Google Cloud Speech-to-Text API (Chirp) + Gemini 2.5 Flash Non-Thinking. Treat it as a searchable index of what was broadcast, not a quotation record.
00:00:00he actually rewrites from the study at the intersection
00:00:04of the Zagreb highway, Sisak, the Žažina intersection, so
00:00:07the investor is the one, let me say that he uses
00:00:11one name for the ministry and says that it is about
00:00:14the processing of
00:00:18lithium soda, first, and lithium salts, so
00:00:21all these names are not professional names in the chemical
00:00:24industry, precisely in order to somehow conceal
00:00:28the true nature of his... process so as not to reveal
00:00:31that it is actually about classic chemical industry,
00:00:35precisely according to our positive regulations, which are actually
00:00:38rewritten regulations from the European Union, for the chemical
00:00:41industry, an environmental impact assessment
00:00:44study is always mandatory, that the investor was aware of this,
00:00:48one should go back to February 29, 2024,
00:00:52when the investor's representatives presented this project at the city council,
00:00:55the investor explicitly and clearly
00:00:59said: You don't have to be afraid of anything, for such
00:01:02a project, an environmental impact assessment study is required,
00:01:06pass, there will be no
00:01:09project, and that is the risk that the investor takes, so
00:01:13the investor here threatens with some lawsuits, and
00:01:16actually all the time, so to speak, he was
00:01:20dancing on the edge of legality, that is, it is clear how he
00:01:23concealed his true intentions precisely
00:01:26in order to avoid preparing an environmental impact study.
00:01:30And I think that actually the city and
00:01:32the ministry and the entire public should communicate very clearly
00:01:36about the investor or his
00:01:39authorized person who prepared that study for him, obviously in agreement with
00:01:43the investor, so that the question
00:01:47of responsibility must be put on the investor's side, among
00:01:50other things, of course it is bad in all this that the
00:01:54ministry, that is, not the city but the ministry, issued an
00:01:57opinion at one point that such a project does
00:02:01not have to undergo an environmental impact study,
00:02:04i.e., that it is acceptable for the environment, but I say, even there
00:02:08the question should be asked how much the
00:02:11investor contributed to this, just
00:02:15for the end, Mr. Bušić, what else
00:02:18does this tell us?
00:02:21I mean, we know each other, we've known each other for a few months, how long
00:02:24have we been following the topic of Gospić, now in the same
00:02:27Gospić again debatable
00:02:30projects again that fall
00:02:34into the sector of pollution, environmental pollution,
00:02:38what went wrong on the street, that these
00:02:41are stories that are now appearing that seem like we will
00:02:44everywhere around us, especially in be uncovering and hearing more about them, please just
00:02:47briefly, so I'll try to be brief, I think this
00:02:51is actually now uh the right
00:02:54time for all this that is happening to actually
00:02:57ask a uh... strategic question at the level of the entire
00:03:01country whether in regions like
00:03:04Lika which is rich in clean nature, where it is
00:03:08its biggest asset, karst
00:03:11and karst waters and sources of drinking
00:03:14water,
00:03:22do we need such projects that will
00:03:25harmfully affect the environment, I hope this
00:03:29will be a warning that in all future projects, laws will be strictly
00:03:32respected, that we will not allow
00:03:36such investors
00:03:40uh to
00:03:43the price is very reasonable compared to somehow mislead our institutions and the public,
00:03:47that our
00:03:49institutions in the future will take these matters they deal
00:03:53with much more seriously because we must carefully consider every such project,
00:03:56especially those that could be harmful to the environment, and make
00:04:00exclusively lawful
00:04:02decisions, Mr. Bušić, thank
00:04:06you very much for this conversation and for explaining this case,
00:04:10but also contextualizing it
00:04:13when we talk about Gospić and waste, once again
00:04:17this was Mr. Vjeko Bušić from the initiative Gospić is our
00:04:21home, thank you and
00:04:25another
00:04:25greeting.
