N1HRV — broadcast
20261102 160000 UTC
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[00:02:32] Welcome once again to N1 Television. Welcome once again to
[00:02:35] the live studio where in the coming minutes we will dedicate
[00:02:39] ourselves to the event of the weekend which will surely be felt for days to come in
[00:02:43] Croatia and beyond. That is the death of Mišo Kovač.
[00:02:46] The funeral is being prepared for tomorrow. Already
[00:02:50] from the football club Hajduk and the city of Split, yesterday
[00:02:53] they announced that everything starts at Poljud, at the club
[00:02:57] with which Mišo Kovač was inextricably linked.
[00:03:00] What exactly is his place in popular culture, not only
[00:03:03] of Croatia, but in a kind of collective imaginary
[00:03:07] of the people, or communities from these
[00:03:10] areas, that will be the topic for discussion with our next guest, who is
[00:03:14] Professor Tomislav Pletenac, ethnologist from the Faculty of Philosophy
[00:03:17] in Zagreb. Good day and welcome. Good day. What is your
[00:03:21] first association with Mišo Kovač, when one says Mišo Kovač,
[00:03:24] the legend immediately comes to mind as the very first
[00:03:27] this first association. But I always
[00:03:30] remember Arsen's words about his talent and this
[00:03:34] kind of this actually I have this
[00:03:37] ambivalent relationship in the sense that
[00:03:41] it is something that a person from my
[00:03:45] perspective, of course from the perspective of people I hang out with, would call trash,
[00:03:48] right? But there is one addition that is then
[00:03:52] very, very debatable whether it is really something that we
[00:03:56] could push into that category, although I must immediately emphasize that I don't think
[00:03:59] there is anything wrong with that, right? On the contrary, with colleagues
[00:04:03] and I am a member of the trash association in Varaždin and this, we have
[00:04:07] a trash film festival, so I am dedicated to it in a way, but
[00:04:11] here Mišo in one moment even deviates from maybe
[00:04:14] such a label because it is difficult, it is difficult
[00:04:18] to immediately place and classify him. On the other hand, he
[00:04:22] gave additional meaning to controversy in these
[00:04:26] areas. Definitely, when you say controversy, then when you think of
[00:04:30] Mišo, he really expanded that
[00:04:32] 3rd, election night on concept very much, yes, yes, yes,
[00:04:35] I mean, his career lasted very, very
[00:04:38] long, uh, as he, of course, got older and
[00:04:42] as his strength failed him, his presence in the public
[00:04:45] space was weaker and weaker, but
[00:04:48] the legend, as we have already said, did not fade, on the contrary, it
[00:04:52] only grew. That surprised me, because I, I remember as a
[00:04:56] kid, this, when I eavesdropped on my
[00:04:59] parents' singles, and I remember one single
[00:05:03] by Mišo Kovač, I think the A-side was the song "I'll Take You to the Wedding," and
[00:05:07] I think that was one of his probably first hits. That was
[00:05:10] this, so he was for me a kind of festival
[00:05:14] singer, right? However, then after the 90s,
[00:05:17] when I started to socialize a little more with the Croatian
[00:05:20] diaspora, especially from Australia, then I realized
[00:05:24] that actually he was there gaining that legendary
[00:05:28] status. For them, "Kiss the Ground You Walk On" was what
[00:05:31] Poljud announced with the announcer and said goodbye, right? Which
[00:05:35] is also interesting. Well, Dalmatia, all of that
[00:05:38] aroused in them a deep nostalgia. Now looking at
[00:05:42] your diary just a moment ago, the colleague journalist
[00:05:45] says that Mišo was actually
[00:05:49] very important for people who are not in Dalmatia. So he
[00:05:53] constructed his legend outside
[00:05:56] Dalmatia, which then returned with feedback
[00:05:59] as the grassroots of his
[00:06:02] popularity, but actually he gained it among
[00:06:05] people who felt nostalgia for
[00:06:09] the old country, who were either diaspora from outside, I said
[00:06:13] outside Europe or nearby or nearby or here in Zagreb, right? And
[00:06:16] his very position, that you are no longer
[00:06:20] sure if he lives in Zagreb, in Šibenik, in Split. If someone had
[00:06:24] asked me two weeks ago where Mišo was,
[00:06:27] I question whether I would be sure if he was in Zagreb, Šibenik or Split and whether
[00:06:31] I would know where he lives, right? So,
[00:06:34] now there is this other special component related
[00:06:38] to Dalmatian identity, first of all, that is Hajduk.
