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00:00:01Welcome once again to the N1 Television program, welcome once again to
00:00:04Studio Uživo where in the next minutes we will dedicate ourselves to
00:00:08the weekend event that will surely be felt for days to come in
00:00:12Croatia, and beyond, that is the death of Mišo Kovač.
00:00:15The farewell is being prepared for tomorrow, the
00:00:19Hajduk football club and the city of Split announced yesterday
00:00:22that everything starts at Poljud, at the club with
00:00:26which Mišo Kovač was inextricably linked.
00:00:29Who is he? In his place in popular culture, not only
00:00:32Croatia in a kind of collective imaginary
00:00:36of the people, i.e. communities from these
00:00:39areas, these will be the topics for discussion with our next guest, Professor
00:00:42Tomislav Pletenac, ethnologist from the Faculty of Philosophy
00:00:46in Zagreb, good day and welcome. Good day, what is your first
00:00:50association with Mišo Kovač? When someone says Mišo Kovač, you immediately
00:00:53think of a legend as the first first this
00:00:57first association, but I always remember Arsen's words about his
00:01:01talent and this kind of this
00:01:05only information on actually I now have that ambivalent relationship in
00:01:08the sense that it is something that
00:01:12a person from my perspective, of course, from the perspective of
00:01:15people I hang out with, would call trash, right? But there is one
00:01:19addition that is then very, very debatable whether
00:01:22it is really something that we could push into that category,
00:01:26although I must immediately emphasize that I don't think there is anything wrong with that.
00:01:30On the contrary, with colleagues and I am a member of the trash
00:01:33association in Varaždin and we have a trash film festival, so I
00:01:37am dedicated to that in a way, but Mišo sometimes
00:01:41stands out even from perhaps such a
00:01:44label and therefore it is difficult, it is difficult to
00:01:47immediately place him and classify him. On the other hand, he
00:01:51gave controversy additional meaning to these
00:01:54areas, definitely. When you say controversy, when you think of
00:01:58Mišo, they really... he spread that concept very
00:02:02much, yes, yes, yes. I mean, his career
00:02:05lasted a very, very long time.
00:02:08Uh, as he, of course, grew older and as his strength
00:02:11failed him, his presence in the public space became weaker
00:02:15and weaker, but the legend, as we have already
00:02:19said, did not wane, on the contrary, it only grew. That surprised
00:02:22me, because I, I remember as a kid,
00:02:25this, when I listened to my parents'
00:02:28singles, right? And I remember one single by Mišo Kovač, I think the A
00:02:32side was the song "I will take you to the wedding," and I think that was
00:02:36one of his probably first hits,
00:02:38that was, this, so he was for me some kind of
00:02:41festival singer, right? However, then after
00:02:45the 90s, when I started hanging out a little more
00:02:47with the Croatian diaspora, especially from
00:02:51Australia, then I realized that he actually
00:02:54gained that legendary status there. For them, it was "kiss the
00:02:58ground you walk on" as soon as Poljud, from the
00:03:02speaker's announcement, said goodbye, right? Which is also interesting, right? So
00:03:05Dalmatia in my eye, and all that, it evoked a deep
00:03:09nostalgia in them. Now, watching your news
00:03:12just a little while ago, the colleague journalist, right, says
00:03:15that Mišo was actually very important for
00:03:19people who are not in Dalmatia, so he constructed
00:03:22his legend outside Dalmatia, which then
00:03:25returned through feedback loops
00:03:28back as "grass roots" of his popularity, but
00:03:32he actually gained it among people who
00:03:35were, for whom he evoked nostalgia for the old country, right?
00:03:39Who were either immigrants far outside Europe or
00:03:42close by, or close by, or here in Zagreb, right? In which and
00:03:46his very position, the fact that you are no longer sure if he lives in Zagreb, in
00:03:50Šibenik, in Split, if someone asked me two
00:03:54weeks ago where Mišo was, I don't know if I would be
00:03:57sure if he was in Zagreb, Šibenik or
00:04:00direction. Thank you for your Split and if I would know where he lives, right? Yes.
