N1HRV — broadcast
20261102 143000 UTC
418 transcript segments
Google Cloud Speech-to-Text API (Chirp) + Gemini 2.5 Flash Non-Thinking
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[00:00:00] he actually rewrites from the study at the intersection
[00:00:04] of the Zagreb highway, Sisak, the Žažina intersection, so
[00:00:07] the investor is the one, let me say that he uses
[00:00:11] one name for the ministry and says that it is about
[00:00:14] the processing of
[00:00:18] lithium soda, first, and lithium salts, so
[00:00:21] all these names are not professional names in the chemical
[00:00:24] industry, precisely in order to somehow conceal
[00:00:28] the true nature of his... process so as not to reveal
[00:00:31] that it is actually about classic chemical industry,
[00:00:35] precisely according to our positive regulations, which are actually
[00:00:38] rewritten regulations from the European Union, for the chemical
[00:00:41] industry, an environmental impact assessment
[00:00:44] study is always mandatory, that the investor was aware of this,
[00:00:48] one should go back to February 29, 2024,
[00:00:52] when the investor's representatives presented this project at the city council,
[00:00:55] the investor explicitly and clearly
[00:00:59] said: You don't have to be afraid of anything, for such
[00:01:02] a project, an environmental impact assessment study is required,
[00:01:06] pass, there will be no
[00:01:09] project, and that is the risk that the investor takes, so
[00:01:13] the investor here threatens with some lawsuits, and
[00:01:16] actually all the time, so to speak, he was
[00:01:20] dancing on the edge of legality, that is, it is clear how he
[00:01:23] concealed his true intentions precisely
[00:01:26] in order to avoid preparing an environmental impact study.
[00:01:30] And I think that actually the city and
[00:01:32] the ministry and the entire public should communicate very clearly
[00:01:36] about the investor or his
[00:01:39] authorized person who prepared that study for him, obviously in agreement with
[00:01:43] the investor, so that the question
[00:01:47] of responsibility must be put on the investor's side, among
[00:01:50] other things, of course it is bad in all this that the
[00:01:54] ministry, that is, not the city but the ministry, issued an
[00:01:57] opinion at one point that such a project does
[00:02:01] not have to undergo an environmental impact study,
[00:02:04] i.e., that it is acceptable for the environment, but I say, even there
[00:02:08] the question should be asked how much the
[00:02:11] investor contributed to this, just
[00:02:15] for the end, Mr. Bušić, what else
[00:02:18] does this tell us?
[00:02:21] I mean, we know each other, we've known each other for a few months, how long
[00:02:24] have we been following the topic of Gospić, now in the same
[00:02:27] Gospić again debatable
[00:02:30] projects again that fall
[00:02:34] into the sector of pollution, environmental pollution,
[00:02:38] what went wrong on the street, that these
[00:02:41] are stories that are now appearing that seem like we will
[00:02:44] everywhere around us, especially in be uncovering and hearing more about them, please just
[00:02:47] briefly, so I'll try to be brief, I think this
[00:02:51] is actually now uh the right
[00:02:54] time for all this that is happening to actually
[00:02:57] ask a uh... strategic question at the level of the entire
[00:03:01] country whether in regions like
[00:03:04] Lika which is rich in clean nature, where it is
[00:03:08] its biggest asset, karst
[00:03:11] and karst waters and sources of drinking
[00:03:14] water,
[00:03:22] do we need such projects that will
[00:03:25] harmfully affect the environment, I hope this
[00:03:29] will be a warning that in all future projects, laws will be strictly
[00:03:32] respected, that we will not allow
[00:03:36] such investors
[00:03:40] uh to
[00:03:43] the price is very reasonable compared to somehow mislead our institutions and the public,
[00:03:47] that our
[00:03:49] institutions in the future will take these matters they deal
[00:03:53] with much more seriously because we must carefully consider every such project,
[00:03:56] especially those that could be harmful to the environment, and make
[00:04:00] exclusively lawful
[00:04:02] decisions, Mr. Bušić, thank
[00:04:06] you very much for this conversation and for explaining this case,
[00:04:10] but also contextualizing it
[00:04:13] when we talk about Gospić and waste, once again
[00:04:17] this was Mr. Vjeko Bušić from the initiative Gospić is our
[00:04:21] home, thank you and
[00:04:25] another
[00:04:25] greeting.
