AS1/AFT|76th Worldvision Song Contest|Rosario, Achaean Rep.

[Estogium]

#21 ESTOGIUM
Skye Alexandra-Lewis - "Pick Me Up"
Tune : Normani - "Motivation"
Language: English
Duration: 3:13


Estogium searching for a win 39 editions on: RVC have announced that they will make a concerted effort with Skye Alexandra-Lewis with "Pick Me up"!

Estogium returns to the WorldVision Song Contest hoping for glory once more. Estogium debuted at the WorldVision Song Contest 32 under "North Britonisea" but the nation has yet to win the WorldVision Song Contest. RVC are changing their ways...

Estogium is returning to the WorldVision Song Contest after taking a break after the nation finished 17th place at the 74th WorldVision Song Contest in Polkopia which was Estogium's worst result since the 58th WorldVision Song Contest, which was also held in Polkopia when the nation finished 17th with fewer points than the 74th WorldVision Song Contest. Estogium is constantly re-evaluating its selection process. The nation is starting to run out of ideas for the WorldVision Song Contest with the nation not having scored a win in the 28 previous attempts in 39 iterations. RVC has said that they're going to try their hardest to push a win up until the 80th WorldVision Song Contest by analysing the music listened to across 20 markets to see whether the nation can find the right formula to win the WorldVision Song Contest - it will certainly be a very interesting time for Estogium at the WorldVision Song Contest.

The last time that the nation troubled the top was at the 61st WorldVision Song Contest when Estogium placed 3rd place with 98 points. Despite 2nd being the highest the nation had placed, this was the closest to a win Estogim had ever been with the nation being only three points below the eventual winners; Izmedu. Since then, Estogium's results have been falling. Estogium managed to stay in the top 5 the edition after the 3rd place before falling out of the top ten thereafter. There was a slight resurgence for Estogium in WorldVision Song Contest 71 as the nation finished 10th and then finished 9th when Estogium hosted in The Estograd. Their neighbours, Britonisea won in Estogium winning their 5th title with RVC being unsure as to how the nation does it despite the relatively similar music markets. RVC and Estogian fans still are salty over Nightom's WorldVision 55 win, with Estogium expected to be the first ABEN nation after Britonisea to win...but that didn't happen. 22 editions on, Estogium is still trying...

This edition, Estogium is returning with young 22-year-old singer Skye Alexandra-Lewis who will be singing "Pick Me Up" which is a song about a woman who is being enticed by a boy - a simple, rather universal story of someone singing about someone else that they are attracted to. Skye thinks that this is an advantage as everyone can relate to a simple feeling that most of us are bound to have - lust or love for someone. With this song, RVC are hoping to score some points to put Estogium back on the left-hand side of the scoreboard, warning nations that the nation is still in contention to one day take the title. Skye Alexandra will be performing with a large set and a few dancers on the stage which will be shown in the performance...

---

It was time for Estogium to perform on the stage. The nation before had finished up with the postcard for Estogium now rolling on the screens inside the arena. Skye Alexandra-Lewis quickly ran on to the stage as the Achaean stage crew bought on different objects and sets. They wanted to set the scene in a basketball rink, an outdoors one and so they had bought on set a basketball net and large fences which they put on either side of the basketball net. The floor would also be used too to build the set but that would be shown later on in the performance. As all the crew left and the dancers flooded the stage, Skye realised that it was time for her to get ready to perform on the stage. She walked towards the audience where she would start off. The dancers started to climb the fence, with them becoming a feature for the entry at a later time. The audience cheered before being silenced because of the pre-entry darkness.

Skye Alexandra-Lewis starting off "Pick Me Up": Skye is hoping that she will win for Estogium as she starts off the song rather energetically.

At the time the song started, Skye hadn't fully reached the destination where she was going to be for the first bit of the song. The stage lit up into pink - not too childish pink, though...rather sophisticated. The backing singers who were offstage came in with the singing of the chorus to introduce the music. The camera was out of focus as we saw the beautiful Skye Alexandra-Lewis walking towards the camera with the camera slowly gaining focus. As the camera moved into focus you could see the pink and silver she was wearing which complimented her skin tone. She was smiling at the camera as the backing singers sang, twirling her hair at the same time too...

(Come and pick me up
And let's go drive around to yours,
Tired of being alone.
And baby don't you fuss,
I don't mind the state of your house
Just as long as I am with you)

As she started to sing the first verse, she threw her hand out like in the picture that you can see above. Another camera joined her as she did this from a low angle as she sang. You could hear the audience cheering slightly as she started singing. The fog machines were on for the past 20 seconds, but slowly dying down now that the song had started. As she started to sing the song, it was like she was singing to her friends, or speaking to them about whatever as she seemed to be really comfortable on the stage...

Singing to old jams in my PJs
In my head, a packed audience
I'm a star - fans love me.
Tryna forget the girl I'm really

Can't entertain myself for too long
I get bored, I need attention
Need your love - your affection
I know you think 'bout me so baby

Get into your car,
Find me, I'll send you over my address oh
This won't be something you regret

The camera slightly zoomed out of her as we saw some men coming her way in the distance, slightly blurred out. Everyone would have noticed these tall, rather athletic looking figures coming up behind Skye Alexandra-Lewis but she still managed to keep people's eyes on her as she twirled around and bumped her butt from side to side before cheekily looking at the camera. Lights around the arena were flickering during this bit, especially as the fog started clear out as the pink was cut down right before the chorus before it was pinker in intensity for the chorus.

Come and pick me up
And let's go drive around to yours,
Tired of being alone.
And baby don't you fuss,
I don't mind the state of your house
Just as long as I am with you

Come pick me up ooo
Come on baby,
Come pick me up ooo
Eight p.m I'm ready
Just as long as I'm with you

Skye on stage: Skye gets low down with the Achaean dancer

For this section of the song, male dancers joined Skye Alexandra-Lewis on the stage. The women who were already on the stage are from Estogium but the Estogian delegation rather used the dancers that they had in Achaean Republic rather than fly over a large delegation to Rosario. The team in Achaea fit well into the song and were happy to help out the Estogian delegation. At this point of the song, the camera swirled around what was happening on the stage as the dancers surrounded her as she stood tall over them...

For some reason you like the real me
That box ticked - like how you feel me
You've been waiting for months,
Maybe you're more than just a fuckboy

I'm bored baby, giving you your chance
Let me test you, let me ride ya
From angel to pigeon,
Still flying high, baby still aiming high

Get into your car,
Find me, I'll send you over my address oh
This won't be something you regret

The backing dancers all slowly moved away before she was left with one who stood right behind her. In the section between the pre-chorus and the chorus when it was quiet all the lights flashed on and off before we saw that she was dancing with the man she was standing in front of for the chorus...

Come and pick me up
And let's go drive around to yours,
Tired of being alone.
And baby don't you fuss,
I don't mind the state of your house
Just as long as I am with you

Come pick me up ooo
Come on baby,
Come pick me up ooo
Eight p.m I'm ready
Just as long as I'm with you

It was now time for the bridge section and with that Skye walked out of the current shot with the camera fading to black...

All together now: As Skye Alexandra-Lewis finishes the song, she is joined on the stage with her female backing dancers...

During this section, the camera slowly faded in and founded out on the women in the back who were on the fences that were placed on the back. The women were enjoying themselves wiggling up themselves like it was their last chance to do just that... There was a camera effect used here as well, black and white were used as the pink was seeped away. Though this changed as we went back into the chorus...

Just as long as I'm with you

The camera then backed out and you could see all the women who were behind Skye Alexandra-Lewis all dancing the same moves as her with her doing a more watered-down version due to the fact that she was also singing the song too. Skye Alexandra-Lewis looked as though she was burning calories whilst singing and dancing as she looked like she was going through a workout and yet still remained fiery and saucy as before. She really looked like she was enjoying herself on the stage and the dancers behind her all looked like they were too. The pink was the same all around with the lights and the screens all showing the same pink theme...

Come and pick me up
And let's go drive around to yours,
Tired of being alone.
And baby don't you fuss,
I don't mind the state of your house
Just as long as I am with you

Come pick me up ooo
Come on baby,
Come pick me up ooo
Eight p.m I'm ready
Just as long as I'm with you

At the end of the song, sparkers shot into the air with an almighty loud applause. Skye Alexandra-Lewis bowed and blew a kiss to the audience, "Thank you, Rosario! Vote 21! Thank you!!!!" she then ran off the stage for the next nation to perform...

[North Arenia]

22 | North Arenia
Lena Ruban - “My Lord”
Britney Spears - Brightest Morning Star
Music & Lyrics - Lena Ruban


Lena Ruban bursted onto the scene as a crossover Christian singer 2013, with her debut album, "Sign From Above" - which to date is Besen's best selling Christian album of all time. It debuted at #2, with 290,000 sales. To date, it has sold over 800,000, making it Besen's 56th best selling album of all time. She had great success with the album, and went on a tour, which grossed upwards of 9 million AUC, one of the highest of 2014. She then took a break, and said she was in the process of writing her second studio album, collaborating with some of the country's most acclaimed writers and producers. "Rainbow" was released in January of 2015, and became her first number one record. It spawned three top ten hits, "After The Rain", "Smile" and "Lord's Light". The latter is certified platinum, after having sales of more than 500,000. She embarked on another best selling tour, this time having arenas as venues. She was nominated for 'Best Pop Recording' at the BMTA's, for "Smile", which she eventually won. Her third album was called "Lena", and was released in 2017 without any singles beforehand, landing her another top 3 album, although it is her worst performing album. She received universal critical acclaim for the project, and eventually won the 'Album of the Year' award at the 2018 BMTA's. Since then, she has been on tour promoting the album, and writing new music.

Controversially, Lena spoke out and supported independence for North Arenia earlier this year, as it is her home, and a huge base for her in terms of loyal fans. She has since been the subject of many headlines who say her political opinions are too divisive for her audience, and she should stick to singing. She hit out at journalists in 'Besaria Tode' magazine, where she called them hypocrites who hide behind their articles. Up until Worldvision news came about, she stayed completely off the wire, waiting to make an announcement.

Lena wrote "My Lord" by herself, and produced it by herself as well. She says her inspiration was "Looking at myself a bit... I wanted to make a song that my kids can listen to in a few years and know that their mother really was saved by the spirit of God. I think the message is quite powerful, and the lyrics I wrote aren't too restrictive and I think a lot of people can probably really relate."

---

You are the stars lighting up my sky
You are the stars lighting up my sky

Forever in debt, to my Lord above
And everyway he shows me his love
He has my heart until the end, I know that
So all my fears have gone, I am okay
And when it gets hard
He listens to my soul
He catches my tears, so I’m
Indebted to Him, I feel glorious
I wish it could always stay the same

I’ve finally found my way
I’ll be up there someday
And He knows I’ll wait
He knows exactly what to say

He’s my one true saviour
The knight to come and save my heart
I owe this to my Lord
He’s my one true saviour
The knight to come and save my heart
I owe this to my Lord

You are the stars lighting up my sky, it’s incredible
I owe this to my Lord
You are the stars lighting up my sky, it’s incredible
I owe this to my Lord

When my dad passed, he held me strong
I was no longer astray
He left me fulfilled, I carried on again
I know dad is watching from above

I’ve finally found my way
I’ll be up there someday
And He knows I’ll wait
He knows exactly what to say

He’s my one true saviour
The knight to come and save my heart
I owe this to my Lord
He’s my one true saviour
The knight to come and save my heart
I owe this to my Lord
He’s my one true saviour (You are the stars)
The knight to come and save my heart (Lighting up the sky)
I owe this to my Lord (You are the stars)
He’s my one true saviour (Lighting up the sky)
The knight to come and save my heart (You are the stars)
I owe this to my Lord (Lighting up the sky)
He’s my one true saviour (You are the stars)
The knight to come and save my heart (Lighting up the sky)
I owe this to my Lord (You are the stars)
He’s my one true saviour (Lighting up the sky)
The knight to come and save my heart (You are the stars)
I owe this to my Lord (I owe this to my Lord)

You are the stars lighting up my sky
You are the stars lighting up my sky

[Achaean Republic]

23 | Achaean Republic
Caserío y Lagaña - “Azaroso”
Tune: Residente y Bad Bunny-Bellacoso
Music & Lyrics - Antonio G. Villegas (Caserío), Miguel Lugo (Lagaña)

Antonio G. Villegas and Miguel Lugo were two best friends who used to do nothing else but listen to rap music, smoke weed, skip school, smoke weed, eat tripletas at the local bakery, smoke weed, and drive around in cheap Volkswagen hand-me-downs from Lugo’s father who owned a car repair shop in the outskirts of Hatillo, in Buonásera. Did I mention enough that they used to smoke a lot of weed, like every day? Their nigh-addictive consumption of marijuana notwithstanding, both best friends used to listen to the classic rappers of the 90’s: Tupac, Notorious B.I.G., Public Enemy, N.W.A., and of course remixed it with those Panamanian and Puerto Rican reggae singers that used to get heavy underground replay at parties in their neighborhood: El General, Vico C, DJ Rubén, and so on and so forth. The nineties were an important time for both friends, who started to immerse themselves into the intersection of sex, drugs, violence and music that will cause a great panic in Achaean society.

In the coming years, Villegas dropped out of school, while Lugo graduated high school and quickly took over his father’s shop, albeit reluctantly and not without him being given many choices he refused to take. It was evident that, despite the relative comfort he provided to his laid-back playboy style, legally. He still hung out with his friend Villegas, though not as much nor as expected as music will bring––if we were a DJ. While Lugo sold small doses of drugs in the street and moonlighted as a DJ at night, Villegas immersed himself in listening to people’s complaints about their cars and regurgitating them into a down-low beat.

Eventually, the friends reunited to make a reggaeton mixtape called, Dóblate En Cuatro y Déjame Quieto (Bend On All Fours and Leave Me Alone), which became a sleeper hit in the Hatillo region, to which Kuervo Records, an up-and-running Corola-based reggaeton record label, invited them to Corola for an LP. Their first, called Dóblate (Bend Over), became a hit in Achaea and Latin America, making headway into the growing power of reggaeton and the increasingly salacious tastes of Achaean youth. It was at this point where they gained their stage names: Villegas became Caserío (after one of the many run-down slums or public housing projects found in Achaea) and Lagaña (or eye crust…no discernible reason why other than the sheer ridiculousness of the name).

More than ten years into their career, they were invited to compete in Worldvision: La Final, to which they won in a landslide by international juries, even though the public was a bit more middling over their music. This earned them a not-so-long plane ticket to Rosario, an island where the group has always enjoyed performing, and where Caserío owned a summer home, a small escape in the mountains he purchased from a local farmer. Of course they’d jump on the chance to go to Rosario again!

In Rosario, the Achaean delegation knew they had to put on the best face and have to work with both Caserío and Lagaña’s funny-yet-frustrating antics. While the delegation booked a hotel for them, Caserío kept insisting on staying at his summer home. They attempted to limit both performers’ weed-smoking to a negligible amount (marijuana is legal in Achaea, albeit highly regulated) so as to get them to focus on their performance, but that didn’t stop them from calling a few friends. In their press conferences, they had to work through their pretty spotty English skills. And in this weed-infused mess and the munchies that followed over another sleepless night ordering at Burger King, “Azaroso” was born––a song that meant everything, yet nothing.

As the beat begins, a two beautiful ladies wearing short-short jeans and white tank tops have wrenches in their hand and appear to fiddle with a broken-down car on the right side of the stage. The blonde is smoking a(n electronic) cigar, while the brunette is holding down a wrench. The camera moves to see Caserío sitting in the driver’s seat, moving his head to the beat. He does the horns sign to the camera, gets off the car, slams the door shut, and begins singing while grabbing his crotch.

Y ahora se te baja la regla

And now that your period is coming

De tanto que perreas asqueroso por to’as las quinceañera

So much that you do a nasty twerk in every quiceañera

te gastaste hasta la otra melena

you wasted even the other wig

yo quiero que miren y que me sientan pena

I want people to look and me and feel pity

Una orden sin condena

An order without condemnation

Quiero bellaqueo intenso hasta las marineras

I want intense horniness all the way to the marines

Placer sale barato, pero me conecto en Facebook, tú tienes la idea

Pleasure can be cheep, but I connect myself to Facebook, you get the idea

Vete pa’l batey, perrea suelta

Come to the batey, and twerk loosely

siente algo que se te pasa por to’a la pierna

Feel something touching all your leg

In a moment, the mechanics start twerking to the rhythm while trying to fix the car. They drop down low and swing high, shamelessly, as if they weren’t competing for fame and glory and were simply hanging out at a chop shop on the Rosario slums. Another wide-pan shot of the stage reveals two shirtless black men with washboard abs drinking a cold pack of bear and talking, moving their hands to the rhythm. One of them is sitting in a foldable plastic chair, while the other one is a barber (don’t ask for his licensing) and is trying to make cool designs on his edges. Some would argue that this is a typical scene not just in the Rosario slums, but in all of Achaea, where pretty women and pretty men, regardless of color, just hang out in their own little worlds, drugs notwithstanding. Behind Caserío, the shirtless, sweaty men get up and suavely walk towards the twerking mechanics, strike up a conversation, and begin the perreo: the ladies in the back, and the men in the front.

Nos vamos pa’ Corola, ni una lagaña seca

We’re leaving to Corola without a dry eye crust

Quién te crees que tú eres, yo te hablo y tú no tiemblas

Who do you think you are, I talk to you and you don’t tremble

(queres probar mi jalea)

(You want to taste my jam)

Quiero chupar del cuerpo toda tu esencia

I want to suck from your body all the essence

Tengo una espina pa’ combatir to’a mi demencia

I have a think to combat all my dementia

Y tú tienes más que sandwich de pollo con tripleta

And you have more chicken sandwich than a tripleta

Diabetes me baja por la esquina

Diabetes strikes me on the corner

Traigo un poco de placer hasta la medianía

I bring a bit of pleasure to the mediocrity

Asesina en la pista

A killer on the dance floor

Juntos somos más, pues júntate y tú te vuelves loquita

Together we’re more, then let’s get together and you can get crazy

Los aburridos se enojan y se quillan

The bored get angry and quit

Por que llegaste moviendo el batey hasta Aguadilla

Because you arrived moving your booty to Aguadilla

Y ahora sácame leche, tengo hambre

And now get some milk out, I’m hungry

Trueno y relámpago son dos con estambre

Thunder and lightning are two with stamen

Déjame besarte todo ese chichito

Let me kiss all that love handles

Quiero ser un padre con muchos hijos

I wanna be a father with many kids

Soy de todo un poco, pero más azaroso.

I’m a little bit of everything, but more than that I’m random

On the left side of the stage, Lagaña appears wearing a New York Yankees hat and a Miami Heat jersey over a white T-shirt with black Adidas basketball shorts (yes, we Achaeans live in the real world, straddling the fine line between fantasy and magical realism). He sings with his microphone with the left hand––Lagaña is left-handed––and grabs his crotch with the right. He then takes off the right hand and makes a waving motion, to which the cheering Achaean crowd mimics the same motions. They cheer ecstatically and sing the bridge by heart, just as the song was trending in the Achaean music charts for six weeks in a row. Both Caserío and Lagaña sing the chorus, with the latter walking towards the center as the camera centers at the singers and the performers.

Tú me pones azaroso

You make me very random

Tú me pones azaroso

You make me very random

Tú me pones

You make me

Tú me pones azaroso

You make me very random

Tú me pones azaroso

You make me very random

Tú me pones azaroso

You make me very random

Tú me pones, -nes azaroso

You make very, ve- random

To’as las carteras que me la revisen

Check all the purses for me

The two men share a brief hug in the middle of the stage. Lagaña takes over for the second portion of the song. The “mechanics” keep grinding with the shirtless dancers who then quickly grab champagne from the trunk of the car and a coconut, shake the bottle and uncork it, spraying themselves with champagne. The LED walkway turns to a paved roadway with potholes, oil sludges, puddles, and even a dead iguana or two.

Dame un poquito ‘e salsa y agua del Caribe

Gimme a little bit of salt and water from the Caribbean

Menéalo con un buen repique

Mix it with a good ringing

Le doy un perreo sucio pa’ que no se asfixie

I give a nasty twerk so you don’t feel asphyxiating

Cuida’o tú, que voy a partirte

Be careful, ‘cause I’m gonna break you

Dime una mentira, tú resistes

Tell me a lie, you resist

Ella sabe mucho, dijo Don Felipe

She knows a lot, said Don Felipe

Le creo, por eso no le pregunto que me ubique

I believe, that’s why I don’t asker to put me in place

Estás alagretos-ka

You are very loose

Tienes tú senda no-ta

You look so very high

Kool-Aid bebes y también la mo-ta

You drink Kool-Aid and the weed, too

Llama a Verizon, pa’que te maltrate hasta la jota

Call Verizon, so they can mistreat you till the iota

Yo juego Candy Crush desde hace rato

I’ve been playing Candy Crush for a while

No sé si estás soltera o si buscando

I don’t know if you’re single or you’re looking

Yo te ví en Tinder y yo te hago caso

I saw you on Tinder and I’m believing you

Soy discreto y un poco de zafado

I’m discrete and a little bit naughty

Moviendo ese Kool-Aid me has embrujado

Your moving Kool-Aid has bewitched me

¿Quién me puso una piedra en el zapato?

Who put a stone in my shoe?

Un poco de agua que está muy barato

A bit of water that is very cheap

Vamos a perrear hasta guayar un mojigato

Let’s twerk until we chafe a prude

Me pica y rasca y ese booty me arde

I itch it and I scratch and that booty burns me

Un antibiótico es un estandarte

Antibiotics are a gold standard

No pienso salir tarde

I don’t think in getting out late

Yo quiero sushi con un aguacate

I want sushi with an avocado

Las alergias me activan pal combate

Happiness gets me ready to the combat

The camera does a wide pan of the eclectic stage: Caserío y Lagaña singing, flirting with the crowd; the dancers showing off their wet bodies covered with champagne and coconut water; the shirtless dancers flying around, sweaty-looking, showing their muscles to the stage. Another camera points at the Achaean crowd, waving flags and humming to the song. Then a quick glance to the stage and a pan shot has both singers sing the chorus again.

Tú me pones azaroso

You make me very random

Tú me pones azaroso

You make me very random

Tú me pones

You make me

Tú me pones azaroso

You make me very random

Tú me pones azaroso

You make me very random

Tú me pones azaroso

You make me very random

Tú me pones, -nes azaroso

You make very, ve- random

For this next portion of the song, spurts of fire pour out from the perimeter of the stage. For many, that was a surprising feature. The LED-mirrored floor has its “roadway" appear as if a car was moving past it with skid marks even though the car on stage was barely even working––and, performance-wise, it was supposed to be that way. The camera returns to circle both singers who place their backs on one another, swinging their hands and stomping their feet to the beat of the music.

Llegamos sin ningún compromiso

We got here without any commitment

A botar la casa por la ventana a los que han oído

To throw the house on the window of those that listened to us

Un combo de tripletas y unos cuantos sandwichitos

A combo of tripletas and a couple of sandwiches

Yo te quiero suelta

I want you loose

Hasta vacilar con mi combo, dame con la chancleta

I want to have fun with my crew, smack me with a sandle

Estoy pa’ moverme y buscar guineas sin cabeza

I’m ready to move and seek out guineafowls without a head

Listo pa’ to’ lo que tu quieras

I’m ready for whatever you want from me

Tú me pones azaroso

You make me very random

Tú me pones azaroso

You make me very random

Tú me pones

You make me

Tú me pones azaroso

You make me very random

Tú me pones azaroso

You make me very random

Tú me pones azaroso

You make me very random

Tú me pones, -nes azaroso

You make very, ve- random

Caserío y Lagaña

Caserío and Lagaña

desde Horocú hasta Maraña

From Horocú until Maraña

tú no tienes maña

You don’t have skill

quiero jugo de caña

I want sugar cane juice

As the song ends, the raucous Achaean crowd receives them with thunderous applause, hoots, cheers, and shouts. Tired, exhausted, and in a dire need of a good smoke, both performers and loyal friends hug each other and the crew responsible for making such good representation––in their own minds––of the Achaean sound. In all honestly, they didn’t expect to win this time, as hosts rarely do. So if they win, that’s a bonus. But at least they had fun practicing their very broken English and finding ways to embarrass the national delegation every step of the way like naughty schoolchildren.

“Gracias!,” said Caserío, waving to the cheering crowd.
“Fueguero, carajo, puñeta!”, said Lagaña to the microphone before walking out of the stage and into the green room.

[Todlichebujoku]

24. _Tödlichebujoku_

---

Tune: KAZAKY ft. Gaspar - Push
Audio version for playlist

EN ENÁÁ

APŠVIESTI

The political climate in Tödlichebujoku continually shifts with changes in world events and economy. The latest two Regents elected rose to power on a wave of populism triggered by a political downturn. As is often the case, the leading candidate's anti-establishment views, blunt rhetoric, and championing of traditional values emboldened those who identified with such views to act out on those who exemplified the opposite. As such, the climate for both ethnic and sexual minorities came to a turn for the worse, as violence once again became a major concern and reactionary policies were being put in place in various areas of the nation, particularly in the provinces under the jurisdiction of the two newest Regents, where previous progressive policies guaranteeing the rights of sexual minorities to work and receive benefits on the same level as the majority homosexual population were revoked. With unemployment and harassment triggering despair and deaths primarily among transgender and open heterosexuals in the provinces of Keski-Tasangot and Yáinenranikko, the outlook for such human rights began to dim, and the nation's urban youth and progressives felt that their voices were becoming drowned out by the din of self-victimization and glorification of tradition. In the coastal city of Süüreai, a highly unnecessary "homo pride" parade was held, shocking many in the nation who had thought of the city (and the overall Vaarannikolla region) as being one of pluralism and progress. In this environment, the rebellious music and dance group APŠVIESTI (analogous to a music group being named "THE ILLUMINATI") was born.

There seemed little joy in the ashes of Viiri Nieminen's life when APŠVIESTI first began. He had just fallen out of a very one-sided relationship and his best friend had lost his home in Urvateršippai when the landlord turned out to be a violently heterophobic man, who had only stopped short of attempting physical harm due to the efforts of a neighbor who threatened to begin litigation over a number of property transgressions that had been ignored over the years, with Viiri's friend barely managing to leave with all of his possessions intact. Each member of APŠVIESTI came from a similar tale of prejudice or shattered relationship- Pašti Nakano's trans girlfriend had attempted suicide in despair over her increasingly uncertain future, compounded with internalized self-hatred, and Terho Kato's home was vandalized with hexes and messages of hate soon after moving in with his female companion. Connected by these events, and by a desire to bring queer art and culture to the attention of the Tödlichebujoki popular sphere, the three formed APŠVIESTI, the name in a nod to the fabled secret organization that supposedly controlled the strings of world events. While no member of the group publicly came out, the knowledge was common enough on the street that most of the members were hetero that there really was no need to confirm or deny anything. Propelled by a dedicated work ethic and an intense training regimen, the group soon began making waves in the Sterblichengokai arts scene, nesting themselves in the strong queer-friendly arts community of the nation's largest city as protection until they became big enough for the nation to care. This of course took some time to happen. The group scored a few minor hits soon after formation, but fell into a creative decline after their 4th single, forcing a reconsideration of their style and approach. With their "comeback" EP, APŠVIESTI finally broke through with a much more darker, electronic sound and vibrant, sassy lyrics, managing to play at some of the top fashion events in the city before branching out to perform with other icons across the nation, and even in the fashion capital of Veluna across the sea. It was not long before the group's style and content attracted the attention of the TÖBUK WV board, which eventually contacted the group for a chance to perform at a much more elevated international stage. After careful deliberation and discussion, Terho eventually confirmed the rumors on a public crystal chat, and the announcement was made official soon after.

The stage flickers with blue accents as the music begins. The camera pans along the stage as one by one, each member of APŠVIESTI is illuminated along the length of the stage, each standing with legs apart and heads down. The light gleaming off their studs, straps, and sheer fabric, hinting at the queer fashion aesthetic that many fans of WorldVision are quite familiar with- though a uniquely Tödlichebujoki spin is yet to come to light. Viiri raises his head, hair dyed blonde, and starts off the performance, his voice calm and methodical, as if possessed, or simply shell-shocked

You gave me emotion
I gave you devotion
You left me decoding
With every new warning

The camera switches to Pašti, his luscious locks at shoulder's length now visible as the camera slowly pans alongside him and he too raises his head to the light. Similarly expressionless, with a note of weariness and defeat, he continues, picking up from Viiri

I searched for elation
But found degradation
This love came to torture
I'll stay no longer

The camera view cuts to a wide shot with all three executing synchronized, robotic moves to the beat, in the harsh spotlighting. All else is dark, making the gleams of light reflecting off the various metal studs and outfit elements all the more stark and eye-catching

En, en, en, en, ole sun

No, no, no, I'm not yours

En, en, en, en, ole sun

No, no, no, I'm not yours

Sanon en, en enáá

Speak no, no more

All three pause at the last line, a finger at their lips, which shine with lip gloss. The camera view cycles between close-ups of each of the three in quick succession before returning to a wide view

En, en, en, en, ole sun

No, no, no, I'm not yours

En, en, en, en, ole sun

No, no, no, I'm not yours

Sanon en, en enáá

Speak no, no more

They take a strong, confident stance,legs apart, a hand on the hip, and the other pointing forward. Here viewers are able to see their highly polished boots shine. The three then pivot to their right, each with one arm over their forehead

Luulit tuntevani mut

You thought you knew me

Ettá voit hallitsit

That you had control

Yokainen tühmá valhe

Every stupid lie

Ya tühyá sana

And empty word

They spin around and bend over backward, the camera view panning close in over them in quick succession before they rise back up to continue their routine

You're not gonna chain, chain, chain me
Won't ever chain, chain, me down

They look up to a point up above, and roll their eyes, each raising a hand to mime talking, then turn around, backs to the camera

I can hear you talking
And you sound like trash
Say we're meant for each other
Don't make me laugh

As one, they sway their hips and wag their fingers in front of them in an exaggerated "no" fashion, before falling to the floor and pivoting back around on the stage floor to face the camera, still wagging their fingers "no"

Got me like no, no, no, girl
Hear me go no, no, no girl

The trio march towards each other into a triangle formation, with each member at one point of the triangle, connecting the sides of the triangle with their arms outstretched before falling to the floor and creating a pattern with their legs as well, the camera viewing from directly above to capture this. They continually change and reshape the triangle, creating new patterns and changing positions, before Terho stands up, his face with dark eye shadow and a spiked collar below being centered on the camera view, and his group mates below him. As if in a trance-like state, yet with his arms continually moving around him to frame and re-frame his head, he begins the next verse

I know this temptation
This yearning sensation
A promised inclusion
A cloying illusion

The camera view changes once more to a top-down view as Terho is lifted up above Pašti and Viiri, and he is lying flat and facing the camera as they march in a circular pattern

Your words tell me stories
Of ego controlling
My dance is my training
A taste of freedom

Terho drops down, and joins the other two, once more in a triangle formation with each member facing outwards in a different direction

Luulit tuntevani mut

You thought you knew me

Ettá voit hallitsit

That you had control

Yokainen tühmá valhe

Every stupid lie

Ya tühyá sana

And empty word

They make cutting motions with their hands as the camera rotates around them

You're not gonna chain, chain, chain me
Won't ever chain, chain, me down

The lighting level tones down, so that the group is only illuminated by strobing lights as they fall once more into dance

En, en, en, en, ole sun

No, no, no, I'm not yours

Sanon en, en enáá

Speak no, no more

En, en, en, en, ole sun

No, no, no, I'm not yours

En, en, en, en, ole sun

No, no, no, I'm not yours

Sanon en, en enáá

Speak no, no more

En, en, en, en, ole sun

No, no, no, I'm not yours

The camera view follows Viiri specifically, close in amongst the flashing lights, centered on his face as he moves from position to position

Won't suffer in silence
Won't fall into violence
You get what you give
If I could forgive

The stage lights return to a brighter level, all of APŠVIESTI in a line and fully illuminated. They stare daringly ahead, turning to one side, then to the other as one while they sing together

I can hear you talking
And you sound like trash
Say we're meant for each other
Don't make me laugh

They sway their hips together, each body interlocking closely with the next with how close they are now together in their line, each with an upraised finger waving from side to side

Got me like no, no, no, girl
Hear me go no, no, no girl

The lights cut out and flicker once more as they jump back into a routine, returning to a triangle dance formation

Es sacu nê, nê, ne vairâc

I say no, no, no more

Ne, ne, ne vairâc

No, no, no more

Es sacu nê, nê, ne vairâc

I say no, no, no more

All lying down on the stage, the camera pans around them

No, girl

No, girl

The camera cuts above, revealing the group to have formed an eye within a triangle

[Ardoki]

25 - Ardoki
Alistaire Killian Moriarty - Twelve Points Tonight
Tune: Barenaked Ladies - Odds Are


His Grand Imperial Majesty, Alistaire Killian Moriarty, now also a god of music.

His Grand Imperial Majesty had recently come to an epiphany, his music was so great and had such a profound effect on anyone who heard it, that he was basically a god. Of course, he didn't believe in any sort of spiritualism. But his music was of such a quality that it, and in extension his godly self, required the exclusive worship of all humanity (and any aliens if they existed as well). Of course, they wise and loyal citizens of Ardoki were all super fans of his music, but there remained some ignorant backwaters overseas who were yet to be enlightened by the Ardokian pop sensation. Luckily, WorldVision was here to help educate the wretched souls in preparation for his plans of total universal domination.

---

Alistaire Killian Moriarty stood at the end of the long winding stage facing the audience in his signature outfit from world-renowned fashion label, Moriarty by Moriarty. Elder Dance Crew, an elite unit of backup-dancers, bodyguards, assassins, and special forces (engineered and trained by Moriarty himself) stood behind their Grand Emperor in a long line going towards the back of the stage.

As the music started, the self-proclaimed god of music (I mean, with music this good why not worship him?) began his song.

Cheated by the juries, it's really unfair
But I know they're jealous of my skills
Ignored by the voters, fleeced by the voters
In favour of regional politics
But there's a ninety-nine or point-one to one
That you're gonna give me twelve by the end of this song
So get up, get up
Get your phone out and give me twelve points and join me in this song

Moriarty and EDC strutted forward a few steps, clapped in front of themselves. Then they lunged to their left and clapped, then lunged to their right and clapped. Then they repeated that.

This time I really believe that we'll get twelve points
This time we'll really get twelve points, this time we'll really get twelve points tonight
This time I really believe that we'll get twelve points
This time we'll really get twelve points, this time we'll really get twelve points tonight

Walked around the front of the stage, singing to the audience as EDC continued dancing behind him.

Lost to hip-hop, too many ballads
I wouldn't vote for either one
Shafted by an opera, even by a DJ
Why won't they let a pop star have his fun
But all across the world they'll give me their sacred twelve points by the end of this song
So get up, get up
Join the right side of history and give your twelve to my song

Moriarty and EDC strutted forward a few steps, clapped in front of themselves. Then they lunged to their left and clapped, then lunged to their right and clapped. Then they repeated that.

This time I really believe that we'll get twelve points
This time we'll really get twelve points, this time we'll really get twelve points tonight
This time I really believe that we'll get twelve points
This time we'll really get twelve points, this time we'll really get twelve points tonight

Moriarty abruptly adopted a T-pose, then moved his body to the left and right (without moving his arms and hands) as though he were trapped in an invisible box and trying to break out. He finally did, and the LED display on the stage displayed glass shards flying in all directions away from him.

I am a god, so give me your twelve points
I am music, so vote for me

Moriarty looked at the audience with a real sense of despair as the music became more muted, he gently outstretched his arm as if looking for reassurance.

Cheated by the juries, it's really unfair
But I know they're jealous of my skills
Lost to hip-hop, too many ballads
In favour of their regional politics
But there's a ninety-nine or point-one to one
That you're gonna give me twelve by the end of this song
So get up, get up
Join the right side of history and give your twelve to my song

Moriarty jumped high in the air and managed an exquisite mid-jump dab (something for the history books) as EDC rushed forward (giving high fives to lucky audience members on their way). The audience then started jumping up in the air and dancing with the song, it looked like they were falling for the song (Moriarty has a doctorate in psychology and has tested his songs on political prisoners to endure maximum indoctrination engagement).

This time I really believe that we'll get twelve points
This time we'll really get twelve points, this time we'll really get twelve points tonight
This time I really believe that we'll get twelve points
This time we'll really get twelve points, this time we'll really get twelve points tonight

This time I really believe that we'll get twelve points
This time we'll really get twelve points, this time we'll really get twelve points tonight
This time I really believe that we'll get twelve points
This time we'll really get twelve points, this time we'll really get twelve points tonight

[Achaean Republic]

The commercial opens with a spacious modern living room, taking place in the middle of the day. A woman is shown sitting on a couch in front of the camera.

WOMAN:It was 2015. I lit some candles in the living room, forgot about it, and went to sleep.

The camera cuts to another shot, showing her sleeping in her bedroom in the middle of the night, the only light from a television.

WOMAN (NARRATING): I woke up the sound of my smoke detector.

The camera pans up to show the smoke detector, it making a series of beeps as it shows smoke filling up the room.

WOMAN (NARRATING): I had placed it next to my curtains, and it caught on fire. My bedroom was covered in smoke. So I grabbed something, and broke the window.

She grabs a chair, and smashes the window with it.

WOMAN (NARRATING): I ran outside, and called 911. Once they were done extinguishing the flames, my house was nearly destroyed.

It fades out, fading back in to a meeting room, where her and a suited man are shown talking.

WOMAN (NARRATING): So I talked with a SUMA representative. I was insured. Thankfully, they covered everything. I got my life back.

It cuts to her at her new house, waving to a friend of hers. The camera cuts to her friend, showing her waving back. The camera fades into a blue background.

MAN (NARRATING): At SUMA, we are dedicated to protecting your hopes and dreams. With a quote, you can save 40% on insurance fees. And with our 24/7 support, we hope to help you as soon as possible. SUMA. Always there.

Words appear on the blue background, describing what he says. Once he says the last part, the words disappear, and instead show the logo.

[Lactatia]

26. Lactatia
XXXCLUSIVE LEWD LACTATION BABES - Screw Your Man (Radio Edit)

Lactation babes
And you know, we'll milk you so hard
Our touch is something worth loving
Tell a hoe, don't you know
With both my hands
If you bring him here
I'll f__k your man

I'll f__k your man

Let me tell you 'bout this man just around my block
Ugly ass face with a foot-long c__k
I got the pinkest lips in the entire state
So hard for guys not to masturbate
Don't go slow baby
Don't go easy
Cause I'm that bitch that loves f__king like we're both crazy

Lick me, suck me, d__k me, f__k me
Once he go down, he gon' wanna wife me
F__k you! And all that you do
'Cause I live my life like a princess do.
High heels all night, my kinda shoe
Bitch don't try me, hoe, I keep it oldschool
Bitch you ugly, you tired, I'm hired, you're fired, go home now, 'cause he mine now
So believe me when I say, bitch
Don't take yo man around me, bitch!

