Bijelo Dugme

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This article is about the band. For the eponymous album from the band, see Bijelo Dugme (album).

Bijelo Dugme
The default Bijelo Dugme lineup. Standing: Zoran Redžić; sitting, from left to right: Vlado Pravdić, Goran Bregović, Željko Bebek, Ipe Ivandić.
The default Bijelo Dugme lineup. Standing: Zoran Redžić; sitting, from left to right: Vlado Pravdić, Goran Bregović, Željko Bebek, Ipe Ivandić.
Background information
OriginSarajevo, SR Bosnia and Herzegovina, SFR Yugoslavia
Genres
Years active1974 (1974)–1989 (1989)
(reunions: 2005)
LabelsJugoton, Diskoton, Kamarad, Croatia Records
Past membersGoran Bregović
Željko Bebek
Jadranko Stanković
Vlado Pravdić
Ipe Ivandić
Zoran Redžić
Milić Vukašinović
Laza Ristovski
Điđi Jankelić
Mladen Vojičić Tifa
Alen Islamović

Bijelo Dugme (trans. White Button) was a

Yugoslav rock scene
and Yugoslav popular music in general.

Bijelo Dugme was officially formed in 1974, although the members of its default lineup—guitarist

highest-attended ticketed concerts of all time
.

Bijelo Dugme is considered one of the most influential acts of the Yugoslav popular music, with a number of prominent figures of the Yugoslav and post-Yugoslav music scene citing them as an influence. Their works were critically acclaimed at the time of their release and in retrospect, with a number of their albums appearing on various lists of best Yugoslav rock albums, praised for the composition, musicianship, production and poetic quality of the lyrics. On the other hand, the band is often criticized by a part of musicians, music critics and audience who believe that the band's blend of rock music and Balkan folk paved the way for the appearance of turbo-folk music in the late 1980s and the 1990s. Bijelo Dugme's work remains popular in all former Yugoslav republics, the band often being considered one of the symbols of Yugoslav culture and their work being a frequent motif in various forms of yugo-nostalgia.

History

Background (1969–73)

Kodeksi (1969–71)

The band's history begins in 1969. At the time, the future leader of Bijelo Dugme,

Burdock).[1] Redžić in turn brought along his bandmate from Čičak Milić Vukašinović as replacement on drums for Paganotto, who also quit in the meantime.[1] Vukašinović brought new musical influences along the lines of what Led Zeppelin and Black Sabbath were doing at the time. Additionally, he convinced Bregović, Bebek and Redžić on incorporating the new sound into their set,[1] and within two weeks of his arrival, Kodeksi were fired from all the clubs they were playing.[1]

The foursome of Bebek, Bregović, Redžić and Vukašinović stayed on the island of Capri and in 1970 relocated back to Naples.[1] At this time, the other three members persuaded Bebek to stop playing the rhythm guitar reasoning that it was not fashionable any more.[1] Bebek also had trouble adapting to the new material vocally. He would sing the intro on most songs and then step back as the other three members improvised for the remainder of songs, with Vukašinović taking the vocal duties more and more often.[1] After being a key band member only several months earlier, Bebek thought his role was gradually being reduced.[1] During the fall of 1970, he left Kodeksi to return to Sarajevo.[1]

Vukašinović, Bregović, and Redžić continued to perform, but decided to return to Sarajevo in the spring of 1971, when Bregović's mother and Redžić's brother came to Italy to persuade them to return home.

Television Sarajevo show, but under the condition that they record a song of their own.[5] Hastily composed and recorded "Ja i zvijezda sjaj" ("Me and the Stars' Glow") was of poor quality and little artistic value,[5] which influenced Vukašinović's decision to move to London.[5] He left Sarajevo in late summer of 1971, and the trio ended their activity.[1]

Jutro (1971–73)

At the autumn of 1971, guitarist Ismet Arnautalić invited Bregović to form Jutro (Morning).[1] The band's lineup featured, alongside Arnautalić and Bregović, Redžić on bass, Gordan Matrak on drums and vocalist Zlatko Hodnik.[1] Bregović wrote his first songs as a member of Jutro.[1] The band had made some recordings with Hodnik when Bregović decided they needed a vocalist with "more aggressive" vocal style, so he invited Bebek to become the band's new singer.[6] With Bebek, the band recorded the song "Patim, evo, deset dana" ("I've Been Suffering for Ten Days Now"), which was, in 1972, released as the B-side of the single "Ostajem tebi" ("I Remain Yours"), which was recorded with Hodnik.[1] After the song recording, Bebek left the band to serve his mandatory stint in the Yugoslav People's Army, but the rest of the band decided to wait for his return to continue their activity.[1]

