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Name

Miroslav Vasovic

Birth

12 Jun 1964

Gender

Male

Location

Belgrade, Serbia

Job

in the army

Hobbies

Rck music

Relationship

Married/Civil partner

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migekv › New article
6 years ago

Надалеко познат провод у престоници Србије није једноставан за упознавање. Много опција за лудовање у ситне сате лако збуњује. Ако сте први пут у ноћном проводу у Београду, обавезно прочитајте овај текст. Уколико сте већ доживели београдски вајб, проверите да ли сте упознати са свим детаљима. Брзо читајте и још брже се спремајте за одличан ноћни живот.

1. Када се долази у Београд због провода?

Увек. Клупска сезона траје целе године. Током зиме, журке су у клубовима, док је лето резервисано за сплавове и друга места под отвореним небом.

2. Где изаћи?

Места за провод су клубови, кафане, сплавови и барови са музиком. Распоред журки до детаља отрива где, а клупске вести какав је провод сваке вечери. Кафански календар решава мистерију где се крије сјајна народна забава.

3. Која музика се слуша?

У клубовима се слуша искључиво електронска музика. Ди-џејеви најчешће пуштају хаус, техно и r'n'b. Тренс журке се често организују али су ретко на стандардном програму. У кафанама се уживо свира народна музика. Pre-party барови имају различит програм, од поп и рок живих свирки до ди-џеј вечери.

4. Да ли је безбедно у Београду?

Апсолутно. Стопа криминала је минимална. Слободно се крећите, без икаквог страха да ће вам се нешто догодити. Готово сваки клуб и кафана имају обезбеђење. Сигурни сте у сваком тренутку.

5. Колико кошта излазак?

Далеко мање него у другим европским градовима. Цене пића варирају од места до места. У зависности шта подразумевате под излазак, биће вам потребан већи или мањи буџет. Обавезно се информишите се пре него што кренете у провод.

6. Такси превоз

Највећа мана града су "дивљи" таксисти. Регистрована такси удружења се препознају по две табле на крову аутомобила, а на крају регистарских ознака увек имају слова TX. Са овако обележеним возилима немате бриге.

7. Да ли се наплаћује улаз у клубове?

За стандардне журке улаз се углавном не наплаћује. Куповина карата је обавезна када гостују велика имена са светске сцене и када се организују велике журке. На местима где је улазница неопходна, цене су минималне и крећу се од сто до пар стотина динара.

8. Да ли су потребне резервације и колико коштају?

На већини места нису потребне и бесплатне су али је пожељно да резервишете место унапред због гужве. Ако желите централни сто или сепаре, ни тада не плаћате али је обавезна одређена потрошња пића.

9. Да ли је обавезан dress code?

Генерално не мада је сигурније да се средите. Нећете ући ни у један клуб у тренерци и спортским патикама. Опуштена елеганција је сасвим довољна.

10. Да ли су дозвољене дроге?

У Београду, конзумација дрога је у потпуности забрањена. Не падајте на приче да је дрога легална јер није. Ноћу по граду има полиције и у цивилу и у униформама. Не ризикујте одличан провод због недозвољених супстанци.

Noćni život je jedna od stvari koje su proslavile Beograd i možda ostavlja najjači utisak na posetioce koji su prvi put u gradu. Razlog za to je pre svega duh Beograđana i pozitivna atmosfera zbog koje se osećate kao da ste kod kuće, među prijateljima. Uveče se izlazi spontano, bez mnogo planiranja, u bilo koje vreme i bez obzira na obaveze koje vas čekaju sledećeg dana.

Mr Stefan Braun

Radno vreme kafe-barova je do 1 ili 2 noću (onima koji se nalaze u stambenim zgradama je ograničeno do ponoći), klubova do 4-5 ujutru. Izlazi se svim danima, a najbolji provod i najveća gužva ne zavise od dana u nedelji već od sticaja okolnosti. Svako može da nađe vrstu zabave koja mu odgovara (uz napomenu da su zabranjene sve vrste droga i prostitucija), a veoma su popularna mesta koja imaju živu muziku.

Omiljeni plesovi su salsa i argentinski tango. U zavisnosti od vrste zabave koju volite, večernji izlazak može da počne oko 8 sati uveče (pozorištem ili večerom u restoranu) ili oko 11 sati pićem u nekom kafiću, a zatim ludim provodom u nekom klubu ili splavu gde se dolazi posle ponoći, a ostaje sve dok ne dođe vreme za jutarnji burek, da se povrati snaga uz prve zrake sunca.
Ulaz u većinu klubova je besplatan, a kod onih koji naplaćuju ulaz cena ne prelazi 5 evra. Kravata nigde nije obavezna, mada na neka mesta nećete moći da uđete u patikama ili ako ste mlađi od 21 godine. Kad Beograđane pogodi neka pesma, u nastupu čudesne energije penju se na sto da igraju, a devojke koje su Vas do malopre prezrivo gledale mogu i da skoče na vas. Beogradski klubovi prave pauzu u radu od juna do početka oktobra, a za to vreme se zabava se seli na reke i otvorene prostore. Splavovi su specifičnost beogradskog noćnog života. Ima ih stotinak, različitog su oblika, kapaciteta i muzike koja se sluša. Zbog izolovanosti od stambenih zona provod često traje do zore, ako su gosti dobro raspoloženi. Na nekima od onih koji deluju napušteno povremeno se održavaju lude žurke, moći ćete da im prisustvujete samo ako vas neko uvede. Zanimljivi su i neki od brodova za razgledanje grada koji početkom večeri ukrcaju putnike, hranu i muzičare, pa onda krstare rekama dok ima goriva i dobrog raspoloženja.

Koncert u Beogradu

Koncerti svetskih muzičkih zvezda, gostovanja poznatih DJ-eva i žurke se održavaju tokom cele godine u koncertnim dvoranama, a povremeno i u nekim neobičnim ambijentima. Prilikom ulaska u neke klubove uobičajeno je da obezbeđenje prepipa sumnjive momke ili da pogleda u torbice devojaka koje su s njima u društvu. Ako nemate rezervaciju za neki od najpopularnijih klubova moraćete da čekate u redu za ulazak (naročito ispred splavova jer im je kapacitet ograničen zbog plovnih sposobnosti).

Beogradski Beerfest

Rezervacija vam obezbeđuje samo mesto za stajanje uz neki od barskih stolova. Ako želite da sedite sa društvom u separeu, rezervacija će vas obično koštati flašu viskija ili skupog šampanjca, bez obzira da li ćete ga piti ili ne. U beogradskim klubovima nema dugačkih redova ispred toaleta zbog šmrkanja, gosti su uglavnom konzervativni i pojačavaju alkoholom dobro raspoloženje. Incidenti su veoma retki, važno je samo da ne gledate napadno u tuđu devojku ili momka kako god da izgledaju. Ako čujete: "shta mea gledash!" vreme je da se udaljite brzim korakom. Atmosferu kao iz r'n'b ili house muzičkih spotova ćete naći u klubovima sa "turbo folk" muzikom - lokalnim miksom mtv i turskih muzičkih hitova na srpskom jeziku koje izvode oskudno odevene pevačice.
  
Kafane sa tradicionalnom muzikom

Srbija ima veoma bogatu muzičku tradiciju i u Beogradu možete čuti dobar deo raznovrsnih pravaca tradicionalne etno muzike. Orkestri u kafanama mogu biti starogradski (gitara, violina, bas), tamburaški (tambure, gitara, bas), trubački (trube, bubanj)... U kafanama, gde živa muzika ide od stola do stola, svira gostima “na uvo” i ispunjava muzičke želje, običaj je da se orkestar časti. Dužina zadržavanja orkestra za nekim stolom je proporcionalna količini datog novca. Poseban doživljaj pružaju ciganski orkestri, bilo da su trubački ili tamburaški. Cigani znaju da sviraju sve (od Frenka Sinatre do stare srpske izvorne muzike), sviraju na svim mestima i u svim vremenskim uslovima, da ublaže tugu i uvećaju radost. Cigani trubači su uglavnom samouki i oni u stvari ne sviraju trube već pričaju kroz njih.

Trubači

Mnogi Srbi se u veselim ili tužnim trenucima iracionalno ponašaju i kad slušaju muziku. Neki su uvereni da je bolje dati pare za muziku nego za hranu. Dešava se da teraju orkestar da svira na stolu, ispod stola ili “na televizoru” (to znači da orkestar izađe napolje i svira sa spoljne strane otvorenog prozora). Za ovakve egzibicije muzičari su bogato nagrađeni - gosti im novac guraju u trube, kače na gitare i lepe na znojava čela. U svakom slučaju, male su šanse da se ne zabavite dobro u Beogradu.

