#dzuboks

[humanoidhistory]

Robert Fripp as the centerfold in Džuboks, a Yugoslavian music magazine

[exyu-rock-lovers]

Pojam BAS-a vam, nadamo se, nije više nepoznat tim pre što Idoli rade punom parom, Šarlo akrobata traže svaku priliku da se predstave, mnogi drugi bendovi niču i kopaju iz sve snage da dostignu stariju i iskusniju rokersku sabraću. Dakle, u Beogradu se nešto događa i što je još lepše - nešto se dobro događa. U današnjoj epizodi „Sa BAS-om ste jači“ predstavljamo Električni orgazam 

Za El Org (pristojnija skraćenica od Električnog orgazma) čuo sam prvi put sredinom proleća. Neko mi je došapnuo da ti momci rade lepe stvari i da od njih nešto može biti. Na koncertu u SKC-u, krajem juna, El Org su to i potvrdili, uspevši da publici pokažu da su nove muzičke ideje sasvim solidno prodrle u glavni grad. Njihova svirka kasnije je evoluirala, a mali trijumf doživeli su kao predgrupa Aerodromu u beogradskom Domu omladine. Slobodna, fluidna instrumentalizacija s primetnim naglaskom na konceptualni rock, nekoliko sopstvenih hit-tema koje zaslužuju da budu bestseleri i uigranost na sceni - sasvim su dovoljni motivi da se o Orgazmu raspravlja kao o uticajnoj snazi beogradskog novog rocka. Ponavljam jednom i zauvek: novi talas je umro (zamršena terminologija za budale) i tu stavljamo tačku. El Org se (pametno) distanciraju od „new wave“ mode kojoj danas podležu svi - i zabavnjaci i hotelski gosti. Oni su samo rock grupa i - ništa više.

„Ovo nam je prvi zvanični intervju… Doduše, Marina je danas gostovala u Studiju B i nije se dala zavesti: odmah je odbacila pitanje čim su joj pomenuli 'new wave', Glupa pitanja treba izbegavati.“

Odmah ga nešto pametno pitam (Srđana koji svira gitaru, peva, komponuje i odgovara na pitanja radoznalaca): kako ti se čini jugo-rock ove 1980. godine?

„Nikad bolje nije bilo. Idoli, Šarlo, Pankrti, Kazalište, Buldožer, El Org, Laboratorija - grupe koje imaju nešto da kažu i koje pametno govore. Na svu sreću ne čujem te singlove o kojima pišeš, doduše ponekad mi se to desi kad upalim radio u pogrešno vreme, zato izbegavam da slušam sve i svašta. Ne znam ko to sluša, stvarno ne znam. Ko, recimo, sluša Terezu Kesoviju? Kakvi su to ljudi?“

Sa Tereze prelazimo na Orgazam mada tu uzročno-posledične veze ne postoje. Pominjem koncert u Domu omladine i očekujem da Srđan i basistkinja Marina nešto kažu.

„... Čekaj da ti nešto dodam za ono 'new wave'. Gledam nedeljno popodne i kaže Neca Falk 'pa, da, sad ću da snimim nešto new wave'. Pa to je grozno, u 'novi talas' ljudi kod nas sve trpaju, sve što se pojavi, pa, Generacija 5, to je užasno. Ko to može da sluša? Sto se koncerta tiče, bilo je dobro mislim, teško je nama da govorimo o tome...“

Ponude za snimanje, svetska slava, ploče - šta im je ponuđeno?

„Pa kad smo bili na POK-u (Palilulska olimpijada kulture) došao nam je čovek iz RTB-a i pitao hoćemo li da snimimo album. Mi kažemo hoćemo, odemo u RTB i čoveka nema. Rekao nam je da dođemo u jedan, a došao je sat kasnije. U međuvremenu smo jeli sladoled i čekali… Kad smo se našli, ništa nam konkretno nije rekao, sem što je rekao da bi bilo bolje da se zovemo El Org nego Električni orgazam. Kao, to njemu ne smeta, već starijim ljudima kojih u RTB-u ima mnogo… Kao, ti ljudi su zaboravili šta je to orgazam, pa će ih ovo pogoditi… Ako nešto snimimo biće to pod našim uslovima: naši tekstovi, naš omot, naše puno ime i prezime, sve naše… Ako ne pristanu, sviraćemo do kraja po podrumima. Neki komercijalni uspeh stvarno nam nije cilj...“