During Bebek's short leave from the army, the band recorded four more songs: "Kad bi' bio bijelo dugme" ("If I Were a White Button"), "U subotu, mala" ("On Saturday, Baby"), "Na vrh brda vrba mrda" (the title being a traditional

traditional music of the Balkans with rock, and Bregović would later state on number of occasions that this cooperation influenced Bijelo Dugme's folk rock sound.[1] After Matrak left the band, he was replaced by Perica Stojanović, who was shortly after replaced by former Pro Arte member Vladimir Borovčanin "Šento".[7] Borovčanin tried to secure a record contract with Jugoton, but failed, soon losing faith in his new band.[7] He and Redžić neglected rehearsals, and both left the band after an argument with Bregović.[7]

Redžić was replaced by Ivica Vinković, who was at the time a regular member of

Moby Dick) and Rok (Rock) member Goran "Ipe" Ivandić.[8] Instead of second guitar, Bregović decided to include keyboards in the band's new lineup. Experienced Vlado Pravdić, a former member of Ambasadori and Indexi, became Jutro's keyboardist.[9] The band prepared several songs for the recording in Radio Sarajevo's studio, but Arnautalić, still holding a grudge on his former bandmates, used his connections in Radio Sarajevo to get Jutro's recording sessions cancelled.[8] However, the band managed to make an agreement with producer Nikola Borota Radovan, who allowed them to secretly record the songs "Top" ("Cannon") and "Ove ću noći naći blues" ("This Night I'll Find the Blues") in the studio.[8] The intro to "Top" was inspired by traditional ganga music.[10] Soon after, Vinković rejoined Ambasadori, and was replaced by Jadranko Stanković, a former member of Sekcija (Section) and Rok.[11]

At this time, the band decied to adopt the name Bijelo Dugme. They decided to change the name because of the conflict with Arnautalić,[11] but also because of the existence of another, Ljubljana-based band called Jutro, which had already gained prominence on the Yugoslav scene.[1] As the band was already known for the song "Kad bi' bio bijelo dugme", they choose the name Bijelo Dugme.[1] The band officially started working under this name from January 1974.[1]

Željko Bebek years (1974–84)

"Shepherd rock" years: rise to fame and "Dugmemania" (1974–79)

Bijelo Dugme logo, designed by the band's long-time collaborator Dragan S. Stefanović

In January 1974, with Borota, the band completed the "Top" and "Ove ću noći naći blues" recordings.

7-inch single that would eventually sell 30,000 copies.[10][13]

The band started promoting the single, performing mostly in smaller towns.[1] Stanković, unsatisfied with the agreement that only Bregović would compose the band's songs and feeling he did not fit in with the rest of the members, continued to perform with Bijelo Dugme, but avoided any deeper relations with other members.[14] Soon after, Bregović, Bebek, Ivandić and Pravdić decided to exclude him from the band.[15] Redžić was invited to join the band, which he accepted, despite his previous conflict with Bregović.[15] The following 7-inch single, featuring the songs "Glavni junak jedne knjige" ("The Main Character of a Book"), with lyrics written by poet Duško Trifunović, and "Bila mama Kukunka, bio tata Taranta" ("There Was Mommy Kukunka, There Was Daddy Taranta"), was almost at the same time released by both Jugoton and Diskoton, as Bregović signed contracts with both of the labels.[1] This scandal brought huge press covering and increased the single sales.[1]

The band had their first bigger performance at the 1974

gold record.[18]

This single was their last produced by Borota at the Jugoton recording studio in Zagreb.

During September, the band performed as the opening band for Tihomir "Pop" Asanović's Jugoslovenska Pop Selekcija, and during October, in studio Akademik in Ljubljana, they recorded their debut album Kad bi' bio bijelo dugme.[1] Several days before the album release, wanting to appear in the media as much as possible, Bijelo Dugme performed at the Skopje Festival, playing the song "Edna nadež" ("One Hope") by composer Grigor Koprov.[19] Bregović later described this event as "the greatest disgrace in Bijelo Dugme's career".[1] Bebek sung in bad Macedonian, and the band did not fit in well in the ambient of a pop festival.[1] On the next evening, the band performed, alongside Pop Mašina, Smak and Crni Biseri, in Belgrade's Trade Union Hall, on the Radio Belgrade show Veče uz radio (Evening by the Radio) anniversary celebration, and managed to win the audience's attention.[20] At the time, Bijelo Dugme cooperated with manager Vladimir Mihaljek, who managed to arrange the band to perform as an opening band on Korni Grupa's farewell concert in Sarajevo's Skenderija, which won them new fans, as about 15,000 people in the audience were thrilled with Bijelo Dugme's performance.[20]

gold record at the Opatija Festival, as they, up to that moment, sold their debut album in more than 40,000 copies. The final number of copies sold was about 141,000.[20]

AIR Studios on Oxford Street in November 1975 during the recording of Šta bi dao da si na mom mjestu; from left to right: sound engineer Peter Henderson, producer Neil Harrison, Ipe Ivandić, Goran Bregović, Željko Bebek, Vlado Pravdić, and Jugoton executive Veljko Despot
.