Popularne pesme koje se naručuju od kafanskih muzičara

Živahne: "Donesi vina krčmarice" (u kojoj se poziva krčmarica da donese još vina i priča kako se celo selo zaljubilo u nju i svi se opijaju da bi je zaboravili), 
"Moja mala nema mane" (u kojoj se hvali sopstvena devojka i tvrdi da ona samo njega voli), "Kad je deda lumpovao" (u kojoj se govori o raspusnom dedi koji je voleo noćni život i kelnerice, pa je slao babi korpe cveća da mu oprosti), "Reših da se ženim" (u kojoj momak ubeđuje devojku da će da je oženi i da može slobodno da raskopča svoju košulju dok sede u polju majskog cveća), "Kad sam bio mlađan lovac ja" (u kojoj se priča kako bi svi ljudi postali lovci kad bi znali kakve ljubavne podvige oni imaju kad krenu u lov)... Lagane: "Bolujem ja" (u kojoj ljubavnici boluju zbog neostvarene ljubavi), "Govori se da me varaš" (u kojoj čovek koji je teško bolestan govori ženi da zna da ga ona vara, ali je moli da se malo strpi i da mu ne slama srce nego da sačeka da ono samo prestane da kuca), "Ima dana" (u kojoj se govori o ljubavi tako silnoj da se od nje umire i istovremeno konstatuje da se ne zna razlog toj ljubavi), "‘Ajde Kato ‘ajde zlato" (u kojoj momak poziva lepu Katu da zajedno idu u baštu da beru celer, ali ga ona odbija jer nema mesečine pa se ništa ne vidi, pa se on doseti i obećava da će poneti fenjer), "Mito bekrijo" (gde devojka poziva pijanca Mitu koga voli, da batali kafanu i oženi je, da bi mu ona pazila na staru majku), "Dimitrije sine Mitre" (gde majka kaže sinu jedincu da je budala jer ne vidi da ga žena vara, a on kaže da zna ali trpi jer je lepa)... Specijalna pesma (čaše same polete već na prve stihove): "Šta će mi život bez tebe dragi..."

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Надалеко познат провод у престоници Србије није једноставан за упознавање. Много опција за лудовање у ситне сате лако збуњује. Ако сте први пут у ноћном проводу у Б�... Read more

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migekv › New article
6 years ago

Poznati holivudski glumac Met Dilon biće gost predstojećeg festivala Kustendorf na Mećavniku, objavljeno je danas na koferenciji za medije u Ministarstvu kulture i informisanja.

Dilon će održati radionicu studentima a u njegovu čast će biti prikazan kultni film "Dragstor kauboj" Gasa van Santa. "Dilon dolazi sa devojkom", rekao je u šali Emir Kusturica.

12. Kustendorf održaće se od 11. do 16. januara na Mećavniku. Festival će otvoriti dokumentarni film "Pepe, jedan uzvišen život" Emira Kusturice, posvećen Hoseu Muhiki, koji je svetsku premijeru imao u Veneciji. To je priča o "najsiromašnijem predsedniku na svetu", bivšem vođi Urugvaja. 
- Muhika ima mnogo godina i veliko je pitanje da li će prisustvovati otvaranju. Ja pokušavam sve da ga dovedem. Ako ne bude on, biću ja, sa ovoliko godina - rekao nam je Kusturica, inače osnivač festivala koji se ove godine održava pod sloganom "Savršenih dvanaest".

On je, međutim, na početku konferencije za novinare imao potrebu da razjasni pisanja nekih medija s jeseni prošle godine koji su se pitali da li je Kustendorf privatni festival.
- Odgovaram da nije. To je festival Ministarstva kulture i informisanja na kojem naša mala firma pokušava da održi onaj nivo koji je započet pre 12 godina - objasnio je reditelj. Kako je ministar kulture Vladan Vukosavljević otkrio, za Kustendorf je izvdojeno 25 miliona dinara, "a da je bilo više para, pomogli bismo i više".
Kvalitet festivala, nastavio je Kusturica, meri se po dobrim radionicama, kvalitetnim gostima i "impozantnom broju od 718 prijavljenih studentskih filmova, za razliku od prvog festivala kada je bilo 140 prijava", napomenuo je Kusturica.
Od toga je za takmičarski program odbrano 21 ostvarenje: 15 igranih, tri dokumentarna, dva animirana i jedan eksperimentalni kratkometražni, autora iz Švajcarske, Australije, Srbije, Norveške, Republike Srpske, Poljske, Rusije, Izraela, Francuske, Nemačke, Irana, Meksika, Španije, Makedonije, Turske i sa Filipina. Srpsku kinematografiju će predstavljati "Kostakurta" Saše Karanovića i "Jesenji valcer" Ognjena Petkovića.

U okviru programa "Savremene tendencije" biće prikazani filmovi "Srećan kao Lazaro" Aliče Rorvaher, "Dogman" Matea Garonea, "Papa Franja: Čovek od reči" Vima Vendersa, "Bliski neprijatelji" Davida Olofena, "Nežna ravnodušnost sveta" Adilhana Jeržanova i "Dečaci ne plaču" braće Damijana i Fabija Dinoćenca.
"Retrospektiva velikana" posvećena je Metu Dilonu, u čiju čast će biti prikazan "Dragstor kauboj" Gasa van Santa, Seržiju Lopesu (Vestern) i Slavku Štimcu (Sjećaš i se Doli Bel?", "Vuk samotnjak").

Takođe, u okviru ove programske celine održaće se i projekcije filmova Miloša Formana "Svlačenje" i Bernarda Bertolučija "Dvadeseti vek", autora koji su nas ove godine napustili.
Američki glumac Met Dilon održaće radionicu na festivalu, a sem njega gosti će biti i glumci Serđi Lopes, Slavko Štimac, Adrijano Tardiolo i Luka Čikovani (iz filma "Srećan kao Lazaro), reditelji braća Dinoćenco, Olofen i Jeržanov i producent Andrea Gambeta (Papa Franja). 
U selekciji "Novi autori" biće predstavljen prvi dugometražni film crnogorskog reditelja Ivana Salatića "Ti imaš noć", dok će specijalnu projekciju imati i film "Devojke u igri" Aline Skšeševske.
O nagradama (zlatnom, srebrnom i broznanom jajetu) odlučivaće Dijana Požarskaja, ruska glumica, Slobodan Despot, izdavač i pisac srpskog porekla koji piše na francuskom i Tankred Ramon, francuski reditelj dokumentarnih filmova. Nagradu "Vilko Filač" za najbolju fotografiju dodeliće francuski direktor fotografije Mišel Almatje. 
- Ovi filmovi su nastali u vremenu kada se jedva i zna šta je danas film i kada obična poseta prijatelju u kuću vaš pogled odvuče na veliki ekran u kome jedno sedmogodišnje dete skroluje stotine i stotine naslova, pokušavajući da odebere film. Ja se samo pitam, ko će u budućnosti biti taj koji će mu preporučiti jedan od tih filmova? Bojim se da to niko neće moći da uradi. Nova tehnologija nam nalaže potpuno otuđenje koje će doći jednog dana sa veštačkom inteligencijom pa će neki čovek - iako i danas ima reditelja koji ne dolaze na snimanje - jednostavno da isprogramira šta se tamo (na setu) dešava. Sve su to crne perspektive protiv kojih se ovaj festival bori - rekao je Kusturica.

Na pitanje novinara da li je on taj koji će zaustaviti skrolovanje, konstatovao je: 
- Mogu da govorim samo o svojim osećanjima a ona su najbolja mera. Festivali su sigurna kuća filmova i oni će ostati i onda kad Netfliks preuzme sve, on pobeđuje sto posto. Problem je mentalne prirode. To skrolovanje kroz naslove. Tu bi tebalo da svako dete ima po jednog vodiča ali će, u vremenu koje dolazi, izgubiti vodiče, jer teško će vodiči da postoje ako ne budu deo obrazovanja ili imuniteta koji će ti mozgovi da steknu vlastitim naporima - istakao je Kusturica i dodao: 
- Lepo je što su svi filmovi koju su nekad rađeni sada dostupni (na Netfliksu), problem je samo što se receptura opstanka vezuje jedino i isključivo za uspeh. Imali smo reditelje koji su nekad živeli u seni velikih reditelja za koje smo posle toga otkrili da su bili veliki a kako vreme u kojem su živeli nije baš bilo naklonjeno njihovom viđenju sveta. Naša scena je opterećena prigodnim filmskim događajima i nema svoju autorsku disciplinu, jer ona nije podstaknuta u meri u kojoj bi trebalo da bude; da računamo da autori koji naprave dobar film na početku mogu da izdrže i ispituju i u svoje filmove ugrađuju socijalne, individualne, egzistencijalne i sve ostale aspekte koji su filmovi nekad imali a koji, kao što pokazujemo i biramo po festivalima, još uvek postoje. Pitanje opstanka će uključivati taj lični i opšti element. Šta će sa filmom biti, to niko ne zna - ocenio je naš autor.

On je pomenuo je oduševljenje mladih autora koje, prvo, dočeka tradicionalno srpsko gostoprimstvo, a onda ne mogu da veruju da im je neko platio avionsku kartu da dođu iz Australije ili Argentine.
- Kako mi kažu, za njih je taj događaj neponovljiv. Od svih dosadašnjih mladih gostiju pet autora je napravilo svoje prve celovečernje filmove i ulaze u trku za druge. Radionice i naš festival to ne mogu da im garantuju, ali važno je da se nađu u ambijentu koji liči na film a Mećavnik pomalo liči na film - istakao je Kusturica. 
- Ovo je jedini festival gde sto do stola sede oni koji su realizovani preko svake mere ili u meri u kojoj to nazivamo uspehom i oni koji žele da budu uspešni. Nažalost, kinematografija više nije autorski komercijalna, postaje sve više tržišna i eliminiše ono što smo mi nekad zvali snaga autora, ali mi iapk pokušavamo da ostavrimo prostor u kojem će mladi autori da se zagledaju u budućnost i vide da ne mora sve da se režira kao reklame i da ne mora sve da bude urađeno kako govori mejnstrim, nego da postoji slobodno uverenje i percepcija vremena i prostora koja mora da bude posebna da bismo nekog autora prepoznali - poručio je naš reditelj. 
On je priznao da je i sam u jednom trenutku osetio kako je žrtva koju je davao filmu bila preko svake mere izražena i kako je praviti film jedno "dranje kože". 
- Onda sam krenuo više u muziku a potom shvatio da moram filmu da se vratim peko festivala. I da sada krenem ponovo, sigurno bih isto napravio jer je magija Mećavnika deo tog festivala. Da se održava u nekom kulutrnom centru ne bi bio to što jeste jer radionice i festival čine ambijent. Napraviti dobar film nije isto što i napraviti vodoskok. Film ne sme da se tretira kao prigodna tvorevina, mora da proizađe iz nekog dobrog raspoloženja. Za to imamo potvrdu u svim talasima evropskih filmova koji su postojali a sada su "ubiveni", od neorealizma, poljskog realizma, novog talasa jednog, crnog talasa jednog, drugog, pa američkog i sad živite u vremenu kad tih talasa nema, postoji samo opštost u kojoj stidljivo poneko izviri iz te vode svojom zastavom i ponovo nestane. Utoliko je pitanje filma pitanje ambijenta a naš ambijent je izrodio već pet ili šest mlaidh autora koji su napravili vrlo lične filmove. Jedini rezultat koji se danas računa je zlatna medalja i prvo mesto, a nažalost film je sve više postao tvorevina koju upoređuju sa sportom i sportskim jezikom. Festivali postaju prostor za reklamiranje. Najvažnija nagrada u Evropi danas (Zčatna plama) na svom postolju ima sponzora "Šopar" (Chopard), ali mislim da treba biti optimista i poverovati da će u tom zbiru mogućnosti neko opet izaći sa svojom zastavom i naparaviti novi talas evropskog filma. A mi smo tu da pomognemo koliko je moguće.

Muzički program
Svake večeri nakon projekcija i radionica koncerti muzičkih grupa upotpuniće noćni život Kustendorfa. Ove godine gosti su Orkestar narodne muzike braće Advahov Valeriju i sastav "Kaskaval & Kristi Traktor" (orkestar od skoro 40 muzičara) iz Moldavije, Vinicio Kaposelo, najpopularniji etno rok muzičar iz Italije, holandsko-srpski ansambl "Jovan Pavlović i Marko Marković bras bend" sa 15 harmonikaša i jednim trubačem, kao i stari znanci "Kal" i Bilja Krstić i "Bistrik".

Izložbe na Mećavniku i Andrićgradu
Tokom trajanja festivala u galeriji „Kapor“ biće postavljena izložba akademskog slikara Ratka Lalića, a deo programa festivala je i izložba fotografija povodom 70. godišnjice Visoke državne škole za film, televiziju i pozorište iz Lođa. Takođe, u Andrićgradu, u galeriji Lubarda, će biti otvorena izložba slika i mozaika akademske slikarke Bisenije Tereščenko.

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Poznati holivudski glumac Met Dilon biće gost predstojećeg festivala Kustendorf na Mećavniku, objavljeno je danas na koferenciji za medije u Ministarstvu kulture i informisanja. Dilon će održati radionicu studentima a u njegovu čast će biti prikazan kultni film "Dragstor kauboj" Gasa van S... Read more

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„Where there is Slava, there is a Serb“ – Serbian proverb

Majority of Serbs are Christians, and Christianity came very soon after the settling of South Slavs in Balkans. Byzantine missionaries and brothers St. Cyril and St. Methodius are considered to be the founders of South Slavic Christianity. It was a very cunning way to introduce Slavs as pagans to the new religion – most of old Slavic gods were implemented in characteristics of Christian saints, and until nowadays we can still find original corelations with ancient Slavic religion.

Serbian Christians are mostly Orthodox Christians, belonging to Serbian Orthodox Church. Along with Churches of Alexandria, Antioch, Jerusalem, Russia, Georgia, Bulgaria, Romania and Ecumenical Church of Constantinople – Serbian Orthodox Church forms the Council of Orthodox Patriarchates. Thanks to the fact that each nation has a Church of its own, most of the national folklore maintained untouched through the church. Yet, there is one special holiday which differs Serbian Church from others – slava.

Slava is connected to the times of old Slavic religion, when a cult of ancestors was very strong. For Slavs, family and its legacy is one of the holiest things in life; and this custom is highly appreciated even today. In order to maintain this legacy and implement it into Christianity, Serbian archbishop St. Sava canonized this ceremony and formed a unique cultural heritage for Serbs. So, what is slava today?

If you walk into a Serbian home, you will find there an icon depicting a Christian saint. It is believed that this saint is a patron of host’s home and family, and usually is celebrated for generations back. Each Christian saint has his/her day in Orthodox calendary. That very day is the holiest day for the family which celebrates, right after Christmas and Easter. On this day, Serbs are completely dedicated to their family and dearest people.

There are dozens of different manners of celebrating Slava – depending on the region in Serbia – but there are some customs which are the same everywhere: slavski kolač – ceremonial bread which is baked in the night of Slava; žito or koljivo – ceremonial wheat which celebrates the ressurection of Christ and family ancestors; slavska sveća – ceremonial candle which is lit during the whole day of Slava.

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„Where there is Slava, there is a Serb“ – Serbian proverb Majority of Serbs are Christians, and Christianity came very soon after the settling of South Slavs in Balkans. Byzantine missionaries and brothers St. Cyril and St. Methodius are considered to be the founders of South Slavic Christi... Read more

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marija64 › Very good article. Divna slika. ?

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Smak (Serbian Cyrillic: Смак; trans. The end time) is a Serbian and former Yugoslav rock band from Kragujevac. The group reached the peak of popularity in the 1970s when it was one of the most notable acts of the former Yugoslav rock scene. The band's leader, guitarist Radomir Mihailović, nicknamed Točak ("The Wheel"), is considered one of the most influential guitarists on the former Yugoslav rock scene.

Formed in 1971 by the guitarist Radomir "Točak" Mihajlović and drummer Slobodan "Kepa" Stojanović, the band did not get a stable lineup until 1975 by which time bassist Zoran Milanović, vocalist Boris Aranđelović and keyboard player Laza Ristovski became the band's official members. However, after recording their eponymous debut album, Ristovski left and the remaining quartet recorded their subsequent albums with various keyboardists before disbanding in 1981.

