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20261102 113000 UTC
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[00:00:01] Welcome once again to the N1 Television program, welcome once again to
[00:00:04] Studio Uživo where in the next minutes we will dedicate ourselves to
[00:00:08] the weekend event that will surely be felt for days to come in
[00:00:12] Croatia, and beyond, that is the death of Mišo Kovač.
[00:00:15] The farewell is being prepared for tomorrow, the
[00:00:19] Hajduk football club and the city of Split announced yesterday
[00:00:22] that everything starts at Poljud, at the club with
[00:00:26] which Mišo Kovač was inextricably linked.
[00:00:29] Who is he? In his place in popular culture, not only
[00:00:32] Croatia in a kind of collective imaginary
[00:00:36] of the people, i.e. communities from these
[00:00:39] areas, these will be the topics for discussion with our next guest, Professor
[00:00:42] Tomislav Pletenac, ethnologist from the Faculty of Philosophy
[00:00:46] in Zagreb, good day and welcome. Good day, what is your first
[00:00:50] association with Mišo Kovač? When someone says Mišo Kovač, you immediately
[00:00:53] think of a legend as the first first this
[00:00:57] first association, but I always remember Arsen's words about his
[00:01:01] talent and this kind of this
[00:01:05] only information on actually I now have that ambivalent relationship in
[00:01:08] the sense that it is something that
[00:01:12] a person from my perspective, of course, from the perspective of
[00:01:15] people I hang out with, would call trash, right? But there is one
[00:01:19] addition that is then very, very debatable whether
[00:01:22] it is really something that we could push into that category,
[00:01:26] although I must immediately emphasize that I don't think there is anything wrong with that.
[00:01:30] On the contrary, with colleagues and I am a member of the trash
[00:01:33] association in Varaždin and we have a trash film festival, so I
[00:01:37] am dedicated to that in a way, but Mišo sometimes
[00:01:41] stands out even from perhaps such a
[00:01:44] label and therefore it is difficult, it is difficult to
[00:01:47] immediately place him and classify him. On the other hand, he
[00:01:51] gave controversy additional meaning to these
[00:01:54] areas, definitely. When you say controversy, when you think of
[00:01:58] Mišo, they really... he spread that concept very
[00:02:02] much, yes, yes, yes. I mean, his career
[00:02:05] lasted a very, very long time.
[00:02:08] Uh, as he, of course, grew older and as his strength
[00:02:11] failed him, his presence in the public space became weaker
[00:02:15] and weaker, but the legend, as we have already
[00:02:19] said, did not wane, on the contrary, it only grew. That surprised
[00:02:22] me, because I, I remember as a kid,
[00:02:25] this, when I listened to my parents'
[00:02:28] singles, right? And I remember one single by Mišo Kovač, I think the A
[00:02:32] side was the song "I will take you to the wedding," and I think that was
[00:02:36] one of his probably first hits,
[00:02:38] that was, this, so he was for me some kind of
[00:02:41] festival singer, right? However, then after
[00:02:45] the 90s, when I started hanging out a little more
[00:02:47] with the Croatian diaspora, especially from
[00:02:51] Australia, then I realized that he actually
[00:02:54] gained that legendary status there. For them, it was "kiss the
[00:02:58] ground you walk on" as soon as Poljud, from the
[00:03:02] speaker's announcement, said goodbye, right? Which is also interesting, right? So
[00:03:05] Dalmatia in my eye, and all that, it evoked a deep
[00:03:09] nostalgia in them. Now, watching your news
[00:03:12] just a little while ago, the colleague journalist, right, says
[00:03:15] that Mišo was actually very important for
[00:03:19] people who are not in Dalmatia, so he constructed
[00:03:22] his legend outside Dalmatia, which then
[00:03:25] returned through feedback loops
[00:03:28] back as "grass roots" of his popularity, but
[00:03:32] he actually gained it among people who
[00:03:35] were, for whom he evoked nostalgia for the old country, right?
