Beronja slobodan milosevic biography
- In the 1990s, turbo-folk became an extension of Slobodan Milosevic's authoritarian regime in Serbia, when the genre flooded the airwaves.
- Vlad Beronja.
- “The Unfinished Trial of Slobodan Milošević: Justice Lost, History Told.“ PhD dissertation, University of Amsterdam, 2015.
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Vlad Beronja
Twilight zones of history Aleksandar Zograf s Regards from Serbia and the Serbian alternative comics of the 1990s
Journal of Graphic Novels and Comics, 2020
This article analyzes Regards from Serbia (2007), a comic strip diary by Aleksandar Zograf, a Ser... more This article analyzes Regards from Serbia (2007), a comic strip diary by Aleksandar Zograf, a Serbian underground cartoonist, as an instance of the alternative, anti-nationalist oppositional media space during the Yugoslav War. Drawing on comics scholarship and Walter Benjamin’s philosophy of history, the article explores Zograf’s use of the fantastic and surreal aesthetics to depict the political spectacle of Serbian nationalism during the 1990s, a historical time which Zograf imagines as a collective dream or, alternatively, a nightmarish mass hallucination. The visual diary spans the entire decade of the 1990s, a period of war, privation and authoritarian rule in Serbia: from the internationally imposed sanctions in the early 1990s to the overthrow of the Serbian strongman, Slobodan Milošević, following
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The Victimhood of Ceca Raznatovic
In conversation, she likes to characterise herself as a tragic icon of Serbian womanhood - a God-fearing Christian who loves her children above all else, struggling bravely against injustice. 'I am fragile and emotional,' she tells me. And, 'What doesn't kill me makes me stronger'. I ask Ceca what people in Serbia think of her now. 'That I'm a victim,' she says. 'A victim of my name and my huge popularity, and of my great love... that I was married to Zeljko. I'm not a criminal. I'm not a Mafioso. I'm just a woman who's fighting her way through li •
Ralph Peer shook his head. A scout for the Victor Talking Machine Company in the 1920s, he could not believe the number of white southern singers who dug commercial popular music. “They would come in to me, people that could play a guitar very well and sing very well, and I’d test them. ‘What other music have you got?’ Well, they’d sing some song that was popular on record, some pop song,” he recalled. “So I never bothered with them. They never got a chance.” Dorothy Scarborough shared Peer’s impatience. After collecting African-American folk songs throughout the South in the early 1920s, the white scholar lamented, “How often have I been tricked into enthusiasm over the promise of folk-songs only to hear age-worn phonograph records,—but perhaps so changed and worked upon by usage that they could possibly claim to be folk-songs after all!—or Broadway echoes, or conventional songs by white authors!”
Black Mississippi guitarist Robert Johnson knew lots of songs by white authors. He played them whenever he could. “Robert didn’t just perform his own songs,” his friend Johnny Sh
Ralph Peer shook his head. A scout for the Victor Talking Machine Company in the 1920s, he could not believe the number of white southern singers who dug commercial popular music. “They would come in to me, people that could play a guitar very well and sing very well, and I’d test them. ‘What other music have you got?’ Well, they’d sing some song that was popular on record, some pop song,” he recalled. “So I never bothered with them. They never got a chance.” Dorothy Scarborough shared Peer’s impatience. After collecting African-American folk songs throughout the South in the early 1920s, the white scholar lamented, “How often have I been tricked into enthusiasm over the promise of folk-songs only to hear age-worn phonograph records,—but perhaps so changed and worked upon by usage that they could possibly claim to be folk-songs after all!—or Broadway echoes, or conventional songs by white authors!”
Black Mississippi guitarist Robert Johnson knew lots of songs by white authors. He played them whenever he could. “Robert didn’t just perform his own songs,” his friend Johnny Sh
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