[00:06:42] Yes. That connection with the club, the funeral
[00:06:45] starts at Poljud. Uh, Poljud said goodbye to
[00:06:48] Mišo. Several songs
[00:06:52] are signed, and Torcida's. Ultimately,
[00:06:56] we had relatively recently this collaboration between Saša Antić and Mišo
[00:06:59] Kovač, "I can't help but love him," right, which
[00:07:02] is a cover of his old love song, which of course Torcida
[00:07:06] sings to Hajduk. Uh, how important
[00:07:10] is that component for the story? Mišo Kovač
[00:07:13] certainly, I think, and he is probably the only other
[00:07:17] such person who can this raise Torcida
[00:07:21] or where Torcida can identify through lyrics is Mladen
[00:07:24] Grdović, probably, right? I don't know who else who would be a third one, right? So these
[00:07:27] are, and it's interesting that there
[00:07:30] are some connections and parallels and so on, but that
[00:07:34] love for, so that description that can sometimes be really
[00:07:38] nostalgic in the sense of pathetic, like what the boys
[00:07:42] did, for example, that song "Dalmatia," and now stone, olive,
[00:07:46] this and that, so it's full of those common places, right?
[00:07:49] However, it's easy for fans to identify with
[00:07:53] those common places. It's not, let's say, the only
[00:07:57] example in the history of fan football, but
[00:08:00] on the contrary, if Liverpool have "You'll Never Walk
[00:08:03] Alone," which is actually one of the biggest hits, which was also a
[00:08:07] hit of the 60s that was played before the start
[00:08:10] of the match, so people sang it, that's how it
[00:08:13] slowly became Liverpool's song, right? I don't
[00:08:16] see why this
[00:08:19] "I can't help but love you" wouldn't be Torcida's song from
[00:08:22] today onwards or "Dalmatia in My Eye," or
[00:08:26] some other song, like they sang "I am a Dalmatian" by
[00:08:29] Grdović, right, which is also one such
[00:08:33] song that can, for example, if we look at other environments, we don't have to
[00:08:36] immediately say Zagreb, but not Osijek or Rijeka or so on, right? You
[00:08:40] don't have a really specific
[00:08:43] song that would unite the whole, the whole
[00:08:46] region, right? When you have
[00:08:49] in Zagreb, if you have something
[00:08:52] dedicated to Dinamo, dedicated to the club, dedicated to perhaps Zagreb, right,
[00:08:56] but not the whole region. The whole northwestern
[00:08:59] Croatia, right, will not
[00:09:03] have such a moment, a song that would unite it, yes.
[00:09:06] Uh, so a man from Šibenik
[00:09:09] unites, unites Split and Dalmatia.
[00:09:12] From, I don't know, and the islands and so on, to Dubrovnik, right? So
[00:09:16] you don't have that anywhere else except
[00:09:19] through Mišo in Split, but I say it always seems to me that
[00:09:23] in the background is that story of the view from the outside,
[00:09:26] right, that view from the outside, Mišo's view towards
[00:09:30] Dalmatia, right, not from the inside, so
[00:09:33] the construction of that constant suffering for one's own space, that
[00:09:37] space actually, as with any such nostalgic discourse,
[00:09:40] paints that space in these
[00:09:44] romantic colors, melancholic and
[00:09:47] ideal colors, so as if it covers up all the
[00:09:50] mess, all the horror and so on, you then get a ready-made,
[00:09:54] completed story, right, which exists
[00:09:57] of course in other regions as well, but despite, for example, the
[00:10:00] Krapina festival, for example, the Kajkavian area's
[00:10:03] attempts to portray it that way, it hasn't produced many such
[00:10:07] songs as Dalmatia, for example, you have "A Tear for the Zagorje Hills"
[00:10:10] and we'll find two or three more. Here we are actually
[00:10:13] very, very close to the end, right? The
[00:10:16] Split festival has produced a
[00:10:20] large number of people who have
[00:10:24] already, I say again, it doesn't matter that it's superficial and
[00:10:27] so on, but who have portrayed that Dalmatia, that view
[00:10:31] from the outside, that idea that you can identify
[00:10:33] with that image that comes
[00:10:36] from the outside is, I think, crucial here, right? That's where the victory lies with
[00:10:40] Grdović. It seems to me that it's a completely different situation. He looked at it from the inside, he
[00:10:44] is from the inside a man, a man, even
[00:10:47] though for Mišo they will say he is a man of the people, but not because
[00:10:51] he lives with them, but because he affects them where
[00:10:55] he fulfills their wishes in a way, how they want to
[00:10:58] see themselves, right?
