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betweenthetimeandsound · 3 years

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Three Minutes to Eternity: My ESC 250 (250-241)

(Author's note: I intended to have the list ready by 1 September, but I was a bit lousy in compiling the final spots on there. As a result, they will seem a bit shoddy, but there will be good summaries, I promise! And there will be honorable mentions soon enough.)

#250: Harel Skaat -- Milim (Israel 2010)

“האור נרדם, דמעות של דם, שורפות לי בגרון, ידית שרוטה, תקרה שמוטה, כשאני שר לך את השיר האחרון” “The light fell asleep, tears of blood scorch my throat Scratched handle, sloping ceiling When I sing to you the last song” Curiously, I already knew of Harel Skaat before hearing of Eurovision: I listened to a few of his earlier tracks when I found him singing with another Israeli pop artist, Dor Daniel. I particularly liked משנו ממני and כמה עוד אפשר. Milim is a requiem for what was once lost—the presence of one whom the narrator really loves. The imagery used in this song adds to the melancholic feel—a classic ballad of sorts, with a lot of emotion. And the performance from Harel was very good, even though he butchered a note at the end. Maybe it was the pretty blue lights that really accompanied the mood of the song. Personal ranking: 7th/39 Actual ranking: 14th/25 GF (grand final) in Oslo

#249: Tina Karol -- Show Me Your Love (Ukraine 2006)

"You see it in my eyes, my heart is on fire Don’t hide your love away, don’t wait another day" As mentioned in the note, I had a hard time determining the last few spots on my list. I went through the results of both sorters and picked what I felt in the time. Show Me Your Love is a bit odd, but with the accordion intro striking right away, it deserves a place here! While an overly simple song with stilted lyrics, Show Me Your Love is still a bunch of fun. From the boppy beat to Tina's infectious presence on stage, one can't help but smile as this comes along. And there was a jump rope right in the middle of the performance--never change, Ukraine. :) Personal ranking: 5th/37 Actual ranking: 7th/24 GF in Athens

#248: Alan Sorrenti -- Non so che darei (Italy 1980)

“Non so che darei per fermare il tempo Per dormire al tuo fianco solo una notte Non so che darei per sentirti mia Per tenerti vicina solo una notte” “I don’t know what I can give to stop the time To sleep beside you only for one night I don’t know what I can give To take you close to me only for one night” Recently, I find myself humming to this a lot, because it's so calming and nice. I particularly like Alan’s vocals in this song! He really conveys the pain of losing (or on the verge of losing) the one he loves, expressed by the melancholic lyrics. Together, they form a song which is just as beautiful, if not more so than the winner of its year. Despite its 6th place, it became a continent-wide hit, which was quite deserved (just like a good number of Italian Eurovision songs over the years, haha)! Alongside that, Non so che darei also had the only black conductor at Eurovision while there was an orchestra, along with a couple of women playing fake guitars. For some reason, I imagined they were holding umbrellas instead, but I clearly remembered wrong... Personal ranking: 3rd/19 Actual ranking: 6th/19 in Den Haag

#247: Sanja Vucic ZAA -- Goodbye (Shelter) (Serbia 2016)

"I lick my wounds So that I can keep on fighting" Another last-minute choice, but this is an important song, both in 2016 and now, unfortunately. Despite the advances in women's rights over the decades, domestic violence still persists across the world. Goodbye (Shelter) tells the story through someone who's struggling to get out of a toxic relationship, and there's a mix of vulnerability and strength in the lyrics. Of course, lyrics don't make up the whole song; the music also conveys the story through a dramatic build and beautiful strings. Considering the 2016 contest, it does get a bit lost amongst the crowd, but it feels like a musical number in all the right ways. Also, the performance told the story well, and Sanja is a wonderful singer (she also sings a cover of one all-time favorite you will see towards the end, hehe). I even would shed a tear at points. Personal ranking: 8th/42 Actual ranking: 18th/26 GF in Stockholm

#246: Remedios Amaya--Quien Maneja Mi Barca? (Spain 1983)

