The Aesthetics of Music Videos in Yugoslav Rock Music: Josipa Lisac, EKV, Rambo Amadeus
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2020
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Music video, although inextricably linked to the rise of television broadcasting and the recording
industry in the 1960s, has received only cursory attention in Yugoslav pop music historiography,
mainly because it lacked the discursive power of song lyrics privileged by rock journalists. More
recently, a few pop culture commentators, straddling the socialist/post-socialist periods, have
addressed the importance of television in shaping youth culture, most notably the music journalist
Aleksandar Žikić, in his 1999 book Fatalni ringišpil (The Fatal Carousel). Following a brief
overview of music video on Yugoslavia’s television, I focus on three leading artists who stood
out in terms of their visual identity, self-presentation, and engagement with the format: the jazzpop-
rock singer from Zagreb, Josipa Lisac; the new wave/alt-rock band from Belgrade, Ekaterina
Velika (EKV); and Montenegrin, Belgrade-based singer/songwriter Rambo Amadeus, reputed
for his eclectic rock-pop, jazz,... hip-hop, and folk style. My analysis explores how Lisac’s image
of a powerful and artistically liberated woman challenged the conventional visual presentation
of female performers; how EKV developed from the underground into a mainstream act while
maintaining their signature cryptic narratives and distinctive iconography; and how Rambo
Amadeus’s critical satire of the Balkan cultural codes earned him the distinction of oppositional
voice within the context of Yugoslavia’s dissolution.
Ključne reči:
Yugoslav Rock Music / Music Videos / recording industry / Josipa Lisac / EKV / Rambo Amadeus / Yugoslav pop music historiographyIzvor:
Made in Yugoslavia : Studies in Popular Music, 2020, 99-110Izdavač:
- New York : Routledge
Finansiranje / projekti:
- Identiteti srpske muzike od lokalnih do globalnih okvira: tradicije, promene, izazovi (RS-MESTD-Basic Research (BR or ON)-177004)
Institucija/grupa
Музиколошки институт САНУ / Institute of Musicology SASATY - CHAP AU - Medić, Ivana PY - 2020 UR - https://dais.sanu.ac.rs/123456789/14310 AB - Music video, although inextricably linked to the rise of television broadcasting and the recording industry in the 1960s, has received only cursory attention in Yugoslav pop music historiography, mainly because it lacked the discursive power of song lyrics privileged by rock journalists. More recently, a few pop culture commentators, straddling the socialist/post-socialist periods, have addressed the importance of television in shaping youth culture, most notably the music journalist Aleksandar Žikić, in his 1999 book Fatalni ringišpil (The Fatal Carousel). Following a brief overview of music video on Yugoslavia’s television, I focus on three leading artists who stood out in terms of their visual identity, self-presentation, and engagement with the format: the jazzpop- rock singer from Zagreb, Josipa Lisac; the new wave/alt-rock band from Belgrade, Ekaterina Velika (EKV); and Montenegrin, Belgrade-based singer/songwriter Rambo Amadeus, reputed for his eclectic rock-pop, jazz, hip-hop, and folk style. My analysis explores how Lisac’s image of a powerful and artistically liberated woman challenged the conventional visual presentation of female performers; how EKV developed from the underground into a mainstream act while maintaining their signature cryptic narratives and distinctive iconography; and how Rambo Amadeus’s critical satire of the Balkan cultural codes earned him the distinction of oppositional voice within the context of Yugoslavia’s dissolution. PB - New York : Routledge T2 - Made in Yugoslavia : Studies in Popular Music T1 - The Aesthetics of Music Videos in Yugoslav Rock Music: Josipa Lisac, EKV, Rambo Amadeus SP - 99 EP - 110 UR - https://hdl.handle.net/21.15107/rcub_dais_14310 ER -
@inbook{ author = "Medić, Ivana", year = "2020", abstract = "Music video, although inextricably linked to the rise of television broadcasting and the recording industry in the 1960s, has received only cursory attention in Yugoslav pop music historiography, mainly because it lacked the discursive power of song lyrics privileged by rock journalists. More recently, a few pop culture commentators, straddling the socialist/post-socialist periods, have addressed the importance of television in shaping youth culture, most notably the music journalist Aleksandar Žikić, in his 1999 book Fatalni ringišpil (The Fatal Carousel). Following a brief overview of music video on Yugoslavia’s television, I focus on three leading artists who stood out in terms of their visual identity, self-presentation, and engagement with the format: the jazzpop- rock singer from Zagreb, Josipa Lisac; the new wave/alt-rock band from Belgrade, Ekaterina Velika (EKV); and Montenegrin, Belgrade-based singer/songwriter Rambo Amadeus, reputed for his eclectic rock-pop, jazz, hip-hop, and folk style. My analysis explores how Lisac’s image of a powerful and artistically liberated woman challenged the conventional visual presentation of female performers; how EKV developed from the underground into a mainstream act while maintaining their signature cryptic narratives and distinctive iconography; and how Rambo Amadeus’s critical satire of the Balkan cultural codes earned him the distinction of oppositional voice within the context of Yugoslavia’s dissolution.", publisher = "New York : Routledge", journal = "Made in Yugoslavia : Studies in Popular Music", booktitle = "The Aesthetics of Music Videos in Yugoslav Rock Music: Josipa Lisac, EKV, Rambo Amadeus", pages = "99-110", url = "https://hdl.handle.net/21.15107/rcub_dais_14310" }
Medić, I.. (2020). The Aesthetics of Music Videos in Yugoslav Rock Music: Josipa Lisac, EKV, Rambo Amadeus. in Made in Yugoslavia : Studies in Popular Music New York : Routledge., 99-110. https://hdl.handle.net/21.15107/rcub_dais_14310
Medić I. The Aesthetics of Music Videos in Yugoslav Rock Music: Josipa Lisac, EKV, Rambo Amadeus. in Made in Yugoslavia : Studies in Popular Music. 2020;:99-110. https://hdl.handle.net/21.15107/rcub_dais_14310 .
Medić, Ivana, "The Aesthetics of Music Videos in Yugoslav Rock Music: Josipa Lisac, EKV, Rambo Amadeus" in Made in Yugoslavia : Studies in Popular Music (2020):99-110, https://hdl.handle.net/21.15107/rcub_dais_14310 .
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