Painting:"Reply of Zaporozhian Cossacks to Sultan Mehmed IV of Ottoman Empire"

I always loved this panting and was fascinated with it my whole life,never knowing one day I would have chance to see it in real life,completely unexpected.The story behind this painting is historical of course - Turkish Sultan had sent a long,pretentious letter to Russian Cossacks commanding them to submit without any resistance and stop troubling him with attacks.They replied with stream of vulgarity,parodied his writting style and called him :'crick on our dick,mare's arse,pig's snout and idiot" amongst other things - clearly they had great fun while thinking what else can be written down and the story was already a part of Russian folklore for centuries when painter Ilya Repin (whom I absolutely love and admire) painted this monumental masterpiece.Russian Tzar Nicholas III fell in love with painting and bought it for 35 000 rubles,at that time largest sum paid for russian painting ever.The painting is pure delight and has pure genius in study of Cossack's faces & laughter,one can easily spend the whole day admiring this beauty and it always made me very happy.

While travelling to St.Petersburg regulary on a cruise ship,I had chance to visit Hermitage and was troubled with thousands of tourists there so prefered Russian State Museum where only Russian art through centuries was displayed.Roaming through this beautiful Museum I was delighted to discover lots of Ilya Repin works and - voila! - my Cossacks were there as well!

I was happy as a child to see it there and even took a picture standing next to it.If you search for this painting on Wikpedia you can see it enlarged and althought guys look tough & rough,I find them adorable and love them all.Who wouldn't?

“Život” by Josipa Lisac (2000)

Amongst veteran Croatian artists who managed to endure into the new millennium - avalanche of the new kids on the block made sure that only handful of old cornerstones are still visible - Josipa Lisac enjoyed unique status as celebrated female Rock star in what was predominantly male provenance. There were of course, other girl singers dabbling in Rock from time to time but Lisac was right there at the very beginning from 1960s and even with all notoriety this genre usually suggest, she firmly held her position for decades. Her career was always closely connected to composer and soul mate Karlo Metikoš who left his own very successful career as a Rock pioneer in order to tailor songs for her - still unprecedented phenomenon in music business - and when Metikoš suddenly passed away from heart attack, the whole country held its breath because we thought that she might pull out of the business altogether. They were our own royal Rock couple, our own John Lennon & Yoko Ono who lived by their own rules (in fact, they never even married officially) and created music absorbed in each other. 

Grieved and obviously distracted, Lisac took some time away from spotlights but other artists insisted on collaborations - the list of her guest vocals, duets and collaborations suggested that her eventual, inevitable return to studio will be who’’s who of Croatian Rock music - when she finally decided to record new album, the procrastination resulted in unexpected but perhaps logical decision that instead of new authors, she will use archives with unused songs Metikoš left behind. From now on, her whole raison d'être and purpose will be to keep on his memory alive, with annual concert tributes to him and celebrations of their past. 

Personally I wasn’t overwhelmed with this project, although I understand the idea behind it. The new, excellent band tweaked and turned all the electronic knobs in order to somehow turn these unused songs into something coherent but results only showed that with modern production Lisac can be still counted on as vital force in business. Few songs were promoted on pop festivals (“Život je samo most”, “Pjesma za Tebe”), there was an occasional cover (modernised version of an old B side “Večer u Luna Parku” and “Gime Some Lovin”) and lyrics by Ivica Krajač were fine, but final results were not nearly as interesting as expected. It should be noted that Lisac enjoyed complete rejuvenation of career with her previous LP album “Boginja” (1987) where for the first time her beloved Metikoš was not the only composer - several other, younger composers were also involved and the album was hugely successful because of this variety of collaborators. The decision to stick with his music might have been Lisac’s own personal way of dealing with grief but I can’t help wondering how things might have worked out had she collaborated with all these young artists who asked her to duet with them instead. 

Music:"Pub" by Djordje Balasevic (1982)

Singer/songwritter Balasevic already recorded several singles & albums with groups "Zetva" and "Rani mraz" before he spread his wings and decided to go solo - it was natural as he was the main lyricist & singer anyway - this,his very first solo album was Balasevic's biggest succes so far and probably the real start of his career.B1 ("Pesma o jednom petlu") was of course biggest hit,naughty song about a "rooster" who "does" chicks and ducks and everything on his way (it amazes me that I never got it,I was really naive kid at that time,thought that song was about animal kingdom!) but the main thing here is freshness and enthusiasm that Balasevic felt about his first solo album - music is melodic pop inspired by mellow guitar sound of J.J.Cale but oh lyrics - pure poetry - I dont believe there was a person who wasn't floored by Balasevic's storytelling,each song little masterpiece.

