Essays
Toni Juričić
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APA 6th Edition
Juričić, T. (2017). . Jat, 1 (3), 87-105. Retrieved from https://hrcak.srce.hr/index.php/192988
MLA 8th Edition
Juričić, Toni. "." Jat, vol. 1, no. 3, 2017, pp. 87-105. https://hrcak.srce.hr/index.php/192988. Accessed 17 Aug. 2024.
Chicago 17th Edition
Juričić, Toni. "." Jat 1, no. 3 (2017): 87-105. https://hrcak.srce.hr/index.php/192988
Harvard
Juričić, T. (2017). '', Jat, 1(3), pp. 87-105. Available at: https://hrcak.srce.hr/index.php/192988 (Accessed 17 August 2024)
Vancouver
Juričić T. . Jat [Internet]. 2017 [cited 2024 August 17];1(3):87-105. Available from: https://hrcak.srce.hr/index.php/192988
IEEE
T. Juričić, "", Jat, vol.1, no. 3, pp. 87-105, 2017. [Online]. Available: https://hrcak.srce.hr/index.php/192988. [Accessed: 17 August 2024]
Abstract
Through a historical and comparative review of punk music in Yugoslavia similarities can be found between the Yugoslavian punk scene and the British and American punk scenes. While British punk music questioned the authority, American punk music used rebellion to find its musical direction. Under the influence of these two separate musical scenes, Yugoslavian punk music didn’t so much question and condemn the regime as it accepted it for the most part. However, lyricism in Yugoslavian punk retained a political element of socialism, addressing issues such as the working class and its decline as well as the problem of the red bourgeoise.
Keywords
punk; music; Yugoslavia; KUD Idijoti; Parafi; Rijeka; Pula; working class; socialism; lyricism in music
Hrčak ID:
192988
URI
https://hrcak.srce.hr/192988
Publication date:
30.6.2017.
Article data in other languages:
croatian
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