World Hit Festival 77 - Maregrad, Rugenia - Draft Thread

by **Rugenia** » Sun Nov 17, 2024 11:02 am

Draft Thread - World Hit Festival 77 - Maregrad, Rugenia
"Music warms hearts."

OOC THREAD - IC THREAD - WHF NETWORK - RESERVED RL TUNES
DISCORD SERVER

Schedule for the 77th World Hit Festival

Times are subject to change...
Draft Thread - 17th November 2024, 18:00 UTC
Sign-ups close & Closure of Draft - 8th December 2024, 18:00 UTC (72 hour grace period)
Voting Open By - 13th December 2024, 18:00 UTC
Winner Known By - 22nd December 2024

Calendar Breakdown

COMPLETING YOUR ENTRY
If you haven't signed up yet, please do so in the OOC thread before working on your entry here.

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

Helping Your Host: I would appreciate if you could keep your formatting of your entry very simple (just text and the 'BOX' tag would be fantastic, no need for colours, bold, italics and underlining - unless they are keys or backing singers etc).

PLEASE LEAVE TRANSLATIONS AT THE END OF YOUR POST UNDER A SINGLE SPOILERS. It slows down the process of making all entries uniform. Thanks.

WIP Entries: It would also help a lot if you put a "WIP" or Work In Progress sign somewhere obvious, preferably in the subject or at the top of your post if you don't want me to notice that as finished. All completed entries will be considered final when the Voting Lines open.

What is a Complete Entry?: Please refer to the Acceptable Standards for Entries at the World Hit Festival. Your entry will appear in the spoiler above if it has been accepted.

Headers: Please use the header that is provided below. Failure to do so will count as your entry not being completed. Please do not use caps in the header unless your artist name/song title is stylised in that way.

OFFICIAL HEADER...

Code: Select all: [align=center][blocktext][box][color=#000080][size=230][b]XX[/b][/size] [size=180][b]nation_name[/b][/size][/color] [size=160][color=#4080FF][b]artist_name - "song_title"[/b][/color][/size] [b]Tune:[/b] [url=youtube_link]RL_artist_name - RL_song_title[/url] [i][size=85][b]Lyricists:[/b] lyricists_names • [b]Composers:[/b] composers_names [b]Language(s):[/b] language_here[/size][/i][/box][/blocktext][/align]

FINAL NOTES

It is not the intention of either the host or the Overseer to stop any user from competing at the World Hit Festival as that would go against the reason of the Festival which is to bring people together. Thus, these are the new measures that will be put in place in order to make sure that you compete.

The Host will alert you that the Draft Thread is open on Discord and the OOC thread. At this point, you will be able to post your spot on the Draft Thread and start working on it.
The Host/Overseer will send a telegram to everyone when the sign-ups close (or a week into the Draft Thread) to everyone who has not submitted an entry adhering to the above entry standards (this includes those who have yet to submit an entry), reminding them that the Festival Draft Thread is still open. A reminder will be posted on #worldhitfestival too.
Between 24-72 hours before the World Hit Festival Draft Thread closes (before the Draft Thread), the Host/Overseer will contact you if you have posted on the Draft Thread but you have yet to reach the entry standards of the Festival. We will outline what needs to be done to take you over the edge.
If you need more time or assistance, please contact either the Host or the Overseer about this issue so we can sort out a fair way to get you to compete. If you don’t contact the Host or the Overseer if you intend to get your entry in a bit later, your entry will be outright rejected.

by **Hafamarimyht** » Sun Nov 17, 2024 3:05 pm

XX Hafamarimët
Teardrop - "Saju Hažad Patöjvem?"
Tune: Cocteau Twins - Bluebeard
Lyricists: Sït Nučuk, Mezi Vnïcan • Composers: Sït Nučuk, Mezi Vnïcan, Dïman Jamë
Language(s): Hafamari

The Background

These days the band Teardrop is more of a loosely-defined collective, with musicians and singers coming and going based on availability and interest. The three founding members, Sït Nučuk, Mezi Vnïcan, and Dïman Jamë, form the most solid core of the group. Of course, a lot can happen over the span of 17 years, including Sït’s ongoing sobriety struggles, Mezi’s stay in a mental health facility, and Dïman taking time off to transition, so even the core three hasn’t always been together. Mezi returned after a three-year break earlier this year and the band almost immediately wrote what will be their 7th full-length album, Čaj ë Whiskey, with Saju Hažad Patöjvem? being the lead single. The album is set to debut the day after the 77th World Hit Festival, so it was an easy decision for the band to make when Januhela Vnëgvund, head of Hafamarimët’s WHF delegation, reached out to ask if the band was interested in going back to the World Hit Festival.

The band formed in late 2007 in Baspink, while Mezi and Sït were theatre students at Universitë Baspink. They had formed a quick friendship that included collaborations on both theatrical and musical projects. Sït was no stranger to working in a band, having founded the band Q with six classmates (including Kmuna, who represented Hafamarimët in WHF75) in 2003 when they were only 14 years old. Q never had a song in the charts, but they achieved a rather striking amount of success for a band of high schoolers when they were the musical guest on the late-night talk and music show Darhekër in 2005.

Mezi grew up in Baspink, the daughter of an art history professor and a sculptor. She discovered a love for singing in front of an audience when her mother enrolled her in theatre classes at age 5. Her theatre experience as a teenager included ensemble work in three musicals on Čënad Čëbudmekër, Hafamarimët’s version of Broadway or the West End. After high school, she pursued a degree in theatre from Universitë Baspink, intending to make a career on Čënad Čëbudmekër after graduation - a plan which was put aside once Teardrop had come together.

Dïman was also a founding member of Q, playing keyboards and providing background vocals. He joined Teardrop as the bassist after Sït and Mezi had written a single song. At the time, Mezi struggled to play guitar at the same time as she sang, so Sït put down their bass and picked up a guitar for the first time in their life. The resulting punk-inspired sound was held together by the addition of Dïman’s prodigious bass skills, with his quick playing providing a unique spine to what might otherwise have been just another teenage punk band. It was his bass playing that caught the attention of music critics and music fans on the band’s first album, 2008’s Pmetavjë Tispavjë Tävjë.

The band’s first hit came in summer 2012, a dance-punk banger called Vejadah-Vejadah, taken from their third album which shared that title. They followed this up by representing Hafamarimët at WHF11 with a song also named Teardrop, which was originally recorded for their second album Dubači Dinjači in 2010, but it was cut from the album when the band wasn’t happy with the recording. They re-wrote part of it and sped up the tempo, and that was the version presented at the World Hit Festival. Unfortunately they only received 3 points, but it did top the charts in Hafamarimët, paving the way for the massive amount of success the band would experience over the next decade-plus.

Unfortunately, sometimes success can be a double-edged sword. The band’s fourth album (2016’s Night and Life) took four years to complete as Mezi’s mental health kept her in a deep depression, unable to write new material, and Sït struggled with an addiction to alcohol and cocaine that they had developed during the band’s 2012 world tour. The band continued to play shows around Hafamarimët while attempting to record the album, but the shows were often cut short by Mezi leaving the stage due to Sït’s intoxication. Sït got sober in 2015 and the band quickly finished the album, though it didn’t yield any hits due to the band’s sound shifting to a more dream-pop, shoegaze vibe instead of the darker quasi-gothic punk their fans were used to.

Sobriety didn’t last long for Sït, but they managed to keep their behavior under better control which allowed the band to record and release their fifth album Rema Pmijavjë, Čigo Knavjë in late 2017. During the recording process, Dïman came out as trans, and once the album was finished he took some time away from the band to transition, skipping the 2018 tour to become himself. His spot on bass was covered by Hikari Nišijama, who had also been in Q with Dïman and Sït. Unfortunately, during the tour, Sït fell further off the wagon and the band decided to send them to rehab after an incident in Zavanjë where they threw up on some audience members in the middle of a song.

With Sït in rehab and Dïman recovering from gender-affirming surgery, Mezi and Hikari spent 2019 writing and recording an EP called Pjovnë Čërïmavjë Alarači. Hikari took over guitar and Dženi Lëmöjtnetka, a backing vocalist/musician who had played live shows with the band since 2014, picked up the bass. Dïman rejoined the band in late 2019 in time for another tour, but the tour was scheduled from January until May of 2020, so half of the tour was cancelled due to COVID-19. This cancellation, as well as the pandemic lifestyle, took a toll on Mezi’s mental health, prompting her to seek intensive treatment for depression and anxiety after a few shows in late 2020, which unfortunately meant that she would be stepping away from the band.

Sït had rejoined the band towards the end of 2020, but Mezi’s departure left the band without a lead singer. Hikari provided the vocals for a single she and Sït co-wrote called Funny, which provided the band’s first number 1 hit since the self-titled Teardrop in February 2013, topping the charts for the first week of January 2021. A small tour followed which saw Hikari take the lead vocals and a series of other backing vocalists, including Dženi, providing harmonies. Despite another single, Nöjt, Nejan, ë Njem also reaching number 1 that April, Hikari would take a break after the tour, focusing on a solo project. Dženi also took time away from the band to tour with Samëči as a backing vocalist.

Sït and Dïman spent most of 2022 touring for the 10th anniversary of their first number 1 song. A constantly changing group of vocalists and other musicians joined them, though not as permanent or official members of the band. In 2023 Sït and Dïman wrote and recorded the band’s sixth album, Dnažina, allowing Sït to take the lead vocals in addition to guitar duties. The single Fingertips was another number 1 hit. The tour for this album saw Hikari and Dženi return and again featured several other guest musicians.

