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3360	dbpedia	3	0	https://encyclopedia.1914-1918-online.net/article/demobilization/	en	Demobilization	https://encyclopedia.191…ory_1920_IMG.png	https://encyclopedia.191…ory_1920_IMG.png	[ "https://encyclopedia.1914-1918-online.net/wp-content/themes/encyclopedia19141918/assets/img/1418-logo.png", "https://encyclopedia.1914-1918-online.net/wp-content/uploads/2024/07/eo/Colonial_Territory_1920_IMG.png", "https://encyclopedia.1914-1918-online.net/wp-content/uploads/2024/07/eo/Disabled_veteran_IMG-scaled.jpg", "https://encyclopedia.1914-1918-online.net/wp-content/uploads/2024/07/eo/Facts_of_interest_to_the_disabled_soldier_or_sailor_IMG.jpg", "https://encyclopedia.1914-1918-online.net/wp-content/uploads/2024/07/eo/German_soldiers_queuing_for_discharge_certificates_IMG.jpg", "https://encyclopedia.1914-1918-online.net/wp-content/uploads/2024/07/eo/Post-war_soldiers_IMG.jpg", "https://encyclopedia.1914-1918-online.net/wp-content/uploads/2024/07/eo/Released_IMG.jpg", "https://encyclopedia.1914-1918-online.net/wp-content/uploads/2024/07/eo/Turn_und_Sportwoche_im_Lustgarten_IMG.jpg", "https://encyclopedia.1914-1918-online.net/wp-content/uploads/2024/07/eo/French_troops_Dortmund_IMG.jpg", "https://encyclopedia.1914-1918-online.net/wp-content/uploads/2024/07/eo/Danubian_Territory_map_IMG.jpg", "https://encyclopedia.1914-1918-online.net/wp-content/uploads/2024/07/eo/Trianon_signing_IMG.jpg", "https://encyclopedia.1914-1918-online.net/wp-content/uploads/2024/07/eo/Big_Four_IMG.jpg", "https://encyclopedia.1914-1918-online.net/wp-content/uploads/2024/07/eo/Italian-Economy_IMG.jpg", "https://encyclopedia.1914-1918-online.net/wp-content/uploads/2024/07/eo/Black_and_Tans_IMG.PNG", "https://encyclopedia.1914-1918-online.net/wp-content/uploads/2024/07/eo/Tan_duty_IMG.png", "https://encyclopedia.1914-1918-online.net/wp-content/themes/encyclopedia19141918/apps/templates/article/<a%20href='https://live.staticflickr.com/3810/9254841108_7d4f304225_z.jpg'%20rel='nofollow'%20target='_blank'>https://live.staticflickr.com/3810/9254841108_7d4f304225_z.jpg</a>", "https://encyclopedia.1914-1918-online.net/wp-content/uploads/2024/07/eo/Joking_tans_IMG.jpg", "https://encyclopedia.1914-1918-online.net/wp-content/uploads/2024/07/eo/Hospital_ship_IMG.jpg", "https://encyclopedia.1914-1918-online.net/wp-content/uploads/2024/07/eo/Womens_Royal_Air_Force_Cologne_IMG.jpg", "https://encyclopedia.1914-1918-online.net/wp-content/uploads/2024/07/eo/Horses_Cologne_IMG.jpg", "https://encyclopedia.1914-1918-online.net/wp-content/themes/encyclopedia19141918/assets/img/worldcat-color-60px.png", "https://encyclopedia.1914-1918-online.net/wp-content/themes/encyclopedia19141918/assets/img/worldcat-color-60px.png", "https://encyclopedia.1914-1918-online.net/wp-content/themes/encyclopedia19141918/assets/img/worldcat-color-60px.png", "https://encyclopedia.1914-1918-online.net/wp-content/themes/encyclopedia19141918/apps/templates/article/../../../assets/img/1914-1918%20online_Logo_RGB_lang.png", "https://encyclopedia.1914-1918-online.net/wp-content/themes/encyclopedia19141918/assets/oes/images/partners/fu-logo-240606-RGB-p.png", "https://encyclopedia.1914-1918-online.net/wp-content/themes/encyclopedia19141918/assets/oes/images/partners/bsb_logo_claim_gr_72dpi.jpg", "https://encyclopedia.1914-1918-online.net/wp-content/themes/encyclopedia19141918/assets/oes/images/partners/dfg_logo_blau-crop.gif" ]	[]	[]	[ "" ]	null	[]	2024-07-02T21:37:59+00:00	The end of fighting in 1918 raised hopes for swift and equitable military demobilization amongst soldiers and civilians. The timing and nature of demobilization varied greatly, though, due to practical constraints. Colonial soldiers came last in this waiting game. Wars after the war remobilized others. Demobilization – a massive logistical process – had social, economic, and cultural dimensions. The crystallization of myths within “cultures of defeat” perpetuated wartime enmity or recast it as hatred of the treacherous “enemy within”. The 1920s, in contrast, also saw the gradual emergence of cultural demobilization and internationalism as alternative validations of wartime sacrifice and the weight of mourning.	en	/wp-content/themes/encyclopedia19141918/assets/img/favicon.ico	1914-1918-Online (WW1) Encyclopedia	https://encyclopedia.1914-1918-online.net/article/demobilization/	By Gearóid Barry The end of fighting in 1918 raised hopes for swift and equitable military demobilization amongst soldiers and civilians. The timing and nature of demobilization varied greatly, though, due to practical constraints. Colonial soldiers came last in this waiting game. Wars after the war remobilized others. Demobilization – a massive logistical process – had social, economic, and cultural dimensions. The crystallization of myths within “cultures of defeat” perpetuated wartime enmity or recast it as hatred of the treacherous “enemy within”. The 1920s, in contrast, also saw the gradual emergence of cultural demobilization and internationalism as alternative validations of wartime sacrifice and the weight of mourning. Introduction The process of demobilization, of converting armies, societies, and nations, from a war footing to peacetime conditions, was a massive undertaking that concerned all countries that had engaged in the First World War, be they victors, vanquished, or the successor states of empires that ceased to exist as a result of the First World War. Military demobilization was itself a complex logistical task and politicized process, balancing security with the semblance of fairness in the context of an armistice in November 1918. The end of fighting remained provisional until the signature of peace treaties. This article considers demobilization in its various guises – military, social, economic, political, and cultural – and shows how contrasting contemporary priorities influenced the various forms it took. Providing an overarching interpretative framework, part 2 offers a multidimensional definition of demobilization, including how welfare policies, provision for disability, and veterans’ movements were constitutive of demobilization and of the reorientation of national life towards the post-war era in the decade that followed 1918. It also elucidates some of the commonalities and differences in the demobilization process for different belligerents and in different parts of the world. Parts 3 and 4 survey the practical realities of military demobilization for the war’s defeated and victorious sides respectively. This transversal approach, drawing on a country-by-country analysis, places military demobilization firmly in the context of the social and economic demobilizations that ran in parallel to it. An intrinsic element of demobilization in the years 1918-20 considered in this section was the simultaneous crystallization of politically-charged myths which, even if not universally shared within these nations, reflected how many returnees from war rationalized the dislocation of defeat or their frustration at an apparently hollow or dishonoured victory. Demobilization, meanwhile, was an even more ambiguous phenomenon in the “shatterzones” of European land empires where borders were in flux and “wars after the war” beckoned. Part 5 considers how applicable demobilization is as a description in these new nations, citing some suggestive cases from central and eastern Europe. The global impact of demobilization on Europe’s overseas empires is covered in part 6. Parts 5 and 6, taken together, complement the previous focus on major European states and the USA. The seventh and final part broadens the timeframe to consider the much slower process of cultural demobilization primarily through the prism of the personal itineraries of Marc Sangnier (1873-1950) and Vera Brittain (1893-1970) setting hopes for a peaceful future, which were often bound up with the new League of Nations, in the context of the 1920s. The Multiple Definitions of Demobilization and its Chronology In his analysis of the immediate aftermath of the war, Bruno Cabanes considers that “1919 constitutes at most a step – but only a step – in what historians now call the transition from war to peace, in French la sortie de guerre [exit from war]”. Alongside the major peace treaties and victory parades in home capitals like Paris, this transition period was also marked by waiting, grieving, and disillusionment. Referring to the impact on daily life of the state’s special powers, such as rationing and continued military service, Adam Seipp reminds us that the apparatus of mobilization did not end with the war; it had to be dismantled over time…the machinery that sustained the war effort played a role in the lives of ordinary Europeans for a long time to come. The chronology of demobilization is indeed variable not least as different armies allowed men go home at different speeds with knock-on effects for social and economic demobilizations. However, it is cultural demobilization – the process of unplugging men and women from the violence of war – that would in some way prove the most challenging aspect. In most cases, the war’s end acted as the high-water mark of a “war culture” based on violent hatred of the enemy. In 1920, grief was such that ideas of rehumanizing the enemy had to lie in the future, as we shall see in part 7. The most tangible and immediate manifestation of the end of wartime was military demobilization. This was not a politically neutral technocratic exercise: even though basic logistical considerations weighed on authorities’ choices, it was also a process fraught with competing priorities and political, economic and social imperatives. The process of military demobilization took different forms in different national or imperial contexts. More detailed national cases are examined in parts 4 and 5. Some general considerations apply across the board however. Firstly, governments were not always neatly in charge: retreating armies began to disaggregate in the last stages of the war when men saw defeat as imminent. In the cases of the Russian Empire in 1917-18 and the Central Powers in 1918, soldiers themselves were the drastic agents in their own demobilization as demobilization plans were often superseded by events on the ground. State authority fell apart in dynastic empires like Austria-Hungary, blurring further the lines of legitimate authority that might supervise demobilization. Where governments were in charge, several possibilities lay open. The French and Italian armies, for example, were demobilized by age, with length of service acting as principal determinants of how quickly a worker, peasant, or bourgeois was reunited with his family. In the British case, initially at least, labour market needs took priority in the order of release of soldiers. The US army, facing the added challenge of transatlantic transportation, released men by army unit thereby prioritizing the army’s need for coherence. In most armies, demobilization included a series of bureaucratic steps before, during, and after the transportation of men (on overcrowded trains) to clearing centres, closer to or most likely in the home country. This required quite literally re-clothing the male body with a new modest suit of clothes (save where these were rejected as too ungainly). Colonial troops of the Entente empires were made to wait longer. Everywhere, men grumbled at repetitive and delaying checks as well as at what they considered meagre demobilization allowances. Festive rituals accompanied the official return home. In the home, families tiptoed around returning husbands and fathers unsure if the war had changed them or if they were just as kind (or unkind) as before. In the moral economy of demobilization, returning soldiers were given guarantees, officially at least, that they would not be economically disadvantaged by their service to the nation, a promise that had implications for women who had taken up traditionally male employment during the war. “Decontrol” of the economy – the relaxation of a wartime command economy – was the order of the day for liberal capitalist nations even if demobilization engendered an expansion of the welfare policies that had already begun in wartime. From unemployment to disability, Pierluigi Pironti writes, “mass society held the state responsible for the social question and the accomplishment of extensive social reforms.” From France to Poland to Portugal, securing the eight hour day was emblematic of such reform in 1918-19. Soviets aside, the major European combatant powers underwent processes of economic demobilization along capitalist lines, reversing some of the wartime erosion of the distinction between private and public economies. The United States, as the exemplary capitalist economy, experienced an abrupt economic transition in 1919 in which labour radicalism was crushed. For Germany, Gerald Feldman argues that decontrol meant opting consistently for free market economics: the Arbeitsgemeinschaft or “working partnership” model of the nascent German Republic set up a corporatist arrangement where business and organized labour cut deals in order to stabilize the capitalist system. Charles S. Maier argues that that conservative elites actually recast bourgeois Europe in the period 1919-1924, conceding just enough to organized labour to ensure its acquiescence. More recently, Adam Tooze has referred to the demobilization period as a “great deflation.” Britain and France followed the lead of the United States, their major creditor, by following a deflationary wave, cutting expenditure as much as was politically feasible in order to balance budgets. The experience was particularly drastic in Great Britain whose economy slumped in 1921: the Lloyd George government jettisoned more costly parts of its “homes fit for heroes” programme leaving voters feeling cheated. This strict retrenchment was the main driver of the restoration of a type of bourgeois economic order in 1920s Europe. Equally, beginning the decade-long reconstruction process in French and Belgian sectors of the Western Front in 1919-20 – a period of clearing and assessing damage – was integral to demobilization. Whilst financial orthodoxy reigned supreme, economic demobilization still had to reflect the shared sacrifices of wartime so that expanded welfare programmes became integral to demobilization as a social project: the rapidly-emerging veterans’ movements demanded no less. Veterans were, in the words of French Prime Minister Aristide Briand () in 1921, “the first creditors of the nation.” With advocates like wounded veteran and lawyer René Cassin (1887-1976) and the Union Fédérale des mutilés (UF), amongst other organizations, French veterans won the “right to reparation” (“droit à réparation”) in a pensions law passed by parliament on 31 March 1919. Two purpose-designed agencies (Offices), established in 1916-17, for the care of war wounded and dependent children, co-opted recipients – veterans themselves – into state administration of its programmes. This system of rights was particularly French but the nexus between the warfare state and the welfare state was a common transnational feature of the demobilization process. Indeed, the new International Labour Organization, established in 1919, explicitly linked social justice and lasting peace. The rehabilitation of war-related disability was a particularly sensitive issue: here were citizens whose bodies (or, in some cases, whose minds) could never fully demobilize. In the German case, the war disabled felt obliged to embarrass governments into giving them more help in achieving dignity. 2.7 million Germans had been left with some sort of permanent disability by the end of the war. The biggest new group representing German veterans was the socialist-oriented Reichsbund des Kriegsbeschädigten und ehemaligen Kriegsteilnehmer (RKK) [Reichsbund for War Wounded and Former War Combattants] founded in 1917. In December 1918 it brought Berliners face to face with the human costs of war by staging a rally of 10,000 disabled veterans and calling for better pensions which they wanted to be financed by means of taxes on war profits. Though Italy had led the way by establishing an agency for war disabled relief in 1917, it also experienced a considerable amount of left-wing veterans’ protest during demobilization with sit-ins in public buildings by disabled soldiers. Deborah Cohen’s comparative study of German and British war disabled welfare shows how the Weimar Republic conducted a much more interventionist welfare policy, in part as a legitimizing project for the new regime. However, German disabled veterans were collectively much more critical of government provision whereas the charitable model at work in Britain acted as a buffer against robust criticism of considerable state neglect. Nor were soldiers the only group who desired to return home and get their due. Soldiers in captivity as prisoners of war (POWs) also hoped to do so. Those in German captivity benefitted from armistice terms which provided for their rapid release, prompting another rush to transport large amounts of men home, in some cases through Switzerland. German POWs sometimes waited for years to get home. Refugees and displaced people were also on the move in 1919, some never seeing home. Finally, civilian internees ceased to be “enemy aliens” but waited patiently for release. On Malta, for instance, at the British-run St. Clement’s Camp for Ottoman civilian internees, the slow process of repatriation dragged on into the early 1920s lengthening family separation to up to six years in cases. The early stages of demobilization – 1918-19, in particular – coincided with waves of public apprehension on numerous fronts over and above those previously stated. The most lethal of these challenges was the global influenza pandemic commonly referred to as the Spanish Flu. At the same time, for conservatives, another virus – Communism, as inspired by the ongoing Russian Revolution – was on the march. The French parliamentary elections of November 1919 featured a lurid anti-Communist campaign that helped to elect a centre-right Bloc National majority. Xenophobia directed at black residents informed riots in British port cities in mid-1919. The USA experienced both an anti-Communist “red scare” in 1919 but also a “Red Summer” that year when race riots swept northern cities as part of a backlash against the Great Migration of African Americans northwards, where wartime employment opportunities beckoned. Worldwide dislocation existed alongside exaltation: on the broad left, and beyond, the establishment of the new League of Nations at Geneva in 1920 held the promise of making demobilization into a prelude to permanent peace. Demobilization Amongst the Defeated Powers Germany In Germany, as in other defeated powers, the process of demobilization involved most tangibly the return “home” of combatants. This coincided with (an initially bloodless) political revolution in a pattern that had parallels elsewhere amongst the Central Powers. When the armistice came into effect on 11 November 1918, it fell to the German authorities to supervise, in Richard Bessel’s words, the “demobilization of an army which had largely disintegrated.” About 1 million men had walked home in autumn 1918. For the 6 million Germans who remained under arms by early November, the armistice agreement itself accelerated the pace of demobilization in such a manner as to maximize the advantage of the Allied and Associated Powers over Germany in advance of a peace settlement. Though the official order to demobilize was not issued until 13 December 1918, Germany demobilized its army within four months of the Armistice. By mid-January all Western Front soldiers were back within the borders of Germany while the return of men from the Eastern Front took longer owing to transport problems. The men were officially demobbed by age once they reached home garrisons even if the reality was somewhat more haphazard. Unsurprisingly, thousands of weapons went missing, boding ill for the peace of the home front. With official encouragement, towns and villages decorated railway stations and streets with garlands to celebrate the return to the Heimat of an allegedly undefeated army. This fiction of being undefeated was cultivated by the military and famously repeated by Friedrich Ebert (1871-1925), the moderate socialist head of the transitional government, when he welcomed returning German troops at Berlin’s Brandenburg Gate on 10 December 1918. The self-deception, intended by Ebert to salve the wounds of defeat and to co-opt soldiers’ support for the new republic, had toxic after-effects as it lent credence to the counter-revolutionary myth of the “stab in the back” by strikers on the home front. Meanwhile, economic realities rapidly intruded on Germans’ festive reunions. On 19 November, Joseph Koeth (1870-1936), the former War Materials Ministry official promoted to head a new Reich Bureau for Economic Demobilization issued a message to returning soldiers pleading with them to have realistic expectations about the availability of provisions when they got home. Persisting in regional guises up until 1922, the apparatus of economic demobilization in Germany made a virtue of “wriggling through”, mollifying key interest groups and thus averting social revolution. Remarkably, while Germany had to find employment for some 6 million soldiers and the 3 million employed in armaments production, a total economic disaster was averted in the short term by means of pragmatic co-operation locally and nationally between labour, business, and the state. The Stinnes-Legien agreement of 15 November 1918, a pragmatic deal between industrialists and the major trade unions, was an element of this. Unemployment spiked briefly before falling. The process of capitalist restoration and “decontrol” came at the price of conceding a key labour demand – the eight hour day, also achieved in France – and the exclusion of women workers. Peace was bought by the government, however, at the price of funding production at any cost, which contributed to the worsening deficit in German state finances. A series of left-wing revolts marked the 1918-19 period in Germany and, when coupled with persistent misinformation from the generals and the dashing of unrealistic expectations about the peace settlement in May 1919, all these factors combined to crystallize a [“stab-in-the-back legend”] amongst a large body of German nationalist opinion. Freikorps, originally often formed out of defunct imperial units in November 1918, rose to prominence as bands of irregular soldiers, made up both of veterans and of angry younger men. Repressing left-wing violence in 1919 whilst also engaging in “small wars” on Germany’s eastern frontiers, these “non-demobilized” veterans – whose importance dwindled from March 1920 once state toleration of them ended – acted as vectors of hatred of the “enemy within”. Austria-Hungary The exodus of uncaptured Austro-Hungarian imperial soldiers north from the Italian front after an armistice took effect there on 4 November 1918 was chaotic rather than an orderly official demobilization. The dramatic collapse of state power in October and early November 1918 saw the Dual Monarchy dissolved into new states reflecting its variety of national groups. The Empire’s Imperial and Royal Army (k.u.k. Armee) had been composed, since 1867, of a common army along with the separate Austrian Landwehr, Hungarian Honvéd and the common imperial navy (k.u.k. Kriegsmarine). These now fractured along national lines. A crucial moment arrived when, on 24 October, Hungarian leaders appealed to Honvéd soldiers to lay down their arms and return home, effectively ending the army as a common institution of the empire. On 31 October, Charles I, Emperor of Austria (1887-1922) admitted his powerlessness by permitting all former imperial officers to accept employment from emerging nation states. Self-demobilization was the logical corollary of this turn of events. Even before the signature of the armistice with the Italians, many units of the diminished imperial army were in open revolt. Up to 400,000 fleeing imperial troops were taken prisoner in the last hours of the Italian offensive at Vittorio Veneto; 30,000 of these never saw home, dying in captivity in harsh Italian-run camps. Train transport had an anarchic air as overcrowding made for lethal accidents on the railways. Supply stores were looted while men waited. The remnant armies ran a large number of trains – taking back some 1.6 million men by mid-November even if another 460,000 Austrian troops simply walked home. Their welfare and allowances, and those of their dependents, immediately became the responsibility of the new nation-states they returned to. By 1920, food shortages, especially in Vienna, were the most dramatic expression of the economic dislocation of demobilization in the core of the former empire. International aid through the new League of Nations would help stabilize the new Austrian Republic by 1923. Germany, Austria, and Hungary also shared a common transnational experience of paramilitary units, bent on counter-revolution through the use of redemptive violence against perceived political enemies. However, the official Austrian military history of the war did not subscribe to a Dolchstoß myth, stressing instead the tragic nobility of a doomed army in a doomed empire. Besides, the ethnic groups most resented by Austrian loyalists for alleged treachery – such as the Czechs – were gone from the national polity due to the empire’s collapse. For Austrian veterans of a German-national persuasion, the alleged culprits in internal subversion were the striking workers of “red Vienna” and Austria’s Jewish population. The Soviet Hungarian Republic of March to August 1919, meanwhile, divided Hungarians into warring Reds and Whites. The reactionary National Army under Admiral Miklós Horthy (1868-1957), which ousted the Communists, scapegoated and executed Jews. The Treaty of Trianon, signed in June 1920, reduced Hungary to about one-third of its pre-war territory and only about one-quarter of its previous population. In consequence, Hungarian nationalist grievances (common to both right and left) were projected outwards towards Romania and Czechoslovakia, and the fate of their Hungarian nationals living there, leaving little room for political or cultural demobilization. Demobilization amongst the Entente Nations Great Britain The Armistice of 11 November 1918 gave Britons a moment of public jubilation, yet the first stage of demobilization at the end of 1918 – devised by the Secretary for War, Lord Alfred Milner (1854-1925) – had to be rapidly revised such was the public frustration with it. By putting industry’s needs first, Milner’s scheme prioritized some of the men who, by economic necessity, had been amongst the last to be called up. Disturbances within the British army camps at Calais and Folkestone, as well as a major demonstration drawing a crowd of 3,000 in London, ensued. After the first post-war election in December 1918, Winston S. Churchill (1874-1965) became the new Secretary for War in January 1919. Churchill reversed course and implemented a more acceptable demobilization scheme which factored in, most of all, length of service and number of wounds sustained. British forces shrank from about 3.8 million at the Armistice to around 900,000 in late 1919 and down to 230,000 by 1922. Britain enjoyed a brief period of economic buoyancy after the Armistice. Decanting so many men into the labour market increased unemployment markedly, from just 1 percent of the labour force in May 1920 to 23 percent by May 1921. Part of the social dividend of demobilization, therefore, had to be a considerable expansion of benefits for the unemployed such as “out of work donations” for soldiers and civilians. Women workers, so prized in wartime, fared less well: by May 1919, they made up around three-quarters of the unemployed. Demobilization also occasioned anxieties that the war had “brutalized” British society in general and ex-servicemen in particular. The Irish War of Independence tarnished Britain’s self-image as a peaceable nation presiding over a contented United Kingdom. The notorious “Black and Tans” auxiliary police force were seen on the British left as “a potential ‘White Guard’ or ‘Freikorps’ ready to shoot the workers, as they now shot down the Irish.” Such millenarian fears were indeed plausible but the balm of victory meant that they did not become reality within Britain itself. France The protracted demobilization of 5 million Frenchmen over two years from 1918-20, was part of what Bruno Cabanes calls a “mournful victory”, where the dead and the weight of loss lay heavily upon the living, both soldiers and civilians. At the level of the Council of Ministers, an Under-Secretary for Demobilization, Louis Deschamps (1878-1925), sat in government from early December 1918 to November 1919 at which point the post was abolished. By November 1919, two major phases of demobilization in the French army, the first between November 1918 and April 1919 and the second from July to September 1919, had reduced the amount of men in uniform by 2.5 million and 2 million respectively. Demobilization was halted in April 1919 in response to tensions over the final peace. The republic’s citizen-soldiers returned home on the egalitarian basis of length of service tempered by some special consideration for the fathers of larger families. The final demobilization took place in March 1921 when the youngest wartime class, that of 1919, was sent home, the men coming from the Salonika front being, for strategic reasons, amongst the last to get home. Men were regrouped by their original army and home destinations, a laborious task considering how units had been atomized by a long war. Impatient men cramped onto train wagons without straw reacted with a splurge of petty vandalism. Barring being sent to the wrong demobilization depot back in France, men were finally discharged after a last identity check, payment of allowances owed and receipt of marching orders just in case war came again to a victorious but insecure nation. A moral economy or “economy of gratitude” operated in connection with the reintegration of soldiers into French civilian life. Symbolic compensation could include a unit being honoured before demobilization by carrying out the official liberations of villages of Alsace-Lorraine or the march into Koblenz in the Rhineland after the Armistice. A national victory parade in Paris on 14 July 1919 (though a surrogate for such a French parade in Berlin), matched with multiple local regimental homecomings, also served integrative purposes. A new law obliged employers to give returnees their old jobs back, provided they had notified their employer in writing within two weeks of demobilization. Many soldiers failed to do so. Moreover, the French economy in 1919 was itself a mutilé de guerre. The process of economic demobilization had begun in late November 1918 when the wartime Ministry of Armaments had been repurposed as the new Ministry of Industrial Reconstruction, with Louis Loucheur (1872-1931) as minister. The French state could not shrink back to the liberal economic status quo ante precisely because of the costs of reconstruction. Taxes rose at a time of inflation and currency troubles. Labour won, as elsewhere, the eight hour day in 1919 but this did not head off a large railway strike that year. Fears of internal subversion by “red” forces were particularly acute during the major strike waves of 1920: civic unions drawn from the middle classes (and especially veterans) assisted the public authorities in keeping essential services open. Prime Minister Alexandre Millerand (1859-1943) pointedly recalled 1914 by terming the new crisis a “civic battle of the Marne”. Veterans who were members of the centre-right Union National des Combattants answered the call but eschewed any drift towards paramilitary violence. Italy As the smallest of the so-called Great Powers on the Entente side, Italy after the war was indeed victorious though the war’s aftermath was experienced as something akin to defeat by many Italian nationalists. This highly politicized reading has tended to obscure the extent of demobilization in Italy. The process of military demobilization, which was initially chaotic, with many unfortunate soldiers not being issued with proper pension papers, began to improve in efficiency once General Enrico Caviglia (1862-1945), a commander popular with the men, became war minister in January 1919. Caviglia created a special demobilization office within the war ministry. Already, in November-December 1918, the army in the field had been reduced from 2.15 to 1.6 million men, released in four blocks. Complicating factors affecting the pace of demobilization in the Italian case included requirements that officers with civilian expertise in the domestic economy be released first. Add to that the fact that Italy had not one, but two, armies to demobilize: the field army under the high command and the territorial military under the jurisdiction of the war minister. Italy, short of money and uncertain of its new borders, resumed demobilization in June 1919. Not completed until 1921 – some men had been in uniform since the Libyan war of 1911 – overall demobilization was equitable and parting allowances were paid promptly in this second stage. On the economic front, in 1919, both Italian industry and organized labour welcomed the dismantling of state economic controls and militarized discipline they termed the “bradature di guerra“” (“trappings of war”). The Interministerial Committee for the Resolution of the War Industries gave industrialists a generous settlement to offset incomplete war contracts. As part of a demobilization dividend, Francesco Nitti (1868-1953) – prime minister from June 1919 to June 1920 – extended social insurance against accidents and unemployment whilst also telling Italians to “consume less and produce more.” During his final term as prime minister from June 1920 to June 1921, Giovanni Giolitti (1842-1928) abolished the fixed price of bread, a policy change which marked a real watershed between war and post-war periods for ordinary Italians. Economic demobilization was marred therefore by the perception and reality of inequality. A wave of factory occupations in September 1920 and the rise of rural socialist leagues in turn encouraged the possessing classes to recruit fascist squads to restore “order”. The crystallization of myths and of frustrations was particularly complicated in the Italian case. The Versailles treaty was taken in nationalist quarters in particular as a radical disappointment helping to feed the powerful myth of a “mutilated peace”. Already, in December 1917, veteran, journalist, and socialist turned nationalist Benito Mussolini (1883-1945) had suggested that the future of Italy lay with the aristocracy of the trenches (Trincerocrazia). By 1919, the crack-troops of the elite Arditi provided a model leadership cadre. “Arditismo Civile” was proposed in 1919 by one of its exponents, Ferruccio Vecchi (1894-1957), as a programme which would convert peacetime society to a warrior code. The rapid polarization of Italian politics in the biennio rosso normalized a cult of violence. Early fascism indeed owed as much to the mythology of the Arditi as it did to the bombastic street theatre of the occupation of Fiume, led by nationalist poet Gabriele D’Annunzio (1863-1938) in defiance of the League of Nations and the government in Rome in 1919-20. Russian Empire/Soviet Russia In the period of contested “dual power” between the Provisional Government and the Petrograd Soviet from February to October 1917, the determination of the Provisional Government to fight on in the war in the name of democracy ultimately helped to delegitimize it, especially after the failure of the Kerensky Offensive of June 1917. By late summer 1917, soldiers issued demands to the government for speedy demobilization. With growing violent protest in cities and on the land, discipline on the frontline broke down and Russian soldiers began to “demobilize” themselves. The rapid publication of Vladimir Ilyich Lenin (1870-1924) Decree on Peace after the Bolsheviks seized power in October 1917 led to the self-demobilization of even more units. A Congress on Demobilization sponsored by the new regime met early in 1918 after former tsarist generals were enrolled to help manage the mammoth task of demobilizing 5 million men. Yet even before the costly peace treaty dictated by Germany at Brest-Litovsk in March 1918, Soviet Russia began, on 28 January 1918, to organise a new reliable mass army of workers – the Red Army – to defend the revolution. In May-June 1918, conscription into the Red Army was introduced demonstrating the new Communist regime’s “surprising ability to re-mobilize war weary solider, workers and other supporters into large scale military forces.” Thus, fitful military demobilization could be experienced twice, in 1917-18 and in 1920-21. In the case of Soviet Russia, economic demobilization was attempted before being reversed on account of the Civil War. On 9 December 1917, the Soviet government issued a decree for the conversion of wartime enterprises to peacetime production which resulted in job losses at defence plants in Petrograd and Moscow. In 1918, the pre-existing apparatus of wartime regulation became, in Peter Gatrell’s words, a tool for the Soviets “to appropriate and bend” to their own wishes. War Industry Committees became People’s Industrial Committees. Sovietized raw material committees (glavki) regulated inputs to factories. Alongside violent attacks on rural grain-producers, the establishment in August 1918 of the Extraordinary Commission for Supplying the Red Army ushered in the policy of War Communism. Strikingly, the First World War practice of granting exemptions from military service for skilled workers was restored. In the social realm, with the creation of the Soviet Union in 1922, veterans’ organizations for World War veterans were outlawed. Red Army veterans were the heroes. Nonetheless, as Karen Petrone argues, “throughout the entire interwar period [in the Soviet Union], World War I was de-centered rather than forgotten.” As a submerged memory, one of its limited expressions was found in early Soviet cinema, which revisited the First World War repeatedly. Victims of imperialism, disabled Russian veterans of the World War were depicted sympathetically, but were also presented as passive passengers of history, unlike the fighting proletariat who had changed its course by making the revolution triumph. USA With roughly 4.4 million men in uniform at the end of the war, and about 2 million of these overseas in the expeditionary force, the US government faced a logistical nightmare in organizing their return home in the face of the ravaging influenza pandemic and the requirements for ship transport. The first and comparatively easy part of demobilization had been discharging the 1.5 million men in training camps by February 1919. Relatively unprepared for demobilization, the US army adopted a policy of demobilization by unit beginning with “casuals” not attached to a particular post. Troops in England and Italy headed across the Atlantic before the main body of infantry from France did. In the meantime, men were held at hastily-constructed debarkation centres near French ports like Brest. At first, there was a strict regime of drills and target practice whilst medical checks and paperwork filled spare time. The miseries of crowded debarkation camps prompted protests and petitions from soldiers still in France such that, from February 1919, General John J. Pershing (1860-1948) followed advice to increase recreation and had special honours laid on for American units by French towns and cities. Unruly US servicemen wore out their welcome in cities like Paris, however. On 1 September 1919 the last American combat unit left France followed by the last American troops on 3 January 1920, with those from the US intervention in Northern Russia following in April 1920. The wave of unrest on the American home front in 1919 was associated in particular with labour disturbances and race riots. American veterans, such as those of the American Legion, held the government to account for veterans’ welfare, prompting Congress to pass a post-dated bonus bond to servicemen in 1924. Veterans’ consciousness also lay behind the Depression-era Bonus March in Washington, D.C. in the summer of 1932. Successor States and Peripheries of Former Dynastic Empires In the “shatterzones” of European dynastic empires, demobilization in fact created opportunities for returning nationalist veterans to hold onto their arms and attempt to seize as much territory as possible for their new state, or to fight for an ideological project such as Communism. A crucial practical factor was the ready availability of surplus arms in a time of rapid demobilization. In the Polish case, for example, such access to arms, augmented by the disarming of German soldiers by demobilized Polish soldiers and dedicated nationalist militias, contributed mightily to the success of the six-month Poznanian or Greater Poland Uprising of 1918-1919 which took territory off the German Reich. In Ireland and Poland, moreover, 1918-19 marked both the end and the beginning of armed conflict and transition to wars of independence, albeit ones different in nature. New mobilizations could supersede the First World War and demobilization itself. Poland fought a series of border wars up until 1921. When Poland officially completed demobilization in 1922, some 800,000 had fought in the Polish army whose nucleus came from the Polish Legion that had fought with the Central Powers for part of the war until the Oath Crisis of 1917. Larger still, however, was the number of Poles who had remained in the Russian, Austro-Hungarian, and German armies. New nation states from Poland to Czechoslovakia to Yugoslavia valorised the role of volunteer armies who had defied the imperial overlord in wartime (just as independent Ireland would do with its founders). Nevertheless, the stark fact remained that many (often more) of their co-nationals had dutifully served and suffered in the old imperial armies of the previous regime. Central European nationalist elites deferred to volunteers such as the Czech Legion as emblematic national heroes yet practical concerns brought veterans of both types together on bread-and-butter issues of welfare. Thus, in Poland, the ZIWRP movement advocated for all Polish war invalids. Similar shared interests prevailed in the Yugoslav Association of War Invalids. Demobilization in the Overseas Empires Demobilization was not just a series of national experiences, but also a global phenomenon. As Robert Gerwarth and Erez Manela point out in their influential collection of essays Empires at War (2014), the war itself can only be properly understood by integrating its imperial dimension, both dynastic land-based empires in Europe and European “blue water” empires, as vital parts of a transnational history of the conflict. Gerwarth and Manela, emphasising the massive involvement of colonial troops and labour both in Europe and in colonial theatres of war, especially in Africa, cite the examples of India and Egypt in 1919, as well as the brutal repression of colonial revolts by both the French and British in the 1920s to show how demobilization challenged empires’ security and legitimacy. The infamous Amritsar massacre of 1919 in the Punjab was occasioned by defiance of curfew regulations that were still in force, precisely because the British had refused to demobilize the colonial home front and suspend special powers such as the curfew. Colonial soldiers themselves however, once home, were plunged back into “a social and political hierarchy that was profoundly more racist and rigid than that of the metropole or the army.” Richard S. Fogarty and David Killingray, in contrast, consider unproven the case that demobilization upset the political landscape of British and French Africa and seriously undermined white prestige. The very nature of demobilization itself was unequal. French colonial troops were often paid a bonus precisely to dispel notions of equality as citizen-soldiers. Their terms of engagement meant they were committed to fighting until peace plus six months. This allowed military authorities to demobilize Frenchmen first. It also helps explain the noteworthy presence of African soldiers in the French occupation forces in the Rhineland from 1919. For Fogarty and Killingray, demobilization in British and French Africa did not produce brutalization akin to Italy and Germany precisely because the state monopoly on violence was confirmed by the war. Emblematically some (perhaps fortunate) veterans became policemen and were even more attached to the established imperial power as a result of the status, and limited material advantages, foreign service conferred upon them within their own communities. Recent in-depth case studies of political activism in French North Africa, however, have shown how demobilization contributed directly to interwar anti-imperial discontent. In the case of Algeria, a territory long integrated into France but with an unequal ranking of citizens and subjects, Dónal Hassett shows how Algerian Muslims “recognized the potential to negotiate a new form of imperial citizenship” as a concomitant of demobilization and as a dividend of wartime service. In the case of the wartime volunteer soldier-turned-Communist and Tunisian nationalist Muhktar al-Ayari (1889-1960), Chris Rominger discerns the more general emergence of radical dissenters who, disgusted at the poor recompense for their service, “expressed a profound sense of betrayal” at the hands of the French and of his more moderate countrymen. On balance, demobilization was more subtly disruptive of empire than Fogarty and Killingray consider it to have been. Cultural Demobilization Cultural demobilization was not alone the cooling of passions but also the inversion of the war culture. John Horne has described it as akin to “demobilizing the mind” and argues that if other types of demobilization were necessary preconditions of peace, then “cultural demobilization (or its absence) determined what type of peace it would be.” It needed time and came in fits and starts. “Sacrifice” would have to be rehabilitated so as not to be the pretext for perpetual enmity. “Cultural demobilizers” had been “mobilized” in the first place: wartime pacifists were in a somewhat different category even if, as attitudes evolved in the 1920s, the odium that had surrounded not serving in wartime declined. Pacifists could gain a more respectful hearing, if not a mass following, from their peers. In the international academic sphere, university scholars gradually and sometime painfully restored transnational networks between the previously warring camps, broken in 1914. Horne’s chronology of cultural demobilization pivots around the Franco-German détente of the mid-1920s, though it has wider applications. In the Locarno Treaty process of 1925, French and German Foreign Ministers Aristide Briand and Gustav Stresemann (1878-1929) tried to turn the page on the bitter reparations disputes of the early 1920s and proposed reconciliation based on hard-headed realism and a heartfelt desire not to repeat the horror of war. War veteran Marc Sangnier, a French Catholic activist and Christian Democrat politician, had been out of sync with public opinion in France in January 1921 when he advocated “the disarmament of hatred” between the two nations. His Democratic International for Peace was in vogue by mid-1920s. Consciously copying German models so as to provide affordable places for French and German youths to meet, Sangnier opened the Épi d’Or youth hostel, France’s first, at Bierville outside Paris in 1929 as part of a Foyer de la Paix. Erich Maria Remarque (1898-1970) novel All Quiet on the Western Front (1928), and its 1930 Hollywood movie adaptation directed by Lewis Milestone (1895-1980) – both runaway successes – presented war as a betrayal of the young. Some, but not all, parts of public opinion (in the Anglophone world especially) came to consider the war dead as victims of war itself, rather than of the erstwhile enemy. In her influential pacifist memoir Testament of Youth (1933), Vera Brittain, a former frontline nurse, gave a visceral evocation of personal loss in wartime. The writer spent evenings in the early 1920s engaged in League of Nations Union activism in draughty municipal halls across Britain. Reporting on her first League of Nations Assembly in Geneva in September 1923, Brittain wrote how she was “indescribably moved by a sense of a common purpose which had given its deceptive glamour to the War, and now, struggling through the anti-social hostilities of competitive nationalism, seemed almost to have reached a point where it could be mobilised in the cause of peace.” In 1936, Brittain later renounced her support for collective security – with its threat of military sanctions – in favour of the integral pacifism of the Peace Pledge Union, putting herself at odds with public opinion again during the Second World War. Many other “demobilizers”, however, ultimately supported resisting fascism with force. Conclusion Demobilization after the First World War involved first and foremost the massive logistical undertaking of military demobilization involving millions of soldiers, prisoners, and civilian internees. It was not only that, however. A multidimensional definition of demobilization integrating the social, economic, and cultural processes shows how the reinsertion of millions of former combatants into civilian societies was bound up with a moral economy. An “economy of gratitude” meant that issues such as welfare, regulation of the labour market, and the roles to be played by veterans as a major new social group in peacetime society were prominent. Pensions and the care of disabled soldiers formed key parts of the agenda for new veterans’ movements which prompted governments to expand and extend the wartime welfare programmes whilst removing other wartime economic controls. Military demobilization itself was not a politically neutral exercise but depended on political priorities and security needs. Whereas Entente powers demobilized over a number of years, precisely because they required the threat of force to the defeated powers to remain, the Central Powers demobilized in a matter of months in accordance with the armistice agreements. German and Austro-Hungarian demobilizations were largely improvised for this reason, coinciding with political revolutions. The protracted demobilizations of Britain, France, Italy, and the USA produced considerable impatience amongst men and their families. Soldiers from the Entente’s overseas empires returned home later than European soldiers, the whole experience capable of generating as much alienation as attachment to the imperial power. The Russian case and those of successor states of former dynastic empires such as Poland were much more ambiguous as new conflicts superseded the old. Demobilization did not become irrevocable until the signature of peace treaties. Political myths and scapegoating also crystallized in this period, especially on the defeated side. Cultural demobilization – the cultural shift to making war itself the true enemy whilst honouring the war dead – operated over a longer chronology still, being frequently contested as treasonable. The political détente between France and Germany occasioned by the Locarno Treaty of 1925 was reflected in exchanges and congresses initiated by internationalist, religious, and feminist groups. Demobilization could inculcate grievance as well as gratitude, however. Even when it disarmed soldiers, it did not always demobilize minds. Gearóid Barry, National University of Ireland
3360	dbpedia	1	83	https://encyclopedia.1914-1918-online.net/article/raw-materials/	en	Raw Materials	https://encyclopedia.191…t_sie_ab_IMG.jpg	https://encyclopedia.191…t_sie_ab_IMG.jpg	[ "https://encyclopedia.1914-1918-online.net/wp-content/themes/encyclopedia19141918/assets/img/1418-logo.png", "https://encyclopedia.1914-1918-online.net/wp-content/uploads/2024/07/eo/Einrichtungsgegenstande_aus_Aluminium_Kupfer_Messing_Nickel_sind_enteignet_liefert_sie_ab_IMG.jpg", "https://encyclopedia.1914-1918-online.net/wp-content/uploads/2024/07/eo/Food_Will_Win_IMG.jpg", "https://encyclopedia.1914-1918-online.net/wp-content/uploads/2024/07/eo/Food_will_win_the_war_IMG.jpg", "https://encyclopedia.1914-1918-online.net/wp-content/uploads/2024/07/eo/Reichsfleischkarte_(Reichs_Foodstamp_for_Meat)_1916_IMG.jpg", "https://encyclopedia.1914-1918-online.net/wp-content/uploads/2024/07/eo/Turkmen_transporting_Cotton_LOC_IMG.jpg", "https://encyclopedia.1914-1918-online.net/wp-content/uploads/2024/07/eo/Warehouse_IMG.jpg", "https://encyclopedia.1914-1918-online.net/wp-content/uploads/2024/07/eo/Workers_transporting_lumber_for_smelting_iron_ore_LOC_1910_IMG.jpg", "https://encyclopedia.1914-1918-online.net/wp-content/uploads/2024/07/eo/Timber_IMG.jpg", "https://encyclopedia.1914-1918-online.net/wp-content/themes/encyclopedia19141918/assets/img/worldcat-color-60px.png", "https://encyclopedia.1914-1918-online.net/wp-content/themes/encyclopedia19141918/assets/img/worldcat-color-60px.png", "https://encyclopedia.1914-1918-online.net/wp-content/themes/encyclopedia19141918/assets/img/worldcat-color-60px.png", "https://encyclopedia.1914-1918-online.net/wp-content/themes/encyclopedia19141918/apps/templates/article/../../../assets/img/1914-1918%20online_Logo_RGB_lang.png", "https://encyclopedia.1914-1918-online.net/wp-content/themes/encyclopedia19141918/assets/oes/images/partners/fu-logo-240606-RGB-p.png", "https://encyclopedia.1914-1918-online.net/wp-content/themes/encyclopedia19141918/assets/oes/images/partners/bsb_logo_claim_gr_72dpi.jpg", "https://encyclopedia.1914-1918-online.net/wp-content/themes/encyclopedia19141918/assets/oes/images/partners/dfg_logo_blau-crop.gif" ]	[]	[]	[ "" ]	null	[]	2024-07-02T21:40:16+00:00	Raw materials were vital during the First World War. Due to the armaments production, the belligerents’ needs increased significantly, while the available resources fell. Each country intended both to increase its resources and to use them more efficiently. This required broad state intervention that consisted in controlling the needs of domestic populations and administering the distribution of products. Raw materials were also at the core of the Allied cooperation to provide Europe and North America with all necessary supplies. This leads to the question of whether the war led to a change in the global trade of raw materials.	en	/wp-content/themes/encyclopedia19141918/assets/img/favicon.ico	1914-1918-Online (WW1) Encyclopedia	https://encyclopedia.1914-1918-online.net/article/raw-materials/	By Pierre Chancerel Raw materials were vital during the First World War. Due to the armaments production, the belligerents’ needs increased significantly, while the available resources fell. Each country intended both to increase its resources and to use them more efficiently. This required broad state intervention that consisted in controlling the needs of domestic populations and administering the distribution of products. Raw materials were also at the core of the Allied cooperation to provide Europe and North America with all necessary supplies. This leads to the question of whether the war led to a change in the global trade of raw materials. Introduction By the time the First World War broke out, the Second Industrial Revolution had greatly increased the industrial output in Western Europe and the United States. These countries’ consumption of industrial fuel and raw materials (coal, oil, wood, ore, cotton, wool, leather, etc.) was increasing, and they imported these goods from all over the world. The First World War was an industrial war that demanded large amounts of weapons and ammunition. As each country attempted to reinforce its armament factories, economic warfare made it increasingly difficult to import raw materials. The new balance between the consumption and the production of raw materials, in addition to transport difficulties, triggered a general supply crisis. To solve it, the belligerent states set up administrations to control, requisition and deliver raw materials to consumers. The struggle for raw materials between the belligerents also affected the structure of global markets for these products. A Shortage of Raw Materials The outbreak of the war shrank the industrial capacity and led to massive devastation and destruction. As early as August 1914, France was one of the most devastated countries. Following the invasion and occupation of northern and eastern France by German forces, France lost 14 percent of its industrial output. Before the war, this area produced 75 percent of the French coal production, 81 percent of the iron, 63 percent of the steel, 85 percent of the linen, 94 percent of the wool, and 75 percent of the sugar. The frontline crossed the coal basin in northern France so that the colliers of Bethune had to work several days and nights under enemy shelling. Likewise, on the Eastern Front, damage from the war contributed to reducing the production of raw materials. In the Ottoman Empire, the Russian bombing of the Eregli coalmines on the Black Sea added to the mobilization of workers and contributed to decreased production, as many workers left the coalmines to join the army. In 1916, the coal production was 60 percent of its 1913-1914 level and 25 percent in 1918. 1913 1914 1915 1916 1917 1918 USA 62,972 42,103 56,415 76,370 76,494 70,773 Germany 28,608 20,505 17,710 ? ? ? Luxembourg 7,333 5,007 6,139 6,752 4,509 ? France 21,918 11,252 620 1,681 2,035 1,672 United Kingdom 16,253 15,105 14,463 13,711 15,083 15,285 Spain 9,862 6,820 5,618 5,857 5,551 ? Russia 9,514 ? ? ? ? ? Sweden 7,476 6,587 6,883 6,986 6,217 ? Italy 603 706 680 947 999 695 Norway 544 652 715 880 ? ? Belgium 150 82 5 30 17 0.5 Algeria 1,349 1,115 819 939 1,065 782 Tunisia 597 248 286 367 606 ? Canada 136 222 361 250 195 188 Japan 172 136 136 159 ? ? Table 1: Ore production (in millions of metric tons) 1913 1914 1915 1916 1917 1918 USA 517 466 482 535 591 615 United Kingdom 292 270 257 261 253 231 Germany 277.3 245 235 253 263 261 Austria 43.9 39 38 40.8 – – France 40.8 29.8 19.9 21.5 29 26 Russia 33.8 33 28 – – – Belgium 22.8 17 14 17 15 14 Japan 21.4 22 20 23 26 28 British India 16 17 17 17 18 21 Canada 13.6 12 12 13 13 14 Hungary 9.9 9 9 – – – Spain 4.3 4.4 4.7 5.6 6 – Netherlands 1.9 1.9 2.3 2.7 3.1 3.4 Italy 0.7 0.8 1 1.3 1.7 2 World total 1342 1210 1190 1270 1335 1332 Table 2: Coal and lignite production (in millions of metric tons) 1913 1917 1918 1919 USA 33.1 44.7 47.5 54.8 Mexico 3.5 8.3 9.5 12.6 Russia 8.6 9.4 5.5 3.7 Dutch East Indies 1.5 1.8 1.8 2.2 Romania 1.9 0.4 1.2 0.9 British India 1.1 1.08 1.07 1.1 Galicia 1.09 0.8 0.8 0.8 Peru 0.3 0.3 0.3 0.4 Japan and Formosa 0.3 0.4 0.3 0.3 World total 51.6 68.8 70 79.4 Table 3: Oil production (in millions of metric tons) 1913 1914 1915 1916 1917 1918 Argentina 9,380 11,432 8,951 1,015 4,976 7,050 USA 4,535 3,952 3,564 3,631 2,328 3,723 British India 5,472 3,883 4,034 4,836 5,344 5,151 Canada 4,455 1,823 2,700 2,098 1,508 1,538 Russia 7,035 4,815 4,856 – – – Austria 155 116 94 85 – – Uruguay 245 149 99 31 85 127 Romania 134 39 32 – – 74 Italy 103 82 82 92 82 120 France 76 85 41 33 40 48 Japan 34 65 78 68 – 165 World total 31,804 26,563 24,676 17,757 20,418 23,874 Table 4: Linseeds production (in thousands of hundredweight) The economic war was increasingly linked to the conflict. The main objective was to deprive the belligerent countries of raw materials essential to their war efforts. This strategy was key because the European war economy depended heavily on overseas trade. Between 1911 and 1913, more than 80 percent of the main imports of the industrial western countries (Great Britain, Germany, France and the United States) consisted of raw materials and foodstuffs. The Allies increased their blockade of the Central Powers throughout the war. Until March 1915, the blockade was restricted and followed the pre-war agreements. Military goods as well as raw materials were declared contraband and could be seized by the enemy fleet. The Allies had no right to control the neutral ports, but they managed to prevent them from trading with the Central Powers thanks to bilateral agreements. As early as September 1914, a Dutch trade association committed itself to limiting commercial exchanges between the Netherlands and Germany. Great Britain signed further agreements with the Danish and Swedish governments. From spring 1915 on, the blockade entered an unrestricted phase. The Allies aimed to cut off all maritime transport to and from the enemy countries. They increased their pressure on the neutral countries to prevent them from re-exporting goods to Germany by imposing import quotas for raw materials and foodstuffs. In late 1915, the British government imposed such conditions on the Netherlands, Switzerland and Denmark, the Central Powers’ principal European commercial partners. Specific agreements about some products had been concluded with Norwegian and Swedish trade associations to reduce their exchanges with Germany. Moreover, the British could impose their policy on the neutral countries by refusing to deliver bunker coal to their vessels. Thus, in a time of fuel scarcity, the English supremacy over the coal resources in Europe helped to increase the Allies’ power. The blockade was implemented to isolate the Central Powers from foodstuffs and raw materials. It was only partly successful and hardly explained their final defeat. The economic collapse of Germany was rather caused by the increasing demands of the armament industry. Nevertheless, the blockade had a deep impact on the whole economy and forced the Germans to do without many raw materials and to develop both a means of rationing and substitute products. The Allies faced the same problems by the time Germany launched its submarine war. The first German U-Boot attacks started in October 1914. The attacks intensified in autumn 1916, when the average losses of Allied ships increased from 120,000 tons per month in late 1915 to 300,000 one year later. The unrestricted submarine warfare begun on 1 February 1917 constituted a further step. Germany sank on average 600,000 tons per month and up to 885,000 in May. In less than six months, the Allies lost 3.5 million tons. From the summer 1917, the Allied losses decreased, and more and more German submarines were sunk. Although important, the submarine warfare was not decisive for the fate of the war. The Allies managed to maintain their sea trade thanks to the convoy system and an increase in their shipbuilding capacities. But the economic consequences were severe. The Germans sank 9.5 million tons in the last two years of the war. Not only did this cause a shortage of ships on which all Allied imports depended, but it also disrupted the entire seaborne trade and made the neutral vessels refuse to transport goods for the Allies. As a result, the German submarines made the difficulty of transporting goods the largest economic concern in wartime. Securing access to vital sources of raw materials became an important war aim. For example, oil shortages led the belligerent countries to secure their supply routes, especially since oil had become a key resource for military ships and merchant fleets. The Ottoman Empire and the 1917 Russian Revolution prevented Western Europe from importing Russian and Romanian oil. As a result, Great Britain tried to control and exclude German interests from Mesopotamia. Thanks to the Sykes-Picot Agreement signed in May 1916, Great Britain was promised the best areas and its oil companies, such as Anglo-Persian Oil Company and the Royal Dutch-Schell, kept their rights over the oilfields. Germany took a different route, invading Ukraine in February 1918 to chase the Bolsheviks out in order to seize the raw materials it needed, including the coal from the Donetsk Basin. In August 1918, the German government signed a treaty with Russia, committing itself to protecting Baku from Turkish attacks; in return, Russia granted Germany 25 percent of the Azeri oil. The lack of coal was particularly severe in continental Europe from the end of 1916. This was primarily due to transport difficulties. Railroads were in high demand to transport troops and supply military and civilian needs, so that large amounts of coal remained on the pitheads of the mines. Each country had to cope with specific drawbacks. For instance, Russia had a large supply of coal, but it was extracted in Siberia coalmines, which were far from the consumption centres and made transport difficult. In 1917, revolutionary movements in the Donbass region led to lower levels of coal production. Thus the shortage showed the need for Russian officials to develop new metal and coal basins as well as transport networks in remote regions such as the Caucasus, the Urals, and Siberia. In Germany, the coal crisis was the first consequence of the saturation of the rail network. Because of the blockade, the ports and the rivers received few imported products. As a result, the entire burden for transporting coal from the Ruhr and Silesia fell on the railway. More goods than in peacetime had to be shipped longer distances between the Western and Eastern fronts. The location of the factories also contributed to the railway crisis. According to the Hindenburg Programme, the steel production was not confined to one place. Rather, it produced in the Ruhr, was then sent to Berlin to be manufactured into shells before returning to the Ruhr to be completed by adding powder. In autumn 1916, the railway stations became jammed and schedules could no longer be followed. The cold winter worsened the situation in January and February 1917, and traffic was interrupted several times. Consequently, the coalmines could not deliver the necessary output for the rest of the country. The situation was extremely difficult for countries whose fuel supply depended on importing raw materials. Italy did not produce coal and encountered major problems since, in 1917, it was able to import only 49 percent of the average of the five years before the war. France had to import half of its coal by sea from England. Already by 1915, both ports and inner transports were congested. The difficulties became critical in the following year. From July 1916, the military transports needed for the Battle of the Somme demanded use of all available railways, cutting off the coalmines of Nord and Pas-de-Calais from the rest of the country. The submarine war upset the import of British coal via the Channel and diverted many neutral vessels from the coal traffic between England and France. Additionally, the winter 1916-1917 was the coldest in a decade and further increased the need for coal. As the largest producer in the world, Great Britain had to supply these two countries, but its exports were well below their pre-war level. The neutral countries were also affected by the coal shortage since France and Italy took 60 percent of the British exports in 1916 compared with 30 percent in 1913. State Answers: The Development of Raw Materials Administrations State Administration of Raw Materials In most belligerent countries, the war plans prepared before the war mostly ignored economic mobilization, in part because it was believed that the war would be short. It was believed that if the war was not quickly won on the battlefield, one of the two sides would run out of ammunition and would have to surrender after a few months. Requisitions were supposed to make sure that all raw materials and finished goods necessary for national defence were available. To deal with the difficulties arising from a shortage of supplies, the state administered the procurement and rationing of raw materials. The general pattern was similar everywhere and led to the creation of new administrations in charge of taking inventory and distributing the available goods to the industries indentified as having priority. In all countries, a larger role was granted to trade organizations in economic and political decisions. However, the respective functions of the civilian populations and the military, of private and public bodies, as well as the degree of centralization were not the same in each country. Moreover, the chronology and the proportion of products allocated for the civilian populations’ needs varied greatly. Germany Germany was the first belligerent country to take steps to control the purchase and distribution of raw materials. In August 1914, Walther Rathenau (1867-1922), administrator of the electric company AEG (Allgemeine Elektrizitäts-Gesellschaft), warned the army that the country had no supply program and would shortly experience a lack of munitions. The War Raw Materials Department (Kriegsrohstoffabteilung or KRA) was set up few days later. This department was led by Rathenau himself, who chose his colleagues as the industrial and financial leaders. They were in charge of controlling the requisitioning and allocating of raw materials needed by the armament industry. This creation was the first step toward total mobilisation for war. To make sure raw materials were delivered to the firms that needed them, the KRA created twenty-five War Raw Materials Corporations (Kriegsrohstoffgesellschaften). Each dealt with specific products such as chemicals, metals, wool, leather, etc., which they had to buy, store, and distribute. They corporations represented the private consumers and thus the industrial interests. The companies fought for the property and control of each of these corporations, since they gave their shareholders advantages and lower prices thanks to state interventions. The KRA was under the Ministry of War’s authority and the power of the army kept increasing throughout the war. In August 1916, the Hindenburg Programme demanded that all available resources be used to increase the armament output. All issues related to the war economy were centralised in the War Office. While preparing the Hindenburg Programme, the War Office had not focused on transports or coal supplies. Therefore, by the end of 1916 the country lacked fuel and trains. In March 1917, a coal commissar was given the charge of allocating coal to every consumer. His powers were quite expansive: although he could not always make the decision to close a factory, he could refuse to send it the coal it needed. In the last year of the war, it appeared that the coal resources would not be sufficient to fulfil all the armament needs nor the civilian and railways ones. The War Office made the decision to prioritize the military requirements. As a result, the Hindenburg Programme and the coal commissar let no raw materials nor manufactured goods go to the civil population, whose situation worsened until the end of the war. Austria-Hungary Austria-Hungary created an organisation very similar to the German one. Already in 1914, the Ministry of War was granted control over the allocation of raw materials. The economic war organisation reflected the dual structure of the Austrian-Hungarian state. Each of the two countries had its own institutions, which multiplied the number of agencies (Zentralen) in charge of supplying raw materials. The first agencies were created in Austria in autumn 1914 to deal with metals and cotton. Hungary created its own agencies in 1915. One difficulty that Austria-Hungary faced was that the share of raw materials allocated to the two Empire’s parts was not decided according to economic considerations, but rather in proportion to the ratio of contributions to the common affairs budget. Consequently, whereas Austria had ten or fifteen times more textile production capacities than Hungary and higher levels of productivity, it received only three times more raw materials than Hungary. This meant that a great part of the Austrian capacity was under-utilized. This system largely proved to be a failure and the country had a general shortage at the end of the war. The Central Powers also helped their allies whose armament industries were almost non-existent. Thus, in autumn 1915 Germany signed an agreement with the Ottoman Empire and Bulgaria to send weapons and raw materials to them. Turkey was to receive ore, wool, cotton, leather, wheat and foodstuffs, while Bulgaria was to receive ore, food, and tobacco. However, by the end of the war, this agreement no longer worked efficiently due to transport problems and the limited production capacity in these countries. United Kingdom In the United Kingdom, from the end of 1914 on purchase unions, whose commercial methods were similar to those of private businesses, were established. This system was adopted for linen and jute. The government also set up a system for controlling the sea trade by granting shipping licences. Created in November 1915, the Ship Licensing Committee controlled the requisitioned ships by refusing to grant them licenses when they took part in trade regarded as not vital for the war effort. The supervision of maritime freight became the main public instrument for controlling imports and exports in the country, as well as the basis of the future inter-Allied organisation. Another option consisted in letting a group of private buyers use the methods and functions of a ministerial department. A good example of this system is the Control Cotton Board, created by the Board of Trade in June 1917 and which was later described as “unique amongst war controls”. The raw cotton import trade from the United States was strongly damaged by the lack of ships allocated by the Ministry of Shipping, whereas the Egyptian cotton was more easily available in Lancashire. The Board brought representatives of the employers, the workers, the Liverpool merchants, and government officials together and decided on a scheme to cope with the lack of cotton. The factories working with Egyptian raw cotton were asked to pay a levy. This money was then given to other factories that were unable to use all their spindles and looms. Thus, this kind of representative structure proved itself able to impose production restrictions upon a whole branch in order to maintain real competition and avoid large unemployment in Lancashire. Such commercial semi-official organizations had common features with the French consortiums. France In France, the function of the Minister of Armaments was limited to providing raw materials to ammunitions factories. However, the distribution of supplies was controlled by the Minister of Trade, Étienne Clémentel (1864-1936), who was in charge of all domestic output. From June 1916 to September 1918, he created thirteen inter-ministerial committees in charge of wool, diamonds, cotton, leather, paper, chemicals, jute, linen, medicinal plants and hemp, as well as separate committees for steel, copper, zinc, wood and many other products. These committees organized the regulation and distribution of supplies for the country and ensured the best use of them by issuing directives that the consortiums followed. Through this system, the state oversaw the redistribution of raw materials and made sure that prices remained relatively equal in order to limit profits. The state had the transport means and the credit, whereas the industrialists brought their technological and commercial knowledge to the table. The cotton consortium, which all cotton manufacturers subscribed to, was the first to be created, in October 1917. It led all commercial operations related to purchase, import and the sale of raw cotton to supply the cotton industry. In this way, it successfully brought prices down to 20 percent lower than market prices. The coal supply and the price policy were driven by a specific agency of the Ministry of Armament, the National Bureau of Coals (Bureau national des Charbons or BNC). From summer 1917, it controlled the whole French coal market, thanks to its agents in the coal basins and in the maritime ports. All consumers were gathered in groups based on geographical and functional grounds. Every month, each group’s leaders had to determine the needs of all members of their groups; they then had to redistribute among them the coal quotas set by the BNC. This particular organisation can be attributed to the strategic importance of coal for the armament industry. Consequently, the industry working for national defence had priority for receiving coal. However, in spite of its military character, the BNC did not neglect civilian needs and helped to avoid a general shortage during the last two years of the war. Moreover, it granted lower prices to the civilian population than to industry. Russian Empire The government of Tsarist Russia created official committees to distribute fuel and raw materials. As was true in other belligerent countries, in Russia coal was also essential in wartime. The consumption structure changed throughout the war; strategic sectors such as railways, steelworks and engineering factories increased their part of the pie. As a consequence, the non-vital industry lacked coal. A special administration run by the Minister of War, the Special Council for Fuel Supply, dealt with coal. It did not intervene to increase output, but instead tried to improve the distribution of coal. In the second half of 1915, the Special Council requisitioned coal and imposed a maximum sale price; however, this was not successful. In 1916, fuel consumers were ranked according to their importance in the war effort. The Council then established the amount that would be granted to each consumer. From September 1916, state intervention was even stronger in the Donbass region. All coal was bought and sold to consumers at fixed prices by the Tsentrougol’, a single body composed of mine-owners and government officials. The connections between businessmen and the administration was strengthened all the more as raw materials became allocated by a state agency. Russia was rich in ferrous and non-ferrous metals such as copper, lead, and zinc. However, they proved to be difficult to transport, so that the supply of raw material was a subject of concern for Russia as well. Stocks ran short and providers altered their contracts to increase the prices. A metal commission was appointed to regulate these markets. The commission directed the goods towards ammunitions factories, while the percentage of metal allocated for railways and construction projects declined. In spring 1916, this commission had to deal with the general shortage of metals and to decide which consumers would be the first to receive goods. Consumers not directly involved in the armament production saw the amount of metal they received fall. The largest companies took advantage of their importance for national defence and their links to the government to receive the raw materials they needed. When the revolution occurred, the railway network was already under pressure and could no longer deliver the fuel and the raw materials that the government had promised the civilian population and companies. In 1917, the output of raw materials and fuel fell to 70 percent of the pre-war level because of the inefficiency of the industrial war system. When the Bolsheviks came to power, they created a Supreme Council for the National Economy in order to regulate production, supply and prices. It aimed – unsuccessfully – to allocate raw material to the leading industries. By the time the Treaty of Brest-Litovsk was signed, the industrial output had collapsed. USA The United States also implemented a system to regulate raw materials. Shortly after the U.S. entered the war, a special agency was created that was in charge of organizing the economic effort. The War Industries Board (WIB) was appointed in July 1917 to coordinate the needs of both the Army and the Navy. Initially it only had a consultative role before becoming a federal body, in March 1918. The WIB settled fifty-seven War Service Committees, which represented all the companies for each trade. It ranked all the industries in order of priority for granting means of transports and raw materials. The WIB was led by a “dollar-a-year man”, Bernard Baruch (1870-1965), a businessman who worked in finance before the war, a sign of the increasing links between industry and government. The commodity sections were led by managers and members of business interests associations. The industrial sector provided the War Industries Board with men and controlled the information necessary to mobilise the economy. The WIB was lobbied by the largest industries, which were eager to retain the favourable economic conditions. Several historians have shown that this administration was unable to establish an economic program on its own, but needed the industrial sector’s help in doing so. Several conclusions can be drawn from this brief account. First of all, the shortage of raw materials forced governments to find new means of regulation, such as setting priorities that benefited the largest companies. Germany and the United States gave large economic powers to the state as soon as they entered the war, whereas in Great Britain and France state control remained quite restricted until 1917. Industrialists became more involved in the economic policy of wartime. This new and larger role given to companies required spokesmen to work with the state. Thus, the First World War contributed to altering the industrial structure by developing the business interest associations. At the beginning of the war, the state aimed to allocate raw materials in order to maximise the output for the war effort. States were eager to regulate the competition between producers and to limit profits by controlling prices. In some cases, as was true in France, the ministers would have liked to maintain these economic organisations in peacetime, since the collaboration between the state and companies had been considered an efficient way to modernise the national economy and to increase productivity. The belligerent states had created large administrations to control the needs, allocation, and the use of raw materials. These administrations had great power and could essentially decide the state’s economic policy. They generally employed “unbureaucratic bureaucrats”, or “temporary civil servants”, that is to say men from many trades useful because of their specific technical and commercial skills. The structure and priorities of these new agencies followed two patterns. They were under the authority of either the Minister of War (as in Germany and Russia), or a civilian ministry (as in France and the United States). Civilian needs were everywhere curtailed, as states prioritized military requirements. The Central Powers and to some extent Russia allocated all products to the armament factories and the army, sacrificing their civilians in the process. This choice turned out to be disastrous to the war effort, as it led to social unrest. In contrast, the Allies, relying on their maritime superiority, managed to supply civilians with raw materials. Finally, one can remark that all main belligerent countries (Germany, Great Britain, France and Russia) created an agency to regulate the coal market. This can be explained by the fact that coal was necessary for the industrial output, for transports as well as for civilians. Consequently, these bodies had to arbitrate between all the consumers and had great economic power. Thus their choices were clues to understanding to what extent governments chose to sacrifice their civilian populations for the war effort. International Cooperation The economic difficulties obliged the Allied governments to cooperate in order to improve their supply capacities. As early as August 1914, France and Great Britain had set up a Commission internationale du Ravitaillement (International Commission of Supplying), which centralised the purchased of supplies for the Allies. Many committees of this kind were created. These were purely purchasing agencies for the Allied governments; they did not regulate prices or credit, or focus on streamlining the available means of transport. The difficulties of the maritime transport, more complicated from autumn 1916 on, and the bad crop season in the summer of 1916, led the Allied governments to strengthen their economic cooperation in order to prioritize certain supplies. Thus, the Wheat Executive was established on 27 November 1916. It determined the needs of each Allied country, and the purchasing and sharing of grains at a specific price. This organisation avoided high prices and rationalized the maritime transports. Specific agreements were signed to increase British exports of coal to France and Italy. On 1 June 1916 the Board of Trade limited the prices of coal and maritime freight. The Bureau national des Charbons centralised the imports and sent them to a British Coal Controller, who delivered them to the collier districts and ship-owners. The coal vessels were then told in which port they should load and unload their shipments. As the historian Georges-Henri Soutou wrote: “Within the summer 1917, the problem of raw materials came at the first plan of the Allied concerns.” For the French government, there were many benefits to be gained from a closer economic cooperation with Great Britain. That is why in August 1917 Étienne Clémentel proposed creating an inter-Allied body for the control of raw materials on the pattern of the Wheat Executive. The idea had been discussed during the Paris Economic Conference in June 1916 when the Allies had decided to reinforce their collaboration in the field of raw materials in order to improve their distribution among the Allies and to prevent enemy countries from using them. Such an organisation would have allowed French officials to participate in decisions instead of being dependant on England, which had both the raw materials and the means of transport. Since the failure of the Nivelle Offensive in May 1917, the British government had also been convinced of the importance of economic factors for winning the war. However, not all Allied governments shared the same view. Whereas Great Britain and the United States were only interested in a wartime collaboration, France was eager to maintain the inter-Allied economic bodies after the war. The Allies also faced organisational problems. For all these reasons, the economic cooperation in the field of raw materials remained limited. In August 1917 the Allies created the Meats and Fats Executive, but the Oil Seeds Executive was not created before spring 1918. The coordination of shipping was the greatest success of the inter-Allied cooperation. In November 1917, each Allied country committed to limiting their imports. In return, Great Britain agreed to create a pool of ships. The Allied Maritime Transport Committee (AMTC) composed of the four Allied ministers of trade (United Kingdom, United States, France and Italy) decided how to use these ships and a new administration was established to provide statistics. Despite political and organizational difficulties, in 1918 the AMTC prepared a general program of transportation, taking into account the needs for raw materials and the available possibilities for shipping. Thus, the inter-Allied cooperation for raw materials was necessary both to weaken the Central Powers and to supply the Allies during a period of scarcity of credit and means of transport. But it was broken up as soon as the war ended, as each country had diverging interests. France was dependant on Great Britain and the United States for shipping and raw materials. These two countries refused to lose their economic advantages in order to protect their export markets in peacetime. Substitute Products and Domestic Production The belligerents replaced lacking raw materials with “ersatz” (replacement) products. By the end of the war, the Germans had to wear shoes and use soap of very poor quality. But the chronic shortages also led to several technological advances. For example, a British firm managed to produce potassium from blast furnace residue as a substitute for German potash. Another company replaced barium with a selective native carbonate in the form of whiterite. Because of the increasing difficulties of importing Chilean nitrates, the British government helped to create oxidation of ammonium factories to make ammonium nitrate essential for sulphuric acid. The Haber-Bosh process to synthesize ammoniac, invented in 1910 in Germany, took advantage of the lack of nitrate in Europe. The war showed how dependant France and Russia were on foreign coal and contributed to these countries’ goals of building hydroelectric power plants and developing long-distance electricity transport that were fulfilled in peacetime. These two countries developed domestic output by intensifying the production of secondary basins, as well as by harnessing new coalfields, like in the Moscow basin, the Urals and Siberia in Russia, or in Massif Central in France. Everywhere, the lack of coal obliged people to use wood, oil and peat instead. Germany encouraged the recycling and harnessing of low-rented basins, like phosphate-poor ores in the district of Lahn-Dill in Thuringia and in the Harz, molybdenum in Werdenfels, wolfram in Saxony, and graphite in Passau. In Austria the abandoned mines of zinc, stain, lead and copper were reopened. Germany also requisitioned resources from the countries it invaded. Germany removed the wood stocks in Poland and oil in Romania. In occupied France, the factories were taken over and the German army seized the finished goods and raw materials. A special service, the Schutzverwaltung, was in charge of requisitioning all industrial supplies. The timber from the forests in occupied France were used to build the trenches; it was also sent to Germany. The Germans also took civilians’ goods. Thus woollen products, such as mattresses and pillars, were requisitioned. From the end of 1916, they took all the metal that could be melted down and reused for the armament industry: copper, nickel, stain, brass, bronze, etc. The civilians in conquered territory had to gather all their metal objects. Church bells were the most desired. This led to a conflict with the Catholic Church in Belgium. The policy of taking raw materials in the occupied areas was aimed at both increasing the industrial production capacity of Germany and weakening the enemies’ economies so that they were no longer competitors after the war. Warfare and Global Markets of Raw Materials The war altered the structure of global trade and led to a “decentralization of the international economy”. Before 1914, Europe and North America were the industrial leaders that made the highest added-value products, whereas the other continents supplied them with cheap raw materials. This “centre-periphery” pattern changed during the war. The United States, Eastern Asia, and the dominions witnessed a broad industrial growth at the detriment of Western Europe. The European countries imported more manufactured goods and saw their raw material import levels fall by half. A study of the aftermath of the war in Latin America shows how the conflict affected the raw material exports. The war’s effects on the economy of Latin America were ambivalent. The war demonstrated the high degree of dependency on overseas trade and foreign fleets in the area, especially in countries that specialized in a single type of export. Thus, before the war, three-quarters of Mexico’s exports were of ore (gold, silver, lead and copper). The same proportion of the Chilean exports was of nitrates. Brazil’s main export was coffee, but rubber represented more than a quarter of its total exports. Other Latin American countries had more diversified exports: Argentina sold linen, hides and wool, while Peru sold raw cotton, copper, oil and rubber. Already at the end of 1914, the collapse of international finance, the lack of ships, and the blockade of the Central Powers triggered a halting of international sales. As a result, prices fell. All countries’ foreign trade was disrupted, although Chile’s trade was damaged the least. Nitrate prices fell down from 8 s per quintal in July 1914 to 6 s 4 d in September and 5 s 8 d in February 1915. In the last five months of 1913, 29 million quintal had been exported, as opposed to 9.5 million in the same period in 1914. This product was usually used to make fertilizers – not the highest priority for belligerent countries during the war. The Chilean copper exports were even more affected, because large stocks had been made in the United States before the war, which contributed to a sharp decrease in prices, due to diminished demand. A further example is the cotton trade. Due to the increase of transportation costs by 300 percent, the producers found it harder to see the products. Beginning in 1915, the international economic situation favoured Latin America. Admittedly, the blockade isolated the continent from Germany, a country that had imported 24 percent of Chilean nitrates. But, except for coffee, all the products from South America were widely needed by the Allies. In particular, the Chilean nitrates were used to make explosives in Western Europe and in the United States. Output reached an unprecedented level and prices rose until the end of the war. The restoration of trade between South America and Europe after the war allowed Chilean and Peruvian exporters to earn more money. However, this occurred to the detriment of local industry, which remained badly developed. Had shipping and a larger workforce been available, the export of raw materials would probably have increased even more. Except for the first months of the conflict, the First World War benefited Latin America. Nevertheless, the increase of raw material exports from this continent was of short duration and was due to the exceptional circumstances of the war. The huge purchases made by Western Europe and the United States did not continue in peacetime. As a result, the war reinforced the industrialized countries’ dominance of those countries supplying raw materials. Although local industry spread throughout the war, this development proved limited because South American producers could not compete with the imported manufactured goods in the long-term. Far East Asia, in contrast, had a different outcome. Here, Europe’s decline helped industry to develop at an unprecedented scale, especially in Japan. The exports of raw materials also increased in order to supply new industries. Both industry and exports boomed in China. Forced sales to Japan made cotton the leading sector there. The exports of silk, tea, wool, hinds and leather, vegetal oil, ore and coal also rose significantly, thanks to Japanese investments and a scarcity of European goods. Prior to 1914 India had also been a provider of raw materials. The war closed the traditional markets for India’s main products, such as cotton, jute, and rubber. But it created a demand for other goods like manufactured jute goods, wolfram, mica, saltpetre, timber and other raw materials. The growth of the cotton industry was somewhat illusionary, as increases in production were not based upon innovations in output methods but were due to a larger workforce. In addition, the Indian sales were threatened by the Japanese products. The industrial war had many effects on the raw material producers, although most of them were neutral. The large European needs were not necessarily a good opportunity for the rest of the world. Admittedly, they could sell their raw materials at higher prices. But this was of short duration. As soon as the war ended, their exports returned to their pre-war levels, again demonstrating that they remained dependent on the industrial countries. Conclusion During the First World War there was a scarcity of raw materials. This scarcity altered consumption habits, both for industry and for civilians. This situation obliged consumers to deal with shortages and ersatz products, but it also led them to focus on the uses and purchase conditions. Everywhere, the general scarcity led to regulation and the increasing intervention by the state, since it was the only institution that seemed capable of allocating raw materials. The allocation of raw materials constituted an international issue. The use of raw materials was a problem for all belligerent countries and was at the centre of military strategy. Everywhere, officials and armies had to find solutions to provide materials for armament factories in order not to lose the war. But the supply of raw materials became an economic weapon too and one of the economic aims of both sides. Raw materials constituted a key aspect of the industrial powers’ economic domination of the other continents before the war. During the war, this situation was altered but not reversed. The exchange conditions became more favourable for the providers of raw materials only because the belligerents were temporarily weakened. The example of Latin America shows that their improved situation was not due to a durable economic development. However, for Japan the post-war period demonstrated that the structure of the global raw materials market remained as it had been prior to 1914. Pierre Chancerel, Institut national du Patrimoine
3360	dbpedia	0	20	https://whydontyoutube.substack.com/p/the-why-dont-youtube-catchup-may-768	en	The Why Don't YouTube? 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To Erinsborough, in fact, or rather near its Melbourne set as he asks actual Australians whether such soaps represent their lives; Sir Rhodes Boyson MP makes a memorable, confused turn on Have I Got News For You, delivering monologues of such length Paul Merton has to make his own fun. Maureen Lipman for one can't hide her reactions. ALSO... Anna Ford helps ITV Schools celebrate its anniversary in Thirty Years On today in 1987, the clip collection including Roger McGough shattering the fourth wall, Julie Covington's song about stereotypes and our old favourite, the handwashing song; Elton John is a remarkable catch for The Last Resort with Jonathan Ross today in 1988, where he narrates a catwalk show of outfits even he thinks are silly. Other guests are Gabriel Byrne and animal communicator Beatrice Lydecker. May 28th 40 YEARS AGO TODAY: Su Pollard has moved into a very soft furnished new house, which is still clean enough for her to invite Disney Time round; after a preview of the following evening on BBC1 comes the Bank Holiday Monday news on the day Eric Morecambe (and Reginald Bosanquet) died. 30 YEARS AGO TODAY: the Tarrant-fronted Pop Quiz revival invites along Eddy Grant, Betty Boo, Rick Wakeman, CJ Lewis, Go West’s Richard Drummie and, bravely, Jim Bob of Carter USM; the Cocteau Twins on Later With Jools. 20 YEARS AGO TODAY: someone must have been ill, Dara Ó Briain presents Have I Got News For You for the second time in two weeks. More interestingly, Clive James makes his one and only appearance, opposite a fortunately pre-Twitter Julia Hartley-Brewer; the last episode of Friends is immediately followed by the first of Big Brother 5. As often the anticipation, as in the Big Brother's Little Brother preview, is more exciting than the actuality, especially the male psychic who's a ringer for Phoebe Bridgers; Janet Jackson is struggling with Jonathan Ross and vice versa, but then he does insist on discussing piercings. May 29th 40 YEARS AGO TODAY: Ernie Wise was due to appear on TV-am anyway but Eric Morecambe died the previous night; Heinz Woolf challenges The Great Egg Race teams to construct and model a working tail with only lots of string and household items to hand. 30 YEARS AGO TODAY: medieval monk mysteries begin with the first case for Derek Jacobi as Cadfael; a good solid culture clash opportunity as George Melly is among the critics given a Private View of an exhibition curated by Damien Hirst. May 30th 60 YEARS AGO TODAY: The Great War, one of the classic ambitious BBC projects, commemorates WWI's fiftieth anniversary with readings and personal memories over 26 episodes. 40 YEARS AGO TODAY: Anglia wind up for the night with a very literal take on a new theme park at Clacton, a month into its four month lifespan, and a nighty reading with an ecclesiastical take on Hare Krishna. Don't forget to switch off your whatever. 30 YEARS AGO TODAY: BBC2's latest bank holiday Monday theme night, with an eye on the World Cup ahead, is Goal TV. Amongst the night's new programming: Stuart Cosgrove links personal letters from fans to the sport in Dear Football, which ends with Ray Davies rewriting Autumn Almanac and is followed by a USA 94 trailer featuring Jimmy Hill in a cowboy hat; Nick Hornby and a cast including natural bedfellows Chris Waddle, Billie Whitelaw and Mark E Smith try to explain football's popularity in The Ball Is Round; a compilation of cock-up, cliche, comedy and oddness from the Beeb archive, Football Hell; a phone vote for the greatest ever goal, though we question the overall strength of the nominees (Maradona won); L'Etranger, considering the lot of the keeper; and the first overview of where you were for Gazza, The Crying Game. ALSO... you know John Noakes' Nelson's Column climb? Today in 1977, that was, and Lesley Judd speaks not only for us all but gives the cameraman doing much the same journey but sideways on overdue props. May 31st 30 YEARS AGO TODAY: television cookery unveiled its spiky haired new face, Gary Rhodes, who in the spirit of the single step launched Rhodes Around Britain by making a full English breakfast (part two; part three) 20 YEARS AGO TODAY: anthropomorphic porcine child Peppa Pig had her first of at time of writing 399 adventures, which means kids watching it as-new are only now old enough to investigate the rest of John Sparkes' work; we're approaching D-Day anniversary season, for which Time Team not only take some veterans back to the Normandy beaches to retrace their movements but dig to see if they can locate the trenches and bunkers; Derren Brown conducts a live Seance to use the power of suggestion to prove seances aren't a workable thing. Channel 4 and Ofcom received over 700 (rejected) complaints between them, mostly we suspect from people who didn't reach the twist end. June 1st 50 YEARS AGO TODAY: a Clement & Le Frenais sitcom (with a Mike Hugg theme like the Likely Lads) starring John Thaw and Bob Hoskins seems a strange thing to have been completely forgotten but such was the fate of threesome flatshare Thick As Thieves, especially after LWT declined a second series; Brian Clemens' favourite episode of his anthology series Thriller, A Coffin For The Bride stars Michael Jayston as a serial marrier and then murderer of wealthy older women who finds love and trouble in TV debutant Helen Mirren. 40 YEARS AGO TODAY: Goodnight Sweetheart is the title of the first episode of the third series of East End demob comedy-drama Shine On Harvey Moon, written by Marks & Gran who would reuse it many years later. 30 YEARS AGO TODAY: Damon Albarn talks to Caitlin Moran on Naked City, including a very early reference to Britpop that doesn't reference Oasis at all. How different to a year later. 20 YEARS AGO TODAY: The first attempt at going out in the country for a live evening to gawp at some wildlife next to Kate Humble, Britain Goes Wild with Bill Oddie. ALSO... Victoria Wood followed her breakthrough TV play Talent with Nearly A Happy Ending today in 1980, her and Julie Walters reprising the characters through slimming, dating and even more full production musical numbers than before. June 2nd 50 YEARS AGO TODAY: Jolly Lynsey de Paul music is an odd choice of theme for a series of John Pilger documentaries, ATV, but you do you. Thalidomide: The Ninety-Eight We Forgot follows those who hadn't managed to get compensation for the children born with deformities. 40 YEARS AGO TODAY: Just Amazing was surprisingly controversial in its day, called "sickening" and "irresponsible" for bringing stunts and extraordinary feats and clips to Saturday teatime but with Barry Sheene, Kenny Lynch and early 80s LE perennial Suzanne Danielle rather than Beadle or Edmonds. Why are Madness involved just to introduce a kung-fu expert?; Channel 4 early evening pop magazine Ear-Say features Linton Kwesi Johnson, the making of the Two Tribes video, Jim Steinman and the Style Council live, but chiefly Roland Rat reviewing the singles, appearing on screen at the same time as Gary Crowley to prove a point; in an episode of Tales Of The Unexpected written by the highbrow pairing of Wolf Mankowitz and Lady Antonia Fraser, Simon Cadell sports a fulsome tache as a misogynist author who seems to be being targeted; the Alfresco team of all the young talents make their final visit to the pretend pub. 30 YEARS AGO TODAY: As Love Is All Around's reign of terror at number one continues Jarvis Cocker illustrates Pulp's Top Of The Pops debut by taping a piece of paper reading 'I HATE WET WET WET' to the inside of his jacket, not that you can read that very easily.
3360	dbpedia	2	81	https://www.facebook.com/LeedsStudentTelevision/videos/demob-happy-interview/1049435099034023/	en	After recording at the legendary Abbey Road Studios last year and with a new album around the corner, Demob Happy are an act to watch out for! Back at...	https://scontent.xx.fbcd…aRmg&oe=66C0E305	https://scontent.xx.fbcd…aRmg&oe=66C0E305	[]	[]	[]	[ "" ]	null	[]	null	After recording at the legendary Abbey Road Studios last year and with a new album around the corner, Demob Happy are an act to watch out for! Back at...	de	https://static.xx.fbcdn.net/rsrc.php/yT/r/aGT3gskzWBf.ico		https://www.facebook.com/LeedsStudentTelevision/videos/demob-happy-interview/1049435099034023/
3360	dbpedia	2	15	https://www.amazon.com/Demob-VHS-Griff-Rhys-Jones/dp/B00006BSD7	en	Amazon.com			[ "https://images-na.ssl-images-amazon.com/captcha/icyrpkip/Captcha_utowwotojy.jpg", "https://fls-na.amazon.com/1/oc-csi/1/OP/requestId=QCTJ7QVJASZXFB4KDXRY&js=0" ]	[]	[]	[ "" ]	null	[]	null		en			null	Enter the characters you see below Sorry, we just need to make sure you're not a robot. For best results, please make sure your browser is accepting cookies.
3360	dbpedia	1	2	https://graphsearch.epfl.ch/concept/11449377	en	Demob (TV series)	https://graphsearch.epfl…/favicon-228.png	https://graphsearch.epfl…/favicon-228.png	[ "https://graphsearch.epfl.ch/epfl-logo.svg", "https://cedelogger.epfl.ch//matomo.php?idsite=8&rec=1" ]	[]	[]	[ "" ]	null	[]	null	Demob was a short-lived British comedy-drama television series, which screened for one six-episode series in 1993; It was produced by Talkback Productions in association with Yorkshire Television for ITV.	en	/favicons/favicon-228.png		https://graphsearch.epfl.ch/concept/11449377	Are you an EPFL student looking for a semester project? Work with us on data science and visualisation projects, and deploy your project as an app on top of GraphSearch. Learn more about Graph Apps. Demob was a short-lived British comedy-drama television series, which screened for one six-episode series in 1993; It was produced by Talkback Productions in association with Yorkshire Television for ITV. The series was set in the late 1940s and early 1950s, and starred Martin Clunes and Griff Rhys Jones as two ex-army friends who decide to try to form an entertainment act, with the aim of getting work on BBC radio. The series also starred Samantha Janus, Amanda Redman and Les Dawson, Dawson posthumously. The series follows the ups and downs of two World War II veterans who decide to form a comedy duo after returning home to England. They experience various personal and professional problems as they strive for success. Ian Deasey (Griff Rhys Jones): A cheerful ex-soldier who struggles to adjust to his dull pre-war life and decides to become a comedy team with his army pal, Dick Dobson. Ian is known for singing humorous songs. Dick Dobson (Martin Clunes): An irresponsible ex-soldier who always gets into scrapes and has to be rescued by Ian. He is an excellent piano player and forms one half of the comedy duo Dobson and Deasey. Janet Deasey (Amanda Redman): Ian's beautiful wife who grows dissatisfied with her husband's desire to become a comedian and begins an affair to stave off boredom. Hedda Kennedy (Samantha Janus): A beautiful dancer, who is desperately searching for her American husband, believed to be missing in action. She works in various establishments of Rudy Lorimer's as a singer and dancer. She later becomes a film actress. She is good friends with Ian and Dick and lives next door to their London rooms. Moreton Stanley (Les Dawson): A corpulent short-tempered comic who makes improper advances to Hedda. Rudy Lorimer (James Faulkner): A disreputable businessman who continually ensnares Dick in his shady business ventures. Lorimer is an alias; his real name is not known. Alan Deasey (Luke Marcel): Ian and Janet's only child, he is a perceptive, sensitive boy vulnerable to teasing.
3360	dbpedia	2	8	https://www.tvguide.com/tvshows/demob/episodes-season-1/1030269349/	en	Watch Demob Online	https://www.tvguide.com/…g/share_logo.png	https://www.tvguide.com/…g/share_logo.png	[]	[]	[]	[ "" ]	null	[]	null	Looking to watch Demob? Find out where to watch Demob from Season 1 at TV Guide	en	/favicon.ico	TVGuide.com	https://www.tvguide.com/tvshows/demob/episodes-season-1/1030269349/	1993-1993 1 Season ITV Drama, Comedy Watchlist Where to Watch A six-part British series about two singing-and-joking demobilized servicemen who take their act home after World War II. Episode 1 Episode 1 Fri, Oct 15, 1993 60 mins Two singing former servicemen (Griff Rhys Jones, Martin Clunes) take their act to the home front when they're demobilized after World War II. Part 1 of six. Janet: Amanda Redman. Alan: Luke Marcel. Lorimer: James Faulkner. Palliser: Dennis Blanch. Hedda: Samantha Janus. Where to Watch Episode 2 Episode 2 Fri, Oct 22, 1993 60 mins Ian (Griff Rhys Jones) becomes a full-time singer when he loses his job at the Borough Council; and Dick (Martin Clunes) married a "hostess" at the club. Part 2 of six. Hedda: Samantha Janus. Janet: Amanda Redman. Lorimer: James Faulkner. Where to Watch Episode 3 Episode 3 Fri, Oct 29, 1993 60 mins Ian and Dick take their act to Liverpool, where they meet with a decidedly cool reaction. Part 3 of six. Griff Rhys Jones, Martin Clunes. Morton Stanley: Les Dawson. Mrs. Stanley: Pat Keen. Mrs. O'Callaghan: Barbara Ashcroft. Hedda: Samantha Janus. Dr. Pollock: Harry Burton. Where to Watch Episode 4 Episode 4 Fri, Nov 5, 1993 60 mins Ian (Griff Rhys Jones) returns home, and finds himself in the doghouse; Dick (Martin Clunes) helps Lorimer (James Faulkner) turn an Army base into a resort. Part 4 of six. Alan: Luke Marcel. Janet: Amanda Redman. Hedda: Samantha Janus. Where to Watch Episode 5 Episode 5 Fri, Nov 12, 1993 60 mins Ian moves in with Dick---and the two move up in the show-business world when a producer sees them perform. Part 5 of six. Griff Rhys Jones, Martin Clunes. Oliver Lee: Don Gilet. Komical Keith Koster: Jeremy Child. Alan: Luke Marcel. Hedda: Samantha Janus. Where to Watch
3360	dbpedia	1	3	https://www.imdb.com/title/tt7770060/	en	Demob Happy: How TV Conquered Britain (TV Movie 2007)	https://m.media-amazon.c…Mjpg_UX1000_.jpg	https://m.media-amazon.c…Mjpg_UX1000_.jpg	[ "https://fls-na.amazon.com/1/batch/1/OP/A1EVAM02EL8SFB:134-0511132-9877724:R7NQ3XBZSE4FK8VBDC3X$uedata=s:%2Fuedata%2Fuedata%3Fstaticb%26id%3DR7NQ3XBZSE4FK8VBDC3X:0", "https://m.media-amazon.com/images/M/MV5BY2NiNGNhNWQtMDhkZi00NDM1LWEzNjYtZTdjMmM0NTNjYzIxXkEyXkFqcGdeQXVyMTY2NTEyMTY@._V1_QL75_UY281_CR155,0,190,281_.jpg", "https://m.media-amazon.com/images/M/MV5BMjMwODQyODk4Nl5BMl5BanBnXkFtZTgwNDEyNjY3NzM@._V1_QL75_UX140_CR0,12,140,140_.jpg", "https://m.media-amazon.com/images/M/MV5BZDI1OGE4NjgtNTg1MS00MzFlLTkwZTgtYjgxZDc0ZDBjZjY4XkEyXkFqcGdeQXVyMTUyMjU0OTY1._V1_QL75_UX140_CR0,0,140,140_.jpg", "https://m.media-amazon.com/images/M/MV5BNjY5NzU4NTM3Nl5BMl5BanBnXkFtZTgwNzQyNjA0NjM@._V1_QL75_UX140_CR0,10,140,140_.jpg", "https://m.media-amazon.com/images/M/MV5BY2NiNGNhNWQtMDhkZi00NDM1LWEzNjYtZTdjMmM0NTNjYzIxXkEyXkFqcGdeQXVyMTY2NTEyMTY@._V1_QL75_UY133_CR73,0,90,133_.jpg", "https://m.media-amazon.com/images/G/01/IMDb/Mobile/DesktopQRCode-png.png", "https://fls-na.amazon.com/1/batch/1/OP/A1EVAM02EL8SFB:134-0511132-9877724:R7NQ3XBZSE4FK8VBDC3X$uedata=s:%2Fuedata%2Fuedata%3Fnoscript%26id%3DR7NQ3XBZSE4FK8VBDC3X:0" ]	[]	[]	[ "Reviews", "Showtimes", "DVDs", "Photos", "User Ratings", "Synopsis", "Trailers", "Credits" ]	null	[]	2007-12-12T00:00:00	Demob Happy: How TV Conquered Britain: With David Attenborough, Barry Cryer, Denis Norden. A documentary on British broadcasting following World War II. Radio output had been genteel and sedate, in the music hall tradition, but after 1945, a new generation of producers, writers and performers emerged.	en	https://m.media-amazon.c…B1582158068_.png	IMDb	https://www.imdb.com/title/tt7770060/	A documentary on British broadcasting following World War II. Radio output had been genteel and sedate, in the music hall tradition, but after 1945, a new generation of producers, writers an... Read allA documentary on British broadcasting following World War II. Radio output had been genteel and sedate, in the music hall tradition, but after 1945, a new generation of producers, writers and performers emerged.A documentary on British broadcasting following World War II. Radio output had been genteel and sedate, in the music hall tradition, but after 1945, a new generation of producers, writers and performers emerged.
3360	dbpedia	1	16	https://www.pressreader.com/uk/bbc-history-magazine/20211028/281981790784172	en	Zeitungen aus der ganzen Welt			[]	[]	[]	[ "" ]	null	[]	null	Digital newsstand featuring 7000+ of the world’s most popular newspapers & magazines. Enjoy unlimited reading on up to 5 devices with 7-day free trial.	de	https://r.prcdn.co/res/de-de/g3416/t461201402/2/images/favicon.ico		null
3360	dbpedia	2	14	https://www.walmart.com/ip/DEMOB/36587603	en	Robot or human?			[]	[]	[]	[ "" ]	null	[]	null		en			null	Activate and hold the button to confirm that you’re human. Thank You!
3360	dbpedia	1	94	https://academic.oup.com/qje/article-abstract/58/1/91/1911493	en				[]	[]	[]	[ "" ]	null	[]	null					null
3360	dbpedia	2	4	https://www.amazon.com/Demob-Season-1/dp/B004YSF9GO	en	Amazon.com			[ "https://images-na.ssl-images-amazon.com/captcha/xzqdsmvh/Captcha_spzhiklnrw.jpg", "https://fls-na.amazon.com/1/oc-csi/1/OP/requestId=CFXKWD4HAS96CQMMG18Z&js=0" ]	[]	[]	[ "" ]	null	[]	null		en			null	Enter the characters you see below Sorry, we just need to make sure you're not a robot. For best results, please make sure your browser is accepting cookies.
3360	dbpedia	0	17	https://celebrity.fandom.com/wiki/Samantha_Womack	en	Samantha Womack	https://static.wikia.nocookie.net/celebrity/images/0/02/SamanthaWomack.jpg/revision/latest?cb=20140422034936	https://static.wikia.nocookie.net/celebrity/images/0/02/SamanthaWomack.jpg/revision/latest?cb=20140422034936	[ "https://static.wikia.nocookie.net/celebrity/images/0/02/SamanthaWomack.jpg/revision/latest/scale-to-width-down/180?cb=20140422034936", "https://static.wikia.nocookie.net/celebrity/images/e/e6/Chris_Korn_and_Sam_Womack%27s_Smash_and_Stab_Trick_-_The_Magicians_-_BBC_One/revision/latest/scale-to-width-down/250?cb=20160403142108", "https://static.wikia.nocookie.net/ff185fe4-8356-4b6b-ad48-621b95a82a1d", "https://static.wikia.nocookie.net/f3fc9271-3d5e-4c73-9afc-e6a9f6154ff1", "https://static.wikia.nocookie.net/464fc70a-5090-490b-b47e-0759e89c263f", "https://static.wikia.nocookie.net/f7bb9d33-4f9a-4faa-88fe-2a0bd8138668" ]	[]	[]	[ "" ]	null	[ "Contributors to Celebrity Wiki" ]	2024-08-14T13:00:00+00:00	Samantha Zoe Womack[1] (née Janus; born 2 November 1972) is an English actress, singer and director, both on television and stage. In recent years she has been best known for playing the role of Ronnie Branning in EastEnders, but made her name in the early 1990s as Mandy Wilkins in Game On, and...	en	/skins-ucp/mw139/common/favicon.ico	Celebrity Wiki	https://celebrity.fandom.com/wiki/Samantha_Womack	Samantha Zoe Womack[1] (née Janus; born 2 November 1972) is an English actress, singer and director, both on television and stage. In recent years she has been best known for playing the role of Ronnie Branning in EastEnders, but made her name in the early 1990s as Mandy Wilkins in Game On, and also represented the United Kingdom in the Eurovision Song Contest 1991. She is currently the star of the award winning show South Pacific (musical), touring the UK with the cast and gaining the most impressive reviews of her career so far. Samantha is patron to Expressions Performing Arts in Mansfield, Nottinghamshire. Early life[] Janus was born in Brighton. Her father Noel left the family when she was three, and soon after her mother Diane married a doctor and the family moved to Edinburgh. She has a younger sister, Zoe. Janus lived on the QE2 with her grandmother for a short time. On 23 August 2009, her 60-year-old estranged father was found hanged in the bathroom of his council flat in Brighton,[2] where he lived alone.[3] It is believed he committed suicide.[4] Aged fifteen she left home as a self-confessed wild child for a life in squats, drinking, smoking and taking drugs. She eventually turned her life around and attended the Sylvia Young Theatre School in London.[5] Womack is the niece of Angie Best, a former wife of George Best.[6] Her cousin is Calum Best, son of Angie and George. Career[] The actress first came to prominence in March 1991, when still only 18, when she won the annual A Song for Europe competition to represent the United Kingdom in the Eurovision Song Contest.[7] She finished joint tenth[8] and the song, "A Message to Your Heart", peaked at number 30 on the UK Singles Chart.[9] Womack developed her first love of acting, appearing in episodes of The Bill and Press Gang; in 1993 she appeared in Demob alongside Griff Rhys Jones and Martin Clunes; and took to the West End stage, replacing Debbie Gibson as Sandy in Grease. From 1994 to 1998 Womack played Mandy in the popular BBC Two sitcom Game On alongside Ben Chaplin (later replaced by Neil Stuke). She remained on the show until it was decommissioned in 1998. In between series of Game On, she had a part in the BBC One drama Pie in the Sky from 1995 until 1996. Womack then starred in the pilot for The Grimleys with Jack Dee, and the movie Up 'n' Under with Neil Morrissey. In 1998 she starred in the ITV1 series Liverpool 1 alongside her future husband Mark Womack. She then returned to comedy in the ITV sitcom Babes in the Wood. Co-starring another Sylvia Young Theatre School student, Denise van Outen, it was critically panned despite respectable ratings, and Womack left after the first series. In 1999 she starred as Cinderella in the ITV Christmas pantomime, with Harry Hill, Alexander Armstrong, Frank Skinner, Paul Merton, Ronnie Corbett and many more. In 2002 she returned to TV screens in the BBC One drama Strange and after that series ended in 2003, she has had roles in the films The Baby Juice Express and Dead Man's Cards. In 2005, she directed an anti-bullying music video for Liverpool band Just 3, entitled Stand Tall. The video starred Liverpool FC footballer Jamie Carragher and herself. The video was heavily backed by Childline ambassador Esther Rantzen. A popular choice for photo shoots in men's magazines such as FHM, she came 21st in the FHM 100 Sexiest Women in the World 1998 poll and 41st in the same listing in 1999. In 2006, she starred in the BBC One comedy Home Again as Ingrid, and as Miss Adelaide in the West End production of the musical Guys and Dolls at London's Piccadilly Theatre, initially alongside Patrick Swayze and then Miami Vice star Don Johnson. She reprised the role at the Sunderland Empire alongside Alex Ferns in 2007. On 11 May 2007, it was announced that she would be joining EastEnders as Ronnie Mitchell, a cousin of the Mitchell brothers.[10] She had previously appeared in the soap in a minor role as a girlfriend of Simon Wicks.[11] In January 2011, The Sun reported that Womack had resigned from EastEnders.[12] Since appearing on EastEnders, she has made regular television appearances, including Friday Night with Jonathan Ross, The Paul O'Grady Show, Richard & Judy and Loose Women. In November 2007, she sang along EastEnders co-stars in the 2007 Children in Need charity appeal. In January 2011, she made a guest appearance on the BBC TV magic show The Magicians as the celebrity partner to magician Chris Korn. She performed a dangerous trick called Smash and Stab, in which a spike is hidden under paper cups that the magician then crushes with their hand. For her "celebrity's choice" live trick, she chose being sawn in half by Korn in a version of the illusion called Clearly Impossible. In March 2011, she appeared with Lenny Henry, Angela Rippon and Reggie Yates in the BBC fundraising documentary for Comic Relief called Famous, Rich and in the Slums, where the four celebrities were sent to Kibera in Kenya, Africa's largest slum.[13] In 2011 Womack played the leading role Ensign Nellie Forbush, a U.S. Navy nurse from Little Rock, Arkansas, in the Lincoln Center production of Rodgers and Hammerstein's musical South Pacific at the Barbican Theatre in London.[14] In November 2011, it was reported that Womack was in the running, alongside Dannii Minogue to become a judge on the 2012 series of Britain's Got Talent. However, it was later confirmed that the judging panel for series six would be Simon Cowell, Alesha Dixon, Amanda Holden and David Walliams. Awards[] Her portrayal of Ronnie Mitchell won her Best Newcomer at the Digital Spy Soap Awards along with Best Onscreen Partnership for her character partnership with Roxy Mitchell played by Rita Simons. She was nominated for Best Actress for the 2009 Soap Awards and she was nominated for 'Sexiest Female' for the 2010 Soap Awards and is currently in the nominations for Best Soap Actress for 'Inside Soap' Magazine Awards. Personal life[] Janus married Italian Junfan Mantovani in 1997 after a long relationship. The relationship broke down and the couple divorced in 1998.[15] She then starred in Liverpool 1, and started a relationship with Mark Womack while she was still married to Junfan. They married on 16 May 2009[16] and have two children (both born in Westminster, London):[17] son Benjamin Thomas Womack (born February 2001) (after having him Janus took two years off to enjoy motherhood) and their daughter Lily-Rose Womack (born April 2005), while Mark has another son from a previous marriage, Michael Womack.[18][19] Womack has stated that she would like more children but her husband is not so keen.[20] In 2009, Janus took her husband's surname of Womack and began to use it professionally in her role on EastEnders.[21] Womack and her husband are best friends of Scott Maslen and his wife Estelle Rubio. They have known each other since they were teenagers. Maslen is godfather to Womack's two children (and she is godmother to Maslen's son, Zak) and they often go on holiday together with their children, which Womack revealed during an appearance on Friday Night with Jonathan Ross in January 2008.Template:Citation needed Womack is also best friends with co-star Rita Simons, who plays her sister Roxy Mitchell.[22] In the autumn of 2007, Maslen joined the cast of EastEnders as the character Jack Branning, the brother of Max Branning, who quickly takes a shine to Ronnie. This was something that both Maslen and Womack were initially uncomfortable with when they read it in the scripts, Maslen commenting in various interviews that having to kiss Womack was like having to kiss his sister.[18][23] The characters have since married, and had a baby (James Branning) who died of cot death on New Year's Eve 2010, sparking a controversial storyline. In April 2008, several future scenes featuring Ronnie had to be scrapped after Womack broke her shoulder when she tripped and fell down the stairs at her home while rushing to get ready for work. Filmography[] Year Title Role 2007 EastEnders Ronnie Mitchell (2007–2011) Wild at Heart Tessa 2006 Dead Man's Cards Kris Where the Heart Is Marla Home Again Ingrid 2005 The Afternoon Play Emma Priestley 2004 The Baby Juice Express Trixie Short Tall Woman 2003 Strange Jude Atkins Undercover Sex Jake 2002 Judge John Deed Mel Powell Strange Jude Atkins 2000 Cinderella Cinderella Pantomime 1998 Babes in the Wood Ruth Froud Liverpool 1 DC Isobel de Pauli Imogen's Face Imogen Breeders Louise Up 'n' Under Hazel Scott Pie in the Sky Nicola 1997 The Grimleys Geraldine Titley 1995–1998 Game On Mandy Wilkins 1994 Minder Marian 1993 Health and Efficiency Charmaine Demob Hedda 1992 The Bill Annie Carlisle 1991 Press Gang Waitress El C.I.D. Waitress A Murder of Quality Alice Lawry 1990 Spatz Toni Jekyll & Hyde Young Maid (Margaret) Discography[] May 1991 "A Message to Your Heart" / "Heaven is a Place for Heroes" (Hollywood Records), UK Singles Chart #30[24] References[] []
3360	dbpedia	2	18	https://www.themoviedb.org/tv/58413-demob/translations	en	Demob	https://media.themoviedb…Np3pu73545bw.jpg	https://media.themoviedb…Np3pu73545bw.jpg	[ "https://www.themoviedb.org/assets/2/v4/logos/v2/blue_short-8e7b30f73a4020692ccca9c88bafe5dcb6f8a62a4c6bc55cd9ba82bb2cd95f6c.svg", "https://media.themoviedb.org/t/p/w58_and_h87_face/t8SiYUg8mNc6yvVNp3pu73545bw.jpg", "https://www.themoviedb.org/assets/2/v4/logos/v2/blue_square_2-d537fb228cf3ded904ef09b136fe3fec72548ebc1fea3fbbd1ad9e36364db38b.svg" ]	[]	[]	[ "Movies", "TV Shows", "Streaming", "Reviews", "API", "Actors", "Actresses", "Photos", "User Ratings", "Synopsis", "Trailers", "Teasers", "Credits", "Cast" ]	null	[]	null	Demob was a short-lived British comedy-drama television series, which screened for one six-episode series in 1993 on ITV. The series was set in the late 1940s and early 1950s, and starred Martin Clunes and Griff Rhys Jones as two ex-army friends who decide to try to form an entertainment act, with the aim of getting work on BBC radio. The series also starred Samantha Womack, Amanda Redman and Les Dawson.	de	/assets/2/apple-touch-icon-57ed4b3b0450fd5e9a0c20f34e814b82adaa1085c79bdde2f00ca8787b63d2c4.png	The Movie Database	https://www.themoviedb.org/tv/58413-demob/translations	Demob was a short-lived British comedy-drama television series, which screened for one six-episode series in 1993 on ITV. The series was set in the late 1940s and early 1950s, and starred Martin Clunes and Griff Rhys Jones as two ex-army friends who decide to try to form an entertainment act, with the aim of getting work on BBC radio. The series also starred Samantha Womack, Amanda Redman and Les Dawson. Demob foi uma série de televisão britânica de comédia dramática de curta duração, que foi exibida para uma série de seis episódios em 1993 na ITV. A série foi ambientada no final dos anos 1940 e início dos anos 1950, e estrelou Martin Clunes e Griff Rhys Jones como dois ex-amigos do exército que decidem tentar formar uma banda de entretenimento, com o objetivo de conseguir trabalho na rádio BBC. A série também estrelou Samantha Womack, Amanda Redman e Les Dawson.
3360	dbpedia	1	36	https://academic.oup.com/book/8180/chapter/153716125	en				[]	[]	[]	[ "" ]	null	[]	null					null
3360	dbpedia	0	6	https://www.amazon.co.uk/Demob-3pc-DVD-US-NTSC/dp/B00006BSDK	en	Demob (3pc) [DVD] [US Import] [NTSC]: Amazon.co.uk: Amanda Redman, Samantha Womack, Tilly Blackwood, Griff Rhys Jones, Martin Clunes, Les Dawson, James Faulkner, Simon Williams, Liz Fraser, Paul Wimse	https://m.media-amazon.c…CB600084585_.png		[ "https://fls-eu.amazon.co.uk/1/batch/1/OP/A1F83G8C2ARO7P:258-7647031-4093016:CWF9VJ0E2C8GKW6B3VCC$uedata=s:%2Frd%2Fuedata%3Fstaticb%26id%3DCWF9VJ0E2C8GKW6B3VCC:0", "https://m.media-amazon.com/images/G/02/gno/sprites/nav-sprite-global-1x-reorg-privacy._CB600084585_.png", "https://m.media-amazon.com/images/I/51EBTSSZA5L.__AC_SX300_SY300_QL70_ML2_.jpg", "https://m.media-amazon.com/images/I/51EBTSSZA5L._AC_SR38,50_.jpg", "https://images-na.ssl-images-amazon.com/images/G/01/x-locale/common/transparent-pixel._V192234675_.gif", "https://images-na.ssl-images-amazon.com/images/G/01/x-locale/common/grey-pixel.gif", "https://images-na.ssl-images-amazon.com/images/G/01/x-locale/common/grey-pixel.gif", "https://images-eu.ssl-images-amazon.com/images/S/amazon-avatars-global/default._CR0,0,1024,1024_SX48_.png", "https://images-na.ssl-images-amazon.com/images/G/01/x-locale/common/grey-pixel.gif", "https://images-eu.ssl-images-amazon.com/images/S/amazon-avatars-global/default._CR0,0,1024,1024_SX48_.png", "https://images-na.ssl-images-amazon.com/images/G/01/x-locale/common/grey-pixel.gif", "https://images-eu.ssl-images-amazon.com/images/S/amazon-avatars-global/default._CR0,0,1024,1024_SX48_.png", "https://images-na.ssl-images-amazon.com/images/G/01/x-locale/common/grey-pixel.gif", "https://images-eu.ssl-images-amazon.com/images/S/amazon-avatars-global/default._CR0,0,1024,1024_SX48_.png", "https://images-na.ssl-images-amazon.com/images/G/01/x-locale/common/grey-pixel.gif", "https://images-eu.ssl-images-amazon.com/images/S/amazon-avatars-global/default._CR0,0,1024,1024_SX48_.png", "https://images-na.ssl-images-amazon.com/images/G/01/x-locale/common/grey-pixel.gif", "https://images-eu.ssl-images-amazon.com/images/S/amazon-avatars/default._CR0,0,1024,1024_SX48_.png", "https://images-na.ssl-images-amazon.com/images/G/01/x-locale/common/grey-pixel.gif", "https://images-eu.ssl-images-amazon.com/images/S/amazon-avatars-global/default._CR0,0,1024,1024_SX48_.png", "https://images-na.ssl-images-amazon.com/images/G/01/x-locale/common/grey-pixel.gif", "https://images-na.ssl-images-amazon.com/images/S/amazon-avatars-global/default._CR0,0,1024,1024_SX48_.png", "https://images-na.ssl-images-amazon.com/images/G/01/x-locale/common/grey-pixel.gif", "https://images-na.ssl-images-amazon.com/images/S/amazon-avatars-global/default._CR0,0,1024,1024_SX48_.png", "https://images-na.ssl-images-amazon.com/images/G/01/x-locale/common/grey-pixel.gif", "https://images-na.ssl-images-amazon.com/images/S/amazon-avatars-global/default._CR0,0,1024,1024_SX48_.png", "https://images-na.ssl-images-amazon.com/images/G/01/x-locale/common/grey-pixel.gif", "https://images-na.ssl-images-amazon.com/images/S/amazon-avatars-global/default._CR0,0,1024,1024_SX48_.png", "https://images-na.ssl-images-amazon.com/images/G/01/x-locale/common/grey-pixel.gif", "https://images-na.ssl-images-amazon.com/images/S/amazon-avatars-global/default._CR0,0,1024,1024_SX48_.png", "https://m.media-amazon.com/images/G/02/personalization/ybh/loading-4x-gray._CB485916908_.gif", "https://fls-eu.amazon.co.uk/1/batch/1/OP/A1F83G8C2ARO7P:258-7647031-4093016:CWF9VJ0E2C8GKW6B3VCC$uedata=s:%2Frd%2Fuedata%3Fnoscript%26id%3DCWF9VJ0E2C8GKW6B3VCC:0" ]	[]	[]	[ "" ]	null	[]	null	Buy Demob (3pc) [DVD] [US Import] [NTSC] from Amazon's DVD & Blu-ray TV Store. Everyday low prices and free delivery on eligible orders.	en			https://www.amazon.co.uk/Demob-3pc-DVD-US-NTSC/dp/B00006BSDK	Select your cookie preferences We use cookies and similar tools that are necessary to enable you to make purchases, to enhance your shopping experiences and to provide our services, as detailed in our Cookie notice. We also use these cookies to understand how customers use our services (for example, by measuring site visits) so we can make improvements.
3360	dbpedia	2	34	https://www.ranker.com/list/best-shows-set-in-the-50s/ranker-tv%3Fpage%3D2	en	The 65 Best TV Shows Set In The '50s, Ranked	https://imgix.ranker.com/list_img_v2/7325/2727325/original/best-shows-set-in-the-50s	https://imgix.ranker.com/list_img_v2/7325/2727325/original/best-shows-set-in-the-50s	[ "https://sb.scorecardresearch.com/p?c1=2&c2=10600724&cv=3.6&cj=1", "https://static.ranker.com/img/brand/ranker-logo.svg?v=1&auto=format&q=60&fit=crop&fm=png&dpr=2&w=104", "https://static.ranker.com/img/brand/wordmark.svg?v=1&auto=format&q=60&fit=crop&fm=png&dpr=2&w=210", "https://imgix.ranker.com/img/brand/20/header/logo.png?fit=fill&fm=png&q=60&dpr=2&w=75&h=56?v=16", "https://imgix.ranker.com/img/icons/menuSearch.svg?v=2&auto=format&q=60&fit=crop&fm=png&dpr=4&h=30&w=30", "https://imgix.ranker.com/img/icons/vote-on-pill.svg?auto=format&q=60&fit=crop&fm=png&dpr=4&h=24&w=105", "https://imgix.ranker.com/list_img_v2/7325/2727325/original/best-shows-set-in-the-50s?auto=format&q=50&fit=crop&fm=pjpg&dpr=2&crop=faces&h=418.848167539267&w=800", "https://imgix.ranker.com/user_img/303/1514796/original/ranker-tv-u3?auto=format&q=60&fit=crop&fm=pjpg&dpr=2&crop=faces&h=40&w=40", "https://imgix.ranker.com/img/icons/rankedByCaret.svg?v=5&auto=format&q=60&fit=crop&fm=png&dpr=4&h=8.852&w=6.898", "https://imgix.ranker.com/img/icons/chevronExpand.svg?auto=format&q=60&fit=crop&fm=png&dpr=4&h=13&w=71", "https://imgix.ranker.com/user_node_img/4269/85371504/original/85371504-photo-u1832474675?auto=format&q=60&fit=crop&fm=pjpg&dpr=2&crop=faces&h=150&w=150", "https://imgix.ranker.com/img/icons/voteUp.svg?auto=format&q=60&fit=crop&fm=png&dpr=4&h=44&w=44", "https://imgix.ranker.com/img/icons/voteDown.svg?auto=format&q=60&fit=crop&fm=png&dpr=4&h=44&w=44", "https://imgix.ranker.com/img/icons/titleChevronRight.svg?auto=format&q=60&fit=crop&fm=png&dpr=4&h=11&w=11", "https://imgix.ranker.com/user_node_img/57/1127796/original/1127796-photo-u-250834533?auto=format&q=60&fit=crop&fm=pjpg&dpr=2&crop=faces&h=150&w=150", "https://imgix.ranker.com/img/icons/voteUp.svg?auto=format&q=60&fit=crop&fm=png&dpr=4&h=44&w=44", "https://imgix.ranker.com/img/icons/voteDown.svg?auto=format&q=60&fit=crop&fm=png&dpr=4&h=44&w=44", "https://imgix.ranker.com/user_node_img/3171/63401636/original/63401636-photo-u1744017227?auto=format&q=60&fit=crop&fm=pjpg&dpr=2&crop=faces&h=150&w=150", "https://imgix.ranker.com/img/icons/voteUp.svg?auto=format&q=60&fit=crop&fm=png&dpr=4&h=44&w=44", "https://imgix.ranker.com/img/icons/voteDown.svg?auto=format&q=60&fit=crop&fm=png&dpr=4&h=44&w=44", "https://imgix.ranker.com/img/icons/titleChevronRight.svg?auto=format&q=60&fit=crop&fm=png&dpr=4&h=11&w=11", "https://imgix.ranker.com/user_node_img/4270/85381257/original/85381257-photo-u1834372081?auto=format&q=60&fit=crop&fm=pjpg&dpr=2&crop=faces&h=150&w=150", "https://imgix.ranker.com/img/icons/voteUp.svg?auto=format&q=60&fit=crop&fm=png&dpr=4&h=44&w=44", "https://imgix.ranker.com/img/icons/voteDown.svg?auto=format&q=60&fit=crop&fm=png&dpr=4&h=44&w=44", "https://imgix.ranker.com/img/icons/titleChevronRight.svg?auto=format&q=60&fit=crop&fm=png&dpr=4&h=11&w=11", "https://imgix.ranker.com/user_node_img/71/1419462/original/1419462-photo-u306650117?auto=format&q=60&fit=crop&fm=pjpg&dpr=2&crop=faces&h=150&w=150", "https://imgix.ranker.com/img/icons/voteUp.svg?auto=format&q=60&fit=crop&fm=png&dpr=4&h=44&w=44", "https://imgix.ranker.com/img/icons/voteDown.svg?auto=format&q=60&fit=crop&fm=png&dpr=4&h=44&w=44", "https://imgix.ranker.com/img/icons/titleChevronRight.svg?auto=format&q=60&fit=crop&fm=png&dpr=4&h=11&w=11", "https://imgix.ranker.com/user_node_img/83/1640368/original/1640368-photo-u-1184793367?auto=format&q=60&fit=crop&fm=pjpg&dpr=2&crop=faces&h=150&w=150", "https://imgix.ranker.com/img/icons/voteUp.svg?auto=format&q=60&fit=crop&fm=png&dpr=4&h=44&w=44", "https://imgix.ranker.com/img/icons/voteDown.svg?auto=format&q=60&fit=crop&fm=png&dpr=4&h=44&w=44", "https://imgix.ranker.com/img/icons/titleChevronRight.svg?auto=format&q=60&fit=crop&fm=png&dpr=4&h=11&w=11", "https://v3api.ranker.com/api/px?lid=2727325" ]	[]	[]	[ "" ]	null	[ "Ranker TV" ]	2018-08-21T00:00:00	Over 500 TV viewers have voted on the 65 Best TV Shows Set In The '50s, Ranked. Current Top 3: The Marvelous Mrs. Maisel, Happy Days, Call The Midwife	en	/img/icons/touch-icon-iphone.png	Ranker	https://www.ranker.com/list/best-shows-set-in-the-50s/ranker-tv	The allure of television shows set in the 1950s captivates viewers with their nostalgic charm and compelling stories. Transporting audiences to a bygone era, these series expertly depict the social landscapes, fashion, and cultural milestones that defined the decade. As an ode to this golden age of television, a collection of such shows has been carefully curated, showcasing programs that brilliantly capture both the spirit and essence of life in the '50s. These exceptional 1950s shows offer visual feasts as they bring to life various themes, characters, ideologies, and narratives that resonated during this transformative period. From laugh-a-minute comedies to gripping dramas set against historical backdrops, each series masterfully portrays facets of life in post-WWII America and beyond. Whether it's exploring changing gender roles or delving into political intrigue, these shows encapsulate aspects of society's transformation while providing edge-of-your-seat entertainment. Among the standouts in this treasure trove of 1950s series are The Marvelous Mrs. Maisel, Happy Days, and The Queen's Gambit. The Emmy-winning comedy-drama The Marvelous Mrs. Maisel shines a spotlight on gender expectations through its protagonist's journey as a housewife turned trailblazing comedian. Meanwhile, Happy Days immerses viewers in an idyllic vision of suburban America during simpler times and offers feel-good moments that warm hearts even today. Finally, The Queen's Gambit mesmerizes with its tale of a young orphan girl who ascends to chess stardom amid Cold War tensions. These engrossing titles serve as prime examples of how some of the best shows set in the '50s have left indelible marks on popular culture. As we reflect on these outstanding productions that whisk us away to bygone days full of hope and possibility, we can't help but appreciate their timeless appeal and the numerous ways they have enriched our understanding of that era. The absorbing stories, endearing characters, and authentic portrayals of the 1950s found within these series serve as a testament to their enduring popularity. Indeed, such exceptional shows set in the '50s continue to resonate with viewers across generations and will undoubtedly remain an integral part of television's rich history.
3360	dbpedia	2	22	https://www.eskimo.com/~rkj/d.htm	en	British TV Show Reviews "D"			[]	[]	[]	[ "" ]	null	[]	null					null	A \| B \| C \| D \| E \| F \| G \| H \| I \| J \| K \| L \| M \| N \| O \| P \| Q \| R \| S \| T \| U \| V \| W \| X \| Y \| Z Previous List \| Back to Homepage \| Next List Dates refer to when review was written Da Ali G Show (11/01) Sacha Baron Cohen created "the voice of youth," Ali G, a Tommy Hilfinger-wearing semi-ethnic wannabe, originally for The 11 O'Clock Show and was so successful that Channel Four spun him off on his own comedy series. Ali's big claim to fame (at least until everyone in Britain got wise to it) was to interview members of the Establishment and make them look like fools with his moronic questions. It's amazing how many fell for it (I guess they don't watch late night telly on Four) although Ali has had to take his act on the road to America sometimes in order to find unsuspecting victims for his comic assaults (an assistant director for the FBI plays right into his hands with hilarious results). Studio guests including Mohammed Al-Fayed (owner of Harrods and defender of a notorious libel suit in Britain) turn up as well (presumably in on the joke). To his credit, after appearing in a Madonna video, Baron-Cohen has hung up his Ali G gear rather than beat a one-joke gimmick to death. But who will represent "Britain's youth" now? Dad (11/97) Like Keeping Mum, this sitcom is about adult children of parents who drive them mad, in this case Alan (Kevin McNally) whose short fuse is continually lit by the well-meaning but maddening George Cole. Not to mention Alan's teenage son who is already driving him crazy and you wonder how Alan ever managed to make it to middle age in one piece. Not brilliant, but Cole, as always, is impossible to hate. Dalziel and Pascoe (11/96) Three separate detective mysteries starring Warren Clarke (Moving Story, Sleepers) as annoying working class detective Dalziel (pronounced DEE-el) who along with his new partner, the Oxford educated Pascoe, get involved in movie-length cases each with its own milieu. The first, "A Clubbable Woman," is based at the Rugby Association Dalziel is a member, and involves murder, a scandal, and secrets. Pascoe is completely out of his depths here. But the shoe is on the other foot in the second story, "An Advancement of Learning," set in Oxford and involving Pascoe's fiance, where a body is discovered under a 20-year-old statue and more skeletons are uncloseted in the process. The final story, "An Autumn Shroud," has Dalziel end up by accident at the stately home of a recent widow where more mysterious activities rapidly turn up. These co-productions with A&E allegedly showed here with extra footage. In any event, they're worth checking out. (7/98) Two new feature-length mysteries based on the Reginald Hill books with the double act of working-class Yorkshireman Dalziel (Warren Clarke) and his partner, the Oxford educated Pascoe. In the first, "Under World," the body of a coal miner gone missing for years and thought responsible for a child-killing resurrects hidden secrets, as well as hidden passions for Pascoe's wife Ellie. In "Child's Play," we learn some new things about Detective Wield when a long-lost heir shows up setting off a family's scramble for the estate. (3/99) In new feature-lengthed movies, "Bones and Silence" the odd-couple team of midlands detectives get involved in case of adultery and murder, while dour DI Dalziel (Warren Clarke) is drafted to play God for a play by a visionary director (Josette Simon, looking like she just stepped off the set of Blake’s 7 17 years ago!). In "The Wood Beyond" flashbacks to Pascoe's grandfather in WWI are connected to a murder in contemporary times. Dancing On the Edge (3/13) Stephen Poliakoff wrote and directed this ambitious BBC mini-series set in 1930s London about the rise and fall of the Louis Lester Band, jazz musicians who eventually play for the Prince of Wales. Chiwetel Ejiofor stars as Louis, a British born bandleader who comes to the attention of music magazine writer Stanley (Matthew Goode) who promotes the band and eventually gets them an ongoing gig as permanent residents in the posh Imperial Hotel. At first their jazz music is not well-received by the establishment, but patrons (including Anthony Head and Jacqueline Bisset) who are eager to experience the next new thing help them open the right doors, meet the right people, and eventually even get on the staid old BBC. But Poliakoff also examines the racism of the era, though not as bad as America at the time, most of the characters (admittedly upper class) treat Louis and his band as equals, at least when everything is going well. But when the lead singer (Angel Coulby) is discovered dead and Louis suspects the young protege of mysterious American tycoon Masterson (John Goodman), things turn ugly and Louis isn't sure who, if anyone, is still his ally. Louis sometimes is a bit too paranoid for his own good, although based on his experiences, not entirely unjustified. The Dark Room (1/00) Dervla Kirwan (Ballykissangel) stars in this two-part BBC drama as an amnesiac accident victim who may have committed a double murder. Her manipulative father (Paul Freeman, the villain in "Raiders of the Lost Ark") tries to pull strings, but the police are hot on the trail and she is the chief suspect. Will her memory return in time to solve the mystery or is someone after her as well? The Darling Buds of May (3/93) Most of the urban young people I know in the UK hate this series because it represents the past, a simpler time, and they see it having no bearing on their current situation. Fair enough, but I quite enjoy it. The Larkin family are practically the Waltons incarnate, and it is jolly good to see people act nicely towards each other and have things turn out well. In a way it is almost an anti-soap opera: warm family values instead of characters forever doing dirt to each other as the tragedies pile on. Considering the huge popularity of soap operas in the UK, it is refreshing to see a drama take a much different approach - and be successful. Catherine Zeta-Jones began her career playing David Jason's daughter in this series. Dates (11/13) Channel 4 series about a series of first dates that at first go spectacularly wrong but then head off in an unexpected direction. It appears to be an anthology series with a different set of characters each week, but then old ones come back and we realize we're seeing one interconnected universe. The cast included Ben Chaplin, Will Mellor, Andrew Scott, Oona Chaplin, Greg McHugh, Gemma Chan and Sheridan Smith. The Day Britain Stopped (3/04) Chilling (and fortunately entirely fictional) documentary about a transportation disaster that begins as a chain reaction on the M25 motorway and ends with a mid-air collision between two jetliners over Heathrow. Done in riveting BBC style with interviews, reenactments, and actual "footage" that recreates the incident after the fact and looks for answers. The gist of the writer's message is Britain's transportation system is an interlocking mess and the conditions still exist for what he showed dramatically could still occur in real life. Daydream Believers (1/03) A clever pilot from Channel 4's "Comedy Lab" about a suburban hack sci-fi writer whose interactions with friends and neighbors become elements of the space epic he is working on, dramatized in hilarious low-budget glory using the same actors. Sadly this did not go to series but I'm hoping that creators David Mitchell and Robert Webb are given another shot with something equally amusing. Day Return To Space (3/00) To celebrate the 30th anniversary of the moon landing (and British TV did a lot more coverage in July 1999 than I saw here in the US), Channel 4 made a fascinating documentary about new rocket concepts that might be used in the next voyage to another world. Days Like These (9/99) ITV's remake of That 70s Show fails for so many reasons: for one thing, the experiences of teenagers in a small town in Wisconsin do not translate into Luton, England. Having a car is everything in Wisconsin where the nearest civilization is literally hundreds of miles away. But with London a mere train ride away from Luton, the teenage "car culture" doesn't really need to develop. And Eric Foreman's parents are played all wrong too. As Red in That 70s Show, Kurtwood Smith is the perfect terrorizing father figure, not so much for what he'll do physically but how he can cut you down to size just by calling you a "dumbass." But Trevor Cooper (Star Cops) in the same part can't bring the same moral authority (or call anybody a dumbass), which diminishes his impact. And Eric's mom (rather than Donna's) is played as an airhead. Even though the scripts are based on the American edition, this is like watching a road show version, with a cast that's not quite ready for prime time yet. ITV lost millions on this series and it was quickly pulled. The Day Today (5/94) A news parody that makes KYTV (see separate listing) seem sedate. Anything goes here and FOX would do well to imitate this series when their late-night news parody comes on later this year. Tremendous production values and graphics, and delivered completely with a straight face. DCI Banks (11/11) Stephen Tomkinson (Ballykissangel), usually cast as a dim-bulb, gets to play a hard man for a change, a Yorkshire police detective inspector solving grisly two-part mysteries in this ITV1 series. Essentially the series is Inspector Morse but set in the North, with a supporting cast of detectives and Banks' interactions with the suspects and his team. Based on the novels by Peter Robertson, the mysteries are nicely adapted by a broadcaster that is well experienced in these sorts of crime dramas. Dead Boss (10/12) Sharon Horgan co-wrote and stars in this series as Helen, a woman wrongly accused of murdering her boss and sent to a women's prison run by a wacky warden (Jennifer Saunders) in this BBC-3 comedy. The premise only sustains itself as long as the entire series is populated by dumb, selfish characters. Don't attempt to apply logic or real-world situations to anything that happens on screen. Told in a serialized format, in addition to prison life we see the machinations at Helen's old company as her co-workers scramble for power, her easily intimidated lawyer, and her sister who isn't especially bothered to work on freeing Helen. A number of big name guest stars turn up including Caroline Quentin and Miranda Richardson. Dead Man Weds (4/07) Johnny Vegas stars in this ITV sitcom as a lazy journalist at a small town rag who suddenly has to shape up when a new no-nonsense editor takes over. Conveniently a legitimate scandal appears in the making with a large American conglomerate up to no-good in town and our heroes hot on the story. The title of the series comes from Vegas' best-ever headline. Dead Ringers (3/03) Celebrity impersonations are the feature of this sketch comedy series that makes a leap from BBC radio. Most noteworthy is Jon Culshaw, a Tom Baker lookalike dressed like Doctor Who in a furniture store making life hell for unsuspecting salesmen (prank phone calls to celebrities as "The Doctor" was his trademark on the radio). Dead Set (3/10) TV critic Charlie Brooker devised this brilliant concept: What if zombies attacked the Big Brother house? And we're off! We get a quick glimpse of the behind-the-scenes personnel (including the fire-breathing producer) before all hell breaks loose and we are given a proper zombie movie with tons of gore, death and destruction. Eventually a few survivors hole up inside the Big Brother house (including a plucky production assistant), but the producer's eventual insistence on doing things his way or the highway spells disaster in this novel E4 mini-series. Death Comes To Pemberley (2/14) So do Elizabeth and Mr Darcy live happily ever after in Pemberley after the events of Jane Austin's "Pride and Prejudice"? Not in P.D. James' novel, or in this three-part BBC adaptation starring Anna Maxwell Martin as Lizzy (now a mum), Matthew Rhys as Darcy, Rebecca Front as Mrs Bennet and Jenna Coleman as airhead sister Lydia still married to scuzzy Wickham (Matthew Goode). A murder is committed one night and Wickham is the prime suspect. Darcy must help prove his innocence because apparently having a murderer for a brother-in-law would be social death. But it's up to plucky Elizabeth to save the day and solve the murder before Wickham hangs. Death In Paradise (11/11) A BBC-French TV co-production mystery drama set in Saint Marie, a Caribbean island that conveniently has a locked-door murder each week. Brought in to solve them is Detective Inspector Richard Poole (Ben Miller) from the Met, which sets up a classic fish-out-of-water interplay with the more laid-back members of the Saint Marie police force. Miller seems a bit miscast as a crack detective who has no clue about human relations, similar to his uptight character in Primeval. But it's an opportunity to cast many well-known black actors including Danny John-Jules, and with guest appearances by Patterson Joseph, Lenora Crichlow, and Don Warrington. ITV have been doing this genre for so long that you expect a particular style and when the BBC give it a shot, something just seems a bit off. Maybe it's Miller's casting, or the attempt to combine humor and murder, but for fans of whodunnits who enjoy beautiful scenery, you could do a lot worse. The Debt (5/04) Warren Clarke plays a reformed safecracker whose witless son-in-law (The Office's Martin Freeman) involves him with a gangster and "one more job." Of course it all goes south but what it fascinating is the movie mainly told in flashbacks that give incredible background and detail to the main characters, particularly the police detective so intent on busting Clarke for the crime. Ironically, Clarke once played The Locksmith on another BBC drama, so now you could say he's seen both sides of the biz. Dee Construction: The Simon Dee Story (7/04) Simon Dee was to British 1960s talk shows what Johnny Carson was in the U.S. Jumping from pirate Radio Caroline to the BBC, he quickly got his own series and was arguably one of the most famous people in Britain by the late 1960s (even appearing in the classic "The Italian Job" opposite Michael Caine). And then, when the BBC refused to give him a raise, he went over to David Frosts' rival London Weekend Television, bombed (particularly after an on air incident involving George Lazenby) and was off the air within a year, a pariah on TV for 33 years and a cautionary tale of those who succeed too quickly. Or was he? In this documentary presented by TV critic Victor Lewis-Smith, Dee's rise and fall is chronicled in the context of its time, as well as letting him participate in a round table discussion with various TV producers (including Rumpole creator John Mortimer). Needless to say, 33 year in exile has left Dee a little bit bitter, shall we say? and maybe a lot more paranoid (Lewis-Smith can't resist playing some of the ranting phone messages left by Dee as the show was being put together). Channel 4, which produced the show, even lets Dee back on air for one night only doing his old chat show, although the speed he goes through guests barely leaves any time for chat. The Deep (10/10) Remember the James Cameron movie "The Abyss" from 21 years ago? If you liked that, you'll like The Deep, an underwater BBC drama starring James Nesbitt and Minnie Driver as scientists. Tobias Menzies (Rome's Brutus) plays a mysterious military attache who takes charge to go on a recovery mission near thermal vents deep under the ocean. But Something Weird is going on. There are mysterious deaths, international conspiracies, and two characters are having an affair--something that comes a huge shock to rest of the crew but to nobody who has ever seen a drama before. BBC Wales produced this series which has pretty good special effects, although the inside of the submarine seems far too spacious with oddly nondescript corridors. Unlike the Cameron film the aliens are a no-show, but if you aren't interested in seeing pretty good actors trapped underwater for six episodes, maybe this isn't the series for you. Degrees of Error (3/96) First of two medical thrillers that ran this month. A female doctor takes a job in a testing lab and becomes aware of a conspiracy to cover up the possible side-effects of a popular drug. A fascinating, if fictional, look at how far the pharmaceutical industry will go to cover their ass when there is big money involved. Delta Wave (11/96) Children's SF adventure series (a kind of "Tomorrow People Lite") about two gifted children with psychic powers and the female University professor who takes care of them. A series of two-part adventures has the trio get into all sorts of trouble while traveling around the country in a mobile home. Juvenile but effective, with many familiar faces as guest stars: Graham Crowden, Nickolas Grace, Una Stubbs and Mac MacDonald to name a few. Demob (5/94) Griff Rhys-Jones and Martin Clunes star in this 6-part drama about two comedians struggling after the War (to "demob" is to be demobilized--discharged--from the Army in England). Touching and surprising, you really care about these guys and hope they can manage some kind of success. Dramatic and funny. Worth catching. Demolition Day (11/04) First we had Scrapheap Challenge (aka "Junkyard Wars") where teams competed to build stuff, now they have to create various items and then attempt to make them survive their opponent's demolition efforts using heavy machinery. The best part of these shows is the near the end as hydraulic hammers and caterpillar tractors wreak havoc on carefully constructed buildings. The Demon Headmaster (7/96) Children's drama about a sinister school administrator who has hypnotized his students into being obedient drones. When a gang of children thwart him, he sets his sights on a larger target: the Prime Minister. The kids get into so many dangerous stunts during each episode that a voice-over during the credits continually advises viewers not to try this at home. (1/97) The Demon Headmaster returns to again threaten the world, this time from a genetics research center, with only the kids from SPLAT able to stop him in this BBC Children's series. Dennis Potter--Terminal Cancer (7/94) An interview conducted with the late television playwright (The Singing Detective, Pennies From Heaven) only two months before he died of liver and pancreatic cancer on June 7th. Conducted in a TV studio by Melvyn Bragg, Potter is only able to keep going by drinking liquid morphine. He talks about his career and his final two plays which have yet to be produced: Karaoke and Cold Lazarus. Even though optioned to two different channels, he hopes they'll be shown consecutively. According to "Anglophile," a dispute between producer Kenith Trodd and director Renny Rye is holding up production of either. This fascinating look at one of the best writers ever in the medium is supposedly going to be shown here in America. Derek (6/12) Ricky Gervais starred in this one-off drama for Channel 4 (done in the usual style of a docudrama where he can play to the camera) as a mentally-challenged worker at an old folks home. Heeding the advice of Robert Downey Jr in "Tropic Thunder," Gervais does not go "full retard" in his portrayal, although I'd like to see him get away from the documentary format he favors on TV. Derren Brown (11/04) Derren is sort of the Amazing Kreskin of the 21st Century, doing hypnosis, mind-games, and various bits of deception on various members of the public (and we at home). He obviously has studied human behavior quite a bit, and knows someone pliable to suggestion when he sees them. The result is an entertaining Channel 4 series full of "how did he do that" moments, and tricks that rely on observation and people's habits. Derren Brown: Apocalypse (12/12) The illusionist really pulls the wool over an unsuspecting slacker in this two-part Channel 4 special by convincing him he's one of the few survivors during a zombie apocalypse. But it's not to prank him or make him look foolish, but rather inspiring him to develop skills (leadership, bravery, empathy) that will prove useful once the experiment is over. Derren Brown: Fear & Faith (12/12) In this two-part Channel 4 documentary, Brown first manages to persuade a huge group of people to overcome their phobias using a placebo and an elaborate fake medical company set up complete with doctors and scientists. Secondly, he finds a deliberately agnostic non-religious woman and in just 15 minutes is able to have her believe she's having a religious experience. He is the master of persuasion and fills the hour with examples of how human being's attempts to find patterns in randomness can lead to some thinking there's a divine hand involved. Skeptics should find much to rejoice here as usual. Derren Brown: The Great Art Robbery (2/14) Illusionist Brown had a pretty good year, getting a shout-out in "Day of the Doctor" and a cameo in Sherlock, and in this Channel 4 special he informs millionaire collector Ivan Massow exactly which painting of his he's going to steal at an exhibition, as well as the exact day and time. And then we see Brown do it, all under the watchful eyes of guards and security cameras. Derren Brown: Hero At 30,000 Feet (10/10) Brown broadcast live from an airplane hanger as he told us we were about to watch Matt, a young man, through a journey from bystander to take-charge hero in 30 days without really knowing he was the subject of the show. The way his introductions were staged, it appeared like events would be happening in real time, although if you thought about it afterwards, you'd realize that the events, including the climax must have been done several days earlier. Matt first is subjected to a fake hold-up at a gas station where actors hold a gun on him and threaten him. Hidden cameras follow his progress as we see his behavior begin to change. He breaks into a policeman's house after finding his wallet, but he also gives a life-changing talk to an actor playing a disgruntled delivery driver. He meets Derren for the first time but thinks he's just being considered for a game show he might be doing and ties Matt up in a straitjacket and leaves him on a railroad with an oncoming train approaching. Finally, fear-of-flying Matt is told he has to fly to Jersey to participate on the program, and in a plane full of actors, an emergency is staged and we find out whether Matt will stand up to help land the airplane. A lot of people like to call BS on all of Derren Brown's stunts, but either you believe what he says he's doing on screen or not. It certainly seems plausible that someone could be nudged ever so slightly to change their core behavior, particularly with the entire resources of a TV production company behind it. I think the suspense in these is really more about whether Brown will fail on nationwide TV rather than about whomever the subject of his program might be. Desperate Romantics (3/10) A romp through 19th Century art history and the loosely-adapted story of the Pre-Raphaelite Brotherhood, the angry young men who were shaking up the British art scene in the 1850s including Dante Gabriel Rossetti (Aiden Turner from Being Human), William Holman Hunt (Rafe Spall, Timothy's son), and John Everett Millais (Samuel Barnett). Based on the book by Franny Moyle, adapted by Peter Bowker, this is no stuffy BBC costume drama but a high-energy mix of sex, adultery, nudity and dirty language with a little art appreciation thrown in. If you liked Russell T. Davies version of Casanova, this series is very much in that vein. The Detectives (3/93) An expanded version of sketches which originally appeared on Jasper Carrott's variety, Carrott Confidential. Along with Robert Powell ("Jesus of Nazareth"), this spoof of cops shows works best when specificially parodying certain name brand series in the UK (including Bergerac with an appearance by John Nettles himself). On their own though, these two just aren't that funny, and the 25 minute episodes seem padded. Directed by Ed Nye who did early seasons of Red Dwarf. (5/94) Another series about the Met's worst coppers as played by comedian Jasper Carrott and Robert Powell. It would be much improved if they got rid of the awful laugh track. (7/95) Briggs and Louis (Robert Powell & Jasper Carrott) return in another series as bumbling coppers. Guest appearances this season include Michael Troughton as an aristocratic smuggler whom the detectives mistake for a flasher, and Richard O'Brien ("The Rocky Horror Picture Show") as "Dr. Phibes," a bizarre police coroner who assists our heroes on a case. (11/96) Returning for a fourth series, the Met's most incompetent coppers, Briggs and Louie, manage to botch their way through another six cases. The highlight for me was while trying to climb some stairs while hiding in a vaulting horse Briggs observes, "This is what buggered the Daleks you know." (3/98) The comedy series is wrapped up in this Christmas special that sends the boys (Jasper Carrott & Robert Powell) to Canada in search of their AWOL boss (George Sewell). Filmed on location with guest appearances by John Ratzenberger and Rory McGrath. The finale would seem to suggest this is the end, but with BBC comedies, who knows? Detectorists (12/14) Low-key but charming BBC4 comedy (one of the last original programs for that channel) written, starring and directed by Mackenzie Crook (The Office) as Andy, a sweet but unambitious metal "detectorist" (they are very particular about that word) who is usually found in a field with his best mate Lance (Toby Jones) slowly probing for lost artifacts. Amazingly, Andy has a girlfriend (Rachel Stirling) but maybe not for long when cute perky Sophie (Aimee-Ffion Edwards) turns up to help assist the boys in their search of a farmer's field that might yet yield treasures. Full of eccentric characters (particularly the farmer and his imaginary dogs), maybe most people won't get it, but I really dug it (no pun intended). The Devil's Whore (10/10) A Channel 4 period costume drama (words I'm pretty certain I haven't written together often on this site) dramatizing the English Civil War from the point of a view of a woman (the subtitle is "A true account of the life and times of Angelica Fanshawe"). Angelica is orphaned early on when her father dies and her mother goes into a nunnery. She renounces God and begins to see visions of Satan (or some demon). This leads her to a certain amount of self-reliance somewhat like Scarlett O'Hara in "Gone With The Wind." And like Scarlet, Angelica has a number of husbands, each of whom fall afoul of the winds of war. John Simm plays a highwayman and her most loyal follower (and would-be lover), while Dominic West is a very sympathetic Oliver Cromwell, at least until power and a determination that the end justifies the means corrupts him. Peter Capaldi is the doomed Charles II, who never quite comes to the realization that his subject would dare rebel against him. The Diary of Anne Frank (11/09) The BBC dramatizes the famous tale in this five episode mini-series that was shot on sets that were exacting recreations of the original building. The series' length allows it to explore story moments that are frequently edited out of most movie versions. It was shown over consecutive nights and allowed the claustrophobia to build up until the tragic conclusion. Dickens' Secret Lover (7/09) Charles Dance presents this intriguing look at Charles Dickens and presents some plausible evidence about his affair. Dick Whittington (1/03) ITV's annual celebrity Christmas panto this year had Simon Nye (Men Behaving Badly) adapting the story of a young lad who, along with his cat (Julian Clary), eventually becomes mayor of London. Music, men in drag, bad jokes, and audience participation are all part of the fun which included Paul Merton, Richard Wilson, Mark Williams, James Fleet, and Harry Hill. Dinnerladies (5/99) Victoria Wood is a household name and institution in Britain, yet is virtually unknown in the US. More's the pity because she is extremely talented, both as a writer and performer (and singer), and you can never get enough of her. In this BBC series, her first sitcom which she also writes and stars in, the focus is on the women who work in a cafeteria of a large Manchester company. Everyone is a "character" but like in all of Wood's work, there is poignancy in the laughs, especially when her mad mother (played by frequent collaborator Julie Walters) occasionally drops in. A nice little workplace comedy, although if it were as easy as it looks, everyone could do it. Read my feature about Victoria Wood. Director's Commentary (11/04) It's amazing that in 10 years DVDs have gone from being some futuristic technology my friend Jim used to talk about (before he got rich writing about them), to being so ubiquitous that nearly everyone has heard a director's audio commentary on the DVD soundtrack. So much so that it's now ripe for parodying and Rob Brydon (Marion and Geoff) is the man to do it. Actually getting the rights to old series such as Bonanza and Duchess of Duke Street, Brydon plays an old duffer British director who supposedly worked on the shows and now years later has been commissioned to comment upon the action. At first, you don't realize it's a wind-up but as he goes on about Hoss, Little Joe, and Ben Cartwright, slowly it begins to dawn that he's speaking utter (but hilarious) rubbish. And the fact it is so close to actual commentaries now being foisted on the unsuspecting public by well-meaning but boring speakers, just makes it all that much funnier. Dirk Gently (3/11) The popular series of novels by Douglas Adams was adapted as a TV pilot by Howard Overman, the creator and writer of Misfits. Stephen Mangan plays the "holistic detective" who sees the interconnectedness of all things. Or maybe he's just a conman who wants people to support his activities. The novel "Dirk Gently's Holistic Detective Agency" is rather infamous in Doctor Who fan circles because Adams, who wrote and script edited for the series in the late 1970s before "The Hitchhikers Guide to the Galaxy" took off, recycled two of his Doctor Who plots for it. It's Adams' flair for comedy that make his work so memorable regardless of the plots, which are convoluted to say the least. But Overman created his own story for this BBC4 pilot which has resulted in a pushback by fans of the novels. He also altered the back story of what presumably would be two supporting characters if this went to series, Richard McDuff (Darren Boyd), and his girlfriend Susan (Helen Baxendale). I like the way Gently and McDuff always try to go through doors at exactly the same time. The only elements from the first book used in the pilot are the search for a missing cat and the use of time travel. Howard Overman is clearly a talented writer. You only have to watch any episode of Misfits to appreciate his use of dialog and engaging plots. Had he done a verbatim adaption of the first novel, it would have been three hours long to start with, and after they did the sequel "The Long Dark Tea Time of the Soul" they'd have run out original Adams material as he inconveniently died before finishing the third novel. It wouldn't be much of a TV series. Stephen Mangan is an interesting choice as the protagonist. There's always something annoying about his characters whether it's Adrian Mole or Dr. Guy Secretan in Green Wing. He seems to delight in playing people who at first glance are off-putting in their ways but ultimately charm you over. I had one gripe though and that is an iPhone would never hold its charge for 16 years. Heck, you're lucky they last 16 hours. Sorry, Howard. Dirty Something (7/94) Young squatters occupy an old man's flat after he dies and end up nearly becoming respectable members of society. A BBC TV movie, it neatly characterizes the feelings of anti-establishmentism and trying to put a roof over your head in modern London. Dirty Tricks (11/01) Martin Clunes (Men Behaving Badly) stars in this two-part ITV adaption of a novel about a middle-brow English language teacher who tries to move up the ladder of social respectability by romancing the wife of a friend of his boss. Clunes narrates the story in flashback and with tongue-in-cheek tells us the tale of how he ended up on the run from the police and accused of a double-murder. James Bolam turns up in part two as a detective who isn't exactly hot on his trail, while Lindsay Duncan plays a cool blonde he can't quite impress. Much of the subtext has to do with class distinctions, with a dash of the American perspective, but Clunes keeps the whole enterprise from getting too heavy. Distant Shores (4/07) Peter Davison as a former surgeon (wasn't this the plot of Doc Martin as well?), with yet another family moving to a remote island (see Two Thousand Acres of Sky) this time Hildesay Island. His kids hate it, but his wife starts to see the charm of a local fisherman she works with. Davison as usual gets to do his slow burn as the ultimate fish-out-of-water in this ITV drama series. Distraction (7/04) An evil and sadistic late night Channel 4 quiz show, nevertheless it's compulsive viewing. Four hapless contestants are tortured through four rounds (at times having electric shocks, being hit by paint balls, or sitting under pooing pigeons) while being asked fairly easy general knowledge questions. The winner then is given either a new car or 5000 pounds but then must answer five final questions or risk having the car systematically destroyed or the money burned. Hosted by Jimmy Carr who never quits making fun of the contestants, you feel dirty after watching each episode but human nature prevents you from looking away at the same time. DOA (12/10) Kris Marshall (My Family) plays Tom Lassiter, a surgeon who's lost his medical license because a patient died. Now he's a paramedic working for a surreal ambulance company in this BBC3 comedy pilot. Karen Taylor plays Julie, his co-worker who also sells marital aids when they aren't out on calls. Meanwhile Tom's Doctor girlfriend Lucy takes his loss of status, and possible impending legal problems, to reconsider their relationship. All in all, things aren't going too well. This certainly isn't the first comedy to try to mine laughs from ambulance drivers, and if Tom's choice in lawyers is any sign, perhaps many of the choices that have lead him to this point are his fault. Julie's ongoing battles with their dispatcher over the radio, and the other ambulance crews absurd down-time activities add to the craziness. British TV commissioners are forever searching for the magic bullet work place comedy that will be as successful as The Office was. Doc Martin (2/06) Martin Clunes is a posh London surgeon who for reasons we later learn, moves to a small Cornish town to be the local general physician. Of course in this fish-out-of-water ITV drama he has to get used to the local's unusual ways, and perhaps relax a bit instead of being so uptight. Some of the behavior of the villagers is annoying but Clunes' barely controlled rage is what makes it work without too much schmaltz. Dr Terrible's House of Horrible (11/02) Steve Coogan stars in this anthology comedy series parodying classic genres with such titles as "Lesbian Vampire Lovers of Lust" and "Frenzy of Tongs" (a Fu Manchu send-up). You have to buy into Coogan's odd brand of deadpan humor as well as recognizing the source material of what he lampoons but I think the combination works well enough. It's definitely BBC-2 material, but since the demise of the Comic Strip, nobody else is doing extended material like this on a regular basis. Doctor Thorne (9/16) At the exact same time as he was appearing as the creepy sidekick in The Night Manager, over on ITV Tom Hollander played the nice-as-pie title character in this adaptation of the Anthony Trollope novel by Julian Fellowes. Thorne is raising his "niece" who attracts the attention of the heir of the local estate--much to the horror of his status-conscious parents (Rebecca Front is hilarious as his mum). Can Thorne put all to rights by the end? Doctor Who Night (9/00) BBC-2 Theme Nights are great for fans, although they follow a very prescribed ritual: amusing host segments, the obligatory documentary, a look at the fans, and plenty of clips from the most popular episodes. Whether it's Goodness Gracious Me, Monty Python or Doctor Who, that are being celebrated, the formula never varies. That said, for the 36th anniversary last year, Tom Baker was trotted out to introduce the shows, and they even provided him with an elaborate CGI TARDIS to inhabit. Big-name fan Mark Gatiss (now best known for The League of Gentlemen) was enlisted to produce three sketches especially for the night and they are right on the money and classic: the first takes place in 1963 as a producer attempts to pitch the series to the BBC. Full of hilarious in-jokes including the origin of the theme tune, you almost have to wonder if it really happened this way. The second sketch takes place in a quarry with the Doctor (Gatiss) encountering some of the most crap aliens ever, although he tries to be polite to get rid of them. Finally, the night was capped with a sketch in a fan's bedroom as his best friend has just kidnapped the real Peter Davison and brings him in for inspection. The documentaries included "Adventures In Time and Space" narrated by Peter Jones (of The Hitchhiker's Guide To The Galaxy) just before he passed away. There is a look at the various Doctor Who monsters over the years, and even a scientist discussing how you could realistically build a working TARDIS. Now if only the BBC would actually make some new episodes for television! Does China Exist? (1/98) Paul Merton hosts this one-off spoof of "reality" shows showcasing various human "talents" and attempting to unravel terrestrial mysteries (such as posed by the title). Merton is perfect for this sort of thing, with his patented ironic detachment "amazed" at every new discovery. Does Doug Know? (3/03) Daisy Donovan hosts this Channel 4 comedy quiz show that features teams of two comics who are then "joined" by a member of the public via prerecorded interviews on the street by Donovan herself (a technique she honed during The 11 O'Clock Show). Some of the quizzes like a word association game with missing words are really tough, or trying to guess a current news events based on amateur interpretation are a definitely novelty. Doggin' Around (3/95) BBC TV-movie by jazz-fanatic Alan Plater about an aging American piano man (Elliott Gould) who returns to the mid-lands of England after 10 years and must confront his past of gambling debts, police inquiries, and a paternity suit. Minding him is a no-nonsense former singer (Geraldine James). This is good material that is completely ruined by Elliott Gould's inability to act. In a word, he is terrible. Every line comes out like he's doing a Neil Simon comedy on Broadway. It may well be the worst performance I've ever seen in a BBC drama. Shame on him! Doing Rude Things (11/96) Angus Deayton (Have I Got News For You) hosts this documentary look at the history of the British sex film. It explores (and shows) early underground efforts, including "naturist" films that featured nudist colonies, and later soft-core films that were permitted under British censorship laws. Deayton sends up the whole "before they were famous" genre with a factitious clip of himself as "Gus Deayton" supposedly appearing in an early 1970s sex film, I guess proving that no one was particularly ashamed by what was going on at the time. Dominion (11/01) A series of animated shorts on Channel 4 about a space station that is the last stop for creatures from around the galaxy including a hapless human (voice of Tim McInnerny) who is forced to work in an office he can never escape from with a bunch of aliens (including Hugh Laurie). Dom Jolly and the Black Island (3/11) The comedian (Trigger Happy TV) presented this Channel 4 documentary about the popular comic character "Tintin." So well researched were Herge's artwork that Jolly is able to find the actual locations the drawing were based on as he shares his love for the long-running adventure series. Donovan Quick (3/01) Hunky Colin Firth (aka "Mr Darcy") stars in this update of Don Quixote as a mysterious stranger who comes to a small Scottish town and does battle with the corporation that runs the local bus service. He encourages the family he boards with to start their own line and manages to outwit the evil corporate stooges for a while before his own tragic past is revealed in this BBC TV movie. Firth, with his baritone voice, is a dominating presence, and apparently this part was a welcome break from the period roles he is often cast in. Don't Call Us (9/99) Documentary look back at the era of TV talent shows, for years dominated by Opportunity Knocks, hosted by Canadian Hughie Green. Audience write-in polls would determine who returned the following week, and a number of careers were first launched on this series, many of whom are interviewed here. Usurpers, in the form of New Faces - which introduced judges in person giving their critiques (horribly, right in front of the contestants), and the gimmicky Stars In Their Eyes, eventually killed the golden goose and the whole "amateur hour" variety show concept. Doors Open (3/13) Stephen Fry plays an art historian who has curated a vast collection owned by a bank that needs to liquidate. Horrified, he organizes a gang of friends to substitute fakes for the originals before the collection is broken up in this light-hearted ITV TV movie. Many familiar TV faces fill the cast including Douglas Henshall and Lenora Crichlow as former lovers. Double Exposure (1/97) A series of one-hour dramas by new writers presents some interesting and varied material. In Out of the Deep Pan, a young couple try to make a go of it in the pizza delivery business. The Golden Collar stars Mark McGann (Paul's brother) as a crooked injury lawyer who meets his match in a young man. A Relative Stranger takes the fascinating premise of what if you went to sleep one night in 1971 as a rebellious young hippie, then woke up and it was suddenly 25 years later and you were a successful, but boring, yuppie - but couldn't remember the intervening years had ever happened? A man discovers he is now married (only not to the girl he was passionately in love with in the past), with two nearly grown children, and a sell-out job he hates. Of course from everyone else's point of view, he's merely amnesic, or crazy, but he tries to find out what caused him to take the paths in life he now finds himself on. Nightlife features Jane Horrocks as a woman who hasn't left her apartment in months, choosing instead to keep surveillance on the park just across the street. When she witnesses a crime she has to do something she hasn't in ages: get involved. Double Take (3/04) BBC comedy series that presents mock surveillance footage using celebrity doubles and voice overs with lots of shaky camera work through windows and bushes. More a triumph of style over content, and a segment with "Michael Jackson" visiting a plastic surgeon with his kids just plain creeped me out. Double Time (1/09) James Dreyfus plays two parts in this TV movie: a very camp (and not very good) actor, and his lookalike, a ganglord currently serving time in prison. Their paths cross when the actor is hired for a TV re-enactment and the gangster, watching in prison, uses their amazing similarity in order to temporarily swap places so he can stop a book written about him by a sneaky journalist. How much you enjoy this depends on the amount of Dreyfus's swishing around attempting to be "hard" in prison act you can handle, although to be fair, he plays the gangster very convincingly. Downton Abbey (10/10) ITV scored huge ratings for this seven part period drama that was written by Julian Fellowes ("Gosford Park," which he won an Oscar for). Fans of it or Upstairs Downstairs should love this new series set in an Edwardian manor house which chronicles the lives of both the servants and the members of the peerage who live there. It opens the day after the Titanic sunk in 1912, which immediately impacts the line of succession for the Earl of Grantham (Hugh Bonneville) and his family. With no male heirs, the estate and title might be lost if the Earl dies. Meanwhile, a new valet, John Bates (Brendan Coyle, Laura's father from Lark Rise to Candleford) comes to work at Downton Abbey. But Bates has a bad leg, and despite being the Earl's batsman during the Boer War, the other staff undermine Bates at every turn. An ambitious footman, Thomas, wants the job although he'll settle for being the very special close friend (nudge nudge, wink wink, say no more) to a visiting Duke. Elizabeth McGovern plays Lady Grantham, an American heiress the Earl married for her money 24 years ago despite the misgivings of his mother, impeccably played by Maggie Smith. I like seeing an old-fashioned period drama like this turn up on ITV. Back in the 1980s Brideshead Revisited and The Jewel in the Crown reigned supreme on the commercial network but they ceded the dramatic high ground to the BBC in recent years except for Agatha Christie mysteries. In fact, I wouldn't be surprised that it wasn't so much competition from the BBC as American co-production money that is the tail wagging the dog here. PBS's "Masterpiece" is a co-producer of Downton Abbey which no doubt eased the worries of ITV executives about such a project. Down To Earth (11/01) Warren Clarke (Dalziel and Pascoe) stars as a London flower seller who chucks it all in and moves his family to Devon and start a farm. Needless to say, things don't go quite to plan in this BBC drama series which also stars Pauline Quirk. Despite the title, there is a visual motif that is quite aerial and it seems we are gracefully flying over the characters at times. Clarke is full of fury most of the time, and things usually get pretty grim about 10 minutes before the end of each episode before a happy conclusion is reached. Downwardly Mobile (1/95) Sit-com about an 80s Yuppie couple whose 90s lifestyle crashes-and-burns forcing them to move in with relatives. Needless to say, the family doesn't share their attitudes about conspicuous consumption, wherein lies the laughs. Josie Lawrence (Whose Line Is It Anyway) plays the pampered wife forced to face economic reality. Dracula (4/08) Marc Warren (Hustle) wouldn't be my first choice to play the legendary vampire, but he pulls it off in this BBC adaptation that also features Sophia Myles (ironically appearing in the vampire drama "Moonlight" in America now). Dressing For Breakfast (5/96) A plain girl and her best friend try to survive the nineties while trying to maintain relationships. But poor Louise, when her mother isn't driving her nuts, can't find a boyfriend who isn't a complete flake or already married. The second episode ends with a great scene where the women decide, "All men are Daleks. Inside they have this little creature controlling everything they do." You have to love a series like this. (7/98) The third season finds the series moving upmarket with a nice, new apartment for Louise and a potential boyfriend in the form of an old friend of Carla's. But it's hardly smooth sailing for anyone, although the self-deprecating jokes by all the characters make this an enjoyable series to watch. The Driven Man (1/91) A funny but insightful documentary documentary by Rowan Atkinson about people's love affair with the automobile. While there are weak moments, it does make some excellent points about the car culture of the late 20th century. The Driver (12/14) Transatlantic star David Morrissey plays a working class minicab driver with money problems who gets roped in with a mobster (Colm Meaney--where's he been?) as his driver and finds his conscience (not to mention his freedom) severely tested as he inevitably gets in way over his head in this three-part BBC drama. Morrissey, as ever, delivers the good, nobody plays anguish better than him. Drop Dead Gorgeous (10/08) Serialized BBC drama about two sisters, one of whom is plucked from obscurity in working class Manchester, and becomes an overnight sensation as a supermodel. Needless to say, the other one is a bit jealous, and their mother sees this as the family's chance to do some social climbing. Remarkable, in the first season at least, the model modestly keeps her head on her shoulders and some perspective about being suddenly famous, even if while all around her the world is moving much too quickly. Duck Patrol (1/99) Richard Wilson (One Foot In the Grave) stars in this ITV riverside comedy/drama about a police unit working the Thames. Though the actors try hard, it's neither very funny nor very dramatic. Dunrulin' (8/91) A one-off comedy set a few years in the future, where the Thatcher household has had to respond to private life. Very funny and right on the money. Apparently this had been filmed and was sitting on the shelf waiting for her to leave office before running. A \| B \| C \| D \| E \| F \| G \| H \| I \| J \| K \| L \| M \| N \| O \| P \| Q \| R \| S \| T \| U \| V \| W \| X \| Y \| Z Previous List \| Back to Homepage \| Next List Written and maintained by Ryan K. Johnson (rkj@eskimo.com). September 6, 2016
3360	dbpedia	1	20	https://germanhistorydocs.org/en/occupation-and-the-emergence-of-two-states-1945-1961/denazification-in-the-british-occupation-zone-1946	en	Denazification in the British Occupation Zone (1946)	https://germanhistorydoc…avicon-32x32.png	https://germanhistorydoc…avicon-32x32.png	[ "https://germanhistorydocs.org/img/ghdi_logo.png", "https://germanhistorydocs.org/img/search.svg", "https://germanhistorydocs.org/img/ghi_logo.png", "https://germanhistorydocs.org/img/dfg.png", "https://germanhistorydocs.org/img/zeit-stiftung.svg", "https://germanhistorydocs.org/img/ghdi/footer-ghdi.png", "https://germanhistorydocs.org/img/ghdi/footer-ghis.png", "https://germanhistorydocs.org/img/ghdi/footer-twitter.png", "https://germanhistorydocs.org/img/ghdi/footer-twitter.png" ]	[]	[]	[ "" ]	null	[]	null		en	/ghdi/apple-touch-icon.png		null	This short clip is taken from a British documentary titled A Defeated People, which was shot in the British occupation zone in 1945/1946. It was produced by an organization within the British Ministry of Information that was tasked with making short information films and documentaries for the general public in Britain and other English-speaking countries. Depicting the state of Germany and its people after its defeat in the Second World War, the film documents the measures taken by the occupation forces to rebuild the country and outlines the work that lies ahead for the German population if it is to rejoin the international community. This clip documents the demobilization of German soldiers and the denazification process in the British occupation zone. Source /What about the ideas in their heads? They have to be demobilized and got back to work. But let one man or woman who still believes in the Nazi regime or the destiny of the German people to rule the world take office and you have the beginnings of another war. So they are put through a screen. To begin with, selected Germans interrogate them and fill in their demobilization papers. /Note this meek little man who looks like a clerk or a grocer. Here is his portrait in Luftwaffe uniform. Then all their thumbprints are taken for record, and they are stripped and examined for the SS mark tattooed under the left armpit. Then their past history and character is examined by our intelligence officers, German speaking ex-commandos, and parachutists. /The majority of Germans get through this close examination and are demobilized. But every so often there appears one who is suspect, or who is wanted, whose papers are too good, or whose answers are not good enough. /Rejected. Back to the cage. Source: A Defeated People, Orientation film no. 28, United Kingdom, 1946. NARA. NAID: 36087
3360	dbpedia	2	75	https://www.torchtheatre.co.uk/cy/cefnogi-uda/ein-cefnogwyr/griff-rhys-jones-obe/	en	Griff Rhys Jones OBE	https://www.torchtheatre…-transparent.png	https://www.torchtheatre…-transparent.png	[ "https://www.torchtheatre.co.uk/media/evfjxeo5/torch-theatre-logo-dark.jpg", "https://www.torchtheatre.co.uk/media/xtxhebxz/caru-the-torch.png", "https://www.torchtheatre.co.uk/media/ni3osvra/box-office-telephone.jpg", "https://www.torchtheatre.co.uk/images/uSkinned/flags/gb.svg", "https://www.torchtheatre.co.uk/images/uSkinned/flags/cy.png", "https://www.torchtheatre.co.uk/media/oumkv3wi/grj-web.jpg?width=160&height=160&rnd=133331166215770000", "https://www.torchtheatre.co.uk/media/uckhhyer/torch-white-logo.png", "https://www.torchtheatre.co.uk/media/esrmkdsm/240px-arts-council-smaller.png", "https://www.torchtheatre.co.uk/media/tureocog/ukt-aelodsefydliad-gwyn.png", "https://www.torchtheatre.co.uk/media/xhkh1f3m/instagram.png?height=16", "https://www.torchtheatre.co.uk/media/e04pcfcy/linkedin.png?height=16", "https://www.torchtheatre.co.uk/media/ubvkfp3y/twitter.png?height=16", "https://www.torchtheatre.co.uk/media/zsmpjit5/youtube.png?height=16", "https://www.torchtheatre.co.uk/media/4i0hhx1g/facebook.png?height=16", "https://www.torchtheatre.co.uk/media/zaoeupry/nexmedia-footer-dragon.svg" ]	[]	[]	[ "" ]	null	[]	null		cy	/media/eivft1wx/torch-favicon.png?width=32&height=32	Theatr Torch	https://www.torchtheatre.co.uk/cy/cefnogi-uda/ein-cefnogwyr/griff-rhys-jones-obe/	Griff Rhys Jones OBE, Torch Theatre Patron Griff Rhys Jones first came to public attention in the hit sketch show of the 1980’s “Not the Nine O’ Clock News”. This was followed by “Smith and Jones”, which won an International Emmy and several British Comedy awards during its successful 11 series run in the eighties and nineties. On stage he has worked with Sam Mendes, Alan Ayckbourn, Nick Hytner and Sir Peter Hall. He has directed for the RSC and played leading roles in the West End in “An Absolute Turkey,” “Trumpets and Raspberries”, “Charley’s Aunt”, “Arturo Ui” and “Plunder”. He was the original Toad in Alan Bennett’s “Wind in the Willows” at the National and Hildy in “The Front Page” at the Donmar. He played the Royal Opera House, performing Frosch in John Mortimer’s adaptation of “Die Fledermaus”. He was Fagin in “Oliver!” at Drury Lane in 2010. Griff has won two Oliviers, the acting profession’s premiere award, and been nominated five times. On film Griff has starred in “Morons from Outer Space”, “Wilt” (for which he received a British Comedy award), “Puckoon”, “Up ‘n’ Under” and “As You Like It.” Television drama includes Max in Russell T. Davies’ “Mine All Mine” “Demob” and recently "Ordinary Lies" and “Murder on the Blackpool Express”. With Mel Smith he set up Talkback as a radio production company. It became the most successful radio creative house in the world and diversified into television in the early Eighties. Before it was sold in 2000, Talkback Television had produced a lot of award-winning television as diverse as “The Little Prince”, “Grand Designs” and “The Apprentice” and launched the careers of Chris Morris, Armando Iannucci, Steve Coogan and Sacha Baron Cohen amongst many others. Recently, Griff has worked mainly as a television presenter, introducing Bookworm and The Nation’s Favourite Poem, making three series of “Restoration”, and writing and presenting documentary films on Arthur Ransome, Rudyard Kipling, John Betjeman and Thomas Hardy. In 2007 Griff made “Mountain” for BBC 1 and then two years later, “Rivers”. He has also travelled the world for ITV, making “Greatest Cities.” Two series of “A Pembrokeshire Farm”, showing Griff’s struggle to renovate a Welsh farm were broadcast in 2007 and 2009. He filmed five series of “Three Men in a Boat” for BBC2, "Slow Train through Africa" for ITV, "Burma, My Father and the Forgotten Army" for BBC2, Griff's personal journey following in his father's WW2 footsteps. He sailed his classic yacht to St Petersburg in 2002. The account of that trip “To the Baltic with Bob” was followed by his autobiography “Semi Detached”, a best seller and one of Richard and Judy’s book club choices. He has also written books for the Mountain and Rivers TV series and recently published "Insufficiently Welsh" following his ITV series about Wales. He made a quiz programme "The Quizeum" for BBC4. Griff recently played the lead role in "The Miser" by Moliere in the West End and appeared on Celebrity Bake Off. Since then he has been touring his one man shows “Where was I?” and “All Over the Place” around Britain. He can currently be seen on Channel 4 in Griff’s Canadian Adventures. He spent many years fund-raising to restore the Hackney Empire, is a patron of many other charities and the President of Civic Voice and the Victorian Society. He is married and has two grown-up children.
1053	dbpedia	2	7	https://open.spotify.com/artist/07RslT2Dblu2yxDMg8eHuq	en	Laza Ristovski	https://i.scdn.co/image/ab67616d0000b273776a0b3fe9bab6f2beee06d9	https://i.scdn.co/image/ab67616d0000b273776a0b3fe9bab6f2beee06d9	[]	[]	[]	[ "" ]	null	[]	null	Listen to Laza Ristovski on Spotify. Artist · 88 monthly listeners.	en	https://open.spotifycdn.…n32.b64ecc03.png	Spotify	https://open.spotify.com/artist/07RslT2Dblu2yxDMg8eHuq
1053	dbpedia	3	41	https://www.journeyman.tv/film_documents/5358/transcript/	en	The Weight Of Chains - NO LONGER DISTRIBUTE			[ "https://www.facebook.com/tr?id=746282392195968&ev=PageView&noscript=1&cd[film_no]=5358", "https://dkvf7eqydjaua.cloudfront.net/static/img/mainsite/journeymantv_logo_header.png" ]	[]	[]	[ "'Who in their right mind would actually want to be a colony?' asks director Boris Malagurski", "who blames a Western expansionist impulse for the brutal reduction of Former Yugoslavia - a 'success story of Market Socialism' according to economist Michel Chossudovsky - to a series of indebted and divided states.<p></p>\r\nSeeing an opportunity in the death of Yugoslavian political hero Josip Tito in 1980", "the US embarked upon a sustained program of 'predatory capitalism' in the region. By first bankrupting the country", "and then inciting its composite republics to declare independence in exchange for wads of US cash", "the fervent nationalism and ethnic cleansing that ensued were inevitable.<p></p>\r\nHowever", "in the years leading up to the 1990", "such inter-ethnic hatred was almost unheard of. In previously unseen footage", "Serbian and Muslim neighbours who lived alongside each other harmoniously for years are forced to part ways as new US-implemented divisions of Bosnia take effect. Indeed", "the sustained dismantling of Yugoslavian society in conjunction with the destruction of its infrastructure ensured that", "when peace was finally declared in 1999", "American and NATO forces were able to implement economic and ideological colonialism under the guise of valiant human rights intervention.<p></p>\r\nAnd now", "as Kosovo is still denied international recognition of statehood", "and as Croatia is considering selling off its islands in a desperate bid to pay back ever-increasing debts to the US", "citizens of the former Yugoslavia are becoming increasingly wary of the true cultural and economic cost of European integration.<p></p>\r\n<a class=\"invisible\" href=\"http://www.weightofchains.com/main\" target=\"_blank\">LEARN MORE</a>.</left>\r\n<br /><a class=\"invisible\" href=\"http://vodsite.journeyman.tv/store?p=4859\" target=\"_blank\">WATCH MORE</a>.</left>\r\n<br /><a class=\"invisible\" href=\"http://www.youtube.com/watch?v=b2Q0hCOB6Jw\" target=\"_blank\">JOIN THE DISCUSSION</a>.</left> Journeyman Pictures" ]	null	[ "hazco.co.uk" ]	null	'Who in their right mind would actually want to be a colony?' asks director Boris Malagurski, who blames a Western expansionist impulse for the brutal reduction of Former Yugoslavia - a 'success story of Market Socialism' according to economist Michel Chossudovsky - to a series of indebted and divided states.<p></p> Seeing an opportunity in the death of Yugoslavian political hero Josip Tito in 1980, the US embarked upon a sustained program of 'predatory capitalism' in the region. By first bankrupting the country, and then inciting its composite republics to declare independence in exchange for wads of US cash, the fervent nationalism and ethnic cleansing that ensued were inevitable.<p></p> However, in the years leading up to the 1990, such inter-ethnic hatred was almost unheard of. In previously unseen footage, Serbian and Muslim neighbours who lived alongside each other harmoniously for years are forced to part ways as new US-implemented divisions of Bosnia take effect. Indeed, the sustained dismantling of Yugoslavian society in conjunction with the destruction of its infrastructure ensured that, when peace was finally declared in 1999, American and NATO forces were able to implement economic and ideological colonialism under the guise of valiant human rights intervention.<p></p> And now, as Kosovo is still denied international recognition of statehood, and as Croatia is considering selling off its islands in a desperate bid to pay back ever-increasing debts to the US, citizens of the former Yugoslavia are becoming increasingly wary of the true cultural and economic cost of European integration.<p></p> <a class="invisible" href="http://www.weightofchains.com/main" target="_blank">LEARN MORE</a>.</left> <br /><a class="invisible" href="http://vodsite.journeyman.tv/store?p=4859" target="_blank">WATCH MORE</a>.</left> <br /><a class="invisible" href="http://www.youtube.com/watch?v=b2Q0hCOB6Jw" target="_blank">JOIN THE DISCUSSION</a>.</left> Do you want to know more? Watch the world's best documentaries and thousands of incisive current affairs reports.	en	https://dkvf7eqydjaua.cloudfront.net/static/ico/share/favicon.ico		null	THE WEIGHT OF CHAINS TIMECODE SCRIPT 00:00:00-00:00:10 BLANK SCREEN 00:00:10-00:00:24 – Malagurski cinema title (Opening, various shoots of politicians with credit titles) 00:00:38 (VV)  Vuk Jeremic: “I am glad there is an absolute commitment […] to advancing the goal of European integration […] We have very ambitious plans!” 00:00:46 (VV)  Ivo Sanader: “We are very ambitious country, we are very ambitious government! […] We have a special Minister for European integration in our cabinet.” 00:00:52 (VV)  Boris Tadic: “We are changing the face of our country […] to become member states on the end of the day of the European Union. […] laugh ” 00:01:01 (VV)  Hashim Thaci: “EU member[ship] is our goal, is our vision” 00:01:05 (VV)  G-17 coordinator Veselin Vukotic: "We want to be part of Europe […] We want to be colony and open society." 00:01:11 (Boris VO) Who in their right mind would actually want to be a colony? 00:01:16 THE WEIGHT OF CHAINS 00:01:32 (Various archive footage of old Yugoslavia) (SERBIAN)  JRT: “It’s interesting for the world, but what is Yugoslavia for us who live in it?” (People speaking of their opinion on Yugoslavia) 00:01:36 (VV) (Serbian) Man 01: “To me, Yugoslavia is the symbol of independence”, 00:01:39 (VV) (Serbian) Woman 01: “Yugoslavia can offer everything to everyone”, 00:01:44 (VV) (Serbian) Man 02: “I see Yugoslavia as developing and changing very fast”, 00:01:48 (VV) (Serbian) Man 03: “A society of self-management for all its people”, 00:01:48 (VV) (Serbian) Woman 02: “I think it’s not easy to say what Yugoslavia is.” 00:01:56 Fade Out 00:01:58 (Boris VO) (various private archive shoots) I don’t think my early childhood in Yugoslavia was bad at all – I always got a lot of presents, the family was close and close friends were the extended family. 00:02:06 (VO -> VV)  Gregory Elich: “It’s a very close culture, people really care about each other in so many ways. You just don’t see that here in the same way, people are very isolated from each other. They work and they go home and just watch television in the evening.” 00:02:20 (Boris VO) (Various private archive shoots, all in Serbian language) We liked to watch TV as well and even had a camcorder, which I, being the cinematically gifted child that I was, always tried to get my hands on. 00:02:27 (VV)  Boris as a kid saying “Come here, dad!” 00:02:31 (VV) What I really wanted was the camera he was holding. When mom took over the camera so dad could come, I changed my story. 00:02:37 (VV)  Boris: “Come here, mom!” 00:02:41 (VV) I was a clever child. Clever like a fox. Which was one of the characters of my favourite show, “Goodnight kids”. 00:02:46 (VV)  Boris: “Goodnight Mr. Donkey and Ms. Fox” 00:02:51 (Boris VO) Sometimes my parents would flip the channel to the Parliament where there were more bedtime stories. 00:02:55 (VV) (Serbian parlament footage) (Serbian)  Unkovic: “I’d like to tell you a story. It’s my story for you. Calm down, I listened to your stories. An old man and his grandson were caught by the enemy and they had to find a way out. Laugh all you like. The ending is very sad.“ (Member of Parliament) „Tell us the sad ending already!“ (President of Parliament) 00:03:30 (Boris VO) (private footage and various shoots from promotional film of Yugoslavia) As I was getting a little old for those kinds of stories, I did what every Yugoslav did in the Summer. 00:03:35 (VV)  Michael Parenti: “One month free vacation with pay! When was the last time I had a month vacation…” 00:03:40 (VV) (Old BW film) (Serbian)  Old man: “ ‘Twas a long time ago…” 00:03:43 (Boris VO) (Old promotional film of former Yugoslavia) We Yugoslavs had it, every single year. But I never noticed, I was too young during the times of Communist Yugoslavia. Now I know what you’re thinking. Communism? 00:03:53 (VV) (BW footage of an old American Anti Communism movie)  US educational program: “It’s an international criminal conspiracy!” 00:03:57 (Boris VO) (Various shoots from the old Yugoslavia period) Well, for two decades prior to 1980 Yugoslavia was prospering with its annual GDP growth averaging 6.1 percent. 00:04:05 (VO) (Various footage from old Yugoslavia)  Michael Parenti: “A decent standard of living, free medical care and education, guaranteed right to a job, […] affordable public transportation and housing and utilities, literacy rate over 90%, life expectancy was 72 years. Most of the economy was in the public, not for profit sector.” 00:04:25 (VV) (clip the popular Yugoslavia comedy drama) (Serbian)  Yugoslav song: “Nobody has it better than us, may it be like this every day!” 00:04:30 (VV)  Barry Lituchy: “Yugoslavia was a different case because it had established it’s own form of a socialist model 00:04:37 (VO) (Various Yugoslavia period archive shoots) of economic activity, which was a mixed economy with private capitalist enterprise, with state-run industry and with worker cooperatives. And the worker cooperatives were extremely successful or sometimes the only game in town.” 00:04:47 (VO) (Various Yugoslavia period archive shoots)  Michel Chossudovsky: “It was considered to be a success story of market socialism. It had higher rates of growth than most of the countries of Western Europe, it had an advance welfare state, [...] it was a multiethnic society which lived in harmony, and in many regards it was a model of development.” 00:05:12 (Boris VO) (Various Yugoslavia period archive shoots) I guess you could say there really is something special about this land. So, why have people spilt so much blood over this land? Who was to blame here? 00:05:21 (VV) (Footage from the old Yugoslavia comedy movie) (Serbian)  Ckalja: “Usually, the least suspicious one is guilty. That I know. I’ve read dozens of crime novels.” 00:05:25 (Boris VO) (Various shoot from the old Yugoslavia) Before I continue, where are we? Yugoslavia was located between Greece, Italy and Romania and it was populated by Serbs, Croats, Bosnian Muslims, Slovenes, Macedonians, all of which are Slavs, and Albanians, Hungarians and others. Their country was the result of a long fight to unite the people, to show the world what they can achieve if they work together, regardless of what happened in the past. 00:05:48 (VO) (Music clip Lepa Brena, Zivela Yugoslavia) (Serbo-Croatian) 00:06:22 (Boris VO) (Various footage from the old Yugoslavia) Throughout history, this idea has been a thorn in the eye of many Empires and world powers. 00:06:27 (VO), (Various old archive shoots)  Michael Parenti: “The idea was that the Southern Slavs would not remain weak, divided people falling out among themselves or falling prey to some imperialist outsider, 00:06:37 (Boris VO) (Various archive shoots) Serbs lost their freedom after the Ottoman Turks attacked them in 1389 on the Field of Blackbirds, which is called Kosovo. 00:06:45 (VV)  Srdja Trifkovic: “With the Serbs, the loss of statehood that lasted several centuries, for instance, produced a strong anchorage in the myth of Kosovo.” 00:06:54 (VV) (VO with various pictures of the Kosovo and other famous historic battles)  John Bosnitch: “Journalists come to Serbia and say: “Why are you Serbs so darn crazy that you celebrate a battle that you lost? When you talk about the Battle of Kosovo. And you always talk about a battle and how great it was, but you lost. Aren’t you guys masochistic? Isn’t there something wrong with you?” And I said: “Ever heard of the Alamo?” Remember the Alamo? Ever heard of Masada? In which the Jews defended to the death and then committed suicide, rather then to be captured.” 00:07:29 (Boris VO) (Various BW shoots) For standing up against the Turks, Serbs were persecuted and inventive torture devices were implemented. 00:07:34 (VV) (Various archive shoots)  John Bosnitch: “We lived under terrible persecution. We were whipped, we were lynched, except the manner in which we were lynched was by impalement. We were impaled. If you don’t know what impalement means, impalement means a sharppened stick is put up your anus, driven through your body and exits through your back without going through your vital organs. They were experts, Turkish Ottoman experts who did that. So, you were impaled, like Christ was put on the cross, to suffer.” 00:08:15 (Boris VO) (Footage from old Yugoslavia films and archives) There was, however, a way to avoid all this - Convert to Islam! And many did, many had no choice. This made a part of the Slavic population Muslim while the rest was Christian Orthodox. On the other hand, the State Religion of the Austrian Empire was Roman Catholic, with a large Croatian population greatly influenced by this. 00:08:35 (Boris VO) (Various shoots, BW shoots and pictures) When the Austrians illegally took over Bosnia and it’s large Yugoslav population in 1908, the Yugoslav dream had never been more threatened. So, a group of Yugoslav nationalists, “Young Bosnia” which included Serbs, Muslims and Croats, decided that ‘enough was enough’. A young man, perhaps you’ve heard of him, Gavrilo Princip, shot and killed the Austrian archduke Ferdinand in Sarajevo. Afterwards he was quoted as saying: 00:09:01 (Boris VO) (Newspaper animation) “I am a Yugoslav nationalist, aiming for the unification of all Yugoslavs, we must be free from Austria!” 00:09:08 (Boris VO) (Various BW shoots from the archives) Although the assassination of their archduke did kinda make the Austrians mad and heck, now they had a reason to attack the last Slavic stronghold – Serbia. This was, however, not the real reason for the attack – the Austrians and Germans had a plan to expand their Empire to the East. War was the only way they’d achieve this. 00:09:31 (Boris VO) (Various BW archive footage) During the early period of World War I, a bunch of Yugoslav politicians fled the Habsburg Empire and formed the Yugoslav Committee in London to raise funds and realize the Yugoslav dream. Towards the end of the war, the Committee met up in Corfu, Greece, with the Serbian government and declared that Serbs, Croats and Slovenes were "the same by blood, by language, by the feelings of their unity, by the continuity and integrity of the territory which they inhabit undividedly, and by the common vital interests of their national survival and manifold development of their moral and material life”… 00:10:14 (Boris VO) (Various BW shoots from the archives) It was what the Austrians and Ottomans had feared – Yugoslav unity! The Old World Order was gone – Yugoslavs finally got a country of their own! 00:10:15 (Boris VO) (Various BW shoots from the archives) The Kingdom of Yugoslavia was, sadly, short lived, because another war was brewing soon, the likes of which the world has never seen. In hopes of keeping Yugoslavia out of the war Yugoslav Prince Paul signed the Tripartite Treaty with Nazi Germany in 1941. But the British didn’t like this, so they encouraged a coup d’etat and mass rebelion against the pact. The British were happy, but now Hitler wasn’t. In fact, he was so angry that he wanted to wipe Yugoslavia off the map. Yugoslavia was attacked from all sides. 00:10:46 (VO) (Various BW shoots from the archives)  Barry Lituchy: “Yugoslavia at that time was divided up into 12 pieces and some of it went to fascist Hungary, some of it went to fascist Italy. Macedonia went to the Bulgarians and the Albanians, […] Serbia was occupied by the Wermacht and ruled by the Germans. Croatia and Bosnia were united into a Croatian fascist state under the Ustashe regime.” 00:11:10 (Boris VO) (Various BW shoots from the archives) This was called the Independent State of Croatia. 00:11:13 (VO) (Various BW shoots from the archives)  Barry Lituchy: “The idea, of course, in 1941 was that Croatia would be a kind of condominium for German power in the Balkans.” 00:11:20 (Boris VO) (Various BW shoots from the archives) The Croatian fascists were quick to start eradicating all non-Croatian elements in the state. You know what that meant? Serb hunting season started! 00:11:28 (Old Ustasha song) (Croatian) 00:11:35 (Boris VO) (Various BW shoots from the archives) Yes, Hitler’s final solution was applied here as well, and hundreds of thousands of Serbs but also Jews, Roma and others were killed, most of them at the 4th largest concentration camp in Europe – Jasenovac. 00:11:47 (Boris VO) (Various BW shoots from the archives)  Barry Lituchy: “A total number of 600,000 were killed at Jasenovac.” 00:11:54 (VO) (Various BW shoots from the archives)  Barry Lituchy: “The Croatian fascist regime, the Ustasha regime, […] had one aspect that was very distinctly different, and that was that it was a clerical fascist regime. It integrated into its political dictatorship the Catholic clergy. […] They were at the top of the government, in the leading councils of government, and they were also in the military and they were in the concentration camps. They were at Jasenovac. Some of the actual camp directors were priests.” 00:12:27 (VV and VO, various shoots from the archives)  John Bosnitch: “The Croatian inquisition, which took place in World War II, makes the Spanish inquisition just look like child’s play.” 00:12:35 (VO) (Various BW shoots from the archives)  Barry Lituchy: “Pope Pius supported this fascist regime, the top leadership of the Vatican was fully cognecent of what was going on there.” 00:12:42 (Boris VO) (Various BW shoots from the archives) On the other hand, Royalists loyal to the crown, called Chetniks, decided to act. 00:12:47 (VO) (Various BW shoots from the archives)  Srdja Trifkovic: “The Chetniks were the resistance movement which even though proclaimed itself 00:12:54 (VV) The Royal Yugoslav Army in the Fatherland was composed almost exclusively of the Serbs. However, after the bloody German reprisals in Serbia in the fall of 1941, the Chetniks realized that continuing resistance at any cost, when the Germans were killing […] 100 Serbs for a single dead German, was self defeating and suicidal.” 00:13:19 (Boris VO) And various BW shoots from the archives) This didn’t matter to the West though.. they just wanted dead German bodies. So, all aid to the Chetniks was cut and shifted towards another group of fighters who managed to neutralize all other groups. The Yugoslav Partisans! The communists, made up of members of all ethnicities, were lead by a guy called Tito. In 1943, Tito declared the new Yugoslavia which was finally liberated two years later. Tito, if nothing else, was brilliant at playing political games with big powers for his own interest, which is just what Yugoslavia needed to gain complete independence. It’s important to say that Tito wasn’t just a leader, he was a brand, recognized in the world. 00:14:03 (Boris VO) (Various shoot from the archives) He was one of the founders of the Non-Aligned movement. And why were they so important? 00:14:07 (VO) (Various shoot from the archives)  Sunil Ram: “They were able to play a middle ground for the great powers that allowed the great powers to potentially talk to each other and discuss certain issues that could not be talked about openly.” (Sunil Ram interview, 07:02 min) 00:14:20 (VO, Various shoots from the movie archives)  TV announcer: “He hopes to [...] perform the difficult feet of walking both sides of the street – East and West!” 00:14:27 (Boris VO) (Various shoots from the movie archives) Tito’s strong arm kept the country together. When he died on May 4, 1980, many in Yugoslavia were crying… maybe not so much for him as much they were crying for Yugoslavia itself. 00:14:45 (Boris VO) (Various shoots from the movie archives) His funeral was the largest funeral for a statesman in recorded history. 00:14:59 (Boris VO) (Various shoots from the movie archives) Then things started to fall apart when Yugoslavia began to get into debt to international creditors shortly after Tito’s death. In 1984, while the eyes of the world were pointed at Sarajevo where the Winter Olympic Games were being held the Reagan administration was specifically targeting the Yugoslav economy in a secret memo, National Security Decisions Directive 133, which stated that: “U.S. policy will be to promote the trend toward a market-oriented Yugoslav economy”. And it was in line with previous decisions directives which advocated expanded efforts to promote a quiet revolution to overthrow Communist governments and parties. 00:15:34 (VV) (Various shoots from the movie archives)  Michel Chossudovsky: “It triggers a whole series of other initiatives, most of which are not published. The Decisions Directive [...] simply states that what the US would want to achieve is that Yugoslavia ceases to be a market socialist economy and becomes a free market economy, modelled on the West.” 00:15:59 (Boris VO) (Various shoots from the movie archives and animation) And we know today what means the U.S. used to impose their will on Yugoslavia, years before any conflicts began. As the Soviet system was on its last legs in 1988, Washington wasted no time in sending advisers to Yugoslavia from a non-profit organization with a high-sounding name, the National Endowment for Democracy, or NED. 00:16:11 (VV) (Presidental talk)  Ronald Reagan: “Good morning and welcome. It’s good to have you all here to celebrate the launching of a program with a vision and a noble purpose, the establishment of the National Endowment goes right to the heart of America’s faith in democratic ideals and institutions. 00:16:27 (Boris VO) (Various shoots from the movie archives and newspaper animation) However, Allen Weinstein, who planned the NED told the Washington Post in 1991 that: "a lot of what we do today was done covertly 25 years ago by the CIA." This basically means that the NED was really a sort of CIA spinoff. 00:16:41 (VO) (Various shoots from the movie archives)  Philip Agee: “Instead of having just the CIA going behind the scenes and trying to manipulate the process by inserting money here 00:16:49 (VV) (Part of interview with Philip Agee) and instructions there and so forth… They have, now, a sidekick – which is this National Endowment for Democracy. NED.” 00:16:56 (Boris VO) (Various shoots from the movie and TV archives) Thus the NED started handing out generous bribes in every corner of Yugoslavia, financing opposition groups, buying up hungry young journalists with dreams of a new life, and financing trade union opposition, pro-IMF economists and human rights NGOs. 00:17:09 (Boris VO) (Various archive shoots, author shoots and animations) The National Endowment for Democracy also controls and pays for the Center for International Private Enterprise which in turn funded the G-17. Who were the G-17? They were an NGO made up of 17 free market economists, with three of the leading members being Washington-based staff members of the International Monetary Fund and World Bank - Dusan Vujovic, Zeliko Bogetic and Branko Milanovic. G-17 coordinator Professor Veselin Vukotic worked closely with the World Bank, and, as the Minister of Privatization under Yugoslav Premier Ante Markovic, he was in charge of the World Bank "bankruptcy program" in Yugoslavia during 1989-1990, which led to the devastation of the Yugoslav economy. 00:17:50 (Boris VO) (Various archive shoots, WOC purpose shoots and animations) Other members of the G-17 consult for the World Bank and attend World Bank-organized meetings. In 2002, they formed a political party in Serbia, and since then, despite the fact that in every election they’ve gotten between 7% and 11% of the popular vote, G-17 controlled the Ministry of Finance and Ministry of Economy of Serbia. This is not simply a group of economists. It is a network. The IMF and World Bank use this network to impose their policies on Yugoslavia. And how do they do it? First, they force governments to do away with any social protections - subsidized food or rent, free transportation, free medical care. You know… all those things you don’t really need. Out the window. 00:18:30 (VV) (Various archive shoots, author shoots and animations)  Michael Parenti: “You cut back public sector spending, you cut wages, you cut employment, you abolish worker management enterprise, in other words, you force your people to work harder for less.” 00:18:41 (Boris VO) (Various archive shoots, author shoots and animations) Second, they use economic manipulation and new laws to force businesses - public and private - into bankruptcy. 00:18:49 (VV)  Michel Chossudovsky: “The World Bank describes this mechanism as a “trigger” mechanism, they use that term. They say we need to trigger the bankruptcy of Yugoslav industry.” 00:19:02 (Boris VO) (Various archive shoots, author shoots and animations) Then these businesses are taken over by a small clique of leveraged buyout speculators and other powerful foreign economic interests. They purchase the businesses at rock bottom prices. 00:19:12 (VV) (Various archive shoots, author shoots and animations)  Michel Chossudovsky: “Creditors could simply take hold of these enterprises within a 45 day period and either the enterprise had to close down or it was privatized.” 00:19:25 (Boris VO) (Various archive shoots and purpose shoots) This is called "Privatization through Liquidation" and it is standard practice in the Balkans and Eastern Europe and this is exactly what happened to Yugoslavia. World Bank data confirms that under Vukotic’s direction from January 1989 to September 1990, more than 1100 industrial firms were wiped out. The standard of living declined 18% between January and October 1990. This downturn raised unemployment to 20 percent and thus increased tensions between the republics. 00:19:49 (VV) (Various archive shoots)  Michel Chossudovsky: “Impoverish the population through these sweeping IMF reforms, which in turn contributed to heightening social and ethnic strife.” 00:20:01 (VV) (Serbian Language)  Slobodan Drakulic: “So you had dissatisfaction of everybody and everybody’s looking for a guilty party.” 00:20:06 (VV) (Serbian Language)  Branislav Lecic: “When a man has nothing and he’s not aware in the egistential sense, 00:20:11 (VO) (Various archive Film and TV shoots) he clings to those types of ideas that awaken the human inside him, and those are usually national or religious stories. Suddenly, he feels more important when someone tells him – Yes, it’s their fault, not yours. By believing that you’re bigger than others, your ego and libido goes up.” 00:20:26 (Boris VO) (Various archive Film and TV shoots) In desparation, Prime Minister Markovic visited Washington to meet with President George H. Bush. He said that rising tensions among nationalities would be a consequence of his austerity/privatization plan, so he asked for a billion dollars in aid, and said that, if aid didn’t come, there would be trouble. 00:20:43 (Boris VO) (Various archive Film and TV shoots) And we all know the Americans didn’t want any trouble. 00:20:46 (VO, VV, various archive Film and TV shoots)  Michael Parenti: “In November of 1990 […] President George Bush went to the U.S. Congress and pressured them to pass the Foreign Appropriations Law that called for the cutting off of all aid and credits to Yugoslavia. The law also demanded that if any republic in Yugoslavia wanted further U.S. aid, it would have to break away from Yugoslavia and declare its independence. OK? It’s not a conspiracy theory, it’s not my speculation, it’s not my analysis, it’s a public law! It’s a public law! [...] It required the U.S. State Department approval of election procedures and results in every one of the republics! It required that the republics not hold national elections, but hold elections only in their own republics. And that the aid would only go individually to these republics, and when the aid did go, it went to those groups which the U.S. defined as “democratic” groups, which meant small, right-wing, ultranationalist and even fascistic parties.” 00:21:48 (VO, various archive Film and TV shoots)  Michel Chossudovsky: “This fracturing of Yugoslavia was not the result of pre-existing internal divisions. Those internal divisions were heightened as a result of an outside intervention.” 00:22:03 (Boris VO) (Various archive Film and TV shoots) By 1991, the inflation was 200% and the Yugoslav federal government was unable to pay the enormous interest on its foreign debt or even to arrange the purchase of raw materials for its industry. Credit collapsed and recriminations broke out on all sides. Cooperation between the republics and the Belgrade central government virtually ceased. 00:22:23 (VO) (various archive Film and TV shoots)  Michel Chossudovsky: “The republics were not getting any money from the federal government, they weren’t transferring any tax revenues, so the whole federal fiscal structure had collapsed and the republics were left to their own devices and then came in the new form of nationalism.” 00:22:40 (Boris VO) (Various archive Film and TV shoots) As the Americans demanded, multi-party elections were held and economic policy was at the center of the political debate as nationalist and separatist coalitions ousted the Communists in Croatia, Bosnia and Slovenia. And with the republics at one another's' throats, both the economy and the nation itself embarked on a vicious downward spiral. 00:23:00 (Boris VO) (Various archive Film and TV shoots) Of course, the local political figures did their best to calm the people down. 00:23:06 (VV) (Serbian)  Vojislav Seselj: “We shall avenge Serb blood.” 00:23:09 (VV) (Croatian)  Vlade Gotovac: “The Serbs will die in the havoc of their dead heart!” 00:23:13 (VV) (Serbian)  Radovan Karadzic: “Don’t think that you won’t take Bosnia and Herzegovina to hell and the Muslim people perhaps to annihilation!” 00:23:19 (Boris VO) (Various archive Film and TV shoots) The people needed a hero to save them, someone with their interest at heart. Instead, they got these guys. In 1991, elections were held in the Bosnian republic of Yugoslavia. Alija Izetbegovic, a former Nazi collaborator in World War II, was a candidate who had an Islamic vision for the mainly Christian Bosnia, as professed in this little book he wrote: “There can be neither peace nor coexistence between the Islamic religion and non-Islamic social and political institutions”. Alija lost the elections to the moderate Muslim leader Fikret Abdic. Losing the elections didn’t stop our Alija though, so he madea a deal with Fikret, where Alija would be President, but would quit a year. So, faster than you can say “Islamic Declaration”, Alija made sure his Presidency was extended due to the crisis, as you can’t have a power struggle in such tragic times. In fact, there was a moment when Alija could’ve prevented the war, when he signed the Lisbon Agreement in 1992, which would’ve made Bosnia a confederation of three regions. Alija didn’t like this, he wanted all the power. Luckily for him, the Americans didn’t like this peace idea either. So, the American ambassador to Yugoslavia, Warren Zimmerman, stepped in. 00:24:30 (VO) (Various archive Film and TV shoots)  George Kenney: “So, my cabinet was in this meeting with Zimmerman and Izetbegovic. Izetbegovic had just come back from Lisbon […] and Zimmerman says to him: ‘Well, you know, you could get a lot more from U.S. recognition if you just waited.’ And my cabinet told me his jaw just hit the floor.” (George Kenney, 16:27 min) 00:24:49 (Boris VO) (newspaper animation)  “If you don’t like it, why sign it?” 00:24:50 (Boris VO) (Various archive Film and TV shoots) Alija took the American advice and withdrew his signature, fortified his power, and the Americans recognized it. 00:24:58 (Boris VO) (Various archive Film and TV shoots) Another guy who just loved his power was the one, the only, Slobodan Milosevic! Slobo, as the masses liked to call him, knew how to use those masses to get what he wanted. 00:25:10 (VO, various archive Film and TV shoots) (Serbian)  Masses: “Slobo we love you!”, Slobo: “I love you too!” 00:25:14 (Boris VO) (Various archive Film and TV shoots) With a little luck and help from his close friend Ivan, the President of Serbia, he got sent to Kosovo in 1987 where Serbs felt threatened by the Albanians. During a scuffle with the police, one Serb asked Slobo why the police were beating them. Slobo then rightfully proclaimed: “No one shall dare beat you”. He became an overnight star, as the protector of all Serbs! However, the incident with the police was fairly localized. This guy needed a bigger stage. So, because he was so thankful to his friend Ivan, he booted him from the Presidency. He also got him killed a decade later. You’d think that after Slobo became the new President of Serbia, he’d calm down, but no. He still needed a bigger stage, 00:25:55 (Boris VO) (Various archive Film and TV shoots of battle of Kosovo anniversary) and what luck, a big anniversary was coming up. As Serbs were marking the 600th anniversary of the Battle of Kosovo, which is the crux of their historical culture, waving Serbian, Yugoslav, American and, wow, Canadian flags, singing patriotic songs, Slobo took the stage and what the West described as a nationalist call to arms, inflamed the audience! 00:26:17 (VV) (VO Milosevic speak with various archive film and TV shoots) (Serbian)  Slobo: “Yugoslavia is a multiethnic society and its survival depends on the complete equality of all nations that live within it. The crisis that has struck Yugoslavia led to ethnic, but also social, cultural, religious, and many other less important divisions. The bridging between the differences will soften the effects of these rifts.” 00:26:48 (Boris VO) (Various archive Film and TV shoots) Alright, maybe it wasn’t that inflammatory, but at least the opera singers afterwards were pretty cool. 00:26:56 (Boris VO) (Various archive Film and TV shoots) But if you think this guy had high ambitions, what about a guy being compared to Jesus Christ? 00:27:00 (VO) (Various archive Film and TV shoots) (Croatian)  Announcing Franjo Tudjman: “On this day Christ triumphantly came to Jerusalem, greeted by the people as a messiah. Today, the capital of Croatia resembles Jerusalem, as Franjo Tudjman has come to his people.” 00:27:00 (Boris VO) (Various archive Film and TV shoots) Holy bleep. The saviour of the Croatian people, Franjo Tudjman. No pressure, eh? 00:27:30 (Boris VO) (Various archive Film and TV shoots) Now, Franjo won the elections fair and square, but the people around him weren’t really good at hiding what was going to happen next. 00:27:37 (VV) (Croatian)  Stipe Mesic: “There will be no war!” Even these guys aren’t buying it. Franjo’s government was quick to arm themselves, illegally. 00:27:45 (VV) (Croatian)  Franjo: “We have not been arming ourselves!” 00:27:48 (Boris VO) Yeah right, what about this? 00:27:50 (VV) (Croatian)  Martin Spegelj: “Right now, we have 80,000 of us armed with Kalashnikovs.” 00:27:53 (Boris VO, various film and TV archive shoots) It seemed like war was the only option. Thankfully, there were many citizens who just said “NO”. 00:28:00 (VI) (Footage from the Belgrade peace rally)  Belgrade peace rally: “All we are saying is give peace a chance!” 00:28:10 (VV) (Bosnian)  Raif Dizdarevic: ““We shall not go down the path of inter-ethnic quarrels” 00:28:20 (Boris VO) (Various film and TV archive shoots) Yugoslavs stood a lot to lose if Yugoslavia broke up. For 50 years, they grew up together, lived together, married each other and at the centre of all this was Bosnia, with a mixed population of Muslims, Serbs and Croats – a sort of mini-Yugoslavia in itself. Massive anti-war rallies were held in its capital Sarajevo, which had the largest number of ethnically mixed marriages, with a message to the politicians: “Don’t sacrifice peace for political ambition!” But with little higher interest in keeping Yugoslavia together, the politicians decided to send a message of their own to the demonstrators. 00:29:05 (Boris VO) (Various film and TV archive shoots) Slovenia and Croatia were the first who decided that peaceful negotiations weren’t working out for them. So, they unilaterally declared independence in 1991. 00:29:14 (VV) (Slovenian independence) (Slovenian)  Slovenian Parliament: “We declare independence and state sovereignty.” 00:29:22 (Boris VO, various film and TV archive shoots) Bosnia followed in 1992. All of them were quickly recognized by the West. 00:29:26 (VO, various film and TV archive shoots)  George Kenney: “When the White House announced that we would be recognizing Slovenia, Croatia and Bosnia, we at the State Department had no idea what that decision would be before it was announced, which is a very peculiar state of affairs. I was a desk officer, office director, nobody at the working level had any idea what the White House would decide. So, you can say just that the decision was a political one, it was not based on a careful consideration of what recognition might entail.” 00:29:56 (Boris VO, various film and TV archive shoots) It was, in essence, a dependable way of making conflict inevitable. The question was, would the people buy it? 00:30:09 (Boris VO, various film and TV archive shoots) Of course, as history has shown, there was one surefire way to mobilize public opinion in favour of a conflict and bring them back to the WWII mentality where all Serbs became Chetniks and all Croats Ustashe. Hardcore propaganda! 00:30:24 (VV, film and TV archive shoots) (Croatian)  Thompson: “Listen you band of Serb Chetnik soldiers! Our wrath will reach you in Serbia as well!” 00:30:38 (Cartoon) (film and TV archive shoots)  Croatian cartoon about Serbs: “This is Serbia” 00:30:44 (VV, Soldier) (Croatian)  Croatian soldier: “My specialty is killing Chetniks” 00:30:48 (VV, Singer) (Serbian)  Dzbun: “We Serbs are Supermen! We’re fighting against the world! We’re ready for a holy war, even if it lasts a hundred years!” 00:30:58 (VV) (Film and TV archive shoots) (Croatian)  Croatian song: “Protect Croatia with your blood!” 00:31:02 (VV) (film and TV archive shoots) (Croatian)  Branimir Glavas: “Feel free to call yourself Ustashe, because you’re just that!” 00:31:08 (VV) (Warlord arkan) (Serbian)  Arkan: “My message to the Ustashe is a bit vulgar: I’ll fk your mother and father” 00:31:13 (VV) (Serbian)  Momcilo: “It’s time for the Serb revenge, all mosques must go up in the air!” 00:31:18 (VV) (Serbian)  Vojislav Seselj: “Now we slaughter with a shoehorn, a rusty one. That way you can’t figure out at the autopsy whether the victim died from the slaughter or tetanus.” 00:31:28 (BV, various TV and film archive shoots) (Croatian)  Song about the Jasenovac concentration camp: “This is the home of Ustashe butchers!” 00:31:43 (VV) (Croatian)  Croat girl: “I think all girls would agree – we should slaughter and kill these fascist Chetniks” 00:31:50 (VV) (Bosnian)  Alija Izetbegovic: “You have broken the spine of the Chetnik enemy“, Masses: „Allah-Akbar“ 00:31:58 (VV) (Serbian)  Army commander: “We wish you happy mine-field crossings with the song – Make at least one wrong step.” 00:32:03 (VV) (Serbian and Croatian news archive footage) (Serbo-Croatian)  Serb TV: “The destroyed town of Vukovar”  Croat TV: “The destroyed town of Vukovar”  Serb TV: “In which the enemy is showing its genocidal nature by massacreing Vukovar Serbs”  Croat TV: “In which the enemy is showing its genocidal nature by massacreing Vukovar Croats”  Serb TV: “Pictures from Vukovar completely negate allegations of the Croat-Zagreb propaganda about killed Croats.”  Croat TV: “Pictures from Vukovar completely negate allegations of the Serb-Belgrade propaganda about killed Serbs.” 00:32:33 (Boris VO) Various TV archive shoots) Yup, they were pretty much all the same. 00:32:37 (VV, various TV archive shoots) (Serbian)  Veran Matic: “The wars and nature of the wars were prepared before the wars actually started. When they did start, the role of the media was to further homogenize, futher brutalize, to give people new motives to take part in the war and be on their worst behavior.” 00:33:00 (VV) (Various TV archive shoots) (Serbian)  Woman on TV: “Well, when I watch television and see what’s really going on, I want to help and our Serbia is worth sacrificing one’s life for.” 00:33:06 (Boris VO, various TV archive shoots) There was no official military mobilization, it all worked on a voluntary basis. 00:33:10 (VV, scene from a film “Tito i Ja”) (Serbian)  Lazar Ristovski: “You.. and you. You two are volunteers.” 00:33:17 (Boris VO, TV archive shoots) One man, though, who could make a difference, realized where this madness was heading. His name was JOSIP KIR. 00:33:24 (VV) (Croatian)  Jadranka Reihl-Kir: “My husband was the police chief of the Osijek-Baranja county in the Slavonian region of Croatia in 1991. Back then there was no Croatian Army, so all problems were being dealt with by the police.” 00:33:46 (Boris VO, various TV archive shoots) As rebel Serbs had put up road blocks to control passages towards Serb-populated areas, Josip Kir, who was a Croat, decided to resolve these issues in a peaceful manner. 00:33:56 (VV and various TV archive shoots) (Croatian)  Jadranka Reihl-Kir: “Exclusively through negotiations, he was able to take down every single road block. My husband never differentiated people according to ethnicity – he believed that people are either good or bad. Apparently, that was his disadvantage. At the time, Franjo’s party, the HDZ, was in power, and extreme elements within the HDZ did not agree with Kir’s policies of peace.” 00:34:24 (Boris VO, various TV archive shoots) Kir was quickly becoming an obstacle to the aspirations of the Croatian HDZ and had to be taken out. 00:34:30 (VV) (Croatian)  Jadranka Reihl-Kir: My husband was murdered by a Croatian HDZ member, Antun Gudelj. He pulled the trigger.” 00:34:39 (Boris VO, various TV archive shoots) Who ordered the assassination, however, remains unresolved. 00:34:43 (VV and various shoots) (Croatian)  Jadranka Reihl-Kir: “On the day he was murdered, a newspaper came out with the headline – With Kir no more, Slavonia is at war.” 00:34:52 (Boris VO, various shoots) Yes, the war had started, best characterized by two words! 00:35:01 (Boris VO, various TV archive shoots)  “Ethnic cleansing, ethnic cleansing,...” 00:35:02 (Boris VO, various TV archive shoots) Ethnic cleansing. The term, however, was nothing new in the Balkans, as it was first used in WWII to describe how the Croatian Ustashe were cleansing Croatia of unwelcome ethnic elements such as Serbs and Jews. In the minds of Serbs during the 1990s, this was very much engraved in their national memory. Franjo didn’t care because he knew he had the support of just the right people. German Foreign Minister Hans-Dietrich Genscher, in almost daily contact with Zagreb, gave his go-ahead for Croatian secession and actually pressured its Western allies to recognize Slovenia and Croatia. 00:35:35 (VV, scene from a film) (Serbian)  Lazar Ristovski: “Who else would attack us Serbs other than the Germans! Don’t you ever get tired of that?” 00:35:41 (VV, various TV archive shoots)  Srdja Trifkovic: “The German Serbophobia [...] it was geopolitical in the sense of 1914 and 1941. And that continuity also reflected itself in the almost visceral preference for the Croats and the Slovenes, who after all had belonged to the German cultural and state structures for hundreds of years.” 00:36:04 (Boris VO, various TV archive shoots) There was, however, one problem in this plan. The Serbs – who were now a constitutional people of Croatia! That pretty much meant that no decisions about Croatia could be made without the Serbs, while Serbs and Croats had an equal status. Now, Serbs were facing increasing discrimination by the Croatian government. 00:36:22 (VV, various TV archive shoots)  Gregory Elich: “A lot of people were killed outright and threatened. People lost their jobs. It wasn’t just Serbs, even say Croatians who’s married partner was Serbian faced similar discrimination.” 00:36:36 (Boris VO, various TV archive shoots) Franjo knew this all too well. So what did he do? He wrote a new Constitution. 00:36:42 (VV, Milan Panic) (Serbian)  Milan Panic: “The constitution says that Croatia is a country of Croats. That’s automatic ethnic cleansing. Constitutional.” 00:36:49 (Boris VO, various TV archive shoots) By creating such a Croatian constitution, Franjo violated the Yugoslav constitution which he considered invalid, but he still wanted to keep the internal Yugoslav borders. The Serbs had a different idea. 00:36:59 (various TV archive shoots) (Serbian)  Krajina rebellion: “This is Serbia!” 00:37:02 (Boris VO, various TV archive shoots) What the Croatian Serbs wanted was to have control over the lands they populated, their own self-government, their schools, a right to preserve their language, culture and national identity. The Croats really wanted the same, feeling threatened by what was now being described by Zagreb as the Serbo-Yugoslav giant. 00:37:18 (Boris VO, various TV archive shoots and animation) The Serbs thought, well, if Croats can separate from Yugoslavia, why can’t the Serbs separate from Croatia? After all, the same thing happened in America back during the Civil War. When Virginia seceded from the U.S., the northwestern part of the State seceded from Virginia to form West Virginia that was loyal to the Union. 00:37:35 (VV, various TV archive shoots)  Scott Taylor: “When I got there, when we inspected the lines these guys all told me their heroic stories of how they were just simple peasant Croats that had been, you know, patriots. And the JNA was this formidable fighting force they had overcome […] All the weapons that they had, they said that they had to capture from the JNA. Well, that might have worked on someone else. I looked around and I did my in-training, I mean, and I knew who made various Kalashnikovs. [...] Every single one of the weapons carried by these guys, everything from machine guns to sniper reiffles, was all made in East Germany.” 00:38:11 (Boris VO, various TV archive shoots) Even though Croatia never officially admitted that Germany was arming them, they decided to thank the Germans with a song. In German, you know, so only the Germans would understand. 00:38:19 (VV, Danke Deutschland) (Deutsch)  Danke Deutschland by Sanja Trumbic: “Thank you Germany, my soul is burning. Thank you Germany, for this lovely gift” 00:38:28 (VV, various TV archive shoots)  Scott Taylor: “If you follow that bouncing ball, just recently, just last summer, Croatia donated surplus, 4 or 5 thousand Kalashnikovs to the Afghan National Army. Those aren’t surplus, what they’re doing is hiding essentially a murder weapon.” 00:38:44 (Boris VO, various TV archive shoots) The Serbs had more than enough weapons and they were too eager to crush the Croatian Army. 00:38:49 (VV, Seselj) (Serbian)  Vojislav Seselj: “As far as their army is concerned, 20, 30 Chetniks fixes everything.” 00:39:02 (Boris VO, various TV archive shoots) The Croatian town of Vukovar was under siege for 87 days, which later brought a phyric victory to the Serb forces. Why phyric? Well, because they actually destroyed the entire city! 00:39:13 (VV, various TV archive shoots) (Croatian)  Zeljko Sabo: “The whole world became aware of the tragedy of Vukovar. Over 4,000 people living in Vukovar perished.” 00:39:22 (Boris VO, various TV archive shoots) A horrific example of how territory suddenly became more important than the people living on it. 00:39:31 (Boris VO, various TV archive shoots) Even though they were brainwashed into thinking they were doing the right thing, some people woke up and realized what was really going on. 00:39:39 (Boris VO, various TV archive shoots) MILAN LEVAR, a Croat who was determined to protect his town of Gospic from the Serbs, was among the first to join the newly established Croat Army, but quickly became disillusioned after an order he received. 00:39:50 (VV) (Croatian)  Zeljko Peratovic: “Milan Levar was a Croatian defender who got tasks in 1991 to murder Serb civilians, which he saw as immoral and wrong, thus refusing to complete them. 00:40:04 (VV, Levar’s Wife) (Croatian)  Vesna Levar: “In June of 1992, my husband got out of the Army after his unwillingness to carry out orders of those who were in power here in Gospic.” 00:40:17 (VV, TV archive shoots) (Croatian)  Zeljko Peratovic: “He then alerted the proper authorities about the crimes being committed in Gospic. Since the authorities did nothing, in 1993 Levar resorted to public appearances, talking about the injustice against his fellow citizens, the Serbs of Gospic, but also some Croats who either didn’t agree with the policies of ethnic cleansing in Gospic, or simply were an obstacle to those in power at the time.” (Zeljko Peratovic) 00:40:48 (Boris VO, various TV archive shoots) His fight brought him all the way to the International Criminal Court where he testified. After that, however, extreme elements in Croatia decided to silence Milan Levar. 00:40:59 (VO, VV various TV archive shoots) (Croatian)  Vesna Levar: “He was killed by a planted bomb in his own back yard. This was in 2000. when there was peace in Croatia.” 00:41:17 (VV, various TV archive shoots) (Croatian)  Zeljko Peratovic: “Milan Levar was a symbol of Croats who wanted a fair and just Croatia and that’s why he was killed. The government only partially investigated the crimes of Gospic, discovering 50 bodies and convicting 3 people of 15, 12 and 10 years in prison. And that’s where everything stopped.” 00:41:48 (Boris VO, various shoots and newspaper animation) Instead of building peaceful and trusting relationships between the waring sides in Croatia, in 1992, the Pentagon was busy proclaiming its imperial hegemony over the world in its "Defense Planning Guide." According to the New York Times of 1992 this document asserts that the only possible course for the U.S. to pursue is complete world domination, and it adds that no other country has the right to aspire to the role of leadership, even as a regional power. 00:42:16 (VV)  James Bissett: “It simply looked upon itself now as the supreme power in a unipolar world and that they could do whatever they wanted to do.” 00:42:25 (Boris VO, various TV archive shoots and pictures) Yugoslavia had to be broken down. And there was no better symbol for Yugoslavia than it’s central republic of Bosnia. War erupted into the worst bloodbath in Europe since World War II. 00:42:47 (various TV archive shoots)  John Hawthorne: “Civil war. Civil war is the worst kind of war. It involves brother versus brother, family member versus family member and it is one of the ugliest kind of conflicts.” 00:43:20 (Boris VO, various TV archive shoots and pictures) The Serbs wanted to have control over lands mainly inhabited by Serbs, including lands that were of strategic importance to them, the Croats wanted the same for themselves, while the Bosnian Muslims, or Bosniaks as they’re called today, wanted it all. To achieve this, the Bosnian government, now increasingly representing the Bosniak voice, started getting help from the Americans. 00:43:44 (various TV archive shoots and pictures, VV)  Lewis Mackenzie: “Secret flights started arriving at Tuzla and air drops and other areas. […] The Americans started to approve the delivery of arms to the Bosnian Muslims.” 00:43:54 (Boris VO, various TV archive shoots) American President Clinton later admitted in a book that the Americans didn’t enforce the arms embargo. Heck, but that’s not all. Alija was also offered the help of hundreds of Mujahadeen! Come on, who can say no to these guys. Serbs, on the other hand, relied heavily on aid from Belgrade. As the Yugoslav Army was the fourth largest in Europe, the West moved to stop Belgrade from helping the Serbs in Bosnia. So, in May of 1992 sanctions were imposed on what was left of Yugoslavia - Serbia and Montenegro. 00:44:26 (Boris VO, various TV archive shoots) By October 1993, 90 percent of Yugoslavia's domestic drug production stopped. The average daily intake of calories had fallen by 28 percent compared to 1990 and 1.5 million people were classified as undernourished. Two months later, over 60 percent of Yugoslavia's work force was unemployed and the average monthly income had dropped from $500 to $15. The markets and stores were close to empty. 00:44:55 (VV, scene from a film “Balkanski Spijun”) (Serbian)  Serbian movie: “There’s no meat, no medicine, no oil, not even regular light bulbs. Look!” 00:45:03 (VV)  Lewis Mackenzie: “As usual, sanctions […] merely hurt the people at the lowest run on the ladder. People at the top benefit from them.” 00:45:12 (VV)  Scott Taylor: “They forced the Serbs into what would happen anywhere, it was a criminal economy. The criminals became King, because we made it so.” 00:45:21 (VV)  Lewis Mackenzie: “If you go to Belgrade […] now, what used to be the diplomatic areas are now all the thugs and goons that made tons of money from the war, on the black market.”, Boris: “War profiteers?”, Lewis Mackenzie: “Big time!” 00:45:33 (Boris VO, various TV archive shoots) Slobo’s government hijacked the country’s financial system, while Serbia’s citizens were dooped by several pyramid schemes, most notably by those of Dafina Milanovic and Jezda Vasiljevic. 00:45:43 (VV) (Serbian)  Dafina: “ I repeatedly say that we’re smart people. I have decided that all those who live from Dafiment bank will continue to live.” 00:45:53 (VV) (Serbian)  Jezda: “My people! Do you wish a better life? Want a job? Pensions that are on time? Would you like your old foreign currency deposits? I can and will make this a reality.” 00:45:43 (Boris VO, various TV archive shoots) For themselves, of course. Because both Dafina and Jezda got the hell out of the country with the people’s money. The economic tragedy triggered by the sanctions was reaching it’s peek. 00:46:19 (VV, various TV archive shoots)  Gregory Elich: “The effect was quite severe. Especially in 1993, actually, the inflation rate in Yugoslavia was the highest in recorded history. As I recall, it was something like 1.8 billion percent inflation rate.” 00:46:34 (Boris VO, various TV archive shoots) They even printed a 500 billion dinar note. The lawlessness was intensifying and the mafia was taking control. In spite of the catastrophe around them, the Serbs would not heel to the will of the West, so one man decided to use this opportunity to save an organization that no longer had a purpose. 00:46:52 (Boris VO, NATO various TV archive shoots) The North Atlantic Treaty Organization, or NATO, was a system of collective defense whereby its member states agree to mutual defense in response to an attack by any external party, founded in 1949. The purpose, really, became to protect the West from the Soviets, a counter-balance to the later formed Warsaw Pact. 00:47:10 (VV)  George Bogdanich: “President Eisenhower saw NATO as a defensive Alliance that eventually the Europeans would take over. Instead, the US has turned it into an instrument of power and Eastward expansion.” 00:47:27 (Boris VO, various TV archive shoots) But then the Soviet Union went bust. 00:47:29 (VV, various TV and film archive shoots)  George Bogdanich: “The US […] explicitly broke the agreement that was made with Gorbachev about not surounding Russia with hostile militarily armed states.” (George Bogdanich, 27:48 min) 00:47:44 (VV, various TV archive shoots)  John Bosnitch: “The colonization of Serbia is the bottom or second step on the staircase to Russia. We must be colonized because NATO […] learned Hitler’s lesson: Don’t have a two-front war when you’re attacking the Russians, you have to neutralize Yugoslavia the way Hitler did.” 00:48:03 (Boris VO, various TV archive shoots) But to do that, you’d need to create a case where you had to intervene against an enemy in Yugoslavia. Enter Joe Biden. 00:48:11 (VV, Senate Foreign relations Comittee)  Joe Biden: “We face […] a blatant act of Serbian expansionism and aggression […] This is no more a civil war than Germany, Austria and Czechoslovakia had civil wars in the 1930s. This, as then in my view, is fascist thuggery on the march!” (Joe Biden and British response, 02:19 min) 00:48:29 (VV, various TV archive shoots)  George Bogdanich: “He was calling Serbs horrific names and at the same time he had a very influential position on the Foreign Relations Committee of the Senate.” (George Bogdanich, 24:43 min) 00:48:39 (Boris VO, various TV archive shoots) Biden was also emphasizing the importance of a new role for NATO, as seen in February of 1994 at the Senate hearing on the future of NATO. 00:48:47 (Boris VO, newspaper animation)  Joe Biden’s words: “Last month, while the allies reassured themselves in Brussels that NATO remains at the bedrock of European security, crimes of a kind that were tried at Nuremberg a half a century ago continued unabated in Bosnia. Without a common enemy to unite us, we may find that our conceptions of what constitutes national interest may very well divide us” 00:49:13 (Boris VO, various TV archive shoots) He found the common enemy in the Serbian people, who were already previously demonized by US Public Relation firms such as Ruder & Finn, hired by various separatist groups from Yugoslavia. 00:49:24 (VV)  Michel Chossudovsky: “They not only demonized the Serbian leadership, they demonized the Serbian people.” 00:49:31 (VV, various BW archive shoots)  Sunil Ram: “The problem for the Serbs was that they were a little slow off the mark. They did not understand what was being done to them, and by the time they did, the whole Balkan region had collapsed into a state of conflict, in which the Serbs were made out, clearly, from propaganda at the time, to be the enemy of everybody else.” 00:49:53 (Boris VO, various TV archive shoots) Thus, the US quickly set out to act against the Serbs, stirring up a storm in Croatia. Operation Storm, that is. 00:50:01 (VO, various TV archive shoots, VV)  Lewis Mackenzie: “They came up with a plan where the Croatian Army would launch an attack down into the Krajina and occupy the area that was manned by the Serbian minority that had been there for 4 or 5 centuries, but it was declared that they were much too radical to permit to continue within the borders of Croatia” 00:50:25 (Boris VO, various TV archive shoots) And at a meeting on the Brijuni islands, Franjo gave his go-ahead to general Ante Gotovina for the single largest act of ethnic cleansing during the Yugoslav wars: 00:50:34 (VO, various TV archive shoots) (Croatian)  Voice of Franjo: “We must inflict blows that will make the Serbs all but disappear [...] It is important that these [Serb] civilians start moving and then the army will follow them, and when the columns start moving, they will have a psychological effect on each other. [...] We provide them with an exit, while on the other hand we pretend to guarantee civilian human rights and the like...” 00:51:00 (Boris VO, various TV archive and BW shoots) An operation that lasted 84 hours in August of 1995, resulted in the death of around 2,000, and a quarter of a million ethnically cleansed Serbs. Slobo and his generals, the protectors of all Serbs, had abandoned them. 00:51:14 (VV, Scene from a BW movie) (Serbian)  General: “Save yourselves if you can!” Soldiers: “Come back, General!” 00:51:21 (VV)  Lewis Mackenzie: “Operation Storm was an American inspired, by some of my coleagues, because the people that were advising the Croatian Army were retired American general officers who operated just outside of Beltway in Washington.” 00:51:37 (Boris VO, various TV archive shoots) Franjo was very happy. 00:51:39 (VV) (Croatian)  Franjo: “They didn’t even have time to take their dirty money, or underwear!” 00:51:46 (Boris VO, various TV archive shoots and animation) With the Serbs gone from Croatia, the Americans moved on to Bosnia. Simply pushing out the Serbs from there was not so easy, so a different strategy was implemented. Presenting the conflict in Bosnia as a civil war, which it was, instead of a war of Serbian aggression, meant that the Western public would be confused, and the water would be muddied. To intervene, the Americans needed to make clear who they had to intervene against. 00:52:10 (VV)  Richard Holbrooke: “The Serbs started the war. The Serbs are the original cause of the war.” 00:52:16 (VV)  Bill Clinton: “They are the complete aggressors and wrongdoers.” 00:52:19 (Boris VO, various TV archive shoots) NATO was used to militarily continue the colonization process, but Clinton knew it had to be somehow justified to the wider public. Perhaps the best example of what we’re talking about here is Srebrenica. 00:52:32 (Boris VO, various TV archive shoots) Srebrenica, a village in Bosnia, was declared a UN safe zone for Bosniaks seeking refuge, but was never really demilitarized, which allowed Bosniak forces to attack neighboring Serb villages. Serb commander Ratko Mladic overran Srebrenica, with thousands of Muslims killed and ethnically cleansed. 00:52:51 (VV, various TV archive shoots)  Srdja Trifkovic: “What happened in Srebrenica was a stage managed fall of the enclave to the Serbian forces, which never expected to conquer it.” 00:53:00 (Boris VO, various TV archive shoots) The United Nations declared that this was genocide, even though UN observer Philip Corwin estimated that the number of killed Muslims in Srebrenica was no larger than the number of Serbs killed in villages around Srebrenica. But that didn’t matter, Srebrenica was to be used for a much greater agenda. 00:53:17 (VV, various TV archive shoots)  Srdja Trifkovic: “There are trustworthy witnesses on the Muslim side who claim that Alija Izetbegovic told them that Bill Clinton had indicated to him, Izetbegovic, that 5,000 dead Muslims would be the price of NATO intervention on the Bosnian Muslim side. They believe that Srebrenica was deliberately sacrificed by Izetbegovic in order to provide this burnt offering to the White House that would be the justification for intervention and indeed, ‘the proof of the pudding is in the eating’.” 00:53:48 (Boris VO, various TV archive shoots) The Bosniak government ‘had no choice’. 00:53:51 (VV)  Joe Biden: “Mr Silajdzic, speaking for his government said:” 00:53:53 (VV) (Bosnian)  Haris Silajdzic: “We have no choice and our Presidency had no choice but to appeal for a military intervention in Bosnia and Herzegovina” 00:54:01 (VV)  Joe Biden: “You can not […] go this alone, the American public will not tolerate it, the Alliance can not stand it.” 00:54:10 (Boris VO, various TV archive shoots) And intervention ensued. Here was NATO, an organization formed for the sole purpose of defense of its member states, attacking a country that has not attacked or threatened any of its member states. Lewis Mackenzie, who was the Major General of the UN Army in charge of Sector Sarajevo, tried to warn the Americans of what they were embarking upon. 00:54:35 (VV)  Lewis Mackenzie: “I appeared in front of Congress and they asked me my opinion. And I said – Start training your grandchildren to be peacekeepers in Bosnia, because you’re going to be there for generations. And a lot of them are still there.” 00:54:47 (Boris VO, various TV archive shoots) As heavily-armed US and NATO troops enforced the peace in Bosnia, the press and politicians alike portrayed Western intervention in the former Yugoslavia as a noble, if agonizingly belated, response to an outbreak of ethnic massacres and human rights violations. 00:55:03 (VV, various TV archive shoots)  Barry Lituchy: “A lot of the so-called liberal or left-wing or progressive media were themselves coopted by the mainstream viewpoint regarding the Balkans. In other words, they had bought into this paradigm that was presented to them by [...] the arms of the Government of the United States and of the EU powers.” 00:55:25 (VV, various TV archive shoots and pictures)  John Bosnitch: “Only the journalists who towed the line and found new ways to attack the Serbs, other than the ones their editors sent them to tell, other than the stories that were pre-written before they came to the Balkans [...] those guys excelled.” 00:55:40 (Boris VO, various TV archive shoots) Of course, the bombing campaign forced the Bosnian Serbs to surrender. At the peace accord signing, which internally divided Bosnia into a Serb entity and a Muslim Croat entity, all those responsible for intensifying the war were praising peace. 00:55:54 (Boris VO, various TV archive shoots) This is the village of Vrhbarje, near Sokolac in Bosnia, inhabited mainly by Serbs and Muslims. After the imposed Dayton peace accords, the villagers were aware of what this meant to them, and as the town became a part of the Serb entity, the Muslims decided to collectively leave to their own entity. 00:56:14 (VV, TV archive shoots) (Bosnian)  “Both of you in tears!“ (Interviewer), “Neighbours!” (Suno, Muslim), “Neighbours.” (Nedjo, Serb), “Today you’re parting ways.” (Interviewer), “That we are.” (Suno) “Well, is it hard?” (Interviewer), “Yes, as you can see.” (Suno), “Two neighbors saying goodbye in tears?” (Interviewer), “From the depth of my heart, and his - definitely.” (Suno) “Definitely.” (Nedjo) “You lived together for so many years…” (Interviewer), “As many years as he’s lived, we’ve lived together.” (Suno), “Together for 68 years” (Nedjo), “Without fights, disagreements…” (Interviewer), “Always helping each other, our entire lives and now as well.” (Suno) “And how is it now?” (Interviewer) “It’s hard. Dear God, it’s hard.” (Suno) 00:57:01 (VV, TV archive shoots) (Bosnian)  “Was there any abuse by the other side, was it bad for you here?” (Interviewer), “Never. It couldn’t have been better.” (Nura, Muslim) 00:57:10 (VV, various TV archive shoots) (Bosnian)  “Are you sad?” (Interviewer), “Of course I’m sad we’re saying goodbye to our neighbours, we’ve always liked them.. We got along great.” (Senad, Muslim), “Did the Serb kids ever provoke you or cause any problems?” (Interviewer), “No, never, everything between us was good, just like before.” (Senad) 00:57:30 (Boris VO, various TV archive shoots) This video footage has never been shown anywhere before. It just didn’t fit the image the Western media had tried to hard to project, the tidy melodrama of the evil Serbs destroying everything non-Serb in sight. Do you think this would mobilize Western public opinion to intervene? 00:57:47 (VV, various TV archive shoots) (Serbian)  “No disagreements, no pressures, no fights.” (Interviewer) “No, never. Never here.” (Nura) 00:57:53 (VV, various TV archive shoots) (Serbian-Bosnian)  “You’re alive and well.” (Interviewer), “Alive and well, never had any problems, not the slightest problem. Lots of people came, soldiers, different ethnic groups, nobody even gave me a dirty look.” (Zenka, Muslim) 00:58:00 (VV, various TV archive shoots) (Bosnian)  “We had everything we needed, even the Army came to give us clothing, feed us. They really took good care of us.” (Nura) 00:58:10 (Boris VO, various TV archive shoots) What? Serbs not behaving like genocidal maniacs? I must be dreaming. 00:58:14 (Boris VO, various TV archive shoots) (Bosnian)  “Our neighbours are here, we’re all crying.” (Zenka) “Because you’re leaving” (Interviewer), “We’re saying goodbye in a way human beings should!” (Zenka) 00:58:25 (Boris VO, various TV archive shoots) Human beings? Them? 00:58:28 (VV, various TV archive shoots) (Bosnian)  “I want things to be like before, for problems to get fixed so we can live together again. I want Yugoslavia back, like it was before.” (Kadrija, Muslim) 00:59:08 (Boris VO, various pictures) Human compassion was something that was completely normal to a young Serbian man from Trebinje in Herzegovina called SRDJAN ALEKSIC. 00:59:16 (Boris VO, Srdjan’s father) Srdjan’s father recalled how his son noticed that the Serb police were arresting a man on an ethnic basis. 00:59:22 (VV, Srdjan’s father, various reconstruction shoots) (Serbian)  Rade Aleksic: “Srdjan saw the police taking away Alen and he followed them to see why they were doing so. They then confronted a drunk soldier who seized Alen from the policemen, quickly realizing he’s a Muslim. At the time, Alen was a soldier of the Army of Republika Srpska and was on leave due to an injury he sustained during battle and the necessary rehabilitation needed. The drunk soldier took out his knife to slaughter Alen on the street, the worst possible death for a man. Srdjan intervened and started fighting with the soldier. Alen managed to escape, while Srdjan threw the soldier’s knife and began walking away. However, three other soldiers, who were watching the fight from far away, attacked Srdjan, threw him to the ground, kicked him, hit him… and left Srdjan on the street unconscious. My son was taken to the hospital where they diagnosed him as having a brain hemorage. Srdjan was fighting for his life for seven days. On the seventh day, January 27, 1993, my son passed away.” 01:00:45 (Boris VO, various TV archive shoots) This is one among many stories of true heroism that never made it to the Western media. The West was more focused on escalating the conflict so they could have the excuse for jumping in for their own interests. As the world celebrated peace in Bosnia 1992, the international financial institutions were busily collecting former Yugoslavia's external debt from its remnant states, while transforming the Balkans into a safe-haven for free enterprise. In late 1995, the West unveiled a "reconstruction" program that stripped Bosnia of sovereignty to a degree not seen in Europe since the end of World War II. It was pure colonialism, consisted largely of making Bosnia a divided territory under NATO military occupation and foreign administration. This pattern of intervention was so successful, that the West just had to replicate it in Kosovo. 01:01:36 (VV)  Visar Yimeri: “I think that the region is important in geostrategic terms. They saw Kosovo as a very potential country to actually secure their presence in the region.” 01:01:46 (Boris VO, various TV archive shoots) But the West underestimated the importance that Kosovo has to the Serbian people. 01:01:55 (VV, various TV archive shoots)  Bill Clinton: “My fellow Americans, today our armed forces joined our NATO allies in air strikes against Serbian forces responsible for the brutality in Kosovo.” 01:02:05 (Boris VO, various TV archive shoots) On March 24, 1999, on the order of Javier Solana, in an act of pure aggression, NATO had violated international law and the UN charter by launching an air assault on Yugoslavia. The people of Yugoslavia, however, decided to show their true spirit, by going outside, singing songs and having fun on their bridges in spite of the catastrophe around them. 01:02:27 (various TV archive shoots) (Serbian)  The song “We love our fatherland!” 01:02:33 (VV) (Serbian)  TV: “Did you hear that the air raid sirens have sounded off in Belgrade?” Ceca: „Yes, and I don’t give a damn!“ 01:02:39 (VV) (Serbian)  Woman: “Clinton, fk you, we’ll win!” 01:02:42 (VV) (Serbian)  Man: “I want to say that Clinton is a woman and has no heart! He’s without mercy, that motherf… I apologize.” 01:02:51 (VV) (Serbian)  Another man: “If they bomb our village bridge, we’ll build it again in… 3 hours! Just because we can.” 01:02:59 (VV)  Scott Taylor: “We thought the Serbs should last 5 days under the bombing and then [give up]. No one expected them to run on the bridges, put on target T-shirts,…” 01:03:08 (Boris VO, various TV archive shoots) The declared mission was to stop the violance in Kosovo and topple Slobo. Bombing Yugoslavia had the opposite affect, as the conflict in Kosovo only intensified, and the public rallied behind Slobo. The reality of the war, however, was far too gruesome. Schools, hospitals, bridges, TV stations, and even foreign embassies, were all legitimate military targets for NATO. 01:03:33 (various TV archive shoots)  Scott Taylor: “The things that they bombed, I mean, the power grid. […] Night after night they would hit the power grid, knock it out so that they couldn’t pump water and, you know, the bakeries couldn’t fire up in Belgrade. So, denying […] millions of people access to daily bread and water. How does that affect the counter insurgency efforts of the Serbian security forces in the province of Kosovo? 01:02:42 (Boris VO) These were attacks on the Serbian people. 01:03:54 (VV)  Vlade Divac: “When civilians die, they call them collateral damage. That’s what makes you feel bad, because they’re humans, you know, they have their names and they’re everything for their families. But, for the rest of the world, they’re just collateral damage.” 01:04:11 (VO, various TV archive shoots)  Scott Taylor: “They hit the cigarette factory in Nis three times. And it ended up being purchased by Phillip Morris. Well if I walk into a supermarket with a hammer and start smashing stuff and then say – look, I’ll pay you a pittens for the remains, I’m a viking and a vandal.” 01:04:28 (Boris VO, various TV archive shoots) Apparently the cigarettes made in Nis were also killing Albanians in Kosovo, so they needed to be taken out. 01:04:35 (VV, various TV archive shoots)  Scott Taylor: “Obviously Phillip Morris had an issue with the cigarette factory in Nis, it was one of their main competitors in the European market.” 01:04:41 (VV, various TV archive shoots)  John Bosnitch: “The real purpose of the war was to economically colonise the country. […] To replace the whole non-compatible domestic infrastructure with German-compatible, American-compatible economic systems. So, bomb the car factory, the Yugo car factory, the car that managed to make it into the U.S. market, bomb that to the ground. Bomb the cement factories, bomb the oil industry, […] bomb all of the telecommunication systems so you can sell them the new ones, much more expensive, but not any better.” 01:05:13 (Boris VO, various TV archive shoot, newspaper animation) If this was NATO’s job, it had to have been well coordinated in advance. In fact, almost a year prior to the war, the World Bank carefully analyzed the consequences of an eventual military intervention leading to the occupation of Kosovo and conducted relevant "simulations" which "anticipated the possibility of an emergency scenario arising out of the tensions in Kosovo." This suggests that NATO had already briefed the World Bank at an early stage of military planning. The plans for occupation started before a good enough pretext to intervene was found. 01:05:45 (Boris VO, various TV archive shoots) But hold on, occupation? Weren’t we told that Kosovo was to be liberated from the Serbian aggressors who invaded it? Well, I have yet to find someone who can explain how a country can invade itself. History was twisted in a way that would give the West a believable pretext to intervene. 01:06:01 (Boris VO, various TV archive shoots) After 5 centuries of Turkish rule, Kosovo legally became a part of Serbia in 1912. By then, a lot of the Serbs were long gone, and those that were left were again under attack during World War II, when the Albanian fascists took over Kosovo. Mustafa Kruja, the Prime Minister of Albania, was in Kosovo in June 1942, and at a meeting with the Albanian leaders of Kosovo, he said: "We should endeavor to ensure that the Serb population of Kosovo be – the area be cleansed of them and all Serbs who had been living there for centuries should be termed colonialists and sent to concentration camps in Albania. The Serb settlers should be killed." 01:06:39 (VV, various TV archive shoots)  Srdja Trifkovic: “The terror against the indigenous Serbian population reached significant proportions with over 10,000 being killed in cold blood and twice that number being expelled.” 01:06:59 (Boris VO, various BW TV archive shoots) Here’s Tito with Enver Hoxha, the Albanian dictator during communist times. You see, one thing I didn’t mention about Tito is that he didn’t just want to be ruler of Yugoslavia, he wanted most of the Balkans, a federation including parts of Greece and Italy, Bulgaria and Albania as well. This meant that the Albanian dictator Hoxha was to be shown just how much the Albanians were well treated in Yugoslavia. So, the Yugoslav Albanians, living mostly in Kosovo, got a better living standard than in Albania! Their own University, schools, newspapers, political institutions, cultural centres, everything in the Albanian language. Albanians from Albania were flooding into Kosovo with ease, and the Serbs were being pushed out. 01:07:47 (VV) (Serbian)  Serb woman in 1982: “There were 200 Serb houses here, now there’s only 5. Everyone left, from pressures, terror.” 01:08:00 (Boris VO, various TV archive shoots) Western media failed to mention any of this. The official story was that Kosovo Albanians wanted independence because of Slobo’s actions in the 1990s, which ignored the fact that Albanians demanded for Kosovo the status of a Republic quickly after Tito’s Yugoslavia was formed, around the time Slobo was born, and even held mass demonstrations in 1968. In ‘74, Tito gave Kosovo, still a province of Serbia, all the traits of a Republic and this effectively helped the Albanian leaders to continue what was started in World War II. 01:08:30 (VV)  John Hawthorne: “You had a lot of low level intimidation. [...] Attacks on individuals that are not dealt with by the police, in that sense, effectively. There are no arrests that follow.” 01:08:42 (VV) (Serbian)  Serb man in 1985: „We can’t stand this terror anymore!” 01:08:45 (Boris VO, newspaper animation, various TV archive shoots) A New York Times article published on July 12th 1982, many years before Slobo came to power said that “the exodus of Serbs is admittedly one of the main problems that the authorities have to contend with in Kosovo.” Regarding the Albanians who want to separate from Yugoslavia, Becir Hoti, an executive secretary of the Communist Party of Kosovo stated that ''the nationalists have a two-point platform - first to establish what they call an ethnically clean Albanian republic and then the merger with Albania to form a greater Albania.” 01:09:14 (Boris VO, various TV archive shoots) And they were desparate for help, they needed it at any cost. Any cost you say? 01:09:20 (VV, girl sings)  Albanian girl, Medlina Bardhi, singing: “Madeleine (Albright), I love you! I forget you never! Madeleine, I adore you, now and forever! My dreams come true cuz I have your name. When I grow up, I will do for children the same!” 01:09:46 (VV)  Madeleine Albright: “There are a lot of little girls in Kosovo whose first name is Madeleine.” 01:09:58 (VV)  Richard Holbrooke: “If you want, we can talk here or we can go outside” 01:10:09 (Reporter VO)  Albanian American conference, New York, 2004: “Mr. Clark, this is your group, they’re all KLA, former fighters.” 01:10:20 (VV)  Richard Holbrooke: “Thank you for the enormous amount of money you’ve raised tonight!” 01:10:29 (VV)  Bill Clinton: “I must say, I never expected that anywhere someone would make such a big statue of me.” 01:10:47 (Boris VO, newspaper animation, various TV archive shoots) You gotta hand it to the Albanians, they really know how to flatter the Americans. Trouble is the Albanians didn’t know what they were getting themselves into. In 1998, the KLA was still classified by the U.S. State Department as: “a terrorist organization bankrolled by the proceeds from the heroin trade and by Osama bin Laden”. 01:11:07 (Boris VO, various TV archive shoots) As it became more evident that the KLA was driving events in Kosovo, the U.S. realized it could use them for their own interests. 01:11:13 (VO, various TV archive shoots)  Gregory Elich: “The whole northern Albania region was actually under the control of the KLA, not the Albanian government and U.S. cargo planes were landing at a rate of two a day bringing supplies and arms shippments. British special forces, CIA, U.S. military forces were providing training to the KLA – this was before the war. Germany was shipping ex-East German military arms to Albania, with the understanding that Albania would provide it to the KLA.” 01:11:43 (Boris VO, various TV archive shoots) The goal was to provoke a harsh response from the Serbian army, so the West could pretend it’s jumping in to stop the war and impose its policies. Slobo sent in the military and a full blown conflict erupted in 1998. 01:11:56 (VV, various TV archive shoots) (Serbian)  Slobodan Samardzic: “The situation of an unsolvable conflict between Serbs and Albanians was simulated under the banner of human rights violations. Human rights were used as a matra through which Western, especially US, public opinion would accept the legitimacy of intervention.” 01:12:20 (VO, VV various TV archive shoots)  Barry Lituchy: “Certainly everything the United States have done in Afghanistan and Iraq, [...] is far worse than what the Serbian military ever did in Kosovo.” 01:12:28 (Boris VO, various TV archive shoots) If you’re gonna colonize a territory, might as well put it on paper. US State Secretary Madeleine Albright, masterminded the so-called Rambouillet agreement which was modeled on the Dayton Accords imposed on Bosnia. Here NATO outlined how it will occupy and colonize Yugoslavia, in Annex B of the Rambouillet agreement: 01:12:47(Boris VO, various TV archive shoots)  “NATO personnel shall enjoy, together with their vehicles, vessels, aircraft, and equipment, free and unrestricted passage and unimpeded access throughout Yugoslavia” 01:12:56 (VV, various TV archive shoots)  Milan Milutinovic: “They took us to Rambouillet to drown us!” 01:13:02 (VV, various TV archive shoots)  George Kenney: “We intentionally raised the bar too high, we knew that they could not accept this Addendum to the Agreement and the intention was to go ahead and bomb.” 01:13:14 (Boris VO, various TV archive shoots) In fact, this Annex was secret! That’s right, it was not revealed to the public until several months after the beginning of the war. The document also went a step further and basically promised Kosovo secession in 3 years. 01:13:28 (VO -> VV, various TV archive shoots)  Bill Clinton: “The Kosovar leaders signed that agreement last week. Even though it does not give them all they want…” 01:13:33 (Boris VO, various TV archive shoots) Nope, they have to wait 3 more years to get it. 01:13:37 (VV)  Bill Clinton: “…they saw that a just peace is better than a long and unwinnable war. The Serbian leaders, on the other hand, refused even to discuss key elements of the peace agreement.” 01:13:49 (Boris VO, various TV archive shoots) Gee, I wonder why. “Hey, do you want us to occupy you this way or that way?” Of course while the true details were hidden, the story was presented that the Americans wanted to protect the Albanians. 01:13:59 (VV, American talk show)  Fox News: “Maybe we could show some refugee pictures, you know what, they break my heart, America’s been responding to this terror, these pictures that have been going on and all these attrocities. […] You look at all the attrocities, all the misery and mayhem and insanity – there’s an incideous evil that permeates this Earth.” 01:14:15 (VV, various TV archive shoots) Many Albanians didn’t buy it. 01:14:17 (VV, various TV archive shoots) (Serbian)  First Albanian: “I’m not Orthodox, I’m an Albanian. From the First World War to today, I’ve never lived better anywhere than in Kosovo and Yugoslavia. The country that is the richest and should be the smartest in the world, is bringing evil to Yugoslavia, the Yugoslav and Albanian people. This is all the fault of the KLA, America and NATO.” 01:14:47 (VV) (Serbian)  TV newscaster: “But the West says they’re helping you and solving the humanitarian crisis”, Second Albanian: “Bombing doesn’t help anyone.” 01:14:55 (VV)  Visar Yimeri: “I consider that the intervention of the West in 1999 against Serbia was [...] made possible by the geostrategic interests that the Western countries might have had and especially the United States of America.” 01:15:09 (Boris VO, various TV archive shoots) This had nothing to do with the Albanians, or the Americans caring about them. 01:15:13 (VO, Serbian war reporter) (Serbian)  Miroslav Lazanski: “Can NATO pilots distinguish tractors from Yugoslav Army tanks from the air? 10 days after the incident, we stand on the spot of the NATO slaughter of Albanian refugees from Kosovo, near the town of Djakovica.” 01:15:28 (Boris VO, various TV archive shoots) That’s right, NATO killed Albanian civilians too. Lots of them. If they cared about Albanians, or Serbs for that matter, the West wouldn’t have aided the KLA which was directly linked to organized crime and the narcotics trade. You don’t help anyone by aiding the mafia. After the highly publicized Racak massacre which was later to be revealed by Finnish forensic Helena Ranta as staged, NATO bombed Yugoslavia, but failed to destroy the Yugoslav military. 01:15:55 (VV)  Gregory Elich: “By the end of NATO bombing, only 13 Yugoslav tanks were destroyed and a lot of those were old models that were left out deliberately as decoys.” 01:16:03 (VO, various TV archive shoots)  John Bosnitch: “The Serbs had ingenius methods of protecting their military defences. They built wooden tanks, painted them to look like a real tank and put an old heater or microwave oven inside it and turned it on. NATO goes by with hiper-high technology, sees the target and bombs it. OK, those bombs cost several hundred thousand dollars per go, and the tar paper tank costs about 200 bucks.” 01:16:28 (VO -> VV scene from a Serbian film) (Serbian)  Bata Stojkovic: “ Let me tell you a joke. An Englishman, a Bulgarian, a Frenchman and a Serb are sitting in an airplane. Now, I’m not quite sure what happened, but in the end, the Serb was the smartest and outwitted everyone else!” 01:16:58 (Boris VO, various TV archive shoots) So why did Slobo give in to NATO? 01:17:02 (VO, various TV archive shoots)  Gregory Elich: “At the June 2nd meeting when Marti Ahtisaari and Viktor Chernomyrdin came to Belgrade to meet with Milosevic, Ahtisaari read […] NATO’s terms and Milosevic asked if it could be modified or discussed, and Ahtisaari said “No, you have to accept this in its entirety.” Milosevic asked them: “What would happen then if I don’t sign?” 01:17:18 (VV) There was a table between them with a flower vase and Ahtisaari moved the vase to the side and said: “Belgrade will be like this table.” Then he repeated the gesture of his arm sweeping across the table. He said in a weeks time there will be half a million dead, it will be carpet bombing Belgrade.” 01:17:40 (Boris VO, various TV archive shoots) Faced with Ahtisaari’s monstruous threat, Slobo had no choice and signed the agreement, while Ahtisaari went on to win the Nobel Peace Prize in 2008. 01:17:56 (VO, various TV archive shoots)  CBS: “This is a CBS News Special Report, part of our continuing coverage of the Crisis over Kosovo”, Dan Rather: “Earlier today, Serb forces began withdrawing from Kosovo and NATO suspended its 11 week bombing campaign. The UN Security Council then voted to authorize a NATO-led force of up to 50,000 troops to move into Kosovo immediately.” 01:18:10 (VV)  Visar Yimeri: “The first step of the Western geostrategic interests was fulfilled in 1999 being that NATO troops entered Kosovo and they remain still in Kosovo.” (KOSOVO 04, 08:24 min) 01:18:20 (Boris VO, various TV archive shoots) Along with U.S. troops which established Camp Bondsteel, the second largest foreign military base outside of Germany, an army of lawyers and consultants was sent into the now occupied Kosovo under World Bank auspices to create an "enabling environment" for foreign capital. And how was this done? 01:18:37 (VV)  Gregory Elich: “They set up an organization to manage the privatization of socially owned enterprises and after a certain period of time they determined that they would do this without any regard to legal ownership, that they wouldn’t have to pay any attention to who actually legally owned this, they just basically confiscated it and privatized it, sold it to whom they chose.” 01:19:02 (Boris VO, various TV archive shoots) Yugoslav State banks in Kosovo were closed down and the Deutschmark was adopted as legal tender. Almost the entire banking system in Kosovo was handed over to Germany’s Commerzbank A.G. which gained full control over commercial banking functions for the province. 01:19:17 (Boris VO, various TV archive shoots) One second though. Think about this for a little bit. Human rights violations. War crimes. Those are the reasons the West went in to Kosovo, we’ve been told by the media, right? So why was the head of the UN mission of Kosovo most obsessed with taking over a coal mine from the Serbs? 01:19:36 (Boris VO, various TV archive shoots) Prior to the bombings, Western investors already had their eyes riveted on the massive Trepca mining complex which constitutes "the most valuable piece of real estate in the Balkans, worth at least $5 billion." 01:19:50 (Boris VO, various TV archive shoots) The Trepca complex not only includes copper and large reserves of zinc but also cadmium, gold, and silver. 01:19:57 (Boris VO, various TV archive shoots) The International Crisis Group, a think tank supported by Financier George Soros, issued a paper on "Trepca: Making Sense of the Labyrinth" which told UNMIK "to take over the Trepca mining complex from the Serbs as quickly as possible” and that “handing Trepca over to the Kosovars is ruled out”. 01:20:13 (Boris VO, various TV archive shoots) And in August 2000, UNMIK Head Bernard Kouchner sent in heavily armed "peacekeepers" wearing surgical masks against toxic smoke to occupy the mine. This was done on the pretense that it was creating an environmental hazard through excessive air pollution. 01:20:28 (Boris VO, various TV archive shoots) Of course, a healthy environment had always been a top priority of the West in Yugoslavia, even during the bombing campaign nicknamed “Merciful angel”. 01:20:38 (VO, various TV archive shoots)  RT: “After NATO used depleted uranium munitions here during the 1999 bombing, military experts from Belgrade have registered an increased radiation level and claim the area is highly contaminated. Dr. Sedlak was the first to raise the alarm. In 2001, he registered an unprecedented increase in cancer patients.” 01:20:50 (VO, various TV archive shoots) Doctor: “There is no other place in the modern world where so many people and so many young people aged between 30 and 40 die from cancer.” RT: “In this animal hospital in the South of Serbia, one of the most bombed regions, there is evidence of something going wrong. 01:21:02 (VV, Journalist) As it takes billions of years for uranium to decay, the ghost of the merciful angel will hang over the region virtually forever.” 01:21:12 (Boris VO, various shoots) See, that’s perfectly fine. Meanwhile, the United Nations had handed over the management of the entire Trepca mining complex to a Western consortium. With a stake in the Trepca deal was Morrison Knudsen International. The new conglomerate was the Washington Group, one of the World's most powerful engineering and construction firms as well as a major Defense contractor in the US. 01:21:34 (Boris VO, various shoots) Are any of the Western politicians, businessmen or lobbyists facing charges for stealing from the Yugoslav people, for crimes against the people of the former Yugoslavia? Nope. Not a single one of them. Instead, to escepe any persecution, they set up a tribunal in the Hague, the Netherlands, to try the Yugoslav people involved in the war. 01:21:56 (VV)  Srdja Trifkovic: “The Hague Tribunal was founded in 1993 on the basis of the Security Council Resolution, rather than General Assembly Resolution, which means that it is an ad hoc body created on the basis of political rather than legal principles.” 01:22:14 (Boris VO, various shoots and TV archive shoots) When you’re creating a colony, you only lock up the dissidents. Back in Belgrade, Slobo, who was declared a man of peace in 1995 when he handed over Bosnia to the West, after he was being stubborn about doing the same for Kosovo, got indicted for war crimes. 01:22:30 (VV)  John Perkins: “I think every major world leader knows that if they don’t go along with the system, that they’re likely to be taken out one way or another.” 01:22:38 (Boris VO, various TV archive shoots) After an extensive anti-Slobo campaign readily financed by Western wallets, 01:22:43 (VO, Euronews footage) The EU and the USA have spent millions of Euros in equipping opposition movements inside Yugoslavia with the necessary resources to fight in election campaign. 01:23:52 (Boris VO, various TV archive shoots) Slobo lost the elections in September of 2000, but wouldn’t heel to his opponent, Vojislav Kostunica. Vojo decided that enough was enough. 01:23:07 (VO, drums) Victory, victory shoutet the crowd, Slobodan, Slobodan save Serbia and kill yourself 01:23:14 (VV, Slobodan announces that he’s been defeated) (Serbian)  Slobo: “I congratulate Vojislav Kostunica on his election victory.” 01:23:19 (Boris VO, various TV archive shoots) Slobo fell. But what next? The politicians were all back to quarelling over insignificant nonsense, in the hottest TV reality show also known as the Serbian National Assembly. 01:23:33 (VV, TV presenter) (Serbian)  Vladimir Jelic: “The MPs spent the night making accusations and even swearing.” 01:23:39 (VO, Serbian parlament) (Serbian)  RTS: “After members of DS allegedly talked dirty about his mother, Aleksandar Vucic asked the President of Parliament to intervene several times”, 01:23:46 (VV) (Serbian) Aleksandar Vucic: “This bandit from the Democratic Party swore at me more than once!” 01:23:49 (VV, Serbian parlament) (Serbian)  Dragan Todorovic: “I’m ready to make my modest contribution to our path to Europe, as I know what you’ll need there. Unlike those who have been taking their stockings off, dear Minister, I will give you a pair of stockings that you’ll need for the EU.” 01:24:13 (VV, Serbian parlament) (Serbian)  Aleksandar Vucic: “The only thing worse than appointing Ceku and Thaci’s archduke and Solana’s corporal, Boris Tadic, would be to give the title of Prime Minister to the archdule of Meridijan bank worth 11 million Euros.” 01:24:27 (VV, Serbian Parlament) (Serbian)  Bozidar Djelic: “I would’ve prefered if members of the Radical Party here said ‘Bravo Djelic! That’s the stuff! Show everyone how a Serb can be successful in finances! Bozo, you da man! Show! Show everyone! We’re proud of you! One archdule, an archduke of finances, Bozidar Djelic, well done!” 01:24:46 (VV, a historic Shoe) (Serbian)  Dragan Todorovic: “This is the second shoe that will go down in history. The world will hear about this.” 01:24:56 (VO, Newscaster) (Serbian)  Newscaster: “This is the first time shoes were thrown around in Parliament, adding to a long line of incident including water splashing and forceful removal of MPs.” 01:25:07 (Boris VO, various TV archive shoots) Instead of focusing on the really important things, they allowed the further fragmentation of Yugoslavia. In 2003, the name “Yugoslavia“ officially ceased to exist thanks to the genius perscription of Havier Solana. 01:25:23 (VV, Comedians) (Serbian)  Question: “Is that the famous doctor Solana?” Micko: “Yes, the famous NATOlogist, OEBSologist and bombardologist.” 01:25:29 (Boris VO, various shoots) However, one man didn’t want to give up his country and its system so easily. Blasko Gabric, from my hometown of Subotica, decided to make a radical move. 01:25:40 (VV)  Blasko Gabric: “Yugoslavian socialism was much much better socialism than any other socialism, alright, comparing to the Russians or comparing with Chinese. We had a Heaven. If you can imagine a Heaven in the Earth, that was Yugoslavia.” 01:25:53 (Boris VO) Blasko explains who took away his piece of Heaven. 01:25:56 (VO -> VV)  Blasko Gabric: “The Western world, they want to talk ‘You will go to Heaven when you die.’ They don’t want afford you Heaven when you’re alive.” 01:26:06 (Boris VO) So, he turned his property of 15 hectars into a new, fourth Yugoslavia. 01:26:13 (VV)  Blasko Gabric: They destroy your factory, if they put everything on private. Whatever we had we don’t have anymore, what do you call that?” 01:26:18 (Boris VO) The West said this was democracy. 01:26:21 (VV, Explanation of Democracy)  Blasko Gabric: “We have a very very nice joke. When Muslim people ask their priest how can he explain democracy to them, to be capable to understand. Says, well, very simple I can explain that to you. See, when I go in top of minaret and you are down below me and I piss on you guys, even you can piss on me too. That’s democracy.” 01:26:48 (Boris VO) Well, jokes aside, taking away Yugoslavia’s name had a more malevolent motive. 01:26:54 (VO -> VV)  Blasko Gabric: “When they take Yugoslavia away, when they call [...] Serbia and Montenegro [...] West promised to the Montenegro: Leave the Serbia alone” 01:27:02 (Boris VO) Come 2006, after a controversial referendum Montenegro became the newest country of the world. 01:27:10 (Newspresenter VO) (Montenegrin)  News: “55.4% of citizens voted for the independence of Montenegro!” 01:27:18 (Boris VO) However, another part of the former Yugoslavia still wanted that title. You guessed it, Kosovo. In the same year, negotiations began between the Belgrade government and the Albanian minority over the status of Kosovo. However, the so-called negotiations were a farce from the beginning, as almost all the Western powers were promising Kosovo independence regardless of the negotiations. 01:27:41 (VV, President Bush)  George W. Bush: “Sooner rather than later, you gotta say enough is enough – Kosovo is independent. That’s the position we’ve taken. The people of Kosovo need to know that it is a solid, firm position, even though there is diplomacy and talks […] but if it’s apparent that that’s not going to happen in a relatively quick period of time, in my judgement, we need to put forward a resolution!” 01:28:05 (Boris VO) Think about it. If you had some of the world’s largest powers telling you that you can get what you want, why the hell would you settle for any less and try to reach a compromise? As anticipated, the talks broke down and Kosovo, unilaterally, declared independence. 01:28:26 (VO, President Bush)  Bush: “It has been an honor to welcome the President and Prime Minister of an independent Kosovo to the Oval Office. I’m proud y’all are here. I welcome you. I’m a strong supporter of Kosovo’s independence.” 01:28:39 (Church is being ruined)  “Albanian pro-independence protest in Kosovo” 01:28:59 (VV, Bush)  Bush: “I pledged that the United States would continue to work with those nations that have not recognized an independent Kosovo to convince them to do so as quickly as possible.” 01:29:07 (Boris VO, various TV archive shoots) Contrary to what Bush had hoped, the majority of world countries didn’t recognize Kosovo, and it didn’t even become a UN member state. Thus Kosovo failed to become a country. What was absurd in this story is that the Albanian minority, which in all fairness did suffer greatly throughout the 1990s, thought that they actually got independence in 2008. 01:29:27 (VV)  Albanian: “Big day for Kosovo people. Albanians, yeah.” 01:29:31 (VV)  Reporter: “How do you feel?”, Albanian: “Oooo, I feeling very very good. This is like a dream.” 01:29:39 (VV -> various TV archive shoots)  John Bosnitch: “As a Serb, I feel sorry for the Albanians. Because they have been dooped even more than we have. They think they have an independent state. All they’ve got is a military barracks in which they are just allowed to walk around freely. Kosovo is a U.S. military base. It happens to have some local color called Albanians. Some local foliage like leaves on the trees.” 01:30:01 (VV, Hashim Tachi) (Albanian)  Hashim Thaci: “The Kosovo government and the Kosovo people will always bow in deep respect for the United States and for the U.S. administration.” 01:30:08 (VV)  John Bosnitch: “Whether they could decide to do something not consistend with U.S. wishes – impossible.” 01:30:14 (VV Interview with Kosova people)  Boris: “Do you think the Kosovo government could do anything without the Americans agreeing with it?”, Albanian 02: “No.” 01:30:21 (VV) (Serbian)  Albanian 01: “I don’t believe so. No. I don’t think we can do something without the Americans, English, Germans, French and other powers.” 01:39:32 (VV) (Serbian)  Boris: “Do you think that the Kosovo government can make any decisions not consistent with American wishes?”, Albanian 03: “No, it can’t, it can’t.”, Boris: “Why not?”, Albanian 03: “It can’t. America is America.” 01:30:45 (VV) (Serbian)  Albanian 05: “I don’t think so. I don’t think so.” 01:30:49 (VV)  Albanian 04: “We just... we listen Americans.” 01:30:50 (VV)  Vjollca Abdullahu: “America, there are 50 countries... States. Yeah, so, why Kosovo not be a part of America?”, Boris: “You would support that?”, Vjollca: “Yes, why not. They are just administrating everything in Kosovo.” 01:31:03 (VV)  Boris: “The Americans are in control?” Albanian 07: “Yea, they are pretty much in control here.” 01:31:08 (VV)  Albanian 08: “We are not independent from European Union and from America.” 01:31:15 (VV, English Language)  Visar Yimeri: “The formal channel whereby the international missions of Kosovo have the absolute power over all walks of political and economic life in Kosovo are represented through International Civilian Representative who has the right to expell any elected official or anull any laws that are passed by the Assembly of Kosovo. At the same time, there is an informal channel whereby the international community meddles within the politics and economics of Kosovo through the Ambassadors of the powerful countries that have been seen or presented itself as sponsors of the independence of Kosovo. [...] The wishes of these Ambassadors are kind of like orders to Kosovo’s politicians. Kosovo still remains a colony and this colonization has actually degraded the life or the standard of living of Kosovo.” 01:32:01 (Boris VO, various footage of Vojvodina) On the other hand, the people of Serbia’s other province were unaware of what was being prepared for them. Smack dab in the middle of the Pannonian plain, Vojvodina has always been an attractive chunk of real estate, exploited for its fertile farmland. After Kosovo’s declaration of independence, the West turned their sights northward. 01:32:22 (Boris VO
1053	dbpedia	3	16	http://database.unearthingthemusic.eu/Bijelo_Dugme	en	Unearthing The Music			[ "http://database.unearthingthemusic.eu/resources/assets/umscenelogo.PNG", "http://database.unearthingthemusic.eu/images/thumb/a/ad/Dugme_1974.jpg/300px-Dugme_1974.jpg", "http://database.unearthingthemusic.eu/images/thumb/5/5f/Veljko_Despot_na_snimanju_s_Bijelim_dugmetom%2C_Air_Studios%2C_London%2C_1975..jpg/300px-Veljko_Despot_na_snimanju_s_Bijelim_dugmetom%2C_Air_Studios%2C_London%2C_1975..jpg", "http://database.unearthingthemusic.eu/images/thumb/4/47/BijeloDugmeandBajagaiInstruktoriMoscow.jpg/300px-BijeloDugmeandBajagaiInstruktoriMoscow.jpg", "http://database.unearthingthemusic.eu/images/thumb/f/ff/Tifa_i_Bregovic_Nis_polovina_80-ih.jpg/300px-Tifa_i_Bregovic_Nis_polovina_80-ih.jpg", "http://database.unearthingthemusic.eu/images/thumb/f/f1/Bijelodugmelastlineup.jpg/300px-Bijelodugmelastlineup.jpg", "http://database.unearthingthemusic.eu/images/thumb/b/be/Zuzi_Zu_i_Bijelo_Dugme_%281%29.jpg/300px-Zuzi_Zu_i_Bijelo_Dugme_%281%29.jpg" ]	[ "//www.youtube.com/embed/civL6EPLX7o?" ]	[]	[ "" ]	null	[]	null		en	/favicon.ico		null	Bijelo Dugme (trans. White Button) was a Bosnian and Yugoslav rock band, formed in Sarajevo, SR Bosnia and Herzegovina. Bijelo Dugme is widely considered to have been the most popular band ever to exist in the former Socialist Federal Republic of Yugoslavia and one of the most important acts of the Yugoslav rock scene. Bijelo Dugme was officially formed in 1974, although the members of the original lineup, guitarist Goran Bregović, vocalist Željko Bebek, drummer Ipe Ivandić, keyboardist Vlado Pravdić and bass guitarist Zoran Redžić, had been previously active under the name Jutro. The band's debut album Kad bi bio bijelo dugme, released in 1974, brought them nationwide popularity with its Balkan folk-influenced hard rock sound. The band's future several releases, featuring a similar sound, maintained their huge popularity, described by the media as "Dugmemania", and the band's work, especially their symphonic ballads with poetic lyrics, was also widely praised by the critics. In the early 1980s, with the emergence of Yugoslav new wave scene, the band moved towards new wave, managing to remain one of the most popular bands in the country. After the departure of Bebek in 1983, the band was joined by vocalist Mladen Vojičić Tifa, with whom the band recorded only a self-titled album. The band's last vocalist, Alen Islamović, joined the band in 1986, and with him Bijelo Dugme recorded two albums before disbanding at a time when tensions were rising in Yugoslavia, in 1989. In 2005, the band reunited in a lineup that featured most of the musicians that passed through the band, including all three vocalists, for three concerts, in Sarajevo, Bosnia and Herzegovina, in Zagreb, Croatia and in Belgrade, Serbia. Biography The beginnings (1969–73) Kodeksi (1969–71) The band's history begins in 1969. At the time, the future leader of Bijelo Dugme, Goran Bregović, was the bass guitarist in the band Beštije ("The Beasts").[1] He was spotted by Kodeksi ("The Codexes") vocalist Željko Bebek. As Kodeksi needed a bass guitarist, on Bebek's suggestion, Bregović became a member of the band.[1] The band's lineup consisted of Ismeta Dervoz (vocals), Edo Bogeljić (guitar), Željko Bebek (rhythm guitar and vocals), Goran Bregović (bass guitar), and Luciano Paganotto (drums).[1] At the time, the band Pro Arte was also interested in hiring Bregović, but he decided to stay with Kodeksi.[1] After performing in a night club in Dubrovnik, Kodeksi were hired to perform in a club in Naples, Italy.[1] However, the parents of the only female member, Ismeta Dervoz, did not allow her to go to Italy.[2] In Naples, the band initially performed covers of songs by Cream and the Jimi Hendrix Experience, but were soon asked to perform music more suitable for night clubs.[3] After two months, the band's guitarist Edo Bogeljić returned to Sarajevo to continue his studies, and Bregović switched to guitar.[3] A local Italian musician called Fernando Savino was brought in to play the bass,[3] but after he too quit, Bebek called up his old friend Zoran Redžić, formerly of the band Čičak (Burdock).[1] Redžić in turn brought along his bandmate from Čičak Milić Vukašinović as a replacement on drums for Paganotto, who also quit in the meantime.[1] Vukašinović brought new musical influences along the lines of what Led Zeppelin and Black Sabbath were doing at the time. Additionally, he convinced Bregović, Bebek and Redžić on incorporating the new sound into their set,[1] and within two weeks of his arrival, Kodeksi were fired from all the places they were playing.[1] The foursome of Bebek, Bregović, Redžić and Vukašinović stayed on the island of Capri and in 1970 relocated back to Naples.[1] At this time, the other three members persuaded Bebek to stop playing the rhythm guitar reasoning that it was not fashionable any more.[1] Bebek also had trouble adapting to the new material vocally. He would sing the intro on most songs and then step back as the other three members improvised for the remainder of songs, with Vukašinović taking the vocal duties more and more often.[1] After being a key band member only several months earlier, Bebek thought his role was gradually being reduced.[1] During the fall of 1970, he left Kodeksi to return to Sarajevo.[1] Vukašinović, Bregović, and Redžić continued to perform, but had to return to Sarajevo in the spring of 1971, when Bregović's mother and Redžić's brother came to Italy to bring them back.[1] Upon returning, the trio had only one concert in Sarajevo, performing under the name Mića, Goran i Zoran (Mića, Goran and Zoran). At the concert, they performed covers of songs by Cream, Jimi Hendrix Experience, Led Zeppelin, Black Sabbath, Deep Purple, Ten Years After, Taste, Free, and managed to thrill the audience.[4] Soon after, the trio got the opportunity to appear in a Television Sarajevo show, but under the condition that they record a song of their own.[5] Hastily composed and recorded, "Ja i zvezda sjaj" ("Me and the Stars' Glow") was of poor quality and little artistic value,[5] which influenced Vukašinović's decision to move to London.[5] He left Sarajevo in late summer of 1971, and the trio ended their activity.[1] Jutro (1971–73) At the autumn of 1971, guitarist Ismet Arnautalić invited Bregović to form Jutro (Morning).[1] The band's lineup featured, alongside Arnautalić and Bregović, Redžić on bass, Gordan Matrak on drums and vocalist Zlatko Hodnik.[1] Bregović wrote his first songs as a member of Jutro.[1] The band had made some recordings with Hodnik when Bregović decided they needed a vocalist with a more aggressive vocal style, so he invited Bebek to become the band's new singer.[6] With Bebek, the band recorded the song "Patim, evo, deset dana" ("I've Been Suffering for Ten Days"), which was, in 1972, released as the B-side of the single "Ostajem tebi" ("I Remain Yours"), which was recorded with Hodnik.[1] After the song recording, Bebek left the band to serve the army, but the rest of the band decided to wait for his return to continue their activity.[1] During Bebek's short leave from the army, the band recorded four more songs: "Kad bi' bio bijelo dugme" ("If I Were a White Button"), "U subotu, mala" ("On Saturday, Baby"), "Na vrh brda vrba mrda" (the title being a traditional tongue-twister) and "Hop-cup" ("Whoopsie Daisy"), the first two appearing on a 7" single.[1] Dissatisfied with the music direction the band was moving towards, Arnautalić left the band at the end of 1972, convinced that the right to the name Jutro should belong to him.[1] For some time, guitarist Midorag "Bata" Kostić, a former member of YU Grupa, rehearsed with the band, but this cooperation was soon ended.[6] YU Grupa were one of the pioneers in combining elements of the traditional music of the Balkans with rock, and Bregović would later state on number of occasions that this cooperation influenced Bijelo Dugme's folk rock sound.[1] After Matrak left the band, he was replaced by Perica Stojanović, who was shortly after replaced by former Pro Arte member Vladimir Borovčanin "Šento".[7] Borovčanin tried to secure a record contract with Jugoton, but lost faith in his new band after he failed.[7] He and Redžić neglected rehearsals, and both left the band after an argument with Bregović.[7] Redžić was replaced by Ivica Vinković, who was at the time a regular member of Ambasadori, but was not able to travel with the band on their Soviet Union tour.[8] Borovčanin was replaced by former Mobi Dik (Moby Dick) and Rok (Rock) member Goran "Ipe" Ivandić.[8] Instead of second guitar, Bregović decided to include keyboards in the band's new lineup. The experienced Vlado Pravdić, a former member of Ambasadori and Indexi, became Jutro's keyboardist.[9] The band prepared several songs for the recording in Radio Sarajevo's studio, but Arnautalić pulled his connections, and Jutro's recording sessions were cancelled.[8] However, the band managed to make an agreement with producer Nikola Borota Radovan, who allowed them to secretly record the songs "Top" ("Cannon") and "Ove ću noći naći blues" ("This Night I'll Find the Blues") in the studio.[8] The intro to "Top" was inspired by traditional ganga music.[10] Soon after, Vinković rejoined Ambasadori, and was replaced by Jadranko Stanković, a former member of Sekcija (Section) and Rok.[11] At this time, the band adopted the name Bijelo Dugme. They decided to change the name because of the conflict with Aranautalić,[11] but also because of the existence of another, Ljubljana-based band with the name Jutro.[1] As the band was already known for the song "Kad bi' bio bijelo dugme", they choose the name Bijelo Dugme.[1] The band officially started working under this name from January 1974.[1] Željko Bebek years (1974–84) "Shepherd rock" years: rise to fame and "Dugmemania" (1974–79) In January 1974, with Borota, the band finished their work on the "Top" and "Ove ću noći naći blues" recordings.[12] The band and Borota offered these recordings to the Sarajevo-based record label Diskoton. The label's top executive Slobodan Vujović refused them, stating that there was already a great number of signed acts and that Bijelo Dugme would have to wait for at least six months for the single to be released.[1][12] This is widely considered the greatest business mistake in the history of Yugoslav record publishing.[1][12] On the same day the band were refused by Diskoton, they were offered a five-year contract with Zagreb-based Jugoton.[12] On March 29, 1974, "Top" and "Ove ću noći naći blues" were released on a 7" single.[10] Bijelo Dugme's first release would be sold in 30,000 copies.[13] The band started promoting the single, performing mostly in smaller towns.[1] Stanković, unsatisfied with the agreement that only Bregović would compose the band's songs and feeling he did not fit in with the rest of the members, continued to perform with Bijelo Dugme, but avoided any deeper relations.[14] Soon after, Bregović, Bebek, Ivandić and Pravdić decided to exclude him from the band.[15] Redžić was invited to join the band, which he accpeted, despite his previous conflict with Bregović.[15] The following 7" single, featuring songs "Glavni junak jedne knjige" ("The Main Character of a Book"), with lyrics written by poet Duško Trifunović, and "Bila mama Kukunka, bio tata Taranta" ("There Was Mommy Kukunka, There Was Daddy Taranta"), was almost at the same time released by both Jugoton and Diskoton, as Bregović signed contracts with both of the labels.[1] This scandal brought huge press covering and increased the record sale.[1] The band had their first bigger performance at the 1974 BOOM Festival in Ljubljana, where they were announced as "the new hopes".[1] The live version of "Ove ću noći naći blues" appeared on the double live album Pop Festival Ljubljana '74 - BOOM.[15] This was also Bijelo Dugme's first performance on which the members of the group appeared in their glam rock outfits, which brought them new attention of the media.[15] The band spent the summer performing in Cavtat and preparing songs for their first album.[1] They soon released their third single, with the songs "Da sam pekar" ("If I Was a Baker") and "Selma".[1] "Da sam pekar" was musically inspired by the traditional "deaf kolo", while "Selma", with lyrics written by poet Vlado Dijak, was a hard rock ballad.[16] Some 100,000 copies of the single were sold, becoming Bijelo Dugme's first gold record.[17] During September, the band performed as the opening band for Tihomir "Pop" Asanović's Jugoslovenska Pop Selekcija, and during the October, in studio Akademik in Ljubljana, they recorded their debut album Kad bi' bio bijelo dugme.[1] Several days before the album release, wanting to appear in the media as much as possible, Bijelo Dugme performed at the Skopje Festival, playing the song "Edna nadež" ("One Hope") by composer Grigor Koprov.[18] Bregović later described this event as "the greatest disgrace in Bijelo Dugme's career".[1] Bebek sung in bad Macedonian, and the band did not fit in well in the ambient of a pop festival.[1] On the next evening, the band performed, alongside Pop Mašina, Smak and Crni Biseri, in Belgrade's Dom Sindikata, on the Radio Belgrade show Veče uz radio (Evening by the Radio) anniversary celebration, and managed to win the audience's attention.[19] At the time, Bijelo Dugme cooperated with manager Vladimir Mihaljek, who managed to arrange the band's performance as an opening band on Korni Grupa's farewell concert in Sarajevo's Skenderija, which won them new fans, as about 15,000 people in the audience were thrilled with Bijelo Dugme's performance.[19] Kad bi' bio bijelo dugme, featuring a provocative cover designed by Dragan S. Stefanović (who would also design covers for the band's future releases), saw huge success.[19] It brought a number of commercial hard rock songs with folk music elements, which were described as "pastirski rok" (shepherd rock) by journalist Dražen Vrdoljak.[19] This term was (and still is) sometimes used by the Yugoslav critics in order to classify Bijelo Dugme's sound.[20][21] The album featured the new version of "Kad bi' bio bijelo dugme", "Patim, evo, deset dana", "Sve ću da ti dam samo da zaigram" ("I Will Give Everything to You Only to Dance"), ballad "Selma", blues track "Blues za moju bivšu dragu" ("Blues for My Former Darling") and rock and roll-influenced hit "Ne spavaj, mala moja, muzika dok svira" ("Don't You Sleep, Baby, while the Music Is Playing").[19] Immediately after the release, the album broke the record for the best selling Yugoslav rock album, previously held by YU Grupa's debut album, which was sold in more than 30,000 copies.[19] In February 1975, Bijelo Dugme was awarded a gold record at the Opatija Festival, as they, up to that moment, sold their debut album in more than 40,000 copies. The final number of copies sold was about 141,000.[19] In late February 1975, Mihaljek organized Kongres rock majstora (Congress of Rock Masters), an event conceptualized as a competition between the best Yugoslav guitarists at the time.[19] Although Smak guitarist Radomir Mihajlović Točak left the best impression on the gathered crowd, he was not officially recognized due to his band not being under contract with Jugoton, a record label that financially supported the competition.[19] Instead, Vedran Božić (of Time), Josip Boček (formerly of Korni Grupa), Bata Kostić (of YU Grupa), and Bregović were proclaimed the best.[19] Each of them got to record one side on the Kongres rock majstora double album. While the other three guitarists recorded their songs with members of YU Grupa, Bregović decided to work with his own band and Zagreb String Quartet.[19] After the album was released, the four guitarists went on a joint tour, on which they were supported by YU Grupa members.[19] At the time, Bijelo Dugme released the single "Da mi je znati koji joj je vrag" ("If I Could Just Know What the Hell Is Wrong with Her"),[19] after which they started their first big Yugoslav tour.[19] In the spring of 1975, they were already considered the most popular Yugoslav band.[19] Soon after, Bebek took part in an event similar to Kongres rock majstora — Rock Fest '75, the gathering of the most popular Yugoslav singers of the time; besides Bebek, the event featured Martin Škrgatić (of Grupa Martina Škrgatića), Mato Došen (of Hobo), Aki Rahimovski (of Parni Valjak), Seid Memić "Vajta" (of Teška Industrija), Boris Aranđelović (of Smak), Hrvoje Marjanović (of Grupa 220) Dado Topić (of Time) and Janez Bončina "Benč" (of September).[22] Before the recording of their second album, Bijelo Dugme went to the village of Borike in Eastern Bosnia in order to work on the songs and prepare for the recording sessions.[19] The album Šta bi dao da si na mom mjestu (Wouldn't You Like to Be in My Place) was recorded in London during November 1975.[19] It was produced by Neil Harrison[19] who previously worked with Cockney Rebel and Gonzalez.[23] The bass guitar on the album was played by Bebek, as Redžić injured his middle finger just before the recording sessions started.[19] Nevertheless, Redžić was credited on the album, as he worked on the bass lines, and directed Bebek during the recording.[24] The lyrics for the title track were written by Duško Trifunović, while the rest of the lyrics were written by Bregović.[19] The main album hits were "Tako ti je, mala moja, kad ljubi Bosanac" ("That's How It Is, Baby, When You Kiss a Bosnian"), "Došao sam da ti kažem da odlazim" ("I've Come to Tell You that I'm Leaving"), "Ne gledaj me tako i ne ljubi me više" ("Don't Look at Me like that and Kiss Me no More") and "Požurite, konji moji" ("Be Faster, My Horses").[19] The band used the time spent in studio to record an English language song "Playing the Part", released on promo single which was distributed to journalists.[19] "Playing the Part" lyrics were written by Dave Townsend.[25] The album was a huge commercial success,[19] selling more than 200,000 copies.[19] After the first 50,000 records were sold, Šta bi dao da si na mom mjestu became the first Yugoslav album to be credited as diamond record.[26] After it was sold in more than 100,000 copies, it became the first platinum record in the history of Yugoslav record publishing, and after it sold more than 200,000 copies it was branded simply as "2x diamond record".[26] After the album release the band went on a warming-up tour across Kosovo and Metohija. During the tour, an injured Redžić was replaced by former Kamen na Kamen member Mustafa "Mute" Kurtalić.[19] The album's initial promotion was scheduled to take place on the band's New Year's 1976 concert at Belgrade Sports Hall in Belgrade, with Pop Mašina, Buldožer and Cod as the opening bands.[27] However, five days before New Year's, the band canceled the concert due to getting invited to perform for Yugoslav president Josip Broz Tito at the Croatian National Theatre in Zagreb, as part of the New Year's celebration being organized for him.[27] Their performance was, however, stopped after only several minutes, reputedly because of the loudness.[19] As Redžić had to leave the band due to his army obligations, a bass guitarist for live performances had to be hired.[30] Kurtalić asked for higher fees, so the new temporary bassist became Formula 4 leader Ljubiša Racić.[30] This lineup of the band went on a large Yugoslav tour.[19] In Sarajevo the band performed in front of 15,000 people and in Belgrade they held three sold out concerts in Pionir Hall, with approximately 6,000 people per concert.[31] On the concerts, the band for the first time introduced a set of several songs performed unplugged.[31] The press coined the term "Dugmemanija" (Buttonmania) and the socialist public went into an argument over the phenomena.[19] At the beginning of 1976, the band planned to hold a United States tour, however they gave up the idea after the suspicion that the planned concerts were organized by pro-ustaše emigrants from Yugoslavia.[19] The band did go to United States, but only to record the songs "Džambo" ("Jumbo") and "Vatra" ("Fire"), which were released as Ivandić's solo single,[19] and "Milovan" and "Goodbye, Amerika" ("Goodbye, America"), which were released as Bebek's solo single.[19] The records represented the introduction of funk elements to Bijelo Dugme sound.[32] It was during the band's staying in America that Bregović managed to persuade Bebek, Pravdić and Ivandić to sign a waiver, with which they relinquished the rights to the name Bijelo Dugme in favor of Bregović.[33] In June, the band members went to the youth work action Kozara 76, which was Bregović's response to the claims that the band's members were "pro-Western oriented".[19] At the beginning of autumn, Ivandić and Pravdić left the band due to their army obligations.[19] They were replaced by Vukašinović (who, in the meantime, joined Indexi) and Laza Ristovski, whose moving from Smak (at the time Bijelo Dugme's main competitors on the Yugoslav rock scene) saw huge covering in the media.[19] The band prepared for the recording of their third album in Borike.[19] The album's working title was Sve se dijeli na dvoje, na tvoje i moje (Everything Is Split in Two, Yours and Mine) after Duško Trifunović's poem.[19] Bregović did not manage to write the music on the lyrics (they were later used for the song recorded by Jadranka Stojaković),[19] so he intended to name the album Hoću bar jednom da budem blesav (For Once I Want to Be Crazy), but Jugoton editors did not like this title.[19] The album was eventually titled Eto! Baš hoću! (There! I Will!).[19] The album was once again recorded in London with Harrison as the producer and Bebek playing the bass guitar. It was released on December 20, 1976.[19] The album hits included hard rock-oriented "Izgledala je malo čudno u kaputu žutom krojenom bez veze" ("She Looked a Little Bit Weird in a Yellow Sillymade Coat") and "Dede bona, sjeti se, de tako ti svega" ("Come on, Remember, for God's Sake"), folk-oriented "Slatko li je ljubit' tajno" ("It's So Sweet to Kiss Secretly"), simple tune "Ništa mudro" ("Nothing Clever", featuring lyrics written by Duško Trifunović) and two ballads, symphonic-oriented "Sanjao sam noćas da te nemam" ("I Dreamed Last Night that I Didn't Have You") and simpler "Loše vino" ("Bad Wine", written by Bregović and singer-songwriter Arsen Dedić and originally recorded by singer Zdravko Čolić).[19] In the meantime, Racić was fired after asking for increased payment.[19] He was replaced by Sanin Karić, who was at the time a member of Teška Industrija.[19] This lineup of the band went on a Polish tour on which they were announced as "the leading band among young Yugoslav groups". They held nine successful concerts across Poland.[19] After the band's return from Poland, Redžić and Ivandić rejoined them.[34] After leaving Bijelo Dugme, Vukašinović would form the hard rock/heavy metal band Vatreni Poljubac.[35] The band went on a Yugoslav tour, but experienced problems during it. The clashes within the band were becoming more and more frequent,[34] the concerts were followed by technical difficulties and bad reviews in the press,[36] and the audience was not interested in the band's concerts as it was during previous tours.[34] Three concerts in Belgrade's Pionir Hall, on March 3, 4 and 5, were not well attended, and the second one had to be ended too early after the shock wave from the Vrancea earthquake was felt.[37] The Adriatic coast tour was canceled, as well as concerts in Zagreb and Ljubljana for which the recording of a live album was planned.[34] After four years, Bijelo Dugme saw a decline in popularity and rumors about the band's disbandment appeared in the media.[34] The band wanted to organize some sort of spectacle to help their decreased popularity.[34] Following an idea by journalist Peca Popović, the band decided to hold a free open-air concert at Belgrade's Hajdučka česma on August 28, 1977.[34] Jutro had already performed on this location in 1973, on a concert organized by Pop Mašina.[34] The concert would also be Bijelo Dugme's last concert before an hiatus due to Bregović's army duty.[34] The whole event was organized in only five days.[38] Between 70,000 and 100,000 spectators attended the concert, which was the biggest number of spectators on a rock concert in Yugoslavia until then.[34] After the opening acts — Slađana Milošević, Tako, Zdravo, Džadžo, Suncokret, Ibn Tup and Leb i Sol[38] — Bijelo Dugme played a very successful concert.[34] Despite the fact that the concert was secured by only twelve police officers,[39] there were no larger incidents.[40] Video recordings from the concert appeared in Mića Milošević's film Tit for Tat.[34] Eventually, it was discovered that the recordings could not be used for the live album, as the sound was bad due to technical limitations and the wide open space, so the band, on October 25 of the same year, played a concert in Đuro Janković Hall in Sarajevo, the recording of which was used for the live album Koncert kod Hajdučke česme (The Concert at Hajdučka česma).[34] The only part of the Hajdučka česma concert that appeared on the album were the recordings of the audience's reactions.[34] After Koncert kod Hajdučke česme was mixed, Bregović went to serve the army in Niš and the band went on hiatus;[34] Melody Maker wrote about Bijelo Dugme's hiatus as about an event "on the edge of national tragedy".[26] Redžić continued to work on the Koncert kod hajdučke česme recordings, and a live version of "Dede, bona, sjeti se, de tako ti svega" was later used as a B-side for the single "Bitanga i princeza" ("The Brute and the Princess"), released in 1979.[34] In June 1978, Bebek released his first solo album, the symphonic rock-oriented Skoro da smo isti (We're almost the Same),[34] which saw mostly negative reactions by the critics.[41] During the same year, Ristovski and Ivandić recorded the album Stižemo (Here We Come). The album, featuring lyrics by Ranko Boban, was recorded in London with Leb i Sol leader Vlatko Stefanovski on guitar, Zlatko Hold on bass guitar, and Goran Kovačević and Ivandić's sister Gordana on vocals.[34] They met Bregović during his leave and played him the recordings, believing they could persuade him to let them compose for Bijelo Dugme.[41] After he refused, the two, encouraged by the positive reactions of the critics which had the opportunity to listen to the material, decided to leave Bijelo Dugme.[34][41] However, on September 10, the same day for which the beginning of the promotional tour was scheduled, Ivandić, alongside Goran Kovačević and Ranko Boban, was arrested for owning hashish.[42] Ivandić was sentenced to spend three years in jail (Kovačević was sentenced to year and a half, and Boban to a year).[42] Before he went to serve the sentence, Ivandić went to psychiatric sessions in order to prepare for the life in jail with psychiatrist Radovan Karadžić.[43] In June 1978, Bregović went to Sarajevo to receive a plaque from the League of Communist Youth of Bosnia and Herzegovina on the behalf of the band.[34] In the autumn of 1978, drummer Điđi Jankelić, who participated in the recording of Bebek's solo album, became Bijelo Dugme's new drummer, and Pravdić returned to the band.[34] Jankelić was previously a member of Formula 4 — the lineup in which he played included both Ljubiša Racić and Jadranko Stanković — Rok, Čisti Zrak and Rezonansa.[44] The band started preparing their new album in Niška Banja‚ but, as Bregović was still serving the army, they definitely reunited in Sarajevo on November 1.[34] The new lineup of the band had their first performance in Skenderija on December 4, 1978.[45] The band's fourth studio album was recorded in Belgrade and produced by Neil Harrison.[45] Several songs featured symphonic orchestra.[34] The making of the album was followed by censorship. The original cover, designed by Dragan Stefanović and featuring a female leg kicking a male's genital area, was refused by Jugoton as "vulgar"; instead, the album ended up featuring a cover designed by Jugoton's designer Ivan Ivezić.[34] The verse "Koji mi je moj" ("What the fuck is wrong with me") was excluded from the song "Ala je glupo zaboravit njen broj" ("It's so Stupid to Forget Her Number"), and the verse "A Hrist je bio kopile i jad" ("And Christ was a bastard and miserable") from the song "Sve će to, mila moja, prekriti ruzmarin, snjegovi i šaš" ("All of That, My Dear, Will Be Covered by Rosemary, Snow and Reed") was replaced with "A on je bio kopile i jad" ("And he was a bastard and miserable").[34] The album Bitanga i princeza (The Brute and the Princess) was released in March 1979 and praised by the critics as Bijelo Dugme's finest work until then.[34][46] The album did not feature any folk music elements, and brought songs "Bitanga i princeza", "Ala je glupo zaboravit njen broj", "Na zadnjem sjedištu mog auta" ("On the Back Seat of My Car"), "A koliko si ih imala do sad" ("And how Many of Them Have You Had Till Now"), and emotional ballads "Ipak poželim neko pismo" ("Still, I Wish for a Letter"), "Kad zaboraviš juli" ("When You Forget July") and "Sve će to, mila moja, prekriti ruzmarin, snjegovi i šaš", all becoming hits.[34] The album broke all the records held by their previous releases.[34] Twelve days before the promotional tour, Pravdić had a car accident in which he broke his clavicle, so he performed on the initial several concerts using only one hand.[47] The tour, however, was highly successful.[34] The band managed to sell out Pionir Hall five times, dedicating all the money earned from these concerts (about 100,000 dollars) to the victims of the 1979 Montenegro earthquake.[48] On some of the concerts they were followed by Branko Krsmanović Choir and a symphonic orchestra.[34] On September 22, the band organized a concert under the name Rock spektakl '79. (Rock Spectacle 79) on JNA Stadium, with themselves as the headliners. The concert featured numerous opening acts: Crni Petak, Kilo i Po, Rok Apoteka, Galija, Kako, Mama Rock, Formula 4, Peta Rijeka, Čisti Zrak, Aerodrom, Opus, Senad od Bosne, Boomerang, Prva Ljubav, Revolver, Prljavo Kazalište, Tomaž Domicelj, Metak, Obećanje Proljeća, Suncokret, Parni Valjak, Generacija 5 and Siluete.[49] More than 70,000 people attended the concert.[34] At the time, Bregović wrote film music for the first time, for Aleksandar Mandić's film Personal Affairs, and the songs "Pristao sam biću sve što hoće" ("I Accepted to Be Anything They Want", with lyrics written by Duško Trifunović) and "Šta je tu je" ("Is What It Is") were recorded by Bijelo Dugme and released on a single record.[34] During 1980, Bregović spent some time in Paris, and the band was on hiatus.[34] Doživjeti stotu: Switch to new wave (1980–82) At the end of the 1970s and the beginning of the 1980s, the Yugoslav rock scene saw the emergence of the great number of new wave bands, closely associated to the Yugoslav punk rock scene. Bregović was fascinated with the new scene, especially by the works of Azra and Prljavo Kazalište.[50] During 1980, Bijelo Dugme decided to move towards this new sound.[51] In December 1980, Bijelo Dugme released new wave-influenced album Doživjeti stotu (Live to Be 100).[34] This was the first Bijelo Dugme album produced by Bregović.[34] Unlike the songs from the band's previous albums, which were prepared much before the album recording, most of the songs from Doživjeti stotu were created during the recording sessions.[52] As the recordings had to be finished before the scheduled mastering in London, Bregović had to use cocaine to stay awake, writing the lyrics in the nick of time.[53] The saxophone on the recording was played by jazz musician Jovan Maljoković and avant-garde musician Paul Pignon.[54] From the songs on Doživjeti stotu, only the new version of "Pristao sam biću sve što hoće" and "Pjesma mom mlađem bratu" ("The Song for My Little Brother") resembled Bijelo Dugme's old sound.[34] The songs "Ha ha ha" and "Tramvaj kreće (ili kako biti heroj u ova šugava vremena)" ("Streetcar Is Leaving (or How to Be a Hero in These Lousy Times)") were the first Bijelo Dugme songs to feature political-related lyrics.[34] The provocative cover designed by Mirko Ilić, an artist closely associated with Yugoslav new wave scene, appeared in three versions.[34] In accordance with their shift towards new wave, the band changed their hard rock style: the members cut their hair short, and the frontman Željko Bebek shaved his trademark mustache.[55] Due to new sound, the album was met with a lot of skepticism, but most of the critics ended up praising the album.[55] At the end of 1980, the readers of Džuboks magazine polled Bijelo Dugme as the Band of the Year, Bebek the Singer of the Year, the Pravdić the Keyboardist of the Year, Jankelić the Drummer of the Year, Redžić the Bass Guitarist of the Year, Bregović the Composer, the Lyricist, the Producer and the Arranger of the Year, Doživjeti stotu the Album of the Year, and the Doživjeti stotu cover the Album Cover of the Year.[55] The band started their Yugoslav tour on February 24, 1981 of the following year, with a concert in Sarajevo, and ended it with a concert in the club Kulušić in Zagreb, on which they recorded their second live album, 5. april '81 (April 5, 1981).[34] The album, featuring a cover of Indexi song "Sve ove godine" ("All These Years"), was released in a limited number of 20,000 copies.[34] Bijelo Dugme performed in Belgrade several times during the tour: after two concerts in Pionir Hall, they performed, alongside British band Iron Maiden and Yugoslav acts Atomsko Sklonište, Divlje Jagode, Film, Aerodrom, Slađana Milošević, Siluete, Haustor, Kontraritam and other acts, on the two-day festival Svi marš na ples! (Everybody Dance Now!) held at Belgrade Hippodrome,[34] and during the New Year holidays they held three concerts in Hala Pinki together with Indexi.[56] In early 1982, Bijelo Dugme performed in Innsbruck, Austria, at a manifestation conceptualized as a symbolic passing of the torch whereby the Winter Olympic Games last host city (Innsbruck) makes a handover to the next one (Sarajevo).[34] On their return to Yugoslavia, the band's equipment was seized by the customs, as it was discovered that they had put new equipment into old boxes.[34] The band's record label, Jugoton decided to lend 150,000,000 Yugoslav dinars to Bijelo Dugme, in order to pay the penalty.[34] In order to regain part of the money as soon as possible, Jugoton decided to release two compilation albums, Singl ploče (1974-1975) and Singl ploče (1976-1980).[34] To recover financially, during July and August 1982, the band went on a Bulgarian tour, during which they held forty one concerts.[57] As Jankelić went to serve the army in April, on this tour the drums were played by former Leb i Sol drummer Garabet Tavitjan.[57] At the end of 1982, the media published that Bregović was excluded from the League of Communists of Yugoslavia, with the explanation that he did not attend the meetings of the League in his local community.[56] However, due to the growing liberalization, this event did not affect Bregović's and the band's career.[57] At the end of 1982, Ivandić was released from prison and was approached to rejoin the band. With his return to the band, Bijelo Dugme's default lineup reunited.[58] After Doživjeti stotu, Bebek's departure (1983–84) At the beginning of 1983, Bijelo Dugme recorded a children's music album ...a milicija trenira strogoću! (i druge pjesmice za djecu) (...and Police Trains Strictness! (and Other Songs for Children)). The lyrics for the album were written by Duško Trifunović.[57] It was initially planned Seid Memić "Vajta" to sing, but eventually, vocals were recorded by the eleven-year-old Ratimir Boršić Rača, and the album was released under Ratimir Boršić Rača & Bijelo Dugme moniker.[57] In February 1983, the band released the album Uspavanka za Radmilu M. (Lullaby for Radmila M.).[57] Bregović intended to release Uspavanka za Radmilu M. as Bijelo Dugme's farewell album and to dismiss the band after the tour.[57] The album was recorded in Skopje and featured Vlatko Stefanovski (guitar), Blagoje Morotov (double bass) and Arsen Ereš (saxophone) as guest musicians.[57] The songs "Ako možeš zaboravi" ("Forget, if You Can"), "U vrijeme otkazanih letova" ("In the Time of Canceled Flights"), "Polubauk polukruži poluevropom" ("Half-Spectre is Half-Haunting Half-Europe", the title referring to the first sentence of The Communist Manifesto) and "Ovaj ples dame biraju" ("Ladies' Choice") featured diverse sound, illustrating various phases in the band's career.[57] The album's title track is the only instrumental track Bijelo Dugme ever recorded.[57] Unlike the band's previous album, Uspavanka za Radmilu M. was not followed by a large promotion in the media.[59] The release of the album was followed by the release of the videotape cassette Uspavanka za Radmilu M., which featured videos for all the songs from the album. It was the first project of the kind in the history of Yugoslav rock music.[60] The videos were directed by Boris Miljković and Branimir Dimitrijević "Tucko".[61] The video for the song "Ovaj ples dame biraju" was the first gay-themed video in Yugoslavia.[61] The song "Kosovska" ("Kosovo Song") featured Albanian language lyrics.[57] Written during delicate political situation in Socialist Autonomous Province of Kosovo, the song represented Bregović's effort to integrate the culture of Kosovo Albanians into Yugoslav rock music.[62] Although lyrics were simple, dealing with rock music, the song caused certain controversies.[57][62] Uspavanka za Radmilu M. did not bring numerous hits as the band's previous releases - however, the tour was very successful, and the audience's response made Bregović change his mind about dismissing the band.[57] After the tour, Bijelo Dugme went on a hiatus and Bebek recorded his second solo album, Mene tjera neki vrag (Some Devil is Making Me Do It).[57] His last concert with Bijelo Dugme was on February 13, 1984, in Sarajevo Olympic Village.[57] Unsatisfied with his share of the profit in Bijelo Dugme, he decided to leave the band and dedicate himself to his solo career.[63] He left Bijelo Dugme in April 1984.[57] For a certain period of time, Bebek's backing band would feature Jankelić on drums.[64] Mladen Vojičić "Tifa" years (1984–86) After Bebek's departure, Alen Islamović, vocalist for the heavy metal band Divlje Jagode, was approached to join the band, but he refused fearing that Bebek might decide to return.[57] Eventually, the new Bijelo Dugme singer became then relatively unknown Mladen Vojičić "Tifa", a former Top and Teška Industrija member.[57] The band spent the summer in Rovinj, where they held small performances in Monvi tourist centre, preparing for the upcoming album recording.[65] At the time, Ivandić started working with the synthpop band Amila, whose frontwoman Amila Sulejmanović often performed as a backing vocalist on Bijelo Dugme concerts.[57] At the time Bregović, with singer Zdravko Čolić, formed Slovenia-based record label Kamarad, which co-released Bijelo Dugme's new album with Diskoton.[57] The album was released in December 1984, entitled simply Bijelo Dugme, but is, as the cover featured Uroš Predić's painting Kosovo Maiden, also unofficially known as Kosovka djevojka (Kosovo Maiden).[57] The album featured both Ristovski and Pravdić on keyboards, and, after the album recording, Ristovski became an official member of the band once again.[57] Bijelo Dugme featured a folk-oriented pop rock sound which had, alongside a cover of Yugoslav anthem "Hej, Sloveni" featured on the album, influenced a great number of bands from Sarajevo, labeled as New Partisans.[57] The album featured a new version of "Šta ću nano dragi mi je ljut" ("What Can I Do, Mom, My Darling Is Angry"), written by Bregović and originally recorded by Bisera Veletanlić, Bijelo Dugme version entitled "Lipe cvatu, sve je isto k'o i lani" ("Linden Trees Are in Bloom, Everything's just like It Used to Be"), which became the album's biggest hit.[57] Other hits included "Padaju zvijezde" ("The Stars Are Falling"), "Lažeš" ("You're Lying"), "Da te bogdo ne volim" ("If I Could Only Not Love You") and "Jer kad ostariš" ("Because, When You Grow Old").[57] The song "Pediculis pubis" (misspelling of "Pediculosis pubis") featured Bora Đorđević, the leader of Bijelo Dugme's main competitors at the time, Riblja Čorba, on vocals; he co-wrote the song with Bregović and sung it with Bregović and Vojičić.[57] The album also featured Radio Television of Skopje Folk Instruments Orchestra, folk group Ladarice on backing vocals, Pece Atanasovski on gaida and Sonja Beran-Leskovšek on harp.[66] The album was sold in more than 420,000 copies.[67] The tour was also very successful.[57] The band held a successful concert at Belgrade Fair in front of some 27,000 people (which was, up to that point, the biggest number of spectators in an indoor concert in Belgrade),[68] but also performed in clubs on several occasions.[57] The stylized army uniform in whIch the members of the band appeared on stage and the large red star from Kamarad logo were partially inspired by the works of Laibach.[69] In the summer of 1985, Bijelo Dugme, alongside Bajaga i Instruktori, represented Yugoslavia at the 12th World Festival of Youth and Students held in Moscow.[57] The two bands should have held their first concert on July 28 in Gorky Park.[70] The soundcheck, during which Yugoslav technicians played Bruce Springsteen and Pink Floyd songs, attracted some 100,000 people to the location.[71] Bajaga i Instruktori opened the concert, however, after some time, the police started to beat the ecstatic audience, and the concert was interrupted by the Soviet officials, so Bijelo Dugme did not have to opportunity to go out on the stage.[72] Fearing new riots, the Moscow authorities scheduled the second concert in Dinamo Hall, and the third one in the Moscow Green Theatre. The first one, held on July 30, was attended by about 2,000 uninterested factory workers, and the second one, held on August 2, by about 10,000 young activists with special passes.[72] The concerts in Moscow were Vojičić's last performances with the band. Under the pressure of professional obligations, sudden fame and a media scandal in which it was discovered that he used LSD, he decided to leave the band.[57] After leaving Bijelo Dugme, Vojičić would first go on a tour with Željko Bebek and the band Armija B, then he would join Vukašinović's band Vatreni Poljubac, then heavy metal band Divlje Jagode (whose singer Alen Islamović replaced him in Bijelo Dugme), and eventually start a solo career.[57] Alen Islamović years and disbandment (1986–89) After Vojičić's departure, Alen Islamović was once again approached to join the band. At the time, Islamović's band Divlje Jagode were based in London, working on their international career. Doubting the success of their efforts, Islamović left them and joined Bijelo Dugme.[57] The new album, Pljuni i zapjevaj moja Jugoslavijo (Spit and Sing, My Yugoslavia), was released in 1986. Inspired by Yugoslavism, with numerous references to Yugoslav unity and the lyrics on the inner sleeve printed in both Cyrillic and Latin alphabets, the album featured the familiar folk-oriented pop rock sound.[57] Bregović originally wanted the album to contain contributions from individuals known for holding political views outside of the official League of Communists ideology. To that end he and the band's manager Raka Marić approached three such individuals who were effectively proscribed from public discourse in Yugoslavia: pop singer Vice Vukov, who represented SFR Yugoslavia at the 1963 Eurovision Song Contest before seeing his career prospects marginalized after being branded a Croatian nationalist due to his association with the Croatian Spring political movement, painter and experimental filmmaker Mića Popović, associated with Yugoslav Black Wave film movement, who got a dissident reputation due to his paintings, and politician and diplomat Koča Popović who, despite a prominent World War II engagement on the Partisan side as the First Proletarian Brigade commander that earned him the Order of the People's Hero medal, followed by high political and diplomatic appointments in the post-war period, nevertheless was silently removed from public life in 1972 after supporting a liberal faction within the Yugoslav Communist League's Serbian branch.[73] Bregović's idea was to have Vukov sing the "Ružica si bila, sada više nisi" ("You Were Once a Little Rose") ballad. However, despite Vukov accepting, the plan never got implemented after the band's manager Marić got arrested and interrogated by the police at the Sarajevo Airport upon returning from Zagreb where he met Vukov.[73] Mića Popović's contribution to the album was to be his Dve godine garancije (A Two-Year Warranty) painting featuring a pensioner sleeping on a park bench while using pages of Politika newspaper as blanket to warm himself, which Bregović wanted to use as the album cover. When approached, Mića Popović also accepted though warning Bregović of possible problems the musician would likely face.[73] Koča Popović was reportedly somewhat receptive to the idea of participating on the album, but still turned the offer down.[73] Eventually, under pressure from Diskoton, Bregović gave up on his original ideas.[74] A World War II holder of the Order of the People's Hero still appeared on the record, however, instead of Koča Popović, it was Svetozar Vukmanović Tempo. He, together with Bregović and children from the Ljubica Ivezić orphanage in Sarajevo, sang a cover of "Padaj silo i nepravdo" ("Fall, (Oh) Force and Injustice"), an old revolutionary song.[57] The album cover featured a photograph of Chinese social realist ballet.[74] Vukmanović's appearance on the album was described by The Guardian as "some sort of Bregović's coup d'état".[57] The album's main hits were pop song "Hajdemo u planine" ("Let's Go to the Mountains"), "Noćas je k'o lubenica pun mjesec iznad Bosne" ("Tonight a Moon Full like a Watermelon Is over Bosnia"), ballads "Te noći kad umrem, kad odem, kad me ne bude" ("That Night, When I Die, When I Leave, When I'm Gone") and "Ružica si bila, sada više nisi".[57] In 1987, Belgrade rock journalist Dragan Kremer, in the show Mit mjeseca (Myth of the Month) on the RTV Sarajevo, expressing his opinion about the band's new direction, tore the album cover, and made Bregović, who appeared in the following edition of the show, very angry, which was one of the larger media scandals of the time.[57] The incident however, did not affect the album sales. The tour was also very successful, and the concert at Belgrade Fair featured opera singer Dubravka Zubović as guest.[57] The double live album Mramor, kamen i željezo (Marble, Stone and Iron), recorded on the tour and produced by Redžić, was released in 1987.[57] The title song was a cover of an old hit by the Yugoslav beat band Roboti.[57] The album offered a retrospective of the band's work, featuring songs from their first singles to their latest album.[57] The album featured similar Yugoslavist iconography as the bands' previous two releases: the track "A milicija trenira strogoću" begins with "The Internationale" melody, during the intro to "Svi marš na ples" Islamović shouts "Bratsvo! Jedinstvo!" ("Brotherhood! Unity!"),[57] and the album cover features a photograph from the 5th Congress of the Communist Party of Yugoslavia.[75] Mramor, kamen i željezo was the band's last album to feature Vlado Pravdić. He left the band after the album release, dedicating himself to business with computers.[76] However, he continued to occasionally perform with the band, on larger concerts,[76] and was, until the end of the band's activity, still considered an official member.[55][77] At the end of 1988, the album Ćiribiribela was released.[76] Recorded during the political crisis in Yugoslavia, the album was marked by Bregović's pacifist efforts: the album cover featured Edward Hicks' painting Noah's Ark on the cover, the song "Lijepa naša" ("Our Beautiful") featured the national anthem of Croatia "Lijepa naša domovino" ("Our Beautiful Homeland") combined with the Serbian traditional World War I song "Tamo daleko" ("There, Far Away"),[76] and the title track featured lyrics about a love couple which decides to "stay at home and kiss" if the war starts.[78] The album's biggest hit was "Đurđevdan je, a ja nisam s onom koju volim" ("It's St. George's Day, and I'm Not with the One I Love'"), based on traditional Romani song "Ederlezi" and featuring Fejat Sejdić Trumpet Orchestra.[76] Other hits included "Evo zakleću se" ("Here, I'll Make A Vow"), "Ako ima Boga" ("If There Is God"), "Šta ima novo" ("What's New"), "Nakon svih ovih godina" ("After All These Years"), pop-influenced "Napile se ulice" ("The Streets Are Drunk") and Dalmatian folk music-inspired "Ćirbiribela".[76] After the album release, Radio-Television Belgrade wanted to make a video for the song "Đurđevdan je, a ja nisam s onom koju volim". The original idea was for the video to feature iconography inspired by the Serbian Army in World War I.[79] The video was recorded in the village Koraćica in Central Serbia.[79] The band came to the recording not knowing anything about the video concept.[80] They should have worn uniforms (without any insignia) and old weapons, but Islamović thought the idea was too "pro-war", so refused to wear a uniform.[80] Eventually, the band and the director reached an agreement: everyone, except Islamović, wore Serbian traditional costumes, with only several of the original props used.[81] However, after the video was recorded, the Radio-Television Belgrade editors themselves decided not to emit it, fearing it might remind viewers of the Chetnik movement.[81] At the beginning of 1989, the band went on a tour which should have lasted until April 1.[76] The concert in Belgrade, held in Belgrade Fair on February 4, was attended by about 13,000 people.[82] The concert featured Dubravka Zubović, the First Singing Society of Belgrade, the Fejat Sejdić Trumpet Orchestra and klapa Trogir.[82] The concert in Sarajevo's Zetra, held on February 11, was also very successful; it was attended by more than 20,000 people.[82] However, on some concerts in Croatia, the audience booed and threw various objects on stage when the band performed their pro-Yugoslav songs.[82] After the concert in Modriča, held on March 15, with four concerts left until the end of the tour, Islamović checked into a hospital with kidney pains.[83] This event revealed the existing conflicts inside the band: Bregović claimed that Islamović had no problems during the tour,[83] while the band's manager, Raka Marić, stated that Bijelo Dugme would search for a new singer for the planned concerts in China and Soviet Union.[84] Bregović went to Paris, leaving Bijelo Dugme's status opened for speculations.[76] In 1990, the compilation album Nakon svih ovih godina, which featured recordings made between 1984 and 1989, was released.[76] As Yugoslav Wars broke out in 1991, it became clear that Bijelo Dugme would not continue their activity.[76] Post-breakup Bregović continued his career as a film music composer, cooperating mostly with Emir Kusturica.[76] Redžić moved to Finland, where he worked as a producer, and after the Bosnian War ended, he returned to Sarajevo, where he opened a rock club.[76] After the war broke out, Ivandić went to Belgrade, where he, in 1994, died after falling from the sixth floor of the building in which he lived; the death was believed to be a suicide.[85] Ristovski continued to record solo albums, work as a studio musician, and during the 1990s he performed with Osvajači and Smak.[76] Islamović, who recorded his first solo album Haj, nek se čuje, haj nek se zna in 1989, started a semi-successful solo career.[76] In 1994, the double compilation album Ima neka tajna veza (There's Some Secret Connection), featuring Dragan Malešević Tapi's painting Radost bankrota (The Joy of Bankruptcy) on the cover, was released.[76] 2005 reunion Bregović, who during the 1990s became one of the most internationally known modern composers of the Balkans, stated on numerous occasions stated that he would not reunite Bijelo Dugme.[76] However, in 2005, Bijelo Dugme reunited, with Goran Bregović on guitar, Željko Bebek, Mladen Vojičić and Alen Islamović on vocals, Zoran Redžić on bass guitar, Milić Vukašinović and Điđi Jankelić on drums and Vlado Pravdić and Laza Ristovski on keyboards.[76] The reunion saw huge media attention in all former Yugoslav republics,[86] followed by various forms of yugonostalgia.[87] The band held only three concerts: in Sarajevo, at Koševo stadium, Zagreb, at Maksimir stadium, and Belgrade, at Belgrade Hippodrome.[76] The concerts featured a string orchestra, a brass band, klapa group Nostalgija and two female singers from Bregović's Weddings and Funerals Orchestra.[88] During the concerts, Bregović, Redžić, Pravdić and Ristovski performed for the whole time, while Vukašinović and Jankelić changed on drums.[89] Islamović opened the concerts in Sarajevo and Zagreb, and Vojičić opened the concert in Belgrade. Bebek sung third on all three concerts.[89] The concerts also featured an unplugged section, during which Bregović and Bebek played guitars and all three singers performed.[89] The concert in Sarajevo attracted about 60,000 people,[90] and the concert in Zagreb was attended by more than 70,000 people.[91] For the concert in Belgrade, more than 220,000 tickets were sold, but it was later estimated that it was attended by more than 250,000 people,[90] making it one of the highest-attended ticketed concerts of all time. However, the concert in Belgrade was much criticized because of the bad sound.[76][90] The live album Turneja 2005: Sarajevo, Zagreb, Beograd (2005 Tour - Sarajevo, Zagreb, Belgrade) recorded on the tour was released.[76] Post-2005 Ristovski died in Belgrade on October 6, 2007, following years of battle with multiple sclerosis.[92] In 2014, Raka Marić made an attempt to reunite Bijelo Dugme once again in order to mark the band's 40th anniversary, but an agreement could not be reached, despite the fact the members were interested in a new reunion.[93] Eventually, Bregović marked 40 years since the formation of the band and the release of their debut album with a series of concerts with his Weddings and Funerals Orchestra, featuring Islamović as vocalist.[93] In order to mark the anniversary, Croatia Records released a box set entitled Box Set Deluxe. The box set, released in a limited number of 1,000 copies, features remastered vinyl editions of all studio albums, and the reissue of the band's first 7" single as bonus.[94] Influence and legacy "Bijelo Dugme is the most important phenomenon in the last quarter of the 20th century in Yugoslav culture. In a socialist culture, which shyly searched for its path outside of determined framework of values, they were a phenomenon of overturning importance. They promoted the necessity of talent, the exigency of authenticity, the importance of attitude, the need for complete dedication, a high level of professionalism and a modern package. They were the biggest mass concept of Yugoslavia and the first mass concept not financed by the state. During their entire career, they had the endless love of the audience, the constant envy of their colleagues and divided sympathy of the establishment. They defined rock culture and defined teenagers as an organised category. They fought for the freedom of taste, by then unimaginable in socialism, and won. They were one of the rare capitalist establishments in former Yugoslavia and the best advertiser of freedoms in Yugoslavia. They lived and worked in accordance to all the attributes of the Western rock culture. There was everything present in all big biographies of rock: big numbers, the euphoria of fans, all the vices (especially sex) except gambling, the inexplicable circumstances and tragic deaths. It is believed that they are the only ones in Yugoslavia who made big money from rock music. They set new standards in the entertainment industry and kept lifting them up. They fulfilled all the dreams of Yugoslav scene — except one: they did not step out on the world stage side by side with the biggest stars of the time, although they had the capacity to do that. Bijelo Dugme was maybe the biggest collateral damage of the Cold War when it comes to music: they couldn't go neither to the East, neither to the West. Then again, Bijelo Dugme is the only proof that the classic rock 'n' roll career is possible outside of English language." -Dušan Vesić in 2014[95] Bijelo Dugme is generally considered to have been the most popular act ever to appear in SFR Yugoslavia and its successor countries, inspiring many artists from different musical genres. The musicians that were, in their own words, influenced by Bijelo Dugme include guitarist and leader of Prljavo Kazalište Jasenko Houra,[96] singer and former Bulevar and Bajaga i Instruktori member Dejan Cukić,[97] guitarist and former leader of KUD Idijoti Aleksandar "Sale Veruda" Milovanović,[98] singer and former Merlin leader Dino Merlin,[99] and others. The acts that recorded covers of Bijelo Dugme songs include Aska,[100] Srđan Marjanović,[101] Regina,[102] Revolveri,[103] Prljavi Inspektor Blaža i Kljunovi,[104] Viktorija,[105] Sokoli,[76] Massimo Savić,[106] Vasko Serafimov,[107] Zoran Predin and Matija Dedić,[108] Branimir "Džoni" Štulić,[109] Teška Industrija[110] and others. The song "Ima neka tajna veza" was performed by Joan Baez on her 2014 concerts in Belgrade and Zagreb.[111] The band's work has been parodied by Paraf,[112] Gustafi,[113] Rambo Amadeus,[114] S.A.R.S., and others. There were several books written about the band: Istina o Bijelom dugmetu (The Truth about Bijelo Dugme, 1977) by Danilo Štrbac, Bijelo Dugme (1980) by Duško Pavlović, Ništa mudro (1981) by Darko Glavan and Dražen Vrdoljak, Lopuže koje nisu uhvatili (Rascals That Weren't Caught, 1985) by Dušan Vesić, Bijelo Dugme (2005) by Asir Misirlić, Bijelo Dugme - Doživjeti stotu (2005) by Zvonimir Krstulović, Kad bi bio bijelo dugme (2005) by Nenad Stevović, Kad sam bio bijelo dugme (When I Was a White Button, 2005) by Ljubiša Stavrić and Vladimir Sudar[76] and Šta bi dao da si na mom mjestu (2014) by Dušan Vesić.[115] In 1994, Radio Television of Serbia aired a four-part documentary about the band entitled Nakon svih ovih godina.[76] In 2010, Igor Stoimenov directed a documentary about the band, entitled simply Bijelo Dugme.[116] The book YU 100: najbolji albumi jugoslovenske rok i pop muzike (YU 100: The Best albums of Yugoslav pop and rock music), published in 1998, features eight Bijelo Dugme albums: Bitanga i princeza (polled No. 10), Kad bi bio bijelo dugme (polled No. 14), Šta bi dao da si na mom mjestu (polled No. 17), Bijelo Dugme (polled No. 28), Eto! Baš hoću! (polled No. 31), Doživjeti stotu (polled No. 35), Pljuni i zapjevaj moja Jugoslavijo (polled No. 53), and Koncert kod Hajdučke česme (polled No. 74).[117] The list of 100 greatest Yugoslav albums, published by Croatian edition of Rolling Stone in 2015, features three Bijelo Dugme albums, Bitanga i princeza (ranked No. 15),[118] Eto! Baš hoću! (ranked No. 36)[119] and Šta bi dao da si na mom mjestu (ranked No. 42).[120] In 1987, in YU legende uživo (YU Legends Live), a special publication by Rock magazine, 5. april '81 was pronounced one of 12 best Yugoslav live albums.[121] The Rock Express Top 100 Yugoslav Rock Songs of All Times list features eight songs by Bijelo Dugme: "Lipe cvatu" (polled No.10), "Bitanga i princeza" (polled No.14), "Sve će to, mila moja, prekriti ruzmarin, snjegovi i šaš" (polled No.17), "Sanjao sam noćas da te nemam" (polled No.31), "Ima neka tajna veza" (No.38), "Šta bi dao da si na mom mjestu" (polled No.68), "Za Esmu" ("For Esma", polled No.78) and "Kad bi' bio bijelo dugme" (polled No.97).[122] The B92 Top 100 Yugoslav songs list features three songs by Bijelo Dugme: "Sve će to, mila moja, prekriti ruzmarin, snjegovi i šaš" (polled No. 14), "Loše vino" (polled No. 32) and "Ako možeš zaboravi (polled No. 51).[123] In 2011, the song "Meni se ne spava" ("I Don't Feel like Sleeping") was voted, by the listeners of Radio 202, one of 60 greatest songs released by PGP-RTB/PGP-RTS during the sixty years of the label's existence.[124] The lyrics of 10 songs by the band (8 written by Bregović and 2 witten by Trifunović) were featured in Petar Janjatović's book Pesme bratstva, detinjstva & potomstva: Antologija ex YU rok poezije 1967 - 2007 (Songs of Brotherhood, Childhood & Offspring: Anthology of Ex YU Rock Poetry 1967 - 2007).[125] In 2016, Serbian weekly news magazine Nedeljnik pronounced Goran Bregović one of 100 People Who Changed Serbia.[126] In 2017, the same magazine pronounced Bijelo Dugme's concert at Hadjučka česma one of 100 Events that Changed Serbia.[127] Members Goran Bregović - guitar (1974–1989, 2005) Željko Bebek - vocals (1974–1984, 2005), bass guitar (1976–1977 (studio only)) Jadranko Stanković - bass guitar (1974) Goran "Ipe" Ivandić - drums (1974–1976, 1977–1978, 1982–1989) Vlado Pravdić - keyboards (1974–1976, 1978–1987, 2005) Zoran Redžić - bass guitar (1974–1975, 1977–1989, 2005) Milić Vukašinović - drums (1976–1977, 2005) Laza Ristovski - keyboards (1976–1978, 1984–1989, 2005) Dragan "Điđi" Jankelić - drums (1978–1982, 2005) Mladen Vojičić Tifa - vocals (1984–1985, 2005) Alen Islamović - vocals (1986–1989, 2005) Touring musicians Mustafa "Mute" Kurtalić - bass guitar (1975) Ljubiša Racić - bass guitar (1975–1977) Sanin Karić - bass guitar (1977) Garabet Tavitjan - drums (1982) Discography Bijelo Dugme's discography consists of 9 studio albums, 4 live albums, 12 compilation albums, 12 Singles, 4 video albums, 3 box sets and 1 joint project album. Albums Kad bi' bio bijelo dugme (1974) Šta bi dao da si na mom mjestu (1975) Eto! Baš hoću! (1976) Bitanga i princeza (1979) Doživjeti stotu (1980) Uspavanka za Radmilu M. (1983) Bijelo Dugme (1984) Pljuni i zapjevaj moja Jugoslavijo (1986) Ćiribiribela (1988) Live albums Koncert kod Hajdučke česme (1977) 5. april '81 (1981) Mramor, kamen i željezo (1987) Turneja 2005: Sarajevo, Zagreb, Beograd (2006) Ko ne poludi taj nije normalan! (2016) Compilation albums Iz sve snage (1975) Singl ploče (1974–1975) (1982) Singl ploče (1976–1980) (1982) Sanjao sam noćas da te nemam (Velike rock balade) (1984) Nakon svih ovih godina (1990) Ima neka tajna veza (1994) Rock & Roll: Najveći hitovi '74 - '88 (1994) Balade (1997) Singlice 1974 - 1980 (2003) Bijelo Dugme (2005) 'Ajmo curice, 'ajmo dječaci! (2005) Singles "Top" (1974) "Glavni junak jedne knjige" (1974) "Da sam pekar" (1974) "Da mi je znati koji joj je vrag" (1975) "Ima neka tajna veza" (1975) "Ne gledaj me tako i ne ljubi me više" (1975) "Himna lista Zdravo" (1976) "Tako ti je, mala moja, kad ljubi Bosanac" (1976) "Eto! Baš hoću!" (1976) "Bitanga i princeza" (1979) Lične stvari (1979) "Dobro vam jutro, Petrović Petre" (1980) "Playing the Part" (1981) Video albums Uspavanka za Radmilu M. (1983) Ćiribiribela (1988) Nakon svih ovih godina (1990) Ima neka tajna veza (1994) Box sets Prvih šest studijskih albuma (2005) Original album collection (2013) Bijelo Dugme Box Set Deluxe (2014) Joint projects ...a milicija trenira strogoću! (i druge pjesmice za djecu) (with Ratimir Boršić "Rača") (1983) References Janjatović, Petar (2007). EX YU ROCK enciklopedija 1960-2006. Belgrade: self-released. p. 31. Vesić, Dušan (2014). Bijelo Dugme: Šta bi dao da si na mom mjestu. Belgrade: Laguna. p. 27. Vesić, Dušan (2014). Bijelo Dugme: Šta bi dao da si na mom mjestu. Belgrade: Laguna. p. 28. Vesić, Dušan (2014). Bijelo Dugme: Šta bi dao da si na mom mjestu. Belgrade: Laguna. p. 31. Vesić, Dušan (2014). Bijelo Dugme: Šta bi dao da si na mom mjestu. Belgrade: Laguna. p. 32. Vesić, Dušan (2014). Bijelo Dugme: Šta bi dao da si na mom mjestu. Belgrade: Laguna. p. 35. Vesić, Dušan (2014). Bijelo Dugme: Šta bi dao da si na mom mjestu. Belgrade: Laguna. p. 38. Vesić, Dušan (2014). Bijelo Dugme: Šta bi dao da si na mom mjestu. Belgrade: Laguna. p. 44. Vesić, Dušan (2014). Bijelo Dugme: Šta bi dao da si na mom mjestu. Belgrade: Laguna. p. 43. Vesić, Dušan (2014). Bijelo Dugme: Šta bi dao da si na mom mjestu. Belgrade: Laguna. p. 48. Vesić, Dušan (2014). Bijelo Dugme: Šta bi dao da si na mom mjestu. Belgrade: Laguna. p. 45. Vesić, Dušan (2014). Bijelo Dugme: Šta bi dao da si na mom mjestu. Belgrade: Laguna. p. 47. Vesić, Dušan (2014). Bijelo Dugme: Šta bi dao da si na mom mjestu. Belgrade: Laguna. p. 49. Vesić, Dušan (2014). Bijelo Dugme: Šta bi dao da si na mom mjestu. Belgrade: Laguna. p. 53. Vesić, Dušan (2014). Bijelo Dugme: Šta bi dao da si na mom mjestu. Belgrade: Laguna. p. 54. Vesić, Dušan (2014). Bijelo Dugme: Šta bi dao da si na mom mjestu. Belgrade: Laguna. p. 57. Vesić, Dušan (2014). Bijelo Dugme: Šta bi dao da si na mom mjestu. Belgrade: Laguna. p. 58. Vesić, Dušan (2014). Bijelo Dugme: Šta bi dao da si na mom mjestu. Belgrade: Laguna. p. 60. Janjatović, Petar (2007). EX YU ROCK enciklopedija 1960-2006. Belgrade: self-released. p. 32. Jurica Pavičić - "Bijelo dugme", Jutarnji list "Bregovićevi uzori opet jašu". Muzika.hr. Archived from the original on 2011-07-23. Retrieved 2011-04-25. Vesić, Dušan (2014). Bijelo Dugme: Šta bi dao da si na mom mjestu. Belgrade: Laguna. p. 84. "Neil Harrison". Discogs. Retrieved 28 April 2019. Krstulović, Zvonimir (2005). Bijelo Dugme: Doživjeti stotu. Profil. p. 27. Vesić, Dušan (2014). Bijelo Dugme: Šta bi dao da si na mom mjestu. 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Vesić, Dušan (2014). Bijelo Dugme: Šta bi dao da si na mom mjestu. Belgrade: Laguna. p. 209. Vesić, Dušan (2014). Bijelo Dugme: Šta bi dao da si na mom mjestu. Belgrade: Laguna. p. 210. Vesić, Dušan (2014). Bijelo Dugme: Šta bi dao da si na mom mjestu. Belgrade: Laguna. p. 218. Vesić, Dušan (2014). Bijelo Dugme: Šta bi dao da si na mom mjestu. Belgrade: Laguna. p. 217. Vesić, Dušan (2014). Bijelo Dugme: Šta bi dao da si na mom mjestu. Belgrade: Laguna. p. 214. Vesić, Dušan (2014). Bijelo Dugme: Šta bi dao da si na mom mjestu. Belgrade: Laguna. p. 227. Vesić, Dušan (2014). Bijelo Dugme: Šta bi dao da si na mom mjestu. Belgrade: Laguna. p. 233. Vesić, Dušan (2014). Bijelo Dugme: Šta bi dao da si na mom mjestu. Belgrade: Laguna. p. 230. "Bijelo Dugme - Bijelo Dugme". Discogs. Retrieved 28 April 2019. Vesić, Dušan (2014). Bijelo Dugme: Šta bi dao da si na mom mjestu. Belgrade: Laguna. p. 236. Vesić, Dušan (2014). Bijelo Dugme: Šta bi dao da si na mom mjestu. Belgrade: Laguna. p. 245. 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]	[]	[]	[ "" ]	null	[ "Jonny Zchivago" ]	null		en	http://dieordiy2.blogspot.com/favicon.ico		http://dieordiy2.blogspot.com/2019/11/	Larry Wendt - "New And Slightly Used Text-Sound Compositions" (1977) Would you buy a used Text-Sound Composition from this man? Well,yes, but you don't have to,because in this new,and very brief carin...
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"http://www.baku.mfa.gov.rs/img/strelica.gif", "http://www.baku.mfa.gov.rs/img/strelica.gif", "http://www.baku.mfa.gov.rs/img/spacer.gif" ]	[]	[]	[ "" ]	null	[]	null					null	Selakovic: Political extremism of Albanians in Kosovo and Metohija is becoming stronger (19 April 2021) Minister of Foreign Affairs of Serbia Nikola Selakovic warned, at the United Nations Security Council meeting, that the political extremism among Albanians in Kosovo and Metohija was not decreasing, but on the contrary, was becoming stronger. At the meeting discussing the Report of the UN Secretary-General on the work of UNMIK, Minister Selakovic recalled that the obligation to form the Community of Serb Municipalities remained unfulfilled for 2,917 days now and that, in fact, 19 April marked eight full years since the agreement was reached in Brussels, while Pristina still refused to follow up on its commitment and enable the formation of the Community of Serb Municipalities. The Minister reminded that the current Prime Minister of the provisional institutions of self-government in Pristina repeatedly threatened to unite the self-proclaimed Kosovo and Albania, and that he also stated that the dialogue with Belgrade was low on the list of his priorities. Minister Selakovic pointed out that it was high time for Albanian leaders in Pristina to show responsibility in fulfilling their commitments, but also a sincere commitment to reaching a compromise solution and building mutual trust. "Serbia is determined and will not give up on identifying a compromise solution, which will be sustainable for future generations as well. The only way to build lasting peace and stability in our region is by working to build trust and insisting on positive political agendas", Selakovic concluded. According to the Minister, lasting peace and stability can only be achieved if none of the participants in the dialogue pursued maximalist demands and insisted on the complete humiliation of the other. He pointed out that the Serbian and Albanian peoples, as the two most numerous peoples in the Western Balkans, needed to find a way to reach reconciliation and a basis for cooperation, both in terms of the economy and in achieving shared prospects for membership of the European Union. "Belgrade has made sincere steps in that direction, by being one of the initiators of the idea of relaxing the flow of people, goods, capital and services, popularly referred to as "mini-Schengen", the Minister underlined. Pointing out that Serbia had time and time again demonstrated its commitment to dialogue as the only way towards a peaceful, political solution to the problem in Kosovo and Metohija, Selakovic underscored that the recent elections in the Province confirmed that political extremism among Albanians in Kosovo and Metohija was not decreasing, but on the contrary, was becoming stronger, which could be seen during the recent pre-election process. Minister stressed that political pressures on Serbs continued even after the election process was completed, by denying Serbs fair representation in provisional institutions as the new so-called government in Pristina decided to assign only one ministry to the Serb community. "Serb returnees represent a particularly vulnerable category, who spend their every day in fear of being attacked. I remind you that the southern Serbian province is still an area with the lowest return rate of displaced persons in the world", the Minister said and emphasized that, in the last year alone, more than 80 attacks and incidents took place in our southern province, targeting Serbs, their property and religious sites. It is particularly worrying for the Serbian people in Kosovo and Metohija, Selakovic noted, that in the previous period, and especially in March this year, there were frequent physical attacks on the property of the Serbian Orthodox Church. "A striking example of the disrespectful attitude towards Serbian cultural and religious monuments in the Province, whose exceptional universal value UNESCO confirmed by inscribing them on the World Heritage List, is the case of the Visoki Decani Monastery", the Minister underlined. Furthermore, the Serbian Foreign Minister assessed as concerning the breaking into the Health Center in Strpce by police inspectors and officers, in January this year, who conducted a search aiming to discover Covid-19 vaccines there, originating from central Serbia. "Although we consider this to be an intrusion into a health care institution, our reaction was restrained this time as well. We did not want our decisions to cause escalation and politicization of activities that are solely aimed at protecting public health. We organized the vaccination of citizens from Kosovo and Metohija at three locations in central Serbia and thus clearly demonstrated that people's lives are the top priority to us", the Minister stressed. Minister Selakovic stated that Serbia highly valued the activities of UNMIK mission in Kosovo and Metohija and that it supported it in carrying out its work as efficiently as possible and undiminished in scope, aiming to build and preserve security in the Province. Selakovic said that the international missions in Kosovo and Metohija - UNMIK, KFOR, EULEX and the OSCE mission, under the administration of the United Nations and in line with UNSC Resolution 1244, played a key role in the preservation of peace and protection of the population. "We support and respect their engagement and efforts made in the framework of their mandates, with the common goal of creating conditions for a peaceful and safe coexistence of the inhabitants of Kosovo and Metohija. The Serb and other non-Albanian population in Kosovo and Metohija have the utmost confidence in the international presence and consider it a guarantor of security and a barrier against the arbitrariness of the provisional institutions in Pristina", the Minister emphasized. He said that this demonstrated the need that international missions remain engaged in an undiminished scope, in order to consistently implement UNSC Resolution 1244. Selakovic further emphasized the importance of KFOR international forces and pointed out that any unilateral attempt to assign to someone else or that someone else assumes a part of KFOR's mandate and responsibilities constitutes a violation of UNSC Resolution 1244. The Minister also noted as unacceptable the unilateral decisions on the formation of the Pristina "Ministry of Defence" and launching the process of transforming the so-called "Kosovo Security Forces" (KSF) into the so-called "Kosovo Army". At the beginning of his statement, Minister Selakovic lodged a protest against the abuse of the video format of the session by the representative of Pristina as she had a flag of the self-proclaimed "Kosovo" placed behind her, and the representative of Russia did the same. Below is an integral version of the speech of the Minister of Foreign Affairs Nikola Selakovic Distinguished President of the Security Council, Distinguished Special Representative, Esteemed members of the Security Council, At the outset, I have no choice but to lodge a protest against the abuse of the video format of this session on the part of the representatives of Pristina in order to promote the symbols of the so-called statehood of Kosovo. Despite the fact that the representatives of Pristina were warned on several occasions, including by the President of the Security Council at the previous session, that such abuses of Security Council sessions are absolutely unacceptable and constitute a flagrant violation of the Security Council rules on participation of representatives of the provisional institutions of self-government in Pristina, under Rule 39 of the UN Security Council Rules of Procedure, we are again faced with their reckless disregard for the rules of this distinguished body. Let me reiterate our call for the necessary steps to be taken to prevent such abuses. It is my great pleasure to address this august body at the meeting on the work of the Mission of the United Nations in Kosovo and Metohija. At the outset, I would like to thank Secretary-General of the United Nations Mr. Guterres and Special Representative of the Secretary-General and Head of UNMIK Mr. Tanin for the report submitted and for their efforts made towards the implementation of the UNMIK mandate, and also to the members of the Security Council for the continued attention they have devoted to the issue of Kosovo and Metohija. The Republic of Serbia highly values the activities of the Mission of the United Nations in Kosovo and Metohija and supports it in carrying out its work as efficiently as possible and undiminished in scope, aiming to build and preserve security in the Province. Mr. President, In the previous period we have faced political instability in Kosovo and Metohija. We recently had elections in the Province, which unfortunately confirmed that political extremism among Albanians in Kosovo and Metohija is not decreasing, but on the contrary, is becoming stronger. We have witnessed Albanian leaders competing among themselves in efforts to find the best way to provoke an incident in Serb communities, in order to score political points of the Albanian electorate. Under the pretext of amending the voter list, a large number of Serbs in Kosovo and Metohija were deprived of one of their fundamental political rights - the opportunity to elect their political representatives. Out of approximately 140,000 of citizens of Kosovo and Metohija who were removed from the voter list in the latest election process, 85% are Serbs. Despite numerous challenges and problems, the Serbian people in Kosovo and Metohija have shown, by high turnout and a convincing victory of the Serb List which won all ten seats reserved for Serbian representatives, that nothing can stop them from resolutely defending their position. Political pressures on Serbs continued even after the election process was completed, by denying Serbs fair representation in provisional institutions as the new so-called government in Pristina decided to assign only one ministry to the Serb community. Distinguished members of the Security Council, Unfortunately, it was not only during the election activities that we witnessed the unreasonable anti-Serb policy being pursued by the provisional institutions in Pristina. This goes to the length of breaking into the Health Center in Strpce, in the south of Kosovo and Metohija, by police inspectors and officers from Pristina, in January this year, who conducted a search aiming to discover Covid-19 vaccines there, originating from central Serbia, which they did not find. In doing so they demonstrated force and threatened to arrest the director of the Health Center, medical staff and doctors. At a time when the whole world is fighting the pandemic with vaccines being the only way to end this challenge, while Serbia is showing support and solidarity by donating vaccines and medical equipment to all in need in the region, Pristina wants to destroy vaccines only because they originate from central Serbia. As the whole world expresses gratitude to medical doctors, who have made great and heroic sacrifices in combating the virus, the provisional institutions in Pristina are attacking Serbian doctors for doing their job. Although we believe that intrusions into health care institutions are inadmissible, our reaction was restrained this time as well. We did not want our decisions to cause escalation and politicization of activities that are solely aimed at protecting public health. We organized the vaccination of citizens from Kosovo and Metohija at three locations in central Serbia and thus clearly demonstrated that people's lives are the top priority to us. Serbia continues to be ready to help all in need of assistance, and we call for reason and responsibility, especially in such difficult times. Mr. President, Attacks targeting Serbs and their property have been on the rise. In the last year alone, more than 80 attacks and incidents took place in our southern province, targeting Serbs, their property and religious sites. According to the information provided by the OSCE Mission in Kosovo and Metohija, in the second half of last year, the number of incidents increased by more than 30% compared to 2019. Therefore, we cannot agree with the assessment that the "security situation in Kosovo remained stable, with a few incidents reported affecting non-majority communities". Last weekend, for example, an entirely unprovoked physical attack by a group of Albanians on two Serb young men took place in the northern part of Kosovska Mitrovica. Serb returnees represent a particularly vulnerable category, who spend their every day in fear of being attacked. The fact that one family of returnees was the target of seven attacks clearly indicates the persistence of those who do not want Serbs in Kosovo and Metohija. There is absolutely no trace of political will in Pristina for 212,995 displaced Serbs who have been living outside Kosovo and Metohija for 22 years to return to their homes. Since 1999, the rate of sustainable return of internally displaced persons in Kosovo and Metohija has been only 1.9%, which according to the UN data is officially the lowest percentage of return of expelled population after a conflict anywhere in the world. At the same time, while arresting internally displaced persons, Pristina authorities are exerting the strongest of pressures on the Specialist Chambers in The Hague. The aim is to completely prevent the further processing of a number of cases against members of the terrorist KLA, on charges of serious crimes committed during the conflict in Kosovo and Metohija against both Serbs and persons belonging to other nationalities. President of the Specialist Chambers Madam Trendafilova recently warned that, should the pressures continue, this would have very dramatic consequences to the trials in progress. President Trendafilova underlined as highly problematic the phenomenon of witness intimidation, who are key for conducting proceedings successfully and rendering a proper verdict. Although the wait to raise indictments was far too long, we consider it commendable that efforts have finally been made to punish the perpetrators of numerous serious crimes which were committed during the armed conflicts a little over two decades ago, but also upon the arrival of the international forces to Kosovo and Metohija. For example, no one has been held accountable to this day for the killings and abductions of 17 journalists in Kosovo and Metohija, which is currently the largest number of unsolved cases of murdered and kidnapped journalists in Europe. Furthermore, the perpetrators of any of the mass crimes committed against Serb civilians after 1999 have not been brought to justice. I will remind you of only a few of these cases: 14 Serb farmers were killed in the village of Staro Gracko, 12 displaced Serbs were killed and 43 wounded in the attack on the "Niš Express" bus in Livadice near Podujevo, and in Gorazdevac near Pec unknown persons fired automatic weapons on children who were swimming in the Bistrica river. Two Serb children were killed then, and four were seriously injured. We expect the EULEX Mission to continue to support the Specialist Chambers and the Specialist Prosecutor's Office, as well as its additional engagement in the field of the rule of law. Special attention needs to be devoted to witness protection, and determining the fate of missing persons. International missions in Kosovo and Metohija - UNMIK, KFOR EULEX and OMIK are an integral part of the international civilian and security presence in our southern province, under the administration of the United Nations and in line with UNSC Resolution 1244 (1999), and play a key role and make an outstanding contribution to the preservation of peace and protection of the population. We support and respect their engagement and efforts made in the framework of their mandates, with the common goal of creating conditions for a peaceful and safe coexistence of the inhabitants of Kosovo and Metohija. The Serb and other non-Albanian population in Kosovo and Metohija have the utmost confidence in the international presence and consider it a guarantor of security and a barrier against the arbitrariness of the provisional institutions in Pristina. This further demonstrates the need that international missions remain engaged in an undiminished scope, in order to consistently implement UNSC Resolution 1244. I would like to further emphasize the importance of KFOR international forces and point out that any unilateral attempt to assign to someone else or that someone else assumes a part of KFOR's mandate and responsibilities constitutes a violation of the UNSC Resolution 1244, while also being a potential source of instability and tensions. I will remind you that Pristina, contrary to international law and completely ignoring the interests and positions of the Serb community in the Province, would not abandon its plans to install a new security actor in the territory of Kosovo and Metohija. We consider the unilateral decisions on the formation of the "Ministry of Defence" and launching the process of transforming the so-called "Kosovo Security Forces" (KSF) into the so-called "Kosovo Army" to be unacceptable. I would like to reiterate that such unilateral moves on the part of Pristina constitute a gross violation of the UNSC Resolution 1244 and the Military Technical Agreement, according to which only the International Security Forces, that is KFOR, have the mandate for all military aspects of security in the territory of Kosovo and Metohija. In this context, an additional reason for concern is the announcement of the construction of the largest base of the "Kosovo Security Forces" in the southern part of Kosovska Mitrovica, which Serbs in the north of Kosovo and Metohija perceive as the most open provocation and threat to their physical safety. Distinguished members of the Security Council, It is particularly worrying for the Serbian people in Kosovo and Metohija that in the previous period, and especially in March this year, there were frequent physical attacks on the property of the Serbian Orthodox Church. In just two weeks, as many as seven Orthodox landmarks in the province were targeted by vandals, at a time when we all remember the March 2004 pogrom against Serbs and Serbian holy sites in Kosovo and Metohija. The condition of the Serbian cultural and spiritual heritage in Kosovo and Metohija is humiliating, including the four monuments that are inscribed on the UNESCO List of World Heritage in Danger (Visoki Decani, Holy Virgin of Ljevisa, Gracanica and the Patriarchate of Pec). Numerous administrative and technical barriers are imposed on priestly and monastic communities, which makes it more difficult or even impossible for them to survive on church property. A striking example of the disrespectful attitude towards Serbian cultural and religious monuments in the Province, whose exceptional universal value UNESCO confirmed by inscribing them on the World Heritage List, is the case of the Visoki Decani Monastery. Distinguished members of the Security Council, The reason for the nervous behaviour of Pristina is all too obvious, as the project of the so-called independence today fails to be recognized by more than a half of the United Nations Member States, including five members of the European Union. However, it is high time for Albanian leaders in Pristina to show responsibility in fulfilling their commitments, but also a sincere commitment to reaching a compromise solution and building mutual trust. I will remind you that the current Prime Minister of the provisional institutions of self-government in Pristina has repeatedly threatened to unite the self-proclaimed Kosovo and Albania in the past. A member of his party publicly said last weekend that the self-proclaimed Kosovo and Albania would be united, I quote, "with rifle and gunpowder, or referendum boxes". I need not explain why such dangerous ideas constitute a direct threat to peace and stability. They violate Resolution 1244, while continuously destabilizing not only our southern province, but the entire region as well, and in no way contribute to the dialogue process, but instead hamper it again. We have demonstrated time and time again our commitment to dialogue as the only way towards a peaceful, political solution to the problem in Kosovo and Metohija. Even today, after many years of negotiations, but also failure to fulfill what was agreed and constant unilateral moves and provocations on the part of the provisional institutions in Pristina, we are still ready to sit down at the table and talk. We are ready for dialogue but not to be blackmailed and threatened and especially not for ultimatums recently presented by Prime Minister of the provisional institutions of self-government in Pristina. I will remind you of his statement that the dialogue will be low on the list of priorities of the Pristina authorities. It is bewildering how Pristina refers to ultimatums completely undermining any chance of dialogue, as the European Union also pointed out, as "principles" and how it persistently insists that Belgrade should recognize the unilaterally declared independence of "Kosovo", upon which, they believe, all else would be resolved. What is the purpose of the dialogue then, if Belgrade is only expected to recognize the so-called Kosovo? Does the dialogue imply that one side should give up everything only for the other to win it all? And does the dialogue, in Pristina's opinion, imply that what was agreed should not be fulfilled? I will remind you that Pristina still refuses to follow up on its obligations arising from the agreements reached so far and does not agree to discuss their implementation within the dialogue. And the situation is quite simple - in April 2013, the first agreement was signed in Brussels, which envisaged four obligations: one for Pristina and three for Belgrade. Belgrade has fulfilled all obligations, while the only obligation that the provisional institutions in Pristina had - to form the Community of Serb Municipalities - has remained unfulfilled for 2,917 days now. In fact, 19 April marks eight full years since the agreement was reached in Brussels, and of Pristina's failure to fulfill the obligation to form the Community of Serb Municipalities. Distinguished Mr. President, Regardless of the discouraging messages heard from Pristina and the fact that the dialogue has been in progress for many years, Serbia is determined and will not give up on identifying a compromise solution, which will be sustainable for future generations as well. Lasting peace and stability can only be achieved if none of the participants in the dialogue pursues maximalist demands and insists on the complete humiliation of the other. The Serbian and Albanian peoples, as the two most numerous peoples in the Western Balkans, need to find a way to reach reconciliation and a basis for cooperation, both in terms of the economy and in achieving shared prospects for membership to the European Union. Belgrade has made sincere steps in that direction, by being one of the initiators of the idea of relaxing the flow of people, goods, capital and services, popularly referred to as "mini-Schengen". As far as Serbia is concerned, we are convinced that the only way to build lasting peace and stability in our region is by working to build trust and insisting on positive political agendas. The inhabitants of Kosovo and Metohija, of any nationality, whether they are Serbs or Albanians, do not deserve anything less. Thank you for your attention. 22 YEARS SINCE NATO AGGRESSION ON FRY President of the Republic of Serbia Aleksandar Vucic made a statement on the occasion of marking the Day of Remembrance of the victims of the NATO aggression. "Your Holiness, distinguished Chairman of the Presidency of Bosnia and Herzegovina, distinguished Speakers of the National Assemblies of the Republic of Serbia and the Republic of Srpska, distinguished Prime Ministers of the Republic of Serbia and the Republic of Srpska, distinguished Ministers of both Governments, dear guests and friends, representatives of the Serbian People from Montenegro, North Macedonia, Croatia, thank you for the fact that we are all together tonight and that the Serbian spirit is unbreakable and invincible. One child a day and a little more than that. That is the most difficult, sickening and painful number of the NATO aggression from 1999. Killed, stopped, guilty of nothing, having committed no sin, without the right to defence, without the right to justice and without the right to life. No one has ever been held accountable for this crime, a crime greater than a crime. No one, for the 2,500 killed civilians, but also soldiers and policemen who were only guilty of guarding, protecting themselves and their homes. No one has ever been held accountable for more than 6,000 persons injured. Even today, 22 years after the aggression, it is not possible to explain that, there is no universal justification, despite all the work done to that end, there is no reason, it makes no sense, and only names remain, as eternal as sin. Miljana Milic, fifteen years old, Vladimir Milic, twelve years old, Miomir Mladenovic, fourteen years old, Dragan Dimic, three years old, Julijana Brudar, ten years, Olivera Maksimovic, twelve years old, Miroslav Knezevic, thirteen years old, Dajana Pavlovic, five years old, Stevan Pavlovic, eight years old, Marko Simic, two years old, Milica Rakic, three years old, Ivan Ivancic, seven years old, Marko Ivanovic, three years old... And the list goes on, eighty nine names, not only Serbian ones... The senselessness of sheer killing did not choose. Sixteen children, aged two to seventeen, from the Ahmetaj and Hasani families, were killed in a convoy returning home to Prizren. In one headline in the West, this was simply explained as a "tragic mistake". The deaths of Marko Roglic, Milan Ignjatovic, Gordana Nikolic, Irena Mitic, Milica Stojanovic, Bojana Tosovic, Branimir Stanijanovic, our Sanja Milenkovic...could not expect or get even such an explanation. Those deaths were not tragic, for those who caused them, much less a mistake. It was just an excuse, a miserable excuse. They were a result of intent and a clear decision, as a severe judgment against one country, its people, its children. And that is why today we will refrain from speculation in giving a name to everything that happened during the spring of 1999. Because a crime happened, a heinous and terrible one. And it was an aggression, not a bombing, not an intervention, not a campaign, not an operation. An aggression is what happened. An attack on a sovereign country, without a decision of the United Nations, without a sufficient reason that would justify attacking the then Yugoslavia or a neighbouring or NATO country. No one was attacked by Serbia or the Federal Republic of Yugoslavia at that time. They attacked us, with one goal. To defeat us, to keep killing us, and in the end to take away a part of our territory. And no matter how much we analyze things today, no matter how harsh and critical we are towards ourselves, our policy and leadership at the time, it is clear that the Federal Republic of Yugoslavia and Serbia were left with almost no choice then. The choice was horrible, either the loss of territory and people on the one hand, or the complete disappearance of the Serbian state, morals, honour, Serbian spirit, names and surnames. And we could not help but lose. Nineteen big ones attacked one small country, the Federal Republic of Yugoslavia. They attacked both Serbia and Montenegro. And even when they don't talk about it today, in one of the two independent countries, those are the facts. And that small country, and that small nation, to all nineteen of them so great and powerful, held a lesson in what matters most - honour, morals and love for freedom that a nation can have. Yes, justice, lest we forget justice. All those nineteen great ones today still silently talk about their military success, avoid answering questions, while - can you imagine, one small, only numerically small Serbian people, that small but magnificent nation, with sadness, tears in their eyes, proudly remembers their resistance and struggle against the nineteen cruel and arrogant ones. We lost a lot, we lost our fathers, brothers, spouses, children, but the honour and Serbian heart are still there, to protect Serbia, which is eternal and indestructible. We lost children, we lost people, we lost control over a large part of the territory, we lost billions because of the destroyed infrastructure and economy. And all that was left for us was the body of a tortured, destroyed country, a country in disintegration, mutilated, looted, wounded, deserted, and guilty, condemned for everything that happened not only in the 1990s, but throughout history. A country that, even ten years after the aggression, did not have the strength to stand up, rise to its feet, and do anything but be silent, or bow its head and obediently apologize, for everything, even for its dead, even for its murdered children. Today, it is no longer that failed, tortured, devastated, mutilated Serbia. Today, it is Serbia, which has found its strength and its pride again. Serbia, which calls things by their real names. Serbia, which turned its back on war and defeats, and started working. Serbia, which rose to stand on its own feet and has a voice of its own. Serbia, which, even when they don't believe it, they listen to. Which is capable, which is growing, and is no longer part of the problem. Serbia, which is and will be, at least we will do our best to this end, the very solution that enables the entire region to live in peace and understanding. And that Serbia, today, when there are still many more bombs in the world than vaccines, sends not bombs, but precisely those vaccines to the region. Today, it is ready to produce them as well, and in just a few months we will do just that, but not only for ourselves, but also for others, for the entire Balkans. We are ready, and we are willing to help. We are not ready to be and we will not be silent, nor be humiliated again. We draw the right to that not only from the victims we had, but also from the fact that we stopped looking at others only a long time ago, and looking for fault and guilt only in them, and not sometimes in ourselves as well. We looked at each other and admitted. Every loss, every defeat and every crime that someone committed in our name, every failure and every wrong policy. And we are no longer doing anything that could endanger anyone. We continue to work and work, and grow more and more, gaining strength with only one goal - to be the best in economy and education, health, in culture, science, sports... And we want to be safe, on our own. We want our army to be much stronger than it was in 1999. So that we never again face a situation that someone is killing our children, destroying the country, or expelling our people. We want to remain free, to decide our own destiny, and for no one to take everything away from us ever again, and give us nothing. And that nothing today, and I will repeat it as much as necessary, is the idea of some great, powerful ones, but also those who serve them, the idea that "Kosovo" should recognize us, so that we could recognize "Kosovo". We do not need that recognition. And Serbia will not allow you to walk over our victims, our history, our past, but also to walk over our future. You will get the answer of reasonable, kind and responsible people. We need a compromise. We need all the obligations that we and Pristina have assumed to be fulfilled, but only we have fulfilled them so far. And this is not our whim. It is not a phantasmagoria about a Serbian world that we want to create. Even today, when they threaten us with the formation of a Greater Albania, when they say that the Community of Serb Municipalities is not going to happen, it is ours to be calm, to take care of our people in Kosovo and Metohija, but to send a clear message to all those great, powerful ones that we are not as weak as we were, that we will be able to preserve what is our own, not touching anything that belongs to anyone else. After all, Serbia is not and will not be but a handful of oats that every crow from the whole wide world can eat. As for those who used the strength and power of the nineteen arrogant and cruel ones, I only ask them not to threaten us. Please, please, don't threaten us. They should not think that Serbia is broken and that it will not have the strength to respond. Please, please, our Albanian neighbours, do not threaten us. And we ask all others, who have demonstrated their cruelty towards Serbia, not to help you in that. That is all we are asking and nothing more. And we will respond to calls for peace, calls for compromise, and always with good will, because we do not want to have children killed again. And we do not want the children of others to suffer again. But do not underestimate Serbia, and do not look at Serbia with the same eyes as you did in 1999. Today, Serbia is much stronger, much more powerful. Today, Serbia is a united country of togetherness, not a divided one. Today, Serbia is incomparably stronger and better in every aspect than it was in 1999, from the economy to our army. And we will never threaten anyone, we just ask you and request from you to respect us and nothing more. Today, we are building roads that will connect us, among ourselves, with the region and with the world. Until the end of the year, we will work on eight motorways, on eight routes in the entire Balkans, not only Serbia, eight roads of peace and cooperation. Only a crazy person would trade this for war, for dead children, for demolition and new loss. And yes, we want to have the closest relations with everyone who took part in the aggression against our beautiful Serbia, we have forgiven a long time ago, but no, we will never forget. And don't ask us to. That one day, every year, we will remind both ourselves and you. The nineteen of you, the most powerful, strongest, greatest in terms of might and force, but not so much when it comes to honour and morality. We will keep remind you and ourselves, just so it would never happen again. Not to us only, but to none other freedom-loving people in the world. And if we have an offer, today it reads as follows: we are ready to make the whole Balkans a winner, for everyone to win, as long as no one tries to make Serbs the only losers. And the path to this goal is not difficult at all. We just need to respect and understand each other and not try to humiliate each other. And not to touch into what everyone paid the highest and bloodies price for. Freedom. And we, Serbs, know the price of freedom. Into our right to have it, to keep it and to remember all the victims who are part of it. And our defeats, our lives and our children are built into ours. And the lives of our heroic pilots, and our giants from Kosare and Pastrik, and our children, innocent, completely innocent, and only guilty of living in Serbia. This is too high a price to be quiet about it. Because that would mean that we are ready for another defeat, for another humiliation. And we are not. And when all go quiet, we will keep repeating. A child a day, and a little more. This was how much you killed us. In an aggression that even you did not understand why you carried it out. And we will keep repeating this, just so it does not happen to us again. With special reverence, we are fulfilling our obligation to pay tribute to all innocent Serbian victims who laid their lives on the altar of the homeland, both civilians and our heroic soldiers and policemen, the heroes of Kosare, Prizren, Mitrovica. Today, for us Serbs, life in Kosovo and Metohija is like Via Dolorosa, using their last strength on the road to Golgotha, but we would not be Serbs if we were not capable to "exist in a terrible place". And today, tonight, I can conclude with one important sentence. On the soil of Europe, there was, and today is stronger than ever, an indomitable, unwavering, unconquerable and never conquered Serbia. May eternal glory be to all the victims of the NATO aggression and let us all exclaim together - long live free and proud Serbia", President Vucic said. 24 March 2021 Source: www.predsednik.rs Photo: www.predsednik.rs Serbian President Aleksandar Vucic pointed out that Serbia is the first in Europe in terms of economic growth, which will be officially confirmed at the end of March, and that this was possible owing to the reform measures taken since 2014 and the rapid opening of the country after the first wave of corona virus. The President pointed out that Serbia had a growth of 5.2 percent in the first quarter, while the Eurozone was at minus 3.2 percent, in the second quarter Serbia had a minus of 6.3 percent, while the Eurozone was at minus 14.7 percent, and in the third quarter, when the Eurozone was at minus 4.3 percent, Serbia's figure was only minus 1.4 percent. Vucic stated that Montenegro, for example, recorded as much as 26 percent minus in the third quarter. Furthermore, the President emphasized that hospitals were built and renovated in our country, and that two hospitals were built from the ground up in just four months. He said that the state made significant efforts to procure respirators, masks, gloves, protective suits, medicines, everything that was needed, and pointed out that work was being done on 10 general hospitals throughout Serbia, adding that all these were major achievements that were only possible owing to the success of the 2014 reforms, the enactment of the Labor Law, which yielded excellent results, and also through fiscal consolidation measures. "These are unprecedented results for Serbia. Was Serbia ever before the first in Europe in terms of growth rate? We will get the results on 31 March that will confirm that Serbia is number one in Europe. All that was possible thanks to people who believed in difficult changes", Vucic said. According to the President, this year, as many as six highways will be built in Serbia at the same time, and in this regard, he noted that Bulgaria has announced that the highway from our border to Sofia will be completed by the end of the year, after which it will be possible to use motorway to travel to Istanbul, which is very important to ensure that our country is on a transport route. President Vucic emphasized that in 2020, the so-called year of corona, our country had a net inflow of foreign direct investment amounting to EUR 2.9 billion net, and three billion gross, which means that many foreign companies such as Toyota Tires, Boysen, ZTF and Brose have invested in Serbia even in this year of crisis. The President said that Serbia has the highest average wages in the region, amounting to 511 or 512 euros, and that in February, due to the January increase, the average wage will be 535 or 536 euros, and that only in Belgrade in the last seven years the average wage increased by 180 euros or 40 percent. That President said that Serbia was fourth in the region in terms of salaries before, and that today we are officially the first, and that the difference in relation to other countries will only increase faster. He also pointed out that the employment rate is growing in Serbia as well as that our public debt increased less than in most European countries. This is illustrated by the data that in Italy the public debt surged to 156 percent, in Germany to 87 percent, in France to 114 percent, in Croatia to 88 percent, while in Serbia it is at 57 percent. The Serbian President announced that by Sretenje, 15 February, an additional package of assistance to the economy will be earmarked, and as he explained, it will be a new capital injection for companies, the trade, entrepreneurs, small, medium and large enterprises which, as he said, concerns 1,052,000 people within that system. Vucic specified that it will most likely be help in the form of two or three payments amounting to half a minimum wage each, and that there will also be sectoral aid for tourism, hotel owners, travel agencies, guides, for bus carriers, through another half minimum wage payment. The President added that efforts will be made to extend the guarantee schemes as well, which proved to be excellent, amounting to 1.5 billion, and this time, through the same system, two more portions amounting to 500 million each could be provided. Vucic said that the first agreements with DFC worth 300 to 400 million dollars are expected in seven days. He also stated that the state will endeavour to help pensioners further, in addition to increasing pensions by 5.9 percent in January, which will be reflected in their first checks in February, and added that pensioners should by March receive symbolic aid in the form of packages with vitamin C, D and zinc, which, as the President said, are small things, but they reflect the state's care and efforts made to protect health. The President announced that negotiations on the procurement of the Chinese vaccine would be completed in the next seven to eight days, after the first quantities of the Pfizer and Sputnik V vaccines have arrived in Serbia, and pointed out that the Chinese vaccine was of exceptional quality, but probably the most expensive, which is why he wrote to the Chinese President and asked for a discount for our country. Vucic thanked the Americans for deciding to sell the vaccine to our country and noted that no one in the region other than Serbia has received it, except for the small quantity that Albania got. He pointed out that our state relied on itself and its own capacities, and that our state leadership anticipated that vaccines within the European COVAX plan would arrive late. The President rejected the claims about bad results of Serbia in the fight against the corona virus and stated that our country has recorded the lowest corona virus mortality rate in the region. He presented statistical information indicating that Slovenia had 144 deaths per 100,000 inhabitants, North Macedonia 126, Bosnia and Herzegovina 123, Bulgaria 115, Montenegro 115, Hungary 110, Croatia 107, Romania 85, and Serbia 51. "The mortality rate in the region is as follows: Bulgaria 3.9, Bosnia and Herzegovina 3.7, Hungary 3.11, North Macedonia 3.03, Romania 2.48. Slovenia 2.15, Croatia 1.99, Montenegro 1.4, and Serbia 1.0. This can be seen in the graphs and is no fabrication", the President stressed. He said that the state will fight for vaccines, and that only Serbia, in the Western Balkans, received significant quantities of vaccines, other than a smaller quantity that Albania received, and added that in one day since the registration for vaccination opened, as many as 63,000 persons have registered. President Vucic expressed his belief that the year ahead will be better than the previous one as well as that the corona virus will be defeated through vaccination of citizens. Belgrade, 12 January 2021
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Returning from there, he discovers changes within himself, but within his home town also. Totally lost, he finds no way to make contact with the environment, and suddenly experiences love with the girl who survived all horrors of that war... Based on a comedy TV series about Serbian "aristocracy" during the Turkish "answer" to the Serbian Uprising during the Serbian-Turkish war in the 19th century. During this time it was of the utmost importance to take the right steps and wisdom is really needed for making those right steps. With the help of a fortune teller, Karadjordje (the leader of the Uprising) learns that, according to a legend, somewhere in the hills exists a Stone of Wisdom which makes you, if you hit your head against it three times, more wise. So he employs his nephew Crni Gruja, with assistants Ceda Velja and Bole, to find him this miraculous Stone. Crni Gruja finds the Stone and, convinced that he is really becoming more wiser, decides to make some business. A small border post on the Yugoslav-Albanian border in the spring of 1987. Frustrated and always drunk, lieutenant Pasic feels a strange pain in his groins. He seeks help from the only doctor among the soldiers, Sinisa, who diagnoses a sexually transmitted disease. Not wishing his wife to know about it and trying to find excuses not to go home, he declares a state of emergency, claiming that the Albanian army is preparing an attack against Yugoslavia. A joke transforms into war hysteria: soldiers dig trenches, Pasic grows wilder as the days go by, Sinisa embarks on a dangerous liaison, and his best friend Ljuba decides to leave the army. The situation slowly runs out of control... Macak (The Cat) is the best basketball player around the blocks of New Belgrade. Meanwhile, his friend is bullied by a local gangster Coma, whom he owns money. To pay off his debt, Macak will play 1 on 1 with the rival player, eventually winning it. However, Coma doesn't stand on his promise, so Macak decides to solve this problem the other way. Alek is desperate because Teodora has left him after a three-year relationship. Suffering and apathetic, he mentions suicide constantly; he simply does not want to accept that the relationship is over. He has self-pitying sessions with his friend Bane every day. Despite Bane's advice, Alek keeps calling Teodora, who has fallen in love with Nemanja. However decisive and tough Teodora is when she is with Alek, she is indulgent and helpless when she's with Nemanja. Nemanja is not in love with her but with Marina, a girl a few years younger than he is; Marina, in turn, is not in love with him but is very attracted to Alek's "Slavic depression." She doesn't know that his "desperation charm" comes from his failure with Teodora; she thinks he was born like that. In 1999 Belgrade, producer Sergei and his film crew are in a disastrous situation: The film they're making is under threat; there's no money, the crew are dissatisfied, and NATO bombing is just around the corner. Then Mileta, a member of the State Security Service, comes looking for American co-producer Harvey. Anxious and worried in the midst of the bombing that's begun, Sergei hides Harvey from what he thinks is awaiting him: arrest. During the night, he thinks up a plan. He announces the start of filming on a new, patriotic film, in which the main role will be played by Harvey. The plan works--the State supports the film, and Mileta, as the State's representative, joins the crew. However, the underlying conflict between Mileta and Sergei explodes during the first screening. Mileta accuses them of being artists and not being patriots. Sergei begins to realize that he has endangered not only the film but the lives of the whole crew. A tragic death provokes a real revolt amongst the crew and some refuse to keep filming. Embittered by their 'unpatriotic' stance, Mileta arrests the protagonists and forces them to continue. Sergei, whose wife and child have now left, and who is accused of collaborating with Mileta by the rest of the crew, thinks up another plan.
1053	dbpedia	3	82	https://www.tiktok.com/%40gastroinsidervienna/video/7304312033292340513	en	Make Your Day			[]	[]	[]	[ "" ]	null	[]	null		en			null
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Jovanovic_Identities expressed through practice... - Download as a PDF or view online for free	en	https://public.slidesharecdn.com/_next/static/media/favicon.7bc3d920.ico	SlideShare	https://www.slideshare.net/slideshow/j-jovanovicidentities-expressed-through-practice/57606731	1. IDENTITIES EXPRESSED THROUGH PRACTICE OF KAVAL PLAYING AND BUILDING IN SERBIA IN 1990s* JELENA JOVANOVIĆ Abstract: This paper discusses the circumstances under which the build- ing and playing of the kaval became topical in Serbia (Belgrade) at the end of twentieth century: the work of the Byzantine choir “Saint John of Damascus” and expressions of personal and group identities participating in the process, through indication of the elements of music structure re- lated to the principles in eastern music cultures. Keywords: Serbia, the kaval, Byzantine chanting, Macedonian ezgija, culture of the eastern Mediterranean, the musical East Reasons for writing this paper; the aim of the paper; theoretical concepts and methodological assumptions It may be said that the aerophone instrument kaval, a long labial end- blown flute which falls into the group of semi-transverse flutes (Џуџев 1975: 17), has been promoted to a representative item in Serbian music tradition in current public discourse, which is the subject of a musicological study discuss- ing it from its current positions (Atanasovski 2010: 1, 4). On the contrary, both the domestic and international scientific circles have been, until the present date, almost entirely unfamiliar with how interest in the kaval arose in Belgrade in the 1990s and the position it occupied in the given context at the time. This paper reveals some data about the environment in which the kaval became well- known in the period between the beginning of the 1990s and 1999, the protago- nists in the process, and their motives.1 The paper covers the period from the beginning of the 1990 until 1999. It can be said that the year 2000 marked the beginning of a new period in the life of the kaval in Serbia, determined by the place it won on the Serbian music scene.2 The role of the kaval in the World * The text is the result of the work on the project Identities of Serb music from local to global frameworks: traditions, changes, challenges (ОН 177004), financed by Serbian Ministry of education, science and technological development. 1 On this occasion, I express my gratitude to all Damaskinians, gathered around the choir St. John of Damascus in Belgrade, for helping me collect numerous data included in this paper. Special thanks I express to f. Goran Arsić for his immesureable, unreserved, stable, ideological and practical support for work on this subject. 2 This segment of the life of the kaval in Serbia was covered in literature on several occa- sions (for instance, Atanasovski 2010). With the appearance of this instrument at the Eurovision Song contest in 2004 (in Ž. Joksimović’s song Lane moje with player M. Nikolić), interest in it 2. 2 Jelena Jovanović Music genre in Serbia at the beginning of the twenty-first century, which is more familiar to the public, will not be the subject of this study. The context in which playing the kaval became topical in Serbia in the 1990s, even its very treatment, is so specific that it is difficult to explain it by terms used for classification relating to ‘revitalization’ of folklore practices. This phenomenon could not be called restoration, because at this moment there are no grounds to suppose that it is about a restored continuity of existence of this instrument in Serbian tradition. Thus, this phenomenon should be more properly treated as bringing the kaval into light in Serbia, for the reasons given in the following text. The aim of this paper is to fill the gap in understanding of this phenome- non in the domestic and international scientific public, to try and answer the question of why kaval is so interesting for listeners and performers of traditional music in Serbia, and to offer a picture different from the essentialized ideas of Serbia and its music during the period of wars in the 1990s, especially in terms of development and use of Serbian music culture and tradition. Namely, the ex- isting literature on music form the war-ridden territories of former Yugoslavia (see, for instance, Gordy 1999) gives very little or no attention to anything that must have preceded any possible use or abuse of tradition, which is initial / original motivation and authentic need of the very exponents of tradition and followers of the idea in the full sense of its revival. This would imply an in- tegristic, as opposed to the instrumental approach to tradition (the terms taken from: Наумовић 1997:111). Tackling the issues, provocative at numerous levels, the kaval and its bringing to life in Belgrade are an attractive topic for a variety of reasons. They cannot possibly be paid due attention within this paper. This is why attention will here be paid to certain parts of the topic only, primarily the role and posi- tion of the kaval in the development of identities of the group оf its protagonists in Serbia in the 1990s. This is about a phenomenon occurring in specific condi- tions of crisis caused by armed conflicts and forced changes of political bounda- ries in the territory of former Yugoslavia. In Serbia, there occurred a crisis of the Yugoslav identity and search for establishment of new identities, a process the literature states as common in periods of crisis (Todorova 2006: 15, 128). The phe- nomenon of rekindling the interest for the kaval in Serbia will be discussed accord- ing to the model offered by Marija Todorova, from the standpoint of perception of historic heritage: as “articulation and re-articulation of perceptions of various indi- viduals or groups within the group in different periods of time” (Todorova 2006: 24). In this paper, the focus is on the perception of protagonists of the phenomenon during the 1990s and nowadays, almost twenty years later. soared; institutionalization of education in kaval playing was initiated within the Department for ethnomusicology of Mokranjac music school in Belgrade (prof. Miloš Nikolić’s class). 3. IDENTITIES EXPRESSED TROUGH PRACTICE OF KAVAL... 3 In Serbia, the kaval was brought to life thanks to “interactions of specific individuals“ (Stock 2001: 5) who, while undergoing a difficult time of crisis in the 1990s (as were other citizens of Serbia) and at the same time seeking the way to express their own and artistic identity, had to make decisions in terms of both personal and music choice. Thus, the paper is also comprised of music bi- ographies of the protagonists of this phenomenon, exceptionally important for its correct understanding. The paper is also partly of an autobiographic nature, because in writing it I started from an insider position, as a participant in and witness to the process that it is all about,3 as a member of the community4 in which kaval playing was ‘discovered’ and became popular, and thanks to which it gradually got to the sphere of playing in public in Serbia. The aspect of inter- action between the individual and the collective is also of extreme importance for the paper, as may be observed from the following text; in brief, it is about “the individuals whose interactions imply conscious or unconscious adapting to continual development and creating and resignification of social identity” (Dženkins 2001: 100–1).5 For the purpose of this paper, kaval playing was observed with a reason, as Biljana Milanović wrote, as “the medium not only reflecting and encoding meanings related to identities, but also participating in creation thereof” (Ми- лановић 2007: 125). Secondly, the concept of collective identity is important for this paper, according to Born and Hesmondhal, as “kind(s) of imaginary identification or discursive subjectification through music”, a type of identifica- tion connected to “emergent, real forms of sociocultural identity or alliance”, “when the musical imaginary works to prefigure, crystallize or potentialize” the emerging entity “so re-forming (or reconstructing) the boundaries between so- cial categories, between self and other“ (2000: 36, 35; Милановић 2007: 131). Furthermore, the case of the kaval in Serbia in the 1990s confirms Martin Stokes’ thesis about music as a symbol, but also as means of social boundaries, “of constructing trajectories rather than boundaries across space” (1994: 4). On one hand, kaval playing marked the boundaries of the social group, but also the tendency to overcome the current national, ethnic, even confessional bounda- ries, and to shift the meaning of the notion of ‘others’ in this context (a phe- nomenon also usually occurring in times of crisis; see Said 2000: 446; To- dorova 2006: 20). Due to a range of circumstances which will be discussed fur- ther in the paper, here the issue of perceptions of the terms ‘the East’ and ‘east’ 3 As “our reflexive, experiential ethnographies–biography, […] can be equally reflexive, and it too can communicate a strong sense of musical experience”, (Stock 2001:16), such an ap- proach to the topic was this time inevitable, being, at the same time, fully legitimate (also see Said 2000: 450). 4 This is why considerable efforts were needed to achieve the necessary distance to facili- tate viewing of the phenomenon as objectively as possible for the purpose of composing this pa- per; particular attention was paid to positioning of ‘self’ and ‘otherness’. 5 This sentence has been translated into English from Serbian translation of Jenkin`s book. 4. 4 Jelena Jovanović will become topical in musical and verbal discourse of the protagonists of kaval practice in Serbia in the 1990s. The perception of kaval players and builders, as well as its scientific in- terpretation are given in narrative forms as recorded during interviews with the protagonists (parts of the interviews relating to individual aspects of kaval playing are given in the Appendix), based on the repertoire and through analysis of musical components. The paper is based on personal experiences of the au- thor as a witness, and even participant in the process of development of interest in the kaval in Belgrade in the 1990s; thus, this paper was written from the standpoint of a participant-observer, based on personal experience in encoun- tering members of the community, but also in acquisition of new musical per- ceptions through the ‘musical being’ (Cooley and Barz 2008: 20). The aspects of kaval life in Belgrade presented in this paper include the time, place, speci- ficities of the kaval as an instrument, its place in the community in which the restoration was initiated (in the context), emotional and spiritual attitude of the players and listeners of the kaval, the ethos it implies, and the place which, ac- cording to the perception and attitude, it occupies in music culture of the Balkans and Serbia. Documentary audio recordings are also supplied in the Appendix (Examples 1–3). It is important to emphasize that the experience of protagonists of kaval practice in Serbia in the 1990s indicates an animated, active approach to the in- strument, to the largest possible extent implemented through personal spiritual and practical test, as a form of ‘fight for survival’ in difficult conditions the country and society were faced with at that time. About the kaval in general and literature on the kaval in former Yugoslavia It is believed that the word ‘kaval’ is of Turkish / Turkmenistan origin (kaval, qavâl; Dević 1977), but it is more likely that its etymology may be sought for in Arabian language6 (Muftić 1997: 1248). In the Balkans, and not only there, the terms implies a one-part (more rarely three-part) aerophone in- strument with an open cylindrical body, 630–800 mm long, with seven holes on the front side and one in the back; on the bottom end there are four more holes, important for the acoustic properties of the instrument (Basten 2003: 7). It is manufactured in pairs, two identical kavals each time, to be played in duet. Equalization of the dimensions of the two instruments, as well as of the position of both players while playing, is aimed at an “adjusting of joint music making”. 6 According to the report of Ivan Kostić, an Arabist from Belgrade: “From the verb ‫لاق‬ (root: word ‫ق‬ ‫و‬ ‫ل‬ [qw`l]) which means to say, to tell, to narrate comes from the word ‫لاوق‬ (pro- nounced literally kaval!) with regular male plural ‫,نو‬ which means folk singer (or poet), reciter”. I cordially thank Mr. Kostić for this information, very precious for further work on this subject in domain of Serbian ethnomusicology. 5. IDENTITIES EXPRESSED TROUGH PRACTICE OF KAVAL... 5 The tonal range consists of a whole tone and a range of semitones, while the whole range obtained by overblowing amounts to two octaves and a sixth (De- vić 1977: 35, 36, 38). In the Balkans, the single-part instrument of the kind is nowadays widespread in Macedonia, South Serbia and Montenegro, Greece, Albania, Turkey, a part of Bulgaria, Hungary, and Romania (Alexandru 1956; Dević 1977: 36; Линин 1986: 71–5; Аνωγειανάκης 1991: 62, 149, 151; Бастен 2003: 7; Чичаковски 2011; see also Gojković 1994: 40), while related instru- ments may be found in the traditions of Southeastern Europe (Вертков 1975), the people from the Caucasus, North Africa, Asia, the island of Borneo (Mark- ovic 1987: 40), and in the Near East (Czekanowska 1981: 187, 201, 214–5, fig- ures 95, 102). When it comes to the position of the kaval in the musical tradition of Serbs and the related narrative, they are problematized by several important facts: the kaval has retained its presence in the live musical practice of Serbs only in one village in Kosovo, at the border territory of the Serb national and ethnic space, very close to the borders with Macedonia and Albania, far from the Serbian capital and out of reach of its direct influence. All this is important for the possibility to perceive the instrument as part of the national identity (compare Мациевский 2007: 166–70); it is also a fact that, despite its popular- ity, the kaval in Serbia has not always been unquestioningly perceived as а part of Serbian musical tradition, both in the recent past and at the present moment.7 From the standpoint of the knowledge accumulated in the course of the last seventeen years, this paper necessarily needs to provide a review of the data on the kaval in domestic ethnomusicological literature at the time of the former Yugoslavia. Nowadays it is clear that although these data provide a picture on geographic distribution of the kaval in the Socialist Federal Republic of Yugo- slavia, there is nothing about its occurrence in traditions of individual nations occupying its territories (Gojković 1989: 11). In its original or skilfully moder- ately stylized form, traditional music of Macedonia was considerably promoted in media and in public both within the borders of former Yugoslavia and far- ther.8 The same may not be said for the Serbian music tradition, which was fre- quently left out of the public, even in terms of basic information. This ideology can also be followed through the programmes and general directions taken by 7 This text will not tackle the issue of chronology of presence of the kaval in the Balkans or its position in Serb musical tradition. This will be discussed in another paper, which is being prepared. 8 Here, Macedonian folklorists had an exceptional role in cooperation with the extraordi- nary exponents and connoisseurs of various segments of Macedonian musical tradition. A striking example of such activity, aimed at promotion of international reputation of Macedonian folklore, is the work of a renowned dancer, choreographer, and instrumentalist Petre Atanasovski (1928– 1996), the leading champion of dancing, bagpipe playing, and tapan playing tradition of Mace- donia and partly west Bulgaria and north Greece (for more details about his life, work, and impact see in Тодевски 2004). 6. 6 Jelena Jovanović amateur and professional groups in both republics. Practically, the only audio recordings of kaval playing from the territory of former Yugoslavia available for professional and broader public via media and, far less, through ethnomusi- cological issues were the recordings of (extraordinary) kaval players (primarily Nikola Cvetkovski, Mile Kolarov, and Angele Dimovski) from Macedonia. Re- cordings of Albanian players from Kosovo and Metohija were available to a slightly lesser extent. The presence of the kaval in Serbian tradition at the bor- der areas of Serbia was first acknowledged by professional audience in the 1980s, while full interest in this topic was not raised before the late 1990s.9 Cer- tain role in this process, especially speaking of younger Belgrade players of the time, had the popularity of musical numbers from the movie Before the rain directed by Macedonian author Milčo Mančevski (1994). The rekindling of the kaval in Serbia (Belgrade); Byzantine chanting and the religious identity of members of the choir “St John of Damascus” If we say that the bringing the kaval into light in Serbia in the 1990s ap- peared spontaneously, this must be taken conditionally: on one hand, it was caused by the general state of facts the country was faced with at the time; on the other, it was not directed by any kind of external pressure, but occurred as a result of joining of, up to that moment, individual efforts of a group of artists in their practical approach to religious and folk art. It was a part of a broader movement aimed at search for religious, national, regional, and personal iden- tity in Serbia, as a specific personal resistance against the then state of deep po- litical, social, and economic crisis in the country. The kaval was also rekindled as one of the symbols of a specific group musical entity. The phenomenon may be regarded as part of the global turning to traditional knowledge and a new reading of canonical work of culture (Said 2000: 465), as a reaction to global- ization trends. Chronologically, it coincides with similar phenomena in other parts of the world. It was brought about by creative tendencies of highly edu- cated artists from Belgrade, born in the 1950s, 1960s, and 1970s. The initiative to bring the kaval into light was born among the members of the Belgrade congregation of artists and singers “St John of Damascus”, founded in 1989. Their leading idea was to restore East Christian, e.g., Ortho- dox, Byzantine (according to some interpretations, Neo-Byzantine) church art: icon painting, fresco painting, and church chanting. This is about a phenomenon which fits into a higher discourse of Byzantinism which implies affiliation to Orthodox denomination (this, among others, with an emphasis on the elements of art, even music, is discussed in: Todorova 2006: 311, 315–16), and which, in this case, starts from the assumption of continuity of existence of certain ele- ments in Balkan traditions, from the time of Byzantine and Ottoman Empires 9 Chronology of these events will be discussed into more detail in a separate paper. 7. IDENTITIES EXPRESSED TROUGH PRACTICE OF KAVAL... 7 until present date (about this general position see into more detail: Ibid.: 2006: 310, 339, 342).10 The same approach was applied when it comes to restoration of church chanting: there was a tendency to restore the Byzantine singing prac- tices as currently present in the part of the Eastern (Orthodox) Christian Church (Попмихајлов 2007: 17). More broadly, such practice in the Balkans is mostly encountered in Greece, and in certain places in Bulgaria and Romania, but also in Constantinople, Jerusalem, Syria, and Cyprus. Experts legitimately use the term Byzantine11 for this type of singing, having in mind its origin and connec- tion to medieval Byzantine liturgical chanting tradition.12 Having in mind that this term is also used in everyday speech of the exponents of this practice in Serbia, but also in professional literature, in this paper it will be used in the sense of the chanting practices of part of the Eastern (Orthodox) Christian Church. Since 1993, there are two choirs within the congregation: the male and female chanters (Figures 1, 2), under the leadership of Vladimir Jovanović (1956),13 composer (see also Благојевић 2005: 165). The choir members learned from him to chant after the Byzantine chanting, after the contemporary neumatic notation.14 The aim was to take active part in chanting during church services15 (Example 1). Jovanović’s role model was the practice of two singing brethren at Holy Mountain: the skete of St. Anna The Little (so-called the Spyridones) and the monastic brethren in the skete in Katounaki area (so-called the Danilees). Besides affiliation to Serbian Orthodox Church (SOC), the iden- tity of promoters of Byzantine singing also implied affiliation to a broader Or- thodox community, based on original scripts of the Holy Fathers where, unlike the current prevailing ethno-clerical and ethno-filetistic understanding, national affiliation is not a criterion relevant in terms of affiliation to the Orthodox Church. It is about restoration of ecumenical identity (Павићевић 2009: 1423) 10 Interest in Byzantine music also provided an important creative impulse in the ethno jazz genre in Serbia of the time; see Mijatović 2003: 207–8). 11 See, for ex., Hercman 2004. 12 The manner in which the artists gathered in the Brethren understood this term, corre- sponds to the interpretation of Th. Stathis: “Byzantine music is a live and inseparable part of the Orthodox liturgy, and as such, it implies a sacredotal mood of officiating priests and believers who participate in liturgy. It should never be understood as museum art or listened to with a ‘tourist’ mentality and feeling diminishing value of everything [...]. Tradition is not static, but has its live presence” (Στάθης 1972: 401–2; translated from Greek into Serbian by V. Peno). 13 Jovanović explained his perception of the importance of restoration of Byzantine chant- ing in a lengthy interview (Вукашиновић s.a.: 22–8) and in a text dedicated to the topic of art in Christianity (Јovanović V. 2004). 14 Jovanović skilfully translated liturgical texts of post-Byzantine tradition from Greek into Church Slavonic. The changes were instituted within the existing: identical musical formulas were used; they were applied in corresponding places, and adapted to differently distributed ac- cents and phrase lengths, in line with different language rules (Стефановић 1994: 28). The choir had an audio cassette issued (in 1997) as well as one CD (in 2002; see: Благојевић 2005: 165). 15 The initiators of interest in Byzantine chanting in Serbia of the period are covered into more detail in the paper of G. Blagojević (Благојевић 2005). 8. 8 Jelena Jovanović which implies affiliation to the transnational community of Orthodox peoples, primarily in the territories where Christianity was originally conceived, in the East Mediterranean. In its discourse, the group insisted on common elements of traditions in the whole region, including the Balkans, rather than on differences; thus, the direction was exactly contrary to nationalistic, which authors of papers dedicated to similar topics insist on (see, e.g. Penannen 2004: 2). Figure 1. Male choir “St. John of Damascus” with friends (June 1993). Figure 2. Female choir “St. John of Damascus” (June 1993). 9. IDENTITIES EXPRESSED TROUGH PRACTICE OF KAVAL... 9 It is important to emphasize that this is not about a politically orchestrated movement, and that the choir “Saint John of Damascus” (hereinafter: the choir) never belonged to the church mainstream. Its chanting was received with various reactions by members of the Serbian Orthodox Church, “from enthusiasm to ban- ning and proscription” that occurred in 2001 (see Благојевић 2005.153–4, 167) exactly because intellectual and musical concepts of its members did not fit with the then current trends of ethnification of the Orthodox Church, which is why many church fathers experienced this chanting as ‘Greek’ (Ibid.: 154, 167). Because of their chanting manner, members of the choir, sometimes mockingly called ‘the Byzantines’, represented the not always welcome ‘internal others’ within SOC.16 It may be said that both the activities of this choir and restoration of traditional singing and playing – including the kaval in Belgrade of the day were anything but typical, for the current Belgrade cultural setting, the then prevailing trends at the musical scene of Serbia, and Serb Orthodox Church alike. This is the context in which the interest for kaval was rekindled in Bel- grade: in the course of an individual action in social area under specific circum- stances. This is about individuality which should not be mistaken for individu- alism (see: Stock 2001: 10), about the personal endeavour of highly educated individuals, especially artists (see: Благојевић 2005: 166) with rich intellectual and practical experience in their walks of life, this time united by a common goal. “The wish to restore church life [...] is closely connected to the inclination to return to original values and authentic traditions of the Church” (Ibid.: 169). Having in mind that the fresco painters and members of the male choir mainly made fresco paints by themselves, using natural materials (the country was under economic sanctions and it was not possible to procure paint), it is not surprising that in 1991, wishing to play, they started constructing wind musical instruments, such as the pipe and different double pipe types; as of the second half of 1994, fascinated by audio recordings of Macedonian players, they also learned to build the kaval; at that time they did not know how or where they could possibly procure it from.17 The first champions of this practice from the 1990s were two painters, icon and fresco artists, Predrag Stojković, now hieromonk Lazarus, and Vladi- mir Kidišević. Their followers and pupils were the then students Marko Dabić, Vladimir Simić, and Vasilije Sekulić, including Miloš Nikolić (who is the only one of the stated instrumentalists with formal music education; see their short 16 It may even be said that their activities represented a criticism of the ‘discourse of power’ of the SOC itself (according to Милановић 2007: 128). Thus, the activity of the choir may not be connected to ethno-clericalism in Serbia (this is a phenomenon entirely opposite to the one described in: Perica 2002: 214). A brilliant criticism of the biased and essentialized outsider perceptions to the issue was provided in a paper by A. Pavićević (Павићевић 2009). 17 Kavals were built after a model instrument obtained by courtesy of Dragoslav Pavle Aksentijević, as well as after items form the collection of the Ethnographic Museum in Belgrade. 10. 10 Jelena Jovanović musical biographies in the Appendix). Interest in the kaval was reinforced by audio recordings of playing of Macedonian kaval the players owned, and kindly extended them to friends of Goran Arsić and Jelena Jovanović. As a whole, the importance of the Brethren and the choir in the restoration of not only church, but also traditional art in Serbia, is exceptional: they generated the restored kaval and groups performing traditional Serb and Balkan music, “Moba”, “Iskon”, “Ved”, and “Belo platno” (founded among the congregation and choir). Place; time; ethos and the social role of the kaval. The Belgrade kaval players from the 1990s performed only privately and on occasions which could be called public: in church courtyards or presbyteries of certain Belgrade churches, after services in which the choir would perform, mostly on Saturdays, Sundays, and major church holidays. Besides church and folk singing, this spontaneous playing had the role of an important emotional and cohesive element among the members of the group, where their personal identities interacted. We can say that the sound of the kaval in this context rep- resented a point of emotional encounter, opening the sphere of contemplation in the situation after the religious service as a specific extension of the liturgical experience of the community. This collective emotional experience consisting of a multitude of individual experiences with the aim to reach internal tranquil- lity in the conditions of close war destruction and general crisis was of excep- tional importance for the members of the community. It left a deep impression in many, helping them, in difficult conditions, to preserve faith in virtue and steadiness of virtue, reified through liturgical unity and emotional closeness. Marko Dabić, a priest, describes it like this: “We used to stay together long after the liturgy, singing and playing music, which was nice. When the kaval was being played, everyone was silent. This silence (...) was more (...) meaningful than many conversations” (Дабић 2011). Such an experience may be related to the manner in which Martin Clayton interprets a direct experience of time among listeners of music from the East (Indian ragas) and the importance of synchrony in listening, in this context, with listeners regarded as specific ‘bounded entities’ (2001: 3, 6). Certainly, it may be rightly said that such an experience confirms Martin Stokes’ thesis that “a society (...) might also be use- fully conceived as something which `happens` in music” (1994: 2). In the period between 1994 and 1999 there were very few public concert per- formances of Belgrade kaval players in the full sense of the word,18 for a very simple 18 The first performances of the players, in cooperation with singers, were organized at the club of the Bureau for studying of cultural development, named “Radionica za popravku grada” (’City repair workshop’) at the end of 1995 and beginning of 1996; it was followed by a perform- ance of kaval players and the choir at the opening of the icon exhibition of Marina Stojković in Ethnographic museum in 1996. 11. IDENTITIES EXPRESSED TROUGH PRACTICE OF KAVAL... 11 reason: publicity was neither their motive, nor their goal.19 A guest performance of “Pece Atanasovski”, a young orchestra with traditional instruments from Skopje, Macedonia (in 1997) had major importance for further affirmation of the kaval and its use in concerts, as well as the experience of joint playing of members of the orchestra and Belgrade kaval players and singers (Figures 3–6). The young Macedonian group was following the model of arrangement of traditional melodies which were devel- oped and covered by media in the second half of the twentieth century.20 At the same time, a number of choir members founded a vocal-instrumental ensemble in which the kaval had an important role. The acquaintance and friendship with the young players from Skopje, as well as the discovery of numerous possibilities to play music together, encouraged preparations for concert appearances: in December 1998, Stojković and Simić had a guest appearance with their kavals at the concert by the Music school “Mokranjac” Department of Ethnomusicology; the group, under the name “Iskon”, had its only concert in December 1998 (which was exceptionally well attended and accepted by the audience; a year later, the group was renamed to “Belo platno”).21 The repertoire of this group, songs and instrumental melodies of the ‘Slav South’, i.e., south Serbia and Macedonia, was composed after the repertoire of the young Macedonian orchestra, but with emphasis on a non-stylized traditional sound, unlike their Macedonian counterparts. The selection of songs was made not according to the ethnomusicological, but aesthetic and ethical criteria (the criterion of virtue ac- cording to both traditional and Christian perceptions). These were the kaval egzijas22 (Example 2), round dances and songs with accompaniment of the kaval (Example 3), drum, and handmade tambouras, as well as songs a cappella. The role of the kaval in the ensemble was identical to that in Atanasovski’s arrangements. The repertoire of the Belgrade kaval players at the time was comprised of melodies learned after the recordings of Macedonian players. Their favourite melo- dies were improvisations – еzgije, where the sound and nature of the kaval could be fully exercised. It was not clear that this instrument indubitably belonged to Serbian tradition too (today we can respond to this question affirmatively).23 However, 19 This is, at the same time, the main reason why the story about rekindling of interest in the kaval from the 1990s till the present date remained so little known in Belgrade. 20 At that time, the average age of the members of the ensemble was about twenty. The ensemble consisted of direct students of Petre Atanasovski, who followed the path treaded by their teacher in conducting arrangements. The orchestra issued one CD (in 2002) and soon after that ceased to exist. 21 This concert featured guest performances of singer Pavle Aksentijević and his sons Damjan and Rastko (voice and tamboura). 22 The term ezgija originates from the Arabic-Turkish word ezgi (tune, melody, tone) and is used at the territory of Macedonia; it implies an “ancient form of musical expression based on improvisation” (Николић 2004: 3; Џимревски 2002: 101-2). 23 In 1998, upon explicit request of J. Jovanovic, the archive of the Institute of musicology SASA obtained recordings of kaval playing by Serbs from Kosovo, from the colleagues from Radio Priština. This, as well as the course of familiarizing of the Belgrade players with the Ser- 12. 12 Jelena Jovanović beside fascination with the kaval, awareness of the religious, cultural, ethnic and re- gional closeness of the peoples of Serbia and Macedonia, along with Byzantine sing- ing, were of crucial importance, and it was the Macedonian manner of playing of the kaval which was experienced and adopted as a part of own identity, to confirm af- filiation to common religion and unique cultural surroundings. Figure 3. A photograph taken during the concert of ensemble “Pece Atanasovski” from Skopje, Macedonia (Belgrade, Ethnographic Museum, 27 December 1997). Figure 4. Acquaintance of kavalists from Skopje and Belgrade: Gjorgji Donev, Vladimir Simić, Risto Solunčev and Vladimir Kidišević (Ethnographic Museum, Belgrade, 27 December 1997). bian repertoire played in Štrpce, at the south of Kosovo, will be discussed into more detail in a paper dedicated to this topic, which is being prepared. 13. IDENTITIES EXPRESSED TROUGH PRACTICE OF KAVAL... 13 Figure 5. Viktor Siljanovski and Predrag Stojković (Belgrade, Ethnographic Museum, 27 December 1997). Figure 6. Jelena Jovanović, Predrag Stojković and Gjorgji Donev (Belgrade Ethnographic Museum, 27 December 1997). 14. 14 Jelena Jovanović Structural elements linking Byzantine chanting and kaval playing The members of the choir were attracted to the Macedonian kaval and permanently attached to it because of the structural elements of Macedonian music which indicate a large level of similarity with Byzantine chanting. These are as follows: Two-part texture which includes bourdon (drone / ίσον / ισοκρατημα), the phenomenon of a long-retained tone which accompanies the melody, en- countered in folklore and religious traditions in various parts of Europe and worldwide; after one assumption, it was established in the early period of de- velopment of musical systems of western Asia (Baines 2001: 598). The cham- pions of rekindling of the kaval in Serbia recognized bourdon as an element that occurs in the music traditions of a large part of the Balkans as well, which is subject to ethnomusicological studies (Vukičević-Zakić 1994/1995:18–19; see also Deutsch 1981), but also as a link with traditions of non-European nations, members of different religions, in territory including the Middle East all the way to India. In Byzantine chanting it was interpreted by Orthodox theologians as the “mystic depth of inexpressibility” (Lazić 1984: 240). Beside this descrip- tion, we shall also mention the view of theoreticians that interpret drone in In- dian tradition: the “timeless absolute” (Brandl 1976: 2). In Macedonian tradition, the kaval is played in duet; one player plays the main melody (‘male kaval’), while the other is accompanying him usually on one long tone (‘female kaval’).24 According to Rudolf Brandl, it is about a con- structional, arrhythmic, changeable bourdon. As this element is of exceptional importance for our topic, it is necessary to provide a full Brandl’s description of the given phenomenon here. According to him, such type of bourdon is “tonal (…) externalized construction (structural element) of the melody which does not change over a longer span of melodic flow […] and forms an inseparable unity with the melody (in performance and reception). The constructional bourdon is a psy- chophysical subsidiary system constantly referred to by all melodic tones, thus pre- senting the character and hierarchy of tones and melodic segments. Its melody tends towards improvisation and is generally directed not toward pregnant melodic mate- rial, but rather toward larger melodic segments. The constructional bourdon from the point of view of its reception, fuses with the melody and often has a psychologi- cally stimulating effect on the performer” (Brandl 1976: 10). Non-tempered intervals: By changing the intensity of air emission, the kaval may generate tones of different tempered pitches with the same finger position. This 24 It may also be played so that the parts are separated from unison into a two-part bour- don singing, to be reunited in one-part (Dević 1977: 36); such practice occurs more frequently with Albanians. With Kosovo Serbs, according to available data, unison and bourdon playing occur equally as frequently. 15. IDENTITIES EXPRESSED TROUGH PRACTICE OF KAVAL... 15 provides a wide range of non-tempered intervals specific to Byzantine chanting, but also scales in traditions of the Balkan and eastern ethnicities (в. Baines 1991: 181; Czekanowska 1981: 180–3, 192–8, 206–7; Touma 1975: 38–56).25 Scales. It has already been said that the kaval stands out in Serbian and Macedonian sets of traditional instruments as a specific aerophone instrument with a chromatic tone series and exceptionally broad possibilities of obtaining scale structures of natural intervals in a very large tone range. The practice of our players, which implies experience in terms of listening, singing, and play- ing, confirmed that the scales Macedonian ezgijas were founded on, are fully compatible to the modal system of standardized scales of the Byzantine chant- ing tradition: diatonic, chromatic, and, hypothetically, enharmonic, which, in turn, originate from ancient music (Пено 2008: 102–3 and Fn. 6, 108). This ex- perience is a very precious argument in favour of my hypothesis that the kaval and Byzantine chanting belong to mutually related music idioms, without a trace of influence of west-European music tradition (which was extremely im- portant for the protagonists of this artistic movement; also see Пено 2008: 104– 5).26 This fact was of most decisive importance in establishment of the percep- tion that it was the exceptionally rich tonal possibilities, i.e., potential of the kaval, that preserved the lost continuity of Serbian church singing tradition us- ing Byzantine chanting scales – more precisely, its specific ’oriental timbre’, as characterized by Stevan Mokranjac.27 The richness of scale structures in the kaval considerably surpasses the reach of all the known scales used so far in shepherds’ melodies in free rhythm in Serbia (compare for ex. Вукичевић- Закић 2001). The modal scale system used in Byzantine chanting and Macedonian kaval playing is compatible with the systems in traditions existing at a broad geographical area from the Balkans via the Middle East, all the way to India. 25 This property of the kaval and the new experiences of Belgrade players stemming out of it chronologically coincided with the time when interest in micro-interval values and non-tem- pered tonal systems generally grew in Serbia among scientists of different profiles. In 1995, at Belgrade Faculty of music arts, doctoral dissertation of Mihajlo Đorđević was approved under the title Дискретне тонске релације детерминисане феноменом чујности у оквиру петодимен- зионалног звучно-музичког континуума (Discreet tonal relations determined by the pheno- menon of audibility within a five-dimensional sound-music continuum). The singers involved in the restoration of traditional Serb rural singing, including the members of the group “Moba”, participated in the experiments the author performed for the purpose of his work. 26 This practical experience was so clear that the Belgrade kaval players used the terms taken over from Byzantine chanting in their communication during the process of learning how to play; thus, it was easier for them to understand certain scale structures, which they played on their kavals, and sang as well. 27 See also the explanation Mokranjac provided by his transcripts of Serbian Octoechos, about specificities of the scale systems that were difficult or impossible to transcribe in the Western European music system (which put Serbian chanting at a significant distance from the Western European tonality; see: Ст. Ст. Мокрањац 1964: 6–8). 16. 16 Jelena Jovanović Melody and form: For the moment being, the issue of mutual relationship between melodic and formal shaping in Byzantine singing and Macedonian eg- zijas has remained undiscovered; a comparative analysis that could prove or refute relationship of these parameters has not been done until the present date. However, it is the presence of the principle of modal scales with more or less variable tones which, as Brandl put it, becomes “a given melodic structure as in the cases of taksim or raga” (Brandl 1976: 9; also see Touma 1975: 57–9, 63–8; Zannos 1994), which may be encountered both in Byzantine singing and Mace- donian ezgijas, that provides grounds for research in this direction. Furthermore, it is important that in Eastern traditions the manners of melodic and formal shaping are inseparable (Powers, Widdes 2001: 830), such a creative principle being named in science as the “maqam-principle” (Szabolsci 1959). This is a principle general for Eastern musical systems, including contemplative systems of Christian, Moslem, Jewish, and Hindu traditions; they are closely connected by the manner of melodic and formal shaping in Byzantine chanting. The fact is that the roots of Byzantine singing may be found in the traditions of the Middle East (Благојевић 2005: 155) and that development of Orthodox Octoechos is closely connected to “the calendar, rites, theological and musical conception” is Assyrian culture; namely, this is about a principle in composition based on me- lodic and scale patterns carrying a certain ethos: in Byzantine tradition, the pat- tern is called the mode (ήχος), in the Middle East it is called the makam / maqam / meqam, and raga in India. This principle, “which first occurs in Asia, encompasses the whole Mediterranean civilization where from it stretches northwards” (Петровић 1982: 3–5). This is why the assumption about melodic and formal alikeness between Macedonian kaval ezgijas and Byzantine eight- part tunes is not unfounded, even though for the time being there is no concrete evidence to corroborate it. The ethos of the kaval play: Based on their own experience, the players have a unanimous position about this aspect, which may be summed up in the following manner: kaval playing has some specific captivating power, it is calming, pervading, contemplative, and generates an impression which may be compared to the praying state. This is corroborated by Excerpts form interviews provided in the Appendix, from which we shall here state but one statement: “They [Macedonians] call the kaval the ‘angel instrument’. (...) The kaval is frequently successfully encountered as an accompanying tone for male and fe- male songs which speak about deeper conditions and relations of human soul.” On the notion and content of notions ‘the East’ and ‘eastern’ in this context The coinciding of certain elements identified as ‘eastern’ in numerous musicological and ethnomusicological studies, which exist in the kaval playing in the Balkans – more precisely, in the territory of Macedonia, but in Byzantine 17. IDENTITIES EXPRESSED TROUGH PRACTICE OF KAVAL... 17 singing as well – presents a large and intriguing topic. Belgrade kaval players expressed certain perceptions on the issue. The most important features of these perceptions coincide with the positions of researchers of culture and tradition of the Balkans as part of a broader cultural area. It is an undeniable fact that there is a long continuity of cultural and eco- nomic contacts of the Balkans with settings of the Middle East, and from there on with geographically considerably farther cultures of Persia and India. Certain papers point to six millennia of history of culture in the Middle East, crossroads of various influences through history and mutual contacts of the cultures of Greece, Iran, Caucasus, India, even North Africa and the Balkans,28 with foundations in cultures of old civilizations (Czekanowska 1981: 159–61, 214–5, 218, 415); here both the ancient Greek culture and theory of music had an important role in such crossings (Zaks 1980: 304; Pостовцев 1990: 163–4, 201; Hiti 1988: 169, 244, 255, 257, 389; Ђурић 1955: 80, 81, 91; Touma 1975: 34). Kurt Sachs describes such contacts as a “cosmopolitan permeating” at “a con- nected (geographical) area”, permeating which was not jeopardized either by the historical shift of empires which ruled certain areas for long periods of time, regardless of the fact that the peoples settled in such areas were not united either in terms of race or nationality (Zaks / Sachs 1980: 64, 65, 303). Such findings were also corroborated in the course of more recent field research in ethnomusi- cology (Chabrier 1995: B). It is also the fact that the term “eastern musical practice” is used in literature in terms of melodic organization of tunes (Пено 2010: 163), which may be taken into account when it comes to eastern, Ortho- dox singing, and specific vocal and instrumental music practices in the Balkans. The members of the congregation “St John of Damascus” perceive the ‘eastern’ tone of Byzantine chanting as its natural property related to its contin- ued existence and development in eastern geographic and cultural regions of ancient Greece, Persia, Byzantine and Ottoman Empires with which, at least theoretically, the Balkans and thus the ethnicities populating it, have been in a long and close relationship of interwoven cultures and traditions. Conclusion: Metaphors The fact that in the 1990s the kaval was brought to light in Belgrade as a result of investigative efforts of individuals dedicated to religious art, speaks a lot about its important role in this context, in development of not only individ- ual identities, but also the one of the group. This specific role of the kaval was facilitated by its specific sound, the manner in which the tone is produced, and coincidence of the structural elements of Byzantine chanting and Macedonian kaval ezgijas. Following the conceptualization of Timothy Rice, statements of 28 In the introduction to his study, Jean-Claude Chabrier states that his research of Oriental music practices relates to the area “from the Danube to the Ganges” (Chabrier 1995: B). 18. 18 Jelena Jovanović the protagonists of kaval playing in Belgrade and the circle of sympathizers and people in love with this music, imply that they perceive playing the kaval in a manner corresponding to the following metaphor: “music is a symbolic system or text capable of reference not only to existing music but also to a world be- yond the music” (Rice 2003: 166). Importantly, this finding is complementary to the result of studying the approaches of other performers of traditional music in Serbia, who also launched their activities during the last decade of the twenti- eth century (Zakić and Rakočević 2012: 321). The latest interpretations of the role of kaval in confirming Serbian na- tional identity seem to be simplified, since they neglect the important fact: from the beginning, for the bearers of rekindling of interest for kaval, national identi- fication, even though of primary importance, was too narrow to enclose all the aspects in which they recognized their personal identity and the identity of the social group in which they socialized and created. Without knowing about the sources that show the presence of kaval in Serbian tradition, they accepted Ma- cedonian kaval, thus confirming their belonging to a wider cultural milieu, than solely national (and nationalistic) frames could possibly allow. In other words, in the conditions of the crisis of identity in the given context, Byzantine chant- ing and the kaval were rekindled as parts of a reference framework broader than the already existing one (compare Todorova 2006: 128).29 The playing possibilities of the kaval helped recognize ‘eastern’ proper- ties of the Byzantine church chanting in an entirely different manner. It is im- portant to state that all the enumerated elements of musical text in Western European musicology were characterized as ‘exotic’, which, thus, are “coming from (or referring to, or evoking) a place other than here” (Locke 2009: 1, also 12, 51–4; see also Baines 1991: 181, 233, 234), which makes them ‘alien’ from the standpoint of a ‘western’ listener. Unlike such perception and experience, according to which any trace of the ‘oriental’ is characterized as ‘alien’ and in line with the general perception of the East as the ‘other’ in Western civiliza- tion, Belgrade champions of Byzantine chanting and kaval playing accepted these properties as ‘their own’, as a reflection of their own affiliation to the culture of the Mediterranean basin and wider. This confirms the international character of a musical style, the existence of which was pointed out by some of the greatest authorities in the area of ethnomusicology (Zaks 1980: 303), and which is also mentioned by Maria Todorova, who considers the Balkans a “sub- region of the broader Mediterranean area” (Todorova 2006: 343). It seems that the kaval in Belgrade in the 1990s was experienced and became the favourite as a specific Balkan ‘window’ to music logic, music idiom, aesthetics, and ethos of the well-known and close East, now perceived in a new manner. 29 A more detailed elaboration of this thesis is not possible within the limits of this paper; its aspects will be discussed in the papers to follow (Jovanović 2012). 19. IDENTITIES EXPRESSED TROUGH PRACTICE OF KAVAL... 19 References Alexandru, Tiberiu 1956. Instrumentele musicale ale poporului romîn. Bucureşti: Lu- crare apârută sub îngrijirea Institutului de folclor, Editura de stat pentru literatură şi artă. Аνωγειανακης, Фοιβος / Anoianakis, Fivos 1991. Еλληνικα λαϊκα μουςικα οργανα, В` εκδοςη [Greek folk musical instruments2 ], Аθήνα: Еκδοτικος οικος „Мελϊςςα“. 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Ichos und Maqam, Vergleichende Untersuchungen zum Ton- system der griechisch-ortodoxen Kirchenmusik und der türkischen Kunstmusik, GmbH, Band 74, Bonn: ORPHEUS–Verlag. Вукашиновић, Влада / Vukašinović, Vlada s.a. ’Нема више Марије Терезије – Ин- тервју са Владимиром Јовановићем’ [‘There is no Maria Theresia any more – interview with Vladimir Jovanović’], Искон 5: 22–8. APPENDIX Excerpts from the interviews with players / bilders of the kaval in Belgrade About the surroundings in which kaval was rekindled. Citations: Vladimir Kidišević: “The guys perceived the absurdity of the setting they were living in, and resisted it”. Marko Dabić, priest: “For us, it was a complete novelty and a great joy. We were gathered around the ‘Byzantine’ choir led by Vlada Jovanović, yet soon our gathering became a discovery of great fortune of our church and folk arts, of our forgotten heritage. Besides chanting, the fresco painting was re- newed, on the fresh mortar, so, it is the real fresco.” F. Lazar: “In our case, the interest in the kaval, in traditional expression in music and life in general, came with our discovery of Orthodoxy, Byzantine church singing, icons, and everything that was kept and recognized as tradition. This is how we came to certain summarizing and finding of general places in different areas”. Vladimir Simić: “The circle was comprised of friends, among whom sev- eral were great artists, painters, sculptors, icon-painters, book-binders, musicians, theologians, philosophers, historians, and others. I believe that this atmosphere, created by the church setting and wonderful people, was a fruitful ground for the artistic and dedicated approach to music we had”. 24. 24 Jelena Jovanović On the contexts in which kaval was played and appreciated and about the role of the kaval in the community: Vladimir Kidišević says about the period: “Fresco painting, the Church, Byzantine chanting, the ‘Moba’, and the kaval were at the time for us one unit comprising life”. F. Marko Dabić: “We used to stay together long after the liturgy, singing and playing music, which was nice. When the kaval was being played, everyone was silent. This silence (...) was more (...) meaningful than many conversations”. F. Lazar: “As any other instrument in its own way, the kaval is congrega- tional and collective, as it gathers those who carry the recognizing ‘code’, which circle is rather large. I personally witnessed animals also exhibiting the presence of this ‘code’; they came close to the player and listened to him. It was quite an Orpheus-reminiscent story.” On the notion and content of notions the East and eastern in this context: M. Nikolić: „Here, it is also about the field that deserves to be especially scientifically investigated. Since the whole music tradition of the East uses its scales, modes, it is certain that there are many similarities. (...) In the Balkans there are differences between Bulgarian, Macedonian, Serbian, or Albanian playing traditions. In my personal opinion, we would not be able to hear these differences without existence of many similarities. In any case, similarities and differences exist, but they appear more pronounced according to the geographi- cal regions and areas, than to nationalities.“ F. Lazar: “Once I was in a monastery, and I started playing the kaval. There was a man from Palestine and he reacted at once (…) saying that that was something of his, and that every Arab felt the same. I would not know what they could be playing, but it must be something similar, something very old and deep“. On ison, melody, scales, ethos: F. Lazar: “Playing the kaval follows very strict rules – same as icon painting, or Orthodox ornament. (...) The iconic quality is permeating, so that even the kaval was said to be ‘iconic’ (…). However, there was some differen- tiation between what was personal, or hypostatic, and what was illustrative, de- scriptive, similarly to the difference between a western religious painting which describes an event and an icon which contains the event in itself. Thus, playing of the kaval may both be illustrative and ‘iconic’”. M. Nikolić: „For the first time, I heard kaval from my friend, a painter and fresco-painter from Belgrade, Predrag Stojković-Stole (now hieromonk Lazarus). When I heard him playing shepherd tune (known as ezgija), that was a unique experience. I said to myself: this is a perfect melody, melody as a whole, melody with no beginning and no ending, melody that I do not understand at all 25. IDENTITIES EXPRESSED TROUGH PRACTICE OF KAVAL... 25 and that I am not able to sing in terms of solfège, at the end and before every- thing, melody as an indivisible and uninterpretable whole. (...) The first tone on the kaval sounds like some great-tone from which all the tones of all instru- ments ever became. Archaic in its way of building, archaic in way of producing the tone, it offers archaic sound. (...) Thus the unique tone colour has been achieved, all the time waving between steady and unsteady, between heavenly and earthly.“ F. Marko Dabić: “Similarities between kaval play and Byzantine chant are great. There is a melody and an accompanying tone in both: it is a basis and at the same time it points out the melody. It is the accompaniment, at the same time simple and splendid. (...) The melody of Byzantine singing and the kaval is harmonious, serious, but also cheerful, simple but not vulgar; refrained, but not poor; void of sensuality; tranquil, but also strong.” Vasilije Sekulić: “When I hear the kaval playing, I feel the depth of Byz- antine singing and prayer. (…) Since we have learnt both in the same period, the vocabulary that we used for clearing up any ambiguity in the course of learning Byzantine chanting was entirely transmitted to kaval. For example, Vlada [Simić] used to say: `No, see, it is the Sixth mode scale`. The one could have been practiced with the other.” F. Lazar: “They [Macedonians] call kaval ‘the angels’ instrument’”. (...) Kaval is often found as accompaniment to men's and women's songs that tell about deeper states and relations of human soul.” On the impact of the kaval on the personality of the player and his listeners; on individual experience of producing tone and its quality: М. Nikolić: I needed three days to produce the first tone. For me, at the time an ex-clarinet player, it was an entirely new experience. (...) Over the course of time, through practical experience, through practicing, I have also been discovering technical assumptions of playing. That is, in fact, a beautiful example (in my life) that the theory comes out from practice, and not vice-versa. Vladimir Simić: “My first encounter with the kaval was a powerful ex- perience, so strong and inspiring that it was a turning point in my overall per- ception of music”. F. Lazar: “As far as the tone is concerned, (...) they say that one should blow into the kaval as if ‘when breathing’, not any stronger”. (…) Having in mind that this is the instrument which awakes some ‘archetypal’ instincts in the consciousness of most people from the Balkans, I took to the kaval listening to what was happening ‘somewhere inside’, every time I listen to or play this instrument”. Vasilije Sekulić: “The player may be recognized after the tone, which is how personal playing is. (...) We say that the eyes are the mirror of the soul; the sound of the kaval also reflects the spiritual state of the player”. Vladimir Kidišević: “The kaval purifies, sobers, and keeps company”. 26. 26 Jelena Jovanović Marko Dabić, priest: “Kaval is strong, calm, peaceful when it is played solo, and it is in high spirits in the orchestra. Yet, it seems to me that it does not achieve such a beauty anywhere, as it does in our tradition. (...) The influence of the kaval to the player and his listeners is: healing, calming, and quite similar to Byzantine singing – collecting and relaxing at the same time. It requires the whole personality, not in the sense of slavery, but of fulfilment”. On influence on other players, on contemporary approaches to kaval and on its desirable role in the future: F. Marko Dabić: “It was an inspiration for the others as well, so our choir became a kind of a nursery-garden of kaval play for the whole Serbia. In Serbia, kaval was entirely forgotten by the time. (...) Kaval is a simple instrument, in- deed. The problem is that nowadays the simplicity has been experienced / per- ceived as a defect, not as a virtue. (…) In fact, the truth is exactly the opposite. (…) Have a look at our frescoes. (…) Simple colours, simple composition, sim- ple drawings, and indescribable beauty and richness. The same is with kaval. The melody is simple, but it brings a great joy to one whose ear has not been spoiled by a mess of sounds called contemporary music. (...) Kaval should have had one of the main roles in our music, but it could not work without a renewal of our identity as Orthodox people from Byzantine cultural circle. I think there is no need to talk about how far we are from it.” Hieromonk Lazarus: “Nowadays, there are players who play in a compli- cated manner, with virtuosity, but I think that they have abandoned the main principle of the kaval tone, i.e., kaval ethos.” M. Nikolić: „As originally shepherd, kaval certainly produces such image in the ear of listeners, despite the fact that they might or might not have not known anything about it. In that sense, it certainly has a calming effect, it calls one to become engrossed in this music, not only to superficial aesthetical en- joyment. The one who has the ear to hear, hears in the kaval all that olden and lost in music, necessary to make the music what it is. At this point, as I feel, it is the influence of musical East: that the music is not only an aesthetic category, i.e., to be a musician is not only a matter of a profession, but the whole being. Somewhere there is also a difference between musical East and West.“ Short musical biographies of the protagonists of kaval playing in Serbia in the 1990s: Predrag Stojković (Vršac, 1958), nowadays hieromonk Lazarus, aca- demic painter, icon painter and fresco painter, was in his youth an amateur mu- sician, playing the guitar. He is a great admirer of the music of Jimi Hendrix. He has been a member of the brethren “Saint John of Damascus” and the male choir since its establishment; as of summer 1994, he had a crucial role in the initiative and the process of restoration of playing the kaval and its building in 27. IDENTITIES EXPRESSED TROUGH PRACTICE OF KAVAL... 27 Serbia. He learned to play by himself, listening to and imitating the audio re- cordings of excellent Macedonian players, as well as from practical consulta- tions with Risto Solunčev (Skopje, Macedonia). He is one of the founders of the “Iskon” ensemble. His attitude to the very act of playing, to the kaval as an in- strument, his exceptional talent and endurance in grasping the art of kaval building (as well as pipes, double pipes, and instruments such as tamboura) had an impact on younger players originating from choir members. Vladimir Kidišević (Bavanište, 1955), painter-conservator and icon- painter, is the second most important protagonist of restoration of the kaval playing and building (as well as double pipes) in Serbia and a role model for young players in Serbia. He grasped playing skills based on the recordings of the best Macedonian performers. In the church and monastic circles of Serbia and Montenegro, he is a well-known and respected player. He considers kaval- building a separate area of creation: the kavals he manufactures are unique ob- jects of artistic value. His activities as a fresco painter and player served as in- spiration for a documentary film on restoration and painting of monastery Pod- maine (Podmaine, directed by Amira Novaković, BK Telekom 2003). Marko Dabić (Belgrade, 1971), theologian and priest, with an exceptional talent for singing and playing of traditional melodies, learned to play and build duduks (long duct flutes) and double pipes from Stojković and Kidišević. He cooperated with the singing group Moba. Vladimir Simić (Belgrade, 1972), mechanical engineer and talented mu- sician in traditional and World Music genres. He is a builder of traditional in- struments: kaval, double pipes, tambouras, and lutes. He is the leader of “Belo platno” group. Vasilije Sekulić (Podgorica, 1973), dentist, grasped playing skills to- gether with learning Byzantine singing. He was a member of ensembles “Belo Platno” and “Iskon” in the first years of their existence. Milos Nikolić (Čačak, 1972), the kaval teacher in Mokranjac music school and a doctoral student of clarinet at the Belgrade Faculty of Music, has been active in both theoretical and practical aspects of Byzantine, Serbian, and Balkan music for almost two decades, also exploring Eastern music traditions. The range of instruments he plays includes the kaval, pipe, duduk and the bag- pipes from the South-Morava region. He also cooperates with renowned musi- cians and artists of various profiles in World Music ensembles of different di- rections; he has performed in Serbia, Europe, and Canada. Being a musician with broad interests, adequate use of folk instruments in popular music is a spe- cial area of interest for him. Goran Arsić (Vranje, 1967), theologian and priest, has been closely con- nected with traditional music of Vranje and Vlasina region since his childhood. He completed his university studies of theology in Athens. He was one of the founders of Citizen Association “Ved” and the vocal-instrumental ensemble bearing the
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someone")...	en	/images/apple-touch-icon.png?v=2017a	Steve Hoffman Music Forums	https://forums.stevehoffman.tv/threads/indexi-time-korni-grupa-smak-omega-modry-efekt-and-other-east-european-proggy-things.1114730/	I'd like to start the thread with Sarajevo's Indexi, i.e. with this live version of their 1974 song Da sam ja netko ( translate "If I were someone") that perfectly shows how "monumental" their sound really was. Also, Indexi's originality is unquestionable, as their take on the 70s sympho-rock was a beautiful proggy blend of pop and rock beats and ex-Yugoslav Zabavna muzika ( translate "Fun music) which was like a quite inventive mix of Italian 'San Remo', German 'Schlager' and 'French Chanson' (surely I'll post some songs of Zabavna muzika later on in this thread just to "prove" that relation to the Yugo-prog). Indexi Da sam ja netko, live in Belgrade 1999 Translate: If I were someone If I were someone I'd call up all the boys I'd give them toys and Let them spend the whole day Chasing around and playing They would do wonderful things Their days would be too short Students would love their schools If I were someone I'd erase wrinkles from all mothers I'd make the fathers love them To return them love gone by And to peacefully live by the hours If I were someone People wouldn't, wouldn't curse life All the roses they would give to the wife Oh, how living would be and how loving would be and how good it would be Oh, how living would be and how loving would be and how good it would be If I were someone I'd erase wrinkles from all mothers I'd make the fathers love them To return them love gone by And to peacefully live by the hours If I were someone People wouldn't, wouldn't curse life All the roses they would give to the wife Oh, how living would be and how loving would be and how good it would be Oh, how living would be and how loving would be and how good it would be If I were someone Croat Tihomir "Pop" Asanović was the first "keyboards-wizard" in ex-Yugoslavia. This song is from his Majko Zemljo (transl. "Motherland") the album from 1974. Ostavi trag (transl. "Leave the Trace") is a jazz-rock ballad-like song that features great Josipa Lisac as a lead female vocalist and her performance is quite magnificent. A proggy synth is also here, but the real Asanović's improvement comes with his unearthly e-piano solo. At the closing part, there's a beautiful soprano saxophone solo, which evokes some Coltrane-like atmosphere to me. Tihomir Pop Asanović Ostavi trag Transl. Leave the Trace [Intro] As I search for a way to your world Leave a trail in your path When you are not there, the sun loses its radiance Without the stars of the night, it will have no end Do you know the end To know... [Verse 1] This morning is a day Like a star's dream On your way I found your trail Now that you're here The time will come for us Spend your life there every hour Do you know? His life every hour I'm looking for a way every hour I seek the way night and day to your world According to your world, leave a mark [Outro] A clue, you know Leave a trail A clue, you know Leave a trail A clue, you know Smak's music was the Serbian version of something that on the West would being called 'technical rock' back then (e.g. the Yes' Relayer era), although the nature of Smak's proggy stuff was so hybrid that David Moss, a Chicago's percussionist who collaborated with the band, was tagged them as "hybrid-rock"; indeed, their catalogue is a crazy cocktail of musical styles that somehow work well together and always sound "progressive". This is a live version of their song Daire (transl. "Tambourine"), from their second album titled Crna dama (transl. "Black Lady") from 1977. Listen loud! Smak Daire, live in Belgrade 2015 Tambourine From a place far away Tambourine is heard Floating down the moonriver Gypsies are coming From a place far away A spark in the eye Is it a dream or is it real Give me a tambourine A song is rushing through me Lanterns are shining People are on fire Dewy tulips lying on the chest Lanterns are shining A spark in the eye Is it a dream or is it real Give me a tambourine A song is rushing through me If I die now Buy a tambourine Play it to me gently But don't let it harm me If I die now A spark in the eye Is it a dream or is it real Give me a tambourine A song is rushing through me The self-titled debut album of Zagreb's Drugi Način (transl. "Other Ways") offers a typical 70's Yugo-Prog with a good atmosphere. Drugi Način the album from 1975, is one of the greatest prog-rock records released in the former Yugoslavia. From that album, here's the song Stari Grad (transl. "Old City"). As a murky and other-worldly, "symphonic" and heavy, this epic has an intro that features the spoken words and bell sounds. This is a song about passion, an old cathedral, the bell sounds, the dance of light. The frontman Branko Pozgajec's singing is beautiful as well as and his flute playing. Drugi Način Stari Grad (from Drugi način, 1975) Translate: Old City Do you remember the day We met up at the Old City Surrounded by ruinous cathedral walls Illuminated by candle light Connected through music I am here again I listen to Bach once more Where are you? (Chorus x2) Should I have told you then To come up to the Old City again? Those pale images of the gray cathedral Play of light, a vision bright and naked as a wave As a wave, as a wave I forgot about Bach in the moment in which I saw in your eye a shade A trace of a tear, a tender glance A voice was born out of strange sounds And your soul got a shape Light as a dream, as a dream As a dream, as a dream Tender hands warm as a breath And a tango A fragile touch, a fragile touch (Chorus) World of flowers, hands of paper An image of happiness and memories Light from the candles Sound of the bells, the bell sound, the bell sound A white day and a harsh touch And again the brink of dream and reality Brink of reality, brink of reality Bird cackling over my head Clouds, heaven and a long journey Long journey, long journey Time was formed in 1971 in Zagreb, Croatia, former Yugoslavia, when the singer Dado Topić, who had previously been active in the Korni Grupa, formed a new band there himself. As early as the next year, the apparently quite popular group was able to record and release a LP. The album Time, released in 1972, was one of the first full-blown prog-rock records released in ex-Yugoslavia, together with the debut of the Korni Grupa (also known as Kornelyans). Topić and colleagues have delivered a really strong debut album. Powerful production and varied instrumentation is both rocky and proggy, provided with powerful, but very pleasant Dado's vocals. A superb organ soloing by the aforementioned Tihomir Pop Asanović is also offered on this album without a weak moment. Occasionally the flute plays itself in the foreground, otherwise Hammond and the electric guitar dominate the action. In this long epic song, Za koji život treba da se rodim (transl. "Which life should I have been born for"), a Mellotron is heard for the first time on a record from Yugoslavia. It's a multipart epic, with philosophical lyrics about the meaning of life, through "the point of view of the unborn child who asks for what life he should be born for" (Dado Topić). Time Za koji život treba da se rodim (from Time, 1972) Translate: Which life should I have been born for Which life should I have been born for Which judgement day should I live for And which God should I pray to And which woman should I love Whose love should I be happy for Whose wounds should I be bleeding for On which candleholder should I be the candle Which woman should I be naked for I won't ever know these things Where the roads of my life are taking me Whose wish it is, for us to be born, live and die Whose sky should I be the rainbow for Whose nights should I be light for Which song should I be the sadness for In whose glass should I be the liquor Whose autumn should I be a harvest for Which painting should I be the brush for On whose lips should I be the curse Which branches should I be the leaf for Time performs the song Istina Mašina ("Truth Machine") from the debut album, live in Zagreb 1987. Time Istina mašina, live in Zagreb 1987 Translate Truth machine Some strange sounds the music and colours are coming from the world the unreal and yours You're not Aphrodite you were born here the sparkle of icons you took it all away You're like a machine you numb the glow of everything you're foreign to the people you're the end of the lies You come and disappear if I'm dear to you with your touches leave a track on me With the holy ambrosia we'll get our bodies drunk fight in fear do what you wanted You're like a machine you numb the glow of everything you're foreign to the people you're the end of the lies On your skin I'll leave a track the truth of me you'll get to know now Omega was formed as a school band in Budapest in 1962, and their first single was released in 1966. Until the early 1970s there were various line-up changes before a stable formation developed: János Kóbor (vocals), László Benkő (keys), György Molnár (guitar), Tamás Mihály (bass) and Ferenc Debreczeni (drums). This line-up was active until 2014, when Mihály retired. In the 70s, Omega played a sympho-rock that made them one of the most famous "progressive" bands in the Eastern Europe. Some of their albums have also been released sung in English by Bacillus Records (Bellaphon) (e.g. 200 Years After The Last War, 1974, or Time Robber, 1976). Here they play live their song Gammapolis from the same titled album from 1979. Omega Gammapolis live in Budapest, 1994 Gammapolis Now it's more than thirty-five long years That on this earth I've had to be It's time to leave For another world Gammapolis waits for me Goodbye, my friends, I'm going on my way I tried to teach you how to see But I know, I'd never make you understand That Gammapolis waits for me So long my love, you shade my earthly life You tried to make it good for me But you thought I was crazy when I used to say That Gammapolis waits for me When you gaze up at the midnight sky Far above, reality And you can see with heavenly eyes Where Gammapolis waits for me The original Modrý Efekt (transl."Blue Effect") consisted of Radim Hladik (guitar), Vladimir Mišik (vocals), Miloš Svoboda (guitar and vocals), Jirži Kozel Mužik (bass guitar) and Vlado Čeh (drums) ). Already without Svoboda, the band recorded the album Meditacija in the summer of 1969. After Mišik's reluctant departure in 1970, keyboardist and singer Lešek Semelka lent the band his characteristic voice. The band toured in Poland, and when they returned to the Czech recording studio, they experimented in the jazz-rock genre with Martin Kratochvil's Jazz Q ensemble and the Czechoslovak Radio Jazz Orchestra, with which Modrý Efekt performed at the 1971 International Jazz Festival and in 1974 in Prague and offered live performances of the studio projects New Synthesis and New Synthesis II. In 1972, Kozla was replaced by Semelka's former teammate Josef Kůstka, but after recording New Synthesis II, Semelka and Kůstka left and formed the band Bohemia. Adequate replacements were keyboardist and singer Oldřich Veselý and bass guitarist Fedor Frešo. When Semelka returned in 1977, the first Czech "supergroup" continued without a bass guitarist as a quartet with two vocals and a keyboardist (Veselý and Semelka), guitarist Hladik and the drummer Čech. With this line-up, Modrý Efekt recorded the successful album Svět hledačů (transl."The world of searchers") at the end of 1978. Here is the live version of their beautiful cover of traditional Czech song Ej, padá, padá rosenka (transl. "Hey, the dew falls, falls"), from their album Svitanie (transl."Dawning"), originally released in 1977. Modrý Efekt Ej, padá, padá rosenka, live in the Prague television studio, 1978 Transl. Hey, the dew falls, falls Hey, the dew falls, falls Hey, the dew falls, falls You should sleep, my little eyes Mine should sleep, yours should sleep as well We should sleep, my soul, both of us. Hey, November falls, falls, Please greet my beloved hundred times, Greet my beloved, the gray dove, And tell her that I will not return. Hey the rain is falling, Why are you sad Janicek? Why are you sad, Why are you crying, Dear loved one? In 1972, Belgrade's Korni Grupa (also known as Kornelyans), who had been active since 1968, released a self-titled debut LP. Unlike the band's numerous singles from that time that are mostly pop-rock, there is a proggy jazz-rocking on the album, determined by Josip Boček's first-class guitar playing and Kornelije Kovač's no less brisk keyboard interludes (e-piano, organ, piano). The band scurries ahead, fast and complexly interwoven, driven lively by the diversified rhythm department. Moj bol (transl. "My pain") the song is even more jazzy, also because Kovač mostly touches the keys of an acoustic piano. Even if the singer Zlatko Pejaković is more into crooning here, there are even a few free-chromatic moments where he is allowed to screech diagonally in between. This is arguably the best song on the debut. Korni Grupa Moj bol (from Korni grupa, 1972) Translate: My Pain It's sunny that morning away from me That morning is life meant nothing without you Love Without you, love Great eyes in powder Warm shoulder in powder The flame of passion in powder Usually a morning passes by strange domes from which dark smoke billows. And I can smell someone's skin. I recognize you, my dear .... And we will all do it once Go on that journey, once We are waiting our turn like some quiet children In the last minute This is an honorable mention. It has been 50 years since Belgrade's Yu Grupa released their debut 7-inch single Nona. Yu Grupa means Jelić brothers and a value of more than half a century of perseverance. Alike many heavy-rock bands from the West, the YU Grupa went through the entire length of the heavy-rock maze, as they had shown clear and clever proggy tendencies in their take on the heavy-rock genre in the early 70s - for instance, they were the first band that incorporated the influences of the Balkans folklore in their music - that later on being focused on success with catchy yet excellent, melodic, riff-based rock songs, as through their prism the honesty has been always refracted into the real quality whatever they were doing. Yu Grupa Nona (7-inch single, 1971) Translate: Nona Wandering thoughts On my body You seek comfort In the palm of my hand I can feel your breath On my face Your hands when They are on my body Days, nights Sarajevo's Bijelo Dugme is known mostly due its proggy heavy-rock hits, but also for its ballad-like songs that are majestically composed by the band's leader and guitarist Goran Bregović, greatly sung by Željko Bebek and with a grande Mellotron choir in action, but also with the whole arsenal of Laza Ristovski's keyboards, like in this song, Sanjao sam noćas da te nemam (transl. "Tonight I dreamt that I don't have you") from Eto! Baš hoću! (transl. "I really want") LP recorded at AIR Studios in London, and released on Jugoton records in 1976. In my opinion, Sanjao sam... is one of the most beautiful symphonic rock ballad-like songs from the golden era, not only from the Eastern Europe. This is a version from a de-luxe box-set containing all their albums; the remix was done by Abbey Road Studios in London and the sound is really great. Bijelo Dugme Sanjao sam noćas da te nemam (from Eto! Baš hoću!, 1976) Tonight I dreamt that I don't have you Tonight I dreamt that I don't have you that I'm lying awake on beds of snow and quietly, quietly some other woman calls out my name trough the night bad dream In my dreams I saw a white lily black horses and a celebration without any singing and quietly without a sound they go away somewhere some dear people Where, oh where bad dream Hey, night stop let the dawn break (let the dawn break) In September 1977, the keyboardist Lazar "Laza" Ristovski from Serbia, and the drummer Goran "Ipe" Ivandić from Bosnia, at the time of recording of their collaborative album Stižemo (transl. "We Arrive"), were officially the members of Bijelo Dugme who had played that summer in front of 100,000 people at the free open-air one-day festival held in one of Belgrade's parks, and then made a break in their activity. Laza and Ipe decided not to sit idly but to ensuing their own proggy ideas and hence they recorded their album in London's Matrix Studios (and mastered in Trident Studios in London's Soho, as it was the beautiful times when Yugoslav record companies paid for their artists all recording and staying costs in England). The album was released in the early 1978. Among others, the guest musicians included Vlatko Stefanovski, the guitarist of Skoplje's jazz-rock band Leb i Sol, and Ipe's sister Gordana as a female vocalist, who sang in this excellent ballad-like sympho-rock song Ko sam ja (transl. "Who Am I?") Laza Ristovski (1956 - 2007) & Ipe Ipandić (1955 - 1994) Laza i Ipe Ko sam ja (from Stižemo, 1978) Who Am I When we have no sleep The night hides everything Our memories and hopes Who knows Who Am I? When the night dies When glowworms disappear And calm everything down When time takes everything And when some people wakes up I'm asking Who knows Who am I? Bijelo Dugme performs live - with the Čarolija (transl."Bewitchment") children's choir - their song Pristao sam biću sve što hoće (transl."I've agreed to be everything she wants...") in Belgrade, 1980. Actually, it was the last symphonic rock song composed by Bijelo Dugme, which in the eighties turned to the songs created in another style, a mixture of pop, folk-rock, hard-rock and, in keeping with the then new fashion, New Wave instead of sympho-rock, which wasn't uninteresting blend per se, but quite different from this. Bijelo Dugme Pristao sam biću sve što hoće live in Belgrade 1980 I've agreed to be everything she wants Here I am selling my soul to my devil And I will remain just a black dot After this game when they break me When they peacefully break me. I've agreed to be everything she wants... La la la la la la la la la la I thought beasts were afraid Of this fire that follows my trail And I thought that. And now I wear whatever they make me Nothing will be named after me Nothing will be named after me I've stopped counting misconceptions I have no one to return home to As long as I sing, so long I exist Past friends, future friends Remember me by my songs Remember me by my songs.
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Anica Lazić, 32, came under fire after sharing photos of herself sunning it up on holiday with her 71-year-old lover, Lazar Ristovski. Anica and Lazar have been together for two years - but their relationship still continues to raise eyebrows. Anica, a psychology graduate and actress, has even had to turn comments off on her Instagram profile. She was prompted to do this after a slew of criticism about their unconventional romance. Trolls even claimed her feelings towards Lazar were “not real love”. Like Anica, Lazar is a famous actor in their homeland of Serbia. He has starred in nearly 100 films, including a small part in the James Bond thriller ‘Casino Royale’ in 2006. Their age gap has raised eyebrows in their hometown of Serbia, as well as on social media. But Anica remains unaffected by the opinions of strangers. She recently said of her OAP beau: “Lazarus means ‘God helps’. “It is believed a man with that name was sent by God to help the Earth. “I know it’s so.” She continued: “You are a winner, a benefactor, our greatest artist. “A protector, an optimist, a patriot, someone who is bold and brave, and a great friend.” In March this year, Anica shared a photo of her walking out of the sea hand-in-hand with Lazar in the Maldives. The lovebird called it one of her favourite images of them together. She wrote: “When he leads, I don't ask where.”
1053	dbpedia	1	15	https://cineuropa.org/en/newsdetail/318383/	en	Train Driver's Diary: Kind spirit and black humour combine for maximum effect	https://cineuropa.org/im…679290322590.jpg	https://cineuropa.org/im…679290322590.jpg	[ "https://cineuropa.org/en/newsdetail/318383/img/logo-head-fixed.png", "https://cineuropa.org/en/newsdetail/318383/img/logo-head.png", "https://cineuropa.org/en/newsdetail/318383/imgCache/2024/08/06/1722949368999_0960x0285_0x0x0x0_1722949371603.jpg", "https://cineuropa.org/en/newsdetail/318383/imgCache/2024/05/19/1716113709731_0960x0285_0x0x0x0_1716113717740.jpg", "https://cineuropa.org/en/newsdetail/318383/imgCache/2024/08/20/1724148780385_0960x0285_0x0x0x0_1724148805883.jpg", "https://cineuropa.org/en/newsdetail/318383/imgCache/2024/08/22/1724316363648_0960x0285_0x0x0x0_1724316374883.jpg", "https://cineuropa.org/en/newsdetail/318383/imgCache/2024/08/21/1724234654245_0960x0285_0x0x0x0_1724234654887.jpg", 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cinema	https://cineuropa.org/en/newsdetail/318383/	10/10/2016 - Director Miloš Radović scores big with his third film, with crucial input from actor-producer Lazar Ristovski After world-premiering at the Moscow International Film Festival and winning its audience award, the Serbian Oscar submission, Train Driver's Diary , by writer-director Miloš Radović has just screened in the Free Spirit Competition of the Warsaw Film Festival. This audience-friendly drama-comedy with a delicious dose of black humour could play very well, not only on the arthouse circuit, but, with the right promotion, could even make multiplex crowds happy, especially in Eastern Europe. The film starts with protagonist Ilija (actor and producer Lazar Ristovski) telling us in voice-over how many people he has inadvertently killed during his career as a train driver. We then see him crashing into a van containing a six-part Gypsy brass band. His subsequent visit to a psychologist is one of the film’s more hilarious moments. Meanwhile, a ten-year-old boy, Sima, is disappointed when he finds out his real parents are dead and runs away from his orphanage, intending to commit suicide. Of course, he decides to do so by throwing himself in front of a train. This time, Ilija manages to brake at the last moment, and takes the boy under his wing. Eight years later, Sima (non-professional actor Petar Korać) has graduated and wants to become a train driver. Of course, Ilija won't let him, although their neighbours, Sida (Jasna Djuričić, from Barbarians ) and her husband, another train driver, Dragan "Diesel" (Mladen Nelević, from The Parade ) are trying to convince him otherwise. They all live in a railway depot, with Ilija owning a large room where he grows flowers, and the couple in a beautifully arranged train car. There is also Ilija's lady-friend Jagoda (Mirjana Karanović), and the two often spend intimate, but platonic, evenings together. It is a beautiful film in the most literal sense. Its spirit of kindness is excellently intercut with bouts of black humour, and the cast was clearly inspired, resulting in engaging characters and intriguing interplay between them. The role of the good-hearted grump is right up Ristovski's alley, while Djuričić and Karanović wonderfully play against type. In this role, Korać shows the potential to grow into a fine actor, if given the right parts and the chance to hone his skills. Writer-director Radović started with a bang, winning a Jury Prize at Cannes for his short The Sudden and Premature Death of Colonel KK in 1987, but his feature films Small World (2003) and Falling into Paradise (2004), although certainly not without their qualities, didn't gain much exposure. However, with this film, his cooperation with cinematographer Dušan Joksimović (The Parade), who paints the film in warm, autumnal colours, editor Djordje Marković (Tears for Sale), who cuts in exactly the right rhythm, and expressive and playful, but never over-the-top, music by Croatia's Mate Matišić, the director has made a film that definitely deserves much more than intermittent festival exposure.
1053	dbpedia	2	17	https://www.sonicboommusic.com/products/nenad-jelic-laza-ristovski-opera-new-vinyl	en	Nenad Jelic & Laza Ristovski - Opera (New Vinyl)	http://www.sonicboommusic.com/cdn/shop/products/201374889823_1024x.jpg?v=1677259492	http://www.sonicboommusic.com/cdn/shop/products/201374889823_1024x.jpg?v=1677259492	[ "https://www.sonicboommusic.com/cdn/shop/files/UPDATED_BANNERPIC_17ef2fec-876f-4847-b153-eb76822cb235_150x.jpg?v=1614318068", "https://www.sonicboommusic.com/cdn/shop/products/201374889823_60x.jpg?v=1677259492", "https://www.sonicboommusic.com/cdn/shop/products/201374889823_800x.jpg?v=1677259492", "https://www.sonicboommusic.com/cdn/shop/products/201374889823_130x.jpg?v=1677259492" ]	[]	[]	[ "Nenad Jelic & Laza Ristovski", "Opera", "new vinyl", "toronto", "music store", "record", "vinyl" ]	null	[]	null	Buy Opera by Nenad Jelic & Laza Ristovski on new vinyl at Sonic Boom Records in Toronto.	en	//www.sonicboommusic.com/cdn/shop/files/Favicon_32x32.png?v=1614291915	Sonic Boom Records	https://www.sonicboommusic.com/products/nenad-jelic-laza-ristovski-opera-new-vinyl	Create my account Please fill in the information below:
1053	dbpedia	0	9	http://ultimathulerecords.com/aEE.htm	en	AUDION EAST EURO DISCOGRAPHY			[ "http://ultimathulerecords.com/aEEcover.jpg", "http://ultimathulerecords.com/aEEenergit.jpg", "http://ultimathulerecords.com/aEEflamengo.jpg", "http://ultimathulerecords.com/aEEjazzq.jpg", "http://ultimathulerecords.com/aEEmefekt.jpg", "http://ultimathulerecords.com/aEEppu.jpg", "http://ultimathulerecords.com/aEEprogres2.jpg", "http://ultimathulerecords.com/aEEelectra.jpg", "http://ultimathulerecords.com/aEEstern.jpg", "http://ultimathulerecords.com/aEEinspe.jpg", "http://ultimathulerecords.com/aEEkaseke.jpg", "http://ultimathulerecords.com/aEEeast.jpg", "http://ultimathulerecords.com/aEEsolaris.jpg", "http://ultimathulerecords.com/aEEniemen.jpg", "http://ultimathulerecords.com/aEEreportaz.jpg", "http://ultimathulerecords.com/aEEsadowski.jpg", "http://ultimathulerecords.com/aEEsbb.jpg", "http://ultimathulerecords.com/aEEskaldowie.jpg", "http://ultimathulerecords.com/aEEurbaniak.jpg", "http://ultimathulerecords.com/aEEphoenix.jpg", "http://ultimathulerecords.com/aEEhorizont.jpg", "http://ultimathulerecords.com/aEEsepsis.jpg", "http://ultimathulerecords.com/aEEsezon.jpg", "http://ultimathulerecords.com/aEEigra.jpg", "http://ultimathulerecords.com/aEEkornelyans.jpg", "http://ultimathulerecords.com/aEEtako.jpg", "http://ultimathulerecords.com/aEEcollegium.jpg", "http://ultimathulerecords.com/aEEfermata.jpg", "http://ultimathulerecords.com/aEEsoncna.jpg", "http://ultimathulerecords.com/aEEfiryuza.jpg", "http://ultimathulerecords.com/aEEgunesh.jpg", "http://ultimathulerecords.com/back.gif" ]	[]	[]	[ "Audion" ]	null	[]	null					null	ULTIMA THULE / AUDION EAST-EURO DISCOGRAPHY East-Euro Discography a guide to progressive and experimental music from "Behind The Iron Curtain" by Steve & Alan Freeman © 1986-2016 cover of the 1994 printed edition The original introduction... As promised back in Audion #18, here we present our exhaustive discography of progressive and experimental music from the former "Iron Curtain" European countries. This is something that we believe has not been catalogued before, and thus it should prove to be an indispensable guide to all fans of adventurous music. With the unique political and social climates in these countries, it seems unlikely that the unique music that emanated from there would ever have existed; revolutionary bands like SBB, Collegium Musicum, Osjan, Gunesh, Phoenix, Gorizont, or Kolinda, to name just a few! As you can well imagine, with no documented catalogues to work from, this was not an easy listing to compile by any means, and also in no way do we claim it to be complete, as the proliferation of quality music in Eastern and Central Europe is so great and very much an ongoing thing. Also, much of it is so hard to find, what with most of the LP product listed here now being deleted, and a lot of it is extremely rare! Thus, without any proper international distribution for such music, it's so easy to miss out on things. So, what we've attempted to do is: list all groups, musicians and composers of interest who have released something, in the fields of progressive, adventurous or experimental musics, the type of things you would expect to see in the pages of Audion. I have, however, omitted the more mainstream rock and new-wave acts. So if something isn't here, consider that it's probably not listed because it's too commercial. I was going to compile a list of items to avoid, but such a task would be too vast. And, after all, what would be the point? This new edition... This is a new unpublished version of the Audion East Euro Discography. Originally authored by Alan Freeman and edited by Steven Freeman, and published in 1993 as a magazine (now out of print). It was then revised and updated by Steve Freeman a decade later with the intention of doing a new printed edition. Back in 2003 however the shear volume of reissues and the lack of online resources meant it was impossible to keep updating and revising for a publication and thus it was put on hold. Steve continued to add some more info up to 2011, and since then a few missing albums, catalogue numbers and dates have been added, with the addition of interesting items from a "research binge" compiled by Alan Freeman in 2015 and a final revision adding everything else I could think of in July/August 2016 when editing this html version. These discographies generally cover all rock, prog, jazz and fusion (plus some electronic and contemporary music) of the late 1960s through to the early 1980s in all related genres. From the 80s onwards often only those of the prog/fusion/underground genres that continued or were established later are covered. The discographies here generally cut-off at around 2000 (with some exceptions) with release updates and some reissues to circa 2003. The countries covered are those behind the former "Iron Curtain" and all the former Soviet States of the USSR (which when including states like Turkmenistan does go beyond geographical Europe). A last addition here is the review and article snippets from Audion Magazine and The Crack In The Cosmic Egg, which are shown in italics. Many of these are from the early "Behind The Iron Curtain" articles, or from other reviews and features, much of it written 20-30 years ago (so take that into account please with descriptions and terminology) of which some are abridged to avoid too much duplication. For simple html compatibility the discography does not use country specific special characters, but only those accessible from a standard English keyboard. Countries here are represented as they are now (to the best of our knowledge). The East Euro context... The main reason for making this discography available is that, against all the odds, and with very state controlled censorship, some amazing music slipped through that may never have existed in a standard capitalist music industry. It was an era of unlikely inventions with the jazz and arts fronts trying to make some sense of it and legitimise it all in some way. Thus you had the unlikely things happening like a Czech beat band working with a jazz orchestra creating a music unlike anything anywhere else, Transylvanian, Bohemian and Balkan cultures mixing with rock, jazz and electronic musics, with many unique innovations. There is no other publication or resource that investigates the scene from the viewpoint of an experimental music fan, so it made sense to revise and expand it as much and as informatively as possible. Of course, this is all amongst the huge trudge of safe pop, and dreadful drivel. Hopefully this discography makes sorting out the gems that little bit easier. And, what's more, this edition is completely free! Top 30 A recommended beginner's guide to rock and fusion albums Collegium Musicum - Konvergencie / Convergencies East - Az Aldozat [Szodoma] / The Victim [Sodom] Electra - Adaptionen Energit - Energit Fermata - Fermata Firyuza - Firyuza Flamengo - Kure V Hodinkach Gunesh Ensemble - Looking At The Earth Horizont - Letniy Gorod / Summer In Town Igra Staklenih Perli - Igra Staklenih Perli In Spe - In Spe Jazz Q Praha - Pozorovatelna / The Watch-Tower Kaseke - Poletus Kornelyans - Not An Ordinary Life Modry Efekt - Svitanie Niemen / Aerolit - Katharsis Phoenix - Formatia Phoenix / Cei Ne-Au Dat Nume The Plastic People - Egon Bondy's Happy Hearts Club Banned Progres 2 - Dialog S Vesmirem Reportaz - Reportaz Krzysztof Sadowski And His Group - Three Thousand Points SBB - Nowy Horyzont Sepsis - Liturgia Bezumia Sezon Dozhdei - Vozvrashenie Skaldowie - Krywan Krywan Solaris - Marsbeli Kronikak / The Martian Chronicles Soncna Pot - Soncna Pot Stern Meissen - Reise Zum Mittelpunkt Der Menschen Tako - Tako Michal Urbaniak - Super Constellation Countries Bulgaria Czechoslovakia: Czech Republic, Slovakia East Germany / DDR Hungary Poland Romania USSR: Russia, Belarus, Estonia, Georgia, Kazakhstan, Latvia, Lithuania, Moldova, Turkmenistan, Ukraine, Uzbekistan Yugoslavia: Bosnia, Croatia, Macedonia, Serbia, Slovenia, Yugoslavia no info known: Albania, Armenia, Azerbaijan, Herzegovina, Montenegro info key bold type = a useful beginner's guide of highly recommended and/or best albums by an artist. LP: usually vinyl album, MC: Music Cassette, CD: Compact Disc, 7": single, etc. > = featured on various artist release (elsewhere in this discography if no release info is given) / = either: A / B sides of a record/single, or foreign / English versions of title # = the referenced line-up relates to the album indicated below © = known copyright year of the release (dates in front will be recording dates) "title in quotes" = own translation (except Cyrillic titles with are transliterated) text like and many more usually indicates a discography cut-off at 1980 (or as deemed appropriate) BELARUS Former USSR state during the Eastern bloc years (aka Byelorussia), landlocked between Poland, Russia and other countries. APPLE TEA Igor Satsevich (bass guitar), Alexander Sapega (drums), Oleg Doroshin (guitar) and Sergei Lapkovski (keyboards). Lightweight jazz-fusion in ECM vein with Scandinavian edges, and a little Chick Corea in the piano. They have other more recent releases. APPLE TEA (CD: Boheme CDBMR 810026) © 1999 SYABRY The band name means Friends, and they were led by one Valentin Badyarovu featuring members of the Gomel Philharmonic. An oddball mixture of Russian cultural elements, cabaret and brassy prog on the debut LP. That seems to be as interesting as they ever got, as later live videos found on YouTube are just Eurovision pop. VSEM NA PLANETE "EVERYONE ON THE PLANET" (LP: Melodiya 33 60-10951-52) © 1978 plus 6 more albums, singles, etc. BOSNIA Former Yugoslavian state during the Eastern bloc years. May also refer to Herzegovina. BIJELO DUGME Zeljko Bebec (lead vocals), Goran Bregovic (guitars, harmonica), Vlado Pravdic (organ, Moog, pianos), Zoran Redzic (bass), Ipe Ivandic (drums) Apparently the most popular pop-rock band in former Yugoslavia, Bijelo Dugme (White Button) was formed in Sarajevo (Bosnia) in 1974. Initially they were a reasonably good progressive band with strong keyboards and folk influences, hints of Procol Harum and Kornelyans, with the debut about half excellent. They became tainted by new-wave on later albums. KAD BI' BIO (LP: Jugoton LSY 63016) © 1974, (CD: Hi-Fi Centar CDD 10147) © 1997 STA BI DAO DA SI NA MOM MJESTU (LP: Jugoton LSY 63046) © 1975, (CD: Hi-Fi Centar CDD 10148) © 1997 ETO! BAS HOCU! (LP: Jugoton LSVG 7) © 1976, (CD: Hi-Fi Centar CDD 10149) © 1997 KONCERT KOD HAJDUCKE CESME (LP: Jugoton LSVG 9) © 1977, (CD: Naraton CD 007) © 1999 BITANGA I PRINZESA (LP: Jugoton LSVG 10) © 1979. (CD: Jugoton CD 860041 5 02604 0) © 1990 DOZIVJATI STOTU (LP: Jugoton LSY 10003) © 1980, (CD: Hi-Fi Centar CDD 10151) © 1997 plus many more albums, loads of singles, samplers, etc. DIVLJE JAGODE Anto Jankovic (vocals), Mustafa Ismailovski (organ, piano, Moog), Sead Lipovaca (guitars), Nihad Jusuf Hodzic (bass), Adonis Dokuzovic (drums) Melodic heavy rock in Bijelo Dugme, Yu Gruppa vein. DIVLJE JAGODE (LP: Jugoton LSY 61408) © 1978 plus loads more releases unknown to us! LEPTIR Delkic Sead (guitar), Mutic Dragan (vocals, bass), Gradincic Edin (keyboards), Vidovic Predrag (drums) Varied melodic and hard-rock with folk and Mediterranean traditional influences and Omega like songs. A rock band from Sanski Most (Bosnia and Herzegovina) in former Yugoslavia. Naopacke / Dzemper Blues (7": Diskoton SZ 0402) © 1979 GRUPA LEPTIR (LP: RTB 2120178) © 1981 - aka SIPAK TESKA INDUSTRIJA Vedad Hadziabdic (guitars), Goran Kovacevic (vocals), Gabor Lendel (keyboards), Aleksandar Kostic (bass), Munib Zoranic (drums) Obscure progressive/hard-rock band formed 1974 in Sarajevo by keyboard player Gabor Lendel. Karavan / U.F.O. (7": Jugoton SY-22861) © 1975 HO-RUK (LP: Jugoton LSY 63052) © 1976 TESKA INDUSTRIJA (LP: Jugoton LSY 66009) © 1976 ZASVIRAJ I ZA POJAS ZADJENI (LP: Jugoton LSY 63071) © 1977 TESKA INDUSTRIJA (CD: Krin Music KM-0-002) © 1994 - sampler plus loads more releases unknown to us! VAJTA Vocalist Seid Mamic Vajta and band. Progressive rock and pop. VAJTA (LP: Diskoton LP-0416) © 1979 VAJTA 2: PONOCNI VALZER (LP: Diskoton LP-8001) © 1980 plus loads more releases unknown to us! VATRENI POLJUBAC Milic Vukasinovic (guitar, vocals), Sanin Karic (bass), Perica Stojanovic (drums), Laza Ristovski (keyboards) # Hard-rock band, formed 1977 in Sarajevo by singer/songwriter/multi-instrumentalist Milic Vukasinovic. They made 9 albums, some of which featured Laza Ristovski (ex-Smak). We've only had this one... ZIVI ROCK 'N' ROLL (LP: ZKP RTVL LD 0772) © 1981 # ZMAJEVI BOSNE Only one festival track known by these, with a Golden Earring "Radar Love" like feel. > BOOM '77 BULGARIA Bulgaria is a country steeped in culture, yet (unless it is very obscure) it seems to have had very little in the way of a progressive rock scene. The state there was very strict, with all albums (during the 1970s and 80s) being released on the state-owned Balkanton label. Excepting what was been revealed via the Erdenklang label, little was known about the current musical scene there. Elka ATANASOVA Female violinist, with a very varied album bridging folk, progressive rock, and new-age musics most uniquely. WINDS OF THE RHODOPES (CD, Germany: Erdenklang 91350) © 1991 Lyubomir DENEV JAZZ TRIO Lyubomir Denev (pianos, clavinet, Mellotron, Moog, percussion), Boris Dinev (drums, percussion), Danail Draganov (bass) # Jazz fusion. With flute/sax player Petko Tomanov as special guest. LYUBOMIR DENEV JAZZ TRIO & PETRO TOMANOV (LP: Balkanton BTA 10449) © 1979 # JAZZ HOUR (LP: Balkanton BTA 12276) © 1988 DIANA EXPRESS Pop-rock (sometimes prog) group, formed in 1974 by Mitko Shterev. DIANA EXPRESS (LP: Balkanton BTA 1678) © 1974 2 (LP: Balkanton BTA 1943) © 1976 PRAYER FOR RAIN (LP: Balkanton BTA 10750) © 1981 GOLDEN APPLE (LP: Balkanton BTA 11200) © 1982 5 (LP: Balkanton BTA 11491) © 1984 Sergey DJOKANOV Multi-instrumentalist and synthesist. THE GREEN DESERT (LP: Balkanton BTA 11674) © 1985 BULGARIAN ICONS (LP: Balkanton BTA 12595) © 1990 > LOOKING EAST - BULGARIA FOCUS JAZZ QUARTET Simeon Shterev (flutes, piccolo), Antoni Donchev (piano, synthesizer), Theodossi Stoikov (bass), Hristo Yotsov (drums, percussion) Spacey flute lead fusion, hints of Herbie Mann, Jazz Q and Return To Forever. FOCUS JAZZ QUARTET (LP: Balkanton BTA 11676) 6/1985 © 1985 FSB Roumen Boyadzhiev (synthesizers, sequencer, acoustic guitar, Mellotron, lead vocals, percussion), Konstantin Tsekov (pianos, organ, Mellotron, clavinet, harpsichord, lead vocals, percussion), Alexander Baharov (basses, bass pedals, vocals, percussion) Bulgaria's most popular band, who attempted to model themselves on the early-70s British progressives. Initially fronted by two keyboardists, they had a symphonic Omega-like sound. Later albums are just mainstream rock. NON STOP (LP: Balkanton BTA 2090) © 1977 FSB II (LP: Balkanton BTA 10182) © 1979 - subtitled "Rock-Cinfonico" The Globe (MLP: Balkanton BTA 10485) © 1980 78 OBRATOW / 78 R.P.M. (LP: Balkanton BTA 10703) © 1981 PO DZIESIECU / WORLD HIT PARADE (LP: Balkanton BTA 10895) © 1982 TEN YEARS AFTER (LP: Balkanton BTA 10995) © 1983 FSB VI (LP: Balkanton BTA 11176) © 1984 IN CONCERT (2LP: Balkanton BTA 11672/3) © 1985 FSB (CD: Balkanton 070080) © 1990 - sampler with 4 new tracks plus loads more releases unknown to us! GENERAL VIOLET New-wave and experimental band who come across as a weird industrial twist on Cluster on their debut cassette. GENERAL VIOLET (MC: PostScriptum) 1992 © 1993 Simo LAZAROV Unusual synthesist. THE CITY (LP: Balkanton BTA 11473) © 1984 NATURE (LP: Balkanton BTA 12263) © 1988 THE THINGS OF LIFE (LP: Balkanton BTA 12427) © 1989 BETWEEN MAN AND THE STARS (LP: Balkanton BTA 12609) © 1990 > LOOKING EAST - BULGARIA Les MYSTÈRE DES VOIX BULGARES Name used for various Bulgarian singing groups and choirs, who have toured and had surprising success in the West. LES MYSTÈRE DES VOIX BULGARES (LP/CD, UK: 4AD CAD 603) © 1986 2 (LP/CD, UK: 4AD CAD 801) © 1988 A CATHEDRAL CONCERT (LP, Germany: Jaro 4138) © 1988 plus loads more releases unknown to us! Vesselin NIKOLOV Vesselin Nikolov (saxes, marimba) + Vesselin Koichev (guitars), Radoul Nachkov (drums, percussion), Docho Panov (bass), Roumen Boyadjiev (synthesizer), Konstantin Tsekov (synthesizer), Suzanne Erova (vocals), Theodossi Spassov (kaval) # Jazz saxophonist. His JAZZ & SOMETHING MORE... is a little-known gem of atmospheric jazz and cultural/ethnic blends, sounding a little like Nucleus or early Arsenal with added classical and ethnic influences. I've seen Vesselin acclaimed as the Bulgarian Miles Davis for his innovation as band leader. VESSELIN NIKOLOV & HIS WHITE, GREEN AND RED (LP: Balkanton BTA 1453) © 1973 - with White, Green And Red DON JUAN (LP: Balkanton BTA 10359) © 1980 - with White, Green And Red JAZZ & SOMETHING MORE... (LP: Balkanton BTA 12158) © 1987 # OM Nikolai Ivanov (guitar, folk instruments), Zoltan Lantos (violin, etc.) Multi-instrumental duo who describe themselves as "new age jazz minimal art folk", though their hybrid is far more wide ranging, compared to Boris Kovac in the Audion review of LETTERS, or on the more electronic spiced RITUAL PLACES IN BULGARIA the feel is like a hybrid beyond Oregon, Rain Garden or Argile, partly due to Ramesh Shotam guesting on percussion. They have at least 3 more releases under the name OM Art Formation. LETTERS (MC: DS Music MC 217) © 1996 RITUAL PLACES IN BULGARIA (CD, Germany: Erdenklang 70972) © 1997 PLOVDIV Odd jazz fusion with soloists and a brass section. Self described as "Folk Jazz Band" and all the more unusual due to the crazy accordion playing! This has Dimitar Trifonov as leader with is band Plovdiv, supplemented by the band White, Green And Red and two winds soloists. PLOVDIV FOLK JAZZ BAND (LP: Balkanton 11859) © 1984 ROUSSE SEPTET Peter Petrov & Boris Roussev (alto/tenor saxes), Ilko Petrov (drums), Ivan Kourtev (pianos, synthesizers), Plamen Harizanov (bass), Staiko Staikov (synthesizers, percussion), Plamen Nicolov (guitar) Jazz fusion featuring winds and synths. SEPTET ROUSSE (LP: Balkanton BTA 10490) © 1980 SHTOURTSITE Peter Ghyouzelev (guitars, vocals), Kiril Marichkov (bass, keyboards, vocals), Vladimir Totev (keyboards, guitar, vocals), Georgi Totev (drums) # [In English: THE CRICKETS] Originally Bulgaria's answer to The Beatles! Latterly however, Shtourtsite changed to heavy prog-rock with an unusual style. SHTOURTSITE (LP: Balkanton BTA 1910) © 1976 SHTOURTSITE (LP: Balkanton BTA 10179) © 1978 20TH CENTURY (LP: Balkanton BTA 10542) © 1980 # THE TASTE OF TIME (2LP: Balkanton BTA 10934/5) © 1982 and many more START Razvigor Popov (keyboards), Eugene Kushinchanov (guitar, vocals), Boyan Balev (bass guitar, vocals), Panaiot Amelev (drums, vocals) Modern styled hard-rock progressive, hints of Omega, etc. For all their other releases they were the backing band of singer Mimi Ivanova. WRONG LINE (LP: Balkanton BTA 11083) © 1983 Emil VELEV Dark electronics on the border of industrial music. INDUSTRY & DREAMS (MC: DS Music MC 221) © 1996 VOX Project of classically trained ethnomusicologist Vladimir Ivanoff, who went to Germany to record for Erdenklang. The debut is a mixture of ancient gothic songs and ethnic music in a contemporary blend of synths and female vocals. Further releases blended other styles and featured guest performances from former Embryo members. DIADEMA (CD, Germany: Erdenklang 90343) © 1991 FROM SPAIN TO SPAIN (CD, Germany: Erdenklang 20562) © 1992 X CHANTS (CD, Germany: Erdenklang 71002) © 1997 WHITE, GREEN AND RED Peter Jourkov (keyboards), Vesselin Koitchev (guitar), Vladimir Hadjiivanov (sax), Pasho Konov (bass), Ivan Enev (drums) Jazz group also known for their collaborations with Vesselin Nikolov and Plovdiv. NEW FACES (LP: Balkanton BTA 12750) © 1991 Various Artists LOOKING EAST - BULGARIA (CD, Germany: Erdenklang 29542) © 1992 Synthesizer introduction, with lots of obscure unknowns: Lubomir Denew (jazz pianist and film music composer), Dilema (high-tech synth), Vladimir Djambasov (experimentalist), Sergej Djokanov (see above), Danail Draganov (Ex-Kukery), Anguel Kotev, Simo Lazarov (see above), Krasimir Timov. CROATIA Former Yugoslavian state during the Eastern bloc years, also known as Republika Hrvatska. ACEZANTEZ ENSEMBLE Giovanni Cavallin (recorders, clarinets, sax), Dubravko Detoni (piano, harpsichord, celesta), Fred Dosek (organ, celesta, glockenspiel), Veronika Kokacic (voice), Daniel Thune (viola, bass, tuba) Avant-Garde improvising ensemble, using instruments, electronics and tape collage, making an atmospheric music in a similar vein to Musica Elettronica Viva's LEAVE THE CITY bridging many genres. Audion review extract: So, what is the fascination with Acezantez? Well, one could say they were the most seriously "classical" avant-garde ensembles to exist in that world of early Nurse With Wound, seamlessly bridging Dadaism, electronics, improvisational elements and electroacoustic reconstruction. And, that they came from Yugoslavia made it all the more fascinating, with a bizarre mixture of cultural elements. Musica Elettronica Viva and Nuova Consonanza are other good reference points to the bizarre sonic/cosmic creations of Acezantez, which utilised all manner of percussives, keyboards, voices and occasional solo instruments like trumpet, tuba and violin. The underlying humour in it adds that Dada edge, which is mostly in the vocal elements, though some cliched folk and popular styles are hinted as if they wash in from occasionally opening windows. The whole of the original album has this otherworldly magic that cannot be simply described in such a review, it's altogether too unique. ACEZANTEZ (LP: Jugoton LSY 66020) 1973+1976 © 1977 DUBRAVKO DETONI WITH ACEZANTEZ (CD: Paradigm PD 11) © 2000 - reissue with 3 bonus tracks [1973-1975] AERODROM Jurica Padjen (guitar, vocals), Zlatan Zivkovic (guitar, piano), Mladen Krajnok (keyboards, vocals), Remo Cartagine (bass), Paolo Sfeci (drums) Heavy symphonic from Zagreb, similar to Parni Valjak, at the start. They moved to standard pop rock later. KAD MISLI MI VRLUDAJU (LP: Jugoton LSY 66072) © 1979 TANGO BANGO (LP: Jugoton LSY 66117) © 1981 and many more Tihomir Pop ASANOVlC Much travelled keyboard player. He started in 1968 with the beat band The Generals, featured on Time's first LP, played on and off with Yu Grupa and Smak, establishing his own jazz fusion project in 1974 before joining September. His debut album certainly has its moments, especially if you like that funky jazz fusion with synths typical of the mid 70s, whereas LOLA is more for the chintzy soundtrack lovers sounding somewhat Piero Umiliani like. MAJKO ZEMLJO (LP: Jugoton LSY 63003) © 1974 with Jugoslavenska Pop Selekcija: LOLA (LP: CBS 80643) © 1975 TIHOMIR POP ASANOVlC (LP: Jugoton LSY 63055) © 1976 ATOMSKO SKLONISTE Sergio Blazic (lead vocals), Dragan Guzvan (guitar, vocals), Paul Bilandzic (organ, vocals), Druno Langer (bass), Sasa Dadic (drums) [aka ATOMIC SHELTER] Heavy rockers from Pula (former Yugoslavia) formed in 1977. NE CZIVAY GENERACIJO (LP: RTV LD 0433) © 1978 INFARKT (LP: RTV LD 0510) © 1979 U VREMENU HOROSKOPA (LP: RTV LD 0588) © 1980 and many more DEMONI Miljenko Balic, Emil Vugrinec, Jura Havidic, Zeljko Tes, Zoran Grujic Hard-rock from ex-Fire members. NO. 1 (LP: Jugoton LSY 61396) © 1978 plus 5 singles & a compilation Dubravko DETONI Contemporary avant-garde, electronic and ensemble music. A leading innovator, and also member of Acezantez. His early albums are essential for adventurous listeners, whereas DETONI PLAYS DETONI was very classical chaotic Xenakis ensemble realms. We don't know his later ones. JUGOSLAV AVANT-GARDE MUSIC - GRAPHIES / PHONOMORPHIA (LP: Philips 6521 028) © 1971 Dubravko Detoni / John Keliehor / John Lewis - AVANTGARDE (Studio G LPSG 2009) © 1974 DUBRAVKO DETONI - GRAFIKA VI / GIMNASTIKA ZA GRUPU / DE MUSICA (LP: Jugoton LSY-66005) © 1976 DETONI PLAYS DETONI (LP: Jugoton LSY-63095) © 1980 and many more DRUGI NACIN Halil Mekic (guitars, vocals), Zeljko Mikulcic (bass, vocals), Branko Pozgajec (vocals, keyboards, flute), Ismet Kurtovic (flute, guitars, vocals), Boris Turina (drums) Rock band from Zagreb formed in 1974. On their debut LP they played a heavy rock with some prog complexities and quite a lot of Deep Purple and Uriah Heep influences. During a hiatus when Branko Pozgajec was doing military service, two members formed the short-lived Nepocin who folded when Drugi Nacin became active again. A huge disappointment, considering how good Nepocin were, the second LP was a rather mediocre collection of short rock songs. DRUGI NACIN (LP: RTB 55-52-52) © 1975 PONOVNO NA PUTU (LP: Suzy LP 377) © 1982 FIRE Jura Havidic (guitar, vocals), Miljenko Balic (bass), Emil Vugrenic (drums, vocals) Heavy power progressive band from Cakovec, who went to Holland to record their LP. COULD YOU UNDERSTAND ME? (LP: Killroy LPA 89.598) © 1973 Message / If You're Alone Tonight (7": Diskos NDK-2079) © 1975 GRUPA 220 Husein Hasanefendic (guitars, vocals), Jurica Paden (guitars, vocals), Nenad Zubak (bass, vocals), Ivan Stancic (drums) Pop group formed in 1966, in Zagreb. They turned to melodic heavy rock on SLIKE. Pre - Parni Valjak. NASI DANI (LP: Jugoton LPSYV 753) © 1968 SLIKE (LP: Suzy LP-319) © 1975 and many singles GRUPA 777 These apparently started as a jazz-rock group, formed 1970 in Rijeka and later turned into a pop band. Their "Exodus" on the BOOM '72 set would seem to be during a time of transition being psychy blues-rock with a Vanilla Fudge feel, out of character with any of their later discography of 4 albums and 20 pop singles. > BOOM - POP FESTIVAL LJUBLJANA 72 > BOOM - FESTIVAL 1973 GRUPA M. SKRGATICA Aka: Grupa Marina Skrgatica. Blues-rock band founded in Zagreb (Croatia), in 1973. They released three singles and then split up. Their BOOM recording documents a heavy band with lots of riffing guitars, and a lively Krautrock-like style. > BOOM - POP FESTIVAL LJUBLJANA 72 Bezi Janke / Vjeruj (7": Suzy SP-1002) © 1973 Tina / Budi Tu (7": Jugoton SY-22742) © 1974 Rokoko / Ceznja (7": Jugoton SY-22551) © 1974 HAD Davor Brkic (bass), Veseljko Orsolic (guitar) and Rajko Svilar (drums) Band from Osijek, Croatia formed in 1971. On the BOOM 1972 album they come across as blues-rock with a Mediterranean touch, sounding like a mixture of Banco and Budka Suflera. Five years later on BOOM '77 they were playing a much straight American styled heavy rock (despite the native language vocals). > BOOM - POP FESTIVAL LJUBLJANA 72 Nebeski Dar / Put U Nista (7": Suzy SP 1001) © 1972 Suncani Dan / Zene Voli (Zivot Moli) (7": CBS/Suzy 1056) © 1973 > BOOM '77 INDEXI Davorin Popovic (vocals), Slobodan A. Kovacevic (guitars), Fadil Redzic (bass), Nenad Jurin (keyboards), Djordje-Djoko Kisic (drums) # Heavy beat/psych-fusion in the early Modry Efekt vein. A patchy band with some good tracks, but mostly pop singles. > BOOM - POP FESTIVAL LJUBLJANA 72 INDEKSI (MC: RTV Ljubljana 040) © 1972 INDEXI (LP: Jugoton LSY 61096) © 1974 - singles collection INDEXI 2 (LP: Diskoton LP 0270) © 1976 - singles collection MODRA RIJEKA (LP: Jugoton LSY 68042) © 1978 # and many more Martin Davorin JAGODIC Although born in Zagreb, and raised there in Croatia, Martin has been largely based in France since going there to study electroacoustic composition for his one and only known album commission, TEMPO FURIOSO an LP produced by Walter Marchetti for Cramps Records in Milan (Italy), a landmark work of sonic art and electronics bridging INA-GRM styles and Stockhausen-like elements. Audion extract: An album long work, with lots of diverse elements involving electronics, sound manipulation, collage, etc., like an advanced hybrid of Luc Ferrari and Stockhausen's HYMNEN, it is sometimes almost silent, but gets to dizzy heights, almost overflowing to chaos. It's one of those fascinating journeys that's like an audio movie (involving obscure texts about a court case and a scandal of some sort, which I've never quite worked out), full amazing studio trickery, electronics and tons of special effects! A classic, right down to the surprise guest appearance of British girl pop band Fanny! TEMPO FURIOSO (TOLLES WETTER) (LP: Cramps Records CRSLP 6108) © 1975 Erno KIRALY Inventive ethno-avant-garde musician, involved in the notoriously eclectic ensemble Acezantez (who also feature on his recordings). ERNO KIRALY (LP: Jugoton ULS 510) © 1979 GRAPHIC MUSIC (LP: Diskos LPD-1002) © 1979 PHOENIX (CD: ReR EK1) © 1996 - compilation and others NEPOCIN Ismet Kurtovic (guitar, flute, vocals), Halil Mekic (guitar, vocals), Damir Sebetic (keyboards), Bozo Ilic (bass), Branko Knezevic (drums) A little-known progressive rock band from Zagreb formed by two Drugi Nacin members. Their sole album is a heavy and complex one with Italian influences often similar to Kornelyans. SVIJET PO KOJEM GAZIM (LP: RTB LP 55-5312) © 1977 NIRVANA Kresimir Sostar (guitar), Tomas Krkac (bass) and Zdravko Stimac (drums) Powerful blues-rock in Thrice Mice/Blodwyn Pig vein. > BOOM - POP FESTIVAL LJUBLJANA 72 Duh / Kome Da Kazem (7": PGP RTB S 51 714) © 1975 PARNI VALJAK Jurica Padjen (guitars, vocals), Husein Hasanependic (guitars, vocals), Zlatko Miksic (bass), Srecko Antonioli (drums) [aka STEAM ROLLER] Hard-rock and prog, with some Omega and Pink Floyd influences. Later LP's are straight hard-rock. DODJITE NA SHOW! (LP: RTB LP 55 5296) © 1976 GLAVOM KROZ ZID (LP: Jugoton LSY 63070) © 1977 GRADSKY PRICE (LP: CBS Suzy 83894) © 1979 as Steam Roller: CITY KIDS (LP: CBS Suzy 84214) © 1980 VRUCE IGRE (LP: CBS Suzy 84814) © 1980 plus 20 more albums and loads of singles! Ivica PERCL Aka: I. Percl. Acclaimed as the first protest singer-songwriter in ex-Yugoslavia. He was born in Zagreb, Croatia in 1945 and died in 2007. He started as a guitarist of Zagreb rock group Roboti and then went solo releasing an album and 4 singles. > BOOM - FESTIVAL 1974 Bosko PETROVIC Leading Croatian jazz vibraphone player. Composer, arranger and band leader: B. P. Convention, active on the local and international scene. These are some of his more obviously interesting fusion ones... Bosko Petrovic's Nonconvertible All Stars: SWINGING EAST, RECORDED LIVE AT THE BERLIN JAZZ FESTIVAL (LP: MPS/BASF 21 21282-3) 4/11/1971 © 1973 (LP: RTB LP4345) © 1973 B. P. Convention: ZELENO RASPOLOZENJE (LP: Jugoton LSY-61165) © 1975 B. P. Convention: MISTERIJ BLUESA / MISTERY OF BLUES (2LP: Jugoton LSY-65015/6) © 1976 ETHNOLOGY (2CD: Jazzette BPCD 046) © 2002 and loads of other projects/collaborations SEPTEMBER Janez Boncina (lead vocals), Tihomir Asanovic (pianos, organs, synthesizer), Marjan Malikovic (guitars, vocals), Jadran Ogrin (bass, vocals), Braco Doblekar (Latin percussion, soprano sax, vocals), Nelfi Depanger (drums, percussion, vocals) # Rock and jazz-fusion band, towards Chicago or Blood Sweat & Tears. They grew out of the super-group project Jugoslavenska Pop Selekcija in September 1975, hence the name, with international cast of musicians from Time, Mladi Levi, Srce, etc. ZADNJA AVANTURA (LP: RTB LP 55-5275) © 1976 > RANDEVU S MUZIKOM DOMOVINA MOJA (LP: RTV LD 0465) 4/1978 © 1979 # SPEKTAR Enco Lesic (vocals, keyboards), Davor Rocco (bass, acoustic guitar), Dragan Brcic (drums, percussion) Organ driven melodic rock from Zagreb, led by keyboardist and composer Enco Lesic from Indexi. SPEKTAR (LP: Suzy LP 306) © 1974 STAKLENO ZVONO Santro Domino (vocals), Veno Tarbuk (guitar, vocals), Zoran Kras (keyboards, vocals), Hrvoje Galekovic (drums), Vladimir Georgev (bass, vocals) # Pop rock band from the second half of the 70s. They were from Zagreb and their name translates as "The Bell Jar". Good heavy rock based on their BOOM '77 track. Their singles all seem to be rather mediocre however. > BOOM '77 STA SI UVRTILA U GLAVU (LP: Jugoton LSY-63078) © 1978 # plus loads of singles! STIJENE Zorica Kondza (vocals), Goran Taras (bass), Damir Malovan (guitars, backing vocals), Vojo Stojanovic (drums), Marin Miso Limic (Organ, Piano, strings, synthesizer, backing vocals) # Heavy rock, ballads and a very odd female singer. They were formed in the 1970s by keyboard player and composer Marin Miso Limic in the town of Klis (near Split). All their other recordings (apart from the debut LP) are listed as pop. CEMENTNA PRASINA (LP: RTB 2120550) © 1981 # plus 3 more albums and loads of singles! TIME Dado Topic (lead vocals, bass), Vedran P. Bozic (guitars, vocals), Tihomir Pop Asanovic (organ), Brane L. Zivkovic (keyboards, flute), Mario Mavrin (bass), Ratko Divjak (drums), Dabi Lukac (Moog, Mellotron) Progressive rock band similar to early Smak and with Italian rock influences, moving to jazz-rock realms later. > BOOM - POP FESTIVAL LJUBLJANA 72 TIME (LP: Jugoton LPY 60978) © 1972, (CD: Croatia Records 5 04371 3) © 1993 - 2 bonus tracks Reci Ciganko, Sto Mi U Dlanu Pise / Makedonija (7": Jugoton MCY 119) © 1973 TIME II (LP: RTB LP 55-52-51 / Alta ATLP 106) © 1975 Kad Jednom Otkrijem Coveka U Sebi / Da Li Znas Da Te Volim (7": RTB S 52 694) © 1975 ZIVOT U CIZMAMA S VISOKOM PETOM (LP: RTB LP 55-52-92) © 1976 Kad Smo Ja I Moj Mis Bili Bokseri / Dok Ja I Moj Mis Sviramo Jazz (7": RTB S 51 748) © 1976 Tini - Tina / Dok Sjedim Ovako U Tvojoj Blizini (7": RTB S 51 756) © 1976 > RANDEVU S MUZIKOM DADO TOPIC & TIME (CD: Krin Music 411526) © 1996 - 2nd & 3rd LP's. THE BEST OF TIME (CD: GR 91053) © 199? - 1st album plus bonus tracks. CZECH REPUBLIC Despite an almost Draconian control of the arts, from the late 1960s through to the 80s, the Czechoslovakian government encouraged the facade of a Western style record industry, with three major labels: Opus and Supraphon, who released everything from classical through to pop (and occasional progressive releases), and Panton (the most specialised label) which had a jazz and folk bias. The quiet revolution and dissolution of the Communist state, has since opened the floodgates of the blossoming underground scene, with a proliferation of labels, offering a vast wealth of revolutionary music by bands who previously had to play it safe, or were classed as subversive and were banned. Czechoslovakia is now two separate states. So, see also: Slovakia. Hopefully everything is in the right place!. ABRAXAS Slavek Janda (guitar, vocals), Michal Ditrich (bass, vocals), Lubos Nohavica (keyboards, choir), Jaroslav Trachta (sax), Vladislav Sosna (drums) # Rock band with a jazzy edge. BOX (LP: Panton 8113 0275) 2/1982 © 1982 MANEZ (LP: Panton 8113 0489) 4-5/1984 © 1984 # MIDNIGHT CITY (LP: Panton 8113 0493) 5-10/1984 © 1985 - English vocal version of MANEZ ST'ASTNEJ BLAZEN (LP: Panton 81 0664-1311) 3-5/1986 © 1986 plus 6 more albums and loads of singles! AGON Inventive vaguely systemic/atonal avant-ensemble. They have numerous other releases 1994 to 2012. AGON CONTEMPORARY MUSIC ENSEMBLE PRAGUE (CD: Arta F10018) © 1991 AKU-AKU Jaroslav Neuhoffer (vocals, violin), Vladimir Saska (drums, vocals), Ludek Zednik (bass), Jan Peclinovsky (guitar, vocals) Curious blending of progressive and weird new-wave. A bit like MCH Band, but more aggressive and heavy going. HUMANQUAKE (LP: Pro Art KS 0002-1311) 11/1990 © 1991 plus at least 4 more albums Lubos ANDRST Talented jazz guitarist, ex-Jazz Q and Energit. CAPRICORNUS (LP: Panton 8115 0168) 6-9/1980 © 1980 PLUS MINUS BLUES (LP: Panton 81 0735-1511) © 1988 > CZECH MASTERS OF ROCK GUITAR plus many collaborations Dagmar ANDRTOVA-VONKOVA Female folk singer producing unusual folk-fusion. She has also worked with Radim Hladik. DAGMAR ANDRTOVA-VONKOVA (LP: Panton 81 0651-1311) © 1987 ZIVA VODA (LP: Panton 81 0870-1311) © 1989 BACILY Vaclav Neckar (vocals), Milan Vitoch (drums), Ota Petrina (guitar), Jan Neckar (keyboards), Petr Formanek (piano), Jan Hauser (bass) [Aka VACLAV NECKAR & BACILLI] Wide ranging rock and pop band who also tried prog and concept ideas. DR. DAM DI DAM A JEHO BACILY (LP: Supraphon 113 1344) 25/5/1972 © 1972 TOMU, KDO NAS MA RAD (LP: Supraphon 113 1545) 2-4/1974 © 1974 PLANETARIUM (2LP: Supraphon 113 2301 / 2) 9-10/1976 © 1977, English vocal version: PLANETARIUM (2LP: Supraphon 1113 3621 / 2) 1-6/1981 © 1983 PODEJ MI RUKU... (LP: Supraphon 1113 2678) 6/1979 © 1980 SLUNECNI VEK (LP: Supraphon 1113 2889) 10-12/1980 © 1981 MYDLOVY PRINC (LP: Supraphon 1113 2904) © 1981 - sampler plus many more, and loads of singles! BARNODAJ Zdenek Kluka (drums, Moog, guitars, harmonica, vocals), Pavel Vane (guitars, mandolin, vocals), Jan Sochor (piano, organ, Moog, string ensemble, cembalo, vocals), Pavel Pelc (bass, choir) [In English: PROGRESS] Beat group who started life as the backing band Skupina Jana Sochora, but later reinvented themselves many times, turning progressive and eventually adopting the name Progres 2. Pram Z Tramu / Maugli (7": Supraphon 1 43 2238) © 1978 MAUGLI (LP: Supraphon 113 1919) 10/1977 © 1978 (LP: Supraphon 1113 1919) © 1985 (CD: Monitor 010212 - 2 331) © 1993 Iva BITTOVA Experimental vocalist and violinist combining folk, ethnic and classical elements into unique fusion. with Ex Libris: Rano S Tebou (7": Panton 8143 0071) © 1980 - A-side only Ukolebavka / Plavil Janko Kone / Bozi Darek (7" EP: Panton 8133 0219) © 1986 with Divadlo Na Provazku: Balada Pro Banditu (7" EP: Panton 81 0349-7311) © 1988 with Divadlo Na Provazku: Na Davnem Prosu (7" EP: Panton 81 0398-7311) © 1989 BITTOVA (LP/CD: Pavian PM 0001-1311/2311) 1990 © 1991 NE NEHLEDEJ (CD: Ariola 74321 24858 2) © 1994 CIKORI (CD: Indies MAM 150-2) © 2001 and many more! Iva BITTOVA & Pavel FAJT Iva Bittova (vocals, violin), Pavel Fajt (drums, metal) # Strongly inspired by the RiO scene, blending folk melodies into a strange fusion. Audion extract: Iva Bittova & Pavel Fajt - SVATBA - I became aware of the revolutionary duo Bittova & Fajt by the most peculiar track on RE RECORDS QUARTERLY Vol.2 No.1, and though I'm told the first album by these Czech. musical adventurers is better than this, I'm nonetheless impressed. Well, what can a female vocalist/violinist and a drummer do? Quite a lot actually. Though the musical fabric is loose, this is exceptionally inventive engaging and expressive music: quirky, fragmented and powerful, brilliant gibberish and sung vocals from Iva, spectacular rhythmic and solo violin, plus amply dynamic and wide ranging percussives from Pavel. The music is a kind of strange contortion of rock, jazz and Slovenian (possibly) folk music, pepped up with lots of energy and creative abandon. Anyone with a love for female vocal experimentation and inventive musical fusion should definitely check this out. BITTOVA & FAJT (LP: Panton 81-0795-1311) 5/1987 © 1987 (CD: Panton 81 0795-2311) © 1991 SVATBA (LP, Switzerland: Review rere 117) 6/1987 © 1987 (CD, Switzerland: Review rere 117 MCD) © 1991 # > ReR QUARTERLY, VOL.2 NO.1 (LP+mag, UK: ReR 0201) © 1987 BLUE EFFECT > MODRY EFEKT BLUES BAND Peter Lipa (vocals), Lubos Andrst (guitar), Ondrej Konrad (harmonica), Vladimir Kuhlanek (bass), Jaromir Helesic (drums) Bohemian blues band. BLUES Z LIPOVEHO DREVA (LP: Supraphon 1115 3109) 11/1983 © 1984 Tento Tyzden Neman Cas / Na Seba Sa Hram (7": Opus 9143 0640) © 1985 Omyl / Ponahl'aj Sa Pomaly (7: Opus 9143 0658) © 1986 SKRTNI CO SI NEHODI (LP: Supraphon 1115 4206) 10/1986 © 1987 BLUES OFFICE (LP: Supraphon 1116 4255) 10/1986-4/1987 © 1987 - English vocal version of SKRTNI CO SI NEHODI BOHEMIA Lesek Semelka (electric piano, lead vocals), Jan Kubik (tenor sax, clarinet, flute, vocals), Michal Pavlicek (guitars), Vladimir Kulhanek (bass), Jan Hala (synthesizer), Pavel Trnavsky (drums) # A kind of super-group featuring ex-Flamengo and Modry Efekt members, playing a complex mix of prog and slightly bluesy jazz-rock. Audion extract: Two ex-Flamengo members went on to form Bohemia, along with ex-M.Efekt Lesek Semelka. Putting Semelka's song style into a jazzier music on ZRNKO PISKU yielded interesting results, a music that M.Efekt hinted at with the NOVA SYNTEZA albums, but with four keyboard players (one of them just on ARP synth) the Bohemia sound was very techno and complex. Since this Semelka went on to form his own pop-prog band SLS, session musician Michael Kocab became known for creating a new-wave fusion with his band Vyber. Kam Jdou / Bulgaria Expres (7": Panton 44 0604) 5/10/1976 © 1976 > BRATISLAVSKE DZEZOVE DNI 77 Pristav Ziznicich / Navsteva Ve Zverexu (7": Panton 44 0620) © 1977 Co Mi Brani / Vina Kridel (7": Panton 44 0625) © 1977 King Gong / U Studanky (7" EP: Panton 8135 0001) 3/1976 © 1977 ZRNKO PISKU (LP: Panton 11 0699) 6-10/1977 © 1978 # Jan BRABEC Underground rock and folk. Drummer with The Plastic People Of The Universe and Domaci Kapela, joined by Ladislav Lestina, Vit Brukner and Andrea Landovska. Z JEDNE STRANY NA DRUHOU (CD: Black Point BP 0081-4) © 1999 BRABENEK-KOMAREK-TOPOL-OPLISTILOVA-KARAFIAT-BRABEC Vratislav Brabenek (saxes, clarinet, vocals), Jan Komarek (guitar, bass, woods, cithern, vocals), Josef Karafiat (guitars, bass, guitar synthesizer, vocals), Jan Brabec (drums, clappers, synthesizer, vocals), Petra Oplistilova (cello, vocals), Filip Topol (synthesizer, vocals) Vratislav Brabenek (ex-Plastic People) & co. playing a radical and creative blend of Czech underground, jazz, folk and archetypal multi-cultural RIO styles. Audion extract: Obviously, now these musicians can openly and publicly promote themselves, they're proud to do so! It's a pity they couldn't think of a group name, though. So, the legacy of the Plastic People Of The Universe lives on, here with a really strange collection of folk, jazz and mangled rock mutations, typical of the radical Czech sound, and a hell of a lot more creative than anything since the very early Plastic People recordings. This is dark, unconventional rock, with liberal doses of Central European culture. There are strange bits of poetry juxtaposed against radical music, along with freaky jazz edges, Gothic and dark symphonics, and the most peculiar of songs. It's fascinating, if not immediate, stuff that's totally uncommercial whilst totally musical. In all - intriguing! KONEC LETA / SUMMER'S END (CD: Black Point BP 0092-2/4) 8-9/1995 © 1995 BRONZ Pavel Vane (vocals, guitars), Daniel Forro (keyboards), Richard Lasek (drums) Parallel band to Progres 2. Specha Se, Specha / Objednavej Smich (7": Panton 8143 0150) © 1982 Poprve V Praze / Cernobila (7": Panton 8143 0207) © 1983 ZIMNI KRALOVSTVI (LP: Panton 8113 0568) 7-8/1985 © 1986 C & K VOCAL & LABYRINT Zdena Adamova (vocals), Helena Arnetova (vocals), Milena Cervena (vocals), Ladislav Kantor (vocals), Lubos Pospisil (vocals), Jiri Cerha (vocals), Pavel Fort (guitar), Otakar Petrina (guitars), Vladimir Kuhlanek (bass), Pavel Vetrovec (pianos, organ, percussion), Jan Kubik (tenor sax, flute, percussion), Anatoli Kohout (drums) Vocal ensemble working with prog-rock band. GENERATION (LP: Supraphon 113 1778) 12/1974-4/1975 © 1976 - English vocal version GENERACE (LP: Supraphon 1 13 2023) 12/1974-9/1976 © 1977 - Czech vocal version CAPELLA ANTIQUA E MODERNA Vojtech Havel (viola da gamba, piano), Irena Havlova (viola da gamba, vocals), plus guests Spooky medeival music. HUDBA SFER (MC: Panton 81 0955-4) © 1989 - split with Relaxace Mikolas CHADIMA Leader of MCH Band. > ReR RECORDS QUARTERLY, VOL. 1 NO. 1 (LP+mag, UK: Re 0101) 1983 © 1985 CHADIMA-BINDER-CHARVAT Odd rock from ex-MCH Band members Miklos Chadima, Peter Binder and Ales Charvat. PSEUDEMOKRITOS (CD: Black Point BP 0098-2/4) © 1996 CHADIMA & FAJT Miklos Chadima (MCH Band) and Pavel Fajt (Dunaj). A more upbeat/accessible twist on the Czech underground sound, very MCH Band, but also with a nod to The Residents. PRUHLEDNI LIDE / TRANSPARENT PEOPLE (CD: Black Point BP 0106-2) 12/1997-3/1998 © 1998 CH.A.S.A. Ivo Albrecht (bass), Jiri Adam (guitar), Pavel Chmelar (flute, soprano/baritone saxes), Antonin Striz (drums), Ivan Havlicek (percussion), Mirka Krivankova (vocals) Jazz-fusion band who existed 1973 to 1980+ but only ever documented by one track.. > JAZZROCKOVA DILNA COMBO FH Daniel Fikejz (pianos, accordion, clavinet, harpsichord, organ, synthesizers, acoustic guitar, marimba, percussion, vocals), Borivoj Suchy (soprano/tenor saxes, cello, piano, percussion), Milan Sladek (bassoon, piano, percussion), Richard Mader (guitars, piano, percussion), Vaclav Patek (bass), Tomas Suchomel (drums, piano, percussion, vocals) # [Aka Combo Franty Hromady] They started as off-beat fusion with a good dose of Henry Cow (and hints of instrumental Zapper too), blended with Satie and Czech folk stylings, especially good on the debut EP, and on the album VECI / THINGS. They moved to a kind of pop/jazz satire after that didn't export well to non-Czech ears. Audion extract: Combo FH were no doubt introduced to most people the Mini Jazz Klub 11 7" EP distributed by Reconvened. Not an ordinary jazz group by any means, with influences as wide ranging as Czech folk, Zappa, Soft Machine, Henry Cow and a great deal of progressive rock and classical stylings. By the time of their debut LP VECI / THINGS they had developed a very personal eclectic, inventive, new music - for want of a better description - sounding like a cross between Gryphon, Henry Cow and Jazz Q, but in essence too eclectic to categorize at all! Mini Jazz Klub 11 (7" EP: Panton 33 0415) 10/1976 © 1976 Horky Vzduch A Pisek / Tic-Tac Hugo (7": Panton 8143 0028) 11/1979 © 1980 Divci Kamen (7": Panton 8143 0117) 4/1981 © 1981 - A-side only VECI / THINGS (LP: Panton 8113 0184) 5-10/1980 © 1981 # > JAZZ A LA CARTE Primky / Kdyz Nam Tece Do Bot (7": Panton 8143 0188) 6/1983 © 1983 Jsou Jen Pul (7": Panton 8143 0188) 3/1983 © 1983 - B-side only SITUACE NA STRESE (LP: Panton 8113 0559) 4-6/1985 © 1985 > ROCKOVY MARATON 2 (LP: Panton 8113 0597) 1-2/1986 © 1986 Rudolf DASEK Fusion guitarist. POHADKA PRO BERITKU / JAZZ ON SIX STRINGS (LP: Supraphon 0 15 0843) © 1970 DIALOGY / DIALOGUES (LP: Supraphon 1115 2533) 10/1972,10/1977-6/1978 © 1979 Scott, Stivin, Dasek - ROZHOVORY / CONVERSATION (LP: Supraphon 1115 2890) © 1981 MEZIPRISTANI / INTERLANDING (LP: Supraphon 1115 3279) © 1984 and lots more Rudolf DASEK & Toto BLANKE Czech & German guitarists in collaboration, generally in the light jazz mode. SILHOUTTES "Duets For Acoustic Guitars" (LP: Supraphon) © 1980 (LP, Germany: Aliso 1011) © 1981 TRAMONATA (LP, Germany: Entente 833070) © 1983 (CD, Germany: Aliso) © 1988 KIRCHENMUSIK (LP, Germany: Aliso AL 1016) 1984 © 1985 TALKING GUITARS (CD, Germany: Aliso 882622) © 1988 - plus David Qualey & Jorge Cardoso TWO MUCH! GUITAR (CD, Germany Aliso 1022) 1991 © 1993 MEDITATION: KIRCHEN MUSIK! (CD, Germany: Aliso 1026) © 1994 MONA LISA (CD, Germany: Aliso 1037) © 2000 DG 307 Pavel Zajicek (vocals), Jiri Kabes (violin), Milan Hlavsa (bass), Ivan Pospisil (drums),Vratislav Brabenec (winds) # One of the 70s underground bands that were banned by the Czech government. Their style was raw and aggressive, like a cross between The Velvet Underground and The Plastic People. GIFT TO THE SHADOWS (LP: Safran SAF 7821) © 1982 1973-5 (LP: Globus International 210023-1311) 1973-1975 © 1990 # UMELE OCHUCENO / ARTIFICIALLY FLAVOURED (LP/CD: Uzejd UJ 0002) 8/1992 © 1992 KNIHA PSANA CHAOSEM) (CD: Globus International 210 186-2) © 1996 and many more DOMACI KAPELA Jan Brabec (drums, vocals, piano, percussion), Vit Brukner (bass pedals, clavinet), Zuzana Bruknerova (vocals, synthesizer), Martin Dvorak (cello), Josef Karafiat (guitars), Jiri Zavadil (violin) Experimental rock from Jan Brabec (ex-Plastic People) & co. NEDELE (LP/CD: Ujezd UJ 0001-1331/2331) 1-2/1992 © 1992 # JEDNE NOCI SNIL (CD: Rachot R-0010 © 1996 DUNAJ Vladimir Vaclavek (bass, vocals, guitar), Jiri Kolsovsky (vocals, guitar, flute), Josef Ostransky (guitar, vocals), Zdenek Plachy (keyboards), Pavel Fajt (drums, percussion, vocals) # Quirky new-wave and progressive. with Iva Bittova: Zrcadlovy Sal / Plne Nebe (7": Panton 81 0361-7311) © 1988 with Iva Bittova: BITTOVA & DUNAJ (LP: Panton 81 0816-1311) 1-2/1988 © 1988 ROSOL (LP / CD: Pavian PM 0002) 6/1990-1/1991 © 1991 # DUDLAY (LP: Bonton 71 0118-1331) 1993 © 1993 DUNAJ IV (LP: Rachot R 0004) 7/1994 © 1994 E Vladimir Kokolia (vocals), Josef Ostransky (guitar, hi-hat), Vladimir Vaclavek (bass, acoustic guitar, drums) Ex-Extempore band. Crazed experimental rock typical of the 90s Czech wave. E / LIVE / (LP: Globus International 210008-1311) 15/2/1990 © 1990 I ADORE NOTHING (CD: Rachot) © 1994 E UCHO DEBIL ACCORD BAND Jiri Zelenka (vocals, guitar), Pavel Skaryd (bass), Vaclav Sefrna (drums), Jan Vladar (guitar) Underground rock band from Zatec, existing 1980-86, with members going on to Orchestr Bissext. ...STOJIME U ZDI... (MC: private) © 1985 (LP: Fecal Records FR 0001-1311) © 1991 ENERGIT Lubos Andrst (guitar), Emil Viklicky (pianos, synthesizer), Rudolf Tichacek (soprano sax), Jan Vytrhlik (bass), Jiri Tomek (congas), Karel Jencik (drums), Anatoli Kohout (drums), Josef Vejvoda (drums) # Vehicle of ex-Jazz Q guitarist Lubos Andrst, and most notable for their furiously powerful debut LP, which fused the early Jazz Q sound with the instrumental fusion of The Mothers or Miles Davis. The second album PIKNIK had a very different funky and brassy feel. Audion extract: Probably feeling cornered by Kratochvil's music, ex-Jazz Q guitarist Lubos Andrst formed Energit together with keyboardist Emil Viklicky. Their debut was even better than anything Jazz Q produced. Still with that spacey edge, but with lots or energy too - Energit lived up to their name! With a great rhythmic base, ever changing but riffing structure, the 17 minute "Rano" recalls both classic Miles Davis and Terje Rypdal, but with electric sax as winds soloist. Their second PIKNIK was a very different affair, this featured lots of winds, shorter composed pieces as opposed to the free-riffing of the first, often more what one would expect from George Gruntz or Manfred Schoof. Latterly, Andrst pursued a solo career, Viklicky worked with the piano trio Klavesova Konclava and later in Okno with Bill Frisell. ENERGIT (LP: Supraphon 1 13 1787) 12/1974 © 1975 # Mini Jazz Klub 6 (7" EP: Panton 33 0392) 14/6/1976 © 1976 > JAZZROCKOVA DILNA 2 PIKNIK (LP: Panton 11 0695) 1-2/1978 © 1978 > BRATISLAVSKE DZEZOVE DNI 77 > BRATISLAVSKE DZEZOVE DNI 78 ETC... Vladimir Misik (vocals, guitars, kazoo), Pavel Fort (guitars), Petr Pokorny (guitar), Jan Hruby (violins, tambourine), Anatloi Kohout (drums, percussion) Vladimir Misik, formerly with the pop / beat band George & Beatovens in 1968 and then Flamengo, formed Etc... as his all-purpose rock and fusion band with a constantly changing cast of musicians and collaborators. VLADIMIR MISIK ETC... (LP: Supraphon 113 1918) 10-11/1975 © 1976 Ja Mam Schuzku O Pul Pate / Lady Vamp (7": Supraphon 143 2146) © 1977 as Vladimir Misik & Etc Band: THEY CUT OFF THE LITTLE BOYS HAIR (LP: Supraphon 1113 2403) 10/1975-10/1977 © 1978 ETC... 2 (LP: Supraphon 1113 2558) 7/1979 © 1980 Jiri Jelinek In Memorium (2x7" EP: Panton 81 0813-7312) 1976-1977 © 1987 ETC... 3 (LP: Supraphon 1113 4078) 2/1986 © 1987 ETC... 4 (LP: Supraphon 1113 4203) 1-2/1987 © 1987 Spejchar Blues / Kralovsky (7": Supraphon 11 0013-7311) © 1989 Co Ti Dam? / Tve Oci (7": Supraphon 11 0374-7311) 10-11/1989 © 1989 with Miroslav Kovarik: PAR TONU, KTERE PREBYVAJI (LP: Panton 81 0869-1311) 5/9/1980 © 1989 20 DEKA DUSE (LP: Supraphon 11 0854-1311) 10-11/1989 © 1990 > BAZAREM PROMEN THE EXTEMPORE BAND Mikolas Chadima (saxes, vocals, guitar, trumpet), Slavek Simon (bass, vocals), Martha Gotthard (percussion, voice), Mirko "Ali" Horacek (drums, choir, trumpet), Vlad'a Brom (guitar), Jiri "Nory" Radechovsky (guitar), Pavel Turnovsky (synthesizer) # Aka The Naive Extempore Band or Rock & Jokes Extempore Band. Radical and inventive 70s group banned by the Czech government, fronted by Miklos Chadima (later of MCH Band) and like a more musically involved Plastic People. > CZECH! TILL NOW PLESNIVE EMBRYO (MC: J.J.N. Records) © 1984, (MC: Fist Records)1973 © 1996, (Black Point BP 0042) AZBESTOVY GULAS (MC: Fist Records) © 1986, (CD: Black Point BP 0045-4) 1974 © 199? STEHLIK (MC: Fist Records) 1975 © 1985, (Black Point BP 0007) MILA CTYR VISELCU (MC: Fist Records) 1976 © 1986, (CD/MC Black Point BP 0091-2/4) © 1996 EBONITOVY SAMOTAR (MC: Fist Records) 1977 © 1986, (Black Point BP 0008) DUM C.P. 112/34 (MC: Fist Records) 1978 © 1986, (Black Point BP 0011) ZABIJACKA (MC: Fist Records) 1979 © 1986, (CD: Black Point BP 0020-2) © 1999 JARO, LETO, PUNK (MC: Fist Records) 1979-80 © 1986, (Black Point BP 0026) © 1992 VELKOMESTO / THE CITY (2LP: Globus International 210068/9-1312) 12/1979-4/1981 © 1990 # with J.J. Neduha: SEL JSEM VCERA DOMU, PRISEL JSEM AZ DNESKA! (LP: Supraphon 11 1386-1311) © 1991 Pavel FAJT & PLUTO Vaclav Bartos (vocals), Petr Zavadil (guitar), Tomas Frohlich (bass), Pavel Fajt (drums, percussion, sound wheel) Wide-ranging left-field avant-rock project with funky, jazzy and new wave elements. PAVEL FAJT & PLUTO (CD: Indies MAM040-2,4) © 1996 Daniel FIKEJZ Combo FH leader. Mama Ma Misu (7": Panton 8143 0147) 8/3/1982 © 1982 - B-side only with Jan Burian: HODINA DUCHU (LP: Panton 81 0881-1311) 9-11/1988 © 1989 FLAMENGO Jan Kubik (saxes, flute, clarinet, vocals), Pavel Fort (guitars, vocals), Ivan Khunt (keyboards, vocals), Vladimir Guma Kulhanek (bass, vocals), Jaroslav Erno Sedivy (drums, percussion), Vladimir Misik (vocals, congas, acoustic guitar) # A seminal band, although their sole album was banned upon release! They started as a pop band, and developed from beat and jazz roots in the 1960s, onto a lively complex progressive fusion akin to early Colosseum, but with a fiery M. Efekt like energy and a uniquely Czech sound. Audion extract: Vladimir Misik has been known for his work with numerous Czech bands, but mostly for his own band: Vladimir Misik Etc. Most of what I've heard by his band however has been less than impressive, a mixing of jazz-rock and blues with little merit or distinction. Far better were an earlier band he was involved with, namely Flamengo. Their 1972 album KURE V HODINKACH has just been reissued. A kind of jazzy parallel to M.Efekt I suppose. or even bands like Colosseum or Tasavallan Presidentti, Flamengo's style was an intricate and finely crafted progressive- fusion featuring lengthy instrumental breaks and solos from numerous instruments. with Petr Novak: Ja Budu Chodit Po Spickach / Povidej (7": Supraphon 043 0296) 5/6/1967 © 1967 with Karel Kahovec: Vyber Si Palac / Svou Lasku Jsem Rozdal (7": Supraphon 043 0329) 6+7/1967 © 1967 Pani V Cernem / Nahrobni Kamen (7": Supraphon 043 0345) 7+9/1967 © 1967 Dzban / Poprava Blond Holky (7": Supraphon 043 0362) 6+10/1967 © 1967 with Karel Kahovec: Co Skrývas V Ocich / Zavrazdil Jsem Lasku (7": Supraphon 043 0457) 6/1977+2/1968 © 1968 > NIGHT CLUB '68 > 2. CS. BEAT-FESTIVAL 68 with Karel Kahovec: The Way For Horses / No Reply (7": Supraphon 043 0632) 1968 © 1969 Summertime / Too Much Love Is A Bad Thing (7": Supraphon 043 830) 4/7/1969 © 1969 Vim, Ze Placem To Skonci (7": Panton 04 0295) 26/5/1970 © 1970 - A-side only Kazdou Chvili / Týyden V Elektrickem Meste (7": Supraphon 0 43 1214) 25/6/1971 © 1971 Kure V Hodinkach / Stale Dal (7": Supraphon 0 43 1453) © 1972 KURE V HODINKACH (LP: Supraphon 113 1287) 6/71-3/1972 © 1972 # (LP/CD: Supraphon 10 1287-1311/2311) © 1990, (CD: Bonton BON 491053-2) © 1998 - plus Kazdou Chvili / Tyden V Elektrickem Meste single > BAZAREM PROMEN FRAMUS FIVE Michal Prokop (vocals), Lubos Andrst (guitar), Ladislav Elias (bass), Ivan Trnka (keyboards), Kasa Jahn (drums) # Brassy rock band. > BEAT - LINE SUPRAPHON 68 (LP: Supraphon 013 0525) © 1968 > NIGHT CLUB '68 > 2. CS. BEAT-FESTIVAL 68 FRAMUS FIVE + MICHAL PROKOP (LP: Supraphon 113 0578) 10-11/1968 © 1969, reissued as: BLUES IN SOUL (LP: Supraphon 013 0578) © 1971 MESTO ER (LP: Supraphon 113 1069) 12/1970-1/1971 © 1971 (CD: Supraphon 10 1069-2) # plus numerous singles! FRONTALNI PORUCHA David Vanecek (keyboards), Lexa Snopek (keyboards), Karel Herman (vocals), Petr Alexander (drums) Doomy gothic keyboard-fronted music that defies any easy description, they could be called an atmospheric gloomy Dead Can Dance, but with Czech folk roots. VECNE SVETLO (LP: Globus International 210009-1311) 3-4/1990 © 1990 GARAZ Tony Duchacek (vocals), Milan Hlavsa (bass, guitar), Ivo Pospisil (bass), Tonda Penicka (drums), Honza Machacek (guitar), Jiri Jelinek (trombone), Tadeas Vercak (guitar), Tomas Svoboda (trumpet), Tomas Belko (tenor sax), Jindrich Biskup (sax), Tomas Kurfurst (trumpet), Ivan Pavlu (percussion) Interconnected with The Plastic People, etc. THE BEST OF GARAZ (LP: Globus International 21 0012-1311) 1984-1988 © 1990 VZKOPAVKY (LP: Globus International 21 0025-1311) © 1990 PULNOC A GARAZ (MLP: Panton 81 1057-6311) © 1990 - B-side only PRAHA (LP: Radost ME 1621/2) © 1991 GERA BAND Michal Gera (trumpet, flugelhorn), Vaclav Bratrych (tenor sax), Vít Svec (bass), Jaromir Helesic (drums) Lively fusion from Michal Gera (ex-Impuls) & co. FATA MORGANA (LP: Panton 81 0684-1 511) © 1987 Jan HAMMER Born 1948 in Prague, former Czechoslovakia. Originally in a trio with Alan and Miroslav Vitous in the 1960s. All his known recorded output is from since he moved to the USA, and mostly as a keyboardist, including many LP's with the Mahavishnu Orchestra. Nowadays he's best known for his synthesizer based film and TV soundtracks. LIKE CHILDREN (LP, USA: Nemperor NE430) © 1974, (LP, UK: Atlantic K 50092) © 1974 John Abercrombie, Jan Hammer, Jack De Johnette - TIMELESS (LP, Germany: ECM 1047 ST) © 1975 THE FIRST SEVEN DAYS (LP, USA: Nemperor NE432) © 1975, (LP, UK: Atlantic K 50184) © 1975 and numerous others! Irena HAVLOVA & Vojtech HAVEL Multi-instrumental husband and wife duo who graduated from folk to experimental music. Their releases comprise eerie, gothic and fascinating music performed on medieval instruments, church organs, all sorts of ethnic instruments, percussions, etc. sometimes like a subdued songless Nico. HATA H (LP/CD: Primus V1 0005) © 1990/92 MALE MODRE NIC / LITTLE BLUE NOTHING (CD: Arta F1 0021 2511) 1989-1990 © 1991 TAJEMNA GAMALENIE / MYSTERIOUS GAMELANLAND (CD: Tonk TK 006 2311) © 1992 HUDBA TICHA / MUSIC OF SILENCE (CD: Pragma PG 0001 2231) © 1992 NEZNE KE SVETLU / TENDERLY TO LIGHT (CD: Monitor 660 300-2 331) © 1994 and many more HENRICH Multi-instrumentalist Henrich Lesko aka Lesko H. Experimental theatre and gothic-folk-cosmic music. NINNANANNA (LP: Clara 57 007-2) © 1992 (CD: Popron 570072) © 199? Radim HLADIK Modry Efekt leader. > CZECH MASTERS OF ROCK GUITAR with Dasa Andrtova: VOLIERA (CD: Indies MAM060-2,4) © 1997 IMPULS Jaromir Helesic (drums), Michal Gera (trumpet), Zdenek Fiser (guitar), Pavel Kostiuk (keyboards) # Jazz-rock with Chick Corea/Weather Report influences. Mini Jazz Klub 7 (7" EP: Panton 33 0396) 2/6/1976 © 1976 # > JAZZROCKOVA DILNA IMPULS (LP: Panton 11 0684) 1977 © 1977 > JAZZROCKOVA DILNA 2 > BRATISLAVSKE DZEZOVE DNI 77 JABLKON Michael Nemec (vocals, percussion, guitar), Ingo Bellman (guitar, vocals), Ivan Podobsky (drums, vocals, percussion) # A unique and strange blend of Czech folk and unclassifiable musics. Mostly acoustic, yet quite surreal. > CZECH! TILL NOW Mini Jazz Klub 45 (7" EP: Panton 8135 0213) 6/1986 © 1986 DEVATA VLNA (LP: Panton 81 0815) 1988 © 1988 # JABLKON & SVECENY (CD: B+N Agency 9101) 2-5/1991 © 1991 BABA AGA (CD: B+N Agency 9202) 3-10/1992 © 1992 SYMPHONIC (CD: Fisyo F1003-2031) 1994 © 1995 MACHALAJ (CD: Baba N.9504) © 1995 Oldrich JANOTA Unusual folk and ethnic musics, Oldrich Janota is often aided by Vojtech Havel and Irena Havlova. Cesty 15 (7" EP: Panton 81 1383-7311) © 1989 - with Vojtech A Irena Havlovi NEVIDITELNE VECI (MC: Panton 81-1081-4311) © 1990 - with Vojtech A Irena Havlovi OLDRICH JANOTA (LP: Panton 81 0691-1 311) 1990 © 1990 SESITE (CD: Indies MAM024-2,4) © 1997 and many more collaborations, plus earlier folk some cassettes JAZZ CELULA Laco Deczi (trumpet), Petr Korinek (bass), Svatopluk Kosvanec (trombone), Zdenek Dvorak (guitar), Josef Vejvoda (drums), Petr Kral (tenor saxophone), Karel Ruzicka (piano) # Mellow jazz fusion. Often credited as Laco Deczi &... The Celula Quintet: PIETOSO (LP: Supraphon 1 15 0596) © 1969 OHEN AZ POZAR (LP: Panton 11 0638) © 1976 JAZZ CELULA (LP: Opus 9115 0703) © 1978 # Mini Jazz Klub 21 ( 7" EP: Panton 8135 0002) © 1979 JAZZISSIMO (LP: Panton 8115 0261) © 1982 JAZZ FRAGMENT PRAGUE Ales Faix (piano, synthesizers), Milan Pekny (violin), Martin Brunner (flute), Petr Dvorak (bass), Petr Reiterman (drums, percussion) Slick jazz-fusion. Mini Jazz Klub 29 (7" EP: Panton 8135 0049) © 1980 ANACONDA (LP: Supraphon 1115 4246) 8/1986 © 1987 with Svetlana Musilova: THE OPENED LETTER (CD: Panton 81 1055 - 2511) © 1992 JAZZ Q (PRAHA) Martin Kratochvil (electric piano), Lubos Andrst (guitar), Vladimir Padrunek (bass), Michal Vrbovec (drums) # Formed in 1965 as the free-jazz group: Jazz Q Praha (Jazz Quartet/Quintet Prague), featuring Jiri Stivin and singer Helena Vondrackova (in the early-70s with Irish singer Joan Duggan). They eventually become the vehicle of Chic Corea inspired keyboardist Martin Kratochvil, making a synth fronted fusion in the ECM type style. Jazz Q were a revolutionary fusion band, pioneering the Czech jazz-rock sound. Audion extract: Jazz Q (aka Jazz Q Praha) were one of the foremost and innovative of Czech jazz-rock groups. Arguably in similar realms to Nucleus at the start, they developed a sophisticated fusion with. a very spacey sound, especially on THE WATCHTOWER which had just five tracks of rather understated atmospheric jazz. Vocalist Joan Duggan, who was a guest here, had a greater role in the album SYMBIOSIS which moved dangerously close to soul at times. In time, keyboard player and leader Martin Kratochvil took over the band completely, putting his keyboards at the front of the sound and moving the Jazz Q style closer to the likes of Return To Forever with albums like ELEGY and TIDINGS. If these had been released on ECM, Jazz Q would have become a household name. > ZURICH JAZZ FESTIVAL 1971 (2LP Germany: MPS Records 33 21277-7) © 1971 POZOROVATELNA / THE WATCH-TOWER (LP: Panton 01 0285/11) 29/1/1973 © 1973 # SYMBIOSIS (LP: Supraphon 115 1356) 3-10/1973 © 1973 (CD: Bonton 71 0671-2) © 1998 - 1 bonus track Mini Jazz Klub 5 (7" EP: Panton 33 0381) 9/1976 © 1976 ELEGIE / ELEGY (LP: Supraphon 115 1983) 2-3/1976 © 1976 > JAZZROCKOVA DILNA > JAZZROCKOVA DILNA 2 with Marta Elefteriadu: Horizont / Horky Vitr (7": Panton 44 0593) 27/10/1977 © 1978 with Oskar Petr: Obchodnik S Destem / Blues Podzimniho Dopeldene (7": Panton 8145 0004) 28/2/1979 © 1979 with Oskar Petr & Zuzana Michnova: Podzinmy Obnicky / Plavec Dlouhych Trati (7": Supraphon 1145 2295) © 1979 Pecet' / Kresadlo (7" EP: Panton 8135 0007) © 1979 ZVESTI / TIDINGS (LP: Supraphon 1115 2450) 11-12/1977 © 1979 (LP: Amiga 8 55 723) © 1980 HODOKVAS / FEAST (LP: Supraphon 1115 2604) 3/1979 © 1980 > JAZZ A LA CARTE HVEZDON / ASTEROID (LP: Supraphon 1115 3525) © 1984 with Jana Koubkova: Zly Sen / Ovci Vlna (7" EP: Panton 8135 0217) 1/1984 © 1984 with Jana Koubkova: Jsem Sva (7": Panton 8143 0217) © 1984 - B-side only > BAZAREM PROMEN 1974-75 LIVE (CD: Bonton 71 0030-2 911) © 1991- official issue of a bootleg JAZZROCKOVA DILNA Joan Duggan (vocals), Lubos Andrst (guitar), Martin Kratochvil (electric piano, Moog), Jan Martinec (soprano sax, violin), Petr Kolinek (bass), Josef Vejvoda (drums), Jiri Tomek (percussion) Impromptu session band featuring Jazz Q members. > JAZZROCKOVA DILNA JESTE JSME SE NEDOHODLI Petr Lisku (vocals), Stanislav Filip (guitars, synthesizer), Karel David (bass, vocals), Ivo Horak (guitar), Petr Hromadka (drums, synthesizer) # Off-beat and highly inventive rock fusion, comparable to RIO bands like Debile Menthol, Etron Fou, etc. > CZECH! TILL NOW ...JESTE JSME SE NEDOHODLI (LP: Globus International 210020-1311) 4/1990 © 1990 # Robert JISA Unique ambient, minimalist and new-age musics. HOURGLASS (CD: Clara 57 005-2) © 1992 and at least 6 more! Gabriel JONAS Member of Klavesova Konklava. IMPRESIE (LP: Opus 9115 0729) © 1978 KLAVESOVA KONKLAVA Gabriel Jonas (piano), Karel Ruzicka (electric piano), Emil Viklicky (electric piano), Petr Korinek (bass), Josef Vejvoda (drums), Jiri Tomek (congas) Piano fronted jazz-rock project commissioned by the Prague Arts Council. KLAVESOVA KONKLAVA / KEYBOARD CONCLAVE (LP: Supraphon 1115 2228) © 1978 Michal KOCAB Keyboardist/vocalist, ex-Flamengo. Co Mam Rict (7": Panton 8143 0147) © 1982 - A-side only S Cizi Zenou V Cizim Pokoji / Stari (7": Supraphon 11 0111-7311) © 1988 POVIDALI, ZE MU BRALI (LP: Panton 81 0709-1311) 1986-1988 © 1988 with Petr Hapka: Viteje V Absurdistanu (7": Supraphon 11 0431-1311) © 1990 - A-side only ODYSSEUS (LP: Supraphon 11 1177-1911) 1987 © 1990 Michal KOCAB & Michael PAVLICEK Guitar and synth duo who have recorded numerous film soundtracks of unusual synth based music (notably the soundtrack to "The Pied Piper" together with Jiri Stivin) that is vivid and dramatic. Check out connected projects: Prazsky Vyber, Stromboli, and Pavlicek's solo's. Bila Velryba (7" EP: Panton 8133 0179) 2/1985 © 1985 with Prazsky Vyber: Hledam Dum Holubi (7" EP: Supraphon 1143 3101) © 1985 CERNE SVETLO / BLACK LIGHT (LP: Bonton 71 0006-1331) 8/1987+8/1989 © 1990, (CD: Bonton 71 0017-2331) © 1990 - CD is an extended version Pavel KOPECKY Contemporary, electroacoutic composer and synthesist. > LOOKING EAST - CSFR > CONTEMPORARY CZECH MUSIC - ATELIER II (CD: Cesky Rozhlas 0116-2 131) © 1999 Martin KRATOCHVIL & Tony ACKERMANN Atmospheric fusion. STARA ZNAMOST / OLD ACQUAINTANCESHIP (LP: Panton 81 0690-1511) 9/1986 © 1986 SPOLU / TOGETHER (LP: Bonton 71 0008-1531) 6/1988 © 1990 plus Vojtech HAVEL: MORAVSKE KONCERTY / MORAVIAN CONCERTS (CD: Bonton 71 0001 - 2531) © 199? plus Vojtech HAVEL: CHIAROSCURO / SEROSVIT (CD: Bonton 71 0128-2 511) © 1993 Jaroslav KRCEK Avant-Garde classical and electronics composer. > KATZER / KRAUSE / KRCEK (LP, UK: Recommended RR 22) © 1986 RAAB (LP, UK: Recommended RR 23) © 1987, NEVESTKA RAAB (LP: Panton 81 0836-1611) © 1989 and lots of classical releases not relevant here Vaclav KUCERA Avant-Garde composer sometimes creating weird and dissonant choral and percussion music, a bit like Stockhausen. > FROM CZECH ELECTRONIC MUSIC STUDIOS > SPARTACUS / SINFONIETTA NO. 3 (LP: Supraphon 1110 3915) © 1986 > MUSICA NOVA BOHEMICA (Supraphon 1110 3915) © 1986 MAHAGON Zdena Adamova (vocals), Jaroslav Solc (flute), Stepan Koutnik (bass clarinet), Jan Hruby (violin), Zdenek Sedivy (trumpet), Jindrich Parma (trumpet), Jiri Niederle (soprano sax), Bohuslav Volf (trombone), Jiri Jelinek (guitars), Michael Kocab (pianos, clavinet), Ladislav Malina (drums), Petr Klapka (bass) # Lively jazz-rock by ex-Flamengo members, especially good on their debut LP. Pulnocni Bal / Cervene Korale (7": Supraphon 143 2007) 15/5/1976 © 1976 Ve Svetle Petrolejky / Motyli Kridla (7": Supraphon 143 2041) © 1976 Kvuli Nam (7": Panton 44 0656) 5/1978 © 1978 - B-side only MAHAGON (LP: Supraphon 115 2145) 5/1977 © 1978 # Hektolir Lasky / Svet Je Citit Clovecinou (7": Supraphon 1143 2263) 22/12/1978 © 1979 with Jan Spaleny: SIGNAL CASU (LP: Supraphon 1113 2646) 3-6/1979 © 1979 (LP: Supraphon 1113 2654) © 1981 SLUNECNI PRO VICENTA VAN GOGHA / PORTRAIT OF VINCENT VAN GOGH (LP: Supraphon 1113 2684) 6-7/1979 © 1980 MARSYAS Zuzana Michnova (vocals), Oskar Petr (vocals, guitar, cabasa), Petr Kalandra (vocals, guitar, harmonica), Pavel Fort (guitars), Michal Kocab (pianos, organ, string ensemble), Ondrej Soukup (bass), Ladislav Malina (drums) # Light and folky rock. Podzimni Sen / Zni (7": Panton 44 0534) 5/1974 © 1974 MARSYAS (LP: Supraphon 113 2390) 6/1977 © 1978 # Zaliv Zar / Priste Se Ti Radsi Vyhnu (7": Panton 8143 0006) 16/2/1979 © 1979 KOUSEK PRIZNE (LP: Supraphon 1113 3084) 6/1981 © 1982, English vocal version: PIECES OF FAVOUR (LP: Supraphon 1113 3134) 12/1981 © 1982 > KONCERT PRO CHMELOJEDY (LP: Supraphon 1113 3089) 27/8/1981 © 1982 Ten Muz / Horsky Lazne (7": Supraphon 1143 2723) © 1983 JEN TAK (LP: Supraphon 1113 3485) 12/83-2/1984 © 1984 Velkomesto / Zitra Ti Reknu (7": Supraphon 1143 3221) 30/3/1986 © 1986 V PRITMI (LP: Supraphon 11 0173-1311) 12/1987 © 1989 MATADORS Victor Sodoma (vocals, harmonica), Radim Hladik (guitar), Jan Farmer Obermajer (keyboards), Otto Bezloja (bass), Tony Black (drums) # Beat group from Prague. A proto super group with future members of Modry Efekt and the German band Emergency. Worth a mention here also for the excellent Pink Floyd inspired track "Extraction" on their LP. THE MATADORS (LP: Supraphon 013 0493) © 1968 # THE MATADORS (CD: Bonton 71 0244-2) © 1995 - 24 track compilation of English and Czech versions and a few singles MCH BAND Mikolas Chadima (guitar, saxes, vocals, loops), Vladimir Helebrant (synthesizer, choir, drums), Slava Simon (bass, congas), Antonin Korb (drums, choir), Martin Schneider (bass), Hynek Schneider (drums) # Miklos Chadima (formerly of Extempore Band) presents some of the most fascinating and radical rock, sometimes like a mixture of Plastic People and early Pink Floyd! All the early stuff is great, yet they failed to come up with a worthy successor to ES REUT MICH F... KROKODLAK / WERETRACER (MC: Fist Records) 5/1982 © 1982 JSME ZDRAVI A DARI SE NAM DOBRE / WE ARE WELL & WE FEEL FINE (MC: Fist Records) 10+11/1983 © 1983 > CZECH! TILL NOW 198FOUR WELL?!! (MC: Fist Records) 12/84-4/1985 © 1985 GORLEBEN (MC: Fist Records) 4/1986 © 1986 ES REUT MICH F... (2LP: Globus International 210001/2-1312) 2/88-1/1990 © 1990 # ES REUT MICH F... (CD: Globus International 210001/2-2312) © 1991 - both 2LP & CD feature tracks not on the other 1982-1986 (2CD: TomK TK 0003-2312) © 1992 - retrospective set featuring their 4 cassettes. GIB ACHT!!! (CD: Monitor 010127-2331) 3/1993 © 1993 KARNEVAL / CARNIVAL (CD: Black Point BP 0084-2/4) © 1999 plus many reissue cassettes under different titles MEZINARODNI SDRUZENI PRO NOVOU AKUSTICKOU HUDBU Martin Kratochvil (piano), Tony Ackerman (guitar), Ivan Zenaty (violin), Vojtech Havel (vocals), Musa Zangi (congas) [Aka INTERNATIONAL ASSOCIATION FOR NEW ACOUSTIC MUSIC] Acoustic fusion. ORNAMENT (LP: Panton 81 0810-1311) © 1988 Vladimir MISIK > ETC... MODRY EFEKT Radim Hladik (guitars), Fedor Freso (bass, mandolin, vocals, percussion), Oldrich Vesely (organ, pianos, synthesizers, vocals), Vladimir Cech (drums, percussion) # [Aka M. EFEKT, aka BLUE EFFECT] Originating as a blues and beat group, and fronted by the uniquely styled guitarist Radim Hladik. After successful excursions into jazz fusion, later albums developed a dynamic progressive and space-rock style akin to Eloy or Progres 2 at their best. Modry Efekt are justly classed as one of the finest of Czech 70s progressives. Audion extract: As far as I know, the earliest exponents of Czech rock were a band called Modry Efekt, or in English - The Blue Effect. An early white blues band, M.Efekt, led by talented guitarist Radim Hladik, had a penchant for invention. Although this wasn't realised at first, co-operation with the Prague jazz-rock group Jazz a changed the bands direction entirely. CONIUCTIO crossed psychedelic rock and jazz most powerfully, long tracks with great energy and lots of Radim's superb guitar. Obviously invigorated by the new musical freedom open to him Radim's next project was a great big band jazz-rock spectacular: NOVA SYNTEZA, and its companion NOVA SYNTEZA 2 which followed 2 years later, combined the power of M.Efekt's music with a huge jazz orchestra. The effect was a powerful, superbly crafted and innovative music, a veritable playground for Radim's amazing guitar. As if to signify a new era, a move to progressive realms, the next album was simply entitled MODRY EFEKT & RADIM HLADIK (an export issue of this released with the title A BENEFIT OF RADIM HLADIK). Like the first NOVA SYNTEZA this was an instrumental album, predominantly featuring lengthy tracks full of invention, power and an abundance of solos. Subsequent albums, which featured Synkopy keyboard player and vocalist Oldrich Vesely, were firmly within the progressive/space-rock mould, none more powerful than the spectacular SVITANIE, and then onto the realm Eloy or East with SVET HLADACU and 33 - both of which contain heavily synthesized instrumentation, really great guitar and a unique song style Slunecny Hrob / I've Got My Mojo Working (7": Panton 04 0201) 1/2/1969 © 1969 Snakes / Sen Neni Vecny / Sun Is So Bright / Blue Taxi (7" EP: Panton 03 0203) 1/2/1969 © 1969 Fenix / Stroj Na Nic (7": Supraphon 043 0857) 9/1969 © 1969 MEDITACE (LP: Supraphon 113 0689) 4-8/1969 © 1969, English vocal version: KINGDOM OF LIFE (LP: Supraphon 113 1023) 1969-1970 © 1971 NOVA SYNTEZA (LP: Panton 11 0288) 20/7/1971 © 1971, (CD: Bonton 71 0552-2) © 1997 - plus 3 tracks from KINGDOM OF LIFE Eldorado / Divko Z Kamene (7": Supraphon 043 1459) 20/11/1972 © 1973 > HALLO, NR. 9 > HALLO, NR. 10 NOVA SYNTEZA 2 (LP: Panton 11 0489) 8/1973-4/1974 © 1974 (CD: Bonton 71 0608-2) © 1997 - plus Eldorado / Divko Z Kamene single A BENEFIT OF RADIM HLADIK (LP: Supraphon 113 1586) 3-6/1973 © 1974, aka MODRY EFEKT & RADIM HLADIK (LP: Supraphon 113 1777) © 1975, (CD: Bonton 495274-2) © 2000 - plus their HALLO contributions > STARE POVESTI CESKE SVITANIE (LP: Opus 9116 0541) 1/1977 © 1977 #, (CD: Opus 91 2629-2 311) © 1998 - plus their STARE POVESTI CESKE contribution SVET HLADACU (LP: Panton 8113 0068) 9-12/1978 © 1979, (CD: Bonton 494002-2) © 1999 - plus 3 singles Zena V Okne / Zname Se Dal (7": Supraphon 1143 2432) © 1980 33 (LP: Supraphon 1113 2897) 10/1980 © 1981 Nezna / Zahada Jmeli (7": Supraphon 1143 2730) © 1980 Doktor / Cajovna (7": Supraphon 1143 3381) 4/1986 © 1987 Kampa / Uhel Pohledu (7": Supraphon 11 0265-7311) © 1989 MODRY EFEKT & JAZZ Q Radim Hladik (guitar, effects), Jiri Kozel (bass, guitar, bells), Vlado Cech (drums), Jiri Stivin (flutes, alto sax, piccolo, wood blocks, effects), Martin Kratochvil (piano, organ, trumpet), Jiri Pellant (bass), Milan Vitoch (drums, bells) Fiery psychedelic-sounding jazz-rock. A groundbreaking session combining the talents of these two top bands, strongly featuring Stivin's sax and Hladik's guitar. CONIUCTIO (LP: Supraphon 113 0845) 3/1970 © 1970 NAIMA Zdenek Zdenek (piano, synthesizer), Frantisek Kop (soprano/tenor saxes), Jaromir Honzak (bass), Martin Sulc (drums) # No doubt they took their name from the John Coltrane composition, although their music is more Mahavishnu Orchestra and Jazz Q inspired fusion, but with sax as lead instrument. > JAZZ MAGMA NAIMA (LP: Panton 81 0799-1) © 1988 # NAIMA 2 (LP: Panton 81 0916-1511) © 1990 SESSION 90 - LIVE (LP/CD: Arta F1 0009-2 511) © 1991 Vaclav NECKAR Pop singer who went on to front Bacily. Martin NEMEC & Bara BASIKOVA Somewhere between gothic progressive, new-age and classical musics. A unique concoction! RESPONSIO MORTIFERA (LP: Monitor 01 0059-1331) © 1992 Ladislav NOVAK Author and poet, specialist in sound text and visual arts. > TEXT-SOUND COMPOSITIONS 5: A STOCKHOLM FESTIVAL 1969 (LP, Sweden: Sveriges Radio RELP 1074) © 1969 > TEXT-SOUND COMPOSITIONS 6: A STOCKHOLM FESTIVAL 1970 (LP, Sweden: Sveriges Radio RELP 1102) © 1970 > SOUND TEXTS ? CONCRETE POETRY (LP, Netherlands: Stedelijk Museum, Amsterdam RSC 246) © 1970 > PHONETISCHE POESIE (LP, Germany: Luchterhand Verlag F 60 379) © 1971 plus many more Petr NOVAK The original singer with Flamengo (in 1967) and front man of the beat band George & Beatovens. OLYMPIC Petr Janda (guitar, lead vocals), Miroslav Berka (keyboards), Petr Hejduk (drums, vocals), Milan Broum (bass) # Originally a pop band (their first single was released in 1964), it took until the late-70s for them to do anything progressive. On the Sci-Fi trilogy, that started with PRAZDNINY NA ZEMI, they adopted a style with Omega and Hawkwind influences, with lots of synths and complex arrangements. Audion extract: Olympic became synonymous as the Czech Omega, they similarly went through a progressive phase in the late Seventies. Their most successful album was part one of a sci-fi concept trilogy: PRAZDNINY NA ZEMI, also released as an export version with English lyrics: HOLIDAYS ON EARTH it featured lots of synth in a hard-edged rock, segued tracks filling each side as if one piece. ZELVA (LP: Supraphon 113 0412) 1-10/1967 © 1968 PTAK ROSOMAK (LP: Supraphon 113 0589) 12/1968-1/1969 © 1969 JEDEME, JEDEME, JEDEME (LP: Supraphon 113 0994) 9/1970 © 1971 HANDFUL (LP: Supraphon 113 1207) © 1972 - sampler OLYMPIC 4 (LP: Supraphon 113 1475) 1973 © 1974 > STARE POVESTI CESKE 12 NEJ... (LP: Supraphon 1113 2018) 1965-1973 © 1976 - Sampler MARATHON (LP: Supraphon 1113 2119) 1977 © 1978 OVERHEAD (LP: Supraphon 1113 2380) 2/1977 © 1978 - reworks PRAZDNINY NA ZEMI...? (LP: Supraphon 1113 2600) 4/1979 © 1979 (CD: Supraphon 10 2600-2311) © 1992 # HOLIDAYS ON EARTH (LP: Supraphon 1113 2714) © 1981 - English vocal version of PRAZDNINY NA ZEMI...? ROCK AND ROLL (with various interpretes) (LP: Supraphon 1113 2888) 5/1980 © 1981, aka: ROCKENROL (LP: Supraphon 1113 2888) © 1982 ULICE (LP: Supraphon 1113 2950) 5/1981 © 1981 (CD: Supraphon 10 2950-2 311) © 1992 THE STREET (LP: Supraphon 1113 3127) © 1982 - English vocal version of ULICE OLYMPIC V LUCERNE (LP: Supraphon 1113 3254) 26/4/1982 © 1982 LABORATOR (LP: Supraphon 1113 3443) 1/1984 © 1984 LABORATORY (LP: Supraphon 1113 3526) © 1984 - English vocal version of LABORATOR plus many more, numerous singles, EPs, samplers etc. OSKLID Petr Vasa (guitar, vocals), Vojtech Kupcik (violin), Pavel Zelma (bass, trumpet, vocals), Pavel Koudelka (drums, vocals), Michal Zavadil (vocals), Jana Klimesova (vocals), Ivana Lukasova (vocals), Tomas Frgala (vocals, percussion), Jiri Salajka (vocals, percussion) Parallel band to Z Kopce. Poctarka / Jsem Osklivy Clovek / Paraguayska Policie / Moje Mila Jako Motorek (7" EP: Panton 81 0328) © 1989 credited to Z Kopce / Osklid: JESTE PORAD TADY JE NADEJE II. (LP: Panton 81 1157-1311) 4-9/1991 © 1991, (CD: Panton 81 1158-2311) © 1992 - plus bonus tracks PANTA RHEI Jana Koubkova (vocals), Bohuslav Janda (guitar), Roman Holy (keyboards), Antonin Smrcka (bass), Musa Zangi (congas), Jaromir Helesic (percussion), Michael Hejna (drums) Jazz-rock band, with guest appearance by Alan Vitous. Horor / Vanany Vanyna / Panta Rhei (7" EP: Panton 81 0387-7311) 1988 © 1989 Michal PAVLICEK Talented guitarist, with Expanze, Bohemia, Mahagon, Prazsky Vyber, leader of Stromboli and extensive in session work. He has also scored numerous films (some together with Michal Kocab and Jiri Stivin). Michal Pavlicek / Jiri Hrubes: Tvari V Tvar / Variace Na PavBes (7" EP: Panton 8133 0094) 11/1981 © 1982 - Mini Jazz Klub 36 MINOTAURUS (LP: Panton 81 0969) 1-8/1989 © 1990 - featuring: Miroslav Vitous ZVLASTNA RADOST ZIT / STRANGE PLEASURE OF LIVING (CD: Arta F 10008-2311) 5-9/1990 © 1991 Imagination (CD EP: Panton 811200-2311) 2/1992 © 1992 BIG HEADS (LP/CD: Bonton 71 0095-1/2 331) © 1992 > CZECH MASTERS OF ROCK GUITAR and lots more. Ota PETRINA SUPER-ROBOT Otakar Petrina (vocals, guitar, flute, harmonica), Anatoli Kohout (drums), Vladimir Padrunek (bass) # Rock singer Ota Petrina was kind of the Czech equivalent of French singers like Manset or Booz, aided by prog musicians: the rhythm section Super Robot and guest keyboards. The single is pretty straight pop rock, so it's surprising that he/they went on to do two concept albums, of which better of the two is PECET' which has a lot of Pink Floyd influences, although both are a mite over-lyrical. Karin / Vnitrni Svet Tvych Jantarovych Oci (7": Supraphon 143 1957) 20/1/1976 © 1976 SUPER-ROBOT (LP: Supraphon 113 2330) 7/1977 © 1978 # PECET' (LP: Supraphon 1113 3258) © 1983 Petr PINOS New-age and cosmic trips, hinting at Klaus Schulze, etc. ANDEL / ANGEL (CD: Prana) © 1992 ZRCADLENI (CD: Mandala) © 1996 and numerous others The PLASTIC PEOPLE (of the Universe) Vratislav Brabanec (sax, clarinet), Milan Hlavsa (bass), Josef Janicek (lead guitar, electric piano, vibes), Jiri Kabes (viola, guitar, theremin), Jaroslav Vozniak (drums) Most famous of the banned 70s activists, blending Czech folk with angry sounding rock and jazz, an odd twist on Beefheart and RIO. Existing since the late 1960s, and often very radical, the early recordings sound quite psychedelic and amateurish, yet have an angry and appealing charm. Nowadays they play a far more tame music. Audion extract: Kissing Spell reissues - The most notorious of Czech underground bands, and thus the most publicised internationally, most of the PPU back-catalogue was previously issued on CD by the now defunct Globus International label. But it was still a surprise to see a few PPU reissues coming out on the generally British psych oriented Kissing Spell label. These three seem to be the start of a series, all with a complete make-over, new presentation, and historical booklets in English for the first time! MAN WITH NO EARS documents the early history of the band, often as a really crappy beat combo with the attitude of punk bands a decade later. A few Zappa numbers (and other familiar covers) translated into Czech also feature. The big chunks of talking are of course a waste of space to non-Czech ears. And those songs sung in English are turgidly torturous. Maybe they were sometimes deliberately bad, and it seems the audience agreed shouting abuse at them. Only the latest tracks on this disc appealed to me. But such was the underground political/musical climate of Czechoslovakia circa 1969-1972. The notorious international debut EGON BONDY'S HAPPY HEARTS CLUB BANNED recorded in 1976 still remains one of their finest moments, yet after a number of CD issues previously this seems to be the first to be sourced from the master tapes, yet still doesn't quite sound the same as the original LP to me. But, whatever, this was the definitive refined mixture of polit-rock, RIO fusion with a great deal of unique innovation. Kind of Zappa meets Henry cow with a good deal of Balkan style culture thrown in. It's totally eclectic and often tongue-in-cheek, and it all works even if you don't understand any of it. I'm not so sure if the bonus tracks were such a wise choice though. BEEFSLAUGHTER (previously issued as HOVEZI PORAZKA) turns out to be an album I'd previously overlooked, possibly due to it being an originally unreleased album dating from 1982-1984, in between the disappointing LEADING HORSES and MIDNIGHT MOUSE. Remarkably this is quintessential PPU firmly in the mould of the classics EGON BONDY'S... and PASSION PLAY, but on a more intricate and technical level. Uniquely PPU, true, but it also reminds me of many earlier French acts like Komintern's LE BAL DU RAT MORT or Maajun's VIVRE LA MORT DU VIEUX MONDE, and I guess the subject matter here is similarly wry and anarchistic. EGON BONDY'S HAPPY HEARTS CLUB BANNED (LP, France: Invisible S.C.O.P.A. 10001) 1976 © 1978 # (CD, France: Buda 82478-2) © 198?, (LP/CD: Globus International 210128-1318/2318) © 1992 (CD, UK: Kissing Spell KSCD 803) © 2004 - different mix, plus 7 bonus tracks PASIJOVE HRY VELIKONOCNI / PASSION PLAY (LP, Canada: Bozy Mlyn BM 8001) 1978 © 1980 (LP/CD: Globus International 210129-1318/2318) © 1992 (CD: Globus International 210214-2318) © 1998 THE 100 POINTS (MC, USA: Eurock EDC01) 1977 © 1980, aka KOLEJNICE DUNI (CD: Globus International 210217-2) © 2000 - 5 bonus tracks [1978-1982] LEADING HORSES (LP, Canada: Bozy Mlyn BM 8301) 1981 © 1983 (LP/CD: Globus International 210131-1318/2318) © 1992 MIDNIGHT MOUSE / PULNOCNI MYS (LP, UK: Freedonia 1436) 1984 © 1987 (LP/CD: Globus International 210133-1318/2318) © 1992 BEZ OHNU JE UNDERGROUND (LP/CD: Globus International 210122) 4/12/1992 © 1992 FRANCOVKA (LP/CD: Globus International 210126-1318/2318) 1974-1979 © 1992 ELIASUV OHEN (LP/CD: Globus International 210127-1318/2318) 6/1972+6/1974+2/1976 © 1992 SLAVNA NEMESIS (LP/CD: Globus International 210130-1318/2318) 1979 © 1992 HOVEZI PORAZKA (LP/CD: Globus International 210132-1318/2318) 1983-1984 © 1992 (CD: Globus International 210218-2318) © 1997, aka BEEFSLAUGHTER (CD: Kissing Spell KSCD 809) © 2004 ELIASUV OHEN (8LP/8CD: Globus International GE 0251-0266) © 1992 - limited edition box-set with book & T-Shirt VOZRALEJ JAK SLIVA (CD: Globus International 210211-2) 1973-1975 © 1997 JAK BUDE PO SMRTI (CD: Globus International 210215-2) 1979 © 1998 1997 (CD: Globus International 210240-2) © 1997 and more since! PRAZSKY VYBER Michal Kocab (pianos, clavinet, synthesizer), Ondrej Soukub (bass), Vratislav Placheta (drums), Ladislav Malina (drums), Zdenek Fiser (guitar), Martin Koubek (guitar), Jiri Niederle (tenor/soprano saxes) # Initially a jazz-rock band formed by Michal Kocab. In 1982 they became a satirist new-wave band and got banned by the authorities! Mini Jazz Klub 17 (7" EP: Panton 33 0426) 25/11/1976 © 1977 ZIZEN / THIRST (LP: Panton 8115 0053) 7-9/1978 © 1979 # Komu Se Neleni - Tomu Zeneci / Ja Se Mam, Ze Je Olda Pritel Muj (7": Panton 8143 0145) © 1982 PRAZSKY VYBER (LP: Panton 81 0826-1311) 1982 © 1988 as Vyber: VYBER (LP: Supraphon 1113 4068) 2/1987 © 1988 ADIEU C.A. LIVE (CD: Art Production K AP 0001-2311) © 1991 BER (CD: Bonton 71 0539-2) © 1997 TANGO ROPOTAMO (CD: Bonton 491483 5) © 1998 PROGRES > BARNODAJ > PROGRES 2 PROGRESS ORGANIZATION Pavel Vane (guitars, piano, cembalo, organ, tambourine, vocals), Jan Sochor (organ, piano, vocals), Emanuel Sideridis (bass, vocals), Zdenek Kluka (drums, percussion) # Confusingly pre-Barnodaj who then became Progres 2 Klic K Poznani / Snow In My Shoes / Fortune Teller (7" EP: Discant 033 0051) © 1970 BARNODAJ (LP: Supraphon 113 0985) 1/1971 © 1971 # PROGRES 2 Zdenek Kluka (drums, percussion), Pavel Vane (vocals, guitars), Pavel Pelc (vocals, bass, synthesizer), Milos Moravek (guitars, choir), Karel Horky (synthesizers, clavinet) # Previously Barnodaj (Progress in Czech), Progres 2 were a surprise of the late 70s, when they came out with the grand opus DIALOG S VESMIREM, a Sci-Fi concept of great invention, with M. Efekt and Pink Floyd influences. The whole work was too long for an LP, and also stretched onto an EP and a single. Roentgen 19'30 / V Zaj Pocitacu (7": Panton 44 0654) 21/5/1978 © 1978 Pisen O Jablku / Muzeum Planety Zeme (7": Panton 8143 0058) 4/11/1979 © 1980 Rozhovor S Centralnim Mozkem / Honicka / Vykrik V Proxima Centauri (7" EP: Panton 8133 0060) 12/1979 © 1980 DIALOG S VESMIREM (LP: Panton 8113 0130) 11-12/1979 © 1980 # DIALOG S VESMIREM (CD: Bonton BON 492931 2) © 1999 - CD is the complete suite inc. 7 bonus tracks (from above 7") Clovek Stroj / Ze Tvych Vlasu V Ni Se Dotykam (7": Panton 8143 0093) 11/1980 © 1981 TRETI KNIHA DZUNGLI (2LP: Panton 8113 0259/60) 1981 © 1981, (CD: Bob J Production BB 0002/3-1312) © 1992 THE THIRD JUNGLE BOOK (2LP: Panton 8113 0335/6) 4/1983 © 1985 - English vocal version of TRETI KNIHA DZUNGLI Nech Je Byt / Normalni Zavist (7": Panton 8143 0205) © 1983 MOZEK (LP: Panton 8113 0437) 1984 © 1984 Kdo Je Tam? / Neznamy Genius (7": Panton 8143 0221) © 1984 Mas Svuj Den / Co Se Deje U Mateje (7": Panton 8143 0154) © 1985 Uz Nemluvi / Vrat' Se Spatky, Leto Me (7": Panton 8143 0271) 7/1986 © 1986 ZMENA (LP: Supraphon 1113 4377) 1/1987 © 1988 with Pokrok: Moja Najzlatejsia Lyra (7": Supraphon 11 0282-7311) © 1989 - A-side only with Pokrok: OTRAVA KRVE (LP: Panton 81 0971-1311) 12/1989-2/1990 © 1990 DIALOG S VESMIREM "LIVE" (CD: Monitor 010213-2331) 1978 © 1993 plus some other singles and collaborations and reformation recordings Michal PROKOP > FRAMUS FIVE PRO POCIT JISTOTY Martin Dohnal (piano), Ivo Horak (guitar, vocals), Petr Keller (bass), Michal Odehnal (drums) Wildly aggressive underground, with RIO and strange touches. PROGRAM NO. III (LP: Globus International 210022-1311) © 1990 PRUDY > Pavol HAMMEL & PRUDY PSI VOJACI Filip Topol (vocals, piano), Jan Hazuka (bass, guitar), David Skala (drums), Zdenek Hmyzak Novak (trumpet), Petr Venkrbec (alto sax) # [Aka PVO or Psi Vojaci Osobne] Curious energetic alternative rock group. as PVO: Psycho Killer / Ziletky / Marylin Monroe / Stohem A Retez (7" EP: Panton 81 0394-7311) © 1979 NALEJ CISTYHO VINA, POKRYTCE... (LP: Globus International 210026-1311) 6/1990 © 1990 # LEITMOTIV (LP: Globus International 210100-1311) 5/1991 © 1991 LIVE I (LP: Gang MTE 0543/4) 6/1993 © 1993 LIVE II (LP: Gang MTE 0545/6) 6/1993 © 1993 and loads more through to 2003 PULNOC Milan Hlavsa (vocals, bass), Josef Janicek (keyboards, vocals), Jiri Kabes (guitar), Jiri Krivka (lead guitar), Petr Kumandzas (drums), Michaela Nemcova (vocals), Tomas Schilla (cello) # Quirky but lightweight rock by ex-Plastic People members. PULNOC A GARAZ (MLP: Panton 81 1057-6311) © 1990 - A-side only > Sanitka Pro Rumunsko (7": Globus International 210001-7311) 22/12/1989 © 1990 PULNOC (LP: Globus International 210011-1311) 1-2/1990 © 1990 # CITY OF HYSTERIA (LP: Arista 21 2523) © 1991 RELAXACE Karel Babuljak (zithers, harmonium, percussion, vocals), Ales Brezina (violin, ektar, percussion, vocals), Vlastislav Matousek (tabla, gongs, metalophon, percussion, vocals), Jiri Mazanek (vocals, guitar, sitars, tanpura, harmonium, percussion) # Innovative folk and ethnic fusion blending Indian and European musics, and full of surprises. Tempus Perfectum / Gamelani Jdou / Vecerni Narez (7" EP: Panton 81 0353-7) © 1988 HUDBA SFER (MC: Panton 81 0955-4) © 1989 - split with Capella Antiqua E Moderna DHJANA (CD: Arta F1 0005-2511) © 1991 # KADAEL (CD: Arta F1 0042-2) 1/1993 © 1993 MORNING PRAYER (CD: Anne Records ANNE 010-2) 12+20/4/1990 © 2002 RICHTER BAND Pavel Richter (guitars, bass, percussion, clarinets), Stepan Pecirka (fidlerphone, pots, bass), Tonda Hlavka (percussion, drums, guitars, radio, marimba) Surreal echo guitars, cosmic and ethnic musics, the RICHTER BAND was like a blast from the past back to the early Kosmiche Krautrock and cross-culture music from Germany, but with a different central European feel. A more recently released album containing 1988-90 exists called SMETANA. Pavel Richter has also released a number of other collaborative projects working with the likes of: Mikolas Chadima and Oldrich Janota. RICHTER BAND (CD: Rachot RT 0002-2 311) 10/1991 © 1992 ROZMAZANE DETI Milan Baca (vocals), Roman Hlavacek (guitar), Zdenek Klon (bass), Jaroslav Svoboda (keyboards), Milan Brezina (saxophone), Milan Hruska (drums) Kinda crazed punky MCH Band vein. MEXICO FAMILY (LP: Monitor 01 0010-1311) © 1991 Lesek SEMELKA & SLS Lesek Semelka (vocals, synthesizers), Stanislav Kubes (guitars), Michal Pavlik (keyboards), Jan Kavale (bass), Vlado Cech (drums, percussion) Lightweight progressive by former M. Efekt member and band. LESEK SEMELKA & SLS (LP: Supraphon 1113 3696) 4/1984 © 1985, English vocal version: COLOURED DREAMS (LP: Supraphon 1113 3705) © 1985 > PLANETA LIDI. XII. ROCNIK FESTIVALU POLITICKE PISNE SOKOLOV (LP: Supraphon 1114 3880) 1984 © 1985 plus numerous singles! SER UN PEYJALERO Jiri Pejchal (accordion, guitar, vocals), Mirka Hornova (bass, keyboards, vocals), Mario Valerian (clarinet, guitar, vocals), Bob Smejkal (bass, guitar), Petr Zikmund (drums) Strange rock-fusion with notable RIO influence. JOINT IS BETTER THAN PANZERFAUST (LP: MXM M1 0005-1311) 5-6/1990 © 1990 (CD: Black Point BP 0093-2/4) © 1996 - 3 bonus tracks U (CD: Panton 811123-2311) 5-6/1992 © 1993 THE BIRTHDAY'S IGNORANCE (CD: Indies MAM015-2,4) © 1995 Jiri STIVIN A much travelled and adventurous, jazz saxophonist and flautist, formerly of Jazz Q, he's recorded many inventive fusion albums covering a wide range of styles, from solo improvisation through to high-tech fusion. Audion extract: Ex-Jazz Q flautist/saxophonist Jiri Stivin has become much travelled working with numerous international musicians like Pierre Favre and other associates of the ECM crowd, he also worked with Vladimir Misik's Etc before following a solo career and forming his own band: Jiri Stivin & Co Jazz System. STATUS QUO VADIS was more of a progressive album than his other releases, hinting at his involvement with M.Efekt in the early Seventies. Stivin & Co. Jazz System, split with Vladimir Tomek S Prateli: JAZZ SYSTEM (LP: Panton 11 0265) © 1971 PET RAN DO CEPICE / FIVE HITS IN A ROW (LP: Supraphon 1115 1229) © 1972 with Rudolf Dasek: TANDEM (LP: Supraphon 1 15 1799) 14/6/1974 © 1974 with Rudolf Dasek: SYSTEM TANDEM (LP: JAPO 60008 ST) 5/1974 © 1975 ZVEROKRUH / ZODIAC (LP: Supraphon 1 15 2015) 10/1976 © 1977 with Tony Scott & Rudolf Dasek: ROZHOVORY / CONVERSATION (LP: Supraphon 1115 2890) 5/1978 © 1981 with Mirka Krivankova: ZRCADLENI / REFLECTIONS (LP: Supraphon 1115 3116) 1982+1984 © 1984 with Pierre Favre: VYLETY / EXCURSIONS (2LP: Supraphon 1115 3381-82) 11/1979 © 1981 STATUS QUO VADIS (LP: Supraphon 1115 3967) 1-3/1986 © 1987 with Jiri Stivin Jr: TWO GENERATIONS IN JAZZ (CD: P&J 005-1) © 1994 STROMBOLI Michal Pavlicek (guitars, guitar synthesizer, bass, vocals), Vladimir Kulhanek (bass), Klaudius Kryspin (drums), Bara Basikova (vocals) Bombastic progressive fronted by guitarist Michal Pavlicek, with a Kate Bush-like vocalist and Magma fusion elements. STROMBOLI (2LP: Panton 81 0698-1) 1985-1986 © 1990 Sandonoriko / Okolo Ohnu (7": Panton 81 0384-7311) © 1989 SHUT DOWN (LP/CD: Panton 81 0811-1311/2311) 6/1988-4/1989 © 1990 SYNKOPY 61 Michal Polak (vocals, guitar), Petr Smeja (guitar, vocals), Pavel Pokorny (organ, guitar, violin), Jan Carvas (bass), Jiri Rybar (drums, percussion) # A 1960s pop band who released numerous singles and a couple of 10" LP's, they were very Uriah Heep inspired rock on XANTIPA. They split in 1975 and later reformed as: Synkopy & Oldrich Vesely. Vitezstvi Svetla (7" EP: Panton 03 0122) © 1968 Buh Lenosti / Casanova (7": Discant 0 43 0006) © 1969 Jennifer Eccles / Step Inside (7": Panton 04 0225) © 1969 Hul, Nuz A Cop / Prichazi Den (7": Panton 04 0333) © 1971 A Bylo Nam Hej (7" EP: Panton 03 0248) © 1971 Ja Slysim Muzy / Byl Jednou Jeden Kral (7": Panton 04 0313) © 1971 FESTIVAL (7" LP: Panton 08 0248) © 1972 V Patek Uragan Val / Maly Lord (7": Panton 04 0261) © 1972 XANTIPA (10" LP: Panton 22 0414) © 1973 # Robinson / Park (7": Panton 04 0447 FORMULE 1 (10" LP: Panton 22 0503) © 1975 FESTIVAL - XANTIPA - FORMULE 1 (2CD: FT Records FT0104-2) © 2008 SYNKOPY & Oldrich VESELY Oldrich Vesely (synthesizers, clavinet, pianos, organ, vocals), Vratislav Lukas (guitar, synthesizer, clavinet, cello, vocals), Pavel Pokornýy (synthesizers, organ, electric piano, vocals), Emil Kopriva (guitar, vocals), Petr Smeja (guitar), Jiri Rybar (drums, percussion, synthesizer, vocals) # Featuring Oldrich Vesely (also of Modry Efekt), and originally known as Synkopy 61. These pretty much sounded like a Genesis inspired twist on late-1970s M. Efekt, and (according to the cover notes of FLYING TIME) contain strong influence of Moravian folk melodies. SLUNECNI HODINY (LP: Panton 8113 0078) 7-8/1981 © 1981 (CD: Bonton BON 493163-2) © 1999 # Mladsi Sestry Vzpominek / Valka Je Vul (7": Panton 8143 0154) © 1982 KRIDLENI (LP: Panton 8113 0407) 1983 © 1983, (CD: Bonton BON 501686-2) © 2001 - plus English versions of songs FLYING TIME (LP: Panton 8113 0543) 2/1985 © 1985 - English vocal version of KRIDLENI ZRCADLA (LP: Panton 8113 0582) 9-10/1985 © 1985 Loutka Na Setrvacnik / V Pristim Stoleti (7": Panton 81 0328-7311) © 1987 TANGO Miroslav Imrich (vocals), Zdenek Juracka (guitars, vocals), Frantisek Kotva (guitars, vocals), Ota Balaz (keyboards, sax, vocals), Jiri Novotny (bass, vocals), Jaroslav Vondrak (drums, percussion) Synthesizer based pop-rock with prog edges. ELEKTRICKY BAL (LP: Supraphon 1113 4067) 6-7/1985 © 1985, English vocal version: ELECTRIC BALL (LP: Supraphon 10 3999-1311) © 1986 TANGO '87 (LP: Supraphon 1113 4216) 8/1986 © 1987 MURA, HOP! (LP: Supraphon 11 0165-1311) 11/1987 © 1988 plus numerous singles. TOYEN Petr Chromovsky (vocals, guitars), Petr Vana (guitars, keyboards, tambourine, vocals), Petr Vaclavek (bass), Jiri Simecek (drums, percussion) Modern progressive with heavy gothic style. IA ORANA (CD: Indies Records MAM 041-2) "plus CD-ROM" © 1997 TRIJO Vojtech Havel (cello), Petr Chlouba (percussion), Miroslav Pudlak (piano), Vaclav Bratrych (saxophone) Inventive jazz-fusion. TRIJO (LP: Panton 81 0686-1511) © 1989 URFAUST Mirka Krivankova (vocals), Patrick Fulgoni (vocals), Richard Mader (guitar, keyboards, effects, bass), Petr Venkrbec (sax), Pavel Ryba (bass), Frantisek Svacina (keyboards), Chris Sykes (drums) # Bizarre underground psych/prog and Kava Kava hybrid. FAUST A MARKETA / FAUST & MARGARET (CD: Faust FR 05-2331) 4/1995 © 1995 # with Gary Lucas: THE GHOSTS OF PRAGUE (CD: Faust FR 06-2331) © 1996 UZ JSME DOMA Miroslav Wanek (vocals, guitar, vibes, celesta, piano), Jindrich Dolansky (tenor sax, vocals), Alice Kalouskova (alto sax, vocals), Romek Janzlik (guitar, vocals), Pavel Kerka (bass, vocals), Milan Novy (drums, vocals) A peculiar twist on new-wave, folk musics, and radical weird pop. Comparable to Pere Ubu. Rock Debut 7 (7": Panton 81 0395-7311) © 1989 UPROSTRED SLOV (LP: Globus International 210015-1311) 5/1990 © 1990 (CD: Indies MAM 029-2) © 1996 NEMILOVANY SVET (LP/CD: Panton 81 0862-1311/2311) 6-7/1990 © 1991 > ROLL OVER TEPLICE (LP: Ann AN 0001-1311) 5/1991 © 1991 HOLLYWOOD (LP: Rachot 743 211 344 12) 11-12/1992 © 1993 POHADKY ZE ZAPOTREBI (CD: Indies MAM016-2,4) © 1995 Karel VELEBNY & SHQ Influential big-band free-jazz and jazz-fusion outfit, acclaimed as the very first Czech jazz-rock group (formed in 1967). KARL VELEBNY & SHQ (LP, USA: ESP Disk 1080) © 1969 MOTUS (LP: Supraphon 1 15 1138) © 1972 JAZZOVE NEBAJKY / THE JAZZ NEBYEKI (JAZZ NON-FABLES) (LP: Panton 11 0338) © 1973 > BRATISLAVSKE DZEZOVE DNI 78 PARNAS / ANNIVERSARY (LP: Supraphon 1115 2878) © 1981 > JAZZ A LA CARTE Oldrich VESELY & Pavel VRBA Melodic rock featuring Synkopy members. DLOUHA NOC (LP: Panton 81 0957-1311) 9-10/1989 © 1990 Emil VIKLICKY Jazz pianist and fusion group leader, much in demand as a jazz and pop session musician. V HOLOMOCI MESTE... / FOLK INSPIRED JAZZ PIANO (LP: Supraphon 1 15 2233) © 1978 OKNO (LP: Supraphon 1115 2754) © 1981 - with: Bill Frisell, Kermit Driscoll, Vinton Johnson SPOLU / TOGETHER (LP: Supraphon 1115 3013) © 1981 > JAZZ A LA CARTE DVERE / DOOR (LP: Supraphon 1115 3768) 1979-1984 © 1984 - with: Bill Frisell, Kermit Driscoll, Vinton Johnson plus many more Alan VITOUS The brothers Alan and Miroslav Vitous were originally in a jazz trio with Jan Hammer in the 1960s, who split when Miroslav gained a scholarship in Boston, USA in 1967 followed by Jan also absconding to the US. Alan however remained in Czechoslovakia, inactive (discography wise) until the 1980s. > JAZZ PRAHA LIVE (LP: Panton 81-0660) 2/4/1985 © 1986 - Jana Koubkova (vocals, percussion), Vojtech Havel (cello), Alan Vitous (percussion) VITOUS (Featuring Miroslav Vitous ) (LP: Panton 81 0886) © 1989, RETURN (CD, France: FNAC 662048) © 1992 plus lots of collaborations and session work Miroslav VITOUS An innovative jazz bassist, much of Miroslav's 1970s output is with Weather Report, and he is also much travelled as a soloist and in collaboration with other artists (mostly on ECM Records with the likes of Terje Rypdal). In the late-80s Miroslav was able to return to Czechoslovakia and again work together with his brother. Here are some of his most celebrated albums of the 70s. PURPLE (LP, Japan: CBS SOPM-157) © 1970 INFINITE SEARCH (LP, USA: Embryo SD 524) © 1970 MAJESTY MUSIC (LP, USA: Arista AL 4099) © 1976 MAGICAL SHEPHERD (LP, UK: Warner Bros. K 56219) © 1976 MIROSLAV (LP, USA: Arista Freedom AF 1040) © 1977 plus lots more Zbynek VOSTRAK Contemporary classical, avant-garde and electronic music composer. META-MUSIC / TELEPATHY / THREE SONNETS FROM SHAKESPEARE (LP: Supraphon 1 10 0966) © 1972 > FROM CZECH ELECTRONIC MUSIC STUDIOS ZENTOUR Janek Ledecky (guitar, vocals), Jan Cerny (bass), Petr Ackermann (keyboards), David Koller (drums) Late-1980s prog. 001 (LP: Supraphon 1113 4200) 12/1985-2/1986 © 1986 YOU DRIVE ME CRAZY (LP: Supraphon 1113 4257) © 1987 - English vocal version of above 003 (LP: Tommu 61 0001-1311) © 1990 005 (LP: Monitor 01 0025-1331) 4-7/1991 © 1991 plus numerous singles. ZIKKURAT Jiri Krivka (vocals, guitar, synthesizer, bass, drums), Vilem Cok (vocals, bass, guitar, percussion), Tomas Havrda (drums) Undergr
1053	dbpedia	3	20	https://www.bandsintown.com/e/1031992704%3Fapp_id%3Dszm_feed%26came_from%3D283%26utm_medium%3Dweb%26utm_source%3Dszm_feed%26utm_campaign%3Devent	en	Bijelo dugme Stuttgart Tickets, Porsche Arena Sep 21, 2024	https://photos.bandsinto…humb/120674.jpeg	https://photos.bandsinto…humb/120674.jpeg	[ "https://assets.prod.bandsintown.com/images/loupe.svg", "https://assets.prod.bandsintown.com/images/blackPhone.svg", "https://photos.bandsintown.com/thumb/120674.jpeg", "https://photos.bandsintown.com/thumb/120674.jpeg", "https://ticket-vendor-logos.bandsintown.com/eventim.png", "https://assets.prod.bandsintown.com/images/homeIcon/festivalPlaceHolderImage/thumbnail/02.png", "https://assets.prod.bandsintown.com/images/tealStar.svg", "https://assets.prod.bandsintown.com/images/tealStar.svg", "https://assets.prod.bandsintown.com/images/tealStar.svg", "https://assets.prod.bandsintown.com/images/tealStar.svg", "https://assets.prod.bandsintown.com/images/halfStar.svg", "https://assets.prod.bandsintown.com/images/MusicSyncBanner/MusicSyncBanner_Regular.png", "https://assets.prod.bandsintown.com/images/homeIcon/venuePlaceHolderImage/04.png", "https://assets.prod.bandsintown.com/images/facebook.svg", "https://assets.prod.bandsintown.com/images/twitter.svg", "https://assets.prod.bandsintown.com/images/instagram.svg" ]	[]	[]	[ "" ]	null	[]	null	Bijelo dugme is coming to Porsche Arena in Stuttgart on Sep 21, 2024. Find tickets and get exclusive concert information, all at Bandsintown.		/favicon.ico?v=2	Bandsintown	https://www.bandsintown.com/e/1031992704-bijelo-dugme-at-porsche-arena	Bijelo Dugme ("White Button") were a highly influential rock band stationed in Sarajevo, Bosnia and Herzegovina, originally when in Yugoslavia. Active between 1974 and 1989, they are considered to have been the most popular band ever to exist in the former Yugoslavia. Founder of the band was Goran Bregović, who spent much of his childhood in a Musical School for violin players, from which he was expelled for "lack of talent". Soon after his expulsion, his mother bought him a guitar, and thus, Bijelo Dugme was born. Goran Bregović often admitted that his main motivation for forming the band was because "women were more receptive to musicians". Bregović was the band's sole composer and wrote most of the lyrics, although some of the most popular Bijelo dugme songs weren't written by Bregović, for example: Ima neka tajna veza, Glavni junak jedne knjige, Šta bi dao da si na mom mjestu, Pristao sam biću sve što hoće were written by Duško Trifunović, Da sam pekar, Selma were written by Vlado Dijak, Loše vino by Arsen Dedić etc. After recruiting the band's first line up, Bijelo dugme under the name Jutro (translation: "Morning") were turned down by Sarajevo based record company Diskoton, but were offered to record a single for another record company, Jugoton. The first single was named Kad bi' bio bijelo dugme (translation: "If I were a white button"). After the single was released, Bregović was convinced by the band's manager to change the band's name to Bijelo dugme. With charismatic vocalist Željko Bebek, the band soon reached stardom in the former Yugoslavia, as one newspaper put it, they sold more albums then there were record players in Yugoslavia. The pinnacle of the band's career was 1979's Bitanga i Princeza, the album is often heralded as their most mature with vocalist Zeljko Bebek. They were often referred to as the Yugoslav Beatles. The turn of the decade brought the rise of numerous new wave artists, including Azra, and Bijelo dugme soon found their popularity sinking, to which they reacted by reinventing themselves for their 1980 release Doživjeti Stotu, featuring a much more new wave oriented sound. 1984 brought the departure of Željko Bebek to pursue a solo career and Mladen Vojičić - Tifa was recruited to replace him for their 1984 self-titled release. He was booted from the band because of inner conflicts and was replaced by Alen Islamović, formerly vocalist of the heavy metal band Divlje jagode for their last two, folk-inspired records. The band disbanded in 1989 after Alen Islamović checked into a hospital for chest pains during their last tour, without telling anyone he was ill. The real reasons have never been elaborated, but most people suspect the dissolution of Yugoslavia caused the breakup of the band, because the band was often seen as a symbol of unity among the peoples of Yugoslavia. Some of Bijelo dugme's the most popular songs are: Lipe cvatu, Đurđevdan, Ipak poželim neko pismo, Ima neka tajna veza, Pristao sam biću sve što hoće, Selma, Loše vino, Jer kad ostariš, Lažeš, Kad zaboraviš juli, Hajdemo u planine, Bitanga i princeza, Pljuni i zapjevaj moja Jugoslavijo, Sanjao sam noćas da te nemam, Te noći kad umrem, Nakon svih ovih godina... The band reunited for three concerts in Sarajevo, Zagreb and Belgrade in 2005 with all three vocalists, but without drummer Goran "Ipe" Ivandić who committed suicide in Belgrade, Serbia in 1994. Legacy Bijelo dugme laid the groundwork for the Yugoslav rock scene, and the epitome for the Sarajevo school of pop rock. inspiring many artists from different musical generes, including Severina, Prljavo kazalište, Leteći odred and so forth. Even more rigid, critical musicians such as Pips, Chips & Videoclips vocalist Ripper have said that Bijelo dugme was a part of their childhood. In the 2003 rock documentary Sretno dijete, the guitarist and lead songwriter for Prljavo kazalište said that "whatever Bijelo dugme did, everyone else did". They still enjoy a huge fanbase; their 2005 concerts in Sarajevo (Koševo stadium) and Zagreb (Maksimir stadium) sold out within hours. Their 2005 concert in Belgrade at the hippodrome drew more than 180,000 fans, while more than 20,000 fans stayed outside of hippodrome. Members * Željko Bebek - vocals, bass guitar (1974 - 1984) * Goran Bregović - guitar (1974 - 1989) * Alen Islamović - vocals (1986 - 1989) * Goran "Ipe" Ivandić - drums (1974 - 1976, 1977 - 1978, 1982 - 1989) * Dragan "Điđi" Jankelić - drums (1978 - 1982) * Sanin Karić - bass guitar (1977) * Vlado Pravdić - keyboards (1974 - 1976, 1978 - 1987) * Ljubiša Racić - bass guitar (1975 - 1977) * Zoran Redžić - bass guitar (1974 - 1975, 1977 - 1989) * Laza Ristovski - keyboards (1976 - 1978, 1985 - 1989) * Mladen "Tifa" Vojičić - vocals (1984 - 1985) * Milić Vukašinović - drums (1976) Group commonly had substitutions for rhythm section members as they served in the army. Albums Studio albums 1. Kad bi' bio bijelo dugme - 1974 2. Šta bi dao da si na mom mjestu - 1975 3. Eto! Baš hoću! - 1976 4. Bitanga i princeza - 1979 5. Doživjeti stotu - 1980 6. Uspavanka za Radmilu M. - 1983 7. Kosovka Djevojka - 1984 8. Pljuni i zapjevaj moja Jugoslavijo - 1986 9. Ćiribiribela - 1988 Live albums 1. Koncert kod Hajdučke česme - 1977 2. 5. april '81 - 1981 3. Mramor kamen i Željezo - 1987 4. Turneja 2005 - Sarajevo, Zagreb, Beograd - 2005 Read More
1053	dbpedia	0	22	https://dokumen.pub/the-film-cheat-screen-artifice-and-viewing-pleasure-9781501364990-9781501364983-9781501364952-9781501364969.html	en	The Film Cheat: Screen Artifice and Viewing Pleasure 9781501364990, 9781501364983, 9781501364952, 9781501364969	https://dokumen.pub/img/…781501364969.jpg	https://dokumen.pub/img/…781501364969.jpg	[ "https://dokumen.pub/dokumenpub/assets/img/dokumenpub_logo.png", "https://dokumen.pub/img/200x200/the-film-cheat-screen-artifice-and-viewing-pleasure-2020013256-9781501364990-9781501364983-9781501364969-9781501364976.jpg", "https://dokumen.pub/img/200x200/theatricality-in-the-horror-film-a-brief-study-on-the-dark-pleasures-of-screen-artifice-2019949651.jpg", "https://dokumen.pub/img/200x200/the-solaris-effect-art-and-artifice-in-contemporary-american-film-9780292795617.jpg", "https://dokumen.pub/img/200x200/film-censorship-regulating-americas-screen-9780231851138.jpg", "https://dokumen.pub/img/200x200/screen-play-derrida-and-film-theory-0691008469-9780691008462.jpg", "https://dokumen.pub/img/200x200/seeing-through-the-screen-interpreting-american-political-film-9781498557498-9781498557481.jpg", "https://dokumen.pub/img/200x200/screen-play-derrida-and-film-theory-0691055726-0691008469.jpg", "https://dokumen.pub/img/200x200/film-and-the-dream-screen-a-sleep-and-a-forgetting-0691066191-9780691066196.jpg", "https://dokumen.pub/img/200x200/acting-for-the-silent-screen-film-actors-and-aspiration-between-the-wars-9781350985216-9781786730596.jpg", "https://dokumen.pub/img/200x200/film-and-the-dream-screen-a-sleep-and-a-forgetting-course-booknbsped-9781400853892.jpg", "https://dokumen.pub/img/200x200/the-film-cheat-screen-artifice-and-viewing-pleasure-9781501364990-9781501364983-9781501364952-9781501364969.jpg", "https://dokumen.pub/dokumenpub/assets/img/dokumenpub_logo.png" ]	[]	[]	[ "" ]	null	[]	null	Murray Pomerance, venerated film scholar, takes on the “cheat” in film, where “cheating” constitutes a collection of pro...	en	https://dokumen.pub/doku…e-icon-57x57.png	dokumen.pub	https://dokumen.pub/the-film-cheat-screen-artifice-and-viewing-pleasure-9781501364990-9781501364983-9781501364952-9781501364969.html	Table of contents : Title Page Copyright Page Contents Acknowledgments Preamble:All in the Game Of Scripts Chapter 1: Yesterdays Chapter 2: Tomorrow and Tomorrow and Tomorrow Chapter 3: Narrative Transparency Chapter 4: The Cheating Cut Chapter 5: Narrative Opacity Chapter 6: Our Faithful Friend Cahpter 7: Bridge from Nowhere Chapter 8: And Here Endeth My Tale Chapter 9: Only Pretending Chapter 10: Keeping Minutes Of Performances Chapter 11: Monster! A Star, Not a Star Chapter 13: Pain Chapter 14: Measuring Up Chapter 15: Privacy Chapter 16: Dance Chapter 17: Keyed Up Chapter 18: Don’t Believe It Chapter 19: “I Love You” Chapter 20: Surrender Of Cameras Chapter 21: Corral Chapter 22: Show Me Chapter 23: On the Road Chapter 24: “Good Cinematography!” Chapter 25: “Picture This” Chapter 26: The Angle Angle Chapter 27: Moving On Chapter 28: Behind the Camera Behind Chapter 29: Peek-a-Boo Of Scenes Chapter 30: No There There Chapter 31: Where Are We? Chapter 32: Walk on the Wild Side Chapter 33: Happy Trails Chapter 34: The Thing Chapter 35: Heist Chapter 36: The Reality Effect Chapter 37: Stand-ins Chapter 38: The Superuniverse Of Joins Chapter 39: Believe in Me Chapter 40: Over Thames Chapter 41: Sequitur Chapter 42: Veni creator spiritus Chapter 43: “Bite the Dust” Chapter 44: Reflect On That Chapter 45: Presence and Presentation Chapter 46: By Contrast Chapter 47: The Blood Effect Epilogue:Our Cheating Heart Works Cited Index Citation preview
1053	dbpedia	3	2	https://soundwayrecords.bandcamp.com/album/opera	en	Nenad Jelić i Laza Ristovski	https://f4.bcbits.com/im…3328489323_5.jpg	https://f4.bcbits.com/im…3328489323_5.jpg	[ "https://soundwayrecords.bandcamp.com/img/search/tumbleweed-emptystate-lightbg.gif", "https://soundwayrecords.bandcamp.com/img/search/tumbleweed-emptystate-lightbg.gif", "https://f4.bcbits.com/img/blank.gif", "https://f4.bcbits.com/img/0036544094_100.png", "https://f4.bcbits.com/img/a3328489323_16.jpg", "https://soundwayrecords.bandcamp.com/img/0.gif", "https://f4.bcbits.com/img/0005838313_42.jpg", "https://soundwayrecords.bandcamp.com/img/0.gif", "https://f4.bcbits.com/img/0004559091_42.jpg", "https://soundwayrecords.bandcamp.com/img/0.gif", "https://f4.bcbits.com/img/0019817253_42.jpg", "https://soundwayrecords.bandcamp.com/img/0.gif", "https://f4.bcbits.com/img/0021713608_42.jpg", "https://soundwayrecords.bandcamp.com/img/0.gif", "https://f4.bcbits.com/img/0034123794_42.jpg", 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"https://f4.bcbits.com/img/a1301788768_9.jpg", "https://f4.bcbits.com/img/a3822153582_9.jpg", "https://f4.bcbits.com/img/a0959138693_9.jpg", "https://f4.bcbits.com/img/a1165614212_9.jpg", "https://f4.bcbits.com/img/a2602126666_9.jpg", "https://f4.bcbits.com/img/a3425889326_9.jpg", "https://f4.bcbits.com/img/a3585815598_9.jpg", "https://soundwayrecords.bandcamp.com/img/0.gif", "https://f4.bcbits.com/img/0031477808_33.jpg", "https://f4.bcbits.com/img/0026477547_33.jpg", "https://f4.bcbits.com/img/0026353831_33.jpg", "https://f4.bcbits.com/img/0036824131_33.jpg", "https://soundwayrecords.bandcamp.com/img/0.gif" ]	[]	[]	[ "" ]	null	[]	2023-03-03T00:00:00+00:00	Opera by Nenad Jelić i Laza Ristovski, released 03 March 2023 1. Rhinoceros II 2. Gajeiro 3. Lamentation 4. Sometimes At Nine 5. Rumba Balcana 6. Gitanes 7. In The Sky Soundway Records reissues a limited 1000 copy run of Nenad Jelić and Laza Ristovski's seminal experimental Serbian album Opera originally released on the former Yugoslavian state record label PGB / RTB in 1986. Combining Balkan and South American percussion and rhythms with synthesisers, vocal samples, and at times unexpected acoustic instruments (zither and harmonica), the album has slowly become a cult classic amongst fans of fourth world and avant garde music and is a kaleidoscope of contrasting moods and inspirations. The recordings were the brainchild of Nenad Jelić: one of the most original artists to appear on the Serbian music scene in the late 1970s onwards. Jelić played in a wide variety of former-Yugoslavian contemporary jazz, modern classical and rock / pop outfits throughout the 80s until the present day, including the two, classic early 1980s LPs recorded by the Lala Kovačev Group: Balkan Impressions Volumes 1&2. A percussionist obsessed with melody and silence, and a multi-disciplinary instrumentalist, Jelić teamed up with the famous Serbian keyboard player Laza Ristovski in 1985 to help him arrange and realise his vision for the record. The year before its conception, Jelić had moved to Portugal and it's evident in the compositions that the musical waves that blow back and forth across the Atlantic Ocean had melded with the various Eastern European, Mediterranean and Balkan traditions that he had grown up with. "This is where I completely immersed myself in the atmosphere of the Saudades, which helped me articulate my own personal vocation as an author, enabling me to focus on melancholy, melodiousness, the fluidity of the pulse". The Lisbon setting of the fado bars gave rise to the first impulses which would become Opera. However, becoming "just another fado artist" wasn't enough. "My temperament, my previous experience, my sensibility, they all clearly pointed toward a fusion of ambient, jazz and pop music laced with elements of the various Balkan musical traditions as well as the universe of the Latin American sound." "I saw Portugal as an exceptionally emotional country with its trademark nascent sorrow, ever present in all those swaying voices and guitars," he explains. "I felt it very familiar with my own sentiment and it affected my style enormously." These are the exact same elements which he finds moving in any music, be it of Portuguese, Romanian, Greek, Turkish, Hungarian or Spanish origins. "If we try and seek the connection between all these worlds, we will inevitably stumble across the Romani people who left their mark pretty much everywhere." Jelić's approach is intuitive: "for me, music has always been a sort of a prayer, or a rite of sorts. It doesn't matter if it's the voices or the percussion instruments." Re-mastered from the original tapes this newly reissued Soundway Records version on vinyl sounds far better than the original pressing which unfortunately had pressing flaws and surface noise throughout.	en	https://f4.bcbits.com/im…3328489323_3.jpg	Soundway Records	https://soundwayrecords.bandcamp.com/album/opera	supported by 9 fans who also own “Opera” go to album supported by 9 fans who also own “Opera” go to album
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1053	dbpedia	3	37	https://www.thehighwaystar.com/news/2022/08/27/danish-treasures/	en	The Highway Star — Danish treasures	https://www.thehighwayst…s/fb-profile.jpg	https://www.thehighwayst…s/fb-profile.jpg	[ "https://www.thehighwaystar.com/hs-pics/portraits/hands/morse7.jpg", "https://www.thehighwaystar.com/hs-pics/portraits/faces/gillan2.jpg", "https://www.thehighwaystar.com/hs-pics/original.gif", "https://www.thehighwaystar.com/hs-pics/hs-head.gif", "https://www.thehighwaystar.com/wp/wp-includes/images/rss.png", "https://www.thehighwaystar.com/wp/wp-includes/images/rss.png", "https://www.thehighwaystar.com/wp/wp-includes/images/rss.png", "https://www.thehighwaystar.com/wp/wp-includes/images/rss.png", "https://www.thehighwaystar.com/wp/wp-includes/images/rss.png", "https://www.thehighwaystar.com/wp/wp-includes/images/rss.png", "https://www.thehighwaystar.com/hs-pics/sml-menu-srch.gif", "https://www.thehighwaystar.com/hs-pics/barcode_new.gif" ]	[]	[]	[ "" ]	null	[]	2022-08-27T00:00:00	The Highway Star -- the oldest and largest Deep Purple website, run by the fans for the fans. Deep Purple and related news, reviews, tour info, music, lyrics, history etc.		/favicon.ico		https://www.thehighwaystar.com/news/2022/08/27/danish-treasures/
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]	[]	[]	[ "" ]	null	[ "Jonny Zchivago" ]	null		en	http://dieordiy2.blogspot.com/favicon.ico		http://dieordiy2.blogspot.com/2019/11/	Larry Wendt - "New And Slightly Used Text-Sound Compositions" (1977) Would you buy a used Text-Sound Composition from this man? Well,yes, but you don't have to,because in this new,and very brief carin...
1053	dbpedia	3	3	https://en.wikipedia.org/wiki/Rock_music_in_Serbia	en	Rock music in Serbia	https://en.wikipedia.org/static/favicon/wikipedia.ico	https://en.wikipedia.org/static/favicon/wikipedia.ico	[ "https://en.wikipedia.org/static/images/icons/wikipedia.png", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-en.svg", "https://upload.wikimedia.org/wikipedia/commons/thumb/f/ff/Flag_of_Serbia.svg/110px-Flag_of_Serbia.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/f/ff/Flag_of_Serbia.svg/16px-Flag_of_Serbia.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a4/Text_document_with_red_question_mark.svg/40px-Text_document_with_red_question_mark.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/c/c0/Boracorba.jpg/200px-Boracorba.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/f/f2/Bajagaiinstruktori09.jpg/200px-Bajagaiinstruktori09.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/6/6f/Galija_in_2016.jpg/200px-Galija_in_2016.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/3/35/Vgoghexit.jpg/200px-Vgoghexit.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/b/b7/Nevernebebe.jpg/200px-Nevernebebe.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/f/fa/Djordje_Balasevic_-_Zagreb_2010_%285332678682%29.jpg/200px-Djordje_Balasevic_-_Zagreb_2010_%285332678682%29.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/7/7d/YU_Grupa_performing_live_at_Nisomnia_music_festival_in_2007.JPG/200px-YU_Grupa_performing_live_at_Nisomnia_music_festival_in_2007.JPG", "https://upload.wikimedia.org/wikipedia/en/thumb/b/be/Kerber_performing_live.JPG/200px-Kerber_performing_live.JPG", "https://upload.wikimedia.org/wikipedia/commons/thumb/4/43/Ana_Popovic_%40_Piacenza_Blues_Festival_day_4_36.jpg/220px-Ana_Popovic_%40_Piacenza_Blues_Festival_day_4_36.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/5/5c/Partibrejkers2003.jpg/200px-Partibrejkers2003.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/EXIT_2012_Goblini.jpg/200px-EXIT_2012_Goblini.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/e/e0/Elektri%C4%8Dni_orgazam.jpg/200px-Elektri%C4%8Dni_orgazam.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/c/cc/DLM2007.JPG/200px-DLM2007.JPG", "https://upload.wikimedia.org/wikipedia/commons/thumb/d/d8/KojaSKC1.jpg/200px-KojaSKC1.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/4/49/Antonije_Pusic_Rambo_Amadeus.jpg/200px-Antonije_Pusic_Rambo_Amadeus.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/f/f0/Ritamneredaexit10.jpg/200px-Ritamneredaexit10.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/0/01/Bjesovinisomnia.JPG/220px-Bjesovinisomnia.JPG", "https://upload.wikimedia.org/wikipedia/commons/thumb/f/f5/Eva_Braun_band_at_Exit_7.jpg/220px-Eva_Braun_band_at_Exit_7.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/5/56/Orthodox_Celts_u_Banja_Luci.jpg/200px-Orthodox_Celts_u_Banja_Luci.jpg", "https://upload.wikimedia.org/wikipedia/en/thumb/9/96/Symbol_category_class.svg/16px-Symbol_category_class.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/e/e2/Symbol_portal_class.svg/16px-Symbol_portal_class.svg.png", "https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1", "https://en.wikipedia.org/static/images/footer/wikimedia-button.svg", "https://en.wikipedia.org/static/images/footer/poweredby_mediawiki.svg" ]	[]	[]	[ "" ]	null	[ "Contributors to Wikimedia projects" ]	2005-02-06T04:38:42+00:00		en	/static/apple-touch/wikipedia.png		https://en.wikipedia.org/wiki/Rock_music_in_Serbia	Serbian appreciation of and contributions to the rock music genre Serbian rock is the rock music scene of Serbia. During the 1960s, 1970s and the 1980s, while Serbia was a constituent republic of Socialist Federal Republic of Yugoslavia, Serbian rock scene was a part of the SFR Yugoslav rock scene. The Socialist Federal Republic of Yugoslavia was not an Eastern Bloc country, but a member of the Non-Aligned Movement and as such, it was far more open to the Western culture comparing to the other socialist countries. Rock and roll reached Yugoslavia via foreign radio stations, most notably Radio Luxemburg,[1][2] and rock and roll records, brought in from the West.[3] Rock and roll influences reached schlager singers, most notably Đorđe Marjanović, who released the first popular music solo album in Serbia, in 1959.[4] The end of the 1950s featured the appearances of first rock and roll acts, and the 1960s featured many beat bands, such as Siluete and Elipse, which became enormously popular with the younger generations. Rock bands drew the public's attention to themselves, which was followed with the appearance of first rock music magazines, radio and TV shows.[3][5] Until the beginning of the 1970s, Serbian rock bands released only 7-inch singles and extended plays. Korni Grupa was the first Serbian rock act to release a full-length album, in 1972, and one of the first bands to move towards progressive rock. Progressive rock dominated the Serbian rock scene during the 1970s, with a part of bands incorporating elements of traditional music into their sound. At this period, bands like YU Grupa, Pop Mašina and Smak achieved large mainstream popularity and massive album sales. The end of the 1970s featured the appearance of the prominent hard rock band Riblja Čorba, and the emergence of the closely associated punk rock and new wave scenes. Pekinška Patka was the first Serbian punk rock band to release an album, in 1980. The new wave bands Šarlo Akrobata, Električni Orgazam and Idoli, which appeared on the influential compilation album Paket aranžman in 1980, were followed by many new wave acts. Around 1982, new wave scene declined and many acts moved towards more commercial sound. During the 1980s, pop rock acts, such as Đorđe Balašević and Bajaga i Instruktori, dominated the mainstream scene, but various other rock genres also emerged, and the alternative rock scene, with the acts such as Ekatarina Velika, Disciplina Kičme, and Rambo Amadeus, started to develop and gain mainstream popularity. With the outbreak of the Yugoslav wars at the beginning of the 1990s, the former Yugoslav rock scene ceased to exist. During the 1990s, most of, both mainstream and underground, rock acts expressed their opposition towards the government of Slobodan Milošević, which caused their absence from most of the government-controlled media. Although several major mainstream acts managed to sustain their popularity (some of them, like Partibrejkers and Van Gogh, even increasing it), and a large underground and independent music scene developed. After the 1999 NATO bombing of FR Yugoslavia and the arrival of the political changes during the 2000s, a new independent scene started to develop. The 2000s also featured the establishing of new connections between the former Yugoslav republics' scenes. History [edit] Rock pioneers (late 1950s – late 1960s) [edit] The first rock acts emerged in the late 1950s. Influenced by the rock and roll and rockabilly acts, many young people started performing the so-called "električna muzika" ("electric music"), naming themselves "električari" ("electricians"). One of the first Serbian rock and roll musicians who rose to fame was guitarist Mile Lojpur from Belgrade, often considered the first Serbian or even Yugoslav rock and roll musician. He rose to fame at the dances he and his band Septet M organized at Red Star basketball courts at Kalemegdan. Although Lojpur did not make any recordings, he had a great influence on subsequent development of the scene. Another notable rock and roll artist was Perica Stojančić from Niš, whose debut single was released in 1961. The singer Đorđe Marjanović became the first Yugoslav superstar. Despite essentially being a schlager singer, Marjanović also performed rock and roll songs. He is also notable as the first Yugoslav popular music singer who had an energetic on-scene appearance. He was the first pop singer to walk off the stage into the audience and perform songs in theatrical manner. His popularity led to the release of his album Muzika za igru in 1959, the first popular music solo album released by PGP-RTB, the biggest Serbian record label.[4] In 1963, Marjanović went on his first Soviet Union tour, where he soon became very popular, and had gone on more than thirty Soviet Union tours since. He continued to perform until 1990, when, on concert in Melbourne, he had a stroke, after which he decided to retire. The beginning of the 1960s saw the emergence of numerous beat and rhythm and blues bands, the majority of which being initially inspired by the then-popular Cliff Richard and The Shadows:[3][5] Iskre and Siluete, both formed in 1961; Zlatni Dečaci and Bele Višnje, both formed in 1962; Crni Biseri, Daltoni, Elipse, and Samonikli, all formed in 1963; Tomi Sovilj i Njegove Siluete and Sanjalice, both formed in 1964; Plamenih 5, formed in 1965, Džentlmeni, formed in 1966. Siluete were well known for their shocking appearance and performance, and the band's frontman Zoran Miščević became one of the first Yugoslav rock stars and a sex symbol.[6] The media often promoted rivalry between Siluete and Elipse.[7] Initially formed as a beat band, Elipse moved to soul music and added a brass section when they were joined by vocalist Edi Dekeng, an African student from Congo, in 1967.[7] Crni Biseri featured the prominent musician Vlada Janković "Džet", who later formed the band Tunel and became a well-known Radio Belgrade host. Sanjalice were one of the first former Yugoslav all-female rock bands. The members of Džemtlmeni, brothers Žika and Dragi Jelić, later formed the highly successful progressive/hard rock band YU Grupa. Although all of these bands released only 7-inch singles and extended plays – with the exception of Crni Biseri, which recorded their only studio album Motorok in 1976, and Bele Višnje, which recorded their old songs and released them on the album Pesme naše mladosti in 1994 – they had major influence on the subsequent development of the scene. Mainstream and pop rock (late 1960s – present) [edit] Korni Grupa was one of the first Serbian rock bands to achieve major mainstream popularity. Formed in 1968 by former Indexi keyboardist Kornelije Kovač, the band recorded many commercial pop songs released on 7-inch singles, with which they achieved huge popularity and appeared on pop music festivals throughout Yugoslavia. Already influenced by progressive rock, the band moved towards progressive sound with the arrival of vocalist Dado Topić, continuing, however, to release commercial singles. Korni Grupa's 1971 debut album Korni Grupa was the first long play album by a rock act coming from Serbia, and the fourth long play album by a Yugoslav rock act. The band's second, symphonic rock-oriented album, Not an Ordinary Life, released under the name Kornelyans in 1974, was one of the first Yugoslav albums released through a foreign record label. Despite the success with the singles they released in Yugoslavia, the band disbanded due to the little success of Not an Ordinary Life and the song "Moja generacija", with which the band represented Yugoslavia at the 1974 Eurovision Song Contest. By the time Korni Grupa disbanded, other Serbian progressive rock bands, like YU Grupa and Smak, had already achieved huge mainstream popularity. YU Grupa, formed in 1970 by former Džentlmeni members, brothers Dragi and Žika Jelić, is often considered the longest-lasting Serbian rock band.[8][9] Having released several successful singles which featured a fusion of progressive/hard rock and Balkan traditional music, YU Grupa released their first album, YU Grupa (1973), which became one of the best selling Yugoslav rock albums of the 1970s.[10] The band continued to release successful albums, but with the popularity of new wave, the band disbanded in 1981. However, the band reunited in 1987 and has released a number of well-accepted hard rock-oriented albums since. The band Smak from Kragujevac, formed by guitar virtuoso Radomir Mihailović "Točak" in 1971, was, during the second half of the 1970s, competitive with the band Bijelo Dugme from Sarajevo. Smak released several hit singles before releasing their self-titled debut in 1975, considered to be one of the most successful debut albums in former Yugoslavia. The band's later releases, Satelit (1976), Crna dama (1977) and Stranice našeg vremena (1978), saw similar success, but the band disbanded in 1981 for the similar reasons like YU Grupa. The band reunited and disbanded several more times during the 1980s and 1990s, releasing albums that saw little commercial success, although the 2012 reunion of the band's default lineup saw large interest by the audience and covering in the media.[11][12][13] The end of the 1970s featured the appearance of the pop rock band Rani Mraz. Rani Mraz was formed in 1978 by a former Žetva member Đorđe Balašević, and during the initial period went through several lineup changes. The most famous lineup featured Balašević, Verica Todorović, Bora Đorđević and Biljana Krstić, the latter two joining Rani Mraz after leaving the acoustic rock band Suncokret. This lineup of the band released the highly popular single "Računajte na nas", a song which praised the legacy of the Yugoslav Partisans from a slightly different perspective than habitual socialist realism, and soon became an anthem of Yugoslav youth. Đorđević, however, soon left the band to form Riblja Čorba. Rani Mraz released two well-received albums, Mojoj mami umesto maturske slike u izlogu (1979) and Odlazi cirkus (1980), before disbanding in 1981. With the release of the album Pub (1982), Balašević started a very successful solo career, spanning up to the present, establishing himself as the most popular Serbian singer-songwriter. The hard rock band Riblja Čorba, formed in 1978, achieved huge success with their debut single "Lutka sa naslovne strane" (1978) and their debut album Kost u grlu (1979). Their following albums, Pokvarena mašta i prljave strasti and Mrtva priroda, both released in 1981, launched them to the top of the Serbian and former Yugoslav rock scene despite their hard rock sound with blues and heavy metal[14] elements, and thanks to their provocative social- and, since the release of Mrtva priroda, political-related lyrics written by the band leader Bora Đorđević. After the album Istina (1985) the band, although still generally fitting into hard rock, started gradually turning towards softer sound, managing to sustain their popularity throughout the decade. However, in the 1990s, Riblja Čorba's popularity heavily declined in Croatia and Bosnia and Herzegovina during the Yugoslav wars, when Ðorđević became an active supporter of the Serbian troops in Republika Srpska and Republika Srpska Krajina, which he demonstrated by recording controversial songs "E moj druže zagrebački" (which was recorded as a response to Jura Stublić's song "E moj druže beogradski") and "Ljetovanje" with the band Mindušari from Knin. However, Ðorđević was also strongly opposed to president Slobodan Milošević and he demonstrated his attitude by writing a number of anti-government songs released on Riblja Čorba albums Zbogom, Srbijo (1993), Ostalo je ćutanje (1996) and Nojeva barka (1999), and on his solo album Njihovi dani (1996). The end of the 1970s and the beginning of the 1980s featured the appearance of three popular solo singers: Slađana Milošević, Bebi Dol and Oliver Mandić. Aleksandra "Slađana" Milošević released her debut single "Au, au" in 1977. The single saw huge success and was followed by a successful album Gorim od želje da ubijem noć (1979). In 1984, she recorded a highly popular ballad "Princeza" with Dado Topić. During the 1990s and 2000s, she experimented with various musical genres and her popularity heavily declined. Bebi Dol and Oliver Mandić both used simple pop rock forms combined with jazz, synthpop and folk music. Bebi Dol, born Dragana Šarić, with her debut single "Mustafa" (1981) quickly gained the public's attention. Her debut album Ruže i krv (1983) gained positive reviews and good commercial reception. Having high ranks at the MESAM and Jugovizija festivals, she was, with the song "Brazil", the last representative of the Socialist Federative Republic of Yugoslavia at the Eurovision Song Contest. Having released her second album Ritam srca (1995), her popularity declined and she withdrew from performing in the late 1990s, returning in the early 2000s. Oliver Mandić, though active in the 1970s as a member of various progressive rock bands, it was his debut album Probaj me (1980) that brought him the nationwide popularity. With hits appearing on his albums Zbog tebe bih tucao kamen (1982) and Dođe mi da vrisnem tvoje ime (1985), controversial stage performance and clothing style, Mandić achieved large attention and high record sales. In the early 1990s he semi-retired, appearing occasionally only until today. After the decline of the new wave scene in Serbia, part of the bands moved towards more commercial rock and pop rock sound. Električni Orgazam, after releasing Kako bubanj kaže in 1984, released their commercially most successful albums, Distorzija (1986) and Letim, sanjam, dišem (1988), the latter featuring the anthem hit-song "Igra rock 'n' roll cela Jugoslavija". Električni Orgazam continued with the same musical directions in the 1990s with Zašto da ne! (1994) and A um bum (1999). In 2007, Električni Orgazam performed as an opening act for The Rolling Stones, on the concert held at the Belgrade Ušće park.[15] Idoli, after releasing their debut Odbrana i poslednji dani (1982), recorded their second studio album, Čokolada (1983), which featured a combination of pop rock, funk and electronic music. The album turned out to be the greatest commercial success by the band. Having recorded the Šest dana juna soundtrack (1985) in the 1960s pop rock manner, the band split up and Vlada Divljan released his debut album Tajni život A. P. Šandorova (1988), stylistically similar to the previous Idoli releases. The band Zana, fronted by vocalist Zana Nimani, after their early new wave works moved towards synthpop and pop rock, releasing successful albums Dodirni mi kolena (1982) and Natrag na voz (1983). After the departure of frontress Zana Nimani in 1984, the band changed several vocalists, gradually moving away from the rock scene towards pop music. The reformed Piloti released the highly successful album Kao ptica na mom dlanu in 1987. With the following albums, Osmeh letnje noći (1988) and Neka te bog čuva za mene (1990), the band maintained their popularity, which even increased in the 1990s with the Zaboravljeni soundtrack album (1993). However, the band disbanded in 1997 and, in the meantime, Piloti frontman Zoran "Kiki" Lesendrić released the album Nedelja na Duhove (1995) with former Idoli members Srđan Šaper and Nebojša Krstić under the name Dobrovoljno Pevačko Društvo. During the late 1990s and 2000s Lesendrić worked as a songwriter before releasing his first, very successful solo album Mesec na vratima in 2008, after which he reformed Piloti. Other new wave acts that made a shift towards more commercial sound after the decline of the scene include Bezobrazno Zeleno (which moved towards pop rock), U Škripcu (which moved towards synthpop and pop rock) and Laki Pingvini (which moved towards synthpop and New Romantic). The pop rock band Bajaga i Instruktori, formed in 1984 by former Riblja Čorba member Momčilo Bajagić "Bajaga", after releasing their debut, highly successful solo album Pozitivna geografija in 1983 (originally released as Bajagić's solo album, but, as it featured musicians which would later become members of Bajaga i Instruktori, included in the band's official discography), started releasing successful albums Sa druge strane jastuka (1985) Jahači magle (1986), and Prodavnica tajni (1988), all becoming mega-hits. Bajaga i Instruktori entered the 1990s as one of the most popular Serbian rock acts, managing to maintain the gained popularity through the 1990s.[16] The mid-1980s pop rock bands Amajlija, Poslednja Igra Leptira, Divlji Anđeli, Slomljena Stakla, Ruž, Alisa, Banana, Jugosloveni, Bel Tempo and Vampiri had a vast number of album sales, however, the majority of them disbanded before reaching the 1990s, or at the very beginning of the decade. Poslednja Igra Leptira, formed in 1980 and led by charismatic frontman Nenad Radulović, also known as Neša Leptir, achieved success with their pop rock songs with humorous lyrics, but disbanded in 1989. Radulović released his solo album Niko nema što piton imade, which parodied "novokomponovana muzika", in 1989, before dying of tumor in 1990. Bel Tempo, formed in 1986 by brother and sister Vlada and Suzana Petričević, released two pop rock albums with jazz elements before disbanding in 1992. Vampiri's sound was influenced by the 1950s doo-wop and rockabilly. However, with the breakout of the Yugoslav Wars, their sound seamed misplaced and the band disbanded in 1993. They reunited in 1995 and released the album Plavi grad, and, in 1997, Monkey Food, experimenting with different musical genres on the latter. However, the band disbanded once again in 1998. Popular rock acts of the late 1980s and the 1990s were Galija, Partibrejkers and Dejan Cukić. Galija, despite being formed in the late 1970s and initially performing progressive rock, reached the peak of popularity in the late 1980s and early 1990s with the album trilogy consisting of Daleko je Sunce (1988), Korak do slobode (1989), and Istorija, ti i ja (1991), entering the 1990s as one of the most popular Serbian rock bands. In the 1990s, Galija promoted the Socialist Party of Serbia, which had provoked a part of the critics and fans to proclaim Galija a "state band".[17] Nevertheless, albums Karavan (1994), Trinaest (1996) and Voleti voleti (1997) were well received by majority of the fans. The garage/punk rock band Partibrejkers gained large popularity with the albums Partibrejkers I (1985), Partibrejkers II (1988), Partibrejkers III (1989) and Kiselo i slatko (1994). Former Bulevar and Bajaga i Instruktori vocalist Dejan Cukić started his solo career in the late 1980s, and forming his Spori Ritam Band started releasing a series of successful albums, Spori ritam (1987), Zajedno (1989), 1991 (1991) and Ja bih da pevam (1996). Popular acts of the 1990s include Del Arno Band, Van Gogh, Babe, Prljavi Inspektor Blaža i Kljunovi, Familija, and the Belgrade fraction of the band Zabranjeno Pušenje. Pioneers of Serbian and former Yugoslav reggae scenes,[18] Del Arno Band, formed in 1986, were always closely associated with the rock scene. Although they released only three full-length studio albums during twenty-five years of career, Del Arno Band managed to remain on top of Serbian reggae scene.[18] The band Van Gogh started their career with the release of their debut self-titled album in 1986, but disbanded a year later. The band reunited in 1990, and throughout the 1990s released the albums Svet je moj (1990), Strast (1993), Hodi (1996) and Opasan ples (1999), which made them one of the most popular acts on the Serbian rock scene. Babe, starting in 1992 as a side project of Bajaga i Instruktori member Žika Milenković, Električni Orgazam member Goran Čavajda and Riblja Čorba member Zoran Ilić, with the release of their debut album Slike iz života jednog idota (1993) gained popularity with their humorous songs. After the departure of Čavajda, having released Slike sna i jave (Samo za buntovnike) (1999), Babe ended their activity. Another popular comedy rock band, Prljavi Inspektor Blaža i Kljunovi, formed by charismatic frontman Igor Blažević in 1993, quickly gained mainstream popularity with lyrics inspired by musical, film and sport stars. The band Familija was formed in 1994 by former Vampiri, U Škripcu and Košava members, and saw large popularity with their albums Narodno pozorište (1994) and Seljačka buna (1997), which featured ska/pop rock songs with humorous lyrics. With the outbreak of the Bosnian War the band Zabranjeno Pušenje from Sarajevo split into two factions, both named Zabranjeno Pušenje: the Sarajevo fraction, led by the original Zabranjeno Pušenje guitarist Sejo Sexon, and the Belgrade faction, led by the original Zabranjeno Pušenje vocalist Nele Karajlić. The Belgrade faction released the album Ja nisam odavle in 1997, and, after recording the soundtrack for the film Black Cat, White Cat by the director Emir Kusturica, moved towards world music, starting to perform with Kusturica under the name to The No Smoking Orchestra. The band saw large popularity outside Serbia, however, their new sound is better accepted abroad than in their home country.[19] The 2000s featured popular bands Negative, Neverne Bebe and Night Shift. The power pop band Negative, featuring the former Tap 011 vocalist Ivana Peters, formed in 1999, released several successful albums and had successful appearances on several musical festivals. Neverne Bebe, formed in 1993 by the keyboard player Milan Đurđević, having released three studio albums and having several lineup changes, released highly successful album Dvoje – The Best Of, featuring two female vocalists and featuring rerecorded versions of the band's old songs, after which they became one of the top mainstream acts of the Serbian scene. The post-grunge/hard rock band Night Shift, although formed in 1991, released their debut, successful cover album Undercovers in 2002. In 2009 the band released Bez zaklona which featured their own songs. Beside the mentioned bands, the veterans of the Serbian rock scene, YU Grupa, with their comeback Dugo znamo se (2005), Đorđe Balašević, with the albums Dnevnik starog momka (2001) and Rani mraz (2004), Riblja Čorba, with Pišanje uz vetar (2001), Ovde (2003), Trilogija (2007) and Minut sa njom (2009), Bajaga i Instruktori, with Zmaj od Noćaja (2001), Šou počinje u ponoć (2005) and Daljina, dim i prašina (2012), Električni Orgazam with Harmonajzer (2002) and To što vidiš to i jeste (2010), Galija with Dobro jutro, to sam ja (2005) and Mesto pored prozora (2010), Partibrejkers, with Gramzivost i pohlepa (2002) and Sloboda ili ništa (2007), and Van Gogh, with DrUnder (2002), Kolo (2006) and Lavirint (2009), maintained their popularity throughout the 2000s and early 2010s. Acoustic rock (late 1960 – mid-1970s, early 1990s – present) [edit] The Serbian acoustic scene emerged in the late 1960s with the appearance of the hippie subculture in Serbia, but reached its peak in the early 1970s with the bands Porodična Manufaktura Crnog Hleba, Vlada i Bajka, Lutajuća Srca, S Vremena Na Vreme, DAG, and Suncokret, most of them being a part of the Belgrade acoustic rock scene, naming themselves "akustičari" ("acousticans").[20] The pioneers of the Serbian acoustic rock scene were the bands Porodična Manufaktura Crnog Hleba, Vlada i Bajka and S Vremena Na Vreme. Porodična Manufaktura Crnog Hleba, which was also a theatre group, formed by Maja de Rado and Jugoslav Vlahović in 1968, released their only album Stvaranje in 1974, and disbanded in 1975. The duo Vlada i Bajka saw success with their early recordings, but disbanded in 1975. In 1993, the duo reunited, and recorded their first full-length album, Ja nisam ja (1994), which featured the hit song "Beograd", recorded with singers Bora Đorđević and Dušan Prelević, and actors Dragan Nikolić, Nikola Kojo and Dragan Bjelogrlić. Acoustic/progressive rock band S Vremena Na Vreme, formed in 1972, were, beside being a pioneers of the acoustic scene, one of the first former Yugoslav bands to incorporate traditional music elements into their music. The band's debut self-titled album, released in 1975, was widely praised by the critics. After releasing their third, electric-oriented album, Paviljon G in 1979, S Vremena Na Vreme disbanded. They reunited in 1993, releasing a studio and a live album, before disbanding once again in 1997. Lutajuća Srca, formed in 1970 in Niš, released many 7-inch singles and four studio albums, and remains best known for their hits "Još malo", "Jefimija" and "Brod za sreću". DAG, formed in 1972, although a part of the Belgrade acoustic rock scene, used electric instruments on their only studio album Sećanja (1974). One of the last acoustic rock bands, Suncokret, appeared in 1975, featuring Bora Đorđević and Nenad Božić on acoustic guitars and vocals and two female vocalists, Biljana Krstić and Gorica Popović. The band started releasing folk music-inspired singles and, in 1977, released their only album, Moje bube. The following year, having written the song "Lutka sa naslovne strane", which the band refused to perform, Đorđević, together with Krstić, left the band, moving to Rani Mraz. Suncokret continued to perform with a changed lineup, led by female vocalist Snežana Jandrlić, until 1980 when they disbanded. Beside the mentioned bands, part of the Belgrade acoustic rock scene was the singer-songwriter Srđan Marjanović during the first several years of his career. Throughout the 1980s, the acoustic scene did not exist, however, the appearance of the first unplugged concerts in the late 1980s introduced the popularity of acoustic music in the following decade. Bora Đorđević's and Arsen Dedić's 1987 unplugged performance in Terazije Theatre, released on the official bootleg album Arsen & Bora Čorba Unplugged `87, was one of the first unplugged concerts in Serbia and former Yugoslavia. However, it was in the 1990s that the Serbian rock acts started performing unplugged more often. The first official unplugged live album was released by the britpop band Eva Braun in 1993, and in the following year the Music Television of Serbia organized an unplugged festival in Belgrade Sava Centar. The recordings of Eva Braun, Rambo Amadeus, Laki Pingvini, Babe, Dejan Cukić, Milan Delčić, Du Du A, Del Arno Band, Kazna Za Uši, and others appeared on the various artists compilation Bez struje in 1995.[21] During the 1990s, the unplugged concerts in Serbia were mainly organized by the Novi Sad television station NS Plus in Novi Sad Studio M. Influenced by the already popular MTV Unplugged, NS Plus Unplugged concerts of Dejan Cukić, Kerber, S Vremena Na Vreme, Električni Orgazam, Vlada Divljan & Old Stars Band and Garavi Sokak, all held in 1996, and Love Hunters, held in 1998, were released on live albums throughout the late 1990s. YU Grupa released only a part of their 1996 unplugged concert in Studio M, featuring Kornelije Kovač on piano, on their 2007 album Live. An unplugged album was also released by Generacija 5 in 2002, but their unplugged concert, held in 1995, was not a part of the NS Plus Unplugged series. The 1990s also featured several notable acoustic non-live releases. The folk rock band Garavi Sokak, after the release of their 1994 acoustic-oriented album Slova tvoga imena, started performing on acoustic instruments only and turned towards pop sound. In 1996, the singer-songwriter Đorđe Balašević released acoustic folk rock-oriented album Na posletku.... During the 2000s, the acoustic music featured only a few notable releases. In 2000, Dejan Cukić recorded an acoustic Bob Dylan tribute Divlji med, featuring Serbian language lyrics. In 2002, Block Out leader Nikola Vranjković released a solo album Zaovdeilizaponeti, featuring lyrics from his book of the same title released with the CD. In 2002, Đorđe Balašević released the album Rani mraz, stylistically similar to Na posletku.... In 2002, the reformed Griva held an unplugged concert in Studio M, the recording of which was released on the album Griva & Co. — Live in 2010. Singer-songwriters (early 1970s – present) [edit] Serbian rock scene featured several notable singer-songwriters. One of the most important authors was Đorđe Balašević. He started his career in the 1970s as a member of the band Žetva and the leader of the band Rani Mraz, before starting, with the release of the album Pub (1982), a very successful solo career spanning up to the present. Despite the fact that his work in Žetva and Rani Mraz was mainly pop rock-oriented, in his later career he often used elements of rock, chanson and folk music, with some of his works, like Na posletku... (1996) and Rani mraz (2004) being entirely folk rock-oriented. Balašević's lyrics often dealt with humorous or political- and social-related themes. Other notable singer-songwriters are Srđan Marjanović and Nikola Čuturilo. Initially a part of the Belgrade acoustic rock scene, Srđan Marjanović released his debut album Srđan Marjanović i prijatelji, which he recorded with members of YU Grupa, in 1974. During his career he released twelve studio albums. Nikola Čuturilo rose to fame as the guitarist for Riblja Čorba. He released his first solo album, 9 lakih komada (1988), while still a member of Riblja Čorba. He left the band in 1989, continuing his solo career which spans up to the present day. Progressive and psychedelic rock (late 1960s – early 1980s) [edit] Progressive rock dominated the Serbian rock scene throughout the 1970s, with the acts such as Dogovor iz 1804., Korni Grupa, YU Grupa, Smak, Pop Mašina, Dah, S Vremena Na Vreme, Opus, Tako, and Igra Staklenih Perli being the most notable representatives.[22] With the emergence of the new wave scene at the beginning of the 1980s, Serbian progressive rock bands saw the decline of popularity and most of them ceased to exist. Dogovor iz 1804. was short-lived, but played a pioneering role on a Yugoslav progressive rock scene as one of the first bands to move away from the 1960s rhythm and blues sound. They were followed by Korni Grupa. Formed in 1968 by Kornelije Kovač, the band had gone through many lineup changes and featured many famous musicians, including vocalists Dušan Prelević, Dalibor Brun, Dado Topić, Zdravko Čolić and Zlatko Pejaković. The band gained mainstream popularity with their simple pop-oriented songs, but moved towards progressive rock after they were joined by singer Dado Topić. Nevertheless, the band continued to record pop-oriented songs and represented Yugoslavia at the 1974 Eurovision Song Contest with the song "Moja generacija". In 1973, the band, under the name Kornelyans, released the symphonic rock-oriented English language album Not An Ordinary Life. Korni Grupa disbanded shortly after, but reunited in 1987 to perform at the Legende YU Rocka (Legends of YU Rock) concerts. YU Grupa, formed in 1970 by former Džentlmeni members, brothers Dragi and Žika Jelić, were one of the pioneers in incorporating elements of traditional music of the Balkans into rock,[23][24][25] and achieved huge popularity with their fusion of progressive/hard rock and folk found on their 7-inch singles. Members of YU Grupa performed as a support band for guitarists Bata Kostić, Vedran Božić, Josip Boček and Goran Bregović on the Kongres rock majstora (Congress of Rock Masters) concert and album. YU Grupa disbanded in 1981, but reunited in 1987, continuing to record successful hard rock-oriented releases throughout the late 1980s, 1990s and the 2000s. Smak, formed in 1971 by guitarist Radomir Mihajlović Točak, often considered one of the top and most influential guitarist on the former Yugoslav rock scene, and drummer Dejan Stojanović "Kepa", did not get a default lineup until 1975 by which time bassist Zoran Milanović, vocalist Boris Aranđelović and keyboard player Laza Ristovski consisted the official band membership. Smak performed jazz-influenced progressive rock, but also incorporated elements of folk, blues and hard rock into their sound. The band achieved huge popularity in the 1970s, with their releases Smak (1975), Satelit (1976), Crna dama (1977) and Stranice našeg vremena (1978). However, the band's popularity heavily declined at the beginning of the 1980s. Smak disbanded in 1981, and reunited and disbanded several times since. Pop Mašina, formed in 1971, performed progressive/hard rock, but their debut album Kiselina (1973) also featured acid and psychedelic rock elements. The band released the first former Yugoslav live album, Put ka Suncu in 1976, and disbanded the following year. In 1981, the band's former members, Robert Nemeček and brothers Vidoja and Zoran Božinović, formed the hard rock/heavy metal band Rok Mašina. S Vremena Na Vreme, formed in 1972, were one of the pioneers of the Yugoslav acoustic rock scene, but also incorporated progressive rock elements into their music. They were also one of the first former Yugoslav rock bands to incorporate folk music elements into their songs. The band's debut self-titled album, released in 1975, was widely praised by the critics. S Vremena Na Vreme disbanded in 1981, but reunited in 1993, and disbanded once again in 1997. Dah, formed in 1972 and led by guitarist Zlatko Manojlović, also combined progressive rock with folk. In 1975, Dah moved to Belgium and started a short-lasting international career under the name Land. After returning to Yugoslavia, the band recorded the album Povratak (1976) and disbanded shortly after. In 1977, Manojlović formed the progressive/hard rock band Gordi, which made a shift towards heavy metal in the 1980s. The band Opus was formed in 1973 by former YU Grupa organist Miodrag Okrugić. The band disbanded after releasing only one symphonic rock-oriented album, Opus 1 (1975), with Dušan Prelević on vocals.[22] Another symphonic rock-oriented act was the band Tako, formed in 1974, which performed a fusion of symphonic and jazz rock.[22] Progressive/psychedelic rock band Igra Staklenih Perli, formed in 1976, was one of the pioneers of the former Yugoslav psychedelic/space rock scene. The band released two studio albums, Igra Staklenih Perli (1979) and Vrt svetlosti (1980), before disbanding in 1985. In 2011, the band's former members Draško Nikodijević and Predrag Vuković, with a group of young musicians, formed the band Igra Staklenih Perli The Next Generation, releasing their debut album Apokaliptus in 2013.[26] Other notable bands that incorporated progressive rock elements into their music include Porodična Manufaktura Crnog Hleba, DAG, Galija and Neverne Bebe. Porodična Manufaktura Crnog Hleba, formed in 1968, and DAG, formed in 1972, were acoustic rock bands, but, as S Vremena Na Vreme, also incorporated progressive elements into their music. Galija, formed in 1977, released their debut, progressive rock-oriented album Prva plovidba in 1979. Although the band's several following releases featured similar progressive rock sound, the band started gradually turning towards mainstream rock, and reached the peak of popularity in the late 1980s and early 1990s. Neverne Bebe, formed in 1993, in the initial period of their career incorporated progressive rock elements into their music, but in the 2000s (decade) turned towards pop rock sound. Hard rock and heavy metal (early 1970s – present) [edit] Although some of the 1960s bands performed covers of songs by hard rock pioneers like Cream and Jimi Hendrix Experience, hard rock gained large popularity in the early 1970s with the works of progressive rock bands Pop Mašina, YU Grupa and Smak. Pop Mašina, formed in 1971, was one of the first Serbian and Yugoslav bands to move away from rhythm and blues towards harder sound. Their sound featured progressive, hard, psychedelic and acid rock elements. Pop Mašina disbanded in 1977. YU Grupa, formed in 1970, performed progressive/hard rock, and their songs often featured traditional music elements. The band disbanded in 1981, only to reunite in 1987. Since their comeback album, Od zlata jabuka (1987), their work has been mostly hard rock-oriented. Smak, formed in 1971, performed jazz-influenced progressive rock, but their sound often featured hard rock, blues and folk elements. The band moved towards more commercial hard rock at the beginning of the 1980s with the album Rock cirkus, but the album saw little success and the band disbanded shortly after, having constant reunions disbandments throughout the 1980s and 1990s. The late 1970s featured the appearance of hard rock bands Generacija 5 and Riblja Čorba, the latter one becoming one of the most notable acts of Serbian and former Yugoslav rock scene. Generacija 5, formed in 1977, managed to gain a loyal fan base with their albums Generacija 5 (1980) and Dubler (1982), but disbanded in 1982. In 1985, the band's former leader, keyboardist Dragan Ilić wrote the music for the song "Za milion godina", which was recorded by a group of Yugoslav musicians (including former members of Generacija 5) as a contribution to Live Aid. Generacija 5 reunited in 1992, but has released only two studio albums since. Their 2006 album Energija featured Smak frontman Dejan Najdanović as guest vocalist on the entire album.[27] In 1978, former Suncokret and Rani Mraz member Bora Đorđević and SOS members Miša Aleksić, Rajko Kojić and Vicko Milatović formed the hard rock band Riblja Čorba. After the recording of their debut hit single "Lutka sa naslovne strane" they were joined by guitarist Momčilo Bajagić (who, having left Riblja Čorba in 1984, formed the highly successful pop rock band Bajaga i Instruktori). Riblja Čorba debut album Kost u grlu (1979) saw huge success, and the band became very popular in a few months period. The albums Pokvarena mašta i prljave strasti (1981), Mrtva priroda (1981) and Buvlja pijaca (1982), the latter featuring softer sound than the band's first three releases, were also well received by fans and critics alike, and Ðorđević's provocative political- and social-related lyrics, caused him to become one of the most controversial musicians in Yugoslavia. The album Večeras vas zabavljaju muzičari koji piju (1984) was poorly received, and after its release Kojić and Bajagić were excluded from the band. However, the band triumphed with the following album, Istina (1985), recorded with guitarists Vidoja Božinović and Nikola Čuturilo. Although more heavy metal-oriented than any of the band's previous works and often considered Riblja Čorba's magnum opus,[28] Istina was also the album after which the band, although still generally fitting into hard rock, started turning towards softer sound. However, the band managed to sustain their popularity and remained one of the most popular acts of the Serbian rock scene until today. The beginning of the 1980s saw the appearance of first traditional heavy metal releases, most notably by Gordi, Rok Mašina and Ratnici, and the new generation of hard rock bands, most notably Kerber, Griva and Balkan. In 1981, progressive/hard rock band Gordi, formed in 1977, released the album Pakleni trio which marked their shift towards heavy metal, making Gordi one of the first Serbian and former Yugoslav traditional heavy metal bands. Although only the last two Gordi albums, Pakleni trio and Kraljica smrti (1982), were heavy metal-oriented, these are generally considered the most notable Gordi releases and considered milestones on the Serbian and former Yugoslav heavy metal scenes.[14][29][30] During the same year, former Pop Mašina members formed the short-lasting hard rock band Rok Mašina, which disbanded in 1982, after releasing only one album. A part of the material the band intended to release on their second studio album was released in 1983 on the heavy metal-oriented EP Izrod na granici.[31] Hard rock band Kerber, formed in 1981, released their debut album Nebo je malo za sve in 1983, but it was their second album, Ratne igre (1984), that launched them to fame.[32] The band's melodic hard rock sound was well received, and their following two albums, Seobe (1986) and Ljudi i bogovi (1988), kept them on the top of Yugoslav hard rock scene.[32] However, in the late 1990s, the band went on hiatus, reactivating in the late 2000s. Hard rock band Griva, formed in 1982, saw commercial success after the release of their third album Griva (1987) which featured a combination of hard rock and glam metal with the traditional music of Vojvodina, disbanding in 1992. In 1982, Riblja Čorba drummer Vicko Milatović formed the heavy metal band Ratnici, which later changed the name to Warriors and, without Milatović, moved to Canada. In 1984, they recorded an album for the foreign market, but disbanded in 1986. In 1982, guitarist Aleksandar "Leki" Cvetković formed the hard rock band Balkan. Cvetković's social-related lyrics were heavily influenced by the lyrics of Bora Ðordevic and Azra leader Branimir Štulić. The band released four studio albums before disbanding in 1989. The late 1980s featured the appearance of the band Love Hunters, female singer Viktorija, and the emergence of glam metal scene, with the bands Karizma and Osvajači being the most notable representatives. Love Hunters, formed in 1987, initially performed punk blues, but later moved towards hard rock. As their songs featured English language lyrics, during the first several years of existence the band did not manage to break through to mainstream media, but achieved mainstream popularity in the 1990s. Viktorija, known for her husky voice, started her career as a member of the girl group Aska, starting her solo career in 1988 with the album Spavaćeš sam. She combined pop rock, hard rock and glam metal and saw huge popularity in the late 1980s and early 1990s, before she semi-retired at the end of the 1990s. The band Karizma released two albums before disbanding at the beginning of the 1990s.[33] The band Osvajači released their debut glam metal-oriented album Krv i led, which they recorded with Laza Ristovski on keyboards, in 1990, while their second album Sam (1995) marked the band's slight shift towards heavier sound. Osvajači disbanded in 1997, and reunited in 1999 with the new vocalist, releasing the album Vrelina, but disbanding a year later.[34] The late 1980s also saw the emergence of the first extreme metal acts, which saw little mainstream popularity in Serbia and former Yugoslavia in general during the 1980s. The thrash metal band Heller, formed in 1985, released arguably the first thrash metal album in South-Eastern Europe and was one of the pioneers of Serbian and former Yugoslav extreme metal scene. Another pioneer of the former Yugoslav extreme metal scene, speed/thrash metal band Bombarder, originally based in Sarajevo, moved to Belgrade after the beginning of the Bosnian War, where the band continued to record and perform.[35] The 1990s featured only several notable, mostly crossover thrash, metal acts: Sick Mother Fakers, Dead Ideas, and Svarog, the latter also being one of the pioneers of sludge and doom metal in Serbia. The 2000s saw the revival of the Serbian heavy metal scene and brought a variety of heavy metal genres, with most of the bands being gathered around Belgrade Radio 202. The most notable bands of the movement were the hard rock/heavy metal band Kraljevski Apartman, formed in 1995, and progressive/power metal band Alogia, formed in 2000, both gaining a large fanbase.[36][37][38] The band Pero Defformero, which parodies turbo folk combining it with heavy metal and humorous lyrics, gained popularity in the 2000s, despite being active since the early 1990s. Another notable acts of the 2000s and 2010s include black metal bands May Result and The Stone, gothic metal band Abonos, death/doom metal band Rain Delay, industrial/alternative metal band Trigger, and others. The 2000s also saw the revival of the hard rock scene. The hard rock band Cactus Jack, influenced by the 1970s hard rock, was formed in 1998, but saw their commercial success in the 2000s. The post-grunge/hard rock band Night Shift, even though formed in 1991, released their debut album Undercovers in 2002. The album, which featured covers of songs by various rock and pop artists, was well received by the audience and the critics, and the band moved towards writing their own songs, releasing their second album Bez zaklona in 2009. The second half of the decade featured the appearance of new hard rock acts, like Atlantida, Art Diler, Death Saw, and others. Blues-rock (late 1970s – present) [edit] Despite the facts that many 1960s rock bands, such as Crni Biseri, Daltoni, Elipse, and others performed rhythm and blues, and many 1970s progressive and hard rock bands, such as Pop Mašina, YU Grupa, Smak and Riblja Čorba, incorporated blues elements into their music, the first Serbian blues band, Blues Kvintet, was formed in 1979. They held their first concert at Mašinac club in Belgrade in spring of 1981, which is considered the first blues concert by a Serbian band.[39] During the 1980s many notable blues/blues-rock bands was formed: Sirova Koža (also known internationally as Raw Hide), formed in 1982; Point Blank and Blues Trio, both formed in 1983; Zona B, formed in 1987; Di Luna Blues Band, formed 1989. The band Hush, led by female guitarist Ana Popović, released their debut and only album Hometown in 1998. In 1999, Ana Popović moved to Netherlands and started a successful international career. The 2000s brought a new generation of blues rock bands: Šinobusi (formed in 2001), Texas Flood (formed in 2004), Cotton Pickers (formed in 2004), and others. Punk rock, post-punk and gothic rock (late 1970s – present) [edit] The development of punk rock in Serbia started in Novi Sad with the bands Pekinška Patka and Gomila G, both formed in 1978. Pekinška Patka, formed by vocalist Nebojša Čonkić, pronounced themselves "the first Orthodox punk rock band", which was against the attitude of the League of Communists of Yugoslavia, which promoted atheism. Another pioneer of punk rock in Serbia was the band Gomila G (this name being a censored version of Gomila Govana, trans. A Pile of Shit), also from Novi Sad. The band initially performed cover versions of Ramones and Sex Pistols songs, but soon started writing their own songs. Gomila G usually performed as an opening act for Pekinška Patka, and their appearance at the Celebration of the World War II liberation of Stepanovićevo in 1979, where the band performed the song "God Save Martin Bormann" and Čonkić of Pekinška Patka blown condoms on stage, made the media turn against the two bands, even asking for banning of their public appearances. Gomila G disbanded in 1980 as the band members, guitarist Žolt Horvat and drummer Robert Radić formed the first Serbian ska band, Kontraritam. In the meantime, Pekinška Patka gained mainstream popularity and recorded their first releases. At the Subotica Festival Omladina they won the Audience Award and their whole performance was broadcast on national television, which was the first TV appearance of any punk rock band in Yugoslavia. The popularity of the band then gave them the opportunity to release two singles, and then a studio album, Plitka poezija, the first punk rock album by a Serbian band, released in 1980 by Jugoton. After the album release, the lineup changed, and the arrival of the young Zoran "Bale" Bulatović on guitar, brought the stylistic changes, firstly moving towards new wave, and eventually to post-punk. The band's second album Strah od monotonije is considered the first post-punk release in Serbia and former Yugoslavia. After the album release, the band disbanded. The appearance of the first post-punk album on the Serbian scene influenced appearance of post-punk and gothic rock bands and releases. Zoran "Bale" Bulatović (guitar) and Marko "Mare" Vukomanović (bass guitar), both from Pekinška Patka, with La Strada members Slobodan Tišma (vocals) and Ivan Fece Firchie (drums) formed the first gothic rock band in Serbia, Luna, releasing only one album, Nestvarne stvari (1984). Beside Luna, the notable gothic rock act was also Trivalia from Niš, formed in the second half of the 1980s. Gothic rock, however, saw little popularity in Serbia. Another Niš band, post-punk/darkwave band Dobri Isak, released their only album Mi plačemo iza tamnih naočara in 1983. The album, which was one of the first albums in Serbia released through an independent record label, saw little success at a time of its release, but saw critical acclaim when it was rereleased in 2009.[40][41][42] Other bands which featured the post-punk/gothic rock influences were the new wave bands Električni Orgazam, on their second album Lišće prekriva Lisabon (1982), and Idoli, on their debut Odbrana i poslednji dani (1982), and the alternative rock band Ekatarina Velika, firstly called Katarina II, on the albums Katarina II (1984), Ekatarina Velika (1985) and S' vetrom uz lice (1986). The second generation of punk rock acts in Serbia featured Partibrejkers, Kazna Za Uši and Toni Montano from Belgrade. Serbian garage punk band Partibrejkers, formed in 1982, brought the public's attention to themselves with their live appearances and musical style, even as a demo act. The band was formed by former Urbana Gerila and Radnička Kontrola frontman, Zoran Kostić "Cane" and guitarist Nebojša Antonijević "Anton", the two being the mainstay members of the band. By the time the band released their debut, self-titled album, in 1985, they already gained much popularity, kept through their later successful releases Partibrejkers II (1988), Partibrejkers III (1989), Kiselo i slatko (1994) and Ledeno doba (1997), entering the 2000s as one of the top mainstream acts of the Serbian rock scene. In 1986, another prominent garage punk band was formed, Kazna Za Uši, but the band became prominent in the 1990s, winning the first place at Gitarijada festival in 1992 and releasing their debut Ispod zemlje in the same year. During the mid-1980s the former vocalist of the punk rock band Radost Evrope, Velibor Miljković performed as a solo act using the pseudonym Toni Montano, and his albums featured a combination of punk rock and rockabilly, also found on his future releases. Other prominent representatives of the second generation of punk rock bands in Serbia featured Kragujevac bands KBO! and Trula Koalicija, both formed by Saša "Vuja" Vujić. Vujić formed KBO! in 1982, and their first recordings were released by foreign record labels, which was also the case with their first official studio album, Forever punk (1989). The band performed in many foreign countries, and also formed their own independent record label, KBO! Records, which released the band's demo recordings and studio albums. Vujić also formed the band Trula Koalicija in 1986 with the vocalist Predrag "Skaki" Drčelić. Punk rock continued to be popular in the 1990s with the appearance the bands Atheist Rap and Zbogom Brus Li from Novi Sad, Goblini from Šabac, Džukele from Subotica and Novembar from Niš. Atheist Rap's sound, a combination of punk rock with humorous lyrics found on their studio albums Maori i Crni Gonzales (1992), Ja eventualno bih ako njega eliminišete (1996) and II liga zapad (1998), was described by the band themselves as "happy punk". Zbogom Brus Li combined punk rock and folk music of Vojvodina into a style the band describes as "tamburaški punk" ("tamburitza punk")[43][44] on their albums Penk Punk Pink Pank Ponk (1995) and Zlobro (1997). The band Goblini was formed in 1992, and with the release of their first two studio albums, Goblini (1994) and Istinite priče I deo (1994), the band had become a live attraction, performing in Serbia and abroad. On their third studio album U magnovenju (1996), the band was joined by Leonid Pilipović from the band Džukele. After the album release, Pilipović returned to his own band, which, having released their debut Gledajući u mrak in 1994 and the second album Zubato Sunce in 1998, disbanded. Punk rock band Novembar released three studio albums, Deguelo (1994), Blues južne pruge (1997), and Licem prema zemlji in (2000) featuring the band's combination of American guitar oriented rock sound combined with punk rock, pop punk and new wave influences. The 2000s featured disbandment and reunions of many punk rock groups. In 2001, Goblini disbanded, reuniting in 2010.[45] In 2002, Džukele, Novembar and Trula Koalicija disbanded, but the latter two reformed a few years later, Trula Koalicija with a new lineup in 2005, and November in 2007, releasing a new album, Radulizam in 2008. Džukele guitarist and vocalist Slobodan Vukosavljević formed the garage rock band Nafta, which released the albums Samo senke prolaze (2008) and Alternator (2011).[46] In 2004, at the EXIT festival, gothic rock band Luna reunited in the original lineup, and, four years later at the same festival, the original Pekinška Patka lineup reunited to perform at the festival main stage, alongside Sex Pistols.[47] The band announced the release of a cover album, featuring songs performed at the Yugoslav 1960s pop festivals.[48] New wave (late 1970s – early 1980s) [edit] The origin of the new wave scene in Serbia can be found in Belgrade 1970s bands Zvuk Ulice, Limunovo Drvo and Hipnotisano Pile. The three bands featured the future members of the Serbian new wave bands Idoli, Šarlo Akrobata and Električni Orgazam. Zvuk Ulice member Vlada Divljan, with two friends, Nebojša Krstić and Srđan Šaper formed a conceptual band VIS Dečaci in 1979, whose photographs appeared in the Vidici youth magazine and attracted media's attention. The band soon included bassist Zdenko Kolar, also from Zvuk Ulice, and drummer Boža Jovanović and was renamed to Idoli, in 1980. Limunovo Drvo, featuring guitarists Milan Mladenović and Dragomir Mihajlović "Gagi", performed hard rock for two years, before adopting the new wave and punk rock musical style on the arrival of the bassist Dušan Kojić "Koja" and drummer Ivan Vdović "VD". After the departure of Mihajlović, the band was renamed to Šarlo Akrobata. Električni Orgazam was formed as an ad hoc band of the melodic hard rock band Hipnotisano Pile. The band was formed to perform at the 1980 Palilula Culture Olympics as an opening act for Hipnotisano Pile. Guitarist Ljubomir Jovanović "Jovec" was to play the drums and the drummer Srđan Gojković "Gile" was to play guitar and sing lead vocals. The band gained the public's attention at the performances and, soon after, the band ended their activity as Hipnotisano Pile and continued as Električni Orgazam. Idoli, Šarlo Akrobata and Električni Orgazam had their first recordings released on the compilation Paket aranžman, today considered one of the most prominent Serbian and Yugoslav rock releases, and by the time the compilation was released, the bands had already started working on their debut albums. The promotional video for Idoli song "Maljčiki" which followed the release of the compilation featured a parody of soc-realist iconography. It was broadcast for the first time at the New Year's Eve on the then-popular Rokenroler show on the national television, and the Soviet embassy sent a protest note to the TV and radio stations which broadcast the song and some of them banned it. During the same show, for the first time were broadcast the promotional videos for Električni Orgazam's "Krokodili dolaze" and Šarlo Akrobata's "Niko kao ja", all three appearing on the compilation. Idoli released their self titled EP in 1981 and Odbrana i poslednji dani in 1982, the latter polled in 1998 as the greatest Yugoslav popular music album in the book YU 100: najbolji albumi jugoslovenske rok i pop muzike,[49] Električni Orgazam released their self titled debut in 1981 and post-punk oriented Lišće prekriva Lisabon in 1982, and Šarlo Akrobata released their only album, Bistriji ili tuplji čovek biva kad... in 1981. Električni Orgazam and Šarlo Akrobata also had short tours in Poland and the Polish bands recorded a tribute to the Yugoslav rock bands, including cover versions of Idoli and Električni Orgazam songs, released on the 2001 album Yugoton. By 1983, Idoli and Električni Orgazam had moved towards mainstream pop and rock, and Šarlo Akrobata disbanded. Due to the success of Paket aranžman, Jugoton wanted to release another compilation featuring the new new wave and punk rock acts from Belgrade. The compilation Artistička radna akcija, released in 1981, featured Radnička Kontrola, Bezobrazno Zeleno, Profili Profili, Defektno Efektni, Urbana Gerila, Petar i Zli Vuci, U Škripcu, Pasta ZZ, VIA Talas and TV Moroni, each with two songs, but it did not repeat the success of the previous compilation. Half of the bands did not release any other recordings except the ones on the compilation. Bezobrazno Zeleno released two pop rock-oriented studio albums, Profili Profili released a split album with Kazimirov Kazneni Korpus, Petar i Zli Vuci released two singles, U Škripcu released several studio albums and gained mainstream popularity moving to synthpop and pop rock, and VIA Talas released one studio album before disbanding in 1982. Other notable new wave acts include Belgrade acts Bulevar, fronted by later Bajaga i Instruktori vocalist and solo singer Dejan Cukić, which released two albums, Loš i mlad (1981) and Mala noćna panika (1982), Piloti, which released albums Piloti (1981) and Dvadeset godina (1982) before disbanding, turning towards pop rock after their 1987 reunion, and Kozmetika, which released only one album, Kozmetika (1983), and Novi Sad act Čista Proza, which released only one album, Čista Proza (1983). Initial works of the bands Laki Pingvini and Zana were new wave-oriented, but these acts later moved towards more commercial pop rock and synthpop. During the early 1980s, new wave influences were present in the works of Grupa I, Du Du A, Pekinška Patka, Kontraritam, Doktor Spira i Ljudska Bića, La Strada, Obojeni Program and Gjurmët, as well as in the works of some acts that gained popularity in the 1970s, most notably Slađana Milošević and Laboratorija Zvuka. Synthpop (early 1980s – mid-1980s) [edit] One of the first Serbian synthpop acts was the band Beograd, which were also one of the pioneers of the former Yugoslav electronic music scene. The band was formed in 1981, and in 1983 released their only album Remek depo, which featured a combination of synthpop and brass instrument-oriented soul. With the decline of the new wave scene around 1982, some new wave bands, like U Škripcu and Zana, moved towards synthpop. Artistička radna akcija participant U Škripcu, having started as a conceptual new wave band in 1980, moved towards synth music. The band's debut album Godine ljubavi (1982), featuring several hit songs, was followed by even more successful O je! (1983) and the EP Nove godine (1983). However, on their later releases, the band turned towards electropop sound, which, having proved unsuccessful, led them to disband. Despite two reunion comeback albums (in 1987 and 1990), the band could not repeat the early success. In the 1990s, the band's vocalist Milan Delčić "Delča" formed the electronic rock band Delča & Sklekovi. Zana, named after the band's vocalist Zana Nimani, having released their debut album Loše vesti uz rege za pivsku flašu (1981), made a shift towards radio-friendly pop rock, New Romantic and synthpop sound with the release of their second album Dodirni mi kolena (1982). Despite the success of Dodirni mi kolena and the following album, Natrag na voz (1983), vocalist Nimani left the band. The rest of the band continued performing as Zana, changing several vocalists and gradually turning towards pop music. Other notable synthpop acts include bands Laki Pingvini, D' Boys and Jakarta. Laki Pingvini, despite working occasionally and with an unsteady lineup since 1979, gained mainstream popularity in 1983 with the debut EP Šizika. Their debut album Muzika za mlade (1984) was also successful, however, their later releases did not repeat the previous success. The band disbanded in 1989, but had short reunions in 1994, 1995 and 2006.[50] The duo D' Boys featuring a former VIA Talas member Miško Petrović (also known as Miško Plavi) and a former West German krautrock group Jane member[51] Predrag Jovanović (also known as Peđa D'Boy), was formed in 1982. With the albums Ajd' se zezamo (1984) and Muvanje (1985), the band became popular with humorous lyrical style, featuring kitschy and frivolous motifs dealing with nightlife, parties and girls. The band disbanded in 1985, with Jovanović forming a short lived Peđa D'Boy Band and later pursuing a solo career, and Petrović joining Piloti and then Ekatarina Velika, and later taking up playing accordion and forming his Miško Plavi Band. The band Jakarta, formed in 1981, released their synth-funk-oriented debut album Maske za dvoje in 1984, featuring several hits. However, the band moved towards pop rock on their second album Bomba u grudima (1986). Funk rock (early 1980s – present) [edit] Funk rock in Serbia appeared in the 1980s with the bands Jakarta, Heroina and Oktobar 1864. Formed in 1981, Jakarta released their synth-funk-oriented debut album Maske za dvoje in 1984, featuring several hits. However, despite the success of the first album, the band moved towards pop rock on their second album Bomba u grudima, which was not well received by the fans, and the band ceased to exist in 1986. The band Heroina, formed in 1982, featured Zoran Janjetov, at the time already a well-known comic book artist, as vocalist.[52] Their debut and only studio album, Heroina, released in 1985, featured a mixture of funk and art rock. Oktobar 1864, formed in 1984 and featuring the female vocalist Tanja Jovićević, released their debut self-titled album, released in 1987, featuring several hit songs. On their two following albums Igra bojama (1988), and Crni ples (1990), they successfully combined funk rock with jazz and pop elements. Despite the successful career, they disbanded in 1992 and Tanja Jovićević pursued a solo career as a jazz and funk musician. In 2005, she started collaborating with the funk band Rich Bitch and with them, in 2008, released the album 10.[53] During the 1980s, funk influences could also be found in the works of Idoli and Disciplina Kičme. In the following decades funk rock was again popularized in Serbia with the appearance of Deca Loših Muzičara and Plejboj in the 1990s. Formed in 1988, Deca Loših Muzičara played a combination of funk and rock, found on their albums Dobar dan (1992), and Prolećni dan (1995). In 1998, the band wrote music for the Virus theater play, in which the main character was played by the actor Ivan Jevtović, who, after the release of their 2005 studio album ...gde cveta Samsung žut, joined the band as a new vocalist, replacing Aleksandar Siljanovski. Plejboj, formed in 1992, combined funk and soul with ska, punk rock, jazz fusion and pop rock on their albums Sviraj dečko (1994) and Overdrive (1997). Alternative rock (early 1980s–present) [edit] The alternative rock scene developed in the early 1980s with the decline of the new wave scene, when a part of the new wave scene became the base of the future Serbian alternative rock scene. The pioneers of alternative rock can be found in Novi Sad bands Laboratorija Zvuka, with their eccentric style, erotic lyrics, unusual line ups and bizarre circus-inspired stage performances, La Strada, featuring the poet Slobodan Tišma on guitar and vocals, Obojeni Program, featuring former Urbana Gerila vocalist Branislav "Kebra" Babić, and the girl band Boye whose debut album Dosta! Dosta! Dosta! (1988) was the first Serbian all-female release since the 1960s. In Belgrade, former Šarlo Akrobata members Dušan Kojić and Milan Mladenović formed two of the most notable bands of the alternative rock scene in Serbia, Disciplina Kičme and Ekatarina Velika. Former Šarlo Akrobata bassist and vocalist Dušan Kojić Koja, formed the band Disciplina Kičme in 1982. The band, in the initial period consisting only of Kojić and the drummer Srđan "Žika" Todorović, combining influences from punk rock, funk, jazz fusion, motown, jungle, and the works of Jimi Hendrix. During the early 1990s, the band moved to London and changed the name to Discipline A Kitschme, performing with female vocalist, African-American singer Gofie Bebe, only to return to Serbia in the mid-2000s. Ekatarina Velika, having at first called Katarina II, featured former Šarlo Akrobata and Limunovo Drvo guitarists Milan Mladenović and Dragomir Mihajlović. Having released their post-punk influenced records, the band moved to a more guitar-oriented alternative rock, found on their releases Ljubav (1987), Samo par godina za nas (1989), and Dum dum (1991). Another prominent figure of the Serbian alternative rock scene, Mitar Subotić, also known as Rex Illusivi, a composer, producer and one of the pioneers of electronic music in Serbia, was closely associated with the works of Ekatarina Velika. In 1985, Subotić, Mladenović and Goran Vejvoda started the short-lived project Dah Anđela. At the about same time, Subotić was closely associated with the work of the art rock band Heorina, which featured comic book artist Zoran Janjetov on vocals. In 1990, Subotić moved to São Paulo, Brazil, where he worked as a musician and producer. In 1994, Subotić and Mladenović, with a group of Brazilian musicians, reactivated the project as Angel's Breath, releasing the album Angel's Breath in 1994. The second half of the 1980s brought the formation of the prominent alternative rock acts which gained the mainstream popularity with their works during the 1990s, Van Gogh and Rambo Amadeus. Despite the fact that Van Gogh, formed by guitarist Zvonimir Đukić "Đule", released their debut self-titled album in 1986, which was also the year of their formation, it was in the early 1990s that the band which, having disbanded, and reformed in 1990, became successful with the albums Svet je moj (1991), Strast (1993), Hodi (1996), and Opasan ples (1999). In the 2000s the band moved towards more commercial sound, and established themselves as one of the top mainstream acts on the Serbian rock scene. The Belgrade-based Montenegrin singer-songwriter Antonije Pušić, who works under the pseudonym Rambo Amadeus, with his debut album O tugo jesenja (1988), created the unique combination of different musical styles, including jazz, rock, and folk music, which he called "turbo folk". The term was later used for the subgenere of the folk music from the Balkans. Pušić continued in the same manner on his later releases also making influence on the Serbian hip hop scene with the albums Hoćemo gusle (1989) and Psihološko propagandni komplet M-91 (1991). The beginning of the 1990s featured the prominent alternative rock acts: Dža ili Bu, Darkwood Dub, Presing, Kanda, Kodža i Nebojša, and Block Out from Belgrade, Obojeni Program from Novi Sad and Bjesovi from Gornji Milanovac. Dža ili Bu, formed in 1987, featuring a combination hard rock and punk rock, with their 1992 album Hej mornari presented the political situation in the country with their ironical lyrical style. Darkwood Dub, formed in 1988, performed a combination of electronic music and rock. Presing, formed in 1990, combined post rock, soul, free jazz and krautrock. Kanda, Kodža i Nebojša, formed in 1991, performed a combination of rock, jazz and reggae. Block Out, formed in 1991, initially inspired by various diverse bands and grunge/hard rock-oriented, after the release of Crno, belo i srebrno (1994) started to move towards a darker, heavier atmosphere and sound under Nikola Vranjković's songwriting, combining elements of doom metal, psychedelic rock, hard rock and punk rock with social-related lyrics. Obojeni Program, although formed in 1980, released their debut album Najvažnije je biti zdrav in 1990. Bjesovi, formed in 1989, combining grunge, hard rock, psychedelic rock and doom metal, released their debut U osvit zadnjeg dana in 1991, but achieved success with the release of their second, self-titled album, released in 1992. The mid-1990s featured the disbandment of Ekatarina Velika, and the formation of the bands Supernaut, 357, Jarboli, Kristali and E-Play. The band Supernaut, featuring former Radnička Kontrola member Srđan Marković, influenced by Suicide, wrote plays and performed a combination of art exhibitions, theater plays and rock concerts. 357 performed a combination of hard rock, rap rock, Serbian folk and reggae, combined with socially critical lyrical style. Jarboli, a guitar-oriented club band formed in 1993, independently released the prominent album Čizmanoga, but after the album release, moved to a more softer rock sound, found on their later releases. Kristali, like Jarboli, were formed in 1993, and combined the simple pop rock song structures backed with brass sections, making a communicative musical performance found on their releases Kristali and Dolina ljubavi. E-Play, featuring a majority of female members, combined alternative rock with various electronic music genres. The 2000s brought new alternative rock acts, large number of them usually denoted as Nova srpska scena (New Serbian Scene). Oi!, ska, hardcore and pop punk (late 1980s–present) [edit] The late 1980s brought a variety of punk rock bands and genres on the Serbian scene and the Oi!, ska, hardcore punk and pop punk bands emerged from the local demo scenes to the major record labels and nationwide popularity. The Oi! scene, with Ritam Nereda and Direktori, quickly found the way to the fans with their political-related lyrics, aggressive music and effective live performances. Direktori, unlike Ritam Nereda, were also turned towards ska music, which became very popular on the Serbian scene. Even though ska appeared in the early 1980s with the band Kontraritam, formed in 1980, which released only one album before disbanding in 1983, it was only with the bands like Plejboj and Familija that it gained a vast number of fans. Plejboj, formed in 1992, gained popularity with their combination of punk rock, ska, soul, funk, jazz fusion, and pop rock, found on their albums Sviraj dečko (1994) and Overdrive (1997). Familija, formed in 1994, gained popularity with their ska/pop rock songs with humorous lyrics found on their albums Narodno pozorište (1994) and Seljačka buna (1998). However, despite the success of the releases, they disbanded in 1998. In 2003, the band's former vocalist Dejan Pejović formed the band The Dibidus, whose albums The Dibidus (2003) and Trenerka i sako (2011) were stylistically similar to the works of Familija. Hardcore punk scene, founded in the late 1980s, gained the mainstream popularity in the 1990s with the bands Sick Mother Fakers from Belgrade, which were one of the pioneers of the genre in Serbia, Ništa Ali Logopedi from Šabac, which featured accordion-oriented Serbian folk music combined with hardcore punk, the rapcore band Sunshine from Belgrade, which combined rap and hardcore punk with sexually overt lyrics, and the hardcore punk/metalcore band Overdrive from Zrenjanin. One of the most popular bands of the genre was Eyesburn, a brass-oriented combination of hardcore punk and reggae music. The band's growing popularity with the releases of Fool Control /2000) and later Solid (2003), gave them the opportunity to tour Europe with Soulfly. The band disbanded in 2005, but reunited in 2011.[54] Pop punk scene in Serbia mainly developed in the 1990s, due to the popularity of the bands Oružjem Protivu Otmičara, Six Pack and Čovek Bez Sluha. Oružjem Protivu Otmičara from Zrenjanin are one of the pioneers of the genre in Serbia and their 1996 album BarbieCue became one of the most popular releases of the 1990s. Six Pack and Čovek Bez Sluha, the two bands currently having the same vocalist Milan "Miki" Radojević, the former from Smederevska Palanka, and the latter from Kragujevac, moved from local prominence to performing abroad and having their recordings released by foreign record labels. The popularity of the genre continued in the 2000s (decade) with the work of the above-mentioned bands and the newly formed bands Lude Krawe, formed in 1998, Super s Karamelom, featuring two female vocalists, formed in 2003, and Strip, initially a project by Serbian graphic and comic book artists, which combines graphic art with power pop and pop punk, formed in 2005. Industrial rock (late 1980s–present) [edit] Despite being a part of the developed Yugoslav industrial rock scene, Serbian scene gave a small number of notable acts. One of the most notable acts was the band VIVIsect from Novi Sad, which was formed in 1989 and released two cassette albums. Early 1990s brought acts like Overdose from Belgrade and also Katarza from Novi Sad, both whom combined industrial rock with elements of alternative rock and crossover. Another two notable 1990s acts were the bands Retromind from Kruševac and Pure from Jagodina, both combining Ministry-like industrial metal with rock music. The late 1990s brought new industrial rock acts into the scene, such as DreDDup and Žexon 5 from Novi Sad and Klopka za Pionira from Pančevo. DreDDup released seven albums, did several European tours and also collaborated with cult Slovenian industrial group Borghesia. The 2000s brought new bands to the scene: Youth A.D. from Srbobran, Syphil from Sombor, Figurative Theatre and Pornhouse from Niš. Several notable acts incorporated industrial rock elements into their sound: grindcore band Urgh!, with their 2001 album Sumo, alternative rock band Dža ili Bu, with their 2007 album Ultra muk, and alternative rock act, Supernaut, drawing on many different musical influences, featured a kind of experimental variant of industrial rock. Grunge and post-grunge (early 1990s–present) [edit] The bands Block Out from Belgrade and Bjesovi from Gornji Milanovac were the representatives of grunge on the Serbian rock scene. After their debut album Crno, belo i srebrno (1994), the early hard rock concept of Block Out started to move towards a darker, heavier atmosphere and sound under Nikola Vranjković's songwriting. The followup Godina sirotinjske zabave (1996) featured the material written during the six years of the band existence, and the lyrical themes were mainly oriented around the end of socialism in Serbia. With the release of the next album, San koji srećan sanjaš sam (1998), the band moved from grunge sound towards art rock and alternative rock. Bjesovi released their debut U osvit zadnjeg dana in 1991, but achieved success with the release of their second, self-titled album (1994). Achieving success with the album, the band turned towards religiously oriented lyrics and music on their following album Sve što vidim i sve što znam (1997). After the album release, Bjesovi disbanded, after which the band member Goran Marić became one of the originators of the Christian rock project Pesme iznad istoka i zapada (2001).[55] The band reformed with a new lineup in 2000 and released Bolje ti in 2009. The 2000s featured three notable post-grunge bands, Night Shift, Euforia, and Broken Strings. Night Shift, even though formed in 1991, released their debut album Undercovers in 2002. The album, which featured covers of songs by various rock and pop artists, was well-accepted by the audience and the critics, and the band moved towards writing their own songs, releasing their second album Bez zaklona in 2009. Euforia, formed in 1999 and mainly influenced by Nirvana, released their debut, self-titled album in 2005. The band single "Blokovi" was pronounced the Single of the Year 2005 on the B92 annual singles top list.[56] The band continued performing, and in 2008 released their second album 2. Broken Strings, starting as a Pearl Jam tribute band, moved towards writing their own material. Winning the 39th Gitarijada festival in Zaječar, the band released their debut album Svaki trenutak ostaje... in 2007.[57] Britpop (early 1990s – present) [edit] Britpop appeared in Serbia with the band Eva Braun from Bečej, and the band's faction Popcycle. Eva Braun was formed in 1990 by Goran Vasović, Petar Dolinka and Milan Glavaški. Influenced by The Beatles, Little Richard, The Byrds, and the Serbian band Idoli, the band released their debut album Prisluškivanja in 1992. The album had minor hits, but the single "Sasvim običan dan" found on the band's second album Pop music, released in 1995, had drawn the public's attention to the band's work. The Rolling Stone review of the album described the album as "the best Brit-pop album never to come out of the UK".[58] Despite the success of the release, the internal conflicts lead to the disbandment of the band. Part of the band moved to their newly formed band Popcycle, while Vasović, with a new lineup reformed Eva Braun. The band's third album Heart Core repeated the success of the previous release, and the band, having performed at the International Pop Overthrow, also gained the opportunity to release an album for the North American market with the release of Nowhere Land. In 2000, the band started working on an ambitious project which came out as Everest in 2001, however, after the album release, the band disbanded. Popcycle, formed by former Eva Braun members Petar Dolinka and Milan Glavaški, released their debut album Orbitalna putovanja in 1996, and Popcyclopedia in 1997. The band disbanded in 1999, and Dolinka and Glavaški reunited with the rest of the original Eva Braun lineup in 2007, releasing the album Playback in 2011. In 2006, Glavaški, with a group of Serbian and Hungarian musicians formed his side project, alternative country/pop rock band Rebel Star. Other notable representatives of the Serbian britpop scene are Kristali, Veliki Prezir, Instant Karma and Lutke. Irish folk and Celtic rock (early 1990s – present) [edit] The Irish folk and Celtic rock scene appeared in Serbia with the works of Orthodox Celts from Belgrade. During the mid-1980s, Dušan Živanović, the drummer of the pub rock band Roze Poze, wanted to form a band which would perform cover versions of Irish folk songs, and the influence of the idea was partially achieved through the works of Roze Poze. However, it was in 1992 that Živanović formed the first Serbian Irish folk band called Orthodox Celts with the vocalist Aleksandar "Aca Celtic" Petrović and violinist Ana Đokić. The band, having released their first two albums, Orthodox Celts (1994) and The Celts Strike Again (1997), which mainly featured cover versions of Irish folk songs, started writing their own material. Since the release of Green Roses in 1999, the band centered on writing and recording their own songs. The traditional performances for Saint Patrick's Day and at the Belgrade Beer Fest made the band become a live attraction, having well-visited live appearances in Serbia and abroad. During the early 2000s, appeared two bands, Tir na n'Og and Irish Stew of Sindidun, both from Belgrade, inspired by the works of Orthodox Celts. Tir na n'Og, formed in 2000, performed a combination of Irish and Serbian folk music with punk rock, and their debut album Tir na n'Og was released in 2006.[59] However, in 2008, the band changed the name to Alfapop and moved towards power pop sound.[60] Irish Stew of Sindidun, formed in 2003, having started as a cover band, started writing their own material. The band recorded their debut album So Many Words... in 2005. In 2011, they released New Tomorrow, their first album not to feature any covers of Irish folk songs. New Serbian Scene (late 2000s – early 2010s) [edit] The term Nova srpska scena (New Serbian Scene) was coined in the second half of the 2000s by the web magazine Popboks, which was initially one of the main promoters of the scene.[61] Although the term was mostly used to denote bands promoted in Popboks and released their albums through the record label Odličan Hrčak,[62][63] the term was also often used to denote many young Serbian bands formed after 2000.[61] Also, some of the bands active in the 1990s, most notably the alternative rock band Goribor,[64] were closely associated to the scene. The bands differed by genre: although a part of the bands were influenced by the Yugoslav new wave and the contemporary indie and pop rock,[65] not all the bands considered part of the scene were. The most notable bands which were associated with the scene include Klopka Za Pionira, Multietnička Atrakcija, The Mothership Orchestra, Nežni Dalibor, Repetitor, Petrol, S.A.R.S., Stuttgart Online, Svi Na Pod!, Zemlja Gruva, ŽeneKese, Virvel, Kralj Čačka and others.[66] In 2007, PGP-RTS, in cooperation with Popboks, released the compilation album Jutro će promeniti sve?, which featured songs by sixteen bands associated with the scene.[67] By the end of the decade, the most notable representatives of the scene released their debut albums. Goribor, formed in 1996, gained popularity in the 2000s with their demo recordings officially released through the Croatian label Slušaj Najglasnije!, releasing their first studio album, Goribor, in 2007.[68] Petrol, formed in 2003, released their debut album, Nezgodno vreme opasni dani, in 2008.[69] Nežni Dalibor, active in the 1990s and reformed in 2000, released their debut album, Sredstva i veštine, in 2008.[70] Repetitor, formed in 2005, released their debut album, Sve što vidim je prvi put, in 2009.[71] S.A.R.S., which gained nationwide popularity with the hit song "Buđav lebac", released their debut, self-titled album in 2009.[72] At the turn of the decades, the scene started to dissolve, as the band's started to set off towards their individual careers, with some of them, like S.A.R.S. and Zemlja Gruva, achieving large mainstream popularity and the others remaining popular in alternative rock circles only. In 2013, Popboks announced the end of its activity, publishing its final text on 25 August 2013.[73] References [edit] Bibliography [edit] EX YU ROCK enciklopedija 1960–2006, Janjatović Petar; ISBN 978-86-905317-1-4 Fatalni ringišpil: hronika beogradskog rokenrola 1959—1979, Žikić Alkesandar, publisher: Geopoetika, Belgrade, Yugoslavia, 1999 Siniša Škarica, Kada je rock bio mlad: Priča s istočne strane (1956.-1970.), V.B.Z. d.o.o., Zagreb, 2005. godine. ISBN 953-201-517-5 Punk u Jugoslaviji, Dragan Pavlov and Dejan Šunjka, publisher: IGP Dedalus, Yugoslavia, 1990 Moj život je novi val, Branko Kostelnik, knjiga intervjua, publisher: Fraktura, Zagreb, Croatia, 2004 Od Čivija do Goblina: šabačka rock enciklopedija, Ivković Živko, 1999; OCLC 163351502 NS Rockopedija, novosadska rock scena 1963–2003, Bogomir Mijatović, Publisher: SWITCH, 2005 Enciklopedija niškog Rock 'n' Rolla 1962 – 2000, Stanojević Vladan; ISBN 86-902517-1-5 Neka druga scena, Davor Bogdanović; Publisher: GraphIT, 2009 Riblja čorba, Jakovljević Mirko; ISBN 86-83525-39-2 Nevidljive terazije Slobodana Stojanovića Kepe, Jakovljević Mirko; ISBN 86-83525-67-8 Ljuba Ninković: S vremena na vreme, Kajlovic Vladimir; ISBN 86-7784-033-8 See also [edit]
1053	dbpedia	3	76	http://thedeadrockstarsclub.com/2007b.html	en	The Dead Rock Stars Club 2007 July To December			[ "http://thedeadrockstarsclub.com/To Bottom Of Page.png", "http://thedeadrockstarsclub.com/theclubchlor.png", "http://thedeadrockstarsclub.com/opening%20page.png", "http://thedeadrockstarsclub.com/1950.png", "http://thedeadrockstarsclub.com/1960.png", "http://thedeadrockstarsclub.com/1970.png", "http://thedeadrockstarsclub.com/1980.png", "http://thedeadrockstarsclub.com/1990.png", "http://thedeadrockstarsclub.com/1992.png", "http://thedeadrockstarsclub.com/1994.png", "http://thedeadrockstarsclub.com/1996.png", "http://thedeadrockstarsclub.com/1998.png", "http://thedeadrockstarsclub.com/2000.png", "http://thedeadrockstarsclub.com/2001.png", "http://thedeadrockstarsclub.com/2002a.png", "http://thedeadrockstarsclub.com/2002b.png", "http://thedeadrockstarsclub.com/2003a.png", "http://thedeadrockstarsclub.com/2003b.png", "http://thedeadrockstarsclub.com/2004a.png", "http://thedeadrockstarsclub.com/2004b.png", "http://thedeadrockstarsclub.com/2005a.png", "http://thedeadrockstarsclub.com/2005b.png", "http://thedeadrockstarsclub.com/2006a.png", "http://thedeadrockstarsclub.com/2006b.png", "http://thedeadrockstarsclub.com/2007a.png", "http://thedeadrockstarsclub.com/2007b.png", "http://thedeadrockstarsclub.com/2008a.png", "http://thedeadrockstarsclub.com/2008b.png", "http://thedeadrockstarsclub.com/2009a.png", "http://thedeadrockstarsclub.com/2009b.png", "http://thedeadrockstarsclub.com/2010a.png", "http://thedeadrockstarsclub.com/2010b.png", "http://thedeadrockstarsclub.com/2011a.png", "http://thedeadrockstarsclub.com/2011b.png", "http://thedeadrockstarsclub.com/2012a.png", "http://thedeadrockstarsclub.com/2012b.png", "http://thedeadrockstarsclub.com/2013a.png", "http://thedeadrockstarsclub.com/2013b.png", "http://thedeadrockstarsclub.com/2014.png", "http://thedeadrockstarsclub.com/2014b.png", "http://thedeadrockstarsclub.com/2015.png", "http://thedeadrockstarsclub.com/2015b.png", "http://thedeadrockstarsclub.com/2016a.png", "http://thedeadrockstarsclub.com/2016 b.png", "http://thedeadrockstarsclub.com/newentries.png", "http://thedeadrockstarsclub.com/credits.png", "http://thedeadrockstarsclub.com/Links.png", "http://thedeadrockstarsclub.com/guestbook.png", "http://thedeadrockstarsclub.com/musicline08.gif", "http://thedeadrockstarsclub.com/mm_spacer.gif", "http://thedeadrockstarsclub.com/musicline08.gif", "http://thedeadrockstarsclub.com/Back To Top.png", "http://thedeadrockstarsclub.com/backrec.gif", "http://thedeadrockstarsclub.com/radio.gif", "http://thedeadrockstarsclub.com/nextrec.gif" ]	[]	[]	[ "" ]	null	[ "Doc Rock" ]	null					null	2007 July to December Alan Briars - Died 2007 - Cancer ( Folk ) He was 60 years old - Guitarist and singer - Worked with Mechanical Horsetrough, The Laundry Yard Scrub Band, Stone Gallows and Tinkers Cuss - Co-founder of The Trowbridge Village Pump Festival. Don Goodson - Died 2007 ( Rock ) Drummer - Was a member of The Invaders (They did, "She's A Tiger" and "Honda Come Back") and The Echoes. John Erentrauts - Died 7-1-2007 in Harpenden - Hit by a car while walking ( Rock - Blues ) He was 55 years old - Singer and harmonica player - Was a member of Albert Monk and Commuter. Earl Watkins (Earl Thomas Watkins Jr.) - Died 7-1-2007 - Cancer ( Jazz ) Born 1-29-1920 in San Francisco, CA, U.S. - Drummer - Worked with Earl "Fatha" Hines, Wilbert Baranco, T-Bone Walker, The Five Knights Of Rhythm, Bob Scobey and Jimmy Brown's Band. Philani Dube - Died 7-?-2007 in Chitungwiza - While undergoing treatment for tuberculosis - Guitarist - Was a member of The Black Spirits which backed Oliver Mtukudzi. Edwin Celani Hamandawana (aka Edwin Hama) - The squatter ambassador - Died 7-?-2007 - (He did, "Asila Mali" and "Waiting For A New Day") - Was a member of Illanga. Hy Zaret (Hyman Harry Zaritsky) - Died 7-2-2007 in Westport, CN, U.S. - Born 8-21-1907 in Manhattan, NY, U.S. - Lyricist - (Co-wrote, "Unchained Melody" and "One Meat Ball") - His songs have been recorded by Jimmy Dorsey, Lena Horne, The Andrews Sisters, Vaughn Monroe, Guy Lombardo, The Righteous Brothers, They Might Be Giants, U2 and Elvis Presley. Ray Goins - Died 7-2-2007 in Pikeville - Illness ( Bluegrass ) He was 71 years old - Played banjo - Was one of The Goins Brothers - Worked with The Lonesome Pine Fiddlers and Windy Mountain. Johnny Frigo - Died 7-2-2007 in Chicago, Ill., U.S. ( Jazz ) Born 12-27-1916 in Chicago, Ill., U.S. - Played violin and bass - (Wrote, "Detour Ahead") - Worked with Chico Marx, The Soft Winds, Dinah Washington ("What A Difference A Day Makes") and Jimmy Dorsey. Kurt Halupnick - Died 7-2-2007 ( Rock ) He was 45 years old - Singer - Was a member of Madhatter and Mortal Reign. Dooley Weilert (Fidelis Weilert) - Died 7-2-2007 - Natural causes ( Swing ) He was 93 years old - Played clarinet and saxophone and repaired instruments - Worked with The Glenn Miller Orchestra. Cyril Robert Wickenden - Died 7-2-2007 - He was 83 years old - Played piano and organ - Worked with The Skyliners and Tony Strudwick's big band. Boots Randolph (Homer Louis Randolph III) - Died 7-3-2007 in Nashville, TN, U.S. - After suffering a brain hemorrhage in June ( Country ) Born 6-3-1927 in Paducah, KY, U.S. - Played saxophone - (He did, "Yakety Sax" which was the closing theme to TV's, "Benny Hill" and "Hey, Mr. Sax Man") - Worked with Chet Atkins, Al Hirt ("Java"), Johnny Cash, Elvis Presley ("Return To Sender" and "Reconsider Baby"), REO Speedwagon ("Little Queenie"), Jerry Lee Lewis ("Turn On Your Lovelight"), Roy Orbison ("Mean Woman Blues"), Brenda Lee ("Rockin' Around The Christmas Tree" and "Let's Jump The Broomstick") and Floyd Cramer - Kentucky Music Hall Of Fame Inductee. Jake Quesenberry - Died 7-3-2007 in Palo Alto - Heart failure ( Bluegrass ) He was 77 years old - Sang and played mandolin and guitar - Co-founder of The California Bluegrass Association. Bill Pinckney (aka Pinkney and Pickney) - Died 7-4-2007 in Daytona Beach, FL, U.S. - Heart attack ( R&B ) Born 8-15-1925 in Dalzell, SC, U.S. - Singer - Was a member of The Drifters (They did, "Money Honey" and "Bip Bam"), The Flyers and The Original Drifters - Vocal Group Hall Of Fame Inductee, Rock And Roll Hall Of Fame Inductee, United In Group Harmony Association Hall Of Fame Inductee and Carolina Beach Music Hall Of Fame Inductee. Billy Wayne Herbert - Died 7-4-2007 in Memphis, TN, U.S. - Heart failure ( Rockabilly ) Born 11-28-1939 in Carroll County, Miss., U.S. - Guitarist and songwriter - Worked with The Black Bill Combo, The Downbeats, Tony Joe White and Mack Allen Smith ("I'm Not Drunk I'm Just Drinking"). Steven Rappaport (aka Steve Randle) - Died 7-4-2007 in Maui, Hawaii, U.S. - Heart attack ( Rock ) He was about 65 years old - Singer and guitarist - Was a member of The Ran-Dells (They did, "The Martian Hop" and "Sound Of The Sun"). Gary Sherman (Gary J. Sherman) - Died 7-4-2007 in Pine Knolls, Arlington - Born 9-8-1955 in Bennington - Played bass and acoustic guitar - Worked with The Roy Claybourne Band, Outlaw, Reverse Spin and Nitrophonic. Barish Akarsu - Died 7-5-2007 in Bodrum, Turkey - Car accident ( Rock ) Born 1979 in Zonguldak, Turkey - Singer and actor - (He did, "Amasra" and "Vurdum En Dibe Kadar") - Appeared on TV's, Yalanchi yarim. George Melly (Alan George Heywood Melly) - Died 7-5-2007 in London, England - Lung cancer ( Jazz - Blues ) Born 8-17-1926 in Liverpool, England - Singer - Worked with John Chilton's Feetwarmers, Digby Fairweather, The Stranglers ("Old Codger") and Mick Mulligan's Magnolia Jazz Band. X1 - Died 7-6-2007 in Las Vegas, Nev., U.S. - Possible suicide ( Rap ) Born 3-6-1979 in Brooklyn, NY, U.S. - Worked with 50 Cent ("React"), Gangreen and Onyx - Brother of Sticky Fingaz. Rev. Bishop Michael Osei Bonsu - Died 7-6-2007 in Accra - Illness ( Gospel ) Played accordion - (He did, "Yebedi Nkunim" and "Nwom bi ahye makoma mu"). Frank Legree - Died 7-7-2007 - Medical complications ( Blues - R&B ) He was 78 years old - Singer - Worked with Ella Fitzgerald, Nat King Cole and Sammy Davis Jr. - He also was a civil rights activist. Lee Ronald - Died 7-7-2007 - Cancer - He was 25 years old - Guitarist and singer - Was a member of Circle K. Sergei Kondakov - Died 7-7-2007 - Heart attack ( Rock ) He was 51 years old - Singer and guitarist - Was a member of Reflection (Otrazenje). Dean Neilsen - Died 7-8-2007 in Australia - Heart Attack - He was 56 years old - Played drums, guitar and sang - Worked with Redeye, Tidewater and others - Organiser of the annual, "Cherrystock". Eddie Fisher (Edward Thomas Fisher) - Died 7-9-2007 in Centreville, Illinois, U.S. - Prostate cancer ( Jazz ) Born 3-4-1943 in Little Rock, Arkansas, U.S. - Guitarist - Worked with Robert Tally, Isaac Hayes, Willie Mitchell, Andrew Love, Steve Cropper, Booker T. & The M.G's, Albert King, The Leo's Five Band and Solomon Burke - Formed Nentu Records - The Arkansas Jazz Hall Of Fame Inductee. Ernie Kucera - Died 7-9-2007 - Found dead in Homestead Lake, Abie - Heart attack ( Polka ) He was 87 years old - Musician and band leader - Led Ernie Kucera And His Orchestra - The International Polka Association Hall Of Fame Inductee. Antonio L. Valli - Died 7-9-2007 in Evanston - Complications from leukemia - He was 81 yeras old - Played saxophone, clarinet and drums - Was a member of The Flamingos. Elvina Makarian - Die 7-9-2007 in Glendale, CA, U.S. - Heart attack ( Jazz ) Born 8-16-1950 in Yerevan, Armenia - Singer - Worked with Robert Amirchanyan and The Yerevan State Entertainment Band. Varty Hart (Vartan Haroutunian) - Died 7-9-2007 in Hanover, MA, U.S. ( Jazz ) Born 3-23-1922 - Pianist and bandleader - Worked with Freddie Slack, Stan Kenton, The Herb Pomeroy Band - Owner of The Jazz Workshop which hosted Stan Getz, Art Blakey, Max Roach, Carmen McRae, John Coltrane, Herbie Mann and Dizzy Gillespie. Joel Stacey - Died 7-10-2007 in Keswick - Hit by a car while cycling ( Folk ) He was 23 years old - Played drums, xylophone, guitar and was a singer - Was a member of The Keswick Folk Band. Bill Flynn - Died 7-11-2007 - Heart attack - He was 58 years old - Actor and musician - (He did, "The Toyi Kaka", "B.o.k.k.e" and "Rainbow Worrior") - Led The Rock Rebels (They did, "Get This"). Dwane Garvin (aka Funky Buzzard and Buzz) - Died 7-11-2007 in Scottsdale, Ariz., U.S. - Complications of diabetes and heart disease ( Soul ) Born 1945 - Played drums, trumpet, organ, piano and saxophone - Worked with The Highlighters, Ebony Rhythm Funk Campaign, Black Magic, Marvin Gaye, The Temptations and Stevie Wonder - Son of singer, Flo Garvin and keyboardist, Millard Lee. Roland Ferrell ( Roland Derron Ferrell) - Died 7-11-2007 - Cancer ( Gospel - Rock ) He was 47 years old - Born in Philadelphia - Singer, guitarist, drummer and composer - Was a member of Powerhouse. Raymond Edwards (Raymond E. Edwards) - Died 7-11-2007 - Complications of cancer ( Gospel ) Born 1935 - Was a member of The Jimtown Male Chorus. Nana Gualdi (Adriana Klein) - Died 7-11-2007 in Kitzbuehel, Austria ( Pop ) Born 4-29-1932 in Basel, Switzerland - Singer and actress - (She had a hit with, "Junge Menschen brauchen Liebe") - Worked with Vico Torriani, Gerhard Wendland and Owen Williams. Richard Franklin - Died 7-11-2007 in Melbourne, Victoria, Australia - Prostate cancer ( Rock - R&B ) Born 7-15-1948 in Brighton, Melbourne, Australia - Drummer and film director - Was a member of The Pink Finks - He directed the films, Psycho II and Link. Robert Buras (Robert Solli Buras) - Died 7-12-2007 in Oslo, Norway ( Rock ) Born 8-12-1975 in Narvik, Norway - Guitarist and songwriter - Was a member of My Midnight Creeps and Madrugada (They did, "The Kids Are On High Street" and "Ramona"). Bean Garbula (David Garbula) - Died 7-12-2007 - Lung cancer - He was 54 years old - Singer and guitarist. Marc Behm - Died 7-12-2007 in France - Born 1-12-1925 in Trenton, NJ, U.S. - Novelist and scriptwriter - He was a screenwriter for The Beatles movie, "Help!". Rev Mullins (Reverdy L. Mullins Jr.) - Died 7-12-2007 in Kansas City. MO, U.S. ( Jazz - Swing ) Born 2-22-1921 in Parsons, Kansas, U.S. - Played piano - Worked with Barney Kessel. Tony Anochin (Anton Anochin) - Died 7-12-2007 - Died after a fire ( Rock ) Drummer - Was a member of Tomcat. Ricky Martinez - Died 7-13-2007 - Kidney failure ( Tejano - Conjunto ) Singer and bassist - Was a memeber of The Hometown Boys (They did, " Teddy Bear Special" and "Mi Amor Es Tuyo"). Jerry Yule - Died 7-13-2007 - Born 11-3-1942 in Tennessee, U.S. - Composer and pianist - Step brother of actor, Mickey Rooney and adoptive son of actor, Joe Yule. Robin Munis - Died 7-14-2007 in north Cheyenne, Wyoming, U.S - Shot while singing with her band ( Rock - Country ) She was 40 years old - Singer - Worked with Ty And The Twisters and Blue Mountain. John J. Dragone - The Piano Man - Died 7-14-2007 - He was 88 years old - Played piano, accordion and banjo and was an inventor - Owner of Dragon Piano And Music. John Hess (John Joseph Hess) - Died 7-14-2007 in Charlotte ( Jazz ) He was 86 years old - Played saxophone and clarinet - Worked with Charlotte Sax, Nothing Finer, Simply Sax, Studio D Quartet, Just Us, The Charlotte Philharmonic Orchestra, The Frank Love Orchestra and The CPCC Big Band. John Lally - Died 7-14-2007 ( Prog Rock ) Bassist - Was a member of Persephone's Dream. Kelly Johnson - Died 7-15-2007 - Cancer of the spine ( Metal ) Born 6-20-1958 - Guitarist and singer - She was a member of Girlschool (They did, "Take It All Away") and Headgirl a Motorhead and Girlschool collaboration (They did, "Please Don't Touch"). Khodjo Acquai (Samuel Johnson) - Died 7-16-2007 in Accra - Heart failure ( Highlife ) He was about 60 years old - Composer, arranger and producer - (He wrote, "Anadwofayi" and "Mese Saa Na Mente Saa"). Maria Jottini - Died 7-16-2007 in Broni, Pavia, Italy - She was 85 years old - Singer - (She did, "Maramao perche sei morto") - Worked with Pippo Barzizza and with The Trio Lescano. Khojo Aquai - Died 7-16-2007 ( High Life ) Musician, composer, arranger, producer and a studio owner. Bill Perry (William Sanford Perry) - Died 7-17-2007 in Sugar Loaf, New York, U.S. - Possible heart attack ( Blues ) Born 12-25-1957 in Goshen, Orange County, New York, U.S. - Guitarist, singer and songwriter - Worked with Richie Havens, Garth Hudson and Levon Helm - Recorded for Blind Pig Records. Ralph Arias - Died 7-17-2007 - Stroke - He was 63 years old - Drummer - Worked with The Royal Satins, The Pablo Banuelos Band, Thee Marquis and Feliz. Evone Capell (Evone Wood Capell) - Died 7-17-2007 in Orange Park - Illness - She was 88 years old - Hymn writer - (She wrote the Baptist Hymnal, "Holy Bible, Book Of Love"). Esteban Vega "Chacha" Bacallo - Died 7-17-2007 - Born 11-29-1925 - Bata drummer, conga player and drum carver - Was a member of The Guaganco Mantancero. Big Willie G (Willie George) - Died 7-17-2007 ( Soul - Reggae ) He was 58 years old - Singer and DJ. Donald A. Ransom - Died 7-18-2007 - Hit by a truck - He was 50 years old - Keyboardist - Worked with After FX, The BlackLites, U.A.D., Bobby Green and Blue Greens And Beans. Sekou Sundiata (Robert Franklin Feaster) - Died 7-18-2007 in New York, NY, U.S. - Heart failure - Born 8-22-1948 in Harlem, NY, U.S. - Poet, performer, singer, songwriter and teacher - He released the album, The Blue Oneness of Dreams and toured with Ani DiFranco. James Maher (James Thomas Maher) - Died 7-18-2007 in Manhattan, NY, U.S - Natural causes - Born 1-23-1917 in Cleveland, Ohio, U.S. - Was a historian of popular song - He was instrumental in the founding of The Rutgers Institute Of Jazz Studies - He wrote liner notes for Benny Goodman, Oscar Peterson, Nelson Riddle and Stan Getz - Appeared in the documentaries, Jazz and Adventures In The Kingdom Of Swing. Les Sargeant - Died 7-19-2007 in Brooklyn, NY, U.S. - He was 71 years old - Born in Tunapuna, Trinidad - Guitarist - Was a member of The Fitz Vaughn Bryan Orchestra (They did, "Tan Tan" and "Peanut Vendor"). Horace Scruggs - Died 7-19-2007 ( Bluegrass ) He was 85 years old - Born in Cleveland County - Guitarist - Worked with his brother, Earl Scruggs. Al Hendrickson (Alton Reynolds Henrickson) - Died 7-19-2007 in North Bend, OR, U.S. ( Jazz ) Born 5-10-1920 in Eastland, Texas, U.S. - Guitarist - Worked with Rudy Vallee, Benny Goodman, Woody Herman, Dizzy Gillespie, Andre Previn, Frank Sinatra, Billie Holiday, Rosemary Clooney, Peggy Lee, Tony Bennett, Nat King Cole, Ray Charles, Ella Fitzgerald, Louis Armstrong, The Artie Shaw band and Gramercy Five - He played music for TV's, Bonanza and M.A.S.H. and for the films, Blazing Saddles and High Plains Drifter. George Smallwood - Died 7-19-2007 - Illness ( Jazz ) He was 82 years old - Saxophonist - Worked with Paul Davis' Big Band. Tammy Faye Messner (aka Tammy Faye Bakker) (Tamara Faye LaValley) - Died 7-20-2007 - Metastatic colon cancer ( Gospel ) Born 3-7-1942 in International Falls, Minnesota, U.S. - Singer and televangelist - (She did, "We Are Blest" and "More Of You"). Tom Walker - Died 7-20-2007 ( Rock - Blues ) He was 58 years old - Guitarist - Was a member of The Intruders (They did, "Everytime It's You" and "Let Me Stay"), The Quinstrells (I've Got a Girl" and "Tell Her), The Dearly Beloved (They did, "Peep Peep Pop Pop" and "It's Better"), Chuck Wagon And The Wheels and The Boogie Man Blues Band. Kakraba Lobi - Died 7-20-2007 in Accra, Ghana - Born 1939 in Kalba Saru, Ghana - Played xylophone - Worked with Dr. J.H.K. Nketia, Valerie Dee Naranjo and Barry Olsen. Tony Dangerfield (Anthony Stuart Dangerfield) - Died 7-20-2007 in London, England ( Rock ) Born 8-31-1944 in Wolverhampton, England - Bassist - (He did, "Are You The Same Girl" and "Don't Want To Hurt You") - Led Tony Dangerfield & The Thrills - Was a member of Gullivers Travellers and Circles - Worked with Screaming Lord Sutch & The Savages (They did, "Jack The Ripper"), Ritchie Blackmore, Billy Fury, Carl Douglas, Ricky Valance, Carlo Little, Wee Willie Harris, Gene Vincent, Matthew Fisher and Mike Berry. Don Arden (aka Harry Levy) (Harold Levy) - The Al Capone of Pop, Mr Big, The English Godfather - Died 7-21-2007 in Los Angeles, CA, U.S. - Born 1-4-1926 in Cheetham Hill, Manchester, England - Singer, promoter and manager - Helped the careers of Gene Vincent, The Small Faces, The Nashville Teens, Amen Corner, The Move, Wizzard, Electric Light Orchestra, Air Supply, Black Sabbath and Ozzy Osbourne - Father of Sharon Osbourne. Gerald Chamberlain - Died 7-21-2007 - He was 65 years old - Born in Refugio, TX, U.S. - Played trombone - Was a member of The Hora Decima Brass Ensemble - Worked with The Fort Worth Symphony, Ten Wheel Drive, Buddy Rich and Woody Herman. Sonny Dallas (Francis Dominic Joseph Dallas) - Died 7-22-2007 in East Patchogue - Heart illness ( Jazz ) He was 75 years old - Born in Braddock, PA, U.S. - Bassist, singer, pianist and teacher - Worked with Phil Woods, Gene Quill, Elvin Jones, Charlie Spivak, Ray Eberle, Zoot Sims, Claude Thornhill and Lee Konitz. Pat Curtis (Edwin Moore Curtis Jr.) - Died 7-23-2007 in Virginia Beach, VA, U.S. - Cancer - Born 1929 in Norfolk, VA, U.S. - Pianist - Worked with Rosemary Clooney, Frankie Laine and Shirley MacLaine. Ron Miller (Ronald Norman Gould) - Died 7-23-2007 in Santa Monica, CA, U.S. - Cardiac arrest - Born 10-5-1932 in Chicago, Ill., U.S. - Songwriter - (Co-wrote, "Touch Me In The Morning" and "For Once In My Life") - His songs have been recored by Judy Garland, Stevie Wonder, Barbra Streisand, Diana Ross, Tony Bennett and Ray Charles. Shelby G. Osborne - Died 7-23-2007 in Maysville - Farm accident, struck his head after being hit by a stall gate that a bull had charged ( Gospel ) Born 1935 in Lewis County - Singer. Thorstein Aaby - Died 7-24-2007 - Illness ( Metal ) Guitarist - Was a member of Pagan's Mind, Smalltown Rockets and Wild Side. Utpal Biswas - Died 7-25-2007 in Pune - Fell from a staircase - He was 58 years old - Composer and musician - He wrote music for the film, Shahenshah - Son of music director, Anil Biswas. Derick Kirk - Died 7-25-2007 - Complications from cancer - He was 28 years old - Saxophonist, pianist, clarinetist, bassist and composer - Worked with Voodoo Katz, Tilting At Windmills and Steve Himes. Alan Hely - The grandfather of the Australian music industry - Died 7-25-2007 - Illness - He was 80 years old - Managed Festival Records - Helped with the careers of Olivia Newton John, The Bee Gees, Split Enz and Paul Kelly. Uncle John Turner (Johnnie Mac Turner) - Died 7-26-2007 in Austin, TX, U.S. - Complications related to hepatitis C ( Blues ) Born 8-20-1944 in Port Arthur, TX, U.S. - Drummer - Was a member of Krackerjack - Worked with Jerry LaCroix, Stevie Ray Vaughn, Edgar Winter, B.B. King, Jimi Hendrix, Freddie King, Paul Orta, Tommy Shannon, Alan Haynes, James Montgomery, Johnny Winter, Muddy Waters, Willie Dixon, Albert Collins and Lightnin' Hopkins - Austin Music Hall Of Fame Inductee. Lawton Williams - Died 7-26-2007 in Fort Worth, TX, U.S. - Respiratory illness ( Country ) Born 7-24-1922 in Troy, TN, U.S. - Singer and songwriter - (He wrote, "Fraulein" and "Geisha Girl") - His songs have been recorded by George Jones, Bobby Helms, Bobby Bare, Hank Locklin, Gene Watson, Joe Nichols, Cliff Bruner, Jim Reeves and Laura Lee McBride. Craig Smith - Died 7-27-2007 - His news helicopter collided with another news helicopter while covering a live car chase ( Rock ) He was 47 years old - Guitarist - Was a member of Crosstown Traffic. A.C. Overton - Died 7-27-2007 in North Carolina, U.S. - While in a coma after suffering a brain aneurysm ( Folk ) He was 80 years old - Played banjo. Joe B.G. (Jonathan Guilbault) - Died 7-27-2007 in Montreal, Canada- Apartment fire ( Rap ) He was 27 years old - Recorded the album, "Prevision Locale". Richard Pacheco - Died 7-27-2007 - Head injury from a Motor scooter accident ( Blues - Jazz - Tejano ) He was 60 years old - Ssaxophonist - Led Richard Pacheco And The Revolution Was a member of Los Caballeros. Bob Jones Sr. - Died 7-27-2007 in Nashville, TN, U.S. ( Gospel ) Born 6-18-1914 in Oakwood, TX, U.S. - Singer - Was a member of The Stamps Harmony Boys, The Stamps Quartet and The Songfellows Quartet - Southern Gospel Music Hall Of Fame Inductee. Terry Penney - Died 7-28-2007 - Car accident ( Rock - Country - Blues - Christian ) He was 59 years old - Guitarist - Member of Chad Reilly And The Wild Horse Band, Sol Patch, The Franklin Brothers and Pathway - Husband of of singer, Sarah Penney. Sarah Penney - Died 7-28-2007 - Car accident ( Rock - Country - Blues - Christian ) She was 51 years old - Singer - Member of Chad Reilly And The Wild Horse Band and Pathway - Wife of guitarist, Terry Penney. Edward Andrade - Died 7-28-2007 - Car accident ( Rock - Country - Blues ) He was 47 years old - Bassist - Member of Chad Reilly And The Wild Horse Band and Sol Patch. Sal Mosca (Salvatore Joseph Mosca) - Died 7-28-2007 in White Plains, New York, U.S. ( Jazz ) Born 4-27-1927 in Mt. Vernon, New York, U.S. - Pianist - Worked with Lee Konitz, Warne Marsh, Billie Holiday, Sarah Vaughan, Stan Getz, Bill Baur, Skip Scot, Miles Davis, Bill Chattin, Don Messina and Max Roach. Eddie Bigham (Francis Edward Bigham Sr.) - Died 7-28-2007 ( Jazz ) He was 87 years old - Pianist and band leader - Worked with Buddy DeFranco, Martha Raye, Harry Perry, The Four Jills and Three Men And A Maid. John Robertson (John T. Robertson) - Died 7-28-2007 - Born 11-25-1919 - Played accordion and was a musical director - (He wrote, "When The Bombers Came"). Jimmy T-99 Nelson (James Nelson) - Died 7-29-2007 in Houston, TX, U.S. ( Blues ) Born 4-7-1919 in Philadelphia, PA, U.S. - Singer and songwriter - (He did, "T-99 Blues" and "Meet Me With Your Black Dress On") - Worked with Duke Robillard and Otis Grand. Trevor Butler - Died 7-29-2007 near Clinton, NC, U.S. - Van accident after a tire blew out ( Rock ) Bassist - Member of Bottom Of The Hudson (They did, "Beehive" and "Riot Act") and Coyote. Daniel James Shorrock - Died 7-29-2007 in Winnipeg - Two weeks after being beaten ( Rock ) He was 43 years old - Guitarist - Was a member of Highway 373. Art Davis (Arthur D. Davis) - Died 7-29-2007 in Long Beach, CA, U.S. - Heart attack ( Jazz - Classical ) Born 12-5-1933 in Harrisburg, PA, U.S. - Double bassist - Worked with John Coltrane, Duke Ellington, Thelonious Monk, Rahsaan Roland Kirk, Louis Armstrong, Bob Dylan, John Denver, Peter, Paul And Mary, Judy Garland and with The NBC, Westinghouse and CBS orchestras. Flip Crain (Donald Crain Sr.) - Died 7-30-2007 in Waupun ( Dance ) Born 1-1-1925 in Fond du Lac - Played trumpet. Louis Moyse - Died 7-30-2007 in Vermont, U.S. - Born 1912 in the Netherlands - Flutist, pianist and composer - Was a member of The Moyse Trio - Co-founder of Marlboro Music Festival - Worked with Adolf Busch, Reynaldo Hahn and Duke Ellington. Ernest Warren (Junius Ernest Warren) - Died 7-30-2007 in Baltimore, Maryland, U.S. ( R&B ) Born 3-16-1929 in Norfolk, Virginia, U.S. - Singer - Was a member of The Mellotones who became The Cardinals (They did, "Wheel Of Fortune" and "Come Back My Love") - United In Group Harmony Association Hall Of Fame Inductee. Manny Green (Manuel Greenberg) - Died 7-30-2007 - Lung cancer and congestive lung failure ( Big Band ) He was 86 years old - Played bass and was a band leader - Worked with Myron Floren. Terry Magovern (Frank Magovern) - Died 7-30-2007 - Music promoter - Was a personal assistant to Bruce Springsteen and worked for Clarence Clemons. Oliver Morgan (Oliver O. Morgan) (aka Nookie Boy) - Died 7-31-2007 Atlanta, GA, U.S. - After suffering a heart attack two weeks earlier ( R&B ) Born 5-6-1933 in New Orleans, LA, U.S. - Singer and songwriter - (He did, "Who Shot The La La") - Worked with Eddie Bo and Allen Toussaint. Bill LaVorgna - Died 7-31-2007 - Heart attack - Born 6-3-1933 in Paterson, NJ, U.S. - Musician and drummer - Worked with Frank Sinatra and Dizzy Gillespie - Musical director for Liza Minnelli and Judy Garland. Walter Dawson - Died 7-?-2007 - Heart attack - He was 59 years old - Longtime Memphis music critic, journalist and editor. Isa McIntyre (aka Laura Lee) (Isabella McIntyre) - Died 7-?-2007 in Musselburgh, Scotland - Cancer - Born 5-11-1937 in Musselburgh, Scotland - Singer - Was a member of The Ladybirds - Appeared on The Benny Hill Show, Top Of The Pops, The Royal Variety Show and The Two Ronnies. Brian Mason - Died 8-?-2007 - Cancer ( Bluegrass - Country ) He was 59 years old - Played fiddle and guitar - Worked with The Misty Mountaineers, White Mountain Bluegrass, Shady Creek, The Morse Brothers, The Prindalls, Jim Carey, Tyler Poirier and Steve Adams. Mark Marush - Died 8-?-2007 - Plaayed saxophone - Was a member of The Wailers and The Bootmen. George Turner - Died 8-?-2007 - Played bass - Was a member of Pembroke, Ltd.. Vladimir Khanutin - Died 8-?-2007 - He was 33 years old - Drummer - Worked with Chizh & Co and Selyodka. Yu Aku (Hiroyuki Fukada) - Died 8-1-2007 - Urethral cancer- He was 70 years old - Lyricist - (Co-wrote Harumi Miyako's, "Kita no yado kara" (From An Inn In The North) and Kenji Sawada's, "Katte ni shiyagare" (I'll Let You Go)). Tommy Makem (Thomas C. Makem) - The Bard of Armagh, The Godfather of Irish Music - Died 8-1-2007 in Dover, New Hampshire, U.S. - Lung cancer ( Folk ) Born 11-4-1932 in Keady, Ireland - Singer and songwriter, played banjo, guitar, tin whistle, and border pipes - (He did, "The Four Green Fields" and "Red Is The Rose") - Worked with The Clancy Brothers and Liam Clancy - Son of singer, Sarah Makem. Earl Turbinton (Earl Joseph Turbinton) - The African Cowboy - Died 8-3-2007 in Baton Rouge, LA, U.S. - Lung Cancer ( Jazz ) Born 9-23-1941 in New Orleans, LA, U.S. - Saxophonist - Worked with his brother Wilson "Willie Tee" Turbinton and with Herbie Hancock, The Neville Brothers, Snooks Eaglin, Cannonball Adderley, The Wild Magnolias, B.B. King, Allen Toussaint, Joe Zawinul, Buster Williams, Champion Jack Dupree - As a band leader, he recorded for Rounder and Progressive Records. Peter Thorup - Died 8-3-2007 - Born 12-14-1948 ( Blues ) Guitarist and singer - Worked with Alexis Korner's studio band C.C.S. Harold "Mac" McIntosh - Died 8-3-2007 ( Dance ) He was 86 years old - Played fiddle - Was a member of The Modern Yokels and The Cowlitz Valley Old-Time Music Association. Timmy Probst - Died 8-3-2007 ( Rock ) Born 1954 - Singer, songwriter and guitarist - Was a member of The Pirates (They did, "Magic Ship" and "Trailer Trash Girls"). Lee Hazlewood (Barton Lee Hazlewood) - Died 8-4-2007 in Henderson, Nevada, U.S. - Renal cancer ( Country ) Born 7-9-1929 in Mannford, Oklahoma, U.S. - Singer, songwriter and producer - (He did, "Trouble Is A Lonesome Town" and "Six Feet Of Chain") - His songs have been recorded by Sanford Clark ("The Fool"), Nancy Sinatra ("These Boots Are Made For Walking"), Duane Eddy, Dean Martin ("Houston"), Lydia Lunch, Einsturzende Neubauten, Primal Scream, Boyd Rice, Nick Cave, Harry Nilsson, Anita Lane, The Astronauts and Megadeth - Formed LHI which signed The International Submarine Band. Johnny Garies (John A. Garies)- Died 8-4-2007 - Complications of liver disease ( Christian Rock ) He was 54 years old - Singer, drummer, pianist, guitarist and songwriter - (He wrote, "Two Worlds Collide" and "40-Watt City"). Tim Stroud - Died 8-4-2007 - Cerebral aneurysm ( Rock - Blues ) He was 54 years old - Played guitar, saxophone, drums and harmonica and was a singer - Worked with Strange Burrito, Amethyst, Krakatoa and The Groove Movers. Jimmy St. Clair (James S. Sims) - Died 8-4-2007 in Bluefield, WV, U.S. ( R&B - Gospel ) He was 69 years old - Singer - Worked with Ronnie Love, Leon And The Burners and The Spirit Plus Band. Thomas Hergert - Died 8-4-2007 - Bassist - Was a member of Gundermanns Seilschaft. Keith "Ketman" Shirasawa - Died 8-4-2007 - Neck injuries suffered on a roller coaster ( Rock ) Born 7-31-1954 - Guitarist - Worked with You People, Along For The Ride and Roadkill Cafe. Florian Pittis - Died 8-5-2007 - Prostate cancer ( Folk ) Born 10-4-1943 in Bucharest - Singer and actor - Was a member of Pasarea Colibri. Mathias Schramm - Died 8-5-2007 in Potsdam, Germany - Stomach problems ( Rock ) Born 5-9-1949 - Bassist, composer, arranger and producer - Founding member of Silly. General Vini Vini (Antonio Venancio) - Died 8-5-2007 in Cuba - Illness - Born 1959 in Mbata village (Mungo disitrict) - Singer and songwriter - (He did, "A morte de um heroi" and "Tchiwa tchiya"). Mike Brewer - Died 8-5-2007 - He was 38 years old - Bassist - Worked with Eddie Barber and KY Bred. Jim Smale (James C. Smale) - Died 8-5-2007 in Bay Pines, FL, U.S. ( Jazz ) He was 72 years old - Born in Cincinnati, OH, U.S. - Trombonist - Worked with The Glen Miller Orchestra, Helen Reddy, Steve Lawrence And Edie Gorme, Gladys Knight And The Pips, Chubby Checker, Frank Sinatra Jr., Teddy Prendergast and Tom Jones. Eluard Burt (Eluard Albert Burt II) - Died 8-5-2007 in Inglewood, CA, U.S. - Born 2-15-1937 in New Orleans, LA, U.S. - Flautist, percussionist, keyboardist, producer and music historian - Worked with Eluard & Co, The Crescents Quartet, N.O. Heritage, Chuck Willis ("C.C. Ryder" and "Betty And Dupree"), Big Joe Turner and The Dominoes - He can be heard on the score for the movie, Follow Me Home. Paul Rutherford (Paul William Rutherford) - Died 8-6-2007 in London, England - Sclerosis of the liver and a ruptured aorta ( Jazz ) Born 2-29-1940 in Greenwich, London, England - Trombonist - Was a member of Iskra 1903 and Iskra 1912 - Worked with The Globe Unity Orchestra,The London Jazz Composer's Orchestra, The Mike Westbrook Orchestra and Soft Machine. Drew Menzies - Died 8-6-2007 in Mansfield - Suicide - Played double bass - Worked for The Endless Mountain Music Festival. Robert L. Kircher (aka Bob Kross) - Died 8-6-2007 ( Dance - Classical - Pop ) Born 9-5-1920 - Played ukulele, piano, trombone and guitar and was a singer and composer - Worked with The Coast Guard Curtis Bay Training Station Dance Band, The Clifton Music Club, The MacDowell Society, Syrian Shrine And The Shrine Band and The Scottish Rite. Zsolt Daczi - Died 8-6-2007 in Budapest - Cancer ( Rock ) Born 6-12-1969 in Kiskunhalas - Guitarist - Was a member of Bikini, Omen and Carpathia Project - Worked with Tirana Rockers. Robert A. Halter (Aaron Ockman) - Died 8-7-2007 in Des Plaines, IL, U.S. - Complications of Alzheimer's disease - Born 1912 in Philadelphia, PA, U.S. - Led The Accordioneers - Owner of The Music Center. Sergei Shchurakov - Died 8-7-2007 ( Folk - Renaissance ) Born 2-23-1963 - Accordionist - Was a member of Akwarium and The Vermicelli Orchestra. Dan Strouse (Daniel Stanton Strouse) - Died 8-7-2007 in Tempe - Lung cancer ( R&B ) He was 57 years old - Played guitar and saxophone - Was a member of The Repeat Offenders. Tex Walker (Clarence Walker) - Died 8-8-2007 in Oxfordshire, England - After a heart attack ( R&B ) Born 1-24-1926 in Winston-Salem, NC, U.S. - Led The Walker Street Blues Band - Singer - Worked with The Drifters, The Coasters and Big Joe Turner. Sonny Day (Hone Wikaira) - Died 8-9-2007 in Te Atatu, Auckland - Emphysema ( Blues - Rock ) He was 64 years old - Was the leader of Sonny Day And The Sharks, Sonny Day And The Sundowners and Sonny Day And The Breeze - Worked with The All Stars, Crow, Caravan and Tall Dark And Out Of It. Sakiusa Bulicokocoko - Died 8-9-2007 in Hawaii, U.S. - He was 57 years old - Musician and singer - Worked with The Freelancers. Bev Smith - Died 8-9-2007 ( Rock - Blues - Reggae ) He was 50 years old - Drummer - Worked with The Honeydrippers, Eric Clapton, Shark Attack, Jimmy Page, Stan Webb's Chicken Shack and Champion Jack Dupree. Jack Lipson (Jack A. Lipson) - Died 8-10-2007 in Santa Clarita - He was 97 years old - Sang and played guitar and banjo - Was a member of The Dixie Lee Band. Tony Wilson (Anthony Howard Wilson) - Died 8-10-2007 in Manchester, England - Heart attack - Born 2-20-1950 in Salford, Lancashire, England - Founder of Factory Records which released recordings by Happy Mondays and Joy Division - Managed A Certain Ratio and The Durutti Column - Owned the music nightclub, The Hacienda. German Pedro Ibanez - Died 8-10-2007 in Havana, Cuba - Born 10-11-1928 - Guitarist and composer - (He wrote, "Revive La Ilusion") - Director of The Septeto Habanero. Mario Rivera - Died 8-10-2007 in New York, U.S. - Bone cancer ( Latin Jazz ) Born 1939 - Played piano, vibraphone, drums, trumpet, timbales, congas, flute, piccolo and saxophone and was a composer and arranger - Led The Salsa Refugees and The Mario Rivera Sextet - Worked with George Colman, Tito Puente, Dizzy Gillespie, Slide Hampton, Chico O'Farrill, Eddie Palmieri and Tito Rodriguez. Frank Assunto Jr. - Died 8-10-2007 - Born 12-25-1955 in Las Vegas, NV, U.S. - Musician and lyricist - Was a member of The Dukes, The Raffeys and Force Of Habit - Son of trumpeter Frank Assunto Sr. Kitty Grime (Mary Christine Godfrey) - Died 8-10-2007 - Cancer ( Jazz ) Born 1-21-1930 in Derby - Singer, pianist, lyricist, journalist and actress - Worked with Dave Cliff, Jeff Clyne, Phil Lee and Brian Lemon. Steve Wilkinson (aka Sgt. Sword) - Died 8-?-2007 ( Metal ) Was a member Thor. Madilu System (Jean de Dieu Makiese) - Died 8-11-2007 in Kinshasa ( Jazz ) Born 5-28-1952 in Leopoldville, Belgian Congo - Singer and songwriter - (He wrote, "Ya Jean" and "Frere Edouard") - Worked with Symba, OK Jazz (Oscar Kashama Jazz), TPOK ( le Tout Pouissant Orchestre Kinois) and Bakuba Mayopi. Herb Pomeroy (Irving Herbert Pomeroy III) - Died 8-11-2007 in Gloucester, MA, U.S. ( Jazz ) Born 4-15-1930 in Gloucester, MA, U.S. - Played trumpet - Worked with Lionel Hampton, Coleman Hawkins, Stan Kenton, Gerry Mulligan, Max Roach, Sonny Rollins, Stan Getz, Frank Sinatra, Tony Bennett, Charlie Parker, The Festival Jazz Ensemble and Ornette Coleman. Shekhinah Mountainwater (Ellen Adler) - Died 8-11-2007 in Santa Cruz - Uterine cancer ( Folk ) Born 10-24-1939 - Singer, guitarist and author - She wrote the book, "Ariadne's Thread: A Workbook Of Goddess Magic". Hank' Selinger (Henry George Selinger III) - Died 8-11-2007 in Atlanta - Heart attack ( Blues ) He was 59 years old - Played bass and sang - Was a member of The South City Blues Band. Alexander Horrocks (aka John Alexander) - Died 8-11-2007 - Prostate cancer - He was 73 years old - Singer - He was half of the duo, The Melody Makers. Merv Griffin (Mervyn Edward Griffin Jr.) - Died 8-12-2007 in Los Angeles, CA, U.S. - Prostate cancer ( Big Band ) Born 7-6-1925 in San Mateo, CA, U.S. - Singer, pianist, entertainer, TV talk show host and show biz mogul - (He did, "I've Got A Lovely Bunch Of Coconuts" and "Never Been Kissed") - Worked with Freddy Martin - Created, produced and wrote music for TV's, Jeopardy and Wheel Of Fortune. Jim Toner - Died 8-12-2007 in Hawke's Bay, New Zealand ( Country - Skiffle ) Born 1939 in Glasgow - Singer and guitarist - Worked with George Hamilton III and Frankie Miller. Jah Jerry (Jerome Hines) - Died 8-13-2007 in Kingston, Jamaica ( Ska ) Born 11-8-1921 - Guitarist and songwriter - Was a member of The Skatalites - Worked with Millie Small, Prince Buster, Derrick Morgan ("They Got To Go" and "Shake A Leg"), Desmond Dekker, The Drumbago All Stars, Toots And The Maytals and Bob Marley And The Wailers, Phil Rizzuto (Philip Francis Rizzuto) (Fiero Francis Rizzuto) (aka The Scooter) - Died 8-14-2007 in West Orange, NJ, U.S. - Born 9-25-1917 in Brooklyn, NY, U.S. - Major League Baseball player and radio and TV sports announcer - He can be heard on Meat Loaf's song, "Paradise By The Dashboard Light" for which he received a gold record - The Baseball Hall Of Fame Inductee. Marshall Allen - Found dead 8-14-2007 in Glynn County - Possible homicide - He was 57 years old - Pianist - Worked with Willie Hammett. Dorothy E. Guthman (nee Mates) - Died 8-14-2007 - Illness - Singer - Born 7-30-1925 in Cleveland, OH, U.S. - She was half of the duo, Dot And Lou. Ruth Armstrong Megill - Died 8-14-2007 in Huntington Beach, CA, U.S. - Cancer - She was 78 years old - Born in Utica, NY, U.S. - Pianist and organist - (She wrote, "Are You Often Sad And Lonely?") - Was a member of The Singing Saints. Dick Smith (Richard M. Smith) - Died 8-14-2007 - He was 64 years old - Drummer - Was a member of McGuffey Lane. John Wallowitch - Died 8-15-2007 in New York, NY, U.S. - Cancer ( Cabaret ) He was 82 years old - Born in Philadelphia, PA, U.S. - Singer and songwriter - (He composed, "This Moment" and "Cosmetic Surgery") - Worked with Bertram Ross - His songs have been done by Blossom Dearie, Shirley Horn, Tony Bennett, Berri Blair, John Dubois, Marlene VerPlanck, Lynn Lobban and Dixie Carter - He wrote over 2,000 songs. Rusty Jacobs - Died 8-15-2007 in South Burlington ( Rock - Folk ) He was 57 years old - Played pennywhistle and guitar - Founder of Wood's Tea Company. Garry Jones - Died 8-15-2007 - Cancer - Born 2-28-1954 - Bassist, singer and songwriter - Worked with El Seven (They did, "In The Endless Sea" and "Robert Johnson's Photograph"), Movita, The Lost Weekend and Clayson And The Argonauts. Elahe - Died 8-15-2007 in Tehran, Iran ( Traditional - Pop - Jazz - Standards ) She was 71 years old - Singer. Max Roach (Maxwell Lenard Roach) - Died 8-16-2007 in New York, U.S. ( Jazz ) - Alzheimer's Disease - Born 1-10-1924 in New Land, NC, U.S. - Drummer - Led The Max Roach Double Quartet, Max Roach - Clifford Brown Quintet - Worked with Cecil Taylor, Duke Ellington, Dizzy Gillespie, Anthony Braxton, Charlie Parker, Sonny Rollins, Miles Davis, Eric Dolphy, Stanley Turrentine, George Coleman, Donald Byrd, Oscar Brown Jr., Kenny Dorham and Booker Little - Co-founded Debut Records. Vito Pallavicini - Died 8-16-2007 in Vigevano, Pavia, Italy - Born 4-22-1924 in Vigevano, Pavia, Italy - Lyricist - (He wrote the lyrics for, "Azzurro" and "Io che non vivo (senza te)) - Worked with Paolo Conte, Adriano Celentano and Mina. Paul White - Died 8-16-2007 - He was 61 years old - Born in Grappenhall - Was a member of The Black Cats who performed at The Cavern Club alongside The Beatles and The Animals . Ada Wrenne Weeks Collins (aka Groovy Granny) - Died 8-17-2007 in Beech Island, SC, U.S. ( Gospel ) She was 97 years old - Born in Tullahoma, TN, U.S. - Played guitar and piano - Was a member of Flo Carter & The Sounds Of Joy - Worked with her husband, Gilbert Collins and with James Brown. Jon Lucien (Lucien Harrigan) - Died 8-18-2007in Orlando, FL, U.S. - Respiratory complications after kidney surgery ( Jazz ) Born 1-8-1942 in the British Virgin Islands' main island of Tortola - Respiratory failure and other complications - Played guitar, timba and gonza and was a singer and songwriter - (He did, "A Time For Love" and "I Didn't Know What Time It Was"). Odessa Harris (aka Dessie Williams) - Died 8-18-2007 - Complications due to emphysema ( Blues - Jazz ) Born 6-8-1936 in West Helena, Arkansas, U.S. - Singer - Worked with Robert Nighthawk, Sonny Freeman And The Unusuals and B.B. King. Roy Wallace (Roy Victor George Wallace) - Died 8-18-2007 in London, England - Born 7-7-1927 in London, England - Sound engineer - Developed stereophonic sound recording for the Decca Recording Company. Monique Gebbink - Died 8-18-2007 or possibly 7-17-2007 ( Pop ) Was 48 years old - Singer - Was a member of Sugar And The Lollipops (They did, "I Can Dance" and "Like A Roller Coaster"). Claudio Chieffo - Died 8-19-2007 ( Religious ) Born 3-9-1945 in Forli, Italy - Singer and songwriter. Mike O'Donnell - Died 8-19-2007 - Bladder cancer - He was 46 years old - Singer - Was a member of 707. Johnny Fourie (Jan Carel Fourie) - Died 8-19-2007 in Johannesburg, South Africa ( Jazz ) Born 5-18-1937 - Played guitar - Led The Johnny Fourie Band and The Short Attention Span Ensemble - Worked with Lemmy "Special" Mabaso, The Merry Blackbirds, Charles Erland, Hubert Laws, Billy Cobham, Clive Stevens, The Abstractions, Spokes Mashiane, The Manhattan Brothers and Nico Carstens. Stanley Longstaff - Died 8-?-2007 - Adenocarcinoma of the small intestine - Musician and radio host - Organized jam sessions for Portsmouth Community Radio. Erroll Patton - Died 8-20-2007 in Wichita - While jogging - He was 52 years old - Drummer - Worked with The Chance Band, The Killer Bs, Sinergy and Zyba. Professor Thorny Penfield (Thornton B. Penfield III) - Died 8-21-2007 in Albany, NY, U.S. - He was 73 years old - Preserver and promoter of New Orleans music - Founded Tipitina's and was a coordinator for The New Orleans Blues Society and The Crescent City Blues Club. Alan Cooper (Alan Swainston Cooper) - Died 8-22-2007 - Cancer ( Jazz ) Born 2-15-1931 in Leeds - Played clarinet, saxophone and phonofiddle - Was a member of The Vernon Street Ramblers, The Yorkshire Jazz Band and The Temperance Seven (They did, "You're Driving Me Crazy" and "Pasadena") - Worked with Bob Kerr's Whoopee Band. Wayne Chapman - Died 8-22-2007 in Toronto, Canada - Heart failure after falling off a roof while being attacked by hornets - He was 52 years old - Guitarist - Worked with Stompin' Tom Connors. Masahiko Togashi - Died 8-22-2007 in Kanagawa, Japan ( Jazz ) Born 3-22-1940 in Tokyo, Japan - Drummer - Worked with Sadao Watanabe's Cozy quartet, Steve Lacy, Don Cherry and Dave Holland. Bill Bolick (William C. Bolick) - Died 8-22-2007 in Pullman ( Country - Blues ) Born 12-4-1944 in Walla Walla, Wash., U.S. - Played keyboards and trumpet and sang - Was a member of Paleface, The Gynch, Natural Groove and Progress Hornsby. Harry Busby (aka the Canadian Cockney) - Died 8-22-2007 - Played trumpet and flugelhorn - He was 74 years old - Worked with The Creek Big Band and The Bayou Jazz Band. Dee Thevenin - Died 8-22-2007 in Covington, KY, U.S. ( Rock ) Was a member of King James And The Royal Jesters (They did, "I Get A Feeling" and "Girl"). Martti Pokela - Died 8-23-2007 ( Folk ) Born 1924 in Haapavesi, Ostrobothnia - Played kantele and guitar and was a composer - Worked with his wife, Marjatta Pokela. Miss Pearl O. Dis (Shalonda P. Simpson) - Died 8-23-2007 - Shot during a robbery ( Rock ) Born 1982 - Bassist - Was a member of The Cheetah Whores. Aaron Russo - Died 8-24-2007 in Los Angeles, CA, U.S. - Bladder cancer - Born 2-14-1943 in Brooklyn, NY, U.S. - Managed Bette Midler and The Manhattan Transfer - He was a rock promoter for Janis Joplin, The Jefferson Airplane and The Grateful Dead - Owned the nightclub, Kinetic Playground - Produced the films, The Rose and Trading Places. Chris Resch - Died 8-24-2007 in Fairbanks, Alaska, U.S. ( Metal ) He was 48 years old - Singer and guitarist - Was a member of Pandemonium. Richard Cook - Died 8-25-2007 in London, England - Cancer - Born 1957 in Kew, London, England - He was a jazz writer, a magazine editor and a record company executive - He was a co-author of The Penguin Guide To Jazz Recordings - He wrote for NME and The New Statesman and was an editor for The Wire - Produced Guy Barker. Francois Viljoen - Died 8-25-2007 - Shot during a robbery in his home - He was 25 years old - Guitarist, pianist, percussionist and singer - Worked with The Gauteng North Youth Choir. Felito Molina (Felix Eusebio Molina Marin) - Died 8-?-2007 - Heart failure - Born 12-15-1920 in Cienfuegos, Cuba - Guitarist, bassist, composer and singer - (Wrote, "Salsita y carino" and "Luna surena") - Worked with Barbarito Diez, Aragon and The Bahison Septet. Marl Sylvan Ponder - Died 8-26-2007 in Buffalo ( Gospel - Country ) Born 3-11-1934 in Spartanburg County, SC, U.S. - Musician - Was a member of The Praise Team and Gospel America. Matthew Cormier - Died 8-26-2007 - A metal house frame he was working on fell on him ( Zydeco ) He was 22 years old - Bassist - Worked with Travis Matte And The Zydeco Kingpins. Sanford Green - Died 8-26-2007 - Born 1-24-1914 in Hartford, Connecticut, U.S. - Songwriter, arranger and musical director - (Co-wrote, "Am I Wasting My Time?" and "Brokenhearted Troubadour") - Worked with Mack David, Hal Leroy, Jack Manus, Georgie Price, Sylvia Froos and Mann Curtis. Jim Bloomstrom (James Bloomstrom) - Died 8-26-2007 - Born 12-15-1931 in Seattle, WA, U.S. - Drummer - Worked with Quincy Jones. John Healy (John P. Healy Jr.) - Died 8-26-2007 in Cameron Park - Complications from a head injury from a fall in his home - Born 10-12-1951 in Brooklyn, NY, U.S. - Played cello - Founded The San Jose Children's Musical Theater. Pete Kaplan (Petr Kaplan) - The Father of Czech rock 'n' roll - Died 8-26-2007 in Prague, Czech Republic - Cancer ( Rock And Roll ) Born 6-16-1940 in Ostrava, Protektorat Bohmen und Mahren - Guitarist and singer - Founder of Samuels Band (They did remakes of, "Jailhouse Rock"), Mefisto (They did remakes of, "Run Rudolph Run" and "Johnny B. Goode") and Extase (They did, "I'm Thinking Of You Baby"). Frank Nero - Died 8-?-2007 near Denu - His motorbike was hit by a car - He was 40 years old - Musician - (He recorded the albums, "Nye Nutor Paa" and "Dzogbeve"). Doug Riley (aka Dr. Music) (Douglas Brian Riley) - Died 8-27-2007 in Calgary, Alberta - Heart failure - Born 4-24-1945 in Toronto, Ontario, Canada - Composer, producer, arranger and pianist - Led DR Music and The Doug Riley Quartet - Worked with Moe Koffman, Ray Charles, Molly Johnson, Jake Langley, Placido Domingo, Ofra Harnoy, The Brecker Brothers, Gordon Lightfoot, Jackie Richardson, The Silhouettes, Dionne Taylor, Measha Bruggergosman, Anne Murray, David Clayton Thomas, Bob Seeger, Ringo Starr and Natalie McMaster. Mike Pittman - Died 8-27-2007 ( Rock ) Drummer - Was a member of Divine Ruins. Jose Trujillo Jr. - Died 8-27-2007 - Skateboard accident - He was 13 years old - Bassist - Was a member of Los Trujillo. Tom Phalen (Thomas Peter Phalen) - Died 8-27-2007 in Kent, WA, U.S. - Heart failure - Born 10-10-1948 in Los Angeles, CA., U.S. - Music critic, guitarist, songwriter - Worked with Wallflower and Slo And Easy - He was a music reviewer for The Seattle Times and wrote for Rolling Stone magazine. Tom Cuson - Died 8-27-2007 in Berlin - Cancer - He was 63 years old - Poet, musician and photographer. Hilly Kristal - Died 8-28-2007 in Manhattan, NY, U.S. - Complications from lung cancer - Born 1932 in in Manhattan, NY, U.S. - Singer, songwriter and violinist - Sang at The Radio City Music Hall - Founder of the club CBGB's which hosted The Ramones, Talking Heads, Blondie, Patti Smith, The Dead Boys, Suicide, Wayne County, The Dictators, Television, Mink Deville and Sonic Youth - He had also managed the jazz club, The Village Vanguard. Selton Porter Jr. - Died 8-28-2007 in Pennsylvania, U.S. - Complications from diabetes ( Gospel ) He was 65 years old - Singer, pianist, trumpeter and songwriter - Worked with The Porter Family Singers. Miyoshi Umeki (aka Nancy Umeki) - Died 8-28-2007 in Licking, Missouri, U.S. - Complications from cancer ( Pop ) Born 5-8-1929 in Hokkaido, Japan - Singer and actress - She acted on TV's, The Courtship Of Eddie's Father as Mrs. Livingston the housekeeper. Lorin Whitney (Lorin J. Whitney) - Died 8-28-2007 ( Gospel ) Born 9-11-1914 in Madera, CA, U.S - Organist - Owned Whitney Recording Studios. Kip Anderson (Kipling T. Anderson) - Died 8-29-2007 in Anderson, SC, U.S. ( R&B ) Born 1-24-1938 in Starr, SC, U.S. - Singer, pianist, songwriter -Worked with Sam Cooke, The Drifters, Jerry Butler and Jackie Wilson - Was a vice president of Electric City Record's gospel division - Recorded for Savoy, Chess, Excello, Fire & Fury, Ichiban, Savoy, Ripete (with Nappy Brown) and other labels. Ren Runk ( Lorenzo G. Runk) - Died 8-29-2007 in Lansdowne - Cancer ( Jazz ) He was 70 years old - Played French horn - Worked with The Lower Merion Concert Band and The Mansfield Brass Quintet. Sheriff Tex Davis (Wilfred A. Douchette) - Died 8-29-2007 - Born 6-14-1915 in Connecticut, U.S. - Songwriter, manager and promoter - (Co-wrote Gene Vincent's, "Be-Bop-A-Lula") - Worked at Monument Records promoting Dolly Parton, Kris Kristofferson and Jeannie Seely. Ariel Bogoslavsky (Arkady Efimovich Bogoslavsky) - Died 8-29-2007 - Born 11-20-1955 in Kishinev (now Chisinau), Moldova, Soviet Union - Pianist - (did, "Vodka Boogie") - He played classical renditions of rock songs by artists such as Billy Joel, Pink Floyd, The Beatles, Coolio and Led Zeppelin. Sandy Feldstein (Saul Feldstein) - Died 8-30-2007 in Tarzana California, U.S. - Cancer - Born 9-7-1940 - Percussionist, author and composer - He wrote the book, "Practical Theory Complete: A Self-Instruction Music Theory Course" and co-wrote with Dave Black the book, "Alfred's Drum Method, Book 1". Don Warnaar - Died 8-31-2007 - Illness - He was 70 years old - Trumpeter and band leader - Led The Don Warnaar Big Band and The West Shore Symphony Orchestra. David Maxwell - Died 8-31-2007 - Drowned off Carol Beach in Pleasant Prairie - He was 21 years old - Musician and songwriter - Was a member of Avigalante. Mike Haasch - Died 9-1-2007 - Heart attack - Bassist - Worked with Bluehand, The Brandon James Band, Mark Pannier And The B.B's, Deirdre Fellner, Peter Noone and County Trunk A. Safet Isovic - Died 9-2-2007 in Sarajevo ( Sevdalinka Folk ) Born 1936 in Bileca - Singer. Rajae Belmlih - Died 9-2-2007 - Cancer - Singer - (She did, "Ya-Jara Wadina"). Fritz Fryer (David Roderic Carnie Fryer) - Died 9-2-2007 in Lisbon ( Rock ) Born 12-6-1944 in Rochdale, Lancashire - Singer and guitarist - Was a member of The Fables, The Four Pennies (They did, "Tell Me Girl" and "Juliet") and Fritz, Mike And Mo - Produced Prelude, Stackridge and Motorhead. Henry MacKenzie - Died 9-2-2007 in Carshalton, Surrey ( Jazz ) Born 2-15-1923 in Edinburgh - Clarinettist and saxophonist - Worked with George Adam, The Tommy Sampson Band, Paul Fenoulhet, Henry Mancini, Nelson Riddle, Tony Bennett, Nat King Cole, Johnny Mathis, Shirley Bassey, Billy May and Ted Heath's band. Carter Albrecht ( Jeffrey Carter Albrecht) - Died 9-3-2007 near White Rock Lake - Shot by a neighbor who thought he was a burglar ( Rock ) Born 1973 - Guitarist and keyboardist - Worked with Sorta and Edie Brickell & New Bohemians. Janis Martin (aka the Female Elvis) (Janis Darlene Martin) - Died 9-3-2007 in Durham, NC, U.S. - Cancer ( Rockabilly - Country ) Born 3-27-1940 in South Boston, Halifax County, VA, U.S. - Singer and guitarist - (She did, "Will You Willyum" and "Drugstore Rock And Roll") - Led The Marteens and The Variations - Danville Museum Of Fine Arts & History Hall Of Fame Inductee and- Rockabilly Hall Of Fame Inductee. Samuel Hood (Samuel Leighton Hood) - Died 9-3-2007 in Kingston, NY, U.S. - Cancer - Born 1943 in Jackson, MS, U.S. - Was a manager for the band, Fotomaker - He managed The Gaslight which hosted Buffy Saint Marie, Len Chandler, Tom Paxton, Bob Dylan, Phil Ochs, James Taylor, Carolyn Hester, Dave Van Ronk, John Sebastian and Kris Kristofferson - He operated the clubs, The Village Gaslight, The Elephant and Max's Kansas City - Was married at one time to singer, Alix Dobkin. Elizabeth A. Rowan - Died 9-3-2007 - Born 2-2-1927 in Billings - Singer and voice instructor - She was married to clarinetist Jim Binkerd. Frank Edward Hayes Sr. - Died 9-3-2007 in Stewartsville, Missouri, U.S. - Prostate cancer ( Rock - R&B - Gospel ) Born 8-19-1942 in Caruthersville, Missouri, U.S. - Singer - Worked with The Isley Bros, Leon Russell, Albert Collins, Toto, The Younghearts and Sly And The Family Stone. Lady S (Sharon Wangwe) - Died 9-3-2007 in Nairobi - Car accident ( Rap ) Born 11-8-1983 in Dandora - Singer - (She did, "Lovely Ladies" and "Ukimwona"). Gigi Sabani (Luigi Sabani) - Died 9-4-2007 in Rome, Italy - Heart attack - Born 10-5-1952 in Rome, Italy - Singer and TV host - (He did, "A me mi torna in mente una canzone" and "La fine del mondo"). Jesse Smith (aka Buddy) - Died 9-4-2007 in Minneapolis, Minn., U.S. - Cancer ( Soul ) Born 8-?-1942 in Chicago, Ill., U.S. - Singer and trumpet player - Was a member of The Marvelows (They did, "I Do"). Pepe Pena (Alfonso Carlos Pena) - Died 9-5-2007 in Alhambra, CA, U.S. - Born 11-4-1928 in Laredo, TX, U.S. - DJ, singer and actor - (He did, "La Baraja" (The Deck Of Cards)). Luciano Pavarotti - Died 9-6-2007 near Modena, Italy - Pancreatic cancer ( Opera ) Born 10-12-1935 in Modena, Italy - Singer - He was one of The Three Tenors - Worked with The Passengers which included U2 and Brian Eno (They did, "Miss Sarajevo"). John Kuca Jr. - Died 9-6-2007 in Portland, Oregon, U.S. - Suicide by carbon monoxide poisoning which also took the life of his daughter Ruby ( Rock ) He was 39 years old - Musician - Was a member of Vertigo Butterfly - Worked with The Fellini Outtakes, The Grinches, The Long Faces and Mabry Hood. Luray Kuca ( Luray A. Hodder Kuca) - Died 9-6-2007 in Portland, Oregon, U.S. - Suicide by carbon monoxide poisoning which also took the life of her daughter Ruby ( Rock ) She was 39 years old - Singer - Was a member of Vertigo Butterfly - Worked with The Fellini Outtakes and Artificial Art. Greg Marchak (aka Super-G) - Died 9-6-2007 - Aneurysm - Born 1963? - Engineer and producer - Worked with Jon Oliva's Pain, Mr. Bella, Damon Fowler, Four Star Riot, Mighty Joe Plum, Nocturnus, The Lemmings and Flood. Nathaniel Laetsang - Died 9-6-2007 in Kanye ( Gospel ) He was 30 years old - Singer - (He did, "Lasaro tsoga"). Don Vasta (Donald Joseph Vasta) - Died 9-6-2007 - Born 6-10-1946 in Cleveland, Ohio, U.S. - Drummer, guitarist, pianist, singer and songwriter - Worked with The Innocents Band, The Trans-Alaskan Pipeline, The Strategic Air-Command Band, Tommy Sands and The Dick Grove Big Band - Son of singer, Carlos Vasta (aka Tony Vallon) and brother of musician and singer, Carl Vasta. Ernie Nelson (Ernest Clayton Nelson) - Died 9-6-2007 in Montreal, Canada ( Jazz ) Born 6-19-1934 in West Chester, PA, U.S. - Pianist and singer - Was a member of The Smithsonian Institute's Jazz Masterworks Orchestra - Worked with Shotgun Kelly and Odyssey. Anthony Cavagnaro (Anthony E. Cavagnaro) - Died 9-7-2007 in Potter - Single car accident ( Country ) He was 41 years old - Singer and guitarist - Was a member of THE BUDDHAHOOD. John Owori Rakeem - Died 9-8-2007 in Kampala - Pancreatic failure - Music promoter and businessman - Owner of RAKS Entertainment - Promoted Chameleon and Ragga Dee - Brother of fashion designer, Sylvia Owori. Robert Andrew Deacon - Died 9-8-2007 - Canoeing accident - Born 8-6-1965 - Producer - Owned the record lables Sweatbox and Deviant Records - He released music by Blur, The Sugarcubes, Nine Inch Nails, The Fall, Moby, The Breeders, The Charlatans, The Orb, Spooky, The Shamen, The Throwing Muses and Witchman. Hughie Thomasson (Hugh Edward Thomasson Jr.) - Died 9-9-2007 in Brooksville, Florida, U.S. - Heart attack ( Rock ) Born 8-13-1952 - Singer and guitarist - Was a member of The Outlaws (They did, "There Goes Another Love Song" and "Green Grass And High Tides") - Worked with Lynyrd Skynyrd. Herm Janus (Herman Janus) - Died 9-9-2007 - He was 79 years old - Played percussion, keyboards, accordion and trombone - Was a member of The Beachcombers. Teddy Fabian (Theodore Fabian Pyzyk) - Died 9-9-2007 - Congestive heart failure - He was 92 years old - Played saxophone - Led Teddy Fabian And The Five Rhythm Boys and Teddy Fabian And The Monarchs Of Monkeyshines - Worked with Pee Wee King And King's Log Cabin Boys and Walter Liberace. Wiktor Rogowenko - Died 9-9-2007- Car accident ( Rock ) Bassist - Worked with Koleso. Doug Meech - Died 9-?-2007 ( Rock ) He was 57 years old - Drummer - Was a member of The Chesterfield Kings. Thomas Hansen (aka Saint Thomas) - Died 9-10-2007 in Oslo ( Country ) Born 2-13-1976 - Singer and songwriter - (He did, "Songs") - Worked with Lambchop. Willie Tee Turbinton (Wilson John Turbinton) - Died 9-11-2007 in New Orleans, LA, U.S. - Colon cancer ( Funk - Soul ) Born 2-6-1944 in New Orleans, LA, U.S. - Singer, keyboardist, songwriter and producer - (He did, "Teasing You", "Thank You John" and "She Really Did Surprise Me") - Worked with The Wild Magnolias - He recorded for A. F. O., Atlantic, Capitol, Cinderella, Gatur, NOLA and other labels - Brother of saxophonist, Earl Turbinton - Louisiana Music Hall Of Fame Inductee. Joe Zawinul (Josef Erich Zawinul) - Died 9-11-2007 - Skin cancer, merkel cell carcinoma ( Jazz ) Born 7-7-1932 in Landstrabe, Vienna, Austria - Keyboardist - Led The Zawinul Syndicate - Was a member of Weather Report - Worked with Cannonball Adderley, Miles Davis, Maynard Ferguson and Dinah Washington. Bill Plunkett (William J. Plunkett) - Died 9-11-2007 in Spearfish ( Jazz ) Born 4-21-1927 in Deadwood - Played trumpet and stand up bass. Bobby Byrd (Robert Howard Byrd) - Died 9-12-2007 in Loganville, GA, U.S. - Cancer ( Soul - Gospel ) Born 8-15-1934 in Toccoa, GA, U.S. - Singer, songwriter, keyboardist and arranger - (He wrote, "Baby, I Love You") - Was a member of The Avons and The Flames which became James Brown And The Famous Flames (They did, "Get Up (I Feel Like Being A) Sex Machine" and "Licking Stick") - He recorded for Federal, Smash, King, Brownstone and other labels - He was married to singer, Vicki Anderson. Barney Barnes (Clyde T. Barnes) - Died 9-12-2007 in Hope - Born 12-12-1914 in Norris City, Ill., U.S. - Sang and played saxophone and clarinet. Ross Kettle - Died 9-12-2007 - Cancer ( Country ) Musician - Was a member of The Singing Kettles. Lindsay Donadio - Died 9-14-2007 in Westchester, Indiana, U.S. - Car accident - Born 1987 - Singer - Was a member of The Cleftomaniacs. Ernesto Sta. Maria - Died 9-14-2007 in Neptune - Car accident - He was 54 years old - Born in Tondo, Manila - Musician. Andrew Gunning (aka the tomato man) - Died 9-14-2007 in Denver, Colorado, U.S. ( Dance - Symphonic - Marching Band ) - Born 10-20-1921 in Denver, Colorado, U.S. - Singer, trumpet player and photographer. Carl Walpole (Carlos Walpole) - Died 9-14-2007 in Acle - He was 33 years old - Guitarist - Was a member of Primeval, The Glamrockers and The Cloudminders. Aldemaro Romero - Died 9-15-2007 - Complications from an intestinal blockage ( Onda Nueva ) Born 3-12-1928 in born in Valencia, Carabobo - Pianist and composer - Worked with The Caracas Philharmonic Orchestra, The London Philharmonic Orchestra, Stan Kenton, Charlie Byrd, Dean Martin, Machito and Tito Puente. Generoso Jimenez - Died 9-15-2007 in Miami, FL, U.S. - Renal failure ( Jazz ) He was 90 years old - Trombonist - Was a member of Orquesta Aragon - Worked with Gloria Estefan, Beny More, Isaac Delgado and Chico O'Farrill. Wayne Knupp - Died 9-15-2007 - Multiple organ failure ( Metal ) He was 31 years old - Singer - Was a member of Devourment. Jeffrey Collins (Jeffrey Stuart Collins) - Died 9-15-2007 - Heart attack - Tour manager - Worked for Randall Bramblett. Specs Powell (Gordon A. Powell) - Died 9-15-2007 in San Marcos, CA. - Complications from kidney disease - Born 6-5-1922 in New York, NY, U.S. - Pianist and drummer - Worked with Billie Holiday and The CBS network orchestra - Recorded with Benny Goodman, Red Norvo, Joe Bushkin, Mildred Bailey, Clyde Hart, Buck Clayton, Teddy Wilson, Errol Garner, Charlie Parker, Coleman Hawkins, Shirley Scott and others. Brett Somers (Audrey Johnston) - Died 9-15-2007 in Westport, CN, U.S. - Stomach and colon cancer ( Cabaret - Show Tunes - Novelty ) Born 7-11-1924 in New Brunswick, Canada - Comedienne and singer - Best known as a panelist on TV's, The Match Game - Wife of actor, Jack Klugman. Scott Korchak (aka Scotty Riddim) (Thomas Scott Korchak) - Died 9-15-2007 - Liver failure ( Ska - Rock - Reggae ) He was 57 years old - Played trumpet and sang - Was a member of The Blue Riddim Band (They did, "Nancy Reagan" and "Cuss Cuss"). John Deveau (John B. Deveau) - Died 9-15-2007 - Car accident ( Country ) Born 9-2-1928 in Ipswich, MA, U.S. - Musician. Russ Johnson (Russell Johnson) - Died 9-15-2007 in Adelaide, South Australia - Stroke ( Rock ) Singer and guitarist - Was a member of The Deepest Blue (They did, "Pretty Little Thing" and "Somebody's Girl") and Mississippi. Shakey Jake (Jake Woods) - Died 9-16-2007 ( Blues ) He was 82 years old - Street musician, guitarist - Played at the Ann Arbor Blues Festival. Steven Glickstein - Died 9-16-2007 in Sweden ( Folk ) He was 58 years old - Guitarist - Was a member of The Last Rights which became The New Last Rights - Co-founder of The Broward Folk Club. David L. Gibson (David Doke) - Died 9-16-2007 in Monroe - Emphysema ( Rock ) He was 56 years old - Singer and guitarist - He was one of The Doke Brothers. Carmellia Burns Carr - Died 9-16-2007 - Cancer ( Gospel ) She was 67 years old - Singer and concert organizer - She was a member of The Carr Family. Wade Denning (Wade F. Denning Jr.) - Died 9-16-2007 - Cancer - Born 6-21-1922 - Played trumpet and was a composer and arranger - Worked with The Paul Whiteman Orchestra - Arranged for Charlie Barnet, Les Elgart, Ray Heatherton and Victor Lombardo - Work on Ted Mack's Family Hour and wrote for many commercials including, The Maxwell House Percolator commercial. John Lafferty (aka Larry Ross) - Died 9-17-2007 in Barrow - He was 83 years old - Singer. Lloyd Rice (aka Red Rice) - Died 9-17-2007 - Pancreatic cancer ( Jazz ) He was 80 years old -Saxophonist and singer - Worked with Peggy Lee, The Blood Brothers Band and The Border Patrol. Pepsi Tate (Huw Justin Smith) - Died 9-18-2007 in Penarth, Cardiff - Pancreatic cancer ( Glam - Metal ) Born 1965 - Bassist and singer - Was a member of Tigertailz (They did, "Livin Without You" and "Love Bomb Baby") - He was married to singer, Shan Cothi. Thakazhi Kuttan Pillai (aka Thakazhi Asan) - Died 9-18-2007 in Thakazhi - Illness ( Kathakali ) He was 84 years old - Born in Thakazhi - Musician - Worked with his uncle, Anakathu Pachu Pillai. Christopher J. Crobaugh (aka Chick Donner) - Died 9-18-2007 in Elyria - Heart attack ( Country ) He was 61 years old - Borh in West Hartford, CN, U.S. - Played steel guitar - Worked with Jeannie C. Riley and Billy Walker. Datta Davjekar - Died 9-19-2007 in Mumbai - Heart attack ( Playback ) He was 90 years old - Singer - Scored music for films. Mike Osborne (Michael Evans Osborne) - Died 9-19-2007 in Hereford, Herefordshire - Cancer ( Jazz ) Born 9-28-1941 in Hereford, Herefordshire - Played piano, saxophone and clarinet - Worked with The Brotherhood Of Breath, S.O.S., Michael Gibbs, Mike Cooper, Stan Tracey, Kenny Wheeler, Alan Skidmore, Humphrey Lyttelton, John Surman and Mike Westbrook. Ted Comben - Died 9-19-2007 - He was 81 years old - Founding member of The Traditional Jazz Society Of Montreal. Christopher John Banks - Died 9-?-2007 in Swindon, UK - Heart attack - Drummer. Labah Soce (aka El Maestro) - Died 9-20-2007 - After a throat infection ( Salsa ) He was 64 years old - Musician - Worked with The Jazz-Band, The Star Band, Roberto Perez, Celia Cruz, La Cunun and La Orchestra Aragon. Lou Hobbs (Louis B. Hobbs) - Died 9-20-2007 in Jackson, Missouri, U.S. - Parkinson's disease ( Rockabilly ) Born 10-11-1941 - Guitarist - (He did, "Living On The New Madrid Fault Line") - Worked with Narvel Felts - Rockabilly Hall Of Fame Inductee. Jon ten Broek - Died 9-20-2007 - Lung cancer - He was 65 years old - Musician - Worked with Kathy Howell. David T. Dort - Died 9-20-2007 in Flint - Illness ( Big Band - Classical ) He was 91 years old - Played saxophone and flute - Co-founder of The Flint Institute Of Music. Mahlon Clark - Died 9-20-2007 in Van Nuys - Natural causes - Born 3-7-1923 in Portsmouth, VA, U.S. - Clarinetist - Worked with Lawrence Welk, Henry Mancini ("Baby Elephant Walk"), Frank Sinatra, The Dean Hudson Band, The Will Bradley Band, The Ray McKinley Band, Linda Ronstadt and Madonna - Performed on many movie soundtracks including, Dick Tracy and When Harry Met Sally - He had been married to singers, Imogene Lynn and Kathy Lennon. Dean Johnson - Died 9-20-2007 in Washington, D.C., U.S. - He was 46 years old - Singer and songwriter - Was a member of The Velvet Mafia and Dean And The Weenies. Lester J. Guyer III - Died 9-21-2007 in Altoona - Illness ( Rock ) He was 52 years old - Born in Altoona - Drummer - Worked with Spectrum, Afterdark, Sunrise and Ace Of Hearts. Alice Ghostley - Died 9-21-2007 in Studio City, Los Angeles, CA, U.S. - After fighting colon cancer and a series of strokes ( Cabaret ) Born 8-14-1926 in a train station in Eve, MO, U.S. - Actress and singer - (She did, "The Boston Beguine") - She protrayed Esmeralda on TV's, Bewitched and Bernice Clifton on TV's, Designing Women - She was married to actor, Felice Orlandi. Ricky Dene (Richard Alan Sheard) - Died 9-21-2007 in Humberside ( Pop ) He was 39 years old - Born in Mytholmroyd - Singer. Chibalonza (Angela Chibalonza Muliri) - Died 9-22-2007 in Kinale, Kenya - Car accident ( Gospel ) Singer and songwriter - (She did, "Jubilee" and "Ninatamani"). Nimrod Makori - Died 9-22-2007 in Kinale - Car accident ( Gospel ) Singer. Colonel Larry Fuller - Died 9-22-2007 in Richmond, KY, U.S. - Tour bus fire ( Bluegrass - Gospel ) Born 1948 in Phelps, Pike County, KY, U.S. - Singer - Led The Larry Fuller Band - George D. Hay Music Hall Of Fame Inductee. Albert Fuller - Died 9-22-2007 - Born 7-21-1926 in Washington, D.C., U.S. - Harpsichordist - Co-founder of The Aston Magna Foundation for Music and Humanities. Mikey Offender (Mikey Donaldson) - Died 9-22-2007 in Barcelona, Spain ( Punk ) Born 1961 - Bassist - Worked with MDC, The Offenders, The Nitwitz and Sister Double Happiness. Bill Peitsch - Died 9-22-2007 in New York, NY, U.S. - He was 45 years old - Singer, songwriter and drummer - Worked with The Church Keys, Purple Wizard and The Gowanus Canal Boys. Luke Amos - Died 9-22-2007 - Motorcycle and car accident ( Rock ) Born 9-14-1987 - Singer - Was a member of Jagged Lexicon. Bobby Lanz (Robert Joseph Lanz Jr.) - Died 9-22-2007 in Jeffersonville, Ind., U.S. - Possibly by throat cancer - He was 57 years old - Played organ and sang - Led Bobby Lanz And The Celtics (They did, "Don't Give Me Your Love Then Take it Away" and "Accept Me For What I Am"), The Soul Celtics and The Bobby Lanz Band (They did, "Fort Lauderdale") - Worked with Taz DiGregorio. Dave Fuentes - Died 9-?-2007 ( Ska ) Born 1971 - Bassist - Worked with Hepcat and The Aggrolites. Red Watson (Roderick Watson) - Died 9-23-2007 ( Country ) Born 1-29-1906 in Scotland - Played banjo - Worked with The Mickey Finn Band - Nashville Country Music Hall Of Fame Inductee. Gary Primich (Gary Alan Primich) - Died 9-23-2007 in Austin, TX, U.S. - Heroin overdose ( Blues ) Born 4-20-1958 in Chicago, IL, U.S. - Harmonica player, singer, songwriter - As a leader, he recorded for Amazing, Flying Fish, Black Top, Antone's and Electro-Fi Records - Recorded with The Mannish Boys, Jimmy Carl Black, Steve James, Omar & The Howlers, John "Luke" Logan, Marcia Ball, Ruthie Foster, Mike Morgan & The Crawl, Nick Curran, Doyle Bramhall, Jimmie Vaughan and many others - Austin Music Hall Of Fame Inductee. George Spratt (George Anthony Spratt) - Died 9-24-2007 in Waco, TX, U.S. - Illness ( R&B ) Born 9-15-1940 in Waco, TX, U.S. - Guitarist - (He did, "Lend Me Your Ear") - Was a member of The Sheiks, The Soul Sebastians, Galaxy, New Breed, Blues Impact and Sprattattack - Worked with Classie Ballou, Freddy King and Little Milton. Natalya Pivovarova - Died 9-24-2007 near Koktebel, Ukraine - Car accident ( Pop - Grunge ) Born 7-17-1963 in Novgorod - Singer - Was a member of Kolibri and S.O.U.S. Greig Hannan - Died 9-24-2007 - Cancer ( Punk ) He was 40 years old - Guitarist - Was a member of The Setting Sons. Patrick Bourque - Died 9-25-2007 in Montreal, Canada ( Country ) He was 29 years old - Bassist and singer - Worked with Emerson Drive. Steven Mason (aka Steve May) - Died 9-?-2007 - Peritonitis - He was 53 years old - Guitarist - Worked with Barracuda, Parkston Ash and All Fired Up. Mitch Karczewski (Mitchell C. Karczewski) - Died 9-26-2007 in Middleburg Hts., OH, U.S. - Heart attack - He was 58 years old - Music promoter - He had owned the clubs Red Parrot and The Flying Machine - Organized the World Series of Metal festivals - Booked bands and artists such as Level C, Overkill, Manowar, Bruce Dickinson's Skunkworks, Raven Slaughter, Testament, Stuck Mojo, Anthrax and The Misfits. Curtis Bailey (aka The encyclopedia of jazz) - Died 9-26-2007 - Heart attack - He was 64 years old - Wrote about jazz for Contrast and hosted radio's, All That Jazz. Randy Van Horne (Harry Randell VanHorne Jr.) - Died 9-26-2007 in Woodland Hills, CA, U.S. - Cancer - Born 2-10-1924 in El Paso, TX, U.S. - Musician and singer - Led The Randy Van Horne Singers (They did the theme songs for TV's, "The Flintstones", "The Jetsons" and "The Huckleberry Hound Show") - Was a member of The Encores and The Alumni Association - Worked with Juan Garcia Esquivel. Dave Carpender (David Edward Carpender) - Died 9-26-2007 - From complications of ruptures in his aorta ( Rock ) Born 1-23-1950 in Oakland, CA, U.S. - Guitarist - Worked with The Greg Kihn Band and Alias. Dale Houston (Robert Dale Houston) - Died 9-27-2007 in Hattiesburg, MS, U.S. - Heart failure - Singer and songwriter - Born 4-23-1940 in Seminary, MS, U.S. - (He did, "Lonely Man" and "Bird With A Broken Wing") - He was half of the duo, Dale & Grace (They did, "I'm Leaving It Up To You" and "Stop And Think It Over") - Louisiana Hall Of Fame Inductee, Texas Music Hall Of Fame Inductee, Delta Music Hall Of Fame Inductee and Gulf Coast Music Hall Of Fame Inductee. Joe Martek - Died 9-27-2007 - Heart attack - He was 48 years old - Co-founder of Bambi Concert Productions booking acts such as Madness, Pere Ubu, John Cooper Clarke, The Stranglers and Iggy Pop. Henry Danziger (Cantor Heinz H. Danziger) - Died 9-27-2007 - Born 11-16-1923 - Sang in movies, Sunday, Bloody, Sunday and The Merchant Of Venice. Kitikhun "Koong" Chiansong - Died 9-28-2007 in Nakhon Sawan's Banphot Phisai district- Car accident - He was 51 years old - Singer. Rhonda Bryers (Rhonda Syrena Bryers) - Queen of the South Pacific - Died 9-28-2007 in Honolulu, Hawaii, U.S. - Methicillin resistant staphylococcus aureus (Superbug) - She was 55 years old - Born in Taumarunui - Singer - She had been managed by her first husband, wrestler Jock Ruddock (The Black Scot). Jean Murai - Died 9-28-2007 ( Folk ) She was 94 years old - Born in Brownsville, Brooklyn, NY, U.S. - Singer, songwriter, pianist and guitarist - Led Jean Murai And Company. Evelyn Knight (aka Honey Davis) (Evelyn Davis) - Died 9-28-2007 in San Jose - Lung cancer ( Torch - Ballards - Standards ) Born 12-31-1917 in Reedville, VA, U.S. - Singer - (She did, "A Little Bird Told Me" and "Dance With A Dolly (With A Hole In Her Stocking)") - Worked with Red Foley ("My Heart Cries for You"), Ray Sinatra and Bing Crosby - She had been married to songwriter, John Lehmann. Cees Slinger (Cornelis Ernst Slinger)- Died 9-29-2007 in The Hague, Netherlands - Heart problems ( Jazz ) Born 5-19-1929 in Alkmaar, Netherlands - Pianist - Worked with The Buddies In Soul, Dee Dee Bridgewater, Dizzy Gillespie, Freddie Hubbard, Clark Terry, Benny Bailey, Slide Hampton, Al Grey, Bert Boeren, Jimmy Knepper, Sonny Stitt, Ben Webster, Dexter Gordon, Sal Nistico, Zoot Sims, Johnny Griffin, Jimmy Heath, James Moody, Scott Hamilton, George Coleman, Archie Shepp, Teddy Edwards, Arnett Cobb, Betty Carter, Anita O'Day, Dee Daniels, Deborah Brown and Adrienne West. Briam Chimbetu - Died 9-29-2007 in Harare - Worked with The Dendera Kings. Juan Avila - Died 9-30-2007 - Cancer ( Folk - Latin - Jazz - Pop ) - He was 56 years old - Guitarist, singer and songwriter - Led Conjunto Juan Avila. Stuart Sangra-Knight (aka Stuart Knight) - Died 9-?-2007 - After falling down a flight of stairs ( Pop - Rock ) He was 31 years old - Singer and songwriter. Ken Reeves (aka Mr. Shorty) - Died 9-30-2007 in Jacksonville - Cancer - Born 5-28-1939 in Archie, MO, U.S. - Played bass - Led Mr. Shorty's Rogue Valley Express - Founded The Oregon Western Swing Association. Daniel Bailey - Died 10-?-2007 - Asthma attack - He was 15 years old - Drummer, guitarist and singer - Was a member of Zenith. Barbara Richard (Barbara Hazel (Jones) Richard) (aka Debbie Dollar and Barbara Grant) - Died 10-1-2007 - Born 4-17-1933 in Wetumka - Actress, singer and painter - Sang at The Old Stardust Club - Owner of the jazz club, Barb's Upstream. Ronnie Hazlehurst (Ronald Hazlehurst) - Died 10-1-2007 in St Peter Port, Guernsey - Stroke after a heart bypass operation - Born 3-13-1928 in Dukinfield, Cheshire, England - Composer and musician - Wrote music for TV's, Are You Being Served?, Some Mothers Do 'Ave 'Em, and Three Up, Two Down. Tawn Mastrey - Died 10-2-2007 - Born 1954 - DJ and music video producer - Appeared in the film, The Blues Brothers - Produced the videos by The Scorpions ("No One Like You"), Greg Kihn ("Happy Man") and Romeo Void ("Never Say Never") - Wrote the cookbook, Eat This. Leonard Puzey - Died 10-2-2007 ( R&B ) Born 1926 - Singer - Was a member of The Ravens. Peter Bogash - Died 10-2-2007 in Louisiana, U.S. - Complications of diabetes ( Rock ) He was 48 years old - Musician - Led Bogash. Jimmy Hutmaker (aka Mister Jimmy) - The roving ambassador - Died 10-3-2007 in Excelsior, Minnesota, U.S. - Diabetes - Born 1932 - Reputed to be the influence for The Rolling Stones' song, "You Can't Always Get What You Want". Lloyd Trotman (Lloyd Nelson Trotman) - Died 10-3-2007 in Huntington, NY, U.S. - Pneumonia - Born 5-25-1923 in Boston, MA, U.S. - Bassist - Worked with Ben E. King ("Stand By Me"), Duke Ellington, Ray Charles, Billie Holiday, Screamin' Jay Hawkins ("I Put A Spell On You"), Chuck Willis ("What Am I Living For?"), Big Joe Turner ("Shake, Rattle & Roll"), The Drifters and The Coasters. John Kelly - Died 10-3-2007 in Black Point - He was 88 years old - Musician, teacher and environmental activist - Director of The Palama Settlement band. Earl Bennett (Earl Fred Bennett) - Died 10-4-2007 Woodland Hills, Los Angeles, California, U.S. ( Novelty ) Born 11-5-1918 or 1919 in Kansas City, Kan.,U.S. - He was Sir Frederick Gas with Spike Jones And His City Slickers. Enriqueta "Queta" Trevino - Died 10-5-2007 - Illness - She was 74 years old - Singer - Was half of the duo, Queta y Cookie Las Rancheritas - Hosted TV's, El Bego Show. Kerwin James - Died 10-5-2007 in Houston, TX, U.S. while in a coma ( Jazz ) He was 35 years old - Played tuba - Was a member of The New Birth Brass Band. Donald W. Cohen - Died 10-5-2007 - Cancer - Born 10-5-1952 - Founded The Musicians Exchange and The South Florida Blues Festival which was later renamed The Riverwalk Blues And Music Festival. Ralph Kessler - Died 10-5-2007 - Born 8-1-1919 in the Bronx, New York, U.S. - Composer and trumpeter - Was a music arranger for TV's, "Arthur Godfrey & Friends" - Wrote music for TV's, "Murder She Wrote", "Quincy", "Hawaii Five-O", "Streets Of San Francisco" and "Barnaby Jones". George Malone (George Walter Malone) - Died 10-5-2007 in Avondale, AZ, U.S. - Complications from a stroke ( Doo-Wop ) Born 1-5-1940 in Newark, NJ, U.S. - Singer and songwriter - Sang second tenor and was an original founding member of The Monotones (They did, "Book Of Love", "Soft Shadows" and "The Legend Of Sleepy Hollow") - They recorded for Mascot, Argo and Hull Records. Corb Donohue (Joseph Corbett Donohue Jr.) - Died 10-5-2007 in San Clemente, CA, U.S. - Cancer - He was 66 years old - Born in New York, U.S. - Was a music editor for Daily Variety and worked as a record executive for Elektra Records, ABC/Dunhill Records, A&M Records and Motown Records - Helped the careers of Phil Ochs, Jim Croce and Jimmy Buffett. Dainton Connell (aka The Bear) - Died 10-5-2007 in Moscow, Russia - Car accident - Was part of the management team for The Pet Shop Boys. Laza Ristovski - Died 10-6-2007 in Belgrade, Serbia ( Rock ) Born 1-23-1956 in Novi Pazar, Serbia, FPR Yugoslavia - Keyboardist - Worked with Smak (They did, "Ulazak u Harem" (Entrance To The Harem) and "Pearls"), Bezimenici and Bijelo dugme. Luca Giacometti (aka Gabibbo)- Died 10-6-2007 near Rubiera, Reggio Emilia, Italy - Car accident ( Folk - Rock ) Born 8-9-1963 in Genoa, Italy - Played bouzouki, mandolin, banjo and guitar - Worked with Fisherman's Friends, The Mocogno Rovers and The Modena City Ramblers. Dewaine Bell - Died 10-6-2007 - Gastrointestinal complications from diabetes ( Blues ) He was 58 years old - Played saxophone - Was a member of 4U2C - Co-founder of The Barnesville BBQ & Blues Festival - He was a Mayor for Barnesville. Martin Kerrane - Died 10-6-2007 near Omsk, Russia - Electrocuted at a train station when he touched a live electric cable - He was 26 years old - Played the bodhran - He was working with Rhythm Of The Dance at the time of his passing. Eric McCredie - Died 10-6-2007 - Born 7-17-1945 in Glasgow - Singer and bassist - Worked with The Electrons, Part Four, Los Caracas and Middle Of The Road (They did, "Chirpy Chirpy Cheep Cheep" and "Tweedle Dee, Tweedle Dum"). Benny Schulte - Died 10-9-2007 - Cirrhosis of the liver ( Big Band ) He was 77 years old - Pianist, band leader and arranger - Worked with Lee Maxwell. Tolja Kohout (Anatoli M. Kohout) - Died 10-9-2007 in Prague, Czech Republic - Possibly cancer ( Rock ) Born 9-9-1946 in Prague, Czechoslovakia - Drummer - Worked with Katapult (They did, "Pulnocni zavodni draha" and "Lesni manekyn"), Vladimir Misik, Ota Petrina, Lubos Andrst Blues Band, Samuels, Exit, The Primitives Group, Energit and C & K Vocal. Enrico Banducci (Harry Charles Banducci) - Died 10-9-2007 in San Francisco, CA, U.S. - Born 2-17-1922 in Bakersfield, CA, U.S. - Owner of the nightclub, The Hungry I which hosted music acts such as The Limeliters, The Kingston Trio, Glenn Yarbrough and Vince Guaraldi and also comedians Bob Newhart, Bill Cosby, Woody Allen and Jonathan Winters. Lady Jaye Breyer P-Orridge - Died 10-9-2007 in Brooklyn, NY, U.S. - Heart condition - Born 1969 - Was a member of Psychic TV/PTV3. Carol Bruce (Shirley Levy) - Died 10-9-2007 in Woodland Hills - Chronic obstructive pulmonary disease - Born 11-15-1919 in Great Neck, NY, U.S. - Singer and actress - She was Mama Carlson on TV's, WKRP In Cincinnati - Appeared in the musicials, Louisiana Purchase, Along Fifth Avenue and Do I Hear A Waltz?. Dickie Threatt (Thomas W. Threatt) - Died 10-9-2007 in Norfolk, VA, U.S. ( R&B ) Singer - Born 2-7-1938 - Was a member of The HiLights and in 1958, replaced Rudy West in The Five Keys and sang tenor lead on their King Recordings. Gabe Essien - Died 10-10-2007 - Thrombosis induced heart attack ( Jazz ) Born 1-4-1935 in Liverpool, England - Clarinetist - Was a member of The Savannah Jazz Band. Myles Rudge (Myles Peter Carpenter Rudge) - Died 10-10-2007 - Born 7-8-1926 in Bristol - (Wrote the lyrics for, "Hole In The Ground" and "A Windmill In Old Amsterdam") - Worked with Ted Dicks - Co-wrote songs for Bernard Cribbins, Joan Sims, Jim Dale, Matt Munro and Petula Clark. Art Todd (Arthur William Todd) - Died 10-11-2007 in Honolulu, Hawaii, U.S. - Congestive heart failure - Born 3-11-1914 in Baltimore, Maryland, U.S. - Sang and played banjo and guitar - He was half of the duo, Art & Dotty Todd with his wife (They did,"Chanson d'Amour (Song of Love)" and "Broken Wings"). Werner von Trapp - Died 10-11-2007 in Waitsfield, Vermont, U.S. - Born 12-21-1915 in Zell am See, Austria-Hungary - Singer and musician - Was one of The Trapp Family Singers inspired the movie, The Sound Of Music. Don Beamsley - Died 10-11-2007 ( Big Band ) Born 10-26-1927 in Long Beach - Played pianio, organ and chello - Worked with The Warner Bros. Studio orchestra and was an organist at Dodger Stadium. Mike Stewart (Michael Addison Stewart) (aka Backwards Sam Firk) - Died 10-12-2007 in Mill Spring, NC, U.S. - Heart attack ( Blues ) Born 9-18-1943 in Asheville, NC, U.S. - Guitarist and record dealer - Worked with Stephan Michelson, Big Joe Williams, Richard "Hacksaw" Harney, David "Honeyboy" Edwards, Johnny Shines, Yank Rachell, Sunnyland Slim, Henry Townsend and Henry Brown. Ola Williams - Died 10-12-2007 in Accra ( Gospel ) Musician. Ben Frazier (Gable Frazier) - Died 10-12-2007 ( R&B ) Singer - Was a member of The Paragons (They did, "Florence" and "Stick With Me Baby"). Jim Howe (James Sidney Howe) - Died 10-13-2007 in Exeter, NH, U.S. - Aneurysm ( Jazz ) He was 61 years old - Bassist - Led The Jim Howe Trio - Worked with The Tommy Gallant Trio, Charlie Jennison and Paul Verrette. C. Winston Ford Jr. - Died 10-13-2007 - Single car accident ( R&B ) Born 12-12-1951 in Denver, Colorado, U.S. - Singer and drummer - Was a member of The Ford-o-Matics and Phat Daddy - Worked with Earth, Wind & Fire, The Drifters and The Platters. Tom Dawes (Thomas W. Dawes) - Died 10-13-2007 in New York, NY, U.S. - Stroke after carotid artery surgery - Born 7-25-1943 in Albany, NY, U.S. ( Rock - Pop ) Bassist, singer and songwriter - Was a member of The Rhondells which became The Cyrkle (They did, "Red Rubber Ball" and "Turn-Down Day") - He also wrote advertising jingles. Isaac Crooms (Isaac C. Crooms) - Died 10-13-2007 in Hawleyville - Natural causes - He was 55 years old - Singer - Worked with The Great Train Robbery, Full Blast and TL & The All-Stars. Big Moe (Kenneth Moore) (aka Barre Baby, MoYo and Motorola) - Died 10-14-2007 - Heart attack ( Rap ) Born 6-27-1974 in Houston, Texas, U.S. - (He did, "Just A Dog" and "Purple Stuff") - Worked with Southside Playaz, Big Pokey, Mike Jones, Z-Ro, Lil' O and Walter Cooper. Chen Dieyi - Died 10-14-2007 in Hong Kong - Born 10-18-1907 - Songwriter - Wrote songs for Zhou Xuan, Teresa Teng and Tsai Chin - Father of conductor, Chen Xieyang. Kay Marcy (Marci Fitch) (Marci Kostman) - Died 10-14-2007 ( Ballads - Torch ) Born 10-13-1918 in Chicago, Ill., U.S. - Singer. Nicky James (Michael Clifford Nicholls) - Died 10-15-2007 - Brain tumour ( Rock ) Born 4-19-1943 in Tipton, Staffordshire - Singer - Led The Nicky James Movement which later became The Move - Worked with Denny And The Diplomats, Ronny And The Senators, Roy Wood, Bev Bevan, Carl Wayne, Mike Pinder, Graham Nash, Scott Walker, Tom Jones and The Moody Blues Five. Meera Dev Burman - Died 10-15-2007 - Illness - Born 3-?-1923 in Comilla in East Pakistan (now Bangladesh) - Singer - Mother in-law of singer, Asha Bhosle and wife of music director, Sachin Dev Burman. Tootsie VanKelly (Ruth Russell) (aka Red Hot Mama) - Died 10-15-2007 in Grand Rapids - Kidney failure ( Standards - Dixieland ) - She was 78 years old - Singer - Worked with Bob Thompson. Steve J. Spears - Died 10-15-2007 in Adelaide - Cancer - He was 56 years old - Author, playwright, actor and singer. Howard Hedges - Died 10-15-2007 in Homer - Injuries from a fall after his wheelchair tipped over - Born 6-7-1955 at Norfolk Naval Base, VA, U.S. - Played trombone - Worked with Ray Charles, Buddy Rich, Lionel Hampton, The Kenai Peninsula Orchestra, The Temptations, The Four Tops, Elders On Fire, Aretha Franklin and Stan Kenton. Tose Proeski (Todor Proeski) - Died 10-16-2007 in Nova Gradiska, Serbia - Car accident ( Pop ) Born 1-25-1981 in Krusevo, SR Macedonia, SFR Yugoslavia - Singer and songwriter - (He did, "Cija si" (Whose Are You) and "Ako me poglednes vo oci" (If You Look Me In The Eyes)). Watts Pemberton - Died 10-16-2007 - Heart attack - Born on the island of Nevis - Musician, singer, poet, painter and writer - Worked with his wife, Eileen Bourke. Justin R. Warfield - Died 10-16-2007 in Princeton - He was 18 years old - Sang and played cello, piano, guitar and drums - Was a member of The Getaways. Johnny Hayes (John E. Hayes) - Died 10-16-2007 - Born 9-11-1932 in Kittery, Maine, U.S. - Musician - Was a member of The Memorial Bridge Allstars and The Good Mem'ries Big Band. Mazell Bell Robertson - Died 10-16-2007 ( Gospel ) Born 3-9-1918 in Charlotte, TN, U.S. - Singer and songwriter - Worked with The Ruth Beck Singers, James Cleveland and Charles Fold. Tawn Mastrey (aka the leather nun) - Died 10-16-2007 in Minneapolis, MN, U.S. - From the effects of hepatitis C - She was 53 years old - DJ - Hosted Radio's, Hair Nation and Absolutely High Voltage. Herb Hendler (Herbert Hendler) - Died 10-16-2007 in New York, NY, U.S. - Born 6-17-1918 in Philadelphia, PA, U.S. - Musician - (Co-wrote, "Hot Toddy") - Was an A&R man for RCA Victor - Managed Buddy Morrow and Ralph Flanagan - Colaborated with Jerry Gray and Henri Rene. Teresa Brewer (Theresa Breuer) - Died 10-17-2007 in New Rochelle, New York, NY, U.S. - Supranuclear palsy ( Pop - Jazz ) Born 5-7-1931 in Toledo, Ohio, U.S. - Singer and actress - (She did, "Gonna Get Along Without Ya Now", "Choo'n Gum" and "Till I Waltz Again With You") - Worked with Tony Bennett, Duke Ellington, Don Cornell, Dizzy Gillespie and Wynton Marsalis. Joey Bishop (Joseph Abraham Gottlieb) - Died 10-17-2007 in Newport Beach, CA, U.S. - Multiple causes - Born 2-3-1918 in the Bronx, New York, U.S. - Actor and comedian - (He released a county album singing song such as, "Born To Lose" and "Listen, They're Playing My Song"). Clarence Tate (aka Tater)- Died 10-17-2007 in Jonesborough, TN, U.S. - Lung cancer ( Bluegrass ) Sang and played fiddle, mandolin and banjo - Worked with Bill Monroe, Lester Flatt, Patty Loveless ("The Boys Are Back In Town"), Wilma Lee Cooper, Carl Story, Jimmy Martin and Mac Wiseman. Sluggo Turcotte (Doug Turcotte) - Died 10-17-2007 ( Rock - Pop ) Born 10-15-1954 - Guitarist - Was a member of Cat's Eye - Worked with The Four Brothers and The Bob Thompson Band (They did, "I Can't Fall in Love" and "All This Pain") - He had been married to singer, Denise Ritter. Tootsie Baker (Darneatha Baker) (aka Mama Toot) - Died 10-17-2007 - Diabetes ( Gospel ) Born 5-9-1937 - Singer - Led Tootsie And The Spiritual Highlights. Herb Fernando (Herbert Fernando) - Died 10-?-2007 in London, England ( Pop ) Drummer - Was a member of Family Affair (They did, "Hanging Around" and "Hail Sri Lanka, Champions Of 1996"). Lucky Dube (Philip Dube) - Died 10-18-2007 in Rosettenville, Johannesburg, South Africa - Shot by carjackers ( Reggae ) Born 8-3-1964 in Ermelo, in the Eastern Transvaal (now Mpumalanga) - (He did, "Together As One" and "Taxman") - Was a member of The Skyway Band and The Love Brothers. Haydo Sweeney (Hayden Sweeney) - Died 10-18-2007 near Cleveland, Ohio, U.S. - Single car accident which also took the life of his wife, photographer Bridget O'Brien ( Rock ) He was 24 years old - Guitarist - Was a member of Electric Jellyfish. La La Brown (Yolanda Brown) - Found dead 10-19-2007 in The Loud Enuff Productionz studio in Milwaukee, WI, U.S. - Shot ( R&B ) Born 1986 - Singer - Worked with Lyfe Jennings. JeTannue Clayborne (aka Kool-aid) - Found dead 10-19-2007 in The Loud Enuff Productionz studio in Milwaukee, WI, U.S. - Shot - He was 22 years old - Producer for Yolanda "La La" Brown - He started Loud Enuff Productionz producing gospel, R&B and rap. Marjorie Peake Boone - Died 10-19-2007 - Injuries from a car crash - She was 73 years old - Singer - Was a member of The Boone Family Singers. Sal Carson - (Sal Carcione) - Died 10-19-2007 in San Francisco, CA, U.S. - He was 86 years old - Trumpeter and bandleader - Worked with Duke Ellington and Helen O'Connell. Ruby Glover - Died 10-20-2007 - Stroke, a day after collapsing onstage ( Jazz ) She was 77 years old - Singer - Worked with The Tom Reyes Trio. Tshidi Wildeman - Died 10-20-2007 in Maraisburg, Johannesburg, South Africa - Natural causes ( Bubblegum ) She was 39 years old - Singer - Was a member of Chimora (They did, "Nangu U Mandela" and "Intandane"). Paul Raven (Paul Vincent Raven) - Died 10-20-2007 in Geneva, Switzerland - Possible heart attack ( Rock ) Born 1-16-1961 in Wolverhampton, UK - Bassist - Worked with Neon Hearts, Kitsch, Killing Joke, Pigface, Zilch, Ministry, Godflesh, Mob Research and Prong - Son of folk singer, Jon Raven. Cesar Faria - Died 10-20-2007 ( Conjunto ) Violinist - Was a member of Epoca de Ouro (They did, "Carolina" and "Noites Cariocas"). Lance Hahn - Died 10-21-2007 in Austin, Texas, U.S. - Illness brought on by complications from kidney disease ( Punk ) Born 1967 in Hawaii, U.S. - Was a member of J Church - Worked with Cringer and Beck - Owned The Honey Bear record label - Wrote for the magazine, Maximum Rock n Roll. Alden Toney (Alden Kieffer Toney) (aka A.K.) - Died 10-21-2007 in Clearwater, Florida, U.S. - Illness ( Gospel ) Born 12-11-1921 in Wayne County, West Virginia, U.S. - Singer - Was a member of The Toney Brothers Quartet - Worked with The Blackwood Brothers. Paul Fox - Died 10-21-2007 in London, England - Lung cancer ( Punk - Reggae ) Born 4-11-1951 in London, England - Guitarist - Was a member of The Ruts (They did, "Babylon's Burning", and "In A Rut"), The Ruts DC, Dirty Strangers, Choir Militia, Screaming Lobsters, Fluffy Kittens and Foxy's Ruts. Don Ayler (Donald Ayler) - Died 10-21-2007 in Northfield, Ohio, U.S. - Heart attack ( Jazz ) Born 10-5-1942 in Cleveland, OH, U.S. - Trumpeter and saxophonist - (He wrote, "Our Prayer") - Worked with his brother Albert Ayler and with Charles Tyler. Matt Wasser - Died 10-21-2007 - Car accident ( Rock ) He was 22 years old - Guitarist and singer - Was a member of Incaged. Cary Ligons (Cary Dehaven Ligons) (aka Josh) - Died 10-22-2007 ( Gospel ) He was 62 years old - Born in Philadelphia, PA, U.S. - Singer - Worked with The Gospel Pearls. Ian Fisher (Scott Harrison Fisher) - Died 10-22-2007 in Koh Samui, Thailand - Heart attack ( Rock ) Born 9-26-1956 - Singer - Was a member of The Cowboys (They did, "Rude Boy" and "Girls Like That"). Wayne Brown (Ronald Wayne Brown) - Died 10-23-2007 - Car accident ( Country ) He was 57 years old - Sang and played mandolin and guitar - Was a member of The Ballistic Pintos (They did, "Wreck On The Highway" at the end of their shows). Ian Edwards - Died 10-23-2007 - Heart attack ( Pop ) Born 10-13-1943 in Crosby, Liverpool, England - Singer - Led Ian And The Zodiacs. Rodolfo Aicardi - Died 10-24-2007 in Medellin - Renal failure ( Ballads - Boleros ) He was 61 years old - Singer - (He did, "Tabaco y ron" and "La Colegiala"). Katja Ogonjok - Died 10-24-2007 - Illness ( Pop ) Born 5-17-1977 - Singer - Worked with Michail Krug. Masakazu Yoshizawa - Died 10-24-2007 - Born 9-10-1950 in Takayama, Japan - Played shakuhachi, clarinet, saxophone, accordion and piano - Was a member of Kokin-Gumi - He can be heard in the films, Jurassic Park and The Joy Luck Club and in the TV miniseries, Shogun. Christian Barnard - Died 10-?-2007 - Heart attack - He was 41 years old - Guitarist - Was a member of Salacious Jezebel. Gary Currie (Gary William Currie) (aka Squeeze King) - Found dead 10-25-2007 - He was 49 years old - Played accordion - Worked with Charlie Roth and Ring Of Kerry. Carolyn Hatcher - Died 10-25-2007 in Irving - Complications of bone marrow cancer - She was 55 years old - Born in Dallas - Singer, pianist and actress - Appeared at The Jubilee Theatre in musicals such as Diaries Of A Barefoot Diva: And Other Tales And Stories From The Ghetto and Dirty Woman Blues. Virgil Dobbins (Virgil M. Dobbins) - Died 10-25-2007 - Illness - He was 71 years old - Born in Newton, West Virginia, U.S. - Played the dobro and other string instruments - Worked with The Sons Of Gospel, John Burke and The Lamen Trio. Clive Heuser (Clive W. Heuser) - Died 10-26-2007 in Edgewood - He was 63 years old - Singer and bassist - He had opened for Jerry Lee Lewis. Jimmy Makulis (aka Sinatra of the Orient) - Died 10-?-2007 in Athens, Greece - After heart surgery - Born 4-12-1935 - Singer - (He did, "Happy Heart" and "Sehnsucht (Yearning)") - Worked with Duke Ellington. Ricky Parent - Died 10-27-2007 - Cancer ( Rock ) Born in Passaic, NJ, U.S. - Drummer - Was a member of Enuff Z'nuff - Worked with War & Peace, Vince Neil, Alice Cooper, Sass Jordan and Tod Howarth. Jack Brownlow (aka Bruno) - Died 10-27-2007 - Kidney failure - He was 84 years old - Born in Spokane, Washington, U.S. - Pianist - Worked with Lester Young and Boyd Raeburn. Porter Wagoner (Porter Wayne Wagoner) - Died 10-28-2007 in Nashville, TN, U.S. - Lung cancer ( Country - Gospel ) Born 8-12-1927 in West Plains, Missouri, U.S. - Singer, guitarist and songwriter - (He wrote or co-wrote, "Green Green Grass Of Home", "Carroll County Accident" and "Skid Row Joe") - Worked with Dolly Parton - He hosted TV's, The Porter Wagoner Show - Country Music Hall Of Fame Inductee. Cesar Mijares - Died 10-28-2007 in Tucupita, Delta Amacuro state, Venezuela - Tour bus accident ( Salsa ) He was 34 years old -Trombonist - Was a member of Desorden Publico. Prisco Oropeza - Died 10-28-2007 in Tucupita, Delta Amacuro state, Venezuela - Tour bus accident ( Salsa ) Trumpeter - Was a member of Magia Caribena. Armando Guacaran - Died 10-28-2007 in Tucupita, Delta Amacuro state, Venezuela - Tour bus accident ( Salsa ) Trombonist - Was a member of Magia Caribena. Marc Camporeale - Died 10-28-2007 - After his canoe capsized ( Rock ) Born 1961 - Was a member of Jahoodoo. Phil Gosling - Died 10-28-2007 in Romford, UK - Car accident ( Rock ) He was 20 years old - Singer - Was a member of A13. Robert Platt (aka Bob Platt) - Died 10-29-2007 - Illness ( Scottish Folk ) He was 52 years old - Played guitar, mandolin, harmonica and boharan and was a singer - Was a member of The Wherries - Was a founder member of The Inverclyde Folk Club. Charlie Deal - (Charles E. Deal) - Died 10-29-2007 - Born 1935 - Led Charlie's Gang - Inventor of the toilet seat guitar which has been used by Marty Balin, Craig Chaquico and Jorma Kaukonen and can be seen on the cover of Huey Lewis And The News album, "Sports". Andy Moore - Doed 10-29-2007 - Brain tumour - He was 41 years old - Stage lighting director for Westlife, Jamie Cullum, Dodgy and The Lightning Seeds - Played keyboards for The Chameleons. Don Long (Donald Long) - Died 10-29-2007 in Cheadle, Cheshire - Cancer of the sinus ( Jazz ) Born 1938 - Trombonist and singer - Was a member of The 59th Street Bridge Band and The Capitol Showband - Worked with The Piccadilly Six, Alan Yates's Dixieland Hotshots, Keith Allcock's Jazz Rendezvous, The Jazz Gentlemen, Mart Rodger's Manchester Jazz and The Clusky-Hopkins Original Guinness Jazz Band. Larry Lee (Lawrence Harold Lee Jr.) - Died 10-30-2007 - Stomach cancer ( Rock - R&B ) Born 3-7-1943 in Memphis, TN, U.S. - Guitarist and songwriter - Worked with The King Kasuals and Gypsy Sun And Rainbows (both of which included Jimi Hendrix) and with Al Green, Albert King and Timothy Lee Matthews. Peter McIntosh - Died 10-?-2007 ( Country ) He was 67 years old - Musician and singer - Was a member of The JJ Country Band. Joe Callery - Died 10-?-2007 in Paisley a day after his band mate, Peter McIntosh ( Country ) He was 63 years old - Musician and singer - Was a member of The JJ Country Band. Robert Goulet (Robert Gerard Goulet) - Died 10-30-2007 in Los Angeles, CA, U.S. - While waiting for a lung transplant - Born 11-26-1933 in Lawrence, MA, U.S. - Singer and actor - (He did, "My Love, Forgive Me (Amore, Scusami)" and "What Kind Of Fool Am I?") - Appeared in the musicial, Camelot. Marchel Ivery (Marchel Lee Ivery) - Died 10-30-2007 in Dallas, TX, U.S. - Illness ( Jazz ) Born 9-13-1938 in Ennis, TX, U.S. - Saxophonist and band leader - Worked with Zuzu Bollin, Shelley Carrol, Andrew Griffith and Lightning Hopkins - Founder of the Leaning House label. Jason Bennett (aka J Denzel) - Died 10-30-2007 in Ledham, Orton Brimbles, Peterborough ( R&B ) He was 26 years old - Owned JMA Soul Records - He released the album, "It Is What It Is". Linda Stein (Linda S. Stein) (Linda Adler) - Found dead 10-30-2007 in her apartment in Manhattan, NY, U.S. - She had been beaten - She was 62 years old - Born in Manhattan, NY, U.S. - Managed The Ramones, The Deal and Steve Forbert - She also was a realtor to the stars with clients such as Sting, Madonna, Steven Spielberg and Billy Joel - She had been married to president of Sire Records, Seymour Stein. Joe Romero (aka David Joseph Romero) - Died 10-30-2007 in Manchester, NH, U.S. - Cancer ( Rock ) Musician and songwriter. Zolile Ndyawe - Died 10-31-2007 in KwaZakhele, Port Elizabeth - Shot during a robbery ( Gospel ) Musician - Worked with Vuyo Mokoena. Hubie Crawford - Found dead 10-31-2007 in Detroit, MI, U.S. - Possible reaction to medication ( Jazz ) He was 61 years old - Bassist - Was a member of The SBH Trio (Spider, Bill and Hubie). Karen Kuykendall (Karen Koock) - Died 10-31-2007 - Complications from cancer of the lungs and spine ( Cabaret ) Born 11-19-1937 - Singer and actress - Worked with Sterling Price-McKinney ("Lonely Lounge" and "The Fat Lady Is Sick Today") - Sister of actor, Guich Koock - Austin Arts Hall Of Fame Inductee. Chas Smith - Died 10-?-2007 ( Punk ) Worked with The Clocks, Venus Envy, The Pagans and Einstein's Secret Orchestra. Witold "Vitek" Kieltyka - Died 11-2-2007 in Novozybkov, Russia - Injuries from a tour bus accident ( Metal ) Born 1-24-1984 in Krosno, Poland - Drummer - Was a member of Decapitated. - Worked with Dies Irae and Panzer X - Brother of musician, Waclaw "Vogg" Kieltyka. Miroslaw Bregula - Died 11-2-2007 - Suicide ( Rock ) Was 43 years old - Singer - Was a member of Universe. Dan Billings - Found dead 11-2-2007 in Lenexa - Fell, hit his head and landed in a creek ( Rock ) He was 51 years old - Drummer - Worked with Missouri (They did, "Movin' On") - Was a sound engineer for United and Woodland recording studios. Thomas Cadden (Thomas S. Cadden) - Died 11-2-2007 - Complications from pneumonia - He was 83 years old - Pianist and song and jingle writer - He wrote over 300 songs including, the Mr. Clean jingle. Jim Hawthorne - Died 11-?-2007 ( Novelty ) He was 89 years old - DJ - (He did, "Turn Your Head Sweetheart (I Can Still See Your Face)" with Ike Carpenter And His Orchestra and "Nyok Nyok Nyok" with Ike Carpenter And The Royal Hoganites.) Arthur McGonigle (aka Arty G) - Died 11-3-2007 ( Rock ) He was 59 years old - Guitarist and singer - Was a member of The Warmth. Joe Verscharen (Joseph William Verscharen) - Died 11-3-2007 in Atlanta, GA, U.S. - Cancer ( R&B ) - Born 8-30-1940 in Pittsburgh, PA, U.S. - Singer - Was a member of The Crescents and The Skyliners (They did, "Since I Don't Have You" and "This I Swear") - Vocal Group Hall Of Fame Inductee. J. Robert Bennett - Died 11-3-2007 - Cancer - He was 79 years old - Singer and educator - Worked with Elaine Brown's Singing City choir - As an educator he was a music director for marching bands, jazz bands, musical theater productions and chamber music ensembles. Hans Sanders - Died 11-3-2007 ( Folk Rock ) Born 6-18-1946 - Singer and guitarist - Was a member of The Bots (They did, "Zeven dagen lang"). DJ Bangi (Wilfred Bangirana) - Died 11-4-2007 in Naalya, Kampala - Stroke - Born 1-17-1963 - DJ - Worked for Radio One, Capital Radio and Radio Sanyu. Scott Bernstein (aka Blue) - Died 11-4-2007 in Birmingham, AL, U.S. - Shot - He was 51 years old - Musician - Worked with The Berkeley Studio Band - Created the Coricidin Guitar Slide. Anna Hope (Anna Jones) - Died 11-4-2007 - Lung cancer ( Folk ) Born 1949 - Played piano, banjo, dulcimer, auto harp, guitar and harp - Was a member of The Old World Folk Band. Bob Muldowney - Died 11-5-2007 - Cardiomyopathy - He was 44 years old - Metal Journalist - Helped expose and/or support many metal bands including, Motorhead, Medieval, The Rods, Tank, Riot, Slayer, Venom, Megadeth, Raven, Overkill, Exciter, Anthrax and Metallica. Prosper Chirenda - Died 11-5-2007 - Heart problem - Guitarist - Born 1948 in Chirumanzu - Was a member of The Key Knot Revellers and The River Boys who became Submarine. Richard Burns (aka Dick Burns) (Richard Warren Burns) - Died 11-5-2007 in Camarillo - Heart attack ( Rock ) Born 1943 in Woodbine, Iowa, U.S. - Guitarist - Was a member of The Hysterics who changed their name to The Valiants then to The Thundermen then to The Casuals and finally to The Dartells (They did, "Dartell Stomp" and "Hot Pastram
1053	dbpedia	1	80	https://issuu.com/cordmagazines/docs/cord_78_january_small	en	CorD magazine 78	https://image.isu.pub/14…age_1_social.jpg	https://image.isu.pub/14…age_1_social.jpg	[ "https://static.isu.pub/fe/product-header-frontend/781e53c/31d186ba39f38e8c4fac.png", "https://static.issuu.com/fe/silkscreen/0.0.3042/icons/gradient/icon-canva-gradient.svg", "https://static.isu.pub/fe/product-header-frontend/781e53c/1e794a8c4ec65e549678.png", "https://photo.isu.pub/cordmagazines/photo_large.jpg", "https://image.isu.pub/240731212826-03289e78cc457959d7d5e83d34468469/jpg/page_1_thumb_large.jpg", "https://image.isu.pub/240731212816-61af7dd573a5fb6650cbf94b75cdb375/jpg/page_1_thumb_large.jpg", "https://image.isu.pub/240701041829-dacf937f5ed14e3a023af9fee6c62dbe/jpg/page_1_thumb_large.jpg", "https://image.isu.pub/240630215130-4ea081d208eb956bfe04d7cd23dca867/jpg/page_1_thumb_large.jpg", "https://image.isu.pub/240630215239-907e4ef7593c0c38b2e77160f687df2b/jpg/page_1_thumb_large.jpg", "https://image.isu.pub/240703085733-58b3ec90b4876f8fdfeae83abf902e87/jpg/page_1_thumb_large.jpg", "https://static.issuu.com/fe/silkscreen/0.0.2541/icons/gradient/icon-instagram-gradient.svg" ]	[]	[]	[ "" ]	null	[]	2014-09-08T09:11:39+00:00	Read CorD magazine 78 by CorD Magazine on Issuu and browse thousands of other publications on our platform. Start here!	en	/favicon.ico	Issuu	https://issuu.com/cordmagazines/docs/cord_78_january_small	Welcome to Issuu’s blog: home to product news, tips, resources, interviews (and more) related to content marketing and publishing. Here you'll find an answer to your question.
1053	dbpedia	0	23	https://issuu.com/cordmagazines/docs/cord_64_small	en	CorD magazine 64	https://image.isu.pub/14…4/jpg/page_1.jpg	https://image.isu.pub/14…4/jpg/page_1.jpg	[ "https://static.isu.pub/fe/product-header-frontend/781e53c/31d186ba39f38e8c4fac.png", "https://static.issuu.com/fe/silkscreen/0.0.3042/icons/gradient/icon-canva-gradient.svg", "https://static.isu.pub/fe/product-header-frontend/781e53c/1e794a8c4ec65e549678.png", "https://photo.isu.pub/cordmagazines/photo_large.jpg", "https://image.isu.pub/240731212826-03289e78cc457959d7d5e83d34468469/jpg/page_1_thumb_large.jpg", "https://image.isu.pub/240731212816-61af7dd573a5fb6650cbf94b75cdb375/jpg/page_1_thumb_large.jpg", "https://image.isu.pub/240701041829-dacf937f5ed14e3a023af9fee6c62dbe/jpg/page_1_thumb_large.jpg", "https://image.isu.pub/240630215130-4ea081d208eb956bfe04d7cd23dca867/jpg/page_1_thumb_large.jpg", "https://image.isu.pub/240630215239-907e4ef7593c0c38b2e77160f687df2b/jpg/page_1_thumb_large.jpg", "https://image.isu.pub/240703085733-58b3ec90b4876f8fdfeae83abf902e87/jpg/page_1_thumb_large.jpg", "https://static.issuu.com/fe/silkscreen/0.0.2541/icons/gradient/icon-instagram-gradient.svg" ]	[]	[]	[ "" ]	null	[]	2014-09-08T07:59:12+00:00	Read CorD magazine 64 by CorD Magazine on Issuu and browse thousands of other publications on our platform. Start here!	en	/favicon.ico	Issuu	https://issuu.com/cordmagazines/docs/cord_64_small	Welcome to Issuu’s blog: home to product news, tips, resources, interviews (and more) related to content marketing and publishing. Here you'll find an answer to your question.
1053	dbpedia	3	21	http://www.progressiveears.org/forum/archive/index.php/t-16566.html	en	prog & other stories [Archive]			[]	[]	[]	[ "eclectic", "prog", "short", "lived", "belgrades", "fits", "band", "https://www.youtube.com/watch?v=dwrt-c8p1sq", "recorded", "1979", "https://www.youtube.com/watch?v=3x4h-ko8lbw&t=753s", "album", "only-one", "london", "progarchives", "http://www.progarchives.com/forum/forum_posts.asp?tid=114701", "suggested", "stories", "added", "section", "yugo-prog", "fusion", "jazz-rock", "thinking" ]	null	[]	null	I want my story about Yugo-prog to start with a short-lived band Dogovor iz 1984. ("Agreement from 1804.") The band was founded in November 1968, in Belgrade; line-up were Nebojša Ignjatovic (vocal, guitar), guitarist and flutist Aleksandar Stajić (guitar and flute), Robert Nemeček (bass), Dejan Vasiljević (double bass), Stevan Milutinović (drums) and Aleksandar (sitar and tabla). They played their own songs based on musical experiences of different cultures. The band released only one but for	en			null	View Full Version : Yugo-prog & other stories Powered by vBulletin® Version 4.2.4 Copyright © 2024 vBulletin Solutions, Inc. All rights reserved.
1053	dbpedia	0	8	https://www.academia.edu/44164592/ART_MEDIA_Journal_of_Art_and_Media_Studies_no_13	en	ART+ MEDIA Journal of Art and Media Studies no. 13	http://a.academia-assets.com/images/open-graph-icons/fb-book.gif	http://a.academia-assets.com/images/open-graph-icons/fb-book.gif	[ "https://a.academia-assets.com/images/academia-logo-redesign-2015-A.svg", "https://a.academia-assets.com/images/academia-logo-redesign-2015.svg", "https://a.academia-assets.com/images/single_work_splash/adobe.icon.svg", "https://0.academia-photos.com/4569990/2518462/150763346/s65_misko.suvakovic.jpg", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loaders/paper-load.gif", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png" ]	[]	[]	[ "" ]	null	[ "Misko Suvakovic", "independent.academia.edu" ]	2020-09-25T00:00:00	ART+ MEDIA Journal of Art and Media Studies no. 13				https://www.academia.edu/44164592/ART_MEDIA_Journal_of_Art_and_Media_Studies_no_13	Biserko, S. (2012). Yugoslavia’s Implosion. The Fatal attraction of Serbian nationalism. Belgrade: The Norwegian Helsinki Committee. Lowinger, J. (2011). Economic Reform and the “double movement” in Yugoslavia: An analysis of Labor unrest and ethno-nationalism in the 1980s. Charleston: ProQuest, UMI Dissertation Publishing. Vladislav, S. (2013). Emigration, Refugees and Ethnic Cleansing. The Death of Yugoslavia, 1991-1999. Saarbrucken: LAP LAMBERT Academic Publishing. Vladislav, S. (2012). Creation of the first Yugoslavia. How the Kingdom of Serbs, Croats and Slovenes was established in 1918. Saarbrucken: LAP LAMBERT Academic Publishing.
1053	dbpedia	2	16	https://www.nts.live/artists/33634-laza-ristovski	en	Discover music on NTS	https://media.ntslive.co…_1554249600.jpeg	https://media.ntslive.co…_1554249600.jpeg	[ "https://www.facebook.com/tr?id=1071656873904973&ev=PageView&noscript=1", "https://www.nts.live/img/soundcloud-brand-logo.png", "https://media.ntslive.co.uk/resize/400x400/25d8f388-3ecc-4558-8d4d-bedca45134c9_1434047279.jpg", "https://media.ntslive.co.uk/resize/400x400/25d8f388-3ecc-4558-8d4d-bedca45134c9_1434047279.jpg", "https://media.ntslive.co.uk/crop/100x100/4f0a253d-a3a4-49e7-90a6-59071475be10_1554249600.jpeg" ]	[]	[]	[ "" ]	null	[ "NTS Radio" ]	null	Laza Ristovski has been played on NTS in shows including Donna Leake, featured first on 25 June 2016. Songs played include In The Sky, Rumba Balcana and Pulsing Star. Laza Ristovski was born in 1956 and his first band was BEZIMENI, where he played from 1970-74. As a young and talented keyboard player, during the 1970s and 1980s he played with two mega rock bands in former Yugoslavia - SMAK and BIJELO DUGME. He was a versatile studio session musician who also played with different artists, from popular folk orchestra to classical opera and jazz ensembles. He started solo career first as a duo with...	en	/apple-touch-icon.png?v=47rE43RRzB	NTS Radio	http://www.nts.live/artists/33634-laza-ristovski	Laza Ristovski has been played on NTS in shows including Donna Leake, featured first on 25 June 2016. Songs played include In The Sky, Rumba Balcana and Pulsing Star. Laza Ristovski was born in 1956 and his first band was BEZIMENI, where he played from 1970-74. As a young and talented keyboard player, during the 1970s and 1980s he played with two mega rock bands in former Yugoslavia - SMAK and BIJELO DUGME. He was a versatile studio session musician who also played with different artists, from popular folk orchestra to classical opera and jazz ensembles. He started solo career first as a duo with…
1053	dbpedia	0	19	https://issuu.com/cordmagazines/docs/cord49	en	CorD Magazine No.49	https://image.isu.pub/14…e/jpg/page_1.jpg	https://image.isu.pub/14…e/jpg/page_1.jpg	[ "https://static.isu.pub/fe/product-header-frontend/781e53c/31d186ba39f38e8c4fac.png", "https://static.issuu.com/fe/silkscreen/0.0.3042/icons/gradient/icon-canva-gradient.svg", "https://static.isu.pub/fe/product-header-frontend/781e53c/1e794a8c4ec65e549678.png", "https://photo.isu.pub/cordmagazines/photo_large.jpg", "https://image.isu.pub/240731212826-03289e78cc457959d7d5e83d34468469/jpg/page_1_thumb_large.jpg", "https://image.isu.pub/240731212816-61af7dd573a5fb6650cbf94b75cdb375/jpg/page_1_thumb_large.jpg", "https://image.isu.pub/240701041829-dacf937f5ed14e3a023af9fee6c62dbe/jpg/page_1_thumb_large.jpg", "https://image.isu.pub/240630215130-4ea081d208eb956bfe04d7cd23dca867/jpg/page_1_thumb_large.jpg", "https://image.isu.pub/240630215239-907e4ef7593c0c38b2e77160f687df2b/jpg/page_1_thumb_large.jpg", "https://image.isu.pub/240703085733-58b3ec90b4876f8fdfeae83abf902e87/jpg/page_1_thumb_large.jpg", "https://static.issuu.com/fe/silkscreen/0.0.2541/icons/gradient/icon-instagram-gradient.svg" ]	[]	[]	[ "" ]	null	[]	2014-11-07T09:36:32+00:00	Read CorD Magazine No.49 by CorD Magazine on Issuu and browse thousands of other publications on our platform. Start here!	en	/favicon.ico	Issuu	https://issuu.com/cordmagazines/docs/cord49	Welcome to Issuu’s blog: home to product news, tips, resources, interviews (and more) related to content marketing and publishing. Here you'll find an answer to your question.
1053	dbpedia	1	22	https://www.academia.edu/40020383/CONTEMPORARY_MUSIC_FESTIVALS_AS_MICRONATIONAL_SPACES_Articulations_of_National_Identity_in_Serbias_Exit_and_Gu%25C4%258Da_Trumpet_Festivals_in_the_Post_Milo%25C5%25A1evi%25C4%2587_Era	en	CONTEMPORARY MUSIC FESTIVALS AS MICRONATIONAL SPACES: Articulations of National Identity in Serbia's Exit and Guča Trumpet Festivals in the Post-Milošević Era	http://a.academia-assets.com/images/open-graph-icons/fb-book.gif	http://a.academia-assets.com/images/open-graph-icons/fb-book.gif	[ "https://a.academia-assets.com/images/academia-logo-redesign-2015-A.svg", "https://a.academia-assets.com/images/academia-logo-redesign-2015.svg", "https://a.academia-assets.com/images/single_work_splash/adobe.icon.svg", "https://0.academia-photos.com/attachment_thumbnails/60215528/mini_magick20220701-1419-16ckynz.png?1656714255", "https://0.academia-photos.com/4309649/30346734/34095861/s65_jelena.gligorijevic.jpg", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loaders/paper-load.gif", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png" ]	[]	[]	[ "" ]	null	[ "Jelena Gligorijevic", "utu.academia.edu" ]	2019-08-06T00:00:00	In this study, I address issues of national identity articulations in post-Milošević Serbia (i.e. from 2000 onwards) using two major Serbian music festivals as case studies – the Exit and Guča trumpet festivals. The Exit and Guča festivals are				https://www.academia.edu/40020383/CONTEMPORARY_MUSIC_FESTIVALS_AS_MICRONATIONAL_SPACES_Articulations_of_National_Identity_in_Serbias_Exit_and_Gu%C4%8Da_Trumpet_Festivals_in_the_Post_Milo%C5%A1evi%C4%87_Era	In this study, I address issues of national identity articulations in post-Milošević Serbia (i.e. from 2000 onwards) using two major Serbian music festivals as case studies – the Exit and Guča trumpet festivals. The Exit and Guča festivals are particularly instructive for this line of inquiry because of fundamental aesthetic and ideological differences they are said to embody; namely, the two festivals are often narrated domestically as representing Two Serbias, thereby evoking the recurring West-East hermeneutic and its familiar taxonomy of binaries. The study first documents in detail the various ways in which Exit and Guča both reflect and construct the perceived schisms in Serbia’s national identity imaginary. Second, the study challenges the polarized representations of Exit and Guča by pointing to internal contradictions inherent in each festival. To achieve both objectives, I develop a new approach to festival research on national identity – one which arises from the idea of contemporary music festivals as "micronational spaces". Informed by the larger framework of critical cultural theory and using rich research material from a wide variety of sources (including ethnographic evidence), the study ultimately illuminates the discursive practices underpinning the social production of Exit and Guča as particular types of micronational spaces, specifically, as a "counter-" and as an "organic space" respectively. Of special analytical interest is also the perception of each festival, both native and foreign, within the symbolic geographies of Serbia and the world beyond. The study concludes with a discussion on the transformation of Exit and Guča into (national) brandscapes and the effects this conceptual change has produced on the local perception of each festival as well as of the interrelated fields of popular music and national identity more generally. The final argument of the study is that the branding talk in two Serbian festivals ultimately recasts the earlier Balkanist discourse on Serbia’s indeterminate position between the West and the East, but in a way which provides little hope for alternative visions of the nation’s future. One solution to this problem is arguably the key concept of the study – specifically, the ideas of the "festival microcitizenship" and "coming community" – which may be used as an alternative perspective for exploring the political function of music festivals as much in Serbia as elsewhere.
1053	dbpedia	2	20	https://www.wikidata.org/wiki/Q571938	en	Laza Ristovski	https://upload.wikimedia…za_Ristovski.jpg	https://upload.wikimedia…za_Ristovski.jpg	[ "https://upload.wikimedia.org/wikipedia/commons/thumb/3/38/Laza_Ristovski.jpg/220px-Laza_Ristovski.jpg", "https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1", "https://www.wikidata.org/static/images/footer/wikimedia-button.svg", "https://www.wikidata.org/static/images/footer/poweredby_mediawiki.svg" ]	[]	[]	[ "" ]	null	[]	null	Serbian musician	en	/static/apple-touch/wikidata.png		https://www.wikidata.org/wiki/Q571938	Serbian musician Lazar "Laza" Ristovski edit
1053	dbpedia	3	83	http://www.pugachov.ru/eem/ra.html	en				[]	[]	[]	[ "" ]	null	[]	null					null
1053	dbpedia	2	36	https://soundcloud.com/borgie	en	Listen to songs, albums, playlists for free on SoundCloud	https://i1.sndcdn.com/av…1PQ-t500x500.jpg	https://i1.sndcdn.com/av…1PQ-t500x500.jpg	[ "https://i1.sndcdn.com/avatars-QNXiMW8WZRnrNEjy-2Ga1PQ-t500x500.jpg" ]	[]	[]	[ "record", "sounds", "share", "sound", "audio", "tracks", "music", "soundcloud" ]	null	[]	null	Play Borgie and discover followers on SoundCloud \| Stream tracks, albums, playlists on desktop and mobile.	en	https://a-v2.sndcdn.com/assets/images/sc-icons/favicon-2cadd14bdb.ico	SoundCloud	https://soundcloud.com/borgie	Borgieâs tracks Species 5618 Cortical Node Mix by Borgie published on 2024-07-12T12:12:35Z Borgie @ ÐÐ¸Ð¶Ð°-Å½iÅ¾a 17022024 by Borgie published on 2024-06-13T14:57:45Z Borgie - Direkt Injector Sequence by Borgie published on 2024-03-29T07:02:42Z Borgie - Siluette Phase by Borgie published on 2024-03-29T07:02:37Z Borgie - Sentenza by Borgie published on 2024-03-29T07:02:30Z Borgie - Closing Sequence by Borgie published on 2024-03-29T07:02:19Z Borgie Opening Set @ Silver & Smoke Sarajevo 23122023 by Borgie published on 2023-12-26T16:00:21Z Depeche Mode - Never Let Me Down Again (Borgie Beatless Edit) by Borgie published on 2023-10-22T13:07:52Z
1053	dbpedia	3	95	https://sfbgarchive.48hills.org/topic/trash/	en	Trash Archives — San Francisco Bay Guardian Archive 1966–2014	https://48hills.org/wp-c…3/48carat144.png	https://48hills.org/wp-c…3/48carat144.png	[ "https://sfbgarchive.48hills.org/wp-content/uploads/sites/2/20200321fc1f1f28-f82f-c2f6-a6e9-a149ea964eba.png", "https://48hills.org/wp-content/uploads/2019/01/48hillslogowtagline-3.svg", "https://sfbgarchive.48hills.org/wp-content/uploads/sites/2/gayracula.png", "https://sfbgarchive.48hills.org/wp-content/uploads/sites/2/4901-film_docs_plasticman.jpg", "https://sfbgarchive.48hills.org/wp-content/uploads/sites/2/politicsblog-2.png", "https://sfbgarchive.48hills.org/wp-content/uploads/sites/2/4851-sex_polly_book.jpg", "https://sfbgarchive.48hills.org/wp-content/uploads/sites/2/4849-food_weeknighter.jpg", "https://sfbgarchive.48hills.org/wp-content/uploads/sites/2/4847-film_RichHill_Harley.jpg", "https://sfbgarchive.48hills.org/wp-content/uploads/sites/2/4845-cover_NudeBeaches.jpg", "https://sfbgarchive.48hills.org/wp-content/uploads/sites/2/4844-food_weeknighter.jpg", "https://sfbgarchive.48hills.org/wp-content/uploads/sites/2/carletta.jpg", "https://sfbgarchive.48hills.org/wp-content/uploads/sites/2/4841-news_recology.jpg", "https://sfbgarchive.48hills.org/wp-content/uploads/sites/2/Map-Still.jpg", "https://sfbgarchive.48hills.org/wp-content/uploads/sites/2/politicsblog-2.png", "https://sfbgarchive.48hills.org/wp-content/uploads/sites/2/4837-news_profiles_CristinaLopez.jpg", "https://sfbgarchive.48hills.org/wp-content/uploads/sites/2/4837-news_recyclers.jpg", "https://sfbgarchive.48hills.org/wp-content/uploads/sites/2/4836-film_docfest_WhenMySorrowDied.jpg", "https://sfbgarchive.48hills.org/wp-content/uploads/sites/2/4830-film_blurbs_Difret.jpg", "https://sfbgarchive.48hills.org/wp-content/uploads/sites/2/4830-news_420_6.jpg", "https://sfbgarchive.48hills.org/wp-content/uploads/sites/2/politicsblog-2.png", "https://sfbgarchive.48hills.org/wp-content/uploads/sites/2/coachellamain.jpg", "https://sfbgarchive.48hills.org/wordpress/wp-content/uploads/sites/2/halter-top-crocheted8837v3aa.jpg", "https://sfbgarchive.48hills.org/wordpress/wp-content/uploads/sites/2/vanessa_hudgens_coachella_2012_facepaint.jpg", "https://sfbgarchive.48hills.org/wordpress/wp-content/uploads/sites/2/picture-271.png", "https://sfbgarchive.48hills.org/wordpress/wp-content/uploads/sites/2/g29_24086467.jpg", "https://sfbgarchive.48hills.org/wordpress/wp-content/uploads/sites/2/image_1.jpg", "https://sfbgarchive.48hills.org/wordpress/wp-content/uploads/sites/2/tyler-the-creator-coachella-selfie.png", "https://sfbgarchive.48hills.org/wordpress/wp-content/uploads/sites/2/rihanna-coachella.jpg" ]	[]	[]	[ "" ]	null	[]	2014-10-07T16:56:59+00:00		en	https://48hills.org/wp-c…3/48carat144.png	San Francisco Bay Guardian Archive 1966–2014	https://sfbgarchive.48hills.org/topic/trash/	Film listings are edited by Cheryl Eddy. Reviewers are Kimberly Chun, Dennis Harvey, Lynn Rapoport, and Sara Maria Vizcarrondo. For rep house showtimes, see Rep Clock. Due to the Labor Day holiday, theater information was incomplete at presstime. OPENING The Identical I love sinking my incisors into a meaty Elvis Presley fantasy as much as the next rock ‘n’ roller, but the collision of semitransparent ulterior motives and agendas going down in this off-key independent ain’t nothing but distracting. What if the Pelvis’s twin brother had lived? What if an earnest impersonator turned out to be something more than a great pretender? How does Christianity stand alongside Zionism — or the power of the King beside the potency of a pathetic wig? Here, Ryan Wade (Blake Rayne, aka Elvis impersonator Ryan Pelton) has a fire burning within for proto-rock, blues, R&B, and honkytonk — he’s just not cut out to follow in the footsteps of his passionate preacher dad Reece (Ray Liotta). Instead, help from his drummer friend Dino (Seth Green) and encouragement from his dream-girl-turned-perfect-wife Jenny (Erin Cottrell) leads the earnest Ryan to enter a tribute contest dedicated to the late-period-Elvis-esque Drexel “The Dream” Hemsley (also played by Rayne). Is it a coincidence that Ryan so closely looks and sounds like Drexel? Despite the good faith acting chops brought to the enterprise by Liotta, Ashley Judd, and Joe Pantoliano, the effort is largely wasted, thanks to a flabby script by pop fantasist Howard Klausner, stale music-biz play-by-plays by first-time director Dustin Marcellino, and the painfully non-period, poorly written music and off-point production. When the ’60s-era “Dream” — not to be confused with The-Dream — croons a tune that’s closer in style to ’80s Lionel Richie than “Can’t Help Falling in Love,” rock’s true believers will be scratching their noggins in disbelief, wondering why anyone would even bother making a Cross and the Switchblade version of the Elvis myth. (1:47) (Chun) Innocence A teenage girl realizes all is not well at her new boarding school, because vampires. (1:36) The Last of Robin Hood See “Flynn and Out.” (1:30) Embarcadero. A Letter to Momo Morbid obsessions — and the ghouls and goblins of Japanese ghost stories — are rarely as sweet as they are in A Letter to Momo, the second hand-drawn animated film directed by Hiroyuki Okiura (1999’s Jin-Roh: The Wolf Brigade). Shy tween Momo is tagging along on her mother’s journey home to an island on Japan’s Inland Sea, but even that remote, beauteous locale can’t dissipate Momo’s sorrow and guilt about the death of her father, who she fought with just before he passed. She doesn’t realize that she’s being followed as well — by three water droplets or spirits that assume the grotesque forms of an Edo-era ghostly manga. Only Momo can see and hear these mischievous, forever-hungry visitors, who put the “gobble” in “goblin,” steal pudding and produce, and are likely the only guardians in the galaxy weaponized with cannon-blast flatulence. The spirits’ goofy shenanigans, rather than the neighborhood kids’ diving adventures, succeed in distracting Momo from her last message from her father — an unfinished letter with simply the words “Dear Momo” — and her own neglect. Layering his tender-hearted story with creepy-crawlies, scatological humor, and a palpable humanity, Okiura turns what could have been a sentimental journey into something more sprawling, freakier, and friendlier than one would ordinarily find on a hometown visit — or a feature-length anime exploring grief. (2:00) Opera Plaza, Shattuck. (Chun) No No: A Dockumentary See “High Fly.” (1:40) Roxie. The Notebook With her husband (Ulrich Matthes) off at the front and bombs raining down on Budapest in mid-1944, a young mother (Gyöngyvér Bognár) takes the desperate step of depositing twin sons (András and László Gyémánt) on the isolated rural doorstep of their grandmother (Piroska Molnár), in the hopes that they will have a better chance of surviving the war. It’s a desperate move because mother and daughter haven’t communicated in 20 years (it’s hinted the elder might’ve fatally poisoned the younger’s father), and this corpulent harridan is so mean that fearful villagers call her “the witch.” She calls the approximately 10-year-old boys “bastards” (we never do find out their actual names) and schools them into a brutal daily existence of beatings and hard farm labor that they take to with surprising, masochistic dedication. They even embark on their own ruthless program of “training” the body (to withstand pain and hunger) as well as the soul (to be pitilessly unsentimental), so they might survive in a foreign environ of extreme privation and near-universal hostility. This adaptation of late expat writer Agota Kristof’s classic 1986 novel would be an unwatchable catalog of horrors — has any movie featured so much vivid violence toward children? — if not handled with consummate skill by veteran Hungarian stage and film director János Szász. He balances the tale’s grotesque, cruel, ironic, historical, and allegorical qualities in imaginative cinematic terms that are often aesthetically beautiful without softening the novel’s bitter heart one whit. (1:44) Embarcadero, Shattuck, Smith Rafael. (Harvey) ONGOING As Above, So Below (1:40) Begin Again Begin Again does indeed resemble writer-director John Carney’s Once (2007): It’s another musical tale of a romantically-challenged artist whose life is changed by a chance encounter. One miserable night, very recent dump-ee Greta (Keira Knightley) takes the stage at an open mic night, crooning a song she’s just written about jumping in front of a subway train. (Knightley does her own singing, but careful camerawork ensures we never get a good look at her guitar skills.) Dan (Mark Ruffalo), a down-on-his-luck music-biz professional whose career status is nearly as dismal as his personal life, is drunkenly enthralled by her performance. Clearly, there’s nothing for these two depressed souls to do but record an album together on the streets of NYC; for her, it’s a way to get even with her cheatin’ ex (Adam Levine, playing a rock star not unlike … Adam Levine); for him, it offers hope for creative rebirth. Carney’s point of view is abundantly clear: tailoring one’s music to please the basic-bitch demographic is bad; while penning personally meaningful tunes and recording them on one’s own terms is good … even if those tunes happen to be forgettable folk-pop. Fortunately, Begin Again fares better with its explorations of complicated relationships. Nobody does rumpled and wounded better than Ruffalo, and Knightley is surprisingly likable as a hipster scorned, determined to figure out her next move even as her world crumbles around her. (1:45) (Eddy) Boyhood Believe the hype: Richard Linklater’s Boyhood is one of the best films of the year. It’d be a towering cinematic accomplishment in any year. By now, you’ve heard the set-up, which borrows elements from Linklater’s Before films, as well as his coming-of-age dramas (1993’s Dazed and Confused in particular). He filmed his cast — including titular youth Ellar Coltrane, Lorelai Linklater as his older sister, and Patricia Arquette and Ethan Hawke as his divorced parents, on and off over 12 years — with scenes touching on moments both monumental (high-tension moments with ugly stepfathers) and microscopic (the creation of a perfect campfire s’more). The years flow by, signaled not by any obvious gestures like on-screen text, but by changing hairstyles, pop culture references, and evolving video-game consoles. Watching Coltrane’s Mason grow from arrowhead-obsessed tyke to thoughtful college freshman is a rare and remarkable pleasure; among the more experienced actors, Arquette is particularly moving as a fiercely loving single mom determined to advance in her career despite continual, mountain-sized roadblocks in her personal life. (2:40) (Eddy) Calvary John Michael McDonagh made a splashy cinematic entree both writing and directing 2011’s acerbic The Guard, which starred Brendan Gleeson as a willfully perverse small-town cop. Filmmaker and actor are back with Calvary, a film just as good, in which Gleeson’s priest is the discreetly gruff moral center of a coastal Irish hamlet that surely would have none otherwise. His parishioners are all skeptics, heretics, nonbelievers, and blatant sinners — cast members include Chris O’Dowd, Aidan Gillen, and Brendan’s real-life son Domnhall — who take particular pleasure in ridiculing the uprightness of this one man no one has a legitimate gripe against, save resentment. As if all this weren’t enough, at Calvary‘s start, an unseen confessor tells James he was abused for years by a (now-dead) Catholic priest, and as recompense will kill his current, admittedly blameless confessor in a week’s time. This set-up would appear entirely, absurdly skewed if not for the gravitational center Gleeson provides; he single-handedly provides the sincere if faint hope of redemption in a scenario that otherwise provides every possible indication of damnation for all. Calvary centrally addresses the question of faith while ultimately dodging the answer. I’d appreciate McDonagh’s ambivalence more if he weren’t quite so pleased about it. He’s got extraordinary taste, no doubt — from its editorial pace to its costume and soundtrack choices, this movie is curated within an inch of too-much-ness. But beyond his understandable disillusionment with the Catholic Church’s crimes, does he truly care about morality, or is it just an authorial chew-toy? (1:45) (Harvey) Chef Not to take anything away from the superhero crew, but Chef feels like the closest thing to a labor of love from writer, director, and star Jon Favreau in many a day. As a director, he may have been making doughnuts — fun-filled and teeming with CGI eye candy, but doughnuts nevertheless — when it came to effects-driven blockbusters like 2008’s Iron Man, but this well-meaning play for the heart, by way of the stomach, shows you where Favreau’s head is really at. Chef revolves around Carl Casper (Favreau), a onetime food star, now reduced to serving up predictable crowd-pleasers at the behest of his restaurant’s overbearing owner (Dustin Huffman). It takes the barbs of an influential critic (Oliver Platt) — and an ensuing Twitter war — to set Carl off and send him away on his own, at the coaxing of his glam ex Inez (Sofia Vergara). Hooked up with a dilapidated food truck and former kitchen staffer Martin (John Leguizamo), and aided by ably Tweeting son Percy (Emjay Anthony), Carl ties his dreams — and lost passion — to the classic Cuban sandwich. The ensuing road trip from Miami to LA, and Carl’s journey toward self and a renewed relationship with his son, is a fun (if, in the end, a bit too speedily sketched) vault through the joys of eating your way through America’s new culinary heartland. Amid the volley of sign-of-the-times social-media swinging and cameos by the uncostumed Robert Downey Jr., Scarlett Johansson, and the like, Favreau’s main dish is that a family that eats, cooks, and runs a business together, stays together — child labor laws or no. (1:55) (Chun) Dawn of the Planet of the Apes As usual, a heady hybrid of anticipation and dread accompanies all Planet of Apes installments: you brace yourself for the abused, righteously rebellious apes; the apocalyptic mise-en-scène laden with symbolism; and more overt messaging concerning animal testing, civil rights, and gun control. But why worry? In line with 2011’s Rise of the Planet of the Apes, the PG-13 high-fives go to new Apes director Matt Reeves (2008’s Cloverfield) for sparing us animal kills, gore, and graphic violence, despite its Dawn of the Dead-evoking title. Really, this Dawn is all about the bitterly fought beginnings of a civilization among the primates north of the Golden Gate Bridge in Muir Woods, complete with community building, social structure, and alas, a burgeoning war with the humanoids amid vaguely familiar SF ruins, setting off an epic showdown that challenges not only the oft-repeated commandment “ape shall not kill ape” but takes advantage of our anthropomorphized pals’ ability to swing with the C4 explosions. The viral drug ALZ 113 that led to super-intelligent primates like chimp hero Caesar (motion-captured Andy Serkis) has decimated the human population, leaving the field wide open for enterprising and vengeful creatures like scarred lab survivor Koba (motion-captured Toby Kebbell). Neither quite trusts the band of desperate human survivors — including friendly Jason Clarke, nurturing Keri Russell, and token asshole Kirk Acevedo — that ventures into the apes’ woods to harness the power of nature, namely a dam, to electrify their SF compound. You know what side of the evolutionary span we’re on when the humans seem much more interchangeable than the chimps, and the movie can barely wait to end on its contemporary version of a Touch of Evil (1958) crane shot, as it zooms to an extreme close-up of a certain chimp’s carefully crafted eyes. (2:10) (Chun) The Expendables 3 Patrick Hughes — the guy tapped to helm the remake of 2011’s The Raid — directs a cast of thousands (more or less) in this third installment of Sylvester Stallone’s retro action franchise. By now, the Expendables movies have their formula down, not that it was particularly original to begin with, and all the marks are duly hit in part three: sinister bad guy (Mel Gibson — a solid choice, since who doesn’t love to hate him?) angers mercenary Barney (Stallone) and his team of graying, gun-wielding, shit-talking badasses (Jason Statham, Dolph Lundgren, Randy Couture, and Terry Crews). Revenge is sought, bullets fly, buildings explode, a government operative sticks his nose in (here, it’s Harrison Ford), and Arnold Schwarzenegger shows up to save the day. Fortunately, Expendables business as usual also happens to be stupidly enjoyable, especially with the addition of a just-out-of-prison (onscreen and off) Wesley Snipes. There are also fun roles for Antonio Banderas, Kelsey Grammar, and Robert Davi, but the crew’s next-generation recruits (rebel Kellen Lutz, hacker Glen Powell, weapons master Victor Ortiz, and ladybro Ronda Rousey) seem rather unnecessary. Isn’t the point of these movies to remind us that old guys still rule? (2:07) (Eddy) Frank Who doesn’t want to be a musical savant, visually riveting, naturally gifted, freed from convention, and liberated of linear thought? The exception might be the doll-headed, damaged namesake of this comedy loosely inspired by the life of late English musician and comedian Frank Sidebottom (real name: Chris Sievey), and real-life Sidebottom sideguy Jon Ronson, who co-wrote the screenplay. And if this loving, very funny, bromantic take on the so-called creative process of rock seems a bit forced at times, that’s only because the movie is so clearly filtered through the archetypal wannabe, made likable by Domhnall Gleeson. His office worker Jon is struggling to write songs when he stumbles across a band, Soronprfbs, after watching their keyboard player attempt to drown himself at the beach. Manager Don (Scoot McNairy) taps the bystander to contribute to the chaos happening onstage, then drags him off for the making of the album. Mysterious leader Frank (Michael Fassbender), who never takes off his massive, faux-happy head, finds inspiration in threads protruding from upholstery. As Jon’s nest egg gets sucked into the recording budget and theremin player Clara (Maggie Gyllenhaal) rages against the interloper, he posts the band’s, er, artistry to YouTube, obtaining the group a coveted gig at South by Southwest. But who really wants this shot at fame? The sideman with a will to power, or the damaged true talent? Director Lenny Abrahamson and Ronson wisely place Frank squarely in the viral video/GIF/Vine-poisoned multiplatform miasma of today, put across all the more powerfully by Gleeson and particularly Fassbender, who reveals a fine singing voice. While cleverly referencing outsider artists big and small by way of right-on original songs by Stephen Rennicks, Frank asks vital questions about motivation and art-making in an era when it seems like everyone is getting their 15 minutes of fame — and we’re getting increasingly weary of eyeballing it and filtering the wheat from the gone-in-a-nanosecond chaff. Some make music because they want to be stars, while others, Frank says, do it because they have little other choice. (1:34) (Chun) Get On Up Say it loud: you want to get on up on this biopic about the rich, complicated life of James Brown, a musical innovator who straddled the worlds of R&B, soul, rock ‘n’ roll, funk, hip-hop, and beyond. At first glance it seems well furnished, with a cast that includes Chadwick Boseman (last year’s 42), True Blood‘s Nelsan Ellis, The Walking Dead‘s Lennie James, Dan Aykroyd, and turns by Viola Davis and Octavia Spencer (last united in director Tate Taylor’s 2011 The Help). There’s also a slew of musician cameos (Jill Scott, Aloe Blacc), and even some personally invested oversight by co-producer Mick Jagger — not to mention the music and some vividly recreated live performances that impart some of the Godfather of Soul’s undeniable power and influence. Taylor strives to get it all in, including Brown’s childhood years of poverty and hustle; his meeting with longtime friend and collaborator Bobby Byrd (Ellis); his struggles with the law as well as disgruntled Famous Flames and band members like Maceo Parker (Craig Robinson); and his political statements, wife beating, gun toting, coke smoking, and generally exploding ego. If fitting all that into a little over two hours sounds like a task that would make a ex-Flame break a sweat, it is. And it feels even more effortful when Taylor mixes in scrambled chronology and erratic instances when Boseman’s Brown breaks the fourth wall (engaging moments that contrast with the lead’s at times glazed-eye, ungrounded readings). After taking in this flow-killing editing mishmash, you wish Taylor had settled into the groove of a straightforward narrative, à la 2004’s Ray, rather than leaping around as if directing a nouvelle vague effort on PCP. Lord knows the man’s life — not to mention the tempestuous bromance between Brown and Byrd — was fascinating enough to carry us through. Instead, we’re reduced to contemplating the blank looks and bad wigs that turn the “It’s a Man’s Man’s Man’s World” performer into a kind of Golden Girl of Funk. (2:18) (Chun) The Giver Lois Lowry’s classic YA novel gets a veteran helmer for its big-screen adaptation, but Philip Noyce’s ability to attract top adult talent (Meryl Streep, Jeff Bridges) can’t outweigh his heavy-handed interpretation of what was never a subtle work to begin with. In a vaguely post-apocalyptic society so regulated and dulled that nobody has emotions or empathy, a young man named Jonas (Maleficent‘s Brenton Thwaites, bumped up in age from the book’s 11-year-old) is tasked with becoming the “receiver of memories.” Basically this means that he gets to hang out with Bridges’ character and learn things about the world and human history in the form of Koyaanisqatsi-meets-National Geographic montages (music — it’s a thing! Also: war is hell, etc.) This is life-changing stuff, but part of the deal is that he must never, ever tell anyone else about it, at least until he’s as grizzled as Bridges and has his own successor in need of a thorough mind-blowing. Of course, he immediately loops in pretty BFF Fiona (Odeya Rush), who he’s been seeing in a new light since catching wind of a concept called “love.” Soon, his awakening draws the ire of his mother-esque guardian (Katie Holmes), as well as the community’s leader (Streep). If you’re looking for suspense, or any curve balls (duuuude … once Jonas’ mind starts expanding, he starts seeing the black-and-white world in color!), best backtrack to one of Noyce’s 1990s thrillers (1992’s Patriot Games, perhaps). About the only surprise in The Giver is that Taylor Swift’s much-hyped role is smaller than expected, and not nearly as distracting. (1:40) (Eddy) Guardians of the Galaxy The trailer that nearly broke the internet didn’t lie: Guardians of the Galaxy is cheeky, hilarious, eye-popping fun. Its plot may be a predictable anti-hero’s journey, but the saga of Peter “Star-Lord” Quill (Chris Pratt), half-Earthling, half maybe-alien, as he transforms from scavenging scoundrel to rescuer-of-the-universe is so enjoyable nobody seeking a good time at the movies will care. Helping Quill in his battle against baddie Ronan (Lee Pace) are slinky, green-skinned Gamora (Zoe Saldana); rascally raccoon Rocket (voiced by Bradley Cooper); muscle-bound dim bulb Drax (former pro wrestler Dave Bautista); and a tree-like creature named Groot (voiced by Vin Diesel — his best performance in years, if ever, despite the fact that the only words the character ever utters are “I am Groot.”) Director and co-writer James Gunn (2010’s Super), working from a cult comic from the prolific house of Marvel, does a stellar job balancing action and goofiness, with plenty of unexpected touches along the way, including the best use of 1970s soft-rock since Reservoir Dogs (1992) and Cherish (2002). (2:02) (Eddy) The Hundred-Foot Journey Don’t watch Lasse Hallström’s latest film on an empty stomach. Under the film’s rich layers of mouthwatering food closeups and stunning shots of France (which, admittedly, occasionally threaten to steal the show), The Hundred-Foot Journey is a simple feel-good movie, akin to your favorite comfort food. The Kadam family spices up the South of France when they open an Indian restaurant just 100 feet away from a formidable competitor: a ritzy place owned by Madame Mallory (Helen Mirran). Papa (Om Puri) and eldest son Hassan (Manish Dayal) don’t back down when the heat gets turned up. It’s easy to get caught up in Hassan’s optimism, so the film is predictable (even managing to sprinkle a bit of romance in), but not cheesy. The score is the final icing on the cake, but it’s impossible to expect anything less from Slumdog Millionaire (2008) composer A.R. Rahman. (2:02) (Amy Char) If I Stay Place If I Stay alongside The Fault in Our Stars, and wonder: Is the time right to begin to define the tweepie, or teenage weepie? If I Stay speaks to the emo girl snifflers and intimate tween dystopians in the crowd, though it’s not compelling enough to make them forget to check their texts mid-movie. Excruciatingly shy cello prodigy Mia (Chloë Grace Moretz) is the oddball in her happy rocked-out family (mom and dad are Mireille Enos and Joshua Leonard). Her underlying, relatable dilemma: Should she should reach for her Juilliard dreams or stick close to her Portland, Ore., home to be with her own budding rock star boyfriend Adam (Jamie Blackley, he of the dilated wooden gaze)? But fate intervenes, as a head-on car accident slams Mia into a coma and into an out-of-body battle over deeper questions concerning survival, identity, or simply, as her punk drummer dad might quip, should she stay or should she go? Further, how to depict this without reducing Mia’s out-of-body spirit to Alice in Flashbackland, sprinting comically through hospital halls? One would think she’d run into a stray family member or two on their way to the light, but alas, If I Stay never rises to the occasion — or imaginative possibilities — and its multiple flashbacks and disembodied interludes add an ungrounded, talky sheen to the overall earnestness. Perhaps unfairly, the efforts by documentarian R.J. Cutler, working with Gayle Foreman’s popular YA novel, pale in comparison to, say, the far more psychedelic Enter the Void (2009), with its traumatic crash crash, shattered family, and wandering protagonist. Unlike that film, however, there’s never any question where If I Stay‘s heart lies: In the all-too-familiar construct of suburban America, rather than an ecstatic afterworld. (1:47) (Chun) Into the Storm This disaster movie can’t be discussed without bringing up 1996’s Twister, probably the biggest cinematic showplace for tornadoes since 1939’s The Wizard of Oz. And while Into the Storm spectacularly improves upon Twister‘s special effects and makes timely references to climate change’s fiercest consequences — the 2011 Joplin outbreak gets a nod in dialogue and via the inclusion of a scary high-school graduation scene — it’s also a far more shallow exercise. Twister was silly, but its ragtag storm chasers (including a then-unknown Philip Seymour Hoffman) were likable; Cary Elwes’ bad-guy meteorologist was fun to jeer; and the broken-marriage tension between Helen Hunt (pre-Oscar) and Bill Paxton (endearingly wooden) had at least a few script pages’ worth of depth. No such luck in Into the Storm, in which every character seems to have been crafted based on his or her ability to perpetuate Into the Storm‘s “found-footage” aesthetic, be they filmmakers, tech-obsessed teens, or comic-relief adrenaline junkies dreaming of YouTube stardom. Sarah Wayne Callies (Walking Dead) does her best to bring gravitas as the scientist member of a documentary crew led by a tank-driving tornado hunter (Veep‘s Matt Walsh) — and Richard “Thorin Oakenshield” Armitage tries on an American accent to play the tough-love dad of two high-school boys — but no human here has as much charisma as those CG funnels. (1:29) (Eddy) Island of Lemurs: Madagascar (:40) Jamie Marks Is Dead When the titular bullied teen (Noah Silver) is found dead — whether by suicide or foul play is unclear — those most affected turn out to be two schoolmates who were barely aware of him, or each other, while he was alive. Gracie (Morgan Saylor) discovered the corpse under a river bridge on the fringe of their small upstate NY town; track star Adam (Cameron Monaghan) witnessed teammates cruelly abusing the misfit boy but did nothing to stop it. When the two cross paths, Gracie reveals that she’s seen Jamie — pale, naked, shivering, as if stuck in his last moments of life — lurking in the woods outside her home. Frightened, she urges Adam not to engage with the ghost. But in his guilt, he does, striking up a curious friendship with this specter who’s “come back” for purposes murky at best. Adapted from a novel by Christopher Barzak, this couldn’t be more different from director Carter Smith’s 2008 gore-horror hit The Ruins, being cryptic supernatural drama that aims less for scares than eerie poignancy. (The one scary element is Madisen Beaty as a malevolent second ghost.) It’s eerie, all right, with wintry atmospherics that intrigue until it’s clear the story is going to remain rather vague. The poignancy never quite comes across (save perhaps in a subplot with Liv Tyler as Adam’s mother, who copes haplessly with a serious accident) because while well-acted, the characters are poorly developed, and the precise point remains elusive. This is an aesthetically striking mood piece, but will frustrate those looking for conventional horror content, and it’s never quite enigmatically fascinating enough to leap past various potholes of conceptual and plot logic. (1:40) Roxie. (Harvey) Kundo: Age of the Rampant Brutal violence and some mightily clever outlaw fighting tactics highlight this spaghetti western-influenced revenge drama, set during Korea’s Joseon dynasty, circa the late 1850s. Corruption reigns, with government officials easily bought by the era’s version of one-percenters — leaving the majority of the population to struggle and starve. A long, complicated back story unites the two leads, one being Jo Yoon (Kang Dong-won), the power-mad, illegitimate son of the countryside’s richest man, who channels his Game of Thrones-style angst about being a bastard into becoming the deadliest sword-wielder around. The other is Dolmuchi (Ha Jung-woo), a dirt-poor butcher who backs out of one of Jo’s cruel schemes, sees his family slaughtered, and is quickly adopted by the region’s scrappy, ruthless, Robin Hood-esque bandit clan. These two angry mofos are set up early for a last-act clash, but director Yoon Jong-bin — helmer of excellent 2012 crime drama Nameless Gangster, a similarly intricate tale of simmering grudges and vulgar displays of power in 1980s Busan — takes the long road getting to the inevitable showdown, raising the stakes ever higher, fleshing out secondary characters, and papering over story gaps with narration when needed. Still, with its charismatic performances and Morricone-esque score, this is a rousing epic, and taken with Gangster (which also stars Ha), it firmly establishes Yoon as a director worthy of further notice. (1:40) (Eddy) Life of Crime Maintaining the novel’s original time and place, this retro caper flick is a faithful adaptation of Elmore Leonard’s jaunty 1978 The Switch. John Hawkes and Yasiin Bey (aka Mos Def) play genial petty criminals who hit on the bright idea of blackmailing a successful suburban Detroit businessman (Tim Robbins) they know has secretly pocketed away some ill-gained assets in the Bahamas — and they’ll kidnap his wife (Jennifer Aniston) for additional leverage. Little do they realize their spectacularly scumbaggy target sees a golden opportunity in their idle threats to murder Mrs. Scumbag; he’s tired of her, he’s already got a younger mistress (Isla Fisher), and figures this scenario would relieve him of alimony at the very least. With Mark Boone Jr. and Will Forte providing additional flavor as two more colorfully icky characters, Life of Crime is droll, astute, and funny as it cleverly delivers comeuppance where due. While much less flashy or sprawly than last year’s American Hustle, Daniel Schecter’s trades in equally tacky late-1970s fashions and vibes. It’s also, in its more modest way, just as satisfying a narrative. And in a movie full of good actors, the surprisingly scene-stealingest is Aniston, who underplays her unhappy trophy hausfrau to seriocomic perfection. (1:34) (Harvey) Love is Strange Ben (John Lithgow) and George (Alfred Molina) have been together four decades, so it’s a big celebration for their extended family of friends and relations when they finally, legally get hitched. But news of the marriage reaches the archdiocese in charge of the Catholic high school where George teaches music, and while he’s hardly been in the closet at work or anywhere else, this supposed gesture of public defiance against church doctrine gets the beloved instructor fired. With Ben a not-particularly-successful painter, and George now looking for a new job, the couple can now no longer afford to pay the mortgage on the Manhattan co-op apartment they’ve lived in for 20 years (but only owned for five). Finding an affordable new place is near-impossible. So the pair find themselves split up, forced to crash under different roofs and awkward circumstances. Ben moves in with his workaholic nephew (Darren Burrows), unwittingly heightening tensions with his author wife (Marisa Tomei) and especially their moody teenage son (Charlie Tahan), who deeply resents having to share his bedroom. George lands on the couch of a younger gay couple, two cops (Cheyenne Jackson, Manny Perez) who are very nice but have an active social life that robs him of privacy and sleep. This latest from ever-more-excellent Ira Sachs (2012’s Keep the Lights On), its near-flawless screenplay co-written with Mauricio Zacharias, is a widely relatable drama about precisely observed human nature and increasingly inhumane economic realities. It’s also easily one of the best US films 2014 is likely to offer. Might as well start filling out your Oscar ballots, because this movie is definitely going to be a contender. (1:38) (Harvey) Lucy Eurotrash auteur Luc Besson’s latest is a mostly fun action fantasy about a party girl (Scarlett Johansson) who runs afoul of gangsters in Taipei and ends up with a leaking packet of futuristic drugs sewn into her shapely stomach. Side effects include super strength and supernatural intelligence — insert pseudo-science mumbo-jumbo about tapping into 100 percent of one’s woefully underused brainpower, etc. etc. — which leads to some satisfying scenes in which Johansson’s Lucy flattens a hallway of cops with a single gesture, or filters through every phone conversation in the Paris metro area to find the one guy she needs to eavesdrop on. She’s also able to beam herself into electronic devices, a nifty trick that convinces kindly scientist Morgan Freeman to help download her magnificently advanced intelligence into a kind of living computer (shades of 2013’s Her and Under the Skin, except this time ScarJo’s wearing a really great dress). South Korean weirdo/superstar Choi Min-sik (2003’s Oldboy; 2010’s I Saw the Devil) is an inspired choice to play the vengeful kingpin intent on tracking down his runaway mule, and Besson adds some arty flair via nature-show footage and Cosmos-esque clips from beyond the infinite — though the film’s Big Ideas wobble precariously amid its other, mostly silly elements. (1:29) (Eddy) Magic in the Moonlight Woody Allen’s latest — after last year’s vodka-drenched Cate Blanchett showcase Blue Jasmine — offers a return to period romance á la 2011 smash Midnight in Paris. Instead of Owen Wilson time-traveling through the artsy 1920s, we get winsome 1920s clairvoyant Sophie (Emma Stone, 25 years old) falling for the skeptic who’s sent to debunk her, played by Colin Firth (who’s 53). Firth’s performance is easily the best part of Magic in the Moonlight; his Stanley Crawford is a theatrical conjurer famed for his yellowface act, in which he solemnly makes elephants disappear. Off-stage, he’s a self-proclaimed genius regarded by most who meet him as a pompous jerkface. When he’s summoned to the South of France to help a longtime friend and fellow magician (Simon McBurney) prove that Sophie — from humble origins, she’s grown fond of high-society living — is hoodwinking the fancy American family that’s taken her in, nothing unfolds as he expects. The whole exercise is lighter than meringue; it’d be passable as lesser Allen except for that obvious, comically huge age gap between the leads. He knows we disapprove, and he does not care. Are you trolling us, Woody? (1:40) (Eddy) A Most Wanted Man Director Anton Corbijn’s film may not be the greatest John le Carré adaptation in recent years (see: 2011’s Tinker Tailor Soldier Spy), but it’s still a solid thriller, anchored by Philip Seymour Hoffman’s turn as Günther Bachmann, the once-bitten-but-not-yet-shy head of an top-secret branch of Germany’s FBI/CIA equivalent. Its task: spying on Hamburg’s Islamic groups, where the 9/11 attacks were planned, though the enemies that Bachmann faces come mostly from within the greater intelligence community, including his superiors. Never before has the phrase “the Americans have taken an interest” been so chilling, especially to a guy who is just trying to do his job, if only everyone else (including Robin Wright as one of those meddling Americans) would keep their sticky mitts off his delicately planned surveillance operations. There’s a forward-moving plot, of course, about a Chechen-Russian illegal immigrant with a huge inheritance who might be a terrorist (Rachel McAdams plays his human-rights lawyer), but could also serve a greater purpose by helping bring down an even bigger target. And while A Most Wanted Man‘s twists and turns, involving Willem Dafoe as a banker who becomes a reluctant player in Bachmann’s scheme, are suspenseful, Hoffman’s portrayal of a man trapped in a constant maze of frustration — good intentions cut off at every turn, dumping booze into his morning coffee, breaking up a bar fight, ruefully admitting “I am a cave dweller,” visibly haunted by past errors — is the total package, a worthy final entry in a career that ended way too early. (2:02) (Eddy) November Man Get typecast much, Pierce Brosnan? Since stepping into the polished footwear of Remington Steel and then James Bond, the actor has exuded such a consistently tidy, civilized bonhomie that it’s tough to believe there’s a seriously unhinged, deadly weapon of a psychopath within, ready to thrash Eurotrash sketch artists at the faintest threat to his offspring, à la Liam Neeson. So look at November Man as a refreshing, if imperfect, departure for Brosnan, who plays a hard-drinking bad man of sorts, who finds himself on the wrong side of former cohorts in the CIA as the bodies pile in slow motion. It wasn’t always so for Peter Devereaux (Brosnan) as we open on the scene of a possible assassination; his sniper partner-in-training Mason (Luke Bracey) is impulsively headstrong and accidentally shoots a child, and Devereaux schools him, hard. Years later, the latter has retired to Lausanne when old boss Hanley (Bill Smitrovich) drags him back in, dangling an old flame who wants to be pulled out of her dangerous role spying on Russian presidential candidate Federov (Lazar Ristovski). Out of a collision with old pupil Mason comes the name of a Chechen mystery woman who could be Federov’s undoing — and only social worker Alice (Olga Kurylenko) has any idea where she might be. Director Roger Donaldson (2008’s The Bank Job) spins November Man‘s twisted tale with a speed that will appeal to those with short attention spans — and an admiration for digital-age whistleblowers, though the brisk clip leaves one with more than a few questions concerning too swiftly dropped characters and story lines. Perhaps a December Man is needed to provide answers. (1:48) (Chun) Obvious Child We first encounter the protagonist of writer-director Gillian Robespierre’s funny, original film — a Brooklyn-dwelling twentysomething named Donna (Jenny Slate), who works at a lefty secondhand bookstore and makes regular (if unpaid) appearances at a local comedy night — onstage mining such underdiscussed topics as the effects of vaginal discharge on your garden-variety pair of underwear. This proves a natural segue to other hefty nuggets of embarrassment gold concerning her love life, to the dismay of boyfriend Ryan (Paul Briganti), auditing from the back of the club. He pretty much deserves it, however, for what he’s about to do, which is break up with her in a nasty, well-populated unisex bathroom, taking time to repeatedly glance at the texts coming through on his phone from Donna’s good friend, with whom he’s sleeping. So when Donna, mid-drowning of sorrows, meets a nice-looking fellow named Max (Jake Lacy) at the bar, his post-fraternity-presidency aesthetic seems unlikely to deter her from a one-night stand. The ensuing trashed make-out dance-off in Max’s apartment to the Paul Simon song of the title is both comic and adorable. The fractured recap of the evening’s condom-free horizontal events that occurs inside Donna’s brain three weeks later, as she hunkers down with her best friend, Nellie (Gaby Hoffmann), in the bookstore’s bathroom after peeing on a stick, is equally hilarious — and unwanted-pregnancy jokes aren’t that easy to pull off. Robespierre’s treatment of this extended windup and of Donna’s decision to have an abortion is a witty, warmhearted retort to 2007’s Knocked Up, a couple generations’ worth of Hollywood rom-com writers, and an entertainment industry that continues to perform its sweaty contortions of storytelling in the gutless cause of avoiding the A-word. (1:15) (Rapoport) The One I Love Sophie (Elisabeth Moss) and Ethan (Mark Duplass) have hit a speed bump in their relationship — they don’t have fun together like they used to, and even direct attempts to replicate that past magic fall completely flat. Ergo they take the advice of a couples counselor (Ted Danson) and book a weekend at a country getaway he swears has done “wonders” for all his previous clients in relationship trouble. Things get off to a pleasant enough start, but the duo’s delight at recapturing their old mojo becomes complicated when they realize … well, it’s best to know as little as possible going into The One I Love, a first feature for director Charlie McDowell and scenarist Justin Lader that approaches a fantastical narrative idea with a poker face and considerable ingenuity. Duplass and (especially) Moss are terrific in roles that eventually require some very complicated (and subtle) nuances. (1:31) (Harvey) Rich Hill Documentarians Andrew Droz Palermo and Tracy Droz Tragos’ exquisite Sundance Grand Jury Prize winner Rich Hill spends some months in the company of three boys living in particularly problematic circumstances in the depressed titular Missouri small town. The future doesn’t look bright, but then their present is already pretty bleak. Harley is a rather thick teen with serious anger-management issues who’s fallen into the weary care of his grandmother. His mother is in prison. When we learn why, it explains a great deal about why he always teeters on the edge of violent rage. The younger Appachey, barely adolescent but already dropping f-bombs like a cranky Teamster, lives in chaotic near-squalor with his mother and junior siblings. And you can tell the filmmakers’ favorite is Andrew; the adorable 14-year-old is an oasis of faith and positivity despite the shitstorm of bad luck life’s already dealt him. “We’re not trash, we’re good people,” he says at one point, though one imagines his hapless, transient family might be regarded as the former by some of Rich Hill’s more respectable 1,393 citizens. Later he rationalizes continued dire straits by musing, “God must be busy with everyone else,” a statement of dogged hope rather than bitterness. Rich Hill is more beautifully crafted, notably in the realm of Palermo’s gorgeous cinematography and Nathan Halpern’s musical scoring, than documentaries are supposed to be these days. The lyricism never seems forced, however. This is a movie about young American lives orphaned by globalization and trickle-up, among other factors — the kinds of small-town heartland existence they were born into has already been written off as unprofitable. (1:31) Roxie. (Harvey) Sin City: A Dame To Kill For (1:38) Snowpiercer Eighteen years after an attempt to reverse global warming has gone wildly awry — freezing all life into extinction — the only known survivors are on a one-of-a-kind perpetual-motion train that circles the Earth annually, has its own self-contained ecosystem, and can smash through whatever ice buildup has blocked its tracks since the last go-round. It’s also a microcosm of civilization’s worst class-economic-racial patterns over history, with the much-abused “tail” passengers living in squalor under the thumb of brutal military police. Unseen at the train’s front is its mysterious inventor, Wilford, whose minions enforce “Eternal Order Prescribed by the Sacred Engine.” Curtis (Chris Evans) is default leader of the proletariat’s latest revolt, in which they attempt to force their way forward though the prison section (where they free Song Kang-ho and Go Ah-sung as the train’s original lock designer and his psychic daughter) on to the wonders of the first class compartments, and beyond. This first (mostly) English-language feature by South Korean Bong Joon-ho (2006’s The Host, 2009’s Mother), based on a 1982 French graphic novel, starts out as a sort of locomotive, claustrophobic Mad Max (1979) variation. But it gets wilder and more satirical as it goes along, goosed by Tilda Swinton’s grotesquely comic Minister Mason, and Alison Pill as a teacher propagandist in a particularly hilarious set piece. In case the metaphor hasn’t already hit you on the head, one character explains “The train is the world, we the humanity.” But Snowpiercer‘s sociopolitical critique is as effective as it is blunt, because Bong handles everything here — visceral action, absurdist humor, narrative left-turns, neatly etched character archetypes, et al. — with style, confidence, and wit. Some of the FX may not be quite as seamless as it would have been in a $200 million Hollywood studio production, and fanboys will no doubt nitpick like nitwits at various “credibility gaps.” (As if this movie ever asks to be taken literally.) But by current, or any, sci-fi action blockbuster standards, this is a giddily unpredictable, risk-taking joy. (2:07) Roxie. (Harvey) A Summer’s Tale This 1996 entry in Eric Rohmer’s “Tales of the Four Seasons” quartet somehow never got a US theatrical release until now. Killing time in a seaside resort town before starting his first post-university engineering job — though his real love is composing songs — Gaspard (Melvil Poupaud) pines for a girl he barely met before she left without giving him her contact info. He’s befriended by Margot (Amanda Langlet), an ethnomusicologist working the summer at an aunt’s restaurant, but despite her amiability (and availability) he clings to hopes that the elusive Lena will turn up. Nonetheless, he lets himself get sidetracked by aggressive Solene (Gwenaelle Simon), whose entire family seems to be musical. His indecision, and the exasperatingly changeable desires of these young women, make for too many options that are sure to cancel each other out. Rohmer’s typically low-key near-farce of romantic dead ends is a pleasant discovery for fans, but as hapless Gaspard’s travails ramble on toward two hours, it becomes one of this late French great’s lesser works. (1:54) (Harvey) Teenage Mutant Ninja Turtles Years from now, film scholars will look back at these creatively bankrupt (if box office-rich) times and blame Michael Bay for many evils, including a garish Transformers series that won’t die. He also produces this theatrical reboot of a kiddie action series (currently enjoying a TV cartoon renaissance on Nickelodeon) that probably should’ve been left in the sewer after 2007’s TMNT — star Chris Evans thanks you for forgetting that even existed — or, even better, after revealing the secret of the ooze in the 1990s. But Teenage Mutant Ninja Turtles is here to stomp all over nostalgic goodwill, not to mention take advantage of CG advancements that render its heroes as “real” as pumped-up reptiles with weapons can be, with a 3D coating that does allegedly human but suspiciously plastic co-star Megan Fox no favors. If you can get past that eeriness, you won’t be rewarded for your efforts; the jokes are either unfunny or pointless (are we really still referencing the Lost finale?), and the plot is so insultingly predictable William Fichtner’s character might as well be named “Sinister Rich Guy.” May also contain: fart jokes, butt jokes, pizza. (2:00) (Eddy) To Be Takei The erstwhile and forever Mr. Sulu’s surprisingly high public profile these days no doubt sparked this documentary portrait by SF’s own Jennifer Kroot (2009’s It Came From Kuchar). But she gives it dramatic heft by highlighting the subject’s formative years in World War II Japanese-American internment camps, and finds plenty of verite humor in the everyday byplay between fairly recently “out” gay celebrity George and his longtime life and business partner Brad Altman — the detail-oriented, pessimistic worrywart to his eternally upbeat (if sometimes tactlessly critical) star personality. We get glimpses of them in the fan nerdsphere, on The Howard Stern Show, at Takei’s frequent speaking engagements (on internment and gay rights), and in his latter-day acting career both as perpetual TV guest and a performer in a hopefully Broadway-bound new musical (about internment). Then of course there’s the Star Trek universe, with all surviving major participants heard from, including ebullient Nichelle Nichols, sad-sack Walter Koenig, thoughtfully distanced Leonard Nimoy, and natch, the Shat (who acts like a total asshat, dismissing Takei as somebody he sorta kinda knew professionally 50 years ago.) We also hear from younger Asian American actors who view the subject as a role model, even if some of his actual roles weren’t so trailblazing (like a couple “funny Chinaman” parts in Jerry Lewis movies, and in John Wayne’s 1968 pro-Vietnam War film The Green Berets). Even if you’ve tired of Takei’s ubiquity online and onscreen, this campy but fond tribute is great fun. (1:30) (Harvey) The Trip to Italy Steve Coogan and Rob Brydon return as “Steve Coogan” and “Rob Brydon” in this sequel to Michael Winterbottom’s 2010 The Trip. Like its predecessor, the premise — a road trip for the purpose of a restaurant-reviewing gig — provides a loose framework upon which these two actor-comedians, portraying exaggerated, fictionalized versions of themselves, hang their easy banter and occasional deeper conversations. The midlife crisis themes are still apparent (Brydon meets a comely expat who tempts him into cheating on his wife, with whom he has a small child; Coogan feels regret over his distant relationship with his teenage son), which tie into career anxieties for both men; references to classic literature also hold over from the first film. Most importantly, also like the first film, The Trip to Italy — blessed with all the gorgeous food and coastal landscapes the change of scenery suggests — is a riot. The impressions (lots of Godfather this time around) flow fast and furiously; while there’s nothing that can top the first film’s Michael Caine battle, it’s still a pleasure watching Brydon “converse” with a historical relic at Pompeii, or the duo’s joyous invocation of The Bounty (1984) during a brief boat journey. (1:55) Smith Rafael. (Eddy) When the Game Stands Tall (1:55) * Film listings are edited by Cheryl Eddy. Reviewers are Kimberly Chun, Dennis Harvey, Lynn Rapoport, and Sara Maria Vizcarrondo. For rep house showtimes, see Rep Clock. OPENING As Above, So Below Psychological and supernatural terror overtakes a group of explorers (including Mad Men‘s Ben Feldman) who venture off the map in Paris’ catacombs. (1:40) California. Brasslands Horn dogs, rejoice! Brassy, flashy joy mixed with a history of pain and a heaping helping of trumpets, tubas, and all manner of ex-band geeks mark this documentary on Serbia’s Guca Trumpet Festival. NYC’s Meerkat Media Collective captures all the delightful noise as more than half a million music fans converge on the valley hamlet of Guca for the annual competition, which promises fame and fortune for its winners. In honor of the 50th anniversary, a decade after NATO finally unleashed its fury on Belgrade, international combos have returned to an old country still roiling with issues, from a native Serbian band of champions whose leader promises to wipe the Roma combos “off the face of the earth,” to the groom at a wedding party who “wants to fire a gun but is afraid he’ll look like a terrorist on film,” to the Roma player who shrugs, “We’re ‘black’ musicians — they’re ‘white’ musicians.” Not to mention Zlatne Uste, the brass band of New Yorkers, said to be the first non-Serbian outfit to play the festival, who honestly own up to their outsider status and the band-camp bubble they foster. “People don’t like Americans there in general, not to mention leftie, hippie, weird Americans who have appropriated all their national music to provide this fantasy world that we live in here,” says one female band member, an anomaly in a still-male-dominated scene. Far be it from the filmmakers to shy from the heat, whether it’s a particularly incendiary quote, the bloody slaughter of a lamb at a Roma celebration, or an especially hot horn solo. (1:24) Roxie. (Chun) Jamie Marks Is Dead When the titular bullied teen (Noah Silver) is found dead — whether by suicide or foul play is unclear — those most affected turn out to be two schoolmates who were barely aware of him, or each other, while he was alive. Gracie (Morgan Saylor) discovered the corpse under a river bridge on the fringe of their small upstate NY town; track star Adam (Cameron Monaghan) witnessed teammates cruelly abusing the misfit boy but did nothing to stop it. When the two cross paths, Gracie reveals that she’s seen Jamie — pale, naked, shivering, as if stuck in his last moments of life — lurking in the woods outside her home. Frightened, she urges Adam not to engage with the ghost. But in his guilt, he does, striking up a curious friendship with this specter who’s “come back” for purposes murky at best. Adapted from a novel by Christopher Barzak, this couldn’t be more different from director Carter Smith’s 2008 gore-horror hit The Ruins, being cryptic supernatural drama that aims less for scares than eerie poignancy. (The one scary element is Madisen Beaty as a malevolent second ghost.) It’s eerie, all right, with wintry atmospherics that intrigue until it’s clear the story is going to remain rather vague. The poignancy never quite comes across (save perhaps in a subplot with Liv Tyler as Adam’s mother, who copes haplessly with a serious accident) because while well-acted, the characters are poorly developed, and the precise point remains elusive. This is an aesthetically striking mood piece, but will frustrate those looking for conventional horror content, and it’s never quite enigmatically fascinating enough to leap past various potholes of conceptual and plot logic. (1:40) (Harvey) Kundo: Age of the Rampant Brutal violence and some mightily clever outlaw fighting tactics highlight this spaghetti western-influenced revenge drama, set during Korea’s Joseon dynasty, circa the late 1850s. Corruption reigns, with government officials easily bought by the era’s version of one-percenters — leaving the majority of the population to struggle and starve. A long, complicated back story unites the two leads, one being Jo Yoon (Kang Dong-won), the power-mad, illegitimate son of the countryside’s richest man, who channels his Game of Thrones-style angst about being a bastard into becoming the deadliest sword-wielder around. The other is Dolmuchi (Ha Jung-woo), a dirt-poor butcher who backs out of one of Jo’s cruel schemes, sees his family slaughtered, and is quickly adopted by the region’s scrappy, ruthless, Robin Hood-esque bandit clan. These two angry mofos are set up early for a last-act clash, but director Yoon Jong-bin — helmer of excellent 2012 crime drama Nameless Gangster, a similarly intricate tale of simmering grudges and vulgar displays of power in 1980s Busan — takes the long road getting to the inevitable showdown, raising the stakes ever higher, fleshing out secondary characters, and papering over story gaps with narration when needed. Still, with its charismatic performances and Morricone-esque score, this is a rousing epic, and taken with Gangster (which also stars Ha), it firmly establishes Yoon as a director worthy of further notice. (1:40) Four Star. (Eddy) Life of Crime Maintaining the novel’s original time and place, this retro caper flick is a faithful adaptation of Elmore Leonard’s jaunty 1978 The Switch. John Hawkes and Yasiin Bey (aka Mos Def) play genial petty criminals who hit on the bright idea of blackmailing a successful suburban Detroit businessman (Tim Robbins) they know has secretly pocketed away some ill-gained assets in the Bahamas — and they’ll kidnap his wife (Jennifer Aniston) for additional leverage. Little do they realize their spectacularly scumbaggy target sees a golden opportunity in their idle threats to murder Mrs. Scumbag; he’s tired of her, he’s already got a younger mistress (Isla Fisher), and figures this scenario would relieve him of alimony at the very least. With Mark Boone Jr. and Will Forte providing additional flavor as two more colorfully icky characters, Life of Crime is droll, astute, and funny as it cleverly delivers comeuppance where due. While much less flashy or sprawly than last year’s American Hustle, Daniel Schecter’s trades in equally tacky late-1970s fashions and vibes. It’s also, in its more modest way, just as satisfying a narrative. And in a movie full of good actors, the surprisingly scene-stealingest is Aniston, who underplays her unhappy trophy hausfrau to seriocomic perfection. (1:34) (Harvey) Love is Strange Ben (John Lithgow) and George (Alfred Molina) have been together four decades, so it’s a big celebration for their extended family of friends and relations when they finally, legally get hitched. But news of the marriage reaches the archdiocese in charge of the Catholic high school where George teaches music, and while he’s hardly been in the closet at work or anywhere else, this supposed gesture of public defiance against church doctrine gets the beloved instructor fired. With Ben a not-particularly-successful painter, and George now looking for a new job, the couple can now no longer afford to pay the mortgage on the Manhattan co-op apartment they’ve lived in for 20 years (but only owned for five). Finding an affordable new place is near-impossible. So the pair find themselves split up, forced to crash under different roofs and awkward circumstances. Ben moves in with his workaholic nephew (Darren Burrows), unwittingly heightening tensions with his author wife (Marisa Tomei) and especially their moody teenage son (Charlie Tahan), who deeply resents having to share his bedroom. George lands on the couch of a younger gay couple, two cops (Cheyenne Jackson, Manny Perez) who are very nice but have an active social life that robs him of privacy and sleep. This latest from ever-more-excellent Ira Sachs (2012’s Keep the Lights On), its near-flawless screenplay co-written with Mauricio Zacharias, is a widely relatable drama about precisely observed human nature and increasingly inhumane economic realities. It’s also easily one of the best US films 2014 is likely to offer. Might as well start filling out your Oscar ballots, because this movie is definitely going to be a contender. (1:38) Embarcadero, Shattuck. (Harvey) November Man Pierce Brosnan, who knows a thing or two about being a secret agent, stars as an ex-CIA operative lured out of retirement for one last mission. (1:48) Road to Ninja: Naruto the Movie Masashi Kishimoto’s manga series goes cinematic for the ninth time in this 2012 release, which is “set in an alternate timeline of the Naruto universe.” (1:50) A Summer’s Tale This 1996 entry in Eric Rohmer’s “Tales of the Four Seasons” quartet somehow never got a US theatrical release until now. Killing time in a seaside resort town before starting his first post-university engineering job — though his real love is composing songs — Gaspard (Melvil Poupaud) pines for a girl he barely met before she left without giving him her contact info. He’s befriended by Margot (Amanda Langlet), an ethnomusicologist working the summer at an aunt’s restaurant, but despite her amiability (and availability) he clings to hopes that the elusive Lena will turn up. Nonetheless, he lets himself get sidetracked by aggressive Solene (Gwenaelle Simon), whose entire family seems to be musical. His indecision, and the exasperatingly changeable desires of these young women, make for too many options that are sure to cancel each other out. Rohmer’s typically low-key near-farce of romantic dead ends is a pleasant discovery for fans, but as hapless Gaspard’s travails ramble on toward two hours, it becomes one of this late French great’s lesser works. (1:54) Opera Plaza, Shattuck. (Harvey) The Trip to Italy Steve Coogan and Rob Brydon return as “Steve Coogan” and “Rob Brydon” in this sequel to Michael Winterbottom’s 2010 The Trip. Like its predecessor, the premise — a road trip for the purpose of a restaurant-reviewing gig — provides a loose framework upon which these two actor-comedians, portraying exaggerated, fictionalized versions of themselves, hang their easy banter and occasional deeper conversations. The midlife crisis themes are still apparent (Brydon meets a comely expat who tempts him into cheating on his wife, with whom he has a small child; Coogan feels regret over his distant relationship with his teenage son), which tie into career anxieties for both men; references to classic literature also hold over from the first film. Most importantly, also like the first film, The Trip to Italy — blessed with all the gorgeous food and coastal landscapes the change of scenery suggests — is a riot. The impressions (lots of Godfather this time around) flow fast and furiously; while there’s nothing that can top the first film’s Michael Caine battle, it’s still a pleasure watching Brydon “converse” with a historical relic at Pompeii, or the duo’s joyous invocation of The Bounty (1984) during a brief boat journey. (1:55) Albany, Embarcadero, Smith Rafael. (Eddy) ONGOING Begin Again Begin Again does indeed resemble writer-director John Carney’s Once (2007): It’s another musical tale of a romantically-challenged artist whose life is changed by a chance encounter. One miserable night, very recent dump-ee Greta (Keira Knightley) takes the stage at an open mic night, crooning a song she’s just written about jumping in front of a subway train. (Knightley does her own singing, but careful camerawork ensures we never get a good look at her guitar skills.) Dan (Mark Ruffalo), a down-on-his-luck music-biz professional whose career status is nearly as dismal as his personal life, is drunkenly enthralled by her performance. Clearly, there’s nothing for these two depressed souls to do but record an album together on the streets of NYC; for her, it’s a way to get even with her cheatin’ ex (Adam Levine, playing a rock star not unlike … Adam Levine); for him, it offers hope for creative rebirth. Carney’s point of view is abundantly clear: tailoring one’s music to please the basic-bitch demographic is bad; while penning personally meaningful tunes and recording them on one’s own terms is good … even if those tunes happen to be forgettable folk-pop. Fortunately, Begin Again fares better with its explorations of complicated relationships. Nobody does rumpled and wounded better than Ruffalo, and Knightley is surprisingly likable as a hipster scorned, determined to figure out her next move even as her world crumbles around her. (1:45) Shattuck, Vogue. (Eddy) Boyhood Believe the hype: Richard Linklater’s Boyhood is one of the best films of the year. It’d be a towering cinematic accomplishment in any year. By now, you’ve heard the set-up, which borrows elements from Linklater’s Before films, as well as his coming-of-age dramas (1993’s Dazed and Confused in particular). He filmed his cast — including titular youth Ellar Coltrane, Lorelai Linklater as his older sister, and Patricia Arquette and Ethan Hawke as his divorced parents, on and off over 12 years — with scenes touching on moments both monumental (high-tension moments with ugly stepfathers) and microscopic (the creation of a perfect campfire s’more). The years flow by, signaled not by any obvious gestures like on-screen text, but by changing hairstyles, pop culture references, and evolving video-game consoles. Watching Coltrane’s Mason grow from arrowhead-obsessed tyke to thoughtful college freshman is a rare and remarkable pleasure; among the more experienced actors, Arquette is particularly moving as a fiercely loving single mom determined to advance in her career despite continual, mountain-sized roadblocks in her personal life. (2:40) Balboa, California, Embarcadero, 1000 Van Ness, Piedmont, Presidio, Sundance Kabuki. (Eddy) Calvary John Michael McDonagh made a splashy cinematic entree both writing and directing 2011’s acerbic The Guard, which starred Brendan Gleeson as a willfully perverse small-town cop. Filmmaker and actor are back with Calvary, a film just as good, in which Gleeson’s priest is the discreetly gruff moral center of a coastal Irish hamlet that surely would have none otherwise. His parishioners are all skeptics, heretics, nonbelievers, and blatant sinners — cast members include Chris O’Dowd, Aidan Gillen, and Brendan’s real-life son Domnhall — who take particular pleasure in ridiculing the uprightness of this one man no one has a legitimate gripe against, save resentment. As if all this weren’t enough, at Calvary‘s start, an unseen confessor tells James he was abused for years by a (now-dead) Catholic priest, and as recompense will kill his current, admittedly blameless confessor in a week’s time. This set-up would appear entirely, absurdly skewed if not for the gravitational center Gleeson provides; he single-handedly provides the sincere if faint hope of redemption in a scenario that otherwise provides every possible indication of damnation for all. Calvary centrally addresses the question of faith while ultimately dodging the answer. I’d appreciate McDonagh’s ambivalence more if he weren’t quite so pleased about it. He’s got extraordinary taste, no doubt — from its editorial pace to its costume and soundtrack choices, this movie is curated within an inch of too-much-ness. But beyond his understandable disillusionment with the Catholic Church’s crimes, does he truly care about morality, or is it just an authorial chew-toy? (1:45) Piedmont, SF Centre, Shattuck, Sundance Kabuki. (Harvey) Chef Not to take anything away from the superhero crew, but Chef feels like the closest thing to a labor of love from writer, director, and star Jon Favreau in many a day. As a director, he may have been making doughnuts — fun-filled and teeming with CGI eye candy, but doughnuts nevertheless — when it came to effects-driven blockbusters like 2008’s Iron Man, but this well-meaning play for the heart, by way of the stomach, shows you where Favreau’s head is really at. Chef revolves around Carl Casper (Favreau), a onetime food star, now reduced to serving up predictable crowd-pleasers at the behest of his restaurant’s overbearing owner (Dustin Huffman). It takes the barbs of an influential critic (Oliver Platt) — and an ensuing Twitter war — to set Carl off and send him away on his own, at the coaxing of his glam ex Inez (Sofia Vergara). Hooked up with a dilapidated food truck and former kitchen staffer Martin (John Leguizamo), and aided by ably Tweeting son Percy (Emjay Anthony), Carl ties his dreams — and lost passion — to the classic Cuban sandwich. The ensuing road trip from Miami to LA, and Carl’s journey toward self and a renewed relationship with his son, is a fun (if, in the end, a bit too speedily sketched) vault through the joys of eating your way through America’s new culinary heartland. Amid the volley of sign-of-the-times social-media swinging and cameos by the uncostumed Robert Downey Jr., Scarlett Johansson, and the like, Favreau’s main dish is that a family that eats, cooks, and runs a business together, stays together — child labor laws or no. (1:55) Marina, SF Centre, Vogue. (Chun) Le Chef Before you fire up Twitter to alert Jon Favreau that he’s been ripped off, know that this French comedy came out in 2012. Also, it’s highly unlikely to garner even a quarter-teaspoon of the praise racked up by Favreau’s food-truck tale. Even the formidable presence of Jean Reno can’t save Le Chef; he plays veteran celebrity chef Lagarde, who’s about to have his professional reputation toppled by the money-hungry mogul who owns his signature restaurant. (Yuppie scum wants him to switch to uber-trendy molecular cuisine; traditionalist Legarde ain’t having it.) Enter eager apprentice Jacky (Michael Youn), whose Rain Man-like ability to recall all of Legarde’s recipes makes him a valuable secret weapon in this high-stakes gastronomical battle, which will culminate when a food critic decides whether to dock one of the stars in Legarde’s rating — thus opening a contract loophole that’ll allow his boss to kick him out of the kitchen. BYO food clichés to describe this too-lightweight yet overly hammy affair, which also folds domestic dramas (Jacky’s exasperated, heavily pregnant GF doesn’t understand his cooking dreams! Legarde’s neglected daughter might as well be named Sullen McEyeroll!) into the batter. And if you can’t figure out the ending within the first act, no dessert for you. (1:24) Opera Plaza. (Eddy) Dawn of the Planet of the Apes As usual, a heady hybrid of anticipation and dread accompanies all Planet of Apes installments: you brace yourself for the abused, righteously rebellious apes; the apocalyptic mise-en-scène laden with symbolism; and more overt messaging concerning animal testing, civil rights, and gun control. But why worry? In line with 2011’s Rise of the Planet of the Apes, the PG-13 high-fives go to new Apes director Matt Reeves (2008’s Cloverfield) for sparing us animal kills, gore, and graphic violence, despite its Dawn of the Dead-evoking title. Really, this Dawn is all about the bitterly fought beginnings of a civilization among the primates north of the Golden Gate Bridge in Muir Woods, complete with community building, social structure, and alas, a burgeoning war with the humanoids amid vaguely familiar SF ruins, setting off an epic showdown that challenges not only the oft-repeated commandment “ape shall not kill ape” but takes advantage of our anthropomorphized pals’ ability to swing with the C4 explosions. The viral drug ALZ 113 that led to super-intelligent primates like chimp hero Caesar (motion-captured Andy Serkis) has decimated the human population, leaving the field wide open for enterprising and vengeful creatures like scarred lab survivor Koba (motion-captured Toby Kebbell). Neither quite trusts the band of desperate human survivors — including friendly Jason Clarke, nurturing Keri Russell, and token asshole Kirk Acevedo — that ventures into the apes’ woods to harness the power of nature, namely a dam, to electrify their SF compound. You know what side of the evolutionary span we’re on when the humans seem much more interchangeable than the chimps, and the movie can barely wait to end on its contemporary version of a Touch of Evil (1958) crane shot, as it zooms to an extreme close-up of a certain chimp’s carefully crafted eyes. (2:10) Metreon, 1000 Van Ness. (Chun) The Expendables 3 Patrick Hughes — the guy tapped to helm the remake of 2011’s The Raid — directs a cast of thousands (more or less) in this third installment of Sylvester Stallone’s retro action franchise. By now, the Expendables movies have their formula down, not that it was particularly original to begin with, and all the marks are duly hit in part three: sinister bad guy (Mel Gibson — a solid choice, since who doesn’t love to hate him?) angers mercenary Barney (Stallone) and his team of graying, gun-wielding, shit-talking badasses (Jason Statham, Dolph Lundgren, Randy Couture, and Terry Crews). Revenge is sought, bullets fly, buildings explode, a government operative sticks his nose in (here, it’s Harrison Ford), and Arnold Schwarzenegger shows up to save the day. Fortunately, Expendables business as usual also happens to be stupidly enjoyable, especially with the addition of a just-out-of-prison (onscreen and off) Wesley Snipes. There are also fun roles for Antonio Banderas, Kelsey Grammar, and Robert Davi, but the crew’s next-generation recruits (rebel Kellen Lutz, hacker Glen Powell, weapons master Victor Ortiz, and ladybro Ronda Rousey) seem rather unnecessary. Isn’t the point of these movies to remind us that old guys still rule? (2:07) Metreon, 1000 Van Ness. (Eddy) A Five Star Life Does the world need a Euro-femme counterpart to 2009’s Up in the Air? This warm look at a so-called “mystery guest”-cum-hotel inspector, who spends more time working in transit than in her own home (where she’d be in danger of allowing her personal life to unfold), doesn’t have quite the same torn-from-the-headlines, corporate-hatchet-man edge. Nevertheless, A Five Star Life‘s subject — centered on a 40-ish single career-woman, still such a demographic rarity these days for films — is subtly subversive, in a molto well-heeled way, while offering guilty pleasure peeps at posh concierge services and scented beige corridors. Irene (Margherita Buy) is a workaholic, but can you blame her when her job is critiquing luxe lodgings around the world? The downside of such a passion for order and perfection is that she has no one to otherwise share her high-thread-count linens. A chance encounter turns this professional traveler around and leads her question everything, though mercifully director Maria Sole Tognazzi doesn’t end up reaching for easy, Eat, Pray, Love-style responses. Self-love or acceptance, it seems, is the answer. (1:25) Opera Plaza. (Chun) Frank Who doesn’t want to be a musical savant, visually riveting, naturally gifted, freed from convention, and liberated of linear thought? The exception might be the doll-headed, damaged namesake of this comedy loosely inspired by the life of late English musician and comedian Frank Sidebottom (real name: Chris Sievey), and real-life Sidebottom sideguy Jon Ronson, who co-wrote the screenplay. And if this loving, very funny, bromantic take on the so-called creative process of rock seems a bit forced at times, that’s only because the movie is so clearly filtered through the archetypal wannabe, made likable by Domhnall Gleeson. His office worker Jon is struggling to write songs when he stumbles across a band, Soronprfbs, after watching their keyboard player attempt to drown himself at the beach. Manager Don (Scoot McNairy) taps the bystander to contribute to the chaos happening onstage, then drags him off for the making of the album. Mysterious leader Frank (Michael Fassbender), who never takes off his massive, faux-happy head, finds inspiration in threads protruding from upholstery. As Jon’s nest egg gets sucked into the recording budget and theremin player Clara (Maggie Gyllenhaal) rages against the interloper, he posts the band’s, er, artistry to YouTube, obtaining the group a coveted gig at South by Southwest. But who really wants this shot at fame? The sideman with a will to power, or the damaged true talent? Director Lenny Abrahamson and Ronson wisely place Frank squarely in the viral video/GIF/Vine-poisoned multiplatform miasma of today, put across all the more powerfully by Gleeson and particularly Fassbender, who reveals a fine singing voice. While cleverly referencing outsider artists big and small by way of right-on original songs by Stephen Rennicks, Frank asks vital questions about motivation and art-making in an era when it seems like everyone is getting their 15 minutes of fame — and we’re getting increasingly weary of eyeballing it and filtering the wheat from the gone-in-a-nanosecond chaff. Some make music because they want to be stars, while others, Frank says, do it because they have little other choice. (1:34) Embarcadero, Shattuck, Smith Rafael. (Chun) Get On Up Say it loud: you want to get on up on this biopic about the rich, complicated life of James Brown, a musical innovator who straddled the worlds of R&B, soul, rock ‘n’ roll, funk, hip-hop, and beyond. At first glance it seems well furnished, with a cast that includes Chadwick Boseman (last year’s 42), True Blood‘s Nelsan Ellis, The Walking Dead‘s Lennie James, Dan Aykroyd, and turns by Viola Davis and Octavia Spencer (last united in director Tate Taylor’s 2011 The Help). There’s also a slew of musician cameos (Jill Scott, Aloe Blacc), and even some personally invested oversight by co-producer Mick Jagger — not to mention the music and some vividly recreated live performances that impart some of the Godfather of Soul’s undeniable power and influence. Taylor strives to get it all in, including Brown’s childhood years of poverty and hustle; his meeting with longtime friend and collaborator Bobby Byrd (Ellis); his struggles with the law as well as disgruntled Famous Flames and band members like Maceo Parker (Craig Robinson); and his political statements, wife beating, gun toting, coke smoking, and generally exploding ego. If fitting all that into a little over two hours sounds like a task that would make a ex-Flame break a sweat, it is. And it feels even more effortful when Taylor mixes in scrambled chronology and erratic instances when Boseman’s Brown breaks the fourth wall (engaging moments that contrast with the lead’s at times glazed-eye, ungrounded readings). After taking in this flow-killing editing mishmash, you wish Taylor had settled into the groove of a straightforward narrative, à la 2004’s Ray, rather than leaping around as if directing a nouvelle vague effort on PCP. Lord knows the man’s life — not to mention the tempestuous bromance between Brown and Byrd — was fascinating enough to carry us through. Instead, we’re reduced to contemplating the blank looks and bad wigs that turn the “It’s a Man’s Man’s Man’s World” performer into a kind of Golden Girl of Funk. (2:18) SF Centre, Shattuck. (Chun) The Giver Lois Lowry’s classic YA novel gets a veteran helmer for its big-screen adaptation, but Philip Noyce’s ability to attract top adult talent (Meryl Streep, Jeff Bridges) can’t outweigh his heavy-handed interpretation of what was never a subtle work to begin with. In a vaguely post-apocalyptic society so regulated and dulled that nobody has emotions or empathy, a young man named Jonas (Maleficent‘s Brenton Thwaites, bumped up in age from the book’s 11-year-old) is tasked with becoming the “receiver of memories.” Basically this means that he gets to hang out with Bridges’ character and learn things about the world and human history in the form of Koyaanisqatsi-meets-National Geographic montages (music — it’s a thing! Also: war is hell, etc.) This is life-changing stuff, but part of the deal is that he must never, ever tell anyone else about it, at least until he’s as grizzled as Bridges and has his own successor in need of a thorough mind-blowing. Of course, he immediately loops in pretty BFF Fiona (Odeya Rush), who he’s been seeing in a new light since catching wind of a concept called “love.” Soon, his awakening draws the ire of his mother-esque guardian (Katie Holmes), as well as the community’s leader (Streep). If you’re looking for suspense, or any curve balls (duuuude … once Jonas’ mind starts expanding, he starts seeing the black-and-white world in color!), best backtrack to one of Noyce’s 1990s thrillers (1992’s Patriot Games, perhaps). About the only surprise in The Giver is that Taylor Swift’s much-hyped role is smaller than expected, and not nearly as distracting. (1:40) Marina, 1000 Van Ness, SF Centre, Sundance Kabuki. (Eddy) Guardians of the Galaxy The trailer that nearly broke the internet didn’t lie: Guardians of the Galaxy is cheeky, hilarious, eye-popping fun. Its plot may be a predictable anti-hero’s journey, but the saga of Peter “Star-Lord” Quill (Chris Pratt), half-Earthling, half maybe-alien, as he transforms from scavenging scoundrel to rescuer-of-the-universe is so enjoyable nobody seeking a good time at the movies will care. Helping Quill in his battle against baddie Ronan (Lee Pace) are slinky, green-skinned Gamora (Zoe Saldana); rascally raccoon Rocket (voiced by Bradley Cooper); muscle-bound dim bulb Drax (former pro wrestler Dave Bautista); and a tree-like creature named Groot (voiced by Vin Diesel — his best performance in years, if ever, despite the fact that the only words the character ever utters are “I am Groot.”) Director and co-writer James Gunn (2010’s Super), working from a cult comic from the prolific house of Marvel, does a stellar job balancing action and goofiness, with plenty of unexpected touches along the way, including the best use of 1970s soft-rock since Reservoir Dogs (1992) and Cherish (2002). (2:02) Balboa, Metreon, 1000 Van Ness, Presidio, Sundance Kabuki. (Eddy) Hercules Dwayne Johnson is imposingly large indeed as the demigod of fabled strength. Going the Lone Ranger (2013) route of being winky-wink cynical about “the legend” while eventually buying into it anyway, here Herc is really just a 4th-century BC mercenary probably fathered by some random dude (as opposed to god-of-gods Zeus), and who with his merry band of sidekicks goes around fighting against pirates, pillagers, and such. These gigs are taken “for the gold,” but you know this Hercules wouldn’t be down fighting good people on behalf of bad people. When he’s hired to lead the citizens of Lord Cotys (John Hurt) against marauding hordes of alleged centaurs and extreme-wrestling-type beardos with green makeup led by Rhesus (Tobias Santelmann), the plot advances toward the expected training montages and battle sequences. But the plot thickens only when our don’t-call-us-heroes heroes begin to suspect they might have been misled into playing for the wrong team. Relegating a mythology-based tale’s magical aspects to dream sequences and trickery (spoiler: those aren’t real centaurs!), this adaptation of Steve Moore’s graphic novel is way less Clash of the Titans (1981/2010) and much more in the straightforward action realm of Troy (2004) and 300 (2006). It’s big and handsome, like its star, though not so debonair — the pedestrian screenplay doesn’t let him have much fun, while the supporting players allowed to smirk and deliver generally lame quips aren’t much compensation. Directed by Brett Ratner, Hercules is not the campfest of unintentional hilarity some may have hoped for. Neither does it have the content originality or stylistic personality to be memorable. Instead, it’s just pretty decent late-summer entertainment: Probably worth it if you’re craving 98 painless air-conditioned minutes, possibly not if you could really use those 12 bucks or so elsewhere in your life. (1:39) Metreon. (Harvey) The Hundred-Foot Journey Don’t watch Lasse Hallström’s latest film on an empty stomach. Under the film’s rich layers of mouthwatering food closeups and stunning shots of France (which, admittedly, occasionally threaten to steal the show), The Hundred-Foot Journey is a simple feel-good movie, akin to your favorite comfort food. The Kadam family spices up the South of France when they open an Indian restaurant just 100 feet away from a formidable competitor: a ritzy place owned by Madame Mallory (Helen Mirran). Papa (Om Puri) and eldest son Hassan (Manish Dayal) don’t back down when the heat gets turned up. It’s easy to get caught up in Hassan’s optimism, so the film is predictable (even managing to sprinkle a bit of romance in), but not cheesy. The score is the final icing on the cake, but it’s impossible to expect anything less from Slumdog Millionaire (2008) composer A.R. Rahman. (2:02) Marina, 1000 Van Ness, SF Centre, Sundance Kabuki. (Amy Char) If I Stay Place If I Stay alongside The Fault in Our Stars, and wonder: Is the time right to begin to define the tweepie, or teenage weepie? If I Stay speaks to the emo girl snifflers and intimate tween dystopians in the crowd, though it’s not compelling enough to make them forget to check their texts mid-movie. Excruciatingly shy cello prodigy Mia (Chloë Grace Moretz) is the oddball in her happy rocked-out family (mom and dad are Mireille Enos and Joshua Leonard). Her underlying, relatable dilemma: Should she should reach for her Juilliard dreams or stick close to her Portland, Ore., home to be with her own budding rock star boyfriend Adam (Jamie Blackley, he of the dilated wooden gaze)? But fate intervenes, as a head-on car accident slams Mia into a coma and into an out-of-body battle over deeper questions concerning survival, identity, or simply, as her punk drummer dad might quip, should she stay or should she go? Further, how to depict this without reducing Mia’s out-of-body spirit to Alice in Flashbackland, sprinting comically through hospital halls? One would think she’d run into a stray family member or two on their way to the light, but alas, If I Stay never rises to the occasion — or imaginative possibilities — and its multiple flashbacks and disembodied interludes add an ungrounded, talky sheen to the overall earnestness. Perhaps unfairly, the efforts by documentarian R.J. Cutler, working with Gayle Foreman’s popular YA novel, pale in comparison to, say, the far more psychedelic Enter the Void (2009), with its traumatic crash crash, shattered family, and wandering protagonist. Unlike that film, however, there’s never any question where If I Stay‘s heart lies: In the all-too-familiar construct of suburban America, rather than an ecstatic afterworld. (1:47) 1000 Van Ness, SF Centre, Shattuck, Sundance Kabuki. (Chun) Into the Storm This disaster movie can’t be discussed without bringing up 1996’s Twister, probably the biggest cinematic showplace for tornadoes since 1939’s The Wizard of Oz. And while Into the Storm spectacularly improves upon Twister‘s special effects and makes timely references to climate change’s fiercest consequences — the 2011 Joplin outbreak gets a nod in dialogue and via the inclusion of a scary high-school graduation scene — it’s also a far more shallow exercise. Twister was silly, but its ragtag storm chasers (including a then-unknown Philip Seymour Hoffman) were likable; Cary Elwes’ bad-guy meteorologist was fun to jeer; and the broken-marriage tension between Helen Hunt (pre-Oscar) and Bill Paxton (endearingly wooden) had at least a few script pages’ worth of depth. No such luck in Into the Storm, in which every character seems to have been crafted based on his or her ability to perpetuate Into the Storm‘s “found-footage” aesthetic, be they filmmakers, tech-obsessed teens, or comic-relief adrenaline junkies dreaming of YouTube stardom. Sarah Wayne Callies (Walking Dead) does her best to bring gravitas as the scientist member of a documentary crew led by a tank-driving tornado hunter (Veep‘s Matt Walsh) — and Richard “Thorin Oakenshield” Armitage tries on an American accent to play the tough-love dad of two high-school boys — but no human here has as much charisma as those CG funnels. (1:29) Metreon. (Eddy) Island of Lemurs: Madagascar (:40) Metreon, 1000 Van Ness. Let’s Be Cops (1:44) Metreon, 1000 Van Ness. Lucy Eurotrash auteur Luc Besson’s latest is a mostly fun action fantasy about a party girl (Scarlett Johansson) who runs afoul of gangsters in Taipei and ends up with a leaking packet of futuristic drugs sewn into her shapely stomach. Side effects include super strength and supernatural intelligence — insert pseudo-science mumbo-jumbo about tapping into 100 percent of one’s woefully underused brainpower, etc. etc. — which leads to some satisfying scenes in which Johansson’s Lucy flattens a hallway of cops with a single gesture, or filters through every phone conversation in the Paris metro area to find the one guy she needs to eavesdrop on. She’s also able to beam herself into electronic devices, a nifty trick that convinces kindly scientist Morgan Freeman to help download her magnificently advanced intelligence into a kind of living computer (shades of 2013’s Her and Under the Skin, except this time ScarJo’s wearing a really great dress). South Korean weirdo/superstar Choi Min-sik (2003’s Oldboy; 2010’s I Saw the Devil) is an inspired choice to play the vengeful kingpin intent on tracking down his runaway mule, and Besson adds some arty flair via nature-show footage and Cosmos-esque clips from beyond the infinite — though the film’s Big Ideas wobble precariously amid its other, mostly silly elements. (1:29) Metreon, 1000 Van Ness, Sundance Kabuki. (Eddy) Magic in the Moonlight Woody Allen’s latest — after last year’s vodka-drenched Cate Blanchett showcase Blue Jasmine — offers a return to period romance á la 2011 smash Midnight in Paris. Instead of Owen Wilson time-traveling through the artsy 1920s, we get winsome 1920s clairvoyant Sophie (Emma Stone, 25 years old) falling for the skeptic who’s sent to debunk her, played by Colin Firth (who’s 53). Firth’s performance is easily the best part of Magic in the Moonlight; his Stanley Crawford is a theatrical conjurer famed for his yellowface act, in which he solemnly makes elephants disappear. Off-stage, he’s a self-proclaimed genius regarded by most who meet him as a pompous jerkface. When he’s summoned to the South of France to help a longtime friend and fellow magician (Simon McBurney) prove that Sophie — from humble origins, she’s grown fond of high-society living — is hoodwinking the fancy American family that’s taken her in, nothing unfolds as he expects. The whole exercise is lighter than meringue; it’d be passable as lesser Allen except for that obvious, comically huge age gap between the leads. He knows we disapprove, and he does not care. Are you trolling us, Woody? (1:40) Albany, Clay, Piedmont, SF Centre. (Eddy) Me and You Bernardo Bertolucci’s Me and You is this once-towering director’s first feature in over a decade spent sidelined by crippling back pain. But it’s also his best since at least 1990’s The Sheltering Sky, despite some limitations to the material adapted from Niccolò Ammaniti’s novel. In some respects, it’s a flashback to 1979’s cultishly adored, popularly reviled Luna, again mixing up awkward male adolescence, heroin addiction, and diva behavior. Lorenzo (Jacopo Olmo Antinori) is a more-than-usually withdrawn teen, perhaps due to major acne and his parents’ separation. When the mom he’s exhausting with his attitude (Sonia Bergamasco) sends him off to ski camp, he quails at joining so many prettier peers. Instead, he sneaks back for a week of blissful solitude in their apartment building’s conveniently well-supplied basement. This curmudgeon’s idyll, however, is interrupted by another fugitive. Lorenzo’s older half-sister Olivia (Tea Falco) is a decadent wild child temporarily out of allies, and horse. She needs a place to crash and withdraw. Yelps that he’d prefer being alone don’t get pimply Lorenzo very far, as Olivia is “not exactly dying to be in this craphole.” She’s here because it’s her only option. Bertolucci embarrassed himself with a couple of later movies (1996’s Stealing Beauty, 2003’s The Dreamers) in which he seemed a stereotypical old artiste ogling young flesh. Me and You doesn’t go where you might expect, but neither do its characters develop in otherwise sufficiently surprising or revealing ways. Once they’re trapped in the basement, the movie remains fascinating, but the fascination is all directorial rather than narrative. It’s a master class in execution with a definite minor in content. (1:43) Roxie. (Harvey) A Most Wanted Man Director Anton Corbijn’s film may not be the greatest John le Carré adaptation in recent years (see: 2011’s Tinker Tailor Soldier Spy), but it’s still a solid thriller, anchored by Philip Seymour Hoffman’s turn as Günther Bachmann, the once-bitten-but-not-yet-shy head of an top-secret branch of Germany’s FBI/CIA equivalent. Its task: spying on Hamburg’s Islamic groups, where the 9/11 attacks were planned, though the enemies that Bachmann faces come mostly from within the greater intelligence community, including his superiors. Never before has the phrase “the Americans have taken an interest” been so chilling, especially to a guy who is just trying to do his job, if only everyone else (including Robin Wright as one of those meddling Americans) would keep their sticky mitts off his delicately planned surveillance operations. There’s a forward-moving plot, of course, about a Chechen-Russian illegal immigrant with a huge inheritance who might be a terrorist (Rachel McAdams plays his human-rights lawyer), but could also serve a greater purpose by helping bring down an even bigger target. And while A Most Wanted Man‘s twists and turns, involving Willem Dafoe as a banker who becomes a reluctant player in Bachmann’s scheme, are suspenseful, Hoffman’s portrayal of a man trapped in a constant maze of frustration — good intentions cut off at every turn, dumping booze into his morning coffee, breaking up a bar fight, ruefully admitting “I am a cave dweller,” visibly haunted by past errors — is the total package, a worthy final entry in a career that ended way too early. (2:02) Embarcadero, Four Star, 1000 Van Ness, Presidio, Shattuck. (Eddy) Obvious Child We first encounter the protagonist of writer-director Gillian Robespierre’s funny, original film — a Brooklyn-dwelling twentysomething named Donna (Jenny Slate), who works at a lefty secondhand bookstore and makes regular (if unpaid) appearances at a local comedy night — onstage mining such underdiscussed topics as the effects of vaginal discharge on your garden-variety pair of underwear. This proves a natural segue to other hefty nuggets of embarrassment gold concerning her love life, to the dismay of boyfriend Ryan (Paul Briganti), auditing from the back of the club. He pretty much deserves it, however, for what he’s about to do, which is break up with her in a nasty, well-populated unisex bathroom, taking time to repeatedly glance at the texts coming through on his phone from Donna’s good friend, with whom he’s sleeping. So when Donna, mid-drowning of sorrows, meets a nice-looking fellow named Max (Jake Lacy) at the bar, his post-fraternity-presidency aesthetic seems unlikely to deter her from a one-night stand. The ensuing trashed make-out dance-off in Max’s apartment to the Paul Simon song of the title is both comic and adorable. The fractured recap of the evening’s condom-free horizontal events that occurs inside Donna’s brain three weeks later, as she hunkers down with her best friend, Nellie (Gaby Hoffmann), in the bookstore’s bathroom after peeing on a stick, is equally hilarious — and unwanted-pregnancy jokes aren’t that easy to pull off. Robespierre’s treatment of this extended windup and of Donna’s decision to have an abortion is a witty, warmhearted retort to 2007’s Knocked Up, a couple generations’ worth of Hollywood rom-com writers, and an entertainment industry that continues to perform its sweaty contortions of storytelling in the gutless cause of avoiding the A-word. (1:15) Opera Plaza. (Rapoport) The One I Love Sophie (Elisabeth Moss) and Ethan (Mark Duplass) have hit a speed bump in their relationship — they don’t have fun together like they used to, and even direct attempts to replicate that past magic fall completely flat. Ergo they take the advice of a couples counselor (Ted Danson) and book a weekend at a country getaway he swears has done “wonders” for all his previous clients in relationship trouble. Things get off to a pleasant enough start, but the duo’s delight at recapturing their old mojo becomes complicated when they realize … well, it’s best to know as little as possible going into The One I Love, a first feature for director Charlie McDowell and scenarist Justin Lader that approaches a fantastical narrative idea with a poker face and considerable ingenuity. Duplass and (especially) Moss are terrific in roles that eventually require some very complicated (and subtle) nuances. (1:31) Presidio. (Harvey) Rich Hill Documentarians Andrew Droz Palermo and Tracy Droz Tragos’ exquisite Sundance Grand Jury Prize winner Rich Hill spends some months in the company of three boys living in particularly problematic circumstances in the depressed titular Missouri small town. The future doesn’t look bright, but then their present is already pretty bleak. Harley is a rather thick teen with serious anger-management issues who’s fallen into the weary care of his grandmother. His mother is in prison. When we learn why, it explains a great deal about why he always teeters on the edge of violent rage. The younger Appachey, barely adolescent but already dropping f-bombs like a cranky Teamster, lives in chaotic near-squalor with his mother and junior siblings. And you can tell the filmmakers’ favorite is Andrew; the adorable 14-year-old is an oasis of faith and positivity despite the shitstorm of bad luck life’s already dealt him. “We’re not trash, we’re good people,” he says at one point, though one imagines his hapless, transient family might be regarded as the former by some of Rich Hill’s more respectable 1,393 citizens. Later he rationalizes continued dire straits by musing, “God must be busy with everyone else,” a statement of dogged hope rather than bitterness. Rich Hill is more beautifully crafted, notably in the realm of Palermo’s gorgeous cinematography and Nathan Halpern’s musical scoring, than documentaries are supposed to be these days. The lyricism never seems forced, however. This is a movie about young American lives orphaned by globalization and trickle-up, among other factors — the kinds of small-town heartland existence they were born into has already been written off as unprofitable. (1:31) Roxie. (Harvey) Sin City: A Dame To Kill For (1:38) Metreon, 1000 Van Ness, Presidio, Sundance Kabuki. Snowpiercer Eighteen years after an attempt to reverse global warming has gone wildly awry — freezing all life into extinction — the only known survivors are on a one-of-a-kind perpetual-motion train that circles the Earth annually, has its own self-contained ecosystem, and can smash through whatever ice buildup has blocked its tracks since the last go-round. It’s also a microcosm of civilization’s worst class-economic-racial patterns over history, with the much-abused “tail” passengers living in squalor under the thumb of brutal military police. Unseen at the train’s front is its mysterious inventor, Wilford, whose minions enforce “Eternal Order Prescribed by the Sacred Engine.” Curtis (Chris Evans) is default leader of the proletariat’s latest revolt, in which they attempt to force their way forward though the prison section (where they free Song Kang-ho and Go Ah-sung as the train’s original lock designer and his psychic daughter) on to the wonders of the first class compartments, and beyond. This first (mostly) English-language feature by South Korean Bong Joon-ho (2006’s The Host, 2009’s Mother), based on a 1982 French graphic novel, starts out as a sort of locomotive, claustrophobic Mad Max (1979) variation. But it gets wilder and more satirical as it goes along, goosed by Tilda Swinton’s grotesquely comic Minister Mason, and Alison Pill as a teacher propagandist in a particularly hilarious set piece. In case the metaphor hasn’t already hit you on the head, one character explains “The train is the world, we the humanity.” But Snowpiercer‘s sociopolitical critique is as effective as it is blunt, because Bong handles everything here — visceral action, absurdist humor, narrative left-turns, neatly etched character archetypes, et al. — with style, confidence, and wit. Some of the FX may not be quite as seamless as it would have been in a $200 million Hollywood studio production, and fanboys will no doubt nitpick like nitwits at various “credibility gaps.” (As if this movie ever asks to be taken literally.) But by current, or any, sci-fi action blockbuster standards, this is a giddily unpredictable, risk-taking joy. (2:07) Four Star. (Harvey) Teenage Mutant Ninja Turtles Years from now, film scholars will look back at these creatively bankrupt (if box office-rich) times and blame Michael Bay for many evils, including a garish Transformers series that won’t die. He also produces this theatrical reboot of a kiddie action series (currently enjoying a TV cartoon renaissance on Nickelodeon) that probably should’ve been left in the sewer after 2007’s TMNT — star Chris Evans thanks you for forgetting that even existed — or, even better, after revealing the secret of the ooze in the 1990s. But Teenage Mutant Ninja Turtles is here to stomp all over nostalgic goodwill, not to mention take advantage of CG advancements that render its heroes as “real” as pumped-up reptiles with weapons can be, with a 3D coating that does allegedly human but suspiciously plastic co-star Megan Fox no favors. If you can get past that eeriness, you won’t be rewarded for your efforts; the jokes are either unfunny or pointless (are we really still referencing the Lost finale?), and the plot is so insultingly predictable William Fichtner’s character might as well be named “S
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]	null	[]	null		en	/static/favicon/community.ico		https://meta.wikimedia.org/wiki/CEE/Newsletter/January-March_2023	By: Toni Ristovski & Barbara Klen (CEE Hub) Zagreb Meeting which took place on 31st of March and 1st of April 2023 was the first in-person meeting of the CEE Hub Steering Committee (SC) members and employees of the CEE Hub. The meeting was semi-closed; the whole first day and the first half of the second day were open only to the SC members and employees. During the second half of the second day, sessions were open for special advisors of the CEE Hub and also for the participants from the wider group of supporters of the CEE Hub, as well as some Wikipedians/Wikimedians from the region. Some of them participated in the meeting online while others came to Zagreb (Croatia). At the meeting, SC members along with the employees of the CEE Hub, successfully made a list of the planned activities which the CEE Hub will focus on during the year, which will replace the initial planned activities in the grant proposal. Activities still will be divided on the same three pillars as the initial activities: Administrative, Programmatic and Communication. Discussion This meeting was dedicated to discussing the initial programme of the CEE Hub, focusing on three pillars: administrative, programmatic and communication. These three pillars represent the support which the CEE Hub staff is providing to the CEE communities in the form of numerous activities and sub-activities (e.g. support while writing grant applications, organising learning clinics, purchasing on demand promo materials). Although further and more detailed elaboration of activities which were a part of the initial CEE Hub grant proposal was the main point of the discussion, during this meeting we debated other topics as well: CEE Hub support for CEE Spring, CEE Meeting 2023 and 2024, and Wikimania 2024, cooperation with others and the CEE Hub budget. During the second day we commenced analyzing the current and future governance model of the CEE Hub focusing mainly on examining how the SC members should be elected and how to organize the voting system. Also, a very important part of the discussions was the CEE Hub vision - what and where we want to be in the future. Conclusions This meeting provided enough time to open discussion about all important and open questions. Unfortunately there was not enough time to conclude all discussions. Therefor the SC members decided to continue working on the following topics: CEE Hub Vision Governance model of the CEE Hub CEE Hub support for cross regional events and meetings (such as CEE Spring, CEE Meeting, Wikimania) Gallery Discussion during second day Group photo of the SC members CEE Hub employees Discussion during second day By: AntonProtsiuk (WMUA) (Wikimedia Ukraine) Since 2018 Ukrainian Wikipedia has been among the most active participant communities of WikiGap, the global initiative designed to improve representation of women on Wikipedia and bridge the gender gap. Over the past five years, around 350 people joined the challenge by creating and improving close to 4,000 articles about women in the Ukrainian language. In 2023, Wikimedia Ukraine organized the challenge on Ukrainian Wikipedia once again, with the help of our long-term partners – Swedish Embassy in Ukraine, National Democratic Institute, and UNFPA Ukraine. The online campaign ran for close to three weeks in March. We invited everyone to join and create or improve an article about a notable woman. As an incentive to join – apart from contributing to the mission of bridging the gender gap on Wikipedia – we’re sending souvenirs for everyone who created / improved at least two articles within the campaign. As a result, 90 Wikipedians joined the challenge in 2023; collectively they created 704 new articles about women and improved 38 existing ones. (80 participants are eligible to receive souvenirs for their participation, having worked on at least two articles). We’re especially pleased to see that four articles are now candidates for the “good article” status. One of them is about prominent Ukrainian biologist Valentyna Radzymovska, who was erased from the Soviet history books but is remembered in independent Ukraine. “I participate in WikiGap regularly because I believe that the low representation of women in Wikipedia and in the media space is a problem that needs attention. The topics of women in science, women’s education of the 19th and early 20th centuries, and women’s organizations are especially close to me”, says user Brunei, the article’s lead author and a biologist himself. Within WikiGap 2023 we supported two offline events. The main one took place in Kyiv, where 17 people came on a Saturday to work collectively on contributing to Wikipedia around WikiGap topics. Besides, Wikimedia Ukraine's volunteer Daryna (user Rina.sl) held a training session for Ukrainians abroad in Gdańsk, Poland, gathering 6 people. A few insights from organizing the campaign this year and before: Promotion on social media is useful for building broader awareness but not so effective for attracting actual participants. The most effective communications tools for bringing new people are the CentralNotice banner and communication with participants of previous similar campaigns via MassMessage. People are hungry for in-person communication after three years of the pandemic and the war, so it was quite beneficial to meet offline – both to work on WikiGap articles directly but also as a tool for community building. Unfortunately, because of the war, the scale of offline events this year was much smaller than it used to be before 2020. It’s highly useful for us to have long-term partners. While we at Wikimedia Ukraine do most of the legwork in terms of organizing the campaign onwiki and promoting it among community members, the partners are quite helpful in spreading broader public awareness about the cause, as well as by providing material help (such as funding for offline events). Photos from the WikiGap event in Kyiv Further information WikiGap 2023 landing page on Ukrainian Wikipedia Poetry slam for Wikipedia, a debate on free licenses, the opening of the Czech Wiki Photo 2022 exhibition. Such a packed programme awaited those who decided to spend the evening of 13 January 2023 in Charles University’s „Didaktikon“ space. The programme attracted over a hundred spectators and the event was definitely a success. The programme started with a debate on free licenses The programme started in the afternoon with a debate on free licenses, to which four experts with expertise directly or indirectly related to the issue of free licenses were invited. The debate offered a reflection on the nature of free licenses, their purpose and the legal questions they raise. The fact that the intended 90-minute debate stretched to two hours, also thanks to questions from the audience, shows that there was much to discuss. Poetry slam for Wikipedia and education made dozens of spectators laugh Poetry slam, a performative poetry genre, has enjoyed unprecedented popularity in the Czech Republic in recent years. Considering the fact that two employees of Wikimedia Czech republic are involved in it, and that perhaps the most famous Czech poetry slam performer Anatol Svahilec is a passionate Wikipedian, the connection was clear. After last year’s premiere, we knew that we had to repeat the poetry slam for Wikipedia, and it was not a mistake. Potopa Basha talked about how easy it is to deviate from the original query when searching the internet. The bronze medalist of the European Poetry Slam Championship, Vašek z Aše, reflected on how to use everything he learned in primary school in everyday life. “Nothing like recaping polyethylene first thing in the morning,” he said. As the winner of the evening, the audience chose Dejv with a poetry slam in which he thinks about what would happen if Czech celebrities looked up their defining topics on Wikipedia. The one and only Anatol Svahilec hosted the whole show and the audience fell in love with his improv slam on Wikipedia. “I don’t even remember the last time I giggled like that all evening,” Zdeněk Svatoš, a Wikipedian and a graduate of our Seniors Write Wikipedia course, told us after the event. Czech Wiki Photo 2022 exhibition will be on display until the end of February We are very pleased that the exhibition was opened by the Rector of Charles University Milena Králíčková, and we officially signed a memorandum on this day to confirm our broader cooperation with the University, about cooperation regarding Students write Wikipedia and more. On the occasion of the exhibition, a member of the Czech Wiki Photo jury, internationally award-winning photographer Edita Bízová, spoke. The results of Czech Wiki Photo 2022 have been officially announced and we can already look forward to the next edition of the competition for the best Czech photo uploaded on Wikimedia Commons. The exhibition will be on display till the end of February in Prague. You can also see the competition’s results online. By Kruusamägi From time to time we all probably have read or heard about the attempts to close or censor Russian Wikipedia, however so far it has not been successful. The question is, could someone in Estonia succeed in what Putin has not succeeded in? In January this year for the first time an Estonian Wikipedian was taken to court for his editing. The claim was directed against the chairman of Wikimedia Estonia Ivo Kruusamägi and two Reform Party politicians. To put it in a nutshell the Estonian businessman and a local party sponsor Parvel Pruunsild stated his dislike of the Wikipedia article about him and filed a claim in Court to get it changed. More specifically, the Wikipedia article about him referred to the fact that Mr Pruunsild had a connection to the highly controversial pension reform that came into existence in Estonia in 2021. People were then allowed to take out their pension savings, and in September of that same year, around 1.3 billion euros exited retirement accounts. Earlier, in 2019 the news publications were expressing suspicions about Pruunsild’s bank potentially earning millions of additional income due to this reform, which he had been eagerly supporting. The lawyers hired by Mr Pruunsild made several attempts to remove this info section from Wikipedia, that mention he had some connections to the reform, by deleting it as anonymous editors (for example here). As administrators rejected all attempts to erase that information, the lawyers decided a month later that it was time to bring this to the court. “This is slander, pure and simple," the businessman commented in the Estonian paper. Let it be mentioned that the information in the Wikipedia article was based on the newspaper source (Eesti Ekspress) and it was correctly cited in the article. Should Mr Pruunsild have started refuting the information he considered slanderous from a newspaper article? This step, however, was skipped. But among the people who had raised suspicions he chose two politicians from the opposing party and sued them as well. Before the lawsuit was filed we were given 24 hours to remove the paragraph from the article. They probably expected that Wikipedia would obey their orders, but the opposite happened. We arranged a flood of media coverage about the topic and hired one of the best lawyers in the country on SLAPP cases. Now everyone knows Mr Pruunsild was connected to the pension reform and also that he has sued Wikipedia. It is not really good PR by any standards, is it? And his chances of winning came close to none as the case was rather dubious, to begin with. We pointed out in the media: “Wikipedia, like any other encyclopedia, publishes summaries of original sources. Those who do not like it are free to turn to, for example, the newspaper and demand they overturn their claims, and if they manage to convince the paper to do that, Wikipedia will report that the paper first said one thing about them and then something else". Although, from Wikipedia's point of view, it would be very convenient to destroy Mr Pruunsild’s claims in court and it would be a good warning for the future it would inevitably involve a large expenditure of time and money. So in March, when Pruunsild's lawyers offered a compromise, according to which they would withdraw the lawsuit, it was accepted. It was also agreed that both parties would pay their own expenses. Of course, there was no reason to expect that they would apologize or pay the expenses themselves. Obviously, their costs were significantly higher, in our estimates at 5,000 - 10,000 euros. Too bad no one mentioned to Mr Pruunsild earlier that Wikipedia can be edited for free, you just have to follow the rules. After the case started, the Wikipedia article was quickly expanded and the topic was brought up in the media. The article section that was requested to be removed is now longer than the original article. Also, those people who perhaps had not read the relevant newspaper articles years ago are now familiar with the topic and know about his connection with the pension reform. Additionally, a section has been added to the article regarding the court case itself. It will probably be expanded in the future, because the court case against two other defendants, the former Prime Minister of Estonia Andrus Ansip and the former minister Jürgen Ligi, continues. We are yet to see how he plans to demonstrate the claims, that a businessman may do something to earn money, as slander. As Englishmen like to say: “When life gives you lemons, make lemonade”. What better promotion campaign for Wikipedia could there be? Further information An opinion piece in Estonian By Zblace After the breakup of the Socialist Federative Republic of Yugoslavia, the language most commonly known as Serbo-Croatian (now discussed mostly as BCMS pluricentric language, spectrum or continuum), a language of 20+ million speakers, started to disappear (at least under that name) as a standard language in the former federative republics, now independent countries. For the last 30 years, the young populations of Croatia, Serbia, Bosnia & Herzegovina and finally Montenegro nowadays call their official standard languages Croatian, Serbian, Bosnian and Montenegrin language, mostly without thinking about it, while for those who lived in 80s shared Yugoslavia experience, there is an afterthought. The originating language shared among all these language standards was actually created based on a dialect of South Slavic languages that is used far away from both Belgrade (Serbia) and Zagreb (Croatia), which are now polarising standardisation axis ends. It was created from the štokavian dialect spoken along border of Herzegovina to Montenegro, mostly as an emancipation coordination act of that highly rural and fragmented region, supported by than still strong Dubrovnik Republic city-state with interest in emancipating South Slavs also against then powerful Venice. Standardisation was later (Vienna Literary Agreement). Wikimedia currently hosts 4 separate Wikipedia language instances as equal: HR/Croatian, SR/Serbian and BS/Bosnian - and also a SH/Serbo-Croatian language instance of Wikipedia, the latter was actually the first one among ex.Yugoslav Wikipedias (before splintering off BS and others following, with their copies of base articles)...as well as much younger, smaller (but not too small) Montenegrin, albeit in Wikimedia Incubator, a wiki that hosts language test projects before they spin-off into own wiki instances. Since 2006 the Montenegrin language is the official language of Montenegro, smallest of countries that split from original SFR Yugoslavia, and it has its own language code: cnr (SIL, Glottolog), ISO 639-1 or 639-3. Montenegrin language is the only official language deriving from the Serbo-Croatian spectrum which does not yet exist as a separate Wikipedia. Since 2017 Montenegrin Wikipedia has a status of incubator project and since (at least) 2022 this incubator project was partially disabled without discussion and communication with the Montenegrin community, including its test-admin. This disabling means that new users can not create new pages to be added, though existing pages can be edited. The future of the Montenegrin language incubator is formally in the hands of Wikimedia Language Committee (LangCom) whose members are to decide if the whole Montenegrin Wikipedia incubation should be declared as eligible (or not) now for the 5th time. Unfortunately they have little capacity (all volunteer positions) and overview (no proper research of context aside from formal checks is really done). The Meta discussion on this topic can be followed here. The most important point that LangCom makes on this page, and which shows the direction towards which they are leaning when making this important decision, is the following: ‘Montenegrin is little more than Ijekavian Serbian dialect with two additional sounds and letters’ (mind you unlike any other of mentioned languages), so for them it does not seem that Montenegrin Wikipedia would be different from Serbian in any ‘meaningful’ way. If the current project creation rules had been in place before, the Serbian, Croatian and Bosnian Wikipedias would not have been created as projects separate from the original Serbo-Croatian Wikipedia, for at least the reasons above. Because those Wikipedias already existed when the current project creation rules were adopted, they are from the point of view of LangCom allowed as "grandfathered". But they do not want to create new projects violating the new policy. The first, second and third requests for a Montenegrin Wikipedia were all rejected for this very same reason. The ISO code has also been mentioned as a reason, especially in the fourth request, but it's hardly been the only reason for rejection. Approval of an ISO code does not really change this fact. An ISO code is necessary in order for a project to be approved in Incubator, but just having an ISO code does not automatically give you the right to a Wikipedia project. Therefore some of the LangCom members ‘feel’ ‘that the Montenegrin community should be able to contribute to, and participate in, the community of the Serbian Wikipedia, the Serbo-Croatian Wikipedia, or both. It should not need a separate project.’ On one hand it might be adequate according to current LangCom regulations to block the Montenegrin Wikipedia project…on the other hand is it in line with Wikimedia rules to support at the same time Serbo-Croatian, Serbian, Croatian and Bosnian Wikipedias although according to LangCom all these should not even exist at the same time? According to some of the LangCom members these three would not have been created as projects separate from the original Serbo-Croatian Wikipedia if current rules apply (to all retroactively). This decision might be (according to current rules) fully formally lingual or not, but shouldn’t WMF and LangCom be considering diverse perspectives and local/regional context when deciding on such sensitive issues? Should they not consider past decisions (recognizing separate languages and sustaining Serbo-Croatian) and tentative repercussions for the future? This is the future where equity should be central, when most of the small Wikipedias will likely use Abstract Wikipedia/WikiFunctions or other systems that would create much of base articles, while local and unique content will be the most precious. Montenegrin has been a separate language standard for 18 years now (with valid ISO code) that also has two additional letters (compared to others). Meanwhile Montenegro periodically experiences ongoing war-like tensions with Serbia, so both linguistically, culturally and socially there is a need for a separate Wikipedia project, rather than assume collaboration and commitment. Having a Wikipedia has long been not only a thing of just language distinction but also a matter of social and cultural distinction. Wikipedia is nowadays even used to emancipate, empower and elucidate preservation of (sub) cultures (often minority speaking populations, languages close to extinction, or even artificial languages). Since the local language is not supported with Wikipedia in Montenegrin, the content gap (especially if you consult Wikidata) is just rapidly increasing instead of shrinking when compared with all other regional languages, and especially with Serbian, which is the fastest growing and for 15 years the only well-resourced language of C-B-M-S spectrum with two distinct affiliates (all others have none). Mind you SR Wikipedia is by now about 2 times bigger than SH, 3 times than HR and 7 times than BS, but that only concerns article pages, not depth, no Commons, no Wikidata, where the gap is even greater. The reality of hosting Montenegrin Wikipedia in the Incubator (in terms of resources) does not cost WMF anything extra (no need to fake scarcity) and requires no action (no extra for sure). Blocking it however will render a full state and one language standard unwelcome (including its institutions and a half a million people), rendering for example Outreach work in GLAM and Education there impossible…while providing even more indirect support to those who are against it for different types of arguments (often mutually exclusive radically left, right or liberal in political/cultural/economic rationalities)... Blocking or marking Montenegrin Wikipedia Incubator project as not eligible is also neither urgent nor useful and it will for sure become a public matter at least for Montenegrins that will waste more energy and create more frustration/conflicts…so why not just…let it be?!. Z. Blace (User:Zblace) is Wikimedian engaged in topics of content, participation and method gaps, member of several user groups and initiatives, currently working on Incubating HBS Wikivoyage as an effort to diversify collaborations and contributions strategies and options.
1053	dbpedia	3	17	https://www.wikiwand.com/en/Bjelo_Dugme	en	Bijelo Dugme	https://wikiwandv2-19431…s/icon-32x32.png	https://wikiwandv2-19431…s/icon-32x32.png	[ "https://upload.wikimedia.org/wikipedia/en/thumb/a/ad/Dugme_1974.jpg/280px-Dugme_1974.jpg" ]	[]	[]	[ "" ]	null	[]	null	Bijelo Dugme was a Yugoslav rock band, formed in Sarajevo, SR Bosnia and Herzegovina in 1974. Bijelo Dugme is widely considered to have been the most popular band ever to exist in the former Socialist Federal Republic of Yugoslavia and one of the most notable acts of the Yugoslav rock scene and Yugoslav popular music in general.	en	https://wikiwandv2-19431…icon-180x180.png	Wikiwand	https://www.wikiwand.com/en/Bijelo_Dugme	This article is about the band. For the eponymous album from the band, see Bijelo Dugme (album). Bijelo Dugme (trans. White Button) was a Yugoslav rock band, formed in Sarajevo, SR Bosnia and Herzegovina in 1974. Bijelo Dugme is widely considered to have been the most popular band ever to exist in the former Socialist Federal Republic of Yugoslavia and one of the most notable acts of the Yugoslav rock scene and Yugoslav popular music in general. Bijelo Dugme was officially formed in 1974, although the members of its default lineup—guitarist Goran Bregović, vocalist Željko Bebek, drummer Ipe Ivandić, keyboardist Vlado Pravdić and bass guitarist Zoran Redžić—had previously played together under the name Jutro. The band's 1974 debut album Kad bi' bio bijelo dugme brought them nationwide popularity with its Balkan folk-influenced hard rock sound. The band's subsequent several studio releases, featuring similar sound, maintained their huge popularity, described by the Yugoslav press as "Dugmemania". Simultaneously, the band's material, especially their symphonic ballads with poetic lyrics—some written by poet and lyricist Duško Trifunović—was also widely praised by music critics. In the early 1980s, with the emergence of Yugoslav new wave scene, the band moved towards new wave, managing to remain one of the most popular bands in the country. After the departure of Bebek in 1983, the band was joined by new vocalist Mladen Vojičić Tifa, whom the band recorded only one self-titled album with. The band's next (and last) vocalist, Alen Islamović, joined the band in 1986, and with him Bijelo Dugme recorded two albums, disbanding in 1989. In 2005, the band reunited in the lineup that featured most of the musicians that passed through the band, including all three vocalists, for three concerts, in Sarajevo, Bosnia and Herzegovina, in Zagreb, Croatia and in Belgrade, Serbia, the concert in Belgrade being one of the highest-attended ticketed concerts of all time.
1053	dbpedia	0	15	http://www.pugachov.ru/eem/rafram.html	en	Encyclopedia of Electronic Music			[]	[]	[]	[ "" ]	null	[]	null					null
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as a microcosm of the split-level movie market. The upstairs screens—the big ones, up there with all the	en	https://www.nashvillescene.com/content/tncms/site/icon.ico	Nashville Scene	https://www.nashvillescene.com/arts_culture/reel-nashville-2005/article_678d990a-53f4-59f3-b9f6-7c2d0787d3a4.html
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"https://static.wikia.nocookie.net/f3fc9271-3d5e-4c73-9afc-e6a9f6154ff1", "https://static.wikia.nocookie.net/464fc70a-5090-490b-b47e-0759e89c263f", "https://static.wikia.nocookie.net/f7bb9d33-4f9a-4faa-88fe-2a0bd8138668" ]	[]	[]	[ "" ]	null	[ "Contributors to Military Wiki" ]	2024-08-29T17:42:07+00:00	The Great Retreat, also known in Serbian historiography as the Albanian Golgotha[4] (Serbian language: Албанска голгота / Albanska golgota), was a strategic withdrawal of the Royal Serbian Army, which marked the end of the second Serbian campaign of World War I. In late October 1915, Germany...	en	/skins-ucp/mw139/common/favicon.ico	Military Wiki	https://military-history.fandom.com/wiki/Great_Retreat_(Serbian)	Not to be confused with Great Retreat (Russian). Great Retreat (Serbia) Part of Serbian campaign of World War I Albanian Golgotha Serbian troops retreating through the mountains Type Strategic withdrawalLocation Kosovo, Serbia to Adriatic coast through Albania and Montenegro Planned by Serbian Army High CommandCommanded by Field Marshal Radomir PutnikObjective Reaching the Adriatic coastDate 25 November 1915 ( ) – 18 January 1916 (1916-01-18)Executed by Royal Serbian Army (with civilian refugees and Austrian prisoners)Outcome Evacuation to CorfuCasualties Serbian soldiers[1] 77,455 dead 77,278 missing Serbian civilians[2] 160,000 dead Habsburg POWs[3] 47,000 dead The Great Retreat, also known in Serbian historiography as the Albanian Golgotha (Serbian language: Албанска голгота / Albanska golgota), was a strategic withdrawal of the Royal Serbian Army, which marked the end of the second Serbian campaign of World War I. In late October 1915, Germany, Austria-Hungary and Bulgaria launched a synchronised major offensive against Serbia. That same month, France and Britain landed four divisions at Salonika, but were unable to move north to help their outnumbered Serbian ally caught between the invading forces. The Serbs slowly retreated southwards with the plan to withdraw into Macedonia to link up with Allied forces. After Bulgarian forces prevented a French advance in the Vardar Valley and the defection of Greece, the Serbs found themselves swept together in the plain of Kosovo by the converging Austro-Hungarian, German, and Bulgarian columns; few options remained to escape the invaders encirclement.[5] On 23 November 1915, the government and the supreme command made the decision to retreat across the mountains of Montenegro and Albania where they hoped to reach the Adriatic coast and be rescued by Allied ships. The retreat took the remnants of the army together with the King, hundreds of thousands of civilian refugees as well as war prisoners, across some of the roughest terrains in Europe in the middle of winter, enduring harsh weather, treacherous roads, and enemy raids. Between November 1915 and January 1916, during the journey across the mountains, 77,455 soldiers and 160,000 civilians froze, starved to death, died of disease or were killed by enemies. Austrian pilots used the new technology of the time dropping bombs on the retreating columns in what has been called 'the first aerial bombardment of civilians'. Out of the 400,000 people who set out on the journey, only 120,000 soldiers and 60,000 civilians reached the Adriatic coast to be evacuated by Allied ships to the island of Corfu where a Serbian government-in-exile headed by Prince-Regent Alexander and Nikola Pašić was established. 11,000 more Serbs would die later of disease, malnutrition, or exposure sustained on the retreat. In some sources published following the conflict, the event was described as the greatest and most tragic episode of the Great War.[7] Background[] Serbian campaign[] On July 28, 1914, a month after the assassination of Austrian archduke Franz Ferdinand, Austria-Hungary, the second-largest country in Europe, declared war on Serbia. Five months later after suffering a third major defeat on the battlefield,[8] the Habsburg monarchy was left humiliated by "the peasant regiments of a small Balkan kingdom". Franz Ferdinand had not been avenged, with the Dual Monarchy losing twice as many men as the Serbs had. The blow to Habsburg prestige was incalculable and Serbia marked the first Allied victory of World War One.[9][10] In early 1915, the German chief of the general staff von Falkenhayn convinced the Austro-Hungarian chief of staff von Hoetzendorf to launch a new invasion of Serbia. In September Bulgaria signed a treaty of alliance with Germany and quickly mobilized its army.[11] On 6 October 1915, combined German and Austro-Hungarian forces under the command of Field Marshall August von Mackensen attacked Serbia from the north and west with the intention of drawing the bulk of the Serbian forces along the Sava and Danube.[12] On 11 October, without a previous declaration of war, the Bulgarians started making attacks on Serbian border positions. On 14 October Bulgaria finally declared war on Serbia and the First and Second Armies, under the command of General Boyadzhiev, advanced into the Timok region of northeastern Serbia[13] with the mission of cutting the vital rail line that ran from Salonika up the Vardar and Morava River valleys, and depriving Serbia of reinforcements and artillery ammunition.[14] Numbering nearly 300,000 men, the forces of Bulgaria quickly overwhelmed the weak Serbian units along the frontier.[13] The Serbian Army had 250,000 men of which a large number were already battling 300,000 Germans and Austrians in the north. In addition, Austrian troops soon started marching from Dalmatia.[15] Facing a front of 1,200 kilometres (750 mi) against three armies and as promises of aid and reinforcements from the Allies fell through, the Supreme Command of the Serbian Army started an organised retreat towards Kragujevac and Niš.[15] On 6 November the Bulgarian First Army made contact with General Gallwitz's Eleventh German Army in the vicinity of Niš; on 10 November they crossed the Morava River about 18 miles (29 km) south of Niš and struck the Serbs. For two days, the greatly outnumbered Serbian army held Prokuplje but eventually had to retreat.[12] The pressure of the Austro-Hungarians, the Germans, and the Bulgarian First Army in the north and the Bulgarian Second Army advancing from the east forced the Serbs to retreat in a southwesterly direction into Kosovo. Prelude[] Kosovo Polje[] Main article: Kosovo Offensive (1915) In mid-November, the Serbian armies reached Pristina ahead of their pursuers, but were unable to break south through the blockade of the Bulgarian Second Army at Kačanik Pass near Skopje, in order to reach Salonika and establish the liaison with the French troops of General Sarrail.[12] The goal of Mackensen was to corner the Serbs in the Kosovo area and force them to fight a decisive final battle.[17] The rupture of communications between Niš-Skopje-Salonika and the rupture of the liaison with the Allies brought the army into a most critical situation. Field Marshal Putnik began concentrating his troops for the purpose of securing access to the plateau of Gnjilane known as the "Field of Blackbirds".[3] The Austrian Luftfahrtruppen, that until then provided air support to the Austro-Hungarian army and communications between the German Eleventh and Bulgarian First Armies, started using reconnaissance aircraft to carry out bombing missions across the plain of Kosovo, striking the columns of refugees and blurring the lines between combatants and noncombatants in what has been called "the first-ever aerial bombardment of civilians". Albanians hostile to Serbs mounted guerrilla actions picking off weak detachments, acting in revenge for the repression they endured following the transfer of the province from Ottoman to Serbian and Montenegrin territory two years earlier.[20] The entire Bulgarian army, supported from the north by parts of the Eleventh German Army, now advanced against the Serbs. Following intense fighting on 23 November, Pristina and Mitrovica fell to the Central Powers and the Serbian government abandoned Prizren, its last temporary capital in Serbia.[22] Only three possibilities were considered: capitulation and separate peace, a final honourable-but-desperate battle of annihilation, or further retreat. Nevertheless, only retreating and counterattacking were seriously considered, while capitulation was not an option on the table; the Serbian government led by Prime Minister Nikola Pašić, Prince Regent Alexander and the Supreme Command under Field Marshall Radomir Putnik made the decision to order a general withdrawal and fight on from exile.[15] The only possible avenue of escape lay to the southwest and northwest, over the towering Korab and Prokletije mountain ranges of Albania and Montenegro, part of the Dinaric Alps, a region of which the mean altitude is over 6,000 feet (1,800 m) as the snow began to fall. The Serbian Government planned to reorganise and reform the army with the help and support from the Allies. On 23 November, Vojvoda Putnik ordered all Serbian forces to use the last of the artillery ammunition and then bury the cannons, taking the breechblocks and sights with them; if burying the guns was impossible, they were to be rendered useless.[14] Putnik also ordered that, to save them from being captured by the enemy, every boy near military age, from twelve to eighteen years old, 36 000 in total, was to follow the army and join the retreat with the goal of saving the country's manhood and raising soldiers for the future front. On 25 November 1915, an official order of retreat addressed to the commanders of all armies, was published by the Serbian High Command: The only way out of this grave situation is a retreat to the Adriatic coast. There our army will be reorganized, furnished with food, arms, munitions, clothing, and all other necessities which our allies will send us, and we shall again be a fact with which our allies must reckon. The nation has not lost its being, it will continue to exist even though on foreign soil, so long as the ruler, the government and the army are there, no matter what the strength of the army may be. Retreat[] The Serbian Army split into three columns heading towards the mountains of Albania and Montenegro, pursued by the Austro-Hungarian Tenth Mountain Brigade and by the German Alpine Corps.[12] The army's rock-bottom morale was boosted by the presence of the ailing, 71-year-old King Peter I, who had stepped aside on June 14 to let his son Prince Alexander rule as Regent but now resumed his throne to face the crisis with his people. The elderly monarch, who was almost blind, traveled through the mountains riding in an ox cart.[24] In order to evade General Mackensen's final encirclement effort, the Serbian army, and a mass of civilians fleeing the massacres perpetrated by Austro-Hungarian troops,[25] retreated along three routes, all converged on Lake Scutari, on the border of Albania and Montenegro, and from there headed towards the Adriatic.[26] Upon reaching Albania Essad Pasha Toptani, an Albanian leader and former Ottoman General, who was a Serb ally and the one central authority left in Albania, provided protection where this was possible.[27] Where he was in control, his gendarmes gave support to retreating Serbian troops, but as the columns moved to territories in the north, attacks by Albanian tribesmen and irregulars became commonplace.[28] The Serb-Montenegrin troops brutal actions in the First Balkan War, made many of the locals ready to take their revenge on the soldiers retreating through the mountain passes, continuing the cycle of revenge with killing and looting. Northern column[] The Northern column took the route across southern Montenegro, from Peć to Scutari, via Rožaje, Andrijevica and Podgorica.[17][30] The group was composed of the First, Second and Third Army and the troops of the defense of Belgrade. It contained the largest contingent of Serbian troops and it also included a mobile medical unit named "The first Serbian-English Field Hospital", with two doctors, six nurses and six ambulance drivers. The unit was headed by British nurse and commissioned major, Mabel Stobart.[31] The retreat of this force to Andrijevica was to take place under the direction of the First Army, which, with this object, was to occupy positions at Rožaje. Members of the Scottish Women's Hospitals for Foreign Service in Serbia also evacuated in this route, at times alongside the army.[32] The mission of the troops of the defense of Belgrade was to cover the retreat of the Army of the Timok as long as that army had not begun its movement of retreat, and then to retire in its turn.[7] Because of this, the northern column delayed its departure from Peć until 7 December. It also had the responsibility to act as a rearguard against an attack by the Austro-Hungarians, Bulgarians, and Germans. Tracing an arc from northwest to southwest through Montenegrin territory and skirting the northern border of Albania through the snow-covered mountains, hunger, exposure, and disease killed soldiers and civilians, as well as prisoners of war traveling with them, by the thousands.[33] Serbian officers and artillery crews in Montenegro handed over 30 cannons to the Montenegrin Army,[14] Montenegrin forces played a key role in covering up the withdrawal, most notably against Austro-Hungarian forces in the Battle of Mojkovac.[34] The northern column began to reach Scutari on 15 December. Central column[] The central column took the route through central Kosovo across northern Albania, from Prizren to Scutari via Lum and Pukë.[35] The central column consisted of the King, the Crown Prince, the administration and the Supreme Command of the Army. Once across the Vizier's Bridge, the troops, who had retreated from Macedonia, would continue west through Albania, ultimately to Alessio. The Timok Division would also continue to move south and then west through Albania to Durrës. It had the shortest route to the sea but encountered some resistance from hostile Albanians.[36] Regent Alexander crossed it in just two and a half days and the Serbian government set off on 24 November and reached Scutari four days later. The officers of the Supreme Command who accompanied the Chief of the General Staff Radomir Putnik took longer, leaving on 26 November and arriving in Scutari on 6 December.[34] Southern column[] The southern column followed the third route of withdrawal, from Prizren to Lum and further through the Albanian mountains to Debar and Struga.[36] The southern column was the first to depart and the last to arrive at the coast. The southern route presented the most direct way to make contact with Sarrail's Army of the Orient. The General Headquarters had asked the commanders of these groups to keep in constant telegraphic communication, but from the first day of the operations this was found to be impossible. The geography of the country did not allow of any other means of communication, so that the commanders of these groups were left to their own devices during the whole movement. All the troops part of this group were placed under the orders of the commander of the Army of the Timok.[7] The column left on 25 November and moved south all the way to Elbasan. Along the way it had to contend with Albanian resistance and Bulgarian attacks; on 10 December, the Bulgarians attacked Serbian positions along the crest of the Jablanica mountain range.[37] As the Bulgarians again reached Struga before them, Serbian soldiers and civilians turned southwesterly, marching down the Albanian coast to Valona and across via Tirana reaching Durrës on 21 December. Evacuation[] As early as 20 November, Pašić had sent an urgent message to Serbia's allies, asking for supplies, particularly food, to be sent to the Adriatic ports, but when the Northern and Central columns arrived in Scutari, they found the harbour empty of the foreign ships they had expected and hoped for. Food was dispatched from France and Britain but it was still in Brindisi in Italy. Fearing the presence of submarines, the Italians had only sent a few vessels,[13] a convoy sent to Skadar earlier was destroyed by the Austro-Hungarian navy.[13] Some supplies had come ashore in Durrës, 60 kilometres (37 mi) away, so the columns of troops and refugees had no choice but to march further south.[13] Eventually, a decision was made to evacuate the Serbian Army, and its accompanying civilians, to the French-occupied Greek island of Corfu and as far as Bizerta in French Tunisia.[38] This decision, made primarily by the French and British, did not involve any discussions with the Greek authorities.[13] The Allies sent their navies and the evacuation started on 15 January; the embarkation was made from three ports, San Giovanni di Medua, Durrës and Valona.[39] Altogether, 45 Italian, 25 French and eleven British transport ships were employed in the evacuation; they carried out 202, 101 and nineteen voyages, respectively.[40] The Duke of Abruzzi and Vice Admiral Emanuele Cutinelli Rendina, commander of Italian naval forces in the southern Adriatic (with headquarters in Brindisi), were tasked with planning the evacuation by sea; it was established that larger ships would load the troops in Durres and Vlore, whereas smaller vessels would be employed in San Giovanni di Medua. Rear Admiral Guglielmo Capomazza supervised the evacuation in Vlore.[40] On 14 January the Serbian government, ministers, and the members of the diplomatic corps boarded an Italian ship, the Citta di Bari, for Brindisi.[41] On 6 February the Serbian supreme command and Regent Alexander were evacuated to Corfu, where around 120,000 evacuees had arrived by 15 February, and around 135,000 ten days later. Up to 10,000 evacuees were taken to Bizerta around the same time. The Italians took over the majority of Habsburg prisoners, and transferred them to the uninhabited island of Asinara (off the coast of Sardinia). Nearly 5,000 refugees, mostly women, children, and elderly people were taken to Corsica accompanied by the Serbian Relief Fund and the Scottish Women's military hospital. Most of the Serb troops had been evacuated by 19 February. The cavalry division was last to embark on 5 April 1916, which marked the end of the operation.[34] Aftermath[] According to the official statistics from 1919, 77,455 Serbian soldiers died, while 77,278 went missing. The worst fate befell the Southern Column, where approximately 36,000 young boys, some who would have become conscripts in 1916, but some as young as twelve, had been ordered by the Army to join the retreat; within a month about 23,000 of them died. Of the estimated 220,000 civilian refugees who had set off for the Adriatic coast from Kosovo, only about 60,000 survived. Those who survived were so weak that thousands of them died from sheer exhaustion in the weeks after their rescue. Because the rock composition of the island made it hard to dig graves, those who died on the journey were buried at sea. Bodies were lowered from French ships into the depths of the Ionian Sea, near the Greek island of Vido; more than 5,000 Serbs are believed to have been buried this way. The sea around Vido is known as "The Blue Graveyard" (Plava grobnica)"[44] Field Marshal Putnik traveled to France for medical treatment, where he died the following year.[45] Nearly 5,000 Serbian refugees, mostly women and children were sent to Corsica, evacuated from Albania, they were attended by the staff of the Scottish Women's military hospital who had travelled with them, an operation financed by the Serbian Relief Fund based in London. Many of the young boys who had survived the retreat were sent to France and Britain for schooling. Serbia was divided into separate Austro-Hungarian and Bulgarian military occupation zones. In the Austro-Hungarian zone of occupation (northern and central Serbia), the Military General Governorate of Serbia was established with its center in Belgrade. In the territory occupied by the Bulgarians, a military government was set up with its center in Niš, the area was divided into two administrative zones. Both the Austrian and the Bulgarian occupation regimes were very harsh, the population was exposed to various measures of repression, including mass internment, forced labor, concentration camps for political opponents, starvation, Denationalization and Bulgarisation policy. Kosovo was divided into two Austro-Hungarian occupational zones: Metohija entered the Austro-Hungarian Military Government of Montenegro, while a smaller part of Kosovo with Mitrovica and Vucitrn became part of the Austro-Hungarian Military Government of Serbia. The greater part of Kosovo – Pristina, Prizren, Gnjilane, Urosevac, Orahovac was included in the Bulgarian Military Region of Macedonia. During 1916, more than 110,000 Serbian troops were transferred to Salonika, where they joined the Allied army after Greece entered the war; some six Serbian infantry divisions and one cavalry division, named after regions and rivers in their homeland would eventually return to serve, playing a key role in the breakthrough of the Macedonian Front in September 1917, and the liberation of their homeland a year later.[2] The great retreat is considered by Serbs to be one of the greatest tragedies in their nation's history.[7] it would be remembered, using biblical symbolism, as the Albanian Golgotha, a sacred sacrifice followed by the national 'resurrection' of Serbia's victory at the end of the war. Images[] Page Template:Gallery/styles.css has no content. See also[] Commemorative Medal of the Great Serbian Retreat Gde Cveta Limun Žut, (2006). A documentary film about the Serbian army's retreat. King Peter of Serbia, (2018). A feature film starring Lazar Ristovski. Kreće se lađa francuska, A World War I song composed by Branislav Milosavljević in Corfu. Serbian Museum of Corfu Tamo Daleko, A World War I song composed in Corfu. References[] Citations[] Bibliography[] Further reading[] []
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1053	dbpedia	1	6	https://www.planetmellotron.com/revr6.htm	en	Planet Mellotron Album Reviews: R6			[ "https://www.planetmellotron.com/images/tronlogo2.gif", "https://www.planetmellotron.com/images/reviewsbig.gif", "https://www.planetmellotron.com/images/r.gif", "https://www.planetmellotron.com/images/6.gif", "https://www.planetmellotron.com/images/fill.gif", "https://www.planetmellotron.com/images/reviews.gif", "https://www.planetmellotron.com/images/albums.gif", "https://www.planetmellotron.com/images/rion-hotaru.jpg", "https://www.planetmellotron.com/images/riosmiguel-cancion.jpg", "https://www.planetmellotron.com/images/riosmiguel-memorias.jpg", "https://www.planetmellotron.com/images/riosmiguel-huerta.jpg", "https://www.planetmellotron.com/images/riosmiguel-alandalus.jpg", "https://www.planetmellotron.com/images/risingshadows-finis.jpg", "https://www.planetmellotron.com/images/ristovskilaza-roses.jpg", "https://www.planetmellotron.com/images/ritchiejean-none.jpg", "https://www.planetmellotron.com/images/ritterjosh-so.jpg", "https://www.planetmellotron.com/images/riverdanya-bone.jpg", "https://www.planetmellotron.com/images/rivestjacquestom-jacques.jpg", "https://www.planetmellotron.com/images/roadmaster-sweet.jpg", "https://www.planetmellotron.com/images/roadmaster-hey.jpg", "https://www.planetmellotron.com/images/robertsandy-homegrown1.jpg", "https://www.planetmellotron.com/images/robertsandy-homegrown2.jpg", "https://www.planetmellotron.com/images/robertsonrobbie-music.jpg", "https://www.planetmellotron.com/images/rocchiclaudio-volo1.jpg", "https://www.planetmellotron.com/images/rocchiclaudio-volo2.jpg", "https://www.planetmellotron.com/images/roche-valise.jpg", "https://www.planetmellotron.com/images/previous.gif", "https://www.planetmellotron.com/images/next.gif" ]	[]	[]	[ "" ]	null	[]	null			favicon.ico		null	Rion Miguel Ríos Rising Shadows Laza Ristovski Jean Ritchie Josh Ritter Danya River Jacques Tom Rivest Roadmaster Andy Roberts Robbie Robertson Claudio Rocchi Roche Amy Rigby (US) see: Samples etc. Rilo Kiley (US) see: Samples etc. LeAnn Rimes (US) see: Samples etc. Rion (Japan/UK) Hotaru (2013, 45.04) */T½ Hotaru Let Me Sing You a Song of Kindness Hope Hanabi Spirits Current availability: Hibernate Mellotron used: Unknown Rion are the duo of Ian Hawgood and Ryo Nakata, whose Hotaru (a transliteration of the kanji - translates to Fireflies) is an experimental, avant-drone album, for want of a better description. No discernible tunes, but that's quite certainly the point. It would take better ears than mine to spot any noticeable difference between the tracks, mostly comprising treated harmonium, guitar and tape effects, all subjected to Nakata's laptop manipulation. Hawgood plays Mellotron on two tracks: the upfront flutes on Hope, stuck through a delay, sound real enough, although the background ones on Hanabi (Fireworks) could just as easily be sampled. Given that the album was recorded over a three-year period, that's quite possibly the case, I suppose. Not the easiest of listens then, with one decent Mellotron track. Miguel Ríos (Spain) 7" (1973) /TTTT½ Canción Para un Nuevo Mundo El Furgón Llamado Canguro Memorias de un Ser Humano (1974, 40.25) /T Viviras Tanto... (Como Tantas Ganas Tengas de Vivir) El Juglar La Mina Buenos Dias Por Si Necesitas Sweet California Desde Mi Ventana Memorias de un Ser Humano La Huerta Atómica: Un Relato de Anticipacion (1976, 47.23) ½/TTTT Entre Arboles y Aviones Una Casa en la Guerra Buenos Dias, Superman Yankee Johnny Bienvenida, Katherine La Huerta Atómica (Un Relato de Anticipacion) Una Siesta Atomica Instrucciones a la Poblacion Civil El Consultorio Atomico de la Sr.a Pum El Carnaval de los Espectros (I) La Burbuja Antirreaccion La Cancion del Megacristo El Carnaval de los Espectros (II) Por el Hombre Futuro El «Dulce» Despertar Al-Andalus (1977, 38.11) /T Al-Andalus Azahara Un Día en Mojácar parte I - Con Chipo parte II - La Muerte Verde Balada de la Alondra y el Gavilán El Cinco a las Cinco: Convocatoria Para un Homenaje, Junio 76 Guadalquivir La Blanca Oscuridad (Basado en "Recuerdos de Alhambra") Current availability: Canción: on Como el Viento: Parlophone All other titles: on Vol. 3: Historia de un Ser Humano: Rama Lama Mellotrons used: Canción: Teddy Bautista's M400 Other titles: unknown It's difficult to find any info on artists like Miguel Ríos in any language other than their own and my Spanish isn't exactly up to scratch (ha!), so going by discographies I've seen, I'm making something of an assumption in saying that I think Ríos was/is a 'popular singer' in Spain, who took a minor diversion into sort-of prog territory in the mid-to-late '70s, when Spain's slightly late progressive scene was at its peak. 1973's Canción Para Un Nuevo Mundo is that rarest of things, a genuinely progressive rock single (six minutes long, well before Bo Rhap, folks), complete with massed choirs, several sections, classical quotes (seems it's based on a piece by Dvořák)... This is completely potty and all the better for it, while the flip, El Furgón Llamado Canguro, is a short, (good) synth-laden ballad. Of course, we get completely OTT Mellotron strings on the 'A' (mixed with brass on the intro?), cellos and flutes all over the thing from Canarios' Teddy Bautista in exceedingly pleasing style, with huge, lush strings all over the flip, just for good measure. A classic! 1974's Memorias de un Ser Humano is the first full album of Ríos' 'progressive period', although much of its material (Buenos Dias, Por Si Necesitas) contains elements of Mediterranean string-laden balladry. Best tracks? Probably El Juglar, the pumping La Mina (complete with brass and girly chorus) and the closing title track, but the whole is slightly underwhelming, if I'm going to be perfectly honest. Keys man Mariano Diaz plays uncredited Mellotron, with a tricky flute part on El Juglar, underlaid with cello, but all the album's string parts are real. 1976's La Huerta Atómica is obviously a concept album of sorts, presumably referring to nuclear war. The music is a rather mainstream version of the Spanish progressive sound, although it has its moments, including the more tuneful parts of La Huerta Atómica itself. On the Mellotron front, Diaz again uses strings pretty heavily, which makes a nice change for a Spanish LP. Flutes and choirs (Bienvenida, Katherine) can also be heard, but surprisingly, the title suite on side two has rather less Mellotron than the bulk of the first side. Top track has to be the anti-American rant Yankee Johnny, intoned in English, with shedloads of Mellotron strings all over the thing. Ríos' last 'progressive period' release, 1977's Al-Andalus, was a superb coda to his experimental phase, shifting between the Arabic scales of the opening title track (going by the font used on the sleeve, there's clearly a link here) to the near-zeuhl of Azahara, the rhythmically complex Un Día En Mojácar, the brass-driven, fusionesque Balada De La Alondra Y El Gavilán and the not-exactly-balladic closer La Blanca Oscuridad. Luis Fornés plays uncredited Mellotron strings, used heavily, on La Blanca Oscuridad, wrapping up yer man's prog period neatly. It seems, superb '73 single aside, Ríos' progressive albums got better as he developed his style; Memorias de un Ser Humano is nothing special, while Al-Andalus is excellent. Mellotronically speaking, however, only that single and La Huerta Atómica are really worth the effort; the only thing stopping the album getting a higher 'T' rating is a slight lack of imagination in its use. Now it's available on CD, you can avoid paying as much as I did for a knackered vinyl copy that looked fine in a dimly-lit Barcelona shop. Rising Shadows (Sweden) Finis Gloriae Mundi (2011, 40.01) ½/T The Diluvian Empire And the Avarice Union of the Fixed and the Volatile Melencolia I Dissolving the Fabric of Time Fearless Amnesia Revealed Eschaton Wheel of Fire (the City of the Horizon) Finis Gloriae Mundi Current availability: Twilight Mellotron(s) used: Roth Händle M400(s) Rising Shadows are the neofolk/neoclassical duo of multi-instrumentalist Fredrik Klingwall (Anima Morte) and vocalist Linda-li, whose third album, 2011's Finis Gloriae Mundi (Ends the Glory of the World), is a record of quiet Nordic beauty interspersed with more rhythmic elements on a few tracks (notably Dissolving The Fabric Of Time). I'm reminded of Dead Can Dance in places, which I've subsequently discovered to be a fairly unoriginal observation, although, by and large, the duo have their own sound; I can't imagine Brendan and Lisa recording anything like Finis Gloriae Mundi itself. Klingwall plays Mattias Olsson (Änglagård)'s Mellotrons, although the only definite sightings are the upfront choir and background strings on Union Of The Fixed And The Volatile and the quiet flutes on Eschaton. Is there more of it on here, Mattias? Anyway, shockingly, at the time of writing, this is available as a free download on the band's site, so get in while you can. More darkwave (i.e. goth) than anything else, this should also appeal to many progressive fans, or at least the ones whose horizons stretch further than tired neo-prog retreads. See: Anima Morte Laza Ristovski (Yugoslavia) Roses for a General (1984, 39.40) /T½ The Green Coast Puzzles Figueras Soul Exercise The First Rose Old Places Current availability: 2-on-1 with Vojnički Dani: PGP RTS Mellotron used: Ristovski's own M400 Laza Ristovski was an on/off member of top Yugoslav/Serbian outfits Smak and Bijelo Dugme throughout the '70s and '80s, also playing with Alvin Lee, Chris de Burgh and other European artists. Although Smak are rumoured to have used a Mellotron, it's nowhere to be found on the only album of theirs on which he played, although he did play one on Laza i Ipe's Stižemo (with Ipe Ivandić) in 1978. Roses for a General was his fourth solo album, where he took the unusual step of recording an instrumental progressive synth-pop record with jazz influences (!), which probably did well in his home country and, er, less well elsewhere. In fairness, he took chances musically, not least the strident polysynth part in The First Rose and the Hammond solo in Old Places, although the bulk of the album suffers from a rather samey sound. Another unexpected feature of the album (OK, you expected it, or it wouldn't be here) is Ristovski's occasional Mellotron use, with flutes and strings on Puzzles and a beautifully upfront flute part on closer Old Places, the least 'pop' track here. Roses for a General doesn't appear to be available on CD and probably isn't worth paying very much for on vinyl, although it does have one very nice Mellotron track. As a sad addendum, Ristovski died in late 2007 at the age of 51, having suffered from MS for some years. See: Laza i Ipe \| Smak Les Rita Mitsouko (France) see: Samples etc. Jean Ritchie (US) None But One (1977, 38.08) /T½ Fair Nottamun Town Too Many Shadows Black Waters None But One The Orphan's Lament Flowers of Joy See That Rainbow Shine The Riddle Song Sweet Sorrow in the Wind Wondrous Love Now is the Cool of the Day Current availability: 2-on-1 with High Hills & Mountains: Greenhays (US) Chamberlin used: Unknown Jean Ritchie (1922-2015), during her lengthy career, became known as 'the mother of folk', having recorded countless albums of folk and folk-inspired music. At the time of writing, Ritchie is not only still living (aged 85), but performing, putting her in the Pete Seeger league of musical longevity. As much as for her singing, she's known as one of America's chief exponents of the lap dulcimer, as against the better-known hammer version. Her first album, Traditional Songs of Her Kentucky Mountain Home, was recorded at the dawn of the long-playing era, in 1952 and while her recorded output has slowed from the '70s on, her most recent album appeared in the late '90s and it's presumably not inconceivable that she may record again. 1977's None But One was something like Ritchie's 24th album, appearing on the Sire label, making her a contemporaneous label-mate of The Ramones. I wonder what she thought? Label boss Seymour Stein obviously had the breadth of vision to sign both artists, though, which has to be applauded. None But One is a mix of more obviously traditional folk songs (the beautiful old English ballad Fair Nottamun Town, the title track) and countryish material (Too Many Shadows, See That Rainbow Shine), with a modern backing in places. Some listeners may find Ritchie's delivery a bit old-fashioned, but given that she was in her twenties before she even heard the radio, it's highly commendable that she allowed producer Al Steckler to foist so many modern influences on her music. Ron Frangipane's Chamberlin can be heard on a few tracks, starting with an ethereal flute line on opener Fair Nottamun Town, with what I presume is a background Chamby strings part on The Orphan's Lament. It's real recorders on The Riddle Song (sorry, I can't hear this without thinking of the scene in National Lampoon's Animal House), but those strings crop up again on Sweet Sorrow In The Wind, although that would appear to be it. This is a lovely album that neatly straddles the divide between 'traditional' and 'modern' folk, where the last two a capella tracks rub shoulders with country- and folk-rock material without getting into a scrap. Thankfully, it's available on CD as a two-on-one with the considerably later High Hills & Mountains, although its Chamberlin content is too low to really be worth bothering with. Buy it anyway. Josh Ritter (US) So Runs the World Away (2010, 53.39) /T½ Curtains Change of Time The Curse Southern Pacifica Rattling Locks Folk Bloodbath Lark Lantern The Remnant See How Man Was Made Another New World Orbital Long Shadows Current availability: Pytheas Mellotron used: Unknown Josh Ritter is a singer-songwriter with an Americana bent from the old school, so no nasty, breathy 'confessional' vocals here, or slick, polished, glossy production tricks. 2010's So Runs the World Away (Hamlet quote) is a decent, if not outstanding album, highlights including Folk Bloodbath, which channels the well-known legend of Stagger Lee/Stackolee, the lengthy Another New World and the Dylanesque Orbital. Sam Kassirer plays Mellotron on four tracks, with a polyphonic cello part on Lark and strings on The Remnant and Another New World, although there's nothing obvious on Orbital. Overall, partially worth hearing, although at over fifty minutes, this could actually have been improved by some judicious editing, I suspect. Anyway, not bad album, passable Mellotron use. Official site Ritual (Sweden) see: Samples etc. Danya River (US) Bone By Bone EP (2004, 19.21) /0 Fishing Bone By Bone Clean Money Stir My Honey Excalibur Current availability: Self released Mellotron used: Wil Masisak's M400 Danya River comes from a new-agey musical family, so it's no surprise that her Bone By Bone EP sits in slightly jazzy/bluesy folk territory, probably at its best on its title track and closer Excalibur, her more rhythmic material doing little for this listener. Wil Masisak is credited with Wurlitzer and Mellotron on Stir My Honey; well, the former's present and correct, but the Mellotron? Like some other recordings Wil's played on, it seems to've been mixed out, although he still gets the credit. A pleasant enough listen, then, but no Mellotron. Official site Johnny Rivers (US) see: Samples etc. Jacques Tom Rivest (Québec) Jacques Tom Rivest (1979, 40.46) ½/TT½ Dimanche La Langue de Son Pays Voyage au Tibet Clown d'un Soir Messager du Temps Toujours Plus Haut La Nuit Trouver Ma Liberté Laisse Toé Donc Aller Current availability: ProgQuebec (Canada) Mellotron used: Unknown Jacques Tom Rivest was a mainstay of excellent Québecois proggers Pollen (one self-titled album, no Mellotron), releasing his eponymous solo debut in 1979. It's less 'progressive' than 'singer-songwriter' with a folky edge, although some tracks stray into semi-symphonic territory, not least Voyage Au Tibet and La Nuit. Even the more straightforward numbers hold the listener's interest, though, making this an adjunct to the Québecois prog scene, if not an integral part of it. Mellotron on most tracks from either Rivest himself, Claude Lemay or Richard Lemoyne, with strings and an unusual Mellotron sax melody on La Langue De Son Pays, with more strings on Voyage Au Tibet, choirs on Clown D'Un Soir and Toujours Plus Haut, with more strings and choirs on Trouver Ma Liberté, although little of the Mellotron work (excepting the sax part) breaks any new ground. But then again, why should it? It provides a decent strings and/or choir backdrop to several tracks, sounding a whole lot better than the string synth that crops up here and there. So; not exactly prog per se, but proggish, with a good selection of songs; something many prog outfits could learn from, I feel. Decent music, not bad Mellotron, worth hearing. Rivulets (US) see: Samples etc. Roadmaster (US) Sweet Music (1978, 37.34) /TT It Doesn't Mean a Thing I Must Be Dreaming Ya Move Me Been Gone Too Long I'll Be Lovin' You The Swan Song You Come See Me Higher, Higher Circle of Love Sweet Music Hey World (1979, 34.48) ½/TT Hey World My Eyes Have Been Opened I'm on My Way Never Say Goodbye Us Comin' Back Say You Wanna Be With Me Rainbow Waterfall Looking for the Day Good to Be Back Home Current availability: Both titles: Rock Candy (UK) Mellotrons used: Band's own M400? Roadmaster (presumably named for Buick's iconic car) released their Mellotron-free eponymous debut in 1977, following up the following year with Sweet Music. The album seems to be revered in some quarters as a 'pomp classic', but all I hear is a fairly lightweight AOR effort with a few pomp tropes, notably on the two longest tracks, Higher, Higher and the closing title track, easily the best thing here. The rest of the album's made up of mainstream AOR (opener It Doesn't Mean A Thing), half-hearted rock'n'roll (I Must Be Dreaming) and Clavinet-and-(real)-strings driven pop (I'll Be Lovin' You), best avoided all round. Keys man Michael Read adds Mellotron to a few tracks, with strings on It Doesn't Mean A Thing, Higher, Higher, Circle Of Love and the title track, partially doubled with synth. Barely scrapes three stars and those only for Sweet Music itself. '79's Hey World lacks its predecessor's attempts at chart-pop, but also lacks its sparse pomp delights, the most progressive things here being the Rainbow Waterfall/Looking For The Day segue, along with the opening title track and Say You Wanna Be With Me's nice multi-synth parts, but we're clutching at straws... The rest of the record's split between the expected AOR tosh, bad rock'n'roll and worse ballads, so it lacks even Sweet Music's highlights. Read's Mellotron work encompasses flutes and strings on I'm On My Way, strings on Say You Wanna Be With Me and strings, flutes and choir on Rainbow Waterfall, so no more overall than on Sweet Music. The rumoured Mellotron on their last album, 1980's guitar-heavy Fortress, turns out to be just that - rumoured - with Read restricted to organ and a smattering of synth. Neither of the above albums is exactly earth-shattering, although both have their moments, including Mellotronic ones, though not enough to make them worth shelling out serious dosh. Roadside Graves (US) see: Samples etc. Missy Roback (US) see: Samples etc. Robbers on High Street (US) see: Samples etc. Janet Robbins (US) see: Samples etc. Andy Roberts (UK) Home Grown (1970, 48.24) *½/T½ Home Grown Just for the Record Applecross The Praties Are Dug John the Revelator Autumn to May Moths and Lizards in Detroit Creepy John Jello Gig Song Queen of the Moonlight World Where the Soul of Man Never Dies The One-Armed Boatman and the Giant Squid Boris at the Organ Home Grown (1971, 38.55) /T½ Home Grown Just for the Record Applecross John the Revelator Moths and Lizards in Detroit Creepy John Gig Song Queen of the Moonlight World Lonely in the Crowd The One-Armed Boatman and the Giant Squid Current availability: Version 1: Strange Days (Japan) Version 2: all tracks on Just for the Record: The Solo Anthology 1969-76: Sanctuary Mellotron used: Unknown Andy Roberts is a British folkie/singer-songwriter type who has spent a chunk of his career in one version or another of Plainsong, playing with ex-Fairporter Iain Matthews, participating in various versions of The Bonzos, even playing in Pink Floyd's 'surrogate band' on The Wall tour... You name it, he's done it. He's managed to squeeze in a few solo albums over the years, too, principally in the early '70s, of which Home Grown is the first. Confusingly, it's been available in two different versions, a 14-track RCA issue in 1970 and a 10-tracker on B&C the following year, with the latter having been remixed, whilst losing five tracks and adding one. Confused? It seems the original version is now out on CD, while all tracks from the latter are on Just for the Record, a compilation of Roberts' work. So, wossit (or they) like? Er, countryish folk rock, by and large and not in a terribly exciting way, to be honest. Perfectly competent, just not very... exciting. The title track is amusing enough, as you might expect from the title, while Gig Song tells it exactly how it is on the road, but the album's two Mellotron tracks are also its finest: Queen Of The Moonlight World is nearer folk than country, with a lovely MkII strings part, utilising that machine's smooth-as-a-baby's-bum pitchbend extensively, while The One-Armed Boatman And The Giant Squid is a lengthy proggish folk effort with several MkII brass parts added to liven it up. Notably, the original version of the album is better than the shortened re-issue; why do record companies do this? This isn't actually worth it for its Mellotron work, so I wouldn't splash out too much unless you're into UK country/folk. Incidentally, Roberts spent a short time in '71 in Everyone, recording one album with some minor Mellotronic input. Official site See: The Bonzo Dog Band \| Everyone \| Liverpool Scene Justin Roberts (US) see: Samples etc. Robbie Robertson & the Red Road Ensemble (Canada) Music for the Native Americans (1994, 54.30) /½ Coyote Dance Mahk Jchi (Heartbeat Drum Song) Ghost Dance The Vanishing Breed It is a Good Day to Die Golden Feather Akua Tuta Words of Fire, Deeds of Blood Cherokee Morning Song Skinwalker Ancestor Song Twisted Hair Current availability: Capitol Chamberlin used: Unknown The half-Mohawk Robbie Robertson (The Band, of course) was asked to compose some music for a TV series about the Native American people, releasing the results as Music for the Native Americans. It's an intriguing mixture of authentic chants and drumming with modern instrumentation, although Robertson over-eggs the pudding on most tracks, laying down too many contemporary keyboards, not allowing the real voices on the record enough space. The sleevenotes are actually more interesting than the music, painting a grim picture of the incalculable damage caused by the 19th-century white American to an ancient and traditional way of life; all the more tragic given the state of the 'red man' now, not to mention how similar damage is still being wrought across the world. Unfortunately, in his efforts to make Native American music palatable to 'Western' ears, Robertson seems to have created a new and not entirely welcome genre: Native American AOR. Although some of the musical backing is sympathetic, much of it is deeply unnecessary, knocking a whole star off the album's rating. The album's presence here is explained by the Chamberlin on opener Coyote Dance, played by Bill Dillon, with some faint choirs hidden amongst the plethora of programming, a.k.a. don't get too excited. So; that rarity, a pop or rock album that gives a voice to the Native American - pity it isn't a little better, although I feel rather churlish for running it down. Anyway, very little tape-replay, so don't bother on that account. See: The Band Anthony Robustelli (US) see: Samples etc. Robyn (Sweden) see: Samples etc. Claudio Rocchi (Italy) Volo Magico N. 1 (1971, 36.22) /T Volo Magico La Realtà Non Esiste Giusto Amore Tutto Quello Che Ho da Dire Current availability: Sony Mellotron used: Unknown Ex-Stormy Six bassist Claudio Rocchi released his second album, Volo Magico N. 1, in 1971, playing contrasting styles on opposite sides of the LP, with a side-long jammed-out piece on the first side and three more straightforward singer-songwriter tracks on the reverse. This is actually only borderline progressive, to be honest, with Volo Magico being more late-period psych and none of the shorter tracks having enough complexity to really qualify. However, none of them are bad at what they do, although it all sounds a bit trippy to my ears and probably won't appeal to your average fan of the Italian '70s progressive scene. Mellotron from Eugenio Pezza, with a woodwind instrument (oboe?) line on closing ballad Tutto Quello Che Ho Da Dire (probably the album's best track), complete with giveaway key-click (thanks to Hubert for pushing me to reassess this one), although the strings on the side-long Volo Magico itself are real. So; OK album, mediocre Mellotron, not really for progheads at all. And for what it's worth, yes, there was a Volo Magico n. 2, although its main title was La Norma del Cielo. See: Stormy Six Roche (France) La Valise de Rêve (1974, 32.55) **/TTTT La Valise de Rêve Dis-moi Jouer le Jeu Coloré dans tes Yeux La Mélancolie du Dimanche Après-Midi Le Cavalier des Vagues O Viens Maggy M'a Dit Londres Auprès de Vous Final Current availability: Big Pink Mellotron used: Unknown I believe 1974's La Valise de Rêve was Roche's only album, although information on the band isn't particularly forthcoming. They were a five piece, led by vocalist/pianist Patrick Roche, including some ex-Heldon guys, generally described as 'progressive', although tracks like the rock'n'roll of Jouer Le Jeu and the near-chanson of Londres give the game away; this is basically a singer-songwriter effort in a progressive style, like quite a few French (and French-language) 'prog' albums. It's far from being a bad record, highlights including Le Cavalier Des Vagues and Final, but the overall vibe borders MOR a little too closely for comfort.
1053	dbpedia	2	50	https://www.fandango.com/people/lazar-ristovski-568201	en	A Message To Our Fans			[]	[]	[]	[ "" ]	null	[]	null	A Message To Our Fans	en			null	Sorry, Fandango is not available outside the United States.
1053	dbpedia	1	13	https://en.wikipedia.org/wiki/Great_Retreat_(Serbia)	en	Great Retreat (Serbia)	https://upload.wikimedia…ains%2C_1915.jpg	https://upload.wikimedia…ains%2C_1915.jpg	[ "https://en.wikipedia.org/static/images/icons/wikipedia.png", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-en.svg", "https://upload.wikimedia.org/wikipedia/commons/thumb/3/32/Serbian_retreat_through_Albanian_mountains%2C_1915.jpg/290px-Serbian_retreat_through_Albanian_mountains%2C_1915.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/d/d8/Wn21-24.jpg/220px-Wn21-24.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/4/44/Centralpowersattackonserbia1915.jpg/164px-Centralpowersattackonserbia1915.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/1/1f/Serbian_front_lines_at_the_end_of_1915.jpg/162px-Serbian_front_lines_at_the_end_of_1915.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/2/25/Great_serbian_retreat_1915.jpg/187px-Great_serbian_retreat_1915.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/6/61/Serbian_heavy_artillery_crossing_the_Babouna_River_in_Macedonia_during_the_retreat_to_the_Adriatic_Sea_coast_1915.jpg/230px-Serbian_heavy_artillery_crossing_the_Babouna_River_in_Macedonia_during_the_retreat_to_the_Adriatic_Sea_coast_1915.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a7/Ukrcavanje_1916.jpg/230px-Ukrcavanje_1916.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/f/f2/Th%C3%A9ophile_Alexandre_Steinlen_25_Juin_1916_-_Journ%C3%A9e_Serbe.jpg/170px-Th%C3%A9ophile_Alexandre_Steinlen_25_Juin_1916_-_Journ%C3%A9e_Serbe.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/5/58/King_Peter_of_Serbia_retreating_across_the_Albanian_Mountains%2C_1915.jpg/160px-King_Peter_of_Serbia_retreating_across_the_Albanian_Mountains%2C_1915.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/e/e2/Serbian_troops_and_refugees_during_the_retreat_to_the_Adriatic_Sea_coast_1915.jpg/160px-Serbian_troops_and_refugees_during_the_retreat_to_the_Adriatic_Sea_coast_1915.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/c/cb/Serbian_artillery_during_the_retreat_to_the_Adriatic_Sea_coast_1915.jpg/160px-Serbian_artillery_during_the_retreat_to_the_Adriatic_Sea_coast_1915.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/5/53/Serbian_cavalry_crossing_the_Black_Drin_River_during_the_retreat_to_the_Adriatic_Sea_Coast_1915.jpg/160px-Serbian_cavalry_crossing_the_Black_Drin_River_during_the_retreat_to_the_Adriatic_Sea_Coast_1915.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/6/6f/Field_Marshal_Radomir_Putnik%2C_the_Chief_of_the_General_Staff_of_the_Serbian_Army%2C_being_carried_by_bearers_across_the_bridge_over_the_Drin_River_1915.jpg/160px-Field_Marshal_Radomir_Putnik%2C_the_Chief_of_the_General_Staff_of_the_Serbian_Army%2C_being_carried_by_bearers_across_the_bridge_over_the_Drin_River_1915.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/f/f7/The_Column_of_the_First_Serbian-English_Field_Hospital.tif/lossy-page1-160px-The_Column_of_the_First_Serbian-English_Field_Hospital.tif.jpg", "https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1", "https://en.wikipedia.org/static/images/footer/wikimedia-button.svg", "https://en.wikipedia.org/static/images/footer/poweredby_mediawiki.svg" ]	[]	[]	[ "" ]	null	[ "Contributors to Wikimedia projects" ]	2012-06-17T05:21:34+00:00		en	/static/apple-touch/wikipedia.png		https://en.wikipedia.org/wiki/Great_Retreat_(Serbia)	Military retreat of the Serbian army during the Winter of 1915/16 Not to be confused with Albania's Golgotha. For other uses, see Great Retreat (disambiguation). Great Retreat (Serbia)Part of the Second Serbian campaign and the Balkans theatre of World War ITypeStrategic withdrawalLocationPlanned bySerbian Army High CommandCommanded byField Marshal Radomir PutnikObjectiveReaching the Adriatic coastDate25 November 1915 ( ) – 18 January 1916 (1916-01-18)Executed byRoyal Serbian Army (with civilian refugees and Austrian prisoners)OutcomeEvacuation to CorfuCasualtiesSerbian soldiers[1] 77,455 dead 77,278 missing Serbian civilians[2] 160,000 dead Habsburg POWs[3] 47,000 dead The Great Retreat, also known in Serbian historiography as the Albanian Golgotha (Serbian: Албанска голгота, Albanska golgota), refers to the retreat of the Royal Serbian Army through the mountains of Albania during the 1915–16 winter of World War I. In late October 1915, Germany, Austria-Hungary and Bulgaria launched a synchronised major offensive, under German leadership, against Serbia. Early that same month, France and Britain landed four divisions at Salonika, respectively under General Sarrail and General Sir Byron Mahon, to assist their outnumbered Serbian ally caught between the invading forces. The Serbs fought while retreating southwards with the plan to withdraw into Macedonia to link up with Allied forces. After the defection of Greece, the Bulgarian forces stopped the Franco-British relief force in the Vardar Valley, the Serbs found themselves swept together in the plain of Kosovo by the converging Austro-Hungarian, German, and Bulgarian columns.[5] To escape the invaders' encirclement, on November 23, 1915, the government and supreme command made the joint decision to retreat across the mountains of Montenegro and Albania. The objective was to reach the Adriatic coast, where they would reorganise and reequip the Serbian Army with assistance from the Allies. The Serbs then retreated across the mountains in three columns; the retreat took the remnants of the army, the King, hundreds of thousands of civilian refugees, and war prisoners. Between November 1915 and January 1916, during the journey across the mountains, 77,455 soldiers and 160,000 civilians froze, starved to death, died of disease, or were killed by enemy raids. Austrian pilots used the new technology of the time, dropping bombs on the retreating columns in what has been called 'the first aerial bombardment of civilians.' Out of the 400,000 people who set out on the journey, only 120,000 soldiers and 60,000 civilians reached the Adriatic coast to be evacuated by Allied ships to the island of Corfu, where a Serbian government-in-exile headed by Prince-Regent Alexander and Nikola Pašić was established. Another 11,000 Serbs would later die of disease, malnutrition, or exposure sustained during the retreat. In some sources published following the conflict, the event was described as the greatest and most tragic episode of the Great War.[7] Background [edit] Serbian campaigns [edit] 1914 [edit] Further information: Serbian campaign (1914) On July 28, 1914, a month after the assassination of Austrian archduke Franz Ferdinand, Austria-Hungary, the second-largest country in Europe, declared war on Serbia marking the beginning of World War I. The campaign represented the first significant military engagement between the Central Powers, mainly Austro-Hungary, and the Allied Powers, led by the Kingdom of Serbia. The campaign began in the night of 28-29 July with Austria-Hungary bombarding Belgrade. On 12 August, the Austro-Hungarian forces, under General Oskar Potiorek, initiated their first offensive into Serbia when the Balkanstreitkräfte, consisting of the 5th Army and 6th Army, attacked Serbia from the west and north.[8] Despite initial setbacks, the Serbs, under General Radomir Putnik's command, used the terrain and strategic advantages to secure a decisive victory at the Battle of Cer. The blow to Habsburg prestige was incalculable, with Serbia marking the first Allied victory of World War I as all Austro-Hungarian forces were repelled out of Serbia. Following the initial failure, Austria-Hungary regrouped and launched a second invasion in September 1914. The Battle of the Drina saw the Serbs pushing the 5th Army back into Bosnia, forcing the remnants of the Balkanstreitkräfte to retreat in late September.[9] A third invasion launched in October 1914, resulted in the capture of Belgrade on 2 December 1914 before a successful Serbian counter-offensive at the Battle of Kolubara expelled the Central Powers forces from Serbia before the end of the month, concluding the campaign.[10] After being humiliated by "the peasant regiments of a small Balkan kingdom",[11] the blow to Habsburg prestige was "incalculable" and Franz Ferdinand's avenging remained unfulfilled.[12] The Serbian Campaign of 1914 concluded within the year and General Potiorek was relieved of command.[10] 1915 [edit] Further information: Serbian campaign (1915) In early 1915, the German chief of the general staff von Falkenhayn convinced the Austro-Hungarian chief of staff von Hoetzendorf to launch a new invasion of Serbia. In September Bulgaria signed a treaty of alliance with Germany and quickly mobilized its army.[13] On 6 October 1915, combined German and Austro-Hungarian forces under the command of Field Marshall August von Mackensen attacked Serbia from the north and west with the intention of drawing the bulk of the Serbian forces along the Sava and Danube.[14] On 11 October, without a previous declaration of war, the Bulgarians started making attacks on Serbian border positions. On 14 October Bulgaria finally declared war on Serbia and the First and Second Armies, under the command of General Boyadzhiev, advanced into the Timok region of northeastern Serbia[15] with the mission of cutting the vital rail line that ran from Salonika up the Vardar and Morava River valleys, and depriving Serbia of reinforcements and artillery ammunition.[16] Numbering nearly 300,000 men, the forces of Bulgaria quickly overwhelmed the weak Serbian units along the frontier.[15] The Serbian Army had 250,000 men of which a large number were already battling 300,000 Germans and Austrians in the north. In addition, Austrian troops soon started marching from Dalmatia.[17] Facing a front of 1,200 kilometres (750 mi) against three armies and as promises of aid and reinforcements from the Allies fell through, the Supreme Command of the Serbian Army started an organized retreat towards Kragujevac and Niš.[17] On 6 November the Bulgarian First Army made contact with General Gallwitz's Eleventh German Army in the vicinity of Niš; on 10 November they crossed the Morava River about 18 miles (29 km) south of Niš and struck the Serbs. For two days, the greatly outnumbered Serbian army held Prokuplje but eventually had to retreat.[14] The pressure of the Austro-Hungarians, the Germans, and the Bulgarian First Army in the north and the Bulgarian Second Army advancing from the east forced the Serbs to retreat in a southwesterly direction into Kosovo. Prelude [edit] Kosovo offensive, 10 – 24 November [edit] Main article: Kosovo Offensive (1915) In mid-November, the Serbian armies reached Pristina ahead of their pursuers, but were unable to break south through the blockade of the Bulgarian Second Army at Kačanik Pass near Skopje, to reach Salonika and establish the liaison with the French troops of General Sarrail.[14] The goal of Mackensen was to corner the Serbs in the Kosovo area and force them to fight a decisive final battle.[19] The rupture of communications between Niš-Skopje-Salonika and the rupture of the liaison with the Allies brought the army into a most critical situation. Field Marshal Putnik began concentrating his troops for the purpose of securing access to the plateau of Gnjilane known as the "Field of Blackbirds".[3] The Austrian Luftfahrtruppen, that until then provided air support to the Austro-Hungarian army and communications between the German Eleventh and Bulgarian First Armies, started using reconnaissance aircraft to carry out bombing missions across the plain of Kosovo, striking the columns of refugees and blurring the lines between combatants and noncombatants in what has been called "the first-ever aerial bombardment of civilians". Albanians hostile to Serbs mounted guerrilla actions picking off weak detachments, acting in revenge for the repression they endured following the transfer of the province from Ottoman to Serbian and Montenegrin territory two years earlier.[22] The entire Bulgarian army, supported from the north by parts of the Eleventh German Army, now advanced against the Serbs. Following intense fighting on 23 November, Pristina and Mitrovica fell to the Central Powers and the Serbian government abandoned Prizren, its last temporary capital in Serbia.[24] Only three possibilities were considered: capitulation and separate peace, a final honourable-but-desperate battle of annihilation, or further retreat. Only retreating and counterattacking were seriously considered, while capitulation was not an option on the table; the only possible avenue of escape lay to the southwest and northwest, over the towering Korab and Prokletije mountain ranges of Albania and Montenegro, part of the Dinaric Alps, a region with an altitude of over 6,000 feet (1,800 m) as the snow was beginning to fall. The Serbian government led by Prime Minister Nikola Pašić, Prince Regent Alexander and the Supreme Command under Field Marshall Radomir Putnik made the decision to order a general withdrawal and fight on from exile, planning to reorganise and reform the army with the help and support from the Allies.[17] Order of retreat, 25 November [edit] On 23 November, Vojvoda Putnik ordered all Serbian forces to use the last of the artillery ammunition and then bury the cannons, taking the breechblocks and sights with them; if burying the guns was impossible, they were to be rendered useless.[16] Putnik also ordered that, to save them from being captured by the enemy, every boy near military age, from twelve to eighteen years old, 36 000 in total, was to follow the army and join the retreat with the goal of saving the country's manhood and raising soldiers for the future front. On 25 November 1915, an official order of retreat addressed to the commanders of all armies, was published by the Serbian High Command:[26] The only way out of this grave situation is a retreat to the Adriatic coast. There our army will be reorganised, furnished with food, arms, munitions, clothing, and all other necessities which our allies will send us, and we shall again be a fact with which our allies must reckon. The nation has not lost its being, it will continue to exist even though on foreign soil, so long as the ruler, the government and the army are there, no matter what the strength of the army may be. — Serbian High Command, 25 November 1915, [26] Retreat [edit] The Serbian Army split into three columns heading towards the mountains of Albania and Montenegro, pursued by the Austro-Hungarian Tenth Mountain Brigade and by the German Alpine Corps.[14] The army's rock-bottom morale was boosted by the presence of the ailing, 71-year-old King Peter I, who had stepped aside on June 14 to let his son Prince Alexander rule as Regent but now resumed his throne to face the crisis with his people. The elderly monarch, who was almost blind, travelled through the mountains riding in an ox cart.[27] To evade General Mackensen's final encirclement effort, the Serbian army, and a mass of civilians fleeing the massacres perpetrated by Austro-Hungarian troops,[28] retreated along three routes, all converged on Lake Scutari, on the border of Albania and Montenegro, and from there headed towards the Adriatic.[29] Upon reaching Albania Essad Pasha Toptani, an Albanian leader and former Ottoman General, who was a Serb ally and the one central authority left in Albania, provided protection where this was possible.[30] Where he was in control, his gendarmes gave support to retreating Serbian troops, but as the columns moved to territories in the north, attacks by Albanian tribesmen and irregulars became commonplace.[31] The Serb-Montenegrin troops' brutal actions in the First Balkan War, made many of the locals ready to take their revenge on the soldiers retreating through the mountain passes, continuing the cycle of revenge with killing and looting. Retreating columns [edit] Northern columns [edit] The Northern column, composed of the First, Second and Third Army and the troops of the defence of Belgrade, took the route across southern Montenegro, from Peć to Scutari (Shkodër), via Rožaje, Andrijevica and Podgorica.[19][33] It contained the largest contingent of Serbian troops and it also included a mobile medical unit The first Serbian-English Field Hospital, with two doctors, six nurses and six ambulance drivers. The unit was headed by British nurse and commissioned major, Mabel Stobart.[34] The retreat of this force to Andrijevica was to take place under the direction of the First Army, which was to occupy positions at Rožaje. Members of the Scottish Women's Hospitals for Foreign Service in Serbia also evacuated following this route, at times alongside the army.[35] The mission of the troops of the defence of Belgrade was to cover the retreat of the Army of the Timok as long as that army had not begun its movement of retreat, and then to retire in its turn.[7] Because of this, the northern column delayed its departure from Peć until 7 December. It also had the responsibility to act as a rearguard against an attack by the Austro-Hungarians, Bulgarians, and Germans. Tracing an arc from northwest to southwest through Montenegrin territory and skirting the northern border of Albania through the snow-covered mountains, hunger, exposure, and disease killed soldiers and civilians, as well as prisoners of war travelling with them, by the thousands.[36] The northern column began to reach Scutari on 15 December. Serbian officers and artillery crews in Montenegro handed over 30 cannons to the Montenegrin Army,[16] Montenegrin forces played a key role in covering up the withdrawal, most notably against Austro-Hungarian forces in the Battle of Mojkovac.[37] Central columns [edit] The central column consisted of King Peter I, the court, the government and the General Staff took the route through central Kosovo across northern Albania, from Prizren to Shkodër via Lum and Pukë.[38] Once across the Vizier's Bridge on the Drin River, the troops, who had retreated from Macedonia, continued west through Albania, ultimately to Lezhë. The Timok Division also continued to move south and then west through Albania to Durrës. It had the shortest route to the sea but encountered some resistance from hostile Albanians.[39] Regent Alexander crossed it in just two and a half days and the Serbian government set off on 24 November, reaching Shkodër/Scutari four days later. The officers of the Supreme Command who accompanied the Chief of the General Staff Radomir Putnik took longer, leaving on 26 November and arriving in Shkodër on 6 December.[37] Southern columns [edit] The southern column followed the third route of withdrawal, from Prizren to Lumë and further through the Albanian mountains to Debar and Struga.[39] The southern column was the first to depart and the last to arrive at the coast. The southern route presented the most direct way to make contact with Sarrail's Army of the Orient. The General Headquarters had asked the commanders of these groups to keep in constant telegraphic communication, but from the first day of the operations this was found to be impossible. The geography of the country did not allow of any other means of communication, so that the commanders of these groups were left to their own devices during the whole movement.[40] All the troops part of this group were placed under the orders of the commander of the Army of the Timok.[7] The column left on 25 November and moved south all the way to Elbasan. Along the way it had to contend with Albanian resistance and Bulgarian attacks; on 10 December, the Bulgarians attacked Serbian positions along the crest of the Jablanica mountain range.[41] As the Bulgarians again reached Struga before them, Serbian soldiers and civilians turned southwesterly, marching down the Albanian coast to Valona and across via Tirana reaching Durrës on 21 December.[40] Albanian coast [edit] As early as 20 November, Pašić sent an urgent message to Serbia's allies, asking for supplies, particularly food, to be sent to the Adriatic ports. When the Northern and Central columns arrived in Shkodër, they found the harbour empty of the foreign ships they had expected and hoped for. Learning that some supplies had come ashore in Durrës, 60 kilometres (37 mi) away, the columns of troops and refugees were sent further south.[15] Food was dispatched from France and Britain but it was still in Brindisi, Italy, the chosen port for the shipment of materials. Due to the presence of Austrian naval forces in the Adriatic, and after a convoy sent to Skadar earlier was destroyed by the Austro-Hungarian navy,[15] the Italians had only sent a few vessels.[15] On 22 November Austrian destroyers sank the Italian steamers Palatino and Gallinara, which were sailing from Brindisi to Saint Giovanni di Medua and Durrës on the Albanian coast, while the Unione another Italian vessel transporting supplies was forced to scuttle after being attacked by a submarine. On 5 December the Italian steamer Benedetto Giovanni, alongside the Greek steamer Thira, was sank near Saint Giovanni di Medua by an Austrian cruiser. On 8 and 9 January two more Italian ships Brindisi and Città di Palermo were sunk by the Austro-Hungarian Navy. Eventually, a decision was made to evacuate the Serbian Army, and its accompanying civilians, to the French-occupied Greek island of Corfu and as far as Bizerte in French Tunisia.[44] This decision, made primarily by the French did not involve any discussions with the Greek authorities.[15] The refugees were to be transported from Durrës and Saint Giovanni di Medua to Vlora where they would board three large French ships and another one provided by the Italian Royal Navy and transported to the Tunisian port of Bizerte. On 11 January 1916 French soldiers, later joined by Italian and British, started the occupation of Corfu, in preparation for the arrival of the Serbian troops. Evacuation, 15 January – 5 April 1916 [edit] The evacuation started on 15 January; the journey was made from three ports, San Giovanni di Medua, Durrës and Valona (Vlorë).[47] Altogether, 45 Italian, 25 French and eleven British transport ships were employed in the evacuation; they carried out 202, 101 and 19 voyages, respectively.[48] The Duke of Abruzzi and Vice Admiral Emanuele Cutinelli Rendina, commander of Italian naval forces in the southern Adriatic (with headquarters in Brindisi), were tasked with planning the evacuation by sea; it was established that larger ships would load the troops in Durres and Vlore, whereas smaller vessels would be employed in San Giovanni di Medua. Rear Admiral Guglielmo Capomazza supervised the evacuation in Vlorë, Albania.[48] On 14 January the Serbian government, ministers, and the members of the diplomatic corps boarded an Italian ship, the Citta di Bari, for Brindisi.[49] On 6 February the Serbian supreme command and Regent Alexander were evacuated to Corfu, where around 120,000 evacuees had arrived by 15 February, and around 135,000 ten days later. Up to 10,000 evacuees were taken to Bizerta around the same time. The sick were transported to the Greek island of Vido, to prevent epidemics. The Italians took over the majority of Habsburg prisoners, and transferred them to the uninhabited island of Asinara (off the coast of Sardinia). Nearly 5,000 refugees, mostly women, children, and elderly people were taken to Corsica accompanied by the Serbian Relief Fund and the Scottish Women's military hospital. Most of the Serbian troops had been evacuated by 19 February. On 23 February 1916, the transfer of the infantry was completed including 6,000 Montenegrin soldiers who had joined them. The cavalry division who had started evacuating on 27 February 1916 but had to wait for better weather, was last to embark on 5 April 1916, which marked the end of the operation.[37] A total of 260,895 men were evacuated, including Serbian and Montenegrin soldiers and civilian refugees, the royal families, the Serbian government and members of delegations. Aftermath [edit] According to the official statistics from 1919, 77,455 Serbian soldiers died, while 77,278 went missing. The worst fate befell the Southern Column, where approximately 36,000 young boys, some who would have become conscripts in 1916, but some as young as twelve, had been ordered by the Army to join the retreat; within a month about 23,000 of them died. Of the estimated 220,000 civilian refugees who had set off for the Adriatic coast from Kosovo, only about 60,000 survived. Those who survived were so weak that thousands of them died from sheer exhaustion in the weeks after their rescue. Because the rock composition of the island made it hard to dig graves, those who died on the journey were buried at sea. Bodies were lowered from French ships into the depths of the Ionian Sea, near the Greek island of Vido; more than 5,000 Serbs are believed to have been buried this way. The sea around Vido is known as "The Blue Graveyard" (Plava grobnica).[54] Field Marshal Putnik travelled to France for medical treatment, where he died the following year.[55] Nearly 5,000 Serbian refugees, mostly women and children were sent to Corsica, evacuated from Albania, they were attended by the staff of the Scottish Women's military hospital who had travelled with them, an operation financed by the Serbian Relief Fund based in London. Many of the young boys who had survived the retreat were sent to France and Britain for schooling. Occupied Serbia [edit] Serbia was divided into separate Austro-Hungarian and Bulgarian military occupation zones. In the Austro-Hungarian zone of occupation (northern and central Serbia), the Military General Governorate of Serbia was established with its center in Belgrade. In the territory occupied by the Bulgarians, a military government was set up with its center in Niš, the area was divided into two administrative zones. Both the Austrian and the Bulgarian occupation regimes were very harsh, the population was exposed to various measures of repression, including mass internment, forced labour, concentration camps for political opponents, starvation, Denationalization and Bulgarisation policy. Kosovo was divided into two Austro-Hungarian occupational zones: Metohija entered the Austro-Hungarian Military Government of Montenegro, while a smaller part of Kosovo with Mitrovica and Vucitrn became part of the Austro-Hungarian Military Government of Serbia. The greater part of Kosovo – Pristina, Prizren, Gnjilane, Urosevac, Orahovac was included in the Bulgarian Military Region of Macedonia. Salonika front [edit] During 1916, more than 110,000 Serbian troops were transferred to Salonika, where they joined the Allied army after Greece entered the war; some six Serbian infantry divisions and one cavalry division, named after regions and rivers in their homeland would eventually return to serve, playing a key role in the breakthrough of the Macedonian Front in September 1917, and the liberation of their homeland a year later.[2] Legacy [edit] The great retreat is considered by Serbs to be one of the greatest tragedies in their nation's history.[7] It is remembered, using biblical symbolism, as the Albanian Golgotha, a sacred sacrifice followed by the national 'resurrection' of Serbia's victory at the end of the war. Images [edit] See also [edit] Commemorative Medal of the Great Serbian Retreat Gde Cveta Limun Žut, (2006). A documentary film about the Serbian army's retreat. King Peter of Serbia, (2018). A feature film starring Lazar Ristovski. Kreće se lađa francuska, A World War I song composed by Branislav Milosavljević in Corfu. Serbian Museum of Corfu Tamo Daleko, A World War I song composed in Corfu. References [edit] Citations [edit] Bibliography [edit] Further reading [edit]
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1053	dbpedia	3	26	https://www.planetmellotron.com/revs12.htm	en	Planet Mellotron Album Reviews: S12			[ "https://www.planetmellotron.com/images/tronlogo2.gif", "https://www.planetmellotron.com/images/reviewsbig.gif", "https://www.planetmellotron.com/images/s.gif", "https://www.planetmellotron.com/images/12.gif", "https://www.planetmellotron.com/images/fill.gif", "https://www.planetmellotron.com/images/reviews.gif", "https://www.planetmellotron.com/images/albums.gif", "https://www.planetmellotron.com/images/sleepy-rosie.jpg", "https://www.planetmellotron.com/images/slingbacks-all.jpg", "https://www.planetmellotron.com/images/slipknot-vol3.jpg", "https://www.planetmellotron.com/images/slowmr-slow.jpg", "https://www.planetmellotron.com/images/sly-dreams.jpg", "https://www.planetmellotron.com/images/smak-rok.jpg", "https://www.planetmellotron.com/images/smak-zasto.jpg", "https://www.planetmellotron.com/images/smallfaces-smallfaces.jpg", "https://www.planetmellotron.com/images/smallfaces-itchycoo.jpg", "https://www.planetmellotron.com/images/smallfaces-ogdens.gif", "https://www.planetmellotron.com/images/smallfaces-darlings.jpg", "https://www.planetmellotron.com/images/smallwonder-smallwonder.jpg", "https://www.planetmellotron.com/images/smallwonder-growin.jpg", "https://www.planetmellotron.com/images/smalltownpoets-small.jpg", "https://www.planetmellotron.com/images/smalltownpoets-listen.jpg", "https://www.planetmellotron.com/images/smashlogosmall.gif", "https://www.planetmellotron.com/images/smellofincense-allmimsy.jpg", "https://www.planetmellotron.com/images/smellofincense-smell.jpg", "https://www.planetmellotron.com/images/smellofincense-through.jpg", "https://www.planetmellotron.com/images/smellofincense-ofullages.jpg", "https://www.planetmellotron.com/images/smellofincense-curious.jpg", "https://www.planetmellotron.com/images/smile-gettinsmile.jpg", "https://www.planetmellotron.com/images/smile-ghostofsmile.jpg", "https://www.planetmellotron.com/images/smileapollo-apollo.jpg", "https://www.planetmellotron.com/images/smithbec-temper.jpg", "https://www.planetmellotron.com/images/smithbob-visit.jpg", "https://www.planetmellotron.com/images/smithcraigp-in.jpg", "https://www.planetmellotron.com/images/previous.gif", "https://www.planetmellotron.com/images/next.gif" ]	[]	[]	[ "" ]	null	[]	null			favicon.ico		null	Sleepy Slingbacks Slipknot Slow Motion Rider Sly Smak Small Faces Small Wonder Smalltown Poets Smile Smell of Incense Apollo Smile Bec Smith Bob Smith Craig P. Smith Sleep Station (US) see: Samples etc. Sleeping Pictures (UK) see: Samples etc. Sleepy (UK) 7" (1968) *½/½ Rosie Can't Fly Mrs. Bailey's Barbecue and Grill Current availability: On Think I'm Going Weird: Original Artefacts From The British Psychedelic Scene 1966-68: Grapefruit Mellotron used: Unknown (The) Sleepy were yet another short-lived UK psych outfit, their chief claim to fame being that two members went on to bigger and better, viz. Drummer Ian Wallace (duh, King Crimson, many others) and bassist David Foster, who wrote a couple of early Yes numbers with Jon Anderson, later playing with Badger. Rosie Can't Fly was their second and last single, the band having dropped the definite article since their first. It's a beautiful, dreamy psychedelic number, absolutely of its time, while the flip, Mrs. Bailey's Barbecue And Grill, is a jauntier affair, without slipping into the kind of sub-music hall horror so successfully lampooned by The Dukes of Stratosphear. (Presumably) organist Mike Fowler adds the minimal Mellotron to the 'A', pretty much only using it for a handful of radical strings pitchbends at the end of each chorus. Not the heaviest use ever, then (thanks to Trevor for this, incidentally), but well worth hearing in its own right. Sleepyard (Norway) see: Samples etc. Don Slepian (US) see: Samples etc. Slingbacks (UK) All Pop, No Star (1996, 43.59) /T½ No Way Down Wasted Hey Douglas Trashy Broken Heart Sometimes I Hate You All Pop, No Star Autumn Teen Sound The Boy Who Wanted a Heroine Insufferable Better Think Hard Whorehouse Priest Junkstruck Stupid Boyfriend Current availability: Virgin (out of print?) Chamberlin used: Mitch Easter's machine Slingbacks were apparently half British and half American, although, given that their lone album, 1996's All Pop, No Star, was largely recorded in the UK, I suspect that's where they were based. It's a female-fronted punky powerpop/'90s indie crossover effort, actually better than it sounds, at its best on Hey Douglas, the title track and the pop/punk of Whorehouse Priest. Mitch Easter plays his Chamberlin (recorded at what I presume is his studio in North Carolina), with strings on the title track and cellos and upfront strings on closer Stupid Boyfriend. While no classic, you get the feeling that they could've produced a killer record three or four releases down the line. Sadly, it wasn't to be. Slipknot (US) Vol. 3 (The Subliminal Verses) (2004, 64.06) /T Prelude 3.0 The Blister Exists Three Nil Duality Opium of the People Circle Welcome Vermilion Pulse of the Maggots Before I Forget Vermilion pt. 2 The Nameless The Virus of Life Danger - Keep Away Current availability: Roadrunner Chamberlin used: Unknown I'll come clean and admit that, before now, I'd never really heard Slipknot, despite their high-profile, twenty-year career. I usually find their style of metal rather tiresome - I certainly have no time for the bands with whom they're usually compared - but, I have to say, their third release, 2004's Rick Rubin-produced Vol. 3 (The Subliminal Verses), definitely has its moments. No, I don't much like all the clichéd stuff - manic double-kicks, tuneless high-speed guitar soloing, yelled vocals - but many tracks (yet few complete ones) contain features that work for me. As a result, the only whole songs I can say I definitely like are the slow ones, Circle and Vermilion Pt. 2, which also have something else in common. Keys man Craig Jones (a.k.a. #5) plays Chamberlin, although it's not specifically credited, with a repeating cello line on (guess what) Circle and an octave string line, nicely high in the mix, on Vermilion Pt. 2. Well, I find Slipknot a classic 'curate's egg' band; elements I like and dislike, usually within the same song. I also found the album far too long for its content, but I doubt whether fans would agree. Anyway, two seemingly real Chamby tracks, although you can't imagine the band using them on the full-on metal stuff. Official site Sloan (Canada) see: Samples etc. Tomáš Sloboda a Sounds Like This (Solvakia) see: Samples etc. Slow Electric (UK) see: Samples etc. Slow Motion Rider (US) Slow Motion Rider (2012, 42.36) ½/T Hold Your Hand Out to the Sun I Can't Feel Anymore Ride You Purple Love Will Find a Way Wondered Why Destination Nowhere You'll Never Know The Key I Like the Way You Look Kids Ain't Got No Soul Current availability: Committee to Keep Music Evil Mellotron used: Rob Campanella's M400 Slow Motion Rider are a scuzzy, fuzzed-out, heavy psych trio with Brian Jonestown Massacre connections, not least the release of their 2012 eponymous debut on Jonestown's label. The album's at its best on opener Hold Your Hand Out To The Sun, You'll Never Know and closer Kids Ain't Got No Soul, but, in truth, there isn't a bad track to be heard. Robert Campanella plays his M400 on The Key, with a chordal strings part dipping in and out of the track; shame they didn't use it a little more, but there you go. The lack of any obvious Web presence makes me wonder whether the band haven't quietly folded since the album's release; let's hope not. Slowpoke (US) see: Samples etc. Slugbug (US) see: Samples etc. Sly (Japan) Dreams of Dust (1995, 60.47) /T Arm and Hammer Dreams of Dust Shut Up and Buy The System Loner Different Tears Light and Stone Mad With Power Rented Window Gun Play Lost in the Day to Day Walled Communication Current availability: Ariola (out of print?) Mellotron used: Rei Atsumi's M400 Sly were a mid-'90s conglomeration, comprising members of Japanese metal acts Loudness, Earthshaker and Blizard. Their second album (of four), 1995's Dreams of Dust, is yer full-on power metal effort, at its most potent on Shut Up And Buy and the semi-epic, seven-minute Light And Stone. To my surprise, given the humourless genre, the band display an unexpected sense of humour, not to mention the ability to pun in English, with instrumental opener Arm And Hammer. Ho. And ho again. Not to be outdone in the supergroup stakes, Vow Wow's Rei Atsumi guests on Light And Stone, both arranging and playing Mellotron, with a melodic flute part and chordal strings. I'd expected a one-dimensional album, but got one that tackles various micro-genres, all, of course, played with Japanese precision, not to mention one ripping Mellotron track. Slychosis (US) see: Samples etc. Smak (Yugoslavia) Rok Cirkus [a.k.a. Rock Cirkus] (1980, 36.53) ½/T Rock Cirkus Profesor Ogledalo Cigansko Srce La Kukarača Instrumental Baby I to Je Za Ljude Hirošima Zašto Ne Volim Sneg (1981, 39.57) */T Južni Voz Zajdi, Zajdi Talisman Zašto Ne Volim Sneg Balet Maht Pustinja Nebeski Splav Current availability: Both titles: not on CD? Mellotrons used: Laza Ristovski's M400 Smak formed in 1971 in what is now Serbia, playing a form of jazzy progressive blues, rapidly becoming one of Yugoslavia's top rock bands. After losing popularity in the late '70s, they returned with Rok Cirkus (a.k.a. Rock Cirkus), in a more commercial hard rock direction, although Instrumental Baby is more progressive fusion, while closer Hirošima is more funky, Clavinet-driven pop with a cod-Japanese feel. Unlike some Yugoslav albums of the period featuring false 'Mellotron' credits, there's no doubt that Smak had access to one; in fact, it was played (and presumably owned) by Laza Ristovski (Laza & Ipe), with flutes and strings on Ogledalo, Ristovski playing Hammond on the bulk of the record. The following year's Zašto Ne Volim Sneg is very noticeably less commercial and more progressive, Balet moving off into fusion territory again, while the lengthy Maht Pustinja is nearer a fusion/space rock crossover than anything. Ristovski on Mellotron again, with flutes and strings on Zajdi, Zajdi, the band's reworking of a folk tune from the region and nicely upfront flutes on Talisman. I couldn't honestly say either of these albums exactly sets the world alight, but they're both listenable enough, Zašto Ne Volim Sneg definitely being the better of the two, although Rok Cirkus has better Mellotron use. Small Faces (UK) Small Faces (1967, 30.19) ½/T (Tell Me) Have You Ever Seen Me Something I Want to Tell You Feeling Lonely Happy Boys Happy Things Are Going to Get Better My Way of Giving Green Circles Become Like You Get Yourself Together All of Our Yesterdays Talk to You Show Me the Way Up the Wooden Hills to Bedfordshire Eddie's Dreaming 7" (1967) **/T½ Itchycoo Park I'm Only Dreaming Ogden's Nut Gone Flake (1968, 38.35) /T½ Ogden's Nut Gone Flake After Glow Long Agos and Worlds Apart Rene Song of a Baker Lazy Sunday Happiness Stan Rollin' Over The Hungry Intruder The Journey Mad John Happy Days Toy Town The Darlings of Wapping Wharf Launderette: the Immediate Anthology (1999, 140.43) ½/TT I Can't Make it Just Passing Here Comes the Nice Talk to You (Tell Me) Have You Ever Seen Me Something I Want to Tell You Feeling Lonely Happy Boys Happy Things Are Going to Get Better My Way of Giving Green Circles Become Like You Get Yourself Together All of Our Yesterdays Show Me the Way Up the Wooden Hills to Bedfordshire Eddie's Dreaming Itchycoo Park I'm Only Dreaming Tin Soldier I Feel Much Better Ogden's Nut Gone Flake Afterglow (of Your Love) Long Agos and Worlds Apart Rene Song of a Baker Lazy Sunday Happiness Stan Rollin' Over The Hungry Intruder The Journey Mad John Happy Days Toy Town The Universal Donkey Rides, a Penny, a Glass Wham Bam, Thank You Man The Autumn Stone Collibosher Red Balloon Call it Something Nice Wide Eyed Girl on the Wall Don't Burst My Bubble Every Little Bit Hurts Picaninny The Pig Trotters The War of the Worlds Take My Time Mad John (If You Think You're) Groovy Wham Bam, Thank You Man Current availability: Darlings: Sequel (UK) Mellotrons used: Studio MkIIs? The Small Faces' rise to fame was fairly meteoric, shifting from good, if generic r'n'b through to cockney psychedelia in the space of two years. Their first two albums both bear the same eponymous title, for some unknown reason, so have become known as 'The Decca Album' and 'The Immediate Album', the latter being the only one to concern us here. After leaving Decca, the band, signed to Stones' manager/producer Andrew Loog Oldham's Immediate label, producing a brief but incendiary run of hits and two albums. The Small Faces (Immediate version) shows the band on the cusp of their stylistic shift, with straightforward r'n'b like the instrumental Happy Boys Happy rubbing shoulders with more adventurous material like Green Circles. Organist Ian 'Mac' McLagan sticks some Mellotron on opener (Tell Me) Have You Ever Seen Me and some very background brass on Feeling Lonely, but his main use on the album is on the more psychedelically-inclined Become Like You, with its melodic string line, shifting up an octave just before the end of the song. One of their (possibly the) career peaks was their huge summer '67 hit, the fabulous Itchycoo Park (which I remember from a rather unlikely 1975 reissue, when it hit for the second time round). I could wax lyrical about the song for paragraphs, but I won't 'cos it's not relevant to this site. Its b-side, however, I'm Only Dreaming, features McLagan on Mellotron vibes; I wasn't sure if they were Mellotron or real, until I heard the block chords at the end of the song, complete with key-click. Available on various compilations, it's hardly worth obtaining for its Mellotron input, but isn't a bad song, whatever. [n.b. Mellotron God Martin Smith tells me that we're also hearing MkII sax (correct: a short solo near the end) and 'Dixieland fills in short staccato phrases', to which I can only say, you REALLY have to know your MkII Mellotron sounds to spot this. I think I can hear the bit he means, but it takes someone considerably more expert than myself (as in Martin) to notice.] 1968 found the Small Faces still mods, but having already dipped their collective toes into the murky world of psychedelia the previous year with Itchycoo Park, they were reasonably well-equipped to take on the late-'60s mob-handed. Anyone who may have any even remote doubts as to the band's drug credentials should give an at least cursory listen to Here Comes The Nice - I mean, how DID they get away with that lyric? Anyway, I don't know how much acid the band were doing, but going by side two of Ogden's Nut Gone Flake there was definitely something in the water down at Wapping Wharf. Most of the songs are a more laid-back update on the r'n'b style they'd made their own, with Steve Marriott's distinctive 'cockernee' vocals, the best-known being Lazy Sunday, although there isn't a bad track on the album, to be honest. Side two is an odd little concept piece, Happiness Stan, with bizarre narration from Stanley Unwin, speaking his own superb and unique distortion of the Queen's English, Unwinese. McLagan's Mellotron work is unfortunately limited to three tracks; Happiness Stan itself has some reasonable background string work, while The Journey is limited to a few pitchbent string chords and there's a brief Mellotron sax solo on closer Happy Days Toy Town. There's also a brief mention of the instrument in Unwin's rambling on the latter track, where he says something like "And [someone] brought his Mellotrone [sic] and freaked 'em all out". So; great album, but only so-so Mellotron. After seemingly dozens of reissues, of greater or lesser quality, the reactivated Immediate (through Castle) released the double CD The Darlings of Wapping Wharf Launderette: the Immediate Anthology in 1999. I'm no expert on the band's career, but it apparently includes every studio track they recorded for the label, although the live tracks from their original posthumous odds'n'sods release, The Autumn Stone, are missing. I've also read that a between-song link on Ogden's has mysteriously gone walkies, while the album itself is irritatingly split over the two discs, with the original side division as the split point. Minor quibbles aside, this is an excellent release, mopping up all their single-only tracks, both albums and various extraneous bits and pieces, not to mention a quick, 'hidden' burst of a backing track for Green Circles stuck at the end of disc two, after a gap. All five of the band's Mellotron tracks are present and correct, so if you want to hear what the 'magic midgets' got up to in their two-year Immediate period and you're not fussed about Ogden's being split, this is the place to go. Three-quarters of the band went on to become the Faces, of course, while Marriott played in the inexplicably (temporarily, now essentially forgotten) successful Humble Pie. With both Marriott and bassist Ronnie Lane now dead, the Small Faces are about as 'history' as any band can be. Saying that, isn't there a version of Humble Pie doing the rounds consisting of the original rhythm section plus hired-hand frontmen? Heinous. Official site Small Town Workers (US) see: Samples etc. Small Wonder (Canada) Small Wonder (1976, 37.13) ½/TTTT It Was Meant to Be Time is Passing Me By I'm a One Way Train Pray for the World Be Yourself Why Walk When You Can Dance You and I Midnite Plane Ride Atlantis Growin' (1977, 32.49) /0 Will You Be Part of Me? Run Run Around Good Morning Daybreak Rollin' on Who am I Whatever it Will Be Nowhere Left to Turn Right Side of the Bed Oh! Hoedown Current availability: Both titles: not on CD Mellotrons used: Band's own M400 Small Wonder are determinedly obscure; the only information I've been able to find about them is that vocalist/violinist Henry Small is Canadian, an ex-member of Scrubbaloe Caine (who?!) and future singer with AORsters Prism. On their eponymous 1976 debut, the band's style was mainstream pop/rock, mid-'70s style, with distinct progressive tendencies in the instrumental department, going by the amount of Moog and Mellotron (Atlantis sounds like a pop version of '70s Yes), not to mention Jerry Morin's twin-neck. Jimmy Phillips slaps Mellotron all over Small Wonder, with strings on every track, although his use sometimes seems a little gratuitous. Mellotron highlights are Atlantis, the intro to Midnite Plane Ride and, most of all, You And I, although you have to fight your way through the layers of rather sickly harmonies and self-consciously upbeat commercialism to get to it. Their second (and last) long-player, the following year's Growin', makes its predecessor look like a prog classic, subjecting us to a range of MORisms on most tracks. Exceptions? A little pseudo-classical Clavinet part in opener Will You Be Part Of Me? and a similar piano run in countryish closer Oh! Hoedown, Run Run Around is the rockiest thing here, in a solid '70s vein and Rollin' On and Whatever It Will Be aren't too bad, in a good-time boogie kind of way, but we appear to be clutching at straws. And as for Phillips' 'Mellotron' credit... Is it here at all? Real strings on most tracks, so who knows whether our tape-driven friend is lurking in the background anywhere? Those could be background strings on Good Morning Daybreak, although the flute duet on the track sounds real, so I think we're looking at a big, fat '0' here. Frankly, you have to be something of a West Coast pervert to get anything out of this at all, just in case you were wondering (ha ha) whether or not to invest. So; difficult to recommend musically, but at least their debut features loads of Mellotron for the aficionado. I got my copy for US$1.00, thrown in with another album, so unless you're really into this type of thing, I wouldn't bother paying a lot more. Incidentally, I doubt whether you'll find a greater first/second album Mellotronic dichotomy than Small Wonder's on this site, for what it's worth. Smalltown Poets (US) Smalltown Poets (1997, 41.19) /T Prophet, Priest and King If You'll Let Me Love You Everything I Hate I'll Give Anymore Who You Are Scenario There's a Day Monkey's Paw Trust Inside the Bubble [Hidden track] Listen Closely (1998, 44.33) ½/T Call Me Christian Anything Genuine There is Only You Gloria 48 States Long, Long Way The Gospel is Peace Hold it Up to the Light New Man Quasar Garland of Grace One of These Days Current availability: Both titles: ForeFront Mellotrons used: Ardent Studios' M400 Smalltown Poets are a Christian pop/rock outfit from Atlanta, GA, whose eponymous debut is every bit as unpromising at that sounds. Any better/listenable tracks? Trust, perhaps, with its accordion and folky feel, but we're scraping the barrel here. Keys man Danny Stephens plays Ardent Studios' in-house M400, with block chord flutes on Who You Are and a flute melody on Trust, to reasonable effect, although they do little to improve this sorry effort. The following year's Listen Closely is marginally better, at its least offensive on 48 States and Garland Of Grace. Stephens has a go on that Mellotron again, with cellos and strings on There Is Only You, background flutes on Gloria and cellos on Long, Long Way. Frankly, though, these are a long, long way from being worth the effort. Official site Smashing Pumpkins (US) see: The Smell of Incense (Norway) All Mimsy Were the Borogoves (1994, 53.20) /TT½ Alice Faerie Emerald Fancy Christopher's Journey (The Smell of) Interstellar Overdrive Witch's Hat Shrine 7" (1994) /T½ The Smell of Incense A Visit With Ashiya Through the Gates of Deeper Slumber (1997, 49.54) ½/TTTTT A Floral Treasury Overture The Song of the Winter Aconite Fairy The Song of the Nightshade Fairy The Song of the Queen of the Meadow Fairy Epilogue Columbine Confused A Word in Season From the Third Hemisphere Atlantis Kraken Slumber Kraken (Slight Return) Of Ullages & Dottles (2007, 50.20) /TTTT Bumbles and Dragons Laughing Song Where Forlorn Sunsets Flare and Fade Song The Golden Knot The Haunted Chamber Well in it Of Pygmies, Palms and Pirates A Curious Miscellany (2010, recorded 1992-2005, 49.45) /TT The Smell of Incense Why Did I Get So High? (I Wanna Live in the) Golden State Witch's Hat Swami Coming Down (long version) If Not This Time Christopher's Journey (demo) A Visit With Ashiya Varulv Tread Softly on My Dreams I'm Allergic to Flowers Current availability: Borogoves: out of print Gates/Ullages/Curious: September Gurls (Germany) Mellotrons used: Band's own M400 Until I heard them, I was under the impression that The Smell of Incense were 'just another Scandinavian prog band'. Not a bit of it. They mix'n'match influences from all over, but are most easily described as 'psychedelic', whatever you take that to mean. Some of the members had known each other since the mid-'70s, unbelievably and after putting out various odd releases in the '80s as Famlende Forsøk, they put the SoI together in the mid-'80s with a remit to be as 'psychedelic' as possible, with the intention of recording an album of '60s psych classics. Somewhere along the line, however, they started writing their own material, ending up with the compromise that is All Mimsy Were the Borogoves (Lewis Carroll's Jabberwocky, of course). Of the seven tracks on board, they ended up with three covers (The Kinks' Fancy, The Incredible String Band's Witch's Hat and a heavily customised version of Pink Floyd's Interstellar Overdrive), plus another three where they put their music to someone else's lyrics (Faerie Emerald, from Edmund Spenser's Faerie Queen, Christopher's Journey from A.A. Milne's Winnie the Pooh and a late-'60s Peter Hammill poem, Shrine, previously not set to music). The band obviously refuse to use any equipment produced later than, say, 1972, with the end result being a marvellously 'authentic' late-'60s album. Well, nearly. Mellotron choirs didn't exist until 1972, but who's arguing when they sound this good? Their only wholly 'in-house' number, Alice, has some very background Mellotron strings, but the flute melody and strings on Faerie Emerald are right at the front of the mix, with background choirs. More choirs on Christopher's Journey and Shrine, although Interstellar Overdrive is more of a trippy organ jam, different enough from the original to justify the band's collective co-writing credit. Incidentally, the Mellotron (it seems they own one) was played by 'Han Solo', one of several nom-de-plumes used by the band, for reasons best known to themselves. The band have released a handful of singles, in various formats, all of which consist of covers of obscure psych classics. 1994 brought their version of the West Coast Pop Art Experimental Band's The Smell Of Incense (wondered where they'd got their name), backed with HMS Bounty's A Visit With Ashiya ('67 and '69 respectively). As I've heard neither track in its original version, comparisons are not so much pointless as impossible, but they both sound pretty damn' good here, with some Mellotron strings and a smattering of choirs on the 'b'. They followed All Mimsy... three years later, with Through the Gates of Deeper Slumber, which had shifted right up to, er, about 1973, taking on prog influences to add to the all-pervading psych. Their remit this time round, it seems, was to put music to the writings of various mystical writers, those being Mary Cicely Barker, Michael Moorcock, Lord Dunsany and Robert E. Howard. Opening track, A Floral Treasury, is 25 minutes long, working its way through several sections and feels, including a near-dance part (that's contemporary, not country...). The songs are all excellent, with killer hooks inserted all over the place, particularly on A Word In Season, so don't get the idea that this is just another pseudo-psych effort favouring style over substance. The Smell of Incense have both... Apart from the music, Through the Gates... is stuffed to the gills with Mellotron; not only strings/flutes/choir, but an unidentified woodwind instrument and what sounds like it may be one of the various 'orchestra' sounds near the beginning of the first track. They often use two sounds at once, but I've no idea what their Mellotronic setup is, so no news on how they reproduce it all live, assuming they even try. Mellotrons not only by Han Solo, but Mickey Moog as well, this time. A decade on, the band's third album, 2007's Of Ullages & Dottles, displays more of a folky/medieval flavour on material such as Laughing Song and Where Forlorn Sunsets Flare And Fade (which starts off as the bastard lovechild of Fleetwood Mac's Oh Well (Part 2)), although the nine-minute Well In It is full-on prog and a couple of tracks feature the band's punchier side, while closer Of Pygmies, Palms And Pirates has more than a hint of Floyd's Astronomy Domine about it. 'Moog' on Mellotron again (as against 'Mellotron on Moog', I suppose), with flutes on opener Bumbles And Dragons, flute and string parts on Laughing Song, choirs and strings on Where Forlorn Sunsets Flare And Fade, polyphonic flutes on Song, choirs and strings on The Golden Knot, with cellos and low-end flutes later on, a fastish (and quite wobbly) string line and flutes on Well In It and beautiful string and flute parts on Of Pygmies, Palms And Pirates, quite possibly the album's Mellotronic highlight. 2010 brought A Curious Miscellany, a long-overdue collection of out-of-print tracks from singles and compilations, alongside some previously-unheard material. Their recording debut, 1992's one-sided flexi, I'm Allergic To Flowers, proves that their sound was fully-formed from the off, top tracks including both sides of the aforementioned The Smell Of Incense/A Visit With Ashiya, compilation track Varulv and superb third album outtake, Tread Softly On My Dreams. Surprisingly little Mellotron, just three tracks out of twelve, with choirs on 1991 demo of first album track Christopher's Journey, strings on A Visit With Ashiya, of course and strings, choirs and flutes on Tread Softly On My Dreams, all purportedly from Mickey Moog. So; unlike so many similar, a band more than worthy of your hard-earned. I believe All Mimsy... is currently 'unofficially' available (so why not re-release it properly, chaps?), with their three other albums all still on catalogue. Plenty of Mellotron, but they'd be great albums had the band never heard of tape-replay instruments. Buy. See: Famlende Forsøk \| Seid Smile (UK) Ghost of a Smile [a.k.a. Gettin' Smile] (1982/97, recorded 1969, 20.47) /½ Earth Step on Me Doin' Alright April Lady Blag Polar Bear Current availability: Pseudonym (Netherlands) Mellotron used: Studio MkII? Smile's mini-album, variously known as Gettin' Smile and Ghost of a Smile, has a rather confused history. The band were a London-based trio at the tail end of the '60s, who just happened to include one Brian May on guitar and one Roger Taylor on drums, along with bassist/vocalist Tim Staffell. If the last name looks at all familiar to you, it'll probably be from the writing credits on the first Queen album, where he co-wrote Doin' Alright, also to be found here, although he also played with future Mott the Hoople Morgan Fisher's Morgan project. As far as anyone can work out, they only ever recorded six tracks, which remained unreleased until the early '80s, when a Japanese label stuck them out as Gettin' Smile, presumably in a somewhat unauthorised manner (I remember seeing a copy of this, but stupidly didn't buy it). It appeared again in '97, this time (of course) on CD as Ghost of a Smile; there appear to be two different versions, with the Dutch Pseudonym issue being relatively official and the other (Italian?) one being a poor-sounding boot, although it adds both sides of Freddie Mercury's 'Larry Lurex' single from '73. Incidentally, don't bother with that particular rarity - I Can Hear Music is a poor version of the Beach Boys' song and the b-side isn't much better. So, what's it like? A bit of a mixed bag, actually; the proverbial 'curate's egg', even. Smile admit to being influenced by Cream, although this only shows up here on Blag, with the other songs presumably being rather unrepresentative of their live sound. Earth (b/w Step On Me) was actually a single, but it's hardly surprising it didn't exactly set the charts alight, although it's a decent enough song. Actually, the one reason you'd really want to get this is to see the roots of Queen; not only did they record Doin' Alright, but Step On Me has some signature May guitar harmonies, already in place even then, while Blag's obviously curtailed 'jam' section contains bits of what would end up as Brighton Rock, five years and three albums later. As for the Mellotron (very possibly played by May), there's a bit of background string work on Earth, but as great Mellotron work goes, it's deeply inessential, to be honest. So; this is actually quite essential for fans of early Queen, if only to see from whence they came. The rest of you should probably pass swiftly by; this is no long-lost psych classic, although it does have its moments. Your decision, methinks. See: Morgan Apollo Smile (US) Apollo Smile (1991, 44.37) /½ Thunderbox Dune Buggy I Want You to Love Me Love Comes Your Way Theme for All Nations Friends Hymn to the Sun Temple of Love Peace Theme (Reprise) Dune Buggy (Bonus Remix) Current availability: Geffen (almost certainly out of print) Mellotron used: Michael Beinhorn's M400?? Paula Apollo Anne "Apollo Smile" Scharf is a singer who's concentrated on film and SF convention work over the course of her career, sometimes billing herself as 'The Live Action Anime Girl'. Her eponymous 1991 debut is her first of three albums to date, consisting of rather mainstream pop/rock, with the accent on the 'pop', including Thunderbox, her contribution to Tom Cruise's 1990 effort, Days of Thunder. It's pretty disposable stuff, to be honest, although I can imagine the more committed AOR fan may find some merit in it. You, dear reader, probably won't. Ronnie "Fingers" Jeffrey plays Mellotron, unusually for the time, with a rising string line in the reasonably rocky Love Comes Your Way, although I can't hear it anywhere else. Given that noted early Mellotron resurgence king Michael Beinhorn was involved in the project, I suppose it could be his machine we're hearing. Anyway, you really don't need to hear this for either the music or its minimal Mellotronic presence. And to her small but devoted online following, bemoaning her disappearance in recent years... Guys. Apollo was born in 1967. She turned forty in 2007. I hope this doesn't come across as sexist (it absolutely isn't meant to), but she probably retired from stage work to start a family. Sorry. Exceptionally out-of-date fan site April Smith & the Great Picture Show (US) see: Samples etc. Bec Smith (US) Temper (2001, 39.50) ½/½ You Can't Even Tell Gold Better Heartless Beautiful Boy Loose End Redeye Goodbye You Can't Even Tell (Garage Remix) Current availability: Poet's Corner Mellotron used: Unknown I can't tell you much about Bec Smith, other than that she's from Minneapolis. Her (debut?) 2001 release, Temper, is a passable pop/rock effort, at its best on opener You Can't Even Tell and the stomping Heartless, although too many of its tracks drift along to no great purpose (Redeye being an obvious example), while the 'Garage Remix' of You Can't Even Tell, presumably included here to pad out an otherwise very short record, is a complete waste of time. Bryan Hanna plays wobbly-enough-to-be-real Mellotron flutes on Heartless, albeit not for long, sadly. Yes, I've heard worse, but this isn't even really worth the effort, even for the Mellotron. Facebook Bob Smith (US) The Visit (1970, 62.38) ½/T Please Don't Tell Lady Tonight Constructive Critique Ocean Song The Wishing Song Can You Jump Rope Latter Days Matter India Slumber Source You Blues Sunlight Sweet Of She, of Things Mobeda Dandelions The Path Does Have Forks Try, Try to Understand Yourself Current availability: EEUCD Mellotron used: Unknown Bob Smith's The Visit (or The Visit From Bob Smith) is a relatively obscure, late-period psych album, although it's become better-known in recent years, if only in collecting circles. Originally a double LP, it features various known musos, not least keyboard player Don Preston from the Mothers of Invention and Daryl Dragon (The Dragons), later the 'Captain' part of Captain & Tennille, who aid and abet Smith in producing a truly wigged-out effort, highlights including dense opener Please, the experimental, vibes-driven Ocean Song and the ultra-trippy India Slumber. Actually, a few more plays and this will probably gain a four-star rating, if the multiple acid guitar leads don't drive me mad first. Preston plays blistering Mellotron strings on The Wishing Song, making you wish it'd been used on a few other tracks; it's almost certainly a Mellotron, not a Chamberlin, making it an early example of American use. Psych fan? Played all your trippy classics half to death? Desperate to hear something new from the era? Buy The Visit. I suspect the 1996 CD issue's gone out of print, but a double vinyl replica edition appeared in 2007, so it's bound to find its way back onto a little shiny disc at some point. Craig P. Smith (US) In Earth Nights (2013, recorded 1975-79, 62.51) */TTT The Spell Nightwind Pyramid Shadows Pharaoh's Wake Delirium Pursuit Infinity Domain A Cybernetic Dream Slow Motion Science Fiction Mystic Castle Light Year Transit Surreal Areas of Space In Space Nights part one Symphonic Drift Energy Meets the Dawn Eclipse of the Glass Moon In Space Nights part two The Last Sunset Current availability: Download at Craig's site Mellotron used: Craig P. Smith's M400 Craig P. Smith bought Albatross' Mellotron in the mid-'70s, utilising it on several projects over the ensuing years. In Earth Nights is a download-only compilation of material he recorded between 1975 and '79, nearer the then-current electronic music mainstream (specifically, Tangerine Dream and Klaus Schulze) than his later work. Most of its contents focus more on the synths than the Mellotron, particularly Craig's Mini-Korg (a surprisingly powerful little beastie), while several tracks are clearly influenced by Schulze's anti-melodic approach, favouring texture over tunes. Craig adds Mellotron to several tracks, with major string and flute parts on the gentle Nightwind, strings towards the end of the lengthy Pyramid Shadows, distant boys' choir on A Cybernetic Dream, a flute line, string stabs and woodwinds on Science Fiction, strings and what sounds like MkII church organ on Mystic Castle, what appears to be brass on a couple of parts of Surreal Areas Of Space and finally, rich string swells and gong on closer The Last Sunset. As with Craig's other download albums, since this is free, you might just as well give it a listen. EM fans will certainly like portions of it, while Mellotroniacs should enjoy the less common sounds on display. Official site
1053	dbpedia	0	24	http://cdreissuewishlist.blogspot.com/2009/05/original-cd-reissue-wish-list-as-of.html	en	CD Reissue Wish List: The Original CD Reissue Wish List	http://cdreissuewishlist.blogspot.com/favicon.ico	http://cdreissuewishlist.blogspot.com/favicon.ico	[ "https://resources.blogblog.com/img/icon18_edit_allbkg.gif", "https://resources.blogblog.com/img/icon_delete13.gif", "https://resources.blogblog.com/img/icon_delete13.gif", "https://resources.blogblog.com/img/icon_delete13.gif", "https://resources.blogblog.com/img/icon_delete13.gif", "https://resources.blogblog.com/img/icon_delete13.gif", "https://resources.blogblog.com/img/icon_delete13.gif", "https://resources.blogblog.com/img/icon_delete13.gif", "https://resources.blogblog.com/img/icon_delete13.gif", "https://resources.blogblog.com/img/icon_delete13.gif", "https://resources.blogblog.com/img/icon_delete13.gif", "https://resources.blogblog.com/img/icon_delete13.gif", "https://resources.blogblog.com/img/icon_delete13.gif", "https://resources.blogblog.com/img/icon_delete13.gif", "https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTm7Bmo5fq_cfmDaAglYlB4Hqughfn6R_sKeVC_x7XiNIgfD6iflJI9JGMQ8YzcVQlS5BiWVB0VIf-Z2JAlwKAYtl2xI4J_xmxL_tMYobFGPk2VbDappKCWYA7Vig-F50wlnTRNfkWEA/s320/Grim+Reaper.jpg", "https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEq3CYfhLhN1EWpEGB70cfeuOyLqgaPL9aAkHku3KJgjYRgdqunDda6znQpU_TbVmfsWpoIchSsCfazSADHZ6y1rZLuiAL7_SWZbEnbVQaWf6sG5Mi1ybyeTK5K4PRi2VU21uf2kPPLw/w72-h72-p-k-no-nu/Acanthe.jpg", "https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9Arbowe5Ysb4kpk49SF396eQhQjlW5rlMunTNuQvvD8aDV4sef9fGYnlbXDeQ3-chr81YIUWN_n9cDcrlvbTt9Hpop22EAXn0KDU1gZ1HWB6VYwsDutnjRTCOx-uBrh6xKxsaikk6xQ/w72-h72-p-k-no-nu/Metaphysical+Animation.jpg" ]	[]	[]	[ "" ]	null	[ "Purple Peak Records" ]	null	Final Update for this post: October 20, 2015 Current CDRWL News can be found here CDRWL Priority 1 can be found here * - A very good...	en	http://cdreissuewishlist.blogspot.com/favicon.ico		http://cdreissuewishlist.blogspot.com/2009/05/original-cd-reissue-wish-list-as-of.html
1053	dbpedia	3	67	https://issuu.com/dokserbia/docs/serbiandocs_2019_2020_preview	en	Serbian Docs 2019/2020	https://image.isu.pub/23…age_1_social.jpg	https://image.isu.pub/23…age_1_social.jpg	[ "https://static.isu.pub/fe/product-header-frontend/387efd2/31d186ba39f38e8c4fac.png", "https://static.issuu.com/fe/silkscreen/0.0.3042/icons/gradient/icon-canva-gradient.svg", "https://static.isu.pub/fe/product-header-frontend/387efd2/1e794a8c4ec65e549678.png", "https://photo.isu.pub/dokserbia/photo_large.jpg", "https://image.isu.pub/231205011126-c9e99f14b2f5c406cad8c2db09e82e57/jpg/page_1_thumb_large.jpg", "https://image.isu.pub/231205234057-f5f6fe3517709d17024821eeee637002/jpg/page_1_thumb_large.jpg", "https://image.isu.pub/231111235825-adb22e12ca45a95cfc9d4e0efbb0b4e0/jpg/page_1_thumb_large.jpg", "https://image.isu.pub/231109122331-393b12548eb82bff20cde1a0a5fce3fa/jpg/page_1_thumb_large.jpg", "https://image.isu.pub/221106162318-b5c0da27116421dedeb800c8cf211032/jpg/page_1_thumb_large.jpg", "https://static.issuu.com/fe/silkscreen/0.0.2541/icons/gradient/icon-instagram-gradient.svg" ]	[]	[]	[ "" ]	null	[ "DokSerbia Follow this publisher" ]	2019-10-31T00:00:00+00:00	Serbian Docs - Catalogue - 2019/20	en	/favicon.ico	Issuu	https://issuu.com/dokserbia/docs/serbiandocs_2019_2020_preview	Welcome to Issuu’s blog: home to product news, tips, resources, interviews (and more) related to content marketing and publishing. Here you'll find an answer to your question.
1053	dbpedia	3	88	https://japaneseculturereflectionsblog.wordpress.com/author/reflectionsonjapaneseculture/page/30/	en	reflectionsonjapanesecultureblog	https://secure.gravatar.com/avatar/dfb829207e117784221d5097b1e40cb8?s=200&d=identicon&r=g	https://secure.gravatar.com/avatar/dfb829207e117784221d5097b1e40cb8?s=200&d=identicon&r=g	[ "https://japaneseculturereflectionsblog.wordpress.com/wp-content/uploads/2017/11/the_prisoner_1955.jpeg?w=474", "https://japaneseculturereflectionsblog.wordpress.com/wp-content/uploads/2017/11/prisoner.jpeg?w=474", "https://japaneseculturereflectionsblog.wordpress.com/wp-content/uploads/2017/11/51ml9l7nfl-_sx311_bo1204203200_.jpeg?w=474", "https://japaneseculturereflectionsblog.wordpress.com/wp-content/uploads/2017/11/hungrhap.jpeg?w=474", "https://japaneseculturereflectionsblog.wordpress.com/wp-content/uploads/2017/11/matthias-church.jpg?w=474", "https://japaneseculturereflectionsblog.wordpress.com/wp-content/uploads/2017/11/stevan_kragujevic_milovan_djilas1950.jpg?w=474", "https://japaneseculturereflectionsblog.wordpress.com/wp-content/uploads/2017/11/9780156481175.jpeg?w=474", "https://japaneseculturereflectionsblog.wordpress.com/wp-content/uploads/2017/11/zla_kolata-by-pavoukjpeg.jpeg?w=474", "https://japaneseculturereflectionsblog.wordpress.com/wp-content/uploads/2017/11/infid.jpeg?w=474", "https://japaneseculturereflectionsblog.wordpress.com/wp-content/uploads/2017/11/51ztpeqdscl-_sx330_bo1204203200_.jpeg?w=474", "https://japaneseculturereflectionsblog.wordpress.com/wp-content/uploads/2017/11/vukovar-shelled.jpg?w=474", "https://japaneseculturereflectionsblog.wordpress.com/wp-content/uploads/2017/11/9781893996571.jpeg?w=474", "https://japaneseculturereflectionsblog.wordpress.com/wp-content/uploads/2017/11/hvarpanorama.jpg?w=474", "https://japaneseculturereflectionsblog.wordpress.com/wp-content/uploads/2017/11/nml_aff1.jpeg?w=474", "https://japaneseculturereflectionsblog.wordpress.com/wp-content/uploads/2017/11/no_mans_land_movie.jpeg?w=474", "https://japaneseculturereflectionsblog.wordpress.com/wp-content/uploads/2017/11/51wnmbcl6hl.jpeg?w=474", "https://japaneseculturereflectionsblog.wordpress.com/wp-content/uploads/2017/11/450full-when-father-was-away-on-business-screenshot.jpeg?w=474", "https://japaneseculturereflectionsblog.wordpress.com/wp-content/uploads/2017/11/tito-and-me-tito-i-ja-19740.jpeg?w=474", "https://japaneseculturereflectionsblog.wordpress.com/wp-content/uploads/2017/11/51y4kjgfiol-_sl500_aa300_1.jpg?w=474", "https://japaneseculturereflectionsblog.wordpress.com/wp-content/uploads/2017/11/tito-me.jpg?w=474", "https://1.gravatar.com/avatar/de2440ec19ed0f63de82799ad78c6a67e6d9f1ea6c858d2fc62eedffe000610a?s=48&d=identicon&r=G", "https://2.gravatar.com/avatar/89bd16d988bd9500b998b48907793f6c27a1a1072f2a593a7fccf87f7142f45a?s=48&d=identicon&r=G", "https://0.gravatar.com/avatar/c97cd320397d018bcf6c1c99fa76fb35a315810f55339edf28ed600a4966a0ac?s=48&d=identicon&r=G", "https://1.gravatar.com/avatar/d95de819aadcdf8b3018a6ee97ebb89073ff5c5c199bfdfaff283f76d1da13a6?s=48&d=identicon&r=G", "https://1.gravatar.com/avatar/1dc2d30b1a8144e9ffe0177f3da8c30a505a1950ea40ebaa5323fb03eedce746?s=48&d=identicon&r=G", "https://s2.wp.com/i/logo/wpcom-gray-white.png", "https://s2.wp.com/i/logo/wpcom-gray-white.png", "https://pixel.wp.com/b.gif?v=noscript" ]	[]	[]	[ "" ]	null	[]	2017-11-23T10:07:50-07:00	Read all of the posts by reflectionsonjapanesecultureblog on japaneseculturereflectionsblog	en	https://s1.wp.com/i/favicon.ico	japaneseculturereflectionsblog	http://japaneseculturereflections.wordpress.com	Unlike Peter Glenville’s later (and greatest) movie “Becket” (1964), another movie about subordinating Church to State, “The Prisoner” (1955, adapted by Bridget Boland from her own play about Hungarian cardinal József Mindszenty), did not retain the names of the historical-character antagonists: just the cardinal and the interrogator in an unnamed Eastern European country the regime (actually, I don’t think “communist” is mentioned either) of which cannot tolerate any organization or assemblage not under its overt or convert control. (This is a phenomenon in the Leninist crony capitalism that is the Chinese Communist Party ruling the world’s most populous country of the present, btw, as well as North Korea and postcommunist Russia.) The cardinal (played by Alec Guiness) was a hero of the resistance to Nazi occupation and had not been broken by the physical torture of the Gestapo. The interrogator (played by Jack Hawkins [Land of the Pharaohs, Bridge on the River Kwai]) was a less prominent player in the resistance, was never captured, and has never failed to convince a prisoner to confess whatever absurdities have been prepared for trial of an enemy of the state. The very British-sounding antagonists have a very British-sounding class dynamic at play, the interrogator a child of the elite, the cardinal having been raised by a single mother who worked in the fish market and was of “easy virtue” (that is, bedded many different men). It seems to me that the self-confidence based on class plays too large a part in the eventual success of the unfailingly polite and sometimes positively genial interrogator. (In that the play and movie are a reflection on the confessions after long imprisonment and torture of Cardinal Mindszenty, the only question is how this was brought about, so I don’t think that it is a plot-spoiler to telegraph the eventual public confession of the self-loathing prelate. It takes a long time for the interrogator to figure out what the cardinal’s mental weakness is… and little time to exploit it, once found. Good as Hawkins is at underplaying (and while I can recall roles in which he was unconvincing, these were never the result of overplaying), I am not convinced at the interrogator’s disgust. It seems to me to be there mostly to make him less than a total villain to the audience. (On the other hand, I do believe that to succeed, he has to know his quarries better than they know themselves.) Alec Guiness, repeating a role he had performed under Glenville’s direction on the London stage, was a very great actor in a wide variety of roles (of widely varying ethnicity) and had a very, very showy role as the irony-noting arrogant captive, the captive being driven crazy by the book, and as the willing condemner of himself. The cardinal is steadfast in his embrace of abjection, so there is a continuity between first and last (as there is in Peter O’Toole’s penance at the end of “Becket”). Both the actors, and the hammy Wilfred Lawson as the jailer, are very good. There is a ridiculous peripheral love story between a prison guard (Ronald Lewis) and a Catholic young woman (Jeanette Sterke) whose husband has fled the country, and the exteriors look good (if not central European). The problem for me is that I don’t believe the flaw the interrogator exploits. I can believe there is the weakness in the cardinal, but not that it could be so easily used once discovered. Also, I am not convinced that either the cardinal or the interrogator believes in the Truth as their opposing sides believe themselves to have a monopoly of. (There is no philosophical discussion between them, not even any about how the church should be used by the state… or what should not be rendered unto the communist Caesar…) The DVD includes no bonus features, only some trailers to better known, award-winning movies in which Hawkins and/or Guiness appeared (Ben Hur, The Bridge on the River Kwai, Lawrence of Arabia). BTW, both the Venice and Cannes film festivals refused to show the movie for fear of offending cultural officials of Eastern bloc states. And after the Soviet suppression of the Hungarian revolt in 1956, Cardinal Mindszenty spent many years in the US Embassy in Budapest and refused to give up his position as prelate of Hungary even after he was relocated to Vienna. I am one of the relatively few who liked/admired Glenville’s last movie, the 1966 adaptation of Graham Greene’s The Comedians (with Guiness and Peter Ustinov et al. as supporting characters to Taylor/Burton). Before that, he made a leaden comedy with Guiness, “Hotel Paradiso” (1966). In addition to “The Prisoner” and “Becket,” Glenville directed “Me and the Colonel” (1958), “Term of Trial” (1962) and “Summer and Smoke”(1961), all primarily conflicts between two characters. I wish he’d had Greene adapt “The Prisoner.” I suspect that would have increased the plausibility of the characters. ©2017, Stephen O. Murray In his introduction to the New York Review Books edition of Skylark, a 1924 novel by Dezso Kosztolanyi, Peter Esterhazy praises Kosztolanyi (1885-1936) as a master of rhyme and for modernizing (simplifying) the Hungarian sentence. Neither strikes me as a particularly good reason to read the book in English translation. Not that it’s a bad book! Kosztolanyi portrays life in a remote Hungarian town, Szabdaka ca. 1899. The decaying Hapsburg (Austro-Hungarian) Empire here is different from the feverish Vienna of Musil and Schnitzler (and Freud). There are no murders or suicides or erotomaniacs. The focus of the novel is on a retired and seemingly retiring retired man, Ákos Vajkay, and his wife, Antónia, who live with their only child, a very homely woman now past marriageable age, Skylark. Skylark foes off to visit relatives for a week. In her absence, her parents bloom, going to restaurants, swilling schnapps. Ákos is welcomed back into a drinking club, the Panthers. Though Skylark attempts to minimize her footprint on the lives of others, it becomes apparent that the isolation à trois of the Vakjay household is mostly due to her and to her humiliating (to her parents and to her) unmarketability (on the marriage market). The parents are liberated in a way similar to that of many widows after the death of a demanding, constraining husband. Kosztolanyi arouses sympathy for the very unhappy superannuated good girl, but the joie de vivre is the return to local society of her parents in her absence. I guess that I was left feeling sorry for all when her dispiriting vacation and her parents’ delight-filled vacation from her oppressive presence (“aggressive goodness” as Esterhazy aptly puts it). Like Chekhov, Kosztolanyi shows without judging the painful banality of everyday life in the provinces (albeit of a different doddering empire). I often look askance at blurbs, and think that there is too much scene-describing in Skylark for the book to be perfect, but beyond that, it seems to me that Deborah Eisenberg provided the case for the book with great economy: “This short, perfect novel seems to encapsulate all the world’s pain in a soap bubble. Its surface is as smooth as a fable, its setting and characters are unremarkable, its tone is blithe, and its effect is shattering.” Well, maybe it reveals painful fissures. The withdrawn Vajkay seems set to return to the quiet despair of Skylark with parents having glimpsed what a burden their dutiful daughter is on their savoring life. OK, convivial gossiping and drinking and an occasional theatrical production are all Szabdaka has to offer, but having rediscovered these pleasures, the parents are likely going to be more resentful of the constraints of being locked up with their ugly daughter. I fled small-town life at my first opportunity (college) and would find the Panthers and lack of cultural stimulants of Szabdaka tiresome, but can see that they provide some pleasure that the Vajkay parents gave up and that Skylark has not and could not enjoy. I seem to have written myself into a greater appreciation of the novel than I felt while reading it. I’d have cut more, but an excess of descriptions of the settings is the only fault I can point to in this sad social comedy. I don’t regret having read it, though don’t consider it indispensable Central European fiction such as The Radetzky March, The Trial, or Young Törless. It is routinely the second generation that is embarrassed by the parents’ ethnicity and seeks to efface any traces of it. Then, the rootless (feeling) third generation goes in search of roots and values what the grandparents have largely forgotten (if they are living; the quest for roots sometimes commences only after the first generation has died off.) Richard Teleky (born in 1946) is a novelist and longtime professor at York University on the north side of Toronto (so by now counts as “Hungarian-Canadian”). His Hungarian immigrant grandparents settled in Cleveland, where he grew up. Teleky knows there is something stereotypical in his third-generation fumbling for the key to his family. The opening chapter in his collection of essays on Hungarian and Hungarian/North American topics concerns adult language learning, both his own, undertaken seemingly in his late 40’s, and that of Edmund Wilson at age 65 (chronicled in Upstate). A language, Teleky asserts, is “a place to live in,” but although he can interest a press in a collection of essays about his approach to things Hungarian, he does not pretend that he lives in the Hungarian language. After taking the plunge into learning his ancestral language and exploring Hungarian and Hungarian émigré art and literature, he was 47 years old before trying to visit “the old country”: Budapest and his grandmother’s village. The nostalgia for what he’d never experienced was for what his grandparents left and what André Kertész’s early photographs illustrate, Hungary as part of the Austro-Hungarian (Hapsburg) Empire. He went knowing that it could not be found, but was still disappointed that it wasn’t there. What he reports from his 1993 sojourn is less disappointment at the loss of the multiethnic Hapsburg empire than disappointment at the economic stagnation that seems to have worsened in the countryside after the demise of a later multiethnic empire, the Soviet (“Warsaw Pact”) one. I was in Budapest when Soviet control had loosened but before the fall of the Berlin Wall and the USSR. The dynamism and optimism of that time seems to have dissipated; expectations were disappointed. Although his own disappointments are probably mixed in with those of the relatives he met in rural Hungary and their neighbors, what Teleky found was that “the promise of freedom of the last few years has congealed into high inflation and unemployment” (and continued oppression of ethnic Hungarians consigned after the First World War to Romania.) Teleky is typically third-generation in decrying the invisibility of his people and the stereotyping of them when they are visible at all. His “Short Dictionary of Hungarian Stereotypes” is mordant and his criticism of the movie “The Music Box,” made by one of the few Hollywood potentates of Hungarian origin, Joe Eszterhas, is trenchant. (By contrast, in the early days of Hollywood the studios Fox and Paramount were headed by Hungarian-Americans.) Teleky comes close to “losing his cool,” lapsing from the irony that may be bitter but must not veer into outright denunciation that university professors (even Edward Said most of the time) maintain. Teleky’s survey of Hungarians in North American fiction does not lapse from ironic disdain for most of the representations he considers, except to laud the more nuanced portrayals in the fiction of John O’Hara. However, I am perplexed at Teleky wondering why the “title character” of The English Patient is Hungarian rather than Polish. First off, Teleky lives across town from Ondatjee and could presumably have asked him. In the novel, the Indian sapper Kip exclaims that he doesn’t care about distinctions between English, Americans, and French. I’d hazard the guess that Ondatjee is more aware of complexities of European history than his character Kip was, and it seems fairly obvious to me that if Ondatjee’s character Count Almásy had been made Polish, he would have been collaborating with the enemy: the Nazis invaded Poland, but were allied with anti-Semitic Hungarian fascists. The character “joined the wrong side,” just as Hungary did. The parallel of character and country works for Hungary and would not have for Poland. Why the Czech resistance idealist in “Casablanca” has the Hungarian name “Laszlo” is a better question, not least, as Teleky reminds the reader in that the director Michael Curtiz (né Mihaly Kertész) was Hungarian born. (Also,t here really was a Hungarian Laszlo E. de Almásy, who wrote a (spare) 97-page monograph entitled Recentes explorations dans le Desert Libyque (1932-1936). I have to admit that I could not muster interest in poet Margaret Avison, but was already interested in the Hungarian-born, doubly exiled (first Paris, then New York) photographer André Kertész, and I found Teleky’s explanation of the move to abstraction (by Moholy-Nagy as well as Kertész) convincing. His account of the Hungarian émigré church (St. Elizabeth’s) in Cleveland is insightful about language and population shift (the church is now in a mostly Baptist African American area now, as the second generation moved to suburbs and the third is even more dispersed from where there once was a lively Hungarian-American community in Cleveland.) The final chapter of the book again stresses the Herderian view that language doesn’t just carry but is the uniqueness of a people (“the genius” in the original romantic nationalist formulation Teleky eschews.) He quotes with approval sociologist John de Vries’s contention that language maintenance is a necessary but not sufficient condition for maintenance of ethnicity. Maintenance of the Hungarian language in Canada and the US seems doomed to Teleky and to me. Given the general sadness about losing culture, language, distinctiveness, roots, etc.; the chapter I found most compelling was an account of a course on Central European literature in English translation that Teleky taught. The students, despite their near-complete ignorance of the history of Central Europe (and of history generally, I don’t doubt) found their way into literature(s) they barely knew existed and achieved insights into suffering they had not previously considered. (Only one of the students in the class was looking at her own roots.) The writer they seemed unable to “get” was Kafka, which surprised me, since many members of my (and Teleky’s) generation found our own way to Kafka rather than being taught his works. Reading this chapter made me want to take the course and to read about subsequent offerings. (Matthias church, Buda, author’s photo) Interested in attempts at multiculturalism, in language maintenance, ethnic identification, and alienation, there was much I found stimulating in Hungarian Rhapsodies. Without demanding a symphonic structure integrating all the variations on Hungarian alienation, I’d have liked more development, a bit less journalistic miscellany. I think some help might have been available had Teleky treated the work of Susan Gal, which is centrally concerned with language and ethnicity in Hungary. If I have read some of Gal without having any special interest in Hungary, it’s hard to understand why Teleky, who does have one, has not. ©2003, 2017, Stephen O. Murray Milovan Djilas (1911-1997) was a very brave man, who was the first and for a long time the foremost dissident from within a communist system. A committed communist from the eighth grade onward and the #2 official in Yugoslavia as it broke from subservience to the Soviet Union (but not from a local form of Stalinism), Djilas not only spoke truth to power, but spoke the most devastating of truths: that far from communism leading to the withering away of the state and an end of social inequalities it led to state apparatus monitoring and attempting to control every facet of life in communist countries and enriched a “new class” of party bureaucrats. Djilas hoped that communism would bring a better, juster society. This was a hope that stimulated many to join communist parties. But I can’t think of anyone else who rose to high and proclaimed that the revolution and the communist party in power failed to deliver what he and they had hoped for. It was certainly not that Djilas failed to understand that power was necessary to accomplish change. Nonetheless, when he was about to become president of Yugoslavia, he published a series of articles critical of how communism was developing in Yugoslavia. He dared to say that power had become an end in-itself (that is, that Stalin, Tito, et al. were more concerned about maintaining their power than in doing anything about the programs they espoused). He was removed from all his official posts. After publishing The New Class abroad (the book in which he examined the privileges of party members and managers who neither owned the means of production or labored) and speaking in support of the revolt against Soviet domination of Hungary in 1956, Djilas was charged with “slandering and writing opinions hostile to the people and the state of Yugoslavia.” He wrote the memoir of his youth in Montenegro, Land Without Justice before a nine-year imprisonment. That was not his first imprisonment. He has been imprisoned for being a communist 1933-36. Nor was it his last. He was imprisoned again for publishing Conversations with Stalin in 1961 (another four years). Djilas outlived his former comrade, dictator Josip Tito, and outlived the second Yugoslavia. Already in 1989, Djilas observed: “Milosevich’s authoritarianism in Serbia is provoking real separation. Remember what Hegel said, that history repeats itself as tragedy and farce. What I mean to say is that when Yugoslavia disintegrates this time around, the outside world will not intervene as it did in 1914… Yugoslavia is the laboratory of all Communism. Its disintegration will foretell the disintegration in the Soviet Union. We are farther along than the Soviets.” Djilas’s “autobiography of my youth” I read Land Without Justice not out of respect for Djilas as a prophet, nor even out of interest in how someone who knew about the ruthlessness of communist dictators (including direct observation of Stalin) could dare to say that the new communist emperors had not clothes, but as part of my recent attempts to understand the savagery during the breakup of Yugoslavia. (Montenegro was the last to split off from Serbia, which still called itself “Yugoslavia,” that is, the union of southern Slavs. In language and religion and stubbornness, Montenegrians are Serbian.) The first third of the book details the inter-ethnic (and inter-clan) violence in Montenegro at the time of Djilas’s birth. The Balkan wars of 1912 and 1913 in which the Kingdom of Montenegro expanded, expelling Ottoman rulers and slaughtering Muslims,. were followed by World War I in which Montenegro, allied with Serbia was decisively defeated by the (Austro-Hungarian) Hapsburg army in 1916. Djilas describes the often grisly murders of Muslims before and after the First World War, and the picking off and dismemberment of stragglers from the Austrian retreat in 1918. Djilas was only five when the Austrian army passed through triumphant and only seven when it retreated, and much of what Djilas describes he could not have understood at the time, I frequently told myself. Yet, there are very clear memories of what he himself saw, too. And there is a continuity in the savagery that continued with guerrilla rebels against the postwar Kingdom of Serbs, Croats and Slovenes and, after the Croatian leader was assassinated in Parliament, the Serbian dictatorship that called itself the Kingdom of Yugoslavia. Djilas himself was a leader of partisan forces in Montenegro opposed to the fascist puppet Montenegro during the Second World War, which is beyond what is covered in the memoir of his youth. He wrote about his WWII experience and his rise and fall as a comrade of Tito in other books, as well as his analyses of the new class. Djilas was a great storyteller, and Land Without Justice is filled with the stories of others, including his violent family members, teachers, fellow students. The book is not impersonal — it does include accounts of what the young Djilas felt — but the first two parts seem more ethnographic (an observant participant) than autobiographical. The young Djilas is more an agent in the final third, after he has left his native village to board in town and go to school. I think that one could substitute the name of other Balkan peoples in their own areas in Djilas’s lament that “everywhere on the roads wherever we went, there was sorrow—tombstones and graces, murder and misfortune, one after another. The murder of enemies was forgotten, but our own Montenegrin losses, especially if caused by a brother’s hand, remained fresh i memory. One no sooner passed a mound or put it out of mind than another waited around the bend. Every stopping place had a grave.” The Ottoman victory at the Battle of Kosovo required regarding all Muslims (however Slavic their ancestry) as “Turks,” killing them and dispossessing them, though much of the violence as between those not only of the same language and same faith, but same name. “So it has always been here,” Djilas wrote. “One fights to achieve sacred dreams and plunders and lays waste along the way — to live in misery, in pain and death…. The naked and hungry mountaineers could not keep from looting their neighbors, while yearning and dying for ancient glories. Here, war was survival, a way of life, and death in battle the loveliest dream and highest duty….. This land was never one to reward virtue, but it has always been strong on taking revenge and punishing evil. revenge is its greatest delight and glory…. Vengeance is a breath of life one shared from the cradle with one’s fellow clansmen, in both good fortune and bad, vengeance from eternity. Vengeance was the debt we paid for the love and sacrifice our forebears and fellow clansmen bore for us. It was the defense of our honor and good name, and the guarantee of our maidens. It was our pride before others.” Individual and family honor had to be maintained by spilling of fresh blood — including that of many Djilas’s relatives, including his father (veteran of the Balkan Wars). (Zla Kolata, Montenegro’s highest peak photographed by Pavoukjpeg) The first part of the book chronicles many of those. I was struck in the last part that almost everyone Djilas mentioned — his teachers and classmates — had been killed during World War II or its immediate aftermath, and hardly any of them by foreigners (a substantial number killed by communist partisans and some “disappeared” for opposing Tito’s break from subservience to Stalin). Early on, Djilas also describes how looting was irresistible, even to those who tried to dissuade others. In the mid-1950s, Djilas was not writing to explain the atrocities of the 1990s in Bosnia (and elsewhere in what had been Yugoslavia). Djilas considered himself a Yugoslavian, though he foresaw that after Tito (and, especially, with Milosovich’s dictatorship) violent fission would occur. Djilas was writing about days of Montenegrian independence and the first Serbian-dominated Yugoslavia, though reading his memoir now, it seems that what he was writing relates only too well to the 1990s. For me (someone more interested in the culture and history of the Balkans than most North Americans not of Slavic descent), Djilas’s memoir is too long with too many stories of too many individuals (particularly in the second part of the book). I’d have liked more about him. And I’d have liked some explication of what “communism” meant to him as a child and youth, especially since he describes a rural society without industry, and, therefore without a proletariat. One of the paradoxes of 20th-century history is that communist revolutions succeeded (that is, seized state power) only in societies that were predominantly peasant, not those with numerous industrial workers. And Montenegro was a clan-based peasant backwater even in comparison to other places where communists took power… Also, I found some of the generalizations with which he closed each chapter rather too oracular. For instance, I am not sure what he meant when he wrote “Awareness and perseverance are not enough to help one resist and survive if the times in which one lives are contrary to those that are ahead. A man can fight anything except his own times.” Aside from its Hegelian cast, it seems to me that Djilas fought his own times (though not winning, I guess). ©2008, 2017, Stephen O. Murray I began reading Croatian-American writer Josip Novakovich (1956-) with nonfiction, before visiting Croatia. Plum Brandy and Apricots from Chrnobyl provided me much about his background amidst reports of his visits to Croatia during the bloody struggle for Croatian independence (or, depending upon one’s perspective, for the preservation of Yugoslavia). Two of the short stories in Novakovich’s superb 2005 collection Infidelities: Stories of War and Lust are written in a first-person perspective of Slavic immigrant to the US that is very close to that of Plum Brandy. The rest are set in various parts of what was Yugoslavia from perspectives other than that of a middle-aged male emigré. The most daring—and to me convincing—choice of perspectives are those of women (Ribs, Spleen). “The Stamp” is a memoir ostensibly written by Nedjeljko Carbrinovich, one of the Serbian nationalists who assassinated Archduke Ferdinand and his wife in Sarajevo in 1914, triggering World War I. I found it fascinating and it fits with the historical record (that I checked after reading the story). Other accomplished stories focus on Serbians long resident in Croatia who were treated with suspicion (and violent disdain) by “brother Serbs” (The Bridge Under the Danube) or by Croats (Neighbors). There is also a Croatian boy who falls in with Serbian invaders surrounding his town and fulfilling a fantasy of many boys (Snow Powder) and a very black comedy about other perfidious and thought-to-be-perfidious Croatians (Hail). Even memories of particularly notorious ethnic cleansing comes into a grotesque amorous adventure in “Ribs” (the comedy is in the amour, not the slaughter of civilians, BTW). A tale of a ballet-obsessed daughter judged too young to be admitted to “Swan Lake” in St. Petersburg is out-and-out sweet—though I’m with her brother in preferring Prokofiev. When I was reading them, I was somewhat disappointed by the endings of “Hail” and “Ribs,” but in retrospect have changed my mind and decided they end appropriately (unlike so many stories in the New Yorker that seem to me to stop rather than end). None of the eleven stories is a dud, though I have a favorite: the absurdist Croatian “Hail” and the absurdist American heartland “Night Guests.” And I especially admire “The Stamp” and “Ribs” for making the subjectivities characters quite unlike the author convincing. Many of the characters evidence gallows humor (Slavic pessimism?) and there are many ironies of lust as well as of terror and the carnage and opportunism of “ethnic cleansings.” Novakovich’s 1995 collection of stories, Yolk, contains more interesting stories. The one most memorably set against Serbian aggression is “Honey in the Carcase,” in which a lot of Croatian suffering has a measure of revenge. I also especially recommend his piece “Rings and Crucifixes” from Apricots from Chrnobyl. I won’t spoil the revelation of the title, but will mention the heretofore mild-mannered Serb who became a sniper, shooting Croatians while they were receiving dialysis. The most famous Yugoslavian writer, Ivo Andric[h], was of Croatian stock but wrote more about Muslims and Serbs (in the Cyrillic script of the Serbs rather than the Roman one of Croatians). Writing in English (he is now a professor at Concordia University in Montréal), Novakovich, who left what was still Yugoslavian Croatia and who attended college in an almost entirely Serbian city (Novi Sad), seems Andric’s heir in encompassing multitudes, though not attempting to match the temporal scope (multiple centuries) of Bridge on the Drina. ©2007, 2017, Stephen O. Murray Josip Novakovich’s novel April Fool’s Day does for the violent breakup of Yugoslavia what The Tin Drum and Catch-22 did for the Second World War and The Good Soldier Schweik for the first one — that is, show some of the absurdities of catacylsmic carnage — and duplicitous officialdom. Novakovich’s protagonist Ivan Dolinar was born on the first of April 1948 to a Croatian family in Nizograd, Yugoslavia at the time of Tito’s break from control from Stalinism (which, decidedly, did not mean a break from a Stalinist system that sought to crush civil society in any guise, including nationalism and religion). Not having made it to America (as Novakovich did at the age of 20), Ivan could not avoid being drafted into the (Serbian-controlled) Yugoslav Federal army as communism was being swept away and ethnic mobilizations were producing something akin to the US war against secession (in the Serbian view) and a series of wars of independence (with vastly more rape and murder of civilians than the US one). Ivan has the misfortune to be dragooned not only into the remnants of the pan-national Yugoslav army, but, successively, into Croatian and Serbian militias. He is nearly shot by Croats and by Serbs. In this he recapitulates his father’s experience with the shifting tides of WWII (his father ”changed armies several times and joined the winning side too late,” and returned home with an arm and a leg in a potato sack… and proceeded to drink himself to death in the grand Slavic manner). Attending medical school in Novi Sad, Serbia (as Novakovich did), he gets into serious trouble as a result of a joke by his (Bosnian Muslim) room-mate. Rather than being executed for sedition, they are sent to a labor camp. There, Ivan has a hallucinatory encounter not only with Marshall Tito (who gives him a cigar) by with Indian Prime Minister Indira Gandhi (who gives him a fan). This section, in which what happens is no more or less absurd than at other times in Ivan’s life of potentially lethal misunderstandings, is my favorite, though I guess that the aborted execution as a traitor by the Croatians is even more absurd. And the death march is even more sinister. And… Job never had it so hard! Job never endured either medical school or graduate school in philosophy, either. Ivan was almost through medical school when his studies were interrupted. After his incarceration, he was not allowed to re-enroll in medical school. He was only fit for philosophy (before becoming cannon fodder). And about how he came to marry Selma, the woman he loved in graduate school, don’t ask! You have to read it for yourself. (Vukovar, Croatia, author’s 2017 photo) The very harrowing trajectory through the “ethnic cleansings” is rendered in exquisitely rendered English evocations of sights and sounds and smells. Ivan ends up a living ghost after being buried alive. I don’t want to spoil the pleasure of discovering how that comes about, but the physician who pronounced him dead and promptly bedded the widow is a part of the remarkable novel that does not involve emerging or collapsing nation states. In temporal range (though not in number of pages!), April Fool’s Day is more like The Tin Drum than like the company my first paragraph put it in (or recognized that it belonged, as you prefer). Novakovich is an astonishing writer (and not just in writing so powerfully in non-native English). In the essays collected in Plum Brandy he frequently wrote of searching for material. He found plenty in the internecine nationalist conflicts of the 1990s in the country of his birth, and put them into a harrowingly dark farce of survival against very long odds. What happens is sometimes slapstick and sometimes tragedy—often at the same time—and the voice of the dismayed narrator sustains the comparison to The Tin Drum I’ve made. His tale grabbed me and did not let me go — even after I’d read the last page. ©2007, 2017, Stephen O. Murray Having first read two books by Slavenka Drakulic[h], the second author on my journey of exploration of contemporary authors from the former Yugoslavia is Josip Novakovich (born in Daruvar in 1956). The reading list we received recommended his novel April Fool’s Day, but I started with his collection of essays Plum Brandy: Croatian Journeys (2003). Novakovich emigrated from what was then the Croatian part of Yugoslavia to the United States at the age of twenty. He had studied medicine in Novi Sad (on the Danube in northern Serbia, its second largest Serbian city), studied theology at Yale and literature at the University of Texas. He started writing stories out of nostalgia for his homeland, and made regular visits there through the paroxysms of the breakup of Yugoslavia and independence that was less than utopian, thought about repatriating, and (as elaborated in some of the essays in Plum Brandy) concluded that just as he was a Croatian in America, despite being a native speaker of Croatian (which used to be distinct from Serbian primarily in orthography, but is diverging), he is regarded as an alien (in particular a rich American) in Croatia. (He feels that he cannot go home again to the communist, Serb-dominated Yugoslavia in which he grew up.) The book only has 165 pages of text, split among three main parts. After an insightful introduction, “On Visiting Your Homeland,’ and a Prologue (about the owner of a Cleveland bookstore selling Croatian, Hungarian, and Slovenian books in a neighborhood in which the audience for such books was dying off, while their children dispersed to the suburbs and beyond), and before an Epilogue (on his son’s interest in the World Trade Center before and after 9/11), there are three main parts. The first, titled “Sawdust Memories” contains six essays recounting and analyzing memories of his youth in Daruvar. The sawdust is salient, because his father made wooden clogs. Sawdust was a ubiquitous byproduct. There is also a meditation on wood, an exploration of the fascination of chess-playing in a place where politics was dangerous (so that fascination with strategy with sublimated) and a squib on bread. For me, the two outstanding essays from this section are “Grandmother’s Tongue” and “Our Secret Places.” Both relate vividly described particulars of his experience to more general insights into the Yugoslavia of his youth. Novakovich’s family was Baptist, which not only made him stand out as suspect to the official atheism but as different (which for children always means “deviant”) from most Croatians (who are Roman Catholics). Like Slavenka Drakulic, Novakovich recalls finding a lack of privacy particularly onerous: “Our ideologues regarded privacy as a bourgeois disease; everything was public…. Privacy was a disease (for Socialists) and sin and illusion (for Baptists)…. Precisely because both groups exerted or attempted to exert such total control over me, I desperately wanted some place to hide. But before I could worry about space, I had to worry about time.” Since his father died when Josip was eleven, he doesn’t remember what his father sounded like. He describes his mother’s language as Sloveno-Croatian and regrets not listening more closely to his grandmother (now that as an adult writer, he is looking for stories to tell) or to his mother (who wanted to tell him about her experiences during the Second World War). Given that both in the US and at “home,” males die younger than females, he concludes that language transmission is matrilineal, and is skeptical of any “pure” Croatian language: I don’t even know what Croatian is, since it’s been changing under political pressures. It was always politicized: first it had to conform to Germanization and Magyrization, then to Yugoslavization (with Serb syntax and vocabulary), and now under the new nationalist government it’s been ‘ethnically cleansed’ to some archaic form (an invented “tradition”). For me (and not, I think, just because I am looking ahead to embarking on a journey to the Croatian coast), the second set of essays, grouped as “Croatian Journal” are the most interesting and accomplished of the three parts (with the last being the least). The five essays are chronological (with dates of composition included—as they should be for the essays in the other two parts, too), but in no sense a continuous journal. They reflect on a series of visits during the attempt (greenlighted by the first Bush administration, and its Secretary of State, James Baker) by the Serb-dominant Yugoslavia to force the rebellious parts to be kept together. (Of course, I realize that the US fought a bloody war to prevent secession, not that I think it was a good idea…) There are vignettes about casualties of the war (which, at least psychologically, everyone in the former Yugoslavia is, though the “ethnic cleansing” and most other atrocities were primarily Serbian—according to Novakovich’s accounts). Like Drakulic, Novakovich writes with personal pain about the inability of friendships between Serbs and Croats to survive the nationalist demand for loyalty to “blood” (ethnic ancestry). I don’t know why “Letter from Croatia” (ca. 2000) is not in the middle section. It is the most sustained attempt to portray what post-civil war, post-Tudjman Croatia was like for someone used to living in America (who shared the local mother tongue). A New York Times travel section piece on Hvar (pictured by me above) seems superficial in ways that focusing on specifics (like sawdust and bread are not). A two-page essay on why Croatians are not fat manages to say some things. I guess the story of not catching a train does, too, and appreciate the points of the story of finding the grave of a grandmother in Cleveland more in retrospect than I did while reading them. I think there are some weak (low in insight) pieces and some repetitions, but overall, I found Plum Brandy not only interesting in showing me some Croatian and Croatian-American experiences, but in the general question of the gains and losses of migration and traditions in the world of many diasporas (that some call “globalized”), analogous to Richard Teleky’s Hungarian Rhapsodies. ©2007, 2017, Stephen O. Murray Filmed in Slovenia by Bosnian writer-director Danis Tanovic, “No Man’s Land” (Ničija zemlja, 2001) is set in Bosnia of 1993. A ragtag band of half a dozen Bosnian soldiers is lost in the fog with a guide who has never before tried to lead anyone to the Bosnian position at night. They decide to stop and wait for the dawn. The sun rises behind the Serbian (Yugoslavian) position. The Bosnians recognize the flag about the same time as Serbian guns open fire, seemingly killing all of them except for Ciki (Branko Djuric), whose uniform shirt is raffishly unbuttoned over a t-shirt with the Rolling Stones tongue. Ciki dives into a deserted trench (the “no man’s land” between the Bosnian and Serbian lines). With the sun still low on the horizon behind them (and, therefore, blinding the main Bosnian force), a pair of Serbs — one experienced, one so new that no one yet knows his name — are sent out to check on the corpses. The veteran is soon a corpse himself, though not before booby-trapping the corpse of Ciki’s friend Cera (Branko Djuric). Nino (Rene Bitorajac), the novice Serbian soldier is captured by Ciki and Ciki is enraged that Nino does not know how to defuse the bomb that will be detonated by lifting Cera’s body – which, it turns out, is not lifeless after all. Cera was only stunned and now cannot move without blowing up himself and anyone nearby. The situation of these three men provides plenty of absurdist humor of the Samuel Beckett kind. Enemy soldiers thrown together in Hollywood movies discover each other’s humanity or at least learn to co-operate (Hell in the Pacific, Enemy Mine), but this is not what happens in the former Yugoslavia (maybe it would have if Cera and Nino were on a roughly equal footing…) Commanders from both sides can’t figure out what is going on out in no man’s land and call upon UNPROFOR, the U.N.’s military force, locally called Smurfs” because of their toy-like white armored vehicles and blue helmets (and their unwillingness to dirty their hands by doing anything). If Godot is at all like UNPROFOR, it is just as well the wait for him does not end in “Waiting for Godot.” The UNPROFOR British commander (Simon Callow) wants nothing to do with the situation, but a French sergeant named Marchand (Georges Siatidis) close to the scene is tired of doing nothing and co-operates with a reporter for a CNN-like Global Television Network, Jane Livingstone (Katrin Carlidge), to attempt to rescue the three soldiers. One has to pay attention to realize the fullness of the catastrophe that results (since it is not shown). The “locals” are far from reasonable, but they are babes in the woods in comparison to the profoundly cynical officers from NATO countries preoccupied with public relations. Livingstone (and Marchand) are after more than a story, but soon a herd of press jackals has assembled (echoing the media circus in Billy Wilder’s darkest film, “Ace in the Hole”). Ciki and Nino are united at least in contempt for the questions the reporters ask them. I don’t want to reveal the insidious twists and turns of the confrontations of Ciki and Nino or how the outsiders’ presence plays out, beyond saying that no good deed goes unpunished. Although it’s not my favorite foreign-language film of 2001 (“The Adventures of Felix” is that), this is the one that won the foreign-language film Oscar. (At least a quarter of it is in English, the lingua franca for communication to and among the UN forces.) I think the swarming press is something of a cliché, but the rest of the film is brilliant black (very black) comedy. Tanovic notices natural beauty, but those familiar with the canon of films about trench warfare will remember what happens when the hero of “All Quite on the Western Front” reaches for a flower; that long-ago film was upbeat in comparison to this one. ©2002, 2017, Stephen O Murray “Otac na sluzbenom putu” (When Father Was Away on Business, 1985, directed by Emir Kusturica) is the most-honored film to come out of Yugoslavia (“WR: Mysteries of the Orgasm” is the most notorious). “Otac” won the Palme d’Or, the top prize at Cannes unanimously, and was nominated for an Oscar and a Golden Globe as best foreign-language film (losing to “The Official Story” from Argentina in both cases). “Otac na sluzbenom putu” is a quite (excessively!) long — 136-minute — story of a family having marital and political troubles when Malik Zolj (Moreno De Bartolli) was a six-year-old, living in Sarajevo (, Bosnia). Although the film is primarily told from the viewpoint of Malik, it opens with his father, Mesha Zolj (Miki Manojlovic), and his mistress, Ankica (Mira Furlan), on a train headed back to Sarajevo. She is impatient for him to divorce his wife, Senija (Mirjana Karanovich), and marry her. It is soon obvious to the viewer that he has no intention of leaving his two sons. On the train he derides a cartoon of Karl Marx writing at a desk with a picture of Josef Stalin on the wall. The time is 1950, two years after Josip Tito had broken from the Soviet Empire (though certainly not from Stalinist organization of the economy and surveillance of citizens and Yugoslavia had been expelled from the Communist Information Bureau (Cominform). Those who had embraced Soviet leadership and failed to turn on the dime to deriding Comrade Stalin were labeled “Cominformists” and were rooted out. The father of Malik’s best friend, “Fatso,” has been disappeared. Malik’s mother’s brother, Zijo (Mustafa Nadarevic), is the local head of the State Security apparatus… and has taken up Ankica, who has told him of some of Mesha’s comments about the ridiculousness of the sudden shift form deification to demonization of Comrade Stalin. Zijo allows Mesha to attend the party for his son’s genital mutilation (AKA circumcision—this is the first, and pretty much only, indication that the family is of Muslim background, though Mesha is a long-term communist and atheist). Rather than just disappearing in the night, Mesha is allowed to give the appearance of leaving on a business trip — hence the title. In fact, he is consigned to mines and later to a “resocialization” position building a hydroelectric plant on the Drina River. In one of the more dramatic scenes of the film, Senija goes to her brother seeking information about what has happened to Mesha. He advises her to mind her own business — as if the extended absence of her children’s father is not her business. She wants to send a package of warm clothes to Mesha. After Zijo says that this is not possible, she snaps at him that it was possible when Mesha was imprisoned during the war by the Utashe (the Croatian fascists allied with Hitler who rules Bosnia as part of “the Independent State of Croatia”). That Zijo had been a fascist police official before becoming an upholder of communist/Titoist orthodoxy is a point likely to be missed by those not familiar with Balkan peninsula history (or not paying close attention). Senija and Mesha are understandably bitter at the failure of Zijo to protect his brother-in-law, and, indeed, for reporting forbidden attitudes. Senija is also understandably angry that it was while philandering with another woman that Mesha was politically indiscreet. Malik understands little of this, though he cannot fail to notice that his maternal uncle stops coming around at the same time his father has gone away. The family is reunited at what is dubbed “Wetland,” where Mesha is some kind of supervisor on the hydroelectric project. Malik falls in love with Mesha’s Russian physician friend’s sickly daughter. The young actor is not replaced, so that it seems the whole trajectory of the exile and rehabilitation of his father occurs in a matter of months, when surely it took years. Moreno De Bartolli is good, but isn’t so good that the part of Malik could not have been split with an older boy (IMO). He is not, for instance, as compelling as Dimitrie Vojnov in the more satiric Yugoslavian film about the Tito cult and one family (and another plump child) in “Tito i ja” (Tito and Me, 1982, directed by Goran Markovich) set in 1954 Belgrade. The film is not without humor, which includes aspects of Malik’s romance, his sleepwalking (which I don’t find convincing), and his sabotages of his father’s sex life (marital as well as extramarital) and Malik’s paternal grandfather who lives with them. I don’t think the film needed to exceed two hours in length. The easiest cut to make would be the opening song. Not that I dislike the song (in Spanish), but the character who is introduced has not part in what follows. Many other scenes unfold at a pace that may have seemed leisurely in 1985 but that seem dragged-out in 2007. The film has special interest to me for its portrayal of politics and its portrayal of interethnic comity in Sarajevo (Fatso’s family is Serbian, but this can only be inferred from a funeral for Fatso’s father). The child perplexed by what is upsetting the adults is, I think, easily grasped by anyone, even someone completely ignorant of the political dynamics of Bosnia in the 1940s and 50s. The video transferred looks very 1970s. Definitely, it was not remastered. The DVD includes a dozen trailers for other Koch-Lorber releases, and an eighteen-minute and IMO not very informative or lively interview with director Emir Kusturica. BTW, Kusturica was born in 1954 in Sarajevo to a Moslem Bosnian family, but his father disavowed religion to become a Yugoslavian Communist. And “Otac na sluzbenom putu” is very much a Yugoslavian film rather than a Bosnian one (in the same way that the Nobel Prize-winning The Bridge on the River Drina is Yugoslavian. ©2007, 2017, Stephen O. Murray I saw and enjoyed “Tito i ja” (Tito and Me, written and directed by Goran Markovic) at the 1993 San Francisco International Film Festival. Having returned from my second visit to Croatia (and Serbia where I visited Tito’s Belgrade mausoleum/shrine) and seen the more famous Yugoslavian movie about growing up in the early years of the Tito dictatorship and attempt to forge unity on the Southern Slavs (Yugo-slavs), “When Father Was Away on ‘Business,”, wanted to see it again. The DVD has no bonus features providing context, but all that a viewer really needs to know is that there was definitely a cult of Tito (as Josip Broz he who was born in 1892 in Croatia with a Slovenien mother and a Croatian father, but led a predominantly Serbian Stalinist guerrilla war against the Nazis and their Croatian puppets and favored them in the union of southern Slava) and that his birthday was a national holiday, though ostensibly it was a Day of Youth being celebrated rather than Tito. However, he was officially enchanted with children, and delegations of young communists visiting him for photo opportunities was a central part of the holiday. The protagonist of the movie is a fervent 10-year-old Tito fan, a pudgy boy named Zoran (Dimitrie Vojnov), who maintains a scrapbook of photos of Tito (something that was not in short supply in 1954 Belgrade!). In a way it is a bit surprising that he does not eat the glue and/or the pictures of the Great Hero, ’cause his ravenous appetite includes nibbling on the wallpaper (and glue and bits of the wall that are attached). He is even plumper than the protagonist of “When Father Was Away on Business” and his friend—whatever that may mean. Zoran is not an ace student, being rather dreamy (dreaming of food, dreaming of Tito), but when there is a national essay contest on “Do you love Marshall Tito and, if so, why?”, Zoran writes a passionate poem in which he proclaims that he loves Tito more than he loves his parents. His parents are state-supported artists, so do nothing to discourage Zoran’s fervor, though the aunt and uncle who live in the same apartment (along with their daughter and a grandmother whose husband drops by for noon meals every day) are appalled. Having produced the most extreme essay of anyone in his school, Zoran has the honor of going on a pilgrimage to Tito’s birthplace. On the train from Belgrade to Zagreb, he is loaded down with food, which he begins consuming even before the train pulls out of the Belgrade station. The patriotic youth are going to hike from Zagreb to the birthplace in Kumrovec and the fat boy has trouble keeping up. With no intent to subvert the plans of the adult leader, Comrade Raja (Lazar Ristovski), Zoran manages repeatedly to undermine not only Comrade Raja’s authority but any legitimacy the little dictator has. Raja’s attempts to scapegoat Zoran for his own stupidities mostly backfire. Zoran has periodic visions of Tito urging him on, but the misrule of the youth troupe by Comrade Raja weans Zoran from his Tito fervor and Zoran makes a speech at Tito’s birthplace recanting his essay, saying his loves his parents and even neighbors more than he loves Tito. This gets Comrade Raja in deep trouble (though Zoran does not understand the repressiveness of the Yugoslav state…) Despite this, Zoran receives an invitation to join the youth going to greet Tito on Youth Day, so that Tito does not appear only in Zoran’s visions and newsreel footage. The satire of the Tito cult could not have been made while Tito was alive (he was president-for-live). That it was made during the bloody fission of the union of southern Slavs is almost as remarkable as it would have been for it to have been made during the Tito era, however. The plump Dimitrie Vojnov is very entertaining in his single-mindedness and in frustrating Comrade Raja as much (if not as knowingly) as the roadrunner frustrates the coyote in cartoons. Lazar Ristovski seems to me to have been channeling Peter Sellers’s Inspector Clouseau in his disaster-prone over-the-top smugness and pomposity. The two totally fail to understand each other. Zoran is in love with a tall and slender orphan named Jasna (Milena Vukosav) who is also along on the pilgrimage and breaks up with him at least three times (she is much more Comrade Raja’s idea of a proper Young Communist). The bickering in the crowded apartment and Zoran’s adventures in prominent Tito cult activities are quite funny and the ending is satisfying, though not very surprising. There is nothing particularly notable in the cinematography or music, but Dimitrie Vojnov and those playing his squabbling family members are quite good. (It is perhaps a sign of aging, that I now have some sympathy for Comrade Raja, though he still seems a fool and would-be toady in my view.) BTW, I saw not a single example of anything from the Tito cult while I was in Croatia (I did see red-star and swastika memorabilia.) The Tito cult has vanished from view in Croatia as completely as the Stalin cult has in Russia (also see “Goodbye, Lenin” and the collection of Chiang Kaishek statues in Taoyuan, Taiwan). Tito’s mausoleum, the House of Flowers, above Belgrade (i.e., in Serbia) remains a place of pilgrimage, however, almost as big as the Ataturk monument/shrine in Ankara. (Tito and me at the House of Flowers, Belgrtade) In 1981, a year after Tito’s death, Milovan Djilas wrote: “Our system was built only for Tito to manage. Now that Tito is gone and our economic situation becomes critical, there will be a natural tendency for greater centralization of power. But this centralization will not succeed because it will run up against the ethnic-political power bases in the republics. This is not classical nationalism but a more dangerous, bureaucratic nationalism built on economic self-interest. This is how the Yugoslav system will begin to collapse.” Boy, did it! ©2007, 2017, Stephen O. Murray
1053	dbpedia	3	30	https://www.wikiwand.com/en/Ipe_Ivandi%25C4%2587	en	Ipe Ivandić	https://wikiwandv2-19431…s/icon-32x32.png	https://wikiwandv2-19431…s/icon-32x32.png	[ "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a4/Text_document_with_red_question_mark.svg/40px-Text_document_with_red_question_mark.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/e/ee/Ipe_Ivandic.jpg/220px-Ipe_Ivandic.jpg" ]	[]	[]	[ "" ]	null	[]	null	Goran "Ipe" Ivandić was a Bosnian rock drummer, famous for his work with the band Bijelo Dugme.	en	https://wikiwandv2-19431…icon-180x180.png	Wikiwand	https://www.wikiwand.com/en/Ipe_Ivandi%C4%87	Musical artist / From Wikipedia, the free encyclopedia Dear Wikiwand AI, let's keep it short by simply answering these key questions: Can you list the top facts and stats about Ipe Ivandi%C4%87? Summarize this article for a 10 year old SHOW ALL QUESTIONS
1053	dbpedia	1	29	https://www.planetmellotron.com/revs12.htm	en	Planet Mellotron Album Reviews: S12			[ "https://www.planetmellotron.com/images/tronlogo2.gif", "https://www.planetmellotron.com/images/reviewsbig.gif", "https://www.planetmellotron.com/images/s.gif", "https://www.planetmellotron.com/images/12.gif", "https://www.planetmellotron.com/images/fill.gif", "https://www.planetmellotron.com/images/reviews.gif", "https://www.planetmellotron.com/images/albums.gif", "https://www.planetmellotron.com/images/sleepy-rosie.jpg", "https://www.planetmellotron.com/images/slingbacks-all.jpg", "https://www.planetmellotron.com/images/slipknot-vol3.jpg", "https://www.planetmellotron.com/images/slowmr-slow.jpg", "https://www.planetmellotron.com/images/sly-dreams.jpg", "https://www.planetmellotron.com/images/smak-rok.jpg", "https://www.planetmellotron.com/images/smak-zasto.jpg", "https://www.planetmellotron.com/images/smallfaces-smallfaces.jpg", "https://www.planetmellotron.com/images/smallfaces-itchycoo.jpg", "https://www.planetmellotron.com/images/smallfaces-ogdens.gif", "https://www.planetmellotron.com/images/smallfaces-darlings.jpg", "https://www.planetmellotron.com/images/smallwonder-smallwonder.jpg", "https://www.planetmellotron.com/images/smallwonder-growin.jpg", "https://www.planetmellotron.com/images/smalltownpoets-small.jpg", "https://www.planetmellotron.com/images/smalltownpoets-listen.jpg", "https://www.planetmellotron.com/images/smashlogosmall.gif", "https://www.planetmellotron.com/images/smellofincense-allmimsy.jpg", "https://www.planetmellotron.com/images/smellofincense-smell.jpg", "https://www.planetmellotron.com/images/smellofincense-through.jpg", "https://www.planetmellotron.com/images/smellofincense-ofullages.jpg", "https://www.planetmellotron.com/images/smellofincense-curious.jpg", "https://www.planetmellotron.com/images/smile-gettinsmile.jpg", "https://www.planetmellotron.com/images/smile-ghostofsmile.jpg", "https://www.planetmellotron.com/images/smileapollo-apollo.jpg", "https://www.planetmellotron.com/images/smithbec-temper.jpg", "https://www.planetmellotron.com/images/smithbob-visit.jpg", "https://www.planetmellotron.com/images/smithcraigp-in.jpg", "https://www.planetmellotron.com/images/previous.gif", "https://www.planetmellotron.com/images/next.gif" ]	[]	[]	[ "" ]	null	[]	null			favicon.ico		null	Sleepy Slingbacks Slipknot Slow Motion Rider Sly Smak Small Faces Small Wonder Smalltown Poets Smile Smell of Incense Apollo Smile Bec Smith Bob Smith Craig P. Smith Sleep Station (US) see: Samples etc. Sleeping Pictures (UK) see: Samples etc. Sleepy (UK) 7" (1968) *½/½ Rosie Can't Fly Mrs. Bailey's Barbecue and Grill Current availability: On Think I'm Going Weird: Original Artefacts From The British Psychedelic Scene 1966-68: Grapefruit Mellotron used: Unknown (The) Sleepy were yet another short-lived UK psych outfit, their chief claim to fame being that two members went on to bigger and better, viz. Drummer Ian Wallace (duh, King Crimson, many others) and bassist David Foster, who wrote a couple of early Yes numbers with Jon Anderson, later playing with Badger. Rosie Can't Fly was their second and last single, the band having dropped the definite article since their first. It's a beautiful, dreamy psychedelic number, absolutely of its time, while the flip, Mrs. Bailey's Barbecue And Grill, is a jauntier affair, without slipping into the kind of sub-music hall horror so successfully lampooned by The Dukes of Stratosphear. (Presumably) organist Mike Fowler adds the minimal Mellotron to the 'A', pretty much only using it for a handful of radical strings pitchbends at the end of each chorus. Not the heaviest use ever, then (thanks to Trevor for this, incidentally), but well worth hearing in its own right. Sleepyard (Norway) see: Samples etc. Don Slepian (US) see: Samples etc. Slingbacks (UK) All Pop, No Star (1996, 43.59) /T½ No Way Down Wasted Hey Douglas Trashy Broken Heart Sometimes I Hate You All Pop, No Star Autumn Teen Sound The Boy Who Wanted a Heroine Insufferable Better Think Hard Whorehouse Priest Junkstruck Stupid Boyfriend Current availability: Virgin (out of print?) Chamberlin used: Mitch Easter's machine Slingbacks were apparently half British and half American, although, given that their lone album, 1996's All Pop, No Star, was largely recorded in the UK, I suspect that's where they were based. It's a female-fronted punky powerpop/'90s indie crossover effort, actually better than it sounds, at its best on Hey Douglas, the title track and the pop/punk of Whorehouse Priest. Mitch Easter plays his Chamberlin (recorded at what I presume is his studio in North Carolina), with strings on the title track and cellos and upfront strings on closer Stupid Boyfriend. While no classic, you get the feeling that they could've produced a killer record three or four releases down the line. Sadly, it wasn't to be. Slipknot (US) Vol. 3 (The Subliminal Verses) (2004, 64.06) /T Prelude 3.0 The Blister Exists Three Nil Duality Opium of the People Circle Welcome Vermilion Pulse of the Maggots Before I Forget Vermilion pt. 2 The Nameless The Virus of Life Danger - Keep Away Current availability: Roadrunner Chamberlin used: Unknown I'll come clean and admit that, before now, I'd never really heard Slipknot, despite their high-profile, twenty-year career. I usually find their style of metal rather tiresome - I certainly have no time for the bands with whom they're usually compared - but, I have to say, their third release, 2004's Rick Rubin-produced Vol. 3 (The Subliminal Verses), definitely has its moments. No, I don't much like all the clichéd stuff - manic double-kicks, tuneless high-speed guitar soloing, yelled vocals - but many tracks (yet few complete ones) contain features that work for me. As a result, the only whole songs I can say I definitely like are the slow ones, Circle and Vermilion Pt. 2, which also have something else in common. Keys man Craig Jones (a.k.a. #5) plays Chamberlin, although it's not specifically credited, with a repeating cello line on (guess what) Circle and an octave string line, nicely high in the mix, on Vermilion Pt. 2. Well, I find Slipknot a classic 'curate's egg' band; elements I like and dislike, usually within the same song. I also found the album far too long for its content, but I doubt whether fans would agree. Anyway, two seemingly real Chamby tracks, although you can't imagine the band using them on the full-on metal stuff. Official site Sloan (Canada) see: Samples etc. Tomáš Sloboda a Sounds Like This (Solvakia) see: Samples etc. Slow Electric (UK) see: Samples etc. Slow Motion Rider (US) Slow Motion Rider (2012, 42.36) ½/T Hold Your Hand Out to the Sun I Can't Feel Anymore Ride You Purple Love Will Find a Way Wondered Why Destination Nowhere You'll Never Know The Key I Like the Way You Look Kids Ain't Got No Soul Current availability: Committee to Keep Music Evil Mellotron used: Rob Campanella's M400 Slow Motion Rider are a scuzzy, fuzzed-out, heavy psych trio with Brian Jonestown Massacre connections, not least the release of their 2012 eponymous debut on Jonestown's label. The album's at its best on opener Hold Your Hand Out To The Sun, You'll Never Know and closer Kids Ain't Got No Soul, but, in truth, there isn't a bad track to be heard. Robert Campanella plays his M400 on The Key, with a chordal strings part dipping in and out of the track; shame they didn't use it a little more, but there you go. The lack of any obvious Web presence makes me wonder whether the band haven't quietly folded since the album's release; let's hope not. Slowpoke (US) see: Samples etc. Slugbug (US) see: Samples etc. Sly (Japan) Dreams of Dust (1995, 60.47) /T Arm and Hammer Dreams of Dust Shut Up and Buy The System Loner Different Tears Light and Stone Mad With Power Rented Window Gun Play Lost in the Day to Day Walled Communication Current availability: Ariola (out of print?) Mellotron used: Rei Atsumi's M400 Sly were a mid-'90s conglomeration, comprising members of Japanese metal acts Loudness, Earthshaker and Blizard. Their second album (of four), 1995's Dreams of Dust, is yer full-on power metal effort, at its most potent on Shut Up And Buy and the semi-epic, seven-minute Light And Stone. To my surprise, given the humourless genre, the band display an unexpected sense of humour, not to mention the ability to pun in English, with instrumental opener Arm And Hammer. Ho. And ho again. Not to be outdone in the supergroup stakes, Vow Wow's Rei Atsumi guests on Light And Stone, both arranging and playing Mellotron, with a melodic flute part and chordal strings. I'd expected a one-dimensional album, but got one that tackles various micro-genres, all, of course, played with Japanese precision, not to mention one ripping Mellotron track. Slychosis (US) see: Samples etc. Smak (Yugoslavia) Rok Cirkus [a.k.a. Rock Cirkus] (1980, 36.53) ½/T Rock Cirkus Profesor Ogledalo Cigansko Srce La Kukarača Instrumental Baby I to Je Za Ljude Hirošima Zašto Ne Volim Sneg (1981, 39.57) */T Južni Voz Zajdi, Zajdi Talisman Zašto Ne Volim Sneg Balet Maht Pustinja Nebeski Splav Current availability: Both titles: not on CD? Mellotrons used: Laza Ristovski's M400 Smak formed in 1971 in what is now Serbia, playing a form of jazzy progressive blues, rapidly becoming one of Yugoslavia's top rock bands. After losing popularity in the late '70s, they returned with Rok Cirkus (a.k.a. Rock Cirkus), in a more commercial hard rock direction, although Instrumental Baby is more progressive fusion, while closer Hirošima is more funky, Clavinet-driven pop with a cod-Japanese feel. Unlike some Yugoslav albums of the period featuring false 'Mellotron' credits, there's no doubt that Smak had access to one; in fact, it was played (and presumably owned) by Laza Ristovski (Laza & Ipe), with flutes and strings on Ogledalo, Ristovski playing Hammond on the bulk of the record. The following year's Zašto Ne Volim Sneg is very noticeably less commercial and more progressive, Balet moving off into fusion territory again, while the lengthy Maht Pustinja is nearer a fusion/space rock crossover than anything. Ristovski on Mellotron again, with flutes and strings on Zajdi, Zajdi, the band's reworking of a folk tune from the region and nicely upfront flutes on Talisman. I couldn't honestly say either of these albums exactly sets the world alight, but they're both listenable enough, Zašto Ne Volim Sneg definitely being the better of the two, although Rok Cirkus has better Mellotron use. Small Faces (UK) Small Faces (1967, 30.19) ½/T (Tell Me) Have You Ever Seen Me Something I Want to Tell You Feeling Lonely Happy Boys Happy Things Are Going to Get Better My Way of Giving Green Circles Become Like You Get Yourself Together All of Our Yesterdays Talk to You Show Me the Way Up the Wooden Hills to Bedfordshire Eddie's Dreaming 7" (1967) **/T½ Itchycoo Park I'm Only Dreaming Ogden's Nut Gone Flake (1968, 38.35) /T½ Ogden's Nut Gone Flake After Glow Long Agos and Worlds Apart Rene Song of a Baker Lazy Sunday Happiness Stan Rollin' Over The Hungry Intruder The Journey Mad John Happy Days Toy Town The Darlings of Wapping Wharf Launderette: the Immediate Anthology (1999, 140.43) ½/TT I Can't Make it Just Passing Here Comes the Nice Talk to You (Tell Me) Have You Ever Seen Me Something I Want to Tell You Feeling Lonely Happy Boys Happy Things Are Going to Get Better My Way of Giving Green Circles Become Like You Get Yourself Together All of Our Yesterdays Show Me the Way Up the Wooden Hills to Bedfordshire Eddie's Dreaming Itchycoo Park I'm Only Dreaming Tin Soldier I Feel Much Better Ogden's Nut Gone Flake Afterglow (of Your Love) Long Agos and Worlds Apart Rene Song of a Baker Lazy Sunday Happiness Stan Rollin' Over The Hungry Intruder The Journey Mad John Happy Days Toy Town The Universal Donkey Rides, a Penny, a Glass Wham Bam, Thank You Man The Autumn Stone Collibosher Red Balloon Call it Something Nice Wide Eyed Girl on the Wall Don't Burst My Bubble Every Little Bit Hurts Picaninny The Pig Trotters The War of the Worlds Take My Time Mad John (If You Think You're) Groovy Wham Bam, Thank You Man Current availability: Darlings: Sequel (UK) Mellotrons used: Studio MkIIs? The Small Faces' rise to fame was fairly meteoric, shifting from good, if generic r'n'b through to cockney psychedelia in the space of two years. Their first two albums both bear the same eponymous title, for some unknown reason, so have become known as 'The Decca Album' and 'The Immediate Album', the latter being the only one to concern us here. After leaving Decca, the band, signed to Stones' manager/producer Andrew Loog Oldham's Immediate label, producing a brief but incendiary run of hits and two albums. The Small Faces (Immediate version) shows the band on the cusp of their stylistic shift, with straightforward r'n'b like the instrumental Happy Boys Happy rubbing shoulders with more adventurous material like Green Circles. Organist Ian 'Mac' McLagan sticks some Mellotron on opener (Tell Me) Have You Ever Seen Me and some very background brass on Feeling Lonely, but his main use on the album is on the more psychedelically-inclined Become Like You, with its melodic string line, shifting up an octave just before the end of the song. One of their (possibly the) career peaks was their huge summer '67 hit, the fabulous Itchycoo Park (which I remember from a rather unlikely 1975 reissue, when it hit for the second time round). I could wax lyrical about the song for paragraphs, but I won't 'cos it's not relevant to this site. Its b-side, however, I'm Only Dreaming, features McLagan on Mellotron vibes; I wasn't sure if they were Mellotron or real, until I heard the block chords at the end of the song, complete with key-click. Available on various compilations, it's hardly worth obtaining for its Mellotron input, but isn't a bad song, whatever. [n.b. Mellotron God Martin Smith tells me that we're also hearing MkII sax (correct: a short solo near the end) and 'Dixieland fills in short staccato phrases', to which I can only say, you REALLY have to know your MkII Mellotron sounds to spot this. I think I can hear the bit he means, but it takes someone considerably more expert than myself (as in Martin) to notice.] 1968 found the Small Faces still mods, but having already dipped their collective toes into the murky world of psychedelia the previous year with Itchycoo Park, they were reasonably well-equipped to take on the late-'60s mob-handed. Anyone who may have any even remote doubts as to the band's drug credentials should give an at least cursory listen to Here Comes The Nice - I mean, how DID they get away with that lyric? Anyway, I don't know how much acid the band were doing, but going by side two of Ogden's Nut Gone Flake there was definitely something in the water down at Wapping Wharf. Most of the songs are a more laid-back update on the r'n'b style they'd made their own, with Steve Marriott's distinctive 'cockernee' vocals, the best-known being Lazy Sunday, although there isn't a bad track on the album, to be honest. Side two is an odd little concept piece, Happiness Stan, with bizarre narration from Stanley Unwin, speaking his own superb and unique distortion of the Queen's English, Unwinese. McLagan's Mellotron work is unfortunately limited to three tracks; Happiness Stan itself has some reasonable background string work, while The Journey is limited to a few pitchbent string chords and there's a brief Mellotron sax solo on closer Happy Days Toy Town. There's also a brief mention of the instrument in Unwin's rambling on the latter track, where he says something like "And [someone] brought his Mellotrone [sic] and freaked 'em all out". So; great album, but only so-so Mellotron. After seemingly dozens of reissues, of greater or lesser quality, the reactivated Immediate (through Castle) released the double CD The Darlings of Wapping Wharf Launderette: the Immediate Anthology in 1999. I'm no expert on the band's career, but it apparently includes every studio track they recorded for the label, although the live tracks from their original posthumous odds'n'sods release, The Autumn Stone, are missing. I've also read that a between-song link on Ogden's has mysteriously gone walkies, while the album itself is irritatingly split over the two discs, with the original side division as the split point. Minor quibbles aside, this is an excellent release, mopping up all their single-only tracks, both albums and various extraneous bits and pieces, not to mention a quick, 'hidden' burst of a backing track for Green Circles stuck at the end of disc two, after a gap. All five of the band's Mellotron tracks are present and correct, so if you want to hear what the 'magic midgets' got up to in their two-year Immediate period and you're not fussed about Ogden's being split, this is the place to go. Three-quarters of the band went on to become the Faces, of course, while Marriott played in the inexplicably (temporarily, now essentially forgotten) successful Humble Pie. With both Marriott and bassist Ronnie Lane now dead, the Small Faces are about as 'history' as any band can be. Saying that, isn't there a version of Humble Pie doing the rounds consisting of the original rhythm section plus hired-hand frontmen? Heinous. Official site Small Town Workers (US) see: Samples etc. Small Wonder (Canada) Small Wonder (1976, 37.13) ½/TTTT It Was Meant to Be Time is Passing Me By I'm a One Way Train Pray for the World Be Yourself Why Walk When You Can Dance You and I Midnite Plane Ride Atlantis Growin' (1977, 32.49) /0 Will You Be Part of Me? Run Run Around Good Morning Daybreak Rollin' on Who am I Whatever it Will Be Nowhere Left to Turn Right Side of the Bed Oh! Hoedown Current availability: Both titles: not on CD Mellotrons used: Band's own M400 Small Wonder are determinedly obscure; the only information I've been able to find about them is that vocalist/violinist Henry Small is Canadian, an ex-member of Scrubbaloe Caine (who?!) and future singer with AORsters Prism. On their eponymous 1976 debut, the band's style was mainstream pop/rock, mid-'70s style, with distinct progressive tendencies in the instrumental department, going by the amount of Moog and Mellotron (Atlantis sounds like a pop version of '70s Yes), not to mention Jerry Morin's twin-neck. Jimmy Phillips slaps Mellotron all over Small Wonder, with strings on every track, although his use sometimes seems a little gratuitous. Mellotron highlights are Atlantis, the intro to Midnite Plane Ride and, most of all, You And I, although you have to fight your way through the layers of rather sickly harmonies and self-consciously upbeat commercialism to get to it. Their second (and last) long-player, the following year's Growin', makes its predecessor look like a prog classic, subjecting us to a range of MORisms on most tracks. Exceptions? A little pseudo-classical Clavinet part in opener Will You Be Part Of Me? and a similar piano run in countryish closer Oh! Hoedown, Run Run Around is the rockiest thing here, in a solid '70s vein and Rollin' On and Whatever It Will Be aren't too bad, in a good-time boogie kind of way, but we appear to be clutching at straws. And as for Phillips' 'Mellotron' credit... Is it here at all? Real strings on most tracks, so who knows whether our tape-driven friend is lurking in the background anywhere? Those could be background strings on Good Morning Daybreak, although the flute duet on the track sounds real, so I think we're looking at a big, fat '0' here. Frankly, you have to be something of a West Coast pervert to get anything out of this at all, just in case you were wondering (ha ha) whether or not to invest. So; difficult to recommend musically, but at least their debut features loads of Mellotron for the aficionado. I got my copy for US$1.00, thrown in with another album, so unless you're really into this type of thing, I wouldn't bother paying a lot more. Incidentally, I doubt whether you'll find a greater first/second album Mellotronic dichotomy than Small Wonder's on this site, for what it's worth. Smalltown Poets (US) Smalltown Poets (1997, 41.19) /T Prophet, Priest and King If You'll Let Me Love You Everything I Hate I'll Give Anymore Who You Are Scenario There's a Day Monkey's Paw Trust Inside the Bubble [Hidden track] Listen Closely (1998, 44.33) ½/T Call Me Christian Anything Genuine There is Only You Gloria 48 States Long, Long Way The Gospel is Peace Hold it Up to the Light New Man Quasar Garland of Grace One of These Days Current availability: Both titles: ForeFront Mellotrons used: Ardent Studios' M400 Smalltown Poets are a Christian pop/rock outfit from Atlanta, GA, whose eponymous debut is every bit as unpromising at that sounds. Any better/listenable tracks? Trust, perhaps, with its accordion and folky feel, but we're scraping the barrel here. Keys man Danny Stephens plays Ardent Studios' in-house M400, with block chord flutes on Who You Are and a flute melody on Trust, to reasonable effect, although they do little to improve this sorry effort. The following year's Listen Closely is marginally better, at its least offensive on 48 States and Garland Of Grace. Stephens has a go on that Mellotron again, with cellos and strings on There Is Only You, background flutes on Gloria and cellos on Long, Long Way. Frankly, though, these are a long, long way from being worth the effort. Official site Smashing Pumpkins (US) see: The Smell of Incense (Norway) All Mimsy Were the Borogoves (1994, 53.20) /TT½ Alice Faerie Emerald Fancy Christopher's Journey (The Smell of) Interstellar Overdrive Witch's Hat Shrine 7" (1994) /T½ The Smell of Incense A Visit With Ashiya Through the Gates of Deeper Slumber (1997, 49.54) ½/TTTTT A Floral Treasury Overture The Song of the Winter Aconite Fairy The Song of the Nightshade Fairy The Song of the Queen of the Meadow Fairy Epilogue Columbine Confused A Word in Season From the Third Hemisphere Atlantis Kraken Slumber Kraken (Slight Return) Of Ullages & Dottles (2007, 50.20) /TTTT Bumbles and Dragons Laughing Song Where Forlorn Sunsets Flare and Fade Song The Golden Knot The Haunted Chamber Well in it Of Pygmies, Palms and Pirates A Curious Miscellany (2010, recorded 1992-2005, 49.45) /TT The Smell of Incense Why Did I Get So High? (I Wanna Live in the) Golden State Witch's Hat Swami Coming Down (long version) If Not This Time Christopher's Journey (demo) A Visit With Ashiya Varulv Tread Softly on My Dreams I'm Allergic to Flowers Current availability: Borogoves: out of print Gates/Ullages/Curious: September Gurls (Germany) Mellotrons used: Band's own M400 Until I heard them, I was under the impression that The Smell of Incense were 'just another Scandinavian prog band'. Not a bit of it. They mix'n'match influences from all over, but are most easily described as 'psychedelic', whatever you take that to mean. Some of the members had known each other since the mid-'70s, unbelievably and after putting out various odd releases in the '80s as Famlende Forsøk, they put the SoI together in the mid-'80s with a remit to be as 'psychedelic' as possible, with the intention of recording an album of '60s psych classics. Somewhere along the line, however, they started writing their own material, ending up with the compromise that is All Mimsy Were the Borogoves (Lewis Carroll's Jabberwocky, of course). Of the seven tracks on board, they ended up with three covers (The Kinks' Fancy, The Incredible String Band's Witch's Hat and a heavily customised version of Pink Floyd's Interstellar Overdrive), plus another three where they put their music to someone else's lyrics (Faerie Emerald, from Edmund Spenser's Faerie Queen, Christopher's Journey from A.A. Milne's Winnie the Pooh and a late-'60s Peter Hammill poem, Shrine, previously not set to music). The band obviously refuse to use any equipment produced later than, say, 1972, with the end result being a marvellously 'authentic' late-'60s album. Well, nearly. Mellotron choirs didn't exist until 1972, but who's arguing when they sound this good? Their only wholly 'in-house' number, Alice, has some very background Mellotron strings, but the flute melody and strings on Faerie Emerald are right at the front of the mix, with background choirs. More choirs on Christopher's Journey and Shrine, although Interstellar Overdrive is more of a trippy organ jam, different enough from the original to justify the band's collective co-writing credit. Incidentally, the Mellotron (it seems they own one) was played by 'Han Solo', one of several nom-de-plumes used by the band, for reasons best known to themselves. The band have released a handful of singles, in various formats, all of which consist of covers of obscure psych classics. 1994 brought their version of the West Coast Pop Art Experimental Band's The Smell Of Incense (wondered where they'd got their name), backed with HMS Bounty's A Visit With Ashiya ('67 and '69 respectively). As I've heard neither track in its original version, comparisons are not so much pointless as impossible, but they both sound pretty damn' good here, with some Mellotron strings and a smattering of choirs on the 'b'. They followed All Mimsy... three years later, with Through the Gates of Deeper Slumber, which had shifted right up to, er, about 1973, taking on prog influences to add to the all-pervading psych. Their remit this time round, it seems, was to put music to the writings of various mystical writers, those being Mary Cicely Barker, Michael Moorcock, Lord Dunsany and Robert E. Howard. Opening track, A Floral Treasury, is 25 minutes long, working its way through several sections and feels, including a near-dance part (that's contemporary, not country...). The songs are all excellent, with killer hooks inserted all over the place, particularly on A Word In Season, so don't get the idea that this is just another pseudo-psych effort favouring style over substance. The Smell of Incense have both... Apart from the music, Through the Gates... is stuffed to the gills with Mellotron; not only strings/flutes/choir, but an unidentified woodwind instrument and what sounds like it may be one of the various 'orchestra' sounds near the beginning of the first track. They often use two sounds at once, but I've no idea what their Mellotronic setup is, so no news on how they reproduce it all live, assuming they even try. Mellotrons not only by Han Solo, but Mickey Moog as well, this time. A decade on, the band's third album, 2007's Of Ullages & Dottles, displays more of a folky/medieval flavour on material such as Laughing Song and Where Forlorn Sunsets Flare And Fade (which starts off as the bastard lovechild of Fleetwood Mac's Oh Well (Part 2)), although the nine-minute Well In It is full-on prog and a couple of tracks feature the band's punchier side, while closer Of Pygmies, Palms And Pirates has more than a hint of Floyd's Astronomy Domine about it. 'Moog' on Mellotron again (as against 'Mellotron on Moog', I suppose), with flutes on opener Bumbles And Dragons, flute and string parts on Laughing Song, choirs and strings on Where Forlorn Sunsets Flare And Fade, polyphonic flutes on Song, choirs and strings on The Golden Knot, with cellos and low-end flutes later on, a fastish (and quite wobbly) string line and flutes on Well In It and beautiful string and flute parts on Of Pygmies, Palms And Pirates, quite possibly the album's Mellotronic highlight. 2010 brought A Curious Miscellany, a long-overdue collection of out-of-print tracks from singles and compilations, alongside some previously-unheard material. Their recording debut, 1992's one-sided flexi, I'm Allergic To Flowers, proves that their sound was fully-formed from the off, top tracks including both sides of the aforementioned The Smell Of Incense/A Visit With Ashiya, compilation track Varulv and superb third album outtake, Tread Softly On My Dreams. Surprisingly little Mellotron, just three tracks out of twelve, with choirs on 1991 demo of first album track Christopher's Journey, strings on A Visit With Ashiya, of course and strings, choirs and flutes on Tread Softly On My Dreams, all purportedly from Mickey Moog. So; unlike so many similar, a band more than worthy of your hard-earned. I believe All Mimsy... is currently 'unofficially' available (so why not re-release it properly, chaps?), with their three other albums all still on catalogue. Plenty of Mellotron, but they'd be great albums had the band never heard of tape-replay instruments. Buy. See: Famlende Forsøk \| Seid Smile (UK) Ghost of a Smile [a.k.a. Gettin' Smile] (1982/97, recorded 1969, 20.47) /½ Earth Step on Me Doin' Alright April Lady Blag Polar Bear Current availability: Pseudonym (Netherlands) Mellotron used: Studio MkII? Smile's mini-album, variously known as Gettin' Smile and Ghost of a Smile, has a rather confused history. The band were a London-based trio at the tail end of the '60s, who just happened to include one Brian May on guitar and one Roger Taylor on drums, along with bassist/vocalist Tim Staffell. If the last name looks at all familiar to you, it'll probably be from the writing credits on the first Queen album, where he co-wrote Doin' Alright, also to be found here, although he also played with future Mott the Hoople Morgan Fisher's Morgan project. As far as anyone can work out, they only ever recorded six tracks, which remained unreleased until the early '80s, when a Japanese label stuck them out as Gettin' Smile, presumably in a somewhat unauthorised manner (I remember seeing a copy of this, but stupidly didn't buy it). It appeared again in '97, this time (of course) on CD as Ghost of a Smile; there appear to be two different versions, with the Dutch Pseudonym issue being relatively official and the other (Italian?) one being a poor-sounding boot, although it adds both sides of Freddie Mercury's 'Larry Lurex' single from '73. Incidentally, don't bother with that particular rarity - I Can Hear Music is a poor version of the Beach Boys' song and the b-side isn't much better. So, what's it like? A bit of a mixed bag, actually; the proverbial 'curate's egg', even. Smile admit to being influenced by Cream, although this only shows up here on Blag, with the other songs presumably being rather unrepresentative of their live sound. Earth (b/w Step On Me) was actually a single, but it's hardly surprising it didn't exactly set the charts alight, although it's a decent enough song. Actually, the one reason you'd really want to get this is to see the roots of Queen; not only did they record Doin' Alright, but Step On Me has some signature May guitar harmonies, already in place even then, while Blag's obviously curtailed 'jam' section contains bits of what would end up as Brighton Rock, five years and three albums later. As for the Mellotron (very possibly played by May), there's a bit of background string work on Earth, but as great Mellotron work goes, it's deeply inessential, to be honest. So; this is actually quite essential for fans of early Queen, if only to see from whence they came. The rest of you should probably pass swiftly by; this is no long-lost psych classic, although it does have its moments. Your decision, methinks. See: Morgan Apollo Smile (US) Apollo Smile (1991, 44.37) /½ Thunderbox Dune Buggy I Want You to Love Me Love Comes Your Way Theme for All Nations Friends Hymn to the Sun Temple of Love Peace Theme (Reprise) Dune Buggy (Bonus Remix) Current availability: Geffen (almost certainly out of print) Mellotron used: Michael Beinhorn's M400?? Paula Apollo Anne "Apollo Smile" Scharf is a singer who's concentrated on film and SF convention work over the course of her career, sometimes billing herself as 'The Live Action Anime Girl'. Her eponymous 1991 debut is her first of three albums to date, consisting of rather mainstream pop/rock, with the accent on the 'pop', including Thunderbox, her contribution to Tom Cruise's 1990 effort, Days of Thunder. It's pretty disposable stuff, to be honest, although I can imagine the more committed AOR fan may find some merit in it. You, dear reader, probably won't. Ronnie "Fingers" Jeffrey plays Mellotron, unusually for the time, with a rising string line in the reasonably rocky Love Comes Your Way, although I can't hear it anywhere else. Given that noted early Mellotron resurgence king Michael Beinhorn was involved in the project, I suppose it could be his machine we're hearing. Anyway, you really don't need to hear this for either the music or its minimal Mellotronic presence. And to her small but devoted online following, bemoaning her disappearance in recent years... Guys. Apollo was born in 1967. She turned forty in 2007. I hope this doesn't come across as sexist (it absolutely isn't meant to), but she probably retired from stage work to start a family. Sorry. Exceptionally out-of-date fan site April Smith & the Great Picture Show (US) see: Samples etc. Bec Smith (US) Temper (2001, 39.50) ½/½ You Can't Even Tell Gold Better Heartless Beautiful Boy Loose End Redeye Goodbye You Can't Even Tell (Garage Remix) Current availability: Poet's Corner Mellotron used: Unknown I can't tell you much about Bec Smith, other than that she's from Minneapolis. Her (debut?) 2001 release, Temper, is a passable pop/rock effort, at its best on opener You Can't Even Tell and the stomping Heartless, although too many of its tracks drift along to no great purpose (Redeye being an obvious example), while the 'Garage Remix' of You Can't Even Tell, presumably included here to pad out an otherwise very short record, is a complete waste of time. Bryan Hanna plays wobbly-enough-to-be-real Mellotron flutes on Heartless, albeit not for long, sadly. Yes, I've heard worse, but this isn't even really worth the effort, even for the Mellotron. Facebook Bob Smith (US) The Visit (1970, 62.38) ½/T Please Don't Tell Lady Tonight Constructive Critique Ocean Song The Wishing Song Can You Jump Rope Latter Days Matter India Slumber Source You Blues Sunlight Sweet Of She, of Things Mobeda Dandelions The Path Does Have Forks Try, Try to Understand Yourself Current availability: EEUCD Mellotron used: Unknown Bob Smith's The Visit (or The Visit From Bob Smith) is a relatively obscure, late-period psych album, although it's become better-known in recent years, if only in collecting circles. Originally a double LP, it features various known musos, not least keyboard player Don Preston from the Mothers of Invention and Daryl Dragon (The Dragons), later the 'Captain' part of Captain & Tennille, who aid and abet Smith in producing a truly wigged-out effort, highlights including dense opener Please, the experimental, vibes-driven Ocean Song and the ultra-trippy India Slumber. Actually, a few more plays and this will probably gain a four-star rating, if the multiple acid guitar leads don't drive me mad first. Preston plays blistering Mellotron strings on The Wishing Song, making you wish it'd been used on a few other tracks; it's almost certainly a Mellotron, not a Chamberlin, making it an early example of American use. Psych fan? Played all your trippy classics half to death? Desperate to hear something new from the era? Buy The Visit. I suspect the 1996 CD issue's gone out of print, but a double vinyl replica edition appeared in 2007, so it's bound to find its way back onto a little shiny disc at some point. Craig P. Smith (US) In Earth Nights (2013, recorded 1975-79, 62.51) */TTT The Spell Nightwind Pyramid Shadows Pharaoh's Wake Delirium Pursuit Infinity Domain A Cybernetic Dream Slow Motion Science Fiction Mystic Castle Light Year Transit Surreal Areas of Space In Space Nights part one Symphonic Drift Energy Meets the Dawn Eclipse of the Glass Moon In Space Nights part two The Last Sunset Current availability: Download at Craig's site Mellotron used: Craig P. Smith's M400 Craig P. Smith bought Albatross' Mellotron in the mid-'70s, utilising it on several projects over the ensuing years. In Earth Nights is a download-only compilation of material he recorded between 1975 and '79, nearer the then-current electronic music mainstream (specifically, Tangerine Dream and Klaus Schulze) than his later work. Most of its contents focus more on the synths than the Mellotron, particularly Craig's Mini-Korg (a surprisingly powerful little beastie), while several tracks are clearly influenced by Schulze's anti-melodic approach, favouring texture over tunes. Craig adds Mellotron to several tracks, with major string and flute parts on the gentle Nightwind, strings towards the end of the lengthy Pyramid Shadows, distant boys' choir on A Cybernetic Dream, a flute line, string stabs and woodwinds on Science Fiction, strings and what sounds like MkII church organ on Mystic Castle, what appears to be brass on a couple of parts of Surreal Areas Of Space and finally, rich string swells and gong on closer The Last Sunset. As with Craig's other download albums, since this is free, you might just as well give it a listen. EM fans will certainly like portions of it, while Mellotroniacs should enjoy the less common sounds on display. Official site
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"https://jazzrocksoul.com/wp-content/uploads/2018/01/Luna.jpg", "https://jazzrocksoul.com/wp-content/uploads/2018/01/Leb-i-Sol.jpg", "https://jazzrocksoul.com/wp-content/uploads/2018/01/Ipe-Laza.jpg" ]	[]	[]	[ "" ]	null	[ "Trimaximalist" ]	2018-01-16T01:29:23+00:00		en	https://jazzrocksoul.com…cksoul-32x32.png		https://jazzrocksoul.com/author/trimaximalist/page/65/	Author: Trimaximalist Obatala Obatala were an American soul-funk band that released a self-titled album on T.K.-subsidiary Dash in 1977. Members: Rahiim Taalib (vocals, percussion), Alonzo Hentz (bass), Michael Micara (drums, horn/string arrangements), Frank Vento (guitar), Bob Maniscalco (keyboards, vocals) Discography: Obatala (1977) Nytro Nytro were an American soul-funk band that released two albums on producer Norman Whitfield’s namesake Warner-subsidiary Whitfield Records between 1977 and 1979. Members: Benjamin Wilber, Chris Powell, Daniel Smithson, Earnest Reed, John Jackson, Kenneth Scott, LaMorris Payne, Robert Justice, Theodore Willingham Discography: Nytro (1977) Return to Nytropolis (1979) Niteflyte Niteflyte were an American soul-funk duo that released two albums on Ariola between 1979 and 1981. Members: Howard Johnson, Sandy Torano Discography: Niteflyte (1979) Niteflyte II (1981) The Nite-Liters The Nite-Liters were an American funk band that released five albums on RCA Victor between 1970 and 1973. The band concurrently participated in the soul-funk collective New Birth with members of The Now Sound and The Mint Juleps. Members: Harvey Fuqua, Tony Churchill, Austin Lander, James Baker, Robert Jackson, Leroy Taylor, and Robin Russell, Ben […] Newban Newban were an American soul-funk band that released two albums on the tax-scam Guinness label in 1977. Soon thereafter, the band morphed into Atlantic Starr for a prolific run of albums from 1978-onward. Members: Sharon Bryant (vocals), David Lewis (vocals), Jonathan Lewis (keyboards), Wayne Lewis (vocals), Koran Daniels (saxophone), William Suddeeth III (trumpet), Clifford Archer […] The Chocolate Jam Co. The Chocolate Jam Co. were an American studio-based soul-funk band that released two albums on Epic in 1979 and 1980, the second featuring drummer/vocalist/producer Leon Chancler’s moniker “Ndugu” affixed to the nameplate. Members: Leon “Ndugu” Chancler (lead vocals, drums, percussion), Leo Miller (vocals), Virginia Ayers (vocals), Byron Miller (bass), Maxi Anderson (vocals), Reggie Andrews (keyboards, […] N.C.C.U. N.C.C.U. — aka New Central Connection Unlimited — were an American funk band from Durham, N.C., that released the album Super Trick on United Artists in 1977. Members: Stanley Baird (saxophone), Thomas ‘Bonnie’ Clyde (alto saxophone, synthesizer, electric piano), Marion ‘Mouse’ Wiggins (trumpet, flugelhorn, synthesizer), Charlie Brown (drums), Norris ‘Country’ Duckett (guitar), Aaron ‘Electric Man’ […] Mystic Merlin Mystic Merlin were an American soul-funk band from N.Y.C. that released three albums on Capitol between 1980 and 1982. Members: Clyde Bullard (bass), Barry Roark Strutt (saxophone, keyboards), Leslie Dorsey (keyboards, vocals), Jerry Anderson (guitar, vocals), Keith Gonzales (vocals, harmonica), Sly Randolph (drums, percussion, vocals), Betty Brown (vocals), Freddie Jackson (vocals) Discography: Mystic Merlin (1980) […] Mutiny Mutiny were an American funk band that released two albums on Columbia in 1979 and 1980, followed by a third on J. Romeo Records in 1983. Members: Jerome “Big Foot” Brailey (drums, percussion, vocals, production), Raymond Carter (bass, vocals), Marvin Daniels (horns), Darryl Dixon (horns), Melvin El (horns), Lenny Holmes (lead guitar, vocals), Nat Lee […] Muscle Shoals Horns Muscle Shoals Horns were an American studio-based brass section that played backing tracks on numerous albums recorded at Muscle Shoals Sound Studio in Sheffield, Ala., during the 1970s. As an autonomous funk unit, the band released Born to Get Down on Atlantic-subsidiary Bang Records in 1976, followed by Doin’ It to the Bone on Ariola […] Mtume Mtume were an American soul-funk band that released five albums on Epic between 1978 and 1986. The band was led by the namesake percussionist, who played on numerous spiritual jazz recordings during the 1970s as both a sideman and bandleader. Members: Mtume (vocals, keyboards, congas), Reggie Lucas (guitar), Tawatha (vocals, guitar), Basil Fearington (bass), Hubert […] The Memphis Horns The Memphis Horns were an American brass/woodwinds ensemble that originally served as a house act at Stax Records. As an autonomous unit, the band debuted with an album on Cotillion in 1970, followed by the 1972 album Horns for Everything on Million Records Inc. Between 1976 and 1979, the band released four albums on RCA. […] Mammatapee Mammatapee were an American soul-funk band that released two albums on Whitfield Records in 1980. The band were produced by label-head Norman Whitfield. Members: Ella Faulk, Isy Martin, Mark Kenoly, Walter Downing Discography: Mammatapee! (1980) On the One (1980) Moonlyte Moonlyte were an American Latin-rock/psych band that released the album Better Late Than Never on Astro Records in 1974. Members: Miguel Fanego (keyboards), José Battle (bass), Pedro Pino (guitar), José Luis Toledo (vocals, percussion), Juan Merida (vocals), Juan Soto (percussion), Edgar González, Frank Garcîa, Juan González, Felix Toledo, Enrique García (drums), Frank Schuckert, Manuel Diaz, […] Minority Band Minority Band were an American soul-funk septet from New Jersey that released the album Journey to the Shore on self-press JSR in 1980. Members: Chris Miller (lead vocals, guitar), Cliff Mancle (keyboards, backing vocals), David Peek (trombone, lead vocals), Fredreick King (trumpet, backing vocals), James Stevens (flute, soprano saxophone, alto saxophone, backing vocals), Rich Echols […] Mind & Matter Mind & Matter were an American soul-funk band from Minneapolis that released a standalone single on self-press M&M in 1977. Around this time, the band recorded a batch of demos that were ultimately released 35 years after the fact by archivists Numero Group. Members: – Discography: “I’m Under Your Spell” / “Sunshine Lady” (1977) 1514 […] Mighty Ryeders Mighty Ryeders were an American soul-funk band from Florida that released the album Help Us Spread the Message on Sun Glo Records Inc. in 1978. Members: Rodney Mathews (lead vocals), Carl Crowder, Lionel H. Harrison Discography: Help Us Spread the Message (1978) Midnight Star Midnight Star was an American soul-funk band from Frankfort, Ky., that released eight albums on Unidisc-subsidiary Solar between 1980 and 1990. Members: Reginald Calloway (trumpet, 1976-88), Vincent Calloway (trombone, 1976-88), Belinda Lipscomb (vocals), Melvin Gentry (guitar), Kenneth Gant (bass), Bobby Lovelace (drums), Bill Simmons (various instruments), Bo Watson (keyboards), Jeff Cooper (guitar, keyboards, 1976-?) Midnight […] Midnight Movers Midnight Movers were an American soul-funk band that released the album Do It in the Road on Elephant V Ltd. in 1970, followed by Follow the Wind on Buddah in 1974. Members: – Discography: Do It in the Road (1970) Follow the Wind (1974) MFSB MFSB — an acronym for Mother Father Sister Brother — was an American jazz-funk big band that served as the house orchestra for Philadelphia International Records during the 1970s. They played on recordings by Billy Paul, Dexter Wansel, The Ebonys, Harold Melvin & the Blue Notes, The O’Jays, The Spinners, The Three Degrees, and The […] The Meters The Meters were an American funk band from New Orleans that released three albums on Josie Records in 1969 and 1970, followed by another five albums on Warner/Reprise between 1972 and 1977. They evolved from the Neville Sounds, formed in 1960 by keyboardist Art Neville and his two brothers, Cyril and Aaron. When the latter […] Maze Maze was an American soul-funk band from San Francisco that released six studio albums and two live discs between 1977 and 1986 on Capitol, several with singer Frankie Beverly suffixed to the nameplate. Members: Frankie Beverly (vocals), McKinley “Bug” Williams (percussion), Carl Wheeler (keyboards), John Smith (guitar), Larry Kimpel (bass), Robin Duhe (bass), Mike White […] Maxayn Maxayn was an American soul-funk/psych band from California that released three albums on Capricorn between 1972 and 1974. Namesake vocalist Maxayn Lewis, guitarist Marlo Henderson, and bassist/keyboardist Andre Lewis had earlier played together in the Columbia one-off High Voltage. Lewis subsequently adopted the moniker Mandré for three electro-funk albums on Motown during the late 1970s. […] Mastermind Mastermind were an American 10-piece soul-funk band from N.Y.C. that released a self-titled album on Prelude in 1977, followed by a pair of singles on Half Moon in 1981. Members: Anselm Scrubb (vocals, trumpet), Mario Ford (saxophone), Guy Fuertes (saxophone), Lenny White (saxophone), Joe Frye (vocals, guitar), Geoffrey Williams (vocals, keyboard), Carl Bain (bass), Brian […] Mass Production Mass Production was an American soul-funk band that released eight albums on Cotillion between 1976 and 1983. Initially a ten-piece, they scored a 1979 Billboard hit with “Firecracker” and set UK dance floors alight with “Cosmic Lust,” “Shante,” and “Strollin.” They served as the backing band on the 1980 release Slipping Out by soulsters The […] Mandrill Mandrill is an American soul-funk band from Brooklyn that released five albums on Polydor between 1970 and 1974, followed by a pair of albums on UA and a trio of titles on Arista during the second half of the decade. Members: Carlos Wilson (trombone, vocals), Lou Wilson (trumpet, vocals), Ric Wilson (saxophone, vocals), Claude “Coffee” […] Mandré Mandré — aka Michael Andre Lewis (Dec. 7, 1948 — Jan. 31, 2012) — was an American electro-funk musician who initially emerged as the organist of High Voltage and the bassist/keyboardist of Maxayn during the early 1970s. As a robot-masked solo artist, he released three albums on Motown between 1977 and 1979, followed by a […] Magnum Magnum were an American soul-funk band from San Pedro Bay, Calif., that released the album Fully Loaded on the Phoenix label in 1974. Members: Michael Greene (piano, organ, percussion, vocals), Harold Greene (bass), Kevin “Cornbread” Thornton (lead/rhythm guitars), Vance Wormley (trombone, organ, piano, percussion), George Chaney (congas, bongos), Thurron Mallory (tenor/alto saxophone, percussion), Lamont Payne […] Made in USA Made in USA were an American soul-funk band from Brooklyn that released a self-titled album on De-Lite Records in 1977. Members: Charles Morais (guitar), Darryl Gibbs (saxophone), Herbert Aikens (tenor saxophone), Jann Harrison (vocals), Kevin Hood (keyboards), Ruben Faison (alto saxophone), Willie Slaughter (bass) Discography: Made in USA (1977) The LTG Exchange The LTG Exchange were an American funk band from N.Y.C. that released a self-titled album on Wand/Fania in 1974, followed by a second on RCA in 1975. Members: Kevin Beverly (guitar), Melvin Barton (bass), Walter Chiles (piano, keyboards), Victor Santos (drums), Bruce Slade (percussion) Discography: LTG Exchange (1974) Susie Heartbreaker (1975) L.T.D. L.T.D. — an acronym for Love, Togetherness & Devotion — was an American soul-funk band that made eight albums (1974–1982) on A&M. They scored three No. 1 hits on the Billboard Hot R&B chart with their 1976–78 singles “Love Ballad,” “Holding On (When Love Is Gone),” and their 1977 crossover hit “(Every Time I Turn […] Lowrell Lowrell Simon (March 18, 1943 — June 19, 2018) was an American singer and songwriter from Chicago who first emerged as a member of soul act The Vondells during the mid-1960s. Between 1970 and 1972, he released two albums on Brunswick with smooth-soul foursome The Lost Generation. As a solo artist, he issued a soul-funk […] The Love Unlimited Orchestra The Love Unlimited Orchestra was a 40-piece American soul-funk big band from Los Angeles, formed in 1972 by vocalist–conductor–producer Barry White. Between 1974 and 1979, they released seven albums on 20th Century Records and backed White on his concurrent solo work. Additionally, they backed the namesake soul trio Love Unlimited, which issued five White-produced albums. […] Lakeside Lakeside were an American soul-funk band from Dayton, Ohio, that released a self-titled album on ABC Records in 1977, followed by nine albums on Solar between 1978 and 1990. Members: Stephen Shockley (lead guitar), Mark Adam Wood Jnr. (lead vocals, piano, keyboards, 1969-2011), Norman Beavers (keyboards, 1969-87), Tiemeyer McCain (vocals, 1969-86), Dale E Wilson Sr […] The Lafayette Afro Rock Band The Lafayette Afro Rock Band was a Paris-based American funk band that sprung from the Bobby Boyd Congress. After Boyd’s return to the US, they cut one album as Ice and adopted the “Lafayette Afro Rock Band” moniker for the 1974/75 albums Soul Makossa and Malik. They reverted back to Ice and also recorded as […] Kwick Kwick were an American soul-funk band from Memphis that released two albums on EMI America in 1980 and 1981, followed by a third on Capitol in 1983. Three-fourths of the band had been in the Stax/Volt singles act The Newcomers during the early 1970s. Members: William Summers, Bert Brown, Terry Bartlet, Vince Ricari Williams Discography: […] Kool & The Gang Kool & The Gang were an American soul-funk band from Jersey City that released 18 albums on De-Lite Records between 1970 and 1984. Members: Robert Bell (bass, vocals), George Brown (drums, percussion, vocals), Dennis D.T. Thomas (alto saxophone, flute, percussion, vocals), Charles Smith (guitar, 1968-2006), Ronald Bell (aka Khalis Bayyan, tenor saxophone, soprano saxophone, alto […] Aztecs The Aztecs were an Australian rock band formed as a Shadows-style instrumental act by guitarist Vince Melouney. When beat music hit, they welcomed singer Billy Thorpe, a rising Sydney star. Billy Thorpe and the Aztecs scored multiple 1964–65 hits on Linda Lee and Parlophone, including “Poison Ivy,” a summer ’64 No. 1 that eclipsed The […] Samurai Samurai were a Japanese psych-rock band from Tokyo that released a clutch of 1968–70 singles on Nippon, London, and Philips as Miki Curtis & The Samurais. Under the mononymous nameplate, the band released two albums on Philips in 1970/71. Bassist Tetsu Yamauchi subsequently played with Free and the Faces. Members: Miki Curtis (vocals, flute), Joe […] Psycho Psycho were a Greek New Wave/art-pop duo comprised of vocalists Dora Antoniadis and Stefanos Kotatis. The band issued the album Montage Fatal in 1982 on WEA Records with backing by multi-instrumentalist Stamatis Spanoudakis. The nameplate derived from the album’s opening track “Psycho Killer,” a cover of the Talking Heads song. Though initially a one-album project, […] Kashmere Stage Band Kashmere Stage Band (KSB) were an American funk ensemble comprised of students from Kashmere High School in Houston. The band was directed by music teacher Conrad O. Johnson, who led KSB through multiple iterations over a 10-year period. After a 1969 no-label release, a series of live and studio albums were issued on self-press Kram […] Ypsilon Ypsilon were a Greek art-pop combo that issued the album Metro Music Man in 1977 on Philips. The band included ex-Axis bassist Dimitris Katakouzinos and former Aphrodite’s Child drummer Lucas Sideras. Members: Lakis Vlavianos (piano, Moog), Jose Sour (guitar), Dimitris Katakouzinos (bass), Lucas Sideras (drums, vocals) Discography: Metro Music Man (1977) Vangelis Evángelos Odysséas Papathanassíou (March 29, 1943 — May 17, 2022) was a Greek electronic musician and composer, known professionally as Vangelis. He emerged as the keyboardist of beatsters The Forminx, which cut multiple 1964–65 singles on Decca and Pan-Vox. He then teamed with members of rival band The Minis in the psychedelic supergroup Aphrodite’s Child, […] Τρύπες [Trypes] Trypes (Τρύπες) were a Greek rock band that was active for 18 years, starting in 1983. The band debuted with a self-titled album on Ano Kato in 1985, followed by five albums on Virgin into the following decade. Members: Γιάννης Αγγελάκας [Giannis Aggelakas] (vocals), Γιώργος Καρράς [Giorgos Karras] (bass), Μιχάλης Κανατίδης [Mihalis Kanatidis] (guitar, 1983-84), […] Τα 4 Επίπεδα Της Ύπαρξης [The Four Levels of Existence] The Four Levels of Existence (Τα 4 Επίπεδα Της Ύπαρξης) were a Greek hard-rock/psych band that issued a self-titled album on Venus in 1976. The thrice-reissued album has gained international cult renown and been the subject of hip-hop sampling in the 21st century. Members: Χρήστος Βλαχάκης [Christos Vlahakis] (drums, percussion), Αθανάσιος Αλατάς [Athanasios Alatas] (rhythm […] Σταύρος Λογαρίδης [Stavros Logarides] Stavros Logarides (Σταύρος Λογαρίδης) is a Turkish-Greek vocalist, multi-instrumentalist, and composer who first emerged in the folk/psych foursome Poll, which issued two albums circa 1971/72. This was followed by a one-album stint with symphonic trio Akritas. In 1978, he released an eponymous solo album on Polydor with backing by members of jazz-rock combo Sphinx. The […] Socrates Drank the Conium Socrates Drank the Conium were a Greek hard-rock/psych band that released a clutch of singles circa 1970/71, followed by three albums on Polydor during 1972 and 1973. A name-edit to Socrates preceded the Vangelis-produced Phos, released in 1976 on Vertigo. Three further albums appeared during the early 1980s on Minos and Virgin. Members: Αντώνης Τουρκογιώργης […] Ακρίτας [Akritas] Akritas (Ακρίτας) were a Greek symphonic-rock trio that released a self-titled album on Polydor in 1973. The band included musician/vocalist Stavros Logarides, who would later records as a solo artist. Members: Άρης Τασούλης [Aris Tasoulis] (piano, organ, keyboards), Σταύρος Λογαρίδης [Stavros Logarides] (bass, acoustic guitar, vocals), Γιώργος Τσουπάκης [Giorgos Tsoupakis] (drums) Discography: Ακρίτας (1973) Poll Poll were a Greek folk/psych combo that released three singles and two albums on Polydor circa 1971/72. Vocalist/songwriter Robert Williams (Ροβέρτος-Κωνσταντίνος Ουίλλιαμς) released numerous solo albums over the following two decades. Members: Stauros Logaridis (bass, vocals, guitar, piano, kazoo, percussion), Kostas Tournas (guitar, vocals, piano, organ, kazoo, percussion), Robert Williams (guitar, piano, vocals), Nasia Sandi […] Pete & Royce Pete & Royce were a Greek symphonic/psych combo that issued two small-press albums circa 1980/81. Keyboardist Bill Ghinos (Βασίλης Γκίνος) has since become a studio owner and prominent producer/composer/backing musician. Members: Pete Tsiros (guitars, vocals), Lavrentis Tsinaroglou (guitars, vocals), Bill Ghinos (keyboards), Ilias Porfiris (bass), Fontas Hatzis (drums) Discography: Suffering of Tomorrow (1980) Days of […] P.L.J. Band P.L.J. Band were a Greek symphonic/space-rock quintet that debuted with the 1979 self-press EP Gaspar. In 1982, the band released Armageddon, their first of two popular albums on the Vertigo label. A name-change to Termites (Τερμίτες) yielded three further albums on Virgin between 1984 and 1986. Members: Lavrentis Maheritsas (lead vocals, 12-string guitar, keyboards), Adonis […] Morka Morka were a Greek folk/psych ensemble that released six songs across two shortplayers in 1972 on Polydor. Two of the songs, “Winter’s Here” and “Judy,” had also been released under the band’s earlier name, Stone Deep. In 1997, the six songs were compiled with seven unreleased tracks on the archival CD There Was a Time…. The […] Κυριάκος Σφέτσας [Kyriakos Sfetsas] Kyriakos Sfetsas is a Greek composer and arranger who recorded numerous classical and soundtrack works between 1974 and 1986. In 1980, he released the avant-jazz/funk album Χωρίς Σύνορα — recorded with backing by the Greek Fusion Orchestra — on Columbia. The following year, he collaborated with poet/vocalist Katerina Gogou on the album Στο δρόμο. Discography: […] Κατερίνα Γώγου [Katerina Gogou] Katerina Gogou (Κατερίνα Γώγου: June 1, 1940 — Oct. 3, 1993) was a Greek poet, vocalist, and actress who appeared in more than 30 movies. In 1981, she sang on the album Στο δρόμο, recorded in collaboration with composer/conductor Kyriakos Sfetsas. She died from a pill overdose at age 53. Discography: Στο δρόμο (1981) Gus Vali Gus Vali is a Greek-American conductor and arranger who released numerous albums of Arabic belly-dance music for United Artists and Musicor between the late 1950s and late 1970s. In 1974, he headed the album Chimera: A Fantasy in Jazz * Rock * Mid-East Sounds on Peters International. The album features contributions from guitarist Joe Beck, […] Αγάπανθος [Agapanthos] Agapanthos (Αγάπανθος) were a Greek folk-rock/art-rock band that was active as a recording unit during the mid-1970s and again during the mid-1980s. The band released a single and self-titled album circa 1975/76 on EMI/Columbia and a second album, Επιστροφή στις ρίζες, in 1984 on Diskografikos Sineterismos Kallitehnon. The constant member through both iterations was bassist/vocalist […] Axis Axis were a Paris-based psych-rock combo comprised of expatriated Greek musicians. The band released six singles and three albums on Riviera between 1970 and 1973. Members: Ντέμης Βισβίκης [Demis Visvikis aka Demis Loukas Jr.] (vocals, organ), Δημήτρης Κατακουζηνός [Dimitris Katakuzinos] (acoustic guitar, bass, vocals), Αλέκος Καρακαντάς [Alekos Karakandas] (lead guitar, vocals), Αλέξανδρος Φάντης [Alexandros Fantis] […] Aphrodite’s Child Aphrodite’s Child were a Greek symphonic/psych-rock band that released numerous singles and three albums on Mercury/Vertigo between 1968 and 1972. The band included future electronic maestro Vangelis, superstar balladeer Demis Roussos, and eventual Ypsilon drummer Lucas Sideras. Members: Demis Roussos (bass, guitar, vocals), Vangelis (keyboards), Lucas Sideras (drums), Argyris “Silver” Koulouris (guitar, 1967-?, 1970-72) Discography: […] Korni Grupa Korni Grupa were a Yugoslav symphonic-rock band from Beograd, Serbia, that was active for six years, starting in 1968. The band released a string of shortplayers on RTB between 1969 and 1971, followed by a self-titled album on the label in 1972. The nameplate was momentarily modified to Kornelyans for the popular 1974 release Not […] YU Grupa YU Grupa were a Yugoslav hard-rock from Beograd, Serbia, that was prolific during the 1970s, releasing 10 singles and five albums, mostly on Jugoton. The late 1980s spawned another round of albums and the band has recorded sporadically in the decades since. Members: Dragi Jelić (vocals, guitar), Žika Jelić (bass, vocals), Miodrag Okrugić [Mive] (organ, […] Katarina II Katarina II were a Yugoslav New Wave band for Beograd, Serbia, formed in 1982. The band released a self-titled album in 1984 on ZKP RTVLJ and subsequently changed their name to Ekatarina Velika for two additional albums on the label, switching to RTB in the late 1980s. Members: Milan Mladenović (vocals, guitar), Margita Stefanović [Magi] […] Xenia Xenia were a Yugoslav New Wave band from Rijeka, Croatia, that was active for four years, starting in 1981. The band debuted with a 1982 single and released two albums between 1983 and 1984 on Jugoton. Members: Vesna Vrandečić (vocals), Robert Funčić (guitar), Joško Serdarević (drums), Marinko Radetić (bass) Discography: Kad nedjelja prođe (1983) Tko […] Tomaž Pengov Tomaž Pengov (1949 — Feb. 10, 2014) was a Slovenian singer/songwriter who was sporadically active for nearly four decades, debuting with the 1973 album Odpotovanja and releasing subsequent material at five-to-ten-year intervals into the 2010s. Discography: Odpotovanja (1973) “Napisi padajo” / “Črna pega čez oči” (1978) Pripovedi (1988) Rimska cesta (1992) Biti tu (1995) Tihomir Pop Asanović Tihomir Pop Asanović (Nov. 16, 1948) is a Macedonian keyboardist who played in the bands Time, September, Boomerang, and Jugoslavenska Pop Selekcija during the 1970s. Between 1974 and 1976, he released two jazz-funk solo albums on Jugoton. Discography: Majko Zemljo (1974) Pop (1976) Teška Industrija Teška Industrija were a Yugoslav hard-rock band from Sarajevo, Bosnia-Herzegovina, that released seven singles and three albums on Jugoton between 1975 and 1978. A second round of activity produced two further albums during the early 1980s. Sporadic revivals have followed in the decades since. Members: Gabor Lenđel (keyboards, 1974-77, 2007), Vedad Hadžiabdić (guitar), Ivica Propadalo […] Tako Tako were a Yugoslav symphonic/space-rock band from Beograd, Serbia, that issued a self-titled album on ZKP RTVLJ in 1978, followed by the RTB-release U Vreći za Spavanje in 1980. Both albums were reissued with bonus tracks and alternate cover art by Kalemegdan Disk during the early 1990s. Members: Dušan Ćućuz [aka Dule] (bass, vocals), Đorđe […] Suncokret Suncokret were a Yugoslav folk-rock ensemble from Beograd, Serbia, with a revolving-door lineup over a five-year period of activity. Between 1975 and 1979, the band issued seven singles on RTB, Diskos, and ZKP RTVLJ. The last of those labels issued the band’s singular album, Moje Bube, in 1977. The band also have a song apiece […] Spektar Spektar were a Yugoslav symphonic/jazz-funk trio from Zagreb, Croatia, that released a self-titled album on Suzy in 1974. In 2015, 38 minutes of unreleased 1973–75 material was issued as Nepoznate Boje Spektra by archivists Black Pearl. Members: Enco Lesić (vocals, piano, organ, synthesizer, percussion), Davor Rocco (bass, acoustic guitar, percussion), Dragan Brčić (drums, congas, percussion) […] Smak Smak were a Yugoslav hard-rock/funk band from Kragujevac, Serbia, formed in 1971. Between 1974 and 1986, the band issued six albums and assorted shortplayers on RTB and ZKP RTVLJ. Guitarist Radomir Mihajlović Točak sporadically issued solo material during this time period, including the popular 1976 release R.М. Тоčак. Members: Radomir Mihajlović Točak (guitar), Slobodan Stojanović […] September September were a Yugoslav symphonic/jazz-rock band from Ljubljana, Slovenia, that debuted with a 1976 single on Jugoton. That same year, the band released the album Zadnja Avantura on RTB, followed by a 1977 standalone single on that label. Lengthy live tracks by the band were included on the Boom ’76 document and the various-artists compilation […] Rezonansa Rezonansa were a Yugoslav folk/pop band from Sarajevo, Bosnia-Herzegovina, that issued five albums and eight singles between 1975 and 1982, mostly on RTB and Diskoton. Members: Brano Likić (vocals, bass, guitar, keyboards), Branka Seka Likić (vocals), Ljubo Pavlović (drums, 1975-81), Mario Barišić (violin, 1975-82), Božidar Bobo Arkus (violin, 1975-82), Darko Arkus (keyboards, 1975-77), Josip Mijač […] Radomir Mihajlović Točak Radomir Mihajlović Točak (born June 13, 1950) is a Yugoslav guitarist from Čačak, Serbia, principally known as the driving force behind funk-rockers Smak, with whom he recorded six albums and numerous shortplayers between 1974 and 1986. In 1976, he released the popular solo album R.М. Тоčак on ZKP RTVLJ. Discography: R.М. Тоčак (1976) “Mantilja” / […] Predmestje Predmestje were a Yugoslav jazz-rock band from Ljubljana, Slovenia, that issued four albums on RTB between 1977 and 1982. Members: Andrej Pompe (keyboards), Peter Gruden (guitar, vocals, 1975-80), Aleksander Malahovsky (saxophone, 1975-80), Gabriel Lah (bass, 1975-80), Janez Hvale (drums, 1975-79), Lado Jakša (saxophone, 1979-80), Tone Dimnik (drums, 1979-80), Marko Bitenc (vocals, percussion, 1980), Marjan Lebar […] Pop Mašina Pop Mašina were a Yugoslav hard-rock band from Beograd, Serbia, that issued five singles, two albums and a live LP on RTB and ZKP RTVLJ between 1972 and 1977. Members: Robert Nemeček (bass, vocals, 1972-76), Zoran Božinović (guitar, vocals), Raša Đelmaš (drums, 1972), Sava Bojić (guitar, vocals, 1972), Mihajlo Bata Popović (drums, 1972-76), Oliver Mandić […] Petar Ugrin Petar Ugrin (Jan. 12, 1944 — Sept, 14, 2001) was a Yugoslav trumpeter, violinist, and composer who issued the album Samo Muzika on RTV Ljubljana in 1979. Discography: Samo Muzika (1979) Oko Oko were a Yugoslav hard-rock band from Ljubljana, Slovenia, that issued a single on ZKP RTVLJ in 1975, followed by the album Raskorak on Jugaton in 1976. Members: Pavel Kavec (vocals, guitar), Miro Tomassini (bass, 1972-75), Jani Tutta (drums, 1972-73), Dragan Gajič (drums, 1973-1975), Tone Dimnik (drums, 1975-76), Franjo Martinec (bass, 1975-76), Zlatko Klun (drums, […] Oddelek 8 Oddelek 8 were a Yugoslav ethno-jazz ensemble that issued the album Quartar on Helidon in 1979. Members: Berislav Puhlovsky, Bernhardt Gerths, Koce Andonov, Miroslav Erjavec, Miroslav Karlović, Slavko Avsenik Jr. Discography: Quartar (1979) Miha Kralj Miha Kralj (born Aug. 22, 1949) is a Slovenian electronic musician who released three albums on RTB between 1980 and 1985. Discography: Andromeda (1980) Odyssey (1982) Electric Dreams (1985) Luna Luna were a Yugoslav goth-rock band from Novi Sad, Serbia, that issued the album Nestvarne Stvari in 1984 on Helidon. Members: Slobodan Tišma (vocals), Zoran Bulatović [aka Balé] (guitar, vocals), Ivan Fece (drums), Jasmina “Mina” Mitrušić (keyboards, vocals) Discography: Nestvarne Stvari (1984) Leb i Sol Leb i Sol were a Yugoslav jazz-rock/pop band from Skopje, Macedonia, formed in 1976. The band debuted with two tracks on a double-album document of the 1977 Boom Festival, issued as Boom ’77 on the Suzy label. In 1978, the band released their first two albums on RTB, following those up with three further longplayers […]
1053	dbpedia	1	48	https://futureoflife.org/open-letter/awos-signatories/	en	Autonomous Weapons Open Letter: AI & Robotics Researchers	https://futureoflife.org…Li_Banner-05.jpg	https://futureoflife.org…Li_Banner-05.jpg	[ "https://futureoflife.org/wp-content/uploads/2015/10/fli_logo_white-300x204.png", "https://futureoflife.org/wp-content/uploads/2022/05/FLi_Logo_Color_White-300x214.png" ]	[]	[]	[ "" ]	null	[]	2016-02-09T00:00:00+00:00	These are the AI and Robotics researchers who signed FLI's 2016 Open Letter calling for a ban on autonomous weapons beyond meaningful human control.	en	https://futureoflife.org…2/09/favicon.png	Future of Life Institute	https://futureoflife.org/open-letter/awos-signatories/	Close How does verification work? Verified signatures are those which we have taken one or more extra steps to confirm as legitimate: • Direct contact - We have been in direct contact with this person to verify that they have signed the letter. • Declaration URL - This person has made a public declaration of signing the open letter which can be viewed online. All published signatures, ‘verified’ or otherwise, are subject to several forms of verification: email verification, spam and duplicate filters, and a review by a member of our data vetting team.
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Returning from there, he discovers changes within himself, but within his home town also. Totally lost, he finds no way to make contact with the environment, and suddenly experiences love with the girl who survived all horrors of that war... Based on a comedy TV series about Serbian "aristocracy" during the Turkish "answer" to the Serbian Uprising during the Serbian-Turkish war in the 19th century. During this time it was of the utmost importance to take the right steps and wisdom is really needed for making those right steps. With the help of a fortune teller, Karadjordje (the leader of the Uprising) learns that, according to a legend, somewhere in the hills exists a Stone of Wisdom which makes you, if you hit your head against it three times, more wise. So he employs his nephew Crni Gruja, with assistants Ceda Velja and Bole, to find him this miraculous Stone. Crni Gruja finds the Stone and, convinced that he is really becoming more wiser, decides to make some business. A small border post on the Yugoslav-Albanian border in the spring of 1987. Frustrated and always drunk, lieutenant Pasic feels a strange pain in his groins. He seeks help from the only doctor among the soldiers, Sinisa, who diagnoses a sexually transmitted disease. Not wishing his wife to know about it and trying to find excuses not to go home, he declares a state of emergency, claiming that the Albanian army is preparing an attack against Yugoslavia. A joke transforms into war hysteria: soldiers dig trenches, Pasic grows wilder as the days go by, Sinisa embarks on a dangerous liaison, and his best friend Ljuba decides to leave the army. The situation slowly runs out of control... Macak (The Cat) is the best basketball player around the blocks of New Belgrade. Meanwhile, his friend is bullied by a local gangster Coma, whom he owns money. To pay off his debt, Macak will play 1 on 1 with the rival player, eventually winning it. However, Coma doesn't stand on his promise, so Macak decides to solve this problem the other way. Alek is desperate because Teodora has left him after a three-year relationship. Suffering and apathetic, he mentions suicide constantly; he simply does not want to accept that the relationship is over. He has self-pitying sessions with his friend Bane every day. Despite Bane's advice, Alek keeps calling Teodora, who has fallen in love with Nemanja. However decisive and tough Teodora is when she is with Alek, she is indulgent and helpless when she's with Nemanja. Nemanja is not in love with her but with Marina, a girl a few years younger than he is; Marina, in turn, is not in love with him but is very attracted to Alek's "Slavic depression." She doesn't know that his "desperation charm" comes from his failure with Teodora; she thinks he was born like that. In 1999 Belgrade, producer Sergei and his film crew are in a disastrous situation: The film they're making is under threat; there's no money, the crew are dissatisfied, and NATO bombing is just around the corner. Then Mileta, a member of the State Security Service, comes looking for American co-producer Harvey. Anxious and worried in the midst of the bombing that's begun, Sergei hides Harvey from what he thinks is awaiting him: arrest. During the night, he thinks up a plan. He announces the start of filming on a new, patriotic film, in which the main role will be played by Harvey. The plan works--the State supports the film, and Mileta, as the State's representative, joins the crew. However, the underlying conflict between Mileta and Sergei explodes during the first screening. Mileta accuses them of being artists and not being patriots. Sergei begins to realize that he has endangered not only the film but the lives of the whole crew. A tragic death provokes a real revolt amongst the crew and some refuse to keep filming. Embittered by their 'unpatriotic' stance, Mileta arrests the protagonists and forces them to continue. Sergei, whose wife and child have now left, and who is accused of collaborating with Mileta by the rest of the crew, thinks up another plan.
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Bands like D’Febians (the winner of Juara rock competition 1983), Burnmarks (the winner of Juara rock co…	en	https://assets.tumblr.com/pop/manifest/favicon-0e3d244a.ico	Tumblr	https://www.tumblr.com/johnkatsmc5/619439959493984256/search-mentari-merah-diufuk-timur1987-cassette	LANGIT dan Bumi’, the second album by Search, had a tremendous impact on the local rock scene. Bands like D’Febians (the winner of Juara rock competition 1983), Burnmarks (the winner of Juara rock competition 1984) and May by then had their big break when they were featured in the Juara-Juara Rock compilation in 1987. A year before, one of the prime movers of the local rock scene, Ali Bakar, had come out with the legendary Battle of the Bands compilation. Those featured SYJ, Ella and the Boys and Bloodshed, who went on to become very successful rock entities. The compilation also featured Lefthanded, who by then had released two successful albums Keadilan (1985) and Seruan (1986) and were also considered pioneers in the rock scene. Despite the sudden influx of these rock bands, the music remained undiluted. Each band had its own distinctive sound. “The mentality among bands back then was different. Everyone was competing with each other. The artiste and repertoire (A&R) personnel in the industry played an important role then in guiding and ensuring that these bands survive. Take the Battle of the Bands compilation as an example. It was their initiative that got these bands the opportunity to be heard. From there, only the best would move on and come out with full albums,” Amy pointed out. Search was already establishing itself as the leader of the pack. The song Rozana from Langit dan Bumi became an anthem and played a pivotal role role in Nasir Jani’s musical feature, Rozana Cinta 1987. Search members didn’t act in the movie though (members of Lefthanded had a minor role instead), but they gave their fans a taste of what was to come in their upcoming third album in the song Gadis Ku, that was featured. The song blended the best of Search’s hard rock. Its soulful strains made it one hell of a listen – why don’t people write anything like it anymore? Amy’s affectionate lines such as – Tak peduli kata orang terhadap dirinya/ aku tahu dia gadisku/ Tak peduli nista yang terlempar padaku/ dia tahu dia gadisku – perfectly describe how it is like when a girl falls for a Mat Rock – no bull, just you, me and full on passion. The song also, in a way, sent a message that if fans had thought Langit dan Bumi was Search at its best, they were dead wrong. As we mentioned earlier, Search was an evolving unit. If Langit dan Bumi nailed its direction, Mentari Merah Diufuk Timur showed Search at its best in that direction. Not just that, the recording process of Mentari Merah Diufuk Timur also saw Search at the most productive period of its career. “While we were working on Mentari Merah Diufuk Timur, we recorded a lot of songs. A few, like Kepala Angin, Setelah Hujan and Di Pintu Sepi, somehow didn’t make it to the album,” Amy recalled. Amy said these songs and a few more they recorded in Indonesia the next year were supposed to be featured on its next album with Polygram. However, before this fourth album was released, the band parted ways with the latter. Di Pintu Sepi and Berpaling, when eventually released, had to be pulled off the market by court order. Back to Mentari Merah Diufuk Timur, out of the dozens of songs that were recorded, only 10 made it into the final tracklisting. The album started off with Pelesit Kota, a crunchy, hard rock ditty that served as a reminder to fans that though their slower tracks like Rozana and Kau Pergi were chart-toppers, Search was still a hard rocking band. Less than five seconds after Pelesit Kota, listeners would be pleasantly led by the sound effects of the next track into the best rock ballad in the history of Malaysian rock `n’ roll, Fantasia Bulan Madu. Stripped to its barest, Fantasia Bulan Madu was solely driven by Hillary’s acoustic plucks, Nasir’s thumping bass lines, minimal keyboards in the background and one of Amy’s most engaging vocal performances. The song would later become one of the band’s trademark anthems. It also further nailed the fact that Search was the best rock band around then and definitely in a league of its own. For the third time, the band proved its detractors and fans wrong. They might feel that Cinta Buatan Malaysia and Langit dan Bumi were the band’s best but for a band who believed that they were meant to make timeless music, the best is always yet to come. “We want to stay relevant. Whenever we meet our fans new or old, we’ll always try to find where we fit into their lives,” Amy said. Listening to Mentari Merah Diufuk Timur, you could tell that Search explored new possibilities with their music by toying around with a lot of chord progressions and tempo changes and these were most evident in songs like Gelora Cinta Ku, Pembakar Perasaan, Serigala Segalanya and Mentari Merah Diufuk Timur. Speaking about Mentari Merah Diufuk Timur, one can’t ignore the song Mat Rock. Word by word, Amy cried out to be accepted by Mat Rocks across the board – Janganlah tuduh melulu/ Aku bukanlah kacang hantu/ kalau nak gelar/ gelarlah aku Mat Rock. Not just that, he also threw in words about the struggle to keep on rocking regardless of what the obstacles are – Orang kata kita tak betul/ kerana cinta pada rock `n’ roll/ tapi aku tak peduli/ aku akan rock sampai tua. Have you ever wondered about the origin of the phrase `Rock will never die?’ or rock sampai tua? Now you know.....~ Tracklist
1053	dbpedia	0	3	https://www.scribd.com/document/685819911/smak-biografija	en	Smak Biografija	https://imgv2-2-f.scribdassets.com/img/document/685819911/original/5d5dadc5e6/1723319552?v=1	https://imgv2-2-f.scribdassets.com/img/document/685819911/original/5d5dadc5e6/1723319552?v=1	[ "https://s-f.scribdassets.com/webpack/assets/images/shared/gr_table_reading.9f6101a1.png" ]	[]	[]	[ "" ]	null	[ "Mirko Miric" ]	null	smak biografija - Free download as Word Doc (.doc / .docx), PDF File (.pdf), Text File (.txt) or read online for free. The document provides a detailed history and overview of the Serbian rock band Smak. Formed in 1971 in Kragujevac, Serbia, Smak reached the peak of their popularity in the 1970s when they were considered one of the top acts in the former Yugoslav rock scene. Led by guitarist Radomir "Točak" Mihailović, the band experienced lineup changes and hiatuses over the decades but briefly reunited several times, with their latest reunion beginning in 2022. The article covers Smak's formation, early career focusing on covers of Western rock bands, commercial success in the mid-1970s, decline in the late 1970s, breakup in 1981, and several subsequent re	en	https://s-f.scribdassets.com/scribd.ico?f0445a4f2?v=5	Scribd	https://www.scribd.com/document/685819911/smak-biografija
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And Larry isn't too common a name in ...	en	http://dieordiy2.blogspot.com/favicon.ico		http://dieordiy2.blogspot.com/2019/11/laza-ristovski-merge-pgp-rtb-2121077.html
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1053	dbpedia	2	31	https://forums.stevehoffman.tv/threads/smak.1103458/	en	Smak	https://forums.stevehoff…6.jpg?1626401233	https://forums.stevehoff…6.jpg?1626401233	[ "https://forums.stevehoffman.tv/threads/smak.1103458/data/avatars/m/51/51226.jpg?1626401233", "https://forums.stevehoffman.tv/threads/smak.1103458/data/avatars/m/51/51226.jpg?1626401233", "https://forums.stevehoffman.tv/threads/smak.1103458/data/avatars/m/51/51226.jpg?1626401233", "https://forums.stevehoffman.tv/threads/smak.1103458/data/avatars/m/51/51226.jpg?1626401233", "https://forums.stevehoffman.tv/threads/smak.1103458/data/avatars/m/51/51226.jpg?1626401233", "https://forums.stevehoffman.tv/threads/smak.1103458/data/avatars/m/5/5046.jpg?1352778240", "https://forums.stevehoffman.tv/threads/smak.1103458/images/smilies/orangesmile.gif", "https://forums.stevehoffman.tv/threads/smak.1103458/data/avatars/m/5/5046.jpg?1352778240", "https://forums.stevehoffman.tv/threads/smak.1103458/data/avatars/m/51/51226.jpg?1626401233", "https://forums.stevehoffman.tv/threads/smak.1103458/images/smilies/orangesmile.gif", "https://forums.stevehoffman.tv/threads/smak.1103458/images/smilies/orangesmile.gif", "https://forums.stevehoffman.tv/images/2017logo-780w-2.png" ]	[ "https://www.youtube.com/embed/TJvZZsJztm8" ]	[]	[ "" ]	null	[]	null	Smak (Serbian Cyrillic: Смак; trans. The end time) was a Serbian and Yugoslav band from Kragujevac. The group reached the peak of popularity in the...	en	/images/apple-touch-icon.png?v=2017a	Steve Hoffman Music Forums	https://forums.stevehoffman.tv/threads/smak.1103458/	Smak (Serbian Cyrillic: Смак; trans. The end time) was a Serbian and Yugoslav band from Kragujevac. The group reached the peak of popularity in the 1970s when it was one of the most notable acts of the former Yugoslav rock scene. The band's leader, guitarist Radomir Mihailović, nicknamed Točak ("The Wheel"), is considered one of the most influential guitarists on the former Yugoslav rock scene. Formed in 1971 by the guitarist Radomir "Točak" Mihajlović and drummer Slobodan "Kepa" Stojanović, the band did not get a stable lineup until 1975 by which time bassist Zoran Milanović, vocalist Boris Aranđelović and keyboard player Laza Ristovski became the band's official members. However, after recording their eponymous debut album, Ristovski left and the remaining quartet recorded their subsequent albums with various keyboardists before disbanding in 1981. After brief reunions between 1986 and 1992, the two founding members, Mihajlović and Stojanović, reestablished the band with younger musicians — vocalist Dejan "Najda" Najdanović, the second drummer Dejan "Kepa Jr." Stojanović, second guitarist Milan "Mikica" Milosavljević and bassist Vlada Samardžić. During the late 1990, the latter was replaced by the bassist Slobodan "Sale" Marković who performed with the band until 2002 when Smak disbanded once again. The remaining members from the last lineup, with the new bassist Miloš Petrović reunited in 2010, and in 2012 the default lineup of the band made a one-off reunion. Two ambitious twenty-year-old budding musicians—guitarist Radomir "Točak" Mihailović and drummer Slobodan "Kepa" Stojanović —met up in Stojanović's hometown Kraljevo on 23 April 1971 with a view of starting a band together. They had earlier been put in touch with one another through Predrag "Biska" Albić, Mihailović's childhood friend who had served the mandatory Yugoslav People's Army (JNA) service with Stojanović. Throughout their army stint together in Mostar, Albić kept telling Stojanović about Mihailović's exceptional guitar-playing skills and passion for rock'n'roll, eventually arranging for the two to meet. Following the introductory meeting in Kraljevo, the two musicians returned to their lives as Stojanović had already been set to go on a tour with his family orchestra—an engagement he envisioned as an opportunity to earn enough money for a new drum kit—while Mihailović went back to his hometown Čačak. Upon getting back home, Mihailović got introduced to Zoran Milanović (bass guitar) and Slobodan "Koma" Kominac (vocals), both from Kragujevac, who asked him to join their upstart progressive rock band Gentry, an offer he accepted on condition that Stojanović become the band's drummer. During November 1971, the four met up in Kraljevo in order to officially form a band and, having been kicked out of Stojanović's family home by his grandmother who didn't appreciate the sight of four young men with long hair in her house, they went to a local restaurant and then to a nearby park where they wrote their first song, later named "Bluz u parku" ("Blues in the Park") in memory of the event. In December 1971, the lineup was completed with the arrival of Miša Nikolić on organ. Still largely a cover band at this point, the group played youth dance halls with covers of Santana, Deep Purple, Led Zeppelin, The Rolling Stones, and Jimi Hendrix. Soon after, the members decided to change the band's name. Influenced by Smak sveta (The End of the World), a Hair-inspired musical being prepared locally at the Kragujevac Theatre in dedication to the schoolchildren killed during the Kragujevac massacre, they agreed on Smak (Endtime) as their new name while the play eventually never got staged. New name Smak occasionally got referred to in jest as S.M.A.K., a supposed acronym for Samostalni Muzički Ansambl Kragujevac (Independent Musical Ensemble Kragujevac). During this period, the band members spent time writing their own material, including 22 instrumental songs — from "Biska 2" to "Biska 23", written by Mihailović as a dedication to his friend Predrag "Biska" Albić (who was 22 at the time), featuring the defined band's sound as a combination of progressive rock with jazz and blues influences. The fact that the band's improvisations turned dances into rock concerts was the reason why their performances were becoming less popular, which eventually led vocalist Kominac to leave the band, being replaced by Slobodan "Johan" Jovanović, Mihailović's friend from Čačak. However, since the performances were the source of income for the band members, they all agreed to reunite with Kominac and go to Dubrovnik where they would perform mostly blues repertoire for two and a half months during the summer of 1972. During their stay in Dubrovnik, the band opened for Time, which had borrowed their equipment for the performance. After the Dubrovnik performances the band took a break until March 1973 when, with the new vocalist Milorad "Kimi" Petrović, Stojanović's former bandmate from the band Bluz Projekcija, Stojanović, Mihailović and Milanović decided to perform at the Požarevac Gitarijada Festival (not to be confused with Zaječar Gitarijada Festival). There, in April 1973, the band shared the first place with the local band Dijamanti, which organized the festival. With yet another return of Kominac to the band, Smak continued performing in Kragujevac clubs, as well as making a successful appearance at the Pop Music Festival in Sanad. This lineup recorded the song "Biska II blues", which appeared on the PGP RTB various artists compilation Leteća diskoteka (Flying Discothèque), compiled by Zoran Modli in 1977. In October 1973, the musically inexperienced high tenor vocalist Boris Aranđelović, who had just returned from Australia, joined the band after auditioning with a successful performance of Deep Purple's "Child in Time". After Aranđelović's arrival, during the early 1974, the band started recording their debut single and were interested in bringing an organist into the band, offering the place to Time member Tihomir "Pop" Asanović, who turned down the offer due to his plans to form his Jugoslovenska Pop Selekcija. Eventually, the band released their debut single "Živim ja" (I'm Livin'), originally entitled "Biska 13", with "Biska 16" as the B-side, in March 1974 through PGP-RTB. "Živim ja" featured the flutist Sreten Tasić "Tasa", at the time member of the band Oliver, who by chance turned up at the studio during the recording session. During the late 1974, "Živim ja" was selected as the hit single of the year on the Veče uz radio (An Evening With the Radio) Radio Belgrade show. Smak performed in Belgrade for the first time on November 10, 1974 during the Veče uz radio anniversary concert, alongside Bijelo Dugme, Pop Mašina and other notable bands of the time. Several days later, the band performed at the University of Belgrade Faculty of Philology, the first time with a guest keyboard player Laza Ristovski, a former Bezimeni and Boki Milošević Orchestra member. Ristovski officially became a member in January 1975, soon after which, Smak performed with the Hungarian band Omega in the Dom Sindikata Hall. In February of the same year, the band performed at the Rock Evening of Opatija Festival, and afterwards in Zagreb at the Kongres rock majstora (The Rock Masters Congress) concert held as the summit of the best Yugoslav guitar players. Unlike the expectation that Mihajlović would be declared the best guitarist of the event, the judges decided that the best four guitarists were Bata Kostić of YU grupa, Vedran Božić of Time, Josip Boček formerly of Korni Grupa, and Goran Bregović of Bijelo Dugme, all of whom, unlike Mihailović, were signed to Jugoton, the event's principal organizer. Shortly after, on March 16, 1975, Smak opened for the Deep Purple concert in Belgrade, performing three of their numbers: "Put od balona" (Road Made of Balloons), "Šumadijski blues" (Šumadijan Blues) and "Ulazak u harem" (Entry into the Harem). After the performance at the Od glave do pete (From Head to Heels) television show where the band performed the instrumental "Ulazak u harem", originally composed by Točak's teacher, Dragoljub "Jarak" Jaraković but rearranged by Točak, owing to positive reactions, they decided to record the track as their follow-up single. In April 1975, the band signed the Ljubljana ZKP RTLJ and released the single "Ulazak u harem" with the track "Epitaf" ("Epitaph") as the B-side- However, after being offered the contract by the Zagreb Suzy Records to release the single through their label, the band signed yet another contract, releasing "Ulazak u harem" with the song "Sto ptica" ("A Hundred Birds") as the B-side, which resulted in the two labels simultaneously releasing the same single. The release of the singles became the first major music controversy in the history of Yugoslav music. Eventually the band chose to remain with the ZKP RTLJ label and were offered to record their debut album for the label. The following month, the band went on a Bosnian and Croatian tour with Bijelo Dugme and the East German band Puhdys, and had several live appearances with the Hungarian band Sirius and Austrian band Gypsy Love, followed by them headlining the Zagreb BOOM Festival.
1053	dbpedia	0	28	https://archive.org/stream/The_Austin_Chronicle-2009-06-12/The_Austin_Chronicle-2009-06-12_djvu.txt	en	Full text of "The Austin Chronicle 2009			[ "https://archive.org/services/img/etree", "https://archive.org/services/img/librivoxaudio", "https://archive.org/services/img/metropolitanmuseumofart-gallery", "https://archive.org/services/img/clevelandart", "https://archive.org/services/img/internetarcade", "https://archive.org/services/img/consolelivingroom", "https://archive.org/images/book-lend.png", "https://archive.org/images/widgetOL.png", "https://archive.org/services/img/tv", "https://archive.org/services/img/911", "https://athena.archive.org/0.gif?kind=track_js&track_js_case=control&cache_bust=1061371835", "https://athena.archive.org/0.gif?kind=track_js&track_js_case=disabled&cache_bust=885564093" ]	[]	[]	[ "" ]	null	[]	2009-06-12T00:00:00		en	https://archive.org/images/glogo.jpg		https://archive.org/details/The_Austin_Chronicle-2009-06-12	Full text of "The Austin Chronicle 2009-06-12" See other formats bee serious Art of the Important New Work From Austin’s Most Industrious Artisans NEWS Lege Aftermath THE ARTS Fritz Henle’s Search for Beauty SCREENS DadLabs: Framing Fatherhood MUSIC Greezy wheel Lissa Hattersley see austinchronicle.com for breaking news, daily listings, pride before the fallout, leffingwell staff unveiled, Robert jensen’s pilgrimage, special times for the lege, and more 'round the bend VOL 28, NO. 41 ★ JUNE 12, 2009 PUBLISHER Nick Barbaro contents PAGE TWO Winning the West POSTMARKS Sound ordinance harmful for music scene, foot- notes battle, and more news.. The Battle Over This Old House; AISD ‘Efficiency’ Study: Not Exactly What the Doctor Ordered?; and More POINT AUSTIN Out of Balance BY MICHAEL KING CITY HALL HUSTLE The Reaper Cometh BY WELLS DUNBAR @0 See the city’s list of potential budget reductions austinchronicle.com/webextra 22 MEDIA WATCH Statesmanship: Watching the Editors’ Ink Dry THE HIGHTOWER REPORT Make ’Em Shudder: Go Organic; and Rick Scott’s Latest Fraud 24 HOW LONG IS 140 DAYS? As the 81st Legislature departs, does it leave a footprint? BY RICHARD WHITTAKER 26 FURTHER LEGE COVERAGE The Big Legebowski; CenTex Delegation Scorecard; Austin Doesn’t Win Some, Doesn’t Lose Some; and More BY NEWS STAFF 31 Esther Pearl Watson Watches the Skies; Big Range Dancers Improvise; and Robert Dale Anderson Is Remembered THE ‘IT’ PERSPECTIVE Photographer Fritz Henle seen through the lens of Austin image-maker Matthew Fuller BY ROBERT FAIRES 34 THE GREAT ESCAPE Erin Pringle isn’t sure what to do once she gets to where she’s going BY KIMBERLEY JONES AFTER A FASHION In the aftermath of Austin Pride, Stephen implores us to ‘keep our dicks in our pants’ food 39 The Mighty Cone; Turtle Mountain Dairy-Free Products; Event Menu: June 14-16; and Food- o-File 40 A TASTE OF HONEY From out of the mouths of bees . . . BY WAYNE ALAN BRENNER 44 RESTAURANT ROULETTE A spin around our Restaurant Guide screens 47 Alamo Kingpin Tim League; and DVD Watch: The Friends of Eddie Coyle and The Hit 48 POPS ON TOP Father may not know best, but DadLabs has made it its mission to make sure he knows a little bit better BY BELINDA ACOSTA 50 TV EYE Ajua, Austin! BY BELINDA ACOSTA BY STEPHEN MACMILLAN MOSER COVER BY JASON STOUT music 53 OFF THE RECORD Spiros clos- es, along with other shake- ups on Red River, plus the Bizarros’ long, strange trip back to the Hole in the Wall BY AUSTIN POWELL 54 LISSA HATTERSLEY At 57, one of the voices of Austin’s outlaw 1970s shares How I Spent My Summer Vacation BY MARGARET MOSER 58 TEXAS PLATTERS Sarah Jarosz’s commanding debut, the Flatlanders live, plus Girlie Action and more NEWS OF THE WEIRD Charitable donations with suicide notes, beauty pag- eants without beauty, and much more calendar 60 COMMUNITY Get yer motors runnin’, ROT Rally enthu- siasts, but maybe a little less fiercely than Bud-truck-jumping Robbie Knievel’s 72 FILM The Taking of Pelham 12 3, Imagine That, Adoration, Treeless Mountain, Summer Hours 102 COMIX How to Be Happy, Trouble- town, Eyebeam, and more MR. SMARTY PANTS Cod, Beatles, Bush and Babe, etc. 62 DAY TRIPS Stephen F. Austin is honored with a statue south of Angleton 65 SPORTS PLAYING THROUGH Nine-year-old Ryan Brown and 10-year-old Madison Boreman brought the pint-sized gender war to the Congress Avenue Mile SOCCER WATCH Aztex viewing party June 12 at Nomad, and more 66 ARTS Theatre: Killer Joe, Guilds of Steel/ Faster Than the Speed of Light Visual Arts: ‘Ghostsongs’ 74 SHOWTIMES 78 SPECIAL SCREENINGS Tattooed Under Fire, The Awful Truth, Mongolian Ping Pong, Night of the Creeps Director’s Cut and Reunion, Ike: A Documentary: The Story of a Torn City Rebuilt by Everyday Heroes, etc. 80 MUSIC RECOMMENDED Susan Cowsill reloads the Beatles’ Revolver, Ramblin’ Jack Elliott revisits the Depression, David Allan Coe takes on Emo’s, Devin the Dude smokes out Lamberts, and much more 82 VENUES 86 CLUB LISTINGS + ROADSHOWS CLASSIFIEDS 112 THE COMMON LAW How Do I Win My Property-Tax Protest? CAR TALK An Oil-Pan Whodunit EASY STREET, PERSONALS THE LUV DOC A rambling recom- mendation to shore up your social calendar FREE WILL ASTROLOGY Myriad pos- sible scenarios await you, Gemini SENIOR EDITORS MANAGING EDITOR Cindy Widner ARTS Robert Faires NEWS Michael King FOOD Virginia B. Wood SPECIAL ISSUES, GUIDES, INTERNS Kate ASSOCIATE EDITORS NEWS Nora Ankrum CALENDAR ARTS LISTINGS Wayne Alan Brenner COMMUNITY LISTINGS James Renovitch ASST. LISTINGS Anne Harris STAFF WRITERS Wells Dunbar, Katherine Gregor, Margaret Moser, Lee Nichols, Marc Savlov, Jordan Smith CONTRIBUTING WRITERS TV EYE Belinda Acosta OFF THE RECORD Austin Powell VISUAL ARTS LISTINGS Benne Rockett DAY TRIPS Gerald E. McLeod MR. SMARTY PANTS R.U. Steinberg LETTERS AT 3AM Michael Ventura LITERA Ric Williams CLASSICAL, DANCE LISTINGS Robi Polgar FASHION Stephen MacMillan Moser GAY PLACE Ash Bell PLAYING THROUGH Thomas Hackett PRODUCTION CREATIVE DIRECTOR Jason Stout PRODUCTION MANAGER Mark Gates WEB DIRECTOR Brian Barry ASST. WEB DEVELOPER Adam Theriault GRAPHIC DESIGNERS Tim Grisham, Shelley Hiam, Carrie Lewis, Chris Linnen, Leah Sharpe, Doug St. Ament STAFF PHOTOGRAPHERS John Anderson, Jana Birchum PROOFREADERS Sarah Jean Billeiter, Mark Fagan, Monica Riese, Darcie Stevens, Kristine Tofte, Anna Toon INTERNS Angela Armstrong, Zeke Barbaro, Nathan Brown, Meredith Greenwood, Sara Robberson, Dacia Saenz, Meghan Ruth Speakerman, Molly Wahlberg, Richard Whittaker ADVERTISING ADVERTISING DIRECTOR Simon Mulverhill SENIOR ACCOUNT EXECUTIVES Jerald Corder, Annette Shelton Patterson, Carolyn Phillips, Lois Richwine ACCOUNT EXECUTIVES Jeff Carlyon, Ali Garnel, Christina Jupson, Elizabeth Nitz, Angela Specht, Liz Withers RETAIL OPERATIONS MANAGER Tobi Gates ADVERTISING COORDINATOR Yasmine Anderson MARKETING DIRECTOR Erin Collier PROMOTIONS MANAGER Logan Youree CHRONTOURAGE Sarah Buser, Nicole Castanon, Charles Heidrick, Cat Herring, Abigail Hinojosa, Marissa Kilgore, Ellen Mastenbrook, Lauren Modery, Linh Nguyen, Tran Pham, Ashley Sherwood; photographers: Eric Lachey, Matthew Wedgwood PROMOTIONS DIRECTOR/PERSONALS/CIRCULATION Dan Hardick CLASSIFIEDS DIRECTOR Cassidy Frazier CLASSIFIEDS COORDINATOR Michael Bartnett SENIOR CLASSIFIED ACCOUNT EXECUTIVE Brian Carr LEGAL NOTICES Jessica Nesbitt CLASSIFIED ACCOUNT EXECUTIVES Stephanie Boeke, Jessica Cape, Jane Gibson, Bobby Leath NATIONAL ADVERTISING The Ruxton Group NATIONAL SALES DIR . Susan Belair MIDWEST SALES DIR. Stephen M. Lee SOUTHWEST SALES DIR. Terri Smith OFFICE STAFF CONTROLLER Liz Franklin SUBSCRIPTIONS Cassandra Pearce CREDIT MANAGER cindy soo ACCOUNTING ASSISTANT Samantha Jenkins INFO CENTER Fernando Martinez, Cassandra Pearce SYSTEMS ADMINISTRATOR Rebecca Farr ASST. SYSTEMS ADMINISTRATOR Frederick Stanton SPECIAL EVENTS Elizabeth Derczo CIRCULATION Erik Conn, Perry Drake, Joy Fairchild, Tom Fairchild, Ruben Flores, Brent Malkus, Michael McKenzie, Grant Melcher, Paul Minor, Dane Richardson, Motorcycle Michael, Rex Fourtwenty, Jeff Watts, Nicholas Wibbelsman, John Williamson, David Williford CONTRIBUTORS Kevin Brass, Rob Brezsny, Lloyd Dangle, Thomas Fawcett, Chase Hoffberger, Ken Hoge, Sam Hurt, Seabrook Jones, Rachel Koper, Tom and Ray Magliozzi, Tony Millionaire, Peter Mueller, MM Pack, Patricia J. Ruland, Jonelle Seitz, Chuck Shepherd, Avimaan Syam, Tom Tomorrow, Roy Tompkins, Shannon Wheeler, Richard Whittaker FILM Marjorie Baumgarten MUSIC Raoul Hernandez NEWS MANAGING EDITOR Amy Smith SCREENS, BOOKS Kimberley Jones Messer MUSIC Audra Schroeder The Austin Chronicle offers nonpaying internships. Contact Kate Messer at the intern hotline, 454-5765 x303. L?J VERIFIED • M AUDIT CIRCULATION The Austin Chronicle (ISSN: 1074-0740) is published by The Austin Chronicle Corporation weekly 52 times per year at 4000 N. 1-35, Austin, TX 78751.512/454-5766 ©2007 Austin Chronicle Corp. All rights reserved. Subscriptions: One year: $60 2nd class. Half-year: $35 2nd class. Periodicals Postage Paid at Austin, TX. POSTMASTER: Send address changes to The Austin Chronicle, PO Box 49066, Austin, TX 78765. Unsolicited submissions (including but not limited to arti- cles, artwork, photographs, and resumes) are not returned. BLOGS VLOGS TUNES GALLERIES COMMENTS + FORUMS BALLOTS + POLLS GUIDES CONTESTS DAILY LISTINGS BREAKING NEWS + 455,000 PAGES THAT DON’T FIT IN PRINT fUD/iMlf HflBITUflLLV vnnvmv UPDHTED BUZZ Reefer Madness KEEPS TOKING > The BIZARROS' GENIUS at Earache! > Under the Covers is ALL SHOOK UP about Robert Jensen > Gay Place is SO PROUD of this year’s Pride > Chronique is young, thin, and NAKED > The Score on the Horns’ road to the COLLEGE WORLD SERIES For this week’s Web Extras and more Web exclusives , go to: ‘POSTMARKS' online - updated (almost) daily > ASK MR. SMARTY PANTS - sooner or later, he’ll answer > ‘SOCCER WATCH' onl ine - updates from everywhere 2 the Austin chronicle June: 12, 2009 austinchronicle.com PELL USB fWJlLTlMEFIA KEYBOAUP PELL USB MOLISE Mon-Sat: 9-9 Sun: 11-6 DiscountElQctronics.com PELL L/^TITUPE P6/0 l 736 M 2 CPU - l&B fomow 6062 WPP - INTERNAL WiFi P6SKT OP I art your ctocie.' PCMCIA UflftPOWS ¥P PgGLOAPGP VOUR Wi-PI TRAVEL gUPPy/ I50m SAW LAPTOP t.$* VIA If P PRIVE tm ppiji meklouv PESKTOP OR LAPTOP-' J5* LOP PANEL + WALL MOUNT - 3 UST APP WALL' Pell Optiplev MZ 30 2.S6H2 cm sim ran i 06 $ uvv m TINY/ SR EAT FOR VOUR HONE THEATER/ COMPLETE PACKA6E PELL 662 O + /9" LCP MONITOR - 2,5duz cpu ^ I 3 iOe s hpp REPAIR SHOP = SPEEDV! SAME DAV DELL REPAID M-F= 9-7 SAT: 11-3 SUN: CLOSED UJE’LL BUV laptops - hard DRIL ■ DELL - pam MORE! FUJITSU UFEBOOK B W/ WlNPOWS XP S199J wiupovds xp PRSLOAPEF LAPTOP^ KEVBOAR75 pell ettao 17 6H2 CPU t5bm RAM t06B HOP WINP0W5 2K UliHPOWJ SP P?C U5TALLEP WELCOME, ROT RALLY Ff NORTH LOCATION: g AUStin^ S0UTH LOCATION: 1011 W. Andfirson Lana _______ 9711 Manchoca Road Austin, TX 78757 Austin, TX 78748 DISCOUNT austinchronicle.com June 12 , 2009 the Austin chronicle 3 Winning the West Cowboys, Indians, and the irresolvable contradictions between freedom and order BY LOUIS BLACK I “Hello, my name is Sacheen Littlefeather. I’m Apache, and I am president of the National Native American Affirmative Image Committee. I’m representing Marlon Brando this eve- ning, and he has asked me to tell you . . . that he very regretfully cannot accept this very generous award. And the [reason] for this being . . . the treatment of American Indians today by the film indus- try.” - From the 1972 Academy Awards show Let us now praise famous men and famous women; let us praise as well men and women not famous, and even some of those infamous. The theme of all this is best summed up in a line from John Ford’s The Man Who Shot Liberty Valance: “When the legend becomes the fact, print the legend.” Brando gave Littlefeather a three-page statement to read at the Academy Awards if he won the best actor category for his performance in The Godfather. Alerted to this, the event’s organizer searched Littlefeather out to tell her she could only make a brief statement. Brando won. Littlefeather came out in a 1903 white buckskin ceremonial gown. As she came onstage, even before she began to speak, there was considerable audience noise; everyone was wondering what was up. Then she made the statement above. Well before she finished, the audience began booing loudly. Obviously, this proved to be one of the Oscars’ all-time most controversial moments. It was a typical later-Brando gesture: all theatrics and misdirection, lacking substance but still excit- ing the desired dialogue. Charles Champlin offered one of the most reasoned views on it, writing, “The question is whether the gesture, in all its arrogant sincerity, succeeds in dramatiz- ing or trivializing the problem.” He followed with, “Say what you will about him, he’s an electrifying non-presence as well as an electrifying presence.” The nonappearance added to the Brando mystique and myth. On the other hand, it ended up causing Littlefeather enormous, life-changing problems. Unfortunately, the first investigations into her life turned up inaccurate information indicating she was not an American Indian - that her father was Filipino and her mother was white. This was wrong, but although there was more accurate later reporting, it was never really corrected in the public’s mind. Instead, that she was a phony became accepted as fact and is still regularly reported as such. She was an American Indian and had long been involved in related activists’ causes, which is how she met Brando. The truth in this kind of context was nearly meaningless. It won’t be surprising if we receive letters arguing she was not an American Indian, citing the early reporting. People often want to believe the worst about others; many find pure joy in the accusation. page two II “How can I hate John Wayne upholding Goldwater and yet love him tenderly when he r sweeps Natalie Wood into his arms in the last reel of The Searchers ?” -]ean-Luc Godard There are artists - the creative talents - and then there is their art, their work. Obviously, anyone can respond to creative work in any way he or she wants, as the very purpose of such work is to elicit exactly those kinds of individual reactions. It is unnerving and troubling when there is an organized effort to attack art or speech because the view- point represented runs counter to the beliefs of one group or another. This is even more alarming when this assault is based not on the content of the work but is a reaction to the personal beliefs of the creative talent. A terrible - and, to a real extent, terrifying - example of this was the Dixie Chicks incident, when Natalie Maines’ relatively tame slight of President George W Bush inspired pundits and country deejays to launch an all-out assault on the band. Compared to the weight of the comment, the intensity of these attacks was astonishing, as more blood was poured in the water to intensify the frenzy of the many sharks gathered. In the name of patriotism, there was this organized assault on the Dixie Chicks in an effort to punish them for what had been said. In this context, it is always especially interesting to consider John Wayne. A dominant, totemic American figure, he person- ifies to many everything great about this country; many others regard him as a hardcore-American, right-wing reactionary. hi The many ways in which creative work makes meaning for those who experience it are rarefy as direct or specific as both supporters and critics often argue. When a film or novel or TV show gets inside your head, the way it resonates, and the ideological seeds thus planted, is really not dependent on the creators’ intentions. In some cases, those may be richer and more insidious; in others, they are surprisingly direct. The John Ford-directed Westerns, frequently starring Wayne, that I watched growing up proved to be powerful influences on my moral education and my understanding of this country. I care not a whit for Wayne’s personal politics, but the actions and dignity of Wayne onscreen still strongly inform my sensibility. The American film Western has proven one of the richest areas in the culture for metaphoric evocations of the classic American philosophical conflict between the freedoms of indi- viduals and their responsibilities to the greater community. IV “I don’t know if I should present this award on behalf of all the cowboys shot in John Ford Westerns over the years.” - Clint Eastwood’s comment at the 1972 Academy Awards show as he followed Littlefeather In any number of ways, Clint Eastwood’s response was unfortunate, from its awkward construction to its rather silly point. Undeniably, many Ford films participate in the standard, stereotypical presentation of the American Indian. In one of his masterpieces, the above-mentioned The Searchers (1956), there is a truly offensive bit that is supposed to be humorous, wherein a squaw is kicked so that she rolls down a small hill. Films like Fort Apache, however, were crucial steps toward presenting a fairer version of Western history, especially in regard to American Indians. Ford personally befriended and helped support the native tribes in the areas where he shot. He knew civilization was a step forward and necessary, but he didn’t trust it. In many of his later Westerns, he explored the irony that those who tamed the West were inherently so psychotic that there was no place for them in the world they helped create. Unfortunately, the aura of Wayne has always been so great that subtlety regarding his performances has been lost: Broad acceptance or derisive dismal have been the dominant reac- tions. The intensity of those who hate Wayne has often unfairly stained many of those who worked with him, no one more than Ford. Certainly, Ford was a fan of the military, but this never impaired his sophisticated understanding of the irresolvable contradictions in the conflict between freedom and order. Currently, those who make the most regular and extreme moral judgments about others are all too often not actors in ongoing political and social dramas. They are rocking-chair moralists, so comfortable with their own correctness that they feel justified criticizing the opinions and beliefs of oth- ers. Since many have rarefy been in the kinds of extreme situ- ations in which one’s ideals are actually put to the test, their certainty as to how pure and uncompromising they would be has never been vetted. continued on p.6 ; m ^VGABjDUT. jSiewpr the neiirtCeninra- , Matt Schlirr- ^ut of retirement to 1 c^mpietaly be KtV §cJi hiVn ifi &f ' jrtaM . Also arid Biter hung&r, we £f^Vhat ^Mlmmer Jlipna of f&rnfllM to sat a wjihrf'vttX ol I the group i nearest anlialtce, it was* truly a TiDmentoue® occasion for evetyor^ involved. Exactly what is r\px Tor the commisioner remains to be aeen. “Wte'ie all extiamfly hOpJul that rt>an& m&/ be arwfw cpportiviky. Same Deliciousness, Now 30% Biggerer. UT Austin • 290 & South Mopac • Shops at Arbor Walk 4 I ! 4 the Austin chronicle JUNE] 12,2009 austinchronicle.com American Apparel 9 Valeria, a friend from Montreal and part-time model for the company, shot these photos of Liz in Melbourne. Liz wears the Printed High-Waist Skirt in Cotton Spandex Jersey. Retail Locations: The Drag 2316 Guadalupe St. (Corner W. 24th St.) Phone: (512) 477-4900 SoCo 1325 S. Congress Ave. (N. of Elizabeth St.) Phone: (512) 441-1400 Round Rock Round Rock Premium Outlets (Next to Ann Taylor) Phone: (512) 869-5738 To learn more about our company, to shop online, and to find all store locations, visit our web site: www.americanapparel.net Made in Downtown LA Sweatshop Free www.americanapparel.net austinchronicle.com June 12, 2009 the Austin chronicle 5 CONTINUED FROM P.4 Stereotyping Ford in any way, but especially as a reactionary, is a complete misunderstand- ing of the man and the artist. The effects of McCarthyism on the Hollywood film industry were horrifying in that so many were compro- mised by their own cowardice. Standing firm for honor and ideals in that environment was far more risky than being thought a witch in Salem. The director Cecil B. DeMille led a group that wanted to force every member of the of the Directors Guild of America to sign a loyalty oath. Joseph Mankiewicz was the president of the DGA. Hand-in-glove with the push for the oath was a campaign of innuendo suggesting that Mankiewicz was a communist sympathizer. At the climactic meeting where the membership was to finally vote on the oath, DeMille and his supporters spoke for hours about patriotic loyalty. All those attending were well aware that the vote would also be about Mankiewicz’s tenure. After those hours of speechifying, Ford stood up and spoke: “My name’s John Ford. I make Westerns. I don’t think there’s anyone in this room who knows more about what the American public wants than Cecil B. DeMille - and he certainly knows how to give it to them. ... But I don’t like you, C.B. I don’t like what you stand for, and I don’t like what you’ve been saying here tonight.” The vote that followed was overwhelmingly against the loyalty oath. ■ Postmarks SOUND ORDINANCE HURTS LIVE MUSIC Dear Editor, On Thursday evening [June 4] between 8 and 10pm, my band the Gourds performed a free show at Shady Grove on Barton Springs Road. As a crane pivoted overhead like something from an H.G. Wells novel, Shady Grove was cited for a sound-ordinance violation. The irony was not lost on anyone there. In its race, which is already lost, to move people Downtown, this city is going to lose something that cannot be replaced. Music in Austin is a well-known quality-of-life element that draws unique people and businesses to live here. It is remarkable that up until now we have been able to maintain such a vibrant musical scene with the artificially overvalued real estate market. Before we lose control of it, the sound ordinance needs to be replaced by neighborhood-specific agree- ments between businesses and residents. In a rapidly growing city like ours, the police and fire resources wasted on call and response to this nonissue is ridiculous. And when it is more acceptable to have cranes undertaking major construction projects than it is to have a local band playing music for the citizens of Austin, I think we are at a serious crossroads. I hereby call on all musicians, music industry profes- sionals, and supporters of local music to make some serious noise about this issue. If we do not, then those who call it “noise” will have their way. And all will be lost. Kevin Russell The Gourds/Shinyribs VERY POSITIVE DEVELOPMENTS Dear Editor, The fact that the city of Austin has pulled the original request for proposal in favor of creating a new one, that they are listening to input from the crowd, and that a group of motivated and technically savvy Austin citizens are ready to contribute to the effort are very positive devel- opments [“The Genius of the Crowd ... Source,” News, June 5]. Thank you, William Hurley, for coordinating the OpenAustin effort, and thank you to the other Austinites who have passion- ately worked to shed the light of day on this process so far. Please go to OpenAustin.org and share your thoughts for how a city known for technical and cultural innovation should engage online with its citizens. Chris Almond HIPSTERS OVERLOOK BATTEN Dear Editor, Wow. I cannot believe the Chronicle missed this! A musician was in town Monday night who is one of the best guitarists in the world today. There was not even a mention, a clip, or even a smart-ass comment about the show. Her name is Jennifer Batten. Surely you guys have heard of her. Oh, I forgot, anyone with the ability to play guitar with any talent/taste is not hip in the Chronicle’s world of the same old singer- songwriter, punk, and hip-hop rap crap we are exposed to each week. This paper has a history of panning and/or ignoring anyone who can LETTERS TO THE EDITOR must be signed with full name and include daytime phone number, full address, or e-mail address. Letters should be no longer than 300 words. We reserve the right to edit all submissions. Letters may not be edited, added to, or changed by sender once we receive them. General e-mail address: mail@austinchronicle.com Postmarks forum: austinchronicle.com/forums/postmarks Mailing address: The Austin Chronicle, PO Box 49066, Austin, TX 78765 play their instrument with any technical ability. By the way, Batten was the touring guitarist for Michael Jackson for years. Does that help put her on your hipster list? Probably not. Thank you and good night , Jack Pennington TWITTER CAUGHT COUNCIL Dear Editor, City Web staff will go before City Council June 18 to make the case for rebooting the redesign process. A revised request for proposal will be issued in July. A great article [“The Genius of the Crowd ... Source,” News, June 5]. But I think there is one big miss in the reporting: the Twitter activation process that paused City Council in their tracks. When the issue was initially broadcast on Twitter, the Thursday before the Friday vote by the City Council, a group of Tweeters began rallying the troops to demand a halt to the Cignex award. I believe Lani Rosales of Social Media Labs pro- CONTINUED ON P.8 KARMA p&i Aouate fool. Rethink how you shop for building materials. Support the mission of Austin Habitat for Humanity by visiting ReStore first. We offer new and slightly used windows, cabinets and more, all at reduced prices. Come see us at 310 Comal, just east of downtown. Donated windows 25% off through June ReStore Austins original small box store. shoprestore.com * % ‘ RGANIC BRASS. rr JUST FDR HimES ANYMORE. There was a time when we thought just the opposite. Flashback, anyone? Enjoy a pest-free home and work environment without harshing your mellow. Conveniently and effectively control roaches, ants, termites and all things crawly with Chem-free’s balanced, organic approach. TDDflfANDJSVE!^ $50 OFF » Chem-free ■ ■ ■ . ORGANIC PFST ft I AWN SFRVICFS ANNUAL PEST CONTRACT Applies to first time customers signing annual contract ORGANIC PEST & LAWN SERVICES 4 ^ Our service comes naturally ( 512 ) 837-9681 www.chemfreepestandlawn.com 6 the Austin chronicle JUNE] 12,2009 austinchronicle.com austinchronicle.com June 12, 2009 the Austin chronicle 7 CONTINUED FROM P.6 posed the hashtag #coawebsite that started the cascade of voices and action that put the vote on hold. At this point William Hurley and #OpenAustin or OpenAustin.org did not exist. There is a large number of posts (also predat- ing Hurley’s press-aware, press-friendly entree into the dis- cussion) that outline the situation and what the community response was that killed the Cignex request for proposals fiasco. You can find links to those articles on an alternative #COAWebsite site, www.meterthis.net. I encourage every- one to join their voices together on the OpenAustin idea platform, and I hope that the June 18 meeting with the City Council is productive. I look forward to a healthy RFP process once the new criteria is released in July. A lot of people are interested in participating. I know I am. John McElhenney CROWD GENIUS? OR GROUPTHINK? Dear Editor, Re: “The Genius of the Crowd ... Source” [News, June 5]: Genius of the crowd? Or groupthink? When we get City Council killing a project based on a few dozen squeaky Tweets, we’ll really bring government to a standstill. It all sounds so good and happy on paper, this crowd- sourcing hooey with its technical hand-waving, until some- one actually has to build, test, and maintain 42 different SQL queries that talk to some legacy, proprietary database - for one city department. (Cleanup on aisle 10. “No way. I don’t do 10.” - the Gourds.) How about the dozens of meetings for that one department to figure out the busi- ness logic of who has view, edit, and publish rights for that department’s area of the website? Is that logic already built into the Plone system? Has staff been trained on the Plone system? Maybe there’s a reason that was a requirement. This will be an ugly, complicated technical challenge and an equally ugly, complicated business challenge. So many different departments, databases, con- stituencies, and approval chains. Let’s get legal involved too. Think there are any privacy issues here with granting citizen volunteers access to fund financial information, crime incident reports, payroll, Social Security numbers, etc.? Methinks $800,000 is a bargain and would have been gladly paid to any company not based in the Silicon Valley. Say Austin-based Vignette, the world leader in CMS, curiously silent in this. No doubt they steered clear of this train wreck for a reason. “Hurley has since stepped down from the ... organization team.” Nice. Thanks for slipping the new website out three years. Bill Kilday TAKEN BY PYRATES Dear Editor, Re: “Thwack!” [Earache! Music blog, June 8]: This is the best group I’ve seen in a long, long while. The Dead Pyrates Society will blow you out of the water! John Staehely can play guitar that will put most guitarists to shame, and the rest of the band can keep up with the best of them; Joe Kennedy can sing and put on a show like no other. I have their CD, and I can’t get enough of them. I’ve seen them in Austin, Dallas, and I think once in Fort Worth. So if you want to see the same old rock & roll bands, don’t go see this group, but if you want something that will blow you away, you have to go see the Dead Pyrates Society. Claudia Coleman CONTINUED ON P.10 THIS MSIIIH WKL» in ft . Mmfl- r ioJ I* A CMud Ab€ cftivMLf IH THE 'NGNIElN MtouL.fr mfALL’f HE TREATfr ILi by TOM TOMORROW in ft HivirfrNiNfiovf.feif Acfl of r£*4iM turiMrrn£D IT HLMtiUl FAffi0 A tt A «-»p- nflitfA. IN ft fllGHftMlPtomERSE, If 1 $ APTOPKlATt -a LavuE A WENT tfllrit MflTM pfNwKIAftolRJ Of rm T CBIaifc. lotf v rr"5 uiGdnA to kill twc-> tmu, ala* futa Alan: Aut it's Also TO foimail josh EiLifN&s in m tttfl 10 mi- cttfrrf ft* FfofiJt CtiMMfT Mb Finally.. .in ft* HiaMnviNo- Q£A5t. p£oh.£ AH Hftrt-f SUSCEPTIVE ro ft ftKMKIHJ; lF#T.Li£t«£ Of €.hwkt>, POFUUUt NJilC AND THAT WifH ft* BJWlflLING m €vMfn.£rEir vutiAMmis PAHMTAU AUHtoRl^ .^irr A Kt in n rf At Affl&c t& If THE. E-NBli. Si Li -REPEATS- RA-lNGSi hAMii mtmm Pn: IN « HWtfT«fRNmElUE„ ii HE TWtf tiBif n ERY 1W! FORUMS austinchronicle.com/forums “^o u fatrt ofai/L Aoctor. . . 1’w.^U^. [ 6ko.se, ^our office,.” What are you doing this fall? Sign up for fall semester classes. Current students can register now! 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The proposed mine includes property on which three major creeks (Decker, Elm, and Gilleland) come together and flow into the Colorado River. This is a historical area surrounding what they call the Hunter Mansion, built in 1859. The mined property includes the cemetery where James Gilleland is buried. The neigh- borhood has been residential at least since the Hunter Mansion was built. Now new neighbors that have invested in homes recently approved are facing the possibility of a 2,000-acre gravel pit across the road. These homes are not low-income, but they represent the life savings and entire portfolio for most of us. Of course we are wor- ried about property values, along with health and safety issues of a mine and a 4-mile field conveyor next door. The TXI-hosted forums mentioned were a joke. I hope Commissioner Ron Davis will keep his promise about having a serious debate with all of us in the Hornsby-Dunlap neighborhood about the compatibility of this proposed TXI pit mine project with the residential area already there. Richard Macdonald SCIENCE, RELIGION SEPARATE TOPICS Dear Mr. Black, In response to your “Return to Forever” article [“Page Two,” May 29], I have a few concerns. While your article skips around, covering many topics, you did recall the same old issues that seem to get nowhere. Science and religion are two separate topics: Science is a way of thinking about our world, and religion is a way of believing about our world. It is indeed tunnel vision to think the two are linked or that they contradict each other. However, in your statement, “Certainly, the 24-hour Earth day in which we travel around the sun in no way restricts the creator,” you incorrectly stated scientific fact. Our 24-hour Earth day is a result of one Earth rotation on its axis, not revolving around the sun (which is equal to one Earth year) as you claim. Research shows that the average American is basically scien- tifically illiterate. For example, more than half of Americans do not know what causes the seasons nor understand the role of DNA and genes in heredity. Any discussion of evolution and creation- ism must first include scientific fact. Perhaps if our citizenry knew more about our planet and the diversity of living organisms on it, this debate would indeed be over. Sincerely , Julie Wasserman Science educator [Louis Black responds: The 24-hour Earth day comment was a stupid mistake on my part. The Chronicle's usually so vigilant proofers missed it as well. The column accepted that science and religion are two separate topics but argued that they weren’t inher- ently contradictory.] CONTINUED ON P.12 Even if your friends find out. 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Well, what about the quality of the information contained therein? Does that count for anything? I’m not the one who dropped off the book, The Fluoride Deception by Christopher Bryson, but I have read it. The footnotes Mr. Black derides come from a decade of deep research by a determined BBC correspondent who, like himself, started out with no opinion and scant interest in the assignment that had been handed him. Bryson’s footnotes come from the archives of the likes of Boston’s Forsyth Institute, the Carnegie Institution, the University of Rochester, Sloan-Kettering, the U.S. Department of Defense, private collections of long-dead scientist-bureaucrats, and personal interviews with nonagenarians (including Edward Bernays, the “father of public relations” and author of Propaganda) who helped design and market the fluoridation scheme. Pro-fluoride publications thick with footnotes certainly abound, but none I’ve come across boast the caliber of this documenta- tion. While everyone is entitled to their opinion or no opinion at all, it hardly makes sense to dismiss a book one hasn’t read by comparison with a second, purely hypothetical book one also hasn’t read. This shows ignorance of the learning process - the steps by which we come to place our trust in one source over another. People might rather study The Fluoride Deception side by side with some of the American Dental Association’s and Centers for Disease Control’s promotional tracts (e.g., ADA’s "Fluoridation Facts,” easily available online) and then decide for themselves whose footnotes most persuade. Rae Nadler-Olenick TAX REVOLT TIME Dear Editor, Central Taxus, if you’re not mad as hell about your property tax rates, consider that your counterparts in another Sun Belt state, Florida, pay one-third of what you pay! From personal experience, I can tell you that life is not appreciably better here for the taxes we pay. Under current economic conditions, a property tax freeze should be immediately instituted. After meeting with the Travis County property appraiser’s office and getting nowhere, I am fuming. Like many others, my home is being measured against outdated peak sales data. With mount- ing foreclosures in my area, were I to try to resell my home now, I would experience at least a 10% loss. Further, May’s 9.4% unem- ployment data is alarming, and it fails to reflect nontabulated unemployment rolls, corporate salary cuts, the underemployed, or others who have just given up! It’s time for bloated government wages - federal, state, county, and city - to be carefully reviewed and trimmed. If cor- porations can do it, so can we! The Flouston Chronicle recently published a searchable list of all state employee wages. It is clear that many state workers are paid handsomely by com- parison to the private sector - not even considering perks and benefits that go far beyond retirement - at our expense. My neighbor, who barely works 40 hours a week, is listed as a “manager” for the Department of Housing & Community Affairs, is not college-educated, and is paid a taxpayer-funded salary of $71,000. A further insult: The state of Texas paid out $25 mil- lion in “bonuses” in 2008 alone. Balderdash! To research state salaries, visit the Houston Chronicle site: “2008 state of Texas public employee salaries.” It’s time for a Central Texas tax revolt, wouldn’t you say? 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Rick Perry acknowledged the inevitable on Tuesday and said he’s planning for a special session, date and agenda TBD. Later that day, he went mountain biking and broke his collar- bone. See our Lege wrap-up (almost), p.24. Following a shooting that left eight people injured, hip-hop and dance club Spiros announced it would not reopen. The Texas Alcoholic Beverage Commission shuttered the club for a week after the incident, and soon after, Spiros voluntarily surrendered its liquor license. See “Off the Record,” Music, p.53. Budgeting frenzy begins, as City Manager Marc Ott released this week some $45 million in pos- sible city budget cuts for the next fiscal year, and public forums began for the rest of us to decide what we can do without - police, pools, parks ... it’s a sobering list. See “City Hall Hustle,” p.16. missioned efficiency study of the district, which suggested (among other things) that we could save a lot of money by closing schools, limiting pre-K, and ending art and music. See “AISD ‘Efficiency’ Study,” p.18. Local news and talk radio have all gone agog over the recently released video of Kathryn Wink- fein, a 72-year-old grand- mother, being Tasered by Precinct 3 Deputy Constable Christopher Bieze after she became belligerent during a traffic stop. As the Taser’s supposedly an alternative to deadly force, does that mean Bieze would’ve had to shoot her otherwise? (We think not.) Media Watch The Hightower Report Lege Aftermath The AISD board of trustees received its com- Flanked by oil and gas industry reps, Gov. Perry denounced the Obama administration for attempting to do something about greenhouse gas emissions, saying the science “hasn’t solid- ified” and any regulation would “wreck the Texas economy.” He didn’t mention the huge Texas con- tribution to global carbon emissions, nor the expanding Texas drought that may have its latest roots in global warming. Right on time, the Republic of Texas Biker Rally arrives in Austin this weekend, with thou- sands of belching motorcycles contributing their bit to Austin’s C0 2 and ozone, likely pushing the city over the edge to noncompliance with federal regulations for the year. Monday June 8 was the one-year anniversary of the burning of the Governor’s Mansion, still a hulking wreck just south of the Capitol. It’s not rebuilt yet because the Texas millionaires who said they would raise the money privately couldn’t do so - the Lege decided we could rebuild it with federal stimulus money instead. Maybe some of the unemployed Texas workers denied insurance by Gov. Perry’s intransigence can get construction jobs rebuilding his house. Former prosecutor and candidate for district attor- ney Mindy Montford was arrested last weekend on a public intoxication charge. According to reports, Montford was a passenger in a car that was pulled over after a minor mishap. As an offi- cer was questioning the driver, Montford got out of the car and tried to advise the driver of his rights. The officer ordered her back in the car, from where she was later arrested. As we sit down to balance the books, we might consider our largest deficits BY MICHAEL KING Budget cutting is everywhere. This week City Manager Marc Ott released the city’s cheerfully titled “Menu of Potential Budget Reductions,” a daunting $45 million list of things Austin probably shouldn’t do without, but will likely learn to do so at least to the tune of $30 million (making up the rest in property taxes). The Austin ISD board of trustees just received its “efficiency study” from the good folks at MGT of America, suggesting that if the district really, really tightens its belt, it could save $392 million over the next five years (see “AISD ‘Efficiency’ Study,” p.18). The state doesn’t deal in efficiency studies - other than the Sunset process it mostly ignores - so legislators huffed and puffed about frugality, crossed their fingers, and then patched this year’s quiet financial disaster with federal stimulus funding. Nationally the news is much the same - the Obama administration, while it pours money into failing banks and other financial institutions (I know, we’ve got to prime the pump), is now promoting a return to “pay as you go” federal point austi 1 budgeting so that the inherited Bush deficit doesn’t get so unmanageable as to make impossible health- care reform and similar national needs. I’m all for watching the pennies - at the Chronicle, we’re shrinking from bad times like everybody else, and just listen to the shuddering of my 15-year- old Honda - but there’s a depressing same- ness to these debates that’s not entirely due to the fact that we’re generally broke. For one thing, there’s the hang- over factor. Sensible economists began warning in the Nineties that we couldn’t ride this financial bubble forever, then came two massive, extended wars of choice that devastated other countries and our youth, even as they pumped more hot air into the economy. There were dim-bulb variations of the same argument on the state level, especially about Sacred Texas Highways: “You’ll charge tolls over our dead bodies,” went the public refrain, and, “You damn well better not raise the gas tax” - but hey, why in hell aren’t you building any more “free” suburban-flight highways? CONTINUED ON P.17 QUOTE of the WEEK “There’s just no fat. This is a menu of options that hit the bone ... none of them come lightly.” - Assistant City Manager Michael McDonald, intro- ducing a smorgasbord of potential cuts in the city budget. See “City Hall Hustle,” p.16. 14 the Austin chronicle JUNE 12,2009 austinch ronicle.com austinchronicle.com June 12 , 2009 the Austin chronicle 15 Nftkod City > MAYORAL MENAGERIE Mayor elect Lee Leffingwell announced his office staff this week. His chief of staff will be Mark Nathan, the political consultant who directed Leffing- well’s campaign; he also worked on the campaigns of five of the council’s current members. Nancy Williams, executive assistant in Leffingwell’s council member office, will retain that role; she’s a former director of the Texas Democratic Party. Returning to City Hall from Capital Metro is Matt Curtis, who will be an executive aide. Curtis was previously an aide to Mayor Will Wynn and to Council Member Brewster McCracken. Amy Everhart, who worked on the Leffingwell campaign and for the campaigns of Council Members Jennifer Kim and Mike Martinez, will leave her post at the Sierra Club to serve as a policy aide. Lastly, Leffingwell’s current execu- tive secretary, Janet Jackson, will stay on in her role (barring any wardrobe malfunctions). “I feel very fortunate to have such a seasoned team of public servants and community activists join the Mayor’s Office,” said Leffingwell in a press release, adding he would also soon name the members of his Community Cabinet, an advisory group of community leaders he promised during the campaign to create. - Wells Dunbar > COURTING NEW URBANISM Incoming Council Member Chris Riley has chosen Marisa Balias as his policy aide (a second aide is yet to be named). The pick underscores Riley’s commit- ment to urban design and planning; Balias holds a master’s degree in community and regional planning from UT-Austin, with a concentration on urban development and public partici- pation in community planning. She’s coming to City Hall from Black + Vernooy Architects/Placemaking Studio, where she worked with Sinclair Black on sustainable building for mixed- use urban infill projects. She’s also worked on downtown dis- trict master planning and redevelopment projects in Detroit. For the Congress for the New Urbanism national conference in Austin last year, Balias edited Emergent Urbanism: Evolution in Urban Form , Texas, a book showcasing Central Texas. What with the Downtown Plan and Comprehensive Plan under way, among other major initiatives, Balias’ skill set could shore up City Hall’s loss of New Urbanists Brewster McCracken and aide Rachel ProctoMVIay. Meanwhile, Proctor-May is expect- ed to take a new position coordinating the Pecan Street Project for Austin Energy. - Katherine Gregor BYRON MARSHALL TO VIRGINIA? The Richmond Times- Dispatch reported last week that Byron Marshall, president of the Austin Revitalization Authority, is in the running to be named Richmond’s chief administrative officer, the top ranking staff post in the city’s bureaucracy. Marshall has run the ARA, a nonprofit community land corporation contracted with the city to revitalize East 11th and 12th streets, since 1999. Prior to that, he was an assistant city manager for Austin and Atlanta’s chief operating officer. Critics of the ARA have charged that the agency has responded slowly to com- munity needs, built overpriced office space, and lacks trans- parency; the agency is currently under a performance audit. The Times-Dispatch has called attention to some unflattering chapters in Marshall’s career, including his resignation as Atlanta’s COO once it emerged he “held a $96,000 consult- ing contract with an economic-development authority in Austin.” This week, Times-Dispatch columnist Michael Paul Williams said Marshall, Richmond Mayor Dwight C. Jones’ “trial balloon for a top city post,” was “taking some hits and losing altitude.” One Richmond council member said Marshall, if officially nominated, shouldn’t be approved until the ARA audit is completed. - W. D. THE REAPER COMETH The budget chips are falling - here’s your chance to weigh in BY WELLS DUNBAR Some things you can’t escape. The Hustle was on a Fun Ship cruise with his better half last week, leaving behind the Sturm und Drang of municipal governance for the 24-hour pizza station and sunburned feet. Leaving behind Austin - or so he thought. Returning from an excursion through Jamaica, he overheard some fellow zip-lin- ers raving about their new home. While they love California, they became enraptured with Austin while visiting and moved there. Besides, the houses were so expensive back in San Francisco. Thanks to you, now they’re just as expensive here! But a look at the city’s ledgers reveals, unfortunately, Aus- tin would do well to attract more of my tax-generating Silicon Valley friends. This week, the city released a list of about 240 potential cuts - “menu items” in municipal parlance - which in all would whittle some $45 million from the city budget. The potential total is larger than the actual shortfall Austin faces, between $30 million and $43 million (depending on whether the city sets property taxes at the current “nominal” rate or increases them to the slightly higher “rollback” rate, the high- est state law allows without a special election). The breathing room, if you can call it that, is because we face some difficult choices: “There’s just no fat,” Assistant City Manager Michael McDonald told a City Hall press corps briefing. Describing how city services never fully recovered from the last round of cuts - made during the last downturn, the post-9/11 crash from 2002 to 2004 - he emphasized: “This is a menu of options that hit the bone, as the city manager would say. None of them come lightly.” All city departments examined ways to cut 7% from their budgets; public safety departments, which already consume two-thirds of the entire General Fund budget, were asked to cut 3.5%. While the Hustle will crunch the numbers all summer and beyond, through the budget presentation in July and to its approval in September, here are several areas of primary inter- est, including both cost savings and revenue increases: POLICE - $8.7 million: Canceling the 2010 cadet training class would realize the most savings, $5.2 million, and the most controversy, because it would mean reduced staffing for specialized units like DWI and organized crime. Reducing over- time would realize $1.2 million in savings but could affect “hotspot” programs designed to monitor high-crime areas. Less fruitful but closer to home: $120,000 in waived fees for security support of the South by Southwest Festival (co- owned by Chronicle chieftains Nick Barbaro and Louis Black) are also on the potential chopping block. FIRE - $4.5 million: Converting two engines to medical response units (most fire calls are medical emergencies) would save $1.24 million but immediately engenders com- cits hall ustl See the “short” list of potential city budget reductions with this story at austinchronicle.com; for the very long list ; see www.cityofaustin.org/budget. plaints of taking firefighters off trucks. Eliminating special pay incentives for firefighters with special certification and bilingual training saves $1.73 million. EMERGENCY MEDICAL SERVICES - $5.3 million: EMS can save $250,000 by reducing contributions to an Austin Community College program designed to increase minority candidates for EMS jobs. But the agency’s centerpiece would be a bump in cost for ambulance fees - from $515 to $772.50 - which would raise Austin to the 75th percentile, costwise, of peer cities city staff examined. This specific measure comes before City Council for enabling approval this Thursday, June 11. TRANSPORTATION - $3.5 million: A 52-cent increase in the transportation user fee, that arcane charge on utility bills cov- ering road maintenance, is being considered in addition to a previously planned $1.14 hike, bringing the total to $1.66. HEALTH & HUMAN SERVICES - $2.9 million: Proposed cuts include shifting the funding of a $200,000 free pet-sterilization program to donations, permanently shuttering the already-closed south day labor site (saving another budgeted $200,000), and seeking alternate funding of $300,000 for a summer youth employment pro- gram, possibly through federal stimulus bucks. PARKS & RECREATION - $2.8 million: Closing outright two lesser-used pools and replacing seven older park pools with low-main- tenance splash fountains for children could save $160,000. Cutting 11 supervised sum- mer playground programs would save $100,000, and a $5 fee on most nights of the Trail of Lights for those 11 and older would collect $250,000 to offset event costs. LIBRARY - $1.8 million: Several reductions proposed here: opening branches an hour later and closing an hour earlier ($700,000), similarly reducing Central Library hours ($130,000), reducing the books budget ($160,000), and reducing library maintenance ($180,000). EMPLOYEE FURLOUGH - $1.1 million: The city is mulling a program whereby city employees could take time off for which they wouldn’t be paid. The proposal would not apply to uni- formed public safety personnel. Of course, all the above are only proposals, although it’s clear from their overall scope and severity, drastic cuts will invariably be made. Don’t let that happen without your partici- pation. The city hosts two town halls next week: Monday, June 15, at the Gus Garcia Recreation Center, 1201 E. Rundberg, and Tuesday, June 16, at the Toney Burger Activity Center, 3200 Jones, both at 6:30pm. Unfortunately, this won’t be smooth sailing. ■ Send in tips , complaints , and supposedly fun things: hustle@austinchronicle.com. FOR MORE DETAILS AND EVENTS, SEE COMMUNITY LISTINGS, P.60. SUNDAY res publica THURSDAY CINDY SHEEHAN The anti-war activist returns to Austin on her Myth America tour. 7pm. Brave New Books , 1904-B Guadalupe. FRIDAY12 TCSO SHOOT-OUT & YOUTH BASKETBALL TOURNAMENT The Travis County Sheriff’s Office hosts a basketball tournament to benefit the Austin Children’s Shelter and the Wolfe Pack Boxing Club. A cops vs. celebrities bas- ketball shoot-out Friday night kicks off a weekend of events. Celebrity shoot-out: Fri., June 12, 7pm. De/co Center, 4601 Pecan Brook. Tourney: Sat.-Sun., June 13-14. Delco Center ; LBJ High, and Reagan High. Call 854-8412 or 854-3248 for more, www.tcsheriff.org. END OF AN ANALOG ERA After today, your old-fashioned TV is no good without a converter box - it’s all digital from here on out. If you need info on making the switch, call 888/CALL-FCC, see www.dtv.gov, or visit the city’s Digital TV Transition Info Center today, lOam-lpm. Arthur B. DeWitty Job Training Center, 2209 Rosewood, 974-2999. SATURDAY GREEN BUILDING BASICS Austin Energy hosts this series of talks aimed at making you the greenest citizen you can be. 11am. North Village Library, 2505 Steck, 974-9960. Free. VETERANS & ACTIVE SERVICEPEOPLE BARBECUE honors the Texas Army National Guard for service to our country. Food and enter- tainment follow a plaque dedication. 11am. Free. Parsons House, 1130 Camino la Costa , 454-0524. FLAG DAY CELEBRATION & PARADE Awards will be handed out for best flag, so fly ’em if you got ’em. Noon. 45th & Duval streets, traveling up Eilers Avenue, 796-4332. jimedia@grandecom.net. PUBLIC AFFAIRS FORUM President of the Texas NAACF?Gary Bledsoe, talks about the orga- nization’s first 100 years. 11:30am. First Unitarian Universalist Church, 4700 Grover ; 452-6168. Free. WORLD BLOOD DONOR DAY See www.nex care.com/give to find a donation center near you. MONDAY AUSTIN ZERO WASTE ALLIANCE MEETING is open to everyone, especially those interested in working on a committee in one of the following areas: business outreach, communications and education, events, policy, and oversight. Experts will also be on hand to answer your questions on recycling, composting, renewable fuels, and more. 6:30-9pm. United States Art Authority, 510 W. 29th. TOWN HALL MEETING: CITY BUDGET Open to anyone who wishes to play a part in the city budget development process. (For more on this, see “City Hall Hustle,” above.) 6:30-8:30pm. Gus Garcia Recreation Center, 1201 E. Rundberg. TUESDAY SUSTAINABLE NEIGHBORHOODS MEETING Help create a list of open space and trail projects in North Austin that you think should be funded in an upcoming bond. 6:30-8pm. Activity Room, Christian Village Apartments , 7925 Rockwood. www.snaustin.org. 16 the Austin chronicle JUNE] 12,2009 austinch ronicle.com POINT AUSTIN CONTINUED FROM P.14 The House Always Wins As an inner-city toiler quite tired of subsi- dizing suburbanites, I don’t much miss those highways. But like any good prog, I’m gung ho on city services and public schools. “Sorry,” say the folks in charge - we’ve got to pay the piper there, too. This week city staff is passing out poker chips for us to play with in our own little budget forums (see “City Hall Hustle,” p.16), and they’re not the sort of chips that you can cash in for real money at the end of the evening. I’m both looking forward to and dreading those forums. Perhaps at least some previously uninformed taxpayers will learn how diffi- cult it is to balance a public budget in hard times. Nevertheless, the people who most need the lesson will likely stay home, poised at their keyboards, blasting everybody in cyber range for “waste and fraud” and mis- placed priorities - that is, for spending money on anything but what the typist thinks is worthwhile. For some weeks, for example, my e-mail has been angrily salted by the neighbor- hood police advocates, who oppose cutting one dime from the public safety bud- gets even though police, fire, and EMS now consume two-thirds of the city’s oper- ating funds, with a bullet toward three-fourths. Would 90% - I suppose there has to be something left over for streets and sewers - be more to their liking? Yet some of the very same people, I was not sur- prised to see, were featured in TV and radio news bites this week complaining that their neighborhoods might have to do without some park resources or swimming pools or library hours this summer. Hey, if you need recreation, there are always squad-car ride-alongs. My predecessor and colleague in this office, Mike Clark-Madison, used to polite- ly point out to City Council that in good times, instead of the timid rollback rates, the city might consider tax rates that would actually bank money for real, future resource needs. Don’t worry, nobody ever listened to him. Bitter Aftertaste The only point I’m making, in my curmud- geonly way, is that in our current circum- stances there really are going to be no easy budget choices. We’ve already had spirited internal arguments here about the AISD effi- ciency study, which ranges from sensible notes about purchasing matters or administra- tive featherbedding to cancellation of music, art, and physical education classes to school closures. That’s the Starbucks approach, close some franchises - we could really save a great deal of money if we just closed every last one of them, altogether. Or we could just put the custodial staff on 10-month wages, thereby both saving taxpayers’ money and increasing the percentage of poverty-status children in the schools, all at one blow. Over the next few weeks and months, we’ll be reporting in detail on the city budget delib- erations as well as the school district’s fiscal debates, sure to be made more interesting by the ascension of a new council and the arrival of a new school superintendent with her own perspective and priorities. Certainly one of the reasons for commissioning the MGT study dike the city’s preliminary “Menu”) was to provide the admin- istration with political cover for whatever cuts are finally made; they’re quite unlikely to reach the dra- conian potential of the report, so we’ll all be able to say we fended off the wolves at the door and can return to busi- ness as usual, bloody but unbowed. Years ago, those noisy peaceniks were warning that if the country wasn’t concerned about international peace and justice, we should at least be concerned about the always sacred bottom line. We were told that the cost for our endless wars abroad would inevitably come home to our states, our cit- ies, our hospitals, our schools. Considering what we’ve cost the hapless and devastated citizens of the countries of our “enemies,” there is perhaps some small justice in realiz- ing that at least the financial chickens have finally begun to come home to roost. But the taste remains bitter - and it is likely to be with us for a very long time. ■ In our current circumstances, there really are going to be no easy budget choices. TOWN HALL MEETING: CITY BUDGET (See JUNETEENTH The city hosts this festival in the Monday.) 6:30-8:30pm. Toney Burger Activity Center ; park t0 celebrate Texas Emancipation Day. 11am- 3200 Jones Rd. 2pm. Wooldridge Park Plaza , 900 Guadalupe. WEDNESDAY UNDERSTANDING SUSTAINABILITY WITHIN THE EVENT INDUSTRY 10am -noon. Habitat Suites, 500 E. Highland Mall Blvd ., 467-6000. Free. Register online: www.positiveimpactevents.co.uk. THURSDAY 8 AUSTIN CLIMATE PROTECTION PLAN Want to know what’s up with the ACPP? It’s now available online at www.coolaustin.org, and a special presenta- tion will be given at City Council today. See www.ci.austin.tx.us/council for the council agenda. Austin City Hall, 301 W. Second. ONGOING CITIZENS WATER CONSERVATION IMPLEMENTATION TASK FORCE has several vacancies that need filling - they need representa- tives of multifamily developments, restaurants, hotels, development, large industrial users, and commercial property management companies. To nominate yourself or someone else, e-mail anita. calvillo@ci.austin.tx.us. Deadline: June 22. CLEANTECH GLOBAL 100 AWARDS Who do you think belongs on the list of the world’s 100 most promising private clean technology companies? Submit nominations at www.cleantech.com. Deadline: June 30. , HAIRCUTS with this coupon Regularly Adult $13 r Child $10 \| • Tuesdays All Haircuts $8.99 • Northwood Salon Ik Great Clips jm. f or h a j r . No tests, no pressure with Informal Classes! Iinl The University of Texas at Austin informalclasses.org 232-5277 PLUMBLOSSDM WELLNESS HOLISTIC SERVICES WELLNESS BOUTIQUE 1700 S. Lamar #230 • 306-7344 Visitwww.PlumBlossomWellness.com for a complete list of services offered. WAXING SERVICES FROM PLUM BLOSSOM Enter to win $100 in waxing services with Melanie Kingsley, esthetician, and Plum Blossom wellness. To WIN $100 in WAXING SERVICES, log on to austinchronicle.com/contests. Dad’s Day Glass Nite WED., JUNE 17 7pm Buy him at least one! jfltnng Saucer beerkhurd.com Draught Emporium \|The Triangle, 47th at Lamar 454-PINT austinchronicle.com June 12, 2009 the Austin chronicle 17 makV/j M for every proposal. “If it was up to me,” she added, “the board would not cut pre-K.” The firm did just what it was asked to do, in her view, and it is up to the board and incom- ing Superintendent Meria Carstarphen to choose which sav- ings, if any, fit their vision for the district. District staff will make a formal response to the study in August, but special assistant to the superintendent Milan Sevak argued that MGT missed a core part of their charge. He quoted from the study’s executive report: “The goal of the study was to identify opportunities for reductions in expenditures without adversely affecting student academic performance, losing District productivity, or reducing the quality of services’ - there are several examples, and they themselves note that pre-K is one of them that would have an impact on student performance.” Although the final deci- sions lie with the district, he said, “There’s no sense of the report organizing it by, These are the ones that we really don’t recommend.’” Similarly, Torres questioned MGT’s “tried and tested meth- odology” of using abstract “best practices” and restricting ser- vice provision to statutory mini mums as a way to cut costs rather than by evaluating how best the district can reach its goals. “The only thing that I can think of is, To a person with a hammer, everything looks like a nail,”’ he concluded. - Richard Whittaker AISD ‘Efficiency’ Study: Not Exactly What the Doctor Ordered? Last August, Austin Independent School District commis- sioned an “efficiency study” from consultants MGT of America, in theory to provide material for discussing new directions and potential cost savings for the district. But this week - after the firm delivered a list of up to $392 million in potential savings over the next five years - district staff and the board of trustees are suddenly holding the report at arm’s length and treating it like an uninvited guest. All the materials in the report, especially the proposed cuts - as both the district and MGT point out repeatedly - are sim- ply “options” that the district can adopt or ignore. AISD board Vice President Vince Torres, one of the early advocates for commissioning this analysis, disagrees even with calling it an efficiency study. He explained, “I’m an engineer, and efficien- cy means achieving the maximum output for the minimum input.” The real purpose of the study, he said, was to “devel- op an objective way of showing the taxpayers that we’re spending their money wisely.” The report does include many recommendations (like joining cooperative purchasing programs or using purchasing cards rather than issuing individual purchase orders) that the district could adopt as part of its next budget (due before the board in August). Torres said trustees are eager to pluck “the low- hanging fruit,” where a change in process could save cash without impacting educational quality - such as cutting $250,000 budgeted for refreshments for committee meetings. The report also puts a spotlight on central administration. It proposes beefing up the internal audit department, making it report to the board as well as the superintendent, and moving it back to the district’s central offices as a gentle reminder that everyone, not just campuses, is subject to oversight. The study also suggests cutting out approximately $1 million in travel and cell-phone allowances for administrators, which it criticiz- es for being too generous and unrelated to miles traveled or calls made. But not every suggestion would be so easy to implement or so palatable to the education community - such as a wide array of potential staff cuts, both in central administration and on the campuses. At the upper end of the pay scale, that means restructuring human resources to get rid of three positions for a savings of more than $375,000 a year. At the bottom end, MGT suggests ending the habit of keeping full custodial staffing over the summer and using specialist “deep clean” teams instead, saving $2.3 million per year. Staff reduction proposals are not surprising, Torres argues, because staff expenditures make up 85% of the district bud- get. But he was quick to add that cutting positions is not the same as sacking staff and that if the district does go down that path, it would show “a sen- sitive approach to transitioning personnel.” The most radical option would be closing up to eight schools. MGT estimated there are up to 16,000 “excess seats” dis- trictwide and proposed closing seven ele- mentary schools and one middle school. Mary McKeown-Moak, a senior partner with MGT, explained: “There are schools that are at 40 percent of their capacity. ... That means that they’re not operating very efficiently.” MGT came up with the figure of eight schools by subtracting the total num- ber of current students from the total number of classroom seats (curiously, including seats in portable, or temporary, classrooms), thereby calculating the “excess,” and then halving the num- ber to allow for growth. But Torres says that calcula- tion doesn’t reflect real current or future needs and doesn’t take into account issues like dropout rates. He com- pared running a school district to running an electric utility: “We have to have the maximum capacity to educate the maxi- mum number of children we have to educate.” A school under capacity this year could be over capacity next year, especially if its attendance zone were realigned. Torres said he’s also worried that the report “didn’t seem to reflect the values of our community.” (That’s particularly disappointing, because part of why MGT got the $455,000 contract was that it has a local office.) For example, it sug- gests the district could save $50 million over five years by ending elementary art and music classes, another $1.8 mil- lion by halving the number of field trips, $18 million by cutting full-day pre-K to the state-mandated minimum half-day, and $31 million by slashing 248 special-education instructional assistant positions - based on special-ed staffing levels in other districts. Torres countered, “We value inclusion of our special education community,” and said that’s one cost AISD may be more willing than others to absorb. Education Austin President Louis Malfaro detected some self-justification by MGT in the study. He explained: “At the end of the day, they needed to come up with a big bottom line so they could say, ‘Look at all this money we saved.’ If they’d only come up with $20 million, people would have asked, ‘What did we spend all that money on?”’ McKeown-Moak defended all these figures as merely options and said that “the study lays out the pros and cons” City Council Looks like an all-nighter After a few weeks away, the City Council returns today, Thursday, June 11, to a torrential backlog of unfinished business. Here’s a tip-off to what the day’s looking like: A briefing on the city’s $45 million “menu” of potential budget cuts isn’t even the main attraction. Take a look: On the consent agenda, Item 12 marks the return of the infamous $1.5 million contract to develop an Integrated Solid Waste Management Master Plan for Solid Waste Services. Will the management shake-up there that scuttled former Director Willie Rhodes to Code Compliance mean the controversial contract will now pass? Local engineering firm HDR is still recommended by staff... Item 15, alluded to in “City Hall Hustle” (p.16), allows for a $250 hike in EMS transport fees... Item 16 is the re-emergence of the polarizing proposal to rework staffing in the upper ranks of the Austin Fire Department. As council post- poned Fire Chief Rhoda Mae Kerr’s original proposal for five assistant chiefs, questioning the cost, it now looks like the number of assis- tant chiefs has been downgraded to four... Item 32 codifies new parking regulations created by the city’s upcoming switch from parking meters to an electronic pay-station model. It includes free meter parking for motor- cycles and mopeds and a minimum parking- time purchase of 15 minutes. Moving onto items from council, Item 38 requires any member of a board advising the city on development or contractual matters to file a public financial statement and spells out rules overseeing the Public Safety Commission as it transitions from a tempo- rary task force to a permanent commission... Item 39 oversees creation of an Austin Generation Resource Planning Task Force to examine the utility’s mix of energy sources; there were worries at the time the task force was proposed that it would be dominated by business interests, but the resolution says it “shall not be weighted in favor of any one interest group or customer class.”... And Item 40, from Council Members Randi Shade and Lee Leffingwell, names “transparency as a core value” in the redesign of the city web- site, ensuring it doesn’t get lost in all the newfound tech hoopla over its design. The aforementioned briefing on the budget development process is scheduled at 10:30am, while a briefing on new amend- ments to tree regulations comes before council at 2pm; 6pm public hearings include Item 71, an appeal of Planning Commission approval allowing adult-lounge-zoned male strip club LaBare to set up shop in Lincoln Village, across from Highland Mall. And lastly, Item 75 is the 2009 Bicycle Master Plan update, returning for certain council approval after a procedural error kept council from okaying it last month. This meeting’s certain- ly not stuck in first gear. - Wells Dunbar 18 the Austin chronicle JUNE] 12,2009 austinch ronicle.com Dallas Revisions Itself Across from City Hall in downtown Dallas, a sophisticated model for next-generation sus- tainable urban development is about to rise from a parking lot. The visionary project began with an international design competition, Re:Vision Dallas, organized by San Francisco-based Urban Revision. The 2.5- acre full-block project will supply all of its own renewable energy. It’s intended as a model for creating socially, economically, and environ- mentally healthy and self-sustaining places around the globe; project requirements includ- ed enough garden space to feed about 300 inhabitants, 40% affordable housing, and an educational facility. The winning submissions include features such as visible cutting-edge water and energy systems, vertical farming and slow-food restaurants; one has a “grain field providing seasonal vegetation for live- stock grazing in the sky pasture.” Three finalist teams - which all created futuristic architectural plans - now have been selected from hundreds of competing archi- tecture and planning firms in 26 countries. (View their designs at www.urbanrevision.com/ dallas.) The design jury included two Austin- ites: Pliny Fisk, director/co-founder of the Center for Maximum Potential Building Systems, and Sergio Palleroni, director/co- founder of the BaSiC Initiative at University of Texas, as well as Dallas community leaders and other internationally known architects and community planners. The three finalists awarded cash prizes: Forwarding Dallas (Portugal), chosen for European-style massing, vegetated screens, and innovation; Entangled Bank (North Carolina), selected for striking full-block massing and arrangement of sustainable systems; and Green ways Xero Energy (San Francisco), chosen for creating a sense of community with bold greenway plans. The Central Dallas Community Development Corporation, a “grassroots, faith-based” organization focused on affordable housing, is the project’s lead developer. It’s now deciding whether to select a single team or pursue a collaborative effort by the three finalists. It also has requested bids from a private developer partner; ground breaking is planned for late 2010. At the competition kickoff last December, Dallas Mayor Tom Leppert hosted leading urban planners and design professionals for an intensive design charrette organized by Urban Revision. He expressed a goal that “Dallas be at the forefront of design, sustain- ability, and vibrancy of cities.” Leaving Austin in its dust, we gather. Could our city do something equally cool and creative with Project Green, the redevelopment of the city-owned water-treatment plant site Downtown? We asked Perry Lorenz and Tim McCabe, the developers selected for that project, for a reaction to Revision Dallas. Lorenz promised to take a careful look. “It was a great process, and the result is stunning,” said McCabe, who was familiar with the design competition; he’s leading Project Green for Trammell Crow, which is now negotiating with the city of Austin to buy the land. - Katherine Gregor Emancipet: 10 Years, 10 Bucks, lO Friends Double high fives to Emancipet, which celebrated a 10-year anniversary on June 3 with its 100,000th sterilization - an important milestone for both the organization, which pro- vides free and low-cost spay/neuter and wellness services, and the Austin area. “The number of births of unwanted puppies and kittens prevented by these 100,000 surgeries is estimated to be in the millions” said Executive Director Amy Mills. “We believe these efforts are contributing to the recent decrease in intake and euthanasia at the city’s Town Lake Animal Center.” The lucky dog undergoing the com- memorative surgery was a lab mix named Kelli; her owner received a gift basket and a lifetime supply of flea-control products. In addition, on June 9, Emancipet kicked off its Power of Ten fundraising campaign, in which Emancipet will ask friends and supporters to donate $10 and each in turn ask 10 friends to do the same. For more info, see www.emancipet.org/involve/power-of-ten. - Patricia J. Ruiand Kelli, Emancipet’s 100,000th patient, stands next to her prize. OIN TTUTIE IRO^ID <DIR. <DIFIF THESE TTIR^UEIE SUMMER PET TRAVEL Carriers & Kennels • Water & Food Bowls Life Jackets & Water Toys Pet Camel Packs & Beds • Car Seats & Belts 4604 BURNET RD. a block n of 45TH) 452-3883 * www.barknpurr.com Bark wpurr petHcenter PERFORMING WE AT. SURF : SESH THIS SAT. 1PM— MIDNIGHT h PULL DAI OF LIVE MUSIC, WAKE SURF COUP, WAKESKATE WINCH DEMOS, PRO BMK DEMO, GUITAR HEW CONTEST, SUW LESSONS, MINI CONTEST, BOAT DEMOS, AND MUCH MOPE! ^ SCORPIOJV CHILD THE BEAT iOUS Retaeayer IEOM LYRIC PIMCH HITTERS SUCK TOMES * ★ A SHALLOW WATER PRODUCTION INFO. 36OWAKEB0ARD.COM/SURFSESH 266-1683 * CNCAUSTIN.COM ST/6 HLUNE RD. EMERALD POINT MARINA, LAKE TRAVIS austinchronicle.com JUNE 12,2009 the Austin chronicle 19 i.W.Y- DRUG RING COMES FULL CIRCLE Austin Police Chief Art Acevedo said at a June 3 press confer- ence that a rise in vio- lent street crime and gang activity in neigh- borhoods across the city was the impetus for a joint local-state-feder- al task force investiga- tion that began more than two years ago and ended with 28 defen- dants sentenced to between three and 27 years in federal prison. “It is a good day for anyone who abhors vio- lence,” Acevedo said. Investigators with the Austin Police Depart- ment, FBI, Travis County Sheriff’s Office, Pflugerville Police Department, and several other Central Texas agencies joined with the Texas Department of Public Safety and the Texas Department of Criminal Justice’s Office of the Inspector General to crack down on a cocaine traf- ficking organization run through the Cinco-Tres gang (or 5-3, which refers to the 512 area code), a subset of the Bloods gang, said Acevedo. At the helm was Duane Hosea, “the head of the snake, as far as I’m concerned,” Acevedo said. Hosea, now spending 27 years in federal prison for his trafficking activities, was directly connected to cartels south of the border in Mexico and Honduras, said FBI agent Steve Hause; the goal of the joint investigation was to break down the “entire conspiracy from the streets to Mexico.” In building the conspira- cy case, Hause said, police have seized a total of more than 450 kilos of cocaine since 2005. Acevedo also took a couple of glancing shots at the Travis County Courthouse - seemingly both at the bench and the District Attorney’s Office - saying that send- ing the cases through the federal system (where they would end up anyway in a joint operation) resulted in longer sentences and “no rocket docket here, no spank on the hands.” The attitude in Austin is sometimes “dismissive” when it comes to drugs, but as a “major corridor” from Mexico through the U.S. - a “trip wire,” if you will - Austin can’t afford to be so lax, Acevedo said. In the future, he added, police will look “for every opportunity we can” to send cases through the federal system - where, for example, a sentence means straight time with no parole. However, in the drug trade, it remains true that when a snake’s head gets chopped off, another is soon likely to grow. And so it begins again. -Jordan Smith AGLCC Ousts President in Pride’s Wake Basking in the warm rainbow glow of one of Austin’s most successful Pride weekends to date, what would any self-respecting group in charge of the festivities do? Why, lop off the top of its leadership, of course. Perplexing as that sounds, that’s just what the Austin Gay & Lesbian Chamber of Commerce has done. According to its Tuesday morning press release: “President Jimmy Flannigan has stepped down and for- mer executive vice-president Chad Peevy has taken on the role of president of the chamber. ... Flannigan resigned his position to pursue other interests and to focus on his own business, Site Street.” Flannigan’s purported resignation was a shock, since the consensus of the LGBT community and beyond seemed to be that this year’s Pride was not only a success but a great leap toward earning the public’s trust in the AGLCC, a group that has long strived to live down its reputation as a too conserva- tive - some say repressive - organization that was to be, for the first time, in charge of not only Austin’s Pride Parade but all of the city’s Pride festivals as well. As it turns out, the gingerly worded press release didn’t accurately represent what hap- pened. “I’m disappointed that the new cham- ber leadership decided to mischaracterize my exit,” said Flannigan on Tuesday. “My commit- ment to this community remains strong.” According to the newly seated AGLCC President Peevy, the board in fact had asked for Flannigan’s resignation. “That press release was issued to save face for Jimmy,” Peevy said. “There was very little organiza- tion that went into [this year’s] Pride, and what did happen happened very late in the game,” he continued. “And as we start think- ing about next year and the level we want to take Pride - with a national headliner and in doing things more on a national scope ... if we’re going to do that, then we’re going to need a full year to think about it. We had no time to waste.” SUICIDE BY COP GRAVES LOSES IN FEDERAL COURT A jury has found in favor of the defendants in Richard Graves v. Williamson County and Don Zachary, a lawsuit tried June 1-2 in U.S. District Judge Sam Sparks’ court. The jury rejected Richard Graves’ allegation that Williamson County Sheriff’s Deputy Don Zachary violated Graves’ constitutional rights when he shot him in the groin and heart on July 27, 2004, while Graves was holding a gun to his own head and sitting cross-legged on the balcony of an apartment belonging to his ex-wife, Tania Besek. According to court documents, Graves had brandished a gun at Besek, after which she’d called police and reported that Graves might kill himself. A “man-with-gun” family disturbance call went out, culminating in the near-fatal shooting. (See “WilCo Follies,” June 27, 2008.) When Graves initially filed the lawsuit, things seemed to be going his way. William- son Co. sought qualified immunity for Zachary but lost on appeal, and Sparks - along with a panel of justices for the 5th U.S. Circuit Court of Appeals in New Orleans - agreed with Graves that he had posed no threat to police or bystanders. At trial, other officers who were on the scene testified that indeed Graves had not pointed the gun at them, that they would not have charged up the stairs without taking cover as Zachary had done, nor would they have shot Graves without first talking to him. Moreover, the plaintiff’s counsel, Jeff Edwards, argued that Graves had indeed complied with com- mands to show his hands - by lifting his left one, palm open, and keeping his right to his own head with the gun. The defense coun- tered that this did not constitute compliance. Zachary testified that Graves had “lured” him upstairs, faking surrender; if he’d seen the gun sooner, he’d have taken cover down- stairs, he said, but believed he had to charge up to save others. Moreover, he insisted that he ordered Graves to drop his weapon, though no one else could testify to having heard him say that. He said he shot haphaz- ardly out of stress and justified the second shot - two or three seconds later - by saying, “I thought I’d missed.” Although Zachary is a trained sniper, he represented himself on the stand as having felt fearful and helpless. According to ballis- tics evidence, Zachary was at point-blank range on the first shot; forensic analysis could not determine distance on the second shot, but on the 911 tape, that shot was muffled, and witnesses said that it was hard to hear. The shot entered Graves’ shoulder, traveling at a much steeper trajectory than the first shot, according to Edwards. Graves told the Chronicle he doesn’t remember see- ing either shot coming - his eyes were closed before the first, and he blacked out after the second. The defense cast Graves as a highly intoxi- cated and dangerous “active shooter,” pack- ing a weapon “like the one used at Colum- bine” and “no different than a gunman on the UT campus.” Graves was contemplating not just suicide but homicide, the defense abruptly argued during closing arguments - a claim to which Edwards objected, unsuccess- fully. The jury would sort out the facts, was Sparks’ response. According to Graves, these facts still remain: He wanted to kill himself that night and no one else. “I just wanted to die,” he remembers telling officers right before the first shot, a wish Zachary almost granted him. - Patricia J. Ruland Yet according to the very same press release, this year’s Pride was “one of the better organized and most enjoyable Pride celebrations in Austin to date.” “There is no question that what Jimmy did for this com- munity definitely launched the \| chamber forward,” conceded \| Peevy. “But keep in mind, this I is a board; all of us worked i to make this happen, not just > Jimmy Flannigan. Our growth g became stunted when rela- o X tionships were put in jeopar- dy. Right now we have ven- dors who are asking for refunds.” Peevy declined to reveal the number or identities of the vendors. “Right now,” said Peevy, the board has no plans to fire anyone else. At press time, the AGLCC released a revised statement acknowledging that Flannigan had not resigned but was instead voted out of office, an interesting first day’s task for Austin’s new AGLCC board. Look for continued coverage and full interviews with the involved parties at austinchronicle.com/gayplaceblog. - Kate X Messer 20 the Austin chronicle JUNE] 12,2009 austinchronicle.com FOUR HANDS The Battle Over This Old House Even after reaching an impasse during a grueling mediation process late last year, both parties in a historic Hyde Park zoning dispute have agreed to take six more months to try to reach a settlement agree- ment - or else square off in a December trial. At this writing, a trial may be the only way to settle the emotionally charged debate pitting historic preservation against property rights. Until then, the six-month cooling-off period provides a reprieve of sorts for the Hyde Park Neighborhood Association, which last month secured a temporary restraining order to block the demolition of a 100-year-old home at 4213 Avenue G. Property owner Helen Nohra and her now- grown children have owned the Bradford- Nohra property for more than 60 years. They want to bulldoze the time-worn neoclas- sical home and build townhomes on the spacious corner lot at 43rd and Avenue G. The family is pursuing the case on consti- tutional grounds, arguing it is with- in its rights to control its own property. The HPNA, on the other hand, advocates pre- serving and restoring the aging structure, in spite of the rambling, gener- ic-looking altera- tions that have been made to it over the years. At the very least, they argue, the historic front portion of the house - replete with grand, full-length columns - should remain intact because of its contribution to the char- acter of the leafy neighborhood. The house is listed as “potentially contributing” to the Hyde Park National Register Historic District. At a hearing June 4 - the day the tempo- rary restraining order was set to expire - attorneys for HPNA, the Nohra family, and the city recounted a curious set of circum- stances surrounding the case, which first rumbled to life in early 2008 when the prop- erty owners requested a demolition permit; neighbors opposed the permit and instead sought a historical designation. Both the Historic Landmark Commission and the Planning Commission ruled in favor of the neighborhood association (and against the recommendation of city staff), and in March of this year, the City Council came close to sealing the deal with a preliminary vote in favor of historical zoning. “After that,” said HPNA attorney Philip Durst, “everything stopped.” As Durst explained to the court, the house was “90 percent of the way” to securing historical designation when city staff reversed course in mid-May and issued the demolition per- mit. Neighborhood leaders rushed to the courthouse and obtained the temporary order to keep the bulldozer at bay. City staffers had decided to issue the demolition permit after researching a boards and commissions ordinance, amended in 2007 in an attempt to bring uniformity to the vast number of citizen panels making recom- mendations to the City Council. The various boards were to have adopted new bylaws by January 2008, changing, among other things, their quorum and voting procedures. But the Historic Landmark Commission (and apparently other boards as well) was still operating under old bylaws when it voted on the Bradford-Nohra case. Under the amend- ed ordinance, the commission would have needed a greater voting majority to render a decision in the case than the 3-2 simple majority vote that moved the issue forward. Meanwhile, people on both sides of the zoning case have privately expressed con- cern that the city could be opening the door to a number of legal challenges, considering the Bradford-Nohra case is just one of count- less matters that the com- mission voted on while operat- ing under its “simple majori- ty” bylaws. The amended ordi- nance issue could also impact other boards and commissions, although how much legal weight they carry is unclear, since most serve in advisory capacities. On May 19, the city auditor’s office issued a “risk assessment” of 20 boards and com- missions to determine which panels were in compliance with city policy and which ones, as the report put it, could “benefit from a performance audit.” As it happens, the Historic Landmark Commission topped the risk list with 21 points. It’s uncertain whether the risk report will come into play as the Bradford-Nohra case moves forward. “My gut feeling is that this is going to go to trial,” said attorney James McManus, representing the Nohra family, after the hearing. He added that the family had offered to give the house to the neigh- borhood association at no charge, on the condition the HPNA move the structure to another site. “But they want to control what goes on that property,” McManus said of the association. HPNA member Amon Burton, who participated in mediations between the neighborhood and the family, doesn’t deny McManus’ assumption. “This is one of the most prominent corners of Hyde Park,” he said, noting the corner’s transit link to the bygone days of the trolley car. Additionally, the Elisabet Ney Museum sits a block away from the property in one direction, and Shipe Pool is a block away in another direc- tion. “We want to protect the historic quality of that corner,” Burton said. - Amy Smith The Bradford-Nohra house at 4213 Avenue G HOME 3-$)ay Summer Sale BUY ONE, GET ONE OFF (Second item equal ex teoaex value ) J$uy Clny One Jtem dt Jteyutwc Jletait Jrice and J$uy a Second Jtem at 1/2 price. Jriday, June 12 tfvwugh Sunday, June 14 1C-6 Jri, Sat, <SLMen ■ Sun 12-5 NELW ARRIVALS JEFFERSON QUEEN BED GARLAND OCCASIONAL CHAIR $395 JACQUELINE 3-SEATER SOFA $1195 $1095 MAGNOLIA 60" DINING TABLE $1095 2090 WOODWARD STREET, AUSTIN, TX 78744 • 512.225.0333 WWW.FOURHANDSHOME.COM austinchronicle.com June: 12,2009 the Austi
1053	dbpedia	1	72	https://www.theguardian.com/friday_review/story/0,3605,347673,00.html	en	Cinema roundup			[ "http://hits.guardian.co.uk/b/ss/guardiangu-global,guardiangu-network/1/H.20.3/99890?ns=guardian&pageName=Guardian+%3a+Cinema+roundup&ch=Guardian&c8=347673&c9=article&c11=Guardian&h2=GU%2fGuardian%2fWeekly%2fFriday+Review&c2=GUID:(none)", "http://static.guim.co.uk/static/99201/zones/news/images/logo.gif", "http://image.guardian.co.uk/sp.gif", "http://image.guardian.co.uk/film/site/freeserve/shared/1x1-trans.gif", "http://image.guardian.co.uk/sys-images/Guardian/Pix/site_furniture/2004/09/21/theguardiancrumb.gif", "http://image.guardian.co.uk/sp.gif", "http://image.guardian.co.uk/sp.gif", "http://image.guardian.co.uk/sp.gif", "http://image.guardian.co.uk/sp.gif", "http://image.guardian.co.uk/sp.gif", "http://image.guardian.co.uk/sp.gif", "http://image.guardian.co.uk/sp.gif", "http://image.guardian.co.uk/sp.gif", "http://image.guardian.co.uk/sp.gif", "http://image.guardian.co.uk/sp.gif", "http://image.guardian.co.uk/sp.gif", "http://image.guardian.co.uk/sp.gif", "http://image.guardian.co.uk/sp.gif", "http://image.guardian.co.uk/sp.gif", "http://image.guardian.co.uk/sp.gif", "http://image.guardian.co.uk/sp.gif", "http://image.guardian.co.uk/sp.gif", "http://image.guardian.co.uk/sp.gif", "http://image.guardian.co.uk/sp.gif", "http://image.guardian.co.uk/sp.gif", "http://image.guardian.co.uk/sp.gif", "http://image.guardian.co.uk/sp.gif", "http://image.guardian.co.uk/sp.gif", "http://image.guardian.co.uk/sp.gif", "http://image.guardian.co.uk/sp.gif", "http://image.guardian.co.uk/sp.gif", "http://image.guardian.co.uk/sp.gif", "http://image.guardian.co.uk/sp.gif", "http://image.guardian.co.uk/sp.gif", "http://image.guardian.co.uk/sp.gif", "http://image.guardian.co.uk/sp.gif", "http://image.guardian.co.uk/sp.gif", "http://image.guardian.co.uk/sp.gif", "http://image.guardian.co.uk/sp.gif", "http://image.guardian.co.uk/sp.gif", "http://image.guardian.co.uk/sp.gif", "http://image.guardian.co.uk/sp.gif", "http://image.guardian.co.uk/sp.gif", "http://image.guardian.co.uk/sp.gif", "http://image.guardian.co.uk/sp.gif", "http://image.guardian.co.uk/sp.gif", "http://image.guardian.co.uk/sp.gif", "http://image.guardian.co.uk/sp.gif", "http://image.guardian.co.uk/sp.gif", "http://image.guardian.co.uk/sp.gif", "http://image.guardian.co.uk/sp.gif", "http://image.guardian.co.uk/sp.gif", "http://image.guardian.co.uk/sp.gif", "http://image.guardian.co.uk/sp.gif", "http://image.guardian.co.uk/sp.gif", "http://image.guardian.co.uk/sp.gif", "http://image.guardian.co.uk/sp.gif", "http://image.guardian.co.uk/sp.gif", "http://image.guardian.co.uk/sys-images/Guardian/Pix/site_furniture/2001/01/04/fridayreview128.gif", "http://image.guardian.co.uk/sp.gif", "http://static.guim.co.uk/static/81552/networkfront/images/guardian_logo.gif", "http://image.guardian.co.uk/football/site/Triangle_up.gif", "http://image.guardian.co.uk/sp.gif", "http://image.guardian.co.uk/sp.gif", "http://image.guardian.co.uk/sp.gif", "http://image.guardian.co.uk/sp.gif", "http://image.guardian.co.uk/sp.gif", "http://image.guardian.co.uk/sp.gif", "http://image.guardian.co.uk/sp.gif", "http://pix01.revsci.net/E05516/a3/0/0/0/0/0/0/0/0/0/noscript.gif" ]	[]	[]	[ "" ]	null	[]	null		en	/favicon.ico		null	Is there a secret law that says that in order to achieve significant international distribution, a European film must point up a central relationship involving a cutie-pie kid and a wise older man? The Czech hit Kolya had one, as did Roberto Benigni's Oscar-winner Life is Beautiful; and who could forget the godfather of them all, Cinema Paradiso? Butterfly's Tongue, from Spanish director Jose Luis Cuerda, is the latest incarnation of the breed and uses its charming double act as a way into broaching the difficult subject of the Spanish civil war. The small half of the twosome is called Moncho (Manuel Lozano), the seven-year-old son of a tailor in a backwater Galician village. He's timid but is brought out of his shell by the local schoolteacher Don Gregorio (Fernando Fernan Gomez). Among the many educational delights to which Don Gregorio introduces Moncho are the eating habits of insects - hence the title. But this is 1936, and Don Gregorio, an unashamed republican, is eventually swept up and cast aside as the Falangist tide sweeps into even this remote corner of the country. With a narrative seen largely through the child's eyes, Butterfly's Tongue is clearly employing a time-honoured method of sweetening a bitter sociohistorical pill; but there are undoubted strengths in its approach. For one, it can suggest with great subtlety the approaching wave of paranoia that - beyond Moncho's understanding - is provoked by the increasingly vicious ideological conflict. Secondly, though Butterfly's Tongue lacks the uncompromising detail and overt political debate of Ken Loach's Land and Freedom, its point of view - that of locals, not the International Brigades - means that all that sappy can-you-hear-the-drums-Fernando? romance is banished. Nevertheless, it's precisely the lack of hard detail that weakens Butterfly's Tongue; too many scenes comprise companionable bug hunts, cheerful marching-band music and everyone-say-aah kiddie kisses. Still, as events pick up pace, Cuerda manages to forge a sufficiently stark climax that makes up for the soft-focus rambles that precede it. The effect of a much more recent civil conflict is explored in Cabaret Balkan, a film from Serbian director Goran Paskaljevic, which is the centrepiece of the ICA's Out of That Darkness: The Legacy of the Holocaust in the Age of Genocide season. Though no exact date is established, the time is certainly after Yugoslavia's initial break-up and civil war but before the Nato intervention over Kosovo. A dark and sinister Belgrade is the location for a series of interlocking stories that expose a raw seam of brutality and humiliation among a desperate, unhappy population. Following an introduction by Gene Simmons lookalike MC - which is unfortunately an unpromising, thoroughly hackneyed device - the parade of misery begins. In the opening section, for example, a car accident results in the aggrieved driver forcing his way into the family apartment of the teenager responsible and methodically smashing the possessions of a lifetime; it's easy to see, in this, an echo of how whole communities can be terrorised by local militias. Near the end, another teenage tearaway is pursued through the tumbledown streets by an angry vigilante mob mistakenly convinced of his guilt; again, not much imagination is required to see how ethnic paranoia could easily be converted into violence. The broad, expansive and occasionally overwrought style of film-making has much in common with Underground, Emir Kusturica's 1994 lament for a lost nation; an impression reinforced by the fact that several members of Underground's cast reappear. Sad-faced Miki Manojlovic, beefy, mustachioed Lazar Ristovski, and intense-looking Mirjana Jokovic all make their presence felt. They illustrate in their different ways the atmosphere of poetic nihilism generated by Paskaljevic and co-writer Dejan Dukowski (on whose play, The Powder Keg, the film is based). Though lacking the sweep and musicality of Kusturica's work, Cabaret Balkan is a worthy addition to the canon of films spawned by the region's civil strife. From real wars to fantasy ones; in particular, ones that exist only in the minds of animators encouraged to spare no expense. Titan AE comes bearing the reputation of the flop cartoon that precipitated the closure of 20th Century Fox's animation studio - its reputed cost of $80m saw a catastrophic $9.4m opening weekend take in the US. It was also explicitly aimed at teenage boys - that most fickle of cinema audiences - and in this service roped in Matt Damon, Drew Barrymore and Bill Pullman to voice a sci-fi yarn that involved weird star maps, vicious aliens out to destroy humanity, a slinky cartoon babe for our chisel-jawed hero to snuggle up to, and kick-ass soundtrack action courtesy of Luscious Jackson and Powerman 5000. That said, Titan AE isn't quite as idiotic as it sounds. The visuals are spectacular - and most unlikely, given co-director Don Bluth's track record with sappy sub-Disney efforts like Thumbelina and Anastasia. An opening scene, in which planet Earth is vaporised by a pitiless race of ETs called the Drej (pronounced "dredge"), sets the tone; as our plucky crew set forth across the universe to unearth the lost Titan Project, the animators let loose their wildest imaginings in a series of planetary environments - hydrogen trees, ice clouds, polluted atmospheres, you name it. Any adolescent-aimed animation must show a Manga influence, but Titan AE (the AE, incidentally, stands for After Earth) comprehensively outdoes its Japanese precursor in sheer visual verve. But though the producers make much of the involvement of Joss "Buffy the Vampire Slayer" Whedon, Titan AE is considerably undermined by a screenplay that, considering the investment, is bafflingly light on basic story clarity. Though no one would ever expect a teen toon to be especially demanding, large plot shifts are simply glossed over, or else explained by a particularly weird-voiced character. Neither can Bluth and his co-director Gary Goldman resist periodic injections of slurp, as Damon's character - fearless good-guy Cale - resolves some of the same father-hate issues that are currently obsessing Hollywood. Nevertheless, as a lesson in state-of-the-art visuals, Titan AE is compulsive viewing. The cumbersomely titled The Flintstones in Viva Rock Vegas, however, is the exact opposite of this. Duller by far than the first Flintstones movie - which, despite its popularity, was itself no great shakes - this follow-up completely fails to generate any of the rumbustious quality that was the saving grace of the John Goodman version. What we have here is a sort of prequel to the cartoon - Mark "Full Monty" Addy as a young Fred and Stephen Baldwin as young Barney, meeting up with their future spouses. Fine actor though he undoubtedly is, Addy is hung out to dry in the lead role, unable to replicate Goodman's effusiveness. The supporting cast of American TV stars and campy Brit faces don't offer much help. This one is strictly for the kids.