00:04:03Uh, now there is this one special component
00:04:06related to Dalmatian identity above all, that is
00:04:09Hajduk. That connection with the club, the
00:04:13farewell starts at Poljud, uh,
00:04:16Poljud said goodbye to Mišo, several
00:04:19songs, uh, are a signature, right,
00:04:22of Torcida, ultimately we had relatively recently
00:04:26this collaboration between Saša Antić and Mišo Kovač, I can't help
00:04:29but love him, right, which is a cover of his old
00:04:33love song, which of course Torcida sings to Hajduk, uh,
00:04:37how important is that component for
00:04:40the story of Mišo Kovač? Surely, I mean, and
00:04:43probably he is the only other such person who can this
00:04:47raise Torcida or with whom Torcida can
00:04:51identify through lyrics is Mladen Grdović probably, right? I don't know who else
00:04:55would be, who would be a third one, right? So these are, and it's interesting
00:04:59that there are some connections and parallels and so on,
00:05:02but that love for, so that description which can sometimes
00:05:06be really nostalgic in the sense of pathetic, like
00:05:10the boys, for example, made that song.
00:05:18However, for fans, it's very easy to identify with
00:05:22those common places, it's not let's say, it's not the only
00:05:25example in the history of fan football, but
00:05:29on the contrary, if Liverpool has "You'll Never Walk
00:05:32Alone", which is actually one of the biggest hits that was also
00:05:35a hit in the 60s that was played before the start of the match,
00:05:39so people sang it and that's how it slowly became
00:05:43Liverpool, I don't see why
00:05:45this, "I can't help but love you",
00:05:49of Torcida from today
00:05:52onwards, or "Dalmacija u mom oku" or some of these, like
00:05:55they sang "Dalmatinaca" by Modrović, right? Which
00:05:59is also one such song that can, for example,
00:06:03when we look at other environments, we don't have to go to Zagreb right away, but not Osijek or
00:06:07Rijeka or so on, right? You don't really have a
00:06:10very specific song
00:06:13that would unite the whole
00:06:16region, right? If you have in Zagreb,
00:06:19if you have something dedicated to Dinamo, dedicated to the club, dedicated
00:06:23perhaps to Zagreb, right? But not to the whole region, the whole
00:06:27northwestern Croatia, right,
00:06:30will not have such a moment, a song that would
00:06:33unite it. Yes, and, uh, so a man from Šibenik
00:06:37unites, unites Split and Dalmatia
00:06:41from, I don't know, and the islands and so on to Dubrovnik, right? So
00:06:45you don't have that anywhere else except
00:06:48this, through Mišo in Split, but I say, it seems to me that in the background there is always
00:06:52that story of the external gaze,
00:06:54right, that external gaze, Mišo's gaze towards
00:06:58Dalmatia, right, not from the inside, so,
00:07:02the construction of that constant suffering for one's space, that
00:07:05space actually, as with every such nostalgic discourse,
00:07:09paints that space in certain uh mm...
00:07:12romantic colors, melancholic and
00:07:15ideal colors, so as if he paints over all that
00:07:19mess, all that horror and so on, you then get some ready-made,
00:07:22completed story, right, which of course
00:07:26exists in other regions, but despite, for example,
00:07:29the Krapina festival, for example, the Kajkavian area,
00:07:32did not get many such
00:07:35songs as Dalmatia, for example, you have "A tear for Zagorje hills",
00:07:39we will find two or three more new ones here we are actually...
00:07:42very, very close to the end, right? Down there, that Split
00:07:45festival has produced a
00:07:49large number of people who
00:07:53I say again, it doesn't matter what it is at first glance and so on, but who
00:07:57depicted that Dalmatia, that external gaze, that
00:08:00idea that you can identify with
00:08:04that image that comes from the outside, that's what I think
00:08:06is key, right? That's where the victory is. With Grdović, it seems
00:08:10to me that the situation is completely different. He looks from the inside, he is from the inside, he is
00:08:14from the inside, a man, a man, even if for Mišo they will say he is a man of
00:08:17the people, but not because he lives with them, but because he
00:08:21hits them where where, so he fulfills their
00:08:25wishes in a way, how they want to see themselves, right?
