Repertoar Pesama ,,Barakuda Benda”
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Law and Military Operations in Kosovo: 1999-2001, Lessons Learned For
LAW AND MILITARY OPERATIONS IN KOSOVO: 1999-2001 LESSONS LEARNED FOR JUDGE ADVOCATES Center for Law and Military Operations (CLAMO) The Judge Advocate General’s School United States Army Charlottesville, Virginia CENTER FOR LAW AND MILITARY OPERATIONS (CLAMO) Director COL David E. Graham Deputy Director LTC Stuart W. Risch Director, Domestic Operational Law (vacant) Director, Training & Support CPT Alton L. (Larry) Gwaltney, III Marine Representative Maj Cody M. Weston, USMC Advanced Operational Law Studies Fellows MAJ Keith E. Puls MAJ Daniel G. Jordan Automation Technician Mr. Ben R. Morgan Training Centers LTC Richard M. Whitaker Battle Command Training Program LTC James W. Herring Battle Command Training Program MAJ Phillip W. Jussell Battle Command Training Program CPT Michael L. Roberts Combat Maneuver Training Center MAJ Michael P. Ryan Joint Readiness Training Center CPT Peter R. Hayden Joint Readiness Training Center CPT Mark D. Matthews Joint Readiness Training Center SFC Michael A. Pascua Joint Readiness Training Center CPT Jonathan Howard National Training Center CPT Charles J. Kovats National Training Center Contact the Center The Center’s mission is to examine legal issues that arise during all phases of military operations and to devise training and resource strategies for addressing those issues. It seeks to fulfill this mission in five ways. First, it is the central repository within The Judge Advocate General's Corps for all-source data, information, memoranda, after-action materials and lessons learned pertaining to legal support to operations, foreign and domestic. Second, it supports judge advocates by analyzing all data and information, developing lessons learned across all military legal disciplines, and by disseminating these lessons learned and other operational information to the Army, Marine Corps, and Joint communities through publications, instruction, training, and databases accessible to operational forces, world-wide. -
Domaće Pesme
SPISAK KARAOKE PESAMA Domaće pesme Sanja - Sindy 064 / 11 55 735 www.facebook.com/SindyKaraoke www.sindykaraoke.com [email protected] DOMAĆE PESME SINDY KARAOKE Sanja 064/11-55-735 najveći izbor domaćih i stranih karaoke pesama (engleskih, italijanskih, francuskih, španskih, ruskih) IZVOĐAČ PESMA IZVOĐAČ PESMA 187 Nikada nećeš znati Aleksandra Radović Ako nikada Aca i Mira Vrati nam se, druže Aleksandra Radović Čuvaj moje srce * Aca Ilić Lepe oči zelene Aleksandra Radović Jesam te pustila Aca Lukas Bele ruže Aleksandra Radović Još danas Aca Lukas Burbon Aleksandra Radović Kao so u moru Aca Lukas Čaše moje polomljene Aleksandra Radović Karta za jug Aca Lukas Dijabolik Aleksandra Radović Nisi moj Aca Lukas Hiljadu puta Aleksandra Radović Zažmuri Aca Lukas Imate li dušu tamburaši Aleksandra Ristanović Dočekaj me sa osmehom Aca Lukas Ista kao ja Alen Islamović Ispod kaputa Aca Lukas Ja živim sam Alen Slavica Dao sam ti dušu Aca Lukas Jagnje moje Alen Vitasović Bura Aca Lukas Koma Alisa Sanja Aca Lukas Kuda idu ljudi kao ja Alka i Džej Da si sada tu Aca Lukas Lična karta Alka i Stavros Zrak, zemlja, zrak Aca Lukas Na žalost Alka i Vuco Kad bi opet Aca Lukas Ne pitaj Alka Vuica Bolje bi ti bilo Aca Lukas Nešto protiv bolova Alka Vuica Ej, šta mi radiš Aca Lukas Niko jedan, dva i tri Alka Vuica Kriva Aca Lukas Otrov sipala Alka Vuica Laži me Aca Lukas Pao sam na dno Alka Vuica Nek’ ti jutro miriše na mene Aca Lukas Pesma od bola Alka Vuica Od kad te nema Aca Lukas Poljem se širi miris tamjana Alka Vuica Profesionalka Aca Lukas Pustinja -
