identifier
stringlengths 1
43
| dataset
stringclasses 3
values | question
stringclasses 4
values | rank
int64 0
99
| url
stringlengths 14
1.88k
| read_more_link
stringclasses 1
value | language
stringclasses 1
value | title
stringlengths 0
200
| top_image
stringlengths 0
125k
| meta_img
stringlengths 0
125k
| images
listlengths 0
18.2k
| movies
listlengths 0
484
| keywords
listlengths 0
0
| meta_keywords
listlengths 1
48.5k
| tags
null | authors
listlengths 0
10
| publish_date
stringlengths 19
32
⌀ | summary
stringclasses 1
value | meta_description
stringlengths 0
258k
| meta_lang
stringclasses 68
values | meta_favicon
stringlengths 0
20.2k
| meta_site_name
stringlengths 0
641
| canonical_link
stringlengths 9
1.88k
⌀ | text
stringlengths 0
100k
|
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
1053
|
dbpedia
|
2
| 29
|
https://thecarverystudio.com/the-carvery-studio-monthly-round-up/
|
en
|
The Carvery Studio: Release Round Up 2022
|
[
"https://i0.wp.com/thecarverystudio.com/wp-content/uploads/2023/03/roundup_grid4.jpg?fit=1440%2C810&ssl=1",
"https://i0.wp.com/thecarverystudio.com/wp-content/uploads/2023/03/roundup_grid4.jpg?fit=1440%2C810&ssl=1",
"https://i0.wp.com/thecarverystudio.com/wp-content/uploads/2023/03/padang_web2.jpg?fit=768%2C576&ssl=1",
"https://i0.wp.com/thecarverystudio.com/wp-content/uploads/2023/03/padang_web2.jpg?fit=768%2C576&ssl=1",
"https://i0.wp.com/thecarverystudio.com/wp-content/uploads/2023/03/diggersdozen_web2.jpg?fit=768%2C576&ssl=1",
"https://i0.wp.com/thecarverystudio.com/wp-content/uploads/2023/03/diggersdozen_web2.jpg?fit=768%2C576&ssl=1",
"https://i0.wp.com/thecarverystudio.com/wp-content/uploads/2023/03/forest_web2-1.jpg?fit=768%2C576&ssl=1",
"https://i0.wp.com/thecarverystudio.com/wp-content/uploads/2023/03/forest_web2-1.jpg?fit=768%2C576&ssl=1",
"https://i0.wp.com/thecarverystudio.com/wp-content/uploads/2023/03/felbm_web2.jpg?fit=768%2C576&ssl=1",
"https://i0.wp.com/thecarverystudio.com/wp-content/uploads/2023/03/felbm_web2.jpg?fit=768%2C576&ssl=1",
"https://i0.wp.com/thecarverystudio.com/wp-content/uploads/2023/03/opera_web2.jpg?fit=768%2C576&ssl=1",
"https://i0.wp.com/thecarverystudio.com/wp-content/uploads/2023/03/opera_web2.jpg?fit=768%2C576&ssl=1",
"https://i0.wp.com/thecarverystudio.com/wp-content/uploads/2023/03/introducing_Web2.jpg?fit=768%2C576&ssl=1",
"https://i0.wp.com/thecarverystudio.com/wp-content/uploads/2023/03/introducing_Web2.jpg?fit=768%2C576&ssl=1",
"https://i0.wp.com/thecarverystudio.com/wp-content/uploads/2021/05/selva-label-thumb.jpg?fit=768%2C432&ssl=1",
"https://i0.wp.com/thecarverystudio.com/wp-content/uploads/2021/05/selva-label-thumb.jpg?fit=768%2C432&ssl=1",
"https://i0.wp.com/thecarverystudio.com/wp-content/uploads/2020/10/bonobo-final-days-featured.jpg?fit=768%2C432&ssl=1",
"https://i0.wp.com/thecarverystudio.com/wp-content/uploads/2020/10/bonobo-final-days-featured.jpg?fit=768%2C432&ssl=1",
"https://i0.wp.com/thecarverystudio.com/wp-content/uploads/2021/08/sun_ra_oakland_web.jpg?fit=768%2C432&ssl=1",
"https://i0.wp.com/thecarverystudio.com/wp-content/uploads/2021/08/sun_ra_oakland_web.jpg?fit=768%2C432&ssl=1"
] |
[] |
[] |
[
""
] | null |
[
"izzyajones"
] |
2023-03-09T04:00:57+00:00
|
Rounding up our favourite releases. Each month we will share with you a hand-picked selection of records that have had The Carvery treatment.
|
en
|
Carvery
|
https://thecarverystudio.com/the-carvery-studio-monthly-round-up/
|
Padang Moonrise: The Birth of the Modern Indonesian Recording Industry (1955-69), Various Artists
Padang Moonrise is the story of modern Indonesian music that emerged underneath the volcanoes of Java and Sumatra. This compilation brought to us by Soundway Records features traditional songs from Java, Sumatra, Bali and beyond, re-imagined by a small group of state-sponsored musicians that also composed and arranged new music. These songs are aimed at consolidating a geographically disparate country with a new language and new ideas of national character. The results are a unique blend of styles that have remained mostly insulated from the world outside of Indonesia until a recent worldwide resurgence in the interest of recorded music of all forms has shone a new light on these nearly forgotten recordings.
Diggers Dozen, DJ Muro
Diggers Dozen presents its first compilation on BBE Music, curated by Japan’s King of Diggin’, DJ Muro. A 12-track release showcasing Japanese jazz-funk and latin-jazz produced in the 70s for Nippon Columbia. Fusing traditional Japanese instruments and melodies with jazz, funk and latin, these tracks are composed by some of Japan’s finest jazz composers and musicians including Kiyoshi Yamaya, Tadaaki Misago & Tokyo Cuban Boys, Kifu Mitsuhashi and Toshiyuki Miyama. The original vinyl upon which these tracks first featured have been deemed super rare among the collector market and have not been available outside of Japan before this release.
Forest, Forest
Long lost and much sought after Private Press from Western Massachusetts band Forest. A distinctive Acid-Jazz, crossover AOR, soul sound recorded by this touring band who stood out for having two drummers. This re-issue released on BBE Music comes with 6 previously unreleased tracks.
Elements of Nature, FELBM
Following a 2 week residency at former monastery Buitenplaats Doornburgh, Eelco Topper aka FELBM collaborated with a cast of local guest musicians on flute, saxophone and cello, infusing the original rhythmic foundation of percussion and acoustic guitar with a lush melodic backdrop. The resulting release out on Soundway Records, titled ‘Elements of Nature’, marries the fluttering melodies and lo-fi cassette sound of earlier FELBM releases with a new conceptual approach and more varied sonic toolkit. Here, Topper successfully preserves the joyful naïveté of the Tapes series while exploring sweeping new ground, resulting in a decisive step forward for Felbm as a composer, producer and artist.
Opera, Nenad Jelić i Łażą Ristovski
Soundway Records reissues a limited 1000 vinyl 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.
Introducing, Hideyasu Terakawa Quartet Live ft. Hiroshi Fuji
As part of BBE Music’s J Jazz Masterclass Series, a reissue of the 1978 private press album ‘Introducing’ by the Hideyasu Terakawa Quartet featuring Hiroshi Fuji. With only 100 copies pressed at the time of its original release, this extremely rare album has been reissued by BBE Music for a wider audience to enjoy. The recording itself was a beautiful anomaly given that saxophonist Terakawa never performed again with vibist Hiroshi Fuji. Recorded live in concert at the jazz spot DIG in Masuda City, Japan during Terakawa’s regional tour in 1978. Unlike other J Jazz Masterclass releases, the album contains no original compositions but rather fascinating interpretations of material by leading jazz composers such as Wayne Shorter, Frank Foster and Milt Jackson and Jimmy Heath.
|
|||||
1053
|
dbpedia
|
1
| 85
|
http://alsomniflick.blogspot.com/2014/08/
|
en
|
Al's Omniflick
|
http://alsomniflick.blogspot.com/favicon.ico
|
http://alsomniflick.blogspot.com/favicon.ico
|
[
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglTyAtptOCRhH4bjYPw6-QAyy1pVaZFzTuVkqMn7ZTK80LirNkfUV-97zLw3uf3JVu0nkANHwWGlbrhodX8jEtGUPCwEHs0yD7Jv6Q30TgJt_EFQ7xe7KHnBP_zMh9q85CZVLueZekzPk/s200/nov2.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_6ThImb_HcWliByMhYjRfJr_yXn90FI0g_FZgjudZPXBhEaAfqF37bm0uCJS3l_s8yn_h3MjA6RWmR45fb-c6r03u-N8juaAiW5pBzoDIvJBX8YFa-34F9rRxuS5EnLkWXxoFDXXBMCw/s200/nov3.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbPuwkInU1aSHFmXgSEu4ZoR22OauYqg4wnX7E_vktOv_mY-Ep1i5B1hws06oYqpum_aX69o39nFygUcrCRpjYdGGJJA1zk8hx2z6_02SwIpKBe8zrOqHuQFT82qquvP6GvV-BRAsq6sg/s200/nov4.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaS1ugLVRJxb9_TBmlecD_nYFZudqC5zhd0K5-TiZE4qmOxBl_0jd9qMubXhyJIsbsNEbQda2y8zwUkFXinHddMi2Tk7fGVbs5J86XIevhcX31TdYpwqfiiZrt_GvgfDVJvAFS_YHPNv0/s200/nov5.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwNPwhARhGRvFDWVu_oHd5kbq7fujo4uMWTEc8sataNr7tLSz9vIDRcmufCOd1r2YEnCBUXWPp3ZxxSMB2teUgSKWL4__fRoPF_JpmsjCMOG6oP6ghTS6wPepFRk903rbakkE2A4qSDA0/s200/nov6.jpg",
"https://resources.blogblog.com/img/icon18_edit_allbkg.gif",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnArD7SL9E_dTNe-KKwBFLwOa3oAUH1qCbc_SbhgG8EX0EmxMA1Hwp27wyuEdnfTLBJFZKO-LDHO5S9VTodHe2cnqZ6EEjV_XG3LHT4Kx7ROOYEhig4PerSlYBAlay5GseZqPsAqNaxI0/s200/cave1.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEis6IrFbtJwbTynxaRBl3n3H22idLvjMxjTUctQilKaD-k8NvBKnivcxTR18ooV9n5Pm9-eHtxWhPKlcLIw1Zg0keGpcFVxxncgsxmIv5lxrRQ6s2wv2IYvYmwh6zXYJlR9qGC2J00tt_I/s200/cav3.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKpdsGBQRNoDf1c5i7prhcCmzWih13oCRhG8wO18i3s1C5576PE68Dc10-MESdLBmPFlfVCnGG1yXx3gCrw5I5A5LljH9fTfciqv8Zd18LzXn5PSk-nzOMvj_iSc5WZ9R7J82SnwNSijI/s200/cave2.bmp",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTVe4ZtPTa0zzRi5IHPo2_voVUROwRfHetv0wbmEarneKCk6K6NQprruadfwTE61q3qdPhPSpWUMIHCD3IaBbQvoil37MUVQqjRnaev2uMfePhVyU03GuO5WMTBwCL3ypglNYKIMR1254/s200/cave4.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgp7aCzcsP9t8EiiwLtv7rhGawkYX39KbLDN2lijDH3Vpqb7_3XCH1bORUsubV99-sK_ucPzwiZI2HUR_S9XZp98RAYIHy10OIERR0c1wcuU7jqahz3hZZY2Qc6scH6diXu6OWveyLStJ4/s200/cave5.jpg",
"https://resources.blogblog.com/img/icon18_edit_allbkg.gif",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguYM07Bruk9EBcJqCMZtG6uFQYKiN6knsfFx58VJ6pLhks_zU6oBPBp79bfJ3nsbcdb0FViNwdooz6oV9PL2pHigWikej1zFbYj9kvjSyAAgsJiS4HiJzemS14aufu2x9Cf10dBvhuNMc/s320/if+i+stay+2.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEie4WZugjXU1gYAdkMoIE-fwnWfhEKKmaXQdENkAkvv6OfpiZWoXQ7ELKlHY7sD1n4L0vdye7Vl24Z4OHHaFjKCTfDtbssG4zOBIjYgyfm-TKGbD3hZaSB5TtwWSmw3C3HI4EiTECpgzx0/s320/if+i+stay+6.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9RbB-ptIhwSmNAr6tSI1k3xhAWDbr4Zk9MW0onqvnYe03Ve9PlFDGfpiqB9vmoNHJ9HuC6z0KAo0vtONg08VedPupEdvSPgj29kGvCzeSK1g5SbMB3-F3NzVsFZ2FirYM5iJpj2VHHd8/s320/if+i+stay+3.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXdlGQoAX_gxIp-XGdr5CjNx4JNIDvv8qR_ha7w_GbI0iB0vlU3z9gyOfZOD1U3c-VWaLCoSInsSvKDBxVnjdiDK_wVTzW7GIPGIsxKwzjt1Fh7zrV6bJ4cAauIX6HzmzvZjsDIGNjI-g/s320/if+i+stay+4.png",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIe178jgaDqf4bHcTSJnaPfo33_9xD7U7vYsRGoNcGB9OjwElodV_8PhnXeUOBvieQq9txfcVZjSUIjTCHLfMoxwiuoAwzBJTpCoz9rxysDizyVSzY_h8AqOOcYrv_aoYQ3-cKIRuGyNw/s320/if+i+stay+5.png",
"https://resources.blogblog.com/img/icon18_edit_allbkg.gif",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeawKEHmM9L6J9uvQ7j8zZWRsxyEvhN3cflRDfwxWB1XEhsHn01J8kQ-A_2mswxLdZiK1VNZztXMwTevnVETqsP53K4aAb3HLwgK7ZwVcrhiDPFv-JxNArLji4K_fxcRYnoQMfeNL3UCU/s320/meryl.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiF0aE9VhYG_AXbtVvjjAHQVNQ6_ZItfxJiUGlNL5sV8HeNRS3NRJgNpe5gK31V6dNZw9cmmgkF6jH-RfhvpiPDBe8caSpUN1ucWebLDKRxj4Pk2nxXOoazjRELTSuXis7Bq6clEosRQIY/s320/nouvelle.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiraMD8MJUI_lJFBCKPlWRffyGVXeaDJSVB4jAxl9CZVXlrPTWdlWkaJpcCxh28IZoreVxQQyqthw4fSASBFd67w_ITm_MWJnD0iCDzIpnd70Cmwiwnm7wyr2J2o1DJCMjyFLalCaoaM8/s320/casablanca.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgD0NJ95WXKaIUFqtp25vO3hCtdFexbZpT6-gRwj3RjjJwBN3Lm4dxvAKHRoO5t5Ybe_YhykScoL8Cm_mBy_we5neaNvPwlBn65L1cJl2y67i8ksCWn81qao2Yr65I6hsrsqfB0zAA0SaM/s320/forrest.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0ddd-TBATydomTHSOV5ITyihpxHbR35rmLn35PCFVdPCtotEzoNWFCmafii87mQi1TgyeOf1iNR-vvuJBoiLqPNTG_oxutH6eFiIy4n1x7vVG46iqsKFisBP4MKm48AnMQg-CLzI_Ruw/s320/sound.jpg",
"https://resources.blogblog.com/img/icon18_edit_allbkg.gif",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDkit16n3Cc5dZmNLy6vjSaamvplw24mis-OCT_FaY6Qe7iKikcbNdMlQ8to5OHn6TjNPgnAvWFtZHrSKxuiOfNSTrRsGFlPXZUYndXemyTC2ryWIPsXEDy2NDcessgxFHCPv6-k7qk-0/s200/sin2.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdNsjtCPBuZ7xzf5IRFk7pOfN346UDwaL5b80bSOpBOa9scXJsBgv2cRypo1t6CkZPBiylK6LobYHf7VdgpS0_DYq3p7pcg9eqLg6w4jT5pUktWIYx_JBORXn5ItLhC58gJm89gwQiBD4/s200/sin3.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqc8YEjjrhS7gqaxw2IFHeTbzCZtglEN5x9-ip4Ojjmu18WyX-DSiTfwkMs2yIU434mdP1nOEyH-V349nwMAiZAdk17w-FJlOgK2qDOLg9FAo-bRl5njQg7UcsO0aDVUGZmcdaJtcpyKY/s200/sin4.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhW5kbOepGYb5p_BOTP894qj0GknAlZuhHg6ewB4x0IQ8fNS_Inn25HGyPgwug_xFVGUImyuQhka-LyIgJh0ECdY1Xxk6BIwT0n8zQjCUkLVqoEWNbh1spNv_yKmIN3WuwwXAt9VhyJGRg/s200/sin5.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDORgqMOO0cdheelkBPo_p9q_VZJthY20eA5fQZLjjcCZmHorNXuYMHolVL5bkrN543dWUMdOrWCVXmqrzJT4gAhNChfagmph2b84-v8DbCepbPCpbG8u6kH6NDqsWtuQ8Nr-igtIfUgA/s200/sin6.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioSErsDBlTtCFHDBqSvqpB9yieI8efFQuAhtLJDY9RclI0C83Wl2QiI0eUMci8zt3BcJnP9zrMyAF2u5_LWNFo4d8PkVxNR6Jv34ZQFE2YQt9yFpaorgIj9ybCNwZCG-d7TpMMALqAGpA/s200/sin7.jpg",
"https://resources.blogblog.com/img/icon18_edit_allbkg.gif",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrEzmrRAtFN6M_uCkBTNh_D_x-geixWuWJkC36bIwrMtMKgKDVC3I2DS0eS-PjdBfv3T2O_tVgYp1qUcuawmvtcKxyqWeocyWxYJMlPMB1OqVH8S2PFwdQiM-q7U4fTJPOdRqm8orhe3Q/s400/expend.jpg",
"https://resources.blogblog.com/img/icon18_edit_allbkg.gif",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhX0PPXwLVUO9dEH3cz8r1CBWEw3PKYaufv-KnGdDZ-EkcoawMjXGRtgjvryp31QmokzxH0eIxiXjT1gQOBKg_eQiXra8l6yYuPbKjmi65r_VotcytQDxiMGxUzMdEMHOrNKD1TUDE2-8M/s200/78-2.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-1qD37t1ozFuep7vNcwvfTiAXd8GA9bH1MoJ-o-3IrhowxSXKjK-OfwdL01G_Avjng7atu_bDcK4Ge8NJcLq4Q1WVH2_MRSCjkVszAutSHtaxs3WRpVPRX19sbr6oXpg4U0KZNxZX9P4/s200/78-3.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmI1u5jNR8R2EVmy4GdBm2xE8KXnTex15y95RrmpFUmcKrikGYqMuOkvBineZ4UF6qo74IuEpo7DKZH9zXJDkwOMu8SfWCr0aFAxAHnvmmlt3whCtaTDSfhQkmjjV9YkUn-kUppgE_94c/s200/78-4.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhShl5sQJy6zGfYETaAVsFVxIsazpVVUUXWz9GsV_ok2OF-2gw4DWC-KiCNY6ZAkUWrPhD_d_-5ZXGwWJcIuvM51hd6BC3NQvQAvAzAVJU5_tHB-SioGX_dWuLQ706GfulyXVsAB9yF-u8/s200/78-5.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCoI40eoY6m7YcppISiT2On5uv5LGn4zpnkb2jXYUP1C6R6Dhn2AdoxsPmhMZhK8VFZhUWjG2I6XyA00HQqZQpZ_6PC9f2BT7kd4NuCPxJnWztN97LwMJQz-E6Injj7ryh_LwLs3imLjw/s200/78.jpg",
"https://resources.blogblog.com/img/icon18_edit_allbkg.gif",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1hbREEpp9LVQzjjfdFaBG6ucgkH1TxVIQ-lg_RWNxwBXL_Bf1UxR7Gq5qN8wxWpG9DErx62Lo2D9Xka3u3sGammH-F8x0m34UhnqAD8iI7tCT1M9Y87H407qAsEVJrHIXWh59G-BjE0Y/s400/what-if-daniel-radcliffe.jpg",
"https://resources.blogblog.com/img/icon18_edit_allbkg.gif",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYxYDU7C8DsyilKqmiAsOmURjYVc13f4THQjUEeBfQp3cTSsniObP_q-s8MERXy7msQ32-82X6K8PziuENaFceQDk-c-FlnvsTPaFQnN9bh_FOrqZ4aZ-f-j2w4UTsJkY3tthg89HExiw/s200/giver4.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgF4Ibja5FeaNQ7UomxOa_d7ELbHI17BML67-Yws06fdQmVQwYvFM2TDTYJbcggiXmOCdG4cEj_lyWqaMLDZ5nGPp3JEH5VKf7zJH9xhbcNkav3CNDlg6vQtAShe_-2-ViCdMBiv9ygqoc/s200/giver3.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBFxYkZCr4pZeJWwwWMGGjPx5-qO-ivojwcdUU7_a9B_1e_T0vpt55hGxxuuKONPXyPL1wJUAGxJzssHAexKf4Xm6F1rrZWeY1-m0uzjtBI7P7y_D1bqh9sJ3WeCxPyMJRP8LIYbVai7A/s200/giver2.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxTtY_iTf-udX58XjvkmeAtdURtZM25eWPsnSVIFqNBncU0pCABUjQpYBytFzQ-Sv_ufVx08QtHeizmjlFjkxwYejfXsJYrY_1-f0_d3eOqR2yiLlDUMtPsX2GcgCVQJp4aXHDB9j-cbc/s200/giver1.jpg",
"https://resources.blogblog.com/img/icon18_edit_allbkg.gif",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAd2xp74lCbM1oGDq2CO91XU2aCsMZWsf47UhCVGFbaqb399CTh88S_mGYp72lb7RgMIJXZmDg6IqqR7FQ06ZQvBONXyMAHfRlNejTo7QGnpc7pt0KeEfq4rEpt-H-7uSeWEll4OjwXZ4/s200/1002.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEGEYNjOiS_vQu5n9uYguaTFVOWeuIM7KL5RhRLi649nqksyd7sIrDB3-8tB8Ht16q0HQQiq3RWqLbCJLqqS741QHpPk8VNfNuJVY_F_qs7j_w_ASenWGVFwBTqLetnQ62gpZVAefGhdw/s200/1003.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtkQ5gpTqkImypGwv3wg75hWe9i3OxtoHXOEbbM0ZupOhlYfWJnfPPt_hZ1IzV0STGm9wsrh7cFttr2VT5CDfTAcacnxlZhbn_xbTDOeUk4QbYGBOibojvco4MRJSTRNlT5L7uUBO7QZU/s200/1004.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlD3Zf03ULiqc4NfN80DgAuYKAjhDmHcGBSP7O5G1ujfq-RPUoBJ-Srhl7QTSZifeGGMt2JzxFJkGS4a2-hEP4PcRFd9cWddd6uFvEAJ0RT5VRGyceq1h6fGeDFs_qsAeoBxxrVsYXrdw/s200/1005.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQPZlnLW1GoE2m9Yqys9be2Sf9ALEs8q6Gn7tJ5A0Ie5GEWsbfk_pWAC3gELyIOKMdYIeyNxHVcd3pQPbnVX9Js9T5Dqw7GyTSDRZX_ImnHTLkjUd1LzJb_LzsNYaFW7u5ifWyAz2EvQk/s200/1006.jpg",
"https://resources.blogblog.com/img/icon18_edit_allbkg.gif",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi07_Y-c98l_At_4-GQdJKqGvRKh4nVImjbOxoaz44cbt8lK0AMA4levkKVPRrQed_YMpOpBDsImfoJzPjOIGD71poHrcfjUS9VRy9CalWeUvH8bfUzHAgGmbMTJOQwvlnI0oLcE52tFqE/s320/my1.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgd1cEINondXXG-OOtEdutTgt9ePlJW0vmUkQ6-19kL25kDyQhzHQwT3sQ9TG-pIS4TGCzUiRRq8xH-GuIQyHt8IpAUFz-6hqnFrFaChjDGTUxbZw-2rh_7Mttnn4JSfmQ5jjG2vJEr9a4/s320/my2.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9gmTHZyUbi-x-l51VWur-tLpg9vbmsVHIxZDyC3WE-dQ5iEwfllfGz8DXkvoO9r04SkZcVzSGnAlBbSaSis8UGb3ncPwacd3v0FuSgLOrR-8MuxoUjP_vz2wXeFZdN9vvZDRnFar5-QQ/s320/my3.jpg",
"https://resources.blogblog.com/img/icon18_edit_allbkg.gif",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3y_e_kIX0iymB-DkiiRS9Vz1Hj_-UoL_uax2LpHE6EiXtvZ4_N2dLZ6YGMofcmQ4AjTt-MK9gSFiBCtDZGVpFqmwTxYqvYa4LQiRRzUmLnJgQ2GTJ_5vCrm4MJZu3Hl0vlGMuqPXH6RY/s200/harlem2.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5spsUcc1OBUPQwYpoqmLRugz5tEDdZGlbqViPKVcJfpLmZHOeD4pXpArf4AgER2Ovmxl8fsooJegUfgQDmktaBGOO5hfdjR2Wi9HFJ4dCrIkzZxqB348aTDREzd7ibFolLeD-r7PxHbI/s200/harlem3.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-sBsIvCp_UOVILq3FRw4kyKrKwYXn4WVARU-PAwyHEErJnzFvE2aHS7BMurdW7YcNxPhN6SDsSwSq5ckEoFR3Sv9bq7DDLRdZWe84BjeeY6XjNCd-c3aucu3YmRX1J9ligK0XRY_Zwck/s200/harlem4.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh01fq06iYAjMc0rJwjt-FNM2Ghmea_PwskCiM1KgNCGfHjmVXnG_Z3i6qHDsTwKOTRkc156bqmrnYOejmgJLLKaxuRY0-jRZwzjRb4-3PlcRCDfDxEAWqHsUQsxtlgySiM4zROubCmhtc/s200/harlem5.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUbAXl7K__Gn58dllYR2048B0PUG1YpcZzcFkJh9-oZScB11t54Lc-_ZBsnvvHcluuwolAshCq7LtUXpnFXkrrWiO-aEUugtriPteKL_P9A1oaEdiGwWB9RMb0KJFaEE703UjSmi0es2E/s200/harlem6.jpg",
"https://resources.blogblog.com/img/icon18_edit_allbkg.gif",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOAf6hLZZUUwTq3Qh0B-NFEIavJsDnjBaEk3mBY2k-7y-L01OQGAU_h5Ult4azx5BLC2udZdwamupBqCqLbSBBMPKR48zaM50_JwyxhqK3hJTebpVrUmEJZf6BZ6GD3OkpNAAgpNfpVoA/w72-h72-p-k-no-nu/age1.jpeg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgh4r0lqBLZVJgXQ8XfrD_wtL5rpGimlblyxD9YI52QsHodoEYxiu67mhS2FMj1JHrgPEfwyxbioKhfrGdx_If63-FSWRc06VJBcXc41Uq_5gBxBll1Ix9rCAHBG_AmrJEAKr9auTDGXvpo/w72-h72-p-k-no-nu/w1.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWCwaFIPxmMSHyhMigBYBeZ0CMIcdEBDmwS24Du6_Zd_nyfmr7jSPtkMmwXnqT5FeL0XVc54wNCQOUMWExZkej1sLAVgpYxPU5kIhjaE5wSZeNptA2OW2RwcLh4w79-aXlm-foD7aDn0M/w72-h72-p-k-no-nu/71.jpeg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdi4rHOc4r6D1i2pjBoH55ylUBuaC7eHBYbYzcUH6rq4M8P3vU64RrCw62y1khIAb1DPzW5VJr18T-p7HcTYQCYOiKQbajX8BDJegmH-ZEi6reIhUsDtLEKpgwaDQBcJnvAwnkA5L3O-U/w72-h72-p-k-no-nu/rose1.jpeg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzAgl-SEGfWOdwaEs8jaijxWn25u0zata5AtUwPJRIWdqlp449LcXW7YZ142ySz-XKEgvKJtUeztdspDvBg2UXJ-3wJZBZVWLrzlWfZKFA9hqITOCr2rm2sR3jCnR8SXKhCnRHHFGvucDp/w72-h72-p-k-no-nu/d1.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRRVfV5QxXMusHbtoTnbJFu1MHAv6qjDozDpoQ-iEqX3tlBltOv3_3k1uuHHHnYsocAzAL7_A8_yollsHlWnq3xcbT1oWmVi8nW2QsmB3pDRvbOmy0jCUNl2N0OaPe_dT6R1nZFcAeQEZk/w72-h72-p-k-no-nu/s1.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgURwrjizMG63twTiK9mnzYQo46s_Vna5rp7lB_Vgb5_z4FghhX9l1nF-3owba201FK8vXcfHrJpKerkGeszIA1nZUsQNzJJTrL5T_PiAzxUAjJDXfIWUY5UW9CB17B3dUmSfipZmRbZbg/w72-h72-p-k-no-nu/guard7.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidd1hqGLPNZnx9pnOzQeu2PnBdpwsEkNrM-k5rcW0Q5lckzD-fXHts9l_-w-2fqL9f4zVOe7bIC7EK3KxrdhJ_O0hxUQEbbmzyd0Iyl5yrrW-D4V8WvU5Oh2JdY4Sr_qwNwSkfGUcJzJXb/w72-h72-p-k-no-nu/w1.jpg",
"https://resources.blogblog.com/img/widgets/icon_wikipedia_w.png"
] |
[] |
[] |
[
""
] | null |
[
"View my complete profile"
] | null |
Al's Omniflick: a blog about everything film; reviews of new releases, classic & foreign films, movies, documentaries, DVDs, plus film trivia quizzes.
|
en
|
http://alsomniflick.blogspot.com/favicon.ico
|
http://alsomniflick.blogspot.com/2014/08/
|
Fury (1936)
Director: Fritz Lang
Though we might normally think of the films M and Metropolis when director Fritz Lang becomes the topic of conversation, less known is the legendary director's work in Hollywood. Having fled the ever-growing menace of Nazi Germany for America in the early 1930s', Lang eventually found himself under contract for MGM.
Though his work in Hollywood is very uneven, one standout is Fury, from 1936. Starring Spencer Tracy and Sylvia Sydney, the film's condemnation of mob justice seems spectacularly daring now, considering lynching was still a reality in Depression-era America. We don't see one black person in the film entire but we know precisely for whom Lang film is sympathetic.
Spencer Tracy plays Joe Wilson, who is arrested in a small town while en route to meet his fiance, Katherine (Sylvia Sydney). Suspected of being part of a kidnapping of a little girl, Wilson is arrested on the flimsiest evidence. While he sits in cell; angry and indignant, Katherine is puzzled as to why her fiance hasn't arrived at their prearranged meeting place.
But Wilson's fortunes take a darker and more dangerous turn when a mob--already on edge--is roused to anger. Egging one another on, the mob moves on the jailhouse where Wilson is being held. As the angry gathering becomes a mass, drawing citizens of the town into their swelling numbers, a lynch-mob begins to form. The sheriff, determined to see due process take its course, refuses their forceful demands. Becoming angrier and angrier and bolder and bolder, the crowd storms the jail, overwhelming the sheriff and his deputies. Unable to unlock the cell doors to reach Wilson, the mob sets the jailhouse ablaze as an alternate method of lynching.
Katherine, having arrived on the scene, faints when she sees flames engulf the cell where her fiance is held.
In spite of the mob acting as a faceless entity, its principle members are brought to trial though the town and the defendants maintain a conspiracy of silence, hoping to escape convictions and censure.
A sure acquittal seems imminent until damning evidence assures their guilt. When the majority of the members receive death sentences, Wilson turns up at his brothers, having survived the fire. Knowing the public is unaware of his survival, he vows to stay in hiding to ensure the mob conspirators are executed.
The scene where Katherine, nearly insane from grief, comes face to face with Joe is a powerful moment in the film. As she slowly recovers from her state, she realizes Joe's vindictive determination to see the mob hang is in itself a great injustice.
The story climaxes during a stirring courtroom scene that brings the fascinating story to a close.
I would have never expected Hollywood to make a statement as powerful as Fury made in 1936. Given the fact that lynchings in America at the time went unpunished, the movie railed bravely, in spite of the main character being white rather than black, against what was then the status quo. The Oxbow Incident would make a similar and commensurately powerful statement seven years later.
The film's willingness to peer into the darker side of American life could be partly attributed to Lang, who co-wrote the story and who was no stranger to exploring the darker side of humanity. Having seen evil flower in his home country, it makes sense Lang would choose to tell this story.
Spencer Tracy and Sylvia Sydney give wonderful, emotionally layered performances. Katherine's near descent into madness is depicted touchingly by Sydney. To see Tracy's mild-mannered Wilson become angry and vengeful is heartbreaking.
|
|||
1053
|
dbpedia
|
3
| 6
|
https://www.proggnosis.com/Artist/749
|
en
|
BIJELO DUGME band / artist (Bosnia)
|
[
"https://www.proggnosis.com/Images/23Years.png",
"https://www.proggnosis.com/Images/Flags/Bosnia.gif",
"https://www.proggnosis.com/Images/ArtistLinks/www.gif",
"https://www.proggnosis.com/Images/Artists/B/B749.jpg",
"https://www.proggnosis.com/Images/Releases/B/B5709.jpg",
"https://www.proggnosis.com/Images/Releases/B/B1448.jpg",
"https://www.proggnosis.com/images/Reviewed.gif",
"https://www.proggnosis.com/Images/Releases/B/B24042.jpg",
"https://www.proggnosis.com/Images/Releases/B/B5637.jpg",
"https://www.proggnosis.com/Images/Releases/B/B24044.jpg",
"https://www.proggnosis.com/Images/Releases/B/B24045.jpg",
"https://www.proggnosis.com/Images/Releases/B/B23501.jpg",
"https://www.proggnosis.com/Images/Releases/B/B23488.jpg",
"https://www.proggnosis.com/Images/Releases/B/B23487.jpg",
"https://www.proggnosis.com/Images/Releases/B/B23486.jpg",
"https://www.proggnosis.com/Images/Releases/B/B23485.jpg",
"https://www.proggnosis.com/Images/Releases/B/B24043.jpg",
"https://www.proggnosis.com/Images/Releases/B/B23484.jpg",
"https://www.proggnosis.com/Images/Releases/B/B25579.jpg",
"https://www.proggnosis.com/Images/Releases/B/B24046.jpg",
"https://www.proggnosis.com/Images/Releases/B/B25585.jpg",
"https://www.proggnosis.com/Images/Releases/B/B23502.jpg",
"https://www.proggnosis.com/Images/Releases/B/B25578.jpg",
"https://www.proggnosis.com/Images/Releases/B/B5781.jpg",
"https://www.proggnosis.com/Images/Releases/B/B25583.jpg",
"https://www.proggnosis.com/Images/Releases/B/B25584.jpg",
"https://www.proggnosis.com/Images/Releases/B/B37831.jpg",
"https://www.proggnosis.com/Images/Releases/B/B37832.jpg",
"https://www.proggnosis.com/Images/Releases/B/B45366.jpg",
"https://www.proggnosis.com/Images/Releases/B/B45367.jpg",
"https://www.proggnosis.com/Images/Releases/B/B37834.jpg",
"https://www.proggnosis.com/Images/Releases/B/B37835.jpg",
"https://www.proggnosis.com/Images/Releases/B/B37836.jpg",
"https://www.proggnosis.com/Images/Releases/B/B25580.jpg",
"https://www.proggnosis.com/Images/Releases/B/B25581.jpg",
"https://www.proggnosis.com/Images/Releases/B/B25582.jpg",
"https://www.proggnosis.com/images/RapidSSL_SEAL-90x50.gif"
] |
[] |
[] |
[
""
] | null |
[] | null |
The description of my page
| null |
Bijelo Dugme formed around Goran Bregovic in 1971 under the band name of Jutro. After a few singles and a few years, the band adopted the name Bijelo Dugme.
As Bijelo Dugme, the band became one of the most important rock bands in Yugoslavia making music througout the 1970's and 80's and undergoing a number of line-up changes before ultimately disbanding in 1989. In 2005 the band came together for a series of reunion concerts, one of which resulted in a live recording being released.
Goran Bregovic is the most prolific and well known member of the band as he had numerous solo recordings and composed music for film.
Original member Vlado Pravdic was previously a member of Indexi.
Original singer Željko Bebek left the band in 1984 to launch a solo career.
|
|||||||
1053
|
dbpedia
|
0
| 26
|
https://osf.io/mepkc/%3Faction%3Ddownload
|
en
|
OSF
|
[] |
[] |
[] |
[
""
] | null |
[] | null |
en
| null | ||||||||
1053
|
dbpedia
|
3
| 24
|
https://www.facebook.com/photo.php%3Ffbid%3D223171707807273%26id%3D211380735653037%26set%3Da.211403985650712%26locale%3Dja_JP
|
en
|
Facebook
|
https://static.xx.fbcdn.net/rsrc.php/yv/r/B8BxsscfVBr.ico
|
https://static.xx.fbcdn.net/rsrc.php/yv/r/B8BxsscfVBr.ico
|
[
"https://facebook.com/security/hsts-pixel.gif?c=3.2"
] |
[] |
[] |
[
""
] | null |
[] | null |
Sieh dir auf Facebook Beiträge, Fotos und vieles mehr an.
|
de
|
https://static.xx.fbcdn.net/rsrc.php/yv/r/B8BxsscfVBr.ico
|
https://www.facebook.com/login/
| ||||
1053
|
dbpedia
|
1
| 46
|
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 f**k 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, f**k 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
|
2
| 44
|
https://www.slobodenpecat.mk/en/amerikanska-gimnasticharka-meta-na-kritiki-poradi-frizurata-na-olimpiskite-igri-dali-si-se-poglednala-vo-ogledalo/
|
en
|
American gymnast criticized for her hairstyle at the Olympic Games: "Have you looked in the mirror?"
|
[
"https://www.slobodenpecat.mk/wp-content/plugins/gtranslate/flags/24/mk.png",
"https://www.slobodenpecat.mk/wp-content/plugins/gtranslate/flags/24/sq.png",
"https://www.slobodenpecat.mk/wp-content/plugins/gtranslate/flags/24/sr.png",
"https://www.slobodenpecat.mk/wp-content/plugins/gtranslate/flags/24/tr.png",
"https://www.slobodenpecat.mk/wp-content/plugins/gtranslate/flags/24/bg.png",
"https://www.slobodenpecat.mk/wp-content/plugins/gtranslate/flags/24/el.png",
"https://www.slobodenpecat.mk/wp-content/plugins/gtranslate/flags/24/en.png",
"https://www.slobodenpecat.mk/wp-content/uploads/2023/11/A_WEB_10-GODINI_SP-600x97.png",
"https://www.slobodenpecat.mk/wp-content/uploads/2023/11/A_WEB_10-GODINI_SP-w.png",
"https://www.slobodenpecat.mk/wp-content/plugins/gtranslate/flags/24/mk.png",
"https://www.slobodenpecat.mk/wp-content/plugins/gtranslate/flags/24/sq.png",
"https://www.slobodenpecat.mk/wp-content/plugins/gtranslate/flags/24/sr.png",
"https://www.slobodenpecat.mk/wp-content/plugins/gtranslate/flags/24/tr.png",
"https://www.slobodenpecat.mk/wp-content/plugins/gtranslate/flags/24/bg.png",
"https://www.slobodenpecat.mk/wp-content/plugins/gtranslate/flags/24/el.png",
"https://www.slobodenpecat.mk/wp-content/plugins/gtranslate/flags/24/en.png",
"https://www.slobodenpecat.mk/wp-content/uploads/2023/11/A_WEB_10-GODINI_SP-600x97.png",
"https://www.slobodenpecat.mk/wp-content/uploads/2023/11/A_WEB_10-GODINI_SP-w.png",
"https://www.slobodenpecat.mk/wp-content/uploads/2024/07/FotoJet-42.jpg",
"https://www.slobodenpecat.mk/wp-content/uploads/2024/07/12395223.jpg",
"https://www.slobodenpecat.mk/wp-content/uploads/2024/07/Screenshot-2024-07-31-193853.png",
"https://www.slobodenpecat.mk/wp-content/uploads/2024/07/Screenshot-2024-07-31-193924.png",
"https://www.slobodenpecat.mk/wp-content/uploads/2023/03/PLAKANJE.webp",
"https://www.slobodenpecat.mk/wp-content/plugins/sendy-widget-pro/css/img/spinner.gif",
"https://www.slobodenpecat.mk/wp-content/plugins/sendy-widget-pro/css/img/spinner.gif",
"https://www.slobodenpecat.mk/wp-content/uploads/2024/08/NASLOVNA-6.jpg",
"https://www.facebook.com/tr?id=1043968199323958&ev=PageView&noscript=1"
] |
[
"https://www.slobodenpecat.mk/holivudski-dzvezdi-koi-uchestvuvale-na-olimpiskite-igri-eden-osvoi-i-zlaten-medal/embed/#?secret=gKkJ44ehXo#?secret=s2vsJI1bQ7"
] |
[] |
[
""
] | null |
[
"Јована Савевска"
] |
2024-07-31T18:15:05+00:00
|
American gymnast Simone Biles has been the target of harsh criticism for the hairstyle she wore at the Paris Olympics. Although she looked completely normal, many viewers sent her negative comments. Get the most important news, free on Viber After the comments went viral, Simon decided to speak up and respond to the critics. "It's not polite like this... American gymnast criticized for her hairstyle at the Olympic Games: "Have you looked in the mirror?" Read More »
|
en
|
Слободен печат
|
https://www.slobodenpecat.mk/en/amerikanska-gimnasticharka-meta-na-kritiki-poradi-frizurata-na-olimpiskite-igri-dali-si-se-poglednala-vo-ogledalo/
|
The American gymnast Simon Bills was the target of harsh criticism for the hairstyle she wore at the Paris Olympics. Although she looked completely normal, many viewers sent her negative comments.
After the comments went viral, Simone decided to speak up and respond to the critics.
"It's not polite to show up at the Olympics like this"; "What happened to your hair?"; "Did you look in the mirror before going out?", "You look terrible", are some of the comments.
Namely, the famous gymnast wrote on her Instagram that she should not be attacked because of her hair because it was done, but the bus she was transported in was not air-conditioned and it was "9.000 degrees" inside.
"I'll hold your hand as I tell you this... Next time you want to comment on an African-American woman's hairstyle, just don't," she wrote.
This is not the first time she has responded to this type of criticism. In the documentary called "Simone Beales: Rising", she told, among other things, how people give themselves too much right when it comes to commenting on other people's appearance.
|
|||||
1053
|
dbpedia
|
2
| 52
|
https://soundwayrecords.bandcamp.com/album/opera
|
en
|
Nenad Jelić i Laza Ristovski
|
[
"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",
"https://soundwayrecords.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0009243219_42.jpg",
"https://soundwayrecords.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0020469142_42.jpg",
"https://soundwayrecords.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0016392689_42.jpg",
"https://soundwayrecords.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0018247891_42.jpg",
"https://soundwayrecords.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0017346706_42.jpg",
"https://soundwayrecords.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0027702398_42.jpg",
"https://soundwayrecords.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0028696242_42.jpg",
"https://soundwayrecords.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0015922269_42.jpg",
"https://soundwayrecords.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0026344901_42.jpg",
"https://soundwayrecords.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0036868378_42.jpg",
"https://soundwayrecords.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0013193965_42.jpg",
"https://soundwayrecords.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0033294775_42.jpg",
"https://soundwayrecords.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0013915391_42.jpg",
"https://soundwayrecords.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0010865412_42.jpg",
"https://soundwayrecords.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0019405294_42.jpg",
"https://soundwayrecords.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0004602220_42.jpg",
"https://soundwayrecords.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0012947807_42.jpg",
"https://soundwayrecords.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0030403079_42.jpg",
"https://soundwayrecords.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0022606754_42.jpg",
"https://soundwayrecords.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0008208973_42.jpg",
"https://soundwayrecords.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0014835512_42.jpg",
"https://soundwayrecords.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0018548791_42.jpg",
"https://soundwayrecords.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0024412966_42.jpg",
"https://soundwayrecords.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0004380490_42.jpg",
"https://soundwayrecords.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0026324371_42.jpg",
"https://soundwayrecords.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0036016623_42.jpg",
"https://soundwayrecords.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0032905676_42.jpg",
"https://soundwayrecords.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0026890559_42.jpg",
"https://soundwayrecords.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0026018924_42.jpg",
"https://soundwayrecords.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0021985897_42.jpg",
"https://soundwayrecords.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0005776927_42.jpg",
"https://soundwayrecords.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0011591147_42.jpg",
"https://soundwayrecords.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0023348221_42.jpg",
"https://soundwayrecords.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0011983300_42.jpg",
"https://soundwayrecords.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0008917148_42.jpg",
"https://soundwayrecords.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0016014894_42.jpg",
"https://soundwayrecords.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0015395870_42.jpg",
"https://soundwayrecords.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0028135933_42.jpg",
"https://f4.bcbits.com/img/0031200193_38.jpg",
"https://f4.bcbits.com/img/0035302769_21.jpg",
"https://f4.bcbits.com/img/a3154150456_7.jpg",
"https://f4.bcbits.com/img/a4262883453_7.jpg",
"https://f4.bcbits.com/img/a1355611491_7.jpg",
"https://f4.bcbits.com/img/a2806633211_7.jpg",
"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/a0489885043_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/0036949957_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
|
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
supported by 7 fans who also own “Opera”
go to album
|
|||||
1053
|
dbpedia
|
1
| 4
|
https://www.brightwalldarkroom.com/2018/05/21/from-emir-to-enemy-and-back-again-my-changing-reaction-to-emir-kusturica/
|
en
|
From Emir to Enemy, and Back Again: My Changing Reactions to Emir Kusturica
|
[
"https://www.brightwalldarkroom.com/wp-content/uploads/2017/11/header2017.fwlight.png",
"https://www.brightwalldarkroom.com/wp-content/uploads/2017/11/header2017.fwlight.png",
"http://www.brightwalldarkroom.com/wp-content/uploads/2018/05/u1.jpg",
"http://www.brightwalldarkroom.com/wp-content/uploads/2018/05/u1.jpg",
"https://www.brightwalldarkroom.com/wp-content/uploads/2017/05/Fedor-Tot-75x75.jpg",
"https://www.brightwalldarkroom.com/wp-content/uploads/2018/05/so2-e1527236639478-293x293.jpg",
"https://www.brightwalldarkroom.com/wp-content/uploads/2018/05/TS_BWDR_ParisTexas-1-293x293.jpg",
"https://www.brightwalldarkroom.com/wp-content/uploads/2018/05/ddg1-293x293.jpg",
"https://www.brightwalldarkroom.com/wp-content/uploads/2018/05/TS_BWDR_Suspiria-293x293.jpg",
"https://www.brightwalldarkroom.com/wp-content/uploads/2018/05/ddg1-150x150.jpg",
"https://www.brightwalldarkroom.com/wp-content/uploads/2018/05/TS_BWDR_ParisTexas-1-150x150.jpg",
"https://www.brightwalldarkroom.com/wp-content/uploads/2017/06/sociallogo.fw_-75x75.png",
"https://www.brightwalldarkroom.com/wp-content/uploads/2017/06/sociallogo.fw_-75x75.png",
"https://www.brightwalldarkroom.com/wp-content/uploads/2017/06/sociallogo.fw_-75x75.png",
"https://www.brightwalldarkroom.com/wp-content/uploads/2017/06/sociallogo.fw_-75x75.png",
"https://www.brightwalldarkroom.com/wp-content/uploads/2017/05/footerlogo.fw_-1.png",
"https://www.brightwalldarkroom.com/wp-content/uploads/2017/11/header2017.fwlight.png",
"https://www.brightwalldarkroom.com/wp-content/uploads/2021/09/round-logo.512-500x500.png"
] |
[] |
[] |
[
""
] | null |
[
"Fedor Tot"
] |
2018-05-21T00:00:00
|
We so often write about films with assertiveness, but the truth is, it’s hard to be certain about anything.
|
en
|
Bright Wall/Dark Room
|
https://www.brightwalldarkroom.com/2018/05/21/from-emir-to-enemy-and-back-again-my-changing-reaction-to-emir-kusturica/
|
It seems as if some countries are only allowed to have one internationally famous filmmaker, responsible for representing the entirety of that country’s cinematic output. The Netherlands gets Paul Verhoeven. Turkey gets Nuri Bilge Ceylan. Greece gets Yorgos Lanthimos, and Hungary gets Béla Tarr. Hell, ask a committed Western cinephile about Indian filmmakers—a country of over a billion people and an obsessively strong cinema culture—and most will only be able to name Satyajit Ray. For those of us coming from the lands of the former Yugoslavia, we don’t even get to share the privilege of our breakup allowing us multiple famous filmmakers. Nope, we’re still mostly stuck with one name: the immensely controversial Emir Kusturica.
I used to almost blindingly adore all of Kusturica’s films. As a child, Black Cat, White Cat (1998) was one of my favorite films, whilst Underground (1995) and When Father Was Away on Business (1985) provided two key touchstones for me during my formative late-teenage years as a film obsessive. As the sole Yugoslav filmmaker whose films were easily available in the West, he felt like the torch keeper, the one true representative of all that is good and whole about our cinema. For years, he was the one Yugoslav filmmaker I pressed upon decadent, capitalist Westerners to show how great our old communist life was—our sole ray of energy and fire.
But what happens when you start looking closer at someone’s films, and digging deeper into their implications and their contexts, and the façade starts to fall?
It surprised me to find out that Slavoj Žižek, the most high profile Balkan intellectual in the West, absolutely despises Kusturica’s films, and most notable scholars of Balkan culture have reservations about him as well. At some point, his films began to negatively coalesce into a complex cauldron of decaying Titoist communism, ethnic identity, and resurgent nationalism that formed much of the intellectual backdrop of the wars and genocide that annihilated the Yugoslav dream in the ‘90s. This coincided with Kusturica’s own shift from a pan-Yugoslav filmmaker of Bosnian descent into a purely Serbian filmmaker. With this shift, a filmmaker with formerly no specific ethnic background, in a country whose ideology was built on pan-nationalism, became one overtly aligned with Serbian identity and the politics of ethnic exclusion. For many people in the former Yugoslavia, this was a betrayal of his roots.
Born in Sarajevo in 1954 to a secular, Bosnian Muslim family, most of Kusturica’s feature films have been garlanded with awards. He remains one of only eight filmmakers to have won the Palme d’Or twice, for When Father Was Away on Business and Underground. No doubt, he is an immensely talented filmmaker, and nearly all of his films showcase an intense visual imagination. Even his early work, rooted in the drab confines of social realism, cracks and sparkles with visual flair. He also has the good fortune that his films are mostly` still easily available on DVD in the West in decent quality with subtitles, a privilege afforded to only a precious few Balkan filmmakers, despite the surge in interest in works from elsewhere in ex-communist Eastern Europe.
Kusturica’s films are based on constant movement. Whether it’s the camera or it’s the characters, whether it’s the music or the mise-en-scène, something is always shifting. Underground is loaded with circular movement and multi-layered screen composition. In Life is a Miracle (2004), barely a scene goes by without the incessant parping of a Gypsy brass band (not necessarily a bad thing in and of itself). The amount of alcohol consumed and partying puked through in Black Cat, White Cat is enough to knock out the most hardened hedonists. Between them, these three films depict an almost-mythical version of the Balkans, as a half-developed backwater populated by macho brutes, copious amounts of alcohol, gypsy brass bands and perpetual bar fights.
This semi-Orientalist vision has its own name, originated by Maria Todorova: Balkanism, whereby Western visions of the region reflect it as an “othered” version of Europe’s supposed cultural superiority, like a darkened mirror of itself. To quote Žižek: “[Underground] is a mythical Balkans shot for the Western gaze…it’s a film that internalized the Western notion of a crazy nation, where war is simply our nature.”In the ‘90s, when the Balkans found themselves at the forefront of national news, these kinds of stereotypes began to find common currency in the media, fused now with the idea that we were all wedded to some ethnic tribal warlords, and spent our time casually committing genocides and burning our neighbors’ homes.
In that vacuum between the fall of Communism and 9/11, Serbs were temporarily Hollywood’s go-to baddies. There was a whole wave of late ‘90s/early ‘00s Hollywood cinema where that was the case, or where the Balkan conflict was used as a catalyst for American screen soldiers to feel sad. You can see it in Behind Enemy Lines, where Owen Wilson gets to pretend Bosnia is a torturous playground for Americans, or The Hunted, directed by none other than William Friedkin and starring Benicio Del Toro as a special ops soldier who goes crazy after seeing atrocities in Kosovo. Both films use the Balkans as a lazy peg on which to hang their plotlines on, an internecine, unintelligible quagmire into which no civilized Westerner can venture through unharmed. There’s also smaller fare like Michael Winterbottom’s Welcome to Sarajevo, which whilst more sympathetic to life during the war, is also guilty of using it as a coat-hanger for Western protagonists to feel bad about themselves for. This is Balkanism in action.
This became an even worse problem when it influenced presidential foreign policy. Bill Clinton was supposedly quite swayed by reading the (frankly terrible) Balkan Ghosts by Robert Kaplan, which mostly suggests we were all tribal peasants who lived with centuries-old grudges. It’s a book content with using phrases such as “the landscape of atrocities,” or referring to Bosnian villages as “full of savage hatreds, leavened by poverty and alcoholism,” as if the violence were millennia old. This, too, is Balkanism in action, and has a real effect on how we in the Balkans perceive ourselves; such is the influence of American media and foreign policy overseas.
Europe has always seen us as its ratty little brother, a stain on the side, good only for keeping Ottomans out (or in modern times, refugees). It has always ignored the vast intellectual and artistic heritage of that whole swathe of land from Ljubljana to Skopje, and beyond to Sofia, Tirana, and Bucharest. Many of Kusturica’s films are guilty of confirming these exact Westernized stereotypes of the Balkans.
One begins to wonder if Emir Kusturica’s films are known in the West simply because they are good, or because they conform to these stereotypes whilst placing a few basic, easily-accepted universal truths into their texts. Underground is at once both a cry for pan-nationalism devoid of borders, and a film that revels in its masculinity and drunkenness whilst privileging Serbian identity as subsuming all other Balkan identities—pan-nationalism via subjugation. Black Cat, White Cat satirizes the criminal classes, whilst also reveling in a party atmosphere encouraged by those same classes, whilst Life is a Miracle hands out simple moral platitudes in the context of a highly stylized Serbian folk village straight out of the nationalist imagination. I can think of a number of excellent Balkan filmmakers who engage in the same subjects without recourse to macho anarchy. You can’t be a tourist to the kind of anarchy that Kusturica depicts in his films. You can’t visit it, and hope that when you leave, things will suddenly self-correct. The existence of such anarchy in his films is a response to the lawlessness of Serbian and Balkan society in the ‘90s, when hyperinflation annihilated the economy and made the black market king. But Kusturica often encourages us to revel in it without truly confronting its meaning and context, so we’re visiting it safely from a distance.
How do Western audiences respond to this anarchy? I think most view it as part of Kusturica’s style, and predominantly as an aesthetic tool, without noticing how this exoticized anarchy sometimes plays into their assumptions about the Balkans. Growing up in the U.K., I latched onto this anarchy as a reflection of the life back home that I knew and longed for, free of the boring constraints that dominated my life. But I am stuck somewhere between being a tourist and a native now, seeing this world only when on a break from “regular” life in Britain.
If this exoticization of Balkan culture is a possible cause of Kusturica’s comparative popularity in the West, is this replicated with other cinema cultures? Is the poetic miserabilism of Andrei Tarkovsky only popular in the West because of how Westerners expect Russians to be, or because his films are actually masterpieces? Is City of God the most famous Brazilian film simply because it is the best, or is it because it conforms to our image of the country as a beautiful, sun-kissed paradise lost to drug violence and favela poverty? Do you like Kusturica’s films because they’re good, or because you think we’re all alcoholics who always have a gypsy brass band on call?
There has long been the implication amongst scholars like Žižek and Dina Iordanova that, certainly in his most well known work in Underground, Kusturica is an apologist for the Serbian war crimes in the ‘90s. The plot is too convoluted to summarize here fully, but the basic outline is thus: in the midst of World War II, a group of Serbs find themselves holed up in a cellar to escape the bombing. Marko (Miki Manojlović), a Communist fighter, ends up protecting them and uses this as an opportunity to lock them down there, telling them that the war is raging outside for as long as 40 years. The cellar-dwellers, including Marko’s best friend Blacky (Lazar Ristovski) are ignorant of Marko’s real role as a partisan careerist who uses Blacky’s supposed martyrdom to further his own career, until all of that comes crashing down in a violent third act—the implication throughout being that the cellar is a metaphor for Titoist communism.
Early on in Underground, there is archival footage of the Nazis arriving in Yugoslavia. The footage used to depict their arrivals in Ljlubljana (Slovenia) and Zagreb (Croatia) showcases crowds actively waving them in, whilst that of Belgrade (Serbia) shows the streets empty, thus aligning the Nazi state with Slovenia and Croatia. Additionally, there’s a clique of untrustworthy figures circling around the protagonists, who are mostly Croats or Bosnians, a fact generally lost to those not familiar with the language. In ’95, with much of the Serbian media consistently attacking both Slovenia and Croatia as fascist states, Underground’s depiction is a grossly insensitive case of pot, kettle, black.
Then there’s the tricky fact that Underground was made at least partly with Serbian state funding at the height of Milošević’s rule, which means Kusturica effectively took money from war criminals to make his film. There’s also the amorality inherent in the protagonists, which implicitly suggests that the eruption of violence in the region was not due to propaganda, politics, or greed, but of primordial base instincts due to the Balkans “being” at the crux of where great empires have collapsed—Roman, Ottoman, and Austro-Hungarian. It seems to suggest that nothing could be done about the collapse of Yugoslavia, as violence is inherent to the peoples of the region—again, Balkanism in action.
These elements passed me by at the time, but once pointed out served to deeply damage my relationship to the film, and rightfully so. But I think the film is a little deeper than its simple and flawed relationship to the nationalism of the era.
Aside from its aforementioned contradictory plea for pan-nationalism and possible sly suggestion Serbian identity is the only valid one, there is also the fact that it is a film about propaganda; about how narratives handed down to us by authorities shape and contextualize our lives, often without us even realizing. It can also be called a piece of propaganda itself. It is an ouroboros of a film, forever eating itself, contradicting every layer of its meaning with more contradictions. Yet, it seems as if Underground was a one-off for Kusturica in this period, because he never again returned to such complexity.
His next film was Black Cat, White Cat. Unlike Underground, it was superficially apolitical, a comedy centered around two squabbling clans of Roma Gypsies, depicted largely as romanticized loveable rogues. It’s a sort of Balkanism-within-Balkanism, whereby a Serbian artist depicts the exoticized world of a Romani minority, in stark contrast to the reality of real Romani life in the Balkans, which is largely one of poverty and marginalization. Kusturica does align himself with underdog Roma culture here, but as a tourist who ignores the wider context—Kusturica’s Romani world is largely defined by alcohol, lax personal hygiene and low-level criminality. Films dotted throughout Yugoslav cinema such as Aleksandar Petrović’s I Even Met Happy Gypsies (1967), Goran Paskaljević’s Guardian Angel (1987), and the works of Zoran Tairović tell a more psychologically realistic account of Roma life in the former Yugoslavia. I used to love Black Cat, White Cat for its slapstick attitude, but now it seems like a mediocrity of masturbatory sensory overload.
Life is a Miracle also tried to be, in a bizarre sort of way, apolitical. Set during the Bosnian war, it is distasteful and ignorant. It depicts a love affair across ethnic lines between a Serbian man and a Muslim woman, and asks the audience simply, as if the answer to all the region’s problems is a brief handshake and “Can’t we all just get along?”
Romeo and Juliet-esque plotlines have become a common trope in post-war Balkan cinema, but they’re mostly just a lazy way of trying to shrug off the hard political issues—endemic corruption, vested interests, and long-term bitterness—that stand in the way of genuine reconciliation. Love is a Miracle tries to do what’s frankly impossible: it takes a recent war, one still very fresh in the minds of the region’s inhabitants, and attempts to make a jovial, parochial tale out of it that refuses to outwardly condemn any particular side. Plenty of excellent films have used black comedy as a way of approaching the wars. This is not one of them.
I broadly take the belief that one should usually separate the art from the artist. In the case of Kusturica, that’s much harder. His films are so closely tied up with the history of Yugoslavia, so keen to engage with it, that they cannot be viewed outside of that context or his stance on it. I have no desire to rewatch his later films—what once seemed like energetic surrealist parables now feel like lazy, ill-conceived comedies with no understanding of their own context.
As a result of these films as well as his personal behavior, Kusturica has, over time, become a highly volatile figure in the former Yugoslavia. His name is poison nowadays in his native Sarajevo, where he made his first two films. Unlike the controversy surrounding Underground, a large number of ex-Yugoslavs still hold a huge amount of fondness for Do You Remember Dolly Bell? (1981) and When Father Was Away on Business, both of which are films rooted in a youthful nostalgia. They’re set in the ‘50s and ‘60s, when Yugoslavia was trying to find a third way past Soviet-style communism and Western capitalism. These films had rock music, football, teenage infatuation, and a lovingly rendered vision of a Sarajevo populated by all ethnicities, with no defining aspect separating Muslims, Serbs, or Croats. Their empathy and insight into growing up as a Yugoslav in that period are still unparalleled. These are films that understood the rallying cry of Brotherhood and Unity, but also were unafraid to embrace its contradictions—the testy political allegiances that tore apart families during the Tito-Stalin split was painfully detailed in When Father Was Away on Business whilst the confusion of capitalist rock ‘n’ roll and communist top-down cultural prerogative was embraced in Do You Remember Dolly Bell?
But in the ‘90s, Kusturica turned his back on his secular Muslim roots in Sarajevo, even christening himself in the Serbian Orthodox Church. When Abdulah Sidran, his co-writer on the Sarajevo films, claimed on national TV that he believed the real Kusturica was killed in the ‘90s and replaced by a nationalist Serbian doppelganger, it didn’t sound too implausible. Stranger things have happened in the Balkans.
But it’s easy to pass judgement on somebody from a distance. All I know for sure is that Kusturica the man, and maybe the filmmaker, is very confusing. Reading through interviews with him, it’s hard to find any consistent through-line as to how he perceives the world.Though he never explicitly supported Milošević, he never rejected him either. He publicly challenged Vojislav Šešelj, a convicted war criminal, to a duel once in ‘90s (Šešelj is still hugely popular in Serbia amongst far-right nationalists, and backed by some very dangerous people). It takes a certain amount of guts to do that in public.
But then again, Kusturica has also come out fanatically in support of keeping Kosovo as part of Serbia, and has claimed that NATO is very much responsible for the destruction of Yugoslavia. These are opinions stereotypically held by nationalists nursing grievances against what they see as the destruction of traditional Serbian dominance in the region, yet he has also often stressed his commitment to pan-national Yugoslavism of the old Titoist variety, and can often come across as very Yugonostalgic. He is fanatically against capitalism, and resents the way everything is sold, branded, and sold again these days in Serbia. Yet he built his own town in the mountains—initially as a set for Life is a Miracle—and it is now a bizarre Kusturica-style theme park for tourists, a branded exercise in Kusturica-mania. In The New York Times, Dan Halperin captured this amusing exchange between him and his wife when was on one of his anti-capitalist rants:
Emir: [Today] everything must be sold! Everything must be for sale! Everyone must buy! Everyone must have a Jeep!
Maja: Even you.
Emir: Yes, even me.
Maja: You have three.
He is not a man who makes any sort of consistent sense. His outbursts and stated leanings sway between Serbian nationalism and anti-nationalism, and he has a distrust of the new capitalist system but a willingness to brand himself a particular way. It may sound contradictory, but his views aren’t that far off from many other people of his generation in Serbia. It speaks, I think, to a general sense of a loss of place, a loss of being, and a loss of purpose. The old Titoism had its problems, but the problems were bound up in ideological certainties—you knew how to navigate the corrupt official and the stodgy bureaucracy because they always spoke the language of state socialism. Today, that corrupt official is speaking the language of neoliberalism one day, and far-right nationalism the next, extolling the virtues of social democracy before breakfast, the values of individualism after lunch.
The guiding hand of Titoism provided not just an ideology, but an authority against which to rebel—and thus, the artist had something to criticize. The Milošević years annihilated that. One of its key elements was that Milošević had no fixed ideology—he was a communist when he needed to be one, a nationalist when the winds were favorable. A friend to the West, an enemy of the West. Defender of Christianity, protector of the secular state. If you stood against him, he would find a way to co-opt your ideals. Amongst that ideological backdrop, it’s hard to stand against anything. A lot of intellectuals and public figures sullied themselves with an association with Milošević or one of his affiliates, even unwittingly, cheapening public discourse in Serbia, as well as throughout the Balkans.
Do You Remember Dolly Bell? and When Father Was Away on Business proved Kusturica was one of the most insightful and empathetic filmmakers of his generation. I don’t believe that a filmmaker as powerful and as intelligent as the one that made those films can disappear entirely. But perhaps the shock of the war, the trauma of all Yugoslav society falling apart, and the amorality of the Milošević regime pushed Kusturica into the mythological embrace of ideologically confused nationalism. To do such a thing represents a simple, instinctual reaction, perhaps one in keeping with a uniquely instinctual filmmaker.
Underground sits directly in the middle of Kusturica’s career, the midway point between his Yugoslav cinema and his Serbian cinema. For all its deep-seated flaws and controversial authorial choices, something about it has always captivated me. Underground is a film I used to love unreservedly, but now feel waves of mixed feelings about. Its layer upon layer of disorientating contradictions only ever seems to grow. I now see it with all its ugly, horrendous flaws—I can see the ignorance and double standard peppered throughout—but somehow a part of me rises through all of that to find that I love the film still. Its contradictions, paradoxes, and flaws form part of its tapestry, and art is nothing if not gloriously imperfect. Is its own satirization of propaganda a double bluff reflected twice over in its propagandistic nature? Is the film its own mirror? As it comments on how propaganda has shaped Yugoslav history, maybe it is deliberately making its own propaganda to fool us, re-aligning its object of satire right back at us? I don’t know if Kusturica is self-aware enough to have made such a film; most of his filmography and behavior suggests he is a man of pure instinct. But his films, at their best, are alive, writhing, never-still creatures, living in a hall of mirrors.
A friend of mine once succinctly described Serbia as “the most ideologically disorienting country in Europe.” I think that applies to Emir Kusturica. He is the most ideologically disorienting man in Europe. I cannot understand him. I cannot understand how a man who grew up in Sarajevo, who made films about it as if he knew and loved the city like an extension of his heart, ended up saying nothing about the horrendous siege it endured for three years, the longest in modern warfare. I certainly cannot understand Underground. That’s why I fell out of love with the film, and why I fell back in love with it. If we require that we understand the films we love (or hell, even the people we love), we may never love anything fully. Life is a complicated mess. History and politics are a complicated mess. Underground doesn’t depict the truth or the facts of the history and politics it wishes to critique—but it does depict its confusion, its uncertainty, and its difficulty.
|
|||||
1053
|
dbpedia
|
3
| 49
|
https://www.tumblr.com/johnkatsmc5/619439959493984256/search-mentari-merah-diufuk-timur1987-cassette
|
en
|
Search "Mentari Merah Diufuk Timur"1987 Cassette Malaysia Hard Rock
|
[
"https://64.media.tumblr.com/53bcf9429b0026ba0c7633e0c0e07d28/3c047260b4f1b8c5-2c/s64x64u_c1/82c5698025e544993ccd010e8e5d6f65a227d580.jpg 64w, https://64.media.tumblr.com/53bcf9429b0026ba0c7633e0c0e07d28/3c047260b4f1b8c5-2c/s96x96u_c1/dd511eac1041ce2aff7cd75143117a55fdaeafca.jpg 96w, https://64.media.tumblr.com/53bcf9429b0026ba0c7633e0c0e07d28/3c047260b4f1b8c5-2c/s128x128u_c1/c5df64b8dfa5b694dab612d8874519d2680f4571.jpg 128w, https://64.media.tumblr.com/53bcf9429b0026ba0c7633e0c0e07d28/3c047260b4f1b8c5-2c/s512x512u_c1/dfa12593a9cb8ba64e373cc08bed37a50b4c6ec1.jpg 512w",
"https://64.media.tumblr.com/a96f8861f32da0412ed071d2b63dbb11/8e395b418e1676c0-d3/s100x200/53056ec652cacd08f763599b45f970f759bc6957.jpg 100w, https://64.media.tumblr.com/a96f8861f32da0412ed071d2b63dbb11/8e395b418e1676c0-d3/s250x400/76ee599af30d272d4db57126abc597eff717d8c3.jpg 250w, https://64.media.tumblr.com/a96f8861f32da0412ed071d2b63dbb11/8e395b418e1676c0-d3/s400x600/e75d7792eaabc94009335c7b38c3e9b65956de30.jpg 400w, https://64.media.tumblr.com/a96f8861f32da0412ed071d2b63dbb11/8e395b418e1676c0-d3/s500x750/ff2f48fddc8251baf210b8d1c59d75c68bf64f43.jpg 500w, https://64.media.tumblr.com/a96f8861f32da0412ed071d2b63dbb11/8e395b418e1676c0-d3/s540x810/64fa495da69f9c7e6f4deda8acc9165874099bc5.jpg 540w, https://64.media.tumblr.com/a96f8861f32da0412ed071d2b63dbb11/8e395b418e1676c0-d3/s640x960/7a5fb8e25dee5ea5a75783d28ad76caa60dedb4a.jpg 600w",
"https://64.media.tumblr.com/cd6e9861ba8222c93a5693782e353c77/8e395b418e1676c0-bc/s100x200/bdd0db02f5d65897ad5bb57c3abda4274586ec9b.jpg 100w, https://64.media.tumblr.com/cd6e9861ba8222c93a5693782e353c77/8e395b418e1676c0-bc/s250x400/b1b27672de95f3f0286d03def3f4666c5c435409.jpg 250w, https://64.media.tumblr.com/cd6e9861ba8222c93a5693782e353c77/8e395b418e1676c0-bc/s400x600/ac8210bb6c198e69641d0bacc53aa498510c6944.jpg 400w, https://64.media.tumblr.com/cd6e9861ba8222c93a5693782e353c77/8e395b418e1676c0-bc/s500x750/b0e5e0011f63b8841b9fd1e4d8354f846a7bd860.jpg 500w, https://64.media.tumblr.com/cd6e9861ba8222c93a5693782e353c77/8e395b418e1676c0-bc/s540x810/5464edad68e7a42e30cea1e95687710c02526080.jpg 540w, https://64.media.tumblr.com/cd6e9861ba8222c93a5693782e353c77/8e395b418e1676c0-bc/s640x960/725ec7361c328c48e7406638e259dd6837adadf6.jpg 600w",
"https://64.media.tumblr.com/dab815f9b4e13af55146b1a769bde3cc/8e395b418e1676c0-f6/s100x200/e6ca850dac30b8fbf5b3720b7848afc0d923fd0a.jpg 100w, https://64.media.tumblr.com/dab815f9b4e13af55146b1a769bde3cc/8e395b418e1676c0-f6/s250x400/21fb2f67e467233a6dd7ad434350f8b648d6d982.jpg 250w, https://64.media.tumblr.com/dab815f9b4e13af55146b1a769bde3cc/8e395b418e1676c0-f6/s400x600/02cb7e63a5dcbdd5327d9ad9a5b2630eff82c9aa.jpg 400w, https://64.media.tumblr.com/dab815f9b4e13af55146b1a769bde3cc/8e395b418e1676c0-f6/s500x750/973c04d938792b4c3c6317eb77e57f9b8bacdd96.jpg 500w, https://64.media.tumblr.com/dab815f9b4e13af55146b1a769bde3cc/8e395b418e1676c0-f6/s540x810/79d8954016b17511b7224066ddf4d40b35828887.jpg 540w, https://64.media.tumblr.com/dab815f9b4e13af55146b1a769bde3cc/8e395b418e1676c0-f6/s640x960/44b5b7c73d1d24775a166597beced58c94e3de64.jpg 600w",
"https://64.media.tumblr.com/ced823f58b16128c2ccb68d539ae6c49/8e395b418e1676c0-cc/s100x200/e04ec3595465458ad3e7dfab2ad4745ab7a17625.jpg 100w, https://64.media.tumblr.com/ced823f58b16128c2ccb68d539ae6c49/8e395b418e1676c0-cc/s250x400/02a804174d5e17a7178e5b018640243a530cfb6b.jpg 250w, https://64.media.tumblr.com/ced823f58b16128c2ccb68d539ae6c49/8e395b418e1676c0-cc/s400x600/98b0d67b8c0a0c16b8f4e98d1474662a56567238.jpg 390w",
"https://64.media.tumblr.com/3b43332fd76c6f3e0f649b7842a13505/8e395b418e1676c0-2f/s100x200/af6aa75669acd5e33bb3c6e99c428a3ee7034cff.jpg 100w, https://64.media.tumblr.com/3b43332fd76c6f3e0f649b7842a13505/8e395b418e1676c0-2f/s250x400/4dfd179f9eea84ffaa1ee4e5255a85f944aa60c4.jpg 250w, https://64.media.tumblr.com/3b43332fd76c6f3e0f649b7842a13505/8e395b418e1676c0-2f/s400x600/40a8c8b15a2b698b241d418d6f04a2ec384fd240.jpg 385w, https://64.media.tumblr.com/3b43332fd76c6f3e0f649b7842a13505/8e395b418e1676c0-2f/s500x750/ebcd81d8302e38b42a75d50bf696b80201b4332c.jpg 482w, https://64.media.tumblr.com/3b43332fd76c6f3e0f649b7842a13505/8e395b418e1676c0-2f/s540x810/9f3403cd47e898298753b3c1b4385462dcc56d64.jpg 520w, https://64.media.tumblr.com/3b43332fd76c6f3e0f649b7842a13505/8e395b418e1676c0-2f/s640x960/cac0a8c77c0d225f10b64c34b246e4dd07d934c5.jpg 555w",
"https://64.media.tumblr.com/b48f3457e5b640df6e669ae83fd7b351/8e395b418e1676c0-d3/s100x200/38881b8753ca5b7654d3112a9b6a233d9e455d9e.jpg 100w, https://64.media.tumblr.com/b48f3457e5b640df6e669ae83fd7b351/8e395b418e1676c0-d3/s250x400/0c754b0893fdd8c53a592881a1316a9f7dabea9d.jpg 250w, https://64.media.tumblr.com/b48f3457e5b640df6e669ae83fd7b351/8e395b418e1676c0-d3/s400x600/4206cbd7632c35b774a3d106e0f610c28578c7d6.jpg 400w, https://64.media.tumblr.com/b48f3457e5b640df6e669ae83fd7b351/8e395b418e1676c0-d3/s500x750/33eedd244c4410498b25c11fc2764f435a4d838a.jpg 500w, https://64.media.tumblr.com/b48f3457e5b640df6e669ae83fd7b351/8e395b418e1676c0-d3/s540x810/9f1e78112d276d0b81dddb7a549715d4c320d511.jpg 540w, https://64.media.tumblr.com/b48f3457e5b640df6e669ae83fd7b351/8e395b418e1676c0-d3/s640x960/4b7f2c61f5d774ee6edce6414c185a437142367f.jpg 600w",
"https://64.media.tumblr.com/42430610ca06ffb0b407215182474682/8e395b418e1676c0-4c/s100x200/c00027fe4033ba55b882da9f2bc5d501d7e3fefb.jpg 100w, https://64.media.tumblr.com/42430610ca06ffb0b407215182474682/8e395b418e1676c0-4c/s250x400/47cd24329419c95e137e3df23faf7a091f7487e0.jpg 247w, https://64.media.tumblr.com/42430610ca06ffb0b407215182474682/8e395b418e1676c0-4c/s400x600/09af054aba449ee4c614508579374bfe9dab7f65.jpg 370w, https://64.media.tumblr.com/42430610ca06ffb0b407215182474682/8e395b418e1676c0-4c/s500x750/7ccfec5452fcd4805cfea9284c4d40617396a799.jpg 463w, https://64.media.tumblr.com/42430610ca06ffb0b407215182474682/8e395b418e1676c0-4c/s540x810/0dca0c0417e20016be208e2361b54dc65c3a1159.jpg 498w",
"https://64.media.tumblr.com/4252c131847c92b06a199a0135ca8226/8e395b418e1676c0-e1/s100x200/342268e70da13e5ec518811e96b1155d0d1525ac.jpg 100w, https://64.media.tumblr.com/4252c131847c92b06a199a0135ca8226/8e395b418e1676c0-e1/s250x400/0b44c36736855f5d3e33df8a6e678338f4f691c6.jpg 250w, https://64.media.tumblr.com/4252c131847c92b06a199a0135ca8226/8e395b418e1676c0-e1/s400x600/d15d5f2e4327a0e82348cf8a87300aac5fff63fb.jpg 400w, https://64.media.tumblr.com/4252c131847c92b06a199a0135ca8226/8e395b418e1676c0-e1/s500x750/0f2ea0a356d79fc6acd4576ac6863d844081988f.jpg 500w, https://64.media.tumblr.com/4252c131847c92b06a199a0135ca8226/8e395b418e1676c0-e1/s540x810/ba4f237b077f06568d7e31010081353462aaf3a7.jpg 540w, https://64.media.tumblr.com/4252c131847c92b06a199a0135ca8226/8e395b418e1676c0-e1/s640x960/2671e2e891704b158fea7d945f9183469b07e48b.jpg 599w",
"https://64.media.tumblr.com/dab815f9b4e13af55146b1a769bde3cc/8e395b418e1676c0-f6/s100x200/e6ca850dac30b8fbf5b3720b7848afc0d923fd0a.jpg 100w, https://64.media.tumblr.com/dab815f9b4e13af55146b1a769bde3cc/8e395b418e1676c0-f6/s250x400/21fb2f67e467233a6dd7ad434350f8b648d6d982.jpg 250w, https://64.media.tumblr.com/dab815f9b4e13af55146b1a769bde3cc/8e395b418e1676c0-f6/s400x600/02cb7e63a5dcbdd5327d9ad9a5b2630eff82c9aa.jpg 400w, https://64.media.tumblr.com/dab815f9b4e13af55146b1a769bde3cc/8e395b418e1676c0-f6/s500x750/973c04d938792b4c3c6317eb77e57f9b8bacdd96.jpg 500w, https://64.media.tumblr.com/dab815f9b4e13af55146b1a769bde3cc/8e395b418e1676c0-f6/s540x810/79d8954016b17511b7224066ddf4d40b35828887.jpg 540w, https://64.media.tumblr.com/dab815f9b4e13af55146b1a769bde3cc/8e395b418e1676c0-f6/s640x960/44b5b7c73d1d24775a166597beced58c94e3de64.jpg 600w",
"https://64.media.tumblr.com/980b90d66e9a6c53b950bdfd246fad7e/3c047260b4f1b8c5-0c/s2048x3072_c8624,0,91266,100000/671592bd72550b4f86f4cde7248f53de6032d6f5.jpg",
"https://64.media.tumblr.com/53bcf9429b0026ba0c7633e0c0e07d28/3c047260b4f1b8c5-2c/s64x64u_c1/82c5698025e544993ccd010e8e5d6f65a227d580.jpg 64w, https://64.media.tumblr.com/53bcf9429b0026ba0c7633e0c0e07d28/3c047260b4f1b8c5-2c/s96x96u_c1/dd511eac1041ce2aff7cd75143117a55fdaeafca.jpg 96w, https://64.media.tumblr.com/53bcf9429b0026ba0c7633e0c0e07d28/3c047260b4f1b8c5-2c/s128x128u_c1/c5df64b8dfa5b694dab612d8874519d2680f4571.jpg 128w, https://64.media.tumblr.com/53bcf9429b0026ba0c7633e0c0e07d28/3c047260b4f1b8c5-2c/s512x512u_c1/dfa12593a9cb8ba64e373cc08bed37a50b4c6ec1.jpg 512w"
] |
[] |
[] |
[
""
] | null |
[] |
2020-05-29T09:19:39+00:00
|
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 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
|
1
| 27
|
http://discom.bigcartel.com/product/angel-s-breath-suba-milan-angel-s-breath-lp-croatia-records-lp6090792-reissue-2020
|
en
|
Angel's Breath (Milan&Suba) LP, Croatia Records, LP6090792 (180 gr. White Vinyl, Insert, DC)
|
[
"https://assets.bigcartel.com/theme_images/63248703/Discom+beli+logo+big+cartel.jpg",
"https://assets.bigcartel.com/product_images/274790399/Za+bigcartel+copy+FINAL.jpg?auto=format&fit=max&h=1000&w=1000",
"https://assets.bigcartel.com/product_images/274789235/Angels+Breath+front+sealed.jpg?auto=format&fit=max&h=75&w=75",
"https://assets.bigcartel.com/product_images/274789043/Angels+breath+all.jpg?auto=format&fit=max&h=75&w=75",
"https://assets.bigcartel.com/product_images/274789103/Angels+Breath+A+side.jpg?auto=format&fit=max&h=75&w=75",
"https://assets.bigcartel.com/product_images/274789199/Angels+Breath+B+side.jpg?auto=format&fit=max&h=75&w=75",
"https://assets.bigcartel.com/product_images/274790399/Za+bigcartel+copy+FINAL.jpg?auto=format&fit=max&h=1000&w=1000",
"https://assets.bigcartel.com/product_images/274790399/Za+bigcartel+copy+FINAL.jpg?auto=format&fit=max&h=75&w=75",
"https://assets.bigcartel.com/product_images/274789235/Angels+Breath+front+sealed.jpg?auto=format&fit=max&h=75&w=75",
"https://assets.bigcartel.com/product_images/274789043/Angels+breath+all.jpg?auto=format&fit=max&h=75&w=75",
"https://assets.bigcartel.com/product_images/274789103/Angels+Breath+A+side.jpg?auto=format&fit=max&h=75&w=75",
"https://assets.bigcartel.com/product_images/274789199/Angels+Breath+B+side.jpg?auto=format&fit=max&h=75&w=75"
] |
[
"https://www.youtube.com/embed/S6SvWfG6opA"
] |
[] |
[
""
] | null |
[] | null |
In cooperation with Ammonite Records, Discom distribution presents Angel's Breath LP, an official reissue of legendary album from 1994 recorded...
|
Discom
|
http://discom.bigcartel.com/product/angel-s-breath-suba-milan-angel-s-breath-lp-croatia-records-lp6090792-reissue-2020
|
In cooperation with Ammonite Records, Discom distribution presents Angel's Breath LP, an official reissue of legendary album from 1994 recorded in Brazil by two key Yugoslavian musicians which could be described as "psychedelic samba rock with Balkan influences "
The project Angel's Breath (originally named in Serbian "Dah Anđela"), was formed in 1985 by Milan Mladenović (Katarina II, later EKV) and Mitar Subotić "Suba" (Rex Ilusivii) with the guitarist Goran Vejvoda (Kozmetika) and the three started writing material that had been performed at several concerts in Belgrade. However, due to the individual obligations of the project members, the band ceased to exist. In the early 1990s, Subotić had moved to São Paulo, Brazil where he continued working as a musician and a producer. During the spring of 1994, Milan Mladenović went to São Paulo to join Subotić in order to reactivate the Angel's Breath project and record the material that had previously been written. The two with Brazilian musicians Fabio Golfetti (guitar), João Parahyba (percussion), Madalena (backing vocals), Marisa Orth (backing vocals), Taciana Barros (counselor supreme) recorded the album Angel's Breath released by label "Imago" during the same year.
The album featured Subotić as the album producer and keyboard player and Mladenović on lead vocals, guitar, harmonica, and trumpet. The song lyrics were entirely written by Mladenović with the exception of the opening track "Praia Do Ventu Eternu", written by Taciana Barros, and as music authors appear Mladenović, Subotić, Fabio Golfetti, and João Parahyba.
Mitar Subotic "Suba" aka Rex Ilusivii wrote about this album: "The project was done by Milan, Joao, Fabio, and me. The very fact that all four of us are different and possess different musical sensibilities and experiences was a challenge to create one common project. In general, it was a Brazilian project, in which European and Brazilian musical influences met and mixed in some higher energy spheres. All four special languages built one special, fifth language, which produced music without the typical stamp of any of the musicians who played and participated in the creation of music. "
Milan Mladenović said: "This album represents a continuation of my work in fighting against primitivism in today's culture, which had taken its toll mostly due to the ruthless political power games, causing an overall departure from the spiritual." “This is a time of re-division, re-fragmentation of geopolitical units, division of states and local wars. This time is also a time dominated by narrow specialization in all domains of human activity - from science, industry to art”. This seems to be true today more than ever.
On leaving Brazil, Mladenović went to Paris in order to record a promotional video for the song "Crv" ("The Worm") and then return to Belgrade in order to reactivate his own band EKV. However, the day after the August 24, 1994, after the performance in Budva at the Pjesma Mediterana festival, Mladenović was held in a hospital, and it was soon discovered that he had pancreatic cancer. A few months later, on November 5, 1994, Milan Mladenović died in Belgrade at the age of 36. Subotić, continued working in Brazil and released a solo album São Paulo Confessions, but a few days after its release, on November 2, 1999, he died in the fire that had caught his studio.
Tracklist:
A1 Metak
A2 40 Seconds Of Love
A3 Praia Do Ventu Eternu
A4 Assassino
A5 Aplauzi
A6 Ogledalo
B1 Crv
B2 Čaura
B3 Courage III
B4 Madalena
B5 Velvet*
*For those who are not familiar with the project, one track from this album named "Velvet " was released on MFMs Outro Tempo II -Electronic and Contemporary music from Brazil (1984-1996)
https://www.musicfrommemory.com/release/6436/various-artists/outro-tempo-ii-electronic-and-contemporary-music-from-brazil-1984-1996
Music, Keyboards, Producer, Recorded By, Mixed By - Mitar Subotić
Music, Lyrics, Vocals, Guitar, Trumpet, Harmonica - Milan Mladenović
Music, Guitar - Fabio Golfetti
Music, Percussion - João Parahyba
Lyrics - Taciana* (track: A3)
Vocals - Madalena, Marisa Orth
Editor: Domagoj Šiljeg
Released under license of Milan Miladinović's Foundation and Mitar Subotic's mother Ruža Subotić.
© 2020, Croatia Records, all rights reserved
|
||||||
1053
|
dbpedia
|
2
| 25
|
https://shop.dallas.si/en/1638-ristovski-laza-instrumental-plays-simon-garfunkel.html
|
en
|
RISTOVSKI LAZA - INSTRUMENTAL-PLAYS SIMON & GARFUNKEL
|
[
"https://www.facebook.com/tr?id=1388795308456721&ev=PageView&noscript=1",
"https://shop.dallas.si/img/logo-1698885453.jpg",
"https://shop.dallas.si/817-large_default/ristovski-laza-instrumental-plays-simon-garfunkel.jpg",
"https://shop.dallas.si/817-medium_default/ristovski-laza-instrumental-plays-simon-garfunkel.jpg",
"https://shop.dallas.si/modules/blockreassurance/views/img/img_perso/Izdelek brez naslova (51).png",
"https://shop.dallas.si/modules/blockreassurance/views/img/img_perso/Izdelek brez naslova (50).png",
"https://shop.dallas.si/817-medium_default/ristovski-laza-instrumental-plays-simon-garfunkel.jpg",
"https://shop.dallas.si/817-large_default/ristovski-laza-instrumental-plays-simon-garfunkel.jpg",
"https://shop.dallas.si/817-large_default/ristovski-laza-instrumental-plays-simon-garfunkel.jpg"
] |
[] |
[] |
[
""
] | null |
[] | null |
en
|
https://shop.dallas.si/img/favicon.ico?1698885453
|
Dallas Music Shop
|
https://shop.dallas.si/en/1638-ristovski-laza-instrumental-plays-simon-garfunkel.html
|
Your review appreciation cannot be sent
Your report cannot be sent
Your review cannot be sent
You may unsubscribe at any moment. For that purpose, please find our contact info in the legal notice.
|
|||||
1053
|
dbpedia
|
3
| 86
|
https://www.jbhifi.co.nz/products/vinyl-jelic-nenad-opera-vinyl-lp
|
en
|
Opera (Vinyl)
|
http://www.jbhifi.co.nz/cdn/shop/products/423604-Product-0-I-638240340151743521_e479e5e7-a8fb-4d15-bab2-6bac632b5453_1024x1024.jpg
|
http://www.jbhifi.co.nz/cdn/shop/products/423604-Product-0-I-638240340151743521_e479e5e7-a8fb-4d15-bab2-6bac632b5453_1024x1024.jpg
|
[
"https://www.facebook.com/tr?id=&ev=PageView&noscript=1"
] |
[
"https://www.googletagmanager.com/ns.html?id=GTM-K72884S"
] |
[] |
[
""
] | null |
[] | null |
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
|
en
|
//www.jbhifi.co.nz/cdn/shop/files/jb-only_32x32.png
|
JB Hi-Fi NZ
|
https://www.jbhifi.co.nz/products/vinyl-jelic-nenad-opera-vinyl-lp
|
Warning Your browser version is unsupported. Please update for best experience.
|
||
1053
|
dbpedia
|
3
| 69
|
https://www.slideshare.net/slideshow/j-jovanovicidentities-expressed-through-practice/57606731
|
en
|
J. Jovanovic_Identities expressed through practice...
|
[
"https://public.slidesharecdn.com/images/next/svg/logo/slideshare-scribd-company.svg?w=128&q=75 1x, https://public.slidesharecdn.com/images/next/svg/logo/slideshare-scribd-company.svg?w=256&q=75 2x",
"https://image.slidesharecdn.com/088ebceb-2036-4484-8641-1fd626bbb186-160128141638/85/J-Jovanovic_Identities-expressed-through-practice-1-320.jpg 320w, https://image.slidesharecdn.com/088ebceb-2036-4484-8641-1fd626bbb186-160128141638/85/J-Jovanovic_Identities-expressed-through-practice-1-638.jpg 638w, https://image.slidesharecdn.com/088ebceb-2036-4484-8641-1fd626bbb186-160128141638/75/J-Jovanovic_Identities-expressed-through-practice-1-2048.jpg 2048w",
"https://image.slidesharecdn.com/088ebceb-2036-4484-8641-1fd626bbb186-160128141638/85/J-Jovanovic_Identities-expressed-through-practice-2-320.jpg 320w, https://image.slidesharecdn.com/088ebceb-2036-4484-8641-1fd626bbb186-160128141638/85/J-Jovanovic_Identities-expressed-through-practice-2-638.jpg 638w, https://image.slidesharecdn.com/088ebceb-2036-4484-8641-1fd626bbb186-160128141638/75/J-Jovanovic_Identities-expressed-through-practice-2-2048.jpg 2048w",
"https://image.slidesharecdn.com/088ebceb-2036-4484-8641-1fd626bbb186-160128141638/85/J-Jovanovic_Identities-expressed-through-practice-3-320.jpg 320w, https://image.slidesharecdn.com/088ebceb-2036-4484-8641-1fd626bbb186-160128141638/85/J-Jovanovic_Identities-expressed-through-practice-3-638.jpg 638w, https://image.slidesharecdn.com/088ebceb-2036-4484-8641-1fd626bbb186-160128141638/75/J-Jovanovic_Identities-expressed-through-practice-3-2048.jpg 2048w",
"https://image.slidesharecdn.com/088ebceb-2036-4484-8641-1fd626bbb186-160128141638/85/J-Jovanovic_Identities-expressed-through-practice-4-320.jpg 320w, https://image.slidesharecdn.com/088ebceb-2036-4484-8641-1fd626bbb186-160128141638/85/J-Jovanovic_Identities-expressed-through-practice-4-638.jpg 638w, https://image.slidesharecdn.com/088ebceb-2036-4484-8641-1fd626bbb186-160128141638/75/J-Jovanovic_Identities-expressed-through-practice-4-2048.jpg 2048w",
"https://image.slidesharecdn.com/088ebceb-2036-4484-8641-1fd626bbb186-160128141638/85/J-Jovanovic_Identities-expressed-through-practice-5-320.jpg 320w, https://image.slidesharecdn.com/088ebceb-2036-4484-8641-1fd626bbb186-160128141638/85/J-Jovanovic_Identities-expressed-through-practice-5-638.jpg 638w, https://image.slidesharecdn.com/088ebceb-2036-4484-8641-1fd626bbb186-160128141638/75/J-Jovanovic_Identities-expressed-through-practice-5-2048.jpg 2048w",
"https://image.slidesharecdn.com/088ebceb-2036-4484-8641-1fd626bbb186-160128141638/85/J-Jovanovic_Identities-expressed-through-practice-6-320.jpg 320w, https://image.slidesharecdn.com/088ebceb-2036-4484-8641-1fd626bbb186-160128141638/85/J-Jovanovic_Identities-expressed-through-practice-6-638.jpg 638w, https://image.slidesharecdn.com/088ebceb-2036-4484-8641-1fd626bbb186-160128141638/75/J-Jovanovic_Identities-expressed-through-practice-6-2048.jpg 2048w",
"https://image.slidesharecdn.com/088ebceb-2036-4484-8641-1fd626bbb186-160128141638/85/J-Jovanovic_Identities-expressed-through-practice-7-320.jpg 320w, https://image.slidesharecdn.com/088ebceb-2036-4484-8641-1fd626bbb186-160128141638/85/J-Jovanovic_Identities-expressed-through-practice-7-638.jpg 638w, https://image.slidesharecdn.com/088ebceb-2036-4484-8641-1fd626bbb186-160128141638/75/J-Jovanovic_Identities-expressed-through-practice-7-2048.jpg 2048w",
"https://image.slidesharecdn.com/088ebceb-2036-4484-8641-1fd626bbb186-160128141638/85/J-Jovanovic_Identities-expressed-through-practice-8-320.jpg 320w, https://image.slidesharecdn.com/088ebceb-2036-4484-8641-1fd626bbb186-160128141638/85/J-Jovanovic_Identities-expressed-through-practice-8-638.jpg 638w, https://image.slidesharecdn.com/088ebceb-2036-4484-8641-1fd626bbb186-160128141638/75/J-Jovanovic_Identities-expressed-through-practice-8-2048.jpg 2048w",
"https://image.slidesharecdn.com/088ebceb-2036-4484-8641-1fd626bbb186-160128141638/85/J-Jovanovic_Identities-expressed-through-practice-9-320.jpg 320w, https://image.slidesharecdn.com/088ebceb-2036-4484-8641-1fd626bbb186-160128141638/85/J-Jovanovic_Identities-expressed-through-practice-9-638.jpg 638w, https://image.slidesharecdn.com/088ebceb-2036-4484-8641-1fd626bbb186-160128141638/75/J-Jovanovic_Identities-expressed-through-practice-9-2048.jpg 2048w",
"https://image.slidesharecdn.com/088ebceb-2036-4484-8641-1fd626bbb186-160128141638/85/J-Jovanovic_Identities-expressed-through-practice-10-320.jpg 320w, https://image.slidesharecdn.com/088ebceb-2036-4484-8641-1fd626bbb186-160128141638/85/J-Jovanovic_Identities-expressed-through-practice-10-638.jpg 638w, https://image.slidesharecdn.com/088ebceb-2036-4484-8641-1fd626bbb186-160128141638/75/J-Jovanovic_Identities-expressed-through-practice-10-2048.jpg 2048w",
"https://image.slidesharecdn.com/088ebceb-2036-4484-8641-1fd626bbb186-160128141638/85/J-Jovanovic_Identities-expressed-through-practice-11-320.jpg 320w, https://image.slidesharecdn.com/088ebceb-2036-4484-8641-1fd626bbb186-160128141638/85/J-Jovanovic_Identities-expressed-through-practice-11-638.jpg 638w, https://image.slidesharecdn.com/088ebceb-2036-4484-8641-1fd626bbb186-160128141638/75/J-Jovanovic_Identities-expressed-through-practice-11-2048.jpg 2048w",
"https://image.slidesharecdn.com/088ebceb-2036-4484-8641-1fd626bbb186-160128141638/85/J-Jovanovic_Identities-expressed-through-practice-12-320.jpg 320w, https://image.slidesharecdn.com/088ebceb-2036-4484-8641-1fd626bbb186-160128141638/85/J-Jovanovic_Identities-expressed-through-practice-12-638.jpg 638w, https://image.slidesharecdn.com/088ebceb-2036-4484-8641-1fd626bbb186-160128141638/75/J-Jovanovic_Identities-expressed-through-practice-12-2048.jpg 2048w",
"https://image.slidesharecdn.com/088ebceb-2036-4484-8641-1fd626bbb186-160128141638/85/J-Jovanovic_Identities-expressed-through-practice-13-320.jpg 320w, https://image.slidesharecdn.com/088ebceb-2036-4484-8641-1fd626bbb186-160128141638/85/J-Jovanovic_Identities-expressed-through-practice-13-638.jpg 638w, https://image.slidesharecdn.com/088ebceb-2036-4484-8641-1fd626bbb186-160128141638/75/J-Jovanovic_Identities-expressed-through-practice-13-2048.jpg 2048w",
"https://image.slidesharecdn.com/088ebceb-2036-4484-8641-1fd626bbb186-160128141638/85/J-Jovanovic_Identities-expressed-through-practice-14-320.jpg 320w, https://image.slidesharecdn.com/088ebceb-2036-4484-8641-1fd626bbb186-160128141638/85/J-Jovanovic_Identities-expressed-through-practice-14-638.jpg 638w, https://image.slidesharecdn.com/088ebceb-2036-4484-8641-1fd626bbb186-160128141638/75/J-Jovanovic_Identities-expressed-through-practice-14-2048.jpg 2048w",
"https://image.slidesharecdn.com/088ebceb-2036-4484-8641-1fd626bbb186-160128141638/85/J-Jovanovic_Identities-expressed-through-practice-15-320.jpg 320w, https://image.slidesharecdn.com/088ebceb-2036-4484-8641-1fd626bbb186-160128141638/85/J-Jovanovic_Identities-expressed-through-practice-15-638.jpg 638w, https://image.slidesharecdn.com/088ebceb-2036-4484-8641-1fd626bbb186-160128141638/75/J-Jovanovic_Identities-expressed-through-practice-15-2048.jpg 2048w",
"https://image.slidesharecdn.com/088ebceb-2036-4484-8641-1fd626bbb186-160128141638/85/J-Jovanovic_Identities-expressed-through-practice-16-320.jpg 320w, https://image.slidesharecdn.com/088ebceb-2036-4484-8641-1fd626bbb186-160128141638/85/J-Jovanovic_Identities-expressed-through-practice-16-638.jpg 638w, https://image.slidesharecdn.com/088ebceb-2036-4484-8641-1fd626bbb186-160128141638/75/J-Jovanovic_Identities-expressed-through-practice-16-2048.jpg 2048w",
"https://image.slidesharecdn.com/088ebceb-2036-4484-8641-1fd626bbb186-160128141638/85/J-Jovanovic_Identities-expressed-through-practice-17-320.jpg 320w, https://image.slidesharecdn.com/088ebceb-2036-4484-8641-1fd626bbb186-160128141638/85/J-Jovanovic_Identities-expressed-through-practice-17-638.jpg 638w, https://image.slidesharecdn.com/088ebceb-2036-4484-8641-1fd626bbb186-160128141638/75/J-Jovanovic_Identities-expressed-through-practice-17-2048.jpg 2048w",
"https://image.slidesharecdn.com/088ebceb-2036-4484-8641-1fd626bbb186-160128141638/85/J-Jovanovic_Identities-expressed-through-practice-18-320.jpg 320w, https://image.slidesharecdn.com/088ebceb-2036-4484-8641-1fd626bbb186-160128141638/85/J-Jovanovic_Identities-expressed-through-practice-18-638.jpg 638w, https://image.slidesharecdn.com/088ebceb-2036-4484-8641-1fd626bbb186-160128141638/75/J-Jovanovic_Identities-expressed-through-practice-18-2048.jpg 2048w",
"https://image.slidesharecdn.com/088ebceb-2036-4484-8641-1fd626bbb186-160128141638/85/J-Jovanovic_Identities-expressed-through-practice-19-320.jpg 320w, https://image.slidesharecdn.com/088ebceb-2036-4484-8641-1fd626bbb186-160128141638/85/J-Jovanovic_Identities-expressed-through-practice-19-638.jpg 638w, https://image.slidesharecdn.com/088ebceb-2036-4484-8641-1fd626bbb186-160128141638/75/J-Jovanovic_Identities-expressed-through-practice-19-2048.jpg 2048w",
"https://image.slidesharecdn.com/088ebceb-2036-4484-8641-1fd626bbb186-160128141638/85/J-Jovanovic_Identities-expressed-through-practice-20-320.jpg 320w, https://image.slidesharecdn.com/088ebceb-2036-4484-8641-1fd626bbb186-160128141638/85/J-Jovanovic_Identities-expressed-through-practice-20-638.jpg 638w, https://image.slidesharecdn.com/088ebceb-2036-4484-8641-1fd626bbb186-160128141638/75/J-Jovanovic_Identities-expressed-through-practice-20-2048.jpg 2048w",
"https://image.slidesharecdn.com/088ebceb-2036-4484-8641-1fd626bbb186-160128141638/85/J-Jovanovic_Identities-expressed-through-practice-21-320.jpg 320w, https://image.slidesharecdn.com/088ebceb-2036-4484-8641-1fd626bbb186-160128141638/85/J-Jovanovic_Identities-expressed-through-practice-21-638.jpg 638w, https://image.slidesharecdn.com/088ebceb-2036-4484-8641-1fd626bbb186-160128141638/75/J-Jovanovic_Identities-expressed-through-practice-21-2048.jpg 2048w",
"https://image.slidesharecdn.com/088ebceb-2036-4484-8641-1fd626bbb186-160128141638/85/J-Jovanovic_Identities-expressed-through-practice-22-320.jpg 320w, https://image.slidesharecdn.com/088ebceb-2036-4484-8641-1fd626bbb186-160128141638/85/J-Jovanovic_Identities-expressed-through-practice-22-638.jpg 638w, https://image.slidesharecdn.com/088ebceb-2036-4484-8641-1fd626bbb186-160128141638/75/J-Jovanovic_Identities-expressed-through-practice-22-2048.jpg 2048w",
"https://image.slidesharecdn.com/088ebceb-2036-4484-8641-1fd626bbb186-160128141638/85/J-Jovanovic_Identities-expressed-through-practice-23-320.jpg 320w, https://image.slidesharecdn.com/088ebceb-2036-4484-8641-1fd626bbb186-160128141638/85/J-Jovanovic_Identities-expressed-through-practice-23-638.jpg 638w, https://image.slidesharecdn.com/088ebceb-2036-4484-8641-1fd626bbb186-160128141638/75/J-Jovanovic_Identities-expressed-through-practice-23-2048.jpg 2048w",
"https://image.slidesharecdn.com/088ebceb-2036-4484-8641-1fd626bbb186-160128141638/85/J-Jovanovic_Identities-expressed-through-practice-24-320.jpg 320w, https://image.slidesharecdn.com/088ebceb-2036-4484-8641-1fd626bbb186-160128141638/85/J-Jovanovic_Identities-expressed-through-practice-24-638.jpg 638w, https://image.slidesharecdn.com/088ebceb-2036-4484-8641-1fd626bbb186-160128141638/75/J-Jovanovic_Identities-expressed-through-practice-24-2048.jpg 2048w",
"https://image.slidesharecdn.com/088ebceb-2036-4484-8641-1fd626bbb186-160128141638/85/J-Jovanovic_Identities-expressed-through-practice-25-320.jpg 320w, https://image.slidesharecdn.com/088ebceb-2036-4484-8641-1fd626bbb186-160128141638/85/J-Jovanovic_Identities-expressed-through-practice-25-638.jpg 638w, https://image.slidesharecdn.com/088ebceb-2036-4484-8641-1fd626bbb186-160128141638/75/J-Jovanovic_Identities-expressed-through-practice-25-2048.jpg 2048w",
"https://image.slidesharecdn.com/088ebceb-2036-4484-8641-1fd626bbb186-160128141638/85/J-Jovanovic_Identities-expressed-through-practice-26-320.jpg 320w, https://image.slidesharecdn.com/088ebceb-2036-4484-8641-1fd626bbb186-160128141638/85/J-Jovanovic_Identities-expressed-through-practice-26-638.jpg 638w, https://image.slidesharecdn.com/088ebceb-2036-4484-8641-1fd626bbb186-160128141638/75/J-Jovanovic_Identities-expressed-through-practice-26-2048.jpg 2048w",
"https://image.slidesharecdn.com/088ebceb-2036-4484-8641-1fd626bbb186-160128141638/85/J-Jovanovic_Identities-expressed-through-practice-27-320.jpg 320w, https://image.slidesharecdn.com/088ebceb-2036-4484-8641-1fd626bbb186-160128141638/85/J-Jovanovic_Identities-expressed-through-practice-27-638.jpg 638w, https://image.slidesharecdn.com/088ebceb-2036-4484-8641-1fd626bbb186-160128141638/75/J-Jovanovic_Identities-expressed-through-practice-27-2048.jpg 2048w",
"https://image.slidesharecdn.com/088ebceb-2036-4484-8641-1fd626bbb186-160128141638/85/J-Jovanovic_Identities-expressed-through-practice-28-320.jpg 320w, https://image.slidesharecdn.com/088ebceb-2036-4484-8641-1fd626bbb186-160128141638/85/J-Jovanovic_Identities-expressed-through-practice-28-638.jpg 638w, https://image.slidesharecdn.com/088ebceb-2036-4484-8641-1fd626bbb186-160128141638/75/J-Jovanovic_Identities-expressed-through-practice-28-2048.jpg 2048w"
] |
[] |
[] |
[
""
] | null |
[] |
2016-01-28T14:16:38+00:00
|
J. 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“. Atanasovski, Srđan 2010. ‘The Sound of Kaval: Reimagining the Sounscape of Serbia’, paper presented at the Conference The Ottoman Past in the Balkan Present: Music and Mediation, Athens, 30 September – 2 October 2010 (manuscript). Baines, Anthony 1991. Woodwind Instruments and Their History. New York: Dover Publications Inc., 1991. ---------- 2001. Drone, Stanley Sadie (ed.) The New Grove Dictionary of Music 7. London: Macmillan, 598 Бастен, Андреа Елена / Basten, Andrea Elena 2003. ’Отворено цилиндрично тело као аерофони инструмент из рода лабијалних свирала’ [‘Open cylindrical body as aerophone instrument from the group of labial pipes’], семинарски рад, Београд: Факултет музичке уметности, Одсек за етномузикологију, рад у рукопису. Благојевић, Гордана / Blagojević, Gordana 2005. ’Рецепција црквене византијске музике у Београду крајем 20. и почетком 21. века (или како је Стеван Мокрањац постао старији и српскији композитор од Стефана Србина)’ [‘Reception of Byzantine church music in Belgrade at the end of the 20th and beginning of 21st century (or how has Stevan Mokranjac become older and more Serbian composer than Stephen The Serb)’]. Гласник Етнографског института САНУ LIII: 153–71. Bohlman, Philip V. 1988. ‘Traditional Music and Cultural Identity: Persistent Paradigm in the History of Ethnomusicology’, Yearbook for Traditional Music, 20: 26–42. Born, Georgina 2000. Music and the Representation / Articulation of Sociocultural Identities, in: Western Music and Its Others, Berkeley, Los Angeles, London: University of California Press, 31–7. Brandl, Rudolf 1976. ‘Über das phänomen Bordun: Versuch einer Beschreibung von Funktion und Systematik’, in: Studien zur Musik Südosteuropas (Beiträge zur Ethnomusikologie 4), Hamburg, 90–123 [a Serbian/Croatian/Bosnian translation for internal use at the Music Academy in Sarajevo]. Chabrier, Jean-Claude 1995. Arabesques. Analyses de musiques traditionelles, I, Identification (handwriting). Clayton, Martin 2001. ‘Introduction: Towards a Theory of Musical Meaning (in India and Elsewhere)’, Music and Meaning British Journal of Ethnomusicology 10 (1): 1–17. Cooley, Timothy J., Barz, Gregory 2008. ‘Casting Shadows: Fieldwork Is Dead! Long Live Fieldwork! Introduction.’ Cooley, T. J. and Barz, G. (eds.) Shadows In The Field, New Perspectives For Fieldwork In Ethnomusicology, Oxford: University Press, 3–24. Czekanowska, Anna 1981. Kultury muzyczne Azji [Musical cultures of Asia]. Krakow: Instytut muzykologii Universytetu Warszawskiego, Polskie izdawnictwo muzyczne.
20. 20 Jelena Jovanović Чичаковски, Тимко / Čičakovski, Timko 2011. Македонски традиционални музички инструменти [Macedonian traditional musical instruments], Македонско народно творештво, Народни инструменти, Книга 8, Скопје: Институт за фолклор „Марко Цепенков“. Deutsch, Walter (ed.) 1981. Der Bordun in der europäischen Volksmusik, Bericht über das 2. Seminar für europäische Musikethnologie, St. Pölten 1973, Wien: Verlag A. Schnedl. Dević, Dragoslav 1977. Etnomuzikologija – III deo [Ethnomusicology – Third part]. Beograd: Univerzitet u Beogradu. Ђурић, Милош / Đurić, Miloš 1955. Кроз хеленску историју, књижевност и музику [Through Hellenic history, literature and music]. Београд: Космос. Dženkins, Ričard / Jenkins, Richard 2001 (1997). Etnicitet u novom ključu [Rethinking ethnicity: arguments and explorations, London: Sage] Beograd: Biblioteka XX vek. Џимревски, Боривоје / Džimrevski, Borivoje, 2002. Шупелката во Македонија [Šupelka in Macedonia]. Скопје: Институт за фолклор „Марко Цепенков“. Џуџев, Стоян [Djudjev Stoian] 1975. Българска народна музика [Bulgarian folk music] София: Издателство на Музика. Gojković, Andrijana 1989. Narodni muzički instrumenti [Folk musical instruments]. Beograd: Vuk Karadžić. Gojković, Andrijana 1994. Muzički instrumenti – mitovi i legende, simbolika i funkcija [Musical instruments – myths and legends, symbolics and function], Beograd. Gordy, Eric D. 1999. The culture of power in Serbia: nationalism and the destruction of alternatives, University Park: Pennsylvania State University Press. Hercman, Jevgenij 2004. Vizantijska nauka o muzici [Byzantine science on music]. Beograd: Clio. Hiti, Filip, 1988. Istorija Arapa [The history of the Arabs]. Sarajevo: Veselin Masleša. Jovanović, Jelena, ‘Renewed kaval in Serbia in 1990s and kaval and ney in Sufi traditions in the Middle East: the aspects of music and meanings’, presented at The 6th International Symposium on Traditional Polyphony, Book of Abstracts, 24–28 September, Tbilisi (Georgia) 2012, 21. Jovanović, Vladimir 2003. Umetnost u hrišćanstvu ili hrišćanstvo u umetnosti [Arts in Christianity or Christianity in arts], in: Jevgenij Hercman, Vizantijska nauka o muzici [Byzantine science on music], Beograd: Clio, 321–53. Лазић, Милорад / Lazić, Milorad 1984. ’Етос византијског црквеног појања’ [‘Ethos of Byzantian Church Chant]. Теолошки погледи 3–4: 237–43. Линин, Александар / Linin, Aleksandar 1986. Народните музички инструменти во Македонија [Folk musical instruments in Macedonia]. Скопје: Македoнска книга. Locke, Ralph. P. 2009. Musical Exoticism. Images and Reflections, Cambridge Univer- sity Press. Мациевский, Игорь / Macievskii, Igor’ 2007. ’Инструментальная музыка и этно- историческая идентификация: самосознание и традиция’ [‘Instrumental music
21. IDENTITIES EXPRESSED TROUGH PRACTICE OF KAVAL... 21 and ethno-historical identification: self-knowledge and tradition’], Музикологија 7: 157–84. Марковић, Загорка / Marković, Zagorka 1987. Народни музички инструменти [Folk Musical Instruments], Збирке II. Београд: Етнографски музеј. Mijatović, Branislava. 2003. ‘Music and Politics in Serbia (1989–2000).’ PhD Dissertation, University of California Los Angeles. Милановић, Биљана / Milanović, Biljana] 2007. „Колективни идентитети и музика“ [‘Collective identities and music’], Музикологија 7: 119–34. Moisil, Costin 2011. ‘Romanian vs. Greek-Turkish-Persian-Arab: imagining national traits for Romanian church chant’, Музикологија 11: 119–32. Мокрањац, Стеван / Mokranjac, Stevan 1964. Осмогласник, Треће издање [Octoechos3 ]. Београд: Свети архијерејски синод Српске православне цркве. Muftić, Teufik 1997. Arapsko-bosanski rječnik, III edition [Arabian-Bosnian dictiona- ry3 ] Sarajevo: El-Kalem. Народни музички инструменти Југославије [Folk musical instruments of Yugosla- via], 1957. Београд: Етнографски музеј Naumović, Slobodan 1997. ‘Od ideje obnove do prakse upotrebe: ogled o odnosu politike i tradicije na primeru savremene Srbije’ [‘From the Idea of Restoration to the Praxis of Use: Essay About the Politics and Tradition on the Example of Contemporary Serbia’], Liceum 2: 103–45. Павићевић, Александра / Pavićević, Aleksandra 2009, ’Да ли су антрополози дужни да буду (не)религиозни?’ [‘Are anthropologists obliged to be (non)religious’], Теме 4: 1413–34. Пејовић, Роксанда / Pejović, Roksanda 1984. Представе музичких инструмената у средњовековној Србији [Representations of musical instruments in medieval Serbia]. Посебна издања, књ. DXLIX, Одељење ликовне и музичке уметности, књ. 4. Београд: САНУ – Музиколошки институт. Pennanen, Risto Pekka 2004. ‘The Nationalization of Ottoman Popular Music in Greece’, Ethnomusicology 48 (1): 1–25. Пено, Весна / Peno, Vesna 2008. ’Заједничке лествичне особености новије грчке и српске појачке традиције’ [‘Common scale features of the recent Greek and Serbian church chant tradition’]. Музикологија 8: 101–25. Пено, Весна / Peno, Vesna 2010. ’Стваралачки чин црквеног музичара – од тра- диције до предања’ [‘A Creative Act of Ecclesiastical Chanter – From Tradition to Holy Tradition’], Традиција као инспирација, зборник радова са научног скупа Дани Владе С. Милошевића, Бања Лука: Музичка академија, 161–73. Perica, Vjekoslav 2002. Religion and Nationalism in Yugoslav States, Oxford Universi- ty Press. Петровић, Даница / Petrović, Danica 1982. Осмогласник у музичкој традицији Јуж- них Словена [Ochtoechos in the musical tradition of Southern Slavs], Посебна из- дања, књига16/1. Београд: Музиколошки институт САНУ.
22. 22 Jelena Jovanović Попмихајлов, Никола / Popmihajlov, Nikola 2007. Водич за појце кроз савремену неумску нотацију [A Guide for chanters through contemporary neumatic notation], Београд: Јасен, Ћелија пиперска. Powers, Harold S., Widdes, Richard, 2001. ’Mode, §V, 1: Middle East & Asia: Intro- duction: ‘mode’ as a musicological concept’, in Stanley Sadie (ed.), The New Grove Dictionary of Music 16, 830. London: Macmillan. Rice, Timothy 2003. ‘Time, Place and Metaphor in Musical Experience and Ethno- graphy’, Ethnomusicology 47 (2): 151–79. Ростовцев М. / Rostovcev M. 1990. Историја старог света [History of the ancient world], Нови Сад: Матица cрпска. Said, Edward, Orijentalizam, Biblioteka XX vek, Beograd 2000. Στάθης, Γρ. Θ. / Statis, Gr. Th. 1972. ’Η Βυζαντινή Μουσική στη λατρεία και στην επιστήμη’ [‘Byzantine music in liturgical service and in science’], Βυζαντινά 4: 389–438. Стефановић, Димитрије / Stefanović, Dimitrije 1994. ’Црквено појање и црквена музика’ [‘Church chanting and church music’], Зборник Матице српске за сценске уметности и музику 15: 23–30. Stock, Jonathan P. J. 2001. ‘Toward an Ethnomusicology of the Individual, or Biograp- hical Writing in Ethnomusicology’, The World of Music 43 (1): 5–19. Stokes, Martin 1994. ‘Introduction: Ethnicity, Identity and Music’, in M. Stokes (ed.), Ethnicity, Identity and Music: The Musical Construction of Place. Oxford / Provi- dence: Berg, 1–27. Szabolcsi, Bence 1959. Bausteine zu einer Geschichte der Melodie. Budapest: Corvina. Тодевски, Кирил / Todevski, Kiril] 2004. Народен уметник со универзални вред- ности – Пеце Атанасовски / Naroden umetnik so univerzalni vrednosti – Pece Atanasovski [Folk artist with universal values – Pece Atanasovski]. Скопје: Дирек- ција за култура и уметност. Todorova, Marija 2006 (1997). Imaginarni Balkan. [Todorova, M., Imagining the Bal- kans, New York: Oxford University Press]. Beograd: Biblioteka XX vek. Touma, Habib Hassan 1975. Die Musik der Araber, Taschenbücher zur Musikwissen- schaft, Herausgegeben von Richard Schaal 37, Berlin, Wilhelmshaven: Internationales Institut für Musikstudien, Heinrichshofen`s Verlag. Вертков, К. et al. / Vertkov, K. et al.1975. Атлас музыкальных инструментов наро- дов СССР [Atlas of musical instruments of the peoples of the USSR]. Москва: Издательство „Музыка“. Вукановић, Татомир / Vukanović, Tatomir 1987. Музичка култура у старом Врању [Musical Culture in Old Town of Vranje]. Врање: Штампарија „Нова Југосла- вија“. Вукичевић-Закић, Мирјана / Vukičević-Zakić, Mirjana 1994/1995. ‘Bourdon in the music tradition of Zaplanje’, New Sound 4–5: 11–26. ---------- 2001. ’Музички језик заплањских пастирских инструмената’ [’Musical language of shepherds` instruments from Zaplanje region’], Музички талас 29.
23. IDENTITIES EXPRESSED TROUGH PRACTICE OF KAVAL... 23 Вълчинова-Чендлова, Елисавета / Valchinova-Chendlova, Elisaveta 2000. Град- ската традиционна инструментална практика и оркестровата култура в България (средата на XIX – края на XX век) [Urban traditional instrumental practice and orchestral culture in Bulgaria]. София: Рекламно-издателска къща „Пони“. Zakić, Mirjana and Rakočević, Selena 2012. ‘Performing Traditional Music and Dance in Serbia between nostalgia, utopia, and realities. The case study of the singing group ‘Moba’ and KUD ‘Stanko Paunović’, in V. Mikić, I. Perković, T. Popović- Mlađenović, M. Veselinović-Hofman (eds.) Between nostalgia, utopia, and realities, Musicological studies: Collections of papers No. 4. Belgrade: University of arts – Faculty of music – Department for musicology, 313–24. Zaks, Kurt / Sachs, Kurt 1980. Muzika starog sveta [Music of the Ancient World – East and West], Beograd: Univerzitet umetnosti. Zannos, Ioannis 1994. 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
|
||||
1053
|
dbpedia
|
2
| 33
|
https://snowsovgethen.com/journal/category/new%2Bwave
|
en
|
new wave — Listening Journal — Snows Ov Gethen • Hermetic Journals
|
http://static1.squarespace.com/static/51e9a95fe4b0c62bf88b254b/t/61e6d07d6fdb7a0bc2eaf090/1642516609579/SoG91.png?format=1500w
|
http://static1.squarespace.com/static/51e9a95fe4b0c62bf88b254b/t/61e6d07d6fdb7a0bc2eaf090/1642516609579/SoG91.png?format=1500w
|
[
"https://images.squarespace-cdn.com/content/v1/51e9a95fe4b0c62bf88b254b/438f7759-7e78-4669-adc6-2970efb2da6a/SoG91.png",
"https://images.squarespace-cdn.com/content/v1/51e9a95fe4b0c62bf88b254b/438f7759-7e78-4669-adc6-2970efb2da6a/SoG91.png",
"https://images.squarespace-cdn.com/content/v1/51e9a95fe4b0c62bf88b254b/1722529360992-YILOK03Y2E6BODUR3E9B/snows-ov-gethen-hermetic-journals_jill-kroesen-stop-vicious-cycles-1982-lovely-music.jpg",
"https://images.squarespace-cdn.com/content/v1/51e9a95fe4b0c62bf88b254b/1721061480980-QNP6OWZ6EC5F1XC7M58P/snows-ov-gethen-hermetic-journals_steve-hiett-down-on-the-road-by-the-beach-girls-in-the-grass-1983-cbs-sony-2019-be-with.jpg",
"https://images.squarespace-cdn.com/content/v1/51e9a95fe4b0c62bf88b254b/1720032905939-KQKEV5X4W33Y3QO6FUR2/snows-ov-gethen-hermetic-journals_dome-dome-2-1980-dome-rough-trade.jpg",
"https://images.squarespace-cdn.com/content/v1/51e9a95fe4b0c62bf88b254b/1716495018506-W94IKAP6EQA5KOHUAIJP/snows-ov-gethen-hermetic-journals_brian-eno-david-byrne-my-life-in-the-bush-of-ghosts-robert-fripp-no-pussyfooting-1981-sire-1973-island.jpg",
"https://images.squarespace-cdn.com/content/v1/51e9a95fe4b0c62bf88b254b/1716496826601-3NLGGIYMKUD9QS32XPOU/snows-ov-gethen-hermetic-journals_craig-leon-nommos-visiting-cassell-webb-the-thief-of-sadness-1981-1982-takoma-arbitor-1987-venture.jpg",
"https://images.squarespace-cdn.com/content/v1/51e9a95fe4b0c62bf88b254b/1716570991891-ZMD2QJ5AJHY6B9224URI/snows-ov-gethen-hermetic-journals_grace-jones-slave-to-the-rhythm-1985-zang-tumb-tuum-island.jpg",
"https://images.squarespace-cdn.com/content/v1/51e9a95fe4b0c62bf88b254b/1709336408326-GE70TQGKC6CV3K1EB2RW/snows-ov-gethen-hermetic-journals_minimal-compact-self-titled-lowlands-flight-1981-1987-crammed-discs-made-to-measure.jpg",
"https://images.squarespace-cdn.com/content/v1/51e9a95fe4b0c62bf88b254b/1708532881886-X4ASIXSZKI2RYHW9Y3AJ/snows-ov-gethen-hermetic-journals_danielle-boutet-pices-1985-2024-freedom-to-spend.jpg",
"https://images.squarespace-cdn.com/content/v1/51e9a95fe4b0c62bf88b254b/1701370610696-H2O2LZ7EYDL1Y4F4VWVU/snows-ov-gethen-hermetic-journals_top-60-reissues-and-archival-releases-2023-part-1.jpg",
"https://images.squarespace-cdn.com/content/v1/51e9a95fe4b0c62bf88b254b/1694452482065-YVQ9HT0J6L0F46FL3AE4/snows-ov-gethen-hermetic-journals_virginia-astley-from-gardens-where-we-feel-secure-1983-rough-trade-happy-valley.jpg",
"https://images.squarespace-cdn.com/content/v1/51e9a95fe4b0c62bf88b254b/1688677007566-YL90IF9Z240IC3MWG7C5/Snows+Ov+Gethen+-+Hermetic+Journals+%E2%80%A2+Radiation+Ruling+The+Nation+%E2%80%A2+The+Heatwave+Edition+%28Artwork%29.jpg",
"https://images.squarespace-cdn.com/content/v1/51e9a95fe4b0c62bf88b254b/1689797546133-4KK36OI00KP41T7606JW/snows-ov-gethen-hermetic-journals_wally-badarou-chief-inspector-words-of-a-mountain-1986-1989-island.jpg",
"https://images.squarespace-cdn.com/content/v1/51e9a95fe4b0c62bf88b254b/1684423235986-T9LW7EGAETIO2ECDXGD1/Snows+Ov+Gethen+-+Hermetic+Journals+-+Into+The+Labyrinth+%E2%80%A2+Sacrificial+Dances+Of+Knossos.jpg",
"https://images.squarespace-cdn.com/content/v1/51e9a95fe4b0c62bf88b254b/1681330224745-T234CQZM896214BDGHI9/snows-ov-gethen-hermetic-journals_nenad-jelic-laza-ristovski-opera-1986-pgp-rtb-2023-soundway.jpg",
"https://images.squarespace-cdn.com/content/v1/51e9a95fe4b0c62bf88b254b/1678291549164-DUYDJFZAKEVT1AOO620S/Snows+Ov+Gethen+-+Hermetic+Journals+-+Sinteticos+Portugueses+%28Artwork%29.jpg",
"https://images.squarespace-cdn.com/content/v1/51e9a95fe4b0c62bf88b254b/1674592904298-6JV7PZRQDJZN8VZDA6Y0/snows-ov-gethen-hermeetic-journals-best-record-stores-of-chicago.jpg",
"https://images.squarespace-cdn.com/content/v1/51e9a95fe4b0c62bf88b254b/1673640241562-0NYDWKP0V22H0VQF7M5W/snows-ov-gethen-hermetic-journals_conrad-seto-secuencias-para-la-era-de-acuario-1990-nova-era.jpg",
"https://images.squarespace-cdn.com/content/v1/51e9a95fe4b0c62bf88b254b/1673464667322-LYQJ4NRHXZAQQU7RSIZV/Snows+Ov+Gethen+-+Hermetic+Journals+-+Greek+Music+Travelogues+-+Byzantine+music%2C+Tsabouna%2C+Xenakis%2C+Vangelis%2C+Platonos%2C+Theodorakis%2C+Katsoulis+%26+more.jpg",
"https://andrew-elvish.squarespace.com/s/btt-icon.png"
] |
[] |
[] |
[
""
] | null |
[] |
2024-07-17T00:00:00
|
Snows Ov Gethen • Hermetic Journals Musings on experimental music of all shades and colours.
|
en
|
https://images.squarespace-cdn.com/content/v1/51e9a95fe4b0c62bf88b254b/a6c83d43-d16d-4dc8-a026-326ac92d24ab/favicon.ico?format=100w
|
Snows Ov Gethen • Hermetic Journals
|
https://snowsovgethen.com/journal/category/new+wave
|
Let’s stay with LM, Ltd. for the moment. Here’s one by Jill Kroesen. Her only full-length, but some people might recognize her distinctive nasal-to-mutter’y deadpan from Dinosaur L‘s “24→24” classics. Cutting like a knife through Arthur Russell’s thick, lubed-up disco arrangements. Su Tissue battles Alan Vega in one throat. Although, as far as can be deduced from “Honey, You’re So Mean”, she could also do raspy Marianne Faithfull with Cher-like sliding warble bookending verses. Very odd and not particularly well-controlled type of voice, but memorable. Not for nothing Ashley casted Kroesen as Isolde in “Perfect Lives”.
What a dirty shame she left music so soon. They say to pursue videography… Judging by “Stop Vicious Cycles”, Krosen was a bonafide entertainer. Overall, her pieces –arranged in collab with her sometime bandleader in Love Of Life Orchestra Peter Gordon - oscillate between artsy torch song and energetic pastiche of ZE Records. Their self-conceptualised “mutant disco” (Christina, James Chance, Kid Creole). A fun microgenre that was absolutely ruined in the early 00s via hipster reissues and inept stylisations. Somehow Kroesen was spared, apart from her Russell contributions. Perhaps she wasn’t pop enough or because her stuff was published on avant classical label. Most people run the other way when someone is associated with avantgarde opera. Talking about …
Read More
Deep summer classic no.2. We are now in Miami. There’s a fashion shoot on the beach. Fancy cars and catering trucks in the parking lot. Must be Vogue Paris! Or perhaps Marie Claire? But they are shooting something very American. Calvin Klein, Tommy Hilfiger? Michael Kors and Marc Jacobs are thankfully not yet a thing. There’re underwear models frolicking about. Young Linda Evangelista? Clothes are recognizably 1980s, but hair and accessories are throwback to the ‘60s. They are playing strange dubs of Beach Boys to get people in the mood. The ocean behind the proceedings is the same hue as Yves Klein’s “California”. Wait, that’s not Beach Boys. No vocal harmonies to be found. On a side note, I can never understand when people breathlessly admire Wilson’s “complex chord progressions”. What’s so intricate about incessant V-ii-V-I or basic I-IV-V with occasional sprinklings of suspensions and major/minor 7ths? Anyhow, that’s not Steely Dan either. Even if their sometime guitarist Elliott Randall (like Mme Abramovic’s ‘Artist’) IS present. Perhaps it’s an extended balearic edit of Fleetwood Mac’s “Albatross”. Nah. Maybe those are unpublished instrumental tracks for John Martyn’s “One World”? Or is it young Viny Reilly? …
Read More
Brain-melting heat. Feel woozy, like transitions in the clip above. Dome 2 feels illustrative. Especially the Coil-like first part of “The Red Tent”. Second partition is just Gilbert’s annoying bleating over metallic industrial chug. Sounds like exhausted slowed-down Warm Leatherette. No wonder Mr. Miller backed Gilbert’s projects on Mute. Many people think it’s “experimental”. “Long Lost Life” renders like an odder precursor to Sonic Youth if only they weren’t so American and excruciatingly boring. “Breathsteps” goes a bit 20 Jazz Funk Greats. I could almost imagine Genesis P.Orridge doing a cover version. Savouring the intoning over that prickly mechanoid rhythm. “Reading Prof B” has balafon’ish feel to it. I always thought Dome worked out better in their quieter, vocal-less fragments. With bravado guitar screeching traded for gentler discordant texture. “Ritual View” could have been Dome’s new wave chart-topper if only it wasn’t smothered with static patina of foregrounded synth pulses and out-of-tune guitar. “Twist Up” has a bit of Germanic vibe to it. Beate Bartel’s CHBB tapes come to mind. “Keep It” starts out like an outtake from some obscure video nasties soundtrack. A slasher set in …
Read More
Two aural pharmaceuticals. The former for revving up, the latter for winding down. Took these out to distract myself from their author’s late-career forays into self-promoting brand of climate change ‘activism’ and designing LED-lit novelty products. The other day I saw Eno’s new advertorial promoting some odd music-publishing platform. Fast like a (streaming) riverflow and ‘elaborately slow’ - probs implying vinyl with limited edition rugs and designer incense. Sounds about as innovative as Neil Young’s Pono. All I was thinking is that most musicians can’t figure out existing ‘platforms’ while the overwhelming majority of potential audience couldn’t care less how to consume it. As long as it’s free and plays on their screens.
Once upon a time Eno was implicated in producing music. “My Life...” and “No Pussyfooting” are among his most successful blends. Making thorny, overcomplicated concepts of unloved avantgarde instantly agreeable to people who never cared for ‘experimental’ art. And there were as many haters as there were admirers. The latter thinking him pop music’s John Cage. While the former condemn the theft of ideas and pop art’ing the niche. On my part, I can’t help but admire the audacity of Eno’s undertaking. Transmogrifying impenetrable and acquired taste into mass-market is not easy. Synthesizing arcane, conflicting philosophies into …
Read More
What unites these very different records? The answer is the producer. Craig Leon - a celebrated in-house studio wizard for Sire and preeminent engineer of new wave sound. See his oft-cited work with populist stratum of mid-70s NYC Downtown (Talking Heads, Blondie, Suicide). Coincidentally Blondie was a Chrysalis signee and Chrysalis co-owned John Fahey’s Takoma. And Cassell Webb - a fellow music biz professional with roots in Texan psych (various Lelan Rogers projects like Red Krayola, Children and 13th Floor Elevators) - was already in the picture in those years. Working with Leon since his late ‘70s relocation from East Coast for fancy LA postings with Polygram.
Both could be considered music industry’s veterans, by the time of Leon selling Fahey and his manager Denny Bruce (ex-assistant to Phil Spector’s associate Jack Nietzche) the outlandish concept of Nommos. The latter is a synth-tempered ‘imaginary folk music’ of mythical extraterrestrial visitors to Malian Dogon tribe. The latter’s actual music is available through terrestrial field recordings by Ocora’s ethnomusicologists. Despite Takoma’s pre-existing Moog projects with Bernie Krause the album still feels like a catalogue outlier. And Webb was instrumental in procuring …
Read More
Near perfect pop album and the final in Grace Jones’s unimpeachable run through the first half of the 1980s. And of course one of Trevor Horn’s finest productions. Sometimes I wonder what he’d do if hired to produce some of today’s generic starlets. In many ways one could say that his over-the-top approach and ‘widescreen’ sound prefigured today’s studio indulgences. But whereas modern pop is suffocatingly overproduced (and over-compressed) his is airy and sweepingly cinematic in gaudy technicolour. Packed with dynamic contrasts, spatial effects and arousing nuance. Arousing is actually the qualifier that feels à propos of all his productions, whether it’s due to the material he was asked to work on or an outcome of production style. Perhaps both. And “Slave To The Rhythm” is a fine example of it.
People wrote a lot about this record and there’s mistaken belief that recurs in regard to it being a precursor of remix albums. On my part I was under the impression dub producers, including the ones who worked with Jones at Compass Point, made a lot of those throughout the ‘70s. Regardless, “Slave To The Rhythm” is an interesting brew. Spinning rather flimsy sole seed of songwriting into a crazed symphony of immoderate …
Read More
The first and the final by this Tel Aviv via Amsterdam unit. Originally a quartet of Malka Spigel (also check out her poly-stylisitc late ‘90s solo run on ~swim), vocalist Samy Birnbach (future curator of Freezone - Crammed’s influential ambient electronica series) and guitarists Berry Sakharof and Ramy Fortis. Plus, rotating cast of invited guests (including Wire members) post-relocating to Holland. The last two were a bit like punk era’s experimental rock pioneers back in their own country. This is according to Regev/Seroussi’s unyielding UCLA publication “Popular Music & National Culture in Israel” which I cruelly subjected myself to while reading up on Arabic-derived Musiqa Mizrahit.
MC’s self-titled EP of the ‘81 starts out like a carbon copy of A Certain Ratio’s “Do The Du”. Birnbach delivering pitch-perfect Ian Curtis’s greyscale monotone over funked-up post-punk beats. It’s openly derivative - a variation on the early Factory bands, concurrent NY hipsters (99 record roster like ESG and Liquid Liquid) and more lyrical takes aligning with 154-era Wire. Mark Hollander’s guest turn on clarinet/sax imbues this offering with je-ne-sais-quoi colouristic …
Read More
These days our local Québécoise Danielle Boutet is a psychology prof. Residing in the Atlantic facing north-eastern town of Rimouski - a popular destination for oceanography students and whale watching types. But in the ‘80s she dabbled in music and fine arts. Channeling it into two self-released collections of DIY melancholic Francophone chansonettes with off-kilter trappings of new age’y synth pop. Emphasising poésie and muted theatricality. Listening to it I wish Boutet would have sent it to Hector Zazou. I’m sure he’d flesh it out into a bonafide genre-bending confectionary. Fit for hallowed catalogues of Crammed Discs. But it was not to be, and the thing is a thrillingly obscure self-published cassette.
With cascades of stylistic name-droppings press notes enthusiastically suggest wide-ranging eclecticism. Going as far as “jazz noir” and minimalism. All I can say is you’d have to be very imaginative to hear that. With the latter it’s as if any record featuring a few modulating arpeggios and marimba is now a fair candidate. Although I must admit that on rare occasion (specifically the “tone poems” of both Hivers pieces) the ever-present blend of xylophones and synths create fleeting aural impression of something off early Midori Takada if one would remove virtuosity and rhythmic invention. As to the jazz tangent it’s even less plausible considering Boutet’s unadorned …
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
Gardens are still lush outside, pollinators still buzzing over surviving echinacea. But in a silent reminder that this won't last for much longer (especially in our Canadian climes) people start to put out buckets of chrysanthemums and strange-looking compositions of ornamental grass and kale. Never understood the attraction of the latter in flower arrangements (even less so as food). This longwinded sidenote is to say that Astley's sweet and daydreamy 'pastoralias' for piano, woodwinds and field recordings are pitch perfect for this transitional moment when golden-lit end of summer segues into savoury comforts of autumn.
Right after this one Astley went on to become 'big in Japan'. Recording minor synth pop classic with Ryuichi Sakamoto. Even featuring David Sylvian cameo. "Gardens" seems like an outlier in her discography. Most likely it has roots in Astley's earlier collaborations with ex-Skids lead singer Richard Jobson. The ones where the latter intones heavily accented poetic streams over melodious French modernist piano accompaniments. It only makes sense that Astley's gardens are perfumed with the airs of Giverny. Coloured with …
Read More
In the mood for dance music as of late. Goes well with the relentless heat, which is seemingly everywhere I go this summer. So, here's something apropos - the Heatwave mix. I'll call it Radiation Ruling The Nation (the Mad Professor reference). So yes, I was a bit nostalgic for the old-school beatmatching I guess, so it's a fully mixed thingy. Like in the olden days. As well as silly samples and homemade mashups. No other rules, but to keep it as unserious and silly as possible. The first part is in sexy Balearic booty-swaying tempo - works well with the rosé and bubbles, second is a bouncy house hour, so you'll need something stronger. Streaming and the tracklist inside.
Read More
Spending some quality time with Wally Badarou. A perfect soundtrack for a long lazy weekend in the humid heat.
Badarou is probably the most distinctive of synth pop / new wave era keyboardists. His sound is basically all over Island catalogue in the 1980s, which says a lot. Most importantly Grace Jones’s best stuff, but also Marianne Faithful, Talking Heads, Level 42, Manu Dibango, The Tom Tom Club… The list can go on and on. Despite adapting to each of those distinctive artists I think Badarou always brought this very specific colour to any material. Now I know he is a French guy with Benin ancestry, but I can’t help but feel various vernacular musics of Africa in his playing. The curlicues of Ethiopian music, the sweetness of Wassoulou, the groove of Nigerian funk. But also the spaciousness of Jamaican dub, which I think was …
Read More
Picking up the intermittent thread of wild musical brews concocted deeply behind the Iron Curtain. This one came out on state-owned PGP (imprint of Radio Television Belgrade) in the final years of Socialist Yugoslavia. As with Perestroika era in simultaneously unravelling Soviet Union this was politically and culturally milder period, hence the tolerance for weirder music that wouldn't necessarily find state sponsorship earlier. An easier era of growing socio-cultural liberalism preceding disastrous ethnic conflicts and civil war of the 1990s. Or so it seems on the outside. I'm sure the reality was much more complicated...
But let's not dwell on politics. This feels like a Serbian answer to Trevor Horn's larger-than-life production for various Zang Tumb Tuum acts of the 1980s. Super-producer's tool of choice Fairlight CMI is not used on this one (most likely due to budgetary…
Read More
Continuing the travelogues of world record stores. Here is my stop in Chicago. If you ask me, one of the best places to dig in United States. As with other mini-guides that I’ve did for Athens, London and Paris I’ll keep this one updated on repeated visits. Even though record store maybe an endangered species there are still some new places that pop up and obviously there are the ones that sadly close their doors. For now what’s included are overviews of Dusty Groove, a few Reckless Records locations, Shady Rest, Dave’s (now sadly closed), 606 Records and Shuga.
Read More
Was reorganising my Spanish records and found this pleasingly obscure synth gem from the late 1980s Barcelona. Imagine if Roedelius played a blend of Weather Report, late 1980s TV ident muzak and Philip Glass keyboard études with manic intensity of Conrad Schnitzler and synth timbres of Telectu. If it sounds too much it’s because it is, but in a very endearing way. Miraculously this is not in Chee Shimizu’s ‘Obscure Sound’ , but would have been right at home in fancifully entitled “Accidental Music in Spain”.
I couldn’t find a lot of information on the author Conrad Setó, but he is listed as “jazz pianist”. Although brash digital synth textures permeating this record make the relationship to jazz hard to pinpoint at first. But then when you listen closer…
Read More
Last summer I was on extended stay in Greece. It was a great opportunity to learn about the country’s rich musical heritage. Some of it I knew prior to the trip, but a lot was entirely new. To coincide with my trip I prepared a few entries on my favourite Greek music. At the end of my travels I also made a Hellenic-themed radio program for Bristol-based Noods Radio merging ‘field ambiences’ collected on the trip with some of those selections. Additionally mixing in some of the music discovered or recommended in various record stores around the country. Talking about record stores I also made a parallel series on Athens-based joints selling vinyl which can be found here.
