four quadrants, each being a different season as the background screens and lighting switch from day to night and back

Nacto y diena
Ziema y vasara
Tevis pietrúx, cad nésã copá

Y runá Lagoés
Gribo máçíties
Visso, co zino, yr "graças"

Once again, we see "GRAÇAS" in big writing on the screen with its translation. And now we start to see flags of various nations drawn by a child's hand

Més búsĩ draugi oz visiã laiciã, cádo dieno appreçésimies
Mílo tevi

Yútos cá oz mújo piauct, mújígi mújos, y nevaro sagaidít!

Isn't that lovely? Everyone on stage is having so much fun. Cartoon airplanes are dancing through the sky. And now for the family section. Everyone is learning Nevetayan tonight

Mammí mammí máte máte
Veçtéu, veçmá, téuço, tante
Çero ca mani mílat cad aiziecho, oh

Mammí mammí máte máte
Veçtéu, veçmá, téuço, tante
Çero ca mani mílat cad aiziecho

Mammí mammí máte máte
Veçtéu, veçmá, téuço, tante
Çero ca mani mílat cad aiziecho, oh

Mammí mammí máte máte
Veçtéu, veçmá, téuço, tante
Çero ca mani mílat cad aiziecho

Mammí mammí máte máte
Veçtéu, veçmá, téuço, tante
Çero ca mani mílat cad aiziecho, oh

Mammí mammí máte máte
Veçtéu, veçmá, téuço, tante
Çero ca mani mílat cad aiziecho...

Sparks fire out from the stage edge in rapid succession as the song ends, and everyone on stage strikes a pose, with Zuaixna prominently up front in the center. Behind them, a animation of two teenaged girls running into the distance, becoming silhouettes, before the lights cut off on stage, starting from the front and progressing through the back until all is dark.

"Paldies visiã! Graças!" she shouts as the lights turn back on. "Thank you!" she mumbles nervously as she then runs away.

by **StrayaRoos** » Mon Mar 18, 2024 10:37 pm

Tune: Tones and I, Sam Feldt - House for Kings
Lyricists: Hannah Pureya, Luci Asqi, Abbey Jahga
Composers: Hannah Pureya, Luci Asqi, Abbey Jahga
Language(s): English, Dharawal

The Artist and Song

Hannah Pureya is a 13 year old who rtvS chose to represent StrayaRoos on home turf. They found her (unsurprisingly), by using YouTube, like they did for LAURA in WV105, and that got them 9th, their first ever top 10, so, why not try again?
The song she'll perform is called Dreams, and was written and composed by Hannah, alongside Luci Asqi (also known as Altos), and Abbey Jahga, both of whom are former WV entrants for StrayaRoos. The song is about how as people get older, their imagination goes away and things start to get more dull for them, but in childhood they're locked in their own world, blocking out real life.
Perspective

Hannah
I don't get why it had to be me doing this. I can barely make a speech in front of 30 people. Now I have to sing my heart out in front of what, 30 million?. Why couldn't someone else have been in the video, and this wouldn't be happening. Seriously, rtvS found one gem [WV105] on that goddamn site, and now they have to select every entry from outside their pool of artists from there or Roosian Idol? At least home advantage is in my favour, and I'll be able to sleep in my own bed during the contest.
The Performance

The stage is lit up in the blue you'd usually see in a generic night sky, and the side LED screens have stars on them (most of which look like they've been drawn by a kindergarten student). Hannah is standing towards the frong of the stage, wearing a navy dress with stars painted on it. As the beat starts, the camera flips from the final frame of the postcard to the stage, and focuses onto Hannah's face.

Everyday I can remember
I’m sent to a new dimension, And I don’t care anymore
I never even mention
When I go straight into a new dimension, there’s so many open doors
Yeah, when I get consumed by the magic, there’s nothing that could match it
Real life’s so far away

Hannah doesn't move during the first verse, while the stars on the LED board are growing smaller and larger every few milliseconds, giving the illusion of twinkling stars.

In a world where nobody can disturb ‘ya
There’s gonna be nothing that’ll pull you away
Gabara gul garrayura (my head is up in the clouds)
I’m overwhelmed by this feeling of tranquility
I can ignore the chaos
Happening right next to me, cause
I’m in all my dreams where it’s only me
It's only me, only me

The second verse gave the audience a bit of a surprise when the line in Dharwhal was sung, as nothing had been said about the language being a part of the song before the contest, and was only being revealed now, halfway through the song. In the background, nothing that different from the first verse is happening, so still the navy blue sky and the painted stars twinkling.

Nandiri wawa yewing naway (Look at my reality now)
Nobody believes these now, it’s as if they can’t see, they can’t see
It’s as if they can’t see, they can’t see-e-e
It’s as if they can’t see, they can’t see-e-e
woah-oh-oh Mira Marli - Mira Marli (Nobody Believes)
woah-oh-oh Mira Marli - Mira Marli (Nobody Believes)

As the chorus closes, the words 'Mira Marli' flash up on the LED screen when sung. Hannah takes the microphone off the stand and then moves towards the back of the stage, where a pair of dancers are waiting for her, and once she joins them, the three of them dance during a dance break that was edited into the song at the last minute by rtvS' so-called "Crack Team" of WV/WHF songwriters (basically anyone to have performed at WV/WHF for StrayaRoos before).

Dance break

The dance break ends, and the chorus' first stanza starts again, with the dancers continuing to do their thing (I don't know how to describe it, ok?). Hannah then moves towards the front of the stage, in front of the mosh pit, and sings as the LEDs light up with stars again, and they're flashing/twinkling as they did before

Gabara gul garrayura (my head is up in the clouds)
I’m overwhelmed by this feeling of tranquility
I can ignore the chaos
Happening right next to me, cause
I’m in all my dreams where it’s only me
It can only be me, only be me

The camera now solely focuses on Hannah, as the song starts to move into the finale, although the LED screens are still somewhat visible in the background, still with the flashing stars on them. Meanwhile, the dancers have faded into the background and left the stage.

