Various Super Hitovi Vol

Total Page：16

File Type：pdf, Size：1020Kb

Various Super Hitovi Vol. 6 mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic / Hip hop / Rock / Latin / Pop / Folk, World, & Country Album: Super Hitovi Vol. 6 Country: Yugoslavia Released: 2002 Style: Dance-pop, Euro House, Pop Rap, Pop Rock, Europop, Folk MP3 version RAR size: 1460 mb FLAC version RAR size: 1561 mb WMA version RAR size: 1660 mb Rating: 4.9 Votes: 728 Other Formats: VOX ADX MP1 XM VOC TTA MPC Tracklist Hide Credits Sreda 1 –Leontina Arranged By – A. Aleksov*Lyrics By – Lj. Jorgovanović*Music By – Ž. 3:48 Joksimović* Voli Me, Mrzi Me 2 –Ceca Slavković* 3:45 Arranged By – A. Kobac*Lyrics By – S. Slavković*Music By – Petar Jelić Kao, Kao 3 –Đogani 3:48 Arranged By – A. Kobac*Music By, Lyrics By – S. Ćupurdija* Plakaćeš K'o Žena 4 –Jellena 3:19 Arranged By – R. Pajić*Lyrics By – Z. Leković*Music By – N. Leković* Sedam Dana 5 –Karma Arranged By, Music By – J. Miani*Lyrics By – M. Zemčak*Music By, 4:54 Arranged By – N. Čirjak* Ako Lažem Tu Me Seci 6 –Oliver Mandić 3:20 Lyrics By – M. Tucaković*Music By, Arranged By – O. Mandić* Mene Ti 7 –Romana* Arranged By – S. Marković*Lyrics By – Lj. Jorgovanović*, M. 5:00 Tucković*Music By – A. Radulović* Virus 8 –Danijela* 3:34 Arranged By – N. Bratoš*Lyrics By – A. Vuica*Music By – P. Grašo* Ni Na Zemlji, Ni Na Nebu 9 –Goca Tržan 3:07 Written-By, Arranged By – A. Milutinović* Petak Na Subotu 10 –Željko Joksimović 3:26 Arranged By – Ž. Joksimović*Music By, Lyrics By – D. Brajović* Pređi Preko Svega 11 –Željko Samardžić Arranged By – D. Abadić*Lyrics By – M. Tucaković*Music By – Ianis 3:52 Karalis* Nije Loše 12 –Željko Šašić 2:52 Lyrics By – M. Tucaković*Music By, Arranged By – A. Radulović* Tri Flaše 13 –O.K. Band* 3:45 Arranged By – S. Marković*Music By, Lyrics By – D. Brajović* Devojčice 14 –Zana Arranged By [Uncredited] – Žika FilipovićLyrics By – J. Galonjić*Music 3:43 By – Kika Mac* Potonuo 15 –B-3 3:59 Lyrics By – A. Ćupurdija*Music By, Arranged By – Atelje Trag Mene Ne Zanima To 16 –Xenia* 4:28 Arranged By – G. Kostić*Lyrics By – J. Numić*Music By – Shania Twain Pizza Vegeteriana II 17 –Gru Arranged By – Gru, Srđan BabovićFeaturing [Uncredited] – Shorty 4:17 Lyrics By – Gru, Shorty Music By – Gru Odlazim, Korak Naprijed, Nazad Dva 18 –Valentino 5:40 Arranged By – Nikša BratošMusic By, Lyrics By – Zijo Valentino* Companies, etc. Copyright (c) – City Records Phonographic Copyright (p) – City Records Designed At – Pink Design Studio Printed By – Štamparija Matija Credits Editor [Editor-in-chief] – Milica Mitrović Editor [Music] – Goran Tomanović Other [Director] – Bane Stojanović Notes DeSign & prepress: pINk deSign Studio. Barcode and Other Identifiers Barcode: 8 606004 170187 Rights Society: SOKOJ Matrix / Runout: ['CITY records' logo] CITY CD 166 Other versions Category Artist Title (Format) Label Category Country Year Super Hitovi Vol. 6 City Records , MC 166, MC166 Various MC 166, MC166 Yugoslavia 2002 (Cass, Comp) City Records Related Music albums to Super Hitovi Vol. 6 by Various Željko Joksimović - Željko Joksimović Slavica - Zar Srce Može Više Da Voli Neda Ukraden - Pevam O Ljubavi Zorica Marković - Otrov I Šlag Boban Rajović - Kosači Various - Prvi Glas Srbije '97.: Zabavna Muzika - Nove Kompozicije Nikola Burovac - Opasno Bezobrazna Aleksandar Kapriš - Aleksandar Kapriš Various - Kafanske Balade 1 Various - Beovizija 2006.

