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.
00:00:01Thank you once again.
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00:02:32Welcome once again to N1 Television. Welcome once again to
00:02:35the live studio where in the coming minutes we will dedicate
00:02:39ourselves to the event of the weekend which will surely be felt for days to come in
00:02:43Croatia and beyond. That is the death of Mišo Kovač.
00:02:46The funeral is being prepared for tomorrow. Already
00:02:50from the football club Hajduk and the city of Split, yesterday
00:02:53they announced that everything starts at Poljud, at the club
00:02:57with which Mišo Kovač was inextricably linked.
00:03:00What exactly is his place in popular culture, not only
00:03:03of Croatia, but in a kind of collective imaginary
00:03:07of the people, or communities from these
00:03:10areas, that will be the topic for discussion with our next guest, who is
00:03:14Professor Tomislav Pletenac, ethnologist from the Faculty of Philosophy
00:03:17in Zagreb. Good day and welcome. Good day. What is your
00:03:21first association with Mišo Kovač, when one says Mišo Kovač,
00:03:24the legend immediately comes to mind as the very first
00:03:27this first association. But I always
00:03:30remember Arsen's words about his talent and this
00:03:34kind of this actually I have this
00:03:37ambivalent relationship in the sense that
00:03:41it is something that a person from my
00:03:45perspective, of course from the perspective of people I hang out with, would call trash,
00:03:48right? But there is one addition that is then
00:03:52very, very debatable whether it is really something that we
00:03:56could push into that category, although I must immediately emphasize that I don't think
00:03:59there is anything wrong with that, right? On the contrary, with colleagues
00:04:03and I am a member of the trash association in Varaždin and this, we have
00:04:07a trash film festival, so I am dedicated to it in a way, but
00:04:11here Mišo in one moment even deviates from maybe
00:04:14such a label because it is difficult, it is difficult
00:04:18to immediately place and classify him. On the other hand, he
00:04:22gave additional meaning to controversy in these
00:04:26areas. Definitely, when you say controversy, then when you think of
00:04:30Mišo, he really expanded that
00:04:323rd, election night on concept very much, yes, yes, yes,
00:04:35I mean, his career lasted very, very
00:04:38long, uh, as he, of course, got older and
00:04:42as his strength failed him, his presence in the public
00:04:45space was weaker and weaker, but
00:04:48the legend, as we have already said, did not fade, on the contrary, it
00:04:52only grew. That surprised me, because I, I remember as a
00:04:56kid, this, when I eavesdropped on my
00:04:59parents' singles, and I remember one single
00:05:03by Mišo Kovač, I think the A-side was the song "I'll Take You to the Wedding," and
00:05:07I think that was one of his probably first hits. That was
00:05:10this, so he was for me a kind of festival
00:05:14singer, right? However, then after the 90s,
00:05:17when I started to socialize a little more with the Croatian
00:05:20diaspora, especially from Australia, then I realized
00:05:24that actually he was there gaining that legendary
00:05:28status. For them, "Kiss the Ground You Walk On" was what
00:05:31Poljud announced with the announcer and said goodbye, right? Which
00:05:35is also interesting. Well, Dalmatia, all of that
00:05:38aroused in them a deep nostalgia. Now looking at
00:05:42your diary just a moment ago, the colleague journalist
00:05:45says that Mišo was actually
00:05:49very important for people who are not in Dalmatia. So he
00:05:53constructed his legend outside
00:05:56Dalmatia, which then returned with feedback
00:05:59as the grassroots of his
00:06:02popularity, but actually he gained it among
00:06:05people who felt nostalgia for
00:06:09the old country, who were either diaspora from outside, I said
00:06:13outside Europe or nearby or nearby or here in Zagreb, right? And
00:06:16his very position, that you are no longer
00:06:20sure if he lives in Zagreb, in Šibenik, in Split. If someone had
00:06:24asked me two weeks ago where Mišo was,
00:06:27I question whether I would be sure if he was in Zagreb, Šibenik or Split and whether
00:06:31I would know where he lives, right? So,
00:06:34now there is this other special component related
00:06:38to Dalmatian identity, first of all, that is Hajduk.