Of course I had this album - still have it - I grew up with it and know every word,even now althought it was released in 1982.This morning I heard "Lepa Protina kci" again and my eyes got all watery,how strange after all these years - it must be really good when it affects me so.Beautiful,one of the rare perfect pop albums.

"Čestit Božić" by Josipa Lisac (1992)

Unusually subdued and restrained Christmas album by Croatian rock goddess (one critic wittily called her "mother of vocal affectation"  pointing at her trademark mannerisms) who at the time was grieving after death of her beloved Karlo Metikoš and this was her personal farewell gift for him. Lisac and Metikoš fought the windmills together for decades, arm in arm like some local version of Yoko Ono and John Lennon, they were our own rock royal couple and people accepted them as such. It might sound as paradox, but when Metikoš passed away so unexpectedly, it triggered genuine show of public affection for Lisac (soldiers sent her letters of condolences from their front lines, etc.) and for the first time I became aware that there might be others who collect newspaper articles and remember every TV appearance like me. 

Musically, "Čestit Božić" is a extremely stately and majestic collection of traditional Roman Catholic music, which made perfect sense in times of war when Croatia sought to get independence from the rest of Ex Yugoslavia and find its cultural ties with Central Europe. Outwardly we might have lived as communists but at home we sang Christmas music heavily influenced by Vienna and Prague. "Kyrie Eleison", "Silent Night" and such. For this project, Lisac engaged service of conductor Saša Britvić and organist Mario Penzar, while massive choir caresses her voice, for once surprisingly free of any mannerism - I don't recall she ever sounded so completely, consciously somber and no doubt this is closest we will ever get to hear how she might have sounded if she continued what was a promising career in classical music (she started as a member of famous classical choir, back in the 1960s). The combination of organ, classical choir and her sincere voice is quite intoxicating and although this was not commercially viable project, it obviously meant a lot to her - the love of her life apparently always wanted her to record such album and she used all her formidable status to make it happen. It does sound very gloomy and solemn at the times (its definitely not a cheerful Christmas music) but knowing the circumstances, its understandable. Very surprising, coming from a rock artist but very close to any classical recording of Christmas music, it shows Lisac as what might have been if she pursued different direction. 

Music:"Live in Lap" by Josipa Lisac (1991)

Recorded during two nights in extremely small and intimate cult club "Lapidarij" in Zagreb's uptown (my own ticket says May 13th, 1991) this, first ever live recording by Croatian über diva presents her in unplugged surroundings, finally without mammoth orchestras and grand production - in what must have been well-planned project she is backed only by acoustic trio (guitar, bass and drums) and focus is for once, not on her looks but on her music.

Up to that point, Josipa Lisac carefully maintained her "madwoman from the attic" image for decades but although it served her well by fueling the media interest, it sometimes backfired by placing the emphasis on the wrong place - blinded by her strong visual presence, audiences often forgot what a spectacular vocalist she always was. Even after very respectable and creative career, the first thing people usually think when one mentions her name is eccentric costumes and image. This live recording finally puts voice in the spotlight - to be sure, musicians are excellent but they just add to the total effect which is mesmerising as Lisac soars trough her famed songbook and several jazz standards. Her beloved Karlo Metikoš was also present and if memory serves me right, they both did (unreleased) "Blueberry Hill" one after another. Another unreleased song was "Imagine" that diva tried twice but eventually decided to discard. In her early forties at the time of this concert, Lisac had even more powerful voice than ever before (if that's possible) and sometimes she almost blows the backing trio away. "Live In »Lap«" was released a year later and as it happens, it was right in the middle of the war - I still recall the thrill of hearing "O Jednoj Mladosti" on a transistor radio somewhere in the front line, with my fellow soldiers suddenly unusually reflective as this reminded them of civilian life they left behind. 