After brief reunions between 1986 and 1992, the two founding members, Mihajlović and Stojanović, reestablished the band with younger musicians — vocalist Dejan "Najda" Najdanović, the second drummer Dejan "Kepa Jr." Stojanović, second guitarist Milan "Mikica" Milosavljević and bassist Vlada Samardžić. During the late 1990, the latter was replaced by the bassist Slobodan "Sale" Marković who performed with the band until 2002 when Smak disbanded once again. The remaining members from the last lineup, with the new bassist Miloš Petrović reunited in 2010, and in 2012 the default lineup of the band made a one-off reunion.
Two ambitious 20-year-old budding musicians — guitarist Radomir "Točak" Mihailović and drummer Slobodan "Kepa" Stojanović — met up in Stojanović's hometown Kraljevo on 23 April 1971 with a view of starting a band together. They had earlier gotten in touch through Predrag "Biska" Albić, Mihailović's childhood friend who had served the mandatory Yugoslav People's Army service with Stojanović.[1] Following the introductory meeting, the two returned to their lives as Stojanović had already been set to go on a tour with his family orchestra — an engagement he envisioned as an opportunity to earn enough money for a new drum kit — while Mihailović went back to his hometown Čačak.[2]

Upon getting back home, Mihailović got introduced to Zoran Milanović (bass guitar) and Slobodan "Koma" Kominac (vocals), both from Kragujevac, who asked him to join their upstart progressive rock band Gentry, an offer he accepted on condition that Stojanović become the band's drummer.[3] During November 1971, the four met up in Kraljevo in order to officially form a band and, having been kicked out of Stojanović's family home by his grandmother who didn't appreciate the sight of four young men with long hair in her house, they went to a local restaurant and then to a park where they wrote their first song, later named "Bluz u parku" ("Blues in the Park") in memory of the event.[4]

In December 1971, the lineup was completed with the arrival of Miša Nikolić on organ. Still largely a cover band at this point, the group played youth dance halls with covers of Santana, Deep Purple, Led Zeppelin, The Rolling Stones, and Jimi Hendrix.[5] Soon after the members decided to change the band's name. Influenced by Smak sveta (The End of the World), a Hair-inspired musical being prepared locally at the Kragujevac Theatre as a dedication to the schoolchildren killed during Kragujevac massacre, they agreed on Smak (Endtime) as their new name; the play eventually never got staged.[3] New name Smak occasionally got referred to in jest as S.M.A.K., a supposed acronym for Samostalni Muzički Ansambl Kragujevac (Independent Musical Ensemble Kragujevac).[5] During this period the band members spent writing their own material, including 22 instrumental songs, from "Biska 2" to "Biska 23", written by Mihailović as a dedication to his friend Predrag "Biska" Albić (who was 22 at the time), featuring the defined band's sound as a combination of progressive rock with jazz and blues influences.[3]

The fact that the band's improvisations turned dances into rock concerts was the reason why their performances were becoming less popular, which eventually lead vocalist Kominac to leave the band, being replaced by Slobodan "Johan" Jovanović, Mihailović's friend from Čačak.[6] However, since the performances were the source of income for the band members, they all agreed to reunite with Kominac and go to Dubrovnik where they would perform mostly blues repertoire for two and a half months during the summer of 1972.[7] During their stay in Dubrovnik, the band opened for Time, which had borrowed their equipment for the performance.[8] After the Dubrovnik performances the band took a break until March 1973 when, with the new vocalist Milorad "Kimi" Petrović, Stojanović's former bandmate from the band Bluz Projekcija, Stojanović, Mihailović and Milanović decided to perform at the Požarevac Gitarijada Festival (not to be confused with Zaječar Gitarijada Festival).[9] There, in April 1973, the band shared the first place with the local band Dijamanti, which organized the festival.[3]

With yet another return of Kominac to the band, Smak continued performing in Kragujevac clubs,[9] as well as making a successful appearance at the Pop Music Festival in Sanad.[3] This lineup recorded the song "Biska II blues", which appeared on the PGP RTB various artists compilation Leteća diskoteka (Flying Discothèque), compiled by Zoran Modli in 1977.[10] In October 1973, the musically inexperienced high tenor vocalist Boris Aranđelović, who had just returned from Australia, joined the band after auditioning with a successful performance of Deep Purple's "Child in Time".[3] After Aranđelović's arrival, during the early 1974, the band started recording their debut single and were interested in bringing an organist into the band, offering the place to Time member Tihomir "Pop" Asanović, who turned down the offer due to his plans to form his Jugoslovenska Pop Selekcija.[10] Eventually, the band released their debut single "Živim ja" (I'm Livin'), originally entitled "Biska 13", with "Biska 16" as the B-side, in March 1974 through PGP-RTB.[10] "Živim ja" featured the flutist Sreten Tasić "Tasa", at the time member of the band Oliver, who by chance turned up at the studio during the recording session.[10] During the late 1974, "Živim ja" was selected as the hit single of the year on the Veče uz radio (An Evening With the Radio) Radio Belgrade show.[11]

Smak performed in Belgrade for the first time on November 10, 1974 during the Veče uz radio anniversary concert, alongside Bijelo Dugme, Pop Mašina and other notable bands of the time.[10] Several days later, the band performed at the University of Belgrade Faculty of Philology, the first time with a guest keyboard player Laza Ristovski, a former Bezimeni and Boki Milošević Orchestra member.[10] Ristovski officially became a member in January 1975, soon after which, Smak performed with the Hungarian band Omega in the Dom Sindikata Hall.[10] In February of the same year, the band performed at the Rock Evening of Opatija Festival, and afterwards in Zagreb at the Kongres rock majstora (The Rock Masters Congress) concert held as the summit of the best Yugoslav guitar players.[10] Unlike the expectation that Mihajlović would be declared the best guitarist of the event, the judges decided that the best four guitarists were Bata Kostić of YU grupa, Vedran Božić of Time, Josip Boček formerly of Korni Grupa, and Goran Bregović of Bijelo Dugme, all of whom, unlike Mihailović, were signed to Jugoton, the event's principal organizer.[10] Shortly after, on March 16, 1975, Smak opened for the Deep Purple concert in Belgrade, performing three of their numbers: "Put od balona" (Road Made of Balloons), "Šumadijski blues" (Šumadijan Blues) and "Ulazak u harem" (Entry into the Harem).[12]

After the performance at the Od glave do pete (From Head to Heels) television show where the band performed the instrumental "Ulazak u harem", originally composed by Točak's teacher, Dragoljub "Jarak" Jaraković but rearranged by Točak,[10] owing to positive reactions, they decided to record the track as their follow-up single.[13] In April 1975, the band signed the Ljubljana ZKP RTLJ and released the single "Ulazak u harem" with the track "Epitaf" ("Epitaph") as the B-side.[13] However, after being offered the contract by the Zagreb Suzy Records to release the single through their label, the band signed yet another contract, releasing "Ulazak u harem" with the song "Sto ptica" ("A Hundred Birds") as the B-side, which resulted in the two labels simultaneously releasing the same single.[13] The release of the singles became the first major music controversy in the history of Yugoslav music.[10] Eventually the band chose to remain with the ZKP RTLJ label and were offered to record their debut album for the label.[13] The following month, the band went on a Bosnian and Croatian tour with Bijelo Dugme and the East German band Puhdys, and had several live appearances with the Hungarian band Sirius and Austrian band Gypsy Love, followed by them headlining the Zagreb BOOM Festival.[10]

Commercial success (1975–1978)
Smak's eponymous debut album, Smak (Endtime), was released in 1975 and featured five tracks: the A-side featured "Perle" (Beads), "Mračni mol" (The Dark Minor), "Blues u parku" (Blues in the Park) and the shortened "Biska 2", whereas the B-side featured the twenty-minute long instrumental "Put od balona" ("The Road Made of Balloons"), originally entitled "Biska 20".[10] Despite its length, the latter track was recorded in a single take and was inspired by the Korni Grupa symphonic rock tracks such as "Prvo svetlo u kući broj 4" (First Light in the House Number 4) and "Jedna žena" (A Woman).[14] The album featured the lyrics mostly written by Mihajlović, but shortly after, the band asked the services of the poet Mirko Glišić from Kragujevac for the same occupation, with whom they collaborated on their subsequent releases.[10] The album received mixed to favorable critics, but nevertheless went silver, being sold in about twenty thousand copies.[14] The album had also increased the cult status of Mihajlović's guitar playing, which was confirmed on their three-week tour of East Germany.[10]