00:06:42Yes. That connection with the club, the funeral
00:06:45starts at Poljud. Uh, Poljud said goodbye to
00:06:48Mišo. Several songs
00:06:52are signed, and Torcida's. Ultimately,
00:06:56we had relatively recently this collaboration between Saša Antić and Mišo
00:06:59Kovač, "I can't help but love him," right, which
00:07:02is a cover of his old love song, which of course Torcida
00:07:06sings to Hajduk. Uh, how important
00:07:10is that component for the story? Mišo Kovač
00:07:13certainly, I think, and he is probably the only other
00:07:17such person who can this raise Torcida
00:07:21or where Torcida can identify through lyrics is Mladen
00:07:24Grdović, probably, right? I don't know who else who would be a third one, right? So these
00:07:27are, and it's interesting that there
00:07:30are some connections and parallels and so on, but that
00:07:34love for, so that description that can sometimes be really
00:07:38nostalgic in the sense of pathetic, like what the boys
00:07:42did, for example, that song "Dalmatia," and now stone, olive,
00:07:46this and that, so it's full of those common places, right?
00:07:49However, it's easy for fans to identify with
00:07:53those common places. It's not, let's say, the only
00:07:57example in the history of fan football, but
00:08:00on the contrary, if Liverpool have "You'll Never Walk
00:08:03Alone," which is actually one of the biggest hits, which was also a
00:08:07hit of the 60s that was played before the start
00:08:10of the match, so people sang it, that's how it
00:08:13slowly became Liverpool's song, right? I don't
00:08:16see why this
00:08:19"I can't help but love you" wouldn't be Torcida's song from
00:08:22today onwards or "Dalmatia in My Eye," or
00:08:26some other song, like they sang "I am a Dalmatian" by
00:08:29Grdović, right, which is also one such
00:08:33song that can, for example, if we look at other environments, we don't have to
00:08:36immediately say Zagreb, but not Osijek or Rijeka or so on, right? You
00:08:40don't have a really specific
00:08:43song that would unite the whole, the whole
00:08:46region, right? When you have
00:08:49in Zagreb, if you have something
00:08:52dedicated to Dinamo, dedicated to the club, dedicated to perhaps Zagreb, right,
00:08:56but not the whole region. The whole northwestern
00:08:59Croatia, right, will not
00:09:03have such a moment, a song that would unite it, yes.
00:09:06Uh, so a man from Šibenik
00:09:09unites, unites Split and Dalmatia.
00:09:12From, I don't know, and the islands and so on, to Dubrovnik, right? So
00:09:16you don't have that anywhere else except
00:09:19through Mišo in Split, but I say it always seems to me that
00:09:23in the background is that story of the view from the outside,
00:09:26right, that view from the outside, Mišo's view towards
00:09:30Dalmatia, right, not from the inside, so
00:09:33the construction of that constant suffering for one's own space, that
00:09:37space actually, as with any such nostalgic discourse,
00:09:40paints that space in these
00:09:44romantic colors, melancholic and
00:09:47ideal colors, so as if it covers up all the
00:09:50mess, all the horror and so on, you then get a ready-made,
00:09:54completed story, right, which exists
00:09:57of course in other regions as well, but despite, for example, the
00:10:00Krapina festival, for example, the Kajkavian area's
00:10:03attempts to portray it that way, it hasn't produced many such
00:10:07songs as Dalmatia, for example, you have "A Tear for the Zagorje Hills"
00:10:10and we'll find two or three more. Here we are actually
00:10:13very, very close to the end, right? The
00:10:16Split festival has produced a
00:10:20large number of people who have
00:10:24already, I say again, it doesn't matter that it's superficial and
00:10:27so on, but who have portrayed that Dalmatia, that view
00:10:31from the outside, that idea that you can identify
00:10:33with that image that comes
00:10:36from the outside is, I think, crucial here, right? That's where the victory lies with
00:10:40Grdović. It seems to me that it's a completely different situation. He looked at it from the inside, he
00:10:44is from the inside a man, a man, even
00:10:47though for Mišo they will say he is a man of the people, but not because
00:10:51he lives with them, but because he affects them where
00:10:55he fulfills their wishes in a way, how they want to
00:10:58see themselves, right?