Music:"Balade" by Josipa Lisac (1988)

Big commercial succes of her album "Boginja" suddenly returned Josipa Lisac on top charts again big time and her recording company was quick in considering compilation that would collect her ballads - althought hard to categorise,since she often enthusiasticaly explored different music styles,Lisac was very effective on ballads so this albums has some of her most famous recordings + two new ones and two unreleased rarities.

As a point in her versaility,around the same time there was a concert celebration in Zagreb's famous "Lisinski" concert hall - three days of music celebration,a concert tribute to Gershwin ,a folk concert and a rock one.Josipa Lisac was the only singer who was invited to perform on all of them and she dazzled everywhere she decided to sing.She did "Summertime" on Gershwin tribute,sang bosnian folk song on folk concert and her own song on rock concert.I have also checked her jazz concert with Drazen Boic trio and again she was sensational in a smaller concert hall.

This compilation doesnt follow any chronological order: it mixes her ballads from 1970s (curiously none from her best album "Dnevnik jedne ljubavi") with 1980s material and Metikos-written "Ja bolujem" from pop festival "Meam 87" where she created sensation with theatrical stage performance.Since Zagreb was that year the offical host for international university sport games "Univerzijada",her recording of old 1960s song "Dobro mi dosel prijatelj" ("Welcome my friend" in english translation) was its anthem and often played on the radio.Croatian recording of "Whiter shade of pale" was previously unreleased studio recording (from probably same session that had "Imagine" and "To love somebody",unfinished cover project?) while "Crazy love" and "Soon as I touched him" were glimpses from her USA album recorded 1979 in Los Angeles but relased with croatian lyrics later in homeland.It was a strong compilation at the time and nobody could predict that in following years three compilations would fill the gap in her long recording silence.

Music:"Boginja" by Josipa Lisac (1987)

Back in 1983. Croatian vocal powerhouse released surprisingly uninspired "Hoću samo tebe" LP that merely served as perfunctory project followed by obligatory promotional tour - her partner and composer Karlo Metikoš appeared slightly out of ideas and the only saving grace of that album was introduction of a new lyricist Alka Vuica who replaced Ivica Krajač. For all her charisma, lady needed strong material and her legendary vocal acrobatics deserved something better.

During three years that followed, Josipa Lisac was suspiciously absent from the recording studio, except highly publicized cameo appearance on hit "Ja mislim 300 na sat" by than hugely popular rock star Bajaga who specifically sought her voice for what he called "black carpet" (lady was greatly amused with this description, but he innocently wanted someone like Aretha Franklin or Tina Turner in the background and she was the only one capable of this). This perhaps triggered the next phase in her career, as from now Lisac roared and soared like she came straight from cotton fields. Majority of her contemporaries experienced certain middle-age crisis and malaise during 1980s but Lisac was determined to continue pushing the envelope and by 1986. the complete reinvention and makeover took place.

First, Metikoš convinced her to return to pop festivals stages - something she outgrew long ago - as local music industry still used them for promotional tools, even though Lisac status and music persona didn't really belong there. Next, the complete new team of collaborators was assembled, led by producer/composer/arranger Krešimir Klemenčić who brought breath of much needed fresh air in her music. This plan worked out extremely well, as Lisac suddenly appeared present everywhere and hits charted, prompting even surprised comments from her recording company that she actually became genuinely commercial artist after years of having only cult following. "Kraljica Divljine", "Dobre Vibracije", "Gdje Dunav Ljubi Nebo" and "Danas Sam Luda" were some of the biggest hits of the day, while "Nismo Mi Bez Cilja" actually topped "La Isla Bonita" on summer charts. Lisac herself relished this attention and even fueled it with extravagant costumes that would make Patti LaBelle gasp with envy. "Boginja" was surprisingly effective soul-pop collection that worked extremely well for singer without compromising her professional standing but we must note that her long-time collaborator Metikoš actually gave reins to other people and for all their private loyalty, the addition of fresh visions of another producer and composers resulted in this great success. 