Nandiri wawa yewing naway (Look at my reality now)
Nobody believes their dreams now, it’s as if they can’t see, they can’t see
It’s as if they can’t see, they can’t see-e-e
It’s as if they can’t see, they can’t see-e-e
woah-oh-oh Mira Marli - Mira Marli (Nobody Believes)
woah-oh-oh Mira Marli - Mira Marli (Nobody Believes)

The LEDs again light up with the words 'Mira Marli', coming on like they've been painted onto the board using a brush, as Hannah slows down her voice with the beat ahead of the final chorus.

Gabara gul garrayura (my head is up in the clouds)
I’m overwhelmed by this feeling of tranquility
I even ignore the chaos
Happening right next to me, cause
I’m in all my dreams where it’s only me
It's only me, only me

The final stanza of the chorus starts, and it goes acapella, with the LED keeping the same pattern it was throughout the previous choruses, with 'Mira Marli' being painted onto the screen.

Nandiri wawa yewing naway (Look at my reality now)
Nobody believes their dreams now, it’s as if they can’t see, they can’t see
It’s as if they can’t see, they can’t see-e-e
It’s as if they can’t see, they can’t see-e-e
Oh, Mira Marli - Mira Marli-i-i-i-i (Nobody Believes)
Mira Marli - Mi-i-i-ira Marli-i-i-i (Nobody Believes)

Hannah yells a quick thank you and leaves the stage

by **StrayaRoos** » Mon Mar 18, 2024 10:39 pm

Tune: Selena Gomez & The Scene - A Year Without Rain
Lyricists: J. Hutch, E. Hutch • Composers: J. Langbaurgh, M. Sleight, T. Holdsworth
Language(s): English

Background RP
Character Introductions

Jessica Hutch is a 15 year old actress and singer, born and raised in Guisborough, Teesdexxia. Living in a upper-middle class family allowed her to be involved in the arts from a young age, enrolling in many extra-curricular performing arts classes and groups throughout her childhood. Her father, James, is a Rheumatologist at a local hospital and her mother, Elizabeth, is stay at home mother and the driving force behind her children's early introductions to the arts, being a semi-professional writer and poet herself. Jessica grew up with 4 siblings. An older brother, Ezra, who is studying medicine at university. A younger sister, Jolene, who trains on violin, and 2 younger brothers, Ellis, who is a cellist and Eddie, who wants to be a bricklayer. This hectic but fruitful childhood meant that Jessica had to balance expectations of greatness and an attempt to live a normal life from an early age, which she credits for helping her keep cool under pressure and giving her the professionalism of someone well beyond only their mid-teens.

Eventually Jessica would get her professional start as a child actor in some Teesdexxian children's shows, where should would play secondary cast members in ensemble casts, such as a local version of Barney & Friends. She finally upgraded her status at 13 years old when she starred as the lead character in the show "Black Cat's Whiskers", a teen-focused live-action sitcom of which she also sung the opening titles. The show proved to be a success, being one of TBA Teen's top viewed programmes on an evening and quickly made Jessica into a pre-teen idol. Originally focusing on her acting career, this dip into music along with the show's domestic popularity led for her manager, who also happened to be her mother, and a producer of the show, Jason Langbaurgh to come up with the concept of a band with Jessica at the helm. Originally she was unsure of attempting a jump into music, feeling more confident with her acting skills and her comfy position as the lead of a popular show. Reassured by her mother that it would open new doors for her, but that she could always just stick to her acting if it didn't take off, Jessica came round to the idea and as such, Jessica Hutch and the Colts was born.

The Colts were similarly made up of teen actors with some musical skill primarily poached via Jason Langbaurgh's production connections. The 4 boys, some of which were current or former co-stars of Jessica's, all similarly were stuck to mainly secondary or background roles in children's television, so jumped at the chance to broaden their horizons and hopefully also have a strike at fame, if at a different medium than what they were currently working in. The band has thus far released a single debut album, "Time Will Tell", which garnered moderate success and spawned a successful single in "Hold Onto Me". "Calm Before The Storm" will be the first single off their recently announce, but as yet unnamed, 2nd album.

Theodore "Theo" Holdsworth is the band's primary guitarist. Also born in Guisborough but raised in nearby Skelton, the 15 year old is the one member of the band whom is not also an actor, being suggested to producer Jason by Elizabeth Hutch, who knew the boy and his guitar skills through Jolene and Ellis' music group at school. Being impressed with his solo performance on an acoustic guitar at a group exhibition night, she networked with his parents and got him involved with the band. A bit of a late bloomer, he only started to play the guitar 4 years ago at 10, but instantly took to it and impressed both his parents and teachers with how quickly he advanced throughout his lessons. In stark contrast to Jessica's initial hesitance, Theo jumped at the chance at joining the band and was very enthusiastically involved in the production behind their first album. He has 2 younger sisters, Cerys and Shelly, and a dog name Joe.

Axl Banks provides both backing vocals and bass guitar for the band. A multi-instrumentalist from an upper class family, he was originally was classically trained and is still a member of a local children's orchestra. He and Jessica were both in a musical themed children's show, All Together Now, in which they performed together as groups. His time on this show led to his formal introduction and eventual love of more contemporary music genres, especially pop and rock. Scouted by Jason after being impressed by his playing on All Together Now when combing through Jessica's old performances on the show, he was also enthusiastic to join the band and have a proper professional outlet for his musical talent that was disconnected from classical performance. He was also happy to take on the role of the band's all-rounder backing musician as it allowed him to balance the band with his orchestral responsibilities. He was born in Saltburn-by-the-Sea, is also 15 years old and has one twin sister, Alexandria.

