Noam Tolja, Val Uremović I Roko Stojadinović Lozica, 8.C. • PUNK Je Međunarodni Pokret Mladih Nastao Krajem 1970-Ih Godina 20

Total Page:16

File Type:pdf, Size:1020Kb

Noam Tolja, Val Uremović I Roko Stojadinović Lozica, 8.C. • PUNK Je Međunarodni Pokret Mladih Nastao Krajem 1970-Ih Godina 20 PUNK Noam Tolja, Val Uremović i Roko Stojadinović Lozica, 8.C. • PUNK je međunarodni pokret mladih nastao krajem 1970-ih godina 20. st. • Glazbeno je riječ o podvrsti rock glazbe (punk rock) koja se kreativno oslanja na anarhiju (stanje potpunog nereda, bezvlađe) • Ispod sarkastične, ispolitizirane i neprijateljske fasade, punk se nije širio samo kao glazbeni pokret, već kao životna ideologija i estetika • (P)ostao je simbol za tinejdžerski bunt, izražavanje vlastitog stava i otuđenosti • Ime vuče iz engleske riječi PUNK koja znači: otrcan, bijedan, mangup • Razlikujemo dva vala: BUNT ili Old School Punk i DIFERENCIJACIJU PRVI VAL: BUNT ili OLD SCHOOL PUNK • Razdoblje od začetka punka (cca 1974.) pa sve do njegove diferencijacije krajem 1970-tih se naziva prvim valom punka ili old school punkom • Nastao je kao odgovor na tadašnju rock glazbu koja se udaljila od prvotnih ideja, a to su buntovništvo, jednostavnost i dostupnost mladima. Punk pripada ulici i u njemu nema mjesta elitizmu • Punk sastav mogla je osnovati bilo koja mlada skupina ljudi i nije bila nužna glazbena talentiranost i obrazovanje, tehnička savršenost je bila nebitna • Temeljni instrumenti jednog old school punk sastava su: bubnjevi, gitara i bas-gitara • Punk kompozicije su često vrlo kratke (oko 2 min ili manje), 3-akordne, društvene ili političke tematike • Prvi punk koncerti su bili organizirani u manjim klubovima te uz malu prisutnost publike • Rušenje glazbenih i društvenih pravila i granica odražavalo se i na izgled pripadnika punk subkulture • Individualnost se izražavala ekstravagantnim frizurama, poderanom odjećom, majicama i jaknama s parolama, čak i nacističkim simbolima u svrhu šokiranja te bizarnim i neuobičajenim elementima (npr. psećim ogrlicama, lancima, zihericama…) • Punk je u nastupe uživo uveo i stage diving (skakanje s pozornice), headbanging (udaranje glavom) i moshing (guranje u krugu) • Punk se pred kraj prvog vala razdvaja na dvije strane (pop i underground), a u znak bunta rađa se drugi val Ramones, Patti Smith, Sex Pistols, The Clash, Television, The Runaways, The Dead Kennedys, The Stooges, Blondie… izvođači su koji su stvarali punk povijest Poslušajte kako zvuči old school punk • Ramones, I wanna be sedated • The Clash, London calling • Sex Pistols, God Save The Queen • Dead Kennedys, California Über Alles • The Runaways, Cherry Bomb DRUGI VAL: DIFERENCIJACIJA • U želji za promjenama prvo se rađa Oi! pokret koji je svojevrsni spoj skinhead i punk supkulture. On objedinjuje filozofiju radničke klase I stvarno nasilništvo • Stilski elementi Oi! glazbe se sastoje od punk rocka i muzike vezane uz navijačku supkulturu, folk glazbu (utjecaj nacionalnog ponosa) te pjesama vezanih uz alkohol i pubove • Na drugu stranu razvio se street punk • Glazba ovog pokreta znatno je brža i žešća od glazbe Oi! pokreta, a teme su najčešće odbacivanje autoriteta i alkohol • Razvio se i hardcore punk. • Ovaj pokret razvio se Americi oko većih gradova. • Pokret izražava kritiku društva, a punk je imao aktivistički smisao i borbu za političke ciljeve. • Inspiriran hardcoreom nastao je anarho punk. • Propagira dvije vrste anarhizma. • Pacifistički punk koji propagira ljudska i životinjska