In late February 1975, Mihaljek organized Kongres rock majstora (Congress of Rock Masters), an event conceptualized as a competition between the best Yugoslav guitarists at the time.

Time) and Janez Bončina "Benč" (of September).[23]

Before the recording of their second album, Bijelo Dugme went to the village

platinum record in the history of Yugoslav record publishing, and after it sold more than 200,000 copies it was branded simply as "2× platinum record".[27]

After Šta bi dao da si na mom mjestu release, the band went on a warming-up tour across

Croatian National Theatre in Zagreb, as part of the New Year's celebration being organized for him.[28] Their performance was, however, stopped after only several minutes, reputedly because of the loudness.[20]

The oldest visitors of their concerts—which for two months ravened like an epidemics through all Yugoslav cities with more than 30,000 people—are not older than 15. If they are, they are mental coevals of ten-year-olds. Even for than unripe age of man's life, the lyrics: 'I will give my life, 'cause you're mine only, in our love, my only love' must seem moronic. 'The Buttons'—original also when it comes to their costumes, on their five-inch heels, with earrings and trinkets—colored their 'lyrics' with 'traditional ghenes'. [...]

On their latest LP record there is a posterior with fingers pressed into it. They sold more than 600,000 records, and held 200 concerts during the last 365 days.

Bijelo Dugme is a peak of a wave of youth

League of Socialist Youth
, the Institute for Social Issues, musical experts, serious publicists and press, radio and television. But neither institutions neither individuals had the courage (although they have interest) to establish the counterpoint to roistering advertising through something every society must have – through critical conscience. Not in order to execute or to anathematize, but in order to knowingly cover social life. Faced with the masquerade, the electronic music, the vulgar lyrics, society's scientific minds pushed their heads deep into the sand.

-Sergije Lukač
NIN
March 28, 1976[29]

Energy, as we know, can not be lost, although it often seemed to me that today's youth had lost it. More and more young chairwarmers appeared, ready to ape the older ones [...] In Dom Sportova, that pure energy of youth appeared in a fascinating form, equal to the concrete colossus in which it emerged, but collectively subjected to rock syntax.

That sort of joy and that sort of spontaneity, that sort of sensitivity and that sort of togetherness are possible only with creative spirits, which do not bargain for their position, but simply share it with the others, the same, the equal. With the sounds that tear to pieces everything that does not subject to them (I myself felt minced), with blinding games of light, in the whirlpool of young bodies uncaring for their small spot, an event which will be remembered was created, an event which, in my opinion, Bijelo Dugme only accidentally set in motion.

That event was in the air, as a need of one generation of teenagers pinched between existing tepid culture and imperatives of their young nature. The instruments of Bijelo Dugme were only the electric lighter for those explosive masses, which started the run for their mythology, their culture, their values...

The generation which found its Bijelo Dugme will more likely find its

Bach
than the generation for which Bach is a social norm, the generation which is dressed in its formal suit and locked in its concert chair.

-Veselko Tendžera
Vjesnik
March 28, 1976[30]

As Redžić had to leave the band due to his army obligations, a bass guitarist for live performances had to be hired.

Pionir Hall, with approximately 6,000 people per concert.[32] On the concerts, the band for the first time introduced a set of several songs performed unplugged.[32] The press coined the term "Dugmemanija" (Buttonmania) and the socialist public went into an argument over the phenomena.[20]

At the beginning of 1976, the band planned to hold a United States tour, however they gave up the idea after the suspicion that the planned concerts were organized by pro-

youth work action Kozara 76, which was Bregović's response to the claims that the band's members were "pro-Western oriented".[20] At the beginning of autumn, Ivandić and Pravdić left the band due to their stints in te Yugoslav army.[20] They were replaced by Vukašinović (who, after Kodeksi disbanded, played with Indexi) and Laza Ristovski respectively. Ristovski's moving from Smak, at the time Bijelo Dugme's main competitors on the Yugoslav rock scene, saw huge covering in the media.[20]

