N iko se pre Lepe Brene nije drznuo da u pre- kratkom šortsu i ništa manje oskudnom topu izađe na scenu Doma sindikata i sa svojim bendom Slatki greh , na Hit paradi , festivalu interpretato- ra izvorne narodne muzike, otpeva „Čačak, Čačak, šumadijski rokenrol, to je život moj i tvoj, oj, Moravo, oj“. Ostavila je Beograd u čudu te 1981, godinu dana posle Titove smrti, u trenutku kada se državni činovnič- ki aparat raspadao, gigantske firme propadale, a samoupravljači posu- stajali. Pojavila se s nogama do vra- ta, stasom zavodnice i osmehom deteta i – zaludela mase željne za-
Lepa Brena i njen „Slatki greh“ osamdesetih godina 20. veka bili su najtiražniji i najtraženiji izvođači u istoriji diskografije bivše Jugoslavije. Bili su predmet socijalnih analiza jer su predstavljali jedinstven društveni fenomen, ali i poslednja ikona jugoslovenstva, sećanje na srećne dane u socijalističkoj zemlji koja je bila pred raspadom i u kojoj je živela radnička klasa željna veselja
bave. Bez ikakve podrške medija. Mediji su došli kasnije. Niko pre nje nije bolje osetio da je trenutak za lako pamtljive teksto- ve praćene harmonikom i električ- nom gitarom, namenjene reci mla- dih koji su sa sela dolazili u grad, za fuziju ruralne i urbane kulture, za za- vodnicu s romantičnom dušom. Bi- lo je vreme za „... mani ralo i motiku, narod voli erotiku“... Prva je osetila dolazak ere konzumerizma – potro- šačkog društva, umesto radničkog. Posle prvog albuma 1981. Čačak , iz- datog za PGP RTB, dovela je novo- komponovanu narodnu muziku u gradsku sredinu, u dvorane i na sta- dione i kao magnet privukla široke
Na stadion Levski u
N o one prior to Lepa Brena had dared, in extremely short shorts and an equal- ly skimpy top, to appear on the stage of Belgrade’s Trade Union House with her band Sweet Sin, at the Hit Parade – the festi- val of interpreters of original folk music – to sing “Čačak, Čačak, Šumadian rock’n’roll, that’s the life of me and you, oh, Morava, oh.”She left Belgrade marvelling in that dramatic 1981, the year after Tito’s death, at the moment when the appara- tus of state structures had fallen apart, gigantic companies had collapsed and the self-manage- ment officials had quit. She appeared with legs up to her neck, the stature of a seductress and the smile of a child, and – drove the fun-loving masses crazy. And she did so without any kind of media support – the media came later. No one prior to her had better sensed that it was the right moment for lyrics that were easy to remember accompanied by the sounds of the accordion and electric guitar, intended for the
Lepa Brena and her band Sweet Sin were the best-selling and most sought-after performers in the history of former Yugoslav music back in the 1980s. They were the subject of social analysis, as they represented a unique social phenomenon, but also the last icon of Yugoslavism, memories of happy days in the socialist country that it was prior its collapse and which was home to a working class with a desire for joy
rivers of young people coming from the vil- lages to the cities, for the fusion of rural and urban culture, for a seductress with a roman- tic soul. It was time for “...dump the plough and hoe, the nation loves eroticism”... She was the first to sense the arrival of the era of consumerism – a consumer society to re- place one made of workers. After here first album in 1981,“Čačak”, released by PGP RTB, she brought the newly reworked folk music to urban environments, to halls and stadi- ums, and magnetically attracted the mass- es of the wider public that were unaccus- tomed to seeing scantily-clad singers in live interaction with the audience. No one anywhere in Yugoslavia prior to her, nor later, managed just a year later, in 1982, to sell 800,000 copies of a second al- bum, nor a third – “Bato, bato” in 1984 – in record-breaking figures of 1.1 million copies. At the time, PGP RTS had to introduce a third
Sofiji stigla je helikopterom She arrived
at Levski Stadium in Sofia by helicopter
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