prava, a druga vrsta sagledava anarhizam kao besmislenost, kaos i uništenje. • Posljednja vrsta punka je crust punk. • Najneprepoznatljiviji stil punk glazbe. • Pjesme su negativno i pesimistički obojene, a najčešće teme su nuklearni rat i uništenje. Poslušajte kako zvuči punk iz doba diferencijacije • Cockney Rejects, Oi Oi Oi ! • Working Class Heroes, Evil Conduct • The Buzzcocks, Ever fallen in love 10 NAJBOLJIH PUNK ALBUMI SVIH VREMENA PO IZBORU ROLLING STONE ČASOPISA PUNK u EX YU • Iako komunistička zemlja, Socijalistička Federativna Republika Jugoslavija bila je jedinstvena pojava u punk subkulturi • Punk rock se rano pojavio u Jugoslaviji. Punkerski bendovi su već postojali u Jugoslaviji 1977. godine kada je Clash objavio svoj prvi album u Velikoj Britaniji • Sa stajališta režima, punk YU bendovi imali su vrlo problematične stihove. Napadali su policiju, vlasti i same temelje komunističke ideologije • • Ipak, njihove pjesme su objavljivane bez ikakvih smetnji. Razlog je bio jednostavan - bilo je manje opasno da nešto postoji u izlozima i na pozornicama partijskih Domova kulture nego da opstoji u podzemlju i da sprema zavjeru protiv režima • Umijeće se sastojalo u pisanju pjesama koje će biti protiv režima, ali koje neće biti cenzurirane. Postojala je samo jedna tema koja je bila nedodirljiva: Tito. Sve drugo je bilo dozvoljeno. Moglo se pjevati, više-manje otvoreno, protiv svega, čak i samog komunizma. • Pankrti, Paraf, Pekinška patka, Termiti, Elvis J. Kurtović i Meteori, Laibach… bendovi su koji su obilježili YU glazbenu scenu tog vremena PUNK u HR • Punk u Hrvatskoj rođen je 22. ožujka 1978. kada je u riječkom klubu Circolo prvi out nastupio hrvatski punk band Parafi • Nakon njihovog nastupa, glazbenu scenu su doslovce preplavili punk bandovi: Termiti, Blank Generation, Zadnji, Lom, Protest, Mrtvi kanal, No.1, Radnička kontrola, Kurvini sinovi, Silovani, Genocid, Protekcija, a u drugom valu pojavili su se KUD Idijoti, Satan panonski, Psihomodo pop… • 6. 5. 1978. časopis Polet organizirao je Polet Rock maraton - Proljeće u Novom Zagrebu, koncert pred Građevinskim školskim centrom u Novom Zagrebu na kojemu su nastupili Pankrti, Azra, Prljavo kazalište i Parafi • Od tada više ništa nije bilo isto i polako počela formirati novovalna scena, zlatno doba domaćeg rocka i punk rocka Poslušajte kako zvuči hrvatski i ex yu punk • Pankrti, Lublana je Bulana • Parafi, Moj život je novi val • Termiti, Vjeran pas • Pekinška patka, Biti ružan, pametan i mlad • Prljavo kazalište, Crno-bijeli svijet • KUD Idijoti, Za tebe • Satan Panonski, Lepi Mario POP PUNK • Krajem 90-tih, punk poprima značajan zamah kada ga komercijalna glazbena industrija ponovo uvodi u pop kulturu • Novi bendovi djeluju kao boy bendovi, ali na punk-rock način • Iako sviraju nešto blažu verziju punka i izgledaju pomalo punkerski oni nemaju prisutnu punk ideologiju • Ova pojava se naziva još i TREĆI VAL PUNKA ili POP PUNK • Predstavnici su: Green Day, The Offspring, Blink 182, Good Charlotte… Poslušajte kako zvuči pop punk • Blink 182, All the small things • Good Charotte, The Anthem • Green Day, Basket Case • The Offspring, Pretty fly for a white guy • Punk se s vremenom uvukao u baš sve pore života, prisutan je u modi, dizajnu, glazbi, književnosti, televiziji i filmu… • Čak i kada je postao dio popularne kulture, prepoznat ćete ga po: sirovoj energiji, žestini, buntovnosti, odbacivanju svih tipova klasičnih obrazaca, provokativnosti... Hvala na pažnji i zapamtite- punk’s not dead!.