[00:03:39] Who were either immigrants far outside Europe or
[00:03:42] close by, or close by, or here in Zagreb, right? In which and
[00:03:46] his very position, the fact that you are no longer sure if he lives in Zagreb, in
[00:03:50] Šibenik, in Split, if someone asked me two
[00:03:54] weeks ago where Mišo was, I don't know if I would be
[00:03:57] sure if he was in Zagreb, Šibenik or
[00:04:00] direction. Thank you for your Split and if I would know where he lives, right? Yes.
[00:04:03] Uh, now there is this one special component
[00:04:06] related to Dalmatian identity above all, that is
[00:04:09] Hajduk. That connection with the club, the
[00:04:13] farewell starts at Poljud, uh,
[00:04:16] Poljud said goodbye to Mišo, several
[00:04:19] songs, uh, are a signature, right,
[00:04:22] of Torcida, ultimately we had relatively recently
[00:04:26] this collaboration between Saša Antić and Mišo Kovač, I can't help
[00:04:29] but love him, right, which is a cover of his old
[00:04:33] love song, which of course Torcida sings to Hajduk, uh,
[00:04:37] how important is that component for
[00:04:40] the story of Mišo Kovač? Surely, I mean, and
[00:04:43] probably he is the only other such person who can this
[00:04:47] raise Torcida or with whom Torcida can
[00:04:51] identify through lyrics is Mladen Grdović probably, right? I don't know who else
[00:04:55] would be, who would be a third one, right? So these are, and it's interesting
[00:04:59] that there are some connections and parallels and so on,
[00:05:02] but that love for, so that description which can sometimes
[00:05:06] be really nostalgic in the sense of pathetic, like
[00:05:10] the boys, for example, made that song.
[00:05:18] However, for fans, it's very easy to identify with
[00:05:22] those common places, it's not let's say, it's not the only
[00:05:25] example in the history of fan football, but
[00:05:29] on the contrary, if Liverpool has "You'll Never Walk
[00:05:32] Alone", which is actually one of the biggest hits that was also
[00:05:35] a hit in the 60s that was played before the start of the match,
[00:05:39] so people sang it and that's how it slowly became
[00:05:43] Liverpool, I don't see why
[00:05:45] this, "I can't help but love you",
[00:05:49] of Torcida from today
[00:05:52] onwards, or "Dalmacija u mom oku" or some of these, like
[00:05:55] they sang "Dalmatinaca" by Modrović, right? Which
[00:05:59] is also one such song that can, for example,
[00:06:03] when we look at other environments, we don't have to go to Zagreb right away, but not Osijek or
[00:06:07] Rijeka or so on, right? You don't really have a
[00:06:10] very specific song
[00:06:13] that would unite the whole
[00:06:16] region, right? If you have in Zagreb,
[00:06:19] if you have something dedicated to Dinamo, dedicated to the club, dedicated
[00:06:23] perhaps to Zagreb, right? But not to the whole region, the whole
[00:06:27] northwestern Croatia, right,
[00:06:30] will not have such a moment, a song that would
[00:06:33] unite it. Yes, and, uh, so a man from Šibenik
[00:06:37] unites, unites Split and Dalmatia
[00:06:41] from, I don't know, and the islands and so on to Dubrovnik, right? So
[00:06:45] you don't have that anywhere else except
[00:06:48] this, through Mišo in Split, but I say, it seems to me that in the background there is always
[00:06:52] that story of the external gaze,
[00:06:54] right, that external gaze, Mišo's gaze towards
[00:06:58] Dalmatia, right, not from the inside, so,
[00:07:02] the construction of that constant suffering for one's space, that
[00:07:05] space actually, as with every such nostalgic discourse,
[00:07:09] paints that space in certain uh mm...
