WorldVision Song Contest 104 | IC | Mariensbourg, Carrelie

[Carrelie]

the carrelian teleradio service presents...
le service de téléradio carrelienne présent...
ve sèrvér téléràdionne carréloîse présentrë...

---

ooc thread | host bid | playlist

---

introduction

---

We at the STC would like to welcome you all back to Carrelie for the third time. After the decisive victory of our host bids over the wonderful bid from South Batoko and the... less wonderful bid from Vartugia, we're delighted to welcome the participating delegations to Mariensbourg, the city of song, for the second Dentrician hosting of the esteemed event. Tonight, we'll see talents young and old, new and established, talented and not so. Let the show begin!

opening act: monica - "come right at me"

---

"Come Right at Me" is the lead single from Monica's 2022 concept album "Chapel". The end of the album's narrative, it serves as an end to the story of Sister Llywela, succumbing to the temptations of sin. The relatively heavily produced track was remixed numerous times by people from Aen Glish to Annemarie Königsmann, making it by far the most successful track from the album. Now, Monica's here to perform the act on stage for the very first time, to honour another Carrelian hosting of the Worldvision spectacle.

The stage is set out simply, with bright blue light streaming from every screen, leaving Monica's imposing figure a silhouette. As she begins, the blue zooms out to reveal the Carrelian flag and then the contest's logo.

Feel the heat of
Feel the heat of heart
Give me all you
Give me all you've got
Come right at me
Started with a
Started with a kiss
How'd it end up
Ending up like this
Come right at me
Started with a

Come right at me

It's not my fault
that I lit the flame
See it burning
Oh, it's such a shame
Come right at me
In another
In another life
Could we have less
Could we have less strife
Come right at me
In another

Come right at me
Come right at me
Come right at me

As the opening act ends, the energy in the studio is electric. Everyone is ready and raring to go - but first, it's the flag parade!

flag parade

presenting your hosts

---

Sylvia: Welcome! Bienvenue! Willkommen! Bénvér!
Ròsëmonde: Yes, welcome to the Pàrc Olympièn on this night of nights. Yes, it's the Worldvision Song Contest 104!

The crowd roars! Flags are being flown left, right and centre - it's a spectacle!

Ròsëmonde: Woah, what an amazing crowd - but let's save our energy for our participants, shall we?
Sylvia: I dunno, I'm kinda enjoying the praise! Anyway, we've got X acts representing X nations, all heading for that famous trophy.

Ròsëmonde unveils the star-shaped trophy as the crowd looks on. Some oohs are heard.

Ròsëmonde: Yes, the coveted trophy! Whichever artist has racked up the most points from the juries and televote at the end of the night will receive both this and international praise!
Sylvia: So, now we've seen the trophy, who's ready to ride the soundwave tonight?

The crowd once again cheers. They're clearly all ready!

BOTH: THREE!
TWO!
ONE!

LET'S RIDE THE SOUNDWAVE!

[Carrelie]

flag parade

1. ikslund
tba - "tba"
entry • [url]postcard[/url] • [url]votes[/url]

2. kalush
yurik - "потужність"

3. tummylandia and susistan
guillermo torres - "one week in tummytown"
entry • postcard • [url]votes[/url]

4. spiritual republic of caryton
myrtle roosevelt - "in fortitude"
entry • postcard • [url]votes[/url]

5. fatimanian federation
carmelita quintos - "will i be?"
entry • postcard • [url]votes[/url]

6. waisnor
maria shunto - "kto ya"
entry • postcard • [url]votes[/url]

7. britonisea
ben nikolai - "camouflage"
entry • postcard • [url]votes[/url]

8. plangainer
tba - "tba"

9. south batoko
tba - "tba"
entry • [url]postcard[/url] • [url]votes[/url]

10. new zealandic south west saint martin
marnie mcosrap ft. marron verts - "chocolate"

11. makko oko
dean cochran - "satan's embrace"
entry • postcard • [url]votes[/url]

12. crustyland
cedric mcgerban & juliana montain - "look away"
entry • postcard • [url]votes[/url]

13. carrelie
maria albrechtsen - "karreliske drøm"
entry • postcard • [url]votes[/url]

14. controlist ferwerter union
landlief patriot - "my beacon"
entry • postcard • [url]votes[/url]

15. strayaroos
alan hytaua - "our time"
entry • postcard • [url]votes[/url]

16. malta comino gozo
fradel & spies - "vibes"
entry • postcard • [url]votes[/url]

17. besen
obelus - "lucid dreaming"
entry • postcard • [url]votes[/url]

18. placely placington
a couple of daves - "we love rapping"
entry • postcard • [url]votes[/url]

19. achaean republic
milkah - "glassy"
entry • postcard • [url]votes[/url]

20. erie-arcadia
rose hammond - "marigold"
entry • postcard • [url]votes[/url]

21. alezian union
alin yuri - "dead and buried"
entry • postcard • [url]votes[/url]

22. terra zealandia
mount pukenui - "louder"
entry • postcard • [url]votes[/url]

23. illdonya
nina aratta - "watching you"
entry • postcard • [url]votes[/url]

24. axuva
tba - "tba"
entry • [url]postcard[/url] • [url]votes[/url]

25. nihilita
tba - "tba"

26. jencilland
tba - "tba"
entry • [url]postcard[/url] • [url]votes[/url]

27. aenglide
anÿmehouse - "upside-down world"
entry • postcard • [url]votes[/url]

28. antahbrantahstan
tba - "tba"
entry • [url]postcard[/url] • [url]votes[/url]

29. mister x
gemina stephanus - "where do we go?"
entry • postcard • [url]votes[/url]

30. vartugia
the banneables - "vartugia!"
entry • postcard • [url]votes[/url]

31. zamboodle
tba - "tba"

32. beepee
shona tihtz - "calling in the dark"
entry • postcard • [url]votes[/url]

33. saviera
sean louis - "christmastide"
entry • postcard • [url]votes[/url]

34. flusia
luka ivanov ft. suzan krowe - "hate me, date me"
entry • [url]postcard[/url] • [url]votes[/url]

35. kalosia
$tefa - i can never be him
entry • postcard • [url]votes[/url]

[Ikslund]

1

---

T H E
I K S L U N D
P E R F O R M A N C E

Anticipation

Performed by Marina Von Cleve

---

---

[Kalush]

02 kalush
Yurik-потужність (Power)

---

Zlata Dziunka-Nezlamna

[Tummylandia and Susistan]

Set to the tune of Murray Head - One Night In Bangkok

The Artist

---

Guillermo Torres is a famous new wave musician most known in the Latin countries. He was born in Guayaquil, Ecuador but with Tummylandian-Susistani parents. He started his singing career at the age of 21, most notable for the songs "La Morena" and "Bananas!"

The Song

---

One Week in Tummytown is a song.

The Performance

---

After the disastrous showing in our first Eurovision, Tummylandia and Susistan has decided to send in an actual serious song, or atleast as serious as it can get for Tummylandia and Susistan.

On the tram ride to the stadium, Guillermo Torres met a few fans cheering for him, it was awkward but it was bearable. Afterwards, he arrived on the stadium and after Kalush's performance, he got on the stage.

At the start of the song, dramatic music played before the lyrics.

Tummytown, east meets west,
and the city dont know what it's getting,
the piece de resistance of racing,
in a song with everything but Lena Raine

[funky synthesizer music]

Time flies, doesn't seem a minute
since the Blahajstad hotel had serial killers in it.
All change, don't you know that when you,
run at this track there's no ordinary venue,
It's Kurdistan or Marikina or Derry
or... this place

One week in Tummytown and the world's your oyster,
the clubs are cathedrals but their pearls aren't free,
you'd find gods at every square and plaza,
but you'll be lucky if the god isn't a cat.
I can feel a saint whispering to me.

One race's very like another
when you kill the other racers, brother.
It's a drag, it's a bore, it's really such a pity
to be looking at the track not looking at the city.

What do you mean?
You've seen one crowded, anti-car, communist town,
Coffee, femboys, anarchism,
All set up on Blahajstad or Mt. Celeste.
Get tummed, you're talking to a tourist
whose every moves above the purest.
I get my kicks above the waistline, sunshine.

One week in Tummytown makes fascists weep,
their tears are drank for commercial consumption,
One night at Blahajstad and the rapists stumble,
when they get lynched by a catgirl mob,
I can feel an assassin walking next to me

[mysterious music]

Tummylandia's going to be the witness
of the ultimate test of physical fitness.
This grips me more than would a
weird church or absurdly large plaza,
and thank god I'm only watching the game, controlling it
I don't see you guys rating the kind of cat I'm contemplating,
I'd let you watch, I would invite you
but the cats we use would not excite you.

So you better go back to your gay bars,
your cathedrals, your pedestrian streets
One week in Tummytown and the world's your oyster,
The malls are cathedrals but their pearls ain't free,
You'd find a god in every square and plaza,
a little flesh, a little history,
I can feel the saint whispering to me.

One week in Tummytown makes the neo-Nazis woe,
once they're in the crosshairs of Daphne Panadero,
One week in Tummytown and the Confed'rates tumble,
can't be too careful with your company,
I can feel the assassin pointing at me.

[Spiritual Republic of Caryton]

4. Spiritual Republic of Caryton
Myrtle Roosevelt - In Fortitude

Myrtle in traditional attire.

Myrtle Roosevelt, soprano of the Georgine Institute of Opera, has been selected in a last-minute performance swap. The original performer, in part due to a family emergency, has withdrawn. The Carytonic WorldVision Committee selected the runner-up, in perfect time to retort to rival state Makko Oko's entry plans. In Fortitude may be a political statement- as two polar faiths vie for dominating international airtime. Regardless of the international context, the hymnal version of this song is often sung in the Gospel Church of Caryton.

---

The performance opens with a depiction of trumpeting angels played by performers, floating just above what seems to be a stormy shoreline. Intense grey clouds thundered below them, surrounding what props and LED screens depict as a rocky cliff over a sea. From the performer's position, she can not see the angels that rejoice above her. Should one plummet into the rocky waters, they will undoubtedly plummet into oblivion. A massive streak of lightning breaks the stage's relative darkness and illumines Myrtle, standing half-immersed in the fog, facing the sea- a metaphor for death- with a look of conviction. She begins singing.

Still in fortitude I stand, unmoved by the tides of time.
In fortitude, though mighty mountains are swept away-
And tho' I may be near my end... No, no! I've not a fear nor shame!
E'en if those very tides render me... in fortitude I'll remain.

Myrtle witnesses entire mountains being swept away and broken into hundreds of smaller pieces by towering waves. With expert audio and the right prop placement, the illusion of the stage shaking is created. Rocks fall all around the woman, who refuses to shrink or flee in the face of imminent doom. Thunder booms, with lightning casting the stage in occasionally blinding light. Mist and high winds blow through Myrtle's hair, who doesn't look the least bit fazed by her own cliff losing mass, but only sings more devotedly.

Not even the power of the world can take away my faith.
Nor will the riches of the world can make me feel beloved or safe.
Not temptation nor isolation will make me stray from my eternal goal,
So here in fortitude, I will be whole...

The destruction around her pauses, and among the torrential waves Myrtle reflects. Sunken ships and their flailing crew in the horizon illustrates the temporary nature of worldly comforts. If Myrtle had chosen to board the boat rather than climb the mighty cliff, she would have been among the drowned. Myrtle keeps her position, now looking the audience in the eyes rather than casting her gaze on the destruction.

In fortitude, I stand. I'll stand until I'm homeward bound-
In fortitude I'll number among the heaven'ly hosts under the trumpets sound-

The clouds part for a moment, and then Myrtle is cast in brilliant white light. For the first time, she can see the angels in the sky. They are above the ocean, inviting her. Two descend, and offer her a trumpet, which she takes in her hands. However, the ground underneath her rumbles, and a darkness from below clashes with the brilliant light above.

I'll cling to my Savior's grace!
I'll never belong to Satan's embrace!
And should he try to drag me into Hell-
In fortitude I'll remain!

A gigantic body at least double the woman's size wraps around her. The depiction of Satan tries to drag her over the edge, which is no longer the ocean- but a fiery pit of misery. As she sings "I'll cling to my Savior's grace", she stumbles forwards- towards death, towards the angels just out of reach. As she sings "I'll never belong to Satan's embrace", she grabs the long angelic trumpet and drives it into the chest of Lucifer, using the leverage from that, and her kicking- to send him plummeting. Myrtle, still emotionally singing, is depicted to fall along with him. Darkness rapidly approaches, but a white and glowing hand grabs hers, and pulls her up. Light overcomes the stage, as the soul enters the gates of Heaven instead.

[Indo States]

5. Fatimanian Federation
Carmelita "Carmela" Quintos - Will i be?

---

Information about the Song

The Song has been Composed by Cecille Avanzado, which it is one of her Classmates, in response to Carmela's Crush Experiences when she was Studying in St. Paul University of Fatimania (SPUF), and also mixing it with a Twist of Cecille's Wattpad Fanhood. 5 Weeks before the 104th WorldVision Song Contest has been Announced and Held in Mariensbourg, Carrelie, the Music Video has been already made for this Song, in which, it Stars Carmela Quintos, and her Crush, namely Richard Salazar, the Son of Senator Antonio Salazar, and the Whole Music Video has been filmed inside the Campus of the St. Paul University of Fatimania (SPUF), primarily in the Entrance of the Main Building of SPUF, the High School Classroom within the High School Area of the SPUF Main Building, the Canteen Area of the SPUF Main Building, and the Quadrangle of the St. Paul University of Fatimania (SPUF) Forest Park, in which, the Story of the Music Video tells that when she Arrived to her School, it was a Bad Start for her since it was first day in the High School, in which, she was prepared, but didn't know what to do, and when she walked towards the Stairs towards the Main Entrance of the Main Hall, she suddenly Dropped her Textbooks and Notebooks from her Bag, and she tried to retrieve it until a Schoolboy Arrives, in which, he helped her retrieve her Textbooks and Notebooks, until the Part when she accidentally touched the Boy's arms that resulted them into having a Eye contact with him, and after she Retrieved her Books and put it back on her Bag, they went together into her New Classroom, in which, she met her New Classmates.

In the Classroom, before the Classes start, she asked him for his name, in which, he responded, and she memorized his name, but inside her mind, she was thinking that she was lucky to have a Crush in the Classroom when it was her First Day in her New School, and during the Recess, she was walking towards the Corridor of the Canteen after picking up her food and found her Seat, in which, she put her Food in the Table, and when she forgot to pick up her water bottle in the Canteen, she walked up and then she suddenly slipped in a Wet Floor, however, her crush later saved her from causing an Accident within the Canteen, despite there are many Student eating in the Canteen, in which, when she was saved, she thought that he was going to kiss him, but to prevent getting the Attention of the School Staff, her Crush has helped her to Stand up and return to her seat while he was going to a Separate seat, 1 Block away from her, in which, she got the Opportunity to make Short Letters and make a Paper Plane Version of it in order to throw it into him, in which, it was successful, where he read the letter and began fully introducing himself to her, and upon return to the classroom, their studies continue, until their Dismissal, she rushed to find her Crush, in which, it was Successful to track him down and they went on "Dating", in which, she got the first taste of their kiss together during the date before they Returned to their Respective Dorm Rooms. Months after, the Couples are celebrating their First Month of the Relationship, in which, they Celebrated it thru a Pop-up Party in the Forest Park, in which, she has been surprised by her Crush, in which, he gifted her Chocolates and Flowers while she was surprised as her tears coming out of her eyes, in which, she was thinking that she would be his "forever", in which, as response, she said thank you and kissed together, marking the end of the Music Video.

In Addition to the Song, For those who are wondering about Carmelita's Age, she was 15 when she was now going to perform in this Song Contest.

Main Vocalist(s): Karméléta "Karmela" Kyntász (Carmelita "Carmela" Quintos)
Background Vocalists: Abigail Kanlász (Abigail Canlas)
Lyricists: Szeszilyá Abanszadő (Cecille Avanzado), Karméléta "Karmela" Kyntász (Carmelita "Carmela" Quintos)
Composers: Szeszilyá Abanszadő (Cecille Avanzado), Krisztina Kunenkó (Christina Cuenco)
Props Manager: Mihály Nándor Szálszedő (Michael Ferdinand Salcedo)
Sound: Krisztina Kunenkó (Christina Cuenco), Lőjés Sándor Hayna (Louis Alexander Jaine)
Video: Endre Tyrón (Andrei Tirona)

Original Tune: Schlagerkids - Regenbogenfarben

---

The Actual Performance

On the Beginning of the Performance, Snowflakes are appearing on the LED Screens, in which, the intro of the tune begins, as Carmelita enters the Stage, wearing a Lavender-Colored Dress and White Short-heeled Dollshoes, and a Ribbon Tie on the Back of her Hair while her Hairstyle was a Ponytail. When she entered the Stage, she began singing.

One Time, it was my first day in my school, i was totally Nervous about it, what does it mean for me?
When i arrive, i was walking on the stairs on my school, on my way to my Classroom, then this happen.
And when he came, i felt my heart is beating over and over, since he was my crush always since 6th Grade, and i felt wanting a kiss from him,
Oh, am i be his next "the one"? Will i be your Princess? and you'll be my prince? Will i be the next?
Oh, i would be the one that he will kiss in my Lips? Will i be the One Forever? Will i be in your hands forever?
La-la-la-la-la-la-la-la-la-la-la-la-la-la-la-la-la-la

And then, how do i feel like i am falling in love with him? Does it mean he would be forever in my Heart and Mind? Is this Love? (Is this Love?)
Will i be? the Queen, while he's the king who will lead the Kingdom? or the ones who will help me and protect me?
Oh, am i be his next "the one"? Will i be your Princess? and you'll be my prince? Will i be the next to be Kissed in my Lips?
Oh, i would be the one that he would Marry me when i'm Old? Will i be "his Future Wife"? Will i be Together, Forever and Ever? (Forever and Ever)

(And when he came, i felt my heart is beating over and over, since he was my crush always since 6th Grade, and i felt wanting a kiss from him,)
Will i be? the Queen, while he's the king who will lead the Kingdom? or the ones who will help me and protect me?
Oh, am i be his next "the one"? Will i be your Princess? and you'll be my prince? Will i be the next to be Married when i'm Old?
Oh, i would be the one that he would Marry me when i'm Old? Will i be "his Future Wife"? Will i be Married in the Future?

After the Performance ends, Carmelita thanks the Audience in Lusarian Language, "Készéném mindékék, aksá megnéztá ezt az előrő! Remélék méndég értékélnék fogjasz ezté a Fatimánszág Dálőgá-és-Bórdők Funkés Muziká darabot! (Thank you for everyone who watched this performance! i hope everyone will appreciate this piece of Fatimanian Teen Pop Music!)", in which, after Carmelita thanked the Audience, Waisnor's Maria Shunto was the next.

[Waisnor]

06

WAISNOR

---

Maria Shunto - kto ya/Tune: Bota Butterfly - Somebody Else

---

Maria Shunto made her debut in WorldVision in 94th edition with her song "Ya prosto yudu" placing 14th. This song helped her raise her popularity among the Waisnorians and now, she was a bona-fide star at this point. After that she released a couple of singles, one of them, "Circuitry", serves as the 1st opening to the new TV series on NTV, "Yaya".

Let's get on to the performance:

Maria sat on the stage, hugging her legs. She was wearing a light white dress, rather like a night dress. Meanwhile, nothing appeared in the background. However, those who thought that some technical problems are happening now or that there will be no background in this performance at all are mistaken. It's just that the time for the background to appear has not yet come.