[00:11:01] pjevačica ovih prostora uh toliko
[00:11:05] lako, mislim ne mislim pritom na ružan način lako nego
[00:11:08] uspješno uh sveden na simbol, a kad
[00:11:12] kažem simbol mislim naočale, mislim na brkove, mislim na zlatni
[00:11:15] lančić, mislim raširene ruke, mi to točno svi znamo što
[00:11:19] simbolizira Mišo Kovać, njegovu siluetu kad se vidi, to je to mislim, mislim
[00:11:22] da nije niko uspio to, a zašto? što je to Miša uspio u čemu je
[00:11:26] tajna njegove ikoničnosti, je l'? To
[00:11:29] je nevjerojatna, nevjerojatna snaga da unatoč
[00:11:33] tome što ga kako Arsen kaže, nije dotaknuo baš talent, je
[00:11:36] l', ima neke iskrenosti u tom njegovom
[00:11:39] iznošenju pjesme, dakle on malo pjesamako uopće koju napisao, je l'
[00:11:43] nothing. Everything was done for him by others, right?
[00:11:47] So when when
[00:11:49] he manages to bring that to a level where
[00:11:53] people simply understand him. To see him as one
[00:11:56] who is not exactly different, but not too much so that they see him. So he
[00:12:00] hit that level with his way
[00:12:03] of singing, with his relationship with the audience, and HRT
[00:12:06] broadcast this, what's it called, entire concert at Poljud, right? So I
[00:12:10] watched a bit how he communicates with the audience. He communicates with the audience as if
[00:12:14] he is at a pub with them, right? So that's the
[00:12:18] moment where it catches on,
[00:12:21] in that sense, his songs. Actually, he performs in a way
[00:12:25] that is appealing, so like, "we sang in the tavern,"
[00:12:29] that's it, that's an absolute success.
[00:12:32] On the other hand, when you look at that music,
[00:12:35] for example, "Ostala uvijek ista" (Always Remained the Same),
[00:12:39] right, which my dear friend Jurica Hižak translated
[00:12:42] to French under Čubakin's grandmother's
[00:12:46] name and adapted it,
[00:12:48] and it's a chanson that could have worked
[00:12:52] in France in the 70s and 80s without any problems
[00:12:56] that Aznavour could sing without any
[00:12:59] problems, absolutely, even Edith Piaf could perhaps sing it, right? So
[00:13:03] it's incredible how, first of all, it's a fascinatingly good text when you
[00:13:07] hear it in French, fascinatingly good music that
[00:13:11] we here kind of
[00:13:13] looked at with a smirk, as if "who cares about Mišo" or "who listens to that?"
[00:13:17] No, but when you get such a
[00:13:20] different perspective of Mišo Kovač, then you
[00:13:23] realize that actually behind him
[00:13:27] stands a great compositional machine, among
[00:13:30] others Runjić, I don't know others, right, Britvić, I guess, and
[00:13:34] so on, right, who created extremely good
[00:13:38] music, which he knew how to simplify
[00:13:41] and make it seem as if the lyrics, as if it
[00:13:45] happened to him yesterday, so now he recounts what happened to him, right?
[00:13:48] We all then experience it, live it together with him, and he
[00:13:51] actually transformed that stage situation
[00:13:55] partly into the stage of his own life, right? That's why
[00:13:58] I say he broadened the idea of controversy much further than we
[00:14:02] ever expected in the Croatian language, right?
[00:14:05] In a way, I mean, it might sound exaggerated, but
[00:14:08] did his own tragic fate
[00:14:11] and his own tragic story contribute to his legend, his
[00:14:15] success, and the way the audience perceived him? Even more so, if we were to, say,
[00:14:18] if we had to reduce the complete oeuvre
[00:14:22] of Mišo Kovač to one emotion, that
[00:14:25] emotion would probably be melancholy,
[00:14:28] yes, yes, yes, partly melancholy, partly nostalgia,
[00:14:32] partly, I don't know what to call it. Of course, he shared
[00:14:35] the loss of his son with the audience on multiple levels,
[00:14:39] not just through music. Of course, he also set to music
[00:14:43] and actually sang that song that was
[00:14:46] dedicated to his son. He openly
[00:14:49] talked about it, right? In various
[00:14:52] ways, he addressed the audience.