00:11:01pjevačica ovih prostora uh toliko
00:11:05lako, mislim ne mislim pritom na ružan način lako nego
00:11:08uspješno uh sveden na simbol, a kad
00:11:12kažem simbol mislim naočale, mislim na brkove, mislim na zlatni
00:11:15lančić, mislim raširene ruke, mi to točno svi znamo što
00:11:19simbolizira Mišo Kovać, njegovu siluetu kad se vidi, to je to mislim, mislim
00:11:22da nije niko uspio to, a zašto? što je to Miša uspio u čemu je
00:11:26tajna njegove ikoničnosti, je l'? To
00:11:29je nevjerojatna, nevjerojatna snaga da unatoč
00:11:33tome što ga kako Arsen kaže, nije dotaknuo baš talent, je
00:11:36l', ima neke iskrenosti u tom njegovom
00:11:39iznošenju pjesme, dakle on malo pjesamako uopće koju napisao, je l'
00:11:43nothing. Everything was done for him by others, right?
00:11:47So when when
00:11:49he manages to bring that to a level where
00:11:53people simply understand him. To see him as one
00:11:56who is not exactly different, but not too much so that they see him. So he
00:12:00hit that level with his way
00:12:03of singing, with his relationship with the audience, and HRT
00:12:06broadcast this, what's it called, entire concert at Poljud, right? So I
00:12:10watched a bit how he communicates with the audience. He communicates with the audience as if
00:12:14he is at a pub with them, right? So that's the
00:12:18moment where it catches on,
00:12:21in that sense, his songs. Actually, he performs in a way
00:12:25that is appealing, so like, "we sang in the tavern,"
00:12:29that's it, that's an absolute success.
00:12:32On the other hand, when you look at that music,
00:12:35for example, "Ostala uvijek ista" (Always Remained the Same),
00:12:39right, which my dear friend Jurica Hižak translated
00:12:42to French under Čubakin's grandmother's
00:12:46name and adapted it,
00:12:48and it's a chanson that could have worked
00:12:52in France in the 70s and 80s without any problems
00:12:56that Aznavour could sing without any
00:12:59problems, absolutely, even Edith Piaf could perhaps sing it, right? So
00:13:03it's incredible how, first of all, it's a fascinatingly good text when you
00:13:07hear it in French, fascinatingly good music that
00:13:11we here kind of
00:13:13looked at with a smirk, as if "who cares about Mišo" or "who listens to that?"
00:13:17No, but when you get such a
00:13:20different perspective of Mišo Kovač, then you
00:13:23realize that actually behind him
00:13:27stands a great compositional machine, among
00:13:30others Runjić, I don't know others, right, Britvić, I guess, and
00:13:34so on, right, who created extremely good
00:13:38music, which he knew how to simplify
00:13:41and make it seem as if the lyrics, as if it
00:13:45happened to him yesterday, so now he recounts what happened to him, right?
00:13:48We all then experience it, live it together with him, and he
00:13:51actually transformed that stage situation
00:13:55partly into the stage of his own life, right? That's why
00:13:58I say he broadened the idea of controversy much further than we
00:14:02ever expected in the Croatian language, right?