“El verde de tus ojos verdes, mírame, Que mira que yo te mire, mírame, Que mira que yo te mire” “The green of your green eyes, look at me, Look at me, so I can look at you, look at me Look at me, so I can look at you” One of those songs that can be defined as an acquired taste--the people who love it enjoy its subversive status in the Eurovision canon for being unapologetically Spanish, while the people who hate it will dismiss it as just a bunch of noise. This is a song which is part of the “New Flamenco” genre popularized since the 1960s, which mixes up flamenco music with other genres, such as rock or electronic music. Quien Maneja mi Barca ‘s studio cut has nebulous lyrics combined with an electronic beat, which is alright at best. I found it quite hollow and quite forgettable there. I prefer it in its orchestral form, which fuses synths and concert instruments fantastically. It definitely amps up the drama with Remedios’ voice, and made me appreciate this very distinct entry. Personal ranking: 6th/20 Actual ranking: Joint last (with Turkey) in Munich

#245: Marianna Efstratiou - To diko sou asteri (Greece 1989)

"Μα στο βραδινό τον ουρανό το δικό σου αστέρι ψάξε βρες Γιατί οι σκιές στο πρώτο φως μοιάζουνε φοβίες παιδικές" "But in the evening sky, search and find your own star Because the shadows in the first light seem to be childish phobias" While To diko sou asteri sounds a bit safe in the grand scheme of things, I think its lack of pretension is what makes this little song shine. The lyrics encourage one to find their star and encourage the listener to pursue what they believe in without any fear. Marianna's vocals also add to this song in that they're quietly hopeful and sweet. Also, for some reason, I got some "True Colors" vibes while listening to it every time, despite there being some differences. Both have this relaxing, calm vibe to help the listener on their journey through life. Then again, True Colors doesn't have some nice flute flourishes throughout the song, haha. Personal ranking: 4th/22 Actual ranking: 9th/22 at Lausanne

#244: Dina -- Amor d'agua fresca (Portugal 1992)

"Peguei, trinquei e meti-te na cesta Ris e dás-me a volta à cabeça" "I picked you, bit into you and put you in the basket You laughed and made my head spin" 1992 is one of the most average years at Eurovision--after the chaos that was 1991, it seems like the songs and production sought something safer, and the whole thing felt really bland. Amor d'agua fresca is anything but dull--it's bubbly and sweet, with quite relaxed atmosphere. The combination of instruments--particular the guitar in the beginning and Dina's vocals-- really help with conveying a mood. But after that, we have the lustful lyrics, describing a romance through enjoying different fruits, which was quite different for me... But hey, different makes things quite a bit better in life! Personal ranking: 4th/23 Actual ranking: 17th/23 in Malmo

#243: Lucia -- Él (Spain 1982)

"Él me perdona porque es un pedazo de buen pan Y me trata con paciencia Sé que no debo ser cruel Que le debo confesar que él a mí, no me interesa" "He forgives me because he’s a scrap of good bread And he treats me with patience I know that I shouldn’t be cruel That I should tell him I’m not interested in him" One interesting thing about me is that I'm a sucker for tango music. There's a sense of drama when one listens to it, and even more so when people get on the dance floor. While I've only danced it a few times, when one does it right, the connection between two people is quite powerful, and you could fall right into a dream. El definitely amps up the drama--Lucia is in a conflicted relationship, but she plays the "player" role quite well. It's very flirty and seductive, and you could immerse yourself in the story. While the dancing was a bit too much for a stage as small as 1982's, it's still quite fun to see. Also, it was sent as a way of supporting Argentina in the Falkland Wars, which is quite interesting... Personal ranking: 4th/18 Actual ranking: 10th/18 in Harrogate

#242: Gabriela Gunčíková -- I Stand (Czech Republic 2016)

"I am thanking you, you made me You are my air, I’ll always care" For those who have an aversion to ballads, why is that? I find it annoying because there can be ones where they can touch you and tell a story. Life can't always be happy bops with heavy beats (or it's because they don't really inhabit my musical atmosphere most of the time...) I Stand sounds like a derivative ballad sonically, but it carries itself with such grace and grandeur. The instruments add to the drama of the song, which thanks a special person for their help in their life (though the lyrics above can come off as a bit co-dependent...or so I've heard) And Gabriela delivers this with the necessary composure and grace the song desires. It feels like a highlight track from a musical--one where two characters meet again and the narrator wants to recognize the latter's good deeds before they're gone forever. Thanks to that, the Czech Republic gets their first grand final appearance (though getting 0 televote points once there was harsh...) Personal ranking: 7th/42 Actual ranking: 25th/26 GF in Stockholm