[00:14:55] He poured his private, private emotions
[00:14:58] out at that moment. Uh, but
[00:15:01] he's not the only one, right, in popular music to whom
[00:15:05] that happened, right? A little before his loss, we had
[00:15:08] this loss of Eric Clapton, from which then
[00:15:12] comes his "Tears in Heaven" ballad, "Tears in
[00:15:15] Heaven," but at the same time, uh, Clapton
[00:15:18] doesn't communicate with the audience at all. He is a completely withdrawn, almost
[00:15:21] introverted bluesman, right? So that was it. He was very
[00:15:25] or, for example, this loss
[00:15:29] of a son that accidentally, so not
[00:15:32] intentionally, turned into "Guest" which is a
[00:15:35] brilliant, musically brilliant album, right? Which, but
[00:15:39] again, it was not communicated in that way. So
[00:15:42] this is, this is in a way
[00:15:46] Mišo's secret, right? So Mišo actually hides
[00:15:49] nothing. He hides, of course, all of us, especially
[00:15:52] people who are involved in popular music, people who are involved in
[00:15:56] theater, acting and so on, right, always have more of those
[00:15:59] positions, right? However, he tried, so in that
[00:16:03] moment, to
[00:16:06] present his private life as if on stage, right? That's
[00:16:11] what made him an icon. Can we already
[00:16:14] try to predict or have some
[00:16:17] assumption about how Mišo Kovač's oeuvre
[00:16:21] will look in the long run? Is this now a permanently established
[00:16:24] mythical place in national pop culture, in this
[00:16:28] collective imaginary we mentioned, to which someone will always
[00:16:31] return, or will there perhaps be someone who
[00:16:35] could try to enter that place or at least somehow
[00:16:39] complement it? That's a bit harder. It is unlikely that someone
[00:16:42] like, in the 90s, when we had performers who tried to, so
[00:16:46] fill the empty spaces that arose with the breakup of Yugoslavia,
[00:16:50] right? That certainly won't happen. What could
[00:16:53] happen, what I think will certainly happen, is that he will remain
[00:16:57] on the playlists of most
[00:17:00] parties. So at some point,
[00:17:04] the time comes for Mišo, right, at some party, some
[00:17:08] gathering, and so on, whether someone will play him, whether a DJ will play him or so
[00:17:12] on, right? So he already has his place there for sure. Will
[00:17:16] there be new reinterpretations of his songs? It could
[00:17:19] happen, right? When we look at what Jurica Hižak
[00:17:23] did, it seems to me that there is material there that could
[00:17:26] actually portray his
[00:17:29] musical and lyrical oeuvre in a different interesting
[00:17:32] way, right? So based on that, I see that, but that someone will be
[00:17:36] Mišo. That will certainly
[00:17:39] not happen again in that way, right? In that way,
[00:17:43] of course, his songs will
[00:17:46] remain very likely
[00:17:50] to remain much more in circulation in the
[00:17:53] public space than, for example, Arsen's songs or
[00:17:57] even Oliver's, although Oliver has many too. I even think
[00:18:00] that he is at that one moment
[00:18:03] different from Oliver precisely in that variation.
[00:18:07] That no party will pass without Mišo, right? Yes. And can we try to
[00:18:11] guess or predict
[00:18:14] uh, if, if, so we take Oliver who is no longer with us, and
[00:18:18] Mišo who is no longer with us, and some other people who
[00:18:21] created the popular musical backdrop
[00:18:24] of Dalmatia, the identity of Dalmatia in a way.