I'll f__k your man

I'll f__k your man

'

Boy when I want something more
Y'all pay attention
'Cause I'll disappear like a magician
That's the best you can do you say, how the f__k you gon' convince me to stay?
Honey boy you got a big d__k, but don't treat me like any hoe or a cheap bitch
Straight from Tampon Bay, but my p___y so good, it'll make you wanna say

Juicy, delicious good good, it'll hit you like a hurricane when I good good.
Oh where's my golden crown, is it on my head? Ima wear it all night 'till I take it to my bed.
You can ask all my girlfriends, and they know I don't pretend, 69 from Tampon.
Better watch before I'm in his pants, y'all bitches know better!

I'll f__k your man

I'll f__k your man

I'll f__k your man

F__k you! F__k you!
Bitch ass!
F__k you! F__k you!

'

[Teesdexxia]

.

[Monaeroglisseurest Pleindanguillese]

Slightly different than billed, but never mind...

28 - Monaeroglisseurest Pleindanguilles
"Oh My Good God! - JoBo's Haus
Tune: ("Weil's Dr Guat Got" - George Nussbaumer)

---

JoBo is a celebrity in Monaero, apparently. The Haus are, or at least before this escapade were, his friends. This is what they got up to on their holiday to the Achaean Republic, on MonaeroTV's money.

To think they were meant to be doing some history documentary or something...

---

Well, somehow, JoBo had ended up on the stage at the 76th Worldvision Song Contest. Who knows how? Not even he was sure. Anyway, it was showtime. The song opened with JoBo himself, with his signature bedraggled hair, sitting at a large piano placed on the main back area of the stage rather than at a point along the long runway; don't worry however, this will be getting used. So, anyway, JoBo, sitting behind the piano, his shirt unbuttoned and attire dishevelled, he looked a sorry state of a man really. He really needs a good night's sleep. He and the piano were lit by a single spotlight. Whilst JoBo's friends (ie. the "Haus") did join in at this point, they weren't to be seen. So, instead, we have JoBo, lamenting his current situation, a bit like the beginning of Irelande Douze Point but less sockpuppet turkey-y. And, you know, this isn't a steaming pile of garbage.

Ooooooh
I've made a mistake
Oooooh
Oh my good god, yeah
Oh noooooooooo

At this point, we get a camera shot of JoBo from behind some, such that we can see the keyboard of the piano, and it thus emerges that JoBo was never playing it, as it is in fact a self-playing piano. Worse than this, when we first see it he is blatantly playing the wrong notes. JoBo turned around, saw the camera had uncovered his deception, and simply stopped playing at all. Shock! Horror! The single spotlight was instead replaced with your usual lighting fare, a nice ambient blue with some smaller red lights around the edge. As the verse itself began, JoBo, still sitting on the piano stool, began singing, flailing his arms about and looking quite mad, something which seems to be confirmed when he stands up and clambers onto the top of the piano. And thus, we were introduced to the first of "The Haus", as Nick Seaman, whose name was flashed up on the camera feed when he appeared, as well as shown by a handy name-badge. Nick Seaman is close to JoBo, indeed serving as the inspiration for the "friend in the back", and is notable for his rather egg-like head and fondness for tapestries. Anyway, where were we? That's it! The camera focusing on JoBo had allowed for Nick to sit down on the stool and actually begin playing the piano, and this is where we first see him. JoBo and he looked at each other slightly too fondly, and then Nick too got up and helped pull JoBo off the piano, dusted him down - turning to the camera as the Haus collectively sang "Oh My Good God" - and sent him on his way on his magical journey across the snake-like stage.

My friend is in the back planning another fun night out
He's led me astray once or twice, but he calls all the shots
I'll carry on
Do what he says
Hopefully I'll be fine
Oh what can I say? (Ooooooooh)
Oh my good god!

As JoBo walked along, a series of wooden cutouts showing a high street with a butchers, grocers etc. - albeit actually those were shut down and there was also a vaping shop - were held up so as if it looks like he's doing as the lyrics suggest, but rather than saying static they actually seemed to follow him. JoBo eventually reached a small man in a flat cap and a thick coat; god knows how he was managing in Achaea! In any case, this small man, Mr South, was one of the members of the Haus, yet despite this he did not look happy to see JoBo marching along. He looked up to JoBo and waved his finger in front of his face in a way so as to demonstrate the semantic meaning "No". JoBo proceeded to turn around to the audience, one of his arms "accidentally" catching the fellow and nearly knocking him over in the process. JoBo then proceeded to shrug to the audience, before hobbling along past the now furious Mr South.

Walking down the old high street
Shaking some good friends' hands (Oh yeah)
I stumble across a small man who tells me not to try
All I wanted to do was spread the good word, guy
Oh what did he say? (Ooooooooh)
Oh my good god!

JoBo, followed by Nick and Mr South, reached the main central bit of the long rivermajig, the bit that is slightly wider than the rest of the stage. At this point, there were only JoBo, Nick and Mr South, now all looking at each other rather confused as if they were unaware of what was happening and what they were meant to do next. When JoBo sang "The party's over before it started", all the lights in the arena suddenly turned off, shrouding everything in a thick and choking darkness, completely opaque and lacking all transparency at all. This was soon "rectified", and now JoBo had the members of the Haus lined up behind him. Nick and Mr South were joined by "The Justice", a woman dressed up as a judge who smelt slightly of Camembert to those members of the audience who were near him; "The Old Hand", an old guy dressed in a rather fancy suit who looked quite worn out really, but still wore a slight wry smile across his face and evidently had reached that point in life where nothing particularly matters anymore and he has just decided to enjoy it; "PC Prod", a woman dressed up in full police outfit who rather enjoyed waving her bludgeon about a bit too much; and last but not least Mrs. Harrow, who had evidently decided to come as a teacher, as her name would suggest. Nothing much more to say about her really. Anyway, they were all lined up forming a slightly ridiculous wall behind him, an effect emphasised by the particular camera shot which seemed to block out most of the stadium. They bopped along to the music and sung whilst JoBo in front of them did the whole "woe is me" act, a fact punctured further more by the coins that came flowing out of his pockets and which he threw into the audience - does this count as bribery? Probably not - as he sang "Even if I spend my dimes".

The house has turned against me but it
But it's my house!
The party's over before it started
But I'm here now!
I can't make sense
Make no rhyme
Even if I spend my dimes
So what can I say? (Ooooooooh)
Oh my good god!

A series of panning camera shots around the stadium followed, before a shot showing the Haus, having turned their backs on JoBo, dancing and reaching out to the crowd. Then, it happened.

It happened.

An unplanned mistake.

How dreadful.

Oh my good god.

Mrs. Harrow had come in too soon. This had not been rehearsed. A sign of weakness in what was clearly otherwise a flawless production was clear for all to see. There were glares. The other members of the house stared. She stood out like a sore thumb. Would they be able to recover? Well, as Nick dragged Mrs Harrow away, the others tried to carry on, but it is clear that this had been a blunder. They soon forgot about Mrs Harrow or indeed Nick, and got back into the grove of the song. Nothing could stop this Hulk of a song, incredible, indefatigable, incredible even. They began to move from the central away, processing down the stage out of the sight of JoBo, who was trying to whip up the crowd in support.

Oh my good god
Oh my good god
Oh my...
Oh my good god
Oh my good god

The cameras came round to focus on JoBo once more, now without the Haus as his backing and now surrounded by the crowd in the arena and the lighting, the cool shades of blue with slight red tones here and there doing their work. JoBo realised that his backing had disappeared, and tried looking for them. He suddenly looked up and a spotlight shined on them, further down the stage, the camera showing them to the audiences around the entirity of the multiverse. How thrilling! They proceeded to carry on walking away from him as he gesticulated in their general direction. As both he and they began to sing "So I'm stuck here now", the cameras gave a series of wide open shots of the arena, with JoBo looking quite small, but yet showing there definitely wass a crowd regardless of whether it was "his" crowd or not. Trying to act natural, JoBo tried to dance along to the music. The cameras focused again on him, trying to wear a wide, broad smile.

So my friends walked out on me
Well, I kicked them out
Because they wouldn't play the game
That Mr Planner planned
So I'm stuck here now
Without my crowd
Whilst old friends gloat at me
They point at me and laugh
Oh my good god!
Oh poor little me
Oh my good god!
Oh what can I do?
Oh my good god!

As the song suddenly decided to change to something decidedly faster, with the lighting picking up to reflect this with much more red entering into the general scheme and a series of very faint spotlights beginning to slowly move around the stadium, the Haus returned to circle JoBo, and thus began the back and forth between him and them, now rejoined by Mrs Harrow but noticeably not Nick. The Haus, clicking along to the beat, leaned in when they sung their lines and back out again when he sung.

They can say this (say this)
They can say that (say that)
I'll ignore them (ignore them)
I can work around that
Say this (say this)
Say that (say that)
Say what?
Oh will you shut up?!
Oh my good god!

At this point The Justice was practically jumping about and in general a feeling of ecstasy seemed to have taken hold of the backing singers although some choreography managed to break through the Bacchic scene. All the backing singers held out one arms pointing towards JoBo and began to walk around before lifting it up and waving it about. That was all they could reasonably remember tho. JoBo seemed to be getting his mojo back, finally seeming into the performance and exuding charisma for days. This was his time, it's his time, his moment, he won't ever let go of it.

(Fumbling) Fumbling!
(Rambling) Rambling!
(Dancing) Mmmmm dancing!
Entertaining
Got to (Got to) keep up (keep up) this losing streak
I can't stop myself
Oh my good god!

JoBo and the Haus began to walk back towards the original end of the arena where JoBo had begun, now sans piano, clicking and clapping and dancing along, the cameras giving a mixture of close and wide shots. What LED screens there were were emblazoned with "Oh My Good God!". The lights, too, were going slightly mad too. This, of course, was all going completely, totally and utterly to plan. Nods Once they reached the far end from the greenroom, the Haus formed a tight circle around JoBo, allowing time for some clips to be attached to him, the purpose of which will soon become apparent.

Oh my good god! Yeah
Don't tell me what
What I can do
Do what I want all night and day

Oh my good god! Yeah
Always got my crowd
Oh my good god! Yeah
Got them screaming out loud

The Haus proceeded to then spiral out and away from JoBo, continuing to dance and now actively trying to get the audience to clap and sing along. Flashing lights in various colours now rapidly flashed on and off. Lots of fast, rapid camera shots. Everything was quite dizzying in fact. Then suddenly, with a flash of pyro, JoBo lifted from the stadium floor and begin to shoot up across the arena. The plan had been for him to simply rise up a little bit. But nope. He shot straight up, waving around two small Monaerese flags (one in each hand, if it wasn't obvious) and managed to get himself stuck up in the lighting rig above the stage. However, the cameras seemed ready for this, with them specifically focusing on JoBo and his rapid flag movement as the song came to an end. Was it an accident? Was it planned? Well...

Oh my good god! Yeah
Shutdown
Lockdown (Oh my good god! Yeah)
No more fun for you or me-e-eeeeeee
Oh my good god! Yeah
Oh my good god! Yeah
Oh my good god! Yeah
Oh my good god! Yeah

Gooooood yeah-ah-ah
God!

That was it. The madness was over. This was going to be a hard one to explain.

[Saviera]

29. Saviera
For You, by Saint Vincent
To The Tune Of 5 minutes avec toi by Amir

Saint Vincent had Previously Represented Saviera as Part of Saint Vincent & the Grenadines. However Here He was a Solo Entrant. He Wrong This Song in Order to Encourage His Wife for Whenever She was Facing Dark Times.

When the Song Started, Saint Vincent Walked onto the Stage Through the Center Entrance, at the Widest Part of the Stage. He Smiled and Sang into the Camera.

From the first day when I looked in your eyes
You were so charming with the way you smiled
Without a doubt, without a race
You won my heart where I made you a place

And with our love comes the passage of time
Perhaps our story has come past its prime
But I know to never lose hope
As long as we still have our glow

Now the Camera Starts to Zoom Out

But when the gods of fate don't want to do the dance
And when you wait and wait, but you don't get your chance
When your life seems not great, you don't know where to go
Just know, oh

The Camera Switches to a Close Up and Basically Switches Angles but All of Them are Pretty Close to Saint Vincent, So There are No Wide Shots at This Time

I did all of the things I did for you~
And yeah, I followed all my dreams because of you~
I wrote all of the songs I sing for you~
The rhythm of my heart, it beats for you~

I did it all just for you
Cause my heart beats for you

Now Saint Vincent Starts to Make His Way Down the Stage Towards the LED Lights. A Camera Follows Him from His Front, So Technically He's Following the Camera. On the LED Screen, It Shows Pictures of Saint Vincent and His Wife Throughout the Years, Making a Cute Montage of Their Relationship

With every autumn the leaves start to fall
But it is never the end of it all
Even if there’s dark days ahead
Don’t you forget all the nice things I said

So when the gods of fate don't want to do the dance
And when you wait and wait, but you don't get your chance
When your life seems not great, you don't know where to go
Just know, oh

Saint Vincent Now Arrives in Front of the LED Screens. On the Screen, the Graphic Appears to Look Like a Piece of Cloth Uncovered it, and Now on the Screen the Word for "You" in Various Languages begin to Appear

I did all of the things I did for you~
And yeah, I followed all my dreams because of you~
I wrote all of the songs I sing for you~
The rhythm of my heart, it beats for you~

Now a Camera, Waiting at the Center Stage, Slowly Makes Its Way Down the Catwalk, Zooming in Slowly to Saint Vincent

My 5 minutes, just for you
4 roses, just for you
3 kisses
We are 2 heartbeats
1 more song?