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00:20:04Welcome once again to the N1 Television program, welcome once again to
00:20:07the live studio where we will devote the next minutes to
00:20:11the event of the weekend that will surely be felt in
00:20:15Croatia and beyond for days to come, that is the death of Mišo Kovač,
00:20:18the farewell is being prepared for tomorrow, already yesterday
00:20:22the football club Hajduk and the city of Split
00:20:25announced, everything starts at Poljud, at the club with
00:20:29which Mišo Kovač was inextricably linked,
00:20:32what exactly is his place in popular culture, not only
00:20:35Croatian, but in a kind of collective imaginary
00:20:39of the people, or communities from these
00:20:42areas, that will be the topic for discussion with our next guest, who is
00:20:46Professor Tomislav Pletenac, ethnologist from the Faculty of Philosophy
00:20:49in... Zagreb, good day and welcome, good day, what is your
00:20:52first association with Mišo Kovač, when someone says Mišo Kovač,
00:20:56the legend immediately comes to mind as the first, first
00:20:59uh, first association, but I always
00:21:02remember Arsen's words about his talent and
00:21:06those somehow actually I have now that
00:21:09ambivalent attitude in the sense that
00:21:13it is - something that one would from my
00:21:16perspective, of course, from the perspective of people I hang out with, call
00:21:20trash, right, but there is an addition here that is
00:21:23then very, very debatable whether it is really something
00:21:27that we could push into that category, although I must immediately emphasize
00:21:30that, I don't think there is anything wrong with that, right, on the contrary,
00:21:34with colleagues and I am a member of the trash association in Varaždin and
00:21:38uh, we have a trash film festival, therefore I am somewhat dedicated
00:21:41to that, but here Mišo at one point stands out
00:21:45even from maybe some such label and therefore it is
00:21:49difficult... "it is difficult to immediately place him and
00:21:52classify him, on the other hand, he gave controversy
00:21:56additional meaning to these areas, definitely when you say
00:21:59controversy, then when you think of Mišo, he really expanded that
00:22:03concept a lot a lot, yes, yes, yes,
00:22:07I mean, his career lasted a very, very
00:22:10long time, uh, as he naturally aged and
00:22:13as his strength failed him, his presence in the public
00:22:17space was weaker and weaker." " "But
00:22:20the legend, as we already said, did not wane, on the contrary, it only
00:22:24grew, that surprised me, because I remember as
00:22:27a kid, uh, when I listened to my parents'
00:22:31uh singles, and I remember one Mišo Kovač single,
00:22:35I think the song was "I'll take you to the wedding", and I think
00:22:39that was one of his probably first hits, that's it, uh,
00:22:43so he was some kind of festival singer to me, right?
00:22:46However, after the 90s, when I started to..."
00:22:50hang out more with Croatian diaspora,
00:22:53especially from Australia, then I realized that actually he
00:22:57gained that legendary status there, for them
00:23:00"Kiss the ground you walk on" which Poljud said in the speaker's
00:23:04announcement to say goodbye, right, which is also
00:23:07interesting, right, well "Dalmatian in my eye", and all that together, for them it
00:23:11evoked a deep nostalgia, now watching your
00:23:15news just now, the colleague journalist, right, says
00:23:18that he was actually very important for people who are not
00:23:22in Dalmatia, so he constructed his legend
00:23:26outside Dalmatia which then returned
00:23:30through feedback loops back as the grassroots
00:23:32of his popularity, but actually he
00:23:36gained it among people who
00:23:39he evoked nostalgia for their old homeland, right, who were either
00:23:43diaspora far outside Europe or close or close
00:23:47or here in Zagreb, right, where he himself. his
00:23:50position is that you are no longer sure whether he lives in Zagreb, Šibenik,
00:23:54or Split, if someone had asked me, say, two weeks ago,
00:23:57where Mišo is, I'm not sure if I would have known whether he was in
00:24:01Zagreb, Šibenik, or Split, would I have known where he lived, right?
00:24:04Uh, now there's this one more
00:24:08special component related to the Dalmatian
00:24:11identity first and foremost, that's Hajduk, that connection
00:24:14with the club, the farewell starts at
00:24:17Poljud, uh, Poljud from
00:24:20Mišo, several songs
00:24:24are also a signature of Torcida, ultimately
00:24:27we relatively recently had this collaboration between Saša Antić and Mišo
00:24:31Kovač, "I can't help but love him", right, which
00:24:34is a cover of his old love song, which of course
00:24:38Torcida sings to Hajduk, uh, how important is that
00:24:41component for for the story of Mišo Kovač,
00:24:45certainly, I mean, and probably the only other
00:24:48person who can... uh, raise
00:24:50Torcida or through whom Torcida can
00:24:54identify through lyrics is Mladen Grdović, probably, right? I don't know who
00:24:58else, who would be a third one, right? So these
00:25:01are and it's interesting that there are some connections and
00:25:04parallels and so on, but that love for, so that
00:25:08description which can sometimes be really nostalgic in the sense of
00:25:12pathetic, 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
00:25:19general places, right? however, it's
00:25:23very easy for fans to identify with those commonplaces. It's not,
00:25:27let's say, not the only example in the history
00:25:30of fan football, but rather, if Liverpool
00:25:33has "never walk alone", which was actually one of the biggest
00:25:36hits, which was also a hit from the 60s, which was
00:25:40played before the start of the match, so people sang it, that's how it
00:25:44slowly became the song of Liverpool, right? I don't see why
00:25:48this - "I can do nothing but love you", it's not,
00:25:52it's not the song of Turcide from today
00:25:55onwards, or Dalmatia in my eye, or some
00:25:58other, like they sang "I'm a Dalmatian" by
00:26:01Grdović, right? Which is also one of those
00:26:04songs that can, for example, when we look at other environments, we don't have to
00:26:08immediately Zagreb, but not Osijek or Rijeka or so on, do you not
00:26:11have some really very specific
00:26:15song that would stir the whole, the whole
00:26:17region, right? When
00:26:21you have in Zagreb if you have those
00:26:24dedicated to Dinamo, dedicated to the club, dedicated perhaps to Zagreb, right,
00:26:28but not the whole region, not the whole Northwestern
00:26:31Croatia. Right? To have some
00:26:35such moment, a song that would unite, so that
00:26:38a- uh, so a man from Šibenik
00:26:40unites, unites Split and Dalmatia
00:26:44from, I don't know, and the islands and so on, to Dubrovnik, right?