Copy Link

Recommended publications

Turbo-Folk En Nationalisme in Servië
Universiteit Gent Faculteit Letteren en Wijsbegeerte Academiejaar 2007-2008 TURBO-FOLK EN NATIONALISME IN SERVIË Scriptie ingediend tot het behalen van de graad van licentiaat in de Oost-Europese Talen en Culturen Promotor: Dr. Stijn Vervaet Door: Joost Gisquière II Dankwoord Een scriptie is nooit het resultaat van het werk van één enkel persoon. Hierbij had ik graag mijn promotor, Dr. Stijn Vervaet, bedankt voor de goede begeleiding, Prof. Spomenka Brašić voor het aandragen van het idee om een scriptie rond het onderwerp “turbo-folk” te schrijven en uiteraard Dina, Nataša en Viktorija voor de warme ontvangst, de vele gesprekken en een introductie in het uitgaansleven van Belgrado. III IV INHOUDSOPGAVE Inleiding ...................................................................................................................................... 1 1 Novokomponovana: 1940-eind jaren ‟80. ............................................................................... 4 1.1 Oorsprong ......................................................................................................................... 4 1.1.1 Stad en platteland. ..................................................................................................... 5 1.2 Stijl ................................................................................................................................... 6 1.2.1 Izvorna muzika en novokomponovana. ..................................................................... 6 1.3 Analyse ............................................................................................................................
[Show full text]
Zar Ne Jelena Karleusa Mp3 Download
Zar ne jelena karleusa mp3 download Buy Zar ne: Read Digital Music Reviews - jelena karleusa zar ne, beznadezan slucaj, nije ona, istina je da te lazem teatro size: MB - Duration: - Bitrate: Kbps - FileType: mp3. Watch the video, get the download or listen to Jelena Karleusa – Zar Ne for free. Zar Ne appears on the album JK Diamond Collection. Discover more music, gig. Jelena Karleusa - Zar Ne tekst lyrics: Zar ne, a rekao siodmah sutra zvaces mei dvesta puta ako trebasto da ne, sto da neRef. 2xSvi me zovu, mama, non stop. Streaming Jelena Karleusa - Zar Ne (Official Song Release - HQ) mp3 and download new album of Jelena Karleusa - Zar Ne (Official Song Release - HQ) for. Streaming Jelena Kareuša - Zar Ne TEKST mp3 and download new album of Jelena Kareuša download mp3 Jelena Karleuša - - Nisi U Pravu TEKST. Listen & Download jelena karleusa zar ne Mp3. Bitrate: kbps - File Type: MP3 - Source: Chords for Jelena Karleuša Zar Ne / Јелена Карлеуша Зар Не. Play along with guitar, ukulele, or piano with interactive chords and diagrams. Includes. Jelena Karleusa Lazes Bijelo Dugme LIVE AmiG Show. Jelena Karleusa The Diamond Collection 7 Downloads. 3 29 Karleusa Zar Ne kbps Mp3. Milena Ceranic - Devojke vole dijamante, Zar ne (Jelena Karleusa) UZIVO Ja se ne mogu. Artist: Jelena Karleusa, Song: So ft Nesh, Duration: , Size: MB, Download Jelena Karleusa - So ft Nesh № Jelena Karleusa Zar ne. JK - Zar ne - Duration: JKtheDIVA 3,, views · · Jelena Karleusa - Nije ona. Zar ne Lyrics: Zar ne, a rekao si / Odmah sutra zvaćeš me / I puta ako treba / Što da ne, što da ne / (x2) / Svi me zovu, mama, non-stop traže me / Svima reci.
[Show full text]
Popular Music and Narratives of Identity in Croatia Since 1991
Popular music and narratives of identity in Croatia since 1991 Catherine Baker UCL I, Catherine Baker, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated / the thesis. UMI Number: U592565 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI U592565 Published by ProQuest LLC 2013. Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 2 Abstract This thesis employs historical, literary and anthropological methods to show how narratives of identity have been expressed in Croatia since 1991 (when Croatia declared independence from Yugoslavia) through popular music and through talking about popular music. Since the beginning of the war in Croatia (1991-95) when the state media stimulated the production of popular music conveying appropriate narratives of national identity, Croatian popular music has been a site for the articulation of explicit national narratives of identity. The practice has continued into the present day, reflecting political and social change in Croatia (e.g. the growth of the war veterans lobby and protests against the Hague Tribunal).
[Show full text]
For the Homeland: Transnational Diasporic Nationalism and the Eurovision Song Contest
FOR THE HOMELAND: TRANSNATIONAL DIASPORIC NATIONALISM AND THE EUROVISION SONG CONTEST SLAVIŠA MIJATOVIĆ A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS GRADUATE PROGRAM IN GEOGRAPHY YORK UNIVERSITY TORONTO, CANADA December 2014 © Slaviša Mijatović, 2014 Abstract This project examines the extent to which the Eurovision Song Contest can effectively perpetuate discourses of national identity and belonging for diasporic communities. This is done through a detailed performance analysis of former Yugoslav countries’ participations in the contest, along with in-depth interviews with diasporic people from the former Yugoslavia in Malmö, Sweden. The analysis of national symbolism in the performances shows how national representations can be useful for the promotion of the state in a reputational sense, while engaging a short-term sense of national pride and nationalism for the audiences. More importantly, the interviews with the former Yugoslav diaspora affirm Eurovision’s capacity for the long-term promotion of the ‘idea of Europe’ and European diversities as an asset, in spite of the history of conflict within the Yugoslav communities. This makes the contest especially relevant in a time of rising right-wing ideologies based on nationalism, xenophobia and racism. Key words: diaspora, former Yugoslavia, Eurovision Song Contest, music, nationalism, Sweden, transnationalism ii Acknowledgements Any project is fundamentally a piece of team work and my project has been no different. I would like to thank a number of people and organisations for their faith in me and the support they have given me: William Jenkins, my supervisor. For his guidance and support over the past two years, and pushing me to follow my desired research and never settling for less.
[Show full text]
Popular Music and Political Change in Post- Tuñman Croatia Dr Catherine
‘It’s all the same, only he’s not here’?: popular music and political change in post- Tuñman Croatia Dr Catherine Baker University of Southampton Abstract: While Franjo Tuñman was the president of Croatia (1990–99), popular music and other forms of entertainment were heavily structured around the key presidential narratives: Croatia’s political and cultural independence from Yugoslavia, and the idea that Croatia’s war effort had been purely defensive. After Tuñman, the Croatian music industry had to cope with media pluralism and the transnational challenges of the digital era. Patriotic popular music expressed an oppositional narrative of Euroscepticism and resistance to the Hague Tribunal, yet Croatia retained and expanded its position in the transnational post-Yugoslav entertainment framework, undermining a key element of Tuñman’s ideology. ‘It’s all the same, only he’s not here’?: popular music and political change in post- Tuñman Croatia In September 2002, after another summer of protests against the government extraditing Croatian generals to the Hague Tribunal, the musician Marko Perković Thompson opened his concert at the Poljud stadium in Split by projecting a video which featured himself, the singer Ivan Mikulić and the Slavonian tamburica ensemble Najbolji hrvatski tamburaši. 1 The song, called ‘Sveto tlo hrvatsko’ (‘Holy Croatian soil’), lauded the late Croatian president Franjo Tuñman, who had died in December 1999. The men sang of Tuñman’s achievements and the sudden appearance of critics who had not dared to defy him when he was alive, and Thompson, a veteran of the Homeland War, contributed a verse remembering the days when friend had stood together with friend to defend Croatia.