Тону в море слов и желаний

Drowning in a sea of words and desires

В потоке любви и страданий

In the flow of love and suffering

Никак не могу найти себя

I can't find myself

After this verse, a row of 5 illuminated circles appeared, and Shunto was right in the middle. These circles are due to the lighting at the top of the stage. Meanwhile, some kind of action had already begun in the background - the cracks gradually spread across the background, confidently moving towards the center.

Идут часы и года, я всё иду в никуда

Hours and years go by, I'm going nowhere

Лоскутное одеяло души рвётся, и я молю: свяжи

The patchwork quilt of the soul is torn, and I pray: tie

Его вновь, я слаба

It again, I'm weak

The circles lit up in turn from right to left, and continued to do so throughout the last verse, and when the chorus began, only the circle remained, which illuminated Mary. Shunto was still sitting on the stage, but she had already removed her hands from her legs and moved them freely. Meanwhile, in the background as the chorus began, the cracked glass finally shattered and the pieces flew forward in slow motion.

Вопрос один лишь, "Кто я?", в моей голове

The only question, "Who am I?", in my head

Какую роль мне сыграть в этой новой главе

What role should I play in this new chapter

Безумной жизни... Я хочу знать, я не могу лишь мечтать

Of this crazy life... I want to know, I can't just dream

After that the lights seemed to transfer to the scene and transformed to the rectangle, which began spinning with Shunto at the centre. Meanwhile on the background the shards of glass were now falling to the ground, once again in slow motion and breaking into even more pieces. As for Maria, she remained on theground, now laying on it, looking into the cameras held at the top of the scene.

Душа разбита на куски

Soul broken into pieces

Пытаюсь связать узелки

I'm trying to tie knots

Её починить, себя убедить, что я могу дальше жить

Fix it, convince myself that I can continue to live

As the time went to sing the chorus once again, Maria was now making some dance moves, while still staying on the ground. Meanwhile, the rectangle on the stage, while still spinning, slowly shrank into the square, still centered on Shunto. As for the background, it was still showing the glass shards, but now they were slowly forming some kind of picture.

Вопрос один лишь, "Кто я?", в моей голове

The only question, "Who am I?", in my head

Какую роль мне сыграть в этой новой главе

What role should I play in this new chapter

Безумной жизни... Я хочу знать, я не могу лишь мечтать

Of this crazy life... I want to know, I can't just dream

Maria was still doing these dance moves, but still was doing this on the ground. But now here movements were somewhat more free, as if he was trying to break away from the ground. But so far she couldn't do it. The lights of the scene were still centered on her, and on the background the glass shards were fully assembled into the picture of hand raised upwards.

Я знаю, есть ответы на этот сложный вопрос

I know there are answers to this difficult question

Но я пока молюсь, что желание сбылось

But for now I pray that the wish came true

Что я выйду из мрака... Я хочу знать, я не могу лишь мечтать

That I will come out of the darkness... I want to know, I can't just dream

After singing this verse, Maria simply lied on the ground with lights turned out, and background phased out for a bit. After some moments of silence light came back, now illuminating the whole scene, glass shards on the background transforming into the words "who am i?" and Shunto finally standing up and doing some pretty energetic dance moves.

Вопрос один лишь, "Кто я?", в моей голове

The only question, "Who am I?", in my head

Какую роль мне сыграть в этой новой главе

What role should I play in this new chapter

Безумной жизни... Я хочу знать, я не могу лишь мечтать

Of this crazy life... I want to know, I can't just dream

After the performance was finished, Maria waved to the audience smiling and said: "Thank you all, people! Thank you, Carrelie!"

[Britonisea]

#07 BRITONISEA
Ben Nikolai - "CAMOUFLAGE"
Tune : STARSET - "TRIALS"
Music: Baile Hamilton, Willis Corsica // Lyrics: Ben Nikolai, Ben Harrison


Ben Nikolai: The 26-year-old will represent Britonisea with his rock ballad "CAMOUFLAGE" in StrayaRoos...

After two podium finishes, Britonisea decided to take a break from last edition but is back with another male soloist...Ben Nikolai at the 103rd WorldVision Song Contest in StrayaRoos!

The 102nd WorldVision Song Contest that took place in Mister X saw Britonisea take their first break since the 95th contest after the broadcaster stated that they as the broadcaster underwent an inquest into the bid for the 100th WorldVision Song Contest which saw Doportedas lose the right to bid for the contest for the third time in a row. A lot of money was spent on said bid and with BITC's attention focused on that, the nation didn't participate at the 102nd edition. Britonisea hasn't been attending the international stage for quite some time with BVC over at the World Hit Festival also not participating there lately. While the contest and the festival still gets relatively good reviews, especially the former due to Britonisea's recent podium finishes, especially in the jury votes, nations which the viewing population are used to are slowly withdrawing from the contest, sparking a new age which the Britonish population seem to have less interest in - at the moment. The 101st WorldVision Song Contest saw Britonisea celebrate 70 editions since it first debut at the contest, with Axel Lindgren - Britonisea's fourth male soloist in a row - representing the country with the song, "The Darkness". The song was very divisive and while the final position of the song wasn't as good as Petre Lemetre's or Josh Morris' positions, Axel was able to give Britonisea yet another top 10 position - finishing 8th with 148 points. Though, the score was the nation's lowest since since the 94th WorldVision Song Contest when Daniel Ghant represented the nation. Skipping forward to the 103rd WorldVision Song Contest, BITC wanted to enter the competition especially in the absence of the nation participating at the World Hit Festival so wanted to cease this opportunity. With BVC confirmed they would return to WHF if Achaean Republic hosts, this might be BITC's last chance to get maximum viewership before it competes once again.

The 104th WorldVision Song Contest sees the seventh male soloist sent by Britonisea in the past ten Britonish entries with Benjamin "Ben" Nikolai, a 26-year-old from Machievelihe being given the right to represent the country. His music style is different from Britonisea's most recent entries - with this entry being a lot more rockish and gritty. Those working on the song, "CAMOUFLAGE" were behind Britonisea's 57th World Hit Festival entry "Quicksand" that was sung by James Benamar - with the entry eventually coming 6th. The writing duo wanted to have another shot at writing to an international audience and believe that their song "CAMOUFLAGE" is better than "Quicksand" but will leave that to the international community to decide for the contest in StrayaRoos. The writers decided to team up with Ben Nikolai as they thought that he had the "look" and the voice that fit the song very well.

Duration: 03:51
Main Vocalist 1: Benjamin Nikolai
Male Vocalist 1: Timothy Blanchet
Male Vocalist 2: Tom Dalston

Ben Nikolai was getting ready to take the stage in Richmond. He was quite excited to finally get out there and show off his incredibly stylistic vocal acrobatics and in front of a packed audience - he was more than ready to give them what they were looking for. He was hoping to give Britonisea a great result, one better than the last, and perform in a way that would make him home country proud. He would be joined on the stage by Timothy Blanchet and Tom Dalston, who assisted Axel at the 101st WorldVision Song Contest. The pair of them would be standing on large plinths that were at the back of the stage - white and glistening. They wore huge cloaks over their bodies so as to cover their faces - they looked scary and ominous. The triangles at the back, which apparently doubled as an LED screen, had a very greek background - very bright with blues and whites - which completely went against the lyrics of the song but it's all about contrast! As the previous entry came to an end and the Britonish postcard started to play, there was huge applause for the Britonish act. Ben's heart was being fast but he was ready for this moment. He smiled to a couple of fans looking directly at him in the audience before composing himself. He wore a wreath on his head with white overalls that didn't quite look Athenian or ancient - it was a modern take on it. He wore dark trousers too. On the stage were people dressed in similar fashion dotted around the stage and they all had orchestral instruments on them. As the song started, boasting powerful strings instrumentation, the camera slowly zoomed in on them strumming with a mixture of pull focus and the like to make it dramatic.

Don't think I'm afraid of the night, of the night, the night,
Ushered by constellations - the stars will guide me.
My liquorice black soul will camouflage with the dark,
Good luck,
But you can't scare me to death with what's given me life.

Ohhhhhhhhhhh!
Ohhhhhhhhhhh!

Eventually, the camera focused on Ben Nikolai as he looked up. He had a stern look on his face - similar to the above picture - as he looked deep into the lens of the camera as it beckoned closer. As the powerful vocals of the men came in behind him, flames shot into the air as the scenic white and light blue Athenian vibe slowly turned dark, with the back turning into a fiery hellish inferno. Ben screamed towards the audience, pointing his microphone out towards them to see whether they'd sing along with the backing vocalists with vim. As he moved onto the next verse, he smiled, capturing a camera which greeted him on the start of the catwalk. A steadicam moved backwards as, very powerfully Ben strutted down the long catwalk - singing directly to those at home.

Victim. Want me to beg?
Want me to ask for your forgiveness?
Victim. You think I'm useless.
Treat me with carelessness.
Think you've won?

Poor man, I fear you're clueless.
You don't know what I'm capable of.
Curse me with depression but
The dark never feared me anyway.

As he sang "Poor man", there was an aerial shot of Ben Nikolai standing near the end of the catwalk - with the camera zooming outwards from the top of his head. The shot was fast-paced and quick, with the camera then cutting to the dancers/orchestra players in the background. The dystopia that was forming on the stage was in complete contrast to the almost heavenly atmosphere that was first created at the start of the song. BITC must have had some budget ready for this entry with flames and fire still shooting up into the air - with glimpses of it being caught on the camera - especially when the camera focused on Ben with the scenery behind him.

Don't think I'm afraid of the night, of the night, the night,
Ushered by constellations - the stars will guide me.
My liquorice black soul will camouflage with the dark,
Good luck,
But you can't scare me to death with what's given me life.

Ohhhhhhhhhhh!
Ohhhhhhhhhhh!

The story's yet to be written,
An unsung fable to be scribed by the dead.
The truth will be unveiled when
You've joined the fallen and I'm victorious

Don't think I'm afraid of the night, of the night, the night,
Ushered by constellations - the stars will guide me.
My liquorice black soul will camouflage with the dark,
Good luck,
But you can't scare me to death with what's given me life.

Ohhhhhhhhhhh!
Ohhhhhhhhhhh!

As we moved to the bridge of the song, he took a position in the middle of the stage with red and black geometric shapes replacing the hellish inferno there once was with on-screen graphics making it look more 3D, immersing the audience into the dysphoria the broadcaster was trying to make. Holograms of Ben's figure would appear semi-translucently on the screen - apparently miming to the lyrics of the song. As Ben sang the bridge, he used his might, with veins in his neck and head popping to show he's using every power in his body to get those vocals out. The lighting in the area matched the background - with red and white lights dancing in and out of each other - circling, flashing...all of it.

The dark, the dark - I'm one with the night.
The dark's my friend - I love it.
It's my strength and it is my weapon
It's who I am, it's my camouflage.

As we moved back into the final chorus, there was another burst of intense heat and fire that shot into the air with the audience cheering at the explosion of pyrotechnics. Ben ripped the shirt that he was wearing slightly before walking back onto the catwalk, now being followed by those that were on the stage with him who urged the fans in the audience to sing along with the backing singers. The camera shots continued to be crazy and frantic.

Don't think I'm afraid of the night, of the night, the night,
Ushered by constellations - the stars will guide me.
My liquorice black soul will camouflage with the dark,
Good luck,
But you can't scare me to death with what's given me life.

Ohhhhhhhhhhh!
Ohhhhhhhhhhh!

At the end of the song, a singular spotlight was focused on Benjamin as he looked out into the dark abyss - shirt ripped, with an expression stern expression, a gentle breeze in his direction. As the camera moved outwards, the spotlight slowly dimmed in intensity until it faded to nothingness. The audience came in with a huge applause. "Thank you!" he shouts.

[Plangainer]

---

The intricate write of old Banouan, mixed with the dynamic peach and flourish of a slow breeze in the afternoon to all converge into a singular track from the two musical hands from the A.R. of Banou who have picked to compete in the Plangainerian national selection to win more than just the admiration from their own local fan sphere in the country, but notoriety as well in their own republic.

Let it be their gentle voices or their particular approach in music be their considerable qualities, but what is understood is their love for their craft, a genuine practice turned into a career of doing what they most love, hearing the sound in the colours of a warm Banouan sunset and letting their imagination flow onto the now plentiful sheets of music that laid strewn across their lap. It is not just how they wrote their song ‘Atbusti’, but how their musical calling helps them find their peace and place in the music industry. The small republic was their home, and so was their land beyond the sea, it was only a try to compete in the selection that they’d see whether or not their sway of words and notes could stand out the best in the sleuth of other creative craft competing within the outstandingly huge selection. And on they went before the stage, never heard of by a larger audience, as they stood together with a smile shared on their faces as they let their own voice take hold over their inner-selves.

Their songs are their memories, and every memory is a part of themselves. A self-portrait drawn from their minds that made them come alive again when they hear it played back for others. Only then did they know how unique they were, as the crowd around them would roar louder than ever, letting the echoes of their voices be felt through the halls of the venue, giving them goosebumps and shivers all throughout their bodies, but especially so in their heart. They hadn't heard that sound before, that cheery song that sang out loud in the midst of applause, that joyous noise that reverberates into their soul. They had no idea how long the cheering and clapping continued until they finally stopped in a sudden hush, but it was too late to realize that there wasn't anything more they could do about it.

They won.

They won, and they won by a long shot, making their name known in Banou and even beyond its borders as well, showing everyone what the A.R. of Banou has been keeping under wraps this entire time. It's not just the voice or the musicality that makes them stand out from the rest, it's everything that they're doing in one breath, a piece of themselves that only they have the privilege to show. But who knows, their journey out from the depths of the country might have just started once they walked on stage.

The night didn't end with them having fun at the party after the selection. Instead, it ended up being an eventful day for the two, as they got caught between the many eyes that were watching them right now, taking notice of the unusual duo that had made it big in the selection, but never expected themselves to make it all the way here. Was it a good choice? Should they go back home already? No matter what, it was still too early to think about anything like that. They couldn't really tell whether they wanted to return to the quiet life in the silence, but maybe it was time to try something new. And so, as if waiting for their thoughts and dreams to come true, they went down into the streets of the bustling city of Orley, walking through its winding paths while a group of reporters followed behind them, questions flurrying about how they felt, what their goals are and so much more. But those were things that could wait until later, not until it was time for them to sing at the WorldVision Song Contest.

They returned to the one place that they knew brought them to this point, the small crest of the hill with a sight looking over the coast and sea where the sun could both surface and sink past the blue horizon. It was here where they'd first met, here where their relationship blossomed from simple acquaintance to companionship. Here were all the memories that made them who they are today, and it was here where they would write another page in their own history when the sun sets tonight. It made them love the song even more, knowing that there's someone else out there singing along with them. They didn't know if the audience understood the words that came across the stage or just saw the two singers performing in front of them, but either way, it gave them the warm feeling that everything that they did is worth it. They can be happy for what they've done and what they'll do tomorrow as well, because they have no regrets about anything their minds had set on doing since they first started writing songs together. They don't care about being famous anymore, but instead about spreading what music means to them, showing everyone why music is so important in life and what its true colours could look like through their eyes. Music isn't a career to make money from, but a form of self-expression, an avenue for them to express themselves and how they feel about things. A form of self-reflection that one moment was.

But just so, the sun was setting over the ocean now, casting a beautiful ellipse of golden light onto the waves, creating a reflection of the world below them as well, making the sea shimmer with the same colour that reflected in the sky. It was here where their journey began, at this very place that brought them to the stage of the selection. And it's also the last stop before they ventured out into the world of wonder at the WorldVision Song Contest.

---

Aurelia Wei

Aurelia Wei

Her light-hearted singing was an inseparable part of her everyday life as a kid, growing up in a small coastal town in Banou offered her a way of peace to endeavor into the calm and
build her part in an inseparable community she could always call home. To her; music has been the constant thread that held her together through the rough times in life and while
she never really saw to pursue it as a full career, her passion for music allowed her to explore other avenues such as acting for her local theatre, allowing her to garner some experience
that enabled her to volunteer for the culture home program at the town, enabling the town to organize events and other cultural showcase around the small community.

Eventually graduating out of high-school and now enroute to adulthood, she pursued a master's degree in psychology at the University of Eridu, but chose to return to the same town
as a confectionery chef and business partner of the township's most adored bakery and café, something that she always wanted to do since leaving high-school just because of the
opportunity and freedom it brought with it, and so she returned to be close to her family and friends. Nowadays, Aurelia Wei mostly focuses on running her shop with the help of
one of her used-to-be classmates and the rest of her staff. While her occasional customers are mostly families and locals whom she had already known since she was born, it gave
her enough leeway to venture into her own musical world by exploring new sounds and experimenting different ways to incorporate them with her own singing, using some of what
she earned over the years to buy a piano.

And in the coming few years, she would meet Harrison Osborne, another musical hopeful who already had a minor presence in the region as a classical musician who loved playing guitar,
with the two occasionally going around to jam sessions together during the weekends either at home or the local sightseeing points when they both found themselves free from their
regular jobs and lives. And though it started off like any other casual acquaintanceship between two individuals, it slowly grew into a strengthened friendship thanks to their musical
affinity towards each other’s works and eventually lead up to Aurelia and Brandon writing one of several songs of which both individuals sought to try for the grand stage in Plangainer,
feeling more confident to step out into the light for the first time in her life.

BORN IN: 1996/06/18 | 26 years old

---

Harrison Osborne

Harrison Osborne

He was rather a young child when he started to strum his father's guitar, he wasn't much of a music whiz at that time but knew that it was something he would eventually enjoy doing.
He'd take every chance he got during the day off school or whenever his parents went out so that he could play around on the instrument by himself, usually what came out of it only
being slightly melodic jingles or tapping along on random notes until boredom took over again. There weren't many people in his life who he saw as melodic or musical, his dad though
was probably most musically inclined of anyone close enough to him. The man had been making sounds ever since Harrison can remember, and while he played different instruments
throughout his lifetime there was no denying the fact that he loved playing the guitar best.

And so, eventually growing older and graduating out from high school, Harrison decided to go after his dream, working towards becoming an independent artist just like some of the
musicians he admired and idolized back then, whom were more or less experimental and less linear in their approach to sound and song structure. He managed to get himself through
college and even worked a job to help pay for his studies but also put down money into gear to make sure that he was well-equipped when finally putting pen to paper on his first single.
He didn't find success the most driving factor but more so the experience of doing it, writing and recording songs just so you could watch something grow from a simple repetitive melody
to a more complex entity with a more cohesive theme and substance, especially when said process came to fruition when someone else listened and liked what he did enough to actually
share it with other listeners.

Harrison always enjoyed the indie sphere of music, each individual piece a unique entity that was better in its own way than what came before it and set to define itself for years to come.
He liked conceptually cohesive albums with an emotional subtext running through all of the tracks, including those which were more personal or obscure compared to other releases;
however, he never fell completely in love with any particular artist's work and kept his preferences wide and open. Aurelia Wei wasn't a musician in herself, but Harrison was able to see
aspects in the music they created together — their lyrics, voices, and instrumentation all flowed together beautifully — that made him particularly optimistic of her.

BORN IN: 1994/11/10 | 28 years old

---

"ATBUSTI"
Performed By: Aurelia Wei & Harrison Osborne

---


Song Written by: Aurelia Wei, Harrison Osborne
Producing by: Harrison Osborne, Fritz Lillith, Katy Glass
Mixed By: AIM Studios, Diamond Records, Yard Publishing
Published By: AIM Studios & Yard Publishing

Song Runtime: 2:42 (2 (Two) Minutes, 42 (Forty-Two) Seconds)

Description:

The first non-english song to win Melodine with a good margin. The song written by Aurelia Wei and Harrison Osborne, composed in collaboration with
Fritz Lillith (WV98) and Katy Glass and sung in old Banouan shares the general appreciation of companionship through lyrical melody as well as emotional
expression through its tune structure that has been a characteristic trait of the song ever since it won the selection.