"Hoću samo Tebe" by Josipa Lisac (1983)

After ill-fated American adventure that didn't quite work out, it took few years until Josipa Lisac regained her footing on local music scene but truth to be told there wasn't any competition anyway as no other of our female singers pursued rock with same determination. What was obvious to me even back in 1983. is how confining this all must have been to artist so much at odds with her surroundings - still rebellious veteran from late 1960s who firmly distanced herself from her middle aged generation, Lisac was fully mature, experienced woman at the peak of her powers amongst new kids on the block, while her contemporaries without exception all took easy listening route. She could still sing circles around just anybody but without strong material, all that was left was to constantly stimulate media interest with eccentric outfits and for a while there was almost perceptible crisis of identity - I dare to say that at this point Lisac seriously looked at herself and did some soul-searching. This was the first album ever where I perceived certain fatigue and lack of focus.

Created immediately after highly successful previous album, "Hoću samo tebe" was supposed to continue streak of bold steps establishing Lisac again after being away for so long. "Made in USA", "Hir, hir, hir" and "Lisica" all had their share of both supportive and averse reactions, in retrospective fascinating as Lisac was clearly very black-and-white artist - people either adored her fanatically or rejected her completely. Majority of opinions focused on either material or weak lyrics by her long-standing collaborator Ivica Krajač (vocals were never criticised) so the chance was given to completely new and fresh-faced lyricist. It is to credit to both Lisac and her partner/composer Karlo Metikoš that they recognized and took a chance on completely unknown, young Alka Vuica who presented them with beautifully crafted songs that for the first time gave lady some very appealing sensitivity, softness and femininity ("Da li sam ti rekla da te volim") and this must have been dream job for Vuica who instantly got fantastic spotlight. Following than-current, synth-pop music trends, Metikoš is fine although not terribly inventive and my impression was that he simply wasn't very inspired - it could be also that backing band "Karamela" surrounded everything with synthesisers that just didn't appeal to me, being so ubiquitous everywhere. Nice for collectors and fans, but honestly the only interesting thing here is unusual and rare attempt of Lisac to compose song herself on lovely "Sanjala sam". After this, it will take almost four years until another album and for that one, Lisac will assemble completely different team, resulting in complete rejuvenation and renaissance of her music. 

Music:"Lisica" by Josipa Lisac (1982)

Its easy to forget now that besides Zorica Kondža (than vocalist in band "Stijene") and Slađana Milošević, we literary did not have female rock singer whatsoever, except Josipa Lisac who famously preceded them both. This lack of female rock vocalists was felt most acutely during three years Lisac lived in USA and readers of national biggest rock magazine "Džuboks" still consistently voted her as favourite female singer of the year, even though she was absent from the local scene completely. Upon her return Lisac faced some intense backlash and reactions were generally unfavourable, as people assumed she failed to break trough American market - unconcerned, lady and her Pygmalion Karlo Metikoš quickly reasserted their previous positions, even though music scene changed drastically and Lisac appeared anomaly: neither one of the new, angry kids nor member of schlager establishment, she decidedly pursued her own path as the only homegrown rock prima donna.

"Lisica" (affectionate wordplay on her nickname) is sort of back to the basics - when most of her contemporaries already mellowed beyond recognition and left their youthful exuberance behind, Lisac refused to age gracefully and went head on towards harder, aggressive rock using her unrepentant vocal mannerisms. The mammoth, all-star band from celebrated 1973. LP debut "Dnevnik jedne ljubavi" is largely absent here, replaced by just a handful of faithful collaborators (Miroslav Sedak - Benčić, Eduard Matešić, Brane Živković, even Milo Vasić AKA Jasmin Stavros on drums) and the deliberately simple arrangements reflect conscious turn to harsher, younger sounding sound. As usual, Metikoš wrote all the music and old pal Ivica Krajač some clumsily autobiographical lyrics - back in the day when I was still impressionable teenager, I thought it was greatest thing but now in a hindsight her collaborators seem to have been coasting behind diva's charisma: that composer for the first time ever showed signs of conformability ("Noćna ptica" for example, is clearly tailored for radio play) and even go so far as recycling his own 1960s output signalled certain lack of inspiration, while lyrics were only perfunctory (young Alka Vuica will soon bring much needed change). Lisac herself gives 100% and is absolutely committed even if material is perhaps slightly bellow her usual standards (as critics gleefully noted at the time). The revamped image, striking album cover and singers obvious determination swiftly re-established her position as reigning national female rock singer, however lack of competition mean that she was on her own amongst guys and perceived as singular oddity. At the time when recording in celebrated studios of London and Stockholm was big trend, Lisac refused to conform and made her album in local "Tivoli" studio in Ljubljana, with results that adequately served the purpose. 

