#jadranka

[oh-sunny-sun]

― ヤドランカ | サラエボのバラード ―

今日の音楽の聴き始めはこのアルバム.

2024年2月28日 水曜日

― Jadranka - SARAJEVO BALDA ―

I started listening to today's music on this album.

Wednesday, February 28, 2024

[led-by-beauty-again]

Andrea Jadranka

[rokenrol]

s nježnošću gledah

stopa ti trag

[mishkakagehishka]

I still remain that i could name a daughter Rajsanka and nobody would even blink at it. What, it's a little unique, but her name just means "dream of heaven", doesn't it♡

[themostpowerfulmagicofall]

Been pretty much listening to this on repeat. Her voice was incredible, and her music is so fantastic.

[innervoiceartblog]

Mixed media creation from Jadranka Bežanović Sovilj

[psychedelicflyingshark]

@illuzionns

outcast of the village

[radiogornjigrad]

T.S.Eliot: PRELUDIJUMI

PRELUDIJUMI . I Zimsko se veče taloži S mirisom pečenja u pasažima. Šest časova. Dogoreli pikavci zadimljenih dana. A sada nagli pljusak pada Preko blatnjavih komada Uvelog lišća oko vaših nogu, I novina s praznih gradilišta; Udara kiša Slomljene kapke i vetrokaze, A na uglu ulice usamljen Fijakerski konj topće u pari. Po red se svetiljki upali. . II Jutro dolazi svesti Od mlakih bljutavih…

[eurovision-revisited]

Eurovision 2005 - Number 1 - Jadranka Juras - "Anima"

2005 is a weird year. Normally there are a two or three songs I know are likely to be my winners from early on. In 2005 that didn't happen. I genuinely had no clue what song would win. Even if I had picked eight or nine potential winners, this would not have been one of them. It's the very definition of a grower. Having said that, I'm still surprised this unheralded eighth place finisher from EMA came out top in my bracket.

Jadranka Juras had one earlier attempt at EMA in 2003 - when she got a single point and finished second last. She's a classically trained singer who switches between pop, light opera and jazz easily and frequently. She's here in 2005 because her first album is out and this is the lead track from it.

Anima wears its avant-garde qualities on its extraordinarily long sleeves. That instrumental struts and stomps its way with dramatic low order brassy punctuation and woozy synth farts that swirl around between the chorus and verses. There's an eastern sounding hammered string thing going on that keeps the pace and tension high.

Tension is what this song is about. It's a moment in an argument between a man and a woman. She gives (Dam dam) much of herself, doesn't give (Ne dam) things that cause distress and generally does her bit to make the relationship work. He keeps disappearing and is hiding something. The song represents this opening statement in what's undoubtedly going to be a protracted argument. Her first steps towards freedom.

The lyrics and song are both angular in strange ways. The backing singers insistent dam dams synchronised to shoulder-ography. It's perpendicular to the status quo, jutting out when previously everything had been smooth. Jadranka herself has moments of choreography that fit the song's more unlikely pauses and quirks. Initially she's attached to the male dancers, but by the end she's liberated and in control.

I love everything about it - even if Slovenia didn't. Yes, it's definitely not a standard Eurovision pop song. Selecting it would have been daring in the same way that Latvia selecting Samanta Tina in 2020 and 2021 was. Yet, eighth place is selling this short. It was probably that low in the result as it directly followed two of the favourites including the winner.

Since 2005, Jadranka's career has taken her to many places geographically and musically. From performing in a production of Mozart's Die Zauberflöte to becoming a judge for a season on the Slovenian X Factor. She's released several albums all wonderfully different from the others. Avant-garde pop to big band ensemble to light jazz. She's one of the more versatile signers the national finals have given a stage to and she's continuing to tour, perform and record today. She's a passionate supporter of animal welfare organisation and has addressed the Slovenian parliament on this issue

Anima is an odd winner, but its weird, quirky shifts and the integration of song with performance are way ahead of the Eurovision status quo and for me it's the best of 2005.

[ebau-book]

Jadranka Bentini for #eBAU

Fondazione Zucchelli

[movienized-com]

Cvrčak i mravica

Cvrčak i mravica (2023) #LukaRukavina #KristijanMilić #DinoKrpan #TaraThaller #MarkoPetrić #FilipVidović Mehr auf:

Kit & Antoinette und der magische Himbeerhut Jahr: 2023 Genre: Anime / Abenteuer / Familienfilm Regie: Luka Rukavina, Kristijan Milić, Dino Krpan Hauptrollen: Tara Thaller, Marko Petrić, Filip Vidović, Jadranka Krajina, Katarina Madirazza Strahinić, Dušan Bućan, Mladen Vasary, Luka Petrušić, Domagoj Janković, Ivan Đurić, Hrvoje Kečkeš … Filmbeschreibung: Kit (Stimme im Original: Marko…