1 En Petkovic
Scientific paper Creation and Analysis of the Yugoslav Rock Song Lyrics Corpus from 1967 to 20031 UDC 811.163.41’322 DOI 10.18485/infotheca.2019.19.1.1 Ljudmila Petkovi´c ABSTRACT: The paper analyses the pro- [email protected] cess of creation and processing of the Yu- University of Belgrade goslav rock song lyrics corpus from 1967 to Belgrade, Serbia 2003, from the theoretical and practical per- spective. The data have been obtained and XML-annotated using the Python program- ming language and the libraries lyricsmas- ter/yattag. The corpus has been preprocessed and basic statistical data have been gener- ated by the XSL transformation. The diacritic restoration has been carried out in the Slovo Majstor and LeXimir tools (the latter appli- cation has also been used for generating the frequency analysis). The extraction of socio- cultural topics has been performed using the Unitex software, whereas the prevailing top- ics have been visualised with the TreeCloud software. KEYWORDS: corpus linguistics, Yugoslav rock and roll, web scraping, natural language processing, text mining. PAPER SUBMITTED: 15 April 2019 PAPER ACCEPTED: 19 June 2019 1 This paper originates from the author’s Master’s thesis “Creation and Analysis of the Yugoslav Rock Song Lyrics Corpus from 1945 to 2003”, which was defended at the University of Belgrade on March 18, 2019. The thesis was conducted under the supervision of the Prof. Dr Ranka Stankovi´c,who contributed to the topic’s formulation, with the remark that the year of 1945 was replaced by the year of 1967 in this paper. -
3. Terenska Audio Snimanja Reportažna Audio Kola
3. Terenska audio snimanja Reportažna audio kola Sadržaj: 1. Uvod 1 2. Preprodukcija 6 3. Produkcija 33 4. Postprodukcija 36 Literatura 38 1. Uvod Emisija Rok godišnjak 202 je emisija na radio Beogradu 202 i bavi se odabirom najboljeg albuma u prethodnoj godini, u ovom slučaju to je bila 2016. godina. Albumi se svrstavaju u 5 kategorija. Po propozicijama glasanja Svaki slušalac ima pravo da pošalje jedan e-mail dnevno i to da glasa za tri najbolja albuma po njihovom mišljenju u svakoj od kategorija, tako prvi pomenuti izvođač u svakoj kategoriji dobija tri, drugi dobija dva i treći jedan bod. Kao što sam već rekao bendovi i izvođači su grupisani u pet kategorija: album godine u kategoriji veterana za teritoriju Srbije, izvođač godine za teritoriju regiona (Hrvatska, Bosna i Hercegovina, Makedonija, Crna Gora, Slovenija), album godine u kategoriji debitanti za teritoriju Srbije, singl godine za teritoriju Srbije i kompilacija godine (razni izvođači) za teritoriju Srbije. U kategoriji veterana za teritoriju Srbije u konkurenciji su bili albumi: Ana Ćurčin – Skathes Of Belonging, Bluz rezervata – Evo ti ritam, Bombarder – Otok iz pakla, D Zoo – Treća armija, trećeg sveta, Dreddup – DeathOven: Rebels Have No Kings, Dža ili bu – Sedma sila, Električni orgazam – Dom omladine 2015 uživo, Faust – Paklenih 25, Fish On Oil – 3 ključa, Karizma – Smej se, Kilo, kilo banda – Ipak borba, Mece – Dobro jutro, stres može da počne, Milan Mumin – In Case That One Of Them Is You, Nemanja Popović – Pop muzika, Repetitor – Gde ćeš, Seljačka buna – Brljantin epik!, Soulcraft – Save Planet, Mortal Kombat – Besprekorna pobeda, Sacramental Blood – Ternion Demonarchy, S.A.R.S. -
The Balkans of the Balkans: the Meaning of Autobalkanism in Regional Popular Music
