Rokenrol u Jugoslaviji 1956 - 1968.: 1956 - 1968. ; izazov socijalističkom društvu
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Veröffentlicht: |
Beograd
Arhipelag
2012
|
| Schriftenreihe: | Biblioteka Vreme i priča
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | Literaturverz. S. 611-620 Engl. Zsfassung u.d.T.: Rock and Roll in Yugoslavia 1956 - 1968. : a challenge to a socialist society (Belgrade 2011) |
| Beschreibung: | 642 S. Ill. 21 cm |
| ISBN: | 8652300232 9788652300235 |
Internformat
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| 245 | 1 | 0 | |a Rokenrol u Jugoslaviji 1956 - 1968. |b 1956 - 1968. ; izazov socijalističkom društvu |c Aleksandar Raković |
| 246 | 1 | 3 | |a Rock and Roll in Yugoslavia 1956 - 1968. |
| 264 | 1 | |a Beograd |b Arhipelag |c 2012 | |
| 300 | |a 642 S. |b Ill. |c 21 cm | ||
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| 490 | 0 | |a Biblioteka Vreme i priča | |
| 500 | |a Literaturverz. S. 611-620 | ||
| 500 | |a Engl. Zsfassung u.d.T.: Rock and Roll in Yugoslavia 1956 - 1968. : a challenge to a socialist society (Belgrade 2011) | ||
| 546 | |a In kyrill. Schr., serb. | ||
| 648 | 7 | |a Geschichte 1956-1968 |2 gnd |9 rswk-swf | |
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| 689 | 0 | 3 | |a Geschichte 1956-1968 |A z |
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| 856 | 4 | 2 | |m Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment |q application/pdf |u http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027219740&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |3 Abstract |
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Datensatz im Suchindex
| _version_ | 1804152084025573376 |
|---|---|
| adam_text | САДРЖАЈ
Предговор
............................................5
Уводна
разматрања
Од памучних
поља
до рокенрол
револуције
.............13
Музички
правци белих
и црних Американаца у
првој
половини
20.
века
...................................13
Дефинисање рокенрола
.............................31
Радио Луксембург: звук и слух Хладног рата
..........76
Југословенско
друштво и популарна
култура
Запада
.....83
Инострани
културни
центри
у светлу
југословенске
политике
.............................83
Филм
и забавна штампа (са освртом на моду)
.........99
Трагање
за
југословенским моделом
популарне музике
...................................117
Забавна и пез
музика
у
Југославији
..................117
Забавна
музика
у
бројкама
.........................157
Главна
разматрања:
рокенрол у
Југославији
Године класичног рокенрола
1956-1965................187
Југословенска
омладина у
трагању
за простором
.....187
Рокенрол на Западу и
југословенско
пойма
ње
феномена
......................200
Почеци
југословенског
рокенрола и
стварање
публике
.................................251
Класични
југословенски
рокенрол на главном путу
. . . 305
Време електричарског
рокенрола
1961-1968............325
Југословенска
омладина на путу ка побуни
...........325
641
Југословенски
поглед
на
британски и
италијански
бит
....................... 342
Снага
југословенских електричара
..................361
За и против електричара у
Југославији
..............448
Битници и хипици
1965-1968. (1969)...................533
Југословенски
поглед
на америчку контракултуру
.... 533
Југословенска
омладина и хипи
утицаји
..............557
Сличности и разлике рокенрола у
Југославији
и државама Источног блока до
1969...................581
Закључак
...........................................593
Conclusion
..........................................597
Прилози
............................................605
Извори
и литература
...............................609
Индекс имена
.......................................621
Индекс састава
.....................................633
О аутору
........................................... 639
642
CONCLUSION
Aleksandar Raković,
Rock and Roll in Yugoslavia
Ì
956-1968.
Λ
Challenge to a Socialist Society (Belgrade
2011)
At the very beginning I feel bound to elaborate the structure
of the conclusion. It consists of two parts. The first one consists of
the resumes of the seven chapters of the book. The second one con¬
sists of confirming the thesis and describing in what manner rock
and roll used to be „a challenge to a socialist society .