[Show full text]
Удк 347.78: 681.854 (497.1)
27 УДК 347.78: 681.854 (497.1) ОРГАНИЗАЦИЯ ГРАМЗАПИСИ РОК-МУЗЫКИ И ПРАВОВОЙ СТАТУС РЕКОРДИНГОВЫХ ЛЕЙБЛОВ В ЮГОСЛАВИИ: ИСТОРИЯ И СОВРЕМЕННОСТЬ Синєокий О.В., к. ю. н., доцент Запорожский национальный университет, Украина В статье впервые в литературе изложен анализ становления и развития институтов грамзаписи в Югославии. Исследованы информационно-правовые аспекты организации югославских лейблов «Jugoton/Croatia Records», «PGP-RTB/PGP-RTS», «ZKP RTLJ/ZKP RTVS», «Jugodisk», «Diskoton», «Suzy» и «Menart Records». Особое место в авторском подходе к анализу справочного материала отведено систематизации информации по истории грамзаписи рок-музыки в Югославии. Кроме того, рассмотрены вопросы реформирования нормативно-правовой базы инфраструктуры фонографической индустрии после распада Югославии. Ключевые слова: грамзапись, лейбл, рекординговая индустрия, рок-музыка, Югославия. Cинєокий О.В. ОРГАНІЗАЦІЯ ГРАМЗАПИСУ РОК-МУЗИКИ І ПРАВОВИЙ СТАТУС РЕКОРДИНГОВИХ ЛЕЙБЛІВ В ЮГОСЛАВІЇ: ІСТОРІЯ ТА СУЧАСНІСТЬ / Запорожский национальный университет, Украина У статті вперше у літературі викладено аналіз становлення та розвитку інститутів грамзапису в Югославії. Досліджено інформаційно-правові аспекти організації югославських лейблів «Jugoton/Croatia Records», «PGP-RTB/PGP-RTS», «ZKP RTLJ/ZKP RTVS», «Jugodisk», «Diskoton», «Suzy» та «Menart Records». Особливе місце в авторському підході до аналізу довідкового матеріалу відведено систематизації інформації з історії грамзапису рок-музики в Югославії. Крім того, розглянуто питання реформування нормативно-правової бази інфраструктури фонографічної індустрії після розпаду Югославії. Ключові слова: грамзапис, лейбл, рекордингова індустрія, рок-музика, Югославія. Sineokyj O.V. THE ORGANIZATION OF ROCK-MUSIC RECORDING AND LEGAL STATUS OF RECORD-LABELS IN YUGOSLAVIA: HISTORY AND NOWEDAYS / Zaporizhzhya national university, Ukraine This article is the first publication in literature which gives us review of formation and development of record institutions in the Yugoslavia.
[Show full text]
Eurovision Song Contest: La Musica Che Unisce L'europa... E Non Solo!
Eurovision Song Contest: la musica che unisce l'Europa... e non solo! C'è chi la definisce la "Champions League" della musica e in fondo non sbaglia. L'Eurovision è una grande festa, ma soprattutto è un concorso in cui i Paesi d'Europa si sfidano a colpi di note. Tecnicamente, è un concorso fra televisioni, visto che ad organizzarlo è l'EBU (European Broadcasting Union), l'ente che riunisce le tv pubbliche d'Europa e del bacino del Mediterraneo. Noi italiani l'abbiamo a lungo chiamato Eurofestival, i francesi sciovinisti lo chiamano Concours Eurovision de la Chanson, l'abbreviazione per tutti è Eurovision. Oggi più che mai è una rassegna globale, che vede protagonisti nel 2018 43 paesi: 42 aderenti all'ente organizzatore più l'Australia, che dell'EBU è solo membro associato, essendo fuori dall'area, ma che nel 2015 fu invitata dall’EBU per festeggiare i 60 anni del concorso per via dei grandi ascolti che la rassegna fa in quel paese e che poi a partire dal 2016 è stata ufficialmente invitata dall’organizzazione. Con 43 paesi in concorso, viene eguagliato il numero di artisti in gara nelle edizioni di Belgrado 2008 e Düsseldorf 2011: record assoluto L'ideatore della rassegna fu un italiano ovvero Sergio Pugliese, nel 1956 direttore della RAI, che ispirandosi a Sanremo volle creare una rassegna musicale europea. La propose a Marcel Bezençon, il franco-svizzero allora direttore generale del neonato consorzio eurovisione, che mise il sigillo sull'idea: ecco così nascere un concorso di musica con lo scopo nobile di promuovere la collaborazione e l'amicizia tra i popoli europei, la ricostituzione di un continente dilaniato dalla guerra attraverso lo spettacolo e la tv.