Mezi, finally ready to show herself to the world again, returned to the band earlier this summer, full of introspective lyrics and a calmer yet sturdier sense of self. Reunited in the studio with Sït, Dïman, Hikari, and Dženi, the band found themselves in the familiar whirlwind of writing an album, thankfully this time a quick and easy process. The first single from this upcoming album is the Hafamari entry to WHF77, Saju Hažad Patöjvem?, which hit number one at the end of October and has remained high in the charts since then.

The Members

Current members of Teardrop, with color-coded vocals for this performance:

Mezi Vnïcan (she/her), vocals
Age: 38
Hometown: Baspink

Sït Nučuk (they/them), guitar and vocals
Age: 35
Hometown: Mïvnahma

Dïman Jamë (he/him), bass
Age: 35
Hometown: Mïvnahma

Hikari Nišijama (she/they), vocals and guitar
Age: 36
Hometown: Mïvnahma

Dženi Lëmöjtnetka (she/her), vocals and synth
Age: 37
Hometown: Zavanjë

Lines that alternate color, like this for example, are sung by both vocalists simultaneously.

The Performance

Mezi’s heart pounded in her ears. She couldn’t believe she was back on stage after so long, and to be back on a stage this size, this technical, this international was almost overwhelming. She took a few moments to listen to her pulse. Unfortunately the tempo of her heart didn’t match the tempo of the song, so she closed her eyes and took a deep breath, ready to sing the first lines in front of an audience since early 2020, before the entire world was reborn. Well, she had been reborn too, after all - so she let herself sink into it and an old familiarity took hold. She began the song with a smile.

Pnäžadïl
dnïvajëkta
öivnëjev
ïšgadu…

A chill ran up Dïman’s spine as he heard Mezi sing to an arena again for the first time in years. It felt good. It felt right. There were so many reasons this might have never happened, but he was glad none of those mattered right now. His fingers glided over the strings of his bass like a skate on ice, a skate worn by a championship-winning hockey player, masculine but graceful, purposeful. Powerful - that was the word for a feeling like this. Dïman and the rest of his band mates were powerful.

Saju hažad patöjvem? (Saju hažad patöjvem?)
Lïmsömo, čïvavjëmo?
Saju hažad patöjvem? (Lïmsömo, čïvavjëmo?)
Lïmsömo, čïvavjëmo?

Hikari strummed her acoustic guitar and wondered why they called it acoustic when it was plugged in. I mean sure, it could be played unplugged, but not in an arena this size. So it’s electric, right? ‘Wait, focus!’ she thought to herself. ‘Your section is coming up!’ Despite having been with the band for two tours, having provided backing vocals on the first and leading vocals on the second, she had never performed in front of a crowd this gigantic. Not just the crowd in the arena, although it was one of the biggest live crowds she’d ever seen, but also the millions of people watching live on television. ‘Who’s nervous?’ she thought sarcastically, encouragingly. ‘Couldn’t be me!’

Suna kut (Ahdenasa)
tačanajëk (Rämëkvem)
daržet kut (Ahdenasa)
žegëktadïl pa (Mejëkvem)

In terms of spectacle, this performance was probably one of the more subdued WHF performances over the years. The band didn’t rely on crazy visual effects other than a gentle wash of light that changed color. Cameras found flattering angles, but for the most part other than a few quick glances the band ignored them, preferring instead to focus on the audience in the arena with them, and also on each other. Mostly on each other. The joy, the completeness, the correctness each of them felt all on stage together again was palpable and infectious.

Saju hažad patöjvem? (Saju hažad patöjvem?)
Lïmsömo, čïvavjëmo?
Ïmuhamo knuvjëklï (Lïmsömo, čïvavjëmo?)
Dardesa tanteh lëmävjë
Saju hažad patöjvem? (Saju hažad patöjvem?)
Lïmsömo, čïvavjëmo?
Ïmuhamo knuvjëklï (Ajah sunamo)
Dardesa tanteh lëmävjë (Dardesa tanteh lëmävjë)

Dženi floated her soprano the way she had always done, except this didn’t feel like any other time. It felt better. She reveled in the feeling of reunification, of the truths each of them had had to acknowledge to get to this night. After touring with Samëči, the size of the crowd no longer shocked her or made her nervous. The energy she was full of was confident, but light at the same time. Fun. She was having fun. As she sang her solo she reveled in each glorious moment, each heated wash of a stage light as it passed over her, each face in the crowd she could make a connection with, each person on the stage with her, absolutely earning again the places they had earned long ago.

Čïnčived rjensa vïžëk
Dvödïlči lëmävjë ë čïsadïlu sïgaci
Čukuca čukusa

Sït looked around at everyone on stage with them as the bridge drew to a close. They weren’t sure a moment like this would ever happen to them again. In fact, they were almost certain it wouldn’t. To be on stage with this group of people again, despite everything that had happened. Despite everything they had put their friends through. And that’s what everyone was at the end of the day, band or not. They were people who cared about each other. And Sït knew their past behavior had put that at risk. That’s why this time, they’d stick it out. No matter how hard it was, no matter how tempted they were by old habits, hard liquor, harder drugs, anything. Being on stage, making glorious noise with these people was more important than any of that. Secure in that knowledge, they took a breath and stepped forwards to a microphone, ready to belt their feelings wrapped into a different take on the chorus into the arena as Mezi sang the final verse.

Ïkjo ändardöb (Saju hažad patöjvem?)
(Lïmsömo, čïvavjëmo?)
Čamvasa tabmö bmëdëk (Ïmuhamo knuvjëklï)
(Tantehusa ë fïdanusa lëmävjë pa)

Vunača palusëk (Saju hažad patöjvem?)
(Lïmsömo, čïvavjëmo?)
Čihuju čnadavjë (Ïmuhamo knuvjëklï)
(Tantehusa ë fïdanusa lëmävjë pa)

Vensavjë čëtëkvem (Saju hažad patöjvem?)
(Lïmsömo, čïvavjëmo? Yeah)
Dar ïmsu rämadïl pa (Ïmuhamo knuvjëklï)
(Tantehusa ë fïdanusa lëmävjë pa)

And with that it was over. One last echoing guitar note rang out as the band fell into each other, laugh-crying or cry-laughing, it was hard to tell which. The camera panned out to show a view of the whole stage and part of the audience, cheering as the band held each other and exchanged cheek kisses and teary congratulations. They finally remembered to wave to the audience as they were ushered off the stage. The feeling might fade from the arena, from the television screens around the world showing the contest, but in their hearts, they would spend the rest of their lives in this moment.

by **Hakushiya** » Sun Nov 17, 2024 5:28 pm

XX Hakushiya
The Revue Show - "Softcore"
Tune: °C-ute - "Midnight Temptation"
Lyricists: Hylle Onoda, U-Hopp • Composers: Hylle Onoda, Ravine Nichols, Monique Shetty, Aisa Minatozaki, Kosuke Naganohara
Language(s): English and Cantonese

by **Rugenia** » Mon Nov 18, 2024 6:12 am

XX Rugenia
MARIJA - "Siro Me Dans"
Tune: ELLA A - Waist
Lyricists: Marija Bolan, Anton Mühlenberg • Composers: Anton Mühlenberg, Leon Gusyn
Language(s): English, Rugenian

Background | WHF 76

It was Rugenia’s first participation in the World Hit Festival, which took place during the 76th edition in Muse, Scovatrova. The young Rugenian singer with Rusyn roots Aisha, represented the country with her song “Unbreakable”. No one expected that the country’s debut would lead straight to victory.

“I still can’t believe that I won the WHF! I’ll never forget this moment. It was an incredible and unforgettable experience for me. Standing on that big stage was absolutely amazing. I made a lot of new friends their and we‘re still in contact. ” said Aisha, the winner of WHF 76.

Eight countries participated in the competition and Rugenia earned a total of 26 points, including full marks from three countries. Now the World Hit Festival’s 77th edition will be held in Rugenia, taking place in the capital city Maregrad in the Maregrad Arena.

Rugenia has once again opted for an internal selection process to choose the artist and song, skipping a national selection show. “We were very successful with the internal selection last time, and with our experienced songwriting team, we are well-prepared. With MARIJA, we have a performer with incredible charisma, a fantastic voice and at the same time, she is an amazing dancer.” said Head of Delegation Maxim Goran.

About MARIJA

The 20-years-old female artist Marija Bolan, known artistically as MARIJA, has already made a remarkable impact on the music scene. She was born and raised in Maregrad, MARIJA comes from a wealthy and deeply musical family. Her father is an opera singer at the State Opera of Maregrad, while her mother (a successful lawyer) is also a skilled pianist and double bass player.

MARIJA is currently pursuing a degree in Psychology at the National University of Maregrad. Her journey to stardom began just over a year ago when she started posting singing and dancing videos on social media. Her powerful voice and natural charisma quickly captured the hearts of audiences across the nation, especially among the younger generation.

About five months ago, MARIJA released her debut single “Boy, Don’t Cry” which skyrocketed to the top of the Rugenian charts, debuting at number one. This breakthrough success caught the attention of RTV1, which approached her to represent Rugenia at the upcoming World Hit Festival.