Recommended publications
  • The Memory of the Avant- Garde and the New Wave in the Contemporary
    The Memory of the Avant- Garde and the New Wave in the Contemporary Serbian Novel Marko Avramović Institute for Literature and Arts, 2 Kralja Milana St, 11000 Belgrade, Serbia https://orcid.org/0000-0001-5878-5777 [email protected] This article is dealing with the topic of two past twentieth-century epochs in a few representative Serbian novels at the turn from the twentieth to the twenty-first century. These are the 1980s and the New Wave era in Yugoslavia, an epoch close to the past that can still be written about from the perspective of an immediate witness, and the avant-garde era, that is, the period between the two world wars marked in art by different movements of the historical avant-garde. The novels Milenijum u Beogradu (Millennium in Belgrade, 2000) by Vladimir Pištalo, Vrt u Veneciji (The Garden in Venice, 2002) by Mileta Prodanović, and Kiša i hartija (Rain and Paper, 2004) by Vladimir Tasić are being interpreted. In these novels, it is particularly noteworthy that the two aforementioned epochs are most commonly linked as part of the same creative and intellectual currents in the twentieth century. Keywords: Serbian literature / contemporary Serbian novel / literary avant-garde / New Wave / Zenitism / rock and roll / Pištalo, Vladimir / Prodanović, Mileta / Tasić, Vladimir In Vladimir Tasić’s Farewell Gift (2001), one of the key contemporary Serbian novels, the narrator at some points expresses a high apprecia- tion of the two epochs. One is personally experienced, while the other has long been placed in historical niches
    [Show full text]
  • American Foreign Policy, the Recording Industry, and Punk Rock in the Cold War
    Georgia State University ScholarWorks @ Georgia State University History Dissertations Department of History Spring 5-10-2017 Music for the International Masses: American Foreign Policy, The Recording Industry, and Punk Rock in the Cold War Mindy Clegg Georgia State University Follow this and additional works at: https://scholarworks.gsu.edu/history_diss Recommended Citation Clegg, Mindy, "Music for the International Masses: American Foreign Policy, The Recording Industry, and Punk Rock in the Cold War." Dissertation, Georgia State University, 2017. https://scholarworks.gsu.edu/history_diss/58 This Dissertation is brought to you for free and open access by the Department of History at ScholarWorks @ Georgia State University. It has been accepted for inclusion in History Dissertations by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. MUSIC FOR THE INTERNATIONAL MASSES: AMERICAN FOREIGN POLICY, THE RECORDING INDUSTRY, AND PUNK ROCK IN THE COLD WAR by MINDY CLEGG Under the Direction of ALEX SAYF CUMMINGS, PhD ABSTRACT This dissertation explores the connections between US foreign policy initiatives, the global expansion of the American recording industry, and the rise of punk in the 1970s and 1980s. The material support of the US government contributed to the globalization of the recording industry and functioned as a facet American-style consumerism. As American culture spread, so did questions about the Cold War and consumerism. As young people began to question the Cold War order they still consumed American mass culture as a way of rebelling against the establishment. But corporations complicit in the Cold War produced this mass culture. Punks embraced cultural rebellion like hippies.