[00:18:28] If, if they are no longer here, if there is no more of that pathos, if there are no
[00:18:32] more of those common places, can we try
[00:18:35] to assume in what further direction that identity,
[00:18:38] the development of that identity, could turn? Well, this is
[00:18:42] very interesting, I say, the Boys, TBF, so the whole hip-hop
[00:18:46] rap scene that developed in the 90s
[00:18:49] in Split produced very interesting and almost
[00:18:53] I would say some TBF songs have also become
[00:18:56] cult. So that idea of a duet
[00:19:00] between Mišo Antić and Saša and Mišo, right? So
[00:19:04] that's something that one would expect. So these are
[00:19:07] they cover both different audiences and two
[00:19:10] different ways of painting
[00:19:14] Dalmatia, right? So where TBF was
[00:19:17] more direct, clearer, but again,
[00:19:20] how should I say, again, it gave an opportunity to
[00:19:24] see ourselves as Dalmatians, right? But, but from
[00:19:28] a different, from a different angle. So, perhaps that story
[00:19:31] will end with Grdović. That story, "stone
[00:19:34] olive," will probably end.
[00:19:44] Instead, some perhaps more contemporary themes will emerge. I mean, this happened in France, too, for that matter, so it's nothing impossible or
[00:19:47] strange, right? But it is actually
[00:19:50] a very inspiring place for such, for, so, for
[00:19:54] the production of music and lyrics, that's definitely certain, right? It's
[00:19:57] incredible, even, I think it's a bit strange, right,
[00:20:01] that we have in a relatively small country, right, we have a whole
[00:20:05] landscape that identifies itself through a certain
[00:20:08] image and is ready to change that image, give it a different tone
[00:20:12] and so on, so I think the image persists, yes, the image persists,
[00:20:16] there will always be some
[00:20:19] Saša, there will always be some TBF, there will always be some
[00:20:23] boys, there will always be some Vojko V or someone who
[00:20:27] will paint that image in a new way. Just to conclude,
[00:20:29] I don't want it to go unnoticed because I think it's important
[00:20:32] to mention that on the same day
[00:20:35] another Mišo passed away,
[00:20:38] that is not only, of course, Mišo Kovač, but also Mišo who
[00:20:42] also significantly defined
[00:20:45] New Wave and of course
[00:20:48] another identity that survives to this
[00:20:52] day, of course, much less visible, much less present.
[00:20:55] He himself actually kept himself less visible.
[00:20:59] We are of course talking about Mišo Hrenjak from Prvi, that is, the first
[00:21:02] true, the first true bassist, and Azra, who
[00:21:05] otherwise, I don't know, you could have come across
[00:21:09] other people who collaborated
[00:21:12] with Štulić, who would talk about Štulić, were with him. He kept
[00:21:15] himself very much on the sidelines of all
[00:21:19] that. But he was actually one of the key people
[00:21:23] who created the sound. Azra is actually one of the key
[00:21:27] people of that first breakthrough, because Azra itself
[00:21:31] makes that breakthrough of a social critique that
[00:21:34] we didn't have before in that way, perhaps punk yes, but
[00:21:37] actually he was the first popular one who gave a social, social
[00:21:41] critique which then continued to
[00:21:44] make New Wave actually known, right? Which then continued not
[00:21:48] only through the 80s but also successfully survived
[00:21:51] despite everything and passed through the 90s and
[00:21:55] settled somewhere today and perhaps even infected
[00:21:58] this hip-hop scene down in Dalmatia, infected
[00:22:01] perhaps the entire hip-hop scene and today it seems to me even
[00:22:05] the trap scene, but in a completely different
[00:22:08] way, right? So why did he remain so on the sidelines
[00:22:12] and so behind? I don't know, he was probably by nature
[00:22:15] he didn't really like the limelight,
[00:22:19] but that he decided that he was a decisive part
[00:22:22] of creating the sound of Azra, that's definitely true.
[00:22:25] And that rhythm section is difficult, it's difficult to
[00:22:29] replicate, right? They had, but again, it's about Lajner who is
[00:22:32] also in Vještice, so perhaps only Vještice with
[00:22:36] Saher had that rhythm section that Azra had
[00:22:40] with Mišo and Lajner.
[00:22:43] Yes, we will of course follow and broadcast tomorrow
[00:22:46] Mišo Kovač's farewell. That will also be interesting. From
[00:22:50] an ethnological perspective, absolutely, from every perspective. I, this, I can't
[00:22:54] wait, Professor Pletenac, thank you very much for being our guest. Thank
[00:22:57] you. Innovations, tests,
[00:23:00] news, old and new every second and
[00:23:04] fourth Friday of the month, we bring you everything relevant from
[00:23:07] the auto industry. We introduce you to new models,
[00:23:11] technologies, advise you on how to buy a car, and
[00:23:14] discuss the problems that bother all participants in
[00:23:18] traffic. Follow: stay up to date with everything that
[00:23:22] the future holds for us on four wheels.