Matthew Sleight is the keyboardist of the band. Originally trained in piano, he does not have much professional experience on the musical side of things, primarily being an actor. He stars with Jessica in Black Cat's Whiskers as a reoccurring cast member, also starring in secondary and background roles in other live action productions on Teesdexxian children's channels and even getting some small roles in mainstream television. He was suggested by Jessica herself due to how well they got on on set and her vague knowledge of his piano lessons. When given the offer of joining, he was equally as unsure, having anxiety about just how well he could actually play from his childhood piano lessons now that he'd focused on acting for a couple years. Initially going to turn the band down, he found out that his father had already said yes on his behalf and so joined the band anyway. He is 14 year old and lives in Billingham with his parents and his cat Dorothy.

Leopold "Leo" Groenveld was the final member of the band to join, after the initial drummer pulled out mid-way through recording "Time Will Tell". Also the youngest member of the band at just 13, he was a cast member of the Teesdexxian edition of Barney & Friends. Joining the cast in the same season Jessica graduated, they only briefly crossed paths in the 20 episodes they shared. His entry in the band was completely coincidental and detached to their time as co-stars. After their initial drummer quit, deciding he wanted to pursue a more ordinary career, Jason Langbaurgh knew he had to quickly get a replacement before the recording sessions for the new album were due to finish. Flicking through files of prospectives and specifically looking for drumming in their listed "other skills" , it took a couple of turned down attempts before he came across Leo and propositioned his parents with the, at this point, quite desperate offer. Both Leo and his parents were excited at the concept and as such, he joined the band, playing drums on the last couple songs to be recorded. The upcoming album will be the first with Leo as the sole drummer. He is half-Dutch and speaks Dutch fluently, with influence from his mother's regional dialect. He is from Acklam and lives in a big family of 7 kids.

Song Composition

The song was produced primarily by Jason Langbaurgh. The band's first album was strongly dance-pop influenced, which the band wanted to continue but was criticised by some reviewers as being too artificial sounding by the end of the album and making the album feel too unhuman despite having 4 instrument playing band members. Still keeping with a very dance-pop sound, Jason decided to combat this by making the lead single of the next album an emotive ballad, that while still very electronic in it's sound and composition, added an undeniable emotional layer to the album. He was helped in composition by Matthew and Theo. It was while composing the bridge of the song, that he knew had to be big to really sell the single, that he got the idea of entering it into a competition. While thinking about how well it would play out live, he thought of different ways they could stage it at festival or on television. That is when the lightbulb moment of remembering Teesdexxia's past attempts at Junior World Hit Festival came to his mind and he started drafting a letter to his TBA bosses.

Jessica wrote the lyrics of the song with her poetess mother, Elizabeth. When Jason played the earliest demos of the instrumental for Elizabeth and told her he wanted a big moment ballad as the lead single for the next album, she knew she had to get Jessica involved in the writing of the lyrics so she would bond more of an emotional connection to them, which would hopefully come through in her singing. They sat down one rainy day in their kitchen and started brainstorming ideas for lyrics, going back on forth on concepts and occasionally writing a couple lines to see how they'd work. They garnered a couple good ideas and some they put aside for later, but none that quite felt just right. It was when the rain really start to lash the windows that Jessica thought of that morning, when her mother had said that she felt the storm weather coming from the dark clouds in the distance. Giving Jessica the idea for the song that really stuck, comparing the early feelings of a crush on someone to the feeling of an incoming storm. The feel that while there's not much going on right now, there's a lot more to come very soon. Being in the Calm Before the Storm. Elizabeth loved this idea and immediately got to drafting a storm themed love song, regularly asking for her daughter's input and together they get a full set of lyrics done surprisingly quickly once the ball started rolling. By that evening they had sent off their final lyrics back to Jason for him to finalise the composition around them, ready for the recording of the master.

Entry Background

It had been a while since Teesdexxia had been in the Junior World Hit Festival. It has been a while since Teesdexxia was in much of anything in fact. JWHF was generally lower down on TBA's priority list even when they did participate at least somewhat regularly, it filled a couple hours on one of their secondary channels, an easy slot filler that they didn't have to do too much for. As such they often sent less competitive entries, often sticking to quite child focused entries rather than the more competitive favourites each edition that entered with songs that could easily be sang by a fully grown adult, and sometimes sounded like they did. That said, they never left the kids in the dark, they still gave them resources and tried with their staging, it was just a kid's competition and a kid's show. So, when a producer primarily from their children's came with not only the idea to return, but to do so with an older band and a serious song, TBA were quite unsure how to respond. His proposed band, Jessica Hutch & the Colts, were all older than past Teesdexxian entrants tended to be and made very mainstream, if a bit sweet, pop music. Multiple of the band members were right at the top end of the age limit with even Jessica herself only being a few months off 16.

That said, he'd already done a lot of the heavy lifting for them, they had already composed a proposed song and even had ideas for staging it, and with the domestic success of Jessica with the demographic which JWHF is also aimed at, it also came with a ready fandom to support it, and more importantly for TBA, watch it live and get the ratings up. It was a ready package almost, all TBA had to do was notify the IBA of their return and fund it. Before they did they asked for just one live performance, in the studio without any fancy staging. A panel of 5 judges from different TBA departments came to view this live display of the proposed entry. Enthusiasm towards the song varied from judge to judge, but in the end they all decided that it was worth giving it a shot. As such, the TBA greenlit the entry and announced Teesdexxia's return to the Junior World Hit Festival, much to the nation's WHF fandom's shock and delight.