„Imam želju da ove stare pesme što pre snimim. Sad smo počeli da radimo nešto sasvim drugo, deseto… Hteo bih da snimimo taj prvi album, jer bi kasnije to postao rutinski posao. Otkako smo počeli da se češće pojavljujemo, skupila se nekakva gomila ljudi koji mi titraju, hoće da urade ovo ili ono, nešto se muvaju, zuje… Možda hoće neke pare, šta znam… Pa, kad bi moglo ja bih album prodavao za dva soma, lova uopšte nije bitna. To ne može, na žalost… Ovo sad što se dešava u Beogradu, to je sjajno. Mi, Šarlo i Idoli nismo nikakva konkurencija...“

Govorimo o drugoj strani barijere, o grupama koje danas već mnogo znače i koje su kako-tako ustoličene kao starovi. Srđan se nećka i ne želi da kaže koga ne može da sluša. Ipak, probija se želja da to iznese pred magnetofon koji je neumoljiv i koji ništa ne propušta.

„Mnogo grupa ne mogu da slušam: Srebrna krila, Smak, Generaciju 5... To stvarno nije za mene. Aerodrom su me totalno razočarali. Oni su nas hvalili na radiju, ali ja moram da kažem kakvi su bili: loši...“

„Kako Ljuba svira orgulje, to je stvarno ludo. (Ljuba je orguljaš E. Orga — prim. P.L.). On svira Tigar orgulje, najjevtinije koje mogu kod nas da se kupe u Robnim kućama. Nije važno šta je, važno je kako to koristiš...“

„Sad što sviramo, to je neobično. Sad sam napravio neke, svoje štimove, tu su čudni akordi, neposredno je nastala ova promena. Uostalom, mi smo se i osnovali iz zezanja, 25. januara… Ja sam svirao bubnjeve u Hipnotisanom piletu, a Jovec gitaru. Tad smo sedeli kod 'Mornara' i rekli da je vreme da osnujemo novu grupu. Ljuba je bio s nama i na licu mesta napravio prvu pesmu. Prva postava je bila: ja, Ljuba i Jovec. Hteo sam da tražim basistu, ali pošto je Jovec hteo da muva Marinu reče: 'Hajde da zovemo nju'. Ja je nisam znao, ali je ipak došla, probala i — ostala. Marina i Jovec su ipak uspeli da se rastanu posle kratke i neuspele ljubavne avanture.“

Dakle: Ljubomir Đukić (orgulje), Marina Vulić (bas), Goran Čavajda (bubnjevi), Ljubomir Jovanović (gitara) i Srđan Gojković (gitara, vokal).

Marina je retka basistkinja kod nas. Čujmo je: „Uvek sam volela da sviram. Pred ogledalom sam imitirala svirače i sad želim samo to. Da sviram u grupi… Svi studiramo… Ljubina mama se malo ljutila zbog imena. Nije joj se dopalo.“ (Izjavu dala Marina).

„Krokodili dolaze“ i „Nebo“ dve su numere Orgazma koje konačno i neopozivo dokazuju da se radi o pravom, dobrom i autentičnom bendu. Uz ove dve pesme - meni najdraže - još čitava serija gotovog materijala prosto vapi da bude zabeležena na plastiku.

I tu dolazimo do onog važnog pitanja: ima li kod nas disko kuće koja bi htela da investira vreme i novac u nešto što vredi? Električni orgazam je stigao i čeka. Njegovo vreme tek dolazi. Treba ga čuti i osetiti. A dok se ploča ne pojavi - gledajte pa se snađite: čujte El Org na koncertu, opustite se i prepustite. Novi rock traži i novu publiku.

* Tekst objavljen u magazinu "Džuboks" br. 99, 10. oktobra 1980. godine

Izvor: xxzmagazin

[mondo80s90spictorama]

[zodijak]

podsjecas me na dzuboks

odsvira pjesma i nema te

podsjecas me na ljetni pljusak

kada me iznenadi pun oblak

okupa me i nestane kao da ga nije bilo

razgovor s tobom je kao kada neko stedi na parfemu

tri puta pritisnes i sve mirise, a onda nestanes

podsjecas me na labirint u kojem se ne bih bunio biti zaglavljen

izgledas mi kao vrh najvise planine na svijetu, ali žičare su mi zabranjene

sreca pa imam kondicije

planiram da te osvojim

[quadraphonictypewriter]

An article from the June 1975 edition of Yugoslavia’s Dzuboks [Jukebox] magazine. The first four pages of the article talks about the Deep Purple concert there on March 16, 1975 in Belgrade, and also mentions the second Yugoslavian concert in Zagreb, and the press conference beforehand. The last two are an interview with Jon Lord.