The band prepared for the recording of their third album in Borike.

symphonic-oriented "Sanjao sam noćas da te nemam" ("I Dreamed Last Night that I Didn't Have You") and less complex "Loše vino" ("Bad Wine", written by Bregović and singer-songwriter Arsen Dedić and originally recorded by singer Zdravko Čolić).[20] In the meantime, Racić asked for higher payment, so he got fired.[20] He was replaced by Sanin Karić, who was at the time a member of Teška Industrija.[20] This lineup of the band went on the tour across Poland, on which they were announced as "the leading band among young Yugoslav groups" and held nine successful concerts.[20] After the band's return from Poland, Redžić and Ivandić rejoined them.[35] After leaving Bijelo Dugme, Vukašinović would form the hard rock/heavy metal band Vatreni Poljubac.[36]

In 1977 the band went on a Yugoslav tour, but experienced problems during it. The clashes within the band were becoming more and more frequent,

Adriatic coast tour was canceled, as well as concerts in Zagreb and Ljubljana for which the recording of a live album was planned.[35] After four years, Bijelo Dugme saw a decline in popularity and rumors about the band's disbandment appeared in the media.[35]

The band wanted to organize some sort of spectacle to help their decreased popularity.

Leb i Sol[39] – Bijelo Dugme played a very successful concert.[35] Despite the fact that the concert was secured by only twelve police officers,[40] there were no larger incidents.[41] Video recordings from the concert appeared in Mića Milošević's film Tit for Tat.[35] Eventually, it was discovered that the audio recordings could not be used for the live album, as the sound was bad due to technical limitations and the wide open space, so the band, on 25 October of the same year, played a concert in Đuro Janković Hall in Sarajevo, the recording of which was used for the live album Koncert kod Hajdučke česme (The Concert at Hajdučka česma).[35] Eventually, the only part of the Hajdučka česma concert that ended up on the album were the recordings of the audience's reactions.[35]

After Koncert kod Hajdučke česme was mixed, Bregović went to serve the army in

Leb i Sol leader Vlatko Stefanovski on guitar, Zlatko Hold on bass guitar, and Goran Kovačević and Ivandić's sister Gordana on vocals.[35] Ristovski and Ivandić met with Bregović during his leave and played him the recordings, believing they could persuade him to let them compose for Bijelo Dugme.[42] After he refused, the two, encouraged by the positive reactions of the music critics which had the opportunity to listen to the material before the release, decided to leave Bijelo Dugme.[35][42] However, on 10 September, the same day for which the beginning of the promotional tour was scheduled, Ivandić, alongside Goran Kovačević and Ranko Boban, was arrested for owning hashish.[43] Ivandić was sentenced to spend three years in jail (Kovačević was sentenced to year and a half, and Boban to a year).[43] Before he went to serve the sentence, Ivandić went to psychiatric sessions to prepare for the life in prison. The psychiatrist he went to see was Radovan Karadžić.[44]

In June 1978, Bregović went to Sarajevo to receive a plaque from the League of Communist Youth of Bosnia and Herzegovina on the behalf of the band.[35] In the autumn of 1978, Pravdić returned to the band and drummer Dragan "Điđi" Jankelić, who participated in the recording of Bebek's solo album, became Bijelo Dugme's new drummer.[35] Jankelić was previously a member of Formula 4 (the lineup in which he played included both Ljubiša Racić and Jadranko Stanković), Rok, Čisti Zrak and Rezonansa.[45] Bijelo Dugme started preparing their new album in Niška Banja‚ but, as Bregović was still serving the army, they definitely reunited in Sarajevo on 1 November.[35] The new lineup of the band had their first performance in Skenderija on 4 December 1978.[46]

The band's fourth studio album was recorded in Belgrade and produced by Neil Harrison.

Metak, Obećanje Proljeća, Suncokret, Parni Valjak, Generacija 5 and Siluete.[50] More than 70,000 people attended the concert.[35]

At the time, Bregović wrote

film music for the first time, for Aleksandar Mandić's film Personal Affairs, and the songs "Pristao sam biću sve što hoće" ("I Accepted to Be Anything They Want", with lyrics written by Duško Trifunović) and "Šta je tu je" ("Is What It Is") were recorded by Bijelo Dugme and released on a single record.[35] During 1980, Bregović spent some time in Paris, and the band was on hiatus.[35]

Doživjeti stotu: Jumping on the new wave bandwagon (1980–82)

Goran Bregović in 1980

At the end of the 1970s and the beginning of the 1980s, the Yugoslav rock scene saw the