Coal Coast, StrayaRoos

Their plan had been approved and they were elated. The bidding for the 10th Junior World Hit Festival was won by StrayaRoos, which also made them excited. A warm and sunny beach resort, the trip really would be like a working holiday. As the contest date approached, they jetted off to the other side of the world in preparation for rehearsals. Arriving a week beforehand to give the teens some time to enjoy the city, they spent that first week basically on holiday. Theo spent most of his time at the beach, attempting to surf in the much warmer waters than back home. Axl explored the culture of the city, it was relatively new and by Friday he knew it's short history well through the many museums he visited. Leo enjoyed a culinary tour of the city, dining in many of the different restaurants the seafront resorts had to offer. Matthew couldn't quite decide what to do for the best, and often tagged along with different one of the three boys each day.

Jessica, however, was a lot more reserved. The competition was on her mind basically constantly. The odds had improved after they were announced, and improved again after the song release, but they were still quite middle of the table. Estimations weren't great for a Teesdexxian entry to do that amazingly, especially after a sizable gap in entering, with the only recent Teesdexxian entry into adult WHF ending in a last place. Worried immensely that she'd let the team down, she stayed in her hotel room, rehearsing and rehearsing the song and vocal exercises most days, until on the Friday she was finally convinced to leave the room and have some fun at the beach with the boys by her mother. Elizabeth told her that she shouldn't worry too much about expectations, in the end, just performing well and giving the nation a return to be proud with was worth the trip, no matter what the odds say now, or the leader board says in 2 weeks time. Reassured and rested, she and the band went into rehearsal week fresh and optimistic. Practicing on the days and relaxing by the ocean on an evening, come the competition day, they were ready for it all.

The Performance

Teesdexxia's postcard plays on the screens at home and up above the stage, allowing for stagehands to rush on and change props around in time for the next performance. In this mad dash so do Jessica and her band members rush onto the stage, taking the positions they had memorised and practised again and again before they even made it to StrayaRoos. Matthew's upright Piano was wheeled onto the main centre platform perpendicular to the direct centre view of the stage, next to which Jessica knew she had to stand for her cue too. Leo's drum kit was also rolled onto this section of the stage, also perpendicular to a head on view, it mirrored Matthew's Piano on the other side and the two boys would be able to see each other if not for their instruments blocking the way. Continuing the mirroring in the set up, Theo and Axl found themselves down the 3 steps from the centre platform, to either side of their band members. Theo on the left and Axl on the right, they both also had microphones to provide backing vocals and were joined by a female backing vocalist each, both local Roosian girls. The lights began to dimmer again and the signature jingle of the contest played out, meaning the postcard was coming to an end and it was almost time to begin. Stagehands ran back off either side of Jessica, who breathed in slowly, calming herself in preparation.

Jessica and her 4 backing vocalist began the opening of the song, ringing out leisurely oohs across the Coal Coast Convention Centre. They were, however, all completely out of shot, with the camera focusing on the LED screens above showcasing a beautiful blue sky with spotted clouds and rolling hills behind them. Gradually it panned downwards and zoomed into Matthew's piano, focusing on him playing the backing notes. Just as the first verse properly begins, Jessica walks into shot from behind the piano, standing at it's end and singing the first couple lines past Matthew and towards the camera. Staying equal distance apart from the camera, it pulls away as she walks around the piano, placing a hand on Matthew as she passes him. Turning towards centre stage as she make it to the front of the platform, the camera slowly zooms out to show all 3 members on the main platform. The LEDs under their feet display a grass texture, which melds into the rolling hills behind to make it seem like the stage has became a field in a massive plain.

Ooooh, Ooooh.
There’s electricity between us two,
Feel it hanging in the air,
Tension building, I must look to you,
Guide me through this mental maze,
Because I’m searching to find what’s causing all of this haze, (oh)
Pin-drop silent but I can hear something in the distance, coming.

Jessica stays static in her spot centre stage, changing to sing the chorus towards the audience as the camera leaves her to start a pan of the central stage. The lack of camera on her allows Jessica to really get into the zone while she performs the chorus of the song. Closing her eyes and emoting the lyrics through gentle arm movements. The camera makes it back in front of Jessica just in time for the closing note of the chorus on "storm", then pans out in the post-chorus ohs and woahs, showing spotlight surrounding the edge of the arena.

The wind is picking up,
Swirling clouds all above,
Can’t help feeling we’re in the calm before the storm.
Taking it as a sign,
Just a matter of time,
Can’t help feeling we’re in the calm before the storm.
Oh-oh,
Woah-oh-oh, Woah-oh-oh.

The moment the second verse begins the camera cuts to another camera angle, this time from behind Jessica, who quickly does a 180 to face it. She walks in between the piano and the drum kit to the back of the stage, turning and hopping down the three little steps to the left hand side. Coming to Theo and Bryce, the Roosian girl he was paired with, the trio sing a couple lines together before Jessica walks back over the central platform to do the same with Axl and his Roosian singer Kylie. Stood facing each other the sing a couple lines from the latter part of the verse, with Jessica focusing on her fellow singers more than the camera over her shoulder. Until, that is, the end of the verse hits with the line "oh, baby". She turn around and starts walking out and around the middle tier of the stage.

My mind is racing,
Thoughts running a mile a minute,
Stop me from this fretting.
Do you also thinking about you and me?
Or am I dreaming?
Can you also feel everything around us?
(Feel it coming)
Just tell I’m not alone in my thinking here.
Oh, baby.

Making it to the centre of the middle tier, the cameras take a wide shot of the entire arena. The backing LEDs spring slightly more to life, with the cloud becoming greyer and moving quicker, literally swirling around the entire arena and above the heads of the audience. To show this to the views at home, the camera does a full 360 of the arena, while staying in the far out wide shot, keeping Jessica in the middle at all times as a focal point.

The wind is picking up,
Swirling clouds all above,
Can’t help feeling we’re in the calm before the storm.
Taking it as a sign, (As a sign)
Just a matter of time, (Matter of time)
Can’t help feeling we’re in the calm before the storm.
Oh-oh,
Woah-oh-oh, Woah-oh-oh.