00:14:05In a way, I mean, it might sound exaggerated, but
00:14:08did his own tragic fate
00:14:11and his own tragic story contribute to his legend, his
00:14:15success, and the way the audience perceived him? Even more so, if we were to, say,
00:14:18if we had to reduce the complete oeuvre
00:14:22of Mišo Kovač to one emotion, that
00:14:25emotion would probably be melancholy,
00:14:28yes, yes, yes, partly melancholy, partly nostalgia,
00:14:32partly, I don't know what to call it. Of course, he shared
00:14:35the loss of his son with the audience on multiple levels,
00:14:39not just through music. Of course, he also set to music
00:14:43and actually sang that song that was
00:14:46dedicated to his son. He openly
00:14:49talked about it, right? In various
00:14:52ways, he addressed the audience.
00:14:55He poured his private, private emotions
00:14:58out at that moment. Uh, but
00:15:01he's not the only one, right, in popular music to whom
00:15:05that happened, right? A little before his loss, we had
00:15:08this loss of Eric Clapton, from which then
00:15:12comes his "Tears in Heaven" ballad, "Tears in
00:15:15Heaven," but at the same time, uh, Clapton
00:15:18doesn't communicate with the audience at all. He is a completely withdrawn, almost
00:15:21introverted bluesman, right? So that was it. He was very
00:15:25or, for example, this loss
00:15:29of a son that accidentally, so not
00:15:32intentionally, turned into "Guest" which is a
00:15:35brilliant, musically brilliant album, right? Which, but
00:15:39again, it was not communicated in that way. So
00:15:42this is, this is in a way
00:15:46Mišo's secret, right? So Mišo actually hides
00:15:49nothing. He hides, of course, all of us, especially
00:15:52people who are involved in popular music, people who are involved in
00:15:56theater, acting and so on, right, always have more of those
00:15:59positions, right? However, he tried, so in that
00:16:03moment, to
00:16:06present his private life as if on stage, right? That's
00:16:11what made him an icon. Can we already
00:16:14try to predict or have some
00:16:17assumption about how Mišo Kovač's oeuvre
00:16:21will look in the long run? Is this now a permanently established
00:16:24mythical place in national pop culture, in this
00:16:28collective imaginary we mentioned, to which someone will always
00:16:31return, or will there perhaps be someone who
00:16:35could try to enter that place or at least somehow
00:16:39complement it? That's a bit harder. It is unlikely that someone
00:16:42like, in the 90s, when we had performers who tried to, so
00:16:46fill the empty spaces that arose with the breakup of Yugoslavia,
00:16:50right? That certainly won't happen. What could
00:16:53happen, what I think will certainly happen, is that he will remain
00:16:57on the playlists of most
00:17:00parties. So at some point,
00:17:04the time comes for Mišo, right, at some party, some
00:17:08gathering, and so on, whether someone will play him, whether a DJ will play him or so
00:17:12on, right? So he already has his place there for sure. Will
00:17:16there be new reinterpretations of his songs? It could
00:17:19happen, right? When we look at what Jurica Hižak
00:17:23did, it seems to me that there is material there that could
00:17:26actually portray his
00:17:29musical and lyrical oeuvre in a different interesting
00:17:32way, right? So based on that, I see that, but that someone will be
00:17:36Mišo. That will certainly
00:17:39not happen again in that way, right? In that way,
00:17:43of course, his songs will
00:17:46remain very likely
00:17:50to remain much more in circulation in the
00:17:53public space than, for example, Arsen's songs or
00:17:57even Oliver's, although Oliver has many too. I even think
00:18:00that he is at that one moment
00:18:03different from Oliver precisely in that variation.
00:18:07That no party will pass without Mišo, right? Yes. And can we try to
00:18:11guess or predict
00:18:14uh, if, if, so we take Oliver who is no longer with us, and
00:18:18Mišo who is no longer with us, and some other people who
00:18:21created the popular musical backdrop
00:18:24of Dalmatia, the identity of Dalmatia in a way.