The Camera Fades to Black Before Showing a Wide Shot Where on the LED Screen the Word "You" in Different Languages Appears Again, Exploding Throughout the Screen

I did all of the things I did for you~
And yeah, I followed all my dreams because of you~
I wrote all of the songs I sing for you~
The rhythm of my heart, it beats for you~

Now All the Stage Lights are Dark, but the LED Screen is Still On. The Camera Closes Up on Saint Vincent as He Delivers the Final Lines of the Song

I did it all just for you
Cause my heart beats for you

The Song Ends, the Crowd Cheers, and Saint Vincent Says: Thank You!!! God Bless Saviera!!!!! Before He Leaves the Stage

[Mister X]

30 MISTER X

---

Tracy Manson - "Come On, Everybody!"
Tune: Ariana Savalas- "Donna Tella Nobody" (USSR version, from Hurricane Bianca: From Russia With Hate)

---

---

---

Tracy Manson's, one of Mister X's only female artists, is back at the WorldVision Song Contest with a really inspiring, feel-good, summer anthem, which is maybe a little late in the calendar, but nonetheless it's one that people all over the world have been dancing to. She is what was once described as "beach body ready", wearing nothing but an itsy bitsy teeny weeny yellow polka dot bikini. And some high heels. Perhaps this song would have been better earlier in the running order, it was thought. Arriving in Rosario, Tracy Manson declared that "I don't care if I win, I just want to do very well, and make everyone have a good time!! Woohoo!" With some members of the associated press suspecting she was on get-me-up drugs, her buoyant enthusiasm translated into the red carpet ceremony, where she told MRX that co-commentator Sam Smith's outfit "wasn't celebratory enough" and that lead commentator Robert Baxter should "lighten up, because everything is a celebration!". Fearing that she might bounce into a chorus of last year's hit single, "X Is Living A Celebration", she was quickly ushered into the entrance hall, whereupon she ground the other contestants down with her incredible enthusiasm.

MRX Television was keeping the budget of their effort secret, but it was clear a significant amount of T-marks had been thrown at it. The Head of Delegation, Mr Harry Batt, exclaimed in sheer delight to the associated press that "we've got dancers. We've got singers. We've got pyrotechnics. And we've got a fantastic song that's capable of winning." (The press were not 100% convinced about that last one.) When, in a huge gathering, Tracy and Harry revealed Tracy's costume, there was a slight surprised look on most of the press's faces. What was the thinking behind this outfit? For some, it was considered sexist, demeaning, backwards. Tracy highlighted, succinctly, that it was her idea, "because it's a very summery outfit! And let's all live our best lives! You'll see with this incredible song!". Feeling not altogether reassured, the contestant departed the conference room to go to rehearsals. And at rehearsals, the press's jaws dropped, for now it all made sense. What the outfit was about, how it tied in with the song, and how Mister X could possibly win the WorldVision Song Contest for a second time.

She started on the stage, with her back to the front and the camera, as the lights, in summer colours - blue, yellow, orange, green - faded up with the music into half-light, as the camera faded in and, on a hand-held shot, moved towards her. In the opening bars, she clapped with each section of clapping in the music (on the 7th beat in each two-bar phrase), and on the chords, the lights faded up some more, she turned around dramatically to face the camera, with a gorgeous, beautiful smile simply gushing from her face, with the cameraman's handheld shot starting to do laps around her. In the background, out of sight, some female backing singers, dressed in casual summer wear (short jeans, loose-fitting plain T-shirts of various colours, some in bikins like Tracy), accompany Tracy.

When you're down (when you're down), turn around (turn around)
And put on a shiny sequin gown
When you cry (when you cry), just you try (just you try)
Try to keep smiling and say

The camera cuts to a front-on shot from low down but rising up, as male dancers of all ethnicities join from either side. They are wearing open Hawaiian shirts, bearing their gorgeous male torsos and six-packs. The black men look particularly hunky, as though their abs are a washboard, made not of skin but of something like rubber; they're that gorgeous and amazing. On their bottom halves, they're wearing black shorts which are tight-fitting and go down to the knee.

"Today
"It's now my time to shine"
And I
Will guide you on your
Way.... way.... way.... way....

The dancers, having run from the back, are now evenly spaced out on either side in a neat pattern that matches ethnicity, Hawaiian colour shirts, heights, and various other characteristics. Each characteristic is a pattern on its own. For example, the Hawaiian shirts are all arranged in a certain pattern, as are skin colours, the heights. Everybody is different in some form or another, yet somehow it all looks milimetrically perfect, with not a single dancer out of place in that particular pattern? The white man wearing a green-and-yellow shirt who is 6ft exactly (1.80m)? In that particular position. And so on. Tracy stands proudly front and centre, the frontwoman of this troupe.

In the chorus, the dancers all move their left foot to their left and reach out with their left hand on the second beat of each bar, with some hip rotation, as though they're stretching towards the camera with that particular hand - Tracy included - before bringing it back to the centre on the third beat of the bar, before doing the same with the right hand and foot and hip on the fourth bit of each bar. The lights start flashing gently in their various colours as the camera makes sure to be dynamic, taking rapid shots but all of them are from an angle that is facing the performers.

Come on, everybody!
Come on, everybody!
Come on, everybody!

On this next line, the dancers make four movements with their hands whilst continuing to use their hips. They shake their hands, which have the palms down, with their "wings" out and their hands pointing at each other, on each beat of the bar (who / you / wan / na), with the first beat ("who") having their hands above their heads, the second beat ("you") in line with their chests, the third beat ("wan") in line with their abs, and the fourth beat ("na") in line with their waists. For this particular line, the camera takes four rapid cuts from high up.

You are who you wanna-

They repeat these movements.

Come on, everybody!
Come on, everybody!
Come on, everybody!
You are who you wanna

And on the next word, they all raise their left hand to the audience on a 45-degree angle, palm facing up, and hand outstretched, as though maestroing an orchestra, building up a crescendo. The camera looks from stage right as they do this, before on the following word, they do the same with their right hand (and the camera shot from the opposite side), before on the third word, they lower both hands, with their arms dead straight and locked down by their sides, but with their hands rotated to they point towards the floor.

Be... be...
Be!

This little sequence is repeated again, although with two hand lifts each this time:

And you're gonna be the
Best... best... (you know who you wanna be)
Best... best... (and you can be the best)

Tracy spins around to begin the second verse, looking into a camera positioned towards her on a hand-held shot that spins around her slowly. She sings with a gorgeous, vaping smile, into the camera. For, after all, this is the summer, and you should enjoy it. The lights stop flashing gently, but retain their summer motif for this second verse.

Feel your skin (feel your skin)
From within (from within)
And embrace your inner you
You and I (you and I)
We will try (we will try)
Try to take the world with you
And I
Will help you to your light
For I
Will always help you
Fly... fly... fly... fly...

The lights all rotate downwards before the chorus dance moves are repeated. Because MRX Television only has so many ideas for staging, and given it's the chorus, what is the harm in repeating dance moves? They are used in a chorus to symbolise the chorus, for this is the chorus. It goes round and around and gets into your brain - and in 30 seconds from the end of the chorus, you're going to hear it again, after all... These dance moves are being drilled into kids' brains across the multiverse, hoping that Tracy Manson can start a new dance craze, with kids doing this on holiday camps to the despairing sight of annoying parents**, and what's more, ensuring that the voters will remember it too, hoping to get them dancing in their living rooms, and getting this dance into zumba classes and so on... the world is not enough for these dance moves. But it is a good place to start... To keep it somewhat fresh, however, the camerawork is a lot different, beginning with a long shot of the dancing from behind them, then cutting to a dramatic front-on zoom shot on "you are who you wanna", before panning from the right of stage upwards on a Russian-arm-style camera, before cutting back to the other side of the stage. The second time they sing "you are who you wanna", the camera cuts to a wide shot from the far end of the auditorium, before resuming the complex camera choreography seen in the first chorus.

Come on, everybody!
Come on, everybody!
Come on, everybody!
You are who you wanna
Come on, everybody!
Come on, everybody!
Come on, everybody!
You are who you wanna
Be... be...
Be!
And you're gonna be the
Best... best...
Best... best...

The dancers all run off the stage, and for the bridge section, the lights all change to dramatic purples and oranges, for the mood takes a more serious turn as the backing singers start scatting in the background. Tracy takes on a more serious expression, and turns to face another hand-held camera. But this time, the camerawork is a lot steadier. Tracy walks forwards in big close-up, as though she's advancing on the camera, and the camera tracks backwards, as though it's scared of her. However, at the end of the bridge section, it begins to run backwards a lot quicker and Tracy stops stalking it. Simultaneously, the lights almost return to the state they were in before, during the verses.

(Ooh) You can be who you wanna be!
(Ooh) Whoever you want, baby!
(Ooh) Look at the skies, the stars in your eyes,
Aah... aah... aah... aah...

The lights fade to black, before strobing massively, in a mini-build-up before the final chorus...

Then an explosion of sparks from all around the stage in an upwards direction occurs, whilst a golden shower of sparks at the back of the stage comes cascading down, and the lights return to flashing in their colours as they did during the previous choruses. Whilst the golden shower is going on, small flames light the front of the stage, with the camerawork maintaining low angles for this last chorus so the viewers see flames at the bottom of their picture in each shot, before the focus of each camera shot changes to become the dancers. Tracy returns to her huge beaming grin, and her smile could light up all the runways in the multiverse, as the dancers, almost magically, have returned to the stage in their proper positions.

Come on, everybody!
Come on, everybody!
Come on, everybody!
You are who you wanna
Come on, everybody!
Come on, everybody!
Come on, everybody!
You are who you wanna
Be... be...
Be!
And you're gonna be the
Best... best...
Best... best...

The music stops and all the lights cut suddenly, with the exception of one front-facing spotlight, with the camera cutting to a front-on shot. Tracy lets the dancer closest to her have the last word, by holding the microphone to him, by leaning over, and he speaks into it:

Best!

The song is ended, the crowd explode into raptures, and Tracy kisses that dancer on the lips, before emerging with an even bigger smile, so much so her jaw might fall off. "Thank you!!", she exclaims to the cheering crowd.

And just maybe, just maybe, she has performed the winning song.

---

**OOC: this actually happened in 2007, when I was on a holiday camp; everyone was doing the dance to "Flying The Flag (For You)", the United Kingdom's terrible Eurovision entry that year, even though it had finished second-last.

---

[Kalosia]

31
Kalosia
Insemë (Together) — Mikhail Khaled
performed in English and Kalosian to the tune of Que dieu me pardonne — Kendji Girac ft Claudio Capeo

Mikhail Khaled was one of the lucky ones. When war broke out in his country in 2011, he knew that he was in danger. His Christian Arab family was part of a religious minority, whose community was very vulnerable and would often be the first to take the hit whenever any instance of conflict happened. Unlike many of his statesmen who followed only years later, his family was among the first to arrive in Kalosia as asylum seekers. Mikhail was granted asylum in 2013.

Although he was now legally allowed to live and find work in Kalosia, life still wasn't easy. He worked as a baker in a neighbourhood of Kasin, where he along with his family members tried their best to make ends meet. During the nights, he would look for opportunities to perform in bars and clubs. He had taken up music as a hobby long before his town started to feel the effects of the Arab Spring, and this was something he continued to pursue while adjusting to life in his new home.

Slowly, those gigs gradually started to pay off. In 2016, he was signed to a small record label. Although he did not find success right away, every little thing he did, all those songs he released and all those gigs he performed allowed him to grow his following. Soon, he found himself popular enough to make this his main hustle — he quit his day job at the bakery in 2018, although he always makes sure to visit whenever he's in Kasin. Also in 2018, he formally received Kalosian citizenship, having fulfilled the requirements to achieve that status.

As a former asylum seeker, he was initially careful not to make statements that could compromise his music career, but Mikhail has recently reached a point where he felt comfortable being vocal about an issue dear to his heart. His 26th birthday in February was his first one as a Kalosian citizen, and he celebrated it by releasing a song in which he expressed gratitude towards Kalosia — not just the government, but also the warm hearts and minds of the populace — for giving him a second chance at life. It went viral and soon enough Mikhail became a household name across the nation.