As the song fades into the bridge, the entire arena cuts to black, as does the TV feed. Amongst the dark, spotlights bring Jessica back into view, while keeping the rest of the band obscured in the dark at the back of the stage. With the beating of the instrumental, lights also ring around the bottom of the stage, with the wrap-around LEDs now showcasing dark stormy clouds, with the occasional flashes of distant lightning visible through the mists. The camera view takes a low down shot of Jessica, zoomed slightly further out than a body shot, to really give the feel of being surrounded by this imposing storm. As the bridge progresses, the view gradually rises back to normal eye level. Now visually alone on the stage, Jessica sings with all her might to the audience in the arena and at home via the camera. Blood pumping with adrenaline at the climax of the song, and the biggest performance of her life thus far, she knows she's got to give it everything she's got. About half way through the bridge, just as she sings about standing her ground, a shower of artificial rainfall descends onto the stage, adding to the stormy staging and indeed soaking Jessica (and her off camera bandmates) to the skin like she sang.

So, let the pouring rain descend,
Bring on all the thunder and lightnin’,
Soak me to my skin,
Let it all begin, baby, baby, baby, ooh.
I’m gonna stand my ground and brave everything,
The rush will be worth any danger I’m in,
I’m convinced now babe, no longer torn,
I can’t help feeling we’re in the calm before the storm.

The final line of the bridge and Jessica is surround by spotlights that obscure the stormy LEDs around the edges of the arena, bringing a moment calm to the stage just like the sudden strip back in the instrument does in the song. The rain also momentarily stops. Onto the final repeat of the chorus, the convention centre brightens slightly again. The clouds all stay grey and relatively stormy, but lighter than in the bridge and light enough that none of the stage is obscured in darkness any longer. As such, her bandmates are visible again, and they all make their way down to the front to be with Jessica as she sings. Leo and Matthew abandon their instruments and just jog down, with Axl and Theo leaving their guitars but bringing their microphones, as do the two Roosian girls. Now all together for the final chorus, the rain picks up again despite the lesser storm LEDs and all the band members dance together in the rain, bar Jessica who is still focused on singing for the camera.

The wind is picking up, (Picking up)
Swirling clouds all above,
Can’t help feeling we’re in the calm before the storm.
Taking it as a sign, (As a sign)
Just a matter of time,
Can’t help feeling we’re in the calm before the storm.
Oh-oh,
Woah-oh-oh, Woah-oh-oh.
Ooh-ooh, ooh-ooh, oh-woah. (Woah)

As the song's outing woah-ohs are sang, the band members stop dancing around in the rain and instead come closer to Jessica, aligning next to her on camera, but being stood further back, singing the lines just like she is. Jessica sings the final woah and her band mates all huddle to hug her as the Coal Coast crowd erupts in cheers and applause. Jessica shouts "Thank you all so much, I love you!" with her fellow band members also being able to be heard saying thanks in the background, with Leo letting out a Dank u Zeer! and the Roosian girls being happy to be there on stage in front of their home crowd. The camera switches to some Teesdexxian expats and their kids who had made the journey to the arena. As such, the stagehands make their appearance once again, moving the bands instruments back off the stage and frantically mopping the surface water that had collected off into the drains on the side of the stage. The band started to make their way back to the green rooms backstage, chatting away amongst themselves. That was except for Jessica, who stood there for a couple seconds, watching the audience as stagehands whizzed around either side of her again. Trying to take all of it in, she struggled to believe it all really had just happened. Thinking back to her initial hesitation with the band, she knew she hadn't made a mistake in eventually saying yes. This had been the experience of a lifetime and she was proud of herself and her bandmates, her friends. As she jogged back to catch up with them, the competition wasn't even on her mind, only hoping her family watched at home and that her fellow Teesdexxians were proud.

by **StrayaRoos** » Mon Mar 18, 2024 10:40 pm

Tune: Susan Oseloff - See You Later
Lyricists: Maria Ǧovanes • Composers: Maria Ǧovanes, Leonardu Fili
Language(s): Kalosian, English

After some uncertainty regarding Kalosia's participation in the 10th Junior World Hit Festival, Radiu-Televižio Kalosia has pulled through with the 2010-born Maria Ǧovanes and her song Now or Never!

RTVK was unable to organize a national selection process in time, citing lack of resources and other priorities. However, La Vož di Kalosia Juniór, the local adaptation of the The Voice Kids series, had recently concluded its latest season. As the rights to the show was owned by a private broadcaster, there was no official affiliation made between that production with the Junior World Hit Festival. Instead, the delegation first approached the management of the winning act, 12-year old Max Rafaéli. They turned down the offer and Max was personally not interested in the offer compared to the other opportunities that had shown up for him. Next, the delegation turned to the runner-up — Maria. She said yes, as we of course know now, and her team started working with the delegation to prepare Maria for the competition.

Maria was paired with 18-year old DJ and music student Leonardu Fili to assist her through the songwriting process. Given the tight timeframe, a mutual decision was made by the two to keep the music stripped down and basic. This made it sound like a demo, but also made the finished package more authentic, emphasizing the contributions of the singer towards her song. Maria also wrote the lyrics on her own.

For the big night, Maria decided to wear something sleek. She wore an age-appropriate sleveless black dress that stops just right above the knee, paired with black leggings. To complete the look, a wide neon-green band ran around her waist, which matched with a scrunchy that she put on like a bracelet on her right hand. She also cut her brown hair to shoulder length for the occasion; otherwise she would have tied it back.

Alright, here we are. As the title card for this entry is displayed, Maria stands on the highest tier of the stage, right at the back in front of the circular screen. All was dark.

The song began with an oomph as a single pillar of light emerged from behind the stage, revealing our Maria as a silhouette. The way she poses full of confidene makes her shape very clear. And immediately, she starts singing into the microphone. The more minor lights in the background flash along to the beat.

