Balkan Muslims Stage Counteroffensive Against Radicals
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Folk,Narodne,Starogradske Karaoke
060/3471 - 575 061/30 - 560 - 30 [email protected] Списак Folk-narodnih-starogradskih караока на матрицама : 1. Aj berem grožđe – Zorica Brunclik 66.Ja stalno pijem – Đani 124.Nijedne usne se ne ljube same – Džej 184.Sliku tvoju ljubim - Toma Zdravković 2.Aj po gradini (bv) -Čeda Marković 67.Jedan, dva – Džej 125.Nikad nikom nisam reko – Medeni 185.Snijeg pade – Narodna 3.Aj pa pukni zoro – Montevideo 68.Jesen u mom sokaku – Tozovac mesec 186.Splavovi – Novica Zdravković 4.Al nema nas – Nikola Rokvić 69.Još ovu noć – Šaban Šaulić 126.Nikada više -Radmila Manojlović 187.Srce gori jer te voli – S. Armenulić 5.Anonimna – Slobodan Vasić 70.Još uvek slutim -Milan Stanković 127.Niko ne mora da sluša- N. Vojvodić 188.Srce je moje violina – Lepa Lukić 6.Avlije,avlije – Zorica Brunclik 71.Jovano, Jovanke – Makedonska 128.Nikom nije žao kao meni – Džej 189.Srce od silikona -Darko Lazic 7.Beli zora – Marinko Rokvić 72.Kad bi znali kako mi je – Miloš Bojanić 129.Niška banja – Narodna 190.Stani dušo da te ispratim – Ilda 8.Bez tebe je gorko vino - Duško Kuliš 73.Kad ja pođoh aman -Safet Isović 130.Nikom nije žao kao meni – Džej Šaulić 9.Bež Milane -Viki Miljković 74.Kad te ne volim -Katarina Živković 131.Niška banja – Narodna 191.Stani mome da zaigraš – 10.Biljana – Aca Matić 75.Kafana je moja sudbina – Toma 132.Nosim tugu ko okove – G. Božinovska Makedonska 11.Blago meni -Ana Bekuta Zdravković 133.Osvemu mi pričaj ti -Milan Topalović 192.Sto ću čaša polomiti - Crni 12.Blagujno Dejče – Cune Gojković 76.Kako ti je kako živiš – Šaban & Zorica 134.Obeležena – Viki Miljković 193.Sve moje njeno je – Sanja Đorđević 13.Bolje ona nego ja – R. -
Diplomsko Delo
UNIVERZA V LJUBLJANI FILOZOFSKA FAKULTETA ODDELEK ZA ETNOLOGIJO IN KULTURNO ANTROPOLOGIJO ODDELEK ZA ZGODOVINO DIPLOMSKO DELO LJUBLJANA, 2015 PATRICIJA JEREB UNIVERZA V LJUBLJANI FILOZOFSKA FAKULTETA ODDELEK ZA ETNOLOGIJO IN KULTURNO ANTROPOLOGIJO ODDELEK ZA ZGODOVINO PATRICIJA JEREB Ne računajte na nas! Razpad Jugoslavije in vpliv rock 'n' rolla v protivojnih akcijah v Srbiji v devetdesetih letih prejšnjega stoletja Diplomsko delo Študijski program: Etnologija in kulturna antropologija Zgodovina Mentorja: red. prof. dr. Rajko Muršič red. prof. dr. Božo Repe Ljubljana, 2015 Zahvala Iskreno se zahvaljujem mentorjema prof. dr. Rajku Muršiču in prof. dr. Božu Repetu za vse strokovne nasvete in vsestransko pomoč pri izdelavi diplomskega dela ter vsem svojim sogovornikom, saj brez njih moje diplomsko delo ne bi bilo mogoče. Zahvaljujem se staršem in prijateljem za vso podporo in spodbudne besede v času študija. Izvleček Ne računajte na nas! Razpad Jugoslavije in vpliv rock 'n' rolla v protivojnih akcijah v Srbiji v devetdesetih letih prejšnjega stoletja Diplomsko delo obravnava tematiko razpada Jugoslavije in vpliv rocka v protivojnih akcijah v Srbiji. Vojne na območju nekdanje Jugoslavije so v srbski družbi pustile neizbrisen pečat. Vojna kultura ni vplivala samo na razmah kriminala temveč je močno zaznamovala tudi glasbeno sceno. Protivojne akcije so bile relativno pogoste; vojni situaciji so se upirale različne organizacije, ki so z akcijami opozarjale na nesmiselnost vojne in njene posledice. Prav tako so protivojno držo izražali posamezni rock glasbeniki, ki so izvedli nekaj uspešnih projektov. Najodmevnejši projekt je skupina Rimtutituki, ki je v februarju 1992 posnela pacifistično pesem Slušaj 'vamo (Poslušaj) z eksplicitnim sporočilom. Rock ni preprečil tragičnega konca SFRJ, to niti ni bil namen, brez dvoma pa izpeljani glasbeni projekti predstavljajo velik uspeh in iskro upanja vsem narodom nekdanje skupne države. -
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Article The Balkans of the Balkans: The Meaning of Autobalkanism in Regional Popular Music Marija Dumnić Vilotijević 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. -
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 -
Muzicki Program