[Show full text]
Turbo Folk and Dance Music in 1990S Serbia: Media, Ideology and the Production of Spectacle Ivana Kronja University of Arts, Belgrade
103 Turbo Folk and Dance Music in 1990s Serbia: Media, Ideology and the Production of Spectacle ivana kronja University of arts, belgrade “Media contents consolidate the mythological background of a community by producing metaphors which are to be used in the domain of the popular. For a totalitarian power the colonization of media space is the most effective shortcut to everyday life.” —Snježana Milivojević, The Nationalization of Everyday Life (Nacionalizacija svakidašnjice), in: “Serbian Side of War” (“Srpska strana rata”), Samizdat B92, Belgrade 2002, p. 230. Turbo-folk and dance music and sensibility significantly style and, in a wider context, a worldview. ‘Turbo-folk’ is marked the era of war, chaos and despair in 1990s Serbian a neologism created from two words: the word ‘turbo,’ politics, life and culture. [1] Moreover, these musical genres which originally comes from the world of automobiles, and their total media presentation proved themselves where it signifies the type of cars whose motors’ power had to be one of the most powerful ideological weapons of been improved by a special turbine, turbo, turbo-diesel and Milošević’s regime. Forming a popular culture counterpart turbo diesel injection cars, and the word ‘folk,’ which stands to the unscrupulous ideological propaganda of RTS (Radio- for the popular, people’s or folk music. [2] Figuratively, Television of Serbia), which used nationalist and chauvinist ‘turbo’ referred to a challenge, speed, fearlessness and par- rhetorics to justify and support involvement of Serbia in ticipation in the upcoming, fashionable trends, ascribed to civil wars in Croatia and Bosnia, and later in Kosovo, turbo- turbo-folk artists and audience, while ‘folk’ signified that folk and dance music promoted the life-style and system of ‘turbo-folk’ represents one of the genres of Serbian popular, values of the new Serbian elite formed during the nineties: folk music.
[Show full text]
Diesel Power
ГОРАН МУСИЋ и ПРЕДРАГ ВУКЧЕВИЋ Универзитет у Грацу, Zentrum für Südosteuropastudien, Грац, Аустрија DOI 10.5937/kultura1962166M УДК 316.72:78.067.26(497.11)”199/...” 316.723(497.11)”199/...” стручни рад DIESEL POWER ХИП-ХОП У СРБИЈИ ОД ЗАДОВОЉСТВА ПОВЛАШЋЕНИХ ДО МАСОВНЕ ОМЛАДИНСКЕ КУЛТУРЕ Сажетак: Најранији производи хип-хоп културе су дошли до Со- цијалистичке Федеративне Републике Југославије у првој полови- ни 1980-их, у исто време када пристижу и у Западну Европу. Па ипак, хип-хоп, схваћен као заокружени животни стил, етаблирао се као засебна поткултура унутар уског слоја урбане средњекла- сне омладине тек раних 90-их уз помоћ сателитске телевизије, страних магазина и пиратских касета. Неких петнаест година касније хип-хоп је постао једна од најраспрострањенијих омла- динских култура у Србији. Циљ овог чланка јесте да истражи ову еволуцију показујући на који начин су све шири кругови омладине из различитих друштвених слојева усвајали хип-хоп, истовремено надограђујући нова, локална значења на увезену културу. Чланак аргументише у корист тезе да је ширење хип-хопа омогућено при- хватањем шареноликог локалног наслеђа турбо-фолка, фанк ути- цаја у популарној музици и урбане ромске културе. Реперско опо- нашање стила облачења, сленга и става дизелаша - поткултуре младих из раних 1990-их која је промовисала криминални животни стил - представљено је као пример. Кључне речи: хип-хоп, Југославија, Србија, турбо-фолк, реп, дизелаши У настојању да се анализирају локалне манифестаци- је хип-хопа као глобалног феномена, упутно је кренути од једноставног препознавања чињенице да је ту културу у гетима Сједињених Америчких Држава створила и уоб - личила омладина расних мањина која је припадала нижим 166 ГОРАН МУСИЋ и ПРЕДРАГ ВУКЧЕВИЋ друштвеним слој евима.1 Попут многих раниј их музичких стилова и производа америчке популарне културе, хип-хоп је у друге државе стигао као културни трансфер.