[00:07:12] romantic colors, melancholic and
[00:07:15] ideal colors, so as if he paints over all that
[00:07:19] mess, all that horror and so on, you then get some ready-made,
[00:07:22] completed story, right, which of course
[00:07:26] exists in other regions, but despite, for example,
[00:07:29] the Krapina festival, for example, the Kajkavian area,
[00:07:32] did not get many such
[00:07:35] songs as Dalmatia, for example, you have "A tear for Zagorje hills",
[00:07:39] we will find two or three more new ones here we are actually...
[00:07:42] very, very close to the end, right? Down there, that Split
[00:07:45] festival has produced a
[00:07:49] large number of people who
[00:07:53] I say again, it doesn't matter what it is at first glance and so on, but who
[00:07:57] depicted that Dalmatia, that external gaze, that
[00:08:00] idea that you can identify with
[00:08:04] that image that comes from the outside, that's what I think
[00:08:06] is key, right? That's where the victory is. With Grdović, it seems
[00:08:10] to me that the situation is completely different. He looks from the inside, he is from the inside, he is
[00:08:14] from the inside, a man, a man, even if for Mišo they will say he is a man of
[00:08:17] the people, but not because he lives with them, but because he
[00:08:21] hits them where where, so he fulfills their
[00:08:25] wishes in a way, how they want to see themselves, right?
[00:08:28] Is there another singer or singer from these parts
[00:08:32] uh so easily, I mean, I don't mean
[00:08:35] in a bad way, easily but successfully, uh
[00:08:38] reduced to a symbol, and when I say symbol, I mean glasses. But I mean
[00:08:42] mustache, I mean gold chain, I mean outstretched arms, we all
[00:08:46] know exactly what Mišo Kovač symbolizes, his silhouette when you see it, that's
[00:08:50] it. I don't think anyone succeeded in that, and why did
[00:08:54] Mišo succeed, what is the secret of his iconic status,
[00:08:57] right? It's an incredible incredible strength,
[00:09:00] yes, despite the fact that, as Arsen says, talent didn't really touch
[00:09:04] him, right? There is some sincerity in his
[00:09:08] rendition of the song, so he wrote few songs, if any, right?
[00:09:11] He didn't compose anything, others did everything for him, right?
[00:09:15] Then when when uh, he
[00:09:18] manages to bring it to a level where
[00:09:21] people simply understand him, where they see him as one
[00:09:25] who is not exactly different, but not so
[00:09:28] much that they see him as out of reach. So he hit that certain
[00:09:31] level with his way of singing, with his relationship
[00:09:35] with the audience, and HRT showed this, what's
[00:09:38] it called, the whole concert at Poljud, right? So I watched a little how he
[00:09:41] communicates with the audience. He communicates with the audience as if he's
[00:09:45] in a pub with them, right? So that's the moment where
[00:09:49] it catches on. In that sense,
[00:09:52] his songs, he actually performs them in a way that
[00:09:56] is approachable. So also that "we sang in the
[00:09:59] tavern," that's an absolute success. On the other
[00:10:03] hand, actually when you look at that music,
[00:10:06] for example, "You always stayed the same,"
[00:10:09] right? Which my dear friend Jurica Hižak
[00:10:12] under "Čubakina baka" translated into French and
[00:10:16] this, rearranged, that's a chanson that
[00:10:19] could have worked in France in the 70s and
[00:10:23] 80s without any problems, which Aznavour
[00:10:26] could sing without any problems, absolutely, Edith Piaf could
[00:10:30] even sing it, right? So it's incredible how first
[00:10:34] a fascinatingly good text when you hear it in French,
[00:10:37] fascinatingly good music that we
[00:10:40] here, we were observing with a sneer,
[00:10:43] like "who listens to Mišo" or not, however
[00:10:47] when you get in such a different
[00:10:49] view of Mišo Kovač, then you realize that
[00:10:53] actually behind him stands a... big compositional
[00:10:56] machine, among others Runjić, I don't know, others, right,
[00:11:00] Britvić, probably and so on, right, who who created
[00:11:03] extremely good music, which he
[00:11:06] knew how to simplify and even make it sound as if
[00:11:10] the text, as if it happened to him yesterday, so now he's
[00:11:13] recounting what happened to him, right? We all
[00:11:16] then together with him live through it, we live it, and he
[00:11:20] actually transformed that stage situation
[00:11:24] partly then... into a part of his own life, right? That's why I say
[00:11:27] he broadened the idea of controversy much further than we
[00:11:30] ever hoped for in the Croatian language, right?