At the time I couldn’t post it online other than in sporadic social media entries, but now I decided to compile all these entries into one compact resource. Perhaps someone will find it useful as an entry point to Greek music. I have to admit that aesthetically it’s really far from traditionally recognized canon of Greek popular aesthetics - in this way you won’t find any laïko, rebetiko or pre-1980s pop in my selections. Instead I was more interested in exploring Greece’s small, but storied avantgarde, synth music, experimental pop, some idyosincratic folk traditions and its sacred music. It will be a work in progress and I’ll get back to expand it some more on my upcoming trips. Without further ado here are my Greek Music Travelogues…
Read More
|
||
1053
|
dbpedia
|
1
| 89
|
https://www.calameo.com/books/0027057438d9355f0b91d
|
en
|
File Under Jurassic Rock - Y (2011)
|
https://www.calameo.com/books/social/cover/0027057438d9355f0b91d
|
https://www.calameo.com/books/social/cover/0027057438d9355f0b91d
|
[
"https://i.calameoassets.com/130904194452-e104c89b7d70eefc1107271232c38121/large.jpg"
] |
[] |
[] |
[
"convert pdf to html",
"create digital magazine",
"digital catalog",
"digital magazine",
"digital magazine software",
"digital magazines",
"digital publication",
"document sharing",
"ePaper",
"flip book software",
"flipbook software",
"free flip",
"book interactive",
"documents",
"magazine",
"publishing online",
"catalog online",
"catalogs online",
"documents online",
"magazine online",
"magazines page flip",
"pageflip pdf",
"flipbook",
"publishing services",
"publishing software"
] | null |
[] | null |
Publishing platform for digital magazines, interactive publications and online catalogs. Convert documents to beautiful publications and share them worldwide. Title: File Under Jurassic Rock - Y (2011), Author: Carsten Busch, Length: 94 pages, Published: 2013-09-04
|
en
|
//s.calameoassets.com/pinwheel/8985-6c752d/platform/img/favicon/apple-touch-icon-57x57.png
|
calameo.com
|
https://www.calameo.com/books/0027057438d9355f0b91d
|
An Encyclopaedia and Guide to Progressive Rock and Related Musics Chapter Y Edition 2011 Compiled, written and edited by Carsten Busch & Friends File UnderFile Under JurassicJurassic RockRock
An Encyclopaedia and Guide to Progressive Rock and Related Musics Chapter Y Edition 2011 Compiled, written and edited by Carsten Busch & Friends File UnderFile Under JurassicJurassic RockRock Less
|
||
1053
|
dbpedia
|
0
| 1
|
https://en.wikipedia.org/wiki/Pljuni_i_zapjevaj_moja_Jugoslavijo
|
en
|
Pljuni i zapjevaj moja Jugoslavijo
|
[
"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/en/thumb/2/2d/Pljuni_i_zapjevaj.jpg/220px-Pljuni_i_zapjevaj.jpg",
"https://upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.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"
] |
2006-11-12T15:43:49+00:00
|
en
|
/static/apple-touch/wikipedia.png
|
https://en.wikipedia.org/wiki/Pljuni_i_zapjevaj_moja_Jugoslavijo
|
1986 studio album by Bijelo Dugme
Pljuni i zapjevaj moja JugoslavijoStudio album by ReleasedNovember 1986RecordedRTV Sarajevo Studio I, Sarajevo
Jugoton Studio, ZagrebGenreLength37:59LabelDiskoton / KamaradProducerGoran BregovićBijelo Dugme chronology
Bijelo Dugme
(1984) Pljuni i zapjevaj moja Jugoslavijo
(1986) Mramor, kamen i željezo
(1987)
Pljuni i zapjevaj moja Jugoslavijo (trans. Spit and Sing, 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).[1]
Background and recording
[edit]
New singer: Alen Islamović
[edit]
Divlje Jagode vocalist Alen Islamović, who took over as Bijelo Dugme's singer in early fall 1986, had been unsuccessfully pursued two years earlier by the band's leader Goran Bregović in the immediate aftermath of long-time vocalist Željko Bebek's spring 1984 departure from the band.[2] Unsure about volatile interpersonal relations within the band and fearing Bebek's possible return into the fold, Islamović had decided to turn the offer down at the time and stay with Divlje Jagode;[2] twenty-three-year-old upstart Mladen "Tifa" Vojičić thus became Bijelo Dugme's new vocalist, recording only one studio album, 1984's Bijelo Dugme, with the band.[2] Under the pressure of professional obligations, sudden fame, and media scandal that revealed his LSD usage, Vojičić left Bijelo Dugme after only a year, and Divlje Jagode's Islamović got approached once again about joining.[2] This time, Divlje Jagode were based out of London, pursuing an international career under the modified name Wild Strawberries. Doubting Divlje Jagode's international prospects, 29-year-old Islamović decided to take the offer this time, leaving Wild Strawberries and returning to Yugoslavia to join Bijelo Dugme.[2] Talking about the second vocalist change in two years and the band's personnel issues in general, Bregović stated at the time:
Fuck singing, and fuck the singer too. What's important is the kind of person he is. The biggest issue in Dugme is can we work together or not. Everything else is easy. I'm very satisfied with Alen. My band is healthy. We've had enough of drunks and drug addicts.[3]
Ristovski returns as an official member
[edit]
Keyboardist Laza Ristovski, who had left Bijelo Dugme in 1978, first returned as guest for the band's 1984 self-titled album's recording sessions before rejoining as a full-fledged member following the album's December 1984 release.[2] Pljuni i zapjevaj moja Jugoslavijo thus became the first Bijelo Dugme release since 1977 live album Koncert kod Hajdučke česme to feature Ristovski as an official member. For the first time in Bijelo Dugme's history, the lineup included two keyboardists: Ristovski and Vlado Pravdić.[2]
Yugoslavism
[edit]
Pljuni i zapjevaj moja Jugoslavijo features similar Balkan folk-infused pop rock sound as Bijelo Dugme, and was similarly inspired by Yugoslavism within communist and socialist patriotic framework, containing numerous references to the Communist League (SKJ)-defined Yugoslav unity as well as the lyrics on the inner sleeve printed in both Cyrillic and Latin alphabets.[2]
(Self-)censorship
[edit]
Due to pressure from Yugoslav communist authorities, Bregović would eventually give up on implementing some of the ideas he had originally envisioned for the album.
When he began conceptualizing it, Bregović wanted Yugoslavism-inspired Pljuni i zapjevaj moja Jugoslavijo to contain contributions from individuals known for holding political views outside of SFR Yugoslavia's official ideology as espoused by the SKJ, the only legally allowed political party in the country. To that end, he and the band's manager Raka Marić approached three such individuals who had at that point been effectively proscribed from public discourse in Yugoslavia for over a decade:
pop singer Vice Vukov, who had represented SFR Yugoslavia at the 1963 Eurovision Song Contest before seeing his career prospects marginalized due to being branded a Croatian nationalist as a result of 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 early 1960s films,
politician and diplomat Koča Popović, who despite a prominent World War II role with the Partisan resistance guerrillas as the 1st Proletarian Brigade commander—an engagement that in the post-war communist Yugoslavia earned him the Order of the People's Hero medal followed by high political and diplomatic appointments—nevertheless got silently removed from public life in 1972 after coming out in support of Latinka Perović and Marko Nikezić, leading figures of the so-called "Serbian liberals [sr]", a liberal faction within the SKJ's Serbian branch.[4]
Bregović's idea was to have Vukov sing the ballad "Ružica si bila, sada više nisi" ("You Were Once a Little Rose"). However, despite Vukov accepting, the plan never got implemented after the band's manager Marić got detained and interrogated by the police at the Sarajevo Airport upon returning from Zagreb where he had met with Vukov.[4]
Mića Popović's contribution to the album was to be his Dve godine garancije (A Two-Year Warranty) painting featuring a seemingly down-on-his-luck 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.[4] The album ended up featuring a photograph of Chinese social realist ballet on the cover.[5]
Finally, Koča Popović was reportedly somewhat receptive to the idea of participating on the album, but still turned the offer down.[4]
Plan B: Svetozar Vukmanović Tempo
[edit]
Eventually, under pressure from the band's record label, Diskoton, Bregović gave up on his original idea and turned to alternative solutions.[5]
Sticking to the socialist-communist Yugoslavism overall theme, he decided to secure at least one aging pre-World War II Yugoslav revolutionary's appearance on the album. Reaching out to surviving individuals of that ilk was done through Duga journalist and writer Milomir Marić who had been known to keep contact with many of them as part of the preparatory work for his upcoming book Deca komunizma [sr] (Children of Communism). Bregović was able to get seventy-three-year-old Svetozar Vukmanović Tempo to agree, visiting him in his Reževići [sr] home and arranging for Tempo to travel to Sarajevo where—backed by the Ljubica Ivezić Orphanage choir—he recorded the old revolutionary song "Padaj silo i nepravdo" ("Fall, (Oh) Force and Injustice").[7]
Track listing
[edit]
All songs written by Goran Bregović, except where noted.
Personnel
[edit]
Goran Bregović - guitar, producer
Alen Islamović - vocals
Zoran Redžić - bass guitar
Ipe Ivandić - drums
Vlado Pravdić - keyboards
Laza Ristovski - keyboards
Additional personnel
[edit]
Svetozar Vukmanović Tempo - vocals (on track 1)
Amila Sulejmanović [sr] - backing vocals
Amela - backing vocals
Zumreta Midžić "Zuzi Zu" - backing vocals
Nenad Stefanović Japanac - bass guitar
Sinan Alimanović - keyboards
Slobodan Sokolović - trombone
Branko Podbrežnički - recorded by, mixed by
Damir Begović - recorded by, mixed by
Vlado Perić - design
Reception
[edit]
The album's biggest hits turned out to be "Hajdemo u planine", "Noćas je k'o lubenica pun mjesec iznad Bosne", "A i ti me iznevjeri" and ballads "Te noći kad umrem, kad odem, kad me ne bude" and "Ružica si bila, sada više nisi".[2] The subsequent promotional tour was also very successful with sold-out sports arenas across Yugoslavia.[2]
Bregović vs. Dragan Kremer
[edit]
Large section of the critics, however, disliked Pljuni i zapjevaj moja Jugoslavijo. In his Danas review, Dragan Kremer drew parallels between the developing economic and political crisis in SFR Yugoslavia and what he sees to be the band's ongoing creative crisis:
Unfortunately, what makes this album so 'Yugoslav' mostly has to do with the crisis and lack of criteria, which are no longer possible to hide.[3]
In 1987, Kremer went further while appearing as guest on TV Sarajevo's show Mit mjeseca (Myth of the Month), a programme pitting Yugoslav rock critics against the country's rock stars—allowing critics to directly pose questions to musicians sitting across from them in the same studio. In the case of Kremer's appearance, however, Bregović wasn't in the studio due to being on tour—Kremer's taped questions were thus shown to Bregović while his reaction was filmed.[8] Expressing his dislike of the band's new album, Kremer looked into the camera and addressed Bregović directly:
As a man who adores records with an almost fetishist passion, I hate what I'm about to say and do, but I feel compelled to [still go ahead with it] as means of posing a question. All great authors usually have the same answer to this question, which is that all their works, regardless of type, are equally dear to them and equally good, but — is it possible that this album is your [Bregović's] ugliest and dumbest work?[9]
Upon stating the above, Kremer tore up the Pljuni i zapjevaj moja Jugoslavijo album cover.[9] A visibly angry Bregović reacted by cursing under his breath and launching into an insult-laden tirade directed at Kramer:
It's hard, even for a fool, to harbour ambitions of being liked by everyone, especially by these kinds of fat little pigs with sideburns who probably still masturbate on a regular basis in their forties. Even asking me to answer this pile of imbecilic questions, I mean.... But there's something that doesn't make sense here: we're about to go on a tour with 400,000 copies of this album already sold, which guys like this crap on regularly. So, either the people are fools, which would make what this guy's saying right or I'm still better at writing songs than he is at writing reviews".[9][8]
The incident got a lot of attention in the Yugoslav media at the time with the angle of usually calm and collected Bregović losing his temper being the focus.[2]
Other
[edit]
Vukmanović's appearance on the record gained attention of The Guardian, which described this move as "some sort of Bregović's coup d'état".[2]
In terms of individual tracks and their respective melodies, some in Yugoslavia have noted similarities between "Pljuni i zapjevaj moja Jugoslavijo" and Survivor's 1982 hit "Eye of the Tiger" as well as between "Zamisli" and Red Hot Chili Peppers' 1985 track "Jungle Man".[10]
Legacy
[edit]
"New Partisans"
[edit]
Alongside Plavi Orkestar's Smrt fašizmu!, Merlin's Teško meni sa tobom (a još teže bez tebe), and Hari Mata Hari's Ne bi te odbranila ni cijela Jugoslavija [bs] Pljuni i zapjevaj, moja Jugoslavijo has occasionally been categorized as part of New Partisans, a mid-1980s collection of albums by Sarajevo-based bands, featuring sound centered on the Balkan folk-inspired pop rock music as well as containing either direct lyrical/visual references or allusions to Yugoslavism within communist and socialist patriotic framework.[5]
The term New Partisans was introduced during fall 1986 by Plavi Orkestar's manager Malkolm Muharem [sr], during Smrt fašizmu!'s promotional cycle as means of promoting his clients' latest release and potentially jump starting another (sub)cultural movement, similar to what he had participated in achieving three years earlier with the New Primitives. Unlike the New Primitive bands that all came from similar background and were of the same generation, the supposed New Partisan bands were much more disparate. Though the New Partisans never took off as a coherent movement, the term was nevertheless picked up by numerous Yugoslav journalists who continue to use it when describing various phases in Bijelo Dugme's, Dino Merlin's, Plavi Orkestar's and Hari Mata Hari's respective careers.[11]
Accolades and retrospective reaction
[edit]
In addition to its successful commercial performance, over the decades since its release, Pljuni i zapjevaj moja Jugoslavijo made a number of Yugoslav pop-rock all-time lists in different categories.
In the 1998 book YU 100: najbolji albumi jugoslovenske rok i pop muzike, Pljuni i zapjevaj moja Jugoslavijo was ranked 53rd on the list of 100 Greatest Yugoslav Rock and Pop Albums.[1]
In 2015, Pljuni i zapjevaj moja Jugoslavijo album cover was ranked 3rd on the 100 Greatest Album Covers of Yugoslav Rock list published by web magazine Balkanrock.[12]
Furthermore, the album gained retrospective significance in the context of the breakup of Yugoslavia and Yugoslav Wars. In 2016, looking back on Goran Bregović's overall career and specifically Pljuni i zapjevaj moja Jugoslavijo within it, Politika columnist Aleksandar Apostolovski wistfully opined that "due to seeing Yugoslavia as an inseparable part of his being, Bregović was convinced his own Partisan aesthetic dressed up in rock'n'roll arrangements, with even the Communist International's enforcer Svetozar Vukmanović Tempo taking part on the microphone, would stop the country's disintegration".[13]
Covers
[edit]
Hit tracks off Pljuni i zapjevaj moja Jugoslavijo—primarily "Ružica si bila" and "A i ti me iznevjeri"—saw a number of covers, mostly by performers from the newly-established, post-Yugoslav countries. Additionally, Bregović himself repackaged some of the songs for his collaborations with Iggy Pop and Sezen Aksu.
Serbian folk singer Ana Bekuta recorded a cover of "A i ti me iznevjeri" on her 1993 album Pitaš me kako živim (You're Asking Me How I Live).[14]
In 1993, Bregović composed the soundtrack for Emir Kusturica's surrealist drama Arizona Dream, including a new version of "Hajdemo u planine" titled "Get The Money" with English language lyrics and sung by Iggy Pop.[15]
Serbian ensemble Fejat Sejdić Trumpet Orchestra recorded a cover of "Hajdemo u planine" on their 1994 album Na Dragačevskom saboru orkestara u Guči (On the Guča Trumpet Festival).[16]
Turkish pop singer Sezen Aksu recorded covers of "Te noći kad umrem, kad odem, kad me ne bude", "A i ti me iznevjeri", and "Ružica si bila, sada više nisi" with Turkish lyrics—titled "Allah'ın Varsa", "Kasım Yağmurları", and "Gül", respectively—on her 1997 Bregović-produced album Düğün ve Cenaze.
Croatian pop singer Alka Vuica recorded a cover of "Ružica si bila, sada više nisi", entitled "Ružica", on her 2001 album Profesionalka (Professional Girl).[17]
Serbian folk singer Usnija Redžepova recorded a cover of "A i ti me iznevjeri" on her 2007 album Oko Niša kiša (Rain around Niš).[18]
Bosnian and Yugoslav rock band Teška Industrija recorded a cover of "A i ti me iznvjeri" on their 2010 album Bili smo raja (We Were Pals).[19]
Bosnian and Yugoslav pop singer Zuzi Zu, who sung backing vocals on Pljuni i zapjevaj moja Jugoslavijo, recorded a cover of "Ružica si bila", releasing it as a single in 2011.[20]
References
[edit]
|
||||||
1053
|
dbpedia
|
1
| 31
|
https://issuu.com/dokserbia/docs/serbiandocs_2019_2020_preview
|
en
|
Serbian Docs 2019/2020
|
[
"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/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
|
2
| 3
|
https://www.harmonycentral.com/forums/topic/173825-ristovski-on-oberheim-obx-a-and-minimoog/
|
en
|
Ristovski on Oberheim OBX-a and Minimoog
|
[
"https://content.invisioncic.com/w286537/monthly_2020_08/HarmonyCentral_Main-Masthead_v2.jpg.29d3f27adaf418853cabd5d4a0db72b7.jpg.0a75292cf329b73b6321da4b90fa0cfc.jpg",
"https://content.invisioncic.com/w286537/monthly_2024_02/harmony-central-gx-ad1-2024.png.54af8b9102574ca035e22415fa01eac8.png",
"https://content.invisioncic.com/w286537/monthly_2024_02/harmony-central-gx-ad1-2024.png.54af8b9102574ca035e22415fa01eac8.png",
"https://content.invisioncic.com/w286537/monthly_2024_02/harmony-central-gx-ad1-2024.png.54af8b9102574ca035e22415fa01eac8.png",
"https://content.invisioncic.com/w286537/monthly_2021_06/1_Newbie.svg",
"https://content.invisioncic.com/w286537/monthly_2021_06/1_Newbie.svg",
"https://content.invisioncic.com/w286537/monthly_2021_06/1_Newbie.svg",
"https://content.invisioncic.com/w286537/monthly_2021_06/1_Newbie.svg",
"https://content.invisioncic.com/w286537/monthly_2021_06/1_Newbie.svg",
"https://content.invisioncic.com/w286537/monthly_2021_06/1_Newbie.svg",
"https://www.harmonycentral.com/applications/core/interface/js/spacer.png",
"https://content.invisioncic.com/w286537/monthly_2021_06/1_Newbie.svg",
"https://content.invisioncic.com/w286537/monthly_2021_06/1_Newbie.svg",
"https://www.harmonycentral.com/applications/core/interface/js/spacer.png",
"https://content.invisioncic.com/w286537/monthly_2021_06/1_Newbie.svg",
"https://content.invisioncic.com/w286537/monthly_2021_06/1_Newbie.svg",
"https://content.invisioncic.com/w286537/monthly_2021_06/1_Newbie.svg",
"https://content.invisioncic.com/w286537/monthly_2021_06/1_Newbie.svg",
"https://www.harmonycentral.com/applications/core/interface/js/spacer.png",
"https://www.harmonycentral.com/applications/core/interface/js/spacer.png",
"https://content.invisioncic.com/w286537/monthly_2021_06/1_Newbie.svg",
"https://content.invisioncic.com/w286537/monthly_2021_06/1_Newbie.svg",
"https://content.invisioncic.com/w286537/monthly_2021_06/1_Newbie.svg",
"https://content.invisioncic.com/w286537/monthly_2021_06/1_Newbie.svg"
] |
[] |
[] |
[
""
] | null |
[
"Milos"
] |
2005-12-17T13:53:24+00:00
|
This is old track (1982) made by Yugoslavian musician Laza Ristovski .It's called "Beyond the Horizon" and it's made with two synthesizers-Minimoog and Oberheim OBX-a.Somebody recorded it from vinyl-that explains pops and clicks:( So,for those who like good old analog sounds and Jarre-like music ...
|
en
|
//content.invisioncic.com/w286537/monthly_2020_08/android-chrome-36x36.png?v=1710331288
|
Harmony Central
|
https://www.harmonycentral.com/forums/topic/173825-ristovski-on-oberheim-obx-a-and-minimoog/
|
This is old track (1982) made by Yugoslavian musician Laza Ristovski .It's called "Beyond the Horizon" and it's made with two synthesizers-Minimoog and Oberheim OBX-a.Somebody recorded it from vinyl-that explains pops and clicks:(
So,for those who like good old analog sounds and Jarre-like music ,they should have it :
http://s48.yousendit.com/d.aspx?id=2NHJMAY0VNXT52SLW26SQ76TAP
beautiful, I remember this song from way back when i was a kid. this is a track from his second solo album.
even tho hidden behind the iron curtain (at the time) Ristovski was as good of a player/synthesist as his more internationaly known peers like jarre, saga, tony banks etc.. besides solo work, he was best known as a guest synthesist/kbd player on tons of albums by famous Yugoslavian rock artists during 70s and 80s. i remember he had one of the first commercially available full PPG systems, including PRK and Waveterm.
btw, my friend visited him recently, in Belgrade. and Laza still owns his R.A.Moog Minimoog, OB Four Voice and Mellotron M400 from the 70s. unfortunately, he is seriously ill with MS.
|
||||
1053
|
dbpedia
|
2
| 2
|
https://www.lostturntable.com/2019/09/
|
en
|
September « 2019 « Lost Turntable
|
[
"http://www.ltfiles.com/lostturntable/wp-content/themes/default-tlt/images/banner3.gif",
"http://www.lostturntable.com/wp-content/uploads/2019/09/R-1727883-1239540990.jpeg.jpg",
"http://www.lostturntable.com/wp-content/uploads/2019/09/20190923_071751.jpg",
"http://www.lostturntable.com/wp-content/uploads/2019/09/R-681864-1461290055-9621.jpeg.jpg"
] |
[] |
[] |
[
""
] | null |
[] | null |
en
|
https://www.lostturntable.com/wp-content/plugins/multicons/images/favicon.ico
|
Lost Turntable
| null |
Laza Ristovski
The Green Coast
Puzzles
Figuera
One of the best things about doing deep crate digging and going out on a limb on a few records is that you’re occasionally reminded that the world is really fucking big, and that just because you’ve never heard of someone doesn’t mean they’re not a superstar.
Before I started to research this post, I knew nothing about Laza Ritsovski. I bought this record because I gave it a listen at the store and I liked it. That’s as deep as I went. And when I decided that I would feature him here, I figured it would be a bit like King-Kong, or countless other European synthesizer acts that I haven’t yet written about, meaning that I would find next to nothing about him and be forced to kind of bullshit for a bit.
That ended up not being the case. Turns out that Laza was in not just one, but two of the most important bands of the Yugoslav rock scene; Smak and Bijelo Dugme. He wasn’t a founding member of either, but he was in both bands during the apparent heights of their fame (at least, I think so, I’m just going off of Wikipedia, Discogs, and a few prog sites). He probably wasn’t a household name in Yugoslavia, but he was far from a no-name. You could spend hours upon hours in a wikihole just reading up on the bands he was in, let alone his solo career.
Like a lot of keyboardists in prog bands, when Laza went solo he skewed more towards purely electronic music that rock. I’ve skimmed a bit of it, some of it could be classified as new age, other ambient, but some is just hard to define. It’s just…80s electronic music. Too percussive and upbeat to be new age but not fast enough to be disco or dance music. Some of his work reminds me of Mark Schreeve or John Carpenter, but more fun. I highly doubt there are films featuring murder scenes set to the work of Laza Ristovski.
This is exceptionally true for the tracks I’m sharing here, which come from his 1984 album, Roses For A General. It all sounds like video game music for a game that never got made. And I mean that solely as a compliment. It’s just so bright and bouncy. When I play this, I feel like I should be exploring a world in Phantasy Star, or shooting up monsters in Fantasy Zone. Some of it, thanks to synth slap bass and fake steel drums, even has a Super Mario World.
Of the three tracks I’m sharing tonight, the opener “The Green Coast” is the one that gives me the strongest “1989 SEGA” vibes. As the synths burst in seconds in, I feel like my spaceship should be coming down from the clouds, or I should be making a tight turn in my sports car, blonde by my side. The same goes for “Puzzles.” This is so joyful and happy sounding that it reminds of end game credit music. This is some “congratulations for saving the galaxy” music.
The final track “Figueras,” is a bit more low-key. It has a slight mysterious vibe to it, but with overtones that everything is going to be okay. This is the one that gives me the Mario vibes. It’s a bit too heavy on crescendos and solos, but the basic feeling of the track reminds me of a desert level in a Mario game. Although to be entirely honest I can’t place why.
From digging a bit into Ristovski’s discography online, I feel that the album of his that I would like the most is 2/3, which came out just before this one in 1983. That has a slightly darker groove, the kind of thing that a 2019 synthwave act would sample the hell out of without giving any credit. I gotta track that one down.
Might take a break from the oddball European electronic music to bring out oddball Canadian disco. You can decide for yourself if that’s a step up or a step down. I consider it a lateral move.
A little bit of an odd one today, and expect more like it this week or next (hence the part one) I’ve bought so much stuff like this as of late (oddball 70s/80s European rock/electronic music) that it just makes sense to bundle it all together. All of them are radically different though, so if you don’t dig what I’m posting one day, just wait, you might enjoy what comes next.
Their all pretty fucking weird though. Up first, blues krautrock!
King-Kong
Flyin’ Through The Motions
King Kong’s Fight With The Devil, Part 1
King Kong’s Fight With The Devil, Part 2
Time for another episode of “I found a band so obscure that I can’t even write that much about them!”
This album first grabbed my attention thanks to its freaky cover. Which led me to believe at first that it was some piece of early-80s EBM or dark electronic music. Scanning the back cover and seeing that it was a Sky Records release, I decided to give it a spin at the store. I dig most everything Sky put out back in the day, as most of it was early electronic music or kraut/prog with a heavy electronic edge.
This is kind of that, but different than most Sky albums that I’ve bought. It rocks a hell of a lot more. I say “rocks” I don’t mean it in “yo, this shit rocks man” I mean it in the literal (well, more literal than not) sense that it is much more of a rock and roll record than the stuff that I was used to hearing from Sky. But at the same time, it still has a bit of that electronic element that was essential to the Sky label. It’s also oddly bluesy? I mean, no one is going to mistake this for a B.B. King or Stevie Ray Vaughn record, but it has an indefinable blues/southern rock element that’s hard to miss. “King Kong’s Fight With The Devil, Part 1” (great title) is just a few steps away from a Doobie Brothers record. Remove the pulsing synths, put it in a major key, and add some twangy guitar and there you go.
Sadly, the album as a whole is really uneven. Two meandering tracks that are both over seven minutes long bog the whole thing down and come across as either third-rate krautrock and fourth-rate prog. And since their both so damn long they really suck the momentum out of the album proper, which is a shame.
But these tracks are really something special. Album opening “Flyin’ Through The Motions” is a good track that showcases the best of what the album has to offer, its one-of-a-kind mix of European avant-garde with (then) modern rock flourishes. And while I’ve already expounded on the dope qualities of it’s prequel, the album’s final track, “King Kong’s Fight With the Devil, Part 2” is a fantastic closer, showing more of the rock/electronic hybrid sound that should’ve defined the album as a whole.
So who the hell is King-Kong? The main member seemed to be Holger Schmidt. He’s the credited writer for nearly all the tracks, and it looks like he performed most of the instruments on them as well. According to Discogs he was also the album’s producer, albeit under the assumed name of Karl Kraftlos. Aside from King-Kong, the dude has had a lengthy career, however, it would appear that he never quite hit the mainstream. It looks like his closest thing to hitting it big was Tiger B. Smith, a krautrock/hard rock hybrid that has gathered quite the cult following online. Most of his other stuff seems to be electronic/new age/synthpop that, again, failed to make any impact. A lesser known name of the German music scene to be sure, but if you dig on this stuff I think you might want to look up his various other bands too. I know I am now. Tiger B. Smith fucking jam.
Yeah, sorry.
I really, really wanted to keep updating the site when I was in the states. I had some posts half-written, had songs picked out, the works.
But, like always, between the jet lag, family time, seeing friends, going shopping, traveling from state-to-state, taking the boyfriend sightseeing, and suffering the occasional nervous breakdown due to the combination of all those things, I just couldn’t squeeze in the time.
But I’m back now bitches! Let’s celebrate with some random remixes from a near-forgotten 80s synthpop band and some weird shit that no one has ever heard of.
Revenge
Slave (Extended Mix)
Slave (Remix Edit)
Slave (Instrumental)
Slave (LP Version Edit)
This is my third post featuring remixes of Revenge tunes, yet I still have not bought their album proper. Because I’m stupid like that.
Revenge was one of Peter Hook’s side-projects. They released a single albumin 1990 but petered (hah PUN INTENDED) out before they could do much else.
In the lexicon of failed New Order side projects, I’m not sure where they rank. As I already said, I don’t have their album so I can’t really judge them fairly. I’m going to go out on a limb though and say that they definitely rank below Electronic and The Other Two (who are both great) and above Bad Lieutenant (which was awful).
This song, and the remixes, are good. I definitely pick up a strong New Order vibe with the bassline, although the song as a whole has a slightly more industrial/aggressive vibe than what New Order was doing at the time.
The 12″ single from which I pulled these also included a “Bonus Beats” track but I’m not including that as it was featured on the easily available re-issue of the group’s sole album, One True Passion. Why they chose to include that minute and a half bit of filler and none of the other, longer, better, more interesting remixes is beyond me.
(The artwork above is from the CD single and I snagged it from Discogs. Sorry, my back hurts far too much for me to dig through my records to properly photograph the 12″.)
Robert Wyatt & Bertrand Burgalat
This Summer Night (Hot Chip Mix)
I haven’t talked about it all that much, but I will (hopefully) be starting a podcast soon, in which I, Jeremy Parish of Retronauts fame, and our friend Elliot will be discussing progressive rock. So keep an eye on that.
In the first episode of said podcast, I discussed Soft Machine, which gave me the excuse to dig into original member Robert Wyatt’s discography a bit. I have to say that I dig his stuff (especially his early stuff) far more than anything Soft Machine did after their second album. From that point on, they went full jazz-fusion. And I’m sorry, I just can’t with jazz fusion. I’ve tried my best several times.
Robert Wyatt is an interesting guy, with a deep discography that can be intimidating at times. But if you’re looking to jump in, I recommend the EP’s compilation which, surprise, collects the EPs that he put out early in his solo career. It features fantastic covers of “I’m A Believer,” “Yesterday Man,” and “Biko.” It also includes the Soft Machine classic “Memories,” which was later made somewhat famous by Material’s version that featured a very young Whitney Houston on vocals.
Odd trivia, the members of Material were originally a Gong offshoot by Daevid Allen called New York Gong. When he split, they continued on as Material. Of course, before Allen was in Gong, he was a founding member of…Soft Machine. I assume that’s how the members of Material became aware of “Memories” and decided to cover it.
Anyways, back to this song. The original version of this track was originally including on the Bertrand Burgalat album Cheri B. B., which came out in 2007. I know nothing about him so don’t ask me. I grabbed this remix from a 12″ single of said song.
And if you listen to this song and thing “boy, this Wyatt guy sounds really weird, I wonder his voice was always like that,” the answer is yes. He has sounded like a frail old man on the verge of death since 1968.
|
|||||
1053
|
dbpedia
|
0
| 11
|
https://www.tumblr.com/johnkatsmc5/619439959493984256/search-mentari-merah-diufuk-timur1987-cassette
|
en
|
Search "Mentari Merah Diufuk Timur"1987 Cassette Malaysia Hard Rock
|
[
"https://64.media.tumblr.com/53bcf9429b0026ba0c7633e0c0e07d28/3c047260b4f1b8c5-2c/s64x64u_c1/82c5698025e544993ccd010e8e5d6f65a227d580.jpg 64w, https://64.media.tumblr.com/53bcf9429b0026ba0c7633e0c0e07d28/3c047260b4f1b8c5-2c/s96x96u_c1/dd511eac1041ce2aff7cd75143117a55fdaeafca.jpg 96w, https://64.media.tumblr.com/53bcf9429b0026ba0c7633e0c0e07d28/3c047260b4f1b8c5-2c/s128x128u_c1/c5df64b8dfa5b694dab612d8874519d2680f4571.jpg 128w, https://64.media.tumblr.com/53bcf9429b0026ba0c7633e0c0e07d28/3c047260b4f1b8c5-2c/s512x512u_c1/dfa12593a9cb8ba64e373cc08bed37a50b4c6ec1.jpg 512w",
"https://64.media.tumblr.com/a96f8861f32da0412ed071d2b63dbb11/8e395b418e1676c0-d3/s100x200/53056ec652cacd08f763599b45f970f759bc6957.jpg 100w, https://64.media.tumblr.com/a96f8861f32da0412ed071d2b63dbb11/8e395b418e1676c0-d3/s250x400/76ee599af30d272d4db57126abc597eff717d8c3.jpg 250w, https://64.media.tumblr.com/a96f8861f32da0412ed071d2b63dbb11/8e395b418e1676c0-d3/s400x600/e75d7792eaabc94009335c7b38c3e9b65956de30.jpg 400w, https://64.media.tumblr.com/a96f8861f32da0412ed071d2b63dbb11/8e395b418e1676c0-d3/s500x750/ff2f48fddc8251baf210b8d1c59d75c68bf64f43.jpg 500w, https://64.media.tumblr.com/a96f8861f32da0412ed071d2b63dbb11/8e395b418e1676c0-d3/s540x810/64fa495da69f9c7e6f4deda8acc9165874099bc5.jpg 540w, https://64.media.tumblr.com/a96f8861f32da0412ed071d2b63dbb11/8e395b418e1676c0-d3/s640x960/7a5fb8e25dee5ea5a75783d28ad76caa60dedb4a.jpg 600w",
"https://64.media.tumblr.com/cd6e9861ba8222c93a5693782e353c77/8e395b418e1676c0-bc/s100x200/bdd0db02f5d65897ad5bb57c3abda4274586ec9b.jpg 100w, https://64.media.tumblr.com/cd6e9861ba8222c93a5693782e353c77/8e395b418e1676c0-bc/s250x400/b1b27672de95f3f0286d03def3f4666c5c435409.jpg 250w, https://64.media.tumblr.com/cd6e9861ba8222c93a5693782e353c77/8e395b418e1676c0-bc/s400x600/ac8210bb6c198e69641d0bacc53aa498510c6944.jpg 400w, https://64.media.tumblr.com/cd6e9861ba8222c93a5693782e353c77/8e395b418e1676c0-bc/s500x750/b0e5e0011f63b8841b9fd1e4d8354f846a7bd860.jpg 500w, https://64.media.tumblr.com/cd6e9861ba8222c93a5693782e353c77/8e395b418e1676c0-bc/s540x810/5464edad68e7a42e30cea1e95687710c02526080.jpg 540w, https://64.media.tumblr.com/cd6e9861ba8222c93a5693782e353c77/8e395b418e1676c0-bc/s640x960/725ec7361c328c48e7406638e259dd6837adadf6.jpg 600w",
"https://64.media.tumblr.com/dab815f9b4e13af55146b1a769bde3cc/8e395b418e1676c0-f6/s100x200/e6ca850dac30b8fbf5b3720b7848afc0d923fd0a.jpg 100w, https://64.media.tumblr.com/dab815f9b4e13af55146b1a769bde3cc/8e395b418e1676c0-f6/s250x400/21fb2f67e467233a6dd7ad434350f8b648d6d982.jpg 250w, https://64.media.tumblr.com/dab815f9b4e13af55146b1a769bde3cc/8e395b418e1676c0-f6/s400x600/02cb7e63a5dcbdd5327d9ad9a5b2630eff82c9aa.jpg 400w, https://64.media.tumblr.com/dab815f9b4e13af55146b1a769bde3cc/8e395b418e1676c0-f6/s500x750/973c04d938792b4c3c6317eb77e57f9b8bacdd96.jpg 500w, https://64.media.tumblr.com/dab815f9b4e13af55146b1a769bde3cc/8e395b418e1676c0-f6/s540x810/79d8954016b17511b7224066ddf4d40b35828887.jpg 540w, https://64.media.tumblr.com/dab815f9b4e13af55146b1a769bde3cc/8e395b418e1676c0-f6/s640x960/44b5b7c73d1d24775a166597beced58c94e3de64.jpg 600w",
"https://64.media.tumblr.com/ced823f58b16128c2ccb68d539ae6c49/8e395b418e1676c0-cc/s100x200/e04ec3595465458ad3e7dfab2ad4745ab7a17625.jpg 100w, https://64.media.tumblr.com/ced823f58b16128c2ccb68d539ae6c49/8e395b418e1676c0-cc/s250x400/02a804174d5e17a7178e5b018640243a530cfb6b.jpg 250w, https://64.media.tumblr.com/ced823f58b16128c2ccb68d539ae6c49/8e395b418e1676c0-cc/s400x600/98b0d67b8c0a0c16b8f4e98d1474662a56567238.jpg 390w",
"https://64.media.tumblr.com/3b43332fd76c6f3e0f649b7842a13505/8e395b418e1676c0-2f/s100x200/af6aa75669acd5e33bb3c6e99c428a3ee7034cff.jpg 100w, https://64.media.tumblr.com/3b43332fd76c6f3e0f649b7842a13505/8e395b418e1676c0-2f/s250x400/4dfd179f9eea84ffaa1ee4e5255a85f944aa60c4.jpg 250w, https://64.media.tumblr.com/3b43332fd76c6f3e0f649b7842a13505/8e395b418e1676c0-2f/s400x600/40a8c8b15a2b698b241d418d6f04a2ec384fd240.jpg 385w, https://64.media.tumblr.com/3b43332fd76c6f3e0f649b7842a13505/8e395b418e1676c0-2f/s500x750/ebcd81d8302e38b42a75d50bf696b80201b4332c.jpg 482w, https://64.media.tumblr.com/3b43332fd76c6f3e0f649b7842a13505/8e395b418e1676c0-2f/s540x810/9f3403cd47e898298753b3c1b4385462dcc56d64.jpg 520w, https://64.media.tumblr.com/3b43332fd76c6f3e0f649b7842a13505/8e395b418e1676c0-2f/s640x960/cac0a8c77c0d225f10b64c34b246e4dd07d934c5.jpg 555w",
"https://64.media.tumblr.com/b48f3457e5b640df6e669ae83fd7b351/8e395b418e1676c0-d3/s100x200/38881b8753ca5b7654d3112a9b6a233d9e455d9e.jpg 100w, https://64.media.tumblr.com/b48f3457e5b640df6e669ae83fd7b351/8e395b418e1676c0-d3/s250x400/0c754b0893fdd8c53a592881a1316a9f7dabea9d.jpg 250w, https://64.media.tumblr.com/b48f3457e5b640df6e669ae83fd7b351/8e395b418e1676c0-d3/s400x600/4206cbd7632c35b774a3d106e0f610c28578c7d6.jpg 400w, https://64.media.tumblr.com/b48f3457e5b640df6e669ae83fd7b351/8e395b418e1676c0-d3/s500x750/33eedd244c4410498b25c11fc2764f435a4d838a.jpg 500w, https://64.media.tumblr.com/b48f3457e5b640df6e669ae83fd7b351/8e395b418e1676c0-d3/s540x810/9f1e78112d276d0b81dddb7a549715d4c320d511.jpg 540w, https://64.media.tumblr.com/b48f3457e5b640df6e669ae83fd7b351/8e395b418e1676c0-d3/s640x960/4b7f2c61f5d774ee6edce6414c185a437142367f.jpg 600w",
"https://64.media.tumblr.com/42430610ca06ffb0b407215182474682/8e395b418e1676c0-4c/s100x200/c00027fe4033ba55b882da9f2bc5d501d7e3fefb.jpg 100w, https://64.media.tumblr.com/42430610ca06ffb0b407215182474682/8e395b418e1676c0-4c/s250x400/47cd24329419c95e137e3df23faf7a091f7487e0.jpg 247w, https://64.media.tumblr.com/42430610ca06ffb0b407215182474682/8e395b418e1676c0-4c/s400x600/09af054aba449ee4c614508579374bfe9dab7f65.jpg 370w, https://64.media.tumblr.com/42430610ca06ffb0b407215182474682/8e395b418e1676c0-4c/s500x750/7ccfec5452fcd4805cfea9284c4d40617396a799.jpg 463w, https://64.media.tumblr.com/42430610ca06ffb0b407215182474682/8e395b418e1676c0-4c/s540x810/0dca0c0417e20016be208e2361b54dc65c3a1159.jpg 498w",
"https://64.media.tumblr.com/4252c131847c92b06a199a0135ca8226/8e395b418e1676c0-e1/s100x200/342268e70da13e5ec518811e96b1155d0d1525ac.jpg 100w, https://64.media.tumblr.com/4252c131847c92b06a199a0135ca8226/8e395b418e1676c0-e1/s250x400/0b44c36736855f5d3e33df8a6e678338f4f691c6.jpg 250w, https://64.media.tumblr.com/4252c131847c92b06a199a0135ca8226/8e395b418e1676c0-e1/s400x600/d15d5f2e4327a0e82348cf8a87300aac5fff63fb.jpg 400w, https://64.media.tumblr.com/4252c131847c92b06a199a0135ca8226/8e395b418e1676c0-e1/s500x750/0f2ea0a356d79fc6acd4576ac6863d844081988f.jpg 500w, https://64.media.tumblr.com/4252c131847c92b06a199a0135ca8226/8e395b418e1676c0-e1/s540x810/ba4f237b077f06568d7e31010081353462aaf3a7.jpg 540w, https://64.media.tumblr.com/4252c131847c92b06a199a0135ca8226/8e395b418e1676c0-e1/s640x960/2671e2e891704b158fea7d945f9183469b07e48b.jpg 599w",
"https://64.media.tumblr.com/dab815f9b4e13af55146b1a769bde3cc/8e395b418e1676c0-f6/s100x200/e6ca850dac30b8fbf5b3720b7848afc0d923fd0a.jpg 100w, https://64.media.tumblr.com/dab815f9b4e13af55146b1a769bde3cc/8e395b418e1676c0-f6/s250x400/21fb2f67e467233a6dd7ad434350f8b648d6d982.jpg 250w, https://64.media.tumblr.com/dab815f9b4e13af55146b1a769bde3cc/8e395b418e1676c0-f6/s400x600/02cb7e63a5dcbdd5327d9ad9a5b2630eff82c9aa.jpg 400w, https://64.media.tumblr.com/dab815f9b4e13af55146b1a769bde3cc/8e395b418e1676c0-f6/s500x750/973c04d938792b4c3c6317eb77e57f9b8bacdd96.jpg 500w, https://64.media.tumblr.com/dab815f9b4e13af55146b1a769bde3cc/8e395b418e1676c0-f6/s540x810/79d8954016b17511b7224066ddf4d40b35828887.jpg 540w, https://64.media.tumblr.com/dab815f9b4e13af55146b1a769bde3cc/8e395b418e1676c0-f6/s640x960/44b5b7c73d1d24775a166597beced58c94e3de64.jpg 600w",
"https://64.media.tumblr.com/980b90d66e9a6c53b950bdfd246fad7e/3c047260b4f1b8c5-0c/s2048x3072_c8624,0,91266,100000/671592bd72550b4f86f4cde7248f53de6032d6f5.jpg",
"https://64.media.tumblr.com/53bcf9429b0026ba0c7633e0c0e07d28/3c047260b4f1b8c5-2c/s64x64u_c1/82c5698025e544993ccd010e8e5d6f65a227d580.jpg 64w, https://64.media.tumblr.com/53bcf9429b0026ba0c7633e0c0e07d28/3c047260b4f1b8c5-2c/s96x96u_c1/dd511eac1041ce2aff7cd75143117a55fdaeafca.jpg 96w, https://64.media.tumblr.com/53bcf9429b0026ba0c7633e0c0e07d28/3c047260b4f1b8c5-2c/s128x128u_c1/c5df64b8dfa5b694dab612d8874519d2680f4571.jpg 128w, https://64.media.tumblr.com/53bcf9429b0026ba0c7633e0c0e07d28/3c047260b4f1b8c5-2c/s512x512u_c1/dfa12593a9cb8ba64e373cc08bed37a50b4c6ec1.jpg 512w"
] |
[] |
[] |
[
""
] | null |
[] |
2020-05-29T09:19:39+00:00
|
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 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
|
3
| 13
|
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
| |||
1053
|
dbpedia
|
1
| 9
|
https://www.latimes.com/archives/la-xpm-1998-jan-16-ca-8720-story.html
|
en
|
‘Pretty Village’ Captures Yugoslav Demise
|
https://ca-times.brightspotcdn.com/dims4/default/64e287b/2147483647/strip/true/crop/2400x1260+0+0/resize/1200x630!/quality/75/?url=https%3A%2F%2Fcalifornia-times-brightspot.s3.amazonaws.com%2Fdf%2F45%2F57d858144a2a88575fa2b03080bb%2Flatlogo-ss.jpg
|
https://ca-times.brightspotcdn.com/dims4/default/64e287b/2147483647/strip/true/crop/2400x1260+0+0/resize/1200x630!/quality/75/?url=https%3A%2F%2Fcalifornia-times-brightspot.s3.amazonaws.com%2Fdf%2F45%2F57d858144a2a88575fa2b03080bb%2Flatlogo-ss.jpg
|
[
"https://ca-times.brightspotcdn.com/dims4/default/8a821e3/2147483647/strip/true/crop/1993x1333+7+0/resize/320x214!/quality/75/?url=https%3A%2F%2Fcalifornia-times-brightspot.s3.amazonaws.com%2F72%2Ffd%2F8e8280fc4b7eb85800d37014deb1%2Fdf-20699-20690-r-2000x1333-thumbnail.jpg 320w,https://ca-times.brightspotcdn.com/dims4/default/9fba2c5/2147483647/strip/true/crop/1993x1333+7+0/resize/568x380!/quality/75/?url=https%3A%2F%2Fcalifornia-times-brightspot.s3.amazonaws.com%2F72%2Ffd%2F8e8280fc4b7eb85800d37014deb1%2Fdf-20699-20690-r-2000x1333-thumbnail.jpg 568w,https://ca-times.brightspotcdn.com/dims4/default/7fe565d/2147483647/strip/true/crop/1993x1333+7+0/resize/768x514!/quality/75/?url=https%3A%2F%2Fcalifornia-times-brightspot.s3.amazonaws.com%2F72%2Ffd%2F8e8280fc4b7eb85800d37014deb1%2Fdf-20699-20690-r-2000x1333-thumbnail.jpg 768w,https://ca-times.brightspotcdn.com/dims4/default/9bc580b/2147483647/strip/true/crop/1993x1333+7+0/resize/1024x685!/quality/75/?url=https%3A%2F%2Fcalifornia-times-brightspot.s3.amazonaws.com%2F72%2Ffd%2F8e8280fc4b7eb85800d37014deb1%2Fdf-20699-20690-r-2000x1333-thumbnail.jpg 1024w",
"https://ca-times.brightspotcdn.com/dims4/default/7ee2047/2147483647/strip/true/crop/1436x960+82+0/resize/320x214!/quality/75/?url=https%3A%2F%2Fcalifornia-times-brightspot.s3.amazonaws.com%2F7b%2Fdd%2Ff1e28e8c4933a0e73aeae24e7a10%2Fthe-silent-twins-125-silentwins-still-166-709g24-02-rgb.jpg 320w,https://ca-times.brightspotcdn.com/dims4/default/de9870b/2147483647/strip/true/crop/1436x960+82+0/resize/568x380!/quality/75/?url=https%3A%2F%2Fcalifornia-times-brightspot.s3.amazonaws.com%2F7b%2Fdd%2Ff1e28e8c4933a0e73aeae24e7a10%2Fthe-silent-twins-125-silentwins-still-166-709g24-02-rgb.jpg 568w,https://ca-times.brightspotcdn.com/dims4/default/6d2ebed/2147483647/strip/true/crop/1436x960+82+0/resize/768x514!/quality/75/?url=https%3A%2F%2Fcalifornia-times-brightspot.s3.amazonaws.com%2F7b%2Fdd%2Ff1e28e8c4933a0e73aeae24e7a10%2Fthe-silent-twins-125-silentwins-still-166-709g24-02-rgb.jpg 768w,https://ca-times.brightspotcdn.com/dims4/default/f87a6b9/2147483647/strip/true/crop/1436x960+82+0/resize/1024x685!/quality/75/?url=https%3A%2F%2Fcalifornia-times-brightspot.s3.amazonaws.com%2F7b%2Fdd%2Ff1e28e8c4933a0e73aeae24e7a10%2Fthe-silent-twins-125-silentwins-still-166-709g24-02-rgb.jpg 1024w",
"https://ca-times.brightspotcdn.com/dims4/default/56f3175/2147483647/strip/true/crop/3091x2067+369+0/resize/320x214!/quality/75/?url=https%3A%2F%2Fcalifornia-times-brightspot.s3.amazonaws.com%2F44%2F5b%2F056b8c4748eea6c79721d67356b7%2Fcivil-war-screengrab-001-r.jpg 320w,https://ca-times.brightspotcdn.com/dims4/default/eba779c/2147483647/strip/true/crop/3091x2067+369+0/resize/568x380!/quality/75/?url=https%3A%2F%2Fcalifornia-times-brightspot.s3.amazonaws.com%2F44%2F5b%2F056b8c4748eea6c79721d67356b7%2Fcivil-war-screengrab-001-r.jpg 568w,https://ca-times.brightspotcdn.com/dims4/default/021fd80/2147483647/strip/true/crop/3091x2067+369+0/resize/768x514!/quality/75/?url=https%3A%2F%2Fcalifornia-times-brightspot.s3.amazonaws.com%2F44%2F5b%2F056b8c4748eea6c79721d67356b7%2Fcivil-war-screengrab-001-r.jpg 768w,https://ca-times.brightspotcdn.com/dims4/default/749273d/2147483647/strip/true/crop/3091x2067+369+0/resize/1024x685!/quality/75/?url=https%3A%2F%2Fcalifornia-times-brightspot.s3.amazonaws.com%2F44%2F5b%2F056b8c4748eea6c79721d67356b7%2Fcivil-war-screengrab-001-r.jpg 1024w",
"https://ca-times.brightspotcdn.com/dims4/default/47ac000/2147483647/strip/true/crop/3200x2133+0+0/resize/110x73!/quality/75/?url=https%3A%2F%2Fcalifornia-times-brightspot.s3.amazonaws.com%2F90%2Fc0%2F9974db2a4a32afa2f5d02082df72%2Fthe-greatest-showman-14.JPG 110w,https://ca-times.brightspotcdn.com/dims4/default/a42cd7b/2147483647/strip/true/crop/3200x2133+0+0/resize/180x120!/quality/75/?url=https%3A%2F%2Fcalifornia-times-brightspot.s3.amazonaws.com%2F90%2Fc0%2F9974db2a4a32afa2f5d02082df72%2Fthe-greatest-showman-14.JPG 180w,https://ca-times.brightspotcdn.com/dims4/default/59455b6/2147483647/strip/true/crop/3200x2133+0+0/resize/320x213!/quality/75/?url=https%3A%2F%2Fcalifornia-times-brightspot.s3.amazonaws.com%2F90%2Fc0%2F9974db2a4a32afa2f5d02082df72%2Fthe-greatest-showman-14.JPG 320w,https://ca-times.brightspotcdn.com/dims4/default/e146b2b/2147483647/strip/true/crop/3200x2133+0+0/resize/568x379!/quality/75/?url=https%3A%2F%2Fcalifornia-times-brightspot.s3.amazonaws.com%2F90%2Fc0%2F9974db2a4a32afa2f5d02082df72%2Fthe-greatest-showman-14.JPG 568w,https://ca-times.brightspotcdn.com/dims4/default/b48a0ec/2147483647/strip/true/crop/3200x2133+0+0/resize/768x512!/quality/75/?url=https%3A%2F%2Fcalifornia-times-brightspot.s3.amazonaws.com%2F90%2Fc0%2F9974db2a4a32afa2f5d02082df72%2Fthe-greatest-showman-14.JPG 768w,https://ca-times.brightspotcdn.com/dims4/default/d3db70f/2147483647/strip/true/crop/3200x2133+0+0/resize/840x560!/quality/75/?url=https%3A%2F%2Fcalifornia-times-brightspot.s3.amazonaws.com%2F90%2Fc0%2F9974db2a4a32afa2f5d02082df72%2Fthe-greatest-showman-14.JPG 840w",
"https://ca-times.brightspotcdn.com/dims4/default/65b342f/2147483647/strip/true/crop/6240x4160+0+0/resize/110x73!/quality/75/?url=https%3A%2F%2Fcalifornia-times-brightspot.s3.amazonaws.com%2F71%2F0f%2Fac81024d4b8eb39e5a2a475350d9%2Fcuckoo-still-courtesy-of-neon-2-copy.jpg 110w,https://ca-times.brightspotcdn.com/dims4/default/1176c3e/2147483647/strip/true/crop/6240x4160+0+0/resize/180x120!/quality/75/?url=https%3A%2F%2Fcalifornia-times-brightspot.s3.amazonaws.com%2F71%2F0f%2Fac81024d4b8eb39e5a2a475350d9%2Fcuckoo-still-courtesy-of-neon-2-copy.jpg 180w,https://ca-times.brightspotcdn.com/dims4/default/d1ca552/2147483647/strip/true/crop/6240x4160+0+0/resize/320x213!/quality/75/?url=https%3A%2F%2Fcalifornia-times-brightspot.s3.amazonaws.com%2F71%2F0f%2Fac81024d4b8eb39e5a2a475350d9%2Fcuckoo-still-courtesy-of-neon-2-copy.jpg 320w,https://ca-times.brightspotcdn.com/dims4/default/af14b35/2147483647/strip/true/crop/6240x4160+0+0/resize/568x379!/quality/75/?url=https%3A%2F%2Fcalifornia-times-brightspot.s3.amazonaws.com%2F71%2F0f%2Fac81024d4b8eb39e5a2a475350d9%2Fcuckoo-still-courtesy-of-neon-2-copy.jpg 568w,https://ca-times.brightspotcdn.com/dims4/default/6a02ff3/2147483647/strip/true/crop/6240x4160+0+0/resize/768x512!/quality/75/?url=https%3A%2F%2Fcalifornia-times-brightspot.s3.amazonaws.com%2F71%2F0f%2Fac81024d4b8eb39e5a2a475350d9%2Fcuckoo-still-courtesy-of-neon-2-copy.jpg 768w,https://ca-times.brightspotcdn.com/dims4/default/5eb030f/2147483647/strip/true/crop/6240x4160+0+0/resize/840x560!/quality/75/?url=https%3A%2F%2Fcalifornia-times-brightspot.s3.amazonaws.com%2F71%2F0f%2Fac81024d4b8eb39e5a2a475350d9%2Fcuckoo-still-courtesy-of-neon-2-copy.jpg 840w",
"https://ca-times.brightspotcdn.com/dims4/default/209f5ec/2147483647/strip/true/crop/2160x1440+200+0/resize/110x73!/quality/75/?url=https%3A%2F%2Fcalifornia-times-brightspot.s3.amazonaws.com%2F60%2F0c%2F6f6db8e4460e80fbf83c67033465%2Fdaughters-still1.jpg 110w,https://ca-times.brightspotcdn.com/dims4/default/ff71912/2147483647/strip/true/crop/2160x1440+200+0/resize/180x120!/quality/75/?url=https%3A%2F%2Fcalifornia-times-brightspot.s3.amazonaws.com%2F60%2F0c%2F6f6db8e4460e80fbf83c67033465%2Fdaughters-still1.jpg 180w,https://ca-times.brightspotcdn.com/dims4/default/e0dd981/2147483647/strip/true/crop/2160x1440+200+0/resize/320x213!/quality/75/?url=https%3A%2F%2Fcalifornia-times-brightspot.s3.amazonaws.com%2F60%2F0c%2F6f6db8e4460e80fbf83c67033465%2Fdaughters-still1.jpg 320w,https://ca-times.brightspotcdn.com/dims4/default/74109a7/2147483647/strip/true/crop/2160x1440+200+0/resize/568x379!/quality/75/?url=https%3A%2F%2Fcalifornia-times-brightspot.s3.amazonaws.com%2F60%2F0c%2F6f6db8e4460e80fbf83c67033465%2Fdaughters-still1.jpg 568w,https://ca-times.brightspotcdn.com/dims4/default/5ad4cdc/2147483647/strip/true/crop/2160x1440+200+0/resize/768x512!/quality/75/?url=https%3A%2F%2Fcalifornia-times-brightspot.s3.amazonaws.com%2F60%2F0c%2F6f6db8e4460e80fbf83c67033465%2Fdaughters-still1.jpg 768w,https://ca-times.brightspotcdn.com/dims4/default/efb4f76/2147483647/strip/true/crop/2160x1440+200+0/resize/840x560!/quality/75/?url=https%3A%2F%2Fcalifornia-times-brightspot.s3.amazonaws.com%2F60%2F0c%2F6f6db8e4460e80fbf83c67033465%2Fdaughters-still1.jpg 840w",
"https://ca-times.brightspotcdn.com/dims4/default/f1af637/2147483647/strip/true/crop/3240x2160+279+0/resize/110x73!/quality/75/?url=https%3A%2F%2Fcalifornia-times-brightspot.s3.amazonaws.com%2F08%2F43%2F3099232e4a73919791f506d63b9d%2Fgood-one-still-13-copy.jpg 110w,https://ca-times.brightspotcdn.com/dims4/default/9a7e217/2147483647/strip/true/crop/3240x2160+279+0/resize/180x120!/quality/75/?url=https%3A%2F%2Fcalifornia-times-brightspot.s3.amazonaws.com%2F08%2F43%2F3099232e4a73919791f506d63b9d%2Fgood-one-still-13-copy.jpg 180w,https://ca-times.brightspotcdn.com/dims4/default/51c70f0/2147483647/strip/true/crop/3240x2160+279+0/resize/320x213!/quality/75/?url=https%3A%2F%2Fcalifornia-times-brightspot.s3.amazonaws.com%2F08%2F43%2F3099232e4a73919791f506d63b9d%2Fgood-one-still-13-copy.jpg 320w,https://ca-times.brightspotcdn.com/dims4/default/6a120eb/2147483647/strip/true/crop/3240x2160+279+0/resize/568x379!/quality/75/?url=https%3A%2F%2Fcalifornia-times-brightspot.s3.amazonaws.com%2F08%2F43%2F3099232e4a73919791f506d63b9d%2Fgood-one-still-13-copy.jpg 568w,https://ca-times.brightspotcdn.com/dims4/default/c417328/2147483647/strip/true/crop/3240x2160+279+0/resize/768x512!/quality/75/?url=https%3A%2F%2Fcalifornia-times-brightspot.s3.amazonaws.com%2F08%2F43%2F3099232e4a73919791f506d63b9d%2Fgood-one-still-13-copy.jpg 768w,https://ca-times.brightspotcdn.com/dims4/default/2f9e678/2147483647/strip/true/crop/3240x2160+279+0/resize/840x560!/quality/75/?url=https%3A%2F%2Fcalifornia-times-brightspot.s3.amazonaws.com%2F08%2F43%2F3099232e4a73919791f506d63b9d%2Fgood-one-still-13-copy.jpg 840w",
"https://ca-times.brightspotcdn.com/a6/d6/eea0f1094fb281dbea09e0aa79cd/art-caltimes-trademark-3x.png"
] |
[] |
[] |
[
""
] | null |
[
"KEVIN THOMAS"
] |
1998-01-16T00:00:00
|
Srdjan Dragojevic's "Pretty Village, Pretty Flame" makes a stunning companion film to Emir Kusturica's "Underground" as a brutal, bravura allegory on the terrible disintegration of Yugoslavia.
|
en
|
/apple-touch-icon.png
|
Los Angeles Times
|
https://www.latimes.com/archives/la-xpm-1998-jan-16-ca-8720-story.html
|
Srdjan Dragojevic’s “Pretty Village, Pretty Flame” makes a stunning companion film to Emir Kusturica’s “Underground” as a brutal, bravura allegory on the terrible disintegration of Yugoslavia. It has much the same passion, pain, anger and sooty humor of the Kusturica film and similarly boasts an array of vital, earthy characterizations.
Both filmmakers are too sophisticated to send conventional anti-war messages but instead create epic panoramas of human folly and suffering fueled by unbridled racism.
Dragojevic moves back and forth in time with supreme confidence, but his key shifts occur between 1980, the day Tito dies, and 1992, when war breaks out in Bosnia between Serbs and Muslims. The setting is an idyllic mountain community, where nine years before Tito, seen in newsreels, is dedicating--with appropriate pomp and ceremony--the Brotherhood-Unity train tunnel connecting Zagreb and Belgrade.
By 1980, the tunnel is seen full of scaffolding, and two little boys are afraid to enter it, believing it is inhabited by an ogre. Although one is a Serb and the other a Muslim, the boys are best friends, and they still are as adults, in the spring of 1992. “Will there be a war?” wonders Halil (Dragan Petrovic). “What war?” replies Milan (Dragan Bjelogrlic), as they sit in a sunny roadside cafe on the top of a mountain.
Events, however, overtake them like a forest fire raging out of control, and they find themselves suddenly enemies. Halil believes Milan burned down his garage; Milan hears that two men in Halil’s patrol killed his mother.
By now, Dragojevic is widening his perspective as the war progresses, moving beyond the two former friends to depict Serbian soldiers on a savage rampage throughout the area, burning, slaughtering and looting with a rock ‘n’ roll glee and abandon. Eventually, however, a small group of Serbs find themselves trapped in that tunnel, among them Milan. Among their Muslim captors is, inevitably, Halil.
The film, in effect, unfolds as a flashback, in the memory of Milan as in 1994 he lay in a Belgrade hospital bed, recuperating from serious war injuries. Nearby is a fellow survivor of the 10-day tunnel siege, the Professor (Dragan Maksimovic).
Milan’s memories of the siege constitute the bulk of the film, where Milan and other Serb soldiers, plus an American journalist (Lisa Moncure) with a camcorder, are holed up, contemplating their fate, dipping into their own memories and dreams. Having characterized the Serbs as savages, Dragojevic now uncovers their humanity.
The sequences set in the increasingly symbolic tunnel present Dragojevic with another kind of challenge: sustaining interest and momentum throughout the long siege. However, whereas “Pretty Village,” which could be shorter, is for sure grueling, Dragojevic has succeeded in creating a film that is largely compelling over the long haul, building to climactic sequences that can only be described as devastating, as over-used as that word may be.
Dragojevic is a formidable director of actors, and it’s good to see Moncure, as the sole American in the picture, making such a strong impression amid native actors of such presence.
“Pretty Village, Pretty Flame” is strong on irony, nuance and telling detail. After one of the Serbs goes on about how Serbia is the oldest state in the world and how Serbs were eating with forks while the Germans and English were still eating with their hands, Dragojevic later shows how swiftly a fork can be turned into a weapon.
* Unrated. Times guidelines: The scenes of war are exceptionally savage, and there is strong language.
‘Pretty Village, Pretty Flame’
Dragan Bjelogrlic: Milan
Lisa Moncure: Liza
Nikola Pejakovic: Halil
Dragan Maksimovic: Petar (The Professor)
A Fox Lorber release of a Cobra Film production in association with MCRS and RTS. Director Srdjan Dragojevic. Producers Goran Bjelogric, Dragan Bjelogoric, Nikola Kojo. Executive producer Milko Josifov. Screenplay by Vanja Bulic, Dragojevic. Cinematographer Dusan Joksimovic. Editor Petar Markovic. Costumes Tanja Dragojevic. Music Laza Ristovski, Aleksander Habic. Production designer Mile Jeremic. Running time: 2 hours, 8 minutes.
*
* Exclusively at the Grande 4-Plex, 345 S. Figueroa St., downtown Los Angeles, (213) 617-0268.
|
||
1053
|
dbpedia
|
3
| 29
|
https://www.theaudiodb.com/artist/129391-Bebi-Dol
|
en
|
TheAudioDB.com
|
[
"https://www.theaudiodb.com/images/logo_new_12.png",
"https://www.theaudiodb.com/images/icons/heart_off.png",
"https://www.theaudiodb.com/images/icons/upload_icon-transparent2.png",
"https://www.theaudiodb.com/images/icons/upload_icon-transparent2.png",
"https://www.theaudiodb.com/images/transparent.png",
"https://www.theaudiodb.com/images/percent/percent_bar_30.png",
"https://www.theaudiodb.com/images/icons/refresh.png",
"https://www.theaudiodb.com/images/media/album/thumb/wck7eq1642385760.jpg/preview",
"https://www.theaudiodb.com/images/media/album/thumb/gnj6im1640015034.jpg/preview",
"https://www.theaudiodb.com/images/icons/calendar.png",
"https://www.theaudiodb.com/images/icons/upload_icon-transparent2.png",
"https://www.theaudiodb.com/images/icons/heart.png",
"https://www.theaudiodb.com/images/icons/heart_off.png",
"https://www.theaudiodb.com/images/icons/heart_off.png",
"https://www.theaudiodb.com/images/icons/heart_off.png",
"https://www.theaudiodb.com/images/icons/youtube32.png",
"https://www.theaudiodb.com/images/icons/flags/flags-iso/shiny/32/GB.png",
"https://www.theaudiodb.com/images/icons/wiki.png",
"https://www.theaudiodb.com/images/icons/upload_icon-transparent2.png",
"https://www.theaudiodb.com/images/icons/upload_icon-transparent2.png",
"https://www.theaudiodb.com/images/media/artist/fanart/rrrpux1520984887.jpg/preview",
"https://www.theaudiodb.com/images/media/artist/fanart/sutvpx1520985029.jpg/preview",
"https://www.theaudiodb.com/images/media/artist/fanart/wvqtpt1520985133.jpg/preview",
"https://www.theaudiodb.com/images/icons/upload_icon-transparent2.png",
"https://www.theaudiodb.com/images/icons/upload_icon-transparent2.png",
"https://www.theaudiodb.com/images/transparent.png",
"https://www.theaudiodb.com/images/icons/unlocked.png",
"https://www.theaudiodb.com/images/icons/social/fanarttv.png",
"https://www.theaudiodb.com/images/icons/social/musicbrainz.png",
"https://www.theaudiodb.com/images/icons/social/lastfm.png",
"https://www.theaudiodb.com/images/icons/Logo/amazon_64.png",
"https://www.theaudiodb.com/images/facebook_icon.png",
"https://www.theaudiodb.com/images/twitter_icon.png",
"https://www.theaudiodb.com/images/discord_icon.png",
"https://www.theaudiodb.com/images/logo-tcdb.png",
"https://www.theaudiodb.com/images/logo-tsdb.png",
"https://www.theaudiodb.com/images/logo-tmdb.png"
] |
[] |
[] |
[
""
] | null |
[] | null |
Artist: Bebi Dol, MusicBrainzID: 6a08becd-2b6a-47c2-82eb-600de7400ef1, data, artwork, logo, fanart, clearart, charts, best songs, musicvideos
|
en
|
../images/ico/favicon.ico
| null |
Members
---
Origin
---
Genre
---
Style
---
Mood
---
Active
0 to Present...
Cutout
Most Loved Tracks
3 users Bebi Dol - Rudi
3 users Bebi Dol - Hajde Da...
3 users Bebi Dol - Bez Srca
Music Video Links
No Music Videos Found...
Artist Biography
Available in:
Bebi Dol (Serbian Cyrillic: Беби Дол, bêbi dôːl, born Dragana Šarić, Serbian Cyrillic: Драгана Шарић, drǎɡana ʃǎːritɕ or ʃâritɕ) is a Serbian female pop/rock singer and performer. Her name is a deliberate corruption of the English Baby Doll, which she also uses in some countries to credit her records.
Musical career:
Early career:
Šarić had contact with music since her early years, as her father, Milenko Šarić, was a jazz musician. She started her career in the late 1970s in the band Tarkus. During the late 1979, she made her first studio recordings as a guest vocalist on the Igra Staklenih Perli album Vrt svetlosti (Garden of Light), released in 1980. In 1981, with the guitarist Goran Vejvoda and the bass guitarist Ivan Vdović, she formed the short-lasting band Annoda Rouge.
1981 - 1995:
In 1981, Šarić, under the name Bebi Dol, released her solo debut, Oriental music-inspired single "Mustafa", which she composed together with Saša Habić. The song featured the recording of Slobodan Konjović's voice. Konjović was, at the time, Studio B musical editor, and participated in "Mustafa" production.
In 1983, she released her first solo album, Ruže i krv (Roses and Blood). She wrote all the songs on the album, except "Sinu Sunca i bratu Meseca" ("To the Son of the Sun and brother of the Moon"), a cover of 17th century traditional song, featuring recordings of Ingrid Bergman's and Humphrey Bogart's dialogues, and "Lapis Lazzuli", a cover of Angelo Branduardi song. The album featured Saša Habić (as the producer and on bass guitar and keyboards), Goran Vejvoda (on guitar), Dejan Kostić (on guitar and bass guitar), Zoran Zagorčić (on keyboards), Bebi Dol's father Milenko Šarić (on saxophone), Dejan Stanisavljević (on keyboards), Slobodan Marković (on keyboards), Zoran Konjović (on guitar), and the Radio Television Belgrade's String Quartet. During the same year, she released the 12" single Rudi. Beside the title track (referring to Rudolph Valentino), which became a huge hit, the single also featured a cover of The Supremes song "Baby Love". During her 1983 staying in England, she worked with Howard Devoto, but these recordings never saw the light of the day.
In 1984, she took the offer for a singing engagement at Cairo. She spent two years in Egypt, between 1984 and 1986. After returning to Yugoslavia, in 1986, she released the 12" single How Good Not to Love in cooperation with Saša Habić. During the same year, she won the first place at the MESAM Festival, with the song "Inšalah" (transliteration for "Insha'Allah"), again inspired by Middle-Eastern music. The song was released on a split 7" single, together with Zana Nimani's song "Ruža na dlanu" ("Rose on the Palm"). She also appeared on the 1988 MESAM Festival, performing the song "Slatke suze ljubavi" ("Sweet Tears of Love"), and on the 1989 MESAM, performing the song "Kad sreća odlazi" ("When Happiness is Leaving"), winning the Best Interpretation Award. In 1989, she also performed at the Gold Malaysian Festival in Kuala Lumpur. During the same year, she worked with Neil Rolnick.
In 1991, after several tries, Bebi Dol finally won the National Eurovision Contest with the song "Brazil", and went on to represent SFR Yugoslavia on the 1991 Eurovision Song Contest in Rome. She took only one point for the evening, also becoming the very last artist to represent SFR Yugoslavia at the contest, as the country de facto ceased to exist later that year.
After a four-year break in her work, in 1995, Bebi Dol released her second album, Ritam srca (Rhythm of the Heart). The album featured Mario Šerapović (of the band Psihopolis) on guitar, and Laza Ristovski on keyboards. Alongside the new versions of the previously released "Brazil", "Iznad duge" (a Serbian language cover of "Over the Rainbow") and "Rudi", the album featured new songs, written by Bebi Dol and Zoran Vračević. The album also featured a cover of Madonna song "Take a Bow" entitled "Pokloni se". The album's main hits were the songs "Hajde da..." ("Let's...") and "...Da pričamo... (O ljubavi)" ("...Let's Talk... (About Love)"). After the album release, she semi-retired from the scene. In 1999, she performed at the Child of Tomorrow concert held in Helsinki. She was part of the choir featuring musicians from all over the world. On the same concert, she performed the song "Ruža" ("Rose"), originally composed by Zoran Zagorčić on the lyrics by Nina Živančević.
2002 - present:
In 2002, Bebi Dol released her comeback album Ljuta sam... (I'm Angry...). The album, produced by Vlada Marković, featured songs written mostly by Bebi Dol herself. In the song "Pesma o Simi" ("Song about Sima") she quoted her old hit "Mustafa". She took part in Beovizija 2003 festival with the song "Tvrdoglava" ("Stubborn").
In December 2006, she released an English language cover album, entitled Čovek rado izvan sebe živi (Man Gladly Lives outside Himself), featuring covers of songs by James Brown, The Rolling Stones, Paul Anka, Marvin Gaye, Deniece Williams, Audrey Hepburn, The Beatles, Carole King, Bob & Earl, Barbra Streisand and Billy Strayhorn. In 2007, she released her first live album, Veče u pozorištu (An Evening in the Theatre), recorded on the concert held on February 16, 2007 in Terazije Theatre. The album, beside the songs released on Čovek rado izvan sebe živi, featured covers of songs by Lenny Kravitz, Simon & Garfunkel, Pink Floyd, Louis Armstrong and Michael Jackson.
In 2008, she released the compilation album ...Pokloni se....
Other activities:
During her career, Bebi Dol made numerous guests appearances, singing vocals and backing vocals on albums by Igra Staklenih Perli, Bulevar, Idoli, Oliver Mandić, Kozmetika, Du Du A, Leb i Sol, Massimo Savić, Zona B, Laza Ristovski, Bajaga i Instruktori, and other artists.
For Boro Drašković's 1985 film Život je lep (Life is Beautiful) she gave her voice to Sonja Savić's character singing parts. Bebi Dol acted in Žika Mitrović's 1986 film Protestni album (Protest album). She portrayed Ophelia in Hamlet played during 1987 in Titograd National Theatre.
She hosted a talk show on the Belgrade TV Art.
Personal life:
During the early 1980s, Bebi Dol was in a relationship with Goran Vejvoda, and later during the decade with Massimo Savić.
Wide Thumb
Clearart
Fanart
Banner
User Comments
|
|||||
1053
|
dbpedia
|
0
| 0
|
https://en.wikipedia.org/wiki/Bijelo_Dugme
|
en
|
Bijelo Dugme
|
[
"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/en/thumb/a/ad/Dugme_1974.jpg/280px-Dugme_1974.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/4/41/Bijelo_dugme.png/170px-Bijelo_dugme.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/5/5f/Veljko_Despot_na_snimanju_s_Bijelim_dugmetom%2C_Air_Studios%2C_London%2C_1975..jpg/250px-Veljko_Despot_na_snimanju_s_Bijelim_dugmetom%2C_Air_Studios%2C_London%2C_1975..jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/a/a4/Bregovic_-_portret_-_1980.jpg/250px-Bregovic_-_portret_-_1980.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/f/ff/Tifa_i_Bregovic_Nis_polovina_80-ih.jpg/250px-Tifa_i_Bregovic_Nis_polovina_80-ih.jpg",
"https://upload.wikimedia.org/wikipedia/en/thumb/4/47/BijeloDugmeandBajagaiInstruktoriMoscow.jpg/300px-BijeloDugmeandBajagaiInstruktoriMoscow.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/b/b9/Bijelo_dugme_%281986%29.jpg/250px-Bijelo_dugme_%281986%29.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/3/34/Bregovic_u_Nisu_1997.jpg/250px-Bregovic_u_Nisu_1997.jpg",
"https://upload.wikimedia.org/wikipedia/en/timeline/9nbm3kxxm8ehmhoyi741btl2cxm435n.png",
"https://upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/30px-Commons-logo.svg.png",
"https://upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.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"
] |
2005-11-28T20:40:57+00:00
|
en
|
/static/apple-touch/wikipedia.png
|
https://en.wikipedia.org/wiki/Bijelo_Dugme
|
Yugoslavian rock band
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.
Bijelo Dugme is considered one of the most influential acts of the Yugoslav popular music, with a number of prominent figures of the Yugoslav and post-Yugoslav music scene citing them as an influence. Their works were critically acclaimed at the time of their release and in retrospect, with a number of their albums appearing on various lists of best Yugoslav rock albums, praised for the composition, musicianship, production and poetic quality of the lyrics. On the other hand, the band is often criticized by a part of musicians, music critics and audience who believe that the band's blend of rock music and Balkan folk paved the way for the appearance of turbo-folk music in the late 1980s and the 1990s. Bijelo Dugme's work remains popular in all former Yugoslav republics, the band often being considered one of the symbols of Yugoslav culture and their work being a frequent motif in various forms of yugo-nostalgia.
History
[edit]
Background (1969–73)
[edit]
Kodeksi (1969–71)
[edit]
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 (trans. The Beasts). 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. 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). At the time, the band Pro Arte was also interested in hiring Bregović, but he decided to stay with Kodeksi. After performing in a night club in Dubrovnik, Kodeksi were hired to perform in a club in Naples, Italy. However, the parents of the only female member, Ismeta Dervoz, did not allow her to go to Italy. In Naples, the band initially performed covers of songs by Cream and the Jimi Hendrix Experience, but were soon asked by club owners to perform music more suitable for night clubs. After two months, the band's guitarist Edo Bogeljić returned to Sarajevo to continue his studies, and Bregović switched to guitar. Local Italian musician called Fernando Savino was brought in to play the bass, but after he quit too, Bebek called up old friend Zoran Redžić, formerly of the band Čičak (Burdock). Redžić in turn brought along his bandmate from Čičak Milić Vukašinović as replacement on drums for Paganotto, who also quit in the meantime. 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, and within two weeks of his arrival, Kodeksi were fired from all the clubs they were playing.
The foursome of Bebek, Bregović, Redžić and Vukašinović stayed on the island of Capri and in 1970 relocated back to Naples. At this time, the other three members persuaded Bebek to stop playing the rhythm guitar reasoning that it was not fashionable any more. 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. After being a key band member only several months earlier, Bebek thought his role was gradually being reduced. During the fall of 1970, he left Kodeksi to return to Sarajevo.
Vukašinović, Bregović, and Redžić continued to perform, but decided to return to Sarajevo in the spring of 1971, when Bregović's mother and Redžić's brother came to Italy to persuade them to return home. 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. 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. Hastily composed and recorded "Ja i zvijezda sjaj" ("Me and the Stars' Glow") was of poor quality and little artistic value, which influenced Vukašinović's decision to move to London. He left Sarajevo in late summer of 1971, and the trio ended their activity.
Jutro (1971–73)
[edit]
At the autumn of 1971, guitarist Ismet Arnautalić invited Bregović to form Jutro (Morning). The band's lineup featured, alongside Arnautalić and Bregović, Redžić on bass, Gordan Matrak on drums and vocalist Zlatko Hodnik. Bregović wrote his first songs as a member of Jutro. The band had made some recordings with Hodnik when Bregović decided they needed a vocalist with "more aggressive" vocal style, so he invited Bebek to become the band's new singer. With Bebek, the band recorded the song "Patim, evo, deset dana" ("I've Been Suffering for Ten Days Now"), which was, in 1972, released as the B-side of the single "Ostajem tebi" ("I Remain Yours"), which was recorded with Hodnik. After the song recording, Bebek left the band to serve his mandatory stint in the Yugoslav People's Army, but the rest of the band decided to wait for his return to continue their activity.
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 which translates to "Willow Tree Is Moving on the Top of the Hill") and "Hop-cup" ("Whoopsie Daisy"), the first two appearing on a 7-inch single. 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. For some time, guitarist Miodrag "Bata" Kostić, a former member of YU Grupa, rehearsed with the band, but this cooperation was soon ended. 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. After Matrak left the band, he was replaced by Perica Stojanović, who was shortly after replaced by former Pro Arte member Vladimir Borovčanin "Šento". Borovčanin tried to secure a record contract with Jugoton, but failed, soon losing faith in his new band. He and Redžić neglected rehearsals, and both left the band after an argument with Bregović.
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. Borovčanin was replaced by former Mobi Dik (Moby Dick) and Rok (Rock) member Goran "Ipe" Ivandić. Instead of second guitar, Bregović decided to include keyboards in the band's new lineup. Experienced Vlado Pravdić, a former member of Ambasadori and Indexi, became Jutro's keyboardist. The band prepared several songs for the recording in Radio Sarajevo's studio, but Arnautalić, still holding a grudge on his former bandmates, used his connections in Radio Sarajevo to get Jutro's recording sessions cancelled. 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. The intro to "Top" was inspired by traditional ganga music. Soon after, Vinković rejoined Ambasadori, and was replaced by Jadranko Stanković, a former member of Sekcija (Section) and Rok.
At this time, the band decied to adopt the name Bijelo Dugme. They decided to change the name because of the conflict with Arnautalić, but also because of the existence of another, Ljubljana-based band called Jutro, which had already gained prominence on the Yugoslav scene. As the band was already known for the song "Kad bi' bio bijelo dugme", they choose the name Bijelo Dugme. The band officially started working under this name from January 1974.
Željko Bebek years (1974–84)
[edit]
"Shepherd rock" years: rise to fame and "Dugmemania" (1974–79)
[edit]
In January 1974, with Borota, the band completed the "Top" and "Ove ću noći naći blues" recordings. The band and Borota offered these recordings to the recently-established Sarajevo-based record label Diskoton, however, the label's top executive Slobodan Vujović rejected them, stating that the label already has 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. The decision would soon come to be considered the biggest business blunder in the history of Yugoslav record publishing. On the same day the band were refused by Diskoton, they obtained a five-year contract with the Zagreb-based Jugoton label. On 29 March 1974 "Top" and "Ove ću noći naći blues" were released on a 7-inch single that would eventually sell 30,000 copies.
The band started promoting the single, performing mostly in smaller towns. 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 with other members. Soon after, Bregović, Bebek, Ivandić and Pravdić decided to exclude him from the band. Redžić was invited to join the band, which he accepted, despite his previous conflict with Bregović. The following 7-inch single, featuring the 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. This scandal brought huge press covering and increased the single sales.
The band had their first bigger performance at the 1974 BOOM Festival in Ljubljana, where they performed alongside Bumerang, Cvrčak i Mravi, Tomaž Domicelj, Hobo, Grupa 220, Jutro, Ivica Percl, S Vremena Na Vreme, YU Grupa, Drago Mlinarec, Nirvana, Grupa Marina Škrgatića and other acts and were announced as "the new hopes". The live version of "Ove ću noći naći blues" appeared on the double live album Pop Festival Ljubljana '74 – BOOM. 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. The band spent the summer performing in Cavtat and preparing songs for their first album. They soon released their third single, with the songs "Da sam pekar" ("If I Was a Baker") and "Selma". "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. Over 100,000 copies of the single were sold, becoming Bijelo Dugme's first gold record.
This single was their last produced by Borota at the Jugoton recording studio in Zagreb.
During September, the band performed as the opening band for Tihomir "Pop" Asanović's Jugoslovenska Pop Selekcija, and during October, in studio Akademik in Ljubljana, they recorded their debut album Kad bi' bio bijelo dugme. 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. Bregović later described this event as "the greatest disgrace in Bijelo Dugme's career". Bebek sung in bad Macedonian, and the band did not fit in well in the ambient of a pop festival. On the next evening, the band performed, alongside Pop Mašina, Smak and Crni Biseri, in Belgrade's Trade Union Hall, on the Radio Belgrade show Veče uz radio (Evening by the Radio) anniversary celebration, and managed to win the audience's attention. At the time, Bijelo Dugme cooperated with manager Vladimir Mihaljek, who managed to arrange the band to perform 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.
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. 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. This term was (and still is) sometimes used by the Yugoslav critics to classify Bijelo Dugme's sound.[21][22] The album featured the new versions of "Kad bi' bio bijelo dugme" and "Patim, evo, deset dana", "Sve ću da ti dam samo da zaigram" ("I'll Give You Everything Only to Dance"), ballad "Selma", blues track "Blues za moju bivšu dragu" ("Blues For My Ex-Darling") and rock and roll-influenced hit "Ne spavaj, mala moja, muzika dok svira" ("Don't You Sleep, Baby, while the Music Is Playing"). 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. 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.
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. 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. Instead, Vedran Božić (of Time), Josip Boček (formerly of Korni Grupa), Bata Kostić (of YU Grupa), and Bregović were proclaimed the best. 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. After the album was released, the four guitarists went on a joint tour, on which they were supported by YU Grupa members. 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"), after which they started their first big Yugoslav tour. In the spring of 1975, they were already considered the most popular Yugoslav band. 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 Marin Škrgatić (of Grupa Marina 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).
Before the recording of their second album, Bijelo Dugme went to the village Borike in Eastern Bosnia to work on the songs and prepare for the recording sessions. The album Šta bi dao da si na mom mjestu (What Would You Give to Be in My Place) was recorded in London during November 1975. It was produced by Neil Harrison who previously worked with Cockney Rebel and Gonzalez.[24] The bass guitar on the album was played by Bebek, as Redžić injured his middle finger just before the recording sessions started. Nevertheless, Redžić was credited on the album, as he worked on the bass lines, and directed Bebek during the recording. The lyrics for the title track were written by Duško Trifunović, while the rest of the lyrics were written by Bregović. The band used the time spent in studio to record an English language song "Playing the Part", with lyrics written by lyricist Dave Townsend, released on a promo single which was distributed to journalists. The album was a huge commercial success, bringing hits "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" ("Hurry Up, My Horses") and selling more than 200,000 copies. 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. 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 "2× platinum record".
After Šta bi dao da si na mom mjestu release, the band went on a warming-up tour across Kosovo and Metohija. During the tour, injured Redžić was replaced by former Kamen na Kamen member Mustafa "Mute" Kurtalić. 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. 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. Their performance was, however, stopped after only several minutes, reputedly because of the loudness.
As Redžić had to leave the band due to his army obligations, a bass guitarist for live performances had to be hired. Kurtalić asked for higher fees, so the new temporary bassist became Formula 4 leader Ljubiša Racić. This lineup of the band went on a large Yugoslav tour. 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. On the concerts, the band for the first time introduced a set of several songs performed unplugged. The press coined the term "Dugmemanija" (Buttonmania) and the socialist public went into an argument over the phenomena.
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. The band did go to the United States, but only to record the songs "Džambo" ("Jumbo") and "Vatra" ("Fire"), which were released as Ivandić's solo single, and "Milovan" and "Goodbye, Amerika" ("Goodbye, America"), which were released as Bebek's solo single. The records represented the introduction of funk elements in Bijelo Dugme sound. During the band's staying in America, 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 him. 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". At the beginning of autumn, Ivandić and Pravdić left the band due to their stints in te Yugoslav army. They were replaced by Vukašinović (who, after Kodeksi disbanded, played with Indexi) and Laza Ristovski respectively. Ristovski's moving from Smak, at the time Bijelo Dugme's main competitors on the Yugoslav rock scene, saw huge covering in the media.
The band prepared for the recording of their third album in Borike. The album's working title was Sve se dijeli na dvoje, na tvoje i moje (Everything Is Split in Two, Yours and Mine) after a poem by Duško Trifunović. Bregović did not manage to write the music on the lyrics (they were later used for the song recorded by Jadranka Stojaković), 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. The album was eventually titled Eto! Baš hoću! (There! I Will!). The album was once again recorded in London with Harrison as the producer and Bebek playing the bass guitar. It was released on 20 December 1976. The album hits included hard rock tunes "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 Smart", 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 less complex "Loše vino" ("Bad Wine", written by Bregović and singer-songwriter Arsen Dedić and originally recorded by singer Zdravko Čolić). In the meantime, Racić asked for higher payment, so he got fired. He was replaced by Sanin Karić, who was at the time a member of Teška Industrija. This lineup of the band went on the tour across Poland, on which they were announced as "the leading band among young Yugoslav groups" and held nine successful concerts. After the band's return from Poland, Redžić and Ivandić rejoined them. After leaving Bijelo Dugme, Vukašinović would form the hard rock/heavy metal band Vatreni Poljubac.
In 1977 the band went on a Yugoslav tour, but experienced problems during it. The clashes within the band were becoming more and more frequent, the concerts were followed by technical difficulties and bad reviews in the press, and the audience was not interested in the band's concerts as it was during previous tours. Three concerts in Belgrade's Pionir Hall, on 3, 4 and 5 March, were not well attended, and the second one had to be cut short after the shock wave from the Vrancea earthquake was felt. The Adriatic coast tour was canceled, as well as concerts in Zagreb and Ljubljana for which the recording of a live album was planned. After four years, Bijelo Dugme saw a decline in popularity and rumors about the band's disbandment appeared in the media.
The band wanted to organize some sort of spectacle to help their decreased popularity. On the idea of journalist Petar "Peca" Popović, the band decided to hold a free open-air concert at Belgrade's Hajdučka česma on 28 August 1977. Jutro had already performed on this location in 1973, on a concert organized by the band Pop Mašina. The concert would also be Bijelo Dugme's last concert before the hiatus due to Bregović's army duty. The whole event was organized in only five days. Between 70,000 and 100,000 spectators attended the concert, which was the biggest number of spectators on a rock concert in Yugoslavia up to that point. After the opening acts – Slađana Milošević, Tako, Zdravo, Džadžo, Suncokret, Ibn Tup and Leb i Sol – Bijelo Dugme played a very successful concert. Despite the fact that the concert was secured by only twelve police officers, there were no larger incidents. Video recordings from the concert appeared in Mića Milošević's film Tit for Tat. Eventually, it was discovered that the audio 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 25 October 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). Eventually, the only part of the Hajdučka česma concert that ended up on the album were the recordings of the audience's reactions.
After Koncert kod Hajdučke česme was mixed, Bregović went to serve the army in Niš and the band went on hiatus; Melody Maker wrote about Bijelo Dugme's hiatus as about an event "on the verge of national tragedy". 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. In June 1978, Bebek released his first solo album, the symphonic rock-oriented Skoro da smo isti (We're almost the Same), which saw mostly negative reactions by the critics. 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. Ristovski and Ivandić met with Bregović during his leave and played him the recordings, believing they could persuade him to let them compose for Bijelo Dugme. After he refused, the two, encouraged by the positive reactions of the music critics which had the opportunity to listen to the material before the release, decided to leave Bijelo Dugme. However, on 10 September, 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. Ivandić was sentenced to spend three years in jail (Kovačević was sentenced to year and a half, and Boban to a year). Before he went to serve the sentence, Ivandić went to psychiatric sessions to prepare for the life in prison. The psychiatrist he went to see was Radovan Karadžić.
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. In the autumn of 1978, Pravdić returned to the band and drummer Dragan "Điđi" Jankelić, who participated in the recording of Bebek's solo album, became Bijelo Dugme's new drummer. 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. Bijelo Dugme started preparing their new album in Niška Banja‚ but, as Bregović was still serving the army, they definitely reunited in Sarajevo on 1 November. The new lineup of the band had their first performance in Skenderija on 4 December 1978.
The band's fourth studio album was recorded in Belgrade and produced by Neil Harrison. Several songs featured a symphonic orchestra. The making of the album was followed by censorship. The original cover, designed by Dragan S. Stefanović and featuring female leg kicking 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. 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 bastard and misery") 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 bastard and misery"). 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. The album did not feature 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" ("How Many Have There Been?"), and emotional ballads "Ipak poželim neko pismo" ("Still, I Wish for a Letter"), "Kad zaboraviš juli" ("Once You Forget July") and "Sve će to, mila moja, prekriti ruzmarin, snjegovi i šaš", all becoming hits. The album broke all the records held by their previous releases. Twelve days before the start of 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. The tour, however, was highly successful. The band managed to sell out Pionir Hall five times, dedicating all the money earned from these concerts (about 100,000 American dollars) to the victims of the 1979 Montenegro earthquake. On some of the concerts they were accompanied by Branko Krsmanović Choir and a symphonic orchestra. On 22 September, the band organized a concert under the name Rock spektakl '79. (Rock Spectacle 79) on Bellgrade's 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. More than 70,000 people attended the concert.
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. During 1980, Bregović spent some time in Paris, and the band was on hiatus.
Doživjeti stotu: Jumping on the new wave bandwagon (1980–82)
[edit]
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 by the new scene, especially by the works of Azra and Prljavo Kazalište. During 1980, Bijelo Dugme decided to move towards new sound.
In December 1980, Bijelo Dugme released new wave-influenced album Doživjeti stotu (Live to Be 100). This was the first Bijelo Dugme album produced by Bregović. 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. As the recordings had to be finished before the scheduled mastering in London, Bregović used cocaine to stay awake, writing the lyrics in the nick of time. The saxophone on the recording was played by jazz musician Jovan Maljoković and avant-garde musician Paul Pignon. 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. 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. The provocative cover, depicting plastic surgery, was designed by Mirko Ilić, an artist closely associated with Yugoslav new wave scene and appeared in three different versions. 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. Due to the new sound, Doživjeti stotu was met with a lot of skepticism, but most of the critics ended up praising the album. At the end of 1980, the readers of Džuboks magazine polled Bijelo Dugme the Band of the Year, Bebek the Singer of the Year, 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 Doživjeti stotu cover the Album Cover of the Year.
The band started their Yugoslav tour on 24 February 1981, 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 (5 April 1981). The album, featuring a cover of Indexi song "Sve ove godine" ("All These Years"), was released in a limited number of 20,000 copies. 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 others, on the two-day festival Svi marš na ples! (Everybody Dance Now!) held at Belgrade Hippodrome, and during the New Year holidays they held three concerts in Hala Pinki together with Indexi.
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) made a handover to the next one (Sarajevo). 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. The band's record label, Jugoton, decided to lend 150,000,000 Yugoslav dinars to Bijelo Dugme, to pay the fine. To regain part of the money as soon as possible, Jugoton decided to release two compilation albums, Singl ploče (1974-1975) (7-Inch Singles (1974-1975)) and Singl ploče (1976-1980). To recover financially, during July and August 1982, the band went on a tour across Bulgaria, during which they held 41 concerts, two of them at the crowded People's Army Stadium in the capital Sofia. As Jankelić went to serve the army in April, on this tour the drums were played by former Leb i Sol drummer Garabet Tavitjan. 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. However, due to the growing liberalization of the Yugoslav society, this event did not affect Bregović's and the band's career.
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.
After Doživjeti stotu, Bebek's departure (1983–84)
[edit]
At the beginning of 1983, Bregović, Redžić, Pravdić and Ivandić 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 songs were composed by Bregović and the lyrics were written by Duško Trifunović. It was initially planned pop rock singer Seid Memić "Vajta" to record the vocals, but eventually the vocals were recorded by eleven-year-old Ratimir Boršić "Rača", and the album was released under Ratimir Boršić Rača & Bijelo Dugme moniker.
In February 1983, the band released the album Uspavanka za Radmilu M. (Lullaby for Radmila M.). Bregović intended to release Uspavanka za Radmilu M. as Bijelo Dugme's farewell album and to dismiss the band after the tour. The album was recorded in Skopje and featured Vlatko Stefanovski (guitar), Blagoje Morotov (double bass) and Arsen Ereš (saxophone) as guest musicians. 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. The album's title track is the only instrumental track Bijelo Dugme ever recorded. Unlike the band's previous album, Uspavanka za Radmilu M. was not followed by a large promotion in the media, but it was followed by the release of the videotape cassette Uspavanka za Radmilu M., which featured videos for all the songs from the album, which was the first project of the kind in the history of Yugoslav rock music. The videos were directed by Boris Miljković and Branimir Dimitrijević "Tucko" The video for the song "Ovaj ples dame biraju" was the first gay-themed video in Yugoslavia. The song "Kosovska" ("Kosovo Song") featured Albanian language lyrics. 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. Although lyrics were simple, dealing with rock music, the song caused certain controversies.
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. 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). His last concert with Bijelo Dugme was on 13 February 1984, in Sarajevo Olympic Village. Unsatisfied with his share of the profits in Bijelo Dugme, he decided to leave the band and dedicate himself to his solo career. He left Bijelo Dugme in April 1984, starting a semi-successful solo career. For a certain period of time, Bebek's backing band would feature Jankelić on drums.
Mladen Vojičić "Tifa" years (1984–86)
[edit]
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. Eventually, the new Bijelo Dugme singer became then relatively unknown Mladen Vojičić "Tifa", a former Top and Teška Industrija member. The band spent summer in Rovinj, where they held small performances in Monvi tourist centre, preparing for the upcoming album recording. At the time, Ivandić started working with the synth-pop band Amila, fronted by his girlfriend-at-the-time Amila Sulejmanović, who would soon start to perform with Bijelo Dugme as a backing vocalist.
At the time, Bregović, with singer Zdravko Čolić, formed Slovenia-based record label Kamarad, which would co-release Bijelo Dugme's new album with Diskoton. 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). The album featured both Ristovski and Pravdić on keyboards, and, after the album recording, Ristovski became an official member of the band once again. Bijelo Dugme featured 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 by press as "New Partisans".[67] 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. 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"). 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. 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.[68]
Bijelo Dugme was sold in more than 420,000 copies. The tour was also very successful. 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 on an indoor concert in Belgrade), but also performed in clubs on several occasions. 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. 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. The two bands should have held their first concert on 28 July in Gorky Park. The soundcheck, during which Yugoslav technicians played Bruce Springsteen and Pink Floyd songs, attracted some 100,000 people to the location. 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. 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 30 July, was attended by about 2,000 uninterested factory workers, and the second one, held on 2 August and also featuring British bands Misty in Roots and Everything but the Girl, by about 10,000 young activists with special passes.
The concerts in Moscow were Vojičić's last performances with the band. Under the pressure of professional obligations, sudden fame and a media scandal caused by revelation of his LSD usage, he decided to leave the band. 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.
Alen Islamović years and disbandment (1986–89)
[edit]
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 under the name Wild Strawberries. Doubting the success of their efforts, Islamović left them and joined Bijelo Dugme.
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 already familiar pop rock sound with folk elements. 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; 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 got silently removed from public life in 1972 after supporting a liberal faction within the Yugoslav Communist League's Serbian branch. Bregović's idea was to have Vukov sing the ballad "Ružica si bila, sada više nisi" ("You Were Once a Little Rose"). 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. 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. Koča Popović was reportedly somewhat receptive to the idea of participating on the album, but still turned the offer down. Eventually, under pressure from Diskoton, Bregović gave up on his original ideas. 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. Instead of Popović's painting, the album cover featured a photograph of Chinese social realist ballet. Vukmanović's appearance on the album was described by The Guardian as "some sort of Bregović's coup d'état". 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 there's a Watermelon-like Full Moon over Bosnia"), and the 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".
A number of critics, however, expressed their dislike for the album. One of them was Belgrade rock journalist Dragan Kremer. In 1987, Kremer appeared as guest on TV Sarajevo's show Mit mjeseca (Myth of the Month), a programme pitting Yugoslav rock critics against the country's rock stars, allowing critics to directly pose questions to musicians sitting across from them in the same studio. In the case of Kremer's appearance, however, Bregović wasn't in the studio due to being on tour—Kremer's taped questions were thus shown to Bregović while his reaction was filmed.[77] Expressing his opinion about the band's new direction, Kremer tore the album cover, which provoked Bregović to publicly insult Kremer, which became one of the larger media scandals of the time. The incident however, did not affect the album sales. The tour was very successful, with the concert at Belgrade Fair featured opera singer Dubravka Zubović as guest.
The double live album Mramor, kamen i željezo (Marble, Stone and Iron), recorded on the tour and produced by Redžić, was released in 1987. The title song was a cover of a hit by the Yugoslav 1960s beat band Roboti. The album offered a retrospective of the band's work, featuring songs from their first singles to their latest album. 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!"), and the album cover features a photograph from the 5th Congress of the Communist Party of Yugoslavia.[79] 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. However, he continued to occasionally perform with the band, on larger concerts, and was, until the end of the band's activity, still considered an official member.
At the end of 1988, the album Ćiribiribela was released. Recorded during the political crisis in Yugoslavia, the album was marked by Bregović's pacifist efforts: the album 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"), and the title track featured lyrics about a love couple which decides to "stay at home and kiss" if the war starts. 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. 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". 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. The video was recorded in the village Koraćica in Central Serbia. The band came to the recording not knowing anything about the video concept. 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. Eventually, the band and the director reached an agreement: everyone, except Islamović, wore Serbian traditional costumes, with only several of the original props used. However, after the video was recorded, the Radio-Television Belgrade editors themselves decided not to emit it, fearing it might remind of the Chetnik movement.
At the beginning of 1989, the band went on a tour which should have lasted until 1 April. The concert in Belgrade, held in Belgrade Fair on 4 February, was attended by about 13,000 people. The concert featured Dubravka Zubović, the First Singing Society of Belgrade, the Fejat Sejdić Trumpet Orchestra and klapa Trogir. The concert in Sarajevo's Zetra, held on 11 February, was also very successful; it was attended by more than 20,000 people. However, on some concerts in Croatia, the audience booed and threw various objects on stage when the band performed their pro-Yugoslav songs.
After the concert in Modriča, held on 15 March, with four concerts left until the end of the tour, Islamović checked into a hospital with kidney pains. This event revealed the existing conflicts inside the band: Bregović claimed that Islamović had no problems during the tour, 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. Bregović went to Paris, leaving Bijelo Dugme's status opened for speculations. In 1990, the compilation album Nakon svih ovih godina was released, featuring recordings made between 1984 and 1989. As Yugoslav Wars broke out in 1991, it became clear that Bijelo Dugme would not continue their activity.
Post-breakup
[edit]
Bregović continued his career as a film music composer, cooperating mostly with Emir Kusturica. 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. Ristovski continued to record solo albums and worked as a studio musician. During the 1990s he worked with glam metal band Osvajači and his former band Smak. Islamović, who recorded his first solo album Haj, nek se čuje, haj nek se zna (Hey, May All Hear, Hey, May All Know) in 1989, started a semi-successful solo career.
On 12 January 1994, Ivandić died after falling from the sixth floor of the Hotel Metropol in Belgrade. After a police investigation, his death was officially declared a suicide. However, during the years, a number of his family members, friends and bandmates—including Bregović, Bebek, Ristovski, Vojičić, Vukašinović and Amila Sulejmanović—expressed doubts about the investigators' conclusions.[89][90][91][92][93] Bregović stated that in the years following his release from prison Ivandić used to sleepwalk, and that he might have fallen from the building's sixth floor while sleepwalking.[93] Vojičić, Vukašinović and several of Ivandić's friends expressed their belief that Ivandić was murdered by loan sharks.[92][93]
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.
2005 reunion
[edit]
Bregović, who during the 1990s became one of the most internationally known modern composers of the Balkans, on numerous occasions stated that he will not reunite Bijelo Dugme. 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. The reunion saw huge media attention in all former Yugoslav republics, accompanied by various forms of yugonostalgia.
The band held only three concerts: in Sarajevo, at Koševo City Stadium, Zagreb, at Maksimir Stadium, and Belgrade, at Belgrade Hippodrome. The concerts featured a string orchestra, a brass band, klapa group Nostalgija and two female singers from Bregović's Weddings and Funerals Orchestra. During the concerts, Bregović, Redžić, Pravdić and Ristovski performed during the whole set, while Vukašinović and Jankelić changed on drums. Islamović opened the concerts in Sarajevo and Zagreb, and Vojičić opened the concert in Belgrade. Bebek sung third on all three concerts. The concerts also featured an unplugged section, during which Bregović and Bebek played guitars and all three singers performed. The concert in Sarajevo attracted about 60,000 people, and the concert in Zagreb was attended by more than 70,000 people.[99] 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, making it one of the highest-attended ticketed concerts of all time. However, the concert in Belgrade was much criticized due to inadequate sound system. The live album Turneja 2005: Sarajevo, Zagreb, Beograd (2005 Tour – Sarajevo, Zagreb, Belgrade) recorded on the tour was released.
Post-2005
[edit]
Laza Ristovski died in Belgrade on 6 October 2007, following years of battle with multiple sclerosis.[100]
In 2014, Raka Marić made an attempt to reunite Bijelo Dugme once again to mark the band's 40th anniversary, but the agreement could not be reached, despite the members being interested in a new reunion. Eventually, Goran 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 Alen Islamović as vocalist. To mark the anniversary, Croatia Records released a box set entitled Box Set Deluxe. The box set, released in a limited number of copies, features remastered vinyl editions of all studio albums, and the reissue of the band's first 7-inch single as bonus.[102]
Influence, legacy and criticism
[edit]
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, the high level of professionalism and the 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 advertisers of Yugoslavia's freedoms. 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
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,[104] singer and former Bulevar and Bajaga i Instruktori member Dejan Cukić,[105] guitarist and former leader of KUD Idijoti Aleksandar "Sale Veruda" Milovanović,[106] singer and former Merlin leader Dino Merlin,[107] and others. The acts that recorded covers of Bijelo Dugme songs include Aska,[108] Srđan Marjanović, Regina,[110] Revolveri,[111] Prljavi Inspektor Blaža i Kljunovi,[112] Viktorija,[113] Sokoli, Massimo Savić,[114] Vasko Serafimov,[115] Zoran Predin and Matija Dedić,[116] Branimir "Džoni" Štulić,[117] Teška Industrija,[118] Texas Flood[119] and others. The band's work has been parodied by Paraf,[120] Gustafi,[121] Rambo Amadeus,[122] S.A.R.S., and others. The song "Ima neka tajna veza" was performed by Joan Baez on her 2014 concerts in Belgrade and Zagreb.[123] In 1991, on Nirvana's concert in Muggia, Italy, Krist Novoselic jokingly introduced his band as Bijelo Dugme to the crowd consisting mostly of Slovenes.[124]
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 and Šta bi dao da si na mom mjestu (2014) by Dušan Vesić.[125]
In 1994, Radio Television of Serbia aired a four-part documentary about the band entitled Nakon svih ovih godina. In 2010, Igor Stoimenov directed a documentary about the band, entitled simply Bijelo Dugme.[126] In 2015, Robert Bubalo, Renato Tonković and Mario Vukadin directed a documentary film about Ivandić entitled Izgubljeno dugme (The Lost Button).[127]
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).[128] The list of 100 greatest Yugoslav album, published by Croatian edition of Rolling Stone in 2015, features three Bijelo Dugme albums, Bitanga i princeza (ranked No. 15), Eto! Baš hoću! (ranked No. 36) and Šta bi dao da si na mom mjestu (ranked No. 42). 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.
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" (polled 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).[133] 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).[134]
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).[135]
In 2016, Serbian weekly news magazine Nedeljnik pronounced Goran Bregović one of 100 People Who Changed Serbia. In 2017, the same magazine pronounced Bijelo Dugme's concert at Hadjučka česma one of 100 Events that Changed Serbia.
In addition to the band's works appearing on various lists of best Yugoslav albums and songs, praised for composition, poetic lyrics of Goran Bregović and Duško Trifunvović, musicianship and production, Bijelo Dugme was often criticized by a part of Yugoslav and post-Yugoslav musicians, critics and audience who believe that the group's blend of rock and Balkan folk music paved the way for the appearance of turbo-folk music in the late 1980s and 1990s.[138][139][140][141] Musicians who criticized Bijelo Dugme's work include Pop Mašina frontman Robert Nemeček,[138] Disciplina Kičme frontman Dušan Kojić "Koja",[138] Partibrejkers frontman Zoran Kostić "Cane",[142] and others. In addition, Bregović was often accused of plagiarism, as a number of critics found similarity between some of his compositions and songs by foreign rock acts.[138][139][141]
Bijelo Dugme's works remain popular in all former Yugoslav republics. They are often viewed as one of the symbols of Yugoslav culture, their songs often featured in various forms of yugo-nostalgia.[141]
Members
[edit]
Timeline
Discography
[edit]
Main article: Bijelo Dugme discography
References
[edit]
Sources
[edit]
|
||||||
1053
|
dbpedia
|
2
| 32
|
https://popscotch.org/sava-botic-ex-yu-modular-electronic-vol-1/
|
en
|
Yu Modular Electronic Vol. 1 – Popscotch
|
[
"https://popscotch.org/wp-content/uploads/2021/08/IMG-17135a4dfc4c559415f9e2d73af949db-V2-1040x510.jpg",
"http://popscotch.org/wp-content/uploads/2021/08/rolanddd.png",
"https://popscotch.org/wp-content/uploads/2018/10/atila.jpg",
"https://popscotch.org/wp-content/uploads/2018/05/redddd.jpg",
"https://popscotch.org/wp-content/uploads/2016/05/radioactive-salad-image-300x300.jpg",
"https://popscotch.org/wp-content/uploads/2019/02/twnm-300x195.jpg",
"https://popscotch.org/wp-content/uploads/2019/02/lostinforest.jpg",
"https://popscotch.org/wp-content/uploads/2016/11/14914927_10154690397982302_248555332_n.jpg"
] |
[
"https://bandcamp.com/EmbeddedPlayer/album=2202981647/size=large/tracklist=false/artwork=small/bgcol=ffffff/linkcol=0687f5",
"https://www.youtube.com/embed/mJN9WAqqwV4?feature=oembed",
"https://www.youtube.com/embed/Zi2WBKLy_YQ?feature=oembed"
] |
[] |
[
""
] | null |
[] | null |
en
|
https://popscotch.org/sava-botic-ex-yu-modular-electronic-vol-1/
|
Our seventh questionnaire for the upcoming compilation is with Sava Botić, electronic musician from Novi Sad, who has a solo project under his name, plays in duo Elight with drummer Nemanja Tasić, plays keyboards in the bands Deep Steady and Wabi Trio and is a frequent player at local events for improvised music.
When did your love for electronic music start? What is the first synth you’ve bought / played?
One of my earliest memories is listening to a record by Laza Ristovski called Merge. You can clearly hear the influence of that record in my first recordings. It was 1994, I was 10 years old, had good grades and my parents gave me money to buy a keyboard, so I bought a little arranger keyboard and a cheap cassette player/recorder. I bought my first proper subtractive synth in 2005. It was a Roland JP8000.
How did you get into modular synthesis? Can you tell us a bit more about your current set-up?
Buying my first synthesizer, playing and learning more and more about synthesis, made me realize the limitations of fixed architecture synths and so, in 2015 I bought my first module.
My current set-up consists of two Dopefer A-100P6 cases, not yet full. Its portable, robust and most importantly – no power adapters.
All of your Bandcamp releases have so far been constructed as some (up to 2 minutes long) sonic miniatures where you usually dabble with ambient and electronic sketches and loops. Why do you have this preference towards shorter pieces, and what other instruments do you play on them?
I lost interest in song structures and arrangements. These last few years, there is only a need to convey a certain mood, idea or a proof of concept and it seems that one or two minute recordings are more than enough for that.
Other then my modular system, I use different synths, rhodes electric piano, guitar, kalimba and other found objects with contact microphones in an electroacoustic setting.
HTML Embed: An unidentified error has occurred.This feature requires inline frames. You have iframes disabled or your browser does not support them.Open link in a new tab.
Latest Bandcamp release : Ebb
You have had quite of an experience playing in improvised and jazz formations…in which ways would you say this has affected your solo musical practice so far? Have you had any singular synth performances, or playing in a more electronic context (event, festival)
It made me aware of the ever changing nature of things. It helped me create more organic and nature-like soundscapes using electronic instruments.
I had a performance called Vocaloids, where the only sound sources I used were the recordings of audience members that were brave enough to come to the stage, stand in front of the microphone and produce a sound, whether it was a speech, singing or jingling of keys. This performance is on my youtube channel, if you feel like listening,
At other times, I would perform at the outdoor event, limiting myself to only using field recordings, creating ambiences and making people think that there are some exotic birds in the trees chirping.
Using my electronic setup, I mostly perform with Elight. We are a duo (with Nemanja Tasić on drums), consisting of modulars and acoustic drums that are interconnected. We play experimental breakbeat and DnB. Check out our track called ‘NS’ on youtube.
Can you tell us something about your track “ive4”, from the upcoming Popscotch compilation?
At that time, my main point of fascination was an envelope follower, a module in a modular system that generates CV signals using an amplitude of the incoming audio. I took a drum multitrack recording from one of the Elight sessions with my drummer Nemanja Tasić and sent three channels of drums to three different envelope followers and used them to trigger and modify three different sounds inside the modular. I then used a mixer and effects to play and process the sounds in the style of oldschool jamaican dub and recorded it in one take.
How did the entire situation with the pandemic affect your musical / professional life?
I wasn’t able to perform live for nine months. Luckily, I had some online work, composing music and doing sound post-production for a few animated videos. Ironically, they were about covid19 prevention measures in the workplace.
|
|||||||
1053
|
dbpedia
|
3
| 87
|
https://www.scribd.com/document/188207776/Symphonic-Rock
|
en
|
Progressive Rock
|
https://imgv2-2-f.scribdassets.com/img/document/188207776/original/b26f434dbe/1723301334?v=1
|
https://imgv2-2-f.scribdassets.com/img/document/188207776/original/b26f434dbe/1723301334?v=1
|
[
"https://s-f.scribdassets.com/webpack/assets/images/shared/gr_table_reading.9f6101a1.png"
] |
[] |
[] |
[
""
] | null |
[
"Bonnie Thompson"
] | null |
Symphonic Rock - Free download as PDF File (.pdf), Text File (.txt) or read online for free. 1) Symphonic rock is a subgenre of progressive rock that combines elements of classical music such as orchestral accompaniment, classical composition structures, and rock instrumentation.
2) Key artists in the development of symphonic rock in the late 1960s and 1970s included The Moody Blues, The Nice, King Crimson, Renaissance, Emerson Lake & Palmer, Genesis, Gentle Giant, Pink Floyd, Yes, Focus, Rick Wakeman, and Camel.
3) These bands pioneered the use of classical devices in rock music, including rock arrangements of classical themes, the accompaniment of symphony orchestras, and the prominent use of keyboards like the mellotron to emulate orchestral sounds
|
en
|
https://s-f.scribdassets.com/scribd.ico?f0445a4f2?v=5
|
Scribd
|
https://www.scribd.com/document/188207776/Symphonic-Rock
| |||
1053
|
dbpedia
|
2
| 24
|
https://www.rottentomatoes.com/celebrity/lazar-ristovski
|
en
|
Lazar Ristovski
|
[
"https://images.fandango.com/cms/assets/97c33f00-313f-11ee-9aaf-6762c75465cf--newsletter.png",
"https://images.fandango.com/cms/assets/97c33f00-313f-11ee-9aaf-6762c75465cf--newsletter.png",
"https://www.rottentomatoes.com/assets/pizza-pie/images/rtlogo.9b892cff3fd.png",
"https://resizing.flixster.com/IwQQqtfgXAdM2SsB9JAS5Y_Saj4=/218x280/v2/https://resizing.flixster.com/-XZAfHZM39UwaGJIFWKAE8fS0ak=/v3/t/assets/38378_v9_ba.jpg",
"https://images.fandango.com/cms/assets/266533e0-7afb-11ed-83f2-4f600722b564--privacyoptions.svg",
"https://images.fandango.com/cms/assets/266533e0-7afb-11ed-83f2-4f600722b564--privacyoptions.svg"
] |
[] |
[] |
[
""
] | null |
[] | null |
Explore the filmography of Lazar Ristovski on Rotten Tomatoes! Discover ratings, reviews, and more. Click for details!
|
en
|
https://www.rottentomatoes.com/assets/pizza-pie/images/favicon.ico
|
Rotten Tomatoes
|
https://www.rottentomatoes.com/celebrity/lazar-ristovski
|
Lazar Ristovski was an actor who had a successful Hollywood career. Ristovski began his acting career appearing in various films, such as "Jazol" (1986), "Tako Se Kalio Celik" (1988) and "Granica" (1991). He also appeared in "Original Falsifikata" (1991) and "Tito and Me" (1993). He continued to work steadily in film throughout the nineties and the early 2000s, appearing in "Belo Odelo" (1999), the Miki Manojlovic dramatic adaptation "Cabaret Balkan" (1999) and "The Burlesque Tragedy" (2000). He also appeared in "Boomerang" (2002). In his more recent career, he tackled roles in "Sutra Ujutru" (2006) with Uliks Fehmiu, "Well Tempered Corpses" (2006) and the Francesco Falchetto dramatic adaptation "Sonetaula" (2008). He also appeared in "Sveti Georgije Ubiva Azdahu" (2009). Most recently, Ristovski acted in "Along the Roadside" (2015) with Iman Crosson.
|
||||
1053
|
dbpedia
|
1
| 26
|
http://rockonvinyl.blogspot.com/2020/05/
|
en
|
Rock On Vinyl
|
http://rockonvinyl.blogspot.com/favicon.ico
|
http://rockonvinyl.blogspot.com/favicon.ico
|
[
"http://4.bp.blogspot.com/_hddLTkUVdoI/Sikf_yIZ_oI/AAAAAAAAADA/6gw-mK0H76U/S600/Record+Banner2.jpg",
"http://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMzwSG2shT7PRglnhsFeY-aZ7dYWRUR7YyqOKWZnV0wcXaU-1rWMAfsJUs9urX0-INgA8yqsJUw8I9HTwxrJ2TcVIteb5kg0C0GLhrZWLuEPRZA9ejxZZBGR6RGS8YXA/s220/TurnTable+Animated1.gif",
"https://counter3.stat.ovh/private/freecounterstat.php?c=gzra5bxgw2gd3bln3d27uqnk5hx3kxz1",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj72sIzIksod3yCnBIIvmoG7ojU-ZYShN7kohbMXDhbwKVpz1VLmadCGgYr7muWHrBxKq-hPeWI98M_kzySV30VoKniP26jD91nHDmcNophcZ_gOsFJM0bRC3qerud9hocC3pOXgg85bas/s1600/charlie-brown-records.jpg",
"http://4.bp.blogspot.com/_hddLTkUVdoI/TKMpO7H3CsI/AAAAAAAABgM/-TtCblnk494/S150/Vinyl+Rules.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwoGk0Puw6GOT30iWDquF9IVDVVrQ9xatKsRYiEA7hrE5A3IxV_DblehVJVt1I7V3zPuhlP6CNJZrXTo5SBHjtiNp6L3fejalXnedm9bRo3tE53qdYjNvdRKABuORJh40AwmxqRdX_Zh94/s150/RAM2.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUoJYJUMW47b16PFlBvyy8ZYecTB6uuZMqcm8MBQ8IIpCrv1A0gEdUlediuF9Tvlc2BqL31fpkoewgyVbVn_qhv_wXUNZGkNEY1eJdqXttqy7RMWSWqSF6m4ElGMH-fhW9wFyCeaEqwOZd/s150/Skyhooks+-+Brats+Are+Back2.JPG",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlNq9R9x9OuT2YaPddlYkSZg3gO3Dv1A7SOAzA3_8Gu9wcy4mkq9y-bezl9HSPuk_uTYe2LdCROp5vDkAtDXR6lYEWRCFyx9K4gDcUezLhhmkCYlb-8va9sPddIc4wfIMh-BltXCb_CVMs/s150/Skyhooks+-+Brats+Are+Back_B%2526W2.JPG",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgc0jVLAshAmLtajGU-woCt-2noo0b8FCMT00htocl0huWHkdbnbhu-OKOyFObO2OZTuwChOXijQuBakwnTpEU8GPs6UasoH862phFn6jUnmmZCxrfeRognkwJf5UyysybDLRNcol6kzVnR/s150/Disturbing+The+Peace+Tour.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-kJiG50asmf65RqKkJYvQSoww5rTsXWm8BOKpwO1M7WpcK_PkDpZkHQtqec8PDJ9NlhFrMf2xGQIBVBU_JVwPcyS1HNJUSlyZgUY8dl2IexlXVMrTOh6b10dcTXpw1mG3cSjO6BzfA4nY/s150/OL55_2.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNakh_gCndilD_0T7I2Oo9VeTsryUphUMJawOddnRLHFBD70KrX5s36Vu4n7-dcftwcTT3Gznqwb-a4gTzmMu2INOGr-JlD4Mh2vgSl83Cq7TTsZiSIPvljsKqZddFu1d9a8wkHH8Hte4/s1600/AUS+rock+poster.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpz4hDc_0g0z1pp0Po-JwOYCokcNF2YSOM3qK6IZTRKvi4ppHRxv0K9XqCTVydh0GLB7K1_jl1aiT-_uR6yjIz0IZp9LtRJdvrefB7HjyiHXXRS-M-l2AQ6hnpE5lAEgqOTagzHs5MDjrM/s150/Portable+Turntable.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzczkXgQd6T6qiwsykRZtdznM5na6uA4IIOw2OX02wd8Y0AI4NsTpBMsDyEW-QpgbJwoyUdB4oU8mZUESNDLohjzYa8MDrjylUfuoxrnmjEBguQ-FPk_0QcFHMEHtCE7il891Q_VmKLQeCWy4hbot-v2-EzXc1aLx9jah6z8XIUbjMu0bBuQ8XjwVoUaQ/w72-h72-p-k-no-nu/Cover.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhD9Qz-dC1dNj4YagfnmwoYi_geZu2BUcxR4GPDdjS0zqRMBw9dJiB6FM9Apxh8n940x8GLo70RwX2g4x8rmXLaYzydgMpPVTm2wacsgJYiQTDCW4HICmZG4iagmHHWJakHH5YvhE0gDbYW/w72-h72-p-k-no-nu/stylus-cover.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGqhu-h4v4i3HSHUurWDNQ-TajefT0N99Jdeo9Xhv1GVWfVEXFQCFvxR2F3V2z0AJxyDRxxbXCmXvq21xfUBVMvcTEoAWAvdx2wuA3CJChl_TId7qSygVIbH9KPZOIgVCu0VboKUWTHgJA3Y5YxRascSJvuutIjJQjqsSOrwkWnwVgMXJ04809N2hTLYY/w72-h72-p-k-no-nu/LP_Front.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj44GvOCnHJ2pAMKMBEhzbZGabFFOm2H6oSatFWPBBkdgmv4fAJPCan4G3mR7sgm76CN9XGg1bNR6FhO0spGG9sx5aAU-ZzLjyuy6-NC1aBEhrh9Vs98B1e_Xa4GwoKFKl4uXGoEYfaXfU/w72-h72-p-k-no-nu/Cover.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioMNhlFBkWLNUnbcwaJo3xJqaMdD6NTE1VuonlzrAJjGpLUfKEvFJL5RprZkRUtFYBC9lmHJNVN3R_Z9cJZzaMiClduv36IEtpoY59kfRPAgaj7K7Wm-YiJjIgOOnMgNBMiPujmFxy8I_sLM1gGka24_WfWT1duMB4D_6y2o5a0fLEVUMjPsFMuhP-0Vc/w72-h72-p-k-no-nu/cover%20(1).jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKimwjGr8DDi7HW6bf7M1Qtdy40tbvUMLn-cN1X85L-WiMGQQNhwuGaGGdMBxw7wpc9DrYb6iij_66xApopgT00yVE18YU8J_-nnX4qWNej0mReznJdesvk-gl_PDhR2e3M5oIjR0AjDM/s200/COVER.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMZvQw2hS3lR5OsMtnYarXGW779Br03OGKFPsE05-X1h-K6PNf-kiJzL9s1tr3vlL7JRneerNI2vjvJZYDGMGzs636GI89HTwiwTZn_uaylWRth66YUU8OS_X4sQL9SzjJivfysL69apg/s400/William+Shatner+Today+%2526+Yesterday.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhm-W9DqnMNcb1J9vaVJBjFdHJHwq45FsVr4lx9o7ZDoRNBTjcwerKPEGyAXqSK1a8HXBznGZnDtS6DmJ-Kf3GjXCztlhywHsbTUC0bn3IDe9f0iIN43l9Wr4950pC_Xg_5cbL8Q2XGi1Y/s400/william-shatner-bohemian-rhapsody.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGB-aWQXt3CfssL5dS__mT3J7_eO2cBPJGcoUp_UDjn19ZfyK2FMJrfHeH7ZdMcUmeOAI9TJgWP8JX6gM5L1asHPfcPyj-TKqhmpMWIKnSLyI8_WGoqQSrFzhv_OA96IbnE_iVIsmW4u0/s320/william-shatner-singing.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSyX0czbXIaZm_6uFbLJktUPFHRThEoTU8wWh9PO-LF5SmTz0Bm9WFnRKgRdRqe5UIVfWnsSAWIUv4CJSPpQCwgN1bjdAhfj6W3g-Cl72bOUljbE_4mgPGYAouOe0l_zvdI8LKPta0B2A/s200/cd1.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVtEKlI9M22Yv_LPeeUQ5B1PWTJB5JVi8OCgOY1WP6O-GWQO5hp2IdMZnYfohtuODcOygIXpSIb2DtnBHohj132Y0pSlsj2Ds4lgNSDp3lconFGqgZqWGVdin0yRwT2MVAld_2qzf-t4o/s200/cd2.jpg",
"https://resources.blogblog.com/img/icon18_edit_allbkg.gif",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5gHRcrRBXUwhGVaZ3YM7X3CFnR-CSgK9NOqzlAf5PaLMqurR_K-JuiInsK4Kpq2ltfWZu5oBWto0CwUxX9iT6djKly3oqnJn1QHooAkKfOSEZ2WW2DJI_mURL-JTbwbkeiUs04NbqIb0/s200/Cover.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJjEsoMrfE2AGaj3a2swIf57ydLk-zAdMAe8KbJk2jmhhdzD6ebJgkvW3XEs98APIwZyDT9Ii0hEIUlhk05d_A4e9JRfWCdKd3N79GvkCZ3oVL1x9AuySiwFoxot0uevEPAb2ipDs2CVM/s400/Don+performs+American+Pie.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8XTvZa7Ncw6hv0hUkFt7UV5uP6wGDtivoNwWYtqSW763GmiNVoyUJnfCasZlrJ74jlKHESCgqh1EZCO6CYv645FUMUxaizO3_agp0wZZoZhDAK4j8Xw8VoUppg3wGNnhuO0rwjCfwEVI/s320/Don+McLean.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGpHqGIJHgRHpxKefDc_rZpK8cxzhfJ9noezYzRiXRlmavb4fxkkJyFubFtPgnCaJZAXgI0WlHDXyESjmV46mV25GMX_8zXXCA4S2ZYb1Q2CEg9YEeMs11dyC3NYhlzuNOyl5054SN-3U/s400/Don+and+his+guitars.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1lFPiwVh0pzNcZrvHrBxtccVWs3R_tWTuZcDrZfzxg3iDUtoKmnWHA90NYI0brsc7duNRKr5cqrAtuiDPCZLLIjBK3HRjHzIExNXDoWh8xg6ObBBS5Xvkabbukwyfpz4satB_KnZbrl4/s400/Don+McLean+performs+onstage%252C+Chicago%252C+Illinois%252C+November+10%252C+1978.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5PzWI0-qpwG49bFijZXHn9lzm_S5p9pQyIYSW83WvkQGzmH2QC0E9Yc71lfUelnZIV4xsZ_r3x5Go3m2OhLSb4a2g2HZ8g4ro9Fu0QXV02aq7rtPNbY9EZbtimG6YUnU30xORYlmMPNM/s640/Don+McLean+Collage+of+Albums.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4ctQQtzSxIl8w7twC1ZjN8t4t2aiFDeo4Tl77y98cKJcj4M3DF675iWjZVxljq-NMHe0yCmj79yBM_z_WDwcSlffrIfidkJlRronFp_OUonZFlLgFZSysg-Lpo0EoDBv_V7r5Mexz0i4/s1600/Don+Today.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4UXhxK1iX5qgBooyrdA9tQfDEGI0kXVJdgUqwE1CT_1TpJall6JmfnNhYELpDJ8w4J16fDtlCzzZL140Bmx-eDdkkn-_W87R5qqESWGRQv46kZGvdK0tW9rYoj7Mj0yD4WLTe_XdBZAs/s200/Vinyl.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRl0KW9ll6fzEi10BPVh21Aj80Rrp8G4MD8mEDEGnLYQdqEmz6QD2u8_EfchnDWSjqxgsmCBdfw9clR7Zmp5JYoNwZkFVpcGTpOoz_a_qqOZK2dmMI8DxuV3kjvVHtt9dLuTN5C26Ys8Q/s200/Label_Side1.jpg",
"https://resources.blogblog.com/img/icon18_edit_allbkg.gif",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBse6z8_vtFN0PLoYVJ9tM-PHqclm0rle1ufgqBRBdvMUOMYUbjW7MnksQ26u4hWYxs-lMh2kpGGhizrBV-bIvS8VEF4wurUHnQtiyFMVUNWK4LjUOlJ2KnZnAc-1B5eHraKUlZQjVpk6J/s320/Promo_Beyond_the_Mist.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjB_YcAchKMW1TqWSBV80YLiPZADPWDw1AF3uXpYJ_7CPGr22kpNEO10ZHgfidVVro5ts1JfYZELuhj1RouoRa7HOjFExEiNc6YrCT7VEH1VJberbe2DYPoIMZjKxrQFfJMEhKsdrF3gZO_/s320/FP_005_John_Hammond_28_Mar_1985.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg82QaOc-9PBUUA9qN1hTc2xVytMEZyYwV0i93aU5OqA69NXYOrRWzxHZCrKEedmWjBukqmoZXpmnHZRk0gDVldo1ZnUj0QO7KQQhFSbpBMYvmQadZF-2XIZH451GQsYsP4unWVW9Zl5rUQ/s320/Trower+banner1.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiCFU-VB2ID41OPCeu9YoSyyy0PHmj__FqbgninodIwXzRLWSH2g3sX3F86R9v_jGGjBzgyODmYiPs7B3sqxldULy9XeP-3TArf-PZag24r9EpwgFeSCQIOPga3Ixzsqx9cMD3THnT54cG/s320/dave+bronze.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZ4jfcBWlMxthqD7dAt55F5OEMiO3zRhTjZTET0SDZUfjjoAXhvvFYxl769qg6USQXJcp4kbQjHm881I2si4ZS9ofbVbDfL5U8oLkuDyq1_gOgOI6JhpDtzJuYTMdQ98yuLWD1tguH8xq-/s320/Trower+banner2.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjX7lvL_e1rZKgirFZkfhQmQdZG-CKco63ik_3TGRaoETxIi-CUumQXD9wm0qKDxMJbR5mSlkP24yDEWoMFIPpguABVOudCqyn5hPR_EHu_RpagPmLYaePasDWu2KNWSP9CWZKciYG8SPis/s320/Beyond+The+Mist+Origin.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjg3pV8wcPgqwhwAn3wRz0jDVxFW1kmoDvroQWaJf-nRFRtFOBLylXVMfMzc5x4HmA4WrMRcIOUM1Pm4D_qEQeUdmiPTsHYwmJuCUeT3wSjhj1kiS4gLGXnm5x7Pzk7davYUX49yjqg0tA/s200/Label_Side1.jpg",
"https://resources.blogblog.com/img/icon18_edit_allbkg.gif",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhY9yrMAKr4Hp24PcGwty01O9ukhzjLmG8i-LMtdwaoGA14CpzeSnwzRdKeXy5lo4_kDB1oo-X8pT9WxJ0yYXwafrmity9Z9tnd8z2paA48u22ShirtAP4H8U7M_6gHsBhzxqBKNWHfFHI/s200/Vol+1+Cover.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpW0JukPaPp_MsQjYdeuAX7SRMJ0hBvszw5gE0RzsYv20yRC1yGov_xq7opNqfhwK72UAZ51XtDEUL9Nbxn49R3_qFQIxq6b5Xw6ZiRQ-lAiLRvEnZshiuL7N40QbsghLGlWABo2TPr4o/s200/Vol+2+Cover.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1zN66F13BESlsgZ5xKe80PCEXC10llFG9YxiFL51ke63MX5PvJ4fYK7_aECagV9QgQw_eYtCY5rcdcM4-FLEiT6Dohx-nrVf3WvmOnYyyFf1UBmgmkGndjYCwsxcQdmZhXWzsGtuohi0/s400/Marcia%2527s+Discography.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiR5Z77jty_Dvv2rS_Uw5KWBA1QzxgnB31f0m_4jzMpcmYlL37j_-FJOFVQoxKbzz3yiuRz2jtEi-ZdM4Je_X7JW3PPnmZt96yopb877anFq6RG9y3esdnD7YDxIW3pQ1w9seCsgPTjpNE/s400/Marcia+Hines.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijt3fOPmrfxZQXP0HDu0bifdtQqHbI6bbjT_lvs8mQVxdqXEQXNdf9U8IqVJ7TEBaoTjO-afzBBLhyvhQyOvV5GHOdMv_pc_hMCJ_V-9NlbC5fLXjbDGTBzZAVHnezS1i5E0x7XSYBWVU/s200/Label_Side1.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgW8zhSo_AAjbVgBDXpe1QyxwJ_8Y8Kcw6p0azeSOvDLty-_QuIoH4qO8e67xC0y_yiHVJ_j7s5lK6J8nIv4gbueVWgi-aOOUUVbTSxI_bCPtvcu2u1wQfum5fq9KK0fx5lE3kY3zJ5L9E/s200/Label_Side1.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgupoGVw7WOw4Q4PECcsV9qacWxAvibwR0KNFEYQpx1s0Ls58pyjHa6wSS8NoUyWfPVdKIFJsuOy8vmCl97dGq2qoal4V6aiwNDetMGe-dzrpsSHEVRVok-kwf59N47OoRolo3pWbBv3KA/s200/CD+Cover.jpg",
"https://resources.blogblog.com/img/icon18_edit_allbkg.gif",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhERiwwC3pZn5NvOYb9j4mme152Pi8kePk6akTrUBgj7Lo17m8wr23ieo2cQCbP4VYT0oiyHxLvWordlgX4ywTvnfs2aFXgspG5ZNtU9jDLPu-7pWbHdu3maKqC2LZhYTz5q-o7VFZ2HZM/s200/Front.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXghyphenhyphengypFJdS7cnYqfC-_zO00zAoBmMZRrDRcpCjAJSj17DbvXy5QrUUEQO9pwxElqEUs0JWZpqXjgJFSHNnxml8ixj8OW7_4muZystDFKdrZJKmov3xxMGAnndtXTwrKvYGBojGCVNIA/s200/Cover.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuogU_jGZSi4Xu5ZLcHLfTGhp__Z4rW5-xSRBlAWOT3kOuWa0BsBi1Gbzh8gHYAQ0At3Yi-vCmbZGgM3fW0xgMmjAn2sUIvtSfM6eWviMNnsyJZyRhAw0yJ_aZ1aGfhsYq9YnSsxIqk1Y/s400/thijs-van-leer_1.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiG6pxczvnqV8WoBOQKaXK4cYtaLT7lNd7QsZvJbsIWTa3-Mro_p4MtoXpN0GnbMTHC2kNUS0qcssyGxoFYaQxCoFVCuaIBR-_3E84hMb6ZIyBqXR4AtxKL_CNTCt0z6KP-pogV7l4mlaY/s400/single+%2528taken+from+both+LPs%2529.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicTw8mGDO_klepRbH91ZE5pC6cvyYnBccmBxc_T8IIR3BlEmV1EDXekrCfb4bt8IjuY4cg-vsUJrCvBfN2nhDVngPqHlXYbWYlZkyEMzFWplhwap2fGBnM3vS0izTUEINSTgpbIa0R4Jw/s400/thijs-van-leer_2.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhW2uJZF-c3MzK4cKVmguRAqt0StKihW3dd7P4Exk-yVCqjGAy8LJMNuDGUMJQZ2tjTkwW-nPP_3CJ5YtU2u8pkpOzThEbuj53EcjdDkvnPHH6r8QEM8tAOcseu73Eax_u8Dha2yeWyjHE/s320/rogier-van-otterloo.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjae_quQ_cgdcySn6mvrqtuEjdENAlDHfdK3LkgRD6SLvk2skYyRNdZlZHWcBaLT2pdE4DmnQC0N63Mpn0CqXZgPURoCaw7C73nKCsIoRhXL3tXd0m88pdzagjuZERY8hEnXL47Z-XOKzI/s1600/Thijs+Van+Leer+Today.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjacIkMJa3Xqp_2sPPOTEy-PhN6Al_yBCrsgYIzrxN3eibrzytln8gFWKJ0L7WKrgwc0QjsE6D6xcIp4_dq_hRbu4esbj3ONJGNXt2gX39twqQldTdS5dg8_ycuCel7T5DtWLz0r0ENG-w/s200/Front_alt.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjw7Snl1jinNxA7m9Y1ECkzIKoxbYtnGfNq0LLuYmh_lUlZZ9vsqQ0SLvO1yaaG4vsE-7lmVec8nuaF4svbtTDTUjn7IfoeS0QYbAmu6kNg0UqdKtP5RUbX_rdrtQXBY6Oe5RnOQbszYVI/s200/Label_Side1.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkBPOOWnpeHdhzwiZSOVC4ag2fmVY-PJ-CCzyDn5JtgyOMqGrSIcTa4JbxSIwmG7CRclzHh9KFGx1wW93njwGJH4UuUiK2axeVZRMf2gTXhk0n5x1EC6xj5ruReHWroMI6qUJPeJ4uBvo/s200/Label_Side1.jpg",
"https://resources.blogblog.com/img/icon18_edit_allbkg.gif",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjd6rsWcBO-L4F1BopYVBmJ1VZ6ek1XWkfRUxqxRAW1BTb9Mml95Clm9zsyommtNSGnVZaYdomBwdRmbf-a8EMyyooDqyvUY-X1so-mlnpd9wYwVEpL0G-8By74EZBQuzEet8aCy2m_zHNq/s320/Cover.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8qLqtuDgvqQFoQS2_TwdMK-nI2sgsxfl3NrMjjYkDI3ZJ7nWEerRTq8guZs3Xz5CqAmZ7J4dV48ptqFX8ctvn3JJ3FlGQARnZVFKWElWrw_GKz7e9ev_ufyJahmVNXK1MWtSUnHyFWPHz/s320/back.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgu-L-X0Tptwa6XFcR0cpDpTm5vTcmegY1XlSP8M8nBfa-mNWT5J_ew_Ec3tx-K6YvmzJLZes_1Tigi5m38Dq3ylS0ABi444G3k3hfUP3pzpECJD-N3JnDAsZwhNqz6OW_A7MZGk31QSN4n/s320/smak.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMtkE4jW9mhG_0asrbNASsv7rg3EfKIadeFXK5-NzMVE-3oY8qBw9gWPZ5ex4RB3FeYQuPCqEyCWpH3BIlp69WIZZBAZuT4Bv6awIhg6cQ9scJQg4QgFr6h4CRahzCK_7aYdvw-S2OcQO2/s320/Crna+Dama.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtvg1O4SFLknErHtv9s16gg3BTwCEjr2NUMMo6uOSDp5ma-AV2mBwNuLL7BHTZ2U1f8P9z3vc2PyM7Lj53T0NjPjxuamzZ_EjqI5y3nV5kh0Y3EvC4ec7qAqcJYSSC196SuDZZ8ikYmY45/s320/tocak.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzCK6nnsYgBUxTXL2JGB1hKIdTEF1idNgc8l3pS17EKbKVypRPm2oy6HmMQRgau887Nb5UeEZA4w1QM4nAMsMj62K6yF2s121i2CjMGkTGdmjzzbevpKBH2R-3xN8ftoALzn8FWXXFNWg/s200/Label_Side1.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYEoyYl8acB6UCF3PddzbuDug6bYUoIM0J73evflKy9QkEZIOifno0yyjrlrNN2nGxBHIaviplxp3Chcl0ugeEC2n9RtNIfPO4T7p3s-IHQRntPNPwiRK0aMW1Rhv_eMKacW7uS_fV9o4/s200/Label_Side2.jpg",
"https://resources.blogblog.com/img/icon18_edit_allbkg.gif",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbk68rMSQjLVvs8dRFLFLWBGYwiZwadH4fdZuCFS9q6TACuHSfUVtULC5loOIhZqlixxI3gjIBegqOhyO87fLgHKi5D9drR6g3weC413eulqZkAmRf5eJLarfXH_yC9Pee4tnbYkz_6d8/s200/Cover.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtvAHxsfo3vs143uMln500uZsE6gMU1cuG0ix9lVJngqBlGrLuZYmT4KJcMEu5YURARAHFALf6F8ErYAO5ZsMBbM3usPVUOnG_YX_gJA2hLvFOL4MHbcG-ThdyBTEfZl_KtFDhHANKjrc/s400/The+New+Bluesbreakers.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCFKVtib3MiLVGcEFbynL-JiRGgSLC0TtkkiRsKS80eqnlq-1XKf9DiBJXF9QemfkVTTThpTJca7H0j-4ZTDI-jbyO1J4YwGee8yNChBptRIYfKcDT1PCXU8r8zzuZ77EbM5IE9XDidgQ/s400/John+Mayall2+1987.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhx7qIjJDNxUJ_LxOVV-3RuI00LRCexL5odTcv-S6e1r41NTxaLUe14nRND8-OpSwHGhUPeEAhobhkBohaCwVvDzCPsmklqO7hzTSj2y_CV286IDLPMVhT69qRvsD1RigIwCyoMDrqYf8Q/s400/John+Mayall+%2526+Walter+Trout.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7tbs2eKjoJqpu81tXWgtCsp3Jm-NANmuYIRy8AwTcClCwGsntve0BdTpb56pHZiKASMxrefqPQsZMfw3DAfeaWBQEF44loMZHurjKVdnFXQ2krV6rUvhlZVespX64WeRl0Hq0CxFU4d0/s400/John+Mayall+1987.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigXYmQSJvMWY-cHcfnGDSjE8jtV7HVqFGZ8NGvPOQ9RIQ-D4WwSGvhGOrFbgZsae1-Si_l44vnetx7GBOHTiaBs4wZor-nhLbqD8Oz10VuSryqjGhBczua4jYJaEmYv5lRO6dx643GtFg/s200/Front.jpg",
"https://resources.blogblog.com/img/icon18_edit_allbkg.gif",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrEsi732bLGTk3rPYs5SwCOntncW1AZGKXjUg-35LqX4zBcxjJnKcYoo-yYkhf7f5UVJKRoOf6l1D5oKzzh5d1__t5JBgVBV-YAX_9GZkrCifEgjxEId8UZrmCPO_ORHYhxLJ8HaoDxrsD/s1600/Vinyl_Rocks_On_Collage2.jpg"
] |
[] |
[] |
[
""
] | null |
[
"View my complete profile"
] | null |
Counter Account - AussieRock
Password as usual
|
http://rockonvinyl.blogspot.com/favicon.ico
|
http://rockonvinyl.blogspot.com/2020/05/
|
Single with tracks from Introspection 1 & 2
|
||||
1053
|
dbpedia
|
3
| 48
|
https://rememberingyugoslavia.com/podcast-celluloid-retro/
|
en
|
Celluloid Retro (Podcast Ep. 76) ⋆ Remembering Yugoslavia
|
[
"https://rememberingyugoslavia.com/wp-content/uploads/2017/11/FFFFFF-0.0.png",
"https://rememberingyugoslavia.com/wp-content/uploads/2021/04/RY-Website-FeaturedImage-v2-945x494.jpg",
"https://rememberingyugoslavia.com/wp-content/plugins/podcast-subscribe-buttons/assets/img/icons/Apple-Podcasts.svg",
"https://rememberingyugoslavia.com/wp-content/plugins/podcast-subscribe-buttons/assets/img/icons/Spotify.svg",
"https://rememberingyugoslavia.com/wp-content/plugins/podcast-subscribe-buttons/assets/img/icons/Stitcher.svg",
"https://rememberingyugoslavia.com/wp-content/plugins/podcast-subscribe-buttons/assets/img/icons/Google-Podcasts.png",
"https://rememberingyugoslavia.com/wp-content/plugins/podcast-subscribe-buttons/assets/img/icons/Podcast-Addict.svg",
"https://rememberingyugoslavia.com/wp-content/plugins/podcast-subscribe-buttons/assets/img/icons/PocketCasts.svg",
"https://rememberingyugoslavia.com/wp-content/plugins/podcast-subscribe-buttons/assets/img/icons/Overcast.svg",
"https://rememberingyugoslavia.com/wp-content/plugins/podcast-subscribe-buttons/assets/img/icons/Castro.svg",
"https://rememberingyugoslavia.com/wp-content/plugins/podcast-subscribe-buttons/assets/img/icons/CastBox.svg",
"https://rememberingyugoslavia.com/wp-content/plugins/podcast-subscribe-buttons/assets/img/icons/Podchaser.svg",
"https://rememberingyugoslavia.com/wp-content/plugins/podcast-subscribe-buttons/assets/img/icons/Deezer.svg",
"https://rememberingyugoslavia.com/wp-content/plugins/podcast-subscribe-buttons/assets/img/icons/Listen-Notes.svg",
"https://rememberingyugoslavia.com/wp-content/plugins/podcast-subscribe-buttons/assets/img/icons/iHeartRadio.svg",
"https://rememberingyugoslavia.com/wp-content/plugins/podcast-subscribe-buttons/assets/img/icons/TuneIn.png",
"https://www.paypal.com/en_US/i/scr/pixel.gif",
"https://rememberingyugoslavia.com/wp-content/uploads/2021/09/BLGF_Featured-SMALL-300x300.jpg",
"https://rememberingyugoslavia.com/wp-content/uploads/2021/04/RY-Website-FeaturedImage-v2-300x157.jpg",
"https://rememberingyugoslavia.com/wp-content/uploads/2019/01/Lepa-Brena-Jugoslovenka-Video1-300x200.jpg",
"https://rememberingyugoslavia.com/wp-content/uploads/2018/05/Dan-Mladosti-Poster-300x170.png",
"https://rememberingyugoslavia.com/wp-content/uploads/2022/08/PngItem_3432503.png",
"https://rememberingyugoslavia.com/wp-content/uploads/2022/10/BBC-News-na-srpskom-Logo.png",
"https://rememberingyugoslavia.com/wp-content/uploads/2022/10/Balkan-Insight-Logo.png",
"https://rememberingyugoslavia.com/wp-content/uploads/2022/10/iRozhlas-Logo2.png"
] |
[
"https://www.youtube-nocookie.com/embed/-2tkoWeQ93c",
"https://www.youtube-nocookie.com/embed/Inu6rA6DLQ4",
"https://www.youtube-nocookie.com/embed/gOx5DkDkceU"
] |
[] |
[
""
] | null |
[
"Peter Korchnak / Remembering Yugoslavia",
"Peter Korchnak",
"Remembering Yugoslavia"
] |
2023-08-14T19:23:27+00:00
|
Remembering Yugoslavia explores the memory of a country that no longer exists through travel writing, interviews, and research and analysis.
|
en
|
Remembering Yugoslavia
|
https://rememberingyugoslavia.com/podcast-celluloid-retro/
|
Films made after 1991 set in socialist Yugoslavia keep the former country present in popular culture. From Tito and Me (1991) to How I Learned to Fly (2022), from Slovenia to Serbia and beyond, from nostalgic tales to dark thrillers…the post-Yugoslav cinematography remembers Yugoslavia. Similarly, Czech directors have tackled the socialist period in their own ways.