00:18:28If, if they are no longer here, if there is no more of that pathos, if there are no
00:18:32more of those common places, can we try
00:18:35to assume in what further direction that identity,
00:18:38the development of that identity, could turn? Well, this is
00:18:42very interesting, I say, the Boys, TBF, so the whole hip-hop
00:18:46rap scene that developed in the 90s
00:18:49in Split produced very interesting and almost
00:18:53I would say some TBF songs have also become
00:18:56cult. So that idea of a duet
00:19:00between Mišo Antić and Saša and Mišo, right? So
00:19:04that's something that one would expect. So these are
00:19:07they cover both different audiences and two
00:19:10different ways of painting
00:19:14Dalmatia, right? So where TBF was
00:19:17more direct, clearer, but again,
00:19:20how should I say, again, it gave an opportunity to
00:19:24see ourselves as Dalmatians, right? But, but from
00:19:28a different, from a different angle. So, perhaps that story
00:19:31will end with Grdović. That story, "stone
00:19:34olive," will probably end.
00:19:44Instead, some perhaps more contemporary themes will emerge. I mean, this happened in France, too, for that matter, so it's nothing impossible or
00:19:47strange, right? But it is actually
00:19:50a very inspiring place for such, for, so, for
00:19:54the production of music and lyrics, that's definitely certain, right? It's
00:19:57incredible, even, I think it's a bit strange, right,
00:20:01that we have in a relatively small country, right, we have a whole
00:20:05landscape that identifies itself through a certain
00:20:08image and is ready to change that image, give it a different tone
00:20:12and so on, so I think the image persists, yes, the image persists,
00:20:16there will always be some
00:20:19Saša, there will always be some TBF, there will always be some
00:20:23boys, there will always be some Vojko V or someone who
00:20:27will paint that image in a new way. Just to conclude,
00:20:29I don't want it to go unnoticed because I think it's important
00:20:32to mention that on the same day
00:20:35another Mišo passed away,
00:20:38that is not only, of course, Mišo Kovač, but also Mišo who
00:20:42also significantly defined
00:20:45New Wave and of course
00:20:48another identity that survives to this
00:20:52day, of course, much less visible, much less present.
00:20:55He himself actually kept himself less visible.
00:20:59We are of course talking about Mišo Hrenjak from Prvi, that is, the first
00:21:02true, the first true bassist, and Azra, who
00:21:05otherwise, I don't know, you could have come across
00:21:09other people who collaborated
00:21:12with Štulić, who would talk about Štulić, were with him. He kept
00:21:15himself very much on the sidelines of all
00:21:19that. But he was actually one of the key people
00:21:23who created the sound. Azra is actually one of the key
00:21:27people of that first breakthrough, because Azra itself
00:21:31makes that breakthrough of a social critique that
00:21:34we didn't have before in that way, perhaps punk yes, but
00:21:37actually he was the first popular one who gave a social, social
00:21:41critique which then continued to
00:21:44make New Wave actually known, right? Which then continued not
00:21:48only through the 80s but also successfully survived
00:21:51despite everything and passed through the 90s and
00:21:55settled somewhere today and perhaps even infected
00:21:58this hip-hop scene down in Dalmatia, infected
00:22:01perhaps the entire hip-hop scene and today it seems to me even
00:22:05the trap scene, but in a completely different
00:22:08way, right? So why did he remain so on the sidelines
00:22:12and so behind? I don't know, he was probably by nature
00:22:15he didn't really like the limelight,
00:22:19but that he decided that he was a decisive part
00:22:22of creating the sound of Azra, that's definitely true.
00:22:25And that rhythm section is difficult, it's difficult to
00:22:29replicate, right? They had, but again, it's about Lajner who is
00:22:32also in Vještice, so perhaps only Vještice with
00:22:36Saher had that rhythm section that Azra had
00:22:40with Mišo and Lajner.