[00:11:33] In a way, I mean, maybe it will sound exaggerated, but
[00:11:37] did his legend and his
[00:11:40] success and the way the audience perceived him
[00:11:43] also contribute to his own tragic fate and his own tragic story?
[00:11:47] Even more so if we were to, well, I don't know, if we had to reduce the complete
[00:11:51] opus of Mišo Kovač to one emotion, that emotion would probably be melancholy.
[00:11:55] Yes, yes, yes, partly melancholy, partly nostalgia,
[00:11:59] partly, I don't know what to call it. Of course, he shared
[00:12:02] the loss of his son this
[00:12:06] with the audience on multiple levels, not just through music, yes, of course,
[00:12:10] he put it to music and and actually sang
[00:12:13] that song which was dedicated to his,
[00:12:16] his son, he openly talked about it, right? In
[00:12:19] different ways he addressed
[00:12:23] the audience, his private, actually private emotions he poured
[00:12:26] all around at that moment, uh,
[00:12:30] but he is not the only one, right, in popular music
[00:12:33] to whom this happened, shortly before his loss we
[00:12:37] had the loss of Eric Clapton, from which then
[00:12:40] his "Tears in" ballad "Tears in Heaven" arises,
[00:12:43] but at the same time, uh, Clapton doesn't
[00:12:46] communicate with the audience at all, he is a completely withdrawn, somewhat
[00:12:50] introverted bluesman, right? So that was it, he very
[00:12:54] or... for example, the loss of
[00:12:57] a son which accidentally, so not
[00:13:01] intentionally, turned into "Ghosteen" which is a
[00:13:04] brilliant, musically brilliant album, right? Which, but
[00:13:08] again, it's not communicated in that way, so
[00:13:11] uh uh that's that's in a way Mišo's
[00:13:15] secret, right? So Mišo doesn't hide anything,
[00:13:17] of course we all, especially
[00:13:21] people who are involved in popular music, people who are involved in theater,
[00:13:25] acting and so on, right, always have more of these positions, right?
[00:13:29] However, he tried, so at that certain
[00:13:31] moment uh uh to present
[00:13:35] his private life as if on stage, right?
[00:13:38] That's what made him an icon,
[00:13:42] can we now already try to predict or have
[00:13:45] some assumption how the long-term opus
[00:13:49] of Mišo Kovač will look like? Is that now some forever established
[00:13:53] mythical place in national pop culture in this collective
[00:13:56] imaginary that we mentioned that someone will eternally return
[00:14:00] to, or or will it perhaps, will there be
[00:14:03] someone who could try to enter that place or at least
[00:14:07] somehow supplement it? That's a bit harder to do, for someone
[00:14:11] like in the 90s when we had performers who tried
[00:14:14] this, so to fill the empty places that arose with the breakup of Yugoslavia,
[00:14:18] right? That certainly won't happen. What could
[00:14:22] happen, what I think will certainly happen, is that he
[00:14:25] will remain on the playlists of most
[00:14:29] parties, right? So at some point, this, the time comes when
[00:14:33] it's time for Mišo, right, at some party, at some gathering and so
[00:14:36] on, whether someone will play him, whether a DJ will play him or so on,
[00:14:40] right, so he already certainly has his place there. Will
[00:14:44] there be new reinterpretations of his songs? It could
[00:14:48] happen, right? When I look at what Jurica Hižak was
[00:14:52] doing, it seems to me that there is material that
[00:14:55] could actually portray his opus musically and
[00:14:59] textually in another interesting way, yes,
[00:15:02] so I see that, but that someone will be Mišo, that
[00:15:06] that certainly won't happen in that way anymore,
[00:15:09] right? In that way, uh, of course,
[00:15:12] because of that, his songs
[00:15:15] will remain very probably
[00:15:19] will remain much more in circulation in
[00:15:22] the public space than, for example, Arsen's songs, or
[00:15:26] even, although Oliver also has a lot, I even think that
[00:15:29] he will, that he in that one moment is different
[00:15:32] from Oliver precisely in that variant that there won't be
[00:15:36] a party without Mišo. And can we try to
