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Pekinska Patka - Plitka poezija (1980)



To teraz przez parę postów zaszalejemy - ten jest pierwszy z serii i poświęcony nie byle jakiej grupie. Pamiętam początek lat osiemdziesiątych i początek punkowego boomu w Polsce. Pierwsze koncerty Kryzysu w Aninie i Polandu, pierwsze zadymy (wtedy jeszcze z milicją) np. w Starej Prochowni. Zaczynały pojawiać się pierwsze longi z nagraniami brytyjskich kapel punkowych, którymi ludzie głównie się wymieniali między sobą np. na murku przy Pałacu Kultury podczas Targów Książki. Można jednak było czasem upolować coś na prawdę egzotycznego. Do takich pozycji należała debiutancka płyta kapeli z Jugosławii (wówczas jeszcze nie podzielonej) - Pekinska Patka się nazywała. Prawdziwa konsternacja - nie wiadomo czy muzycy robili sobie jaja czy grali na poważnie. Nie mniej cała płyta była energetycznym strzałem. Pekinska Patka dla Jugoli była legandarną kapelą punkową, czyli tym samym czym dla nas były wspomniane Kryzys, Poland, wczesny Tilt, KSU czy Deadlock. Muzycy nagali chnyba tylko dwa albumy, z tym że drugi jest w zupełnie innym klimacie - bardziej cold-wave'owym.



Pekinška patka's roots are found in a another band called Trafo. That short-lived group, formed in 1976, featuring Nebojša Čonkić on vocals and Sreten Kovačević on guitar, performed cover versions of rock standards by the Rolling Stones and Santana. The following year Kovačević formed a pop band Café Express that featured Čonkić as guest vocalist.

During the summer of 1978, Čonkić (often referred to by his nickname Profesor Čonta), at the time a 25-year-old teacher at Mihajlo Pupin High School in Novi Sad, went to London where, among other bands, he saw The Clash and The Specials as the opening act, Midge Ure and Glen Matlock's Rich Kids, The Skids and Magazine perform live and returned to Yugoslavia full of impressions and ideas about putting together a band with a new sound.

During July 1978, Kovačević, drummer Laslo "Cila" Pihler, and Čonkić decided to form a punk group inspired by the British punk bands. The first lineup also featured bassist Miloš "Žure" Žurić. The band held rehearsals at the University of Novi Sad's Faculty of Mechanical Engineering building where their first live performance took place. Four people attended the gig, all of them friends of the band members. In the meantime Čonkić and Kovačević started working on new material, mainly in English which was performed at the first appearance. After the gig Srbislav "Srba" Dobanovački became the new bassist.



Their very first official live appearance took place in December 1978 in Novi Sad's Klub 24 venue and immediately got the local public talking for the commotion it raised among the club's staff who were sufficiently shocked by the performance that they stepped in and interrupted it, sending the crowd of about 200 people home. The reason for the interruption was the band's performance of a vulgar punk cover of the communist Youth work actions song featuring the lyrics "Brižit Bardo bere čičke; Vidi joj se pola pičke" ("Brigitte Bardot is picking thistles; you can see the half of her pussy").

The band based its sound on melodic punk and vivid public image, while their high-energy live show became an exercise in physical endurance with constant jumping and gyrating that had an infectious effect on the young crowds. Being one of the first groups in the country with this kind of sound and performing style, they ruffled plenty of feathers initially, generating media interest before even releasing any material.

Čonta often used those media appearances for unabashed self-promotion, delivering sweeping statements like: "We're the first important thing to happen to Yugoslav rock since the days of Ivo Robić and Marko Novoselić". He also purposely courted controversy with soundbites he knew would create a stir such as referring to his group as the "first Orthodox punk band", which did not sit well with the officials of the ruling Communist League that very much promoted atheism in Yugoslav society.



The band quickly developed a fierce following among the sections of Novi Sad youth who expressed their devotion by spraying "Čonta je Bog" ("Čonta is God") graffiti throughout the city. All of this unconventionality also got the band plenty of attention from local distinguished communists who saw subversive and incendiary potential in their sound and appearance. As a result, despite generating a lot of interest, not only in the city but also throughout other parts of Vojvodina, the band experienced enormous problems with live performances, many of which would get canceled on the day of the show on suggestions from above. In December 1978, the band played the last BOOM festival, which was being held in their hometown that year. (....)

Following the debut album release, the band went through some personnel changes with certain members changing instruments and others leaving altogether. Guitarist Kovačević expressed a desire to play saxophone so he moved to that instrument while new member Zoran "Bale" Bulatović, a 17-year-old Pečat member, took over the vacated guitar spot. Second guitarist Prosenica, and bassist Oslovčan also left the band. Oslovčan was first replaced by Aleksandar "Caki" Kravić and then the former bassist Srba Dobanovački until Marinko Vukmanović joined the band. Prosenica's spot stayed vacant as the band continued with only one guitar. That lineup did not last long as Kovačević left the group during fall 1980 to form his own band, Kontraritam.



The new lineup went on the successful tour of Bosnia, ending with a sold-out show at Sarajevo's Skenderija Hall. The band recorded the cover of the popular Dragan Stojnić chanson, with altered lyrics, and released it on single with "Buba-rumba" as the B-side. Another cover version, this time The Hollies hit "Stop! Stop! Stop!" appeared on the "Rokenroler" show broadcast on TV Belgrade. The song was used by JTV (Yugoslav television) station for representing Yugoslavia at the Montreaux Golden Rose festival. Čonta also planned to cover the "Saint Sava anthem", which was not approved by the rest of the band.

During December 1980, the band performed at the Grok festival held at the Novi Sad Fair. The band left a good impression, but also caused an uproar by burning a copy of the Borba newspaper. During the intro for the song "Biti ružan, pametan i mlad", Čonta said that the song was dedicated to Goran Bregović. Soon after the show, Dnevnik journalist Bogdan Četnik wrote an article demanding the band to be completely banned.

From October 1980 until March 1981 the band prepared new material inspired by Joy Division, The Stranglers, The Cure and Magazine. The band changed the style to post-punk and dark wave, presenting a different sound and image, which mostly failed to connect with the audiences the way their debut did. The album Strah od monotonije, released in May 1981, was sold in about 8,000 copies.

The band performed rarely and their last notable shows were at the Zagreb Velesajam (performed with Riblja Čorba, Haustor, Film, Prljavo kazalište, Leb i Sol, Parni Valjak, etc.) and the Kalemegdan park which was their last concert, During the summer, Čonta went to serve the Yugoslav People's Army and by the time he returned, Bale was already the member of Luna and Vukmanović formed the pop band Primavera. (wiki)

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2 komentarze:

Ankh pisze...

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klancyk? pisze...

No nieźle, Pekinskiej Patki się tu nie spodziewałem. :) Pozdrowienia

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