In April 1976 the band released the double 7" EP Satelit (Satellite), featuring the title track which became an instant hit, and had a cover which in its inner side had a satellite jumping out of the sleeves.[10] The promotion of the EP was also organized in an unusual manner: the Ljubljana's ZKP RTLJ record label invited about twenty journalists to a DC10 flight from Belgrade to New York City during which the band performed an improvised session on the plane.[10] They stayed in New York City for a week, recording a promotional video for "Satelit", a documentary about their visit, and performed in a club for expatriates from Banat.[10] Upon their return from the United States, Mihajlović released his debut solo album R. M. Točak,[10] and the band had a mini-tour of Yugoslavia during the Autumn of 1976.[15] In October the band released the single with songs "Ljudi nije fer" (People, It's Not Fair!) with the B-side "El dumo", and as a part of the single promotion, a one-hour documentary about the band's stay in New York was screened.[10] The following month, Laza Ristovski left Smak to join Bijelo Dugme, at the time Smak's rivals, being replaced by the organist Miki Petkovski from the band Breg (the embryonic Leb i Sol), a cello music academy graduate in the class of professor André Navarra.[10]

During the early 1977, the band, Ristovski's departure and Mihailović's illness started preparing material for the following album, with Petkovski also bringing his cello to the rehearsals, and the written material was recorded in London at the Morgan Studios.[16] Crna dama (Black Lady), produced by Martin Levan, featured the lyrics written by Mirko Glišić and the music by Mihajlović, with the exception for "Tegoba" (Ailment), written by Petkovski, in which he presented his sympathies for jazz rock.[10] The musical style ranged from the hard rock influenced title track, ballads "Stvar ljubavi" (A Matter of Love) and "Plava pesma" (Blue Song), featuring the London Harmonium string quartet, folk rock "Daire" (Tambourine), the progressive "'Alo", featuring Aranđelović's scat singing combined with Mihajlović's solo parts, and "Domaći zadatak" (Homework), featuring complex solos on drums, bass guitar and keyboards, which was directly dedicated to Bijelo Dugme.[10] The album had a luxurious cover designed by Dragan S. Stefanović, featuring a new band logo which became one of the band's trademarks.[16]

The album went gold and received mostly positive critics, although Glišić's lyrics received mostly negative reactions, being described as banal and ineffective.[10] PGP RTB had also made a great investment in the album promotion, with the appropriate coverage in the media, thus the songs "Crna dama", "Daire" and "Plava pesma" became nationwide hits.[17] On September 8, 1977, the band embarked on a large promotional tour, playing the opening show in Belgrade,[17] performing in the sold out Pionir hall, and later at the BOOM festival in Novi Sad.[10] In Zagreb, the band promoted the album in a streetcar which circled the city and after the Zagreb performance, in front of eleven thousand people, the representatives of the Frankfurt-based record label Bellaphon Records were introduced to the band.[18] The band signed a five-year contract for eight albums, after which Mihajlović and Aranđelović traveled to London in order to record the tracks for the English language version of Crna dama for the European and American markets.[18] Black Lady, featuring an alternate album cover,[18] in the Melody Maker was reviewed as "a bad copy of Taste and Deep Purple", however, it received a positive review in Guitar Player.[10] In the annual poll the readers of the Džuboks magazine selected Smak as the best band in 1977 and the band got the best album, cover, single, guitarist, bassist and drummer.[10]

In January 1978, during the Midem music industry trade fair in Cannes, the Black Lady rights were bought by the American Fantasy Records and the Spanish branch of RCA Records.[10] However, the atmosphere within the band had become tense, mostly owing to the fact that the successful Crna dama tour had eventually ended up in the band being twenty million dinars (approximately fifty thousand dollars) in debt after the tour.[18] In such atmosphere they had several unsuccessful live performances, including the half-empty Belgrade Pionir hall concert in the spring of 1978.[10] The band had also performed at a Polish international rock music festival in Poznań.[18] At the time, the PGP RTS label bought the MCI 24-channel studio equipment on which, with the help of the personnel from Morgan studio, the band recorded the maxi single Smak Super 45, featuring "Nevidljive terazije" (The Invisible Scales) and "Hitopadeza" (Hitopadesha), the latter featuring Stojanović simultaneously playing two rhythms.[19] During that period Petkovski recorded a solo album Ko zna (Who Knows), on which on one side of the LP performed Smak members and Leb i Sol members on the other.[19] Soon after Petkovski left due to his military service, being replaced by Tibor Levay, the member of the RTV Novi Sad Orchestra.[10]

Decline and crisis (1978–1981)
In a tense atmosphere, the band started writing new material, often clashing with Mihailović who did not react to the band's objections to his lyrical works. Nevertheless, the band traveled to England and in Chipping Norton near Oxford, in a local castle, the band installed their studio and started recording their third studio album.[20] Despite frequent arguments, they recorded the progressive rock album Stranice našeg vremena (Pages of our Time), produced by the band themselves with the producer Barry Hammond, and featured the music and part of the lyrics written by Mihailović.[10] The rest of the song lyrics were written by the Kragujevac poet Zoran Petrović, but did not receive positive reactions from the critics.[10] Beside the new "Ponoćni lovac (Biska 18)" (Midnight Hunter (Biska 18)), "Tendži-tandži", "Nebo je samo drum bez dna" (Sky is Just a Bottomless Road), the album featured a rerecorded version of "Ulazak u harem".[21] The album was released by Bellaphon for the international marked and PGP RTB released a licensed Serbian language version of the album. The English language version of the album, entitled Dab in the Middle, named after the suggestion by the guest percussionist on the album, David Moss.[10]

After the album release, Levay left the band, soon to be followed by Mihailović, dissatisfied with the band's objections to his lyrics writing as well as objections to the usage of Moss' lyrics on Dab in the Middle.[22] Smak continued performing, having several performances with the former Mirni Ljudi guitarist Srđan Miodragović, and former Time members Dado Topić and Chris Nichols.[22] During the late 1978, Stojanović got the call to join September, fronted by Tihomir "Pop" Asanović, but declined due to his ambitions to continue working with Smak.[23] At the beginning of 1979, Mihajlović returned to the band, and Laza Ristovski with him, disappointed with the situation in Bijelo Dugme and the failure of his album Stižemo (Here We Come), recorded with his Bijelo Dugme bandmate Ipe Ivandić.[22] With the guest appearance by Dado Topić, the band released the EP Na Balkanu (On The Balkans), featuring the title track and "Gore dole" ("Up and Down"), with the lyrics written by Marina Tucaković.[22] At the time, the band ended their contract with Bellaphon who were dissatisfied with the Smak album sales, with the band being dissatisfied with the album promotion.[22] Another reason was the court case between Moss, who protected the rights to the usage of Dab in the Middle, and Bellaphon, eventually ending in the label paying ten thousand dollars for royalties.[22]

The band continued collaborating with Dado Topić who produced the album Rok cirkus (Rock Circus), released in early 1980, featuring a more commercial hard rock sound, but met with severe criticism due to flaccid song lyrics, written by Marina Tucaković and Marko Glišić, especially the lyrics for the song "La Kukarača" (La Cucharacha).[22] The album however had shown a reminiscence of their previous works in the instrumental "Instrumental Baby", and the songs "Hirošima" ("Hiroshima") and "Ogledalo" (The Mirror).[22] The only song to become a hit from the album was the song "Profesor" ("Professor").[24] Influenced by the Rolling Stones' Rock 'n' Roll Circus, the band wanted to promote the album on a tour with performances in a circus tent.[24] For that reason, in April 1980, the band traveled to Slovenia in order to sign a contract with the Slovenian Vargas circus company, however, their tent had been damaged after a heavy snowfall.[24] In expecting another tent to arrive, the band had heard the news of the death of president Josip Broz Tito,[24] after which the album was left almost without any promotion.[22] Furthermore, the popularity of punk and new wave music in Yugoslavia had also influenced the commercial failure of the album.[22]

At the beginning of 1981, Mihailović with Smak members decided to record a solo album, however, during the album recording process, they were uncertain whether it should be Točak's solo album or yet another Smak record.[25] Eventually, it was decided that the album should be Mihailović's solo work, mostly owing to the fact that during the writing process his brother had died which made an influence on the atmosphere of the album and a part of the material recorded as a dedication to his brother.[26] Another reason was the absence of Aranđelović whom did not participate the album recording due to his illness and thus the three non-instrumental tracks on the album featured the vocals of Dado Topić, in the song "Zašto ne volim sneg" ("Why I Dislike the Snow"), recorded in a single first take, and Zoran "Hoze" Živanović, in the songs "Južni voz" ("Southern Train") and "Nebeski splav" ("Sky Raft").[27] Beside the material written by Mihajlović, the album featured a cover version of the Macedonian folk song "Zajdi, zajdi" ("Set, Set (Oh, Sun)"), originally composed by Aleksandar Sarijveski.[28] Eventually, Zašto ne volim sneg (Why I Dislike the Snow) was released as a Smak album after the PGP RTB persuaded the band to abolish the idea of a solo record.[22] The album was released in five thousand copies only and quickly sold out in less than a month.[29]