Prljavo Kazalište.[51] During 1980, Bijelo Dugme decided to move towards new sound.[52]

In December 1980, Bijelo Dugme released

mustache.[56] Due to the new sound, Doživjeti stotu was met with a lot of skepticism, but most of the critics ended up praising the album.[56] At the end of 1980, the readers of Džuboks magazine polled Bijelo Dugme the Band of the Year, Bebek the Singer of the Year, Pravdić the Keyboardist of the Year, Jankelić the Drummer of the Year, Redžić the Bass Guitarist of the Year, Bregović the Composer, the Lyricist, the Producer and the Arranger of the Year, Doživjeti stotu the Album of the Year, and Doživjeti stotu cover the Album Cover of the Year.[56]

The band started their Yugoslav tour on 24 February 1981, with a concert in Sarajevo, and ended it with a concert in the club

Hala Pinki together with Indexi.[57]

In early 1982, Bijelo Dugme performed in

Leb i Sol drummer Garabet Tavitjan.[58] At the end of 1982, the media published that Bregović was excluded from the League of Communists of Yugoslavia, with the explanation that he did not attend the meetings of the League in his local community.[57] However, due to the growing liberalization of the Yugoslav society, this event did not affect Bregović's and the band's career.[58]

At the end of 1982, Ivandić was released from prison and was approached to rejoin the band. With his return to the band, Bijelo Dugme's default lineup reunited.[59]

After Doživjeti stotu, Bebek's departure (1983–84)

At the beginning of 1983, Bregović, Redžić, Pravdić and Ivandić recorded a

Seid Memić "Vajta" to record the vocals, but eventually the vocals were recorded by eleven-year-old Ratimir Boršić "Rača", and the album was released under Ratimir Boršić Rača & Bijelo Dugme moniker.[58]

In February 1983, the band released the album Uspavanka za Radmilu M. (Lullaby for Radmila M.).[58] Bregović intended to release Uspavanka za Radmilu M. as Bijelo Dugme's farewell album and to dismiss the band after the tour.[58] The album was recorded in Skopje and featured Vlatko Stefanovski (guitar), Blagoje Morotov (double bass) and Arsen Ereš (saxophone) as guest musicians.[58] The songs "Ako možeš zaboravi" ("Forget, if You Can"), "U vrijeme otkazanih letova" ("In the Time of Canceled Flights"), "Polubauk polukruži poluevropom" ("Half-Spectre is Half-Haunting Half-Europe", the title referring to the first sentence of The Communist Manifesto) and "Ovaj ples dame biraju" ("Ladies' Choice") featured diverse sound, illustrating various phases in the band's career.[58] The album's title track is the only instrumental track Bijelo Dugme ever recorded.[58] Unlike the band's previous album, Uspavanka za Radmilu M. was not followed by a large promotion in the media,[60] but it was followed by the release of the videotape cassette Uspavanka za Radmilu M., which featured videos for all the songs from the album, which was the first project of the kind in the history of Yugoslav rock music.[61] The videos were directed by Boris Miljković and Branimir Dimitrijević "Tucko"[62] The video for the song "Ovaj ples dame biraju" was the first gay-themed video in Yugoslavia.[62] The song "Kosovska" ("Kosovo Song") featured Albanian language lyrics.[58] Written during delicate political situation in Socialist Autonomous Province of Kosovo, the song represented Bregović's effort to integrate the culture of Kosovo Albanians into Yugoslav rock music.[63] Although lyrics were simple, dealing with rock music, the song caused certain controversies.[58][63]

Uspavanka za Radmilu M. did not bring numerous hits as the band's previous releases, however, the tour was very successful, and the audience's response made Bregović change his mind about dismissing the band.[58] After the tour, Bijelo Dugme went on a hiatus and Bebek recorded his second solo album, Mene tjera neki vrag (Some Devil Is Making Me Do It).[58] His last concert with Bijelo Dugme was on 13 February 1984, in Sarajevo Olympic Village.[58] Unsatisfied with his share of the profits in Bijelo Dugme, he decided to leave the band and dedicate himself to his solo career.[64] He left Bijelo Dugme in April 1984, starting a semi-successful solo career.[58] For a certain period of time, Bebek's backing band would feature Jankelić on drums.[65]

Mladen Vojičić "Tifa" years (1984–86)

Mladen Vojičić "Tifa" and Goran Bregović at Bijelo Dugme concert in Niš, during the Bijelo Dugme promotional tour

After Bebek's departure,

Divlje Jagode, was approached to join the band, but he refused fearing that Bebek might decide to return.[58] Eventually, the new Bijelo Dugme singer became then relatively unknown Mladen Vojičić "Tifa", a former Top and Teška Industrija member.[58] The band spent summer in Rovinj, where they held small performances in Monvi tourist centre, preparing for the upcoming album recording.[66] At the time, Ivandić started working with the synth-pop band Amila, fronted by his girlfriend-at-the-time Amila Sulejmanović, who would soon start to perform with Bijelo Dugme as a backing vocalist.[58]

At the time, Bregović, with singer

gaida and Sonja Beran-Leskovšek on harp.[68]

Members of Bijelo Dugme and Bajaga i Instruktori together in Moscow in July 1985

Bijelo Dugme was sold in more than 420,000 copies.