MUZIČKI PROGRAM 2018 MAIN STAGE SUBOTA .. NEDELJA .. ČETVRTAK .. PETAK .. SREDA .. O RAINMAKER LOLE & RADI : - : : - : BLUES BAND THE FILTERS : - : HURLEUR IRON MAIDEN TRIBUTE : - : AERODROM : - : : - : FRAJLE : - : VIVA VOPS : - : ĐORĐE DAVID : - : RIBLJA ČORBA : - : BAND X : - : NEVERNE BEBE : - : YU GRUPA : - : E-PLAY : - : PARTIBREJKERS : - : DR NELE KARAJLIĆ : - : KIKI I PILOTI : - : DEJAN PETROVIĆ : - : ORTHODOX CELTS : - : LOLLOBRIGIDA : - : SIX PACK INSPEKTOR BLAŽA : - : : - : GOBLINI : - : LET I KLJUNOVI : - : ISKAZ INNOVATION STAGE NEDELJA .. PETAK .. SUBOTA .. SREDA .. ČETVRTAK .. BEND IZNENAĐENJA : - : SUNSHINE : - : THE STRANGLERS : - : VAN GOGH : - : RÓISÍN MURPHY : - : : - : BAD COPY ALTERNATIVE STAGE by NEDELJA .. PETAK .. SUBOTA .. SREDA .. ČETVRTAK .. BUNT : BUNT : BUNT : : - : : - : ALEJA VELIKANA MESIS : - : SERGIO LOUNGER BUNT : SITZPINKER : - : BUNT : NE SANJA TIŠMA I MASA : - : ARCTICK MONKEYS : - : VIS LIMUNADA : - : TRIBUTE OLA ČUTURILO : - : VATRA : - : FRAMEWORK : - : NIK : - : GILE & MAGIC BUSH STRAY DOGG : - : ZONA B STRAIGHT MICKEY : - : RIMLJANI ITE DOMA : - : : - : & THE BOYZ VELIKI PREZIR : - : NEŽNI DALIBOR : - : PEČITELJI : - : EX REVOLVERI : - : METALLICA TRIBUTE : - : PO PERO DEFFORMERO : - : ŠANK : - : ZOSTER : - : OBOJENI PROGRAM : - : M.O.R.T. : - : : - : KKN : - : BOLESNA ŠTENAD : - : ĐORĐE MILJENOVIĆ : - : LETU ŠTUKE DEPECHE TRIBUTE BAND : - : NBG : - : * ORGANIZATOR ZADRŽAVA PRAVO IZMENE PROGRAMA MUZIČKI PROGRAM 2018 INNOVATION ALTERNATIVE MAIN STAGE BY STAGE STAGE : - : BUNT : SITZPINKER : -
Authenticity in Electronic Dance Music in Serbia at the Turn of the Centuries
The Other by Itself: Authenticity in electronic dance music in Serbia at the turn of the centuries Inaugural dissertation submitted to attain the academic degree of Dr phil., to Department 07 – History and Cultural Studies at Johannes Gutenberg University Mainz Irina Maksimović Belgrade Mainz 2016 Supervisor: Co-supervisor: Date of oral examination: May 10th 2017 Abstract Electronic dance music (shortly EDM) in Serbia was an authentic phenomenon of popular culture whose development went hand in hand with a socio-political situation in the country during the 1990s. After the disintegration of Yugoslavia in 1991 to the moment of the official end of communism in 2000, Serbia was experiencing turbulent situations. On one hand, it was one of the most difficult periods in contemporary history of the country. On the other – it was one of the most original. In that period, EDM officially made its entrance upon the stage of popular culture and began shaping the new scene. My explanation sheds light on the fact that a specific space and a particular time allow the authenticity of transposing a certain phenomenon from one context to another. Transposition of worldwide EDM culture in local environment in Serbia resulted in scene development during the 1990s, interesting DJ tracks and live performances. The other authenticity is the concept that led me to research. This concept is mostly inspired by the book “Death of the Image” by philosopher Milorad Belančić, who says that the image today is moved to the level of new screen and digital spaces. The other authenticity offers another interpretation of a work, or an event, while the criterion by which certain phenomena, based on pre-existing material can be noted is to be different, to stand out by their specificity in a new context. -
Zac Langdon-Pole
Zac Langdon-Pole Michael Lett 312 Karangahape Road Cnr K Rd & East St PO Box 68287 Newton Auckland 1145 New Zealand P+ 64 9 309 7848 [email protected] www.michaellett.com Zac Langdon-Pole Passport (Argonauta) (v) (front and side view) 2018 paper nautilus shell, Sericho meteorite (iron pallasite, landsite: Sericho, Kenya) 107 x 33 x 56mm ZL5210 Zac Langdon-Pole Residuals (c) 2018 Installation view, Between Bridges, Berlin February 2018 Zac Langdon-Pole Residuals (c) 2018 Installation view, Between Bridges, Berlin February 2018 Zac Langdon-Pole Ars Viva 2017/18 Installation view S.M.A.K., Ghent February 2018 Zac Langdon-Pole Ars Viva 2017/18 Installation view S.M.A.K., Ghent February 2018 Zac Langdon-Pole Ars Viva 2017/18 Installation view S.M.A.K., Ghent [offsite] February 2018 Zac Langdon-Pole Ars Viva 2017/18 Installation view S.M.A.K., Ghent February 2018 Zac Langdon-Pole Oratory Index Installation