It is now or never, now or never, now or never
It’s the time to change, change the life of you and me

Now Maria turns forward and starts strutting down onto the main stage and the rest of the stage lights come on, illuminating the scene in a teal-ish colour. The stage lights move so dynamically that it gives this entry life.

It’s now or never, yeah yeah
The life of you and me
It’s now or never, yeah yeah
In our wildest dream

By now Maria has made it to the center of the stage. By now the stage lights have slowed down a little, and in the background screens, which are set to black, thousands of little teal butterflies disperse as Maria sings about being one. Maria's body language—while reflecting her passion and excitement—also slows down to fit the song.

Ja san komë un papiľu
Kë vola u lë ťelu
Poj vena la žornatë
Kë dovu transformarë
Per entrarë un mondu
Kë së ilumina

Now two dancers — one boy and one girl — come on stage wearing glittery sweatshirt-sweatpant combinations. They come up to Maria, who gives each of them a high five. Then the dancers get into position, by Maria's side.

E sez vivesimo komë tuti soñi noji?
E sez soñasimo, oh oh
Noj n’avamu moltu tempu da perderë, no
Insemë noj pošamu goderë kestë vitë
Venël, prendël manu mia, vamul al futuro, oh
Oh-oh oh-oh…

As the beat builds up, Maria dramatically takes a step forward with her right foot, bringing out her left hand for balance, before taking a step with her left foot in front of the right one, then with the right foot she takes a step to the right (cf. the linked tune video, it's this exact movement). Right afterwards, as the beat kicks in, she immediately starts dancing in place (also not unlike the linked tune video), while the dancers disperse a bit further and move a bit more actively as they are not singing. At the same time, the lights become lively as ever.

It is now or never, now or never, now or never
It’s the time to change, change the life of you and me
It is now or never, now or never, now or never
All we can achieve, even in our wildest dream

The dancers move closer to Maria and they sync their choreography.

It’s now or never, yeah yeah
The life of you and me
It’s now or never, yeah yeah
In our wildest dream

Now the dancers move away as the song becomes a bit calmer for a second. And because the camera uses a close up of Maria here, they are also out of sight.

Rëspiral, miu amiku
E vidël al ošanu
Lë ťelu es plenu d’arë
El sol da noš kalor
Soridu, oñë matinë
Voľu sentirë l’amurë

Now the dancers appear right by Maria's sides and they take a few choreographed and synced steps forward. Afterwards Maria turns to the dancers one by one, as if to sing directly to them, and the dancers react very expressively in terms of their movements.

Në voľu disperderë mia ǧoventude
L’es or o maj, oh oh
Noj n’avamu moltu tempu da perderë, no
Insemë noj pošamu goderë kestë vitë
Venël, prendël manu mia, vamul al futuro, oh
Oh-oh oh-oh…

Maria repeated the step sequence from earlier and then danced along to the beat again, as earlier. However in the third line she took a few steps forward and then belted the last note of the second part.

It is now or never, now or never, now or never
It’s the time to change, change the life of you and me
It is now or never, now or never, now or never
All we can achieve, even… in our dream!

And then a little bit of ad libbing never hurt anybody. The dancers were still dancing but gradually made their way to Maria's sides. In the final moments of the song, the three of them just expressively freestyled their movements to the beat until Maria brought the song to a stop.

Oh oh oh oh… oh oh
The life of you and me
It’s now or never, yeah yeah
In our wildest dream

And that was that. The audience cheered, Maria and the dancers took a bow, and Maria said "Thank you! Love and kisses to all of you!" before they left the stage.

by **StrayaRoos** » Mon Mar 18, 2024 10:42 pm

Tune: Joel Spinello - "Mach es Laut"
Lyricists: Otto Tune, Manfred • Composers: Otto Tune
Language: English

Manfred is an almost 16-year-old pop singer and tick-tock influencer. Like most almost-16 year olds, Manfred enjoys social media, hanging with his friends and doing meth behind the bike sheds.

His debut single "Fight for my Life" was released in Beepee late last year and has slowly been climbing the schlager charts. With the announcement of his participation in Junior World Hit Festival at nearby StrayaRoos, the song has finally breached the Schlager Top 20 to become a bona fide hit.

With his music, Manfred, wants to put a smile on people's faces and touch them (consensually). He hopes that this will be the start if an illustrious music career.

Due to the short drive between Beepee and StrayaRoos in the arena tonight there's a healthy number of Beepeean JWHF fans. The anticipation of the fans is high, wishing for a good performance from the young teen heartthrob.

Manfreds performance starts tonight on a darkened stage.

Manfred is dressed in a black leather jacket and shiny silver metallic look trousers and he stands near the back of the stage.

The LED screens behind Manfred on the screen, flicker to show a city street scene, its grimy and dark and dirty. On the floor are dotted around manhole covers, with steam rising out of them. There are also some brick walls with graffiti on them dotted at either side of the stage. It gives the impression of a rough and tumble life which Manfred grew up.

Joining him on stage are 4 Boy backing dancers. They'll be giving it their all throughout the performance. They stand, at the beginning of the performance at the walls.

As the performance begins the lights come up, in sodium yellow like the light old-fashioned street lamps. The backing dancers pretend to spray paint the graffiti on the brick walls.

Manfred walks forward and his backing posse drop their spray cans and walk to stand beside him.

He lifts his microphone and begins

Hey
Can you hear the sound?
The sound is rising up, now
From the underground

As Manfred delivers the final lines of the first verse, the backdrop transitions from scenes of urban landscapes which are subsumed from below by dark shadows.

The lighting in the Coal Coast Convention Centre dims, making it look foreboding and dark.

As he sings, the dancers drop to their knees and begin to claw upwards at Manfred, their hands emerging from the shadows. As Manfred tries to swat them away.