#241: t.A.T.u -- Ne ver, ne boysia (Russia 2003)

“Кто-то понты а кто-то маньяк, Кто-то как ты, кто-то как я.” “Someone's a psycho and someone's a maniac, Someone like you, someone like me” If I’m right, I may have heard this song without knowing this was from Eurovision. It was because there was a period between middle school and high school where I love t.A.T.u’s music, and this was one of their singles. Ne Ver Ne Bosia is compelling and dark, with an interplay about the people around them using an old Soviet proverb as the title. It’s gripping and intense, and brings the listener into this crazy and mad world they're enveloped in. The performance, on the other hand, almost couldn't have been worse. The vocals were really ropey (especially from Lena, who would usually be trusted to help Yulia), and it didn't come over as a great listening experience. While I love it, t.A.T.u were really lucky they competed in the televote era, as they would've been struck down hard by the juries. (and the worst part: there will be a couple of poorly-performed entries which will be quite high on this list...) Personal ranking: 6th/26 Actual ranking: 3rd/26 in Riga

#esc 250 #esc top 250 #eurovision song contest #esc israel #esc italy #esc 2021 #esc serbia #esc portugal #esc greece #esc russia #esc czech republic #vintage eurovision #three minutes to eternity #esc ukraine

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swisscgny · 4 years

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MEET SONGWRITERS ALIZÉ OSWALD AND XAVIER MICHEL OF ALIOSE

Image: Aliose © Niels Ackermann-Lundi 13

The Eurovision Song Contest, scheduled to take place in Rotterdam in May, was cancelled for the first time in its sixty-four year history due to the spread of COVID-19. Switzerland hosted the first Eurovision Song Contest in 1956 in Lugano, and won with the song Refrain sung by Lys Assia, and again in 1988 with Celine Dion and the song Ne partez pas sans moi. This year, Switzerland would have been represented with the song Répondez-moi, performed by twenty-one year old Gjon Muharremaj aka Gjon’s Tears from Broc in the Canton of Fribourg, and co-written by Gjon, Alizé Oswald and Xavier Michel of Swiss duo Aliose and Belgian producer Jeroen Swinnen. We recently caught up with Aliose to learn more about their songwriting process and how the pandemic has affected their work.

For the first time in its history, the Eurovision Song Contest was cancelled due to COVID-19. What has been the most difficult experience for both of you over these past few weeks, and what has been the most inspiring and uplifting? We co-wrote the song which was meant to represent Switzerland at the Eurovision Song Contest this year, and it’s obviously a big disappointment for us not to see it staged. It’s so hard to find the right combination of voice, melody, and lyrics for the biggest songwriting competition in Europe. The song Répondez-moi was set to be among the favorites in the contest, which was amazing given that the song is in French. We received overwhelming feedback from all around the world. We are, of course, disappointed, but we have to go on, writing good songs for us and for other artists, and perhaps we will manage to write another magical song with Gjon for next year, who knows?!

All Aliose concerts have been cancelled since February, and will be at least until the end of August. It’s difficult to get compensation for that loss. But we are resilient and have resources to fight and overcome this crisis. As we tried to give some good vibes to the people during these months of confinement with music on the web, we received a lot of positive energy from the public. It helps us to look forward to the future.

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Could you tell us how the song Répondez-moi, co-written with singer Gjon Muharremaj aka Gjon’s Tears and producer Jeroen Swinnen, was born? Was it specifically written with the Eurovision Song Contest in mind? The Swiss cooperative society for composers, lyricists and music publishers SUISA organizes a songwriting camp every year. This year, we decided to ask Gjon to come with us. We didn’t know each other personally, but Xavier and I saw him in a music TV show in France and thought it could be nice to collaborate. We were matched with Belgian producer Jeroen Swinnen in that camp, and had one day to write and compose the song. The four of us wrote for Gjon with the goal in mind to create a great song for him and his incredible voice. We were not sure if he was going to enter the contest, but eventually he decided to participate. We thought that because the song was so perfect for him, it would also be perfect for the largest songwriting contest and live music event.