Mikhail competed at Festival dele Melodie Kalosiane 41, the Kalosian national final for the 47th World Hit Festival in Kyvivre, Britonisea, and subsequently won with a pop song influenced by the chanson styles of northern Kalosia. The song, whose title translates to "I am You (pl)", was inspired by the singer's firsthand experience being an asylum seeker in Kalosia. It is part of Mikhail's recent increased activism in which he aims to win the hearts and minds of Kalosians through music. It's a bit more upbeat than his usual type of music, but Mikhail has stated in an interview that he has been experimenting with more upbeat sounds in recent times and will likely be shifting in that direction.

At the festival, San Voš was drawn to perform 24th and last, closing the show. During the voting, although it had briefly taken the lead at the beginning, Mikhail came 12th at the end of the night, giving him a mid-table placing still within the top half of the scoreboard. Despite a rather modest showing, he enjoyed chart success with the song both bac home and abroad.

The momentum following the 47th World Hit Festival led to Mikhail's internal selection by RTVK to participate in the 76th Worldvision Song Contest, once again representing his now-home nation. A televised national final was held with 3 competing songs. At the end of the night, Insemë won the national final.

Insemë, unlike San Voš, does not carry a humanitarian message or raise such issues — none of the songs competing in the national final did, although 3rd-placed Sia Kanžu had bits in Arabic as Mikhail sang about his heritage. Insemë was a song of love, with a Latino vibe. It was all about having a good time.

For the performance in Rosario, Mikhail will be wearing a sleveless top and a pair of trousers. As the song begins, he walks onto the stage, full of confidence. Specifically, he enters by the giant LED screen.The screen was showing some sunset scenery, mostly using pink-blue duotones with the sun being yellow. He faces the audience as he sings the next part.

So tonight, I got a plan
We will do what we can
To see breathtaking sights
And to enjoy the lights

With every heartbeat
My feelings are renewed
And this moment is so sweet
When I spend it with you

4 male dancers, wearing black t-shirts and trousers, enter the stage right behind him. They proceed to surround Mikhail and look ahead, as if they were watching the sunset with him.

So tonight, look at the sea
Marvel in its beauty
And the way that it shines
It reflects in your eyes

We saw the sunset
And it was such a view
I’ll never forget
So I’ll tell you

As Mikhail slowly started walking forward, the dancers all scurried around. They slowly followed behind while doing choreography. He followed the camera as he made his way down the path. It became more noticeable now that the stage lights were mostly in a duotone of pink and blue, with bursts of yellow, reflecting the colour scheme of the LED screen.

When our hearts are together
Everything will be fine
Feels like we’ll last forever
With your arms around mine

When our hearts are together
Our souls will understand
So let’s cherish this treasure
And come give me your hand

He arrived at the center of the arena, where the widest part of the stage was. Mikhail turned toward the audience, his back facing one of the other stage entrances. With him now aligned with his dancers, they did some choreography together in sync. Right next to the entrance, barely visible, was a backing singer standing behind a mic stand. He sings the parts in brackets, while Mikhail raises the mic to his face in between to fill in the gap with vocalizations.

(It will all be fine)
Nanana nana nana nana
(Your arms around mine)
Nanana nana nana nana

The camera now closes up on Mikhail and slowly rotates around him. Gradually we can see the LED screen and at the end of this part we can see the backing singer as he backs him up on the last line.

So tonight, I’m by your side
Baby I’ll be your guide
As we’re watching the stars
Life can take us so far

The camera then backs up at an angle so we can see Mikhail's full body.

With every heartbeat
My feelings are renewed
And this moment is so sweet
When I’m with you

Mikhail begins to walk again, this time back towards the LED screen. He follows the camera, which is in front of him. As he walks, he also leans down, extending his hand towards the audience to interact with them.

When our hearts are together
Everything will be fine
Feels like we’ll last forever
With your arms around mine

When our hearts are together
Our souls will understand
So let’s cherish this treasure
And come give me your hand

Having arrived at the stage in front of the LED screen, Mikhail begins to do some more choreography with his boys. Somehow, the backing singer who was earlier on the center stage has reappeared next to the LED screen — he must've taken a shortcut and ran backstage.

(It will all be fine)
Nanana nana nana nana
(Your arms around mine)
Nanana nana nana nana

Now the lights went wild, the strobe lights came on as well. Mikhail stopped dancing so he could control his breathing as he sang this next part together with his backing singer in Kalosian, but the backing dancers began to move about more intensely.

Gardamu, gardamu le stele
Sentamu, sentamu noji kori
Partimu tuti li sekreti
Oh oh, oh oh

Gardamu, gardamu le stele
Sentamu, sentamu noji kori
Partimu tuti li sekreti

The stage lights went dark temporarily and the camera closed up on Mikhail as he sang this next part, which happened to be the original Kalosian words to the chorus.

Kadë stamu insemë
Sentu ja sikuro
Kadë voľu amarë
Oľu ja lë tempu

Kadë stamu insemë
Noj ši konošamu
Samu noj unë artë
Alorë lo vivemu

One of his backing dancers pat his back and Mikhail went to join them again. The camera was now showing wide shots in which he and the dancers were still visible but the audience could be seen as well. The stage lights were back on and the LED was in full colour.

When our hearts are together
Everything will be fine
Feels like we’ll last forever
With your arms around mine

When our hearts are together
Our souls will understand
So let’s cherish this treasure
And come give me your hand

In this next part, Mikhail sang all the lines together with the backing singer.

It will all be fine
Nanana nana nana nana
Your arms around mine
Nanana nana nana nana

As the song ended, the backing dancers all posed around Mikhail. The audience went wild and soon Mikhail and the boys were jumping around too, excited that they had finally done it. In this moment of emotion, Mikhail did not forget to turn to the audience and exclaim his gratitude: "Thank you Rosario! Gražia!". The camera finished off by showing shots of the audience as Mikhail and his team went backstage to allow the stage crew to prepare for the next entry, from Ethane.

We’ll watch, we’ll watch the stars
We’ll feel, we’ll feel our hearts
We’ll share all the secrets
Oh oh, oh oh

We’ll watch, we’ll watch the stars
We’ll feel, we’ll feel our hearts
We’ll share all the secrets

When we are together
I feel safe
When I want to love
I forget the time

When we are together
We get to know each other
We are a piece of art
So let’s live it

[Achaean Republic]

Tune: Eleni Foureira-Fuego

¡Vamos a aprender español!

Let's Learn Spanish.

In English: Where is the beach?

En Español: ¿Dónde está la playa?

In English: Let’s go to the creek!
En Español: ¡Vamos a la charca!

In English: I love dancing!

En Español: ¡Me gusta bailar!

Todo esto y mucho más lo puedes hacer con Fuego Airlines.

All this and more you can do with Fuego Airlines.

#YeahYeahFlying

[Ethane]

ETHANE // C2H6
Jake McKinley - Closeted Case
X Ambassadors - Hey Child

Jake McKinley, backstage ready to perform.

Damien Keelin, backstage ready to perform.

The stage is set. Darkness abodes, ready for the next performance. It's announced - Number 33, Ethane! The crowd cheers, especially the Ethanis, most specifically the female Ethanis who are obsessed with Jake and his co-performer Damien, even though they know they're off-limits. That doesn't stop them screaming at the top of their voices anyway. As the music kicks in, the arena dims to darkness leaving no lights on bar those required by regulations in case of an emergency. The crowd quietens. Jake is centre stage, but he cannot be seen yet by the audience as the stage is shrouded in darkness and mist is billowing up around the centre. Jake starts whistling into his microphone, which is a handless set so he is free to move around and use his hands as he pleases. He is slowly stepping forward, still shrouded in mist. A spotlight shines on the mist, and Jake steps forward and the mist dissipates slightly, Jake is visible to the audience.

He is shirtless. His body has very prominently defined abs. He’s wearing blue denim jeans which fit snugly. As he steps out of the mist, he looks towards the audience and smiles. He’s finally here. At WorldVision. Able to tell a story relatable to many across the world. He remembers back to where he used to be. That makes him smile more. Jake used to be so ashamed of who he was, what he was in the eyes of his family and friends back at college. But now, he knows that he can stand up on a stage and sing about it, make a statement about it, and show people who he truly is and what people like him have to go through every day of their lives at the moment. He’s proud that he can be an ambassador on one of the world’s biggest musical stages.

It approaches the point where he has to sing. He feels nerves building up. Telling himself that once he gets started, he’ll be fine. He takes another step forward. Two more spotlights shine on to him. One diagonally from the right, one diagonally from the left, and the one from straight-up that was already shining down. The stage is also rimmed with red lights that turn on when he starts singing. They’re a solid block colour with no variation or effects at this point.

During the verse, Jake uses his hands to gesture a lot. He initially paces towards the right of the stage, coming close to the audience and looking out across the crowd, before turning with his back towards the audience when he sings ‘closeted case’. He remains facing backwards, but shifts back to a centre-right position on the stage. His body is moving in a formulaic pattern, with his hands clearly moving in some form of pre-set routine. As he comes towards the end of the verse, Damien emerges from the mist in a similar location to Jake, and then walks to the mirror position on the left-hand side of the stage. Damien is also shirtless. He is taller, with less defined abs and muscles but by looking at him you can tell he is stronger – the type to have played American football at college (a jock per se). He is also wearing blue denim jeans which are naturally slightly looser than Jake’s, revealing just the top of his underwear – Jules and a dark navy blue. He has a large grin on his face also and smiles towards Jake as he comes on. He mirrors Jake’s actions.

The camera swivels from it’s initial wide-angle view of the arena and stage to a close-up of Jake as he emerges from the mist, catching his smile. As he starts singing it shifts back slightly and moves from one side of the stage to the other slowly. It follows him round, showing his hand gestures briefly before cutting back to show his back. The camera then focuses on Damien as he enters the stage and mirrors Jake’s actions.

I heard you round the corner at college last week.
You don’t know my name or know me, my hopes are bleak.
See you ev-er-y day, closeted case.
Just wish I could call you my mate.
Can’t catch my breath, can’t catch my breath near you.

As the chorus starts, the red lights that rim the stage start pumping with the beat. They are also joined with some yellow lights and pink lights, creating a semi-psychedelic atmosphere. The camera pans back out to show both Jake and Damien in the frame, as well as the front few rows of audience who seem to be enjoying the song so far. Jake and Damien have their hands straight up in a V shape which they moved into at the end of the verse. As Jake starts singing For You, he moves his hands to point at Damien. Damien seemingly ignores it, and as Jake starts to slowly move towards him, Damien moves away from him so they keep the same distance apart. Damien is just seemingly chilling, strolling around and doing some preset dance routine which is fairly simple and projects uninterest. Jake slides back across the stage to his location on the right as he sings ‘oh’, which is replicated by Damien so they keep the same distance apart again. Jake is still looking at Damien while Damien is looking away.

The camera shifts occasionally between the two, before panning out to include both of them in frame again for when they start shifting back again. The camera angle then focuses on them from Damien’s side, capturing the movement and Damien’s uninterest. Damien occasionally glances at the camera for a few seconds, smiling at the TV audience.

For you, For you,
I can be new.
You light up my room.
Be my bridegroom, ohh.

For you, For you,
I can be new.
You light up my room.
Be my bridegroom, ohh, ohh.

The red lights stop flashing while the yellow and pink lights fade out rapidly, leaving three spotlights from different angles on both Damien and Jake. The mist still hovers at the back of the stage, for use later. The chorus ends with Jake on the far-right of the stage and Damien pretty much centre, effectively signalling that no progress had been made at getting close to Damien.

Just before the second verse begins, a bench is pushed out from the mist. It cannot be seen who it was (it was just stagecrew) but there is now a bench centre-stage. The camera pans to this bench, where Damien takes a seat, continuing with a preset dance routine. There are 2 shirts on the bench, seemingly sporty shirts so tight-fitting, so they would show muscle-lines. As Jake starts singing the verse, he runs over to the bench and sits next to Damien. They dance together in a preset dance routine indicating friendship but nothing more. They both put on their shirts, to the disappointment of many Ethani girls. The camera swings from Damien to Jake as he is running over, following his movement. It then switches angle to show the two engaged in their dance routine. As they both put on their shirts which is when Jake sings ‘facing’, the camera is focused on their face and chests, showing the shirt going over their body. It then swivels round to face the audience before switching back to a right-angled, slowly zooming-in shot.

In the locker-room I always try to sit near you.
Giving hints but I know I can never tell the truth.
My mind is always racing, I could be facing
Hell, getting kicked off the team.
Everything will be fine, I just wish you could be mine.

A similar situation to the first chorus occurs. Jake and Damien, much closer this time – just over a bench length away from each other – start the verse with their hands raised in a V. The red lights start pumping with the beat again, with the re-introduction of the pink and yellow lights as well. Jake points at Damien again while Damien looks uninterested, but in a more amicable and friendly measure to the mere ignorance of the previous chorus. They continue with the same shuffle-movement throughout the chorus, ending back in front of the bench. They sit back down on the bench, almost as if this is a replay of what just happened, but it is representing effectively another day. The camera follows similar movement to the previous chorus, but with a few more shots of the audience and a few more close-ups of Jake’s face, the most prominent being when he is looking straight into the camera with the camera basically in front of Damien.

