Yu-Rock in the 1980s: Between Urban and Rural

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Notes

The initial version of this paper was first presented at the AAASS 38th National Convention, 16–19 November 2006.

Lefebvre, Production of Space.

Obviously, the material easily succumbs to forces of decay and one of the greatest enterprises from the onset of modernity has been to preserve the material remnants of the past and protect it from further decay. Two processes can be detected here: first, ruinophilia, where the imprint of Chronos endows the object with added value of resistance to the passing of time (for instance, indulging in the cracking sounds of vinyl records); and second, ruinophobia, where the imprint of the corrosiveness of time is eradicated (for instance, remastered, digitalized, hiss-free tunes on CDs). On ruinophilia see Boym, Future of Nostalgia.

On deterritorialization see Appadurai, Modernity at Large. On detemporalization see Pogačar, “Yuniverzum, cinematično ozvezdje.”

For a brief overview see Lebow et al., The Politics of Memory in Post-War Europe.

Verdery, Political Lives, 31.

Here it should be noted that as much as mental spaces are designed and influenced by external reality, so may, according to Freud, the external reality, “be the projection of the extension of the psychical apparatus” (in Burgin, In/Different Spaces, 153).

Another important aspect, perhaps more overtly related to historiography and historical space production, is the institutional codification of memory, i.e. monuments, statues, etc.

See Burgin, In/Different Spaces, 146.

It should be noted that the historic city, too, underwent significant transformation during the processes of industrialization and modernization, which resulted in a sort of nostalgia for the urban, a modern transformation of nostalgia for the pastoral countryside.

Simić, Peasant Urbanites, 17.

Burgin, In/Different Spaces, 158.

Chion, Glasba v filmu, 2001.

I use the term filmestrial space as a cinematic analogue to terrestrial space.

See Šabec, “Nostalgično breme jugoslovanske izušnje.”

A popular South Slavic term for “smuggling.”

See Pirjevec, Jugoslavija, 255; see also Luthar, “Remembering Socialism,” 229–59.

Ramet, “Rock Music,” 127–50; “Shake, Rattle and Self-Management,” 103–32.

Tomc, “Škandal v Rdečem baru,” 87.

Laušević, “The Ilahiya and Bosnian Muslim Identity,” 118–20.

Stankovič, “Uporabe ‘Balkana,’” 220–38, 226–28.

Muršič, Neubesedljive zvočne igre, 172.

Kostelnik, Moj život je novi val, 35.

Although punk and new wave are different genres they nevertheless share some common features and musicians. Since the distinction is somewhat unclear, I propose to use the term “new wave” to designate both in cases where the very newness and political capacity of the genre is expressed. The two can sometimes barely be successfully distinguished, for the musicians themselves first thought of their music and lifestyle as new wave (Paraf, “Moj život je novi val [My Life is New Wave],” a single from 1979).

Meaning literally “taking the piss.”

Tonkiss, “Aural Postcards,” 303–11, 304.

Muršič, “Rokovska alternativa,” 247.

Aerodrom, “Zagreb, Ljubljana, Beograd.”

See Gržinić, “Punk,” 69.

The equivalent in English would be posh, fancy.

Kostelnik, Moj život je novi val, 29, 34.

Repe, “Vloga slovenskega punka,” 59.

Kostelnik, Moj život je novi val, 72.

Paraf, “Grad.”

Paraf, “Rijeka.”

Bezobrazno zeleno, “Beograd,” reprinted in Janjatović, Pesme bratstva i detinjstva.

Film, “Zagreb je hladan grad.”

Paraf, “Rijeka.”

Paraf, “Visoki propisi.”

Čepič, Novejša Slovenska zgodovina, 1132.

Punk pod Slovenci.

Ekatarina Velika, “Vrt.”

Otroci socializma, “Lublana,” <http://www.undermuza.com/?name=besedila&text=964>.

Otroci socializma, “Hiše so sive,” <http://www.undermuza.com/?name=besedila&text=1270>.

Videosex, “Neonska reklama.”

Ibid.

Ekatarina Velika, “Ljudi iz gradova.”

Ekatarina Velika, “Vrt.”

Many thanks to Emil Kerenji for his comments and suggestions on this topic.

Bezobrazno zeleno, “Beograd,” reprinted in Janjatović, Pesme bratstva i detinjstva.

Muršič, Neubesedljive zvočne igre, 20.

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Martin Pogačar

Martin Pogačar, Section for Interdisciplinary Research in the Humanities, ZRC SAZU, Novi trg 2, Ljubljana, Slovenia. Email: [email protected]