1053	dbpedia	3	84	https://kids.kiddle.co/Hanka_Paldum	en	Hanka Paldum facts for kids	https://kids.kiddle.co/i…Hanka_Paldum.png	https://kids.kiddle.co/i…Hanka_Paldum.png	[ "https://kids.kiddle.co/images/wk/kids-robot.svg", "https://kids.kiddle.co/images/wk/kids-search-engine.svg", "https://kids.kiddle.co/images/thumb/2/2c/Hanka_Paldum.png/300px-Hanka_Paldum.png", "https://kids.kiddle.co/images/thumb/e/ef/%D0%97%D0%B5%D0%BD%D0%B8%D1%86%D0%B0_20190807_210638.jpg/150px-%D0%97%D0%B5%D0%BD%D0%B8%D1%86%D0%B0_20190807_210638.jpg", "https://kids.kiddle.co/images/wk/kids-search-engine.svg" ]	[]	[]	[ "" ]	null	[]	null	Learn Hanka Paldum facts for kids	en	/images/wk/favicon-16x16.png		https://kids.kiddle.co/Hanka_Paldum	Hanka Paldum (born 28 April 1956) is a Bosnian sevdalinka singer and founder of the record label Sarajevo Disk. She is regarded as one of the best female sevdah performers of the 20th century and is popular in her home country of Bosnia as well as in the rest of the former Yugoslavia. Biography 1956–71: Early life and family Hanka Paldum was born in the eastern Bosnian town of Čajniče to Muslim Bosniak parents Mujo and Pemba. Paldum has an older brother Mustafa and two sisters, Raza and Rasema. Her father was a logger and her mother wove carpets to provide additional financial assistance for the family, as her fathers salary was not enough to carry a family of seven. Hanka, the oldest female child, began helping her mother with housework at the age of five. When Paldum was seven years of age, her parents moved the family from Čajniče to the Vratnik neighbourhood within the Sarajevo municipality of Stari Grad. Paldum started singing in the first grade, as part of the choir in her primary school. She would continue singing throughout her childhood and recalled in an interview: "We went by train to my aunt's home, my mother's sister in Rudo. There were a lot of tunnels and when the train entered a tunnel, I would sing, and when it come out of the tunnel I stopped, because I was shy. The other passengers would ask who was singing that beautifully, and I just looked out the window as if it did not apply to me. But inside, my heart was leaping with joy." At the age of twelve, Hanka's brother Mustafa, a member of the Bratstvo (Brotherhood) cultural association, encouraged her to sneak out through her bedroom window and sing at the association events, promising to "cover" for her. She would sing for 15 to 20 minutes and run back home. The director of the House of Culture named Marijan Ravlić, asked her parents to allow her to sing at some local events. Her father allowed it, but with only with the presence of her older brother, Mustafa, who was no less strict than their father. Then Hanka began to sing in amateur contests, which she often won, with the award being chocolate with rice or ten tickets for the cinema. She shared the chocolates, while tickets for the theater remained unused because of her father's strictness. After three years of struggle, Hanka proved to her parents her passion for music and said she wanted to enroll in a music school. Her father told her she must enroll in a school that would lead to a secure career with which she could find a job that would earn her money. Around that time, Hanka's father, Mujo became gravely ill and soon died of his illness. Her younger brother Mustafa died in 2007 of lung cancer, aged 49. 1972–78: Radio Sarajevo, first recordings, and marriage Paldum passed an audition at Radio Sarajevo and began voice lessons. After two years of hard work, she made her first archival recordings for Radio Sarajevo. They were sevdalinka songs, a traditional Bosniak genre of folk music. Her first recording was her version of an old sevdalinka song called "Moj behare" (My Blossom). She continued recording and recorded over a hundred sevdalinkas for radio archives. Paldum recorded and released her first extended play (EP) in 1973, at the age of seventeen, when producer and composer Mijat Božović offered her his partnership in recording two singles "Ljubav žene" (The Love of a Woman) and "Burmu ću tvoju nositi" (I Will Wear Your Wedding Ring) alongside the big folk orchestra Radio-TV Sarajevo. She recorded five more EP's in two years before releasing her debut studio album, I Loved Unfaithful Eyes on 13 February 1974 Also in 1975, Hanka won top prize at the festival of amateur singers called "Pjevamo danu mladosti" (Sing for the Youth Day), with the song "Pokraj puta rodila jabuka" (On the Roadside, a Tree Bore an Apple), written by Mijat Božović. Her prize was a chance to produce a single for the record label Sarajevo Diskoton. This song was not a big hit at the time, but with time it gained moderate success. She continued her partnership with Mijat Božović, who believed in her talent and that she would become a big folk star. He wrote a song for her called "Voljela sam oči zelene" (I Loved Green Eyes) which in a few months became a big hit; for a long time the song was Hanka's signature song, and is still a hit among people of the former Yugoslavia. There is also a version in Slovenian. After success with "Voljela sam oči zelene" she performed as a debutante at the Ilidža Festival with the song "Ja te pjesmom zovem" (I Call You with My Song). The song was disqualified because one of the judges at the time, Milan Radić, who was a reporter, thought that the song was not worthy enough to enter the competitive part of the program. However, after the songwriter Julio Marić insisted the song be placed in the competition, Hanka went on to compete. This song became a big hit and has been covered by multiple other artists. Hanka met her first husband Muradif Brkić, a student of literature at the University of Sarajevo, while she was in high school. After three or four months of friendship, they began dating. They married soon after he graduated from the university in the late 1970s. Shortly thereafter, he went to the mandatory service in the Yugoslav People's Army, and Hanka started her first big Yugoslavian tour with Meho Puzić. She and her first husband had two children: a daughter Minela and a son named Mirzad. She was pronounced clinically dead when giving birth to their son, but survived. Hanka started singing in Sarajevo alongside Omer Pobrić, a gifted and popular accordion player, and by doing so gained vocal and performing experience. 1979–82: Voljela sam, voljela, Čežnja, and Sanjam In 1979, her husband finished his service with the army. Then, with Hanka and Braco Đirlo, founded a record company called "Sarajevo Disk". They signed a rock band called "Vatreni Poljubac" (Burning Kiss) with Milić Vukašinović in the forefront of the band. After hearing Milić's song "Volio sam volio" (I Loved, I Loved), Muradif recommended that Hanka record that song. At first Hanka was hesitant and even Milić wasn't too thrilled about the idea: "I was a bit skeptical at first, but when I heard how Hanka sang that song; when I felt the power and temperament of her voice, I knew we were going to take over Yugoslavia", Milić said. She recorded her version in a 'home studio' owned by innovative producer and ethno-pop composer Nikola Borota – Radovan. Their meeting was instrumental to her career and climb to the stardom. Hanka's interpretation of the song, "Voljela sam, voljela" (I Loved, I Loved), in 1978, sold over a million copies. Hanka became recognized across the country of Yugoslavia and was offered to sing in guest spots and hold her own concerts. She also won many awards and much recognition, including the "Oscar of Popularity", three "Golden Stars", as well as being named the female artist of the year. The following year, in 1979, after significant success with that single, she recorded another single "Odreću se I srebra I zlata" (I Will Give Up Silver and Gold). At the same time she was preparing a full-length studio album, called Srebro i zlato (Silver and Gold"), named after the song. Along with Milić Vukašinović as the main songwriter, other recognized names from the world of Yugoslav folk, pop and rock music were present: Goran Bregović, Nikola Borota – Radovan, Bodo Kovačević, Mijat Božović, Blagoje Kosanin. Under Nikola Borota's direction, for the first time in Yugoslavian folk music history, electronic music instruments and pop music arrangements were used, songs had different rhythm section treatment than ever before and as a result Hanka's interpretations were different and original. With the song "Voljela sam, voljela" and the album Čežnja (1980), she merged folk and rock music. Her work was not received well by music critics, composers and colleagues. They said her music undermined traditional folk music. However, Čežnja was overwhelmingly accepted by the public, broke many industry records, and sold over a million copies, and the songs in new folk-rock manner attracted listeners who had never before listened to her or folk music. With non-traditional business approach Hanka started attracting the media as well as the public: as the singer promoted the album Čežnja on Opatija festival of music, she also promoted it in Belgrade and had her first solo concert in Dom Sindikata, again musically produced by Nikola Borota – Radovan. Lazar Ristovski was on synthesizers, Džemo Novaković on lead guitar, Sanin Karić was playing bass, two double drum kits were deployed while Ljubiša Pavković and Mico Radovanović were only two traditional instrumentalists present on stage, sharing the lead accordion roles. A tour of Yugoslavia followed, and almost every song from the album became a hit, in particular the songs "Crne kose" (Black Hair), "Zbog tebe" (Because of You), "Čežnja" (Yearning) and "Zbogom" (Farewell). In 1982, she released the album Sanjam (I’m Dreaming) with Milić Vukašinović as the main songwriter. With this album Milić created his life's work, while Hanka went from a popular singer to a big Yugoslav star. Taking into consideration that her own label "Sarajevo Disk" did not have its own record plant, the album, because of overwhelming demand, was manufactured and distributed by four different companies. 1983–91: Južni Vetar, touring, and acting Hanka started her tour, and for the first time in folk music, held concerts in big sporting arenas across Yugoslavia. In Belgrade's "Dom sindikata" where, in seven days, she held a record-breaking 14 sold-out solo concerts. Similar to her previous studio album, almost every song on the album became a hit, especially the title song "Sanjam" and "Ja te volim" (It's You I Love). Likewise "Ljubav je radost i bol" (Love is Joy and Pain) and "Voljeni moj" (My Beloved). She received a Yugoslavian star award, four Oscars for popularity in a row, a few female artist of the year awards, a gold plaque for humanist award, and won the following festivals: "Ilidža," "Vogošća," "MESAM," and "Poselu" from 202 Radio Belgrade program. Hanka has performed at the arenas "Lisinski," in Zagreb, Croatia, "Sava Center," in Belgrade, Serbia, and "Zetra," in Sarajevo, the capital of her home country Bosnia and Herzegovina. She held many humanitarian concerts. She represented Yugoslavia in International Festival in Berlin. At this time production companies were competing for the rights for Hanka's new material. Hanka with help from her husband Muradif chose Belgrade's "Jugodisk." It was said that the bonus she received from Jugodisk is the highest in history of Yugoslavia. In 1983, she released the album Dobro došli prijatelji (Welcome Friends) again teaming up with songwriter Milić Vukašinović. The next album, Tebi ljubavi (For You, My Love) was released in 1984, which was a tremendous success. The songs were written by Mišo Marković. The biggest hit off the album was the ballad "Ali pamtim još" (But I Still Remember). In 1985, with composer Miodrag Ilić and ensemble Južni Vetar (Southern Wind) she recorded the album Nema kajanja (No Regrets). With this album she dominated the popular oriental folk genre, and made it one of the most successful albums of the year. Once again, she went back to the studio with Milić Vukašinović in 1986 and recorded the album Bolno srce (Aching Heart), which brought many hits including a win at the festival of folk music "Vogošća" with the title song "Bolno srce." On this album she also recorded a sevdalinka called "Sjećaš li se djevo bajna" (Do You Remember the Stellar Maiden) with accordion player, Milorad Todorović. She had a cameo in the Benjamin Filipović film Praznik u Sarajevu (Holiday in Sarajevo, 1991) in a scene with Emir Hadžihafizbegović. Paldum married for the second time to a man named Fuad Hamzić. It also ended in divorce. She later called the marriage a "mistake". 1992–95: Break up of Yugoslavia When Yugoslavia broke up and went into war, Paldum spent the entirety of the war in Bosnia and Herzegovina in Sarajevo between 1992 and 1995. 1996–2008: Nek’ je od srca and Žena kao žena Paldum collaborated with Hari Varešanović, lead singer of the band Hari Mata Hari, on her 1999 album Nek’ je od srca (Let It Be From the Heart.) They recorded the hit song "Crni snijeg" (Black Snow) together. The ballad "Svaka rijeka moru stići će" (Every River Will Reach the Sea) was called the 'best song of the year' by radio stations. In November 2004, she held a major concert in the Zetra Arena, marking three decades of her career. Guests included Halid Bešlić, Alka Vuica, Josipa Lisac, Esma Redžepova, Saša Matić and Milić Vukašinović. She continued to release hit songs later in her career, such as "Žena kao žena" (A Woman Like a Woman), "Što da ne" (Why Not), "Sarajevo" and "Dođi" (Come Here) in 2006, released on the studio album Žena kao žena under the label Hayat Production. The ballad "Mojoj majci" (To My Mother) was the biggest hit off the album. 2008–14: Sevdah je ljubav and Što svaka žena sanja On 7 November 2012, during a humanitarian concert in Zenica, Paldum and Serbian singer Dragana Mirković first publicly sang their duet "Kad nas vide zagrljene" (When They See Us Embrace.) The song officially premiered one year later on 26 November 2013, when the music video was released. The video shows Paldum in Sarajevo singing about Bosnia and Mirković in Belgrade singing about Serbia. Near the end of the video they meet on Stari Most in Mostar, embrace, and dance. Their video was featured prominently in Bosnian and Serbian media. Later career Paldum took part in the 16th-night show (on 7 August) of Zenica summer fest 2019 by giving 2-hour soloist performance on Zenica city square. Personal life Marriages and children Paldum's first marriage was to Muradif Brkić, director of the record label Sarajevo Disk. Their 1976 wedding took place in his hometown Duvno. Paldum had two children with Brkić: daughter Minela (born 1981) and son Mirzad (born 1985). She was pronounced clinically dead while giving birth to Mirzad, but survived. Discography Filmography Film Praznik u Sarajevu (Holiday in Sarajevo, 1991) Television
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in this page an excerpt of the astrological portrait and the interpration of the planetary dominants.	en	https://cdn.astrotheme.c…e-touch-icon.png		https://www.astrotheme.com/astrology/Lazar_Ristovski	Horoscope and chart of Lazar Ristovski Astrological portrait of Lazar Ristovski (excerpt) Disclaimer: these short excerpts of astrological charts are computer processed. They are, by no means, of a personal nature. This principle is valid for the 68,835 celebrities included in our database. These texts provide the meanings of planets, or combination of planets, in signs and in houses, as well as the interpretations of planetary dominants in line with modern Western astrology rules. Moreover, since Astrotheme is not a polemic website, no negative aspect which may damage the good reputation of a celebrity is posted here, unlike in the comprehensive astrological portrait. Introduction Here are some character traits from Lazar Ristovski's birth chart. This description is far from being comprehensive but it can shed light on his/her personality, which is still interesting for professional astrologers or astrology lovers. In a matter of minutes, you can get at your email address your astrological portrait (approximately 32 pages), a much more comprehensive report than this portrait of Lazar Ristovski. N.B.: as this celebrity's birth time is unknown, the chart is arbitrarily calculated for 12:00 PM - the legal time for his/her place of birth; since astrological houses are not taken into account, this astrological profile excerpt is less detailed than those for which the birth time is known. The dominant planets of Lazar Ristovski When interpreting a natal chart, the best method is to start gradually from general features to specific ones. Thus, there is usually a plan to be followed, from the overall analysis of the chart and its structure, to the description of its different character traits. In the first part, an overall analysis of the chart enables us to figure out the personality's main features and to emphasize several points that are confirmed or not in the detailed analysis: in any case, those general traits are taken into account. Human personality is an infinitely intricate entity and describing it is a complex task. Claiming to rapidly summarize it is illusory, although it does not mean that it is an impossible challenge. It is essential to read a natal chart several times in order to absorb all its different meanings and to grasp all this complexity. But the exercise is worthwhile. In brief, a natal chart is composed of ten planets: two luminaries, the Sun and the Moon, three fast-moving or individual planets, Mercury, Venus and Mars, two slow-moving planets, Jupiter and Saturn, and three very slow-moving planets, Uranus, Neptune and Pluto. Additional secondary elements are: the Lunar Nodes, the Dark Moon or Lilith, Chiron and other minor objects. They are all posited on the Zodiac wheel consisting of twelve signs, from Aries to Pisces, and divided into twelve astrological houses. The first step is to evaluate the importance of each planet. This is what we call identifying the dominant planets. This process obeys rules that depend on the astrologer's sensitivity and experience but it also has precise and steady bases: thus, we can take into account the parameters of a planet's activity (the number of active aspects a planet forms, the importance of each aspect according to its nature and its exactness), angularity parameters; (proximity to the four angles, Ascendant, Midheaven, Descendant and Imum Coeli or Nadir, all of them being evaluated numerically, according to the kind of angle and the planet-angle distance) and quality parameters (rulership, exaltation, exile and fall). Finally, other criteria such as the rulership of the Ascendant and the Midheaven etc. are important. These different criteria allow a planet to be highlighted and lead to useful conclusions when interpreting the chart. The overall chart analysis begins with the observation of three sorts of planetary distributions in the chart: Eastern or Western hemisphere, Northern or Southern hemisphere, and quadrants (North-eastern, North-western, South-eastern and South-western). These three distributions give a general tone in terms of introversion and extraversion, willpower, sociability, and behavioural predispositions. Then, there are three additional distributions: elements (called triplicity since there are three groups of signs for each one) - Fire, Air, Earth and Water - corresponding to a character typology, modality (or quadruplicity with four groups of signs for each one) - Cardinal, Fixed and Mutable - and polarity (Yin and Yang). There are three types of dominants: dominant planets, dominant signs and dominant houses. The novice thinks astrology means only "to be Aries" or sometimes, for example, "to be Aries Ascendant Virgo". It is actually far more complex. Although the Sun and the Ascendant alone may reveal a large part of the character - approximately a third or a half of your psychological signature, a person is neither "just the Sun" (called the sign) nor just "the first house" (the Ascendant). Thus, a particular planet's influence may be significantly increased; a particular sign or house may contain a group of planets that will bring nuances and sometimes weaken the role of the Ascendant, of the Sun sign etc. Lastly, there are two other criteria: accentuations (angular, succedent and cadent) which are a classification of astrological houses and types of decanates that are occupied (each sign is divided into three decanates of ten degrees each). They provide some additional informations. These general character traits must not be taken literally; they are, somehow, preparing for the chart reading. They allow to understand the second part of the analysis, which is more detailed and precise. It focuses on every area of the personality and provides a synthesis of all the above-mentioned parameters according to sound hierarchical rules. Warning: when the birth time is unknown, which is the case for Lazar Ristovski, a few paragraphs become irrelevant; distributions in hemispheres and quadrants are meaningless, so are dominant houses and houses' accentuations. Therefore, some chapters are removed from this part. For all paragraphs, the criteria for valuation are calculated without taking into account angles and rulerships of the Ascendant and of the Midheaven. The methodology retains its validity, but it is less precise without a time of birth. Elements and Modes for Lazar Ristovski The predominance of Water signs indicates high sensitivity and elevation through feelings, Lazar Ristovski. Your heart and your emotions are your driving forces, and you can't do anything on Earth if you don't feel a strong affective charge (as a matter of fact, the word "feeling" is essential in your psychology). You need to love in order to understand, and to feel in order to take action, which causes a certain vulnerability which you should fight against. Cheers for communication and mobility, Lazar Ristovski! The predominance of Air signs in your chart favours and amplifies your taste for relations and for all kinds of short trips, whether real (travels) or symbolic (new ideas, mind speculations). You gain in flexibility and adaptability what you lose in self-assertion or in pragmatism. The twelve zodiacal signs are split up into three groups or modes, called quadruplicities, a learned word meaning only that these three groups include four signs. The Cardinal, Fixed and Mutable modes are more or less represented in your natal chart, depending on planets' positions and importance, and on angles in the twelve signs. The Fixed mode corresponds to a majority of elements in your chart, Lazar Ristovski, and represents the desire for security and durability: you are able to concretely appreciate a situation and its stability. You definitely prefer to play the role of a loyal, obstinate and hard-working person, rather than to try new and risky experiences - beware, however, not to confuse obstinacy with intransigence. You structure, cement, and strengthen everything you find on your way: it is your nature, although you are not especially interested in swiftness: slow and steady... Dominants: Planets, Signs and Houses for Lazar Ristovski The issue of dominant planets has existed since the mists of time in astrology: how nice it would be if a person could be described with a few words and one or several planets that would represent their character, without having to analyse such elements as rulerships, angularities, houses, etc! The ten planets - the Sun throughout Pluto - are a bit like ten characters in a role-play, each one has its own personality, its own way of acting, its own strengths and weaknesses. They actually represent a classification into ten distinct personalities, and astrologers have always tried to associate one or several dominant planets to a natal chart as well as dominant signs and houses. Indeed, it is quite the same situation with signs and houses. If planets symbolize characters, signs represent hues - the mental, emotional and physical structures of an individual. The sign in which a planet is posited is like a character whose features are modified according to the place where he lives. In a chart, there are usually one, two or three highlighted signs that allow to rapidly describe its owner. Regarding astrological houses, the principle is even simpler: the twelve houses correspond to twelve fields of life, and planets tenanting any given house increase that house's importance and highlight all relevant life departments: it may be marriage, work, friendship etc. In your natal chart, Lazar Ristovski, the ten main planets are distributed as follows: The three most important planets in your chart are Uranus, Pluto and Saturn. Uranus is among your dominant planets: just like Neptune and Pluto, Uranian typology is less clearly defined than the so-called classical seven planets that are visible to the naked eye, from the Sun to Saturn. However, it is possible to associate your Uranian nature with a few clear characteristics: Uranus rhymes with independence, freedom, originality, or even rebelliousness and marginality, when things go wrong... Uranus is Mercury's higher octave and as such, he borrows some of its traits of character; namely, a tendency to intellectualize situations and emotions with affective detachment, or at least jagged affectivity. Therefore, you are certainly a passionate man who is on the lookout for any kind of action or revolutionary idea, and you are keen on new things. Uranians are never predictable, and it is especially when they are believed to be stable and well settled that... they change everything - their life, partner, and job! In fact, you are allergic to any kind of routine, although avoiding it must give way to many risks. With Pluto as a dominant planet in your chart, you are a magnetic and mighty predator, like the Scorpio sign ruled by this planet, who needs to exert pressure on others in order to "test" them. You are always ready to evolve, to risk destruction for reconstruction - including your own - to live more intensely whilst imposing your secret authority on things and on people you encounter. You may come across as wicked, cruel or too authoritarian, but actually you only follow your instinct, you sound people out, and you like to exert your domination simply because your vital energy is too powerful to remain inside. You are inclined to be passionate, with hidden motivations. You are sometimes misunderstood but one of your great Plutonian assets is to go successfully through each life ordeal with ever growing strength. Saturn is part of your dominant planets: among the facets of your character, you have a grave and serious side, wise and somewhat severe, since your concentration can be powerful, to the detriment of carelessness and friendliness. You often look austere, but it is only an appearance, a kind of modesty or reserve; however, it is true that the Saturnian, who is fond of time, effort, asceticism, rigour and sobriety, may have popularity issues. Nevertheless, honesty and straightforwardness, reliability, as well as slow, wise and deep mental process, although not very popular and visible qualities, eventually become noticed and appreciated. Saturnians' second part of life is usually easier and more fulfilling. Like the Jupiterian, your Saturnian facet prompts you to seek the essential, security, and longevity. However, the difference with the former is that you will never give priority to wealth or "the bigger, the better" philosophy for the sake of power. Saturn, like Jupiter, symbolizes social integration, and it is usually considered positive to have a harmonic Jupiter and Saturn in one's chart because of their social adaptation capacities. Your vulnerability lies in your too serious and austere side, which may lead to unwanted loneliness and affective frustration. This generally does not last because Saturnians often hide deep down a golden heart that ends up revealing itself... In your natal chart, the three most important signs - according to criteria mentioned above - are in decreasing order of strength Scorpio, Libra and Aquarius. In general, these signs are important because your Ascendant or your Sun is located there. But this is not always the case: there may be a cluster of planets, or a planet may be near an angle other than the Midheaven or Ascendant. It may also be because two or three planets are considered to be very active because they form numerous aspects from these signs. Thus, you display some of the three signs' characteristics, a bit like a superposition of features on the rest of your chart, and it is all the more so if the sign is emphasized. With Scorpio as a dominant sign, you are a strong and astute person, complicated and passionate, sometimes destructive and intolerant, but strong-willed, tough and daring, sometimes bordering on aggressive. So many qualities and dangers combined in one person! Obviously, this often results in a natural selection of people around you: those who stand up to you or admire you and those who can't bear you anymore! But that is precisely what you want. You are what you are and you are not going to transform yourself just to please. You are too proud and you never dread confrontations, although your way of fighting is secret, like your nature that, mysteriously enough, you are so reluctant to reveal even to your close friends who will never understand you. That said... what a hellish charm you have! With Libra as a dominant sign in your natal chart, you love to please, to charm, and to be likeable. Moreover, you are naturally inclined towards tolerance and moderation, as well as elegance and tact, as if you were meant to please! Of course, you always find malcontents who criticize your lack of authenticity or of courage and your half-heartedness, but your aim is to be liked, and in this field, you are an unrivalled champion! Aquarius is one of the most important signs in your natal chart: it endows your personality - at least one of its facets - with originality, to the point of eccentricity, in spite of a sometimes distant and humane side. Likeable and impassive at the same time, you are a paradoxical man, very hard to define because the two planets Uranus and Saturn blend their qualities to create the so complicated and endearing sign that inspires your character. Saturn's seriousness and impassivity is added to Uranus' rebellion, talent, individualism, charisma, extravagance, and unpredictability! One of your main characteristics is that you never open up on a personal basis, but you tend to do so easily in public. You are actually quite strange. Sexy and charming in public, despite your nice and sociable character, you could frustrate many of your admirers in private because of your impossibility to show deep and warm affection, emotions, tears... But appearance and reality are two different things anyway - you are a kind of a genius, or you have at least a tremendous charm with this sign. You have many friends and an active social life. If you are detached in your love life - only in this aspect, since the rest of chart will confirm it or not - this is no big deal! After this paragraph about dominant planets, of Lazar Ristovski, here are the character traits that you must read more carefully than the previous texts since they are very specific: the texts about dominant planets only give background information about the personality and remain quite general: they emphasize or, on the contrary, mitigate different particularities or facets of a personality. A human being is a complex whole and only bodies of texts can attempt to successfully figure out all the finer points. The Moon in Aquarius: his sensitivity Your sensitivity is devoid of infatuation or carelessness, Lazar Ristovski; you belong to the cerebral type and, due to your needs for inner security and for freedom, you consider feelings and emotions as burdens. You are apparently phlegmatic and almost detached. However, your swift reactivity and your fertile imagination make you appreciate friendly gatherings with numerous and varied exchanges. You do not wear your heart on your sleeve. At first, you seem cold but those who know you are aware of your very original and unique sense of humour. Your receptiveness is remarkable. Your observation talents and your detachment work wonders in the defence of your anti-conformist and rebellious ideas. Your stubbornness is obvious and it is very difficult to make you change your mind because you are affectively too vulnerable: it would require lengthy and thorough argumentations aiming at your intellect... Mercury in Scorpio: his intellect and social life You are the very type of the researcher endowed with great intellectual and imaginative capacities, Lazar Ristovski, and your curiosity is very deep. Researches, riddles and mysteries appeal to you and with a remarkable sixth sense and intuition, you endlessly try to unearth the truth, in all areas, like a psychoanalyst or a detective. You are a very secretive and introverted person, you find it difficult to open up and you rather prefer psychoanalysis. In spite of your clear-sightedness, you find it hard to deal with people: your critical mind, tinted with irony and causticity, may be destructive, especially since your determination and your stubbornness do not incline you to giving up. You are fond of provocations and you handle contradictions skilfully even though you may come across as dishonest. Venus in Sagittarius and the Sun in Scorpio: his affectivity and seductiveness In your chart, the Sun is in Scorpio and Venus, in Sagittarius. This configuration marks an affectivity made of fire and flames and a passionate temperament. The enthusiasm of Venus in Sagittarius, ready to be filled with wonder, responds to the extremism of the Sun in Scorpio, for whom emotions are intense and enlarged. This duet finds its perfect balance only through an enriching relationship that includes a great deal of unforeseen elements and thrilling sensations. You do not accept that you couple gets bogged down in unchanging habits. You can sacrifice a comfortable and reassuring amorous routine when it is necessary to give a new momentum to your life. It is impossible to get bored in your company because moments of excitement are so frequent and your desire to discover, so vivid. You often show a wonderful enthusiasm without abandoning your peculiarities: in all circumstances, you keep your own style. Your partner must understand and support your infatuations. For you, a lasting relationship is necessarily warm, passionate, full of unforeseen events and potentialities. On the affective plane, Lazar Ristovski, you are open, straightforward, spontaneous and you make friends easily because your enthusiasm is expressed jovially, directly and is respectful of well-established moral values. In some cases, you may be opposed to your natal environment or to your family because of your taste for freedom, exoticism or all forms of independence and emancipation. Your feelings are burning and you often get carried away quickly. However, your ability to make friends easily is likely to favour some instability; in order words, faithfulness is not your top priority as long as you have not yet found your soul mate. Ideally, for you, life together must have some degree of mobility and include travels and fresh air. Within your relationship, you need to feel freedom and independence, which you need since your childhood. Under such conditions, harmony and faithfulness can be achieved. The Sun in Scorpio: his will and inner motivations Psychologically speaking, your nature is bilious, with aggressive impulses that lead you towards the transformation of your entire being and, continuously, of the situation surrounding you. You seem to be constantly struggling for your self-assertion. You cannot refrain from testing others with cutting remarks, not because you want to hurt them, but because you want to know them better through their reaction; for you, life and the feeling of aliveness are experienced through rebellion and tension. You may be manipulative and your aggressive attitude may equate with sly inquisition. You often remain silent, introverted and secretive, mulling over turbulent thoughts in the depths of your mind, leaving others puzzled by your somewhat peculiar behaviour. As you are born under this sign, you are secretive, powerful, domineering, enduring, intuitive, assertive, charismatic, magnetic, wilful, daring, clear-sighted, passionate, creative, independent, vigorous, generous, loyal, hard-working, persevering, indomitable, possessive, shrewd, stubborn, ambitious, instinctive, tenacious, sexual, sexy, proud, intense and competitive. But you may also be aggressive, destructive, stubborn, anxious, tyrannical, perverse, sadistic, violent, self-centered, complex, critical, cruel, nasty, jealous, calculating, vulnerable and dissembling. In love, Sir, you are very magnetic, with a discreet and indefinable charm that inevitably attracts the persons you set your heart on. You detect their weaknesses so well that you can, at will, exert your powers and your manipulation tendencies over them. There are no negative consequences, as long as things go well, because you are very sensual, charming, possessive and swaggering and you make happy all the people who look for this domineering aspect in their partner. However, when things start to deteriorate, your almost pathological jealousy and your capacity to harm when you feel threatened are the causes of your partners' tears. For you, passion means tension and tragedy. It is the price to be paid for sharing your sexuality loaded with unlimited fantasies, male ardour, loyalty and generosity. You are excessive, but very endearing, and your partner finds it very hard to leave you. It is preferable when things are fine between you. Mars in Capricorn: his ability to take action Lazar Ristovski, you are so resistant and so solid that you are able to cope with any challenge, any ordeal. You behave with persistence, rigour and discipline. You are so obstinate and patient that no effort is impossible to you, as if sensitivity and emotions were unable to divert you from your goals. With calm and lucidity, even coldness, you face up to things and you plan on a long-term basis. Nothing and no one can prevent you from fulfilling your responsibilities. You are a rock, a hard worker, and your iron will equals your resistance to blows. Your practical sense is at the service of your ambition which is real and energetic, even though it may not be obvious. Sexually, you are active and vigorous. If you show more warmth, you may become an excellent lover; indeed, being demonstrative is not your major concern. Conclusion This text is only an excerpt from of Lazar Ristovski's portrait. If you want to get your own astrological portrait, much more comprehensive that this present excerpt, you can order it at this page. Do you belong to the Jupiterian type, benevolent and generous? The Martian type, active and a go-getter? The Venusian type, charming and seductive? The Lunar type, imaginative and sensitive? The Solar type, noble and charismatic? The Uranian type, original, uncompromising and a freedom-lover? The Plutonian type, domineering and secretive? The Mercurian type, cerebral, inquiring and quick? The Neptunian type, visionary, capable of empathy and impressionable? The Saturnian type, profound, persevering and responsible? Are you more of the Fire type, energetic and intuitive? The Water type, sentimental and receptive? The Earth type, realistic and efficient? Or the Air type, gifted in communication and highly intellectual? 11 planetary dominants and 57 characteristics are reviewed, quantified, and interpreted; then, your psychological portrait is described in detail, in a comprehensive document of approximately 32-36 pages, full of engrossing and original pieces of information about yourself. Astrological reports describe many of the character traits and they sometimes go deeper into the understanding of a personality. Please, always keep in mind that human beings are continuously evolving and that many parts of our psychological structures are likely to be expressed later, after having undergone significant life's experiences. It is advised to read a portrait with hindsight in order to appreciate its astrological content. Under this condition, you will be able to take full advantage of this type of study. The analysis of an astrological portrait consists in understanding four types of elements which interact with one another: ten planets, twelve zodiacal signs, twelve houses, and what are called aspects between planets (the 11 aspects most commonly used are: conjunction, opposition, square, trine, sextile, quincunx, semi-sextile, sesqui-quadrate, quintile and bi-quintile. The first 5 aspects enumerated are called major aspects). Planets represent typologies of our human psychology: sensitivity, affectivity, ability to undertake, will-power, mental process, aptitude, and taste for communication etc., all independent character facets are divided here for practical reasons. The twelve signs forming the space where planets move will "colour", so to speak, these typologies with each planet being located in its particular sign. They will then enrich the quality of these typologies, as expressed by the planets. The Zodiac is also divided into twelve astrological houses. This makes sense only if the birth time is known because within a few minutes, the twelve houses (including the 1st one, the Ascendant) change significantly. They correspond to twelve specific spheres of life: external behaviour, material, social and family life, relationship, home, love life, daily work, partnership, etc. Each planet located in any given house will then act according to the meaning of its house, and a second colouration again enriches those active forces that the planets symbolize. Finally, relations will settle among planets, creating a third structure, which completes the planets' basic meanings. A set of ancient rules, which has stood the test of experience over hundreds of years (although astrology is in evolution, only reliable elements are integrated into classical studies), are applied to organize the whole chart into a hierarchy and to allow your personality to be interpreted by texts. The planets usually analysed are the Sun, the Moon, Mercury, Venus, Jupiter, Saturn, Uranus, Neptune and Pluto, which means two luminaries (the Sun and the Moon) and 8 planets, a total of 10 planets. Additional secondary elements may be taken into account, such as asteroids Chiron, Vesta, Pallas, Ceres (especially Chiron, more well-known), the Lunar nodes, the Dark Moon or Lilith, and even other bodies: astrology is a discipline on the move. Astrological studies, including astrological portrait, compatibility of couples, predictive work, and horoscopes evolve and become more accurate or deeper, as time goes by. Precision: concerning the horoscopes with a known time of birth, according to the Tradition, we consider that a planet near the beginning (called cuspide) of the next house (less than 2 degrees for the Ascendant and the Midheaven, and less than 1 degree for all other houses) belongs to this house: our texts and dominants take this rule into account. You can also choose not to take this shift into account in the form, and also tick the option Koch or Equal houses system instead of Placidus, the default houses system. Warning: In order to avoid any confusion and any possible controversy, we want to draw your attention upon the fact that this sample of celebrities is very complete and therefore, it also includes undesirable people, since every category is represented: beside artists, musicians, politicians, lawyers, professional soldiers, poets, writers, singers, explorers, scientists, academics, religious figures, saints, philosophers, sages, astrologers, mediums, sportsmen, chess champions, famous victims, historical characters, members of royal families, models, painters, sculptors, and comics authors or other actual celebrities, there are also famous murderers, tyrants and dictators, serial-killers, or other characters whose image is very negative, often rightly so. Regarding the latter, it must be remembered that even a monster or at least a person who perpetrated odious crimes, has some human qualities, often noticed by his/her close entourage: these excerpts come from computer programmes devoid of polemical intentions and may seem too soft or lenient. The positive side of each personality is deliberately stressed. Negative sides have been erased here - it is not the same in our comprehensive reports on sale - because it could hurt the families of such people. We are hoping that it will not rebound on the victims' side. Numerology: Birth Path of Lazar Ristovski Testimonies to numerology are found in the most ancient civilizations and show that numerology pre-dates astrology. This discipline considers the name, the surname, and the date of birth, and ascribes a meaning to alphabetic letters according to the numbers which symbolise them. The path of life, based on the date of birth, provides indications on the kind of destiny which one is meant to experience. It is one of the elements that must reckoned with, along with the expression number, the active number, the intimacy number, the achievement number, the hereditary number, the dominant numbers or the lacking numbers, or also the area of expression, etc. Your Life Path is influenced by the number 8, Lazar, which indicates that your destiny hinges on financial successes, material undertakings, and power seizing. It is a path full of successes and failures, fortune and reversals of fortune. You must strive to control your thirst for material goods, and try to practice tolerance. Great achievements are possible if you choose a career in any sort of trade or business. This is how your qualities are likely to be best expressed: management abilities and above-average commercial sense. Traditionally, the number 8 is believed to favour material and financial matters such as asset management, investments, commercial negotiations, as well as social power. All these elements are most likely to be found at the centre of your life. Your thirst for power, added to some degree of bad luck, constitutes one of the major hurdles blocking your way. However, your determination, added to a deep spirit of conciliation, turns the number 8 into a very fulfilling one, that of extraordinary successes. Lazar Ristovski was born under the sign of the Dragon, element Water Chinese astrology is brought to us as a legacy of age-old wisdom and invites us to develop an awareness of our inner potential. It is believed that the wise man is not subjected to stellar influences. However, we must gain the lucidity and the distance without which we remain locked up in an implacable destiny. According to the legend of the Circle of Animals, Buddha summoned all the animals to bid them farewell before he left our world. Only twelve species answered Buddha's call. They form the Chinese Zodiac and symbolize the twelve paths of wisdom that are still valid nowadays. The Asian wise man considers that a path is neither good nor bad. One can and must develop one's potentialities. The first step is to thoroughly know oneself. At first sight, your personality is outstanding: in situations where other people would prefer the security and the tranquillity of a life devoid of risk, you choose challenges, even though there is some degree of uncertainty and latent conflicts. You do not pay much attention to your life's limitations, therefore, you may be unrealistic and you do not hesitate to fully express your intentions and ambitions. Of course, the danger is that you think big, too big. You may attempt to conquer a chimera and show an excessive idealism. Nevertheless, your energy is attractive and your infectious enthusiasm can overcome many a hurdle. As we all know, faith can move mountains! It seems difficult to stand up to you because you determination is very strong and your will, inflexible. There is a propensity to think little of other people's opinion but it is important that you control this natural tendency... On the interpersonal plane, you often seek attention and you want to play a central role. You willingly give pieces of advice and instructions but you may forget to show diplomacy. Your prevailing strength of character can take you a long way. You brush aside obstacles, one after the other and better than anyone else, you reach your aims and you achieve exceptional success. Actually, wrongly or rightly, you can imagine your destiny only with brilliant and spectacular colours, in a word... grandiose! Chinese astrology has five elements, which are referred to as agents: Wood, Fire, Earth, Metal and Water. You have a deep affinity with the agent Water. In China, this element corresponds to the planet Mercury, the black colour and the number 6. You are particularly sensitive to your surroundings, the atmosphere of a place and the climate of a meeting. Your high receptivity allows you to perceive naturally the stakes underlying people and situations. You are reserved by nature, you favour emotions and inner life, leaving challenges and audacity to other people. You frequently maintain a certain distance and you share your true feelings with few intimate friends only. It is probably because you know that genuine communication is a difficult exercise. Everything in your realm is sheer subtlety and nuance. The danger is that you may escape realities and indulge in indolence without fulfilling your responsibilities. This is the other side of the coin of your extraordinary sensitivity and your exceptional clear-sightedness. You feel in tune with few people. However, this selectivity forges relationships that are long-lasting because they are natural and genuine. N. B.: when the birth time is unknown, (12:00 PM (unknown)), these portrait excerpts do not take into account the parameters derived from the time, which means, the domification (Ascendant, astrological houses, etc.). Nonetheless, these analyses remain accurate in any case. Regarding the sources of the birth data in our possession, kindly note that the pages we publish constitute a starting point for more detailed research, even though they seem useful to us. When the sources are contradictory, which occurs rarely, after having analysed them, we choose the most reliable one. Sometimes, we publish a birth date just because it is made available, but we do not claim that is it the best one, by no means.
1053	dbpedia	1	25	https://www.hhv.de/shop/en/records/item/the-new-mastersounds-the-deplar-effect-black-vinyl-edition-981659	en	The New Mastersounds - The Deplar Effect Black Vinyl Edition	https://a3.cdn.hhv.de/it…nyl-edition.webp	https://a3.cdn.hhv.de/it…nyl-edition.webp	[ "https://www.hhv.de/assets/flags/de-98c0fbdd173d92b47e9b3dc12b71b3f097ac05494ad74c08209f782300606262.svg", "https://www.hhv.de/assets/flags/us-95e6c6907299c8544e28d4d733f661a1fef34d6f58ff72dd266ada95de169320.svg", "https://www.hhv.de/assets/flags/fr-bd089a52492b4788e547e14e690a7f9f21e081428d627d9a434bdfa7d54bc380.svg", "https://www.hhv.de/assets/flags/gb-aa63a7657ee4ee03214be4e3cbb703bb96f6fae01fb3c5ec85f417b6c977b705.svg", "https://www.hhv.de/assets/flags/at-275cfd6140e7b5d0ccbc4f43e0e97248500f2b730281b2f37fe56afb70091b27.svg", "https://www.hhv.de/assets/flags/ch-92b520ce03a0d3d92e62444293309a93e1addb73c5c54726371de1687a98b8c9.svg", "https://www.hhv.de/assets/flags/nl-eb64a6114cc5fb301847b50018ae7f08ec6dda2f8f5af17d538445a3163d0685.svg", "https://www.hhv.de/assets/flags/be-8cc43e9484024d5bd953cb55bb33df889c09d8c914103de87ffd61dbfb2fb3f5.svg", "https://www.hhv.de/assets/flags/it-d0aecd72d57a1557c89dd6de943fbc3063a6818eeff84d17cfe2ef3678ac7c10.svg", "https://www.hhv.de/assets/flags/es-3df9dee4dfa32ec7280084aac1e441be5096c6f6b4778ea2010dba2d69b37846.svg", "https://a3.cdn.hhv.de/items/images/generated/475x475/00981/981659/1-the-new-mastersounds-the-deplar-effect-black-vinyl-edition.webp", "https://a3.cdn.hhv.de/items/images/generated/475x475/00981/981659/2-the-new-mastersounds-the-deplar-effect-black-vinyl-edition.webp", "https://a3.cdn.hhv.de/items/images/generated/970x970/00981/981659/1-the-new-mastersounds-the-deplar-effect-black-vinyl-edition.webp", "https://a3.cdn.hhv.de/items/images/generated/970x970/00981/981659/2-the-new-mastersounds-the-deplar-effect-black-vinyl-edition.webp", "https://a3.cdn.hhv.de/items/images/generated/70x70/00981/981659/1-the-new-mastersounds-the-deplar-effect-black-vinyl-edition.webp", "https://a3.cdn.hhv.de/items/images/generated/70x70/00981/981659/2-the-new-mastersounds-the-deplar-effect-black-vinyl-edition.webp" ]	[]	[]	[ "" ]	null	[ "www.hhv.de" ]	null	Shop "The New Mastersounds - The Deplar Effect Black Vinyl Edition - Vinyl 2LP - 2023 - US - Original" at the HHV Online Shop – large selection ✓ fast delivery ✓ worldwide shipping	en	/assets/apple-touch-icon-627df3bfc7cfc6c7da47b0d25c73ec1c5186e58fcd197596b0a7e812829912da.png	hhv.de	https://www.hhv.de/shop/en/records/item/the-new-mastersounds-the-deplar-effect-black-vinyl-edition-981659
1053	dbpedia	2	26	https://www.planetmellotron.com/revr6.htm	en	Planet Mellotron Album Reviews: R6			[ "https://www.planetmellotron.com/images/tronlogo2.gif", "https://www.planetmellotron.com/images/reviewsbig.gif", "https://www.planetmellotron.com/images/r.gif", "https://www.planetmellotron.com/images/6.gif", "https://www.planetmellotron.com/images/fill.gif", "https://www.planetmellotron.com/images/reviews.gif", "https://www.planetmellotron.com/images/albums.gif", "https://www.planetmellotron.com/images/rion-hotaru.jpg", "https://www.planetmellotron.com/images/riosmiguel-cancion.jpg", "https://www.planetmellotron.com/images/riosmiguel-memorias.jpg", "https://www.planetmellotron.com/images/riosmiguel-huerta.jpg", "https://www.planetmellotron.com/images/riosmiguel-alandalus.jpg", "https://www.planetmellotron.com/images/risingshadows-finis.jpg", "https://www.planetmellotron.com/images/ristovskilaza-roses.jpg", "https://www.planetmellotron.com/images/ritchiejean-none.jpg", "https://www.planetmellotron.com/images/ritterjosh-so.jpg", "https://www.planetmellotron.com/images/riverdanya-bone.jpg", "https://www.planetmellotron.com/images/rivestjacquestom-jacques.jpg", "https://www.planetmellotron.com/images/roadmaster-sweet.jpg", "https://www.planetmellotron.com/images/roadmaster-hey.jpg", "https://www.planetmellotron.com/images/robertsandy-homegrown1.jpg", "https://www.planetmellotron.com/images/robertsandy-homegrown2.jpg", "https://www.planetmellotron.com/images/robertsonrobbie-music.jpg", "https://www.planetmellotron.com/images/rocchiclaudio-volo1.jpg", "https://www.planetmellotron.com/images/rocchiclaudio-volo2.jpg", "https://www.planetmellotron.com/images/roche-valise.jpg", "https://www.planetmellotron.com/images/previous.gif", "https://www.planetmellotron.com/images/next.gif" ]	[]	[]	[ "" ]	null	[]	null			favicon.ico		null	Rion Miguel Ríos Rising Shadows Laza Ristovski Jean Ritchie Josh Ritter Danya River Jacques Tom Rivest Roadmaster Andy Roberts Robbie Robertson Claudio Rocchi Roche Amy Rigby (US) see: Samples etc. Rilo Kiley (US) see: Samples etc. LeAnn Rimes (US) see: Samples etc. Rion (Japan/UK) Hotaru (2013, 45.04) */T½ Hotaru Let Me Sing You a Song of Kindness Hope Hanabi Spirits Current availability: Hibernate Mellotron used: Unknown Rion are the duo of Ian Hawgood and Ryo Nakata, whose Hotaru (a transliteration of the kanji - translates to Fireflies) is an experimental, avant-drone album, for want of a better description. No discernible tunes, but that's quite certainly the point. It would take better ears than mine to spot any noticeable difference between the tracks, mostly comprising treated harmonium, guitar and tape effects, all subjected to Nakata's laptop manipulation. Hawgood plays Mellotron on two tracks: the upfront flutes on Hope, stuck through a delay, sound real enough, although the background ones on Hanabi (Fireworks) could just as easily be sampled. Given that the album was recorded over a three-year period, that's quite possibly the case, I suppose. Not the easiest of listens then, with one decent Mellotron track. Miguel Ríos (Spain) 7" (1973) /TTTT½ Canción Para un Nuevo Mundo El Furgón Llamado Canguro Memorias de un Ser Humano (1974, 40.25) /T Viviras Tanto... (Como Tantas Ganas Tengas de Vivir) El Juglar La Mina Buenos Dias Por Si Necesitas Sweet California Desde Mi Ventana Memorias de un Ser Humano La Huerta Atómica: Un Relato de Anticipacion (1976, 47.23) ½/TTTT Entre Arboles y Aviones Una Casa en la Guerra Buenos Dias, Superman Yankee Johnny Bienvenida, Katherine La Huerta Atómica (Un Relato de Anticipacion) Una Siesta Atomica Instrucciones a la Poblacion Civil El Consultorio Atomico de la Sr.a Pum El Carnaval de los Espectros (I) La Burbuja Antirreaccion La Cancion del Megacristo El Carnaval de los Espectros (II) Por el Hombre Futuro El «Dulce» Despertar Al-Andalus (1977, 38.11) /T Al-Andalus Azahara Un Día en Mojácar parte I - Con Chipo parte II - La Muerte Verde Balada de la Alondra y el Gavilán El Cinco a las Cinco: Convocatoria Para un Homenaje, Junio 76 Guadalquivir La Blanca Oscuridad (Basado en "Recuerdos de Alhambra") Current availability: Canción: on Como el Viento: Parlophone All other titles: on Vol. 3: Historia de un Ser Humano: Rama Lama Mellotrons used: Canción: Teddy Bautista's M400 Other titles: unknown It's difficult to find any info on artists like Miguel Ríos in any language other than their own and my Spanish isn't exactly up to scratch (ha!), so going by discographies I've seen, I'm making something of an assumption in saying that I think Ríos was/is a 'popular singer' in Spain, who took a minor diversion into sort-of prog territory in the mid-to-late '70s, when Spain's slightly late progressive scene was at its peak. 1973's Canción Para Un Nuevo Mundo is that rarest of things, a genuinely progressive rock single (six minutes long, well before Bo Rhap, folks), complete with massed choirs, several sections, classical quotes (seems it's based on a piece by Dvořák)... This is completely potty and all the better for it, while the flip, El Furgón Llamado Canguro, is a short, (good) synth-laden ballad. Of course, we get completely OTT Mellotron strings on the 'A' (mixed with brass on the intro?), cellos and flutes all over the thing from Canarios' Teddy Bautista in exceedingly pleasing style, with huge, lush strings all over the flip, just for good measure. A classic! 1974's Memorias de un Ser Humano is the first full album of Ríos' 'progressive period', although much of its material (Buenos Dias, Por Si Necesitas) contains elements of Mediterranean string-laden balladry. Best tracks? Probably El Juglar, the pumping La Mina (complete with brass and girly chorus) and the closing title track, but the whole is slightly underwhelming, if I'm going to be perfectly honest. Keys man Mariano Diaz plays uncredited Mellotron, with a tricky flute part on El Juglar, underlaid with cello, but all the album's string parts are real. 1976's La Huerta Atómica is obviously a concept album of sorts, presumably referring to nuclear war. The music is a rather mainstream version of the Spanish progressive sound, although it has its moments, including the more tuneful parts of La Huerta Atómica itself. On the Mellotron front, Diaz again uses strings pretty heavily, which makes a nice change for a Spanish LP. Flutes and choirs (Bienvenida, Katherine) can also be heard, but surprisingly, the title suite on side two has rather less Mellotron than the bulk of the first side. Top track has to be the anti-American rant Yankee Johnny, intoned in English, with shedloads of Mellotron strings all over the thing. Ríos' last 'progressive period' release, 1977's Al-Andalus, was a superb coda to his experimental phase, shifting between the Arabic scales of the opening title track (going by the font used on the sleeve, there's clearly a link here) to the near-zeuhl of Azahara, the rhythmically complex Un Día En Mojácar, the brass-driven, fusionesque Balada De La Alondra Y El Gavilán and the not-exactly-balladic closer La Blanca Oscuridad. Luis Fornés plays uncredited Mellotron strings, used heavily, on La Blanca Oscuridad, wrapping up yer man's prog period neatly. It seems, superb '73 single aside, Ríos' progressive albums got better as he developed his style; Memorias de un Ser Humano is nothing special, while Al-Andalus is excellent. Mellotronically speaking, however, only that single and La Huerta Atómica are really worth the effort; the only thing stopping the album getting a higher 'T' rating is a slight lack of imagination in its use. Now it's available on CD, you can avoid paying as much as I did for a knackered vinyl copy that looked fine in a dimly-lit Barcelona shop. Rising Shadows (Sweden) Finis Gloriae Mundi (2011, 40.01) ½/T The Diluvian Empire And the Avarice Union of the Fixed and the Volatile Melencolia I Dissolving the Fabric of Time Fearless Amnesia Revealed Eschaton Wheel of Fire (the City of the Horizon) Finis Gloriae Mundi Current availability: Twilight Mellotron(s) used: Roth Händle M400(s) Rising Shadows are the neofolk/neoclassical duo of multi-instrumentalist Fredrik Klingwall (Anima Morte) and vocalist Linda-li, whose third album, 2011's Finis Gloriae Mundi (Ends the Glory of the World), is a record of quiet Nordic beauty interspersed with more rhythmic elements on a few tracks (notably Dissolving The Fabric Of Time). I'm reminded of Dead Can Dance in places, which I've subsequently discovered to be a fairly unoriginal observation, although, by and large, the duo have their own sound; I can't imagine Brendan and Lisa recording anything like Finis Gloriae Mundi itself. Klingwall plays Mattias Olsson (Änglagård)'s Mellotrons, although the only definite sightings are the upfront choir and background strings on Union Of The Fixed And The Volatile and the quiet flutes on Eschaton. Is there more of it on here, Mattias? Anyway, shockingly, at the time of writing, this is available as a free download on the band's site, so get in while you can. More darkwave (i.e. goth) than anything else, this should also appeal to many progressive fans, or at least the ones whose horizons stretch further than tired neo-prog retreads. See: Anima Morte Laza Ristovski (Yugoslavia) Roses for a General (1984, 39.40) /T½ The Green Coast Puzzles Figueras Soul Exercise The First Rose Old Places Current availability: 2-on-1 with Vojnički Dani: PGP RTS Mellotron used: Ristovski's own M400 Laza Ristovski was an on/off member of top Yugoslav/Serbian outfits Smak and Bijelo Dugme throughout the '70s and '80s, also playing with Alvin Lee, Chris de Burgh and other European artists. Although Smak are rumoured to have used a Mellotron, it's nowhere to be found on the only album of theirs on which he played, although he did play one on Laza i Ipe's Stižemo (with Ipe Ivandić) in 1978. Roses for a General was his fourth solo album, where he took the unusual step of recording an instrumental progressive synth-pop record with jazz influences (!), which probably did well in his home country and, er, less well elsewhere. In fairness, he took chances musically, not least the strident polysynth part in The First Rose and the Hammond solo in Old Places, although the bulk of the album suffers from a rather samey sound. Another unexpected feature of the album (OK, you expected it, or it wouldn't be here) is Ristovski's occasional Mellotron use, with flutes and strings on Puzzles and a beautifully upfront flute part on closer Old Places, the least 'pop' track here. Roses for a General doesn't appear to be available on CD and probably isn't worth paying very much for on vinyl, although it does have one very nice Mellotron track. As a sad addendum, Ristovski died in late 2007 at the age of 51, having suffered from MS for some years. See: Laza i Ipe \| Smak Les Rita Mitsouko (France) see: Samples etc. Jean Ritchie (US) None But One (1977, 38.08) /T½ Fair Nottamun Town Too Many Shadows Black Waters None But One The Orphan's Lament Flowers of Joy See That Rainbow Shine The Riddle Song Sweet Sorrow in the Wind Wondrous Love Now is the Cool of the Day Current availability: 2-on-1 with High Hills & Mountains: Greenhays (US) Chamberlin used: Unknown Jean Ritchie (1922-2015), during her lengthy career, became known as 'the mother of folk', having recorded countless albums of folk and folk-inspired music. At the time of writing, Ritchie is not only still living (aged 85), but performing, putting her in the Pete Seeger league of musical longevity. As much as for her singing, she's known as one of America's chief exponents of the lap dulcimer, as against the better-known hammer version. Her first album, Traditional Songs of Her Kentucky Mountain Home, was recorded at the dawn of the long-playing era, in 1952 and while her recorded output has slowed from the '70s on, her most recent album appeared in the late '90s and it's presumably not inconceivable that she may record again. 1977's None But One was something like Ritchie's 24th album, appearing on the Sire label, making her a contemporaneous label-mate of The Ramones. I wonder what she thought? Label boss Seymour Stein obviously had the breadth of vision to sign both artists, though, which has to be applauded. None But One is a mix of more obviously traditional folk songs (the beautiful old English ballad Fair Nottamun Town, the title track) and countryish material (Too Many Shadows, See That Rainbow Shine), with a modern backing in places. Some listeners may find Ritchie's delivery a bit old-fashioned, but given that she was in her twenties before she even heard the radio, it's highly commendable that she allowed producer Al Steckler to foist so many modern influences on her music. Ron Frangipane's Chamberlin can be heard on a few tracks, starting with an ethereal flute line on opener Fair Nottamun Town, with what I presume is a background Chamby strings part on The Orphan's Lament. It's real recorders on The Riddle Song (sorry, I can't hear this without thinking of the scene in National Lampoon's Animal House), but those strings crop up again on Sweet Sorrow In The Wind, although that would appear to be it. This is a lovely album that neatly straddles the divide between 'traditional' and 'modern' folk, where the last two a capella tracks rub shoulders with country- and folk-rock material without getting into a scrap. Thankfully, it's available on CD as a two-on-one with the considerably later High Hills & Mountains, although its Chamberlin content is too low to really be worth bothering with. Buy it anyway. Josh Ritter (US) So Runs the World Away (2010, 53.39) /T½ Curtains Change of Time The Curse Southern Pacifica Rattling Locks Folk Bloodbath Lark Lantern The Remnant See How Man Was Made Another New World Orbital Long Shadows Current availability: Pytheas Mellotron used: Unknown Josh Ritter is a singer-songwriter with an Americana bent from the old school, so no nasty, breathy 'confessional' vocals here, or slick, polished, glossy production tricks. 2010's So Runs the World Away (Hamlet quote) is a decent, if not outstanding album, highlights including Folk Bloodbath, which channels the well-known legend of Stagger Lee/Stackolee, the lengthy Another New World and the Dylanesque Orbital. Sam Kassirer plays Mellotron on four tracks, with a polyphonic cello part on Lark and strings on The Remnant and Another New World, although there's nothing obvious on Orbital. Overall, partially worth hearing, although at over fifty minutes, this could actually have been improved by some judicious editing, I suspect. Anyway, not bad album, passable Mellotron use. Official site Ritual (Sweden) see: Samples etc. Danya River (US) Bone By Bone EP (2004, 19.21) /0 Fishing Bone By Bone Clean Money Stir My Honey Excalibur Current availability: Self released Mellotron used: Wil Masisak's M400 Danya River comes from a new-agey musical family, so it's no surprise that her Bone By Bone EP sits in slightly jazzy/bluesy folk territory, probably at its best on its title track and closer Excalibur, her more rhythmic material doing little for this listener. Wil Masisak is credited with Wurlitzer and Mellotron on Stir My Honey; well, the former's present and correct, but the Mellotron? Like some other recordings Wil's played on, it seems to've been mixed out, although he still gets the credit. A pleasant enough listen, then, but no Mellotron. Official site Johnny Rivers (US) see: Samples etc. Jacques Tom Rivest (Québec) Jacques Tom Rivest (1979, 40.46) ½/TT½ Dimanche La Langue de Son Pays Voyage au Tibet Clown d'un Soir Messager du Temps Toujours Plus Haut La Nuit Trouver Ma Liberté Laisse Toé Donc Aller Current availability: ProgQuebec (Canada) Mellotron used: Unknown Jacques Tom Rivest was a mainstay of excellent Québecois proggers Pollen (one self-titled album, no Mellotron), releasing his eponymous solo debut in 1979. It's less 'progressive' than 'singer-songwriter' with a folky edge, although some tracks stray into semi-symphonic territory, not least Voyage Au Tibet and La Nuit. Even the more straightforward numbers hold the listener's interest, though, making this an adjunct to the Québecois prog scene, if not an integral part of it. Mellotron on most tracks from either Rivest himself, Claude Lemay or Richard Lemoyne, with strings and an unusual Mellotron sax melody on La Langue De Son Pays, with more strings on Voyage Au Tibet, choirs on Clown D'Un Soir and Toujours Plus Haut, with more strings and choirs on Trouver Ma Liberté, although little of the Mellotron work (excepting the sax part) breaks any new ground. But then again, why should it? It provides a decent strings and/or choir backdrop to several tracks, sounding a whole lot better than the string synth that crops up here and there. So; not exactly prog per se, but proggish, with a good selection of songs; something many prog outfits could learn from, I feel. Decent music, not bad Mellotron, worth hearing. Rivulets (US) see: Samples etc. Roadmaster (US) Sweet Music (1978, 37.34) /TT It Doesn't Mean a Thing I Must Be Dreaming Ya Move Me Been Gone Too Long I'll Be Lovin' You The Swan Song You Come See Me Higher, Higher Circle of Love Sweet Music Hey World (1979, 34.48) ½/TT Hey World My Eyes Have Been Opened I'm on My Way Never Say Goodbye Us Comin' Back Say You Wanna Be With Me Rainbow Waterfall Looking for the Day Good to Be Back Home Current availability: Both titles: Rock Candy (UK) Mellotrons used: Band's own M400? Roadmaster (presumably named for Buick's iconic car) released their Mellotron-free eponymous debut in 1977, following up the following year with Sweet Music. The album seems to be revered in some quarters as a 'pomp classic', but all I hear is a fairly lightweight AOR effort with a few pomp tropes, notably on the two longest tracks, Higher, Higher and the closing title track, easily the best thing here. The rest of the album's made up of mainstream AOR (opener It Doesn't Mean A Thing), half-hearted rock'n'roll (I Must Be Dreaming) and Clavinet-and-(real)-strings driven pop (I'll Be Lovin' You), best avoided all round. Keys man Michael Read adds Mellotron to a few tracks, with strings on It Doesn't Mean A Thing, Higher, Higher, Circle Of Love and the title track, partially doubled with synth. Barely scrapes three stars and those only for Sweet Music itself. '79's Hey World lacks its predecessor's attempts at chart-pop, but also lacks its sparse pomp delights, the most progressive things here being the Rainbow Waterfall/Looking For The Day segue, along with the opening title track and Say You Wanna Be With Me's nice multi-synth parts, but we're clutching at straws... The rest of the record's split between the expected AOR tosh, bad rock'n'roll and worse ballads, so it lacks even Sweet Music's highlights. Read's Mellotron work encompasses flutes and strings on I'm On My Way, strings on Say You Wanna Be With Me and strings, flutes and choir on Rainbow Waterfall, so no more overall than on Sweet Music. The rumoured Mellotron on their last album, 1980's guitar-heavy Fortress, turns out to be just that - rumoured - with Read restricted to organ and a smattering of synth. Neither of the above albums is exactly earth-shattering, although both have their moments, including Mellotronic ones, though not enough to make them worth shelling out serious dosh. Roadside Graves (US) see: Samples etc. Missy Roback (US) see: Samples etc. Robbers on High Street (US) see: Samples etc. Janet Robbins (US) see: Samples etc. Andy Roberts (UK) Home Grown (1970, 48.24) *½/T½ Home Grown Just for the Record Applecross The Praties Are Dug John the Revelator Autumn to May Moths and Lizards in Detroit Creepy John Jello Gig Song Queen of the Moonlight World Where the Soul of Man Never Dies The One-Armed Boatman and the Giant Squid Boris at the Organ Home Grown (1971, 38.55) /T½ Home Grown Just for the Record Applecross John the Revelator Moths and Lizards in Detroit Creepy John Gig Song Queen of the Moonlight World Lonely in the Crowd The One-Armed Boatman and the Giant Squid Current availability: Version 1: Strange Days (Japan) Version 2: all tracks on Just for the Record: The Solo Anthology 1969-76: Sanctuary Mellotron used: Unknown Andy Roberts is a British folkie/singer-songwriter type who has spent a chunk of his career in one version or another of Plainsong, playing with ex-Fairporter Iain Matthews, participating in various versions of The Bonzos, even playing in Pink Floyd's 'surrogate band' on The Wall tour... You name it, he's done it. He's managed to squeeze in a few solo albums over the years, too, principally in the early '70s, of which Home Grown is the first. Confusingly, it's been available in two different versions, a 14-track RCA issue in 1970 and a 10-tracker on B&C the following year, with the latter having been remixed, whilst losing five tracks and adding one. Confused? It seems the original version is now out on CD, while all tracks from the latter are on Just for the Record, a compilation of Roberts' work. So, wossit (or they) like? Er, countryish folk rock, by and large and not in a terribly exciting way, to be honest. Perfectly competent, just not very... exciting. The title track is amusing enough, as you might expect from the title, while Gig Song tells it exactly how it is on the road, but the album's two Mellotron tracks are also its finest: Queen Of The Moonlight World is nearer folk than country, with a lovely MkII strings part, utilising that machine's smooth-as-a-baby's-bum pitchbend extensively, while The One-Armed Boatman And The Giant Squid is a lengthy proggish folk effort with several MkII brass parts added to liven it up. Notably, the original version of the album is better than the shortened re-issue; why do record companies do this? This isn't actually worth it for its Mellotron work, so I wouldn't splash out too much unless you're into UK country/folk. Incidentally, Roberts spent a short time in '71 in Everyone, recording one album with some minor Mellotronic input. Official site See: The Bonzo Dog Band \| Everyone \| Liverpool Scene Justin Roberts (US) see: Samples etc. Robbie Robertson & the Red Road Ensemble (Canada) Music for the Native Americans (1994, 54.30) /½ Coyote Dance Mahk Jchi (Heartbeat Drum Song) Ghost Dance The Vanishing Breed It is a Good Day to Die Golden Feather Akua Tuta Words of Fire, Deeds of Blood Cherokee Morning Song Skinwalker Ancestor Song Twisted Hair Current availability: Capitol Chamberlin used: Unknown The half-Mohawk Robbie Robertson (The Band, of course) was asked to compose some music for a TV series about the Native American people, releasing the results as Music for the Native Americans. It's an intriguing mixture of authentic chants and drumming with modern instrumentation, although Robertson over-eggs the pudding on most tracks, laying down too many contemporary keyboards, not allowing the real voices on the record enough space. The sleevenotes are actually more interesting than the music, painting a grim picture of the incalculable damage caused by the 19th-century white American to an ancient and traditional way of life; all the more tragic given the state of the 'red man' now, not to mention how similar damage is still being wrought across the world. Unfortunately, in his efforts to make Native American music palatable to 'Western' ears, Robertson seems to have created a new and not entirely welcome genre: Native American AOR. Although some of the musical backing is sympathetic, much of it is deeply unnecessary, knocking a whole star off the album's rating. The album's presence here is explained by the Chamberlin on opener Coyote Dance, played by Bill Dillon, with some faint choirs hidden amongst the plethora of programming, a.k.a. don't get too excited. So; that rarity, a pop or rock album that gives a voice to the Native American - pity it isn't a little better, although I feel rather churlish for running it down. Anyway, very little tape-replay, so don't bother on that account. See: The Band Anthony Robustelli (US) see: Samples etc. Robyn (Sweden) see: Samples etc. Claudio Rocchi (Italy) Volo Magico N. 1 (1971, 36.22) /T Volo Magico La Realtà Non Esiste Giusto Amore Tutto Quello Che Ho da Dire Current availability: Sony Mellotron used: Unknown Ex-Stormy Six bassist Claudio Rocchi released his second album, Volo Magico N. 1, in 1971, playing contrasting styles on opposite sides of the LP, with a side-long jammed-out piece on the first side and three more straightforward singer-songwriter tracks on the reverse. This is actually only borderline progressive, to be honest, with Volo Magico being more late-period psych and none of the shorter tracks having enough complexity to really qualify. However, none of them are bad at what they do, although it all sounds a bit trippy to my ears and probably won't appeal to your average fan of the Italian '70s progressive scene. Mellotron from Eugenio Pezza, with a woodwind instrument (oboe?) line on closing ballad Tutto Quello Che Ho Da Dire (probably the album's best track), complete with giveaway key-click (thanks to Hubert for pushing me to reassess this one), although the strings on the side-long Volo Magico itself are real. So; OK album, mediocre Mellotron, not really for progheads at all. And for what it's worth, yes, there was a Volo Magico n. 2, although its main title was La Norma del Cielo. See: Stormy Six Roche (France) La Valise de Rêve (1974, 32.55) **/TTTT La Valise de Rêve Dis-moi Jouer le Jeu Coloré dans tes Yeux La Mélancolie du Dimanche Après-Midi Le Cavalier des Vagues O Viens Maggy M'a Dit Londres Auprès de Vous Final Current availability: Big Pink Mellotron used: Unknown I believe 1974's La Valise de Rêve was Roche's only album, although information on the band isn't particularly forthcoming. They were a five piece, led by vocalist/pianist Patrick Roche, including some ex-Heldon guys, generally described as 'progressive', although tracks like the rock'n'roll of Jouer Le Jeu and the near-chanson of Londres give the game away; this is basically a singer-songwriter effort in a progressive style, like quite a few French (and French-language) 'prog' albums. It's far from being a bad record, highlights including Le Cavalier Des Vagues and Final, but the overall vibe borders MOR a little too closely for comfort.
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1053	dbpedia	0	29	https://sfbgarchive.48hills.org/topic/presidio/	en	Presidio Archives — San Francisco Bay Guardian Archive 1966–2014	https://48hills.org/wp-c…3/48carat144.png	https://48hills.org/wp-c…3/48carat144.png	[ "https://sfbgarchive.48hills.org/wp-content/uploads/sites/2/20200321fc1f1f28-f82f-c2f6-a6e9-a149ea964eba.png", "https://48hills.org/wp-content/uploads/2019/01/48hillslogowtagline-3.svg", "https://sfbgarchive.48hills.org/wp-content/uploads/sites/2/4902-music_steppin.jpg", "https://sfbgarchive.48hills.org/wordpress/wp-content/uploads/sites/2/o.myers-59.jpg", "https://sfbgarchive.48hills.org/wp-content/uploads/sites/2/4902-food_tablehopper.jpg", "https://sfbgarchive.48hills.org/wp-content/uploads/sites/2/4841_Food_Weeknighter.jpg", "https://sfbgarchive.48hills.org/wp-content/uploads/sites/2/4839-film_coherence_em.jpg", "https://sfbgarchive.48hills.org/wp-content/uploads/sites/2/lfilm36.jpg" ]	[]	[]	[ "" ]	null	[]	2014-10-07T17:20:34+00:00		en	https://48hills.org/wp-c…3/48carat144.png	San Francisco Bay Guardian Archive 1966–2014	https://sfbgarchive.48hills.org/topic/presidio/	Film listings are edited by Cheryl Eddy. Reviewers are Kimberly Chun, Dennis Harvey, Lynn Rapoport, and Sara Maria Vizcarrondo. For rep house showtimes, see Rep Clock. OPENING Advanced Style Many successful blogs have been turned into books, but few make the leap to film. Street-style photographer Ari Seth Cohen’s online album of fashionable elders translates well to the big screen, as without exception all of the women featured in Lina Plioplyte’s doc are vivacious, quotable (“I’m an artist, and my art is dressing!” “Good style improves the view for everybody!”), and — obviously — wonderfully, uniquely put together. Although at least one subject, 80-year-old Joyce, is wealthy (witness her to-die-for vintage Chanel purse collection), the rest of the women eschew designer for the most part; one owns a vintage store (“Sometimes I’m building an outfit for seven years!”), one owns a boutique (“You either have it, or you don’t … but you can learn it!”), and others are artists, including a former Apollo theater dancer. All are close with Cohen, an access point that allows Advanced Style to dig beyond fabulous hats and into end-of-life issues, including health concerns among the women and their aging spouses. But mostly, this is an upbeat, inspiring look at women who are embracing their later years — and looking rather fab doing it. (1:12) Elmwood, Presidio. (Eddy) Alexander and the Terrible, Horrible, No Good, Very Bad Day In this Disney comedy based on the Judith Viorst children’s book, Steve Carell and Jennifer Garner star as parents to an 11-year-old struggling through, well, see title. (1:22) Marina. Björk: Biophilia Live Those who saw one of Björk’s mind-boggling, futuristic spaceshows for her most recent full-length Biophilia — performed at only a handful of intimate venues around the world — know the specialness of that experience. At the shows, Björk, everyone’s favorite chirping Icelandic wood-fairy, stood on relatively diminutive stages surrounded by a chilling blonde choir while a Tesla coil vibrated electric shocks of purple lightning. Now those who missed out on these very-special-Björk-moments have the luxury of viewing the full show with concert film Bjork: Biophilia Live. The album was heavily based around imaginative musical apps created for it, making the film an interactive experience as well (play along at home!) The film showcases the complete experience of Biophilia, which touches on nature, music, and technology, during Björk’s showing at London’s Alexandra Palace in 2013. While it would have been nice to see a few behind-the-scenes moments, Biophilia Live still brings up close rushes of electrifying sounds, glittering visuals, and a poufy red-orange cotton candy wig floating delicately above Bjork’s cherubic face. (1:37) Roxie. (Emily Savage) Dead Snow 2: Red vs. Dead Beginning moments after the events of the original 2009 Dead Snow, Tommy Wirkola’s sequel has that film’s sole survivor, Martin (Vegar Hoel), fleeing the resurrected Nazi invaders who laid waste to his seven fellow med school students on their holiday weekend. Crashing his car en route, he wakes up in the hospital, where there’s some good news — he’s alive — but also plenty of bad. For one thing, the infected arm he sawed off to escape zombie-bite infection has been replaced; that would be good, if he weren’t now the bearer of an arm belonging to none other than the nefarious Col. Herzog (Orjan Gamst); naturally, the limb has a malevolent mind of its own. Plus, the authorities laugh off his story of undead Nazi attackers, naturally assuming that he killed his friends himself. Worse still, Martin figures out that Herzog and company won’t stop killing (and “turning”) the living until they’ve conquered a sleepy town some miles away — thus completing their direct orders from Hitler 70 years ago. The first film took its time revealing the outrageous premise, poking along as a conventional slasher until turning into an increasingly berserk, hilarious black comedy midway. This follow-up makes an all-too-predictable mistake: It starts out at “over-the-top,” leaving the movie nowhere to go but further into slapstick gore and bad-taste jokes, all scaled bigger but just half as funny as before. (There’s also the really dismal addition of three zombie-obsessed American nerds, additional “comedy relief” presumably aimed at US audiences — but I’m not sure even a Norwegian could find these asinine cartoons amusing.) Dead Snow 2 has high energy and some laughs, but if you haven’t seen the original, that’s the place to start — and perhaps to end. (1:40) Roxie. (Harvey) The Disappearance of Eleanor Rigby: Her/Him The combined version, Them, was released earlier this fall; now, the individual films exploring a marriage in shreds arrive in theaters. Jessica Chastain and James McAvoy star. (3:19) Embarcadero. Dracula Untold Before he was Dracula, he was just plain ol’ Vlad Tepes. Luke Evans (The Hobbit series) stars as vampire patient zero in this action-fantasy-horror flick. (1:32) The Green Prince Nadav Schirman’s Sundance Film Festival audience award winner (and SF Jewish Film Festival opening night film) should make an impression well beyond the fest circuit; it’s edited and scored like a thriller, surging ahead with constant tension despite the fact that most of the movie consists of the same two talking heads. But what subjects: Palestinian Mosab Hassan Yousef, oldest son of a Hamas leader, and Shin Bet agent Gonen Ben Yitzhak, the man who recruited Mosab to spy on behalf of Israel. How this relationship came to be, the sensitive information it yielded, the incredible risks both men took, and how Mosab eventually ended up living in the United States and sharing his tale — for so long, a life-or-death secret — with the world, is an undeniably gripping tale of loyalty, trust, and a most unlikely friendship. (1:41) Opera Plaza, Shattuck. (Eddy) The Guest See “Go for Goth.” (1:39) The Judge Crackling chemistry between Robert Downey, Jr. (as Hank, a hotshot Chicago lawyer who reluctantly returns to his rural hometown after the death of his mother) and Robert Duvall (as the stern title character, Hank’s long-estranged father, Joseph) elevates this otherwise heavy-handed look at a dysfunctional family forced to pull together when Joseph is arrested for murder. The rest of the cast in this more mature departure for director David Dobkin (2005’s The Wedding Crashers) ain’t bad, either; there’s Vincent D’Onofrio as Hank’s seething older brother; Vera Farmiga as Sam, the high school sweetheart Hank left behind; and Billy Bob Thornton as a gimlet-eyed prosecutor with an ax to grind. At two hours and 20 minutes, there’s a lot of opportunity for sentimentality, including a recurring narrative device of using home movies — a treasured hobby of Hank’s younger brother, Dale (Jeremy Strong), unfortunately scripted as a “childlike,” vaguely autistic type — to remind us The Way We Were When Things Were Good. And as if the drama of a murder trial wasn’t enough, there’s also Hank’s tentative reconciliation with Sam, relationship-building efforts with his own wee daughter (Emma Tremblay), a tornado, etc. etc. If The Judge tries to be too many genres at once (see also: Cameron Crowe’s lesser filmography), at least it has those marvelously acted Downey vs. Duvall tête-à-têtes — as well as one memorably hilarious jury-selection scene. For an interview with Dobkin, visit www.sfbg.com/pixel_vision. (2:21) Four Star, Marina. (Eddy) Kill the Messenger Based partly on former San Jose Mercury News investigative reporter Gary Webb’s 1998 book, Dark Alliance, and partly on a posthumous 2004 biography of Webb written by SoCal reporter Nick Schou (from which the film takes its title), Kill the Messenger recounts a grim tale of single-minded muckraking, professional betrayal, and how the federal government’s dubious War on Drugs took an extra-grim turn during the Reagan administration. As the film opens, Webb (Jeremy Renner) is working for the Mercury News, having moved to the Bay Area with his wife (Rosemarie DeWitt) and three kids after some marital trouble back east. In the course of covering a drug dealer’s trial, he gets tipped to a story connecting the CIA, the US funding of the contras in Nicaragua, and the crack cocaine that began pouring into Los Angeles and other American cities in the mid-1980s. Michael Cuesta, who since his directorial debut with L.I.E. in 2001 has been mainly working in television (Homeland, Six Feet Under), attempts to combine an All the President’s Men-style journalistic crime procedural with a portrait of the man who broke the story and was in turn broken by it — or rather, by the CIA and the mainstream press, which turns on him with the vengeance, it’s implied, of a handful of prestigious papers of record that got majorly scooped. The portrait, with Renner giving a nuanced, painfully sympathetic performance, comes out better than the procedural, which feels blurry in places from the speed of the discoveries. (1:52) Shattuck. (Rapoport) Kite Based on Yasuomi Umetsu’s cult anime, known for its fetishy sex and violence involving a young girl assassin with a penchant for traditional Japanese school uniforms, South Africa-set sci-fi action indie Kite begins with a bang — and a hail of bone fragments and gray matter splatter when an explosive bullet connects with a baddie’s skull. Set in the dystopic near future, after a global financial meltdown, Kite picks up in the middle of an all-too-familiar seedy scenario: an out-of-it teen hooker in a body-con mini and neon wig is getting dragged into the elevator by a trashy sleazebag. His unnecessary cruelty to an elderly lady sharing their lift forces the damsel to break cover and unleash those exploding bullets. It turn out Sawa (India Eisley) is far from your traditional hapless victim — rather she’s a brutal assassin out to avenge her parents’ murders and jumped up on a military drug designed to dull the pain and memories related to PTSD, administered oh so helpfully by her father’s old law-enforcement partner Aker (Samuel L. Jackson). The catch: a mystery man (Callan McAuliffe) who threatens to disrupt the smooth flow of bloody mayhem with his promise to dredge up Sawa’s past. Kite‘s acting talent — in particular Eisley and Jackson — and cinematographer Lance Gewer do what they can, painting the screen with lurid hues and just as over-the-top emotive moments, with pulpy material that’s high on the ultra violence (and salacious kicks for those into little girls with guns) but low on originality. (1:30) Presidio. (Chun) One Chance Dramedy about the unlikely rise of Britain’s Got Talent breakout Paul Potts (played by James Corden, who just replaced Craig Ferguson as host of The Late Late Show). (1:43) The Two Faces of January See “Con and On.” (1:38) Embarcadero, Shattuck. ONGOING Abuse of Weakness Those who last saw Isabelle Huppert as a dutiful daughter in 2012’s Amour will be both thrilled and piqued to see the tables turned so remarkably in Catherine Breillat’s Abuse of Weakness. Huppert gives an unapologetic, stunning tour de force performance in what appears to be a story torn from the filmmaker’s own life, when Breillat suffered a series of strokes in the ’00s and ended up entangled in a loving and predatory friendship with con man Christophe Rocancourt. Here, moviemaker and writer Maud (Huppert) is particularly vulnerable when she meets celebrity criminal and best-selling writer Vilko (Kool Shen). She is determined to have him star in her next film, despite the protestations of friends and family, and he helps her in return — by simply helping her get around and giving her focus when half her body seems beyond her control, while his constant machinations continue to compel her. Crafting a layered, resonant response to what seems like an otherwise clear-cut case of abuse, Breillat seems to have gotten something close to one of her best films out of the sorry situation, while Huppert reminds us — with the painful precision of this intensely physical role — why she’s one of France’s finest. (1:45) Roxie. (Chun) Annabelle The Conjuring was a big hit last summer, thanks to its scares (the clapping game!) and its unusually thoughtful themes of motherhood, further elevated by the casting of Vera Farmiga and Lili Taylor. The one thing the story didn’t have was sequel potential — ergo, this cheapy spin-off prequel delving into the back story of a haunted doll that was only tangential to the original film’s action. Set in 1970, Annabelle begins with TV footage of the Manson murders as heavily pregnant Sharon Tate look-alike Mia — yes, just like that actress who played Rosemary! Except this actress is, weirdly, named Annabelle Wallis — stitches clothes for her impending arrival. Hubby John (bland Ward Horton) is a doctor and is never home, even going on work trips after the film’s first-act home-invasion by Satanists who curse guess-which-toy. After the baby’s born, straaaange things start to happen, and the sinister pranks become more menacing when the family moves into the gloomiest apartment building in Pasadena. As a soul-hungry demon circles closer, Annabelle hopes we’re chilled enough to ignore blatant rip-offs not just of Rosemary’s Baby (1968) but also 1979’s Amityville Horror and the ghosts of other schlocky devil flicks that’ve come before. The only thing about Annabelle that might keep you up at night: What is the otherwise respectable Alfre Woodard — cast as a confusingly motivated bookstore owner — doing in this forgettable misfire? (1:39) Metreon, 1000 Van Ness. (Eddy) Art and Craft Fans of docs that can be summed up with the phrase “I can’t believe that shit really happened” are in for a treat with Art and Craft, which boasts an eccentric subject who allows filmmakers Sam Cullman, Jennifer Grausman, and Mark Becker full access yet remains entirely inscrutable. He is art forger Mark Landis, diagnosed as schizophrenic after a teenage nervous breakdown, now in his 50s, in fragile health, and living in his late mother’s Mississippi apartment. For 30-plus years, his illness has manifested in an obsession with recreating artworks with remarkable accuracy (Dr. Seuss, Picasso, you name it) — and then arranging elaborate scenarios (an inheritance, the passing of a nonexistent sister, situations that require him to dress as a priest) that involve donating the fakes (to 46 museums in 20 states, most delighted to benefit from his philanthropy). He’s not in it for the money, so the FBI merely observes his exploits, leaving the legwork to former Cleveland Art Museum employee Matt Leininger, who after realizing the deception at his own institution becomes consumed with uncovering Landis’ trail of phony brush strokes. This cat-and-mouse tale (in which the mouse is completely on his own astral plane of reality) leads up to one of the most awkward gallery openings ever captured on film — with artwork as beautifully created as it is plagiarized and deliberately misrepresented. (1:29) Opera Plaza. (Eddy) The Boxtrolls (1:37) Balboa, Metreon, 1000 Van Ness. Boyhood Believe the hype: Richard Linklater’s Boyhood is one of the best films of the year. It’d be a towering cinematic accomplishment in any year. By now, you’ve heard the set-up, which borrows elements from Linklater’s Before films, as well as his coming-of-age dramas (1993’s Dazed and Confused in particular). He filmed his cast — including titular youth Ellar Coltrane, Lorelai Linklater as his older sister, and Patricia Arquette and Ethan Hawke as his divorced parents, on and off over 12 years — with scenes touching on moments both monumental (high-tension moments with ugly stepfathers) and microscopic (the creation of a perfect campfire s’more). The years flow by, signaled not by any obvious gestures like on-screen text, but by changing hairstyles, pop culture references, and evolving video-game consoles. Watching Coltrane’s Mason grow from arrowhead-obsessed tyke to thoughtful college freshman is a rare and remarkable pleasure; among the more experienced actors, Arquette is particularly moving as a fiercely loving single mom determined to advance in her career despite continual, mountain-sized roadblocks in her personal life. (2:40) Balboa, Embarcadero, 1000 Van Ness, Sundance Kabuki. (Eddy) Brush With Danger (1:30) 1000 Van Ness. Dolphin Tale 2 (1:48) Metreon. The Drop The late James Gandolfini gets a fitting final feature-film sendoff in this edgy microcosm of a crime movie, set among the small-time hoodies of Brooklyn, but just easily recast in Tony Soprano’s Jersey or the Beantown of 2010’s The Fighter. As Cousin Marv, a onetime dive-bar owner forced to turn his watering hole over to Chechen mobsters as a drop spot for bookmaking loot, he also gets worthy sparring partners in Tom Hardy and Matthias Schoenaerts (star of 2011’s Bullhead, director Michaël R. Roskam’s Oscar-nominated breakout). Hardy’s Bob looks to be the perpetual side guy to his Cousin Marv; he seems sludgy and lacking confidence, until he finds a battered pit bull puppy in a trashcan belonging to Nadia (Noomi Rapace) — and discovers himself in the middle of a brazen robbery at the drop bar. With the puppy and Nadia comes the canine’s purported owner, rumored killer, and neighborhood “nut case” Eric (Schoenaerts). The beauty of Dennis Lehane’s screenplay, spinning off his short story “Animal Rescue,” is embedded in how the most banal niceties (like “Good to see you”) are used with Mamet-like skill to signal the threadbare facade of civilized behavior and convey an almost nihilistic sense of imminent threat. Meanwhile, Roskam walks a tightrope between the drab, wintry everyday and a pervasive mood of menace, creating a downbeat yet almost horrifying effect when the trigger is finally pulled — and the veil between the hidden and the real, the animal and the human, is dropped. (1:45) Metreon, 1000 Van Ness, Sundance Kabuki. (Chun) The Equalizer In this big-screen reboot of the 1980s TV series — which starred Brit Edward Woodward as Robert McCall, a former secret agent who’s since devoted himself to helping “people in need” — man-with-a-past Bob (Denzel Washington) lives his days of quiet desperation working for a Home Depot-like store. He spends his insomniac nights in the local 24-hour diner, sharing sympathies with juvenile hooker Toni (Chloë Grace Moretz). When Toni’s pimp beats her up, Bob tries to buy her freedom, but instead starts a bloodbath that attracts the attentions of a mafioso (Martin Csokas). When Toni calls Bob “Robert” you expect them to bond, but that’s not what director Antoine Fuqua (2001’s Training Day) has in mind — he’s aiming for shared vulnerability, and it’s the quality that unites everyone in this corrupt segment of Boston. Hollywood has long looked for a character to simultaneously please grown-ups and the hero-hungry young-dude demographic, and while this origin story leaves a taste of ham in your mouth, it’s a great way to bridge the divide. I’d happily watch The Equalizer 2 and frankly hope they make one. (2:08) Metreon, 1000 Van Ness, Sundance Kabuki. (Vizcarrondo) Gone Girl Gillian Flynn’s twisted 2012 tome — about a marriage about to implode at its five-year mark; the American media’s obsession with missing white women; and the wide-ranging effects of our shitty economy; not to mention a killer reminder of why the unreliable narrator is such a tasty literary device — gets the best possible big-screen scenario, with David Fincher directing (along with his usual A+ crew, including cinematographer Jeff Cronenweth and composers Trent Reznor and Atticus Ross), Flynn herself penning the screenplay, and an A-list cast. If Gone Girl the film comes up short in translating the book’s deliberately mind-fucking story structure, which explores the action from two distinct points of view, it succeeds in other ways, visually capturing the beige, airless, McMansions-with-overgrown-yards life of Nick (Ben Affleck) and Amy (Rosamund Pike) Dunne, forced to move to his Missouri hometown after losing their NYC writing jobs. There, they proceed to wallow in separate but mutual misery until Amy goes missing, and we get a front-row seat as the shit hits the fan in many different ways. Affleck (Flynn’s top choice) and Pike are well-cast, with Kim Dickens (as the no-nonsense detective investigating Amy’s disappearance) making the biggest impression among a large supporting cast. (2:25) 1000 Van Ness, Presidio, SF Centre, Vogue. (Eddy) Guardians of the Galaxy The trailer that nearly broke the internet didn’t lie: Guardians of the Galaxy is cheeky, hilarious, eye-popping fun. Its plot may be a predictable anti-hero’s journey, but the saga of Peter “Star-Lord” Quill (Chris Pratt), half-Earthling, half maybe-alien, as he transforms from scavenging scoundrel to rescuer-of-the-universe is so enjoyable nobody seeking a good time at the movies will care. Helping Quill in his battle against baddie Ronan (Lee Pace) are slinky, green-skinned Gamora (Zoe Saldana); rascally raccoon Rocket (voiced by Bradley Cooper); muscle-bound dim bulb Drax (former pro wrestler Dave Bautista); and a tree-like creature named Groot (voiced by Vin Diesel — his best performance in years, if ever, despite the fact that the only words the character ever utters are “I am Groot.”) Director and co-writer James Gunn (2010’s Super), working from a cult comic from the prolific house of Marvel, does a stellar job balancing action and goofiness, with plenty of unexpected touches along the way, including the best use of 1970s soft-rock since Reservoir Dogs (1992) and Cherish (2002). (2:02) Metreon, 1000 Van Ness, Sundance Kabuki. (Eddy) Hector and the Search For Happiness Despite the inherent lovability of Simon Pegg, Hector and the Search For Happiness gives off a strong whiff of #firstworldproblems. Pegg’s well-meaning, too-tidy therapist Hector is at the end of his tether with his mewling patients, perfect girlfriend (Rosamund Pike), and immaculate London condo — he’s just dying to get dirty, mussed up, and fundamentally unsettled and along the way, he hopes to discover the secret to happiness, purportedly for his clients, but really, truly for himself. Getting out of his comfort zone with a dose of cultural colonialism, er, tourism, seems to be the answer, so Hector embeds himself, sort of, in Shanghai, where he meets wealthy businessman (Stellan Skarsgård) and falls for a tremulous club hottie (Ming Zhao); Tibet, where he meets a magical monk (Togo Igawa); Africa, where he has the best time dancing and eating and the worst time being imprisoned and tortured by a warlord (Akin Omotoso); and finally LA, where he is torturously confronted by an old love (Toni Collette) and poked and prodded by a happiness researcher (Christopher Plummer). The scattered laughs and whimsical drawings in Hector’s notes, which the film’s sporadic animations emerge from, are the best things about this otherwise meander of movie as Pegg’s Hector attempts to follow his bliss down some familiar pathways. Hector’s holy-fool naiveté and conclusions don’t entirely surprise or coalesce — we’re missing the usual cohort of director Edgar Wright and sidekick Nick Frost and Pegg’s own writerly touch — though the heart, positive intentions, and wide screen ambitions still glimmer, however dimly. (1:54) SF Centre. (Chun) The Hundred-Foot Journey Don’t watch Lasse Hallström’s latest film on an empty stomach. Under the film’s rich layers of mouthwatering food closeups and stunning shots of France (which, admittedly, occasionally threaten to steal the show), The Hundred-Foot Journey is a simple feel-good movie, akin to your favorite comfort food. The Kadam family spices up the South of France when they open an Indian restaurant just 100 feet away from a formidable competitor: a ritzy place owned by Madame Mallory (Helen Mirran). Papa (Om Puri) and eldest son Hassan (Manish Dayal) don’t back down when the heat gets turned up. It’s easy to get caught up in Hassan’s optimism, so the film is predictable (even managing to sprinkle a bit of romance in), but not cheesy. The score is the final icing on the cake, but it’s impossible to expect anything less from Slumdog Millionaire (2008) composer A.R. Rahman. (2:02) SF Centre. (Amy Char) I Am Eleven Australian director Genevieve Bailey wanted to find out if kids today are still as “happy and excited” in “this crazy world” as she was at her own favorite age. So she trotted around the globe interviewing 11-year-olds. This innocuous documentary doesn’t ask them any difficult or probing questions. So we get a curiously samey sampling of children in very different cultural and economic circumstances who are nonetheless all plucky and well-adjusted, have the same opinions (war, racism, bullies and global warming are bad; animals and family are good). None of them appear to be suffering any serious deprivations, abuse or cultural-religious programming that might disturb viewers, making I Am Eleven a feel-good montage with little depth. It might ideally be shown to actual 11-year-olds, who could benefit from its mild, relatable depiction of diversity. But by grown-up standards, this movie represents a wasted opportunity to take the pulse of those who are about to inherit a world facing crisis on myriad fronts. (1:34) Balboa, Metreon. (Harvey) Jimi: All is by My Side There’s a huge challenge facing Jimi: All Is By My Side, written and directed by John Ridley (an Oscar winner for scripting 2013’s 12 Years a Slave): The Hendrix family noped any song permissions, so star André Benjamin, aka OutKast’s André 3000, doesn’t get to wail through “Foxy Lady” or any other songs that hit big during the film’s time frame (it ends just before Hendrix’s stateside breakout at the 1967 Monterey Pop Festival). He does get to noodle on some blues riffs, and the Jimi Hendrix Experience’s notorious cover of “Sgt. Pepper’s Lonely Hearts Club Band” — played days after its release in front of a crowd that included astonished Beatles — is one of Jimi’s few exhilirating moments. There are other issues beyond the music rights; controversy has swirled around the script’s portrayal of Hendrix as a violent drunk, and as an aimless drifter who probably wouldn’t have made much of himself, despite his talent, were it not for people like Linda Keith (Imogen Poots), who used her connections as Keith Richards’ girlfriend to kickstart Hendrix’s music career. But without those electrifying songs to punctuate Hendrix’s day-to-day drama, Jimi‘s narrative is meandering at best. We already know he’s going to become a star. We know he’s going to die young. Maybe we don’t know how Hendrix wrote “Purple Haze,” but this movie, which contains precious few insights into his creative process, isn’t going to tell us. (1:58) Metreon, Sundance Kabuki. (Eddy) Last Days in Vietnam Recent news coverage of Yadizi people — ethnic-minority Iraqis targeted by ISIS for their spiritual beliefs — desperately fleeing their country brought to mind another frantic evacuation, investigated in detail by Rory Kennedy’s tense new doc Last Days in Vietnam. It begins in 1975, when Saigon’s post-war population included 6,000 or so Americans, as well as thousands more South Vietnamese who worked for and with them. With rapidly-approaching Communist troops on the horizon, the urgent exodus began, and Last Days combines news footage with eyewitness reports from American embassy workers and military (including the last US soldier to climb aboard the last departing helicopter) who took an active role in the operation. We also hear from South Vietnamese — including several people who did not make it out, but managed to survive, as well as a man whose father daringly choppered his entire family to an American ship bobbing offshore. Kennedy — whose previous work, 2012’s Ethel, was about her mother, best-known as RFK’s widow — favors filmmaking that doesn’t innovate stylistically beyond anything seen on the History Channel, and there are no big revelations here. But her straightforward approach means the stories she captures take center stage, and they are harrowing stories indeed. (1:19) Opera Plaza. (Eddy) Left Behind Jeepers creepers, they went and remade 2000 Christian scare flick Left Behind: The Film, based on the best-selling book series by Tim LaHaye and Jerry B. Jenkins. Just gonna come right out and let you know the Antichrist character does not appear in Vic Armstrong’s do-over. WEAK. But it does contain supremely awkward breakdancing; terrible CG of an airplane floundering after the Rapture makes flying a dicey prospect (apparently, air traffic control is a largely evangelical profession); erstwhile CW network heartthrob Chad Michael Murray as an internationally renowned investigative journalist (the same role Kirk Cameron played, also implausibly, in the original); and — best of all, and the only reason to seek out this ham sandwich of a movie — Nicolas Cage, who delivers possibly the worst performance of his career as an airline pilot whose sins include thinking about cheating on his born-again wife (Lea Thompson) and coveting U2 concert tickets. All of this brings up a very important question for our times: Does Jesus snark? (1:50) Metreon. (Eddy) The Liberator Lush production values and a smoldering performance by Venezuela’s best-known acting export (Édgar Ramírez), elevate this Simón Bolívar tale from mere biopic to epic (bio-epic?) It begins amid revolutionary tumult before stepping back in time to Bolívar’s younger days; we’re brought up to speed on the tragic early deaths of his well-to-do parents, as well as the yellow-fever death of his delicate Spanish wife and some globe-trotting that allows Ramírez to show off his flawless French (he also speaks Spanish and English in the film), and for Bolívar to meet characters who prove important to his crusade for Venezuelan independence. Bombastic battle scenes and grueling marches (in and across jungles, open fields, the snowy Andes, seaside forts, blood-stained villages, etc.) soon follow, with Bolívar’s bravery and rousing speechmaking (“Freeeedooommm!”) inspiring people across northern South America and beyond, from every class and race, to join his cause. If this two-hour film feels a bit tight for such a sprawling story — especially when you consider that Ramírez’s breakout role came with 2010 miniseries Carlos, which lavished five-and-a-half hours on the career of Carlos the Jackal — it still makes for stirring viewing. (1:59) Four Star, Sundance Kabuki. (Eddy) Lucy Eurotrash auteur Luc Besson’s latest is a mostly fun action fantasy about a party girl (Scarlett Johansson) who runs afoul of gangsters in Taipei and ends up with a leaking packet of futuristic drugs sewn into her shapely stomach. Side effects include super strength and supernatural intelligence — insert pseudo-science mumbo-jumbo about tapping into 100 percent of one’s woefully underused brainpower, etc. etc. — which leads to some satisfying scenes in which Johansson’s Lucy flattens a hallway of cops with a single gesture, or filters through every phone conversation in the Paris metro area to find the one guy she needs to eavesdrop on. She’s also able to beam herself into electronic devices, a nifty trick that convinces kindly scientist Morgan Freeman to help download her magnificently advanced intelligence into a kind of living computer (shades of 2013’s Her and Under the Skin, except this time ScarJo’s wearing a really great dress). South Korean weirdo/superstar Choi Min-sik (2003’s Oldboy; 2010’s I Saw the Devil) is an inspired choice to play the vengeful kingpin intent on tracking down his runaway mule, and Besson adds some arty flair via nature-show footage and Cosmos-esque clips from beyond the infinite — though the film’s Big Ideas wobble precariously amid its other, mostly silly elements. (1:29) Castro, Metreon. (Eddy) The Maze Runner What better way to allegorically filter the nightmarish battleground of adolescence amid apocalyptic end times, than through the prism of brainteasers and video games? After all those dystopic, divergent, ender-baiting — and more girl-focused — hunger games, The Maze Runner feels like a mixture of Michael Bay blockbuster fare, crypto-Lost conspiracy-fantasy, and classic proto-YA fiction, à la Lord of the Flies. We are bolted — like smart noob Thomas (Dylan O’Brien), waking from an amnesiac slumber in a speeding mystery elevator — into a contained Petri dish of sorts: a bucolic box of forests and fields, a land of lost boys. No Peter Pans here, though. Alby (Ami Ameen) oversees the fragile peace of this budding society, alongside second-in-command Newt (Thomas Brodie-Sangster), opinionated hazer Gally (Will Poulter), and a baby Hurley named Chuck (Blake Cooper). They’re surrounded by a menacing maze filled with deadly, giant spider-like “Grievers,” and the strongest and fastest, led by Minho (Ki Hong Lee), explore its corridors each day in search of a way out. Of course, Thomas, who happens to be smarter, speedier, and more compassionate than most, is destined to run the maze, which evokes a way-too-elaborate guillotine-cum-Skinner-box, the Transformers, and the doomed pathways of The Shining (1980). The arrival of a girl to the glade, of course, changes everything, though not in ways you’d naturally expect. In spite of its intriguing premise and director Wes Ball’s brisk play-by-play, Maze Runner‘s end game is way more pat than anything Kubrick ever laid his digits on. And why any entity would go through the fuss and bother and expense of building out this scenario for the goals finally teased out at the end comes off as utterly absurd, as is the laughable catchphrase that poor Patricia Clarkson is tasked with intoning. (1:53) Metreon, 1000 Van Ness, Sundance Kabuki. (Chun) Men, Women & Children The web of title characters in Jason Reitman’s new film, set in a nonspecific-feeling Austin, Tex., stand in for a larger culture, digital native and immigrant alike, leading a significant portion of their lives online. A mother (Jennifer Garner) obsessed with the invidious snares of the scrolling feed, feverishly tracks the digital micro-movements of her teenage daughter (Kaitlyn Dever of 2013’s Short Term 12), sabotaging the latter’s burgeoning relationship with a sweetly troubled, Carl Sagan-quoting ex-football player (The Fault in Our Stars’ Ansel Elgort). Another mother (Judy Greer) embraces the seedier aspects of the mercantile web, bolstering her daughter’s dreams of stardom by pimping out her image to private customers. A man (Adam Sandler) and a woman (Rosemarie DeWitt) drift unconnected through their marriage and seek recourse among web escorts and a dating site for cheaters. The message, underscored with motifs running thickly through the interconnected plot lines, is that our lives and relationships are echoed and overlapped by a ghostly online population, whom our loved ones experience, if they notice, only as a zoned-out absence, a silent withdrawal from the room. Reitman (2009’s Up in the Air), who co-wrote the film with Erin Cressida Wilson (2002’s Secretary), finds a wealth of visual tools for mapping this populace. Texts and Facebook messages bubble up and hover over crowd scenes in an overlay, flooding the screen with drifting commentary. At cheerleading practice, one paper-thin teenager silently backstabs another via a hailstorm of emoji. If the film doesn’t issue a fiery polemic, most of its protagonists do seem caught in a stultified daze by a succession of variously proportioned screens; the emotional payoffs, and the brutal, awkward collisions, tend to come when they look up. (1:56) Embarcadero. (Rapoport) My Old Lady If only the grand dame had more of a say, rather than the whiny, middle-aged offspring. Playwright Israel Horovitz makes his feature-film debut, directing his own play in this potentially fascinating clash of cultures on a generational battlefield populated by some amply endowed acting talents. New Yorker Mathias (Kevin Kline), who grew up privileged with a “silver knife” in his maw, got little else from his deceased, estranged father than a Paris apartment in the coveted Marais district. But his real estate dreams are quashed when it turns out to be a “viager,” a quirk of French law that allows the former owner — in this case, worldly elder Mathilde (Maggie Smith) — to continue dwelling in the property long after the sale, collecting monthly payments from the purchaser until her death. Penniless, troubled Mathias can barely afford those payouts, much less cope with Mathilde’s daughter, Chloe (Kristin Scott Thomas), in this wearily paced dramedy that turns out to be more sour — and dourily serious — than saucy. One is forced to fantasize: What would Smith’s Violet Crawley do, or better yet, say, about this effort, which makes Downton Abbey look like the picture of crisply edited moviemaking modernity? (1:47) Clay. (Chun) No Good Deed (1:24) Metreon, 1000 Van Ness. Pride In 1984 London, queer radical Mark (Ben Schnetzer) browbeats his coterie of fellow gay activists into raising funds for coal miners striking against P.M. Margaret Thatcher’s firmly anti-unionist policies. Their success brings a reluctant invitation to visit and receive thanks from one small Welsh town of strikers, most of whom are not all that enthused to get helped by a buncha poofs. But in this loosely fact-inspired crowdpleaser by scenarist Stephen Beresford and director Matthew Warchus (a UK stage luminary whose only prior feature was the unfairly maligned Sam Shepard-penned Simpatico 15 years ago), adversity ultimately creates allegiance and understanding, despite such hurdles as ingrained prejudice (represented by Lisa Palfrey as a particularly homophobic miner’s widow) and the still-new AIDS crisis. With Imelda Staunton, Dominic West, Paddy Considine, and Bill Nighy scattered among both the “pit and pervert” types, this feel-good flashback complete with a soundtrack full of New Wave oldies hits all the right notes even if there are few real surprises in the overall tune. (2:00) Embarcadero. (Harvey) The Skeleton Twins “I don’t know … maybe we were doomed from the beginning,” muses Maggie (Kristin Wiig) at the beginning of The Skeleton Twins. It’s her voice-over, but the figure onscreen is her brother, Milo (Bill Hader), who mopes to Blondie before flopping into a bathtub that slowly fills with water and blood from his slashed wrists. The twins haven’t seen each other in over 10 years, and the ice takes awhile to break when Maggic appears at his hospital bedside. But we know her secret: On the same day Milo was penning a suicide note, Maggie — trapped in a torturously bland marriage — was on the verge of gobbling a handful of pills in order to make her own permanent exit. Clearly, these siblings have more in common than they realize: They’re both deeply miserable, unable to shake a troubled past that includes their beloved father’s suicide, a distant mother (Joanna Gleason), and the scandalous incident (involving Milo and his high-school English teacher) that caused their estrangement. There’s only one path that these sad-sacks can choose (since if one of ’em actually died, that would make this black comedy a little too black), so they set about trying to mend fences. And it’s obvious — despite their frequent arguments, and the fact that both do some pretty terrible things — that the only bond in The Skeleton Twins that has any chance at repair is Milo and Maggie’s. Produced by indie darlings Jay and Mark Duplass, and directed by Craig Johnson (whose co-writer, Mark Heyman, also co-wrote 2010’s Black Swan), The Skeleton Twins might veer too deeply into melodrama territory were it not for its restrained script, and its deeply appealing cast. Wiig and Hader have been funnier elsewhere — but they’ve rarely been better. (1:33) 1000 Van Ness, SF Centre, Sundance Kabuki. (Eddy) This Is Where I Leave You Jason Bateman plays Judd Altman, the hollow center of a clan of snarky, squabbling siblings — Wendy (Tina Fey), fractiously married with kids and pining for her high school sweetheart (Timothy Olyphant); Paul (Corey Stoll), who runs the family sporting goods store; and Phillip (Adam Driver), a philandering über-fuckup currently dating his former therapist (Connie Britton) — reunited somewhere in eastern seaboard suburbia by the death of their father. This vaguely sketched individual’s last wish, they are informed by their mother (Jane Fonda), a therapist turned author who mined their adolescence for pop psych bestseller gold, was that, his atheism notwithstanding, they conform to Judaic tradition and sit shivah for him. A seven-day respite of quiet reminiscing and clarifying reflection, broken up by periodic babka-and-whitefish-salad binges, could be good for Judd, whose recent misfortunes also include coming home to find his wife (Abigail Spencer) between the sheets with his shock jock boss (Dax Shepard), resulting in a divorce-unemployment double whammy. But there is no peace to be found at the Altman homestead, where fuses blow, siblings brawl, in-laws conduct high-volume international business transactions and reproductive rites, and Wendy’s latchkey toddler wanders the property with his portable potty. Director Shawn Levy (2013’s The Internship, 2010’s Date Night) and writer Jonathan Tropper, who adapted the script from his novel, don’t want any of the siblings, or satellite characters, to feel left out, and the story line is divvied up accordingly. But the results are uneven — lumps of comedy and genuine pathos dropped amid the oppressive exposition, pat resolutions, and swings in pacing from slack to frenetic. (1:43) 1000 Van Ness, SF Centre, Sundance Kabuki. (Rapoport) The Trip to Italy Steve Coogan and Rob Brydon return as “Steve Coogan” and “Rob Brydon” in this sequel to Michael Winterbottom’s 2010 The Trip. Like its predecessor, the premise — a road trip for the purpose of a restaurant-reviewing gig — provides a loose framework upon which these two actor-comedians, portraying exaggerated, fictionalized versions of themselves, hang their easy banter and occasional deeper conversations. The midlife crisis themes are still apparent (Brydon meets a comely expat who tempts him into cheating on his wife, with whom he has a small child; Coogan feels regret over his distant relationship with his teenage son), which tie into career anxieties for both men; references to classic literature also hold over from the first film. Most importantly, also like the first film, The Trip to Italy — blessed with all the gorgeous food and coastal landscapes the change of scenery suggests — is a riot. The impressions (lots of Godfather this time around) flow fast and furiously; while there’s nothing that can top the first film’s Michael Caine battle, it’s still a pleasure watching Brydon “converse” with a historical relic at Pompeii, or the duo’s joyous invocation of The Bounty (1984) during a brief boat journey. (1:55) Opera Plaza. (Eddy) Tusk Michael Parks has a gift for looking like he’s in a different movie than everyone else, and it’s possible that ineffable skill of his has found its best use to date in Kevin Smith’s new fuck-you horror/comedy Tusk. When jerky podcaster Wally (Justin Long) finds a video that begins like “Star Wars Boy” but ends with dismemberment, Wally flies to Canada to interview the “Kill Bill Boy” (so named for the sword wielding and spurting stump). Wallace reaches his destination and is importuned by the funeral. This is one of a handful of scenes that exists to make us happy when Wally meets magical storyteller Howard Howe, an ex-sailor full of sea tales and an dark plan to turn Wally into a Franken-walrus. The story is based on something Smith hashed out in his sModcasts (excerpted during the credits) and when you look for author surrogate (not that you should) Wally’s impossible to distinguish from Smith. Asshole podcaster? Fights for permission to work freely? Body issues? All Wally needs is a dachshund and a jersey. Tusk isn’t up to the level of Smith’s early output, but it’s right in line with the decline in quality he’s been facing since critics broke his spirit, studios turned cold shoulders, and cynicism naturally set in. I hope whatever soul coughing Tusk represents will provide Smith momentum and license to leave any transformative hardships behind him — there are always beacons of hope (an uncredited Johnny Depp provides a good one here). Despite fundamental frustrations, Tusk has some deep and inky moments. When Howe takes Wally’s leg from him (leveling him to a “Kill Bill Kid”-styled punch line) Wally wails impotently, and Howe laughs — at what, it’s not certain (perhaps it’s really Parks, guffawing at Long’s performance?), but whatever that gloriously complicated motivation was, in the mingling of cries emerges an eerie but profoundly communal squall. (1:42) Metreon. (Vizcarrondo) A Walk Among the Tombstones The latest in Liam Neeson’s string of films in which he plays a tough guy uncannily adept at hissing orders (or threats) through a telephone is as pitch-black as its eerie title suggests. Set conspicuously in 1999, when Y2K and far more sinister threats loomed (see: a poignant shot of the World Trade Center), Tombstones is the grim tale of Matt Scudder, a loner with both an NYPD career and a prodigious drinking habit wedged 10 years in the past. He maintains his bare-bones lifestyle by doing off-the-books PI work, but none of his dirty-deeds experience can prepare him for his next case, a nightmarish pile-up of missing women sliced to pieces by a van-driving maniacs. Working from Lawrence Block’s novel, writer-director Scott Frank (2007’s The Lookout) emerges with surprisingly layered characters that extend beyond the archetypes they initially seem to be at first; besides Neeson’s Scudder, there’s a street-smart youth who becomes his sorta-helpful sidekick (Brian “Astro” Bradley), and a vengeful drug dealer (Dan Stevens) with a junkie brother (Boyd Holbrook). Even the murderers behave in unexpected ways. And if its story hews a bit too closely to Urban Noir 101, it’s bleak as hell, and has the guts to make relentlessness one of its primary objectives. (1:53) 1000 Van Ness, SF Centre. (Eddy) * Film listings are edited by Cheryl Eddy. Reviewers are Kimberly Chun, Dennis Harvey, Lynn Rapoport, and Sara Maria Vizcarrondo. For rep house showtimes, see Rep Clock. MILL VALLEY FILM FESTIVAL The 37th annual Mill Valley Film Festival runs Oct 2-12. Venues include the Lark Theater, 549 Magnolia, Larkspur; Cinearts@Sequoia, 25 Throckmorton, Mill Valley; and Smith Rafael Film Center, 1118 Fourth St, San Rafael. For tickets (most shows $8-14) and complete schedule, visit www.mvff.com. For commentary, see Film. OPENING Abuse of Weakness Those who last saw Isabelle Huppert as a dutiful daughter in 2012’s Amour will be both thrilled and piqued to see the tables turned so remarkably in Catherine Breillat’s Abuse of Weakness. Huppert gives an unapologetic, stunning tour de force performance in what appears to be a story torn from the filmmaker’s own life, when Breillat suffered a series of strokes in the ’00s and ended up entangled in a loving and predatory friendship with con man Christophe Rocancourt. Here, moviemaker and writer Maud (Huppert) is particularly vulnerable when she meets celebrity criminal and best-selling writer Vilko (Kool Shen). She is determined to have him star in her next film, despite the protestations of friends and family, and he helps her in return — by simply helping her get around and giving her focus when half her body seems beyond her control, while his constant machinations continue to compel her. Crafting a layered, resonant response to what seems like an otherwise clear-cut case of abuse, Breillat seems to have gotten something close to one of her best films out of the sorry situation, while Huppert reminds us — with the painful precision of this intensely physical role — why she’s one of France’s finest. (1:45) Roxie. (Chun) Annabelle The freaky doll from 2013’s The Conjuring returns to terrorize an expectant mother … AND YOU. (1:39) Art and Craft Fans of docs that can be summed up with the phrase “I can’t believe that shit really happened” are in for a treat with Art and Craft, which boasts an eccentric subject who allows filmmakers Sam Cullman, Jennifer Grausman, and Mark Becker full access yet remains entirely inscrutable. He is art forger Mark Landis, diagnosed as schizophrenic after a teenage nervous breakdown, now in his 50s, in fragile health, and living in his late mother’s Mississippi apartment. For 30-plus years, his illness has manifested in an obsession with recreating artworks with remarkable accuracy (Dr. Seuss, Picasso, you name it) — and then arranging elaborate scenarios (an inheritance, the passing of a nonexistent sister, situations that require him to dress as a priest) that involve donating the fakes (to 46 museums in 20 states, most delighted to benefit from his philanthropy). He’s not in it for the money, so the FBI merely observes his exploits, leaving the legwork to former Cleveland Art Museum employee Matt Leininger, who after realizing the deception at his own institution becomes consumed with uncovering Landis’ trail of phony brush strokes. This cat-and-mouse tale (in which the mouse is completely on his own astral plane of reality) leads up to one of the most awkward gallery openings ever captured on film — with artwork as beautifully created as it is plagiarized and deliberately misrepresented. (1:29) Opera Plaza, Shattuck. (Eddy) Brush With Danger Indonesian American stunt woman Livi Zheng wrote, directed, and stars in this action thriller about a painter who unwittingly becomes entangled with gangsters. (1:30) 1000 Van Ness. Gone Girl Gillian Flynn’s best-selling thriller gets the big-screen treatment from director David Fincher, with Ben Affleck and Rosamund Pike starring as a husband and wife whose small-town lives are not what they appear to be. (2:25) Presidio. Left Behind Jeepers creepers, they went and remade 2000 Christian scare flick Left Behind: The Film, based on the best-selling book series by Tim LaHaye and Jerry B. Jenkins. Just gonna come right out and let you know the Antichrist character does not appear in Vic Armstrong’s do-over. WEAK. But it does contain supremely awkward breakdancing; terrible CG of an airplane floundering after the Rapture makes flying a dicey prospect (apparently, air traffic control is a largely evangelical profession); erstwhile CW network heartthrob Chad Michael Murray as an internationally renowned investigative journalist (the same role Kirk Cameron played, also implausibly, in the original); and — best of all, and the only reason to seek out this ham sandwich of a movie — Nicolas Cage, who delivers possibly the worst performance of his career as an airline pilot whose sins include thinking about cheating on his born-again wife (Lea Thompson) and coveting U2 concert tickets. All of this brings up a very important question for our times: Does Jesus snark? (1:50) (Eddy) The Liberator Lush production values and a smoldering performance by Venezuela’s best-known acting export (Édgar Ramírez), elevate this Simón Bolívar tale from mere biopic to epic (bio-epic?) It begins amid revolutionary tumult before stepping back in time to Bolívar’s younger days; we’re brought up to speed on the tragic early deaths of his well-to-do parents, as well as the yellow-fever death of his delicate Spanish wife and some globe-trotting that allows Ramírez to show off his flawless French (he also speaks Spanish and English in the film), and for Bolívar to meet characters who prove important to his crusade for Venezuelan independence. Bombastic battle scenes and grueling marches (in and across jungles, open fields, the snowy Andes, seaside forts, blood-stained villages, etc.) soon follow, with Bolívar’s bravery and rousing speechmaking (“Freeeedooommm!”) inspiring people across northern South America and beyond, from every class and race, to join his cause. If this two-hour film feels a bit tight for such a sprawling story — especially when you consider that Ramírez’s breakout role came with 2010 miniseries Carlos, which lavished five-and-a-half hours on the career of Carlos the Jackal — it still makes for stirring viewing. (1:59) SF Centre, Sundance Kabuki. (Eddy) Men, Women & Children The web of title characters in Jason Reitman’s new film, set in a nonspecific-feeling Austin, Tex., stand in for a larger culture, digital native and immigrant alike, leading a significant portion of their lives online. A mother (Jennifer Garner) obsessed with the invidious snares of the scrolling feed, feverishly tracks the digital micro-movements of her teenage daughter (Kaitlyn Dever of 2013’s Short Term 12), sabotaging the latter’s burgeoning relationship with a sweetly troubled, Carl Sagan-quoting ex–football player (The Fault in Our Stars’ Ansel Elgort). Another mother (Judy Greer) embraces the seedier aspects of the mercantile web, bolstering her daughter’s dreams of stardom by pimping out her image to private customers. A man (Adam Sandler) and a woman (Rosemarie DeWitt) drift unconnected through their marriage and seek recourse among web escorts and a dating site for cheaters. The message, underscored with motifs running thickly through the interconnected plot lines, is that our lives and relationships are echoed and overlapped by a ghostly online population, whom our loved ones experience, if they notice, only as a zoned-out absence, a silent withdrawal from the room. Reitman (2009’s Up in the Air), who co-wrote the film with Erin Cressida Wilson (2002’s Secretary), finds a wealth of visual tools for mapping this populace. Texts and Facebook messages bubble up and hover over crowd scenes in an overlay, flooding the screen with drifting commentary. At cheerleading practice, one paper-thin teenager silently backstabs another via a hailstorm of emoji. If the film doesn’t issue a fiery polemic, most of its protagonists do seem caught in a stultified daze by a succession of variously proportioned screens; the emotional payoffs, and the brutal, awkward collisions, tend to come when they look up. (1:56) Embarcadero. (Rapoport) ONGOING The Boxtrolls (1:37) Balboa, Metreon, 1000 Van Ness, Presidio. Boyhood Believe the hype: Richard Linklater’s Boyhood is one of the best films of the year. It’d be a towering cinematic accomplishment in any year. By now, you’ve heard the set-up, which borrows elements from Linklater’s Before films, as well as his coming-of-age dramas (1993’s Dazed and Confused in particular). He filmed his cast — including titular youth Ellar Coltrane, Lorelai Linklater as his older sister, and Patricia Arquette and Ethan Hawke as his divorced parents, on and off over 12 years — with scenes touching on moments both monumental (high-tension moments with ugly stepfathers) and microscopic (the creation of a perfect campfire s’more). The years flow by, signaled not by any obvious gestures like on-screen text, but by changing hairstyles, pop culture references, and evolving video-game consoles. Watching Coltrane’s Mason grow from arrowhead-obsessed tyke to thoughtful college freshman is a rare and remarkable pleasure; among the more experienced actors, Arquette is particularly moving as a fiercely loving single mom determined to advance in her career despite continual, mountain-sized roadblocks in her personal life. (2:40) Balboa, Embarcadero, 1000 Van Ness, Sundance Kabuki. (Eddy) Dawn of the Planet of the Apes As usual, a heady hybrid of anticipation and dread accompanies all Planet of Apes installments: you brace yourself for the abused, righteously rebellious apes; the apocalyptic mise-en-scène laden with symbolism; and more overt messaging concerning animal testing, civil rights, and gun control. But why worry? In line with 2011’s Rise of the Planet of the Apes, the PG-13 high-fives go to new Apes director Matt Reeves (2008’s Cloverfield) for sparing us animal kills, gore, and graphic violence, despite its Dawn of the Dead-evoking title. Really, this Dawn is all about the bitterly fought beginnings of a civilization among the primates north of the Golden Gate Bridge in Muir Woods, complete with community building, social structure, and alas, a burgeoning war with the humanoids amid vaguely familiar SF ruins, setting off an epic showdown that challenges not only the oft-repeated commandment “ape shall not kill ape” but takes advantage of our anthropomorphized pals’ ability to swing with the C4 explosions. The viral drug ALZ 113 that led to super-intelligent primates like chimp hero Caesar (motion-captured Andy Serkis) has decimated the human population, leaving the field wide open for enterprising and vengeful creatures like scarred lab survivor Koba (motion-captured Toby Kebbell). Neither quite trusts the band of desperate human survivors — including friendly Jason Clarke, nurturing Keri Russell, and token asshole Kirk Acevedo — that ventures into the apes’ woods to harness the power of nature, namely a dam, to electrify their SF compound. You know what side of the evolutionary span we’re on when the humans seem much more interchangeable than the chimps, and the movie can barely wait to end on its contemporary version of a Touch of Evil (1958) crane shot, as it zooms to an extreme close-up of a certain chimp’s carefully crafted eyes. (2:10) Metreon. (Chun) The Disappearance of Eleanor Rigby Writer-director Ned Benson’s The Disappearance of Eleanor Rigby began as separate films about a failed marriage, told from the points of view of the husband (James McAvoy), and then the wife (Jessica Chastain). Because Americans will happily binge-watch entire TV seasons but still get the shakes when confronted with a two-part film, the segments (titled Him and Her) are getting wide release in the edited-together Them. (Diehards will have a chance to seek out the complete work eventually, but for now, this review concerns only Them.) As the film begins, Chastain’s Eleanor (yep, named after the Beatles song) flings herself off an NYC bridge. She survives physically, but her mental state is still supremely fragile, so she checks out of her Manhattan life and her marriage to Connor (McAvoy), and digs in at the chic suburban saltbox occupied by her parents (Isabelle Huppert and William Hurt) and sister (Jess Weixler), a single mother with a young son. Meanwhile, Connor mopes around his failing restaurant with his chef BFF (the suddenly ubiquitous Bill Hader), and pays occasional visits to his own moping father (Ciarán Hinds). The estranged couple circles each other, in flashbacks and occasional run-ins, and the audience is slowly made privy to the tragedy that drove them apart and has them both reeling from grief months later. Even in mash-up form, this is a delicate film, enhanced by Benson’s confidence in his audience’s intelligence; what could have been a manipulative tear-jerker instead feels authentically raw, with characters whose emotional confusion leads them to behave in realistically frustrating ways. The casting is note-perfect, with a special nod to Viola Davis as Eleanor’s world-weary college professor. I’ll be seeking out Her just to catch more of that performance. (2:03) SF Centre, Sundance Kabuki. (Eddy) Dolphin Tale 2 (1:48) Metreon. The Drop The late James Gandolfini gets a fitting final feature-film sendoff in this edgy microcosm of a crime movie, set among the small-time hoodies of Brooklyn, but just easily recast in Tony Soprano’s Jersey or the Beantown of 2010’s The Fighter. As Cousin Marv, a onetime dive-bar owner forced to turn his watering hole over to Chechen mobsters as a drop spot for bookmaking loot, he also gets worthy sparring partners in Tom Hardy and Matthias Schoenaerts (star of 2011’s Bullhead, director Michaël R. Roskam’s Oscar-nominated breakout). Hardy’s Bob looks to be the perpetual side guy to his Cousin Marv; he seems sludgy and lacking confidence, until he finds a battered pit bull puppy in a trashcan belonging to Nadia (Noomi Rapace) — and discovers himself in the middle of a brazen robbery at the drop bar. With the puppy and Nadia comes the canine’s purported owner, rumored killer, and neighborhood “nut case” Eric (Schoenaerts). The beauty of Dennis Lehane’s screenplay, spinning off his short story “Animal Rescue,” is embedded in how the most banal niceties (like “Good to see you”) are used with Mamet-like skill to signal the threadbare facade of civilized behavior and convey an almost nihilistic sense of imminent threat. Meanwhile, Roskam walks a tightrope between the drab, wintry everyday and a pervasive mood of menace, creating a downbeat yet almost horrifying effect when the trigger is finally pulled — and the veil between the hidden and the real, the animal and the human, is dropped. (1:45) Metreon, 1000 Van Ness, Presidio, Sundance Kabuki. (Chun) The Equalizer In this big-screen reboot of the 1980s TV series — which starred Brit Edward Woodward as Robert McCall, a former secret agent who’s since devoted himself to helping “people in need” — man-with-a-past Bob (Denzel Washington) lives his days of quiet desperation working for a Home Depot-like store. He spends his insomniac nights in the local 24-hour diner, sharing sympathies with juvenile hooker Toni (Chloë Grace Moretz). When Toni’s pimp beats her up, Bob tries to buy her freedom, but instead starts a bloodbath that attracts the attentions of a mafioso (Martin Csokas). When Toni calls Bob “Robert” you expect them to bond, but that’s not what director Antoine Fuqua (2001’s Training Day) has in mind — he’s aiming for shared vulnerability, and it’s the quality that unites everyone in this corrupt segment of Boston. Hollywood has long looked for a character to simultaneously please grown-ups and the hero-hungry young-dude demographic, and while this origin story leaves a taste of ham in your mouth, it’s a great way to bridge the divide. I’d happily watch The Equalizer 2 and frankly hope they make one. (2:08) Marina, Metreon, 1000 Van Ness, Sundance Kabuki. (Vizcarrondo) Frank Who doesn’t want to be a musical savant, visually riveting, naturally gifted, freed from convention, and liberated of linear thought? The exception might be the doll-headed, damaged namesake of this comedy loosely inspired by the life of late English musician and comedian Frank Sidebottom (real name: Chris Sievey), and real-life Sidebottom sideguy Jon Ronson, who co-wrote the screenplay. And if this loving, very funny, bromantic take on the so-called creative process of rock seems a bit forced at times, that’s only because the movie is so clearly filtered through the archetypal wannabe, made likable by Domhnall Gleeson. His office worker Jon is struggling to write songs when he stumbles across a band, Soronprfbs, after watching their keyboard player attempt to drown himself at the beach. Manager Don (Scoot McNairy) taps the bystander to contribute to the chaos happening onstage, then drags him off for the making of the album. Mysterious leader Frank (Michael Fassbender), who never takes off his massive, faux-happy head, finds inspiration in threads protruding from upholstery. As Jon’s nest egg gets sucked into the recording budget and theremin player Clara (Maggie Gyllenhaal) rages against the interloper, he posts the band’s, er, artistry to YouTube, obtaining the group a coveted gig at South by Southwest. But who really wants this shot at fame? The sideman with a will to power, or the damaged true talent? Director Lenny Abrahamson and Ronson wisely place Frank squarely in the viral video/GIF/Vine-poisoned multiplatform miasma of today, put across all the more powerfully by Gleeson and particularly Fassbender, who reveals a fine singing voice. While cleverly referencing outsider artists big and small by way of right-on original songs by Stephen Rennicks, Frank asks vital questions about motivation and art-making in an era when it seems like everyone is getting their 15 minutes of fame — and we’re getting increasingly weary of eyeballing it and filtering the wheat from the gone-in-a-nanosecond chaff. Some make music because they want to be stars, while others, Frank says, do it because they have little other choice. (1:34) Balboa. (Chun) Guardians of the Galaxy The trailer that nearly broke the internet didn’t lie: Guardians of the Galaxy is cheeky, hilarious, eye-popping fun. Its plot may be a predictable anti-hero’s journey, but the saga of Peter “Star-Lord” Quill (Chris Pratt), half-Earthling, half maybe-alien, as he transforms from scavenging scoundrel to rescuer-of-the-universe is so enjoyable nobody seeking a good time at the movies will care. Helping Quill in his battle against baddie Ronan (Lee Pace) are slinky, green-skinned Gamora (Zoe Saldana); rascally raccoon Rocket (voiced by Bradley Cooper); muscle-bound dim bulb Drax (former pro wrestler Dave Bautista); and a tree-like creature named Groot (voiced by Vin Diesel — his best performance in years, if ever, despite the fact that the only words the character ever utters are “I am Groot.”) Director and co-writer James Gunn (2010’s Super), working from a cult comic from the prolific house of Marvel, does a stellar job balancing action and goofiness, with plenty of unexpected touches along the way, including the best use of 1970s soft-rock since Reservoir Dogs (1992) and Cherish (2002). (2:02) Metreon, 1000 Van Ness, Sundance Kabuki. (Eddy) Hector and the Search For Happiness Despite the inherent lovability of Simon Pegg, Hector and the Search For Happiness gives off a strong whiff of #firstworldproblems. Pegg’s well-meaning, too-tidy therapist Hector is at the end of his tether with his mewling patients, perfect girlfriend (Rosamund Pike), and immaculate London condo — he’s just dying to get dirty, mussed up, and fundamentally unsettled and along the way, he hopes to discover the secret to happiness, purportedly for his clients, but really, truly for himself. Getting out of his comfort zone with a dose of cultural colonialism, er, tourism, seems to be the answer, so Hector embeds himself, sort of, in Shanghai, where he meets wealthy businessman (Stellan Skarsgård) and falls for a tremulous club hottie (Ming Zhao); Tibet, where he meets a magical monk (Togo Igawa); Africa, where he has the best time dancing and eating and the worst time being imprisoned and tortured by a warlord (Akin Omotoso); and finally LA, where he is torturously confronted by an old love (Toni Collette) and poked and prodded by a happiness researcher (Christopher Plummer). The scattered laughs and whimsical drawings in Hector’s notes, which the film’s sporadic animations emerge from, are the best things about this otherwise meander of movie as Pegg’s Hector attempts to follow his bliss down some familiar pathways. Hector’s holy-fool naiveté and conclusions don’t entirely surprise or coalesce — we’re missing the usual cohort of director Edgar Wright and sidekick Nick Frost and Pegg’s own writerly touch — though the heart, positive intentions, and wide screen ambitions still glimmer, however dimly. (1:54) SF Centre. (Chun) The Hundred-Foot Journey Don’t watch Lasse Hallström’s latest film on an empty stomach. Under the film’s rich layers of mouthwatering food closeups and stunning shots of France (which, admittedly, occasionally threaten to steal the show), The Hundred-Foot Journey is a simple feel-good movie, akin to your favorite comfort food. The Kadam family spices up the South of France when they open an Indian restaurant just 100 feet away from a formidable competitor: a ritzy place owned by Madame Mallory (Helen Mirran). Papa (Om Puri) and eldest son Hassan (Manish Dayal) don’t back down when the heat gets turned up. It’s easy to get caught up in Hassan’s optimism, so the film is predictable (even managing to sprinkle a bit of romance in), but not cheesy. The score is the final icing on the cake, but it’s impossible to expect anything less from Slumdog Millionaire (2008) composer A.R. Rahman. (2:02) 1000 Van Ness, SF Centre. (Amy Char) I Am Eleven Australian director Genevieve Bailey wanted to find out if kids today are still as “happy and excited” in “this crazy world” as she was at her own favorite age. So she trotted around the globe interviewing 11-year-olds. This innocuous documentary doesn’t ask them any difficult or probing questions. So we get a curiously samey sampling of children in very different cultural and economic circumstances who are nonetheless all plucky and well-adjusted, have the same opinions (war, racism, bullies and global warming are bad; animals and family are good). None of them appear to be suffering any serious deprivations, abuse or cultural-religious programming that might disturb viewers, making I Am Eleven a feel-good montage with little depth. It might ideally be shown to actual 11-year-olds, who could benefit from its mild, relatable depiction of diversity. But by grown-up standards, this movie represents a wasted opportunity to take the pulse of those who are about to inherit a world facing crisis on myriad fronts. (1:34) Metreon. (Harvey) Jimi: All is by My Side There’s a huge challenge facing Jimi: All Is By My Side, written and directed by John Ridley (an Oscar winner for scripting 2013’s 12 Years a Slave): The Hendrix family noped any song permissions, so star André Benjamin, aka OutKast’s André 3000, doesn’t get to wail through “Foxy Lady” or any other songs that hit big during the film’s time frame (it ends just before Hendrix’s stateside breakout at the 1967 Monterey Pop Festival). He does get to noodle on some blues riffs, and the Jimi Hendrix Experience’s notorious cover of “Sgt. Pepper’s Lonely Hearts Club Band” — played days after its release in front of a crowd that included astonished Beatles — is one of Jimi’s few exhilirating moments. There are other issues beyond the music rights; controversy has swirled around the script’s portrayal of Hendrix as a violent drunk, and as an aimless drifter who probably wouldn’t have made much of himself, despite his talent, were it not for people like Linda Keith (Imogen Poots), who used her connections as Keith Richards’ girlfriend to kickstart Hendrix’s music career. But without those electrifying songs to punctuate Hendrix’s day-to-day drama, Jimi‘s narrative is meandering at best. We already know he’s going to become a star. We know he’s going to die young. Maybe we don’t know how Hendrix wrote “Purple Haze,” but this movie, which contains precious few insights into his creative process, isn’t going to tell us. (1:58) Metreon, Sundance Kabuki. (Eddy) Last Days in Vietnam Recent news coverage of Yadizi people — ethnic-minority Iraqis targeted by ISIS for their spiritual beliefs — desperately fleeing their country brought to mind another frantic evacuation, investigated in detail by Rory Kennedy’s tense new doc Last Days in Vietnam. It begins in 1975, when Saigon’s post-war population included 6,000 or so Americans, as well as thousands more South Vietnamese who worked for and with them. With rapidly-approaching Communist troops on the horizon, the urgent exodus began, and Last Days combines news footage with eyewitness reports from American embassy workers and military (including the last US soldier to climb aboard the last departing helicopter) who took an active role in the operation. We also hear from South Vietnamese — including several people who did not make it out, but managed to survive, as well as a man whose father daringly choppered his entire family to an American ship bobbing offshore. Kennedy — whose previous work, 2012’s Ethel, was about her mother, best-known as RFK’s widow — favors filmmaking that doesn’t innovate stylistically beyond anything seen on the History Channel, and there are no big revelations here. But her straightforward approach means the stories she captures take center stage, and they are harrowing stories indeed. (1:19) Opera Plaza. (Eddy) Love is Strange Ben (John Lithgow) and George (Alfred Molina) have been together four decades, so it’s a big celebration for their extended family of friends and relations when they finally, legally get hitched. But news of the marriage reaches the archdiocese in charge of the Catholic high school where George teaches music, and while he’s hardly been in the closet at work or anywhere else, this supposed gesture of public defiance against church doctrine gets the beloved instructor fired. With Ben a not-particularly-successful painter, and George now looking for a new job, the couple can now no longer afford to pay the mortgage on the Manhattan co-op apartment they’ve lived in for 20 years (but only owned for five). Finding an affordable new place is near-impossible. So the pair find themselves split up, forced to crash under different roofs and awkward circumstances. Ben moves in with his workaholic nephew (Darren Burrows), unwittingly heightening tensions with his author wife (Marisa Tomei) and especially their moody teenage son (Charlie Tahan), who deeply resents having to share his bedroom. George lands on the couch of a younger gay couple, two cops (Cheyenne Jackson, Manny Perez) who are very nice but have an active social life that robs him of privacy and sleep. This latest from ever-more-excellent Ira Sachs (2012’s Keep the Lights On), its near-flawless screenplay co-written with Mauricio Zacharias, is a widely relatable drama about precisely observed human nature and increasingly inhumane economic realities. It’s also easily one of the best US films 2014 is likely to offer. Might as well start filling out your Oscar ballots, because this movie is definitely going to be a contender. (1:38) Embarcadero. (Harvey) Lucy Eurotrash auteur Luc Besson’s latest is a mostly fun action fantasy about a party girl (Scarlett Johansson) who runs afoul of gangsters in Taipei and ends up with a leaking packet of futuristic drugs sewn into her shapely stomach. Side effects include super strength and supernatural intelligence — insert pseudo-science mumbo-jumbo about tapping into 100 percent of one’s woefully underused brainpower, etc. etc. — which leads to some satisfying scenes in which Johansson’s Lucy flattens a hallway of cops with a single gesture, or filters through every phone conversation in the Paris metro area to find the one guy she needs to eavesdrop on. She’s also able to beam herself into electronic devices, a nifty trick that convinces kindly scientist Morgan Freeman to help download her magnificently advanced intelligence into a kind of living computer (shades of 2013’s Her and Under the Skin, except this time ScarJo’s wearing a really great dress). South Korean weirdo/superstar Choi Min-sik (2003’s Oldboy; 2010’s I Saw the Devil) is an inspired choice to play the vengeful kingpin intent on tracking down his runaway mule, and Besson adds some arty flair via nature-show footage and Cosmos-esque clips from beyond the infinite — though the film’s Big Ideas wobble precariously amid its other, mostly silly elements. (1:29) Metreon. (Eddy) Magic in the Moonlight Woody Allen’s latest — after last year’s vodka-drenched Cate Blanchett showcase Blue Jasmine — offers a return to period romance á la 2011 smash Midnight in Paris. Instead of Owen Wilson time-traveling through the artsy 1920s, we get winsome 1920s clairvoyant Sophie (Emma Stone, 25 years old) falling for the skeptic who’s sent to debunk her, played by Colin Firth (who’s 53). Firth’s performance is easily the best part of Magic in the Moonlight; his Stanley Crawford is a theatrical conjurer famed for his yellowface act, in which he solemnly makes elephants disappear. Off-stage, he’s a self-proclaimed genius regarded by most who meet him as a pompous jerkface. When he’s summoned to the South of France to help a longtime friend and fellow magician (Simon McBurney) prove that Sophie — from humble origins, she’s grown fond of high-society living — is hoodwinking the fancy American family that’s taken her in, nothing unfolds as he expects. The whole exercise is lighter than meringue; it’d be passable as lesser Allen except for that obvious, comically huge age gap between the leads. He knows we disapprove, and he does not care. Are you trolling us, Woody? (1:40) Opera Plaza. (Eddy) The Maze Runner What better way to allegorically filter the nightmarish battleground of adolescence amid apocalyptic end times, than through the prism of brainteasers and video games? After all those dystopic, divergent, ender-baiting — and more girl-focused — hunger games, The Maze Runner feels like a mixture of Michael Bay blockbuster fare, crypto-Lost conspiracy-fantasy, and classic proto-YA fiction, à la Lord of the Flies. We are bolted — like smart noob Thomas (Dylan O’Brien), waking from an amnesiac slumber in a speeding mystery elevator — into a contained Petri dish of sorts: a bucolic box of forests and fields, a land of lost boys. No Peter Pans here, though. Alby (Ami Ameen) oversees the fragile peace of this budding society, alongside second-in-command Newt (Thomas Brodie-Sangster), opinionated hazer Gally (Will Poulter), and a baby Hurley named Chuck (Blake Cooper). They’re surrounded by a menacing maze filled with deadly, giant spider-like “Grievers,” and the strongest and fastest, led by Minho (Ki Hong Lee), explore its corridors each day in search of a way out. Of course, Thomas, who happens to be smarter, speedier, and more compassionate than most, is destined to run the maze, which evokes a way-too-elaborate guillotine-cum-Skinner-box, the Transformers, and the doomed pathways of The Shining (1980). The arrival of a girl to the glade, of course, changes everything, though not in ways you’d naturally expect. In spite of its intriguing premise and director Wes Ball’s brisk play-by-play, Maze Runner‘s end game is way more pat than anything Kubrick ever laid his digits on. And why any entity would go through the fuss and bother and expense of building out this scenario for the goals finally teased out at the end comes off as utterly absurd, as is the laughable catchphrase that poor Patricia Clarkson is tasked with intoning. (1:53) Metreon, 1000 Van Ness, Sundance Kabuki. (Chun) My Old Lady If only the grand dame had more of a say, rather than the whiny, middle-aged offspring. Playwright Israel Horovitz makes his feature-film debut, directing his own play in this potentially fascinating clash of cultures on a generational battlefield populated by some amply endowed acting talents. New Yorker Mathias (Kevin Kline), who grew up privileged with a “silver knife” in his maw, got little else from his deceased, estranged father than a Paris apartment in the coveted Marais district. But his real estate dreams are quashed when it turns out to be a “viager,” a quirk of French law that allows the former owner — in this case, worldly elder Mathilde (Maggie Smith) — to continue dwelling in the property long after the sale, collecting monthly payments from the purchaser until her death. Penniless, troubled Mathias can barely afford those payouts, much less cope with Mathilde’s daughter, Chloe (Kristin Scott Thomas), in this wearily paced dramedy that turns out to be more sour — and dourily serious — than saucy. One is forced to fantasize: What would Smith’s Violet Crawley do, or better yet, say, about this effort, which makes Downton Abbey look like the picture of crisply edited moviemaking modernity? (1:47) Clay. (Chun) No Good Deed (1:24) Metreon, 1000 Van Ness. Pride In 1984 London, queer radical Mark (Ben Schnetzer) browbeats his coterie of fellow gay activists into raising funds for coal miners striking against P.M. Margaret Thatcher’s firmly anti-unionist policies. Their success brings a reluctant invitation to visit and receive thanks from one small Welsh town of strikers, most of whom are not all that enthused to get helped by a buncha poofs. But in this loosely fact-inspired crowdpleaser by scenarist Stephen Beresford and director Matthew Warchus (a UK stage luminary whose only prior feature was the unfairly maligned Sam Shepard-penned Simpatico 15 years ago), adversity ultimately creates allegiance and understanding, despite such hurdles as ingrained prejudice (represented by Lisa Palfrey as a particularly homophobic miner’s widow) and the still-new AIDS crisis. With Imelda Staunton, Dominic West, Paddy Considine, and Bill Nighy scattered among both the “pit and pervert” types, this feel-good flashback complete with a soundtrack full of New Wave oldies hits all the right notes even if there are few real surprises in the overall tune. (2:00) California, Embarcadero. (Harvey) The Skeleton Twins “I don’t know … maybe we were doomed from the beginning,” muses Maggie (Kristin Wiig) at the beginning of The Skeleton Twins. It’s her voice-over, but the figure onscreen is her brother, Milo (Bill Hader), who mopes to Blondie before flopping into a bathtub that slowly fills with water and blood from his slashed wrists. The twins haven’t seen each other in over 10 years, and the ice takes awhile to break when Maggic appears at his hospital bedside. But we know her secret: On the same day Milo was penning a suicide note, Maggie — trapped in a torturously bland marriage — was on the verge of gobbling a handful of pills in order to make her own permanent exit. Clearly, these siblings have more in common than they realize: They’re both deeply miserable, unable to shake a troubled past that includes their beloved father’s suicide, a distant mother (Joanna Gleason), and the scandalous incident (involving Milo and his high-school English teacher) that caused their estrangement. There’s only one path that these sad-sacks can choose (since if one of ’em actually died, that would make this black comedy a little too black), so they set about trying to mend fences. And it’s obvious — despite their frequent arguments, and the fact that both do some pretty terrible things — that the only bond in The Skeleton Twins that has any chance at repair is Milo and Maggie’s. Produced by indie darlings Jay and Mark Duplass, and directed by Craig Johnson (whose co-writer, Mark Heyman, also co-wrote 2010’s Black Swan), The Skeleton Twins might veer too deeply into melodrama territory were it not for its restrained script, and its deeply appealing cast. Wiig and Hader have been funnier elsewhere — but they’ve rarely been better. (1:33) 1000 Van Ness, SF Centre, Sundance Kabuki. (Eddy) Starred Up British actor Jack O’Connell (star of the upcoming Unbroken) plays teenage rageaholic Eric, a seasoned convict despite his young age. We meet him as he’s being moved from juvenile to grown-up lockup, where he wastes no time fashioning a weapon out of his toothbrush and adjusting the anvil-sized chip on his shoulder. This young lad’s furious existence is further unsettled when he encounters his shifty father (Ben Mendelsohn), a lifer who grudgingly takes an interest in his son’s progress, while displaying a temper that suggests the origins of Eric’s troubled psyche. Thick accents and slang pepper the script by former prison shrink Jonathan Asser (represented in the film by Rupert Friend) — meaning the dialogue is as authentic as it is impenetrable. No matter, really, since this grim, involving drama from Scottish director David Mackenzie (2011’s Tonight You’re Mine, 2003’s Young Adam) relies firmly on the idea that brutality speaks way louder than words. (1:46) Four Star, Roxie. (Eddy) Teenage Mutant Ninja Turtles Years from now, film scholars will look back at these creatively bankrupt (if box office-rich) times and blame Michael Bay for many evils, including a garish Transformers series that won’t die. He also produces this theatrical reboot of a kiddie action series (currently enjoying a TV cartoon renaissance on Nickelodeon) that probably should’ve been left in the sewer after 2007’s TMNT — star Chris Evans thanks you for forgetting that even existed — or, even better, after revealing the secret of the ooze in the 1990s. But Teenage Mutant Ninja Turtles is here to stomp all over nostalgic goodwill, not to mention take advantage of CG advancements that render its heroes as “real” as pumped-up reptiles with weapons can be, with a 3D coating that does allegedly human but suspiciously plastic co-star Megan Fox no favors. If you can get past that eeriness, you won’t be rewarded for your efforts; the jokes are either unfunny or pointless (are we really still referencing the Lost finale?), and the plot is so insultingly predictable William Fichtner’s character might as well be named “Sinister Rich Guy.” May also contain: fart jokes, butt jokes, pizza. (2:00) Metreon. (Eddy) This Is Where I Leave You Jason Bateman plays Judd Altman, the hollow center of a clan of snarky, squabbling siblings — Wendy (Tina Fey), fractiously married with kids and pining for her high school sweetheart (Timothy Olyphant); Paul (Corey Stoll), who runs the family sporting goods store; and Phillip (Adam Driver), a philandering über-fuckup currently dating his former therapist (Connie Britton) — reunited somewhere in eastern seaboard suburbia by the death of their father. This vaguely sketched individual’s last wish, they are informed by their mother (Jane Fonda), a therapist turned author who mined their adolescence for pop psych bestseller gold, was that, his atheism notwithstanding, they conform to Judaic tradition and sit shivah for him. A seven-day respite of quiet reminiscing and clarifying reflection, broken up by periodic babka-and-whitefish-salad binges, could be good for Judd, whose recent misfortunes also include coming home to find his wife (Abigail Spencer) between the sheets with his shock jock boss (Dax Shepard), resulting in a divorce-unemployment double whammy. But there is no peace to be found at the Altman homestead, where fuses blow, siblings brawl, in-laws conduct high-volume international business transactions and reproductive rites, and Wendy’s latchkey toddler wanders the property with his portable potty. Director Shawn Levy (2013’s The Internship, 2010’s Date Night) and writer Jonathan Tropper, who adapted the script from his novel, don’t want any of the siblings, or satellite characters, to feel left out, and the story line is divvied up accordingly. But the results are uneven — lumps of comedy and genuine pathos dropped amid the oppressive exposition, pat resolutions, and swings in pacing from slack to frenetic. (1:43) Marina, 1000 Van Ness, SF Centre, Sundance Kabuki. (Rapoport) Tracks One of the many worrisome visuals in Tracks, an adaptation of a 1980 memoir by a young Australian woman named Robyn Davidson, is the sight of Mia Wasikowska’s skin, scarlet and blistering under a punishing desert sun. Robyn (Wasikowska) has a singular, and single-minded, aim: to walk across nearly 2,000 miles of Australian outback, from Alice Springs in the dead center of the country to the Indian Ocean, with a team of four feral camels and her black lab Diggity for company. There’s some Into the Wild (2007) and All Is Lost (2013) here — in Robyn’s driving impulse toward deep isolation, her almost frantic need to remove herself from the cacophony of human transaction and commune with her animals in the empty desert, as well as in the film’s steady focus on logistics. With the loopy exception of Adam Driver as an admiring freelance photographer who periodically joins her on the trail, at the behest of National Geographic, nearly everyone Robyn encounters at the film’s outset thinks she’s nuts, and doomed, and the viewer is likely sympathetic to this viewpoint. Robyn, radiating an unyielding idealism and a white-knuckled ethic of self-reliance, can seem naïve and unreasonable, and doesn’t much trouble to explain herself. The camera, meanwhile, follows in her tracks without judgment, accepting her decision and watching, solicitously, to see who she is out there and how she will make her way. (1:42) Embarcadero. (Rapoport) The Trip to Italy Steve Coogan and Rob Brydon return as “Steve Coogan” and “Rob Brydon” in this sequel to Michael Winterbottom’s 2010 The Trip. Like its predecessor, the premise — a road trip for the purpose of a restaurant-reviewing gig — provides a loose framework upon which these two actor-comedians, portraying exaggerated, fictionalized versions of themselves, hang their easy banter and occasional deeper conversations. The midlife crisis themes are still apparent (Brydon meets a comely expat who tempts him into cheating on his wife, with whom he has a small child; Coogan feels regret over his distant relationship with his teenage son), which tie into career anxieties for both men; references to classic literature also hold over from the first film. Most importantly, also like the first film, The Trip to Italy — blessed with all the gorgeous food and coastal landscapes the change of scenery suggests — is a riot. The impressions (lots of Godfather this time around) flow fast and furiously; while there’s nothing that can top the first film’s Michael Caine battle, it’s still a pleasure watching Brydon “converse” with a historical relic at Pompeii, or the duo’s joyous invocation of The Bounty (1984) during a brief boat journey. (1:55) Opera Plaza, Presidio. (Eddy) Tusk Michael Parks has a gift for looking like he’s in a different movie than everyone else, and it’s possible that ineffable skill of his has found its best use to date in Kevin Smith’s new fuck-you horror/comedy Tusk. When jerky podcaster Wally (Justin Long) finds a video that begins like “Star Wars Boy” but ends with dismemberment, Wally flies to Canada to interview the “Kill Bill Boy” (so named for the sword wielding and spurting stump). Wallace reaches his destination and is importuned by the funeral. This is one of a handful of scenes that exists to make us happy when Wally meets magical storyteller Howard Howe, an ex-sailor full of sea tales and an dark plan to turn Wally into a Franken-walrus. The story is based on something Smith hashed out in his sModcasts (excerpted during the credits) and when you look for author surrogate (not that you should) Wally’s impossible to distinguish from Smith. Asshole podcaster? Fights for permission to work freely? Body issues? All Wally needs is a dachshund and a jersey. Tusk isn’t up to the level of Smith’s early output, but it’s right in line with the decline in quality he’s been facing since critics broke his spirit, studios turned cold shoulders, and cynicism naturally set in. I hope whatever soul coughing Tusk represents will provide Smith momentum and license to leave any transformative hardships behind him — there are always beacons of hope (an uncredited Johnny Depp provides a good one here). Despite fundamental frustrations, Tusk has some deep and inky moments. When Howe takes Wally’s leg from him (leveling him to a “Kill Bill Kid”-styled punch line) Wally wails impotently, and Howe laughs — at what, it’s not certain (perhaps it’s really Parks, guffawing at Long’s performance?), but whatever that gloriously complicated motivation was, in the mingling of cries emerges an eerie but profoundly communal squall. (1:42) Metreon. (Vizcarrondo) 20,000 Days on Earth Lushly filmed by artists Iain Forsyth and Jane Pollard, 20,000 Days on Earth purports to be a day in the life of moody Aussie troubador-screenwriter-novelist Nick Cave — but is really an experimental docudrama in disguise. It opens with Cave, now in his mid-50s, getting out of bed and admitting in voice-over, that he “cannibalizes” everything that happens in his life for his songs. Thus begins an intimate look into Cave’s songwriting process, a rambling adventure that includes studio sessions for 2013’s Push the Sky Away (including some goofing off — yes, he smiles!); a chat about his childhood with psychoanalyst Darian Leader; a meal with bandmate Warren Ellis; sorting through his career archives; and scenes of Cave driving around his adopted hometown of Brighton, visiting with cohorts (Kylie Minogue, Blixa Bargeld, Ray Winstone) who appear and disappear in perfect cadence with 20,000 Days‘ themes of memory, the art of performance, and storytelling. “Who knows their own story? Certainly it makes no sense when we’re living in the midst of it,” Cave muses. “It only becomes a story when we tell it and re-tell it.” This particular story builds to a Sydney Opera House gig in which Cave croons the songs we’ve seen him create, interspersed with footage of a younger Cave thrashing around the stage in pursuit of what the film vividly captures: “this shimmering space where reality and imagination intersect.” (1:37) Roxie. (Eddy) Two Night Stand A drifting twentysomething layabout named Megan (Analeigh Tipton) — jobless, living on sufferance with a friend (Jessica Szohr), and newly unmoored from a longtime relationship — tests the powers of a random online hookup to jolt her into a forward trajectory. Meeting Alec (Miles Teller) at the far end of a video chat, she embarks on a midnight trek to his place, has sub-mediocre sex with him, and wakes up the next morning to find herself, after some acrimonious pillow talk and a would-be dramatic exit, trapped in his apartment by about four feet of snow. Setting off from this highly engineered premise — a sort of desert island scenario for the urban millennial — director Max Nichols (son of Mike) and writer Mark Hammer hit some standard romantic comedy plot points, guiding the pair from a state of mutual irritation to grudging rapprochement to growing admiration before setting up the third-act romantic roadblock. But Two Night Stand manages some cleverly maneuvering within its genre strictures, benefiting from a funny, well-paced script, which keeps a talky 24-hour tête-à-tête engaging and entertaining, and two charming, well-matched leads, whose characters trade insults, query each other’s online-profile claims, and gamely tackle a play-by-play postmortem of the previous night’s action — and a do-over — for the sake of future randoms and the possible reeducation of some audience members. (1:26) 1000 Van Ness. (Rapoport) A Walk Among the Tombstones The latest in Liam Neeson’s string of films in which he plays a tough guy uncannily adept at hissing orders (or threats) through a telephone is as pitch-black as its eerie title suggests. Set conspicuously in 1999, when Y2K and far more sinister threats loomed (see: a poignant shot of the World Trade Center), Tombstones is the grim tale of Matt Scudder, a loner with both an NYPD career and a prodigious drinking habit wedged 10 years in the past. He maintains his bare-bones lifestyle by doing off-the-books PI work, but none of his dirty-deeds experience can prepare him for his next case, a nightmarish pile-up of missing women sliced to pieces by a van-driving maniacs. Working from Lawrence Block’s novel, writer-director Scott Frank (2007’s The Lookout) emerges with surprisingly layered characters that extend beyond the archetypes they initially seem to be at first; besides Neeson’s Scudder, there’s a street-smart youth who becomes his sorta-helpful sidekick (Brian “Astro” Bradley), and a vengeful drug dealer (Dan Stevens) with a junkie brother (Boyd Holbrook). Even the murderers behave in unexpected ways. And if its story hews a bit too closely to Urban Noir 101, it’s bleak as hell, and has the guts to make relentlessness one of its primary objectives. (1:53) 1000 Van Ness, SF Centre. (Eddy) Wetlands It begins, like many a classic coming-of-age tale, with an unbridled case of hemorrhoids, followed by a barefoot meander through possible sewage to the vilest public restroom captured on film since 1996’s Trainspotting. None of this seems to faze Wetlands‘ outspoken heroine and narrator, 18-year-old Helen (Carla Juri), a skateboarding, sexually adventurous young maniac who admits to having a markedly lax attitude toward personal hygiene. Viewers of director-cowriter David Wnendt’s film, however, may want to refrain from visiting the concession stand just this once — chewing on Milk Duds is likely to become negatively evocative as Helen embarks on a round of tactile explorations involving a tasting menu of bodily excretions. The biotic high jinks continue when she winds up in the hospital in the wake of a viscerally enacted shaving incident, from which vantage point, occasionally under general anesthesia, she revisits scenes from both her fraught childhood and her teenage exploits, wandering between the homes of her divorced parents: an anxious, uptight germophobe mother (Meret Becker) and a checked-out, self-indulgent father (Axel Milberg), whose inadvisable rapprochement she hopes to engineer from her hospital bed. Impressively, amid the advancing waves of gross-out, a poignant story line emerges, and, like Helen’s handsome, bemused nurse Robin (Christoph Letkowski), the object of her wildly inappropriate advances, we find ourselves rolling with the shock and revulsion, increasingly solicitous and bizarrely charmed. (1:49) Four Star. (Rapoport) The Zero Theorem Two-time Oscar winner Christoph Waltz’s ability to play loquacious characters — some evil, some crusading for justice on horseback — is undeniable. But how has this actor, having been hand-picked to portray characters tailored to his strengths, fared beyond Quentin Tarantino movies? It’s been a mixed bag (see: non-starters like 2011’s The Green Hornet and Water for Elephants). His latest test comes with Terry Gilliam’s The Zero Theorem. The project had been on Gilliam’s radar for years; the script was penned over a decade ago by Pat Rushin, a Florida creative writing professor. Its dystopian themes mirror Gilliam touchstones Brazil (1985) and 12 Monkeys (1995); an overt dig at The Matrix (1999) reflects the era in which it was written, although it’s presumably been updated to include more current-day concerns, like technology’s ability to foster extreme loneliness. Waltz plays computer whiz Qohen, one of “the most productive number crunchers” at mega-corp Mancom. He’s a hairless stress case who dreams about massive black holes and refers to himself using plural pronouns, as in “We are dying.” (The affectation is as annoying to Theorem‘s other characters as it is to the viewer.) The mysterious “Management” (Matt Damon) allows Qohen to work from his home, but this privilege comes with a price: he’s tasked with solving the titular theorem, a maddening beast that would drive even a stable person to the brink of sanity. His madness is in no way assuaged by “Dr. Shrink Rom,” his virtual psychiatrist (Tilda Swinton), though he does get some help from Management’s hacker-genius teenage son (Lucas Hedges), and some welcome distraction from a virtual-reality junkie (Mélanie Thierry) — though that nascent romance proves no more “real” than anything else in Qohen’s world. Ultimately, despite Waltz’s heavy lifting (and not-infrequent nudity), Theorem sputters to sustain all its many whirring parts, including the parts that attempt to convey deep thoughts about the meaning of life. Maybe the meaning is “don’t overthink it.” (1:46) Four Star. (Eddy) * Film listings are edited by Cheryl Eddy. Reviewers are Kimberly Chun, Dennis Harvey, Lynn Rapoport, and Sara Maria Vizcarrondo. For rep house showtimes, see Rep Clock. OPENING The Boxtrolls The stop-motion wizards behind Coraline (2009) and ParaNorman (2012) release their latest, about an orphaned boy raised by friendly trolls. (1:37) Balboa, Presidio. The Equalizer A retired black ops commander (Denzel Washington) finds himself at odds with the Russian mafia, as one does, in this update of the Edward Woodward TV show from director Antoine Fuqua.
1053	dbpedia	3	9	https://www.ranker.com/list/famous-people-from-serbia/reference%3Fpage%3D2	en	Famous People From Serbia	https://imgix.ranker.com/list_img_v2/18046/1578046/original/famous-people-from-serbia-u1	https://imgix.ranker.com/list_img_v2/18046/1578046/original/famous-people-from-serbia-u1	[ "https://sb.scorecardresearch.com/p?c1=2&c2=10600724&cv=3.6&cj=1", "https://static.ranker.com/img/brand/ranker-logo.svg?v=1&auto=format&q=60&fit=crop&fm=png&dpr=2&w=104", "https://static.ranker.com/img/brand/wordmark.svg?v=1&auto=format&q=60&fit=crop&fm=png&dpr=2&w=210", "https://imgix.ranker.com/img/icons/menuSearch.svg?v=2&auto=format&q=60&fit=crop&fm=png&dpr=4&h=30&w=30", "https://imgix.ranker.com/img/icons/vote-on-pill.svg?auto=format&q=60&fit=crop&fm=png&dpr=4&h=24&w=105", "https://imgix.ranker.com/user_img/1/1/original/reference?auto=format&q=60&fit=crop&fm=pjpg&dpr=2&crop=faces&h=40&w=40", "https://imgix.ranker.com/node_img/80/1583900/original/mihajlo-pupin-all-people-photo-1?auto=format&q=60&fit=crop&fm=pjpg&dpr=2&crop=faces&h=150&w=150", "https://imgix.ranker.com/user_node_img/81/1608519/original/monica-seles-tennis-players-photo-u4?auto=format&q=60&fit=crop&fm=pjpg&dpr=2&crop=faces&h=150&w=150", "https://imgix.ranker.com/img/icons/titleChevronRight.svg?auto=format&q=60&fit=crop&fm=png&dpr=4&h=11&w=11", "https://imgix.ranker.com/user_node_img/118/2346341/original/vlade-divac-u6?auto=format&q=60&fit=crop&fm=pjpg&dpr=2&crop=faces&h=150&w=150", "https://imgix.ranker.com/img/icons/titleChevronRight.svg?auto=format&q=60&fit=crop&fm=png&dpr=4&h=11&w=11", "https://imgix.ranker.com/node_img/50/985963/original/ferenc-herczeg-writers-photo-1?auto=format&q=60&fit=crop&fm=pjpg&dpr=2&crop=faces&h=150&w=150", "https://imgix.ranker.com/node_img/36/704735/original/charles-simic-writers-photo-1?auto=format&q=60&fit=crop&fm=pjpg&dpr=2&crop=faces&h=150&w=150", "https://imgix.ranker.com/node_img/103/2047025/original/slobodan-jovanovi-all-people-photo-1?auto=format&q=60&fit=crop&fm=pjpg&dpr=2&crop=faces&h=150&w=150", "https://v3api.ranker.com/api/px?lid=1578046" ]	[]	[]	[ "" ]	null	[ "Reference" ]	2014-04-30T00:00:00	List of famous people from Serbia, including photos when available. The people below are listed by their popularity, so the most recognizable names are at the ...	en	/img/icons/touch-icon-iphone.png	Ranker	https://www.ranker.com/list/famous-people-from-serbia/reference	Mihajlo Idvorski Pupin, Ph.D., LL.D. (Serbian Cyrillic: Михајло Идворски Пупин, pronounced [miˈxǎjlo ˈîdʋoɾski ˈpǔpin]; 4 October 1858 – 12 March 1935), also known as Michael I. Pupin was a Serbian American physicist, physical chemist, philanthropist and patriot. Pupin is best known for his numerous patents, including a means of greatly extending the range of long-distance telephone communication by placing loading coils (of wire) at predetermined intervals along the transmitting wire (known as "pupinization"). Pupin was a founding member of National Advisory Committee for Aeronautics (NACA) on 3 March 1915, which later became NASA. In 1924, he won a Pulitzer Prize for his autobiography. Pupin was elected president or vice-president of the highest scientific and technical institutions, such as the American Institute of Electrical Engineers, the New York Academy of Sciences, the Radio Institute of America, and the American Association for the Advancement of Science. He was also a honorary consul of Serbia in the United States from 1912 to 1920. Monica Seles (born December 2, 1973) is a retired professional tennis player, who represented Yugoslavia and the United States and is also a member of the International Tennis Hall of Fame. An ethnic Hungarian, she was born and raised in Novi Sad, Yugoslavia. She became a naturalized American citizen in 1994 and also received Hungarian citizenship in June 2007. A former world no. 1, she won nine Grand Slam singles titles, eight of them as a teenager while representing Yugoslavia, and the final one while representing the United States. Vlade Divac (born February 3, 1968) is a Serbian professional basketball executive and retired player, currently serving as the vice president of basketball operations and general manager of the Sacramento Kings.Divac spent most of his career in the National Basketball Association (NBA). At 7 ft 1 in (2.16 m), he played center and was known for his passing skills. He was among the first group of European basketball players to transfer to the NBA in the late 1980s and was named one of the 50 Greatest EuroLeague Contributors. He is one of seven players in NBA history to record 13,000 points, 9,000 rebounds, 3,000 assists, and 1,500 blocked shots, along with Kareem Abdul-Jabbar, Tim Duncan, Shaquille O'Neal, Kevin Garnett, Pau Gasol, and Hakeem Olajuwon. Divac was also the first player born and trained outside the United States to play in over 1,000 games in the NBA. On August 20, 2010, he was inducted into the FIBA Hall of Fame in recognition of his play in international competition.Aside from being noticed for his basketball abilities, Divac is also known as a humanitarian, helping children in his native country of Serbia and in Africa. In October 2008, he was appointed as government adviser in Serbia for humanitarian issues. In February 2009, he was elected President of the Serbian Olympic Committee for a 4-year term and re-elected in November 2012. In 2013, Divac received an honor from the World Sports Humanitarian Hall of Fame.
1053	dbpedia	3	93	https://www.academia.edu/16726221/Retrieving_Kusturicas_Underground_as_a_Critique_of_Ethnic_Nationalism	en	Retrieving Kusturica's Underground as a Critique of Ethnic Nationalism	http://a.academia-assets.com/images/open-graph-icons/fb-paper.gif	http://a.academia-assets.com/images/open-graph-icons/fb-paper.gif	[ "https://a.academia-assets.com/images/academia-logo-redesign-2015-A.svg", "https://a.academia-assets.com/images/academia-logo-redesign-2015.svg", "https://a.academia-assets.com/images/academia-logo-redesign-2015-A.svg", "https://0.academia-photos.com/attachment_thumbnails/44499175/mini_magick20190214-28567-12z2l3k.png?1550171804", "https://0.academia-photos.com/11813180/3556430/14407779/s65_sean.homer.jpg", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loaders/paper-load.gif", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png" ]	[]	[]	[ "" ]	null	[ "Sean Homer", "aubg.academia.edu" ]	2015-10-13T00:00:00	Retrieving Kusturica's Underground as a Critique of Ethnic Nationalism				https://www.academia.edu/16726221/Retrieving_Kusturicas_Underground_as_a_Critique_of_Ethnic_Nationalism	"On Retracing Images: The essays in this collection disclose cultural and political dynamics as they occurred before and in the wake of Yugoslavia's dissolution (1991-92) by analyzing visual data such as film, art, graffiti, street-art, public advertisement, memorials, and monuments. Within the vast field of Balkan Studies such visual materials have rarely been taken for important empirical evidence. Against the still widely held presumption that the cultural production of allegedly "totalitarian" states such as Yugoslavia can be neglected as they were penetrated by state ideology, the contributions offer a corrective image of the complex ideological dynamics and discoursive potentials in various artistic and cultural fields. Phenomena such as "Titostalgia", nationalist mobilization, nation-branding, rewriting of history, inventing of traditions, and symbolic violence that have surfaced in recent years are interpreted in the light of Yugoslavia's legacy. Contributors include: Zoran Terzić, Elissa Helms, Miklavz Komelj, Nebojša Jovanović, Isabel Ströhle, Sezgin Boynik, Gregor Bulc, Davor Beganović, Robert Alagjozovski, Gal Kirn, Mitja Velikonja, Daniel Šuber, and Slobodan Karamanić." The paper will examine the theoretical works on the experimental film in Yugoslavia during the period of the early 1960s, the period often referred to as cinema of the second avant-garde. Being influenced by the early and formative years of formalist film theory and following the tendencies in the artistic and curatorial practices in Yugoslavia (other line), the decades after WW2 were marked by authors and films that were brought up by the amateur cine-clubs and the independent film festivals. The second avant-garde is a period of the redefined experimental cinema which had an enormous influence on further evolution of Yugoslav “autochthonous” and radical film movements, such as “The Black Wave.” This paper has an aim of analytical approach towards the cinema of the second avant-garde with regards to influences that shaped it as well to those which were shaped by it, taking into consideration both socio-political and socio-cultural context of Yugoslavia in the early 1960s. In this regard, in the paper will also be presented the brief analysis of the antifilm phenomenon and its originator—Mihovil Pansini. In the present paper I examine the so called neo-avantgarde films made in Balázs Béla Studio, Budapest, Hungary, between seventies and eighties. These films eventually were made not by professional film directors, but by artists who were active in many branches of art, e.g. conceptualism, happening, performance , experimental painting, photo and literature etc. They were focusing on materiality of film, geometric abstraction and seriality, intermediality, experimental montage and renewing of the classical tradition of allegorical montage, new combinations of sound and image etc. Naturally, these procedures were not permitted in mainstraim film industry, not to mention the fact that they were not acceptable from the point of view of the ideology of social realism. The question is how these films tried to improve the double criticism the targets of which were the hegemon ideology in politics and the hegemon forms of reality. Prompted by comments and criticisms of a paper dealing with Emir Kusturica’s Zivot je cudo made by an anonymous reviewer I hope to address three issues: 1) the expansion of the canon studied, 2) the ideological slant of the study, and 3) the question of weight given to extra-textual evidence. First, the reviewer points out that studying Kusturica’s movies, especially Underground, brings nothing new to the table because it rehashes old formulas touching either on ethnic propaganda (Cerovic 1995, Finkielkraut 1995a, 1995b) or on Balkan stereotypes (Iordanova 2001, Zizek 1997a, 1997b, Levi 2007). New movies and director’s should be sought out in order to apply Todorova’s (1997) theoretical framework. I argue that it is illegitimate to expand the canon to works the circulation of which is limited and that is why Kusturica remains our best bet. Nevertheless, I demonstrate that the focus should be switched from Underground to Zivot je cudo. Secondly, I tackle the reviewer’s skepticism of “insider” analysis because it necessarily has an ideological/nationalistic slant (the reviewer points out all ex-Yugoslav commentators have something to gain or lose by the virtue of their nationalities). I point out that the study of Balkanism is itself a political project and thus has an ideological slant, and that the commentators, regardless of their nationality stand to gain or lose something. Thus, we should focus on the comments made not the commentators. Finally, I conclude with an appeal to giving intra-textual evidence or rebuttals of Balkanism greater emphasis than extra-textual ones, especially because in Kusturica’s case it reveals that the often overlooked aesthetic break that takes place with Dom za vesanje goes hand in hand with the representation of Balkan sterotypes. Whether this is subversion or proliferation of Balkanism remains to be settled.
1053	dbpedia	1	65	https://www.amazon.com/Name-People-Ljubomir-Bandovi%25C4%2587/dp/B0B8NT7G3B	en	Watch The Name Of The People	https://m.media-amazon.c…SX720_FMpng_.png		[ "https://fls-na.amazon.com/1/batch/1/OP/ATVPDKIKX0DER:139-4369703-0317554:W2E69EMJF2AMQ1QDEWSN$uedata=s:%2Frd%2Fuedata%3Fstaticb%26id%3DW2E69EMJF2AMQ1QDEWSN:0", "https://m.media-amazon.com/images/G/01/gno/sprites/nav-sprite-global-1x-reorg-privacy._CB587940754_.png", "https://m.media-amazon.com/images/G/01/digital/video/web/Logo-min.png", "https://m.media-amazon.com/images/G/01/digital/video/web/Default_Background_Art_LTR._SX1080_FMjpg_.jpg", "https://m.media-amazon.com/images/S/pv-target-images/f0a6daa95a43db5417a411a007621fa83ad848a9c040a919d93a2f6d992e5288._UR1920,1080_SX720_FMjpg_.jpg", "https://m.media-amazon.com/images/S/pv-target-images/37b940ded5d3b04722c032941c07814642731ee66bf32a6f2cf25c7b32217464._UR1920,1080_SX720_FMjpg_.jpg", "https://m.media-amazon.com/images/S/pv-target-images/d5c1890d8257281f3b3f7c7f7f2b99685aa3a3ebbe35a8e3a60bf5f0e3cc33a4._UR1920,1080_SX720_FMjpg_.jpg", "https://m.media-amazon.com/images/S/pv-target-images/89443954d99197ca32aa62a44084ce41f32896857e4c8b197877938ba28f89ac._UR1920,1080_SX720_FMjpg_.jpg", "https://m.media-amazon.com/images/S/pv-target-images/bc6f3fb143e33d473bf7dcfdc14196e73dd124be6b770460e65b7527f87c0340._UR1920,1080_SX720_FMpng_.png", "https://m.media-amazon.com/images/S/pv-target-images/524a8ee2daa328321d2f9a76315a0a8cfc08a6c29c3c650298ae9321681fa105._UR1920,1080_SX720_FMjpg_.jpg", "https://m.media-amazon.com/images/S/pv-target-images/07c134f5603451b3fe0682fd1c20e957de2540e4152124e086ad7421419b619c._UR1920,1080_SX720_FMjpg_.jpg", "https://m.media-amazon.com/images/S/pv-target-images/c2b4d68f7446e4027266ef220f2822bada94f6333c8e1f9b7ae71945bf2d478a._UR1920,1080_SX720_FMpng_.png", "https://m.media-amazon.com/images/S/pv-target-images/325188fbfdecf2438b27d646354353353e3d805a3bfcdb68be0aa5ad8981e8bb._UR1920,1080_SX720_FMjpg_.jpg", "https://m.media-amazon.com/images/S/pv-target-images/116775b70e3a0f7d474c18a4e350690e4a7db849fd80cedc693a67c8c0b6208e._UR1920,1080_SX720_FMjpg_.jpg", "https://m.media-amazon.com/images/S/pv-target-images/89cff8f265f5cf35322aafaaa5cba8a4d0cb6f43fcfd6c2d9f691daed69246ba._UR1920,1080_SX720_FMjpg_.jpg", "https://m.media-amazon.com/images/S/pv-target-images/83cc641650d428bd86ecf8e91b965820d9915f1707a4e091930e9cee7c127b89._UR1920,1080_SX720_FMjpg_.jpg", "https://m.media-amazon.com/images/S/pv-target-images/50ead776c69540e9df6ec29250fb4631587931bc9d6032b4757a768689a2077b._UR1920,1080_SX720_FMjpg_.jpg", "https://fls-na.amazon.com/1/batch/1/OP/ATVPDKIKX0DER:139-4369703-0317554:W2E69EMJF2AMQ1QDEWSN$uedata=s:%2Frd%2Fuedata%3Fnoscript%26id%3DW2E69EMJF2AMQ1QDEWSN:0" ]	[]	[]	[ "" ]	null	[]	null	Life of Serbian patriot and intellectual Svetozar Miletic and his family during the fight to free Serbian people from Austro-Hungarian oppression. Svetozar Miletic was a respected lawyer, a member of the Hungarian Parliament, and a lifelong fighter for the rights and independence of Serbs in Austro-Hungarian Vojvodina.	en			https://www.amazon.com/Name-People-Ljubomir-Bandovi%C4%87/dp/B0B8NT7G3B	Store FilledRent or buy Store FilledFree trial or buy
1053	dbpedia	1	49	https://www.ejumpcut.org/archive/jc51.2009/Kusterica/text.html	en	Emir Kusturica’s "Underground," text version			[ "https://www.ejumpcut.org/archive/spacer.gif", "https://www.ejumpcut.org/archive/spacer.gif", "https://i.creativecommons.org/l/by/2.5/88x31.png" ]	[]	[]	[ "" ]	null	[]	null					null	JUMP CUT A REVIEW OF CONTEMPORARY MEDIA copyright 2009, Jump Cut: A Review of Contemporary Media Jump Cut, No. 51, spring 2009 Retrieving Emir Kusturica’s Underground as a critique of ethnic nationalism by Sean Homer It is now fashionable for many Balkan intellectuals and scholars to dismiss the work of the former Bosnian Muslim, now Serbian Orthodox,[1][open endnotes in new window] film director Emir Kusturica for, at best, pandering to Western Orientalism and Yugo-nostalgia and, at worst, providing “the libidinal economy of Serbian ethnic slaughter in Bosnia” (iek 1997a; 1997b, 60-64; 2008, 17). In this paper I want to argue “against the grain” of what now seems to be the accepted and dominant reading of Kusturica’s Underground: Once Upon a Time There Was a County (1995). In sympathy with the editors of the volume Balkan as Metaphor (2005) I suggest that it is time to retrieve Underground as a site “of genuine resistance and triumphant critique, rather than as an apology for nationalism” (Bjelic and Savic 15).[2] In order to do so I will briefly situate Underground in relation to Kusturica’s earlier films and his association with the Sarajevo based subculture, the New Primitivs.[3] I will then outline the critique of Underground, as it has been expressed by some of Europe’s most prominent intellectuals, most notably Alain Finkielkraut and Slavoj iek, as well as more recently by the Balkan film scholar Pavle Levi (2007). Finally I will consider the film as a text that explicitly critiques the nature of historical construction in nationalist mythologies and the cinema’s complicity in these constructions. (I will leave the question of Kusturica’s more recent, apolitical, productions, Black Cat, White Cat (1998), Super 8 Stories (2001) and Life is a Miracle (2004) out of this paper.) “New Primitivism” and the subversion of official culture In marked contrast to his current status as an exponent of Serbian nationalist culture and history, Kusturica’s early feature films, especially Do You Remember Dolly Bell (1981) and When Father was Away on Business (1985), emerged from a very specific cultural environment that was at once radical and subversive of official culture and ideology.[4] In terms of their cinematography these films were heavily influenced by the Czech New Wave and Italian Neo-realism (Iordanova 2002, 50-60), but this style, in Kusturica's hands, was in turn inflected through the “New Primitivism” of Sarajevo. These “anti-communist” films (Gocic 21) were set in Sarajevo, and in both Kusturica used local and non-professional actors. The dialogue was in the local dialect rather than standard Serbo-Croat of mainstream Yugoslav cinema, and Kusturica also depicted local Muslim customs, such as the circumcision of the two young brothers in When Father Was Away. In these aspects we can see the influence of the Sarajevo New Primitivs (SNP), who were primarily a punk subculture that originated in the early 1980s, associated with two rock bands: Zabranjeno pušenje (No Smoking) and Elvis J. Kurtovic & His Meteors as well as the satirical radio and later television show The Surrealists Top-List. The name, New Primitivism, is sometimes referred to as a response to the “New Romantics” that emerged in the UK as a reaction against the politics, raw energy, do it yourself style and ethos of Punk. The name is also a response, however, to the more well known and sophisticated artistic movement based around the Neue Slowenische Kunst (NSK) in Slovenia.[5] The art critic Nermina Zildzo describes the New Primitiv style thus: "[T]he main principle of SNP (Sarajevo New Primitivs) is the exploration of identity — an attempt to explain one’s self in one’s own words, through one’s own, un-imposed prism. It manifests itself in: an alleged anti-intellectualism; the use of local iconic and lexical properties; the manipulation of prejuduices about Bosnians, with a particularly productive use of elements from the Muslim milieu in the Sarajevo suburbs." (qtd. in Levi 63) The New Primitivs were militantly provincial and anti-intellectual. Rather than rejecting Balkan stereotypes, such as the Balkan “Wildman,” they embraced these stereotypes and exaggerated them. They adopted an ironic stance regarding official culture and drew upon folk culture as well as the tradition of Yugoslav naïve painting in order to subvert it from within. While the movement was not directly involved in film making, Kusturica’s early films were clearly influenced by the movement’s aesthetics and he was an associate of the group.[6] As Dina Iordanova observes, Kusturica’s early films “confirmed his reputation as an indigenous director” through “the truthful and self-confessed devotion to his roots” (2002, 50). They also confirmed his status as an outsider developing a critique of official culture. According to Goran Gocic, Kusturica was seen to embody and indeed celebrate many of the characteristics of Sarajevo “buddy culture” and its cult of marginality (47-82). The question arises, then, how did this radical critique of Yugoslav culture in Kusturica’s work apparently turn into its opposite? Pavle Levi notes that the central feature of Kusturica’s aesthetics, “the eruption of enjoyment in the public sphere” (85), is strongly indebted to the SNP. This aesthetic manifests itself in the exuberant wedding scenes, the sleepwalkers who tread a thin line between the rational and the irrational, the seemingly inexhaustible alcohol-induced states of trance and excess as well as the so-called magic realism.[7] Kusturica’s aesthetic is above all an aesthetic of excess which will find its fullest expression in Time of the Gypsies (1989) and Underground. In the early films this excess functioned as critique, very much in line with the main principles of the SNP, through Kusturica’s opposition to both socialist dogma and newly emerging nationalist discourse that was replacing it: "What the group [SNP] aimed for was not merely a negation of the popular content pertaining to specific cultural ideology (whether state-socialist or ethnonationalist) but, rather, a deeper subversion of the elementary discursive coherence, without which ideologies cannot be generated in the first place" (Levi 70). Through a systematic “exemption of meaning” (71) the SNP radically questioned all forms of identity, both individual and national. The one thing that they did not question, however, was the stability of their own identity, that is to say, their own “Yugoslavism.” As I will argue below, while the advocacy of Yugoslavism may have functioned as critique of the emerging ethnonationalist discourses to the 1980s, by the mid-1980s it had become irredeemably associated with Greater Serbian nationalism. In short, an uncritical assertion of Yugoslavism was seen to be synonymous with Serbian nationalism. It was this tendency, Levi argues, that Kusturica succumbed to in the 90s, transforming "his aesthetic of the sociopolitically inassimilable energetic outpour into an ethnocentrically motivated, quasi-transgressive aestheticization of collective enjoyment" (105). I will come back to this below but before turning to the main focus of my paper, Kusturica’s Underground, I should first say something of the historical context that it represents, as this is crucial to understanding the controversy that surrounds the film. Once upon a time there was a country … Modern Yugoslavia was born out of the conflict of the Second World War and the communist revolution of 1941 to 1945.[8] In fact Yugoslavia was created twice in the twentieth century. The first time through the Treaty of Versailles in 1918, after the First World War, as the Kingdom of Serbs, Croats and Slovenes and renamed Yugoslavia in 1929.[9] This state was dismembered and partitioned by Germany and its allies in 1941. The country was then recreated by the communist led partisans in 1945 as the Socialist Federal Republic of Yugoslavia, consisting of six republics — Slovenia, Croatia, Serbia, Montenegro, Macedonia, and Bosnia-Herzegovina — and the two Autonomous Provinces of Vojvodina and Kosovo. The partisans were led by the Croatian Josip Broz-Tito, who became the country’s Prime Minister from 1945 to 1953 and President from 1953 until his death in 1980. Tito was initially a close ally of Stalin but broke with the Soviet Union in 1948 and Yugoslavia was expelled from Cominform, the International Organization of Socialist States he had helped to found in 1947 in Belgrade. This early break with the Soviet Union as well as the fact that Yugoslavia was liberated through its own means and not with the help of the Red Army bestowed upon Tito’s socialist government a legitimacy that the other socialist states of Eastern Europe lacked. After Tito’s death in 1980 the complex system of checks and balances that had maintained the unity of Yugoslavia and constitutionally guaranteed minority rights began to unravel (Gowan 1999). According to Susan Woodward (1995) two key factors contributed to the break-up of Yugoslavia: the fundamental changes that came about in the international order with the end of the cold war (Yugoslavia lost its strategic geopolitical position mediating between the East and the West as well as its role in the Non-Aligned Movement) and the global financial crisis and economic recession of the mid-70s and early 80s. In 1979 Yugoslavia had a foreign debt of $3 billion (Magaš 80), one year after Tito’s death this had reached $20 billion and was rising (94). The federal government response to this crisis was a harsh austerity programme that resulted in massive unemployment, a dramatic fall in living standards, consumer goods shortages, escalating inflation and falling wages (Woodward 51-2). Political momentum grew in the country, particularly in Slovenia and Croatia, for a decentralization of power and greater democracy in order to address the crisis. This movement was in turn opposed by “party hardliners” demanding a greater centralization of power in Belgrade in the name of a unitary state.[10] This situation escalated throughout the 1980s as the social unrest, resulting from the austerity programme, intensified and the momentum for decentralization gathered pace. In April 1987 Slobodan Miloševic, then Chairman of the League of Communists in Serbia, delivered a virulently nationalist speech at Kosovo Polje, near the site of Serbia’s historic defeat by the Ottoman empire. Miloševic had risen to power by effectively uniting party hardliners and Serbian nationalists around the issue of Kosovo, he was elected President of Serbia in 1989 and the “liberals” within the Party were expelled.[11] On the 1st March 1989 the Ljubljana Declaration was released in the Slovene capital calling for greater democracy, the recognition of minority rights and ethnic plurality and in November of 1990 multi-party elections were held in the non-Serb republics. Following these elections a “compromise” was offered to Belgrade — “the transformation of Yugoslavia into an association of sovereign states” (Magaš 105). Belgrade rejected this proposal and in June 1991 Slovenia became the first republic to break away from the Federal Republic of Yugoslavia. Croatia followed suit in 1991 and declared itself an independent sovereign state. With the Federal Republic already disintegrating Macedonia declared their independence in September 1991, followed by Bosnia-Herzegovina in February 1992. As Slovenia had the most homogenous population of all the former republics, its departure resulted in a tense stand off between Ljubljana and Belgrade but only a brief 10 day conflict before the Yugoslav army agreed to pull out of the newly independent country.[12] The situation with Croatia, with a significant Serbian minority in Krajina (the border region between Croatia and Bosnia-Herzegovina), was very different and in the summer of 1991 full scale war broke out, in 1992 this war spilled over into Bosnia-Herzegovina. Bosnia-Herzegovina was the most ethnically mixed of all the former republics and when it declared independence in 1992 Serbian forces invaded the following day.[13] Initially both the Serbian and Croatian leadership believed that Bosnia-Herzegovina should be partitioned between their respective republics but they had not taken into account the resistance of the Bosnian population. Under pressure from the European Union and NATO Croatia allied itself with Bosnia against Serbia and the war raged until 1995. It is this history from 1941 to the early 90s that Underground presents on an epic scale — the cinema release is 3 hours long and the television release over 5 hours — the controversy that surrounds the film is precisely how this history is represented. From Bosnian “emancipator” to betrayer With the theatrical release of Underground in 1995 the already open divisions between Kusturica, his former associates and the city with which he had become so closely identified were complete.[14] Kusturica’s status as an emancipator (to use Gocic’s term) of Bosnian culture, language and identity was transformed into that of a betrayer of the national ideal. The film was widely acclaimed by many Western European critics and won the Palm d’Or at Cannes. At the same time, it was greeted by howls of outrage by critics from the non-Serb republics, who attacked the film for being nothing short of Serbian nationalist propaganda. The French philosopher Alain Finkielkraut brought this debate into the wider European public domain when he wrote in Le Monde: "In recognizing Underground, the Cannes jury thought it was honouring a creator with a thriving imagination. In fact, it has honoured a servile and flashy illustrator of criminal clichés. The Cannes jury highly praised a version of the most hackneyed and deceitful Serb propaganda. The devil himself could not have conceived so cruel an outrage against Bosnia, nor such a grotesque epilogue to Western incompetence and frivolity." (qtd. in Iordanova 2001, 117) A key point of contention in the film was the use of documentary footage portraying Slovenes in Maribor and Croats in Zagreb cheering and welcoming Nazi troops in contrast to the footage of devastation wrought on Belgrade by Nazi bombers, the fairly obvious implication being that the Croats and Slovenes were collaborators while the brave Serbs resisted the occupation. Kusturica defended his use of this documentary footage, arguing that he was trying to counter the selective humanism of the West in showing only the Serbs as the aggressor. He was, he insisted, against ethnic cleansing of all kinds, whether it came from Bosnians, Croats or Serbs.[15] Slavoj iek also intervened in this debate with a short article entitled “Underground, or Ethnic Cleansing as a Continuation of Poetry by Other Means” (1997a) which subsequently appeared as a section in The Plague of Fantasies (1997b) and his influential essay “Multiculturalism, or, the Cultural Logic of Multinational Capitalism” (1997c). As iek’s reading of the film has set the tone for the wider reception of the film by many on the Western European Left, I want to follow his argument here. iek took as his starting point not so much the film itself as the political controversy surrounding it and Kusturica’s own, often unfortunate, response to the criticism.[16] The political meaning of Underground, argued iek, "does not reside primarily in its overt tendentiousness, in the way it takes sides in the post-Yugoslav conflict — heroic Serbs versus the treacherous, pro-Nazi Slovenes and Croats — but, rather, in its very 'depoliticized' aestheticist attitude" (1997c, 37). iek supported this argument with reference to an interview Kusturica gave in which he claimed that the film was not political at all but a “deferred suicide” note for the Yugoslav state. For iek: "What we find here [in Underground] is an exemplary case of 'Balkanism,' functioning in a similar way to Edward Saïd’s concept of 'Orientalism': the Balkans as the timeless space onto which the West projects its phantasmatic content. Together with Milcho Manchevski’s Before the Rain (which almost won the Oscar for the best foreign film in 1995), Underground is thus the ultimate ideological product of Western liberal multiculturalism: what these two films offer to the Western liberal gaze is precisely what this gaze wants to see in the Balkan war — the spectacle of a timeless, incomprehensible, mythical cycle of passions, in contrast to decadent and anaemic Western life." (38) iek, of course, acknowledges that Underground is a multilayered and self-referential film but immediately dismisses this as postmodern cynical ideology. What Kusturica unknowingly provides us with, concludes iek, is "the libidinal economy of ethnic slaughter in Bosnia: the pseudo-Bataillean trance of excessive expenditure, the continuous mad rhythm of drinking-eating-singing-fornicating" or ethnic cleansing as poetry by other means. iek even goes so far as to draw a parallel between Kusturica and that other infamous Serbian nationalist poet Radovan Karadic, former President of the breakaway Bosnian Serb Republic and recently captured war criminal (38-39); I will come back to this point below.[17] The problem with Underground then, according to iek, is not that it is “political propaganda” but that it is not political enough.[18] The libidinal economy of ethnonationalism More recently Pavle Levi (2007) has developed a much more sustained critique of the libidinal economy of Underground, or, what he calls (following Sandor Ferenczi) Kusturica’s aesthetic of “genitofugal libido” (90). Underground’s highest aesthetic achievements, writes Levi, are when it causes the spectator to suspend all narrative/diegetic concerns in favour of sheer scopic gratification. These “libidinal choreographies,” he argues, produce “autonomous dynamic systems” that generate the effect of a dissipation of energy (91). The film accomplishes this through the centrifugal effect achieved by its use of low camera angles and ecstatic bodies organized in circular and rotational movements. An example of this is the extreme low-angle shot of the film’s three main protagonists — Marko (Miki Manojlovic), Blacky (Lazar Ristovski) and Natalija (Mirjana Jokovic) — singing the song “Moonshine” directly into the camera, from above, as their bodies spin around its central axis. More importantly, Kusturica extends this idea of libidinal excess beyond the characters themselves to encompass Yugoslav culture as a whole. An excessive libidinal investment is seen to be the essence of Yugoslav culture in all “its dishevelled and polymorphous spirit” (92). In its explicit concern for Yugoslav history and politics, argues Levi, Underground “establishes the sign of equality between this overwhelming enjoyment and the notion, the idea — or rather the Ideal — of ‘Yugoslavness,’ of Yugoslav national identity” (92). The epitome of this Ideal of Yugoslav identity would be the final “utopian” scene of the film where all the characters come back to life to celebrate Jovan’s (Srdan Todorovic) wedding. While they wildly celebrate, the small piece of land they are on breaks away and drifts down the Danube as Marko’s brother Ivan (Slavko Štimac) turns and talks directly into the camera (having now lost his stutter) recounting a tale that ends, “Once upon a time there was a country …” As with other critics of Underground Levi draws attention to the film’s use of montage and documentary footage. Regarding the scenes of Nazi troops entering Maribor, Zagreb and Belgrade discussed above he suggests that the “message” embedded within this sequence could not possibly have been missed by a domestic audience: “Its primary function is to cinematically empower the discourse of ‘Serb victimhood’ — one of the pillars of Serb nationalist resentment ever since the late 1980s — while discrediting other Yugoslav nations” (97). This message is further reinforced by an intratextual link within the film to a second montage sequence which is also accompanied by the song “Lili Marlene.” This second sequence also involves crowd scenes in Ljubljana, Zagreb and Belgrade but this time assembled for Tito’s funeral in 1980. Thus we have a striking juxtaposition of sound and image: a song with Nazi overtones is overlaid on the foremost icon of Yugoslav socialism, the image of Tito himself. Levi writes of this combination of image and song: "The immediate associational effect thus produced is that of the 'death of a dictator,' but the musically established intertextual link with the earlier sequence evocative of the past ethnic conflicts also aligns the Yugoslav 'dictator' with the 'anti-Serb coalition' led by the Croats and Slovenes." (98) Levi’s critique of Underground is by far the most persuasive I have come across but it remains, I want to argue, a rather selective reading of the film. I am absolutely sure that Levi is right that a domestic audience could, and indeed did, read the film in the way he says. But as Iordanova has pointed out, for an international audience if Underground is Serbian propaganda, then it is so cryptic that no one noticed it as such (2001, 118). Ethnonationalist propaganda and/or historical allegory? The problematic relationship between political propaganda and historical allegory within Underground has been extensively addressed (Iordanova 2001, 111-35; 2002, 157-74) and I do not want to rehearse these arguments again here but, rather, to consider the nature of allegory itself. Allegory, in Fredric Jameson’s (1981) formulation, functions as an opening up of the text to multiple competing readings and, ultimately, to the untranscendable horizon of History itself. In this sense all texts can sustain not only different interpretations but also contradictory ones. Political propaganda, on the other hand, works through a process of reduction, the assertion of a single unambiguous meaning. Underground, I would argue, is an historical allegory in this Jamesonian sense of being open to multiple and, indeed, contradictory readings. If we take Levi’s two examples here we can see how an international audience might read them in rather different ways. Levi reads the final wedding scene, for instance, as exemplary of Kusturica’s “Yugoslav Ideal” (94). This scene, however, does not exist in isolation and is in fact Jovan’s (Blacky’s son) second wedding and the third wedding of the film. The first abortive wedding takes place between Blacky and Natalija on a boat carrying stolen arms to the resistance. The wedding results in a fight between the two friends Blacky and Marko over Natalija and is then interrupted by the arrival of Natalija’s German lover, Franz (Ernst Stötzner). The wedding ends in chaos with Natalija running off with Franz, Blacky captured, and Marko abandoning Blacky and fleeing down the Danube. The second wedding takes place in Part II in the cellar between Jovan and Jelena (Milena Pavlovic). Once again the wedding ends in chaos with the cellar destroyed, Jelena committing suicide and Jovan leaving the cellar with his father, where he will shortly meet his own death. The second wedding is clearly a repetition of the first: the same Gypsy band plays the music, there is precisely the same shot of the three protagonists singing “Moonshine,” in both scenes Blacky has Natalija tied to his back, both scenes result in a fight between Blacky and Marko over Natalija, and finally we see Marko being ridden like a donkey first by Blacky and subsequently by Natalija. The two weddings, then, are quite clearly linked within the film and are not simply scenes of exuberant celebration but sites of tension and ultimately violence.[19] Is then Jovan and Jelena’s second wedding celebration a reprieve, a utopian compensation, for the conflicts and violence that have gone before? I do not think so. It is true that Natalija’s disabled brother Bato (Davor Dujmovic) can now walk, that Ivan has lost his stutter, furthermore, Blacky is reunited with his dead wife Vera (Mirjana Karanovic). However, Blacky and Vera immediately start to argue over Jovan’s age, and the tensions between Marko and Natalija, over her drinking, are equally evident. Although this wedding may seem to break the repetition established between the first two, the seeds of conflict are already present in this "utopian" scene. If the previous two weddings are anything to go by the future of their little island does not bode well. It would seem, then, that the ending is rather bleaker than at first appears. Herein we can note the conservatism and the pessimism of Kusturica’s politics but also a rather more critical view of Yugoslavism than his critics allow for. Similarly, the montage sequence of Tito’s funeral is open to a number of different interpretations. As Levi notes, the association of one dictator (Hitler) with another (Tito) would be, for an international audience, an immediate effect of this sequence, and the idea of an anti-Serb coalition led by Croats and Slovenes would probably not enter into the picture.[20] From a non-Balkan perspective, what is striking in this scene is the parade of world leaders at Tito’s funeral, from the Duke of Edinburgh and Margaret Thatcher to Leonid Brezhnev and Nikolae Ceausescu. With post-1989 hindsight and five years of war in the former Yugoslavia, the sequence could just as easily be read as an indictment of cold war cynicism and the hypocrisy of both the East and the West — in the sense that the very powers, who in the 1990s were condemning Tito’s Yugoslavia for fostering conflict through its suppression of ethnic identity, as well as its economic mismanagement, were openly supporting the self-same regime in the 1970s and 80s for their own geo-political purposes. What I am arguing here, therefore, is that we can read Underground as exemplary of Balkanism as iek suggests, or, as exemplary of Yugoslavism as Levi argues. But we can also read it as a critique of Balkanism and Yugoslav history. In other words, Underground functions as a critique of the myth of Tito’s Yugoslavia at the same time that it is a product of Yugo-nostalgia. The fact that Underground is a fundamentally “contradictory” text is what makes it one of the more interesting productions attempting to come to terms with the breakup of the former Yugoslavia and its history. Underground as historical reconstruction iek and Levi are right, I think, on a number of counts. Kusturica is clearly a film maker who is playing to Western audiences and critics. He is now more popular abroad than at home. His films deliberately exploit an aesthetics of self-exoticization taking up Western European clichés of the Balkans and playing them back to us in exaggerated form. I have already mentioned the example of the Balkan “Wildman” which Kusturica celebrates. We can see this especially in the figure of Blacky in Underground, who is shown to have voracious appetites and superhuman strength.[21] Indeed, one could argue here that similarly to iek’s often repeated example of political resistance, Laibach, Kusturica is adopting a strategy of “over-identification,” and by completely identifying with Western stereotypes he reverses the western gaze (Gocic 84). From this perspective the New Primitivs can be seen to be adopting a similar strategy to Laibach and the NSK but identifying with different aspects of Yugoslav culture. This, however, only serves to highlight for me the very problematic nature of such a position and political strategy — what one critic (Gocic) can take to be the ironic over-identification with Western stereotypes and myths, another (iek) takes to be the unconscious ideological fantasy of the director. As Levi’s points out, however, the SNP were never an explicitly politicized group, unlike the NSK who they parodied (76).[22] The cyclical narrative structure of Underground — The War, The Cold War, The War — is also ideologically loaded, replicating Western European views of the Balkans as an atavistic, barbaric space outside of time and history. What I want to argue here, however, is that it is the very multilayered and self-referential aspect of this film, which iek so quickly dismisses and Levi does not address in his analysis, that is the whole point of the film and not simply some cynical ideological ploy on the director’s part. There is clearly a politics to Underground but not where iek is looking for it. Underground represents the history of modern Yugoslavia from 1941, the outbreak of WWII, to 1992 and the Bosnian conflict. The narrative is divided into three parts: The War (1941 — ); The Cold War (1961 — ); The War (1992 — ). Each of these dates represents key moments in Yugoslav history: 1941 — the dismemberment of the old Yugoslav state and the beginning of the Partisan resistance; 1961 — the first formal meeting of the Non-Aligned movement in Belgrade and the opening up of Yugoslavia to the West; 1992 — the Bosnian conflict and effectively the end of the Yugoslav state. This history, however, is told through the personal histories of the three main characters, two resistance fighters and communist party members — Marko and Blacky — and Natalija, an actress and sometime mistress of Blacky and Franz and later wife of Marko. After being informed on for stealing an arms shipment Marko hides Blacky and his relations in a cellar for the duration of the war. But he then tricks them into believing the war is still continuing and keeps them there for over twenty years. The lives of these three main characters are shown to be inextricably bound up with the history of the country and it was precisely this analogy that many of Kusturica’s critics picked up on. Stanko Ceroric, for instance, was one of Kusturica’s most outspoken critics; he claimed that it was not by chance that in Underground: "The revolution is led metaphorically by a Montenegrin and a Serb; two archetypal Belgrade figures, who together represent the cliché image of Serb heroes created by nationalist writers. These are the people who fight and make love better than anybody else in the world, doubtless thanks to some genetic and spiritual superiority — but who sometimes also happen to sin or do wrong precisely because of this spiritual generosity and naivety. Even their violence only adds to their irresistible charm." (qtd. In Iordanova 2001 116) If we scrutinize the film a little closer, though, this ideal image of national heroism becomes a little difficult to sustain. As well as being an international arms smuggler, Marko is a rather awful nationalist poet and something of a stage director himself. Marko manipulates the partisans into remaining hidden in the cellar and believing that World War II is still going on through a complex fabrication of reality. He constructs an elaborate mise-en-scène, through news reels, music, bombing raids and special performances by his actress wife, Natalija. Marko in fact writes the scripts that he and Natalija will perform in front of the partisans in the cellar, scripts that constantly glorify Marko’s own historical role but invariably involve her being humiliated and abused by the Nazis. In this script within the script Marko arranges for Natalija to escape her captors and arrive at the cellar just in time for Jovan’s wedding. She has been tortured and raped and is to arrive at the cellar on the verge of death. Natalija refers to this script as “trash” and insists that what is missing from it is “The truth!” Marko responds: No text, my dear, has any truth in it. The truth exists only in real life. You are the truth! You! You are supposed to be the truth. There is no truth, only your conviction that what you say is the truth. No, art is a lie, a big lie! We are all liars a little bit at least. This postmodern relativization of truth and representation is consistently emphasized within the film, at a generic level, as I will discuss below, but especially in relation to Marko. In a similar scene between Natalija and Marko earlier in the film, Marko attempts to seduce Natalija by reciting some of his poems to her. Natalija resists him repeating “You’re lying. You’re lying,” to which Marko replies “I never lie, never, never.” As she succumbs to his embrace and kisses him, Natalija whispers “You lie so beautifully.”[23] It is precisely Marko’s skill at deception and lying that makes him so attractive to Natalija but these are also the very qualities that make him completely inappropriate as a national hero in any ideal sense. If we are supposed to take Marko as exemplary of the brave Serbian nation then we also have to accept that he is a fraud from beginning to end. It is here, then, in relation to Marko as a character that iek’s comparison to Radovan Karadic as a poet and ethnic cleansing as a continuation of poetry by other means has resonance and not to Kusturica as director. Given the explicitly deceitful and manipulative nature of this particular character, however, this would suggest that the film is a critique of such nationalist poets rather than an apology for them. Indeed, we are left in very little doubt that this very selective view of history is not to be taken at face value. History is always contested. Underground is a very self-conscious cultural artefact. Both Gocic (2001) and Iordanova (2002) see Kusturica as a distinctively postmodern filmmaker in terms of his films' self-reflexivity, his use of parody, and above all through his representation of history. Gocic distinguishes five levels of narrative reference in the film: the film diegesis itself, Kusturica’s own body of work, Yugoslav cinema history, Yugoslav political mythology and Yugoslav history (146). Iordanova, on the other hand, outlines four broad criteria characteristic of postmodern historiographic film that particularly apply to Kusturica: a self-reflexive narrative a refusal to take storytelling seriously the blurring of traditional boundaries and subversion of hierarchical categories the questioning of interpretative conventions, specifically the conventions of historical representation (2002 162).[24] In the remaining sections of this paper I will broadly follow Iordanova’s criteria and consider Underground 1) as a self-reflexive text, 2) as a parody of nationalist films, 3) as a subversion of historical truth through the blurring of generic boundaries and thus opening up the possibility of a more radical questioning of the past. Narrative reflexivity Let me begin then with the issue of formal and narrative self-reflexivity. Underground is not just a film about the history of a country that no longer exists but also, to borrow the dedication from another controversial film on the Bosnian conflict, a film about “the film industry of a country that no longer exists.”[25] Underground constantly draws attention to itself as film and as the production of a specific film industry. I have already mentioned above Kusturica’s so-called “magic realism” — flying beds, flying characters, telekinetic powers etc. — and Underground is no exception in this respect. In the central wedding scene of the film, Jovan and Jelena’s wedding in the cellar, we have a shot where the bride flies across the screen with her veil and wedding dress billowing in the wind. This is a wonderfully romantic and Kusturician image, as the bride, angel like, descends into her seat. However, as we see Jelena flying across the screen, the camera tilts down to reveal a rather crude dolly on which she is being carried and then cuts to a side shot so that we can see both the dolly and wind machine constructed by the partisans in the cellar to create this magic realist effect. Not only therefore do we see the magic realist effect but also the technology used to create this effect and the means of its staging. Similarly the frequent use of low or unusual camera angles, for example, the positioning of the camera as if it inside the womb for Jovan’s birth as well as the use of unusual framing, such as side framed close-ups or upside down frames, all draw attention to the medium itself and the mise-en-scène. In other words, the spectators’ attention is constantly drawn to the artifice of the image. All of these features point to a very self-conscious piece of film making. And if we do not want to fall into the rather tired postmodern cliché that Underground is yet another film about film making and historical relativity, then we would need to say more about the purpose of such self-referentiality. History as repetition: from tragedy to farce Marx once wrote, paraphrasing Hegel, that all great events of history and world historical figures occur twice, “the first time as tragedy, the second as farce” (1973 [1869], 146).[26] The notion of history as repetition is inscribed within the three part narrative structure of the film but also within the film’s mise-en-scène through the repetition of scenes, shots, songs and dialogue. This idea is most conspicuously evident in the central section of Underground, “The Cold War.” Part II is all about the making of a film, but not just any film: it is the filming of the events we saw in Part I. With respect to the film’s overall view of history, as I noted above, this presents us with a particularly conservative, fatalistic and pessimistic view, in the sense that nothing can be done to escape this endless cycle of violence. The structural and formal repetitions, however, could also facilitate a radically different reading of the past. The film within the film is a Second World War partisan movie entitled Spring Comes on a White Horse and is based on Marko’s own memoirs of his “dead” friend and comrade Petar “Blacky” Popara. The scene we see being filmed is Blacky and Natalija’s wedding on the boat containing stolen arms. In contrast to the first scene, however, Marko is shown heroically defending the arms shipment while Blacky is captured trying to rescue Natalija and then executed. Marko and Natalija are invited onto the set to give the film their official stamp of approval and we are presented with the image of Marko (Miki Manojlovic) first embracing an actor (Lazar Ristovski) playing the character of Blacky (Lazar Ristovski) and subsequently the actor (Miki Manojlovic) who plays the character of Marko (Miki Manojlovic), while Natalija (Mirjana Jokovic) kisses the actress (Miki Manojlovic) who plays the character Natalija (Mirjana Jokovic), all the time commenting on how life like the actors look. The situation becomes even more farcical when the “real” Blacky appears on the set and attempts to rescue himself, killing a number of the cast of German soldiers in the process. In this play of mirror images where performance and reality, truth and fiction, past and present become blurred what we should not forget is that what is being rewritten is History itself, both in terms of the film’s diegesis (Marko’s memoirs) but also in relation to Underground as a text. As if to underscore the director’s own self-consciousness of, or complicity with, this fabrication of history towards the end of the film, when we move to the present conflicts and wars of succession, Kusturica himself plays a cameo role in the film as an arms dealer and war profiteer. This very overt narrative repetition and doubling of characters within the film serves to open up a critical space whereby we can see the past being constantly rewritten, reconstructed and manipulated and therefore always open to alternative and more radical interpretations. An example of such an alternative reading would be the location of the film within the history of Yugoslav cinema as well as the broader socio-political history of the former Yugoslavia as I shall now discuss. A film industry that no longer exists The parody of partisan films is more than simply farce. Partisan films were one of the principal and most popular genres produced by this film industry that no longer exists. The classical period of Yugoslav partisan films was between the end of the Second World War and the early 1950s, what is usually referred to as the Red Wave. In the 1960s a new generation of film directors, the most well known in the West being Dušan Makavejev, reworked the genre into more personal and ambiguous visions of the past, much as Hollywood directors of the 1980s have done with the Vietnam War.[27] What was known at the time as New Yugoslav cinema but has posthumously been labelled “Black film” or the “Black Wave” was particularly critical of the ultra-realism and kitsch of the Red Wave. After the political clampdown across Yugoslavia in the early 1970s, there was a revival of Red Wave films. Partisan films have continued to have a resonance in post-Yugoslav film production and the influence of the Black film of the 1960s can be seen in both Underground and Dragojevic’s Pretty Village, Pretty Flame.[28] Partisan films were also central to the New Primitiv critique of official culture; No Smoking called their first album Walter after the Partisan blockbuster Walter Defends Sarajevo (1972).[29] Originally, partisan films served purely propaganda purposes, idealistically glorifying and confirming a revolutionary past and at the same time reinforcing this revolutionary spirit in the heroic struggle to construct a socialist society out of the ruins of the war. Partisan films also represented a particular national aesthetic, “nationalist realism,” which Tito’s government promoted as an alternative to the “socialist realism” of the Soviet Union. These films were technically crude, stereotypical and simplistic. They were initially directed for a domestic audience and were very popular films. For instance, the second Red Wave also tried to break into the international market with big multinational productions and such international stars as Richard Burton in the role of Tito. As Daniel Goulding (2002) writes, partisan films were also imbued with an intense sense of nationalism and pride as a result of Yugoslavia’s unique historical experience: "Yugoslavia was the only European Communist government established after the war whose legitimacy was founded primarily on its own efforts and not the sponsorship and the political and military domination of the Soviet Union." (23) Partisan films are frequently referred to as Yugoslav Westerns, and they share something of the mythic structure of the North American Western, in the sense that they stage a primal "conflict between civilization and wilderness." For the partisan film, this meant "constantly returning to the pioneering days of Tito’s Communist party and the founding mythologies of the state during the Nazi occupation in the second world war" (48). This is, of course, precisely the territory of Kusturica’s Underground as well as of the film within the film. Spring Comes on a White Horse is a classic partisan film in its low production values, stereotypical characters and over dramatization, and could be read merely as a parody of the genre, except that the actual “historical” events that it is supposedly based upon, and we saw in the first part of Underground, are no less a critique of the genre and the history that it represents. The two central characters of Underground, Marko and Blacky, are, as I have argued above, womanizers, crooks and liars who act more out of self-interest than ideological conviction. This is hardly the image of heroic resistance fighters and neither is keeping a population imprisoned in the dark for 20 years many leftist’s idea of how to construct socialism. Spring Comes on a White Horse is at once a nostalgic homage to a film industry that no longer exists and at the same time it foregrounds the complicity of that film industry in the construction of historical memory and national mythology. Without wishing to labour the point, if Underground is in any sense a propaganda film, it is because it is a film about propaganda films. Generic discontinuities and historical truth In the opening scene of Part II (The Cold War) Marko is opening a cultural centre in memory of his old friend and national hero Petar “Blacky” Popara, and he takes the opportunity to recite one of his poems. Politician, hero of the resistance, poet, stage director, script writer and actor, it would appear that Marko is something of a renaissance man were it not for the fact that he is a complete charlatan and motivated solely by self-interest. The character of Marko, however, also serves to draw attention to the existence within the film of a range of cultural forms and mutually exclusive genres. Most obviously there is the film within the film discussed above, but there is also a staged play within the film as well as the montage sequences of documentary footage. Underground contains elements of slapstick humour and Natalija’s theatrical performance is sheer melodrama. But, as we have seen, it has been the inclusion of archival footage that has aroused most attention and criticism. The combination of different forms and genres: feature film and documentary, historical drama and personal memoir, lyric poetry and farce, serve to highlight the difficulties and tensions of representing the past but also how that past has been inscribed in a multiplicity of texts — films, books, poems, art works — thus creating a specific national mythology. The different texts and genres within Underground do not sit comfortably together but create their own internal tensions within the film text itself. Documentary is conventionally understood to be the opposite of a feature film. A documentary presents us with “real” information and historical facts; it aims at the truth rather than the imaginative reconstructions of fiction films. What happens, therefore, when these two opposing genre are combined in a single artefact? Does the inclusion of documentary footage provide historical legitimacy for the fictional account, or does the fictional account undermine the veracity of the documentary presentation? As can be seen from the conflicting interpretations of Underground it clearly does both. What I think is notable in Underground, however, is the very diversity of ways in which this footage is incorporated into the film. There are scenes in the film where the documentary footage is simply spliced in, such as the bombing of Belgrade in 1941 or the controversial scenes of cheering grounds in Maribor and Zagreb. The archival footage has frequently been tinted so that we are aware that this material has been touched-up and manipulated. The documentary footage is also used very crudely and obviously as back projection, while in other instances Marko is seamlessly edited into sequences with Tito — we see Marko apparently shaking hands with Tito or standing with him on a balcony watching a May 1st parade. The overall effect of this diversity and integration of archival footage and fictional characters is to stress, yet again, the way in which film can be used, and has been used, in the reconstruction of Yugoslav history and national mythology. The gap between the representation and history itself is always quite evident, history as a text is always constructed and therefore always-already ideological. It is worth recalling here Fredric Jameson well known formulation from The Political Unconscious, “history is not a text, not a narrative, master or otherwise, but that, as an absent cause, it is inaccessible to us except in textual form, and that our approach to it and to the real itself necessarily passes through its prior textualization, its narrativization in the political unconscious” (35). It is this level of textualization and narrativization that Underground consistently foregrounds and in doing so emphasizes the ideological operation inherent in all narratives of the past. To give one last example, in the concluding montage sequence of Part I we see Marko addressing a large crowd in Belgrade, his revolutionary rhetoric stirring the crowd to the defence of Trieste through armed resistance. The city of Trieste, on the border between Slovenia and Italy, was liberated by Yugoslav partisans in 1945 but almost immediately brought under Allied control and subsequently returned to Italy. It is always, it seems, the unreliability of Marko’s historical perspective that the spectator is left with. In conclusion Dina Iordanova has argued that Kusturica’s “choice,” as it is usually termed, of siding with the Serbs was not so much a choice for something (Serbian nationalism) as against something (nationalism in general and Bosnian nationalism in particular). However, as an active choice it did facilitate his recuperation, as is now clearly evident in his public profile in Serbia, into a nationalist discourse that he himself rejected (2002 20). Kusturica now lives, at least part of the year, in his newly built “traditional” Serbian village, Küstendorf, in the mountains Southwest of Belgrade. What we can see here is the difficulty facing critics of nationalism in the Balkans, of circumventing that ideology, or of maintaining a position outside of it that is not itself open to recuperation by nationalist discourses. I have argued in this paper that, however, flawed and contradictory, it is possible to read Kusturica’s Underground against the grain of ethnic nationalism and as a critique of this process rather than an apology for it. If we read Underground as a film, and not simply as a vehicle for the dominant ideology of Serbian nationalism, then we can see it as a critique of Tito’s Yugoslavia and the film industry’s role in reconstructing history and nationalist mythologies. This entails reading Underground as a film about propaganda though rather than as propaganda. Notes Bibliography Bjelic, Dušan I. “Global aesthetics and Serbian cinema in the 1990s.” East European Cinemas. Ed. Anikó Imre. London: Routledge, 2005. 103-119. Bjelic, Dušan I. and Obrad Savic. Balkan as Metaphor: Between Globalization and Fragmentation Cambridge, Mass: MIT Press, 2005. Finkelkraut, Alain. “Kusturica’s Imposture.” Le Monde 2 June 1995: 16 www.dhennim/kusturica/v2/_polemique_en.html. __. “The Dream Propaganda of Emir Kusturica.” Liberation 30 October 1995: 7 www.dhennim/kusturica/v2/_polemique_en.html. Gocic, Goran. Notes from the Underground: The Cinema of Emir Kusturica. London:Wallflower Press, 2001. Goulding, Daniel J. Liberated Cinema: The Yugoslav Experience. 2nd ed. Bloomington: Indiana University Press, 2002. Gowan, Peter. “The NATO Powers and the Balkan Tragedy.” New Left Review (I) 2234 ((March/April 1999): 83-105. Homer, Sean. “Narratives of History, Narratives of Time.” On Jameson: From Postmodernism to Globalism. Eds. Caren Irr and Ian Buchanan. Albany: SUNY Press, 2006. 71-91. ___. “Nationalism, Ideology and Balkan Cinema: Re-reading Kusturica’s Underground.” Did Somebody Say Ideology? Slavoj iek and Consequences. Eds. Fabio Vighi and Heiko Feldner. Cambridge: Cambridge Scholars Press, 2007, pp. 237-248. Horton, Andrew James. ed. The Celluloid Tinderbox: Yugoslav screen reflections of a turbulent decade. Shropshire, UK: Central Europe Review, 2000. Imre, Anikó. ed. East European Cinemas. London: Routledge, 2005. Iordanova, Dina. Cinema of Flames: Balkan Film, Culture and the Media. London: BFI Publishing, 2001. __. Emir Kusturica. London: BFI Publishing, 2002. Jameson, Fredric. The Political Unconscious: Narrative as a Socially Symbolic Act. London: Methuen, 1981. Krstic, Igor “Representing Yugoslavia? Emir Kusturica’s Underground and the Politics of Postmodern Cinematic Historiography.” Tijdschrift voor Mediageschiedenis. Media & Orlog 2 (2) (December 1999), 138-59. __. “Showtime Brothers! A vision of the Bosnian war: Srdan Dragojevic’s Lepa sela, lepo gore.” The Celluloid Tinderbox: Yugoslav screen reflections of a turbulent decade. Ed. Andrew James Horton. Shropshire, UK: Central Europe Review, 2000. 43-62. Kusturica, Emir. “My Imposture.” Le Monde 26 October 1995: 13 www.dhennim/kusturica/v2/_polemique_en.html. Levi, Pavle. Disintegration in Frames: Aesthetics and Ideology in the Yugoslav and Post-Yugoslav Cinema. Stanford, California: Standford University Press, 2007. Magaš, Branka. The Destruction of Yugoslavia — Tracking the Break Up 1980-92. London: Verso, 1993. Marx, Karl. “The Eighteenth Brumaire of Louis Bonaparte.” Surveys from Exile: Political Writings, Vol. 2. Ed. David Fernbach. Harmonsworth: Penguin, 1973 [1869]. 143-249. Monroe, Alexei. Interrogation Machine: Laibach and the NSK. Cambridge, Mass: MIT Press, 2005. Parker, Ian. “The Truth about Overidentification.” The Truth of iek. Ed. Paul Bowman and Richard Stamp. New York: Continuum, 2007. 144-160. Rosenstone, Robert, A. “The future of the past: film and the beginnings of postmodern history.” The Persistence of History: Cinema, Television and the Modern Event. Ed. Vivian Sobchack. London: Routledge, 1996. 201-218. Sešic, Reda. “Walter Defends Sarajevo.” The Cinema of the Balkans. Ed. Dina Iordanova. London: Wallflower Press, 2006. 107-115. Woodward, Susan L. Balkan Tragedy: Chaos and Dissolution after the Cold War. Washington D.C: The Brookings Institution, 1995. iek, Slavoj. “Underground, or Ethnic Cleansing as a Continuation of Poetry by Other Means.” InterCommunication, 18 (1997a) www.ntticc.or.jp/pub/ic_mag/ic018/intercity/zizek_E.html __. The Plague of Fantasies. London Verso, 1997b. __. “Multiculturalism, or, the Cultural Logic of Multinational Capitalism.” New Left Review (I) 225 (September/October 1997c): 37-40 __. “The Two Totalitarianisms.” London Review of Books, 27.6 (17 March 2005): 8. __. "The Military-Poetic Complex.” London Review of Books, 30.16 (14 August 2008): 17. Filmography Apocalypse Now. Dir. Francis Ford Coppola. United Artists, 1979. Black Cat, White Cat/Crna macka, beli macor. Dir. Emir Kusturica. USA Films (USA), Artificial Eye (UK), Komuna (Yugoslavia), 1998. Do You Remember Dolly Bell?/Sjecašli se Dolly Bell?. Dir. Emir Kusturica. International Home Cinema (USA), Artificial Eye (UK), 1981. Life is a Miracle/Zivot je cudo.Dir. Emir Kusturica. Artificial Eye (UK), 2004. Pretty Village, Pretty Flame/Lepa sela, lepo gore. Dir. Srdjan Dragojevic. Fox Lorber (USA),1996. Super 8 Stories. Dir. Emir Kusturica. Orfeo Films International, BFI Programme Unit/ICA Cinema (UK), 2001. Time of the Gypsies/Dom za vešanje. Dir. Emir Kusturica. Artificial Eye (UK) 1989. Underground: Once Upon a Time There Was a Country/Podzemlje:Bila jednom jedna zemlja. Dir. Emir Kusturica. New Yorker Films (USA), Artificial Eye (UK), Komuna (Yugoslavia), 1995. Walter Defends Sarajevo/Valter brani Sarajevo. Dir. Hajrudin “Šiba” Krvavac, Bosna Film, 1972. When Father was Away on Business/Otac na sluenom putu. Dir. Emir Kusturica, Cannon Films (USA), Artificial Eye (UK), 1985.
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1053	dbpedia	3	31	http://ultimathulerecords.com/aEE.htm	en	AUDION EAST EURO DISCOGRAPHY			[ "http://ultimathulerecords.com/aEEcover.jpg", "http://ultimathulerecords.com/aEEenergit.jpg", "http://ultimathulerecords.com/aEEflamengo.jpg", "http://ultimathulerecords.com/aEEjazzq.jpg", "http://ultimathulerecords.com/aEEmefekt.jpg", "http://ultimathulerecords.com/aEEppu.jpg", "http://ultimathulerecords.com/aEEprogres2.jpg", "http://ultimathulerecords.com/aEEelectra.jpg", "http://ultimathulerecords.com/aEEstern.jpg", "http://ultimathulerecords.com/aEEinspe.jpg", "http://ultimathulerecords.com/aEEkaseke.jpg", "http://ultimathulerecords.com/aEEeast.jpg", "http://ultimathulerecords.com/aEEsolaris.jpg", "http://ultimathulerecords.com/aEEniemen.jpg", "http://ultimathulerecords.com/aEEreportaz.jpg", "http://ultimathulerecords.com/aEEsadowski.jpg", "http://ultimathulerecords.com/aEEsbb.jpg", "http://ultimathulerecords.com/aEEskaldowie.jpg", "http://ultimathulerecords.com/aEEurbaniak.jpg", "http://ultimathulerecords.com/aEEphoenix.jpg", "http://ultimathulerecords.com/aEEhorizont.jpg", "http://ultimathulerecords.com/aEEsepsis.jpg", "http://ultimathulerecords.com/aEEsezon.jpg", "http://ultimathulerecords.com/aEEigra.jpg", "http://ultimathulerecords.com/aEEkornelyans.jpg", "http://ultimathulerecords.com/aEEtako.jpg", "http://ultimathulerecords.com/aEEcollegium.jpg", "http://ultimathulerecords.com/aEEfermata.jpg", "http://ultimathulerecords.com/aEEsoncna.jpg", "http://ultimathulerecords.com/aEEfiryuza.jpg", "http://ultimathulerecords.com/aEEgunesh.jpg", "http://ultimathulerecords.com/back.gif" ]	[]	[]	[ "Audion" ]	null	[]	null					null	ULTIMA THULE / AUDION EAST-EURO DISCOGRAPHY East-Euro Discography a guide to progressive and experimental music from "Behind The Iron Curtain" by Steve & Alan Freeman © 1986-2016 cover of the 1994 printed edition The original introduction... As promised back in Audion #18, here we present our exhaustive discography of progressive and experimental music from the former "Iron Curtain" European countries. This is something that we believe has not been catalogued before, and thus it should prove to be an indispensable guide to all fans of adventurous music. With the unique political and social climates in these countries, it seems unlikely that the unique music that emanated from there would ever have existed; revolutionary bands like SBB, Collegium Musicum, Osjan, Gunesh, Phoenix, Gorizont, or Kolinda, to name just a few! As you can well imagine, with no documented catalogues to work from, this was not an easy listing to compile by any means, and also in no way do we claim it to be complete, as the proliferation of quality music in Eastern and Central Europe is so great and very much an ongoing thing. Also, much of it is so hard to find, what with most of the LP product listed here now being deleted, and a lot of it is extremely rare! Thus, without any proper international distribution for such music, it's so easy to miss out on things. So, what we've attempted to do is: list all groups, musicians and composers of interest who have released something, in the fields of progressive, adventurous or experimental musics, the type of things you would expect to see in the pages of Audion. I have, however, omitted the more mainstream rock and new-wave acts. So if something isn't here, consider that it's probably not listed because it's too commercial. I was going to compile a list of items to avoid, but such a task would be too vast. And, after all, what would be the point? This new edition... This is a new unpublished version of the Audion East Euro Discography. Originally authored by Alan Freeman and edited by Steven Freeman, and published in 1993 as a magazine (now out of print). It was then revised and updated by Steve Freeman a decade later with the intention of doing a new printed edition. Back in 2003 however the shear volume of reissues and the lack of online resources meant it was impossible to keep updating and revising for a publication and thus it was put on hold. Steve continued to add some more info up to 2011, and since then a few missing albums, catalogue numbers and dates have been added, with the addition of interesting items from a "research binge" compiled by Alan Freeman in 2015 and a final revision adding everything else I could think of in July/August 2016 when editing this html version. These discographies generally cover all rock, prog, jazz and fusion (plus some electronic and contemporary music) of the late 1960s through to the early 1980s in all related genres. From the 80s onwards often only those of the prog/fusion/underground genres that continued or were established later are covered. The discographies here generally cut-off at around 2000 (with some exceptions) with release updates and some reissues to circa 2003. The countries covered are those behind the former "Iron Curtain" and all the former Soviet States of the USSR (which when including states like Turkmenistan does go beyond geographical Europe). A last addition here is the review and article snippets from Audion Magazine and The Crack In The Cosmic Egg, which are shown in italics. Many of these are from the early "Behind The Iron Curtain" articles, or from other reviews and features, much of it written 20-30 years ago (so take that into account please with descriptions and terminology) of which some are abridged to avoid too much duplication. For simple html compatibility the discography does not use country specific special characters, but only those accessible from a standard English keyboard. Countries here are represented as they are now (to the best of our knowledge). The East Euro context... The main reason for making this discography available is that, against all the odds, and with very state controlled censorship, some amazing music slipped through that may never have existed in a standard capitalist music industry. It was an era of unlikely inventions with the jazz and arts fronts trying to make some sense of it and legitimise it all in some way. Thus you had the unlikely things happening like a Czech beat band working with a jazz orchestra creating a music unlike anything anywhere else, Transylvanian, Bohemian and Balkan cultures mixing with rock, jazz and electronic musics, with many unique innovations. There is no other publication or resource that investigates the scene from the viewpoint of an experimental music fan, so it made sense to revise and expand it as much and as informatively as possible. Of course, this is all amongst the huge trudge of safe pop, and dreadful drivel. Hopefully this discography makes sorting out the gems that little bit easier. And, what's more, this edition is completely free! Top 30 A recommended beginner's guide to rock and fusion albums Collegium Musicum - Konvergencie / Convergencies East - Az Aldozat [Szodoma] / The Victim [Sodom] Electra - Adaptionen Energit - Energit Fermata - Fermata Firyuza - Firyuza Flamengo - Kure V Hodinkach Gunesh Ensemble - Looking At The Earth Horizont - Letniy Gorod / Summer In Town Igra Staklenih Perli - Igra Staklenih Perli In Spe - In Spe Jazz Q Praha - Pozorovatelna / The Watch-Tower Kaseke - Poletus Kornelyans - Not An Ordinary Life Modry Efekt - Svitanie Niemen / Aerolit - Katharsis Phoenix - Formatia Phoenix / Cei Ne-Au Dat Nume The Plastic People - Egon Bondy's Happy Hearts Club Banned Progres 2 - Dialog S Vesmirem Reportaz - Reportaz Krzysztof Sadowski And His Group - Three Thousand Points SBB - Nowy Horyzont Sepsis - Liturgia Bezumia Sezon Dozhdei - Vozvrashenie Skaldowie - Krywan Krywan Solaris - Marsbeli Kronikak / The Martian Chronicles Soncna Pot - Soncna Pot Stern Meissen - Reise Zum Mittelpunkt Der Menschen Tako - Tako Michal Urbaniak - Super Constellation Countries Bulgaria Czechoslovakia: Czech Republic, Slovakia East Germany / DDR Hungary Poland Romania USSR: Russia, Belarus, Estonia, Georgia, Kazakhstan, Latvia, Lithuania, Moldova, Turkmenistan, Ukraine, Uzbekistan Yugoslavia: Bosnia, Croatia, Macedonia, Serbia, Slovenia, Yugoslavia no info known: Albania, Armenia, Azerbaijan, Herzegovina, Montenegro info key bold type = a useful beginner's guide of highly recommended and/or best albums by an artist. LP: usually vinyl album, MC: Music Cassette, CD: Compact Disc, 7": single, etc. > = featured on various artist release (elsewhere in this discography if no release info is given) / = either: A / B sides of a record/single, or foreign / English versions of title # = the referenced line-up relates to the album indicated below © = known copyright year of the release (dates in front will be recording dates) "title in quotes" = own translation (except Cyrillic titles with are transliterated) text like and many more usually indicates a discography cut-off at 1980 (or as deemed appropriate) BELARUS Former USSR state during the Eastern bloc years (aka Byelorussia), landlocked between Poland, Russia and other countries. APPLE TEA Igor Satsevich (bass guitar), Alexander Sapega (drums), Oleg Doroshin (guitar) and Sergei Lapkovski (keyboards). Lightweight jazz-fusion in ECM vein with Scandinavian edges, and a little Chick Corea in the piano. They have other more recent releases. APPLE TEA (CD: Boheme CDBMR 810026) © 1999 SYABRY The band name means Friends, and they were led by one Valentin Badyarovu featuring members of the Gomel Philharmonic. An oddball mixture of Russian cultural elements, cabaret and brassy prog on the debut LP. That seems to be as interesting as they ever got, as later live videos found on YouTube are just Eurovision pop. VSEM NA PLANETE "EVERYONE ON THE PLANET" (LP: Melodiya 33 60-10951-52) © 1978 plus 6 more albums, singles, etc. BOSNIA Former Yugoslavian state during the Eastern bloc years. May also refer to Herzegovina. BIJELO DUGME Zeljko Bebec (lead vocals), Goran Bregovic (guitars, harmonica), Vlado Pravdic (organ, Moog, pianos), Zoran Redzic (bass), Ipe Ivandic (drums) Apparently the most popular pop-rock band in former Yugoslavia, Bijelo Dugme (White Button) was formed in Sarajevo (Bosnia) in 1974. Initially they were a reasonably good progressive band with strong keyboards and folk influences, hints of Procol Harum and Kornelyans, with the debut about half excellent. They became tainted by new-wave on later albums. KAD BI' BIO (LP: Jugoton LSY 63016) © 1974, (CD: Hi-Fi Centar CDD 10147) © 1997 STA BI DAO DA SI NA MOM MJESTU (LP: Jugoton LSY 63046) © 1975, (CD: Hi-Fi Centar CDD 10148) © 1997 ETO! BAS HOCU! (LP: Jugoton LSVG 7) © 1976, (CD: Hi-Fi Centar CDD 10149) © 1997 KONCERT KOD HAJDUCKE CESME (LP: Jugoton LSVG 9) © 1977, (CD: Naraton CD 007) © 1999 BITANGA I PRINZESA (LP: Jugoton LSVG 10) © 1979. (CD: Jugoton CD 860041 5 02604 0) © 1990 DOZIVJATI STOTU (LP: Jugoton LSY 10003) © 1980, (CD: Hi-Fi Centar CDD 10151) © 1997 plus many more albums, loads of singles, samplers, etc. DIVLJE JAGODE Anto Jankovic (vocals), Mustafa Ismailovski (organ, piano, Moog), Sead Lipovaca (guitars), Nihad Jusuf Hodzic (bass), Adonis Dokuzovic (drums) Melodic heavy rock in Bijelo Dugme, Yu Gruppa vein. DIVLJE JAGODE (LP: Jugoton LSY 61408) © 1978 plus loads more releases unknown to us! LEPTIR Delkic Sead (guitar), Mutic Dragan (vocals, bass), Gradincic Edin (keyboards), Vidovic Predrag (drums) Varied melodic and hard-rock with folk and Mediterranean traditional influences and Omega like songs. A rock band from Sanski Most (Bosnia and Herzegovina) in former Yugoslavia. Naopacke / Dzemper Blues (7": Diskoton SZ 0402) © 1979 GRUPA LEPTIR (LP: RTB 2120178) © 1981 - aka SIPAK TESKA INDUSTRIJA Vedad Hadziabdic (guitars), Goran Kovacevic (vocals), Gabor Lendel (keyboards), Aleksandar Kostic (bass), Munib Zoranic (drums) Obscure progressive/hard-rock band formed 1974 in Sarajevo by keyboard player Gabor Lendel. Karavan / U.F.O. (7": Jugoton SY-22861) © 1975 HO-RUK (LP: Jugoton LSY 63052) © 1976 TESKA INDUSTRIJA (LP: Jugoton LSY 66009) © 1976 ZASVIRAJ I ZA POJAS ZADJENI (LP: Jugoton LSY 63071) © 1977 TESKA INDUSTRIJA (CD: Krin Music KM-0-002) © 1994 - sampler plus loads more releases unknown to us! VAJTA Vocalist Seid Mamic Vajta and band. Progressive rock and pop. VAJTA (LP: Diskoton LP-0416) © 1979 VAJTA 2: PONOCNI VALZER (LP: Diskoton LP-8001) © 1980 plus loads more releases unknown to us! VATRENI POLJUBAC Milic Vukasinovic (guitar, vocals), Sanin Karic (bass), Perica Stojanovic (drums), Laza Ristovski (keyboards) # Hard-rock band, formed 1977 in Sarajevo by singer/songwriter/multi-instrumentalist Milic Vukasinovic. They made 9 albums, some of which featured Laza Ristovski (ex-Smak). We've only had this one... ZIVI ROCK 'N' ROLL (LP: ZKP RTVL LD 0772) © 1981 # ZMAJEVI BOSNE Only one festival track known by these, with a Golden Earring "Radar Love" like feel. > BOOM '77 BULGARIA Bulgaria is a country steeped in culture, yet (unless it is very obscure) it seems to have had very little in the way of a progressive rock scene. The state there was very strict, with all albums (during the 1970s and 80s) being released on the state-owned Balkanton label. Excepting what was been revealed via the Erdenklang label, little was known about the current musical scene there. Elka ATANASOVA Female violinist, with a very varied album bridging folk, progressive rock, and new-age musics most uniquely. WINDS OF THE RHODOPES (CD, Germany: Erdenklang 91350) © 1991 Lyubomir DENEV JAZZ TRIO Lyubomir Denev (pianos, clavinet, Mellotron, Moog, percussion), Boris Dinev (drums, percussion), Danail Draganov (bass) # Jazz fusion. With flute/sax player Petko Tomanov as special guest. LYUBOMIR DENEV JAZZ TRIO & PETRO TOMANOV (LP: Balkanton BTA 10449) © 1979 # JAZZ HOUR (LP: Balkanton BTA 12276) © 1988 DIANA EXPRESS Pop-rock (sometimes prog) group, formed in 1974 by Mitko Shterev. DIANA EXPRESS (LP: Balkanton BTA 1678) © 1974 2 (LP: Balkanton BTA 1943) © 1976 PRAYER FOR RAIN (LP: Balkanton BTA 10750) © 1981 GOLDEN APPLE (LP: Balkanton BTA 11200) © 1982 5 (LP: Balkanton BTA 11491) © 1984 Sergey DJOKANOV Multi-instrumentalist and synthesist. THE GREEN DESERT (LP: Balkanton BTA 11674) © 1985 BULGARIAN ICONS (LP: Balkanton BTA 12595) © 1990 > LOOKING EAST - BULGARIA FOCUS JAZZ QUARTET Simeon Shterev (flutes, piccolo), Antoni Donchev (piano, synthesizer), Theodossi Stoikov (bass), Hristo Yotsov (drums, percussion) Spacey flute lead fusion, hints of Herbie Mann, Jazz Q and Return To Forever. FOCUS JAZZ QUARTET (LP: Balkanton BTA 11676) 6/1985 © 1985 FSB Roumen Boyadzhiev (synthesizers, sequencer, acoustic guitar, Mellotron, lead vocals, percussion), Konstantin Tsekov (pianos, organ, Mellotron, clavinet, harpsichord, lead vocals, percussion), Alexander Baharov (basses, bass pedals, vocals, percussion) Bulgaria's most popular band, who attempted to model themselves on the early-70s British progressives. Initially fronted by two keyboardists, they had a symphonic Omega-like sound. Later albums are just mainstream rock. NON STOP (LP: Balkanton BTA 2090) © 1977 FSB II (LP: Balkanton BTA 10182) © 1979 - subtitled "Rock-Cinfonico" The Globe (MLP: Balkanton BTA 10485) © 1980 78 OBRATOW / 78 R.P.M. (LP: Balkanton BTA 10703) © 1981 PO DZIESIECU / WORLD HIT PARADE (LP: Balkanton BTA 10895) © 1982 TEN YEARS AFTER (LP: Balkanton BTA 10995) © 1983 FSB VI (LP: Balkanton BTA 11176) © 1984 IN CONCERT (2LP: Balkanton BTA 11672/3) © 1985 FSB (CD: Balkanton 070080) © 1990 - sampler with 4 new tracks plus loads more releases unknown to us! GENERAL VIOLET New-wave and experimental band who come across as a weird industrial twist on Cluster on their debut cassette. GENERAL VIOLET (MC: PostScriptum) 1992 © 1993 Simo LAZAROV Unusual synthesist. THE CITY (LP: Balkanton BTA 11473) © 1984 NATURE (LP: Balkanton BTA 12263) © 1988 THE THINGS OF LIFE (LP: Balkanton BTA 12427) © 1989 BETWEEN MAN AND THE STARS (LP: Balkanton BTA 12609) © 1990 > LOOKING EAST - BULGARIA Les MYSTÈRE DES VOIX BULGARES Name used for various Bulgarian singing groups and choirs, who have toured and had surprising success in the West. LES MYSTÈRE DES VOIX BULGARES (LP/CD, UK: 4AD CAD 603) © 1986 2 (LP/CD, UK: 4AD CAD 801) © 1988 A CATHEDRAL CONCERT (LP, Germany: Jaro 4138) © 1988 plus loads more releases unknown to us! Vesselin NIKOLOV Vesselin Nikolov (saxes, marimba) + Vesselin Koichev (guitars), Radoul Nachkov (drums, percussion), Docho Panov (bass), Roumen Boyadjiev (synthesizer), Konstantin Tsekov (synthesizer), Suzanne Erova (vocals), Theodossi Spassov (kaval) # Jazz saxophonist. His JAZZ & SOMETHING MORE... is a little-known gem of atmospheric jazz and cultural/ethnic blends, sounding a little like Nucleus or early Arsenal with added classical and ethnic influences. I've seen Vesselin acclaimed as the Bulgarian Miles Davis for his innovation as band leader. VESSELIN NIKOLOV & HIS WHITE, GREEN AND RED (LP: Balkanton BTA 1453) © 1973 - with White, Green And Red DON JUAN (LP: Balkanton BTA 10359) © 1980 - with White, Green And Red JAZZ & SOMETHING MORE... (LP: Balkanton BTA 12158) © 1987 # OM Nikolai Ivanov (guitar, folk instruments), Zoltan Lantos (violin, etc.) Multi-instrumental duo who describe themselves as "new age jazz minimal art folk", though their hybrid is far more wide ranging, compared to Boris Kovac in the Audion review of LETTERS, or on the more electronic spiced RITUAL PLACES IN BULGARIA the feel is like a hybrid beyond Oregon, Rain Garden or Argile, partly due to Ramesh Shotam guesting on percussion. They have at least 3 more releases under the name OM Art Formation. LETTERS (MC: DS Music MC 217) © 1996 RITUAL PLACES IN BULGARIA (CD, Germany: Erdenklang 70972) © 1997 PLOVDIV Odd jazz fusion with soloists and a brass section. Self described as "Folk Jazz Band" and all the more unusual due to the crazy accordion playing! This has Dimitar Trifonov as leader with is band Plovdiv, supplemented by the band White, Green And Red and two winds soloists. PLOVDIV FOLK JAZZ BAND (LP: Balkanton 11859) © 1984 ROUSSE SEPTET Peter Petrov & Boris Roussev (alto/tenor saxes), Ilko Petrov (drums), Ivan Kourtev (pianos, synthesizers), Plamen Harizanov (bass), Staiko Staikov (synthesizers, percussion), Plamen Nicolov (guitar) Jazz fusion featuring winds and synths. SEPTET ROUSSE (LP: Balkanton BTA 10490) © 1980 SHTOURTSITE Peter Ghyouzelev (guitars, vocals), Kiril Marichkov (bass, keyboards, vocals), Vladimir Totev (keyboards, guitar, vocals), Georgi Totev (drums) # [In English: THE CRICKETS] Originally Bulgaria's answer to The Beatles! Latterly however, Shtourtsite changed to heavy prog-rock with an unusual style. SHTOURTSITE (LP: Balkanton BTA 1910) © 1976 SHTOURTSITE (LP: Balkanton BTA 10179) © 1978 20TH CENTURY (LP: Balkanton BTA 10542) © 1980 # THE TASTE OF TIME (2LP: Balkanton BTA 10934/5) © 1982 and many more START Razvigor Popov (keyboards), Eugene Kushinchanov (guitar, vocals), Boyan Balev (bass guitar, vocals), Panaiot Amelev (drums, vocals) Modern styled hard-rock progressive, hints of Omega, etc. For all their other releases they were the backing band of singer Mimi Ivanova. WRONG LINE (LP: Balkanton BTA 11083) © 1983 Emil VELEV Dark electronics on the border of industrial music. INDUSTRY & DREAMS (MC: DS Music MC 221) © 1996 VOX Project of classically trained ethnomusicologist Vladimir Ivanoff, who went to Germany to record for Erdenklang. The debut is a mixture of ancient gothic songs and ethnic music in a contemporary blend of synths and female vocals. Further releases blended other styles and featured guest performances from former Embryo members. DIADEMA (CD, Germany: Erdenklang 90343) © 1991 FROM SPAIN TO SPAIN (CD, Germany: Erdenklang 20562) © 1992 X CHANTS (CD, Germany: Erdenklang 71002) © 1997 WHITE, GREEN AND RED Peter Jourkov (keyboards), Vesselin Koitchev (guitar), Vladimir Hadjiivanov (sax), Pasho Konov (bass), Ivan Enev (drums) Jazz group also known for their collaborations with Vesselin Nikolov and Plovdiv. NEW FACES (LP: Balkanton BTA 12750) © 1991 Various Artists LOOKING EAST - BULGARIA (CD, Germany: Erdenklang 29542) © 1992 Synthesizer introduction, with lots of obscure unknowns: Lubomir Denew (jazz pianist and film music composer), Dilema (high-tech synth), Vladimir Djambasov (experimentalist), Sergej Djokanov (see above), Danail Draganov (Ex-Kukery), Anguel Kotev, Simo Lazarov (see above), Krasimir Timov. CROATIA Former Yugoslavian state during the Eastern bloc years, also known as Republika Hrvatska. ACEZANTEZ ENSEMBLE Giovanni Cavallin (recorders, clarinets, sax), Dubravko Detoni (piano, harpsichord, celesta), Fred Dosek (organ, celesta, glockenspiel), Veronika Kokacic (voice), Daniel Thune (viola, bass, tuba) Avant-Garde improvising ensemble, using instruments, electronics and tape collage, making an atmospheric music in a similar vein to Musica Elettronica Viva's LEAVE THE CITY bridging many genres. Audion review extract: So, what is the fascination with Acezantez? Well, one could say they were the most seriously "classical" avant-garde ensembles to exist in that world of early Nurse With Wound, seamlessly bridging Dadaism, electronics, improvisational elements and electroacoustic reconstruction. And, that they came from Yugoslavia made it all the more fascinating, with a bizarre mixture of cultural elements. Musica Elettronica Viva and Nuova Consonanza are other good reference points to the bizarre sonic/cosmic creations of Acezantez, which utilised all manner of percussives, keyboards, voices and occasional solo instruments like trumpet, tuba and violin. The underlying humour in it adds that Dada edge, which is mostly in the vocal elements, though some cliched folk and popular styles are hinted as if they wash in from occasionally opening windows. The whole of the original album has this otherworldly magic that cannot be simply described in such a review, it's altogether too unique. ACEZANTEZ (LP: Jugoton LSY 66020) 1973+1976 © 1977 DUBRAVKO DETONI WITH ACEZANTEZ (CD: Paradigm PD 11) © 2000 - reissue with 3 bonus tracks [1973-1975] AERODROM Jurica Padjen (guitar, vocals), Zlatan Zivkovic (guitar, piano), Mladen Krajnok (keyboards, vocals), Remo Cartagine (bass), Paolo Sfeci (drums) Heavy symphonic from Zagreb, similar to Parni Valjak, at the start. They moved to standard pop rock later. KAD MISLI MI VRLUDAJU (LP: Jugoton LSY 66072) © 1979 TANGO BANGO (LP: Jugoton LSY 66117) © 1981 and many more Tihomir Pop ASANOVlC Much travelled keyboard player. He started in 1968 with the beat band The Generals, featured on Time's first LP, played on and off with Yu Grupa and Smak, establishing his own jazz fusion project in 1974 before joining September. His debut album certainly has its moments, especially if you like that funky jazz fusion with synths typical of the mid 70s, whereas LOLA is more for the chintzy soundtrack lovers sounding somewhat Piero Umiliani like. MAJKO ZEMLJO (LP: Jugoton LSY 63003) © 1974 with Jugoslavenska Pop Selekcija: LOLA (LP: CBS 80643) © 1975 TIHOMIR POP ASANOVlC (LP: Jugoton LSY 63055) © 1976 ATOMSKO SKLONISTE Sergio Blazic (lead vocals), Dragan Guzvan (guitar, vocals), Paul Bilandzic (organ, vocals), Druno Langer (bass), Sasa Dadic (drums) [aka ATOMIC SHELTER] Heavy rockers from Pula (former Yugoslavia) formed in 1977. NE CZIVAY GENERACIJO (LP: RTV LD 0433) © 1978 INFARKT (LP: RTV LD 0510) © 1979 U VREMENU HOROSKOPA (LP: RTV LD 0588) © 1980 and many more DEMONI Miljenko Balic, Emil Vugrinec, Jura Havidic, Zeljko Tes, Zoran Grujic Hard-rock from ex-Fire members. NO. 1 (LP: Jugoton LSY 61396) © 1978 plus 5 singles & a compilation Dubravko DETONI Contemporary avant-garde, electronic and ensemble music. A leading innovator, and also member of Acezantez. His early albums are essential for adventurous listeners, whereas DETONI PLAYS DETONI was very classical chaotic Xenakis ensemble realms. We don't know his later ones. JUGOSLAV AVANT-GARDE MUSIC - GRAPHIES / PHONOMORPHIA (LP: Philips 6521 028) © 1971 Dubravko Detoni / John Keliehor / John Lewis - AVANTGARDE (Studio G LPSG 2009) © 1974 DUBRAVKO DETONI - GRAFIKA VI / GIMNASTIKA ZA GRUPU / DE MUSICA (LP: Jugoton LSY-66005) © 1976 DETONI PLAYS DETONI (LP: Jugoton LSY-63095) © 1980 and many more DRUGI NACIN Halil Mekic (guitars, vocals), Zeljko Mikulcic (bass, vocals), Branko Pozgajec (vocals, keyboards, flute), Ismet Kurtovic (flute, guitars, vocals), Boris Turina (drums) Rock band from Zagreb formed in 1974. On their debut LP they played a heavy rock with some prog complexities and quite a lot of Deep Purple and Uriah Heep influences. During a hiatus when Branko Pozgajec was doing military service, two members formed the short-lived Nepocin who folded when Drugi Nacin became active again. A huge disappointment, considering how good Nepocin were, the second LP was a rather mediocre collection of short rock songs. DRUGI NACIN (LP: RTB 55-52-52) © 1975 PONOVNO NA PUTU (LP: Suzy LP 377) © 1982 FIRE Jura Havidic (guitar, vocals), Miljenko Balic (bass), Emil Vugrenic (drums, vocals) Heavy power progressive band from Cakovec, who went to Holland to record their LP. COULD YOU UNDERSTAND ME? (LP: Killroy LPA 89.598) © 1973 Message / If You're Alone Tonight (7": Diskos NDK-2079) © 1975 GRUPA 220 Husein Hasanefendic (guitars, vocals), Jurica Paden (guitars, vocals), Nenad Zubak (bass, vocals), Ivan Stancic (drums) Pop group formed in 1966, in Zagreb. They turned to melodic heavy rock on SLIKE. Pre - Parni Valjak. NASI DANI (LP: Jugoton LPSYV 753) © 1968 SLIKE (LP: Suzy LP-319) © 1975 and many singles GRUPA 777 These apparently started as a jazz-rock group, formed 1970 in Rijeka and later turned into a pop band. Their "Exodus" on the BOOM '72 set would seem to be during a time of transition being psychy blues-rock with a Vanilla Fudge feel, out of character with any of their later discography of 4 albums and 20 pop singles. > BOOM - POP FESTIVAL LJUBLJANA 72 > BOOM - FESTIVAL 1973 GRUPA M. SKRGATICA Aka: Grupa Marina Skrgatica. Blues-rock band founded in Zagreb (Croatia), in 1973. They released three singles and then split up. Their BOOM recording documents a heavy band with lots of riffing guitars, and a lively Krautrock-like style. > BOOM - POP FESTIVAL LJUBLJANA 72 Bezi Janke / Vjeruj (7": Suzy SP-1002) © 1973 Tina / Budi Tu (7": Jugoton SY-22742) © 1974 Rokoko / Ceznja (7": Jugoton SY-22551) © 1974 HAD Davor Brkic (bass), Veseljko Orsolic (guitar) and Rajko Svilar (drums) Band from Osijek, Croatia formed in 1971. On the BOOM 1972 album they come across as blues-rock with a Mediterranean touch, sounding like a mixture of Banco and Budka Suflera. Five years later on BOOM '77 they were playing a much straight American styled heavy rock (despite the native language vocals). > BOOM - POP FESTIVAL LJUBLJANA 72 Nebeski Dar / Put U Nista (7": Suzy SP 1001) © 1972 Suncani Dan / Zene Voli (Zivot Moli) (7": CBS/Suzy 1056) © 1973 > BOOM '77 INDEXI Davorin Popovic (vocals), Slobodan A. Kovacevic (guitars), Fadil Redzic (bass), Nenad Jurin (keyboards), Djordje-Djoko Kisic (drums) # Heavy beat/psych-fusion in the early Modry Efekt vein. A patchy band with some good tracks, but mostly pop singles. > BOOM - POP FESTIVAL LJUBLJANA 72 INDEKSI (MC: RTV Ljubljana 040) © 1972 INDEXI (LP: Jugoton LSY 61096) © 1974 - singles collection INDEXI 2 (LP: Diskoton LP 0270) © 1976 - singles collection MODRA RIJEKA (LP: Jugoton LSY 68042) © 1978 # and many more Martin Davorin JAGODIC Although born in Zagreb, and raised there in Croatia, Martin has been largely based in France since going there to study electroacoustic composition for his one and only known album commission, TEMPO FURIOSO an LP produced by Walter Marchetti for Cramps Records in Milan (Italy), a landmark work of sonic art and electronics bridging INA-GRM styles and Stockhausen-like elements. Audion extract: An album long work, with lots of diverse elements involving electronics, sound manipulation, collage, etc., like an advanced hybrid of Luc Ferrari and Stockhausen's HYMNEN, it is sometimes almost silent, but gets to dizzy heights, almost overflowing to chaos. It's one of those fascinating journeys that's like an audio movie (involving obscure texts about a court case and a scandal of some sort, which I've never quite worked out), full amazing studio trickery, electronics and tons of special effects! A classic, right down to the surprise guest appearance of British girl pop band Fanny! TEMPO FURIOSO (TOLLES WETTER) (LP: Cramps Records CRSLP 6108) © 1975 Erno KIRALY Inventive ethno-avant-garde musician, involved in the notoriously eclectic ensemble Acezantez (who also feature on his recordings). ERNO KIRALY (LP: Jugoton ULS 510) © 1979 GRAPHIC MUSIC (LP: Diskos LPD-1002) © 1979 PHOENIX (CD: ReR EK1) © 1996 - compilation and others NEPOCIN Ismet Kurtovic (guitar, flute, vocals), Halil Mekic (guitar, vocals), Damir Sebetic (keyboards), Bozo Ilic (bass), Branko Knezevic (drums) A little-known progressive rock band from Zagreb formed by two Drugi Nacin members. Their sole album is a heavy and complex one with Italian influences often similar to Kornelyans. SVIJET PO KOJEM GAZIM (LP: RTB LP 55-5312) © 1977 NIRVANA Kresimir Sostar (guitar), Tomas Krkac (bass) and Zdravko Stimac (drums) Powerful blues-rock in Thrice Mice/Blodwyn Pig vein. > BOOM - POP FESTIVAL LJUBLJANA 72 Duh / Kome Da Kazem (7": PGP RTB S 51 714) © 1975 PARNI VALJAK Jurica Padjen (guitars, vocals), Husein Hasanependic (guitars, vocals), Zlatko Miksic (bass), Srecko Antonioli (drums) [aka STEAM ROLLER] Hard-rock and prog, with some Omega and Pink Floyd influences. Later LP's are straight hard-rock. DODJITE NA SHOW! (LP: RTB LP 55 5296) © 1976 GLAVOM KROZ ZID (LP: Jugoton LSY 63070) © 1977 GRADSKY PRICE (LP: CBS Suzy 83894) © 1979 as Steam Roller: CITY KIDS (LP: CBS Suzy 84214) © 1980 VRUCE IGRE (LP: CBS Suzy 84814) © 1980 plus 20 more albums and loads of singles! Ivica PERCL Aka: I. Percl. Acclaimed as the first protest singer-songwriter in ex-Yugoslavia. He was born in Zagreb, Croatia in 1945 and died in 2007. He started as a guitarist of Zagreb rock group Roboti and then went solo releasing an album and 4 singles. > BOOM - FESTIVAL 1974 Bosko PETROVIC Leading Croatian jazz vibraphone player. Composer, arranger and band leader: B. P. Convention, active on the local and international scene. These are some of his more obviously interesting fusion ones... Bosko Petrovic's Nonconvertible All Stars: SWINGING EAST, RECORDED LIVE AT THE BERLIN JAZZ FESTIVAL (LP: MPS/BASF 21 21282-3) 4/11/1971 © 1973 (LP: RTB LP4345) © 1973 B. P. Convention: ZELENO RASPOLOZENJE (LP: Jugoton LSY-61165) © 1975 B. P. Convention: MISTERIJ BLUESA / MISTERY OF BLUES (2LP: Jugoton LSY-65015/6) © 1976 ETHNOLOGY (2CD: Jazzette BPCD 046) © 2002 and loads of other projects/collaborations SEPTEMBER Janez Boncina (lead vocals), Tihomir Asanovic (pianos, organs, synthesizer), Marjan Malikovic (guitars, vocals), Jadran Ogrin (bass, vocals), Braco Doblekar (Latin percussion, soprano sax, vocals), Nelfi Depanger (drums, percussion, vocals) # Rock and jazz-fusion band, towards Chicago or Blood Sweat & Tears. They grew out of the super-group project Jugoslavenska Pop Selekcija in September 1975, hence the name, with international cast of musicians from Time, Mladi Levi, Srce, etc. ZADNJA AVANTURA (LP: RTB LP 55-5275) © 1976 > RANDEVU S MUZIKOM DOMOVINA MOJA (LP: RTV LD 0465) 4/1978 © 1979 # SPEKTAR Enco Lesic (vocals, keyboards), Davor Rocco (bass, acoustic guitar), Dragan Brcic (drums, percussion) Organ driven melodic rock from Zagreb, led by keyboardist and composer Enco Lesic from Indexi. SPEKTAR (LP: Suzy LP 306) © 1974 STAKLENO ZVONO Santro Domino (vocals), Veno Tarbuk (guitar, vocals), Zoran Kras (keyboards, vocals), Hrvoje Galekovic (drums), Vladimir Georgev (bass, vocals) # Pop rock band from the second half of the 70s. They were from Zagreb and their name translates as "The Bell Jar". Good heavy rock based on their BOOM '77 track. Their singles all seem to be rather mediocre however. > BOOM '77 STA SI UVRTILA U GLAVU (LP: Jugoton LSY-63078) © 1978 # plus loads of singles! STIJENE Zorica Kondza (vocals), Goran Taras (bass), Damir Malovan (guitars, backing vocals), Vojo Stojanovic (drums), Marin Miso Limic (Organ, Piano, strings, synthesizer, backing vocals) # Heavy rock, ballads and a very odd female singer. They were formed in the 1970s by keyboard player and composer Marin Miso Limic in the town of Klis (near Split). All their other recordings (apart from the debut LP) are listed as pop. CEMENTNA PRASINA (LP: RTB 2120550) © 1981 # plus 3 more albums and loads of singles! TIME Dado Topic (lead vocals, bass), Vedran P. Bozic (guitars, vocals), Tihomir Pop Asanovic (organ), Brane L. Zivkovic (keyboards, flute), Mario Mavrin (bass), Ratko Divjak (drums), Dabi Lukac (Moog, Mellotron) Progressive rock band similar to early Smak and with Italian rock influences, moving to jazz-rock realms later. > BOOM - POP FESTIVAL LJUBLJANA 72 TIME (LP: Jugoton LPY 60978) © 1972, (CD: Croatia Records 5 04371 3) © 1993 - 2 bonus tracks Reci Ciganko, Sto Mi U Dlanu Pise / Makedonija (7": Jugoton MCY 119) © 1973 TIME II (LP: RTB LP 55-52-51 / Alta ATLP 106) © 1975 Kad Jednom Otkrijem Coveka U Sebi / Da Li Znas Da Te Volim (7": RTB S 52 694) © 1975 ZIVOT U CIZMAMA S VISOKOM PETOM (LP: RTB LP 55-52-92) © 1976 Kad Smo Ja I Moj Mis Bili Bokseri / Dok Ja I Moj Mis Sviramo Jazz (7": RTB S 51 748) © 1976 Tini - Tina / Dok Sjedim Ovako U Tvojoj Blizini (7": RTB S 51 756) © 1976 > RANDEVU S MUZIKOM DADO TOPIC & TIME (CD: Krin Music 411526) © 1996 - 2nd & 3rd LP's. THE BEST OF TIME (CD: GR 91053) © 199? - 1st album plus bonus tracks. CZECH REPUBLIC Despite an almost Draconian control of the arts, from the late 1960s through to the 80s, the Czechoslovakian government encouraged the facade of a Western style record industry, with three major labels: Opus and Supraphon, who released everything from classical through to pop (and occasional progressive releases), and Panton (the most specialised label) which had a jazz and folk bias. The quiet revolution and dissolution of the Communist state, has since opened the floodgates of the blossoming underground scene, with a proliferation of labels, offering a vast wealth of revolutionary music by bands who previously had to play it safe, or were classed as subversive and were banned. Czechoslovakia is now two separate states. So, see also: Slovakia. Hopefully everything is in the right place!. ABRAXAS Slavek Janda (guitar, vocals), Michal Ditrich (bass, vocals), Lubos Nohavica (keyboards, choir), Jaroslav Trachta (sax), Vladislav Sosna (drums) # Rock band with a jazzy edge. BOX (LP: Panton 8113 0275) 2/1982 © 1982 MANEZ (LP: Panton 8113 0489) 4-5/1984 © 1984 # MIDNIGHT CITY (LP: Panton 8113 0493) 5-10/1984 © 1985 - English vocal version of MANEZ ST'ASTNEJ BLAZEN (LP: Panton 81 0664-1311) 3-5/1986 © 1986 plus 6 more albums and loads of singles! AGON Inventive vaguely systemic/atonal avant-ensemble. They have numerous other releases 1994 to 2012. AGON CONTEMPORARY MUSIC ENSEMBLE PRAGUE (CD: Arta F10018) © 1991 AKU-AKU Jaroslav Neuhoffer (vocals, violin), Vladimir Saska (drums, vocals), Ludek Zednik (bass), Jan Peclinovsky (guitar, vocals) Curious blending of progressive and weird new-wave. A bit like MCH Band, but more aggressive and heavy going. HUMANQUAKE (LP: Pro Art KS 0002-1311) 11/1990 © 1991 plus at least 4 more albums Lubos ANDRST Talented jazz guitarist, ex-Jazz Q and Energit. CAPRICORNUS (LP: Panton 8115 0168) 6-9/1980 © 1980 PLUS MINUS BLUES (LP: Panton 81 0735-1511) © 1988 > CZECH MASTERS OF ROCK GUITAR plus many collaborations Dagmar ANDRTOVA-VONKOVA Female folk singer producing unusual folk-fusion. She has also worked with Radim Hladik. DAGMAR ANDRTOVA-VONKOVA (LP: Panton 81 0651-1311) © 1987 ZIVA VODA (LP: Panton 81 0870-1311) © 1989 BACILY Vaclav Neckar (vocals), Milan Vitoch (drums), Ota Petrina (guitar), Jan Neckar (keyboards), Petr Formanek (piano), Jan Hauser (bass) [Aka VACLAV NECKAR & BACILLI] Wide ranging rock and pop band who also tried prog and concept ideas. DR. DAM DI DAM A JEHO BACILY (LP: Supraphon 113 1344) 25/5/1972 © 1972 TOMU, KDO NAS MA RAD (LP: Supraphon 113 1545) 2-4/1974 © 1974 PLANETARIUM (2LP: Supraphon 113 2301 / 2) 9-10/1976 © 1977, English vocal version: PLANETARIUM (2LP: Supraphon 1113 3621 / 2) 1-6/1981 © 1983 PODEJ MI RUKU... (LP: Supraphon 1113 2678) 6/1979 © 1980 SLUNECNI VEK (LP: Supraphon 1113 2889) 10-12/1980 © 1981 MYDLOVY PRINC (LP: Supraphon 1113 2904) © 1981 - sampler plus many more, and loads of singles! BARNODAJ Zdenek Kluka (drums, Moog, guitars, harmonica, vocals), Pavel Vane (guitars, mandolin, vocals), Jan Sochor (piano, organ, Moog, string ensemble, cembalo, vocals), Pavel Pelc (bass, choir) [In English: PROGRESS] Beat group who started life as the backing band Skupina Jana Sochora, but later reinvented themselves many times, turning progressive and eventually adopting the name Progres 2. Pram Z Tramu / Maugli (7": Supraphon 1 43 2238) © 1978 MAUGLI (LP: Supraphon 113 1919) 10/1977 © 1978 (LP: Supraphon 1113 1919) © 1985 (CD: Monitor 010212 - 2 331) © 1993 Iva BITTOVA Experimental vocalist and violinist combining folk, ethnic and classical elements into unique fusion. with Ex Libris: Rano S Tebou (7": Panton 8143 0071) © 1980 - A-side only Ukolebavka / Plavil Janko Kone / Bozi Darek (7" EP: Panton 8133 0219) © 1986 with Divadlo Na Provazku: Balada Pro Banditu (7" EP: Panton 81 0349-7311) © 1988 with Divadlo Na Provazku: Na Davnem Prosu (7" EP: Panton 81 0398-7311) © 1989 BITTOVA (LP/CD: Pavian PM 0001-1311/2311) 1990 © 1991 NE NEHLEDEJ (CD: Ariola 74321 24858 2) © 1994 CIKORI (CD: Indies MAM 150-2) © 2001 and many more! Iva BITTOVA & Pavel FAJT Iva Bittova (vocals, violin), Pavel Fajt (drums, metal) # Strongly inspired by the RiO scene, blending folk melodies into a strange fusion. Audion extract: Iva Bittova & Pavel Fajt - SVATBA - I became aware of the revolutionary duo Bittova & Fajt by the most peculiar track on RE RECORDS QUARTERLY Vol.2 No.1, and though I'm told the first album by these Czech. musical adventurers is better than this, I'm nonetheless impressed. Well, what can a female vocalist/violinist and a drummer do? Quite a lot actually. Though the musical fabric is loose, this is exceptionally inventive engaging and expressive music: quirky, fragmented and powerful, brilliant gibberish and sung vocals from Iva, spectacular rhythmic and solo violin, plus amply dynamic and wide ranging percussives from Pavel. The music is a kind of strange contortion of rock, jazz and Slovenian (possibly) folk music, pepped up with lots of energy and creative abandon. Anyone with a love for female vocal experimentation and inventive musical fusion should definitely check this out. BITTOVA & FAJT (LP: Panton 81-0795-1311) 5/1987 © 1987 (CD: Panton 81 0795-2311) © 1991 SVATBA (LP, Switzerland: Review rere 117) 6/1987 © 1987 (CD, Switzerland: Review rere 117 MCD) © 1991 # > ReR QUARTERLY, VOL.2 NO.1 (LP+mag, UK: ReR 0201) © 1987 BLUE EFFECT > MODRY EFEKT BLUES BAND Peter Lipa (vocals), Lubos Andrst (guitar), Ondrej Konrad (harmonica), Vladimir Kuhlanek (bass), Jaromir Helesic (drums) Bohemian blues band. BLUES Z LIPOVEHO DREVA (LP: Supraphon 1115 3109) 11/1983 © 1984 Tento Tyzden Neman Cas / Na Seba Sa Hram (7": Opus 9143 0640) © 1985 Omyl / Ponahl'aj Sa Pomaly (7: Opus 9143 0658) © 1986 SKRTNI CO SI NEHODI (LP: Supraphon 1115 4206) 10/1986 © 1987 BLUES OFFICE (LP: Supraphon 1116 4255) 10/1986-4/1987 © 1987 - English vocal version of SKRTNI CO SI NEHODI BOHEMIA Lesek Semelka (electric piano, lead vocals), Jan Kubik (tenor sax, clarinet, flute, vocals), Michal Pavlicek (guitars), Vladimir Kulhanek (bass), Jan Hala (synthesizer), Pavel Trnavsky (drums) # A kind of super-group featuring ex-Flamengo and Modry Efekt members, playing a complex mix of prog and slightly bluesy jazz-rock. Audion extract: Two ex-Flamengo members went on to form Bohemia, along with ex-M.Efekt Lesek Semelka. Putting Semelka's song style into a jazzier music on ZRNKO PISKU yielded interesting results, a music that M.Efekt hinted at with the NOVA SYNTEZA albums, but with four keyboard players (one of them just on ARP synth) the Bohemia sound was very techno and complex. Since this Semelka went on to form his own pop-prog band SLS, session musician Michael Kocab became known for creating a new-wave fusion with his band Vyber. Kam Jdou / Bulgaria Expres (7": Panton 44 0604) 5/10/1976 © 1976 > BRATISLAVSKE DZEZOVE DNI 77 Pristav Ziznicich / Navsteva Ve Zverexu (7": Panton 44 0620) © 1977 Co Mi Brani / Vina Kridel (7": Panton 44 0625) © 1977 King Gong / U Studanky (7" EP: Panton 8135 0001) 3/1976 © 1977 ZRNKO PISKU (LP: Panton 11 0699) 6-10/1977 © 1978 # Jan BRABEC Underground rock and folk. Drummer with The Plastic People Of The Universe and Domaci Kapela, joined by Ladislav Lestina, Vit Brukner and Andrea Landovska. Z JEDNE STRANY NA DRUHOU (CD: Black Point BP 0081-4) © 1999 BRABENEK-KOMAREK-TOPOL-OPLISTILOVA-KARAFIAT-BRABEC Vratislav Brabenek (saxes, clarinet, vocals), Jan Komarek (guitar, bass, woods, cithern, vocals), Josef Karafiat (guitars, bass, guitar synthesizer, vocals), Jan Brabec (drums, clappers, synthesizer, vocals), Petra Oplistilova (cello, vocals), Filip Topol (synthesizer, vocals) Vratislav Brabenek (ex-Plastic People) & co. playing a radical and creative blend of Czech underground, jazz, folk and archetypal multi-cultural RIO styles. Audion extract: Obviously, now these musicians can openly and publicly promote themselves, they're proud to do so! It's a pity they couldn't think of a group name, though. So, the legacy of the Plastic People Of The Universe lives on, here with a really strange collection of folk, jazz and mangled rock mutations, typical of the radical Czech sound, and a hell of a lot more creative than anything since the very early Plastic People recordings. This is dark, unconventional rock, with liberal doses of Central European culture. There are strange bits of poetry juxtaposed against radical music, along with freaky jazz edges, Gothic and dark symphonics, and the most peculiar of songs. It's fascinating, if not immediate, stuff that's totally uncommercial whilst totally musical. In all - intriguing! KONEC LETA / SUMMER'S END (CD: Black Point BP 0092-2/4) 8-9/1995 © 1995 BRONZ Pavel Vane (vocals, guitars), Daniel Forro (keyboards), Richard Lasek (drums) Parallel band to Progres 2. Specha Se, Specha / Objednavej Smich (7": Panton 8143 0150) © 1982 Poprve V Praze / Cernobila (7": Panton 8143 0207) © 1983 ZIMNI KRALOVSTVI (LP: Panton 8113 0568) 7-8/1985 © 1986 C & K VOCAL & LABYRINT Zdena Adamova (vocals), Helena Arnetova (vocals), Milena Cervena (vocals), Ladislav Kantor (vocals), Lubos Pospisil (vocals), Jiri Cerha (vocals), Pavel Fort (guitar), Otakar Petrina (guitars), Vladimir Kuhlanek (bass), Pavel Vetrovec (pianos, organ, percussion), Jan Kubik (tenor sax, flute, percussion), Anatoli Kohout (drums) Vocal ensemble working with prog-rock band. GENERATION (LP: Supraphon 113 1778) 12/1974-4/1975 © 1976 - English vocal version GENERACE (LP: Supraphon 1 13 2023) 12/1974-9/1976 © 1977 - Czech vocal version CAPELLA ANTIQUA E MODERNA Vojtech Havel (viola da gamba, piano), Irena Havlova (viola da gamba, vocals), plus guests Spooky medeival music. HUDBA SFER (MC: Panton 81 0955-4) © 1989 - split with Relaxace Mikolas CHADIMA Leader of MCH Band. > ReR RECORDS QUARTERLY, VOL. 1 NO. 1 (LP+mag, UK: Re 0101) 1983 © 1985 CHADIMA-BINDER-CHARVAT Odd rock from ex-MCH Band members Miklos Chadima, Peter Binder and Ales Charvat. PSEUDEMOKRITOS (CD: Black Point BP 0098-2/4) © 1996 CHADIMA & FAJT Miklos Chadima (MCH Band) and Pavel Fajt (Dunaj). A more upbeat/accessible twist on the Czech underground sound, very MCH Band, but also with a nod to The Residents. PRUHLEDNI LIDE / TRANSPARENT PEOPLE (CD: Black Point BP 0106-2) 12/1997-3/1998 © 1998 CH.A.S.A. Ivo Albrecht (bass), Jiri Adam (guitar), Pavel Chmelar (flute, soprano/baritone saxes), Antonin Striz (drums), Ivan Havlicek (percussion), Mirka Krivankova (vocals) Jazz-fusion band who existed 1973 to 1980+ but only ever documented by one track.. > JAZZROCKOVA DILNA COMBO FH Daniel Fikejz (pianos, accordion, clavinet, harpsichord, organ, synthesizers, acoustic guitar, marimba, percussion, vocals), Borivoj Suchy (soprano/tenor saxes, cello, piano, percussion), Milan Sladek (bassoon, piano, percussion), Richard Mader (guitars, piano, percussion), Vaclav Patek (bass), Tomas Suchomel (drums, piano, percussion, vocals) # [Aka Combo Franty Hromady] They started as off-beat fusion with a good dose of Henry Cow (and hints of instrumental Zapper too), blended with Satie and Czech folk stylings, especially good on the debut EP, and on the album VECI / THINGS. They moved to a kind of pop/jazz satire after that didn't export well to non-Czech ears. Audion extract: Combo FH were no doubt introduced to most people the Mini Jazz Klub 11 7" EP distributed by Reconvened. Not an ordinary jazz group by any means, with influences as wide ranging as Czech folk, Zappa, Soft Machine, Henry Cow and a great deal of progressive rock and classical stylings. By the time of their debut LP VECI / THINGS they had developed a very personal eclectic, inventive, new music - for want of a better description - sounding like a cross between Gryphon, Henry Cow and Jazz Q, but in essence too eclectic to categorize at all! Mini Jazz Klub 11 (7" EP: Panton 33 0415) 10/1976 © 1976 Horky Vzduch A Pisek / Tic-Tac Hugo (7": Panton 8143 0028) 11/1979 © 1980 Divci Kamen (7": Panton 8143 0117) 4/1981 © 1981 - A-side only VECI / THINGS (LP: Panton 8113 0184) 5-10/1980 © 1981 # > JAZZ A LA CARTE Primky / Kdyz Nam Tece Do Bot (7": Panton 8143 0188) 6/1983 © 1983 Jsou Jen Pul (7": Panton 8143 0188) 3/1983 © 1983 - B-side only SITUACE NA STRESE (LP: Panton 8113 0559) 4-6/1985 © 1985 > ROCKOVY MARATON 2 (LP: Panton 8113 0597) 1-2/1986 © 1986 Rudolf DASEK Fusion guitarist. POHADKA PRO BERITKU / JAZZ ON SIX STRINGS (LP: Supraphon 0 15 0843) © 1970 DIALOGY / DIALOGUES (LP: Supraphon 1115 2533) 10/1972,10/1977-6/1978 © 1979 Scott, Stivin, Dasek - ROZHOVORY / CONVERSATION (LP: Supraphon 1115 2890) © 1981 MEZIPRISTANI / INTERLANDING (LP: Supraphon 1115 3279) © 1984 and lots more Rudolf DASEK & Toto BLANKE Czech & German guitarists in collaboration, generally in the light jazz mode. SILHOUTTES "Duets For Acoustic Guitars" (LP: Supraphon) © 1980 (LP, Germany: Aliso 1011) © 1981 TRAMONATA (LP, Germany: Entente 833070) © 1983 (CD, Germany: Aliso) © 1988 KIRCHENMUSIK (LP, Germany: Aliso AL 1016) 1984 © 1985 TALKING GUITARS (CD, Germany: Aliso 882622) © 1988 - plus David Qualey & Jorge Cardoso TWO MUCH! GUITAR (CD, Germany Aliso 1022) 1991 © 1993 MEDITATION: KIRCHEN MUSIK! (CD, Germany: Aliso 1026) © 1994 MONA LISA (CD, Germany: Aliso 1037) © 2000 DG 307 Pavel Zajicek (vocals), Jiri Kabes (violin), Milan Hlavsa (bass), Ivan Pospisil (drums),Vratislav Brabenec (winds) # One of the 70s underground bands that were banned by the Czech government. Their style was raw and aggressive, like a cross between The Velvet Underground and The Plastic People. GIFT TO THE SHADOWS (LP: Safran SAF 7821) © 1982 1973-5 (LP: Globus International 210023-1311) 1973-1975 © 1990 # UMELE OCHUCENO / ARTIFICIALLY FLAVOURED (LP/CD: Uzejd UJ 0002) 8/1992 © 1992 KNIHA PSANA CHAOSEM) (CD: Globus International 210 186-2) © 1996 and many more DOMACI KAPELA Jan Brabec (drums, vocals, piano, percussion), Vit Brukner (bass pedals, clavinet), Zuzana Bruknerova (vocals, synthesizer), Martin Dvorak (cello), Josef Karafiat (guitars), Jiri Zavadil (violin) Experimental rock from Jan Brabec (ex-Plastic People) & co. NEDELE (LP/CD: Ujezd UJ 0001-1331/2331) 1-2/1992 © 1992 # JEDNE NOCI SNIL (CD: Rachot R-0010 © 1996 DUNAJ Vladimir Vaclavek (bass, vocals, guitar), Jiri Kolsovsky (vocals, guitar, flute), Josef Ostransky (guitar, vocals), Zdenek Plachy (keyboards), Pavel Fajt (drums, percussion, vocals) # Quirky new-wave and progressive. with Iva Bittova: Zrcadlovy Sal / Plne Nebe (7": Panton 81 0361-7311) © 1988 with Iva Bittova: BITTOVA & DUNAJ (LP: Panton 81 0816-1311) 1-2/1988 © 1988 ROSOL (LP / CD: Pavian PM 0002) 6/1990-1/1991 © 1991 # DUDLAY (LP: Bonton 71 0118-1331) 1993 © 1993 DUNAJ IV (LP: Rachot R 0004) 7/1994 © 1994 E Vladimir Kokolia (vocals), Josef Ostransky (guitar, hi-hat), Vladimir Vaclavek (bass, acoustic guitar, drums) Ex-Extempore band. Crazed experimental rock typical of the 90s Czech wave. E / LIVE / (LP: Globus International 210008-1311) 15/2/1990 © 1990 I ADORE NOTHING (CD: Rachot) © 1994 E UCHO DEBIL ACCORD BAND Jiri Zelenka (vocals, guitar), Pavel Skaryd (bass), Vaclav Sefrna (drums), Jan Vladar (guitar) Underground rock band from Zatec, existing 1980-86, with members going on to Orchestr Bissext. ...STOJIME U ZDI... (MC: private) © 1985 (LP: Fecal Records FR 0001-1311) © 1991 ENERGIT Lubos Andrst (guitar), Emil Viklicky (pianos, synthesizer), Rudolf Tichacek (soprano sax), Jan Vytrhlik (bass), Jiri Tomek (congas), Karel Jencik (drums), Anatoli Kohout (drums), Josef Vejvoda (drums) # Vehicle of ex-Jazz Q guitarist Lubos Andrst, and most notable for their furiously powerful debut LP, which fused the early Jazz Q sound with the instrumental fusion of The Mothers or Miles Davis. The second album PIKNIK had a very different funky and brassy feel. Audion extract: Probably feeling cornered by Kratochvil's music, ex-Jazz Q guitarist Lubos Andrst formed Energit together with keyboardist Emil Viklicky. Their debut was even better than anything Jazz Q produced. Still with that spacey edge, but with lots or energy too - Energit lived up to their name! With a great rhythmic base, ever changing but riffing structure, the 17 minute "Rano" recalls both classic Miles Davis and Terje Rypdal, but with electric sax as winds soloist. Their second PIKNIK was a very different affair, this featured lots of winds, shorter composed pieces as opposed to the free-riffing of the first, often more what one would expect from George Gruntz or Manfred Schoof. Latterly, Andrst pursued a solo career, Viklicky worked with the piano trio Klavesova Konclava and later in Okno with Bill Frisell. ENERGIT (LP: Supraphon 1 13 1787) 12/1974 © 1975 # Mini Jazz Klub 6 (7" EP: Panton 33 0392) 14/6/1976 © 1976 > JAZZROCKOVA DILNA 2 PIKNIK (LP: Panton 11 0695) 1-2/1978 © 1978 > BRATISLAVSKE DZEZOVE DNI 77 > BRATISLAVSKE DZEZOVE DNI 78 ETC... Vladimir Misik (vocals, guitars, kazoo), Pavel Fort (guitars), Petr Pokorny (guitar), Jan Hruby (violins, tambourine), Anatloi Kohout (drums, percussion) Vladimir Misik, formerly with the pop / beat band George & Beatovens in 1968 and then Flamengo, formed Etc... as his all-purpose rock and fusion band with a constantly changing cast of musicians and collaborators. VLADIMIR MISIK ETC... (LP: Supraphon 113 1918) 10-11/1975 © 1976 Ja Mam Schuzku O Pul Pate / Lady Vamp (7": Supraphon 143 2146) © 1977 as Vladimir Misik & Etc Band: THEY CUT OFF THE LITTLE BOYS HAIR (LP: Supraphon 1113 2403) 10/1975-10/1977 © 1978 ETC... 2 (LP: Supraphon 1113 2558) 7/1979 © 1980 Jiri Jelinek In Memorium (2x7" EP: Panton 81 0813-7312) 1976-1977 © 1987 ETC... 3 (LP: Supraphon 1113 4078) 2/1986 © 1987 ETC... 4 (LP: Supraphon 1113 4203) 1-2/1987 © 1987 Spejchar Blues / Kralovsky (7": Supraphon 11 0013-7311) © 1989 Co Ti Dam? / Tve Oci (7": Supraphon 11 0374-7311) 10-11/1989 © 1989 with Miroslav Kovarik: PAR TONU, KTERE PREBYVAJI (LP: Panton 81 0869-1311) 5/9/1980 © 1989 20 DEKA DUSE (LP: Supraphon 11 0854-1311) 10-11/1989 © 1990 > BAZAREM PROMEN THE EXTEMPORE BAND Mikolas Chadima (saxes, vocals, guitar, trumpet), Slavek Simon (bass, vocals), Martha Gotthard (percussion, voice), Mirko "Ali" Horacek (drums, choir, trumpet), Vlad'a Brom (guitar), Jiri "Nory" Radechovsky (guitar), Pavel Turnovsky (synthesizer) # Aka The Naive Extempore Band or Rock & Jokes Extempore Band. Radical and inventive 70s group banned by the Czech government, fronted by Miklos Chadima (later of MCH Band) and like a more musically involved Plastic People. > CZECH! TILL NOW PLESNIVE EMBRYO (MC: J.J.N. Records) © 1984, (MC: Fist Records)1973 © 1996, (Black Point BP 0042) AZBESTOVY GULAS (MC: Fist Records) © 1986, (CD: Black Point BP 0045-4) 1974 © 199? STEHLIK (MC: Fist Records) 1975 © 1985, (Black Point BP 0007) MILA CTYR VISELCU (MC: Fist Records) 1976 © 1986, (CD/MC Black Point BP 0091-2/4) © 1996 EBONITOVY SAMOTAR (MC: Fist Records) 1977 © 1986, (Black Point BP 0008) DUM C.P. 112/34 (MC: Fist Records) 1978 © 1986, (Black Point BP 0011) ZABIJACKA (MC: Fist Records) 1979 © 1986, (CD: Black Point BP 0020-2) © 1999 JARO, LETO, PUNK (MC: Fist Records) 1979-80 © 1986, (Black Point BP 0026) © 1992 VELKOMESTO / THE CITY (2LP: Globus International 210068/9-1312) 12/1979-4/1981 © 1990 # with J.J. Neduha: SEL JSEM VCERA DOMU, PRISEL JSEM AZ DNESKA! (LP: Supraphon 11 1386-1311) © 1991 Pavel FAJT & PLUTO Vaclav Bartos (vocals), Petr Zavadil (guitar), Tomas Frohlich (bass), Pavel Fajt (drums, percussion, sound wheel) Wide-ranging left-field avant-rock project with funky, jazzy and new wave elements. PAVEL FAJT & PLUTO (CD: Indies MAM040-2,4) © 1996 Daniel FIKEJZ Combo FH leader. Mama Ma Misu (7": Panton 8143 0147) 8/3/1982 © 1982 - B-side only with Jan Burian: HODINA DUCHU (LP: Panton 81 0881-1311) 9-11/1988 © 1989 FLAMENGO Jan Kubik (saxes, flute, clarinet, vocals), Pavel Fort (guitars, vocals), Ivan Khunt (keyboards, vocals), Vladimir Guma Kulhanek (bass, vocals), Jaroslav Erno Sedivy (drums, percussion), Vladimir Misik (vocals, congas, acoustic guitar) # A seminal band, although their sole album was banned upon release! They started as a pop band, and developed from beat and jazz roots in the 1960s, onto a lively complex progressive fusion akin to early Colosseum, but with a fiery M. Efekt like energy and a uniquely Czech sound. Audion extract: Vladimir Misik has been known for his work with numerous Czech bands, but mostly for his own band: Vladimir Misik Etc. Most of what I've heard by his band however has been less than impressive, a mixing of jazz-rock and blues with little merit or distinction. Far better were an earlier band he was involved with, namely Flamengo. Their 1972 album KURE V HODINKACH has just been reissued. A kind of jazzy parallel to M.Efekt I suppose. or even bands like Colosseum or Tasavallan Presidentti, Flamengo's style was an intricate and finely crafted progressive- fusion featuring lengthy instrumental breaks and solos from numerous instruments. with Petr Novak: Ja Budu Chodit Po Spickach / Povidej (7": Supraphon 043 0296) 5/6/1967 © 1967 with Karel Kahovec: Vyber Si Palac / Svou Lasku Jsem Rozdal (7": Supraphon 043 0329) 6+7/1967 © 1967 Pani V Cernem / Nahrobni Kamen (7": Supraphon 043 0345) 7+9/1967 © 1967 Dzban / Poprava Blond Holky (7": Supraphon 043 0362) 6+10/1967 © 1967 with Karel Kahovec: Co Skrývas V Ocich / Zavrazdil Jsem Lasku (7": Supraphon 043 0457) 6/1977+2/1968 © 1968 > NIGHT CLUB '68 > 2. CS. BEAT-FESTIVAL 68 with Karel Kahovec: The Way For Horses / No Reply (7": Supraphon 043 0632) 1968 © 1969 Summertime / Too Much Love Is A Bad Thing (7": Supraphon 043 830) 4/7/1969 © 1969 Vim, Ze Placem To Skonci (7": Panton 04 0295) 26/5/1970 © 1970 - A-side only Kazdou Chvili / Týyden V Elektrickem Meste (7": Supraphon 0 43 1214) 25/6/1971 © 1971 Kure V Hodinkach / Stale Dal (7": Supraphon 0 43 1453) © 1972 KURE V HODINKACH (LP: Supraphon 113 1287) 6/71-3/1972 © 1972 # (LP/CD: Supraphon 10 1287-1311/2311) © 1990, (CD: Bonton BON 491053-2) © 1998 - plus Kazdou Chvili / Tyden V Elektrickem Meste single > BAZAREM PROMEN FRAMUS FIVE Michal Prokop (vocals), Lubos Andrst (guitar), Ladislav Elias (bass), Ivan Trnka (keyboards), Kasa Jahn (drums) # Brassy rock band. > BEAT - LINE SUPRAPHON 68 (LP: Supraphon 013 0525) © 1968 > NIGHT CLUB '68 > 2. CS. BEAT-FESTIVAL 68 FRAMUS FIVE + MICHAL PROKOP (LP: Supraphon 113 0578) 10-11/1968 © 1969, reissued as: BLUES IN SOUL (LP: Supraphon 013 0578) © 1971 MESTO ER (LP: Supraphon 113 1069) 12/1970-1/1971 © 1971 (CD: Supraphon 10 1069-2) # plus numerous singles! FRONTALNI PORUCHA David Vanecek (keyboards), Lexa Snopek (keyboards), Karel Herman (vocals), Petr Alexander (drums) Doomy gothic keyboard-fronted music that defies any easy description, they could be called an atmospheric gloomy Dead Can Dance, but with Czech folk roots. VECNE SVETLO (LP: Globus International 210009-1311) 3-4/1990 © 1990 GARAZ Tony Duchacek (vocals), Milan Hlavsa (bass, guitar), Ivo Pospisil (bass), Tonda Penicka (drums), Honza Machacek (guitar), Jiri Jelinek (trombone), Tadeas Vercak (guitar), Tomas Svoboda (trumpet), Tomas Belko (tenor sax), Jindrich Biskup (sax), Tomas Kurfurst (trumpet), Ivan Pavlu (percussion) Interconnected with The Plastic People, etc. THE BEST OF GARAZ (LP: Globus International 21 0012-1311) 1984-1988 © 1990 VZKOPAVKY (LP: Globus International 21 0025-1311) © 1990 PULNOC A GARAZ (MLP: Panton 81 1057-6311) © 1990 - B-side only PRAHA (LP: Radost ME 1621/2) © 1991 GERA BAND Michal Gera (trumpet, flugelhorn), Vaclav Bratrych (tenor sax), Vít Svec (bass), Jaromir Helesic (drums) Lively fusion from Michal Gera (ex-Impuls) & co. FATA MORGANA (LP: Panton 81 0684-1 511) © 1987 Jan HAMMER Born 1948 in Prague, former Czechoslovakia. Originally in a trio with Alan and Miroslav Vitous in the 1960s. All his known recorded output is from since he moved to the USA, and mostly as a keyboardist, including many LP's with the Mahavishnu Orchestra. Nowadays he's best known for his synthesizer based film and TV soundtracks. LIKE CHILDREN (LP, USA: Nemperor NE430) © 1974, (LP, UK: Atlantic K 50092) © 1974 John Abercrombie, Jan Hammer, Jack De Johnette - TIMELESS (LP, Germany: ECM 1047 ST) © 1975 THE FIRST SEVEN DAYS (LP, USA: Nemperor NE432) © 1975, (LP, UK: Atlantic K 50184) © 1975 and numerous others! Irena HAVLOVA & Vojtech HAVEL Multi-instrumental husband and wife duo who graduated from folk to experimental music. Their releases comprise eerie, gothic and fascinating music performed on medieval instruments, church organs, all sorts of ethnic instruments, percussions, etc. sometimes like a subdued songless Nico. HATA H (LP/CD: Primus V1 0005) © 1990/92 MALE MODRE NIC / LITTLE BLUE NOTHING (CD: Arta F1 0021 2511) 1989-1990 © 1991 TAJEMNA GAMALENIE / MYSTERIOUS GAMELANLAND (CD: Tonk TK 006 2311) © 1992 HUDBA TICHA / MUSIC OF SILENCE (CD: Pragma PG 0001 2231) © 1992 NEZNE KE SVETLU / TENDERLY TO LIGHT (CD: Monitor 660 300-2 331) © 1994 and many more HENRICH Multi-instrumentalist Henrich Lesko aka Lesko H. Experimental theatre and gothic-folk-cosmic music. NINNANANNA (LP: Clara 57 007-2) © 1992 (CD: Popron 570072) © 199? Radim HLADIK Modry Efekt leader. > CZECH MASTERS OF ROCK GUITAR with Dasa Andrtova: VOLIERA (CD: Indies MAM060-2,4) © 1997 IMPULS Jaromir Helesic (drums), Michal Gera (trumpet), Zdenek Fiser (guitar), Pavel Kostiuk (keyboards) # Jazz-rock with Chick Corea/Weather Report influences. Mini Jazz Klub 7 (7" EP: Panton 33 0396) 2/6/1976 © 1976 # > JAZZROCKOVA DILNA IMPULS (LP: Panton 11 0684) 1977 © 1977 > JAZZROCKOVA DILNA 2 > BRATISLAVSKE DZEZOVE DNI 77 JABLKON Michael Nemec (vocals, percussion, guitar), Ingo Bellman (guitar, vocals), Ivan Podobsky (drums, vocals, percussion) # A unique and strange blend of Czech folk and unclassifiable musics. Mostly acoustic, yet quite surreal. > CZECH! TILL NOW Mini Jazz Klub 45 (7" EP: Panton 8135 0213) 6/1986 © 1986 DEVATA VLNA (LP: Panton 81 0815) 1988 © 1988 # JABLKON & SVECENY (CD: B+N Agency 9101) 2-5/1991 © 1991 BABA AGA (CD: B+N Agency 9202) 3-10/1992 © 1992 SYMPHONIC (CD: Fisyo F1003-2031) 1994 © 1995 MACHALAJ (CD: Baba N.9504) © 1995 Oldrich JANOTA Unusual folk and ethnic musics, Oldrich Janota is often aided by Vojtech Havel and Irena Havlova. Cesty 15 (7" EP: Panton 81 1383-7311) © 1989 - with Vojtech A Irena Havlovi NEVIDITELNE VECI (MC: Panton 81-1081-4311) © 1990 - with Vojtech A Irena Havlovi OLDRICH JANOTA (LP: Panton 81 0691-1 311) 1990 © 1990 SESITE (CD: Indies MAM024-2,4) © 1997 and many more collaborations, plus earlier folk some cassettes JAZZ CELULA Laco Deczi (trumpet), Petr Korinek (bass), Svatopluk Kosvanec (trombone), Zdenek Dvorak (guitar), Josef Vejvoda (drums), Petr Kral (tenor saxophone), Karel Ruzicka (piano) # Mellow jazz fusion. Often credited as Laco Deczi &... The Celula Quintet: PIETOSO (LP: Supraphon 1 15 0596) © 1969 OHEN AZ POZAR (LP: Panton 11 0638) © 1976 JAZZ CELULA (LP: Opus 9115 0703) © 1978 # Mini Jazz Klub 21 ( 7" EP: Panton 8135 0002) © 1979 JAZZISSIMO (LP: Panton 8115 0261) © 1982 JAZZ FRAGMENT PRAGUE Ales Faix (piano, synthesizers), Milan Pekny (violin), Martin Brunner (flute), Petr Dvorak (bass), Petr Reiterman (drums, percussion) Slick jazz-fusion. Mini Jazz Klub 29 (7" EP: Panton 8135 0049) © 1980 ANACONDA (LP: Supraphon 1115 4246) 8/1986 © 1987 with Svetlana Musilova: THE OPENED LETTER (CD: Panton 81 1055 - 2511) © 1992 JAZZ Q (PRAHA) Martin Kratochvil (electric piano), Lubos Andrst (guitar), Vladimir Padrunek (bass), Michal Vrbovec (drums) # Formed in 1965 as the free-jazz group: Jazz Q Praha (Jazz Quartet/Quintet Prague), featuring Jiri Stivin and singer Helena Vondrackova (in the early-70s with Irish singer Joan Duggan). They eventually become the vehicle of Chic Corea inspired keyboardist Martin Kratochvil, making a synth fronted fusion in the ECM type style. Jazz Q were a revolutionary fusion band, pioneering the Czech jazz-rock sound. Audion extract: Jazz Q (aka Jazz Q Praha) were one of the foremost and innovative of Czech jazz-rock groups. Arguably in similar realms to Nucleus at the start, they developed a sophisticated fusion with. a very spacey sound, especially on THE WATCHTOWER which had just five tracks of rather understated atmospheric jazz. Vocalist Joan Duggan, who was a guest here, had a greater role in the album SYMBIOSIS which moved dangerously close to soul at times. In time, keyboard player and leader Martin Kratochvil took over the band completely, putting his keyboards at the front of the sound and moving the Jazz Q style closer to the likes of Return To Forever with albums like ELEGY and TIDINGS. If these had been released on ECM, Jazz Q would have become a household name. > ZURICH JAZZ FESTIVAL 1971 (2LP Germany: MPS Records 33 21277-7) © 1971 POZOROVATELNA / THE WATCH-TOWER (LP: Panton 01 0285/11) 29/1/1973 © 1973 # SYMBIOSIS (LP: Supraphon 115 1356) 3-10/1973 © 1973 (CD: Bonton 71 0671-2) © 1998 - 1 bonus track Mini Jazz Klub 5 (7" EP: Panton 33 0381) 9/1976 © 1976 ELEGIE / ELEGY (LP: Supraphon 115 1983) 2-3/1976 © 1976 > JAZZROCKOVA DILNA > JAZZROCKOVA DILNA 2 with Marta Elefteriadu: Horizont / Horky Vitr (7": Panton 44 0593) 27/10/1977 © 1978 with Oskar Petr: Obchodnik S Destem / Blues Podzimniho Dopeldene (7": Panton 8145 0004) 28/2/1979 © 1979 with Oskar Petr & Zuzana Michnova: Podzinmy Obnicky / Plavec Dlouhych Trati (7": Supraphon 1145 2295) © 1979 Pecet' / Kresadlo (7" EP: Panton 8135 0007) © 1979 ZVESTI / TIDINGS (LP: Supraphon 1115 2450) 11-12/1977 © 1979 (LP: Amiga 8 55 723) © 1980 HODOKVAS / FEAST (LP: Supraphon 1115 2604) 3/1979 © 1980 > JAZZ A LA CARTE HVEZDON / ASTEROID (LP: Supraphon 1115 3525) © 1984 with Jana Koubkova: Zly Sen / Ovci Vlna (7" EP: Panton 8135 0217) 1/1984 © 1984 with Jana Koubkova: Jsem Sva (7": Panton 8143 0217) © 1984 - B-side only > BAZAREM PROMEN 1974-75 LIVE (CD: Bonton 71 0030-2 911) © 1991- official issue of a bootleg JAZZROCKOVA DILNA Joan Duggan (vocals), Lubos Andrst (guitar), Martin Kratochvil (electric piano, Moog), Jan Martinec (soprano sax, violin), Petr Kolinek (bass), Josef Vejvoda (drums), Jiri Tomek (percussion) Impromptu session band featuring Jazz Q members. > JAZZROCKOVA DILNA JESTE JSME SE NEDOHODLI Petr Lisku (vocals), Stanislav Filip (guitars, synthesizer), Karel David (bass, vocals), Ivo Horak (guitar), Petr Hromadka (drums, synthesizer) # Off-beat and highly inventive rock fusion, comparable to RIO bands like Debile Menthol, Etron Fou, etc. > CZECH! TILL NOW ...JESTE JSME SE NEDOHODLI (LP: Globus International 210020-1311) 4/1990 © 1990 # Robert JISA Unique ambient, minimalist and new-age musics. HOURGLASS (CD: Clara 57 005-2) © 1992 and at least 6 more! Gabriel JONAS Member of Klavesova Konklava. IMPRESIE (LP: Opus 9115 0729) © 1978 KLAVESOVA KONKLAVA Gabriel Jonas (piano), Karel Ruzicka (electric piano), Emil Viklicky (electric piano), Petr Korinek (bass), Josef Vejvoda (drums), Jiri Tomek (congas) Piano fronted jazz-rock project commissioned by the Prague Arts Council. KLAVESOVA KONKLAVA / KEYBOARD CONCLAVE (LP: Supraphon 1115 2228) © 1978 Michal KOCAB Keyboardist/vocalist, ex-Flamengo. Co Mam Rict (7": Panton 8143 0147) © 1982 - A-side only S Cizi Zenou V Cizim Pokoji / Stari (7": Supraphon 11 0111-7311) © 1988 POVIDALI, ZE MU BRALI (LP: Panton 81 0709-1311) 1986-1988 © 1988 with Petr Hapka: Viteje V Absurdistanu (7": Supraphon 11 0431-1311) © 1990 - A-side only ODYSSEUS (LP: Supraphon 11 1177-1911) 1987 © 1990 Michal KOCAB & Michael PAVLICEK Guitar and synth duo who have recorded numerous film soundtracks of unusual synth based music (notably the soundtrack to "The Pied Piper" together with Jiri Stivin) that is vivid and dramatic. Check out connected projects: Prazsky Vyber, Stromboli, and Pavlicek's solo's. Bila Velryba (7" EP: Panton 8133 0179) 2/1985 © 1985 with Prazsky Vyber: Hledam Dum Holubi (7" EP: Supraphon 1143 3101) © 1985 CERNE SVETLO / BLACK LIGHT (LP: Bonton 71 0006-1331) 8/1987+8/1989 © 1990, (CD: Bonton 71 0017-2331) © 1990 - CD is an extended version Pavel KOPECKY Contemporary, electroacoutic composer and synthesist. > LOOKING EAST - CSFR > CONTEMPORARY CZECH MUSIC - ATELIER II (CD: Cesky Rozhlas 0116-2 131) © 1999 Martin KRATOCHVIL & Tony ACKERMANN Atmospheric fusion. STARA ZNAMOST / OLD ACQUAINTANCESHIP (LP: Panton 81 0690-1511) 9/1986 © 1986 SPOLU / TOGETHER (LP: Bonton 71 0008-1531) 6/1988 © 1990 plus Vojtech HAVEL: MORAVSKE KONCERTY / MORAVIAN CONCERTS (CD: Bonton 71 0001 - 2531) © 199? plus Vojtech HAVEL: CHIAROSCURO / SEROSVIT (CD: Bonton 71 0128-2 511) © 1993 Jaroslav KRCEK Avant-Garde classical and electronics composer. > KATZER / KRAUSE / KRCEK (LP, UK: Recommended RR 22) © 1986 RAAB (LP, UK: Recommended RR 23) © 1987, NEVESTKA RAAB (LP: Panton 81 0836-1611) © 1989 and lots of classical releases not relevant here Vaclav KUCERA Avant-Garde composer sometimes creating weird and dissonant choral and percussion music, a bit like Stockhausen. > FROM CZECH ELECTRONIC MUSIC STUDIOS > SPARTACUS / SINFONIETTA NO. 3 (LP: Supraphon 1110 3915) © 1986 > MUSICA NOVA BOHEMICA (Supraphon 1110 3915) © 1986 MAHAGON Zdena Adamova (vocals), Jaroslav Solc (flute), Stepan Koutnik (bass clarinet), Jan Hruby (violin), Zdenek Sedivy (trumpet), Jindrich Parma (trumpet), Jiri Niederle (soprano sax), Bohuslav Volf (trombone), Jiri Jelinek (guitars), Michael Kocab (pianos, clavinet), Ladislav Malina (drums), Petr Klapka (bass) # Lively jazz-rock by ex-Flamengo members, especially good on their debut LP. Pulnocni Bal / Cervene Korale (7": Supraphon 143 2007) 15/5/1976 © 1976 Ve Svetle Petrolejky / Motyli Kridla (7": Supraphon 143 2041) © 1976 Kvuli Nam (7": Panton 44 0656) 5/1978 © 1978 - B-side only MAHAGON (LP: Supraphon 115 2145) 5/1977 © 1978 # Hektolir Lasky / Svet Je Citit Clovecinou (7": Supraphon 1143 2263) 22/12/1978 © 1979 with Jan Spaleny: SIGNAL CASU (LP: Supraphon 1113 2646) 3-6/1979 © 1979 (LP: Supraphon 1113 2654) © 1981 SLUNECNI PRO VICENTA VAN GOGHA / PORTRAIT OF VINCENT VAN GOGH (LP: Supraphon 1113 2684) 6-7/1979 © 1980 MARSYAS Zuzana Michnova (vocals), Oskar Petr (vocals, guitar, cabasa), Petr Kalandra (vocals, guitar, harmonica), Pavel Fort (guitars), Michal Kocab (pianos, organ, string ensemble), Ondrej Soukup (bass), Ladislav Malina (drums) # Light and folky rock. Podzimni Sen / Zni (7": Panton 44 0534) 5/1974 © 1974 MARSYAS (LP: Supraphon 113 2390) 6/1977 © 1978 # Zaliv Zar / Priste Se Ti Radsi Vyhnu (7": Panton 8143 0006) 16/2/1979 © 1979 KOUSEK PRIZNE (LP: Supraphon 1113 3084) 6/1981 © 1982, English vocal version: PIECES OF FAVOUR (LP: Supraphon 1113 3134) 12/1981 © 1982 > KONCERT PRO CHMELOJEDY (LP: Supraphon 1113 3089) 27/8/1981 © 1982 Ten Muz / Horsky Lazne (7": Supraphon 1143 2723) © 1983 JEN TAK (LP: Supraphon 1113 3485) 12/83-2/1984 © 1984 Velkomesto / Zitra Ti Reknu (7": Supraphon 1143 3221) 30/3/1986 © 1986 V PRITMI (LP: Supraphon 11 0173-1311) 12/1987 © 1989 MATADORS Victor Sodoma (vocals, harmonica), Radim Hladik (guitar), Jan Farmer Obermajer (keyboards), Otto Bezloja (bass), Tony Black (drums) # Beat group from Prague. A proto super group with future members of Modry Efekt and the German band Emergency. Worth a mention here also for the excellent Pink Floyd inspired track "Extraction" on their LP. THE MATADORS (LP: Supraphon 013 0493) © 1968 # THE MATADORS (CD: Bonton 71 0244-2) © 1995 - 24 track compilation of English and Czech versions and a few singles MCH BAND Mikolas Chadima (guitar, saxes, vocals, loops), Vladimir Helebrant (synthesizer, choir, drums), Slava Simon (bass, congas), Antonin Korb (drums, choir), Martin Schneider (bass), Hynek Schneider (drums) # Miklos Chadima (formerly of Extempore Band) presents some of the most fascinating and radical rock, sometimes like a mixture of Plastic People and early Pink Floyd! All the early stuff is great, yet they failed to come up with a worthy successor to ES REUT MICH F... KROKODLAK / WERETRACER (MC: Fist Records) 5/1982 © 1982 JSME ZDRAVI A DARI SE NAM DOBRE / WE ARE WELL & WE FEEL FINE (MC: Fist Records) 10+11/1983 © 1983 > CZECH! TILL NOW 198FOUR WELL?!! (MC: Fist Records) 12/84-4/1985 © 1985 GORLEBEN (MC: Fist Records) 4/1986 © 1986 ES REUT MICH F... (2LP: Globus International 210001/2-1312) 2/88-1/1990 © 1990 # ES REUT MICH F... (CD: Globus International 210001/2-2312) © 1991 - both 2LP & CD feature tracks not on the other 1982-1986 (2CD: TomK TK 0003-2312) © 1992 - retrospective set featuring their 4 cassettes. GIB ACHT!!! (CD: Monitor 010127-2331) 3/1993 © 1993 KARNEVAL / CARNIVAL (CD: Black Point BP 0084-2/4) © 1999 plus many reissue cassettes under different titles MEZINARODNI SDRUZENI PRO NOVOU AKUSTICKOU HUDBU Martin Kratochvil (piano), Tony Ackerman (guitar), Ivan Zenaty (violin), Vojtech Havel (vocals), Musa Zangi (congas) [Aka INTERNATIONAL ASSOCIATION FOR NEW ACOUSTIC MUSIC] Acoustic fusion. ORNAMENT (LP: Panton 81 0810-1311) © 1988 Vladimir MISIK > ETC... MODRY EFEKT Radim Hladik (guitars), Fedor Freso (bass, mandolin, vocals, percussion), Oldrich Vesely (organ, pianos, synthesizers, vocals), Vladimir Cech (drums, percussion) # [Aka M. EFEKT, aka BLUE EFFECT] Originating as a blues and beat group, and fronted by the uniquely styled guitarist Radim Hladik. After successful excursions into jazz fusion, later albums developed a dynamic progressive and space-rock style akin to Eloy or Progres 2 at their best. Modry Efekt are justly classed as one of the finest of Czech 70s progressives. Audion extract: As far as I know, the earliest exponents of Czech rock were a band called Modry Efekt, or in English - The Blue Effect. An early white blues band, M.Efekt, led by talented guitarist Radim Hladik, had a penchant for invention. Although this wasn't realised at first, co-operation with the Prague jazz-rock group Jazz a changed the bands direction entirely. CONIUCTIO crossed psychedelic rock and jazz most powerfully, long tracks with great energy and lots of Radim's superb guitar. Obviously invigorated by the new musical freedom open to him Radim's next project was a great big band jazz-rock spectacular: NOVA SYNTEZA, and its companion NOVA SYNTEZA 2 which followed 2 years later, combined the power of M.Efekt's music with a huge jazz orchestra. The effect was a powerful, superbly crafted and innovative music, a veritable playground for Radim's amazing guitar. As if to signify a new era, a move to progressive realms, the next album was simply entitled MODRY EFEKT & RADIM HLADIK (an export issue of this released with the title A BENEFIT OF RADIM HLADIK). Like the first NOVA SYNTEZA this was an instrumental album, predominantly featuring lengthy tracks full of invention, power and an abundance of solos. Subsequent albums, which featured Synkopy keyboard player and vocalist Oldrich Vesely, were firmly within the progressive/space-rock mould, none more powerful than the spectacular SVITANIE, and then onto the realm Eloy or East with SVET HLADACU and 33 - both of which contain heavily synthesized instrumentation, really great guitar and a unique song style Slunecny Hrob / I've Got My Mojo Working (7": Panton 04 0201) 1/2/1969 © 1969 Snakes / Sen Neni Vecny / Sun Is So Bright / Blue Taxi (7" EP: Panton 03 0203) 1/2/1969 © 1969 Fenix / Stroj Na Nic (7": Supraphon 043 0857) 9/1969 © 1969 MEDITACE (LP: Supraphon 113 0689) 4-8/1969 © 1969, English vocal version: KINGDOM OF LIFE (LP: Supraphon 113 1023) 1969-1970 © 1971 NOVA SYNTEZA (LP: Panton 11 0288) 20/7/1971 © 1971, (CD: Bonton 71 0552-2) © 1997 - plus 3 tracks from KINGDOM OF LIFE Eldorado / Divko Z Kamene (7": Supraphon 043 1459) 20/11/1972 © 1973 > HALLO, NR. 9 > HALLO, NR. 10 NOVA SYNTEZA 2 (LP: Panton 11 0489) 8/1973-4/1974 © 1974 (CD: Bonton 71 0608-2) © 1997 - plus Eldorado / Divko Z Kamene single A BENEFIT OF RADIM HLADIK (LP: Supraphon 113 1586) 3-6/1973 © 1974, aka MODRY EFEKT & RADIM HLADIK (LP: Supraphon 113 1777) © 1975, (CD: Bonton 495274-2) © 2000 - plus their HALLO contributions > STARE POVESTI CESKE SVITANIE (LP: Opus 9116 0541) 1/1977 © 1977 #, (CD: Opus 91 2629-2 311) © 1998 - plus their STARE POVESTI CESKE contribution SVET HLADACU (LP: Panton 8113 0068) 9-12/1978 © 1979, (CD: Bonton 494002-2) © 1999 - plus 3 singles Zena V Okne / Zname Se Dal (7": Supraphon 1143 2432) © 1980 33 (LP: Supraphon 1113 2897) 10/1980 © 1981 Nezna / Zahada Jmeli (7": Supraphon 1143 2730) © 1980 Doktor / Cajovna (7": Supraphon 1143 3381) 4/1986 © 1987 Kampa / Uhel Pohledu (7": Supraphon 11 0265-7311) © 1989 MODRY EFEKT & JAZZ Q Radim Hladik (guitar, effects), Jiri Kozel (bass, guitar, bells), Vlado Cech (drums), Jiri Stivin (flutes, alto sax, piccolo, wood blocks, effects), Martin Kratochvil (piano, organ, trumpet), Jiri Pellant (bass), Milan Vitoch (drums, bells) Fiery psychedelic-sounding jazz-rock. A groundbreaking session combining the talents of these two top bands, strongly featuring Stivin's sax and Hladik's guitar. CONIUCTIO (LP: Supraphon 113 0845) 3/1970 © 1970 NAIMA Zdenek Zdenek (piano, synthesizer), Frantisek Kop (soprano/tenor saxes), Jaromir Honzak (bass), Martin Sulc (drums) # No doubt they took their name from the John Coltrane composition, although their music is more Mahavishnu Orchestra and Jazz Q inspired fusion, but with sax as lead instrument. > JAZZ MAGMA NAIMA (LP: Panton 81 0799-1) © 1988 # NAIMA 2 (LP: Panton 81 0916-1511) © 1990 SESSION 90 - LIVE (LP/CD: Arta F1 0009-2 511) © 1991 Vaclav NECKAR Pop singer who went on to front Bacily. Martin NEMEC & Bara BASIKOVA Somewhere between gothic progressive, new-age and classical musics. A unique concoction! RESPONSIO MORTIFERA (LP: Monitor 01 0059-1331) © 1992 Ladislav NOVAK Author and poet, specialist in sound text and visual arts. > TEXT-SOUND COMPOSITIONS 5: A STOCKHOLM FESTIVAL 1969 (LP, Sweden: Sveriges Radio RELP 1074) © 1969 > TEXT-SOUND COMPOSITIONS 6: A STOCKHOLM FESTIVAL 1970 (LP, Sweden: Sveriges Radio RELP 1102) © 1970 > SOUND TEXTS ? CONCRETE POETRY (LP, Netherlands: Stedelijk Museum, Amsterdam RSC 246) © 1970 > PHONETISCHE POESIE (LP, Germany: Luchterhand Verlag F 60 379) © 1971 plus many more Petr NOVAK The original singer with Flamengo (in 1967) and front man of the beat band George & Beatovens. OLYMPIC Petr Janda (guitar, lead vocals), Miroslav Berka (keyboards), Petr Hejduk (drums, vocals), Milan Broum (bass) # Originally a pop band (their first single was released in 1964), it took until the late-70s for them to do anything progressive. On the Sci-Fi trilogy, that started with PRAZDNINY NA ZEMI, they adopted a style with Omega and Hawkwind influences, with lots of synths and complex arrangements. Audion extract: Olympic became synonymous as the Czech Omega, they similarly went through a progressive phase in the late Seventies. Their most successful album was part one of a sci-fi concept trilogy: PRAZDNINY NA ZEMI, also released as an export version with English lyrics: HOLIDAYS ON EARTH it featured lots of synth in a hard-edged rock, segued tracks filling each side as if one piece. ZELVA (LP: Supraphon 113 0412) 1-10/1967 © 1968 PTAK ROSOMAK (LP: Supraphon 113 0589) 12/1968-1/1969 © 1969 JEDEME, JEDEME, JEDEME (LP: Supraphon 113 0994) 9/1970 © 1971 HANDFUL (LP: Supraphon 113 1207) © 1972 - sampler OLYMPIC 4 (LP: Supraphon 113 1475) 1973 © 1974 > STARE POVESTI CESKE 12 NEJ... (LP: Supraphon 1113 2018) 1965-1973 © 1976 - Sampler MARATHON (LP: Supraphon 1113 2119) 1977 © 1978 OVERHEAD (LP: Supraphon 1113 2380) 2/1977 © 1978 - reworks PRAZDNINY NA ZEMI...? (LP: Supraphon 1113 2600) 4/1979 © 1979 (CD: Supraphon 10 2600-2311) © 1992 # HOLIDAYS ON EARTH (LP: Supraphon 1113 2714) © 1981 - English vocal version of PRAZDNINY NA ZEMI...? ROCK AND ROLL (with various interpretes) (LP: Supraphon 1113 2888) 5/1980 © 1981, aka: ROCKENROL (LP: Supraphon 1113 2888) © 1982 ULICE (LP: Supraphon 1113 2950) 5/1981 © 1981 (CD: Supraphon 10 2950-2 311) © 1992 THE STREET (LP: Supraphon 1113 3127) © 1982 - English vocal version of ULICE OLYMPIC V LUCERNE (LP: Supraphon 1113 3254) 26/4/1982 © 1982 LABORATOR (LP: Supraphon 1113 3443) 1/1984 © 1984 LABORATORY (LP: Supraphon 1113 3526) © 1984 - English vocal version of LABORATOR plus many more, numerous singles, EPs, samplers etc. OSKLID Petr Vasa (guitar, vocals), Vojtech Kupcik (violin), Pavel Zelma (bass, trumpet, vocals), Pavel Koudelka (drums, vocals), Michal Zavadil (vocals), Jana Klimesova (vocals), Ivana Lukasova (vocals), Tomas Frgala (vocals, percussion), Jiri Salajka (vocals, percussion) Parallel band to Z Kopce. Poctarka / Jsem Osklivy Clovek / Paraguayska Policie / Moje Mila Jako Motorek (7" EP: Panton 81 0328) © 1989 credited to Z Kopce / Osklid: JESTE PORAD TADY JE NADEJE II. (LP: Panton 81 1157-1311) 4-9/1991 © 1991, (CD: Panton 81 1158-2311) © 1992 - plus bonus tracks PANTA RHEI Jana Koubkova (vocals), Bohuslav Janda (guitar), Roman Holy (keyboards), Antonin Smrcka (bass), Musa Zangi (congas), Jaromir Helesic (percussion), Michael Hejna (drums) Jazz-rock band, with guest appearance by Alan Vitous. Horor / Vanany Vanyna / Panta Rhei (7" EP: Panton 81 0387-7311) 1988 © 1989 Michal PAVLICEK Talented guitarist, with Expanze, Bohemia, Mahagon, Prazsky Vyber, leader of Stromboli and extensive in session work. He has also scored numerous films (some together with Michal Kocab and Jiri Stivin). Michal Pavlicek / Jiri Hrubes: Tvari V Tvar / Variace Na PavBes (7" EP: Panton 8133 0094) 11/1981 © 1982 - Mini Jazz Klub 36 MINOTAURUS (LP: Panton 81 0969) 1-8/1989 © 1990 - featuring: Miroslav Vitous ZVLASTNA RADOST ZIT / STRANGE PLEASURE OF LIVING (CD: Arta F 10008-2311) 5-9/1990 © 1991 Imagination (CD EP: Panton 811200-2311) 2/1992 © 1992 BIG HEADS (LP/CD: Bonton 71 0095-1/2 331) © 1992 > CZECH MASTERS OF ROCK GUITAR and lots more. Ota PETRINA SUPER-ROBOT Otakar Petrina (vocals, guitar, flute, harmonica), Anatoli Kohout (drums), Vladimir Padrunek (bass) # Rock singer Ota Petrina was kind of the Czech equivalent of French singers like Manset or Booz, aided by prog musicians: the rhythm section Super Robot and guest keyboards. The single is pretty straight pop rock, so it's surprising that he/they went on to do two concept albums, of which better of the two is PECET' which has a lot of Pink Floyd influences, although both are a mite over-lyrical. Karin / Vnitrni Svet Tvych Jantarovych Oci (7": Supraphon 143 1957) 20/1/1976 © 1976 SUPER-ROBOT (LP: Supraphon 113 2330) 7/1977 © 1978 # PECET' (LP: Supraphon 1113 3258) © 1983 Petr PINOS New-age and cosmic trips, hinting at Klaus Schulze, etc. ANDEL / ANGEL (CD: Prana) © 1992 ZRCADLENI (CD: Mandala) © 1996 and numerous others The PLASTIC PEOPLE (of the Universe) Vratislav Brabanec (sax, clarinet), Milan Hlavsa (bass), Josef Janicek (lead guitar, electric piano, vibes), Jiri Kabes (viola, guitar, theremin), Jaroslav Vozniak (drums) Most famous of the banned 70s activists, blending Czech folk with angry sounding rock and jazz, an odd twist on Beefheart and RIO. Existing since the late 1960s, and often very radical, the early recordings sound quite psychedelic and amateurish, yet have an angry and appealing charm. Nowadays they play a far more tame music. Audion extract: Kissing Spell reissues - The most notorious of Czech underground bands, and thus the most publicised internationally, most of the PPU back-catalogue was previously issued on CD by the now defunct Globus International label. But it was still a surprise to see a few PPU reissues coming out on the generally British psych oriented Kissing Spell label. These three seem to be the start of a series, all with a complete make-over, new presentation, and historical booklets in English for the first time! MAN WITH NO EARS documents the early history of the band, often as a really crappy beat combo with the attitude of punk bands a decade later. A few Zappa numbers (and other familiar covers) translated into Czech also feature. The big chunks of talking are of course a waste of space to non-Czech ears. And those songs sung in English are turgidly torturous. Maybe they were sometimes deliberately bad, and it seems the audience agreed shouting abuse at them. Only the latest tracks on this disc appealed to me. But such was the underground political/musical climate of Czechoslovakia circa 1969-1972. The notorious international debut EGON BONDY'S HAPPY HEARTS CLUB BANNED recorded in 1976 still remains one of their finest moments, yet after a number of CD issues previously this seems to be the first to be sourced from the master tapes, yet still doesn't quite sound the same as the original LP to me. But, whatever, this was the definitive refined mixture of polit-rock, RIO fusion with a great deal of unique innovation. Kind of Zappa meets Henry cow with a good deal of Balkan style culture thrown in. It's totally eclectic and often tongue-in-cheek, and it all works even if you don't understand any of it. I'm not so sure if the bonus tracks were such a wise choice though. BEEFSLAUGHTER (previously issued as HOVEZI PORAZKA) turns out to be an album I'd previously overlooked, possibly due to it being an originally unreleased album dating from 1982-1984, in between the disappointing LEADING HORSES and MIDNIGHT MOUSE. Remarkably this is quintessential PPU firmly in the mould of the classics EGON BONDY'S... and PASSION PLAY, but on a more intricate and technical level. Uniquely PPU, true, but it also reminds me of many earlier French acts like Komintern's LE BAL DU RAT MORT or Maajun's VIVRE LA MORT DU VIEUX MONDE, and I guess the subject matter here is similarly wry and anarchistic. EGON BONDY'S HAPPY HEARTS CLUB BANNED (LP, France: Invisible S.C.O.P.A. 10001) 1976 © 1978 # (CD, France: Buda 82478-2) © 198?, (LP/CD: Globus International 210128-1318/2318) © 1992 (CD, UK: Kissing Spell KSCD 803) © 2004 - different mix, plus 7 bonus tracks PASIJOVE HRY VELIKONOCNI / PASSION PLAY (LP, Canada: Bozy Mlyn BM 8001) 1978 © 1980 (LP/CD: Globus International 210129-1318/2318) © 1992 (CD: Globus International 210214-2318) © 1998 THE 100 POINTS (MC, USA: Eurock EDC01) 1977 © 1980, aka KOLEJNICE DUNI (CD: Globus International 210217-2) © 2000 - 5 bonus tracks [1978-1982] LEADING HORSES (LP, Canada: Bozy Mlyn BM 8301) 1981 © 1983 (LP/CD: Globus International 210131-1318/2318) © 1992 MIDNIGHT MOUSE / PULNOCNI MYS (LP, UK: Freedonia 1436) 1984 © 1987 (LP/CD: Globus International 210133-1318/2318) © 1992 BEZ OHNU JE UNDERGROUND (LP/CD: Globus International 210122) 4/12/1992 © 1992 FRANCOVKA (LP/CD: Globus International 210126-1318/2318) 1974-1979 © 1992 ELIASUV OHEN (LP/CD: Globus International 210127-1318/2318) 6/1972+6/1974+2/1976 © 1992 SLAVNA NEMESIS (LP/CD: Globus International 210130-1318/2318) 1979 © 1992 HOVEZI PORAZKA (LP/CD: Globus International 210132-1318/2318) 1983-1984 © 1992 (CD: Globus International 210218-2318) © 1997, aka BEEFSLAUGHTER (CD: Kissing Spell KSCD 809) © 2004 ELIASUV OHEN (8LP/8CD: Globus International GE 0251-0266) © 1992 - limited edition box-set with book & T-Shirt VOZRALEJ JAK SLIVA (CD: Globus International 210211-2) 1973-1975 © 1997 JAK BUDE PO SMRTI (CD: Globus International 210215-2) 1979 © 1998 1997 (CD: Globus International 210240-2) © 1997 and more since! PRAZSKY VYBER Michal Kocab (pianos, clavinet, synthesizer), Ondrej Soukub (bass), Vratislav Placheta (drums), Ladislav Malina (drums), Zdenek Fiser (guitar), Martin Koubek (guitar), Jiri Niederle (tenor/soprano saxes) # Initially a jazz-rock band formed by Michal Kocab. In 1982 they became a satirist new-wave band and got banned by the authorities! Mini Jazz Klub 17 (7" EP: Panton 33 0426) 25/11/1976 © 1977 ZIZEN / THIRST (LP: Panton 8115 0053) 7-9/1978 © 1979 # Komu Se Neleni - Tomu Zeneci / Ja Se Mam, Ze Je Olda Pritel Muj (7": Panton 8143 0145) © 1982 PRAZSKY VYBER (LP: Panton 81 0826-1311) 1982 © 1988 as Vyber: VYBER (LP: Supraphon 1113 4068) 2/1987 © 1988 ADIEU C.A. LIVE (CD: Art Production K AP 0001-2311) © 1991 BER (CD: Bonton 71 0539-2) © 1997 TANGO ROPOTAMO (CD: Bonton 491483 5) © 1998 PROGRES > BARNODAJ > PROGRES 2 PROGRESS ORGANIZATION Pavel Vane (guitars, piano, cembalo, organ, tambourine, vocals), Jan Sochor (organ, piano, vocals), Emanuel Sideridis (bass, vocals), Zdenek Kluka (drums, percussion) # Confusingly pre-Barnodaj who then became Progres 2 Klic K Poznani / Snow In My Shoes / Fortune Teller (7" EP: Discant 033 0051) © 1970 BARNODAJ (LP: Supraphon 113 0985) 1/1971 © 1971 # PROGRES 2 Zdenek Kluka (drums, percussion), Pavel Vane (vocals, guitars), Pavel Pelc (vocals, bass, synthesizer), Milos Moravek (guitars, choir), Karel Horky (synthesizers, clavinet) # Previously Barnodaj (Progress in Czech), Progres 2 were a surprise of the late 70s, when they came out with the grand opus DIALOG S VESMIREM, a Sci-Fi concept of great invention, with M. Efekt and Pink Floyd influences. The whole work was too long for an LP, and also stretched onto an EP and a single. Roentgen 19'30 / V Zaj Pocitacu (7": Panton 44 0654) 21/5/1978 © 1978 Pisen O Jablku / Muzeum Planety Zeme (7": Panton 8143 0058) 4/11/1979 © 1980 Rozhovor S Centralnim Mozkem / Honicka / Vykrik V Proxima Centauri (7" EP: Panton 8133 0060) 12/1979 © 1980 DIALOG S VESMIREM (LP: Panton 8113 0130) 11-12/1979 © 1980 # DIALOG S VESMIREM (CD: Bonton BON 492931 2) © 1999 - CD is the complete suite inc. 7 bonus tracks (from above 7") Clovek Stroj / Ze Tvych Vlasu V Ni Se Dotykam (7": Panton 8143 0093) 11/1980 © 1981 TRETI KNIHA DZUNGLI (2LP: Panton 8113 0259/60) 1981 © 1981, (CD: Bob J Production BB 0002/3-1312) © 1992 THE THIRD JUNGLE BOOK (2LP: Panton 8113 0335/6) 4/1983 © 1985 - English vocal version of TRETI KNIHA DZUNGLI Nech Je Byt / Normalni Zavist (7": Panton 8143 0205) © 1983 MOZEK (LP: Panton 8113 0437) 1984 © 1984 Kdo Je Tam? / Neznamy Genius (7": Panton 8143 0221) © 1984 Mas Svuj Den / Co Se Deje U Mateje (7": Panton 8143 0154) © 1985 Uz Nemluvi / Vrat' Se Spatky, Leto Me (7": Panton 8143 0271) 7/1986 © 1986 ZMENA (LP: Supraphon 1113 4377) 1/1987 © 1988 with Pokrok: Moja Najzlatejsia Lyra (7": Supraphon 11 0282-7311) © 1989 - A-side only with Pokrok: OTRAVA KRVE (LP: Panton 81 0971-1311) 12/1989-2/1990 © 1990 DIALOG S VESMIREM "LIVE" (CD: Monitor 010213-2331) 1978 © 1993 plus some other singles and collaborations and reformation recordings Michal PROKOP > FRAMUS FIVE PRO POCIT JISTOTY Martin Dohnal (piano), Ivo Horak (guitar, vocals), Petr Keller (bass), Michal Odehnal (drums) Wildly aggressive underground, with RIO and strange touches. PROGRAM NO. III (LP: Globus International 210022-1311) © 1990 PRUDY > Pavol HAMMEL & PRUDY PSI VOJACI Filip Topol (vocals, piano), Jan Hazuka (bass, guitar), David Skala (drums), Zdenek Hmyzak Novak (trumpet), Petr Venkrbec (alto sax) # [Aka PVO or Psi Vojaci Osobne] Curious energetic alternative rock group. as PVO: Psycho Killer / Ziletky / Marylin Monroe / Stohem A Retez (7" EP: Panton 81 0394-7311) © 1979 NALEJ CISTYHO VINA, POKRYTCE... (LP: Globus International 210026-1311) 6/1990 © 1990 # LEITMOTIV (LP: Globus International 210100-1311) 5/1991 © 1991 LIVE I (LP: Gang MTE 0543/4) 6/1993 © 1993 LIVE II (LP: Gang MTE 0545/6) 6/1993 © 1993 and loads more through to 2003 PULNOC Milan Hlavsa (vocals, bass), Josef Janicek (keyboards, vocals), Jiri Kabes (guitar), Jiri Krivka (lead guitar), Petr Kumandzas (drums), Michaela Nemcova (vocals), Tomas Schilla (cello) # Quirky but lightweight rock by ex-Plastic People members. PULNOC A GARAZ (MLP: Panton 81 1057-6311) © 1990 - A-side only > Sanitka Pro Rumunsko (7": Globus International 210001-7311) 22/12/1989 © 1990 PULNOC (LP: Globus International 210011-1311) 1-2/1990 © 1990 # CITY OF HYSTERIA (LP: Arista 21 2523) © 1991 RELAXACE Karel Babuljak (zithers, harmonium, percussion, vocals), Ales Brezina (violin, ektar, percussion, vocals), Vlastislav Matousek (tabla, gongs, metalophon, percussion, vocals), Jiri Mazanek (vocals, guitar, sitars, tanpura, harmonium, percussion) # Innovative folk and ethnic fusion blending Indian and European musics, and full of surprises. Tempus Perfectum / Gamelani Jdou / Vecerni Narez (7" EP: Panton 81 0353-7) © 1988 HUDBA SFER (MC: Panton 81 0955-4) © 1989 - split with Capella Antiqua E Moderna DHJANA (CD: Arta F1 0005-2511) © 1991 # KADAEL (CD: Arta F1 0042-2) 1/1993 © 1993 MORNING PRAYER (CD: Anne Records ANNE 010-2) 12+20/4/1990 © 2002 RICHTER BAND Pavel Richter (guitars, bass, percussion, clarinets), Stepan Pecirka (fidlerphone, pots, bass), Tonda Hlavka (percussion, drums, guitars, radio, marimba) Surreal echo guitars, cosmic and ethnic musics, the RICHTER BAND was like a blast from the past back to the early Kosmiche Krautrock and cross-culture music from Germany, but with a different central European feel. A more recently released album containing 1988-90 exists called SMETANA. Pavel Richter has also released a number of other collaborative projects working with the likes of: Mikolas Chadima and Oldrich Janota. RICHTER BAND (CD: Rachot RT 0002-2 311) 10/1991 © 1992 ROZMAZANE DETI Milan Baca (vocals), Roman Hlavacek (guitar), Zdenek Klon (bass), Jaroslav Svoboda (keyboards), Milan Brezina (saxophone), Milan Hruska (drums) Kinda crazed punky MCH Band vein. MEXICO FAMILY (LP: Monitor 01 0010-1311) © 1991 Lesek SEMELKA & SLS Lesek Semelka (vocals, synthesizers), Stanislav Kubes (guitars), Michal Pavlik (keyboards), Jan Kavale (bass), Vlado Cech (drums, percussion) Lightweight progressive by former M. Efekt member and band. LESEK SEMELKA & SLS (LP: Supraphon 1113 3696) 4/1984 © 1985, English vocal version: COLOURED DREAMS (LP: Supraphon 1113 3705) © 1985 > PLANETA LIDI. XII. ROCNIK FESTIVALU POLITICKE PISNE SOKOLOV (LP: Supraphon 1114 3880) 1984 © 1985 plus numerous singles! SER UN PEYJALERO Jiri Pejchal (accordion, guitar, vocals), Mirka Hornova (bass, keyboards, vocals), Mario Valerian (clarinet, guitar, vocals), Bob Smejkal (bass, guitar), Petr Zikmund (drums) Strange rock-fusion with notable RIO influence. JOINT IS BETTER THAN PANZERFAUST (LP: MXM M1 0005-1311) 5-6/1990 © 1990 (CD: Black Point BP 0093-2/4) © 1996 - 3 bonus tracks U (CD: Panton 811123-2311) 5-6/1992 © 1993 THE BIRTHDAY'S IGNORANCE (CD: Indies MAM015-2,4) © 1995 Jiri STIVIN A much travelled and adventurous, jazz saxophonist and flautist, formerly of Jazz Q, he's recorded many inventive fusion albums covering a wide range of styles, from solo improvisation through to high-tech fusion. Audion extract: Ex-Jazz Q flautist/saxophonist Jiri Stivin has become much travelled working with numerous international musicians like Pierre Favre and other associates of the ECM crowd, he also worked with Vladimir Misik's Etc before following a solo career and forming his own band: Jiri Stivin & Co Jazz System. STATUS QUO VADIS was more of a progressive album than his other releases, hinting at his involvement with M.Efekt in the early Seventies. Stivin & Co. Jazz System, split with Vladimir Tomek S Prateli: JAZZ SYSTEM (LP: Panton 11 0265) © 1971 PET RAN DO CEPICE / FIVE HITS IN A ROW (LP: Supraphon 1115 1229) © 1972 with Rudolf Dasek: TANDEM (LP: Supraphon 1 15 1799) 14/6/1974 © 1974 with Rudolf Dasek: SYSTEM TANDEM (LP: JAPO 60008 ST) 5/1974 © 1975 ZVEROKRUH / ZODIAC (LP: Supraphon 1 15 2015) 10/1976 © 1977 with Tony Scott & Rudolf Dasek: ROZHOVORY / CONVERSATION (LP: Supraphon 1115 2890) 5/1978 © 1981 with Mirka Krivankova: ZRCADLENI / REFLECTIONS (LP: Supraphon 1115 3116) 1982+1984 © 1984 with Pierre Favre: VYLETY / EXCURSIONS (2LP: Supraphon 1115 3381-82) 11/1979 © 1981 STATUS QUO VADIS (LP: Supraphon 1115 3967) 1-3/1986 © 1987 with Jiri Stivin Jr: TWO GENERATIONS IN JAZZ (CD: P&J 005-1) © 1994 STROMBOLI Michal Pavlicek (guitars, guitar synthesizer, bass, vocals), Vladimir Kulhanek (bass), Klaudius Kryspin (drums), Bara Basikova (vocals) Bombastic progressive fronted by guitarist Michal Pavlicek, with a Kate Bush-like vocalist and Magma fusion elements. STROMBOLI (2LP: Panton 81 0698-1) 1985-1986 © 1990 Sandonoriko / Okolo Ohnu (7": Panton 81 0384-7311) © 1989 SHUT DOWN (LP/CD: Panton 81 0811-1311/2311) 6/1988-4/1989 © 1990 SYNKOPY 61 Michal Polak (vocals, guitar), Petr Smeja (guitar, vocals), Pavel Pokorny (organ, guitar, violin), Jan Carvas (bass), Jiri Rybar (drums, percussion) # A 1960s pop band who released numerous singles and a couple of 10" LP's, they were very Uriah Heep inspired rock on XANTIPA. They split in 1975 and later reformed as: Synkopy & Oldrich Vesely. Vitezstvi Svetla (7" EP: Panton 03 0122) © 1968 Buh Lenosti / Casanova (7": Discant 0 43 0006) © 1969 Jennifer Eccles / Step Inside (7": Panton 04 0225) © 1969 Hul, Nuz A Cop / Prichazi Den (7": Panton 04 0333) © 1971 A Bylo Nam Hej (7" EP: Panton 03 0248) © 1971 Ja Slysim Muzy / Byl Jednou Jeden Kral (7": Panton 04 0313) © 1971 FESTIVAL (7" LP: Panton 08 0248) © 1972 V Patek Uragan Val / Maly Lord (7": Panton 04 0261) © 1972 XANTIPA (10" LP: Panton 22 0414) © 1973 # Robinson / Park (7": Panton 04 0447 FORMULE 1 (10" LP: Panton 22 0503) © 1975 FESTIVAL - XANTIPA - FORMULE 1 (2CD: FT Records FT0104-2) © 2008 SYNKOPY & Oldrich VESELY Oldrich Vesely (synthesizers, clavinet, pianos, organ, vocals), Vratislav Lukas (guitar, synthesizer, clavinet, cello, vocals), Pavel Pokornýy (synthesizers, organ, electric piano, vocals), Emil Kopriva (guitar, vocals), Petr Smeja (guitar), Jiri Rybar (drums, percussion, synthesizer, vocals) # Featuring Oldrich Vesely (also of Modry Efekt), and originally known as Synkopy 61. These pretty much sounded like a Genesis inspired twist on late-1970s M. Efekt, and (according to the cover notes of FLYING TIME) contain strong influence of Moravian folk melodies. SLUNECNI HODINY (LP: Panton 8113 0078) 7-8/1981 © 1981 (CD: Bonton BON 493163-2) © 1999 # Mladsi Sestry Vzpominek / Valka Je Vul (7": Panton 8143 0154) © 1982 KRIDLENI (LP: Panton 8113 0407) 1983 © 1983, (CD: Bonton BON 501686-2) © 2001 - plus English versions of songs FLYING TIME (LP: Panton 8113 0543) 2/1985 © 1985 - English vocal version of KRIDLENI ZRCADLA (LP: Panton 8113 0582) 9-10/1985 © 1985 Loutka Na Setrvacnik / V Pristim Stoleti (7": Panton 81 0328-7311) © 1987 TANGO Miroslav Imrich (vocals), Zdenek Juracka (guitars, vocals), Frantisek Kotva (guitars, vocals), Ota Balaz (keyboards, sax, vocals), Jiri Novotny (bass, vocals), Jaroslav Vondrak (drums, percussion) Synthesizer based pop-rock with prog edges. ELEKTRICKY BAL (LP: Supraphon 1113 4067) 6-7/1985 © 1985, English vocal version: ELECTRIC BALL (LP: Supraphon 10 3999-1311) © 1986 TANGO '87 (LP: Supraphon 1113 4216) 8/1986 © 1987 MURA, HOP! (LP: Supraphon 11 0165-1311) 11/1987 © 1988 plus numerous singles. TOYEN Petr Chromovsky (vocals, guitars), Petr Vana (guitars, keyboards, tambourine, vocals), Petr Vaclavek (bass), Jiri Simecek (drums, percussion) Modern progressive with heavy gothic style. IA ORANA (CD: Indies Records MAM 041-2) "plus CD-ROM" © 1997 TRIJO Vojtech Havel (cello), Petr Chlouba (percussion), Miroslav Pudlak (piano), Vaclav Bratrych (saxophone) Inventive jazz-fusion. TRIJO (LP: Panton 81 0686-1511) © 1989 URFAUST Mirka Krivankova (vocals), Patrick Fulgoni (vocals), Richard Mader (guitar, keyboards, effects, bass), Petr Venkrbec (sax), Pavel Ryba (bass), Frantisek Svacina (keyboards), Chris Sykes (drums) # Bizarre underground psych/prog and Kava Kava hybrid. FAUST A MARKETA / FAUST & MARGARET (CD: Faust FR 05-2331) 4/1995 © 1995 # with Gary Lucas: THE GHOSTS OF PRAGUE (CD: Faust FR 06-2331) © 1996 UZ JSME DOMA Miroslav Wanek (vocals, guitar, vibes, celesta, piano), Jindrich Dolansky (tenor sax, vocals), Alice Kalouskova (alto sax, vocals), Romek Janzlik (guitar, vocals), Pavel Kerka (bass, vocals), Milan Novy (drums, vocals) A peculiar twist on new-wave, folk musics, and radical weird pop. Comparable to Pere Ubu. Rock Debut 7 (7": Panton 81 0395-7311) © 1989 UPROSTRED SLOV (LP: Globus International 210015-1311) 5/1990 © 1990 (CD: Indies MAM 029-2) © 1996 NEMILOVANY SVET (LP/CD: Panton 81 0862-1311/2311) 6-7/1990 © 1991 > ROLL OVER TEPLICE (LP: Ann AN 0001-1311) 5/1991 © 1991 HOLLYWOOD (LP: Rachot 743 211 344 12) 11-12/1992 © 1993 POHADKY ZE ZAPOTREBI (CD: Indies MAM016-2,4) © 1995 Karel VELEBNY & SHQ Influential big-band free-jazz and jazz-fusion outfit, acclaimed as the very first Czech jazz-rock group (formed in 1967). KARL VELEBNY & SHQ (LP, USA: ESP Disk 1080) © 1969 MOTUS (LP: Supraphon 1 15 1138) © 1972 JAZZOVE NEBAJKY / THE JAZZ NEBYEKI (JAZZ NON-FABLES) (LP: Panton 11 0338) © 1973 > BRATISLAVSKE DZEZOVE DNI 78 PARNAS / ANNIVERSARY (LP: Supraphon 1115 2878) © 1981 > JAZZ A LA CARTE Oldrich VESELY & Pavel VRBA Melodic rock featuring Synkopy members. DLOUHA NOC (LP: Panton 81 0957-1311) 9-10/1989 © 1990 Emil VIKLICKY Jazz pianist and fusion group leader, much in demand as a jazz and pop session musician. V HOLOMOCI MESTE... / FOLK INSPIRED JAZZ PIANO (LP: Supraphon 1 15 2233) © 1978 OKNO (LP: Supraphon 1115 2754) © 1981 - with: Bill Frisell, Kermit Driscoll, Vinton Johnson SPOLU / TOGETHER (LP: Supraphon 1115 3013) © 1981 > JAZZ A LA CARTE DVERE / DOOR (LP: Supraphon 1115 3768) 1979-1984 © 1984 - with: Bill Frisell, Kermit Driscoll, Vinton Johnson plus many more Alan VITOUS The brothers Alan and Miroslav Vitous were originally in a jazz trio with Jan Hammer in the 1960s, who split when Miroslav gained a scholarship in Boston, USA in 1967 followed by Jan also absconding to the US. Alan however remained in Czechoslovakia, inactive (discography wise) until the 1980s. > JAZZ PRAHA LIVE (LP: Panton 81-0660) 2/4/1985 © 1986 - Jana Koubkova (vocals, percussion), Vojtech Havel (cello), Alan Vitous (percussion) VITOUS (Featuring Miroslav Vitous ) (LP: Panton 81 0886) © 1989, RETURN (CD, France: FNAC 662048) © 1992 plus lots of collaborations and session work Miroslav VITOUS An innovative jazz bassist, much of Miroslav's 1970s output is with Weather Report, and he is also much travelled as a soloist and in collaboration with other artists (mostly on ECM Records with the likes of Terje Rypdal). In the late-80s Miroslav was able to return to Czechoslovakia and again work together with his brother. Here are some of his most celebrated albums of the 70s. PURPLE (LP, Japan: CBS SOPM-157) © 1970 INFINITE SEARCH (LP, USA: Embryo SD 524) © 1970 MAJESTY MUSIC (LP, USA: Arista AL 4099) © 1976 MAGICAL SHEPHERD (LP, UK: Warner Bros. K 56219) © 1976 MIROSLAV (LP, USA: Arista Freedom AF 1040) © 1977 plus lots more Zbynek VOSTRAK Contemporary classical, avant-garde and electronic music composer. META-MUSIC / TELEPATHY / THREE SONNETS FROM SHAKESPEARE (LP: Supraphon 1 10 0966) © 1972 > FROM CZECH ELECTRONIC MUSIC STUDIOS ZENTOUR Janek Ledecky (guitar, vocals), Jan Cerny (bass), Petr Ackermann (keyboards), David Koller (drums) Late-1980s prog. 001 (LP: Supraphon 1113 4200) 12/1985-2/1986 © 1986 YOU DRIVE ME CRAZY (LP: Supraphon 1113 4257) © 1987 - English vocal version of above 003 (LP: Tommu 61 0001-1311) © 1990 005 (LP: Monitor 01 0025-1331) 4-7/1991 © 1991 plus numerous singles. ZIKKURAT Jiri Krivka (vocals, guitar, synthesizer, bass, drums), Vilem Cok (vocals, bass, guitar, percussion), Tomas Havrda (drums) Undergr
1053	dbpedia	1	28	https://www.cdandlp.com/en/bijelo-dugme/artist/%3Fsrt%3D5	en	Achat et Vente Vinyle, CD occasion et collector	https://www.cdandlp.com/…ader-cdandlp.png		[ "https://www.cdandlp.com/images/sites/cdandlp/icon-header/svg-black/compte.svg", "https://www.cdandlp.com/images/sites/cdandlp/icon-header/svg-white/panier.svg", "https://www.cdandlp.com/images/sites/cdandlp/icon-header/svg-black/compte.svg", "https://www.cdandlp.com/images/sites/cdandlp/icon-header/svg-white/panier.svg", "https://www.cdandlp.com/images/sites/cdandlp/logoheader-cdandlp.png", "https://www.cdandlp.com/images/sites/cdandlp/logoheader-cdandlp.png", "https://www.cdandlp.com/images/sites/cdandlp/logoheader-cdandlp.png", "https://www.cdandlp.com/images/sites/cdandlp/icon-header/svg-white/recherche.svg", "https://www.cdandlp.com/images/sites/cdandlp/icon-header/svg-black/categories.svg", "https://www.cdandlp.com/images/sites/cdandlp/icon-header/svg-black/mint.svg", "https://www.cdandlp.com/images/sites/cdandlp/carte-cadeau/carte-cadeau.png", "https://www.cdandlp.com/images/sites/cdandlp/icon-header/svg-black/menu.svg", "https://www.cdandlp.com/images/sites/cdandlp/icon-header/svg-black/mint.svg", "https://www.cdandlp.com/images/sites/cdandlp/carte-cadeau/carte-cadeau.png", "https://www.cdandlp.com/images/point_blanc.gif", "https://www.cdandlp.com/images/point_blanc.gif", "https://www.cdandlp.com/images/point_blanc.gif", "https://www.cdandlp.com/images/point_blanc.gif", "https://www.cdandlp.com/images/point_blanc.gif", "https://www.cdandlp.com/images/point_blanc.gif", "https://www.cdandlp.com/images/point_blanc.gif", "https://www.cdandlp.com/images/point_blanc.gif", "https://www.cdandlp.com/images/point_blanc.gif", "https://www.cdandlp.com/images/point_blanc.gif", "https://www.cdandlp.com/images/point_blanc.gif", "https://www.cdandlp.com/images/point_blanc.gif", "https://www.cdandlp.com/images/point_blanc.gif", "https://www.cdandlp.com/images/point_blanc.gif", "https://www.cdandlp.com/images/point_blanc.gif", "https://www.cdandlp.com/images/point_blanc.gif", "https://www.cdandlp.com/images/point_blanc.gif", "https://www.cdandlp.com/images/point_blanc.gif", "https://www.cdandlp.com/images/point_blanc.gif", "https://www.cdandlp.com/images/point_blanc.gif", "https://www.cdandlp.com/images/point_blanc.gif", "https://www.cdandlp.com/images/point_blanc.gif", "https://www.cdandlp.com/images/point_blanc.gif", "https://www.cdandlp.com/images/point_blanc.gif", "https://www.cdandlp.com/images/point_blanc.gif", "https://www.cdandlp.com/images/point_blanc.gif", "https://www.cdandlp.com/images/point_blanc.gif", "https://www.cdandlp.com/images/point_blanc.gif", "https://www.cdandlp.com/images/point_blanc.gif", "https://www.cdandlp.com/images/point_blanc.gif", "https://www.cdandlp.com/images/point_blanc.gif", "https://www.cdandlp.com/images/point_blanc.gif", "https://www.cdandlp.com/images/point_blanc.gif", "https://www.cdandlp.com/images/point_blanc.gif", "https://www.cdandlp.com/images/point_blanc.gif", "https://www.cdandlp.com/images/point_blanc.gif", "https://www.cdandlp.com/images/point_blanc.gif", "https://www.cdandlp.com/images/point_blanc.gif", "https://www.cdandlp.com/images/point_blanc.gif", "https://www.cdandlp.com/images/point_blanc.gif", "https://www.cdandlp.com/images/point_blanc.gif", "https://www.cdandlp.com/images/point_blanc.gif", "https://www.cdandlp.com/images/point_blanc.gif", "https://www.cdandlp.com/images/point_blanc.gif", "https://www.cdandlp.com/images/point_blanc.gif", "https://www.cdandlp.com/images/point_blanc.gif", "https://www.cdandlp.com/images/point_blanc.gif", "https://www.cdandlp.com/images/point_blanc.gif", "https://www.cdandlp.com/images/point_blanc.gif", "https://www.cdandlp.com/images/point_blanc.gif", "https://www.cdandlp.com/images/point_blanc.gif", "https://www.cdandlp.com/images/point_blanc.gif", "https://www.cdandlp.com/images/point_blanc.gif", "https://www.cdandlp.com/images/point_blanc.gif", "https://www.cdandlp.com/images/point_blanc.gif", "https://www.cdandlp.com/images/sites/cdandlp/icon/icon-mint.svg", "https://www.cdandlp.com/images/sites/cdandlp/icon/icon-mint.svg", "https://www.cdandlp.com/images/instagram.png" ]	[]	[]	[ "" ]	null	[]	null		fr	https://www.cdandlp.com/…/cdandlp-ico.png		https://www.cdandlp.com	Le coin des collectionneurs L’achat de disques vinyles n’est pas une chose évidente. Que vous vous lanciez ou que vous soyez passionnés depuis des années, certains points sont à vérifier avant d’acheter un disque, surtout s'il s'agit d'une pièce rare de votre artiste préféré. Choisir le matériel Une platine, un ampli et des enceintes sont nécessaires pour écouter vos disques. Mais là encore, cela ne s’improvise pas. Comment choisir son matériel pour écouter ses vinyles ? Vous voulez craquer sur un Jukebox, ou une platine vintage? On vous dit tout pour faire les bons choix.
1053	dbpedia	1	90	http://www.pugachov.ru/eem/rafram.html	en	Encyclopedia of Electronic Music			[]	[]	[]	[ "" ]	null	[]	null					null
1053	dbpedia	3	89	https://issuu.com/cordmagazines/docs/cord49	en	CorD Magazine No.49	https://image.isu.pub/14…e/jpg/page_1.jpg	https://image.isu.pub/14…e/jpg/page_1.jpg	[ "https://static.isu.pub/fe/product-header-frontend/781e53c/31d186ba39f38e8c4fac.png", "https://static.issuu.com/fe/silkscreen/0.0.3042/icons/gradient/icon-canva-gradient.svg", "https://static.isu.pub/fe/product-header-frontend/781e53c/1e794a8c4ec65e549678.png", "https://photo.isu.pub/cordmagazines/photo_large.jpg", "https://image.isu.pub/240731212826-03289e78cc457959d7d5e83d34468469/jpg/page_1_thumb_large.jpg", "https://image.isu.pub/240731212816-61af7dd573a5fb6650cbf94b75cdb375/jpg/page_1_thumb_large.jpg", "https://image.isu.pub/240701041829-dacf937f5ed14e3a023af9fee6c62dbe/jpg/page_1_thumb_large.jpg", "https://image.isu.pub/240630215130-4ea081d208eb956bfe04d7cd23dca867/jpg/page_1_thumb_large.jpg", "https://image.isu.pub/240630215239-907e4ef7593c0c38b2e77160f687df2b/jpg/page_1_thumb_large.jpg", "https://image.isu.pub/240703085733-58b3ec90b4876f8fdfeae83abf902e87/jpg/page_1_thumb_large.jpg", "https://static.issuu.com/fe/silkscreen/0.0.2541/icons/gradient/icon-instagram-gradient.svg" ]	[]	[]	[ "" ]	null	[]	2014-11-07T09:36:32+00:00	Read CorD Magazine No.49 by CorD Magazine on Issuu and browse thousands of other publications on our platform. Start here!	en	/favicon.ico	Issuu	https://issuu.com/cordmagazines/docs/cord49	Welcome to Issuu’s blog: home to product news, tips, resources, interviews (and more) related to content marketing and publishing. Here you'll find an answer to your question.
1053	dbpedia	0	33	https://en-academic.com/dic.nsf/enwiki/18055	en	Symphonic rock	https://en-academic.com/…_social_en.png?3	https://en-academic.com/…_social_en.png?3	[ "https://en-academic.com/images/Logo_en.png", "https://en-academic.com/images/Logo_h_en.png", "https://en-academic.com/pictures/enwiki/49/16px-Symbol_book_class2.svg.png", "https://en-academic.com/pictures/enwiki/49/16px-Folder_Hexagonal_Icon.svg.png", "https://en-academic.com/pictures/enwiki/49/16px-Portal-puzzle.svg.png", "https://mc.yandex.ru/watch/70309897", "https://b.scorecardresearch.com/p?c1=2&c2=23600742&cv=2.0&cj=1" ]	[]	[]	[ "" ]	null	[]	null	Stylistic origins Progressive rock, psychedelic rock, classical music Cultural origins Late 1960s, UK Typical instruments Guitar Bass Keyboards Piano Drums	en	https://en-academic.com/favicon.ico	Academic Dictionaries and Encyclopedias	https://en-academic.com/dic.nsf/enwiki/18055	Symphonic rock Stylistic origins Progressive rock, psychedelic rock, classical music Cultural origins Late 1960s, UK Typical instruments Guitar - Bass - Keyboards - Piano - Drums - Violin - And other acoustic and electronic instruments Mainstream popularity Western culture, 1970s Fusion genres Symphonic metal Symphonic rock is a sub-genre of progressive rock. Since early in progressive rock's history, the term has been used sometimes to distinguish more classically influenced progressive rock from the more psychedelic and experimental forms of progressive rock.[1] Symphonic rock can be described as combining of progressive rock with classical music traditions.[2] Some artists perform rock arrangements of themes from classical music or compose original pieces in classical composition structures. Additionally, they may play with the accompaniment of a symphony, orchestra or use a synthesiser or mellotron to emulate orchestral instruments. Symphonic rock is not an orchestral rendition of hit rock and pop songs by classical orchestras; these can be considered "classical arrangements of contemporary music", though these are at times marketed as symphonic rock by various outlets. Using a symphony on a song or album does not qualify the work to be symphonic rock. It must meet the quality of being considered progressive rock in addition to the qualities listed for being symphonic. Contents 1 Attributes of symphonic rock 2 Artists 2.1 The Nice 2.2 King Crimson 2.3 Renaissance 2.4 Emerson, Lake & Palmer 2.5 Genesis 2.6 Pink Floyd 2.7 Yes 2.8 Focus 2.9 Rick Wakeman 2.10 Camel 2.11 Electric Light Orchestra 2.12 North American Bands 2.13 Italy 2.14 France 2.15 Germany 2.16 Yugoslavia 2.17 The End of the Classic Period 2.18 The '80s Neo-Progressive Era 2.19 World Symphonic Prog 2.20 Resurgence 3 See also 4 References Attributes of symphonic rock Classical devices often employed in symphonic rock include the following Rock arrangements of themes from classical music Classical composition structures The accompaniment of a symphony orchestra Use of classical instruments, such as strings, harpsichord and woodwinds Higher complexity than other types of rock and pop Elaborate compositions in the formats of concerti, suites, symphonies, tone poems and operas Prominent use of the synthesiser as a substitute for symphonic orchestration Frequent use of the mellotron or other tape based keyboards for the simulation of strings, choir and woodwinds. Larger thematic content than usual rock or soul music Artists As early as 1966, with Frank Zappa's Freak Out!, concept albums started appearing that tied all the songs on an album into a thematic whole. The Beatles followed with their album Sgt. Pepper's Lonely Hearts Club Band (1967) incorporating significant orchestral passages and studio editing. In the same year, The Moody Blues' Days of Future Passed merged rock playing with orchestral accompaniment.[3] Procol Harum's 1968 album Shine On Brightly contained the epic length song "In Held Twas In I". These works and experiments led to what would become progressive rock, specifically symphonic prog in the United Kingdom.[2] The Nice Initially formed as a backup band for the jazz singer P. P. Arnold. The Nice went on the produce their first album The Thoughts of Emerlist Davjack (1967). It was the first attempt at art rock heavily influenced by psychedelic rock. The album Ars Longa Vita Brevis (1968) contained rock versions of classical compositions such as the Karelia Suite by Jean Sibelius and The Brandenberg Concerto by J.S. Bach. It was their third album Nice (1969) where they charted a course for symphonic prog with its mix of psychedelic rock, jazz, blues and classical elements. They ended with Five Bridges (1970), a work commissioned by the Newcastle Arts Festival. The Five Bridges Suite contains five movements written by the band members instead of using existing classical works. The big criticism of the group was that they did not have a good lead singer.[3] Keyboardist Keith Emerson went on to form Emerson, Lake & Palmer.[3] King Crimson King Crimson released their landmark album In the Court of the Crimson King in 1969 bringing acclaim to progressive rock.[4] Many groups soon also started to use symphonic elements in the early '70s. By that time King Crimson had moved on to a more eclectic form of progressive rock[5] Renaissance Renaissance were formed after the breakup of the Yardbirds. Their first album, Renaissance (1969) came out two months after In the Court of the Crimson King. The album saw them mixing classical, eastern, jazz and folk elements with rock.[6] They became a recognised symphonic prog band[3] when they reformed in 1971 with Annie Haslam as the vocalist for the album Prologue (1972). They peaked with their albums Ashes Are Burning (1973), Turn of the Cards (1974) and Scheherazade and Other Stories (1975).[7] Emerson, Lake & Palmer Emerson, Lake & Palmer kicked off '70s Symphonic Prog with their first album Emerson, Lake & Palmer (1970). ELP performed classical compositions such as Mussorgsky's "Pictures at an Exhibition" on the album Pictures At An Exhibition (1971) and Aaron Copland's "Fanfare for the Common Man" on Works, Volume 1 (1977) with electric instrumentation. ELP also composed suites that are considered classics of the genre most famous of which are "Tarkus"[2] on the album Tarkus (1971), "The Endless Enigma" on the album Trilogy (1972) and "Karn Evil 9" on the album Brain Salad Surgery (1973). Genesis Genesis emerged in the '70s as a symphonic prog band with their second album Trespass (1970). The high point of their symphonic prog output was Foxtrot (1972), which contains their only long suite "Supper's Ready" written as a variation of sonata form, and Selling England by the Pound (1973).[2] After Peter Gabriel left the group following the tour for the concept album The Lamb Lies Down On Broadway (1974), they continued in the Symphonic Prog vein until 1976's Wind & Wuthering with Phil Collins as the lead singer.[8] After Steve Hackett left the group in 1977, they became a crossover, arena rock band.[5] Hackett, prior to leaving Genesis, released his own symphonic prog album Voyage of the Acolyte (1975). Pink Floyd Pink Floyd are usually not included in the symphonic rock genre because they are considered by critics to not be "orchestral" enough in sound.[9] However, their 1970 album Atom Heart Mother contains the "Atom Heart Mother" suite with extensive orchestra use. By Meddle (1971), specifically the suite "Echoes", they moved in the direction of symphonic prog rather than psychedelic rock. With albums such as Wish You Were Here (1975),[2] an ode to former band member Syd Barrett and screed against the music business and Animals (1977), a concept album based on Animal Farm by George Orwell, they were firmly in the realm of symphonic prog. Yes Yes, starting with their third album The Yes Album (1971), produced a highly successful blend of classical, psychedelic and progressive ensemble rock. Their approach was similar to classical music; each instrument played its own melodic line to generate a grand musical theme. The vocals in some songs (ex. "Yours Is No Disgrace") were treated as just another instrument in the composition. They were also writing multi-part suites such as "Starship Trooper" on The Yes Album (1971), "Heart of the Sunrise" on Fragile (1971), "Close To the Edge"[2] on Close to the Edge (1972) and "Awaken"[10] on Going For The One (1977).[11] What the mainstream rock press perceived as the excess of Tales From Topographic Oceans (1973) marked the start of the backlash against Prog music.[12][13] Focus Dutch band Focus, containing Thijs van Leer and Jan Akkerman, began to assert symphonic prog [14] with their second album Focus II (Moving Waves) (1971) despite their hit song "Hocus Pocus" (which is noted for lead singer Thijs van Leer's yodeling). This album brought them worldwide acclaim. After their next two albums Focus III (1972) and Hamburger Concerto (1974), they fell away from symphonic prog. Rick Wakeman Rick Wakeman was an on again-off again, keyboard virtuoso for Yes who also produced several solo symphonic prog concept albums. The Six Wives of Henry VIII (1973) consisted exclusively of Rick and all his synthesisers. Journey To the Centre of the Earth (1974) and The Myths and Legends of King Arthur and the Knights of the Round Table (1975) made use of symphony orchestras and choirs along with his band. The following year No Earthly Connection (1976) had him pare down the production to just using his band, the "English Rock Ensemble". Camel Camel, consisting of Andrew Latimer and former Them keyboardist Peter Bardens, included elements from Canterbury and space rock into their brand of symphonic prog starting with Camel (1973). They moved firmly into symphonic prog[3] with their next album Mirage (1974) and their 1975 concept album The Snow Goose. Unfortunately, they did not have a recognisable lead singer like Yes, ELP or Genesis (The Snow Goose was entirely instrumental) which limited their success.[5] After Moonmadness (1976), they too moved into more mainstream territory. Electric Light Orchestra Others such as Electric Light Orchestra played rock music with orchestral arrangements and/or orchestra backing.[15] They also released their own concept album with 1974's Eldorado. But starting with 1975's Face the Music they favoured more of a pop rock style.[5] North American Bands Once these groups became popular in the United States and Canada, bands such as Kansas,[16] Rush[17] and Todd Rundgren's Utopia[18] appeared in the mid '70s. These bands tended to have more of a hard rock edge than the European bands mentioned above. French-Canadian band Harmonium had a short career in the mid '70s during which their most notable release was Si on avait besoin d'une cinquième saison (If We Needed A Fifth Season) (1975).[3] Italy Italy's symphonic rock boomed in 1972, after the successes of New Trolls' Concerto Grosso, No. 2 and Van der Graaf Generator's Pawn Hearts. The most popular bands, such as Banco del Mutuo Soccorso, Premiata Forneria Marconi and Le Orme, played symphonic prog heavily influenced by classical music, against the backdrop of the Italian canzone tradition. Bands like New Trolls, Osanna, Metamorfosi, Alphataurus, Semiramis and Biglietto per l'Inferno had a harder edge, but still with traits of the symphonic tradition. (see Italian progressive rock) France Bands in France arose in the mid to late '70s influenced by both King Crimson and Genesis. Ange, influenced also by French folk music, released Le Cimetière des Arlequins (1973) and Au-delà du Délire (1974). Atoll, incorporating the influences of the Mahavishnu Orchestra, released L'Araignée-Mal (1975). Pulsar, heavily influenced by Pink Floyd, released The Strands of the Future (1976) and Halloween (1977). Mona Lisa, noted for being very theatrical, released Avant Qu'il Ne Soit Trop Tard (1978). Germany Amidst the Krautrock bands, there were several symphonic prog bands that gained recognition. Triumvirat, best described as an ELP clone, released Illusions On A Double Dimple (1973), Spartacus (1975) and Old Loves Die Hard (1976). Grobschnitt were known not only for their symphonic passages, suites and synthesiers, but also for the absurd humour and strange noises in their work, as heard on Ballerman (1974) and Rockpommel's Land (1977). Both use English vocals. Anyone's Daughter started up just as Prog was ebbing in America and Britain. They had a string of symphonic prog albums with Adonis (1979), Anyone's Daughter (1980), Piktors Verwandlungen (1981) and In Blau (1982). With the latter two albums, the band sung the lyrics in their native German. Novalis, noted for a heavy organ sound with comparisons to King Crimson and Pink Floyd, released Novalis (1975) and Summerabend (1976). Eloy, a progressive rock band formed by guitarist Frank Bornemann in 1969, had a distinctly symphonic sound in the second part of the '70s when Jurgen Rosenthal and Detlev Schmidtchen were part of the group (which also included Klaus-Peter Matziol). The album "Dawn" includes "Symphonic Orchestra arranged and conducted by Wolfgang Maus." These four artists (ELOY from 1976 to 1979) also produced the albums "Ocean", "Silent Cries And Mighty Echoes", and "Eloy Live". Yugoslavia During the 1970s, a large number of Yugoslav progressive rock bands experimented with symphonic sound. In 1973, progressive rock band Korni Grupa, under the name The Cornelians, released the symphonic rock album Not an Ordinary Life.[19] In 1978, Laza Ristovski and Ipe Ivandić, members of the hard rock band Bijelo Dugme, released the symphonic rock album Stižemo, which, among other musicians, featured Vlatko Stefanovski of Leb i Sol on guitar.[20] In 1979, Bijelo Dugme released symphonic-influenced album Bitanga i princeza, and during the same year, their frontman Željko Bebek released his first solo album, symphonic-oriented Skoro da smo isti.[21] The symphonic rock band Opus released only one album, Opus 1 (1975), before disbanding.[22] The band Tako combined symphonic and jazz rock, but disbanded after releasing only two albums, Tako (1978) and U vreći za spavanje (1980).[23] The End of the Classic Period By the late '70s the "classic" period of symphonic prog was coming to an end. The backlash against any "prog" by the mainstream rock press was in full force. Disco and punk rock emerged as the primary forms of music.[3] For a long time, the Rock and Roll Hall of Fame declined to induct any "prog" bands.[24][25] Pink Floyd were finally inducted in 1996 and were the only "prog" band of any kind in the Hall. It was then announced in December 2009 that Genesis will be inducted into the hall. Speculation is that this induction will open the floodgates for the other overlooked "prog" bands.[26] The '80s Neo-Progressive Era In the '80s, the Neo-progressive rock bands, such as Marillion, IQ, Pallas, Twelfth Night and Pendragon, continued the traditions of '70s symphonic prog, but without the complexity.[3] The main influences on the neo-prog genre are Genesis, Yes, Camel and Pink Floyd. World Symphonic Prog While the '80s saw neo-prog keeping a glimmer alive in the U.K. and U.S., symphonic prog was reaching other countries around the world. Asia Minor from Turkey released Between Flesh and Devine (1981), Bacamarte from Brazil released Depois Do Fim (1983) and Hungarian band Solaris released Marsbéli Krónikák (Martian Chronicles) (1984). Only Solaris survived into the '90s releasing Nostradamus Book of Prophecies in 1999. The early '90s saw groups like After Crying from Hungary release Overground Music (1990), Quaterna Requiem from Brazil release Velha Gravura (1990), Anglagard from Sweden release Hybris (1992) and Isildurs Bane, also from Sweden, release The Voyage - A Trip To Elsewhere (1992). The last two paved the way for a symphonic prog movement in Sweden.[3][27] Resurgence Interest in symphonic prog flowered again in the U.S. and UK starting with Echolyn's eponymous first album in 1991.[28] This marked a resurgence to a degree in the 1990s and 2000s[3] with bands such as North Star, The Flower Kings, Spock's Beard, Transatlantic, Karmakanic, Nexus, Pär Lindh Project, Arena, Apocalypse, Glass Hammer and many others.[29] The advent of the Internet and new prog band Radiohead's self-publishing breakthrough allows these symphonic prog bands to reach an audience around the world.[30][31] See also Progressive rock Art rock Neo-progressive rock Italian progressive rock Symphonic metal Neo-classical metal
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Some people went as far as to publish academic treatises enclosing transcriptions and formal, harmonic, spectral and all other kinds of analyses that go on and on for many wise and thrillingly impenetrable pages about those two chords in a smudged A♭ major. But no one ever discussed how this music might perform applied to farming. Or maybe someone did? Anyhow, Eno was always so proud of various functionalities of his musiques d’ameublement. Well, now he could add herding the sheep at the end of the day. I enclose a video illustration within the clips above. I tried to play a fragment to goats resting at the top of Kedrodasos hill. They seemed to like it. Didn’t run away from me and even stood up to chew some grass despite the heat. Which leads me to the idea that farmers might consider adopting the score throughout the facilities producing … Read More The third in the Holy TrinTity of issues focusing on Hellenic mythologies. Really can’t promise it won’t become Tetralogy next year. But yeah, it became a tradition to do Grecian olive-hued melange before heading to Crete each June. This season won’t be an exception. There’s always a moment during a rather long flight to Greece when you can no longer binge on unwatched TV, impersonate working on your laptop or solve puzzles. These selecciones are for that moment. As well as for subsequent imbibing of tsikoudia while taking in Aegean vistas and car rides to the ancient Aptera or one of the Lefka Ori’s gorges. This time around I was triggered by the story that one Heraklion-dwelling historian once told me. A hypothesis that the myth of Atlantis might have been inspired by the catastrophic volcano eruption and subsequent tsunami around 1500 BC. The one that destroyed most of the cities and villages on Crete and Ancient Thera (modern Santorini). Effectively precipitating the decline of the Minoan civilization. Long story short, that's a tiny fraction of diverse music that has to do with lost islands/continents, sea-bound mythology, civilization-destroying natural cataclysms and yes, the ever-terrifying story of … Read More Evidently, this one is in Ivo’s all-time 4AD Top 10 and a cult favourite among devotees of the label’s gilded age. A project of Pieter Nooten. At the time freshly departed from the Clan of Xymox and in search of more refined sonic palettes. Ultimately landing with a sort of companion to (or even continuation of) “The Moon & The Melodies” - Cocteau’s collab with Harold Budd one year prior. All with mandatory Eno collaborator implicated. This time around “infinite guitar” inventor Michael Brook. Most known for engineering classic Editions EG sound of the ‘80s. The aesthetic that Ivo was proactively transplanting (imposing even) on his roster of guitar bands. Perhaps the main reason behind downsized Xymox’s departure to PolyGram. Although as it often happens in the world of indie rock there were many bitter grievances and mutual accusations which are now hard to untangle. For those of you interested Martin Aston’s label chronicles in “Facing The Other Way” re-aired all this gossip in gaudy detai. “Sleeps With The Fishes” is a strange record. There are amazing moments on it. Like “Searching” - a glorious slice of moody, minimal dream pop à la A.C. Marias. Or similarly Wire-esque … Read More Revisiting MTM staples. Here’s a few more by Ben. No Brown this time, but there are other Tuxedomoon alums - violinist Blaine L. Reininger (Nebka) and bassist Peter Principle (When God Was Famous). The above + label boss Mark Hollander populating Lew’s globalist synthetic assemblages with dabs of acoustic colour. There’s no denying “Nebka” has a bit of the fourth world thing going. Deeply indebted to Eno & Co it opens with an undisguised pastiche of Harold Budd. Perhaps unnecessary, but accomplished. And where else would you hear Budd with clarinet? Plus, Reininger’s haunted processed violin. As if copy/pasted from one of Zoviet France’s abstractions. “Les Traces d’un pont” is more singular - an assemblage of plucked strings and percussive noises shaped into lopsided quasi-minimalist pattern. Like some sort of proto-glitch made with skipping pitched-down CD of mbira. The next one grows out of something resembling micronized shards of Bolero obliquely strategized by Eno and Hassell. There’s obvious homage to the latter in the parallel fourths arabesques of “Depart”. Thus, the album proceeds until the end alternating veiled exoticisms, sepulchral etherealia and minor-key’ed postminimal keyboards. A sort of stuff that would work wonders as incidental music for dance or experimental theatre - repetitive and tonally/dynamically static. Talking about theatricality there’s … Read More There’s a gap in between Jarman’s published diaries. “Modern Nature” ends in Aug 1990 and “Smiling In Slow Motion” picks up in May ‘91. The former coincides with very complicated production of “The Garden” and Jarman’s struggles with real-world garden at Prospect Cottage, Dungeness (as well as his failing health). “Smiling” restarts well into the post-production of “Edward II” - Jarman’s playfully anachronistic, postmodern repurpose of Marlowe’s pioneering 16th century historic play into an allegory of modern-day homophobia and public health crisis around AIDS epidemic. Then in its cruelest phase. Universally lauded as the pinnacle of greatly missed New Queer Cinema (see B. Ruby Rich coverage of the topic in Sight & Sound) and perhaps Jarman’s most critically successful piece apart from Caravaggio. Sadly, not many notes on production. I remember reading somewhere that it was filmed on unheated soundstage somewhere around Jarman’s loft in Docklands. With a giant shallow pool of water for the floor. One of the art dept tricks to produce dreamlike imagery on a shoestring budget. The skill sharpened during Jarman’s days doing production design for Ken Russell. The extant reviews all mention the film’s unusual score, but mostly focus on Annie Lenox’s admittedly iconic take on Porter’s “Ev’ry time we say goodbye”. Although when watching … Read More Carola Baer “The Story Of Valerie” Concentric Circles …mountains dreaming under their woollen blankets… there’s no better post-NYE Friday brainmelt music than Carola Baer. Synth accompaniment of “On Top Of The Mountain” sounds like maddened Omar Souleyman summoning the spirit of Klaus Schulze. Will Powers “Adventures In Success” Island Lest we forget that winter celebrations are not over. Not yet! Here’s something groovy for the Orthodox Christmas Eve. All with tongue in cheek self-help cassetes stylisation. Although the irony will inevitably be lost on Gen Z. Anyhow, I think it’s one of the best Chris Blackwell era Island dance 12”s in existence. Concocted by the celebrity photographer Lynn Goldsmith. Probably the least cringy thing that … Read More Continuing the EOY music summary bonanza. Now let’s look at the most delicious and impressive archival undertakings of 2023. Continuing the trend of the last 15 to 20 years there was no shortage. Which saddens many contemporary musicians (of all kinds and levels of popularity) and specialist publications that write about or promote them. Which, I guess, is understandable. The looming suspicion of AI, ever-shrinking funding opportunities and audiences, hostile or disinclined publishing platforms. Then add an unbearable weight of acclaimed catalogues on top of it and it seems like there’s not many viable creative pathways that new music can forge. Still, I don’t think that archival projects in this list are the culprit of this crisis. What we have here is for the most part music that never made it in the first place. Small run and private press records, impossible to find self-released tapes, vanished art gallery issues, unpublished music by obscure composers, avantgarde records that haven’t ever been on plastic and/or haven’t seen repress in many decades, vintage radio essays… More than anything else I feel like these statements should impress and stimulate new generations to stop copying and start fighting for individual ways of musical expression. Let’s have a … Read More The Shining via Cries & Whispers with a sprinkle of Rollin's "Fascniation". Restaged in West Yorkshire. I'm imagining Mark Fell wouldn't be especially pleased with imagistic references, but that's exactly what this mega-collage of possessed domestic malaise stimulates. On par with Akira Rabelais's "Context In the Moment" this father-son entry into Documenting Sound is perhaps the series' only moment that's truly reflective of the pandemic era's distortion of time. Not in the way that it's 'time-stopping'. It's abstract alright and there's many exquisitely filigreed textural layers phasing on top of each other in seemingly random fashion. Glassy electronic percussion, field recorded sound fashioned into unmetered percussive patterns, ghostly reverberations of piano and TV, outdoorsy ambiances, chiming clocks, buzzy static etc. One would be hard-pressed to discern the form behind the fluid changes, fades and blends of all these noises. But the softly percolating, everchanging rhythmic components - a continuous feature - always suggest a structure. Or at least semblance of … Read More The weather gets cozier. Now one needs a blanket to sit out a porch-bound glass of wine. Spiders tirelessly weave their enormous nets and people overdo latte'ed pumpkin drinks. And I think I've settled on a pitch-perfect soundtrack for all these activities - "Learning To Be Silent" by C.W. Vrtacek. Granted, not a household name. He was a guitarist from NY state. Played in obscure avant rock outfits. Biota is the more interesting one. They were a large, ever-changing bunch with a few curious records up their sleeve. Published by Chris Cutler's post-Henry Cow imprint ReR Megacorp. Vrtacek was also in Cuneiform-signed trio Forever Einstein. A sort of artsy disjointed post-Beefheart prog. As tiresome as such description might imply, but with some graceful bits on Henry Cow/Art Bears tangent. Perhaps Cutler's overbearing influence? In the spare time from all this collective music-making Vrtacek pursued more esoteric muse. Most of it self-published and ranging between rough DIY concrète with post-punk sensibility, synth miniaturism, field recordings, tape loops and milder remembrances of psych folk. If I can compare it to anything I'd think along the lines of Robert Cox's Rimarimba or various experimental offshoots … Read More This month attempting to "capture glamour without falling into it". This is my loving tribute to the great Canadian conceptual art pranksters General Idea. Recently I dreamt I was attending their Miss General Idea Pageant of 1971. As far as I know there are no full video renderings of the event apart from a few grainy clips and staged photographs. Neither there is footage of the one they planned for 1984 in the imaginary ziggurat-shaped Miss General Idea Pavilion. Basically, I'm trying to resound the event by grafting the music (narratively, if you will) onto General Idea's various TV cues, forgeries, and mystifications. Or "framing devices" in the trio's own wording … Read More Sadly, there's no information on who Colette Roper was. Certainly, no other music credits to talk about. Perhaps there are more references in visual art catalogues? Perhaps it was a pseudonym? All we have is this set of four pieces set in what sounds like simple D Dorian with modulations down a tritone. Material barely changes. Kind of rotating in the range of a minor third, with occasional step down to subtonic. The accompaniment texture is as basic as can be. Alberti bass patterns and triadic broken chord arpeggiation with infrequent sequences harmonised in thirds. Reminiscent of Tom Johnson's "An Hour For Piano". Albeit less metronomic. In its rubato'ish tentativeness this feels improvised on the fly. Like Johnson's work "Piano Pieces" achieves its potency through accumulation of natural harmonic resonance and stoic… Read More In hindsight Jelinek turned out to be the most consistently innovative producer to come out of fin de siècle glitch electronica cohort. The aesthetic quickly derailed into creative cul-de-sac, but not before giving us a few brilliant records. Including Jelinek's early run on Stefan Betke's ~scape as well as “(Personal_Rock)” (as Gramm). All the above incessantly carbon copied to this day. While producers like Oval and Ryoji Ikeda stubbornly gnawed at the progressively less fertile set of ideas Jelinek proved more restless. Taking glitch's fundamental techniques on aesthetic wild ride. Including armchair-bound ambient techno of Gramm, slowed-down krautrock hommages in Kosmischer Pitch, Matmos-like micro-collages on "Zwischen" as well as tape loops and forged radiophonics as Ursula Bogner. Not all of it was uniformly brilliant. I for instance couldn't fully engage past those… Read More Rainy Monday down here. Perfect time for Harold Budd. There's a bunch of classics to attend to, but sometimes it's more rewarding to investigate neglected corners. It's assumed that 1990s was a time when Budd and his fellow furniture ambiance auteurs were on a struggle bus creatively. Zeitgeist shifted to new kind of mood music concocted by dance and electronica producers. Meaning less abstraction and more cheeky sci-fi retrofuturism and samples. Old guard's reaction was interesting. Initially some tried to adapt, with varying degree of success. Hassell with 808 State, Eno remixing Massive Attack. But mortgage had to be paid, so the latter moved on to producing stadium rock bands and soundscaping oligarch-sponsored art galleries. His former companions retreated to 'musique savante' venues and rarified jazz institutions - Bryars and Hassell come to mind. Budd seemed the only one unmoved. Instead opting for collaborations complimentary to his pensive brand… Read More What REALLY happened to agent Dana Scully when she was abducted by aliens? The question preoccupied me for a longest time… I was secretly hoping X-Files big boss Chris Carter would take cues from David Lynch and create some sort of bizarre Black Lodge stream-of-consciousness episode about it. You know, a sci-fi take on dancing midgets, people talking backwards and malicious doppelgängers. Perhaps something along the lines of final sequence in "2001: A Space Odyssey"?! Alas, Carter was less risk-taking than Lynch or Kubrick, so it never happened. I can’t make a TV episode, but I can imagine how it would have sounded. And here is the result. I’ll call it Agent Scully’s Abduction Hallucinations. A jumble of Mark Snow's X-Files cues mangled, reassembled, and fused with contemporary (and not so contemporary) electronica and percussion music. Tracklist and streaming inside… Read More 'Ladies and gentlemen we are floating in space'. This Jostein Gaarder's quote is more existential philosophy than sci-fi in its original context. Still, it feels more appropriate in relation to this music rather than overwritten 1997 space rock opus by Spiritualized. Coincidentally Detroit native Rod Modell started his recording career right about the same time as the British band was recording its pompous 3rd album. Similar to the ongoing socio-political movements I'm a bit hazy with how to number 'the waves' of American techno past the 2nd gen of Drexciya and Robert Hood. Let's just say Modell can be considered in the same lineage, but later. His aesthetic is thought to pick up on the thread of initially Berlin-centric… Read More Last remaining survivors of Throbbing Gristle. Both perennially busy with new projects. Especially Cosey with her newfound literary career and scoring BBC Four documentary on Delia Derbyshire. No wonder the duo's archival programme remained neglected since Carter's pre-pandemic presses on Mute. Perhaps horrified by shambolic handling of Coil reissues, these two decided to restart the campaign while they still can call the shots. Out of all post-TG extensions I find C&C's catalogue to be the second most interesting after Coil. Perhaps less consistent quality-wise and less voraciously experimental, but similarly poly-stylistic. In hindsight the duo's stubborn, but oddly rendered engagement with the populist… Read More
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1053	dbpedia	3	27	https://www.juno.co.uk/junodaily/2023/03/01/label-focus-soundway-records/	en	Label Focus – Soundway Records	https://www.juno.co.uk/j…ay-logo-edit.jpg	https://www.juno.co.uk/j…ay-logo-edit.jpg	[ "https://www.juno.co.uk/junodaily/wp-content/uploads/2023/02/soundway-logo-edit.jpg", "https://www.juno.co.uk/junodaily/wp-content/uploads/2023/03/Miles-Cleret-WorldwideFM-edit.jpg", "https://www.juno.co.uk/junodaily/wp-content/uploads/2023/03/poso-art.jpg", "https://www.juno.co.uk/junodaily/wp-content/uploads/2023/03/ono-art.jpg", "https://www.juno.co.uk/junodaily/wp-content/uploads/2023/03/thaba-art.jpg" ]	[ "https://www.juno.co.uk/player-embed/SF459407-01-01-01.mp3/?pl=false&ed=23-03-01", "https://www.juno.co.uk/player-embed/SF790951-01-01-01.mp3/?pl=false&ed=23-03-01" ]	[]	[ "" ]	null	[ "Juno Daily" ]	2023-03-01T00:00:00	They started life as a vehicle for a collection of vintage Ghanian grooves, but have grown to become so much more....	en	https://www.juno.co.uk/j…avicon-32x32.png	Juno Daily	https://www.juno.co.uk/junodaily/2023/03/01/label-focus-soundway-records/	Soundway boss Miles Cleret talks us through their global goldmine Ever since Soundway Record’s 2002 debut release, Ghana Soundz: Afrobeat, Funk & Fusion in ’70s Ghana, the London-based label has been a reliable go-to for music from across the globe. Whether it’s classic Indonesian pop music (their Padang Moonrise compilation) or their terrific collection of Nigerian rock and psychedelia (The World Ends: Afro-Rock & Psychedelia in 1970s Nigeria), Soundway’s catalogue is a goldmine. We talk to their founder, DJ and record collector Miles Cleret. WHAT’S THE NAME OF YOUR LABEL, AND WHO RUNS IT? Soundway Records. It was run by me (with the help of lots of other people) from 2002 until 2021 when I went into business with Jeff Waye and Patrick Curley who were formerly involved with Ninja Tune North America and also run the publishing company Third Side Music. WHEN & WHY DID THE LABEL START? Our first release was in 2002 but really I began it in 2001. It was purely a vehicle to release our first compilation Ghana Soundz: Afro-Beat, Funk & Fusion in 1970s Ghana. After lots of enquiries I couldn’t find a label that would agree to release the collection in the way I wanted to do it, so I started my own label after multiple trips to Ghana to license the material. Luckily it got a great response and spurred me on to do the same thing in other places. GIVE US A BRIEF SUMMARY OF WHAT YOU’VE RELEASED SINCE THEN…. For about eight years we released compilations and re-issues of music from the 1960s and 70s from places like Ghana, Nigeria, Colombia, Panama, Benin, Ethiopia and The Caribbean. Then we started to add contemporary music to the roster that had a similar vibe – funk, psych, electronic with a ‘tropical’ influence. Acts like Ondatropica, Ibibio Sound Machine, Fumaça Preta, Family Atlantica, Batida, Chico Mann, The Meridian Brothers, The Mauskovic Dance Band, Dexter Story & The Flamingods amongst others. We then started opening the remit up a bit on the compilation and re-issue side by putting out compilations and re-issues from Kenya, Thailand, Brazil, Spain, Argentina & Indonesia ranging from the 1950s up until the 1990s and have put out releases by contemporary acts that open the genre boundaries a little further like Vanishing Twin, The Heliocentrics, Lord Echo, Felbm, Julien Dyne, Reuben Vaun Smith, Pigeon, Gabriele Poso and more. WHAT QUALITIES ARE YOU LOOKING FOR IN THE MUSIC YOU RELEASE? Most importantly I have to like the music and the people who make or curate it. I suppose that’s one of the great things about running a label – you get to choose what direction you want to go. I personally like to keep putting out stuff that people don’t expect us to put out – the minute we start getting pigeonholed it’s time to move into a new direction and open it up further and further. I have very broad music tastes so the sky’s the limit, I wouldn’t want to paint the label into a corner stylistically or we’d start to run out of ideas. WHAT KIND OF VISUAL IDENTITY DOES THE LABEL HAVE (ARTWORK, VIDEOS, ETC)? It’s always been quite colourful, and dynamic and has had a huge Influence from artist and designer Lewis Heriz who I’ve worked closely with over the years to come up with a style that’s very much his own but often a little more angular and less free hand than some of his work for other labels. He hasn’t been involved on every release but his work over the years has been a big part of our brand designing some of our most iconic covers. As time goes on artwork has become more and more release specific and some contemporary acts have their own ideas about how they want releases to look – I’m generally not a great fan of identikit release aesthetics on some labels wherein every release is set out on the same template as all the others or uses exactly the same fonts etc etc. I’d get bored by that after a while, I think. WHAT’S BEEN YOUR BIGGEST SELLING RELEASE TO DATE? TELL US A BIT ABOUT IT AND WHY YOU THINK IT WAS SO POPULAR. Ondatropica was a huge one. It just snuck in at the end of the CD era which helped, as we did two versions (one regular and one case-bound deluxe version with a big booklet). The recording itself was partially funded by The British Council as it was part of the cultural funding budget for the 2012 Olympic games held in London. That allowed Will and Mario, who recorded, conceived and produced it, to be able to properly pay 44 musicians (aged between 18 and 82) over the space of three weeks in the Fuentes studios in Medellin (Colombia’s Abbey Road, which has since sadly closed). It also allowed them to have photographer Brian Cross (B+) on hand to document it all so well, and all this pushed us to put a lot of hours, money and effort into getting it looking and sounding timeless. Our compilations Doing It In Lagos, Ghana Special, Nigeria Special and the Kiki Gyan: 24 Hours In A Disco retrospective are all up there as well. NAME ONE RELEASE THAT YOU THINK DESERVED TO GET MORE ATTENTION THAN IT DID. The album by Thaba that we released in November 2020 (sleeve above). It’s a heartbreaking story – Khusi Seremane the South African singer and songwriter of the album, died at the age of 41 from health complications as we were preparing the record in July 2020 – in the thick of the first lockdown period. The record, whilst mostly a deep soul-pop album, is a mixture of styles and references that he and producer Gabriel Cyr slowly moulded together over a period of time. It’s got a slightly nostalgic, at times sad and instrospectic feel to it which I suppose in hindsight, in the winter of 2020 was just not what people wanted to hear then. IF YOU COULD SIGN ANY ARTIST, ALIVE OR DEAD, WHO WOULD YOU CHOOSE AND WHY? Bibio. His sound is unique and always fresh, touching and surprising. A true UK original. WHICH OTHER LABELS DO YOU ADMIRE AND WHY? Now: Warp Records, Radio Martiko, Backatcha, PPU, Yoruba Soul, Bongo Joe, Growing Bin, Trunk, Finders Keepers, Flightless, Philophon, Sacred Rhythm. Then: Ice, Savoy, Gherkin, Underground Resistance, early-era Island Records, Cook Records, Studio 1, Amha, Irama, Ondina. WHAT CAN WE LOOK TO FROM YOUR LABEL NEXT? We have a lot coming up. Amongst others we have re-issues from US early 80s ambient/synth group Circus Underwater, Serbian duo Nenad Jelić and Laza Ristovski. Guyana’s Yoruba Singers, Ex Motown artist and Spinners frontman G.C. Cameron, Ghanaian early artist Rex Omar & Cameroonian visionary producer and keyboard player Nkono Teles. A new 45 series kicked off with releases from Trinidad and Indonesia. Contemporary releases by Felbm, Pigeon, Pedro Ricardo, NZ spiritual jazz outfit The Circling Sun & a collection of unreleased tracks and alternative versions by Lord Echo. Volume 3 of Nigeria Special & Volume 2 of Ghana Special – both focusing on music from the 1980s this time, a compilation of 1970s SE Asian music compiled by our general manager Alice, aka Norsicaa…..and more. Noah Sparkes
1053	dbpedia	3	32	https://dbpedia.org/page/Pljuni_i_zapjevaj_moja_Jugoslavijo	en	About: Pljuni i zapjevaj moja Jugoslavijo	http://commons.wikimedia.org/wiki/Special:FilePath/Pljuni_i_zapjevaj.jpg?width=300	http://commons.wikimedia.org/wiki/Special:FilePath/Pljuni_i_zapjevaj.jpg?width=300	[ "https://dbpedia.org/statics/images/dbpedia_logo_land_120.png", "http://commons.wikimedia.org/wiki/Special:FilePath/Pljuni_i_zapjevaj.jpg?width=300", "https://dbpedia.org/statics/images/virt_power_no_border.png", "https://dbpedia.org/statics/images/LoDLogo.gif", "https://dbpedia.org/statics/images/sw-sparql-blue.png", "https://dbpedia.org/statics/images/od_80x15_red_green.png", "https://www.w3.org/Icons/valid-xhtml-rdfa" ]	[]	[]	[ "" ]	null	[]	null	Pljuni i zapjevaj moja Jugoslavijo (trans. Spit and Start Singing, My Yugoslavia) is the eighth studio album by Yugoslav rock band Bijelo Dugme, released in 1986. Pljuni i zapjevaj moja Jugoslavijo is the band's first album recorded with vocalist Alen Islamović, who came to the band as replacement for Mladen Vojičić "Tifa". It is also the band's first album since 1977 live album Koncert kod Hajdučke česme to feature keyboardist Laza Ristovski as the official member of the band and the band's last studio album to feature keyboardist Vlado Pravdić.			DBpedia	http://dbpedia.org/resource/Pljuni_i_zapjevaj_moja_Jugoslavijo	dbo:abstract Pljuni i zapjevaj moja Jugoslavijo (trans. Spit and Start Singing, My Yugoslavia) is the eighth studio album by Yugoslav rock band Bijelo Dugme, released in 1986. Pljuni i zapjevaj moja Jugoslavijo is the band's first album recorded with vocalist Alen Islamović, who came to the band as replacement for Mladen Vojičić "Tifa". It is also the band's first album since 1977 live album Koncert kod Hajdučke česme to feature keyboardist Laza Ristovski as the official member of the band and the band's last studio album to feature keyboardist Vlado Pravdić. The album was polled in 1998 as the 53rd on the list of 100 greatest Yugoslav rock and pop albums in the book YU 100: najbolji albumi jugoslovenske rok i pop muzike (YU 100: The Best Albums of Yugoslav Pop and Rock Music). (en) Pljuni i zapjevaj moja Jugoslavijo (trad. Sputa e canta, mia Jugoslavia) è l'ottavo album in studio del gruppo rock jugoslavo Bijelo Dugme, pubblicato nel 1986. 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Kenović, G. Bregović, I. Arnautalić (en) dbp:music Traditional (en) G. Bregović (en) dbp:name Pljuni i zapjevaj moja Jugoslavijo (en) dbp:nextTitle dbr:Mramor,_kamen_i_željezo dbp:nextYear 1987 (xsd:integer) dbp:note "Imagine" (en) "There's a Watermelon-like Full Moon over Bosnia, Tonight" (en) ""Fall, Force and Injustice"" (en) "And You Let Me Down Too" (en) "Can't You See I'm Making a Fool Out of Myself" (en) "Let's Go to the Mountains" (en) "Song for a Little Bird" (en) "Spit and Sing, My Yugoslavia" (en) "You Were a Rose, Now You're Not Anymore" (en) "That Night When I Die, When I Leave, When I'm Gone" (en) dbp:prevTitle dbr:Bijelo_Dugme_(album) dbp:prevYear 1984 (xsd:integer) dbp:producer dbr:Goran_Bregović dbp:quote I made Bregović aware of Koča's phenomenal singing. Spanish songs, classic French chansons, the man definitely had musical sense. However, Koča's a serious, cerebral guy and I had my doubts whether he'd accept... and I told Bregović as much. So, I reached out to Koča with the offer, and, sure enough, he would have none of it. However, Goran wasn't deterred, saying: 'Alright, find me another old communist revolutionary then. Anyone will do'. So I contacted Tempo who of all of them was actually the worst musically. Then, Goran and I went down to where Tempo lived. We got to Tempo's house and as we approached it, he greeted us by singing the song. He had been practicing already. (en) dbp:quoted true (en) dbp:recorded Jugoton Studio, Zagreb (en) RTV Sarajevo Studio I, Sarajevo (en) dbp:released November 1986 (en) dbp:salign center (en) dbp:title dbr:Padaj_silo_i_nepravdo Pljuni i zapjevaj moja Jugoslavijo (en) A i ti me iznevjeri (en) Hajdemo u planine (en) Noćas je k'o lubenica pun mjesec iznad Bosne (en) Pjesma za malu pticu (en) Ružica si bila, sada više nisi (en) Te noći kad umrem, kad odem, kad me ne bude (en) Zamisli (en) Zar ne vidiš da pravim budalu od sebe (en) dbp:type Studio album (en) dbp:width 33.0 dbp:wikiPageUsesTemplate dbt:Authority_control dbt:Bijelo_dugme dbt:Cquote dbt:Ill dbt:Infobox_album dbt:Quote_box dbt:Reflist dbt:Small dbt:Tracklist dcterms:subject dbc:1986_albums dbc:Bijelo_Dugme_albums dbc:Diskoton_albums gold:hypernym dbr:Album rdf:type owl:Thing schema:CreativeWork schema:MusicAlbum dbo:Work wikidata:Q2188189 wikidata:Q386724 wikidata:Q482994 yago:WikicatBijeloDugmeAlbums dbo:MusicalWork yago:Album106591815 yago:Artifact100021939 yago:Instrumentality103575240 yago:Medium106254669 yago:Object100002684 yago:PhysicalEntity100001930 dbo:Album yago:Whole100003553 yago:Wikicat1986Albums rdfs:comment Pljuni i zapjevaj moja Jugoslavijo (trad. Sputa e canta, mia Jugoslavia) è l'ottavo album in studio del gruppo rock jugoslavo Bijelo Dugme, pubblicato nel 1986. (it) Pljuni i zapjevaj moja Jugoslavijo (trans. Spit and Start Singing, My Yugoslavia) is the eighth studio album by Yugoslav rock band Bijelo Dugme, released in 1986. Pljuni i zapjevaj moja Jugoslavijo is the band's first album recorded with vocalist Alen Islamović, who came to the band as replacement for Mladen Vojičić "Tifa". It is also the band's first album since 1977 live album Koncert kod Hajdučke česme to feature keyboardist Laza Ristovski as the official member of the band and the band's last studio album to feature keyboardist Vlado Pravdić. 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