arts Article The Balkans of the Balkans: The Meaning of Autobalkanism in Regional Popular Music Marija Dumni´cVilotijevi´c Institute of Musicology, Serbian Academy of Sciences and Arts, 11000 Belgrade, Serbia; [email protected] Received: 1 April 2020; Accepted: 1 June 2020; Published: 16 June 2020 Abstract: In this article, I discuss the use of the term “Balkan” in the regional popular music. In this context, Balkan popular music is contemporary popular folk music produced in the countries of the Balkans and intended for the Balkan markets (specifically, the people in the Western Balkans and diaspora communities). After the global success of “Balkan music” in the world music scene, this term influenced the cultures in the Balkans itself; however, interestingly, in the Balkans themselves “Balkan music” does not only refer to the musical characteristics of this genre—namely, it can also be applied music that derives from the genre of the “newly-composed folk music”, which is well known in the Western Balkans. The most important legacy of “Balkan” world music is the discourse on Balkan stereotypes, hence this article will reveal new aspects of autobalkanism in music. This research starts from several questions: where is “the Balkans” which is mentioned in these songs actually situated; what is the meaning of the term “Balkan” used for the audience from the Balkans; and, what are musical characteristics of the genre called trepfolk? Special focus will be on the post-Yugoslav market in the twenty-first century, with particular examples in Serbian language (as well as Bosnian and Croatian). Keywords: Balkan; popular folk music; trepfolk; autobalkanism 1. -
Dehexing Postwar West Balkan Masculinities: the Case of Bosnia, Croatia, and Serbia, 1998 to 2015 Marko Dumancic, Western Kentucky University
Western Kentucky University From the SelectedWorks of Marko Dumančić January 12, 2016 Dehexing Postwar West Balkan Masculinities: The Case of Bosnia, Croatia, and Serbia, 1998 to 2015 Marko Dumancic, Western Kentucky University Available at: https://works.bepress.com/marko-dumancic/3/ The analysis of post-Yugoslav and West Balkan masculinities remains, perhaps unsurprisingly, tethered to the study of interethnic warfare, postconflict reconciliation, and radical right-wing politics (Milojevic´ 2012; Pavlovic´ 1999; Irvine and Lilly 2007; Bracewell 2000; Hayden 2000; Munn 2008).1 Although recent scholarship has explored more fully the position of men who do not benefit from the so-called patriarchal dividend (Milicevic´ 2006; Zarkov 2001), West Balkan men are by and large studied as participants (whether active or passive) in a range of oppressive sociopolitical structures (Capriqi 2012; Rosic´ 2012). Although the scholarship analyzing the correlation between violence and West Balkan masculinity adds a unique and relevant nuance to the study of globalized violence, scholars too often study and depict traditional Balkan masculinities as an exclusively conservative bulwark against modernization writ large without advancing alternative understandings of West Balkan masculinity.2 For the local intelligentsia and urban media outlets too, Balkan masculinity represents forces of isolationism and exclusivist ethno-nationalism, especially in the context of European integration. If one were to judge by current Bosnian, Croatian, or Serbian media commentary, the West Balkans are, no less than they were a hundred years ago, at the crossroads between traditionalization and modernization, with the patriarchal system actively sabotaging modernity’s successful evolution in the region. Thus in both Western scholarship and West Balkan media outlets, masculine identities stand in for antimodern forces: backwardness, parochialism, and (neo-) traditionalism. -