00:08:28Is there another singer or singer from these parts
00:08:32uh so easily, I mean, I don't mean
00:08:35in a bad way, easily but successfully, uh
00:08:38reduced to a symbol, and when I say symbol, I mean glasses. But I mean
00:08:42mustache, I mean gold chain, I mean outstretched arms, we all
00:08:46know exactly what Mišo Kovač symbolizes, his silhouette when you see it, that's
00:08:50it. I don't think anyone succeeded in that, and why did
00:08:54Mišo succeed, what is the secret of his iconic status,
00:08:57right? It's an incredible incredible strength,
00:09:00yes, despite the fact that, as Arsen says, talent didn't really touch
00:09:04him, right? There is some sincerity in his
00:09:08rendition of the song, so he wrote few songs, if any, right?
00:09:11He didn't compose anything, others did everything for him, right?
00:09:15Then when when uh, he
00:09:18manages to bring it to a level where
00:09:21people simply understand him, where they see him as one
00:09:25who is not exactly different, but not so
00:09:28much that they see him as out of reach. So he hit that certain
00:09:31level with his way of singing, with his relationship
00:09:35with the audience, and HRT showed this, what's
00:09:38it called, the whole concert at Poljud, right? So I watched a little how he
00:09:41communicates with the audience. He communicates with the audience as if he's
00:09:45in a pub with them, right? So that's the moment where
00:09:49it catches on. In that sense,
00:09:52his songs, he actually performs them in a way that
00:09:56is approachable. So also that "we sang in the
00:09:59tavern," that's an absolute success. On the other
00:10:03hand, actually when you look at that music,
00:10:06for example, "You always stayed the same,"
00:10:09right? Which my dear friend Jurica Hižak
00:10:12under "Čubakina baka" translated into French and
00:10:16this, rearranged, that's a chanson that
00:10:19could have worked in France in the 70s and
00:10:2380s without any problems, which Aznavour
00:10:26could sing without any problems, absolutely, Edith Piaf could
00:10:30even sing it, right? So it's incredible how first
00:10:34a fascinatingly good text when you hear it in French,
00:10:37fascinatingly good music that we
00:10:40here, we were observing with a sneer,
00:10:43like "who listens to Mišo" or not, however
00:10:47when you get in such a different
00:10:49view of Mišo Kovač, then you realize that
00:10:53actually behind him stands a... big compositional
00:10:56machine, among others Runjić, I don't know, others, right,
00:11:00Britvić, probably and so on, right, who who created
00:11:03extremely good music, which he
00:11:06knew how to simplify and even make it sound as if
00:11:10the text, as if it happened to him yesterday, so now he's
00:11:13recounting what happened to him, right? We all
00:11:16then together with him live through it, we live it, and he
00:11:20actually transformed that stage situation
00:11:24partly then... into a part of his own life, right? That's why I say
00:11:27he broadened the idea of controversy much further than we
00:11:30ever hoped for in the Croatian language, right?
00:11:33In a way, I mean, maybe it will sound exaggerated, but
00:11:37did his legend and his
00:11:40success and the way the audience perceived him
00:11:43also contribute to his own tragic fate and his own tragic story?
00:11:47Even more so if we were to, well, I don't know, if we had to reduce the complete
00:11:51opus of Mišo Kovač to one emotion, that emotion would probably be melancholy.
00:11:55Yes, yes, yes, partly melancholy, partly nostalgia,
00:11:59partly, I don't know what to call it. Of course, he shared
00:12:02the loss of his son this
00:12:06with the audience on multiple levels, not just through music, yes, of course,
00:12:10he put it to music and and actually sang
00:12:13that song which was dedicated to his,
00:12:16his son, he openly talked about it, right? In
00:12:19different ways he addressed
00:12:23the audience, his private, actually private emotions he poured
00:12:26all around at that moment, uh,
00:12:30but he is not the only one, right, in popular music
00:12:33to whom this happened, shortly before his loss we
00:12:37had the loss of Eric Clapton, from which then
00:12:40his "Tears in" ballad "Tears in Heaven" arises,
00:12:43but at the same time, uh, Clapton doesn't
00:12:46communicate with the audience at all, he is a completely withdrawn, somewhat
00:12:50introverted bluesman, right? So that was it, he very
00:12:54or... for example, the loss of
00:12:57a son which accidentally, so not
00:13:01intentionally, turned into "Ghosteen" which is a
00:13:04brilliant, musically brilliant album, right? Which, but
00:13:08again, it's not communicated in that way, so
00:13:11uh uh that's that's in a way Mišo's
00:13:15secret, right? So Mišo doesn't hide anything,
00:13:17of course we all, especially
00:13:21people who are involved in popular music, people who are involved in theater,
00:13:25acting and so on, right, always have more of these positions, right?
