The famous rocker New Wave, which characterized the music scene of the former Yugoslavia, is an inexhaustible topic for numerous books, essays, documentaries...
There is no shortage of material on this topic, and now another book is in front of the public, but according to some critics, it is the best book about this musical movement so far.
(which, interestingly, in Croatia is titled "Imagine life... New wave - the first generation" due to the publisher's fear that "socialism" in the title might cause inappropriate reactions from the right-wingers there) is Dušan Vesić, who is considered one of the most important Yugoslav rock journalists. He was an editor for the local scene in the magazines "Rock" and "Pop rock", director of the Belgrade popular music festival, author of the documentary TV series "Rockovnik" and the TV series and film "EKV - Kao da je bilo nekad".
Vesić previously published books about the group Bijelo Dugme, and the tragic life story of EKV keyboardist Margita Magi Stefanović, "Magi - as she once was", which she promoted two years ago in the Bar Chronicle.
According to critics, his latest work is of encyclopedic importance, and since Vesić is a master of literary narrative, it reads like a thriller. It was limited to a five-year period (1977 - 1982), and two years after he talked about the previous one, the Belgrade author also spoke to "Magazin" about a new book celebrating four decades of the New Wave, in which he is both a direct observer and a measured and attentive the chronicler.
Where did the idea for this book come from and what was your guide, how and how long did you work on the material?
It happened that for the first time I did not think of what I was going to do, but the book was the idea of my Belgrade publisher, Dragan Papić. He wanted us to mark forty years of the new wave and suggested that I write a book. Then I got down to business. First I wanted to visit all the heroes of the book. I started with person A. I spent three hours with him to end up using only one sentence from the entire conversation. His view of that period did not have much to do with what actually happened, he began to see things as he would like them to happen. Then Person B rejected me. She said she didn't want to remember that period. I concluded that it was better to give up that concept temporarily, so I sat down and wrote three quarters of the book from my head, as I experienced that period. Afterwards I checked and added. With occasional interruptions due to various personal problems, it took a good year.
Why is the New Wave still an inexhaustible source of inspiration and can our focus on the past, sometimes glorifying that time, have a negative impact on the present?
Because he left many hits that still sound fresh today. If there was a present, the glorification of the past could have a negative impact. But if the present is almost non-existent, let's try to shake it up with some fond memories of the past. Maybe this book will serve as an inspiration to someone. We have nothing to lose.
You call the movement Yugoslav, you say that it makes no sense to speak of bands as national but as city bands. What makes it most Yugoslav? Which cities would you highlight in particular?
It was a Yugoslav movement primarily because it operated on the territory of Yugoslavia. The bands had the same role models, shared the same ideas, performed on the same stages, shared the same audience, the same logistics, the same publishers, the same media. The new wave band from Zagreb is closer to the new wave band from Belgrade than any band from Niš. The very core of the new wave is supranational, there are no "Serbian" or "Croatian" new waves. There are only bands from Yugoslav cities: Ljubljana, Rijeka, Zagreb, Novi Sad, Maribor and Beograd.
What is the main difference between the centers of Zagreb and Belgrade, how much was the rivalry in that relationship and why even today it often happens that bands from Belgrade are extremely popular in Zagreb and vice versa? How much do you think your work was influenced by the fact that you are from Belgrade and therefore the best informed about the scene of that city?
You won't believe it if I admit that my work was most influenced by the fact that I was the best informed about the Zagreb scene. She developed slowly and gradually and gave me a lot of space. The Zagreb scene developed for three years before the Belgrade scene exploded in three months. That's the main difference between them, that's why, after all, the bands from Zagreb lasted longer. The rivalry was positive: they looked at each other and worked to be better. It is not strange that "they" were more popular with "us", and "we" with "them". You follow the bands from your city from the beginning and know everything about them. Then "they" come to you like some stars, and you don't know anything about them, so everything is interesting to you.
Why is it important for new generations to be familiar with this period?
The second Yugoslavia lasted forty-five years. After thirty years we listened to what was wrong with her. What's wrong with children being introduced to something that was good? After all, a people who do not know their past can have problems with understanding the future.
Why do you focus on the period from 1977 to 1982 and how much influence did Tito's death have on everyone?
Because it is the period of the first generation of the new wave. I had to finish somewhere, so that the book would not have more than 400 pages, as it has now. I think that Tito's death itself had no influence on the events of that period.
Why do you think Johnny Štulić is the most tragic figure of the new wave, who else would you say is the tragic figure of that story, and who profited?
Johnny is the most tragic figure because he remains a myth, in which he, as a human being, no longer finds his way. He profited, of course, from Jasenko Hour - because he never wanted to agree to become a myth.
Tony Wilson said that between myth and truth he always chooses myth because it is more interesting, how do you see it?
My friend, director Marko Kostić, has a similar thesis: "Who needs the truth?". I, on the other hand, believe that the heroes of myths need to get out of the myths, mature and become adults. If we care about them as people, then we will give them that chance. If we treat them as myths, then it doesn't matter anyway.
Given the title, what is your relationship to the idea of socialism and its influence on music. There is often talk about censorship and the like, while you say that you were freer then than today?
Censorship is one of those myths. It was only valid if Josip Broz was mentioned in a negative context. All other "interventions" were in fact self-censorship by various editors. I personally felt freer then than today. Then I could do anything, I just couldn't insult the Leader. Today I can only insult the Leader, I can't do anything else.
How do you view the current status of rock music and culture in the ex YU area, the increasing unification of national scenes into one cultural entity based on a language we all speak and understand?
Rock music has long lost the importance it used to have, so it doesn't really matter to her whether the scenes are getting closer or not. After all, the countries that inherited Yugoslavia are not interested in culture, so it is not worth thinking about any major developments. Well, that's the most important difference between Yugoslavia and the successor states to me: Yugoslavia held on to culture. That's why something as big as the new wave could happen.
Bonus video:
