Yuichi Nishimura
Luka Bulic · Other Songs - Luka Bulic
u svoje ruke si uzeo stvar
Brazilci dalje moraju ici
steta bi bila da ode Neymar
Ma nisi nam sanse dao Japance
to bila je farsa, a ne nogomet
pa bili smo bolji cak i bez Mandze
i frustriran sad je citavi svijet
E sad nek ti sude za odluke lude
nek svijetom krenu prosvjedi
mi samo jednu imamo zelju
Hrvatska repka nek u finalu
Brazilcima se osveti
Yuichi Nishimura
The song’s grievance begins with a referee’s name and quickly expands into a fantasy of global protest. Its narrator insists Croatia deserved better against Brazil, calls the match a farce, and imagines a later revenge in the final. The lyric identifies the controversy surrounding the 2014 World Cup opener, where Japanese referee Yuichi Nishimura awarded Brazil a disputed penalty; Brazil won 3–1. That decision became an immediate focus of post-match debate, making the song a snapshot of fan anger while the argument was still hot.
Bulić’s parody does not attempt a neutral replay. It gives voice to the supporter’s conviction that the match was stolen, turning resentment into a catchy, exaggerated demand for justice. The promised revenge is knowingly impossible in that tournament’s bracket, which adds an extra layer of comic wishful thinking. No independent review of the song itself was found. Its value is less as sports analysis than as a record of how quickly a disputed call can become a shared national story, with a referee’s name transformed into shorthand for a whole evening of frustration.
Topical parody can freeze a public controversy at the exact moment when viewers are still arguing about what they saw. This song does that with the 2014 World Cup opener, translating anger at Yuichi Nishimura’s penalty decision into a chant for future revenge. The line between sports commentary and comedy is intentionally blurred: the narrator calls the game a farce, then imagines an impossible final against Brazil. Its emotional truth is not impartiality but the supporter’s insistence that a disputed call changed everything. That partisan voice is precisely what makes the song a document of reception, rather than an objective match analysis.