Music:"Hir,Hir,Hir" by Josipa Lisac (1981)

Despite all the excitement that followed Josipa Lisac's departure for US (during her absence, readers of biggest national pop music magazine "Džuboks" voted her as the female singer of the year three years in a row and she wasn't even there) upon her return the public welcome was decidedly cold-shouldered. While she was away, back home the local music scene changed almost beyond recognition - not only that the new, angry young bands sprouted almost overnight from everywhere but the old, monolithic institutions like heavily orchestrated music festivals slowly started losing the reverence. 

Starting all over again, Lisac quickly assembled her songwriting team - Karlo Metikoš (music) and Ivica Krajač (lyrics) attempted to catch up with new music trends and served the über diva with collage of various influences, from reggae ("Ne budi lud") to retro-rock ("Knock down"), blues ("Rendez-vous sa sotonom") and even country ("Magla") with her powerful, strong voice as the main connecting ingredient. For the first (and the last) time we actually hear something as social commentary ("Pazi,oštar pas", "Make up") while the playful title song became defiant, autobiographical ode to idiosyncrasy that with time became inseparable part of her public persona. Not everything is first rate and occasional filler ("Mister gaf" anyone?) suggest that diva might had better prospects if only she allowed other songwriters to the table, but ultimately it was affectionate loyalty to Metikoš that determined the whole direction of her career. As always, Lisac sounds 100% committed and passionate which resulted with this album re-establishing her status as genuine star, while the rest of her contemporaries slowly faded away. 

The best track: closing piano-and-voice ballad "U mislima" is her own personal "By the time I get to Phoenix" and stripped of trademark vocal affectations, it is actually surprisingly poetic and poignant piece of music.

Music:"Made in USA" by Josipa Lisac (1979)

After witnessing her show-stopping turn in "Gubec beg" (Croatian answer to "Jesus Christ Superstar") the bigwigs from Atlantic Records invited Josipa Lisac to visit U.S. and try her luck in much wider arena. Amongst lots of media speculations and widely discussed polemics, excited and flattered Lisac (together with her partner Karlo Metikoš) packed her bags and embarked on American odyssey that led them trough New York, Nashville and Los Angeles, where they self-financed recording of her American album just to find that its extremely hard to crack such established and competitive market. Disappointed but defiant, couple returned to homeland where Metikoš staged his new rock-opera and Lisac released same album with new vocals (in Croatian translation) but this time their return provoked public backlash and they both must have felt as they were alone on a raft in the middle of the Ocean.

Listening this album almost four decades later, its hard to find what exactly critics found wrong with it - personally, I enjoyed it - except that naturally it has absolutely nothing in common with her celebrated 1973. debut album "Dnevnik jedne ljubavi" that forever hung above Lisac like a curse. It must bewildered her that her Croatian debut, recorded in plain studios of Zagreb's "Jugoton" somehow found far more acceptance and following than this state of the art album recorded in Studio 55, Los Angeles with cream of best available session musicians - Paulinho Da Costa on percussion, Ira Newborn (guy who worked with Blues Brothers and The Manhattan Transfer) as arranger, even photographer Sam Emerson shot album covers for Michael Jackson - everybody played well and it was all professional but the fact is, for American musicians this was just another gig. If paid well, they would play for a singer from Zimbabwe and than forget about it. Yes, there is some decent material here, ranging from disco to funk, rock and ballads, even some Van Morrison covers and Lisac was probably at her all-time vocal peak, with almost intimidating arsenal of vocal ornamentations but it didn't have the zest, energy and magic of that old homegrown album where musicians celebrated in the studio after each take, drunk on creativity and high on music. Truth to be told, Croatian lyrics by otherwise dependable Ivica Krajač totally spoil the effect, as they appear written hurriedly and carelessly so besides the fans, audiences kept away from this and it took some nerve, perseverance and faith until Lisac established herself again. 

"Josipa Lisac & BP Convention Big Band International"

After excellent debut album and compilation that neatly collected all the singles that preceded it Josipa Lisac made a step back into Big Band territory from which she actually escaped - those first few years of mammoth pop festivals, huge orchestras and conductors that were so ubiquitous  in late 1960s and early 1970s were never really her proper place because she was rock singer surrounded with mediocre, mainstream "schlager" performers and today we look at those old festival compilation records and wonder what on earth was she doing between them, I guess this was a necessary step for young singer to get national visibility and promotion. Once Karlo Metikoš stepped in and decided to leave his (very successful) singing career in order to focus on composing for her, she metamorphosed into first-rate rock singer who was backed with all-stars rock band and even made very impressive theatre debut in Croatian first rock opera. 

I always wondered how this album came along because it didn't look like a logical step after Lisac finally left old fashioned music of pop festivals and found her voice in rock music. Having such talented singer in his own home, Metikoš could have continued with leading her in that direction - instead, she recorded single with traditional folk music, was special guest on other artists albums and here went for jazz/rock cover album. Nothing wrong with covers, of course and it probably seemed exciting idea at the time, to show off how Lisac can sing Jazz as well as anything. 

After years of research, I found out that it came as spontaneous idea between Metikoš and great Boško Petrović who at the time was hosting international Jazz festival in Zagreb and had some celebrated Jazz giants at disposal - no less than Art Farmer and Clark Terry amongst others - and as Jazz music is usually spontaneous creation of the moment, they decided to quickly record the whole album of covers where these guys will play behind Lisac. The final results are interesting from music point of view - lady sings like a dream, using every mannerism from her formidable repertoire of vocal ornamentation's (she was really at the peak of her voice at that point), musicians are smoking hot and songs themselves are just fine (famous standards from every corner of than current pop, peppered with occasional American Songbook) but unfortunately it was lyrics that were always the main problem for me - probably faced with lack of time, Ivica Krajač could come up with nothing better than clumsy Croatian adaptation that undermined the whole project. It makes you wonder why they didn't just forget about Croatian lyrics and simply recorded the whole darn thing in English, but who knows what was the political situation at the time and perhaps doing such decidedly noncommercial album was already brave enough. Both critics and audiences were confused with this unexpected release and the album was not a success, languishing in obscurity until Lisac became the very first Croatian singer to have her whole discography published in CD Box. 

"Dnevnik Jedne Ljubavi" by Josipa Lisac

After those early, enthusiastic and somewhat clumsy 1960s beginnings of rock in Croatia (mostly covers) it was just logical that eventually someone will come along with original music - Drago Mlinarec and his band already recorded first LP album back in 1968. and supergroup Time had their own album, but to the job of actually putting together something decent, commercially successful and a true no-filler collection fell on two friends and old cats from 1960s - singer Karlo Metikoš and lyrics writer Ivica Krajač.

Together they combined their experience, talents and connections to assemble a cracking line-up of musicians (mostly from Time and Indexi) to create album that was not just a unheard of on a local music scene (where festivals, schlagers and waltzes were mainstream) but could easily compete on international scene with the best of them. That this bunch of people had not been working in Stax or Memphis, but in a primitive conditions of Zagreb's recording studio (Jadran film) just shows what a white-hot inspiration that was. Former rock singer Metikoš came up with quite impressive music (acoustic rock, boogie, 7/8 ethno rhythms, prog rock) and Krajač stepped out of his usual comfort zone (he was well known craftsman) with idea to present ten songs as thematically connected "diary" where each song weaves story into the next, hence the title. Definitely an ambitious concept but they pulled it off perfectly, not only invigorated with their own vision, but also because they happened to write all of this for a most unusual and dazzling vocalist around.

Like Metikoš and Krajač, young Josipa Lisac also came from show-biz tradition but her initial late-1960s/early 1970s efforts were mostly focused on ushering rock music like a Trojan horse on a festival stages where her assured visual presence and powerful voice impressed as much as annoyed both competition and audiences alike. It is interesting to contemplate what would have happened to her had she not met Metikoš who encouraged her not only to use recognizable mannerisms but to build her own trademark out of them. From a whisper to a scream, effortlessly whizzing trough octaves and soaring trough anything Metikoš/Krajač came up with, Lisac is right in the centre of this musical whirlwind like talented actress showing full range of various emotions - youthful innocence and hope, first love, happiness, fear, heartbreak, tears, confusion, anger, trust and finally a defiance, it is all here and its really hard to imagine anyone else doing it with such self-confidence. No wonder her theatre debut was just around the corner, the wonder is that no one so far recognized potential this album has as stage play.

A cornerstone and one of the pillars of rock discography in Croatia, album was immediate success and is continuously in print for decades since. Generations lived and loved with this music. Its creators wisely never even considered repeating the same formula and perhaps it could be said that "Diary" lives on even without them - it is a complete, concept album that perfectly lives his own life with each new generation. Lady herself was perhaps cursed that her masterpiece came so early (she was only 23 at the time) and no matter what she did during next four decades (and she surely had her share of big hits, albums and awards since) "Diary" was always a benchmark against everything else was measured.

Music: "Najveci uspjesi 1968-73" by Josipa Lisac

Contrary to popular myth that Croatian jazz-rock legend Josipa Lisac was "born" upon meeting composer Karlo Metikoš who went on to become her Svengali, this excellent compilation suggest she was already a top-class singer at the very beginning of her career and would have probably made it with or without him anyway. Lisac herself affectionately dates start of their collaboration and relationship as point when everything started, however this is not entirely correct.

With few exceptions, LP albums that "Jugoton" released at the dawn of 1970s were generally compilations of singles - this particular album was probably what initially they had in mind when Metikoš diverted them with completely new material that eventually became celebrated debut "Dnevnik jedne ljubavi". It was all-star rock extravaganza that instantly placed Lisac in a different place and distanced her from schlager contemporaries, from now on audiences would never associate her with other easy-listening girl singers but this is where, in fact, she had started. Like everybody else at the times, Lisac had to go trough apprenticeship of than hugely popular music festivals that had specific firm rules of how artists should look, sound and behave. Sticking out like sore thumb amongst this competition was eighteen year old schoolgirl with presence and confidence who apparently had different idea of what material she wanted to sing - comparisons are inevitable and illuminating since majority of contemporary artists eventually succumbed to pressure but Lisac always preferred complicated repertoire that generally avoided commercial route.

These first several years are beautifully documented here on this compilation - her first collaborators are all exceptionally gifted composers like Arsen Dedić or Zdenko Runjić and even if these singles were heavily orchestrated, typical festival schlagers that on the surface don't appear much different from what was being recorded at the time, they surely did stand out head and shoulders above contemporary competition by the sheer power and imaginativeness of young vocalist who must have been painfully aware how out of place she is on these events. Not only that songs like "Oluja" and "Život moj" used inventive arrangements and supersonic vocals but they in a way ushered rock on these festival stages, hidden like in a Trojan horse. It probably didn't pay off when it came to record sales but it garnered her huge respect (and criticism, simultaneously), no doubt lots of audiences were confused and alarmed with somebody so obviously unrepentant. Personally I have always found this compilation by far the most fascinating of all her albums since it shows metamorphoses and transformations of spectacular voice trough different collaborations and when towards the end Metikoš steps in ("Dok razmišljam o nama", "Na,na,na,na") its clear that kindred spirits have found each other. If you ever wondered how would Lisac sound collaborating with other composers, this is the place. 

Books: "Good Time Girls" by Lael Morgan

  Every time I travel somewhere,I make a point of reading about places I visit.This time around I happened to be in Alaska and in the heart of "last frontier" where "odds are good but goods are odd" I have found several cute little bookshops in Juneau.My favourite was bookshop called "Rainy Day Books" with cute little old lady inside and I liked the place & atmosphere & name of the shop so much that I returned again and again.

   "Good Time Girls" is a excelent book about first wave of gold-miners in Alaska and good time girls who followed them,searching for their own fortune and husbands.Lael Morgan did excellent research and somehow obtained old black & white photographs  that illustrate towns without women,frilly dressed prostitutes and some of the most famous "girls".Many of these ladies later became succesful enterpreneurs,wealthy property owners and wives of prominent citizens (one former prostite even married the mayor of Fairbanks).Some stories are sad,some are funny but all of them have quality of real-life story that makes them unforgettable.My favourite story is how goverment decided to fine prostitues arriving in Alaska,but obviously this was not something visible upon entrance,so officials would ask any woman :"Are you lady or whore? If you are lady,pass on,if you are whore,pay 18 dollars first!"