Naturally, MARIJA enthusiastically accepted the opportunity. “This is my chance to show the world what I’m capable of. I’m so excited and honored to represent my country, especially the host country.“ she shared in an interview shortly after the announcement of her participation.

The young star is ready to warm your hearts!

About "Siro Me Dans"

“Siro Me Dans” marks a milestone in Rugenia’s participation in international music competitions as its the first song ever to feature the Rugenian language. This rhythmic pop song is irresistibly catchy, making you want to dance and sing along from the very first beat!

The song was written by MARIJA herself and Anton Mühlenberg, who previously co-produced the winning song of WHF 76 “Unbreakable”. It was produced by Anton Mühlenberg alongside Leon Gusyn, a newcomer to the music industry. The title, “Siro Me Dans” translates to “Watch Me Dance” in English. The lyrics tell the story of winning someone’s heart through the power of rhythm, dance and singing. It’s the first song I’ve co-written alongside Anton. I’m very proud of it and hope it will be well-received.” MARIJA said in an interview.

“The song was written and produced in a songwriting camp with the same collaborative spirit we used for Aisha’s "Unbreakable". This method has proven successful and we’re optimistic about achieving another top placement at the World Hit Festival, especially since it’s being hosted in our home country” shared Maxim Goran, HoD for RTV1.

The Performance

The performance at the WHF is set to be a true spectacle, blending captivating visuals with MARIJA’s electrifying stage presence. Accompanied by four male dancers, the choreography will be dynamic and perfectly synchronized, enhancing the energy of the song “Siro Me Dans“.

MARIJA’s outfit is designed by Samuel Bach, he also designed Aisha’s outfit for the last WHF final. The outfit will play a key role in the visual impact of the performance. The sleek black jumpsuit, designed with sheer, dark fabric accentuating the hips and adorned with silver details. Her long, dark hair will be tied back in a sleek ponytail. Her makeup will be dark and striking, featuring a natural-toned lipstick and dramatic smoky eyes. The male dancers minimalist costumes: black pants and bare, oily torsos create a sharp contrast.

The stage design and lighting will further elevate the performance. A predominantly dark stage will set a dramatic tone, with fiery pyrotechnics igniting during the chorus to emphasize the song’s intensity. The verses will feature a warm and reddish glow.

"With this planned performance, MARIJA and her team aim to leave a lasting impression on the WHF audience and showcase Rugenia’s creativity and artistry on the international stage." said Maxim Goran again.

The audience is buzzing with excitement as the lights dim.
A deep red light floods the stage, MARIJA appears in the center, her figure illuminated by a soft spotlight. Four shirtless male dancers, their oiled bodies glistening under the lights, stand in the shadows, ready to move. MARIJA begins singing in a sultry voice. Her movements are hypnotic, every step precise yet fluid. The dancers emerge from the shadows, moving like predators circling her. The LED background flickers with dark, fiery patterns, the stage shines in red lightning.

Can you feel the fire?
When you step in my world,
there’s no turning back
I’m dancing

I’m playing with shadows
when you stand next to me,
I’m catching your stare
no escaping

As the tension builds, MARIJA locks eyes with the camera, a sly smile on her lips. The dancers move closer to her, their choreography is sharp and seductive. Their eyes seem to follow her every move. The audience can’t look away and starta screaming.

You don’t even know you’re already in my trap
your eyes are locked and there’s no way out of that
Ooooh, I know you want it now

The stage erupts with energy. The dancers and MARIJA move in perfect sync, their bodies flowing to the rhythm. Pyrotechnics blaze at the sides of the stage, while bursts of fire shoot upwards, illuminating the arena. The LED wall shows roaring flames. The choreography intensifies, with MARIJA and her dancers spinning and lunging together. Each move punctuated by the beat. The audience roars in approval as the flames flare once more.

Zelo lo siro me dans
Zelo lo siro me dans
Zelo lo siro me dans

-instrumental-

Zelo lo siro me dans
C‘mon and watch me dance
C‘mon and watch me dance
C‘mon and watch me dance

C‘mon and watch me dance

The stage shifts slightly darker again, the beat pulsing through the arena. MARIJA’s movements slow, becoming more deliberate as she draws the audience in with each step. Her dancers move closer and going on their knees around MARIJA, looking at her.

The beat pulls you closer
every step I take makes you lose control yeah
feel my rhythm
your heartbeat aligns through the whole night
now you’re mine

MARIJA’s allure is magnetic, her presence commanding every eye in the room. The dancers mimic her moves, their synchronization flawless. As she teases, her hand gestures towards the audience.

You don’t even know you’re already in my trap
your eyes are locked and there’s no way out of that
Ooooh, I know you want it now

The fire returns brighter and more explosive. MARIJA and her dancers leap into a high energy routine, their bodies moving in perfect harmony. Fireworks burst above the stage as the chorus crescendos, each flame reflecting in the dancers oiled skin. The LED flames ripple like a fiery inferno consuming the stage. The dancers spin around MARIJA. The beat dominates the arena. The audience claps and cheers.

Zelo lo siro me dans
Zelo lo siro me dans
Zelo lo siro me dans

-instrumental-

Zelo lo siro me dans
C‘mon and watch me dance
C‘mon and watch me dance
C‘mon and watch me dance

C‘mon and watch me dance

The music slows and the LED wall transforms. A giant image of MARIJA appears, her face captivating and almost hypnotic. On stage, the dancers kneel at her feet, their arms stretched out as if worshipping her. MARIJA stands tall, her voice resonating through the arena. The crowd goes wild as MARIJA starts singing the part in Rugenian language.

Don’t look away, my moves are pure temptation
one taste of this, you’ll lose all hesitation
Zatvin lo rytmu, tu dova tu nen libar,
ka lo dans starta, li eno slova con tu-ah
caught in the rhythm, you can’t break free, it’s true
what this dance starts, it only ends with you

The energy explodes again! MARIJA and her dancers move as one, their synchronization flawless. As the instrumental part starts, they drop to the ground, rolling and arching in a sensual, mesmerizing display. Flames burst from the stage. With the final they rise, striking a dramatic pose as the lights dim and the crowd erupts in applause.

Zelo lo siro me dans
Zelo lo siro me dans
Zelo lo siro me dans
C‘mon and watch me dance
C‘mon and watch me dance
C‘mon and watch me dance

C‘mon and watch me dance

MARIJA and her dancers enjoy the loud cheers from the audience. Their performance has amazed everyone in the arena. MARIJA screams „Gratei Maregrad! Thank you!“. She and her dancers leave the stage while the audience continues to applaud.

by **Beepee** » Tue Nov 19, 2024 4:17 am

XX Beepee
Andi - "Pieces"
Tune: Andee - "Demain"
Lyricists: Otto Tune Composers: Otto Tune
Language: English

The Artist

Andi was born under a new moon, 2 weeks before Christmas. She spent many a year learning piano, cello and violin. Before being accepted in the Beepeean Conservatorium of Musical Arts at the age of 17.

It was there she honed her composition and song writing skills.

Singing was not one of her passions, after a friend saw her songbooks she was asked to perform some of her songs at the famous Midnight Bar in Norfolk Pinewoods.

The bar, was known for its eclectic crowd of artists, poets and musicians. A veritable who's who of the fashionable, the hip and the up and coming.

Andi gripped her notebook tightly, the pages filled with lyrics she had written over the years. Her compositions were deeply personal... poems of love, loss, and the quiet beauty she found in the world.

Now, standing under the soft glow of the stage lights, Andi trembled. she sat down at a keyboard, adjusted the microphone.

Then she began to sing. Her voice, soft, shaking, quivering, shivering at first, grew stronger with each line.

It wasn’t perfect but there was an authenticity that drew the audience in.

When she finished her set, the room erupted into applause. Andi blinked, surprised by the response. Strangers approached her afterward, praising her performance.

Word spread and soon, small venues across Beepee began inviting her to perform. It was this that was the star tof her career.

The Performance

Andi stands a diminutive 5 feet 2 inches tall. Dressed in a tight fitting black velour dress with a small silver brooch, on her left lapel. She is found at the mic in stand; in a spotlight, with the rest of the stage set in darkness. Her dark hair scraped back into a tight bun. Her look is serious, pained almost. A hush settles across the 17000 strong audience in the Maregrad Arena. The atmosphere tense and silence fills the arena.

Andi starts her performance gently holding the mic stand with her right handand leaning in to the mic. Her free hand swings around inviting the audience to experience the painful reminders strewn on the floor.

Pieces, strewn on the floor
Painful reminders
Of things, that came before
Go run and find her

Her voice is strong, somewhat defiant, as she tells her lover to go run and find her. She offers herself in the spotlight for the suddenness to see her invisible scars, the pain inside, as her brooch glints under the spotlight.

No scars, nothing to hide
Invisible trauma
Pieces, shatter inside
My personal drama

As she sings the bridge, her voice almost demands "if you're going to do it, then do it". Her small stature seems dwarfed by the arena around her. The darkness and the spotlight subtly demonstrating her vulnerability and loneliness; in stark contrast to her vocal ability.

If you're going to do it
Then do it

Andi grasps the mic stand with both hands. She steps back to allow the power in her body take control as the drum beat kicks in. The crowd takes the head of the beat, clapping rhythmically in time. The moody, Indie feel is something unusual for a Beepeean entry for one would normally expect pop-schalger or simple, gentle ballads - this is downright dirtier, messier.