The first introductory chapter deals with a musical evolution
which ted from the cotton fields of the American south to rock and
roll and its global expansion. Further it shows by which means rock
ad roll pulled down racial, cultural, political, social, ethnic and reli¬
gious barriers in the whole world. It also presents us with the history
of rock and roll s development by its
subgenres
from the mid 50s to
the end of the
60s.
It describes its development in the United States,
Great Britain, Italy and France, which is very important because of
Yugoslav rock and roll musicians and other enthusiasts who showed
interest for the music that came from these countries. Then it de¬
scribes the evolution of rock and roll as a culture, from youth sub¬
culture through a subculture to a counterculture and in the end the
mainstream culture. Rock and roll was defined as both a music and
a culture. Finally the analysis of Yugoslav newspaper articles deal¬
ing with the topic is given, showing Yugoslav people being aware
that the music of electric guitars, whatever it was named in a certain
period, happened to be a unique phenomenon. It described how
Radio Luxemburg, military and pirate radio stations spread the
sounds of rock and roll over the Cold War borders.
The second introductory chapter shows the Yugoslav society
being overwhelmed by the influence of foreign (diplomatic)
cultura]
597
centres,
film and popular press introducing Western pop culture. Great
popularity of the cultural centres of the United States and Great Brit¬
ain, the cinema repertoire having at least
75%
of Western films and
popular press up to
98%
of Western topics pointed to the interest of
Yugoslav people in Western entertainment and topics in general.
Speaking of the third introductory chapter about popular mu¬
sic, it can be said that jazz and pop music did not have the same his¬
tory. For jazz music it was far more painful all the way through to
the end of the Yugoslav clash with the Cominform, after which it
gained its place due to opening borders to the West. This was not
welcome among music artists who considered jazz music to be a
naïve
music leading young people away from acquiring a sophisti¬
cated musical taste. Thus in
1957
a dispute about a quality of jazz
and pop music similar to the debate about rock and roll in
1966
was
launched by the press. Some stated that jazz connected Yugoslav
people with the whole world, while Yugoslav pop music which was
yet to acquire a special feature (like Italian pop music), was aimed
at becoming an internal cohesive element. That is why in
1958
the
League of Communists of Yugoslavia (the Party) suggested com¬
posers, arrangers, musicians and singers a more serious approach to
creation of a Yugoslav
estrada.
While Yugoslav jazz music receded
by mid
60s,
partly because many jazz musicians left the country,
partly because rock and roll was becoming popular, Yugoslav pop
music was developing under protection. Western kind of entertain¬
ment was accepted, integrated and applied in Yugoslavia in all pos¬
sible means that did not bother the Party s ideology.
The first main chapter tells us of young Yugoslavs acquiring
knowledge of rock and roll from mid 50s, of Yugoslav press chang¬
ing attitude to it from extremely negative in
1956
to a more affirma¬
tive by the end of the decade. It shows how Yugoslavs found out
about the role of rock and roll as a phenomenon in surpassing all
social barriers which divided the world. Rock and roll gained a simi¬
lar function in Yugoslavia as well, although it seems that during the
end of the 50s and the beginning of the
60s
young people coming
from old Belgrade families and children from the families of the
598
Party s officials
listened to the same kind of music still in separate
groups. Until the visa liberalization in
1961
sportsmen and chess
players played a pioneer role of bringing rock and roll records in the
country. Speaking of the latter, their reputation certainly suggested
skeptics that there was a field in which rock and roll should be con¬
sidered more seriously. This chapter also states that the first Yugo¬
slav rock and roll performance took place in
1957
in Belgrade. Apart
from that it shows that rock and roll in Yugoslavia at the turn of the
50s and
60s
was considered to be more of a dance than of a music.