Image: Jeroen Swinnen, Xavier Michel, Alizé Oswald, Gjon Muharremaj © SUISA 2019

As performing songwriters, do you find the process of writing songs for other artists, rather than for your own duo project Aliose, easier or more difficult? It’s very different and so complementary. When we write for others, we have to try to be in their skin, which is very exciting and challenging! Each artist has his/her own style, language, and influences. We are as precise as we would be for ourselves, but we experience another kind of freedom when we write for others.

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What are you working on right now? We are currently working on our new album with a great team in Brussels from the band PUGGY. Due to COVID-19, the album’s release date is delayed. We also released our new single J’ai oublié on February 28, and are very happy with the reactions to the song, which is about our history and our memories. We can learn a lot from history, but sometimes it’s easier to forget. We hope that we won’t forget what just happened and that we will manage to live our lives with more awareness and respect for the environment. We have a beautiful animated lyric video of J’ai oublié that everyone can understand. We performed the song live at the “Fête de la Musique” on June 19 from Bercy in Paris on “prime time” in a major TV show seen throughout the whole Francophonie. Life begins anew!

Listen to Aliose’s curated SwissSounds playlist here.

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schneefusslanti · 7 years

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A Tale of Two Doctors

Another episode in the world of @fandomfishie‘s Eurovision Part of Town, which I had a lot of fun co-writing this with @emmadeforests over the past few months. As with other EPOT works, same rules follow: a) what happens on Tumblr stays on Tumblr, b) don’t show the artists, and c) the characters in the work do not reflect the artists in real life.

Iveta likes to think she manages just fine. Rather, that she and Sandhja manage just fine. The hospital works nicely with the two of them (and, of course, it worked nicely with Gianluca and Sandhja when Iveta was called into court). The last thing she wants - or needs - is an orthopedic specialist. And definitely the last thing she wants is an orthopedic specialist who’s friends with Samra.

Dihaj was one of the earlier arrivals into town this season, and it was common knowledge that she had been bunking with Samra until she found a real job. Iveta had hoped and hoped that Dihaj wouldn’t be assigned anywhere near her - she certainly didn’t want anyone else bugging her about the stupid property dispute, it was HERS, dammit - but sadly here she was, glaring at the piece of paper notifying her about Dihaj’s new position.

At least they’d be on opposite ends of the hospital. Nothing would happen. Right?

After weeks of paperwork and hanging around Samra’s Miracles and Curiosities store, Dihaj’s position had finally transferred over from the Milli Secim Turu Part of Town to the Eurovision Part of Town. She’d heard all about the lab from Samra, about how Specialty Pharmacy drugs were allegedly stashed next to the a pile of lavash in the same closet (Iveta denied this), about how weird chemicals came out of the fume hood vent. But Iveta was still a doctor, and anyone who went through the hell of med school automatically earned at least some respect, property dispute or no property dispute.

As she moved into her office she noticed the of paperwork on her desk. Most of it was pretty normal: welcome letter, staff directory, other contacts in the EPOT…and an official-looking letter from the court.

To: Iveta Mukuchyan, Samra Rahimli From: District Court of the Eurovision Part of Town CC: Diana Hajiyeva Subject: Laboratory Property Dispute

The District Court of the Eurovision Part of Town will no longer settle future disputes relating to the possession of the laboratory bunker. All future conflict relating to must be settled out of court; our staff will disregard any cases between involved parties.

Iveta had received the same printout on her desk that morning. She doesn’t understand what the court is trying to say - did Ela think that Dihaj is going to start something? Or is this some kind of preventative measure, to pressure them away from coming into direct conflict? Either way, Iveta doesn’t want to bring the new employee into this. It would just end badly for Iveta - does she want to make any more enemies in this town? No.

Despite the tension everything seemed pretty normal after the first day. Iveta would make rounds on her side of the hospital, while Dihaj made rounds on her side. The two would occasionally meet up by the coffee maker, though the most they would say was “hello,” “how are you”, and “fine, thank you.” Maybe the occasional “Excuse me” or “Pass me a spoon” but nothing else. That is, until Dihaj’s phone rang one day. And of course it had to be about the bunker.