Since you're breaking my heart
You'd better tear it apart
But leave the pieces behind
For someone to find

Since you're breaking my heart
You'd better tear it apart
But leave the pieces behind
For someone to find

(Aaahaahahahh Aaahaahahahh) Leave the pieces behind

Hidden backing vocalists add to the haunting 'Aaahaahahahh' adding depth to the barren performance.

The Rugenian director takes the opportunity to flash bright reds, crimson, carmine and garnet. Deep warning colours to Andi's lover that she's not likely to take 'his personal bullshit' anymore. The word rings surprisingly through the song, Beepee so usually PG13 in lyrics, this seems almost guttural, visceral. In such a way that Andi almost spits the word out.

I cry, I'm broken inside
Not that you see it
These tears, that fill my eyes,
Your personal bullshit

With the bridge once more, she stands her back dress with a short split on the side allowing just enough space to plant her feet firmly on the Maregrad Arena stage, preparing herself

If you're going to do it
Then do it

Andi controls the mic swinging it back and forward flipping it between her hands as she sings the chorus. Her stance her attitude is that of a fighter, her demand: "leave the pieces behind". Her deep dark brown eyes stare straight ahead, focussed and intent on the performance and singing out to her lover, who betrayed her...

Since you're breaking my heart
You'd better tear it apart
But leave the pieces behind
For someone to find

Since you're breaking my heart
You'd better tear it apart
But leave the pieces behind
For someone to find

(Aaahaahahahh Aaahaahahahh) Leave the pieces behind

(Aaahaahahahh Aaahaahahahh) Leave the pieces behind

Having gone two battling and bruising rounds so far in the contest that is this song, the final bridge offers a more conciliatory tone... but it still retains the blame squarely on Andi's lover. The reds that had been pulsating in time with the beat slowly fade out leaving Andi again, clutching the mic stand, alone, in the spotlight in the darkness.

And I'm combing through the wreckage of our romance
And I'm putting on my makeup like my death mask
If you're going to destroy our very last chance
Then I ask

The song, a battle between her lover and her need for self preservation has taken its toll on Andi. She almost pleads in the chorus "for someone to find", knowing now that it truly is over, her lover has moved on... as has she. The end, as desperate and final as it may seem, offers the opportunity for a new love... if only her lover would do the favour of leaving some pieces behind, suggesting an optimism at the end of the encounter.

Her song reaching its climax is enhanced by her taking liberties with a run and strong yet sorrowful ad libs.

Since you're breaking my heart
You'd better tear it apart
But leave the pieces behind
For someone to find

Since you're breaking my heart
You'd better tear it apart
But leave the pieces behind
For someone to find

[For someone to find]

(Aaahaahahahh Aaahaahahahh) Leave the pieces behind

(Aaahaahahahh Aaahaahahahh) Leave the pieces behind

The song comes to its conclusion, exhausted Andi releases her grip on the stand the tense and fought performance seems to have been two much for the stand which tumbles to the ground. A dramatic yet fitting end. The spotlight cuts and the stage dark.

by **Britonisea** » Sun Dec 01, 2024 4:54 am

06 Britonisea
Marcello - "Vertigo"
Tune: Jude York - Monaco
Lyricists: Craig Davis, Jamie Banks • Composers: Jayden Christopher, Paula Binns, Jason Lester
Language(s): English

After not participating at WHF76, Britonisea is back with Marcello singing "Vertigo" in the capital of Rugenia, Maregrad...

This year has seen many changes for Britonisea and the television industry in the country that has directly affected its participation in international song competitions such as the World Hit Festival and WorldVision. There was a complete breakdown in talks between the two major broadcasters, BITC and BVC (who is broadcasting World Hit Festival) for different reasons including the hit show Vha Mehlodhivestoile, and the Olympics coverage too. Bidding wars between the broadcasters, especially for the many sporting events that Britonisea now seems to be hosting - such as the Independents Cup and the Rugby World Cup - has meant that broadcasters are shifting their focus on other types on entertainment that seems to be getting a lot of viewing figures. While Britonisea does enjoy live music entertainment, the hunger for it is less and as more money gets pumped into sports, less is left for music and entertainment. In terms of the country’s participation at the World Hit Festival - as of late it has been relatively non-existent. Britonisea did return for Izmedu’s hosting of the World Hit Festival’s orchestral edition where it placed eighth out of a field of 12 nations with only 10 points to its name. It was one of the few times that the country had received less points than it had given out, with commercially no success for the Britonish representative in a change from recent years at the World Hit Festival. It was also a drive not to participate in the 76th World Hit Festival despite Scotatrova hosting it. The Britonish broadcaster took a bit of a step-back, but felt the need to step up once the Achaean broadcaster AS1 decided to withdraw interest in maintaining the World Hit Festival. Britonisea’s BVC stepped in and is now the overseer of the World Hit Festival for the first time since the 60th edition but the festival is in a much different position as it was then. Compared to the 40th edition, when BVC first oversaw, over 30 nations were competing compared to just eight now. Brityunik Vefecosoin Cairkovoin understood that they had a big task on their hands but knew that it wouldn’t happen overnight - it would take many editions to drive up interest in the festival again. That was also the case for building up viewing figures again too. The past few editions have seen viewing figures fall of a cliff edge - and so a lot of advertisement has gone into the new representative for Britonisea and they intend to carry this through until the World Hit Festival reaches the same numbers it once did many editions ago.

This edition, relatively unknown artist Marcello was chosen to represent Britonisea in Rugenia for the 77th World Hit Festival. Unlike others, Marcello has had the luxury of having his song played on television throughout the breaks between songs, while also being supported heavily by the broadcaster’s radio stations and other competing radio stations too. The song is undeniably catchy, “Vertigo” and is reminiscent of Britonisea’s heavy pop background. “Vertigo” is a song about how someone makes Marcello feel, how he is on “cloud nine”, and he’s so high in love, it is giving him vertigo (which is a dizziness spell). Marcello is 27 years old and he is from the capital city of Doportedas. Marcello went the usual artist route - when he was younger he enrolled onto an acting school inside the capital where he was taught, obviously, acting skills, he had peripatetic tutoring and also learnt how to dance too - some of this he is hoping to show in Rugenia for the World Hit Festival. As he got qualifications, Marcello started going for small gigs in and around the capital - has appeared as non-leading roles in television programmes and has also acted as a swing in Doportedas’ theatre scene too. When it comes to his own singing, he occasionally does sing at bars and restaurants, where he is usually joined by a band - sometimes doing his own smaller gigs at grassroot music venues - with there being many to choose from in the capital. He applied to BVC’s talent pool - where the broadcaster sometimes gets its representatives from and Vha Mehlodhivestoile participants too. A lot of people sign up to the BVC talent pool and it is a process of uploading a catalogue worth of work that you have previously done or a portfolio showing your exceptional talent. Luckily for Marcello, the broadcaster came across his portfolio and thought that he would be a great fit for the upcoming World Hit Festival with “Vertigo”.

“Vertigo” was written by Craig Davis and Jamie Banks, the latter is known for song of the biggest chart-topping hits in Britonisea and has previously been a part of song successful Britonish entries in international song competitions. The song has been composed by Jayden Christopher, another well-known name alongside Paula Binns and Jason Lester. Marcello had his first live performance during a televised charity event on BVC which acted as his official and final live warm up ahead of his trip to Rugenia. Upon arriving to Rugenia, he noticed that it was slightly chillier than it would be in Doportedas, but enjoyed how Christmas swept the capital city of Maregrad. He didn’t have too much time to tour around, but stopped off at the Christmas market, buying a little ornament that he would keep in his pocket throughout the performance as a token of good luck. He wasn’t sure what to expect from the Rugenian crowd - it was not a nation that he was too familiar with, but he was super excited to represent Britonisea at the upcoming World Hit Festival and he would do his best to become the tenth Britonish victor of the WHF title. Can he do it? He would be the first in nine editions…

Since the 37th edition, the longest break the nation went through without a win was nine editions and that was between the 59th and 68th win - the most recent of the nation’s wins. With the 70s decade closing, the broadcaster would like to continue its streak of being able to win in every one since the 20s - but there aren’t many chances left to do so. That’s why, upon its return to the World Hit Festival and given the bottom half placement at the Orchestral edition, the broadcaster tried very hard to come back with a bang. It had also been a while since Britonisea hosted a World Hit Festival themselves. The tall six foot five figure that is Marcello was standing dead centre on the stage - wearing a white tight-fitting, long-sleeve shirt paired with the whitest trousers one has ever seen. Behind him was a staircase, where dancers in the background stood behind him as though it was a christmas choir. They were wearing similar clothing, with streaks of christmas rouge to break it up a bit. The start of the song was very church-like, and this was something that the team wanted to play into - but only at the start. After the postcard was played, there was huge elation for the Britonish republic - a resounding cheer was heard as the Briton took a final deep breath ahead of the start of his song. He was the sixth to perform that night (out of seven) and while it wasn’t necessarily a long show, it was still difficult to see everyone go up and get their chance before he did. The applause died down and finally it was his time to show the world true Britonish talent. Almost immediately, the song started very strong, with spotlights on both Marcello and the small choir of five behind him. The camera shot was directly in front of him, with the faces of those in the background slightly blurred out but you could tell through their dramatic movements that they were singing along with the backing of the song. Marcello sang down the barrel of the camera pointing on him with a slight smile on his face. His pearly white teeth, glistening - a man who was meant to grace the multiverse with his looks. All eyes were on him as he lead his men and the beat of the music into the first verse. Low flying white fog filled the stage as he was singing giving it a very heavenly look - which makes sense - after all the lyrics has to do with “cloud nine”...