Its soft yet punchy delivery through percussion and the accompanying guitar brought the song to the finals where it won with a total of 266 points, causing
the song to immediately debut at #1 in Banou and Plangainer on Spotify, making it the first song sung in old Banouan to reach this milestone.


Listen to the song HERE!

---

The rather short-lived time from flight to stage seemed like eons to the two performers, with the delegation quickly ensuing behind them as they entered the venue and saw the vastly set up interior with every intricate detail from top to bottom carefully engineered by the STC and the IBA to the show's particularly advanced requirements and the eyes of their talented designers. Even before the crowds came and went they already could feel the energy that'll await them at the dawn of the contest, including the heartwarming welcome from some of the other contestants who were already rehearsing their songs backstage as the crew set the scene, but not long their turn down the list would come up as they started to get a feel of the shoes they'd step into once the cameras would start rolling. Day by day, the hours grew nearer as the seconds never stopped to tick, the seemingly former calm of a quiet venue now bustling with an incredibly powerful crowd as the time had come for the show to start, with their draw being pulled between two incredibly powerful players in the WorldVision sphere made the moment seem a little more tense than usual.

But they didn't want to panic, nor did they want to let the moment pass, but eventually the set would darken and the familiar IBA tune would come through the speakers hanging above, the show now on the roll. And getting comfortable in their seats, Harrison and Aurelia would watch as the contest opened with a grand spectacular performance before the line up had to get up and walk the seemingly taut rumble of the crowd and the powerful sounds vibrating through the thick concrete. One by one, the other performers went from their seats, each performance different from another through their significantly distinct musical, artistical and choreographic styles. The small number ticked up as each country performed one after the other, the crowd roaring into applause as each song ended and the scene in the blink of an eye seemingly changed from what it had been before, and their turn now hanging after Britonisea's performance, where they waited with their hands clasped together as they shared a smile between each other, Aurelia's legs seemingly jumping up and down in place as she awaited their eventual time as one of the crew members ushered them from their seats towards the entrance to the hallway that lead a short walk towards the area directly behind the stage.

The audience cheered in the distance, as the lights hung in their shine before dimming to a darker blue as the familiar title came across the screens, hearing the postcard now coming through the speakers made them focus nearly instantaneously, with Harrison quickly grasping the guitar handed to him by one of the crew members whilst microphones had been delicately laid out in perfectly laid out colored squares, matching to the ones they were going to use for their performance as they grabbed them without hesitation. "Ready, you lot?" the man just beside the small partition in the stage leading to the sights of a vast crowd spoke as both Aurelia and Harrison nodded in unison, before eventually, the pair were let to enter the stage.

Step by step, and every step taking longer than the next, they heard the audience come into a sudden applause watching them walk across the polished floors and grating whilst stepping through the stage set particularly for their performance, positioning themselves at their markers whilst the postcard progressed, one of the other crew members rushing over to Aurelia as they tidied up her in-ear piece, before hurriedly rushing off the stage as the postcard ended on a high, the now dimly lit venue only showing the shine of phones and lit bracelets from the crowd visible to the duo as they took a deep breath before letting their lungs let go of whatever anxiety had bubbled up in their system. Harrison's hand rose to his guitar as his fingers laid upon the strings, and Aurelia clutching the microphone atop the stand as the stage broke into a short ready segment to indicate that the performance was now ready to be performed, and without a single second to spare, the sudden click of a metronome in their ears cued in to the start of the song.

"Intro in 3... 2... 1..."

The strum of the guitar accompanied by the faint reverberated electric guitar put life into the silence as the shot opened into a silhouette of Harrison lit up by a spotlight to the right of the stage, walking through vastly strewn upright LED posts that lit the subtle fluke of fog in a wave of light blue, giving a dynamic yet immersive wave across the stage as the intro began. The blurry shot slowly zooming into the guitarist who approached a particularly unique microphone stand that had colorfully imitated that of a branch with the base starting from a dark oak to a more lighter tone of wood, before cutting to a more clearer camera which held Harrison to the left of the screen as he strummed the guitar, his mouth inches away from the microphone as he sang the first words of old Banouan, as his face attempted to clear any reminiscence of a smile hearing the crowd cheer once the guitar started to play, but it wasn't entirely easy for the singer to do so.

After three particularly static cuts from the main cameras ahead of the stage, the shot switched to a camera overlooking Harrison from a distance, slowly approaching through each pole that seemingly breathed in and out from light blue to a more subtle pinkish white, the fog giving a bit more dispersion upon the floor as the LEDs behind them remained somewhat dark while accompanied by a slow twirl of thin lines which bled into a noisy mess that went down from top to bottom. Zooming up to his face the camera catches a glimpse as it lingers to a distant silhouette of Aurelia, who looked at the camera with a smile whilst Harrison sung on the right of the screen.

Neskaudu man vytis tave
Pro širdies stygas lyg miško šile (šile)
Gal tik viena ar kiekviena
Tai momentas kur man lengva gyvent (gyvent)

It doesn't hurt me to chase you
Through the heartstrings like a forest heather (heather)
Maybe just one or each
It's a moment where it's easy for me to live (live)

Aurelia looked down to the ground as her foot stepped of a small podium beneath her, taking the microphone away from the stand as she descended, the song now picking up the beat with a more content percussion and bass as she paced over towards Harrison through the forest of light around them, the stage now slowly bleeding more light as the LED screens behind them now shared a more lively visuals in a playfully hand-drawn style to match. The camera slowly pulling out as it followed her as Harrison continued to strum his guitar, looking over at each other as they shared a sincere gaze and a warm smile before she walked over towards the camera and held her hand upon her chest before blowing a kiss before walking out of frame, the camera that had sat on stage for a good ten seconds total now moving out towards the side before cutting to the track cam just besides the very edge of the stage, catching the pair in one frame but with Aurelia now taking up more presence with her lively moves but without any particular choreo, letting herself feel the growing energy in the song as the two sung with their voices keeping at level.

Tai kai beldžiąs į dureles
Aš tau laika duodu kiek iš manęs
Kiek tai laiškas, kiek tai juokas
Tie žodeliai skraido taip ir lengvai

When the knock comes at the door
I give all the time I have to you
As much a letter, as much a joke
Those few words fly so easily

The music now brought impression of a steady rhythm, the lights which had glowed a soft yet mellow blue now picking up to a peachy orange pulse that matched along with the kicks of the drums, the scene switching to a camera that slowly descended towards the stage from above the venue, showing the stage in full as the poles - matching along with several spotlights in and around the stage - matched with the percussion whilst Aurelia walked a few steps back towards a second stand that stood just to the left of Harrison, raising the microphone up towards the stand as she clipped it on and grabbing hold with both of her hands as she closed her eyes. Harrison looking down at his guitar as he subtly bounced his head and chest to the beat.

Tai laikas man atbusti
Nes man lengva tau pakliūti
Ir tai laikas man atbusti
Nes noriu kiek aš daugiau išbūti

It's time for me to wake up
Because it's easy to fall for you
And it's time for me to wake up
Cause I want to stay a little longer

Then the strings of the bass guitar moved on lower as the percussion paused for a breath before kicking back up to a healthy punch with life as the stage now had been englamoured in a mix of pinkish red and sunset orange, the LED strips behind them now randomly scrolling up and down at various intervals almost like slow-moving rain as Aurelia let go of the microphone and let her hands move around her body as she moved along with the beat, her rosy pink cheeks along with the broad smile making her charismatic nature flood out of her musical nature. Some of the audience beginning to clap along to the beat, some start to sing along in whatever sense of old Banouan they managed to memorize whilst listening to the song on their own accord, and some letting out a small cheer as lights above them mimicked that of a starry shine, with those around the rims of the stage moving in a circular motion.

The cameras cut between a shot of a crane jib that swung down low and zoomed in on the two, and another of the track cam that ran along the edge of the set and a further one just behind the green room that zoomed out slowly whilst the duo sang in a harmonious medley, mostly out of their own wants and desires. Harrison looked towards Aurelia whilst bearing the same grin across his lips whilst he sung with his head up high and facing the vast reaches of the crowd.

Man tai smagu būti kartu
Nuo pradžios link pabaigos taip būtų
Man tai smagu būti kartu
Nuo pradžios link pabaigos taip būtų

It's fun to be together
From beginning till the end
It's fun to be together
From beginning till the end

Once the music started to slow down, two circular panels beneath them started to encircle their feet in a defining light, the shot now returning to a camera that walked up towards them from the sides of the stage as they became a bit more lightly mannered with less movement that they exhumed out from their playful swing. The forest of light now lighting up to the same mild blue that started off initially but now instead of a soft glow from one another in an orderly fashion, they followed the general tempo at twice the rate, lighting up suddenly before dimming more in time with the guitar rather than the bass or the percussion whilst Harrison picked at the strings with his fingers, Aurelia looking ahead of the crowd whilst around them a gentle white but yet with a shade of pink let illuminate their sides facing towards the open air towards the audience and camera.

The camera moved around behind them, doing a small orbit around the two whilst passing through the hurdles without tripping, catching a glimpse of the crowd and then the stage behind them before flying away off to the side as it returned to a more stationary cut from one to another camera, gliding across gently.

Kaip saulėlydis pražibo
Mano akys mato taip ir tave (tave)
Biški skamba tiek banaliai
Bet geresnius žodžius aš nežinau

As the sunset passed
My eyes see that beauty in you (you)
It maybe sounds a bit banal
But I don't know any better words

After the first half of the second verse had been sung, the shot now switched to a camera laying at the very summit of the stage, pointing up with the singing pair at the bottom as the lyrics of the song and particularly the second half of the verse had been now drawn onto the large LED screen above them, and onto the very singers themselves, a small yet discernable projection of lines moved across at their legs, but the general illumination of both Harrison and Aurelia made it seemingly fade over time as the second verse came to an end, where the cameras cut to a crane jib that slowly moved away from them as it kept a good portion of the screen behind them still visible.

Laikas jaučiąs kaip sustojus
Ar visada taip kai tu čia šalia?
Nes gal laisvesnis aš jaučiuosi
Nežinau ar man taip reikia bijot

Time feels like it has stopped
Does it always feel like this when you are around?
Because perhaps I feel more freer
I don't know if I should feel quite afraid

And after the shot cut away from the crane, the same sequence of events ensued towards the build up portion of the song but with a camera which hung above them looking down on the two performers as now the lyrics from the build up were appearing on the floor in a spiraling motion that shrunk down into a seemingly deep pit, the shot slowly rotating whilst Aurelia and Harrison now walked away from the two decorated microphone stands as they clutched the microphones away and walked towards the center of the stage, the guitarist - Harrison - taking off the instrument as he laid it onto the floor just a few steps away to where it could be hidden away just enough for the cameras to not spot it behind a small elevated portion of the set which gave a pretty good way to hide some props and even elements from the open floor of the stage, before returning to Aurelia who both shared the moment whilst the song built up to the second climax as they looked at each other in a seemingly determined gaze of which they both shared.

Tai laikas man atbusti
Nes man lengva tau pakliūti
Ir tai laikas man atbusti
Nes noriu kiek aš daugiau išbūti

It's time for me to wake up
Because it's easy to fall for you
And it's time for me to wake up
Cause I want to stay a little longer

As the song built up and eventually reached the second point of peak, Aurelia jumped around her portion of the stage as her blond hair flailed in a playful manner and a face full of joy, the guitarist looking onward towards the audience as his other hand reached up towards the sky, one of the other cranes that haven't had time to make a more visible presence slowly moving down to capture the two as one danced and the other moved along with the beat in a shot which also gave a glimpse towards the grandeur of light and sweet color pallet of the floor that glowed beneath their very feet. Aurelia's motions whilst her arms head and shoulders felt the music flow through her heart felt smooth and less unkempt than before, the same delight and energy shared by the cheers and whistling of the crowd as some even stood up to move along with the music as well, the sight of which did not go unnoticed by the performers.

Man tai smagu būti kartu
Nuo pradžios link pabaigos taip būtų
Man tai smagu būti kartu
Nuo pradžios link pabaigos taip būtų

It's fun to be together
From beginning till the end
It's fun to be together
From beginning till the end

There was no surprise that the duet would've wanted for the music to keep on climbing higher with more melody to accompany the already burning blaze of light-hearted bump in the instrumentation as the two looked over at each other whilst they walked in small rhythmic steps as they hunched down together to move along with the general tempo of their song, spots and rays of light sweeping across the very floor of the stage in the tri-color mix of sweet pink, orange and red, cameras zooming to catch the faces of the two performers as they repetitively sung the lines before breaking it with lyrical variance at the ends of each half.

Then it was at this point that the sparkling waterfall effects would rain down from above the stage, pyrotechnics pushing out small flashes of light along the front regions of the set at random intervals whilst a camera quickly moved towards the duo as it let itself orbit around them until the very end of the last few lyrics, Aurelia taking a moment to wave to the camera and Harrison to flash a thumbs up as they interpretively danced through though up choreo that came to mind during the very height of the song. The Steadicam eventually fell away as the shot cut to away to a camera hanging above them which pulled away as it revealed the stage in full, including the duet before the song fell silent and the lights and pyrotechnics died down to a steady sky blue color, the background showing a rising sun behind them.

Kai nėra daug ko kito
Kai nėra daug ko kito
Kai nėra daug
Bet tik aš ir tų

Kai nėra daug ko kito
Kai nėra daug
Bet tik aš ir tų

When there's nothing much
When there's nothing much
When there's nothing
But just me and you

When there's nothing much
When there's nothing much
When there's nothing
But just me and you

The very second the song fell into silence, the audience erupted into a thunderous mix of applause and cheer as Harrison and Aurelia ran towards each other with their arms extend as she jumped at the very moment the two hugged whilst the cheering continued, with Harrison making a few turns in circles as a result whilst the duo laughed together with a heartfelt smile plastered on their faces. Aurelia raised the microphone back up as she let out in a seemingly joyous tone, "Thank you Mariensbourg! Thank you Carrelie! Thank you World! And thank you WorldVision!"

It was a moment of glory, the cameras slowly catching glimpses across the venue of numerous people standing up in applause, some bearing the Plangainerian and even the Banouan flags, as they looked over together with a hand reached over one another whilst Harrison waved his hand in every direction that the crowd stood and sat, before the duo rushed away as another postcard appeared on the broadcast, signaling the end to Plangainer's performance.

It was a night to remember.

---

[South Batoko]

9. SOUTH BATOKO
MURAL - SLAY
SINGER LEGEND: Merida, Una, Riya, Ana, Alis, Lara, ALL, prerecorded vocal effect
Tune: MAMADOL - WooAh Hip

MURAL'S STORY
Mural (Batoko: Мурал) is a pop group from South Batoko, consisting of members Merida, Una, Riya, Ana, Alis and Lara (Batoko: Мерида, Уна, Рия, Ана, Алис, Лара). After debuting in 2018 in a format similar to that of K-POP groups, the group had mild successes with songs like "Dr34m" and "tiny", before going on hiatus in 2020 due to the COVID-19 pandemic. In 2022, their management company Jolba Ent. revealed Mural would be having a comeback with their WorldVision entry "SLAY".

Fun facts!
- Every member of the group has failed at least one English exam in high school. This was revealed during an Instagram live, when Alis casually mentioned her failing an English exam, to which all the others simultaneously replied "Me too!".
- Riya is lactose intolerant.
- Merida has chromesthesia (sound-to-colour synaesthesia). She has described it as being "a bit annoying". To clarify this, in an interview, she said: "It's a bit annoying having to deal with it in high-noise environments, like the concerts we often perform at. I even considered quitting the group and moving to the countryside a few months after debut because of it. All the sounds and colours were just getting too overwhelming."

THE PERFORMANCE

The six girls are stood in a V-shape along the edge of the podium, wearing various black outfits, with the camera positioned slightly above them. A spotlight shines on each of them. On the LED screen behind them and on the floor, the group's logo appears. As Lara sings, she moves her hips to the side and squats down slightly further with each syllable. Once she's done, they all walk together to the middle of the stage. When the prerecorded vocal plays, they all "slash" their throats two times with their hand.

Slay like me
Ate like me
Slay like me
(I will slay ya)

At the start of the verse, Merida, Riya and Ana walk to the front of the group. When the prerecorded vocal plays, all six point to themselves, while they make way for Alis, who walks in between them during her line. During the verse, the spotlight is on the center. The screens show a depiction of what we would colloquially call a "queen", with blonde hair, pink stilettos, a purse and perfect make-up, walking in the streets. During the part, the camera moves to the center.

So today is the day
Everyone will be blown away
Cannot believe how much I slay
Even though, for me, it’s just play
(Look at that!)
Come try me, come on, try me, you will not know how

Una jumps to the front. She plays a bit with her hair during her line.

Do it right, feeling fine
Boutta be baddest of all time

The screens change to show a starry sky, before disappearing just before the end of the segment. The girls do this choreography (also covers the rest of the song). The camera switches between the girls for their lines.

Let me just make this clear
Now you better know
None can stop me
Nobody can top me, oh
Everything I do, I give it my all
If you don’t get it, get it, get it, let me just show ya

The camera first shows a close-up of the girls, then moves to an aerial shot of the entire stage. The screens turn a very dark red, with the words "GREAT", "SLAY" and "ATE" appearing in white Impact font as they sing them.

Everyone is tryna be so great like me
Slay like la-la-like me, ate like me
Everyone is tryna be so great like me
Slay like la-la-like me

The screens brighten up to become a hot pink, with their logo once again on it. The spotlights around the stage start flashing to the beat of the music, while the one in the air that was still on dims. The girls move closer to the front of the stage. The camera first gets close, with one of the girls almost knocking it out of the camera man's hands, but then goes to another shot a bit farther away.

Watch me slay
‘cuz I slay
Never been someone as good as me
Make you forget your worries
Let me slay
Another day
Everyone else can just fade away
Mama, I know that I slay

The camera once again goes close to the girls.

Watch me slay
Slaying ya-a-a
Yeah, I slay
Mama, work it, slay, hey

A grainy effect and black bars on the top and bottom are applied to the video. The camera once again gets very close to the girls, but no near-accidents this time. The screens go black again, with lipstick kisses all over it.

Oh! So captivating, all spotlights on me every second (second)
Oh! My fame keeps growing, explosive like a nuclear weapon
(Come try me, come on, try me, you will not know how)
Work on the dance floor, now and forevermore

The effects go away, and the camera moves to an aerial shot. The screens show the same hot pink from the previous chorus, but without the logo.

Let me just make this clear
Just one time again
None can stop me
Nobody can top me, oh
Everything I do, I give it my all
If you don’t get it, get it, get it, let me just show ya

The words start showing up again, but in a different, more curved font.

Everyone is tryna be so great like me
Slay like la-la-like me, ate like me
Everyone is tryna be so great like me
Slay like la-la-like me

The same effects as last chorus happen, but this time, the screens instead show a light purple with small versions of their logo all over it. Some fireworks go off this time as well. The camera does the reverse from last time, keeping the aerial shot at first, and later moving to a close-up.

Watch me slay
‘cuz I slay
Never been someone as good as me
Make you forget your worries
Let me slay
Another day
Everyone else can just fade away
Mama, I know that I slay

More fireworks go off. The girls go even more to the front. The camera once again shows an aerial shot.

Watch me slay
Slaying ya-a-a
Yeah, I slay
Slaying ya, slaying ya, slaying ya,
And I slay
Slaying ya-a-a
Yeah, I slay
Mama, work it, slay, hey

As the song nearly finishes, the girls give it their all, putting as much energy as they can into the choreo. The screens go black, displaying a single lipstick kiss. The camera yet again does a close-up.