For you, For you,
I can be new.
You light up my room.
Be my bridegroom, ohh.

For you, For you,
I can be new.
You light up my room.
Be my bridegroom, ohh, ohh, ohh, ohh, ohh, ohh.

As the chorus ends, the pink and yellow lights dim slightly but they don’t fade completely. Two of the three spotlights on each of Damien and Jake turn a light red hue. The rest of the arena – which has been flashing with party-style lighting – dims. Everything focuses on Damien and Jake, including the cameras.
Just as Jake starts singing the verse, Damien and Jake swivel so they are both straddling the bench, facing each other. They are continuing with the preset dance routine, but everything seems slightly slower but more in focus. As Jake sings through the first line they edge closer and closer to each other, until they both meet in the middle as Jake starts with the second line. As Jake sings the second line through, they both put their hands up each others shirts, feeling around each other’s chest and abs visibly. The camera focuses in on this, with the frame basically being Damien and Jake and a little bit of bench on either side. As Jake finishes the second line, they both tear the other’s shirt down the middle and chuck it out towards the audience, continuing to avidly dance and peruse each other’s chests and backs, entangling slightly with each other briefly.

As Jake sings the third line, Damien stands up and pulls Jake up with him. The camera switches focus to just Damien’s hand pulling Jake up, before zooming out. Thus, the camera catches the moment right at the end of the third line when Jake sings ‘make me yours’. Damien and Jake’s faces are plastered with a giant grin. Jake is pulled into the mist by Damien so they are no longer visible by the audience live or on TV (the staging uses fairly thick mist to create this effect). The implication here is obvious. As they disappear, the audience is whistling and cheering, understanding the implication being made on the stage. Jake sings the final line of the verse from within the mist, while all the lights slowly dim out leaving only the lights around the rest of the arena, meaning the stage is in complete darkness.

I think of you when I’m with somebody.
Just 5 minutes with your body.
Take me into the bathroom and make me yours.
I’m desperate and we kiss but I want so much more.

The stage is still dark as the song enters the final section. The cameras are swivelled to focus on the audience, with nothing to look at on the stage at the moment with singing but nothing briefly visible. Spotlights return, shining down upon a small cubicle room like a toilet cubicle where the bench was previously. Two pairs of feet can be seen in the toilet cubicle, one standing behind the other – again the implication is clear and doesn’t need to be stated. Inside the cubicle cannot be seen because the door at the front facing the audience is closed and locked. Note that this is happening after the second ‘for you’, giving time for all this to occur.

As Jake sings the first ‘you light up my room’, the feet move and the door is unlocked and opened. The camera was focused on the close door, so shows the two of them emerge together one behind each other. They are both shirtless still. Their hair is ruffled up, and their blue denim jeans are looser and lower on them, thus showing more of Damien’s underwear though not much more. The belt on Jake’s jeans can clearly be seen loose and undone, with the top-button undone on the jeans so there is a slight opening at the top – nothing can be seen other than the top of his boxers – he is wearing Jules-brand underwear as well as well. They come out semi-entangled in each other still.

As Jake finishes the first round of the chorus, they both get a little more engaged in the performance again – albeit dressed slightly more messily to before. Together, they start running towards the front of the stage down the walkramp between the audience. They are holding hands. The spotlight is following them. All the lights have returned, and the floor is lighting up white as they step on each segment, with each one raising up slightly higher. They arrive in the middle of the stage towards the end of the song. They look into each other’s eyes as the song enters its final chorus. Damien is singing the backing vocals where needed with his handsfree microphone as well. As Jake sings ‘be my bridegroom’ he gets down on one knee, pretending to hold a ring in his hand and holding it up to Damien. The camera followed them up the elevating platforms to the middle. The camera then focused in on this proposal. There were smiles on both of their faces. Jake looked up and closed his eyes. Damien pulled him up. Pyrotechnics went off right around the stage as Damien and Jake briefly kissed.

For you, For you,
I can be new. (new)
You light up my room. (up my room)
Be my bridegroom, ohh. (my bridegroom)

For you, (you, oh)
For you, (you, oh)
I can be new. (new)
You light up my room.
Be my bridegroom, ohh, ohh. (oh, oh).

For you, oh, oh (oh, oh).
For you, oh (oh).
I can be new. (yeah)
You light up my room. (You light up my room)
Be my bridegroom, ohh, ohh. (Be my bridegroom, ohh, ohh).

Most of the lights turned off as the song began to come to a close. They broke away from the kiss as the camera panned away slightly. Jake’s eyes were still closed. He appeared to hook himself on to something, though no one could see what. As the song entered its final few seconds, Jake opened his eyes. Damien had taken a few steps back, and his trousers were done up properly again. He still hadn’t got his shirt on, but he didn’t look overly happy based on the expressions the camera picked up. He clenched his right fist and appeared to punch Jake in the face, to the gasp of the whole audience. Jake went tumbling backwards and off the platform, which must have been about ten feet high. There was a gasp, as everyone assumed this was a mishap. However, Jake had hooked himself into a harness and safely stopped on the ground slowly. This effectively taking us a full circle to the relationship between the two of them at the start of the song. As the song ended, Jake stood up and they both turned to the audience and waved, stating their thanks for allowing them to perform and tell their story. They both then turned and headed back to the stage and back into the mist.

[Achaean Republic]

After Ethane's song has been completed and its performers are whisked to the stage, the camera jumps to a view of the ecstatic crowd at the Arena del Sol before returning to the green room, a few feet away, where Tamar de Andrade has changed to a long yellow dress and has tied her hair into a ponytail, while Khaleb Násser-Rodríguez is wearing a gray suit with a black tie and a black shirtthat contrasts with his salt-and-peper hair.

De Andrade: Well, the last song of the night has been performed, and now it is time for you, our viewers at home and all around the Multiverse to vote for your favorite song.

Násser-Rodríguez: That's right! Remember you can only vote up to 20 times, and we'll tell you when shortly. You can vote by phone at the telephone number on your screen, online at http://www.worldvision.tv, or through our Worldvision app, available on both Android and iTunes. Don't forget two things: one, it's free; and two, you cannot vote for your own country.

De Andrade: And now, who's ready to vote? (The crowd and their flag-waving representatives cheer as a wide-pan camera combs through the public.)

Násser-Rodríguez: All right, let's all do it from three to one in Spanish.

Both De Andrade and Násser-Rodríguez hold three fingers up to count with the public.

Both: Tres...Dos...Uno... Start voting now!

Fireworks and drumrolls reverberate from the flowing stage to the greenroom to the cheers of the crowd.

The camera cuts off to a short, thirty-second recap of each performing song.

Tune: Juan Luis Guerra-El Costo de La Vida

After the recaps are finished, the crowd immediately lights up upon hearing the sounds of a man playing a tambora alongside an electric guitar. Those sounds could only mean one thing: that Achaean merengue superstar Juan Alfonso Patria would play one of his most celebrated songs, La Ínsula ("The Island"), a song that many Achaeans––and especially Rosarianos––consider their second anthem and know it by heart as they wade through the laundry list of complexities of living in a black island. A Rosariano by heart, his unique brand of merengue captured the hearts of many Achaeans and Latin Americans throughout his musical career. And, despite not winning this year's national final, he was nevertheless invited to perform La Ínsula at the Worldvision stage.

He arrives with a beret and flannel shirt with sneakers and a pair of grey slacks, an attire somewhat appropriate for a muggy rainforest, but not for a sun-soaked tropical paradise. But that was his style, one that made him a runaway millionaire and a cherished name in Achaean households. The hums and oohs could be heard from his trusty band of backup singers whom he treated as siblings and friends. As he walked towards the stage, he waved to the crowd nonchalantly and said, "¡Buenas noches, Rosario! ¡Buenas noches, Acaya! ¡Qúe gusto que los pueda ver otra vez!" ("Good evening, Rosario! Good evening, Achaea! It's a pleasure that I can see you again!") As he scurried off with his guitar and began to sing:

Mataron a Richie anoche a las diez

They killed Richie some time after ten

(Y a Juanito le quemaron los pies)

And they burned Juanito's feet

Allá en los barrios me quedé sin tren

I was left without a train in the slums

(Hay hoyos en la brea y yo denuncié)

There are holes in the asphalt and I denounced that

No me escuchan porque es negra mi piel

They don't listen to me 'cause my skin is black

¿Será porque soy de la isla ‘e tres

Could this be 'cause I'm from the island of threes?

No pue-do negar

I can-not deny

¿Quién me va a escuchar?

Who will listen to me?

Las tarifas suben al amanecer[align=]The tarrifs go up in the morning light[/align]
(Me vendo hasta el cuero pa’ poder comer)

I'm selling my body so I can still eat

Y la disciplina la acabo ‘e perder

And I've just lost all my discipline

(A la gallina le cortaron los pies)

They cut off the chicken's feet

No me escuchan porque es negra mi piel

They don't listen to me 'cause my skin is black

¿Será porque soy de la isla ‘e tres

Could this be 'cause I'm from the island of threes?

No pue-do negar

I can-not deny

¿Quién me va a escuchar?

Who will listen to me?

Somos negros altivos

We are haughty black people

soberbios y nacidos

We are sober and born

en una ínsula de fe

In an island of faith

Somos radioactivos

We are radioactive

de arriba escogidos

From above we are chose

Mas nadie sabe por qué

But nobody knows why

Que grande ese día

How great is that day

Eh, cuembé, dame tú a entender

Oh, cuembé, make me understand

Donde no hay mentiras

Where there are no lies

Eh, cuembé, y nos traten bien

Oh, cuembé, and they treat us right

Que nos den refugio

Where we're given shelter

Eh, cuembé, con cemento y buey

Oh, cuembé, with cement and ox

Y dejen de tanto

And stop so much

Eh, cuembé, tratarnos como res

Oh, cuembé, treating us like meat

Que los santos digan

That the saints say

Eh, cuembé, qué vamos a hacer

Oh, cuembé, what are we gonna do

la panadería

The bakery

Eh, cuembé, nos dé algo pa’ vender

Oh, cuembé, give us something to sell

nadie disimula

Nobody is hiding

Eh, cuembé, lo que yo robé ayer

Oh, cuembé, what I stole yesterday

pues la policía

Because the cops

Eh, cuembé, se fueron a beber

Oh, cuembé, left early to drink

Que grande ese día

How great is that day

Eh, cuembé, dame tú a entender

Oh, cuembé, make me understand

Donde no hay mentiras

Where there are no lies

Eh, cuembé, y nos traten bien

Oh, cuembé, and they treat us right

Que nos den refugio

Where we're given shelter

Eh, cuembé, con cemento y buey

Oh, cuembé, with cement and ox

Y dejen de tanto

And stop so much

Eh, cuembé, tratarnos como res

Oh, cuembé, treating us like meat

For the crowd in the arena, the environment was ecstatic. Some knew the lyrics by heart. Some didn't, so they preferred to hum. Others were dancing merengue with their partners, friends, lovers, enemies, frenemies, and even total strangers who knew not a lick of Spanish and they not a lick of English but then decided to test the waters of their boldness by dancing merengue. It was, as someone else called it, a fiesta, the same one that over 60,000 visitors in the Plaza del Rosario were enjoying through a big screen as the simulcast was ongoing and the AS1 cameras were focusing on the outside action. By the time Patria ended the song, the tambora was scratched, the güiro was almost broken, and the singers almost hoarsely voiced. But they had fun, and that was all that matters.

"Gracias! Muchísimas gracias!," said Patria to the adoring, flag-waving crowd, waving his right hand and carrying his trusty guitar on the left. At that time, another recap of all the entries was onscreen for voters at home, counting down the clock.

One the broadcast image returns to the arena, Tamar De Andrade is standing in the midst of the crowd of flag-waving, partying, adoring fans. She attempts to make small talk with some of them off-camera, but even then it's too loud to hear anything they are saying right. She then steadies her hair and prepares to look at the camera while reading at a small teleprompter.

De Andrade: And that was Juan Alfono Patria, ¡damas y caballeros! Can you give him a round of applause? (Claps, yells, and shouts can be heard from the area where De Andrade is standing.) Now, it can't be Worldvision if we don't honor the past. Last year, in the beautiful city of Monterra in Kalosia, Anna Viktoreevna from Polkopia––(the Polkopians in the crowd begin to yell Anna's name, temporarily forcing De Andrade to silence.)––Anna Viktoreevna from Polkopia won the contest. And tonight, she gets to perform her winning song again... with the help of the orishas. Hmm...

Tune:Bailes de los Orishas

As the stage is darkened, a group of black men wearing white clothes and walking barefoot are playing drums. Some fothem are shirtless. Some of them have T-shirts and V-neck shirts. They are playing with the instruments, the beginning of the ritual invocation for the orishas. Each orisha has a peculiar sound––some of them hard, others soft; some of them loose, but others restrained. Each of them, according to the pantheon, would call upon the favor or misfortune of its invoker, so no human should tread lightly with them. For centuries, the rituals of Santeria in Achaea were and are still considered a demonic taboo, more so with the growing conservative tide in national politics and the perceived regression in civil liberties Achaeans enjoy. But for many Achaeans, and even for Rosarianos, this faith is their only living link to an Africa they never imagined beyond the white man. Of course many protested over including the orishas on the show––but if this was the way for Achaeans to showcase their culture, why not do it now?