view Michael Lett, Auckland December 2016 Zac Langdon-Pole Oratory Index Installation view Michael Lett December 2016 Zac Langdon-Pole Installation view La Biennale de Montréal October 2016 Zac Langdon-Pole The Torture Garden 2016 framed digital print 620 x 490mm ZL4656 Zac Langdon-Pole 2017 Ars Viva 2018, Kunstverein München, Munich, Germany (group) Born 1988 Station, Melbourne, Australia (solo) Lives and works in Darmstadt and Berlin, Germany Vanished and Delft, Pah Homestead, Auckland, New Zealand (group) 2015 2016 Meisterschüler, Städelschule, Staatliche Hochschule für Bildende Künste. Prof. La Biennale de Montréal, Canada (group) -
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. -
Nekretnine Jeftine, Prodaju Se U Bescenje
Srećni novogodišnji i božićni praznici Kalendar za 2019. godinu - poklon čitaocima ● ● Četvrtak 27. decembar 2018. broj: 0068 21460 Vrbas, Save Kovačevića 81, Medicinska laboratorija tel: 021/701-702, www.medlab.rs Intervjui: Sve više kuća na prodaju u Srednjoj Bačkoj ● ● strana 5 Vrbašanin Robert Telčer Nekretnine jeftine, prodaju se u bescenje Poznati gitarista Srđan Vujičić, komercijalista u PP “S.Kovačević” Nije nepoznata činjenica da su poslednjih godina, kuće posebno stare, sve jefti- nije u Vojvodini i dostupne su za prodaju po niskim cenama. Podaci kažu da Voj- vodina godišnje izgubi i do 25.000 stanovnika, što je grad veličine Bačke Palanke. Priče iz bogate istorije Vrbasa: Pravoslavna ● ● strana 12 kapela - Vodica Krenuo sam Nekada izvor od početka lekovite vode Reportaža - Zimovanje u Austriji Snežni vrhovi Obertauerna 27. decembar 2018. www.okonas.info NOVO U REGIONU 2 Asocijacija filozofa, psihologa, sociologa „Polis“ kolektivni član VPA „Polis“ pravo poznavanje društva Redakcijski komentar Opet nas je iznenadio sneg Prvi sneg polovinom de- vlasnik kuće, ili vlasnik sta- cembra, kad mu vreme i je- na, trebao bi u ovakvim si- ste, padao je skoro četrdeset tuacijama da se prihvati lo- Dr Goran Kaluđerović, predsednik Asocijacije i više sati bez prekida. Zim- pate i počisti sneg na svom ske službe u regionu izašle terenu. Zalud je pisanije po • „U našoj sredini koja bi zarad njenog bogatstva trebala da neguje inter- su spremne na puteve i ulice društvenim mrežama kako kulturni dijalog i negovanje nacionalnog identiteta, javljaju se stereotipi i Bačke, i može se reći da su se službe nisu stigle u ove ili predrasude koji taj interkulturni dijalog i različite identitete obesmišljava- uspešno borile sa vejavicom one ulice, u ova ili ona na- ju“, kaže dr Goran Kaluđerović, predsednik Asocijacije. -
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. -
Belgrade Rocks - New York Times
Belgrade Rocks - New York Times http://travel.nytimes.com/2005/10/16/travel/16belgrade.html?ei=5070... October 16, 2005 Belgrade Rocks By SETH SHERWOOD Correction Appended NIGHT falls in the capital of the former Yugoslavia, and music fills the air. Everywhere. Along the banks of the Danube and Sava Rivers, serpentine chains of music-blasting splavovi - floating raft clubs - snake into the inky Balkan night. Fortified by huge meat-kebab dinners and Turkish coffees from Belgrade's myriad cafes, crowds of night owls line up to partake variously of Gypsy bands, electronic mixes, rock 'n' roll and a distinctly Serbian hybrid known as Turbofolk. As a parade of Puma-clad feet files down the metal gangway to a club called Exile, the night's marquee D.J., the New York City-based techno producer John Selway, prepares for his 2-to-6 a.m. set. "The most fun places to play are here, South America and Japan!" he shouts over rapid-fire industrial beats, praising the energy of the night life in the capital of Serbia and Montenegro, the name for what is left of Yugoslavia after its unraveling in the early 90's. "They're interested in new music and in building a scene!" Across the water, the lighted dome of St. Sava Church and illuminated stone walls of the centuries-old Kalemegdan Fortress hover over the capital's skyline. Just six years ago, during 78 days of NATO bombings intended to quell President Slobodan Milosevic's attacks on ethnic Albanians in the nation's Kosovo province, that same panorama exploded routinely in flame and debris.