[00:15:40] guess or predict
[00:15:43] uh if if, so, we take Oliver who is no longer with us and Mišo who is no longer
[00:15:47] with us, and some other people who created
[00:15:51] the popular musical backdrop of Dalmatia,
[00:15:54] the identity of Dalmatia in a way, if if they
[00:15:57] are no longer there, if there is no that melos, if there are no
[00:16:01] those common places, can we
[00:16:03] try to assume in which direction that identity,
[00:16:07] the development of that identity, could go next? Well, this is very interesting
[00:16:11] to me, I mean, the Boys, TBF, so the whole hip-
[00:16:14] hop rap scene that developed in the 90s
[00:16:18] in Split produced very interesting and almost
[00:16:21] I would say that some TBF songs have also already become cult
[00:16:25] songs, right? I'm not surprised by that idea of a duet between
[00:16:29] Saša and Mišo, right? So that's something
[00:16:33] that one would expect, so they
[00:16:36] cover two different audiences and
[00:16:38] two different ways of portraying
[00:16:42] Dalmatia, right? So, where TBF was
[00:16:46] more direct, clearer, but again
[00:16:49] it, how should I say, again it, again it gave an opportunity to
[00:16:52] look at ourselves as Dalmatians, right, but
[00:16:56] from a different, from a different angle. So, perhaps that story
[00:16:59] has ended, with Grdović that story will probably end,
[00:17:03] of stone, olive,
[00:17:06] sardine, that kind of thing, right, instead
[00:17:10] some more contemporary, more contemporary themes will come, I mean, that happened after all in
[00:17:14] France, so it's not impossible
[00:17:17] and strange, right, but that it is actually a
[00:17:21] very inspiring place for such, so for
[00:17:24] the production of music and lyrics, that is definitely certain,
[00:17:28] right? It's incredible, even, I think it's a bit strange,
[00:17:32] right, that we have in a relatively small country, right, we have a
[00:17:35] whole landscape that identifies itself through a certain
[00:17:39] image and is ready to change that image, give it a different tone
[00:17:42] and so on, so I think that yes, but the image persists, yes, the image persists, that there
[00:17:46] will always be some, some
[00:17:49] Saša, there will always be some TBF, there will always be some boys, there will always be
[00:17:53] some Vojko V or someone who will, who will paint
[00:17:56] that picture in a new way. Yes, just to conclude,
[00:18:00] so it doesn't go unnoticed, because I think it's important to mention
[00:18:03] that on the same day, another
[00:18:07] Mišo left. It's not just, of course, Mišo Kovač, but also Mišo
[00:18:11] who also uh significantly defined
[00:18:14] the image of the new wave and
[00:18:18] of course another identity that survives to this
[00:18:21] day, of course, much less
[00:18:24] visible, much less present, he himself kept himself less visible,
[00:18:28] we are talking, of course, about Mišo Hrnjak from Prljavo Kazalište, or rather the first
[00:18:31] real, the first real bassist, yes, of Azra, who
[00:18:34] otherwise, I don't know, you could have mentioned
[00:18:37] other people who
[00:18:41] collaborated with Štulić, who would talk about
[00:18:44] Štulić, were with him, he kept very much to himself,
[00:18:48] and he was actually one of the key, so people who
[00:18:52] created the sound. Azra is actually one of the key
[00:18:55] people of that first breakthrough, because actually Azra itself
[00:18:59] makes that breakthrough of a social critique that we didn't have in
[00:19:03] that way before, maybe punk banners, yes, but actually he was
[00:19:07] the first... popular one, who gave social, social critique, which then
[00:19:10] continued in that, the new wave is actually
[00:19:14] known for that, right, which then continued not only through the 80s,
[00:19:17] but successfully despite everything went through
[00:19:21] the 90s and settled somewhere today,
[00:19:25] perhaps even infected this hip-hop scene
[00:19:28] down in Dalmatia, infected perhaps the whole hip-hop scene,
[00:19:32] and today it seems to me even the trap scene, but in
[00:19:35] a completely different way.