00:13:29However, he tried, so at that certain
00:13:31moment uh uh to present
00:13:35his private life as if on stage, right?
00:13:38That's what made him an icon,
00:13:42can we now already try to predict or have
00:13:45some assumption how the long-term opus
00:13:49of Mišo Kovač will look like? Is that now some forever established
00:13:53mythical place in national pop culture in this collective
00:13:56imaginary that we mentioned that someone will eternally return
00:14:00to, or or will it perhaps, will there be
00:14:03someone who could try to enter that place or at least
00:14:07somehow supplement it? That's a bit harder to do, for someone
00:14:11like in the 90s when we had performers who tried
00:14:14this, so to fill the empty places that arose with the breakup of Yugoslavia,
00:14:18right? That certainly won't happen. What could
00:14:22happen, what I think will certainly happen, is that he
00:14:25will remain on the playlists of most
00:14:29parties, right? So at some point, this, the time comes when
00:14:33it's time for Mišo, right, at some party, at some gathering and so
00:14:36on, whether someone will play him, whether a DJ will play him or so on,
00:14:40right, so he already certainly has his place there. Will
00:14:44there be new reinterpretations of his songs? It could
00:14:48happen, right? When I look at what Jurica Hižak was
00:14:52doing, it seems to me that there is material that
00:14:55could actually portray his opus musically and
00:14:59textually in another interesting way, yes,
00:15:02so I see that, but that someone will be Mišo, that
00:15:06that certainly won't happen in that way anymore,
00:15:09right? In that way, uh, of course,
00:15:12because of that, his songs
00:15:15will remain very probably
00:15:19will remain much more in circulation in
00:15:22the public space than, for example, Arsen's songs, or
00:15:26even, although Oliver also has a lot, I even think that
00:15:29he will, that he in that one moment is different
00:15:32from Oliver precisely in that variant that there won't be
00:15:36a party without Mišo. And can we try to
00:15:40guess or predict
00:15:43uh if if, so, we take Oliver who is no longer with us and Mišo who is no longer
00:15:47with us, and some other people who created
00:15:51the popular musical backdrop of Dalmatia,
00:15:54the identity of Dalmatia in a way, if if they
00:15:57are no longer there, if there is no that melos, if there are no
00:16:01those common places, can we
00:16:03try to assume in which direction that identity,
00:16:07the development of that identity, could go next? Well, this is very interesting
00:16:11to me, I mean, the Boys, TBF, so the whole hip-
00:16:14hop rap scene that developed in the 90s
00:16:18in Split produced very interesting and almost
00:16:21I would say that some TBF songs have also already become cult
00:16:25songs, right? I'm not surprised by that idea of a duet between
00:16:29Saša and Mišo, right? So that's something
00:16:33that one would expect, so they
00:16:36cover two different audiences and
00:16:38two different ways of portraying
00:16:42Dalmatia, right? So, where TBF was
00:16:46more direct, clearer, but again
00:16:49it, how should I say, again it, again it gave an opportunity to
00:16:52look at ourselves as Dalmatians, right, but
00:16:56from a different, from a different angle. So, perhaps that story
00:16:59has ended, with Grdović that story will probably end,
00:17:03of stone, olive,
00:17:06sardine, that kind of thing, right, instead
00:17:10some more contemporary, more contemporary themes will come, I mean, that happened after all in
00:17:14France, so it's not impossible
00:17:17and strange, right, but that it is actually a
00:17:21very inspiring place for such, so for
00:17:24the production of music and lyrics, that is definitely certain,
00:17:28right? It's incredible, even, I think it's a bit strange,
00:17:32right, that we have in a relatively small country, right, we have a
00:17:35whole landscape that identifies itself through a certain