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[00:20:04] Welcome once again to the N1 Television program, welcome once again to
[00:20:07] the live studio where we will devote the next minutes to
[00:20:11] the event of the weekend that will surely be felt in
[00:20:15] Croatia and beyond for days to come, that is the death of Mišo Kovač,
[00:20:18] the farewell is being prepared for tomorrow, already yesterday
[00:20:22] the football club Hajduk and the city of Split
[00:20:25] announced, everything starts at Poljud, at the club with
[00:20:29] which Mišo Kovač was inextricably linked,
[00:20:32] what exactly is his place in popular culture, not only
[00:20:35] Croatian, but in a kind of collective imaginary
[00:20:39] of the people, or communities from these
[00:20:42] areas, that will be the topic for discussion with our next guest, who is
[00:20:46] Professor Tomislav Pletenac, ethnologist from the Faculty of Philosophy
[00:20:49] in... Zagreb, good day and welcome, good day, what is your
[00:20:52] first association with Mišo Kovač, when someone says Mišo Kovač,
[00:20:56] the legend immediately comes to mind as the first, first
[00:20:59] uh, first association, but I always
[00:21:02] remember Arsen's words about his talent and
[00:21:06] those somehow actually I have now that
[00:21:09] ambivalent attitude in the sense that
[00:21:13] it is - something that one would from my
[00:21:16] perspective, of course, from the perspective of people I hang out with, call
[00:21:20] trash, right, but there is an addition here that is
[00:21:23] then very, very debatable whether it is really something
[00:21:27] that we could push into that category, although I must immediately emphasize
[00:21:30] that, I don't think there is anything wrong with that, right, on the contrary,
[00:21:34] with colleagues and I am a member of the trash association in Varaždin and
[00:21:38] uh, we have a trash film festival, therefore I am somewhat dedicated
[00:21:41] to that, but here Mišo at one point stands out
[00:21:45] even from maybe some such label and therefore it is
[00:21:49] difficult... "it is difficult to immediately place him and
[00:21:52] classify him, on the other hand, he gave controversy
[00:21:56] additional meaning to these areas, definitely when you say
[00:21:59] controversy, then when you think of Mišo, he really expanded that
[00:22:03] concept a lot a lot, yes, yes, yes,
[00:22:07] I mean, his career lasted a very, very
[00:22:10] long time, uh, as he naturally aged and
[00:22:13] as his strength failed him, his presence in the public
[00:22:17] space was weaker and weaker." " "But
[00:22:20] the legend, as we already said, did not wane, on the contrary, it only
[00:22:24] grew, that surprised me, because I remember as
[00:22:27] a kid, uh, when I listened to my parents'
[00:22:31] uh singles, and I remember one Mišo Kovač single,
[00:22:35] I think the song was "I'll take you to the wedding", and I think
[00:22:39] that was one of his probably first hits, that's it, uh,
[00:22:43] so he was some kind of festival singer to me, right?
[00:22:46] However, after the 90s, when I started to..."