[00:19:37] Right? So why did he remain so on the sidelines and so
[00:19:41] behind, I don't know, he was probably this, he didn't really
[00:19:45] like the spotlights of the stage, but that he was
[00:19:48] a decisive part of creating
[00:19:51] the sound of Azra, that's definitely true, and that rhythm
[00:19:55] section is hard, it's hard to even repeat, right?
[00:19:58] They had, but again, it's about Lajner who is also in
[00:20:01] Vještice, so maybe Vještice with Saher were the only
[00:20:05] ones who still had that rhythm section that Azra had with
[00:20:09] Mišo and Lajner. Yes, uh, we will of course
[00:20:13] follow and broadcast tomorrow this farewell of Mišo
[00:20:16] Kovač, that will also be interesting and from an ethnological perspective it will be absolutely from
[00:20:20] every perspective, I, I really can't wait,
[00:20:24] Professor Pletenac, thank you very much for being our guest, thank
[00:20:26] you.
[00:20:34] As we said, tomorrow from 5 PM
[00:20:37] live from Poljud stadium we will follow the farewell of Mate Mišo
[00:20:41] Kovač, and now we will go and see and
[00:20:45] hear what the Ministry of Pension
[00:20:49] System and Labor is saying, where discussions are being held and, that is, where
[00:20:52] a few moments ago, amendments to the Labor Law were presented.
[00:20:56] Let's hear what all is changing.
[00:20:59] What is new in the proposed law is
[00:21:02] actually the expansion of joint liability of platforms for the obligations
[00:21:06] of aggregators. You know that in Croatia we have the concept
[00:21:09] of aggregators. Aggregators are employers who employ
[00:21:13] workers who then work through digital work platforms.
[00:21:17] Some of them are excellent employers, as are some
[00:21:20] who are not, as with any other employer. What
[00:21:24] we now actually
[00:21:27] want, we want the platforms, these four that currently exist
[00:21:30] in Croatia, to take a little more responsibility for these
[00:21:33] workers, that is, for the platforms to take responsibility
[00:21:37] for the aggregators with whom
[00:21:39] they cooperate.
[00:21:41] Here are just the data that are also publicly available on our
[00:21:45] pages, you have surely all already
[00:21:47] seen them.
[00:21:50] This is one, one display just
[00:21:53] to grasp the concept
[00:21:57] of how many aggregators there are, what that means, so
[00:22:00] 2,336 aggregators, I say, some are
[00:22:04] smaller, some are larger employers. For
[00:22:07] the platforms themselves, during the last year,
[00:22:09] 21,704 people worked. That doesn't mean all the time,
[00:22:13] but, that is a number that is actually
[00:22:17] uh, people who were active in some period
[00:22:20] and worked through digital work platforms. And what is
[00:22:24] also important to point out here is that this is mostly about Croatian
[00:22:28] citizens, not foreign citizens, as may be the
[00:22:31] perception in the public. Foreign citizens make up approximately
[00:22:34] a quarter, uh, and they mostly, according
[00:22:38] to the data we have, work in delivery, while in
[00:22:41] transport, they are mostly Croatian citizens.
[00:22:43] And finally, the last topic, transfer
[00:22:47] of annual leave. Uh, again, everyone is
[00:22:50] familiar with it, the so-called old annual leave is carried over until June
[00:22:54] 30th of the following year. That is a rule that remains
[00:22:57] a rule, so there are no changes in that sense.
