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| 85 Na stadion Levski u Sofiji stigla je helikopterom She arrived at Levski Stadium in Sofia by helicopter Lepa Brena i njen „Slatki greh“ osamdesetih godina 20. veka bili su najtiražniji i najtraženiji izvođači u istoriji diskografije bivše Jugoslavije. Bili su predmet socijalnih analiza jer su predstavljali jedinstven društveni fenomen, ali i poslednja ikona jugoslovenstva, sećanje na srećne dane u socijalističkoj zemlji koja je bila pred raspadom i u kojoj je živela radnička klasa željna veselja Lepa Brena and her band Sweet Sin were the best-selling and most sought-after performers in the history of former Yugoslav music back in the 1980s. They were the subject of social analysis, as they represented a unique social phenomenon, but also the last icon of Yugoslavism, memories of happy days in the socialist country that it was prior its collapse and which was home to a working class with a desire for joy N iko se pre Lepe Brene nije drznuo da u pre- kratkom šortsu i ništa manje oskudnom topu izađe na scenu Doma sindikata i sa svojim bendom Slatki greh , na Hit paradi , festivalu interpretato- ra izvorne narodnemuzike, otpeva „Čačak, Čačak, šumadijski rokenrol, to je život moj i tvoj, oj, Moravo, oj“. Ostavila je Beograd u čudu te 1981, godinu dana posle Titove smrti, u trenutku kada se državni činovnič- ki aparat raspadao, gigantske firme propadale, a samoupravljači posu- stajali. Pojavila se s nogama do vra- ta, stasom zavodnice i osmehom deteta i – zaludela mase željne za- bave. Bez ikakve podrške medija. Mediji su došli kasnije. Nikopre nje nije bolje osetioda je trenutak za lakopamtljive teksto- ve praćene harmonikom i električ- nomgitarom, namenjene reci mla- dih koji su sa sela dolazili ugrad, za fuziju ruralne i urbanekulture, zaza- vodnicu s romantičnomdušom. Bi- lo je vreme za „... mani ralo imotiku, narod voli erotiku“... Prva je osetila dolazak ere konzumerizma – potro- šačkog društva, umesto radničkog. Posle prvog albuma 1981. Čačak , iz- datog za PGP RTB, dovela je novo- komponovanu narodnu muziku u gradsku sredinu, udvorane i na sta- dione i kaomagnet privukla široke N oonepriortoLepaBrenahaddared,in extremely short shorts and anequal- ly skimpy top, to appear on the stage ofBelgrade’sTradeUnionHousewith her band Sweet Sin, at theHit Parade – the festi- val of interpreters of original folkmusic – to sing “Čačak,Čačak,Šumadianrock’n’roll,that’sthelife ofmeandyou,oh,Morava,oh.”SheleftBelgrade marvelling in that dramatic 1981, the year after Tito’s death, at the moment when the appara- tus of state structures had fallen apart, gigantic companieshadcollapsedandtheself-manage- ment officials had quit. She appeared with legs up to her neck, the stature of a seductress and the smile of a child, and – drove the fun-loving massescrazy.Andshedidsowithoutanykindof media support – the media came later. No one prior to her had better sensed that itwas the rightmoment for lyrics thatwere easy torememberaccompaniedbythesoundsofthe accordion and electric guitar, intended for the riversofyoungpeoplecomingfromthevil- lagestothecities,forthefusionofruraland urbanculture,foraseductresswitharoman- tic soul. It was time for“...dump the plough and hoe, the nation loves eroticism”... She was the first to sense the arrival of the era ofconsumerism–aconsumersocietytore- place one made of workers. After here first albumin1981,“Čačak”,releasedbyPGPRTB, shebroughtthenewlyreworkedfolkmusic to urban environments, to halls and stadi- ums, andmagnetically attracted themass- es of the wider public that were unaccus- tomedtoseeingscantily-cladsingersinlive interaction with the audience. NooneanywhereinYugoslaviapriorto her, nor later, managed just a year later, in 1982, to sell 800,000 copies of a second al- bum, nor a third –“Bato, bato”in 1984 – in record-breakingfiguresof1.1millioncopies. Atthetime,PGPRTShadtointroduceathird

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