Watch me slay
Come, try me if you dare (dare)
But just know that I will probs not care (care)
You cannot stop my slay

As the song finishes, they finally sigh from relief. Merida shouts: "THANK YOU, CARRELIE! WE LOVE YOU!". Una says "Thank you all so much." Alis shouts: "THANK YOU ALL!". The others make a heart shape with their hands and show it to the audience, before quickly leaving so the next act can get ready...

[New Zealandic South West Saint Martin]

Withdrawn

[Makko Oko]

11. EMPIRE OF MAKKO OKO
Dean Cochran - Satan's Embrace
Tune: Sick Of It - Skillet

About The Artist



Dean Cochran is a native of the Empire Of Makko Oko born on March 19th, 1972 (50 years old). They are a dedicated religious pastor within the state religion of Satanism. Growing up in the devoutly satanic community of Makko Oko, Dean Cochran was exposed to the dark arts from a young age. They became deeply entrenched in the teachings of their faith, dedicating themselves to spreading the gospel of Satan throughout the world.

As a pastor within the satanic community, Dean has always been drawn to the dark and mysterious, seeking to explore the deeper, hidden facets of their faith. Their music is a reflection of this, delving into the shadowy corners of the soul and embracing the forbidden pleasures that lie within.

With Satan's Embrace, Dean has created a powerful anthem for the devoted followers of the dark lord, a hymn to the all-consuming embrace of the eternal flame. Its raw, primal energy is sure to ignite the hearts of the faithful, leading them down the path of darkness and into the eternal embrace of Satan.

The Stage & Performance

[Crustyland]

Glimpse Of Us - Caleb Hyles & Derivakat (Cover)

During the winter Crustyland always received a huge influx of tourists, visiting the picturesque mountains, forest, and northern lights, and yes there were also semi-aquatic sea mammal enthusiasts who came to visit the country's alarmingly big walrus and seal populations. This massive influx in tourists is normally reflected in the country's performance in WorldVision with the nation's best result 8th also coming during the winter of 2021. In the last edition, Crustyland finished in 17th with a respectable 82 points with their ballad "You Remind me". This was a sign of things to come as CRAP the public broadcaster again had a LOT of money to play around with. Benjamin Cramp was ecstatic!

Enter Cedric McGerban and his wife Juliana Montain, two professional musicians who lived a quiet and secluded life up in the pretty Swathorial Mountains out of the way of the chaos that ensued by the shore. The two had been coaxed by the country's previous entry and had actually been writing their song "Look Away" for a while. They now felt it was the perfect time to try WorldVision. Benjamin Cramp was more than on board, perhaps he had a change of heart or perhaps that 34-year-old jam he had found in his pantry he had eaten the night before was playing tricks on him. He was more than happy for the couple to enter for Crusytyland.

In its brooding sincerity, spare instrumentals, and vocal focus, “Look Away” creates a hypnotic and transcendent lyrical experience that pierces both fans and casual listeners down to their cores





The postcard ends and were left with a dark-blackened stage. The opening bars of the song play as a faint ghostly white spotlight shines upon a lonely grand piano just centre left of the main stage surrounded by fog. The pianist focused on his piano, not once does he look up as the camera gently moved in closer and closer to the piano. A figure walks into the shot and a second spotlight appears above him as he places his right hand gently onto the piano's slick glossy exterior and looks down at his feet. He is wearing a roughed-at-the-collar white formal shirt, his top button open and black trousers with black loathers. The man is Cedric. His long curly hair sat gently on his shoulders. He looks up slowly towards the camera his smooth sexy voice ringing out from the lips that were normally hidden by his well-groomed beard. The camera hands there just in front of him, the piano still in the shot just off to our left. He sings with elegance and emotion. The camera moves slowly towards him. He only breaks eye contact once, he sings emotionally toward the empty space to his left rapidly. As he sings "we do what we do" his vocals are accompanied by a delicate female vocalist's voice which rang out from the darkness.

All the birds are singing
In the whisper winds
Everybody's listening
And the sun is shining through
Nothing here is missing
Looking over, looking under, looking through
What we find every time we do what we do
And we laugh and we cry
And we live our lives

He takes a step to his left so the piano is just out of frame. The spotlight above the piano turns off slowly. The ghostly white spotlight follows Cedric so now he seems alone. He turns to his left and sings diagonally towards the camera which hovers there. The camera gently pulls away to the back where an old-timey movie-esk-like reel plays out on the LED behind, of two teenagers with a swiss army knife carving their names into an oak tree. The initials CM and JM can be seen surrounded by a heart. They hug. The camera backs away slowly and floats back to Cedric this time the shot is slightly nearer so we have an upper-body shot this time instead of a full-body shot. He clenches his fist and pats it on his torso multiple times for the last line. The camera fades to black.

We carve into the tree our history of love
With dreams of happily ever after!
We can sit beneath the bows and trace the lines
That adds another chapter
Looking outside, looking inside, looking away and it comes back to us
What we find each time, you say that you'll stay

In the back left of the frame, Cedric hangs his head low as the spotlight fades above him leaving him in the dark. A golden spotlight appears above the right catwalk where Juliana is standing. The stage remains black. The crowd cheers softly. She is wearing a delicate baby blue dress. She looks across to her left into the dark for the line "You wanna look away" She straightens her head to look back into the camera. Subtle yet angry storm clouds begin to love left to right across the LEDs behind her. She slowly clutches the mic with both hands halfway through the verse. As she sings "Hold on..." her beautiful vocals are accompanied by a female backing singer. Juliana's eyes begin to twinkle with tears.

You wanna run away from us
And you say that it can't be so
You wanna look away
But you stay cause it's all so close
When you stand up and hold out your hand
In the face of what I don't understand
My reason to be brave
Hold on...
And all that you thought... was wrong is pure again

She gently sits down on the edge of the right catwalk. Her voice tinged with sadness. The same old-time movie-esk-like reel plays out on the LED behind, of two teenagers with a swiss army knife carving their names into an oak tree. The initials CM and JM can be seen surrounded by a heart. Juliana glimpses over her shoulder to her left and stands up as she sings "That adds another chapter onwards" and slowly makes her way to the centre of the stage, the spotlight follows. The way "stay" bounces back and forth instead of being held perforates through the arena.

We carve into the tree our history of love
With dreams of happily ever after!
We can sit beneath the bows and trace the lines
That adds another chapter onwards
Looking outside, looking inside, looking away and it comes back to us
What we find each and every time, you say that you'll stay

Then came the harmony. The mood changes to a more exalted one. The camera cuts to her stretching her left hand out into the darkness, only her pale white arm and hand in the frame. From the left, Cedric's hand enters the shot and pushes tenderly against hers. The camera pans out as the pair both come into the shot, they look towards each other as if they had not seen each other in years. Childhood sweethearts reunited. The vocals echo hauntingly out through the arena. The lights flickered gold around them, the LEDs also twinkled like stars.

Oooh....

Lit by golden spotlights the duo's vocals caressed one another like two lovers. The background is dark but the stage is lit in gold, and white mixed with orange. The pair unlock their hands and stand to face one another as the camera circles them clockwise slowly, their faces full of, sorrow, anger and elation all rolled into one. Their vocals filled the hall sending goosebumps. The duo turn to one another as they sing "Looking outside" a smile creeps on both of their faces. Their voices harmonised so well together that it gave the audience good tingles. The camera floats around the edge of the stage so the whole stage is in view. The pair turn to face the audience again but this time their holding hands. The last line fades as the lights around the stage go dark.

We carve into the tree our history of love
With dreams of happily ever after!
We can sit beneath the bows and trace the lines
That adds another chapter onwards
Looking outside, looking inside, looking away and it comes back to us
What we find each and every time you say that...

The camera pans from an upper-body shot. The pair are lit once again in a sole white spotlight and have turned to face one another again. The chemistry could be felt through the camera as they sang the last line to one another, there faces adorned by glee, and soft cheers could be heard in the brief pause between words before they finished singing. The song ends and the pair embrace hugging one another tightly! Both have happy tears. They turn to the audience holding hands once more.

That you'll stay... with me

Their smile-covered faces said it all. What a performance. Rapturous applause breaks out amongst the crowd as the pair halfway bow and blew a kiss to the audience. "Thank you," they spoke softly. This had indeed been one of the strongest Crustylandian entries to date! Could they get a top 10 finish or even win, only time would tell.

[Carrelie]

13. CONFÉDÉRATION CARRELIENNE
Maria Albrechtsen - "Karreliske drøm"
Tune: Ethel Cain - American Teenager

----

♡ maria ♡

At the age of 24, Maria Albrechtsen has become one of the Carrelian music industry's breakthrough figures. Born in 1998 to Matthias Albrechtsen, a Lutheran choir director, and Sara Albrechtsen, an adherent of the Efyrian Druidist religion, her life was a conundrum from the beginning. Between her cold father and her busy mother, Maria was afforded plenty of time alone, which she would use to go on the still-developing internet. The internet was a massive influence on her early life, as she perused sites from Facebook to YouTube to Club Penguin on her bulky family PC. The connection was slow, but the rewards were vast. It was on the internet where she met people from across the world - and it really expanded her music taste too.

Maria's gender and sexual identity has always been a talking point. In an industry dominated by cishet people, she stands out as one of the emerging population of transgender musicians, and labels herself as a pansexual. Nowadays, she makes her residence in the Andlic city of Havenholm, about an hour from the Dentrician border.

Maria was born and raised in Asterikus. The small village has been a victim of rural deprivation, which she first noticed with the closure of her school during her fourth year. Without a local primary school, Maria had to be taken into the city of Dansmør, about thirty minutes away, each day. After this, she started noticing more and more signs. Houses were being abandoned, the local train station was closed, and the village's pub had a distinct cloud of hostility around it, accompanied by graffiti. These childhood experiences provided the ground work upon which her WorldVision entry has been based.

---

♡ performance ♡



The song begins with darkness. It's clear that Maria is on the stage, but the audience isn't able to discern anything she's wearing or her face. It's as if a cloud of smoke is between her and the audience, wherein they can only see her vague figure. She holds a microphone up to her face as a spotlight illuminates it and a camera zooms in. As she begins to sing, the light grows and grows, gradually revealing a scene of wooden mannequins and her outfit - a tattered cheerleader's dress.

Der er noget særligt ved min hjemby, der
Tiden står stille, nedlagte barer blomstrer med graffiti
Intet er helligt på jorden, der
Der er ingen fremtid tilbage for dem

Throughout the intro, the screens below Maria fade from black to reveal grass, and those behind her fade to reveal a derelict picket fence. These symbols of a traditionally American suburbia too have a place in Carrelie - many of the mining towns of Andlin were redeveloped with American influences throughout the absolutist period, intended to make the nation seem more connected. In the distance can be seen a burning Andlic flag, barely hanging on to its pole. The grass is stained in soot.

As a brief instrumental commences, Maria makes her way to a mannequin to her right, travelling diagonally. She stands over it as it gradually decays into the ground, taking its protest sign with it. The first verse begins in earnest with her pushing it away and returning to the centre. As the camera follows her, her simple and scruffy makeup style is made clear, with tears of mascara running down her cheeks.

Se tiden som den heler alle vores sår
Se gaderne forladt, når alle går
Endnu et offer for vanrøgt
"Gud elsker dig", det er, hvad de siger
Men hvis det er sandt, hvor er han så?
Forstaden er død, hviler i stykker på jorden

The lyrical content of the first verse deals with a few issues, as well as referencing her own religious father. The spirituality of her family had always confused her, and her religious uncertainty definitely guided her musical style in a more esoteric direction. The screens stay the same, though towards the end of the verse the sun begins to set, creating a halo-like glow behind Maria.

Going into the pre-chorus, Maria suddenly falls onto her knees, stretching out her hands skyward in a sort of prayer as she ponders on what went wrong before the chorus begins in earnest.

Hvad er der sket?
Med den overdådige
Til det vidunderlige, hvad skete der?

Hvad skete der med os, der alle bor i byen
Hvor vi voksede op
Køen er blevet kold og børnene er væk
Hvor er den karreliske drøm?
Er der et punkt
At forsøge at genoplive din barndom
At forsøge at komme tilbage
At miste tempo
Er at miste ansigt

During the chorus, Maria contemplates the death of the Carrelian dream, a vague idea in both absolutist-era and revolution-era Carrelie that anything was possible in the Carrelian nation. The idea fell flat on its face and now mostly exists as a reminder of a wasted opportunity and an impossible standard of living. Throughout, she moves from mannequin to mannequin, observing them. One is dressed as a bride, one in traditional housewife attire, one in bohemian clothing - but their one unifier is lives wasted as they crumple to the ground, revealing their inflatable nature.

At sige farvel
Farvel til den finansiering, de ikke gav
Farvel til den indsats, de aldrig har gjort
Farvel til alle
Vi er de glemte, dem de vendte sig væk fra
Gud, hvis du findes, vil du så ikke redde os?
Hvis verden er god, hvorfor mister jeg så mit hjem?

Maria addresses the Andlic and Carrelian governments in the second verse. Tinged with a sense of politicism, she calls people like her forgotten because of the mass closures and deprivation occurring in 'picturesque' towns such as her home in the country. The grass below her begins to burn where she walks as she calls out the inaction of the establishment, a trail of broken promises. As she makes her way over to another mannequin, this one seemingly made of actual wood, a stage hand sets it on fire as it spreads through the grass to the picket fence behind her, just in time for the pre-chorus.

Hvad er der sket?
Med den overdådige
Til det vidunderlige, åh-åh, hvad skete der?

Hvad skete der med os, der alle bor i byen
Hvor vi voksede op
Køen er blevet kold og børnene er væk
Hvor er den karreliske drøm?
Er der et punkt
At forsøge at genoplive din barndom
At forsøge at komme tilbage
At miste tempo
Er at miste ansigt

The penultimate chorus provides a stark transition from the once-picturesque picket-fence neighbourhood to one of uncontrolled fire. As the sky turns to night, a large amount of light in the imaginary world beyond the screen is provided by the raging fire, though the settlement is too empty for anyone to notice. The transition into the final chorus is immediate, providing little time to even breathe as a burning Carrelian flag joins the charred Andlic one.

Hvad skete der med os, der alle bor i byen
Hvor vi voksede op
Køen er blevet kold og børnene er væk
Hvor er den karreliske drøm?
Vi har passeret grænsen nu, og vi forsvinder ind i
Den kolde verden af løgne og jeg er klar til at gå
At gå
At gå
At gå

Maria turns backwards as the last chorus draws the song to an end, with an extended instrumental at the end. The fire runs its course and is soon reduced to a single ember, which extinguishes itself along with the background. The screens fade to black as Maria's head is left looking downwards, towards the destroyed mannequins which lay on the ground.

After 4:50, the crowd begins a roaring applause. Its clear that this host act was one to be proud of. Maria delivers a shaky and emotional "THANK YOU MARIENSBOURG!" as she stretches up her microphone, before she leaves the stage entirely.

There's something special about my hometown, there
Time stands still, abandoned bars bloom with graffiti
Nothing is sacred on earth there
There's no future left for them

See time as it heals all our wounds
See streets abandoned as everybody goes
Another victim of neglect
"God loves you", that's what they say
But if that's the case, where is he?
Suburbia's dead, resting in pieces on the ground

What happened?
To the lavish
To the wonder, what happened?

What happened to us, all living in the city?
Where we grew up
The line's gone cold and children are gone
Where is the Carrelian dream?
Is there a point
In trying to revive your childhood
In trying to get back
Losing pace
Is losing face

Saying goodbye
Goodbye to the funding they didn't provide
Goodbye to the effort they never made
Goodbye to all
We're the forgotten, the ones they turned away from
God, if you exist, won't you save us?
If the world is good, why am I losing my home?

What happened?
To the lavish
To the wonder, oh, what happened?

What happened to us, all living in the city?
Where we grew up
The line's gone cold and children are gone
Where is the Carrelian dream?
Is there a point
In trying to revive your childhood
In trying to get back
Losing pace
Is losing face

What happened to us, all living in the city?
Where we grew up
The line's gone cold and children are gone
Where is the Carrelian dream?
We're past the line now, fading into
The cold world of lies and I'm ready to go
To go
To go
To go

[The Controlist Ferwerter Union]

Great Ferwerter People's Palace (Seat of Government/Important Ferwerter Historical Monument)

---

14. The Controlist Ferwerter Union

---

Song Title: 'My Beacon'
Singer: Landlief Patriot
Song Tune

Song Background

---

'My Beacon' is inspired by an old Ferwerter poem written in 11941 HE (1941) during the Ferwerter Civil War by the famous Ferwerter poet Katrina Pegel. It tells the story of a young Hegebeintummer woman living under the oppressive rule of the Nauta clique, who falls in love with a female FCPLA soldier which comes to liberate her town. The poem became iconic in the Controlist Ferwerter Union because it is not only about the liberation from the Nauta clique, but also the liberation from old ideas and traditions about what a romantic relationship can be.

Supreme Chairman Stahitmao (Landlief's greatest inspiration)

Artist Background

---

Landlief Patriot became famous in the Controlist Ferwerter Union after she won in a Ferwerter singing competition by writing a love song, of which she later admitted was secretly addressed to Jotsad Stahitmao. After this her career quickly gained traction. Most of her songs have some historical narrative to them and the song she will be performing at Worldvision is no different. She isn't afraid to inject a healthy dose of patriotism into her work as well, which has surely helped her accelerate her career, to the point where she was even allowed to perform at the Ferwerter Controlist People's Liberation Party Centenary celebrations, her single greatest achievement according to herself. In an interview she said: "We should not be afraid to be proud of our history. All those historical moments have made the world we have today. We should dare to be proud of our culture and our values and I can't wait to share the Ferwerter way with the world." Her last name may seem odd, but it is a common Ferwerter last name and not a pseudonym. Her first name 'Landlief' means love for the country. In her interview Landlief has said she hopes to make her motherland proud. "It is an honor to have this opportunity to show the world a piece of our culture and I hope I will do our great culture justice."

She says her greatest inspiration is Supreme Chairman Stahitmao and secretly she hopes that he will be watching. "When Supreme Chairman Stahitmao launched the Cultural Spring Campaign in 12006 HE (2006) to promote advanced controlist culture for the new era in all aspects of society, it really was the push I needed to become a singer and contribute to the cause. Before this campaign our country was ruled by apathy, obsessed with money and economic growth. We had become so distant from our values and our creativity as a nation. This campaign saved the Ferwerter spirit and I am honored to participate in that movement. Since then Stahitmao has been a great inspiration to me as he has been to many. I can always admire his resolve and determination and I aspire to be similar to him in this regard. I think Ferwerter culture is all about that determination and resolve. We are a greatly ambitious people and I hope to share that spirit here in the magnificent Carrelian Confederation. But above all our culture is about love and commitment and I think my song will reflect that."

When asked about her chances of winning she is firm and confident. "The Controlist Ferwerter Union may be here for the first time and a little different than many of the other nations participating. However I think that Worldvision is a testament to the fact that these differences can be bridged and it promises to be a great cultural exchange. What gives me confidence is that I know that the Ferwerter People are always behind me, however far away I go. I can feel their love even right here in the beautiful city of Mariensbourg. To quote Stahitmao: 'From distant lands to the homes we miss, our faith and devotion flows far and wide, unifying the strength of all living things.' The Ferwerter people truly is my beacon and I am confident that we will ride the sound wave to resolute victory!"

Landlief Patriot performing during the centenary celebration of the Ferwerter Controlist People's Liberation Party

Performance

---

Of course Ferwerters have come out in droves to show their solidarity with Landlief. Before the song even begins they are already enthusiastically cheering and waving their little Ferwerter flags with great fervor.