[00:23:01] The employer still decides when the employee
[00:23:04] will use annual leave and the employer must enable
[00:23:07] the use of annual leave until June 30th.
[00:23:10] However, there are situations when the employee, due to objective
[00:23:14] reasons, really could not use that annual leave. That
[00:23:17] is the issue of sick leave or, that is, the use of parental
[00:23:21] rights. In that sense, the law will be amended
[00:23:25] if, due to a real objective reason that is not on
[00:23:28] the employer's side, but on the employee's side, the employee did not manage
[00:23:31] to use annual leave, uh, that
[00:23:34] annual leave can be used at the earliest until
[00:23:37] the end of the year. So instead of June 30th, it will be until
[00:23:41] December 31st. Again, you have the same situation,
[00:23:45] the employer determines when you will use it. So if in June
[00:23:49] you were on sick leave, you returned in July,
[00:23:52] you have two more weeks of old annual leave, you agree with the employer,
[00:23:55] the employer tells you you will use it in December,
[00:23:59] before Christmas, December comes, you get sick again, then
[00:24:03] you have the possibility of three more months of using annual
[00:24:06] leave, with the understanding that after those three months, which is these 15
[00:24:10] months from the end of the year, for which the right was acquired, you actually
[00:24:13] no longer have the possibility. This is harmonizing with the judgments of the European
[00:24:17] Court, namely the European Court said:
[00:24:20] that the employer must certainly ensure a longer period
[00:24:24] of use, the convention says a maximum of 18
[00:24:27] months after the end of the year in which the right was acquired,
[00:24:31] however, the European Court said that it is 15 months is an appropriate
[00:24:35] time to use old annual leave, so this is
[00:24:38] now an alignment with the rulings of the European Court, and
[00:24:42] our courts have started precisely based
[00:24:45] on the decisions of the European Court to rule in that
[00:24:50] attention,
[00:24:54] thank you, Director Zirdin, do you have
[00:24:57] any questions, of course, so, can you explain how
[00:25:01] it will be determined what is a job of equal value, for example, can two people in
[00:25:05] different positions have equal pay if their work is equally
[00:25:08] valued and another thing, do you have any concrete example, so
[00:25:12] someone comes for a job interview, what can he specifically ask
[00:25:16] the employer regarding salaries, for a start you must
[00:25:19] distinguish between a job position and the person who works
[00:25:23] in that job position, a job position is an objective evaluation of the tasks performed in
[00:25:26] a certain position, so your cameramen all in
[00:25:29] the basic description of their job perform the same
[00:25:32] work, filming, editing, I don't know what else is
[00:25:36] there, the person who works in that position,
[00:25:39] their work can be valued, so you have
[00:25:42] a job category by description that must be equal
[00:25:46] and you must have clear criteria when...