[00:22:50] hang out more with Croatian diaspora,
[00:22:53] especially from Australia, then I realized that actually he
[00:22:57] gained that legendary status there, for them
[00:23:00] "Kiss the ground you walk on" which Poljud said in the speaker's
[00:23:04] announcement to say goodbye, right, which is also
[00:23:07] interesting, right, well "Dalmatian in my eye", and all that together, for them it
[00:23:11] evoked a deep nostalgia, now watching your
[00:23:15] news just now, the colleague journalist, right, says
[00:23:18] that he was actually very important for people who are not
[00:23:22] in Dalmatia, so he constructed his legend
[00:23:26] outside Dalmatia which then returned
[00:23:30] through feedback loops back as the grassroots
[00:23:32] of his popularity, but actually he
[00:23:36] gained it among people who
[00:23:39] he evoked nostalgia for their old homeland, right, who were either
[00:23:43] diaspora far outside Europe or close or close
[00:23:47] or here in Zagreb, right, where he himself. his
[00:23:50] position is that you are no longer sure whether he lives in Zagreb, Šibenik,
[00:23:54] or Split, if someone had asked me, say, two weeks ago,
[00:23:57] where Mišo is, I'm not sure if I would have known whether he was in
[00:24:01] Zagreb, Šibenik, or Split, would I have known where he lived, right?
[00:24:04] Uh, now there's this one more
[00:24:08] special component related to the Dalmatian
[00:24:11] identity first and foremost, that's Hajduk, that connection
[00:24:14] with the club, the farewell starts at
[00:24:17] Poljud, uh, Poljud from
[00:24:20] Mišo, several songs
[00:24:24] are also a signature of Torcida, ultimately
[00:24:27] we relatively recently had this collaboration between Saša Antić and Mišo
[00:24:31] Kovač, "I can't help but love him", right, which
[00:24:34] is a cover of his old love song, which of course
[00:24:38] Torcida sings to Hajduk, uh, how important is that
[00:24:41] component for for the story of Mišo Kovač,
[00:24:45] certainly, I mean, and probably the only other
[00:24:48] person who can... uh, raise
[00:24:50] Torcida or through whom Torcida can
[00:24:54] identify through lyrics is Mladen Grdović, probably, right? I don't know who
[00:24:58] else, who would be a third one, right? So these
[00:25:01] are and it's interesting that there are some connections and
[00:25:04] parallels and so on, but that love for, so that
[00:25:08] description which can sometimes be really nostalgic in the sense of
[00:25:12] pathetic, like how the boys, for example, made that song
[00:25:15] "Dalmatia", and then "stone, olive tree, this, that", so it's full of these
[00:25:19] general places, right? however, it's
[00:25:23] very easy for fans to identify with those commonplaces. It's not,
[00:25:27] let's say, not the only example in the history
[00:25:30] of fan football, but rather, if Liverpool
[00:25:33] has "never walk alone", which was actually one of the biggest
[00:25:36] hits, which was also a hit from the 60s, which was
[00:25:40] played before the start of the match, so people sang it, that's how it
[00:25:44] slowly became the song of Liverpool, right? I don't see why
[00:25:48] this - "I can do nothing but love you", it's not,
[00:25:52] it's not the song of Turcide from today
[00:25:55] onwards, or Dalmatia in my eye, or some
[00:25:58] other, like they sang "I'm a Dalmatian" by
[00:26:01] Grdović, right? Which is also one of those
[00:26:04] songs that can, for example, when we look at other environments, we don't have to
[00:26:08] immediately Zagreb, but not Osijek or Rijeka or so on, do you not
[00:26:11] have some really very specific
[00:26:15] song that would stir the whole, the whole
[00:26:17] region, right? When
[00:26:21] you have in Zagreb if you have those
[00:26:24] dedicated to Dinamo, dedicated to the club, dedicated perhaps to Zagreb, right,
[00:26:28] but not the whole region, not the whole Northwestern
[00:26:31] Croatia. Right? To have some
[00:26:35] such moment, a song that would unite, so that
[00:26:38] a- uh, so a man from Šibenik
[00:26:40] unites, unites Split and Dalmatia
[00:26:44] from, I don't know, and the islands and so on, to Dubrovnik, right?