Don't
Don't drag me down
I don't want to go back
Back to the underground now

Manfred swats away the hands and the dancers retreat back to the shadows as the bridge begins.

It gives the impression of Manfred alone in on the stage the darkness around him, as he sings. From a distance at the back of the centre, It gives a sense of how small and vulnerable the teen looks.

As he reaches the edge of the bridge, the talented little actor, Manfred puts his hands up to his ears as if to mimic him hearing "the sound".

A thousand days ago
A million miles away
A whole lifetime before
I became what I am today

It was a different time

I hear the sound
They're coming for me
I hear the sound
I just have to believe

As the chorus begins, the bright white spotlights stream put from the stage, spreading out over the arena like the forks of lightning. It gives a dramatic touch. Before the lights begin pulsating to the beat of music.

Manfred takes center stage, and is again surrounded by his group of dancers, his voice soaring above the music as he delivers the anthemic lyrics of the chorus.

Together they perform a choreographed routine and move with precision in exact timing. Their movements are confident and sharp as they bounce and spin - breakdancing. As the chorus reaches its climax, the dancers execute a series of dramatic poses and jumps. There's a wild sense of energy that only teens have.

The audience cheers and applauds especially the Beepeean contingent who are very happily bopping along.

Aint going Down down down
I wont let them drag me down
I will stand and fight for my life

I will stand my ground
I won't let them drag me down
No matter how hard they try

I will fight for my life

At the end of the chorus, the backing dancers take off Manfreds leather jacket, and he's now wearing a simple white vest.

The almost-16 year old has grown in confidence throughout the performance so far and is becoming more relaxed in front of the large enthusiastic crowd. It's a larger crowd than he's ever performed in front of before.

As the song moves back to the verses he calms himself focussing on his breathing and his enunciation. He closes his eyes to help him concentrate, and it gives the impression that he is caring deeply about the meaning of the song.

I know
I know how this goes
I've been here before
I'll keep on my toes

The backing dancers stand behind Manfred, with him at the front of v shape they've made, as the next verse begins.

Instead of trying to drag him down, like the did at the beginning of the song, they connect together one hand on the shoulder of the one in front, giving a sense of solidarity and strength to Manfred.

The reassurance that comes with performing with his backing troupe who have also become good friends, gives him the confidence to really try and put through the rest of the performance.

Don't
Don't drag me down
I don't want to go back
Back to the underground now

The streetscene around him remains derelict but above the skylight there's a hint of calming sky blue beginning to emerge from the lighting to signify a new day and a better day ahead; that Manfred has survived the 'night'.

His backing dancers continue to pop and lock it as they perform through the chorus.

The infectious beat of the music spreads throughout the audience who appear to have enjoyed this Schlager-pop tune. Although, they appear to like all the performances. There is plenty of flag waving and several of the audience members rhythmically point down towards the ground as Manfred sings "Down, Down, Down".

As the chorus comes to an end, and he sings the final line "I will fight for my life", Manfred thrusts a punch forward. His backing dancers who have crowded around him do the same, finally beating those who are trying to drag him down. Its a strong visual end.

A thousand days ago
A million miles away
A whole lifetime before
I became what I am today

It was a different time

I hear the sound
They're coming for me
I hear the sound
I just have to believe

Aint going Down down down
I wont let them drag me down
I will stand and fight for my life

I will stand my ground
I won't let them drag me down
No matter how hard they try

I will fight for my life

And with the song over, his backing dancers crowd around Manfred. They jump up and down in excitement and in spontaneous release.

After a few moments, they compose themselves and wave at the audience in thanks for their kind applause, and make their way off stage to the green room. Where they'll have to wait to see how the juries voted.

by **StrayaRoos** » Mon Mar 18, 2024 10:42 pm

following the Beepeean entry finishing, the camera cuts back to the green room, where Sajuna and Laura are.
Sajuna: And that's the 11 entries done and dusted for the night.
Laura: Now, you all decide who wins!
Sajuna: All you need to do to vote is go to www.JWHF.tv/vote, and vote up to 20 times for your favourite entries.

Laura: As a reminder of the competing entries, here's a quick recap:
insert recap here.
Sajuna: Now, while you all vote, let's get onto the Interval acts!

Interval Act 1
Roosian WV Medleyaka me reusing as many songs as possible for no particular reason
[url]tunes clumsily put together[/url]

Song 1 | K/K - You (WV101)

Why isn't it me and you?
Oh, I just want it to
Why isn't it me and you?
I'm so miserable, that it wasn't me and you (ooh-ooh)
Why isn't it me and you?
it's better with us two
Why isn't it me and you?
I'm so miserable, that it wasn't me and you (ooh-ooh)

Song 2 | Kitta & Ali - Welcome to the Show (WV107)

Come and start the show
The lights are flashing and the drinks are on me
Come on girlies, let’s give them something to see
You can never pay to be lonely
Come and, and start, the show, the show
Come and, and start, the show, the show
Come and, and show, the show, the show baby
The greatest show that the world’s ever seen (yeah)
Oh my god
The spotlight’s on my body (show-show-show-show)
Oh my god
The spotlight’s on my body (Welcome to the, welcome to the show)
Oh my god
The spotlight’s on my body (show-show-show-show)
Oh my god
The spotlight’s on my body (show-show-show-show)
Oh my god, The spotlight’s on my body

Song 3 | LAURA - Go Insane (WV105)

I try to resist, but you're like a drug
And I'm addicted, can't get enough
You're a heart attack, a hurricane
And I'm caught up in the eye of the flame
I go insane when you come around
Lost in the chaos, can't be found
You're like a fire, burning up my brain
I go insane, insane, insane

Song 4 | Abbey Jahga - Is It Me? (WV109)

Every morning, just questioning things I never thought about before.
The weirdest things about me
Just quirks and everything
So many questions through just thinking (ah-ah)
I’m now tossing and turning
While thinking and thinking
Leaving me no choice but to ask (oh)
Is it me-e-e-e-e?
Is it me-e-e-e-e?
You give me no choice but to ask
Is it me-e-e-e-e?

by **StrayaRoos** » Wed Mar 27, 2024 1:21 pm

Laura: So, now with the interval acts done, we've got just a few seconds left of voting. Shall we count it down?