[rokenrol]

sve smo mogli mi

sve smo mogli mi da je duži bio dan da si našao za me malo vremena

sve smo mogli mi da si samo htio ti biti nježan kao nekada

kako naći put koji vodi do tebe kako naći mir kad je svega nestalo

sve smo mogli mi da si samo htio ti biti nježan kao nekada

nikoga nema u sivom gradu ulice moje korake kradu i ja kao sjena sad lutam

u tvome srcu padaju kiše i sve se naše polako briše iz svijeta tog

nikoga nema u sivom gradu ulice moje korake kradu i ja kao sjena sad lutam

u tvome srcu padaju kiše i sve se naše polako briše iz svijeta tog

sve smo mogli mi da je duži bio dan da si našao za me malo vremena

sve smo mogli mi da si samo htio ti biti nježan kao nekada

kao nekada

Jadranka Stojaković

[torezzal]

song of yesterday

[hriminal]

– Plenković se osjećao osobno uvrijeđen iako su uvrede stizale i s njegove strane. Sjetimo se samo kvalifikacija o šmrkavcu koji šmrče, gdje se aludira na najgoru moguću karakteristiku predsjednika države koji ne traži ispriku da bi sjeli, razgovarali i dogovorili se. Kako to da predsjednik Vlade nije tražio ispriku od Zekanovića koji je za njega govorio da je hodajuća sotona i patološki lažljivac. Mislim da je to golema uvreda – pojašnjava Kosor. Pitala je i zašto Plenković nije tražio ispriku od Ane Brnabić koja je Hrvatsku nazvala neprijateljskom državom i optužila nas za etničko čišćenje. – S njom se može rukovati i dogovarati potporu na europskom putu, a ne može sa predsjednikom republike Hrvatske – dodaje Kosor.

Pa neće se valjda Plenković sukobiti sa svojim koalicijskim partnerima, što uključuje Zekanovića ali i Brnabić.

[sonimage1965]

[queer-scots-geordie-dyke]

"I was rehearsing a play in Belgrade, an adaptation of Chekhov’s “Three Sisters.” A charming young actor, Goran’s friend from the University, played Andrej, the brother. One day he came to the rehearsal with a badge on his shirt. I could not but notice: the badge had a portrait of this new, omnipresent politician named Milošević on it. Why did the actor have this man’s face on his lapel?? I looked at the face on the badge. Then I looked at the actor. “Why?” I asked him in consternation. He didn’t know what to say. He stared at me. “Please take it off. At least here, at the rehearsal,” I said. “I can’t rehearse with you while you’re wearing this.” I don’t remember if he did or didn’t take it off.

What I remember are the awkward glances of everybody around us. Suddenly, they all looked at the ground, embarrassed, as if they had been caught doing something naughty. Nobody said a word. It was obvious that nobody shared my indignation. Everybody else thought it was “normal” and acceptable, nothing to get too excited about. Why was I making such a fuss? It became clear to me: I didn’t really know these people. What I thought was a common feeling, an understanding that all of us shared – that this new emerging politician by the name of Milošević was a dangerous, divisive manipulator and demagogue (a populist, as they like to call it today) – was very far from being common or shared.

I looked at the other actors and all at once I felt alone. Some of them certainly didn’t share the excitement about the man whose fiery, hateful, nationalistic speeches made us cringe whenever we caught a glimpse of him on TV (which, as we were noticing with rising alarm, was all the time). But I realized that I was suddenly on the outside of any serious (or not so serious) political conversation. I clearly didn’t belong. Why, I asked myself. We were all actors, we were all citizens of the same country, we all spoke the same language. Slowly, I was realizing something that I didn’t, couldn’t, wouldn’t see: they were Serbs (whatever that meant to whoever); I was not. Could it be that simple?

Somebody said to the actor with the badge: “Take it off, you see that it bothers Mira.” I remember that sentence clearly. I asked: “Doesn’t it bother YOU?” They were all silent. It was a glimpse into what was coming: political views were quickly becoming irrelevant. Something else was becoming the absolute priority: one’s nationality. In this new world that was emerging nationality preceded everything else, including political views, especially political views. Those views were predetermined by, and were a direct expression of, your national belonging. And I didn’t even know what mine was, with four grandparents, each one of a different nationality. Not that I cared. Not that I would ever care.

It seemed crucial to try to preserve our bubble. We stopped buying papers and watching TV. You couldn’t escape Milošević’s face anywhere. When you turned the TV on, when you opened the daily paper, or when you just walked through Belgrade streets, there it was, all around you: the close up of his arrogant face, his Mussolini like posture, his incendiary speeches about the heavenly Serbian nation and the need to bring back its lost dignity. What was frightening was not so much he himself but the mesmerized masses at his public appearances. People would shed tears while holding posters with his smug face. Women would cry, men would scream, blood would boil. Mine was freezing. I had had a good teacher in Dr. Jadranka, who had taught us how to recognize signs of fascism."

- Mira Furlan, Love Me More Than Anything In the World