Azra Zadovoljština Mp3, Flac, Wma

Total Page:16

File Type:pdf, Size:1020Kb

Azra Zadovoljština Mp3, Flac, Wma Azra Zadovoljština mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: Zadovoljština Country: Yugoslavia Released: 1988 MP3 version RAR size: 1632 mb FLAC version RAR size: 1910 mb WMA version RAR size: 1125 mb Rating: 4.5 Votes: 970 Other Formats: DMF MMF WAV ADX DXD DTS AAC Tracklist Hide Credits 1.01 Anđeli 4:43 1.02 3N 3:26 1.03 No 2:28 1.04 Put Za Katmandu 1:59 1.05 Tople Usne Žene 2:34 1.06 Jablan 1:59 1.07 Štićenik 1:55 1.08 Vaše Veličanstvo 2:14 1.09 Red Rok 1:49 1.10 Kada Stvari Krenu Loše 1:53 1.11 2:30 2:25 1.12 Zadovoljština 2:36 1.13 Duboko U Tebi 2:53 1.14 Tko To Tamo Pjeva 2:21 Where Have All The Good Times Gone 1.15 2:41 Written-By – R.D.Davies* 1.16 Volim Te Kad Pričaš 1:59 1.17 Grad Bez Ljubavi 1:42 Pit... I To Je Amerika 1.18 2:36 Lyrics By – M. Rupčić*Music By – B. Štulić* 1.19 Bankrot Mama 1:29 U Ajduke 1.20 1:15 Written-By – Trad.* The Dock Of The Bay 1.21 3:06 Written-By – O. Redding*, S. Cropper* 1.22 Provedimo Vikend Zajedno 1:52 Ma Che Colpa Abbiamo Noi 1.23 2:31 Written-By – Lind*, Mogol I Saw Her Standing There 1.24 2:22 Written-By – Lennon & McCartney* 1.25 A Šta Da Radim 3:01 Adio Mare 1.26 2:37 Written-By – V. Paljetak* 1.27 E Pa Što 2:38 Pretty Woman 1.28 3:00 Written-By – R. Orbison* 2.01 Odlazak U Noć 4:14 2.02 Kao Ti I Ja 4:26 Tuginata Pusta Da Ostane 2.03 1:35 Written-By – Trad.* Kraj Tebe U Tami 2.04 1:51 Written-By – J. Pađen* Baby Baby 2.05 1:41 Written By – Carnachan You're Just What I Needed 2.06 1:35 Written-By – R. Ocasek* 2.07 Lijepe Žene Prolaze Kroz Grad 2:19 2.08 Izlazak Iz Kome 2:05 We Will Be Strong 2.09 3:27 Written-By – Ph. Lynott* 2.10 Ravno Do Dna 2:56 2.11 Johan B. Good 2:12 Francine 2.12 2:09 Written-By – Gibbons*, Cordray*, Perron* 2.13 Beze Mene 2:24 2.14 Gracija 3:02 2.15 Balkan 3:51 Klinček Stoji Pod Oblokom 2.16 3:25 Written-By – Trad.* 2.17 Marina 2:42 2.18 Kao I Jučer 8:39 Twist & Shout 2.19 1:58 Written-By – B. Russel*, Ph. Medley* 2.20 Užas Je Moja Furka 3:56 2.21 Nemir I Strast 2:39 2.22 Jesi Li Sama Večeras 5:11 2.23 Kraj 2:45 Companies, etc. Made By – VTCD Credits Arranged By – B. Štulić* (tracks: 1.15, 1.20, 1.21, 1.23, 1.24, 1.26, 1.28, 2.03 to 2.06, 2.09, 2.12, 2.16) Design – Ivana M. Engineer [Post-production], Mastered By – Đorđe Petrović Executive Producer – Dragan Aleksić Written-By – B. Štulić* (tracks: 1.01 to 1.14, 1.16, 1.17, 1.19, 1.22, 1.25, 1.27, 2.01, 2.02, 2.07, 2.08, 2.10, 2.11, 2.13 to 2.15, 2.17, 2.18, 2.20 to 2.22) Barcode and Other Identifiers Rights Society: SOKOJ Other versions Category Artist Title (Format) Label Category Country Year LSY 62289 / 90 / Zadovoljština (4xLP, LSY 62289 / 90 / Azra Jugoton Yugoslavia 1988 91 / 92 Album + Box) 91 / 92 Zadovoljština I (Cass, Croatia MC-6 3056395 Azra MC-6 3056395 Croatia 1995 Album, RE) Records 2CD-D-K Zadovoljština (2xCD, Croatia 2CD-D-K Azra Croatia 1995 5056454 Album, RE) Records 5056454 Zadovoljština II (Cass, Croatia MC-6 3056401 Azra MC-6 3056401 Croatia 1995 Album, RE) Records Jugoton, CAY 2105/6/7/8, Zadovoljština (4xCass, CAY 2105/6/7/8, Azra Croatia Croatia 1991 MC-6 2105/6/7/8 Album, RE + Box) MC-6 2105/6/7/8 Records Related Music albums to Zadovoljština by Azra 1. Azra - Live 2. Various - Tribute To Azra, Đoni Budi Dobar! 3. Otis Redding - The Best Of Otis Redding 4. Azra - Singl Ploče 1979-1982 5. Azra - Azra 6. Otis Redding - Dock Of The Bay 7. Otis Redding - The Dock Of The Bay / The Soul Album 8. Ivica Šerfezi - The Platinum Collection 9. Otis Redding - (Sittin' On) The Dock Of The Bay 10. Azra - Kad Fazani Lete.