Below the cut is the complete transcript of the article (which I got by typing the whole thing out and doing a translate-and-refine process).

Setlist of the Belgrade concert

THE ARTICLE:

Rock business knocked on our door • No more old and new "Deep Purple": it's just Richie, Jon, David, Glenn and lan • Surrounded by the irresistible pressure of a powerful sound

Five of Mercedes' limousines drove away on Tuesday, March 18, in the early afternoon, selected the members of Deep Purple to the Zagreb airport, from there they move on to Scandinavia (some joked, "Eurovision Song Contest"), and thus ended the beginning of their European tour, and the entire course of the Yugoslavian tour. Two cities, 12,000 people at concerts, big money circulation… the rock business has knocked on our door as well. 

The predecessor of the band, whose exact number we could not find out (but there were over two dozen people), was in Belgrade as early as Friday to prepare the ground for the arrival of the stars. A day later, in the morning, the sports hall, "Pionir", began to take on the appearance of an exhibition hall - electronic equipment: from huge trucks, metal structures moved slowly to the stage, and on Sunday evening they rumbled so that your face cramps into a painful grimace.

The equipment, of course, needs its own attendants: there were so many that an uninformed passerby would surely think that every sound box was in the hands of some man.

But one should not exaggerate: the bulky guys in t-shirts with the inscription, “Deep Purple European Tour 1975," among whom the uninitiated tried to find the familiar faces of the musicians, are earning their bread honestly. It is a routine team so far in the service of many world groups, for which the foreplay of a rock concert means routine, while for the spectators in Belgrade everything looked quite spectacular.

HAPPY PRESS CONFERENCE

Our first meeting with Deep Purple took place on Saturday night, at the Hotel Yugoslavia, under the patronage of Jugoton. The Zagreb record company sold just over 100,000 copies of the album in Yugoslavia, so it decided to present the band with gold plates as a token of gratitude, at a special prepared press conference. Instead of the agreed 8 PM, the boys arrived two hours later: by that time, not all members were allegedly at the hotel. Some colleagues, however, had already sniffed out guitarist Blackmore, which later proved to be a successful catch, as the gloomy guy Ritchie didn't attend the press conference at all and completely distanced himself from the crowd forming around his colleagues.

While a large number of media representatives patiently waited for the conference to begin, many became bored and left. At 10 PM, David Coverdale, Glenn Hughes, and Ian Paice arrive. They sit behind the plush-covered table and look around the room, with the photographer pit and journalists looking at them with interest. At the very moment we begin to ask questions, Jon Lord appears to welcome applause. In the Deep Purple quintet, he seems to be the most familiar phenomenon.

UNIQUE DEEP PURPLE

During the conversation, Jon Lord often mentioned the names of Hughes and Coverdale, still considered newcomers to the group: “We have been together for about twenty months, actually two years, and we can't call them newcomers anymore. They are an integral part of Deep Purple. The change in lineup came naturally, as, after all, in all the periods of our career, all the ups and downs were natural. I doubt we ever did anything hastily. In that sense, Glenn and David come as an expected sequence of developments, events in our career." 

"I guess we brought fresh blood to the group," Hughes interjects. "Like when charging a discharged battery. No more old and new; Deep Purple: it's just Ritchie, Jon, David, Glenn, and Ian!" 

Jon Lord: “Seven years is a long period in this business. Whoever endures becomes an institution, and that implies the fact that you are domesticated everywhere. However, we cannot allow ourselves to constantly repeat things that have already been done. It would bore me, and the audience as well! At the same time, if we do things that we enjoy as creators, our audience will also enjoy it. 

Success is a beautiful thing, but when it comes, the challenge disappears. With the arrival of Glenn and David, this desire to challenge with new achievements has returned to us and now I want to keep it…”

On the other side of the table, where Paice and Coverdale sit, the conversation unfolds in all directions. The members also mention too many (unimportant) things for us to follow. The conference has long since lost its atmosphere of formality. In fact, everyone is having fun as best they can, especially since the hall is now mostly filled with people who are neither journalists nor musicians: there are staff from the escort team, girls, observers, the organizer…. Five plates of sweets, arranged on a stand behind the table at which the conversation takes place, are moved to the other end of the hall to be handed out as a show for photo-reporters. Eventually, the foursome receive commemorative plaques, but instead of Blackmore, the fifth copy comes into the hands of the group’s personal manager.

A PIONEERING ROCK CONCERT

Belgrade's Pionir venue was allegedly not filled to the last seat, although the atmosphere in the hall has given the impression of a sold-out audience. Kragujevac's Smak has just done its task of warming up the audience, and now there is a break that, in fact, should not have happened, but in such circumstances, the audience should be given the opportunity to get excited while waiting for the stars.

They are located in a safe area, in the hallway below the stands, which are a bit shaky. Judging by the sounds coming from the locker rooms, the men are obviously having a good time, and I hear Jon Lord playing some kind of boogie-woogie on the electric piano. Only one photo-reporter manages to reach them: he ignores the ban from the corpulent bodyguard.

Then, at the invitation of the so-called "stage manager", Deep Purple leaves the room behind the escort, as he makes his way to the stage with a bit of unnecessary nervousness. In the almost complete darkness, no one notices them taking their places behind their instruments. It is only when the spotlights flash, as the group moves into “Burn” that it roars terribly and excitement overflows the masses. In the fog that covers the stage, David Coverdale plays with the microphone stand, Paice changes the sides of his drum set, and Hughes jumps around joining Coverdale as two voices. My first impression seems to be to move away from the incredible pressure of a powerful sound. 

Everyone around me seems to be experiencing the same torture of "Heavy Metal!"

LORD: HEAVY METAL - A FICTIONAL TERM

And while the band begins "Stormbringer,” the second song of the set, it only amplifies the intensity of the sound and I remember Lord's statement from 24 hours ago: “I don't even know roughly what it means, heavy metal. The term was coined in the American press, and if you ask any English or American musician, everyone will tell you they don't know what it means. I don't like that label, in fact, I don't much like it. I understand that “heavy metal” means noisy music that hits you here, there, everywhere. But I always called it rock and roll. "Led Zeppelin," they were always just a rock band, we were always just a rock band."

But, in practice, when a man who is only at a distance of ten centimeters has to shout in your ear to be understood, such a statement does not seem at all convincing. Although Lord is partly right when he says, "The idea of a rock band, I suppose, is to affect the masses, but not on an intellectual, but on an emotional level."

That's just about the point of a "Deep Purple" concert. It provided an opportunity for an authentic experience of a rock event. You can listen to how much you like a live rock band, but there is an invisible line between the unacceptability of music that leaves you at a distance and the seemingly same stage event that you automatically get involved in, whether the process is due to simply belonging to a gathered audience, shouting, or trying to escape. 

Deep Purple, meanwhile, goes from song to song from the albums Stormbringer and Burn. When you take a closer look at them individually, perhaps the most interesting is the withdrawn Blackmore, who prefers to play rather than present. He is a good, and more importantly, convincing guitarist, although he often uses effects of which, however, the most spectacular, i.e. breaking the instrument, he did not have the honor to present. At one point it seemed to me that he was ready for it too, but he wasn’t - or he simply refrained.

And Paice impresses with surety. Deep Purple in general are great instrumentalists, no doubt about it. Only, they do not perform a type of music that exhibits instrumental skills, so you become aware of this skill only with such direct contact. On the other hand, they are not a typical show-group, and keep their stage effects to the level of the standard mood of rock performers.

ZAGREB - AND GOODBYE

The Purple concert lasts approximately two hours. If in the first part the program remains more or less easily recognizable, over time it takes on a freer form of rock jam-session, with occasional solos by Lord, Paice and Blackmore. Hughes leads the conversation, Coverdale supports the temperament of the hall, as if he wants to give the audience signs to stay in an equally frenetic mood until the end.

In Belgrade, and especially under the roof of the great Zagreb sports hall, the audience, by the way, should not be encouraged to be in a good mood. And that the mixed enjoyment of the audience at the front of the stage should not take on a dimension of excess, the ready family of Purple's bodyguards, who will intervene only in extremely dangerous situations, are also worried.

I doubt that the Zagreb concert was significantly different from the Belgrade one, except that I gained an interesting experience, i.e. that the loudspeaker was louder in areas further away from the stage than directly in front of it. The function of this equipment seems to have been exhausted in maintaining the volume intensity, while the effort to tint the sound spectrum has shifted into the background. No wonder, then, that tinnitus has become an infection that will - if nothing else - remain the most memorable memory of this occasion.

Dražen Vrdoljak

Darko Glavan talks to Jon Lord, organist of the group “Deep Purple,” which recently visited Belgrade and Zagreb, showing us what a concert of real "hard rock" masters looks like.

The Deep Purple concert was one of the rare opportunities to feel the ritual of a real rock concert in Zagreb. The Deep Purple rockers, routine masters of "hard rock" have shown an excellent knowledge of the mechanics of arousing rock fans, consciously choosing the marginal area between music and stylized stage effects. The emphasis on movement and visual spectacle to some extent limited the members of the ensemble in more fully expressing the art of mastering instruments, which was expressed only in shorter instrumental sections.

The successful concert of Deep Purple argues two theses that I have been advocating for a long time.

The first of them, which could be seen without the performance of Deep Purple, is the expressed need of the domestic audience for performances of top world rock groups and their willingness to spontaneously, without any inhibitions, join as equal participants in such events. Deep Purple's performance confirmed that a significant section of rock music primarily relies on multimedia effects, in which one of the essential aspects of a creative act is an event in which the audience participates at the instigation of the performers. Such manifestations should not be seen as some kind of music or perhaps "applied" or "instructed" music, but as a special form of artistic activity that requires specific models of critical approach.

Before the performance, Deep Purple held a press conference at the Hotel Yugoslavia in Belgrade, where they were presented with commemorative plates handed to them by "Jugoton" for the 100,000 albums sold in Yugoslavia. On that occasion, we spoke with Jon Lord, the unofficial boss of Deep Purple. The author of the text, Drazen Vrdoljak, also took part in the discussion

ONLY ROCK AND ROLL - OTHER NAMES DO NOT FIT

Youth Weekly - Many critics term your style commitment as heavy metal music. Do you agree with such classifications and did you consciously initiate such a style of rock music?

Jon Lord - Let's face it, it's not a term we accept, or like... We actually hate it... I don't even have a rough idea of what the label "heavy metal" should mean... We've always been a rock band, “Led Zeppelin” have always been a rock band. I want to devalue that term, because I don't like it... it was invented by an American journalist, but I don't know a musician who could explain its exact meaning. I guess it’s kind of synonymous with the noise that haunts you here, there, everywhere. But we call it rock and roll, I've always called it rock and roll..

Youth Weekly - So the main goal of your ensemble was the creation of original excitement, early rock and roll, in the conditions of a more developed electro-acoustic technology?

Jon Lord - Yes ... it's rock music. It affects the masses on a level that is not intellectual but emotional. It's not just for our band - that's the essence of all rock bands.

Youth Weekly - The album Deep Purple in Rock is the biggest success of your career. How do you rate it today?

Jon Lord - That album matured in the band members for about two years ... it was a very significant album, it definitely established the band. Honestly, although I run the risk of sounding immodest, overpowering, I think Deep Purple In Rock is a masterpiece within the framework of rock. I think we said a lot about rock at the time and with that album.

Youth Weekly - On your first albums you performed many successful versions of songs by various composers, such as Donovan’s "Lalena", "Help" by Lennon and McCartney, "Hey Joe" and "River Deep, Mountain High," not to mention the first hits like "Hush" and “Kentucky Woman." Is it possible to include another such song in your repertoire even today?

Jon Lord - If you want to record someone else's song, then you have to add a new dimension to it, elaborate it musically in terms of your own taste and expression ... if that doesn't work for you, then it's better to record your own material.

Youth Weekly - So, at the moment, there is no more pronounced possibility to edit a composition by another author?

Jon Lord - In fact ... on the new album we will include another song ... I can't remember exactly which song it was, it was Ritchie's idea ... but it's not certain because if we don't succeed in properly performing a song, we would rather use our own. Take the Beatles for example .... their songs are very difficult to perform; after their performance you get the impression that they got the most out of it.

THE ROLE OF ROCK CRITICISM

Youth Weekly - What kind of music do you listen to in your free time?

Jon Lord - Diverse music, everything I can hear ... if you are an architect by profession then you are always trying to find out how your competitors build houses, if you are a musician then you have to constantly monitor how other musicians play music .... that is, after all, your job. Music is not heavenly, ethereal, it is something earthly just like building houses. Music is a craft in which you constantly have to improve and that is why it is very important to respect the work of other musicians.

Youth Weekly - Could you single out a few favorites?

Jon Lord - There are many of them, but most often it is not a specific soloist, composer or ensemble, but usually a few songs from a single album .... I rarely like a complete album, I usually single out something that later possibly affects my work ... .I like, for example, some numbers of Yes, and Led Zeppelin... but I don't have a favorite band. But, let's say, if I say I don't like a certain album, it doesn't automatically mean I think it's bad. This mistake is often made by critics - they attack an album because they didn't like it and thus declare it a loser and a failure. They should be more careful and thoughtful in such articles.