Then the performance begins. All lights shut off, the stage goes dark and hissing fog machines begins to sound. A ghostly white light is projected onto the stage as it completely fills with a layer of low hanging fog. On the screen there are sound waves, which turn into furious water waves under a dark night sky dominated by a raging storm. Lightning flashes as thunder sounds. Then through the fog from the dark a creaky old wooden rowing boat appears, driven forward on wheels completely cloaked by fog. Seated in the front is a woman dressed in a modern interpretation of traditional Ferwerter clothing. Heavy chains lay around her wrists as the boat seemingly rides the fog and the angry ocean waves behind her. Landlief Patriot.

(My beacon!)
When the waves were strong and the tides were high
When all hope was out of sight
(My beacon!)
We were strangled by the chains
Tyranny has reigned

She tries to stand up, but the chains hold her down making her bow. Out of the fog appear a dozen ghostly figures dressed in black. They are priests holding the chains to her hands and feet.

(My beacon!)
When darkness closed its grip
And warm sunlight, left the air!
(Oh, my beacon!)
Hunger and death, the bones lie everywhere
My beacon, will I still stand strong

She looks desperately ahead, tears welling up in her eyes (besides a singer, Landlief Patriot is also known as a very emotional actor). Then the storm clouds behind her start to calm, the waves begin to flatten. Wind machines blow the fog away as quickly as it came in. Patriot's look of hopeless suffering is replaced by surprise as her hair waves wildly in the strong winds of freedom. The priests turn their heads in unison, as the sky breaks open. From beneath the horizon the red sun comes rising. The stage is slowly lit in orange and yellow. Attached to the sun which rises high above the podium is a woman in an FCPLA military uniform. The Ferwerter crowd cheers excitedly. There she is, her savior, her beacon.

Oh, my beacon!

(My beacon!)
When your boots marched down the lane
The sun was allowed to shine again
My love for you was, not in vain
We will stand strong!

The woman soldier slowly comes down hanging on a wire as the priests scramble seemingly blinded by her mere presence. Landlief Patriot stands ready to receive her with her arms wide open and a look of endless adulation on her face. Then Patriot dramatically breaks one of her chains as the priests start to loose their grip. The woman soldier helps her break another chain and then the embrace finally happens. As the crowd cheers, a long kiss between them follows.

Oh, my beacon!

Finally I am free from the pain
The chains on my heart come crumbling down
(My beacon!)
All ideas of what was not allowed
We have slain!

But then just as the dark clouds seemed to have gone, new clouds appear as the priests crawl to the boat, waving their bibles menacingly. They climb their nails to the edges of the rowing boat. Landlief Patriot and the female soldier try desperately to get them off. As soon as the men in their sober black outfits have hoisted themselves up, they menacingly point at the two women as if to curse their sinful ways.

Oh, my beacon!

(My beacon!)
Whoever may stand in our way
All those who wish to reinstate
(My beacon!)
We will burn them, everywhere!
My beacon, we will still stand strong!

The female FCPLA soldier dramatically raises her rifle into the air, while Patriot embraces her with a look of deep desire. Fire spews out of the stage as the priests relent and dive away. The boat drives straight through the wall of fire braving all obstacles as Landlief Patriot's voice intensifies. As the priests fall to the ground behind the fire, the Ferwerter part of crowd cheers louder than ever before. They are free now, finally liberated standing strong together.

(My beacon!)
We will still stand strong!
We will still stand strong!
(Oh, my beacon!)
We will still stand strong!

With such an easy part the crowd cannot help but chant along.

We will, we will, we will!
We will, we will!
(My beacon!)
We will, we will!

(My beacon!)
We will, we will!

As the song comes to an end it is clear where the Ferwerters in the crowd are. They roar louder than anyone else with greatly excited cheers jumping up and down waving their little Ferwerter flags high into the air in an almost hypnotic state of complete ecstasy. And as for the question if Stahitmao was watching, well he did have to attend an important meeting with the Ferwerter Central Public Opinion Management Commission, but inside sources can tell you that he was secretly watching the performance on his phone from under the table. Already one victory for Landlief...

Brought to you by CFTN, Central Ferwerter Television Network

[StrayaRoos]

15
strayaroos
Alan Hytaua-"our time"

---

John Farnham-You're the voice

---

selection

Honestly,nobody expected Alan Hytaua to be selected for WorldVision,considering his last song that charted was in 1997,and early leaks were pointing to 15-year-old Laura Ghiuks being sent to Mariensbourg.
After the announcement,the internet forums blew up with negative comments about rtvS' poor form of internal selections since the nation's debut ,with the average placing for internally selectted entries being 22nd. nobody had high hopes at all.

---

the artist

Alan Hytaua is an 52 year old artist from Circunses,with several hits in the 90s but nothing else to his name really,other than being a juror for Worldvisions 94-96 and WHFs 62-67

---

the song

---

the performance

The stages is black,and a light is focused on Alan,who's facing the back of the stage,standing on a large white ministage thing.small pieces of paper are falling from the roof

This is
A chance to write a chapter of the generation
we can say what we wanna say
we need to keep our hearts together
it's a cold winter night
and we're all frozen
how long we be able to make it
alone like this

the stage lights up and the ministage starts to rotate up,and the circle shoots sparks out of it at the 'woah-oh' lyric

It's our time,can you see it
we're gonna show ourselves
Woah-Oh,Woah-Oh
we're not gonna stay in hiding
we're not gonna freeze in here
Woah-Oh,Woah-Oh

the stage lights up with the lights meeting in the center,forming a pyramid of lights as sparks continue to come out

we're gonna stay united
with all this power
hoping to get out of the storm
it's a cold winter night
and we're all frozen
how long we be able to make it
alone like this

the ministage reaches it's climax,and is now a large pole 20 feet off the ground,shooting flames out of the bottom,burning some of the paper coming down

It's our time,can you see it
we're gonna show ourselves
Woah-Oh,Woah-Oh
we're not gonna stay in hiding
we're not gonna freeze in here
Woah-Oh,Woah-Oh

the ministage spins around 180 degrees and smoke starts to come out of the actual stage,blocking the audience's view of Alan,who is taken down to the actual stage's floor

it's a cold winter night
and we're all frozen
how long we be able to make it
alone like this

It's our time,can you see it
we're gonna show ourselves
Woah-Oh,Woah-Oh
we're not gonna stay in hiding
we're not gonna freeze in here
Woah-Oh,Woah-Oh

It's our time,can you see it
we're gonna show ourselves
Woah-Oh,Woah-Oh
we're not gonna stay in hiding
we're not gonna freeze in here
Woah-Oh,Woah-Oh

It's our time,can you see it
we're gonna show ourselves
Woah-Oh,Woah-Oh
we're not gonna stay in hiding (Not gonna stay in hiding)
we're not gonna freeze in here (Not gonna freeze in here)
Woah-Oh,Woah-Oh

the ministage has full pyro flames come out,and set alight the last pieces of paper to fall down from the roof

It's our time,can you see it
we're gonna show ourselves
Woah-Oh,Woah-Oh
we're not gonna stay in hiding
we're not gonna freeze in here
Woah-Oh,Woah-Oh

the final line echos around the arena to raptuous applause

[Malta Comino Gozo]

Nation Name: Malta Comino Gozo
Official Broadcaster: MCG 1
Tune: Chain Gang of 1974- Sleepwalking
Song Title: Vibes
Artist(s) Name(s): Fradel & Spies
Lyrics & Music: Fradel Grech, Jacob Spiteri, Kurt Bezzina and Jean-Luc Camilleri

---

It had been exactly eight editions since Malta Comino Gozo had hosted Worldvision and the country was again gearing up to bid for the 105th contest. Fradel & Spies who represented the islands in WV97 were back hoping to win over both the Jury and Televote after coming just shy of the top 10.

Malta Comino Gozo was great at doing 180s at Worldvision. From rock to soulful ballads to electric synthpop the nation was not afraid at trying something new. The latter was the country's next chosen choice for the 104th competition. Fradel and Spies were back and upon submitting their entry to MCG1, in brief, the answer was a resounding "Yes!" No ifs no buts, MCG1 were happy with the strong selection and a band who had past experience would be perfect.

Fradel and Spies have beautifully evolved from one genre to the next and have a wide arrange of songs from dark and broody to infectious, danceable songs. They were also adored by the MCG public as they were often found gigging all over the country, almost monthly. Despite not having as much international success as other MCGoan bands, Fradel and Spies were nevertheless happy to be on the stage.

But who are Fradel & Spies. Fradel & Spies are an alternate indie band based in Malta Comino Gozo. The band formed in the summer of 2014, as four members with a mutual passion for alternate and rock music. The members of Fradel and Spies are Fradel Grech (vocals), Jacob Spiteri (electric guitar), Kurt Bezzina (bass guitar) and Jean-Luc Camilleri (drums). Since its inception, Fradel & Spies have released two number one singles, ‘Electric’ and ‘Burn the Day’. Both singles garnered over 10,000 online hits, with the former spending over 10 months on the PRS MCG Top 20 Airplay Charts (top 10 for over 16 weeks), and the latter, which was released in August 2016, forming part of the top 5 on the same chart following its release, all contributing to the band’s growing success. Their previous WorldVision hit, "Still Standing" debuted at 4th in the charts before reaching a respectful 2nd for 6 weeks.


Fradel Grech (vocals), Kurt Bezzina, Jean-Luc Camilleri and Jacob Spiteri

Fradel & Spies is known for delivering enjoyable, high-energy performances, which have been well received at a variety of major events around the island. Notable gigs of the band’s career so far have included a performance at the Farson’s Great Beer Festival 2015 (Rock Stage), Rock the South (2016), Malta Street Arts Festival (2021), Gozo Arts Festival: Main Stage (2018), and many more.



Their new song "Vibes" ultimately formed whilst the band were holidaying in Elejamie. With the band writing the lyrics in just one sitting one rainy evening. Despite the lively, dance-worthy hook "Vibes" lyrics add a different sentiment to this otherwise upbeat song. Very much in keeping with the times, the lyrics portray human beings as some sort of herd, a group, afraid to break away from the chains of everyday life.
As Fradel explains:

“We need a little honesty and a little truth. What do we even exist for, to work? To work and have what 30 days of me time every year. I don't agree. That is what is causing the rise in anxiety, and depression and when these huge conglomerates "act" like they care about your health do they really, or are they doing it just to seem good on paper? Money is all that matters to those. The world is getting so tainted by everyone trying to be so perfect and so goddamn PG and trying to walk this line of not trying to offend anyone. Think about it, we can be moulded to act accordingly to the needs of the powers that be and then simply repeat out the behavioural patterns for as long as is needed and/or required. This song is the painful realization, the wakening up to that."

---

The bustling metropolis of Mariensbourg in Carrelie had won the right to host the upcoming competition. WMCA members could travel freely to each other countries without restriction so the 4 hour flight and arrival were a doddle, with virtually no queues for the flight arriving from Valletta. The delegation would spend two days exploring this lesser-known Carrelian city, exploring its old historic centre, various cathedrals and markets before rehearsals began at the Pàrc Olympièn.






The crowd quietens as the swooping spotlights signal the beginning of the performance. The performance opens with a quick lift of the camera up towards the ceiling. The opening synths accompany bright neon blue striking light flashes that crackle and fizzle around the ceiling of the arena and the many smaller screens mimicking escaping electricity. The excited crowd cheers audibly. The lighting is reminiscent of a club rave, the atmosphere is electric. The lights ripple and grow more substantial before they and the camera all converge on the centre screen of the main stage, (the camera, suspended in the middle of the arena following), in one immense bright burst of light as the beat kicks in accompanied by a quick burst of pyro. A quick shot of Jean-Luc Camilleri from his left side shows him playing the drums. The band minus Fradel sing the opening "Oohs" The triangular frames of the main stage are now alight with electric blue light pulsating outwards, illuminating the band from behind in an eye-opening and exhilarating glow. Fradel can be seen seizing his microphone ready to sing as the camera cuts to Jacob Spiteri on electric guitar, he is now drenched in the navy blue mellow light as he shuts his eyes and sings "Ahhh" his exquisite vocals oozing out and echoing throughout the arena accompanying the rest of the band singing. The camera snaps out to black.

Snapping in from black the lights dim down towards Fradel like birds settling into roost. The camera opens into a slit revealing only Fradel's eyes. A shiny essence catches the camera. He looks up immediately his piercing blue eyes staring into the lens. The camera floats ever so gently across from left to right. For the second line, it floats gently from left to right before opening up completely cutting to a full body shot just off-centre. Fradel stands there, surrounded by the misty dark blue lights. Low-flying fog drifted around his ankles. It's only now we realise he is surrounded by a cling film/plastic wrap prison. His eyes stare into the camera's soul. He is wearing an open, glossy black leather jacket, a crisp white t-shirt and black denim jeans. The leather jacket was the black of the heavens, catching the spotlights and reflecting the blue lights into the arena. It hugged him as if it was trying to send a message, that he felt alone, that he needed more. The camera backs away from him at an angle as he sings "Clones." The vocals echo into the packed stadium.

Humanity peeled from our bones
Deprived of what makes us real
Shadows of flesh to maintain the system
Our own blood splashes as we kneel
Oh, what do we conceal?
So meticulously machined into these obedient...
Clones...

Unnattaching the mic from the stand, the music builds and the lights fade to a darker tone, the stage infringing on black, as Fradel hangs his head. The camera cuts to two different views for each word, one from our left and then right, as Fradel shakes his head adding a confusing yet apt atmosphere. The camera prowls around his left and hangs motionless here as he looks up and out into the arena, a hopeless look of anguish on his face. He wasn't necessarily a good actor as it were, he just related to the lyrics so personally that all emotion that was showing, was true and not to mention raw. Fradel sweeps his left hand through the locks of his hair which keeps its consistency as his hand leaves. The camera cuts to a body shot. For the second "Clones..." he hesitantly places his clammy palm upon the cling film in front of him. It stretches and is malleable but the more he pushes the more resistance he faces. The cogs in his head moved as he realised maybe this prison wasn't as strong as he first thought. He applies more pressure. For the last line, "He plays it cool" a smug expression emerges across his stunning face as he steps backwards. He barges forward with all his might and bursts out from his plastic-wrapped prison.

Break from the norm
Break from the norm
He vaguely recalls
He plays it cool!
Clones...
Break from the norm
Break from the norm
He vaguely recalls
He plays it cool!

A quick shot of Jean-Luc Camilleri from his left side shows him introducing the chorus as he crases his drums and then cymbal which cuts directly to the camera which pushes forward from the back of the arena over the audience's heads towards the electric blue stage. The rest of the bands backing vocals echo out. From all corners of the arena, white light started to flash above them, while the edges of the main stage were bathed in dark lighting. The low-flying fog dissipated around him. Fradel points towards this camera in front of him as it makes its way nearer and nearer to him, the mic in one hand and the shrivelled-up remains of the plastic prison screwed up in his other hand. He sings towards the camera as if addressing the viewers sitting and watching at home. In relation to the song's poignant and deep lyrics, he had "broken from the norm" and wasn't afraid to be the only one standing out. The band, dimly lit in the background can be heard providing the backing vocals which support the chorus. They vigorously play their instruments as they do so.

The voices in ya head that keep talking
The blood on ya skin that keeps crawling

The chorus and lights etc mellow out into the next verse and were left with a dark blue stage. We have a quick shot of Jean-Luc Camilleri from his left side again as he introduces the next verse. The spotlights calm. The camera takes a wide, panoramic shot of the stage, the lights of the audience waving to the beat as the stage begins to fill with a deep crimson from the bottom upwards. Lit in a snowy white spotlight the camera pans inwards and cuts to Fradel. With a wide-eyed expression and a slight tilt of his head Fradel points to his head for the first line "I've been inside your brain" and shrugs his shoulders for the next as the camera gently pushes away. He sings the verse with confidence and slight arrogance. With a quick flick of his jacket, he gets ready for the next verse and resumes his proud and confident posture.

I've been inside your brain,
Your empathies a waste of time
You can tell yourself you could be this way
Your bloodlust is fine
It's keeping you alive and I gotta say
It looks so good on you...

He chucks the plastic film to the floor as the prechorus begins and the camera cuts to a diagonal able of Fradel from his left as he sings the line, "Divided minds... of fabricated time" with aggression, passion and sorrow, his eyes shut. Without aggression, there would be no passion. His deep husky voice handles it immaculately. He opens his eyes upon finishing the line and he does the same again for "But who am I to make you understand" In this moment of ecstasy, the camera focuses on the expanse of the LEDs at the back of the stage as well as framing Fradel so that he is bathed in light blue light. As the lights billow outwards ready for the chorus, the LEDs switch to an animated mechanic background the camera zooming out to capture the full effect. For the last line, he tilts forward whilst nodding aggressively putting all his might into the line before belting out the final " it burns!". The camera does a rapid spin before the burst of the chorus.

Divided minds... of fabricated time
I've been trying my best
To hold your hand babe
But... who am I to make you understand
I feel it on my skin
It burns, it burns, it burns!

The camera takes a wide, panoramic shot of the stage as the Pàrc Olympièn as the camera moves in over the lively crowd as the stage bursts into a frenzy of white strobe lighting, engulfing the stage in a shower of white spotlights. The animated background of mechanical cogs turning looks almost 3D thanks to the various screen watched to the ceiling of the arena. The cogs turn to the beat of the song. We have a quick view from the back of the stage suspended in motion looking out, the entire band in shot.

All the voices in ya head that keep talking
All the blood on ya skin that keeps crawling

The vocals fade out and all of the stage lights shut, and it is entirely pitch black on stage, including the LED screens, except for a spotlight that points directly at Fradel. It shows him kneeling on the floor to sing this pre-chorus. The beat and instruments were built and built accompanied by strobes which rotated around the edges of the arena and got faster and fast as the next line approached. Fradel could let himself go during this bit and it was the part of the song that he was most looking forward to. The backing singers helped to keep the melody of the song with their "Ahhhs" and "Oohs" as he went crazy with his vocals. You could see that he was giving it his all as he slightly turned red and the veins on his forehead showed. Beads of sweat began forming on his forehead. There was something in that shout, a pain behind it as he sang the next line. Steam vents burst around the edges of the stage. Audible cheers are heard.

Yeah!

The lights around the arena swirl and rotate around. The stage is lit again electric blue and the mechanical background continues again. The camera gives some airtime to Jacob Spiteri on electric guitar giving it his all, leaning back plucking the guitar riffs, Kurt Bezzina on bass guitar lightly bobbing up and down to the beat and Jean-Luc Camilleri smashing away on drums, all singing the backing vocals, for the first few seconds before we have a panoramic shot of the stage as the camera floats backwards over the spectators. Fradel is back to his feet now and jumping lively on the spot to the beat, he is living in the moment. He makes his way along the right-hand catwalk with a hand outstretched, sliding his hand through the crowd as if it was water. Fans can be seen smiling and reaching out towards him. The band continued supporting with the backing vocals.

All the voices in ya head that keep talking
All the blood on ya skin that keeps crawling
All the voices in ya head that keep talking

Fradel sings over the prerecorded "Oohs" with power as he stands at the edge of the catwalk looking out into the audience. His left arm free, dangling by his side, he reaffirms a stiff but confident posture and leans back to sing, musting all his power. The camera pulls out left, into the crowd at an angle.

Divided minds of fabricated time
I've been trying my best

The arena is a swirl of lights. The rest of the band sang the next line adding a fantastic split between the main vocals and Fradel's. The camera passes left to right through the crowd in front of the stage. The lights continue to race around the arena adding energy. You could feel the energy throughout the band and the hall. The band continue to sing the backing vocals.

All the blood on ya skin that keeps crawling
All the voices in ya head that keep talking

Fradels tugs at his jacket the camera zooming towards him high above the audience. His raspy voice nailing the notes reverberates through the arena. before the song fades out to deafening cheers.