Recommended publications
  • 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.
    [Show full text]
  • DIJAMANT AZIJE KRALJEVA Oglas POGLED Uvodna Reč
    čaSOPIS GENERALI OSIGURANJA SRBIJA - BROJ 14 - JUL 2015. - BESPLATAN PRIMERAK Destinacija Muzeji BOGATSTVO Jedna od najstarijih civilizacija na svetu, SRBIJE dovoljna sama sebi, daleka i tajanstvena Generali: REKORDNI POLUGODISˇNJI REZULTATI INDIJA, Sport GOLF, SPORT DIJAMANT AZIJE KRALJEVA Oglas POGLED Uvodna reč U prvoj polovini 2015. godine Ge- nerali Osiguranje Srbija i Generali gru- pa ostvarili su izuzetne rezultate. Nasta- vićemo istim putem i u drugoj polovini 2015. godine, uz dalje poboljšanje ope- rativnih i neto rezultata i fokusiranje na naše klijente. Nova strategija Grupe po- stavlja ambiciozan cilj – da postanemo lider u Evropi u oblasti poslovanja sa stanovništvom, kroz pružanje efikasnih rešenja koja se više fokusiraju na klijen- POGLED Časopis za klijente te. Kako bismo postigli ovaj ambiciozan Generali Osiguranja Srbija cilj, želimo da postanemo jednostavniji, pametniji i da angažujemo naše zapo- Izdavač: Generali Osiguranje Srbija slene kako bismo postali Grupa koja je A.D.O. Beograd agilna, brza i sposobna za poslovanje u Milentija Popovića 7b 21. veku. Posmatrajući današnje rezulta- Beograd te, uvereni smo da idemo u dobrom sme- e-mail: [email protected] ru. Ovo će biti jedno izazovno, ali veoma naše poslovanje, pomoći će nam da bo- web: www.generali.rs korisno putovanje, gde se uspeh neće lje razumemo naše klijente i postupa- meriti samo finansijskim rezultatima već mo u skladu sa njihovim primedbama i Uređuje: Uređivački tim i ponosom što ćemo učiniti da Genera- sugestijama. Generali Osiguranja Srbija li postane vodeće osiguravajuće društvo Kao kompanija i kao pojedinci, mo- na tržištu Evrope. ramo biti samouvereni po pitanju onoga Glavni urednik: Nataša Đurđević Poslovanje Generalija u Srbiji zabe- šta nas čeka u budućnosti i ne smemo Direktor sektora za odnose s javnošću ležilo je veoma uspešan razvoj, poseb- izgubiti iz vida značaj oslanjanja na sop- Generali Osiguranje Srbija no u oblasti životnog osiguranja .