“Look, I don’t know what it is, but whatever it is it smells weird and I don’t think the lucky bamboo plants are lucky anymore,” complained Samra over the phone. “And I’m pretty sure it’s not something from Nina’s place.”

Armed with a coffee spoon and an ice pack in her coat pocket, Dihaj made sure to hide all the coffee stirrers in her office before Iveta arrived. She looked around and put the ice pack back in her pocket, leaving the spoon on the counter next to the coffee maker. A few minutes later Iveta walked towards the counter, coffee mug in hand. Dihaj watched from outside the break room, seeing Iveta pour coffee, add sugar, add cream. She smiled quietly as Iveta picked up the spoon to stir her drink and walked back to her office, knowing that her fellow colleague had picked up a gallium spoon. With a melting point of 30 degrees C, that spoon would settle as a layer of liquid metal at the bottom of Iveta’s coffee in about five seconds.

Iveta looked down at her coffee. Blinked. Looked again.

There was no spoon.

She could have sworn…

But it wasn’t until two minutes later, when Iveta tripped and her coffee sloshed out of her mug, that she noticed. The spoon… was now a puddle of melty metal sludge at the bottom of her cup.

Only one person could have done this.

Dihaj.

Well, naturally, she had to retaliate. So she made stops at Gabriela’s craft store and Slavko’s costume shop on her way home. Mardi Gras beads, feather boas, plastic flowers, even a horse head (she really did not want to know why Slavko had that). And she came into work an hour and a half early the next day. Couldn’t hurt to have a cushion of extra time, right?

While Iveta was still in the break room realizing her coffee wasn’t drinkable, Dihaj went back to setting up her office on the other side of the hospital. All the technical stuff was done; the only thing left were the skeleton models she’d waited ages for to ship from her old hospital. One was used for patient education in the ortho department; another sometimes wore her backup white coat and was great for hanging stethoscopes on. The others, when not stashed in the closet,made her office Halloween every day. This time she positioned one on a step ladder and another next to the computer. Except the next day she couldn’t believe what happened…

Education Skeleton looked okay; thank goodness nothing happened to it. Step Ladder Skeleton appeared to be fine as well; it was still in its original position, except a horse head now sat on top of its shoulders. Computer Skeleton was still next to a computer, except it wasn’t next to Dihaj’s office desktop. Instead it was tied to Sandhja’s rolling laptop stand in the hallway with a feather boa, wire flowers tangled in and out of its ribcage. White Coat Skeleton looked all right sitting on a box in the corner, but given that the coat was a size or two too large and dragged at its feet, Dihaj was sure Iveta had prepared a surprise.

For starters, Iveta had unscrewed the legs. Okay, legs falling off wasn’t too bad; it happened all the time with Dihaj moving the skeletons every few days. But really? She couldn’t believe Iveta would go all the way to find taraz from the Depi Evratasil Part of Town that managed to fit. And the box? Dihaj rolled her eyes as she saw the disgusting combination of banana on tomato sauce before finally reading the note on the inside of the box.

You might want to check out Horse Head. Heard the school needed to borrow Yorick for the day to play Hamlet.

Iveta smirked as Dihaj came storming out of her office.

“You… you… what did you do to my skeletons??” The other doctor exploded.

Iveta remained calm and continued moving her stethoscope over Salvador’s chest. “As you can see, Diana, I am with a patient. Can we continue this conversation later?” She gave Dihaj a saccharine smile and proceeded to pay her no more attention.

Dihaj returned to the corner to check under the horse head, cursing herself for ordering a skeleton with a detachable skull. Of course it was gone…

Once she’d made a few phone calls to the school confirming the situation and then to Carola for a follow-up exam after getting blown into town again, she headed to Gabriela’s craft store for some glitter. Turned out to be more of a hassle than she expected, because someone at the pharmacy decided on making fake medication a while ago. Or maybe it wasn’t, because it meant she didn’t have to get any evidence on her shirt. Once that was done she shoved the glitter into an envelope with a few pizza coupons and thank you note for the very interesting banana pizza, double sealed it, and dropped it in the hospital mailbox. Plan and simple.