Your voice makes me lose all control,
When we're together, you ignite my soul
You are the source of warmth in the bitter cold,
High on cloud nine, I'm getting vertigo

I keep catching myself looking at you,
And I cannot help it (oh I can’t, no I can’t)
Hope you don’t think I’m being rude,
I’m just curious by the way you… (move, move, move - do do do)

The camera slowly moved towards him as he slowly increased in volume throughout the first 20 seconds of the song but at the “Hey!”, another camera shot met him as he walked stage left - he was singing directly into the microphone as though it was you at home who he couldn’t keep his eyes off. The men who were on the platforms behind him ran towards him, appearing in the shot as he sang “I’m just curious by the way you…”, doing more rigid movements that he was - but dancing along to the beat of the song. In the background, the visuals remained the same - it was slightly lighter, though with a golden arch forming around the triangular bit of the stage. You could, again, see the heavenly idea that the team were going for. Already, you could tell that Marcello was very comfortable with singing on the stage and looked like he was enjoying himself - this song was very much made for him and suited his vocal range.

He turned around almost 180, with a steadicam meeting his gaze - the men around him as well. Marcello and the men started pivoting around as he began to sing, “Feared your rejection,” - the steadicam going in the opposite direction before Marcello was dead centre on the stage once again and the steadicam moved away from the group of men - Marcello singing not towards the camera but towards the audience. While the staging didn’t change during that bit, as he started singing “true feelings hidden from you”, the change of the music turned the whole stage into a club - plunging into darkness with club strobes flashing on his face and body, with all of the dancers behind him moving along with the beat - dancing on top of each other as though they were in a rowdy bar. The camera shot turned in 4:3 to give the impression that it was a busy environment that Marcello was in without giving too much of his surroundings away. At the end of that pre-chorus, the chorus came in with a catchy and thumping beat. Still in that aspect ratio, the camera tracked outwards slightly as the dancers - all turned forwards (immediately coming out of the party drunken stupor that they all were in previously) before dancing along to the song rhythmically when he sings “Your voice makes me lose all control”...

Feared your rejection,
So I kept my true feelings hidden from you,
I’ve tried but I can’t hold it in any longer.

Your voice makes me lose all control,
When we're together, you ignite my soul
You are the source of warmth in the bitter cold,
High on cloud nine, I'm getting vertigo

There’s something that you gotta know,
With your kiss the whole world goes in slo-mo
Butterflies inside, a feeling pure as gold
High on cloud nine, I'm getting vertigo

Marcello, himself is a dancer, so alongside the boys who were at the moment flanking him, he danced along to the beat of the song with him doing hand gestures and movements which aligned with what he was singing - for example he moved his shoulders to the beat of the song clicking his fingers when singing “ignite” before resting it on his heart when he sang “soul” - obviously body movements complemented these simple movements, but it gave very cool vibes and energy which made you just want more. As he continued singing the second part of the song, “With your kiss the whole world goes in slo-mo”, the dancers behind him started dancing in slo-motion, except him. He continued singing to the camera which was much closer to his face now and not showing the dancers behind him (giving them the space to leave where they were and prepare for their next move). He solemnly sang “I’m getting vertigo”, before the picture flashed white. He turned around with his back facing the audience - now crouching down on the floor.

He was acting as though he was looking down at a river, looking at his own reflection - speaking to someone on the other side of it. As he started by singing the second verse, “it’s been you and I forever”, his tone seemed sweet and sincere, his facial expression melting your heart as he recounted the long time that you and him have known each other. His baritone voice was warm and silky as the camera lingered on him for those few seconds into the second verse. The club-lighting was gone - a singular spotlight was focused on him, but the lights and the flashing from the audience could be seen behind him providing a wonderful backdrop of stars.

It’s been you and I forever,
I have known you for years (hmm)
Well, friends until the end, but
A fire was starting right here oh

And I used to fight back the tears.
Seeing you with others, you forgetting me was my fear,
Needed to be open and honest
It was time to make my feelings crystal clear

As he grunted when singing “fight back the tears,” he sharply got up, turning around as he did this - a crane camera meeting him as he marched towards it with his crew miraculously appearing out of nowhere. The dancing came back once again, it was a repeat of what had happened before, with the stage going back to the club lighting after he sang “open and honest,” - he held his head downwards as though what he was singing was getting to his mind - he couldn’t quite comprehend what was going on in his mind. As we reached the end of the verse, the shot went out of focus and faded to black.
As the next chorus started, a rather muted version of the normal chorus. There was an undercurrent on the screens behind him, like a burst of colours that were waiting to be released amongst the black background. The dancers were doing movements but they seemed a lot less dramatic and much more muted than they were before…until the actual chorus hit when he belted “Vertigo”. At that point, a splash of colours appeared on the screen, with most of the same dance movements that had been doing before coming back - but in a more dramatic and emphatic way. Pyrotechnics shot into the air to the sounds of the drums in the last bit before the long instrumental break - the audience cheering loudly as it shot into the air.

Your voice makes me lose all control,
When we're together, you ignite my soul
You are the source of warmth in the bitter cold,
High on cloud nine, I'm getting vertigo

Vertigo
There’s something that you gotta know,
With your kiss the whole world goes in slo-mo
Butterflies inside, a feeling pure as gold
High on cloud nine, I'm getting vertigo.

During the last section of the song, the cameras and lighting was going a bit crazy - and yet it seemed like it was working. All the different boys were doing different dancers, with Marcello standing in the centre. The camera was zooming in and zooming out at random speeds, though still cutting in time with the beat of the song. Very similar to this (Felix Sandman - Boys with emotions - It was not focused on anything in particular or any body part but it was quite a feast for the eyes. The lighting was a kaleidoscope of different colours and patterns on all parts of the LED screen.

Vertigo

At the end of the song, all of the dancers returned their position around the tall figure, singing in that chorus-esque way once again. There was a massive round of applause as they all looked dead into the camera, the camera slowly moving away from them. As the lights went back up they all hugged each other. “Thank you so much! Thank you!” Marcello said into the microphone. It was time for Kalosia to perform, but the fate of Britonisea’s placement is in the hands of those watching…

by **Efege** » Tue Dec 10, 2024 10:27 pm

XX Efege
New Darling - "Linger (Madness)"
Tune: The Corrs - Little Wing
Lyricists: Lilah Meiressey, Merlin O'Connor • Composers: Lilah Meiressey, Merlin O'Connor, Connor McDoyle, Tristan Ternoff
Language(s): English

The Republic of Efege is a small island nation of 1,657,304 people, mostly consisting of the native Efegean who have inhabited the island since before the Stone Age era. A land of mystery and magic, with thick forests covering much of Efege's hilly landscapes. The nation is known for its distinct folk cultures, with many people following the religion of Kiinoneism. The central belief of Kiinoneism is of a god known as 'Amoto' who sculpted the landscapes and gave life to the world, before slumbering deep below the ocean, his head becoming the island of Efege. As a result, Kiinoneists believe that Efege holds great power beneath the surface of the island, giving magic to the roots of the trees that tap into Amoto's mind.

The capital city is St. Ceolin, home to over 534,000 people. The city is known for it's clean and quiet streets of historic back alleys and cobbled pathways. It is also the only major city in the nation, with the other million people spread out in villages and hamlets across the hills and valleys.

Out of the blue in early November, Efege's largest broadcaster, TRE (Telefis Radio Efege) announced it's interest in the World Hit Festival. With little to no international presence and very little music industry to speak of, the decision seemed a little strange to those who happened to stumble upon the announcement. Those in the World Hit Festival community were no more excited to see Efege's debut, yet another nation in the list of those who had come before. People were not particularly sure what to expect, especially considering very few had received exposure to any Efegean music before; let alone culture. For TRE however, it was an exciting new way to showcase Efegean culture, as well as attempt to compete with the streaming services that had slowly chipped away at TRE's viewership for years. The announcement drew little national interest. With many never having heard of the contest before, let alone wanted Efege to compete, it seemed there was no hype for Efege's debut. However, for the TRE delegation, it meant there was nothing to lose, no one to disappoint.

Finding an artist proved easier than initially thought. Despite lack of budget straining the search, connections meant the delegation were easily able to find a small band to perform on the international stage. Multiple in fact. However, above all others, New Darling's stood out from the pack. Though the three-piece seemed past their prime, with a string of successes from 1998 - 2004, their songs had resurged on social media in recent years, leading to a renewed interest to the band. Beyond that however, the process was extremely simple. It was decided upon that there would be no national final, writing camp or even sessions to help toward the creation of the entry, with the song being taken straight from the New Darling's most recent album, "STILL", released early 2024. After a few discussions with the board, the song chosen to represent Efege was "Linger". However, public reaction (though limited) was negative upon the announcement of the entry. With accusations of laziness, the band went back to the studio, rewriting and recomposing the song with prominent Efegean songwriter Merlin O'Connor to become it's final form, "Linger (Madness)". The new revamped version of the song was released on streaming platforms 2nd of December 2024, with the music video released a week later on the 9th.