    [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]
  • Josip Ćirić Defragmentacije
    Josip Ćirić defragmentacije Mala filozofija Zadar, 2017. iii Josip Ćirić defragmentacije Nakladnik Udruga za poticanje neformalnog obrazovanja, kritičkog mišljenja i filozofije u praksi »Mala filozofija«, Andrije Hebranga 10e, Zadar Za nakladnika dr. sc. Bruno Ćurko Lektura doc. dr. sc. Jasminka Brala Mudrovčić Recenzenti dr. sc. Dario Škarica, izv. prof. doc. dr. sc. Franjo Pehar Zadar, 2017. URL: peresonal.unizd.hr/~jciric/docs/ © Josip Ćirić, 2017. Sva prava pridržana. Niti jedan dio ove knjige ne može se komercijalno objaviti bez prethodne suglasnosti nakladnika ili vlasnika autorskih prava. Neprofitno umnažanje i distribucija dopušteni. ISBN 978-953-59784-0-4 (PDF) iv Josip Ćirić defragmentacije v Sadržaj Predgovor 11 Što to radiš, Buldožeru jedan? 17 Intelektualno-plesna glazba 17 Tko jede dinje? 20 Riječ na 'f' 22 Odmah kaži da! 24 Živi bili pa krepali 28 Literatura 30 Ekologija argumenata moralne panike usmjerene na video-igre 35 Nadam se da ste mi pogodili ime 36 Napucaj ga sad! 38 Bojite se! Jako se bojite! 39 Ekološki pristup 40 Ostadoh bez žvaka: analiziranje moralizatorskih argumenata 42 Zaključak 44 Literatura 45 Subherojski narativ i studije o invalidnosti 53 E, pa što? 55 Osobna perspektiva 55 Ne baš uobičajeni heroji 56 Studije o invalidnosti 59 Pristupi konceptu invalidnosti 59 vii Ilustracija: obrazovanje 63 Studije o invalidnosti i filozofija 64 Teze i struktura rada 65 Model subherojskog narativa 66 Cilj istraživanja i hipoteze 66 Metodologija istraživanja 67 Rezultati istraživanja 68 Zaključak 82 Prilog A: upitnici
    [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]
  • Praxis, Student Protest, and Purposive Social Action: the Humanist Marxist Critique of the League of Communists of Yugoslavia, 1964-1975
    PRAXIS, STUDENT PROTEST, AND PURPOSIVE SOCIAL ACTION: THE HUMANIST MARXIST CRITIQUE OF THE LEAGUE OF COMMUNISTS OF YUGOSLAVIA, 1964-1975 A dissertation submitted to Kent State University in partial fulfillment of the requirements for the degree of Masters of Arts by Sarah D. Žabić August 2010 Thesis written by Sarah D. Žabić B.A., Indiana University, 2000 M.A., Kent State University, 2010 Approved by ___________________________________ , Advisor Richard Steigmann-Gall, Ph.D. ___________________________________ , Chair, Department of History Kenneth J. Bindas, Ph.D. ___________________________________ , Dean, College of Arts and Sciences John R.D. Stalvey, Ph.D. ii TABLE OF CONTENTS ACKNOWLEDGEMENTS ............................................................................................ iv INTRODUCTION............................................................................................................. 1 CHAPTER I The Yugoslav Articulation of Humanist Marxism: The Praxis School ..................... 24 New Plurality in Socialist Discourse: An Ideological “Thaw” in the Early 1960s ... 31 The Praxis School Platform....................................................................................... 40 The Korčula Summer School..................................................................................... 60 Conclusion ................................................................................................................. 64 CHAPTER II The “Red Choir” in Action: The Yugoslav Student Protest, June 1968...................
    [Show full text]
  • Glasnik Hemičara I Tehnologa Bosne I Hercegovine Bulletin of the Chemists and Technologists of Bosnia and Herzegovina
    Glasnik hemičara i tehnologa Bosne i Hercegovine Bulletin of the Chemists and Technologists of Bosnia and Herzegovina Print ISSN: 0367-4444 Online ISSN: 2232-7266 Juli 2012 Prirodno-matematički fakultet Sarajevo Faculty of Science Sarajevo Glasnik hemičara i tehnologa Bosne i Hercegovine Bulletin of the Chemists and Technologists of Bosnia and Herzegovina Print ISSN: 0367-4444 Online ISSN: 2232-7266 Juli 2012 Prirodno-matematički fakultet Sarajevo Faculty of Science Sarajevo Bulletin of the Chemists and Technologists of Bosnia and Herzegovina Zmaja od Bosne 33-35, BA-Sarajevo Bosnia and Herzegovina Phone: +387-33-279-918 Fax: +387-33-649-359 Print ISSN: 0367-4444 E-mail: [email protected] Online ISSN: 2232-7266 [email protected] REDAKCIJA / EDITORIAL BOARD Editor-In-Chief / Glavni i odgovorni urednik Fehim Korać Faculty of Science Sarajevo Zmaja od Bosne 33-35, BA-Sarajevo Bosnia and Herzegovina E-mail: [email protected] [email protected] Phone: +387-33-279-918 (Administration) +387-33-279-903 (Executive Editors) Fax: +387-33-649-359 Editors / Urednici Milka Maksimović ([email protected]) Emin Sofić ([email protected]) Merzuk Cacan ([email protected]) Semira Galijašević ([email protected]) Nurudin Avdić ([email protected]) Editorial Board / Članovi redakcijkog odbora Ivan Gutman (SRB) Željko Jaćimović (MNE) Ljudmila Benedik (SLO) Emira Zovko (B&H) Meliha Zejnilagić-Hajrić (B&H) Amira Čopra-Janićijević (B&H) Tidža Muhić-Šarac (B&H) Mirsada Rizvanović (B&H) Sabina Gojak (B&H) Jasna Huremović (B&H) Emira
    [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]
  • Vizualni Identitet Glazbene Produkcije Novoga Vala (1977
    Sveučilište u Zagrebu Filozofski fakultet Odsjek za povijest umjetnosti Vizualni identitet glazbene produkcije novoga vala (1977. - 1987.) Diplomski rad mentor: dr. sc. Frano Dulibić, red. prof. studentica: Kora Girin Zagreb, 2016. Sadržaj 1. Uvod........................................................................................................................................3 1. 1. Problem definicije i periodizacije glazbenoga žanra novoga vala ............................... 3 1.2. Pitanje novovalnoga senzibiliteta ................................................................................... 8 1.3. Novi val i postmodernizam...........................................................................................13 1.4. Glazbeni spot i televizija kao arhetipske postmodernističke forme. Primjeri novovalnih glazbenih spotova......................................................................................................................15 1.5. Grafički dizajn i postmodernistička estetika ................................................................ 21 2. Punk......................................................................................................................................23 2.1. Punk i vizualni identitet punka u svijetu.......................................................................23 2.2.Punk u Jugoslaviji ......................................................................................................... 26 2.3.Vizualni identitet slovenskoga punka ..........................................................................