Divided minds of fabricated time
I've been trying my best
All the voices in ya head that keep talking
All the blood on ya skin that keeps crawling

Lapping up the ecstatic applause Fradel stood there for a moment. The camera cuts to a facial shot as he looks out into the audience, from left to right, a smile breaking across his exhausted sweat covered face. In his mind, he had accomplished what he had come here to do and whatever the result he was content. He combed his fingers through his hair, trying to comprehend what he and his fellow band members had done. This had by far been one of his favourite performances EVER. "Thank you" the words left his lips calmly as he took a bow towards the camera. The camera circles over the elevated cheering crowd as flags and banners wave before we cut to the stage again where we see Fradel and his band with their arms around one another exiting the stage.

[Besen]

17 - Besen
♆ lucid dreaming ♆
by obelus

There is a burst of bright white flicker lights at the beginning, coming from the back of the lighting rig but also all around the useable lights in the arena like shifting spotlights. It soon settles onto a singular block of white light on the LED at the back of the stage. The group is wearing all black outfits, the vocalist wearing a kind-of bridal attire, a veil hanging down the back of her hair.

lasting forever...
my hope for endless dreams of bliss
and if it's forever...
why won't it still be here tomorrow
when my eyes unlatch

The camera doesn't move much throughout the chorus but it does shift around the band in a slow 360 motion for the duration of the first hook. Occasional purple flickers burst out from the left and right sides of the stage infrastructure. The post-chorus is a closeup of the vocalist, staring in the camera bouncing her head.

holding on to heaven now
when being seems too much for me to take
anchored onto my sky-boat
next destination, star waves in zion
covered in a sheet of sun
it fell from pheobus' arms last night
burns like a saccharine love
asleep on a feather-coated cloud

Copy and paste of the previous verse, however now there are purple spotlights shifting around the stage.

i must be weary
i can't stop laughing myself to sleep
i know i'm safe there
wherever i'm headed next

As each chorus is repeated, the vocalists becomes more animated in her sways. The back LED imagery begins to crack slowly, revealing a soft purple backlight emerging.

holding on to heaven now
when being seems too much for me to take
anchored onto my sky-boat
next destination, star waves in zion
covered in a sheet of sun
it fell from pheobus' arms last night
burns like a saccharine love
asleep on a feather-coated cloud

〣 repeat 2x 〣

Just one last verse and there is a tension in the camerawork before the post-chorus kicks in again, and the back LED explodes open to fill the stage in a river of purple and sporadic spotlights and flickers.

caressed by a bluebell
we are so much alike i see
a sapphire kiss of life
i feel completely alive

[Placely Placington]

18 - Placely Placington

A Couple of Daves – We Love Rapping

Tune: Gregory Snegoff – Party Time

It was another typical finish for Placely Placington at the last contest. Bad enough to flounder near the bottom but not bad enough to get last place. Even with a summoner for the dark lord Akuji trying to cast their master to curse the multiverse, as well as the Placely Placingtonian science bloke Dave The Hobo trying to stop them, they could only manage fourteen points, five more than last placers Vartugia. Of course there was someone else but they were disqualified, it doesn’t really count. Naturally, this was a small buggerance; of course if they win or even second or mayhaps third, which Dave McDaverson thinks is a possibility, they’d get endless fame and fortune. If they come last, which has happened before, they’d probably get sympathy. But if they keep failing to get any of those, then it’s pretty much a case of “Oh yeah, that happened”. Not something he wanted.

So he had a bright idea. He decided to bring in a guest star to sing for them. Unfortunately they haven’t arrived yet so it was time for Plan B. Which was to back A Couple of Daves, a duo made up of himself and also Dave the Living DJ Booth, who longs for the cessation of his existence while he plays club bangers. The two had performed together to make their Placely Party Song for the 94th WorldVision Song Contest, which very nearly came last had it not been for a set of 8 pushing it up in the nick of time. Either way, Dave McDaverson not only announced it but also had giant posters put up to advertise it, although Television Director pointed out that it had a very unfortunate typo on it. Dave McDaverson ignored it, Dave the Living DJ Booth meanwhile just kept pleading for someone to turn him off or turn him into scrap or something.

Anyway, they did the same promotions in Carrelie. Massive posters, massive press releases, everything they needed to do to get the word out there. The same ones they did in Placely too, although it was a bit more difficult here because the locals are not obligated by law to like Dave McDaverson. It probably didn’t help that, at some point during their promotions, Dave McDaverson managed to get himself trapped behind one of his posters, died somehow and had to be recloned. Oh no, what a horrible tragedy. Either way, he’s back and he’s ready to perform. So that should be fun, I guess.

OK, the song's actually not as bad as I'm making it out to be. If anything, it's probably something that'd be more at home with Vartugia. But considering where this song came from...

---

Anyway, the postcard came to an end and we’ve got a shot of the stage. There are a few scant applauses but, like always when it comes to Placely, it was from people who were trying to be polite whereas everyone else either kept their hands apart or used this moment as a bathroom break. Anyway, when it was time to go, Dave McDaverson just broke into a rap without waiting for Dave the Living DJ Booth to start the music.

Yeah, you know I’m the Placely man
And I’ve got a Placely plan
I’ll say it
Proclaim it
As loud as can

As the music began, we get a much better look of the stage now and we see that Dave McDaverson was wearing a giant t-shirt over his suit with the song title written on it. Meanwhile, Dave the Living DJ Booth has a giant bit of paper taped over his front with the same thing on it. Both had the same awkward typo. The stage was just plain white with the standard lighting, although Dave McDaverson was moving around the stage flailing his arm about while he rapped into the mic. He was holding onto his gun in his other hand though, someone should really take that off him.

Be, you see, and my name is Dave McD
Rapping, clapping, let’s do it all for me
Oh yeah
I’ll be giving the deets and he’ll be giving the beats
You’ll be moving your feets ‘cause I love to rap
Come on y’all and move your feet to my dancing beat

Despite specifically requesting it, there was a complete lack of feet movement from the audience. There was, however, lights shining brightly every first line before going back to how they were every second line. Dave was also marching around the stage trying to hype the audience up to no avail, while in the background Dave the Living DJ Booth kept begging for the sweet release of non-existence.

Dave McD, the rapping G (End me now, just end me now!)
Dave the Living DJ Booth, who is really smoof
The two Daves and they’re both greats! (Why am I still existing?)
And I will rap from dawn ‘til dusk, like I oughta must
Move your feet to Davey’s beat (Can you end my misery?)
Give Placely your points and cash and we’ll make a smash
Hit makers and heart breakers! (I should not still be alive!)
Dave McDaverson, the man with the greatest plan

Shortly after the chorus came to an end, we go back to Dave McDaverson strutting his stuff all over the stage. Still trying to be hip, still trying to be cool and still not really doing a good job of it. Nothing else to say here other than the stage was pretty much how it was during the first verse.

I be busting the smoothest raps, got the chillingest flow

That's not a word, Dave.

You won’t know where I’ll go, I’ll take it slow, come and go
I rap from day to night, I’m gonna rap all right
Gonna rap with all my might like I’m gonna fight!

Unfortunately, Dave McDaverson continues to rap. Dave the Living DJ Booth continues to scream for his painful existence to end, to no avail. He might also be playing some visuals on his screen but it’s surprisingly hard to tell with the bit of paper in the way. The cameraman even tried to make the whole chorus seem exciting by moving the camera backwards and forwards on Dave, although considering he did the same on the massively unimpressed audience it’s hard to tell if it was him trying to be serious with his job or if he was just having a laugh.

Dave McD, the rapping G (Please help me, please end my pain!)
Dave the Living DJ Booth, who is really smoof
The two Daves and they’re both greats! (Please can you turn me off now?)
And I will rap from dawn ‘til dusk, like I oughta must
Move your feet to Davey’s beat (I’m in pain, it really hurts!)
Give Placely your points and cash and we’ll make a smash
Hit makers and heart breakers! (Turn me off, I’m a mistake!)
Dave McDaverson, the man with the greatest plan

There was a quick close-up on Dave the Living DJ Booth along with some flashy lights, before we finally got a shot of Dave McDaverson rapping the last line of the song. He tried to pull off a cool pose only for it to do something that would’ve been considered unfashionable and cringeworthy even fifty years ago. He also crossed his arms at the end of the song just to let people know it was over.

(Help me Dave!)
We rep Placely!

Anyway, when the song finally came to an end, there was a wide shot of the stage and one or two faint claps. There was also a group of police officers who came onto the stage to arrest Dave McDaverson. Much like the last time, all the way back in Nekoni, it was because they had found his secret stash in his belongings. However, there was also another reason and it was to do with all of those promotions they were doing. Who knew that such an awkward typo would cause such a massive bother. What a shame. Anyway, as Dave the Living DJ Booth was being wheeled off, an eagle flying overhead dropped a piano which, unfortunately for him, completely missed and instead embedded itself where he originally was. At least no one was hit by any debris? I don’t know, let’s just bring on the far superior entry from the Achaean Republic.

[Achaean Republic]

19| Achaean Republic
Milkah-"Glassy"
Tune: Adanna Duru - POP!

Mineishka Delgado wanted to serve a brand of luxury. Like Ferrero Rocher, the nut-sprinkled chocolate balls wrapped in hazelnuts and a gold packet, she wanted to style and elegance in the same way as a Fabergé egg or a Ferrari. Grown in the poor barriadas in the outskirts of Corola, where drugs flew easier than tap water or illegal power sources, she always wanted to do more in life than just ride bikes, wear fifteen thousand sleeve tattoos with her sixteen boyfriends, or die in a blaze of glory on a drug-induced shootout with the police, killing five innocent bystanders and sending them to hell. There were too many barriadas with too many crackheads that once wanted to be teachers and hairdressers or politicians, dying from hunger and stealing yuca and malanga from neighbors to fend for themselves in the tropical heat. Her father was one of them—she could only remember of his lanky, tall, dark features, emaciated by the crack that coursed through his body, when her mother banished him from home for the last time in young Mineishka’s life when she was seven. She saw that sorry scene with her younger brother, Jordan (or “Yoldan,” as they used to say) and tried to shield his eyes for what his father has become.

Since then, Mineishka always wanted to find a way to climb her way out of poverty. Poverty is a scourge in the country. While much better off than other nations in the region, Achaea’s issues with poverty were compounded by other heavy things like sex tourism, trafficking, exploitation, and the drug trade. Mineishka’s mother had her when she was sixteen and finishing high school. She had to emancipate in order to marry her father (he died a few years later, Mineishka couldn’t remember exactly when). But it was hard to raise two kids in the barriada as a single mother without a high school diploma (she got it a few years later thanks to night school and the encouragement of her children), working odd jobs as a hairdresser, nanny, janitor, part-time handler, cashier, cook, and community leader. It was her mother’s hard-working nature, perseverance, and determination to move forward that led Mineishka to pursue her dream of becoming…an accountant.

Mineishka wanted stability in her career, so she had enough good grades to make it into accounting and get her degree at the Federal University of Corola and make enough money to finally leave the barriada for somewhere new. Maybe a nice suburb like Las Delicias. Or maybe Guadalupana. Perhaps buy a house or a condo at Barrio Tercero near Avenida Guadalupana and live next to the executives and bankers and stockbrokers and actors and the like. Or a nice house in Serrallés overlooking Mission Hills and schmoozing with the rich and famous, even though they would be slightly irritated with her skin color and crude mannerisms unbecoming of a nuveau riche young woman. Stability is what her family needed after living through so many years of poverty and violence in the outskirts of the city.

But then she remembered the tumbacocos throwing down reggaeton and dembow for people to dance until the wee hours of the morning. Or the sense of community that created every time someone lost their small corrugated house when a hurricane wiped them out. Or all those times when the city would come and bring them balls and baseball bats to play with whenever Three Kings’ Day would show up—even if it was only done to curry favor with voters of the barriadas. Everybody knew each other’s name (and gossip) and went to their weddings and funerals and Christmas and New Year’s parties (even if they had to run inside and duck if they wanted to avoid the gunfire!). There was something special about the community of the barriadas. They were not perfect at all, but this was the world she grew up in, a world she simply couldn’t forget. But was there anything she could reclaim about it?

So she switched to singing. Barely.

---

After Marcos Tolentino’s top-ten placement in StrayaRoos, and the warm reception of his hit single, Quise Hacerte Feliz (“I Wanted to Make You Happy”) in the Achaean and Latin American charts, the Achaean WorldVision delegation was more than willing to tap in the pop market once more for an unknown star, a diamond in the rough, who would be willing to be molded into a future pop legend. There was much hype on Marcos’ shoulders regarding his debut album—to be launched in 2023—, and it was also a responsibility someone had to take care and shoulder its burden to. Mineishka was chosen above all others, improbably because she was a fresh face and was yet to star on a radio, TV show, or radio show on live TV. She had a ten thousands-like following on social media, and she was a beautiful woman that had a slight, sassy edge. (It also helped that she poke English well, what with the whole slum stereotype coming off her back, but they didn’t tell this straight to her face.) Above all, she had humility and a hunger for learning which set them separately from the rest of the pack and made her the perfect icon to craft into a legend.

---

The stage was large and expansive, filled with hi-tech lasers and LED fimbriations and liquid screens that permeated with the touch. It was a very uncommon stage for a quite uncommon city, not what the average traveler would expect in a country like Carrelie, who is so used to their ways (and modern-day defenestrations). The first and last time she heard about Carrelie was when she visited her aunt in Port Anilis, an island away from her house in Corola. She was an au pair/maid/concubine for a local Anilisien politician, who used to cook the house and pick up the kids in the morning and…erm, escort…her boss to certain private functions at night. But that was old news, and she had enough money and goodwill to gain Carrelian citizenship and join her sobrina Milkah on her trip to Mariensbourg. So was her brother, her mom, and her other cousins. (There were also rumors that Jessica González, best known as the woman responsible for Johan’s abdication to the Carrelian throne and one-time hit reality show starlet, was also in the crowd alongside her presumptuously rich fiancé.)

As the song began, the stage transformed into a golden display of opulence. Gold and orange and sequins were ordered, presented to drip wealth—the wealth she always wanted—with decadence—the destruction she always felt. Milkah was at the center, dressed with a ripped Michael Halpern sequined bodice jumpsuit filled with gold and silver fimbriations speckled around. It was, admittedly, a bit hard to place for Milkah. She was in the middle of the stage on a V-formation with four other dancers. The triangle-esque shape of the stage greatly helped with the placements. They also wore muted versions of the jumpsuits, as if to avoid overshadowing Milkah. Not like she cared.

Word to the wise: The song Glassy is in Spanish. Only parts that need to be translated to English have been done.

Glassy-eyed cover, what you’d do
Break the habit, run Route 52
Baby, dime que sí

Tell me yes

Dime que no need to compete

Tell me

Cuántos clavos tú me quieres clavar

How many nails you want to nail me on

One of the front cameras had Milkah dance and move her hips to the viewer’s left, then to the viewer’s right, with the dancers beside them, shaking their hips and having jerky movements on their limbs with “swish-swish-swish.” Swish, jerk to the left. Swish, jerk to the right. Swish, jerk to the side again. It was a fun type of movement, one where moving and waiting and watching the crowd react to it. It looked smooth in its roughness. It was hard to portray the movements with such flow without the ridiculousness or awkwardness. At least it was fun to do and it looked cool, especially with the opulent and decadent stage.

Hoy es lunes, a bailar, hace swish-swish-swish

Today is Monday, let's dance, let's do swish-swish-swish

Un pedazo de mi piel, hace swish-swish-swish

A bit of my skin, does swish-swish-swish

Uso apenas un g-string, hace swish-swish-swish

That's barely a g-string, it does swish-swish-swish

Es filo por mi piel, hace swish-swish

It's an edge for my skin, it does swish-swish-swish

He wants it, no lo niego, nope

I don't deny it

My body be out of control
Se luce, no aguanta presión

It's loose, it doesn't hold up to pressure

Cintura, cadera, you know

Waist, hip, you know

The chorus was simple and silly. Simple and silly, though, is what Milkah liked. In fact, who’d ever think of naming her Milkah like that as if she were a milky person, when in fact her complexion was something akin to burnt cinnamon or milk chocolate? Not that it mattered to her—it was kinda funny and interesting to pull off. The cameras atop of the stage went farther and farther to show Milkah and the dancers trying to jiggle their bottoms to the left and then to the right. The LED screens beside them displayed decadence with (fake) gold and silver objects: fine china, Fabergé eggs, gilded windows covered with thin gold films and an image of Milkah playing with her ponytails. (They wanted to film in the secret headquarters of the Banco de Acaya, the country’s central bank, but obvious national security concerns forced them to use props from Avon and Oriental Trading, mixed in with gold spray paint.) It was an opulence that even seemed gilded to Carrelian eyes. But it mattered to show how glassy and fragile things were.

Glassy body, gonna thud-thud
Glassy body, gonna thud-thud
Thud-thud
Glassy body, gonna thud-thud

The cameras focused once more on Milkah using a Dutch angle, to which viewers at home could appreciate the performers’ curves and glittery bodies beaded by glitter and sweat, complemented by their bodysuits. Milkah was in the center, singing and dancing as if she were in an expensive club with her girlfriends. Another camera on the viewer’s right side saw them moving to the left alongside the camera with the Dutch angle (a videographer was broadcasting the performers on the viewer’s left). The lights on the stage flickered with gold, silver, and faint cream that almost looked yellow. Then there were streaks of white light, with broken glass showing in the mass of LED screens onstage. The idea of broken glass. The idea is to juxtapose elegance and opulence with brokenness and collapse. It was the seduction of fear with the seduction of richness. Or so the stage designer explained to the delegation.

Hell, I know you want me baby
No tienes que decirlo, call me crazy

You don't have to say it

I can read your mind al más allá

To beyond

Desde la esquina hasta el Ballajá

From the corner to Ballajá

My gaze just met you and it’s begging for more
It wants more than what you want, oh Lord
Ven y déjame seducirte

Come and let me seduce you

And you’ll love me more, so wait

Once again, the front cameras showed Milkah dancing, swaying, and moving her hips to the viewer’s left, then to the viewer’s right. Her back-up dancers kept following her same moves with the “swish-swish-swish.” The movements were as jerky as before. Swish, jerk to the left. Swish, jerk to the right. Swish, jerk to the side again. To the choreographer, it was very hard to make something look intentionally jerky and painful although it was painless. Milkah was having fun in her very first musical outing outside of Achaea, and it showed. She hoped the dancers were having fun, too. At the very least, they could mooch off a free trip. And who doesn’t love all-expenses-paid company trips?

Hoy es lunes, a bailar, hace swish-swish-swish

Today is Monday, let's dance, let's do swish-swish-swish

Un pedazo de mi piel, hace swish-swish-swish

A bit of my skin, does swish-swish-swish

Uso apenas un g-string, hace swish-swish-swish

That's barely a g-string, it does swish-swish-swish

Es filo por mi piel, hace swish-swish

It's an edge for my skin, it does swish-swish-swish

He wants it, no lo niego, nope

I don't deny it

My body be out of control
Se luce, no aguanta presión

It's loose, it doesn't hold up to pressure

Cintura, cadera, you know

Waist, hip, you know

Once again, the front cameras showed Milkah dancing, swaying, and moving her hips to the viewer’s left, then to the viewer’s right. Her back-up dancers kept following her same moves with the “swish-swish-swish.” The movements were as jerky as before. Swish, jerk to the left. Swish, jerk to the right. Swish, jerk to the side again. To the choreographer, it was very hard to make something look intentionally jerky and painful although it was painless. Milkah was having fun in her very first musical outing outside of Achaea, and it showed. She hoped the dancers were having fun, too. At the very least, they could mooch off a free trip. And who doesn’t love all-expenses-paid company trips?