Breakup and aftermath (1981-1986)
By the time Zašto ne volim sneg got released, the frequent arguments among the band members precipitated their decision to disband following one final show in Belgrade.[30] In June 1981, they held a farewell concert at the Red Star basketball court within the Kalemegdan fortress[31] in front of six thousand fans, with a guest appearance by Dado Topić who joined the band on stage to perform "Na Balkanu".[22] The concert was originally delayed due to heavy rainfall, partially damaging the equipment.[31] Afterwards, there were issues with the show's promoters who reneged on the terms of the agreement regarding payment for the show, leading to band members only receiving about a fifth of the previously agreed payment.[32] The suddenly reduced financial windfall from the final show led to the band's decision to embark on a farewell tour in order to recoup the lost income despite being on unfriendly terms and originally not intending on performing past the Kalemegdan performance.[22] The farewell tour ended in September 1981 and the members went their separate ways.

Soon after the breakup, Stojanović and Mihajlović, together with Dado Topić on bass and lead vocals, made an agreement to form a band called Tito, an idea the three had as far back as 1973, however, due to Mihajlović disliking the concept of not recording new material and relying on their old repertoire, the band never got off the ground.[33] In early 1982, Mihajlović and Stojanović, this time with bassist Lola Andrejić, decided to form an instrumental music trio, continuing with the style first explored on Zašto ne volim sneg, however, after a misunderstanding between Stojanović and Andrejić, the former left the band.[34]

During 1982, Mihajlović released a single "Mantilja" (Mantilla), with "Specijalka" (A Special) as the B-side, and with Andrejić and Moss who often performed live with him, he recorded maxi single "Marš na Drinu" ("March on the River Drina"), a cover of the World War I song.[22] He had also opened a school for guitar players in Kragujevac and Belgrade, through which an abundance of students had passed over the years.[22] During 1982, with his former Smak bandmates, Boris Aranđelović recorded his debut solo album Iz profila (Profile View), after which he moved to London where he minimized his musical career.[22] Stojanović formed the band Cveće (Flowers) in October 1982, with Chris Nichols (keyboards), Miodrag Babalj (vocals), Srećko Maksimović (guitar) and Branko Pavlović "Stenli" (bass), but by the time their debut album Polenov prah (Pollen Powder) was released in 1983, they had already disbanded.[22] Stojanović then performed in Belgrade's Hotel Mažestik, in clubs in Germany and the Soviet Union and participated in the recording sessions of Toma Zdravković's singles "Ej, Branka, Branka" ("Hey, Branka, Branka") and "Kiša je padala" ("The Rain was Falling").[22] Ristovski joined the Alvin Lee Band, performing on a tour of Yugoslavia and Hungary, and released five solo albums, before returning to Bijelo Dugme in 1985, remaining until their breakup in 1989.[35]

Reunions and hiatuses (1986–1992)
In mid-October 1986, the mainstay Smak members reunited in the lineup Mihajlović, Stojanović, Aranđelović and Milanović,[22] but without Ristovski who refused to participate in the reunion.[36] The four started rehearsing at the University of Kragujevac campus, and during the rehearsals a young keyboard player Milan Đurđević often attended the rehearsals, however, due to being Mihajlović's reserved towards him, he invited Chris Nichols to record the keyboard parts.[37] The comeback album Smak 86., also featuring Miša Komnenić and Vlada Nikodijević on guest keyboards, but the album was not well received by the critics.[22] The album featured Mihajlović as the album producer, music and lyrics author, even lead vocalist in the song "Kornjačina koža" ("Turtle Skin").[22] The band members themselves, with the exception of Mihajlović were also dissatisfied with the record: Aranđelović was not satisfied with some of the lyrics and Stojanović was not content with the usage of rhythm machines on certain tracks.[37] After the album release, the band embarked on a tour with Milan Đurđević on keyboards, but without much promotion.[38] After a short tour, the band went on an indefinite hiatus.[22]

In 1987, Mihailović founded his R.M. Točak band, featuring Lola Andrejić and David Moss, with whom he appeared on the Legende YU Rocka (The Legends of YU Rock) concert, organized on May 22, 1987, by the Zagreb Radio 101 at the Dom Sportova,[39] and the recording of the instrumental "Because" appeared on the various artists double live album Legende YU Rocka, released by Jugoton during the same year.[22] Stojanović founded his school of drummers and started performing folk music in both Yugoslavia and abroad.[22] During the time of Smak's inactivity Mihailović, Stojanović and Milanović remained in contact, and in 1988, without much rehearsing, they decided to perform at the traditional Kragujevac Midnight concert, with Milan Đurđević on keyboards, who was at the time serving the army, and the vocalist Milan Šćepović "Šćepa".[40] After having a successful performance in Kragujevac, despite the rumors of reformation, the members devoted to their own careers once again.[40] However, the same lineup had reunited once again in 1990, once again performing at the Kragujevac Midnight concert.[40]

The following year, the band reunited, this time with Aranđelović on vocals, once again at the same concert, and featured a guest appearance by Pera "Džo" Miladinović on harmonica.[40] The same lineup with Ristovski on keyboards performed at the Kragujevac Midnight concert, after which, the band had their first live appearance after six years in Belgrade.[41] The band held two performances in Sava Centar, the first of which was recorded for the live album OdLIVEno (LIVEquefied), on compact cassette only.[41] Beside their own songs, the album featured cover version of blues songs "Cross Road Blues" and "Tobacco Road", and Serbian traditional song "Ukor" ("Blame").[22] The band had also released a compilation album Smak: Retrospektiva (Smak: A Retrospective) and re-released the album Dab in the Middle as The Pages of Our Time.[22] After the Belgrade performances, the band had a meeting in Kragujevac, where they decided to continue working and started planning a comeback album.[42] Nevertheless, Aranđelović went to Amsterdam where he stayed longer than the intended two months and Milanović and Ristovski did not appear at the band rehearsals, thus the lineup did not make a full-time comeback.[42]

TEK and reformation (1993–2002)
Having realized that there would not be a default lineup reformation, Mihailović and Stojanović nevertheless continued rehearsing together, playing instrumental music with Mihailović's student Milan "Mikica" Milosavljević, a former Alahambra member,[22] who, despite being a solo guitarist, took up playing bass out of the respect for the two musicians.[42] During one of the rehearsals, having heard Stojanović and his 19-year-old son playing drums simultaneously with his father, Mihajlović suggested that Dejan Stojanović "Kepa Jr." should join the three as the second drummer.[43] At the time, in 1993, Mihajlović got the offer to score the film Vizantijsko plavo (Byzantine Blue), directed by Dragan Marinković, which he recorded Stojanović senior and junior on drums and Milosavljević on bass, signed as the band TEK.[22] The soundtrack album, recorded at the Laza Ristovski's studio,[44] featured guest appearances by Ristovski (keyboards), Zoran Milanović (bass), Marija Mihajlović (vocals), Miroslav Savić (keyboards) and Nenad Petrović (saxophone).[22] Beside his own compositions, the album featured several cover versions of folk motifs, including the 1981 version of "Zajdi, zajdi" and the song "Ukor",[42] as well as the compositions by Miroslav Savić and Dragan Stefanović.[22] Mihajlović eventually got the Crystal Prism award for the album.[22]

After the album release, TEK started a promotional tour, performing instrumental music mainly in clubs, however, on the audience request, they included Smak material, but in instrumental versions with the audience filling the vacant vocalist spot.[45] This was the reason why Stojanović suggested Mihailović to return to a classic rock lineup with a vocalist, and in the meantime, Milosavljević switched to guitar, thus the band were to look for a new vocalist and bassist.[46] At first the band considered the Osvajači vocalist Zvonko Pantović "Čipi", due to a similar vocal style with Aranđelović's, but eventually the new vocalist became Dejan Najdanović "Najda", a former Kramer vocalist,[22] after a successful vocal interpretation of the Free song "All Right Now".[47] On the recommendation of a friend, the new bassist became Vlada Samardžić, a young jazz fusion musician from Novi Sad,[48] who performed with Vasil Hadžimanov.[22] The VANS production company, which released the Vizantijsko plavo soundtrack, wanted to start a collaboration with the band in releasing new material, suggesting them to continue using the name Smak.[49]