Rock and roll dancing was at the same time the most popular kind
of having fun at dances in the cities of Belgrade and Zagreb, that
being the topic of American press; the information of which reached
official Belgrade by diplomatic means. Yugoslav dance mania trans¬
ferred from rock and roll dance to twist, the new kind of dancing
that followed rock and roll music. The end of the 50s and the very
beginning of
60s
in Yugoslavia brought out the first strictly affirmed
„rockers who stayed embedded in rock and roll announcing the
„electric [guitar] era . This chapter proves that the classic rock and
roll on the big stage in Yugoslavia was a few years behind the West.
It tells us about the path of the Yugoslav „light pop rock and roll
leading to the Soviet Union and showing that Yugoslav pop musi¬
cians were the pioneers of rock and roll in the communist empire.
The second main chapter shows us Yugoslav press and audience
perceiving development and the changes of rock and roll through
British beat and rhythm and blues. By the end of the
60s
the press and
the radio were covering the world s rock and roll novelties on a large
scale, thus widening knowledge of rock and roll as a global phenom¬
enon. It describes Yugoslav rock and roll from emerging from the
back door to the main stage in
1963
all the way to mass rock and roll
festivals (Gitarijada) in
1966
and
1967
and rock and roll bands becom¬
ing more professional. It has been pointed out that Yugoslav rock and
roll during the
60s
was not behind the world s rock and roll develop¬
ments. On the other hand there was a serious disadvantage of bands
rarely choosing their owns songs. During the
60s
social barriers of
people listening to rock and roll were mostly overcome, as far as the
599
interest
in music is concerned. In spite
ofthat
the statistics at the time
showed that there were differences in the perception of rock and roll
among youth choosing general and vocational education: the first
group knew more about rock and roll, the second was listening more.
The attitude of the Yugoslav public to rock and roll after
1966
became
more positive, if we put aside some exceptions. At the end of the pe¬
riod presented here Yugoslav rock and roll did not emerge from the
bounds of subculture. The facts pointing out to Great Britain sending
rock and roll bands to Yugoslavia and other countries of the Eastern
Bloc during the second half of the
60s
as a means of cultural policy,
should be stressed as well.
The third main chapter tells us about mostly positive attitude of
Yugoslav press, music authorities and the Party s analysts to counter-
cultural phenomena which upset American society: the Beat Generation,
anti-militarily oriented youth (students of the New Left) and the hippies.
The Party in
1968
perceived the possibility of the hippies in cohesion with
the ideas of the New Left inducing a revolutionary potential in the Unit¬
ed States. Therefore the field for hippie ideas in Yugoslavia was easily
achievable. By his first attendance to a rock and roll performance, Presi¬
dent
Josip Broz
Tito made rock and roll in Yugoslavia legitimate on May
24th
1966.
Also, he legitimated hippy influence on Yugoslav youth on
May 24th
1969
through his presence to a rock musical Hair.
The fourth main chapter points out to the similarities and dif¬
ferences in the development of rock and roll in the Eastern Bloc and
Yugoslavia. It contains information about Western subversive activ¬
ities to the countries of the Eastern Bloc, by means of rock and roll.
At the end of the 50s and the beginning of the
60s,
when rock and
roll was considered to be a dance and music fun of young people,
the Eastern Bloc did not put up strict obstacles. However, when the
subversive role was spotted in mid
60s,
some countries of the East¬
ern Bloc became angry. East Germany was the first one to set out
to prevent spreading rock and roll in mid
60s,
and was followed mo¬
re or less harshly by other countries. In the countries having rock
and roll stage already thriving, only Hungary enabled it s free devel¬
opment, but with integration of socialist ideas. Rock and roll in Po-
600
land became quiet, Czechoslovakian rock and roll was suffocated
after the Prague Spring.
At the turn of the first part of the conclusion to another we will only
mention what kind of political power rock and roll was bearing. During
the second half of the 50s, the example of Elvis Presley showed the cal¬
culation that the American presidential candidates made concerning the
possibility of his support for them. Furthermore, the support the Beatles
gave to the Labour Party led them to victory on the elections and the
formation of the government. Similar examples existed elsewhere in the
West. The hippie counterculture was plotting to overthrow the president
of the United States through their political influence. These were not
minor facts and every regime would have to pay attention to them.