Laibach.[71] In the summer of 1985, Bijelo Dugme, alongside Bajaga i Instruktori, represented Yugoslavia at the 12th World Festival of Youth and Students held in Moscow.[58] The two bands should have held their first concert on 28 July in Gorky Park.[72] The soundcheck, during which Yugoslav technicians played Bruce Springsteen and Pink Floyd songs, attracted some 100,000 people to the location.[73] Bajaga i Instruktori opened the concert, however, after some time, the police started to beat the ecstatic audience, and the concert was interrupted by the Soviet officials, so Bijelo Dugme did not have to opportunity to go out on the stage.[74] Fearing new riots, the Moscow authorities scheduled the second concert in Dinamo Hall, and the third one in the Moscow Green Theatre. The first one, held on 30 July, was attended by about 2,000 uninterested factory workers, and the second one, held on 2 August and also featuring British bands Misty in Roots and Everything but the Girl, by about 10,000 young activists with special passes.[74]

The concerts in Moscow were Vojičić's last performances with the band. Under the pressure of professional obligations, sudden fame and a media scandal caused by revelation of his

Divlje Jagode (whose singer Alen Islamović replaced him in Bijelo Dugme), and eventually start a solo career.[58]

Alen Islamović years and disbandment (1986–89)

The last Bijelo Dugme lineup, from left to right: Vlado Pravdić, Ipe Ivandić, Goran Bregović, Alen Islamović, Zoran Redžić and Laza Ristovski

After Vojičić's departure,

Divlje Jagode were based in London, working on their international career under the name Wild Strawberries. Doubting the success of their efforts, Islamović left them and joined Bijelo Dugme.[58]

The new album,

Svetozar Vukmanović Tempo. He, together with Bregović and children from the Ljubica Ivezić orphanage in Sarajevo, sang a cover of "Padaj silo i nepravdo" ("Fall, (Oh) Force and Injustice"), an old revolutionary song.[58] Instead of Popović's painting, the album cover featured a photograph of Chinese social realist ballet.[76] Vukmanović's appearance on the album was described by The Guardian as "some sort of Bregović's coup d'état".[58] The album's main hits were pop song "Hajdemo u planine" ("Let's Go to the Mountains"), "Noćas je k'o lubenica pun mjesec iznad Bosne" ("Tonight there's a Watermelon-like Full Moon over Bosnia"), and the ballads "Te noći kad umrem, kad odem, kad me ne bude" ("That Night, When I Die, When I Leave, When I'm Gone") and "Ružica si bila, sada više nisi".[58]

A number of critics, however, expressed their dislike for the album. One of them was Belgrade rock journalist Dragan Kremer. In 1987, Kremer appeared as guest on

opera singer Dubravka Zubović as guest.[58]

The double live album

Communist Party of Yugoslavia.[79] Mramor, kamen i željezo was the band's last album to feature Vlado Pravdić. He left the band after the album release, dedicating himself to business with computers.[80] However, he continued to occasionally perform with the band, on larger concerts,[80] and was, until the end of the band's activity, still considered an official member.[56][81]

At the end of 1988, the album

Serbian Army in World War I.[83] The video was recorded in the village Koraćica in Central Serbia.[83] The band came to the recording not knowing anything about the video concept.[84] They should have worn uniforms (without any insignia) and old weapons, but Islamović thought the idea was too "pro-war", so refused to wear a uniform.[84] Eventually, the band and the director reached an agreement: everyone, except Islamović, wore Serbian traditional costumes, with only several of the original props used.[85] However, after the video was recorded, the Radio-Television Belgrade editors themselves decided not to emit it, fearing it might remind of the Chetnik movement.[85]