With Mirko Milivojević and Vladan Petković (YU) and Veronika Pehe (CS). Featuring music by Spirituál Kvintet and others.
Listen
Subscribe
Support the Podcast
Become a monthly patron on Patreon:
Become a Patron!
Make a one-time contribution via PayPal/credit card:
Episode Transcript
Disclosure: As an Amazon Associate we earn from qualifying purchases.
[JINGLE]
PETER KORCHNAK: This is Remembering Yugoslavia, the show exploring the memory of a country that no longer exists. I’m your projectionist, Peter Korchnak.
Four episodes ago I delved into the history of Yugoslav and post-Yugoslav cinema (make sure you listen to that introduction before you get to today’s story, it’s Episode 72, “An Incomplete Guide to Yugoslav and Post-Yugoslav Cinema”).
One particular genre stuck with me: films made after Yugoslavia’s dissolution that are set in the former country. In other words, movies that remember Yugoslavia.
Let’s reprise with the Bosnian-Swedish film scholar Sanjin Pejković:
SANJIN PEJKOVIĆ: There are mostly two ways of remembering the former Yugoslavia. And the first way would be through very exaggerated nostalgia. And the second way would be through maybe more of an optics of tyranny, or that Yugoslavia was, you know, a prison for the nations, tamnica naroda. The most films would fall in some of those groups.
PETER KORCHNAK: As I continued watching post-Yugoslav films featuring Yugoslavia and talked to more people about it, the picture became a little more blurred, if not more complicated.
I also kept thinking about my former country’s cinematography dealing with the socialist period. To be more precise, because Czechia’s production was so much richer and wide-spanning than my native Slovakia’s, I thought about Czech films and how they might hold up in comparison.
And so showing for you today will be films about the socialist period from the former Yugoslavia, mostly Serbia and Croatia, and from the Czech Republic.
Before we begin, let me acknowledge a few new crew members who made this episode possible. Thank you Adela, Anne, Dan, Dušan, Lev, Sotir, and Tamara for your contributions and pledges. You keep the show rolling.
Have you bought your ticket to Remembering Yugoslavia? Join Adela, Anne, Dan, Dušan, Lev, Sotir, and Tamara and contribute to be a part of the podcast’s continued stardom. Visit RememberingYugoslavia.com/Donate and choose from one of the options there. Camera! Lights! If you prefer a familiar option or if Patreon gives you any trouble, choose PayPal. Action!
[SOUNDBITE]
MIRKO MILIVOJEVIĆ: Yugoslavia is even more present now, in popular culture and everyday culture, than it used to be in the strict terms in some stages of the Yugoslav existence, the existence of Yugoslav socialist state, at least in some periods.
PETER KORCHNAK: Mirko Milivojević is an independent researcher of popular culture, PhD candidate at the University of Giessen, and nonprofit communications professional. He spoke with me from Belgrade.
MIRKO MILIVOJEVIĆ: And it has certainly outlived the Yugoslav state by far because it’s now still a vibrant, lively, but also negotiable space. And as far as the movies are concerned, Yugoslavia is alive in productional sense, as represented in the feature movies, in documentaries, being researched, restaged, also on TV, with various facets from various actors, various generations, various nationalities, transnationally as well, transcending the former borders of the Yugoslav state and so on. And also including the variety of political standpoints, and probably most importantly, memory modes, and politics of memory.
PETER KORCHNAK: Let’s take that as a starting point: Yugoslavia is present in post-Yugoslav cinematographies.
VLADAN PETKOVIĆ: There have been various representations in various national cinemas. And they originally depended on this public perception of what Yugoslavia used to be, which is, of course, built by the media and by the ruling structures.
PETER KORCHNAK: Vladan Petković is a Belgrade-born, Zagreb-based film critic, journalist, festival programmer, and educator, focusing on Central/Eastern European and Balkan cinema.
VLADAN PETKOVIĆ: Yugoslavia had a better maybe reputation in Serbia and or Bosnian cinema. Perhaps, especially in Bosnian, it’s just that Bosnia had very little production until maybe 2005 or so, because it was the country that had the worst of the war.
And while in Serbia, there was there is the whole very wide variety of approaches to [the] depiction of this era, which would then correspond to sort of maybe genre the films were made in and also through their topics, which are most often current ones and then are reflected in various ways towards the past.
Of course, then there were films by Srdjan Dragojević like Pretty Village Pretty Flame, which was also one anti-romanticized look, and then a number of films that also sometimes portrayed Yugoslavia as this dungeon of the nations. And others, we can sees [that] as the time goes on, as more time passes since the war and the breakdown of Yugoslavia, there is a certain nostalgic slant.
PETER KORCHNAK: So to Serbia we go. Of course—
MIRKO MILIVOJEVIĆ: Yugoslavia in Serbia was still present at least nominally after the breakup of the socialist Yugoslav state.
PETER KORCHNAK: That is, another, third Yugoslavia replaced the second, socialist one. It comprised only Serbia and Montenegro, from 1991 to 2006, and is often referred to as rump Yugoslavia.
[SOUNDBITE]
The last Yugoslav or the first post-Yugoslav film, depending how you look at it, was in fact one that dealt with socialist Yugoslavia’s legacy head on.
Tito i ja (Tito and I) by Goran Marković was released in 1992. Period footage showing Tito touring Yugoslav cities to the citizens’ adulation plays under the opening titles, and additional such period footage peppers the movie.
[SOUNDBITE]
Ten-year old Zoran lives in the 1950s Belgrade with his parents (played by Miki Manojlović and Anica Dobra), aunt and uncle and cousin, and grandmother in a shared apartment whose walls he eats. Defying his elders, the short-round boy adores Tito, even sees him in his daydreams. An essay assignment glorifying the president in the contest, “Why do you love Comrade Tito?” earns Zoran a hiking and camping trip to Tito’s home village of Kumrovec. After various adventures and misadventures, headlined by his girl crush Jasna, an older boy, and the adult tour leader Raja, played by Lazar Ristovski, Zoran gives a speech next to Tito’s statue, clarifying his statements in the essay to say he actually loves his parents and a slew of others more than the president, after all.
[SOUNDBITE]
Little Zoran attends Tito’s birthday party at the Beli Dvor residence, during which the big man proclaims his birthday to be a future Day of Youth, but splits during the photo op to attend to the buffet.
In an interview for B92, Goran Marković, by the way a graduate of the Prague film school, called the film autobiographical (as a boy Marković had met Tito himself once, at Beli Dvor no less); he also called it a kind of an epitaph on Yugoslavia’s grave. In fact, because of the situation on the ground, scenes taking place in Tito’s Croatian home region of Zagorje were filmed in Serbia’s Fruška Gora while Yugoslav airforce planes flew overhead toward Vukovar. Still, concluded Marković, the film is “joyful and innocent, as Yugoslavia was remembered by those who had lived in it.”
[SOUNDBITE]
If you’re a regular listener of Remembering Yugoslavia, which I hope you are or will soon be, you’ve already heard me say that it was the movie Podzemlje (Underground) that had kick-started my journey through Yugoslavia’s memory that finds me here and now over a quarter century later.
The film by the director Emir Kusturica won the Palme d’Or prize at the 1995 Cannes Film Festival.
In period reviews, the LA Times called it “a dazzling epic allegory” and “a sprawling, rowdy, vital film laced with both outrageous absurdist dark humor and unspeakable pain, suffering, and injustice.”
The New York Times’ Janet Maslin called it a “feverish, whimsical allegory elevated by moments of brilliant clarity” and an “impassioned metaphorical fable about the tragic fate of [Kusturica’s] homeland.”
And Variety called it “a three-hour steamroller circus that leaves the viewer dazed and exhausted, but mightily impressed” and “one of the most emotionally engaging and exhilarating films at Cannes.”
The movie begins with a Balkan brass band running down the road playing a čoček and casting shadows on a wall. The story indeed unfolds in a Plato’s cave-like world, bookended by wars and parties and punctuated by sometimes subtle, sometimes heavy-handed metaphors and allegories.
We find the protagonists, Marko played by Miki Manojlović, one of Kusturica’s and Yugoslavia’s favorite actors, and Blacky, played by Lazar Ristovski, as wild and crazy friends in Belgrade on the eve of Nazi Germany’s invasion of the Kingdom of Yugoslavia. Animals freed from the bombed out ZOO roam the streets and the duo fight the occupators by smuggling arms, making munitions, and conducting raids. In one daring action, Blacky is injured and Marko hides him and a host of other people in the titular underground basement. But rather than freeing them once the war is over, Marko cultivates for the undeground contingent an illusion the war is still raging, replete with fake air raid sirens and sounds of bombing, thus achieving his ultimate goal: to win and keep for himself Blacky’s love interest, theater actress Natalija. The two keep Blacky and others hidden in the basement, making weapons (even a tank!) for the war to be yet concluded with Tito’s final battle. Above ground, Marko enjoys the privileges of a top party official, hobnobbing with Tito, even unveiling a monument to the supposedly fallen hero Blacky, all the while dealing the underground-made arms on the black market.
Whether you read quote unquote “underground” as the actual physical basement, or as a cellar dungeon of nations, or as communist resistance, or as the netherworld of the dead, the conclusion is that both Marko and Blacky live in an illusion, one imposed on him by a wily political operator, while the purported friend is helping to create his own lie in self-denial. The artificial underground cave is a Yugoslavia created for the common people by the communists; the above-ground Yugoslavia is likewise built on false narratives, reinforced by monuments and Partisan films and profiteering. The two realities often clash, often magically.
The most dramatic collision occurs in a classic Kusturica fashion, at a party, specifically a basement wedding of Blacky’s son. A chimpanzee climbs into the tank, blasts a hole in the wall, and Blacky and the groom escape to the outside world to finish off the fight against the Germans. They stumble onto what they don’t know to be a set of a film fictionalizing Blacky’s story. So the two mistake the filming for reality, a classic tragic end ensues, and then a few more in the film’s 3rd act, the 90s wars.
On the surface, the story reinforces the idea the Balkans are all war all the time. “The underlying presumption is that all Yugoslav wars are reincarnations of the Ur-conflict,” writes the film scholar at the University of Belgrade, Nevena Daković. At the same time, war seems to be imposed from the outside, be it by invasion in the first part of the film, in World War Two, by communist regime propaganda in the second act, and by the country’s breakup in the third, when, even though it’s brothers killing brothers, we actually don’t even know who the real enemy is or why we’re even fighting anymore or what the point of all that violence is and who won and who lost.
All the while, truba, or Balkan brass music, maintains the frenetic pace, turning its author, former Bijelo Dugme auteur, Goran Bregović, into a global world music star. The director, Kusturica, has been quoted as saying his films are closer to the circus or musical theater than to serious literature.
[SOUNDBITE]
In the final scene, cows come home and there is yet another party, with all the characters, now mostly dead, celebrating on a chunk of land splitting off from mainland and floating into the distance. The final line: “With pain, longing, and joy we’ll remember our country when we tell our children stories that begin like a fairy tale with, ‘Once there was a country…’” Perhaps the party is a dance on a grave. Finally, a caption: “This story has no end.”
The Bosnian Muslim director was accused of pro-Serbian bias in the telling of the story. The film is set in Belgrade and all the characters are Serbian and portrayed as victims of circumstance. Period footage of Slovenes and Croats welcoming their German occupiers rankled. The chief of Serbian secret police and Arkan both attended the premiere in Cannes.
At the same time, Serbs come across as opportunists and collaborators, as both the perpetrators and victims of communist crimes, daring and fun and perhaps not so smart, and in fact the story shows conflict between two different breeds of Serbs, Marko’s more sophisticated, urban ones in Serbia and Blacky’s wilder, more Balkan ones outside Serbia proper.
So this old bias chestnut both erases the multilayered nuance of the narrative and ultimately speaks more to the viewers’ biases than the artist’s (of course, Kusturica later went full on pro-Vučić and pro-Putin…but that’s another story).
Dark-humored and accusatory as it is, the film presents an obituary of sorts to Yugoslavia, or, as Daković sees it, a “subtle expression of grief for a ‘country that was once upon a time’ and of the growing awareness that the past should be blamed for the present.” End quote.
Back in 1996, in the safety of newly independent Slovakia’s capital, Bratislava, the repressed university student that was the younger version of me watched the film with fresh experience of having witnessed Yugoslavia disintegrate in war on the TV screen. Kusturica’s alternative take on his disappeared country’s history, set against the frenetic pace of čočeks and rakija and magical realism captured my imagination. It was more complicated down there than what the media were saying. I was hooked—and here I am, unclenched.
[SOUNDBITE]
PETER KORCHNAK: In the Slovenian film Autsajder by Andrej Košak from 1997, a teenager named Sead is new to Ljubljana, in tow of his Yugoslav People’s Army officer father, who is Bosnian, and housemaker mother, who is a Slovene. Sead makes fast friends with some local punks and becomes their frontman, nicknamed Sid.
Sead falls for Metka, whose name etymologically means pearl but, in true Chekhovian pistol fashion, in Bosnian it means bullet. Sead/Sid’s story of perpetual rootlessness and outsider status, friendlessness thanks to frequent relocations, and targetless teenage depression unfolds against the background of Tito’s end-of-life illness in the local hospital. Nothing funny about this coming of age, or perhaps adulting, story with a somewhat foreseeable ending, but the punk angle both points and gives the finger.
[SOUNDBITE]
Tito i Ja, Underground, and Autsider are post-Yugoslav-era films that, as Nevena Daković, has observed, “directly record the changes in the social context that influence the (re)interpretation of the socialist past.” In these films, Yugoslavia acts as a character in and of itself, with its own development arc and plotline. Additionally, these films attempt to come to terms with the socialist Yugoslav past and do so by incorporating historical footage into the narrative. Whether it’s Marko hanging out with Tito or Zoran daydreaming about Tito or Sead watching Tito in a television newscast, fiction and history blend together to the point as to be nearly indistinguishable. In such hindsight, Yugoslavia can be read both as history and as fiction—really as just a story.
Whether they’re comedies or dramas, the three films actually blend the nostalgic and dark elements. What the docufiction technique also does, especially when paired with meticulous reconstruction of the historical-material reality, from cars to furniture to clothing to food products in ways that would be familiar to any Mad Men fan, is to inject nostalgia into the narrative. Even when the treatment of Yugoslavia is critical and its end emphasized as a tragic failure, the viewer can’t help but feel a tinge of nostalgia for the good things that preceded, if not outweighed, all the bad ones. Indeed, as Daković points out, these so-called nostalgia films, quote, “differ from broadly defined historical films in that they do not reconstruct the past but rather evoke feelings of the past” through the use of metonymy, parody, and pastiche.
The mere setting in the former Yugoslavia may evoke in many viewers the feelings of nostalgia. The rites and rituals of the socialist era, from pilgrimages to Kumrovec to unveiling of monuments to people’s heroes to even punk rock bring back memories and recollections of how things were and now are long gone. And the films underscore the darker sides of brotherhood and unity, including alienation, alcoholism, and authoritarianism. Propaganda and the personality cult, whether coming from the media or from schools, are ever present. “To explain the recurrent disasters of the Yugoslav past,” writes Daković, “the films’ narratives reach for myths, fate, and ghosts that haunt the nation.”
Let me mention a couple of lesser known films made in rump Yugoslavia, that is de facto in Serbia, whose stories take place during the socialist period.
[SOUNDBITE]
In Tri karte za Holivud (Three Tickets to Hollywood), from 1993, by Božidar Nikolić, residents of a generic Serbian village at the time of the Cuban missile crisis await the arrival of President Tito. Soon the village splits into pro-American and pro-Russian factions and chaos ensues. Interestingly, the words Tito or Yugoslavia are never uttered, instead it’s the president or leader and the country.
And Lajanje na zvezde (Barking at the Stars), from 1998, by Zdravko Sotra, takes place in 1963 in a fictional small town played by Sremski Karlovci. High school seniors at the very end of their studies pursue love and fun before adulthood begins in earnest, including teasing a professor who bought a Fića but can’t drive well or a school trip to Belgrade and Boka Kotorska.
[SOUNDBITE]
As in any cinematography, films set in secondary school carry the greatest nostalgia-evoking potential. Plus this one, which has been labeled as a cult classic by now, is told as a memory, a flashback to the good old days. Yugoslavia isn’t present as a character per se, but the automobilization storyline, travel to other parts of the country, and actors, especially the older ones, all connote the former country—where you could do anything, including bark at the stars.
[SOUNDBITE – “Bandiera rossa” by Unknown (Instrumental)]
PETER KORCHNAK: “Bandiera rossa” is an Italian labor movement song glorifying the red communist flag. It was (and remains) popular with Yugoslav communists. The punk bands Pankrti, from Ljubljana, and KUD Idijoti, from Pula, covered it in the 1980s (why punks would sing commie songs is a story for another, upcoming episode of Remembering Yugoslavia).
PETER KORCHNAK: I do not recall the song at all from my life in socialist Czechoslovakia. I don’t think it was played there, in fact. Perhaps it’s because, even though it was a communist tune, it was a Western invention and sung in a Western language.
You also won’t hear “Bandiera rossa” in any of the films made there after 1989 about the socialist period.
The 1990s in the Czech Republic saw the release of a few blockbuster films that were set in the communist past. All were comedies.
VERONIKA PEHE: Comedy is a genre, which, by default, is conciliatory in its message, right. There’s some kind of reconciliation usually at the end between different characters who have differences. And this meant that the messages conveyed by comedies about the socialist past were usually also quite conciliatory in the sense that, you know, there were the protagonists who were somehow trying to resist in small ways and then there were the Communists who are usually also portrayed as kind of laughable, sometimes even pitiable characters, you know, kind of, often stupid, vulgar.
PETER KORCHNAK: Veronika Pehe is a historian at the Institute of Contemporary History of the Czech Academy of Sciences, where she researches memory, popular culture, and the systemic transformation of the 1980s and 1990s in Central Europe. She is the author of Velvet Retro: Postsocialist Nostalgia and the Politics of Heroism in Czech Popular Culture. She spoke with me from Prague.
And we discuss additional topics throughout in the extended version of this episode, available to Patreon and PayPal supporters.
Pehe was born in 1988 so her research entails exploring the past that was the lived experience of her parents and grandparents and that her generation knows only second hand.
VERONIKA PEHE: My initial impulse for studying this topic was that I was thinking, well, people who didn’t experience socialism themselves, how do they learn about the past. U nless their parents talk to them, or their grandparents, their main point of access to the past is probably popular culture, it’s probably films or TV series that they watch. And that’s how they gain some kind of shared idea of what socialism was.
The most successful film about socialism in the first half of the 1990s was Tankový prápor (Tank Batallion), directed by Vit Olmer and released in 1992. More than two million people across the former Czechoslovakia saw the now classic comedy—almost twice as many as those who saw Titanic. The first privately produced movie in Czechoslovakia takes place in 1953 and pits a regular guy serving his compulsory military service, played by the dreamboat, Lukáš Vaculík, against his officers and especially the one, played by Miroslav Donutil, whose wife he pursues.
Another military service film—
VERONIKA PEHE: —was called Black Barons. It was about the 1950s, so the most repressive period in the history of Czechoslovak socialism, and it was about the service of political prisoners in the army. We have the political prisoners who are obviously opposed to the system. And within this very repressive setting of forced military service, they somehow try to outwit and make fun of their communist superiors, of the soldiers who are in charge, who are portrayed as generally very dimwitted, and a lot of the humor revolves around that in the film.
PETER KORCHNAK: In the 1950s Czechoslovakia, politically suspect people, like kulaks, clergy, and burgoisie offspring, served in so called Technical Support Batallions. The service lasted four years, twice as long as regular conscription, and they were forced to perform hard labor in mines, quarries, or forests. The existence of these battalions wasn’t made public until 1989; Černí baroni (Black Barrons) popularized it, bringing to the fore different ways the recently concluded socialist period was perceived and interpreted in the country, then still part of Czechoslovakia.
Tank Batallion and Black Barrons were the early examples of films set in the socialist period; both continued the tradition of military service films and TV shows and both contributed to the ongoing public debate about the socialist past.
VERONIKA PEHE: Like other postsocialist countries, the Czech Republic had to deal with the past on a political and legislative level after 1989. And of course, there was also a big discussion about how we as a society talk about the past.
And in the Czech Republic, the discourse of anticommunism was very strong and really dominated this discussion. And in the public sphere, it became basically the only kind of permissible way of speaking about the past: the communist regime was a totalitarian dictatorship, we have to condemn it, and that’s the only way that we can move on. That was kind of the dominant narrative.
It’s important to point out that that period was a dictatorship and there were many injustices committed and that’s also why legislature [sic] was put in place that was supposed to remedy those in justices to an extent. But we also need to be aware of how the political and media ecosystem worked and continues to work in the Czech Republic from the 1990s onwards.
How this kind of cultural production approaches the past is one thing. Then we also have memory politics: how politicians, opinion makers in the media talk about the past, that’s another level.
Then we also have something we could call vernacular memory, so how regular people, different social groups, remember the socialist past.
And these different levels don’t necessarily correspond with one another. You know, they can produce very different pictures. And the memory of socialism is very different on these levels and for different social groups as well.
If we focus on popular culture, we can talk about nostalgia to an extent. But my argument would be that actually, it’s probably more pertinent to speak about retro.
PETER KORCHNAK: Nostalgia versus retro has come up a number of times on the show. To refresh your memory:
VERONIKA PEHE: Nostalgia is an emotion relating to the past. There’s an element of longing. And of course, we can discuss those different types of that longing, you know, that for instance Svetlana Boym defines as reflective or restorative. But it is some kind of emotion about the past.
Retro is actually a kind of very unemotional approach to the past, right? It’s an aestheticizing way of looking at the past but one that doesn’t really have this emotional dimension. And it’s kind of this decoupling of emotion that allows us to view the past in this kind of pick and mix way. So what’s typical of retro representations, of their aesthetics, is that they kind of choose visually attractive elements of the past which aren’t necessarily even historically accurate. But that’s not the point. It’s all about packaging the past in a kind of visually attractive look. This kind of aestheticization allows cultural producers to push the political dimension into the background, right. It’s something that’s rendered non-threatening through this aesthetization. And perhaps that’s also why these retro films and TV series were very popular, and they were popular across generations.
PETER KORCHNAK: As in the former Yugoslavia and elsewhere in the former Soviet bloc, the generational change affected the pop cultural discourse.
VERONIKA PEHE: It’s important to realize that the people who got into decision-making and opinion-making positions were often people who, in 1989, were of the kind of generation that was coming of age. Often they were involved in the Velvet Revolution directly, so they were very much opposed to communism, they were very anti-communist. And these were the people who then formed the new media which were then creating a public discussion about the past. And a lot of these people continue to hold important positions in the media, even today, 30 years on. And this kind of discourse of anticommunism continues to be very prevalent in [the] Czech public debate, even though I think that it doesn’t necessarily correspond to vernacular memory, or kind of what different levels of society think and how they remember the past.
And there were moments in the past where we could get a sense of that kind of discrepancy, right, that there’s some kind of opinion-making level within society that says one thing about the past and then there are other people, let’s say, regular readers or viewers, who thinks something else and who perhaps have a bit of a more positive or even nostalgic appraisal of their experience of socialism.
PETER KORCHNAK: At the end of the 1990s, for example, there was a big debate in Czechia. On one side were anti-communists who said singers from the socialist era, like Karel Gott, the Czechoslovak Tom Jones, let’s say, should as collaborators no longer be allowed to perform. On the other was the populace who continued to love their Karel Gotts as part of their lives, if only for continuity’s sake. In film, the television series Třicet případů majora Zemana (Thirty Cases of Major Zeman) was paradigmatic.
VERONIKA PEHE: The 30 Cases of Major Zeman was a series produced in the 1970s, about a police officer who is a good communist, and he kind of solves 30 different cases, as the title suggests, there were 30 episodes, and manages to kind of get rid of various dangerous characters who are perhaps, spying on Czechoslovakia, and so on. The series actually portrayed the 30 years after the Second World War, each episode is set in one year from 1945 onwards.
Czech Television wanted to rescreen it at the end of the 1990s. So debates about that started in 1998 on whether it should be aired or not. And there were a lot of people, influential opinion-makers in the press at the time, saying, Well, no, this is a really highly ideological product of the 1970s, it presents a very distorted picture of the past. And there was a lot of anxiety amongst anticommunist commentators at the end of the 1990s that this would somehow be perhaps dangerous to young people who don’t remember the period themselves. And that this would present a false picture of the past. And there was a lot of discussion about whether the public broadcaster should show the series.
PETER KORCHNAK: A private channel in Slovakia had screened the show the previous year without controversy. The attitude of the Slovak public toward the socialist period had something to do with it—for that check out Episode 71 comparing Yugonostalgia with nostalgia for socialism in Slovakia—but it was also a private, not public channel.
Side note: For about a decade to 2017 there was a divey restaurant in downtown Bratislava called At Major Zeman’s.
In Czechia, a compromise was reached whereby the public broadcaster showed the series but added a documentary and a discussion after each episode explaining the TV show.
VERONIKA PEHE: From a historians point of view, this is kind of funny. You know, at the time, the series claimed, we, the communists, have the correct interpretation of the past, and now here’s Czech Television in 1999, saying like, well, actually, no, here’s our kind of liberal democratic interpretation of the past, and that’s the correct one.
PETER KORCHNAK: While the controversy dominated the public sphere, Czech Television and the press also received countless messages, letters, and other responses from the public expressing gratitude for the rebroadcast and satisfaction with it, pointing out the show had been part of life and was today not harmful in any way.
And, adds Pehe, members of younger generations who had limited or no lived experience of socialism saw it as postmodern entertainment, seeing the heavy-handed ideologization and the formulaic aesthetic with irony, as a retro parody of itself.
VERONIKA PEHE: This discrepancy has definitely widened over the years, for various reasons.
On the level of popular culture, cultural producers have generally reproduced this kind of anti-communist discourse. So even though a lot of films and TV series have been made, which, in a way, look kind of nostalgic in their visual aesthetics, in the sense that they display fashions and hairstyles and the material culture of the period with, you know, recreating it quite lovingly, right, and allowing viewers to kind of indulge in these aesthetics.
At the same time, the political messages of many of these films and TV series, and also also novels that were made in the Czech Republic after 1989 are pretty clear that, you know, the communist regime was bad. The heroes that these representations focus on are usually anti-communist in some way, they’re setting themselves up against authority, against communist authority, and they engage in some kind of form of resistance, even if it’s very minor.
[SOUNDBITE]
PETER KORCHNAK: The best movie in the genre is Kolja by Jan Svěrák. Released in 1997, the film won the Oscar for Best Foreign Language Film and is probably the best known Czech film since independence. Kolja is a prototypical example of Czech comedies about the socialist period that heavily employ retro elements and softly depict petty resistance amongst the citizenry amidst the absurdities of the socialist regime.
[SOUNDBITE]
VERONIKA PEHE: This Czech man, a kind of older bachelor who never had any children of his own, is left with this little Russian boy. And the film is about the relationship that develops between them. It’s a comedy of sorts, as practically all Czech films of this period that that portrayed the past.
That then changes later on. In the 2000s, we start to get a lot more crime films and thrillers about the communist past as well. But not in the 1990s, it seems that at that time, humor was really the kind of principle mechanism of coming to terms with the past kind of laughing away things that were perhaps difficult, traumatic, or that people didn’t really want to deal with, you know, like the fact that many people were members of the Communist Party, and many people did cooperate with the authorities and they considered it probably quite normal and perhaps didn’t even think about it very much. But this is something that filmmakers kind of tried to mitigate by offering these very, kind of self congratulatory tales, which Kolja also is, about how people managed to resist communist authorities in small, often quite petty ways.
The character’s name is Louka. And Louka is somebody who’s been demoted from his job for political reasons and in order to make a living he plays music at a funerals, even though previously he was a member of the of the Philharmonic. And in various small ways, which are also moments of humor in the film, he expresses his opposition to the communist regime.
For instance, he doesn’t want to put up red flags in his window on a particular communist anniversary. But then, eventually, he does because he, he realizes that he might draw attention to himself if he doesn’t, and he’s got this little Russian boy now and he doesn’t really know what’s going to happen with him. And then there’s this kind of humorous scene where he’s trying to pretend in front of someone that he didn’t put up the flags, because that would kind of be an expression of his conformity with the regime and he wants to appear oppositional and brave, in fact, for not putting up the flags, but the little boy enters the room and puts up the blinds and the flags are there and Louka is exposed as in fact being a coward.
And these are the kinds of small moments of what I call petty heroism that are then somehow deflated and generate humor in these films. And there are a lot more moments like that in Kolja and in many other films where characters go out and, you know, do something that gives them personally some kind of sense of doing something resistant even if then, the story shows that actually, whatever they did was quite meaningless or didn’t have any effect.
[SOUNDBITE]
PETER KORCHNAK: That element of resistance, petty or otherwise, to socialism, or rather to the totalitarian regime, is very much present in the Czech society.
VERONIKA PEHE: The important thing to realize about this kind of nostalgia for resistance, because, you know, in a way, it is nostalgic, you know, it’s like, oh, look at those good old days, when, you know, we could tell a joke, and you know, it was already really subversive, and we could get in trouble for telling it, but we told it anyway. We can’t do that nowadays. So you know, nostalgia for this kind of emotion of resistance with perhaps being a little rebel. That’s something that that comes up a lot. But it’s very much focused on the notion of the ordinary person, right? All these films, novels, TV series are about, so to say, ordinary people who somehow get by, through these kinds of resistant gestures.
PETER KORCHNAK: Ironically, at the same time the debate about how to portray the socialist period (or not), another blockbuster about those times came out; Miroslav Donutil again played a conformist character.
[SOUNDBITE]
VERONIKA PEHE: In 1999, the film Pelíšky was released, directed by Jan Hřebejk, who went on to make a whole set of films about the socialist past. And this was an extremely popular film, it was seen in cinemas by more than 1 million people in the Czech Republic. And at the time, you know, there were 10 million people living in the country. And it’s been repeated on television so many times since. So really, you know, it’s a very, very well known film.
And this was a film which definitely could be, in a way, seen as nostalgic, certainly for this kind of aesthetics of socialism. But precisely because it kind of mocked characters who represented communist authority, kind of, you know, maintained this this kind of ironic gaze, it didn’t really upset those same anticommunist commentators who were so worried about the continued presence of socialist popular culture in the Czech Republic, because these films like Pelíšky did allow for that kind of anti communist interpretation.
[SOUNDBTE]
PETER KORCHNAK: A few years after Pelíšky (Cozy Dens), in 2003, Hřebejk made another socialism-era film, Pupendo (the name refers to a coin trick one does on a person’s body). While still containing elements of humor, Pupendo is a more serious film, perhaps marking a transition to the next phase of films about socialism (more on that later on in the show).
Like in Pelíšky, in Pupendo stories of two families intertwine: one is involved with the Party and the other, of artists, quite the opposite (the film is set in 1984). Matters come to a head when the banned sculptor accepts a commission for a statue of a World War II-era Red Army general.
[SOUNDBITE – “Jednou budem dál” by Spiritual Kvintet]
PETER KORCHNAK: The cover of “We Shall Overcome” by Spiritual Kvintet was one of many folk-like songs that formed the soundtrack to the Velvet Revolution in my homeland, Czechoslovakia, and particularly in Prague. I am playing it for you with the kind permission of the label Supraphon. Follow the band (Facebook) and the label on social media (Facebook / Instagram) and buy their music online! All the links are at RememberingYugoslavia.com/Podcast.
PETER KORCHNAK: In 2006, the movie Karaula (Border Post) by Rajko Grlić made a splash across the Balkans just around the time Montenegro became independent and Yugoslavia was truly no more. The movie marked a decisive inflection point in the post-Yugoslav cinematic history. While coproductions and collaborations had already been happening, particularly since the wars of Yugoslavia’s disintegration ended, Karaula was the first coproduction of entities from all former Yugoslav republics.
DIJANA JELAČA: One could make a very convincing argument that in the contemporary landscape of post-Yugoslav cinema, Yugoslavia is recreated time and again because if you look at the list of coproductions that are happening, it’s sort of a definition of Yugoslavia. All of the countries are working time and again together to coproduce films because neither of the individual industries is strong enough to turn out number of films on its own. So coproductions are a way to keep going and survive.
PETER KORCHNAK: That was Serbian-American film scholar Dijana Jelača in a previous episode.
On the creative end, co-productions revived Yugoslavia in a way through cross-border collaborations, and on the consumption end, films from the various republics (and particularly such co-productions) increasingly circulated through the rest of the former country as well. Co-productions tone down the particularist rhetoric of national and nationalist cinemas and, conversely, bolster themes and stories that speak to broader audiences and interpret and re-interpret the socialist past in more palatable ways. What can often seem like nostalgia is more a matter of economics than anything.
On top of all that, Karaula was a comedy, or rather tragicomedy, that dealt with the socialist period as well. And it, too, centered around the military, the JNA, the Yugoslav People’s Army, being one of the glues that held socialist Yugoslavia together. The year is 1987, the place is a border post between Macedonia and Albania over Lake Ohrid.
MIRKO MILIVOJEVIĆ: The director Grlić himself actually described it that the overall idea of the movie actually was to present the allegorical image of Yugoslavia.
PETER KORCHNAK: Film scholar Mirko Milivojević again.
MIRKO MILIVOJEVIĆ: Rajko Grlić being one of the most popular Yugoslav directors, there is a trademark of his movies, the melodrama and the comedy elements, singling out also some of the interethnic stereotypes and then really deconstructing them, reflecting on them and so on, even during the Yugoslav period.
[SOUNDBITE]
PETER KORCHNAK: Two buddies, Ljuba, a Serb, and Siniša, a Croat, serve at the border post, doing the best to shirk their duties, chase local skirt, and generally make their conscripted lives more interesting with pranks and banter. When the post commander, Safet Pašić, who is Bosnian, falls ill—
[SOUNDBITE]
—he recruits Siniša, who is a doctor, to both cure him and to act as a courier between the post and his home in a nearby town (real-life Bitola) where his Macedonian wife goes about her disenchanted life.
To buy some time for his antibiotic treatment, Pašić declares an emergency at the border, claiming the Albanian enemies are preparing to attack, and forces the soldiers to prolong their service and make defensive preparations. Predictably, things get out of hand…and there’s a yet another tragic end.
The period, location, and plot settings, interethnic romances and bromances, the soundtrack, and other elements combined for the film to be commonly read as nostalgic right out of the theater.
MIRKO MILIVOJEVIĆ: There is this kind of the sense of the of the closure the sense of the beginning of the end, and the plotline suggests that. The soldiers and their commander, they belong to different generations: whereas the lieutenant symbolizes the army, the official setting, the official symbol of the state, strict with rules, with socialist doctrine, the overall Yugoslav myth of the Yugoslav National Army, brotherhood and unity, Tito cult, and so on. Which is basically the top down narrative of the Yugoslavia [sic].
And the bonding that is actually created among the soldiers, and in particular, these two, of course, the Serb and the Croat, the brotherhood among these two ethnic groups and representatives, that actually comes from bottom up, from within. Aand not only does it go like on their ethnic lines, but more generationally and more following the lines of this alternative identity of the New Wave music and culture, popular culture and so on, where they find their identification. And, in a sense, kind of create the new collective identity or suggest at least, which is set in conflict with the lieutenant and everything that it [sic] also symbolizes.
It also has this bittersweet, affective component, which again is not necessarily the idealization or romanticization regarding of the Yugoslavia, the state, but also of personal and collective experiences, and collective and personal memories, and also showing up its ambivalences, paradoxes, contradictions, and so on.
So it all both fits and recreates and even develops the narrative or the overall idea of nostalgia and Yugonostalgia.
PETER KORCHNAK: One of the funniest and most poignant moments in Karaula is when Ljuba plucks red letters from the slogan on a barrack with Tito’s quote “Let’s take care of brotherhood and unity like the apple of our eye” to write “Električni Orgazam,’ Electric Orgasm, which is the name of a Belgrade new wave band. This does not go over well with the afflicted commander.
[SOUNDBITE]
Yugoslav-era rock music is often a character of its own in these films. It evokes the era and references it in a non-political way, which in turn helps to reinforce the nostalgic element. It is also often connected with urban and urbane characters standing in sort of opposition to the more lowbrow folk music, or zabavna muzika, favored by people affiliated with the regime. The long standing divide in the former Yugoslavia is less ethno-religious and more urban-rural.
MIRKO MILIVOJEVIĆ: Yugoslav rock and pop music is being then recreated and reused and giving it furthermore the afterlife in the post-Yugoslav cinema. These movies that are dealing with Yugoslav pasts almost necessarily include this music as their soundtrack. So they then recreate, rebuild, help [the] dissemination of Yugoslav popular culture and music as well to go then across the media, to go across the national boundaries, to go transgenerationally and so on, which then also, in a way, further develops even the discourse on yugonostalgia.
It is now used as a nostalgic element. It’s open for multiple readings, including the escapism, commodification, commoditization of this culture of this music, of this entire production as well in the overall context.
Whereas, for instance, a lot of these songs, a lot of these bands, a lot of this, this old production, the scene, and so on, were not necessarily non-political. That does not mean that they were all absolutely antagonistic to the Yugoslav socialist regime or the ideology or so on, that they were nationalist instead of socialist, no. But that they have actually performed musically, lyrically, performatively, and so on, in terms of their appearance, generationally, of course, that they brought another element that they brought at least another kind of input to even the overall political discourse, the overall cultural production and cultural imagination of the period as well.
The new wave and the scene of the of the Yugoslav popular and alternative music of the 1980s, that was the production that really looked forward in the future, so to say. That was a futuristic (musically lyrically, productionally [sic]) scene that is now being actually looked at backwards, either by the recipients or the researchers or the audience or even on the other hand by the very same producers and actors from that period as well in terms of revivals of the bands, covers of the same songs by other bands and use it in in completely different purposes in contexts, and so on.
PETER KORCHNAK: Back in Serbia, a number of films made in the teens picked up on the 1960s themes from the previous decades.
Doktor Rej i djavoli (Doctor Ray and the Devils), from 2012 by the late Dinko Tucaković, combines acted and documentary footage to compose the mysterious story of the American director Nicholas Ray, of the Rebel Without a Cause fame, who spent a part of the 1960s in Belgrade to make a film, which never got made.
Falsifikator (The Counterfeiter or Forger), from 2013, by the usual suspect from the outset, Goran Marković, also features late 1960s documentary footage in telling the story of an elementary school principal in today’s Republika Srpska who forges diplomas out of the goodness of his heart. Events of 1968 that presaged the end of Yugoslavia converge on the protagonist’s own personal drama.
At any rate, while directors who were making movies in the socialist period continued to make films that take place there, younger directors tend to focus on more contemporary themes.
VLADAN: Rajko Grlić was making films in the 70s and the 80s, and, you know, Kusturica is Kusturica. And I think these authors are perhaps less cautious because they’re kind of very big in their careers and there is nothing much that anyone can do to them and maybe feel more free to address it. And also, they are the authors who lived through this period.
Unlike most of the authors working now who are now in their 40s and 50s and who only kind of experienced the end of the country. They’re mostly more interested in what came after than necessarily in the underlying causes, which could be probably seen in many films of the late 70s and 80s period in Yugoslavia.
PETER KORCHNAK: Recall what art historian Dina Iordanova wrote about post-Yugoslav cinematographies: “reassessing the communist years is not a major theme in (former Yugoslav) cinema, partly because this critical project had already been carried out in the 1980’s and partly because of the gruesome breakup that imposed a different set of concerns around the aura of Tito’s legacy.”
In addition to the, let’s say, uncontroversial 1960s, other time periods get their share in the projector light.
Plavi voz (Blue Train), from 2010 by Janko Baljak, takes place during the week of mourning following Tito’s death in May 1980 at a high school where students vie for each other’s sympathies and compete in a beauty pageant. In a trend we’ve seen in the U.S., the successful film was turned into a TV series.
Atomski zdesna (Holidays in the Sun) from 2014 by Srdjan Dragojević, of the Pretty Village Pretty Flame fame, opens with period footage of children splashing in the sea and the caption: “Socialist Federal Republic of Yugoslavia guaranteed every worker two weeks of free summer vacation.”
The film takes place in the present day, at a time share resort, but those free vacations in coastal resorts are used as a sales technique to underscore the faults of socialism and advantages of capitalism; the past anchors the piece featuring characters from all the former republics.
[SOUNDBITE]
Bičemo prvaci sveta (We Will Be World Champions), from 2015 by Darko Bajić, fictionalized the story of Yugoslavia’s first gold medal at the 1970 world basketball championships. This film too was turned into a television show.
And Toma, from 2021 by Dragan Bjelogrlić, himself a star of the popular 1980s Yugoslav show Bolji život as well as the aforementioned Pretty Village, Pretty Flame, is a megapopular biopic of the poet, chansonier, and bohemian Toma Zdravković who achieved the zenith of his fame in the 1960s and 70s Yugoslavia.
“Toma’s popularity, the nostalgia factor (sometimes played for shameless sentiment) plus sizable excerpts from his appealing songbook should attract viewers from across the republics of former Yugoslavia and the diaspora,” wrote Variety in a review. Time period plus music equals nostalgia.
More importantly, reflecting Serbia’s nationalist turn in recent decade-plus—
MIRKO MILIVOJEVIĆ: —this would be probably overshadowed by the most recent production, that was thematize Yugoslavia but as the kingdom, the first Yugoslav state, the Kingdom of Yugoslavia, which would then in [the] past 10 years, actually be more present in the cinematic and TV production in Serbia and will gain more popularity than the representation of socialist Yugoslav period, which would then be left again, to some some excessive elements or the already critically acclaimed and popular Yugoslav directors, such as Goran Marković.
PETER KORCHNAK: One example, available in the U.S., is the series, now in its third season, Senke nad Balkanom, which translates as Shadows Over the Balkans but is streaming under the title, The Black Sun. This crime drama directed by and starring Bjelogrlić, takes place principally in the 1920s and 30s Belgrade.
[SOUNDBITE – “Pochod samopalníků” (March of Machine Gunners) by Unknown]
PETER KORCHNAK: “The March of Submachine Gunners” was one of the most popular compositions in the former Czechoslovakia. Composed by Jan Fadrhons in 1952, it was one of the main military marches of the Czechoslovak People’s Army.
Pelíšky (Cosy Dens) was one of the few Czech films set in the 1960s. The other rarely depicted elements of socialism were the normalization period, that is the 20 years between the invasion and the revolution, and dissent.
VERONIKA PEHE: Very infrequently has Czech popular culture portrayed dissidents, dissidents like Havel and others…
PETER KORCHNAK: Only about 20 films made between the end of socialism and the pandemic in the Czech Republic were set in the socialist period, that’s about 12 percent of all production in the country, including the period of Czechoslovakia.
“There are not many references to the Czechoslovak past in Czech films, and those that do appear are seldom more than superficial hints or background for melodramas or comedies,” wrote the film critic Petra Dominková. “Can it be that Czech society, together with Czech film directors, is experiencing a sort of amnesia towards its recent history?”
VERONIKA PEHE: There have been a few films, but actually, there’s something that seems somehow uneasy for filmmakers or writers in approaching the topic of dissent because it was such an exception, right? Very few people actually signed Charter 77, it was, you know, a relatively small group of people who were very important in terms of global human rights initiatives in the second half of the 20th century (they were very significant also internationally) but they were, you know, not very numerous. And in fact, many people in Czech society were probably not particularly aware of what Charter 77 was, and what what they were doing.
VERONIKA PEHE: And for filmmakers, you know, in this cultural memory, it’s somehow quite difficult to handle this exception of dissent. So there have been a few films, but actually, they portray this dissident milieu as hedonistic, they focus a lot on this kind of element of open relationships, which is something we also know from memoirs, from interviews with people who were dissidents that, indeed, within this community, there were a lot of kind of atypical family setups, lots of parallel and open relationships and so on. And this is something that’s perhaps quite attractive to filmmakers, because it’s, you know, it’s kind of juicy, so to say, as a topic for portrayal. You know, that you can make a film about Havel and the troubles he has with his wife, because he also has several other women, whom he’s seeing at the same time, and, you know, how does he do that? But what gets lost in in these narratives is actually the kind of political dimension of dissent, right?
If we look at a recent film, which was called simply Havel, and it was a biopic about Václav Havel, it’s all about his, basically his troubles with women. But it’s completely not clear from the film, why he was such an important oppositional thinker, why Czechoslovak dissent actually coalesced around him, why his personality was somehow so significant and enticing for others. You know, none of that really comes comes across, nd we don’t really get a sense of what his ideas were and what he was fighting for. We get a sense that he was a kind of wimpy womanizer.
This is quite an interesting aspect of the Czech memory of socialism that, you know, we have this very strong focus on ordinary people who somehow tried to resist communist authority. But there’s a lot of uneasiness about portraying dissent.
PETER KORCHNAK: If we think of The Tank Batallion and Havel as bookends to the evolution of how the Czech cinema depicted socialism, the shift from comedy to drama in the middle was a significant one.
VERONIKA PEHE: This kind of movement from comedy, which was very prevalent in the 1990s, to more serious genres is something that’s maybe quite typical of cultural memory in general, in the sense that those early cultural appraisals of the socialist past were quite ambivalent.
With the passage of time, representations start to get much more black and white in their portrayal.
PETER KORCHNAK: The context for the shift was the opening of secret police archives and, in 2007, the launch of the Institute for the Study of Totalitarian Regimes and the public debate that surrounded it.
Funded by the state, the Institute has its parallels in Poland or in my native Slovakia where since 2002 the Nation’s Memory Institute studies repressive state regimes from 1939 to 1989.
And so, from the late mid-aughts on, in Czech literature and cinema, stories about ordinary people resisting the communist regime in petty ways shift toward grander dramatic, even heroic narratives of resistance. Comedies give way to dramas, which tend to center on the conflict between the secret police, as the villains, and the protagonists, often artists.
VERONIKA PEHE: Around 2009, let’s say, there’s this kind of whole crop of films like Pouta (Walking Too Fast, in English) which is the story of a secret police agent, a kind of really evil secret police agent, it’s a thriller.
And then we have Ve stínu (In the Shadow), again a kind of crime story from the 1950s, where this kind of very good hearted, honest old-school detective is also trying to kind of serve justice in a situation where the secret police has its own nefarious designs.
We also get stories about the 1970s, 1980s. For instance, in the world of sport, the film Fair Play directed by Andrea Sedláčková, is about a professional sports woman who resists the kind of official doping policy of the Czechoslovak authorities. And so on.
So, you know, these are stories about people really kind of making big statements and people who are willing to risk a lot in order to maintain their kind of moral integrity. Which is something we didn’t have in those comedies that much, right, we kind of have people who performed the small acts of resistance without taking any big risks.
This is the main development we see in cultural memory in the Czech Republic, this kind of movement from retro comedies to more much more serious, but also quite black-and-white depictions of the past.
PETER KORCHNAK: And most recently—
VERONIKA PEHE: With the arrival of streaming platforms, you know, which have changed a lot the way we consume television, there’s also been a whole crop of TV series that aspire to quality TV but also portray the socialist past produced, for instance, by HBO.
PETER KORCHNAK: The 2019 limited series show Bez vědomí (The Sleepers) is a tight, meticulously period spy thriller featuring a couple of exiles who return to Czechoslovakia just before the Velvet Revolution (the show was released on the revolution’s anniversary) and get themselves into bit of a pickle involving the Czechoslovak State Security, the Soviet Army, the British Embassy, and others with their own agendas.
Still, more than three decades or a generation after the fall of socialism—
VERONIKA PEHE: These two modes of representing the past, as either comedy or thriller, have kind of slightly depleted themselves by now, you know. There’s been a lot of these TV series and films. And cultural producers who want to portray the pre-89 period kind of have to come up with something else. And there have been some, some attempts at that, you know, there was, for instance, [a] Czech television series a few years ago, called Svět pod hlavou (World Under One’s Head), which was about the 1980s but it involves kind of sci fi elements and time travel. So you know, here you can really see a departure, right, that cultural producers are thinking like, Well, what else can we do to actually make the past attractive?
PETER KORCHNAK: In the rest of our conversation, Pehe made a few predictions about the direction that cultural production in Czechia is taking and compared cultural production about socialism in Czechia with Slovakia and particularly the former East Germany.
[SOUNDBITE – “Crveni makovi” (Instrumental) by Unknown]
PETER KORCHNAK: “Crveni makovi” (Red Poppies) is a song by the Croatian poet Mihovil Pavlek Miškina. For many it is associated with May Day, for others it’s a Partisan song. I was unable to track down the author of this instrumental rock version.
YU 3: Croatia
PETER KORCHNAK: The other major cinematography in the post-Yugoslav space, Croatia, presents a more clear-cut, if not complex, case of periodization, similar to the Czech case. In the 1990s—
VLADAN PETKOVIĆ: —the national policy was a total kind of an attempt to have a clean break with Yugoslavia in a certain building a national identity in opposition to the idea of Yugoslavia, and especially, of this common country that was shared with Serbs in particular. So it’s kind of with this whole national, nationalistic identity policy that the these representations were quite negative, quite reductive and simplified.
PETER KORCHNAK: Vladan Petković again.
Official, or mainstream cinematography in newly independent Croatia centered on national and nation-building themes. As Nikica Gilić has observed, this was merely a continuation from the 1980s Yugoslav era, when after Tito’s death the top-down reins on popular discourse loosened. Films in the 1990s deal with religion, nation, war, emigration, as well as contemporary economic realities. But Yugoslavia, too finds its way to the silver screen. By now you know we’ll be talking about comedies again.
MIRKO MILIVOJEVIĆ: In the Croatian national context, it will be more of a comedy based oppositional narrative to the official, nationalist memory discourse, that the representation of Yugoslavia will find its place.
PETER KORCHNAK: Leading the way was Vinko Brešan. His 1996 film Kako je počeo rat na mom otoku (How the War Started on My Island) pits Croatian villagers on an unnamed Adriatic island (the real life location is a fort near Šibenik) against the Yugoslav People’s Army refusing to leave their garrison after Croatia’s independence proclamation. The locals try everything to coax the military unit, under the command of an ethnic Serb, to leave: music, speeches, impersonation of military command…but nothing works. A ruse orchestrated by the father of one of the soldiers solves the problem but not until, you guessed it, something tragic occurs.
Kako je rat… ended up becoming one the most popular Croatian films of the 1990s, winning a bunch of awards, both domestic and international, and voted one of the best Croatian films of all time.
[SOUNDBITE]
PETER KORCHNAK: Brešan’s next film, Maršal (Marshall Tito’s Spirit), is from 1999. The story takes places on the island of Vis where Yugoslav Partisan veterans start seeing Tito’s ghost. Scenarios unfold, including an armed insurrection to restore socialism and yugonostalgic tourism to capitalize on the event.
MIRKO MILIVOJEVIĆ: The setting is in the present day but it’s actually dealing with the leftovers with the legacy, unwanted or unwanted, discovered, rediscovered, haunted and so on, the legacies, dealing in the post-Yugoslav present with the leftovers and symbols, and various elements of the Yugoslav past and recreating that in various manners.
PETER KORCHNAK: The turning point in how Croatian cinematography deals with the socialist Yugoslav past can be traced to the death of the first president of independent Croatia, Franjo Tudjman, in 1999 (and to a lesser extent the death of Slobodan Milošević in 2006). Similar to Tito’s death, with the two strongmen who drove the Serbo-Croatian conflict in the 1990s gone, pop culture in both countries found a way to move on.
VLADAN PEKOVIĆ: Films that are built exactly on this nostalgia for the certain era started appearing in Croatian cinema since 2010s. I think after this initial tension sort of dissolved and Croatia kind of moved away and became part of the EU and so on, maybe there was this feeling among authors that now maybe it’s safe to bring back this, this sort of feeling.
PETER KORCHNAK: Ne dao Bog većeg zla (God Forbid Something Worse Would Happen) from 2002, by Snježana Tribuson, is a story of an enamored boy becoming an enamored young man in the 1960s Bjelovar. Like most coming of age stories, the film, scored by Darko Rundek, carries a nostalgic tinge. To be sure, the nostalgia is for youth, rather than the country, though some of the story does take place in the realities of socialism, brought to life by Tito’s speeches on the radio and scenes around the Relay of Youth.
In 2011, the film Koko i duhovi (Koko and the Ghosts) became so popular it spawned a sequel, Zagonetni Dječak (Mysterious Boy) two years later. While neither film ever directly or specifically acknowledges its setting in Yugoslavia, the stories take place in the 1970s Zagreb and they’re based on popular children’s books by Ivan Kušan, who wrote them between 1956 and 1996 and whose son Danijel directed both films.
[SOUNDBITE]
PETER KORCHNAK: The 2016 film, ZG80 (Zee-Gee Eighty, ZG being an acronym of Zagreb, and 80 the year…of Tito’s death) by Igor Šeregi, takes place in 1989 and portrays fans of Dinamo Zagreb on a trip to Belgrade for a derby against Red Star.
The Bad Blue Boys get into all kinds of trouble in the country’s capital, in large part thanks to their Delije counterparts. The foul-mouthed road trip tale of sorts pulls no punches, pointing fingers both at the causes of Yugoslavia’s dissolution (looking at you ethno-nationalism and your followers) and at potential sources of reconciliation (in short, the Man).
VLADAN PETKOVIĆ: It’s a comedy. And it is [a] really very engaging film, which works for me really well. I expected it to do a lot better in cinemas, and I expected a release in Serbia, I think there was a small one, but for some reason, this film didn’t come out.
But putting it into this milieu of football supporters, these are not the kind of hooligans that we are seeing today in Serbian or Croatian football. Still every big game, there is a big street fight.
[SOUNDBITE]
With a very good period detail, and with this sort of very believable atmosphere and the kind of conflicts they would have. Already this thing is bubbling up, you know, Tito has died, the country is no longer what it used to be.
PETER KORCHNAK: In 2019, two major films were released in Croatia, premiering at the Pula Film Festival.
VLADAN PETKOVIĆ: One was the film called [The] General, this very patriotic, very nationalistic film about Ante Gotovina, the general and war criminal.
PETER KORCHNAK: Ante Gotovina is a retired French legionnaire and Croatian army general infamous for his role in the 1995 Operation Storm which cleansed parts of Croatia of its Serbian population. He was charged by the International Criminal Tribunal for the Former Yugoslavia for war crimes and crimes against humanity, went into hiding like so many cowards of his ilk, and was eventually captured and found guilty on most charges. All his convictions were later overturned and he returned to his homeland to a hero’s welcome. Posters of his likeness still hang on electrical posts and trees around Lika.
VLADAN PETKOVIĆ: So there was this very triumphant, old school, very obsolete style. I think it sold 75,000 admissions, which is almost an incredible result for local film in Croatia. And there was this whole sort of national celebration thing with flags and fireworks and so on.
But the film that ended up winning the most important awards is docufiction drama called the Diary of Dijana Budisavljević, which is a completely opposite film of this one, because it’s about a woman who was, during the Second World War and fascist Independent State of Croatia, helping save Serbian children, which is then, you know, in this ideological sense a complete opposite of the other film that had lot of admissions but very few awards.
So I think this is a good example of how these, these things work. There are no straight lines here or very little is black and white.
There’s this disconnect between not only the kind of audiences that will go see these films, but the discourse that is pushed from the top of the government and also with strong influence of both Catholic Church in Croatia and the Serbian Orthodox Church, on the other side.
I don’t know exactly who this audience is. Who are the 75,000 from Croatia? Because these figures, how realistic are they? If there are elementary school kids being taken as part of their curriculum to see these films, for instance, or the lobbying on the side of Catholic Church in Croatia for people to see General and organizing special screenings and talks and so on. So there is this whole chicken and egg situation, where there is certainly a large chunk of population that has been for 30 years listening only to like, state propaganda from the national broadcasting news. And on the other hand, you would have nominally more liberal, left-leaning, or in recent years weird libertarian kinds of bubbles within the society that are actively countering what they would consider a regressive cultural direction.
There’s this sort of discrepancy that goes to almost like, these are two different worlds, that if there was a Venn diagram, they wouldn’t even overlap.
Political parties, like the governments always utilize these divisions and prefer to kind of reheat the old hates, international hates between Serbs and Croats because it’s easier to rule that way, it’s the fault of Serbs, Croats, Albanians, or fill it in, than to admit to their corruption and etc. So, there is not a clear indication of what is the driver of the public opinion. Or is the public opinion driving the funding? Or is there a political directive?
Last year, the biggest, I think, non-American hit in Croatia was actually the Serbian film, How I Learned to Fly, by Radivoje Andrić, which was a coproduction between Serbia and Croatia, and I think Slovenia might have been involved. But it’s really important that this is the story that is kind of a continuation of what was sort of normal or regular regular thing in the 70s and the 80s when people in Yugoslavia, when there was a really strong middle class that for instance my family and our friends belong to, and we were always going to the seaside, to the Croatian islands. And this film puts a new girl from the present time going for the first time to a Croatian island from Belgrade. And there is this whole very nostalgia-tinged thing about it because this is a family coming back after 20 years and there is a break in relationships and so on.
PETER KORCHNAK: A 12-year old girl from Belgrade spends her summer vacation with her grandma on the Hvar island. The, quote, “feel-good, warm-hearted and entertaining family film taking you on a charming yet emotional summer sunny adventure by the sea”—
VLADAN PETKOVIĆ: —was a super popular film both in Serbia and in Croatia.
PETER KORCHNAK: Petković maintains that representations of Yugoslavia aren’t really all that.
VLADAN PETKOVIĆ: It’s not that it’s truly nuanced, this representation. I would rather say that it’s not in the focus of the film— of any of the respective films. So it is a background thing that can be interpreted in this way or that way, depending on the overall spirit of the film. To me it feels more like, okay, we are peppering the film with these ideas, rather than making it a point or fundamental thing for the story and the point of the film.
You know, if we were doing this 10 years ago, I think I would have had a lot of different answers and different reactions and different associations from your questions. These cinemas, they’re not necessarily moving away from this very topic, but I think the way societies themselves are moving further away from the idea of Yugoslavia
If anybody is collaborating, it is the filmmakers. And films was made in Yugoslavia were never really just Croatian, Slovenian or Serbian, they were people working across the lines everywhere. And this sort of continued from around the time of Karaula, and on.
And so there is a certain nostalgia, but more in the sense of, I would rather call it pride that there was one this country that really functioned that well and that it produced many great works of cinema. And then that these people after or their children, whether literal children, or the children of this, sort of heirs of these carriers of this flame, are still keeping this idea up, I mean the idea that this is a common cultural space and that there are common values that transcend the borders, and so on (this is more more obvious in documentary cinema, than in fiction cinema). And of course, artists, filmmakers, whenever we meet at international festivals, people from Yugoslavia end up sitting at the same table.
And then when there are these films that are very nationalistic, that are propaganda and so on, it doesn’t feel like part of the same art or the same cultural field. It feels like coming of a completely different place: it doesn’t come out of a place of creativity and humanity, but it rather comes out of this propaganda and the hunger for power and money and status and so on.
PETER KORCHNAK: As you’ve heard me talk about Underground a number of times, so it goes with Crno bijeli svijet (The Black and White World). The popular Croatian television soap opera directed by Goran Kulenović that ran for four seasons between 2015 and 2021 is set in the 1980s Zagreb, with each episode unfolding across one month. The period and socialist realities are recreated in meticulous, Mad Men-level detail, and so, as with many other such productions, despite being anything but nostalgic, nostalgia seeps out of every frame.
The country is ever present, though rarely mentioned by name, through major, real-life Yugoslav events like the Kosovo riots or youth actions or military service or the Sarajevo Olympics or many smaller, local ones. What does play a big, indeed a defining role in the story is new wave music, from the very title and opening song of the show, by Prljavo Kazalište, to songs framing the narrative in many episodes, to some of the characters portraying real-life musicians (Haustor, Idoli, and many others make an appearance) or even playing in bands (you heard one of the show’s stars, Kaja Šišmanović, briefly discuss her role as Una Miličević in Episode 66, “Inspired by Yugoslavia;” Anica Dobra, the mother of little Zoran from Tito i Ja, plays Una’s mother here).
And speaking of moving on: when I asked the show’s co-writer, Igor Mirković, who also made the 2003 documentary about New Wave, Sretno Dijete (Happy Child), for an interview, he kindly declined citing exhaustion with the whole topic of the 1980s.
There’s only so much one can say about a thing, I guess.
[BACKGROUND MUSIC]
PETER KORCHNAK: There you have it, post-Yugoslav and post-Czechoslovak films, some anyway, that keep Yugoslavia’s and Czechoslovakia’s memory alive.
Three additional threads wove through the story for me. A surprising number of these films are based on novels. In a world where movies based on comic books rule the box office, watching book-based movies is both refreshing and makes for a different kind of story-telling. It also speaks to the level of literary culture in the Balkans.
Other than the behemoth of Underground and a couple other notable exceptions that go on for far too long, these films also tend to clock on a shorter side, averaging about 90-95-minute run time. This makes them tighter, more watchable.
The last and perhaps most important commonality is how Yugoslavia and Czechoslovakia are portrayed. Especially in comedies, things are funny—until they aren’t. You’ve heard me point out tragic episodes and ends in many of the post-Yugoslav films. It’s as if the cinematic narratives mirror the country’s fate: all was well until it didn’t end well.
The Czech case is opposite (things do end well for the country, with the overthrow of the communists and a peaceful disintegration of the common country) but within the film narratives, things tend to have at least a bitter ending.
Our story today can have a sweet one…if you take a moment to contribute toward making the future ones possible. Navigate to RememberingYugoslavia.com/Donate and get your ticket to the extended version of this and all other episodes as well as future podcasting adventures around Yugoslavia.
[OUTRO MUSIC – “Jugoslavijo / Od Vardara pa do Triglava” by Horn Orchestra]
PETER KORCHNAK: That’s all for this episode of Remembering Yugoslavia, thank you for listening. Outro music courtesy of Robert Petrić.
Additional music courtesy of YouTube channels Canti di lotta, Bandi militare, and YU 0 [nula] Laki. The vintage camera sound effect by SoundEffectFactory.
The song “Jednou budem dál” courtesy of Supraphon. Buy their music!
Film clips used for review and educational purposes.
All the links are at RememberingYugoslavia.com/Podcast.
Special thanks to Sanjin Pejković and Vjeran Pavlaković.
I am Peter Korchňak.
Čau!
Additional Sources
|
|||||
1053
|
dbpedia
|
1
| 10
|
https://rememberingyugoslavia.com/podcast-celluloid-retro/
|
en
|
Celluloid Retro (Podcast Ep. 76) ⋆ Remembering Yugoslavia
|
[
"https://rememberingyugoslavia.com/wp-content/uploads/2017/11/FFFFFF-0.0.png",
"https://rememberingyugoslavia.com/wp-content/uploads/2021/04/RY-Website-FeaturedImage-v2-945x494.jpg",
"https://rememberingyugoslavia.com/wp-content/plugins/podcast-subscribe-buttons/assets/img/icons/Apple-Podcasts.svg",
"https://rememberingyugoslavia.com/wp-content/plugins/podcast-subscribe-buttons/assets/img/icons/Spotify.svg",
"https://rememberingyugoslavia.com/wp-content/plugins/podcast-subscribe-buttons/assets/img/icons/Stitcher.svg",
"https://rememberingyugoslavia.com/wp-content/plugins/podcast-subscribe-buttons/assets/img/icons/Google-Podcasts.png",
"https://rememberingyugoslavia.com/wp-content/plugins/podcast-subscribe-buttons/assets/img/icons/Podcast-Addict.svg",
"https://rememberingyugoslavia.com/wp-content/plugins/podcast-subscribe-buttons/assets/img/icons/PocketCasts.svg",
"https://rememberingyugoslavia.com/wp-content/plugins/podcast-subscribe-buttons/assets/img/icons/Overcast.svg",
"https://rememberingyugoslavia.com/wp-content/plugins/podcast-subscribe-buttons/assets/img/icons/Castro.svg",
"https://rememberingyugoslavia.com/wp-content/plugins/podcast-subscribe-buttons/assets/img/icons/CastBox.svg",
"https://rememberingyugoslavia.com/wp-content/plugins/podcast-subscribe-buttons/assets/img/icons/Podchaser.svg",
"https://rememberingyugoslavia.com/wp-content/plugins/podcast-subscribe-buttons/assets/img/icons/Deezer.svg",
"https://rememberingyugoslavia.com/wp-content/plugins/podcast-subscribe-buttons/assets/img/icons/Listen-Notes.svg",
"https://rememberingyugoslavia.com/wp-content/plugins/podcast-subscribe-buttons/assets/img/icons/iHeartRadio.svg",
"https://rememberingyugoslavia.com/wp-content/plugins/podcast-subscribe-buttons/assets/img/icons/TuneIn.png",
"https://www.paypal.com/en_US/i/scr/pixel.gif",
"https://rememberingyugoslavia.com/wp-content/uploads/2022/12/Burek-pita-295x300.jpg",
"https://rememberingyugoslavia.com/wp-content/uploads/2021/04/RY-Website-FeaturedImage-v2-300x157.jpg",
"https://rememberingyugoslavia.com/wp-content/uploads/2021/04/RY-Website-FeaturedImage-v2-300x157.jpg",
"https://rememberingyugoslavia.com/wp-content/uploads/2018/05/Dan-Mladosti-Poster-300x170.png",
"https://rememberingyugoslavia.com/wp-content/uploads/2022/08/PngItem_3432503.png",
"https://rememberingyugoslavia.com/wp-content/uploads/2022/10/BBC-News-na-srpskom-Logo.png",
"https://rememberingyugoslavia.com/wp-content/uploads/2022/10/Balkan-Insight-Logo.png",
"https://rememberingyugoslavia.com/wp-content/uploads/2022/10/iRozhlas-Logo2.png"
] |
[
"https://www.youtube-nocookie.com/embed/-2tkoWeQ93c",
"https://www.youtube-nocookie.com/embed/Inu6rA6DLQ4",
"https://www.youtube-nocookie.com/embed/gOx5DkDkceU"
] |
[] |
[
""
] | null |
[
"Peter Korchnak / Remembering Yugoslavia",
"Peter Korchnak",
"Remembering Yugoslavia"
] |
2023-08-14T19:23:27+00:00
|
Remembering Yugoslavia explores the memory of a country that no longer exists through travel writing, interviews, and research and analysis.
|
en
|
Remembering Yugoslavia
|
https://rememberingyugoslavia.com/podcast-celluloid-retro/
|
Films made after 1991 set in socialist Yugoslavia keep the former country present in popular culture. From Tito and Me (1991) to How I Learned to Fly (2022), from Slovenia to Serbia and beyond, from nostalgic tales to dark thrillers…the post-Yugoslav cinematography remembers Yugoslavia. Similarly, Czech directors have tackled the socialist period in their own ways.
With Mirko Milivojević and Vladan Petković (YU) and Veronika Pehe (CS). Featuring music by Spirituál Kvintet and others.
Listen
Subscribe
Support the Podcast
Become a monthly patron on Patreon:
Become a Patron!
Make a one-time contribution via PayPal/credit card:
Episode Transcript
Disclosure: As an Amazon Associate we earn from qualifying purchases.
[JINGLE]
PETER KORCHNAK: This is Remembering Yugoslavia, the show exploring the memory of a country that no longer exists. I’m your projectionist, Peter Korchnak.
Four episodes ago I delved into the history of Yugoslav and post-Yugoslav cinema (make sure you listen to that introduction before you get to today’s story, it’s Episode 72, “An Incomplete Guide to Yugoslav and Post-Yugoslav Cinema”).
One particular genre stuck with me: films made after Yugoslavia’s dissolution that are set in the former country. In other words, movies that remember Yugoslavia.
Let’s reprise with the Bosnian-Swedish film scholar Sanjin Pejković:
SANJIN PEJKOVIĆ: There are mostly two ways of remembering the former Yugoslavia. And the first way would be through very exaggerated nostalgia. And the second way would be through maybe more of an optics of tyranny, or that Yugoslavia was, you know, a prison for the nations, tamnica naroda. The most films would fall in some of those groups.
PETER KORCHNAK: As I continued watching post-Yugoslav films featuring Yugoslavia and talked to more people about it, the picture became a little more blurred, if not more complicated.
I also kept thinking about my former country’s cinematography dealing with the socialist period. To be more precise, because Czechia’s production was so much richer and wide-spanning than my native Slovakia’s, I thought about Czech films and how they might hold up in comparison.
And so showing for you today will be films about the socialist period from the former Yugoslavia, mostly Serbia and Croatia, and from the Czech Republic.
Before we begin, let me acknowledge a few new crew members who made this episode possible. Thank you Adela, Anne, Dan, Dušan, Lev, Sotir, and Tamara for your contributions and pledges. You keep the show rolling.
Have you bought your ticket to Remembering Yugoslavia? Join Adela, Anne, Dan, Dušan, Lev, Sotir, and Tamara and contribute to be a part of the podcast’s continued stardom. Visit RememberingYugoslavia.com/Donate and choose from one of the options there. Camera! Lights! If you prefer a familiar option or if Patreon gives you any trouble, choose PayPal. Action!
[SOUNDBITE]
MIRKO MILIVOJEVIĆ: Yugoslavia is even more present now, in popular culture and everyday culture, than it used to be in the strict terms in some stages of the Yugoslav existence, the existence of Yugoslav socialist state, at least in some periods.
PETER KORCHNAK: Mirko Milivojević is an independent researcher of popular culture, PhD candidate at the University of Giessen, and nonprofit communications professional. He spoke with me from Belgrade.
MIRKO MILIVOJEVIĆ: And it has certainly outlived the Yugoslav state by far because it’s now still a vibrant, lively, but also negotiable space. And as far as the movies are concerned, Yugoslavia is alive in productional sense, as represented in the feature movies, in documentaries, being researched, restaged, also on TV, with various facets from various actors, various generations, various nationalities, transnationally as well, transcending the former borders of the Yugoslav state and so on. And also including the variety of political standpoints, and probably most importantly, memory modes, and politics of memory.
PETER KORCHNAK: Let’s take that as a starting point: Yugoslavia is present in post-Yugoslav cinematographies.
VLADAN PETKOVIĆ: There have been various representations in various national cinemas. And they originally depended on this public perception of what Yugoslavia used to be, which is, of course, built by the media and by the ruling structures.
PETER KORCHNAK: Vladan Petković is a Belgrade-born, Zagreb-based film critic, journalist, festival programmer, and educator, focusing on Central/Eastern European and Balkan cinema.
VLADAN PETKOVIĆ: Yugoslavia had a better maybe reputation in Serbia and or Bosnian cinema. Perhaps, especially in Bosnian, it’s just that Bosnia had very little production until maybe 2005 or so, because it was the country that had the worst of the war.
And while in Serbia, there was there is the whole very wide variety of approaches to [the] depiction of this era, which would then correspond to sort of maybe genre the films were made in and also through their topics, which are most often current ones and then are reflected in various ways towards the past.
Of course, then there were films by Srdjan Dragojević like Pretty Village Pretty Flame, which was also one anti-romanticized look, and then a number of films that also sometimes portrayed Yugoslavia as this dungeon of the nations. And others, we can sees [that] as the time goes on, as more time passes since the war and the breakdown of Yugoslavia, there is a certain nostalgic slant.
PETER KORCHNAK: So to Serbia we go. Of course—
MIRKO MILIVOJEVIĆ: Yugoslavia in Serbia was still present at least nominally after the breakup of the socialist Yugoslav state.
PETER KORCHNAK: That is, another, third Yugoslavia replaced the second, socialist one. It comprised only Serbia and Montenegro, from 1991 to 2006, and is often referred to as rump Yugoslavia.
[SOUNDBITE]
The last Yugoslav or the first post-Yugoslav film, depending how you look at it, was in fact one that dealt with socialist Yugoslavia’s legacy head on.
Tito i ja (Tito and I) by Goran Marković was released in 1992. Period footage showing Tito touring Yugoslav cities to the citizens’ adulation plays under the opening titles, and additional such period footage peppers the movie.
[SOUNDBITE]
Ten-year old Zoran lives in the 1950s Belgrade with his parents (played by Miki Manojlović and Anica Dobra), aunt and uncle and cousin, and grandmother in a shared apartment whose walls he eats. Defying his elders, the short-round boy adores Tito, even sees him in his daydreams. An essay assignment glorifying the president in the contest, “Why do you love Comrade Tito?” earns Zoran a hiking and camping trip to Tito’s home village of Kumrovec. After various adventures and misadventures, headlined by his girl crush Jasna, an older boy, and the adult tour leader Raja, played by Lazar Ristovski, Zoran gives a speech next to Tito’s statue, clarifying his statements in the essay to say he actually loves his parents and a slew of others more than the president, after all.
[SOUNDBITE]
Little Zoran attends Tito’s birthday party at the Beli Dvor residence, during which the big man proclaims his birthday to be a future Day of Youth, but splits during the photo op to attend to the buffet.
In an interview for B92, Goran Marković, by the way a graduate of the Prague film school, called the film autobiographical (as a boy Marković had met Tito himself once, at Beli Dvor no less); he also called it a kind of an epitaph on Yugoslavia’s grave. In fact, because of the situation on the ground, scenes taking place in Tito’s Croatian home region of Zagorje were filmed in Serbia’s Fruška Gora while Yugoslav airforce planes flew overhead toward Vukovar. Still, concluded Marković, the film is “joyful and innocent, as Yugoslavia was remembered by those who had lived in it.”
[SOUNDBITE]
If you’re a regular listener of Remembering Yugoslavia, which I hope you are or will soon be, you’ve already heard me say that it was the movie Podzemlje (Underground) that had kick-started my journey through Yugoslavia’s memory that finds me here and now over a quarter century later.
The film by the director Emir Kusturica won the Palme d’Or prize at the 1995 Cannes Film Festival.
In period reviews, the LA Times called it “a dazzling epic allegory” and “a sprawling, rowdy, vital film laced with both outrageous absurdist dark humor and unspeakable pain, suffering, and injustice.”
The New York Times’ Janet Maslin called it a “feverish, whimsical allegory elevated by moments of brilliant clarity” and an “impassioned metaphorical fable about the tragic fate of [Kusturica’s] homeland.”
And Variety called it “a three-hour steamroller circus that leaves the viewer dazed and exhausted, but mightily impressed” and “one of the most emotionally engaging and exhilarating films at Cannes.”
The movie begins with a Balkan brass band running down the road playing a čoček and casting shadows on a wall. The story indeed unfolds in a Plato’s cave-like world, bookended by wars and parties and punctuated by sometimes subtle, sometimes heavy-handed metaphors and allegories.
We find the protagonists, Marko played by Miki Manojlović, one of Kusturica’s and Yugoslavia’s favorite actors, and Blacky, played by Lazar Ristovski, as wild and crazy friends in Belgrade on the eve of Nazi Germany’s invasion of the Kingdom of Yugoslavia. Animals freed from the bombed out ZOO roam the streets and the duo fight the occupators by smuggling arms, making munitions, and conducting raids. In one daring action, Blacky is injured and Marko hides him and a host of other people in the titular underground basement. But rather than freeing them once the war is over, Marko cultivates for the undeground contingent an illusion the war is still raging, replete with fake air raid sirens and sounds of bombing, thus achieving his ultimate goal: to win and keep for himself Blacky’s love interest, theater actress Natalija. The two keep Blacky and others hidden in the basement, making weapons (even a tank!) for the war to be yet concluded with Tito’s final battle. Above ground, Marko enjoys the privileges of a top party official, hobnobbing with Tito, even unveiling a monument to the supposedly fallen hero Blacky, all the while dealing the underground-made arms on the black market.
Whether you read quote unquote “underground” as the actual physical basement, or as a cellar dungeon of nations, or as communist resistance, or as the netherworld of the dead, the conclusion is that both Marko and Blacky live in an illusion, one imposed on him by a wily political operator, while the purported friend is helping to create his own lie in self-denial. The artificial underground cave is a Yugoslavia created for the common people by the communists; the above-ground Yugoslavia is likewise built on false narratives, reinforced by monuments and Partisan films and profiteering. The two realities often clash, often magically.
The most dramatic collision occurs in a classic Kusturica fashion, at a party, specifically a basement wedding of Blacky’s son. A chimpanzee climbs into the tank, blasts a hole in the wall, and Blacky and the groom escape to the outside world to finish off the fight against the Germans. They stumble onto what they don’t know to be a set of a film fictionalizing Blacky’s story. So the two mistake the filming for reality, a classic tragic end ensues, and then a few more in the film’s 3rd act, the 90s wars.
On the surface, the story reinforces the idea the Balkans are all war all the time. “The underlying presumption is that all Yugoslav wars are reincarnations of the Ur-conflict,” writes the film scholar at the University of Belgrade, Nevena Daković. At the same time, war seems to be imposed from the outside, be it by invasion in the first part of the film, in World War Two, by communist regime propaganda in the second act, and by the country’s breakup in the third, when, even though it’s brothers killing brothers, we actually don’t even know who the real enemy is or why we’re even fighting anymore or what the point of all that violence is and who won and who lost.
All the while, truba, or Balkan brass music, maintains the frenetic pace, turning its author, former Bijelo Dugme auteur, Goran Bregović, into a global world music star. The director, Kusturica, has been quoted as saying his films are closer to the circus or musical theater than to serious literature.
[SOUNDBITE]
In the final scene, cows come home and there is yet another party, with all the characters, now mostly dead, celebrating on a chunk of land splitting off from mainland and floating into the distance. The final line: “With pain, longing, and joy we’ll remember our country when we tell our children stories that begin like a fairy tale with, ‘Once there was a country…’” Perhaps the party is a dance on a grave. Finally, a caption: “This story has no end.”
The Bosnian Muslim director was accused of pro-Serbian bias in the telling of the story. The film is set in Belgrade and all the characters are Serbian and portrayed as victims of circumstance. Period footage of Slovenes and Croats welcoming their German occupiers rankled. The chief of Serbian secret police and Arkan both attended the premiere in Cannes.
At the same time, Serbs come across as opportunists and collaborators, as both the perpetrators and victims of communist crimes, daring and fun and perhaps not so smart, and in fact the story shows conflict between two different breeds of Serbs, Marko’s more sophisticated, urban ones in Serbia and Blacky’s wilder, more Balkan ones outside Serbia proper.
So this old bias chestnut both erases the multilayered nuance of the narrative and ultimately speaks more to the viewers’ biases than the artist’s (of course, Kusturica later went full on pro-Vučić and pro-Putin…but that’s another story).
Dark-humored and accusatory as it is, the film presents an obituary of sorts to Yugoslavia, or, as Daković sees it, a “subtle expression of grief for a ‘country that was once upon a time’ and of the growing awareness that the past should be blamed for the present.” End quote.
Back in 1996, in the safety of newly independent Slovakia’s capital, Bratislava, the repressed university student that was the younger version of me watched the film with fresh experience of having witnessed Yugoslavia disintegrate in war on the TV screen. Kusturica’s alternative take on his disappeared country’s history, set against the frenetic pace of čočeks and rakija and magical realism captured my imagination. It was more complicated down there than what the media were saying. I was hooked—and here I am, unclenched.
[SOUNDBITE]
PETER KORCHNAK: In the Slovenian film Autsajder by Andrej Košak from 1997, a teenager named Sead is new to Ljubljana, in tow of his Yugoslav People’s Army officer father, who is Bosnian, and housemaker mother, who is a Slovene. Sead makes fast friends with some local punks and becomes their frontman, nicknamed Sid.
Sead falls for Metka, whose name etymologically means pearl but, in true Chekhovian pistol fashion, in Bosnian it means bullet. Sead/Sid’s story of perpetual rootlessness and outsider status, friendlessness thanks to frequent relocations, and targetless teenage depression unfolds against the background of Tito’s end-of-life illness in the local hospital. Nothing funny about this coming of age, or perhaps adulting, story with a somewhat foreseeable ending, but the punk angle both points and gives the finger.
[SOUNDBITE]
Tito i Ja, Underground, and Autsider are post-Yugoslav-era films that, as Nevena Daković, has observed, “directly record the changes in the social context that influence the (re)interpretation of the socialist past.” In these films, Yugoslavia acts as a character in and of itself, with its own development arc and plotline. Additionally, these films attempt to come to terms with the socialist Yugoslav past and do so by incorporating historical footage into the narrative. Whether it’s Marko hanging out with Tito or Zoran daydreaming about Tito or Sead watching Tito in a television newscast, fiction and history blend together to the point as to be nearly indistinguishable. In such hindsight, Yugoslavia can be read both as history and as fiction—really as just a story.
Whether they’re comedies or dramas, the three films actually blend the nostalgic and dark elements. What the docufiction technique also does, especially when paired with meticulous reconstruction of the historical-material reality, from cars to furniture to clothing to food products in ways that would be familiar to any Mad Men fan, is to inject nostalgia into the narrative. Even when the treatment of Yugoslavia is critical and its end emphasized as a tragic failure, the viewer can’t help but feel a tinge of nostalgia for the good things that preceded, if not outweighed, all the bad ones. Indeed, as Daković points out, these so-called nostalgia films, quote, “differ from broadly defined historical films in that they do not reconstruct the past but rather evoke feelings of the past” through the use of metonymy, parody, and pastiche.
The mere setting in the former Yugoslavia may evoke in many viewers the feelings of nostalgia. The rites and rituals of the socialist era, from pilgrimages to Kumrovec to unveiling of monuments to people’s heroes to even punk rock bring back memories and recollections of how things were and now are long gone. And the films underscore the darker sides of brotherhood and unity, including alienation, alcoholism, and authoritarianism. Propaganda and the personality cult, whether coming from the media or from schools, are ever present. “To explain the recurrent disasters of the Yugoslav past,” writes Daković, “the films’ narratives reach for myths, fate, and ghosts that haunt the nation.”
Let me mention a couple of lesser known films made in rump Yugoslavia, that is de facto in Serbia, whose stories take place during the socialist period.
[SOUNDBITE]
In Tri karte za Holivud (Three Tickets to Hollywood), from 1993, by Božidar Nikolić, residents of a generic Serbian village at the time of the Cuban missile crisis await the arrival of President Tito. Soon the village splits into pro-American and pro-Russian factions and chaos ensues. Interestingly, the words Tito or Yugoslavia are never uttered, instead it’s the president or leader and the country.
And Lajanje na zvezde (Barking at the Stars), from 1998, by Zdravko Sotra, takes place in 1963 in a fictional small town played by Sremski Karlovci. High school seniors at the very end of their studies pursue love and fun before adulthood begins in earnest, including teasing a professor who bought a Fića but can’t drive well or a school trip to Belgrade and Boka Kotorska.
[SOUNDBITE]
As in any cinematography, films set in secondary school carry the greatest nostalgia-evoking potential. Plus this one, which has been labeled as a cult classic by now, is told as a memory, a flashback to the good old days. Yugoslavia isn’t present as a character per se, but the automobilization storyline, travel to other parts of the country, and actors, especially the older ones, all connote the former country—where you could do anything, including bark at the stars.
[SOUNDBITE – “Bandiera rossa” by Unknown (Instrumental)]
PETER KORCHNAK: “Bandiera rossa” is an Italian labor movement song glorifying the red communist flag. It was (and remains) popular with Yugoslav communists. The punk bands Pankrti, from Ljubljana, and KUD Idijoti, from Pula, covered it in the 1980s (why punks would sing commie songs is a story for another, upcoming episode of Remembering Yugoslavia).
PETER KORCHNAK: I do not recall the song at all from my life in socialist Czechoslovakia. I don’t think it was played there, in fact. Perhaps it’s because, even though it was a communist tune, it was a Western invention and sung in a Western language.
You also won’t hear “Bandiera rossa” in any of the films made there after 1989 about the socialist period.
The 1990s in the Czech Republic saw the release of a few blockbuster films that were set in the communist past. All were comedies.
VERONIKA PEHE: Comedy is a genre, which, by default, is conciliatory in its message, right. There’s some kind of reconciliation usually at the end between different characters who have differences. And this meant that the messages conveyed by comedies about the socialist past were usually also quite conciliatory in the sense that, you know, there were the protagonists who were somehow trying to resist in small ways and then there were the Communists who are usually also portrayed as kind of laughable, sometimes even pitiable characters, you know, kind of, often stupid, vulgar.
PETER KORCHNAK: Veronika Pehe is a historian at the Institute of Contemporary History of the Czech Academy of Sciences, where she researches memory, popular culture, and the systemic transformation of the 1980s and 1990s in Central Europe. She is the author of Velvet Retro: Postsocialist Nostalgia and the Politics of Heroism in Czech Popular Culture. She spoke with me from Prague.
And we discuss additional topics throughout in the extended version of this episode, available to Patreon and PayPal supporters.
Pehe was born in 1988 so her research entails exploring the past that was the lived experience of her parents and grandparents and that her generation knows only second hand.
VERONIKA PEHE: My initial impulse for studying this topic was that I was thinking, well, people who didn’t experience socialism themselves, how do they learn about the past. U nless their parents talk to them, or their grandparents, their main point of access to the past is probably popular culture, it’s probably films or TV series that they watch. And that’s how they gain some kind of shared idea of what socialism was.
The most successful film about socialism in the first half of the 1990s was Tankový prápor (Tank Batallion), directed by Vit Olmer and released in 1992. More than two million people across the former Czechoslovakia saw the now classic comedy—almost twice as many as those who saw Titanic. The first privately produced movie in Czechoslovakia takes place in 1953 and pits a regular guy serving his compulsory military service, played by the dreamboat, Lukáš Vaculík, against his officers and especially the one, played by Miroslav Donutil, whose wife he pursues.
Another military service film—
VERONIKA PEHE: —was called Black Barons. It was about the 1950s, so the most repressive period in the history of Czechoslovak socialism, and it was about the service of political prisoners in the army. We have the political prisoners who are obviously opposed to the system. And within this very repressive setting of forced military service, they somehow try to outwit and make fun of their communist superiors, of the soldiers who are in charge, who are portrayed as generally very dimwitted, and a lot of the humor revolves around that in the film.
PETER KORCHNAK: In the 1950s Czechoslovakia, politically suspect people, like kulaks, clergy, and burgoisie offspring, served in so called Technical Support Batallions. The service lasted four years, twice as long as regular conscription, and they were forced to perform hard labor in mines, quarries, or forests. The existence of these battalions wasn’t made public until 1989; Černí baroni (Black Barrons) popularized it, bringing to the fore different ways the recently concluded socialist period was perceived and interpreted in the country, then still part of Czechoslovakia.
Tank Batallion and Black Barrons were the early examples of films set in the socialist period; both continued the tradition of military service films and TV shows and both contributed to the ongoing public debate about the socialist past.
VERONIKA PEHE: Like other postsocialist countries, the Czech Republic had to deal with the past on a political and legislative level after 1989. And of course, there was also a big discussion about how we as a society talk about the past.
And in the Czech Republic, the discourse of anticommunism was very strong and really dominated this discussion. And in the public sphere, it became basically the only kind of permissible way of speaking about the past: the communist regime was a totalitarian dictatorship, we have to condemn it, and that’s the only way that we can move on. That was kind of the dominant narrative.
It’s important to point out that that period was a dictatorship and there were many injustices committed and that’s also why legislature [sic] was put in place that was supposed to remedy those in justices to an extent. But we also need to be aware of how the political and media ecosystem worked and continues to work in the Czech Republic from the 1990s onwards.
How this kind of cultural production approaches the past is one thing. Then we also have memory politics: how politicians, opinion makers in the media talk about the past, that’s another level.
Then we also have something we could call vernacular memory, so how regular people, different social groups, remember the socialist past.
And these different levels don’t necessarily correspond with one another. You know, they can produce very different pictures. And the memory of socialism is very different on these levels and for different social groups as well.
If we focus on popular culture, we can talk about nostalgia to an extent. But my argument would be that actually, it’s probably more pertinent to speak about retro.
PETER KORCHNAK: Nostalgia versus retro has come up a number of times on the show. To refresh your memory:
VERONIKA PEHE: Nostalgia is an emotion relating to the past. There’s an element of longing. And of course, we can discuss those different types of that longing, you know, that for instance Svetlana Boym defines as reflective or restorative. But it is some kind of emotion about the past.
Retro is actually a kind of very unemotional approach to the past, right? It’s an aestheticizing way of looking at the past but one that doesn’t really have this emotional dimension. And it’s kind of this decoupling of emotion that allows us to view the past in this kind of pick and mix way. So what’s typical of retro representations, of their aesthetics, is that they kind of choose visually attractive elements of the past which aren’t necessarily even historically accurate. But that’s not the point. It’s all about packaging the past in a kind of visually attractive look. This kind of aestheticization allows cultural producers to push the political dimension into the background, right. It’s something that’s rendered non-threatening through this aesthetization. And perhaps that’s also why these retro films and TV series were very popular, and they were popular across generations.
PETER KORCHNAK: As in the former Yugoslavia and elsewhere in the former Soviet bloc, the generational change affected the pop cultural discourse.
VERONIKA PEHE: It’s important to realize that the people who got into decision-making and opinion-making positions were often people who, in 1989, were of the kind of generation that was coming of age. Often they were involved in the Velvet Revolution directly, so they were very much opposed to communism, they were very anti-communist. And these were the people who then formed the new media which were then creating a public discussion about the past. And a lot of these people continue to hold important positions in the media, even today, 30 years on. And this kind of discourse of anticommunism continues to be very prevalent in [the] Czech public debate, even though I think that it doesn’t necessarily correspond to vernacular memory, or kind of what different levels of society think and how they remember the past.
And there were moments in the past where we could get a sense of that kind of discrepancy, right, that there’s some kind of opinion-making level within society that says one thing about the past and then there are other people, let’s say, regular readers or viewers, who thinks something else and who perhaps have a bit of a more positive or even nostalgic appraisal of their experience of socialism.
PETER KORCHNAK: At the end of the 1990s, for example, there was a big debate in Czechia. On one side were anti-communists who said singers from the socialist era, like Karel Gott, the Czechoslovak Tom Jones, let’s say, should as collaborators no longer be allowed to perform. On the other was the populace who continued to love their Karel Gotts as part of their lives, if only for continuity’s sake. In film, the television series Třicet případů majora Zemana (Thirty Cases of Major Zeman) was paradigmatic.
VERONIKA PEHE: The 30 Cases of Major Zeman was a series produced in the 1970s, about a police officer who is a good communist, and he kind of solves 30 different cases, as the title suggests, there were 30 episodes, and manages to kind of get rid of various dangerous characters who are perhaps, spying on Czechoslovakia, and so on. The series actually portrayed the 30 years after the Second World War, each episode is set in one year from 1945 onwards.
Czech Television wanted to rescreen it at the end of the 1990s. So debates about that started in 1998 on whether it should be aired or not. And there were a lot of people, influential opinion-makers in the press at the time, saying, Well, no, this is a really highly ideological product of the 1970s, it presents a very distorted picture of the past. And there was a lot of anxiety amongst anticommunist commentators at the end of the 1990s that this would somehow be perhaps dangerous to young people who don’t remember the period themselves. And that this would present a false picture of the past. And there was a lot of discussion about whether the public broadcaster should show the series.
PETER KORCHNAK: A private channel in Slovakia had screened the show the previous year without controversy. The attitude of the Slovak public toward the socialist period had something to do with it—for that check out Episode 71 comparing Yugonostalgia with nostalgia for socialism in Slovakia—but it was also a private, not public channel.
Side note: For about a decade to 2017 there was a divey restaurant in downtown Bratislava called At Major Zeman’s.
In Czechia, a compromise was reached whereby the public broadcaster showed the series but added a documentary and a discussion after each episode explaining the TV show.
VERONIKA PEHE: From a historians point of view, this is kind of funny. You know, at the time, the series claimed, we, the communists, have the correct interpretation of the past, and now here’s Czech Television in 1999, saying like, well, actually, no, here’s our kind of liberal democratic interpretation of the past, and that’s the correct one.
PETER KORCHNAK: While the controversy dominated the public sphere, Czech Television and the press also received countless messages, letters, and other responses from the public expressing gratitude for the rebroadcast and satisfaction with it, pointing out the show had been part of life and was today not harmful in any way.
And, adds Pehe, members of younger generations who had limited or no lived experience of socialism saw it as postmodern entertainment, seeing the heavy-handed ideologization and the formulaic aesthetic with irony, as a retro parody of itself.
VERONIKA PEHE: This discrepancy has definitely widened over the years, for various reasons.
On the level of popular culture, cultural producers have generally reproduced this kind of anti-communist discourse. So even though a lot of films and TV series have been made, which, in a way, look kind of nostalgic in their visual aesthetics, in the sense that they display fashions and hairstyles and the material culture of the period with, you know, recreating it quite lovingly, right, and allowing viewers to kind of indulge in these aesthetics.
At the same time, the political messages of many of these films and TV series, and also also novels that were made in the Czech Republic after 1989 are pretty clear that, you know, the communist regime was bad. The heroes that these representations focus on are usually anti-communist in some way, they’re setting themselves up against authority, against communist authority, and they engage in some kind of form of resistance, even if it’s very minor.
[SOUNDBITE]
PETER KORCHNAK: The best movie in the genre is Kolja by Jan Svěrák. Released in 1997, the film won the Oscar for Best Foreign Language Film and is probably the best known Czech film since independence. Kolja is a prototypical example of Czech comedies about the socialist period that heavily employ retro elements and softly depict petty resistance amongst the citizenry amidst the absurdities of the socialist regime.
[SOUNDBITE]
VERONIKA PEHE: This Czech man, a kind of older bachelor who never had any children of his own, is left with this little Russian boy. And the film is about the relationship that develops between them. It’s a comedy of sorts, as practically all Czech films of this period that that portrayed the past.
That then changes later on. In the 2000s, we start to get a lot more crime films and thrillers about the communist past as well. But not in the 1990s, it seems that at that time, humor was really the kind of principle mechanism of coming to terms with the past kind of laughing away things that were perhaps difficult, traumatic, or that people didn’t really want to deal with, you know, like the fact that many people were members of the Communist Party, and many people did cooperate with the authorities and they considered it probably quite normal and perhaps didn’t even think about it very much. But this is something that filmmakers kind of tried to mitigate by offering these very, kind of self congratulatory tales, which Kolja also is, about how people managed to resist communist authorities in small, often quite petty ways.
The character’s name is Louka. And Louka is somebody who’s been demoted from his job for political reasons and in order to make a living he plays music at a funerals, even though previously he was a member of the of the Philharmonic. And in various small ways, which are also moments of humor in the film, he expresses his opposition to the communist regime.
For instance, he doesn’t want to put up red flags in his window on a particular communist anniversary. But then, eventually, he does because he, he realizes that he might draw attention to himself if he doesn’t, and he’s got this little Russian boy now and he doesn’t really know what’s going to happen with him. And then there’s this kind of humorous scene where he’s trying to pretend in front of someone that he didn’t put up the flags, because that would kind of be an expression of his conformity with the regime and he wants to appear oppositional and brave, in fact, for not putting up the flags, but the little boy enters the room and puts up the blinds and the flags are there and Louka is exposed as in fact being a coward.
And these are the kinds of small moments of what I call petty heroism that are then somehow deflated and generate humor in these films. And there are a lot more moments like that in Kolja and in many other films where characters go out and, you know, do something that gives them personally some kind of sense of doing something resistant even if then, the story shows that actually, whatever they did was quite meaningless or didn’t have any effect.
[SOUNDBITE]
PETER KORCHNAK: That element of resistance, petty or otherwise, to socialism, or rather to the totalitarian regime, is very much present in the Czech society.
VERONIKA PEHE: The important thing to realize about this kind of nostalgia for resistance, because, you know, in a way, it is nostalgic, you know, it’s like, oh, look at those good old days, when, you know, we could tell a joke, and you know, it was already really subversive, and we could get in trouble for telling it, but we told it anyway. We can’t do that nowadays. So you know, nostalgia for this kind of emotion of resistance with perhaps being a little rebel. That’s something that that comes up a lot. But it’s very much focused on the notion of the ordinary person, right? All these films, novels, TV series are about, so to say, ordinary people who somehow get by, through these kinds of resistant gestures.
PETER KORCHNAK: Ironically, at the same time the debate about how to portray the socialist period (or not), another blockbuster about those times came out; Miroslav Donutil again played a conformist character.
[SOUNDBITE]
VERONIKA PEHE: In 1999, the film Pelíšky was released, directed by Jan Hřebejk, who went on to make a whole set of films about the socialist past. And this was an extremely popular film, it was seen in cinemas by more than 1 million people in the Czech Republic. And at the time, you know, there were 10 million people living in the country. And it’s been repeated on television so many times since. So really, you know, it’s a very, very well known film.
And this was a film which definitely could be, in a way, seen as nostalgic, certainly for this kind of aesthetics of socialism. But precisely because it kind of mocked characters who represented communist authority, kind of, you know, maintained this this kind of ironic gaze, it didn’t really upset those same anticommunist commentators who were so worried about the continued presence of socialist popular culture in the Czech Republic, because these films like Pelíšky did allow for that kind of anti communist interpretation.
[SOUNDBTE]
PETER KORCHNAK: A few years after Pelíšky (Cozy Dens), in 2003, Hřebejk made another socialism-era film, Pupendo (the name refers to a coin trick one does on a person’s body). While still containing elements of humor, Pupendo is a more serious film, perhaps marking a transition to the next phase of films about socialism (more on that later on in the show).
Like in Pelíšky, in Pupendo stories of two families intertwine: one is involved with the Party and the other, of artists, quite the opposite (the film is set in 1984). Matters come to a head when the banned sculptor accepts a commission for a statue of a World War II-era Red Army general.
[SOUNDBITE – “Jednou budem dál” by Spiritual Kvintet]
PETER KORCHNAK: The cover of “We Shall Overcome” by Spiritual Kvintet was one of many folk-like songs that formed the soundtrack to the Velvet Revolution in my homeland, Czechoslovakia, and particularly in Prague. I am playing it for you with the kind permission of the label Supraphon. Follow the band (Facebook) and the label on social media (Facebook / Instagram) and buy their music online! All the links are at RememberingYugoslavia.com/Podcast.
PETER KORCHNAK: In 2006, the movie Karaula (Border Post) by Rajko Grlić made a splash across the Balkans just around the time Montenegro became independent and Yugoslavia was truly no more. The movie marked a decisive inflection point in the post-Yugoslav cinematic history. While coproductions and collaborations had already been happening, particularly since the wars of Yugoslavia’s disintegration ended, Karaula was the first coproduction of entities from all former Yugoslav republics.
DIJANA JELAČA: One could make a very convincing argument that in the contemporary landscape of post-Yugoslav cinema, Yugoslavia is recreated time and again because if you look at the list of coproductions that are happening, it’s sort of a definition of Yugoslavia. All of the countries are working time and again together to coproduce films because neither of the individual industries is strong enough to turn out number of films on its own. So coproductions are a way to keep going and survive.
PETER KORCHNAK: That was Serbian-American film scholar Dijana Jelača in a previous episode.
On the creative end, co-productions revived Yugoslavia in a way through cross-border collaborations, and on the consumption end, films from the various republics (and particularly such co-productions) increasingly circulated through the rest of the former country as well. Co-productions tone down the particularist rhetoric of national and nationalist cinemas and, conversely, bolster themes and stories that speak to broader audiences and interpret and re-interpret the socialist past in more palatable ways. What can often seem like nostalgia is more a matter of economics than anything.
On top of all that, Karaula was a comedy, or rather tragicomedy, that dealt with the socialist period as well. And it, too, centered around the military, the JNA, the Yugoslav People’s Army, being one of the glues that held socialist Yugoslavia together. The year is 1987, the place is a border post between Macedonia and Albania over Lake Ohrid.
MIRKO MILIVOJEVIĆ: The director Grlić himself actually described it that the overall idea of the movie actually was to present the allegorical image of Yugoslavia.
PETER KORCHNAK: Film scholar Mirko Milivojević again.
MIRKO MILIVOJEVIĆ: Rajko Grlić being one of the most popular Yugoslav directors, there is a trademark of his movies, the melodrama and the comedy elements, singling out also some of the interethnic stereotypes and then really deconstructing them, reflecting on them and so on, even during the Yugoslav period.
[SOUNDBITE]
PETER KORCHNAK: Two buddies, Ljuba, a Serb, and Siniša, a Croat, serve at the border post, doing the best to shirk their duties, chase local skirt, and generally make their conscripted lives more interesting with pranks and banter. When the post commander, Safet Pašić, who is Bosnian, falls ill—
[SOUNDBITE]
—he recruits Siniša, who is a doctor, to both cure him and to act as a courier between the post and his home in a nearby town (real-life Bitola) where his Macedonian wife goes about her disenchanted life.
To buy some time for his antibiotic treatment, Pašić declares an emergency at the border, claiming the Albanian enemies are preparing to attack, and forces the soldiers to prolong their service and make defensive preparations. Predictably, things get out of hand…and there’s a yet another tragic end.
The period, location, and plot settings, interethnic romances and bromances, the soundtrack, and other elements combined for the film to be commonly read as nostalgic right out of the theater.
MIRKO MILIVOJEVIĆ: There is this kind of the sense of the of the closure the sense of the beginning of the end, and the plotline suggests that. The soldiers and their commander, they belong to different generations: whereas the lieutenant symbolizes the army, the official setting, the official symbol of the state, strict with rules, with socialist doctrine, the overall Yugoslav myth of the Yugoslav National Army, brotherhood and unity, Tito cult, and so on. Which is basically the top down narrative of the Yugoslavia [sic].
And the bonding that is actually created among the soldiers, and in particular, these two, of course, the Serb and the Croat, the brotherhood among these two ethnic groups and representatives, that actually comes from bottom up, from within. Aand not only does it go like on their ethnic lines, but more generationally and more following the lines of this alternative identity of the New Wave music and culture, popular culture and so on, where they find their identification. And, in a sense, kind of create the new collective identity or suggest at least, which is set in conflict with the lieutenant and everything that it [sic] also symbolizes.
It also has this bittersweet, affective component, which again is not necessarily the idealization or romanticization regarding of the Yugoslavia, the state, but also of personal and collective experiences, and collective and personal memories, and also showing up its ambivalences, paradoxes, contradictions, and so on.
So it all both fits and recreates and even develops the narrative or the overall idea of nostalgia and Yugonostalgia.
PETER KORCHNAK: One of the funniest and most poignant moments in Karaula is when Ljuba plucks red letters from the slogan on a barrack with Tito’s quote “Let’s take care of brotherhood and unity like the apple of our eye” to write “Električni Orgazam,’ Electric Orgasm, which is the name of a Belgrade new wave band. This does not go over well with the afflicted commander.
[SOUNDBITE]
Yugoslav-era rock music is often a character of its own in these films. It evokes the era and references it in a non-political way, which in turn helps to reinforce the nostalgic element. It is also often connected with urban and urbane characters standing in sort of opposition to the more lowbrow folk music, or zabavna muzika, favored by people affiliated with the regime. The long standing divide in the former Yugoslavia is less ethno-religious and more urban-rural.
MIRKO MILIVOJEVIĆ: Yugoslav rock and pop music is being then recreated and reused and giving it furthermore the afterlife in the post-Yugoslav cinema. These movies that are dealing with Yugoslav pasts almost necessarily include this music as their soundtrack. So they then recreate, rebuild, help [the] dissemination of Yugoslav popular culture and music as well to go then across the media, to go across the national boundaries, to go transgenerationally and so on, which then also, in a way, further develops even the discourse on yugonostalgia.
It is now used as a nostalgic element. It’s open for multiple readings, including the escapism, commodification, commoditization of this culture of this music, of this entire production as well in the overall context.
Whereas, for instance, a lot of these songs, a lot of these bands, a lot of this, this old production, the scene, and so on, were not necessarily non-political. That does not mean that they were all absolutely antagonistic to the Yugoslav socialist regime or the ideology or so on, that they were nationalist instead of socialist, no. But that they have actually performed musically, lyrically, performatively, and so on, in terms of their appearance, generationally, of course, that they brought another element that they brought at least another kind of input to even the overall political discourse, the overall cultural production and cultural imagination of the period as well.
The new wave and the scene of the of the Yugoslav popular and alternative music of the 1980s, that was the production that really looked forward in the future, so to say. That was a futuristic (musically lyrically, productionally [sic]) scene that is now being actually looked at backwards, either by the recipients or the researchers or the audience or even on the other hand by the very same producers and actors from that period as well in terms of revivals of the bands, covers of the same songs by other bands and use it in in completely different purposes in contexts, and so on.
PETER KORCHNAK: Back in Serbia, a number of films made in the teens picked up on the 1960s themes from the previous decades.
Doktor Rej i djavoli (Doctor Ray and the Devils), from 2012 by the late Dinko Tucaković, combines acted and documentary footage to compose the mysterious story of the American director Nicholas Ray, of the Rebel Without a Cause fame, who spent a part of the 1960s in Belgrade to make a film, which never got made.
Falsifikator (The Counterfeiter or Forger), from 2013, by the usual suspect from the outset, Goran Marković, also features late 1960s documentary footage in telling the story of an elementary school principal in today’s Republika Srpska who forges diplomas out of the goodness of his heart. Events of 1968 that presaged the end of Yugoslavia converge on the protagonist’s own personal drama.
At any rate, while directors who were making movies in the socialist period continued to make films that take place there, younger directors tend to focus on more contemporary themes.
VLADAN: Rajko Grlić was making films in the 70s and the 80s, and, you know, Kusturica is Kusturica. And I think these authors are perhaps less cautious because they’re kind of very big in their careers and there is nothing much that anyone can do to them and maybe feel more free to address it. And also, they are the authors who lived through this period.
Unlike most of the authors working now who are now in their 40s and 50s and who only kind of experienced the end of the country. They’re mostly more interested in what came after than necessarily in the underlying causes, which could be probably seen in many films of the late 70s and 80s period in Yugoslavia.
PETER KORCHNAK: Recall what art historian Dina Iordanova wrote about post-Yugoslav cinematographies: “reassessing the communist years is not a major theme in (former Yugoslav) cinema, partly because this critical project had already been carried out in the 1980’s and partly because of the gruesome breakup that imposed a different set of concerns around the aura of Tito’s legacy.”
In addition to the, let’s say, uncontroversial 1960s, other time periods get their share in the projector light.
Plavi voz (Blue Train), from 2010 by Janko Baljak, takes place during the week of mourning following Tito’s death in May 1980 at a high school where students vie for each other’s sympathies and compete in a beauty pageant. In a trend we’ve seen in the U.S., the successful film was turned into a TV series.
Atomski zdesna (Holidays in the Sun) from 2014 by Srdjan Dragojević, of the Pretty Village Pretty Flame fame, opens with period footage of children splashing in the sea and the caption: “Socialist Federal Republic of Yugoslavia guaranteed every worker two weeks of free summer vacation.”
The film takes place in the present day, at a time share resort, but those free vacations in coastal resorts are used as a sales technique to underscore the faults of socialism and advantages of capitalism; the past anchors the piece featuring characters from all the former republics.
[SOUNDBITE]
Bičemo prvaci sveta (We Will Be World Champions), from 2015 by Darko Bajić, fictionalized the story of Yugoslavia’s first gold medal at the 1970 world basketball championships. This film too was turned into a television show.
And Toma, from 2021 by Dragan Bjelogrlić, himself a star of the popular 1980s Yugoslav show Bolji život as well as the aforementioned Pretty Village, Pretty Flame, is a megapopular biopic of the poet, chansonier, and bohemian Toma Zdravković who achieved the zenith of his fame in the 1960s and 70s Yugoslavia.
“Toma’s popularity, the nostalgia factor (sometimes played for shameless sentiment) plus sizable excerpts from his appealing songbook should attract viewers from across the republics of former Yugoslavia and the diaspora,” wrote Variety in a review. Time period plus music equals nostalgia.
More importantly, reflecting Serbia’s nationalist turn in recent decade-plus—
MIRKO MILIVOJEVIĆ: —this would be probably overshadowed by the most recent production, that was thematize Yugoslavia but as the kingdom, the first Yugoslav state, the Kingdom of Yugoslavia, which would then in [the] past 10 years, actually be more present in the cinematic and TV production in Serbia and will gain more popularity than the representation of socialist Yugoslav period, which would then be left again, to some some excessive elements or the already critically acclaimed and popular Yugoslav directors, such as Goran Marković.
PETER KORCHNAK: One example, available in the U.S., is the series, now in its third season, Senke nad Balkanom, which translates as Shadows Over the Balkans but is streaming under the title, The Black Sun. This crime drama directed by and starring Bjelogrlić, takes place principally in the 1920s and 30s Belgrade.
[SOUNDBITE – “Pochod samopalníků” (March of Machine Gunners) by Unknown]
PETER KORCHNAK: “The March of Submachine Gunners” was one of the most popular compositions in the former Czechoslovakia. Composed by Jan Fadrhons in 1952, it was one of the main military marches of the Czechoslovak People’s Army.
Pelíšky (Cosy Dens) was one of the few Czech films set in the 1960s. The other rarely depicted elements of socialism were the normalization period, that is the 20 years between the invasion and the revolution, and dissent.
VERONIKA PEHE: Very infrequently has Czech popular culture portrayed dissidents, dissidents like Havel and others…
PETER KORCHNAK: Only about 20 films made between the end of socialism and the pandemic in the Czech Republic were set in the socialist period, that’s about 12 percent of all production in the country, including the period of Czechoslovakia.
“There are not many references to the Czechoslovak past in Czech films, and those that do appear are seldom more than superficial hints or background for melodramas or comedies,” wrote the film critic Petra Dominková. “Can it be that Czech society, together with Czech film directors, is experiencing a sort of amnesia towards its recent history?”
VERONIKA PEHE: There have been a few films, but actually, there’s something that seems somehow uneasy for filmmakers or writers in approaching the topic of dissent because it was such an exception, right? Very few people actually signed Charter 77, it was, you know, a relatively small group of people who were very important in terms of global human rights initiatives in the second half of the 20th century (they were very significant also internationally) but they were, you know, not very numerous. And in fact, many people in Czech society were probably not particularly aware of what Charter 77 was, and what what they were doing.
VERONIKA PEHE: And for filmmakers, you know, in this cultural memory, it’s somehow quite difficult to handle this exception of dissent. So there have been a few films, but actually, they portray this dissident milieu as hedonistic, they focus a lot on this kind of element of open relationships, which is something we also know from memoirs, from interviews with people who were dissidents that, indeed, within this community, there were a lot of kind of atypical family setups, lots of parallel and open relationships and so on. And this is something that’s perhaps quite attractive to filmmakers, because it’s, you know, it’s kind of juicy, so to say, as a topic for portrayal. You know, that you can make a film about Havel and the troubles he has with his wife, because he also has several other women, whom he’s seeing at the same time, and, you know, how does he do that? But what gets lost in in these narratives is actually the kind of political dimension of dissent, right?
If we look at a recent film, which was called simply Havel, and it was a biopic about Václav Havel, it’s all about his, basically his troubles with women. But it’s completely not clear from the film, why he was such an important oppositional thinker, why Czechoslovak dissent actually coalesced around him, why his personality was somehow so significant and enticing for others. You know, none of that really comes comes across, nd we don’t really get a sense of what his ideas were and what he was fighting for. We get a sense that he was a kind of wimpy womanizer.
This is quite an interesting aspect of the Czech memory of socialism that, you know, we have this very strong focus on ordinary people who somehow tried to resist communist authority. But there’s a lot of uneasiness about portraying dissent.
PETER KORCHNAK: If we think of The Tank Batallion and Havel as bookends to the evolution of how the Czech cinema depicted socialism, the shift from comedy to drama in the middle was a significant one.
VERONIKA PEHE: This kind of movement from comedy, which was very prevalent in the 1990s, to more serious genres is something that’s maybe quite typical of cultural memory in general, in the sense that those early cultural appraisals of the socialist past were quite ambivalent.
With the passage of time, representations start to get much more black and white in their portrayal.
PETER KORCHNAK: The context for the shift was the opening of secret police archives and, in 2007, the launch of the Institute for the Study of Totalitarian Regimes and the public debate that surrounded it.
Funded by the state, the Institute has its parallels in Poland or in my native Slovakia where since 2002 the Nation’s Memory Institute studies repressive state regimes from 1939 to 1989.
And so, from the late mid-aughts on, in Czech literature and cinema, stories about ordinary people resisting the communist regime in petty ways shift toward grander dramatic, even heroic narratives of resistance. Comedies give way to dramas, which tend to center on the conflict between the secret police, as the villains, and the protagonists, often artists.
VERONIKA PEHE: Around 2009, let’s say, there’s this kind of whole crop of films like Pouta (Walking Too Fast, in English) which is the story of a secret police agent, a kind of really evil secret police agent, it’s a thriller.
And then we have Ve stínu (In the Shadow), again a kind of crime story from the 1950s, where this kind of very good hearted, honest old-school detective is also trying to kind of serve justice in a situation where the secret police has its own nefarious designs.
We also get stories about the 1970s, 1980s. For instance, in the world of sport, the film Fair Play directed by Andrea Sedláčková, is about a professional sports woman who resists the kind of official doping policy of the Czechoslovak authorities. And so on.
So, you know, these are stories about people really kind of making big statements and people who are willing to risk a lot in order to maintain their kind of moral integrity. Which is something we didn’t have in those comedies that much, right, we kind of have people who performed the small acts of resistance without taking any big risks.
This is the main development we see in cultural memory in the Czech Republic, this kind of movement from retro comedies to more much more serious, but also quite black-and-white depictions of the past.
PETER KORCHNAK: And most recently—
VERONIKA PEHE: With the arrival of streaming platforms, you know, which have changed a lot the way we consume television, there’s also been a whole crop of TV series that aspire to quality TV but also portray the socialist past produced, for instance, by HBO.
PETER KORCHNAK: The 2019 limited series show Bez vědomí (The Sleepers) is a tight, meticulously period spy thriller featuring a couple of exiles who return to Czechoslovakia just before the Velvet Revolution (the show was released on the revolution’s anniversary) and get themselves into bit of a pickle involving the Czechoslovak State Security, the Soviet Army, the British Embassy, and others with their own agendas.
Still, more than three decades or a generation after the fall of socialism—
VERONIKA PEHE: These two modes of representing the past, as either comedy or thriller, have kind of slightly depleted themselves by now, you know. There’s been a lot of these TV series and films. And cultural producers who want to portray the pre-89 period kind of have to come up with something else. And there have been some, some attempts at that, you know, there was, for instance, [a] Czech television series a few years ago, called Svět pod hlavou (World Under One’s Head), which was about the 1980s but it involves kind of sci fi elements and time travel. So you know, here you can really see a departure, right, that cultural producers are thinking like, Well, what else can we do to actually make the past attractive?
PETER KORCHNAK: In the rest of our conversation, Pehe made a few predictions about the direction that cultural production in Czechia is taking and compared cultural production about socialism in Czechia with Slovakia and particularly the former East Germany.
[SOUNDBITE – “Crveni makovi” (Instrumental) by Unknown]
PETER KORCHNAK: “Crveni makovi” (Red Poppies) is a song by the Croatian poet Mihovil Pavlek Miškina. For many it is associated with May Day, for others it’s a Partisan song. I was unable to track down the author of this instrumental rock version.
YU 3: Croatia
PETER KORCHNAK: The other major cinematography in the post-Yugoslav space, Croatia, presents a more clear-cut, if not complex, case of periodization, similar to the Czech case. In the 1990s—
VLADAN PETKOVIĆ: —the national policy was a total kind of an attempt to have a clean break with Yugoslavia in a certain building a national identity in opposition to the idea of Yugoslavia, and especially, of this common country that was shared with Serbs in particular. So it’s kind of with this whole national, nationalistic identity policy that the these representations were quite negative, quite reductive and simplified.
PETER KORCHNAK: Vladan Petković again.
Official, or mainstream cinematography in newly independent Croatia centered on national and nation-building themes. As Nikica Gilić has observed, this was merely a continuation from the 1980s Yugoslav era, when after Tito’s death the top-down reins on popular discourse loosened. Films in the 1990s deal with religion, nation, war, emigration, as well as contemporary economic realities. But Yugoslavia, too finds its way to the silver screen. By now you know we’ll be talking about comedies again.
MIRKO MILIVOJEVIĆ: In the Croatian national context, it will be more of a comedy based oppositional narrative to the official, nationalist memory discourse, that the representation of Yugoslavia will find its place.
PETER KORCHNAK: Leading the way was Vinko Brešan. His 1996 film Kako je počeo rat na mom otoku (How the War Started on My Island) pits Croatian villagers on an unnamed Adriatic island (the real life location is a fort near Šibenik) against the Yugoslav People’s Army refusing to leave their garrison after Croatia’s independence proclamation. The locals try everything to coax the military unit, under the command of an ethnic Serb, to leave: music, speeches, impersonation of military command…but nothing works. A ruse orchestrated by the father of one of the soldiers solves the problem but not until, you guessed it, something tragic occurs.
Kako je rat… ended up becoming one the most popular Croatian films of the 1990s, winning a bunch of awards, both domestic and international, and voted one of the best Croatian films of all time.
[SOUNDBITE]
PETER KORCHNAK: Brešan’s next film, Maršal (Marshall Tito’s Spirit), is from 1999. The story takes places on the island of Vis where Yugoslav Partisan veterans start seeing Tito’s ghost. Scenarios unfold, including an armed insurrection to restore socialism and yugonostalgic tourism to capitalize on the event.
MIRKO MILIVOJEVIĆ: The setting is in the present day but it’s actually dealing with the leftovers with the legacy, unwanted or unwanted, discovered, rediscovered, haunted and so on, the legacies, dealing in the post-Yugoslav present with the leftovers and symbols, and various elements of the Yugoslav past and recreating that in various manners.
PETER KORCHNAK: The turning point in how Croatian cinematography deals with the socialist Yugoslav past can be traced to the death of the first president of independent Croatia, Franjo Tudjman, in 1999 (and to a lesser extent the death of Slobodan Milošević in 2006). Similar to Tito’s death, with the two strongmen who drove the Serbo-Croatian conflict in the 1990s gone, pop culture in both countries found a way to move on.
VLADAN PEKOVIĆ: Films that are built exactly on this nostalgia for the certain era started appearing in Croatian cinema since 2010s. I think after this initial tension sort of dissolved and Croatia kind of moved away and became part of the EU and so on, maybe there was this feeling among authors that now maybe it’s safe to bring back this, this sort of feeling.
PETER KORCHNAK: Ne dao Bog većeg zla (God Forbid Something Worse Would Happen) from 2002, by Snježana Tribuson, is a story of an enamored boy becoming an enamored young man in the 1960s Bjelovar. Like most coming of age stories, the film, scored by Darko Rundek, carries a nostalgic tinge. To be sure, the nostalgia is for youth, rather than the country, though some of the story does take place in the realities of socialism, brought to life by Tito’s speeches on the radio and scenes around the Relay of Youth.
In 2011, the film Koko i duhovi (Koko and the Ghosts) became so popular it spawned a sequel, Zagonetni Dječak (Mysterious Boy) two years later. While neither film ever directly or specifically acknowledges its setting in Yugoslavia, the stories take place in the 1970s Zagreb and they’re based on popular children’s books by Ivan Kušan, who wrote them between 1956 and 1996 and whose son Danijel directed both films.
[SOUNDBITE]
PETER KORCHNAK: The 2016 film, ZG80 (Zee-Gee Eighty, ZG being an acronym of Zagreb, and 80 the year…of Tito’s death) by Igor Šeregi, takes place in 1989 and portrays fans of Dinamo Zagreb on a trip to Belgrade for a derby against Red Star.
The Bad Blue Boys get into all kinds of trouble in the country’s capital, in large part thanks to their Delije counterparts. The foul-mouthed road trip tale of sorts pulls no punches, pointing fingers both at the causes of Yugoslavia’s dissolution (looking at you ethno-nationalism and your followers) and at potential sources of reconciliation (in short, the Man).
VLADAN PETKOVIĆ: It’s a comedy. And it is [a] really very engaging film, which works for me really well. I expected it to do a lot better in cinemas, and I expected a release in Serbia, I think there was a small one, but for some reason, this film didn’t come out.
But putting it into this milieu of football supporters, these are not the kind of hooligans that we are seeing today in Serbian or Croatian football. Still every big game, there is a big street fight.
[SOUNDBITE]
With a very good period detail, and with this sort of very believable atmosphere and the kind of conflicts they would have. Already this thing is bubbling up, you know, Tito has died, the country is no longer what it used to be.
PETER KORCHNAK: In 2019, two major films were released in Croatia, premiering at the Pula Film Festival.
VLADAN PETKOVIĆ: One was the film called [The] General, this very patriotic, very nationalistic film about Ante Gotovina, the general and war criminal.
PETER KORCHNAK: Ante Gotovina is a retired French legionnaire and Croatian army general infamous for his role in the 1995 Operation Storm which cleansed parts of Croatia of its Serbian population. He was charged by the International Criminal Tribunal for the Former Yugoslavia for war crimes and crimes against humanity, went into hiding like so many cowards of his ilk, and was eventually captured and found guilty on most charges. All his convictions were later overturned and he returned to his homeland to a hero’s welcome. Posters of his likeness still hang on electrical posts and trees around Lika.
VLADAN PETKOVIĆ: So there was this very triumphant, old school, very obsolete style. I think it sold 75,000 admissions, which is almost an incredible result for local film in Croatia. And there was this whole sort of national celebration thing with flags and fireworks and so on.
But the film that ended up winning the most important awards is docufiction drama called the Diary of Dijana Budisavljević, which is a completely opposite film of this one, because it’s about a woman who was, during the Second World War and fascist Independent State of Croatia, helping save Serbian children, which is then, you know, in this ideological sense a complete opposite of the other film that had lot of admissions but very few awards.
So I think this is a good example of how these, these things work. There are no straight lines here or very little is black and white.
There’s this disconnect between not only the kind of audiences that will go see these films, but the discourse that is pushed from the top of the government and also with strong influence of both Catholic Church in Croatia and the Serbian Orthodox Church, on the other side.
I don’t know exactly who this audience is. Who are the 75,000 from Croatia? Because these figures, how realistic are they? If there are elementary school kids being taken as part of their curriculum to see these films, for instance, or the lobbying on the side of Catholic Church in Croatia for people to see General and organizing special screenings and talks and so on. So there is this whole chicken and egg situation, where there is certainly a large chunk of population that has been for 30 years listening only to like, state propaganda from the national broadcasting news. And on the other hand, you would have nominally more liberal, left-leaning, or in recent years weird libertarian kinds of bubbles within the society that are actively countering what they would consider a regressive cultural direction.
There’s this sort of discrepancy that goes to almost like, these are two different worlds, that if there was a Venn diagram, they wouldn’t even overlap.
Political parties, like the governments always utilize these divisions and prefer to kind of reheat the old hates, international hates between Serbs and Croats because it’s easier to rule that way, it’s the fault of Serbs, Croats, Albanians, or fill it in, than to admit to their corruption and etc. So, there is not a clear indication of what is the driver of the public opinion. Or is the public opinion driving the funding? Or is there a political directive?
Last year, the biggest, I think, non-American hit in Croatia was actually the Serbian film, How I Learned to Fly, by Radivoje Andrić, which was a coproduction between Serbia and Croatia, and I think Slovenia might have been involved. But it’s really important that this is the story that is kind of a continuation of what was sort of normal or regular regular thing in the 70s and the 80s when people in Yugoslavia, when there was a really strong middle class that for instance my family and our friends belong to, and we were always going to the seaside, to the Croatian islands. And this film puts a new girl from the present time going for the first time to a Croatian island from Belgrade. And there is this whole very nostalgia-tinged thing about it because this is a family coming back after 20 years and there is a break in relationships and so on.
PETER KORCHNAK: A 12-year old girl from Belgrade spends her summer vacation with her grandma on the Hvar island. The, quote, “feel-good, warm-hearted and entertaining family film taking you on a charming yet emotional summer sunny adventure by the sea”—
VLADAN PETKOVIĆ: —was a super popular film both in Serbia and in Croatia.
PETER KORCHNAK: Petković maintains that representations of Yugoslavia aren’t really all that.
VLADAN PETKOVIĆ: It’s not that it’s truly nuanced, this representation. I would rather say that it’s not in the focus of the film— of any of the respective films. So it is a background thing that can be interpreted in this way or that way, depending on the overall spirit of the film. To me it feels more like, okay, we are peppering the film with these ideas, rather than making it a point or fundamental thing for the story and the point of the film.
You know, if we were doing this 10 years ago, I think I would have had a lot of different answers and different reactions and different associations from your questions. These cinemas, they’re not necessarily moving away from this very topic, but I think the way societies themselves are moving further away from the idea of Yugoslavia
If anybody is collaborating, it is the filmmakers. And films was made in Yugoslavia were never really just Croatian, Slovenian or Serbian, they were people working across the lines everywhere. And this sort of continued from around the time of Karaula, and on.
And so there is a certain nostalgia, but more in the sense of, I would rather call it pride that there was one this country that really functioned that well and that it produced many great works of cinema. And then that these people after or their children, whether literal children, or the children of this, sort of heirs of these carriers of this flame, are still keeping this idea up, I mean the idea that this is a common cultural space and that there are common values that transcend the borders, and so on (this is more more obvious in documentary cinema, than in fiction cinema). And of course, artists, filmmakers, whenever we meet at international festivals, people from Yugoslavia end up sitting at the same table.
And then when there are these films that are very nationalistic, that are propaganda and so on, it doesn’t feel like part of the same art or the same cultural field. It feels like coming of a completely different place: it doesn’t come out of a place of creativity and humanity, but it rather comes out of this propaganda and the hunger for power and money and status and so on.
PETER KORCHNAK: As you’ve heard me talk about Underground a number of times, so it goes with Crno bijeli svijet (The Black and White World). The popular Croatian television soap opera directed by Goran Kulenović that ran for four seasons between 2015 and 2021 is set in the 1980s Zagreb, with each episode unfolding across one month. The period and socialist realities are recreated in meticulous, Mad Men-level detail, and so, as with many other such productions, despite being anything but nostalgic, nostalgia seeps out of every frame.
The country is ever present, though rarely mentioned by name, through major, real-life Yugoslav events like the Kosovo riots or youth actions or military service or the Sarajevo Olympics or many smaller, local ones. What does play a big, indeed a defining role in the story is new wave music, from the very title and opening song of the show, by Prljavo Kazalište, to songs framing the narrative in many episodes, to some of the characters portraying real-life musicians (Haustor, Idoli, and many others make an appearance) or even playing in bands (you heard one of the show’s stars, Kaja Šišmanović, briefly discuss her role as Una Miličević in Episode 66, “Inspired by Yugoslavia;” Anica Dobra, the mother of little Zoran from Tito i Ja, plays Una’s mother here).
And speaking of moving on: when I asked the show’s co-writer, Igor Mirković, who also made the 2003 documentary about New Wave, Sretno Dijete (Happy Child), for an interview, he kindly declined citing exhaustion with the whole topic of the 1980s.
There’s only so much one can say about a thing, I guess.
[BACKGROUND MUSIC]
PETER KORCHNAK: There you have it, post-Yugoslav and post-Czechoslovak films, some anyway, that keep Yugoslavia’s and Czechoslovakia’s memory alive.
Three additional threads wove through the story for me. A surprising number of these films are based on novels. In a world where movies based on comic books rule the box office, watching book-based movies is both refreshing and makes for a different kind of story-telling. It also speaks to the level of literary culture in the Balkans.
Other than the behemoth of Underground and a couple other notable exceptions that go on for far too long, these films also tend to clock on a shorter side, averaging about 90-95-minute run time. This makes them tighter, more watchable.
The last and perhaps most important commonality is how Yugoslavia and Czechoslovakia are portrayed. Especially in comedies, things are funny—until they aren’t. You’ve heard me point out tragic episodes and ends in many of the post-Yugoslav films. It’s as if the cinematic narratives mirror the country’s fate: all was well until it didn’t end well.
The Czech case is opposite (things do end well for the country, with the overthrow of the communists and a peaceful disintegration of the common country) but within the film narratives, things tend to have at least a bitter ending.
Our story today can have a sweet one…if you take a moment to contribute toward making the future ones possible. Navigate to RememberingYugoslavia.com/Donate and get your ticket to the extended version of this and all other episodes as well as future podcasting adventures around Yugoslavia.
[OUTRO MUSIC – “Jugoslavijo / Od Vardara pa do Triglava” by Horn Orchestra]
PETER KORCHNAK: That’s all for this episode of Remembering Yugoslavia, thank you for listening. Outro music courtesy of Robert Petrić.
Additional music courtesy of YouTube channels Canti di lotta, Bandi militare, and YU 0 [nula] Laki. The vintage camera sound effect by SoundEffectFactory.
The song “Jednou budem dál” courtesy of Supraphon. Buy their music!
Film clips used for review and educational purposes.
All the links are at RememberingYugoslavia.com/Podcast.
Special thanks to Sanjin Pejković and Vjeran Pavlaković.
I am Peter Korchňak.
Čau!
Additional Sources
|
|||||
1053
|
dbpedia
|
3
| 25
|
https://www.brightwalldarkroom.com/2018/05/21/from-emir-to-enemy-and-back-again-my-changing-reaction-to-emir-kusturica/
|
en
|
From Emir to Enemy, and Back Again: My Changing Reactions to Emir Kusturica
|
[
"https://www.brightwalldarkroom.com/wp-content/uploads/2017/11/header2017.fwlight.png",
"https://www.brightwalldarkroom.com/wp-content/uploads/2017/11/header2017.fwlight.png",
"http://www.brightwalldarkroom.com/wp-content/uploads/2018/05/u1.jpg",
"http://www.brightwalldarkroom.com/wp-content/uploads/2018/05/u1.jpg",
"https://www.brightwalldarkroom.com/wp-content/uploads/2017/05/Fedor-Tot-75x75.jpg",
"https://www.brightwalldarkroom.com/wp-content/uploads/2018/05/so2-e1527236639478-293x293.jpg",
"https://www.brightwalldarkroom.com/wp-content/uploads/2018/05/TS_BWDR_ParisTexas-1-293x293.jpg",
"https://www.brightwalldarkroom.com/wp-content/uploads/2018/05/ddg1-293x293.jpg",
"https://www.brightwalldarkroom.com/wp-content/uploads/2018/05/TS_BWDR_Suspiria-293x293.jpg",
"https://www.brightwalldarkroom.com/wp-content/uploads/2018/05/ddg1-150x150.jpg",
"https://www.brightwalldarkroom.com/wp-content/uploads/2018/05/TS_BWDR_ParisTexas-1-150x150.jpg",
"https://www.brightwalldarkroom.com/wp-content/uploads/2017/06/sociallogo.fw_-75x75.png",
"https://www.brightwalldarkroom.com/wp-content/uploads/2017/06/sociallogo.fw_-75x75.png",
"https://www.brightwalldarkroom.com/wp-content/uploads/2017/06/sociallogo.fw_-75x75.png",
"https://www.brightwalldarkroom.com/wp-content/uploads/2017/06/sociallogo.fw_-75x75.png",
"https://www.brightwalldarkroom.com/wp-content/uploads/2017/05/footerlogo.fw_-1.png",
"https://www.brightwalldarkroom.com/wp-content/uploads/2017/11/header2017.fwlight.png",
"https://www.brightwalldarkroom.com/wp-content/uploads/2021/09/round-logo.512-500x500.png"
] |
[] |
[] |
[
""
] | null |
[
"Fedor Tot"
] |
2018-05-21T00:00:00
|
We so often write about films with assertiveness, but the truth is, it’s hard to be certain about anything.
|
en
|
Bright Wall/Dark Room
|
https://www.brightwalldarkroom.com/2018/05/21/from-emir-to-enemy-and-back-again-my-changing-reaction-to-emir-kusturica/
|
It seems as if some countries are only allowed to have one internationally famous filmmaker, responsible for representing the entirety of that country’s cinematic output. The Netherlands gets Paul Verhoeven. Turkey gets Nuri Bilge Ceylan. Greece gets Yorgos Lanthimos, and Hungary gets Béla Tarr. Hell, ask a committed Western cinephile about Indian filmmakers—a country of over a billion people and an obsessively strong cinema culture—and most will only be able to name Satyajit Ray. For those of us coming from the lands of the former Yugoslavia, we don’t even get to share the privilege of our breakup allowing us multiple famous filmmakers. Nope, we’re still mostly stuck with one name: the immensely controversial Emir Kusturica.
I used to almost blindingly adore all of Kusturica’s films. As a child, Black Cat, White Cat (1998) was one of my favorite films, whilst Underground (1995) and When Father Was Away on Business (1985) provided two key touchstones for me during my formative late-teenage years as a film obsessive. As the sole Yugoslav filmmaker whose films were easily available in the West, he felt like the torch keeper, the one true representative of all that is good and whole about our cinema. For years, he was the one Yugoslav filmmaker I pressed upon decadent, capitalist Westerners to show how great our old communist life was—our sole ray of energy and fire.
But what happens when you start looking closer at someone’s films, and digging deeper into their implications and their contexts, and the façade starts to fall?
It surprised me to find out that Slavoj Žižek, the most high profile Balkan intellectual in the West, absolutely despises Kusturica’s films, and most notable scholars of Balkan culture have reservations about him as well. At some point, his films began to negatively coalesce into a complex cauldron of decaying Titoist communism, ethnic identity, and resurgent nationalism that formed much of the intellectual backdrop of the wars and genocide that annihilated the Yugoslav dream in the ‘90s. This coincided with Kusturica’s own shift from a pan-Yugoslav filmmaker of Bosnian descent into a purely Serbian filmmaker. With this shift, a filmmaker with formerly no specific ethnic background, in a country whose ideology was built on pan-nationalism, became one overtly aligned with Serbian identity and the politics of ethnic exclusion. For many people in the former Yugoslavia, this was a betrayal of his roots.
Born in Sarajevo in 1954 to a secular, Bosnian Muslim family, most of Kusturica’s feature films have been garlanded with awards. He remains one of only eight filmmakers to have won the Palme d’Or twice, for When Father Was Away on Business and Underground. No doubt, he is an immensely talented filmmaker, and nearly all of his films showcase an intense visual imagination. Even his early work, rooted in the drab confines of social realism, cracks and sparkles with visual flair. He also has the good fortune that his films are mostly` still easily available on DVD in the West in decent quality with subtitles, a privilege afforded to only a precious few Balkan filmmakers, despite the surge in interest in works from elsewhere in ex-communist Eastern Europe.
Kusturica’s films are based on constant movement. Whether it’s the camera or it’s the characters, whether it’s the music or the mise-en-scène, something is always shifting. Underground is loaded with circular movement and multi-layered screen composition. In Life is a Miracle (2004), barely a scene goes by without the incessant parping of a Gypsy brass band (not necessarily a bad thing in and of itself). The amount of alcohol consumed and partying puked through in Black Cat, White Cat is enough to knock out the most hardened hedonists. Between them, these three films depict an almost-mythical version of the Balkans, as a half-developed backwater populated by macho brutes, copious amounts of alcohol, gypsy brass bands and perpetual bar fights.
This semi-Orientalist vision has its own name, originated by Maria Todorova: Balkanism, whereby Western visions of the region reflect it as an “othered” version of Europe’s supposed cultural superiority, like a darkened mirror of itself. To quote Žižek: “[Underground] is a mythical Balkans shot for the Western gaze…it’s a film that internalized the Western notion of a crazy nation, where war is simply our nature.”In the ‘90s, when the Balkans found themselves at the forefront of national news, these kinds of stereotypes began to find common currency in the media, fused now with the idea that we were all wedded to some ethnic tribal warlords, and spent our time casually committing genocides and burning our neighbors’ homes.
In that vacuum between the fall of Communism and 9/11, Serbs were temporarily Hollywood’s go-to baddies. There was a whole wave of late ‘90s/early ‘00s Hollywood cinema where that was the case, or where the Balkan conflict was used as a catalyst for American screen soldiers to feel sad. You can see it in Behind Enemy Lines, where Owen Wilson gets to pretend Bosnia is a torturous playground for Americans, or The Hunted, directed by none other than William Friedkin and starring Benicio Del Toro as a special ops soldier who goes crazy after seeing atrocities in Kosovo. Both films use the Balkans as a lazy peg on which to hang their plotlines on, an internecine, unintelligible quagmire into which no civilized Westerner can venture through unharmed. There’s also smaller fare like Michael Winterbottom’s Welcome to Sarajevo, which whilst more sympathetic to life during the war, is also guilty of using it as a coat-hanger for Western protagonists to feel bad about themselves for. This is Balkanism in action.