How comes the second part of the conclusion which will show
what challenges rock and roll presented Yugoslav socialist society
with. Structurally, this part of the conclusion belongs to the chapters
about rock and roll in Yugoslavia, but it was presented in another
form due to easier survey of the main thesis.
The first challenge which rock and roll presented the socialist soci¬
ety with during the other half of the 50s was in a form of a vigorous
dance that was never before seen or performed. Rock and roll dance
was attacked publicly and considered to be just an indecent and poor-
quality phenomenon. It was not considered to be a threat to the social¬
ist morale. The following example was the twist, at the beginning of the
60s.
Both rock and roll dances were widely accepted, there was no true
rival for them at the end of the 50s and the beginning of the
60s.
The next challenge of the rock and roll to the socialist society
was a released female sexuality at the turn of the 50s to the
60s.
This
challenge, like the previous one was not considered to be a violation
of the socialist morale, but the violation of a patriarchal morale. As
soon as it reached Yugoslav dances during the second half of the 50s,
rock and roll was „accused of revealing too much of the sexuality.
Yugoslav public got to know more about the connection of rock and
roll and female sexuality at the turn of the 50s to the
60s.
Hidden
from the public eye young people emerged upon the first free touch¬
es at youth parties, while listening to music under dim lights. Parents
601
were very worried because of the things happening at youth parties
which were mysteriously concealed. Youth parties were the main
problem, and rock and roll was an additional one. However, at the
beginning of the
60s
things began to change. Girls stated freely that
they wanted to have sexual relationships before marriage and were
supported by their male friends of the same age. At the same time
within the League of Communists an opinion prevailed stating that
comparing the pre-war and post-war morale was completely wrong
and Yugoslav youth were estimated as well-behaved. That does not
mean that the revealed female sexuality was at the same time accept¬
ed. Even during mid
60s
Yugoslav girls still encountered problems
while wearing mini skirts (beat fashion) both at home and at school,
although it was a benign means of revealing. From that time on the
borders were being moved. Acquiring sexual freedom went its way
in accordance to the same phenomena in the West.
The next challenge to the socialist society was the most serious.
By mid
60s
rock and roll prevailed so that it was defined as a cultural
movement by the Party s analysts and described as a phenomenon
which is not temporary. Through the Party s analysis and press articles
it is easily discerned that rock and roll was one of the many topics which
in
1966
refracted through the two Party s „fractions . The victorious
„liberal wing was accusing the defeated „conservative wing of want¬
ing to induce a clash with young people who danced predominantly to
the rhythms of rock and roll. Actually there were personal challenges
in the Party, far from official policy, to prove rock and roll bands dan¬
gerous to the „socialist morale . So the issue was no more about patri¬
archal morale solely, but there were harsh words having an ideological
background. However, there could be no clue that the „conservative
wing which was at the same time struggling for the centralizing Yugo¬
slav federation, would aim at a clash with young people. In any case
youth and rock and roll were then used as one among many arguments
over which the Party s inmates disputed. It was a good basis for a „lib¬
eral wing to express official support to young people s new qualities.
Belgrade s first big rock and roll festival in
1966
brought up disputes on
various scientific and political levels and became a turning point in the
602
history of the Yugoslav society. Since
1966
rock and roll bands played
every year for president Tito on Youth s Day. Yugoslav rock and roll
became enforced and it gained a form of a subculture with its special
kind of music, fashion and social life through clubs, magazines, radio
and television broadcasts.