[Show full text]
5 Video Clips from Serbia: Beyond the Law | Norient.Com 28 Sep 2021 16:41:16 5 Video Clips from Serbia: Beyond the Law PLAYLIST by Svetlana Maraš
5 Video Clips from Serbia: Beyond the Law | norient.com 28 Sep 2021 16:41:16 5 Video Clips from Serbia: Beyond the Law PLAYLIST by Svetlana Maraš What we have been trained for many years to approve as acceptable in our global video culture, is violence. Films, games, music videos too. What’s been portrayed most often is the violence that goes hand in hand with criminal behavior and serves as a way of acquiring immense wealth and respected status in a society. This could be seen as a default script of any music video or film. While we can trace the influence and inspiration in American hip-hop culture to many of the music videos in Serbia, since the 1990s onwards, they are becoming very popular nowadays in the trap music scene that is mostly aimed at younger audiences. Relativization of violence and crime go deep into the roots of urban culture in this geographic area, and therefore it was interesting to observe how throughout different music genres and periods, this subject has been treated by the artists. To be on the other side of the law comes as empowerment to some and as a revolt to others. Artist: Sunshine Track: Kokane (Serbia, 1997) Label: Metropolis Records Belgrade’s band Sunshine released this great hit in 1997. The song features their original and recognizable style, a mix of hip hop and hard rock. The title itself has a small twist to avoid literal and quite obvious allusion to the subject of the song – cocaine. Lyrics and small intervention in the music video itself, create the usual, well-known script of a powerful narco-boss who enjoys common material pleasures – fancy cars, money, houses around the world and who is untouchable to the authorities and beyond the law.
[Show full text]
Turbo-Folk Music and Cultural Representations of National Identity In
TURBO-FOLK MUSIC AND CULTURAL REPRESENTATIONS OF NATIONAL IDENTITY IN FORMER YUGOSLAVIA For Ena and for Marijana, from Toowoomba to Banja Luka Turbo-folk Music and Cultural Representations of National Identity in Former Yugoslavia Uroš Čvoro UNSW Australia First published 2014 by Ashgate Publishing Published 2016 by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN 711 Third Avenue, New York, NY 10017, USA Routledge is an imprint of the Taylor & Francis Group, an informa business Copyright © 2014 Uroš Čvoro Uroš Čvoro has asserted his right under the Copyright, Designs and Patents Act, 1988, to be identified as the author of this work. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library The Library of Congress has cataloged the printed edition as follows: Cvoro, Uros. Turbo-folk music and cultural representations of national identity in former Yugoslavia/by Uros Cvoro. pages cm. — (Ashgate Popular and folk music series) Includes bibliographical references and index. ISBN 978-1-4724-2036-7 (hardcover : alk. paper) 1. Popular music—Political aspects— Former Yugoslav republics. 2. Turbo-folk music—Former Yugoslav republics—History and criticism.
[Show full text]
Soundscape of Belgrade During the NATO Bombing
Südosteuropa 64 (2016), no. 4, pp. 482-499 MEMORIES AND NARRATIVES OF THE 1999 NATO BOMBING SRĐAN ATANASOVSKI ‘The Song Has Kept Us’: Soundscape of Belgrade during the NATO Bombing Abstract. In this article I explore the sonic and music practices in the experience of the NATO bombing of Belgrade, focusing particularly on their role in the governmental apparatuses both of the NATO forces and of Milošević’s regime. Drawing on aﬀ ect studies, I discuss sound and music not only as text, but as sheer intensity, as a vibrational body and force. I argue that the sonic element of the experience of NATO bombing proved important as it provided the surface area, the somatic layer of the war machine, on which the apparatuses of governance could operate and eﬀ ectuate the production of meaning. Srđan Atanasovski is a Research Associate at the Institute of Musicology of the Serbian Academy of Sciences and Arts in Belgrade. He is currently collaborating with the projects ‘Serbian Musical Identities within Local and Global Frameworks’ and ‘City Sonic Ecology’. Scene 1.1 Evening on the 24th of March 1999. Uncanny family atmosphere as the main 7:30 news of the Radio Television of Serbia reiterates the improbability of NATO pursuing military action against ‘us’. The ominous sound of the siren interrupts the news broadcast and leaves the household with an unclear picture how to react and what to do, as the news presenters lower their view in order to read the just printed broadcast text.2 1 The italicized ‘scenes’ which guide the reader into the sections of the article are personal memories of the author, penned down for this purpose in 2015.
[Show full text]