    [Show full text]
  • 239 Postanak I Razvoj Novog Vala Na Području Bivše
    POSAAK AZVOJ NOVO ALA NA PODRUČJU BIVŠE JUGOSLAVIJE Filozofski fakultet u Splitu, Odsjek za povijest E-mail: [email protected] Mihaljević Jurković Novi val vrsta je glazbe koja se pojavila u Velikoj Britaniji i u SAD-u 70-ih godina prošlog stoljeća. Iako prisutan već od druge polovice 70-ih, novi će val potaknuti veličanstveni uzlet bendova poklonika tog žanra, kao što su Azra, Prljavo kazalište, Film, Haustor na hrvatskoj, odnosno Električni orgazam, Šarlo akrobata i Idoli na srpskoj sceni. Ti su ljudi kreirali novu i drugačiju povijest, novu i drugačiju supkulturu koja je nesumnjivo utjecala na mlade generacije onog vremena. Prodor novog žanra u komunističke je zemlje, zbog njihove izoliranosti od zapadnih modernih utjecaja bio otežan, u nekim gotovo i nemoguć. Koji je to bitni element ili koji su to bitni elementi koji su otvorili vrata Jugoslavije Zapadu unatoč njezinoj orijentaciji? U kakvim se političkim prilikama razvijao i koliko je područja obuhvatio, odnosno je li se odnosio samo i isključivo na glazbu? Naposljetku, ne možemo se ne zapitati, upoznati sa situacijom na istoku i centru Europe, zašto je jedan tvrdokorni komunistički režim tolerirao buntovnost, samoizražavanje i slobodu rocka. Ovaj članak problematizira navedenu tematiku. Ključne riječi: novi val, 80-e, Jugoslavija, Polet, Azra, Pankrti, Prljavo kazalište, Branimir Štulić Johnny, Darko Rundek, Haustor, Bijelo dugme, Laibach Povijest noo aa Novi val u francuskoj kinematografiji s kraja 0- sineastima, nije se od samih početaka odnosio na glazbu. Naime, taj je pojam bio poznat novi val ih godina prošlog stoljeća po mladim dru odnosno mladim inovativnim predstavnicima umjetnosti. Osim što je zaslužan za gačije shvaćanje francuske kinematografije u smislu ideja o efikasnijoj i jeftinijoj glazbi.647 proizvodnji i metodama, dao je poticaj promjenama u drugim umjetnostima, naročito u Tijekom kasnih 70-ih i ranih 0- novog vala punka i rocka.
    [Show full text]
  • Novi Val U Glazbi Kao Odgovor Na Društveno-Politiĉke Promjene U Jugoslaviji 1980-Ih Godina
    Sveuĉilište u Zagrebu Filozofski fakultet Odsjek za povijest DIPLOMSKI RAD Tema: Novi val u glazbi kao odgovor na društveno-politiĉke promjene u Jugoslaviji 1980-ih godina Student: Nino Mihaljek Mentor: Hrvoje Klasić, dr. sc. Vlastoruĉni potpis: U Zagrebu, rujan 2015. _________________ SADRŢAJ 1. UVOD……………………………………………………………………………….3 2. ZAHVALE……………………………………………………………….................4 3. DRUŠTVENO-POLITIĈKA SITUACIJA U JUGOSLAVIJI KRAJEM 70-IH GODINA…………………………………………………………………….5 4. OBILJEŢJA PUNK GLAZBE…………………………………………………. 10 5. VAŢNOST BIJELOG DUGMETA ZA RAZVOJ DOMAĆE ROCK GLAZBE………………………………………………………………………….. 12 6. POJAVA PRVE JUGOSLAVENSKE ALTERNATIVNE GRUPE – BULDOŢER……………………………………………………………………… 14 7. RAZVOJ JUGOSLAVENSKOG PUNKA……………………………………....17 7.1. Pojava Pankrta i stvaranje ljubljanske punk scene……………………………17 7.2. Razvoj riječke punk scene – Paraf i Termiti…………………………………...23 7.3. Prljavo kazalište i formiranje zagrebačke punk scene………………………...32 8. FORMIRANJE ZAGREBAĈKE NOVOVALNE SCENE……………………..40 8.1. Azra…………………………………………………………………………….40 8.2. Film i Haustor………………………………………………………………….48 9. POJAVA I RAZVOJ BEOGRADSKOG NOVOG TALASA………………….53 10. BEOGRADSKI NOVOTALASNI BENDOVI………………………………....57 10.1. Električni orgazam…………………………………………………………...57 10.2. Idoli…………………………………………………………………………...61 11. ZAKLJUĈAK……………………………………………………………………65 12. SAŢETAK………………………………………………………………………. 67 13. BIBLIOGRAFIJA……………………………………………………………….68 2 1.Uvod IzmeĊu druge polovice 70-ih i sredine 80-ih godina 20. stoljeća, u Jugoslaviji se, pod utjecajem svjetskih dogaĊanja,
    [Show full text]
  • New Wave in Yugoslavia: Socio-Political Context  Udc 316.723:78(497.11)
    FACTA UNIVERSITATIS Series: Philosophy, Sociology, Psychology and History Vol. 12, No1, 2013, pp. 69 - 83 NEW WAVE IN YUGOSLAVIA: SOCIO-POLITICAL CONTEXT UDC 316.723:78(497.11) Jelena Božilović University of Niš, Faculty of Philosophy, Serbia E-mail: [email protected] Abstract. This paper analyzes the social and political implications of a popular culture music trend known as New Wave in SFRY. This trend was created in Great Britain and USA by the end of the 1970's but it "moved" to our country, as well, due to its opennes to Western culture. The Yugoslav New Wave was not a sheer copy of the Western trend but it managed to create its own original music expression becoming a phenomenon of one generation. The most popular new wave bands (Prljavo kazalište, Azra, Haustor, Film, Lajbah, Šarlo akrobata, Električni orgazam, Idoli) left a significant mark on the society, generation and the whole epoch not only in the sense of the music they created but also in the social, cultural and political sense. The New Wave was an avant-gard music trend whose ideals were reflected in simple musical forms, characteristic ideological engagement, visual presentations (music album covers and posters) and particularly in their lyrics full of irony, allusions and metaphors in relation to the establishment of the time. The paper compares the Western and Yugoslav new wave and punk music with a reference to their achievements and influence which is still present in contemporary culture. Key words: New Wave, Subculture, SFRY, Socialist ideology, Urban culture INTRODUCTION The new music trend, known as New Wave, originated in Great Britain and the Unated States of America in the late 1970s.