    [Show full text]
  • BLUE MOON Redatelj BORIS LIJEŠEVIĆ Damir Karakaš BLUE MOON
    DAMIR1 KARAKAŠ redatelj BORIS LIJEŠEVIĆ Biografija FILIP DETELIĆ, RAKAN RUSHAIDAT 3 Damir Karakaš BLUE MOON redatelj BORIS LIJEŠEVIĆ Damir Karakaš BLUE MOON Redatelj Oblikovanje svjetla Boris Liješević Aleksandar Saša Mondecar Dramatizacija Scenski pokret Dina Vukelić Pravdan Devlahović Boris Liješević Damir Karakaš Jezična savjetnica Ines Carović Dramaturginja Dina Vukelić Savjetnik za harmoniku Matija Antolić Scenograf Igor Pauška Izvršna producentica i inspicijentica Kostimografkinja Mirela Tihava Vedrana Rapić Glazba Jurica Pađen Praizvedba 28. listopada 2018. Igraju Čarli ...........................................................................................Rakan Rushaidat Džimi .................................................................................................. Filip Detelić Eli ..................................................................................... Mirela Videk Hranjec Otac .................................................................................................. Jerko Marčić Majka ............................................................................................... Branka Trlin Djed .................................................................................................. Vilim Matula Miško ........................................................................................ Marko Makovičić Svećenik .................................................................................... Marko Makovičić Fotograf .............................................................................................
    [Show full text]
  • Theorising Return Migration
    MAX WEBER PROGRAMME EUI Working Papers MWP 2011/20 MAX WEBER PROGRAMME THE SILENT REPUBLIC: POPULAR MUSIC AND NATIONALISM IN SOCIALIST CROATIA Dean Vuletic EUROPEAN UNIVERSITY INSTITUTE, FLORENCE MAX WEBER PROGRAMME The Silent Republic: Popular Music and Nationalism in Socialist Croatia DEAN VULETIC EUI Working Paper MWP 2011/20 This text may be downloaded for personal research purposes only. Any additional reproduction for other purposes, whether in hard copy or electronically, requires the consent of the author(s), editor(s). If cited or quoted, reference should be made to the full name of the author(s), editor(s), the title, the working paper or other series, the year, and the publisher. ISSN 1830-7728 © 2011 Dean Vuletic Printed in Italy European University Institute Badia Fiesolana I – 50014 San Domenico di Fiesole (FI) Italy www.eui.eu cadmus.eui.eu Abstract This paper explores the development of popular music and its relationship to the political situation in Croatia and Yugoslavia from 1945 to 1991, and how global musical trends were used to construct and reinvent Croatian and Yugoslav cultural and political identities. It begins with a discussion of the suppression of patriotic music in the early decades of socialist Yugoslavia, when the regime attempted to create a supranational culture that would unify Yugoslavia’s constituent nations. It then analyses the national cultural revival in Croatia in the late 1960s that prompted a political movement known as the Croatian Spring, when the pop singer Vice Vukov incorporated Croatian patriotic themes into his songs. In the years following the crushing of the Croatian Spring in 1971, Croatian nationalism was again suppressed in politics and music, and because of this stifling of political opposition Croatia was dubbed “the silent republic.” For the rest of the 1970s the political function of pop and rock music was reflected in its glorification of Yugoslavia and its leader, Josip Broz Tito.
    [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]