New Darling are a Efegian band consisting of vocalist and violinist Lilah Meiressey, drummer Connor McDoyle, and guitarist and flutist Tristan Ternoff. Formed in 1998, the band originally featured another member Martyn Lewis. In the red light district of St. Ceolin, Lilah was originally a singer at the Swinging Arms by day, and a sex worker by night. It was only when the trio of Martyn, Connor and Tristan found her singing in the Swinging Arms that they invited her to try sing with the band - who at that point were scouring the city for a vocalist. After a few jam sessions, the group decided to make it official, forming New Darling in Connor's rented out garage space. After which, the band played in various pubs and live houses, eventually being discovered after performing at St. Ceolin's largest festival, Cheverre Noir. The band debuted later that year with the single 'Yours Only'. The single slowly but surely climbed to #2 on the charts, the beginning of a streak of top 10 singles and albums. The group rose to prominence for combining contemporary pop with Efegian folk music, appealing to a wide range of Efege. Throughout their early career, Martyn Lewis struggled with addiction, a frequent on tabloid front pages and in rehab. It eventually culminated in his death in 2004, leaving the band with one less member. After a string of albums under Efege's largest record label, Ol' Henry Records, the band chose to leave the spotlight following his death. Since then, the band has released a few albums sporadically between 2003 and now, though released independently and with far less success. Despite this, their output remains critically acclaimed regardless, perhaps even more so without the restraint of a record label to hold them back.

"Linger (Madness)" is a song by Efegian band New Darling, representing Efege at the 77th World Hit Festival. At 5m07s long, the song is a pop-folk song that harnesses New Darling's signature sound, mixing Efegian folk and pop seamlessly. The song is sung from the perspective of someone that can have it all, except for the one they truly love, who seems to keep slipping from their fingertips. Like a smell that lingers in the air, taunting them. The lyrics are written by lead singer Lilah Meiressey and Efegian songwriter and composer Merlin O'Connor, whilst the music is additionally composed by Connor McDoyle and Tristan Ternoff. Whilst the original adaptation of the song features a stripped back and acoustic instrumental, "Linger (Madness)" features an array of synths and strings that fill the soundscape with a peaceful yet haunting ambience, showcasing Efegian culture in the process. Originally on the band's early 2024 album "STILL", the song was rearranged for the World Hit Festival, a decision received positively by Efegian fans. Since the song's release, it has become the band's highest charting single since 2005, peaking at #6 on the Efegian singles chart, with little sign of slowing down in weeks to come.

The band were stood centre stage, Lilah in the front, flanked by Tristan on her right, holding a guitar and Connor slightly behind on the left, on the drums. As the music begins, the soundscape becomes flooded with synths. Upon the black LED screens, fuzzy snow begins to fall slowly down. The band are left in the dark, their silhouettes traced by the spotlight dimly lighting up into view. The camera pans down as the bagpipes begin to play, white spotlights at the back of the stage billowing outwards as Lilah begins to sing, alongside the backing singers, placed far off in the back corner of the stage. The camera then fades to black as the verse begins.

The camera zooms into Lilah as she is lit up by a white spotlight. A filter is placed on the camera so that the scene is slightly blurred, with sparkles and light emphasized. Lilah sings directly into the camera, softly whispering the first lines of the song. Her black hair is shoulder length and straight, parted in the middle, whilst she wears a white lacy camisole dress that falls elegantly to just above her knees. Upon her wrists are white ribbons, adorning her wrists with two longer strips. Her makeup is natural, with slight shimmers on her cheeks and eyelids, highlighted by the camera filter. The other two band members wear slightly oversized white shirts with loose black trousers. For the first verse, the camera shots are close and intimate, matching the smaller scope of the music, shifting from each of the band members. However, at the last line, the camera zooms into Lilah's lips, before slowly shifting up to include her eyes before fading to black.

All the beauty in the world
All I ever want
I ever need
But I follow your scent
Wherever it may lead
Aromas linger on my lips, a taste of what I've not

Upon the LED screens, the image of snow falling and waltzing down on black is continued. For the chorus, the camera shots become far more zoomed out, display the minimalistic yet beautiful aesthetics of the stage, Lilah almost glowing centre stage as she begins to raise her voice a little more. Her voice is laced in melancholy, reverberating throughout Rugenia's large arena. Despite the lyrics, she has a slight smirk on her face, exuding confidence as her hands clasp the microphone stand, swaying slightly to the newly introduced beat of the song. The camera shots remain slow, fading from one to the other in an almost lethargic manner. The staging is simple, focussing more on conveying the ambience of the song, transporting the viewer into a snowy field in Efege on a wintery night. As she sings the line "Lingering", her right hand slowly falls from the microphone stand, the camera following it before fading into black.

By the next shot, the instrumental begins, with wide panoramic shots of the stage becoming the norm. Lilah moves slowly to the music, her hands elegantly twirling in the motions of the wind, her eyes closed as she allows herself to lose herself in the music. Smoke begins to slowly flood the stage, adding yet another layer of ambience to the performance as it begins to wrap around the band like a blanket of snow. The backing singers begin to play their violins in the instrumental, the camera giving them some ample attention.

Don't you know I'm all for you
I'd do anything
what do you want, from me
Everything, everything I get
But you slip through my fingertips
Lingering

Comparably, the camera shots become a little more dynamic for the second verse, playing with angle as the pan around Lilah who sings with a little brightness in her voice. The shots also begin to blend more from one to the other, overlaying different shots. Lilah's eyes wander off into the arena, her striking blue eyes now shimmering in the light as they gaze off into the distance, longing for something, someone. Her hands then clutch her heart, as she sings the final line, her eyes slowly returning to the eyeline of the camera, now zooming in towards her once again.

You are what I am to others
Unobtainable
Just running wild
I'm running and running
Leaving a trail, following yours
They think I only dream of freedom, but I dream of you

For the final chorus, the spotlights begin to shimmer in time of the arpeggiated synth now playing in the instrumental, creating a hypnotic light effect behind the band. The LEDs begin to display the lights of a city behind the falling snow, in pale yellows and reds and blues, similar in appearance to the snow creating a landscape of coloured lights that ebb and flow to the music. Lilah's once confident smile is replaced by a bittersweet one, her eyes forlorn as they trace the audience. Her voice also becomes slightly strained with emotion, as if singing in desperation, one last push to convey her feelings. Her hands clasp the microphone tightly at first, though slowly loosening them as if coming to terms with the nature of the relationship she sings about. Resignation and defeat. Desperation transforms to loss, before being masked by her confident smirk once again. She sings the final line, closing her eyes, pulling her mouth from the microphone as she extends the note.

Don't you know I'm all for you
I'd do anything
what do you want, from me
Everything, everything I get
But you slip through my fingertips
Lingering

She belts out "what do you want", and from the ceiling faux snow begins to fall, surrounding the band in a flurry of white. The effect garners a small applause from the audience, adding a fitting conclusion to the simple yet elegant performance. Lilah steps away from the microphone stand turning towards the back of the stage for a moment as she lets the music play on. Following her moment, Tristan begins his guitar solo the camera panning around him as the arena becomes bathed in a soft white hue. The LEDs on the back of the stage and the stage floor itself slowly fill up with white also, becoming a pure white canvas. After allowing him his moment, Lilah returns to the microphone stand wistfully, singing the final lines of the song with a steadicam slowly zooming in towards her amidst the flare of white light. She waves her hands to the music, letting her ribbons dance as they create waves of white to the command of her hands. She sings the final line, a resolved look upon her face as a smile stretches across her lips. As her voice trails off, cracking slightly, she pulls herself away from the microphone as the song draws to a close.

What do you want?
Oh, oh

What do you need?
Don't leave me like this

As the song ends, the music slowly fades out, Lilah and the band swaying to the song in its last moments. The white that once covered the LEDs slowly fades away, turning into white snow as it drifts out of view. The lights also slowly fade out, dimming one by one into black eventually leaving the band in complete darkness, aside from a spotlight facing the front, outlining the band once again in white, the rest a silhouette.

The song finally finishes and the crowd cheers politely for the debutants. The band look content, looking to one another in reassurance as they say their thank yous quietly, bow and putting the hands together as they leave the stage.

by **Estogium** » Thu Dec 12, 2024 6:10 am

02 Estogium
TOULOUSE - "Insanity"
Tune: YONAKA - All Fired Up
Lyricists: James Patel, Aaliyah Aatkani, Scott Williamson • Composers: James Patel, Aaliyah Aatkani, Scott Williamson
Language(s): English

Britonish band, TOULOUSE: TOULOUSE will represent Estogium at the upcoming World Hit Festival in Rugenia's Maregrad...

Britonish-language band, TOULOUSE, is set to represent Estogium at the upcoming World Hit Festival in Rugenia. The band, while from Britonisea, is majorly popular in Estogium but will be sending an English banger to see if they can win Estogium's first song competition trophy....

All members of the band were wearing orange and looked like they were ready for war. Aaliyah, the vocalist in the band, was standing in the middle of the stage while the two men flanked her, one with a guitar and the other one on the drums. While the music had much more going on that just those two instruments, those were the main instruments used and it didn't really matter to the audience. The colours in the background consisted of similar orange tones, red, white and black.

(Insanity)
I’m no longer loved,
The world’s enemy, the legacy’s crumbling.
A rose with sharp thorns, lethal in disguise,
No one wanted to cross me.