    [Show full text]
  • Jarc, Mirjana
    UNIVERZA V LJUBLJANI FAKULTETA ZA DRUŽBENE VEDE Mirjana Jarc Mentor: redni prof. dr. Igor Lukšič CIVILNA DRUŽBA V LJUBLJANI RADIO ŠTUDENT OD 1980 DO 1985 DIPLOMSKO DELO LJUBLJANA, 2005 Hvala možu in otrokoma za prijazno podporo in razumevajočo organizacijo družinskega življenja v času mojega študija in nastajanja tega diplomskega dela, hvala sestri za nevsiljivo, a vztrajno opominjanje, da je potrebno dokončati začeto delo na fakulteti, pa četudi po skoraj tridesetih letih, hvala mami in pokojnemu očetu za njuna odrekanja na začetku mojega študija pred desetljetji, hvala Neli v referatu za prijazno oporo pri razvozljavanju sodobne univerzitetne administracije, hvala profesorjem za intelektualno usmerjanje, hvala mentorju dr. Igorju Lukšiču za dobre ideje v pravem trenutku. Hvala vsem, ki ste me razumeli in z menoj delili ideje, iskanja, veselje, srečo, radovednost in tudi zmote, bolečino ter trpljenje, me opozarjali na napake v iskanju novih znanj in spoznanj in tako razširjali obzorja mojega razumevanja pojavnega in duhovnega sveta ter svojega mesta, vloge in odgovornosti v njem. 2 KAZALO UVOD............................................................................................................................................................................ 4 RAZISKOVALNI CILJI IN METODOLOGIJA ................................................................................................................. 7 KAJ JE RADIO? OPREDELITEV RADIA KOT MEDIJA ................................................................................
    [Show full text]
  • Punk & Pankrti
    Seminarska naloga: PUNK PUNK & PANKRTI Bor Kavčič 1.c Seminarska naloga: PUNK PUNK ... Why think of all the bad things when life is so good? Why help with an am when theres always a could? Let the whales worry about the poisons in the sea Outside of california, its foreign policy I dont want changes, I have no reactions Your dilemmas are my distractions ... NA SPLOŠNO Že po letu 80 se je govorilo da punka ni več. Vendar ni tako. V vsaki subkulturi se obdrži neko jedro gibanja, ki ne izginja kar tako. In tako je tudi s punkom. Korenine punka so postavile skupine kot so New York Dolls, The Stooges, Ramones…, ki so igrale garažno verzijo rock'n'rolla. Jedro tega gibanja je bilo v klubu CBGB v New Yorku. To je bil začetek. Punk je bil v zametkih. In vedno se najdejo ljudje, ki iz nečesa novega delajo denar. Punk ni bil izjema. Tako je bivši manager New York Dollsev po njihovem razpadu odsel v Britanijo s trdno voljo, da iz tega nekaj iztrži. Tako je v Britaniji sestavil skupino Sex Pistols. Iz izkušenj, ki jih je dobil pri vodenju Dollsov je vedel, kako mora peljati Sex Pistolse, da se zgodovina ne ponovi. In uspelo mu je. Iz punka je naredil show bussines. Ta manager je bil Malcom McLaren. Od uspeha Sex Pistolsov se je punk po Britaniji raznesel kot zelo nalezljivi virus. Nove skupine so nasatajale kot gobe po dežju. Punk je dobil svojo pravo obliko. Jedro punk miselnosti so bili člani skupine The Clash, ki so zagovarjali Beli upor ali White Riot.