Having completed the lineup, and having an album's worth material, Radomir "Točak" Mihailović (guitar), Slobodan "Kepa" Stojanović (drums), Dejan "Kepa Jr." Stojanović (drums), Milan "Mikica" Milosavljević (guitar), Dejan "Najda" Najdanović (vocals) and Vlada Samardžić (bass guitar) entered the studio and recorded the Smak's seventh studio album Bioskop Fox (Fox Cinema), produced by Mihailović and released jointly by VANS, Komuna and PGP RTS in 1995.[22] The entire material, consisting of fourteen tracks, was written by Mihajlović, with the exception for a part of the lyrics, written by Zoran Amar, Predrag Drčelić "Skaki" of Trula Koalicija, Jovan Nikolić and Nikola Mihajlović.[50] In order to promote the album, the band had recorded a promotional video for the song "Lisica" ("Fox"), dedicated to Jimi Hendrix, in a professional film studio in Košutnjak,[48] as well as two promotional videos, for the songs "Organizam bluz" (Organism Blues) and "Miris nje" (The Smell of Her), in Novi Sad.[51] Despite the adequate media promotion, Mihajlović was not satisfied with VANS, partially owing to their inexperience with the music business due to being a film company, thus the band ended the collaboration with the company.[51]

After the album release, the band started tour rehearsals in Kragujevac and had their first live appearance with the new lineup in Čačak on September 9, 1995, followed by performances in Kragujevac, however they were facing the problem of a small number of people attending their shows.[51] At the time, the band got an invitation to go on a tour of Canada but despite everything being set for their arrival, Mihajlović changed his mind and the tour was canceled.[52] After the tour cancellation, the bassist Vlada Samardžić, disappointed with the fact, decided to leave the band and dedicated himself to his studies at the Berklee College of Music.[52] Mihailović suggested Lola Anderjić as his replacement, but after Stojanović's refusal, the new bassist became Slobodan Marković "Sale" from Kragujevac.[52] The new lineup continued performing live, including the performance at the Belgrade Sava Centar, which was broadcast on national television, with the performances featuring drum solos on two drums consisting of three sections, the first being unison drum playing, the second with individual improvisations and the third with the Latin-American rhythms under the influence of Steve Gadd's playing style.[53]

During 1996, the RTV Slovenia released a compilation album The Best of Smak, and the following year, in the spring of 1997, the band had a tour of Slovenia.[54] The success of the tour resulted in the plans for another tour which was canceled due to the problems with the management in Slovenia.[52] After the tour, the band had reduced their live activities, performing mainly free concerts at town squares, including the concert in Kragujevac on which all the former members, with the exception of Miki Petkovski, appeared as guests.[55] In May of the same year, in the Kragujevac Šumadija cinema hall, the band made an experiment with performing an entire concert without audience and the recording of the concert was released on the double live album Live Without Audience, featuring live versions of twenty two tracks from the band's entire career.[56] A promotional video for the song was recorded for the song "Ljudi nije fer" which received an adequate media coverage.[55] The following year, in 1998, in a book edited by Duško Antonić and Danilo Štrbac YU 100: Najbolji albumi jugoslovenske rok i pop muzike (YU 100: The Best Albums of Yugoslav Rock and Pop Music), Crna dama appeared on the 40th and Smak on the 63rd place.[57]

In 1999, the band started working on a new studio album, for which Mihajlović and Stojanović decided that it should feature poly-rhythmic drums and scat singing.[58] Nevertheless, Stojanović suggested that beside scat singing, several tracks should feature lyrics, which Mihajlović refused, and thus Stojanović made a decision not to play on the album.[58] Mihajlović then hired Igor Malešević, at the time the member of Vasil Hadžimanov Band, but after not being satisfied with the rehearsals he was fired and Stojanović recorded the drums for all of the fourteen tracks on the album, which was entirely recorded in 72 hours.[59] Egregor, released by PGP RTS, produced by Mihajlović and Saša Habić, featured only one song with lyrics and on the rest Najdanović was featured on scat singing.[56] The song "5. maj" ("May 5") was dedicated to Led Zeppelin and the theme "SOS" featured a sample of Josip Broz Tito's speech from 1948, older generation folk singers Vuka Šeherović and Mijat Mijatović, and an anonymous Radio Belgrade speak at the time of the World War II occupation of Yugoslavia.[56] The album received mixed critics and did not receive an adequate promotion due to the NATO bombing of Yugoslavia during the same year.[60]

During 1999, Boris Aranđelović recorded a solo album Milion godina (A Million Years) as Boris i Dinosaurusi on which the music was written by former YU grupa guitarist Bata Kostić, Jimmy Barnes and R.M. Točak, the lyrics by Marina Tucaković and Ranko Slijepčević, and the recordings featured Kostić, Ristovski, Kepa Stojanović, Zoran Milanović, Pera Joe and Neverne Bebe guitarist Saša Ranđelović "Ranđa".[56] On March 3, 2000, the band performed at the Kragujevac Le Cinema hall and the recording of the concert was released in 2002 by Active Time as Live - klub Le Cinema (Live - Le Cinema Club) in 2002.[56] The same label released the recording of the TEK concert in Niš recorded in 1994, on the live album Niš 1994.[56] In 2001, the compilation album Istorija (History) was released by PGP RTS, featuring songs from all the periods of Smak's career and the previously unreleased song "Blues od vina", which was recorded on the 1974 Veče uz radio anniversary concert.[56] The following year, the band disbanded.[56] A compilation album featuring a part of the material from Live Without Audience was released as Antologija! (Anthology!) in 2005, and in autumn of the following year, the PGP RTS released a remastered edition of the album Crna dama.[56]

Reunion (2010-present)
In 2010, the lineup of Radomir "Točak" Mihailović (guitar), Dejan "Najda" Najdanović (vocals), Slobodan "Kepa" Stojanović (drums), Milan "Mikica" Milosavljević (guitar), Dejan "Kepa Junior" Stojanović (drums) with the new band member Miloš "Šomi" Petrović (bass) reunited and started writing new material.[61] The former bass player Vlada Samardžić did not participate the reunion, but expressed the support of the new lineup.[62] From summer until autumn of the same year, the band had recorded four tracks, "Delfin" (The Dolphin), an instrumental version of the song "Cigansko srce" (Gypsy Heart), originally released on the album Rock cirkus, "Ispiranje" (Ablution) and "Rapsodija o lepom" ("A Rhapsody on Beauty"),[63] which were premiered on the band's official YouTube channel.[64] However, further reunion plans had been interrupted by Slobodan Stojanović's spinal cord surgery.[65] The recorded tracks, along with the bonus video versions of the material, were released in December 2012 on the EP Delfin (The Dolphin) by the Serbian record label One Records.[66] The same label also rereleased in compact disc format the 1992 live album OdLIVEno,[67] previously available on compact cassette only, and released Radomir Mihajlović's solo album Tonsko ukrašavanje (A Tonal Ornamentation).[68]

On December 29, 2012, Smak reunited in the default lineup – Radomir Mihajlović (guitar), Boris Aranđelović (vocals), Zoran Milanović (bass guitar) and Slobodan Stojanović (drums) – for a concert in Kombank Arena. The concert also featured members of the current Smak lineup – Dejan Najdanović (vocals), Milan Milosavljević (guitar), Miloš Petrović (bass guitar) and Dejan Stojanović (drums) – as well as Dejan Zdraevski on keyboards.[69] The reunion of the band's default lineup saw large media coverage and the concert featured about 18,000 spectators..[70] On June 27, 2013, the band, in both the default and current lineup, performed at Kragujevac Arsenal Fest. It was the band's first concert in Kragujevac since 1997.[71] In 2014, the band rerecorded their 1978 song "Nebo je samo drum bez dna" ("The Sky Is Only a Bottomless Road") and released it on their official YouTube channel.[72]

On June 20, 2015, the band, once again in both default and current lineup, held a concert in Belgrade Ušće park, in front of about 20,000 spectators.[73] The concert featured the bands Oktava, Rare and Epilog as the opening bands and Dado Topić as guest.[74]

The concert at Ušće park was Aranđelović's last performance with the band. He died on August 27 of the same year in Rotterdam, after long illness. He was 67.[75]

Legacy
In 2017, the band was awarded the Silver Medal for Merit by the President of Serbia Tomislav Nikolić for their contribution to Serbian culture.[76]