[00:25:50] the person working in that position will receive a higher salary, so you can
[00:25:53] add bonuses, you can reward someone's
[00:25:57] skills, you can reward length
[00:26:00] of service, but everything that goes into salary must be objective, must
[00:26:03] be gender-neutral, that which is valued through this
[00:26:07] methodology that all employers, meaning all valuation
[00:26:10] are job descriptions, not the people who work in those
[00:26:13] positions, if someone does the job better, more efficiently, they
[00:26:17] can have a higher salary, that is an objective reason and
[00:26:20] it must be clearly stated,
[00:26:24] the second question was, an example, someone comes for an interview what can they
[00:26:27] specifically ask for, so they can ask for what we said, the starting salary or
[00:26:31] the salary range. depending on how the employer's salary is
[00:26:34] regulated, so this depends on employer to employer how they will
[00:26:38] have a salary system, if someone has a salary system
[00:26:41] in category X Y the salary range is
[00:26:45] from 1000 to 2000, the worker will be able to
[00:26:48] get information, in that job the salary is from 100 to
[00:26:51] 2000, it depends on these criteria, how many
[00:26:55] hours you worked per month, what is your efficiency,
[00:26:59] have you perhaps exceeded a certain norm, so depending on that. what is stipulated
[00:27:03] by the employer, it is
[00:27:07] how that salary will be determined and ultimately
[00:27:11] a certain range. Does that mean that employers, or rather
[00:27:15] that contracts will have to be changed given that most now have a clause about
[00:27:19] confidentiality of communication about salaries, does that mean that contracts will have to be changed, changing contracts
[00:27:22] related to confidentiality is not
[00:27:26] necessary because those provisions will be null
[00:27:29] and void by law, so if they are in the contract, they are nothing. you cannot
[00:27:33] invoke them, I assume that
[00:27:36] employers in a certain part due to perhaps changes in what
[00:27:40] we call in the ministry systematization due to different
[00:27:43] times might have to change contracts,
[00:27:46] however, they will certainly be given enough time after the law comes
[00:27:49] into force to absolutely everything adapted to new
[00:27:53] regulations, what for example in the case if an employee
[00:27:57] requests salary data, the employer does not provide it,
[00:28:01] the employer is obliged to provide it. if they do not provide salary data, they can
[00:28:04] be penalized for a misdemeanor, of course, it is important
[00:28:07] to keep in mind what data needs
[00:28:10] to be provided, also you need to keep in mind
[00:28:14] that data is provided according to job categories,
[00:28:18] so my job category and
[00:28:21] average salaries, which means that employers must first
[00:28:24] evaluate job positions, create categories then after
[00:28:28] everything is organized they can actually provide salary information,
[00:28:32] that... will certainly take some time, so
[00:28:35] at least six months after the law comes into force will be a kind of
[00:28:39] period for adaptation of all regulations and all
[00:28:42] internal regulations of the employer himself,
[00:28:45] then after that employees will actually be able to get full
[00:28:49] information. Can we perhaps expect that after
[00:28:53] these changes the salaries of workers who are perhaps today
[00:28:57] unfairly underpaid might increase.
[00:29:00] Considering these... data that I showed
[00:29:03] you, mm,
[00:29:06] it somehow seems that the gender
[00:29:10] gap is not problematic in Croatia, it will certainly
[00:29:13] change where it is problematic, something
[00:29:17] will change, because it will be more transparent, but
[00:29:20] I would not say that there will be a salary increase because
[00:29:23] of that, the intention of the directive is not to increase salaries,
[00:29:27] the intention of the directive is to establish equality, certainly perhaps
[00:29:31] employers will also, when evaluating job positions, see that perhaps
[00:29:34] certain job positions are neglected, or disadvantaged in
[00:29:38] the sense that I thought that job was not so important, but now
[00:29:42] that I have gone through the evaluation, I see that actually these
[00:29:45] people work more than I thought they did in those positions and
[00:29:49] more than I thought was being done, so there might be
[00:29:52] some corrections, time will tell in which direction it will go
[00:29:56] beyond the topic if I
[00:29:59] too can.
[00:30:06] SDP had a press conference today and demands a review of the rulebook that prescribes
[00:30:09] the conditions for speech pathologists and warns that
[00:30:13] some private clinics could be
[00:30:16] closed, so how do you comment and do you support these
[00:30:20] changes, they say that more than half of speech pathologists are in
[00:30:23] Zagreb, so how to ensure perhaps better availability for children in
[00:30:27] smaller towns and rural areas,
[00:30:30] well, I believe that uh... the problem with
[00:30:33] speech pathologists will certainly be resolved,
[00:30:37] I don't know, I must admit, I am not familiar with the details
[00:30:40] it will certainly be handled by the competent ministry in
[00:30:44] the best possible way, uh to respond to all
[00:30:47] challenges, speech therapy services,
[00:30:50] personally, uh, I as a vice-rector
[00:30:54] very actively participated in
[00:30:57] solving the problem of the lack of speech pathologists.