    [Show full text]
  • REES 325/ EUS 347/ WGS 345: Punks & Divas in Southeastern
    Instructor: Dr. Vladislav Beronja [email protected] REES 325/ EUS 347/ WGS 345: Punks & Divas in Southeastern Europe: Popular Music and Cultural Identity in the Balkans COURSE DESCRIPTION “What kind of music do you listen to?” can be a loaded question. Based on your taste in music, others will invariably place you in a specific (sub)culture, class, lifestyle, and even speculate about your political commitments. Your taste in music can make or break a friendship, produce feelings of camaraderie as well as of repulsion. For some time now, scholars have viewed popular music as a dynamic cultural field, where various social meanings—attached to race, nationality, gender, and sexuality—are constantly being produced, contested, and negotiated among different communities of listeners. This insight into music as a crucial site of political struggle and collective identity formation will be the starting point in our analysis of popular music genres in the Balkans, a region of Europe that has undergone sweeping historical changes in the 20th and 21st centuries, including the fall of Communism and—in the case of former Yugoslavia—the formation of seven new nation- states through a series of bloody and brutal wars. We will begin the class by examining the emergence of Western pop genres, such as punk and new wave rock, in late socialism (in the 1980s), which became associated with urban youth subcultures, sophisticated irony, and liberalization of the one-party state. From there, we will move to the analysis of “turbo-folk,” a curious mixture of contemporary electronic and traditional folk music that became extremely popular in the 1990s, when the conflict in Yugoslavia was at its peak.
    [Show full text]
  • Translocal Hardcore Punk in Los Angeles and Ljubljana
    Georgia State University ScholarWorks @ Georgia State University History Theses Department of History Spring 5-13-2011 "Through the Roof and Underground": Translocal Hardcore Punk in Los Angeles and Ljubljana Mindy L. Clegg Georgia State University Follow this and additional works at: https://scholarworks.gsu.edu/history_theses Recommended Citation Clegg, Mindy L., ""Through the Roof and Underground": Translocal Hardcore Punk in Los Angeles and Ljubljana." Thesis, Georgia State University, 2011. https://scholarworks.gsu.edu/history_theses/44 This Thesis is brought to you for free and open access by the Department of History at ScholarWorks @ Georgia State University. It has been accepted for inclusion in History Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. "THROUGH THE ROOF AND UNDERGROUND": TRANSLOCAL HARDCORE PUNK IN LOS ANGELES AND LJUBLJANA by MINDY L. CLEGG Under the direction of Michelle Brattain ABSTRACT Punk moved from a marginal subculture to an underground counter-culture -- hardcore punk -- which shared musical culture and sense of a communal identity. Local punk scenes grew, in part due to attention from mass media. New kids in the scene brought new tensions and attracted the attention of authorities. Two police incidents signaled a shift in the punks© view of themselves. I examine two punk scenes from 1975 to 1985 in Los Angeles, USA and Ljubljana, Yugoslavia by looking at newspapers, television programs, fanzines, music, and clothing. I show that a loosely connected group of individuals, self-identified as punk, became increasingly similar as the parent cultures put increasing pressure on punks. Index Words: History, 20th century, Punk, Rock, Los Angeles, Ljubljana, Yugoslavia, Slovenia, Cold War, Popular culture, Counter-culture "THROUGH THE ROOF AND UNDERGROUND": TRANSLOCAL HARDCORE PUNK IN LOS ANGELES AND LJUBLJANA by MINDY L.