Glassy body, gonna thud-thud
Glassy body, gonna thud-thud
Thud-thud
Glassy body, gonna thud-thud

She was feeling her oats! She was in the moment! She was the vision! She was the future! At least, that’s what her gay friends used to say. And she was surrounded by them when she went to those parties in the barriada! Her hair looks like it was tweezed and braided by the gods’ hands and not by the Achaean Republic’s most expensive hairdresser on vacation in Miami. She was having fun, and she wanted the Mutliverse to know that. There come the Fabergé eggs, the writhing, the thrusting, the opulence (Note: There was a small clip from Paris is Burning on screen. It lasted less than a split second, but the Achaean delegation did its best to buy the right to avoid any legal foibles.) It was fun to see the crowd dancing with her, especially the Achaeans (and a few Anilisiens as well). It was fun to have fun.

Glassy body, gonna thud-thud
Glassy body, gonna thud-thud
Thud-thud
Glassy body, gonna thud-thud
Glassy body, gonna thud-thud
Glassy body, gonna thud-thud
Thud-thud
Glassy body, gonna thud-thud

“Thank you! Milkah loves you! ¡Gracias!” Milkah shouted to the crowd. She hugged her dancers-turned-friends in a gracious group hug, waving her right hand with the rest of them while trying to wriggle away from the embrace for a brief moment. She was living her dream, one opulent moment at a time.

[Erie-Arcadia of Wombats]

20. Erie-Arcadia

Marigold - Rose Hammond

The Gold - Manchester Orchestra ft Phoebe Bridgers

Album art for Marigold

---

---

Rose Hammond is representing Erie-Arcadia at its 5th WorldVision! After a participation in WV100 with arboretum, Hammond is back to the world stage, on her own this time with “Marigold”. Hammond grew up on the west side of the city of Pembroke, in Eastern Erie-Arcadia. Pembroke, a city of approximately 200,000 people, is known in Erie-Arcadia for lagging behind other cities in its infrastructure and policies, staying relatively entrenched in more moderate politics and ideals. For a long time, it has been one of the most conservative metro areas in the nation. However, recently it has changed, and Hammond has been the face of the movement for growth. More on that, after her upbringing and journey to the impressive heights she has reached.

Hammond was born into a working class family in harbor area of the city, where her father Quinn worked as a cargo loader. Her mother Lucy, a teacher at a local public school where Hammond attended, was diagnosed with breast cancer when Rose was four. This was a struggle for the family, as cancer treatment was wildly expensive and public hospitals were underfunded in the area. After a lengthy battle, Lucy Hammond survived at great cost to the family. Quinn began to work extra shifts, and young Rose was often home with her mother resting and plenty of chores to do. While doing the dishes or vacuuming, Rose would sing songs she enjoyed to pass the time. One day, she thought it would be fun to come up with her own, as the ones she knew by heart were getting boring. As her mother got better and better, she had more time to herself to write her songs. By age 13, Rose had written over 15 songs, yet hadn’t learned to write or perform the music for them. After finding her notebook on the table one day, her father decided to give her a special gift for all she had been through: piano and guitar lessons. As she developed her musical abilities, she began to perform at local open mic nights and a restaurant or two. At 15, she published her first songs onto a major streaming platform. She became somewhat of a local celebrity in Pembroke, and finally held her first concert in a venue for about 1,000 people. She sold the show out, and amazed the crowd with her impressive, elegant lyrics and fun personality. Later that year, Hammond signed with Neptune Records, a mid-sized label that was known for outputting young stars. Her first major hit was “Afterthought”, released when she was 17 on the album with the same title. The album, her first full-length record, blew up and ended up peaking at #17 on the Bigsign top album chart.

After going on tour for “Afterthought”, her solo music became an afterthought itself. She focused on campaigning in her hometown for better funding for public health to save families from situations like hers. Saving the shoddy state of the hospitals was no easy task, and tens of thousands joined protests in the streets of the city advocating for change. The potentially corrupt, certainly inept mayor did not give in to the protests and kept funneling more money to the “public services” department. Odd, considering public services weren’t really doing their jobs well or correctly. Hammond and others filed for a recall of the mayor to elect a replacement, and the petition reached the needed amount of approvals quickly. Campaigning was wildly competitive, with smear campaigns and attack ads running rampant for months. In the election, Green candidate Alexa Saville narrowly defeated the incumbent Byron White 49.8 to 47.7, with the remaining 2.5% going to other minor candidates and write-ins. One of Saville’s first moves was filing an investigation into White. The next year it turned out that he had funneled over a billion dollars of public taxpayer money into his and his allies’ pockets. White was sentenced to life in prison later that year.

Meanwhile, Hammond put out music with two of her girlfriends in the music industry, to less success than her solo albums and EPs. Later on, she released a single “monorails” with popular band arboretum, who performed “scared” at WV98 in Keterig, Aenglide, and also “monorails” at WV100 with Hammond. They have since released 2 more songs together, signaling an album release will be coming soon. That album to come will be potentially the biggest release in a decade, with two of the top ten largest Erie-Arcadian artists collaborating on an entire album together- the release will be insanely hyped and widely listened to everywhere.

The song “Marigold” is about trying to cope with missing a lover who lost interest. This is written from her personal experience, after her boyfriend of 2 years ended their relationship as he lost feelings for her. Hammond has talked about how she struggled with depression for a few months, and how this song was written while coming out of the deepest parts. She is now happy living with her girlfriend, a producer in the music industry, Emmy Cowell. The song, in its release five months ago, skyrocketed near the top of Erie-Arcadia’s charts, pushing down numerous songs that had sat comfortably in the top echelon for months. Since it is a quieter, slower song, it didn’t reach the top ten of the Bigsign charts but did get played everywhere, from grocery stores to restaurants and cafes. On Soundling, Erie-Arcadia’s preferred streaming service, this song reached number 7, with an estimated 8,000,000 streams per week at its height. Now, a few months after it’s journey to the very top, it still averages over three million weeekly streams, sitting at about 40 on both the Bigsign and Soundling charts. This is Rose Hammond’s second most listened to song currently, after Afterthought, which has an aggregate total of 900,000,000 streams. Marigold currently sits at 105,000,000, but is progressing faster than Afterthought is, as it has only been released for about five months. Marigold has been widely praised by internet reviewers, newspaper critics and concert goers alike. Receiving a total score of 9.4/10 average from most available sites, the song has been one of the most popular for music critics as well as general audience fans. Winning the WorldVision nomination was easy this time around, with 90% of the first place votes. However, in its run in WorldVision 102, it placed third, behind two other songs out of five.

---

You didn’t really talk much anymore
We became like strangers
I don’t think you loved me anymore
I didn’t blame you
I remember when I thought I was yours
My mind’s relapsing
Thought I left you back in Valmore
Single life’s been lonely

[align=center]Rose Hammond comes out to the stage in a white lace dress with a flamboyant brown hat, pictured here:
.
She sourced it from a local business in her hometown that produces high quality dresses on a small scale. This is not her first time coming out to perform in a dress from them, and she has catapulted the small dress company to large heights nationwide. As the song begins, she slowly walks out from the left, and all of the screens pan around on a shot of her from a rail cam. The band is in darkness behind her, which creates a mysterious effect that is added to with her slow appearance to the stage.

Every time I think of you
I see that marigold
It covered the walls of your room
It won’t leave me

Previous fans of Hammond’s are singing along at this point, and the stage lights slowly light up, illuminating the band in a small glow, bringing all motes of dust into view. Hammond walks onto the left spike out from the stage, and the side screens portray lowly-saturated marigolds while the main shows her walking with lyrics along the sides.

You’re still making my mind hazy
You made me seem crazy

Guess I didn’t know what I was in for
Then you shook me to my core
The city’s been dull without you
But I couldn’t do more
I tried to save us once more
The last try wasn’t worth it
I didn’t want to be with you anymore
You made me lose hope

Hammond walks back across the stage, and backup singers walk around in full black outfits. The main screen shows Hammond still.

Every time I think of you
I see that marigold
It covered the walls of your room
And now me-eee

Most people are singing or at least humming or nodding along. Yellow lights flicker across the audience.

You’re still making my mind hazy
You made me seem crazy
Recently, the marigold is all I see
So just make it leave me
Make it leave me
Make it leave me

Every time I think of you
I see that marigold
It covered the walls of your room
And now me-eee

You’re still making my mind hazy
You made me seem crazy
Recently, the marigold is all I see
So just make it leave me
Make it leave me
Oh, make it leave me

[Alezian Union]

”dead and buried.”
Singer : Alin Yuri
Composer : Alin Yuri, Mazlan Dawari
Lyricist : Alin Yuri, Mazlan Dawari
Tune : Cornelia Jakobs - Hold Me Closer

120 POINTS!
THEY WIN THE 103RD WORLDVISION SONG CONTEST!

That words that came from Mat Jak, one of the presenters for WorldVision 104 back in Richmond, StrayaRoos made Alezia fell in love with the contest once again. The nation never expected that it would even win twice! Suddenly, Alezia become active in the contest once again with the government starting to care once again, with both Dagi (Aziz-Lutfi Garanov's hometown) and Las Araminhaes (Liz Dannounavais' hometown) being designated as "WorldVision Towns". Because now, Alezia has a strong record, and even though Alezia had an era where it stayed outside of the top 10 (even earning last one time), the WorldVision Song Contest remains as a competition that Alezians kept waiting for and is now a source of national pride. However, Alezia learnt from their lesson, not letting themselves being complacent and maintaining a strong will to do just one thing, keep Alezia's reputation in the WorldVision Song Contest sky high.

Alina Marseille Yuriawanti or more known with her popular name Alin Yuri is an Alezian singer and international relations analyst for the ABA. Born in Hadriza, ZF-NA on 16th of March 1990. Ever since she was young, Alin has shown a talent for singing with her participating in various competitions around North Alezia with her rise to fame being the runner-up of Alezian Idol 2009. Other than that, she's also a member of various choirs throughout her education. She was actually in the team that brought the University of Zafizamarrah Choir's third consecutive gold medal at the National Choir Competition in 2008.

Unlike many other representatives of the Alezian Union who studied music, dancing, acting, or anything art related at university, Alin Yuri is one of Alezian representatives who do not have a musical education background. Instead, she studied International Relations at the prestigious University of Zafizamarrah and graduated at 2011. After that, in 2012, she quickly got accepted as an analyst for the Alezian Broadcasting Authority's daily four-times-a-week news program "NewsReel" in terms of global headlines and issues.

Alin married a member of the Alezian Land Forces in 2013. Initially, things went very well. However, eventually the two split up in 2016 which shall be detailed on the SONG INFO part because it relates to the Alezian entry at hand. After that, Alin starts focusing more on her job and her daughter as a single-mom (sometimes with the help of her family, or even one time, a bragging moment when Alin's daughter was babysat by the most famous ex-premier of North Alezia, Mukhlis Krasnaya Novogrody who has just finished an interview at a newsroom next door). One of her healing mechanisms is also writing songs with the help of her trusted composer and lyricist best friend, Mazlan Dawari.

Alin Yuri became famous for her songs, both "happy" and "melancholic" songs. It rarely charted, but for someone new into the industry as Alin, it was good enough. Eventually, in 2022, Alin and Mazlan discussed about a new, shiny international song competition called "WorldVision Song Contest", and thought that they can try and represent the reunified country. They tried sending songs, but none were enough. Until eventually, the ABA contacted the duo telling them that their entry has been selected to compete for North Alezian spots for the new Operation:Worldvision.

The song that Alin Yuri sung in the regional final was one of her "happy" songs with a patriotical feel titled "My Alezian Dream". The song did well in the semifinals, earning third place with 81 points at the second semifinal. However, her journey to earn a ticket for even a chance to represent her region of North Alezia at the national final had to stop, because she earned sixth place with 53 points at the final; which is not enough to earn her the five spots.

Around this time, Alin nearly gave up on WorldVision. However, Mazlan gave Alin some pep talk and pushed Alin to try again one more time. It was initially planned that "dead and buried." would be used for the North Alezian sub-regional final after WorldVision 105 concluded. Maybe they'll get the chance eventually. However, magic happened. While it is sad, Lee Rijuan has announced that he'd withdrawn his spot for Operation:Worldvision due to "personal issues" (rumours suggested that he withdrew to focus on his new album). This means that suddenly, Alin Yuri was offered the spot to compete in the fourth episode of the competition. An ecstatic Alin agreed quickly on the offer. Sure, this means that the song has to be completed and rehearsed quicker than planned, but the song was around 90% complete anyway, and so a completion later, and "dead and buried." was ready for international consumption.

That episode of Operation: Worldvision was supposed to be a competition between Lee Rijuan and South Alezian Michael van den Bosch; two attractive men with solos and a lot of dancing. However, Lee Rijuan not being there quickly put Michael as the favourite to win. Alin was the second favourite to win. Shockingly, Alin's song received international and national acclamation and won the episode receiving 118 points, 20 points away from runner-up Mosin-Naganese Rani Kalvinayan. This meant that Alin's song would represent the country at the WorldVision Song Contest.

"dead and buried." (yes, it's actually spelt that way, but spelling it using the original way is also okay) talks about someone who has been trying to keep a relationship intact after some trust issues but eventually to no avail because the other side kept betraying her, hurting her heart, and then eventually leaving her alone. The song itself progresses in an adventure as the singer slowly realized that she'd rather fly than be dead and buried by betrayal, pain, sadness, anger, and other negative emotions that was made from all this hurting.

The song itself meant a lot for Alin because the lyrics came from her personal experience, having to worry about her soldier ex-husband who had to leave her in Zafizamarrah for the northern Pantabang Islands (which pre-reunification was a very contested area) many times. While initially Alin thought it was just for the job, eventually she found out that her husband (back then) was cheating on her behind her back. in 2015 Alin found out through an unknown source that her husband has been cheating on her while being deployed to the northern Pantabang Islands. The couple had a confrontation but decided to stay hoping things will fix on its' own and things could get back to normal. However, while six months pregnant, Alin found out once again, this time accidentally by glancing into her husband's Arico.net account still logged onto the family computer, that he had been cheating on Alin once again with yet another woman. This was one step too far for Alin, who divorced the husband in 2016 and with enough proof, got him fired from the Alezian Defence Forces (on the charges of "obstructing the ties of marriage between a member and their spouse" which is a very high offence in ADF courts). While Alin was hurting at the time, her newborn daughter and everyone else (including her work friends at the ABA) healed her pain and pushes her to move on.

The song itself caught the attention of the Alezian public, and the Alezian Defence Forces since this is the first time that what Alezians call "Military Cheating" (which was increasing in rates lately) was brought into the public attention at this scale, and internationally at that. The song created a campaign for military members to stay faithful to their spouses or partners and to remember the emotional implications that come from cheating.

(The Alezian postcard concluded and the view changes into the Carrelian stage, which is a very modern (and super hard to draw hence why I made it oversimplified) stage indeed. The song is very well regarded in the Alezian Union and outside, with Arico.net surveys predicting a more than 50% chance of top 10, and a 17% chance of victory. The audience at the venue applauded at the start as all lights turn down...)

(The camera changes scene to show the main-stage up close. Here audience can see an overhead light lights over Alin Yuri holding a microphone and sitting down while singing the first verses of her song. The first part shows Alin from the left, then the second shows her from the front, and then for the last part, the camera shows Alin singing from the right side of the stage. Before she stood up, she looked at the camera.)

Don't you dare say one more word
Don't you dare break my heart twice
Don't you dare stab my heart, thrice now
Don't you care how much my heart has tried

So tell me, why, why?
You chose to lie?
You left me far away, you left me 'lone to die

But maybe I'm wrong,
To trust you 'till now,
You have played the long game,
But all remains just the same

(Alin stood up, and the camera zoomed away to show Alin singing from far away as lights starts decorating the place and the outer edges of the stage got coloured red, which is the common colour for this entry. The audience gave an applaud as the lights light up and Alin prepared herself for the next part of her entry.)

Dead and buried,
Just leave me now, 'cause all have I tried
Yet you won't look, you'd rather lie, rather fly

Oh, it hurts me
You'd rather just leave me a goodbye,
You'd rather let me cry,
To fly, to die[/box]

(The camera stopped zooming out and changed into a camera that shows Alin singing from the side. The camera and Alin walked at the same time until they reached the island stage.)

I think our love tale's a lie,
'Cause only one side has tried.
You think that all I did is say no to your whole life,
But your act just scares me to death

(The camera then changed into a steadicam that shows Alin singing from the front and then move all the way to the back as Alin looked back towards the camera while holding the microphone with her right hand and pouring little bits of sand to the ground (metaphor of time running out, of course). Her position prompted the LCDs on the floor to show red suddenly with a speck of black for the sand and Alin's shadow. After Alin finished singing before a bit of instrumental, the camera shows how much the black speck rapidly moved fast from the island stage and up to the main LCDs)

So tell me, why, why?
Your heart disagrees?
And you'd rather pack your things, take flight, and vanish away?

(The main LCD, now used, showed a red background with the red speck now turning into a shadow of a dead tree that kept spreading and spreading, indicating the creation of the source of pain that kept going on and on and spreading into other aspects of life. Alin off-camera started walking back to the main stage while the audience kept enjoying the entry and flying flags and signs; majority telling viewers to vote for the Alezian Union; to the entry.)

Dead and buried,
Just leave me now, 'cause all have I tried
Yet you won't look, you'd rather lie, rather fly

Oh, it hurts me
You'd rather just leave me a goodbye,
You'd rather let me cry,
To fly, to die

(The view now shows a split screen between Alin that is nearly done walking from the island stage to the main stage and the main stage LCD with the dead tree still there and still growing. The split screen ended as the cameras shows Alin returned to the main stage and the camera that was far away now zoomed back towards Alin.)

I'm now dead and buried!
My heart, my love, my all, thanks to you now's just name

(Alin sat on her knees facing the right side of the stage from the audience while she did her hum. Around this time, the lights dim down except for one above her once again while in the background, wind blows artifical snow. All of this was made to direct the audience and the viewers' view to the LCD screen.)

Oooohhhh....
Mmm-mmm-mmm-mmm

(The audience at Pàrc Olympièn and at home watched as the story of Alin and the dead tree (aka her dead feelings of love towards her ex) meet. Initially, the shadow of Alin was hesitant and scared to even look at the tree. However, the shadow gathered her courage and then...)

(The shadow a.k.a. Alin accepted and successfully endured her pain and decided to live with it and love herself instead of keep hurting on and on. The shadow moved and the dead tree starting to get smaller before gathering into the center until eventually the view lights the whole stage with white to reveal...)

I'd rather leave too, nowhere to go,
but whereever I'll go, I'd know what I will do!

(A zoomed out view of the stage with fireworks suddenly shooting upwards and all the lights turned on and turned red except for Alin's overhead lights showing Alin putting her microphone on a stand and Alin revealing her actual black wings made of the "dead tree" glittered with red added with a transparent gray front-open gown. All this pushed the audience to applause once again.)

Dead and buried,
I'd leave you now, 'cause all have I tried
No, I won't look, I'd rather lie, rather fly

(A wind machine was activated letting the front-open gown to flail as the view shows Alin close singing her entry and giving it her all. You can also see flags and signs (once again, majority telling the TV viewers to vote for the Alezian Union) decorating the 18,000 seater venue.)

Oh, it hurts me
But one day my wounds, it will all heal
I'd rather let me cry,
I'm now dead and buried!
My heart, my love, my all, thanks to you now's just name

(As Alin sung the additional parts of her song towards the end, Alin looked and pointed towards the camera on the left before turning back to the front to continue singing. As the end approaches, the stage zoomed out blinking between the stage and a black screen just enough time to indicate speed. When Alin sung the last part of her song, all the fireworks shot upwards and all of the stage lights except for Alin's overhead lights were turned off at the same time prompting the camera to zoom back in immediately to a close view of Alin looking and reaching upwards with her right hand.)