Connected to the previous challenge is the challenge of the „roc¬
kers to the socialist society through the attitude to the Communist Rev¬
olution in Yugoslavia (the Revolution). According to the Party s statistics
of the
60s
Yugoslav youth was estimated as well-behaved and socialist-
oriented, regardless of the fact that it was oriented to the Western popu¬
lar culture. It was necessary to find just the right model to bring up a
well-behaved Yugoslav young person in such a fusion. Since rock and roll
became the „official music of the young Yugoslavs in
1966
older people
and war veterans were to be persuaded that the long-haired young men
were loyal to the revolutionary heritage. Rock and roll bands already
played their versions of revolutionary, partisan and brigadier songs but
older members of the Party did not listen to that because they were not
interested. Therefore at the beginning of
1967
a dispute about the atti¬
tude of the long-haired young men to the Revolution was opened pub¬
licly. The admirers of rock and roll claimed, according to the press, that
the Revolution was a holy thing for them and they no more wanted to
listen to constant accusations regarding their not being well-behaved
young men because the music seemed more important than the glorious
past. The message was of course in accordance to the fact that was annu¬
ally repeated by the Party s analysts: the youth is well-behaved and the
morale of the old and the new times were not to be confronted. The Par¬
ty s membership was shut no more for the long-haired men.
A very strong challenge came in the form of a hippie movement.
It appeared at a time when the Party accepted rock and roll bands as
a cultural movement, and a relationship of the Party to the hippies
raised the connection to rock and roll to a higher level. Hippie coun¬
terculture which was in the United States joined also by some from
the Beat Generation and students of the New Left shook up the Ame¬
rican establishment in the other half of the
60s.
The counterculture
supported pacifism, anti-colonialism, anti-segregation, equality, it
603
opposed a consumer capitalist culture and supported the ideas of the
Left. Therefore it is understandable why the Party s analysts came to
a conclusion that the hippie movement had even a revolutionary po¬
tential. Unlike politically-oriented hippies in the United States who
bitterly fought the establishment Yugoslav hippies at the same period
recorded some of the most beautiful songs about the Revolution and
socialism. Taking into consideration the Yugoslav nonalignment po¬
licy
(Hon-
Aligned Movement) which had mostly similar goals as the
hippie counterculture, this kind of compromise of rock and roll and
the Party was not unusual. Therefore the hippies in Yugoslavia never
became a counterculture.
During the second half of the 50s and the whole of the
60s
rock
and roll in Yugoslavia brought up several challenges to the socialist and
patriarchal society. At the very beginning the issue was mostly a gener¬
ation gap through which the parents searched for a protection of morale
for their children. Afterwards the generation gap was inflicted by dan¬
gerous ideological elements. However, history showed that the League
of Communists of Yugoslavia accepted every challenge by meeting it
halfway. By that compromise both sides gained, the Party and rock and
roll, that is to say, youth. The Party enabled rock and roll to develop
freely, and rock and roll kept the socialist youth, who couldn t care less
about the social and ethnic differences, under the Party s influence.
Rock and roll proved to be a cohesive factor in Yugoslavia in general,
following the path of the previously popular music.
At the turn of the 50s to
60s
we saw that a well-behaved socialist
youth in Yugoslavia inclined to Western popular culture, that is to say
to Hollywood movies and popular music. Back then, the pop-cultural
model did not have room for rock and roll which thrived on minor sta¬
ges. Half a decade later circumstances changed, by the end of the
60s
a
well-behaved young man listened to rock and roll, was allowed to wear
long hair and become a member of the League of Communists. Rock
and roll did not only find its place in Yugoslav pop-cultural model, but
also became its advocate all the way until The Socialist Federal Repub¬
lic of Yugoslavia fell apart at the beginning of the
90s.