Pristup Cjelovitom Tekstu Rada
Stručni članak Rukopis zaprimljen: 20. kolovoza 2019. Rukopis prihvaćen za tisak: 21. listopada 2019. FILOZOFIJA GLAZBE KAO FILOZOFIJA POPULARNE POJAVE Autor: Martina Matišić1 Sažetak: Svrha je ovoga rada filozofiju učiniti zanimljivijom i razum- ljivijom učenicima kroz popularnu filozofiju, tj. filozofiju popularnih pojava. Rad razmatra odnos filozofije glazbe kao filozofije popularne ATEIZAM, ATEIZAM, ANTITEIZAM, AGNOSTICIZAM pojave i znanstvene filozofije na primjeru rock glazbe. Metode -is traživanja obuhvaćaju: definiranje glazbe, rock glazbe i filozofije gla- zbe, anketiranje učenika o poznavanju rock i turbo-folk glazbe, prikaz rocka i turbo-folka kao filozofije glazbe te usporedbu rock i turbo-folk glazbe. Ključne riječi: filozofija, glazba, rock, filozofija popularnih pojava,- tur bo-folk 1. UVOD Ovaj rad predstavlja rezultate istraživanja odnosa filozofije glaz- be kao filozofije popularne pojave2 i nepopularne filozofije na prim- jeru rock glazbe kao popularizacije filozofije. Istraživanje je pojmovno te potpomognuto anketom. Cilj je ovoga rada potvrditi hipotezu da je filozofiju moguće učiniti pristupačnijom učenicima kroz rock glazbu, tj. 1 mag. phil., mag. relig., Gospodarska škola Varaždin, Božene Plazzeriano 4, 42 000 Varaždin, Srednja škola u Maruševcu s pravom javnosti, Maruševec 82, 42 243 Maruševec, [email protected] 2 Nepopularnom filozofijom naziva se ona filozofija koja je stručna, znanstvena, teorijska i funda- mentalna (npr. ontologija, epistemologija, filozofija uma i znanosti) te se često deklarira kao jedina prava i istinska filozofija jer se bavi teškim i apstraktnim problemima. S druge pak strane, ostala su područja neka možda manja filozofija, odnosno spadaju u popularnu filozofiju koja je neznanstvena, praktična i primijenjena (npr. etika, estetika, filozofija kulture i sl.). No za tu tvrdnju ne postoje nika- kvi argumenti jer praktična filozofija u smislu teorije djelovanja, pitanja slobodne volje, etike, pa i primijenjene etike istodobno su teška filozofska i nerijetko svakodnevna i životna pitanja. -
Domaće Popularne, Zabavne, Strane I Rok Pesme
DOMAĆE POPULARNE, ZABAVNE, STRANE I ROK PESME: o Aerodrom – Obična ljubavna pesma o Ambasadori – Dođi u 5 do 5 o Apsolutno Romantično – Đoletova pesma o Atomsko Sklonište – Olujni Mornar o Atomsko Sklonište – Pakleni vozači o Atomsko Sklonište – Za ljubav treba imat dušu o Azra – Balkan o Azra – Usne vrele višnje o Azra – Voljela me nijedna o Babe – Ko me ter’o o Babe – Noć bez sna o Baby Doll – Brazil o Bajaga – 220 u voltima o Bajaga – Godine prolaze o Bajaga – Moji su drugovi o Bajaga – Na vrhovima prstiju o Bajaga – Ti se ljubiš tako dobro o Bajaga – Tišina o Bajaga – Vratiće se rode o Bijelo Dugme – A i ti me iznevjeri o Bijelo Dugme – Ako ima Boga o Bijelo Dugme – Đurđevdan o Bijelo Dugme – Esma o Bijelo Dugme – Lažeš o Bijelo Dugme – Lipe cvatu o Bijelo Dugme – Na zadnjem sedištu moga auta o Bijelo Dugme – Napile se ulice o Bijelo Dugme – Padaju zvijezde o Bijelo Dugme – Pljuni i zapjevaj o Bijelo Dugme – Ružica si bila o Bijelo Dugme – Tako ti je mala moja kad ljubi o Boris Režak – Anđeo o Colonia – Ti da bu di bu da o Crvena Jabuka – Bacila je sve niz rijeku o Crvena Jabuka – Da nije ljubavi o Crvena Jabuka – Dirlija o Crvena Jabuka – Moje najmilije o Crvena Jabuka – Nekako s prolijeća o Crvena Jabuka – Stižu me sjećanja o Crvena Jabuka – Tamo gdje ljubav počinje o Crvena Jabuka – To mi radi o Crvena Jabuka – Tuga, ti i ja o Crvena Jabuka – Volio bi da si tu o Crvena Jabuka – Zovu nas ulice o Čutura – Voli me o Darko Domijan – Ulica jorgovana o Dado Topić I Slađana Milošević – Princeza o Dejan Cukić – Milica o Dejan Cukić – Nebo -
Relocating Popular Music
Relocating Popular Music Edited by Ewa Mazierska and Georgina Gregory Pop Music, Culture and Identity Pop Music, Culture and Identity Series Editors: Steve ("lark, University of Tokyo, Japan, Tristanne Connolly, St Jerome's, University of Waterloo, Canada and Jason Whittakcr, f-'alinouth University, UK Advisory Hoard: Chris Be.st, University College Falmouth, UK, Audrey l;aine, Vice President of Marketing, CBS Records, Gavin Hayes, Musician, USA, John Ilutnyk, Goldsmiths, University of London, UK, Allan F;. Moore, University of Surrey, UK, Ryan Moore, l-'lorida Atlantic University, USA, Jennifer Otter, University of East London, UK, John Phillips, National University of Singapore, Singapore, Cristina Kuotolo, San Francisco, USA, Karl Simm.s, University of Liverpool, UK. Will Straw, Mc(iill University, Canada and Steve Waksman, Smith College, USA Pop music lasts. A form all too often assumed to be transient, commercial and mass-cultural has proven itself durable, tenacious and continually evolving. As such, it has become a crucial component in defining various forms of identity (individual and collective) as influenced hy factors such as nation, class, gender, ethnicity, location/situation, and historical period. Pop Music, Culture and Identity investigates the implications of this greatly enhanced status. Particular attention will he paid to issues such as the iconog- raphy of celebrity, the ever-expanding archive, the nature of the performance- event, the parameters of generational memory, and the impact of new technologies on global -
YUGO Folk MIDI Karaoke – 614 Datotek Aca Lukas
YUGO Folk MIDI Karaoke – 614 datotek Aca Lukas - Blamiras me-zoranco.kar Aca Lukas - Burbon.kar Aca Lukas - Crni Gavrane.Kar Aca Lukas - Dijabolik.kar Aca Lukas - Istina je da te lazem.kar Aca Lukas - Kuda Idu Ljudi Kao Ja.Kar Aca Lukas - Licna Karta..kar Aca Lukas - Neznanka..kar Aca Lukas - Nije ti ovo Amerika.kar Aca Lukas - Niko Jedan, Dva I Tri.Kar Aca Lukas - Pesma od bola.kar Aca Lukas - Poljem se siri miris tamjana.Kar Ado Gegaj - Okreni moj broj.kar Aleksandra Perovic - Opijum.KAR Aleksandra Radovic - Ako nikada.KAR Aleksandra Radovic - Jos Danas.kar Aleksandra Radovic - Karta za jug.KAR Amadeus - Kupi me.Kar Amadeus_-_Nju_Ne_Zaboravljam.kar Ana Bekuta - Kralj ponoci.kar Ana Bekuta i Keba - Treba vremena.kar ANA NIKOLIC - HOCU DA TE GLEDAM.kar ANA NIKOLIC - JANUAR .kar ANA NIKOLIC - ROMALE ROMALI.kar Ana Nikolic - Vatra.kar Baja - Bela ruzo..kar Baja - Devica...kar Baja - Doci Cu Ti Na Vencanje.Kar Baja - Ginem Ginem.Kar Baja - Helena Elena..kar Baja - Leptir...kar Baja - Ljubomorci..kar Baja - Luda, luda devojka..kar Baja - Napacena dusa..kar Baja - Nocna ptica..kar Baja - Od ruke do ruke..kar Baja - Pijan sam.kar Bane Bojanic - Navali narode...kar Bane Bojanic - Pola vino pola voda.kar Bane Bojanic - Zelene oci i crne kose...kar Bane Bojanic - Zlobnica...kar Beki Bekic - Zasto me ostavljas ti...kar Beki-Sasa-Knez - Giljam dade.kar Bele Ruze Nezne Ruze..kar Blek Panters - Kakvu zenu imam.kar Boban Zdravkovic - Hej moji drugovi...kar Boban Zdravkovic - Ne Dolazi U Moj San..kar Boban Zdravkovic - Otisla si jednog dana...kar Boban -