Won't you see that I'm now dead and buried,
We'd rather let me cry,
To fly, to die!

(The audience shouted in applause as the Alezian entry concludes and the lights light up slowly once again. Alin stood a few steps back and bowed before smiling and shouting the classical line "THANK YOU. THANK YOU SO MUCH, WORLD; THANK YOU SO MUCH, MARIENSBOURG! LOVE!" Alin waved towards the audience as she left the stage to let the camera show Alezians holding flags and signs celebrating Alin Yuri. After that, the postcard for the next entry was played.)

[Terra-Zealandia]

Country Name: Terra Zealandia
Artist Name: Mount Pukenui
Song Title: Louder
Languages: English

Music: Adam Davis-Meihana, Evan Whiteman
Lyrics: Adam Davis-Meihana, Ryan Kirk

Tune: Mt Eden - Stronger

---

Introduction

---

After a second participation at the Worldvision Song Contest, Terra Zealandia improved their placing from their debut at the 102nd Worldvision Song Contest in Thatcher City, Mister X with the band Ember Reflections and their song “That Summer Evening”, which scored a respectable 21st out of 30 nations with 85 points, a very reasonable score for a debuting nation. In the previous edition of Worldvision in Richmond, StrayaRoos, Terra Zealandia sent the pop sensation Lily Marsden, who performed the song “Shine”. At the end of the night, it placed 16th out of 26 entries, with a larger 112 points. In the jury votes, Terra Zealandia had received a truly impeccable three sets of twelve points from the juries of, in alphabetical order, Achaean Republic; Flusia; and the Spiritual Republic of Caryton. Given that it was the second participation of the nation in the Worldvision Song Contest, musical success was rapidly achieved. The handful of Terra Zealandian Worldvision fans considered the placing “a win in [their] hearts”, even if it wasn’t a podium placing, a top five, or even a top ten placement.

As the 103rd Worldvision Song Contest concluded, and the hype around it was cooling down, TZBA began the search for the next act to represent the country. As the nation was celebrating their hot, summer 2022 Christmas, they stumbled upon the next upcoming singer/song producer to represent the nation by the name of Mount Pukenui.

---

Artist

---

Mount Pukenui live in 2019

Adam Davis-Meihana, better known by his stage name as Mount Pukenui, is a singer, songwriter, music producer and solo musical project from Whakawero, the largest city and capital of the Eastland region of Terra Zealandia. He takes his name from the nearby town of Mount Pukenui, which takes its name from a landmark mountain within the town, also called Mount Pukenui. His music style is electronic and EDM-infused pop, although it was never this way. As a teenager, Mount Pukenui began to experiment with music created out of soundboards, and after graduating Mauao College, he began creating dubstep music and dubstep covers that still remain popular online and have even been called “nostalgic” by gamers around the late 00’s that would listen to dubstep exclusively. Nowadays, Mount Pukenui creates pop music with electronic influences, and this music style of his includes the song “Louder”.

---

Song

---

Cover for the 2022 single Louder

The song Louder is a 2022 single by Mount Pukenui, which follows the new music style of Davis-Meihana, who creates EDM pop music. The lyrics are, for the most part, explained by the song’s title, about music getting louder around him, while sadder things happen in the background but are never heard or noticed. Some people have described arts of the song as feeling “mystical”. Compared to Terra Zealandia’s previous entry, it hasn’t been judged as well as Lily Marsden’s “Shine”, but still been rated nicely overall by Terra Zealandia Worldvision enjoyers. Since the song’s release, the song has placed within the top 20 of the Terra Zealandian Music Charts.

---

Performance

---

It was found out that Terra Zealandia was performing in the 22nd slot, between the Alezian Union and Illdonya. As soon as the performance from Alezia’s Alin Yuri concluded, Mount Pukenui was taken to the back of the stage in preparation of his entry. The lights are shut off, the Alezian performer exits the stage and Mount Pukenui is taken on with his microphone.

As soon as the Terra-Zealandian postcard stops being shown, the lights in the Pàrc Olympièn Arena are brightened and reveal Mount Pukenui on stage. He is seen wearing a whole black outfit, with a glistening pounamu necklace. The LED lights behind him show a dark rainfall. The music begins and Mount Pukenui begins to sing.

The people around me are heartbroken
And it hurts me
Oh, it hurts me
But it never changes
And nobody turns the other way
Cause they think it’ll change in a day

The lights in the venue light up and pulsate for the strength of the chorus. The screen behind shows a lightning cloud with frequent strikes.

And the music’s getting louder
It drowns the noise of the broken souls
And the music feels alive
Against the people that fall behind

As it comes back to the verse, the screen turns back into rainfall. Mount Pukenui begins to walk to the right side of the stage.

Caught up in the bright lights and good vibes
But I need to stop and realise
Cause good things cost many lives
And it hurts to my bone
If we could just step back into time
I would help
Try to join the fight
But things are gone
And I cannot relate
It traps me down
Its like a vicious game

In this part, there is a slightly long instrumental that comes after the verse. As soon as the next chorus starts, the lightning scenes come back onto the screen. Mount Pukenui starts to walk back to the centre of the stage.

And the music’s getting louder
It drowns the noise of the broken souls
And the music feels alive
Against the people that fall behind

For the first bridge part of the song, all of the other lights in the arena are turned off, except a spotlight which reveals Mount Pukenui on one knee to capture the sense of strong emotion in his lyrics.

With every light, comes the darkness
And with every dream, comes the nightmare
With every noise, comes the silence
With all the peace, comes the violence

He jumps back up for all of the lights in the arena to be turned all on again, and the lightning striking in the background is shown once again, but for the last time in the performance.

And the music’s getting louder
It drowns the noise of the broken souls
And the music feels alive
Against the people that fall behind
And the music’s getting louder
It drowns the noise of the broken souls
And the music feels alive
Against the people that fall behind

Once more, Mount Pukenui has a spotlight pointed on him for the final part of the song as he gets down and kneels on both knees for this part, again to capture the emotional feeling of the song. The screen shows rainfall behind him.

With every light, comes the darkness
And with every dream, comes the nightmare
With every noise, comes the silence
With all the peace, comes the violence
With every light, comes the darkness
And with every dream, comes the nightmare
With every noise, comes the silence
With all the peace, comes the violence

He ends the performance with a thank you to Mariensbourg. The lights are turned off, and he exits the stage for the Illdonyan performer to take the stage.

[Illdonya]

23. Illdonya #ILD

Bella Poarch - Build a B***

Nina Aratta
"Watching You"

Recently IGBA has had a very troublesome month. IGBA itself has been very disorganized causing many mishaps which lead to the firing of its CEO, George Craig. IGBA’s new CEO, Cheryl Moore has released discipline and order back from the chaotic mess. First things first, she had to postpone the national final, Illdonyafest 5. This highly televised national final was lackadaisically put together and would not meet the deadline in which IGBA was supposed to submit their entry. So in the end Semi Final two was elongated and postponed the voting time and instead of having Illdonyafest 5 decide who will represent Illdonya in the WorldVision Song Contest 104, it has been decided that Illdonyafest will select an entry for WorldVision Song Contest 105. Instead of withdrawing this edition and disappointing eager Illdonyan viewers, Cheryl Moore kept IGBA’s promise to Nina Aratta and chose her to represent Illdonya with her new song “Watching You” produced with the help of the remaining members of MarelleSounds.

When Nina Aratta got the call that she was representing Illdonya this edition, she couldn't believe it. She undoubtedly thought that IGBA had forgotten about their legally binding contract that she would represent Illdonya before she passes away. She also recieved mixed feelings due to the fact that WorldVision reminded her of the member of MarelleSounds that passes away. She released a statement on Twitter that "I am grateful for IGBA's decision and I wish the best of luck for the Illdonyafest contestants." Nina Aratta quickly got to work preparing for her performance. She stated in an interview with WorldVis-fansBLOG that her performance will have intense dancing and great stating.


A picture of Nina Aratta

Nina Aratta was born in rural Illdonya and no much about her childhood is known. However it is known that she was musically inclined at a young age and obtained a scholarship to The Julliard School. Not much is known about how she has gotten a close friendship with the members of MarelleSounds but people have speculated that Nina's family has been close friends with the band. Before WorldVision 100, one of the members of MarelleSounds was diagnosed with cancer, and MarelleSounds contacted Nina Aratta to perform for them in Kalosia, as MarelleSounds was originally going to play in Monterra, Kalosia. However when that same member passes away, Nina Aratta self-withdrew and Illdonya didn't participate until WorldVision 102 in Mister X. By that time, IGBA had forgotten about their contract with Nina Aratta and continued to run their national final. It was until Cheryl Moore came to be the CEO and but IGBA back in shape and put Nina Aratta back to represent Illdonya.

Announcement from ÍGBA
In a recent turn of events, the winner of Illdonyafest, MarelleSounds cannot perform at worldvision due to health issues of the various group members. Instead MarelleSounds got a well known friend and singer, Nina Aratta, to perform their song at Worldvision. The tune will stay the same just there will be different performers. MarelleSounds released in a statement about their heath that "Two of are members have been diagnosed with cancer. One has stage four breast cancer while the other has stage three lung cancer. These members of the band have been putting their cancer off for a while and doing so have made the situation worse. We have trusted the singer Nina Aratta to sing our song at Worldvision and we hope both of our member recover. Until then we must take a break from the music industry and recover both mentally and physically." In a press conference, Nina Aratta is very excited to be representing Illdonya and MarelleSounds in WorldVision. She also commented that she is "extremely sorry" that two members of MarelleSounds are diagnosed with cancer and that she hopes that "they recover to their fullest extent". Both Nina Aratta and the rest of MarelleSounds band have not revealed which of the members of MarelleSounds have been diagnosed with cancer.

Originally ÍGBA (Illdonyan Green Broadcasting Agency) was putting the second place winner of Illdonyafest, Samuel Max, to represent Illdonya. Soon later MarelleSounds requested that ÍGBA send Nina Aratta to sing their song at Worldvision. After some negotiations ÍGBA declined this option and resorted to the placings of Illdonyafest. However, when MarelleSounds released the statement regarding the members having cancer, Samuel Max declined the offer for Worldvision saying that "MarelleSounds was the group that had members with cancer, therefore I respect their decision to send Nina Aratta to Worldvision and decline the offer of going to Worldvision. Doing this, I hope will make the band members with cancer happy." Other entrants of Illdonyafest also declined and release similar statements. The female band HERMANAS stated that "We agree with MarelleSounds choice, it is for all the people wishing the band members well". Finally ÍGBA agreed with MarelleSounds' decision after all the Illdonyafest declined to go to WorldVision. ÍGBA has now confirmed that Nina Aratta will represent Illdonya in WorldVision 100.

If one looks at the lyrics, they may feel creeped out. The lyrics actually have a deeper meaning. This song is supposed to be about digital awareness and how many big tech companies may be tracking you and may even have access to various cameras, hence the “watching you” part. This song is her first published song. Nina Aratta declined to talk further about the meaning behind the song but many believe that technology has done emotional damage to her. Many of the "eyes" mentioned in the song are supposed to represent the cameras of phones as well as security cameras that can see you all the time.

When Nina arrived in Mariensbourg, Carrelie, she was quite excited to see the culture and popular tourist destination there. She also was worried that she will let Illdonya down because when MarelleSounds represented Illdonya in WorldVision it took place in Densmouth, Carrelie and in that contest, they placed an all time low, 32nd. She took time to contact other contestants to learn more about them as well as just having fun in Carrelie. She practiced many of her dance moves and did many runthroughs of her performance. For her, it had to be perfect. She didn't want to remember the death of the MarelleSounds member, after all, this is the same country MarelleSounds participated in 6 editions ago.

---

Performance

It was time; she an enormous amount of nerves got to her. She subsequently took three deep breaths considering this was her largest performance yet. She congratulated the Terra-Zealandian performers as they exited the stage while she squeezes her fist tight to release stress. She was ready. She can do it. No. She will do it. She enters the stage when Illdonya's postcard starts to show and the crowd starts cheering when they see her. She took another deep breath and the performance started.

She was wearing a silver jumpsuit with neon green lines that gave off "hacker" vibes. Four other dancers appear behind her and are wearing something similar except it has blue lines instead of green ones. When the song starts playing Nina and her four dancers start making synchronized sudden and rapid movements. They act stiff, so much so that they see like they are robots. Nina is wearing a head mic so she doesn't need to hold a mic in her hand. The audience can see soft white flickers of white on the LCD screen as well as on the floor that seem to go with the beat and melody.

I am watching you (so true)
I have seen what you've been through
You don't know what I can do
I am creepy not confused

The melody repeats again and so does the same dance routine. All the dancers move their heads left to right creepily while making the rest of their body as stiff as possible. Nina Aratta spreads her palms and moves them down as if she was slamming an invisible table. Her musters up a expression of fear even though her stress has disappeared. and she's gotten in her groove They audience cheers as the camera pans along the 5 performers. The LCD screen is repeating the same flashing white. When Nina Aratta says the last line of the chorus, the LCD screens quickly blink white and then resumes to the black darkness with the exception of a spotlight shining on Nina and her dancers.

I am watching you (so true)
I know when you eat your food
I am watching you no matter if you flew

For the next part of the song, the audience realizes that Nina Aratta and the dancers are actually standing on a rectagle that seems to resemble a phone. The rectangle starts spinning while two of the dancers jump off of it and cartwheel away so they are out of the rectangle's way. While dancing, Nina Aratta constantly reorients herself so that she continues to face the audience. Most of the stage is black with the exception or the spotlights shining on the performer. Nina Aratta hits her groove but the stress still dwells in her body; she hides it so well that even a trained specialist wouldn't know. The camera spins around Nina quickly creating a nice effect that goes with the song.

I can see you anywhere
Everywhere on the world
The eye that sees you is in
Your pocket or small purse

The dancers continue dancing robot-like but in a synchronized way, so when Nina says "seen" they all point to their eyes. Nina is still reorienting herself on the rectangle while dancing but the spinning rectangle seems to have slowed down. When Nina says "And you forgot" she and the two dancers on the spinning rectangle quickly jump off when it stops spinning and all the dancers and Nina do a robotic pointing motion. This motion is the pointing motion that mothers may do when scolding children, however, Nina and her dancers do it slower and more robot like, only moving one muscle to bring the finger up and down. The audience seems to like this dance move and they cheer with vigor.

Yes, I've seen your search hist'ry
Because I am online
I'm all on your devices
And you forgot

A very discreet stage crew member wearing black jumps out and takes the rectangle away, but the viewer watching on TV wouldn't be able to see thanks to careful camera placement. Once the stage crew member was swiftly gone, the camera pan out, timing it perfectly with the start of the chorus. The LCD screen blink at the same time white or neon green with the beat and the floor and screens change to a dark blue when not blinking the green or white. Nina and the dancers dance again with rapid movements that go a long the melody. None of their moves are curved and soft. They all seem rough, solid, and unstable. The camera focuses on the movement of each dancer, then zooms on Nina where you can see a large amount of make up was applied.

I am watching you (so true)
I have seen what you've been through
You don't know what I can do
I am creepy not confused

The chorus continues and the LCD screens on both the floor and the wall start introducing a fast glitch effect every time if flashes white or green. The dancing continues as the camera circles around the performers and then cuts to the audience who are dancing to the song (badly of course). The camera quickly cuts back to the performers so that the audience at home gets to see the important parts of the performance. The spotlights start to flash too, to create a more robust feel. Nina feels great, she loves the thrill of this performance, seeing all the people made her feel especially warm inside. Nina smiles brighter than usual as the spotlights flash, it is timed so perfectly so that, coincidentally, it makes her look evil even though she is feeling happy and warmed inside. Like last time the chorus was sung, at the end of the chorus everything stops flashing except a spotlight focusing on Nina and her four dancers.

I am watching you (so true)
I know when you eat your food
I am watching you no matter if you flew

However this darkness (except for the spotlight) didn't last long, instead it cause a brief moment of suspense. Nina starts to day a lot of "la's" that go along with the melody. The glitches, flashing, spotlight movements and dancing resumes, and the audience cheers louder. Luckily the broadcasters at Carrelie are very good in their audio fixture placement and editing so that when seen on live TV or a replay, the audience watching (on TV) would not hear a ton of cheering that would cover up the actual music. Nina, is loving this, as this is one of her favourite parts of the song. She is nailing her dance moves and is going the extra mile to make it more "out there". If the dance routing was a JustDance game, and Nina was playing it, she would be getting the highest score possible. Back on stage, at the end of the "la's" part of the melody, it cuts to black again and all the flashing, glitching and the dancing slows down.The spotlights shine on Nina only as the camera zooms in on her face. Nina walks onto the catwalk on the left side of the stage and sings the next part. You can't see the dancers thanks to careful camera placement and editing. Nina walks all the way to the end of the catwalk and continues dancing but in a slower and different way. The audience can she her shortly cut hair is slightly messed up and if you were really paying attention you can hear Nina trying to catch her breath after the high cardio dance routine.

This sounds creepy, but you see
People can prevent this
but they choose to accept it
So now, I can watch them

Nina starts walking from the catwalk back onto the main stage. She does various gestures when walking back and there still is the only one spotlight which is shining on Nina as she walks back. The audience feels suspense build in the song, and so the audience quiets down. Nina stops smiling to add extra suspense but she also stops smiling for the reason that she is tired and needs to catch her breath. She musters up energy and takes another deep breath, there was only a little bit left of the song. When she gets back to the main stage, other spotlights turn on showing the dancers. Like what happened earlier in the song, when Nina says "And you forgot", she and the dancers do that same dance move and show the same facial expression.

You should check your privacy
and turn off all devices
I'm on all your devices
And you forgot

The chorus starts again for the last time. Nina looks like she's having fun and pushes herself to her limits. All the same effects show up like what happened earier, same LCD screen flashes, spotlight flashes, glitching effects on LCD screens, and the high cardio dance routine that gives off robot vibes. The audience goes crazy again. The dancers are smiling and seem like they are also enjoying it. The camera pans across the performers and then circles around them quickly. Nina continues facing the audience as the camera is moving but two of the dancer turn with the camera. The camera then zooms out to get a big picture of the arena and then cuts to another camera on the right side of the stage.

I am watching you (so true)
I have seen what you've been through
You don't know what I can do
I am creepy not confused

At this point Nina knows that the song is over, it's been two minutes and 45 seconds and she can't believe that in 15 seconds her performance will be over. It is like a play-date with a friend you don't know well, it starts quiet and everyone's nervous but at the end you don't want to leave. The camera cuts from the right side of the stage to the left one, then cuts to the front of the stage showing all four dancers and Nina. The camera then zooms in on Nina before zooming out to show the arena. The audience is still cheering nonstop and so are the performers in the green room. Like what happened earlier at the end of this verse, it cuts to black again leaving the audience in a brief moment of suspense.

I am watching you (so true)
I know when you eat your food
I am watching you no matter if you flew

Nina starts singing the various "la's" again as the glitching, flashing and other stuff come back. The dancing continues going with the melody and it seems to be very vigorous. The performance then uses pyrotechnic flames that go with the beat. After seeing the flames that go with the beat, the audience cheers louder than before, so loud that even the cheer was heard through the audio system and could be heard at home on TV. The camera zooms on the performers and focuses on each of the dancers until focusing back on Nina Aratta. Towards the end of the song, Nina and her dancers start dancing new non-repeated moves at the last five seconds until the end of the song. At the end Nina and her dancers strike a pose in front of the audience, and the audience cheers extremely loud. Nina and her dancers do a group hug before saying "THANK YOU MARIENSBOURG! THANK YOU CARRELIE! AND THANK YOU WORLD!". She excitedly runs off stage and then remembers that the hardest part is up ahead—the voting.