00:17:39image and is ready to change that image, give it a different tone
00:17:42and so on, so I think that yes, but the image persists, yes, the image persists, that there
00:17:46will always be some, some
00:17:49Saša, there will always be some TBF, there will always be some boys, there will always be
00:17:53some Vojko V or someone who will, who will paint
00:17:56that picture in a new way. Yes, just to conclude,
00:18:00so it doesn't go unnoticed, because I think it's important to mention
00:18:03that on the same day, another
00:18:07Mišo left. It's not just, of course, Mišo Kovač, but also Mišo
00:18:11who also uh significantly defined
00:18:14the image of the new wave and
00:18:18of course another identity that survives to this
00:18:21day, of course, much less
00:18:24visible, much less present, he himself kept himself less visible,
00:18:28we are talking, of course, about Mišo Hrnjak from Prljavo Kazalište, or rather the first
00:18:31real, the first real bassist, yes, of Azra, who
00:18:34otherwise, I don't know, you could have mentioned
00:18:37other people who
00:18:41collaborated with Štulić, who would talk about
00:18:44Štulić, were with him, he kept very much to himself,
00:18:48and he was actually one of the key, so people who
00:18:52created the sound. Azra is actually one of the key
00:18:55people of that first breakthrough, because actually Azra itself
00:18:59makes that breakthrough of a social critique that we didn't have in
00:19:03that way before, maybe punk banners, yes, but actually he was
00:19:07the first... popular one, who gave social, social critique, which then
00:19:10continued in that, the new wave is actually
00:19:14known for that, right, which then continued not only through the 80s,
00:19:17but successfully despite everything went through
00:19:21the 90s and settled somewhere today,
00:19:25perhaps even infected this hip-hop scene
00:19:28down in Dalmatia, infected perhaps the whole hip-hop scene,
00:19:32and today it seems to me even the trap scene, but in
00:19:35a completely different way.
00:19:37Right? So why did he remain so on the sidelines and so
00:19:41behind, I don't know, he was probably this, he didn't really
00:19:45like the spotlights of the stage, but that he was
00:19:48a decisive part of creating
00:19:51the sound of Azra, that's definitely true, and that rhythm
00:19:55section is hard, it's hard to even repeat, right?
00:19:58They had, but again, it's about Lajner who is also in
00:20:01Vještice, so maybe Vještice with Saher were the only
00:20:05ones who still had that rhythm section that Azra had with
00:20:09Mišo and Lajner. Yes, uh, we will of course
00:20:13follow and broadcast tomorrow this farewell of Mišo
00:20:16Kovač, that will also be interesting and from an ethnological perspective it will be absolutely from
00:20:20every perspective, I, I really can't wait,
00:20:24Professor Pletenac, thank you very much for being our guest, thank
00:20:26you.
00:20:34As we said, tomorrow from 5 PM
00:20:37live from Poljud stadium we will follow the farewell of Mate Mišo
00:20:41Kovač, and now we will go and see and
00:20:45hear what the Ministry of Pension
00:20:49System and Labor is saying, where discussions are being held and, that is, where
00:20:52a few moments ago, amendments to the Labor Law were presented.
00:20:56Let's hear what all is changing.
00:20:59What is new in the proposed law is
00:21:02actually the expansion of joint liability of platforms for the obligations
00:21:06of aggregators. You know that in Croatia we have the concept
00:21:09of aggregators. Aggregators are employers who employ
00:21:13workers who then work through digital work platforms.
00:21:17Some of them are excellent employers, as are some
00:21:20who are not, as with any other employer. What
00:21:24we now actually
00:21:27want, we want the platforms, these four that currently exist
00:21:30in Croatia, to take a little more responsibility for these
00:21:33workers, that is, for the platforms to take responsibility
00:21:37for the aggregators with whom
00:21:39they cooperate.