At the beginning of 1989, the band went on a tour which should have lasted until 1 April.[80] The concert in Belgrade, held in Belgrade Fair on 4 February, was attended by about 13,000 people.[86] The concert featured Dubravka Zubović, the First Singing Society of Belgrade, the Fejat Sejdić Trumpet Orchestra and klapa Trogir.[86] The concert in Sarajevo's Zetra, held on 11 February, was also very successful; it was attended by more than 20,000 people.[86] However, on some concerts in Croatia, the audience booed and threw various objects on stage when the band performed their pro-Yugoslav songs.[86]

After the concert in Modriča, held on 15 March, with four concerts left until the end of the tour, Islamović checked into a hospital with kidney pains.[87] This event revealed the existing conflicts inside the band: Bregović claimed that Islamović had no problems during the tour,[87] while the band's manager, Raka Marić, stated that Bijelo Dugme would search for a new singer for the planned concerts in China and Soviet Union.[88] Bregović went to Paris, leaving Bijelo Dugme's status opened for speculations.[80] In 1990, the compilation album Nakon svih ovih godina was released, featuring recordings made between 1984 and 1989.[80] As Yugoslav Wars broke out in 1991, it became clear that Bijelo Dugme would not continue their activity.[80]

Post-breakup

Goran Bregović in concert in 1997

Bregović continued his career as a film music composer, cooperating mostly with Emir Kusturica.[80] Redžić moved to Finland, where he worked as a producer, and after the Bosnian War ended, he returned to Sarajevo, where he opened a rock club.[80] Ristovski continued to record solo albums and worked as a studio musician. During the 1990s he worked with glam metal band Osvajači and his former band Smak.[80] Islamović, who recorded his first solo album Haj, nek se čuje, haj nek se zna (Hey, May All Hear, Hey, May All Know) in 1989, started a semi-successful solo career.[80]

On 12 January 1994, Ivandić died after falling from the sixth floor of the Hotel Metropol in Belgrade. After a police investigation, his death was officially declared a suicide. However, during the years, a number of his family members, friends and bandmates—including Bregović, Bebek, Ristovski, Vojičić, Vukašinović and Amila Sulejmanović—expressed doubts about the investigators' conclusions.[89][90][91][92][93] Bregović stated that in the years following his release from prison Ivandić used to sleepwalk, and that he might have fallen from the building's sixth floor while sleepwalking.[93] Vojičić, Vukašinović and several of Ivandić's friends expressed their belief that Ivandić was murdered by loan sharks.[92][93]

In 1994, the double compilation album Ima neka tajna veza (There's Some Secret Connection), featuring Dragan Malešević Tapi's painting Radost bankrota (The Joy of Bankruptcy) on the cover, was released.[80]

2005 reunion

yugonostalgia.[95]

The band held only three concerts: in

highest-attended ticketed concerts of all time. However, the concert in Belgrade was much criticized due to inadequate sound system.[80][98] The live album Turneja 2005: Sarajevo, Zagreb, Beograd (2005 Tour – Sarajevo, Zagreb, Belgrade) recorded on the tour was released.[80]

Post-2005

Laza Ristovski died in Belgrade on 6 October 2007, following years of battle with multiple sclerosis.[100]

In 2014, Raka Marić made an attempt to reunite Bijelo Dugme once again to mark the band's 40th anniversary, but the agreement could not be reached, despite the members being interested in a new reunion.[101] Eventually, Goran Bregović marked 40 years since the formation of the band and the release of their debut album with a series of concerts with his Weddings and Funerals Orchestra, featuring Alen Islamović as vocalist.[101] To mark the anniversary, Croatia Records released a box set entitled Box Set Deluxe. The box set, released in a limited number of copies, features remastered vinyl editions of all studio albums, and the reissue of the band's first 7-inch single as bonus.[102]

Influence, legacy and criticism

Bijelo Dugme is the most important phenomenon in the last quarter of the 20th century in Yugoslav culture. In a socialist culture, which shyly searched for its path outside of determined framework of values, they were a phenomenon of overturning importance. They promoted the necessity of talent, the exigency of authenticity, the importance of attitude, the need for complete dedication, the high level of professionalism and the modern package. They were the biggest mass concept of Yugoslavia and the first mass concept not financed by the state. During their entire career, they had the endless love of the audience, the constant envy of their colleagues and divided sympathy of the establishment.

They defined rock culture and defined teenagers as an organised category. They fought for the freedom of taste, by then unimaginable in socialism, and won. They were one of the rare

entertainment industry and kept lifting them up. They fulfilled all the dreams of Yugoslav scene – except one: they did not step out on the world stage side by side with the biggest stars of the time, although they had the capacity to do that. Bijelo Dugme was maybe the biggest collateral damage of the Cold War
when it comes to music: they couldn't go neither to the East, neither to the West. Then again, Bijelo Dugme is the only proof that the classic rock 'n' roll career is possible outside of English language.