10!
9!
8!
7!
6!
5!
4!
3!
2!
1!
WORLD, STOP VOTING NOW!

Sajuna: And with that, it's time for the real fun to begin, the voting.
Laura: But, before we start the voting, we've first got to check in with the World Hit Festival overseer, Tamar de Andrade.
Sajuna: Hello, Miss de Andrade, How'd you find tonight's show?
Tamar de Andrade: ¡Buenas noches! Thank you so much for asking! I enjoyed seeing the Multiverse's talent once again in this very special edition. I'm glad we're back to business! It was a great show, and I hope the Multiverse enjoyed it as well.
Laura: Can you confirm we've got a valid result and can start the voting?
Tamar de Andrade: Yes, we already have a result! You can take it away and reveal the winner of the Junior World Hit Festival!

Sajuna: For anyone who doesn't know, or needs a quick refresher, here's how the voting is going to work: We'll first be heading around the participating countries and receive points from the national juries, in a 5-1 system, then we'll reveal your votes in reverse jury order. So, let's head over to Beepee, Hello?

by **StrayaRoos** » Wed Mar 27, 2024 1:25 pm

Dinewan: Good Evening Coal Coast. Hello Everyone. It's been a wonderful evening with some of the best young talent... I'm delighted to provide the points from Beepee...

by **StrayaRoos** » Wed Mar 27, 2024 1:31 pm

Laura: Next, we go to Amoreiya, Hello?
Wafah Lardon: Masa’ al-noor, StrayaRoos, and what a fantastic show it’s been! I know I’ll have to go to Saint Monkey for my nation’s WorldVision Song Contest debut pretty soon, but I still managed to arrange a jury at a local high school with the aid of my local broadcaster for this one beforehand anyway, which means the Amoreiyan 5 points went to…

by **StrayaRoos** » Wed Mar 27, 2024 2:37 pm

Sajuna: Thank you Wafah, next, we're heading to Hakushiya, Hello?

Elijah Maraj “G’day and good evening, StrayaRoooooooos! Now, I’m so excited that I’ve been able to have some of my NS World Cup 96 teammates over in my zone to rank this contest’s tunes even if we’ve been moving between home and away, but anyhow, your disco still needs our 5-pointer, which is…

by **StrayaRoos** » Wed Mar 27, 2024 2:40 pm

Laura: Thanks Elijah. Now onto Teesdexxia, Hello?

Eloise Buckingham: "Good evening, StrayaRoos! It's so lovely to be with you tonight in Gold Coast, back again at the Junior WHF, it's been too long! And what a warm welcome you gave us. I am proud to announce the Teesdexxian jury's 5 points go to..."

by **StrayaRoos** » Wed Mar 27, 2024 2:43 pm

Sajuna: Thanks Eloise. Next up, we've got Kalosia. Hello?

Max Rafaéli: Good evening Coal Coast! Thanks for an amazing show, and well done to all the contestants for your amazing performances! The children of Kalosia and their families have seen all the songs and voted for their favourites. But still, no matter how many points you get or don't get, don't be sad because everyone is a winner tonight. Here come our points.

by **StrayaRoos** » Wed Mar 27, 2024 11:19 pm

Laura: Thanks, Max, now onto Llalta, Hello?
Crisp: "Woof! *panting*"

by **StrayaRoos** » Wed Mar 27, 2024 11:22 pm

Sajuna: Um, Thanks Crisp? Next up we've got Malta Comino Gozo. Hello?
Noah: Bongu Coal Coast, Noah here! You guys put on a really fun show this evening! We are so excited to find out whose won! Good luck everyone! So let's go to the points... the five points from Malta Comino Gozo go to...

by **StrayaRoos** » Wed Mar 27, 2024 11:24 pm

Laura: Thanks Noah! Next up, we head to the hosts of WorldVision 113, Saint Monkey, Hello Chimpangutan!
Harrison George: Hello StrayaRoos and the World! It's me, Harrison George, calling from Chimpangutan. Firstly, everyone should be proud of themselves! You've done so great tonight, and you couldn't have been better! If JWHF11 comes around I may have to try and join, wink wink! Anyways, the moment of truth, here are our jury results!

by **StrayaRoos** » Wed Mar 27, 2024 11:27 pm

Sajuna: Thank you Harrison. Onto Achaea now, Hello?
Luis Fonseca: Buenas noches, Estrayarús! I'm here in the Achaean Republic for such a fabulous opportunity for the youth of the Multiverse! And now, five points for the Achaean Republic goes to...

JWHF 10 | IC Thread | Coal Coast, StrayaRoos

JWHF 10 | IC Thread | Coal Coast, StrayaRoos

Opening Act | LAURA - Go Insane

Flag Parade

01 | Amoreiya

02 | Llalta

03 | Malta Comino Gozo

04 | Achaean Republic

05 | Hakushiya

06 | Saint Monkey

07 | Todlichebujoku

08 | StrayaRoos

09 | Teesdexxia

10 | Kalosia

11 | Beepee

Start Voting Now | Interval Act 1

Stop Voting Now | Jury Voting Start

01/11 | Beepee

03/11 | Hakushiya

04/11 | Teesdexxia

05/11 | Kalosia

06/11 | Llalta

07/11 | Malta Comino Gozo

08/11 | Saint Monkey

09/11 | Achaean Republic

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