[00:26:48] So you don't have that anywhere else except
[00:26:51] this through Mišo in Split, but I say, it seems to me that it's always
[00:26:55] in the background, that story of an outside view,
[00:26:58] right? That outside view, Mišo's view towards
[00:27:01] Dalmatia. Right? Not from within, so,
[00:27:05] constructing that constant suffering for one's space, that
[00:27:08] space actually, as with every such nostalgic discourse,
[00:27:12] colors that space in these uh uh
[00:27:15] romantic colors, melancholic and
[00:27:19] ideal colors, so as if it smears all that
[00:27:22] mess, all that horror and so on, you then get a ready-made
[00:27:25] story, right? Which of course
[00:27:28] exists in other regions too, but despite, for example... at
[00:27:32] the Krapina festival, for example, the Kajkavian space
[00:27:35] despite attempts to portray it that way, it didn't get many such
[00:27:39] songs like Dalmatia, for example, we have "Tears for Zagorje Hills",
[00:27:42] we'll find two or three more here, we're actually
[00:27:45] very, very close to the end, right? Down there, that
[00:27:48] Split festival
[00:27:51] gave birth to a large number of these people who
[00:27:55] are, as I say, again, it doesn't matter what it is
[00:27:58] at first glance and so on, but who painted that Dalmatia and that... the outside
[00:28:02] view, that idea that you can identify
[00:28:05] with that image that comes
[00:28:08] from outside, that's I think crucial, but that's where the
[00:28:11] victory lies. With Grdović, it seems to me that the situation is completely different, he
[00:28:15] looks at it from within, he's from within, he's from within, a man, even if
[00:28:19] for Mišo they'll say he's a man of the people, but not because
[00:28:22] he lives with them, but because he hits them where
[00:28:26] where he fulfills their desires in a way, how they want to
[00:28:30] see themselves, right? Is there another
[00:28:33] singer or singer of these areas
[00:28:37] uh so easily, I mean, not easily in a bad way, but
[00:28:40] successfully, uh reduced to a symbol, and when
[00:28:43] I say symbol, I mean glasses, I mean a mustache, I mean a gold chain,
[00:28:47] I mean outstretched arms, we all know exactly what Mišo Kovać
[00:28:51] symbolizes, his silhouette when you see it, that's it, I think, I don't think
[00:28:54] anyone else succeeded in that. And why did Mišo succeed in that, what is
[00:28:58] the secret of his iconicity, right? That
[00:29:01] is incredible. Incredible strength that despite
[00:29:05] what Arsen says, he wasn't really touched by talent, right?
[00:29:08] There's some sincerity in his delivery of songs, so he
[00:29:12] wrote few songs, if any, he didn't compose anything,
[00:29:16] others did everything for him, right? Then
[00:29:19] when he manages to bring it to a
[00:29:23] level where people simply understand him,
[00:29:26] where they see him as someone who is not exactly different,
[00:29:29] but not too much. So they see him, so he hit that level
[00:29:33] with his way of singing and with his relationship with the audience, and
[00:29:37] HRT showed this what's-it-called, the whole concert at
[00:29:41] Poljud, right? So I watched a bit how he communicates with the audience, he communicates with
[00:29:44] the audience as if they are in a pub with him, right? So
[00:29:48] that's, that's the moment in which it catches on
[00:29:52] in that sense, his songs, he actually
[00:29:55] performs them in a way that is appealing, so
[00:29:59] like, also, "We should have been in the tavern", that's
[00:30:02] an absolute success. On the other
[00:30:06] hand, when you look at that music,
[00:30:09] for example, "You always remained the same",
[00:30:12] right, which my dear friend Jurica Hižak, under
[00:30:15] Čubakin's grandmother, translated into French
[00:30:19] and rearranged, that's a chanson that could
[00:30:22] work in France in the 70s and
[00:30:26] 80s without any problems, which Aznavour could
[00:30:29] sing without any problems, absolutely. "Even
[00:30:33] Edith Piaf could perhaps sing it, right?" So it's incredible how
[00:30:36] firstly, it's a fascinatingly good text when you hear it in
[00:30:39] French, fascinatingly good music that we
[00:30:43] here observed with a smirk as if
[00:30:47] "Oh, Mišo, who listens to that?", but then
[00:30:50] when you get such a different perspective
[00:30:53] on Mišo Kovać, then you realize that actually behind him
[00:30:57] stands a great...