Hmm. Mail. Not a lot of that in the Eurovision Part Of Town, where most communication is either in-person or via Twitter. But maybe, Iveta thinks, it could be from one of her supervisees in the Depi Evratesil Part Of Town. She always thought Hasmik seemed the type to send on-paper notes.

She opens it and is met with a blast of red, blue, and green glitter. Iveta blows some out of her mouth, wipes her eyes, and reads the note. Banana pizza. That was a nice touch on her part, she thinks. She stormed out of the hospital, irate (and prompting several reactions from a couple of patients, not to mention the shock she incurred in poor Ilinca at the reference desk. Poor girl spilled her entire coffee and had to get another one.), and headed to Svala’s office supplies store. This prank would be her most time-consuming yet. She prayed that Svala had Post-Its in the right colors.

Dihaj walked into the hospital, smile disappearing once she smelled the scent of pentyl butyrate in the orthopedics department. Cherries? No. Apricots. Maybe it would have been nice had whoever sprayed it not used multiple cans, especially not while concentrated in in her office, which was…now decked from ceiling to floor in red, blue, and orange Post-its. Including her desktop. Well at least Yorick was back from the school? But even the skull was covered in red, blue, and orange. Without even checking the ground for traces of glitter, she figured the only person who would do this was her fellow colleague.

The apricot air freshener was way overpowering. There was no way she could stay inside without a gas mask. So much for the town’s recently acquired motto of Love Love Peace Peace; this prank war had already crossed the line of “do no harm” into the danger zone. Looks like it was time for the carpet-based treatment to Wipe. Out. Everything.

With the town directory in one hand and her phone in the other, she set up camp in an empty patient room, ready to set up one of the hardest pranks in the book. Her preceptor had warned her about other doctors doing this but she’d only seen it once on TV, and it…didn’t work very well that time.

Step one: Get a willing patient Given that Dihaj was still new to the Eurovision Part of Town she wasn’t taking any risks on figuring out who was on Samra’s side or Iveta’s side, so she searched the directory for people from the MST Part of Town. Elnur? Nah, the strip club was too unpredictable. Or Arash? He hung out in the Melodifestivalen Part of Town a lot more than the EPOT. Oh, wait…Ell’s listed number was the one that got hacked and/or disconnected and changed into the prank call line a while ago before he got a new phone. Of course Samra wasn’t going to do it, since she was still holding up the store and checking for weird stuff coming from the lab. Eventually she decided on Dilara at the fire department. Hopefully the Baltic Boys weren’t shooting off too many fireworks at the casino in the next week…

Step two: Have said patient appear dead Phone call with Dilara: check. Dilara agreeing to participate: check. Maybe some fake paperwork might be needed but that shouldn’t take more than five minutes. The issue was that Dilara was clearly alive, and what Dihaj needed was someone looking a bit more dead. Thank goodness for stage makeup and cosplay tutorials on YouTube, but that wasn’t going to be enough. Her patient would have to appear like she was hooked up to the EKG, but disconnected just enough to read a flat line. And hopefully her colleague wouldn’t mess up anything.

Step three: Get fellow colleague to take the “dead” patient to the morgue Ahh yes. The morgue. Also known as the one room in the hospital basement with extra air conditioning that’s technically used as an extra storage room. Due to some weird rule from outside the EPOT the hospital was required to have a morgue despite no one dying in town. There was even paperwork on the wall claiming that the place was run by a guy named Knez, who was as present in town as Monika Kuszynska’s nonexistent neighbor. But now with someone “dying", the place would actually have to be used as intended. With all the extra supplies she might even be able to pull off something even more epic than what her preceptor had mentioned.

Once the air in her office had cleared out, she opened a fresh box of chalk and started planning. Something epic, a work or art. Like that one OK Go video that YouTube had suggested. What about ending with a bucket of surgical lube falling on Iveta? But how would it work? Dihaj took another look at the supplies in the morgue: EKG wires, extension cords, oxygen tanks, glue, saline bags, coffee (expired), cleaning supplies (also expired, why was it still here anyway?), flypaper? Nice. Maybe a few more supplies borrowed from Samra? And how to start it? Maybe a remote control signal or something, which Dilara could hide under the covers. A few days of planning, check. Supplies safely hidden downstairs? Check. And now to set up this mess.