-Dušan Vesić in 2014[103]

Bijelo Dugme is generally considered to have been the most popular act ever to appear in SFR Yugoslavia and its successor countries, inspiring many artists from different musical genres. The musicians that were, in their own words, influenced by Bijelo Dugme include guitarist and leader of

S.A.R.S., and others. The song "Ima neka tajna veza" was performed by Joan Baez on her 2014 concerts in Belgrade and Zagreb.[123] In 1991, on Nirvana's concert in Muggia, Italy, Krist Novoselic jokingly introduced his band as Bijelo Dugme to the crowd consisting mostly of Slovenes.[124]

There were several books written about the band: Istina o Bijelom dugmetu (The Truth about Bijelo Dugme, 1977) by Danilo Štrbac, Bijelo Dugme (1980) by Duško Pavlović, Ništa mudro (1981) by Darko Glavan and Dražen Vrdoljak, Lopuže koje nisu uhvatili (Rascals That Weren't Caught, 1985) by Dušan Vesić, Bijelo Dugme (2005) by Asir Misirlić, Bijelo Dugme – Doživjeti stotu (2005) by Zvonimir Krstulović, Kad bi bio bijelo dugme (2005) by Nenad Stevović, Kad sam bio bijelo dugme (When I Was a White Button, 2005) by Ljubiša Stavrić and Vladimir Sudar[80] and Šta bi dao da si na mom mjestu (2014) by Dušan Vesić.[125]

In 1994, Radio Television of Serbia aired a four-part documentary about the band entitled Nakon svih ovih godina.[80] In 2010, Igor Stoimenov directed a documentary about the band, entitled simply Bijelo Dugme.[126] In 2015, Robert Bubalo, Renato Tonković and Mario Vukadin directed a documentary film about Ivandić entitled Izgubljeno dugme (The Lost Button).[127]

The book

Bijelo Dugme (polled No. 28), Eto! Baš hoću! (polled No. 31), Doživjeti stotu (polled No. 35), Pljuni i zapjevaj moja Jugoslavijo (polled No. 53), and Koncert kod Hajdučke česme (polled No. 74).[128] The list of 100 greatest Yugoslav album, published by Croatian edition of Rolling Stone in 2015, features three Bijelo Dugme albums, Bitanga i princeza (ranked No. 15),[129] Eto! Baš hoću! (ranked No. 36)[130] and Šta bi dao da si na mom mjestu (ranked No. 42).[131] In 1987, in YU legende uživo (YU Legends Live), a special publication by Rock magazine, 5. april '81 was pronounced one of 12 best Yugoslav live albums.[132]

The

B92 Top 100 Yugoslav songs list features three songs by Bijelo Dugme: "Sve će to, mila moja, prekriti ruzmarin, snjegovi i šaš" (polled No. 14), "Loše vino" (polled No. 32) and "Ako možeš zaboravi (polled No. 51).[134]

The lyrics of 10 songs by the band (8 written by Bregović and 2 witten by Trifunović) were featured in Petar Janjatović's book Pesme bratstva, detinjstva & potomstva: Antologija ex YU rok poezije 1967 - 2007 (Songs of Brotherhood, Childhood & Offspring: Anthology of Ex YU Rock Poetry 1967 – 2007).[135]

In 2016, Serbian weekly news magazine Nedeljnik pronounced Goran Bregović one of 100 People Who Changed Serbia.[136] In 2017, the same magazine pronounced Bijelo Dugme's concert at Hadjučka česma one of 100 Events that Changed Serbia.[137]

In addition to the band's works appearing on various lists of best Yugoslav albums and songs, praised for composition, poetic lyrics of Goran Bregović and Duško Trifunvović, musicianship and production, Bijelo Dugme was often criticized by a part of Yugoslav and post-Yugoslav musicians, critics and audience who believe that the group's blend of rock and Balkan folk music paved the way for the appearance of

Disciplina Kičme frontman Dušan Kojić "Koja",[138] Partibrejkers frontman Zoran Kostić "Cane",[142] and others. In addition, Bregović was often accused of plagiarism, as a number of critics found similarity between some of his compositions and songs by foreign rock acts.[138][139][141]

Bijelo Dugme's works remain popular in all former Yugoslav republics. They are often viewed as one of the symbols of Yugoslav culture, their songs often featured in various forms of yugo-nostalgia.[141]

Members

Timeline

Discography

Main article: Bijelo Dugme discography

References

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Sources

External links

Wikimedia Commons has media related to Bijelo dugme.
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