00:22:43Yes, we will of course follow and broadcast tomorrow
00:22:46Mišo Kovač's farewell. That will also be interesting. From
00:22:50an ethnological perspective, absolutely, from every perspective. I, this, I can't
00:22:54wait, Professor Pletenac, thank you very much for being our guest. Thank
00:22:57you. Innovations, tests,
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00:24:01Good evening, what kind of weather awaits us tomorrow
00:24:04and this week? We are under
00:24:07the influence of a cyclone that is
00:24:09swirling over the Mediterranean Sea, south
00:24:13of Italy. This cyclone, with its cloud
00:24:16system, brings unstable weather to
00:24:20us. The warm air of the cyclone mixes
00:24:23with the cold air that penetrates
00:24:26from the Siberian plains, so
00:24:30we have cloudy weather with rain,
00:24:33locally with occurrences of sleet
00:24:37and snow.
00:24:40Tomorrow we expect cloudy weather with
00:24:44Bora, which will be strong to stormy,
00:24:47and locally in the Podvelebit coast, there will be
00:24:50gusts. Inland, it will be cloudy. On the Adriatic, there will be
00:24:53some sunny periods.
00:24:56With cloudy weather inland, there will still be a few
00:25:00drops of rain, and a few snowflakes in
00:25:03the mountainous regions. Morning
00:25:06temperatures. air temperature
00:25:09inland around 7°, on the
00:25:12Adriatic from 10 in the northern part of the Adriatic
00:25:16to 14° in the south on...
00:25:20Islands, the highest daily temperatures will not change much
00:25:23in relation to morning
00:25:27temperatures. In the interior, somewhere up to
00:25:3010°, on the Adriatic, the highest daily
00:25:33temperatures from 13 to
00:25:3719° in the far
00:25:39south, with bora. The further
00:25:43development of the weather situation will be influenced
00:25:46by the movement of a large amount of cold air, which
00:25:50will flow east of our regions,
00:25:53and with us, the weather will gradually stabilize,
00:25:56starting from Wednesday onwards. We will again come
00:26:00under a shallow top. The current
00:26:04one is currently located from Spain and
00:26:07extends over Great Britain, it will move
00:26:11and come over our regions, the air
00:26:14temperature for the first three days
00:26:17of this week will be mostly with small
00:26:20amplitudes, so that the maximum
00:26:23daily maximums will be around 11, minimum
00:26:26temperatures around 7-8°,
00:26:30after that from Wednesday onwards. Then
00:26:33a change in weather with clearer nights, so
00:26:37the air temperature will drop significantly and we can
00:26:40have frost in places from Thursday and
00:26:44Friday onwards. On the Adriatic throughout
00:26:47next week, bora, air
00:26:51temperatures will be initially until
00:26:55Thursday, Wednesday, Thursday stable, with
00:26:58small daily amplitudes, between
00:27:0215 and 11 degrees, and from
00:27:05Thursday onwards, with more sun, air temperatures
00:27:08will again have large amplitudes, daily will be somewhere
00:27:12around 16 to 18°,
00:27:15nightly will drop to 10 degrees
00:27:18Celsius, but bora throughout this
00:27:21period, in short, this
00:27:25week we expect until Wednesday cloudy with rain
00:27:28and cold weather, and from
00:27:30Thursday stabilization. And more about the weather
00:27:34you can follow on our info channels,
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00:29:55America elects Congress. Trump's policy faces a new
00:29:59test. Who will have the majority power to pass laws?
00:30:02approves money, oversees the president. From Washington, we follow
00:30:06the key moments of the American midterm elections that could determine
00:30:09the political future of the USA? We include reporters and
00:30:12experts from Sarajevo and Belgrade, while our guests
00:30:15explain the political consequences, from decisions in
00:30:19Washington to consequences for Europe and our region.
00:30:22What changes does this election night bring and what do the results
00:30:26mean for Donald Trump? We bring it live from
00:30:29the American capital. American Congressional elections. November