Sweet to my face as you wield the knife,
Laugh as I’m left to bleed.
Playing tactics shrouded with jealousy,
Your game won’t work with me.

Aaliyah was singing with the microphone on a stand. As we hit the chorus, the colours on the stage formed stripes that was moving up and down along the corners of the stage and the triangular arch. The cameras did most of the moving while Aaliyah was standing in the middle. Her vocals were impressive and she didn't miss a chord.

Do you think you’ve got the upper hand now?
Enjoy the moment, I know it won’t last long
Did you think this was gonna be easy?
I won’t let my crown go, oh no

I’ll be there in the shadows,
Waiting for my time to ambush.
Like the villain in all your nightmares,
I’ll let the paranoia drive you to insanity.

At the end of the chorus, she took the microphone (which had a lead) off the microphone, holding the stand in one hand and slightly bending over. The shot was a close up on her face, she was initially looking down on the ground before she looked towards the camera. As she sung "1 2 3", those numbers adorned the backwall with a establishing shot of the venue showing this.

Washed up on shore, you came with no warning,
Think you could conquer me?
I know what people like you are like,
Calculated, 1-2-3

Wolf in sheep’s clothes, no, don’t go too close
Thought you had everything.
I could see your plan, it was clear as day,
You weren’t fooling me.

Do you think you’ve got the upper hand now?
Enjoy the moment, I know it won’t last long.
Did you think this was gonna be easy?
I won’t let my crown go, oh no

As we hit the pre-chorus again, she was now found in the middle of the stage without the microphone stand at all. There were some shots of the other two band members enjoying the rhythm of the song, swaying as they played their instruments with joy and enthusiasm.

I’ll be there in the shadows,
Waiting for my time to ambush.
Like the villain in all your nightmares,
I’ll let the paranoia drive you to insanity.
I’ll be there in the shadows,
Don’t blink cuz you might miss me.
You won’t know when I’m coming for you,
Love seeing you at the brink of despair.
Oh, insanity.

At the end of this chorus, the camera effects went a bit crazy - with a mixture of colour grading effects, split screens mixed with flashing white lights and crazy camera cuts. During this bit, the two men were singing the backing vocals as well to add to the texture of the song. Aaliyah darted around the stage - bouncing from left to right - from one of the men to the other while interacting with each of them.

Wanna hear you beg for me,
You’ve got to surrender.
And then acknowledge my way is the only way.
A rule you can’t change,
It’s written as fate,
Only I will prevail

I’ll be there in the shadows,
Don’t blink cuz you might miss me.
You won’t know when I’m coming for you,
Love seeing you suffer...
I’ll be there in the shadows,
Waiting for my time to ambush.
Like the villain in all your nightmares,
I’ll let the paranoia drive ya
To insanity!

To insanity!
To insanity!

During the slower bit, Aaliyah returned to the middle of the stage while the two men stood up from where they were, looking into the microphone. Some fog appeared behind them before they went into the final chorus. At the end of the song they all came together, with them saying "Thank you! Remercio teis!"

by **Kalosia** » Thu Dec 12, 2024 9:01 am

XX Kalosia
Ria Navaro - "Lë feľu k'au amatu"
Tune: sanah, Daria Zawiałow - Eldorado
Lyricists: Maria Navaro, Martina Simonťeli • Composers: Maria Navaro, Martina Simonťeli
Language(s): Kalosian

For the first time in 16 editions, RTVK decided to select their entry for the World Hti Festival through a national competition. This time, the broadcaster introduced a new format which, in addition to its role as a national preselection, also serves to introduce and promote up and rising talent on the Kalosian music scene.

The new show was named Incendius, which is Latin for "of fire". Conceptually, this format is inspired by the phrase "baptism of fire", which refers to the phase of initiation that one must undergo in order to enter a new, successful stage in their life. The name of the international football tournament for national teams making their debut on the world stage is also named after this phrase, and follows the same logic. The design of this preselection is consistent with RTVK's current approach of using the World Hit Festival as a launchpad for smaller artists, while the IBA sister production the WorldVision Song Contest is reserved for established names.

For the inaugural edition, 10 artists were given a chance to show Kalosia what they've got. Each of them performed one song, which they have written themselves or co-written with others. Here are the 10 entries that competed:

01 "Saparirë" — Demetrio
'To know', to the tune of Go Like (D&B Remix) — Fox Stevenson
Final result: 2nd place with 27 points
Demetrio is the stage name of Fabian Demetrio Vaľoti. He is 28 years old and hails from Altan. He has regarded music as his hobby since his teenage days, but only recently has he decided to take a leap of faith, leaving his day job in accounting to pursue a music career. His song is about navigating young adulthood and taking ownership of one's life.

02 "Lë feľu k'au amatu" — Ria Navaro
'The son I loved', to the tune of Eldorado — Sanah
Final result: Winner with 28 points
Ria Navaro, whose real name is Maria, is a 27-year old aspiring indie pop artist from Palmañë. She started off as a poet, expressing her creative side through written verse. At one literary event, she met Martina Simonťeli, a musician and songwriter, who proposed to collab. Their Incendius entry is the very result of that project, and tells the story of a woman yearning for a foregone lover.

03 "Dežembru" — Žens
'December', to the tune of Zanim osiwiejȩ — Hałastra
Final result: 6th place with 17 points
Žens is a rap duo consisting of Basil Ženoves and Rian Ženero. Basil, 23, is a native of Altan while Rian, 24, hails from Monterra. The two met while pursuing their studies at the University of Altornia. Their artist name is, as you can tell, inspired by their similar surnames. They will be singing about the cold air of December, and the start of new beginnings.

04 "Inarestabilë" — Och Vi Ska
'Unstoppable', to the tune of Mr. Hollands Locust — My Son The Hurricane
Final result: 10th place (last) with 13 points
The name of the band Och Vi Ska is Swedish for 'and we shall' and also wordplay on their main genre, ska. Their are quite experimental with their music, and are known for their wacky live performances—in fact, they always go out of their way to play live whenever possible. Their song, "Inarestabilë", is a chaotic tune with themes of freedom and being indomitable.

05 "Driftin'" — Annexus
to the tune of Dni — Porsche Boy
Final result: 8th place with 17 points
Annexus is the one-man creative project of Adrianu Tamari, a 25 year old rapper from Monterra. He can be described as your typical guy; when he is not in the study he is at the club, smoking a cig, or talking about cars with his friends. Sometimes all three at once. His entry describes his ideal night, driving down the city streets with his passenger princess.

06 "La dulťë vitë" — King of Diamonds ft. Marlenë Feruťë
'The sweet life', to the tune of Amatimies — JVG
Final result: 3rd place with 26 points
King of Diamonds is a whimsical duo from the seaside town of Vimarë. For this project, they have teamed up with Marlenë Feruťë, a 64 year old retired model and socialite. She, in fact, had a brief stint in music in the late 1980s. Although it didn't quite take off, King of Diamonds have sampled her song in this entry and she has agreed to reprise her role.

07 "Në konošu tu" — Martin Terero
'I don't know you', to the tune of IJskoud — Nielson
Final result: 7th place with 17 points
Martin Terero traces his roots to a village near Altan, but himself is Monterra born and raised. He was a theatre kid, and started his career working in theatres and starring in musicals. Only recently has he mustered the courage to try something new and attempt to make a name for himself in the world of pop music. His Incendius entry is ice cold both musically and lyrically, and tells the story of a man who no longer recognizes his lover.

08 "La nostre" — Helen's Boys
'Ours', to the tune of Ceòl Dannsa — Valtos ft. Donnie Munro
Final result: 9th place with 15 points
Helen's Boys is a folk-electro trio from the town of Santalenë (Sainte-Heléne). They mainly sing in Cafalonesque, and their song here is no different. In fact, it will be the only competing song to not be performed in Kalosian. Their song "La nostre" has themes of pride and prized possessions, and its easy to interpret this to refer to their cultural heritage.

09 "La kaľë solë" — Lina Sal
'The lonely path', to the tune of Sydämetön — Aliisa Syrjä
Final result: 4th place with 25 points
Lina Sal, real name Lina Salvatorë, is a singer-songwriter from Kasin. She released her first single at the age of 18—seven years ago—and has built a bit of a name for herself at a local level. She has had the honour of being show opener for a few domestic and international artists on tour in Kasin, but is yet to be a household name nationally. Her song, "La kaľë solë", tells the story of a brave young soul who takes the 'lonely path' venturing into the unknown.

10 "Spetatori" — Milan Sanǧovani
'Spectators', to the tune of Gdzieś wyjedźmy już — Kuban
Final result: 5th place with 24 points
Today, Milan Sanǧovani is best known among rap circles. But it wasn't always like that. The 31 year old started doing music as a hobby in 2012, when he was 19, uploading instrumental beats he made to the internet. He was an amateur, but over time gained a small following. As he started putting vocals into his creations, his following grew, and eventually became a rap artist. His entry is a love song where he assures his lover that all those other people are just spectators in their love story.

At the end of the night, all 10 of them came home proud that they have done their best in front of the Kalosian public. But one artist also earned the right to represent their country on the international stage. Ria Navaro, whose real name is Maria, is a 27-year old aspiring indie pop artist from Palmañë. She started off as a poet, expressing her creative side through written verse. At one literary event, she met Martina Simonťeli, a musician and songwriter, who proposed to collab. Their entry is the very result of that project, and tells the story of a woman yearning for a foregone lover.