    [Show full text]
  • Don't Look Back: Ljubljana (SR Slovenia)
    Don’t Look Back: Ljubljana (SR Slovenia) July 7, 2017 Vol IV: Rock and Pop Music in Ljubljana in the 1980s (incomplete overview) *subject to change* Well, the story of YU punk-rock officially starts in Slovenia. Punk rock (and strange local branch of RIO) flourished in this Alpine region and encompassed the whole country due to small size of the northernmost and in some ways most progressive former Socialist Republic. The first independent music labels were situated only in Slovenia in the beginning. ‘Novi rock’ festival in Ljubljana had similar function as YURM in Zagreb, giving chance to local talents. In addition to that Novi rock organizers were inviting interesting foreign bands from independent / underground sector and presenting them to Yugoslavian rock public. Igor Vidmar from Radio Študent had the key role in promotion of new rock music (comparable to John Peel’s radio DJ efforts in UK albeit with very modest broadcast range) in Ljubljana/Slovenia. Ljubljana (Laibach) is a lovely small town, compared to Zagreb or Beograd. However, it was equally gray and dull as the rest, just a different shade of boredom. To an accidental passerby and stranger, like I was, it always seemed sleepy and tranquil. — punk rock / new wave — Who were the culprits and catalysts then? Slovenian bastards – Pankrti! a step back: Satirical blues-rock of bearded granddads Buldožer (1975-84) that bulldozed and paved the way for critical thought in mid 1970s YU rock (if they didn’t update the sound farther than Zappa) should be mentioned as pre punk introduction note. Buldožer - Novo Vrijeme Prog punks ’79 Anyhow, Pankrti are proud parents (they were already students close to 25 years of age) of the first independently released punk single “Lepi in prazni” in 1978.
    [Show full text]
  • American Foreign Policy, the Recording Industry, and Punk Rock in the Cold War Mindy Clegg Georgia State University
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by ScholarWorks @ Georgia State University Georgia State University ScholarWorks @ Georgia State University History Dissertations Department of History Spring 5-10-2017 Music for the International Masses: American Foreign Policy, The Recording Industry, and Punk Rock in the Cold War Mindy Clegg Georgia State University Follow this and additional works at: http://scholarworks.gsu.edu/history_diss Recommended Citation Clegg, Mindy, "Music for the International Masses: American Foreign Policy, The Recording Industry, and Punk Rock in the Cold War." Dissertation, Georgia State University, 2017. http://scholarworks.gsu.edu/history_diss/58 This Dissertation is brought to you for free and open access by the Department of History at ScholarWorks @ Georgia State University. It has been accepted for inclusion in History Dissertations by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. MUSIC FOR THE INTERNATIONAL MASSES: AMERICAN FOREIGN POLICY, THE RECORDING INDUSTRY, AND PUNK ROCK IN THE COLD WAR by MINDY CLEGG Under the Direction of ALEX SAYF CUMMINGS, PhD ABSTRACT This dissertation explores the connections between US foreign policy initiatives, the global expansion of the American recording industry, and the rise of punk in the 1970s and 1980s. The material support of the US government contributed to the globalization of the recording industry and functioned as a facet American-style consumerism. As American culture spread, so did questions about the Cold War and consumerism. As young people began to question the Cold War order they still consumed American mass culture as a way of rebelling against the establishment.
    [Show full text]
  • Slovene Popular Music Between the Global Market and Local Consumption
    Rajko MursiC (Ljubljana) Local Feedback: Slovene Popular Music between the Global Market and Local Consumption Feedback on the large scale: An anthropological view Popular music is a complex cultural phenomenon. In order to understand it, it is essential to take into consideration different levels of its appearance, range and impact. These levels demand different methodological approaches. It is one thing to begin analysis at micro-level, contextualise the insights at the mezzo- level and theorise the problem at the macro-level. But it is something completely different to start at macro-level and automatically impose the insights from that level to the narrower levels of study. And, again, it is methodologically equally challenging to begin analysis at the mezzo-level and con- textualise or compare its specificity with evidence from the micro- and macro-levels. In times when apparent and hidden flows of "cultural economy" in the "global ecumene" (on this term see Hannerz 1989; 1996), with all its disjunctures, especially concerning ethnoscapes, mediascapes, technoscapes, finanscapes and ideoscapes (Appadurai 1990), it is becoming increasingly important to draw attention to the issues "of the global within the local and vice- versa" (Slobin 1993, p. 23), Awareness of this dynamics also demands attentive reflection on political and other conditions which determine historical and current reception, reproduction and production of popular music. Anthropology seems well prepared for such an orientation. Recent critiques of ethnography, especially discussions about "writing culture" (cf. Clifford and Marcus 1986) have led to a revaluation of anthropology's basic empirical starting points and "changing conditions of the research project itself' within the ASPM - Beltröge zur Popularmusikforschung 29/30 125 framework of "unexpected contexts, shifting constituencies, and The present international context is quite clear.
    [Show full text]