This became an even worse problem when it influenced presidential foreign policy. Bill Clinton was supposedly quite swayed by reading the (frankly terrible) Balkan Ghosts by Robert Kaplan, which mostly suggests we were all tribal peasants who lived with centuries-old grudges. It’s a book content with using phrases such as “the landscape of atrocities,” or referring to Bosnian villages as “full of savage hatreds, leavened by poverty and alcoholism,” as if the violence were millennia old. This, too, is Balkanism in action, and has a real effect on how we in the Balkans perceive ourselves; such is the influence of American media and foreign policy overseas.
Europe has always seen us as its ratty little brother, a stain on the side, good only for keeping Ottomans out (or in modern times, refugees). It has always ignored the vast intellectual and artistic heritage of that whole swathe of land from Ljubljana to Skopje, and beyond to Sofia, Tirana, and Bucharest. Many of Kusturica’s films are guilty of confirming these exact Westernized stereotypes of the Balkans.
One begins to wonder if Emir Kusturica’s films are known in the West simply because they are good, or because they conform to these stereotypes whilst placing a few basic, easily-accepted universal truths into their texts. Underground is at once both a cry for pan-nationalism devoid of borders, and a film that revels in its masculinity and drunkenness whilst privileging Serbian identity as subsuming all other Balkan identities—pan-nationalism via subjugation. Black Cat, White Cat satirizes the criminal classes, whilst also reveling in a party atmosphere encouraged by those same classes, whilst Life is a Miracle hands out simple moral platitudes in the context of a highly stylized Serbian folk village straight out of the nationalist imagination. I can think of a number of excellent Balkan filmmakers who engage in the same subjects without recourse to macho anarchy. You can’t be a tourist to the kind of anarchy that Kusturica depicts in his films. You can’t visit it, and hope that when you leave, things will suddenly self-correct. The existence of such anarchy in his films is a response to the lawlessness of Serbian and Balkan society in the ‘90s, when hyperinflation annihilated the economy and made the black market king. But Kusturica often encourages us to revel in it without truly confronting its meaning and context, so we’re visiting it safely from a distance.
How do Western audiences respond to this anarchy? I think most view it as part of Kusturica’s style, and predominantly as an aesthetic tool, without noticing how this exoticized anarchy sometimes plays into their assumptions about the Balkans. Growing up in the U.K., I latched onto this anarchy as a reflection of the life back home that I knew and longed for, free of the boring constraints that dominated my life. But I am stuck somewhere between being a tourist and a native now, seeing this world only when on a break from “regular” life in Britain.
If this exoticization of Balkan culture is a possible cause of Kusturica’s comparative popularity in the West, is this replicated with other cinema cultures? Is the poetic miserabilism of Andrei Tarkovsky only popular in the West because of how Westerners expect Russians to be, or because his films are actually masterpieces? Is City of God the most famous Brazilian film simply because it is the best, or is it because it conforms to our image of the country as a beautiful, sun-kissed paradise lost to drug violence and favela poverty? Do you like Kusturica’s films because they’re good, or because you think we’re all alcoholics who always have a gypsy brass band on call?
There has long been the implication amongst scholars like Žižek and Dina Iordanova that, certainly in his most well known work in Underground, Kusturica is an apologist for the Serbian war crimes in the ‘90s. The plot is too convoluted to summarize here fully, but the basic outline is thus: in the midst of World War II, a group of Serbs find themselves holed up in a cellar to escape the bombing. Marko (Miki Manojlović), a Communist fighter, ends up protecting them and uses this as an opportunity to lock them down there, telling them that the war is raging outside for as long as 40 years. The cellar-dwellers, including Marko’s best friend Blacky (Lazar Ristovski) are ignorant of Marko’s real role as a partisan careerist who uses Blacky’s supposed martyrdom to further his own career, until all of that comes crashing down in a violent third act—the implication throughout being that the cellar is a metaphor for Titoist communism.
Early on in Underground, there is archival footage of the Nazis arriving in Yugoslavia. The footage used to depict their arrivals in Ljlubljana (Slovenia) and Zagreb (Croatia) showcases crowds actively waving them in, whilst that of Belgrade (Serbia) shows the streets empty, thus aligning the Nazi state with Slovenia and Croatia. Additionally, there’s a clique of untrustworthy figures circling around the protagonists, who are mostly Croats or Bosnians, a fact generally lost to those not familiar with the language. In ’95, with much of the Serbian media consistently attacking both Slovenia and Croatia as fascist states, Underground’s depiction is a grossly insensitive case of pot, kettle, black.
Then there’s the tricky fact that Underground was made at least partly with Serbian state funding at the height of Milošević’s rule, which means Kusturica effectively took money from war criminals to make his film. There’s also the amorality inherent in the protagonists, which implicitly suggests that the eruption of violence in the region was not due to propaganda, politics, or greed, but of primordial base instincts due to the Balkans “being” at the crux of where great empires have collapsed—Roman, Ottoman, and Austro-Hungarian. It seems to suggest that nothing could be done about the collapse of Yugoslavia, as violence is inherent to the peoples of the region—again, Balkanism in action.
These elements passed me by at the time, but once pointed out served to deeply damage my relationship to the film, and rightfully so. But I think the film is a little deeper than its simple and flawed relationship to the nationalism of the era.
Aside from its aforementioned contradictory plea for pan-nationalism and possible sly suggestion Serbian identity is the only valid one, there is also the fact that it is a film about propaganda; about how narratives handed down to us by authorities shape and contextualize our lives, often without us even realizing. It can also be called a piece of propaganda itself. It is an ouroboros of a film, forever eating itself, contradicting every layer of its meaning with more contradictions. Yet, it seems as if Underground was a one-off for Kusturica in this period, because he never again returned to such complexity.
His next film was Black Cat, White Cat. Unlike Underground, it was superficially apolitical, a comedy centered around two squabbling clans of Roma Gypsies, depicted largely as romanticized loveable rogues. It’s a sort of Balkanism-within-Balkanism, whereby a Serbian artist depicts the exoticized world of a Romani minority, in stark contrast to the reality of real Romani life in the Balkans, which is largely one of poverty and marginalization. Kusturica does align himself with underdog Roma culture here, but as a tourist who ignores the wider context—Kusturica’s Romani world is largely defined by alcohol, lax personal hygiene and low-level criminality. Films dotted throughout Yugoslav cinema such as Aleksandar Petrović’s I Even Met Happy Gypsies (1967), Goran Paskaljević’s Guardian Angel (1987), and the works of Zoran Tairović tell a more psychologically realistic account of Roma life in the former Yugoslavia. I used to love Black Cat, White Cat for its slapstick attitude, but now it seems like a mediocrity of masturbatory sensory overload.
Life is a Miracle also tried to be, in a bizarre sort of way, apolitical. Set during the Bosnian war, it is distasteful and ignorant. It depicts a love affair across ethnic lines between a Serbian man and a Muslim woman, and asks the audience simply, as if the answer to all the region’s problems is a brief handshake and “Can’t we all just get along?”
Romeo and Juliet-esque plotlines have become a common trope in post-war Balkan cinema, but they’re mostly just a lazy way of trying to shrug off the hard political issues—endemic corruption, vested interests, and long-term bitterness—that stand in the way of genuine reconciliation. Love is a Miracle tries to do what’s frankly impossible: it takes a recent war, one still very fresh in the minds of the region’s inhabitants, and attempts to make a jovial, parochial tale out of it that refuses to outwardly condemn any particular side. Plenty of excellent films have used black comedy as a way of approaching the wars. This is not one of them.
I broadly take the belief that one should usually separate the art from the artist. In the case of Kusturica, that’s much harder. His films are so closely tied up with the history of Yugoslavia, so keen to engage with it, that they cannot be viewed outside of that context or his stance on it. I have no desire to rewatch his later films—what once seemed like energetic surrealist parables now feel like lazy, ill-conceived comedies with no understanding of their own context.
As a result of these films as well as his personal behavior, Kusturica has, over time, become a highly volatile figure in the former Yugoslavia. His name is poison nowadays in his native Sarajevo, where he made his first two films. Unlike the controversy surrounding Underground, a large number of ex-Yugoslavs still hold a huge amount of fondness for Do You Remember Dolly Bell? (1981) and When Father Was Away on Business, both of which are films rooted in a youthful nostalgia. They’re set in the ‘50s and ‘60s, when Yugoslavia was trying to find a third way past Soviet-style communism and Western capitalism. These films had rock music, football, teenage infatuation, and a lovingly rendered vision of a Sarajevo populated by all ethnicities, with no defining aspect separating Muslims, Serbs, or Croats. Their empathy and insight into growing up as a Yugoslav in that period are still unparalleled. These are films that understood the rallying cry of Brotherhood and Unity, but also were unafraid to embrace its contradictions—the testy political allegiances that tore apart families during the Tito-Stalin split was painfully detailed in When Father Was Away on Business whilst the confusion of capitalist rock ‘n’ roll and communist top-down cultural prerogative was embraced in Do You Remember Dolly Bell?
But in the ‘90s, Kusturica turned his back on his secular Muslim roots in Sarajevo, even christening himself in the Serbian Orthodox Church. When Abdulah Sidran, his co-writer on the Sarajevo films, claimed on national TV that he believed the real Kusturica was killed in the ‘90s and replaced by a nationalist Serbian doppelganger, it didn’t sound too implausible. Stranger things have happened in the Balkans.
But it’s easy to pass judgement on somebody from a distance. All I know for sure is that Kusturica the man, and maybe the filmmaker, is very confusing. Reading through interviews with him, it’s hard to find any consistent through-line as to how he perceives the world.Though he never explicitly supported Milošević, he never rejected him either. He publicly challenged Vojislav Šešelj, a convicted war criminal, to a duel once in ‘90s (Šešelj is still hugely popular in Serbia amongst far-right nationalists, and backed by some very dangerous people). It takes a certain amount of guts to do that in public.
But then again, Kusturica has also come out fanatically in support of keeping Kosovo as part of Serbia, and has claimed that NATO is very much responsible for the destruction of Yugoslavia. These are opinions stereotypically held by nationalists nursing grievances against what they see as the destruction of traditional Serbian dominance in the region, yet he has also often stressed his commitment to pan-national Yugoslavism of the old Titoist variety, and can often come across as very Yugonostalgic. He is fanatically against capitalism, and resents the way everything is sold, branded, and sold again these days in Serbia. Yet he built his own town in the mountains—initially as a set for Life is a Miracle—and it is now a bizarre Kusturica-style theme park for tourists, a branded exercise in Kusturica-mania. In The New York Times, Dan Halperin captured this amusing exchange between him and his wife when was on one of his anti-capitalist rants:
Emir: [Today] everything must be sold! Everything must be for sale! Everyone must buy! Everyone must have a Jeep!
Maja: Even you.
Emir: Yes, even me.
Maja: You have three.
He is not a man who makes any sort of consistent sense. His outbursts and stated leanings sway between Serbian nationalism and anti-nationalism, and he has a distrust of the new capitalist system but a willingness to brand himself a particular way. It may sound contradictory, but his views aren’t that far off from many other people of his generation in Serbia. It speaks, I think, to a general sense of a loss of place, a loss of being, and a loss of purpose. The old Titoism had its problems, but the problems were bound up in ideological certainties—you knew how to navigate the corrupt official and the stodgy bureaucracy because they always spoke the language of state socialism. Today, that corrupt official is speaking the language of neoliberalism one day, and far-right nationalism the next, extolling the virtues of social democracy before breakfast, the values of individualism after lunch.
The guiding hand of Titoism provided not just an ideology, but an authority against which to rebel—and thus, the artist had something to criticize. The Milošević years annihilated that. One of its key elements was that Milošević had no fixed ideology—he was a communist when he needed to be one, a nationalist when the winds were favorable. A friend to the West, an enemy of the West. Defender of Christianity, protector of the secular state. If you stood against him, he would find a way to co-opt your ideals. Amongst that ideological backdrop, it’s hard to stand against anything. A lot of intellectuals and public figures sullied themselves with an association with Milošević or one of his affiliates, even unwittingly, cheapening public discourse in Serbia, as well as throughout the Balkans.
Do You Remember Dolly Bell? and When Father Was Away on Business proved Kusturica was one of the most insightful and empathetic filmmakers of his generation. I don’t believe that a filmmaker as powerful and as intelligent as the one that made those films can disappear entirely. But perhaps the shock of the war, the trauma of all Yugoslav society falling apart, and the amorality of the Milošević regime pushed Kusturica into the mythological embrace of ideologically confused nationalism. To do such a thing represents a simple, instinctual reaction, perhaps one in keeping with a uniquely instinctual filmmaker.
Underground sits directly in the middle of Kusturica’s career, the midway point between his Yugoslav cinema and his Serbian cinema. For all its deep-seated flaws and controversial authorial choices, something about it has always captivated me. Underground is a film I used to love unreservedly, but now feel waves of mixed feelings about. Its layer upon layer of disorientating contradictions only ever seems to grow. I now see it with all its ugly, horrendous flaws—I can see the ignorance and double standard peppered throughout—but somehow a part of me rises through all of that to find that I love the film still. Its contradictions, paradoxes, and flaws form part of its tapestry, and art is nothing if not gloriously imperfect. Is its own satirization of propaganda a double bluff reflected twice over in its propagandistic nature? Is the film its own mirror? As it comments on how propaganda has shaped Yugoslav history, maybe it is deliberately making its own propaganda to fool us, re-aligning its object of satire right back at us? I don’t know if Kusturica is self-aware enough to have made such a film; most of his filmography and behavior suggests he is a man of pure instinct. But his films, at their best, are alive, writhing, never-still creatures, living in a hall of mirrors.
A friend of mine once succinctly described Serbia as “the most ideologically disorienting country in Europe.” I think that applies to Emir Kusturica. He is the most ideologically disorienting man in Europe. I cannot understand him. I cannot understand how a man who grew up in Sarajevo, who made films about it as if he knew and loved the city like an extension of his heart, ended up saying nothing about the horrendous siege it endured for three years, the longest in modern warfare. I certainly cannot understand Underground. That’s why I fell out of love with the film, and why I fell back in love with it. If we require that we understand the films we love (or hell, even the people we love), we may never love anything fully. Life is a complicated mess. History and politics are a complicated mess. Underground doesn’t depict the truth or the facts of the history and politics it wishes to critique—but it does depict its confusion, its uncertainty, and its difficulty.
|
|||||
1053
|
dbpedia
|
0
| 27
|
http://cdreissuewishlist.blogspot.com/2009/05/
|
en
|
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/icon18_edit_allbkg.gif",
"https://resources.blogblog.com/img/icon18_edit_allbkg.gif",
"https://resources.blogblog.com/img/icon18_edit_allbkg.gif",
"https://resources.blogblog.com/img/icon18_edit_allbkg.gif",
"https://resources.blogblog.com/img/icon18_edit_allbkg.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 |
A listing of obscure progressive rock (and related) albums that have yet to be reissued on CD legitimately
|
en
|
http://cdreissuewishlist.blogspot.com/favicon.ico
|
http://cdreissuewishlist.blogspot.com/2009/05/
|
A listing of obscure progressive rock (and related) albums that have yet to be reissued on CD legitimately
|
|||
1053
|
dbpedia
|
1
| 84
|
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
|
3
| 7
|
https://forums.stevehoffman.tv/threads/smak.1103458/
|
en
|
Smak
|
[
"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
| 31
|
https://sfbgarchive.48hills.org/topic/film/page/3/
|
en
|
Film Archives — Page 3 of 168 — San Francisco Bay Guardian Archive 1966–2014
|
[
"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/2/4850-film_skeleton.jpg",
"https://sfbgarchive.48hills.org/wp-content/uploads/sites/2/4850-film_metromanila.jpg",
"https://sfbgarchive.48hills.org/wp-content/uploads/sites/2/owenpallet.jpg",
"https://sfbgarchive.48hills.org/wp-content/uploads/sites/2/kiesza1.jpg",
"https://sfbgarchive.48hills.org/wordpress/wp-content/uploads/sites/2/kiesza2.JPG",
"https://sfbgarchive.48hills.org/wordpress/wp-content/uploads/sites/2/kiesza3.JPG",
"https://sfbgarchive.48hills.org/wp-content/uploads/sites/2/4849-theater_saya.jpg",
"https://sfbgarchive.48hills.org/wp-content/uploads/sites/2/4849-film_robinhood.jpg",
"https://sfbgarchive.48hills.org/wp-content/uploads/sites/2/4849-film_NoNo.jpg",
"https://sfbgarchive.48hills.org/wp-content/uploads/sites/2/4849-Ammiano_MAIN.jpg",
"https://sfbgarchive.48hills.org/wp-content/uploads/sites/2/AP474716866635.jpg",
"https://sfbgarchive.48hills.org/wp-content/uploads/sites/2/4848-visart_ofrenda.jpg",
"https://sfbgarchive.48hills.org/wp-content/uploads/sites/2/gone-girl-DF-01826cc_rgb.jpg",
"https://sfbgarchive.48hills.org/wp-content/uploads/sites/2/X-punk-band.jpg",
"https://sfbgarchive.48hills.org/wp-content/uploads/sites/2/e59243ac.jpg",
"https://sfbgarchive.48hills.org/wp-content/uploads/sites/2/frank.jpg"
] |
[] |
[] |
[
""
] | null |
[] |
2014-09-09T14:45:25+00:00
|
en
|
San Francisco Bay Guardian Archive 1966–2014
|
https://sfbgarchive.48hills.org/topic/film/page/3/
|
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
Dolphin Tale 2 The heroic dolphin with the prosthetic tail returns for more aquarium adventures in this family drama starring Harry Connick, Jr., Ashley Judd, Morgan Freeman, and Kris Kristofferson. (1:48)
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) (Chun)
God Help the Girl Perhaps it’s not subtle that the first words we hear in the indie pop musical God Help the Girl — the writing and directing debut of Stuart Murdoch, Belle and Sebastian’s lead singer–songwriter — come out of the mouth of a DJ, evoking Nick Drake, no less, in a riff about the mystique of dead musicians. The influences and aesthetic of Murdoch and the beloved Scottish chamber pop group float through the film, a sort of moody live-action manifestation of 15-plus years’ worth of Belle and Sebastian albums. We hear the DJ through the headphones of our nervy, melancholy heroine, Eve (Emily Browning, of 2011’s Sleeping Beauty), a young Australian living in Glasgow, whom we first meet narrating in song her night flight from a psychiatric institution, where she’s under care for anorexia. Music keeps her moving, to a rock club, for starters, where she watches a band awkwardly implode and befriends the guitarist, James (Olly Alexander), who introduces her to aspiring musician Cassie (Hannah Murray), who reckons they should start a band. Easily half of the movie, and the better half, is told in song — largely by Eve, a talented songwriter with a sweetly captivating voice. The songs, written by Murdoch over the last decade, feel lush and fully realized, and pull us along through the story in infectiously giddy and affecting interludes, but tend to drop us off in vague, meandering terrain, among agreeable but sketchy acquaintances, when they end. (1:51) Roxie. (Rapoport)
Last Weekend Celia Green (Patricia Clarkson) is the matriarch of a clan gathering to spend a now-rare weekend at their Lake Tahoe vacation home — the last of the summer, and perhaps the last ever, as she and fitness-tycoon spouse Malcolm (Chris Mulkey) are considering selling it. This news is sure to upset their grown sons, even if neither spend much time here anymore. But then, what doesn’t upset them? Roger (Joseph Cross) constantly snipes at mom, no doubt to let off steam from some as-yet-unbroken news of his own about an embarrassing blunder made in his financial-sector job. Theo (Zachary Booth) is just generally hypersensitive, about his own feelings if no one else’s, including the kinda-sorta-boyfriend of the fleeting moment (Devon Graye) he’s dragged here, along with several coworkers from the TV sitcom he works on as a low-rung writer. Other characters include the married groundskeeper and housekeeper (Julio Oscar Mechoso, Julie Carmen) everyone treats with elaborate familiarity as “almost family,” and Roger’s longtime girlfriend (Alexis Rasmussen), who’s very aware that she is not considered family. Presided over by Celia, who sees herself as an unpretentious Earth Mother but is in fact a meddling perfectionist, the Greens are an exasperating lot of self-absorbed, mutually unsupportive brats. Tom Dolby and Tom Williams’ seriocomedy is willing to point out their foibles and chuckle, but not to actively criticize (let alone satirize) them. Instead, we’re ultimately expected to care about these shallow, catty figures of under-appreciated privilege — an emotional connection the movie never remotely earns. If you’re going to make a movie about Rich People Problems, it had better have a lot more bite than this one manages. (1:34) Vogue. (Harvey)
The Man on Her Mind Little wonder that this comedy about a woman who prefers an adult version of an imaginary friend to real-life suitors feels so hermetically sealed: writer and Soho Press co-founder Alan Hruska co-directs (with Bruce Guthrie) this hardly filmic version of his play, starring its original UK cast. All assembled wrap careful NYC accents around Hruska’s verbiage, which takes center stage in this overtly theatrical, very talky — albeit not especially witty — vanity indie. Bookish publishing staffer Nellie (Amy McAllister) possesses the seemingly enviable life of an independent working woman in NYC, until one finds out, through naggy sister Janet (Georgia Mackenzie), that Nellie’s slick supposed beau (Samuel James) is not all he’s cracked up to be. Though Hruska dallies with some intriguing ideas about the way we idealize, project upon, and even create our love objects, this cinematic realization feels as sophomoric and long-winded as an undergraduate seminar. (1:38) Opera Plaza. (Chun)
Metro Manila See “Urban Decay.” (1:40) Roxie.
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 A sinister man (Idris Elba) terrorizes a mother (Taraji P. Henson) and her kids in this crime thriller, helmed by Elba’s frequent Luther director Sam Miller. (1:24) Shattuck.
The Pirates Beautiful, badass pirate Yeo-wol (Son Ye-jin) leads a mutiny against her ship’s cruel captain (Lee Geung-young) at sea. Meanwhile, on land, an outspoken soldier (Kim Nam-gil) battles his own cruel commander (Kim Tae-woo) before escaping into the hills and remaking himself as a semi-successful bandit known as “Crazy Tiger.” These worlds crash together in Lee Seok-hoon’s lavish CG extravaganza, set during a time in Korea’s history when leadership was so unstable, the loss of a royal seal could mean certain chaos — and it does, when a whale gobbles up said golden symbol when it topples overboard. Racing to retrieve it, for various reasons, are the four parties described above, with cross-clashes between all involved. There are savage sword fights; explosive chase scenes through seaside villages; hair and make-up that would make Captain Jack Sparrow swoon (and exaggerated acting that makes latter-day Johnny Depp look subtle); fiercely denied romantic attractions; heroes diving away from explosions and villains howling to the heavens; and epic arguments over which brand of outlaw — pirate or bandit? — is tougher. Very silly indeed. But also, it must be said, very fun. (2:09) Century 20 Daly City. (Eddy)
Second Opinion The emphasis should be on “Opinion” in the title of this doc directed by Burzynski (2010 and 2013) maker Eric Merola, who seems to be building a career on movies about cancer-treatment controversies. Here his hero with an ax to grind is Ralph W. Moss, a science writer working in public relations at Memorial Sloan-Kettering Cancer Center in the ’70s, who discovers a cover-up concerning laetrile research. The single-source effect, however, of relying primarily on Moss’ on-camera interviews to carry this project — and the lack of current voices willing to weigh in with, surprise, second opinions — makes it feel less like a fully-realized, thoughtfully-balanced film and more like a inadequately reported TV newsmagazine segment. (1:15) Roxie. (Chun)
The Skeleton Twins See “Falling Apart Together.” (1:33)
Take Me to the River Memphis is a battered, gracious lady of a music town and she deserves her due, though she doesn’t get it in this well-meaning yet unfocused doc in need of a deep edit. Directed by veteran musician-turned-filmmaker Martin Shore, Take Me to the River lifts its name from a song by the otherwise-ignored Memphis denizen Al Green and hangs its hat in the city so pivotal in the birth of the blues, R&B, soul, and rock ‘n’ roll, under the pretense of witnessing the making of an album that brings together music makers new and old. Among them are unsung lights like songwriter William Bell and guitarist Charles “Skip” Pitts, icons like Bobby “Blue” Bland, and rappers (including Snoop Dogg). Overseeing the project are North Mississippi Allstars band mates and brothers Luther and Cody Dickinson, in tribute to their dad, producer Jim Dickinson. We do get a taste of the love, respect, and long history between, say, Mavis Staples and the Dickinson brudders, but somewhere along the way, River removes itself away from the making of the record and gets drawn into the dramatic vortex centered on the rise and tragic fall of Stax Records, intertwining it with the Civil Rights era — although considering the muddy explication surrounding the label’s demise, Shore appears ill-equipped to piece out its tale. Mucking it up further are sporadic appearances by star narrator Terrence Howard, whose weak smooth-jazz performance is given way too much play. (1:35) Embarcadero, Shattuck, Smith Rafael. (Chun)
ONGOING
As Above, So Below (1:40) 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) Embarcadero, 1000 Van Ness, 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) 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) SF Centre, Sundance Kabuki. (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) 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. (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) Opera Plaza. (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) 1000 Van Ness, SF Centre. (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)
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) Balboa, 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. (Chun)
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) Metreon, 1000 Van Ness. (Chun)
Innocence (1:36) 1000 Van Ness, SF Centre.
The Last of Robin Hood Richard Glatzer and Wash Westmoreland’s The Last of Robin Hood is one of those movies that should be great, given the material and talent on tap, but instead falls flat for nearly intangible reasons. For much of his career, movie star Errol Flynn (Kevin Kline) flourished in a series of Westerns, war movies, and exotic adventures, until audiences tired of his ever-more routine exploits — and the highly public roué reputation that ballasted them offscreen. Late in his life, he met aspiring dancer-singer-actor Beverly Aadland (Dakota Fanning). According to this film’s version of events, he’d already seduced her before realizing that she was actually just a very precocious 15-year-old — carefully groomed to look older by Florence Aadland (Susan Sarandon), a onetime dancer who projected her own ambitions on her daughter. When Mrs. Aadland realizes that their relationship is hardly innocent, she’s furious. But she’s vain and flattered enough to fall for the star’s charm offensive. Kline is a resourceful actor whose characterization is ingenious and layered, but it still falls into that category of celebrity impersonation, which always feels a bit like a clever stunt. (He’s somewhat upstaged by Sarandon, who nails the comedy and pathos of terminal celebrity aspiration.) The Last of Robin Hood also feels constrained budget-wise — and while you can get the heady mixture of glamour, melancholy, barbed humor, and romance that the writer-directors were going for, it always falls a little short. As with so many Hollywood biopics, a great real-life story feels diminished onscreen, the legend still more potent than the dramatized re-creation. (1:30) Embarcadero, Sundance Kabuki. (Harvey)
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)
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, Sundance Kabuki. (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) SF Centre. (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) Embarcadero. (Eddy)
No No: A Dockumentary Was Pittsburgh Pirates pitcher Dock Ellis high on LSD when he threw his no-hitter June 12, 1970? We may openly debate it, while secretly hoping it’s true. But as No No aims to make clear, that exploit — flabbergastingly insane though it was — hardly sums up Ellis’ entire life and career. Jeff Radice’s film, bolstered by a funky score from Beastie Boy Adam Horovitz, strives to be a well-rounded portrait beyond Ellis’ rep as “the acid guy;” it’s filled with unguarded, honest interviews with both Ellis and scores of friends, family members, and former teammates, who trade necdotes with affection (“He always started shit,” chuckles a childhood friend). His contentious behavior on the field rarely extended to his teammates, with whom he shared deep bonds, particularly the 1971 Pirates team that won the World Series. That same year, the organization started Major League Baseball’s first all-minority lineup, with the outspoken, flamboyant Ellis as pitcher. His antics were usually motivated in the service of a greater cause — “He took stands,” a teammate remembers — and along the way, he become a media darling and one of baseball’s first pop-culture icons. After battling addictions for decades, he finally became sober prior to his 2008 death, though as No No suggests, this and his other accomplishments have taken a back seat to the one indiscretion that lifted him into the folk-hero pantheon. (1:40) Roxie. (Eddy)
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) Opera Plaza, Shattuck, Smith Rafael. (Harvey)
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) Metreon, 1000 Van Ness. (Chun)
Sin City: A Dame To Kill For (1:38) Metreon, 1000 Van Ness, Sundance Kabuki.
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, 1000 Van Ness. (Eddy)
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) Balboa, Embarcadero. (Eddy)
When the Game Stands Tall (1:55) Metreon, 1000 Van Ness. *
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) *
steve@sfbg.com
At a moment when San Francisco politics has slid toward the slippery center — when one-time progressives align with business elites, the political rhetoric seems hollow, and the vaunted value of “civility” in City Hall increasingly looks more like a deceptive power grab by the Mayor’s Office — it feels so refreshing to talk with Tom Ammiano.
For one thing, he’s hilarious, always quick with quips that are not only funny, but often funny in insightful ways that distill complex issues down to their essence, delivered with his distinctive nasally honk and lightning timing. Ammiano developed as a stand-up comedian and political leader simultaneously, and the two professional sides feed off each other, alternatively manifesting in disarming mirth or penetrating bite.
But his humor isn’t the main reason why Ammiano — a 72-year-old state legislator, two-time mayoral candidate, and former supervisor and school board member — has become such a beloved figure on the left of state and local politics, or why so many progressives are sad to see him leaving the California Assembly and elected office this year for the first time since 1990.
No, perhaps the biggest reason why public esteem for Ammiano has been strong and rising — particularly among progressives, but also among those of all ideological stripes who decry the closed-door dealmaking that dominates City Hall and the State Capitol these days — is his political integrity and courage. Everyone knows where Tom Ammiano will stand on almost any issue: with the powerless over the powerful.
“Don’t make it about yourself, make it about what you believe in,” Ammiano told us, describing his approach to politics and his advice to up-and-coming politicians.
Ammiano’s positions derive from his progressive political values, which were informed by his working class upbringing, first-hand observations of the limits of American militarism, publicly coming out as a gay teacher at time when that was a risky decision, standing with immigrants and women at important political moments, and steadily enduring well-funded attacks as he created some of San Francisco’s most defining and enduring political reforms, from domestic partner benefits and key political reforms to universal health care.
“He has been able to remain true to his values and principles of the progressive movement while making significant legislative accomplishments happen on a number of fronts,” Sup. David Campos, who replaced Ammiano on the Board of Supervisors and is now his chosen successor in the California Assembly, told the Guardian. “I don’t know that we’ve fully understood the scope of his influence. He has influenced the city more than most San Francisco mayors have.”
So, as we enter the traditional start of fall election season — with its strangely uncontested supervisorial races and only a few significant ballot measures, thanks to insider political manipulations — the Guardian spent some time with Ammiano in San Francisco and in Sacramento, talking about his life and legacy and what can be done to revive the city’s progressive spirit.
LIFE OF THE CAPITOL
Aug. 20 was a pretty typical day in the State Capitol, perhaps a bit more relaxed than usual given that most of the agenda was concurrence votes by the full Senate and Assembly on bills they had already approved once before being amended by the other house.
Still, lobbyists packed the hall outside the Assembly Chambers, hoping to exert some last minute influence before the legislative session ended (most don’t bother with Ammiano, whose name is on a short list, posted in the hall by the Assembly Sergeant-at-Arms, of legislators who don’t accept business cards from lobbyists).
One of the bills up for approval that day was Ammiano’s Assembly Bill 2344, the Modern Family Act, which in many ways signals how far California has come since the mid-’70s, when Ammiano was an openly gay schoolteacher and progressive political activist working with then-Sup. Harvey Milk to defeat the homophobic Briggs Initiative.
The Modern Family Act updates and clarifies the laws governing same-sex married couples and domestic partners who adopt children or use surrogates, standardizing the rights and responsibilities of all parties involved. “With a few simple changes, we can help families thrive without needless legal battles or expensive court actions,” Ammiano said in a press statement publicizing the bill.
Ammiano arrived in his office around 10am, an hour before the session began, carrying a large plaque commending him for his legislative service, given to outgoing legislators during a breakfast program. “Something else I don’t need,” Ammiano said, setting the plaque down on a table in his wood-paneled office. “I wonder if there’s a black market for this shit.”
Before going over the day’s legislative agenda, Ammiano chatted with his Press Secretary Carlos Alcala about an editorial in that morning’s San Francisco Chronicle, “Abuse of disabled-parking program deman
|
||||||
1053
|
dbpedia
|
3
| 38
|
https://snowsovgethen.com/journal/category/new%2Bwave
|
en
|
new wave — Listening Journal — Snows Ov Gethen • Hermetic Journals
|
http://static1.squarespace.com/static/51e9a95fe4b0c62bf88b254b/t/61e6d07d6fdb7a0bc2eaf090/1642516609579/SoG91.png?format=1500w
|
http://static1.squarespace.com/static/51e9a95fe4b0c62bf88b254b/t/61e6d07d6fdb7a0bc2eaf090/1642516609579/SoG91.png?format=1500w
|
[
"https://images.squarespace-cdn.com/content/v1/51e9a95fe4b0c62bf88b254b/438f7759-7e78-4669-adc6-2970efb2da6a/SoG91.png",
"https://images.squarespace-cdn.com/content/v1/51e9a95fe4b0c62bf88b254b/438f7759-7e78-4669-adc6-2970efb2da6a/SoG91.png",
"https://images.squarespace-cdn.com/content/v1/51e9a95fe4b0c62bf88b254b/1722529360992-YILOK03Y2E6BODUR3E9B/snows-ov-gethen-hermetic-journals_jill-kroesen-stop-vicious-cycles-1982-lovely-music.jpg",
"https://images.squarespace-cdn.com/content/v1/51e9a95fe4b0c62bf88b254b/1721061480980-QNP6OWZ6EC5F1XC7M58P/snows-ov-gethen-hermetic-journals_steve-hiett-down-on-the-road-by-the-beach-girls-in-the-grass-1983-cbs-sony-2019-be-with.jpg",
"https://images.squarespace-cdn.com/content/v1/51e9a95fe4b0c62bf88b254b/1720032905939-KQKEV5X4W33Y3QO6FUR2/snows-ov-gethen-hermetic-journals_dome-dome-2-1980-dome-rough-trade.jpg",
"https://images.squarespace-cdn.com/content/v1/51e9a95fe4b0c62bf88b254b/1716495018506-W94IKAP6EQA5KOHUAIJP/snows-ov-gethen-hermetic-journals_brian-eno-david-byrne-my-life-in-the-bush-of-ghosts-robert-fripp-no-pussyfooting-1981-sire-1973-island.jpg",
"https://images.squarespace-cdn.com/content/v1/51e9a95fe4b0c62bf88b254b/1716496826601-3NLGGIYMKUD9QS32XPOU/snows-ov-gethen-hermetic-journals_craig-leon-nommos-visiting-cassell-webb-the-thief-of-sadness-1981-1982-takoma-arbitor-1987-venture.jpg",
"https://images.squarespace-cdn.com/content/v1/51e9a95fe4b0c62bf88b254b/1716570991891-ZMD2QJ5AJHY6B9224URI/snows-ov-gethen-hermetic-journals_grace-jones-slave-to-the-rhythm-1985-zang-tumb-tuum-island.jpg",
"https://images.squarespace-cdn.com/content/v1/51e9a95fe4b0c62bf88b254b/1709336408326-GE70TQGKC6CV3K1EB2RW/snows-ov-gethen-hermetic-journals_minimal-compact-self-titled-lowlands-flight-1981-1987-crammed-discs-made-to-measure.jpg",
"https://images.squarespace-cdn.com/content/v1/51e9a95fe4b0c62bf88b254b/1708532881886-X4ASIXSZKI2RYHW9Y3AJ/snows-ov-gethen-hermetic-journals_danielle-boutet-pices-1985-2024-freedom-to-spend.jpg",
"https://images.squarespace-cdn.com/content/v1/51e9a95fe4b0c62bf88b254b/1701370610696-H2O2LZ7EYDL1Y4F4VWVU/snows-ov-gethen-hermetic-journals_top-60-reissues-and-archival-releases-2023-part-1.jpg",
"https://images.squarespace-cdn.com/content/v1/51e9a95fe4b0c62bf88b254b/1694452482065-YVQ9HT0J6L0F46FL3AE4/snows-ov-gethen-hermetic-journals_virginia-astley-from-gardens-where-we-feel-secure-1983-rough-trade-happy-valley.jpg",
"https://images.squarespace-cdn.com/content/v1/51e9a95fe4b0c62bf88b254b/1688677007566-YL90IF9Z240IC3MWG7C5/Snows+Ov+Gethen+-+Hermetic+Journals+%E2%80%A2+Radiation+Ruling+The+Nation+%E2%80%A2+The+Heatwave+Edition+%28Artwork%29.jpg",
"https://images.squarespace-cdn.com/content/v1/51e9a95fe4b0c62bf88b254b/1689797546133-4KK36OI00KP41T7606JW/snows-ov-gethen-hermetic-journals_wally-badarou-chief-inspector-words-of-a-mountain-1986-1989-island.jpg",
"https://images.squarespace-cdn.com/content/v1/51e9a95fe4b0c62bf88b254b/1684423235986-T9LW7EGAETIO2ECDXGD1/Snows+Ov+Gethen+-+Hermetic+Journals+-+Into+The+Labyrinth+%E2%80%A2+Sacrificial+Dances+Of+Knossos.jpg",
"https://images.squarespace-cdn.com/content/v1/51e9a95fe4b0c62bf88b254b/1681330224745-T234CQZM896214BDGHI9/snows-ov-gethen-hermetic-journals_nenad-jelic-laza-ristovski-opera-1986-pgp-rtb-2023-soundway.jpg",
"https://images.squarespace-cdn.com/content/v1/51e9a95fe4b0c62bf88b254b/1678291549164-DUYDJFZAKEVT1AOO620S/Snows+Ov+Gethen+-+Hermetic+Journals+-+Sinteticos+Portugueses+%28Artwork%29.jpg",
"https://images.squarespace-cdn.com/content/v1/51e9a95fe4b0c62bf88b254b/1674592904298-6JV7PZRQDJZN8VZDA6Y0/snows-ov-gethen-hermeetic-journals-best-record-stores-of-chicago.jpg",
"https://images.squarespace-cdn.com/content/v1/51e9a95fe4b0c62bf88b254b/1673640241562-0NYDWKP0V22H0VQF7M5W/snows-ov-gethen-hermetic-journals_conrad-seto-secuencias-para-la-era-de-acuario-1990-nova-era.jpg",
"https://images.squarespace-cdn.com/content/v1/51e9a95fe4b0c62bf88b254b/1673464667322-LYQJ4NRHXZAQQU7RSIZV/Snows+Ov+Gethen+-+Hermetic+Journals+-+Greek+Music+Travelogues+-+Byzantine+music%2C+Tsabouna%2C+Xenakis%2C+Vangelis%2C+Platonos%2C+Theodorakis%2C+Katsoulis+%26+more.jpg",
"https://andrew-elvish.squarespace.com/s/btt-icon.png"
] |
[] |
[] |
[
""
] | null |
[] |
2024-07-17T00:00:00
|
Snows Ov Gethen • Hermetic Journals Musings on experimental music of all shades and colours.
|
en
|
https://images.squarespace-cdn.com/content/v1/51e9a95fe4b0c62bf88b254b/a6c83d43-d16d-4dc8-a026-326ac92d24ab/favicon.ico?format=100w
|
Snows Ov Gethen • Hermetic Journals
|
https://snowsovgethen.com/journal/category/new+wave
|
Let’s stay with LM, Ltd. for the moment. Here’s one by Jill Kroesen. Her only full-length, but some people might recognize her distinctive nasal-to-mutter’y deadpan from Dinosaur L‘s “24→24” classics. Cutting like a knife through Arthur Russell’s thick, lubed-up disco arrangements. Su Tissue battles Alan Vega in one throat. Although, as far as can be deduced from “Honey, You’re So Mean”, she could also do raspy Marianne Faithfull with Cher-like sliding warble bookending verses. Very odd and not particularly well-controlled type of voice, but memorable. Not for nothing Ashley casted Kroesen as Isolde in “Perfect Lives”.
What a dirty shame she left music so soon. They say to pursue videography… Judging by “Stop Vicious Cycles”, Krosen was a bonafide entertainer. Overall, her pieces –arranged in collab with her sometime bandleader in Love Of Life Orchestra Peter Gordon - oscillate between artsy torch song and energetic pastiche of ZE Records. Their self-conceptualised “mutant disco” (Christina, James Chance, Kid Creole). A fun microgenre that was absolutely ruined in the early 00s via hipster reissues and inept stylisations. Somehow Kroesen was spared, apart from her Russell contributions. Perhaps she wasn’t pop enough or because her stuff was published on avant classical label. Most people run the other way when someone is associated with avantgarde opera. Talking about …
Read More
Deep summer classic no.2. We are now in Miami. There’s a fashion shoot on the beach. Fancy cars and catering trucks in the parking lot. Must be Vogue Paris! Or perhaps Marie Claire? But they are shooting something very American. Calvin Klein, Tommy Hilfiger? Michael Kors and Marc Jacobs are thankfully not yet a thing. There’re underwear models frolicking about. Young Linda Evangelista? Clothes are recognizably 1980s, but hair and accessories are throwback to the ‘60s. They are playing strange dubs of Beach Boys to get people in the mood. The ocean behind the proceedings is the same hue as Yves Klein’s “California”. Wait, that’s not Beach Boys. No vocal harmonies to be found. On a side note, I can never understand when people breathlessly admire Wilson’s “complex chord progressions”. What’s so intricate about incessant V-ii-V-I or basic I-IV-V with occasional sprinklings of suspensions and major/minor 7ths? Anyhow, that’s not Steely Dan either. Even if their sometime guitarist Elliott Randall (like Mme Abramovic’s ‘Artist’) IS present. Perhaps it’s an extended balearic edit of Fleetwood Mac’s “Albatross”. Nah. Maybe those are unpublished instrumental tracks for John Martyn’s “One World”? Or is it young Viny Reilly? …
Read More
Brain-melting heat. Feel woozy, like transitions in the clip above. Dome 2 feels illustrative. Especially the Coil-like first part of “The Red Tent”. Second partition is just Gilbert’s annoying bleating over metallic industrial chug. Sounds like exhausted slowed-down Warm Leatherette. No wonder Mr. Miller backed Gilbert’s projects on Mute. Many people think it’s “experimental”. “Long Lost Life” renders like an odder precursor to Sonic Youth if only they weren’t so American and excruciatingly boring. “Breathsteps” goes a bit 20 Jazz Funk Greats. I could almost imagine Genesis P.Orridge doing a cover version. Savouring the intoning over that prickly mechanoid rhythm. “Reading Prof B” has balafon’ish feel to it. I always thought Dome worked out better in their quieter, vocal-less fragments. With bravado guitar screeching traded for gentler discordant texture. “Ritual View” could have been Dome’s new wave chart-topper if only it wasn’t smothered with static patina of foregrounded synth pulses and out-of-tune guitar. “Twist Up” has a bit of Germanic vibe to it. Beate Bartel’s CHBB tapes come to mind. “Keep It” starts out like an outtake from some obscure video nasties soundtrack. A slasher set in …
Read More
Two aural pharmaceuticals. The former for revving up, the latter for winding down. Took these out to distract myself from their author’s late-career forays into self-promoting brand of climate change ‘activism’ and designing LED-lit novelty products. The other day I saw Eno’s new advertorial promoting some odd music-publishing platform. Fast like a (streaming) riverflow and ‘elaborately slow’ - probs implying vinyl with limited edition rugs and designer incense. Sounds about as innovative as Neil Young’s Pono. All I was thinking is that most musicians can’t figure out existing ‘platforms’ while the overwhelming majority of potential audience couldn’t care less how to consume it. As long as it’s free and plays on their screens.
Once upon a time Eno was implicated in producing music. “My Life...” and “No Pussyfooting” are among his most successful blends. Making thorny, overcomplicated concepts of unloved avantgarde instantly agreeable to people who never cared for ‘experimental’ art. And there were as many haters as there were admirers. The latter thinking him pop music’s John Cage. While the former condemn the theft of ideas and pop art’ing the niche. On my part, I can’t help but admire the audacity of Eno’s undertaking. Transmogrifying impenetrable and acquired taste into mass-market is not easy. Synthesizing arcane, conflicting philosophies into …
Read More
What unites these very different records? The answer is the producer. Craig Leon - a celebrated in-house studio wizard for Sire and preeminent engineer of new wave sound. See his oft-cited work with populist stratum of mid-70s NYC Downtown (Talking Heads, Blondie, Suicide). Coincidentally Blondie was a Chrysalis signee and Chrysalis co-owned John Fahey’s Takoma. And Cassell Webb - a fellow music biz professional with roots in Texan psych (various Lelan Rogers projects like Red Krayola, Children and 13th Floor Elevators) - was already in the picture in those years. Working with Leon since his late ‘70s relocation from East Coast for fancy LA postings with Polygram.
Both could be considered music industry’s veterans, by the time of Leon selling Fahey and his manager Denny Bruce (ex-assistant to Phil Spector’s associate Jack Nietzche) the outlandish concept of Nommos. The latter is a synth-tempered ‘imaginary folk music’ of mythical extraterrestrial visitors to Malian Dogon tribe. The latter’s actual music is available through terrestrial field recordings by Ocora’s ethnomusicologists. Despite Takoma’s pre-existing Moog projects with Bernie Krause the album still feels like a catalogue outlier. And Webb was instrumental in procuring …
Read More
Near perfect pop album and the final in Grace Jones’s unimpeachable run through the first half of the 1980s. And of course one of Trevor Horn’s finest productions. Sometimes I wonder what he’d do if hired to produce some of today’s generic starlets. In many ways one could say that his over-the-top approach and ‘widescreen’ sound prefigured today’s studio indulgences. But whereas modern pop is suffocatingly overproduced (and over-compressed) his is airy and sweepingly cinematic in gaudy technicolour. Packed with dynamic contrasts, spatial effects and arousing nuance. Arousing is actually the qualifier that feels à propos of all his productions, whether it’s due to the material he was asked to work on or an outcome of production style. Perhaps both. And “Slave To The Rhythm” is a fine example of it.
People wrote a lot about this record and there’s mistaken belief that recurs in regard to it being a precursor of remix albums. On my part I was under the impression dub producers, including the ones who worked with Jones at Compass Point, made a lot of those throughout the ‘70s. Regardless, “Slave To The Rhythm” is an interesting brew. Spinning rather flimsy sole seed of songwriting into a crazed symphony of immoderate …
Read More
The first and the final by this Tel Aviv via Amsterdam unit. Originally a quartet of Malka Spigel (also check out her poly-stylisitc late ‘90s solo run on ~swim), vocalist Samy Birnbach (future curator of Freezone - Crammed’s influential ambient electronica series) and guitarists Berry Sakharof and Ramy Fortis. Plus, rotating cast of invited guests (including Wire members) post-relocating to Holland. The last two were a bit like punk era’s experimental rock pioneers back in their own country. This is according to Regev/Seroussi’s unyielding UCLA publication “Popular Music & National Culture in Israel” which I cruelly subjected myself to while reading up on Arabic-derived Musiqa Mizrahit.
MC’s self-titled EP of the ‘81 starts out like a carbon copy of A Certain Ratio’s “Do The Du”. Birnbach delivering pitch-perfect Ian Curtis’s greyscale monotone over funked-up post-punk beats. It’s openly derivative - a variation on the early Factory bands, concurrent NY hipsters (99 record roster like ESG and Liquid Liquid) and more lyrical takes aligning with 154-era Wire. Mark Hollander’s guest turn on clarinet/sax imbues this offering with je-ne-sais-quoi colouristic …
Read More
These days our local Québécoise Danielle Boutet is a psychology prof. Residing in the Atlantic facing north-eastern town of Rimouski - a popular destination for oceanography students and whale watching types. But in the ‘80s she dabbled in music and fine arts. Channeling it into two self-released collections of DIY melancholic Francophone chansonettes with off-kilter trappings of new age’y synth pop. Emphasising poésie and muted theatricality. Listening to it I wish Boutet would have sent it to Hector Zazou. I’m sure he’d flesh it out into a bonafide genre-bending confectionary. Fit for hallowed catalogues of Crammed Discs. But it was not to be, and the thing is a thrillingly obscure self-published cassette.
With cascades of stylistic name-droppings press notes enthusiastically suggest wide-ranging eclecticism. Going as far as “jazz noir” and minimalism. All I can say is you’d have to be very imaginative to hear that. With the latter it’s as if any record featuring a few modulating arpeggios and marimba is now a fair candidate. Although I must admit that on rare occasion (specifically the “tone poems” of both Hivers pieces) the ever-present blend of xylophones and synths create fleeting aural impression of something off early Midori Takada if one would remove virtuosity and rhythmic invention. As to the jazz tangent it’s even less plausible considering Boutet’s unadorned …
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
Gardens are still lush outside, pollinators still buzzing over surviving echinacea. But in a silent reminder that this won't last for much longer (especially in our Canadian climes) people start to put out buckets of chrysanthemums and strange-looking compositions of ornamental grass and kale. Never understood the attraction of the latter in flower arrangements (even less so as food). This longwinded sidenote is to say that Astley's sweet and daydreamy 'pastoralias' for piano, woodwinds and field recordings are pitch perfect for this transitional moment when golden-lit end of summer segues into savoury comforts of autumn.
Right after this one Astley went on to become 'big in Japan'. Recording minor synth pop classic with Ryuichi Sakamoto. Even featuring David Sylvian cameo. "Gardens" seems like an outlier in her discography. Most likely it has roots in Astley's earlier collaborations with ex-Skids lead singer Richard Jobson. The ones where the latter intones heavily accented poetic streams over melodious French modernist piano accompaniments. It only makes sense that Astley's gardens are perfumed with the airs of Giverny. Coloured with …
Read More
In the mood for dance music as of late. Goes well with the relentless heat, which is seemingly everywhere I go this summer. So, here's something apropos - the Heatwave mix. I'll call it Radiation Ruling The Nation (the Mad Professor reference). So yes, I was a bit nostalgic for the old-school beatmatching I guess, so it's a fully mixed thingy. Like in the olden days. As well as silly samples and homemade mashups. No other rules, but to keep it as unserious and silly as possible. The first part is in sexy Balearic booty-swaying tempo - works well with the rosé and bubbles, second is a bouncy house hour, so you'll need something stronger. Streaming and the tracklist inside.
Read More
Spending some quality time with Wally Badarou. A perfect soundtrack for a long lazy weekend in the humid heat.
Badarou is probably the most distinctive of synth pop / new wave era keyboardists. His sound is basically all over Island catalogue in the 1980s, which says a lot. Most importantly Grace Jones’s best stuff, but also Marianne Faithful, Talking Heads, Level 42, Manu Dibango, The Tom Tom Club… The list can go on and on. Despite adapting to each of those distinctive artists I think Badarou always brought this very specific colour to any material. Now I know he is a French guy with Benin ancestry, but I can’t help but feel various vernacular musics of Africa in his playing. The curlicues of Ethiopian music, the sweetness of Wassoulou, the groove of Nigerian funk. But also the spaciousness of Jamaican dub, which I think was …
Read More
Picking up the intermittent thread of wild musical brews concocted deeply behind the Iron Curtain. This one came out on state-owned PGP (imprint of Radio Television Belgrade) in the final years of Socialist Yugoslavia. As with Perestroika era in simultaneously unravelling Soviet Union this was politically and culturally milder period, hence the tolerance for weirder music that wouldn't necessarily find state sponsorship earlier. An easier era of growing socio-cultural liberalism preceding disastrous ethnic conflicts and civil war of the 1990s. Or so it seems on the outside. I'm sure the reality was much more complicated...
But let's not dwell on politics. This feels like a Serbian answer to Trevor Horn's larger-than-life production for various Zang Tumb Tuum acts of the 1980s. Super-producer's tool of choice Fairlight CMI is not used on this one (most likely due to budgetary…
Read More
Continuing the travelogues of world record stores. Here is my stop in Chicago. If you ask me, one of the best places to dig in United States. As with other mini-guides that I’ve did for Athens, London and Paris I’ll keep this one updated on repeated visits. Even though record store maybe an endangered species there are still some new places that pop up and obviously there are the ones that sadly close their doors. For now what’s included are overviews of Dusty Groove, a few Reckless Records locations, Shady Rest, Dave’s (now sadly closed), 606 Records and Shuga.
Read More
Was reorganising my Spanish records and found this pleasingly obscure synth gem from the late 1980s Barcelona. Imagine if Roedelius played a blend of Weather Report, late 1980s TV ident muzak and Philip Glass keyboard études with manic intensity of Conrad Schnitzler and synth timbres of Telectu. If it sounds too much it’s because it is, but in a very endearing way. Miraculously this is not in Chee Shimizu’s ‘Obscure Sound’ , but would have been right at home in fancifully entitled “Accidental Music in Spain”.
I couldn’t find a lot of information on the author Conrad Setó, but he is listed as “jazz pianist”. Although brash digital synth textures permeating this record make the relationship to jazz hard to pinpoint at first. But then when you listen closer…
Read More
Last summer I was on extended stay in Greece. It was a great opportunity to learn about the country’s rich musical heritage. Some of it I knew prior to the trip, but a lot was entirely new. To coincide with my trip I prepared a few entries on my favourite Greek music. At the end of my travels I also made a Hellenic-themed radio program for Bristol-based Noods Radio merging ‘field ambiences’ collected on the trip with some of those selections. Additionally mixing in some of the music discovered or recommended in various record stores around the country. Talking about record stores I also made a parallel series on Athens-based joints selling vinyl which can be found here.
At the time I couldn’t post it online other than in sporadic social media entries, but now I decided to compile all these entries into one compact resource. Perhaps someone will find it useful as an entry point to Greek music. I have to admit that aesthetically it’s really far from traditionally recognized canon of Greek popular aesthetics - in this way you won’t find any laïko, rebetiko or pre-1980s pop in my selections. Instead I was more interested in exploring Greece’s small, but storied avantgarde, synth music, experimental pop, some idyosincratic folk traditions and its sacred music. It will be a work in progress and I’ll get back to expand it some more on my upcoming trips. Without further ado here are my Greek Music Travelogues…
Read More
|
||
1053
|
dbpedia
|
2
| 23
|
https://www.tiktok.com/%40nikolajevtic82/video/7187235193164483845%3Flang%3Den
|
en
|
Make Your Day
|
[] |
[] |
[] |
[
""
] | null |
[] | null |
en
| null | ||||||||
1053
|
dbpedia
|
1
| 76
|
https://www.tiktok.com/%40ajdin.huzbasic/video/7358104257909755141
|
en
|
Make Your Day
|
[] |
[] |
[] |
[
""
] | null |
[] | null |
en
| null | ||||||||
1053
|
dbpedia
|
3
| 96
|
https://alchetron.com/Bijelo-Dugme
|
en
|
Alchetron, The Free Social Encyclopedia
|
[
"https://alchetron.com/cdn/private_file_1517239244803d31cc91d-e816-4e97-bd48-74f41d15b96.jpg",
"https://alchetron.com/cdn/bijelo-dugme-d77f1b39-32fa-4c13-870d-500bf611a27-resize-750.jpeg",
"https://alchetron.com/cdn/bijelo-dugme-fb9b7eda-75af-497d-9534-c13f156f910-resize-750.jpeg",
"https://alchetron.com/cdn/bijelo-dugme-6d6b9af4-feb3-459a-91a2-8364db0f793-resize-750.jpeg",
"https://alchetron.com/cdn/bijelo-dugme-a3c495af-a4cd-4e38-8f13-c70208bf5c6-resize-750.jpg",
"https://alchetron.com/cdn/bijelo-dugme-3104cf29-386b-47e3-9d95-ffae4a1a188-resize-750.jpg",
"https://alchetron.com/cdn/bijelo-dugme-bc843aec-ecd1-4f2c-ad32-264772c0a61-resize-750.jpg"
] |
[] |
[] |
[
""
] | null |
[] |
2017-08-18T08:30:48+00:00
|
Bijelo Dugme (trans. White Button) was a Yugoslav rock band, based in Sarajevo. 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 of
|
en
|
/favicon.ico
|
Alchetron.com
|
https://alchetron.com/Bijelo-Dugme
|
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 (trans. The Beasts). 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. 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). At the time, the band Pro Arte was also interested in hiring Bregović, but he decided to stay with Kodeksi. After performing in a night club in Dubrovnik, Kodeksi were hired to perform in a club in Naples, Italy. However, the parents of the only female member, Ismeta Dervoz, did not allow her to go to Italy. 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. After two months, the band's guitarist Edo Bogeljić returned to Sarajevo to continue his studies, and Bregović switched to guitar. Local Italian musician called Fernando Savino was brought in to play the bass, but after he quit too, Bebek called up old friend Zoran Redžić, formerly of the band Čičak (Burdock). Redžić in turn brought along his bandmate from Čičak Milić Vukašinović as replacement on drums for Paganotto, who also quit in the meantime. 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, and within two weeks of his arrival, Kodeksi were fired from all the places they were playing.
The foursome of Bebek, Bregović, Redžić and Vukašinović stayed on the island of Capri and in 1970 relocated back to Naples. At this time, the other three members persuaded Bebek to stop playing the rhythm guitar reasoning that it was not fashionable any more. 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. After being a key band member only several months earlier, Bebek thought his role was gradually being reduced. During the fall of 1970, he left Kodeksi to return to Sarajevo.
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. 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. 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. Hastily composed and recorded "Ja i zvezda sjaj" ("Me and the Stars' Glow") was of poor quality and little artistic value, which influenced Vukašinović's decision to move to London. He left Sarajevo in late summer of 1971, and the trio ended their activity.
Jutro (1971–73)
At the autumn of 1971, guitarist Ismet Arnautalić invited Bregović to form Jutro (Morning). The band's lineup featured, alongside Arnautalić and Bregović, Redžić on bass, Gordan Matrak on drums and vocalist Zlatko Hodnik. Bregović wrote his first songs as a member of Jutro. The band had made some recordings with Hodnik when Bregović decided they needed a vocalist with more aggressive vocal style, so he invited Bebek to become the band's new singer. 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. 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.
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. 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. For some time, guitarist Midorag "Bata" Kostić, a former member of YU Grupa, rehearsed with the band, but this cooperation was soon ended. 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. After Matrak left the band, he was replaced by Perica Stojanović, who was shortly after replaced by former Pro Arte member Vladimir Borovčanin "Šento". Borovčanin tried to secure a record contract with Jugoton, but lost faith in his new band after he failed. He and Redžić neglected rehearsals, and both left the band after an argument with Bregović.
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. Borovčanin was replaced by former Mobi Dik (Moby Dick) and Rok (Rock) member Goran "Ipe" Ivandić. Instead of second guitar, Bregović decided to include keyboards in the band's new lineup. Experienced Vlado Pravdić, a former member of Ambasadori and Indexi, became Jutro's keyboardist. 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. 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. The intro to "Top" was inspired by traditional ganga music. Soon after, Vinković rejoined Ambasadori, and was replaced by Jadranko Stanković, a former member of Sekcija (Section) and Rok.
At this time, the band adopted the name Bijelo Dugme. They decided to change the name because of the conflict with Aranautalić, but also because of the existence of another, Ljubljana-based band with the name Jutro. As the band was already known for the song "Kad bi' bio bijelo dugme", they choose the name Bijelo Dugme. The band officially started working under this name from January 1974.
"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. The band and Borota offered these recordings to the Sarajevo-based record label Diskoton. The music editor 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. This is widely considered the greatest business mistake in the history of Yugoslav record publishing. On the same day the band were refused by Diskoton, they were offered a five-year contract with Zagreb-based Jugoton. On March 29, 1974, "Top" and "Ove ću noći naći blues" were released on a 7" single. Bijelo Dugme's first release would be sold in 30,000 copies.
The band started promoting the single, performing mostly in smaller towns. 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. Soon after, Bregović, Bebek, Ivandić and Pravdić decided to exclude him from the band. Redžić was invited to join the band, which he accpeted, despite his previous conflict with Bregović. 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. This scandal brought huge press covering and increased the record sale.
The band had their first bigger performance at the 1974 BOOM Festival in Ljubljana, where they were announced as "the new hopes". The live version of "Ove ću noći naći blues" appeared on the double live album Pop Festival Ljubljana '74 - BOOM. 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. The band spent the summer performing in Cavtat and preparing songs for their first album. They soon released their third single, with the songs "Da sam pekar" ("If I Was a Baker") and "Selma". "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. Some 100,000 copies of the single were sold, becoming Bijelo Dugme's first gold record.
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. Several days before the album release, wanting to appear in the media as musch as possible, Bijelo Dugme performed at the Skopje Festival, playing the song "Edna nadež" ("One Hope") by composer Grigor Koprov. Bregović later described this event as "the greatest disgrace in Bijelo Dugme's career". Bebek sung in bad Macedonian, and the band did not fit in well in the ambient of a pop festival. 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. 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.
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. 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. This term was (and still is) sometimes used by the Yugoslav critics in order to classify Bijelo Dugme's sound. 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"). 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. 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.
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. 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. Instead, Vedran Božić (of Time), Josip Boček (formerly of Korni Grupa), Bata Kostić (of YU Grupa), and Bregović were proclaimed the best. 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. After the album was released, the four guitarists went on a joint tour, on which they were supported by YU Grupa members. 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"), after which they started their first big Yugoslav tour. In the spring of 1975, they were already considered the most popular Yugoslav band. 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).
Before the recording of their second album, Bijelo Dugme went to the village Borike in Eastern Bosnia in order to work on the songs and prepare for the recording sessions. 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. It was produced by Neil Harrison who previously worked with Cockney Rebel and Gonzalez. The bass guitar on the album was played by Bebek, as Redžić injured his middle finger just before the recording sessions started. Nevertheless, Redžić was credited on the album, as he worked on the bass lines, and directed Bebek during the recording. The lyrics for the title track were written by Duško Trifunović, while the rest of the lyrics were written by Bregović. 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"). 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. "Playing the Part" lyrics were written by Dave Townsend. The album was a huge commercial success, selling more that 200,000 copies. 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. 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 was sold in more that 200,000 copies it was branded simply as "2x diamond record". After the album release the band went on a warming-up tour across Kosovo and Metohija. During the tour, injured Redžić was replaced by former Kamen na Kamen member Mustafa "Mute" Kurtalić. 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. 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. Their performance was, however, stopped after only several minutes, reputedly because of the loudness.
As Redžić had to leave the band due to his army obligations, a bass guitarist for live performances had to be hired. Kurtalić asked for higher fees, so the new temporary bassist became Formula 4 leader Ljubiša Racić. This lineup of the band went on a large Yugoslav tour. 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. On the concerts, the band for the first time introduced a set of several songs performed unplugged. The press coined the term "Dugmemanija" (Buttonmania) and the socialist public went into an argument over the phenomena.
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. 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, and "Milovan" and "Goodbye, Amerika" ("Goodbye, America"), which were released as Bebek's solo single. The records represented the introduction of funk elements to Bijelo Dugme sound. 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. 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". At the beginning of autumn, Ivandić and Pravdić left the band due to their army obligations. 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.
The band prepared for the recording of their third album in Borike. 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. Bregović did not manage to write the music on the lyrics (they were later used for the song recorded by Jadranka Stojaković), 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. The album was eventually titled Eto! Baš hoću! (There! I Will!). 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. 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). In the meantime, Racić asked for higher payment, so he got fired. He was replaced by Sanin Karić, who was at the time a member of Teška Industrija. 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. After the band's return from Poland, Redžić and Ivandić rejoined them. After leaving Bijelo Dugme, Vukašinović would form the hard rock/heavy metal band Vatreni Poljubac.
The band went on a Yugoslav tour, but experienced problems during it. The clashes within the band were becoming more and more frequent, the concerts were followed by technical difficulties and bad reviews in the press, and the audience was not interested in the band's concerts as it was during previous tours. 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. The Adriatic coast tour was canceled, as well as concerts in Zagreb and Ljubljana for which the recording of a live album was planned. After four years, Bijelo Dugme saw a decline in popularity and rumors about the band's disbandment appeared in the media.
The band wanted to organize some sort of spectacle to help their decreased popularity. On the idea of journalist Peca Popović, the band decided to hold a free open-air concert at Belgrade's Hajdučka česma on August 28, 1977. Jutro had already performed on this location in 1973, on a concert organized by Pop Mašina. The concert would also be Bijelo Dugme's last concert before the hiatus due to Bregović's army duty. The whole event was organized in only five days. 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. After the opening acts — Slađana Milošević, Tako, Zdravo, Džadžo, Suncokret, Ibn Tup and Leb i Sol — Bijelo Dugme played a very successful concert. Despite the fact that the concert was secured by only twelve police officers, there were no larger incidents. Video recordings from the concert appeared in Mića Milošević's Film Tit for Tat. 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). The only part of the Hajdučka česma concert that appeared on the album were the recordings of the audience's reactions.
After Koncert kod Hajdučke česme was mixed, Bregović went to serve the army in Niš and the band went on hiatus; Melody Maker wrote about Bijelo Dugme's hiatus as about an event "on the edge of national tragedy". 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. In June 1978, Bebek released his first solo album, symphonic rock-oriented Skoro da smo isti (We're almost the Same), which saw mostly negative reactions by the critics. 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. They met Bregović during his leave and played him the recordings, believing they could persuade him to let them compose for Bijelo Dugme. 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. 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. Ivandić was sentenced to spend three years in jail (Kovačević was sentenced to year and a half, and Boban to a year). Before he went to serve the sentence, Ivandić went to psychiatric sessions in order to prepare for the life in jail. The psychiatrist he went to see was Radovan Karadžić.
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. 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. 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. 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. The new lineup of the band had their first performance in Skenderija on December 4, 1978.
The band's fourth studio album was recorded in Belgrade and produced by Neil Harrison. Several songs featured symphonic orchestra. The making of the album was followed by censorship. The original cover, designed by Dragan Stefanović and featuring female leg kicking 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. 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 bastard and misery") 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 bastard and misery"). 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. 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. The album broke all the records held by their previous releases. 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. The tour, however, was highly successful. 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. On some of the concerts they were followed by Branko Krsmanović Choir and a symphonic orchestra. 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. More than 70,000 people attended the concert.
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. During 1980, Bregović spent some time in Paris, and the band was on hiatus.
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. During 1980, Bijelo Dugme decided to move towards new sound.
In December 1980, Bijelo Dugme released new wave-influenced album Doživjeti stotu (Live to Be 100). This was the first Bijelo Dugme album produced by Bregović. 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. 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. The saxophone on the recording was played by jazz musician Jovan Maljoković and avant-garde musician Paul Pignon. 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. 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. The provocative cover designed by Mirko Ilić, an artist closely associated with Yugoslav new wave scene, appeared in three versions. 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. Due to new sound, the album was met with a lot of skepticism, but most of the critics ended up praising the album. At the end of 1980, the readers of Džuboks magazine polled Bijelo Dugme 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 Doživjeti stotu cover the Album Cover of the Year.
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). The album, featuring a cover of Indexi song "Sve ove godine" ("All These Years"), was released in a limited number of 20,000 copies. Bijelo Dugme performed in Belgrade several times during the tour: after two concerts in Pionir Hall, they performed, alongside Iron Maiden, 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, and during the New Year holidays they held three concerts in Hala Pinki together with Indexi. 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). 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. The band's record label, Jugoton decided to lend 150,000,000 Yugoslav dinars to Bijelo Dugme, in order to pay the penalty. 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). To recover financially, during July and August 1982, the band went on a Bulgarian tour, during which they held forty one concerts. As Jankelić went to serve the army in April, on this tour the drums were played by former Leb i Sol drummer Garabet Tavitjan. 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. However, due to the growing liberalization, this event did not affect Bregović's and the band's career.
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.
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. 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.
In February 1983, the band released the album Uspavanka za Radmilu M. (Lullaby for Radmila M.). Bregović intended to release Uspavanka za Radmilu M. as Bijelo Dugme's farewell album and to dismiss the band after the tour. The album was recorded in Skopje and featured Vlatko Stefanovski (guitar), Blagoje Morotov (double bass) and Arsen Ereš (saxophone) as guest musicians. 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 fazes in the band's career. The album's title track is the only instrumental track Bijelo Dugme ever recorded. Unlike the band's previous album, Uspavanka za Radmilu M. was not followed by a large promotion in the media. 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. The videos were directed by Boris Miljković and Branimir Dimitrijević "Tucko". The video for the song "Ovaj ples dame biraju" was the first gay-themed video in Yugoslavia.
The song "Kosovska" ("Kosovo Song") featured Albanian language lyrics. 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. Although lyrics were simple, dealing with rock music, the song caused certain controversies.
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. After the tour, Bijelo Dugme went on a hiatus and Bebek recorded his second solo album, Mene tjera neki vrag (Something Wicked Makes Me Do It). His last concert with Bijelo Dugme was on February 13, 1984, in Sarajevo Olympic Village. Unsatisfied with his share of the profit in Bijelo Dugme, he decided to leave the band and dedicate himself to his solo career. He left Bijelo Dugme in April 1984. For a certain period of time, Bebek's backing band would feature Jankelić on drums.
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. Eventually, the new Bijelo Dugme singer became then relatively unknown Mladen Vojičić "Tifa", a former Top and Teška Industrija member. The band spent summer in Rovinj, where they held small performances in Monvi tourist centre, preparing for the upcoming album recording. At the time, Ivandić started working with the synthpop band Amila, whose frontess Amila Sulejmanović often performed as a backing vocalist on Bijelo Dugme concerts.
At the time Bregović, with singer Zdravko Čolić, formed Slovenia-based record label Kamarad, which co-released Bijelo Dugme's new album with Diskoton. 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). The album featured both Ristovski and Pravdić on keyboards, and, after the album recording, Ristovski became an official member of the band once again. Bijelo Dugme featured 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. 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. 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"). 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. 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.
The album was sold in more that 420,000 copies. The tour was also very successful. 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), but also performed in clubs on several occasions. 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. In the summer of 1985, Bijelo Dugme, alongside Bajaga i Instruktori, represented Yugoslavia at the World Festival of Youth and Students held in Moscow. The two bands should have held their first concert on July 28 in Gorky Park. The soundcheck, during which Yugoslav tehnicians played Bruce Springsteen and Pink Floyd songs, attracted some 100,000 people to the location. Bajaga i Instruktori opened the concert, however, after some time, the police started to beat 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. 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.
The concerts in Moscow were Vojičić's last performances with the band. Under the pressure of professional obligations, sudden fame and media scandal in which it was discovered that he uses LSD, he decided to leave the band. 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.
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.
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. 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 got silently removed from public life in 1972 after supporting a liberal faction within the Yugoslav Communist League's Serbian branch. 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. 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. Koča Popović was reportedly somewhat receptive to the idea of participating on the album, but still turned the offer down. Eventually, under pressure from Diskoton, Bregović gave up on his original ideas. 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. The album cover featured a photograph of Chinese social realist ballet. Vukmanović's appearance on the album was described by The Guardian as "some sort of Bregović's coup d'état". 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". 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. 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.
The double live album Mramor, kamen i željezo (Marble, Stone and Iron), recorded on the tour and produced by Redžić, was released in 1987. The title song was a cover of an old hit by the Yugoslav beat band Roboti. The album offered a retrospective of the band's work, featuring songs from their first singles to their latest album. 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!"), and the album cover features a photograph from the 5th Congress of the Communist Party of Yugoslavia. 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. However, he continued to occasionally perform with the band, on larger concerts, and was, until the end of the band's activity, still considered an official member.
At the end of 1988, the album Ćiribiribela was released. 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"), and the title track featured lyrics about a love couple which decides to "stay at home and kiss" if the war starts. 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. 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". 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. The video was recorded in the village Koraćica in Central Serbia. The band came to the recording not knowing anything about the video concept. 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. Eventually, the band and the director reached an agreement: everyone, except Islamović, wore Serbian traditional costumes, with only several of the original props used. However, after the video was recorded, the Radio-Television Belgrade editors themselves decided not to emit it, fearing it might remind of the Chetnik movement.
At the beginning of 1989, the band went on a tour which should have lasted until April 1. The concert in Belgrade, held in Belgrade Fair on February 4, was attended by about 13,000 people. The concert featured Dubravka Zubović, the First Singing Society of Belgrade, the Fejat Sejdić Trumpet Orchestra and klapa Trogir. The concert in Sarajevo's Zetra, held on February 11, was also very successful; it was attended by more than 20,000 people. However, on some concerts in Croatia, the audience booed and threw various objects on stage when the band performed their pro-Yugoslav songs.
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. This event revealed the existing conflicts inside the band: Bregović claimed that Islamović had no problems during the tour, 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. Bregović went to Paris, leaving Bijelo Dugme's status opened for speculations. In 1990, the compilation album Nakon svih ovih godina, which featured recordings made between 1984 and 1989, was released. As Yugoslav Wars broke out in 1991, it became clear that Bijelo Dugme will not continue their activity.
Post-breakup
Bregović continued his career as a film music composer, cooperating mostly with Emir Kusturica. 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. 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. Ristovski continued to record solo albums, work as a studio musician, and during the 1990s he performed with Osvajači and Smak. Islamović, who recorded his first solo album Haj, nek se čuje, haj nek se zna in 1989, started a semi-successful solo career.
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.
2005 reunion
Bregović, who during the 1990s became one of the most internationally known modern composers of the Balkans, on numerous occasions stated that he will not reunite Bijelo Dugme. 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. The reunion saw huge media attention in all former Yugoslav republics, followed by various forms of yugonostalgia.
The band held only three concerts: in Sarajevo, at Koševo stadium, Zagreb, at Maksimir stadium, and Belgrade, at Belgrade Hippodrome. The concerts featured a string orchestra, a brass band, klapa group Nostalgija and two female singers from Bregovć's Weddings and Funerals Orchestra. During the concerts, Bregović, Redžić, Pravdić and Ristovski performed for the whole time, Vukašinović played the drums during Bebek's part of the concert, while Janković played during Vojičić's and Islamović's part. Islamović opened the concerts in Sarajevo and Zagreb, and Vojičić opened the concert in Belgrade. Bebek sung third on all three concerts. The concerts also featured an unplugged section, during which Bregović and Bebek played guitars and all three singers performed. The concert in Sarajevo attracted about 60,000 people, and the concert in Zagreb was attended by more than 70,000 people. For the concert in Belgrade, more than 220,000 tickets were sold, but it was later estimated that it was attended by more that 250,000 people. However, the concert in Belgrade was much criticized because of the bad sound. The live album Turneja 2005: Sarajevo, Zagreb, Beograd (2005 Tour - Sarajevo, Zagreb, Belgrade) recorded on the tour was released.
Post-2005
Ristovski died in Belgrade on October 6, 2007, following years of battle with multiple sclerosis.
In 2014, Raka Marić made an attempt to reunite Bijelo Dugme once again in order to mark the band's 40th anniversary, but the agreement could not be reached, despite the fact the members were interested in a new reunion. 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. 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.
Influence and legacy
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, singer and former Bulevar and Bajaga i Instruktori member Dejan Cukić, guitarist and former leader of KUD Idijoti Aleksandar "Sale Veruda" Milovanović, singer and former Merlin leader Dino Merlin, and others. The acts that reorded covers of Bijelo Dugme songs include Aska, Srđan Marjanović, Regina, Revolveri, Prljavi Inspektor Blaža i Kljunovi, Viktorija, Sokoli, Massimo Savić, Vasko Serafimov, Zoran Predin and Matija Dedić, Branimir "Džoni" Štulić, Teška Industrija and others. The song "Ima neka tajna veza" was performed by Joan Baez on her 2014 concerts in Belgrade and Zagreb. The band's work has been parodied by Paraf, Gustafi, Rambo Amadeus, 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 and Šta bi dao da si na mom mjestu (2014) by Dušan Vesić.
In 1994, Radio Television of Serbia aired a four-part documentary about the band entitled Nakon svih ovih godina. In 2010, Igor Stoimenov directed a documentary about the band, entitled simply Bijelo Dugme.
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). The list of 100 greatest Yugoslav album, published by Croatian edition of Rolling Stone in 2015, features three Bijelo Dugme albums, Bitanga i princeza (ranked No. 15), Eto! Baš hoću! (ranked No. 36) and Šta bi dao da si na mom mjestu (ranked No. 42). 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.
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). 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). 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.
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).
In 2016, Serbian weekly news magazine Nedeljnik pronounced Goran Bregović one of 100 people that changed Serbia forever.
Members
Goran Bregović - guitar (1974–1989, 2005)
Željko Bebek - vocals (1974–1984, 2005)
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 "Tifa" Vojičić - 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
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)
|
||||
1053
|
dbpedia
|
1
| 37
|
https://fasrclicks174.weebly.com/vreme-za-zaljubljene-tekst.html
|
en
|
Vreme Za Zaljubljene Tekst
|
[
"https://scontent-frx5-1.cdninstagram.com/vp/f56a4932b3a4015ac1e76d916c1d834b/5D8790C0/t51.2885-15/e35/61294241_2275603509164636_3097644276713574241_n.jpg?_nc_ht=scontent-frx5-1.cdninstagram.com&se=5&ig_cache_key=MjA2NDEwODY3NDkzMDQ5MTczMw%3D%3D.2",
"https://fasrclicks174.weebly.com/uploads/1/2/5/2/125287151/356940696.jpg",
"https://cdn2.editmysite.com/images/site/footer/footer-toast-published-image-1.png"
] |
[] |
[] |
[
""
] | null |
[] | null |
S Vremena Na Vreme in the 1990s, from left to right: Asim Sarvan, Vojislav Đukić, Ljubomir Ninković, Miomir Đukić
|
en
|
fasrclicks
|
https://fasrclicks174.weebly.com/vreme-za-zaljubljene-tekst.html
|
S Vremena Na Vreme (Serbian Cyrillic: С Времена На Време, trans. From Time To Time) is a Serbian and Yugoslavrock band from Belgrade. S Vremena Na Vreme were one of the pioneers of the Yugoslav 1970s acoustic rock scene, and one of the pioneers in incorporating Balkanfolk music elements into rock music on the Yugoslav rock scene.
S Vremena Na Vreme was formed in 1972 by brothers Miomir 'Miki' Đukić and Vojislav 'Koki' Đukić, Asim Sarvan and Ljubomir 'Ljuba' Ninković, all four singing and playing acoustic guitars. In the early 1970s the band gained popularity with their acoustic rock sound, and their debut album, S Vremena Na Vreme (1975), was widely praised by the critics. Their second album, Paviljon G, marked the band's shift towards electric sound. Soon after the album release, the band ended their activity. They reunited in 1993, releasing a studio, a live and a video album, before disbanding again in 1997. In 2013, the band reunited for the second time in order to mark 40 years since their debut release.
SMS poruke za zaljubljene SMS poruke za zaljubljene. SMS poruke za zaljubljene su jedan od najlepših načina da svojoj ljubavi pokažete koliko je volite i koliko ste zaljubljeni. Pošaljite neku od odabranih SMS poruka za zaljubljene koje smo birali samo za vas.
1History
3Discography
History[edit]
Early career, nationwide success and breakup (1972-1979)[edit]
Before the formation of the band, brothers Miomir 'Miki' Đukić and Vojislav 'Koki' Đukić performed in a high school band Pupoljci (The Buds) with flutist Bane Zarin. The band performed the covers of foreign rock hits.[1] At the time, Miomir Đukić wrote the ballad 'Sunčana strana ulice' ('Sunny Side of the Street'), which achieved some local popularity.[1] During Pupoljci's activity, Vojislav Đukić went to music school, where he took classical guitar lessons, composed music on the lyrics of poet Miljenko Žuborski and music for theatre plays.[1]
At the same time, Asim Sarvan came to Belgrade from Mladenovac for his studies of world literature.[1] There he met Ljubomir 'Ljuba' Ninković. Ninković, who came to Belgrade from Smederevo, and who previously performed in the bands Maskirani Anđeli (The Masked Angels), Pet Sounds and The Spooks (in latter he played the organ),[2] and at the time he met Sarvan he performed as a singer-songwriter.[1] He already had some success as an author, as his song 'Slika' ('Picture') was recorded by Korni Grupa and released as a single in 1970.[1] This song would, with altered lyrics, later be recorded by S Vremena Na Vreme under the title 'Kao vreme ispred nas' ('Like the Time that's Coming').[1]
Đukić brothers, Sarvan and Ninković started working together recording humorous songs for the then-popular radio showTip top kabare in Radio Belgrade studios.[1] Soon they decided to form a band. After the suggestion of Boban Petrović, who worked as a recording technician in Radio Belgrade studios, they chose the name S Vremena Na Vreme (From Time to Time), as they gathered occasionally.[1]
In the beginning, the band mostly wrote music for theatre plays, including Lucrezia Borgia and The Mandrake performed in National Theatre in Belgrade, Beleške jedne Ane (Notes of an Anna) performed in RU Đuro Salaj, and Nesumnjivo lice (An Unsuspicious Person) performed in Atelje 212.[1] The band also recorded music for radio; the Radio Belgrade archive contains more than 100 recordings made by the band.[1] During these recordings, the band introduced Balkanfolk music elements into rock music (being one of the first Yugoslav bands to do so), used traditional instruments and experimented with various musical genres.[1] Working mostly in studio, during the first period of their career the band rarely performed live.[1] However, they performed on the 1972 and 1973 concerts organized by Pop Mašina members in Belgrade's Košutnjak park, and on the 1974 BOOM Festival, the live version of their song 'Odisej' ('Odysseus') appearing on the double live album BOOM Pop Festival Ljubljana '74.[1] They also appeared on several pop music festivals.[1] In both 1973 and 1974 they received the Best Original Music Award at the Festival of Yugoslav Radio held in Ohrid.[1]
During the initial period of their career, the band cooperated with various musicians: Đukić brothers' former bandmate Bane Zarin, drummer Nikola Jager, drummer Ratislav Đelmaš (of YU Grupa), keyboardistSloba Marković, bass guitarist Dejan Petković, flutist Dragoslav 'Džib' Vokić, contrabassist Nebojša Ignjatović.[1] During Sarvan's and Miomir Đukić's temporary absence from the band due to their army obligations, Tanja Bošković, Gorica Popović and Ljiljana Dragutinović, all of them drama students at the time, performed with the band as female singers.[1] During this period, the band members took part in the recording of the albums by Jadranka Stojaković, Vlada i Bajka, Srđan Marjanović and Tamara and Nenad Pavlović.[3] They also recorded music for the songs composed by Kornelije Kovač, which were performed by pop music singers.[3]
S Vremena Na Vreme released their first single, featuring the songs 'Sunčana strana ulice' and 'Ponekad' ('Sometimes'), in 1973.[3] The track 'Ponekad' featured the monologue spoken by the actor Marko Nikolić.[3] The single was released by Radio Kruševac. The single got the atentnion of the audience and the media, so the band was offered a contract by the one of two biggest record labels in Yugoslavia, Zagreb-based Jugoton.[4] For Jugoton the band released the single with the songs 'Čudno drvo' ('Strange Tree') and 'Odisej'.[5] After the success of the single, the band signed their net contract with the second of to biggest record labels, Belgrade-based PGP-RTB.[6] At the time, the band started appearing in Television Belgrade show Tip top kabare, based on Radio Belgrade show of the same title, for which the members of the band had already recorded. S Vremena Na Vreme started appearing in the show, which brought them nationwide popularity.[7]
In 1975, the band released their debut self-titled.[1] Most of the album lyrics were written in hotel Turist in Ljubljana on the last night of the album recording.[3] The album featured Jager on drums (after the album recording Jager would become an unofficial member of the band) and Pop Mašina member Robert Nemeček on bass guitar.[3]S Vremena Na Vreme brought hits 'Tema classica', originally composed by Ninković as a teenager,[8] 'Traži mene' ('Looking for Me'), 'Utočište' ('Sanctuary') and 'Biblijska tema' ('Biblical Theme'), the latter featuring verses from The Book of Psalms,[3] and the album, especially the lyrics and the arrangements, partially inspired by works of The Beatles, was praised by the critics.[3] The band's following album, Moj svet (My World), released in 1978, was a compilation consisting of the songs from their 7' singles.[3] During 1978 and 1979, in Belgrade Youth Center, the band held performances under the title Bistro kod plave sove (Blue Owl Bistro), which followed the play Rastibuđilizovane klejbezable performed by amateur theatre Teatar levo.[3] In March 1979 the band, S Vremena Na Vreme held a successful Polish tour on which they performed together with several amateur theatres from Belgrade.[3] During the same year, the band, with the symphonic rock band Tako, organized the first quadraphonic sound concert in Yugoslavia, in Belgrade Youth Center.[3]
In 1979, the band released the album Paviljon G (Pavilion G), which marked the band's shift towards electric sound.[3] The album featured the song 'Rok kritičar' ('Rock Critic') which dealt with the expansion of punk rock in Yugoslavia.[3] After the album was released, Vojislav Đukić went to serve the army. and the band members decided to disband, partially due to new musical trends on the Yugoslav scene.[3]
Post-breakup (1980-1992)[edit]
Sarvan formed the band Muzej Sarvan (Museum Sarvan), wrote songs for folk music singers, and, in 1984, he released a solo album Asime, spasi me (Asim, Save Me), which he recorded with Baklava Band and keyboardist Laza Ristovski.[3] Most of the songs on the album were written and produced by Ninković.[3] Ljuba Ninković started working in Radio Belgrade as a host, and with Vlada Janković 'Džet' (a former Crni Biseri member) he formed the band Tunel, with which he recorded five albums.[3] In 1985, Ninković took part in YU Rock Misija, a Yugoslav contribution to Live Aid.[3] Vojislav Đukić wrote music for theatre plays, most notably Kapetan Džon Piplfoks (Captain John Peoplefox) performed in Radović theatre.[3]
In 1983, S Vremena Na Vreme made a brief reunion to appear in Srđan Karanović's film Something in Between. In the film, the band members portrayed a kafana band which performs a combination of country and Serbian folk music.[3]
In 1990, Ninković and Sarvan rerecorded some of the band's most popular songs and released them as Ljuba & Asim on the album Najveći hitovi grupe S Vremena Na Vreme (The Greatest Hits by the band S Vremena Na Vreme).[3] At the beginning of the 1990s, Ninković, together with actor Milorad Mandić, worked on Radio Television of Belgradechildren's showS one strane duge (Over the Rainbow). The two of them, together with a number of musicians, recorded the children's music album S one strane duge.[3]
Reunion and second breakup (1993-1997)[edit]
On Sarvan's idea, in May 1993 in Belgrade Youth Center, the most notable musicians of Serbian 1960s and 1970s acoustic rock scene gathered to perform on a fund-raising concert.[3] The good reception at the performance convinced S Vremena Na Vreme members to reunite.[3] They held their comeback concert in Sava Centar on November 5, 1993, featuring keyboardist Saša Lokner (of Bajaga i Instruktori), bass guitarist Bata Božanić, drummer Ratko Ljubičić and percussionist Nenad Januzović performing with the band.[3] The concert also features guest appearance by singer Snežana Jandrlić, who performed the song 'Prvi sneg' ('First Snow'), originally recorded by her former band Suncokret.[3] The recording of the concert was released on the video album S Vremena Na Vreme uživo, Sava Centar novembar 1993 (S Vremena Na Vreme Live, Sava Centar November 1993).[3] At the same time the band released the compilation album Vreme ispred nas (The Time that's Coming) which featured a live version of 'Sunčana strana ulice', and 'Na početku i na kraju' ('In the beginning and in the End'), the latter originally recorded in 1973.[3] In 1994, the song 'Sunčana strana ulice' was released on Komuna compilation album Sve smo mogli mi: Akustičarska muzika (We Could Have Done All: Acoustic Music), which featured songs by Yugoslav acoustic rock acts.[9]
In 1995, S Vremena Na Vreme released the studio album Posle kraja (After the End). The album featured Bata Božanić, Saša Lokner, Čeda Macura (on drums), Pera 'Joe' Miladinović (harmonica), and Marija Mihajlović (vocals on the song 'Spavaj').[3] Ninković and Marija Mihajlović during the same year recorded the album Zvuk tišine (The Sound of Silence), which featured their versions of songs by Pink Floyd, Simon & Garfunkel, The Rolling Stones, The Beatles and other artists.[3] The recording of the concert S Vremena Na Vreme held at Studio M in Novi Sad on January 30, 1996, which was a part of the NS Plus Unplugged series, was released on the live album Unplugged in the summer of 1997. The album featured a cover of Bob Dylan's song 'Knockin' on Heaven's Door'.[3] After the album was released, the band disbanded once again.[3]
Post breakup (1997-2013)[edit]
Ninković took part in the 1996–97 protests against the regime of Slobodan Milošević.[10] During 1999, Ninković and the Đukić brothers, with the actor Goran Sultanović, performed a cabaret show entitled Ja pevam svoj bluz (I'm Singing My Blues). The performances were based on the poetry of Vladislav Petković Dis, Milan Rakić, Matija Bećković, Bora Đorđević, Đorđe Balašević and others.[3] In early 2000s Ninković joined the ethnic music group Bistrik Orchestra, led by singer Bilja Krstić. He produced the group's 2000 album Bistrik[3] In 2002, he wrote music for the documentary film Beloglavi sup - čovekov prijatelj (Griffon Vulture - Man's Friend).[11]
In 2003, Sarvan released the ethnic music album U potrazi za dobrim odgovorom (Searching for a Good Answer). The album featured songs recorded during the 1990s for Radio Television of Serbia show Radionica zvuka (Workshop of Sound).[3]
In 2011, Ninković and the Đukić brothers reunited under the name Svremenaši (From-timers).[12] The band performed on the 2011 Belgrade Beer Fest,[13] and on November 12, together with Croatianprogressive rock band Drugi Način, held a concert in Belgrade Youth Center.[14]
Second reunion (2013-present)[edit]
In 2013, S Vremena Na Vreme reunited for a concert in Ilija M. Kolarac Endowment, in order to celebrate 40 years since the release of their debut single, 'Sunčana strana ulice'. The concert was held on May 16, and featured guest appearances by Drago Mlinarec, Dušan Mihajlović 'Spira' and Dragan Popović.[15] After the concert, the band continued their activity.[16] Ninković stated that the band will probably work in this lineup for several more years, during which they will record a new studio album, before making another break in their work.[17]
Legacy[edit]
In 1989, the song 'Traži mene' was covered by Yugoslav singer-songwriter and former Azra leaader Branimir 'Johnny' Štulić on his album Balkanska rapsodija (Balkan Rhapsody).[1] In 2011, Štulić released a cover of 'Sunčana strana ulice' on his official YouTube channel.[18] In 2012, the song 'Čudno drvo' ('Strange Tree') was remixed in by the Serbian project Laura 2000.[19]
The album S Vremena Na Vreme was polled in 1998 as 30th on the list of 100 greatest Yugoslav popular music albums in the book YU 100: najbolji albumi jugoslovenske rok i pop muzike (YU 100: The Best albums of Yugoslav pop and rock music).[20]
In 2011, the song 'Moj svet' was polled, 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.[21]
The lyrics of 9 songs by the band 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).[22]
Discography[edit]
Studio albums[edit]
S Vremena Na Vreme (1975)
Paviljon G (1979)
Posle kraja (1995)
Live albums[edit]
Unplugged (1997)
Compilation albums[edit]
Moj svet (1978)
Vreme ispred nas (1993)
Singles[edit]
'Sunčana strana ulice' / 'Ponekad' (1973)
'Čudno drvo' / 'Odisej' (1973)
'Povratna karta' / 'Đački rastanak' (1974)
'Jana' / 'Tavna noć' (1974)
'Kao vreme ispred nas' / 'Kad budem stariji' (1974)
'Dixie band' / 'Tema za šargiju' (1975)
'Put putuje karavan' / 'Priča sa istočne strane' (1977)
'Moj svet' / 'Saveti dobroj kuci' (1977)
'Učinila je pravu stvar' / 'Spavaj' (1978)
Video albums[edit]
S Vremena Na Vreme uživo, Sava Centar novembar 1993 (1993)
References[edit]
^ abcdefghijklmnopqrstJanjatović, Petar (2007). Ex YU rock enciklopedija 1960-2006. Belgrade: self-released. p. 217.
^Kajlovic, Vladimir (2007). Ljuba Ninković: S Vremena Na Vreme. Čačak: Legenda. p. 26.
^ abcdefghijklmnopqrstuvwxyzaaabacadaeafagahaiajJanjatović, Petar (2007). Ex YU rock enciklopedija 1960-2006. Belgrade: self-released. p. 218.
^Kajlovic, Vladimir (2007). Ljuba Ninković: S Vremena Na Vreme. Čačak: Legenda. p. 33.
^Kajlovic, Vladimir (2007). Ljuba Ninković: S Vremena Na Vreme. Čačak: Legenda. p. 34.
^Kajlovic, Vladimir (2007). Ljuba Ninković: S Vremena Na Vreme. Čačak: Legenda. p. 35.
^Kajlovic, Vladimir (2007). Ljuba Ninković: S Vremena Na Vreme. Čačak: Legenda. p. 36.
^Kajlovic, Vladimir (2007). Ljuba Ninković: S Vremena Na Vreme. Čačak: Legenda. p. 16.
^Sve smo mogli mi: Akustičarska muzika at Discogs
^Kajlovic, Vladimir (2007). Ljuba Ninković: S Vremena Na Vreme. Čačak: Legenda. p. 60.
^Kajlovic, Vladimir (2007). Ljuba Ninković: S Vremena Na Vreme. Čačak: Legenda. p. 70.
^Ljuba Ninković: ”Svremenaši su analgetik kratkog dejstva”, timemachinemusic.org
^'Svremenaši', belgradebeerfest.com
^'Drugi način i Svremenaši u DOB-u', b92.net
^'Nezaboravan happening beogradskog kvarteta – S Vremena Na Vreme i prijatelji', timemachinemusic.org
^'S vremena na vreme nastavljaju tradiciju', timemachinemusic.org
^'Импонује кад песме још увек живе', politika.rs
^'SUNČANA STRANA ULICE' via Branimir Štulić, YouTube.com
^'Preslušajte: Laura 2000 - Čudno drvo', popboks.com
^Antonić, Duško; Štrbac, Danilo (1998). YU 100: najbolji albumi jugoslovenske rok i pop muzike. Belgrade: YU Rock Press. p. 25.
^60 хитова емисије ПГП на 202!
^Janjatović, Petar (2008). Pesme bratstva, detinjstva & potomstva: Antologija ex YU rok poezije 1967 - 2007. Belgrade: Vega media.
External links[edit]
Retrieved from 'https://en.wikipedia.org/w/index.php?title=S_Vremena_Na_Vreme&oldid=879573512'
|
|||||
1053
|
dbpedia
|
3
| 14
|
https://www.ranker.com/list/bands-from-serbia/reference
|
en
|
Famous Bands from Serbia
|
https://imgix.ranker.com/list_img_v2/15168/335168/original/bands-from-serbia-u4
|
https://imgix.ranker.com/list_img_v2/15168/335168/original/bands-from-serbia-u4
|
[
"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/11/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/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/user_node_img/1618/32357716/original/ivana-peters-recording-artists-and-groups-photo-u1?auto=format&q=60&fit=crop&fm=pjpg&dpr=2&crop=faces&h=150&w=150",
"https://imgix.ranker.com/user_node_img/568/11349800/original/radmila-manojlovi-recording-artists-and-groups-photo-u1?auto=format&q=60&fit=crop&fm=pjpg&dpr=2&crop=faces&h=150&w=150",
"https://imgix.ranker.com/node_img/122/2438394/original/zdravko-oli-recording-artists-and-groups-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/77/1521898/original/marija-gluvakov-recording-artists-and-groups-photo-u1?auto=format&q=60&fit=crop&fm=pjpg&dpr=2&crop=faces&h=150&w=150",
"https://imgix.ranker.com/node_img/126/2508632/original/-or-e-bala-evi-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/47/937919/original/emir-kusturica-writers-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=335168"
] |
[] |
[] |
[
""
] | null |
[
"Reference"
] |
2011-06-07T00:00:00
|
List famous Serbian bands and solo musicians, listed by popularity with photos when available. These popular bands from Serbia come from a number of different ...
|
en
|
/img/icons/touch-icon-iphone.png
|
Ranker
|
https://www.ranker.com/list/bands-from-serbia/reference
|
List famous Serbian bands and solo musicians, listed by popularity with photos when available. These popular bands from Serbia come from a number of different musical genres, including rock, pop, metal, electronic, jam, punk and acoustic. These might not necessarily be the best Serbian bands, but this list contains a majority of the greatest bands from Serbia. Music lovers who are looking for new music to listen to can use this list of talented Serbian musicians to discover some great new bands and artists.
Kiki Lesendrić and Boris Kovač are included on this list.
This list answers the questions, "Which bands are from Serbia?" and "Which bands are popular in Serbia?"
|
||
1053
|
dbpedia
|
0
| 16
|
https://sabbath176.rssing.com/chan-10331367/all_p6.html
|
en
|
The Day After The Sabbath
|
[
"https://pixel.quantserve.com/pixel/p-KygWsHah2_7Qa.gif",
"https://1.bp.blogspot.com/-rCXtybkxwYw/VSuEsIlCPZI/AAAAAAAAGNA/n6avJoFyTOA/s1600/LP.jpg",
"https://2.bp.blogspot.com/-AysOVs31xpA/VStAIa2bxXI/AAAAAAAAGMw/7IA_NSZhQEY/s1600/Dee_Why_Beach.JPG",
"https://4.bp.blogspot.com/-oxpOuwNJuvk/VSscoHyQo1I/AAAAAAAAGMM/OhR_-1c_pQg/s1600/Roy%2BWedding.jpg",
"https://3.bp.blogspot.com/-VWWP_EZNByg/VSscDOPHyBI/AAAAAAAAGME/xumi61iKQNU/s1600/Flat.png",
"https://3.bp.blogspot.com/-aMutHkC5z0A/VSunGfmsnII/AAAAAAAAGNc/Z1mob6S_968/s1600/DSC_0525A.jpg",
"https://4.bp.blogspot.com/-fDzRtvnM59U/VSsdgwMUIdI/AAAAAAAAGMU/SIMaSJes2MU/s1600/Ian%2BRobins%2Bnow%2BA.jpg",
"https://4.bp.blogspot.com/-5hNSmpWxCwo/VSshGE8b4pI/AAAAAAAAGMg/kU8PanGVkxU/s1600/Roy%2B2010%2Ba.jpg",
"https://2.bp.blogspot.com/-3Aw9WNc7sCE/VTYnNYcrrKI/AAAAAAAAGOI/1E7NDKT_v9o/s1600/_Cover.jpg",
"https://2.bp.blogspot.com/-9IG86VHwPN0/VTYhX6xTh7I/AAAAAAAAGN4/-fm0Ql8yPxU/s1600/McChurch%2BSoundroom.jpg",
"https://1.bp.blogspot.com/-unPv6bX3gq8/VUswPUuH_PI/AAAAAAAAGSA/vxNcN6bRrGw/s320/Cover500x500.jpg",
"https://4.bp.blogspot.com/-iF9UnB98cmI/VUqkzMIwhHI/AAAAAAAAGPM/FvirMjtMSuk/s1600/thebrew.jpg",
"https://2.bp.blogspot.com/-N_uxH7UiBNw/VUqlR-4QXNI/AAAAAAAAGPU/zTzIhDFSC20/s1600/Malo.jpg",
"https://3.bp.blogspot.com/-3a3KPVny3y4/VUqlnBgnK6I/AAAAAAAAGPc/WWjUfCYpaKI/s1600/Sincerely%2BAntique.jpg",
"https://3.bp.blogspot.com/-_in7q9ZbubY/VUql3Bq_9hI/AAAAAAAAGPk/d9M3BamN3DM/s1600/broth.jpg",
"https://4.bp.blogspot.com/-U47QljGoLPs/VUqmaXE_7OI/AAAAAAAAGPs/sp5rwgZwNds/s1600/Amazonas.jpg",
"https://1.bp.blogspot.com/-StVxqXfbuGw/VUqm7ykInhI/AAAAAAAAGP0/Dxl_YYqgLW4/s1600/Abel.jpg",
"https://1.bp.blogspot.com/-uePrQg3uo8o/VUqnVN-_jjI/AAAAAAAAGP8/YSZTC5XIR0U/s1600/toro.jpg",
"https://1.bp.blogspot.com/-ULli6yhO3_M/VUqn-Yu2XdI/AAAAAAAAGQI/WtnNa4r5PRo/s1600/El%2BChicano%2B-%2BRevoluci%C3%B3n.jpg",
"https://4.bp.blogspot.com/-SqSJvR_FGaU/VUqoc92nxCI/AAAAAAAAGQQ/9z7g3-EEuV4/s1600/Chango.jpg",
"https://3.bp.blogspot.com/-VO-3aRMBf4w/VUqov40UOtI/AAAAAAAAGQY/aOqEuXvb4-4/s1600/Tierra.jpg",
"https://1.bp.blogspot.com/-tX9vep9se5g/VUqpPF_D39I/AAAAAAAAGQk/UjK_VxT2Fio/s1600/macondo.jpg",
"https://1.bp.blogspot.com/-xrsEteOyQS4/VUqqJmd3JmI/AAAAAAAAGQw/O6LZ_gjFmJk/s1600/Naked%2BLunch%2B-%2BBanda%2Bde%2BJesus.jpg",
"https://3.bp.blogspot.com/-4-AFIMPpHrw/VUqqywHvUQI/AAAAAAAAGQ4/ALwpeG6ogek/s1600/Yaqui.jpg",
"https://1.bp.blogspot.com/-lIomMlmJ5d8/VUqrFYroN7I/AAAAAAAAGRA/Y6bwsYn9x3U/s1600/The%2BHarvey%2BAverne%2BBarrio%2BBand.jpg",
"https://1.bp.blogspot.com/-r-rxV-63MtQ/VUqrZv_dG8I/AAAAAAAAGRI/QBzZ_HUAzGo/s1600/Chango%2BHoney.jpg",
"https://1.bp.blogspot.com/-reJ6EvT8ELA/VVIwGfAyu0I/AAAAAAAAGUs/_EF_lfLXYHM/s320/Three%2Balbums.jpg",
"https://2.bp.blogspot.com/-q646VdCQu0Q/VVHxE9W_JSI/AAAAAAAAGT0/kXxjnu9mOHM/s320/British%2BSeaman's%2BBoys%2BHome%2C%2BBrixham.jpg",
"https://1.bp.blogspot.com/-5k49E41BgNI/VVHYbUqVjNI/AAAAAAAAGTk/EXbnGsXw1xw/s320/Album%2Bphoto%2C%2BJim%2BSmith.jpg",
"https://2.bp.blogspot.com/-fmmmjC6fG1E/VVHVC9fTtAI/AAAAAAAAGTE/4Yal9XyC1LY/s320/Album%2Bphoto%2C%2BPete%2BSpearing.jpg",
"https://3.bp.blogspot.com/-Fiv85dKnm1s/VVHOsAhIgeI/AAAAAAAAGS0/wSVo_nqAShQ/s320/Jimmy%2C%2BFree%2BVan%2BDike%2BClub%2B4%2B1970.jpg",
"https://2.bp.blogspot.com/-3k7HAtwMVHs/VVH0BEY5J_I/AAAAAAAAGUA/xVJfcT_5OM4/s320/Command%2Bstudios%2Bdesk.jpg",
"https://3.bp.blogspot.com/-sZvnz200BtY/VVH2WQ-EibI/AAAAAAAAGUM/-DENF2nRVZw/s320/Plymouth%2BAmateur%2BRowing%2BClub.jpg",
"https://4.bp.blogspot.com/-Gm19_GpH3bQ/VVINABlyj9I/AAAAAAAAGUc/pDCyV4gvIs8/s1600/pete-spearing.jpg",
"https://3.bp.blogspot.com/-mrqtaAiLvFE/VVHVYzjFQRI/AAAAAAAAGTM/MBFGKYH-iMg/s320/Album%2Bphoto%2C%2BIan%2BSnow.jpg",
"https://4.bp.blogspot.com/-e5HC-GXlt44/VVHXA8uS1WI/AAAAAAAAGTY/D0cj1m_DRNc/s320/Album%2Bphoto%2C%2BTerry%2BParker.jpg",
"https://4.bp.blogspot.com/-hTUBgF97EKc/VWWHAcFWwdI/AAAAAAAAGW4/IGj7Cm6qBYc/s320/Cover500x500.jpg",
"https://2.bp.blogspot.com/-kAKCvCAr6Dw/VWXFE1NCDRI/AAAAAAAAGXI/nhAZusNIB6I/s200/panda-swingin-about-philips.jpg",
"https://4.bp.blogspot.com/-2QvNhtDL7OE/VWXXU7yJFzI/AAAAAAAAGXY/UW0xpdF5t9g/s200/panda-stranger-philips.jpg",
"https://4.bp.blogspot.com/-PaPomyNNxDg/VWXY5qonMXI/AAAAAAAAGXk/UX3Ork0wzAc/s200/panda-blue-boy-blues-philips.jpg",
"https://4.bp.blogspot.com/-EsGwNab6NEk/VWZY_Ze-YKI/AAAAAAAAGYY/3BpjwS-oSJs/s640/Panda%2BComic.jpg",
"https://4.bp.blogspot.com/-50LhRVnwY-k/VWY-MORQLSI/AAAAAAAAGX4/o8T-6GqfuZE/s640/%2528l-r%2529%2BRob%2BKruisman%252C%2BJaap%2Bvan%2BEik%252C%2BRob%2Bten%2BBokum%252C%2BHerman%2Bvan%2BBoeijen.jpg",
"https://1.bp.blogspot.com/-_v4__7z88-0/VWZQ7zpBw3I/AAAAAAAAGYI/-dEVvOS2vTU/s640/Sonsbeek%2Bfestival.jpg",
"https://3.bp.blogspot.com/-RuvHhbOHM1M/VWZfQia83TI/AAAAAAAAGY0/LS1k-eORsBc/s320/Jaap-van-Eik-midden-in-1974-in-Trace-met-Pierre-van-der-Linden-en-Rick-van-der-Linden.jpg",
"https://2.bp.blogspot.com/-9F8eMrSjgaY/VWZd1Efe65I/AAAAAAAAGYo/EiSXIO3k1Po/s320/Jaap.jpg",
"https://2.bp.blogspot.com/-MDFfE6X9UT0/VWy9dlrJ6fI/AAAAAAAAGZ0/nCWmuPwekAo/s200/Cover.jpg",
"https://3.bp.blogspot.com/-xD6AqLiydJg/VX_4bsrim3I/AAAAAAAAGa4/-BRkwCM98pc/s320/folder.jpg",
"https://3.bp.blogspot.com/-EEHQ52l0qH8/VYbCF5NrVkI/AAAAAAAAGbw/EcOftf_kxJc/s640/BlogBanner.jpg",
"https://3.bp.blogspot.com/-aF6waMaSma4/VYbLTNF3eRI/AAAAAAAAGcI/3xqnVaLpPMY/s200/Booklet6.jpg",
"https://3.bp.blogspot.com/-iSp40i9x1_M/VYbIf9wI1oI/AAAAAAAAGb8/RQVHGixBBX4/s200/Colours.jpg",
"https://3.bp.blogspot.com/-Mi_6o786Md0/VYbPEq4NbpI/AAAAAAAAGcQ/26JLs74XhWo/s320/Booklet5.jpg",
"https://4.bp.blogspot.com/-v0whS3zKUA8/VYbXc68dsYI/AAAAAAAAGco/U6MHrA4bDOk/s640/Universe%2B1971%2Balbum%2Bcover.jpg",
"https://4.bp.blogspot.com/-6BYR8HP79dY/VYbYZuMKIII/AAAAAAAAGc0/qpnlG8tPYf4/s400/Booklet4.jpg",
"https://2.bp.blogspot.com/-GkgStsCEa24/VYbZDel3RkI/AAAAAAAAGc8/DYo5y98_1FI/s640/img029.bmp",
"https://1.bp.blogspot.com/-Rdkd29eGrl4/VYxuBeenNFI/AAAAAAAAGdQ/ZbEdpO7xoCI/s320/Cover.jpg",
"https://4.bp.blogspot.com/-F4VuhWheJx4/VY8gMYRBaPI/AAAAAAAAGic/xnFebptdtbo/s200/BOOM%2B1977%2B2.jpg",
"https://2.bp.blogspot.com/-8hnMxM9n-ZA/VZEQWRRD4AI/AAAAAAAAGlY/schm9jznIUI/s200/PGP%2BRTB.jpg",
"https://1.bp.blogspot.com/-S1Qo1OTZeBU/VZJ7tqIvorI/AAAAAAAAGmg/okBMHHSt5rM/s1600/Jugoton.jpg",
"https://3.bp.blogspot.com/-3hWbGyW7Mvc/VYx22jBW9uI/AAAAAAAAGdg/gsxxV1Q04JM/s200/S%2BVremena%2BNa%2BVreme.jpg",
"https://3.bp.blogspot.com/-GaU7gsHqX20/VYx96YeObNI/AAAAAAAAGd0/Rll0HLA0YEo/s200/YU%2BGrupa.jpg",
"https://3.bp.blogspot.com/-FGh91TqemhE/VYyFKv_bolI/AAAAAAAAGeA/-BTW9IsDXj0/s200/Grupa%2BCD.jpg",
"https://3.bp.blogspot.com/-zfynUqk7YYA/VY8bgDaTAgI/AAAAAAAAGiQ/kjTR-YrAklA/s200/D%25C5%25BEentlmeni.jpg",
"https://3.bp.blogspot.com/-Ugnu8WDrmag/VYyRdteqy0I/AAAAAAAAGeQ/KIf1oXPE7BQ/s200/Zlatko%2BManojlovi%25C4%2587.jpg",
"https://3.bp.blogspot.com/-_sGbJjoluUg/VYyXuwXLTeI/AAAAAAAAGeg/_fAfccX2srk/s320/Smak1975.jpg",
"https://4.bp.blogspot.com/-BOhGLq-iEzA/VY0wXiyyeDI/AAAAAAAAGe8/rRHIxa0yjBM/s200/Grupa%2BSOS.jpg",
"https://3.bp.blogspot.com/-FDOcWGlj1so/VY1p8WnIvPI/AAAAAAAAGfM/3YVWUDwqbUk/s200/Korni%2BGrupa-Korni_Grupa-Front-.JPG",
"https://4.bp.blogspot.com/-Jg_UHYys-O8/VZFLn2oPUrI/AAAAAAAAGls/uuOxKBbcqEQ/s200/Korni%2BGroupa%2Bat%2BEurovision.JPG",
"https://1.bp.blogspot.com/-GubfyE8Jzec/VY4PiK2i42I/AAAAAAAAGfk/tME356ygeeM/s320/Kongres%2BRock%2BMajstora%2Btour%2Bposter.jpg",
"https://1.bp.blogspot.com/-bFXEWwQCz-0/VY8nwqjl5GI/AAAAAAAAGi4/XCLvOSj_g5s/s200/Kongres%2BRock%2B1.jpg",
"https://4.bp.blogspot.com/-PTTQjFsAhKs/VY8n6hVCm8I/AAAAAAAAGjA/h4x3V-FF1VA/s200/Kongres%2BRock%2B2.jpg",
"https://1.bp.blogspot.com/-sU9SvQptPQk/VY6UX230psI/AAAAAAAAGgI/yWsMptP5h8o/s200/Pop%2BShow%2BGrupa%2B-%2BBACK.jpg",
"https://1.bp.blogspot.com/-qTto5GAaQHU/VY6zooWz7DI/AAAAAAAAGgc/JNO73fA4ybk/s320/Pop%2BMasina%2Bband.JPG",
"https://2.bp.blogspot.com/-2kAPacSFx7k/VY60US-62UI/AAAAAAAAGgg/0PnneyPRjhE/s200/pop%2Bmasina%2B-%2B1975%2Bna%2Bizvoru%2Bsvetlosti_a.jpg",
"https://4.bp.blogspot.com/-MPYX1KVgdZM/VY6_VB68lpI/AAAAAAAAGgw/tm-RKHU93EQ/s200/Rok%2BMa%25C5%25A1ina.jpg",
"https://2.bp.blogspot.com/-k3wT_SW7sTQ/VY7w51X-tjI/AAAAAAAAGhE/YK_xveL9QFY/s200/Igra%2BStaklenih%2BPerli.jpg",
"https://1.bp.blogspot.com/-abDGOt2sGMM/VY79LO4OzOI/AAAAAAAAGhQ/sPJ0TUgHgTA/s200/Riblja%2B%25C4%258Corba%2B%25E2%2580%258E%25E2%2580%2593%2BLutka%2BSa%2BNaslovne%2BStrane%2B1978.jpg",
"https://3.bp.blogspot.com/-DlUh1mLFrIU/VY8NTcH6UQI/AAAAAAAAGh0/6RX2W-IUAl8/s320/Dah-prolog-1974-2-ab.jpg",
"https://4.bp.blogspot.com/-U7SYSh8SOdQ/VZFRgAr_OHI/AAAAAAAAGl4/c1DQy231mN0/s200/Dah%2B-%2BVeliki%2BCirkus.JPG",
"https://1.bp.blogspot.com/-Gri6oARI-a4/VY8SrOtIcyI/AAAAAAAAGiE/vo3vLPSyClo/s200/Opus.jpg",
"https://4.bp.blogspot.com/-BZlAi1WUggY/VZFTZ05TIKI/AAAAAAAAGmE/BYZZ9UwL6jY/s200/Opus%2B-%2BOpus%2B1.jpg",
"https://1.bp.blogspot.com/-uzvWWmUyhhc/VEVzpJmFJDI/AAAAAAAAEQA/wA1JmnlmsoI/s1600/cover.jpg",
"https://1.bp.blogspot.com/-43OheWithKQ/VEY8FNSL7JI/AAAAAAAAEQQ/YbUGjmpLVyc/s1600/Wiener%2BBlutrausch.jpg",
"https://4.bp.blogspot.com/-9H4cNfTmCWc/VEQpbbAmeJI/AAAAAAAAENE/f6TewctYJyU/s1600/novakskapelle.jpg",
"https://3.bp.blogspot.com/-bzu_NpbJcks/VEQpu2SoF7I/AAAAAAAAENM/8RkuGTTmKKY/s1600/No%2BBros.jpg",
"https://4.bp.blogspot.com/-oCD9SY8o4fI/VEQqITFwaaI/AAAAAAAAENU/K7dWt9Q76a4/s1600/Drahdiwaberl%2B-%2BStefan%2BWeber%2B1993.jpg",
"https://3.bp.blogspot.com/-GX9bahNJ1vk/VEQqYHWtfwI/AAAAAAAAENc/4UgPBGpe6ug/s1600/Lazarus%2BLP.jpg",
"https://4.bp.blogspot.com/-Wp2TgparHIQ/VEQqvsTJ6VI/AAAAAAAAENk/618bAZQ4sGs/s1600/Lazarus%2Bband.jpg",
"https://2.bp.blogspot.com/-ecX5-ofwmaw/VEQrsrhgzkI/AAAAAAAAENs/8piaf2BdWDY/s1600/Harri%2BStojka%2BExpress%2B-%2BSweet%2BVienna%2BLP.jpg",
"https://2.bp.blogspot.com/-cNe7nY62llc/VEQr_Ga7C-I/AAAAAAAAEN0/85ffd7qmXbg/s1600/Glashaus-Dring%2BMan.jpg",
"https://1.bp.blogspot.com/-dT_LP_n_Ojc/VEQsfU03OUI/AAAAAAAAEN8/bW1Yb0151MA/s1600/Blowin%2BFree%2B%2BEnemy%2BLP3.jpg",
"https://2.bp.blogspot.com/-DPNi_yJ9Pbc/VEQsvgS6IBI/AAAAAAAAEOE/8iJ0pmHoIFw/s1600/Hide%2B%26%2BSeek%2B-%2BCrying%2BChild%2B45.jpg",
"https://2.bp.blogspot.com/-sBs8xV6Mqas/VEQtk7ILLBI/AAAAAAAAEOU/tPc2UHRrlNs/s1600/acid.jpg",
"https://4.bp.blogspot.com/-8UVL1fsBAdQ/VEQt6y_ItNI/AAAAAAAAEOc/xvdL1qD8yCU/s1600/Minisex.jpg",
"https://3.bp.blogspot.com/-e0ddhF6AsvM/VEQufzc98MI/AAAAAAAAEOk/2DB3jg2daxg/s1600/Christian%2BKolonovits.jpg",
"https://1.bp.blogspot.com/-A593yqAUoZQ/VEQvJjrYXCI/AAAAAAAAEOs/YqQ6WB08Hls/s1600/Gipsy%2BLove%2C%2BGeorge%2BDoggette%2BKarl%2BRatzer.jpg",
"https://4.bp.blogspot.com/-_aToPxcxSnE/VEQvs510gzI/AAAAAAAAEO0/Vmcsu9LKzGk/s1600/U8.jpg",
"https://1.bp.blogspot.com/-3av-_S8sCZU/VEQv5qmksTI/AAAAAAAAEO8/VKxdeXgMPwY/s1600/Art%2BBoys%2BCollection.jpg",
"https://1.bp.blogspot.com/-7v5zooZxnDc/VEQwPTkcjFI/AAAAAAAAEPE/2_rDKVZyCYM/s1600/Wolfgang%2BAmbros.jpg",
"https://4.bp.blogspot.com/-Fp92tgX3jw4/VE19ua7Cs-I/AAAAAAAAEQg/8voxcfVMvmk/s1600/Cover500x500.jpg",
"https://4.bp.blogspot.com/-3whsya1g1eY/VE5mijtVd-I/AAAAAAAAERA/oxkR_NJmPuw/s1600/Juicy%2BLucy.jpg",
"https://1.bp.blogspot.com/-9UwYyg33iEI/VE5sh2vBDfI/AAAAAAAAERQ/mzCY6MehM2k/s1600/The%2BSacred%2BMushroom%2BLP.jpg",
"https://4.bp.blogspot.com/-2qZZqaQ808g/VE5uyolpBkI/AAAAAAAAERc/JneQP-Qm4nw/s1600/darius_1968_psychedelic_rocknroll_bobby_ott_Chartmaker_front.jpg",
"https://3.bp.blogspot.com/-Ns7YS6uXay0/VE5u7RQ4tvI/AAAAAAAAERk/B33hj8DaxRw/s1600/darius_1968_psychedelic_rocknroll_bobby_ott_Chartmaker_back.jpg",
"https://2.bp.blogspot.com/-j4ktVbzSkhk/VE5vOxb8jhI/AAAAAAAAERs/cei4I6vqJ8Y/s1600/Chicken%2BBones1.jpg",
"https://2.bp.blogspot.com/-KPlhBv18tSA/VE5vUdYQqYI/AAAAAAAAER0/-JZI2CbzjK8/s1600/Chicken%2BBones2.jpg",
"https://1.bp.blogspot.com/-DMJ8k0jKhNw/VE5wGEBISkI/AAAAAAAAESE/m44rsoiMJEE/s1600/Grow%2B-%2BBack.JPG",
"https://2.bp.blogspot.com/-tYaeu3kpzzk/VE5v-PZga-I/AAAAAAAAER8/JE7K-mulPKc/s1600/Tangerine(1971).jpg",
"https://4.bp.blogspot.com/-vOufVpzyrbM/VE5w5V9TWGI/AAAAAAAAESM/kwpV4KbIng8/s1600/Tangerine(1971)a.jpg",
"https://1.bp.blogspot.com/-TTwoCt1Z0eQ/VE5xBPBZucI/AAAAAAAAESU/oIJaW3pI71c/s1600/Apple%2BPie%2BMotherhood%2BBand(1968).jpg",
"https://2.bp.blogspot.com/--ADyejFE_yg/VE5xMqykxBI/AAAAAAAAESc/trJFPSvKQ_k/s1600/Apple%2BPie%2BMotherhood%2BBand(1968)2.jpg",
"https://3.bp.blogspot.com/-9p2neYi5Lik/VE50YvHt_tI/AAAAAAAAESo/GpcWIBvuh80/s1600/majic-ship.jpg",
"https://4.bp.blogspot.com/-xPIdCXo2Kls/VE50u6Vgd2I/AAAAAAAAESw/NuvK0iaVHZ4/s1600/majic-ship.png",
"https://2.bp.blogspot.com/-vqA3heQ9sC4/VE5hWlqBFEI/AAAAAAAAEQw/bZHI2duk-oc/s1600/Chain%2B-%2BFront.jpg",
"https://2.bp.blogspot.com/-hZzJmzPjnVs/VE504kaHzgI/AAAAAAAAES4/UnDER6SfJbc/s1600/DCARLSEN%2B-%2BPale%2BHorse%2BLP2.jpg",
"https://2.bp.blogspot.com/-oB1HniRJjLU/VE51MAnUvCI/AAAAAAAAETA/6tGDwgAgb4g/s1600/Freeman%2BSounds%2B%26amp%3B%2BFriends%2B-%2B16.jpg",
"https://4.bp.blogspot.com/-MKmiOi2IqHM/VE52KbYmunI/AAAAAAAAETM/_iLwVBZm_QY/s1600/magicsand.jpg",
"https://4.bp.blogspot.com/-R27_YeDGLy0/VE55zOI41XI/AAAAAAAAEUU/m899qcxui8I/s1600/HootervilleTrolleyLynnette45NoSilverBird.jpg",
"https://2.bp.blogspot.com/-qP16kgPa_vk/VE52_1oBb0I/AAAAAAAAETU/waKLy-T0qIY/s1600/Warren%2BS.%2BRichardson%2BJr2.jpg",
"https://2.bp.blogspot.com/-Dt6KmUgud6Q/VE53HrEuf4I/AAAAAAAAETc/QfMwvLRaSmM/s1600/Warren%2BS.%2BRichardson%2BJr.jpg",
"https://3.bp.blogspot.com/-8sskGjAZA08/VE53wsOlWlI/AAAAAAAAETk/AsfZIvh8rLI/s1600/whitemule.gif",
"https://2.bp.blogspot.com/-BlADrH5DL3E/VE534xIcfpI/AAAAAAAAETs/uGt57X68poA/s1600/bluesbeforesunrise.gif",
"https://2.bp.blogspot.com/-hMXwilB-D5k/VE53_T-_1DI/AAAAAAAAET0/8nBOH0OO2WQ/s1600/white%2Bmule%2B45.JPG",
"https://2.bp.blogspot.com/-Ikt6olUIjpo/VE54pUTsW-I/AAAAAAAAET8/6RJZ0pZftcM/s1600/Black%2BCat%2B-%2BBack%2Bsmall.jpg",
"https://2.bp.blogspot.com/-68T37VV4NFA/VE55K2K44dI/AAAAAAAAEUM/_z6JeDMVH9Y/s1600/Black%2BCat%2BCover1.jpg",
"https://1.bp.blogspot.com/-fcNT6naRc0I/VGi6ik9LMbI/AAAAAAAAEZA/SmprKgH-gBk/s320/Cover500x500.jpg",
"https://4.bp.blogspot.com/-XWAcYnndVzs/VG-PBVzHgKI/AAAAAAAAEds/Q6kCPpnBavk/s1600/bury-me-an-angel-movie-poster-1971.jpg",
"https://3.bp.blogspot.com/-hXWENYyjQUY/VGjlLG2vFVI/AAAAAAAAEZY/crs3L8KeEac/s1600/bury_me_an_angel_poster.jpg",
"https://4.bp.blogspot.com/-X2hC5cGrQ3o/VGjlqyihimI/AAAAAAAAEZg/04rnVZyUY6U/s1600/BURY-ME-AN-ANGEL.jpg",
"https://1.bp.blogspot.com/-S6UTciBCBHI/VGlVlqg8ocI/AAAAAAAAEZw/Wx3ALRBCy9Y/s1600/naked_angels_poster.jpg",
"https://1.bp.blogspot.com/-m5uOzQMycSw/VGneXHbT2fI/AAAAAAAAEaA/akiIGxr-nag/s1600/outlaw_riders_poster.jpg",
"https://1.bp.blogspot.com/-BeveAKY1kBw/VGnmG2gF6YI/AAAAAAAAEaY/BXKdYMN815g/s1600/Simon%2BStokes%2B-%2BSimon%2BStokes%2B%26%2BThe%2BNighthawks%2B-%2BFront.jpg",
"https://4.bp.blogspot.com/-kzYALMiKJfk/VGn76SS8U3I/AAAAAAAAEao/vRzq2eMJ7Ag/s1600/sidehackers_poster.jpg",
"https://1.bp.blogspot.com/-br4bY6Ug_DA/VGuBsNG71hI/AAAAAAAAEa4/A-A_6B4pGiI/s1600/angels-die-hard-poster.jpg",
"https://2.bp.blogspot.com/-FBnOcl42diE/VG82AkxnQVI/AAAAAAAAEbY/NO7fJ-m5guE/s1600/The%2BBlack%2BAngels%2Bposter.jpg",
"https://3.bp.blogspot.com/-Ia3LdCz_7_U/VG8_MwZEZ6I/AAAAAAAAEbo/bmF3t4es4bg/s1600/cycle_savages_poster.jpg",
"https://2.bp.blogspot.com/-T5LiERRl3eY/VG9GvDQvrjI/AAAAAAAAEb4/QzWclM6_Ajs/s1600/psychomania.jpg",
"https://3.bp.blogspot.com/-zMX7l5AcPrE/VG9Z1szDZxI/AAAAAAAAEcI/x-Tw91m2BN8/s1600/c_c_and_company_poster.jpg",
"https://4.bp.blogspot.com/-DxecyWsmR7g/VG9Z9JemGEI/AAAAAAAAEcQ/eBjyoFESfZw/s1600/C.C.%2Band%2BCompany%2BLP.jpg",
"https://2.bp.blogspot.com/-8gAzZjurit4/VG9jILwEokI/AAAAAAAAEcg/J08zenLIvn4/s1600/Stone.jpg",
"https://2.bp.blogspot.com/-qz9jIR3xXT4/VG9nolaEhOI/AAAAAAAAEcs/IuNIkIbIxkY/s1600/chrome_and_hot_leather_poster.jpg",
"https://4.bp.blogspot.com/-vQD9NWWr_dY/VG9xFRS7qqI/AAAAAAAAEc8/PWEcmjYSgQ4/s1600/Savage_seven.jpg",
"https://2.bp.blogspot.com/-v7bV0Wvb6Mo/VG9_CPQP-cI/AAAAAAAAEdM/ZmeHIq03H6I/s1600/Davie.jpg",
"https://4.bp.blogspot.com/-B-fhIjhbspQ/VG-CeZ4xkrI/AAAAAAAAEdY/1nwVlV1iT9M/s1600/Rabbit%2B-%2BPassing%2BThrough%2B3.jpg",
"https://3.bp.blogspot.com/-q1D-gFpRLnY/VHtaBvsBH1I/AAAAAAAAFZk/Nsw-eXqNA0A/s1600/Cover400x400.jpg",
"https://4.bp.blogspot.com/-yn3M1HHqjcI/VHxLSCOdNsI/AAAAAAAAFaE/rVUQamxvkCE/s1600/Heavypsychmanblog%2Blogo%2Bthing.jpg",
"https://2.bp.blogspot.com/-n2ldBZGalcc/VHucmYA1MVI/AAAAAAAAFZ0/_WEkUYjnlCs/s1600/Mik%2B2013%2B(2).JPG",
"https://4.bp.blogspot.com/-EqhdL9XmNms/VHxN8EoC-OI/AAAAAAAAFaQ/OuM0N11FElQ/s1600/Dave%2BChandler.jpg",
"https://1.bp.blogspot.com/-zYAtN3CJI0U/VHxPZKOIwFI/AAAAAAAAFac/_AcAu_JkIX0/s1600/HELLHAMMER.JPG",
"https://4.bp.blogspot.com/-XN3H6PnYUR8/VHxTWLRZYZI/AAAAAAAAFbY/p0hPTccpsSs/s1600/Mecki_Mark_Men.jpg",
"https://2.bp.blogspot.com/-IzFOwTtS-jU/VHxQVFY64DI/AAAAAAAAFao/-fbAjvFXI0c/s1600/Mount%2BCarmel%2B2012.jpg",
"https://4.bp.blogspot.com/--fAg2tWkAgI/VHxQojNi0RI/AAAAAAAAFaw/brpzsBK7S1s/s1600/captfoam.jpg",
"https://4.bp.blogspot.com/-FmdtDJtGiXA/VHxRmYu1xAI/AAAAAAAAFa8/zrL29zaNzO8/s1600/Bolder%2BDamn.jpg",
"https://3.bp.blogspot.com/-x8d0fL7ABiY/VHxScDPKDLI/AAAAAAAAFbM/CadKnzH1a3Q/s1600/Ett%2BRop%2Bp%C3%A5%2BHj%C3%A4lp.jpg",
"https://2.bp.blogspot.com/-i9zh_BHTTwM/VHxtN2zzniI/AAAAAAAAFcA/dXoPFbNLB54/s1600/Dragonfly%2B-%2BThe%2BLegend.jpg",
"https://1.bp.blogspot.com/-XtTQGaZ33c4/VHxt9_UgHMI/AAAAAAAAFcI/4KNrVASXp00/s1600/Smack%2BLP%2B(1968).jpg",
"https://2.bp.blogspot.com/-1C8JRA81DxM/VHxvBILcDsI/AAAAAAAAFcU/ZBge3IeAuW4/s1600/Fire%2Bband.jpg",
"https://3.bp.blogspot.com/-OS4hthXW0P8/VHxvqzVbIMI/AAAAAAAAFcc/nGOFbU1DfWY/s1600/Stone%2BGarden.jpg",
"https://1.bp.blogspot.com/-yofkHeJWtg4/VHxwfaNE85I/AAAAAAAAFck/zl8Ku0S7PBg/s1600/The%2BJarvis%2BStreet%2BRevue%2Bcover.jpg",
"https://1.bp.blogspot.com/-7hKy6ldkGS0/VHx2Hin4GrI/AAAAAAAAFc0/9QoEFyiE7iw/s1600/Joshua%2BFront%2Band%2Bband.jpg",
"https://1.bp.blogspot.com/-mkrTLGfLrFA/VHzIP5n4FDI/AAAAAAAAFdo/yMp-XEJ_cSQ/s1600/Bulbous%2BCreation%2B-%2BYou%2BWon%C2%B4t%2BRemember%2BDying%2B-%2Bblog.jpg",
"https://2.bp.blogspot.com/-BhJE3dPTpws/VHx_HtiyoXI/AAAAAAAAFdM/NU-B7OP4LIk/s1600/Smokin%2BWillie%2Bblog.jpg",
"https://1.bp.blogspot.com/-PVyPDAX-lks/VHyCwJKCe3I/AAAAAAAAFdY/qh3sWcbPUpo/s1600/josefus-band.jpg",
"https://2.bp.blogspot.com/-yK6un_BJ73Q/VIMVvvc5ypI/AAAAAAAAFgE/RDqcwBE9GHk/s1600/Cover.jpg",
"https://4.bp.blogspot.com/-LBtRmJud09A/VINlU-Y7wVI/AAAAAAAAFgY/aJNmt4bX9zY/s1600/islandmove.large.jpg",
"https://2.bp.blogspot.com/-7TT9E57-niU/VIOgr-AtnpI/AAAAAAAAFhg/0Q9xI5i1KB0/s1600/2061236.jpg",
"https://1.bp.blogspot.com/-ye5Q3lwhomI/VINmGdXBG6I/AAAAAAAAFgk/FrGpIoM4_V4/s1600/Cobra%2B-%2BI'm%2BIn%2BLove.jpg",
"https://1.bp.blogspot.com/-t3esHO6HYSM/VIOg_5QkdPI/AAAAAAAAFhw/9UAa9TCsQYc/s1600/2935126.jpg",
"https://1.bp.blogspot.com/-xbcSNOimxDY/VIOhF5LftPI/AAAAAAAAFh4/48-y9_Oa2rk/s1600/2194244.jpg",
"https://1.bp.blogspot.com/-uhTSW5w-CWA/VIPKibS_1EI/AAAAAAAAFjI/r9Ld2KSdbj4/s1600/Rob%2BVunderink%2B2014.jpg",
"https://2.bp.blogspot.com/-ue8ZjxcJxKQ/VINlBVKBf9I/AAAAAAAAFgQ/HLJFtDhU1ZA/s1600/Rob%2Bin%2BThe%2BCounts.jpg",
"https://3.bp.blogspot.com/-WyeMYt_1Awg/VIOnwrGVJMI/AAAAAAAAFiI/TG4fbv_jSuE/s1600/Cobra2.jpg",
"https://1.bp.blogspot.com/-kbXD--XnCWM/VINm8Xb77MI/AAAAAAAAFgs/_EBj3o4jweE/s1600/Cobra%2B-%2BI'm%2BIn%2BLove%2B(numbered).jpg",
"https://4.bp.blogspot.com/-ymsTP-Q8N08/VINqvwV2H5I/AAAAAAAAFhE/M7gukoCPYIA/s1600/Paul%2BHeppener.jpg",
"https://3.bp.blogspot.com/-IlBAgl5r9r4/VINs2DORRgI/AAAAAAAAFhQ/4EpeaTP0n8E/s1600/Patricia%2BPaay.jpg",
"https://4.bp.blogspot.com/-UEjv1512F5M/VIO5pUxUlAI/AAAAAAAAFi4/0x0vG-1JXCo/s1600/Dieselsingle1.jpg",
"https://3.bp.blogspot.com/-CdiysSrztFI/VJC9dt_6oqI/AAAAAAAAFj8/1TEXbQWol1s/s1600/Cover.jpg",
"https://2.bp.blogspot.com/-G-m3uUw-JwY/VJQfukFJZiI/AAAAAAAAFkM/ALGIz7Fh9XE/s1600/goth-baby-shower-skull-candles.jpg",
"https://4.bp.blogspot.com/-Li1FlIrm4pI/VJQhzr0BToI/AAAAAAAAFkY/f_jbsM5FBto/s1600/CD%2Bfront.jpg",
"https://2.bp.blogspot.com/-oAPCgrGvW-M/VJRDvfR3VxI/AAAAAAAAFlQ/M4RkNu72iX0/s1600/Flute%2B%26%2BVoice.jpg",
"https://1.bp.blogspot.com/-m6KC0bmiPe8/VJuwe55CupI/AAAAAAAAFrA/dWNaplGUS1g/s1600/112.png",
"https://1.bp.blogspot.com/-9qr_sgDWSj4/VJuYAFn28bI/AAAAAAAAFng/Qj5DH4d7tPk/s1600/TheCountBishopsTheCo.jpg",
"https://2.bp.blogspot.com/-MKxgZOHxeiM/VJuYS8xtUDI/AAAAAAAAFno/SdABCy3VeLo/s1600/Velvet%2BOpera.jpg",
"https://2.bp.blogspot.com/-qb-C_Gy50AY/VJuYjyIcOaI/AAAAAAAAFnw/pCINhz1AEHE/s1600/Velvet%2BOpera%2BLP%2Bfront.jpg",
"https://4.bp.blogspot.com/-xtmzKACSRVM/VJuYt1KTPrI/AAAAAAAAFn4/M27t7Fbfv_U/s1600/Cliff%2BBennett's%2BRebelion%2Bband.jpg",
"https://2.bp.blogspot.com/-AOJID9rI1_o/VJuZYWulvdI/AAAAAAAAFoA/TA5qee0o8ps/s1600/Steve%2BGibbons.jpg",
"https://1.bp.blogspot.com/-zR0kM2kfloQ/VJuZllSQckI/AAAAAAAAFoI/zMeTEVFB4-Y/s1600/Steve%2BGibbons%2BShort%2BStories%2BLP1.jpg",
"https://3.bp.blogspot.com/-EB8MTPm2lYA/VJ3rr1OewHI/AAAAAAAAFsk/midOqYsZ2wM/s1600/heads%2Bhands%2B%26%2Bfeet.jpg",
"https://3.bp.blogspot.com/-n6M3FTS0iwo/VJuarVGA3LI/AAAAAAAAFoU/WJZMl49bEVs/s1600/c.j.%2Bflanagan%2Band%2Btony%2Bcolton.jpg",
"https://1.bp.blogspot.com/-n4EGIDDm7aQ/VJubBiJXKjI/AAAAAAAAFoc/7Sl8cLAuN4k/s1600/legend.jpg",
"https://1.bp.blogspot.com/-t3dsl5ThGUc/VJubLFbz_bI/AAAAAAAAFok/WbsDymtvzyc/s1600/legend_moonshine_front_uk.jpg",
"https://1.bp.blogspot.com/-V9fUJsi6LBI/VJubds3aJNI/AAAAAAAAFos/7KlCjuDzyEU/s1600/Gypsy%2B-%2BBrenda%2BThe%2BRattlesnake.jpg",
"https://1.bp.blogspot.com/-0WN7IKL_43g/VJubkQ31pfI/AAAAAAAAFo0/JmjDcgWB3Zc/s1600/Gypsy%2Bcutting.jpg",
"https://2.bp.blogspot.com/-lgYgg46pDUk/VJucIeu9NnI/AAAAAAAAFo8/gryoNuO_DfY/s1600/Hookfootpromophoto1.jpg",
"https://1.bp.blogspot.com/-oMB68eelknQ/VJmit-KrnNI/AAAAAAAAFnQ/o2ze1QzyAdw/s1600/Caleb%2BQuaye%2B%40%2BWembley%2Bstadium%2B1975%2Bwith%2BElton%2BJohn.jpg",
"https://2.bp.blogspot.com/-3JMl4kd0lwA/VJucpmOs2WI/AAAAAAAAFpM/Iqcd3-RBj9g/s1600/Jellybread.jpg",
"https://2.bp.blogspot.com/-snhF1PswQxE/VJuc0OgJSmI/AAAAAAAAFpU/Tl6g1cLry3Q/s1600/Jellybread%2BCover1.jpg",
"https://3.bp.blogspot.com/-1X2Pc8icwj4/VJudJuM3chI/AAAAAAAAFpk/4M7wnNLeuts/s1600/Pacific%2BDrift%2B-%2BFeelin'%2BFree%2BLP%2Bfront.jpg",
"https://1.bp.blogspot.com/-jA3D3cXQGpM/VJudpbR45RI/AAAAAAAAFpw/SG-OibwhcW8/s1600/R-4857021-1377635316-1552.jpeg.jpg",
"https://1.bp.blogspot.com/-NVVRWIRZeLM/VJudv9E9-kI/AAAAAAAAFp4/6Qr32ev3ckU/s1600/sjpcd002a.jpg",
"https://2.bp.blogspot.com/-J-jD4hA4z4o/VJueGSMpBOI/AAAAAAAAFqA/YuwnWHnsvQo/s1600/ellis_band_72.jpg",
"https://2.bp.blogspot.com/-vpTRltE76YY/VJueNz-3wcI/AAAAAAAAFqI/bFgcFZtuShE/s1600/ellis-riding_crest-f.jpg",
"https://2.bp.blogspot.com/-hgxFXb6BlLE/VJuevWAivII/AAAAAAAAFqY/l_zi2opPOBo/s1600/cochise%2B-%2Bso%2Bfar%2B1972%2Bfront%2B1.jpg",
"https://1.bp.blogspot.com/-gekT1YVfy0A/VJwAt35vn7I/AAAAAAAAFr8/2YFfAQLrC_c/s1600/COCHISE%2Bwith%2BMICK%2BGRABHAM%2B%26%2BRICK%2BWILLS.JPG",
"https://2.bp.blogspot.com/-4k1xSysKJe8/VJugCSOlfRI/AAAAAAAAFqo/yg7s2QihMk0/s1600/Holy%2BMackerel%2Bcover.jpg",
"https://3.bp.blogspot.com/-ydF2_a_w0ME/VJugKmQUK6I/AAAAAAAAFqw/GrVjWVLidj0/s1600/Holy%2BMackerel%2Bband.jpg",
"https://1.bp.blogspot.com/-Rxr4E_c-sPo/VKUz5hIcNHI/AAAAAAAAFs0/g4m8OZI2r7g/s1600/_Cover.jpg",
"https://1.bp.blogspot.com/-jA3D3cXQGpM/VJudpbR45RI/AAAAAAAAFpw/SG-OibwhcW8/s1600/R-4857021-1377635316-1552.jpeg.jpg",
"https://1.bp.blogspot.com/-NVVRWIRZeLM/VJudv9E9-kI/AAAAAAAAFp4/6Qr32ev3ckU/s1600/sjpcd002a.jpg",
"https://3.bp.blogspot.com/-EB8MTPm2lYA/VJ3rr1OewHI/AAAAAAAAFsk/midOqYsZ2wM/s1600/heads%2Bhands%2B%26%2Bfeet.jpg",
"https://3.bp.blogspot.com/-n6M3FTS0iwo/VJuarVGA3LI/AAAAAAAAFoU/WJZMl49bEVs/s1600/c.j.%2Bflanagan%2Band%2Btony%2Bcolton.jpg",
"https://4.bp.blogspot.com/-XWAcYnndVzs/VG-PBVzHgKI/AAAAAAAAEds/Q6kCPpnBavk/s1600/bury-me-an-angel-movie-poster-1971.jpg",
"https://3.bp.blogspot.com/-hXWENYyjQUY/VGjlLG2vFVI/AAAAAAAAEZY/crs3L8KeEac/s1600/bury_me_an_angel_poster.jpg",
"https://4.bp.blogspot.com/-X2hC5cGrQ3o/VGjlqyihimI/AAAAAAAAEZg/04rnVZyUY6U/s1600/BURY-ME-AN-ANGEL.jpg",
"https://2.bp.blogspot.com/-J-jD4hA4z4o/VJueGSMpBOI/AAAAAAAAFqA/YuwnWHnsvQo/s1600/ellis_band_72.jpg",
"https://2.bp.blogspot.com/-vpTRltE76YY/VJueNz-3wcI/AAAAAAAAFqI/bFgcFZtuShE/s1600/ellis-riding_crest-f.jpg",
"https://2.bp.blogspot.com/-4k1xSysKJe8/VJugCSOlfRI/AAAAAAAAFqo/yg7s2QihMk0/s1600/Holy%2BMackerel%2Bcover.jpg",
"https://3.bp.blogspot.com/-ydF2_a_w0ME/VJugKmQUK6I/AAAAAAAAFqw/GrVjWVLidj0/s1600/Holy%2BMackerel%2Bband.jpg",
"https://3.bp.blogspot.com/-JKQV0AxydeE/UtcArHzJJ6I/AAAAAAAADhI/QbKt-096ZZA/s1600/60%252C000%252C000+Buffalo+insert2.jpg",
"https://1.bp.blogspot.com/-_2UiJ9EoJpg/UtcBevCn8cI/AAAAAAAADhM/JFlwVKu_els/s1600/60,000,000+buffalo+-+front.jpg",
"https://4.bp.blogspot.com/-FazKUOHkPu4/UtcBrSSvwAI/AAAAAAAADhU/aCtnQiB_Qhk/s1600/60,000,000+Buffalo+-+rear.jpg",
"https://2.bp.blogspot.com/-xBhb4wcD-Ig/VDKbxaQ6ugI/AAAAAAAAELI/EuIGnU1RHEw/s1600/WEB-ARTWORK.jpg",
"https://2.bp.blogspot.com/-3JMl4kd0lwA/VJucpmOs2WI/AAAAAAAAFpM/Iqcd3-RBj9g/s1600/Jellybread.jpg",
"https://2.bp.blogspot.com/-snhF1PswQxE/VJuc0OgJSmI/AAAAAAAAFpU/Tl6g1cLry3Q/s1600/Jellybread%2BCover1.jpg",
"https://1.bp.blogspot.com/-b1L-zl_ZQMY/UwKRFimuIrI/AAAAAAAADog/aUybFOJDMd4/s1600/John+Tennent+and+David+Morrison.jpg",
"https://4.bp.blogspot.com/-q_PbQK7VdLs/VDKAE3BrmWI/AAAAAAAAEJc/_1u2sYz9crk/s1600/Shark%2BMove2a.jpg",
"https://3.bp.blogspot.com/-G5dbnhJXVRQ/VKVKPZc1bNI/AAAAAAAAFtE/2tUoKZVwOvQ/s1600/Bulbous%2BCreation.jpg",
"https://3.bp.blogspot.com/-7s4DxzzDNhs/UtViMk5dpQI/AAAAAAAADgA/SwG4VO1IgwM/s200/Martha+Vel%C3%A9z.jpg",
"https://4.bp.blogspot.com/-gEwXod1Z3R8/VLFb-3EmeoI/AAAAAAAAFuM/iWIP9dHWFOo/s1600/Cover.jpg",
"https://2.bp.blogspot.com/-b3QuywVuM2s/VLGC2cwC_lI/AAAAAAAAFuc/kpzwxr-8VHM/s1600/vilar-de-mouros_71_rb.jpg",
"https://2.bp.blogspot.com/-UJ65mWwPUgo/VLGD1qF2GGI/AAAAAAAAFuo/CwG4dMxlsQY/s1600/R-5259878-1388947708-3558.jpeg.jpg",
"https://3.bp.blogspot.com/-7A_Dp20ziSw/VLGV8wGkR5I/AAAAAAAAFu4/uSkYgZzpzPQ/s1600/Quarteto1111.jpg",
"https://1.bp.blogspot.com/-cohVKQRwGsU/VLGegstzqHI/AAAAAAAAFvI/YqckhMLyZjw/s1600/Xarhanga%2B-%2BAcid%2BNightmare%2B-%2BFront.jpg",
"https://2.bp.blogspot.com/-S0IHaG5xqOQ/VLHCDAdR7cI/AAAAAAAAFvY/6sd80kcuWwA/s1600/Arte%2B%26%2BOf%C3%ADcio%2Bband.jpg",
"https://2.bp.blogspot.com/-9Rw0Kipx4ko/VLHmIq8qZMI/AAAAAAAAFvo/Vp8UBWd_Z_c/s1600/Xeque-Mate2.jpg",
"https://1.bp.blogspot.com/-Ea4GhhWMmvY/VLJp31UwR6I/AAAAAAAAFwI/SkAQl_fJ6ZY/s1600/Tantra%2B-%2BMist%C3%A9rios%2Be%2BMaravilhas%2Bblog.jpg",
"https://2.bp.blogspot.com/-i0OLAgA5_4c/VLJrIaibEbI/AAAAAAAAFwY/WfVqE01zWO4/s1600/Tantra%2B-%2BHumanoid%2BFlesh%2BLP.jpg",
"https://1.bp.blogspot.com/-4IUB1v9kDj0/VLKHlpi58jI/AAAAAAAAFwo/J-fy8h7Pw2Y/s1600/Heavy%2BBand%2B(2).JPG",
"https://2.bp.blogspot.com/-rTF_KFwD4nU/VLLO21bHYYI/AAAAAAAAFw4/8gRGdYeCx3E/s1600/Go%2BGraal%2BBlues%2BBand.jpg",
"https://1.bp.blogspot.com/-vIvBwYwli54/VLLi_nL8VeI/AAAAAAAAFxI/9JC3qs8lF6E/s1600/Pop%2BFive%2BMusic%2BIncorporated.jpg",
"https://2.bp.blogspot.com/-_w1XnCu8kSQ/VLLwrc0m-wI/AAAAAAAAFxU/4LPFTupxiVE/s1600/Jose_Cid.jpg",
"https://1.bp.blogspot.com/-rZ_-HoL3NFk/VLLzAADAFEI/AAAAAAAAFxg/vHlpZyrpxEY/s1600/NZZN.jpg",
"https://2.bp.blogspot.com/-xAj7BifgSWw/VL135w8CgHI/AAAAAAAAFyI/o0aScsev3Jg/s1600/Cover.jpg",
"https://2.bp.blogspot.com/-sGNzgE4mcwI/VMJHXNjYY4I/AAAAAAAAF0s/DvYxJqdJT2Q/s1600/Chris_Peters.jpg",
"https://2.bp.blogspot.com/-6ycIWznlWP0/VMItg33c5wI/AAAAAAAAF0M/ib-xKJm1Gbk/s1600/Psychedelic%2BMinds%2BVol%2B1-Heavy%2BUnderground%2B1967-71%2BFront.JPG",
"https://3.bp.blogspot.com/-ioKW9S4KTHM/VMIq_M1wBJI/AAAAAAAAFyk/VR0oOV-fyAM/s1600/Gold%2B-%2BSF%2BOregins.jpg",
"https://2.bp.blogspot.com/-O0NSD1CiJ04/VMIrHsYV2LI/AAAAAAAAFyw/RQruCexuVoI/s1600/Dragonwyck%2Bpress.jpg",
"https://4.bp.blogspot.com/-u0McSqGuvT0/VMIrQwMd-aI/AAAAAAAAFy0/N7DLYq_Np3M/s1600/Fred%2B-%2BInlay.jpg",
"https://3.bp.blogspot.com/-co8rZV-7HdI/VMIrfG2FgSI/AAAAAAAAFy8/wEDcxWOBy8Y/s1600/Strawberry-Window-Front.jpg",
"https://3.bp.blogspot.com/-OjLVw5rEjDY/VMIrkywRpXI/AAAAAAAAFzE/f6UWqPiRp3g/s1600/Fear%2BItself%2B-%2BFront%2BCover.jpg",
"https://3.bp.blogspot.com/-gej0i1baLHI/VMIrrn3i8dI/AAAAAAAAFzM/YSngEuPL-k0/s1600/headstone-front.jpg",
"https://2.bp.blogspot.com/-sj45EA5ygJg/VMIr2zaigRI/AAAAAAAAFzc/xtJ3HEaY1dE/s1600/Mystic%2BSiva%2B-%2BCD%2BFront.jpg",
"https://4.bp.blogspot.com/-CoMTfWmli64/VMIsA-grriI/AAAAAAAAFzk/otN20Eth9rE/s1600/Jeff%2BSimmons%2B-%2BFront..jpg",
"https://3.bp.blogspot.com/-On5PvWJAV9k/VMI2wtaHUsI/AAAAAAAAF0g/I35qsXa_gm8/s1600/Jeff%2BSimmons%2B-%2BMelody%2BMaker%2BDecember%2B5th%2B1970..jpg",
"https://2.bp.blogspot.com/-NHwbfQRzyU0/VMIsHkbHu9I/AAAAAAAAFzs/aENUM88sbYs/s1600/Freeman%2BSounds%2B%26%2BFriends%2B-%2BFront.jpg",
"https://4.bp.blogspot.com/-6CxcEbBJWbM/VMIsSJUAY_I/AAAAAAAAFz0/7GSK_TaAmfI/s1600/Psiglo%2B-%2BFront.jpg",
"https://1.bp.blogspot.com/-TyD3mJjI69c/VMIwi-ATmTI/AAAAAAAAF0U/cSr62uhao8o/s1600/Stoned%2BCircus%2B-%2BBand.jpg",
"https://2.bp.blogspot.com/-kUSgEROx5PI/VMIsfZKmiGI/AAAAAAAAFz8/KVIgSRm1MtQ/s1600/Sproton%2BLayer%2Bat%2Bthe%2BLittle%2BTheatre%2C%2BPioneer%2BHigh%2BSchool%2C%2BAnn%2BArbor%2C%2BMI.%2B%2BMay%2B1970.%2B%2BL%2Bto%2BR%2BHarold%2C%2BLar%2C%2BRoger.jpg",
"https://1.bp.blogspot.com/-lK4E4ctYfoU/VMItM-k6IrI/AAAAAAAAF0E/yXFauWZJoJU/s1600/Cosmic%2BDealer%2B-%2BChild%2BOf%2BTomorrow%2B-%2BBooklet%2B(2-6).jpg",
"https://static5.businessinsider.com/image/5061e8d769beddbd4d00001b-400-300/on-our-first-morning-on-necker-the-staff-organized-a-hike-around-the-island-they-had-sneakers-in-various-sizes-if-you-didnt-bring-your-own-under-armour-is-the-unofficial-sports-apparel-provider-for-necker.jpg",
"https://augustacrime.com/wp-content/uploads/2018/10/Jamarcus-Murray-36-of-Augusta-Aggravated-assault-x3-criminal-damage-to-property-weapon-possession-150x150.jpg",
"https://busyteacher.org/uploads/posts/2012-04/thumbs/1335129909_10.jpg",
"https://busyteacher.org/uploads/posts/2013-04/thumbs/1365735193_mod-gerunds-1-preliminary-worksheet-0.png",
"https://media.mwcradio.com/mimesis/2012-12/06/Hoem%2C%20Nicholaus.jpg",
"https://mrncciew.files.wordpress.com/2014/09/cwap-mgt-frame-05.png?w=529&h=526",
"https://thepost.s3.amazonaws.com/wp-content/uploads/2013/12/0CA0BYGA-150x150.jpg",
"https://www.marathi-unlimited.in/wp-content/uploads/2018/12/नवनाथ-Navnath-Ki-Arti.jpg",
"https://1.bp.blogspot.com/-io3jSe1xiTg/UhTjuK1wVpI/AAAAAAAAAX0/g6tcwvlt1WA/s640/Light+Blue.jpg",
"https://3.bp.blogspot.com/-oGZoO6vwoPs/VE5yZ6E_owI/AAAAAAABFwY/YYbn6PWSSBU/s1600/POWER.bmp.jpg",
"https://www.underconsideration.com/brandnew/archives/philips_2013_tagline.png",
"https://www.learncbse.in/wp-content/uploads/2022/08/Dissolution-of-a-Partnership-Firm-Class-12-Important-Questions-and-Answers-Accountancy-Chapter-5-Img-15.png",
"https://borneobulletin.com.bn/wp-content/uploads/2018/03/page-5-b-14p7_040318.jpg",
"https://1.bp.blogspot.com/-zvN0pv6MPtc/UwnesicIkPI/AAAAAAAAAo0/Ai12LvhQE4A/s1600/Download-Button1%25281%2529.jpg",
"https://2.bp.blogspot.com/-WzskDIbCuAA/W7b7sFbhXoI/AAAAAAAAJh8/zLb1zzTtO14_GyIUEIYZSDALklUkzMbhACEwYBhgL/s200/_DSC0641.JPG",
"https://mylifeofcrime.files.wordpress.com/2017/01/pauledwards-prison-mug.jpg?w=73&h=90",
"https://1.bp.blogspot.com/-jbZNxNYTtRg/VLQGuBLCbQI/AAAAAAAABpA/oOgAcDDGGEo/s1600/unnamed-1.png",
"https://i65.fastpic.ru/big/2015/0930/f2/3a0bc92afda45c179bd2016b99145ff2.jpg",
"https://wehco.media.clients.ellingtoncms.com/img/photos/2024/08/28/WCEL-Arkansas-Outlaws_ORIG_t600.jpg?4326734cdb8e39baa3579048ef63ad7b451e7676",
"https://uploads.gamedev.net/monthly_04_2013/ccs-146537-0-22674000-1366675907_thumb.png",
"https://i.cbc.ca/1.7308167.1724944619!/httpImage/image.jpg_gen/derivatives/16x9_460/image.jpg",
"https://wgno.com/wp-content/uploads/sites/2/2024/08/Sebastian-Beck.png?w=900",
"https://www.thesun.co.uk/wp-content/uploads/2024/08/2024-brothers-liam-noel-gallagher-928461682.jpg?strip=all&w=640",
"https://www.thesun.co.uk/wp-content/uploads/2024/08/house-sims-884969628.jpg?strip=all&w=960",
"https://www.thesun.co.uk/wp-content/uploads/2024/08/worried-family-woman-went-missing-928721793.jpg?strip=all&w=637",
"https://assets-varnish.triblive.com/2024/08/7682304_web1_vnd-Valleybsoc01-083024.jpg",
"https://h30434.www3.hp.com/t5/image/serverpage/image-id/377912i4D9EE78AF93B6B88/image-size/medium/is-moderation-mode/true?v=v2&px=400",
"https://i.etsystatic.com/6442746/r/il/1cea0e/3023214821/il_570xN.3023214821_3quf.jpg",
"https://i.etsystatic.com/12010324/r/il/773184/4204096146/il_570xN.4204096146_4evj.jpg",
"https://www.the-sun.com/wp-content/uploads/sites/6/2024/08/2jj0j30-new-google-wallet-app-802784636.jpg?strip=all&w=960"
] |
[] |
[] |
[
""
] | null |
[] | null |
en
|
//www.rssing.com/favicon.ico
| null |
The Last Song: Roy Rutanen and his short-lived band
If you haven't seen the most recent tdats comp from last week, the heavy 'Bosstown sound', get it here.
Right....getting on for two years ago now I included a song in the second New Zealand special (link) by a guy called Roy Rutanen. At that time I had fallen for what I now know was an incorrect rumour, believing him to have been a mysterious and enigmatic figure from New Zealand.
The album in question may be described by some as loner-folk, with pastoral sounds and mild psychedelia. It's a whimsical and humorous record with some darker fuzz-filled cuts, especially "Sinful Man" and "The Trip Song". It would fit right into the late '60s San Francisco sound. I find his voice is sometimes reminiscent of Jim Morrison, and sometimes Cat Stevens.
About a year and a half ago I was contacted out of the blue by a guy in Australia called Chris Hobrough. He told me that he took the picture on the front of Roy's Album, that Roy was most definitely American, and had never to his knowledge set foot in New Zealand. With Chris's much apreciated help, I have been able to contact Roy and some of his band members. Firstly I'd like to say a huge thanks to Chris Hobrough, Mick Norris, Ian Robins and Roy himself for being such great sports and making this possible. Learning the truth has been a great feeling, so to set the record straight, here it is!
The Beginning
Roy grew up in Southbridge, MA, the oldest of four; one brother and two sisters. His mother was a 'truly good' pianist and his father was a gifted auotobody mechanic, but unfortunately a desperate alcoholic. In Roy's own words: "I had kind of a bad childhood in many ways, but normal in others". He and a friend started playing guitar as teenagers. They became a trio and played in different cities around the area. All that was to end when he was drafted in 1966 by the US army, at which time he was working in a service station.
After a stint in Germany he was sent to Vietnam. Asked for his recollections of the war, he told me "I was in rocket attacks but didn't see much more action. I saw a lot of drug use and very little support from locals. I'll bet that the people there are living the same way today as they did back in the '60s".
During his time in Vietnam, he chose to use two R&R periods to visit Australia. He liked it there so much that he decided to fly straight back on discharge from the army. His early recollections of Australia were of having good times making many good friends: "I smoked a lot of pot and indulged in other highs. I lived right on Manly Beach in Sydney and went to sleep at night with the sound of surf coming in through the open balcony doors".
Making the band
Dee Why beach
Roy started putting his name about in the scene and playing his own songs at some local venues: "I began playing at a theater called P.A.C.T. and played at other places as well". The PACT (Producers, Authors, Composers and Talent) arts company still stands to this day (link). Roy befriended Michael 'Mick' Norris, who played in accoustic band 'Marastique' and a bluesrock band called Amageddon. Then Roy moved into a flat with friends in Pittwater Road, Dee Why, a suburb of northern Sydney which also has a beach. In Mick's word's: "We used to meet at this flat, have a jam and smoke pot, supplied mostly by a local bloke who lived only about two hundred metres away in Harbord Road".
Mick would take along his band-mates Ray McKeown, Ian Robins and Graham Hilzinger. Ray played drums, Ian played electric guitar and Graham played flute and sax. Mick himself was playing bass at the time.
Mick recalls that at those sessions, they would set-up and Roy would play through all his songs, almost non-stop, as if doing a mini concert. Then they would all fall into it with him, making-up their own parts as Roy continued playing without stopping to correct anyone. "Occasionally we would all stop for a puff of pot, then get back to it". The guys got together a couple of nights a week, playing for few hours at a time. Roy adds: "They were all great guys and we worked well together. It was a wonderful experience".
Roy at a wedding
I asked Ian Robins to describe his memories of Roy: "Roy was a real pistol! Very loud and ebullient. He had a great sense of humour and I remember he loved junk food. We all got a little substance crazy in those days. Roy had a favourite expression - 'Has anyone seen my mind - don't step on it!'. He was a very good acoustic picker and song writer, fun to work with too, very focused".
Eventually they all got to know Roy’s songs by ear, Ian remembers that Roy was vey open to the ideas of the other guys and they all developed their own individual parts.
The flat on Pittwater Road
- at mid-level
When they weren't playing, the Dee Why flat was a place for fun and hi-jinks. Mick recalls one party in particular: "There was one occasion at the flat when some friends of Roy’s had arrived from overseas, after back-packing I think. They brought some 8mm film they had shot of their adventures, and they also had some LSD micro-dots which they had gotten from the USA (very clean, pure and precise in dose level). We all had a trip together, as the LSD took effect, the film was played and projected onto a wall of the flat and it was also played back-wards to the great amusement of us all.
As the party progressed, most of us set-out in groups in different cars to go driving around the northern beaches, all in different directions. We had an amazing time laughing and hoo-harring all over the place. At one particular time, a few of the cars arrived at the same intersection all at the same time, all coming from different directions. Not having been in contact since the magical mystery tour had started, that was an amazing coincidence. We all just sat there at the intersection looking at each other, cracking up with laughter".
Before Roy's get-togethers with the nucleus of what was to become his recording band, he had been very enterprising. While recording a demo on his own, a local studio put him in touch with Jack Argent, MD of Leeds Music publishers. Jack liked what he heard and organised a deal for an album with MCA.
Making the album
The album was recorded at United Sounds studio in Sydney (link). Roy played classical acoustic guitar. From the Dee Why jams was Mick Norris on bass, Ian Robins on electric guitar, Graham Hilzinger on flute and Ray McKeown on drums. Some more players were added; John Hayles played second classical guitar, and on tracks "Plastic World", "The Old Man" and "Hitchin" steel guitar player Kenny Kitching can be heard. Kenny has since become one of he most renowned steel and Hawian guitar players in Australia. On this subject Roy said: "Kenny was brought in, I'd never met him before. I didn't know he'd done so well, since. He was very interested in the track(s) he played on and I appreciated his interest!"
Ian Robins had this to say about the recording: "I played all the electric guitar. I had a Gibson ES335 back then, a guitar I always regret parting with. It must be worth a fortune now. One song I recall, 'Plastic Jesus', was about the commercialization of religion".
At the time Roy told Mick that MCA were winding-down their activity in Australia, and so a meagre budget had been allocated for the sound recording and production. MCA was pushing to get it's contracts fulfilled quickly. As most of the players were by now well-practiced and knew their parts well, the album sessions went smoothly. Roy points out that most of the tracks were put down together as a band instead of over dubbing. A few things, like the flute, had to be put down later.
Label, Side 1
The record was released in the latter half of 1971, catalogue number MCA MAP/S 5100. The full track listing is:
A1 Searchin'
A2 Plastic World
A3 The Trip Song
A4 Anti-stink Song
A5 The Old Man
B1 The Country Song
B2 Hitchin'
B3 Sinful Man
B4 The Last Song
Things had moved on by this time, Roy had moved again and was working in a record shop on Pittwater Rd. He had also met his wife-to-be, Margaret Gray, from Narrabeen, NSW. The album cover shows Roy sitting under a tree strumming his guitar, with an attentive blonde-haired girl in audience. The picture was taken by Chris Hobrough, a photographer friend of Roy's. Chris had this to say: "The pictures were taken in the garden of his place at Newport, Sydney. I remember positioning myself right on top of an ant nest to take some of those shots - they didn't appreciate it. 40 years and I still remember that".
The credited engineer is Spenser Lee, who quite amazingly was engineer on the first three Buffalo albums slightly later. The album was produced by Alan A. Freeman, ex-head of A&R at Pye records in England and CEO of MCA Australasia. Older readers may be interested to know Alan was a regular panelist on ATV's Saturday night talent programme, New Faces.
MCA did put out a single from the album, choosing 'Plastic World' with a flip-side of 'The Old Man'. I have just discovered another single that MCA released, but as yet I have not established if they were earlier recordings or album session left-overs. That single was "Your Day Is Comin" (youtube) with flip-side "Hey You" (youtube). Thanks to Bill Stevens for uploading those two. Bill also got some info out of Roy: "The single 'Your Day Is Comin' was written on Manly Beach in Sydney and reflects my disillusion with the Vietnam War and war in general. 'Hey You' is another single but more of a love song".
Disapointment
Tragically, it would seem that the public had very little chance to even hear the finished album. Chris Hobrough offers his opinion: "The album wasn't a commercial success, mainly because the record company put zero effort into promoting it. It was basically all left up to Roy. That was quite a tall order, back then, for a young musician just starting out. Perhaps it would have been easier now with the Internet. Anyway, it wasn't enough support for Roy to develop his art, and I think that was a big disappointment for him".
Mick Norris has similarly negative things to say about the album's promotion: "As was a usual practice, MCA, or one of their agents, managed to have a review of the album published in the appropriate 'what’s going on' music page of one of Sydney’s main newspapers, giving the album 'record of the week', but it was not as if MCA showed any high hopes for Roy’s success. It seemed that they just wanted to get their contract obligations met at the cheapest possible cost, and I don’t recall how many copies of the album were pressed".
Ian Robins in
recent times
Ian Robins has equally melon collie memories of the time: "It would have been nice if the album had gone somewhere. Who knows how it may have changed one's life, eh? I feel bad for Roy though. He put a lot of energy and effort into the album."
Roy himself says that he made no money at all from the record, aside from the band's basic pay during the recording sessions. This immediate disapointment hit Roy hard. Soon after he was married and had a young daughter on the way, so he made plans to cut his losses and reurn to the US where he would be in a better position to support his new family. He does not remember any promotional efforts from MCA what so ever: "We should have gone on the road to promote it, but by that time, I was headed back to the states. I never saw it in a store".
Just after the release of the album, Mick Norris went on with Ray, Ian and Graham to form a new incarnation of the band, while Roy was drifting away from the original gang: "The rest of us carried on as a band in the Narrabeen/Mona Vale area, and we recorded a soundtrack for an Australian surfing film producer Bob Evans, the name of his film was 'Family Free'" (link).
Around the same time the band was approached to hurriedly come-up with a soundtrack for another locally-proposed surf film; of which Bruce Usher and Russell Shepherd, from Mona vale Beach, were the producers. Due to the urgency of needing original music finished within this film's strict time frame, Mick made contact with Roy with the hope that he might have some material, or be able to come-up with some fresh material. Roy did come to meet the producers at Mona Vale, and things started to move, with Roy showing keen and coming up with ideas. "Some how the wheels fell off the whole thing, and I don’t recall seeing Roy again, I think that was about the time that he and Margaret got married. It's hard to recall now, but I think that delays with the film’s production didn't help".
Back in the USA
So that was the end of Roy's personal and musical life in Australia: "In total, I lived in Aussie for just over two years. After I got married and had a daughter, I wanted my family in the US to meet them, so we left for Massachusetts in the early '70s. All in all, it was a wonderful experience, and in retrospect, I never should have left".
Back in the US, music just wasn't cutting it any more. With a daughter and wife to support, he decided to go back to school in Boston to study broadcasting. He worked for a while in radio and TV advertising, then: "From Connecticut, where I was living at the time, I got a job in Hyde Park, New York, at a small AM station working for a fat guy who was a little unstable. From there I became a program director for an FM station that was country when I got the job. With me it became a rock station, and a big hit in the Poughkeepsie, NY area".
Roy in 2010
Roy moved to Texas where he got into TV news: "My time in San Antonio working for KENS-TV was a highlight of my career. From there it was back to radio in San Diego, California before returning to New England. I won several awards along the way and got to see a lot of the country. I went back to Australia in the mid 80's while working as a TV journalist and revisited Sydney - I'd like to go back there again some day. Back in New England I did something I'd always wanted to do and that was driving big rig trucks. I did that for three years and enjoyed seeing the country, but the business was tough. Now I'm retired".
After the impossibility of the public getting the chance to hear Roy and the gang's great album when it should have done, we can thank the power of the internet for allowing many to hear it easily now. Thanks to Roy and his efforts over 40 years ago for bringing us this great music!
© Richard Sheppard / www.aftersabbath.com
share via:
↧
TDATS Vol 83 Switzerland reboot: McChurch Soundroom, Delusion LP, 1971
This is a late addition to the Swiss Volume 83, an extra band kindly suggested by TDATS fb group admin Martin Smith. You can download the fully-revised comp, and read mine and Martin's new notes by the usual links from here. If you don't want to download the whole thing again you can get just the additional mp3 here and drop it in. Here's what's new:
McChurch Soundroom was an eclectic psych free blues rock ensemble that has close relationships with krautrock, in particular with the heavy, stoned jazzy sound of Nosferatu (see Vol116), but also with folkish bands from England (Jethro Tull first era). Their original LP "Delusion" was released in 1971 on the legendary Pilz label (Popol Vuh, Wallenstein, Witthuser & Westrupp etc). This psych folk underground act is now cult. It was engineered by the famous Conny Plank (see Vol116 Conny Special) at Star Studio Hamburg.
McChurch Soundroom
promo shot
The name of the band seems to have been taken partly from the nickname of singer/flute player Sandy McChurch (real name Sandro Chiesa). Also on board was saxophonist/guitarist Heiner Althaus (link), who has since played in many big-band ensembles, and drummer Norbert “Nobbi” Jud , later of Monroe. The opening track of the album, 'Delusion', has lyrics credited to Marcel Schaar. He was a German singer/songwriter and it's not clear how much other involvement he had in the album. In the same year as Delusion he recorded a good solo album as 'Marcel', called 'Dreams Consumed' (link).
I asked Martin to write a piece about it, and here it is: "About twenty years ago a hippy friend of mine summoned me to his bus he was living on, raving on about some lost heavy nugget he had come across while living in Holland . As I entered his rather musty hippy home he thrust a copy of McChurch's Delusion LP into my hand saying, "Man you got to listen to this man, its going make me a fortune!". You see, my friend had the quite bonkers idea of sampling the drum solo from 'Dream of a Drummer' and turning it into a Fat Boy Slim type big beat rave tune. Nonsense of course, but I instantly fell for the mighty hammond grooves, overblown flute and heavy blues that dwelled within its grooves. Also the cover of a human skull covered in wax was the cherry on the cake. It was the first real obscure heavy nugget I came across and set me up for a life time of crate-digging. In a way, Google and the internet has taken away some of the mystery of record collecting and these once mythical LPs are now just a mouse-click away. Hopefully this little story might give you an insight into what makes all of us record collectors tick, and the reason we all keep on digging. As for my mate, he never made his fortune with his big beat Swiss prog dance tune ...he now works in a high street bakery called Greggs."
Thanks for listening, and thanks Martin!
↧
The Day After The Sabbath 118: La Fuente del Ritmo [Latin and Chicano rock in the US]
Download from [mf] or [mg]
unzip password: tdats
TDATS 118 is a collection of tracks from bands who made albums in the US, all including members who had relocated from Latin America. The biggest influence on this Latin rock trend was undoubtedly Carlos Santana! Indeed, Malo included the guitar talents of Carlos's brother, Jorge Santana.
The better-known artists here are Chango, Malo, Tierra and El Chicano, all referred to at times as "Chicano Rock". Other bands here don't fall under that convenient label, because the term Chicano specifically means Mexican-American. Chango offer some of the best cuts here, with 'Woman in Black' standing out as the closest to heavy metal. What makes all the tracks here a refreshing alternative to the usual heavy psych and rock of the times is the Latin influence, the lead guitar styles and the percussion, often with a horn section which complements the sound rather than softening it. The track from Amazonas is from the school of infamous budget / exploitation producer Leo Muller (real name David Leonard Miller) who's labels would employ studio musicians to sell popular sounds of the time to lesser-discerning music buyers. In the case of the Amazonas LP some great original music resulted.
While remaining true to the aftersabbath ethos of heavy groove and rocking-ness, this comp brings together a great collection of salsa-flavoured, funky, jazzy, brassy rock. A light-hearted and enjoyable mix just in time for the summer! If you like this one, you may want to check out my other Latin-flavoured comps; 104 (Peru), 84 (Brazil), 89 (Mexico) and 43 (general South America). I love the good vibes of the rock from these places so there will be more....Argentina, Chile, Uraguay and others to come...
TRACKS
01. Strange Brew - Intro (1969)
from album 'A Very Strange Brew'
A California-based band, some members of which were in Yaqui (see later)
02. Malo - Peace [single version] (1972)
from album 'Malo'
Including Carlos Santana's brother Jorge, this album reached no. 12 in the US charts.
03. Sincerely Antique - Chaucha (1973)
from album 'Sincerely Antique'
Based in Miami.
04. Broth - I'm a King (1970)
from album 'Broth'
A band of Cubans and Puerto Ricans who made an album in New York.
05. Amazonas - Amazona (1973)
from album 'Play Santana'
Exploitation studio band, recorded some Santana covers, but this one is an original.
06. Abel - Searchin' For The Light (1971)
from album 'Please World'
Based in San Francisco. Lead by Abel Sanchez (guitar, bass, vocals). The sound quality of
this is lacking, if you have a better rip let me know!
07. Toro - Small Folk Reservation (1975)
from album 'Toro'
A New York-based band, guitarist Steve Napoleoni Monge previously worked with Harvey Averne.
08. El Chicano - Chicano Chant (1971)
from album 'Revolución'
One of the more prolific Chicano rock bands, based in L.A.
09. Chango - Caminando (1975)
from album 'Chango'
One of the more appreciated Santana-esque bands. Liner notes explain the god
'Chango' is "the representative of unbridled sexuality".
10. Tierra - Tierra (1973)
from album 'Tierra'
L.A.'s Tierra supported Santana in the late '70s.
11. Macondo - Battery (1972)
from album 'Macondo'
From East L.A. and discovered by Sergio Mendes. Again sound quality could be better, if
you have a better rip drop me a line.
12. Banda de Jesus - Livin' Is Funky (1972)
from album 'Naked Lunch'
This band came out of 'Naked Lunch', who also contributed members to Malo. This is available as a bonus track on the 'Naked Lunch' CD from World In Sound records.
13. Yaqui - I Need A Woman (1973)
from album 'Yaqui'
East L.A. band on Hugh Hefner's Playboy label.
14. The Harvey Averne Barrio Band - Cucaraca Macara (1971)
from album 'The Harvey Averne Barrio Band'
Jewish-American New Yorker who was a name in the Latin scene. (link) Notice similarity
to Toro's Small Folk Reservation...
15. Chango - Woman In Black (1976)
from album 'Honey Is Sweeter Than Blood'
For their second and final album, Chango used less Salsa, and more ROCK!!
Thanks for listening! Rich
Share via:
↧
Stonehouse and Stonehouse Creek. Interview with singer Jim Smith, pt.1
"Stonehouse Creek" is one of the best albums I have come across while looking out for bands in all things TDATS. Recently tracking down an original copy has encouraged me in my attempts at finding out more about this excellent obscure band. To my huge delight I was able to contact Plymouth-born Stonehouse singer James (Jim) Smith, and conduct a telephone interview. This alo enabled me to get some great info on later bands of Jim's like Asgaerd (see Vol99).
A 1971 UK blues rock LP triumvirate of
Jodo, Universe & Stonehouse
Eerily reminiscent of Jodo, of whom I interviewed Rod Alexander almost exactly one year ago (link), Stonehouse also made a single, woefully under-publicised, album of brilliant British heavy blues and hard rock, in 1971. They both have ambiguous, monochrome cover art, they even share some lyrical themes. On top of these coincidences, they both have a track called "Nightmare". Fans of Leaf Hound will no doubt find some similarities in Stonehouse's earthy, honest sound, as well as those who know Universe's album, all of these LPs being from 1971, a great year indeed.
The album begins with a plaintive ode to the mysterious "Stonehouse Creek", lamenting the loss of a well-loved local beauty spot, and then kicks off proper with the good-time bluesrock vibes of "Hobo". This fully establishes the band's tight skills; Ian Snow's funky drumming, Peter Spearings's nimble blues licks, Terry Parker's adventurous bass lines and Jim Smith's versatile wide-range vocal abilities. The second track is a real highlight of the album, "Cheater", with Jim's impassioned and brooding performance matching Pete's doom-laden blues riff.
"Nightmare" opens with Terry's quirky, slightly proggy bassline, and this is the first track to include some light piano embellishment, the inclusion of which Jim will voice his minor grievances on later in the interview. Personally speaking, although piano can generally take the edge off hard rock, I like it on this album. It's well played, not over-powering, and it suits an LP which has a good-natured, fun vibe over-all.
Toward the end, "Don't Push Me" introduces some great Sabbathian, progressive riffing. "Topaz" is a compact, groovy instrumental, perfect for those that like Led Zep's "Moby Dick" but tend to reach for fast-forward at a certain point; this one is drum-solo free haha. Along with the earlier track "Ain't No Game", "Four Letter Word" delves into deeper lyrical subject matters, supporting tolerance and anti-war sentiments. The album reprises nicely with Stonehouse Creek pt2, coming back full circle to the homely pleasures of hanging about fishing on a lazy summer afternoon.
Interview with Jim Smith
Parade at British Seaman's Boys Home, Brixham
Acquired from bsbhbrixham.org
Me: Hi Jim! Please tell us about your childhood and how you got into music.
Jim: I was brought up in quite a large family, one of ten brothers and sisters. We lived in a very poor part of town. When I was seven, me and three brothers were out playing in the street and this car turned up. We were given all these really lovely clothes to put on, nicer than we'd seen before. We were whipped of to Brixham, in Paignton, Devon.
To my surprise we were taken to an orphanage and just left there. I found out six months or so later that my mum was really ill, dying of cancer. My father was in the Navy at the time, on HMS Ark Royal, so he wasn’t in a position to look after us all. The rest of my siblings were staying with grandparents and other family. It was a naval orphanage and they had bands, so at the age of twelve I joined a naval band, as a side drummer, also playing the bugle. [The British Seaman's Boys Home (link) was open for 125 years between 1863 and 1988]
Me: Drumming was your first love?
Jim: Yes, I seemed to have a natural aptitude and picked things up and played them quite easily in the boy’s marching band.
Jim Smith, 1971
Me: How did that develop into playing in rock bands?
Jim: At around fifteen I had the chance to leave the orphanage, and go and live with my sister in Plymouth. I joined a little youth club come boxing club, which used to put on dances. A couple of guys there asked me if I’d like to join in getting a band together. I managed to get a cheap drum-setup, first time having been on a full size drum kit. I started picking things up from there, playing along to things like The Shadows, and it developed from there.
Me: Was one of those people Pete Spearing?
Jim: No, I met him when I was seventeen or eighteen. I played in loads of different little bands, not yet being really good at my trade. I could play a basic 4/4 but that was about it. I was never trained in music, I didn’t learn to read music. My skills developed just by studying other musicians, I used to go home and work it out bit by bit in my own time. When I was about sixteen I was playing in a band at a show, in a cinema in Devonport, Plymouth. We were supporting The Who. When you see old pictures of The Who, Roger Daltrey’s wearing like a double-breasted jacket with stripes on it. That’s what he was wearing that night.
Pete Spearing, 1971
Me: Oh great, what was the name of that band you were in then?
Jim: I forget now, it might have been “The Crusaders”, something like that. By this time I was quite good on the drums, having been playing regularly in little social clubs and youth clubs. When I was about seventeen Pete Spearing [Stonehouse guitar/song-writer] approached me. By this time I had started to do some singing as well as the drums. He asked If i’d be interested in singing for a good three-piece band (drums, bass, guitar). Terry Parker [Stonehouse bass] was living in a place called Southway at the time. As you can hear on the album, he was a very accomplished bass player for a guy his age.
Me: So Stonehouse was initially Pete Spearing’s idea? Did you know Terry or Ian Snow [Stonehouse drums] before this point?
Jim: Stonehouse was Pete’s vision, it was all his material, he was such a prolific song-writer. I didn’t know Ian or Terry beforehand, no.
Van Dike club poster, 1970
Me: What were Stonehouse’s influences? Did you model yourselves on any bands?
Jim: We didn’t want to sound like anyone else and I think we managed to achieve that, with my vocal range and how I sounded, and the way we played, I think we were really original. Personally speaking, I idolised Free. I saw them half a dozen times when they came down to Plymouth, at a club called the Van Dike. They were going on stage with 200 watt Marshal PA systems, that’s how new they were to the game as well!
Me: Paul Rogers has one of the best voices of all time. On that record he did with Queen in recent times, his voice was as good as ever.
Jim: Yeah, that was incredible. That’s the good thing about carrying on doing what you do, you should never lose it. He still has such a good vocal range.
Me: Why did you choose the name Stonehouse? Having looked it up, I see there is a place with that name in Plymouth.
Jim: Pete Spearing was born around that area. There’s a place called Stonehouse Creek, they keep boats down there. There’s a ha'penny bridge, where in the old days, seventeenth and eighteenth century, people used to pay a ha'penny to get across. It’s quite a biggish bridge, it takes two lanes of traffic now. So Pete themed one of the songs on Stonehouse bridge, and creek.
Me: Sure, the intro and outro on the album, containing the lyric, “They’re filling in Stonehouse Creek”.
Jim: And they did fill it in! One side of it is now a car park for a university college.
Me: I guess that was quite an upsetting thing at the time, which is why Pete wrote about it?
Jim: Yes! It was well-loved, lots of people used to go fishing around there and just laze around the edges of the water, having picnics and things like that.
Me: When Stonehouse started playing live, do you remember playing with, or meeting, any other bands that we may have heard of?
Jim: Not really no, we did a lot of one-off club nights by ourselves. Speaking of Paul Rogers again, I did measure myself on him, not the way he sang, but the way he stood on stage, the way he used the mic stand, he used it like a crutch. I used to do that and throw it about, it was like a baton to me.
Me: Were you just playing near Plymouth? Did you travel further, to London for instance?
Jim: Yeah we went to London; I forget the names of places we played now, one may have been the The Speakeasy (link). We went down an absolute storm, did really well and got more gigs. Don’t ask me what managers approached us, as Pete dealt with all that. We had a small spot at Glastonbury one time, set up in a tent, and that went down really well too. At one time we were voted one of the top ten bands in England, alas I can’t remember where or what that was in.
Command Studio, London
Me: Do you remember much about how you got signed and how the album recording came about?
Jim: Pete arranged that after talking to a guy who worked for Decca at a show, who thought we had a really good sound and liked what we did. An album recording session was arranged, but they only gave us one day in the studio.
Me: The album cover says it was recorded at Command studios in London (link) [which hosted the likes of King Crimson, Slade, Deep Purple, Atomic Rooster, PFM and Roxy Music]. In a small piece I found on-line (link), that was apparently written by Pete Spearing in recent times, he said that it was recorded at Advision studios. What is correct here?
Jim: It was recorded at Command studios, in 1970. Not Advision.
Me: The engineer, Barry Ainsworth, worked with some excellent bands; ├┤awkVVind , Deep Purple - "Hush", The Strawbs, May Blitz and Sam Gopal to name a few. [There is a 1980s video interview with Barry, here] Producer Mickey Clarke worked on Raw Material's second LP, and showing the bizarrely incongruous nature of the industry at the time, Rolf Harris's "Two Little Boys". He also produced a band called Room, from Dorset, not too far from Plymouth (See Vol60). Their album, “Pre-Flight”, is another of my absolute favourites from the time, they did one album for Vertigo and broke up pretty much straight after as well. Do you know of them?
Jim: Oh really? I can’t say I know of Room, but yes it’s sad. We could have done more, If we’d had more time we could have laid more tracks down. The bass, drums and guitar tracks were laid down first, during which time I sang along in a booth, so I knew when the breaks were coming in, recording what would normally be a first-take of the vocal track. After doing that, Barry Ainsworth decided that all these first takes were good enough and we did not redo any of them.
Me: Do you think this was an attempt to save money on studio time?
Jim: Oh absolutely, we were only in the studio for one day. But a day is 24hrs, we were in there for just twelve hours. That was all the time they gave us, so we had to get it done. Even Pete’s guitar work, his lead work, he only did that once. Never went over it again like you’d normally do, you might want put harmony solos on it etc. We were really racing against the clock, what with the time it took to set everything up as well, there was no time at all for the band to have any extra input or say in the recording, no time to develop anything further in the studio.
Me: Who played the piano on tracks like "Hobo", "Nightmare", "Down Down" and "Stonehouse Creek"?
Jim: The piano was put in at a later date, without asking us, so I don’t even know who did it or who’s idea it was. It softened the band a little bit. I would have preferred it if they’d asked Pete to come back in to lay down some more rhythm tracks, and maybe some more harmony tracks.....but nothing.
Plymouth Amateur Rowing Club
Me: Given all these restrictions, it’s testament to all of your talents that the album sounds as good as it does. You must have been very well-practiced before going in.
Jim: Oh absolutely, we had a place on the embankment in Plymouth, it was in a boat club. They had the rowing boats downstairs in one big room and we had quite a large upstairs room. We rehearsed there four or five times a week, all our gear was left there. The band was really tight, what you hear on the album is what you would have heard if you’d seen us live, although live it would have all been a lot louder and a lot fuller. There were no mistakes at all, we just played straight through the songs.
We’d go to rehearsal and bang out all the songs you know, plus other material as well. We did a thing called the “War Suite”, written by Pete, something along the lines of “War Of The Worlds”, but this was about WWII. That was just a beautiful piece of music. If we’d got anywhere, he’d have become a really good song writer, an arranger of songs, it’s such a shame. Not that he isn’t a good song writer now, but if we’d got somewhere when we had the break back then, you know.
Me: The War Suite sounds like it must have been some kind of prog rock epic. If it was never recorded, that was a tragic loss. I imagine you would not have been able to fit it on the album.
Jim: Yeah absolutely, it was like something Meatloaf would do. We never recorded it, we used to play the whole thing through on stage, it was in seven or eight parts. There were so many ups and downs, peaks and troughs, loud and quiet bits, it was just absolutely lovely to play. Actually, a song that was on the album, “Ain’t No Game” [themed on the anti-war sentiment common at the time] could have been taken from the War Suite. I seem to remember that, but of course some things are hazy after all these years.
Pete Spearing in
more recent times
Me: Pete was the main ideas-guy in the band, but did Stonehouse have any kind of collaborative writing process?
Jim: Pete was the main guy, absolutely. We’d sit around discussing things and he’d accept and listen to any of our input, and we’d maybe add a bit here and a bit there, but basically, he was so good, it was like “if it’s not broken, why try and fix it?”, you know.
Me: How did he get that good, do you know? What was there in his past that might account for it?
Jim: I think intelligence. He’s a very intelligent man, he’s very knowledgeable. He’s read a lot, he’s word-perfect in everything he does and says and plays. He’s just good at it. Some people are good at writing, putting lyrics together, arranging songs, he has it all. He wrote all the lyrics as well.
Me: Do you have any favourite songs on the album?
Jim: I particularly like "Crazy White Folk" [Jim sings the chorus in perfect tune here] and "Ain’t No Game". I loved singing all of them, because my voice was so strong and I could reach all the notes. I still can actually, you wouldn’t believe it but my voice is still as high and as powerful as it ever was. Not bad for 68 is it, haha?
Ian Snow, 1971
Me: Could you give us a brief run-down of the gear you were using when you recorded the album?
Jim: Pete had his beloved Gibson, semi-acoustic it was. A couple of years ago he had it stolen, bless him. Terry Parker always used a Fender bass, and Snowy (Ian Snow) was on a Ludwig drum kit. The PA would have been whatever was hired in at the time.
Me: Did you contribute any drums on the album? I presume not, especially with the time constraints.
Jim: No I didn’t. At the time, I was the same type of drummer as Snowy, we were on a par for drums anyway. Though there was always a bit of camaraderie between us, Snowy was very good with a single bass drum and double bass, he could do the lot really.
Me: Do you remember anything about the album being released? Reading about it or hearing it?
Jim: Nothing, no. They didn’t even let us know when it was being released, to be honest. I think there was something in the Melody Maker at the time.
Terry Parker, 1971
Me: Do you know if any singles were released from it? Was anything played on the radio?
Jim: No, not from the Stonehouse album. At that time I don’t think radio played that sort of stuff, as far as I know, it’s not like now when you can hear everything you could want to hear, from any time.
Me: Is it the case, as for some other bands I have spoken to, that by the time the album was actually released, the band was already on the rocks?
Jim: Yes, that’s right. I’d like to say, we didn’t split with any bad feelings. After all these years, I can’t honestly remember why we split, we never had a huge falling out, nobody hated anyone, we all got along really well, which for a rock band is really unusual. I can speculate that the pressures for Pete were strongest, he was recently married, with a little girl, he would have had to spend a lot of time away from home, going to London etc. We did play a few gigs up north to promote the record, to audiences of about 200-300 people, which were well-received, as were all the shows we ever played.
Me: Was it 1971 when the band split?
Jim: I don’t remember exactly when, but it was 1971. As far as I know, we never got any money at all from our deal with Decca. They didn’t promote us at all either, we had to go out and find our own promoters, which didn’t happen, for reasons that I don’t quite remember.
Me: Do you have any amusing or shocking Stonehouse stories to share?
Jim: Not really, it was so long ago now. What I mainly remember is spending all our time rehearsing. We looked the part, we all had long hair, we had the right stuff on stage.....we did get chased off out of a farmhouse once, by a guy with a shotgun! We pulled up there late one night, we wanted some water for the big van we had, and he thought we was trying to rob the place, we banged on the door and the next minute this shotgun came peering through the window at us, we thought “shit!” and just ran for it, loudly expressing our apologies as we high-tailed it out of there.
We were a well behaved band, we weren’t smashing things up, we didn’t get into trouble with anybody. We just played our music. Being good musicians was all we ever wanted.
-------------------------------------
And I think anyone who hears the album will be in no doubt that they certainly achieved that! Soon after Stonehouse, Jim and Ian joined a new band based in London, called Asgaerd (see Vol99), with whom Pete was also briefly involved at one point. More on this, and another band further down in Stonehouse history called Canyon, in part 2 of the interview later. There is one issue to attempt to clear up, which is that although Jim referred to Decca, the pressing I am aware of was released on RCA. I hope to follow up on this soon, so this article may be updated if an explanation is possible. Thanks to Jim for making this interview possible, and thanks for reading! Follow Stonehouse at the official Facebook page.
© Richard Sheppard / www.aftersabbath.com / Stonehouse
Jim Smith drumming in Canyon, 2012.
Share with:
↧
The Day After The Sabbath 119: Panda comp and interview with Jaap van Eik
Download from [mf] or [mg]
Unzip password: tdats
Panda was yet another great short-lived Dutch band that made some singles but no album. Even though they existed for a very short time, some notable names passed through the ranks. These included Emile den Tex (Tortilla, Turquoise, Electric Tear, solo), now a famous producer, Herman van Boeyen (Livin' Blues, Supersister, Vitesse), Rob Kruisman (Island v1, Modesty Blaise, Bintangs, Brainbox, Ekseption), Ben de Bruin (Cobra, Bintangs, Turquoise, Rob Hoeke) and Rob ten Bokum (Bintangs, Vitesse). Another was bassist Jaap van Eik, who has kindly agreed to take part in an interview about himself and Panda.
Before going further, two invaluable sources that I must thank for making searches in all things nederbeat easier are Alex Gitlin's Nederpop Enyclopedia and Erik Hessel's nederbeat.info.
Panda Discography
No Coockies / Swingin' About
Philips 6075 130
Panda's first single, a-side No Coockies is a heavy flute-tinged progressive instrumental with great guitar and a poignant central motif. B-side Swingin' About starts with a lumbering, off-center groove which makes it sound mean and nasty, Rob Kruisman's added flute and sax combines to make this a unique track that's genuinely heavy and doesn't sound quite like anything else I can think of.
1971
Stranger / Medicine Man
Decca 6100013
Stranger begins deceptively, with a heavy Sabbathian tri-tone metal riff, but quickly morphs into a Slade-elic glam stomper with a sing-along chorus and more flashes of flute, great fun. B-side Medicine Man is built around a similarly heavy, lumpen riff to "Swingin' About", this time with no flute and forays into blues, it's another of their best heavy tracks.
1972
Living for Tomorrow / Blue Boy Blues
Philips 6012182
Living For Tomorrow shows another side of Panda. The lilting melody and affirming lyrics on casting away the past to look to the future makes for a perfect pop song, it would've been a hit for a famous band. B-side Blue Boy Blues returns to the bluesy glam of Stranger, with a hint of country rock. Jaap van Eik's imaginative bass-lines and Rob ten Bokum's catchy licks make for a final addictive track to end their career, albeit far too soon.
Jaap van Eik and Panda
Jaap was born in The Hague, in the western part of The Netherlands. At around the age of three his family moved to Venezuela, so along he went. When he was eleven he suffered appendicitis, for his own sake his parents decided to send him back to the old country to recover, and to get a better educational grounding. He started playing the guitar at fourteen, but switched to bass three years later; "because in those days there were always too many guitarists!". He would however return to the guitar in some bands later on, such as Trace. When asked about early inspirations, he had this to say; "As everybody in the sixties I was hugely influenced by The Ventures and The Shadows. Later it was The Beatles, The Rolling Stones, Jimi Hendrix, Cream, Deep Purple, Led Zeppelin, Stevie Wonder, Little Feat and Allman Brothers, to name a few. My personal favourite was Jack Bruce, would you believe it. Also guitar players like Jeff Beck and Eric Clapton."
While studying graphic design in Arnhem, Japp met pianist and fellow student, Herman Brood. Herman is a famous character in Dutch rock, who became an artist later on (wiki). Sadly he committed suicide in 2001, after years of health problems resulting from life-long heavy drug use. At this point Jaap had already played in a Shadows covers band, with Herman and some other local guys he formed a band and started hanging out in small clubs. They were The Moans, later just "Moan". Soon they were playing further afield; "We played in Amsterdam. Also we played in Germany quite often, where we met loads of English bands and musicians. They were like gods to us!".
From the late ‘60s into the ‘70s, Jaap became an in-demand bass player. In his own words, he had a "tendency to use the bass as a solo instrument", which goes some way in describing his personal style. He and spent time in many bands, including Cuby + Blizzards, Blues Dimension, The Motions and Solution. He also played on the Jan Akkermansolo LP, “Profile”. He regards the most defining moment in his career as his time with blues rockers Cuby + Blizzards. Herman Brood joined also, and this is where he and Herman first made names for themselves. Jaap remembers: “This was a whole new step up. They were quite famous then and played many gigs, made a few albums and toured a lot in Germany and other European countries. As a matter of fact we even went to England, where we met people like John Mayall (we did a tour with him and his band) and Alexis Korner.” Jaap left Cuby in 1969 and switched around various bands and styles in the ’70s. "Blues Dimension was brief, Solution was great, we toured the UK extensively in the seventies, and I was foolish enough to turn down an offer from Jan Akkerman to join Focus! Trace was the last band I played in. That was a nice period although things became rather complicated then.”
Interview with Jaap
Me: Hi Jaap! How and where did the members of Panda meet, was it in Alkmaar? Why was the name ‘Panda' chosen?
Jaap: No, it wasn’t in Alkmaar. I once saw a young drummer who impressed me. His name was Herman van Boeyen. So when we needed someone for Blues Dimension, I suggested him. We kept in touch after that and at one point we decided to start a new band together. I lived in a place called Zwolle, he was located in Amsterdam. The name Panda was chosen because Panda was a popular figure in a comic strip, about a small panda bear.
Me: Is this the correct line-up for all three singles?
Ben de Bruin (guitar)
Emile den Tex (vocals)
Herman van Boeyen (drums)
Jaap van Eik (bass)
Rob Kruisman (wind)
Jaap: No, Here's how it was. The original band was started by myself and drummer Herman van Boeyen. Only the first line-up was with Emile den Tex (vocals) and Ben de Bruin (guitar). Emile didn’t stay very long and was replaced by Rob Kruisman (Ekseption, Brainbox and Modesty Blaise etc.) for vocals, saxophone and flute. When Ben de Bruin left, we added Rob ten Bokum (Modesty Blaise) who played guitar and also flute.
So the final stable lineup was myself (bass), Herman van Boeyen (drums), Rob ten Bokum (guitar, flute) and Rob Kruisman on vocals, saxophone and flute.
(l-r) Rob Kruisman, Jaap van Eik, Rob ten Bokum, Herman van Boeijen
Me: Can you describe when and where you recorded the three 45s that Panda released? Do you have any favourite Panda songs? Can you remember anything about recording them?
Jaap: I’m not quite sure who plays on which track. No Cookies was definitely with Rob and Rob, the b-side and Medicine Man were with Emile, Stranger was with Rob Kruisman and Ben de Bruin, Blue Boy Blues again was with the two Robs. I’m not entirely sure, to be honest, so I’d have to listen to the recordings.
As far as I can remember the recordings are from different sessions. Most of them were done in the Phonogram Studio in Hilversum, No Cookies was definitely recorded in The Hague with Jaap Eggermont (ex-drummer of Golden Earring - producer of Cobra seen in Vol111) producing. The other songs were produced by Tony Vos (Cuby + Blizzards, Blues Dimension) or Hans van Hemert (Q65, Inca Bullet Joe). I particularly remember the sessions for No Cookies, which in my opinion is our best track. I was a fan of Chris Squire’s bass sound [Yes], although he played a Rickenbacker and I played a Precision Bass. So Jaap Eggermont suggested I use a small amplifier turned up all the way plus a direct line to the mixing board. The sound was great.
Me: What was the song-writing process of the band? And who was the creative leader of the band, if there was one?
Jaap: There wasn’t a real creative leader, which was one of the problems we had. Herman van Boeyen was a strong personality with many ideas, especially when it came down to riffs, I always fiddled with sliding sounds and melodies, but most of the actual writing came from Rob Kruisman and Rob ten Bokum. That is, in the line-up with them. Also there was a lot of improvisation.
Me: Panda's music is fantastic, all the members’ performances gel brilliantly. It’s generally got an anthemic sing-along melodic style, and heavy rockers like 'Swingin' About' and 'Medicine Man'. Can you explain your thoughts on the band’s versatility and what influenced the sound of Panda? To me, Panda has more of a 'hard rock' sound than bands you and the other members were in previously. Was this a sound that Panda was particularly aiming for?
Jaap: I’m rather surprised that you know the music at all, let alone that you like it so much. It was a great little band that never sounded the same on any gig. Also we were accomplished players, and as I said before, much inclined to improvise. Our sound was obviously influenced by bands that were popular at the time. Led Zeppelin for instance, but also an American band like Moby Grape. We wanted a lot of power, we were loud and aggressive and we played long solos!
Me: There is some great wind instrumentation like flute and clarinet (I think) on the songs 'Swingin' About', 'Living For Tomorrow' and 'No Coockies'. Can you remember who wrote and played these parts?
Jaap: It’s a flute. The parts were played by Rob Kruisman. I think the melody line in No Cookies was written by Rob ten Bokum.
Me: What equipment, bass and playing techniques did you use?
Jaap: I used a Fender Precision Bass with a 100 Watt Marshall Bass stack. I never played with a pick, but sometimes used a technique I learned in the classical guitar lessons I had when I was sixteen: instead of the fingertips of my right hand I would pluck the strings with my fingernails.
Me: Did Panda ever play live? Do you have any memories of such that you could share?
Jaap: Oh yeah, we did many gigs in The Netherlands, Germany and even France. I’d have to think about the memories, it’s a long time ago.
As a rule Dutch bands tend to play a lot in Germany as that country is literally next door. With Panda we mainly played in what is called the 'Ruhr Gebiet': the area between city's like Düsseldorf, Krefeld, Essen and Duisburg. At the time there were many clubs around. About France, I happen to remember we played once of twice in the northern part of the country and traveled to Germany from there. In all the years I've been playing I met quite a few English bands on the road - Pretty Things, Hollies, The (New) Searchers, Renaissance - and also guys from Holland. Golden Earring for instance.
We once performed a gig on a balcony of a beautiful villa in the city of Arnhem. It's located in a park called Sonsbeek. The particular occasion was a free festival with bands, but also other types or artists. I remember it was a lovely day then and a great surprise that I met my mother! She hated me 'wasting my time with bands', but was nevertheless there.
Sonsbeek Villa roof, free festival in Arnhem
Herman van Boeijen (drums) - Rob ten Bokum (guitar)
Jaap van Eik (bass) - Rob Kruisman (flute)
Me: Do you know if any Panda singles had success in the charts or TV shows?
Jaap: The only recording that was heavily played on the radio was No Cookies. It looked like it was going to be a hit, but unfortunately that never happened. But we did appear in TV-shows.
Me: Do you remember which TV shows you appeared on?
Jaap: In Holland we had something called the tip parade. So what happened is they selected a single and played it every hour. Usually that particular song became a hit and sold well. In our case that unfortunately did not happen. There were many pop shows on TV in those days, but I can't really remember the exact names. They were all play-back, so rather frustrating [meaning they were mimed to a backing-track]. Also we had a couple of pirate radio stations on ships, that were very popular: Radio Veronica and Radio Noordzee.
[I had not heard of the "tipparade" before, and found it hard to get a good definition, so I asked fellow tdats fb group admin (and Dutchman) Mark, and he explained: "The tipparade back then was a list of singles that had a big chance of entering the charts, the Veronica Top 40. It was broadcast on the famous Radio Veronica. I think the name is still used today though of course with downloading etc. it's very different from how it went back then. they changed it from 20 singles to 30 in 1970, so around the time Panda was active it was 30 singles. The list was printed and you could get it at your local record store. The number one on the Tipparade is called "Alarmschijf" This was the track that was played every hour on Radio Veronica."]
Me: How and why did the band end?
Jaap: I’m not sure! I think there was no progression anymore, it was hard to survive and also, Herman van Boeyen and I had an offer from Livin’ Blues, a highly popular Dutch band with a busy schedule. So we joined them for a while.
Me: Was Panda ever intended to be anything more than a singles band? Do you think you had the potential to last longer, be more successful and more well-known?
Jaap: You know, back then you mostly had to prove yourself. First you made a single. If that was a success, you made another one. If that one was also well received, the record company would start thinking of an album. Of course there were exceptions, but as a rule that was how things went. Had No Cookies been a hit, the band might have stayed together and who knows what would’ve happened then. We certainly had the potential.
Me: I've been told that it was particularly hard for rock bands to get backing from Dutch labels to record a whole album back then, and they were often encouraged to focus on writing radio-friendly pop singles, in search of a 'hit'. Because of this, many bands with great hard-rock potential like Panda made a string of singles which may have been more commercially-oriented than they would have liked, and unfortunately made no albums. What are your thoughts on the accuracy of this viewpoint? Did any of these issues affect Panda?
Jaap: I think I just answered this question. What you state is absolutely true. When you went to a record company with a string of songs, the usual reaction was: "quite nice, but I don’t hear a hit". Every Dutch musician from the period has learned to hate that attitude.
Pierre van der Linden, Jaap, Rick van der Linden
Trace c.1974
Me: Can you tell us briefly about your involvement with Trace? How did that happen, and what are your memories? Was Trace's 'symphonic prog' style something you preferred to Panda's hard rock? I'm guessing it was more challenging on a technical level.
Jaap: My involvement with Trace is quite a long story. I didn’t prefer the symphonic style to hard rock, although it was indeed rather challenging to play. Also I thought it was a great opportunity to form a trio with fantastic musicians like Rick van der Linden and Pierre van der Linden (not related by the way). In this case we had full support from the record company and could make an album right away. We had a great time, toured a lot (mainly in Germany, Scandinavia and the UK) and switched drummers just before recording the second album. Pierre went back to Focus, we replaced him with Ian Mosley [later of Marillion], who was a great drummer and also a great guy.
Me: What else have you done since Panda, in music or otherwise, and what are you doing now? Tell us about your decision to become a journalist, and appointment as editor of Music Maker.
Jaap: Briefly, since Panda I played in many bands: Livin’ Blues, Solution, Trace for instance. Around 1976 I got a strong feeling that I’d reached a dead end and could only repeat what I’d been doing before. Also, the economic circumstances were worrying me. In the Dutch music scene we have a saying: ‘what you primarily need to be a rock musician is a girlfriend with a good job’. I was fortunate enough to have that girl friend with a good job (she was a fashion model) and did enjoy some success, but nevertheless it was getting me nowhere. I’ve always been interested in writing and journalism, so when a publishing company offered me a job as an editor I gladly accepted - with the idea of playing in a band in my free-time. When I became editor of Music Maker Magazine, I didn’t have the time anymore and also discovered that as far as playing was concerned, it was all or nothing for me. So I had to decide between music and journalism. I never regretted choosing journalism. I had a great job until 2001, when I became a freelance-writer.
Jaap in recent times
Me: Do you have any final thoughts or stories that could give readers some more insight into the times and the band?
Jaap: It was a tight very little band, especially after changing the line-up with Rob Kruisman and Rob Ten Bokum. The latter was a good songwriter and guitarist, the former quite a showman and apart from being the singer, also a good saxophone and flute player. Our repertoire was a mix of original material and covers. I remember we included explosive versions or The Beatles' I Wanna Hold Your Hand' and a few Stones songs. We mainly played small clubs around The Netherlands, were usually quite well received, but for some reason never got very far. Being on stage was always great fun, as we didn't rehearse that much and mainly relied on our improvisational skills. This meant that songs could go on forever if we were on the right track.
We liked to party, which sometimes annoyed our drummer Herman van Boeyen, who at one time tried to enforce a no-alcohol rule during gigs - obviously the others didn't comply. Apart from being a good drummer Herman was a funny guy. He never liked being dependent on other people and one day decided he also wanted to be a singer. The problem was, his voice wasn't that strong. So we said to him: 'Herman, that won't work, your singing is just no good'. 'Oh, I can learn that', he insisted. 'No Herman, no way', we grinned. Then Rob Kruisman said jokingly: 'You know what you should do? Gargle with whiskey, that'll do the trick'. Five minutes later he was gargling whiskey! We laughed our heads off, but a couple of years later, in another band called Vitesse, Herman proved his point: he became the drumming singer and had a couple of hits!
There's a interview with Jaap that goes into much more detail about his life and career here at the DPRP (Dutch Progressive Rock Page) (link). A couple of years ago he wrote a book about Focus called "Focus: Wereldsucces, Ego's en Machtsstrijd".
-------------------------
Thanks very much to Jaap, and I hope you enjoy Panda's brief but brilliant set of tunes as much as I do. If you haven't already seen it, check out a similar interview I did with Rob Vunderink about his old band, Cobra. Till next time, Rich.
© Richard Sheppard / www.aftersabbath.com / Panda / Jaap van Eik
Share via:
↧
↧
Heat Exchange news, re-issue fund raiser
For those that remember the Heat Exchange volume of tdats with a few singles from a great Canadian band that somewhat unfairly never got to see their album released (if you don't, read it here: http://www.aftersabbath.com/2013/12/tdats-96-heat-exchange.html) there is now a fund raiser project to get the album remastered and issued in a high quality package. Band leader Craig Carmody has asked me to publicise it here and I'm very happy to do that. There are at least four further unheard tracks that will be revealed with the album, and according to Craig they are the longest, heaviest, least commercial ones. You can view the fund raiser project here:
Share via:
↧
Lucille DJ's second interview with Rich AfterSabbath
Download from: [mf] or [mg]
Password: tdats
Many thanks to Lucille DJ (fb) at www.controradio.it (web) for getting in touch again and asking to conduct a second interview, which was broadcast on the 7th of June 2015, on her weekly radio show 'Lucyfer', based in Florence Italy. We discuss volumes 117& 118, and the interview with Jim Smith of Stonehouse, while Lucille plays many tracks from artists such as Malo, Yaqui, Ultimate Spinach, Beacon Street Union, Quill and Stonehouse.
Lucille DJ aka Lucille Mancini
You can hear 'Lucyfer' by Lucille DJ every Sunday from 9pm to 10.30pm C.E.T. streaming at www.controradio.it, where it is also available as a podcast download.
Times
00:00 Lucille - welcome
00:45 Rich - Introduction to volume 118
02:38 Malo - Peace [ single version ] (1972)
06:13 Rich - Volume 118: Latino Rock
06:54 Yaqui - Mitote (1973)
10:30 Rich - Volume 117: Bosstown Sound
12:37 Beacon Street Union - Sadie Said No (1968)
14:20 Rich - Volume 117: Bosstown Sound contd.
16:31 Quill - Thumbnail Screwdriver (1970)
21:25 Rich - Volume 117: Bosstown Sound contd.
22:38 Ultimate Spinach - Mind Flowers (1968)
25:35 Rich - Jim Smith & Stonehouse
28:40 Stonehouse - Ain't No Game (1971)
32:30 Rich - Stonehouse contd.
34:48 Stonehouse - Cheater (1971)
38:45 Lucille - Thanks & Goodbye!
39:04 Stonehouse - Down Down (1971)
Share via:
↧
Universe interview with Steve Finn, Part 1
This is the first part of a special on the Cardiff band, Universe. I downloaded their album some time ago (see vol40) and was immediately impressed with it, which I have previously compared to the earthy, blue collar rock of other one-album British heavy bluesrock bands, Leaf Hound and Stonehouse (see Stonehouse interview). During the band's life they supported such TDATS heros as Pink Fairies, Raw Material, Patto, Man and Writing on the Wall. Their original album was first released privately in only 300 copies, in Norway in 1971, so it's one of those mythical rarities that you'll probably never find in a lifetime. Luckily the now-defunct Norwegian label Colours re-issued it in a nice package back in 1991, which has now become very collectible itself.
The story of how this transient Welsh band came to release their only album in Norway is an interesting one, about which I was unable uncover anything other than hearsay and scant online comments, until I recently got a copy of the 1991 Colours vinyl. I was extremely happy to see it includes a great little booklet with photos and an interview with Universe guitarist / singer / harmonica player Steve Finn. The original lineup of the band was Steve, Mike Lloyd Jones (lead guitar), John Healan (bass), Mike Blanche (organ) and Rob Reynolds (drums). Steve Keeley replaced Rob Reynolds in 1970. Steve Finn was later in Sassafras, and Steve Keeley had been in Kimla Taz, which ties in nicely with TDATS volume 54 (Wales) as both those bands appear on there.
What I have done here is transcribed the full Colours booklet, and scanned the photos. I think it's important that this information is up on the net for all to see. I have also recently contacted Steve Finn, and he has agreed to answer some new questions about Universe and his own career, bearing in mind that the following interview is now almost 25 years old. In part 2 I will show the results of that, along with some info on the second Universe release from Colours just before it dissolved in 1993, The Wheel. If anyone has specific questions they'd like me to ask Steve, send me an email.
First, some more about Colours
Colours was a record label based in Skien, Norway, which existed between 1989 and 1994 .The first release was the local band Utopian Fields with Bård Tufte Johansen on vocals. The releases were primarily prog rock, but the company also released records from folk rock band Shine Dion and the Deep Purple-inspired Disciples of Love, both being local bands.
Besides releasing new music from both Norway and Sweden, the label archived long-dead and forgotten bands like Universe. In these instances they went to special efforts to include posters, booklets and other historical tidbits. They were in very limited editions and today are coveted as collectibles.
The Colours booklet and interview, written by Jørn Andersen
Welcome on board, Ladies and Gentlemen, to the second journey of Colours Time Machine. My name is Jørn Andersen and I’m the Captain of this journey. This time we will take you back to the very early, and oh so legendary seventies. Right back to the time when the Universe was founded.
When I finally in 1990, after years and years in search of the Universe, could lay my greedy hands on a rather scratched copy of Universe's sole album, I was no less than happy. Come days later when I was down to earth again my mind was set up. If any privately released obscure album from those days deserved a legal reissue, this was it. The preparation for the journey started with getting in contact with Nils J. Øybakken who was the man behind Experience Records Ltd. (wiki).
In March 1971 he stumbled over Universe, one of the many times their van broke down during their freezy virgin-tour of the north of Norway. The year before he had set up his own studio in the basement of his father’s shop, and the now extremely rare and legendary first single with Prudence (see Norwegian volume 81) had just been released on his newly founded label: Experience. So what could suit better than a hungry English band to fill up the studio.
The original idea was to cut a single but the session was obviously inspiring because a full album was in the can before the tapes stopped.
“A Woman’s Shape” / “Rolling”
The single “A woman’s shape” backed with “Rolling” was issued with a picture sleeve (EXP 3002) in a total edition of less than 1000 copies. The A-side did not make it to the LP, nor the reissue, but will be included on a possible CD release on Colours later. The album, simply called “UNIVERSE”, was released in a total amount of 300 copies. The extremely few copies pressed, together with the fact that it was only on sale in the middle and north part of Norway, makes this one of the absolute rarest albums with any English group from the progressive area.
Colours are proud to present this album for the listeners all over the world, as it is now released for the first time outside of Norway.
To get some facts about the history of Universe I could not trust papers, magazines or books, as little or nothing is written or is saved in the archives. So after some expensive phone calls to England, with no result, I was quite relieved when a polite voice answered: “Steve Finn talking”. Even more relieved was I when he was positive to our idea of reissuing their album. He was willing to supply all information so I sent over a kind of an interview. He and the other members who are still alive came together and kindly took their time to help us to give Universe, from Cardiff in Wales, a place in the rock history which they highly deserve. So this is the story of Universe in their own words:
Q: When was Universe founded and who was in the band at various times?
A: We formed in 1968 as a blues band called “SPOONFULL”. The line-up was: Mike Lloyd Jones (lead guitar), John Healan (bass), Mike Blanche (organ), Steve Finn (vocals and harmonica) and Rob Reynolds (drums). This original line-up changed its name in 1970 to Universe and began writing and performing original songs as a change of direction from American blues music. Our musical influences at that time were Yes, Jethro Tull, Family, Eyes of Blue and Man (these last two being Welsh bands). A change of drummer occurred in December 1970, when Steve Keeley replaced Rob Reynolds.
Q: Apart from playing in Norway, did you play any other countries in Europe?
A: We played lots of tours in Europe. We played Copenhagen in Denmark and in Germany we played Kiel, Munich and Hamburg (at the Top Ten Club where the Beatles started out). We also did a tour of Denmark with Johnny Winter and Iron Butterfly.
Q: It seems like Universe is rather unknown in England. Is it because you never played there or what?
A: One reason might be that we spent most of our time gigging abroad. In UK we played at the Marquee and other London clubs and did many collage gigs supporting Yes, Fleetwood Mac, Rory Gallagher, Jethro Tull, Chicken Shack, Man, Black Sabbath and many other early 70s bands.
Q: About the tour in Norway, it seems like a lot of things went wrong. On the 16th March the newspaper “Adresseavisa” in Trondheim had an article about this English “pop group” who got only 5 kroner (about 50 pence) to live for a day and had to sleep at the railway station where their baggage was stolen. They wrote that the trouble started when you didn’t get the final message about the tour dates due to a post strike in England. You left for Norway anyhow, meanwhile the agent had found another English band in Demark, called Strange Fox, engaging them for your gigs under your name. But they regretted and the agent had to fabricate a story about a car accident as the reason for the delay. They also wrote that when you arrived it was only to experience that no working permission was arranged for you in Norway, and the police got involved. Finally they let you go further on after you had promised to report yourselves to the police at every new place you arrived! Seems like quite a tour! Did you play in the south as well, and did you play with any Norwegian bands?
A: We started the tour of Norway in Feb/March of 1971, but only played gigs in the northern part of the country as half way through the tour our agent Ragnar Hagen left us in Mo-I-Rana with no money, no food and no gigs. He returned to Oslo, and we have never seen or heard from him since. Then we met some very kind people who helped us to stay alive at that time by giving us food and somewhere to sleep. We will always be grateful to them even though we can no longer remember who they were.
We once spent 10 days at a club in Mo called Bleak House living and sleeping in the dressing room, but eventually got to Mosjøen and met Nils. The track on the LP was our way of saying thank you to Anton Solberg and his Bleak House, it was the only way we could (listen to the lyrics).
Nils and his parents were very good to us and gave us food. We stayed at a youth hostel and did some recordings with Nils for a single, which grew into an LP. I cannot remember meeting any Norwegian bands or musicians but 20 years is a fair time to go back. We eventually got enough money to get to Oslo, then Copenhagen where we played for 2 weeks at the Revolution Club and then returned to Hamburg for a month before getting home to Wales. It was an amazing time when we had a lot of fun and some hard times, and met some wonderful people.
Q: Nils told me some good stories about the session. When you were loading the equipment down to his studios the organ player tried to get his heavy L-100 Hammond organ down the stairs. Suddenly he cried “Look out!” and down the stairs went the organ. The steps were not good looking afterwards! You were also changing the speakers from the song-speaker to the guitar-speaker and back again all the time. You did also lose some equipment, didn’t you?
A: Mike Blanche remembers the van breaking down and us not having enough money to pay the garage. They took an amplifier and a speaker cabinet as payment and the police let us leave. Also recall breaking down late at night on a lonely road and Ragnar Hagen saying we only had 20 minutes to live as it was -20C! Then a lorry came down the road and gave us a lift to the nearest town. An old couple had a hotel that was closed for the winter and they gave us beds and food for free. Another time we slept the night in the waiting room of a railway station and when we woke in the morning the place was full of people waiting for the trains and none of them could sit down because we were sleeping straight out on all the seats.
When we returned to the UK, Nils sent us copies of the single and the LP, but no covers, and we always hoped to go back and meet everyone again, but never did.
Q: Did you do any other recordings as Universe ?
A: We recorded some stuff at Rockfield studios in Monmouth, which was used at the time by Dave Edmunds (who is from Cardiff). An acetate was pressed up with “Shadow of the sun” and “Waiting for summer” on it. We hoped to bring the Norwegian LP out in the UK, Track and Island were interested but wanted it re-recorded. Charisma too liked our songs.
Also possibly available may be some other recordings in 71/72 when we changed our style to be a bit more rock, and the songs were shorter and more commercial. Record companies in the UK always want hit singles.
Q: If those tapes can be unearthed and all parts can agree there is a possibility for a second Universe LP on Colours later on. But when did Universe split?
A: The group finally split in 72 when it was becoming difficult to carry on from a financial point – we were not making enough money to continue.
Q: What have the members been up to musically after the split?
A: Mike Lloyd Jones played with Shakin' Stevens from 74 to 78 and made several LP’s. Since then he has played with local bands in Cardiff and has songwriting connections with publishers in London. He is currently setting up a music production company in Cardiff.
Mike Blanche (known in Universe as Sponge) has produced recording sessions for the Cadillacs (former members of Racing Cars and Lone Star) resulting in 2 singles, also the Boys and Cartoon (Welsh band who toured Scandinavia in the late 80’s).
John Healan moved to Cornwall in South West of England in the mid 70’s and now plays Country & Western music. We are still great friends and see each other 2 to 3 times a year.
Steve Keeley did not play music after Universe. He got married and had some kids and sadly died of leukemia (blood cancer) in 1981, aged 31. It was very sad to lose a great friend.
Steve Finn continued song writing and solo performing in folk clubs and wine bars. Wrote songs for the first Sassafras LP “Expecting company” on Poloydor (2383 245). Was asked to join the band as bass player in UJune 74 – not my favourite instrument to play. Wrote most of the songs for the “Wheeling & dealing” LP on Chrysalis (CHR 1076), released April 75. Did UK tours with Black Oak Arkansas and Stackridge, tour of Holland with Ace and played France, Belgium and Yugoslavia. Month-long US tour supporting Ten Years After and Peter Frampton. The band was also featured on Chrysalis LP “End of the Rainbow” where they had two live tracks. Left at the end of 75 as I hated playing bass guitar. The band made a third LP “Riding high” before being dropped by Chrysalis (CHR 1100). I then made one LP with Southern Comfort (Country & Western, not to be confused with the ex-MSC band) in 76/77. I am still a solo performer and have released two cassettes of my own songs for sale at gigs. In Nov 89 supported Ralph McTell on UK tour and have a song-writing contract with Acuff-Rose Music Publishers in London and Nashville USA. I currently have songs with Joe Cocker, Kenny Rogers, Hank Williams Jr. and Bellamy Brothers.
----------------------------------------
The Universe LP was also released by Swedish label Flawed Gems last year (2014) on CD, with a few extras that were not on the 1991 Colours vinyl, being the single "A Woman's Shape" recorded during the album session mentioned in the above interview, and the 1970 acetate, also mentioned. There's a short write-up on the back of the CD which gives nothing more away, and also omits to mention that the band was British, from Wales: "The music here is great guitar-driven hard-ish rock with some blues and progressive elements - similar to early Wishbone Ash, Thin Lizzy, Man and Hackensack". This is the description of Flawed Gems over at Discogs (link): "Deemed a bootleg / unofficial label by many, even though many of their releases have an address and barcode (but lack proper matrix or IFPI code). Most seem to be taken from vinyl. Flawed Gems releases should be marked Unofficial on Discogs". Last year saw another release of the album on a mysterious label called Nemo (NEM 1002) (link).
Thanks for reading and watch out for further questions to be answered by Steve. As I said before, if you have any specific questions please let me know by email, Rich.
Credits in the booklet
All songs EVER OPEN EYE MUSIC (except Cocaine)
All arrangements UNIVERSE
Produced by NILS J. ØYBAKKEN
Cover: BRAVE BIANCO – S.G.B. – TELSTAR
Recorded in a small Lydstudio in Mosjøen 1971.
Originally released in 1971 by EXPERIENCE RECORDS (EXPLP 2001)
Musical archaeologist: JØRN ANDERSEN
Captain of the Time Machine, 2nd journey: JØRN ANDERSEN
Reproduction of the cover: JOAN MENDEZ
Drawing of the Time Machine logo: ROALD FORSETH
Re-released by courtesy of EXPERIENCE / UNIVERSE
Thanks to Steve Finn, Nils J. Øybakken, Morten Jensen.
This release is a limited edition of 1000 copies on LP.
Ⓟ 1971 EXPERIENCE / 1991 COLOURS A/S
Ⓒ 1991 EVER OPEN EYE MUSIC / COLURS MUSIC PRODUCTIONS
COSLP 005
Share via:
↧
The Day After The Sabbath 120: Wolf of Iron Jaw [Serbia 1]
Download from [mf] or [mg]
Password: tdats
Since volumes 41 (general) and 101 (Poland) it's high time TDATS returned to eastern europe, so here we concentrate on heavy stuff that originated in the Serbian part of the former Yougoslavia. Unlike some might suspect, the Tito dictatorship did not interfere with the influence of incoming western pop music, or people's general enjoyment of popular music. Rock music flourished in Yugoslavia from the '50s onward and as you will hear in this comp, a lot of great talent emerged. The first Serbian '60s bands during the age of beat and rhythm & blues included Siluete, Elipse and Džentlmeni, all mentioned here as certain members were in some of the heavier bands coming up.
I must thank tdats fan Adam Burke, front man of Pushy and Fellwoods, and brilliant artist, for drawing a cover especially for this volume. It is inspired by the Psoglav, a werewolf-like demonic creature in Serbian mythology which bares iron teeth. Another thanks goes to the blog Jugo Rock Forever, one of the best sources of Yugoslavian rock.
TRACKS
01. S Vremena Na Vreme - Tema Za Šargiju [edit] (1975)
from album 'S Vremena Na Vreme'
02. YU Grupa - Drveni Most (1974)
single
03. Grupa CD - Vjeruj U Ljubav (1973)
single
04. Džentlmeni - Veseli Svet (1968)
from compilation 'Retrologija'
05. Zlatko Manojlović - Ko Te Sada Ljubi (1975)
single
06. Smak - Živim... Biska 13 (1974)
single
07. Tako - Druga Strana Mene [edit] (1978)
from album 'Tako'
08. Grupa SOS - Tražim (1974)
single
09. Korni Grupa - Neko Spava Pored Mene (1970)
single
10. Miodrag Bata Kostić - Tvoj Put (1975)
from album 'Kongres Rock Majstora'
11. Pop Show Grupa - Okrutna Žena (1974)
single
12. Pop Mašina - Vreme Za Nas (1975)
from album 'Na Izvoru Svetlosti'
13. Igra Staklenih Perli - Majestetski Kraj (1979)
from album 'Igra Staklenih Perli'
14. Riblja Čorba - Hej, Ćale (1979)
from album 'Kost U Grlu'
15. Dah - Majka Jugovića (1974)
from album 'Veliki Cirkus'
16. Opus - Sam (1974)
single
17. S Vremena Na Vreme - Tema Za Šargiju [reprise] (1975)
from album 'S Vremena Na Vreme'
Up until the early '70s, Serbia's only rock releases were on 7 inch singles and EPs. The first full-length rock album was Korni Grupa's debut LP in the comparatively late year of 1972, they were also the first Serbian band to play hard, progressive rock, which is shown in this comp with one of the oldest tracks here, a 1970 single of theirs.
The three other bands that heralded the beginning of Serbian hard rock were Yu Grupa, Pop Mašina (Pop Machine) and Smak (Endtime). From 1973 onward they started releasing excellent albums, displaying impressive technical skill, but also plenty of soul and passion. Smak stood slightly apart in their inclusion of jazz-influenced prog sounds, but they were also satisfyingly heavy. All three took clear influence from the pioneers like Cream, Led Zep and Black Sabbath, but also had their own Balkan flavour, giving them a refreshing slant that holds them up on their own merits. Indeed, of all the smaller regions I have studied so far for TDATS, with a consequently small number of bands, I can safely say that Serbia is right up there at the top regarding the consistent quality of what music there was. Discovering these bands has been an especially enjoyable experience which, by all accounts, will be repeated when I turn to neighbouring countries like Croatia, Bosnia-Herzegovina and Slovenia for later episodes. I can't wait!
Boom festival 1972
The main music festival of Yugoslavia in the '70s was Boom Pop, which ran from 1972 to 1978. It was initially held in Tivoli Hall, Ljubljana, Slovenia. During it's seven years it moved to Croatia and ended at Novi Sad in Serbia. Of the bands included in this volume, those that appeared at Boom were; Pop Mašina (in 1973), Dah (1973), YU Grupa (1973,74 & 76), S Vremena Na Vreme (1974), Smak (1975 & 77), Tako (1977 & 78) and Riblja Čorba (1978). For almost every year, a live double-LP was released featuring performances from the fest. The 1974 edition included three songs by "Pop Selekcija Boom '74", a super group that got on stage just for that year's fest. This group included Dado Topić on vocals/bass, of Korni Grupa. The final year of Boom festival was just when punk was breaking, and so had a decidedly different flavour to those before. As you can see in this magazine article (link) the long hair and bell bottoms was giving way to the safety pins and short hair of young bands like Prljavo kazalište and Paraf.
RTB logo
There were only four record labels responsible for putting out the sixteen records appearing in this comp. The winner, with seven of them, is "Produkcija Gramofonskih Ploča Radio Televizije Beograd", or RTB for short. RTB's beginnings occurred when the state-owned Radio Belgrade bought two record presses in 1951, with the original intention of archiving pre-existing recordings. In 1952 it pressed fifteen 78rpm singles of new music under the label "Jugodisk". It became Radio-Television Belgrade in 1959 with the advent of television, and went on to become the second-largest record label in Yugoslavia. After the Yugoslavian breakup in 1993 it became Radio Television of Serbia (RTS). RTB was responsible for the first hard progressive rock records from Serbia, with Korni Grupa's early singles and debut album.
Jogoton logo c.1974
The Croatian Jugoton label is the runner up here with five of our records. This was Yugoslavia's largest label. It came into existence when the Ljubljana-based Elektroton label moved to Zagreb and became "Jugoton" in 1947, after nationalisation. By the mid-'60s it was producing 30.000 records a day. Bosnia's Indexi were one of Yugoslavia's first bands to start getting fuzzy on their Jugoton singles like Šabn-Dabn-Šabn-Du-Bajo in 1969 (youtube). The first Yugoslavian heavy progressive LP on Jugtron was the debut of the Croatian band Time in 1972 (youtube). The other two labels were RTV Slovenija, the national label of Slovenia, and Diskos, an independent Serbian label started in 1962, on Which Croatia's Had was one of the earliest progressive bands (youtube).
With the exception of Smak, every one of the bands in this volume originated in the capital of Serbia, Belgrade (natively called Beograd), although many individual members were from other countries situated in the former Yugoslavia.
The Bands
S Vremena Na Vreme opens this set with an instrumental blending folk and fuzz. I took it from their 1975 debut LP and you'll notice I also reprised it for the outro track. They were one of the pioneers of the Serbian acoustic rock scene, and one of the pioneers in incorporating folk music elements into rock music of Yugoslavia, along with Suncokret, also from Serbia. They were good friends of another band appearing here, Pop Mašina, and they would organise free shows together and play on each other's albums. S Vremena Na Vreme had two albums and many singles in the '70s.
The fuzz gives way to YU Grupa's solid riffing, and this band had a lot of great riffs over five '70s LPs and many singles, being one of the most important, long-lasting and rewarding Serb bands to dig into. They were formed in 1970 by brothers Dragi (vocals, guitar) and Žika Jelić (bass guitar), both former members of beat band Džentlmeni. They have continued to make albums and play live into the 2010s, the last live show having been in 2012 which was unfortunately cut short when Žika Jelić had an electric shock, but he's fine and the band have announced a new album this year.
Coming up next is a very obscure act called Grupa CD, so far I have only been able to listen to a couple of sides from the eight or so singles they made between 72 and 74, one of which is a light pop affair. But all is not lost, the other one is a hammond organ-powered monster as you can hear. They appear to have had an experienced lineup, with Aleksandar Cvetković and Jovan Miščević of '60s beat band Siluete, and Slobodan Todorović of Siluete and Džentlmeni. I'd love to hear some more of the singles if anyone out there can point me in the right direction!
Džentlmeni (The Gentleman) is a name that crops up in relation to members of no less than eight of the acts on this comp so I figured they deserve a spot too, even though they are from a different age in musical terms. They were a Belgrade beat band that started in 1966. I am using the first song of theirs that was ever released, "Veseli Svet", recorded at Subotica Youth Festival in 1968 and released on a 7" together with other bands from that festival. To give you some idea how important they were, there were at least nine players that passed through Džentlmeni that played in other bands mentioned in this volume, and other great bands that I plan to use later! They include Slobodan Todorović (Grupa CD), Velibor Bogdanović (Dah, Land, YU Grupa), Zlatko Manojlović (Dah, Fleš, Gordi, Land, Zlatko & His Band), Zoran Božinović (Pop Mašina, Rok Mašina), Žika Jelić (YU Grupa), Dragan Jelić (YU Grupa), Dušan Petrović (Pop Mašina), Robert Nemeček (Pop Mašina, Rok Mašina) and Branko Marušić (Dah). Phew! And there's probably some that I missed...
For the fifth track we have another alumni of Džentlmeni, guitarist Zlatko Manojlović. He was involved in other bands including VIS Fles, and Dah, which appears on here later. The track I have used is from the first of his two '70s solo singles, and in the '80s he started making solo albums. In 1975 he guested on Opus's album, who also appear here, and in 1977 he started a prog band called Gordi. I have checked them out and found the two LPs they made in the '70s to be not so great, but by all accounts Gordi is better remembered for being one of the first Serbian heavy metal bands, which they stylistically morphed into for their final albums in 81 and 82.
Smak in front of the Ružica Church in Belgrade.
l-r Laza Ristovski, Slobodan Stojanović "Kepa", Radomir
Mihajlović, Zoran Milanović, and Boris Aranđelović.
A third of the way through now and we come to another of the most renowned Serbian bands, Smak. They originated in the fourth largest city of Serbia, Kragujevac, so are the only band on this comp not from Belgrade. What immediately hit me about their first single, 1974's "Živim ... Biska 13", is the heaviness and progressive metal-like technicality, which is largely a product of their fantastic guitarist Radomir Mihajlović Točak. He is one of the former Yugoslavia's most celebrated rock musicians and his varied skills have lead to Smak being described as everything from blues to jazz rock to hard rock and symphonic rock.
We move on to a purely symphonic prog band called Tako, a rarity for the Serbian region at the time. Again they were very accomplished technically, and turned up the riffs a few times, like in the first part of the epic 16 minute "Druga Strana Men" on their self-titled first album. They appeared once before in TDATS on the flute volume 78. Founding member Sava Bojić (guitar, vocals) had been in an early lineup of Pop Mašina. Bassist Dušan Ćućuz was a member of the omni-present Džentlmeni, and he was part of the original Opus.
When I first encountered Grupa SOS I was knocked out by the riffs and tone that are very reminiscent of Black Sabbath. Unfortunately they only made a few singles in their six year life-span, and acted as Srđan Marjanović's backing band. Their legacy continued when in 1978 they evolved into one of Serbia's best-loved hard rock bands, Riblja Čorba, coming up soon. They were founded in '72 by Miroslav Aleksić (bass, vocals), Dragan Štulović (guitar - later in Tunel) and Stevan Stevanović (drums). By '78 only Miroslav remained, with newer members Rajko Kojić (guitar) and drummer Vicko Milatović, all of whom then became Riblja Čorba with the inclusion of former Suncokret & Rani Mraz member Bora Đorđević (vocals, acoustic guitar and songwriter).
Korni Grupa 1972 LP,
Kornelije Kovač standing furthest-back
At the half way mark now and an important band called Korni Grupa. I have taken a track from a 1970 single, which surely must be one of the heaviest things from Serbia at that early stage. As said before, Korni Groupa very obviously progressed from their original sound and made Serbia's first ever full length progressive rock album in 1972, mixing too many styles to conveniently categorise the band. There are elements of jazz, traditional folk, psych, blues, funk, hard rock and symphonic rock on there, with top notch performances all-round. The band is named after it's founder, Serbian-born Kornelije Kovač, who got his first rock exposure in Bosnia's biggest pop group, Indexi.
Korni Groupa at Eurovision
Before that point, he had already become an accomplished composer, pianist, keyboard player, producer and arranger at a startlingly young age. In 1974 Korni Grupa entered the Eurovision Song Contest which was held in Brighton, UK. They came seventh, and I think I can safely assume I won't be saying anything like that about any other bands on TDATS for a while... Kornelije moved to England in 1979 and continued with varied work in music. Whitesnake's Bernie Marsden played on his K2 LP project called "Why?" in 1980 (link).
Kongres Rock Majstora concert poster
Next up is a track from a one-off collaborative album called Kongres Rock Majstora (Congress of Rock Masters). The idea of this seems to have been to take four well-known Yugoslavian guitarists and give them one side each of a double LP. Supporting them was a host of players from their bands and many others. The four main guys were: Miodrag Bata Kostić - Serbian guitarist of Yu Grupa and Opus, Josip Boček - Croatian guitarist of Korni Grupa, Vedran Božić - Croatian guitarist of Time, and Goran Bregović. Goran was the Bosnian guitarist of Bijelo Dugme, he is now internationally famous as a composer / score writer. He entered the world of film music in 1989, and became known for his scores for Emir Kusturica's films; Time of the Gypsies, Arizona Dream and Underground. Yu Grupa's drummer Ratislav-Raša Đelmaš, and bassist Živorad-Žika Jelić (also of Džentlmeni) were in the the support bands. Also bassist Bojan Hreljac and drummer Vladimir Furduj of Korni Grupa. I have used a track from Miodrag Bata Kostić's set, his four songs on side D were all top quality rockers as you can hear!
Goran Bregović - Josip Boček
With the kind help of TDATS fb group member Чика Киде, who has made some translations for us, I have found out some more facts about the record. This is what he was able to translate from some press regarding the 2009 Croatia Records reissue of Kongres Rock Majstora: "Kongres Rock Majstora” had the goal to promote the guitar masters of the era. The promotion itself included concerts and media coverage, in which the music magazine “JukeBox” was the main outlet. The reason for the appearance of those particular four players, and not other guitar masters like Radomir Mihailović-Točak from Smak, is probably because they played in bands connected to the Jugoton label. Jugoton was the largest Yugoslavian record label and owner of a widespread network of record shops, succeeded by Croatia Records in 1990.
Vedran Božić - Miodrag Bata Kostić
Goran Bregović, as the leader of Bijelo Dugme, let Željko Bebek to do the vocals, and for the song “Ima neka tajna veza” he had the support of Zagreb’s String Quartet. The album featured the instrumental song “Minijatura za moju majku”, as well as two older Bijelo Dugme songs - “I kad prodje sve pjevat ću i tad”, and “Znam za jedno tiho mjesto”. When the double LP was released, critics were not very complementary. There wasn't any significant commercial success or media coverage of the release, and shortly after the entire venture was side-lined. Vinyl collectors across the world have shown a strong interest for this album which commands 100-200 Euros today."
On to track eleven and a band that didn't record much but seem to have been around for about five years, Pop Show Grupa. The track here is a heavy, punky fuzz monster! They made two singles like this, plus the mystery single "Malaika / Sisi Tunakupenda" which appeared five years later in 1979, and seems to have a collaboration with a Belgrade-based Kenyan musician called Steven Hannington. I have not heard this third one so can only guess what it sounds like, though Discogs categorises it under "Folk, World, & Country, Funk / Soul, Pop".
The band was Miodrag Dobrić (bass), Dragan Milić (guitar) and Vladan Dokić (drums). Vladan was in Opus and later-on Rok Mašina, which was an '80s development of Pop Mašina. Both bands coming up here soon...
I consider there to be a 'big three' of heavy Serbain bands from the former half of the '70s, YU Grupa and Smak have already appeared so now it's time for the last of that trio, Pop Mašina (Pop Machine). They were formed in Belgrade in 1972 by Robert Nemeček (bass, vocals - formerly of Dogovor Iz 1804 and Džentlmeni. The other formative members on their two studio albums were Mihajlo Popović (drums) and Zoran Božinović (guitar - formerly in Džentlmeni).
Na Izvoru Svetlosti LP 1975
Their 1973 debut LP "Kiselina" (Acid), had contributions from members of S Vremena Na Vreme, Grupa SOS and acoustic band Dag. Although excelling in their heavy rock tracks like "Svemirska Prièa," the band played an equal amount of acoustic pop and folk-infused songs in a similar approach to Led Zep's album 'III'. The second and final studio album "Na Izvoru Svetlosti" (At the Spring of Light) followed suit, having a little more emphasis on the hard rock, with a great opener which is the track I have used in this comp, "Vreme za Nas". Track 2 gives you a good idea of their stage show with a live-recorded blues workout. Over-all this album is more consistent and you can hear the improved arrangements and more confident playing.
Rok Mašina, 1981
In 1976 Robert Nemeček left the band due to army obligations; up until 2011 Serbia demanded mandatory military service of 6 months for men. Other personnel changes happened and the last recording from the band was a great single in 1977. By this time they had expanded to a four-piece with two guitarists and it's a shame they did not go through with a proposed third album as the progression is evident in "Moja Pesma" (youtube). New additions were Dušan Petrović (bass - Džentlmeni), Dušan Đukić (drums - also in Dah) and Vidoje Božinović (guitar - Dah, Opus, Riblja Čorba), with Zoran Božinović remaining from before on guitar & vocals. In 1981 Robert Nemeček returned on bass and the band was reborn with a harder sound as Rok Mašina. Vladan Dokić of Pop Show Grupa entered on drums. Zoran Božinović and Vidoja Božinović remained on guitars from the previous Pop Mašina lineup.
Igra Staklenih Perli
Coming up now is a bit of a diversion, with one of the latest-recorded tracks in the comp we encounter some space rock. In searches through the Serbian '70s this is the only example of such I have come across, but as I am coming to expect from this country it is brilliant. Igra Staklenih Perli ("The Glass Bead Game" - a futuristic existential book by Herman Hesse) made a debut album in 1979 and a second, final one in 1980. This track is taken from the first, and it's an ethereal, immersive experience you can get lost in, brilliantly layering electronics and repetitive riffs in the best traditions of Hawkwind and the krautrock masters. Over that is some beautiful guitar work with a hint of Balkan folk. Bassist Draško Nikodijević and guitarist Vojkan Rakić later formed the post-punk/neo-psych White Rabbit Band and in the late 1980s moved to the USA where they continued under the name White Rabbit Cult.
Riblja Čorba 1978
On the home straight now we come to the beginnings of Serbian heavy metal and Riblja Čorba. As mentioned before, by 1978 the members of Grupa SOS; bass player Miroslav Aleksić, Rajko Kojić (guitar), drummer Vicko Milatović and Bora Đorđević (ex-Suncokret & Rani Mraz, vocals, acoustic guitar and songwriter) became Riblja Čorba (Fish Stew). I have used a track from their 1979 debut album "Kost u Grlu", which is equal parts punk and heavy metal. The band went on to acclaim and is one of Yugoslavia!s most successful bands. They have released albums as recently as 2012's "Uzbuna".
Dah 1974, Zlatko Manojlović on right
Guitarist Zlatko Manojlović returns with a band called Dah (breath) that he co-founded in 1972. By the time of their first album in 1974, Branko Gluščević was on bass, Velibor Boka Bogdanović was on drums and Zlatko was leading on guitar. Veliki Cirkus (The Big Circus) was an ambitious excursion and another of Serbia's earliest progressive rock LPs.
Dah - Veliki Cirkus LP 1974
It incorporates '60s style psych with blues, country and hard rock in a quirky and original brew, supported by Zlatko's always-brilliant guitar work. In 1975 the band moved to Belgium, where they performed under the name Land, reportedly going in a more symph/jazz direction and making an album under that name called "Cool Breeze", although I have found very little info on that record and not heard it yet. During this time they had radio success with a single called "Šošana" and played on stage with Focus. After returning to Serbia they made one more album, called "Povratak" before Zlatko had to take a break to perform military service. The band did not last much longer and after completing his service Zlatko started a new band called Gordi which switched to heavy metal in the '80s.
Opus "Veče / Sam" single 1974
We reach the end of another TDATS with a band called Opus, that have been mentioned a couple of times already. This is a great song to end on, a single that is more punchy than their LP which came out a year later. Opus started in 1973 and the original line-up included the founder and organist Miodrag Okrugić, guitar player Miodrag Kostić and bassist Dušan Ćućuz (ex-Džentlmeni), but soon they split. They were named after Okrugić's composition "Opus No. 1" which he scored during his tenure with the band Yu Grupa.
"Opus 1" LP 1975
Okrugić re-formed Opus in 1975 with bassist Slobodan Orlić, drummer Ljubomir Jerković and singer Dušan Prelević (ex Korni grupa) and soon they recorded their debut "Opus 1", done in the symphonic rock styl
|
||||||
1053
|
dbpedia
|
3
| 0
|
https://en.wikipedia.org/wiki/Laza_Ristovski
|
en
|
Laza Ristovski
|
[
"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/en/thumb/d/d2/Laza_ristovski.gif/220px-Laza_ristovski.gif",
"https://upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.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"
] |
2007-10-02T04:04:47+00:00
|
en
|
/static/apple-touch/wikipedia.png
|
https://en.wikipedia.org/wiki/Laza_Ristovski
|
Not to be confused with Lazar Ristovski, Serbian actor
Musical artist
Lazar "Laza" Ristovski (Serbian Cyrillic: Лаза Ристовски, pronounced [lǎːza ristǒʋskiː]; 23 January 1956 – 6 October 2007) was a Serbian and former Yugoslav keyboardist, known for being a member of rock bands Smak and Bijelo Dugme, as well as for his eclectic solo work that spanned many different musical genres.
Biography
[edit]
Early life
[edit]
Lazar Ristovski was born in Novi Pazar, as his father, a Yugoslav People's Army officer, was stationed there at the time. When Ristovski was two years old, the family moved to Kraljevo, which is where he grew up.[1]
Early career (1970-74)
[edit]
Ristovski formed his first band, Bezimeni (The Nameless), when he was fourteen. The band made only one recording, the song "Maštarenje", which was released on various artists album Veče uz radio (Evening by the Radio) in 1975.[1] In the summer of 1974, Bezimeni performed in Bečići, where a well-known clarinetist Boki Milošević heard their performance. After Milošević's invitation, Ristovski moved to Belgrade and became a member of Milošević's orchestra.[1]
Smak (1975-76)
[edit]
During the autumn of 1974, Ristovski started performing with Kragujevac-based progressive rock band Smak, but became their official member as of January 1975.[1] With Smak he recorded their debut self-titled album (1975), the EP Satelit (Satellite, 1976), Radomir Mihajlović's first solo album, R. M. Točak (1976), and several singles.[1]
Bijelo Dugme, Laza i Ipe (1976-78)
[edit]
In October 1976, Ristovski was persuaded by Goran Bregović to join Sarajevo-based hard rock band Bijelo Dugme as the band was getting ready to start recording their third studio album Eto! Baš hoću! (There! I Will!).[2] Ristovski was a replacement for their regular keyboardist Vlado Pravdić, who had to serve the mandatory army stint.[2] With Bijelo Dugme he recorded the album Eto! Baš hoću! (1976) and the live album Koncert kod Hajdučke česme (1977).[1]
As Bregović left for his own army stint in November 1977, thus putting the band on hiatus, Ristovski and Ivandić decided to start working on a side project.[3] Naming their act Laza & Ipe, they recorded the symphonic rock-oriented album entitled Stižemo (Here We Come) in London during February and March 1978. 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.[3] The album was well received by the critics, and Ristovski and Ivandić decided to leave Bijelo Dugme.[3]
On 10 September, the same day for which the beginning of the promotional tour was scheduled, Ivandić, Kovačević and Boban were arrested for owning hashish, which ended Laza & Ipe activity.[4] At the beginning of 1978, Ristovski worked with the band Vatra, but eventually returned to Smak in late 1978.[1]
Back to Smak, the beginning of solo career (1978-81)
[edit]
In 1980, Ristovski recorded the album Rok cirkus (Rock Circus) with Smak.[1] During the same year, Ristovski released his debut solo release, a 7-inch single with the songs "Tražiš oproštaj" ("You Seek Forgiveness") and "Andželika" ("Angelica"), both composed by Tugomir Vidanović.[1] Members of Mama Co Co and Vatra were involved in the single recording.[1]
In 1981, he recorded another album with Smak, Zašto ne volim sneg (Why I Don't Like the Snow), however, the band disbanded shortly after the album release.[1] After Smak disbanded, Ristovski took part in the recording of Smak former vocalist Boris Aranđelović's solo album Iz profila (1982).[1]
Solo career (1982-85)
[edit]
Ristovski's debut solo album Merge was released in 1982, and became the best-selling instrumental music album in Yugoslavia 1983.[1] Until his return to Bijelo Dugme in 1985, he released three more solo albums: 2/3 (1983), Roses for a General (1984) and Vojnički dani (Army Days, 1984).[1] The latter featured instrumental versions of Yugoslav revolutionary songs.[1]
Back to Bijelo Dugme (1985-89)
[edit]
He returned to Bijelo Dugme in 1985.[5] From 1985 to 1989, both Ristovski and Vlado Pravdić were the members of the band, Ristovski usually playing various keyboards and synthesizers, while Vlado Pravdić played the organ.
Ristovski stayed in Bijelo Dugme until the band broke up in 1989, releasing the studio albums Pljuni i zapjevaj moja Jugoslavijo (Spit and Sing, My Yugoslavia, 1986) and Ćiribiribela (1988) and the live album Mramor, kamen i željezo (Marble, Stone and Iron, 1987) with the band.[6] During this period, he also recorded the album Opera (1986) with percussionist Nenad Jelić.[1]
Osvajači, Smak reunion (1990-92)
[edit]
In 1990, Ristovski became a joined member of the heavy metal band Osvajači, playing keyboards on and producing their debut album Krv i led (Blood and Ice, 1990).[7]
In 1992, Ristovski took part in Smak reunion, performing with them on one Kragujevac and three Belgrade concerts, the first Belgrade concert resulting in a live album OdLIVEno (LIVEquefied, 1992).[8] After the Belgrade concerts, the band, despite the plans for recording a studio album, disbanded.[8]
Solo career, Bijelo Dugme reunion (1993-2007)
[edit]
In 1993, Ristovski released his first solo album since 1986, Quit.[1] In 1994, he recorded well-received album Naos (Nave) with Bajaga i Instruktori keyboardist Saša Lokner.[1] Some of the songs on Naos were inspired by Orthodox spiritual music.[1] In 2003, he released the album Gondola,[9] and in 2006, the album Laza Ristovski Plays Simon & Garfunkel, featuring instrumental versions of Simon & Garfunkel songs.[10]
Despite using a wheelchair due to multiple sclerosis, Ristovski took part in three Bijelo Dugme reunion shows (in Sarajevo, Zagreb, and Belgrade) during June 2005.[11] The shows resulted in a live album Turneja 2005 - Sarajevo, Zagreb, Beograd (Tour 2005 - Sarajevo, Zagreb, Belgrade, 2005).[6]
Death and legacies
[edit]
Ristovski died in Belgrade on 6 October 2007 following a long battle with multiple sclerosis.[12]
After his death, a posthumous album Drvo života (Tree of Life) was released in 2008.[13] The album, on which Ristovski worked before his death, featured guest appearances by Dragi Jelić, Tijana Dapčević, Nikola Čuturilo, members of Del Arno Band, Igor Lazić, Dado Topić, Saša Ranđelović, and others.[14] In 2008, PGP-RTS released two compilation albums, one featuring Merge and 2/3, and the other featuring Vojnički dani and Roses for a General in their entirety.[15]
In March 2016, a documentary about Ristovski was announced. The documentary will be directed by Ivan Grlić.[16] On November 9, 2016, in Belgrade's Sava Centar a concert entitled Iza horizonta was held, honoring Ristovski. The concert featured performances by Ristovski's former bandmates, collaborators and friends: Radomir Mihajlović "Točak" and Slobodan Stojanović "Kepa" (of Smak), Alen Islamović, Goran Bregović, Kiki Lesendrić & Piloti, Zana, Saša Lokner, Vasil Hadžimanov, Bilja Kristić & Bistrik, Neverne Bebe, Ognjen Radivojević, Kornelije Kovač, Nikola Čuturilo, Pera Joe, Bata Kostić, Dragan "Krle" Jovanović (of Generacija 5) and others. The concert also featured appearance by the actor Lazar Ristovski.[17]
Collaborations
[edit]
Ristovski played on more than thousand albums of rock, jazz and folk music.[1] He played keyboards on albums by Slađana Milošević, Zana, Oliver Mandić, Raša Đelmaš, Dušan Prelević, Vatreni Poljubac, Rajko Kojić, Bilja Krstić, Željko Bebek, Milić Vukašinović, Leb i Sol, Aska, Seid Memić, Aerodrom, Boris Novković, Viktorija, Jura Stublić & Film, Nikola Čuturilo, Piloti, Bebi Dol, Galija, Balkan, Vlado Janevski among others.[18]
During his career Ristovski worked with international stars like Falco and Richard Palmer-James.[1] At the beginning of the 1980s, Ristovski was a member of Alvin Lee Band and played on their Yugoslav and Hungarian tour. Ristovski also worked with RTB Jazz Orchestra.[1]
Film music
[edit]
Ristovski wrote music for the films Lazar (1984), Zaboravljeni (1988), Hajde da se volimo 2 (1989), Violinski ključ (1990), Pokojnik (1990), A Holy Place (1990), Hajde da se volimo 3 (1990), Velika frka (1992), Mrav pešadinac (1993), Napadač (1993), Osmeh Margaret Jursenar (1993), Obračun u kazino kabareu (1993), Pretty Village, Pretty Flame (1996), and Impure Blood (1997). The music from Impure Blood was released on the album Muzika iz filma Nečista krv (1997). He was one of Goran Bregović's closest associates on Bregović's early movie soundtrack projects.[1]
Accolades
[edit]
Ristovski was voted the best Yugoslav keyboardist for eleven years in a row by Yugoslav music magazines. On the 1984 film festival in Sopot Ristovski was awarded for the Lazar movie soundtrack.[1] He also won the Golden Medal on the 36th and the 39th animated movie festival in Belgrade.[1] In 1986, he was awarded with Estradna nagrada Srbije.[1]
Discography
[edit]
With Smak
[edit]
Studio albums
[edit]
1975 - Smak
1980 - Rock cirkus
1981 - Zašto ne volim sneg
Extended plays
[edit]
1976 - Satelit
Live albums
[edit]
1992 - "odLIVEno"
Compilation albums
[edit]
1977 - Ulazak u Harem / Plava pesma
1992 - Smak: Retrospektiva
1995 - The Best of Smak
1996 - Star? Mlad. Večan?
2001 - Istorija
2008 - The Best of Smak
Singles
[edit]
1975 - "Ulazak u harem" / "Sto ptica"
1975 - "Ulazak u harem" / "Epitaf"
1976 - "Ljudi nije fer" / "El dumo"
1979 - Smak Super 45
1980 - "Rock cirkus" / "Hirošima"
with Bijelo Dugme
[edit]
Studio albums
[edit]
1976 - Eto! Baš hoću!
1986 - Pljuni i zapjevaj moja Jugoslavijo
1988 - Ćiribiribela
Live albums
[edit]
1978 - Koncert kod Hajdučke česme
1988 - Mramor, kamen i željezo
2005 - Turneja 2005 - Sarajevo, Zagreb, Beograd
Solo
[edit]
Studio albums
[edit]
1978 - Stižemo (with Ipe Ivandić)
1982 - Merge
1983 - 2/3
1984 - Vojnički dani
1984 - Roses for a General
1985 - Opera (with Nenad Jelić)
1993 - Quit
1994 - Naos (with Saša Lokner)
1997 - Muzika iz filma Nečista krv
2003 - Gondola
2006 - Laza Ristovski Plays Simon & Garfunkel
Posthumous studio albums
[edit]
2008 - Drvo života
Compilation albums
[edit]
1997 - Svetlost u A-duru (Antologija)
2000 - The Best Of Instrumental Works
2000 - Platinum
2008 - Merge + 2/3
2008 - Vojnički Dani + Roses For A General
Singles
[edit]
1980 - "Tražiš oproštaj" / "Andželika"
References
[edit]
|
||||||
1053
|
dbpedia
|
3
| 75
|
https://www.cnj.it/home/it/informazione/jugoinfo/7525-7562-march-to-drina-2.html
|
en
|
7562 March to Drina
|
[
"https://www.cnj.it/home/images/logo.gif",
"https://www.cnj.it/home/media/mod_languages/images/yu.gif",
"https://www.cnj.it/home/media/mod_languages/images/it.gif",
"https://www.cnj.it/home/media/mod_languages/images/en_gb.gif"
] |
[] |
[] |
[
""
] | null |
[] |
2013-01-26T12:00:00+00:00
|
Jugocoord ETS
|
it
|
/home/templates/cnj/favicon.ico
| null |
The Honorable Ban Ki-Moon
Secretary General
760 United Nations Plaza
United Nations
New York, NY 10017
REF: The Drina March apology
Your Excellency,
The first Allied victory of the World War I, The Battle of Cer [Mountain], opened the door towards the end of The Great War and creation of The League of Nations, predecessor of The UN.
That is exactly what The Drina March represents, fighting for freedom regardless of the odds. Individuals who objected to The Drina March belong to a group that fought against the Allies in both World Wars.
UN apology for The Drina March being performed in The UN is an affront to millions of Allies who gave their lives in WWI for freedom.
Serbs as people never demographically recovered from the loss of 56% of male population in WWI, leading to the additional loss of up to one million in WWII. By UN Genocide Convention, it is Genocide by attrition. That is what the complaint about The Drina March was all about - the fear that the truth will come out.
Media battle cry "Serben Muss Sterben" (The Serbs must die) in 1914 announced this genocide and such racist cries continue to the present day. UN apology is creating a new wave of anti-Serb media reports bordering on racism.
Living behind barbed wire is already reality for the Serbs in UN-governed Kosovo. After this apology, what Serbs can expect next from The UN, a new text of The Universal Declaration of Human Rights that adds "except Serbs" to all articles?
Your Excellency, UN apology to anti-Serb racists who prefer to goose step to the tune of Die Fahne Hoch was misguided, factually inaccurate and morally wrong.
You owe an apology. To the Serbs and all Allied nations.
|
|||||
1053
|
dbpedia
|
0
| 20
|
https://www.academia.edu/10598322/The_Z_files_1987_2010_Liber_amicorum_Valentino_filio_Blasii
|
en
|
The Z files, 1987–2010: Liber amicorum Valentino filio Blasii
|
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/single_work_splash/adobe.icon.svg",
"https://0.academia-photos.com/attachment_thumbnails/36552141/mini_magick20180818-9793-1t29bkw.png?1534577021",
"https://0.academia-photos.com/118115/3242061/20134979/s65_zdravko.blazekovic.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 |
[
"Zdravko Blazekovic",
"gc-cuny.academia.edu"
] |
2015-02-07T00:00:00
|
The Z files, 1987–2010: Liber amicorum Valentino filio Blasii
|
https://www.academia.edu/10598322/The_Z_files_1987_2010_Liber_amicorum_Valentino_filio_Blasii
|
In his 1882 unpublished essay <Die Eigenthümlichkeiten der magyarischen Volksmusik>, Franjo Ksaver Kuhač (1834–1911) used and explained the term <musicology>. Since the <Vierteljahrsschrift für Musikwissenschaft>, with Adler's definition of the term, had appeared three years later, in 1885, he assumed--and he died with this conviction--that he was the first to have coined the term. It is to Kuhač’s credit that he defined musicology with thinking independently about the discipline of music scholarship at the same time that Spitta, Chrysander, and Adler were considering the scope of the discipline. Comparative musicology was, for Kuhač, a discipline which had the task of investigating the dominant stylistic characteristics of the music of any given nation. Kuhač saw the point of the discipline to be that of establishing the laws of any national music, which could then be used as the basis for a national style in art music. His far-reaching goal was to create an awareness of Croatian national music and to establish its place in the context of Central European culture. From this starting point, he developed a program for a survey of the national music of South Slavs based on his systematization of comparative musicology (<Versuch einer Musikgeschichte der Südslaven>, 1875). On a large scale, the elements of the discipline as he saw it, comprise the collecting of traditional songs and dances; the analysis of their melodies, rhythms, and forms; their philological analysis (since--as he pointed out--the language and music of every nation constitute an organic union); and, finally, their comparison with musical traditions of the neighboring regions. The auxiliary sciences for this analysis are organology, paleography, histories of literature and liturgy, acoustics, historiography (including biographies of composers, musicians, and music scholars, and histories of music associations, institutes, and performing arts organizations), and oral history concerning music. In musicological literature, Kuhač is most famous for his collection <Južno-slovjenske narodne popievke> (South-Slav folk songs, 1878–81), but in an effort to produce a universal survey of music culture among the South Slavs his interests were unlimited, embracing ancient music notation, organology, music histories of Central European nations, music terminology, linguistics, and acoustics.
In 19th-century biographical writing subjectivity was supposed to be eliminated since the narrative was not seen as an interpretation but rather as reconstruction of the subject’s life. In such circumstances images of objects associated with the composer and environment that surrounded him could be seen ambiguous and interpreted in many different ways. Influenced by the study of physiognomy, portrait was perceived as a verifiable appearance of the sitter and as such the central visual supplement to biographical narrative, in some cases used even as a replacement for it. The method of using musician’s portraits for creating historical canon is demonstrated on the example of the first pictorial history of music, Gustav Kanth’s <Bilder-Atlas zur Musikgeschichte von Bach bis Strauss> (Berlin, 1912). Influenced by the Romantic idea about the composer/genius considered to be the creator independent from outside influences, on some 250 pages Kanth reproduced about one thousand illustrations, largely portraits of composers and their handwriting. Here, portrait is the composer, facsimile of his handwriting is his musical work, the two together constituting the fundamental elements of visual narrative presenting history without interpretation. The opposite approach was implemented in Otto Erich Deutch's <Franz Schubert: Sein Leben in Bildern> (München/Leipzig, 1913), which is the first attempt to fully present biography of a composer with images. O.E.D. contextualized Schubert the best he could, showing besides his portraits all he was able to find that had been related to Schubert and could document his biography.
With the advancement of printing techniques toward the end of the 19th century, illustrations in books became more affordable and reproduced in a better quality. This evolution led in the early 20th century to the publication of surveys of music history in pictures, among which a special place have the two general histories of music: Gustav Kanth’s <Bilder-Atlas zur Musikgeschichte von Bach bis Strauss> (Berlin, 1911) and Georg Kinsky’s <Geschichte der Musik in Bildern> (Leipzig, 1929). A study of their discourses on one hand documents the initial attempts to use visual material in presentation of music history, and on the other eloquently demonstrates how German musicology constructed the historical canon which had a critical influence at the time. Kanth’s <Bilder-Atlas> assumed that <Musikgeschichte> is exclusively a German matter and he placed all other European composers under the heading "Das Ausland". Kinsky did include pictures of non-Western musical instruments, but eight plates (out of 352) represent only a passing remark within his discourse. Kinsky viewed German music as the central point of his narrative, and a variety of foreign musicians are all presented under the heading "Deutschland". In his visual museum Kanth made an extensive use of portraits of composers and facsimiles of their handwriting, leaving all other visual sources to the minimum. Such an approach was not satisfactory to Kinsky and he expended the presented material to images of instruments, theater sets, music notations, and various forms of music making. Such different approaches demonstrate how at the time of the Great European War occurred a certain turn in understanding of pictorial sources documenting music history. Kanth might have been still influenced by theories about the relationship between physical appearance of the person and his/her spiritual qualities, and in his narrative was focusing on appearances of composers. His approach was still looking backward to the 18th-c. tradition of collecting portraits (C.P.E. Bach, Padre Martini, E.L. Gerber) and the view that portraits are the main visual aid for understanding traits of music history. Kinsky on the other hand (similarly like Otto Erich Deutsch in his Schubert iconography, 1913) was on the forefront of introducing a much broader concept in which all visual sources are equally relevant.
A bibliography listing, in chronological order by date of first appearance, all music periodicals issued in Croatia, plus one Croatian-language periodical published outside Croatia. Provided for each periodical are: (1) the title(s) in the original language and in English translation; (2) the number in Imogen Fellinger's <Verzeichnis der Musikzeitschriften des 19. Jahrhunderts>, or the International Standard Serial Number; (3) information about the time-span of the periodical's publication and the number of volumes issued; (4) the frequency and total number of issues published; (5) the publisher; (6) the editor(s); (7) an indication of whether the periodical included musical supplements; (8) the shelf number in the Nacionalna i Sveučilišna Knijžnica (NSK) in Zagreb and the Narodna in Univerzitetna Knijžnica (NUK) in Ljubljana; (9) the editorial address for current issues; (10) the language of the text, if not Croatian; and (11) a commentary on the contents.
This collective monograph, titled Kosta P. Manojlović and the Idea of Slavic and Balkan Cultural Unificaton (1918–1941), is the result of research by fourteen scholars from Russia, Bulgaria, Croatia, Portugal, Great Britain, Bosnia and Herzegovina, and Serbia, which were partly presented at an international conference organized by the Muzikološki institut SANU [Institute of Musicology SASA] in November 2016. Kosta P. Manojlović (1890–1946) is one of the most important Serbian musicians and musical intellectuals of the interwar period. His musical activities were diverse and fuitful. As a composer, he was a proponent of the “national style”, which was primarily reflected in choral music. In this domain he left pieces of lasting value, such as Sever duva [The North Wind blows] for the mixed choir. His melographic and ethnomusicological work dedicated to Serbian musical folklore is of great significance. He was a pioneer of Serbian musical historiography and a proliferous critic who collaborated with numerous journals and dailies from Yugoslavia and abroad.
|
|||||
1053
|
dbpedia
|
2
| 39
|
https://whatsthejam.com/celebrity/actress-32-defends-relationship-with-oap-partner-39-years-her-senior/
|
en
|
Actress, 32, defends relationship with OAP partner 39 years her senior
|
[
"https://whatsthejam.com/wp-content/uploads/2023/06/log-sm.png",
"https://whatsthejam.com/wp-content/uploads/2023/06/log-white-sm.png",
"https://whatsthejam.com/wp-content/uploads/2023/06/log-sm.png",
"https://whatsthejam.com/wp-content/uploads/2023/06/log-white-sm.png",
"https://whatsthejam.com/wp-content/uploads/2024/08/Actress-32-defends-relationship-with-OAP-partner-39-years-her-senior-4.jpg",
"https://secure.gravatar.com/avatar/a5abec85525917b4b006213130be20d1?s=120&d=mm&r=g",
"https://whatsthejam.com/wp-content/uploads/2024/08/Actress-32-defends-relationship-with-OAP-partner-39-years-her-senior-3-1024x640.jpg",
"https://whatsthejam.com/wp-content/uploads/2024/08/Actress-32-defends-relationship-with-OAP-partner-39-years-her-senior-2-819x1024.jpg",
"https://whatsthejam.com/wp-content/uploads/2024/08/Actress-32-defends-relationship-with-OAP-partner-39-years-her-senior-691x1024.jpg",
"https://whatsthejam.com/wp-content/uploads/2024/08/Couch-potato-150x150.jpg",
"https://whatsthejam.com/wp-content/uploads/2024/08/Ratatouille-inspired-chef-who-is-friends-with-rats-takes-the-pet-rodents-out-for-walks-5-150x150.jpg",
"https://whatsthejam.com/wp-content/uploads/2023/05/Banner_512x454px_Rolex.jpg",
"https://whatsthejam.com/wp-content/uploads/2023/05/Banner_512x454px_Rolex.jpg",
"https://whatsthejam.com/wp-content/uploads/2024/08/Inside-abandoned-horror-museum-where-people-feel-like-theyre-‘being-watched-9-150x150.jpg",
"https://whatsthejam.com/wp-content/uploads/2024/08/Couple-reunited-with-lost-dog-after-help-from-S-Club-star-Jo-OMeara-7-150x150.jpg",
"https://whatsthejam.com/wp-content/uploads/2024/08/Rare-first-edition-Fantastic-Four-comic-set-to-fetch-1.5M-at-auction-7-150x150.webp",
"https://whatsthejam.com/wp-content/uploads/2024/08/Stay-at-the-iconic-Casbah-Coffee-Club-where-The-Beatles-started-8-150x150.jpg",
"https://whatsthejam.com/wp-content/uploads/2024/08/Inside-abandoned-horror-museum-where-people-feel-like-theyre-‘being-watched-9-330x220.jpg",
"https://whatsthejam.com/wp-content/uploads/2024/08/Couple-reunited-with-lost-dog-after-help-from-S-Club-star-Jo-OMeara-7-330x220.jpg",
"https://whatsthejam.com/wp-content/uploads/2024/08/Rare-first-edition-Fantastic-Four-comic-set-to-fetch-1.5M-at-auction-7-330x220.webp",
"https://whatsthejam.com/wp-content/uploads/2024/08/Stay-at-the-iconic-Casbah-Coffee-Club-where-The-Beatles-started-8-330x220.jpg",
"https://whatsthejam.com/wp-content/uploads/2024/08/Im-20-years-old-but-already-have-over-50-tattoos-–-my-parents-dont-approve-and-strangers-stare-but-I-dont-care-7-330x220.jpg",
"https://whatsthejam.com/wp-content/uploads/2024/08/Brit-explores-huge-abandoned-jail-and-compares-inside-to-The-Walking-Dead-330x220.jpg",
"https://whatsthejam.com/wp-content/uploads/2024/08/Im-a-real-life-ELF-and-have-spent-61000-on-my-body-transformation-including-eye-colour-change-and-skin-whitening-6-330x220.jpg",
"https://whatsthejam.com/wp-content/uploads/2024/08/Love-Island-USA-star-reveals-how-she-used-NETFLIX-to-communicate-with-family-while-inside-villa-4-330x220.jpg",
"https://whatsthejam.com/wp-content/uploads/2023/06/log-sm.png",
"https://whatsthejam.com/wp-content/uploads/2023/06/log-white-sm.png",
"https://whatsthejam.com/wp-content/uploads/2023/05/newsletter.webp",
"https://whatsthejam.com/wp-content/uploads/2023/05/login.webp"
] |
[] |
[] |
[
""
] | null |
[
"Lee Bullen"
] |
2024-08-07T16:49:35+01:00
|
32-year-old actress Anica Lazić defends relationship with 71-year-old actor Lazar Ristovski amidst backlash. Together for two years, Lazić praises their love and bond.
|
en
|
What's The Jam - Latest Viral News and Updates
|
https://whatsthejam.com/celebrity/actress-32-defends-relationship-with-oap-partner-39-years-her-senior/
|
A 32-year-old actress has defended her relationship with her OAP partner who is 39 years her senior.
Anica Lazić came under fire after sharing photos of her sunning herself on holiday with lover Lazar Ristovski, 71.
Ristovski is a famous actor and director in their homeland Serbia.
READ MORE: Dara Ó Briain sneaks off to Disneyland whilst at Paris Olympics
He has starred in nearly 100 films, including a small part in the James Bond thriller ‘Casino Royale’ in 2006.
The couple has been together for two years.
However, their age gap has raised eyebrows in Serbia ever since their romance became public.
After sharing holiday snaps on her socials, one fan spat: “It’s not real love”.
Her followers promptly came to her defence and Lazić posted their responses on Instagram Stories.
One fan replied: “As someone who is married to a man 42 years older than me, I completely understand you and send my support in every sense, love is love.”
Lazić responded: “This message especially blew me away.”
Another follower said: “True love radiates, those of us who have it know the truth. Those who do not, unfortunately, do not understand. You are an inspiration.”
The actress replied: “This is one of the most beautiful messages I’ve received today.”
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, Lazić shared a photo of her walking out of the sea hand-in-hand with her fella in the Maldives.
She called it one of her favourite images of them together, as reported by What’s the Jam.
She wrote: “When he leads, I don’t ask where.”
READ MORE: Which stars from Too Hot To Handle season six have gone under the knife? Expert surgeon reveals possible cosmetic tweaks – from dermal fillers to FaceTite
|
|||||
1053
|
dbpedia
|
3
| 22
|
https://kad-bi-bijo-bijelo-dugme-bl-blog.tumblr.com/
|
en
|
Bijelo Dugme
|
https://64.media.tumblr.com/avatar_18cffaeefeea_128.pnj
|
https://64.media.tumblr.com/avatar_18cffaeefeea_128.pnj
|
[
"https://64.media.tumblr.com/avatar_18cffaeefeea_128.pnj",
"http://upload.wikimedia.org/wikipedia/en/thumb/a/ad/Dugme_1974.jpg/200px-Dugme_1974.jpg",
"http://upload.wikimedia.org/wikipedia/en/thumb/5/53/Bijelo_Dugme_09.jpg/220px-Bijelo_Dugme_09.jpg",
"http://bits.wikimedia.org/skins-1.18/common/images/magnify-clip.png",
"http://upload.wikimedia.org/wikipedia/en/thumb/f/f9/Kad_bi_bio_bijelo_dugme_%28front%29.jpg/220px-Kad_bi_bio_bijelo_dugme_%28front%29.jpg",
"http://bits.wikimedia.org/skins-1.18/common/images/magnify-clip.png",
"http://upload.wikimedia.org/wikipedia/en/thumb/3/39/Bijelo_Dugme_08.jpg/220px-Bijelo_Dugme_08.jpg",
"http://bits.wikimedia.org/skins-1.18/common/images/magnify-clip.png",
"http://upload.wikimedia.org/wikipedia/en/thumb/1/16/Bijelo_dugme_Album.jpg/220px-Bijelo_dugme_Album.jpg",
"http://bits.wikimedia.org/skins-1.18/common/images/magnify-clip.png",
"http://upload.wikimedia.org/wikipedia/en/thumb/8/81/Poslednja_postava_Bijelog_Dugmeta.jpg/300px-Poslednja_postava_Bijelog_Dugmeta.jpg",
"http://bits.wikimedia.org/skins-1.18/common/images/magnify-clip.png",
"http://upload.wikimedia.org/wikipedia/en/timeline/a569a5ff4771784997c954ac4867f618.png",
"https://px.srvcs.tumblr.com/impixu?T=1725019816&J=eyJ0eXBlIjoidXJsIiwidXJsIjoiaHR0cDovL2thZC1iaS1iaWpvLWJpamVsby1kdWdtZS1ibC1ibG9nLnR1bWJsci5jb20vIiwicmVxdHlwZSI6MCwicm91dGUiOiIvIiwibm9zY3JpcHQiOjF9&U=MCCPHGGBEE&K=dd02b12ced6785f8a4244b06c32231df39c3c198e80b85fecc8ca8f022faa143&R=",
"https://px.srvcs.tumblr.com/impixu?T=1725019816&J=eyJ0eXBlIjoicG9zdCIsInVybCI6Imh0dHA6Ly9rYWQtYmktYmlqby1iaWplbG8tZHVnbWUtYmwtYmxvZy50dW1ibHIuY29tLyIsInJlcXR5cGUiOjAsInJvdXRlIjoiLyIsInBvc3RzIjpbeyJwb3N0aWQiOiIxNjIyMzE2Njc0OCIsImJsb2dpZCI6NDE1ODY4MjMsInNvdXJjZSI6MzN9LHsicG9zdGlkIjoiMTYyMjI2NDQzNjQiLCJibG9naWQiOjQxNTg2ODIzLCJzb3VyY2UiOjMzfSx7InBvc3RpZCI6IjE2MjIyMTkyNDQwIiwiYmxvZ2lkIjo0MTU4NjgyMywic291cmNlIjozM31dLCJub3NjcmlwdCI6MX0=&U=AMKPHJLHOH&K=595be24419d8d69c412f2a341a33768a9af334f775a5b006ddd8eb7dca2310e9&R="
] |
[] |
[] |
[
"bijelo dugme"
] | null |
[] |
2012-01-21T07:38:00
|
https://64.media.tumblr.com/avatar_18cffaeefeea_128.pnj
|
Tumblr
|
https://www.tumblr.com/kad-bi-bijo-bijelo-dugme-bl-blog
|
Bijelo dugme (trans. White Button) was a highly influential former Yugoslav rock band, based in Sarajevo. Active between 1974 and 1989, it is widely considered to have been the most popular band ever to exist in former Socialist Federal Republic of Yugoslavia and one of the most important acts of the Yugoslav rock scene.
Bijelo dugme
Bijelo dugme in 1974. Standing: Zoran Redžić; sitting, from left to right: Vlado Pravdić, Goran Bregović, Željko Bebek, Ipe Ivandić. On the upper right is Bijelo dugme logo.Background informationOriginSarajevo, Bosnia and Herzegovina, SFR YugoslaviaGenresHard rock, folk rock, New Wave,pop rockYears active1974–1989
Brief reunion: 2005LabelsJugoton, Diskoton, Radio Kruševac, Kamarad, Croatia RecordsAssociated actsKodeksi, Jutro, Indexi, Smak, Formula 4, Teška Industrija,Amila, Armija B, Divlje jagode,Vatreni PoljubacPast membersGoran Bregović
Željko Bebek
Mladen Vojičić
Alen Islamović
Zoran Redžić
Jadranko Stanković
Ljubiša Racić
Sanin Karić
Ipe Ivandić
Điđi Jankelić
Milić Vukašinović
Vlado Pravdić
Laza Ristovski
History
The beginnings Kodeksi
The band history begins in 1969. At the time, the future leader of Bijelo dugme, Goran Bregovićwas the bass guitarist for the band Beštije. He was spotted by the Kodeksi (trans. Codexes) vocalist Željko Bebek. As Kodeksi needed a bass guitarist, on Bebek’s suggestion Bregović became the member of the band. 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). After performing in Dubrovnik (before these performances the only female member, Ismeta Dervoz left the band) Kodeksi were hired to perform in a club in Naples. After two months the band’s guitarist Edo Bogeljić returned to Sarajevo, and Bregović switched to guitar. Local Italian musician was brought in to play the bass, but after he quit too, Bebek called up old friend Zoran Redžić. Redžić in turn brought along Milić Vukašinović as replacement on drums for Paganotto who also quit in the meantime. Vukašinović brought new musical influences along the lines of what Led Zeppelin and Black Sabbath were doing at the time. Additionally, he convinced the rest of the band on incorporating the new sound into their set. Within two weeks of his arrival, Kodeksi were fired from all the places they were playing.
The foursome of Bebek, Bregović, Redžić and Vukašinović stayed on the island of Capri. In 1970 they relocated back to Naples. At this time the other three members made Bebek stop playing the rhythm guitar reasoning that it is not fashionable any longer. 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. After being a key band member only months earlier, Bebek was seeing his role gradually reduced. During the fall of 1970 he left Kodeksi to return to Sarajevo.
For their part, Vukašinović, Bregović, and Redžić continued to perform under the name Mića, Goran and Zoran. Eventually they returned to Sarajevo in the spring of 1971 when Goran’s mother and Zoran’s brother came to Italy to bring them back. Upon returning, the trio continued performing around Sarajevo, however not for long as in late summer 1971 Vukašinović decided that he would move to London.
Jutro
In autumn of 1971 guitarist Ismet Arnautalić invited Bregović to form Jutro (Morning). The band’s lineup featured, alongside Arnautalić and Bregović, Redžić, Gordan Matrak on drums and vocalist Zlatko Hodnik. As the member of Jutro Bregović wrote his first songs. In 1972 the band got an opportunity to make studio recordings, and Bregović invited Bebek. With Bebek the band recorded the song “Patim, evo, deset dana” (“I’ve Been Suffering for Ten Days”), which appeared on the B-side of the single “Ostajem tebi” (“I Remain Yours”), which was recorded with Hodnik. Right after the song recording Bebek left the band to serve compulsory military conscription duty, but the rest of the band decided to wait for his return.
During Bebek’s absence 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”, and “Hop-cup”, the first two appearing on the 7" single. Dissatisfied with the music direction the band was moving towards Arnautalić left the band at the end of 1972 and took away the right to use the name Jutro from the rest of the members. The rest of the band and Arnautalić fought for the rights during 1973, when drummer Goran “Ipe” Ivandić and keyboardist Vlado Pravdić (a former Indexi member) joined the band. At the middle of the year Redžić left the band after an argument, and was replaced by Jadranko Stanković.
At this time the band chose the name Bijelo dugme. They decided to change the name partially because of another, Ljubljana-based band with the name Jutro. As the band was already known for the song “Kad bi’ bio bijelo dugme”, they choose the name Bijelo dugme. The band officially started working under this name on January 1, 1974.
1970s: hard rock years Early 1970s Bijelo dugme in 1974, from left to right:Goran Bregović, Ipe Ivandić, Željko Bebek,Vlado Pravdić, Zoran Redžić.
During 1974 the band cooperated with Bata Kostić, guitarist for YU grupa, which were one of the pioneers in combining folk music elements with rock on the former Yugoslav rock scene, and Bregović would later state on number of occasions that this studio cooperation influenced Bijelo dugme's folk rock sound. Cooperating with Nikola Borota Radovan in producer’s role, the band recorded “Top” (“Cannon”) and “Ove ću noći naći blues” (“This Night I Will Find Blues”). Borota offered these recordings to the Sarajevo-based record label Diskoton. The music editor 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. This is widely considered[by whom?] the greatest business mistake in the history of Yugoslav record publishing. On the same day the band were refused by Diskoton, they signed for Zagreb-based Jugoton. It the beginning the band performed mostly in smaller towns. Soon after Stanković was excluded from the band and Redžić was invited to return to Bijelo dugme. The following 7-inch single, featuring songs “Glavni junak jedne knjige” (“The Main Character of A Book”), with lyrics written by poetDuško 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. This brought huge press covering and helped the record sell. The band had their first bigger performance at the 1974 BOOM Festival in Ljubljana, where they were announced as “the new hopes”. The band spent the summer performing in Cavtat and preparing songs for their first album. The band soon released their third single (also produced by Borota but recorded at Jugoton’s Zagreb “Jadran film” 4 track studio facility) with songs “Da sam pekar” (“If I Was a Baker”) and “Selma” (with lyrics written by poet Vlado Dijak). This single saw huge success.[citation needed]
Kad bi’ bio bijelo dugme album cover
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. The album, featuring a provocative cover designed by Dragan S. Stefanović’s (who would also design covers for the band’s future releases), saw huge success.[citation needed] 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. This term was (and still is) sometimes used by the Yugoslav critics in order to classify Bijelo dugme’s sound. The album featured new versions of “Kad bi’ bio bijelo dugme”, “Patim, evo, deset dana” and “Selma”, “Sve ću da ti dam samo da zaigram” (“I Will Give Everything to You Only to Dance”), previously released “Ove ću noći naći blues” and rock and roll-influenced hit “Ne spavaj, mala moja, muzika dok svira” (“Don’t you sleep, baby, while the music is playing”). Immediately after the release the album broke the record held by YU grupa's 1973 debut albumwhich was sold in 30,000 copies. In February 1975 the band was awarded a gold record at theOpatija Festival, as they sold the record in more than 40,000 copies. The final number of copies sold was about 141,000.
Several days after the album was released the band performed, alongside Pop Mašina, Smak and Crni Biseri, in Belgrade's Dom Sindikata at the Radio Belgrade show Veče uz radio birthday celebration and won the audience. At the time the band cooperated with manager Vladimir Mihaljek, who managed to arrange the band’s appearance on Korni Grupa’s farewell concert. About 15,000 members of audience were thrilled with Bijelo dugme’s performance.
At the end of February 1975 Mihaljek organised Kongres rock majstora (Congress of Rock Masters) which was intended to represent the four best Yugoslav guitarist. Although Radomir Mihajlović Točak was the unofficial winner, he was not pronounced one of the best, as his bandSmak did not have a contract with Jugoton which supported the Congress. Vedran Božić (of Time), Josip Boček (formerly of Korni Grupa),Bata Kostić (of YU grupa), and Bregović were proclaimed the best. Every one of them recorded one side on the double album Kongres rock majstora. While the other three guitarists recorded their songs with the members of YU grupa, Bregović decided to work with his own band and Zagreb String Quartet. After the album was released the four guitarists went on a tour on which they were supported by YU grupa members. 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”) with cover designed by Bregović. The band went on a big Yugoslav tour, and in the spring of 1975 they were already considered the most popular Yugoslav band.
Before the recording of their second album the band went to the village Borike in Eastern Bosnia in order to work on the songs and prepare for the album recording. The album Šta bi dao da si na mom mjestu (What Would you Give to be in My Place) was recorded in London during November 1975. The album was produced by Neil Harrison. The bass guitar on the album was played by Bebek, as Redžić injured his middle finger just before the album recording. The lyrics for the title track were written by Duško Trifunović, while the rest of the lyrics were written by Bregović. The main album hits were “Tako ti je, mala moja, kad ljubi Bosanac” (“That’s What You Get, Baby, for Kissing a Bosnian”), “Došao sam da ti kažem da odlazim” (“I Came to Tell You that I’m Leaving”), “Ne gledaj me tako i ne ljubi me više” (“Don’t Look at Me like that and Don’t Kiss Me Anymore”) and “Požurite, konji moji” (“Hurry up, My Horses”). The band used the time spent in studio to record an English language song “Playing the Part”, released on promo single which was given to journalists. The album was soon sold in more than 200,000 copies. This was the first Yugoslav album to be credited as Diamond Disc. After the album release the band went on a Kosovo and Metohijatour. During the tour injured Redžić was replaced by former Kamen na Kamen member Mustafa “Mute” Kurtalović. Bijelo dugme announced a big New Year concert in Belgrade’s Sports Hall with Pop Mašina, Buldožer and Cod as the support acts, however the concert was canceled without explanation. The band was soon invited to perform for the Yugoslav president Josip Broz Tito in Croatian National Theatre in Zagreb. Their performance was, however, stopped after only several minutes, reputedly because of the loudness.
As Redžić had to leave the band due to his army obligations, Formula 4 leader Ljubiša Racić came to the band as his temporary replacement. This lineup of the band went on a Yugoslav tour. In Sarajevo the band performed in front of 15,000 people and in Belgrade they played in front of sold out Pionir Hall three times. The press coined the term “Dugmemanija” (Buttonmania) and the socialist public went into an argument over the phenomena. At the beginning of 1976 the band planned to hold an United States tour, however they gave up the idea. The band did go to United States, but only to record single with songs “Džambo” (“Jumbo”) and “Vatra” (“Fire”), which were released as Ivandić’s solo single, and “Milovan” and “Goodbye, Amerika”, which were released as Bebek’s solo single. In June the band members went to the youth work action Kozara 76, which was Bregović’s response to the claims about the band’s members’ pro-western orientation. At the beginning of autumn Ivandić and Pravdić left the band due to their army obligations, and were replaced by Vukašinović (who joined Indexi in the meantime) and Laza Ristovski, whose moving from Smak (at the time Bijelo dugme’s main competitors) saw large covering in the media.
The band prepared for the recording of their third album in Borike. The album’s original title was Sve se dijeli na dvoje, na tvoje i moje(Everything Is Split in Two, in Yours and Mine) after the Duško Trifunović poem, which was later used as lyrics for the song recorded byJadranka Stojaković. Bregović did not manage to write the music for the song, so he intended to name the album Hoću bar jednom da budem belsav (For Once I Want to Be Crazy), but Jugoton editors did not like the title, and the album was eventually titled Eto! Baš hoću! (There! I Will!). The album was once again recorded in London with Harrison as the producer and Bebek playing the bass guitar. The album was released on December 20, 1976. The album featured the ballad “Sanjao sam noćas da te nemam” (“I Dreamed that I Don’t Have You”), “Loše vino” (“Bad Wine”, written by Bregović and Arsen Dedić and originally performed by Zdravko Čolić), simple tune “Ništa mudro” (“Nothing Wise”), folk-oriented “Slatko li je ljubit tajno” (“It’s so Sweet To Kiss Secretly”) and “Dede, bona, sjeti, se, de tako ti svega” (“Come on, remember”) and “Izgledala je malo čudno u kaputu žutom krojenom bez veze” (“She Looked a little bit Strange in a Yellow Coat Cut out Stupidly”). In the meantime Racić asked for higher payment, so he got fired. He was replaced by a former Teška Industrija member Sanin Karić. This lineup of the band went on a Polish tour on which they were announced as “the leading young Yugoslav band”. They held nine successful concerts. After their return Redžić and Ivandić joined them.
The band went on a Yugoslav tour, but experienced difficulties during it. The concerts were followed by technical difficulties and the audience was not interested in the band’s concerts as during previous tours. The band also suffered from clashes within the band, and when theAdriatic coast tour was canceled, rumors about the band’s disbandment appeared in the media. The concerts in Zagreb and Ljubljana, for which the recording of a live album was planned, were canceled, and after four years the band saw a decline in popularity.
Hajdučka česma concert
The band wanted to organize some sort of spectacle to help their decreased popularity. On the idea of the journalist Petar Popović the band decided to hold a free concert at Belgrade's Hajdučka česma (Bregović had already performed on this location in 1973 with Jutro on an event organized by Pop Mašina) on August 28, 1977. The concert was also the last concert before Bregović’s departure from the band due to his army duty. 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. After the opening bands (Zdravo, Tako, Leb i Sol and others) Bijelo dugme played a successful concert. Part of that atmosphere was recorded in Mića Milošević’s film Nije nego. It was eventually discovered that the recordings of the concert could not be used for the live album, so the band, on October 25 of the same year, played a concert in Đuro Janković Hall in Sarajevo, recordings of which were used for the live album Koncert kod Hajdučke česme (Concert at Hajdučka česma). The album title was partially justified, as the recordings of the audience’s reactions from the Hajdučka česma concert were used.
Late 1970s
After Koncert kod Hajdučke česme was mixed, Bregović went to serve the army in Niš and the band went on hiatus. 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 & the Princess”) released in 1979. In June Bebek released his first solo, symphonic rock-oriented album Skoro da smo isti (We’re almost the Same). Ristovski and Ivandić recorded the album Stižemo (Here We Come). The album was recorded in London with Leb i Sol guitarist Vlatko Stefanovski playing the guitar, and was released in September 1978. The album was well received, and Ristovski and Ivandić decided to leave the band. Just before the album Stižemo was released Ivandić was arrested for owning hashish, and the other musicians who participated in the album recording, with the exception of Ivandić’s sister Gordana, Ristovski and Stefanovski were also accused. Ivanić was sentenced to spend three years in jail, but he went to serve the sentence in 1981.
In June 1978 Bregović went to Sarajevo to receive a plaque from the League of Communist Youth of Bosnia and Herzegovina in the name of the band. In autumn of 1978 drummer Điđi Jankelić (a former Formula 4 and Čisti Zrak member), who participated Bebek’s solo album recording, became Bijelo dugme’s new drummer, and Pravdić returned to the band to replace Ristovski. The band started preparing their new album in Niška Banja‚ but, as Bregović was still serving the army, the band definitely reunited in Sarajevo on November 1. The release of the album was followed by censorship. The cover designed by Dragan Stefanović, featuring female leg kicking male's genital area was refused by Jugoton as “vulgar”; instead, the album featured cover designed by Jugoton’s designer I. Ivezić. 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 really a Stupid Thing to Forget Her Number”), and the verse “A Hrist je bio kopile i jad” (“And Christ was a bastard and misery”) 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 misery”). The album Bitanga i princeza (The Brute & the Princess) was released in March 1979 and praised by the critics as Bijelo dugme’s finest work until then. The album did not feature any folk music elements, and brought songs “Bitanga i princeza”, “Ala je glupo zaboraviz njen broj”, “Na zadnjem sjedištu mog auta” (“On the Back Seat of My Car”), “A koliko si ih imala do sad” (“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. The album was produced by Neil Harrison, and several songs featured symphonic orchestra. The album broke all the records held by their previous releases. The tour following the album release was also successful. The band managed to sell out Pionir Hall for five times, and all the money earned from the concerts was dedicated to the victims of 1979 Montenegro earthquake. On some of the concerts they were followed by Branko Krsmanović Choir and symphonic orchestra. On September 22 the band organized a concert under the name Rock spektakl ‘79. (Rock Spectacle 79), which was held on JNA Stadium. The concert featured numerous opening bands, including YU grupa, Boomerang, Galija, Prva Ljubav, Prljavo Kazalište,Opus, Tomaž Domicelj, Generacija 5, Mama Rock, Metak, Siluete, Suncokret, and others. More than 70,000 spectators attended the concert.
At the time Bregović wrote film music for the first time. He wrote music for Aleksandar Mandić’s film Lične stvari, and 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” were recorded by Bijelo dugme and released on single. During 1980 Bregović spent some time in Paris, and the band was on hiatus.
1980s Doživjeti stotu: switch to New Wave Bijelo dugme in 1981, from left to righ:Goran Bregović, Željko Bebek, Zoran Redžić, Vlado Pravdić, Điđi Jankelić.
At the end of 1970s and the beginning of 1980s the Yugoslav rock scene saw the emergence of the great number of New Wave bands, closely associated to the Yugoslav punk rock scene. In 1981 Bijelo dugme released New Wave-influenced album Doživjeti stotu (Live to Be 100). This was the first Bijelo dugme album produced by Bregović. Only “Pristao sam biću sve što hoće” and “Pjesma mom mlađem bratu” (“The Song for My Baby Brother”) resembled Bijelo dugme’s old sound. Songs “Ha ha ha” and “Tramvaj kreće (ili kako biti heroj u ova šugava vremena)” (“Tram Is Going (or How to Be a Hero in These Mangy Times)”) featured political lyrics for the first time in Bijelo dugme’s career. Some critics accused Bregović of posturing and pandering to a younger audience, speculating that his motives for latching on to the fresh New Wave sound have to do with his fear of Bijelo dugme seeming out of touch.
The band started their Yugoslav tour on February 24 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). The album was released in a limited number of 20,000 copies, and featured a cover of Indexi song “Sve ove godine”. Bijelo dugme performed in Belgrade several times douring the tour: After two concerts in Pionir Hall, they performed, alongside Iron Maiden, Divlje Jagode, and other bands, on the Rock Spectacle held at Belgrade Hippodrome, and on the New Year’s Eve and after it they held three concerts in Hala Pinki. At the beginning of 1982 they performed in Innsbruck, in Austria, on a manifestation on which the last host of the Winter Olympic Games (Innsbruck) hosted the following one (Sarajevo). On their return to Yugoslavia their equipment was deprived on the custom, as it was discovered that they had put new equipment into old boxes. Jugoton decided to lend 150,000,000 Yugoslav dinars to Bijelo dugme, in order to pay the penalty. To regain part of the money as soon as possible the record label decided to release two compilation albums, Singl ploče (1974-1975) (7" Singles 1974-1975) and Singl ploče (1976-1980). In order to recover financially, during July and August 1982 the band went on a Bulgarian tour, during which they held forty one concerts. As Jankelić went to serve the army in April, on the tour drums were played by a former Leb i Sol drummer Garabet Tavitjan. At the end of 1982 Ivandić was released from prison and joined the band.
Mid 1980s
At the beginning of 1983 Bijelo dugme recorded a children’s music album A milicija trenira strogoću! (i druge pjesme za djecu) (And Police Trains Strictness! (and Other Songs for Children)). The lyrics for the album were written by Duško Trifunović. It was initially planned Seid Memić Vajta to sing the vocals, 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. In February 1983 the band released the album Uspavanka za Radmilu M. (Lullaby for Radmila M.). Bregović intended to release Uspavanka za Radmilu M. as Bijelo dugme’s farewell album and to dismiss the band after the tour. The album was recorded in Skopje and featured Vlatko Stefanovski (guitar), Blagoje Morotov (double bass) and Arsen Ereš (saxophone) as guest musicians. The song “Kosovska” (“Kosovan”) featured Albanian language lyrics and, although featuring simple rock music-related lyrics, became provocative as it was recorded during delicate political situation in Kosovo. Songs “Ako možeš zaboravi” (“Forget, if You Can”), “U vrijeme otkazanih letova” (“At the Time of Cancelled Flights”), “Polubauk kruži poluevropom” and “Ovaj ples dame biraju” (“Lady’s Choice”) featured different sound, illustrating various fazes in the band’s career. The album title track is the only instrumental track Bijelo dugme ever recorded. Although Uspavanka za Radmilu M. did not bring numerous hits as the band’s previous releases and is generally considered the least successful Bijelo dugme album, the tour was very successful, and audience’s response made Bregović change his mind. After the tour the band went on a hiatus and Bebek recorded his second solo album Mene tjera neki vrag. He officially left the band on April 23, 1984, deciding to dedicate himself to his solo career.
Tifa years
The new Bijelo dugme vocalist became a former Top and Teška Industrija member Mladen Vojičić Tifa. The band spent summer in Rovinjwhere they practiced for the upcoming album recording. At the time Ivandić started working with the pop band Amila, whose singer Amila Sulejmanović often performed as a backing vocalist on Bijelo dugme concerts.
Bijelo dugme album cover
At the time Bregović, with Zdravko Čolić, formed Slovenia-baced record label Kamarad, which co-released Bijelo dugme’s new album with Diskoton. The album was released in December 1984, entitled simply Bijelo dugme, but is, as the cover featured Uroš Predić’s painting Kosovo Maiden, also known as Kosovka djevojka (Kosovo Maiden). The album featured both Ristovski and Pravdić on keyboards, and after the album recording Ristovski became the official member of the band once again. Bijelo dugme featured 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. The album featured a cover of “Šta ću nano dragi mi je ljut” (“What Can I Do, Mom, My Darling Is Angry”), written by Bregović and originally recorded byBisera Veletanlić, Bijelo dugme version titled “Lipe cvatu” (“Lime Trees Are in Bloom”), which became the album’s biggest hit. Other hits included “Padaju zvijezde” (“The Stars Are Falling”), “Lažeš” (“You’re Lying”), “Da te bogdo ne volim” (“If I Didn’t Love You”) and “Jer kad ostariš” (“Because, When You Grow Old”). The song “Pediculis pubis” featured Bora Đorđević, the leader of the competitive band Riblja Čorba, on vocals; he co-wrote the song with Bregović and sung it with Bregović and Tifa. The album sale and the tour were very successful. The band held a successful concert at Belgrade's Sajmište, but also performed in clubs on several occasions. Tifa, however decided to leave the band, and performed with the band for the last time on a concert in Moscow, where they, alongside Bajaga i Instruktori represented Yugoslav rock music on the Youth and Students World Festival. After leaving Bijelo dugme Tifa would first join Bebek’s band Armija B, then hard rock/heavy metal band Vatreni Poljubac (formed by Milić Vukašinović in 1977), and eventually heavy metal band Divlje jagode (whose singer Alen Islamović replaced him in Bijelo dugme).
Islamović years and disbandment The last Bijelo dugme lineup, from left to right: Vlado Pravdić, Zoran Redžić, Alen Islamović, Ipe Ivandić, Goran Bregović, Laza Ristovski.
The new Bijelo dugme vocalist became Alen Islamović, the former vocalist for the heavy metal band Divlje jagode. He was previously, right after Bebek left Bijelo dugme, approached to join the band, but he refused fearing that Bebek might decide to return. The new album, Pljuni i zapjevaj moja Jugoslavijo (Spit and Sing, My Yugoslavia) featured similar folk-oriented pop rock sound and was another Yugoslavism-inspired album. Bregović wanted the album to feature Vice Vukov,Croatian singer branded for being a nationalist, but the idea was too provocative and Bregović gave up on it. The album cover should have featured the painting Dve godine garancije by Mića Popović, a dissident at the time, but eventually, an image of Chinese modern revolutionary dancing appeared on the album cover. The album’s first track was a cover of old revolutionary song "Padaj silo i nepravdo", sung by Bregović, World War II hero Svetozar Vukmanović Tempo and children from the Sarajevo orphanage Ljubica Ivezić. 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” (“You Were a Rose”). In 1987 Belgrade rock journalist Dragan Kremer, in the show Šit mjeseca (Shit of the Month) on the RTV Sarajevo, tore the album cover and made Bregović (who also appeared in the show) angry, which was one of the larger media scandals of the time. The incident did not affect the album sales.The tour was also very successful, and the concert at Sajmište featured opera singer Dubravka Zubović as guest.
Double live album Mramor, kamen i željezo (Marble, Stone and Iron) recorded on the tour was released in 1987. The title song was a cover of the old Roboti hit. The album offered a retrospective of the band’s work, featuring songs from their first singles, as well as from the last album. The track “A milicija trenira strogoću” begins with “The Internationale” melody, and during the intro to “Svi marš na ples” Islamović shouts “Bratsvo! Jedinstvo!” (“Brotherhood! Unity!”). After the tour Vlado Pravdić unofficially left the band, dedicating himself to the computer business. He performed with the band only several times more on bigger concerts.
At the end of 1988 the album Ćiribiribela, which featured Edward Hicks’ painting of Noah’s Ark on the cover, was released. The album’s biggest hit was “Đurđevdan”, a cover of traditional Romani song “Ederlezi”, which featured Fejat Sejdić Trumpet Orchestra. The album featured a cover of national anthem of Croatia “Lijepa naša” combined with the Serbian traditional World War I song “Tamo daleko”. The other hits included “Evo zakleću se” (“Here, I Swear”), “Ako ima Boga” (“If there Is God”), “Šta ima novo” (“What’s New”), “Nakon svih ovih godina” (“After all These Years”) and Dalmatian folk music-inspired “Ćirbiribela”. At the beginning of 1989 the band went on a tour which should have lasted until April 1. However, Islamović checked into a hospital with kidney pains, not notifying anyone from the band. The tour was ended and concert in China and Soviet Union were cancelled. Bregović went to Paris, leaving the situation opened for speculations. In 1990 the compilation album Nakon svih ovih godina, which featured recordings made between 1983 and 1989, was released. After Yugoslav Warsbroke out in 1991 it became clear that Bijelo dugme ended their career.
Post-breakup
Bregović continued his career as a film music composer, cooperating mostly with Emir Kusturica. Redžić moved to Finland, and after theBosnian War ended he returned to Sarajevo. After the war broke out Ivandić went to Belgrade, where he died in 1994. Ristovski continued to work as studio musician, at the same time recording solo albums and performing with Smak. Islamović, who recorded his first solo albumHaj, nek se čuje, haj nek se zna in 1989, started a semi-successful solo career.
2005 reunion
Bregović, who during the 1990s became one of the most internationally known modern composers of the Balkans, on numerous occasions stated that he will not reunite Bijelo dugme. However, in 2005 Bijelo dugme reunited with Bregović on guitar, Bebek, Tifa and Islamović on vocals, Redžić on bass guitar, Vukašinović and Jankelić on drums and Pravdić and Ristovski on keyboards. The band held three concerts sponsored by Coca-Cola: in Sarajevo (at Koševo stadium), Zagreb (at Maksimir stadium), and Belgrade (at Belgrade Hippodrome, attracting more than 250,000 fans, but criticized because of the weak sound). The reunion saw large covering in the media. The live album Turneja 2005 - Sarajevo, Zagreb, Beograd (2005 Tour - Sarajevo, Zagreb, Belgrade) recorded on the tour was released. After the concerts three vocalists continued to perform together outside former Yugoslav republics under the name Kad Bi Bio Bijelo Dugme.
Legacy
Bijelo dugme is generally considered to have been the most popular act ever to exist in former Yugoslavia, inspiring many artists from different musical genres, from all countries of former Yugoslavia. In the 2003 rock documentary Sretno dijete, Jasenko Houra, the guitarist and lead songwriter for Prljavo Kazalište said that “whatever Bijelo dugme did, everyone else did”.
There were several books written about the band: Istina o Bijelom dugmetu by Danilo Štrbac, Bijelo dugme by Duško Pavlović, Ništa mudroby Darko Glavan and Dražen Vrdoljak, Lopuže koje nisu uhvatili by Dušan Vesić, Kad sam bio bijelo dugme by Ljubiša Stavrić and Vladimir Sudar.
The chorus of their ska song “Ha, Ha, Ha” was used as the title of a compilation album by various artists Svi marš na ples! which was released by Jugoton in 1981.
The book YU 100: najbolji albumi jugoslovenske rok i pop muzike (YU 100: The Best albums of Yugoslav pop and rock music) features eight Bijelo Dugme albums: Bitanga i princeza (ranked #10), Kad bi bio bijelo dugme (ranked #14), Šta bi dao da si na mom mjestu (ranked #17), Bijelo Dugme (ranked #28), Eto! Baš hoću! (ranked #31), Doživjeti stotu (ranked #35), Pljuni i zapjevaj moja Jugoslavijo (ranked #53), and Koncert kod Hajdučke česme (ranked #74).[1]
The B92 Top 100 Yugoslav songs list fetaures three songs by Bijelo dugme: “Sve će to, mila moja, prekriti ruzmarin, snjegovi i šaš” (ranked #14), “Loše vino” (ranked #32) and “Ako možeš zaboravi (ranked #51).[2]
Members
Goran Bregović - guitar (1974–1989)
Željko Bebek - vocals (1974–1984)
Mladen "Tifa” Vojičić - vocals (1984–1985)
Alen Islamović - vocals (1986–1989)
Zoran Redžić - bass guitar (1974–1975, 1977–1989)
Jadranko Stanković - bass guitar (1974)
Ivica Vinkovic - bass guitar (1975)
Ljubiša Racić - bass guitar (1975–1977)
Sanin Karić - bass guitar (1977)
Goran “Ipe” Ivandić - drums (1974–1976, 1977–1978, 1982–1989)
Milić Vukašinović - drums (1976–1977)
Dragan “Điđi” Jankelić - drums (1978–1982)
Vlado Pravdić - keyboards (1974–1976, 1978–1987)
Laza Ristovski - keyboards (1976–1978, 1984–1989)-died in Belgrade
Timeline
Albums
Studio 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 (2005)
Compilations
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'n'roll (Najveći hitovi '74-'88) (1994)
’Ajmo curice, 'ajmo dječaci (2005)
Best of 1984-1989 (2005)
Ultimate Collection (2007)
Video projects
|
||||
1053
|
dbpedia
|
1
| 17
|
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
|
2
| 42
|
https://www.imdb.com/list/ls054772955/
|
en
|
Najbolji srpski filmovi (200 naslova)
|
[
"https://fls-na.amazon.com/1/batch/1/OP/A1EVAM02EL8SFB:131-1425049-2752342:2A9RGCM68WEN09B8MBBE$uedata=s:%2Fuedata%2Fuedata%3Fstaticb%26id%3D2A9RGCM68WEN09B8MBBE:0",
"https://m.media-amazon.com/images/M/MV5BNTAyODBjMDAtZjg1Mi00MWNkLTg2ZTgtNWY5YWFiMmYxMjk4XkEyXkFqcGdeQXVyMTgxOTUwMTI@._V1_QL75_UY207_CR3,0,140,207_.jpg",
"https://m.media-amazon.com/images/M/MV5BZGNkY2RlZmQtNzQ1MS00YWNlLTk3ZDAtYjc1ZTMwZjM5Zjk4XkEyXkFqcGc@._V1_QL75_UY207_CR4,0,140,207_.jpg",
"https://m.media-amazon.com/images/M/MV5BZmE4Njk2MWYtZDRlMy00OTAxLThlNWYtOTU3MGEwNTY4Nzc0XkEyXkFqcGdeQXVyMTAwNjUxNTkz._V1_QL75_UY207_CR5,0,140,207_.jpg",
"https://m.media-amazon.com/images/M/MV5BMmExZTZhN2QtMzg5Mi00Y2M5LTlmMWYtNTUzMzUwMGM2OGQ3XkEyXkFqcGdeQXVyNTA4NzY1MzY@._V1_QL75_UY207_CR0,0,140,207_.jpg",
"https://m.media-amazon.com/images/M/MV5BNDA1ZDE5Y2QtMmQwMy00MmQ4LTliNGYtODQ1MTk0MDk1MzU1XkEyXkFqcGdeQXVyMTAwNjUxNTkz._V1_QL75_UY207_CR2,0,140,207_.jpg",
"https://m.media-amazon.com/images/M/MV5BMGM0ZDNjZDAtYTIzYy00OWU3LTllMGEtMmY5NTM0YzBmMDNkXkEyXkFqcGdeQXVyNDc3ODI5NDM@._V1_QL75_UX140_CR0,18,140,207_.jpg",
"https://m.media-amazon.com/images/M/MV5BNGRhYWY5NzktNGM5My00ODE2LTlmNTYtMmUxMzAwMmU3ZGQ3XkEyXkFqcGdeQXVyNzI3NzE5MDk@._V1_QL75_UY207_CR2,0,140,207_.jpg",
"https://m.media-amazon.com/images/M/MV5BYzI5NDQ4ZTktMDhhNS00MTVmLWE5ODQtM2Q5NmJkNTZlZTU1XkEyXkFqcGdeQXVyMTA0MTM5NjI2._V1_QL75_UX140_CR0,1,140,207_.jpg",
"https://m.media-amazon.com/images/M/MV5BZWNiZjcyMjktM2MxOC00Mzc3LTk3MmEtYmViY2Y1ZThmNGViXkEyXkFqcGdeQXVyMzQzNDc4NTQ@._V1_QL75_UY207_CR3,0,140,207_.jpg",
"https://m.media-amazon.com/images/M/MV5BNzI4YTVmMWEtMWQ3MS00OGE1LWE5YjMtNjc4NWJmYjRmZTQyXkEyXkFqcGdeQXVyNTA4NzY1MzY@._V1_QL75_UY207_CR2,0,140,207_.jpg",
"https://m.media-amazon.com/images/M/MV5BMzE0ZTg3YzAtNDNhYy00NjkxLTgxMmMtNDIxNGNjNjYxMWEyXkEyXkFqcGdeQXVyMjM5MTg4MjQ@._V1_QL75_UY207_CR4,0,140,207_.jpg",
"https://m.media-amazon.com/images/M/MV5BMjIzYTUzYWUtZjZlYy00MmUxLWFkYzQtM2VlZDM1NWQ2NGY4XkEyXkFqcGdeQXVyMjU5OTM1Mjk@._V1_QL75_UY207_CR3,0,140,207_.jpg",
"https://m.media-amazon.com/images/M/MV5BNmQwNWY0MTEtYWVmNS00YTg5LWI4MWYtYjdjNjNkMzFjYjU2XkEyXkFqcGdeQXVyMzIwMTIwODc@._V1_QL75_UY207_CR3,0,140,207_.jpg",
"https://m.media-amazon.com/images/M/MV5BYzhjYTZhODgtMTFhNC00YzhiLTkwNjAtNTRlMjU1MmY2NzUzXkEyXkFqcGdeQXVyNjExODE1MDc@._V1_QL75_UY207_CR8,0,140,207_.jpg",
"https://m.media-amazon.com/images/M/MV5BYmQzOGE4Y2EtOTBiYi00MTkxLWIxZjYtMWNlYzk5YTU0ZDFiXkEyXkFqcGdeQXVyMTAwNjUxNTkz._V1_QL75_UY207_CR4,0,140,207_.jpg",
"https://m.media-amazon.com/images/M/MV5BNGMzMDJiMjItMmU3Zi00YmI5LTg4YjEtN2M2YmIwYzM2Mjg3XkEyXkFqcGdeQXVyMjQ1NTU3Nzg@._V1_QL75_UY207_CR4,0,140,207_.jpg",
"https://m.media-amazon.com/images/M/MV5BMWYxNDBmMzAtYmY0NS00Y2Y5LTkwMTEtYWNlYmIwMzI4YTJhXkEyXkFqcGdeQXVyODQ1ODE2MDU@._V1_QL75_UY207_CR8,0,140,207_.jpg",
"https://m.media-amazon.com/images/M/MV5BMGMzYzE5NWEtMGZjYi00YjFhLWFjOWItMjdjMjRhOTk0OWQ4XkEyXkFqcGdeQXVyMjM5MTg4MjQ@._V1_QL75_UY207_CR4,0,140,207_.jpg",
"https://m.media-amazon.com/images/M/MV5BYzI4ODk3YzktZDQyMC00OWRkLWFmMWUtZjllMmQxMzJkYTc3XkEyXkFqcGdeQXVyMjQ1NTU3Nzg@._V1_QL75_UY207_CR3,0,140,207_.jpg",
"https://m.media-amazon.com/images/M/MV5BY2MyNmM3ZGYtYTM2ZS00ZDJjLWI2Y2MtMGMxNWYyYTcxYzdhXkEyXkFqcGdeQXVyMjc1NDA2OA@@._V1_QL75_UY207_CR7,0,140,207_.jpg",
"https://m.media-amazon.com/images/M/MV5BMGUzMjNiNmQtZjIwMC00YjQyLWIwMjEtYWU4NGYzYTliZWU4XkEyXkFqcGdeQXVyMjI0NTYyMTM@._V1_QL75_UY207_CR2,0,140,207_.jpg",
"https://m.media-amazon.com/images/M/MV5BYWZiMmYxYmItOWNkZS00OGU1LWI4YmItMjRhNDQ2MjJhZWM2XkEyXkFqcGc@._V1_QL75_UX140_CR0,10,140,207_.jpg",
"https://m.media-amazon.com/images/M/MV5BMTcwNDc0NTEwN15BMl5BanBnXkFtZTYwMDI0Nzk2._V1_QL75_UY207_CR3,0,140,207_.jpg",
"https://m.media-amazon.com/images/M/MV5BNjc4N2Q3MDQtNTQ2Yy00NmZkLTk0M2UtMjgxOTVlMDAyM2FmXkEyXkFqcGdeQXVyMTgxOTUwMTI@._V1_QL75_UY207_CR4,0,140,207_.jpg",
"https://m.media-amazon.com/images/M/MV5BNjM3YzM1N2MtNDdhMC00ZTdhLTgxYWItNWZkNzNhOGY4NDliXkEyXkFqcGc@._V1_QL75_UY207_CR3,0,140,207_.jpg",
"https://m.media-amazon.com/images/G/01/IMDb/Mobile/DesktopQRCode-png.png",
"https://fls-na.amazon.com/1/batch/1/OP/A1EVAM02EL8SFB:131-1425049-2752342:2A9RGCM68WEN09B8MBBE$uedata=s:%2Fuedata%2Fuedata%3Fnoscript%26id%3D2A9RGCM68WEN09B8MBBE:0"
] |
[] |
[] |
[
""
] | null |
[] | null |
en
|
IMDb
|
https://www.imdb.com/list/ls054772955/
|
The plot follows the story of Zona Zamfirova (Katarina Radivojevic), a local rich man's daughter, and the vicissitudes of her affair with Mane (Vojin Cetkovic), an ordinary goldsmith. As it was undesirable for the daughter of a rich man to marry a craftsman, the two are at first divided, with the possibility of Zona marrying the son of other rich people, Manulac. Everything is, however, changed as Mane organizes a successful conspiracy to keep Zona for himself.
Dr. Ilic works in the hospital for compulsory treatment of alcoholics. By conducting his own "special treatment" through physical exercises, apple eating, the healing effects of listening to Wagner's music and psychodrama, a group of six patients have been taken to visit the brewery where there is a problem of alcoholism in the workplace. The events that followed reveal that the doctor used his own way of treatment in order to express his own essentially despotic and hypocritical personality.
At the very beginning of the World War I, Filip, a Serb and the principal of a gymnasium in a small Serbian town, is summoned urgently to Belgrade to serve in the war effort. He has no one to leave his wife Lea with. She is a young and pretty Slovenian woman, a teacher of rhythmics and dance he met while studying in Western Europe. Azem, an illiterate, patriarchal Albanian, the school custodian, gives Filip his solemn oath, his 'Besa' (in the Albanian tradition: when someone gives their word which must be kept even if they lose their life in the process) that he would look after Lea and see to it that nothing happened to her. Two Europeans, from two entirely different cultures and habits are forced to an awkward cohabitation in the empty school. While the war rages in the background and gets menacingly closer, their interaction develops from hatred, through intolerance, to tolerance and an unusual friendship. Circumstances gradually draw Lea and Azem, a Christian woman and a Muslim man, into a complex forbidden relationship - something like love! More than merely a romantic story, this movie is a paradigm of profound ethnic and class divisions in Europe in the early 20th century which some of them prevail to this day.
The story AWAKENING FROM THE DEAD takes place at the beginning of the bombing, both in Belgrade and in one small town in Serbia, at the end of March 1999. Forty-year-old Mickey, an unaccomplished writer, a disillusioned assistant professor at the Faculty of Fine Arts, a discouraged democrat and a columnist, dismissed from a famous daily newspaper, emerges from his own grave and enters into his own life. Within 48 hours, he will try to achieve all those things he couldn't while he was alive. At the same time, post-mortem, he will try to save the dignity of his own community and his tribe, not taking too much care of himself.
|
||||||
1053
|
dbpedia
|
3
| 18
|
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
| 9
|
http://dieordiy2.blogspot.com/2019/11/laza-ristovski-merge-pgp-rtb-2121077.html
|
en
|
Die or D.I.Y.?: Laza Ristovski – "Merge" (PGP RTB – 2121077) 1982
|
[
"http://2.bp.blogspot.com/-6lrotTKgkas/YBIM9VI8EAI/AAAAAAAATPA/Qxvta1l1T00U1fuSY781yOrXFh_1tU-EQCK4BGAYYCw/s930/1807d43dee727611a7b88b3cac725647.jpg",
"https://1.bp.blogspot.com/-p7IO-KjorzU/XdhnGDhQVNI/AAAAAAAARHY/0RLi3tASJyUa_ae7Plk1sEjlhMjvXybzQCLcBGAsYHQ/s320/R-1619705-1300955007.jpeg.jpg",
"https://resources.blogblog.com/img/icon18_edit_allbkg.gif",
"http://resources.blogblog.com/img/blank.gif",
"https://resources.blogblog.com/img/icon_delete13.gif",
"https://resources.blogblog.com/img/blank.gif",
"http://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6H48MwNmN-YjshZ4ka3TlMdQXaL1t6RVebX3013FEY9OM9fypDOOa43LReu21YLZcUjKcfpyBPiKPdbjg94NjTI8tLGp2aCkraBqU8-Q4MvOysE5VRrrfpuOW__nC2Q/s45-c/I+my+husband+and+our+beautiful+kids.jpg",
"https://resources.blogblog.com/img/icon_delete13.gif",
"http://resources.blogblog.com/img/blank.gif",
"https://resources.blogblog.com/img/icon_delete13.gif",
"https://resources.blogblog.com/img/blank.gif",
"http://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXka8w9pVl4xbq08kTre6QOxtBFjulzejbZ9xz9dKtmRtHefpZbC7-EK5nx1LQ_X4BQxZctT8ODuySJ8tlPimyfFKadwKUXsHeDDWRrVnLigEmZ-T8k07u69i2k2r0sWE/s45-c/l.jpg",
"https://resources.blogblog.com/img/icon_delete13.gif",
"https://blogger.googleusercontent.com/img/a/AVvXsEjD4zjHlZLvDT5mn0z24pqDI3CtVzAqXPkMo0kybT8Yy05V03xK1ziED4t4AF9fnJq-Dh4UPO6BnvqcmEYyK1OLmuAcvZ4MZXHFunhIrw4FTsPQQXIlynk7qMervfIO3vqJWPerCxuUTZzAxTF2ahwluHbnetWxsQHCMMUM3ftHFnx_Oamc2gUV2vl0kGI=s303",
"https://archive.org/offshoot_assets/assets/ia-logo-2c2c2c.03bd7e88c8814d63d0fcb35fc01f37c3.svg",
"http://2.bp.blogspot.com/-fDSWDcCY7D4/YEddeSA_FyI/AAAAAAAATYs/5vg4NMiuH4omrXZXNu3kdEo8MoY2GTiygCK4BGAYYCw/s1600/acfe58a9a3906c7ca1466a868ec5b6e2.jpg",
"http://2.bp.blogspot.com/--inCdTg_Ij4/VkpZB9puQYI/AAAAAAAAIlI/OLKIVH6uWCg/s210/NEW%2BDOD%2BLOGO.JPG",
"https://blogger.googleusercontent.com/img/a/AVvXsEjCrLrwxTUrdDUYlLAdExFlT75TBIbtD8NWr9Xid1xnWdpmqOCSqsaNgwVD4VhT1xgzTYOwSiQvE6K5svJ3R-ezatCDTdHiqb1rmH-70UKT6E4wliBZFmLTxxT85N34PvNOvQcV9dtXMLquG0GxxZgtomFLKpzlPCYFTxY3rFkWhNWKhAVsZRrcc8r8mQc=s265",
"https://1.bp.blogspot.com/-As8hg8OTxVQ/XpjTfYOKZpI/AAAAAAAASEo/8vNW5lat-8E5srzq-V_PtGE9DUZW1LUBACLcBGAsYHQ/s320/larry_wendt_new_and_slightly_used.jpg",
"https://blogger.googleusercontent.com/img/a/AVvXsEg8NVmSPXjTjYzKj2BoblAeGK8Ct9yu1EUKKLmwSReBKj12AcwGLe2C2HFKYchxD7fDw_r9ZQ-RTmGJV47rIU-VClZUJYcQBB0OAagJwUr90-tq6ocT3dPhMgxiSNenOOLRvK3ADdWdoCJ7upI75Z3vGvtXyJYbsmpiFQF_CqFmlpuv0cnk6qQAwQad=s268",
"http://3.bp.blogspot.com/-Wh8A9wf095A/X5QYIAdsIgI/AAAAAAAAS7g/wfgQiMZN_rs0VAFYSpWdYaQp4Bs1PkTcgCK4BGAYYCw/s265/night-.jpg",
"http://2.bp.blogspot.com/-KCKIksLt9D4/XFHZaffltWI/AAAAAAAAPfc/mY7QjzTWwsMkz-xftr1YOhdorMIrvhHXwCK4BGAYYCw/s1600/b0faa2b5028f321c1a3023585940ebe4.jpg",
"http://3.bp.blogspot.com/-UdHFIRAJLls/VkpY3xdjNoI/AAAAAAAAIk8/SrCkNXi9pQc/s210/NEW%2BDOD%2BLOGO%2Bon%2Bfbook.JPG",
"http://img0.etsystatic.com/site-assets/badges/en/en_isell_1.png",
"http://3.bp.blogspot.com/-EA_N9KoCKJ8/VzBQHztFI0I/AAAAAAAAJSY/xPK4aE862mIcaKz2tGZPha2X-HL_QMDMACK4B/s1600/41tZMTNP60L._SX331_BO1%252C204%252C203%252C200_.jpg",
"http://1.bp.blogspot.com/-nQmMAKh3ryA/VOr0sz49ADI/AAAAAAAAFL0/VpacOZt2b3o/s1600/51gwMKLmI7L._BO2%252C204%252C203%252C200_PIsitb-sticker-v3-big%252CTopRight%252C0%252C-55_SX324_SY324_PIkin4%252CBottomRight%252C1%252C22_AA346_SH20_OU02_.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjq4NwXEPCBG5t42ANYplLSx5HlLb07SVu6z9KPR0kd-hDIxVJo41HNIoTQq85zM0oAc4erErI49gCbsyznd3F31pcR1rIz9lL4b0PNpQxcW4CoO_sKvwVv5UZHZ7c37F_LqyOjExOgs2Nb9XesH-pEzHVnckl9_rcQjoO0Rzq8G4a918AlP7JLR1fylYs/w72-h72-p-k-no-nu/R-985873-1474831751-9492%20(1).jpg",
"https://3.bp.blogspot.com/-YzhLPbDZgj8/W_2GZGPRj8I/AAAAAAAAPME/JAZUi4r2740uVgTk33KK3sX3Dbkx1tE3QCLcBGAs/w72-h72-p-k-no-nu/R-1367367-1213381678.jpeg.jpg",
"https://1.bp.blogspot.com/-XKP5tJVW2Gs/Xv0DjS9p6nI/AAAAAAAASfc/Sq8I9xlz7d0nRvPJlX-pFz3A5EyMjIS9wCLcBGAsYHQ/w72-h72-p-k-no-nu/images%2B%25282%2529.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8xkcmCfb9LkuPfwocTOgTf1xOQxf2sEfkRenbuJdF2pZyPmRkNU1ADhEPHTDFCLKiqyCnjMFvYAlx80Gf4LZQmxs2DPXgNWlHO-Z2HiVVLZNXXDAg8MsFxciYigK5HYTcC4AfbiwYibURRENOU95-ToWiLfSYe8JFonUMP-Qw7QCc9WqLToiBl3kL/w72-h72-p-k-no-nu/cover.jpg",
"https://4.bp.blogspot.com/-4SBbQYy6NOQ/WctVIwsZQSI/AAAAAAAAMKc/4OlKJBurktgLhV18PQPyoiH2ePci-LUjgCLcBGAs/w72-h72-p-k-no-nu/R-85697-1169382819.jpeg.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhz_zejZSkw77aBdjb_rmL83Eogrhj4X6nFPEGnyYOzqUOn_rPKiOONf-oWWfFOq7bMkIXkvkIr9tX9pgNA8DHyHaO6YoUOdOnUhZgfbCucCP9TpXHjXBmFiwv1j4suMCJrk7c8BRyYQayh_qTcVurggX0CYf5Ct_yKVXlSb9PzBJdL70-P3wPZITqtCAo/w72-h72-p-k-no-nu/R-18184690-1680729994-4299%20(1).jpg",
"https://1.bp.blogspot.com/-2NIqSbWkMNM/Xv7j2Q0EdnI/AAAAAAAASfo/5HT6pt1euaQpwQC6BTlsStODb0fnIAPOwCLcBGAsYHQ/w72-h72-p-k-no-nu/R-1692534-1237321823.jpeg.jpg",
"https://1.bp.blogspot.com/-SefNEzG8RBY/UrGGUUBZFaI/AAAAAAAAAaA/tQpFeZCbcWE/w72-h72-p-k-no-nu/swell+maps+a+trip+to+marineville.jpg",
"https://3.bp.blogspot.com/-zGgxrJ8Ng_U/WZIFUwky0xI/AAAAAAAAL3I/dbr3EAygDZElp-NgXjmIgAdCFqYeAL8nwCLcBGAs/w72-h72-p-k-no-nu/R-9477701-1481318958-6258.jpeg.jpg",
"https://4.bp.blogspot.com/-AH481MXhd5A/XB4OGZWNNAI/AAAAAAAAPTk/O_ZmLPNlwBYdoGsSp5B70PLSfdP_O1g0gCLcBGAs/w72-h72-p-k-no-nu/R-2502046-1296839247.jpeg.jpg",
"http://1.bp.blogspot.com/-znUCUdFTsF0/UqBEeFaOr0I/AAAAAAAAABQ/wHxIpEu-FWA/s1600/piracy-is-not-theft.jpg",
"https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_tmgjwfX105KqvADDcaL4w3vxAmLtbo_4yGz8-ItS4u8NVLF0avw_JbfH4sgkwW0d3F_z5VIgHMu7doNX0K918KzOzUBDKW0ILlTyfrQXrr8Cy6wNW2DPNa1sE=s16-w16-h16",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9oT3E5xm44oft5rOmZ7KSt7XMP2MQH-rH6KyblAUgmPFXjFb9587bdhzQOfs5dmFr7-OGofIbqCim6rE4kbnLtKkQ6hRIV9Ndg1aCc3eSSLdkGaHHLbbyxhxxat3Z7fRuGIrOPOy5u0WxuCLD-6A3EC0rbU6uz0ECVoUoVTMgcjgCabePu3HmZJMUbG9Y/s72-c/peaks.jpg",
"https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_tj8YACM2zj5VPue11J4oepTdROHMJsUxZ08U5NyNJ8kEdIxO1w7HGvFN_HSJ0O9lLNh2vekbGyPBwBy90O8O1onxVWzLLlkBZu=s16-w16-h16",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_RSRPMmoBBBaejsoiG35wS5trbV0Hz6ut8u0kEq5yM3aJzX5WTI48Z9h_n_Tw9B23CaWvKXntcax4EhdLujvGqk307sRJ2QCs1AzzJb_KmkF0WRG7-PeCgSCBAPDlfW5ktoN6OwSRROQWbQsAFWOA1cb32sib9nx8arnL6PJxcNck1j4pVvkcYPrBlOs/s72-c/VA-80521FEP'95.jpg",
"https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_vtn_xjsVfrLMDQlO2nVtlPuwTLsPv_TXXQjVadghc-QCOjT5wzS8CatEBo9iXpfVCuYon61pEcMIvNbpqyVwh7nIi32u1v44DcuzgXvA=s16-w16-h16",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjpC7ghsHxgAHm7UwTAgzJDorCpnmmQwiQSz5UVTdlirxm9DpeakgoggIuVu-RvdUkwRLFSqXVWEGiL7iY4VdbIwRJZWZM2gSUIpVliyp20apL72L0LuGIICUnsNJ74IFPk2hoeFp4L-9XaNeV3JYv0UKgxlGxB6861O00pKW7Cs451A3C5cfNfPB_AiI/s72-w618-h640-c/R-1217830-1613048408-3099.jpg",
"https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_vqkBnNxijAb1bdCq0wXoCldqNSdUJ-08uxDIBrRJmHSxKwsGOnurYDXSAhBYBAxW4jHmnoiMMIkI-Zp4I0EnDeswK7CZbtoPXbCJvm6D4=s16-w16-h16",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQKESTvFc3mpmP_4BVC2alhlT8dxO61wCcfYddFRA3OnKqoV4z_DCwQSdLJ65wdGrnQ-M5ybJvJblD_J287z22MsKeOEb7YkRGxvrd4bvVrwJ5-BT3Ur2D5-aMVcPaPpp_upuxfRkIf3EDPxQJW4lh9OLdGVSBawESs0lbfapwRL9vAm2QYH9WZp_zh4a9/s72-w400-h395-c/img732.jpg",
"https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_tnDx0--PtCSHDD9Xe4-iby0YnMjr1rYlEFJ0zOMBUr0p3VrnZr1CjYocvUhjAQvylCZHiEzkm-11RlVR86uHn2IFMZbVdH-QcR-W1EjCg=s16-w16-h16",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtUnsXoP4BhJYLY-2n2tymA6-try6G0qDuzK3TLGqZfzjkRnnjqcYZmYl74MxBw4HUBUhy4C0ofxkgEfPAHjTxEVziZ4FFadDmolhjA-9m6yBsVZamd7gBsWKTXYwXWE9Xs8HCET9bgmN5eVV-cJisRFg8XEopuy5wbTufhzVmVDsIXz4gFv9Pu675a_A/s72-w376-h400-c/000%20cover.jpg",
"https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_sY4k6Wd_gM_eM5CvIVtTOD9sz0Xn1TYqFRkYTZRiITBGjY5U6P6xth617gCyJo09TBfboiIqrS88OxZlU4A06DazoL6R0h0-NF-YMgvBqBfLgS=s16-w16-h16",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYMvVJWY3_9T7zc7iwMNDGPqzZMOK8TraZwVdXp0fiNbLoftKxZzSl99VjmGC4g3Fa2uhlGXjecBSGfYfSdukd1tSI6m4XTgkSCa71bZgm9aL_gTS1DpWfDvqNU9y2zrMCOtnIWcOl6crUFFPf2QUyhXz8qs6y_5icQmSKsiFrUbepGYERZUZBp2tEGZ4a/s72-w200-h199-c/lbl.jpg",
"https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_v1UyQzr28TPLSmsKMxEtx2ZCSCw9FVjzcK958_fjXptmuheO69FT_YQCrmAWjf-TPqxg0cBrn_2IJXJqzblTO-nXq_1FE7dppU9Q=s16-w16-h16",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7UsfHZhx_Eog-Au32e7ckWk4anaXzNg3jqzfVofFOwtvpxdCrQHzi4D6mWlKH0wrAXECX6Zpkj5ZSCIhV99ozj6y6m8-1OWYM1J2Vi7zB82v6AVLraihUY-h-zM491RC3FT0Qsh9OEr2XUNXh8XWqrN4EircYVoviwNTeXOoKuNcZPjyCEhXNSYI9bE9q/s72-w400-h400-c/Stir%20the%20Cauldron.jpg",
"https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_shmtoDgE_Ta7chlPfccjeKxmDwqb_c_XhT5BAoIK-2hiJD--lAGHdHoSTK5eUJaGVndSPvFKF1Dcdikc-fCCGDKbNJMJkfeJxY8G0ILCl1DA=s16-w16-h16",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBX8xQuqIJKSZ9nRTUGQ4gxHQXhATFQPiBDrnomwiSCEHdT0IE0IM0ndi_6WmEdbyNQatBeHBvfW5tqY79ILF4gVXt-cUMCDbAVoXGDmWLXLsve02ddH-1TQZLU-1x8KuG5-S45Y8a-l5B5T-52_qZQj891IJoer-qBhEoxBOgv5ec-IZCutbtFb3o5QUp/s72-w400-h275-c/braxton1.jpg",
"https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_tb7i8vP56q9TA5UVZf4J8lCV812XE-4UUVgE5N8gcw81-5fI0j9_UcOKVl8ogZupMuICoWPGWQgj335C8cgzqniZ9bLGxuj3r7wPXMzQ=s16-w16-h16",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-ZtC1Wvv_DEKLyySyaeeiXTegaXOsNgxij0R2UI9C7dTpMlczdFVKi892Qiau4yansCHtuxZ4-QNzvw8q6iCqHClz_TgDC07f-OxK6ECdy48HoEHk98Vn1ZlH8ki8CPYtMSkst8b_RoXm46hGfAwXbBf5oJa1w2MDOGKUy9W6az5FhyRa537y/s72-w400-h385-c/cover.jpg",
"https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_sOhRBT4Kf4FQKSroSZNPZyqwekp4C5xMb_L2ODCXM1ukXBQlJfJPFggQUu07QRpyqjo59kElwvWuyEgmkVMfSTz_AUtz-lGyxtIR7jPQ=s16-w16-h16",
"https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_vrGUAzxp1kvpUcU-h5OwqDHnEbxLfkB_nPMRMjwwNJQtnzI3EaALlGgeDRHQWmBS78PmW9mIeuYWjEYwr0ZXX8QtR5paG5VqqBhfrv6W3vX0fiFg=s16-w16-h16",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbrCIX7jxCGuiELIL2nMwnMkZ9w87QtYwgJPTV5eVI5JmrF4WG7Z9IXOSiG2h4-qrThqabiW4mfosLpvq0J-RI996tD3EUaRjDwp2rEOLOv6Yhfgi0bNVudWJnba3dNh4PriRB2f50LwPvFHb4HdH4gSSbuPlEAJZHFhaRVxTH56mvUVNIEuf5hvykcnY/s72-w572-h640-c/pinkybarbowitz.jpeg",
"https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_thFWYiEo-56XgQpmLfmWiAxoyVdpCOHx_1rcOjUKlMS2CEZ37IrqyKJiv6ZIDFWDljWuRWkHVMm-g6C_EprAPiFz4VI02aWc_ADE6g_VxH77JoyD6-dqY=s16-w16-h16",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghz5kmHaJHnkgwpJXalyn4ADHvQEBa_bEcuP8VXWu4lPbD3-uGkb3OAzaf5iFKLhM56tpMYZYV9JCVqynjNC0KQFD4lptknJhJ2MUE4oydyvbsYJYRC9hE-BvxAQTLGm8H9SLS06l-pF8cEAv4tPMBPLzwRetVuZvCTgqHWKZT-5uygxMxSL65RkGEfXY/s72-w275-h400-c/01.jpg",
"https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_tRkEZmckarc7roxrrrFTCa8kMVoO_M7k1iz2R_SVvs--D3bxEH-AhQb8wbELQ7WdzBQKVhoOv8aSCJwrhT2skgcyOCRGONwF-JVp4F20DfCdj0bkOMQ5E=s16-w16-h16",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFJTL_PvWlXADHXIjrvRjpNLwD_lQa7huFDKhmPpnQs1q2KOKE86f6RNC0HI2wEZusCyplirBCbbfBQ13pvngR9aC2ia11cnZQ9sh_d7OBqoTXcJ778ewmnmCQpzmUcxzjjMyN3aAj9G_oUvADhZuNT2bQN42afU-TKaZEMqbACKiSYInxx7d-n4v2_hs/s72-c/mlphb+OH_2024.jpg",
"https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_t2puTu-GmgxCCMMeKvJtSWpK-jU4Sf6yeoR8z2M8ZAidiPKCEKvkRk5kumzFLwBS0H3VTB3Czp5Ol4KW7GcKAu9frF677fQH9FC3Oi2w=s16-w16-h16",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8_tsnUNQManPsNah8SogVlHup5WY5ePbjYuXhWcudO95yu8o3hFg1dhUuqz58lvNTO-Lkdwy4LULfBldHNWyKJqgwuLyZjZkorszSKNWqBWTiIaREEi86Q4UcgZ5tJytA8vLtbxy9fsHUYmmAjhpNyNQzC0szi1XDKIXm3hLJxGC8hZeycJR-teMo14Y/s72-c/Avantgarde%20Underground%20Festival%20Im%20Ballhaus%20Tiergarten%2020.06.85%20Ballhaus%20Tiergartenkl.jpg",
"https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_vtgpXj1-o6ZynLMpQaPVGXCMQQhPIHljGXK60i-6Wd7sz79aEJARdmYr0nZK-H7-xGM80NJhdd15GA1HQuoDkV88_OaIJHGptHC5Le=s16-w16-h16",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqINBHWNytNqTvdpPSIlz-O52q6IpnekINjM2E2SPs-uXnz0QS32MwVKrPIXWXxtJcpVB_lFzSBN4nwk0r5vMau2JIVs6SRyrwj51JmlOANutYbWYqeQ4lJuldDWNA3MPfM4WSHTGvhCqvPfmR3hC61Ilgc3I5-q1-vRzdo3XxO16bHcgxQq-8DBllbQc/s72-w400-h400-c/AnideicCoverBandcamp.jpg",
"https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_u_KE4tLD4I_FekgUjltqBWVO_quVWsBoRUpylnMlpizYM_6K6Phl4w_xfvKCIUVLidobtylr7cdJB33o5O0qmAT_sB3sDbdoxsjAMkhv8ygJTT=s16-w16-h16",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcp_aRCz4iW2jG102o-AcHKZFjvMzD4QX06K-V47vC0hw8dkcG5_MgQZ-GClaQp2JpCsQ_8-ou215VNmaC_CqMcCyS8FiIFrUAPbz6B7smcDkTand6W2YnfTBjwdKnlJ-cdOXj44EBz6RlwYG7vWAYnBvCVK1SoRya2wYEbOdTM3kF8nHwXTh0/s72-c/LP%20cover%20-%20dancing%20w%20text.jpeg",
"https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_uxK_2AtxNuNpB4areMFnMwSZcaokQfQrOVKdRtbFCwaZvR2Lfz9KEHlz95Frtqsfl04Up53cV-GxGnM-1bO4HW5nIlYHMm7joc=s16-w16-h16",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLeqKwP1c924Ssikb6RX40W-_T7xfbmXrh_5_5Kjf-hkcwUHwAE0HhT5wiBUeBHgeMx0l6RRgANPPx9uEn-KE55LGbM_oYeQ3c7NXRbcXVB9yaSjppWiFndNQKc4BVUv5ad6hyphenhyphen6CMmB4pz6iZ2SwHB1HPAM0FTblnzxd3wJgUoO_0_I7U566OcuFeHQLs/s72-w640-h426-c/1297843164895.jpg",
"https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_tTEWHct5E_rdKkgvOzzD6lyNYGDAQSR42oJiI_iwC5xwjuAkRFs_SkuQ0zoTV0FmaxiHuU7gLGvC1yR8DvH9it44hiVasfCZfjxVQVAQ=s16-w16-h16",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8dPFCMXRQfWHH29MsvsJJ0GT1CifOJfUMIvWbRdj2crlryvswrCyqSHFNaKyXIa5D3WDnEa-r9oXmZUTBxFgOL2dCfWeUhcmAiqjhFez8eKrQTZ1LtXBjF83XSxNtBVHfvxKwBhu4yh52T4P51V2fKHkfrn-AUGi0-L4SYsxn0njtWWsRXd20ons_kI1l/s72-c/R-1192449-1332793314.jpg",
"https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_vs18b8BExcJZJM5OPtC0MiESmRpsYR7GYDanBkMcH8jxgV0T0a90M6puH5-BRBZJD3kFoquK-zmUe1I9byu5SFEAvRuKAgWHkGV8OSXQ=s16-w16-h16",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj21VUE-OcGrsbyRtq7GZukJZX4sXbXT4T-Jkf_YePCGAJXv7dj9A3kzDKh08pdpC7401HBlSreJMGS90zFg4j09MnT03v6ZRM2fox-Wn-KOOB4aft-RzBhsfjxvF_UoRCQVUUyNWHcSFAzFYtM5ghch4N-tss0oqxpGBRqJnzH47YoCTJ2z0S_v_UUdmIZ/s72-w640-h426-c/Xmas23Card02.JPG",
"https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_tOz3Uf-W2qKE6Wx-9ucxAom4tHXG2Va0GXHhNFDDAIg2OgI0uhOYTj8agR8QdpMkOcnE12Js3K8nLacOVnibY4tyqVPnKRIA8BHSzqu-z36Og=s16-w16-h16",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCxfWX_1sd-YuPv5XtfQRF79tJnwQ8fFfMvWPGhHDKm_wNupONLi_d0N6803QaCZbuYups3xAEGJDSjSNbDQTesbFEpzkZDFNcLh-_LR7CGyIHSHZT65sFj3VuhuuHEoXXRfGn0rh0PSjw_A5VvgKOEJ8BgT_YeVsIdm-NRDbYqatNwcfVfhGrNa5mAIri/s72-c/rules%20of%20the%20game%20bandcamp%20cover.jpg",
"https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_uTmrJ4kqh9J6Bmt0C_NKx4NYNiJdA6Xf__yySGJyZYiVevYUe-bUFd15mAgIALUwcpaZvujJ1M5glpthAqSRHsziKH0NqteQr8T0l9O5ViutapBr0=s16-w16-h16",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJMeOhIa6c9oxBXNMSOVAJznCwRcjszuFtG4CQMkPOdJhiAraIfq-iv5iJ346qImT5DTgVyEJgb8udkuAgOkIxic9vQ8aFYwXC99IGAqg-1dZKuU0xHqYlBnMI23n_ToGv8Km7VOUyFuBuk9GTKezYZJ5ST7RRYguSu9UizsOPZnGfzxy8b6bYwe5AnZo/s72-c/Cover.jpg",
"https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_srf4JE8lOanvp2PxAcdfzEN_gOvLjqx37-COVNrbyXSCqn5Un2pO-87lSD8-ZNsLcYTnwgOnIZ7KbFrsl8yfVS4xdzzRJKPpzMPTul8X9PIpZ5ZquOaekfwsWi_Cc=s16-w16-h16",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEzL-_7bG0rjbVafDp-51HPjsW8KeEiVFDE7zr509NlcVGr_Z39GrRniV9f9ns5w_t-QN8pklWnnj48QlwcakhYYLudy6UuaEdRVWsY2HdbE_RbaEiDGrBDL9knlyrsU1-lb4FzjhkDe9L9l2ywodkhko63Wgo4WFxTG1skz78MZdX8yemVP4y8v8HKg/s72-c/gaznevada%20front.jpg",
"https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_uIk4y46Lu_rSFom46EFK_xmIE7df7GnYa3cBye1G-JGtcDAwWJZXPcwJi7d7aRWeRvh33Y-c7ude8X2N6_8LJZmpNmopO6adQLfGx-MPhYX_qd5Q=s16-w16-h16",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8O6ZLZtZ8Rh6qsO1scI5X_Bu33MauYN5LluzjnX8JFVW5r7n0cltVREAwgJG16pkl-sqsnvmWvoSDI36n38tj-MHaR-8G59TPt4felFshLi7LgMooEQeb_rUg-zFiPRI5x-9PSaIl2Ah6IuwEw22nkt1OtO87mwBB7hPvKjrwOxUdZZRR-iz-WG9TRw/s72-c/AlbumArt.jpg",
"https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_sf-zQk4Adg4hQbKOVK9N0zVE53BSPov1iG4v-YuXOZpPRRDMmHFdgqQI7jJ9Wz_fs_UzGF7W6_O3M0XChBa6O_egVcqI4oAqDxhKPVvxV_OZ1K=s16-w16-h16",
"https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_sp5DqRUTRn4nii61cMNBGVn5dUlEyLJDjisvvC2Ex-tB1vr1DOWwsCQ7-K3CVm1oU5rmmlJDAxPzM3ChDDCuKeNVhNMrwtLpg_KpY=s16-w16-h16",
"https://blogger.googleusercontent.com/img/a/AVvXsEh4nrGHwHizG3xiBQuAy-vud_0YsSj39tlEmL-L5kc5DIRnBEqyV-1hxHwRgl2otlKPQmZ-NdD3_IiMI2E_ZQsPLapzfm-Zrq9_GW12n26M2Nfhj8qbg4pfAaYZx5K2CGoGEejbEAJPAI1BQTYzW3S_iuzhAe0354y8MC2mcuMWdW-qKftbz_Zy8SD1=s72-c",
"https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_s7ZrkfnDByzsGznYPpfni0z4MO7ABe4MrIerevA99kjYO5q_bRjsZBmSlOtNpIWix9ADkaWiNRU06wiLjMmTCtpGkhXVroume3esFws9owDy1g=s16-w16-h16",
"https://1.bp.blogspot.com/-5i98ed45Aww/YV5Et8cdS-I/AAAAAAAALYk/RfdL9BJSI0Q3cH2-jxiBdDgp2bdrh95wgCNcBGAsYHQ/s72-c/ii%2Bcover.jpg",
"https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_sfJ_pUw5VQT_Kt7Vg8ZrIz6QxsBKIuXfS14BRbNmZWj8DIKsA3JAcMai4Oxx1C-GuUROFtnlsq7vkHU8YJfhqSeIYiWnBSoSBXmg=s16-w16-h16",
"https://1.bp.blogspot.com/-LGIiQ9UHa28/YM3iKUw3KVI/AAAAAAAAEqA/O5M0k5ym2NgUrrrNe-qmCrB-4LrOHFBgwCLcBGAsYHQ/s72-c/cover.jpg",
"https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_t2kugN_Vn9i-YWnklm8Mr3KccmlJYgPCTm-JxHDZtiQPYqgFzCSQZgHAmrenpkimU67xjlb8PazLFJgspn7mO5yZCijPRKfXLwQs_YrnDh6Kzimj4=s16-w16-h16",
"https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_uo_UpnC4QgBek6rTQdOCus8N2qcQR-g8DD1LhyjAZ5b4iCnVTAcw36CZdtqgqYLPklwxKv9kFxZfve_fRXKIYJ0F5abamgO-RSxc0ZxgPc=s16-w16-h16",
"https://1.bp.blogspot.com/-I0C7xzoliDE/YAUFpL0FjrI/AAAAAAAARQ8/t-oIlL4usAcPdiYU3iphNACTjVs7TJwzgCLcBGAsYHQ/s72-c/R-1294008-1386108429-6286.jpeg.jpg",
"https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_tfEKqQFm99W8Ale7w_e84QdyB78yoHnhCyv0eEqgll2KHWfeAhU5CQY0Ube2q8DWZtAQFJ2rHOqdfQVqKZ6WbvRJpMFAF4EH3J-fbB8d6aeFW6z1If1mk=s16-w16-h16",
"https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_tLLSgIyz3svGBdMLG9REnAYPNoHw-oJZOoGyTjaClLxycZ3mcJ2uLSR96C6LJjP_vHb8J9EsF-li5cvEunRNNVSDBVX4w7vl3b9cn1xRd-GdW9=s16-w16-h16",
"https://1.bp.blogspot.com/-CbAwpNU9azE/Xti-UXcDBzI/AAAAAAAAAr0/61zOXvCexYMtgnwu4eDcXOjVNlHJCIsGQCLcBGAsYHQ/s72-c/R-1896595-1250854418.jpeg.jpg",
"https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_t0WwF64igqMpWL13b86Zown-iCYNXkuABCozWR-7FVrLbN5HY44MbWT7JM5aogQwx-uQ0K8NAll0hrvYEpUrWPKA1hWtO9YNA5_DZeOUPmBJCbQQ=s16-w16-h16",
"https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_v5qZUzsr2WHb95nAVHDZ5uDZDFzv_kYLyAz-1mAF7kvyvXEyZPTjfD8-JsWkxqM2cvC7Z6rDy5ZHUtQwmYKJ352otFtzb7gGTg8g=s16-w16-h16",
"https://4.bp.blogspot.com/-17hez8CptJk/XIxbCfCbI0I/AAAAAAAATRs/61ZSVLCgZaEe2LRCOMEAvFiCO2SgyNGigCLcBGAs/s72-c/rural%2Btourniquet%2Bbandcamp.jpg",
"https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_ucC9J_gflY60yAqP3eB2oW16AbOjhhbf4-BvSpdXC64palodvZ9twFf-VopQaQrxdrjQkARNjv6weHoNo0jfvi6IhYC25CVw4M6T_NslU=s16-w16-h16",
"https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_vyHCMQPqs8ku4RrKgciM8BBkaoYXaeukGMxX6tYGPC_ix4pF4nW5DObHXwR3ylnPYve-LGyxe-hhx4sTYue2zUm4jGV-9iWkfE-G-6MgVK1MHuSNHxOSzV=s16-w16-h16",
"https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_u9FF7Nc0eemvMO6a6Ru6YDjCJ0fuPLQg4_LDyV9VKneNKO7_911OKmj65G6eJnRPprfxaIlewPn_0h9nUiCbAU_-c7oDDg_Pgq3DTBiw=s16-w16-h16",
"http://3.bp.blogspot.com/-yQmC1-3E4z0/WQroZafd7hI/AAAAAAAALHo/MWsEXyQVbIA7qJ0D2f0CJY2-35_cjnoegCK4B/s1600/CRT_THEOODLOGS1-1.jpg"
] |
[] |
[] |
[
""
] | null |
[
"Jonny Zchivago"
] | null |
Where I come from, the name Lazza is short for someone called Larry,which is shorter for Lawrence. 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
| ||||||
1053
|
dbpedia
|
1
| 3
|
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
|
3
| 19
|
https://m.facebook.com/BalkanTopMusic/photos/bijelo-dugme-trans-white-button-was-a-former-yugoslav-rock-band-based-in-sarajev/211786038945840/
|
en
|
Du wurdest vorübergehend blockiert
|
[
"https://static.xx.fbcdn.net/rsrc.php/v3/y8/r/k97pj8-or6s.png",
"https://facebook.com/security/hsts-pixel.gif"
] |
[] |
[] |
[
""
] | null |
[] | null |
de
| null | ||||||||
1053
|
dbpedia
|
2
| 43
|
https://www.tiktok.com/discover/to-be-a-god-day-to-be-a-god-dog-sa-prevodom-10-epizoda
|
en
|
Make Your Day
|
[] |
[] |
[] |
[
""
] | null |
[] | null |
en
| null | ||||||||
1053
|
dbpedia
|
1
| 16
|
https://snowsovgethen.com/journal/category/new%2Bwave
|
en
|
new wave — Listening Journal — Snows Ov Gethen • Hermetic Journals
|
http://static1.squarespace.com/static/51e9a95fe4b0c62bf88b254b/t/61e6d07d6fdb7a0bc2eaf090/1642516609579/SoG91.png?format=1500w
|
http://static1.squarespace.com/static/51e9a95fe4b0c62bf88b254b/t/61e6d07d6fdb7a0bc2eaf090/1642516609579/SoG91.png?format=1500w
|
[
"https://images.squarespace-cdn.com/content/v1/51e9a95fe4b0c62bf88b254b/438f7759-7e78-4669-adc6-2970efb2da6a/SoG91.png",
"https://images.squarespace-cdn.com/content/v1/51e9a95fe4b0c62bf88b254b/438f7759-7e78-4669-adc6-2970efb2da6a/SoG91.png",
"https://images.squarespace-cdn.com/content/v1/51e9a95fe4b0c62bf88b254b/1722529360992-YILOK03Y2E6BODUR3E9B/snows-ov-gethen-hermetic-journals_jill-kroesen-stop-vicious-cycles-1982-lovely-music.jpg",
"https://images.squarespace-cdn.com/content/v1/51e9a95fe4b0c62bf88b254b/1721061480980-QNP6OWZ6EC5F1XC7M58P/snows-ov-gethen-hermetic-journals_steve-hiett-down-on-the-road-by-the-beach-girls-in-the-grass-1983-cbs-sony-2019-be-with.jpg",
"https://images.squarespace-cdn.com/content/v1/51e9a95fe4b0c62bf88b254b/1720032905939-KQKEV5X4W33Y3QO6FUR2/snows-ov-gethen-hermetic-journals_dome-dome-2-1980-dome-rough-trade.jpg",
"https://images.squarespace-cdn.com/content/v1/51e9a95fe4b0c62bf88b254b/1716495018506-W94IKAP6EQA5KOHUAIJP/snows-ov-gethen-hermetic-journals_brian-eno-david-byrne-my-life-in-the-bush-of-ghosts-robert-fripp-no-pussyfooting-1981-sire-1973-island.jpg",
"https://images.squarespace-cdn.com/content/v1/51e9a95fe4b0c62bf88b254b/1716496826601-3NLGGIYMKUD9QS32XPOU/snows-ov-gethen-hermetic-journals_craig-leon-nommos-visiting-cassell-webb-the-thief-of-sadness-1981-1982-takoma-arbitor-1987-venture.jpg",
"https://images.squarespace-cdn.com/content/v1/51e9a95fe4b0c62bf88b254b/1716570991891-ZMD2QJ5AJHY6B9224URI/snows-ov-gethen-hermetic-journals_grace-jones-slave-to-the-rhythm-1985-zang-tumb-tuum-island.jpg",
"https://images.squarespace-cdn.com/content/v1/51e9a95fe4b0c62bf88b254b/1709336408326-GE70TQGKC6CV3K1EB2RW/snows-ov-gethen-hermetic-journals_minimal-compact-self-titled-lowlands-flight-1981-1987-crammed-discs-made-to-measure.jpg",
"https://images.squarespace-cdn.com/content/v1/51e9a95fe4b0c62bf88b254b/1708532881886-X4ASIXSZKI2RYHW9Y3AJ/snows-ov-gethen-hermetic-journals_danielle-boutet-pices-1985-2024-freedom-to-spend.jpg",
"https://images.squarespace-cdn.com/content/v1/51e9a95fe4b0c62bf88b254b/1701370610696-H2O2LZ7EYDL1Y4F4VWVU/snows-ov-gethen-hermetic-journals_top-60-reissues-and-archival-releases-2023-part-1.jpg",
"https://images.squarespace-cdn.com/content/v1/51e9a95fe4b0c62bf88b254b/1694452482065-YVQ9HT0J6L0F46FL3AE4/snows-ov-gethen-hermetic-journals_virginia-astley-from-gardens-where-we-feel-secure-1983-rough-trade-happy-valley.jpg",
"https://images.squarespace-cdn.com/content/v1/51e9a95fe4b0c62bf88b254b/1688677007566-YL90IF9Z240IC3MWG7C5/Snows+Ov+Gethen+-+Hermetic+Journals+%E2%80%A2+Radiation+Ruling+The+Nation+%E2%80%A2+The+Heatwave+Edition+%28Artwork%29.jpg",
"https://images.squarespace-cdn.com/content/v1/51e9a95fe4b0c62bf88b254b/1689797546133-4KK36OI00KP41T7606JW/snows-ov-gethen-hermetic-journals_wally-badarou-chief-inspector-words-of-a-mountain-1986-1989-island.jpg",
"https://images.squarespace-cdn.com/content/v1/51e9a95fe4b0c62bf88b254b/1684423235986-T9LW7EGAETIO2ECDXGD1/Snows+Ov+Gethen+-+Hermetic+Journals+-+Into+The+Labyrinth+%E2%80%A2+Sacrificial+Dances+Of+Knossos.jpg",
"https://images.squarespace-cdn.com/content/v1/51e9a95fe4b0c62bf88b254b/1681330224745-T234CQZM896214BDGHI9/snows-ov-gethen-hermetic-journals_nenad-jelic-laza-ristovski-opera-1986-pgp-rtb-2023-soundway.jpg",
"https://images.squarespace-cdn.com/content/v1/51e9a95fe4b0c62bf88b254b/1678291549164-DUYDJFZAKEVT1AOO620S/Snows+Ov+Gethen+-+Hermetic+Journals+-+Sinteticos+Portugueses+%28Artwork%29.jpg",
"https://images.squarespace-cdn.com/content/v1/51e9a95fe4b0c62bf88b254b/1674592904298-6JV7PZRQDJZN8VZDA6Y0/snows-ov-gethen-hermeetic-journals-best-record-stores-of-chicago.jpg",
"https://images.squarespace-cdn.com/content/v1/51e9a95fe4b0c62bf88b254b/1673640241562-0NYDWKP0V22H0VQF7M5W/snows-ov-gethen-hermetic-journals_conrad-seto-secuencias-para-la-era-de-acuario-1990-nova-era.jpg",
"https://images.squarespace-cdn.com/content/v1/51e9a95fe4b0c62bf88b254b/1673464667322-LYQJ4NRHXZAQQU7RSIZV/Snows+Ov+Gethen+-+Hermetic+Journals+-+Greek+Music+Travelogues+-+Byzantine+music%2C+Tsabouna%2C+Xenakis%2C+Vangelis%2C+Platonos%2C+Theodorakis%2C+Katsoulis+%26+more.jpg",
"https://andrew-elvish.squarespace.com/s/btt-icon.png"
] |
[] |
[] |
[
""
] | null |
[] |
2024-07-17T00:00:00
|
Snows Ov Gethen • Hermetic Journals Musings on experimental music of all shades and colours.
|
en
|
https://images.squarespace-cdn.com/content/v1/51e9a95fe4b0c62bf88b254b/a6c83d43-d16d-4dc8-a026-326ac92d24ab/favicon.ico?format=100w
|
Snows Ov Gethen • Hermetic Journals
|
https://snowsovgethen.com/journal/category/new+wave
|
Let’s stay with LM, Ltd. for the moment. Here’s one by Jill Kroesen. Her only full-length, but some people might recognize her distinctive nasal-to-mutter’y deadpan from Dinosaur L‘s “24→24” classics. Cutting like a knife through Arthur Russell’s thick, lubed-up disco arrangements. Su Tissue battles Alan Vega in one throat. Although, as far as can be deduced from “Honey, You’re So Mean”, she could also do raspy Marianne Faithfull with Cher-like sliding warble bookending verses. Very odd and not particularly well-controlled type of voice, but memorable. Not for nothing Ashley casted Kroesen as Isolde in “Perfect Lives”.
What a dirty shame she left music so soon. They say to pursue videography… Judging by “Stop Vicious Cycles”, Krosen was a bonafide entertainer. Overall, her pieces –arranged in collab with her sometime bandleader in Love Of Life Orchestra Peter Gordon - oscillate between artsy torch song and energetic pastiche of ZE Records. Their self-conceptualised “mutant disco” (Christina, James Chance, Kid Creole). A fun microgenre that was absolutely ruined in the early 00s via hipster reissues and inept stylisations. Somehow Kroesen was spared, apart from her Russell contributions. Perhaps she wasn’t pop enough or because her stuff was published on avant classical label. Most people run the other way when someone is associated with avantgarde opera. Talking about …
Read More
Deep summer classic no.2. We are now in Miami. There’s a fashion shoot on the beach. Fancy cars and catering trucks in the parking lot. Must be Vogue Paris! Or perhaps Marie Claire? But they are shooting something very American. Calvin Klein, Tommy Hilfiger? Michael Kors and Marc Jacobs are thankfully not yet a thing. There’re underwear models frolicking about. Young Linda Evangelista? Clothes are recognizably 1980s, but hair and accessories are throwback to the ‘60s. They are playing strange dubs of Beach Boys to get people in the mood. The ocean behind the proceedings is the same hue as Yves Klein’s “California”. Wait, that’s not Beach Boys. No vocal harmonies to be found. On a side note, I can never understand when people breathlessly admire Wilson’s “complex chord progressions”. What’s so intricate about incessant V-ii-V-I or basic I-IV-V with occasional sprinklings of suspensions and major/minor 7ths? Anyhow, that’s not Steely Dan either. Even if their sometime guitarist Elliott Randall (like Mme Abramovic’s ‘Artist’) IS present. Perhaps it’s an extended balearic edit of Fleetwood Mac’s “Albatross”. Nah. Maybe those are unpublished instrumental tracks for John Martyn’s “One World”? Or is it young Viny Reilly? …
Read More
Brain-melting heat. Feel woozy, like transitions in the clip above. Dome 2 feels illustrative. Especially the Coil-like first part of “The Red Tent”. Second partition is just Gilbert’s annoying bleating over metallic industrial chug. Sounds like exhausted slowed-down Warm Leatherette. No wonder Mr. Miller backed Gilbert’s projects on Mute. Many people think it’s “experimental”. “Long Lost Life” renders like an odder precursor to Sonic Youth if only they weren’t so American and excruciatingly boring. “Breathsteps” goes a bit 20 Jazz Funk Greats. I could almost imagine Genesis P.Orridge doing a cover version. Savouring the intoning over that prickly mechanoid rhythm. “Reading Prof B” has balafon’ish feel to it. I always thought Dome worked out better in their quieter, vocal-less fragments. With bravado guitar screeching traded for gentler discordant texture. “Ritual View” could have been Dome’s new wave chart-topper if only it wasn’t smothered with static patina of foregrounded synth pulses and out-of-tune guitar. “Twist Up” has a bit of Germanic vibe to it. Beate Bartel’s CHBB tapes come to mind. “Keep It” starts out like an outtake from some obscure video nasties soundtrack. A slasher set in …
Read More
Two aural pharmaceuticals. The former for revving up, the latter for winding down. Took these out to distract myself from their author’s late-career forays into self-promoting brand of climate change ‘activism’ and designing LED-lit novelty products. The other day I saw Eno’s new advertorial promoting some odd music-publishing platform. Fast like a (streaming) riverflow and ‘elaborately slow’ - probs implying vinyl with limited edition rugs and designer incense. Sounds about as innovative as Neil Young’s Pono. All I was thinking is that most musicians can’t figure out existing ‘platforms’ while the overwhelming majority of potential audience couldn’t care less how to consume it. As long as it’s free and plays on their screens.
Once upon a time Eno was implicated in producing music. “My Life...” and “No Pussyfooting” are among his most successful blends. Making thorny, overcomplicated concepts of unloved avantgarde instantly agreeable to people who never cared for ‘experimental’ art. And there were as many haters as there were admirers. The latter thinking him pop music’s John Cage. While the former condemn the theft of ideas and pop art’ing the niche. On my part, I can’t help but admire the audacity of Eno’s undertaking. Transmogrifying impenetrable and acquired taste into mass-market is not easy. Synthesizing arcane, conflicting philosophies into …
Read More
What unites these very different records? The answer is the producer. Craig Leon - a celebrated in-house studio wizard for Sire and preeminent engineer of new wave sound. See his oft-cited work with populist stratum of mid-70s NYC Downtown (Talking Heads, Blondie, Suicide). Coincidentally Blondie was a Chrysalis signee and Chrysalis co-owned John Fahey’s Takoma. And Cassell Webb - a fellow music biz professional with roots in Texan psych (various Lelan Rogers projects like Red Krayola, Children and 13th Floor Elevators) - was already in the picture in those years. Working with Leon since his late ‘70s relocation from East Coast for fancy LA postings with Polygram.
Both could be considered music industry’s veterans, by the time of Leon selling Fahey and his manager Denny Bruce (ex-assistant to Phil Spector’s associate Jack Nietzche) the outlandish concept of Nommos. The latter is a synth-tempered ‘imaginary folk music’ of mythical extraterrestrial visitors to Malian Dogon tribe. The latter’s actual music is available through terrestrial field recordings by Ocora’s ethnomusicologists. Despite Takoma’s pre-existing Moog projects with Bernie Krause the album still feels like a catalogue outlier. And Webb was instrumental in procuring …
Read More
Near perfect pop album and the final in Grace Jones’s unimpeachable run through the first half of the 1980s. And of course one of Trevor Horn’s finest productions. Sometimes I wonder what he’d do if hired to produce some of today’s generic starlets. In many ways one could say that his over-the-top approach and ‘widescreen’ sound prefigured today’s studio indulgences. But whereas modern pop is suffocatingly overproduced (and over-compressed) his is airy and sweepingly cinematic in gaudy technicolour. Packed with dynamic contrasts, spatial effects and arousing nuance. Arousing is actually the qualifier that feels à propos of all his productions, whether it’s due to the material he was asked to work on or an outcome of production style. Perhaps both. And “Slave To The Rhythm” is a fine example of it.
People wrote a lot about this record and there’s mistaken belief that recurs in regard to it being a precursor of remix albums. On my part I was under the impression dub producers, including the ones who worked with Jones at Compass Point, made a lot of those throughout the ‘70s. Regardless, “Slave To The Rhythm” is an interesting brew. Spinning rather flimsy sole seed of songwriting into a crazed symphony of immoderate …
Read More
The first and the final by this Tel Aviv via Amsterdam unit. Originally a quartet of Malka Spigel (also check out her poly-stylisitc late ‘90s solo run on ~swim), vocalist Samy Birnbach (future curator of Freezone - Crammed’s influential ambient electronica series) and guitarists Berry Sakharof and Ramy Fortis. Plus, rotating cast of invited guests (including Wire members) post-relocating to Holland. The last two were a bit like punk era’s experimental rock pioneers back in their own country. This is according to Regev/Seroussi’s unyielding UCLA publication “Popular Music & National Culture in Israel” which I cruelly subjected myself to while reading up on Arabic-derived Musiqa Mizrahit.
MC’s self-titled EP of the ‘81 starts out like a carbon copy of A Certain Ratio’s “Do The Du”. Birnbach delivering pitch-perfect Ian Curtis’s greyscale monotone over funked-up post-punk beats. It’s openly derivative - a variation on the early Factory bands, concurrent NY hipsters (99 record roster like ESG and Liquid Liquid) and more lyrical takes aligning with 154-era Wire. Mark Hollander’s guest turn on clarinet/sax imbues this offering with je-ne-sais-quoi colouristic …
Read More
These days our local Québécoise Danielle Boutet is a psychology prof. Residing in the Atlantic facing north-eastern town of Rimouski - a popular destination for oceanography students and whale watching types. But in the ‘80s she dabbled in music and fine arts. Channeling it into two self-released collections of DIY melancholic Francophone chansonettes with off-kilter trappings of new age’y synth pop. Emphasising poésie and muted theatricality. Listening to it I wish Boutet would have sent it to Hector Zazou. I’m sure he’d flesh it out into a bonafide genre-bending confectionary. Fit for hallowed catalogues of Crammed Discs. But it was not to be, and the thing is a thrillingly obscure self-published cassette.
With cascades of stylistic name-droppings press notes enthusiastically suggest wide-ranging eclecticism. Going as far as “jazz noir” and minimalism. All I can say is you’d have to be very imaginative to hear that. With the latter it’s as if any record featuring a few modulating arpeggios and marimba is now a fair candidate. Although I must admit that on rare occasion (specifically the “tone poems” of both Hivers pieces) the ever-present blend of xylophones and synths create fleeting aural impression of something off early Midori Takada if one would remove virtuosity and rhythmic invention. As to the jazz tangent it’s even less plausible considering Boutet’s unadorned …
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
Gardens are still lush outside, pollinators still buzzing over surviving echinacea. But in a silent reminder that this won't last for much longer (especially in our Canadian climes) people start to put out buckets of chrysanthemums and strange-looking compositions of ornamental grass and kale. Never understood the attraction of the latter in flower arrangements (even less so as food). This longwinded sidenote is to say that Astley's sweet and daydreamy 'pastoralias' for piano, woodwinds and field recordings are pitch perfect for this transitional moment when golden-lit end of summer segues into savoury comforts of autumn.
Right after this one Astley went on to become 'big in Japan'. Recording minor synth pop classic with Ryuichi Sakamoto. Even featuring David Sylvian cameo. "Gardens" seems like an outlier in her discography. Most likely it has roots in Astley's earlier collaborations with ex-Skids lead singer Richard Jobson. The ones where the latter intones heavily accented poetic streams over melodious French modernist piano accompaniments. It only makes sense that Astley's gardens are perfumed with the airs of Giverny. Coloured with …
Read More
In the mood for dance music as of late. Goes well with the relentless heat, which is seemingly everywhere I go this summer. So, here's something apropos - the Heatwave mix. I'll call it Radiation Ruling The Nation (the Mad Professor reference). So yes, I was a bit nostalgic for the old-school beatmatching I guess, so it's a fully mixed thingy. Like in the olden days. As well as silly samples and homemade mashups. No other rules, but to keep it as unserious and silly as possible. The first part is in sexy Balearic booty-swaying tempo - works well with the rosé and bubbles, second is a bouncy house hour, so you'll need something stronger. Streaming and the tracklist inside.
Read More
Spending some quality time with Wally Badarou. A perfect soundtrack for a long lazy weekend in the humid heat.
Badarou is probably the most distinctive of synth pop / new wave era keyboardists. His sound is basically all over Island catalogue in the 1980s, which says a lot. Most importantly Grace Jones’s best stuff, but also Marianne Faithful, Talking Heads, Level 42, Manu Dibango, The Tom Tom Club… The list can go on and on. Despite adapting to each of those distinctive artists I think Badarou always brought this very specific colour to any material. Now I know he is a French guy with Benin ancestry, but I can’t help but feel various vernacular musics of Africa in his playing. The curlicues of Ethiopian music, the sweetness of Wassoulou, the groove of Nigerian funk. But also the spaciousness of Jamaican dub, which I think was …
Read More
Picking up the intermittent thread of wild musical brews concocted deeply behind the Iron Curtain. This one came out on state-owned PGP (imprint of Radio Television Belgrade) in the final years of Socialist Yugoslavia. As with Perestroika era in simultaneously unravelling Soviet Union this was politically and culturally milder period, hence the tolerance for weirder music that wouldn't necessarily find state sponsorship earlier. An easier era of growing socio-cultural liberalism preceding disastrous ethnic conflicts and civil war of the 1990s. Or so it seems on the outside. I'm sure the reality was much more complicated...
But let's not dwell on politics. This feels like a Serbian answer to Trevor Horn's larger-than-life production for various Zang Tumb Tuum acts of the 1980s. Super-producer's tool of choice Fairlight CMI is not used on this one (most likely due to budgetary…
Read More
Continuing the travelogues of world record stores. Here is my stop in Chicago. If you ask me, one of the best places to dig in United States. As with other mini-guides that I’ve did for Athens, London and Paris I’ll keep this one updated on repeated visits. Even though record store maybe an endangered species there are still some new places that pop up and obviously there are the ones that sadly close their doors. For now what’s included are overviews of Dusty Groove, a few Reckless Records locations, Shady Rest, Dave’s (now sadly closed), 606 Records and Shuga.
Read More
Was reorganising my Spanish records and found this pleasingly obscure synth gem from the late 1980s Barcelona. Imagine if Roedelius played a blend of Weather Report, late 1980s TV ident muzak and Philip Glass keyboard études with manic intensity of Conrad Schnitzler and synth timbres of Telectu. If it sounds too much it’s because it is, but in a very endearing way. Miraculously this is not in Chee Shimizu’s ‘Obscure Sound’ , but would have been right at home in fancifully entitled “Accidental Music in Spain”.
I couldn’t find a lot of information on the author Conrad Setó, but he is listed as “jazz pianist”. Although brash digital synth textures permeating this record make the relationship to jazz hard to pinpoint at first. But then when you listen closer…
Read More
Last summer I was on extended stay in Greece. It was a great opportunity to learn about the country’s rich musical heritage. Some of it I knew prior to the trip, but a lot was entirely new. To coincide with my trip I prepared a few entries on my favourite Greek music. At the end of my travels I also made a Hellenic-themed radio program for Bristol-based Noods Radio merging ‘field ambiences’ collected on the trip with some of those selections. Additionally mixing in some of the music discovered or recommended in various record stores around the country. Talking about record stores I also made a parallel series on Athens-based joints selling vinyl which can be found here.
At the time I couldn’t post it online other than in sporadic social media entries, but now I decided to compile all these entries into one compact resource. Perhaps someone will find it useful as an entry point to Greek music. I have to admit that aesthetically it’s really far from traditionally recognized canon of Greek popular aesthetics - in this way you won’t find any laïko, rebetiko or pre-1980s pop in my selections. Instead I was more interested in exploring Greece’s small, but storied avantgarde, synth music, experimental pop, some idyosincratic folk traditions and its sacred music. It will be a work in progress and I’ll get back to expand it some more on my upcoming trips. Without further ado here are my Greek Music Travelogues…
Read More
|
||
1053
|
dbpedia
|
2
| 14
|
https://www.crashrecords.co.uk/products/nenad-jelic-laza-ristovski-opera-pre-order
|
en
|
Nenad Jelic & Laza Ristovski - Opera
|
http://www.crashrecords.co.uk/cdn/shop/products/image001_5_65f2122a-a732-42b7-9cc7-70dc8e46699f_1024x.png?v=1674751207
|
http://www.crashrecords.co.uk/cdn/shop/products/image001_5_65f2122a-a732-42b7-9cc7-70dc8e46699f_1024x.png?v=1674751207
|
[
"https://www.crashrecords.co.uk/cdn/shop/files/dinked_w_2000_80x.png?v=1613594945",
"https://www.crashrecords.co.uk/cdn/shop/files/Crash-Records-Leeds-e1535027244310_80x.jpg?v=1613581309",
"https://www.crashrecords.co.uk/cdn/shop/files/Crash-Records-Leeds-e1535027244310_200x.jpg?v=1613581309",
"https://www.crashrecords.co.uk/cdn/shop/files/dinked_w_2000_80x.png?v=1613594945",
"https://www.crashrecords.co.uk/cdn/shop/files/Crash-Records-Leeds-e1535027244310_80x.jpg?v=1613581309",
"https://www.crashrecords.co.uk/cdn/shop/products/image001_5_65f2122a-a732-42b7-9cc7-70dc8e46699f_60x.png?v=1674751207",
"https://www.crashrecords.co.uk/cdn/shop/products/image001_5_65f2122a-a732-42b7-9cc7-70dc8e46699f_800x.png?v=1674751207",
"https://www.crashrecords.co.uk/cdn/shop/products/image001_5_65f2122a-a732-42b7-9cc7-70dc8e46699f_130x.png?v=1674751207"
] |
[] |
[] |
[
""
] | null |
[] | null |
Nenad Jelic & Laza Ristovski - Opera Combining percussion- laden rhythms with synthesisers, vocal samples, and attimes unexpected acoustic instruments, the album became a cult classicamongst fans of fourth world and Avant Garde music.Nenad Jelic is one of the most original artists to appear on the Serbian musicscen
|
en
|
//www.crashrecords.co.uk/cdn/shop/files/favicon-v2_48x48.png?v=1613617915
|
Crash Records
|
https://www.crashrecords.co.uk/products/nenad-jelic-laza-ristovski-opera-pre-order
|
Combining percussion- laden rhythms with synthesisers, vocal samples, and at
times unexpected acoustic instruments, the album became a cult classic
amongst fans of fourth world and Avant Garde music.
Nenad Jelic is one of the most original artists to appear on the Serbian music
scene, a percussionist obsessed with melody and silence, a multidisciplinary
instrumentalist. A member of the line- up of musicians which released the cult
album Balkan Impressions, he was one of the originators of the World Music
movement in Serbia.
For fans of: Jon Hassell and Brian Eno (Fourth World), Michal Turtle, Harold Budd,
Boards of Canada, Gigi Masin and Actress.
Tracks:
Rhinoceros II
Gajeiro
Lamentation
Sometimes At Nine
Rumba Balcana
Gitanes
In The Sky
--------------------------------------------------------------------
|
||
1053
|
dbpedia
|
3
| 58
|
https://www.calameo.com/books/0027057438d9355f0b91d
|
en
|
File Under Jurassic Rock - Y (2011)
|
https://www.calameo.com/books/social/cover/0027057438d9355f0b91d
|
https://www.calameo.com/books/social/cover/0027057438d9355f0b91d
|
[
"https://i.calameoassets.com/130904194452-e104c89b7d70eefc1107271232c38121/large.jpg"
] |
[] |
[] |
[
"convert pdf to html",
"create digital magazine",
"digital catalog",
"digital magazine",
"digital magazine software",
"digital magazines",
"digital publication",
"document sharing",
"ePaper",
"flip book software",
"flipbook software",
"free flip",
"book interactive",
"documents",
"magazine",
"publishing online",
"catalog online",
"catalogs online",
"documents online",
"magazine online",
"magazines page flip",
"pageflip pdf",
"flipbook",
"publishing services",
"publishing software"
] | null |
[] | null |
Publishing platform for digital magazines, interactive publications and online catalogs. Convert documents to beautiful publications and share them worldwide. Title: File Under Jurassic Rock - Y (2011), Author: Carsten Busch, Length: 94 pages, Published: 2013-09-04
|
en
|
//s.calameoassets.com/pinwheel/8985-6c752d/platform/img/favicon/apple-touch-icon-57x57.png
|
calameo.com
|
https://www.calameo.com/books/0027057438d9355f0b91d
|
An Encyclopaedia and Guide to Progressive Rock and Related Musics Chapter Y Edition 2011 Compiled, written and edited by Carsten Busch & Friends File UnderFile Under JurassicJurassic RockRock
An Encyclopaedia and Guide to Progressive Rock and Related Musics Chapter Y Edition 2011 Compiled, written and edited by Carsten Busch & Friends File UnderFile Under JurassicJurassic RockRock Less
|
||
1053
|
dbpedia
|
1
| 41
|
http://discom.bigcartel.com/product/luna-nestvarne-stvari-lp-reissue-2020-pre-order-coming-out-on-june-21
|
en
|
Luna-Nestvarne Stvari LP, BDR21, (Reissue 2020, Pre-Order, Coming Out On July 21!)
|
[
"https://assets.bigcartel.com/theme_images/63248703/Discom+beli+logo+big+cartel.jpg",
"https://assets.bigcartel.com/product_images/303325335/Luna+front.jpg?auto=format&fit=max&h=1000&w=1000",
"https://assets.bigcartel.com/product_images/303303402/Luna+back.jpg?auto=format&fit=max&h=75&w=75",
"https://assets.bigcartel.com/product_images/303303447/R-15895559-1613838487-6603.jpeg.jpg?auto=format&fit=max&h=75&w=75",
"https://assets.bigcartel.com/product_images/303303453/R-15895559-1613838490-5807.jpeg.jpg?auto=format&fit=max&h=75&w=75",
"https://assets.bigcartel.com/product_images/303325335/Luna+front.jpg?auto=format&fit=max&h=1000&w=1000",
"https://assets.bigcartel.com/product_images/303325335/Luna+front.jpg?auto=format&fit=max&h=75&w=75",
"https://assets.bigcartel.com/product_images/303303402/Luna+back.jpg?auto=format&fit=max&h=75&w=75",
"https://assets.bigcartel.com/product_images/303303447/R-15895559-1613838487-6603.jpeg.jpg?auto=format&fit=max&h=75&w=75",
"https://assets.bigcartel.com/product_images/303303453/R-15895559-1613838490-5807.jpeg.jpg?auto=format&fit=max&h=75&w=75"
] |
[
"https://www.youtube.com/embed/-1bKLONW-rU"
] |
[] |
[
""
] | null |
[] | null |
Official reissue of impossible to find Yugoslavian new wave gem, released by Blind Dog Records and Sareni Ducan (the first press from 1984 was...
|
Discom
|
http://discom.bigcartel.com/product/luna-nestvarne-stvari-lp-reissue-2020-pre-order-coming-out-on-june-21
|
Official reissue of impossible to find Yugoslavian new wave gem, released by Blind Dog Records and Sareni Ducan (the first press from 1984 was printed in 500 copies)
Luna (Serbian Cyrillic: Луна; trans. The Moon) was a Serbian and former Yugoslav post-punk/gothic rock band from Novi Sad.
Formed on the ashes of the new wave band La Strada and getting the name by the Bernardo Bertolucci film La Luna, Luna quickly gained the public's attention and established a cult status. Owing to Marko Brecelj, a former Buldožer member, who had approached them after a performance in Rijeka, Zoran Bulatović "Bale" (guitar), Slobodan Tišma (vocals), Ivan Fece "Firchie" (drums) and Jasmina Mitrušić "Mina" (keyboards, vocals) got the opportunity to release their debut album. However, their debut and only album Nestvarne stvari (Unreal Things) was released after the band disbanded. The album was critically well acclaimed and is considered one of the finest releases of the former Yugoslav rock scene. Twenty years after the album release, in 2004, the band reunited for a one-off performance at the Novi Sad Exit festival.
During the mid-1981, following a dispute between the band members of the band La Strada and the departure of the bassist Boris Oslovčan "Bora" and guitarist Predrag Ostojić, the band, at the time featuring Slobodan Tišma (guitar, vocals) and Ivan Fece "Firchie" (drums), was joined by the former Pekinška Patka member Zoran Bulatović "Bale" as the new bassist. At the time, the band was preparing for a three-date mini tour, including Novi Sad, Pančevo and Belgrade, organized by the Muzička Omladina concert agency, with the bands Lačni Franz, Čista Proza and Fotomodeli. Despite being well accepted at the performances, the band ceased to exist.
During the late 1981, Zoran Bulatović "Bale" (guitar), Slobodan Tišma (vocals) and Ivan Fece "Firchie" (drums) joined by the former Pekinška Patka member Marinko Vukmanović (bass) formed Luna, choosing the name by the Bernardo Bertolucci film La Luna. Since the band members were already well-known, the formation of the band caused great interest in the public. The band started writing new material, with Bulatović being responsible for the music writing and arrangement, while Tišma was the band's lyricist. A few days before the band's first public appearance, Vukmanović had left the band, forming his own pop group Primavera, and was replaced by Jasmina Mitrušić "Mina" (keyboards, vocals).
The lineup had their first live appearance in March 1982 in the Vienna club Arena at the Novosadski Novi Talas festival (Novi Sad new wave music festival). After the festival, Luna started performing at numerous Novi Sad and Belgrade venues, establishing itself a cult status and receiving positive reactions from the critics. The journalist Petar Luković in the April 1982 edition of the Duga magazine stated that "Luna is today probably the most mature Novi Sad band from this generation: their music is a strange symbiosis of avant-garde influences of the alternative music scene and a luster of pop philosophy, backed with a steady rhythm and striking vocals". Yet another critic, Dragan Kremer, in the December 1982 edition of the Omladinske novine stated that "Luna is the best band we have. Next year either belongs to them, or to nobody else".
In the meantime, in the Radio Novi Sad studios, the band recorded their first demo, featuring the song "Ogledalo lune" ("The Mirror of Luna"), which become a local hit and was often broadcast on the Studio B radio station. The demo, along with the La Strada two track demo, a live recording of the song "Metropolis" recorded at the Ben Akiba theatre June 27, 1983, and an entire March 11 performance at the KCM Sonja Marinković surfaced during the late 1980s on the bootleg album Hokej klub Virginitas (Hockey Club Virginitas) by Ding Dong records on compact cassette only.[6] During the autumn of 1983, the band went on a tour of Croatia, performing in Zagreb and Rijeka, and Slovenia, performing in Ljubljana and Kopar. After the Rijeka performance, the band was approached by a former Buldožer member Marko Brecelj, who later took the demo recordings to his former bandmate Boris Bele, one of the head of the Helidon record label.
Having returned from the tour, the band entered the Aquarius Studio in Belgrade, where, with the help of sound engineer Đorđe Petrović and producer Saša Habić. As Bulatović later stated in an interview, the band had entered the studio well-rehearsed, with the track-sheets written out and a clearly worked out strategy of the music recording process. The album recording was finished by September 1983 and, at the time, due to a quarrel between Bulatović and Tišma, the latter was expelled from the band. Jasmina Mitrušić followed Tišma and the two went on to reforming La Strada during the following year. Bulatović went to serve the Yugoslav People's Army after which he joined Imperium of Jazz and Fece joined Katarina II.[
The debut album Nestvarne stvari (Unreal Things), was released by Helidon during the spring of 1984 and due to the band disbandment and the fact that there would be no album promotion it was released in 920 copies only. The album was marked by the poetic vignettes like "Lambo", "Okean" ("The Ocean", featuring lead vocals by Mitrušić), "Amazon" ("Amazonia"), and "Ogledalo Lune" ("The Mirror of Luna") with a consistent minimalist form. On the album Tišma signed himself as Artur, the pseudonym he started using under the influence of the poetry of Arthur Rimbaud. After the album release, the Rock magazine voted Nestvarne stvari the seventh best album of the year 1984, the band also got the award Sedam Sektetara SKOJ-a in Zagreb, and the album was acclaimed by the critics as one of the best debut releases in former Yugoslavia.
Taken from Wikipedia.
Track listing:
All lyrics and music written by Slobodan Tišma and Zoran Bulatović.
No. Title Length
1. "Fakir" (Fakir) 3:21
2. "Nestvarne stvari" (Unreal Things) 3:13
3. "Vila" (Fairy) 2:25
4. "Ogledalo Lune" (The Mirror of Luna) 6:44
5. "Povratak" (Return) 2:27
6. "Okean" (The Ocean) 3:23
7. "Amazon" (The Amazon) 4:08
8. "Lambo" 3:51
9. "Intima" (Intimacy) 5:32
10. "Balder na prozoru" (Balder at the Window) 6:57
Personnel:
Artur (Slobodan Tišma) — vocals
Balder (Zoran Bulatović "Bale") — guitar, backing vocals
Firchie (Ivan Fece) — drums
Jasmina Mitrušić — synthesizer, backing vocals
Recorded and mixed in September 1983
Barcode and Other Identifiers
Matrix / Runout (Side A): 100 384 - A1
Matrix / Runout (Side B): 100 385 - B1
Barcode: 3859889608404
© 2020 Blind Dog Records, Sareni Ducan all the rights reserved.
|
||||||
1053
|
dbpedia
|
0
| 21
|
https://serp.wiki/Ipe_Ivandi%25C4%2587
|
en
|
Loading...
|
https://imagedelivery.net/lnCkkCGRx34u0qGwzZrUBQ/bd93095f-9445-46d4-3f94-0d8303cb9400/public
|
[
"https://imagedelivery.net/lnCkkCGRx34u0qGwzZrUBQ/bd93095f-9445-46d4-3f94-0d8303cb9400/public"
] |
[] |
[] |
[
""
] | null |
[] | null |
en
| null |
Error: [GET] "/api/wiki/Ipe_Ivandi%C4%87": 404 Not Found
|
||||||
1053
|
dbpedia
|
2
| 38
|
https://forums.stevehoffman.tv/threads/indexi-time-korni-grupa-smak-omega-modry-efekt-and-other-east-european-proggy-things.1114730/
|
en
|
Indexi, Time, Korni Grupa, Smak, Omega, Modrý efekt and other East European proggy things..
|
[
"https://forums.stevehoffman.tv/threads/indexi-time-korni-grupa-smak-omega-modry-efekt-and-other-east-european-proggy-things.1114730/data/avatars/m/78/78685.jpg?1500873814",
"https://forums.stevehoffman.tv/threads/indexi-time-korni-grupa-smak-omega-modry-efekt-and-other-east-european-proggy-things.1114730/data/avatars/m/78/78685.jpg?1500873814",
"https://forums.stevehoffman.tv/threads/indexi-time-korni-grupa-smak-omega-modry-efekt-and-other-east-european-proggy-things.1114730/data/avatars/m/78/78685.jpg?1500873814",
"https://forums.stevehoffman.tv/threads/indexi-time-korni-grupa-smak-omega-modry-efekt-and-other-east-european-proggy-things.1114730/data/avatars/m/78/78685.jpg?1500873814",
"https://forums.stevehoffman.tv/threads/indexi-time-korni-grupa-smak-omega-modry-efekt-and-other-east-european-proggy-things.1114730/data/avatars/m/78/78685.jpg?1500873814",
"https://forums.stevehoffman.tv/threads/indexi-time-korni-grupa-smak-omega-modry-efekt-and-other-east-european-proggy-things.1114730/data/avatars/m/78/78685.jpg?1500873814",
"https://forums.stevehoffman.tv/threads/indexi-time-korni-grupa-smak-omega-modry-efekt-and-other-east-european-proggy-things.1114730/data/avatars/m/78/78685.jpg?1500873814",
"https://forums.stevehoffman.tv/threads/indexi-time-korni-grupa-smak-omega-modry-efekt-and-other-east-european-proggy-things.1114730/data/avatars/m/78/78685.jpg?1500873814",
"https://forums.stevehoffman.tv/threads/indexi-time-korni-grupa-smak-omega-modry-efekt-and-other-east-european-proggy-things.1114730/styles/default/xenforo/avatars/avatar_male_m.png",
"https://forums.stevehoffman.tv/threads/indexi-time-korni-grupa-smak-omega-modry-efekt-and-other-east-european-proggy-things.1114730/styles/default/xenforo/avatars/avatar_male_m.png",
"https://forums.stevehoffman.tv/threads/indexi-time-korni-grupa-smak-omega-modry-efekt-and-other-east-european-proggy-things.1114730/data/avatars/m/109/109568.jpg?1577635960",
"https://forums.stevehoffman.tv/threads/indexi-time-korni-grupa-smak-omega-modry-efekt-and-other-east-european-proggy-things.1114730/data/avatars/m/78/78685.jpg?1500873814",
"https://forums.stevehoffman.tv/threads/indexi-time-korni-grupa-smak-omega-modry-efekt-and-other-east-european-proggy-things.1114730/styles/default/xenforo/avatars/avatar_m.png",
"https://forums.stevehoffman.tv/threads/indexi-time-korni-grupa-smak-omega-modry-efekt-and-other-east-european-proggy-things.1114730/styles/default/xenforo/avatars/avatar_male_m.png",
"https://forums.stevehoffman.tv/threads/indexi-time-korni-grupa-smak-omega-modry-efekt-and-other-east-european-proggy-things.1114730/data/avatars/m/78/78685.jpg?1500873814",
"https://www.vreme.com/gallery/1047499_Dzuboks_18__nov_1975.jpg",
"https://forums.stevehoffman.tv/threads/indexi-time-korni-grupa-smak-omega-modry-efekt-and-other-east-european-proggy-things.1114730/data/avatars/m/78/78685.jpg?1500873814",
"https://forums.stevehoffman.tv/threads/indexi-time-korni-grupa-smak-omega-modry-efekt-and-other-east-european-proggy-things.1114730/data/avatars/m/78/78685.jpg?1500873814",
"https://alchetron.com/cdn/jzef-skrzek-8a9c7aaa-c3e8-4dfa-9f69-eb109bffe7f-resize-750.jpeg",
"https://forums.stevehoffman.tv/threads/indexi-time-korni-grupa-smak-omega-modry-efekt-and-other-east-european-proggy-things.1114730/data/avatars/m/78/78685.jpg?1500873814",
"https://forums.stevehoffman.tv/threads/indexi-time-korni-grupa-smak-omega-modry-efekt-and-other-east-european-proggy-things.1114730/data/avatars/m/132/132596.jpg?1629731839",
"https://forums.stevehoffman.tv/threads/indexi-time-korni-grupa-smak-omega-modry-efekt-and-other-east-european-proggy-things.1114730/data/avatars/m/132/132596.jpg?1629731839",
"https://forums.stevehoffman.tv/threads/indexi-time-korni-grupa-smak-omega-modry-efekt-and-other-east-european-proggy-things.1114730/data/avatars/m/132/132596.jpg?1629731839",
"https://forums.stevehoffman.tv/threads/indexi-time-korni-grupa-smak-omega-modry-efekt-and-other-east-european-proggy-things.1114730/data/avatars/m/78/78685.jpg?1500873814",
"https://forums.stevehoffman.tv/threads/indexi-time-korni-grupa-smak-omega-modry-efekt-and-other-east-european-proggy-things.1114730/data/avatars/m/78/78685.jpg?1500873814",
"https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcSdHFX_sOBoUHiKbPY95m6NOnt391Qd__-Dpw&usqp=CAU",
"https://upload.wikimedia.org/wikipedia/en/e/ee/Ipe_Ivandic.jpg",
"https://forums.stevehoffman.tv/threads/indexi-time-korni-grupa-smak-omega-modry-efekt-and-other-east-european-proggy-things.1114730/data/avatars/m/78/78685.jpg?1500873814",
"https://forums.stevehoffman.tv/threads/indexi-time-korni-grupa-smak-omega-modry-efekt-and-other-east-european-proggy-things.1114730/data/avatars/m/78/78685.jpg?1500873814",
"https://forums.stevehoffman.tv/images/2017logo-780w-2.png"
] |
[
"https://www.youtube.com/embed/Yo2AKoK9ky0"
] |
[] |
[
""
] | null |
[] | null |
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")...
|
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.
|
||||
1053
|
dbpedia
|
3
| 74
|
https://www.bandsintown.com/a/8604-smak
|
en
|
Smak
|
[
"https://assets.prod.bandsintown.com/images/loupe.svg",
"https://assets.prod.bandsintown.com/images/blackPhone.svg",
"https://photos.bandsintown.com/thumb/238448.jpeg",
"https://photos.bandsintown.com/thumb/238448.jpeg",
"https://assets.prod.bandsintown.com/images/greaterThan.svg",
"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 |
Find tickets for Smak concerts near you. Browse 2024 tour dates, venue details, concert reviews, photos, and more at Bandsintown.
|
/favicon.ico?v=2
|
Bandsintown
|
https://www.bandsintown.com/a/8604-smak
|
There is currently more than one artist with the name Smak.
Smak (Finland) - Formed 2001
Smak (Yugoslavia) - Formed 1971
1. Smak (pronounced 'smak') is a rock group from Helsinki, Finland, who performs their songs in Finnish, but have said they might do English material in the future.
The group was formed in December 2001, and their debut album Sic Transit was released December 10th, 2004. The singles off that album, Myrsky, Hallanvaara and Nousen have been played alot on Finnish radio stations. The group also put out a music DVD called "...Gloria Mundi" in October, 2005.
5th April, 2006 Smak put out a new single "Teen mitä teen", which climbed to the Finnish single chart's number one almost instantly. Smak also performs YleX's (Finnish radiostation) summer's 2006 "Kesäkumibiisin" , called Antaa Palaa Vaan.
Their sophomore album, "Elohopeaa", was released September 29th, 2006.
The group is young, all of them except Markku have been born in 1989, Markku being the youngest, born in 1990. The singer, Kalle also works as an actor. Right now you can see him in the Finnish drama series "Kotikatu". Kalle also sings on the Christian youth song complication album "Tilkkutäkki", on which he sings the title song.
.
2.Smak was a Serbian rock band from Kragujevac in the present Republic of Serbia. It was formed in 1971 by guitar virtuoso Radomir Mihajlović, nicknamed "Točak" (the Wheel). The first stable line-up was in late 1974 consisting of Radomir Mihailović - Točak (guitar), Slobodan Stojanović Kepa (drums), Zoran Milanović (bass), Boris Arandjelović (vocals) and Laza Ristovski (keyboards). They released 3 SP during '74-'75 on which their hit single Ulazak u Harem (Enter to Harem) appeared. They also warmed up for Deep Purple on a concert in Belgrade '75. After a successful hit single and an excellent concert with Deep Purple, they released there first LP called Smak in 1975. This was one of the most selling albums of all time in ex Yugoslavia.
At the beginning of the next year 1976. they released MLP (mini long play) Satelit which featured their hit song 'Satelit'(Satellite) and one of the band's best instrumental 'Biska 2', blues song 'Šumadijski Blues', and the song called 'Put od Balona-Biska 20' which was used as an instrumental solos song. In this period they made a short movie called Smak in New York, which featured their little tour in USA as a promotion of MLP Satelit. Točak released his first solo album R.M.Točak, and it became best selling album in Yugoslavia in year 1976. Their next single was out at the end of '76 Ljudi nije fer/El Dumo.
During 1977.-78. Ristovski was replaced by first Miki Petkovski, which played on LP Crna dama 1977. one of the best selling albums in Yugoslavia, and then by Tibor Levay on keyboards, with him they made LPs Stranice našeg vremena 1978. and English versions of these two albums Black Lady and The Pages of our time 1978. ,while in the period 1979.-81. Dado Topić (ex-Time,ex-Korni Grupa) collaborated with Smak as producer and occasional guest vocalist on single Na Balkanu before the band broke-up in late 1981.
In 1980, shortly before split, they made LP Rock cirkus which was destined to be one of the most selling albums but because of yugoslavian president's death it had not gotten much popularity. After that, they made 3 farewell concerts in capital of Serbia, Belgrade attended by more than 10000 fans.
The original line-up gathered again in 1984. and with Dado Topić made LP Zasto ne volim sneg, which was dedicated to Točak’s dead brother, after that they had split again. In 1986. with a new keyboardist Milan Djurdjević they came back and made LP Smak 86, but after that split again. The forth comeback of SMAK happened in 1992. with Ristovski again as a member, when they mostly played concerts in Serbia and issued a live album odLIVEno1992. featuring the best Serbian harmonic player Pera Joe. In '92 and '93 Točak was promoting his second solo album and a soundtrack for the movie Byzantine Blue 1993., which won a prize for the best soundtrack Christal Prisma awards.
Finally, in 1994 SMAK re-appeared again, this time along with Točak and Stojanović they added younger musicians: Dejan Stojanović Kepa Jr. (second drum kit), Dejan Najdanović Najda (vocals), Vlada Samardzić (bass) and Milan Milosavljević Mikica (guitar). Smak released album Bioskop Fox(Cinema Fox). After 4 year period Vlada Samardzić (bass) left SMAK and went to Bearkley music collage, replaced by Sale Marković. With Sale they made albums Live without audience1998, Egregor1999, Live 3.mart.2000. Kragujevac klub 'La Cinema' 2000.
SMAK was celebrated for Točak's virtuosity in guitar playing, modelled on Jimi Hendrix's and Jimmy Page's style, and for interesting and powerful, if not always successful, fusion of hard rock and jazz, prog rock, jazz rock with strong blues backing, with Arandjelovic's falsetto vocal often used as an instrument rather than singing. "Ulazak u harem", a folk-inspired instrumental issued as hit-single in 1975, showcased Točak as one of the guitar-heroes and legend of ex-Yugoslavian music scene of the 1970s, while albums "Crna dama" ("Black Lady") 1977. and "Stranice našeg vremena" ("The Pages of Our Time") 1978. were highly celebrated among prog fans and were even released in English versions for the Western market. Their reunion, from the second half of 1980’s onward, turned the musical direction of the band into less-inspired mainstream hard rock, abandoning any prog elements, but after re-appearing in 1994. SMAK turned back the musical direction back to hard rock, fussion jazz with prog elements. As a comparison, one can mention similarities in style with artists such as Led Zeppelin,Deep Purple, Taste, The Doobie Brothers, Santana, Leb i Sol.
SMAK discography
1975 Živim...Biska 13-Biska 16 Singles
1975 Ulazak u Harem-Sto ptica Singles
1975 Ulazak u Harem-Epitaf Singles
1975 Smak Studio Album
1976 Satelit Singles/EPs/Fan Club/Promo
1976 Ljudi nije fer-El Dumo Singles
1977 Crna dama Studio Album
1977 Ulazak u Harem, Plava pesma - The best of Boxset / Compilation
1978 Nevidljive Terazije-Hitopadeza Singles
1978 Stranice našeg vremena Studio Album
1978 Black Lady Studio Album
1978 Dab In The Middle Studio Album
1979 Na Balkanu Singles
1980 Rock cirkus Studio Album
1981 Zašto ne volim sneg Studio Album
1986 Smak '86 Studio Album
1992 odLIVEno Live
1995 Bioskop Fox Studio Album
1996 The Best Of Smak Boxset / Compilation
1996 Star? Mlad. Večan?* Boxset / Compilation
1997 Live Without Audience Live
1999 Egregor Studio Album
2001 Istorija Boxset / Compilation
2002 3. Mart 2000. Kragujevac Klub La Cinema Live
and many unofficial Live albums (Live 1992,Live in Zupa '98...), many unrealsed songs (Biska, Na Drinu, StaKapKara, Kepo, Novi Novi Dan, Swap, Egregor...) on some of them apearred bassist Lola Andrijic, which played a couple of concerts in 1974. with Smak.
www.smak.org.yu
3. A jungle DJ. (Jungle Tekno 8)
Show More
|
|||||
1053
|
dbpedia
|
1
| 94
|
https://www.yumpu.com/en/document/view/59843085/2016-cambridge-film-festival-brochure
|
en
|
2016 Cambridge Film Festival Brochure
|
[
"https://assets.yumpu.com/release/plUivS0HGRxHllK/v5/img/logo/Yumpu_Logo_RGB.png",
"https://assets.yumpu.com/release/plUivS0HGRxHllK/v5/img/account/document_privacy_modal/step1.png",
"https://assets.yumpu.com/release/plUivS0HGRxHllK/v5/img/account/document_privacy_modal/step2.png",
"https://img.yumpu.com/59843085/1/500x640/2016-cambridge-film-festival-brochure.jpg",
"https://images.yumpu.com/media/000/000/108/182/928/60x60-3ELzsZGua0KwWm2DnAr69b4OQVHxTtFP.png",
"https://img.yumpu.com/68787911/1/184x260/cambridge-film-festival-internship-opportunities-pack-2024-v3.jpg?quality=85",
"https://img.yumpu.com/68782647/1/184x260/cambridge-film-festival-internship-opportunities-pack-2024.jpg?quality=85",
"https://img.yumpu.com/68745974/1/184x260/cambridge-film-festival-partnerships-2024.jpg?quality=85",
"https://img.yumpu.com/68658482/1/184x260/42nd-cambridge-film-festival-2023-report-a-celebration-of-diversity-innovation-and-community-in-film.jpg?quality=85",
"https://img.yumpu.com/68464929/1/184x260/42nd-cambridge-film-festival-brochure-2023.jpg?quality=85",
"https://img.yumpu.com/68464891/1/184x260/cff23-web.jpg?quality=85",
"https://img.yumpu.com/68214194/1/184x260/cambridge-film-festival-youth-lab.jpg?quality=85",
"https://img.yumpu.com/68214130/1/184x260/cambridge-film-festival-partnership-opportunities.jpg?quality=85",
"https://img.yumpu.com/68214088/1/184x260/cambridge-film-festival-report-2022.jpg?quality=85",
"https://img.yumpu.com/68213502/1/184x260/cambridge-film-festival-brochure-2022.jpg?quality=85",
"https://img.yumpu.com/67052348/1/184x260/cambridge-film-festival-partnership-opportunities.jpg?quality=85",
"https://img.yumpu.com/67052314/1/184x260/cambridge-film-festival-youth-lab.jpg?quality=85",
"https://img.yumpu.com/67048827/1/184x260/2021-cambridge-film-festival-report.jpg?quality=85",
"https://img.yumpu.com/67048805/1/184x260/cambridge-film-festival-2021-brochure.jpg?quality=85",
"https://img.yumpu.com/65660127/1/184x260/friends-and-patrons-cambridge-film-festival-2021.jpg?quality=85",
"https://assets.yumpu.com/release/plUivS0HGRxHllK/v5/img/logo/yumpu-footer2x.png",
"https://assets.yumpu.com/v5/img/footer/worldmap-retina.png"
] |
[] |
[] |
[
"ob1000",
"starring",
"festival",
"films",
"cambridge",
"arts",
"cinema",
"picturehouse",
"premiere",
"documentary",
"screening"
] | null |
[
"Yumpu.com"
] | null |
The full Festival brochure for the 36th Cambridge Film Festival.
|
en
|
yumpu.com
|
https://www.yumpu.com/en/document/view/59843085/2016-cambridge-film-festival-brochure
|
Attention! Your ePaper is waiting for publication!
By publishing your document, the content will be optimally indexed by Google via AI and sorted into the right category for over 500 million ePaper readers on YUMPU.
This will ensure high visibility and many readers!
Inappropriate
You have already flagged this document.
Thank you, for helping us keep this platform clean.
The editors will have a look at it as soon as possible.
|
|||||
1053
|
dbpedia
|
3
| 62
|
http://www.discosavvy.com/disco80.html
|
en
|
Disco Savvy: 1980 Disco
|
[
"http://www.discosavvy.com/images/savvytopbanner1.jpg",
"http://www.discosavvy.com/images/disco80collage.jpg",
"http://www.khazaria.com/images/Viglink_150x25.png"
] |
[] |
[] |
[
""
] | null |
[] | null | null |
Talizman - "Ultraman 80" - Japanese electro-disco; theme song to the 1980 Japanese TV show "Ultraman 80"
DISCO PRODUCTS AND HAPPENINGS OF 1980
In 1980 a "Disco Fever" lunch box and thermos were produced by Aladdin. In February 1980, Gottlieb came out with a pinball game called "Roller Disco" (see here for more photos and details). Also in February 1980, Marvel Comics introduced the comic character Disco Dazzler, a roller-skating disco singer with a disco-ball necklace, in "Uncanny X-Men #130". When her series went solo in March 1981 it was called simply "Dazzler" without the "Disco" prefix, but it's interesting to note that the April 1981 issue had the theme "Last Stand in Discoland" printed on its cover and Dazzler was still wearing her disco-ball necklace. Emerson released a record player called "Disco 80" that included three blinking lights. Milton Bradley came out with the "Dizzy Dolphins Disco Game" featuring "dancing dolphins". In 1980 Kenner came out with the "Darci Disco" doll, which came with a shimmering silver disco jumpsuit plus a silver-colored mirror ball, jukebox, pinball machine, spotlight, and disco-themed background artwork to represent Darci's Disco. Rollerskates were available for her in a separate disco promotion. Another of the year's disco dolls was Mattel's "Disco Skipper", distributed only in Europe.
The unofficial closing of the Studio 54 nightclub in New York City on February 4, 1980, followed by definite closure on February 28, 1980 when the last drink was served, was a major moment in the decline of disco in the early 1980s. Disco also declined because of the music industry's new insistence that new wave, rap, and country were the happening kinds of music. Many other factors played a role, including most '80s radio DJs' anti-disco attitudes (particularly in the midwest USA, where songs like "Twilight Zone/Twilight Zone" by Manhattan Transfer which were played and became hits on east-coast and west-coast USA stations were not played), the "Disco Sucks" and "Disco is Dead" campaigns, silly musical projects like the "Ethel Merman Disco Album" and "Disco Hokey Pokey", the summer 1979 hype surrounding "My Sharona" by the Knack, absurd disco-oriented films like "Can't Stop the Music" and "Roller Boogie" and television series like "Pink Lady and Jeff" (March-April 1980, where the Japanese duo Pink Lady, unable to speak English, performed disco songs like "On the Radio", "If My Friends Could See Me Now", "Knock on Wood", and "Boogie Wonderland" in an outrageously bad way), the coming AIDS crisis (which killed many disco producers, artists, and fans), the arrival of MTV in August 1981, and rock fans' resentment that rock acts like Rod Stewart, Queen, and KISS had made disco records. The final reason for disco's decline was new technology that encouraged R&B and dance musicians to replace real instruments with electronic sounds.
The Grammy for "Best Disco Recording" was awarded to Gloria Gaynor for "I Will Survive" on February 27, 1980 during the 1979 22nd Grammy Awards. The song had competed against "Boogie Wonderland", "Bad Girls", "Do Ya Think I'm Sexy?", and "Don't Stop 'Til You Get Enough". (This was both the first and last time a "Best Disco Recording" was chosen for the Grammy Awards.) But "Don't Stop 'Til You Get Enough" gave Michael Jackson the Grammy for "Best Rhythm & Blues Vocal Performance - Male".
Billboard's International Disco Forum 7 was held in February 1980 in Los Angeles. By this time, the dance music industry was in turmoil, sales were disappointing, and record labels announced cutbacks in the number of dance records they would release. This was followed by Billboard's International Disco Forum 8, held July 14-17, 1980 at the Sheraton Centre in New York City. Unfortunately, attendance at the July 1980 event was markedly down compared to the February 1979 peak attendance, and no additional Disco Forums were held. Later, Billboard started holding Billboard Dance Music Summits.
The trashy disco movie "Can't Stop the Music" was released to theaters in June 1980, the only good song in it being "Give Me a Break" by the Ritchie Family. The horror movie "Prom Night", released to American theaters in August 1980 but filmed in summer 1979, features a disco dancing scene with many original disco songs as well as "I Will Survive" by Gloria Gaynor. The soundtrack to the 1980 movie "Foxes" includes the disco songs "On the Radio" by Donna Summer, "Shake It" by Brooklyn Dreams, and "20th Century Foxes" by Angel. "Struck By Boogie Lightning" by L'Ectrique plays while the closing credits roll in the 1980 movie "Don't Go in the House", and earlier in the movie "Late Night Surrender" by Jeree Palmer and "Dancing Close to You" by the Daryll-Barber Band play (the latter is heard in the discotheque scene). Graham Gouldman's semi-disco song "Go For It" played during the scene in "Noah's Ark Disco" in the cartoon film "Animalympics" that premiered on American television in February 1980.
Macy's was still using a modified version of Odyssey's 1977 disco song "Native New Yorker" on radio commercials aired in New York City in September 1980. The Ponderosa restaurant chain made a distinctly disco commercial in 1980.
The 1980 theme to the American science education television show "3-2-1 Contact" was disco, as was the instrumental theme to WNBC News 4 New York's special broadcasts on that year's "Tri-State Vote". The 1980 version of the theme song to "Solid Gold", sung by Dionne Warwick and created by Michael Miller and Dean Pitchford, was electro-disco. The first episode of "Solid Gold" (September 13, 1980) played the disco songs "Give Me the Night" by George Benson at #8, "All Over the World" by E.L.O. at #10, and "Fame" by Irene Cara at #15 as well as many non-disco songs.
"Ain't No Stoppin' Us Now" by McFadden and Whitehead was the official song of the Philadelphia Phillies during their games against the Kansas City Royals in the World Series in October 1980. And the Phillies became the champions! The cheerleaders for the Philadelphia Eagles team of 1980 also adopted this as their theme, and released their own recording of "Ain't No Stoppin' Us Now" through The Sound of Philadelphia (CBS Records) in 1981, but the Eagles were defeated by the Oakland Raiders at the Super Bowl in January 1981.
Here are disco songs featured on the American television show "American Bandstand" in 1980: "Last Train to London" by E.L.O. (January 5 program), "Haven't You Heard" by Patrice Rushen (January 26 program), "Twilight Zone/Twilight Zone" by Manhattan Transfer (March 1 program), "I Can't Help Myself (Sugar Pie Honey Bunch)" by Bonnie Pointer (March 8 program), "The Second Time Around" by Shalamar (March 15 program), "Ladies' Night" by Kool and the Gang (March 22 program), "Got to Love Somebody" by Sister Sledge (April 5 program), "Give Me a Break" and "Put Your Feet to the Beat" by the Ritchie Family and "Disco Flam" by José Feliciano (April 12 program), "Off the Wall" by Michael Jackson and "Body Language" by the Spinners (April 26 program), "Let's Get Serious" by Jermaine Jackson and "Rock With You" by Michael Jackson (May 24 program), "Sweet Sensation" by Stephanie Mills (July 5 program), "Power" by the Temptations (July 19 program), "Fame" by Irene Cara (October 18 program), and "If You Feel the Funk" by La Toya Jackson (December 13 program).
Here are disco songs featured on the American television show "The Midnight Special" in 1980: "Don't Let Go" by Isaac Hayes and "Best of My Love" by the Emotions (January 18 program), "Ladies' Night" by Kool and the Gang (January 18 and December 12 programs), "Do Ya Think I'm Sexy" by Rod Stewart and "Heaven Knows" by Donna Summer with Brooklyn Dreams (January 25 program), "Macho Man" by the Village People (February 1 program), "Heaven Must Have Sent You" and "I Can't Help Myself (Sugar Pie Honey Bunch)" by Bonnie Pointer and "Last Train to London" by E.L.O. (February 22 program), "Let's Boogie, Let's Dance" by the Spinners (February 22 and April 11 programs), "And the Beat Goes On" by the Whispers (March 14 program), "Got to Love Somebody" by Sister Sledge and "Body Language" by the Spinners (April 11 program), "Rock With You" by Michael Jackson and "Bourgie Bourgie" by Gladys Knight and the Pips (May 9 program), "Stomp!" and "Light Up the Night" by the Brothers Johnson (June 13 program), "Let's Get Serious" by Jermaine Jackson (June 13 and June 20 programs), "Behind the Groove" by Teena Marie (June 20 program), "Give Me a Break" by the Ritchie Family and "Can't Stop the Music" and "Milkshake" by the Village People (July 11 program), "D a n c i n'" by Stephanie Mills (July 18 program), "Sweet Sensation" by Stephanie Mills (July 18 and November 7 programs), "Take Your Time (Do It Right)" by the S.O.S. Band (September 12 program), "Fame" by Irene Cara (September 12 and September 26 programs), "Funtime" by Peaches and Herb (October 17 program), "Another One Bites the Dust" by Queen (October 24 program), "Never Knew Love Like This Before" by Stephanie Mills (November 7 program), "Celebration" by Kool and the Gang (December 12 program), and "Power" by the Temptations (December 19 program).
Here are disco songs featured on the American television show "Soul Train" in 1980: "Good Times" and "My Feet Keep Dancing" by Chic and "Skate to the Rhythm" by High Inergy (February 9 program), "I Shoulda Loved Ya" by Narada Michael Walden (March 1 program), "Take That to the Bank" by Shalamar (March 8 program), "Haven't You Heard" by Patrice Rushen (March 15 program), "Dance 'N' Sing 'N'" by L.T.D. and "Keep It Hot" by Cheryl Lynn (March 22 program), "We Are Family" and "He's the Greatest Dancer" by Sister Sledge (April 5 program), "What 'Cha Gonna Do With My Lovin'" and "You Can Get Over" by Stephanie Mills (April 26 program), "Can't Stop the Music" by the Village People (May 3 program), "Let's Get Serious" by Jermaine Jackson (May 10 program), "Bourgie Bourgie" by Gladys Knight and the Pips (May 17 program), "Power" by the Temptations (May 31 program), "Stomp!" and "Light Up the Night" by the Brothers Johnson (September 20 program), "Fame" by Irene Cara (October 4 program), "Take Your Time (Do It Right)" by the S.O.S. Band (October 11 program), "I Need Your Lovin'" and "Behind the Groove" by Teena Marie (October 18 program), "Right in the Socket" by Shalamar and "Give It On Up (If You Want To)" and "She's a Rainbow Dancer" by Mtume (November 15 program), "Can't Fake the Feeling" by Geraldine Hunt (November 22 program), and "I've Just Begun to Love You" and "Do Me Right" by Dynasty (December 20 program).
Here are disco songs featured on the German television show "Musikladen" in 1980: "Que Sera Mi Vida" by Gibson Brothers (January 17 program), "Hold On to My Love" by Jimmy Ruffin and "Funkytown" by Lipps, Inc. (June 19 program), "Light Up the Night" by the Brothers Johnson and "Feels Like I'm in Love" by Kelly Marie (October 9 program), "Celebration" by Kool and the Gang (November 13 program), and "Loving Just for Fun" by Kelly Marie (December 11 program).
On Marie Osmond's short-lived television variety show "Marie" on NBC she performed multiple disco songs in electro-disco style before studio audiences. These included a rendition of Diana Ross's "I'm Coming Out" at the start of the very first episode aired December 12, a version of Queen's "Another One Bites the Dust" on December 19, and a version of Stephanie Mills's "Never Knew Love Like This Before" on December 26.
Teddy Pendergrass performed his 1979 disco song "Do Me" on the "Pink Lady and Jeff" show on March 14, 1980.
Kermit the Frog performed his 1979 children's disco song "Disco Frog" on the American television show "Sesame Street" in Episode 1407 on April 1, 1980. He also performed it on Episode 418 of the American television show "The Muppet Show" in February 1980.
Episode 524 of "The Muppet Show", which premiered September 27, 1980, included a Viking pig-themed comedy skit with an electro-disco cover of the Village People's song "In the Navy".
The disco songs of 1980 were not just hits as singles, either. A lot of albums containing the above songs were popular, including "diana" (May 1980, with "I'm Coming Out"), "Celebrate!" (with "Celebration"), "Give Me the Night" (with "Give Me the Night" and "Love X Love"), and "Light Up the Night" (with "Stomp!" and "Light Up the Night").
On the other hand, Sister Sledge didn't fare as well this year as with 1979's "We Are Family" album. Sheila and B. Devotion, releasing a 1980 album called "King of the World", was popular only in Europe and South Africa; yet, the group's late-1979 single "Spacer" sold more than 5 million copies worldwide! Crown Heights Affair's songs this year didn't have success in the charts. A lot of other groups also started to struggle, including Chic, whose summer album "Real People" sold in fewer numbers than their earlier albums "Risqué" and "C'est Chic". The two 1980 Chic singles were "Rebels Are We" (#8 R&B) and "Real People" (#79 Pop). Meanwhile, Chic's single "My Feet Keep Dancing" got no higher than #101 on the Billboard Pop chart in December 1980, though it reached #21 in the United Kingdom in January 1980. The Gap Band's single "Party Lights", which had been released in 1979, did only modestly on the United Kingdom charts in late 1980, peaking there at #30 Pop.
1979 disco songs that hit the charts big during 1980 included Ottawan's "D.I.S.C.O.", Kool and the Gang's "Ladies' Night", the duet by Roberta Flack and Donny Hathaway titled "You Are My Heaven", "Sexy Eyes" by Dr. Hook, Lipps, Inc.'s "Funkytown", and Michael Jackson's "Off the Wall" and "Rock With You". "Holdin' On" by Tony Rallo and the Midnight Band was popular in the United Kingdom during 1980. "D.I.S.C.O." charted in the United Kingdom in the top 40 even as late as November 1980, peaking at #2 in October. "High On Your Love" by Debbie Jacobs peaked in March 1980 (#70 Pop in the USA). "All Night Thing" by the Invisible Man's Band reached #9 R&B in 1980 in the United States. "Sexy Eyes" reached #5 Pop in the USA 15 weeks after its February 16, 1980 single release. "Dance Yourself Dizzy" by Liquid Gold reached #2 Pop in the U.K. in April 1980. "I Owe You One" by Shalamar reached #13 Pop in the U.K. in October 1980. "I Shoulda Loved Ya" by Narada Michael Walden reached #8 Pop in the U.K. in May 1980. "Funkytown" was a #1 pop hit in the summer (May-June 1980) in the United States and also reached #1 in Canada, Israel, and Spain. In Britain, "Funkytown" reached #2 Pop in June 1980 and "Ladies' Night" reached #9 Pop in January 1980. "The Second Time Around" by Shalamar reached #8 Pop in the USA in March 1980. "On the Radio" by Donna Summer reached #5 Pop in the USA in March 1980. "Rock with You" was number 1 on the pop singles charts in January 1980. Michael Jackson's 3 big disco songs from 1979 were made into music videos by 1980. Jackson's "Off the Wall" album (released August 1979) ended up being the 2nd most popular album sold during 1980, according to Rolling Stone Magazine's "Top 100 LP's of 1980" list on pages 130-131 in the January 8, 1981 issue. Here are some other albums with disco songs that sold well in 1980: Donna Summer's compilation "On the Radio - Greatest Hits" volumes 1 and 2 was #22 on the Rolling Stone Magazine chart for the year. Also prominent on the RSM chart are: "diana" #27, "Light Up the Night" #46 (included "Stomp!"), the "Fame" soundtrack #52, "Let's Get Serious" #58, "Give Me the Night" #59, "Roberta Flack Featuring Donna Hathaway" #76 (included "You Are My Heaven"), "Mouth to Mouth" #80 (included "Funkytown"), "The Glow of Love" #88 (by Change), "Sweet Sensation" #90 (included "Never Knew Love Like This Before"), and "S.O.S." #97. The numbers don't lie - disco was not "dead" in 1980.
A lot of non-disco dance songs were released in 1980. Examples are Loose Joints's "Is It All Over My Face?" and Diana Ross's "Upside Down" (#1 on the U.S. Disco chart in August 1980 and #1 on the U.S. Pop chart in September 1980 for 4 weeks; #2 Pop in the U.K.) which are both more funk than disco. Other 1980 funk songs are "Don't Push It, Don't Force It" by Leon Haywood (#2 R&B in the USA in 1980), "Don't Stop the Music" by Yarbrough and Peoples (#19 Pop in the USA in April 1981, #1 R&B for 5 weeks), "And Love Goes On" by Earth, Wind and Fire, "Big Time" by Rick James, "Bumper to Bumper" by Avenue B Boogie Band, "Catch Me (Before I Have to Testify)" by Average White Band, "Celebrations" by Brothers Johnson, "Checking You Out" by Young and Company, "Dancin' Dancin'" by the Blackbyrds (up-tempo R&B), "Disco Can't Go On Forever" by Gonzalez, "Disco Party" by Larry Hobb's, "Everybody" by Instant Funk, "Fantastic Voyage" by Lakeside, "Feel My Love" and "Watching You" by Slave, "Free Bass" by Wizzdom, "Give Up the Funk (Let's Dance)" by B.T. Express, "Gonna Lift You Up" by Starpoint, "Here's to You" and "High" and "Super Love" by Skyy, "Open Your Heart" and "Boogie Body Land" by the Bar-Kays, "Positive Energy" by Southroad Connection, "Rapp Payback (Where is Moses?)" and "Don't Stop the Funk" (electro-funk) by James Brown, "S.O.S. (Dit Dit Dit Dat Dat Dat Dit Dit Dit)" by S.O.S. Band (which however has a very nice disco section lasting 30 seconds in the middle of the song), "Sure Shot" by Crown Heights Affair, "Take It Light" by Jumbo, "The Louder" by Peter Jacques Band (electro-funk), "This Feelin'" by Frank Hooker and Positive People, "Your Place or Mine" by Quinella, "Bon Bon Vie (Gimme the Good Life)" by T.S. Monk (electro-funk), "Boogie to the Bop" by Mantus (electro-funk), "Come On and Boogie" by Chuck Brown (electro-funk), "Dance to the Funky Groove" by Maurice Starr (electro-funk), "Don't Stop" by Firefly (electro-funk), "I'm Ready" by Kano (electro-funk/Hi-NRG), "Just Can't Help Myself (I Really Love You)" by Common Sense (electro-funk), "Make Me Over" by the Escorts (electro-funk), "Play Me or Trade Me" by Parlet (electro-funk), "Shake Your Body (At the Disco)" by E.S. Funk (electro-funk), "Dynamite!" by Stacy Lattisaw, "Far Beyond" by Locksmith, "Coma Ta Ya Ha Dance (We Came to Earth to Dance)" by Denise LaSalle, "Magic of You (Like the Way)" by Rafael Cameron (electro-funk), "Keep It Hot" and "Your Love Takes Me Out" and "Shake Your Pants" by Cameo, "Real People" and "Chip off the Old Block" by Chic, "Too Tight" by Con Funk Shun, "Make it Last" by Midnight Star, "I Just Wanna Dance With You" by Starpoint, and "Can You Feel It" and "Lovely One" by The Jacksons. Those are good songs, but not disco. "Let's Groove" by Earth, Wind, and Fire, which reached #3 Pop in the USA in December 1981 and #1 on the American R&B Chart for 8 weeks starting in October 1981, plus #3 Pop in the U.K. in November 1981, is also electro-funk. Denise LaSalle's "I'm So Hot" (#33 Disco, #82 R&B in the USA) has the same beat structure as "Let's Groove", and even though it has real bass and violins unlike "Let's Groove", it isn't technically disco, but more like a form of R&B. Nor are heavily electronic songs like "Save the Last Dance for Me" by Free Expression, "Can't Be Love (Do It To Me Anyway)" by Peter Brown, "Sexy Thing" by Jumbo, "Young Girls" by Sparks, "Provincial Disco" by Zodiac, "Now Baby Now" by Kano, "Nobody's Got Time" by Eddy Grant, "Party Boys" by Foxy, "Ai No Corrida" by Chas Jankel, "Bad Love" by Cher, "Space Ranger" by Sun, "So Much for L.A." by D.C. LaRue, "How Long" by Lipps, Inc., "Disco Lady" by Lokice (electro-dance in Serbo-Croatian), "Get Up (Rock Your Body)" by the 202 Machine (electro-dance), and "Stop, He's a Lover" and "One Night Queen" by Claudja Barry. "Radio Action" by Claudja Barry, "I Depend on You" by Two Tons of Fun, and "Your Love" by Lime are described as Hi-NRG songs. "Exotically" by Peter Jacques Band also qualifies as Hi-NRG. "Keep On Talking" by Carrie LaPorte is a rockish form of Hi-NRG. "Red Light" by Linda Clifford and "Passion" by Rod Stewart were rock-dance songs. The album version of "I Love You Dancer" by Voyage is a very good electro-rock-dance song that's heavy on synths. Other notable electro-rock-dance songs were "Mondo Man" by Roni Griffith, "Rock Disco" by Swan, "It's a War" by Kano, "I Don't Want to Fall in Love Again" by Voyage, "Rock 'n' Roll People in a Disco World" by Sparks, and the cover of "In-A-Gadda-Da-Vida" by Boney M. "To the Boys in the Band" by La Flavour has an electronic bassline, electronic keyboards, and a latin flavor throughout including in the guitar-playing. "Rescue Me" by A Taste of Honey, which reached #16 R&B in the U.K., is a funk/pop song. "Love No Longer Has a Hold on Me" by Johnny Bristol, "You've Got to Like What You Do" by Shirley Brown, and "Pretty Baby" by Sister Sledge are noteworthy R&B songs. "Cupid/I've Loved You for a Long Time" by the Spinners was a soul hit. "Xanadu" by Olivia Newton-John and the Electric Light Orchestra is not really disco either, nor are "Emotional Rescue" and "Dance (Part 1)" by the Rolling Stones (even though they are influenced by disco), nor "Your Body Won't Move if You Can't Feel the Groove" by Leon Huff. Christopher Cross's hit "Ride Like the Wind" was disco-influenced lite-pop. "The Groove" by Rodney Franklin (#7 Pop in the U.K.), "Painted Lady" and "Visualise Yourself (And Your Mind)" by Light of the World, "Motivation" by Atmosfear, the incredible "By All Means" by Alphonse Mouzon, "Splashdown" by Breakwater (#62 Disco in the USA in mid-1980), and "You Ga (Ta Give It)" by the Brecker Brothers are jazz-funk. 1980 was also the year for "The Breaks", a very good disco/funk-sounding rap song by Kurtis Blow, and "Double Dutch Bus", a funk-rap song by Frankie Smith, as well as the smooth groovers "Just the Two of Us" by Grover Washington Jr. featuring Bill Withers, "I Can't Get Along Without You" by Vance and Suzzanne, "Love Me, Love Me Now" by Curtis Mayfield, and "All I Do" by Stevie Wonder. "Love Money" by T.W. Funkmasters is electro-disco-backed rap. "Sure Shot" by Xanadu is disco-backed rap where the background music is a cover of the Whispers hit "And the Beat Goes On". "Oh Yeah" by The Jackson Two is electro-disco-backed rap. "Rhythm Rap Rock" by Count Coolout is disco-funk-backed rap.
Copyright Notice: While the raw facts provided in these lists and essays may be freely disseminated, the particular presentation of this information including the format and comments may not be redistributed without permission, excepting fair use quotes that credit the source. Original content is copyright ©2001-2024 K. A. Brook, all rights reserved.
|
||||||||
1053
|
dbpedia
|
3
| 35
|
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.
|
||||||||
1053
|
dbpedia
|
3
| 15
|
https://forums.stevehoffman.tv/threads/indexi-time-korni-grupa-smak-omega-modry-efekt-and-other-east-european-proggy-things.1114730/
|
en
|
Indexi, Time, Korni Grupa, Smak, Omega, Modrý efekt and other East European proggy things..
|
[
"https://forums.stevehoffman.tv/threads/indexi-time-korni-grupa-smak-omega-modry-efekt-and-other-east-european-proggy-things.1114730/data/avatars/m/78/78685.jpg?1500873814",
"https://forums.stevehoffman.tv/threads/indexi-time-korni-grupa-smak-omega-modry-efekt-and-other-east-european-proggy-things.1114730/data/avatars/m/78/78685.jpg?1500873814",
"https://forums.stevehoffman.tv/threads/indexi-time-korni-grupa-smak-omega-modry-efekt-and-other-east-european-proggy-things.1114730/data/avatars/m/78/78685.jpg?1500873814",
"https://forums.stevehoffman.tv/threads/indexi-time-korni-grupa-smak-omega-modry-efekt-and-other-east-european-proggy-things.1114730/data/avatars/m/78/78685.jpg?1500873814",
"https://forums.stevehoffman.tv/threads/indexi-time-korni-grupa-smak-omega-modry-efekt-and-other-east-european-proggy-things.1114730/data/avatars/m/78/78685.jpg?1500873814",
"https://forums.stevehoffman.tv/threads/indexi-time-korni-grupa-smak-omega-modry-efekt-and-other-east-european-proggy-things.1114730/data/avatars/m/78/78685.jpg?1500873814",
"https://forums.stevehoffman.tv/threads/indexi-time-korni-grupa-smak-omega-modry-efekt-and-other-east-european-proggy-things.1114730/data/avatars/m/78/78685.jpg?1500873814",
"https://forums.stevehoffman.tv/threads/indexi-time-korni-grupa-smak-omega-modry-efekt-and-other-east-european-proggy-things.1114730/data/avatars/m/78/78685.jpg?1500873814",
"https://forums.stevehoffman.tv/threads/indexi-time-korni-grupa-smak-omega-modry-efekt-and-other-east-european-proggy-things.1114730/styles/default/xenforo/avatars/avatar_male_m.png",
"https://forums.stevehoffman.tv/threads/indexi-time-korni-grupa-smak-omega-modry-efekt-and-other-east-european-proggy-things.1114730/styles/default/xenforo/avatars/avatar_male_m.png",
"https://forums.stevehoffman.tv/threads/indexi-time-korni-grupa-smak-omega-modry-efekt-and-other-east-european-proggy-things.1114730/data/avatars/m/109/109568.jpg?1577635960",
"https://forums.stevehoffman.tv/threads/indexi-time-korni-grupa-smak-omega-modry-efekt-and-other-east-european-proggy-things.1114730/data/avatars/m/78/78685.jpg?1500873814",
"https://forums.stevehoffman.tv/threads/indexi-time-korni-grupa-smak-omega-modry-efekt-and-other-east-european-proggy-things.1114730/styles/default/xenforo/avatars/avatar_m.png",
"https://forums.stevehoffman.tv/threads/indexi-time-korni-grupa-smak-omega-modry-efekt-and-other-east-european-proggy-things.1114730/styles/default/xenforo/avatars/avatar_male_m.png",
"https://forums.stevehoffman.tv/threads/indexi-time-korni-grupa-smak-omega-modry-efekt-and-other-east-european-proggy-things.1114730/data/avatars/m/78/78685.jpg?1500873814",
"https://www.vreme.com/gallery/1047499_Dzuboks_18__nov_1975.jpg",
"https://forums.stevehoffman.tv/threads/indexi-time-korni-grupa-smak-omega-modry-efekt-and-other-east-european-proggy-things.1114730/data/avatars/m/78/78685.jpg?1500873814",
"https://forums.stevehoffman.tv/threads/indexi-time-korni-grupa-smak-omega-modry-efekt-and-other-east-european-proggy-things.1114730/data/avatars/m/78/78685.jpg?1500873814",
"https://alchetron.com/cdn/jzef-skrzek-8a9c7aaa-c3e8-4dfa-9f69-eb109bffe7f-resize-750.jpeg",
"https://forums.stevehoffman.tv/threads/indexi-time-korni-grupa-smak-omega-modry-efekt-and-other-east-european-proggy-things.1114730/data/avatars/m/78/78685.jpg?1500873814",
"https://forums.stevehoffman.tv/threads/indexi-time-korni-grupa-smak-omega-modry-efekt-and-other-east-european-proggy-things.1114730/data/avatars/m/132/132596.jpg?1629731839",
"https://forums.stevehoffman.tv/threads/indexi-time-korni-grupa-smak-omega-modry-efekt-and-other-east-european-proggy-things.1114730/data/avatars/m/132/132596.jpg?1629731839",
"https://forums.stevehoffman.tv/threads/indexi-time-korni-grupa-smak-omega-modry-efekt-and-other-east-european-proggy-things.1114730/data/avatars/m/132/132596.jpg?1629731839",
"https://forums.stevehoffman.tv/threads/indexi-time-korni-grupa-smak-omega-modry-efekt-and-other-east-european-proggy-things.1114730/data/avatars/m/78/78685.jpg?1500873814",
"https://forums.stevehoffman.tv/threads/indexi-time-korni-grupa-smak-omega-modry-efekt-and-other-east-european-proggy-things.1114730/data/avatars/m/78/78685.jpg?1500873814",
"https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcSdHFX_sOBoUHiKbPY95m6NOnt391Qd__-Dpw&usqp=CAU",
"https://upload.wikimedia.org/wikipedia/en/e/ee/Ipe_Ivandic.jpg",
"https://forums.stevehoffman.tv/threads/indexi-time-korni-grupa-smak-omega-modry-efekt-and-other-east-european-proggy-things.1114730/data/avatars/m/78/78685.jpg?1500873814",
"https://forums.stevehoffman.tv/threads/indexi-time-korni-grupa-smak-omega-modry-efekt-and-other-east-european-proggy-things.1114730/data/avatars/m/78/78685.jpg?1500873814",
"https://forums.stevehoffman.tv/images/2017logo-780w-2.png"
] |
[
"https://www.youtube.com/embed/Yo2AKoK9ky0"
] |
[] |
[
""
] | null |
[] | null |
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")...
|
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.
|
||||
1053
|
dbpedia
|
2
| 18
|
https://www.amazings.com/articles/article0029.html
|
en
|
Music Article 0029
|
[
"https://www.amazings.com/images/cap32.jpg",
"https://www.amazings.com/images/cap33.jpg",
"https://www.amazings.com/images/cap35.jpg",
"https://www.amazings.com/images/cap31.jpg",
"https://www.amazings.com/images/cap34.jpg",
"https://www.amazings.com/images/atras.gif"
] |
[] |
[] |
[
""
] | null |
[] | null | null |
THE REVOLUTION OF ELECTRONICS
WITHIN MUSICChapter 3: THE SEVENTIES: THE ELECTRONIC REVOLUTION IN MOTION (First Part: 1970-75)
By: Jorge Munnshe
Kraftwerk was formed in 1970. Its founders, Ralf Hutter and Florian Schneider, had met two years before, while studying Classical Music at the conservatoire in Dusseldorf. The band would include at one time or other such artists as Klaus Dinger and Michael Rother (who were to found Neu), Karl Bartos, Wolfgang Flur, and others.
The concept of Kraftwerk, as well as the essence of Techno music, are born from an urban or industrial vision of the world surrounding us, a vision made possible merely from the technological explosion that followed World War Two, with the spectacular industrial development, the highways, the skyscrapers, the hosehold electric appliances, the technology becoming an intimate part of everyday life in the big cities. Techno has been defined as the Folk Music of the urban settlements, perhaps because the lifestyles in two big cities on different points in the world are more similar to one another than to those of the rural areas in their same region.
At an instrumental level, Kraftwerk kept away from the standard synthesizers that appeared in those times coming from such firms as Moog, EMS, or ARP, and chose to use their own equipment. This was rather rudimentary at the beginning: home-made oscillators, altered electronic organs, all kinds of metallic planks to be used for percussion, and tape to manipulate the recordings. Within a few years, their studio would become an elite laboratory, supplied with prototypes of new models developed by different firms, and customized devices.
The electronic music scene harvested an important technological success with the sophisticated soundtrack of the movie The Andromeda Strain, composed by Gil Melle, as well as an artistic one, since this is music indeed, not mere noises of a more or less complex nature like it happens with other soundtracks of those times.
Tangerine Dream release their album Alpha Centauri, whose name is a clear indication of the impact that the coming of age of the Space Age had on the musical panorama and the industrialized society in general. In the album a VCS-3 is used, besides the electronic organs. This is the first album where the listener can clearly appreciate the unmistakable style of Tangerine Dream, and it can be considered as the true recording beginning of the band. In that moment, TD is formed by Edgar Froese, Christopher Franke (drummer coming from Jazz and a former member of the band Agitation Free) and Steve Schroyder. Conrad Schnitzler has left TD to return to Cluster for a short time, definitely leaving the band to begin his solo career. Klaus Schulze has also left TD. He founds the Ashra Tempel band. The first album by them then appears, as well as the first one by Krafttwerk. Pink Floyd continue on one of their most cosmic phases with Meddle.
Vangelis is undergoing a decisive transition stage in his musical career. After album 666, where he assumes the composition, Aphrodite's Child split up. Vangelis is somewhat hesitant as to the path he is to take from then on. He wanders between France and Great Britain, is about to enter the band Yes, and makes some experimental works here and there, like the already mentioned album that reflects the atmosphere of May '68. Most remarkable is his innovative soundtrack for L'Apocalypse des Animaux. Some of the compositions are brilliant, revealing a powerful imagination. The merit is double, furthermore, as he has based his work on electronic organs instead of synthesizers.
Each one of the members of Aphrodite's Child continues on their own path, but in the case of the two cousins, Demis Roussos and Vangelis, these paths will remain close. Roussos is then a consolidated singer, and he will begin a successful solo career. For a time, Vangelis will compose songs for his cousin. This activity, not the private works he carries out in these years, will be what really will give him money. Thanks to his cousin's success, Vangelis will have enough funds to build a studio supplied with the most sophisticated equipment abundant in synthesizers.
We are in the early seventies. Electronic music still is seen as related to LSD "trips" and hallucinations of the Vietnam war veterans. Yet when the utilization of synthesizers spreads to Rock and to Pop, this image will gradually fade. Yes, Genesis, and Jan Hammer, among others, are already using them.
The most durable formation and perhaps the most brilliant one of Tangerine Dream is established in 1972, when Steve Schroyder abandons the band and Edgar Froese contacts keyboardist Peter Baumann in the Berlin club where he performs. He proposes him to join the band, which he accepts. The first album released with this new configuration is the legendary Zeit, a dense, dark work.
Schulze begins his solo career with Irrlicht, an impressive electronic symphony that furthermore has the merit of having been made basically starting from only one synthesizer Synthi AKS.
The second album by Kraftwerk appears, as well as Schwingungen by Ashra Tempel. Popol Vuh initiates a fruitful collaboration with film maker Werner Herzog, which would last for several years. The movie soundtrack of Aguirre: The Wrath of God, provides the film with a special dimension, very much in tune with Herzog's particular style, and is highly suitable for the movie.
In the USSR, Eduard Artemiev continues with his innovative musical career, with such works as the soundtrack for the movie Solaris. Despite the traditional iron curtain of silence prevailing at the time, in successive years several artists from Eastern Europe will become known all over the world, like for instance Polish musician Marek Bilinsky, Yugoslavian artist Laza Ristovski, Rainer Oleak from Eastern Germany, and the Hungarians Petr Hapka, Gabor Pressor and Laszlo Benko.
Synthesizer technology advances spectacularly in a couple of years. Klaus Schulze records his second LP, Cyborg, which follows the line of the first one although it turns out to be more innovative. And Picture Music, the third one, contains more avantgarde ideas than the second one, besides revealing an impressive technological leap forward.
Kraftwerk present the album Ralf & Florian. Both founder musicians use now some standard synthesizers. Pink Floyd abandon the most experimental aspects of their style and enhance the clearly melodic ones, connecting with a wider audience.
Ashra Tempel present Join In, in which Klaus Schulze and also Rosi Mueller participate. The latter will enter the band, where she will work for several years.
In August 1973, Tangerine Dream recorded Green Desert. This work would remain unreleased for more than ten years, until the band decided to reveal it in a compilation on their first albums. The official LP of '73 was Atem, which already displayed the definite consolidation of the Tangerine Dream Sound, reached with the recording of Phaedra in December this same year.
Bands that have nothing to do with electronic music, also get updated and incorporate new technologies to their work. One of the examples that attract most attention in this sense is that of the American Rock-Folk band Creedence Clearwater Revival, who released some pieces with unusual traits, and even the one called Pendulum, of a decidedly experimental character.
The release of Phaedra in 1974 coincides with that of the first solo LP of their leader, Edgar Froese: Aqua, as well as with the international projection of the band, which reaches the top ten British lists.
Klaus Schulze, who, like TD, transcends frontiers, releases Black Dance, where he combines baritone and operatic choirs with the latest synthesizers of the time.
Kraftwerk also achieve success. Their album Autobahn, a true ballad to highways, spread Techno in Europe. In it, they sing through a prototype of vocoder especially build for them.
If Tangerine Dream popularized the sequencer in the making of most complex rhythms, Kraftwerk was to be the band who would popularize the vocoder as a device capable of distorting the human voice up to astonishing limits, thus achieving these metallic voices that appear to have been produced by a robot. Curiously enough, the vocoder was not invented then, since its existence goes back to the thirties, and it had not been developed for musical applications, but rather as a voice encoder / decoder for military use, namely to mask telephone conversations, as a further part of the Intelligence System of the Allies during World War Two.
The Exorcist, one of the terror movies with a strongest impact in the history of the cinema, owes a part of its effect to then ghostly fragment of the Tubular Bells by Mike Oldfield that accompany the most mythical sequences of the movie.
In Italy there already are such authors as Giuliano Sorgini who are pioneers in a kind of music completely electronic for movie soundtracks of terror films.
In Japan, Isao Tomita follows the steps of Walter Carlos and makes electronic versions of pieces of Classical Music, using synthesizers instead of the acoustic orchestra.
Electronic music spreads at a great speed, and its acceptance in the audience increases, especially among the young. A proof of that is the clear success that Super Sound Single by Conrad Schnitzler harvests in the mid seventies in the European discos, which predicts a brilliant future for electronics within the most popular styles.
Klaus Schulze, only four years after the beginning of his solo career, appears as one of the modern composers who influence the new electronic artists most.
Tangerine Dream release their marvellous Rubycon, where Chris Franke takes a relevant role in the composition. The band engage on a successful European tour, during which they shape an album considered to be by many people one of the pillars of the new electronic music: Ricochet. The album is a display of rhythmic complexity never heard before then. Franke, in charge of the sequencers and rhythm computers, achieves an outstanding result. Ricochet is such a spectacular music, so deeply immersed in the electronic universe, that it will succeed in awakening the enthusiasm of new generations of listeners in the following decades. Furthermore, Edgar Froese releases Epsilon in the Malaysian Pale, a complex, innovative work. The leader of TD has reached so much success that, with only two albums released, already a compilation of his is commercialized, under the name of Electronic Dreams.
Vangelis signs a contract with RCA that will allow him to compose his works with the sufficient economic security as to be able to exclusively concentrate on their production. On the other hand, the money earned with the songs for Demis Roussos allows him to create his own studio. To do that, Vangelis chooses an old house in London that will become the famous Nemo Studios, the artisan forge where Vangelis will shape some of his best works. Once again, the thematic inspiration comes to him from the epic dramatic quality of the biblical themes. Thus, his first album for RCA will be titled Heaven and Hell. With the studio half set up and the building workers working, Vangelis uses his electronic arsenal for the first time, recording what will be one of the masterpieces of the new electronic music. In Heaven and Hell we attend an epic concert where electronics acquire warm, sentimental and mystic aspects. This is an album with violent, aggressive themes, and also with others of a romantic nature, that include a female soloist voice and choirs. The fusion of voice, percussion and synthesizers is perfect; rather than a fusion, this is a unique, inseparable Whole. Perhaps the greatest merit, and maybe also the main trait that separates this musician from the cosmic wave coming from Germany is the tangible proof that he gives in this album that electronic music does not have to sound cool, sinister, robotic, but rather that its expressive possibilities can equal if not surpass those of the acoustic orchestra, the paradigm of the performing perfection.
(Next chapter: 1976-79)
|
||||||||
1053
|
dbpedia
|
1
| 36
|
https://www.cdandlp.com/en/bijelo-dugme/artist/
|
en
|
Bijelo Dugme vinyl, 432 LP records & CD found on CDandLP
|
[
"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://img.discogs.com/0cCavbchSfmvmgNfBrdmHUItDmw=/fit-in/450x474/filters:strip_icc():format(jpeg):mode_rgb():quality(90)/discogs-images/A-488253-1491254687-4223.jpeg.jpg",
"https://www.cdandlp.com/images/point_blanc.gif",
"https://www.cdandlp.com/images/sites/cdandlp/perf-5.gif",
"https://www.cdandlp.com/images/sites/cdandlp/icon/icon-mint.svg",
"https://www.cdandlp.com/images/sites/cdandlp/perf-5.gif",
"https://www.cdandlp.com/images/sites/cdandlp/icon/icon-mint.svg",
"https://www.cdandlp.com/images/point_blanc.gif",
"https://www.cdandlp.com/images/sites/cdandlp/perf-5.gif",
"https://www.cdandlp.com/images/sites/cdandlp/perf-5.gif",
"https://www.cdandlp.com/images/point_blanc.gif",
"https://www.cdandlp.com/images/sites/cdandlp/perf-5.gif",
"https://www.cdandlp.com/images/sites/cdandlp/perf-5.gif",
"https://www.cdandlp.com/images/point_blanc.gif",
"https://www.cdandlp.com/images/sites/cdandlp/perf-5.gif",
"https://www.cdandlp.com/images/sites/cdandlp/perf-5.gif",
"https://www.cdandlp.com/images/point_blanc.gif",
"https://www.cdandlp.com/images/sites/cdandlp/perf-5.gif",
"https://www.cdandlp.com/images/sites/cdandlp/icon/icon-pro.svg",
"https://www.cdandlp.com/images/sites/cdandlp/perf-5.gif",
"https://www.cdandlp.com/images/sites/cdandlp/icon/icon-pro.svg",
"https://www.cdandlp.com/images/point_blanc.gif",
"https://www.cdandlp.com/images/sites/cdandlp/perf-5.gif",
"https://www.cdandlp.com/images/sites/cdandlp/icon/icon-pro.svg",
"https://www.cdandlp.com/images/sites/cdandlp/perf-5.gif",
"https://www.cdandlp.com/images/sites/cdandlp/icon/icon-pro.svg",
"https://www.cdandlp.com/images/point_blanc.gif",
"https://www.cdandlp.com/images/sites/cdandlp/perf-5.gif",
"https://www.cdandlp.com/images/sites/cdandlp/perf-5.gif",
"https://www.cdandlp.com/images/point_blanc.gif",
"https://www.cdandlp.com/images/sites/cdandlp/perf-5.gif",
"https://www.cdandlp.com/images/sites/cdandlp/icon/icon-mint.svg",
"https://www.cdandlp.com/images/sites/cdandlp/perf-5.gif",
"https://www.cdandlp.com/images/sites/cdandlp/icon/icon-mint.svg",
"https://www.cdandlp.com/images/point_blanc.gif",
"https://www.cdandlp.com/images/sites/cdandlp/perf-5.gif",
"https://www.cdandlp.com/images/sites/cdandlp/perf-5.gif",
"https://www.cdandlp.com/images/point_blanc.gif",
"https://www.cdandlp.com/images/sites/cdandlp/perf-2.gif",
"https://www.cdandlp.com/images/sites/cdandlp/icon/icon-pro.svg",
"https://www.cdandlp.com/images/sites/cdandlp/perf-2.gif",
"https://www.cdandlp.com/images/sites/cdandlp/icon/icon-pro.svg",
"https://www.cdandlp.com/images/point_blanc.gif",
"https://www.cdandlp.com/images/sites/cdandlp/perf-5.gif",
"https://www.cdandlp.com/images/sites/cdandlp/perf-5.gif",
"https://www.cdandlp.com/images/point_blanc.gif",
"https://www.cdandlp.com/images/sites/cdandlp/perf-5.gif",
"https://www.cdandlp.com/images/sites/cdandlp/icon/icon-mint.svg",
"https://www.cdandlp.com/images/sites/cdandlp/perf-5.gif",
"https://www.cdandlp.com/images/sites/cdandlp/icon/icon-mint.svg",
"https://www.cdandlp.com/images/point_blanc.gif",
"https://www.cdandlp.com/images/sites/cdandlp/perf-5.gif",
"https://www.cdandlp.com/images/sites/cdandlp/perf-5.gif",
"https://www.cdandlp.com/images/point_blanc.gif",
"https://www.cdandlp.com/images/sites/cdandlp/perf-5.gif",
"https://www.cdandlp.com/images/sites/cdandlp/perf-5.gif",
"https://www.cdandlp.com/images/point_blanc.gif",
"https://www.cdandlp.com/images/sites/cdandlp/perf-5.gif",
"https://www.cdandlp.com/images/sites/cdandlp/perf-5.gif",
"https://www.cdandlp.com/images/point_blanc.gif",
"https://www.cdandlp.com/images/sites/cdandlp/perf-5.gif",
"https://www.cdandlp.com/images/sites/cdandlp/perf-5.gif",
"https://www.cdandlp.com/images/point_blanc.gif",
"https://www.cdandlp.com/images/sites/cdandlp/perf-5.gif",
"https://www.cdandlp.com/images/sites/cdandlp/perf-5.gif",
"https://www.cdandlp.com/images/point_blanc.gif",
"https://www.cdandlp.com/images/sites/cdandlp/perf-5.gif",
"https://www.cdandlp.com/images/sites/cdandlp/perf-5.gif",
"https://www.cdandlp.com/images/point_blanc.gif",
"https://www.cdandlp.com/images/sites/cdandlp/perf-5.gif",
"https://www.cdandlp.com/images/sites/cdandlp/perf-5.gif",
"https://www.cdandlp.com/images/point_blanc.gif",
"https://www.cdandlp.com/images/sites/cdandlp/perf-2.gif",
"https://www.cdandlp.com/images/sites/cdandlp/icon/icon-pro.svg",
"https://www.cdandlp.com/images/sites/cdandlp/perf-2.gif",
"https://www.cdandlp.com/images/sites/cdandlp/icon/icon-pro.svg",
"https://www.cdandlp.com/images/point_blanc.gif",
"https://www.cdandlp.com/images/sites/cdandlp/perf-5.gif",
"https://www.cdandlp.com/images/sites/cdandlp/perf-5.gif",
"https://www.cdandlp.com/images/point_blanc.gif",
"https://www.cdandlp.com/images/sites/cdandlp/perf-5.gif",
"https://www.cdandlp.com/images/sites/cdandlp/perf-5.gif",
"https://www.cdandlp.com/images/point_blanc.gif",
"https://www.cdandlp.com/images/sites/cdandlp/perf-5.gif",
"https://www.cdandlp.com/images/sites/cdandlp/perf-5.gif",
"https://www.cdandlp.com/images/sites/cdandlp/perf-5.gif",
"https://www.cdandlp.com/images/sites/cdandlp/perf-5.gif",
"https://www.cdandlp.com/images/point_blanc.gif",
"https://www.cdandlp.com/images/sites/cdandlp/perf-5.gif",
"https://www.cdandlp.com/images/sites/cdandlp/perf-5.gif",
"https://www.cdandlp.com/images/point_blanc.gif",
"https://www.cdandlp.com/images/sites/cdandlp/perf-5.gif",
"https://www.cdandlp.com/images/sites/cdandlp/icon/icon-mint.svg",
"https://www.cdandlp.com/images/sites/cdandlp/perf-5.gif",
"https://www.cdandlp.com/images/sites/cdandlp/icon/icon-mint.svg",
"https://www.cdandlp.com/images/point_blanc.gif",
"https://www.cdandlp.com/images/sites/cdandlp/perf-5.gif",
"https://www.cdandlp.com/images/sites/cdandlp/icon/icon-pro.svg",
"https://www.cdandlp.com/images/sites/cdandlp/perf-5.gif",
"https://www.cdandlp.com/images/sites/cdandlp/icon/icon-pro.svg",
"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/wishlist-uk.jpg?v=2",
"https://www.cdandlp.com/images/ajax-loader-bar.gif",
"https://www.cdandlp.com/images/ajax-loader-bar.gif",
"https://www.cdandlp.com/images/ajax-loader-bar.gif",
"https://www.cdandlp.com/images/ajax-loader-bar.gif",
"https://www.cdandlp.com/images/ajax-loader-bar.gif",
"https://www.cdandlp.com/images/ajax-loader-bar.gif",
"https://www.cdandlp.com/images/ajax-loader-bar.gif",
"https://www.cdandlp.com/images/ajax-loader-bar.gif",
"https://www.cdandlp.com/images/instagram.png"
] |
[] |
[] |
[
""
] | null |
[] | null |
en
|
https://www.cdandlp.com/en/bijelo-dugme/artist/
| ||||||||
1053
|
dbpedia
|
0
| 6
|
https://jazzrocksoul.com/author/trimaximalist/page/65/
|
en
|
JazzRockSoul.com
|
https://secure.gravatar.com/avatar/3f0909c0f6a7673c4488e8fdc3ea5684?s=500&d=mm&r=g
|
https://secure.gravatar.com/avatar/3f0909c0f6a7673c4488e8fdc3ea5684?s=500&d=mm&r=g
|
[
"https://jazzrocksoul.com/wp-content/uploads/2020/09/JazzRockSoul-rp.png",
"https://jazzrocksoul.com/wp-content/uploads/2018/01/Nite-Liters.jpg",
"https://jazzrocksoul.com/wp-content/uploads/2018/01/Newban.jpg",
"https://jazzrocksoul.com/wp-content/uploads/2018/01/Chocolate-Jam-Co..jpg",
"https://jazzrocksoul.com/wp-content/uploads/2018/01/N.C.C.U..jpg",
"https://jazzrocksoul.com/wp-content/uploads/2018/01/Mystic-Merlin.jpg",
"https://jazzrocksoul.com/wp-content/uploads/2018/01/Mutiny.jpg",
"https://jazzrocksoul.com/wp-content/uploads/2018/01/Muscle-Shoals-Horns.jpg",
"https://jazzrocksoul.com/wp-content/uploads/2018/01/Mtume-band.jpg",
"https://jazzrocksoul.com/wp-content/uploads/2018/01/Memphis-Horns.jpg",
"https://jazzrocksoul.com/wp-content/uploads/2018/01/Mammatapee.jpg",
"https://jazzrocksoul.com/wp-content/uploads/2018/01/Moonlyte.jpg",
"https://jazzrocksoul.com/wp-content/uploads/2018/01/Minority-Band.jpg",
"https://jazzrocksoul.com/wp-content/uploads/2018/01/Mind-Matter.jpg",
"https://jazzrocksoul.com/wp-content/uploads/2018/01/Mighty-Ryeders.jpg",
"https://jazzrocksoul.com/wp-content/uploads/2018/01/Midnight-Star.jpg",
"https://jazzrocksoul.com/wp-content/uploads/2018/01/Midnight-Movers.jpg",
"https://jazzrocksoul.com/wp-content/uploads/2018/01/MFSB.png",
"https://jazzrocksoul.com/wp-content/uploads/2018/01/Meters.jpg",
"https://jazzrocksoul.com/wp-content/uploads/2018/01/Maze.jpg",
"https://jazzrocksoul.com/wp-content/uploads/2018/01/Maxayn.jpg",
"https://jazzrocksoul.com/wp-content/uploads/2018/01/Mastermind.jpg",
"https://jazzrocksoul.com/wp-content/uploads/2018/01/Mass-Production.jpg",
"https://jazzrocksoul.com/wp-content/uploads/2018/01/Mandrill.jpg",
"https://jazzrocksoul.com/wp-content/uploads/2018/01/Mandré.jpg",
"https://jazzrocksoul.com/wp-content/uploads/2018/01/Magnum.jpg",
"https://jazzrocksoul.com/wp-content/uploads/2018/01/Made-in-USA.jpg",
"https://jazzrocksoul.com/wp-content/uploads/2018/01/LTG-Exchange.jpg",
"https://jazzrocksoul.com/wp-content/uploads/2018/01/LTD.jpg",
"https://jazzrocksoul.com/wp-content/uploads/2018/01/Lowrell.jpg",
"https://jazzrocksoul.com/wp-content/uploads/2018/01/Love-Unlimited-Orchestra.jpg",
"https://jazzrocksoul.com/wp-content/uploads/2018/01/Lakeside.jpg",
"https://jazzrocksoul.com/wp-content/uploads/2018/01/Lafayette-Afro-Rock-Band.jpg",
"https://jazzrocksoul.com/wp-content/uploads/2018/01/Kwick.jpg",
"https://jazzrocksoul.com/wp-content/uploads/2018/01/Kool-and-The-Gang.jpg",
"https://jazzrocksoul.com/wp-content/uploads/2018/01/Aztecs.jpg",
"https://jazzrocksoul.com/wp-content/uploads/2018/01/Samurai-1.jpg",
"https://jazzrocksoul.com/wp-content/uploads/2018/01/Psycho.jpg",
"https://jazzrocksoul.com/wp-content/uploads/2018/01/Kashmere-Stage-Band.jpg",
"https://jazzrocksoul.com/wp-content/uploads/2018/01/Ypsilon.jpg",
"https://jazzrocksoul.com/wp-content/uploads/2018/01/Vangelis.jpeg",
"https://jazzrocksoul.com/wp-content/uploads/2018/01/Trypes.jpg",
"https://jazzrocksoul.com/wp-content/uploads/2018/01/Four-Levels-of-Existence.jpg",
"https://jazzrocksoul.com/wp-content/uploads/2018/01/Stavros-Logarides.jpg",
"https://jazzrocksoul.com/wp-content/uploads/2018/01/Socrates-Drank-the-Conium.jpg",
"https://jazzrocksoul.com/wp-content/uploads/2018/01/Akritas.jpg",
"https://jazzrocksoul.com/wp-content/uploads/2018/01/Poll.jpg",
"https://jazzrocksoul.com/wp-content/uploads/2018/01/Pete-Royce.jpg",
"https://jazzrocksoul.com/wp-content/uploads/2018/01/P.L.J.-Band.jpg",
"https://jazzrocksoul.com/wp-content/uploads/2018/01/Morka.jpg",
"https://jazzrocksoul.com/wp-content/uploads/2018/01/Kyriakos-Sfetsas.jpg",
"https://jazzrocksoul.com/wp-content/uploads/2018/01/Katerina-Gogou.jpg",
"https://jazzrocksoul.com/wp-content/uploads/2018/01/Gus-Vali.jpg",
"https://jazzrocksoul.com/wp-content/uploads/2018/01/Agapanthos.jpg",
"https://jazzrocksoul.com/wp-content/uploads/2018/01/Axis.jpg",
"https://jazzrocksoul.com/wp-content/uploads/2018/01/Aphrodites-Child-960x475.jpg",
"https://jazzrocksoul.com/wp-content/uploads/2018/01/Korni-Grupa.jpg",
"https://jazzrocksoul.com/wp-content/uploads/2018/01/YU-grupa.jpg",
"https://jazzrocksoul.com/wp-content/uploads/2018/01/Katarina-II.jpg",
"https://jazzrocksoul.com/wp-content/uploads/2018/01/Xenia.jpg",
"https://jazzrocksoul.com/wp-content/uploads/2018/01/Tomaž-Pengov.jpg",
"https://jazzrocksoul.com/wp-content/uploads/2018/01/Tihomir-Pop-Asanović.jpg",
"https://jazzrocksoul.com/wp-content/uploads/2018/01/Teška-Industrija.jpg",
"https://jazzrocksoul.com/wp-content/uploads/2018/01/Tako.jpg",
"https://jazzrocksoul.com/wp-content/uploads/2018/01/Suncokret.jpg",
"https://jazzrocksoul.com/wp-content/uploads/2018/01/Spektar.jpg",
"https://jazzrocksoul.com/wp-content/uploads/2018/01/Smak.jpg",
"https://jazzrocksoul.com/wp-content/uploads/2018/01/September.jpg",
"https://jazzrocksoul.com/wp-content/uploads/2018/01/Rezonansa.jpg",
"https://jazzrocksoul.com/wp-content/uploads/2018/01/Radomir-Mihajlović-Točak.jpg",
"https://jazzrocksoul.com/wp-content/uploads/2018/01/Predmestje.jpg",
"https://jazzrocksoul.com/wp-content/uploads/2018/01/Pop-Mašina.jpg",
"https://jazzrocksoul.com/wp-content/uploads/2018/01/Petar-Ugrin.jpg",
"https://jazzrocksoul.com/wp-content/uploads/2018/01/Oko.jpg",
"https://jazzrocksoul.com/wp-content/uploads/2018/01/Oddelek-8.jpg",
"https://jazzrocksoul.com/wp-content/uploads/2018/01/Miha-Kralj.jpg",
"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",
"https://jazzrocksoul.com/wp-content/uploads/2018/01/Aerodrom.jpg",
"https://jazzrocksoul.com/wp-content/uploads/2018/01/Josipa_Lisac.jpg",
"https://jazzrocksoul.com/wp-content/uploads/2018/01/Indexi.jpg"
] |
[] |
[] |
[
""
] | null |
[
"Trimaximalist"
] |
2018-01-16T01:29:21+00:00
|
en
|
https://jazzrocksoul.com/author/trimaximalist/page/65/
|
Author: Trimaximalist
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 were a Paris-based American funk band from Long Island. The band evolved out of the Bobby Boyd Congress, which made the Atlantic crossing but changed names after vocalist Boyd returned to the states. The band also recorded several albums as Ice during the early 1970s. Members: Larry Jones (guitar), Lafayette […]
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 […]
Laza i Ipe
Laza i Ipe were a Yugoslav symphonic/electronic duo comprised of keyboardist/composer Laza Ristovski and drummer/vocalist Ipe Ivandić, both of Bijelo Dugme. The two issued a 7″ on Jugoton in 1976, followed by the 1977 RTV Ljubljana release Stižemo, recorded with guitarist/bassist Zlatko Hold. Members: Laza Ristovski (Piano, Organ [Hammond C-3], Synthesizer [Arp Odyssey, Polymoog, Arp […]
Aerodrom
Aerodrom were a Yugoslav New Wave/art-rock band from Zagreb in modern-day Croatia. Between 1979 and 1986, the band released five albums and assorted singles on Jugoton. Members: Jurica Pađen (guitar, vocals), Zlatan Živkovic (vocals, drums, 1978-81, 1984-87, 2001), Remo Krstanović Kartagine (bass, 1978-87), Mladen Krajnik (keyboards, 1978-81, 2001), Paolo Sfeci (drums, 1978-79), Branko Knežević [aka […]
Josipa Lisac
Josipa Lisac (born Feb. 14, 1950) is a Croatian vocalist who briefly sang with the Zagreb pop groups O’Hara and Zlatni Akordi during the late 1960s. In 1969, she began a long run of solo singles on Jugoton, which issued her popular 1973 album Dnevnik Jedne Ljubavi. Over the next 14 years she released six […]
|
|||||
1053
|
dbpedia
|
3
| 97
|
https://serp.wiki/Radomir_Mihailovi%25C4%2587
|
en
|
Loading...
|
https://imagedelivery.net/lnCkkCGRx34u0qGwzZrUBQ/bd93095f-9445-46d4-3f94-0d8303cb9400/public
|
[
"https://imagedelivery.net/lnCkkCGRx34u0qGwzZrUBQ/bd93095f-9445-46d4-3f94-0d8303cb9400/public"
] |
[] |
[] |
[
""
] | null |
[] | null |
en
| null |
Error: [GET] "/api/wiki/Radomir_Mihailovi%C4%87": 404 Not Found
|
||||||
1053
|
dbpedia
|
3
| 78
|
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
| 34
|
https://blesok.mk/en/sound/reviews-sound/interview-vlatko-stefanovski-118/5/
|
en
|
INTERVIEW: VLATKO STEFANOVSKI
|
[
"https://blesok.mk/wp-content/uploads/2018/07/logo_eng.png",
"https://blesok.mk/wp-content/uploads/logo_eng-m.png",
"https://blesok.mk/wp-content/uploads/2024/04/IMG_3180BW-200x197.jpg",
"https://blesok.mk/wp-content/uploads/sound-reviews-150x150.jpg",
"https://blesok.mk/wp-content/uploads/literature-poetry-150x150.jpg",
"https://blesok.mk/wp-content/uploads/literature-prose-150x150.jpg",
"https://blesok.mk/wp-content/uploads/literature-essays-150x150.jpg",
"https://blesok.mk/wp-content/uploads/2018/07/logo_en.png",
"https://blesok.mk/wp-content/uploads/2018/07/logo_en.png"
] |
[] |
[] |
[
""
] | null |
[
"admin"
] |
2018-03-27T00:00:00+00:00
|
However, if you don’t have the mileage and all you’ve done before, you wouldn’t be able to do that. From […]
|
en
|
Blesok
|
https://blesok.mk/en/sound/reviews-sound/interview-vlatko-stefanovski-118/5/
|
However, if you don’t have the mileage and all you’ve done before, you wouldn’t be able to do that. From BREG through LEB I SOL… to today. Few days ago I was listening to the record where you are together with Miki Petkovski and Laza Ristovski, then I remembered Ajduchka cheshma – that historical concert… Then my thoughts went to “mother tongue” where you put on the same level Jonche Hristovski, Esma Redzepova… with Goran Bregović.
STEFANOVSKI: They are absolutely on the same level. Jonche Hristovski may have seemed to some as a comic person with his moustache, the way he moved his jacket… with some performance tricks, but if you analyze his compositions – they are masterpieces. From “Makedonsko devojche” (Macedonian girl), “Ako umram il’ zaginam” (If I die or get killed)… and other patriotic songs – everyone realizes that they are masterpieces. He often came here in “14”. I had great respect towards him. I always greeted him… he was sitting here every morning with a company, they were having a few drinks… A great name. Jonche Hristovski was a great name. He has songs that seem to be taken from a rock. Broken off a rock. He has songs that are hits, nice hits. But he also has songs that are so completed… as a polished diamond. You cannot add or take away anything from them. If you add, they crumble. If you take away, they will also crumble. So, perfectly made. There are just a few such composers and people who can write such songs. Regarding “Makedonsko devojche”, a very famous song, everyone thinks that it’s a folk song, but actually it is composed. It is Jonche Hristovski’s song. It would be great if our newly formed festivals had like five or so songs such as “Makedonsko devojche”.
Today, almost no songs are composed. Some music is done on the computer which is not really music.
|
|||||
1053
|
dbpedia
|
3
| 81
|
http://www.rocknpop.1oflads.com/en/category/competitors/
|
en
|
Rock n Pop the Borders
|
http://www.rocknpop.1oflads.com/wp-content/uploads/PE_fon-300x225.jpg
|
[
"http://www.rocknpoptheborders.com/wp-content/uploads/rnptb.jpg",
"http://www.rocknpop.1oflads.com/wp-content/uploads/simple-responsive-slider/srs-nagrazhdavane-1.jpg",
"http://www.rocknpop.1oflads.com/wp-content/uploads/1-snimka.jpg",
"http://www.rocknpop.1oflads.com/wp-content/uploads/2-snimka.jpg",
"http://www.rocknpop.1oflads.com/wp-content/uploads/All-bands-Dupnitsa.jpg",
"http://www.rocknpop.1oflads.com/wp-content/uploads/dupnitsa-2.jpg",
"http://www.rocknpop.1oflads.com/wp-content/uploads/Kumanovo.jpg",
"http://www.rocknpop.1oflads.com/wp-content/uploads/audience-kumanovo.jpg",
"http://www.rocknpop.1oflads.com/wp-content/uploads/snimka-between-concert-dupnitsa-kumanovo.jpg",
"http://www.rocknpop.1oflads.com/wp-content/uploads/VOLTAGE-150x150.jpg",
"http://www.rocknpop.1oflads.com/wp-content/uploads/MNEME-150x150.jpg",
"http://www.rocknpop.1oflads.com/wp-content/uploads/LOPATARKA-150x150.jpg",
"http://www.rocknpop.1oflads.com/wp-content/uploads/SIMAI-150x150.jpg",
"http://www.rocknpop.1oflads.com/wp-content/uploads/Vizija-Band-150x150.jpg",
"http://www.rocknpop.1oflads.com/wp-content/uploads/ANGUS_KEVIN-150x150.jpg",
"http://www.rocknpop.1oflads.com/wp-content/uploads/ENKHAOSMENT-150x150.jpg",
"http://www.rocknpop.1oflads.com/wp-content/uploads/BOA-e1401812182729-150x150.jpg",
"http://www.rocknpop.1oflads.com/wp-content/uploads/dsida-150x150.jpg",
"http://www.rocknpop.1oflads.com/wp-content/uploads/PE_fon-300x225.jpg",
"http://www.rocknpop.1oflads.com/wp-content/uploads/SUNDAY-150x150.jpg",
"http://www.rocknpop.1oflads.com/wp-content/uploads/FEAST-OF-INSANITY-150x150.jpg",
"http://www.rocknpop.1oflads.com/wp-content/uploads/After-Midnight-300x111.jpg",
"http://www.rocknpop.1oflads.com/wp-content/uploads/Orhids-Wither-300x225.jpg",
"http://www.rocknpop.1oflads.com/wp-content/uploads/Foretold-Dead-300x225.jpg",
"http://www.rocknpop.1oflads.com/wp-content/uploads/Chainsaw-Babies-150x150.jpg",
"http://www.rocknpop.1oflads.com/wp-content/uploads/REBELS-150x150.jpg",
"http://www.rocknpop.1oflads.com/wp-content/uploads/SLIX-150x150.jpg",
"http://www.rocknpop.1oflads.com/wp-content/uploads/PANIC-STATION-150x150.jpg",
"http://www.rocknpop.1oflads.com/wp-content/uploads/Problem-Solved-150x150.jpg",
"http://www.rocknpop.1oflads.com/wp-content/uploads/TV-Rage-300x214.jpg",
"http://www.rocknpop.1oflads.com/wp-content/uploads/Marmaladbanda-300x207.jpg",
"http://www.rocknpop.1oflads.com/wp-content/uploads/PARANORMAL3-150x150.png",
"http://www.rocknpop.1oflads.com/wp-content/uploads/polemique-150x150.jpg",
"http://www.rocknpop.1oflads.com/wp-content/uploads/Revenge-150x150.jpg",
"http://www.rocknpop.1oflads.com/wp-content/uploads/Z-Rock.jpg",
"http://youngrocks-bulgaria.com/files/resized/199173/234;60;81c44013190390a662a8d29f125ff65d3b9647d9.png",
"http://www.rocknpop.1oflads.com/wp-content/uploads/ngobg.jpg",
"http://www.rocknpop.1oflads.com/wp-content/uploads/sky_radio.jpg",
"http://www.rocknpop.1oflads.com/wp-content/uploads/csw_baner123.png",
"http://www.rocknpop.1oflads.com//wp-content/uploads/ipa-bg.jpg",
"http://www.rocknpop.1oflads.com//wp-content/uploads/1oflads_com.jpg",
"http://www.rocknpop.1oflads.com//wp-content/uploads/rc_kratovo.jpg",
"http://www.rocknpop.1oflads.com//wp-content/uploads/MRRB.jpg",
"http://www.rocknpop.1oflads.com//wp-content/uploads/mzls.jpg",
"http://www.rocknpop.1oflads.com//wp-content/uploads/ipa.jpg",
"http://www.rocknpop.1oflads.com/wp-content/uploads/dupnitsa-bg.jpg",
"http://www.rocknpop.1oflads.com/wp-content/uploads/kumanovo.jpg",
"http://www.rocknpop.1oflads.com//wp-content/uploads/footer.jpg"
] |
[
"http://www.youtube.com/embed/SQN9fpxkuJc"
] |
[] |
[
""
] | null |
[] | null |
en
| null |
Voltage is an young trash metal band established on 28 February 2011 in Dupnitsa town. The band has 16 original songs but also it makes covers of famous bands as Metallica, Megadeth, Slayer, Pantera, etc. The band experienced a lot of appearances. We have been participated in Pop Rock Fest – Nessebar, S’cool rock fest – Plovdiv, Rock It Marathon, Let’s rock it – Dobrich, Coco Rock Fest – Kurdzhali, where we have won second award and Long Intersession 4 – where we have got special award – producing and recording a song and clip. In December 2013 we signed with Dark Arts Ltd for single record application disseminated with December’s Terrorizer Magazine issue.
The band is in membership of:
• Borislav Zahariev – guitar/vocal, 19.
• Miroslav Zakhariev – drums, 17.
• Kiril Petrov – bass/vocal, 17.
• Georgi Alexov – guitar,17.
You can watch and listen to all we do on: http://voltageband.esy.es/. We are proud with our songs you can listen to here.
At Rock’n Pop the Borders we have presented our absolutely fresh We are coming! – music, lyrics and arengement – Voltage.
Total votes received: 208
Mneme is a Death / Thrash / Progressive Metal band from Sofia, established in 2011. They definitely haven’t lost their time since then as regarding their playing skills improving, as well regarding original songs making so up to now they would be able to talk up about nine own original songs, seven of them – recorded: God Can’t Save You, Sinking into Dark, Sky Is Gray, Closure Of The Gates Of Hell, etc.
Regarding appearances the band is very active too as they have experienced a lot of concerts, competitions, fests as Long intersession 4, The Rock Power 3, Coco Rock Fest- Kurdzhali, ON!Fest…
You can watch and listen to us on: https://www.facebook.com/MnemeBand. We are proud with our songs you can listen to here.
Extremely cute and while hard musicians’ band in membership of:
• Hristo Boyadzhiev (16 ) Vocals/Guitar
• Bozhko Bozhkov (18) Vocals/Guitar
• Yavor Semkov (16 ) Bass/Vocals
• Yoan Nikolov (16 ) Drums
At Rock’n Pop the Borders we have presented our new song – Appetence for Life.
Music of Bozhko Bozhkov, lyrics – of Yavor Semkov and Hristo Boyadzhiev, and arrangement of Bozhko Bozhkov, Hristo Boyadzhiev and Yoan Nikolov.
Total votes received: 194
We are Lopatarka band from Montana, Bulgaria. We have been together for 5 years and we play only original, sung in Bulgarian, music with exception of 2 covers – ‘You are beautiful, my forest’ and ‘A pipe is playing’. We are playing interesting rock music where you can find a lot of folklore influence. In 2013 we won the Best Original Song Award at international competition Let’s rock it in Dobrich for the song ‘He wants her, she won’t’.
In Lopatarka we are:
• Roberta – Dimanna Aleva, 21- vocal, keyboards
• Georgi Dimitrov, 21 – guitar
• Rossen Petrov, 21 – bass guitar
• Martin Sredkov, 23 – drums
You can watch and listen to all we do on: https://www.facebook.com/Lopatarka?ref=br_tf. We are proud with our songs you can listen to here.
At Rock’n Pop the Borders competition we have performed our new original song „The first one”. The lyrics of Roberta-Dimanna Aleva and music of Roberta – Dimanna Aleva, Rossen Petrov, Georgi Dimitrov and Martin Sredkov.
Total votes received: 222
Simai was established on 12 February 2013. We would characterize ourselves as Rapcore/Nu-metal band. We often do performances at Sofia and Plovdiv. We lay stress on original music creating. At concerts we play also covers of Limp Bizkit, Soulfly, Korn, P.O.D., Hed PE. We have been given 2nd place at Golyamo mezhduchasie 5/Big Break 5 Competition for our Crhyme song. We are preparing LP thought to be 11 original songs contented. You can listen to our live performances on our Soundcloud – https://soundcloud.com/simai-band and on Youtube – https://www.youtube.com/channel/UCXkS2bAnVMTHR1AjxwbKElw
In the band are:
• Andrey Androv (18) – Bass
• Alexander Miladinov (18) – Guitar
• Georgi Chuchukov (16) – Drums
• Kalofer Mikhov (18) – Vocals
• Genadi Mikhov (19) – Guitar/ Vocals
You can watch and listen to all we do on: https://www.facebook.com/simaiband. We are proud with our songs you can listen to here.
At Rock’n Pop the Borders we have presented Electrify – music, lyrics and arrangement – Simai.
Total votes received: 256
VIZIA is a Macedonian rock band established in November 2014 in Skopje. The music we make springs from the rock, mixing in various styles, so it results in the style of Vizia.
Vizia’s first appearance was at T’k – tak fest 2012 in Kavaradartsi, in memoriam of Macedonian rock legend – Trayko Karov, where the band was awarded and thereon – the band was performed at the prestigious Taxsirat – Skopje. Our first appearance abroad was on 1 June 2013 at Skladishte Fest, Krushchik, Serbia and some days later – Vizia was performed at Revelation concert of T’k – tak fest in Kavaradrtsi. Our greatest success was our performance during the Zaecharska Guitariada in August 2013 where we was the only Macedonian band amongst the best 12 Balkan rock band who played for 30 000 audience.
In the list of our performances we should mention our performances at Kochani in May 2013, MKC – 50 years of Rock’n’ roll in Macedonia, Pivoland 2013, Culture Summer Karposh 2013…. The band was selected for one of the best Balkan bands in 2013 by the American WMBR radio, as to Vizia was written on British Emerging Indie Bands site where we were charted as the best band of February.
You can watch and listen all we do on http://www.facebook.com/VizijaMK. We are proud with our songs you can listen to here.
In the band are:
• Marko Dzambazoski (Lead Guitar / Backing Vocals)
• Marko Gapo (Lead Vocals / Rhythm Guitar)
• Liljana Jankova (Bass / Backing vocals)
• Siniša Gjorgjević (drums)
At Rock’n Pop the Borders we have presented- Гласот на мојата душа / The voice of my soul.
Music: Marko Dzambazos ki, Marko Gapo , Liljana Jankova , Siniša Gjorgjević
Lyrics: Marko Dzambazoski
Arangement: Marko Dzambazoski, Marko Gapo , Liljana Jankova , Siniša Gjorgjević
Total votes received: 285
At the beginning, Angus&Kevin was a duet of Stoyan (Angus) Peykov and Kevin Dramaliev. In a while, because there were no options for concert performances, two new members were joined to the band: Dimitar Komandarev – bass guitar and Atanas Georgiev – drums. Our style verges to heavy metal/hard rock styles.
In the band are:
Angus Peykov – Guitar, Singer,15
Dimitar Komandarev – Bass Guitar,15
Kevin Dramaliev – Guitar,14
Atanas Georgiev – Drums,15
You can watch and listen to all we do on: https://www.facebook.com/pages/AngusKevin/499769233435830. We are proud with our songs you can listen to here.
At Rock,n pop the Border we have presented our song Izguben/ Lost
Music, lyrics and arrangement: Angus&Kevin
Total votes received: 262
The band was established in February 2013. They appeared with covers but soon they moved on original music making and playing. Thus, the Enkhaosment project has started and has been running successfully forward.
They define their music as a mix of various styles of metal – trash, death, groove and heavy. The band is inspired by the greatest performers at the world’s stage: Kreator, Pantera, Sodom, Slayer and Machine Head.
The band’s mission is to show their compatriots that in Bulgaria making good and qualitative music is possible. For the year the young band has been existing, they have succeeded to appear at a number of concerts throughout the country, as well to be a part of the fests and competitions as Give me Rock, Guitariada, The Long Intermission 5
In EKHAOSMENT we are:
Kalin Smolichki, 19 – bass guitar and vocals
Vassko Peyanin, 19 – rhythm guitar
Theodor Vassilev, 17 - solo guitar
Alex Andonov, 17 – drums
The songs we are proud of, you can listen to here.
At Rock’n pop the Borders we have presented the song ‘For The Win’
Music and lyrics: Kalin Smolichki
Arangement: ENKHAOSMENT
Total votes received: 850
The band was established in November, last year. During the last six months we have been appearing at the most of Skopje stages. In the band are: Konstantina Bogoevska – vocal (20, Bitola), Goran Petrovski – violin and back vocal (20, Bitola), Milosh Popovski – guitar (21, Skopje), Hristian Raykovski – bass guitar (19, Skopje) and Sinisha Dzhordzhevich – drums (20, Skopje). Distinctively of ‘Plug In’ is a violin involvement within performance which is seldom for rock bands. All band’s members are students in Music Arts Faculty in Skopje where their tale has begun.
You can find us on: https://www.facebook.com/ pages/Plug-In/1442425276002167
‘Ride’ is our first original song.
Music: Milosh Popovski
Lyrics: Konstantina Bogoevska
Arangement: Goran Petrovski
Total votes received: 333
The band was established in the winter of 2012 by Kaloyan (16, vocal and guitar) and Momchil (15, drums) Itovs + Roumen (15, bass guitar and vocals) and Daniel (16, guitar) Neykovs. We are special with the fact we are 2 siblings’ couples, we we’ve known each other since we were born and that pulls us more together as musicians. The band’s membership hasn’t been changed. The band has made 5 original own songs so far. We have played at two festivals in Rousse. We have passed through the most of Rousse clubs and we are eager to appear in another town. You can listen our original songs on: https://soundcloud.com/kaloyan-itov/enslaved/s-uZjm6
At the Rock’n Pop the Borders we have presented our new original song ‘Cannot Heal’.
The music, lyrics and the arrangement are of ‘Power Enslave’.
Total votes received: 271
’Sunday’ band was established in the beginning of March, 2012. The band registered participation in Rock’n Pop the Borders on 4th of June 2014 in membership of: Aysel Karadaya, 18 – vocal; Zdravko Krustev,18 - guitars; Hristo Kenarov,19 – drums and Vassko Andreev,17 – bass.
At the online contest they performed the song ‘Bury me’ with lyrics and music by Aysel Karadaya and arrangement by the band. The song was supported by totally 174 votes in audience online voting between 16 June and 16 July 2014.
You do not have access to the Sunday’s song ‘Bury me’. It was removed by the Rock’n Pop the Borders online platform on 30 July 2014 after demand by Aysel Karakaya – the author of song’s lyrics and music.
Moved by the wish this platform to be a stage only for young authors who sincerely want to be at it, the Rock’n Pop the Borders’ promoters satisfied the Sunday’s request and wish them success.
.
The band was formed on 07.03.2013 although the idea about it had sprung out 2-3 months earlier. The band was established by Lyuboslav Arabadzhiev (guitar) and Yordan Velkov (bass). Both decided to offer to Georgi Markov (guitar) to join to the project and he was glad to accept. Later, the boys heard about their acquaintance who played drums and decided to make an audition of him. For a pity, they were not able to work together and the searching was carried on. In this period they found their first vocal – Hristo Dachev, but the things ran in such way so it didn’t work with him too. After a long searching, the drums was played by Ediz Redzhepov and Vassilee Atanasov was band’s front man. A few months after the band was in full membership the first appearance was come. At this time it happened Vassilee had health issues and wasn’t able to appear at the concert. The band asked Giorgio Saputelli and he accepted with reluctance to replace Vassilee at band’s first performance as later he officially joined to the band. Not later since then the band started hard working on its original music but found something was insufficient at this end. Thus the decided to take apart with the drummer and to replace him with a new one – Vladimir Voloshtuk. ‘Feast of Insanity define their style as a metal core with death core elements. For the moment they still experimenting and searching for the ideal sound that to suits them. They wish to sound ‘harder’ and – simultaneously – to be distinctive of that what can be heard every day.
In ‘Feast of Insanity’ are:
Georgi Marinov, 16, guitar
Lyuboslav Arabadzhiev, 15,guitar
Yordan Velkov, 15, bass
Giorgio Saputelli, 21, vocal
Vladimir Voloshtuk, 15, drums
They are proud with their songs:
„Sanctimonious” ( Lyuboslav Arabadzhiev, Georgi Marinov and Yordan Velkov, Giorgio Saputelli, Feast of Insanity band); „Psychology of Burning„ (Lyuboslav Arabadzhiev and Georgi Marinov, Giorgio Saputelli, Feast of Insanity band); „An Oath to the Forsaken” (Lyuboslav Arabadzhiev, Giorgio Saputelli, Feast of Insanity band); „Collapsing” (Lyuboslav Arabadzhiev, Giorgio Saputtelli, Feast of Insanityband)
You can watch and contact to them on: https://www.facebook.com/FeastOfInsanity?ref=br_tf
At Rock’n Pop the Borders ‚Feast of Insanity’ they have presented ‘The Unsung‘.
Music: Lyuboslav Arabadzhiev, Vladimir Voloshtuk
Lyrics: Giorgio Saputtelli
Arrangement: Feast of Insanity band
Total votes received: 417
After Midnight is a bulgarian rock band, focused on making original songs and compositions. Founded in 2011, the band has evolved through numerous styles, developing their own sound with recognizable vocal lines and melodic guitars over a groove-oriented and steady rhythm. The band’s first LP “My Deepest Secret” was released on the 21st of February with a promo show in Plovdiv. The songs we are proud with are: „Без Теб”, „Lets get it on”, „Move on”, „I need you”, „Wake me up” и „Now I fall”. You can watch some of them here
In the band are:
Dimitar Penchev – 21 – Drummer
Georgi Paunov – 25 – Vocal
Georgi Argirov – 25 – Bass
Georgi Kovachev – 24 – Guitar
Welcome on: https://bg-bg.facebook.com/AMBandOfficial
At Rock’n Pop the Borders we have presented ’Losing Control’.
Music, lyrics and arrangement: After Midnight
Total votes received: 311
We are metal core band formed on 02.03.2014. We have made 4 gigs so far – one of which with death metal titans of Enthrallment and another - with Above Us The Waves from Greece! We have published 2 original songs on the Internet which are part of our forthcoming 1st EP. It is to be followed of 2nd EP which is to be promoted at the end of this or at the beginning of the next year. We are very proud with our song ‘Perfection Of Tragedy’– music, lyrics and arrangement – the band. There we are:
Giorgio Saputelli 21 – vocals
Krum Draganov 20 – guitar
Vladimir Voloschuk 15 – guitar
Alexander Gyoshev 17 – bass
Stoyno Angelov 17 – drums
You can watch and contact us on: https://www.facebook.com/pages/As-Orchids-Wither/809643159061879
At Rok’n Pop the Borders we have presented our original song ‘Love Lies Bleeding (Amaranth)’.
Music, lyrics and arrangement: As Orchids Wither
Total votes received: 567
When Ivan Kralev and Georgi Georgiev left their first band, they were looking for a new one together with Antonio Kostadinov. At the same time, Velislav Kazakov and Blagovest Davidkov were also looking for a band and when they five met each other in July 2013 they decided to work together. A month later they started their rehearsals and soon after that – the band’s name was appeared – Foretold Dead:
Blagovest Davidkov (16) – Vocal
Georgi Georgiev (15) – Guitars
Ivan Kralev (17) – Guitars
Antonio Kostadinov (16) -Bass
Velislav Kazakov (17) – Drums
Except the competition song, the band has other original compositions as amongst them they love „Voids of Hell“ (music, lyrics and arrangement: Foretold Dead). You can find them on https://www.facebook.com/ForetoldDeadOfficial or here.
At Rock’n Pop the Borders they have presented the song „In Cold and Dark Days“.
Music, lyrics and arrangement: Foretold Dead
Total votes received: 360
The group was established on 05.03.2013 in Varshets. The group’s concept is they to be able to relax after long days at school and they also to have appearances in public. The initial membership has been set at school by Kalin Rangelov, Nikolay Ivanov, Pavlin Ivanov and Ivan Petrov. A month later the singer Nicoletta Dimitrova was join to. After 11 months group’s membership was changed as at the place of Ivan Petrov came Dimitar Toshev - bass guitarist. Main style we play is rock / hard rock, but in a time we have fused within elements of heavy metal – example – “Pone za den/At least for a day” (music – Nikolay Ivanov and Pavlin Ivanov, lyrics – Nicoletta Dimitrova arrangement – Rebels)
Now, in the group are:
• Nikolay Ivanov – Rhythm Guitar – 17
• Pavlin Ivanov – Guitar Solo – 17
• Dimitar Toshev – Bass Guitar – 14
• Nicoletta Dimitrova – Vocal – 20
• Kalin Rangelov – 17
We can meet on: https://www.facebook.com/pages/Rebels/173509862852686?ref=hl
In Rock’n Pop the Borders we have presented our song ‘Road to the top’.
Music: Nikolai Ivanov and Pavlin Ivanov
Text: Nicoletta Dimitrova
Arrangement: Rebels
Total votes received: 450
We have been playing together since the summer of 2012 as in the present membership we have been since September of 2013. We strive on writing new original songs as we fuse genres we love so to set our specific style. We feel significant for us our songs: “2013″ –(music – Е. Vulkov; lyrics – Е. Vulkov; arrangement – Slix), “You won’t be there” (music – N. Purlev; lyrics – Alx. Mladenov), “Infinite” (music – N. Genadiev, lyrics – Alx. Mladenov), “Изгубен” (music, lyrics, arrangement – Slix). You can listen and watch all them here.
In the band we are:
Alexander Mladenov, 20 – vocal
Emanuil Vulkov, 18 – solo guitar
Nikola Purlev, 18 – bass guitar
Nikolay Genadiev, 20 – rhythm guitar
Denis Stefanov, 15 – drums
We can meet on: http://www.facebook.com/slixband
At Rock’n Pop the Borders we have presented our song ‘Blade of Greed’.
Music: Nikola Purlev
Lyrics: Alexander Mladenov
Arrangement: SLIX
Total votes received: 238
Panic Station is a band established by Todor Lichev and Yoan Bakov in 2013. Soon after that, Ivan Marinov and George Zemiarski were joined to the band. We appeared with our first concert at Stage 51(Plovdiv), after 6 month of rehearsals and writing original works, on 03.05.2014. The band’s concept is creating and performing the music we love but in Western and modern manner. After our first concert, in short time, we have had some appearances:
Charity Concert for Carrie – part I – 31.05.2014 – Live at Orpheus Open-air Cinema
Panic Station, Tchuk, Bunch Of Assholes 07.05.2014 – Live at Stage 51
Charity Concert for Carrie – part I III 08.06.2014 – Live at Tsar’s Stables
In June we are to have 2 more appearances(first one at Polinero Club Plovdiv and another at Rock Fest in Pernik, Bulgaria).Gladly, in short time we have attracted remarkable audience and keep making new songs( soon it will be ready our 4th original song - Ignite). For more – see here. In the band are:
Yoan Bakov – Vocals/Rhythm Guitar (16)
Todor Lichev – Bass/Backup Vocals/Lyrics (16)
George Zemiarski – Guitar (16)
Ivan Marinov – Drums (18)
We can meet on: https://www.facebook.com/pages/Panic-Station/365852526887631?sk=timeline
At Rock’n Pop the Borders we have presented the song ‘Revelations’.
Music: Todor Lichev, Yoan Bakov
Lyrics: Todor Lichev
Arrangement: Todor Lichev, Yoan Bakov
Total votes received: 436
Problem Solved is a rock band established at the end of 2010 by Kosta Binov (vocal), Viktor Zakhariev (guitar) and Viktor Georgievski (keyboards). They are school band in the beginning but soon they start making own original songs. They have 6 original songs issued so far as 3 of them („Ќе преживеам/I’ll survive“, „Поведи ме/Take me“and here presented „Лоша навика/Bad habit“) some weeks were at radio chart heads all over the Macedonia. You can listen and watch some our songs here. In the band are:
Kosta Binov (19) – vocal
Viktor Zakhariev (18) – guitar and back vocals
Viktor Georgievski (18) – keyboards
Mario Ristovski (19) – bass
Theodor Teodosievski (17) – drums
At Rock’n Pop the Borders „Problem Solved” they have presented their original song „Лошa навикa/Bad habit”
Music, lyrics and arrangement: Viktor Zakhariev
Total votes received: 557
TV Rage is a rock’n'roll band from Kumanovo, Macedonia formed somewhere around October 2012. It is a trio which gained it’s current line up about a year ago. We have one EP released on the 5th of June 2013 on Napravi Zaedno/Kran Records. It includes 5 songs. We have about 20 gigs in our pocket, the last one being the opening act for the band Dog Eat Dog in Skopje. We are now working on the material for our first album, which is about half way done. The sound for our album has progressed more towards longer songs, noisy solos and song parts and more energetic riffs. You can listen to all we do here. That’s about all we have to say about us. Cheers!
In the band we are:
Damjan Popovski (19) – Bass Guitar
Predrag Mitic (19) – Lead Guitar & Vocals
Andzelo Macura (18) – Drums
At Rock’nPop the Borders we have presented our song ‘In between the time’.
Music, lyrics and arrangement – TV Rage.
Total votes received: 734
|
||||||
1053
|
dbpedia
|
2
| 22
|
https://www.abebooks.com/9781156866634/Serbian-Rock-Musicians-Vlada-Divljan-1156866634/plp
|
en
|
Serbian Rock Musicians: Vlada Divljan, Rambo Amadeus, Oliver Mandić, Nele Karajlić, Bora Đorđević, Zdenko Kolar, Laza Ristovski: 9781156866634
|
[
"https://pictures.abebooks.com/isbn/9781156866634-us.jpg",
"https://assets.prod.abebookscdn.com/cdn/shared/images/common/social/facebook.svg",
"https://assets.prod.abebookscdn.com/cdn/shared/images/common/social/x-twitter.svg",
"https://assets.prod.abebookscdn.com/cdn/shared/images/common/social/instagram.svg",
"https://assets.prod.abebookscdn.com/cdn/shared/images/common/footer/abebooks-footer-logo.png"
] |
[] |
[] |
[
""
] | null |
[] |
2010-08-10T00:00:00
|
Serbian Rock Musicians: Vlada Divljan, Rambo Amadeus, Oliver Mandić, Nele Karajlić, Bora Đorđević, Zdenko Kolar, Laza Ristovski - ISBN 10: 1156866634 - ISBN 13: 9781156866634 - Books LLC - 2010 - Softcover
|
en
|
https://www.abebooks.com/9781156866634/Serbian-Rock-Musicians-Vlada-Divljan-1156866634/plp
|
Reseña del editor:
Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. Pages: 204. Not illustrated. Chapters: Vlada Divljan, Rambo Amadeus, Oliver Mandić, Nele Karajlić, Bora Đorđević, Zdenko Kolar, Laza Ristovski, Branko Isaković, Bebi Dol, Srđan Šaper, Dejan Cukić, Nebojša Krstić, Nikola Čuturilo, Toni Montano, Margita Stefanović, Kokan Popović, Momčilo Bajagić, Milić Vukašinović, Milan Mladenović, Viktorija, Vicko Milatović, Bilja Krstić, Mile Lojpur, Vidoja Božinović, Boža Jovanović, Srđan Todorović, Kornelije Kovač, Dušan Kojić, Rajko Kojić, Miša Aleksić, Radomir Mihajlović, Goran Vejvoda, Suba, Zoran Kostić, Nenad Milosavljević, Félix Lajkó, Ana Popović, Hornsman Coyote, Zana Nimani, Kiki Lesendrić, Ivana Peters, Zvonko Pantović, Nikola Zorić, Bajone, Goran Šepa, Marko Krasnić, Branislav Kerac, Ivan Vdović, Marko Milivojević. Excerpt: Vladimir "Vlada" Divljan (Serbian Cyrillic: ), is a Serbian singer and songwriter. He is known as the frontman for the Serbian and former Yugoslav rock band Idoli, as well as for his solo works. Divljan got interested in music in 1968, after a Drago Dikli concert in Tuepi, a seaside resort where he went on a holiday with his family. After coming back to Belgrade he asked Zdenko Kolar and Boa Jovanovi, two of his friends and neighbors, to form a band. The first instrument Divljan played was a small mandolin because he was a fan of Dubrovaki Trubaduri. Later he got a guitar, Kolar bought a bass and Boa Jovanovi used a tin barrel as a drum with metal sticks made by Kolar's father. The band was called Faraoni (Pharaohs) since Divljan had a necklace from Egypt, given by his grandmother, with a Tutankhamun medallion. Since there was a popular band from Koper named Faraoni, the band was renamed to Holipe. Both Divljan and Kolar attended guitar course at the RU "Braa Stamenkovi" held by professor Branko Perii who later appeared in the "Sve lai sveta" video. In order to have reh...
"About this title" may belong to another edition of this title.
|
||||||
1053
|
dbpedia
|
1
| 20
|
https://www.ranker.com/list/famous-people-from-serbia/reference
|
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.
|
||
4521
|
dbpedia
|
2
| 7
|
https://www.imdb.com/name/nm0004879/bio/
|
en
|
Snoop Dogg
|
[
"https://fls-na.amazon.com/1/batch/1/OP/A1EVAM02EL8SFB:137-7744007-0971203:7H5A7W56XE8KH89WTS67$uedata=s:%2Fuedata%2Fuedata%3Fstaticb%26id%3D7H5A7W56XE8KH89WTS67:0",
"https://m.media-amazon.com/images/M/MV5BMjE2OTUwNTk4NF5BMl5BanBnXkFtZTcwMjMwOTk0NA@@._V1_QL75_UX90_CR0,1,90,133_.jpg",
"https://m.media-amazon.com/images/G/01/IMDb/Mobile/DesktopQRCode-png.png",
"https://fls-na.amazon.com/1/batch/1/OP/A1EVAM02EL8SFB:137-7744007-0971203:7H5A7W56XE8KH89WTS67$uedata=s:%2Fuedata%2Fuedata%3Fnoscript%26id%3D7H5A7W56XE8KH89WTS67:0"
] |
[] |
[] |
[
"Snoop Dogg",
"Biography"
] | null |
[
"IMDb"
] | null |
Snoop Dogg. Actor: Training Day. Snoop Dogg is an American rapper, singer, songwriter, producer, media personality, entrepreneur, and actor.
His music career began in 1992 when he was discovered by Dr. Dre and featured on Dre's solo debut, "Deep Cover", and then on Dre's solo debut album, The Chronic. He has since sold over 23 million albums in the United States and 35 million albums worldwide.
Snoop's debut album, Doggystyle, produced by...
|
en
|
IMDb
|
https://www.imdb.com/name/nm0004879/bio/
|
Snoop Dogg is an American rapper, singer, songwriter, producer, media personality, entrepreneur, and actor.
His music career began in 1992 when he was discovered by Dr. Dre and featured on Dre's solo debut, "Deep Cover", and then on Dre's solo debut album, The Chronic. He has since sold over 23 million albums in the United States and 35 million albums worldwide.
Snoop's debut album, Doggystyle, produced by Dr. Dre, was released in 1993 by Death Row Records. Bolstered by excitement driven by Snoop's featuring on The Chronic, the album debuted at number one on both the Billboard 200 and Billboard Top R&B/Hip-Hop Albums charts. Selling almost a million copies in the first week of its release, Doggystyle became certified quadruple platinum in 1994 and spawned several hit singles, including "What's My Name?" and "Gin & Juice". In 1994 Snoop released a soundtrack on Death Row Records for the short film Murder Was the Case, starring himself. His second album, Tha Doggfather (1996), also debuted at number one on both charts, with "Snoop's Upside Ya Head" as the lead single. The album was certified double platinum in 1997.
After leaving Death Row Records, Snoop signed with No Limit Records, where he recorded his next three albums, Da Game Is to Be Sold, Not to Be Told (1998), No Limit Top Dogg (1999), and Tha Last Meal (2000). Snoop then signed with Priority/Capitol/EMI Records in 2002, where he released Paid tha Cost to Be da Boss. He then signed with Geffen Records in 2004 for his next three albums, R&G (Rhythm & Gangsta): The Masterpiece, Tha Blue Carpet Treatment, and Ego Trippin'. Malice 'n Wonderland (2009), and Doggumentary (2011) were released on Priority. Snoop Dogg has starred in motion pictures and hosted several television shows. He also coaches a youth football league and high school football team.
Snoop has 17 Grammy nominations without a win. In March 2016, the night before WrestleMania 32 in Arlington, Texas, he was inducted into the celebrity wing of the WWE Hall of Fame, having made several appearances for the company, including as Master of Ceremonies during a match at WrestleMania XXIV. On November 19, 2018, Snoop Dogg was given a star on the Hollywood Walk of Fame. He released his seventeenth solo album, I Wanna Thank Me in 2019.
|
|||||
4521
|
dbpedia
|
3
| 41
|
https://www.instagram.com/snoopdogg/%3Fhl%3Den
|
en
|
Instagram
|
[] |
[] |
[] |
[
""
] | null |
[] | null |
en
| null | ||||||||
4521
|
dbpedia
|
0
| 14
|
https://people.com/music/snoop-dogg-announces-dr-dre-produced-missionary-album-for-doggystyle-30th-anniversary/
|
en
|
Snoop Dogg Announces Dr. Dre-Produced 'Missionary' Album Coming for 'Doggystyle' 30th Anniversary
|
[
"https://people.com/thmb/vRkHFKZusdhjaYP3rpptqoeoMaI=/400x0/filters:no_upscale():max_bytes(150000):strip_icc()/ryan-reynolds-tout-25b679df4bc84ca3908962362349d7a9.jpg",
"https://people.com/thmb/vRkHFKZusdhjaYP3rpptqoeoMaI=/400x0/filters:no_upscale():max_bytes(150000):strip_icc()/ryan-reynolds-tout-25b679df4bc84ca3908962362349d7a9.jpg",
"https://people.com/thmb/q9plT050qKtpe7cEtOsYLz0LUYU=/400x0/filters:no_upscale():max_bytes(150000):strip_icc()/car-accident-school-drop-off-081424-1-2f8d5a6393d64e7aa484abd980a03b7b.jpg",
"https://people.com/thmb/q9plT050qKtpe7cEtOsYLz0LUYU=/400x0/filters:no_upscale():max_bytes(150000):strip_icc()/car-accident-school-drop-off-081424-1-2f8d5a6393d64e7aa484abd980a03b7b.jpg",
"https://people.com/thmb/g5vH5pdjqBVF_mGSacg7vQJbN_8=/400x0/filters:no_upscale():max_bytes(150000):strip_icc()/patrick-mahomes-travis-kelce-taylor-swift-081324-41658c73722d4c2bbdbcc62246d2321a.jpg",
"https://people.com/thmb/g5vH5pdjqBVF_mGSacg7vQJbN_8=/400x0/filters:no_upscale():max_bytes(150000):strip_icc()/patrick-mahomes-travis-kelce-taylor-swift-081324-41658c73722d4c2bbdbcc62246d2321a.jpg",
"https://people.com/thmb/gPtohwSheplzhF3dH-Iqx35In6c=/400x0/filters:no_upscale():max_bytes(150000):strip_icc()/chrissy-teigen-breast-scar-instagram-08132-john-legend-paris-44485-1d2105651d354e1091e889a6ac19afeb.jpg",
"https://people.com/thmb/gPtohwSheplzhF3dH-Iqx35In6c=/400x0/filters:no_upscale():max_bytes(150000):strip_icc()/chrissy-teigen-breast-scar-instagram-08132-john-legend-paris-44485-1d2105651d354e1091e889a6ac19afeb.jpg",
"https://people.com/thmb/wdfDNoSnX_QYX3l0bIbW6ann3lA=/1500x0/filters:no_upscale():max_bytes(150000):strip_icc():focal(779x149:781x151)/snoop-dogg-dr.dre-100322-1-1df30949620b4b2784bb3deb22ac88ce.jpg",
"https://people.com/thmb/wdfDNoSnX_QYX3l0bIbW6ann3lA=/1500x0/filters:no_upscale():max_bytes(150000):strip_icc():focal(779x149:781x151)/snoop-dogg-dr.dre-100322-1-1df30949620b4b2784bb3deb22ac88ce.jpg",
"https://people.com/thmb/DRhu3uEUm2co6sghBmBEAOsMu2E=/4000x0/filters:no_upscale():max_bytes(150000):strip_icc():focal(707x219:709x221)/snoop-dogg-dr.dre-100322-2-feb057f007374ab1ada55b1a2f7f01a2.jpg",
"https://people.com/thmb/DRhu3uEUm2co6sghBmBEAOsMu2E=/4000x0/filters:no_upscale():max_bytes(150000):strip_icc():focal(707x219:709x221)/snoop-dogg-dr.dre-100322-2-feb057f007374ab1ada55b1a2f7f01a2.jpg",
"https://people.com/thmb/-x9xnkILraR3w51yEtqtcp6xecE=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/Dr-Dre-Snoop-Dogg-jimmy-kimmel-live-073024-b558e7ef51424813b1688ccbb08bfe65.jpg",
"https://people.com/thmb/-x9xnkILraR3w51yEtqtcp6xecE=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/Dr-Dre-Snoop-Dogg-jimmy-kimmel-live-073024-b558e7ef51424813b1688ccbb08bfe65.jpg",
"https://people.com/thmb/VtX9ys_uVdbXTodfCdqwyaQXVzQ=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/dr-dre-2028-olympics-081324-9534ccf37ed84cdeaa005833cae62be9.jpg",
"https://people.com/thmb/VtX9ys_uVdbXTodfCdqwyaQXVzQ=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/dr-dre-2028-olympics-081324-9534ccf37ed84cdeaa005833cae62be9.jpg",
"https://people.com/thmb/EMLQGFxzpsnwqq_s7jYuObR81n0=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/snoop-dogg-paris-olmypics-tout-080324-d5d2bd7f09a842b39830d9a5a59298b2.jpg",
"https://people.com/thmb/EMLQGFxzpsnwqq_s7jYuObR81n0=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/snoop-dogg-paris-olmypics-tout-080324-d5d2bd7f09a842b39830d9a5a59298b2.jpg",
"https://people.com/thmb/nQ2SzlJmy8MivbmoapsmQMLuma4=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/Snoop-Dogg-Queen-Elizabeth-080124-0a763fcbb97e4b5d92267dc2b2b11159.jpg",
"https://people.com/thmb/nQ2SzlJmy8MivbmoapsmQMLuma4=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/Snoop-Dogg-Queen-Elizabeth-080124-0a763fcbb97e4b5d92267dc2b2b11159.jpg",
"https://people.com/thmb/A5IZ-K59jOihGIwBgzpSawX65x4=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/snoop-dogg-olympic-glasses-instagram-paris-072624_4224-b2a279dcd8fb4497850f6109113ef063.jpg",
"https://people.com/thmb/A5IZ-K59jOihGIwBgzpSawX65x4=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/snoop-dogg-olympic-glasses-instagram-paris-072624_4224-b2a279dcd8fb4497850f6109113ef063.jpg",
"https://people.com/thmb/dU-IFJ5fUoqpdaLXKLZlNhCkk9w=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/LL-Cool-J-Saweetie-080924-tout-b4af2a2fb9754254b50bbaf489ce421e.jpg",
"https://people.com/thmb/dU-IFJ5fUoqpdaLXKLZlNhCkk9w=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/LL-Cool-J-Saweetie-080924-tout-b4af2a2fb9754254b50bbaf489ce421e.jpg",
"https://people.com/thmb/WcrAnYOj5hAIijpxod-bXDyjK1k=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/rakim-stood-up-on-my-bald-head-080224-083757b11eee459599aedce28c51ff09.jpg",
"https://people.com/thmb/WcrAnYOj5hAIijpxod-bXDyjK1k=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/rakim-stood-up-on-my-bald-head-080224-083757b11eee459599aedce28c51ff09.jpg",
"https://people.com/thmb/B2F1oJ1EMMjKOV_kG0kyPweaDro=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/Billie-Eilish-attends-the-30th-Annual-Screen-Actors-Guild-Awards-Anthony-Kiedis-attend-the-2022-MTV-VMA-Snoop-Dogg-arrives-at-the-Comedy-Central-Roast-of-Justin-Bieber-080924-3757f521978d45a8b590e257990b64cc.jpg",
"https://people.com/thmb/B2F1oJ1EMMjKOV_kG0kyPweaDro=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/Billie-Eilish-attends-the-30th-Annual-Screen-Actors-Guild-Awards-Anthony-Kiedis-attend-the-2022-MTV-VMA-Snoop-Dogg-arrives-at-the-Comedy-Central-Roast-of-Justin-Bieber-080924-3757f521978d45a8b590e257990b64cc.jpg",
"https://people.com/thmb/Dq9ydpA8LvNcTOHqFPPj5eajask=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/snoop-dogg-new-york-051224-b26c48fcd33c4b70aa664db222000911.jpg",
"https://people.com/thmb/Dq9ydpA8LvNcTOHqFPPj5eajask=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/snoop-dogg-new-york-051224-b26c48fcd33c4b70aa664db222000911.jpg",
"https://people.com/thmb/nb2CQ5IcCZaAZUMf2ISK9ejEWqM=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/Kendrick-Lamar-Haley-Joel-Osment-Joel-Osteen-081224-tout-ba7c3dd12c244f8aaa9a14c0dfd8c0e1.jpg",
"https://people.com/thmb/nb2CQ5IcCZaAZUMf2ISK9ejEWqM=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/Kendrick-Lamar-Haley-Joel-Osment-Joel-Osteen-081224-tout-ba7c3dd12c244f8aaa9a14c0dfd8c0e1.jpg",
"https://people.com/thmb/4qFBCpntRgCjTx0KJ_ghJr_QWwU=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/Snoop-Dogg-Louvre-08022401-d143e9afa61a4f5b8abb46e7313aee82.jpg",
"https://people.com/thmb/4qFBCpntRgCjTx0KJ_ghJr_QWwU=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/Snoop-Dogg-Louvre-08022401-d143e9afa61a4f5b8abb46e7313aee82.jpg",
"https://people.com/thmb/X3YegKKZoT1xEM6NN6UdfLnDQIU=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/logic-080824-1-aca39dd2e3b843529e556e7bdd37d038.jpg",
"https://people.com/thmb/X3YegKKZoT1xEM6NN6UdfLnDQIU=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/logic-080824-1-aca39dd2e3b843529e556e7bdd37d038.jpg",
"https://people.com/thmb/KEohykov_-8rUTsMPZSFy6w7Bw0=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/Mary-J-Blige-080724-tout-35b87b082a954570ac677a96f3a64a59.jpg",
"https://people.com/thmb/KEohykov_-8rUTsMPZSFy6w7Bw0=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/Mary-J-Blige-080724-tout-35b87b082a954570ac677a96f3a64a59.jpg",
"https://people.com/thmb/45ZNEK9Fs0_0o3q8E3gNmilYVP8=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/travis-scott-playboi-carti-future-tout-081324-703b8859f0e64421b129fdf8c8e5604f.jpg",
"https://people.com/thmb/45ZNEK9Fs0_0o3q8E3gNmilYVP8=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/travis-scott-playboi-carti-future-tout-081324-703b8859f0e64421b129fdf8c8e5604f.jpg",
"https://people.com/thmb/E2hLHNHowPMXmBIN2HfxKOsbCpM=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/will-i-am-black-eyed-peas-080924-e333d6dc05f14c839e43efd84a2b9c49.jpg",
"https://people.com/thmb/E2hLHNHowPMXmBIN2HfxKOsbCpM=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/will-i-am-black-eyed-peas-080924-e333d6dc05f14c839e43efd84a2b9c49.jpg",
"https://people.com/thmb/h4iJc8JxKlS-tVM-FrYUM6QATas=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/Megan-Thee-Stallion-Mamushi-080924-tout-47c9213491314a9aa8f6c7d0883e5393.jpg",
"https://people.com/thmb/h4iJc8JxKlS-tVM-FrYUM6QATas=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/Megan-Thee-Stallion-Mamushi-080924-tout-47c9213491314a9aa8f6c7d0883e5393.jpg"
] |
[] |
[] |
[
""
] | null |
[
"Jack Irvin",
"www.facebook.com"
] |
2022-10-03T18:00:57-04:00
|
"It's our 30th anniversary to 'Doggystyle,' and the name of the album is 'Missionary,'" Snoop told Stephen A. Smith on a recent episode of the Have Mercy podcast
|
en
|
/favicon.ico
|
Peoplemag
|
https://people.com/music/snoop-dogg-announces-dr-dre-produced-missionary-album-for-doggystyle-30th-anniversary/
|
Snoop Dogg and Dr. Dre have a new project in the works, and it seems like they took inspiration from a previous collaboration for its title.
Three decades after creating Snoop's debut studio album Doggystyle together, the "Sensual Seduction" rapper revealed in a new interview on Stephen A. Smith's Know Mercy podcast that he's linked up with Dre once again to craft another body of work.
"You're the first one to hear this. Me and Dr. Dre been working on an album for the past two months and it will be done in November," Snoop, 50, told the host. "It's produced by Dr. Dre. It's our 30th anniversary to Doggystyle, and the name of the album is Missionary."
Smith, 54, then asked about the title's meaning, to which Snoop responded, "The first album is Doggystyle." It seems as though they're running down a list of sexual positions for influence.
The collaboration is especially notable as Dre, 57, was instrumental in Snoop's rise to fame. They first collaborated on the title track for the 1992 film Deep Cover, a song that was released via Death Row Records, co-founded by Dre, and put Snoop on the map.
After heavily featuring Snoop on his 1992 The Chronic album, Dre also produced Doggystyle. Then, Snoop lent his rap skills to several songs on Dre's 1999 album 2001, and the following year, he featured on "Bitch Please II" — produced by Dre — from Eminem's The Marshall Mathers LP.
Both rappers shared the stage earlier this year alongside Mary J. Blige, Kendrick Lamar, Eminem, 50 Cent and Anderson .Paak for the 2022 Super Bowl halftime show at Los Angeles' SoFi Stadium.
In August, Snoop, Dre and Eminem, 49, posed together in a recording studio for a snap shared to Eminem's social media pages alongside the caption, "just a few bros.. hangin out."
Posing in front of a wooden wall and studio equipment, the photo saw Dre grinning ear-to-ear in an all-black outfit next to a deadpan-appearing Eminem sporting a gray hoodie, black baseball cap, graphic tee and black jeans. Snoop stood to the right, donning a green jacket, patterned t-shirt and matching bucket hat, black-and-blue pants and a gold necklace with a smile on his face.
The photo arrived days after Snoop spoke to Entertainment Tonight about reuniting with Dre to work on a forthcoming project. "We're cooking up a little something," he told the outlet on the red carpet for his new film, Day Shift. "I don't wanna talk about it too much, but we're back together again."
Snoop continued, "It's been 30 years since we worked on a record, and we're doin' something, we're workin' on something."
|
||||
4521
|
dbpedia
|
3
| 16
|
https://www.independent.co.uk/news/people/celebrities-relation-surprising-family-famous-snoop-dogg-brandy-lily-alfie-allen-jason-momoa-a8065146.html
|
en
|
45 celebrities you had no idea were related
|
[
"https://static.independent.co.uk/s3fs-public/thumbnails/image/2017/11/20/12/jason.png",
"https://static.independent.co.uk/static-assets/images/newsletter/breaking-news/breaking-news-thumb.png",
"https://static.independent.co.uk/s3fs-public/thumbnails/image/2017/11/20/12/lily-alfie-allen.png",
"https://static.independent.co.uk/s3fs-public/thumbnails/image/2017/11/20/12/jenny-and-melissa-mccarthy.png",
"https://static.independent.co.uk/s3fs-public/thumbnails/image/2017/11/20/12/blake-and-robyn-lively.png",
"https://static.independent.co.uk/s3fs-public/thumbnails/image/2017/11/20/12/christian-gloria.png",
"https://www.independent.co.uk/img/icons/google.svg"
] |
[] |
[] |
[
"Game of Thrones",
"Celebrities",
"celebrity couple",
"Business Insider"
] | null |
[
"Kim Renfro"
] |
2017-11-20T12:54:50+00:00
|
You likely already know about the Olsen twins and their younger sister Elizabeth, as well as Dave and James Franco or Luke and Owen Wilson. And you've already learned about all the celebrity pairs that are best friends, but there are quite a few famous faces that you probably didn't know were all in the same family.
|
en
|
/img/shortcut-icons/favicon.ico
|
The Independent
|
https://www.independent.co.uk/news/people/celebrities-relation-surprising-family-famous-snoop-dogg-brandy-lily-alfie-allen-jason-momoa-a8065146.html
|
You likely already know about the Olsen twins and their younger sister Elizabeth, as well as Dave and James Franco or Luke and Owen Wilson. And you've already learned about all the celebrity pairs that are best friends, but there are quite a few famous faces that you probably didn't know were all in the same family.
Keep reading to see the 43 celebrities you probably never knew were related.
Amy Daire contributed to a previous version of this article.
Singers Ray J and Brandy are siblings, but they are also cousins to rapper Snoop Dogg.
Singers and siblings Brandy and Ray J have made their typical brother-sister relationship pretty public. Like most siblings, they post pictures of one another to their social media accounts, walk the red carpets together, and sometimes they even talk or argue over Twitter.
Meanwhile, the pair are also close with their cousin Snoop Dogg. Snoop has collaborated with Brandy and used her in a music video, and he had Ray J as a guest on his YouTube show where he introduced him as "my cousin, my family, my familia."
Singer Lily and "Game of Thrones" actor Alfie Allen are brother and sister.
Talent clearly runs in the family seeing as she's a famous singer and he's made waves as Theon Greyjoy on "Game of Thrones." Like most siblings, they seem to have a love-hate relationship.
The singer once wrote a song about her brother needing to get a job and several years later slammed "Game of Thrones" during a Reddit AMA saying that she was offered a incestuous cameo to play his sister on screen. Alfie then denied that fact.
"The only thing I'm going to say on that is that it's not true," he said to Vulture. "And also that Gemma Whalen was always their first choice for the part. And she's fantastic. And that's the one thing I'm going to say about that."
Since then he's "banned" her from discussing the show at all.
Jason Momoa is the stepfather of Zoë Kravitz.
Momoa has been with Kravitz's mother, Lisa Bonet, for 12 years. The happy couple got married in a quiet ceremony this October, making Momoa the official stepfather of Kravitz. The new family members have shared sweet Instagram photos of themselves together, including one where Kravitz called Momoa "papa bear."
Momoa and Bonet also have two other children together -- Nakoa-Wolf Manakauapo Namakaeha Momoa and Lola Iolani Momoa.
Speaking of the Kravitz family, TV personality Al Roker and singer Lenny Kravitz are distant cousins.
On an episode of "Today," Roker and Kravitz discussed that they both have the Roker genes in them. This led Roker to do some investigating, and he later revealed that their grandfathers were actually cousins. They have quite a few people between them a far as the family tree goes, but blood is blood.
"All I know is I'm going with it," Roker said on the show. "Kids think it's cool."
The Coppolas and Schwartzmans are all related to Nicolas Cage.
This is one famous family. Francis Ford Coppola, who directed "The Godfather" among other films, is the uncle of the Schwartzmans. Jason Schwartzman earned his fame in movies like "Rushmore" and "Moonrise Kingdom," but his younger brother is also recognizable. Robert Schwartzman was in "The Princess Diaries," though he's given up acting since.
Francis is also the father to Sofia Coppola, who directed "Lost in Translation" and "The Bling Ring."
All of these people are also related to actor Nicolas Cage, who changed his name from Coppola to avoid any nepotism in the industry. Francis is Nic's uncle, making the Schwartzmans are his cousins.
Jenny and Melissa McCarthy are cousins.
The famous actresses may share a last name, but many never made the connection. Jenny has even shared a throwback picture of the two of them when they were children.
The actresses might be in the same business, but their careers haven't overlapped and the two don't seem to be very close. Melissa, for example, didn't attend Jenny's wedding back in 2014. That might have something to do with a report claiming that Jenny thought her cousin needed to lose weight to make it in Hollywood, even though Jenny firmly denies it.
"There is a crazy story going around that I once told my cousin, Melissa, that she would have to lose weight in order to get into show business. Nothing could be further from the truth," Jenny told PEOPLE.
Joan and John Cusack are siblings.
John and Joan Cusack have both made names for themselves in the movie industry and have been in 10 movies together. Yet many don't realize that they're brother and sister.
Joan gives credit to her brother for encouraging her throughout her career in the hectic industry.
"I think it helps to know another person in the business, because everything is such an illusion, so it's great to be able to go, 'Oh, my God! This is how it really is!' or 'This is how it happens there!'" she told AV Club. "You know, 'cause nobody knows any of it. People know more now in general, I think. So I think it was helpful to have each other."
Actors Warren Beatty and Shirley MacLaine are siblings as well.
These actors don't share a last name because Shirley uses her middle name MacLaine. The two also don't share any movie credits and MacLaine recently noted that they likely never will.
"Oh, I don't think we'd be a good team," she once told Closer at the TMA Heller Awards.
As for Beatty? He doesn't think so poorly of the idea.
"Not a bad idea," he said on "CBS Sunday Morning," with one exception: "I think we shouldn't play man and wife."
"Grey's Anatomy" actress Jessica Capshaw is director Steven Spielberg's stepdaughter.
Jessica Capshaw (left) and Steven Spielberg (right) in 2012.Michael Buckner/Getty Images
The "Grey's Anatomy" actress didn't exactly grow up with Steven Spielberg, but since her mother married him in 1991, they've gotten close. With such a big name in the industry, you'd think that he was to thank for her start, but according to her, it wasn't so easy.
"In a lot of ways it was actually not helpful to have famous parents because there is definitely a very human feeling of, 'Well, when you come from all that, who wants to see that girl succeed.' You want to see the underdog succeed, the girl who spent her last two dollars on the bus ticket," she said in an interview with USA Today.
Actors Hallie and Jesse Eisenberg are brother and sister.
Hallie Eisenberg had one of the most recognizable faces in the world in the late '90s. She was practically the face of Pepsi, not to mention she landed leading roles in movies like "Bicentennial Man" and "The Miracle Worker."
She's taken a leave from acting since then, but her older brother is still making the family name known in Hollywood. He's Oscar-nominated and famous for roles in several movies, including "Batman v Superman" and "The Social Network."
Jesse recently revealed on "The Tonight Show" that they're living together. Jimmy Fallon asked him about his sister's boyfriend Owen Danoff, who was fighting for fame on season 11 of "The Voice," and Jesse told him that they're all roommates.
"He is my sister's boyfriend, but also my roommates, 'cause, I mean, they live with me," he explained. "We have separate rooms but essentially he's a roommate."
Actor Martin Sheen is father to actors Charlie Sheen and Emilio Esteves.
It's known pretty far and wide that Charlie Sheen is Martin Sheen's son. After all, they share both a name and a striking resemblance to one another. However, many people might not known that Martin Sheen has another famous son, Emilio Esteves.
The trio of Sheens have had their ups and downs. Many speculate that it's a battle between brothers, but their dad is proud of them both.
"This morning, as I watched him alone, reveal his deepest, darkest secret, I couldn't believe the level of courage I was witnessing, and that it was my son," he said after Charlie revealed that was HIV-positive to Matt Lauer. "I left him a message, and I said that if I had that much courage, I would change the world."
He also worked side-by-side with Emilio on 2012's "The Way," and claims that there's no one better to work with,
"From my point of view there's nothing better," he said in an interview with The Guardian. "I'd work with him for the rest of my life, frankly."
Swedish actor Stellan Skarsgård is father to Bill and Alexander Skarsgård.
Stellan Skarsgård has several credits under his belt. He's been in "Good Will Hunting" and "Mamma Mia!" as well as Marvel's "Thor" and "Avengers" films. His son Alexander is stealthy competition though. He hit fame with his steamy role in "True Blood" and has starred in "The Giver" and HBO's "Big Little Lies."
Stellan and Alexander went head-to-head on Fourth of July weekend in 2016 when Stellan's movie "Our Kind of Traitor" opened against Alexander's "The Legend of Tarzan." According to Los Angeles Daily News, Stellan was pretty thrilled about the competition.
"I think he's got more backing and more screens," he said in the interview. "Still, it's fun."
In the end, Alexander got the bragging rights.
Then Alexander's younger brother, Bill, had a breakout role in 2017's reboot of "It" where he played Pennywise the Clown. The movie became one of the highest grossing horror films of all time.
Actresses Blake and Robyn Lively are half-sisters.
Serena van der Woodsen and the Teen Witch herself are truly sister goals. They're often seen together at award shows and fashion shows, and Robyn is the godmother to Blake's kids.
Robyn and Blake even joke about whose kids are whose.
"She has my children and I have her children, [and] we're like, 'No, those are my children!' She's like, 'No, your children are my children.' We always argue about it. She's the best," she recently said to ET.
"Fantastic Beasts" actress Katherine Waterston is the daughter of actor Sam Waterston.
You probably recognize Sam from his roles in hit shows like "Law & Order" and "The Newsroom." His daughter became an actor, too, but she's usually seen on the big screen. Most recently she played Tina Goldstein in the "Harry Potter" spin-off "Fantastic Beasts and Where To Find Them."
Despite this huge success, her acting career wasn't as easy as you'd think it would be for the daughter of a famous actor.
"When you are the kid of an actor, it's always a very inviting world," Waterston said in an interview with The Sydney Morning Herald. "Everyone is nice to you, the hair and make-up people braid your hair and play with you, and the costume department makes outfits for your teddy bears. It's really misleading, because then when you actually go to pursue a career in acting, you realize that people aren't so friendly."
In fact, she couldn't even land a role on her dad's "Law & Order," a show that "every actor in New York" can get a credit for.
Superstar Tom Cruise and "Lost" actor William Mapother are cousins.
Tom Cruise is one of the biggest international movie stars, but he's not the only actor in the family. His cousin William Mapother has starred in shows like "The Mentalist" and "Lost." Mapother has also had cameos in three of Cruise's movies and small roles in two others.
Unfortunately, Mapother doesn't discuss his cousin very often.
"I'm not answering any questions about him because I've learned that unfortunately, nearly anything I write/say about him gets taken out of context," he wrote in a Reddit AMA two years ago. "So it's easier and safer to say nothing."
Actor Antonio Banderas used to be actress Dakota Johnson's stepfather.
The "Fifty Shades of Grey" actress is no newbie in the film industry. She grew up with Antonio Banderas after he married her mother actress Melanie Griffith when she was just a child (her dad is none other than actor Don Johnson).
With a family like that, it's almost impossible not to get into acting.
Griffith and Banderas were together until 2015, but despite the split, he has nothing but kind words and admiration for his former stepdaughter and her career.
"Dakota didn't want our help. Every time that she was called for a movie [she said] 'I don't want you guys to be there, I don't want them to know that you are my mother' or who [is] her real father, her biological father Don [Don Johnson]. She didn't want help. She has been very honest in that aspect," he said during a guest appearance on ITV's "Loose Women."
Actor Christian Bale also had a famous stepparent -- he used to be feminist icon Gloria Steinem's stepson.
He's an actor with a rumored anger problem and she's a feminist icon and hero. You probably wouldn't have suspected that their paths had ever crossed, but she's actually his stepmother.
Steinem married Bale's father David when Christian was well into his twenties. They were married for three years before David passed away in 2003.
Steinem still thinks of Christian affectionately though.
"He is a very good person, a great lover of animals, and an immensely talented actor. He's married with two children and lives in California," she said in a piece for Daily Life. "I don't see him that often, but we're in touch from time to time."
Actress Julia Roberts is actress Emma Roberts' aunt.
These leading ladies have been very public about their familial ties. They speak about each other in interviews, post heartwarming pictures of each other, and according to Julia, spend lots of time together.
"She's so lovely," Julia said during an interview with Allure. "We spend a lot of time together. Emma is a remarkable girl."
Even though they spend so much time together, there's one thing Julia will never do: take a part in or watch Emma on "American Horror Story."
"I can't even get though the commercials," Julia once said to E! News. "I am the most fitful scaredy cat."
Actress Bryce Dallas Howard is filmmaker Ron Howard's daughter.
Ron's face might not be quite as recognizable as his daughter's these days, but only because he spends his time behind the camera rather than in front of it. After acting in "The Andy Griffith Show" and "Happy Days," Ron switched over to directing. His work includes "Apollo 13," the Oscar-winning "A Beautiful Mind," and "The Da Vinci Code."
His daughter stayed in the family business, but took a different route. She's acted in "The Village" and "Jurassic World." But despite their different roles in the industry, he's still an inspiration to her.
"He's a dad, but also this extremely impressive individual. I really look up to him," she said during an interview with UK's Express. "It was a wonderful gift, growing up having a beautiful relationship with my dad."
Actors Liev and Pablo Schreiber are half-brothers.
Pablo Schreiber is easier to place if you imagine him with a big mustache. He plays Mendez on Netflix's "Orange is the New Black" and he's the half-brother of Liev Schreiber, who's starred in "Defiance" and "X-Men Origins: Wolverine."
They've only acted in one movie together, but they spend time together off-screen. Liev recently tweeted a picture of one of their family outings.
Read more:
• A day in the life of 26-year-old fitness Instagram star Kayla Itsines
• 8 body-language tricks that are hard to master but will pay off forever
• 20 modern classic movies everyone needs to watch in their lifetime
|
||||
4521
|
dbpedia
|
3
| 57
|
https://mississippitoday.org/2024/08/06/who-had-snoop-dogg-hosting-nbcs-paris-olympics-on-their-bingo-card/
|
en
|
Who had Snoop Dogg hosting NBC’s Paris Olympics on their bingo card?
|
[
"https://mississippitoday.org/wp-content/uploads/2022/01/Rick-Cleveland2-crop.jpg",
"https://i0.wp.com/mississippitoday.org/wp-content/uploads/2021/01/mississippi-today-logo-1.png?fit=917%2C193&ssl=1",
"https://mississippitoday.org/wp-content/uploads/2022/01/Rick-Cleveland2-crop-80x80.jpg",
"https://i0.wp.com/mississippitoday.org/wp-content/uploads/2024/08/AP24216366646758.jpg?resize=780%2C510&ssl=1",
"https://i0.wp.com/mississippitoday.org/wp-content/uploads/2022/01/Rick-Cleveland2-crop.jpg?resize=400%2C400&ssl=1",
"https://i0.wp.com/mississippitoday.org/wp-content/uploads/2023/07/SportsNewsletter_Final-Logo.png?resize=780%2C237&ssl=1",
"https://i0.wp.com/mississippitoday.org/wp-content/uploads/2024/08/Snoop-Dogg-poster.jpg?resize=410%2C640&ssl=1",
"https://i0.wp.com/mississippitoday.org/wp-content/uploads/2017/01/AP_840572667550.jpg?resize=771%2C537&ssl=1",
"https://i0.wp.com/mississippitoday.org/wp-content/uploads/2024/08/arden-barnett-mugshot.jpg?resize=278%2C293&ssl=1",
"https://mississippitoday.org/wp-content/plugins/republication-tracker-tool/assets/img/creative-commons-sharing.png",
"https://i.creativecommons.org/l/by-nd/4.0/88x31.png",
"https://mississippitoday.org/wp-content/uploads/2022/01/Rick-Cleveland2-crop-80x80.jpg",
"https://i0.wp.com/mississippitoday.org/wp-content/uploads/2021/01/mississippi-today-logo-1.png?fit=917%2C193&ssl=1",
"https://mississippitoday.org/wp-content/uploads/2024/01/DeepSouthToday-Logo-Final_stacked-color-1200x1200.png?crop=1",
"https://i0.wp.com/mississippitoday.org/wp-content/uploads/2021/11/logo-inn-1.png?fit=287%2C66&ssl=1",
"https://i0.wp.com/mississippitoday.org/wp-content/uploads/2021/11/2020_MPA_Member_LogoBW-sm.png?fit=66%2C66&ssl=1",
"https://i0.wp.com/mississippitoday.org/wp-content/uploads/2021/11/logo-ms-alliance-of-nonprofits-sm.png?fit=175%2C66&ssl=1",
"https://i0.wp.com/mississippitoday.org/wp-content/uploads/2021/11/LION-publishers-small.png?fit=175%2C83&ssl=1",
"https://www.facebook.com/tr?id=2282017085403830&ev=PageView&noscript=1&cd%5Bpage_title%5D=Who+had+Snoop+Dogg+hosting+NBC%26%238217%3Bs+Paris+Olympics+on+their+bingo+card%3F&cd%5Buser_role%5D=guest&cd%5Bevent_url%5D=https%3A%2F%2Fmississippitoday.org%2F2024%2F08%2F06%2Fwho-had-snoop-dogg-hosting-nbcs-paris-olympics-on-their-bingo-card&cd%5Bpost_type%5D=post&cd%5Bpost_id%5D=1123176"
] |
[] |
[] |
[
""
] | null |
[
"Rick Cleveland"
] |
2024-08-06T00:00:00
|
Snoop Dogg, who has become the star of the Olympic games, is a huge sports fans with deep Mississippi roots.
|
en
|
Mississippi Today
|
https://mississippitoday.org/2024/08/06/who-had-snoop-dogg-hosting-nbcs-paris-olympics-on-their-bingo-card/
|
This was February of 2014. A group of us, including Malcolm White, were sitting in the Oyster Bar at Hal and Mal’s in downtown Jackson just past 10 p.m. on a Tuesday night. Snoop Dogg, the famous rapper and oft-times cannabis proponent, was supposed to have gone on stage at 9 in the big room, but had yet to arrive.
Malcolm’s cellphone rang. He answered. I heard only one side of a two-sided conversation between Mal and Snoop’s road manager.
“Yeah,” Mal said. “We’re just sitting here waiting….”
Mal raised his eyebrows, held up his phone, pointed at it, and listened for a few seconds.
“Yeah, we got a big crowd here, over 900 folks, and they’re getting a little anxious…”
The fact is, a few angry folks had already approached Mal asking for their money back.
“Snoop is just now leaving McComb, you say? He’s bringing a crowd? Oh boy…”
Mal listened some more, his expression becoming more than a little incredulous.
“Two hundred chicken wings! Man, it’s going on 10:30 on a Tuesday night in Jackson, Mississippi. We’ll have plenty to drink, some snacks, but there’s not gonna be 200 chicken wings. Y’all, come on…”
‘The star of the Paris games’
About 90 minutes later Snoop showed up with a busload of family and friends in tow. He went on just before midnight. He rapped and danced around the stage for 90 minutes. The sold-out crowd, dancing and singing along, loved him.
That was just a decade ago, so I called my good friend Malcolm this morning and we reminisced about that night. I asked him: “Ten years ago, did you have Snoop Dogg hosting the 2024 Olympics in Paris on your bingo card?”
“No,” Mal answered. “I did not.”
Neither did I.
But here he is night after night on our TV screens. With apologies to Simone Biles, perhaps the most athletic human being ever, Snoop Dogg has become the centerpiece of these Olympics. As an Associated Press report put it: “Snoop, 52, has become the star of the Paris Games, ascending to new heights with several memorable moments. He’s carried the Olympic torch, captivated the audience as NBC’s primetime correspondent, swam with Michael Phelps, attended the U.S. women’s soccer game with Megan Rapinoe, danced with Simone Biles and Jordan Chiles, and cheered on Caeleb Dressel alongside the swimmer’s wife and son.”
NBC reportedly is paying Snoop $500,000 a day, plus expenses. He’s come a long way since that Tuesday night gig at Hal and Mal’s 10 years ago.
“I’m pretty sure we got the family discount,” Mal says.
Some readers might wonder why Snoop, a California native already quite famous in 2014, was at Hal and Mal’s on a Tuesday night. Here’s the scoop, directly from Malcolm in his book “The Artful Evolution of Hal & Mal’s,” published by University Press in 2018: “We have hosted thousands of great artists and presented many memorable shows, but I get asked about Snoop Dogg more than almost anybody else. Calvin Broadus, Jr. (AKA Snoop Dogg) was born in 1971 in Long Beach, Cal., but his father Vernell Varnado, is from Magnolia, and his mother was born Beverly Tate in McComb. When he visits his people in southwest Mississippi, he delights us by dropping in at Hal & Mal’s, thrilling the sellout crowds and causing the stay-at-homes to marvel that he is playing our place.”
Arden Barnett, of Ardenland productions, booked the show and has booked Snoop for other Mississippi venues. Says Barnett, “He’s just as he appears. He has always been great, always as nice as can be, just about the nicest guy in the world.”
That niceness comes across the TV screen and also in person.
Archie Manning and his sons count Snoop as a pal. Manning met Snoop years and years ago when both participated in a celebrity flag football game at the Super Bowl. Snoop has appeared on the Manning’s ESPN Monday night football broadcast and has done a Corona beer commercial with Eli Manning.
“Snoop says he wants to be my fourth son,” Manning said last week. “He calls me Daddy Dogg. He’s a huge sports fan.
Snoop sent Manning a taped video greeting recently on the occasion of Manning’s 75th birthday. Eli Manning talked about the birthday video during his Jackson visit last week for his induction into the Mississippi Sports Hall of Fame. “It was pretty cool, about what you’d expect,” Eli said. “Put it this way: I don’t think all that smoke was coming from any blown out candles.”
|
|||||
4521
|
dbpedia
|
1
| 35
|
https://www.tiktok.com/%40lolamarieugc/video/7271717385562885419
|
en
|
Make Your Day
|
[] |
[] |
[] |
[
""
] | null |
[] | null |
en
| null | ||||||||
4521
|
dbpedia
|
0
| 79
|
https://www.aol.com/news/10-gambino-crime-family-members-195410238.html
|
en
|
10 alleged Gambino crime family members and associates arrested on charges including intimidation with bat
|
https://s.yimg.com/ny/api/res/1.2/oJAT3e7KI60_Hw1HPZ9IpA--/YXBwaWQ9aGlnaGxhbmRlcjt3PTEyMDA7aD04MDA-/https://media.zenfs.com/en/aol_nbc_universal_184/1ca9cdbec36642ac23721927b91f29b3
|
https://s.yimg.com/ny/api/res/1.2/oJAT3e7KI60_Hw1HPZ9IpA--/YXBwaWQ9aGlnaGxhbmRlcjt3PTEyMDA7aD04MDA-/https://media.zenfs.com/en/aol_nbc_universal_184/1ca9cdbec36642ac23721927b91f29b3
|
[
"https://s.aolcdn.com/caas-assets-production/assets/v1/images/icons/elections-2024.svg",
"https://s.aolcdn.com/caas-assets-production/assets/v1/images/icons/elections-2024.svg",
"https://s.yimg.com/ny/api/res/1.2/DGFelvANy15zRDOuaClK9A--/YXBwaWQ9aGlnaGxhbmRlcjt3PTMwNDtoPTgw/https://s.yimg.com/os/creatr-uploaded-images/2020-11/2113dc10-2b80-11eb-beee-f5846c4f24e2",
"https://s.yimg.com/ny/api/res/1.2/tCet_b5_R4pbIYeoTwEu7A--/YXBwaWQ9aGlnaGxhbmRlcjt3PTEyNDI7aD04Mjg-/https://media.zenfs.com/en/aol_nbc_universal_184/1ca9cdbec36642ac23721927b91f29b3",
"https://s.yimg.com/ny/api/res/1.2/tCet_b5_R4pbIYeoTwEu7A--/YXBwaWQ9aGlnaGxhbmRlcjt3PTEyNDI7aD04Mjg-/https://media.zenfs.com/en/aol_nbc_universal_184/1ca9cdbec36642ac23721927b91f29b3",
"https://s.aolcdn.com/aoldotcom-releases/lazyload/blank.gif",
"https://s.aolcdn.com/aoldotcom-releases/lazyload/blank.gif",
"https://s.aolcdn.com/aoldotcom-releases/lazyload/blank.gif",
"https://s.aolcdn.com/aoldotcom-releases/lazyload/blank.gif",
"https://s.aolcdn.com/aoldotcom-releases/lazyload/blank.gif",
"https://s.aolcdn.com/aoldotcom-releases/lazyload/blank.gif",
"https://s.aolcdn.com/aoldotcom-releases/lazyload/blank.gif",
"https://s.aolcdn.com/aoldotcom-releases/lazyload/blank.gif",
"https://s.aolcdn.com/aoldotcom-releases/lazyload/blank.gif",
"https://s.aolcdn.com/aoldotcom-releases/lazyload/blank.gif",
"https://s.aolcdn.com/aoldotcom-releases/lazyload/blank.gif",
"https://s.aolcdn.com/aoldotcom-releases/lazyload/blank.gif",
"https://s.aolcdn.com/aoldotcom-releases/lazyload/blank.gif",
"https://s.aolcdn.com/aoldotcom-releases/lazyload/blank.gif",
"https://s.aolcdn.com/aoldotcom-releases/lazyload/blank.gif",
"https://s.aolcdn.com/aoldotcom-releases/lazyload/blank.gif",
"https://s.aolcdn.com/aoldotcom-releases/lazyload/blank.gif",
"https://s.aolcdn.com/aoldotcom-releases/lazyload/blank.gif",
"https://s.aolcdn.com/aoldotcom-releases/lazyload/blank.gif",
"https://s.aolcdn.com/aoldotcom-releases/lazyload/blank.gif",
"https://s.aolcdn.com/aoldotcom-releases/lazyload/blank.gif",
"https://s.aolcdn.com/aoldotcom-releases/lazyload/blank.gif",
"https://s.aolcdn.com/aoldotcom-releases/lazyload/blank.gif",
"https://s.aolcdn.com/aoldotcom-releases/lazyload/blank.gif",
"https://s.aolcdn.com/caas-assets-production/assets/v1/images/modules/footer/PlayStore_en.png",
"https://s.aolcdn.com/caas-assets-production/assets/v1/images/modules/footer/AppStore_en.svg"
] |
[] |
[] |
[
"Gambino crime family",
"Robert Brooke",
"demolition industries",
"Diego “Danny” Tantillo",
"Vito Rappa",
"alleged",
"Joseph Lanni",
"organized crime",
"Angelo “Fifi” Gradilone"
] | null |
[
"Tom Winter and Jonathan Dienst and David K. Li and Rebecca Cohen",
"AOL Staff"
] |
2023-11-09T03:08:49+00:00
|
Ten members and associates of the Gambino crime family were arrested and accused of strong-arming their way into New York City garbage hauling and demolition businesses, authorities said Wednesday.
|
en
|
https://www.aol.com/news/10-gambino-crime-family-members-195410238.html
|
Ten members and associates of the Gambino crime family were arrested and accused of strong-arming their way into New York City garbage hauling and demolition businesses, authorities said Wednesday.
At least four of the defendants were accused of wielding baseball bats as part of their intimidation tactics to gain entry to the lucrative fields, prosecutors said.
The men face a 16-count indictment, unsealed in federal court in Brooklyn, which includes allegations of racketeering conspiracy, extortion, witness retaliation and union-related crimes "committed in an attempt to dominate the New York carting and demolition industries," the U.S. attorney's office said in a statement.
“As alleged, for years, the defendants committed violent extortions, assaults, arson, witness retaliation and other crimes in an attempt to dominate the New York carting and demolition industries,” U.S. Attorney Breon Peace said in a statement.
Alleged Gambino organized crime family soldier Diego “Danny” Tantillo and associates Vito Rappa and Kyle “Twin” Johnson allegedly threatened a victim in the carting business with a baseball bat and set fire to the steps of his house, damaged one of his trucks and assaulted an associate, prosecutors said.
In another incident, Tantillo and Johnson are alleged to have "coordinated a violent hammer assault on the dispatcher" of a demolition company that left the victim "bleeding and seriously injured," according to the government.
"Today’s arrests reflect the commitment of this Office and our law enforcement partners, both here and abroad, to keep our communities safe by the complete dismantling of organized crime," Peace said in the statement.
The list of suspects was topped by Joseph Lanni, also known as “Joe Brooklyn” or “Mommino,” an alleged Gambino captain.
Alleged Gambino soldiers Angelo “Fifi” Gradilone and James LaForte also face charges.
Francesco “Uncle Ciccio” Vicari, Salvatore DiLorenzo, Robert Brooke and Vincent “Vinny Slick” Minsquero were also implicated.
The defendants are accused of helping one another to various benefits in the form of no-show jobs that brought pay and union benefits, officials said.
DiLorenzo allegedly provided Rappa with such a position, and Tantillo is accused of arranging for Gradilone to get a no-work gig.
Attorneys for DiLorenzo, Lanni, Gradilone, Rappa, Vicari, Minsquero and Tantillo could not immediately be reached for comment Wednesday. Johnson's lawyer declined to comment.
“Mr. Brooke was properly not charged in the overarching RICO conspiracy involving the carting and demolition industries," Brooke’s attorney Vincent Martinelli said in a statement.
"He was merely charged with a relatively isolated, tiny business dispute completely unrelated to the RICO conspiracy. And we intend to prove he is completely innocent of any alleged 'violent extortion’ related to it. To claim he extorted anyone is utter nonsense.”
DiLorenzo was released after he posted $500,000 bond.
Lanni, Johnson, Gradilon and Tantillo remained in custody Wednesday night.
Rappa, Minsquero, Brooke and Vicari were all granted release on $1 million bonds each. But their releases were stayed for 24 hours so the government could appeal.
They all pleaded not guilty Wednesday.
Laforte was not arraigned Wednesday because he's in jail in Pennsylvania and will be arraigned later. It was not clear Wednesday night if he had a lawyer for this matter in New York.
|
||||
4521
|
dbpedia
|
0
| 5
|
https://people.com/music/snoop-dogg-ice-cube-too-short-e-40-form-hip-hop-supergroup/
|
en
|
Snoop Dogg, Ice Cube, Too Short and E-40 Form Hip-Hop Supergroup Mt. Westmore
|
[
"https://people.com/thmb/vRkHFKZusdhjaYP3rpptqoeoMaI=/400x0/filters:no_upscale():max_bytes(150000):strip_icc()/ryan-reynolds-tout-25b679df4bc84ca3908962362349d7a9.jpg",
"https://people.com/thmb/vRkHFKZusdhjaYP3rpptqoeoMaI=/400x0/filters:no_upscale():max_bytes(150000):strip_icc()/ryan-reynolds-tout-25b679df4bc84ca3908962362349d7a9.jpg",
"https://people.com/thmb/q9plT050qKtpe7cEtOsYLz0LUYU=/400x0/filters:no_upscale():max_bytes(150000):strip_icc()/car-accident-school-drop-off-081424-1-2f8d5a6393d64e7aa484abd980a03b7b.jpg",
"https://people.com/thmb/q9plT050qKtpe7cEtOsYLz0LUYU=/400x0/filters:no_upscale():max_bytes(150000):strip_icc()/car-accident-school-drop-off-081424-1-2f8d5a6393d64e7aa484abd980a03b7b.jpg",
"https://people.com/thmb/g5vH5pdjqBVF_mGSacg7vQJbN_8=/400x0/filters:no_upscale():max_bytes(150000):strip_icc()/patrick-mahomes-travis-kelce-taylor-swift-081324-41658c73722d4c2bbdbcc62246d2321a.jpg",
"https://people.com/thmb/g5vH5pdjqBVF_mGSacg7vQJbN_8=/400x0/filters:no_upscale():max_bytes(150000):strip_icc()/patrick-mahomes-travis-kelce-taylor-swift-081324-41658c73722d4c2bbdbcc62246d2321a.jpg",
"https://people.com/thmb/gPtohwSheplzhF3dH-Iqx35In6c=/400x0/filters:no_upscale():max_bytes(150000):strip_icc()/chrissy-teigen-breast-scar-instagram-08132-john-legend-paris-44485-1d2105651d354e1091e889a6ac19afeb.jpg",
"https://people.com/thmb/gPtohwSheplzhF3dH-Iqx35In6c=/400x0/filters:no_upscale():max_bytes(150000):strip_icc()/chrissy-teigen-breast-scar-instagram-08132-john-legend-paris-44485-1d2105651d354e1091e889a6ac19afeb.jpg",
"https://people.com/thmb/vABdJZqb-Q08nAzUuio6ykVlh28=/40x0/filters:no_upscale():max_bytes(150000):strip_icc()/Headshot-ca2f1038044f464a8dbfacfc3673a6c9.jpg 40w, https://people.com/thmb/V4w5bezHmW5eixsJNG6WTekDm4s=/58x0/filters:no_upscale():max_bytes(150000):strip_icc()/Headshot-ca2f1038044f464a8dbfacfc3673a6c9.jpg 58w, https://people.com/thmb/JKeWMGJpFqAkNzNog5ftHYl-_cM=/76x0/filters:no_upscale():max_bytes(150000):strip_icc()/Headshot-ca2f1038044f464a8dbfacfc3673a6c9.jpg 76w, https://people.com/thmb/NEWna4Y8Xu0B7_Atqgh0aLvwVMU=/94x0/filters:no_upscale():max_bytes(150000):strip_icc()/Headshot-ca2f1038044f464a8dbfacfc3673a6c9.jpg 94w, https://people.com/thmb/MqOI5muP-NXNyYQR4948ZVgnYZ0=/112x0/filters:no_upscale():max_bytes(150000):strip_icc()/Headshot-ca2f1038044f464a8dbfacfc3673a6c9.jpg 112w",
"https://people.com/thmb/tfXPdE4YND1fC8DK8QfRlR6Z1W8=/75x75/filters:no_upscale():max_bytes(150000):strip_icc()/Headshot-ca2f1038044f464a8dbfacfc3673a6c9.jpg",
"https://people.com/thmb/u6m3UOOjyp_aoMVR2_aXO3DaO5I=/1500x0/filters:no_upscale():max_bytes(150000):strip_icc():focal(749x0:751x2)/noop-Dogg-Ice-Cube-Too-Short-and-E-40--f0b80d3f72f94c88a39c719d1c1feae8.jpg",
"https://people.com/thmb/u6m3UOOjyp_aoMVR2_aXO3DaO5I=/1500x0/filters:no_upscale():max_bytes(150000):strip_icc():focal(749x0:751x2)/noop-Dogg-Ice-Cube-Too-Short-and-E-40--f0b80d3f72f94c88a39c719d1c1feae8.jpg",
"https://people.com/thmb/EMLQGFxzpsnwqq_s7jYuObR81n0=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/snoop-dogg-paris-olmypics-tout-080324-d5d2bd7f09a842b39830d9a5a59298b2.jpg",
"https://people.com/thmb/EMLQGFxzpsnwqq_s7jYuObR81n0=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/snoop-dogg-paris-olmypics-tout-080324-d5d2bd7f09a842b39830d9a5a59298b2.jpg",
"https://people.com/thmb/-x9xnkILraR3w51yEtqtcp6xecE=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/Dr-Dre-Snoop-Dogg-jimmy-kimmel-live-073024-b558e7ef51424813b1688ccbb08bfe65.jpg",
"https://people.com/thmb/-x9xnkILraR3w51yEtqtcp6xecE=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/Dr-Dre-Snoop-Dogg-jimmy-kimmel-live-073024-b558e7ef51424813b1688ccbb08bfe65.jpg",
"https://people.com/thmb/nQ2SzlJmy8MivbmoapsmQMLuma4=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/Snoop-Dogg-Queen-Elizabeth-080124-0a763fcbb97e4b5d92267dc2b2b11159.jpg",
"https://people.com/thmb/nQ2SzlJmy8MivbmoapsmQMLuma4=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/Snoop-Dogg-Queen-Elizabeth-080124-0a763fcbb97e4b5d92267dc2b2b11159.jpg",
"https://people.com/thmb/A5IZ-K59jOihGIwBgzpSawX65x4=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/snoop-dogg-olympic-glasses-instagram-paris-072624_4224-b2a279dcd8fb4497850f6109113ef063.jpg",
"https://people.com/thmb/A5IZ-K59jOihGIwBgzpSawX65x4=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/snoop-dogg-olympic-glasses-instagram-paris-072624_4224-b2a279dcd8fb4497850f6109113ef063.jpg",
"https://people.com/thmb/dU-IFJ5fUoqpdaLXKLZlNhCkk9w=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/LL-Cool-J-Saweetie-080924-tout-b4af2a2fb9754254b50bbaf489ce421e.jpg",
"https://people.com/thmb/dU-IFJ5fUoqpdaLXKLZlNhCkk9w=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/LL-Cool-J-Saweetie-080924-tout-b4af2a2fb9754254b50bbaf489ce421e.jpg",
"https://people.com/thmb/Dq9ydpA8LvNcTOHqFPPj5eajask=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/snoop-dogg-new-york-051224-b26c48fcd33c4b70aa664db222000911.jpg",
"https://people.com/thmb/Dq9ydpA8LvNcTOHqFPPj5eajask=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/snoop-dogg-new-york-051224-b26c48fcd33c4b70aa664db222000911.jpg",
"https://people.com/thmb/nb2CQ5IcCZaAZUMf2ISK9ejEWqM=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/Kendrick-Lamar-Haley-Joel-Osment-Joel-Osteen-081224-tout-ba7c3dd12c244f8aaa9a14c0dfd8c0e1.jpg",
"https://people.com/thmb/nb2CQ5IcCZaAZUMf2ISK9ejEWqM=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/Kendrick-Lamar-Haley-Joel-Osment-Joel-Osteen-081224-tout-ba7c3dd12c244f8aaa9a14c0dfd8c0e1.jpg",
"https://people.com/thmb/4qFBCpntRgCjTx0KJ_ghJr_QWwU=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/Snoop-Dogg-Louvre-08022401-d143e9afa61a4f5b8abb46e7313aee82.jpg",
"https://people.com/thmb/4qFBCpntRgCjTx0KJ_ghJr_QWwU=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/Snoop-Dogg-Louvre-08022401-d143e9afa61a4f5b8abb46e7313aee82.jpg",
"https://people.com/thmb/B2F1oJ1EMMjKOV_kG0kyPweaDro=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/Billie-Eilish-attends-the-30th-Annual-Screen-Actors-Guild-Awards-Anthony-Kiedis-attend-the-2022-MTV-VMA-Snoop-Dogg-arrives-at-the-Comedy-Central-Roast-of-Justin-Bieber-080924-3757f521978d45a8b590e257990b64cc.jpg",
"https://people.com/thmb/B2F1oJ1EMMjKOV_kG0kyPweaDro=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/Billie-Eilish-attends-the-30th-Annual-Screen-Actors-Guild-Awards-Anthony-Kiedis-attend-the-2022-MTV-VMA-Snoop-Dogg-arrives-at-the-Comedy-Central-Roast-of-Justin-Bieber-080924-3757f521978d45a8b590e257990b64cc.jpg",
"https://people.com/thmb/ec3jToEsL_mIApmNg-UFyRmDx4I=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/Yung-Miami-Caresha-Please-080724-1-1a10bade06f540419b0453aed7200133.jpg",
"https://people.com/thmb/ec3jToEsL_mIApmNg-UFyRmDx4I=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/Yung-Miami-Caresha-Please-080724-1-1a10bade06f540419b0453aed7200133.jpg",
"https://people.com/thmb/E2hLHNHowPMXmBIN2HfxKOsbCpM=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/will-i-am-black-eyed-peas-080924-e333d6dc05f14c839e43efd84a2b9c49.jpg",
"https://people.com/thmb/E2hLHNHowPMXmBIN2HfxKOsbCpM=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/will-i-am-black-eyed-peas-080924-e333d6dc05f14c839e43efd84a2b9c49.jpg",
"https://people.com/thmb/WcrAnYOj5hAIijpxod-bXDyjK1k=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/rakim-stood-up-on-my-bald-head-080224-083757b11eee459599aedce28c51ff09.jpg",
"https://people.com/thmb/WcrAnYOj5hAIijpxod-bXDyjK1k=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/rakim-stood-up-on-my-bald-head-080224-083757b11eee459599aedce28c51ff09.jpg",
"https://people.com/thmb/h4iJc8JxKlS-tVM-FrYUM6QATas=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/Megan-Thee-Stallion-Mamushi-080924-tout-47c9213491314a9aa8f6c7d0883e5393.jpg",
"https://people.com/thmb/h4iJc8JxKlS-tVM-FrYUM6QATas=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/Megan-Thee-Stallion-Mamushi-080924-tout-47c9213491314a9aa8f6c7d0883e5393.jpg",
"https://people.com/thmb/X3YegKKZoT1xEM6NN6UdfLnDQIU=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/logic-080824-1-aca39dd2e3b843529e556e7bdd37d038.jpg",
"https://people.com/thmb/X3YegKKZoT1xEM6NN6UdfLnDQIU=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/logic-080824-1-aca39dd2e3b843529e556e7bdd37d038.jpg",
"https://people.com/thmb/KEohykov_-8rUTsMPZSFy6w7Bw0=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/Mary-J-Blige-080724-tout-35b87b082a954570ac677a96f3a64a59.jpg",
"https://people.com/thmb/KEohykov_-8rUTsMPZSFy6w7Bw0=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/Mary-J-Blige-080724-tout-35b87b082a954570ac677a96f3a64a59.jpg",
"https://people.com/thmb/w2P83o8YTJQAVZyPfN4Sm4jTraw=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/ice-spice-travis-scott-072624-2-cd61114fd0854e5eb80233eb991f7773.jpg",
"https://people.com/thmb/w2P83o8YTJQAVZyPfN4Sm4jTraw=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/ice-spice-travis-scott-072624-2-cd61114fd0854e5eb80233eb991f7773.jpg"
] |
[] |
[] |
[
""
] | null |
[
"Georgia Slater",
"www.facebook.com"
] |
2021-03-18T15:00:29-04:00
|
Too Short revealed that the group has already recorded "in the neighborhood of 50 songs"
|
en
|
/favicon.ico
|
Peoplemag
|
https://people.com/music/snoop-dogg-ice-cube-too-short-e-40-form-hip-hop-supergroup/
|
Snoop Dogg, Ice Cube, Too Short and E-40 have joined forces to create a hip-hop supergroup named Mt. Westmore.
On Tuesday, Too Short joined DJ Vlad on VladTV where he revealed that the four rappers have already recorded "somewhere in the neighborhood of 50 songs" and will release their debut album next month.
Too Short also noted that additional "volumes" will be released in the future.
"It's not a thing that we dreamed up; it is a thing that's really real," the rapper said of the group. "This is serious s— and we did this because we wanted to do some business ventures together and we wanted to join forces to future tour together as well as release these projects..."
Too Short, 54, went on to explain that he and his fellow group members E-40, 53, Ice Cube, 51, and Snoop, 49, are "at the age where it is a good time to do a thing like this and extend your career a bit in a different way."
"The minute we join forces, we get a handful of new business opportunities that none of us would have had," he added.
Want to get the biggest stories from PEOPLE every weekday? Subscribe to our new podcast, PEOPLE Every Day, to get the essential celebrity, entertainment and human interest news stories Monday through Friday.
The rapper also revealed during an interview with HipHopDX in February that Dr. Dre will be featured on the group's new album.
According to NME, Too Short first shared details of the supergroup during an appearance on the podcast Serch Says.
"During the quarantine I got a call from Ice Cube and E-40 going, 'Man I feel like we should do an album like me you E40, Cube, Too Short and Snoop Dogg.' " Too Short recalled.
"And I'm like… 'E-40 and Too Short are from the Bay, Snoop Dogg and Cube are from L.A. and we are like the West Coast foundation.' We sat there and was like, 'F— it, let's do it.' So, we start coming up with beats,'" he said.
|
||||
4521
|
dbpedia
|
2
| 37
|
https://www.theguardian.com/music/us-news-blog/2012/jul/31/rapper-snoop-dogg-reggae-lion
|
en
|
Rapper Snoop Dogg is now a reggae performer named Snoop Lion
|
[
"https://sb.scorecardresearch.com/p?c1=2&c2=6035250&cv=2.0&cj=1&cs_ucfr=0&comscorekw=Snoop+Dogg%2CReggae%2CRap%2CJamaica%2CUS+news"
] |
[
"https://www.youtube-nocookie.com/embed/-hIjgofcuWU"
] |
[] |
[
""
] | null |
[
"Ruth Spencer",
"www.theguardian.com",
"ruth-spencer"
] |
2012-07-31T00:00:00
|
<p>Snoop puts the Dogg to bed after spiritual awakening in Jamaica, saying he wants to seek out new challenges</p>
|
en
|
the Guardian
|
https://www.theguardian.com/music/us-news-blog/2012/jul/31/rapper-snoop-dogg-reggae-lion
|
Snoop Dogg is dead! Long live Snoop Lion!
The rumors are true! Calvin Cordozar Broadus Jr – aka Snoop Doggy Dogg aka the rap legend behind hits like Still A G Thang and Gin n Juice – is no more. Broadus told journalists on Tuesday that he's officially dropped the Dogg act and upgraded his name to "Snoop Lion".
In all seriousness, Snoop says his decision is for real. The rapper says he underwent a spiritual and artistic rebirth while in Jamaica where he's been working on his next album. Rastafarian priests reportedly inspired the name change.
"I went to the temple, where the high priest asked me what my name was, and I said, 'Snoop Dogg'," he told journalists on Tuesday. "And he looked me in my eyes and said: 'No more. You are the light. You are the lion.' From that moment on, it's like I had started to understand why I was there."
Snoop is hardly the first musician to find religion or change his name mid-career, but unlike P Diddy or Cat Stevens, Snoop is also switching genres. Calling rap "no longer a challenge" Snoop says he'll devote the rest of his career to reggae, beginning with his appropriately titled next album "Reincarnation".
"With no disrespect to other rappers, but they can't fuck with me in rap. … I've won every accolade you can get in rap, they call me 'Uncle Snoop' in rap. When you're an uncle, it's time to find something new. … I want to feel like a kid again."