In Maregrad, Kalosia was drawn to perform 7th and last, after the entry from Britonisea. Oftentimes people want to avoid performing first because they are too intimidated to set the tone for the night, but going last can be daunting as well at times. You'd want to end on a high note. Especially performing after a WHF powerhouse like Britonisea.

For the big night, Ria would be joined by Martina on stage. Both of them would be dressed in folk-inspired outfits, that is to say they were both wearing loose weight outfits with blue embroidery. As the song began, the stage was dimly lit and the camera closed up on a figure who was diligently playing the guitar. Soon the spotlight shone on her, revealing that it was Martina, the entry's co-author. The camera then moved away and put Ria into the frame, just in time for her to sing.

El la žentë konoše
La muľerë dëla viľa
Pasu la señora
Tre persone sta segendu

Ria had done her beautiful long brown hair into a braid for this live performance, in contrast to letting it down during her national final performance. She sings wistfully into the camera, telling her story amidst a gloomy staging. The LED screens in the background were showing dark mist.

Amiravu la garsu
Ed il mi amiravë
Mi a regalatu deli flori
Sotu la lunë avamu baľatu

After she began setting the scene in the first few lines of the song above, Ria has now introduced us to not only one of the most prominent women in her village, but also her son—the son that Ria loved in this story. At this point, Martina, who was also a backing singer, provided some muted vocalizations, repeating the last line of the previous part as the camera panned over the stage on a wide angle. And then there was time for one more verse before we came into the chorus.

Ulë fridu dëla notë
Enkontramu le nuve
Aťekatu dëla nebla
Il a vanitu sin unë trašë

And now we know why Ria talks about her love interest in the past tense. Where did he go? In an interview, Ria and Martina leave it open for interpretation, saying that this is a general illustration reflecting an all-to-common phenomena of people leaving our lives abruptly and without warning, for many different reasons. "In the lyrics he is swallowed by the fog, and the fog could represent the shroud of death that has taken his life too soon, or it could symbolize some kind of personal insecurity that compelled him to walk away in shame. Either way, the person left behind experiences loss, and she feels grief." As we enter the chorus, Martina is now next to Ria. The two of them are standing still, while in the background screens, the dark clouds occasionally flash, emulating thunder. In the repetition of the chorus, the screens then show wind-like dark motion graphics that move from right to left, as if a cloud of smoke swiftly passing by. Throughout this, the two have stern faces, although Martina's expressions come off as more sympathetic, as if comforting a friend.

Era lë feľu k’au amatu
E luj ja n’au oľatu
Ma or il es andatu, ovez sej?
E ǧa, gardu tristëmentë
Al sol a l’orižontë
Sta përsu komë la mentë, komë noj

Era lë feľu k’au amatu
E luj ja n’au oľatu
Ma or il es andatu, ovez sej?
E ǧa, gardu tristëmentë
Al sol a l’orižontë
Sta përsu komë la mentë, komë noj

The chorus passes by pretty fast, and Martina picks up her guitar again and plays as she steps away. Yet these next verses pass by even faster. Ria takes a few steps forward and continues to sing, making metaphors as she recounts the moments that she lost that woman's son whom she so dearly loved. In the background screens, despite no mentions of water in these lyrics, there is a depiction of the ocean with its navy-blue water, making huge waves that are bound to rock even the largest of ships.

Lë trenu dëla mežanotë
Es un vjažu sin direžio
Eraz miu amurë un soñu?
A matinë, unë ilušio

Ulë fridu dëla notë
Enkontramu le nuve
Aťekatu dëla nebla
Il a vanitu sin unë trašë

The camera closes up on Ria's face as she sings this next part with a face that clearly expresses sadness.

Mi lašatu dële memorie

Again, the thunder visuals flash, and not only does the seawater in the background turn black, but the waves also become more aggressive. Ria and Martina are a few meters apart, but they slowly take steps towards each other as they sing, eventually meeting. Martina extends her hand and Ria holds it as they continue to sing.

Era lë feľu k’au amatu
E luj ja n’au oľatu
Ma or il es andatu, ovez sej?
E ǧa, gardu tristëmentë
Al sol a l’orižontë
Sta përsu komë la mentë, komë noj

Era lë feľu k’au amatu
E luj ja n’au oľatu
Ma or il es andatu, ovez sej?
E ǧa, gardu tristëmentë
Al sol a l’orižontë
Sta përsu komë la mentë, komë noj

Now the two of them slowly look upwards at around their 10 o'clock direction, as if staring at a specific member of the audience. In fact, they were looking into a spidercam positioned there, which quickly becomes the camera angle used for this next part. The LED screen now displays blue-tinted mist, and the lights in the arena turn blue too. Ria and Martina stand next to each other like in the first chorus, and as they sing this next part, the spidercam slowly approaches them.

Keru voš, o Señora
U kalëz kazë miu karu mi speta?
Keru voš, o Señora
Kalëz udrešu skrivu a mia letera?

The camera angle changes to a fixed one in front of the stage, and the two of them turn to stare at that one too. They take a few steps forward.

Keru voš, o Señora
Torneraz a mia vitë miu amurë?
Keru voš, o Señora
’sëz tropu tardu per trovarë l’amurë?

Now the stage lights briefly go dark as the background screens also go black bar a line of white text that says, in all caps using a bold, italicized, sans serif font: "WHERE ARE YOU?" and then right afterwards the screen shows, in rapid succession, a video collage of various photographs taken at the seaside village of Puartonuavo over the course of several decades. This material was provided courtesy of the Lecirian Archival Centre at the University of Palmañë. This was meant to symbolize the various memories that are left behind by someone who passes, moves away, or otherwise disappears.

Era lë feľu k’au amatu
E luj ja n’au oľatu
Ma or il es andatu, ovez sej?
E ǧa, gardu tristëmentë
Al sol a l’orižontë
Sta përsu komë la mentë, komë noj

Era lë feľu k’au amatu
E luj ja n’au oľatu
Ma or il es andatu, ovez sej?
E ǧa, gardu tristëmentë
Al sol a l’orižontë
Sta përsu komë la mentë, komë noj

Now in this next part, Ria and Martina turn to each other, as if trying to comfort one another while simultaneously needing each others comfort. They hold hands and slowly get on their knees. At this point, photos are still being shown in the background while the stage lights are a warm golden colour.

Era…
Miu amurë k’es andatu, ovez sej?
E ǧa…
Sta përsu komë la mentë, komë noj
Era…
Miu amurë k’es andatu, ovez sej?
E ǧa…
Sta përsu komë la mentë, komë noj

As the song comes to an end, the final photograph shown in the background is photo of Ria with Kalosian model and actor Piatru Renaser—taking the role of the son—both dressed in folk clothing and with the houses of Puartonuavo in the background (it is Piatru's hometown). The spotlights on Ria and Martina dim as the song comes to a soft ending.

The audience cheers and soon enough the lights turn back on again. Ria and Martina get up and bow to the audience, and Ria says, "THANK YOU MAREGRAD!" Eventually they leave the stage as the hosts are shown once again. With all songs performed, there is only one thing left do: sit and wait as voters in 7 participating countries decide on the fate of our Kalosian performers.

by **Rugenia** » Sat Dec 14, 2024 7:22 am

Important Information:
We‘ll set the grace period to Sunday, 15th December 2024, 18:00 UTC. The listen along will still held tomorrow at 21:00 UTC in the Discord channel.

by **Rugenia** » Sun Dec 15, 2024 1:03 pm

The IC Thread of the WHF 77 is now open! Click here.

Year	Album Titles	Peak Chart Position (Efege)	Sales
1999	Cloudspotting	#3	42,497
2000	Love and Life	#1	60,300
2001	Love and Live (Live Album)	#1	45,285
2002	Eternal Summer	#1	68,062
2002	The Secret Garden (Compilation Album)	#1	83,062
2004	Songbird	#1	88,201
2009	Honey	#8	12,422
2012	Road To St. Ceolin	#14	9,311
2017	DUST: Live at The Maida Livehouse (Live Album)	-	-
2024	STILL	#5	4,291

Year	Singles Titles	Peak Chart Position (Efege)	Sales	Album
1998	Yours Only	#2	26,192	Cloudspotting
1998	Rivers	#1	35,009	Cloudspotting
1999	Forgive, Never Forget	#6	9,335	Cloudspotting
1999	The Story I Didn't Know	#1	41,655	Love and Life
2000	Contrails	#2	21,305	Love and Life
2001	Treat Me Sweetly	#1	74,564	Eternal Summer
2001	Eternally	#1	61,038	Eternal Summer
2002	Closer	#4	17,398	Eternal Summer
2002	Lost & Found	#1	79,030	The Secret Garden
2003	The Dream	#3	12,499	Songbird
2004	Songbird	#1	55,360	Songbird
2005	Dearest	#2	37,485	N/A
2009	O' Maha	#65	-	Honey
2012	How I Love You, Shirahynn	-	-	Road To St. Ceolin
2023	Reflection	-	-	STILL
2024	Linger (Madness)	#6	-	STILL

World Hit Festival 77 - Maregrad, Rugenia - Draft Thread

World Hit Festival 77 - Maregrad, Rugenia - Draft Thread

[WIP] Hakushiya's entry

06 | Britonisea | Marcello - Vertigo

02 | Estogium | TOULOUSE - Insanity

Who is online