00:21:41Here are just the data that are also publicly available on our
00:21:45pages, you have surely all already
00:21:47seen them.
00:21:50This is one, one display just
00:21:53to grasp the concept
00:21:57of how many aggregators there are, what that means, so
00:22:002,336 aggregators, I say, some are
00:22:04smaller, some are larger employers. For
00:22:07the platforms themselves, during the last year,
00:22:0921,704 people worked. That doesn't mean all the time,
00:22:13but, that is a number that is actually
00:22:17uh, people who were active in some period
00:22:20and worked through digital work platforms. And what is
00:22:24also important to point out here is that this is mostly about Croatian
00:22:28citizens, not foreign citizens, as may be the
00:22:31perception in the public. Foreign citizens make up approximately
00:22:34a quarter, uh, and they mostly, according
00:22:38to the data we have, work in delivery, while in
00:22:41transport, they are mostly Croatian citizens.
00:22:43And finally, the last topic, transfer
00:22:47of annual leave. Uh, again, everyone is
00:22:50familiar with it, the so-called old annual leave is carried over until June
00:22:5430th of the following year. That is a rule that remains
00:22:57a rule, so there are no changes in that sense.
00:23:01The employer still decides when the employee
00:23:04will use annual leave and the employer must enable
00:23:07the use of annual leave until June 30th.
00:23:10However, there are situations when the employee, due to objective
00:23:14reasons, really could not use that annual leave. That
00:23:17is the issue of sick leave or, that is, the use of parental
00:23:21rights. In that sense, the law will be amended
00:23:25if, due to a real objective reason that is not on
00:23:28the employer's side, but on the employee's side, the employee did not manage
00:23:31to use annual leave, uh, that
00:23:34annual leave can be used at the earliest until
00:23:37the end of the year. So instead of June 30th, it will be until
00:23:41December 31st. Again, you have the same situation,
00:23:45the employer determines when you will use it. So if in June
00:23:49you were on sick leave, you returned in July,
00:23:52you have two more weeks of old annual leave, you agree with the employer,
00:23:55the employer tells you you will use it in December,
00:23:59before Christmas, December comes, you get sick again, then
00:24:03you have the possibility of three more months of using annual
00:24:06leave, with the understanding that after those three months, which is these 15
00:24:10months from the end of the year, for which the right was acquired, you actually
00:24:13no longer have the possibility. This is harmonizing with the judgments of the European
00:24:17Court, namely the European Court said:
00:24:20that the employer must certainly ensure a longer period
00:24:24of use, the convention says a maximum of 18
00:24:27months after the end of the year in which the right was acquired,
00:24:31however, the European Court said that it is 15 months is an appropriate
00:24:35time to use old annual leave, so this is
00:24:38now an alignment with the rulings of the European Court, and
00:24:42our courts have started precisely based
00:24:45on the decisions of the European Court to rule in that
00:24:50attention,
00:24:54thank you, Director Zirdin, do you have
00:24:57any questions, of course, so, can you explain how
00:25:01it will be determined what is a job of equal value, for example, can two people in
00:25:05different positions have equal pay if their work is equally
00:25:08valued and another thing, do you have any concrete example, so
00:25:12someone comes for a job interview, what can he specifically ask
00:25:16the employer regarding salaries, for a start you must
00:25:19distinguish between a job position and the person who works
00:25:23in that job position, a job position is an objective evaluation of the tasks performed in
00:25:26a certain position, so your cameramen all in
00:25:29the basic description of their job perform the same
00:25:32work, filming, editing, I don't know what else is
00:25:36there, the person who works in that position,
00:25:39their work can be valued, so you have
00:25:42a job category by description that must be equal
00:25:46and you must have clear criteria when...