Of Nationalism: Bodies on Estrada in Postsocialist Serbia∗
DOI: 10.2298/GEI1102127M UDK: 316.723:323.1(497.11)"200" ; 172.15:784.011.26(497.11)"200"; 305:784.011.26(497.11)"200" ID: 187972876 Accepted for publication on September 16th 2011 Marijana Mitrovic Institute of Ethnography SASA, Belgrade [email protected] The “Unbearable Lightness” (of the Subversion) of Nationalism: Bodies on Estrada in Postsocialist ∗ Serbia This paper analyzes the cult of the nation and Orthodoxy in popular music of postsocialist Serbia in gender perspective. Keywords: First I present historical revisionism regarding gender roles and the construction of gender identities in the nationalist dis- gender identities, courses of postsocialist Serbia. I locate this issue into the regis- body on estrada, ter of neofolk music, i.e. the so called estrada (music show neofolk music, na- business). Following a diachronic recapitulation of a female tionalism, Ortho- singer’s role in popular folk music, through a case study of the doxy, icon, spectacle icon of Saint Ceca, but also referring to other examples, I ana- lyze the interconnection of national, religious and class factors in the construction of gender identities of body in estrada. The purpose of this analysis is to indicate how these bodies assert discourses of nationalism and Orthodox religiousness as its core, but also to map the points of their potential subversive- ness in relation to these discourses. The issue of continuity and discontinuity is one of the most relevant in both scientific and social discourses of postsocialist countries. Popular culture is one of the registers of these changes. It is often believed that female performers are em- blematic of popular music and that their personas, i.e. -
YUGO MIDI Izbrane Karaoke Matrice – 196 Skladb Alen Vitasović
YUGO MIDI izbrane karaoke matrice – 196 skladb Alen Vitasović - Ne moren bez nje Alka Vuica - Ej šta mi radiš Alka Vujica - Laži me Alka Vujica - Otkad te nema Alka Vujica - Varalica Andjela in Dražen Zećić - Ima li nade za nas Azra - A sta da radim Azra - Balkan Bijelo dugme - Da sam pekar Bijelo Dugme - Djurdjevdan Bijelo Dugme - Evo zakleću se Bijelo Dugme - Nakon svih ovih godina Bijelo Dugme - Ne spavaj mala moja Bijelo Dugme - Ružica si bila, sada više nisi Bijelo Dugme - Ružmarin, snjegovi i šaš Bijelo Dugme - Selma Boris Novkovic - Dok svira radio Boris Novković - Tamara Boris Novković - U dobru i zlu Brina - CRO mix Ceca - Beograd Ceca - Dokaz Ceca - Idi dok si mlad Ceca - Kukavica Ceca - Lepi grome moj Ceca - Maškarada Ceca - Pile Ceca - Sta je to u tvojim venama Ceca - Trula višnja Colonia - Budi mi zbogom moja mala Colonia - Cest la vie Colonia - Svijet voli pobjednike Colonia - Svjetla grada Colonia - Ti da bu di bu da Colonia - Vatra i led Colonia - Za tvoje snene oči Crvena Jabuka - Svidja mi se ova stvar Crvena Jabuka- Sanjao sam moju ružicu Crveni Koralji - Mnogo znacis za moj zivot draga Dalibor Brun - Još i danas, Kad odu svi, Ne peru.Dovidjenja MIX Dalibor Brun - Tuzna su zelena polja (mix) Dalmatinska - Poći ču na more (Ja nikog nemam) Dalmomix - Oaza band 3 Dalmomix - Oaza band Daniel Popović - Julie Daniela - Marke nemam Daniela - Nemam s kime doćekati zime Danijela - Da je sladje zaspati Danijela - Grube rijeći Danijela - Neka mi ne svane Danijela - Plesi sa mnom Danijela - Što sam ja, što si ti Danijela - To nije to Danijela - Virus Danijela - Zovem te ja Davor Radolfi - Neka zivim kako zivim Davor Radolfi.