00:26:48So you don't have that anywhere else except
00:26:51this through Mišo in Split, but I say, it seems to me that it's always
00:26:55in the background, that story of an outside view,
00:26:58right? That outside view, Mišo's view towards
00:27:01Dalmatia. Right? Not from within, so,
00:27:05constructing that constant suffering for one's space, that
00:27:08space actually, as with every such nostalgic discourse,
00:27:12colors that space in these uh uh
00:27:15romantic colors, melancholic and
00:27:19ideal colors, so as if it smears all that
00:27:22mess, all that horror and so on, you then get a ready-made
00:27:25story, right? Which of course
00:27:28exists in other regions too, but despite, for example... at
00:27:32the Krapina festival, for example, the Kajkavian space
00:27:35despite attempts to portray it that way, it didn't get many such
00:27:39songs like Dalmatia, for example, we have "Tears for Zagorje Hills",
00:27:42we'll find two or three more here, we're actually
00:27:45very, very close to the end, right? Down there, that
00:27:48Split festival
00:27:51gave birth to a large number of these people who
00:27:55are, as I say, again, it doesn't matter what it is
00:27:58at first glance and so on, but who painted that Dalmatia and that... the outside
00:28:02view, that idea that you can identify
00:28:05with that image that comes
00:28:08from outside, that's I think crucial, but that's where the
00:28:11victory lies. With Grdović, it seems to me that the situation is completely different, he
00:28:15looks at it from within, he's from within, he's from within, a man, even if
00:28:19for Mišo they'll say he's a man of the people, but not because
00:28:22he lives with them, but because he hits them where
00:28:26where he fulfills their desires in a way, how they want to
00:28:30see themselves, right? Is there another
00:28:33singer or singer of these areas
00:28:37uh so easily, I mean, not easily in a bad way, but
00:28:40successfully, uh reduced to a symbol, and when
00:28:43I say symbol, I mean glasses, I mean a mustache, I mean a gold chain,
00:28:47I mean outstretched arms, we all know exactly what Mišo Kovać
00:28:51symbolizes, his silhouette when you see it, that's it, I think, I don't think
00:28:54anyone else succeeded in that. And why did Mišo succeed in that, what is
00:28:58the secret of his iconicity, right? That
00:29:01is incredible. Incredible strength that despite
00:29:05what Arsen says, he wasn't really touched by talent, right?
00:29:08There's some sincerity in his delivery of songs, so he
00:29:12wrote few songs, if any, he didn't compose anything,
00:29:16others did everything for him, right? Then
00:29:19when he manages to bring it to a
00:29:23level where people simply understand him,
00:29:26where they see him as someone who is not exactly different,
00:29:29but not too much. So they see him, so he hit that level
00:29:33with his way of singing and with his relationship with the audience, and
00:29:37HRT showed this what's-it-called, the whole concert at
00:29:41Poljud, right? So I watched a bit how he communicates with the audience, he communicates with
00:29:44the audience as if they are in a pub with him, right? So
00:29:48that's, that's the moment in which it catches on
00:29:52in that sense, his songs, he actually
00:29:55performs them in a way that is appealing, so
00:29:59like, also, "We should have been in the tavern", that's
00:30:02an absolute success. On the other
00:30:06hand, when you look at that music,
00:30:09for example, "You always remained the same",
00:30:12right, which my dear friend Jurica Hižak, under
00:30:15Čubakin's grandmother, translated into French
00:30:19and rearranged, that's a chanson that could
00:30:22work in France in the 70s and
00:30:2680s without any problems, which Aznavour could
00:30:29sing without any problems, absolutely. "Even
00:30:33Edith Piaf could perhaps sing it, right?" So it's incredible how
00:30:36firstly, it's a fascinatingly good text when you hear it in
00:30:39French, fascinatingly good music that we
00:30:43here observed with a smirk as if
00:30:47"Oh, Mišo, who listens to that?", but then
00:30:50when you get such a different perspective
00:30:53on Mišo Kovać, then you realize that actually behind him
00:30:57stands a great...