[00:23:24] Automobilion, Fridays on N1
[00:23:27] Television.
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[00:23:47] Television.
[00:24:01] Good evening, what kind of weather awaits us tomorrow
[00:24:04] and this week? We are under
[00:24:07] the influence of a cyclone that is
[00:24:09] swirling over the Mediterranean Sea, south
[00:24:13] of Italy. This cyclone, with its cloud
[00:24:16] system, brings unstable weather to
[00:24:20] us. The warm air of the cyclone mixes
[00:24:23] with the cold air that penetrates
[00:24:26] from the Siberian plains, so
[00:24:30] we have cloudy weather with rain,
[00:24:33] locally with occurrences of sleet
[00:24:37] and snow.
[00:24:40] Tomorrow we expect cloudy weather with
[00:24:44] Bora, which will be strong to stormy,
[00:24:47] and locally in the Podvelebit coast, there will be
[00:24:50] gusts. Inland, it will be cloudy. On the Adriatic, there will be
[00:24:53] some sunny periods.
[00:24:56] With cloudy weather inland, there will still be a few
[00:25:00] drops of rain, and a few snowflakes in
[00:25:03] the mountainous regions. Morning
[00:25:06] temperatures. air temperature
[00:25:09] inland around 7°, on the
[00:25:12] Adriatic from 10 in the northern part of the Adriatic
[00:25:16] to 14° in the south on...
[00:25:20] Islands, the highest daily temperatures will not change much
[00:25:23] in relation to morning
[00:25:27] temperatures. In the interior, somewhere up to
[00:25:30] 10°, on the Adriatic, the highest daily
[00:25:33] temperatures from 13 to
[00:25:37] 19° in the far
[00:25:39] south, with bora. The further
[00:25:43] development of the weather situation will be influenced
[00:25:46] by the movement of a large amount of cold air, which
[00:25:50] will flow east of our regions,
[00:25:53] and with us, the weather will gradually stabilize,
[00:25:56] starting from Wednesday onwards. We will again come
[00:26:00] under a shallow top. The current
[00:26:04] one is currently located from Spain and
[00:26:07] extends over Great Britain, it will move
[00:26:11] and come over our regions, the air
[00:26:14] temperature for the first three days
[00:26:17] of this week will be mostly with small
[00:26:20] amplitudes, so that the maximum
[00:26:23] daily maximums will be around 11, minimum
[00:26:26] temperatures around 7-8°,
[00:26:30] after that from Wednesday onwards. Then
[00:26:33] a change in weather with clearer nights, so
[00:26:37] the air temperature will drop significantly and we can
[00:26:40] have frost in places from Thursday and
[00:26:44] Friday onwards. On the Adriatic throughout
[00:26:47] next week, bora, air
[00:26:51] temperatures will be initially until
[00:26:55] Thursday, Wednesday, Thursday stable, with
[00:26:58] small daily amplitudes, between
[00:27:02] 15 and 11 degrees, and from
[00:27:05] Thursday onwards, with more sun, air temperatures
[00:27:08] will again have large amplitudes, daily will be somewhere
[00:27:12] around 16 to 18°,
[00:27:15] nightly will drop to 10 degrees
[00:27:18] Celsius, but bora throughout this
[00:27:21] period, in short, this
[00:27:25] week we expect until Wednesday cloudy with rain
[00:27:28] and cold weather, and from
[00:27:30] Thursday stabilization. And more about the weather
[00:27:34] you can follow on our info channels,
[00:27:59] in a country where offers are complicated, Telemah decided.
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[00:29:55] America elects Congress. Trump's policy faces a new
[00:29:59] test. Who will have the majority power to pass laws?
[00:30:02] approves money, oversees the president. From Washington, we follow
[00:30:06] the key moments of the American midterm elections that could determine
[00:30:09] the political future of the USA? We include reporters and
[00:30:12] experts from Sarajevo and Belgrade, while our guests
[00:30:15] explain the political consequences, from decisions in
[00:30:19] Washington to consequences for Europe and our region.
[00:30:22] What changes does this election night bring and what do the results
[00:30:26] mean for Donald Trump? We bring it live from
[00:30:29] the American capital. American Congressional elections. November