00:25:50the person working in that position will receive a higher salary, so you can
00:25:53add bonuses, you can reward someone's
00:25:57skills, you can reward length
00:26:00of service, but everything that goes into salary must be objective, must
00:26:03be gender-neutral, that which is valued through this
00:26:07methodology that all employers, meaning all valuation
00:26:10are job descriptions, not the people who work in those
00:26:13positions, if someone does the job better, more efficiently, they
00:26:17can have a higher salary, that is an objective reason and
00:26:20it must be clearly stated,
00:26:24the second question was, an example, someone comes for an interview what can they
00:26:27specifically ask for, so they can ask for what we said, the starting salary or
00:26:31the salary range. depending on how the employer's salary is
00:26:34regulated, so this depends on employer to employer how they will
00:26:38have a salary system, if someone has a salary system
00:26:41in category X Y the salary range is
00:26:45from 1000 to 2000, the worker will be able to
00:26:48get information, in that job the salary is from 100 to
00:26:512000, it depends on these criteria, how many
00:26:55hours you worked per month, what is your efficiency,
00:26:59have you perhaps exceeded a certain norm, so depending on that. what is stipulated
00:27:03by the employer, it is
00:27:07how that salary will be determined and ultimately
00:27:11a certain range. Does that mean that employers, or rather
00:27:15that contracts will have to be changed given that most now have a clause about
00:27:19confidentiality of communication about salaries, does that mean that contracts will have to be changed, changing contracts
00:27:22related to confidentiality is not
00:27:26necessary because those provisions will be null
00:27:29and void by law, so if they are in the contract, they are nothing. you cannot
00:27:33invoke them, I assume that
00:27:36employers in a certain part due to perhaps changes in what
00:27:40we call in the ministry systematization due to different
00:27:43times might have to change contracts,
00:27:46however, they will certainly be given enough time after the law comes
00:27:49into force to absolutely everything adapted to new
00:27:53regulations, what for example in the case if an employee
00:27:57requests salary data, the employer does not provide it,
00:28:01the employer is obliged to provide it. if they do not provide salary data, they can
00:28:04be penalized for a misdemeanor, of course, it is important
00:28:07to keep in mind what data needs
00:28:10to be provided, also you need to keep in mind
00:28:14that data is provided according to job categories,
00:28:18so my job category and
00:28:21average salaries, which means that employers must first
00:28:24evaluate job positions, create categories then after
00:28:28everything is organized they can actually provide salary information,
00:28:32that... will certainly take some time, so
00:28:35at least six months after the law comes into force will be a kind of
00:28:39period for adaptation of all regulations and all
00:28:42internal regulations of the employer himself,
00:28:45then after that employees will actually be able to get full
00:28:49information. Can we perhaps expect that after
00:28:53these changes the salaries of workers who are perhaps today
00:28:57unfairly underpaid might increase.
00:29:00Considering these... data that I showed
00:29:03you, mm,
00:29:06it somehow seems that the gender
00:29:10gap is not problematic in Croatia, it will certainly
00:29:13change where it is problematic, something
00:29:17will change, because it will be more transparent, but
00:29:20I would not say that there will be a salary increase because
00:29:23of that, the intention of the directive is not to increase salaries,
00:29:27the intention of the directive is to establish equality, certainly perhaps
00:29:31employers will also, when evaluating job positions, see that perhaps
00:29:34certain job positions are neglected, or disadvantaged in
00:29:38the sense that I thought that job was not so important, but now
00:29:42that I have gone through the evaluation, I see that actually these
00:29:45people work more than I thought they did in those positions and
00:29:49more than I thought was being done, so there might be
00:29:52some corrections, time will tell in which direction it will go
00:29:56beyond the topic if I
00:29:59too can.
00:30:06SDP had a press conference today and demands a review of the rulebook that prescribes
00:30:09the conditions for speech pathologists and warns that
00:30:13some private clinics could be
00:30:16closed, so how do you comment and do you support these
00:30:20changes, they say that more than half of speech pathologists are in
00:30:23Zagreb, so how to ensure perhaps better availability for children in
00:30:27smaller towns and rural areas,
00:30:30well, I believe that uh... the problem with
00:30:33speech pathologists will certainly be resolved,
00:30:37I don't know, I must admit, I am not familiar with the details
00:30:40it will certainly be handled by the competent ministry in
00:30:44the best possible way, uh to respond to all
00:30:47challenges, speech therapy services,
00:30:50personally, uh, I as a vice-rector
00:30:54very actively participated in
00:30:57solving the problem of the lack of speech pathologists.