The first orisha to come out is Elegguá, always dressed in red and always joking with humans. His movements are brusque and fluid as if he were weeding off the plants with a special hairpin-like twig bent for him.

Next comes Ochún, a sensual orisha decked in yellow and gold dresses and earrings. Her dance is loose and seductive, pulling you in with her tempting smile. It is said that performers, once under the so-called trance of Ochún, would suddenly rip their heavy clothes off and writhe passionately on the floor, as if they were making love to Changó. But she is behaving this time that visitors are in Rosario, or so the priests would say.

Oggún, the orisha of thunder, heavy metals, and virility, appears on stage barefoot, barechested, dressed in green clothes and carrying a machete (though blunted so as to avoid any unnecessary bleeding), whipping it to cut through the (imaginary) sugarcane in the fields. He is also considered the orisha of the slaves.

Yemanyá, the mother of the seas and the protector of the children of the Earth, rides along swirling like the waves of the ocean on a full moon. Her dance is circular and clock-like, but always wavering from side to side, just as the sea at high tide. Her moves are peaceful, yet violent, so whenever she dances the drums begin to agitate and the ritual becomes a bit more frenetic.

Babalú Ayé is decked in purple clothing, but unlike the others he is not spinning, nor standing, nor carrying an instrument. In fact, he is crawling, squirming helplessly at the floor like a snake. The top camera can only focus on Babalú Ayé's head, his legs, and his hands always trying to look for somewhere to grasp. He is limp as if he stands for the suffering slaves of life.

Lastly, Changó appears shirtless and covered in a frilly red skirt and a crudely drawn red-and-golden crown. He hoots and hollers, scaring away the small children in the arena. He carries a mace and gyrates his pelvis, jumping, gnashing his teeth and drawing out terror.

As the orishas congregate in a circle, they begin to congregate and interact with each other. They are all secucers, beggars, entertainers, trickers. Their idea is to lead the chldren of Ifá to the trials of the world. The pace is frenetic, almost out control and disorienting. They are kicking, screaming, fighting for attention. The orishas are a tumultuous group, like the Achaeans wherever they go. The drums grow bolder and more intense, almost pounding to the rhythm, gnawing and gnashing.

But for a moment, the drums stop. The arena grows into a silence...until the familiar din-din-din-din of Anna Viktoreevna's winning song. She appears dressed as Obatalá, the goddess of peace, justice, truth and humility. Only this time, she appears with a white headwrap and a white kaftan, walking seductively across the stage and singing her song with the same motion that Obatalá would have. The orishas follow her and move towards the beat, changing their gyrations to the music.

Tune: Tiësto, Jonas Blue & Rita Ora - Ritual

Too hard to breathe
Just you and me
I'm losing sleep
Ohhh yeah...

This one's on me
Drink up, honey
I'm all you see...
Babe

So sit back, relax, and hang your head back, I'll take it straight from here
Don't let me go, we'll take it real slow, don't have to go nowhere
Do this all night, no end in sight, when I'm with you I feel alive
Feel alive

If I'm honest, I never want this to end
Don't have to play pretend
Oh, boy, make me feel like this again

My heart is
Pounding right through my chest and
Can't give my mind a rest and
Oh, boy, make me feel like this again

Oh, boy, make me feel like this again

Oh, boy, make me feel like this again

So scream my name
When we're alone
And fan the flames
...And late at night...

When our lips meet
It feels complete
So take me there

So sit back, relax, and hang your head back, I'll take it straight from here
Don't let me go, we'll take it real slow, don't have to go nowhere
Do this all night, no end in sight, when I'm with you I feel alive
Feel alive

If I'm honest, I never want this to end
Don't have to play pretend
Oh, boy, make me feel like this again

My heart is
Pounding right through my chest and
Can't give my mind a rest and
Oh, boy, make me feel like this again

So sit back, relax, and hang your head back babe
Don't let me go, we'll take it real slow, babe...
Oh... Do this all night, no end in sight babe...
Oh... anywhere, everywhere...

If I'm honest, I never want this to end
Don't have to play pretend
Oh, boy, make me feel like this again

My heart is
Pounding right through my chest and
Can't give my mind a rest and
Oh, boy, make me feel like this again

If I'm honest, I never want this to end
Don't have to play pretend
Oh, boy, make me feel like this again

My heart is
Pounding right through my chest and
Can't give my mind a rest and
Oh, boy, make me feel like this again

Oh, boy, make me feel like this again

Tune: Patrice Roberts-Sweet Fuh Days

Ven pa’l carnaval, val, val, val, val, val

Come to Carnival, val, val, val, val, val

Vamo’a party-sear, sear, sear, sear, sear, sear

Let's have a party, ty, ty, ty, ty, ty

Ven, vamo’a pe-rrear, rear, rear, rear, rear, rear

Come and take a grind, rind, rind, rind, rind, rind

Y a bebe-rrear, rear, rear, rear, rear, rear

And let's have a drink, rink, rink, rink, rink, rink

Las horas no pasan más

The hours don't pass no more

Las calles se encenderán

The streets will light up now

Yo me gozo la noche, todo el bacanal

I enjoy all the night, all the bacchanal

Las calles se encenderán

The streets will light up now

Perreando hasta el final, yo quiero celebrar

Grinding until the end, I want to celebrate

La vida es tan corta, mi bien

Life is so short, my love

Todo el día es guarachar y de todo probar

Every day is a party and I've got to try everything

Porque esta noche es mi noche, noche de carnaval

'Cause this is my night, it's my night of Carnival

Ven pa’l carnaval, tú va’al carnaval, yo voy al carnaval, vamo’al carnaval

Come to Carnival, you're on Carnival, I'm on carnival, we're on Carnival

La rumba está encendía, cargo hasta lentejuelas

The party's so lit, I carry up to sequins

Ven pa’l carnaval, tú va’al carnaval, yo voy al carnaval, vamo’al carnaval

Come to Carnival, you're on Carnival, I'm on carnival, we're on Carnival

Levántate ahora que la hora de darte un cien

Wake up, the time has arrive to give you a hundred

Ven pa’l carnaval, val, val, val, val, val

Come to Carnival, val, val, val, val, val

Vamo’a party-sear, sear, sear, sear, sear, sear

Let's have a party, ty, ty, ty, ty, ty

Ven, vamo’a pe-rrear, rear, rear, rear, rear, rear

Come and take a grind, rind, rind, rind, rind, rind

Y a bebe-rrear, rear, rear, rear, rear, rear

And let's have a drink, rink, rink, rink, rink, rink

Flores de lentejuelas

Flowers of sequins

Las calles se encenderán

The streets will light up now

El ron corre con espuelas

The rum's running with spurs

Las calles se encenderán

The streets will light up now

En la calle sin penas, los días no van a dar

In the street without worries, the days won't last us long

Quiero bailar hasta las tres

I wanna dance 'till three-o'-clock

Tienes un problema, déjalo y suéltate

You've got a problem now, drop it and loosen up

Deja que te suelte el ritmo y entrégate

Let the rhythm move up and surrender now

Ven pa’l carnaval, tú va’al carnaval, yo voy al carnaval, vamo’al carnaval

Come to Carnival, you're on Carnival, I'm on carnival, we're on Carnival

La rumba está encendía, cargo hasta lentejuelas

The party's so lit, I carry up to sequins

Ven pa’l carnaval, tú va’al carnaval, yo voy al carnaval, vamo’al carnaval

Come to Carnival, you're on Carnival, I'm on carnival, we're on Carnival

Levántate ahora que la hora de darte un cien

Wake up, the time has arrive to give you a hundred

Ven pa’l carnaval, val, val, val, val, val

Come to Carnival, val, val, val, val, val

Vamo’a party-sear, sear, sear, sear, sear, sear

Let's have a party, ty, ty, ty, ty, ty

Ven, vamo’a pe-rrear, rear, rear, rear, rear, rear

Come and take a grind, rind, rind, rind, rind, rind

Y a bebe-rrear, rear, rear, rear, rear, rear

And let's have a drink, rink, rink, rink, rink, rink

Las horas no pasan más

The hours don't pass no more

Las calles se encenderán

The streets will light up now

Yo me gozo la noche, todo el bacanal

I enjoy all the night, all the bacchanal

Las calles se encenderán

The streets will light up now

Perreando hasta el final, yo quiero celebrar

Grinding until the end, I want to celebrate

La vida es tan corta, mi bien

Life is so short, my love

Todo el día es guarachar y de todo probar

Every day is a party and I've got to try everything

Porque esta noche es mi noche, noche de carnaval

'Cause this is my night, it's my night of Carnival

Ven pa’l carnaval, tú va’al carnaval, yo voy al carnaval, vamo’al carnaval

Come to Carnival, you're on Carnival, I'm on carnival, we're on Carnival

La rumba está encendía, cargo hasta lentejuelas

The party's so lit, I carry up to sequins

Ven pa’l carnaval, tú va’al carnaval, yo voy al carnaval, vamo’al carnaval

Come to Carnival, you're on Carnival, I'm on carnival, we're on Carnival

Levántate ahora que la hora de darte un cien

Wake up, the time has arrive to give you a hundred

Ven pa’l carnaval, val, val, val, val, val

Come to Carnival, val, val, val, val, val

Vamo’a party-sear, sear, sear, sear, sear, sear

Let's have a party, ty, ty, ty, ty, ty

Ven, vamo’a pe-rrear, rear, rear, rear, rear, rear

Come and take a grind, rind, rind, rind, rind, rind

Y a bebe-rrear, rear, rear, rear, rear, rear

And let's have a drink, rink, rink, rink, rink, rink

[Ruritane]

Here, have my bleeping votes! Who cares, anyway?

1- Mister X
2- Saviera
3- Ethane
4- Voxija!
5- Malto Comino Gozo
6- Scotatrova
7- Main Nation Ministry
8- Britonisea
10- Polkopia
12- Achaean Republic

[Scotatrova]

Scotatrovian Representative, Kimberly Gaona

"Benun nuixa Rosario, good evening from Scotatrova. What a fabulous show tonight, such a joy to watch. Now here are our points."

North Arenia gom Unue aqutes
Britonesia gom Diuse aqutes
Kishrael gom Traz aqutes
Besen gom Qüetre aqutes
Estogium gom Cinqüe aqutes
Achaean Republic gom Sez aqutes
Tödlichebujoku gom Siet aqutes

Nosre Uotte aqutes va ai...Izmedu!

Nosre Dihes aqutes va ai...Polkopia!

Ía athor...nosre Duse aqutes va ai...Kalosia!

[Vartugia]

03/26 (: Vartugia

A cow

Mooooooooooooooooo

(Due to low budet, im forced to cast our points again lol)

12- Missus X
10- Ardoki
8- Lactatia

7- Monaeroglisseurest Pleindanguilles
6- Axuva
5- Malta Comino Gozo
4- Saviera
3- Ruritane
2 - Izmedu
1-Scotatrova

[North Arenia]

12 Ethane
10 Estogium
8 Saviera

7 Achaean Republic
6 Scotatrova
5 Besen
4 Britonisea
3 Malta Comino Gozo
2 Axuva
1 Main Nation Ministry

[Malta Comino Gozo]

Hello World this is Malta Comino Gozo calling!
Lewis we all love you!!

Malta Comino Gozo spokesperson
Ira Lesco

We are so happy to be part of this spectacular spectacle! Now for the important part, here are our votes!

1 Besen
2 Main Nation Ministry
3 Polkopia
4 Scotatrova
5 Amuapyle
6 Voxija
7 Monaeroglisseurest Pleindanguilles

As you can see the first 7 points on the screen, and we give 8 points to

8 Ethane


Our 10 points goes to...

10 Ardoki


and finally our first ever 12 points, our Douze Points goes to......

12 Ertzei Kishim

Congratulations! Thank you everyone!

[Voxija]

Voxija votes!

1- Lactatia
2- Achaean Republic!
3- Main Nation Ministry!
4- Malto Comino Gozo!
5- Ertzei Kishim!
6- Besen!
7- Britonisea!

Polkopia!

Kalosia!

Todlichebujoku!

[Monaeroglisseurest Pleindanguillese]

New Monaerese Pork, good for all!
Yes, we can advertise too.
Open up your pork markets today.
Anyway, votes.

12pts - Kalosia
10pts - Todlichebujoku
8pts - Polkopia
7pts - Mister X
6pts - Voxija
5pts - Ertzei Kishim
4pts - Besen
3pts - Izmedu
2pts - Malta Comino Gozo
1pt - Ardoki

We are not winning. That. Is. A. Disgrace

Goodnight

[Mister X]

[Missus X]

[Estogium]

Estogium Votes

12 Achaean Republic
10 Izmedu
8 Todlichebujoku
7 Mister X
6 Malta Comino Gozo
5 Britonisea
4 Scotatrova
3 Axuva
2 Main Nation Ministry
1 Ardoki