Smak songs have been covered by a plethora of acts and the notable cover versions include: The girl group Aska medley which consisted of passages from "Satelit", "Crna dama", "Nevidljive terazije", "Halo", "Tendži Tandži", "Daire" and "Gore dole" on their 1982 album Disco Rock.[77] The song "Daire" was covered in 1994 by the band Neverne Bebe on their album Neverne Bebe I, their version featuring a passage from "Zajdi, zajdi";[78] the band covered the song once again on their 2004 album Neverne Bebe IV - Dvoje - The Best Of .[79] Osvajači covered the song "Ljudi nije fer" on their 1994 unplugged concert.[80] The song "Crna dama" was covered in 2000 by singer Viktorija on her album Nostalgija (Nostalgia).[81] In 2011, the band Čipi i Industrija, featuring the original Osvajači members, covered the song "Na Balkanu", with former Generacija 5 vocalist Đorđe David on guest vocals, released on the album Na Balkanu.[82] On his 2012 album Štrajk mozga (Brain Strike), the rapper Edo Maajka sampled the riff of "Biska 2", from the Live Without Audience album, in the song "Diši" ("Breathe").[83] The following year, "Biska 2" was covered by the Milan Petrović Quartet on their instrumental cover album Favorites.[84]

The albums and songs by Smak were featured on several all-time greatest lists of former Yugoslav rock. The book YU 100: najbolji albumi jugoslovenske rok i pop muzike (YU 100: The Best albums of Yugoslav pop and rock music), published in 1998, features two Smak albums: Crna dama (ranked No. 40) and Smak (ranked No. 63).[57] On the list of 100 greatest Yugoslav album, published by Croatian edition of Rolling Stone in 2015, Crna dama was ranked No. 92.[85] The Rock Express Top 100 Yugoslav Rock Songs of All Times list, published in 2000, featured seven songs by Smak: "Crna dama" (polled No.5), "Ulazak u harem" (polled No.12), "Daire" (polled No.23), "Blues u parku" (polled No.47), "Šumadijski blues" (polled No.65), "Zajdi, zajdi" (polled No.82) and "Satelit" (polled No.94).[86] In 2006, "Plava pesma" was polled No.61 on the B92 Top 100 Domestic Songs list.[87] In 2011, "Daire" was polled, by the listeners of Radio 202, one of 60 greatest songs released by PGP-RTB/PGP-RTS.[88]

Members

Current members

Radomir "Točak" Mihailović – guitar (1971–1978, 1979–1981, 1986–1992, 1994–2002, 2010–present)
Slobodan "Kepa" Stojanović – drums, percussion (1971–1981, 1986–1992, 1994–2002, 2010–present)
Milan "Mikica" Milosavljević – guitar (1994–2002, 2010–present)
Dejan "Kepa Jr." Stojanović – drums, percussion (1994–2002, 2010–present)
Dejan "Najda" Najdanović – vocals (1994–2002, 2010–present)
Dejan Zdravevski – keyboards (2012–present)
Filip Milanović – bass guitar (2015–present)

Former members

Zoran Milanović – bass guitar (1971–1981, 1986–1992, 2012, 2013, 2015)
Miša Nikolić – keyboards (1971–1972)
Slobodan "Koma" Kominac – vocals (1971–1972, 1973)
Slobodan "Johan" Jovanović – vocals (1972)
Milorad "Kimi" Petrović – vocals (1973)
Boris Aranđelović – vocals (1973–1981, 1986–1987, 1989–1992, 2012, 2013, 2015)
Laza Ristovski – keyboards (1974–1976, 1979–1981, 1992)
Miodrag "Miki" Petkovski – keyboards (1976–1978, 1979)
Tibor Levay – keyboards (1978)
David Moss – percussion (1978)
Milan Đurđević – keyboards (1986–1990)
Milan Šćepović – vocals (1988, 1990)
Vlada Samardžić – bass guitar (1994–1997)
Slobodan "Sale" Marković – bass guitar (1997–2002)
Miloš "Šomi" Petrović – bass guitar (2010–2013)

Discography
Main article: Smak discography

Serbian language albums

Smak (1975)
Crna dama (1977)
Stranice našeg vremena (1978)
Rock cirkus (1980)
Zašto ne volim sneg (1981)
Smak 86. (1986)
Bioskop Fox (1995)
Egregor (1999)

English language albums

Black Lady (1978)
Dab in the Middle (1978)

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Žiča (Serbian Cyrillic: Жича, pronounced [ʒîtʃa] or [ʒîːtʃa][1]) is an early 13th-century Serbian Orthodox monastery near Kraljevo, Serbia. The monastery, together with the Church of the Holy Dormition, was built by the first King of Serbia, Stefan the First-Crowned and the first Head of the Serbian Church, Saint Sava.

Žiča was the seat of the Archbishop (1219–1253), and by tradition the coronational church of the Serbian kings, although a king could be crowned in any Serbian church, he was never considered a true king until he was anointed in Žiča. Žiča was declared a Cultural Monument of Exceptional Importance in 1979, and it is protected by Serbia.[2] In 2008, Žiča celebrated 800 years of existence.
The Serbs were initially under the jurisdiction of the Archbishopric of Ohrid, under the tutelage of the Ecumenical Patriarch of Constantinople. Rastko Nemanjić, the son of Stefan Nemanja, ruled as Grand Prince of Hum 1190-1192,[3] previously held by Grand Prince Miroslav.[4] In the autumn of 1192 (or shortly thereafter)[5]

Rastko joined Russian monks and traveled to Mount Athos where he took monastic vows and spent several years. In 1195, his father joined him, and together they founded the Chilandar, as the base of Serbian religion.[6] Rastko's father died in Hilandar on 13 February 1199; he was later canonised, as Saint Simeon.[6] Rastko built a church and cell at Karyes, where he stayed for some years, becoming a Hieromonk, then an Archimandrite in 1201. He writes the Karyes Typicon during his stay there.[6]

He returned to Serbia in 1207, taking the remains of his father with him, which he relocates to the Studenica monastery, after reconciling Stefan II with Vukan, who had earlier been in a succession feud. Stefan II asked him to remain in Serbia with his clerics. He founded several churches and monasteries, including the Žiča monastery.[6]

Foundation
The monastery was founded by King Stefan Prvovenčani and Saint Sava,[6] in the Rascian architectural style, between 1208 and 1230, with the help of Greek masters.[7]
In 1219, the Serbian Church gains autocephaly, by Emperor Theodore I Laskaris and Patriarch Manuel I of Constantinople, and Archimandrite Sava becomes the first Serbian Archbishop.[8] The monastery acts as the seat of the Archbishop of all Serbian lands. Saint Sava crowning his older brother Stefan Prvovenčani as "King of All Serbia" in the Žiča monastery.[8] In 1221, a synod was held in the Monastery of Žiča, condemning Bogomilism.[7]

When Serbia was invaded by Hungary, Saint Sava sent Arsenije I Sremac to find a safer place in the south to establish a new episcopal See. In 1253 the see was transferred to the Archbishopric of Peć (future Patriarchate) by Arsenije.[9] The Serbian primates had since moved between the two.[10]

In 1289-90, the chief treasures of the ruined monastery, including the remains of Saint Jevstatije I, were transferred to Peć.[11]

In 1219, Žiča became the first seat of the Serbian Archbishopic. The church, dedicated to the Ascension of Our Lord, displays the features of the Raska school. The ground plan is shaped as a spacious nave with a large apse at its eastern end. The central space is domed. The church was built of stone and brick. Architecturally, the Byzantine spirit prevails. There are three layers of painting, each being a separate entity. The earliest frescoes were painted immediately after the first archbishop Sava's return from Nicaea (1219), but only in the choir portions of these have been preserved. Sometime between 1276-92 the Cumans burned the monastery, and King Stefan Milutin renovated it in 1292-1309, during the office of Jevstatije II.[9] Patriarch Nikon joined Despot Đurađ Branković when the capital was moved to Smederevo, following Turkish-Hungarian wars in the territory of Serbia in the 1430s.[10]

Renovation was carried out during the time of Archbishops Jevstatije II (1292-1309), and Nikodim (1317-37), when the refectory was adorned with frescoes, the church covered with a leaden roof, and a tower erected. The new frescoes were painted during the reign of King Milutin, but they have since suffered serious damage. Fragments have survived to the present day on the east wall of the passage beneath the tower (composition of King Stefan and his son Radoslav), in the narthex, nave and side-chapels.

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