If all went as planned, Iveta would roll Dilara’s bed downstairs and park it in the right location. Once in the spot Dilara would hit her remote control and turn on the air on full blast which would hopefully (fingers crossed!) get the ball rolling to hit the rope, switch on the lighter to ignite a candle, slowly burning the rope holding up the bucket of lube hanging above Iveta, with maybe a few extra tricks just for the heck of it. Just to guarantee everything worked out, she lined the area with some flypaper just to make sure her colleague would stay in the right place and attached a camera in the corner.

And then the day had come. .

Iveta knew the morgue as just… one of those empty, abandoned places in the Eurovision Part Of Town. This Knez guy, if he had ever even existed, had been before her time, so she’d never seen the building in use.

As far as this prank war with Dihaj had gotten, Iveta didn’t think she would trivialize something as a patient dying. So when Dilara was rushed in, covered in soot and hooked up to a dead EKG, Iveta took it seriously, and accepted the responsibility of taking Dilara’s body to the morgue.

In retrospect, something in Iveta knew that something was probably up. Something made her check the body.

Warm.

Well, she had been burned, but…

Hmm.

Despite all the preparation and research for this prank, for every step involved there were at least two ways for it to go wrong. What if Iveta decided not to bring Dilara downstairs? Or if the remote control didn’t work? Or even worse, what if the entire setup fell apart before Iveta and Dilara made it downstairs? To Dihaj’s relief, she saw Iveta at the other end of the hallway, pushing a bed into the elevator. She ran down the stairs to the basement, half-concerned that Dilara had fallen asleep under the sheets but half-relieved that Iveta wouldn’t see her not-actually-dead patient trying not to blink.

Iveta tread more carefully. She walked into the morgue and it suddenly became freezing. Well, it was obviously a morgue, but… that wouldn’t do. She quickly walked over to the thermostat and turned it back up again. Much better. She disconnected the EKG - no need for it now, anyways - and went into the next room to get some supplies.

Everything appeared fine until she hears something crash.

Initially Dihaj smiled as she watched from outside the morgue. With Iveta in the other room, Dilara raised a thumbs up, confirming that the initial stage of the rig worked, freeing up the next step. They watched as the weights swing down the line to click open the lighter, and the second line to–wait a second.

Starting the moment the line hit the flame, there was a 30-second window to prevent the bucket from falling.

Dihaj ran towards the bed, pushing Dilara out of the way making sure her patient was safe from all the damage and then running back to scan for anything else. Oh wait…

The line had broken.

She might have been wearing slip-proof shoes, but they wouldn’t have been any use against the dull thud as the bucket hit her head.

“What is going on-”

Iveta ran back into the room to see a perfectly alive Dilara and a knocked-out Dihaj laying in a slowly-growing puddle of surgical lube. She really should have known… it was just too convenient. She took a step forward but tripped on the pottery shards and cut her arm open. Iveta glared at Dihaj, at Dilara, at the mess, all the while cursing Samra under her breath.

In the end, Dilara’s the one who called the hospital - rather pointless, as the two doctors were the ones incapacitated.

“And this,” commented Judge Ela dryly as she pressed stop on Dihaj’s recording of the morgue prank, “is why we’re not taking any more cases regarding the lab property dispute. I’m not even going to do anything else; I’m pretty sure this should be enough for you two.”

Iveta and Dihaj glared at each other from their hospital beds. At Ela’s request, Sandhja had put the two doctors (for now, patients) in the same room for treatment and called in Gianluca for the day.

When they returned to their offices the day after, they both noticed the note from the court sitting on their desks:

To: Iveta Mukuchyan, Diana Hajiyeva From: District Court of the Eurovision Part of Town CC: Samra Rahimli Subject: Laboratory Property Dispute

As previously noted the District Court of the Eurovision Part of Town (EPOT) will no longer settle future disputes relating possession of the laboratory bunker. Due to recent events related to the dispute in Municipal Hospital, this is a reminder that the ongoing dispute has gone too far. It is also noted that due to said events the morgue still needs cleaning up. Gloves and slip-proof shoes are highly recommended.

#the eurovision part of town #eurovision rpf #this was a lot of fun #the lab property dispute moves to the hospital #oh wow that's a lot of references to the rest of the epot

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