Youth Weekly - We in Yugoslavia have taken a large part of our knowledge about rock music from the English or American rock press. What is your attitude towards rock criticism?

Jon Lord - I'm not against criticism ... but there are many critics I can't trust anymore. I'm not saying this because of possible bad reviews from my group or my solo projects - I knew a lot of honest groups, which created and played great music and which were ruined due to the negative evaluations of some critics. The critic has one advantage over the musician: he cannot be answered to at once. This bothers me because when I see an article in the newspaper that I do not agree with, all I have to do is write a protest, but the moment it is published - the essence of the discussion loses its meaning and relevance. Led Zeppelin are one of the world's leading rock bands. But for concerts on their American tour, which is just underway, they regularly get bad reviews, even though every ticket is sold out for their performance ... They work hard every night, play for a long time, and can't see the meaning of the critics' negative attitude. But there are also people I still trust, for example, Chris Welch from Melody Maker.

Youth Weekly - How do you think a critic should act?

Jon Lord - You should comment, express constructively and honestly your personal opinion instead of presenting your views to the audience as an undeniable fact; it is not a fact, it is only a judgement.

I AM NOT A MUSIC MACHINE BUT A MUSICIAN

Youth Weekly - In addition to working within Deep Purple, you have realized several independent projects. Why did you decide on such appearances?

Jon Lord - As a member of a group, I have been working professionally for a little over seven years. There is a danger that we will turn into an institution, and the institution implies that you are established at all levels, while I am constantly striving for new challenges. This, after all, made us change our line-up at one point - but now we have to avoid the mistakes we made in the past, and that makes us not feel overconfident about ourselves. Personally, I do not like everything to flow easily, I am ready to face difficulties. You can’t play forever what you played yesterday. You would get bored, and if you get bored, the audience gets bored too. You try to surprise the audience, you try to surprise yourself if possible, and I think it is. If you are excited about what you are playing, you will also excite the audience. I don’t think music has ever stepped forward if not experimented. So, one has to experiment. A conscious dream that my experiments are not vital to the musical life of the world, but for me personally they are, and unfortunately, people are not currently given the opportunity for that, which I will certainly accept

Youth Weekly - What does your latest album Stormbringer mean to you?

Jon Lord - Stormbringer was recorded last summer in Munich. It is our second album with bassist Glenn Hughes and singer David Coverdale. The songs are close to what we have always wanted to play, a bit softer and more moderate than our characteristic sound. After Burn we got closer, so we were more relaxed. I think, after Machine Head, it’s our most successful album.

Youth Weekly - Plans for the future?

Jon Lord - The next album will be a bit more rocking, we will start recording it on April 10, again in Munich. This year we will perform a little less and play mostly in countries we haven't visited so far - in South America, Malaysia, Indonesia, etc. We are preparing for an English tour, but this year we are not planning a tour of the USA ... we need a vacation, we don’t want to be musical machines rather than musicians.

Darko Glavan

Recording: Vican Vicanović

[www-love80s-ru]

🇷🇺 западногерманская группа Boney M. на обложке югославского журнала Dzuboks, июнь 1979-го . http://disco80.xyz/?boney_m . 🇬🇧 a West-German band Boney M. at the cover of the Dzuboks, a Yugoslavian music magazine . #boneym #eurodisco #disco #70smusic #lizmitchell #bobbyfarrell #marciabarrett #maziewilliams #frankfarian #боним #евродиско #дискоэнциклопедия #мылюбим80е #musicnostalgia https://www.instagram.com/p/CHkBwQzFAFu/?igshid=1qk5hk3112aov

[lookerweekly]

Tokom marta možeš dolaziti u Teatar Levo na otvorene probe predstava sarepertoara u kojima ćeš sugestivno, kritički, kreativno, ili kako misliš i osećaš da treba, doprinositi kvalitetu predstave. 

| LookerWeekly

https://www.lookerweekly.com/predstave/dzuboks-pozoriste-u-teatru-levo/

[igoyugo]

[exyugomusic]

Idoli u Džuboksu, 1982. godine

[exyu-rock-lovers]

Sjeti se kako smo zivjeli nekad

pet dinara u dzuboks

pet dinara u fliper

i pet piva u sebe 

to je bilo rjesenje

rjesenje za osvjezenje

,,Zamisli život u ritmu muzike za ples" Film

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[igoyugo]

[igoyugo]

[igoyugo]

[igoyugo]

[igoyugo]