We wish him luck but we can't help but wonder if the name change will be a success or an epic, epic failure. From the sounds of it, his fans aren't too pleased with his new choice of mammal:
|
|||||
4521
|
dbpedia
|
2
| 21
|
https://people.com/music/snoop-dogg-ice-cube-too-short-e-40-form-hip-hop-supergroup/
|
en
|
Snoop Dogg, Ice Cube, Too Short and E-40 Form Hip-Hop Supergroup Mt. Westmore
|
[
"https://people.com/thmb/vRkHFKZusdhjaYP3rpptqoeoMaI=/400x0/filters:no_upscale():max_bytes(150000):strip_icc()/ryan-reynolds-tout-25b679df4bc84ca3908962362349d7a9.jpg",
"https://people.com/thmb/vRkHFKZusdhjaYP3rpptqoeoMaI=/400x0/filters:no_upscale():max_bytes(150000):strip_icc()/ryan-reynolds-tout-25b679df4bc84ca3908962362349d7a9.jpg",
"https://people.com/thmb/q9plT050qKtpe7cEtOsYLz0LUYU=/400x0/filters:no_upscale():max_bytes(150000):strip_icc()/car-accident-school-drop-off-081424-1-2f8d5a6393d64e7aa484abd980a03b7b.jpg",
"https://people.com/thmb/q9plT050qKtpe7cEtOsYLz0LUYU=/400x0/filters:no_upscale():max_bytes(150000):strip_icc()/car-accident-school-drop-off-081424-1-2f8d5a6393d64e7aa484abd980a03b7b.jpg",
"https://people.com/thmb/g5vH5pdjqBVF_mGSacg7vQJbN_8=/400x0/filters:no_upscale():max_bytes(150000):strip_icc()/patrick-mahomes-travis-kelce-taylor-swift-081324-41658c73722d4c2bbdbcc62246d2321a.jpg",
"https://people.com/thmb/g5vH5pdjqBVF_mGSacg7vQJbN_8=/400x0/filters:no_upscale():max_bytes(150000):strip_icc()/patrick-mahomes-travis-kelce-taylor-swift-081324-41658c73722d4c2bbdbcc62246d2321a.jpg",
"https://people.com/thmb/gPtohwSheplzhF3dH-Iqx35In6c=/400x0/filters:no_upscale():max_bytes(150000):strip_icc()/chrissy-teigen-breast-scar-instagram-08132-john-legend-paris-44485-1d2105651d354e1091e889a6ac19afeb.jpg",
"https://people.com/thmb/gPtohwSheplzhF3dH-Iqx35In6c=/400x0/filters:no_upscale():max_bytes(150000):strip_icc()/chrissy-teigen-breast-scar-instagram-08132-john-legend-paris-44485-1d2105651d354e1091e889a6ac19afeb.jpg",
"https://people.com/thmb/vABdJZqb-Q08nAzUuio6ykVlh28=/40x0/filters:no_upscale():max_bytes(150000):strip_icc()/Headshot-ca2f1038044f464a8dbfacfc3673a6c9.jpg 40w, https://people.com/thmb/V4w5bezHmW5eixsJNG6WTekDm4s=/58x0/filters:no_upscale():max_bytes(150000):strip_icc()/Headshot-ca2f1038044f464a8dbfacfc3673a6c9.jpg 58w, https://people.com/thmb/JKeWMGJpFqAkNzNog5ftHYl-_cM=/76x0/filters:no_upscale():max_bytes(150000):strip_icc()/Headshot-ca2f1038044f464a8dbfacfc3673a6c9.jpg 76w, https://people.com/thmb/NEWna4Y8Xu0B7_Atqgh0aLvwVMU=/94x0/filters:no_upscale():max_bytes(150000):strip_icc()/Headshot-ca2f1038044f464a8dbfacfc3673a6c9.jpg 94w, https://people.com/thmb/MqOI5muP-NXNyYQR4948ZVgnYZ0=/112x0/filters:no_upscale():max_bytes(150000):strip_icc()/Headshot-ca2f1038044f464a8dbfacfc3673a6c9.jpg 112w",
"https://people.com/thmb/tfXPdE4YND1fC8DK8QfRlR6Z1W8=/75x75/filters:no_upscale():max_bytes(150000):strip_icc()/Headshot-ca2f1038044f464a8dbfacfc3673a6c9.jpg",
"https://people.com/thmb/u6m3UOOjyp_aoMVR2_aXO3DaO5I=/1500x0/filters:no_upscale():max_bytes(150000):strip_icc():focal(749x0:751x2)/noop-Dogg-Ice-Cube-Too-Short-and-E-40--f0b80d3f72f94c88a39c719d1c1feae8.jpg",
"https://people.com/thmb/u6m3UOOjyp_aoMVR2_aXO3DaO5I=/1500x0/filters:no_upscale():max_bytes(150000):strip_icc():focal(749x0:751x2)/noop-Dogg-Ice-Cube-Too-Short-and-E-40--f0b80d3f72f94c88a39c719d1c1feae8.jpg",
"https://people.com/thmb/EMLQGFxzpsnwqq_s7jYuObR81n0=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/snoop-dogg-paris-olmypics-tout-080324-d5d2bd7f09a842b39830d9a5a59298b2.jpg",
"https://people.com/thmb/EMLQGFxzpsnwqq_s7jYuObR81n0=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/snoop-dogg-paris-olmypics-tout-080324-d5d2bd7f09a842b39830d9a5a59298b2.jpg",
"https://people.com/thmb/-x9xnkILraR3w51yEtqtcp6xecE=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/Dr-Dre-Snoop-Dogg-jimmy-kimmel-live-073024-b558e7ef51424813b1688ccbb08bfe65.jpg",
"https://people.com/thmb/-x9xnkILraR3w51yEtqtcp6xecE=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/Dr-Dre-Snoop-Dogg-jimmy-kimmel-live-073024-b558e7ef51424813b1688ccbb08bfe65.jpg",
"https://people.com/thmb/nQ2SzlJmy8MivbmoapsmQMLuma4=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/Snoop-Dogg-Queen-Elizabeth-080124-0a763fcbb97e4b5d92267dc2b2b11159.jpg",
"https://people.com/thmb/nQ2SzlJmy8MivbmoapsmQMLuma4=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/Snoop-Dogg-Queen-Elizabeth-080124-0a763fcbb97e4b5d92267dc2b2b11159.jpg",
"https://people.com/thmb/A5IZ-K59jOihGIwBgzpSawX65x4=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/snoop-dogg-olympic-glasses-instagram-paris-072624_4224-b2a279dcd8fb4497850f6109113ef063.jpg",
"https://people.com/thmb/A5IZ-K59jOihGIwBgzpSawX65x4=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/snoop-dogg-olympic-glasses-instagram-paris-072624_4224-b2a279dcd8fb4497850f6109113ef063.jpg",
"https://people.com/thmb/dU-IFJ5fUoqpdaLXKLZlNhCkk9w=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/LL-Cool-J-Saweetie-080924-tout-b4af2a2fb9754254b50bbaf489ce421e.jpg",
"https://people.com/thmb/dU-IFJ5fUoqpdaLXKLZlNhCkk9w=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/LL-Cool-J-Saweetie-080924-tout-b4af2a2fb9754254b50bbaf489ce421e.jpg",
"https://people.com/thmb/Dq9ydpA8LvNcTOHqFPPj5eajask=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/snoop-dogg-new-york-051224-b26c48fcd33c4b70aa664db222000911.jpg",
"https://people.com/thmb/Dq9ydpA8LvNcTOHqFPPj5eajask=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/snoop-dogg-new-york-051224-b26c48fcd33c4b70aa664db222000911.jpg",
"https://people.com/thmb/nb2CQ5IcCZaAZUMf2ISK9ejEWqM=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/Kendrick-Lamar-Haley-Joel-Osment-Joel-Osteen-081224-tout-ba7c3dd12c244f8aaa9a14c0dfd8c0e1.jpg",
"https://people.com/thmb/nb2CQ5IcCZaAZUMf2ISK9ejEWqM=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/Kendrick-Lamar-Haley-Joel-Osment-Joel-Osteen-081224-tout-ba7c3dd12c244f8aaa9a14c0dfd8c0e1.jpg",
"https://people.com/thmb/4qFBCpntRgCjTx0KJ_ghJr_QWwU=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/Snoop-Dogg-Louvre-08022401-d143e9afa61a4f5b8abb46e7313aee82.jpg",
"https://people.com/thmb/4qFBCpntRgCjTx0KJ_ghJr_QWwU=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/Snoop-Dogg-Louvre-08022401-d143e9afa61a4f5b8abb46e7313aee82.jpg",
"https://people.com/thmb/B2F1oJ1EMMjKOV_kG0kyPweaDro=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/Billie-Eilish-attends-the-30th-Annual-Screen-Actors-Guild-Awards-Anthony-Kiedis-attend-the-2022-MTV-VMA-Snoop-Dogg-arrives-at-the-Comedy-Central-Roast-of-Justin-Bieber-080924-3757f521978d45a8b590e257990b64cc.jpg",
"https://people.com/thmb/B2F1oJ1EMMjKOV_kG0kyPweaDro=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/Billie-Eilish-attends-the-30th-Annual-Screen-Actors-Guild-Awards-Anthony-Kiedis-attend-the-2022-MTV-VMA-Snoop-Dogg-arrives-at-the-Comedy-Central-Roast-of-Justin-Bieber-080924-3757f521978d45a8b590e257990b64cc.jpg",
"https://people.com/thmb/ec3jToEsL_mIApmNg-UFyRmDx4I=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/Yung-Miami-Caresha-Please-080724-1-1a10bade06f540419b0453aed7200133.jpg",
"https://people.com/thmb/ec3jToEsL_mIApmNg-UFyRmDx4I=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/Yung-Miami-Caresha-Please-080724-1-1a10bade06f540419b0453aed7200133.jpg",
"https://people.com/thmb/E2hLHNHowPMXmBIN2HfxKOsbCpM=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/will-i-am-black-eyed-peas-080924-e333d6dc05f14c839e43efd84a2b9c49.jpg",
"https://people.com/thmb/E2hLHNHowPMXmBIN2HfxKOsbCpM=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/will-i-am-black-eyed-peas-080924-e333d6dc05f14c839e43efd84a2b9c49.jpg",
"https://people.com/thmb/WcrAnYOj5hAIijpxod-bXDyjK1k=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/rakim-stood-up-on-my-bald-head-080224-083757b11eee459599aedce28c51ff09.jpg",
"https://people.com/thmb/WcrAnYOj5hAIijpxod-bXDyjK1k=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/rakim-stood-up-on-my-bald-head-080224-083757b11eee459599aedce28c51ff09.jpg",
"https://people.com/thmb/h4iJc8JxKlS-tVM-FrYUM6QATas=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/Megan-Thee-Stallion-Mamushi-080924-tout-47c9213491314a9aa8f6c7d0883e5393.jpg",
"https://people.com/thmb/h4iJc8JxKlS-tVM-FrYUM6QATas=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/Megan-Thee-Stallion-Mamushi-080924-tout-47c9213491314a9aa8f6c7d0883e5393.jpg",
"https://people.com/thmb/X3YegKKZoT1xEM6NN6UdfLnDQIU=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/logic-080824-1-aca39dd2e3b843529e556e7bdd37d038.jpg",
"https://people.com/thmb/X3YegKKZoT1xEM6NN6UdfLnDQIU=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/logic-080824-1-aca39dd2e3b843529e556e7bdd37d038.jpg",
"https://people.com/thmb/KEohykov_-8rUTsMPZSFy6w7Bw0=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/Mary-J-Blige-080724-tout-35b87b082a954570ac677a96f3a64a59.jpg",
"https://people.com/thmb/KEohykov_-8rUTsMPZSFy6w7Bw0=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/Mary-J-Blige-080724-tout-35b87b082a954570ac677a96f3a64a59.jpg",
"https://people.com/thmb/w2P83o8YTJQAVZyPfN4Sm4jTraw=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/ice-spice-travis-scott-072624-2-cd61114fd0854e5eb80233eb991f7773.jpg",
"https://people.com/thmb/w2P83o8YTJQAVZyPfN4Sm4jTraw=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/ice-spice-travis-scott-072624-2-cd61114fd0854e5eb80233eb991f7773.jpg"
] |
[] |
[] |
[
""
] | null |
[
"Georgia Slater",
"www.facebook.com"
] |
2021-03-18T15:00:29-04:00
|
Too Short revealed that the group has already recorded "in the neighborhood of 50 songs"
|
en
|
/favicon.ico
|
Peoplemag
|
https://people.com/music/snoop-dogg-ice-cube-too-short-e-40-form-hip-hop-supergroup/
|
Snoop Dogg, Ice Cube, Too Short and E-40 have joined forces to create a hip-hop supergroup named Mt. Westmore.
On Tuesday, Too Short joined DJ Vlad on VladTV where he revealed that the four rappers have already recorded "somewhere in the neighborhood of 50 songs" and will release their debut album next month.
Too Short also noted that additional "volumes" will be released in the future.
"It's not a thing that we dreamed up; it is a thing that's really real," the rapper said of the group. "This is serious s— and we did this because we wanted to do some business ventures together and we wanted to join forces to future tour together as well as release these projects..."
Too Short, 54, went on to explain that he and his fellow group members E-40, 53, Ice Cube, 51, and Snoop, 49, are "at the age where it is a good time to do a thing like this and extend your career a bit in a different way."
"The minute we join forces, we get a handful of new business opportunities that none of us would have had," he added.
Want to get the biggest stories from PEOPLE every weekday? Subscribe to our new podcast, PEOPLE Every Day, to get the essential celebrity, entertainment and human interest news stories Monday through Friday.
The rapper also revealed during an interview with HipHopDX in February that Dr. Dre will be featured on the group's new album.
According to NME, Too Short first shared details of the supergroup during an appearance on the podcast Serch Says.
"During the quarantine I got a call from Ice Cube and E-40 going, 'Man I feel like we should do an album like me you E40, Cube, Too Short and Snoop Dogg.' " Too Short recalled.
"And I'm like… 'E-40 and Too Short are from the Bay, Snoop Dogg and Cube are from L.A. and we are like the West Coast foundation.' We sat there and was like, 'F— it, let's do it.' So, we start coming up with beats,'" he said.
|
||||
4521
|
dbpedia
|
0
| 80
|
https://topfiverecords.in/2020/08/05/hold-you-down-against-the-early-childish-gambino/
|
en
|
Hold You Down – Against The Early Childish Gambino
|
[
"https://topfiverecords.in/wp-content/uploads/2020/08/28b99c6da8d32e89330007bec347fcbe.jpg?w=490",
"https://topfiverecords.in/wp-content/uploads/2020/08/camp.png?w=490",
"https://topfiverecords.in/wp-content/uploads/2020/08/rs-18992-community-1800-1405353215.jpg?w=490",
"https://assets.pinterest.com/images/pidgets/pinit_fg_en_rect_gray_20.png",
"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 |
[] |
2020-08-05T00:00:00
|
We put up a review of the new Childish Gambino album a few months ago and it got me thinking. Karthik liked the album, but misses the old CG. I don't. I strongly feel that leaving rap was the best thing Donald Glover could have done and I thought I would put down why. It's…
|
en
|
https://s1.wp.com/i/favicon.ico
|
Top Five Records
|
https://topfiverecords.in/2020/08/05/hold-you-down-against-the-early-childish-gambino/
|
We put up a review of the new Childish Gambino album a few months ago and it got me thinking. Karthik liked the album, but misses the old CG. I don’t. I strongly feel that leaving rap was the best thing Donald Glover could have done and I thought I would put down why.
It’s a hard thing to say, but I don’t think that Childish Gambino was ever that great at rapping. Donald Glover has always been an easy person to like and that covers up for a lot, but the fact that it is Donald Glover rapping has always been the bit that most commands attention. He is the actor who raps some. His flow is fine, but honestly forgettable. He’s a little nasal and his emphases are too self-indulgent.
In fact, as a rapper, he reminds me a lot of Aminé. I like Aminé a lot, and you owe it to yourself to at least check out “Spice Girl” if you don’t know him, but liking Aminé comes with the fact that there’s a hard ceiling on what he’s ever going to become. He’s a fun goofball who makes quite a bit of solid music, but there’s only so far that you can go like that, and it’s hard not to say exactly the same thing about the old CG.
Going back to Camp doesn’t do much to shift me on this either. I really empathize with his feeling out-of-place everywhere, it’s a life I still live, but he really says all that he needs to say about it in a couple of songs and beyond that it doesn’t do anything. To unfortunately compare him again to a lower-tier rapper, it reminds me of Logic’s albums where his unwillingness to moderate how far he takes a central conceit causes his albums to drag. Logic is, in fact, my go-to parallel for a CG who stuck to rap. “1-800” is a very good song and the song that really made Logic. It’s a major hit and deservedly so and it’s a song that means a lot to a lot of people and had CG stuck to straight rap, I’m sure that it was only a matter of time until he struck it big like that, but it’s also what feels to be Logic’s peak and the new CG has already passed that.
A big part of that feeling of limitation is that I think there’s only so far you can go with hashtag rap. It seemed interesting in 2011, but looking back, I’m really glad that rap went in a different direction. “Heartbeat” is one of my favorite songs from Camp, but the J and Keisha line is disruptive. I’m in the middle of his story and he drops in such an out-of-place line. It takes me out of the moment for an honestly meaningless line. This is worsened by throwaway lines like “Put it down like the family dog” in “Crawl,” which just feels pointlessly edgy. He doesn’t have the lyricism or the verbal dexterity of Eminem and he’s nowhere near as off-the-wall as Tyler, the Creator and he just can’t pull off the pose anywhere near as well as they do. Similarly, he just doesn’t have the imagination or the flow of Lil Wayne or Thugger, who both have made an art of non-sequiturs and ad-libs. They do almost Joycean things to the language and they rap with such joy. CG has never had anything like the same abandon.
This leads into what I think is CG’s biggest problem when rapping, he never really figured out who he is. I’m going to look at legitimately my favorite of his straight rap songs for this, “L.E.S..” His story of this New York girl is really good. Calling out hipster trends in this song adds detail. “White boys used to trip and send me over a gin / But they busy showin’ off each other Indian friend” is clever and has a fantastic sneer to it and is followed by my favorite CG line of all ” She got ironic tattoos on her back / That ain’t ironic bitch, I love Rugrats.”
However, then we get things like the free association of the next stanza, which has internal rhymes that could have been interesting, but which he ruins by trying too hard with them and with a needless and sort of tame attempt to shock. Similarly, a line like “Our relationship has gotten Sylvester Stallone” is the kind of wordplay that can seem clever in a poor light, but it just doesn’t do anything for the song. It breaks you out of the flow of the song for a not very funny joke.
He just cannot commit in the way of the Arctic Monkeys or the Afghan Whigs to this lifestyle. He uses jokes to create distance and to cover up the fact that he’s not willing to open up in his music. He’s got an image that he builds up of being a loser on the outside, but making up for fucks you miss in high school is not a compelling aesthetic. It’s also a very tightly controlled image. He’s so reticent that there’s nothing to really humanize him. It comes across as a caricature and an unlikable one at that. Even that story at the end of “That Power” feels so iterated on, so polished, so story-told that it loses authenticity. Sometimes, you need something raw. Also, the Asian fetish gets pretty uncomfortable to listen to.
This might have been tempered had I ever watched Community and had that to balance him out, but I’ve never seen a Donald Glover TV show. Actually, I think the only place where I have seen him is in Solo, a movie that I quite liked and a movie that I quite liked Donald Glover in. However, it’s just not enough to build a picture of him separate from his music for me.
As a contrast to this, it’s time to finally get to the other actor-rapper of the mid-2000s, Drake. It’s easy to dislike Drake. There’s the pettiness, the fake tough-guy stuff, the clout chasing and the puffery, but we only see these because of how open he is and it’s really hard to be a superstar in the confessional that is rap if you’re not willing to be open. CG’s music feels like it wants you to like him and that insecurity doesn’t fit in the rap game. Also, Toronto Sadboy is a slightly comical pose, but it’s one that’s easier to get into than CG’s image of being clever, but immature. This is especially true for the Weeknd, but even when Drake does it, it’s more menacing, more dark and most importantly more sexy than CG’s stuff.
Also, Drake is just the better rapper and the better sing-rapper. You could argue that it was close in the Take Care vs. Camp era (although I wouldn’t), but it’s not at all close at this point. Drake has put in the work while Donald Glover has been busy becoming a movie superstar. Every year, Drake tries out new stuff with rap. There isn’t a trend over the past five years that he hasn’t dabbled with and the work shows.
Even from the beginning though, Drake always felt like the more comfortable rapper and he committed to sing-rapping in the way that CG didn’t. The best song from CG’s first two albums is “Telegraph Ave”. (which I’ll remind Neeharika that I got to see at Telegraph Ave.), and you can see how well he does in the R&B-adjacent space with his songs with Jhené Aiko. He just feels more natural in that zone. Even with “Telegraph Ave.” I feel like it’s the singing that stands out rather than any of his rap and so it’s welcome that is what his focus is on now.
With R&B, he gets to focus more on feeling than on words and yet with “This Is America,” he has made the most meaningful song in his career. He even gets to be visual in “This Is America” and the wonderful “Feels Like Summer” and the upgrade from the Because The Internet screenplay to the very likable Guava Island is clear-cut. He gets to be unambiguously sexy in “Redbone” which the cleverness of rap doesn’t allow and it’s the best music he’s ever made.
He just feels more confident and here than he did before. “Zombies” from Awaken, My Love is a lot of fun and it just didn’t feel like he was comfortable enough to play like this before. This is an older and more mature CG and maybe the time has come for him to put down Childish things.
Related:
|
||||
4521
|
dbpedia
|
0
| 18
|
https://foxy99.com/2024/05/29/snoop-dogg-thanks-drake-and-kendrick/
|
en
|
Snoop Dogg Thanks ‘Nephews’ Drake And Kendrick For Their Rap Beef
|
[
"https://foxy99.com/wp-content/uploads/sites/54/2024/04/WZFX-logo-vectored.jpg?w=154&h=88&anchor=middlecenter",
"https://foxy99.com/wp-content/uploads/sites/54/2022/08/BMG_AdvertiseWithUs_FeaturedImage_1556x1176.jpg?w=1556",
"https://secure.gravatar.com/avatar/a861d2d0aa40d9e44e210842d6994ef6?s=40&d=mm&r=g",
"https://foxy99.com/wp-content/uploads/sites/54/2024/05/GettyImages-2004489560_1717012560_.jpg",
"https://secure.gravatar.com/avatar/a861d2d0aa40d9e44e210842d6994ef6?s=40&d=mm&r=g",
"https://foxy99.com/wp-content/themes/experience-engine-v2/assets/images/itunes.svg",
"https://foxy99.com/wp-content/themes/experience-engine-v2/assets/images/googleplay.svg"
] |
[] |
[] |
[
""
] | null |
[
"Laila Abuelhawa"
] |
2024-05-29T00:00:00
|
Snoop Dogg thanks his "nephews" Drake and Kendrick Lamar for their ongoing rap beef, saying it's been beneficial in the world of hip-hop.
|
en
|
Foxy 99.1
|
https://content.bbgi.com/2024/05/29/snoop-dogg-thanks-drake-and-kendrick/
|
https://www.youtube.com/watch?v=F18RQuT3-c0 “7 Minute Drill” was a part of J. Cole’s surprise EP Might Delete Later; the rapper took the EP’s name literally. On “7 Minute Drill,” rapped about how Kendrick’s 2022 album Mr. Morale & The Big Steppers doesn’t compare to his earlier works. “Your first s— was classic, your last s— was tragic/ Your second s— put n—– to sleep, but they gassed it/ Your third s— was massive and that was your prime/ I was trailin’ right behind and I just now hit mine,” Cole raps as he took some inspiration from Jay-Z’s “Takeover” which was used to diss Nas. “One was nah, the other was Illmatic/That’s a one hot album every ten year average,” Jay rapped. Cole continues: “Now I’m front of the line with a comfortable lead/ How ironic, soon as I got it, now he want somethin’ with me/ Well, he caught me at the perfect time, jump up and see.” “He averagin’ one hard verse like every 30 months or somethin’/ If he wasn’t dissin’, then we wouldn’t be discussin’ him,” he raps. He adds inspiration from another line of “Takeover” with: “Four albums in 12 years, n—-, I can divide/ S—, if this is what you want, I’m indulgin’ in violence.” Jay rapped: “Four albums in ten years, n—-? I could divide/That’s one every, let’s say two, two of them s—- was doo.” Cole eventually deleted the song and apologized to Kendrick for it at his annual Dreamville Festival.
While A$AP Rocky’s disdain against Drake was publicly known, The Weeknd coming for Drake seemed like a shot out of left field. The After Hours creator dissed Drake on Future and Metro Boomin’s “All To Myself.” He let’s everyone know that he dodged a bullet for not signing to Drake’s label OVO in 2012.
“These n—– always yappin’, yeah/ I promise that I got your back/ Ooh, look at how we movin’, baby/ They could never diss my brothers, baby/ When they got leaks in they operation/ I thank God that I never signed my life away/ And we never do the big talk/ They shooters makin’ TikToks/ Got us laughin’ in the Lambo,” The Weeknd sings.
After Kendrick Lamar, Future, A$AP Rocky, The Weeknd, and Metro Boomin, came for Drake on their respective tracks, Drizzy finally responded on “Push Ups (Drop & Give Me 50).” At first, fans believed it was an AI response since Drake only seemingly claimed it on social media through trolling, but he officially released the track on April 19.
With the “Push Ups” official release, Drake used the cover art to poke fun at the Compton native’s size. The cover art features the labeling for a men’s size 7, which references Drake’s line, “How the f— you big steppin’ with a size 7 mens on?”
After the shoe line Drake continues: “Your last one bricked, you really not on s— / They make excuses for you ’cause they hate to see me lit / Pull your contract ’cause we gotta see the split / Ain’t no way you doin’ splits bitch your pants might rip.”
Drake then came for Kendrick’s guest verses on pop songs and how he had to keep making the verses to please his former label Top Dawg Entertainment.
“Maroon 5 need a verse, you better make it witty / Then we need a verse for the Swifties / Top say drop, you better drop and give him 50 / Pipsqueak, pipe down / You ain’t in no big three, SZA got you wiped down, Travis got you wiped down, Savage got you wiped down / Like your label boy, you Interscope right now,” he raps.
He addresses Future and Metro with the first couple of lines: “I could never be nobody number-one fan/Your first number one, I had to put it in your hand/You p—— can’t get booked outside America for nan’/I’m out in Tokyo because I’m big in Japan.”
He comes for The Weeknd with this line: “Claim the 6 and boys ain’t even come from it/And when you boys got rich you had to run from it,” Drizzy raps. “Cash blowin’ Abel bread, out here trickin’/S— we do for bitches he doing for n—–/Jets, whips, chains, wicked, wicked, wicked/Spend it like you tryna f—, boy, you trippin’.”
Drake takes aim at Rick Ross with this line: “Can’t believe he jumpin’ in, this n—a turnin’ 50/Every song that made it on the chart, he got from Drizzy,” Drake raps, as he refers to Ross’ relationship with Diddy in the next line: Spend that lil’ check you got and stay up out my business/Worry ’bout whatever goin’ on with you and….”
Lastly, Drake’s mentions Metro directly with one line that has since gone viral: “Metro, shut your h– a– up and make some drums.”
The only one he fails to address on “Push Ups” is A$AP Rocky.
Weeks leading up to Kendrick’s scathing verse on “Like That,” Drake and Rick Ross’ relationship seemed to also be in treacherous territory. The Miami native unfollowed Drake on Instagram and after Drizzy mentioned Ross on “Push Ups,” it was all the ammo he needed to respond back with his own diss track “Champagne Moments.”
He finally reveals why he decided to unfollow Drake on Instagram:”I unfollowed you, n—-, ’cause you sent the motherf—— cease-and-desist to French Montana, n—-/ You sent the police, n—–, hatin’ on my dog project.”
Details surrounding a cease and desist have not been revealed.
Elsewhere in the song, Ross alleges that Drake had a nose job.
“You ain’t never want to be a n—- anyway, n—-/ That’s why you had a operation to make your nose smaller than your father nose, n—-,” Ross raps.
In the song, Ross suggests that Drake got BBL surgery (Brazilian Butt Lift) and ab surgery. He also repeatedly makes fun of Drake’s biracial heritage by persistently calling Drake a “white boy” throughout the song.
https://www.youtube.com/watch?v=zhEiduBxX4c
While Drake awaits a response from Kendrick, Drizzy releases “Taylor Made Freestyle” featuring AI verses of Snoop Dogg and the late Tupac Shakur.
“Kendrick, we need ya, the West Coast savior/Engraving your name in some hip-hop history,” AI Tupac raps in the opening verse. “F— this Canadian light-skin, Dot/We need a no-debated West Coast victory, man.”
Next up is AI Snoop Dogg who questions Kendrick’s past, “I know you never been to jail, or wore jumpsuits and shower shoes/Never shot nobody, never stabbed nobody/Never did nothing violent to no one, it’s the homies that empower you/But, still, you gotta show this f—— owl who’s boss on the West/Now’s a time to really make a power move,” the voice raps in the second verse.
In the last verse, Drake comes for Kendrick himself not using AI. Drizzy alleges that Kendrick is waiting to drop his diss track because Taylor Swift — who Kendrick has collaborated before on “Bad Blood” — dropped her double album The Tortured Poets Department on Friday (April 19) and he wants the chance to go No. 1. The “Rich Baby Daddy” hitmaker also admitted he’s moved music releases around Swift’s drops.
“But now we gotta wait a f—— week ’cause Taylor Swift is your new Top/And if you ’bout to drop, she gotta approve.” He adds later, “Yeah, shoutout to Taylor Swift/Biggest gangster in the music game right now/You know, I moved my album when she dropped.”
While we’re not sure why Drake thought this was necessarily a good idea in the first place, Shakur’s estate were deeply offended by Drake’s use of an AI version of the late rapper and threatened legal action. Drizzy decided to take the diss track off of his Instagram. The song was never submitted to streaming services.
Kanye got himself into the mix — why, we don’t know. The Chicago native released a remix of Kendrick’s “Like That” aiming straight for Drake and J. Cole. On Ye’s remix, he begins by referencing the feud between Drake and Kendrick.
“You know we had to get the hooligans up here to get these p—-n——out/ Yo Dot, I got you,” Ye raps.
Ye then calls out Cole and Drake by name. “Y’all so out of sight, out of mind/ I can’t even think of a Drake line/ Play J. Cole, get the p—- dry/ Play this s— back 130 times.”
Prior to this remix, Ye and Drake had some issues but the two seemingly made up in 2022 for the Free Larry Hoover event but shortly after Drake dissed him on “Circo Loco.”
“Linking with the opps, bitch, I did that for J. Prince/Bitch, I did it for the mob ties,” Drake raps. He adds later that there probably won’t be a reconciliation, “And I never been the one to go apologies/Me, I’d rather hit ’em up one more time.”
The moment everyone was waiting for: Kendrick’s response. The Mr. Morale & The Big Steppers artist reacted to Drake’s diss tracks with “Euphoria” on April 30. Kendrick began the diss track by calling Drake a “master manipulator and habitual liar” and adding that he literally hates everything about him: “I hate the way that you walk, the way that you talk, I hate the way that you dress/ I hate the way that you sneak diss, if I catch flight it’s gonna be direct/ We hate the bitches you f— ’cause they confuse themselves with real women/ And notice I said ‘we,’ it’s not just me, I’m what the culture feeling.”
He came for Drake’s fatherhood as well referencing Pusha T calling Drizzy out on “The Story of Adidon” back in 2018. “Y’all thinking my life is rap? That’s h- s—, I got a son to raise, but I can see you know nothing about that,” Kendrick raps.
Kendrick also mentions J. Cole as well regarding the “big three” comment on “First Person Shooter.”
“Cole and Aubrey know I’m a selfish guy, the crown is heavy/ I pray they my real friends, if not, I’m YNW Melly,” Kendrick raps referring to the “big three” statement but also YNW Melly is on trial currently for allegedly killing two of his close friends.
Nearing the end of the song, Kendrick propels himself above all of the other rappers who have tried to come for Drake.
“Ain’t 20 v. 1 it’s 1 v. 20 if I gotta smack n—– that write with ya,” he raps.
In the last line of the track he warns Drake, “We don’t wanna hear you say n—- no more,” after calling out how he uses his Blackness when it best suits him.
https://www.instagram.com/p/C6gdClArPXc/
After not getting a response back from Drake, Kendrick released another diss track three days later. “6:16 in LA” arrived on Kendrick’s Instagram on May 3 and the title references Drake’s timestamp series. Kendrick mentions Drake’s line in the “Push Ups” diss track that he was being swindled by Top Dawg Entertainment’s Anthony “Top Dawg” Tiffith.
“Conspiracies about cash, dawg, that’s not even the leak/ Find the jewels like Kash Doll, I just need you to think/ Are you finally ready to play ‘Have you ever?,’ let’s see/ Have you ever thought that OVO is working for me?” he raps.
Next, Kendrick calls Drake out for being a bully and infers that the ones around him aren’t loyal. He also references Drizzy’s 2020 hit “Toosie Slide.”
“Fake bully, I hate bullies, you must be a terrible person/ Everyone inside your team is whispering that you deserve it/ Can’t Toosie Slide up out of this one, it’s just gonna resurface/ Every dog gotta have his day, now live in your purpose,” he raps.
Kendrick continues with the theory that Drake’s own people are waiting for him to fail.
“A hunnid n—– that you got on salary, and twenty of ’em want you as a casualty/And one of them is actually, next to you/And two of them is practically tied to your lifestyle, just don’t got the audacity to tell you.”
Drake has been taking shots at Kendrick’s fiancée Whitney Alford suggesting that he cheated on her with white women (which Kendrick has already admitted to on his own song “Mother I Sober.”)
“You the Black messiah wifing up a mixed queen/ And hit vanilla cream to help out with your self-esteem/ On some Bobby s—, I wanna know what Whitney need,” Drake raps referring to Alford.
Then Drake suggests that Kendrick’s kids are not his and that they’re Dave Free’s, who is a record executive and former president of Top Dawg Entertainment where Kendrick was originally signed before leaving in 2022. Drake also suggests that Kendrick has been physically abusive to his wife.
“Your baby mama captions always screamin, ‘Save me’/ You did her dirty all her life, you tryna make peace/ I heard that one of them little kids might be Dave Free/ Don’t make it dave freeze/ Cause if your GM is your BM secret BD,” Drake raps.
While those are the main lines he address K. Dot with, he also takes shots at The Weeknd, A$AP Rocky, Future, Metro Boomin, and Rick Ross.
Drake flipped his “Buried Alive Interlude” from Take Care and while this is a parody, Drake still got some points across about how he really feels about Kendrick.
“If you were in a pine box, box/I would shovel dirt on top, top/I’d play this record on repeat, ‘peat/
You always been a bitch to me/If you was in a pine box, box/I would still be in my spot, spot/For you to make it to the peak, peak/It’d have to be the death of me, the death of me,” Drake raps in the intro.
In the first and only verse in the song, Drake reminds Kendrick who gave him a shot.
“Took you on your first tour with us, tryna catch a vibe/I was headline, you was standin’ on thе side/
Brought you and that other hoe along for the ride,” Drake raps referring to his 2012 Club Paradise Tour where Kendrick and A$AP Rocky headlined for him.
Kendrick took less than an hour to respond back to Drake with “Meet The Grahams.” Like the title suggests, Kendrick addresses Drake’s family including his son Adonis, his mother Sandra, and his father Dennis.
K. Dot begins with Adonis: “Dear Adonis, I’m sorry that that man is your father, let me be honest/It takes a man to be a man, your dad is not responsive/I look at him and wish your grandpa woulda wore a condom/I’m sorry that you gotta grow up and then stand behind him.”
Then he speaks to Drake’s mother Sandra: “Dear Sandra, your son got some habits/I hope you don’t undermine them.”
Kendrick does not hold back when addressing Drake’s father Dennis Graham: “You raised a horrible f—-’ person/The nerve of you, Dennis.”
He then addresses Sandra again but this time more harshly calling Drake a pedophile: “Your son’s a sick man with sick thoughts/I think n—– like him should die/Him and Weinstein should get f—– up in a cell for the rest of they life.”
“And we’ve gotta raise our daughters knowing there’s predators like him lurkin’/F— a rap battle, he should d–, so all of these women can live with a purpose,” he continues.
Kendrick then addresses the alleged 11-year-old daughter Drake is hiding who he refers to as “baby girl”: “I’d like to say it’s not your fault that he’s hiding another child/Give him grace/That’s the reason I made Mr. Morale,” referencing when Pusha T called Drake out on “The Story Of Adidon” about not publicly outing that he had a son.
“F— a rap battle/This a lifelong battle with yourself,” he ends the track.
Kendrick released “Not Like Us” the following day as hammers home the pedophile allegations against Drake.
“Say, Drake, I hear you like ’em young/ You better not ever go to cell block one/ To any b—- that talk to him and they in love/ Just make sure you hide your lil’ sister from him,” Kendrick raps.
Drake’s team is not safe from this diss track either, as Chubbs (Drizzy’s head of security), and OVO artists PartyNextDoor and Baka Not Nice (who was arrested for human trafficking) also are targets with the next line.
“They tell me Chubbs the only one that get your hand-me-downs/ And party at the party, playin’ with his nose now/ And Baka got a weird case, why is he around?/ Certified Lover Boy? Certified pedophiles,” he continues referencing Drake’s 2021 album Certified Lover Boy.
He then speaks on claims of Drake being a “deadbeat dad” as he’s hiding an 11-year-old daughter, “You lied about your son, you lied about your daughter, huh, you lied about them other kids that’s out there hoping that you come,” Kendrick raps.
While the song has some harsh lines, Kendrick made a potential summer hit with the Mustard-produced beat.
Did Drake wave the white flag? Well, after “The Heart Part 6” it seems he’s said all he’s had to say at this point. Just like Kendrick mimicked Drake’s timestamp series, Drake did the same with “Part 6” of the Compton native’s “The Heart” series. On “The Heart Part 6,” Drake immediately addressed the 11-year-old daughter rumors saying that Kendrick was fed false information and that he took the bait.
“We plotted for a week and then we fed you the information/A daughter that’s eleven years old, I bet he takes it/We thought about giving a fake name or a destination/But you so thirsty, you not concerned with investigation,” Drake raps.
Then Drake refers to Kendrick’s “Mother I Sober” again where Kendrick talks about his sexual traumas in his childhood.
“Mother, I—, mother, I—, mother—/Ahh, wait a second, that’s that one record where you say you got molested/Aw, f— me, I just made the whole connection/This about to get so depressin’
This is trauma from your own confessions/This when your father leave you home alone with no protection, so neglected/That’s why these pedophile raps is s— you so obsessed with, it’s so excessive
They acting like it’s so aggressive,” Drake raps.
However, it is to be noted that Kendrick raps in “Mother I Sober” that he was not molested as a child.
“Family ties, they accused my cousin, ‘Did he touch you, Kendrick?’/Never lied, but no one believed me when I said ‘He didn’t,'” Kendrick raps in the Mr. Morale & The Big Steppers track.
Drake attacks Kendrick’s fiancée, Whitney Alford, again claiming that his two children he shares with her are not his.
“What about the bones we dug up in that excavation?/And why isn’t Whitney denyin’ all of the allegations?/Why is she following Dave Free and not Mr. Morale?/You haven’t seen the kids in six months, the distance is wild/Dave leaving heart emojis underneath pics of the child,” Drake raps referring also the cover art of the song which features Dave commenting on a presumed photo of Alford.
Drake then dismissed the pedophilia claims.
“Speakin’ of anything with a child, let’s get to that now/This Epstein angle was the s— I expected/TikTok videos you collected and dissected/Instead of being on some diss-direct s—/You rather f—— grab your pen and misdirect s—,” he raps.
Drake also has one last jab to Alford and claims that Kendrick wanted to feud to promote an upcoming album he has not yet announced: “Album droppin’ soon, no wonder you turn to a clout chaser ‘stead of doing hard labor/N—-, I’ll see you when I see you like Fantasia/And Whitney, you can hit me if you need a favor/And when I say I hit ya back, it’s a lot safer/Huh, I promise.”
|
|||||
4521
|
dbpedia
|
2
| 56
|
https://www.today.com/news/sports/snoop-dogg-2024-paris-olympics-nbc-rcna131867
|
en
|
See what happened when Simone Biles, Jordan Chiles spotted Snoop Dogg dancing in the crowd
|
[
"https://media-cldnry.s-nbcnews.com/image/upload/t_focal-120x180,f_auto,q_auto:best/newscms/2021_41/1787140/web-discovery-health-mc-211012.jpg",
"https://media-cldnry.s-nbcnews.com/image/upload/t_focal-120x180,f_auto,q_auto:best/newscms/2021_41/1787172/web-discovery-parents-mc-211012.jpg",
"https://media-cldnry.s-nbcnews.com/image/upload/t_focal-120x180,f_auto,q_auto:best/newscms/2021_41/1787138/web-discovery-food-mc-211012.jpg",
"https://media-cldnry.s-nbcnews.com/image/upload/t_focal-120x180,f_auto,q_auto:best/newscms/2021_41/1787173/web-discovery-shopping-mc-211012.jpg",
"https://media-cldnry.s-nbcnews.com/image/upload/t_focal-120x180,f_auto,q_auto:best/newscms/2023_02/1956625/harry-styles-mc-220527-bcf010.jpg",
"https://media-cldnry.s-nbcnews.com/image/upload/t_focal-120x180,f_auto,q_auto:best/newscms/2022_03/1831075/covid-test-main-aw-220117-3bff61.jpeg",
"https://media-cldnry.s-nbcnews.com/image/upload/t_focal-120x180,f_auto,q_auto:best/newscms/2023_02/1956581/today-navigation-life-jp-f3a42a.jpg",
"https://media-cldnry.s-nbcnews.com/image/upload/t_focal-120x180,f_auto,q_auto:best/newscms/2021_41/1787151/web-discovery-style-mc-211012_copy.jpg",
"https://media-cldnry.s-nbcnews.com/image/upload/w_10000,h_74,q_80,c_fit,f_auto,q_auto:best/rockcms/2022-10/TODAY-menu-2022-431ed9.png",
"https://media-cldnry.s-nbcnews.com/image/upload/w_10000,h_74,q_80,c_fit,f_auto,q_auto:best/newscms/2019_18/1432044/today-3rd-hour.png",
"https://media-cldnry.s-nbcnews.com/image/upload/w_10000,h_74,q_80,c_fit,f_auto,q_auto:best/newscms/2023_41/2034909/hoda-jenna-new-pic-2-te-231010.png",
"https://media-cldnry.s-nbcnews.com/image/upload/w_10000,h_74,q_80,c_fit,f_auto,q_auto:best/newscms/2018_52/2696491/williegeist.png",
"https://media-cldnry.s-nbcnews.com/image/upload/t_fit-760w,f_auto,q_auto:best/rockcms/2024-07/snoop-dog-michael-phelps-today-sk-RISK-240729-fa3544.png",
"https://media-cldnry.s-nbcnews.com/image/upload/t_fit-760w,f_auto,q_auto:best/rockcms/2024-07/snoop-dogg-mc-240729-03-f6ad12.jpg",
"https://media-cldnry.s-nbcnews.com/image/upload/t_fit-760w,f_auto,q_auto:best/rockcms/2024-07/snoop-dog-olympics-torch-mc-240726-02-03450d.jpg",
"https://media-cldnry.s-nbcnews.com/image/upload/t_fit-760w,f_auto,q_auto:best/rockcms/2024-07/snoop-dogg-mc-240729-02-b88071.jpg",
"https://media-cldnry.s-nbcnews.com/image/upload/t_focal-60x60,f_auto,q_auto:best/newscms/2023_41/2035419/samantha-kubota-byline-230531-raw-07.JPG",
"https://media-cldnry.s-nbcnews.com/image/upload/t_focal-260x130,f_auto,q_auto:best/rockcms/2024-08/240813-Apartment-Therapy-Organizational-Awards-bd-main-4b2c69.jpg",
"https://media-cldnry.s-nbcnews.com/image/upload/t_focal-260x130,f_auto,q_auto:best/rockcms/2024-08/240809-summer-broadcast-vl-main-67e065.jpg",
"https://media-cldnry.s-nbcnews.com/image/upload/t_focal-260x130,f_auto,q_auto:best/rockcms/2024-08/240807-gold-medal-products-kb-main-aca446.jpg",
"https://media-cldnry.s-nbcnews.com/image/upload/t_focal-260x130,f_auto,q_auto:best/newscms/2024_33/2071430/shrimp-costra-arroz-negro-mc-2x1-240813_copy.jpg",
"https://media-cldnry.s-nbcnews.com/image/upload/t_focal-260x130,f_auto,q_auto:best/rockcms/2024-08/AGT-richard-goodall-mc-2x1-240814-copy-5d7631.jpg",
"https://media-cldnry.s-nbcnews.com/image/upload/t_focal-260x130,f_auto,q_auto:best/newscms/2024_33/2071321/anna-francese-gass-2x1-zz-240812.jpg",
"https://media-cldnry.s-nbcnews.com/image/upload/t_focal-260x130,f_auto,q_auto:best/rockcms/2024-08/hoda-60-birthday-mc-240812-11-118625.jpg",
"https://media-cldnry.s-nbcnews.com/image/upload/t_focal-260x130,f_auto,q_auto:best/newscms/2020_46/1634400/hoda-jenna-mc-main-201111.jpg",
"https://media-cldnry.s-nbcnews.com/image/upload/t_focal-260x130,f_auto,q_auto:best/rockcms/2023-04/toni-braxton-mc-230424-02-ee3efd.jpg",
"https://media-cldnry.s-nbcnews.com/image/upload/t_focal-260x130,f_auto,q_auto:best/rockcms/2024-08/team-usa-womens-soccer-mc-240808-02-1cfcba.jpg"
] |
[
"//iframe.nbcnews.com/b4c6fuc?_showcaption=true&app=1",
"//iframe.nbcnews.com/fsJMXQT?_showcaption=true&app=1",
"//iframe.nbcnews.com/7WXgnJY?_showcaption=true&app=1",
"//iframe.nbcnews.com/X6yw0fw?_showcaption=true&app=1",
"//iframe.nbcnews.com/nWz9e54?_showcaption=true&app=1",
"//iframe.nbcnews.com/B4fSJnc?_showcaption=true",
"//iframe.nbcnews.com/kPmh6JG?_showcaption=true",
"http://link.theplatform.com/s/rksNhC/bbrqiNpVLHH5?format=redirect"
] |
[] |
[
""
] | null |
[
"Drew Weisholtz",
"Samantha Kubota"
] |
2024-01-02T15:31:36+00:00
|
Snoop Dogg will offer reports for NBC during its coverage of the 2024 Summer Olympics in Paris. Here are some of the highlights.
|
en
|
https://nodeassets.nbcnews.com/cdnassets/projects/ramen/favicon/today/all-other-sizes-PNG.ico/favicon.ico
|
TODAY.com
|
https://www.today.com/news/sports/snoop-dogg-2024-paris-olympics-nbc-rcna131867
|
Sure, the athletic talent on display at the 2024 Summer Olympics is extraordinary, but it's no Snoop!
Simone Biles and fellow Team USA women's gymnast Jordan Chiles spotted Snoop Dogg in the crowd during competition and started dancing. Cameras caught the pair noticing the rapper and busting out some moves. Snoop, decked out in Team USA apparel, got out of his seat and also danced.
"Anybody have any more fun than Snoop? I don't think so," announcer Terry Gannon said.
The NBC Olympics social media accounts posted the clip on July 29.
"Drop it like it’s hot! 🔥 Jordan Chiles, Simone Biles, and Snoop Dogg were," it captioned the moment.
"snoop is definitely having the best summer," NBC wrote in the comments on the TikTok video.
Indeed, Snoop has made the most of his time in Paris. The rapper, who is providing his unique brand of commentary for NBC during the Games, was seen in an NBC video shared late July 29 learning some swim tips and tricks from the GOAT, Michael Phelps.
"You see me and MP, we go back like the backstroke," Snoop says of the 23-time gold medalist before asking how someone could learn to swim faster.
"Wingspan, lung power," Phelps replies.
"You just described me!" Snoop quips, laughing. "I definitely have great lung power."
Later, after getting clearly exhausted from his hotel pool swim, Snoop jokes he's in "gold medal condition," as he wheezes.
The video was just the latest highlight in a slew of Snoop moments that have captured Olympics audiences.
Earlier on July 29, Snoop was at his best while providing analysis of a men’s doubles badminton match between the United States and China on July 28.
“This is a great rally here between China and the U.S. right here,” he began his rapid-fire commentary during the long volley shared on X by NBC Sports, with his words flying faster than the shuttlecock itself.
“As you see, it don’t stop 'til the casket drop. They rocking and rolling, back and forth,” he continued.
“Give me that, no I need that. Nope, over here, nope, over there, what about over there? Nope. What about there? Nope. Give me that. I need that. That, too. Sit down. Get down. Wait a minute. Hold it, way up in the sky. Now down. Back up. Over there. Now over here. Get out the way. Move. I told you, we need that.”
Fans loved the joy the rapper brought.
"Snoop has literally become an American treasure!" someone commented.
He's also been spotted cheering on Team USA from the stands throughout the events, always dressed to the nines in American flag apparel or the faces of competing Olympians.
At one point, he watched tennis rivals Novak Djokovic and Rafael Nadal play with fellow Long Beach, California, native, tennis icon Billie Jean King.
Snoop also helped host the Paris opening ceremony alongside TODAY's Hoda Kotb and Savannah Guthrie, NBC's Mike Tirico, singer Kelly Clarkson and former NFL player Peyton Manning.
Snoop freestyled occasionally during the ceremony, chatted with Biles' family, and was caught on camera ahead of the ceremony absolutely getting down.
He also had the honor of carrying the Olympic torch ahead of the ceremony.
At one point, following an interview with Olympian Noah Lyles on the Team USA boat, Tirico tossed to Snoop.
“You know Noah (Lyles) stays smooth as a broom, dipped and whipped, smooth as a booty, so you know he’s gonna be fresh to death, ya dig?” Snoop said, seemingly off-the-cuff.
When asked how he was holding up in the rain, the Long Beach, California, native had this to say:
“I’m chillin like a villain, raindrops falling on my head — but we still playin' to win, baby.”
Viewers can expect to see a lot of the rapper during the Olympics, as he will take a deep dive into the city and the athletes hoping to make their mark.
Snoop Dogg and the Olympics may not jump out as a natural combination, but he says it’s an ideal fit.
“I grew up watching the Olympics and am thrilled to see the incredible athletes bring their A-game to Paris. It’s a celebration of skill, dedication, and the pursuit of greatness,” he said in a press release earlier this year.
“We’re going to have some amazing competitions and, of course, I will be bringing that Snoop style to the mix. It’s going to be the most epic Olympics ever, so stay tuned, and keep it locked. Let’s elevate, celebrate, and make these games unforgettable, smoke the competition, and may the best shine like gold. Peace and Olympic LOVE, ya dig?”
This is not Snoop’s first go-round at the Olympics, either. He previously reported during the 2021 Summer Games in Tokyo, appearing on the Peacock show “Olympic Highlights with Kevin Hart and Snoop Dogg.”
That endeavor helped pave the way for this new gig.
“Snoop is already an Olympic gold medal commentator, generating tens of millions of views for his highlights commentary on Peacock of the dressage competition during the Tokyo Olympics,” said Molly Solomon, executive producer and president of NBC Olympics Production.
“That performance alone has earned Snoop a job as our Special Correspondent in Paris. We don’t know what the heck is going to happen every day, but we know he will add his unique perspective to our re-imagined Olympic primetime show.”
Coverage of the Summer Olympics will run from July 26 until Aug. 11 on NBC and Peacock, as well as USA Network, GOLF Channel, CNBC, E! and Universo.
Peacock is streaming the Paris Olympics around the clock. Learn more about accounts here. TODAY earns a commission on purchases. Peacock is owned by our parent company NBCUniversal.
|
||||
4521
|
dbpedia
|
2
| 17
|
https://apnews.com/article/olympics-2024-snoop-dogg-interview-c639ee0165a3c19df13c08e54ce4a816
|
en
|
Snoop Dogg, the star of the 2024 Paris Olympics
|
https://dims.apnews.com/dims4/default/3834d06/2147483647/strip/true/crop/3672x2066+0+191/resize/1440x810!/quality/90/?url=https%3A%2F%2Fassets.apnews.com%2F82%2F46%2Ffad31e894815cdb084e308ba94ee%2F2e8d4e5cdd6d4d84842adfa89a4dccfa
|
https://dims.apnews.com/dims4/default/3834d06/2147483647/strip/true/crop/3672x2066+0+191/resize/1440x810!/quality/90/?url=https%3A%2F%2Fassets.apnews.com%2F82%2F46%2Ffad31e894815cdb084e308ba94ee%2F2e8d4e5cdd6d4d84842adfa89a4dccfa
|
[
"https://assets.apnews.com/fa/ba/9258a7114f5ba5c7202aaa1bdd66/aplogo.svg",
"https://dims.apnews.com/dims4/default/94c503b/2147483647/strip/true/crop/640x236+0+0/resize/320x118!/quality/90/?url=https%3A%2F%2Fassets.apnews.com%2Fc3%2F4c%2F65482a7b452db66043542c093eaf%2Fpromo-2x.png 1x,https://dims.apnews.com/dims4/default/6e4b276/2147483647/strip/true/crop/640x236+0+0/resize/640x236!/quality/90/?url=https%3A%2F%2Fassets.apnews.com%2Fc3%2F4c%2F65482a7b452db66043542c093eaf%2Fpromo-2x.png 2x",
"https://dims.apnews.com/dims4/default/9fb5932/2147483647/strip/true/crop/3672x2448+0+0/resize/599x399!/quality/90/?url=https%3A%2F%2Fassets.apnews.com%2F82%2F46%2Ffad31e894815cdb084e308ba94ee%2F2e8d4e5cdd6d4d84842adfa89a4dccfa 1x,https://dims.apnews.com/dims4/default/03c3a75/2147483647/strip/true/crop/3672x2448+0+0/resize/1198x798!/quality/90/?url=https%3A%2F%2Fassets.apnews.com%2F82%2F46%2Ffad31e894815cdb084e308ba94ee%2F2e8d4e5cdd6d4d84842adfa89a4dccfa 2x",
"https://dims.apnews.com/dims4/default/9bddb49/2147483647/strip/true/crop/5616x3744+0+0/resize/599x399!/quality/90/?url=https%3A%2F%2Fassets.apnews.com%2F17%2Ff1%2F3c60d3e30e87acbbfcc7db036d2f%2F4c4ffc8ef9144889b1c9e572f220bf5c 1x,https://dims.apnews.com/dims4/default/e7f0bdc/2147483647/strip/true/crop/5616x3744+0+0/resize/1198x798!/quality/90/?url=https%3A%2F%2Fassets.apnews.com%2F17%2Ff1%2F3c60d3e30e87acbbfcc7db036d2f%2F4c4ffc8ef9144889b1c9e572f220bf5c 2x",
"https://dims.apnews.com/dims4/default/3735642/2147483647/strip/true/crop/3578x2385+0+0/resize/599x399!/quality/90/?url=https%3A%2F%2Fassets.apnews.com%2F%5B-%2F11%2F1%2C%20-11%2C%20-70%2C%20-104%2C%2016%2C%202%2C%20126%2C%20-46%2C%20-65%2C%2081%2C%20-66%2C%2033%2C%20113%2C%20-113%2C%20-67%2C%2070%2C%20113%2C%20-30%2C%202%2C%20108%2C%20-28%2C%20-102%2C%20109%2C%20-92%2C%20-88%2C%20-13%2C%20-91%2C%20-78%5D%2F2725a77c92f94b218c2e6bf3d5f42f66 1x,https://dims.apnews.com/dims4/default/f63f54a/2147483647/strip/true/crop/3578x2385+0+0/resize/1198x798!/quality/90/?url=https%3A%2F%2Fassets.apnews.com%2F%5B-%2F11%2F1%2C%20-11%2C%20-70%2C%20-104%2C%2016%2C%202%2C%20126%2C%20-46%2C%20-65%2C%2081%2C%20-66%2C%2033%2C%20113%2C%20-113%2C%20-67%2C%2070%2C%20113%2C%20-30%2C%202%2C%20108%2C%20-28%2C%20-102%2C%20109%2C%20-92%2C%20-88%2C%20-13%2C%20-91%2C%20-78%5D%2F2725a77c92f94b218c2e6bf3d5f42f66 2x",
"https://dims.apnews.com/dims4/default/d4960bd/2147483647/strip/true/crop/8171x5760+0+0/resize/599x422!/quality/90/?url=https%3A%2F%2Fassets.apnews.com%2F6b%2F5f%2F2d3e5bbcbd1c5851acfc34e6e070%2F4bbe7c0f67644eb7925da53e21e7113f 1x,https://dims.apnews.com/dims4/default/68c44d8/2147483647/strip/true/crop/8171x5760+0+0/resize/1198x844!/quality/90/?url=https%3A%2F%2Fassets.apnews.com%2F6b%2F5f%2F2d3e5bbcbd1c5851acfc34e6e070%2F4bbe7c0f67644eb7925da53e21e7113f 2x",
"https://dims.apnews.com/dims4/default/c7a746d/2147483647/strip/true/crop/4709x3140+0+0/resize/599x399!/quality/90/?url=https%3A%2F%2Fassets.apnews.com%2F%5B-%2F11%2F7%2C%20-120%2C%20-12%2C%2024%2C%2060%2C%2032%2C%2092%2C%2053%2C%20-23%2C%20120%2C%20117%2C%20-58%2C%20110%2C%20-14%2C%20-28%2C%20-33%2C%2057%2C%20-114%2C%20-6%2C%2033%2C%20-113%2C%20-94%2C%20-8%2C%20-73%2C%20-57%2C%20-52%2C%20-35%2C%2028%5D%2Fa707b0ece8794fc8ae08c5c31b548094 1x,https://dims.apnews.com/dims4/default/87c5c83/2147483647/strip/true/crop/4709x3140+0+0/resize/1198x798!/quality/90/?url=https%3A%2F%2Fassets.apnews.com%2F%5B-%2F11%2F7%2C%20-120%2C%20-12%2C%2024%2C%2060%2C%2032%2C%2092%2C%2053%2C%20-23%2C%20120%2C%20117%2C%20-58%2C%20110%2C%20-14%2C%20-28%2C%20-33%2C%2057%2C%20-114%2C%20-6%2C%2033%2C%20-113%2C%20-94%2C%20-8%2C%20-73%2C%20-57%2C%20-52%2C%20-35%2C%2028%5D%2Fa707b0ece8794fc8ae08c5c31b548094 2x",
"https://dims.apnews.com/dims4/default/3292577/2147483647/strip/true/crop/5616x3744+0+0/resize/599x399!/quality/90/?url=https%3A%2F%2Fassets.apnews.com%2F91%2F87%2Fe9e31cd8c88a86ea6efdd0101639%2F9927a55172254e078a5c6563925fbc38 1x,https://dims.apnews.com/dims4/default/19ed1dc/2147483647/strip/true/crop/5616x3744+0+0/resize/1198x798!/quality/90/?url=https%3A%2F%2Fassets.apnews.com%2F91%2F87%2Fe9e31cd8c88a86ea6efdd0101639%2F9927a55172254e078a5c6563925fbc38 2x",
"https://dims.apnews.com/dims4/default/170fbd7/2147483647/strip/true/crop/3661x2441+0+0/resize/599x399!/quality/90/?url=https%3A%2F%2Fassets.apnews.com%2F98%2F0a%2F4867c1a6cb22c7ca83d9b556f60e%2F39da76dab3b24a5aa888e53639a8cd69 1x,https://dims.apnews.com/dims4/default/86d530a/2147483647/strip/true/crop/3661x2441+0+0/resize/1198x798!/quality/90/?url=https%3A%2F%2Fassets.apnews.com%2F98%2F0a%2F4867c1a6cb22c7ca83d9b556f60e%2F39da76dab3b24a5aa888e53639a8cd69 2x",
"https://dims.apnews.com/dims4/default/b2ba00c/2147483647/strip/true/crop/3034x2023+0+0/resize/599x399!/quality/90/?url=https%3A%2F%2Fassets.apnews.com%2Fde%2F09%2Fc2d29e66a54530e0c00645a7f3a2%2F6ab1f00cc00b446aaa72d8d85731f696 1x,https://dims.apnews.com/dims4/default/2ca2e19/2147483647/strip/true/crop/3034x2023+0+0/resize/1198x798!/quality/90/?url=https%3A%2F%2Fassets.apnews.com%2Fde%2F09%2Fc2d29e66a54530e0c00645a7f3a2%2F6ab1f00cc00b446aaa72d8d85731f696 2x",
"https://dims.apnews.com/dims4/default/9fb5932/2147483647/strip/true/crop/3672x2448+0+0/resize/599x399!/quality/90/?url=https%3A%2F%2Fassets.apnews.com%2F82%2F46%2Ffad31e894815cdb084e308ba94ee%2F2e8d4e5cdd6d4d84842adfa89a4dccfa 1x,https://dims.apnews.com/dims4/default/03c3a75/2147483647/strip/true/crop/3672x2448+0+0/resize/1198x798!/quality/90/?url=https%3A%2F%2Fassets.apnews.com%2F82%2F46%2Ffad31e894815cdb084e308ba94ee%2F2e8d4e5cdd6d4d84842adfa89a4dccfa 2x",
"https://dims.apnews.com/dims4/default/9bddb49/2147483647/strip/true/crop/5616x3744+0+0/resize/599x399!/quality/90/?url=https%3A%2F%2Fassets.apnews.com%2F17%2Ff1%2F3c60d3e30e87acbbfcc7db036d2f%2F4c4ffc8ef9144889b1c9e572f220bf5c 1x,https://dims.apnews.com/dims4/default/e7f0bdc/2147483647/strip/true/crop/5616x3744+0+0/resize/1198x798!/quality/90/?url=https%3A%2F%2Fassets.apnews.com%2F17%2Ff1%2F3c60d3e30e87acbbfcc7db036d2f%2F4c4ffc8ef9144889b1c9e572f220bf5c 2x",
"https://dims.apnews.com/dims4/default/3735642/2147483647/strip/true/crop/3578x2385+0+0/resize/599x399!/quality/90/?url=https%3A%2F%2Fassets.apnews.com%2F%5B-%2F11%2F1%2C%20-11%2C%20-70%2C%20-104%2C%2016%2C%202%2C%20126%2C%20-46%2C%20-65%2C%2081%2C%20-66%2C%2033%2C%20113%2C%20-113%2C%20-67%2C%2070%2C%20113%2C%20-30%2C%202%2C%20108%2C%20-28%2C%20-102%2C%20109%2C%20-92%2C%20-88%2C%20-13%2C%20-91%2C%20-78%5D%2F2725a77c92f94b218c2e6bf3d5f42f66 1x,https://dims.apnews.com/dims4/default/f63f54a/2147483647/strip/true/crop/3578x2385+0+0/resize/1198x798!/quality/90/?url=https%3A%2F%2Fassets.apnews.com%2F%5B-%2F11%2F1%2C%20-11%2C%20-70%2C%20-104%2C%2016%2C%202%2C%20126%2C%20-46%2C%20-65%2C%2081%2C%20-66%2C%2033%2C%20113%2C%20-113%2C%20-67%2C%2070%2C%20113%2C%20-30%2C%202%2C%20108%2C%20-28%2C%20-102%2C%20109%2C%20-92%2C%20-88%2C%20-13%2C%20-91%2C%20-78%5D%2F2725a77c92f94b218c2e6bf3d5f42f66 2x",
"https://dims.apnews.com/dims4/default/d4960bd/2147483647/strip/true/crop/8171x5760+0+0/resize/599x422!/quality/90/?url=https%3A%2F%2Fassets.apnews.com%2F6b%2F5f%2F2d3e5bbcbd1c5851acfc34e6e070%2F4bbe7c0f67644eb7925da53e21e7113f 1x,https://dims.apnews.com/dims4/default/68c44d8/2147483647/strip/true/crop/8171x5760+0+0/resize/1198x844!/quality/90/?url=https%3A%2F%2Fassets.apnews.com%2F6b%2F5f%2F2d3e5bbcbd1c5851acfc34e6e070%2F4bbe7c0f67644eb7925da53e21e7113f 2x",
"https://dims.apnews.com/dims4/default/c7a746d/2147483647/strip/true/crop/4709x3140+0+0/resize/599x399!/quality/90/?url=https%3A%2F%2Fassets.apnews.com%2F%5B-%2F11%2F7%2C%20-120%2C%20-12%2C%2024%2C%2060%2C%2032%2C%2092%2C%2053%2C%20-23%2C%20120%2C%20117%2C%20-58%2C%20110%2C%20-14%2C%20-28%2C%20-33%2C%2057%2C%20-114%2C%20-6%2C%2033%2C%20-113%2C%20-94%2C%20-8%2C%20-73%2C%20-57%2C%20-52%2C%20-35%2C%2028%5D%2Fa707b0ece8794fc8ae08c5c31b548094 1x,https://dims.apnews.com/dims4/default/87c5c83/2147483647/strip/true/crop/4709x3140+0+0/resize/1198x798!/quality/90/?url=https%3A%2F%2Fassets.apnews.com%2F%5B-%2F11%2F7%2C%20-120%2C%20-12%2C%2024%2C%2060%2C%2032%2C%2092%2C%2053%2C%20-23%2C%20120%2C%20117%2C%20-58%2C%20110%2C%20-14%2C%20-28%2C%20-33%2C%2057%2C%20-114%2C%20-6%2C%2033%2C%20-113%2C%20-94%2C%20-8%2C%20-73%2C%20-57%2C%20-52%2C%20-35%2C%2028%5D%2Fa707b0ece8794fc8ae08c5c31b548094 2x",
"https://dims.apnews.com/dims4/default/3292577/2147483647/strip/true/crop/5616x3744+0+0/resize/599x399!/quality/90/?url=https%3A%2F%2Fassets.apnews.com%2F91%2F87%2Fe9e31cd8c88a86ea6efdd0101639%2F9927a55172254e078a5c6563925fbc38 1x,https://dims.apnews.com/dims4/default/19ed1dc/2147483647/strip/true/crop/5616x3744+0+0/resize/1198x798!/quality/90/?url=https%3A%2F%2Fassets.apnews.com%2F91%2F87%2Fe9e31cd8c88a86ea6efdd0101639%2F9927a55172254e078a5c6563925fbc38 2x",
"https://dims.apnews.com/dims4/default/170fbd7/2147483647/strip/true/crop/3661x2441+0+0/resize/599x399!/quality/90/?url=https%3A%2F%2Fassets.apnews.com%2F98%2F0a%2F4867c1a6cb22c7ca83d9b556f60e%2F39da76dab3b24a5aa888e53639a8cd69 1x,https://dims.apnews.com/dims4/default/86d530a/2147483647/strip/true/crop/3661x2441+0+0/resize/1198x798!/quality/90/?url=https%3A%2F%2Fassets.apnews.com%2F98%2F0a%2F4867c1a6cb22c7ca83d9b556f60e%2F39da76dab3b24a5aa888e53639a8cd69 2x",
"https://dims.apnews.com/dims4/default/b2ba00c/2147483647/strip/true/crop/3034x2023+0+0/resize/599x399!/quality/90/?url=https%3A%2F%2Fassets.apnews.com%2Fde%2F09%2Fc2d29e66a54530e0c00645a7f3a2%2F6ab1f00cc00b446aaa72d8d85731f696 1x,https://dims.apnews.com/dims4/default/2ca2e19/2147483647/strip/true/crop/3034x2023+0+0/resize/1198x798!/quality/90/?url=https%3A%2F%2Fassets.apnews.com%2Fde%2F09%2Fc2d29e66a54530e0c00645a7f3a2%2F6ab1f00cc00b446aaa72d8d85731f696 2x",
"https://dims.apnews.com/dims4/default/13131c4/2147483647/strip/true/crop/956x956+146+0/resize/60x60!/quality/90/?url=https%3A%2F%2Fassets.apnews.com%2F26%2F0e%2F93a1cd024e4e830771bff2b9586c%2Frjv4059b-jonathan-landrum.jpeg 1x,https://dims.apnews.com/dims4/default/75edff6/2147483647/strip/true/crop/956x956+146+0/resize/120x120!/quality/90/?url=https%3A%2F%2Fassets.apnews.com%2F26%2F0e%2F93a1cd024e4e830771bff2b9586c%2Frjv4059b-jonathan-landrum.jpeg 2x",
"https://dims.apnews.com/dims4/default/3735642/2147483647/strip/true/crop/3578x2385+0+0/resize/599x399!/quality/90/?url=https%3A%2F%2Fassets.apnews.com%2F%5B-%2F11%2F1%2C%20-11%2C%20-70%2C%20-104%2C%2016%2C%202%2C%20126%2C%20-46%2C%20-65%2C%2081%2C%20-66%2C%2033%2C%20113%2C%20-113%2C%20-67%2C%2070%2C%20113%2C%20-30%2C%202%2C%20108%2C%20-28%2C%20-102%2C%20109%2C%20-92%2C%20-88%2C%20-13%2C%20-91%2C%20-78%5D%2F2725a77c92f94b218c2e6bf3d5f42f66 1x,https://dims.apnews.com/dims4/default/f63f54a/2147483647/strip/true/crop/3578x2385+0+0/resize/1198x798!/quality/90/?url=https%3A%2F%2Fassets.apnews.com%2F%5B-%2F11%2F1%2C%20-11%2C%20-70%2C%20-104%2C%2016%2C%202%2C%20126%2C%20-46%2C%20-65%2C%2081%2C%20-66%2C%2033%2C%20113%2C%20-113%2C%20-67%2C%2070%2C%20113%2C%20-30%2C%202%2C%20108%2C%20-28%2C%20-102%2C%20109%2C%20-92%2C%20-88%2C%20-13%2C%20-91%2C%20-78%5D%2F2725a77c92f94b218c2e6bf3d5f42f66 2x",
"https://dims.apnews.com/dims4/default/9c25bf6/2147483647/strip/true/crop/5689x3790+0+2/resize/599x399!/quality/90/?url=https%3A%2F%2Fassets.apnews.com%2F0a%2F30%2F760a9a629f57b69bdd50f2bf9c27%2Fb7187726c7774f5a89c400f3431ef1d2 1x,https://dims.apnews.com/dims4/default/a178f53/2147483647/strip/true/crop/5689x3790+0+2/resize/1198x798!/quality/90/?url=https%3A%2F%2Fassets.apnews.com%2F0a%2F30%2F760a9a629f57b69bdd50f2bf9c27%2Fb7187726c7774f5a89c400f3431ef1d2 2x",
"https://dims.apnews.com/dims4/default/b8b217a/2147483647/strip/true/crop/6493x4325+0+2/resize/599x399!/quality/90/?url=https%3A%2F%2Fassets.apnews.com%2F93%2Fa4%2F825af8f6ce8acc34371e82a41636%2F42a3850c7c12497e9e8f73f92808daa1 1x,https://dims.apnews.com/dims4/default/4b79f63/2147483647/strip/true/crop/6493x4325+0+2/resize/1198x798!/quality/90/?url=https%3A%2F%2Fassets.apnews.com%2F93%2Fa4%2F825af8f6ce8acc34371e82a41636%2F42a3850c7c12497e9e8f73f92808daa1 2x",
"https://dims.apnews.com/dims4/default/7887831/2147483647/strip/true/crop/2963x1974+0+1/resize/599x399!/quality/90/?url=https%3A%2F%2Fassets.apnews.com%2F34%2Fe3%2F7e32a16a248816ebcdf03c2ea0eb%2F49120f8e196f4446aa44baf5f4cb00d4 1x,https://dims.apnews.com/dims4/default/7c3ffc6/2147483647/strip/true/crop/2963x1974+0+1/resize/1198x798!/quality/90/?url=https%3A%2F%2Fassets.apnews.com%2F34%2Fe3%2F7e32a16a248816ebcdf03c2ea0eb%2F49120f8e196f4446aa44baf5f4cb00d4 2x",
"https://dims.apnews.com/dims4/default/b79d076/2147483647/strip/true/crop/3661x2439+0+1/resize/767x511!/quality/90/?url=https%3A%2F%2Fassets.apnews.com%2F98%2F0a%2F4867c1a6cb22c7ca83d9b556f60e%2F39da76dab3b24a5aa888e53639a8cd69 1x,https://dims.apnews.com/dims4/default/1798994/2147483647/strip/true/crop/3661x2439+0+1/resize/1534x1022!/quality/90/?url=https%3A%2F%2Fassets.apnews.com%2F98%2F0a%2F4867c1a6cb22c7ca83d9b556f60e%2F39da76dab3b24a5aa888e53639a8cd69 2x",
"https://dims.apnews.com/dims4/default/d071cc5/2147483647/strip/true/crop/3034x2021+0+1/resize/767x511!/quality/90/?url=https%3A%2F%2Fassets.apnews.com%2Fde%2F09%2Fc2d29e66a54530e0c00645a7f3a2%2F6ab1f00cc00b446aaa72d8d85731f696 1x,https://dims.apnews.com/dims4/default/ce16ec7/2147483647/strip/true/crop/3034x2021+0+1/resize/1534x1022!/quality/90/?url=https%3A%2F%2Fassets.apnews.com%2Fde%2F09%2Fc2d29e66a54530e0c00645a7f3a2%2F6ab1f00cc00b446aaa72d8d85731f696 2x",
"https://dims.apnews.com/dims4/default/9bddb49/2147483647/strip/true/crop/5616x3744+0+0/resize/599x399!/quality/90/?url=https%3A%2F%2Fassets.apnews.com%2F17%2Ff1%2F3c60d3e30e87acbbfcc7db036d2f%2F4c4ffc8ef9144889b1c9e572f220bf5c 1x,https://dims.apnews.com/dims4/default/e7f0bdc/2147483647/strip/true/crop/5616x3744+0+0/resize/1198x798!/quality/90/?url=https%3A%2F%2Fassets.apnews.com%2F17%2Ff1%2F3c60d3e30e87acbbfcc7db036d2f%2F4c4ffc8ef9144889b1c9e572f220bf5c 2x",
"https://dims.apnews.com/dims4/default/d4960bd/2147483647/strip/true/crop/8171x5760+0+0/resize/599x422!/quality/90/?url=https%3A%2F%2Fassets.apnews.com%2F6b%2F5f%2F2d3e5bbcbd1c5851acfc34e6e070%2F4bbe7c0f67644eb7925da53e21e7113f 1x,https://dims.apnews.com/dims4/default/68c44d8/2147483647/strip/true/crop/8171x5760+0+0/resize/1198x844!/quality/90/?url=https%3A%2F%2Fassets.apnews.com%2F6b%2F5f%2F2d3e5bbcbd1c5851acfc34e6e070%2F4bbe7c0f67644eb7925da53e21e7113f 2x",
"https://dims.apnews.com/dims4/default/893829f/2147483647/strip/true/crop/956x956+146+0/resize/100x100!/quality/90/?url=https%3A%2F%2Fassets.apnews.com%2F26%2F0e%2F93a1cd024e4e830771bff2b9586c%2Frjv4059b-jonathan-landrum.jpeg",
"https://dims.apnews.com/dims4/default/8650001/2147483647/strip/true/crop/992x617+0+0/resize/225x140!/quality/90/?url=https%3A%2F%2Fassets.apnews.com%2Ffc%2F24%2F7ff11448446fb8500bc984551325%2Faplogo-with-tagline.png 1x,https://dims.apnews.com/dims4/default/6669a9d/2147483647/strip/true/crop/992x617+0+0/resize/450x280!/quality/90/?url=https%3A%2F%2Fassets.apnews.com%2Ffc%2F24%2F7ff11448446fb8500bc984551325%2Faplogo-with-tagline.png 2x",
"https://sb.scorecardresearch.com/p?c1=2&c2=3005041&cv=4.4.0&cj=1"
] |
[] |
[] |
[
"2024 Paris Olympic Games",
"Snoop Dogg",
"Television",
"Olympic games",
"Martha Stewart",
"Track and field",
"CA State Wire",
"Michael Phelps",
"s",
"Noah Lyles",
"Entertainment",
"l",
"Lifestyle",
"Jordan Chiles",
"Simone Biles",
"Paris",
"Sports",
"e",
"Mike Tirico",
"Caeleb Dressel"
] | null |
[
"JONATHAN LANDRUM Jr",
"apnews.com",
"jonathan-landrum-jr"
] |
2024-08-05T12:04:28+00:00
|
Snoop Dogg become has become a star of the Paris Olympics, ascending to new heights with several memorable moments.
|
en
|
/apple-touch-icon.png
|
AP News
|
https://apnews.com/article/olympics-2024-snoop-dogg-interview-c639ee0165a3c19df13c08e54ce4a816
|
PARIS (AP) — Snoop Dogg steps out of a sleek black SUV, his entourage in tow, as a Parisian crowd erupts into chants of “Snoop, Snoop, Snoop!” outside the NBC set.
Decked out in a custom-made, Noah Lyles-themed USA sweatsuit, the ultra-smooth entertainer glides past the adoring fans with flashing phone cameras into the Musee de l’Homme. Inside, his longtime friend Martha Stewart greets him with a hug. They chat, clink champagne glasses and then he “crip walks” onto the set to film a Sunday night segment.
OK, the show can start — Snoop has arrived. Literally.
At the Paris Games, grand entrances have become the norm in Snoop’s spectacular Olympic life.
AP AUDIO: Snoop Dogg has exploded on the Olympics’ global stage. He’s just being himself
Rapper Snoop Dogg tells reporters he’s not getting a lot of sleep as an NBC correspondent covering the Paris Olympics.
“When the lights are on, that’s when I shine the best,” he told The Associated Press after returning from watching Lyles’ historic victory in the 100-meter sprint and filming a primetime segment with Mike Tirico and Stewart, a surprise guest.
“This opportunity was nothing but a chance for me to show the world what it’s supposed to look like when you put the right person in the right environment,” Snoop said.
Snoop, 52, has become the star of the Paris Games, ascending to new heights with several memorable moments. He’s carried the Olympic torch, captivated audiences as NBC’s prime-time correspondent, swam with Michael Phelps, attended a U.S. women’s soccer game with Megan Rapinoe, danced with Simone Biles and Jordan Chiles, and cheered on Caeleb Dressel alongside the swimmer’s wife and son.
The rap icon is currently in his comfort zone. And sleep? Even that’s having a hard time catching up with the on-the-go multihyphenate entertainer.
“It’s more about relaxing rather than sleeping because I’m having so much fun,” he said. “This ain’t the town to sleep in. This ain’t the time to sleep. This is time to be on it like you want it. It’s different events happening day and night. I want to be active with everything, because I love the American athletes and competition. This is what I’m here for.”
Stewart said she’s extremely proud of how Snoop is successfully taking on the challenge. She was impressed by his ability to genuinely connect with Olympians and their family members.
“I think he’s done an amazing job for the Olympics,” said Stewart, who attended a equestrian team dressage event with Snoop on her 83rd birthday Saturday. For the horseback riding competition, the duo wore matching helmets, black jackets and white pants.
“This is the celebration of the finest athleticism ever in the world and he has made it so accessible to everybody,” she continued. “That’s his talent. Everybody loves him.”
Snoop also has the Games’ most in-demand souvenir: A Snoop Dogg pin, which shows him wearing a blue top while exhaling rings colored the same as the Olympics logo. He’s gifted one to tennis star Coco Gauff, but passed on offering more details for now on how to obtain more saying, “I’m going to be honest with you. I have zero answers for that.”
Meanwhile, Snoop has mastered the art of being himself in front of the television camera — even for a global audience. He initially went into his correspondent assignment, thinking NBC wanted more “buttoned-up” commentary from him until network executives encouraged him to be his authentic self — especially after seeing his in-person potential during the U.S. Olympic trials.
At the trials, Snoop had done casual on-video interviews with a few Olympians about their sports, including women’s basketball player A’ja Wilson, gymnast Sunisa Lee, skateboarder Jagger Eaton and beach volleyball players Sara Hughes and Kelly Cheng. He met with Lyles and participated in a 200-meter race — clocking in at 34.44 seconds — with NBC analyst and former Trinidadian track star Ato Boldon and former U.S. national champion Wallace Spearmon.
“This is what I do. I do it every day,” said the rapper, who had already become a fan favorite during the Tokyo Games, when he and Kevin Hart did in-studio commentary for Peacock in which he called a “layup drill.”
“That’s why it’s not hard for me,” he said. “It’s not like an act. The bits that we do. They’re comfortable. They’re not stretched or forced. It’s me being me.”
Snoop’s presence in Paris is part of NBC’s bet to boost ratings by infusing coverage with pop culture. So far, the U.S. broadcaster’s strategy has worked, combined with the star power from U.S. Olympians such as Biles, Katie Ledecky and Sha’Carri Richardson. Through a five-day span beginning with the opening ceremony on July 26, the company averaged 34 million people a day watching on NBC, cable networks and Peacock, up from 19 million over the same period in Tokyo.
On Saturday, the network drew nearly 35 million, doubling Tokyo’s second Saturday numbers.
Tirico credits Snoop with being a major piece to NBC’s coverage. He said the rapper’s hard work matches his creative talents.
“That license to color outside the lines is what makes the greats, great. He knows how to do that and keep the picture looking good,” said the sportscaster, who has worked with Snoop during ideas sessions. “I’m not surprised because I’ve seen the process in some of the pre-meetings. He’s added more than I ever imagined he would.”
Snoop has come a long way since he broke through 30 years ago as part of the West Coast gangsta rap scene with Dr. Dre in a career marred with several brushes with the law. He branched out as an actor in films like “Training Day” and “Starsky & Hutch,” and as a reality star with Stewart’s “Martha & Snoop’s Potluck Dinner Party.”
“But remember, I’m a rapper. So ain’t no rapper ever did what I’m doing,” said Snoop, who first showed his on-camera commentary capabilities for his viral take on the Jake Paul-Nate Robinson boxing match in 2020.
“It’s limitations to the field that I come from,” he said. “Rappers aren’t supposed to do this. I tend to do the unthinkable.”
___
|
||
4521
|
dbpedia
|
1
| 42
|
https://www.gq.com/story/rapper-dads-and-their-rapper-sons-talk-about-the-family-business
|
en
|
Rapper Dads and Their Rapper Sons Talk About the Family Business
|
[
"https://www.gq.com/verso/static/gq-global/assets/logo.svg",
"https://www.gq.com/verso/static/gq-global/assets/logo.svg",
"https://media.gq.com/photos/666c5ff5ec13c3098fa727e9/master/w_2560%2Cc_limit/rapperdads.jpg",
"https://media.gq.com/photos/66b51338c0ee1101b89a044e/1:1/w_350%2Ch_350%2Cc_limit/undefined",
"https://media.gq.com/photos/66a2d35880462a5d7b1736bc/1:1/w_350%2Ch_350%2Cc_limit/undefined",
"https://media.gq.com/photos/66956b85fa42682ddf93106d/1:1/w_350%2Ch_350%2Cc_limit/undefined",
"https://media.gq.com/photos/66b51338c0ee1101b89a044e/1:1/w_350%2Ch_350%2Cc_limit/undefined",
"https://media.gq.com/photos/66a2d35880462a5d7b1736bc/1:1/w_350%2Ch_350%2Cc_limit/undefined",
"https://media.gq.com/photos/66956b85fa42682ddf93106d/1:1/w_350%2Ch_350%2Cc_limit/undefined",
"https://media.gq.com/photos/669a9dac5fc69803056994c6/4:3/pass/undefined",
"https://media.gq.com/photos/66a278f07d7f3b1780b5b784/4:3/pass/undefined",
"https://media.gq.com/photos/66b1020c252ab4cdc9c6aed5/4:3/pass/undefined",
"https://media.gq.com/photos/66a3acdead65c5af4d31e804/4:3/pass/undefined",
"https://www.gq.com/verso/static/gq-global/assets/logo-reverse.svg"
] |
[] |
[] |
[
""
] | null |
[
"Grant Rindner",
"Gabriella Paiella",
"William Goodman",
"Timothy Beck Werth",
"Frazier Tharpe",
"Jaharia Knowles",
"Samuel Hine",
"Josiah Gogarty",
"Condé Nast"
] |
2024-06-14T12:43:06.610000-04:00
|
Juvenile and Young Juve, E-40 and Droop-E, Big Hit and Hit-Boy, and Mac Phipps and Bandana Kin discuss what they've learned from each other.
|
en
|
https://www.gq.com/verso/static/gq/assets/favicon.ico
|
GQ
|
https://www.gq.com/story/rapper-dads-and-their-rapper-sons-talk-about-the-family-business
|
Happy Father’s Day! Read all of our dad stories here.
When he was 16, Demetrius Gray, the son of multi-platinum rapper Juvenile, had a very clear birthday wish: he wanted his father to buy him a 1971 “Glass House” Chevy Caprice. Instead, the New Orleans superstar gave his son—now better known as Young Juve—a new Apple laptop, Pro Tools, and a few pieces of recording equipment. At the time, the teenager was disappointed, but that decision wound up not only changing his life, but also his relationship with his father.
“I was mad as hell,” Young Juve says. “I wanted what I wanted, [in the end] I got what I wanted, but I ended up getting it on my own.”
Juvenile and Young Juve are just two of a growing niche in hip-hop: the father-son rapper tandem. With the genre celebrating its 50th anniversary last year, we’re now in a place where chart-topping MCs from the ‘90s and ‘00s are in their late 40s and 50s, and have raised young men who’ve continued their musical legacy. And in the cases of Juvenile and Young Juve, E-40 and Droop-E, Big Hit and Hit-Boy, and Mac Phipps and Bandana Kin, they’re not just working in the same field but actively working together. It’s certainly different from the usual familial footstep-following, but the artists GQ spoke to approach these situations like any caring, thoughtful parent would.
“I put that extra push behind him once I realized he was serious. And that's what I think all parents [should do],” Juvenile says. “I wasn't behind him the whole while [saying], ‘Man, you need to rap.’ But once he showed me he was seriously rapping, that's when I got really behind him.”
At age nine, Jay-Z and Beyoncé’s daughter Blue Ivy became the second-youngest Grammy winner ever, thanks to her appearance on her mom’s 2020 record “Brown Skin Girl,” but Droop-E began showing up on his father’s tracks at just two years old. 40’s 1992 debut features the interlude “Questions,” in which the pair recreate their usual banter on a car ride to day care.
A few years later, Droop-E would actually rap on his father’s magnum opus, 1995’s In A Major Way. Billed then as Lil E, he appears on “It’s All Bad,” a contemplative track about society, police violence, and systemic racism. (E-40 having his son ask his father to “sprinkle me with more game” is one of hip-hop’s truly perfect moments.) 40 wrote his son’s verse, but the five-year-old nailed it, showing a natural comfort and skill as a vocalist. The pair continue to make music together, though Droop-E has carved out his own sonic niche, from collaborations with Kendrick Lamar to alternative-leaning projects like 2023’s 4005: Lovesong EP. His father, who released 10 studio albums between 2010 and 2013, is one of the most prolific figures in all of music, and that work ethic has inspired Droop-E since childhood.
“He made a statement to me maybe four months ago," 40 recalls. "He said, ‘Pops, ever since I was born, all I’ve ever seen you do was hustle.' I thought about it and realized ‘You fucking right.’”
Young Juve, who attended the music-focused college Full Sail, knows how to produce and mix, and has also been involved in designing merch for his dad. Droop-E serves as president of 40’s Sick Wid It label, and has made beats for not only his father, but Yelawolf, Too Short, and Keak da Sneak, too. Droop-E began working for his dad’s label when he was still in high school, and effectively became its president immediately after finishing high school. Sick Wid It began in 1989, a year after Droop-E was born, and it still stands today as a testament to 40’s singular musical legacy, one that he’s thrilled to have his son shepherding.
“I'm glad this is a family business and he feels right in place, playing this position,” E-40 says. “It means everything to me.”
In the cases of Mac Phipps and Big Hit, making music with their sons has helped them build a bond and make up for lost time. Both artists missed much of their boy’s life due to incarceration, Phipps in a case of wrongful conviction for manslaughter that kept him in prison for 20 years and Hit for offenses like drug possessions that resulted in two decade-plus stints.
Phipps’ case was a high-profile incident of rap lyrics being used as evidence in a criminal trial, and the former No Limit MC does acknowledge that he felt some reservations about his son rapping particularly when he heard some of the “street element” in Kin’s music.
“That's kind of what they used against me in court,” he says. “I don't think it was an overwhelming sense of urgency, but I was just nervous for him because I never wanted him to have experienced [what I did].”
Phipps is a strong supporter of laws that restrict the use of song lyrics in trials, but that campaign is still a work in progress. Still, he loves sharing a passion with his son, and says that Kin’s early music helped him connect to and empathize with the child who was only three months old when his father began serving time.
“It came to a point where when I wanted to understand things about him, I listened to his songs, because he was more comfortable sharing them in songs than he was actually expressing them to me,” Phipps says.
Phipps has obviously shared his own music with his son, and during his time in prison he actually wrote a few tracks intended for Kin, more commercially-minded records he says were designed “for my son to make some money.” Kin, as any normal kid would be, was appreciative of the effort, but wanted to carve out his own artistic identity.
“He'll never steer me wrong. I know whatever he writes, it'll be best for me. But I'm authentic. I like to write my own stuff,” says Bandana Kin.
During his incarceration, Big Hit wrote “folders” full of song lyrics and sent them home. Hit-Boy recalls being just 10 years old, reading songs his father had written about “the court system, and judges, and all this different type of shit that I didn't really understand at the time.”
The two released a couple tracks together back in 2014 before Big Hit’s second sentence began, including the hustling manifesto “Grindin’ My Whole Life." Hit-Boy went on to become one of the defining producers of the 2010s, a Grammy winner who's worked on defining songs by Travis Scott, Kanye West, and Beyoncé. Big Hit says he didn’t grasp the full extent of his son’s success until he was free. Since his release, they've released three albums and plenty of songs, including a record with The Alchemist and Big Hit’s solo debut, The Truth is in My Eyes. It's the continuation of a partnership that was interrupted a decade ago; they're committed to not just recapturing that momentum, but building on it.
“We know this shit needs to be heard and the story is motivating people and we can’t waste no time,” Hit-Boy says. “[I’ve] never seen him for longer than a year on the streets, for my whole life, and that shit is still in the back of my head. That shit's still a true fear.”
It’s worth noting that many of these artist pairs come from cities with robust, storied rap scenes and families filled with musicians. E-40 and Droop-E hail from California’s Bay Area, and 40’s group The Click includes his sister, brother, and cousin. Though Young Juve was born in St. Louis, he eventually moved back to New Orleans and has become ingrained in the city’s vibrant rap scene, scoring several local radio hits and forming close friendships with BG’s son TY and the late Soulja Slim’s son Lil Soulja Slim. (Juvenile actually organized a group called Ghetto Children, named after a 400 Degreez album cut, composed of the trio.) Musically, they do pull from the same sounds that inspired their fathers—classic New Orleans hip-hop in Kin and Young Juve's case, the hyphy sound of the Bay Area in Droop-E's—but they’re far from carbon copies. Juve’s melodic tenor flows are a stark contrast to his father’s gravely bluesman voice, while Kin’s approach is more similar to Louisianans like YoungBoy Never Broke Again or the late JayDaYoungan. Kin embracing that more pained, soul-baring style of rap is understandable, given the challenges he faced quite literally from birth.
“I just wanted the world to know where I come from. I wanted the world to know that I had a father taken away from me, and I wasn't even born. I wanted them to know my life,” Kin says. “I just wanted people to hear me out.”
Thanks to a widely-acclaimed appearance on NPR’s Tiny Desk series last June and an appearance at Coachella 2024 with Jon Batiste, Juvenile is back in the zeitgeist in a way he hasn’t been since the late 2000s. He (and his son) are making the most of their deserved flowers, with a live band tour. It’s a true crowning moment for the pair, whose musical relationship dates back to a 10-year-old Young Juve writing and performing for his father a rap referencing the 30-plus tracks on his UTP: The Movement mixtape. Now, Juvenile says that his son is crucial to keeping his creative flame lit three decades into his career. With his biggest tour in a decade later this year, the “Back That Azz Up” MC explains that he simply couldn’t imagine doing it without his son by his side.
“It was a few years ago when I really realized that, ‘Damn, I need him on stage.’ You don't realize until you do a couple shows and somebody's not there…I missed him and I was like, ‘Goddamn. This shit is real weird without him on stage.” Juvenile says. “He'll tell you right now—I can't perform without him.”
|
||||
4521
|
dbpedia
|
0
| 75
|
https://medium.com/cuepoint/a-tribe-called-quest-made-me-feel-welcome-in-hiphop-and-made-afrocentrism-cool-110e0f411028
|
en
|
A Tribe Called Quest Made Me Feel Welcome in Hip-Hop and Made Afrocentrism Cool
|
[
"https://miro.medium.com/v2/resize:fill:64:64/1*dmbNkD5D-u45r44go_cf0g.png",
"https://miro.medium.com/v2/resize:fill:88:88/0*6LWZjVZobU7EZoVs.jpeg",
"https://miro.medium.com/v2/resize:fill:48:48/1*MpwMlQY1J3MjNWbVevCedg.png",
"https://miro.medium.com/v2/resize:fill:144:144/0*6LWZjVZobU7EZoVs.jpeg",
"https://miro.medium.com/v2/resize:fill:64:64/1*MpwMlQY1J3MjNWbVevCedg.png"
] |
[] |
[] |
[
""
] | null |
[
"Touré",
"medium.com"
] |
2016-03-25T02:41:35.111000+00:00
|
I grew up in the suburbs of Boston, where I was the top-ranked singles player on my prep school’s tennis team and obsessed with rap music by Run-DMC, LL Cool J and KRS-One. But I felt like I was…
|
en
|
https://miro.medium.com/v2/5d8de952517e8160e40ef9841c781cdc14a5db313057fa3c3de41c6f5b494b19
|
Medium
|
https://medium.com/cuepoint/a-tribe-called-quest-made-me-feel-welcome-in-hiphop-and-made-afrocentrism-cool-110e0f411028
|
Originally published in the New York Times Opinion Pages
I grew up in the suburbs of Boston, where I was the top-ranked singles player on my prep school’s tennis team and obsessed with rap music by Run-DMC, LL Cool J and KRS-One. But I felt like I was eavesdropping on someone else’s conversation when I listened to them. Those guys were streetwise kings of the hood from mighty New York, urban jungle warriors so ultra masculine they were like comic book superheroes.
At that point in the mid-1980s, hip-hop promoted a narrow vision of blackness marked by bravado, machismo, egocentrism and — for most — a bodacious New Yorkness. I looked at hip-hop and wondered where I fit in. Until A Tribe Called Quest arrived on the scene.
The legendary hip-hop group lost a core member this week when the rapper Phife Dawg (born Malik Taylor) passed away from complications of diabetes. He was 45. The remaining members include the group’s leader, rapper Q-Tip, their DJ/producer, Ali Shaheed Muhammad and Jarobi White, an occasional bandmate.
The rappers from Tribe were far from urban jungle warriors: They loved to read and wanted to smoke weed, not sell it. They wore their intellectualism lightly, but proudly, and they made hip-hop for people who were as interested in ideas as in rhymes. Questlove, the drummer for the Roots, told me that when he was a teenager, Tribe was critical to his seeing himself as someone who could be in hip-hop.
But more than that, Tribe was vital in helping to spread the Afrocentrism movement to a new, more mainstream generation of listeners.
In the early 1990s, when they started to release albums, I was in college in Atlanta. I majored in African and African-American studies and grew dreads, so naturally, I had a deep relationship with Tribe. Their 1990 debut album, People’s Instinctive Travels and the Paths of Rhythm, was steeped in Afrocentrism, as were many songs in later albums.
On the song “Excursions,” from their 1991 album The Low End Theory, Q-Tip says, “Listen to the rhyme, cuz it’s time to make gravy/ If it moves your booty, then shake, shake it baby/ All the way to Africa a.k.a. The Motherland.” They talked about philosophy and peace. On “Midnight Marauders,” which they released two years later, they named a song “Steve Biko,” after the revolutionary black South African anti-apartheid activist who died in police custody. They proudly wore dreadlocks and dashikis. They were part of the Native Tongues, a loose collective of rappers bound by their Afrocentrism that included De La Soul, Queen Latifah and the Jungle Brothers.
Phife rhymed less often about Afrocentrism than Q-Tip, but both were more philosophical and humble than their contemporaries from Southern California like Snoop Dogg and Eazy-E. On “Buggin’ Out” from “The Low End Theory,” Phife rhymes, “I never walk the streets, think it’s all about me/ Even though deep in my heart, it really could be.”
A Tribe Called Quest were mellow evangelists for Afrocentrism. They made it cool, without ever seeming pushy or preachy about it. And it wasn’t some marketing tool; they were genuinely interested in it. Although the Afrocentricity movement began decades earlier, they helped to make it more accessible. When I moved to Brooklyn in the mid-1990s, I saw the Afrocentric influence everywhere, from African-themed restaurants to the clothing designer Moshood to the bold Afros and long dreads and cowrie shells I saw every day on every block. This is the context in which A Tribe Called Quest emerged and flourished.
Black people embraced Afrocentrism because they needed it. For many, being unable to trace our lineage was and remains spiritually painful. In the journey to America, black people lost their connection to Africa and thus the link to their history. Afrocentrism sought to give that back. It inspired black people to travel to the continent, read about it, put on kente cloth, wear their hair natural and celebrate Kwanzaa.
Afrocentrism shaped my identity. It taught me to think of Africa as my homeland, and to feel a spiritual and familial connection among black and brown people throughout the world, the global diaspora. It taught me to be proud of Africa. It portrayed Africa as beautiful and inspirational, to counteract the images of Africa that Americans received from the media, which were usually tragic.
Afrocentrism was an African-American attempt to make sense of life in this country and merge a sense of Africanness into an American lifestyle. It was a major part of the hip-hop movement at a time when gangsta rap got all the headlines. Tribe’s embrace of its ideology helped to spread it. Getting to know Tribe ultimately meant getting to know myself.
In time, Afrocentrism was seized by Madison Avenue as a marketing tool and a gimmicky way of trying to sell things to black consumers, as if putting red, black and green on the bag makes the french fries inside more authentic. But for those like me who took Afrocentrism to heart, it mattered.
|
||||
4521
|
dbpedia
|
3
| 20
|
https://www.essence.com/lifestyle/snoop-dogg-with-granddaughter-in-paris/
|
en
|
Snoop Dogg Shares A Sweet Moment With His Granddaughter In Paris
|
[
"https://www.essence.com/wp-content/uploads/2024/08/GettyImages-1251970284-1200x900.jpg",
"https://secure.gravatar.com/avatar/?s=96&d=mm&r=g",
"https://www.essence.com/wp-content/uploads/2020/02/rgb-TAG-Registered-80px.png",
"https://www.essence.com/wp-content/themes/essence/assets/images/footer-bg-202403.jpg"
] |
[] |
[] |
[
""
] | null |
[
"Victoria Uwumarogie",
"Elizabeth Ayoola"
] |
2024-08-01T16:54:22+00:00
|
The multidimensional artist and pop culture icon, who is also an NBC correspondent at the Olympic Games, carved out time for grandad duties.
|
en
|
Essence
|
https://www.essence.com/lifestyle/snoop-dogg-with-granddaughter-in-paris/
|
Rapper Snoop Dogg is the real jack of all trades and constantly pushes the envelope regarding his career. This year, he is a special correspondent for NBC at the 2024 Paris Olympics and simultaneously took on grandpa duties amidst all the frenzy and fun.
The rapper shared an image of himself tying his granddaughter Cordoba’s shoelaces. Cordoba is Snoop Dogg’s son Cordell Broadus’ daughter; Cordell was also present at the Olympics alongside his longtime girlfriend, Phia Barragan.
“Grandpas duties while at the Olympics,” the 52-year-old captioned the image with his five-year-old granddaughter.
Cordell also posted footage from their family time in Paris. The images included himself, Snoop, and Cordoba posing with tennis rackets and playing the sport.
“Tennis with Grandpa in Paris it’s a blessing to be able 2 bring her around the world,” Cordell wrote in the caption.
This isn’t the “Drop It Like It’s Hot” rapper’s only grandchild–he has six others. They include Zion, Elleven, Kai, Sky, Chateau and baby Broadus.
Snoop takes being a grandfather seriously, and his relationship with his own grandfather may have partially influenced his dedication.
During a chat with PEOPLE, the artist said, “My grandpa was my best friend and for me to be that for my grandkids is showing that I actually did well.”
The television personality continued, “My grandkids are my everything, because they all individually get a piece of my heart and they’re different,” he said.
Aside from Cordell, the record producer has three other children, including Corde, his only daughter, Cori, and son Julian from a previous relationship. Snoop Dogg presents as a family man and has been raising his children with his longtime wife, Shante Broadus. The couple got married in June 1997, and they’ve been low-key and focused on building their empire since.
|
|||||
4521
|
dbpedia
|
3
| 77
|
https://www.brooklynmuseum.org/opencollection/objects/166835
|
en
|
Brooklyn Museum
|
[
"https://d1lfxha3ugu3d4.cloudfront.net/images/opencollection/objects/size2/2004.19.jpg",
"https://d1lfxha3ugu3d4.cloudfront.net/images/opencollection/objects/size1/2004.19.jpg",
"https://www.brooklynmuseum.org/images/icons/scale/bicycle_blue_192px.png",
"https://d1lfxha3ugu3d4.cloudfront.net/images/opencollection/objects/size2/2004.19.jpg",
"https://d1lfxha3ugu3d4.cloudfront.net/images/opencollection/objects/size2_sq/22.1958.1.jpg",
"https://d1lfxha3ugu3d4.cloudfront.net/images/opencollection/objects/size2_sq/30.966_transp1055.jpg",
"https://d1lfxha3ugu3d4.cloudfront.net/images/opencollection/objects/size2_sq/30.1110_bw.jpg",
"https://d1lfxha3ugu3d4.cloudfront.net/images/opencollection/objects/size2_sq/34.852_bw.jpg",
"https://d1lfxha3ugu3d4.cloudfront.net/images/opencollection/objects/size2_sq/36.488_PS1.jpg",
"https://d1lfxha3ugu3d4.cloudfront.net/images/opencollection/objects/size2_sq/1997.150.16_PS6.jpg",
"https://d1lfxha3ugu3d4.cloudfront.net/images/opencollection/objects/size2_sq/1998.44_transp3221.jpg",
"https://d1lfxha3ugu3d4.cloudfront.net/images/opencollection/objects/size2_sq/1998.89_overall_PS22.jpg",
"https://d1lfxha3ugu3d4.cloudfront.net/images/opencollection/objects/size2_sq/1998.105.74_PS1.jpg",
"https://d1lfxha3ugu3d4.cloudfront.net/images/opencollection/objects/size2_sq/1999.13.1_PS4.jpg",
"https://d1lfxha3ugu3d4.cloudfront.net/images/opencollection/objects/size2_sq/2003.56.1.jpg",
"https://d1lfxha3ugu3d4.cloudfront.net/images/opencollection/objects/size2_sq/2003.56.2.jpg",
"https://d1lfxha3ugu3d4.cloudfront.net/images/opencollection/objects/size2_sq/2003.56.3.jpg",
"https://d1lfxha3ugu3d4.cloudfront.net/images/opencollection/objects/size2_sq/2003.56.4.jpg",
"https://d1lfxha3ugu3d4.cloudfront.net/images/opencollection/objects/size2_sq/2004.89.jpg",
"https://d1lfxha3ugu3d4.cloudfront.net/images/opencollection/objects/size2_sq/26.815_side1_PS2.jpg",
"https://d1lfxha3ugu3d4.cloudfront.net/images/opencollection/objects/size2_sq/CUR.1999.110_wwg8.jpg",
"https://d1lfxha3ugu3d4.cloudfront.net/images/opencollection/objects/size2_sq/1998.98_overall_SL3.jpg",
"https://d1lfxha3ugu3d4.cloudfront.net/images/opencollection/objects/size2_sq/CUR.2007.25.2.jpg",
"https://d1lfxha3ugu3d4.cloudfront.net/images/opencollection/objects/size2_sq/CUR.79.309.3.jpg",
"https://d1lfxha3ugu3d4.cloudfront.net/images/opencollection/objects/size2_sq/CUR.79.309.4.jpg",
"https://d1lfxha3ugu3d4.cloudfront.net/images/opencollection/objects/size2_sq/CUR.79.309.5.jpg",
"https://d1lfxha3ugu3d4.cloudfront.net/images/opencollection/objects/size2_sq/CUR.79.309.6.jpg",
"https://d1lfxha3ugu3d4.cloudfront.net/images/opencollection/objects/size2_sq/CUR.79.309.8.jpg",
"https://d1lfxha3ugu3d4.cloudfront.net/images/opencollection/objects/size2_sq/CUR.79.309.10.jpg",
"https://d1lfxha3ugu3d4.cloudfront.net/images/opencollection/objects/size2_sq/CUR.79.309.13.jpg",
"https://d1lfxha3ugu3d4.cloudfront.net/images/opencollection/objects/size2_sq/CUR.79.309.14.jpg",
"https://d1lfxha3ugu3d4.cloudfront.net/images/opencollection/objects/size2_sq/CUR.84.156.2.jpg",
"https://d1lfxha3ugu3d4.cloudfront.net/images/opencollection/objects/size2_sq/87.208.jpg",
"https://d1lfxha3ugu3d4.cloudfront.net/images/opencollection/objects/size2_sq/2009.41_PS2.jpg",
"https://d1lfxha3ugu3d4.cloudfront.net/images/opencollection/objects/size2_sq/2002.38_IMLS_SL2.jpg",
"https://d1lfxha3ugu3d4.cloudfront.net/images/opencollection/objects/size2_sq/03.325.4631_SL4.jpg",
"https://d1lfxha3ugu3d4.cloudfront.net/images/opencollection/objects/size2_sq/2004.37.1_front_PS6.jpg",
"https://d1lfxha3ugu3d4.cloudfront.net/images/opencollection/objects/size2_sq/1993.47.12.jpg",
"https://d1lfxha3ugu3d4.cloudfront.net/images/opencollection/objects/size2_sq/1997.130.2_transpc002.jpg",
"https://d1lfxha3ugu3d4.cloudfront.net/images/opencollection/objects/size2_sq/1997.152_SL3.jpg",
"https://d1lfxha3ugu3d4.cloudfront.net/images/opencollection/objects/size2_sq/1998.178.3_PS11.jpg",
"https://d1lfxha3ugu3d4.cloudfront.net/images/opencollection/objects/size2_sq/2002.40.1_PS2.jpg",
"https://d1lfxha3ugu3d4.cloudfront.net/images/opencollection/objects/size2_sq/2002.75.1_bw.jpg",
"https://d1lfxha3ugu3d4.cloudfront.net/images/opencollection/objects/size2_sq/2002.75.3_bw.jpg",
"https://d1lfxha3ugu3d4.cloudfront.net/images/opencollection/objects/size2_sq/2002.80.jpg",
"https://d1lfxha3ugu3d4.cloudfront.net/images/opencollection/objects/size2_sq/2003.90.3_SL1.jpg",
"https://d1lfxha3ugu3d4.cloudfront.net/images/opencollection/objects/size2_sq/2015.53_framed_PS2.jpg",
"https://d1lfxha3ugu3d4.cloudfront.net/images/opencollection/objects/size2_sq/CUR.2008.15_artist_photograph.jpg",
"https://d1lfxha3ugu3d4.cloudfront.net/images/opencollection/objects/size2_sq/CUR.2015.33.1_Serrano_photograph.jpg",
"https://d1lfxha3ugu3d4.cloudfront.net/images/opencollection/objects/size2_sq/CUR.2015.33.2_Serrano_photograph.jpg",
"https://d1lfxha3ugu3d4.cloudfront.net/images/opencollection/objects/size2_sq/CUR.2015.33.3_Serrano_photograph.jpg",
"https://pixel.quantserve.com/pixel/p-y5mypH32-BCHc.gif?labels=_fp.event.Default",
"https://www.facebook.com/tr?id=1108941815895258&ev=PageView &noscript=1"
] |
[] |
[] |
[
""
] | null |
[] | null |
en
|
apple-touch-icon.png
| null |
America (Snoop Dogg)
Andres Serrano
Photography
On View:
Snoop Dogg is part of Andres Serrano's series America. It attempts to document the current social reality of the U.S.A. In addition to Snoop Dogg, the series includes images of such diverse personalities as a Playboy Bunny, a homeless man, a firefighter, a street vendor, a boy scout, and an assistant at an investment bank. Undertaking the series in response to the shock of 9/11, Serrano set out to answer the question of who we are and what the diversity of America actually looks like. He captures the humanity of his subjects while at the same time the scale of the figures, as they are positioned within the picture frame, gives them almost heroic proportions.
MEDIUM Cibachrome print
DATES 2002
DIMENSIONS 45 1/4 × 37 5/8 in. (114.9 × 95.6 cm) frame: 45 1/4 × 37 3/4 × 1 1/4 in. (114.9 × 95.9 × 3.2 cm) (show scale)
COLLECTIONS Photography
ACCESSION NUMBER 2004.19
CREDIT LINE Gift of the Carroll Family Collection, Rosemary McNamara, and Mr. and Mrs. William A. Putnam, by exchange
MUSEUM LOCATION This item is not on view
CAPTION Andres Serrano (American, born 1950). America (Snoop Dogg), 2002. Cibachrome print, 45 1/4 × 37 5/8 in. (114.9 × 95.6 cm). Brooklyn Museum, Gift of the Carroll Family Collection, Rosemary McNamara, and Mr. and Mrs. William A. Putnam, by exchange, 2004.19. © artist or artist's estate (Photo: Brooklyn Museum, 2004.19.jpg)
EDITION Edition: 2/7
IMAGE overall, 2004.19.jpg. Brooklyn Museum photograph, 2004
"CUR" at the beginning of an image file name means that the image was created by a curatorial staff member. These study images may be digital point-and-shoot photographs, when we don\'t yet have high-quality studio photography, or they may be scans of older negatives, slides, or photographic prints, providing historical documentation of the object.
RIGHTS STATEMENT © Andres Serrano
The Brooklyn Museum holds a non-exclusive license to reproduce images of this work of art from the rights holder named here. The Museum does not warrant that the use of this work will not infringe on the rights of third parties. It is your responsibility to determine and satisfy copyright or other use restrictions before copying, transmitting, or making other use of protected items beyond that allowed by "fair use," as such term is understood under the United States Copyright Act. For further information about copyright, we recommend resources at the United States Library of Congress, Cornell University, Copyright and Cultural Institutions: Guidelines for U.S. Libraries, Archives, and Museums, and Copyright Watch. For more information about the Museum's rights project, including how rights types are assigned, please see our blog posts on copyright. If you have any information regarding this work and rights to it, please contact copyright@brooklynmuseum.org. If you wish to contact the rights holder for this work, please email copyright@brooklynmuseum.org and we will assist if we can.
|
||||||
4521
|
dbpedia
|
3
| 2
|
https://www.facebook.com/BET/videos/betfamilytree-brandy-and-ray-j-are-first-cousins-with-snoop-dogg/1076235136637030/
|
en
|
Musical roots run deep in this family! Famous brother-sister duo Brandy and Ray-J is first cousins with Snoop Dogg! #BETFamilyTree
|
[] |
[] |
[] |
[
""
] | null |
[] | null |
Musical roots run deep in this family! Famous brother-sister duo Brandy and Ray-J is first cousins with Snoop Dogg! #BETFamilyTree
|
de
|
https://static.xx.fbcdn.net/rsrc.php/yT/r/aGT3gskzWBf.ico
|
https://www.facebook.com/BET/videos/betfamilytree-brandy-and-ray-j-are-first-cousins-with-snoop-dogg/1076235136637030/
| ||||||
4521
|
dbpedia
|
1
| 81
|
https://www.the-sun.com/news/10347363/andrea-giovino-mafia-wife-john-gotti-new-york/
|
en
|
My mob boss husband kept bodies in the car while I spent his thousands on rose bushes - but life is very different now
|
[
"https://www.the-sun.com/wp-content/themes/thesuncom/images/sunmasthead.svg",
"https://www.the-sun.com/wp-content/themes/thesuncom/images/sunmasthead_mobile.svg",
"https://www.thesun.co.uk/wp-content/uploads/2024/02/image-766ca5af00.jpg?w=620",
"https://www.thesun.co.uk/wp-content/uploads/2024/02/WhatsApp-Image-2024-01-30-at-16.19.44.jpeg?w=335 335w, https://www.thesun.co.uk/wp-content/uploads/2024/02/WhatsApp-Image-2024-01-30-at-16.19.44.jpeg?w=480 480w, https://www.thesun.co.uk/wp-content/uploads/2024/02/WhatsApp-Image-2024-01-30-at-16.19.44.jpeg?w=620 620w, https://www.thesun.co.uk/wp-content/uploads/2024/02/WhatsApp-Image-2024-01-30-at-16.19.44.jpeg?w=670 670w, https://www.thesun.co.uk/wp-content/uploads/2024/02/WhatsApp-Image-2024-01-30-at-16.19.44.jpeg?w=960 960w, https://www.thesun.co.uk/wp-content/uploads/2024/02/WhatsApp-Image-2024-01-30-at-16.19.44.jpeg?w=1240 1240w, https://www.thesun.co.uk/wp-content/uploads/2024/02/WhatsApp-Image-2024-01-30-at-16.19.44.jpeg?w=1005 1005w, https://www.thesun.co.uk/wp-content/uploads/2024/02/WhatsApp-Image-2024-01-30-at-16.19.44.jpeg?w=1440 1440w, https://www.thesun.co.uk/wp-content/uploads/2024/02/WhatsApp-Image-2024-01-30-at-16.19.44.jpeg?w=1860 1860w, https://www.thesun.co.uk/wp-content/uploads/2024/02/WhatsApp-Image-2024-01-30-at-16.19.44.jpeg?w=1340 1340w, https://www.thesun.co.uk/wp-content/uploads/2024/02/WhatsApp-Image-2024-01-30-at-16.19.44.jpeg?w=1920 1920w, https://www.thesun.co.uk/wp-content/uploads/2024/02/WhatsApp-Image-2024-01-30-at-16.19.44.jpeg?w=2480 2480w",
"https://www.thesun.co.uk/wp-content/uploads/2024/02/56661849_2189825904408518_7336972827939045376_n.jpg?w=335 335w, https://www.thesun.co.uk/wp-content/uploads/2024/02/56661849_2189825904408518_7336972827939045376_n.jpg?w=480 480w, https://www.thesun.co.uk/wp-content/uploads/2024/02/56661849_2189825904408518_7336972827939045376_n.jpg?w=620 620w, https://www.thesun.co.uk/wp-content/uploads/2024/02/56661849_2189825904408518_7336972827939045376_n.jpg?w=670 670w, https://www.thesun.co.uk/wp-content/uploads/2024/02/56661849_2189825904408518_7336972827939045376_n.jpg?w=960 960w, https://www.thesun.co.uk/wp-content/uploads/2024/02/56661849_2189825904408518_7336972827939045376_n.jpg?w=1240 1240w, https://www.thesun.co.uk/wp-content/uploads/2024/02/56661849_2189825904408518_7336972827939045376_n.jpg?w=1005 1005w, https://www.thesun.co.uk/wp-content/uploads/2024/02/56661849_2189825904408518_7336972827939045376_n.jpg?w=1440 1440w, https://www.thesun.co.uk/wp-content/uploads/2024/02/56661849_2189825904408518_7336972827939045376_n.jpg?w=1860 1860w, https://www.thesun.co.uk/wp-content/uploads/2024/02/56661849_2189825904408518_7336972827939045376_n.jpg?w=1340 1340w, https://www.thesun.co.uk/wp-content/uploads/2024/02/56661849_2189825904408518_7336972827939045376_n.jpg?w=1920 1920w, https://www.thesun.co.uk/wp-content/uploads/2024/02/56661849_2189825904408518_7336972827939045376_n.jpg?w=2480 2480w",
"https://www.thesun.co.uk/wp-content/uploads/2024/02/115c23d4-6e7e-4b4f-a2e9-56d70201e75b.jpg?w=335 335w, https://www.thesun.co.uk/wp-content/uploads/2024/02/115c23d4-6e7e-4b4f-a2e9-56d70201e75b.jpg?w=480 480w, https://www.thesun.co.uk/wp-content/uploads/2024/02/115c23d4-6e7e-4b4f-a2e9-56d70201e75b.jpg?w=620 620w, https://www.thesun.co.uk/wp-content/uploads/2024/02/115c23d4-6e7e-4b4f-a2e9-56d70201e75b.jpg?w=670 670w, https://www.thesun.co.uk/wp-content/uploads/2024/02/115c23d4-6e7e-4b4f-a2e9-56d70201e75b.jpg?w=960 960w, https://www.thesun.co.uk/wp-content/uploads/2024/02/115c23d4-6e7e-4b4f-a2e9-56d70201e75b.jpg?w=1240 1240w, https://www.thesun.co.uk/wp-content/uploads/2024/02/115c23d4-6e7e-4b4f-a2e9-56d70201e75b.jpg?w=1005 1005w, https://www.thesun.co.uk/wp-content/uploads/2024/02/115c23d4-6e7e-4b4f-a2e9-56d70201e75b.jpg?w=1440 1440w, https://www.thesun.co.uk/wp-content/uploads/2024/02/115c23d4-6e7e-4b4f-a2e9-56d70201e75b.jpg?w=1860 1860w, https://www.thesun.co.uk/wp-content/uploads/2024/02/115c23d4-6e7e-4b4f-a2e9-56d70201e75b.jpg?w=1340 1340w, https://www.thesun.co.uk/wp-content/uploads/2024/02/115c23d4-6e7e-4b4f-a2e9-56d70201e75b.jpg?w=1920 1920w, https://www.thesun.co.uk/wp-content/uploads/2024/02/115c23d4-6e7e-4b4f-a2e9-56d70201e75b.jpg?w=2480 2480w",
"https://www.the-sun.com/wp-content/uploads/sites/6/2024/08/newspress-collage-k0wunpbcc-1723620368289.jpg?1723606057&strip=all&w=300&h=192&crop=1",
"https://www.the-sun.com/wp-content/uploads/sites/6/2024/08/newspress-collage-ws695350v-1723586630226.jpg?1723572466&strip=all&w=300&h=192&crop=1",
"https://www.the-sun.com/wp-content/uploads/sites/6/2024/08/newspress-collage-xtxj29g67-1723564907050.jpg?1723551145&strip=all&w=300&h=192&crop=1",
"https://www.the-sun.com/wp-content/uploads/sites/6/2024/08/newspress-collage-qxkhcntwb-1723564026693.jpg?1723550114&strip=all&w=300&h=192&crop=1",
"https://www.thesun.co.uk/wp-content/uploads/2023/10/former-mafia-boss-john-gotti-959347.jpg?w=335 335w, https://www.thesun.co.uk/wp-content/uploads/2023/10/former-mafia-boss-john-gotti-959347.jpg?w=480 480w, https://www.thesun.co.uk/wp-content/uploads/2023/10/former-mafia-boss-john-gotti-959347.jpg?w=620 620w, https://www.thesun.co.uk/wp-content/uploads/2023/10/former-mafia-boss-john-gotti-959347.jpg?w=670 670w, https://www.thesun.co.uk/wp-content/uploads/2023/10/former-mafia-boss-john-gotti-959347.jpg?w=960 960w, https://www.thesun.co.uk/wp-content/uploads/2023/10/former-mafia-boss-john-gotti-959347.jpg?w=1240 1240w, https://www.thesun.co.uk/wp-content/uploads/2023/10/former-mafia-boss-john-gotti-959347.jpg?w=1005 1005w, https://www.thesun.co.uk/wp-content/uploads/2023/10/former-mafia-boss-john-gotti-959347.jpg?w=1440 1440w, https://www.thesun.co.uk/wp-content/uploads/2023/10/former-mafia-boss-john-gotti-959347.jpg?w=1860 1860w, https://www.thesun.co.uk/wp-content/uploads/2023/10/former-mafia-boss-john-gotti-959347.jpg?w=1340 1340w, https://www.thesun.co.uk/wp-content/uploads/2023/10/former-mafia-boss-john-gotti-959347.jpg?w=1920 1920w, https://www.thesun.co.uk/wp-content/uploads/2023/10/former-mafia-boss-john-gotti-959347.jpg?w=2480 2480w",
"https://www.the-sun.com/wp-content/uploads/sites/6/2024/02/1990-attorney-gerald-schargel-gotti-962153.jpg?strip=all&w=620&h=413&crop=1",
"https://www.thesun.co.uk/wp-content/uploads/2024/02/91f5d8a4-eae4-4be6-ba71-3c907981356e.jpg?w=335 335w, https://www.thesun.co.uk/wp-content/uploads/2024/02/91f5d8a4-eae4-4be6-ba71-3c907981356e.jpg?w=480 480w, https://www.thesun.co.uk/wp-content/uploads/2024/02/91f5d8a4-eae4-4be6-ba71-3c907981356e.jpg?w=620 620w, https://www.thesun.co.uk/wp-content/uploads/2024/02/91f5d8a4-eae4-4be6-ba71-3c907981356e.jpg?w=670 670w, https://www.thesun.co.uk/wp-content/uploads/2024/02/91f5d8a4-eae4-4be6-ba71-3c907981356e.jpg?w=960 960w, https://www.thesun.co.uk/wp-content/uploads/2024/02/91f5d8a4-eae4-4be6-ba71-3c907981356e.jpg?w=1240 1240w, https://www.thesun.co.uk/wp-content/uploads/2024/02/91f5d8a4-eae4-4be6-ba71-3c907981356e.jpg?w=1005 1005w, https://www.thesun.co.uk/wp-content/uploads/2024/02/91f5d8a4-eae4-4be6-ba71-3c907981356e.jpg?w=1440 1440w, https://www.thesun.co.uk/wp-content/uploads/2024/02/91f5d8a4-eae4-4be6-ba71-3c907981356e.jpg?w=1860 1860w, https://www.thesun.co.uk/wp-content/uploads/2024/02/91f5d8a4-eae4-4be6-ba71-3c907981356e.jpg?w=1340 1340w, https://www.thesun.co.uk/wp-content/uploads/2024/02/91f5d8a4-eae4-4be6-ba71-3c907981356e.jpg?w=1920 1920w, https://www.thesun.co.uk/wp-content/uploads/2024/02/91f5d8a4-eae4-4be6-ba71-3c907981356e.jpg?w=2480 2480w",
"https://www.thesun.co.uk/wp-content/uploads/2024/02/WhatsApp-Image-2024-01-30-at-15.54.02.jpeg?w=335 335w, https://www.thesun.co.uk/wp-content/uploads/2024/02/WhatsApp-Image-2024-01-30-at-15.54.02.jpeg?w=480 480w, https://www.thesun.co.uk/wp-content/uploads/2024/02/WhatsApp-Image-2024-01-30-at-15.54.02.jpeg?w=620 620w, https://www.thesun.co.uk/wp-content/uploads/2024/02/WhatsApp-Image-2024-01-30-at-15.54.02.jpeg?w=670 670w, https://www.thesun.co.uk/wp-content/uploads/2024/02/WhatsApp-Image-2024-01-30-at-15.54.02.jpeg?w=960 960w, https://www.thesun.co.uk/wp-content/uploads/2024/02/WhatsApp-Image-2024-01-30-at-15.54.02.jpeg?w=1240 1240w, https://www.thesun.co.uk/wp-content/uploads/2024/02/WhatsApp-Image-2024-01-30-at-15.54.02.jpeg?w=1005 1005w, https://www.thesun.co.uk/wp-content/uploads/2024/02/WhatsApp-Image-2024-01-30-at-15.54.02.jpeg?w=1440 1440w, https://www.thesun.co.uk/wp-content/uploads/2024/02/WhatsApp-Image-2024-01-30-at-15.54.02.jpeg?w=1860 1860w, https://www.thesun.co.uk/wp-content/uploads/2024/02/WhatsApp-Image-2024-01-30-at-15.54.02.jpeg?w=1340 1340w, https://www.thesun.co.uk/wp-content/uploads/2024/02/WhatsApp-Image-2024-01-30-at-15.54.02.jpeg?w=1920 1920w, https://www.thesun.co.uk/wp-content/uploads/2024/02/WhatsApp-Image-2024-01-30-at-15.54.02.jpeg?w=2480 2480w",
"https://www.the-sun.com/wp-content/uploads/sites/6/2024/08/jb-trumpkamala-comp.jpg?1723548799&strip=all&w=360&h=240&crop=1",
"https://www.the-sun.com/wp-content/uploads/sites/6/2024/08/AC-WADE-WILSON-COMP.jpg?strip=all&w=360&h=240&crop=1",
"https://www.thesun.co.uk/wp-content/uploads/2024/02/7280f913-2cc7-4887-835e-1095dcfde27f.jpg?w=335 335w, https://www.thesun.co.uk/wp-content/uploads/2024/02/7280f913-2cc7-4887-835e-1095dcfde27f.jpg?w=480 480w, https://www.thesun.co.uk/wp-content/uploads/2024/02/7280f913-2cc7-4887-835e-1095dcfde27f.jpg?w=620 620w, https://www.thesun.co.uk/wp-content/uploads/2024/02/7280f913-2cc7-4887-835e-1095dcfde27f.jpg?w=670 670w, https://www.thesun.co.uk/wp-content/uploads/2024/02/7280f913-2cc7-4887-835e-1095dcfde27f.jpg?w=960 960w, https://www.thesun.co.uk/wp-content/uploads/2024/02/7280f913-2cc7-4887-835e-1095dcfde27f.jpg?w=1240 1240w, https://www.thesun.co.uk/wp-content/uploads/2024/02/7280f913-2cc7-4887-835e-1095dcfde27f.jpg?w=1005 1005w, https://www.thesun.co.uk/wp-content/uploads/2024/02/7280f913-2cc7-4887-835e-1095dcfde27f.jpg?w=1440 1440w, https://www.thesun.co.uk/wp-content/uploads/2024/02/7280f913-2cc7-4887-835e-1095dcfde27f.jpg?w=1860 1860w, https://www.thesun.co.uk/wp-content/uploads/2024/02/7280f913-2cc7-4887-835e-1095dcfde27f.jpg?w=1340 1340w, https://www.thesun.co.uk/wp-content/uploads/2024/02/7280f913-2cc7-4887-835e-1095dcfde27f.jpg?w=1920 1920w, https://www.thesun.co.uk/wp-content/uploads/2024/02/7280f913-2cc7-4887-835e-1095dcfde27f.jpg?w=2480 2480w",
"https://www.thesun.co.uk/wp-content/uploads/2024/02/cbbf8737-e145-42f9-b900-df2cfd8ae213.jpg?w=335 335w, https://www.thesun.co.uk/wp-content/uploads/2024/02/cbbf8737-e145-42f9-b900-df2cfd8ae213.jpg?w=480 480w, https://www.thesun.co.uk/wp-content/uploads/2024/02/cbbf8737-e145-42f9-b900-df2cfd8ae213.jpg?w=620 620w, https://www.thesun.co.uk/wp-content/uploads/2024/02/cbbf8737-e145-42f9-b900-df2cfd8ae213.jpg?w=670 670w, https://www.thesun.co.uk/wp-content/uploads/2024/02/cbbf8737-e145-42f9-b900-df2cfd8ae213.jpg?w=960 960w, https://www.thesun.co.uk/wp-content/uploads/2024/02/cbbf8737-e145-42f9-b900-df2cfd8ae213.jpg?w=1240 1240w, https://www.thesun.co.uk/wp-content/uploads/2024/02/cbbf8737-e145-42f9-b900-df2cfd8ae213.jpg?w=1005 1005w, https://www.thesun.co.uk/wp-content/uploads/2024/02/cbbf8737-e145-42f9-b900-df2cfd8ae213.jpg?w=1440 1440w, https://www.thesun.co.uk/wp-content/uploads/2024/02/cbbf8737-e145-42f9-b900-df2cfd8ae213.jpg?w=1860 1860w, https://www.thesun.co.uk/wp-content/uploads/2024/02/cbbf8737-e145-42f9-b900-df2cfd8ae213.jpg?w=1340 1340w, https://www.thesun.co.uk/wp-content/uploads/2024/02/cbbf8737-e145-42f9-b900-df2cfd8ae213.jpg?w=1920 1920w, https://www.thesun.co.uk/wp-content/uploads/2024/02/cbbf8737-e145-42f9-b900-df2cfd8ae213.jpg?w=2480 2480w",
"https://www.the-sun.com/wp-content/uploads/sites/6/2024/08/newspress-collage-7lwkxasq8-1723642097128.jpg?1723628002&strip=all&w=150&h=100&crop=1",
"https://www.the-sun.com/wp-content/uploads/sites/6/2024/08/newspress-collage-ws695350v-1723586630226.jpg?1723572466&strip=all&w=150&h=100&crop=1",
"https://www.the-sun.com/wp-content/uploads/sites/6/2024/08/newspress-collage-xtxj29g67-1723564907050.jpg?1723551145&strip=all&w=150&h=100&crop=1",
"https://www.the-sun.com/wp-content/uploads/sites/6/2024/08/newspress-collage-qxkhcntwb-1723564026693.jpg?1723550114&strip=all&w=150&h=100&crop=1"
] |
[] |
[] |
[
""
] | null |
[
"Juliana Cruz Lima"
] |
2024-02-10T04:15:55-05:00
|
ANDREA Giovino is the ex-pal of mob boss John Gotti - the head of New York's Gambino family and the biggest mafioso since Al Capone.She was taught to
|
en
|
The US Sun
|
https://www.the-sun.com/news/10347363/andrea-giovino-mafia-wife-john-gotti-new-york/
|
ANDREA Giovino is the ex-pal of mob boss John Gotti - the head of New York's Gambino family and the biggest mafioso since Al Capone.
She was taught to steal at age five, her brother became a hitman at 17, and her ex-husband brought home dead bodies in his car boot.
She went from spending thousands on rose bushes and asking her ex-husband to wipe his bloodied shoes - to becoming a church-going suburban grandmother.
After being arrested and indicted on RICO charges in 1992, Giovino explained how being married to the mob was far from glamorous.
Her first contract “with the streets”, as she says, was when her mother would host gambling cards and dice games in her basement in Brooklyn, New York.
Her mum's main guest was Crazy Joe Gallo - an Italian American gangster and a capo of New York City’s Colombo criminal family.
Surrounded by criminals, Giovino grew up knowing who not to mess with and when’s a good time to keep her mouth shut.
After dating “a few” - including Frank "Curly" Lino - she said she can also spot “street guys” from miles away.
Giovino stressed that she was never in the mafia but worked in the streets and happened to know mobsters.
She told The Sun Online: "I knew a lot of people because we were all from an area in Brooklyn where a lot of criminals came out of.
"The reason why I got in the streets and how I got arrested is because my husband went to prison and then I had no money, I had no education, but I knew the street life.
"So that's how I got involved in putting money out on the streets."
At 28, one child and two divorces later, she met infamous mafia don John Gotti - the boss of the Gambino crime family in New York City.
“I met John Gotti in the 80s in a club in Manhattan. Club A. We'd later hang out every Tuesdays and Thursdays," she said.
"We would many times go to dinner as a group and then go out.
"It was all very glamorous. The earrings, the sparkles, the makeup. The men would wear their $2,000 suits, their Rolex, their pinky ring."
Giovino and her sister were invited to hang out in the VIP section with John and his associate, Mark Reiter, who later became her partner.
Gotti had sent over a bottle of pricey Dom Perignon champagne and asked them to join the table, but the bottle was sent back by Giovino as she "knew the kind of people they were".
“We were not best friends, but John liked me. And the reason he liked me is because I wasn’t just somebody’s girlfriend," Giovino said.
“Yes, I was then dating his friend Mark Reiter, but John also knew he was comfortable to talk to me or talk with other people while I was sitting there because I knew the street code.
She explained: “I knew the language. I knew you don't repeat, you don't talk, you don't say what you hear, you know your place.”
Gotti and Giovino hit it off from the start, especially after he nicknamed her “Rocky” when holding her back at a bar brawl.
“His words were ‘she's got more balls than some of the guys that are around me,’ because I didn’t care, I was very angry,” she revealed.
Giovino said she never saw "the ruthless part" of John Gotti as he was always pleasant with her, enjoying his drink, and having fun.
She was one of many in John Gotti's orbit to be featured in Netflix's true crime docuseries, Get Gotti.
It explored the life of the notorious American mobster, breaking down his early life, how he rose to power in New York, and how he evaded law enforcement over the years.
In 1992, Gotti was finally caught by US feds, and was convicted of charges including racketeering, racketeering conspiracy, murder, illegal gambling, obstruction of justice, conspiracies to murder, bribing a detective, committing loan sharking, and tax fraud.
He died of throat cancer in 2002 while serving a life prison sentence without the possibility of parole and a $250,000 fine for his crimes.
Also in 1992, Giovino was indicted on RICO charges of conspiring to distribute marijuana and cocaine in the Brooklyn and Staten Island area.
“When you're hit with a RICO, you get life,” she said.
Her then-husband, John Fogarty, and her brother, John Silvestri, were wanted for murder and extortion.
Giovino later discovered that her arrest was a ploy to make them confess.
Before all hell broke loose with the US feds, she lived a lush life as Fogarty's wife.
In her beachside house on Staten Island, the mother-of-four enjoyed wallpapers by Oscar de la Renta, drove around in a Mercedes 450 convertible, and spent a whopping £4,700 in rose bushes alone, The Guardian reported.
I got caught saying: 'Go up there. I don't care if you break his f*****g head, but get my money'.
Andrea Giovino
She also explained how the ultra-lux lifestyle afforded by the mob always comes with a price.
Women enter into a contract, as she already knew, to keep quiet and to themselves.
"But in the end you get sick of the b******t and lies," Giovino said.
Being married to the mob wasn't all glitz and glamour.
Giovino said: "I had to take care of my kids first and foremost, because my husband was incarcerated.
"I had to worry about who was going to pay, who wasn't going to pay, who's going to rat, who's not."
She once asked Fogarty to remove his bloodied shoes before coming in after he arrived home for dinner with two bodies in the boot of his Lincoln Continental, according to The Guardian.
Giovino's brother became a hitman at 17, and she was the one to give the go-ahead for one of his jobs, later leading to her arrest.
She said: "The DEA was already on my case and got this guy to owe me $20,000.
"They told him 'don't pay it, hold the money back, she'll come for you', and that's exactly what happened."
Giovino got arrested after US feds caught her through a wire tap giving her brother instructions to deal with the matter.
"My brother called me and said: 'He isn't paying the money. It's been two, three months now. He's been playing games. He's not answering the phone.'
"And then I got caught saying: 'Go up there. I don't care if you break his f*****g head, but get my money'."
Getting emotional, the ex-mob wife vividly recalls the day the DEA knocked on her door just moments before taking her children to school.
“It was September 9, 1992, six in the morning," she began.
“They [the DEA] never do this. They said this was a courtesy.
“They rang my phone six in the morning. I picked it up. They said, ‘DEA, open the door. We're gonna kick it in.’
“They don't do that. They just kick it in, but they knew there were four kids in the house, so they said that was a courtesy.
“I was sleeping with just a pair of panties and a T-shirt.
"I ran down, I opened the door, but the agents were coming in from front and back, back door, front door, and I just froze.
“They started reading my charges for cocaine, for murder, because I was on RICO so I was bring dragged into other people’s mess.
“The first thing that I thought about were my children, where were my children. But they said I couldn’t move.
“My daughter was a baby in the crib. They went and got the baby out of the crib. She was 15 months old.
"They're turning the mattress over, the kids were screaming. It was a nightmare.”
Giovino was then rushed out of New York state and relocated to Pennsylvania with her children after FBI wire taps revealed that the mob had a contract on her.
She has turned her life around since her indictment.
She decided to do so on the same day of her arrest, whilst waiting for bail.
"I had had it with abuse from men. I had had it from the lifestyle," she said.
"The bottom line was my children. I didn't care about these guys [mobsters].
"And that's why they put a contract out on me and everything.
"Because I didn't care. I cared about getting the truth out there."
Giovino signed up with the Parent-Teacher Association, joined the church's fundraising committee and secured a family pass to the country club.
Talking about her old life, she launched her bestseller "Divorced From The Mob" in 2004, and now has her own podcast and YouTube channel.
But the grandmother said she receives a lot of backlash from men and former mobsters who accuse her of being a liar.
“They’re just abusive, these ‘macho’ men. I got a lot of backlash for speaking out and having my YouTube channel.
“I always hear ‘Andrea Giovino is a liar. She didn’t know John Gotti. She wasn’t in the streets.’
“Meanwhile, the facts are the facts. I was arrested on a RICO with 22 men. And those are all facts.
"I was married to these types of personalities," she continued
"They have this thing where the woman has no place, no voice, 'go in the kitchen, go mind your business, shut your mouth'.
"And a lot of women put up with that just to be cared for, which I did too. But not anymore."
|
|||||
4521
|
dbpedia
|
1
| 97
|
https://www.metacritic.com/tv/snoop-doggs-father-hood/season-1/episode-10-vows/
|
en
|
Snoop Dogg's Father Hood season 1 Vows
|
[
"https://www.metacritic.com/a/neutron/images/logos/imdb_logo.png",
"https://www.metacritic.com/a/neutron/images/logos/imdb_logo.png"
] |
[] |
[] |
[
""
] | null |
[] |
2007-12-09T00:00:00+00:00
|
Join rap star Snoop Dogg as he gives you an inside look at his home and family. Meet his wife Shante, his sons Cordell and Corde, and daughter Cori. See Snoop stress out trying to balance the roles of father, husband, rap superstar, and businessman.
|
en
|
https://www.metacritic.com/tv/snoop-doggs-father-hood/season-1/episode-10-vows/
|
Summary Join rap star Snoop Dogg as he gives you an inside look at his home and family. Meet his wife Shante, his sons Cordell and Corde, and daughter Cori. See Snoop stress out trying to balance the roles of father, husband, rap superstar, and businessman.
August 2024 TV Preview: The Rings of Power, Only Murders, Terminator Zero, and More Key Shows
Jason Dietz
Get details on the most notable TV shows debuting in August 2024, including the returns of The Lord of the Rings: The Rings of Power, Pachinko, and Only Murders in the Building.
|
||||||
4521
|
dbpedia
|
3
| 61
|
https://www.tiktok.com/discover/snoop-dogg-sitting-with-family
|
en
|
Make Your Day
|
[] |
[] |
[] |
[
""
] | null |
[] | null |
en
| null | ||||||||
4521
|
dbpedia
|
3
| 36
|
https://www.distractify.com/p/snoop-dogg-kids
|
en
|
Snoop Dogg Isn't Only a Father to Four Kids, but Also a Grandfather to Six!
|
[
"https://www.distractify.com/dfy-logo-2024.png",
"https://www.distractify.com/dfy-logo-2024.png",
"https://www.distractify.com/dfy-logo-2024.png",
"https://media.distractify.com/brand-img/v1T0LujY1/200x200/kelly-corbett-headshot-kelly-corbett-1632841187031.jpg",
"https://media.distractify.com/brand-img/4VaP7ephm/0x0/snoop-dogg-kids-1716407533196.jpg",
"https://media.distractify.com/brand-img/X7Oq0YGat/0x0/snoop-dogg-and-shante-broadus-1651533348081.jpg",
"https://www.distractify.com/dfy-logo-2024.png"
] |
[] |
[] |
[
"Entertainment",
"Celebrity"
] | null |
[
"Kelly Corbett"
] |
2021-05-18T19:10:52.126000+00:00
|
Snoop Dogg has four kids: sons Corde, Cordell, and Julian Broadus, and daughter Cori Broadus. He shares Corde, Cordell, and Cori with Shante Broadus.
|
en
|
https://www.distractify.com/favicon.ico
|
Distractify
|
https://www.distractify.com/p/snoop-dogg-kids
|
Snoop actually has a child who was born to his mistress in 1998. All the details ahead!
By Kelly Corbett
Updated May 22 2024, 4:33 p.m. ET
There are two sides to Snoop Dogg (real name Calvin Cordozar Broadus Jr.). While he's mostly known for being a gangsta rap icon and cannabis enthusiast, he's also a close friend to Martha Stewart, a home reno expert (as seen on Celebrity IOU), and a devoted family man.
Article continues below advertisement
The "Drop It Like It's Hot" artist actually has four kids and has made raising them his biggest priority in life. But who exactly are Snoop's kids, and what are the known details of their relationship? Here's a look at Snoop's family.
Article continues below advertisement
Snoop Dogg and his wife, Shante Broadus, have three kids together.
In 1997, Snoop Dogg married his high school sweetheart, Shante Broadus. While they've had a few rough patches along the way (including splitting up in 2004), they are currently together. Today, they have three kids: sons Corde and Cordell Broadus, and daughter Cori Broadus. Let's get to know each of their kids a little better.
Corde Broadus — 29
Corde, who was born on August 21, 1994, is the couple's first child together. Naturally, he became an integral part of his father's early career. Appearing in the music video for "Drop It Like It's Hot" before he was even in junior high school, Corde was inducted into Snoop's world early on.
Article continues below advertisement
Corde is currently 29 years old, and has one child with his ex-girlfriend, Jessica Kyzer. He and and Soraya Love also share two kids. While the couple did welcome a third child in 2019, sadly, he died 10 days after birth, per People. Corde is currently pursuing creative work such as music and modeling.
Cordell Broadus — 27
Snoop's second son, Cordell, initially made waves for his remarkable success in football. The 27-year-old was actually ranked as the 26th best wide receiver in the country while he was still in high school and even had an ESPN show with his dad documenting his path to college football glory. However, Cordell eventually lost interest in the sport, taking up filmmaking instead. He now works between modeling, filmmaking, and charitable efforts.
Article continues below advertisement
Cordell reportedly owns Film School Productions stands on its mission to "not only to be the most versatile media production company, but the most original as well," per the company's YouTube account.
Cori Broadus — 24
Snoop's only daughter, Cori, 24, is his youngest child but has arguably endured some of the toughest battles in her family. She was diagnosed at a young age with lupus, a vicious autoimmune disease, and the condition put great strain on both her and her closest relatives. However, Snoop has said that Cori has been doing much better in recent years.
Like her father, Cori also takes an interest in music and is a singer with a small but impressive discography.
Article continues below advertisement
Snoop actually has a fourth child who was born to his mistress in 1998.
In the late 1990s, Snoop was seeing a woman named Laurie Holmond for a period of time, which led to the birth of their one and only child, Julian Broadus, 25, in 1998. The relationship between Laurie and Snoop went sour rather quickly, which greatly impacted the developmental bonding between Snoop and Julian.
Article continues below advertisement
He has been candid about what it's been like growing up without as much attention from his megastar father, explaining in various interviews over time how he had to establish himself pretty much on his own. While he previously worked as a luxury real estate agent, Julian is now the executive director of promotions for Voxel X Network.
|
||||
4521
|
dbpedia
|
3
| 37
|
https://www.tiktok.com/%40world.celebrity.i/video/7313968095586995499
|
en
|
Make Your Day
|
[] |
[] |
[] |
[
""
] | null |
[] | null |
en
| null | ||||||||
4521
|
dbpedia
|
3
| 60
|
https://www.yahoo.com/entertainment/why-people-think-snoop-dogg-211015909.html
|
en
|
Why Do People Think Snoop Dogg is Related to Jordan Chiles?
|
https://media.zenfs.com/en/comingsoon_net_477/4f03a8c4839548086d498dfcb0e83381
|
https://media.zenfs.com/en/comingsoon_net_477/4f03a8c4839548086d498dfcb0e83381
|
[
"https://www.yahoo.com/_td_api/beacon/info?beaconType=noJSenabled&bucket=entertainment-US-en-US-def%2Cseamless&code=pageRender&device=desktop&lang=en-US&pageName=deeplink®ion=US&rid=3cpvo5ljbpe07&site=entertainment&t=1723643912105",
"https://s.yimg.com/ny/api/res/1.2/r9_nen9CjXcSet4YAqQvMA--/YXBwaWQ9aGlnaGxhbmRlcjt3PTIwMDtoPTYw/https://s.yimg.com/os/creatr-uploaded-images/2022-10/31915bb0-5957-11ed-acdd-c2a5caca7698",
"https://s.yimg.com/ny/api/res/1.2/Hs74CUeWXlNR1SFMznO7bw--/YXBwaWQ9aGlnaGxhbmRlcjt3PTEyNDI7aD02OTk-/https://media.zenfs.com/en/comingsoon_net_477/bfc727ef3ef42c1e3aa8a7b0534cc9d5",
"https://s.yimg.com/g/images/spaceball.gif",
"https://sb.scorecardresearch.com/p?c1=2&c2=7241469&c5=1197800334&c7=https%3A%2F%2Fwww.yahoo.com%2Fentertainment%2Fwhy-people-think-snoop-dogg-211015909.html&c14=-1"
] |
[] |
[] |
[
""
] | null |
[
"Ishita Verma"
] |
2024-08-01T21:10:15+00:00
|
Are they related or are they strangers? The post Why Do People Think Snoop Dogg is Related to Jordan Chiles? appeared first on ComingSoon.net - Movie Trailers, TV & Streaming News, and More.
|
en
|
https://s.yimg.com/rz/l/favicon.ico
|
Yahoo Entertainment
|
https://www.yahoo.com/entertainment/why-people-think-snoop-dogg-211015909.html
|
Snoop Dogg gained immense attention after carrying the torch at the 2024 Paris Olympics, and the rapper has been seen supporting the athletes. Recently, Snoop Dogg attained the title of Olympic parent after fans noticed he’s a constant supporter of gymnast Jordan Chiles, which made many wonder if he was related to her. Here’s the scoop on whether Jordan Chiles and Snoop Dogg are relatives.
Are Snoop Dogg and Jordan Chiles related to each other?
No, Jordan Chiles and Snoop Dogg are not related to each other.
The rumor about Chiles and Dogg being somehow related started after the rapper was seen cheering for Chiles next to her parents. As per Heavy.com, during Chiles beam routine at the 2024 Paris Olympics, the cameras panned to the rapper who was attended as Chiles’ supporter. The clip was shared by the NBC Olympics & Paralympics account on X, officially labeling Snoop Dogg the Olympic parent to Jordan Chiles, thus making many fans believe they are related.
Jordan Chiles’ Family
Jordan Chiles is the daughter of mother Gina and father Timothy Chiles. According to a report by People Magazine, Chiles’ parents are pastors at According to His Word Worship Center which is based in Houston. Jordan Chiles has 5 siblings. Speaking about her family in an interview with Teen Vogue in 2024, Chiles said, “My family had to sacrifice a lot of things, especially my siblings, taking me to the gym and doing all these things for me.” She specifies that she will give back all love and attention to her family.
Snoop Dogg’s family
On the other hand, Snoop Dogg has three kids with his wife Shante Broadus. The rapper has a fourth kid with Laurie Helmond. Having a conversation with Today about his family in a 2015 interview, Dogg stated, “My relationship with my kids is more important than anything.”
|