604
|
| any_adam_object | 1 |
| author | Raković, Aleksandar 1972- |
| author_GND | (DE-588)1049513673 |
| author_facet | Raković, Aleksandar 1972- |
| author_role | aut |
| author_sort | Raković, Aleksandar 1972- |
| author_variant | a r ar |
| building | Verbundindex |
| bvnumber | BV041773811 |
| ctrlnum | (OCoLC)879018971 (DE-599)GBV73634599X |
| era | Geschichte 1956-1968 gnd |
| era_facet | Geschichte 1956-1968 |
| format | Book |
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| geographic | Jugoslawien (DE-588)4028966-7 gnd |
| geographic_facet | Jugoslawien |
| id | DE-604.BV041773811 |
| illustrated | Illustrated |
| indexdate | 2024-07-10T01:05:05Z |
| institution | BVB |
| isbn | 8652300232 9788652300235 |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-027219740 |
| oclc_num | 879018971 |
| open_access_boolean | |
| owner | DE-12 |
| owner_facet | DE-12 |
| physical | 642 S. Ill. 21 cm |
| publishDate | 2012 |
| publishDateSearch | 2012 |
| publishDateSort | 2012 |
| publisher | Arhipelag |
| record_format | marc |
| series2 | Biblioteka Vreme i priča |
| spelling | Raković, Aleksandar 1972- Verfasser (DE-588)1049513673 aut Rokenrol u Jugoslaviji 1956 - 1968. 1956 - 1968. ; izazov socijalističkom društvu Aleksandar Raković Rock and Roll in Yugoslavia 1956 - 1968. Beograd Arhipelag 2012 642 S. Ill. 21 cm txt rdacontent n rdamedia nc rdacarrier Biblioteka Vreme i priča Literaturverz. S. 611-620 Engl. Zsfassung u.d.T.: Rock and Roll in Yugoslavia 1956 - 1968. : a challenge to a socialist society (Belgrade 2011) In kyrill. Schr., serb. Geschichte 1956-1968 gnd rswk-swf Rockmusik (DE-588)4115774-6 gnd rswk-swf Subkultur (DE-588)4058326-0 gnd rswk-swf Jugoslawien (DE-588)4028966-7 gnd rswk-swf Jugoslawien (DE-588)4028966-7 g Subkultur (DE-588)4058326-0 s Rockmusik (DE-588)4115774-6 s Geschichte 1956-1968 z DE-604 Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027219740&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027219740&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Raković, Aleksandar 1972- Rokenrol u Jugoslaviji 1956 - 1968. 1956 - 1968. ; izazov socijalističkom društvu Rockmusik (DE-588)4115774-6 gnd Subkultur (DE-588)4058326-0 gnd |
| subject_GND | (DE-588)4115774-6 (DE-588)4058326-0 (DE-588)4028966-7 |
| title | Rokenrol u Jugoslaviji 1956 - 1968. 1956 - 1968. ; izazov socijalističkom društvu |
| title_alt | Rock and Roll in Yugoslavia 1956 - 1968. |
| title_auth | Rokenrol u Jugoslaviji 1956 - 1968. 1956 - 1968. ; izazov socijalističkom društvu |
| title_exact_search | Rokenrol u Jugoslaviji 1956 - 1968. 1956 - 1968. ; izazov socijalističkom društvu |
| title_full | Rokenrol u Jugoslaviji 1956 - 1968. 1956 - 1968. ; izazov socijalističkom društvu Aleksandar Raković |
| title_fullStr | Rokenrol u Jugoslaviji 1956 - 1968. 1956 - 1968. ; izazov socijalističkom društvu Aleksandar Raković |
| title_full_unstemmed | Rokenrol u Jugoslaviji 1956 - 1968. 1956 - 1968. ; izazov socijalističkom društvu Aleksandar Raković |
| title_short | Rokenrol u Jugoslaviji 1956 - 1968. |
| title_sort | rokenrol u jugoslaviji 1956 1968 1956 1968 izazov socijalistickom drustvu |
| title_sub | 1956 - 1968. ; izazov socijalističkom društvu |
| topic | Rockmusik (DE-588)4115774-6 gnd Subkultur (DE-588)4058326-0 gnd |
| topic_facet | Rockmusik Subkultur Jugoslawien |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027219740&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027219740&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT rakovicaleksandar rokenrolujugoslaviji1956196819561968izazovsocijalistickomdrustvu AT rakovicaleksandar rockandrollinyugoslavia19561968 |